ABSTRACT
Inclusive participatory approaches strive to make participants with mild intellectual disabilities (MID) co-researchers. However, academic standards of knowledge production and the need for cognitive skills can complicate collaboration. I argue that collaboration with people with disabilities is not about efforts of inclusion, but instead, it is our methodologies that need to be "cripped." This means moving away from the ideal of inclusion, toward a more interdependent and relational understanding of access and collaboration. This multimodal article shows how my "research subject" Olof and I explored this way of working together by describing the coproduction of the science-fiction film "O."
Subject(s)
Disabled Persons , Intellectual Disability , Humans , Community-Based Participatory Research/methods , Anthropology, Medical , KnowledgeABSTRACT
Resumo Este artigo parte da interlocução com a associação Mães pela Diversidade do estado de Goiás, Brasil, para analisar a performance do "ativismo materno" que combate violências cometidas contra filhos e filhas lésbicas, gays, bissexuais, travestis, transexuais, intersexos, queers e outras expressões de gênero (LGBTIQ+). Por meio de registros etnográficos verbais e desenhados, proponho refletir sobre os modos como emoções são dramatizadas para a confecção de lutas que, dentre outras coisas, visam à busca por justiça, denúncia de violação de direitos humanos e construção de uma malha de apoio mútuo.
Resumen Este artículo parte del diálogo con la asociación Mães pela Diversidade (Madres por la Diversidad) de Goiás para analizar la actuación del activismo materno que combate la violencia contra hijos e hijas lesbianas, gays, bisexuales, travestis, intersexuales, queer y otras expresiones de género (LGBTIQ+). A través de registros verbales y dibujos etnográficos, yo pretendo reflexionar sobre las formas en que se dramatizan las emociones para la creación de luchas que apuntan, entre otras cosas: la búsqueda de la justicia, la denuncia de violaciones de derechos humanos y la construcción de una malla de apoyo mutuo.
Abstract This article is based on the author's dialogue with the association Mães pela Diversidade (Mothers for Diversity), an NGO located in the Brazilian state of Goiás, to analyze the performance of "maternal activism" opposed to violence against lesbian, gay, bisexual, travesti, transgender, intersex, queer and other non-straight gender expressions (LGBTIQ+). Through verbal and drawn ethnographic records, I propose to reflect on the ways emotions are dramatized in social and political struggles that claim for justice, denounce the violation of human rights, and building a network of mutual support.
Subject(s)
Humans , Female , Violence , Emotions , Sexism , Sexual and Gender Minorities , Political Activism , Mothers , Brazil , Bereavement , Crime Victims , State , Human Rights Abuses , Homophobia , Gender Diversity , Anthropology, CulturalABSTRACT
Resumen La antropología visual, como metodología de investigación, es válida en las ciencias sociales. Se destaca así, en este método, el proceso participativo y colaborativo devenido de la experiencia de trabajo etnográfico colectivo y audiovisual. Se desarrolla esta propuesta metodológica en el estudio de un caso concreto: los "pileros" afrodescendientes; obreros que trabajan en la construcción de pilas de cimentación, un oficio racia lizado, realizado por afrodescendientes de la ciudad de Medellín.
Abstract Visual anthropology, as a research methodology, is valid in the social sciences. In this method, which became the experience of the collective and audiovisual ethnographic work, the participatory and collaborative process is highlighted. This methodological proposal is developed in a concrete case study: the Afro-descendant "pileros;" who are workers who work in the construction of caissons. It is a racialized trade, carried out by people of African descent in the city of Medellín.
ABSTRACT
My interest is in how masculinities are enacted and implicated in different care repertoires. Drawing on Mol's notion of "logic of care," I illustrate that in Denmark some men's care practices are an integral part of their life projects, and so they target both the human body, and sociality and relationality, as everyday care. In this way, men enact, embody, and weave together a self- and other-directed "caring masculinity" with practices of autonomy, self-discipline, and the aestheticization of male bodies. Contesting and enriching familiar framings of men's health care and masculinities, I draw attention to the value of considering practices of health care beyond individualized experiences, and of acknowledging the complex patterns of masculinity in health and illness.
Subject(s)
Health Promotion , Masculinity , Men's Health/ethnology , Men/psychology , Adult , Anthropology, Medical , Denmark/ethnology , Exercise , Humans , Male , Middle Aged , Smoking CessationABSTRACT
Pretende-se explorar contradições e confluências entre o meio (fotográfico) e a imagem do índio brasileiro sob uma perspectiva histórica da fotografia brasileira. A imagem do índio nessa fotografia manifesta-se em três momentos distintos. Na fase inicial, no lugar do exótico, contraditório ao sentido moderno da fotografia durante o Segundo Império. Na segunda fase, as fronteiras entre o etnográfico e o nacional se diluem, nos primeiros cinquenta anos do século XX, a exemplo da Comissão Rondon/Seção de Estudos do SPI e do fotojornalismo moderno no Brasil da revista O Cruzeiro. No terceiro momento, as manifestações de uma etnopoética das fotografias de Claudia Andujar fazem meio e imagem se fundirem como lugar etnográfico na arte contemporânea.
The article explores contradictions and convergences between a medium (photography) and the image of the Brazilian Indian from the perspective of the history of Brazilian photography. During the first of three distinct moments, the image of the Indian was of someone exotic, in contradiction with the modern meaning of photography under the Second Empire. During the second moment, in the first fifty years of the twentieth century, the boundaries between ethnography and Brazil as a nation were blurred, as exemplified by the Rondon Commission/Indian Protection Bureau's Research Section (Serviço de Proteção ao Índio) and Brazil's modern photojournalism, as found in the magazine Cruzeiro. During the third moment, the expressions of an ethno-poetry present in the photographs of Cláudia Andujar can be seen to blend medium and image as an ethnographic space in contemporary art.
