Joan Rivers was not an anthropologist

When Joan Rivers passed away yesterday, the world paid far more attention than most people might have expected. A veteran of… well, pretty much everything, Rivers was someone who many more people took seriously than anyone expected. But anthropologists in particular were surprised and pleased (at least in my case) to discover that she had an undergraduate degree — and from Barnard no less, the mothership of American Cultural Anthropology. But, sadly, it is probably not true.

At the moment, the current wikipedia entry as earning “a Bachelor of Arts degree in English literature and anthropology”. So if Wikipedia says it it must be true? Hmmm…

Wikipedia lists three citations for this assertion: Rivers’ New York Times obit, her (superbly named) memoir Enter Talking, and a Washington Post obit. In fact, the Times obit gives her major as English. This morning when I checked it the WaPo obit listed her major as anthropology, but now that has been removed for some reason and her major is not specified. In Enter Talking (which Wikipedia cites without a page number, tsk tsk) what Rivers actually says is: “I was an English literature major” (that’s page 55 of the 1986, NYC, Delacorte press edition).

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The Private Lives of Anthropologists: A Review of Lily King’s Euphoria

[This is an invited post by Paul Shankman, professor of anthropology at the University of Colorado. Paul is an anthropologist of Samoa, and author of numerous articles about Margaret Mead and the Mead-Freeman controversy including The Trashing of Margaret Mead: Anatomy of an Anthropological Controversy (University of Wisconsin Press, 2009, and reviewed here on Savage Minds).]

 A review of Euphoria by Lily King. New York: Atlantic Monthly Press (2014).

The last time Margaret Mead appeared as a character in a best-selling novel was over fifty years ago. In Irving Wallace’s The Three Sirens (1963), Dr. Maud Hayden (the Mead stand-in) finds her world turned upside down by the discovery of a Polynesian island where, as America’s foremost anthropologist, she leads a team of researchers who encounter “people from a simpler, happier society, free from the inhibitions and tensions of the 20th century.” The novel’s dust jacket informs us that the culture of the island is “a shocking assault, a challenge to their most cherished beliefs about love, sex, marriage, child rearing, and justice.” So profound is this encounter that the researchers end up studying their own desires, fears, and passions. Of course, this trashy potboiler had no redeeming social value, but interest in the Mead character, the tension between a repressive West and a permissive Polynesia, and the interplay between professional fieldwork and private lives attracted many avid readers. Continue reading

Salaita Updates

UPDATE: Read comments for statements from the AAA and the UIUC anthropology faculty and graduate students.

UPDATE 2: Here is the official AAA blog post with the letter that was sent to UIUC.

In the week since Rex’s post on the Salaita case things have been moving fast. So fast that (unlike Corey Robin) I have a hard time keeping up. As of today, six departments at UIUC have taken votes of no confidence in the university leadership, with the number expected to rise to ten by the end of the week. Add to that seven academic associations which have issued letters condemning the university’s handling of the case, as well as numerous talks, conferences, and other events which have been canceled by scholars boycotting the university, and it is safe to call this a “movement.”

If you want to understand why, I strongly recommend reading this letter by the AAUP [PDF]. Continue reading

What archaeologists do

[Savage Minds welcomes guest blogger Sara Perry.]

On Friday my colleague, Dr Colleen Morgan, and I will be co-delivering a paper at the University of Bradford’s Archaeologies of Media and Film conference in Bradford, UK. For anyone not familiar with the still-emerging field of “media archaeology,” this is an exciting event, featuring some of its pivotal thinkers (e.g. Jussi Parikka, Thomas Elsaesser), and a diversity of researchers discussing everything from 19th century stereoscopy to statistical diagrams and animated GIFs. As the organisers stated in their Call for Papers, the conference is a gathering of various interests, all converging on “an approach that examines or reconsiders historical media in order to illuminate, disrupt and challenge our understanding of the present and future.”

Colleen and I are talking on the last day, in the last block of parallel sessions, in a line-up of speakers who appear to be the only other archaeologists at the event. While I’ll delve into the details of “media archaeology” in a subsequent post, it is notable that archaeologists effectively never feature in this stream of enquiry. Rarely do archaeologists or heritage specialists attempt to overtly insert themselves into the media archaeological discourse (Pogacar 2014 is arguably one exception), and neither do media archaeologists typically reach out to archaeology for intellectual or methodological contributions (but see Mattern 2012, 2013; Nesselroth-Woyzbun 2013). Indeed, the media archaeological literature has explicitly distanced itself from archaeology, with the editors of one keystone volume writing:

“Media archaeology should not be confused with archaeology as a discipline. When media archaeologists claim that they are ‘excavating’ media—cultural phenomena, the word should be understood in a specific way. Industrial archaeology, for example, digs through the foundations of demolished factories, boarding-houses, and dumps, revealing clues about habits, lifestyles, economic and social stratifications, and possibly deadly diseases. Media archaeology rummages textual, visual, and auditory archives as well as collections of artifacts, emphasizing both the discursive and the material manifestations of culture. Its explorations move fluidly between disciplines…” (Huhtamo and Parikka 2011).

I’ve been curious about this trend of archaeology-free media archaeology for a while now, particularly after attending Decoding the Digital last year at the University of Rochester (see Matthew Tyler-Jones’ excellent review of the meeting in two parts: I and II). At this conference, one of the attendees with an obvious media archaeological bent lamented the difficulties of studying abandoned virtual worlds wherein direct identification of human beings was essentially impossible (for all that was left in these worlds were fleeting digital traces). The implication was that few methodologies were available to negotiate this seemingly hopeless interrogative exercise.

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Around the Web Digest: Week of August 24

If, like me, you’ve been living under a rock this week, here are some things you may have missed. (From the size of this list, I feel like I missed a lot.) If you have something that you’d like me to feature next weekend, please send it to me at richard.powis@gmail.com or on Twitter at @dtpowis.

A new anthropology MOOC is starting up on edX, called World101x: Anthropology of Current World Issues. (World101x)

Gerhard Hoffstaedter, course director of World101x, has written on the immigration from the perspective of Australia’s own crisis. (HuffPo)

Also, be sure to check out the World101x interview with anthropologist-journalist-blogger Sarah Kendzior. (YouTube)

While you’re on YouTube, a full length video of the documentary on Bourdieu, “La sociologie est un sport de combat,” was uploaded this week (in French, no subtitles). (YouTube)

Continuing in the theme of legendary French theorists, the audio of a lecture by Durkheim was also made available this week (in French). (Urban Demographics)

Stephen T. Casper discussed neuroscience, Ferguson, and the concept of “contagious shooting.” (Somatosphere)

Jennifer Carlson sat down with John Hartigan, anthropologist and director of the Americo Paredes Center for Cultural Studies at University of Texas at Austin, to talk about the use of multispecies ethnography in his work. (CASTAC Blog)

Laura Seay and Kim Yi Dionne described the long history of Africa’s reputation as a “dirty, diseased place.” (WaPo)

“Everyone was running little magazines in those days”

I recently went a conference where I had a chance to meet Nikolas Rose recently. I’m always interested to meet Famous Professors to see how they do it — what unique combination of personality traits got them, well frankly, tenure. Isn’t that something every academic should start keeping track of?

I’m pleased to say that Rose’s success –as far as I can tell — is due to his genuine pleasantness and keen desire to keep his nose down in the weeds and keep producing substantive ethnographic/historical work. Its always a pleasure to meet someone who has managed to become a success without turning into an bad person or cutting themselves loose from the lived reality we are supposed to be studying.

One thing I learned about Rose, rather than from him, came from an excellent interview with him in Public Culture. It was about his early career in the 1970s. This is what he said:
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Is the ALS Ice Bucket Challenge about structural inequality?

In case you have been living under a rock (or in the field, either is permissible for an anthro really) you may not have noticed that everyone and their mother is dumping ice water on their head in the name of ALS. Watching this fad unfold has provided Internet observers and other semi-employed persons an extraordinarily rich phenomenon to critique.

First of all, there’s a lot to like about the ALS Ice Bucket Challenge. By means of this fad I have learned that I have friends, Facebook friends, and friends of friends, who have loved ones or have lost someone because of this disease. It’s raised millions of dollars for rare disease research, which is inarguably a good thing. And it has done so by means of a viral marketing campaign that is, in essence, a short video clip of people acting silly. Wins all around.

It’s also interesting how, like the best of the Internet, the Ice Bucket challenge has spawned appropriation, reappropriation, and metacommentary. Here I’m thinking of Orlando Jones pouring a bucket of brass shell casings on his head to protest violence against Black youth in America, Matt Damon pouring toilet water on his head to draw attention to the lack of clean water around the world, and persons in Gaza pouring rubble on their head to draw attention to ongoing violence in Palestine. It’s really cool how the Internet allows people to riff on a theme and permutate established performances into something new.
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Boasian Critiques of Race in “The Nation”: SMOPS 12

I’m delighted to feature this, our dozenenth SMOPS, for readers. These papers provide an excellent example of anthropology’s long term commitment to social justice, public outreach, and a critique of incorrect folk theories of heredity and race. The real gems of this paper are not Boas or Herskovits or even Sapir, but the sparkling, penetrating papers by Hendrik Willem Van Loon and, especially, Konrad Bercovici. Read them first.

I’m also delighted that this issue of SMOPS is the first to feature an introduction by someone other than me. I’d like to thank Richard Handler, a distinguished historian of anthropology, for providing a brief introduction to this issue.

The pieces here are reproduced in full. Numbers in brackets indicate page breaks in the original. I hope that this paper, like the others in this series, will help present anthropological theory in a form that is accessible to everyone. There is today a tremendous amount of material which is open access, but it is difficult to find, inconvenient to read, and many people do not know where to start looking for it. By curating a selection of important open access work, I hope to make open access resources better known and to raise awareness of the actual history of anthropological theory.

The Trouble with Teaching (and a call for help)

This week, I embark on my 12th year as an adjunct at the College of Southern Nevada (formerly the Community College of Southern Nevada, which I much prefer — they changed the name in a bid to sound classier). For the last 11 years, I’ve taught intro-level anthropology, even as my career shifted from academia into the museum world.

Teaching is a choice for me. I have a full-time job, a MORE than full-time job, running the Burlesque Hall of Fame, and much of what little spare time I have left is spent as a caretaker for my father (who suffers from Alzheimer’s) and maintaining some kind of social life, but when I can pick up a class, I do. I enjoy the classroom experience, and if you’ve ever worked at a community college, you know how rewarding it can be.

My classes are typically full of very bright, hopeful young people (along with a scattering of returning students and retirees) who have been terribly served by the educational system. Many of them are minorities and/or from poor families, which means not only has their K-12 education been abysmally bad (on purpose, I’d argue), but so has the rest of their lives during their developmental years. Continue reading

These are a few of my favorite things.

Raindrops on roses, and whiskers on kittens. Bright copper kettles and warm woolen mittens. Brown paper packages tied up with string. These are a few of my favorite things. [Sound of Music (1965)]

When Rodgers and Hammerstein first produced this song in 1959 on Broadway, they may not have been thinking about debates related to ontology – but how wonderful to be able to list in the same breath raindrops on roses and whiskers on kittens as favorite things.

Speaking of kittens, I recently watched the film Statues Also Die (1953), directed by Chris Marker (who is obsessed with cats) and Alain Resnais. A brilliant filming of a series of sculptures, masks and other things from Sub-Saharan Africa, set to music, edited to match the tempo, and a narrator posing many thoughtful questions. Through the use of music, playing with light and shadow, the directors of this film were able to  animate the masks in such a manner that allowed the things themselves to mount an anti colonial critique. One of the central questions of the film, why African art should be placed in ethnographic museums and western art should be placed in art museums is a question that continues to crop up even today.  The impact of this early questioning was so profound that the second half of the film was censored in France until the 1960s. I suspect it was not only because it was an anti colonial critique, but rather the manner in which it unfolded in film might have much to do with it as well.

There is something unflinchingly uncompromising in the face of things that we have in some way wronged or failed to recognize. It is remarkably uncanny. And I am only human to find some humanity in these sorts of encounters.

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Around the Web Digest: Week of August 17

Here’s a recap of what you might have missed this week. If you have something to send me for next week, shoot me an email at richard.powis@gmail.com or on Twitter at @dtpowis. Classes start this week for me, and I know they’ve already started for some of you. If you’re teaching a course with a Twitter component, tell me about it! If you have articles or blogs that you’re linking your students to, let me know! I want to see what kinds of class discussions are springing out of the blogosphere.

Until then, let’s see what we have from last week. Continue reading

Dude Guardians of the Galaxy is TOTALLY A METAPHOR FOR ANTHROPOLOGY

As I get older, I have less and less in common with my students and every fall I try to think back to movies or TV shows I’ve seen that might serve as a common reference point for us. I was walking to the library the other day wondering “What movies have I seen recently?” And the only thing that came to me was “Guardians of the Galaxy” And I was all like: “Ok, so how can I make Guardians of the Galaxy relate to anthropology?” And then I realized: GUARDIANS OF THE GALAXY IS ALREADY A TOTAL METAPHOR FOR ANTHROPOLOGY.

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Making archaeology popular.

First run in 1951, “What in the World?” was the Penn Museum‘s Peabody Award-winning popular weekly half hour television program on CBS in which a panel of experts would guess information related to four or five unidentified objects. This program was aired for 14 years and was wildly popular. The show began with an appropriately smoke/fog filled screen, mysterious music, and a haunting voice questioning, “What in the world..?”

Indeed, that is what I thought as well, when I first stumbled upon this show earlier this year.

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