I am a Canadian social anthropologist living in England, and my research is about material culture and heritage in Mexico. I have always been fascinated by the ways that people make their cultures through objects, food, and space; this almost certainly started with my mum who is always making something stitched, knitted, savoury, or sweet, often all at the same time. I hope that you enjoy the books on my list – I chose them as they each have something important to teach us about how our consumption of things affects those who make them, often in profound ways.
I wrote...
The Value of Aesthetics: Oaxacan Woodcarvers in Global Economies of Culture
In The Value of Aesthetics, I explore the work of Oaxacan woodcarvers, whose craft began in the mid-twentieth century and has always been done for the commercial market. One family has become the most critically and economically successful, surpassing their neighbors who all depend on this work for their livelihoods. I link the dominance of this family to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the Mexican market for traditional crafts, and the international market for indigenous art. My book shows how artisans’ aesthetic practices make and redefine social and political relationships, and that aesthetic change repackages artisans’ everyday lives into commodified objects in Oaxaca – and everywhere else in the world.
Bill Wood’s engaging and accessible book is a must-read for anyone who is interested in travelling to Mexico or Mexican arts and crafts. Based on research with Zapotec weavers from Teotitlán del Valle, Oaxaca, Made in Mexico shows how it is impossible to understand how and why such items are made today without also knowing about the ways that Oaxaca and Zapotec people are marketed as part of an industry that sells authenticity and “Zapotecness.” Through clear analysis of the marketing of Oaxaca as a tourism destination and the making and marketing of Zapotec textiles as indigenous art and artifacts in both Mexico and the United States, Made in Mexico shows how Mexican craftworks today are very much global cultural commodities.
Made in Mexico introduces us to the people, places, and ideas that create Zapotec textiles and give them meaning. From Oaxaca, where guides escort tourists to weavers' homes and then to the shops and markets where weavings are sold, to the galleries and stores of the American Southwest, where textiles are displayed and purchased as home decor or ethnic artwork, W. Warner Wood's ethnographic account crosses the border in both directions to describe how the international market for Native American art shapes weavers' design choices. Everyone involved in this enterprise draws on images of rustic authenticity and indigenous tradition connecting…
I love this book because it combines an account of the historical development of the market for acrylic paintings by Pintupi Aboriginal Australian artists with a critical analysis of the ways that contemporary art markets create the idea of the ‘Aboriginal artist’ in the first place. Because Myers had already conducted research on Pintupi culture, rituals, and personhood before he came to write this book, he is able to fully explore the aesthetic and cosmological processes that underpin the actual practices of painting that his research participants use in their work.
By also investigating how dealers, museum curators, and collectors in Australian and international Aboriginal art worlds view and value Pintupi painters and their works, Myers shows very clearly the changes in meaning and value that take place when indigenous material culture circulates as artistic and ethnic commodities in national and international markets.
Painting Culture tells the complex story of how, over the past three decades, the acrylic "dot" paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors. Since the early 1970s, Fred R. Myers has studied-often as a participant-observer-the Pintupi, one of several Aboriginal groups who paint the famous acrylic works. Describing their paintings and the complicated cultural issues they raise, Myers looks at how the paintings represent Aboriginal people and their culture and how their heritage is translated into exchangeable values. He tracks the way these paintings become high art as…
In Thiefing a Chance, Rebecca Prentice shows us what life is like for women who make clothing in a factory in Trinidad – a livelihood shared by more than 75 million people worldwide, most of them in the Global South. I recommend this book because although Prentice discusses the ways that late-capitalism and neoliberal structural reforms have produced the difficult economic and working conditions that her research participants must cope with, she also shows how the women are not passive subjects in these processes. She documents how they take every opportunity on the factory floor to informally gain skills and to make ‘illicit’ garments out of spare materials, which they can sell outside of work.
However, Prentice resists the temptation to analyze these practices as ‘social resistance,’ and instead shows how such informal practices actually encourage these women to embrace neoliberal identities of competitive, enterprising individuals.
When an IMF-backed program of liberalization opened Trinidad’s borders to foreign ready-made apparel, global competition damaged the local industry and unraveled worker entitlements and expectations but also presented new economic opportunities for engaging the “global” market. This fascinating ethnography explores contemporary life in the Signature Fashions garment factory, where the workers attempt to exploit gaps in these new labor configurations through illicit and informal uses of the factory, a practice they colloquially refer to as “thiefing a chance.”
Drawing on fifteen months of fieldwork, author Rebecca Prentice combines a vivid picture of factory life, first-person accounts, and anthropological analysis to…
Like the other works on my list, Susan Terrio’s book considers how globalization transforms the production, meanings and markets for goods, and the lives of those who make them. Terrio considers how artisanal chocolate makers in Paris and the Bayonne area worked to carve out a high-value market niche for themselves by re-educating the public about the quality and prestige of French handmade chocolates. She documents how they managed to succeed in this project by borrowing terminology and practices from wine connoisseurship, and by linking their handmade chocolate to French identity. I love this book because it provides insights into how our own ideas about taste, quality, and enjoyment are deeply connected to economics, politics, policy, and identity – and because it’s about chocolate, of course!
This absorbing narrative follows the craft community of French chocolatiers--members of a tiny group experiencing intensive international competition--as they struggle to ensure the survival of their businesses. Susan J. Terrio moves easily among ethnography, history, theory, and vignette, telling a story that challenges conventional views of craft work, associational forms, and training models in late capitalism. She enters the world of Parisian craft leaders and local artisanal families there and in southwest France to relate how they work and how they confront the representatives and structures of power, from taste makers, CEOs, and advertising executives to the technocrats of Paris…
This book is highly recommended by myself and my small son, Adam. Pumpkin Soup captures something essential about making things for a living that is not often discussed in more academic texts: how difficult it can be to collaborate with others. The book tells the story of a squirrel, a cat, and a duck who make pumpkin soup together every night. All goes well until Duck decides he wants to do things his way, and a loud and angry argument ensues! The book does not end with a moral for small children about cooperation, but something altogether more ethnographic and familiar to those who work with others – another argument!
Cat, Duck and Squirrel live in an old white cabin, with a pumpkin patch in the garden. Every day Cat slices up some pumpkin, Squirrel stirs in some water and Duck tips in some salt to make the perfect pumpkin soup...Until the day Duck wants to do the stirring...This is a funny, rhythmical story about friendship and sharing, with fabulous animal characters, illustrated in glowing autumnal colours with a brilliant CD featuring music and sound effects!
James Malloy is a ferry captain--or used to be, until he was unceremoniously fired and replaced by a "girl" named Courtney Farris. Now, instead of piloting Brenton Island’s daily lifeline to the glitzy docks of Newport, Rhode Island, James spends his days beached, bitter, and bored.
When he discovers a plan for a private golf course on wilderness sacred to his dying best friend, James is determined to stop such "improvements." But despite Brenton's nickname as "Cooperation Island," he's used to working solo. To keep historic trees and ocean shoreline open to all, he'll have to learn to cooperate with other islanders--including Captain Courtney, who might just morph from irritant to irresistible once James learns a secret that's been kept from him for years.
Loner James Malloy is a ferry captain-or used to be, until he was unceremoniously fired and replaced by a girl named Courtney Farris. Now, instead of piloting Brenton Island's daily lifeline to the glitzy docks of Newport, Rhode Island, James spends his days beached, bitter, and bored.
When he discovers a private golf course staked out across wilderness sacred to his dying best friend, a Narragansett Indian, James is determined to stop such "improvements." But despite Brenton's nickname as "Cooperation Island," he's used to working solo. To keep rocky bluffs, historic trees, and ocean shoreline open to all, he'll have…
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