Suomen Antropologi: Journal of the Finnish Anthropological Society <p><em>Suomen Antropologi – Journal of the Finnish Anthropological Society</em> is an open access peer-reviewed publication which accepts scholarly articles, review articles, research reports, critical essays, conference reports, book reviews, and news and information in the field of anthropology and related studies.</p> The Finnish Anthropological Society en-US Suomen Antropologi: Journal of the Finnish Anthropological Society 0355-3930 <p>Copyright and publishing rights for texts published in Suomen Antropologi is retained by the authors, with first publication rights granted to the journal. By virtue of their appearance in this open access journal, texts are free to use, with proper attribution and link to the licensing, in educational and non-commercial settings (CC BY-NC 4.0 license).</p> Editor's note Matti Eräsaari ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 1 2 10.30676/jfas.v43i2.78001 The Terrestrialization of Amphibious Life in a Danube Delta 'Town on Water' <p>The Danube Delta town of Vilkovo is often called the ‘Ukrainian Venice’ because of its 40 kilometers of canals. Many of these canals, however, are rapidly filling in with silt and are often impassible by boat. Tourism entrepreneurs and town administrators have begun lobbying for funding for a large-scale canal restoration project and for the town’s designation as a heritage site. Their tourism-development narratives, however, often overlook or simplify a complex set of social and environmental factors that have shaped residents’ past and present relationships with the Danube River. This article counters this tendency by providing an ethnographic portrait of terrestrialization—a term I use to name the confluence of geomorphological, ecological and social change in Vilkovo—that draws on townspeople’s descriptions of their dwelling practices. It combines insights from amphibious anthropology and social science literature on water infrastructure in order to pinpoint issues that need to be addressed in developing the town’s tourist economy, and makes the case for including studies of terrestrialization as part of an amphibious anthropology.</p> Tanya Richardson ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 3 29 10.30676/jfas.v43i2.73062 A Site Shaped by Discontinuity <p>In this paper, the authors focus on the place-making practices which have emerged in the Polish post-Soviet military base – Borne Sulinowo. The new civil town (1993-2017) forms a unique reality, as it employs Polish, German and Russian elements, and interweaves the past threads of civil settlements and garrison life with the present. The authors analyze the process of place-making drawing on their research in a site shaped by discontinuity. The aim of the article is to present the multilayered nature of the place-making process as well as diverse, sometimes conflicting, often interdependent and interconnected perspectives through which the place can be understood and experienced.&nbsp;</p> Dagnoslaw Demski Dominika Czarnecka ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 30 52 10.30676/jfas.v43i2.69843 The Fieldwork Playlist – Editorial <p>This Fieldwork Playlist emerges from a conference of the same name at Goldsmiths back in 2013. The idea was a simple one: “For our fieldwork playlist, each contributor will pick one song and recount the story of how that song came to hold significance in relation to their research encounters and experience” (Fieldwork Playlist Call For Papers 2013).&nbsp;Each of the papers here explores the evocative nature of music in relation to the experience of social science fieldwork.&nbsp; Each author has selected a song as a starting point to consider their experience in the field. Music is woven into the fabric of the social world of the field, our location in it, our collection and interpretation of data and the writing up process. This edited collection brings together diverse experiences and reflections through the evocative medium of particular songs.</p> Gavin Michael Weston Dominique Santos William Tantam Kieran Fenby-Hulse ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 53 57 10.30676/jfas.v43i2.77734 Curating the Fieldwork Playlist <p>In this essay, I consider the music that has been chosen as part of the previous essays in this collection. I attempt to understand what this assemblage of musical tracks, this anthropology playlist, might tell us about fieldwork as a research practice. The chapter examines this history of the digital playlist before going on to analyse the varied musical contributions from curatorial, musicological, and anthropological perspetives. I argue that the playlist asks us to reflect on the field of anthropology and to consider the role of the voice, the body, the mind with anthropology, as well as the role digital technologies, ethics, and the relationship between indviduals and the community.</p> Kieran Fenby-Hulse ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 58 66 10.30676/jfas.v43i2.77751 Song featuring lyrics ‘Oh Senor…’ quite a lot’: Mayan Evangelical Singer <p>In the first few months of my PhD fieldwork in Guatemala excitement and unease regarding my new life as an anthropologist fed an epic bout of insomnia exacerbated by a mouse who shared my shed-like sleeping quarters and liked to climb on my face during my sleep. Sleep was also hampered by a song, largely in Mam, but with two words in Spanish played with disturbing frequency through crackly loud speakers late into the night and from early in the morning. As a non-Mam-speaker the words meant nothing to me until the refrain of ‘Ohhhhhhh seññññoooooorrrr’ came around again. My sleep deprived brain would sing along with words it didn’t understand. I now recognise through others that the sense of sinking or losing the plot is a relatively common experience in fieldwork – each person’s shaped by the specificities of their situation. This song was the soundtrack to my madness.</p> Gavin Michael Weston ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 67 70 10.30676/jfas.v43i2.77599 Vybz Kartel—’British Love (Anything 4 You)‘ <p>In this article, I reflect on the importance of the dancehall song 'British Love (Anything 4 You)' released by Vybz Kartel in Jamaica in 2011. While undertaking ethnographic fieldwork with football players in Black River, a rural community on the South Coast of Jamaica, I received the nickname 'World Boss,' one of Vybz Kartel's nicknames. In this piece, I think through the importance of the song and the nickname for reflecting on power inequalities in Jamaica, and situated within global hierarchies.&nbsp;</p> William Tantam ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 71 74 10.30676/jfas.v43i2.77689 Lou Rawls—‘You'll Never Find A Love Like Mine’ <p>Through the prism of the song You'll Never Find a Love Like Mine by soul artist Lou Rawls, this paper explores the intersections of personal life, fieldwork and the centrality of music to social reproduction across generations in South Africa.</p> Dominique Santos ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 75 79 10.30676/jfas.v43i2.77649 Indaba—Fieldwork, Jive and Phenomenology <p>When on my first fieldwork trip in north-western Namibia, the music by the Soul Brothers (a South African jive band) confronted me with my own naivety and estrangement. But it also introduced me to phenomenology, and continues to warn against an all too intellectualist understanding of social and cultural realities</p> Steven Thomas Van Wolputte ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 80 83 10.30676/jfas.v43i2.77504 Najwa Latif—'Sahabat' <p>This article describes the emotional power that 'Sahabat', by the Malaysian singer Najwa Latif, came to have for me during fieldwork with the children of refugees and migrants in the city of Kota Kinabalu. The sweet, youthful and optimistic energy of this song helped me to immerse myself in daily fieldwork trips, easing my transition from English-speaking parent to Malay-speaking fieldworker. The song also allowed me to relax and ignore the frustrations of traffic-bound urban fieldwork, as well as to soothe my frustrations with a society that excluded children who had known no other home.</p> Catherine Allerton ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 84 87 10.30676/jfas.v43i2.77654 Theodicy and Lovindeer’s ‘Wild Gilbert’ on Nicaragua’s Mosquito Coast <p>This article considers the impact of Lovindeer's reggae recording 'Wild Gilbert' on the people of eastern Nicaragua's Mosquito Coast who experienced Hurricane Joan in October 1988. Lovindeer's song which was released shortly afterwards offered a humorous account of Hurricane Gilbert providing a theodicy, examined here that made moral sense for the people of Nicaragua affected by Joan at the time and which was still very popular during the period of my first fieldwork in the early 1990s. &nbsp;</p> Mark Angus Jamieson ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 88 91 10.30676/jfas.v43i2.77628 Kris Kristofferson/John Holt—‘Help Me Make It Through The Night’ <p class="western" style="margin-bottom: 0.08in; line-height: 150%;">As with all the contributors here, my chosen song comes from fieldwork. I spent time in an urban UK mental health community setting, a place which nobody has to attend (it is not part of the statutory psychiatric system), but where people choose to spend time to gain various kinds of support – formal and informal – whilst in other respects living independently despite (in most cases) having a psychiatric diagnosis. Most service users with whom I spent time were male, over forty, long-term unemployed, living on the economic edge, ever fearful about having their benefits withdrawn, and diagnosed with some form of mental illness, most commonly paranoid schizophrenia. My primary reason for being there was to participate in and observe the various interactions around the provision of music in general and music therapy in particular.</p> <p class="western" style="margin-bottom: 0.08in; line-height: 150%;">&nbsp;</p> Simon Procter ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 92 95 10.30676/jfas.v43i2.77710 The Wedding Present—‘Dare’ <p>When the indie band <em>The Wedding Present </em>decided to reprise their 1992 album <em>Seamonsters </em>for a 20<sup>th</sup>anniversary tour, they were lacking a guitarist. By a series of fortunate events I found myself in that role as I boarded a flight to Los Angeles to kick off a round-the-world-trip, playing these songs to thousands of fans. As an ethnographer, from the outset I wanted to document the process of taking on this role in order to better understand what it means to learn to be in a band of untrained but highly-skilled musicians. I also wanted to understand what it means to be in a tight-knit community of fans who create meaning and belonging together. The fieldwork was deeply participatory and opportunistic in this sense: this was not a project that I could have planned for. My role as an active member in the group provided rich insights into the span of everyday life in a rock band – from the momentary, miraculous subtleties of performing together live, to the banal politics of sharing hotel rooms, loading the van, days spent driving, and time spent not doing much in particular. The song ‘<em>Dare’ </em>captures for me much of the magic of this strange, exhilarating fieldwork experience.&nbsp;</p> Patrick Alexander ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 96 99 10.30676/jfas.v43i2.77711 Blessing the Rains: Fieldwork Meditations on ‘Africa’ by Toto <p>As an anthropologist who works in West Africa, I have ambivalent feelings towards the 1982 song ‘Africa’ by Toto. It is a song that lyrically does not make sense, although powerfully draws its audience into a romanticized mental imagery of the continent with “drums echoing,” “wild dogs crying,” and “old men” with “long forgotten words or ancient melodies.” Despite my annoyance at and critique of the lyrics and music video, I often found myself humming the lyrics “I bless the rains down in Africa” during my fifteen months fieldwork in the small town in south-eastern Ghana. This paper explores how the song came to signify for me a plea for disconnection from the relations I had worked to develop and a celebration when that disconnection was momentarily achieved during the downpours in the rainy seasons. <em>Fieldwork, participant observation, culture shock, West Africa</em></p> Julie Jenkins ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 100 103 10.30676/jfas.v43i2.77705 Fans Negotiating Performer Personas: ‘Melt’ by ryo feat. Hatsune Miku Rafal Zaborowski ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 104 108 10.30676/jfas.v43i2.77708 Michael Jackson—‘Billie Jean’ <p style="margin-bottom: 0.11in; line-height: 200%;"><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">In the first few months of my fieldwork in Bolivia the death of Michael Jackson prompted a shift in the soundtrack to daily life: for a brief window his music was everywhere. In the weeks that followed, I witnessed two Michael Jackson impersonators perform, one outside a church and one outside a school in the days that followed. Here I set the encounters with these two Michaels within the sonic world I had previously experienced, and frame them as ‘stagings’: momentary performances where cosmopolitan figures and frames are brought into local performances. I recount other such stagings and suggest that Michael Jackson’s death made him available to be danced in different contexts in which the new Bolivian modernity is produced.</span></span></p> Martyn Wemyss ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 109 113 10.30676/jfas.v43i2.78147 Sade—‘By your side’ <p>With a reference to Sade's song, ‘By your side’, I work through the unexpected intimacies of fieldwork.&nbsp; I detail the subtle progression of my relationship with my primary interlocutors, and our morphing circumstances during fieldwork and beyond.&nbsp; Writing against the normative understanding of the 'omniscient, omnipotent, lone, white, male anthropologist' that caricatured my initial training in the discipline, Sade's song situates fieldwork moments, and life beyond fieldwork, squarely in the messy, turbulent nature of life.</p> Joy Natalie Owen ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 114 117 10.30676/jfas.v43i2.77652 Marking Indigeneity: The Tongan Art of Sociospatial Relations Matti Eräsaari ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 118 120 10.30676/jfas.v43i2.78000 Sámi Society Matters Grace I-An Gao ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 121 123 10.30676/jfas.v43i2.77997 Moral Anthropology: A Critique Antti Lindfors ##submission.copyrightStatement## 2019-02-06 2019-02-06 43 2 124 126 10.30676/jfas.v43i2.77998