Museum exhibitions are commonly seen as critical sites for the constitution of identity and difference. They provide occasions and resources for representing and reflecting on notions of quality, worth, and other social values and meanings. But how are values and identities shaped and produced through exhibitions? How are exhibitions put together in ways that might communicate particular values and shape various identities? This article begins to consider how “rhetorics of value” are produced through contemporary museum exhibitions by exploring the multilayered, multimedia communication involved as exhibitions convey evaluations and interpretations through visual and verbal means and through “designed space.”
C. A. Kratz—Les Okiek sont-ils réellement Masai ? ou Kipsigis ? ou Kikuyu ?
Étude des procédés d'auto-identification d'un groupe de chasseurs-collecteurs, les Okiek (plus connus sous le sobriquet péjoratif de Dorobo), aujourd'hui éparpillés parmi les Masai, Kipsigis et Kikuyu dont ils ont adopté certains traits culturels et même, dans une large mesure, les langues. En dépit de la diversité découlant de ces emprunts, et de la date reculée de leur dispersion initiale (c. 1000 A.D.), les Okiek préservent un sentiment d'appartenance commune résultant à la fois de la conservation de thèmes propres (notamment sur le plan rituel) et d'une sorte de volonté collective de contraste avec leurs voisins.
In this article, I trace the history of focus groups as a method and consider how they produce and filter knowledge, interaction, and engagement; their nature as communicative settings; and their political–ideological associations. I analyze focus groups conducted for a primary health care project in Kenya that involved health officials, Washington, DC‐ and Nairobi‐based staff, a U.S. photographer, a U.S. anthropologist, and local women from the project area. This case provides insights into knowledge production in the context of the transnational development industry, how anthropological methods are incorporated and represented in the process, and the epistemological grounds of ethnographic methods.
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