Gillian Goslinga, assistant professor of anthropology, assistant professor of science in society, has an array of research specialties including kinship and the reproductive technologies, spirit possession and ritual, epistemologies of embodiment and the body, feminist science studies and feminist ethnography. She works primarily in South India. (Photo by Stefan Weinberger '10)
Gillian Goslinga has joined the Anthropology Department as an assistant professor of anthropology. She also is an assistant professor of Science in Society.
A graduate of the University of California at Santa Cruz doctoral program in the History of Consciousness, Goslinga was attracted to Wesleyan for many reasons, including “the school’s progressive ethos and the ’scholar-teacher’ pedagogical model.” She says teaching is one of her passions.
“The anthropology department is committed to cutting edge theory-cum-praxis,” Goslinga says.
She says she appreciates the combination of theoretical innovation and creativity and serious intellectual inquiry.
“That made an impression,” she explains. “People at Wesleyan seemed genuinely supported and supportive as well as encouraged to break new ground with their scholarship. I was at once attracted to the intellectual rigor and creativity,
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The 35-minute film, Songs of a Sorrowful Man, explores the life of a painter, composer and singer living in West Bengal, India.
The new film, Songs of a Sorrowful Man, directed by Ákos Östör, professor of anthropology, emeritus, and edited by film major Joe Sousa ’03, began its journey debuting at the biennial Royal Anthropological Film Festival, held at Leeds University in July.
The film was then shown at the the American Anthropological Association meeting in Philadelphia, Pa. Dec. 2-6. It also was screened recently at at Brown where it was featured as the lead event in Brown’s “Year of India” celebrations (2009-10).
The “sorrowful man,” Dukhushyam Chitrakar is a charismatic figure who encourages women to take up the traditional craft of scroll painting and musical composition pursued almost exclusively by men before.
In a series of edited sequences, the film chronicles Dukhushyam’s vision of the decline and rebirth of his art; his tolerant Sufi Muslim spirituality; his engagement with Hindus, Muslims and the modern world; his encyclopedic knowledge of changing musical and painting histories and techniques; the influence of his beliefs on his way of life, and his teachings for future generations of painters and singers in his community.
Read more about the film in an Oct. 27, 2009 Wesleyan Connection article.
J. Kēhaulani Kauanui, associate professor of American studies, associate professor of anthropology, examines how "blood racialization" defines Hawaiian identity as measurable and dilutable. (Photo by Stefan Weinberger '10)
This issue we feature 5 Questions with… J. Kēhaulani Kauanui, associate professor of American studies, associate professor of anthropology.
Q. How did you become interested in your area of study?
JKK: My area of study is related to researching the history of U.S. imperialism in the Pacific Islands. Researching indigenous issues in Hawai`i, I found it necessary to study how the U.S. government has treated Kanaka Maoli (Native Hawaiians) in light of its U.S. federal policy on American Indians and Alaska Natives. The policy is convoluted. The U.S. government has alternately classified Kanaka Maoli, as well as other Native Pacific Islanders under the Asian or “Asian Pacific” category, but since 1906, Kanaka Maoli have also specifically been included in over 160 legislative acts that apply to American Indians. This contradiction has pushed me to better understand U.S. racial formations and indigenous sovereignty politics. This has led me to other research areas, including settler colonialism, self-determination, decolonization, and international law.
Q. What was the most interesting aspect of researching and writing your recent book Hawaiian Blood: Colonialism and the Politics of Sovereignty and Indigeneity?
JKK: My book critically examines how “blood racialization” defines Hawaiian identity as measurable and dilutable. Blood racialization is the process by which racial meaning is ascribed—in this case to Kanaka Maoli – through ideologies of blood quantum. The contemporary
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