Blakey, M. L. (2020). “Archaeology under the blinding light of race.” Current Anthropology, 61(S22), S183-S197.
Justinvil, D. & Colwell, C. 2021. “US museums hold the remains of thousands of Black people. What can be done about it?” Available at:
Lans, Aja. 2020. “Decolonize This Collection: Integrating Black Feminism and Art to Re-Examine Human Skeletal Remains in Museums.” Feminist Anthropology DOI: 10.1002/fea2.12027
Watkins, Rachel. 2020. “An Alter(ed)native Perspective on Historical Bioarchaeology.” Historical Archaeology 53(4).
Reclaiming the Ancestors: Indigenous and Black Perspectives on Repatriation, Human Rights, and Justice, September 2020.

The event featured Reggie Wilson in conversation with CEE Director Deborah Thomas, Jasmine Johnson, John L. Jackson Jr. and Jawole Zollar 

ABOUT THIS EVENT

On May 1, we were honored to host a conversation featuring Reggie Wilson in dialogue with Jasmine Johnson, John Jackson, and Jawole Zollar regarding the film, “GROUNDS THAT SHOUT!...and others merely shaking.”  This film emerged from Reggie’s work in 2018-2019, sponsored by the Pew Center for Arts and Heritage and organized through Philadelphia Contemporary, the Danspace Project, and Partners for Sacred Places.  For this project, Reggie curated dance with local choreographers and dance groups at historical churches in Philadelphia.  “Grounds that Shout!” was meant to explore the relationships between religion, movement, race, place, and the body, and to foreground how the histories of contemporary performance are intertwined with the legacies of African-American religious and religiously-affiliated spaces.  Graduate students in CAMRA documented the project, With generous support from the Sachs Program for Arts Innovation, graduate students in CAMRA, and the resulting film, which was circulated ahead of time, provided the basis for our conversation.  The film bears witness to Reggie’s process, documenting the development of movement, the relationships between performers and space, and the city and its denizens.  The conversation was wide-ranging, addressing the overlapping circles of performance, method, and community-building, and the simultaneity of past and present.  Listening to the distinct sounds of places and bodies in the film became an important way of becoming literate, of being able to hear the ground shout.  And rapport with death, in this work, became a generative possibility where choreography was a practice of life. 

The film was Directed and Produced by Gordon Divine "Dee" Asaah. 
Executive Producer: Center for Experimental Ethnography in collaboration with CAMRA (Collective for Advancing Multimodal Research Arts)
Watch the dicussion HERE

A program curated and organized by Jenny Chio, Spring 2021 Visiting Fellow at the Center for Experimental Ethnography (University of Pennsylvania) and Associate Professor of East Asian Languages & Cultures and Anthropology at the University of Southern California.
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RECAP
With eleven films, three dialogues, two essays, and one live Zoom conversation, this film series illustrated the productive “unruliness” (to quote U Penn Professor Chenshu Zhou) of ethnography and film in exploring the contours of Indigenous identities and politics. Indigeneity, as the films and conversations revealed, encompasses stories of personal loss and memories of suffering, reflections on current social transformations and cultural subjectivities, and narratives of state violence and power in marginalized communities and upon individuals. Filmmaking has become a means to confront the lived realities of cultural and ethnic differences, claims to political sovereignty, and shared social histories that together constitute some of the possibilities of Indigenous experiences in China, Hong Kong, and Taiwan. [While the films are no longer available, the event website with film and filmmaker descriptions, dialogues, and essays is online: www.filmandethnography.org.] ​


ABOUT
This film and conversation series explores the category and concept of “Indigeneity” in the contemporary People’s Republic of China, Hong Kong, and Taiwan.
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In each political space, “Indigenous” has come to represent and symbolize the different stakes of identity, culture, and heritage in the modern world, while grappling with ongoing political tensions around national sovereignty, China’s global influence, and social solidarity. Whereas “Indigenous” in Hong Kong now refers to both a nativist political movement and marginalized communities that settled in Hong Kong prior to British colonial rule, in Taiwan Indigenous refers to Austronesian Aboriginal communities who align themselves with contemporary global Indigenous activists. In China, the term Indigenous itself is highly contested, as the Chinese state increasingly resists and represses claims to cultural self-determination amongst its ethnic minority populations. Thus, the films and speakers in this event all approach Indigeneity from their own personal backgrounds and experiences as citizens, artists, and scholars from and working in China, Hong Kong, and/or Taiwan. 
Dear Registrant:


FORMAT
The Contest over "Indigeneity": Film and Ethnography in China, Hong Kong, and Taiwan is an online exhibit includeing an event website, eleven films, three prerecorded discussions, and biographies of event guests, as well as a virtual screening week (Friday April 23- Friday April 30) and a live zoom discussion (Thursday April 29 at 7PM EDT).

Event hosted by the Center for Experimental Ethnography, and co-sponsored by the Center for the Study of Contemporary China at Penn, and Penn Global

During this weeklong film screening, we invited participants to watch films by artists working on Indigeneity in China, Hong Kong, and Taiwan, curated by Jenny Chio. Information on these artists can be found here.

TAIWAN- https://www.filmandethnography.org/taiwancross-straits-dialogue.html
HONG KONG*-https://www.filmandethnography.org/hong-kong.html
CHINA- https://www.filmandethnography.org/china.html

We also invited attendees to listen to the pre-recorded conversations between the filmmakers, curator  Jenny Chio, and invited scholars.

Since the earliest days of the discipline, anthropological knowledge production has been deeply rooted in a set of foundational distinctions that have been integral to the creation of regimes of domination, eradication, and extraction that continue to pose existential challenges to the entire globe. Eurocentric perspectives based on anti-Blackness and white supremacist, colonialist assumptions have long insisted upon the separation of “nature” and “culture” and “self” and “other.” These dichotomies have structured research, teaching, and the training of generations of anthropologists with far-reaching and often detrimental impacts on marginalized communities around the world. This panel serves to open a series of conversations dedicated to exploring the possibilities of an anthropology grounded in a commitment to “radical humanism.” In a radically humanist anthropology, equality, connection, and becoming serve as guiding principles that (1) disrupt predominant conceptualizations of a stable, knowable, liberal subject in “the field,” (2) recognize the many ways that humans and non-humans are entangled, and (3) center justice, equity, and the reduction of harm as key aims of the anthropological project.

Panelists:
Kelly Gillespie, PhD, Senior Lecturer, University of the Western Cape
Sheela Athreya, PhD, Associate Professor, Texas A&M University
Shadreck Chirikure, PhD, British Academy Global Professor, University of Oxford
Ora Marek-Martinez (Diné, Nimiipuu, Hopi), PhD, Assistant Professor and Executive Director of the Native American Cultural Center, Northern Arizona University
Moderated by Wayne Modest, PhD, Director of Content for the National Museum of World Cultures and Head of the Research Center for Material Culture


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CART captioning provided by Joshua Edwards
Hosted by the Wenner-Gren Foundation for Anthropological Research
Organized by the Association of Black Anthropologists, Anthropology Southern Africa, and the Center for Experimental Ethnography

For the April Third Thursday, CAMRA leadership discussed the upcoming Screening Scholarship Media Festival (SSMF). Members of the CAMRA directors’ team and the SSMF planning committee gave a preview of the year’s festival and discussed the challenges of adapting a conference centered around the theme of Rupture and Repair (originally intended for the 2020 Festival that was canceled due to COVID-19) for a virtual platform. They highlighted the promises and pitfalls of engaging different modalities in an effort to maintain the spirit, ethics, and ethos originally intended for the in-person event, and they took time to acknowledge and honor the important labor that went into making it possible.
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The festival, a hybrid academic conference and media festival that offers multimodal scholars working across various forms and fields an opportunity for critical discourse and collaboration, will be held from April 16-18, 2021. 

Hear from the native Jamaican filmmaker, Joelle Powe, and the documentary participants who will be calling in from Kingston, Jamaica. Choreographer, Latonya Style, has traveled to more than 40 countries teaching Jamaican culture. Dance advocate and lecturer Maria Hitchins articulates the evolution of Jamaican dance and class struggles for Jamaican dancers. Sign onto Zoom for a rich multidisciplinary discussion on classism, pigmentism, blackness, sexuality, cultural preservation, and censorship in Jamaican arts.
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On Thursday, March 25th, the African American Museum in Philadelphia (AAMP) partnered with the Center for Experimental Ethnography at the University of Pennsylvania to convene a conversation centered on author Dr. Maureen Mahon’s book Black Diamond Queens: African American Women and Rock and Roll.
African American women have played a pivotal part in rock and roll—from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.

Along with Mahon, this conversation features Dr. Deborah Thomas and Dr. Guthrie Ramsey of the University of Pennsylvania as panelists, and Dejay Duckett, Director of Curatorial Services at AAMP as moderator. Register today!

Maureen Mahon, a cultural anthropologist, teaches in the Department of Music at New York University. She is the author of Black Diamond Queens: African American Women and Rock and Roll (2020) and Right To Rock: The Black Rock Coalition and the Cultural Politics of Race (2004). Her articles on African-American music have appeared in academic journals and on the websites of National Public Radio and the Rock and Roll Hall of Fame. She was the Chief Academic Advisor for “Soundtrack of America,” the five-night concert series created by filmmaker Steve McQueen and programmed in collaboration with Quincy Jones, that opened the inaugural season of The Shed in New York City.

This event is sponsored by tjhe Center for Africana Studies at UPenn and co-sponsored by the Center for Experimental Ethnography and the Latin American and Latinx Studies Program.

What is the nature of Afro-Cuban rap music? As ethnographers, what tools should we use to best grasp its meaning in the context of Cuba? Cuba's notion as a non-racial society dates back to our nation’s wars for independence from Spain in the late 1800s. After 1959, the Cuban socialist government declared itself an heir of that raceless society ideology to solidify popular unity under the socialist revolution.
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By 1994, with the dollar's re-insertion as legal tender in Cuban territory, blacks found themselves once more at the bottom of society. In Havana, using rap music to communicate how the crisis affected them, Afro-Cuban youths drove the racial debate into the public sphere. This presentation will argue that their songs must be explored as indexes of citizen-citizen and citizen-state exchanges and as sonic elaborations of an Afro-Cuban nation that is geographically inexistent.

His writing has appeared in Cuba’s CIDMUC, Revista Casa de las Americas, Metronome's documenta 12 Magazines issue, and more recently in OkayAfrica.com where he has developed part of their profile on Afro-Cuban urban music and culture. Herrera Veitia has collaborated in several major academic research projects on rap and reggaeton music in Havana. Some of those projects include Sujatha Fernandez’s Cuba Represent and Close to the Edge; Tanya Saunders’s Cuban Underground Hiphop; Marc Perry’s Negro Soy Yo; and Geoff Baker’s Buena Vista In the Club.
To his credit as a cultural producer goes the coordination of the Black August Collective showcases in Havana. A series of US-Cuba people-to-people music events, Black August, brought to Havana's International Rap Festival, presentations by Mos Def and Talib Kweli’s Black Star, Hi-Tek, Dead Prez, Common, Tony Touch, and Project Blowed between 1998 and 2002. He was also instrumental in The Roots concert in Havana, amongst other projects. 

March's Third Thursday event, Birthing and Refusal, featured the work of our post-doc fellow Alissa Jordan in conversation with Carmelle Moïse, a nurse-midwife and board member at The NGO MamaBaby Haiti. Alissa introduced us to her work in embodiment, healing, and resistance in Haiti, highlighting post-partum care and birthing practices in Haitian Vodou. The conversation contextualized mothers, families, and other patients encounters (and avoidances) of medical care in NGO and mission hospitals that act as debtors prisons, and featured lively discussion with attendees  Carmelle implored attendees to take the time to listen to mothers and families in their own words, describing how empathetic listening can break down common assumptions about care, debt, and the stark maternal health statistics in Haiti. The conversation also introduced the work-in-progress, "Lòpital Pa Prizon" a patient-centered, audio-visual archive of hospital detention in Haiti, which is an ongoing collaboration between Alissa Jordan, Carmelle Moïse, and Jean-Denis Aureleus of ADEF (Asosyasyon de Dwa Enfant ak Fanm).


Listen to the presentation and lively discussion now!

On International Women's Day 2021, the Center for Experimental Ethnography is pleased to present Haitian filmmaker Etant Dupain's feature "Madan Sara: Pouvwa Fanm Aysiyen" (Madan Sara: The Power of Haitian Women) followed by a discussion between Etant Dupain (Director, Madan Sara), Dr. Régine Michelle Jean-Charles (Associate Professor of French and the Graduate Program Director at Boston College), and Lunise Cerin (Editor, Madan Sara). The CEE screening of Madan Sara follows a four-day series of free, public screenings of the film throughout Haiti, supported by matenmidiswa pwodiksyon

"The women known as Madan Sara are on the forefront of the battle for a more robust and inclusive economy in Haiti. They work tirelessly to buy, distribute, and sell food and other essentials in markets through the country. Despite the obstacles faced by the women working in a sector that lacks investment, infrastructure and state assistance, the Madan Sara continue to be one of the most critical parts of the Haitian economy and of who we are as a country. The Madan Sara documentary tells the stories of these indefatigable women who work at the margins to make Haiti’s economy run. Despite facing intense hardship and social stigma, the hard work of the Madan Sara puts their children through school, houses their families, and helps to ensure a better life for generations to come. This film amplifies the calls of the Madan Sara as they speak directly to society to share their dreams for a more just Haiti."

"The women known as Madan Sara in Haiti work tirelessly to buy, distribute, and sell food and other essentials in markets through the country. Despite the obstacles faced by the women working in a sector that lacks investment, infrastructure and state assistance, the Madan Sara continue to be one of the most critical parts of the Haitian economy and of who we are as a country."---Etant Dupain

Etant Dupain is a journalist, filmmaker, and community organizer. For over a decade, he has worked as a producer on documentaries and for international news media outlets including Al Jazeera, TeleSur, BBC, CNN, Netflix, PBS, and Vice. Etant founded an alternative media project in Haiti to enable citizen journalists to provide access to information in Haitian Creole for and about internally-displaced people, aid accountability, and politics. Now, moved by the strength of his mother and the women known as the Madan Sara who make Haiti’s economy run, he’s making his first personal film.

Dr. Régine Michelle Jean-Charles is a feminist literary scholar and activist who has been working on issues surrounding rape culture for the past 20 years. She is currently Associate Professor of French and African and African Diaspora Studies at Boston College. Her scholarship and teaching on world literatures in French includes work on Black France, Sub-Saharan Africa, Caribbean literatures, Haiti and the Haitian diaspora. She also teaches classes on race and gender like “Where #blacklivesmatter Meets #metoo” and “Black Feminisms 101.” She holds a BA from the University of Pennsylvania, and an AM and PhD from Harvard University.  She has received fellowships from the Ford Foundation, the Mellon Mays Foundation, and the Woodrow Wilson Foundation. 

Her first book, Conflict Bodies:  The Politics of Rape Representation in the Francophone Imaginary (Columbus: Ohio State University Press, 2014) examines theoretical, visual, and literary texts in order to challenge the dominant views of sexual violence.  She has authored over 30 publications that have appeared in books, edited volumes, and peer-reviewed journals. Her second academic book Looking for Other Worlds: Black Feminism, Literary Ethics, and Haitian Fiction is currently under contract with University of Virginia Press. Her book A Trumpet of Conscience for the 21st Century: King’s Call to Justice is forthcoming with Orbis Press in 2021.

Much of Dr. Jean-Charles’s activist work has been with A Long Walk Home, where she began as founding board member in 2003. A Long Walk Home, Inc., is a non-profit organization that uses art to educate, inspire, and mobilize young people to end violence against girls and women. Her involvement in ALWH ranged from performing in Story of a Rape Survivor, a multi-media arts performance about black women and sexual assault, conducting workshops for the Girl/Friends Leadership Institute in Chicago, to giving lectures at universities across the country on topics such as study abroad and sexual assault. Her work with the Boston area includes initiatives with Shatter the Silence a faith-based initiative to address sexual violence and AFAB the Haitian Women’s Association of Boston.

Dr. Jean-Charles is also a regular contributor to media outlets like The Boston Globe, WGBH, America Magazine, and Cognoscenti, where she has weighed in on topics including #metoo and issues affecting the Haitian diaspora.

Lunise Cerin is a Haitian filmmaker with over seven years of experience creating both narrative and lifestyle content. She began her career as a content producer at the LA based web platform Black&Sexy TV, where she worked as a series, writer, producer and director and self-taught editor for 6 years. Most recently she has worked as the editor of Sirens film, producer of Le Mancelinier funded by the Pew Foundation and is the lead editor of the Madan Sarah film. Lunise Cerin is an MFA candidate at Columbia University's Screenwriting Directing MFA, where she was admitted with the Bridges Larson Foundation Fellowship.

The Madan Sara screening and discussion is proudly brought to you by the Center for Experimental Ethnography (CEE), the Department of Africana Studies (DAS), the Center for Africana Studies, the Department of Anthropology, the Latin American and Latinx Studies (LALS), and the Gender, Sexuality, and Women's Studies (GSWS).
The Madan Sara project is raising funds to support their efforts to bring the film to communities in Haiti through free, public screenings. We invite you to make a contribution of any size to support this mission. To learn more about the film and join in the conversation online, visit MadanSaraFilm.com, use the hashtag #MadanSara across social media, and follow @madansarayiti on Twitter and @MadanSaraFilm on Instagram.

Now as much as ever, radical gathering spaces for rumination on Black embodied freedoms are crucial. From February 23 - 27, 2021, Black Spatial Relics (BSR) is hosting its second annual convening.

Building on our work to create Black spaces for creation, exploration, and community, this will be a free and virtual convening that will feature our 2020 artists-in-residence and several other Black radical performance makers and scholars from around Philadelphia and beyond.

Featuring keynotes from Ebony Noelle Golden and Germaine Ingram, original work by Viktor L. Ewing-Givens, workshops and an artist talk from Misty Sol (Philadelphia, PA), Danielle Deadwyler (Atlanta, GA), Ada Pinkston (Baltimore, MD), and Crystal Z Campbell (Tulsa, OK), a BSR commissioned Philly Black Caribbean Zine Workshop and Share Out curated by Shanel Edwards (featuring work by - Tahnee Jackson, Charlyn Griffith-Oro, Angela Salmon and Nikolai McKenzie Ben Rema)  and a Black Diaspora Artist Salon hosted by Jumatatu Poe, this digital convening is celebrating and learning from the centuries-long Black freedom dialectic between the Caribbean and Philadelphia, as we launch new spaces in our residency program for artists in the Caribbean.

This convening is presented in partnership with the Center for Experimental Ethnography (CEE) at Penn and Howlround.
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Project support provided by Added Velocity which is administered by Temple Contemporary at  Tyler School of Art and Architecture, Temple University and funded by the William Penn  Foundation.  

Download the Press Release Here

​Convening Schedule

February 23
Ebony Noelle Golden | Opening Keynote and Welcome Event
4:30 PM EST

Opening offerings by Black Spatial Relics Director, Arielle Julia Brown, Viktor L Ewing-Givens, Center for Experimental Ethnography Director, Dr. Deborah Thomas, and a featured keynote from Ebony Noelle Golden!
Register here

February 24
Artist Talk - Moderated by Arielle Julia Brown
6:30 PM EST
Join our 2020 Artists-in-Residence, Misty Sol (Philadelphia, PA), Danielle Deadwyler (Atlanta, GA), Ada Pinkston (Baltimore, MD), and Crystal Z Campbell (Tulsa, OK) for a conversation about the intersections of their work, moderated by Black Spatial Relics Director, Arielle Julia Brown. 
Register here


February 25
Workshop With Danielle Deadwyler
11:00 AM EST
In this workshop experience, we will engage a documentary offering, then use its visual language to locate and develop communal and personal gestures of labor, ritual, and redaction.
Register here


Workshop With Ada Pinkston
3:00 PM EST
Join this workshop for a screening of the performance, "and there were other stories...." (a work in progress in response to the Hampton National Historic site) and conversation/listening/talkback.
Register here


Caribbean Zine Workshop Share Out
Hosted and Curated by Shanel Edwards
6:00 PM EST
This offering is a zine workshop centering Black Caribbean folks rooted in Philadelphia, their stories, their songs, their spirits. Featuring work by Tahnee Jackson, Charlyn Griffith-Oro, Angela Salmon and Nikolai McKenzie Ben Rema.
Register here

​February 26
Workshop With Misty Sol
11:00 AM EST
In this workshop, we will explore the ways afro-futurist consciousness was preserved and incubated in Black women's' kitchens, gardens, and private spaces. Through breathing, movement, memory, and baking, we investigate how to incorporate the Black ways of knowing, into our creative and educational practices.
Register here


Workshop With Crystal Z Campbell
3:00 PM EST
An interactive sound-centered workshop will be led by artist Crystal Z Campbell and a sonic specialist. Working with a range of archival and contemporary prompts and engaging the performative possibilities of sound within and of the body, we'll develop a series of recordings. The collaborative recordings generated by the workshop will be used for the experiment feature film SLICK's soundtrack. 
Register here


Black Diaspora Artist Salon
Curated and Hosted by Jumatatu Poe
6:00 PM EST

Join our Black Diaspora Artist Salon featuring critical conversations and work sharing by artists from around the Black Diaspora. 
Register hereFebruary 27
Germaine Ingram | Keynote and Closing Event
12:00 PM EST
Join Black Spatial Relics for closing remarks, engage in a closing offering by Viktor L Ewing-Givens, and a closing keynote by Germaine Ingram.
Register here
Project support provided by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.

BLACK SPATIAL RELICS is a national residency program, founded and directed by Arielle Julia Brown. The Black Spatial Relics Residency is made possible with support from the JKW Foundation, Velocity Fund, W. Trust, Black Seed, Leeway Foundation, Monument Lab, and independent donors. Black Spatial Relics is a fiscally sponsored project of both Fractured Atlas and Notch Theatre Company. For more information about the 2020 artists in residence, their work, past artists in residence, and the 2021 convening, visit www.blackspatialrelics.org. 

Arielle Julia Brown | Founder + Director
Joseph Tolbert Jr. | Convening Producer
Malkia Okech | Associate Producer 
Cesali Morales | Graphic Designer

This year’s theme focuses on the complexities associated with race and inequity that have historically defined social systems in the U.S. and globally. Ethnographic research has created interdisciplinary pathways to think expansively about how culture is understood, entwined with related concepts, and revised to weigh critical questions of race, racism, and multiple forms of inequality. Ethnographic scholarship has examined the everyday lives, hardships, and forms of resistance within historically marginalized communities and has provided nuanced analyses that delineate the intersections of these issues with problems of educational access and social (in)equity.

REGISTER HERE: The Forum will be a free and online program. 

On Thursday, February 18th  at Noon for a virtual Third Thursday event, where Ricardo Bracho will be in conversation with Jennifer Ponce de León. Ricardo will be discussing current projects. Participants can register here on the EVENTBRITE PAGE.
 
Ricardo A. Bracho is currently Sachs Artist-in-Residence in the Gender, Sexuality & Women’s Studies program here at Penn, where he teaches creative and critical writing. His plays have been staged read, workshopped, and premiered in theaters and at universities nationwide.  He has a committed focus on working with feminist, queer, Latiina/o, community-based, and experimental theaters including Mabou Mines, INTAR, and Company of Angels. His plays have also been staged read and workshopped at Vassar, Stanford, DePaul University, and the University of California campuses at Riverside, Berkeley, Irvine, Santa Cruz, and Santa Barbara.  His past academic appointments include Artist/Scholar-in-Residence at the Center for Chicano Studies at UC Santa Barbara and the Multicultural Faculty position at The Theatre School at DePaul University.  His plays include The Sweetest Hangover, Sissy, Mexican Psychotic, and Puto.  He has worked in independent film and video as an art director, in casting, and as a script, grant, and editorial consultant, primarily with queer, black, and brown makers, including Augie Robles, Cauleen Smith, and Ela Troyano.

As a producer and dramaturge, he has helped stage anti-gentrification street theater in Boyle Heights and the works of Lisa Thompson, Brian Bauman, and Sigrid Gilmer. He began this theater career some thirty years ago as Assistant Director to Cherrie Moraga’s DramaDIVAS, writing for a performance workshop for queer and trans youth of color.  He was a co-founder of Proyecto ContraSIDA Por VIDA, a San Francisco based Latina/o LGBT HIV service agency.  He has also worked on curriculums, media campaigns, research and funding for FIERCE!, AIDS Project Los Angeles, and Center for AIDS Prevention Studies.  He was a researcher on The H.I.P. H.O.P. Project (Health in Prison, Health Outta Prison) for young men in San Quentin Prison. He was interviewed on The Blunt Project in New York. He is developing two chapbooks of poetry, The Salt of Him and Under Quarantine.

For our first Third Thursday of Spring Semester 2021, CEE opened with introductions to both Reggie Wilson  and Jenny Chio, the Spring Semester Faculty Fellows with CEE. Jenny offered preliminary reflections on what it has been like to return to teaching remotely, and the way that priorities in teaching have shifted during COVID-19 and quarantine.

Reggie Wilson opened with comments about what being a "lay anthropologist" means to him in his artistic practices, connecting his anthropological approach to reading Zora Neale Hurston. While reading Hurston as a student, Reggie began asking questions about what it means  to examine cultures and communities that one is also a part of. He reflected on his virtual travel back and forth between home sites, like Milwaukee, and the place of his work in New York, given the exigencies of COVID. He completed his comments with a reflection on the ways that places where you have been shape who you are and what you are.

Deb followed Reggie's comments with a provocation: what is the relation between people and place, and what holds that kind of relationship together? Jenny responded by turning to locality as an important source of relation, in contrast to nation or country. She spoke of the need for space to define such relationships ina way that is both critical and empathetic, critical and supportive.

Reggie responded by pointing to the fact that personhood and place are concepts that are both "infinite".. They come to play out in "who we are" and "what we are trained to do". The influence of locality, of place, is not small in who we are. Finally, he pointed out that if we can consider people to be the body, or the bodies that we are and we inhabit, then place, or specifically choreographic space, is that "where the body does its things". Also, Reggie drew attention to the fact that place is not merely a physical site outside the body, but can be sites within the body---place can be within one's head, or a specific spot on a wrist.

Jenny then turned to the question of portraiture asking, "what is the place that gets created in the contact between person and place?" and "how do people and objects come to make a place within the realm of portraiture?"

In the question and answer session,  Ore asked more about Reggie's approach to negotiating field research and  positionality. How can field workers navigate  the pressures to make  non-linear explorations more logical and linear for the sake of grant writing, funding, and arts support? Reggie shared more of his process in response, explaining how he begins with a research period, intensive site visits and site "feels", and then gathering in the space with his company in order to begin exploring movement. 

Jenny Chio reflected on what it has been like to see differences develop in her relationships  between towns and between times. She spoke of how she was introduced to a particular site for her PhD, only to watch her relationship "unravel" and change over the years as priorities shifted, and as the same level of "in-touchness" with the field was lost. As a result of this, she has recently been thinking about the way that we can preserve and nurture relationships across difference and distance, and the  kind of work that this takes as the length of time spent in research changes so dramatically over the course of one's career.


Jasmine Blanks-Jones posed a question about personhood to the speakers, asking for comments about how and where personhood is located at a collective level---if it  doesn't just reside in a body but also between bodies, what does this mean? And finally, at the end of the meetup, Va Bene Elikem Fiatsi posed a question  to Reggie about what mutations and relationships are implied by the term "Africans in the Americas". Reggie responded by turning attention tot the importance of local specifities and places in the lives of artists and people, and the critical process of "local" sites in shaping who people are.

On December 21st 2020, audiences joined undergraduate and graduate students in Dr.  Kristina Lyons's course, ANTH 310 Transdisciplinary Environmental Humanities, as well as their collaborators in Colombia. During this event, they presented the digital platform they have been building throughout the semster. The platform focuses on four environmental justice struggles from the perspective of communities and citizen-led initiatives in Bogotá, Chocó, and Colombia's páramos and Amazon. The project was funded by the CEE and is the part of the keystone course for the new environmental humanities minor and was cross-listed with LALS. 

Wahzmah Osman is an Assistant Professor in Temple University’s Department of Media Studies and Production. Her book analyzes the impact of international funding and cross-border media flows on the national politics of Afghanistan. Her research is rooted in feminist media ethnographies that focus on the political economy of global media industries and the regimes of representation and visual culture they produce. Her critically acclaimed documentary, "Postcards from Tora Bora," has been shown in festivals around the world. 

The Center for Advanced Research in Global Communication is proud to present A CARGC Book Talk Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists featuring Wazhmah Osman, Temple University with Discussant Deborah A. Thomas, University of Pennsylvania.

Thursday, December 10 |  12:00 - 1:00 PM

This event is co-sponsored by the Center for Experimental Ethnography, Cinema and Media Studies, Middle East Center, and South Asia Center at the University of Pennsylvania

 
How do you archive something that hasn’t happened yet? What would an archive of the end of the world look like?

On December 3rd at 5 PM EST, Center for Experimental Ethnography fellow Christina Knight and choreographer Jessi Knight of knightworks dance theater discussed their forthcoming short film, “doomsday: field notes,” a fictional work documenting a mysterious set of ritual practices discovered by an anthropologist from the future. In the film, fragments of dance, glimpses of community building, and invocations of black feminist writing reveal a “doomsday church” invested in charting a black future. For this conversation, knightworks shared their creative and collaborative process, screen clips of the work-in-progress, and discussed their investments in the black speculative.  
 

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For our November Third Thursday event, "Memorializing Otherwise" on November 19th at Noon, we joined Ken Lum, Deborah Anzinger, and Gabrielle Goliath in discussion about monumentalization and questions around intimacy and embodiment.

Is it possible to publicly narrate the past, and document the present, in ways that move beyond permanence and monumentalization? What would it mean to think in terms of materiality not in relation to landscape but instead in terms of embodiment? 

Participants Ken Lum, Deborah Anzinger, and Gabrielle Goliath  addressed these questions and others in conversation with participants. Gabrielle Goliath drew from her work "Elegy 7" which can be viewed here.

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As always, Third Thursdays are free and open to the public   

In this virtual masterclass on Saturday, October 17 at 11:00 am EST Ethnocine-Haverford Artists-in-Residence Seemab Gul and Nida Mehboob explored the important role of feminism in Muslim countries, the often exploitative representation of South Asian/Afghan women in western media, and the ethics of collaboration and participation for documentary filmmakers, photographers and visual anthropologists.

The artists residency is a collaboration between VCAM and Ethnocine Collective, a group of visual anthropologists and filmmakers who push the boundaries of documentary storytelling through decolonial and intersectional feminist practice. The residency aims to strengthen the burgeoning field of feminist ethnographic filmmaking by supporting two underrepresented artists to claim the time, space, and a critically engaged community to move the needle forward on works-in-progress.

Organized by Ethnocine Collective & Haverford's VCAM, Co-sponsored by the Center for Experimental Ethnography and the Brown Girls Doc Mafia. 

Free and open to the public