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Posts Tagged ‘Manuel Joao Ramos’

Panel by Manuel Joao Ramos. See? Not the only person to be influenced by the tropes and styles of Tintin!

Panel by Manuel Joao Ramos. See? Not the only person to be influenced by the tropes and styles of Tintin!

Thanks to Juliet McMullin, who drew my attention to a fascinating article by Manuel João Ramos in the online, open edition of the journal Cadernos de Arte e Antropologica. The article is a fierce defence of the use of sketching as a part of ethnographic observational practice, and is accompanied by a gallery of comic-panel sketches. Why?

Ramos is an Associate Professor of Anthropology based at the Center for International Studies, at the University Institute of Lisbon (ISCTE), with a curious and fascinating list of professional (and, I assume, ethnographic?) interests – travel literature, “NGO militancy” (I’m not even really sure what that might be), and road traffic victims and road safety.

His article – Stop the Academic World, I Wanna get off in the Quai de Branly: Of sketchbooks, museums and anthropology – uses some fascinating language with regard to the use of visual media in anthropology:

… un-genreing and re-genreing anthropological production may help free it from its boring academic format, shake up its stiff argumentation forms and sapped styles – all too reliant [o]n the game of referencing, quoting, paraphrasing and bowing.

Ramos argues that using visual media as an integral part of academic writing is a step towards this “re-genreing” of anthropological production. His language is the language of revolution – “shake up”, “boring”, “free it”. He champions the act of drawing anthropology as countering “the peculiar “game of writing” where the anthropologist imaginarily dissolves his/her self in the voice of orality in the very process of affirming his/her authorship of the text”.

Sound familiar?

I’ve been talking a lot recently about the value of introducing personal politics into archaeological writing through the use of visual media – most recently in a paper I gave at Comics Forum this year. I have long suspected that I am not the only person in the anthropological sciences thinking this way – and Ramos’ article proves me right. I have a feeling that there is a growing community within the anthropological sciences unhappy with traditional modes of publication, and interested in the way in which visual media offer powerful alternatives.

Ramos refers to his drawings as a “sketchbook”, but their combination of text and image, their use of visuality to create narrative, make them, in fact, a comic. And as I did in my article for Advances in Archaeological Practice, he’s arguing for their use as a stand-alone form of professional publication, not simply as a supplement to it.

The use of comics in science is not simply about reshaping scientific knowledge in a more accessible format for a public or non-specialist audience. The use of comics in science can – as Ramos and I have both argued – represent new ways of thinking about science in the first place. What Manuel Ramos and I (and others) are experimenting with represents a step towards a general “re-genreing” not just of science communication, but of science practice.

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A very interesting article over on the Comics Forum site: Anthropology goes Comics by Hannah Wadle. Hannah makes some interesting points that have implications for the use of comics in archaeology, particularly those narratives where “trustworthiness” of data is being questioned or challenged.

There’s also an interesting observation made about the use of drawing as a recording medium – anthropologist and artist Manuel Joao Ramos describing how sketching “evoked communicative moments with his environment”, and the contrast between the “open character of making drawings” and the taking of photographs or video.

It raises a question that has been touched on recently by people at VIA, that the innate subjectivity and interpretation involved in drawing seems to make it a somewhat less aggressive form of recording technique than photography, and thus possibly more appropriate than photography to partner the sorts of interpretative processes that should be taking place “at the trowel’s edge”.

Is this then also perhaps where sequential art might best fit in archaeology?

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