BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news298@ethnologie.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230322T145113 DTSTART;TZID=Europe/Zurich:20230426T181500 SUMMARY:Works of Passage: Archive\, Image and Rendered Lives Ex Africa DESCRIPTION:Apprenticeships: Learning to (Re)Read Colonial Archives\, Expec tations and Possibilities (Yvette Christiansë)\\r\\nArchival practice is sometimes approached through a hermeneutics of suspicion\, and is often su ffused by narratives of heroic exploration and discovery. This is particul arly so in the historiography of slavery and anti-slavery in and from ‘A frica\,’ where repeated claims to seeing what no one else has seen impel s the knowledge-production enterprise. But constant suspicion is sometimes a distraction\, even an invitation to self-heroization. It deflects the n ecessity of a never-ending apprenticeship in the histories by which schola rly ‘suspicion’ has been entangled with the epistemic structures and s uspicious reading methods governing both slavery and anti-slavery. Taking the task of such an apprenticeship seriously\, this paper is concerned wit h those about whom so much is written in the records of anti-slavery in th e trade’s longue durée in the Indian Ocean—even after its formal ab olition. It moves between archival document\, popular discourse of the col onial era\, and my own efforts to find writerly forms that navigate these texts and the experiences glimpsed within them.\\r\\n\\r\\n Desiring Docu ments\, Risking Visibility: Image and the Documentary Gesture in Deindustr ializing South Africa (Rosalind Morris\\r\\nFor almost a century\, opposit ion to racial segregation in South Africa (and southern Africa more broadl y) entailed resistance to passbooks\, and mandatory documentation. Identit y documents were synonymous with surveillance and exposure to racialized s tate violence\, which was both implemented and resisted in distinctly gend ered forms. Today\, a lack of papers entails a different kind of vulnerabi lity for many of the most impoverished\, exiled as they are to the wastela nds of global extractivist capital and excluded by postcolonial re-nationa lization. A desire for entry into official documentary records and other f orms of visibility is thus a generalized aspiration among them. This aspi ration entails a variety of risks and is often ambivalent. It is often ins cribed within a political configuration wherein power is not confined to s tate actors and civil society\, but is also exercised by local and interna tional gangs. The desire to be seen and known\, to have an image that trav els\, nonetheless exceeds instrumental functions and political purposes. I t has its own histories of aesthetic elaboration in the poetic and other a rtistic works of self-documentation and self-expression in southern Africa .  In this paper\, I consider some of these issues and gestures\, and di scuss the motivations\, risks and possible accomplishments of an ethnograp hic and documentary practice that extends to non-narrative and cinematic f orms\, to move with the ambitions of otherwise effaced subjects as they as pire to be seen and heard by others. X-ALT-DESC:

Apprenticeships: Learning to (Re)Read Colonial Archiv es\, Expectations and Possibilities (Yvette Christiansë)

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Archival practice is sometimes approached through a hermeneutics of suspi cion\, and is often suffused by narratives of heroic exploration and disco very. This is particularly so in the historiography of slavery and anti-sl avery in and from ‘Africa\,’ where repeated claims to seeing what no o ne else has seen impels the knowledge-production enterprise. But constant suspicion is sometimes a distraction\, even an invitation to self-heroizat ion. It deflects the necessity of a never-ending apprenticeship in the his tories by which scholarly ‘suspicion’ has been entangled with the epis temic structures and suspicious reading methods governing both slavery and anti-slavery. Taking the task of such an apprenticeship seriously\, this paper is concerned with those about whom so much is written in the records of anti-slavery in the trade’s \;longue durée \;in th e Indian Ocean—even after its formal abolition. It moves between archiva l document\, popular discourse of the colonial era\, and my own efforts to find writerly forms that navigate these texts and the experiences glimpse d within them.

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 \;Desiring Documents\, Risking Visib ility: Image and the Documentary Gesture in Deindustrializing South Africa (Rosalind Morris

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For almost a century\, opposition to ra cial segregation in South Africa (and southern Africa more broadly) entail ed resistance to passbooks\, and mandatory documentation. Identity documen ts were synonymous with surveillance and exposure to racialized state viol ence\, which was both implemented and resisted in distinctly gendered form s. Today\, a lack of papers entails a different kind of vulnerability for many of the most impoverished\, exiled as they are to the wastelands of gl obal extractivist capital and excluded by postcolonial re-nationalization. A desire for entry into official documentary records and other forms of v isibility is thus a generalized aspiration among them. \;This aspirati on entails a variety of risks and is often ambivalent. It is often inscrib ed within a political configuration wherein power is not confined to state actors and civil society\, but is also exercised by local and internation al gangs. The desire to be seen and known\, to have an image that travels\ , nonetheless exceeds instrumental functions and political purposes. It ha s its own histories of aesthetic elaboration in the poetic and other artis tic works of self-documentation and self-expression in southern Africa.&nb sp\; \;In this paper\, I consider some of these issues and gestures\, and discuss the motivations\, risks and possible accomplishments of an eth nographic and documentary practice that extends to non-narrative and cinem atic forms\, to move with the ambitions of otherwise effaced subjects as t hey aspire to be seen and heard by others.

DTEND;TZID=Europe/Zurich:20230426T200000 END:VEVENT END:VCALENDAR