CASCA/IUAES2017 Conference in Ottawa
This panel explores moving bodies as becoming beings that perceive worlds through their lived experiences. The body as an open-ended field of sensory experience that comprises human/non-human entanglements will be traced in various health care practices and healing rituals.
From the concept of body-object to the performative body, anthropology has traveled a meandrous way to consider the body as an important site of theory making. Going beyond biological descriptions that insist on a singular/universal body, and moving toward a body multiple approach (which attempts to consider bodies, constituted and perceived in different paths by different actors), anthropologists have been lately trying to consider the body as an open ended field of sensory experience that comprises human/non-human entanglements.
Drawing inspiration on Merleau-Ponty's phenomenology, Ingold's anthropology of life studies and Mol's concept of body multiple, this panel invites us to renounce biological definitions of the body-object as a steady frame composed of cells and tissues. Rather, we quest for ethnographic and theoretical contributions by anthropologists who are interested in alternative body-subject approaches, in which bodies are considered as permeable beings open to the surrounding world of humans/non-humans by ceaseless improvisational moving within the flows of life. Perceiving the world through lived experiences of moving bodies (roaming in the open air, being enwinded or immersed with water, dancing within the flows of music), improvised bodies, and bodies as becoming beings (not already completed ones only to be monitored, repaired and restored) are some of our suggestions for this panel. Moreover, many health care practices and healing rituals as well as chiropractic, massage, acupuncture and even some emerging forms of pet and music therapies can be said to attend to bodies in movement in their own ways that can be further explored.
This panel is closed to new paper proposals.
How does the experience of confinement become inscribed on the body and the senses? Mediated by social relations, this experience is highly contextual and varies not only according to prison-specific circumstances, but also with social-specific circumstances
Despite their variable 'normalization' in several aspects, prisons remain anomalous sites in that, by definition, they hinder movement and constrain bodies. Drawing on fieldwork conducted in a Portuguese women's prison in two different decades, I will examine how the experience of penal confinement inscribes itself on the body and the senses, and how this experience is mediated by social relations. More specifically, I will describe how a coherence between the social and the sensorial orders emerged in both periods. Given that hyperincarceration produced a major sociological change between these periods, this coherence means that the bodily experience of confinement - or the way prisoners "embody" prison and make sense of it - is highly contextual and may vary not only according to prison-specific circumstances, but also with social-specific circumstances. Contrasting ideas of contagion, changing experiences of sounds and smells, and individual and para-collective expressions of distress, will be some of the aspects approached.
Encrer son histoire dans sa peau: femmes et tatouage en Polynésie française
Depuis une dizaine d’années, les femmes de Polynésie française tatouent leur peau afin d’y inscrire plusieurs messages. Le tatouage va au-delà de l’esthétisme en leur permettant de marquer, entre autres, leur identité, l’histoire de leur famille, leur relation aux ancêtres et leur féminité.
Lors du mouvement d'affirmation culturelle et identitaire ma'ohi, qui eut lieu en Polynésie française dans les années 1970-1980, s'est produite la réappropriation d'anciennes pratiques culturelles dont le tatouage. D'abord repris par les hommes, le tatouage leur permettait de se redéfinir à travers leur relation avec la culture des ancêtres et de réaffirmer leur masculinité en se rapprocher des guerriers des temps anciens, les 'aito. Depuis environ une dizaine d'années, les femmes polynésiennes se sont à leur tour mises à se tatouer. La réappropriation de cette pratique leur a permis de marquer leur peau et d'y afficher des symboles d'appartenance à la culture polynésienne, à leur famille, à leur terre (fenua). De plus en plus, ces femmes y inscriront des moments marquants de leur vie et de la vie de la collectivité, des souhaits pour le présent ou le futur. La peau devient alors un support visuel d'une histoire personnelle et familiale. Elle symbolise l'identité de ces femmes pour qui la connexion avec la culture de leurs ancêtres polynésiens est primordiale. La peau devient porteuse de culture. Le port du tatouage, mais également le fait de passer sous l'aiguille des tatoueurs, génèrent une expérience complexe qui touchera les croyances des participantes, transformera la relation à leur corps et finalement, changera leur vision sur leur propre force de caractère. La fierté et la force qu'elles ressentent à travers cette expérience les amènent à se voir elles-mêmes comme des 'aito.
Movement for aesthetics or health?: body movement of 'wa' in traditional Japanese culture
In traditional Japanese culture, there are common slow body movements such as “suri-ashi” in Zeami and Budo. Recently they are introduced and practiced in health care exercises. This paper examines how these body movements are perceived and embodied by audiences as well as performers, practitioners.
In traditional Japanese culture, there are some common slow body movements such as "suri-ashi" (sliding one's feet), "ashi-sabaki" (footwork) and "te-sabaki" (handling). These body movements have been performed in Zeami plays (Noh performance) and practiced Budo (Japanese martial arts) for centuries. Recently they are introduced and practiced in health care exercises in order to improve health mentally, spiritually as well as physically.
This paper examines how these body movements are perceived and embodied by audiences as well as performers, practitioners. How do audiences and performers of Zeami plays perceive as sensory experiences subjectively and objectively? How are practitioners of Budo embodied as lived experiences of moving bodies subjectively and objectively? How are the practitioners of health care exercises embodied differently from the practitioners of Budo through the slow body movements? How do these audiences, performers and practitioners share the same field? They are explored from the viewpoint of health care and healing.
Social and cultural adaptation of ex patient and patient of leprosy: study their behaviour of medication and social relationship in Manado
In this paper will be described the movement of ex patients and patients of leprosy in Manado, that adapted to their social and cultural environment in their daily life; and particularly this paper related to their behaviour to seek the source of medication
Ideally ex patients and patients of leprosy in north Manado city, could continuing their social and cultural life normally, same as the normal people that not infected by leprosy. Related to that condition, based on the qualitatif research and by using the theory of adaptation, that in this paper will be described the behaviour of movement of ex patients and leprosy patients in their daily life in their neighbourhood, about how they seek the source of medication, how they create a social relationship with their neighbours and their work environment; particularly how can the neighbours in adjacent village as normal people or with their normal bodies, responding in the social relationship context toward their neighbours as the ex patients and patient of leprosy.
This panel is closed to new paper proposals.