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Reflection on the “Window-Flowers” Exhibition : Video and Art Installations as Practical Expressions in Anthropology＜Special Theme : Anthropology of Collaborations and Processes : From Studies of Contemporaneous Art Practices＞
Get PDF中国黄土高原の女性が作る切り紙「窓花」を，その多重的なイメージのあり
方に倣って，いかにして人類学的表現へと〈うつす〉（移動・変換・投影）か。
本稿では，筆者がこのような問いを掲げて制作してきた映像や展覧会を取り上
げる。2013–2014 年に福岡と東京で開催した「窓花・中国の切り紙」展では，
現地の人々と日本の造形作家と協働し，フィールドの感性的経験を再構成して
提示すべく，映像と実物資料を合わせたインスタレーションの制作や，ワーク
ショップを行った。その過程ではフィールドの現実とその記録映像とギャラ
リー空間との間，或いは日本の観者たちの経験や記憶との間に生起する多元的
なズレが焦点化し，展示に反映された。人類学とアートの協働実践としての本
展の実験的試みを，「イメージの再‒物質化」「時空間の混成化」「観者の巻き込
み」等の観点から省察し，身体を介した「創造的翻訳」としての人類学的表現
実践の可能性を考える。This paper presents reflection upon “Window Flowers: Chinese Paper
Cutting in Huangtu Plateau” （Fukuoka and Tokyo, 2013–2014）, a museum
exhibition based on the author’s ethnographic fieldwork. In the production
process, the author collaborated with Chinese informants and a Japanese artist.
Diverse installations were created by combining audio-visual images with
actual objects taken from the field. These varied installations appealed to the
visitors’ senses and enabled them to connect to the women and their handiworks inspired by daily life. During the exhibition, gaps were discovered in
the production process on different levels: between real life in the field of
Huangtu Plateau; recorded images of local life; installation images in the
sterilized, white, cubic space of the gallery; and individual experiences and
memories of Japanese visitors. We therefore specifically examined those gaps
and reflected them on the exhibition apparatus with concepts such as “re-materializing
images,” “hybridizing time and space,” and “involving visitors.”
This paper presents specific examination of the possibility of anthropological
expression using images as “creative translation” in considering this experimental
exhibition as a project of collaboration between art and anthropologydepartmental bulletin pape
Nomadic Storytellers : Scottish Traveller Self-Representation in Stanley Robertson’s Exodus to Alford
Get PDFScottish Travellers are an ethnic minority in Scotland who are known
for their nomadic lifestyle. The sedentary society has dealt with them as an
exotic and threatening “internal other.” This is largely due to them not
being adequately self-represented in public media. They have published
nearly forty books about their lives and oral traditions since the 1970s but
there has been no substantial research into their writings. The present
research is designed to distil an emic (i.e., insiders’) Traveller image from
one of the most influential Traveller writings, Exodus to Alford (1988) by
Stanley Robertson (1940–2009), which will contribute to the construction
of a fairer Traveller representation.
The first part focuses on the depiction of travelling life in the Exodus to
Alford and argues that the Travellers’ nomadism is not described as mere
entertainment, but as an essential tradition for them to regain their Traveller
identity by fleeing from the city where they are oppressed. The second part
turns to their storytelling tradition, as introduced in the book, and examines
how Traveller characters communicate their distinct worldview and value
system by telling stories. Finally, the third part investigates literary elements
in the book, namely the structure and language. These elements are
idiosyncratic and present Travellers’ nomadism and storytelling not as separate
activities but as one package. The book, thus, portrays Travelling
people as nomadic storytellers.スコティッシュ・トラベラー（以下トラベラー）とはスコットランドの移動
民族である。偏見に基づいた報道などにより，彼らは定住社会から「内なる他
者」として扱われている。一方，トラベラーも自伝などを通して自らの生き方
や文化を伝えようとしてきたが，それらは研究者の関心を集めてこなかった。
そこで本研究は代表的なトラベラー作家Stanley Robertson（1940–2009）の自伝
小説Exodus to Alford（1988）に注目し，トラベラー本人によるトラベラーの自
己表象を抽出することを目的とする。
第1 章では作中における移動生活の描写に着眼し，街で抑圧されるトラベ
ラーにとって移動生活が彼らのアイデンティティを取り戻す貴重な機会として
描出されていることを検証する。第2 章では作中で紹介されるトラベラーの物
語に焦点を当て，トラベラー独自の世界観や価値観を物語が伝達していると論
じる。第3 章では本書の構成と言語に光を当て，それらの文学的装置を用いる
ことで本書が移動生活と物語る伝統を一体の伝統として提示し，トラベラーを
「旅する語り部」として表象していることを解明する。departmental bulletin pape
