Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance ethnography and in institutional and disciplinary settings. Focused on research within Africa and the African diaspora, contributors to this volume think through the painful iterations of trauma, systemic racism, and the vestiges of colonial oppression as well as the processes of healing and emancipation that emerge from wounded states. Their chapters explore an acoustemology of intimacy, woman-centered eroticism generated through musical performance, desire and longing in ethnographic knowledge production, and listening as intimacy. On the other end of the spectrum, authors engage with and question the fetishization of race in jazz; examine conceptions of vulgarity and profanity in movement and dance-ethnography; and address pain, trauma, and violation, whether physical, spiritual, intellectual, or political. Authors in this volume strive toward empathetic, ethical, and creative ethnographic engagements that summon vulnerability and healing. They propose pathways to aesthetic, discursive transformation by reorienting conceptions of knowledge as emergent, performative, and sonically enabled. The resulting book explores sensory knowledge that is frequently left unacknowledged in ethnographic work, advancing conversations about performed sonic and somatic modalities through which we navigate our entanglements as engaged scholars.

Focusing on runyege, the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender. Audio and video recordings presented in the book can be accessed on the book's companion website, http: //hdl.handle.net/1802/37373.

"Illuminates how voice, faith, and hearing become intertwined with technologies of sound reproduction and mobility amid the rapidly transforming religious landscape of China's ethnic borderland. The twentieth-century expansion of Protestantism among the upland peoples in the China-Southeast Asia borderlands has catalyzed a profound sociocultural change in the region. In Faith by Aurality in China's Ethnic Borderland, Ying Diao finds important sonic evidence for this religious revolution in a rapidly transforming northwest Yunnan, presenting a compelling account of China's minority-Christian landscape and highlighting the importance of aurality in the peripheral peoples' response to Christianity and other modernizing projects. Diao documents a range of sounded religious practices by the Lisu, an indigenous yet historically migratory people, to examine how participatory music production, circulation, and consumption become integral to indigenous perception and experience of faith. Weaving together evidence from multisite fieldwork, archival records, and audiovisual media, Diao demonstrates nuanced understanding of people of faith at the margin, one centered on the sensual and material dimensions of religion and on the intertwining of local agency and external hegemonic forces. As the first full-length ethnographic account of China's Christian minorities on a transnational scale to be published in English, this book provides historical and contextual information that enriches anthropological, ethnomusicological, and historical scholarship on global Christianity, ethnicity, media, and mobility while showing how sound can be an ambivalent but fruitful avenue through which ways of faith are constructed and remain fluid in a context where discussions and practices of religion are constrained"--

This field-defining volume of queer anthropology foregrounds both the brilliance of anthropological approaches to queer and trans life and the ways queer critique can reorient and transform anthropology.

As they migrated across great distances, ancient humans may have used birdsong and bird sightings to find food and water in unseen territory. Today, attending to birds helps scientists track not only avian migration but also environmental change. Birds remain our sentinels. Feathered Entanglements offers a rich tapestry of human-bird relations across the Indo-Pacific. In this era of uncontrolled industrialization, we have grown increasingly disconnected from the natural world. The ways in which birds feature in the daily life, symbolic systems, and material culture of humans, from pigeon keeping on the rooftops of Amman to the rituals of Indigenous peoples in Taiwan, can teach us how to live with other species amid the challenges of the Anthropocene. In a time of intensifying ecological crisis, we need, more than ever, to protect and appreciate non-human lives. Feathered Entanglements embraces the connection between humans, birds, and our shared world.

Contraband Cultures presents narratives, representations, practices and imaginaries of smuggling and extra-legal or informal circulation practices, across and between the Latin American region (including the Caribbean) and its diasporas. Countering a fetishizing and hegemonic imaginary (typically stemming from the Global North) of smuggling activity in Latin America as chaotic, lawless, violent and somehow ‘exotic’, this book reframes such activities through the lenses of kinship, political movements, economic exchange and resistance to capitalist state hegemony. The volume comprises a broad range of chapters from scholars across the social sciences and humanities, using various methodological techniques, theoretical traditions and analytic approaches to explore the efficacy and valence of ‘smuggling’ or ‘contraband’ as a lens onto modes of personhood, materiality, statehood and political (dis)connection across Latin America. This material is presented through a combination of historic documentation and contemporary ethnographic research across the region to highlight the genesis and development of these cultural practices whilst grounding them in the capitalist and colonial refashioning of the entire region from the sixteenth century to the present day.

How do people live together in cities shaped by inequality? This comparative ethnography of two African cities, Maputo and Johannesburg, presents a new narrative about social life in cities often described as sharply divided. Based on the ethnography of entangled lives unfolding in a township and in a suburb in Johannesburg, in a bairro and in an elite neighborhood in Maputo, the book includes case studies of relations between domestic workers and their employers, failed attempts by urban elites to close off their neighborhoods, and entanglements emerging in religious spaces and in shopping malls. Systematizing comparison as an experience-based method, the book makes an important contribution to urban anthropology, comparative urbanism and urban studies.

There has been little attention to feminism and gender issues in mainstream philosophy of technology and vice versa. Since the beginning of the so-called »second wave feminism« (in the middle of the 20th century), there has been a growing awareness of the urgency of a critical reflection of technology and science within feminist discourse. But feminist thinkers have not consistently interpreted technology and science as emancipative and liberating for the feminist movement. Because technological development is mostly embedded in social, political, and economic systems that are patriarchally hierarchized, many feminists criticized the structures of dominance, marginalization and oppression inherent in numerous technologies. Therefore, the question of defining and ascribing responsibility in technics and science is essential for this anthology – regarding for instance the technological transformation of labor, the life in the information society, and the relationship between humans and machines.

Drawing on the exciting developments that have occurred in the anthropology of art over the last twenty years, this study uses ethnographic methods to explore shifts in the art market and global contemporary art. Recognizing that the huge diversity of global phenomena requires research on the ground, An Anthropology of Contemporary Art examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world.Divided into four parts – Picture and Medium; World Art Studies and Global Art; Art Markets, Maecenas and Collectors; Participatory Art and Collaboration – chapters go beyond the standard emphasis on Europe and North America to present first-hand fieldwork from a wide range of areas, including Brazil, Turkey, and Asia and the Pacific.With contributions from distinguished anthropologists such as Philippe Descola and Roger Sansi Roca, this book provides a fresh approach to key topics in the discipline. A model for demonstrating how contemporary art can be studied ethnographically, this is a vital read for students in anthropology of art, visual anthropology, visual culture, and related fields.

This edited volume focuses on gender and love as emerging through complex “entanglements and weavings”. At a time when constructionist ideas are losing support, we interrogate theoretical paradigms to assess if constructionist notions still hold value or if new approaches are needed to address the effects of materiality and non-human agency. Without claiming any unison or definite answers, we offer situated, agential cuts into gender and love in various discursive-material phenomena, including Biblical and Rabbinic literature, ecosexual performance art, the writings of Ursula Le Guin and Angela Carter, butch identities, Bengali folktales, Ferzan Özpetek’s cinema, Golem literature, sexual pursuits in Danish nightlife, mother-daughter relationships, women warriors in the PKK, and BDSM performances. Artistic photographer Sara Davidmann has contributed to the book with the cover illustration and a creative afterword including seven photographs on the interaction between the photographer, her studio, and LGBTQ+ people.