This article is a result of the way in which the design of a first-year anthropology course attempted to undo stern structural hierarchies between students and teachers. Instead, the participants regarded one another as fellow anthropologists undertaking ethnographic research on the university context. This article examines the intimate relations that came available to participants when the course moved from in-person to Zoom format. Participants moved into homes to document the unfurling COVID-19 crisis, (back) into intimate familial relations. But this was not the only intimacy with which participants had to grapple anthropologically. The lecture materials, too, connected themselves to things and experiences in immediacy as they arrived into homes through laptop screens. The screens themselves offered up new insights into the lives of others – something newly minted anthropologists had to account for as they completed the course.
Rabiʿa Balkhi was a princess and poet who, according to medieval accounts, flourished in 10th-century Balkh. She gained wide popularity in 20th-century Afghanistan, where she has been the subject of books, poems, and movies. This article recounts the story of her grave's discovery in the center of Balkh's town park in the 1960s, the emergence of a shrine around it, and its integration with Balkh's landscape of antiquity. Drawing on parallels from across the Muslim world, I argue that Rabiʿa's shrine emerged through a dialogue between state officials and local forms of placemaking. But although initially motivated by nationalist sentiment, the Afghan state lost its ability to define Rabiʿa's life on nationalist terms. As Afghanistan fragmented through war, her shrine survived as a space where her life was constantly reinterpreted and where disputed visions over the nation's past and future played out.
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