The article describes Boris Kuhar's (1929-2018) career and his role on the Slovene Ethnographic Film Committee and analyses Kuhar's most important ethnological films produced by Television Ljubljana and the Slovene Ethnographic Museum. It presents Kuhar as a very practical film-maker and the first Slovene ethnologist who recorded footage himself and who knew the whole process of film production.
Članek predstavlja poklicno pot Borisa Kuharja (1929-2018) in njegovo vlogo v slovenskem Odboru za etnografski film in analizira Kuharjeve pomembnejše etnološke filme iz produkcije Televizije Ljubljana in Slovenskega etnografskega muzeja. Avtorja predstavi kot izrazitega filmskega praktika in prvega slovenskega etnologa, ki je sam snemal filme in poznal celoten proces filmske produkcije.
The article talks about the first decade of the appearance in Slovenia of Grandfather Frost (1948/1958). The new Socialist authorities introduced this figure as part of New Year celebrations, following the Soviet Union model, with the aim to enthusing children about the new system, the new country and Tito. The article talks about the shaping of representations of Grandfather Frost's characteristics in Slovenia, his home, his manner of arrival in Slovenia, his companions, gift recipients and his speeches, as well as criticisms of Grandfather Frost.
Članek govori o dedku Mrazu v prvem desetletju njegovega pojavljanja v Sloveniji (1948-1958). V okviru praznovanj novoletne jelke ga je nova socialistična oblast uvedla po zgledih iz Sovjetske zveze z namenom, da bi otroke navdušila nad novim sistemom, državo in Titom. Članek obravnava oblikovanje predstav o lastnostih dedka Mraza v Sloveniji, njegovem domovanju, načinu prihoda v naše kraje, njegovih spremljevalcih, obdarovancih, njegovih govorih in kritike na njegov račun.
The author presents her six months' research experience at the National Museum of Contemporary Art in Bucharest in 2017. She took part in the setting up of cooperation between the museum and the residents of the nearby neighbourhood of Rahova-Uranus. She describes this cooperation between museum staff (curators and management), young artists and some of the Roma residents of Rahova-Uranus. She introduces the promising and important role of the knowledge of ethnologists and cultural anthropologists in participative museum projects.
Avtorica v besedilu predstavi svojo izkušnjo šestmesečnega raziskovalnega dela v Nacionalnem muzeju sodobne umetnosti v Bukarešti v Romuniji leta 2017. Sodelovala je pri rekonstrukciji muzeja, in sicer vzpostavljanju sodelovanja med muzejem in prebivalci bližnje soseske Rahova - Uranus. Predstavlja prakso sodelovanja med muzejskim osebjem (tako kustosi kot menedžmentom), mladimi umetniki in nekaterimi prebivalci soseske Rahova - Uranus. Poda perspektivno in pomembno vlogo znanja etnologov in kulturnih antropologov v participativnih projektih muzejev.
The article considers the fine dividing line between the use and misuse of ethnographic material "to the benefit of general social development". It questions both ethnology, whose theoretical structures have contributed to ideologies of European ethno-centrism, and cultural anthropology, the beginnings of which are even more questionable since it represented official principles of colonial administrations and helped shape the foundations of policies of assimilation through which "modern" countries would "civilise savages".
Članek razmišlja o tanki ločnici med uporabo in zlorabo etnografskega gradiva v "prid splošnega družbenega razvoja". Pod vprašaj postavi tako etnologijo, ki je v svojih teoretskih zasnovah prispevala k ideologijam evropskega etnocentrizma, kot kulturno antropologijo, katere začetki so še toliko bolj vprašljivi, saj je zastopala uradna načela kolonialnih uprav in sooblikovala temelje asimilacijskih politik, s katerimi naj bi "moderne" države "civilizirale divjake". S tem je neposredno ali posredno odgovorna za etnocid marsikaterih staroselskih skupnosti.
The field of anthropology of design or design anthropology has developed only over the last two decades and primarily over the last few years has been attracting increasing attention both within and outside the academic sphere, where its practical value is expanding in different ways. The authors warn of the terminological and translation issues that accompany this anthropological direction. Design here is a broad term involving creating or bringing into being by integrating knowledge, experience, aspirations and free thought.
Področje antropologije dizajna ali snovalske antropologije se je razvilo šele v zadnjih dveh desetletjih in predvsem v zadnjih nekaj letih pridobiva vedno več pozornosti tako znotraj kot zunaj akademskega sveta, kjer se njegova uporabna vrednost širi v različne razsežnosti. Avtorja prav tako opozorita na terminološke in prevodne težave, ki spremljajo to antropološko usmeritev. Izraz dizajn je namreč veliko širši od oblikovanja.
