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DTSTART;TZID=Europe/London:20250506T160000
DTEND;TZID=Europe/London:20250506T180000
DTSTAMP:20260509T062555
CREATED:20240920T171529Z
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SUMMARY:Artistry@Work: Hélène Neveu-Kringelbach
DESCRIPTION:This is an online event. Register here: \nhttps://us02web.zoom.us/webinar/register/WN_zhcIqGJVQoKM1j_dtDkKEQ \n\n\n\nLivelihoods of West African Performers\nSpeaker: Dr Hélène Neveu-Kringelbach\, University College London \n\n\n\nDiscussant: Dr Thomas Chambers\, Oxford Brookes University \n\n\n\nAbstract:In the 1990s and early 2000s\, much of the scholarship on the performing arts celebrated the new insights afforded by the transnationalism paradigm and the ‘mobilities’ turn. There was both enthusiasm and concern about the intensified global circulation of people\, things\, ideas and capital\, as well as art forms. New research questioned whether these ‘mobilities’ reinforced the postcolonial world order\, or whether they had the potential to make more visible previously marginalized artistic forms. Since then\, there has been growing recognition that a focus on mobility in its multiple forms risked obscuring important aspects of the ‘social life’ of art worlds. There is a need to reconsider the relationship between mobility and immobility\, between moving and ‘staying put’ at different stages of artistic lives. How have migration regimes\, which have increasingly aimed at keeping people from the Global South away from the Global North\, shaped what performing artists do? How have West African dancers and choreographers in particular addressed the migration issue? Do we need to rethink the temporality of our studies? Drawing on ongoing research with performing artists in West Africa and in migration contexts since 2002\, this presentation interrogates the longer-term strategies deployed by performing artists to navigate a world in which their work is valued\, but from which their bodies are often excluded. \n\n\n\nBiographical note: \n\n\n\nDr Hélène Neveu Kringelbach is an Associate professor of African Anthropology at University College London (UCL). She teaches in both SELCS (the School of European Languages\, Culture and Society) and the Anthropology department. In 2019-22\, she served as Vice-Dean EDI (Equality\, Diversity and Inclusion) for the Arts & Humanities Faculty. She is the author of the monograph ‘Dance Circles: Movement\, Morality and Self-Fashioning in Urban Senegal’\, winner of the RAI’s 2013 Amaury Talbot Prize in African Anthropology. Her current book project focuses on ‘mixed’ marriage and transnational family relationships between Senegal and Europe\, exploring\, in particular\, how these relationships are shaped by colonial histories as well as by racialised and gendered European immigration policies. Aside from this work\, she has an enduring research and teaching interest in music\, performance and popular culture in African cities. \n\n\n\nThomas Chambers is a Senior Lecturer in Social/Cultural Anthropology at Oxford Brookes University and has a PhD in Social Anthropology from the University of Sussex. He is the Editor in Chief of Contemporary South Asia (Taylor & Francis) and Secretary for the British Association of South Asian Studies (BASAS). Thomas’s research focuses on India\, the broader South Asia Region\, and the Gulf. He has published widely in a range of academic journals and is the author of an ethnographic monograph titled Networks\, Labour and Migration among Indian Muslim Artisans (2020\, UCL Press). Thomas’s work engages with broad thematic areas including migration\, labour\, supply chains\, Indian Muslims\, gender\, paid domestic labour\, care work\, caste\, class\, urban space\, conviviality\, state bureaucracies\, digitisation\, subjectivities\, Islam\, and artisanship. \n_____________________________________________ \n\n\n\nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025  \n\n\n\nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \n\n\n\nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \n\n\n\nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities.  \nFind all events in the series here: https://therai.org.uk/series/artistrywork/ 
URL:https://therai.org.uk/events/artistrywork-helene-neveu-kringelbach/
CATEGORIES:Online Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250408T160000
DTEND;TZID=Europe/London:20250408T180000
DTSTAMP:20260509T062555
CREATED:20240920T170142Z
LAST-MODIFIED:20250730T093030Z
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SUMMARY:Artistry@Work: Dorothee Hemme
DESCRIPTION:This is an online event. Register here:\nhttps://us02web.zoom.us/webinar/register/WN_8pOX1wpMRuSczwVQyyjDZw\n\nOn the Art of Being a Female Entrepreneur in the Skilled Trades\nSpeaker: Dorothee Hemme\, anthropologist & entrepreneur\, Göttingen\nDiscussant: Myriem Naji\, University College London\nAbstract\nThe exhibition project “Women in Crafts from Here!” aims to show the diversity of female craftsmanship in the region of South Lower Saxony through personal portraits of 19 craftswomen from various trades. These women\, most of whom own their own businesses\, represent the growing number of women in leadership and ownership roles in Germany’s craft sector. The seminar will present the overall project and cross-sectional results from encounters with these craftswomen\, delving into their motivations for learning their craft\, the paths they have taken\, the significance of being a woman in their trade both technically and entrepreneurially\, their daily lives\, and their hopes for the future. Participants are invited to discuss the artistry of female business management in the craft sector. \nBiographical note\nDorothee Hemme\, cultural anthropologist and owner of HandWert\, has a longstanding focus and passion for craftsmanship. With a background in folklore and art history\, she has worked in open-air museums\, with a particular interest in architectural culture. Her academic tenure at the University of Göttingen was marked by two interdisciplinary research projects on craftsmanship: “Objects of the Skilled” explored the relationship between experiential knowledge and innovation in traditional crafts like clay and organ building\, while the “Craftsmanship Pride & Happiness” research project investigated the link between life satisfaction and craftsmanship. Since 2021\, she has led HandWert\, a startup realising projects that shed light on the world of craftsmanship and convey the indispensability of craftsmanship. \nMyriem Naji is an honorary research fellow at the Department of Anthropology\, University College London\, where she earned a PhD in 2008. She is interested in productive and creative processes and their significance for livelihood\, identity and ways of living. Her current project\, for which she received an Endangered Material Knowledge Programme (EMKP) grant\, aims to research textile knowledge systems in southern Morocco. She is interested in the impact of craft and heritage on livelihood and knowledge transmission. In prior research on organic farmers in the south of France she also explored the relationship between production\, economy and activism. \n__________________________________ \nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025 \nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. \nFind all events in the series here: https://therai.org.uk/series/artistrywork/
URL:https://therai.org.uk/events/artistrywork-dorothee-hemme/
CATEGORIES:Online Event
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250324T160000
DTEND;TZID=Europe/London:20250324T180000
DTSTAMP:20260509T062555
CREATED:20240920T170541Z
LAST-MODIFIED:20250730T093031Z
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SUMMARY:Artistry@Work: Julien Debonneville (cancelled)
DESCRIPTION:“Becoming a Dancer\, Becoming Mobile”:\nNavigating mobility regimes in the field of European contemporary dance\nThis event had unfortunately be cancelled due to unforeseen circumstance. \nSpeaker: Julien Debonneville\, Haute École Spécialisée de Suisse Occidentale \nDiscussant: Robert Simpkins\, social anthropologist \nAbstract\nThis seminar will examine the way in which mobility acts to structure artistic careers in the transnational field of contemporary dance. It shows how mobility regimes constitute a professional norm in which dancers are socialised\, but also how they are closely linked to the acquisition of a symbolic capital that is a determining factor in the construction of their careers. Finally\, it highlights the tensions resulting from these mobility regimes in terms of precariousness and constraint\, especially towards the end of the dancer’s career. \nBiographical note\nJulien Debonneville holds a Ph.D. in social sciences from the University of Geneva. During his Phd\, he was also a visiting scholar at the University of the Philippines – Diliman\, and at the University of Berkeley. Following a postdoctoral stay at the Max Planck Institute for the Study of Religious and Ethnic Diversity in Göttingen\, he worked as a senior researcher at the Institute of Gender Studies of the University of Geneva. Since 2023\, he works at the University of Applied Sciences and Arts of Western Switzerland. His research has primarily focused on transnational mobilities\, globalized domestic work\, inequalities\, contemporary dance\, public spaces\, and access to social policies. His recent books include Devenir travailleuse domestique. Perspectives philippines (Seismo 2023) and L’industrie mondialisée du travail domestique aux Philippines : Recruter\, former et exporter l’altérité (2023\, ENS Éditions). \nRobert Simpkins is a social anthropologist interested in our engagement with the world through creative practices. His passion for music and sound drives his research\, focusing on performance and relations of sound in public space. His ethnographic research is largely conducted in Tokyo\, Japan\, and deals with interrelations of sound and self\, the conflicts and complexities of urban space\, the body\, gendered space\, affect and wellbeing. He is co-founder of the Sound Loss Collective\, a group dedicated to the exploration and representation of sound in social research\, and producer of Artery\, an AHRC supported podcast on art\, authorship and anthropology\, which he runs with Dr Iza Kavedžija (Cambridge). Robert is currently crafting new projects\, including an exploration of sound as artistic and anthropological research method\, and a short film about unhoused music. \n______________________________________________ \nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025 \nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. \nFind all events in the series here: https://therai.org.uk/series/artistrywork/
URL:https://therai.org.uk/events/artistrywork-julien-debonneville/
LOCATION:Online
CATEGORIES:Online Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250304T040000
DTEND;TZID=Europe/London:20250304T180000
DTSTAMP:20260509T062555
CREATED:20250221T160921Z
LAST-MODIFIED:20250730T093031Z
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SUMMARY:Artistry@Work: Michele Feder-Nadoff
DESCRIPTION:This is an online event. Register for the Zoom here:https://us02web.zoom.us/webinar/register/WN_VPYV9hSISeWUg8Cx6WCmsQ#/registration  \n\nThe Incommensurability of Making: Learning from long-term apprenticeship in Santa Clara del Cobre\nSpeaker: Michele Feder-Nadoff\, artist & anthropologist \n\n\n\nDiscussant: Dr Lydia Arantes\, University of Graz \n\n\n\nAbstract:What is the incommensurability of making? How and under what circumstances can craft production be seen as a practice of care\, a kind of love? And\, how does this inversion of careful and caring labor become a method of hope? These questions emerged through my mentor-apprenticeship as an artist-anthropologist with the master coppersmith artisan\, Maestro Jesús Pérez Ornelas (1926-2014) and his sons in Santa Clara del Cobre\, Michoacán\, Mexico. Reflecting upon this fieldwork\, this talk will present the concept of incommensurability topologically winding through defining making as a continuum of art and craft; proposing artisan agency-ing\, crafting care\, labor and love; to how making becomes a method of hope. The incommensurability of making is a model of production that matters beyond measure to resist neoliberal global markets despite operating within these capitalist structures. Incommensurability challenges dominant concepts of value and confronts the positional problematics of interpretation and quantifications of labor and productivity. \n\n\n\nBiographical note: \n\n\n\nMichele Feder-Nadoff is an artist and anthropologist whose practice and research centers on the meaning of making. In addition to her art\, she conducted longterm apprenticeship-based ethnography with master coppersmiths in Santa Clara del Cobre\, Michoacán\, México\, initiated in 1997 and was founding-director of the arts and culture non-profit\, Cuentos Foundation\, 1998-2009\, Fulbright Scholar\, 2010-2011\, and received a PhD from El Colegio de Michoacán\, 2017. Her seminar-labs train researchers in multimodal and collaborative methods. Recent publications include editor of Performing Craft in Mexico: Artisans\, Aesthetics and the Power of Translation\, 2022 and An Anthropology of Making in Santa Clara del Cobre: Presence of Absence\, 2024. \nLydia Maria Arantes is a musician and cultural anthropologist. She was a Visiting Researcher at UCL Anthropology\, held Honorary Fellowships both at UCL and the University of Aberdeen and was recently appointed to the Austrian UNESCO expert committee on Intangible Cultural Heritage. A former Assistant Professor at the Department of Cultural Anthropology and European Ethnology at the University of Graz (2019-2024)\, she continues to teach at the very same department.Currently she is leading a multimodal memory culture outreach project about the Burtscher family and their acts of resistance during the Nazi regime at the vorarlberg museum in Western Austria. Furthermore\, she is a project member at the Centre for the Anthropology of Technics and Technodiversity (UCL). Her research and teaching interests include technical activities such as (textile) craft practices\, material culture\, sensory ethnography\, ethno-psychoanalysis as well as ethnographic writing. As an avid maker and proponent of technical engagement\, she argues in favour of technodiversity not only in everyday life but\, more concretely\, also in Higher Education pedagogy as a means of reconciling body and mind through tools. \n_____________________________________________ \n\n\n\nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025  \n\n\n\nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \n\n\n\nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \n\n\n\nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. Find all events in the series here: https://therai.org.uk/series/artistrywork/ 
URL:https://therai.org.uk/events/artistrywork-michele-feder-nadoff/
CATEGORIES:Online Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250204T160000
DTEND;TZID=Europe/London:20250204T180000
DTSTAMP:20260509T062555
CREATED:20240920T170021Z
LAST-MODIFIED:20250730T093031Z
UID:10004298-1738684800-1738692000@therai.org.uk
SUMMARY:Artistry@Work: Sónia Mota Ribeiro
DESCRIPTION:Clay Figuration in Barcelos\, Portugal: Crafting futures by re-imagining the past\nThis is an online event. Register here: https://us02web.zoom.us/webinar/register/WN_DihhqB12QZSXzF-fuIUsaQ  \nSpeaker: Sónia Mota Ribeiro\, Universidade NOVA de Lisboa \n\n\n\nDiscussant: Stephanie Bunn\, University of St Andrews \n\n\n\nAbstract\nThis seminar will focus on the practice of a group of artisans from the Barcelos region\, in the north of Portugal. These “barristas” (clay artisans) inherited the knowledge of clay figurine moulding from their parents and grandparents\, who were the most renown generations of clay figurine artists in the country and whose notoriety was due in part to the appropriation of popular culture by the Estado Novo dictatorship during the 1930s and 1940s\, particularly the clay figurines of Barcelos. The seminar will examine how the contemporary artisans address the different temporalities and narratives present in the work by balancing the preservation of the traditional themes transmitted by their ancestors with the introduction of new forms and ideas in the figure-making process. The seminar will also investigate how their work has captured the attention of contemporary artists and designers\, inspiring creative relationships and their own clay figuration practice. \n\n\n\nBiographical note\nSónia Mota Ribeiro is an anthropologist and an artist\, researching in the areas of the anthropology of art\, environmental anthropology and cultural heritage. She is currently a PhD candidate in anthropology in the Faculty of Social and Human Sciences\, NOVA University of Lisbon\, where she is studying the world of clay figuration practices in the regions of Barcelos and Estremoz\, Portugal\, and focusing on the relationships between the local institutions and the artisans. \n\n\n\nStephanie Bunn is Leverhulme Emeritus Senior Research Fellow in the Department of Social Anthropology at the University of St Andrews\, UK. She curated the first ever British Museum exhibition of Central Asian felt textiles\, and is author of Nomadic Felt (2010)\, editor of Anthropology and Beauty (2016) and co-editor of The Material Culture of Basketry (Bloomsbury\, 2020). \n\n\n\n_________________________________________________ \n\n\n\nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025  \n\n\n\nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \n\n\n\nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \n\n\n\nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. 
URL:https://therai.org.uk/events/artistrywork-sonia-mota-ribeiro/
LOCATION:Online
CATEGORIES:Online Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250107T160000
DTEND;TZID=Europe/London:20250107T180000
DTSTAMP:20260509T062555
CREATED:20240920T164531Z
LAST-MODIFIED:20250730T093032Z
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SUMMARY:Artistry@Work: Geoffrey Gowlland
DESCRIPTION:This is an online event. Register here: \nhttps://us02web.zoom.us/webinar/register/WN_5ATz3WvLQC6VvZmbRb90tg \n\nCrafting Indigeneity in Taiwan\n\n\n\nSpeaker: Geoffrey Gowlland\, University of Geneva \n\n\n\nDiscussant: Michele Feder-Nadoff\, artist & anthropologist \n\n\n\nAbstract\n\n\n\nWhy is it that the revitalisation of forms of art and craft has\, for Indigenous peoples around the world\, taken such a significance in self-presentations and political engagements? What is it about the power of things\, and the power of making things\, that fits so well with the agendas and needs of contemporary Indigenous peoples? In other words\, what is the relationship between crafting Indigenous objects and crafting Indigenous selves? This seminar addresses some of the political\, experiential\, educational and spiritual dimensions of making objects using materials that connect Taiwan’s Indigenous peoples to their ancestral lands\, with a particular focus on the material culture of the Paiwan people. Since the 1990s\, Paiwan artists and craftspersons have been pioneers in the revitalisation of Indigenous material culture in Taiwan; the paper will present the trajectories\, aspirations and philosophies of some of those creators. \n\n\n\nBiographical note\n\n\n\nGeoffrey Gowlland is a Researcher in the Department of Education Sciences\, University of Geneva\, Switzerland. An Anthropologist by training\, he is interested in processes of acquisition of material knowledge and skills\, and in initiatives of revitalisation of material culture practices. He has conducted ethnographic fieldwork on craft practices including ceramics\, wood carving\, and dry-stone walling\, in China\, Taiwan and Switzerland. \n\n\n\nMichele Avis Feder-Nadoff is an artist and cultural anthropologist. Her recent monograph\, An Anthropology of Making in Santa Clara del Cobre: Presence of Absence\, 2024\, shares the story and analysis of her long-term apprenticeship to Maestro Jesús Pérez Ornelas (1926-2014)\, a master coppersmith in Santa Clara del Cobre\, Michoacán\, México. Her critical approach to making and aesthetics bridges the gap between socio-economic-political critiques of craft and more formalist technical-aesthetic analysis by incorporating onto-epistemology\, performance and phenomenology. As an educator\, she designs workshops in multi-modal research methodologies. Feder-Nadoff’s art is included in private and public collections worldwide. \n\n\n\n________________________________ \n\n\n\nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025  \n\n\n\nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \n\n\n\nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \n\n\n\nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. 
URL:https://therai.org.uk/events/artistrywork-geoffrey-gowlland/
LOCATION:Online
CATEGORIES:Online Event
ATTACH;FMTTYPE=image/jpeg:https://therai.org.uk/wp-content/uploads/2024/09/Geoffrey_Gowlland_cropped-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241203T160000
DTEND;TZID=Europe/London:20241203T180000
DTSTAMP:20260509T062555
CREATED:20240920T163749Z
LAST-MODIFIED:20250730T093032Z
UID:10004296-1733241600-1733248800@therai.org.uk
SUMMARY:Artistry@Work: Alice Aterianus-Owanga
DESCRIPTION:The art of ‘vitesse’: ntcham music\, banditry\, and the digital fabric of a pirate industry\nThis is an online event. Register here: \nhttps://us02web.zoom.us/webinar/register/WN_zSf_DZ4zTl266_Tv7cby2g \nSpeaker: Alice Aterianus-Owanga\, Université de Neuchâtel \nDiscussant: Jamila Dorner\, SOAS \nAbstract\n“Vitesse” (speed)\, “vivacité” (liveliness) and “rapidité” (quickness): the texts and videos of Ntcham music are filled with references (textual\, musical and gestural) to rhythm and its apparent acceleration. In this recent musical genre\, often labeled as a Gabonese-style Afropop\, vitesse takes on ambiguous dimensions. It refers\, in one sense\, to the vigilance\, offensiveness and responsiveness required to survive in the urban worlds of banditry depicted by Ntcham artists. These attitudes and values\, characteristic of the ndoss (bandits of Libreville) culture\, were capitalized on by Ntcham artists and became a trademark of the genre\, provoking both rejection by some and fascination by others. An ironic and disillusioned replication of the daily lives of young people grappling with illegality\, Ntcham offers a thrilling reflection of the ongoing crisis that affects the daily lives and aspirations of African urbanites (Roitman & Mbembe\, 1995)\, particularly in Gabon following the economic\, electoral and political crises of recent years. The vitesse of Ntcham artists is thus inseparable from money\, which is the key value that they depict and pursue\, and thus the ultimate goal of this intensification. \nSimultaneously\, this aesthetic of vitesse echoes a dynamic of accelerated musical production displayed by these artists (singers\, video directors\, beatmakers)\, who ‘do not sleep\,’ make one studio recording after the other\, shoot multiple music videos\, and use trends and digital interventions to increase their public presence. In this sense\, they establish a break with the slow production processes of previous generations and circumvent traditional media outlets and underlying mechanics of political control. Following the rapid deployment of a series of new audiovisual production tools and connectivity to streaming platforms\, the world of Ntcham is both a product of acceleration “from below” and the resonance of the intrusion of monetization and digital quantification in African music scenes. \nExtensively discussed by sociologists and critical philosophers inspired by the Frankfurt School\, acceleration has been theorized as a “totalitarian force” that engenders alienation and a loss of time in modern societies (Rosa 2010). It has also been described in the context of Africa as an ideology linked to the technocapitalism of multinational firms and a developmentalist paradigm that elevates technical progress\, inventiveness and entrepreneurship as a way out of poverty (Pollio 2022). While drawing on this literature\, my discussion takes a step aside to explore this art of vitesse as a domain of “friction” (Tsing\, 2011) between different forces and a “poetics of acceleration” (Pollio 2022) through which young urbanites both exploit and contradict technocapitalist scripts in order to recompose the social orders in which they evolve. By following the networks of relations and economies built around this art of vitesse\, I show how Ntcham is developed as an efficient technology of evasion and illusion\, where the race for money accumulation often fails but is converted into social and symbolic capital. Through this art of vitesse\, the youth of Libreville reinvent modes of subjectivation\, social recognition and integration into local systems of interdependence. \nBiographical note\nAlice Aterianus-Owanga is assistant professor in anthropology at the University of Neuchâtel. Over the course of her PhD and postdoc research\, she worked on popular music (hip-hop)\, politics and identity in Gabon; on Senegalese dance circuits between Europe (France and Switzerland) and Senegal; and\, finally\, on Afro-Latin dances and racial/gender boundaries in Cape Town. Her first single-authored book was inspired by her PhD research on rap in Gabon\, and received a prize from the Académie Charles Cros. Her second single-authored book\, published in 2024 by Paris Nanterre University Press\, deals with the post-exotic encounters of Senegalese dancers and their students in France and Switzerland. She has also directed four documentary films and currently supervises a SNF team project on music digitalization and power dynamics in Central African cities. \nJamila Dorner is a social anthropologist trained at SOAS and a postdoctoral researcher at the UCL Ear Institute. Her journey into human knowledge\, learning and theories of intelligence began at the University of Geneva where she worked as a research assistant in cognitive and school education. An accomplished performer and Bharatanatyam dancer\, Jamila was awarded a Swiss artistic residence in India. Her doctoral research on Bharatanatyam enskilment\, which explored the onerous process of gaining performative skills as a dancer in contemporary urban India\, received a Royal AnthropologicaI Institute Sutasoma award. She is currently working on her first monograph entitled The Sound of the Tattukali: Embodied and Digital Knowledge in a Bharatanatyam Community. \n_______________________________________________ \nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025 \nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities. \nSee the other Artistry@Work events here: https://therai.org.uk/series/artistrywork/
URL:https://therai.org.uk/events/artistrywork-alice-aterianus-owanga/
LOCATION:Online
CATEGORIES:Online Event
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DTSTART;TZID=Europe/London:20241105T160000
DTEND;TZID=Europe/London:20241105T180000
DTSTAMP:20260509T062555
CREATED:20240920T155345Z
LAST-MODIFIED:20250730T093032Z
UID:10004294-1730822400-1730829600@therai.org.uk
SUMMARY:Artistry@Work: Chloé Paberz
DESCRIPTION:Drawing: Cultivating freedom in South Korea’s highly standardised creative industries\nThis is an online event. Register here:\nhttps://us02web.zoom.us/webinar/register/WN_R0eAIhcxSSimZfEUVGHyoA  \nSpeaker: Chloé Paberz\, INALCO\, Institut Français de Recherche sur l’Asie de l’Est \nDiscussant: Jenn Law\, social anthropologist & artist \nAbstract\nWith the growing global success of manga\, anime and video games\, East Asia has become a key player in the production of global collective imaginaries. This production requires a massive and highly skilled workforce\, including thousands of workers with excellent drawing skills that are used mainly to copy a style imposed by companies for commercial purposes. In South Korea\, these “artists” do not generally see their work as creative\, but as temporary positions within highly standardised industries. They tend to find value in the process itself\, rather than in the result: firstly\, in its learning potential; secondly\, in their sense of belonging\, and thirdly\, in the pleasure of the movement. While the content is highly standardised\, the workers’ movements seem to remain free of any standardisation. My seminar presentation will question the relationship between this freedom and the pleasure of their work experience and put it into perspective with the new training programmes designed to meet the needs of the creative industries. \nBiographical note\nChloe Paberz is a social anthropologist and associate professor at INALCO Paris. Her research focuses on work culture in South Korea\, particularly in the “creative industries” of video games\, anime and manga. By describing local practices and their entanglements with international networks\, she studies the changes brought about by information technologies and the culture of innovation in East Asia\, and explores the ideal and material relationship between people and their work. Through ethnographies of game companies\, manga classes\, contemporary art studios and carpentry workshops\, her research aims to understand the collective imaginaries and bodily techniques associated with non-human beings. \nJenn Law is a multi-disciplinary artist\, writer\, and editor based in Toronto. Working across print-based media\, Law’s practice explores cultural ecologies and processes of material storytelling. She holds a PhD in Anthropology from the School of Oriental and African Studies (SOAS)\, University of London\, and publishes on contemporary art and print culture\, working as a lecturer\, curator\, and editor in Canada\, the UK\, and South Africa. Law is the co-founder of the publishing platform Arts + Letters Press and is currently working on a book and digital archive project with Jillian Ross Print focusing on collaborative print culture in Canada. \n_________________________ \nArtistry@Work is an online Seminar Series in the Anthropology of Artists & Artisans\, running 2024–2025 \nMaison des Sciences de l’Homme–Université Clermont Auvergne\, in collaboration with the Royal Anthropological Institute \nOrganisers:  Dr Raphaël Blanchier & Professor Trevor Marchand \nThis seminar series in anthropology explores the situated practices of ‘artistry at work’ and\, more broadly\, the working lives and career trajectories of artists and artisans plying their trades in regions around the globe. The scope of the series also encompasses studies of occupations not conventionally categorised as “artistic” but that nevertheless foster creativity among (some) practitioners and even accommodate the development of “artist” identities.
URL:https://therai.org.uk/events/artistrywork-chloe-paberz/
LOCATION:Online
CATEGORIES:Online Event
ATTACH;FMTTYPE=image/jpeg:https://therai.org.uk/wp-content/uploads/2024/09/artistry.jpg
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