Papers by lydia nakashima degarrod
Critical Arts, May 3, 2016
AbstractThis article addresses the use of collaborative art in the creation of ethnographic knowl... more AbstractThis article addresses the use of collaborative art in the creation of ethnographic knowledge and the development of empathy between the ethnographer – who is also a visual artist – and nine Chilean political exiles during the creation of artworks depicting the experience of exile for the art installation Geographies of the Imagination. Using the creation of the monoprint banner of one of the exiles, I show how the participatory method of making images made visible the development of empathy and the emergence of an embodied and dialogical form of ethnographic knowledge. The processes of collaborative art making and empathetic development had in common the involvement of emotional, imaginative and cognitive stages. The images themselves became checkpoints for the verification of the mutual understanding between ethnographer and informant. As the images were created and revised, they became the basis for sharing imagination and emotions – those of the exiles and my own – which led to a dialogical un...
Religion, Oct 1, 1998
This article examines the emergence of a new form of shamanism among the Mapuche of Chile during ... more This article examines the emergence of a new form of shamanism among the Mapuche of Chile during their first decades under the dominion of the Chilean state. Specifically, it links the emergence of a female shamanism with the policies implemented by the Chilean government and the Catholic Church to integrate the Mapuche into the Chilean society as Christian farmers. The
Qualitative Research, Apr 16, 2013
I present the installation Geographies of the Imagination, an arts-based ethnography about long-t... more I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.
New Literary History, 1998
From 1985 to 1987, while engaged concurrently in ethnographic and visual artistic work, I discove... more From 1985 to 1987, while engaged concurrently in ethnographic and visual artistic work, I discovered that my artistic production, involving both subject matter and style, were influenced by the ethnographic encounter. The subject matter was influenced by those images created by the ambivalent ...
Visual Anthropology Review, May 1, 2017
I created the installation Atlas of Dreams, a series of artistic maps and audio recordings, to po... more I created the installation Atlas of Dreams, a series of artistic maps and audio recordings, to portray the emotional traces left by 145 dreamers when they narrated their memorable dreams in the cities of the Bay Area of San Francisco. I present the designing of the maps, highlighting the use of dérive, and art practice in the creation of an emotional landscape, and its contribution in making the ethnography interactive, emergent, and sensorial. Dream narration and its sharing became visible and social during the creation of the artwork and during the exhibits of the artwork.
Visual Ethnography, Jun 30, 2018
This paper examines the emergence of different forms of nostalgia during the collaborative produc... more This paper examines the emergence of different forms of nostalgia during the collaborative production of videos about exile among nine Chilean political refugees living in California. It shows that nostalgia, a set of emotions and imaginary activities that yearns for the past, has evolved with time and has different manifestations throughout the different stages of life in exile. It presents the medium of video as an ethnographic tool used in making nostalgia visible through most stages of its creation from the preproduction activities, to the taping, and editing. Five major forms of nostalgia are presented, giving particular importance to the forms of nostalgia that were performed in front of the camera by the exiles.
The Latin American anthropology review, Mar 1, 1991
Anthropology of Consciousness, Jun 1, 1996
Rather than regarding dreams as "things" or property, and grammatically treating them as nouns, t... more Rather than regarding dreams as "things" or property, and grammatically treating them as nouns, the suggestion is to formulate a dream as an activity, label it "dreaming" and more specifically accept dreaming as interactional. For dreaming to be of importance, several psychological factors must be considered, including retention and selection, as well as external factors, such as to whom dreams are reported and their style of communication. Examples from anthropological writers on dreams are provided. It is noted that societal beliefs about dreams tend to influence the amount and types of dreams that are communicated.
Manchester University Press eBooks, Mar 1, 2016
World art, Jan 2, 2020
As part of the interdisciplinary project Atlas of Dreams, I created a series of artistic maps, th... more As part of the interdisciplinary project Atlas of Dreams, I created a series of artistic maps, that both show the places where 400 dreamers recounted their memorable dreams and also depict the emotional impact of these narratives in the grid of cities in the San Francisco Bay Area. Atlas of Dreams aims at uncovering the emotional life of cities. I present, from my perspective as both a visual artist and an ethnographer, how the embodied art practices of derivé and the Surrealist techniques of frottage contributed to recreate the dream process, as well as to the creation of a multimodal ethnography.
American Ethnologist, Feb 1, 1998
This paper examines the emergence of different forms of nostalgia during the collaborative produc... more This paper examines the emergence of different forms of nostalgia during the collaborative production of videos about exile among nine Chilean political refugees living in California. It shows that nostalgia, a set of emotions and imaginary activities that yearns for the past, has evolved with time and has different manifestations throughout the different stages of life in exile. It presents the medium of video as an ethnographic tool used in making nostalgia visible through most stages of its creation from the preproduction activities, to the taping, and editing. Five major forms of nostalgia are presented, giving particular importance to the forms of nostalgia that were performed in front of the camera by the exiles.
Critical Arts, 2016
AbstractThis article addresses the use of collaborative art in the creation of ethnographic knowl... more AbstractThis article addresses the use of collaborative art in the creation of ethnographic knowledge and the development of empathy between the ethnographer – who is also a visual artist – and nine Chilean political exiles during the creation of artworks depicting the experience of exile for the art installation Geographies of the Imagination. Using the creation of the monoprint banner of one of the exiles, I show how the participatory method of making images made visible the development of empathy and the emergence of an embodied and dialogical form of ethnographic knowledge. The processes of collaborative art making and empathetic development had in common the involvement of emotional, imaginative and cognitive stages. The images themselves became checkpoints for the verification of the mutual understanding between ethnographer and informant. As the images were created and revised, they became the basis for sharing imagination and emotions – those of the exiles and my own – which led to a dialogical un...
Qualitative Research, 2013
I present the installation Geographies of the Imagination, an arts-based ethnography about long-t... more I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.
Visual Anthropology Review, 2017
I created the installation Atlas of Dreams, a series of artistic maps and audio recordings, to po... more I created the installation Atlas of Dreams, a series of artistic maps and audio recordings, to portray the emotional traces left by 145 dreamers when they narrated their memorable dreams in the cities of the Bay Area of San Francisco. I present the designing of the maps, highlighting the use of dérive, and art practice in the creation of an emotional landscape, and its contribution in making the ethnography interactive, emergent, and sensorial. Dream narration and its sharing became visible and social during the creation of the artwork and during the exhibits of the artwork.
Hau: The Journal of Ethnographic Theory, Dec 1, 2021
I examine my dual role as artist and ethnographer in the creation of artworks including mixed-med... more I examine my dual role as artist and ethnographer in the creation of artworks including mixed-media paintings and installations. Drawing from four works that combine art making and anthropological research, I present, from the perspective of anthropology, the process of the creation of artworks as dynamic sites for creating and observing the emergence of knowledge, as well as the development of empathy between researcher/artist and participants. Art making provided the tools to unveil ephemeral subjects such as the internal images of exile, the traces of memorable dreams in cities, and the memories and legacy of World War II among Japanese Latin Americans. Art making was possible by using approaches from anthropology that emphasize the senses as a means of both acquiring and expressing knowledge, the view of the anthropologist as a conductor of experiences and events, and multimodal anthropology.
Psychiatric journal of the University of Ottawa : Revue de psychiatrie de l'Université d'Ottawa, 1990
Dreams are shared and interpreted daily within the family unit among the Mapuche Indians of Chile... more Dreams are shared and interpreted daily within the family unit among the Mapuche Indians of Chile. This anthropological study examines the communicative aspect of dream sharing and interpreting among Mapuche families undergoing emotional and physical stress. Specifically, it investigates the ways in which the Mapuche dream interpretation system provides the family members with another means of interaction and a way of solving their problems. It also examines how individuals influence their attitudes towards one another by communally participating in the dream interpretation process, and in its narrative performance. The data used in this research consists of dreams and of their interpretations, collected in the natural setting, from two families with members suffering of witchcraft, and fear of death. This information was collected over a period of 17 months from October 1985 to March 1987 with a Fulbright-Hayes Doctoral Dissertation Grant.
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Papers by lydia nakashima degarrod