Rina Sherman | Conférences
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  Conferences
  BnF - LA PHOTOGRAPHIE OU LE CROISEMENT DES REGARDS - Le portrait dans la photographie & La photographie ou le croisement des regards
 
sherman sherman
BnF - Le portrait dans la photographie

Présentation de l’exposition La France d'Avedon, Vieux monde, New Look, le portrait dans les photographies de Richard Avedon, leur relation avec les photographies des magazines de mode et les livres de photographie (documents BnF) ; Dans l'exposition, intervention de Rina Sherman, ethnographe, suivie d’une présentation en salle de portraits de la collection Les années Ovahimba / Rina Sherman, en association à la pratique du portrait d’Avedon.

BnF - La photographie ou le croisement des regards


Formation pour enseignants
En lien avec l'exposition La France d'Avedon, Vieux monde, New Look : Les années Ovahimba / Rina Sherman

7 & 8/12/2016
 
    photography + (con)textPhotography in Academic Research
A Given Time: Photography in a Visual Ethnography / Rina Sherman, ucl 2016
  sherman

A Given Time: Photography in a Visual Ethnography /
Rina Sherman

photography + (con)textPhotography in Academic Research

UCL, 8 & 9/9/2016

 
  EASA2016: European Association of Social Anthropologists: Anthropological legacies and human futures
Bréviaire d'un regard - Breviary of a Vision Tome III The Ovahimba Years / Rina Sherman, Milan, 2016
  RinaSherman EASA2016: European Association of Social Anthropologists:Anthropological legacies and human futures

Bréviaire d'un regard - Breviary of a Vision Tome III The Ovahimba Years / Rina Sherman
 
  Voyage vers le même « L’ethnographie chez soi » en sciences sociales des religions,
De la Namibie à Montmartre : « Being an Insider Everywhere »Une ethnographie visuelle / Rina Sherman, CéSor - EHESS, 2016
    Voyage vers le même « L’ethnographie chez soi » en sciences sociales des religions

De la Namibie à Montmartre : « Being an Insider Everywhere »
Une ethnographie visuelle / Rina Sherman


CéSor - EHESS, 2016
 
  Séminaire Paris X Nanterre, 2016
Les années Montmartre : une éthnographie visuelle, Bréviaire d'un regard : Tome V
  Rina Sherman Les années Montmartre : une éthnographie visuelle
Séminaire Paris X Nanterre, 2016

Bréviaire d'un regard : Tome V
Constituer une ethnographie visuelle
- l'étude ethnographique de terrain par le film et la photographie :
Techniques, méthodes et et pratiques
Les rapports entre la caméra woman et les personnes filmées
- La mise en scène, les choix de réalisation, la direction d'acteurs
et des personnages, l’auto mise-en-scène
- le tournage non-scripté en ethnographie, le ready made
Feedback et Restitution
- le feedback aux personnes filmées et la restitution du film au public!
 
  The Ovahimba Years - Les années Ovahimba / Rina Sherman
CERILAC Paris-Diderot - Sorbonne Paris Cité : Écrire et penser avec l’histoire à l’échelle du « monde » ?
Séminaire animée par Frédérique Berthet et Catherine Coquio, Mardi 13 octobre 2015 de 17h30 à 19h30
  @RinaSherman  
 

Les années Ovahimba / Rina Sherman
Café Débat AnneCom : Anne Marie Engler et ses invités au Gai Moulin 10 Rue Saint Merri, 75004 Paris, le mercredi 7 octobre 2015 à 19h30

  @RinaSherman
Les années Ovahimba / Rina Sherman
Café Débat AnneCom :
Anne Marie Engler et ses invités au Gai Moulin
10 Rue Saint Merri, 75004 Paris, le mercredi 7 octobre 2015 à 19h30


Ethnographe, cinéaste et photographe, Rina Sherman a vécu pendant sept ans au sein d’une communauté Ovahimba d’Afrique australe. Au cours de ces années, elle a rassemblé un riche fonds d’images vidéo, de photographies, de notes et de dessins qu’elle a choisi de donner à la BnF. A travers l’humanité du regard de l’ethnographe, l’exposition multimédia qui lui est consacrée livre un témoignage unique sur le temps du quotidien de cette société d’éleveurs de boeufs et son patrimoine culturel immatériel. Une expérience partagée à découvrir à la Bibliothèque.
  The Ovahimba Years - Les années Ovahimba / Rina Sherman
Conférence Multimédia, le mardi 29 septembre 2015 à la BnF - François Mitterrand
Bréviaire d'un regard Tome III : Les années Ovahimba
  @RinaSherman

Autour de l'exposition Les Années Ovahimba / Rina Sherman

Conférence multimédia, le mardi 29 septembre 2015 à la BnF, 18h30-20h00

Les Années Ovahimba / Rina Sherman. Une ethnographie multimédia en Namibie et Angola

Conférence de Rina Sherman, ethnographe, cinéaste et photographe, illustrée de nombreux documents photographiques, vidéo et sonores.

Bréviaire d’un regard
Tome III

 

L’art rupestre d’Afrique, ArScAn, UMR 7041 du CNRS, l’Université Paris 1 Panthéon Sorbonne, Musée du quai Branly, 2014
TCHITUNDU-HULU Rock Art

  Rina Sherman
Colloque : L’art rupestre d’Afrique, organisé par

(ArScAn, UMR 7041 du CNRS), l’Université Paris 1 Panthéon Sorbonne, Musée du quai Branly, 2014

TCHITUNDU-HULU Rock Art DV, 44 min
  Festival International Jean Rouch Master Class
Bréviaire d'un regard Tome I : Premières repères - First Influences : Cape Town - Kalahari - Johannesburg, 2012
  rina
Festival International Jean Rouch
Master Class


Bréviaire d'un regard : Tome I
Premières repères - First Influences : Cape Town - Kalahari - Johannesburg, 2012


Rencontre avec l’écrivaine, anthropologue et cinéaste Rina Sherman animée par Frédéric Baleine du Laurens, Directeur des archives du ministère des Affaires étrangères et ancien ambassadeur de France en Namibie et au Botswana et Ody Roos, producteur.
« Les Ovahimba ont pris sept ans pour m’apprendre à les aimer et, à finalement, une fois pour toutes, évincer ces idées de Noirs/Blancs, m’en libérer, et me permettre de voir n’importe qui comme un autre soi possible. »
Rina Sherman
  EASA2012: European Association of Social Anthropologists: Uncertainty and disquiet
  Rina Sherman

Regulating uncertainty: anthropological approaches to spaces of uncertainty in and of law [EN & FR]

Essuyer les larmes / Rina Sherman

  Namibie. Parures ovahimba : expressions identitaires chez les jeunes
EHESS : État, sociétés et problèmes sociaux en Afrique australe
Avec le Centre d’études de recherche et d’actions solidaires avec l’Afrique (CERASA – Université Paris-VIII) et l’UMR CEPED (Paris Descartes, IRD, INED). Le 14 avril 2010
  Rina Sherman
Namibie. Parures ovahimba : expressions identitaires chez les jeunes
EHESS : État, sociétés et problèmes sociaux en Afrique australe
En partenariat avec le Centre d’études de recherche et d’actions solidaires avec l’Afrique (CERASA – Université Paris-VIII) et l’UMR CEPED (Paris Descartes, IRD, INED), 2010.
  Images de l'etranger
Colloque International, Sorbonne Nouvelle, Paris 3, INA, CHTv Paris October 21 & 22, 2010
  Himba
The Dweller’s Gaze
The Voice of the Other in Ethnographic Discourse


Through portraits showing the Dweller’s gaze offered to or solicited by the professional visitor, filmed rituals in which people actively or unknowingly participate in the mise en scene of themselves, drawings made by an Omuhimba assistant showing key moments of cultural practices, I will attempt to show how the Dweller’s narrative becomes an intricate part of the ethnographic rhetoric of the observation of difference and similarity. As a subject of observation, the individual, wilfully and inadvertently, participates in the image conveyed to the observer. He becomes, for a time, the bearer of knowledge and culture, of the past and of the here and now. I will now show you a number of film extracts in which the Dweller either participated in more or less subtle ways in the mise en scène I am realising or at times even take control of that mise en scene and constructs his or her own.

Multiple media Présentation

  Colloque Jean Rouch. Une anthropologie partagée
Bibliothèque Nationale de France (BNF - François Mitterrand), Bibliothèque Publique d'Information (BPI)
- Centre Pompidou, CNRS - Site Michel Ange,
Paris, Novembre 2009
  Rouch

Une anthropologie partagée : Le partage de Jean Rouch

Rina Sherman trace l'anthropologie que Jean Rouch a partagé avec elle à travers ses études et sa collaboration avec lui, ainsi qu'à travers l'influence qu'il a eu sur ses films et ses propres travaux de recherche sur le terrain en Afrique Australe. Elle parle notamment de son enseignement de "ciné-gym" et la rencontre décisive pour elle avec son idée du point de vue suscité par la présence de la caméra comme entrée en matière du réel.

LE PROJET JEAN ROUCH ? :
VERS UNE CONNAISSANCE HORS TEXTE, CROISER LES REGARDS, PARTAGER LES INTERROGATIONS.

14 – 20 novembre 2009

Évènement organisé par le Comité du film ethnographique en collaboration avec la Bibliothèque nationale de France, le Centre national du cinéma - Archives françaises du film et le Centre national de la recherche scientifique


Mardi 17 novembre : Une anthropologie partagée
  Couleurs sur corps
CNRS, Mairie de Paris, Paris, Novembre 2008
  corps
Couleurs sur corps

« Parure Ovahimba : 
"Street Fashion", expressions identitaires »


Résumé : À travers un examen multimédia - une présentation, une sélection de photographies et des extraits d’images vidéo - je démontrerai divers aspects de la décoration du corps comme élément constituant de l’identité de groupe chez des jeunes Ovahimba, hommes et femmes.

Multiple media Présentation
  Migration in Museums: Narratives of Diversity in Europe
Network Migration in Europe e. V., International Council of Museums Europe (ICOM),
Centre de Documentation sur les Migrations Humaines (Dudelange Luxemburg), Berlin, October 2008
  im

wip


Migration in Museums: Narratives of Diversity in Europe

"Recognition, Empowerment and Participation: Inclusive History - Inclusive Museums"

How to represent and/or exhibit the cultural heritage of the Ovahimba to European and/or urban audiences?
A first response to this question was provided with « The Ovahimba Years: Work in Progress », a multimedia exhibition held at the Franco-Namibian Cultural Centre (FNCC) in Windhoek in 2002, halfway through my tenure in the field.
Designed around a promenade of soundscapes composed of everyday sounds of Ovahimba life, the main feature of the manifestation and key to its success was the participation of a group of young Ovahimba people who acted as spokespersons for their culture and held performances at the FNCC as well as at schools and universities in and around the city.
The soundscapes opened volumes of space in which exhibitions of photographs, drawings and objects were displayed, and in adjacent halls, specialist conferences were held, films were screened and unedited rushes were displayed continuously on video monitors.
Since my return to Europe, I have been processing the body of data collected in the field, still with the preoccupation of how to make the materials accessible, how to further explore and develop the first exhibition held in Windhoek.
What people want most when confronted with a foreign culture, be it a culture from elsewhere or the presence of an immigrant culture on their home soil, are elements that make that culture accessible to them . Conveying the most human of qualities, emotion , is I think the most effective way to allow people to gain understanding of each other's cultures and identities. To share in emotion, the visitor needs to have the impression that he participates in a common experience, that contact of common human reality is established.


The Ovahimba Years - Work in Progress | Les années Ovahimba - Travaux en cours
A Multimedia Exhibition
| Une exposition multimédia
 
  Text, image and sound. Narrative in all its forms : new technologies, new questions
International conference, Ethnographiques.org, Institute of Ethnology, University of Neuchâtel, November 2006
  @RinaSherman
"Emotion in Multimedia Ethnographic Fieldwork"

Text, image and sound. Narrative in all its forms: new technologies, new questions

In this paper, I will explore the development of the relationship between members of the community and the self as an extension of the camera (video and photographic), the influence of this experience of intense and eventually intimate long-term sharing on our respective lives and the multimedia body of data I collected. The focus of this documentation includes initiation, funeral and possession rites as well as the rapport that developed over time between members of the community and the unexpected visitor on an extended stay I turned out to be.
The paper will trace the evolution of this long-term relationship, from the early beginnings and the difficulties of my first encounters with the Ovahimba community of Etanga to the middle years of acquiring the status of an integrated family member to my involvement with community development during the latter years and the problems that arose when it was time to leave the field and start analyzing the materials. Having gradually become an adopted member of the family and more or less integrated depending on the time and the occasion, eventually identified as the record maker of their daily lives, I ended up sharing in intimate family moments that extend beyond the framework of any anthropological undertaking. This situation developed mainly due to the extensive length of my stay; there simply came a time when the relationship between members of the family and myself took on a dimension of close kinship. Having grown into the role of the image recorder, I continued to work and was often solicited to record events I would not naturally have paid attention to. This lead to me being witness and recording both intimate family scenes, presenting information limited to the sphere of family secrets, and important meetings and customary court cases held within the community.
At varying times, the emotional bond between us played a different role. At times, it prevented me from recording a certain event, such as the intimacy of a funeral, at other times it provided access to information I would not have been able to acquire in any other manner, and at yet other times, and indeed time allowed certain members of the family I lived with to develop a special relationship with the eye of the lens, subtle catching of the eye to indicate details worth filming, pausing performance during cassette changes and enhancing performance on some occasions are but a few examples in case. During the processing of the data, a particular area of concern is to distinguish between what I may justifiably divulge and what should remain within the realm of family intimacy. One viable solution would be to treat the intimate aspect of my knowledge in the form of fictional writing. In the case of the image, still and moving, discretion will be a determining factor in the decision what to show and what not to show.

 
  A Coke for Your Face: The Ovahimba and Their Image
Associations for Anthropology in Southern Africa, Annual Conference, University of Namibia, Windhoek, May 2000.
  coke
"A Coke for Your Face: The Ovahimba and Their Image"

Associations for Anthropology in Southern Africa, Annual Conference

The Ovahimba group has existed landlocked in the Kunene-North Region (formerly known as the Kaokoveld) for most of this century. They have been in contact with foreigners for the past 150 years: missionaries, hunters, traders, speculators, soldiers, and an increasing number of tourists. The Ovahimba with their spectacular material culture, are being marketed by the tourist industry as one of the last traditional African peoples. Television crews and tourists flock to the region, hoping to capture images of what is a transforming culture.
The Ovahimba have an exchange economy; for many years their images have been bartered for anything from a tin of Coke to a few dollars. Increasing contact with tourists and the cash economy have made them aware of the potential price of their image.
 
  Journées d'etudes : "Le racisme devant la science"
Le dit et le non-dit en "No Man's Land", Bruxelles, 1986.
 
   
Journées d'etudes : "Le racisme devant la science"
Le dit et le non-dit en "No Man's Land",
Bruxelles, 1986

The problem of cultural identity in a country as torn as South Africa, is posed in particular terms. Because of the concentration of power in the hands of a minority, the majority of the population is undergoing a process of conditioning and cultural loss in the various spheres of its existence, a process which is undermining the majority's own structures. Language, which is the very cement of culture; laws, which straitjacket every category of relationschip; the media, which are firmly in the government's hands; so many tools with which to manipulate opinion and to spread the dominant conservative ideology. Far from being a crude and brutal process, this denaturalisation of reality is more a matter of omissions, of silences, and of the way in which the facts are put across. This type of situation engenders withdrawal and alienation. There are different stages of withdrawal : physical, intellectual, cultural, political, and so on. Access to culture in its various forms should be available to everyone as of right, yet this is evidently not the case in South Africa.
 
 
  
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