Browse Titles - 320 results
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Devil’s Mills. Roundabouts Don't Build Houses Any More (Ördögmalom)
directed by Janos Tari, fl. 2006 (London, England: Royal Anthropological Institute, 2006), 55 mins
The everyday life of migrant fun fair operators is the filter through which we view the social and economic factors of the 20th and early 21st century that define the life and work of this social group. Hungary's accession to the EU has presented new challenegs and difficulties to them continuing their traditional...
Sample
directed by Janos Tari, fl. 2006 (London, England: Royal Anthropological Institute, 2006), 55 mins
Description
The everyday life of migrant fun fair operators is the filter through which we view the social and economic factors of the 20th and early 21st century that define the life and work of this social group. Hungary's accession to the EU has presented new challenegs and difficulties to them continuing their traditional trade and lifestyle. Interest in their services has decreased considerably, so this once thriving form of business is now on the decli...
The everyday life of migrant fun fair operators is the filter through which we view the social and economic factors of the 20th and early 21st century that define the life and work of this social group. Hungary's accession to the EU has presented new challenegs and difficulties to them continuing their traditional trade and lifestyle. Interest in their services has decreased considerably, so this once thriving form of business is now on the decline.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Janos Tari, fl. 2006
Author / Creator
Janos Tari, fl. 2006
Date Published / Released
2006
Publisher
Royal Anthropological Institute
Topic / Theme
German, Slovak, Hungarian-Romanian, Economics, Entertainment industry, Migrant life, Fairs and festivals, Ethnography, Germans, Romanians
Copyright Message
Copyright 2006. Used by permission of Royal Anthropological Institute. All rights reserved.
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Disappearing World, A Clearing in the Jungle
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1970), 40 mins
In common with many other Indian groups in South America, the culture of the Panare Indians of Venezuela is threatened by their almost daily contact with neighbouring creoles, Spanish-speaking peasants. However, in spite of nearly fifty years of interaction, their culture has remained distinctively Indian.
The fil...
Sample
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1970), 40 mins
Description
In common with many other Indian groups in South America, the culture of the Panare Indians of Venezuela is threatened by their almost daily contact with neighbouring creoles, Spanish-speaking peasants. However, in spite of nearly fifty years of interaction, their culture has remained distinctively Indian.
The film focuses on activities of their daily life, such as making cassava, preparing blow-darts, hunting and gathering. The Indians strongly...
In common with many other Indian groups in South America, the culture of the Panare Indians of Venezuela is threatened by their almost daily contact with neighbouring creoles, Spanish-speaking peasants. However, in spite of nearly fifty years of interaction, their culture has remained distinctively Indian.
The film focuses on activities of their daily life, such as making cassava, preparing blow-darts, hunting and gathering. The Indians strongly resented the presence of the camera-crew; indeed, as Dumont points out early in the film, they were loath to reveal details of their belief-system even to him, although he had been living with them for eighteen months. This was the first and the shortest of the films in the Disappearing World series. Although useful and interesting, it is relatively superficial and its commentary contains some anthropological oddities: it cannot be compared with the much more sophisticated films made later in the series.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Jean-Paul Dumont, fl. 1970, Charlie Nairn, fl. 1974
Author / Creator
Charlie Nairn, fl. 1974, Jean-Paul Dumont, fl. 1970
Date Published / Released
1970
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Panare, Cultural change and history, Societal structure, American Indians, Africans
Copyright Message
Copyright © 1970 by the Royal Anthropological Institute
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Disappearing World, Embera: The End of the Road
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 50 mins
The way of life of the 10,000 Embera Indians who live in the Choco region of Colombia, South American, is threatened by the encroachments of Negro Libres (descendants of freed slaves) and by the expansion of the Pan-American highway which cuts through their land. The film's main concern is to show the effects of i...
Sample
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 50 mins
Description
The way of life of the 10,000 Embera Indians who live in the Choco region of Colombia, South American, is threatened by the encroachments of Negro Libres (descendants of freed slaves) and by the expansion of the Pan-American highway which cuts through their land. The film's main concern is to show the effects of interaction between the Embera river dwellers and two groups of outsiders: the Libres with whom they trade, and the local Catholic missi...
The way of life of the 10,000 Embera Indians who live in the Choco region of Colombia, South American, is threatened by the encroachments of Negro Libres (descendants of freed slaves) and by the expansion of the Pan-American highway which cuts through their land. The film's main concern is to show the effects of interaction between the Embera river dwellers and two groups of outsiders: the Libres with whom they trade, and the local Catholic mission which administers education, religion and civil justice. Although the Embera are exploited by the Libres (who, for example, sell them hunting dogs at very high prices) both groups are poor and largely without rights in Colombian society. In an interview, the Embera explain to the anthropologist that they want protection from the physical attacks of the Libres and legal rights over the land which they have inhabited for many years. Sequences such as this bring out the Embera's plight: they are caught between the bulldozers and the banknotes of the Libres. We are shown the material culture and way of life of the Indians (canoe building, pot making, hunting, curing rituals) but not in a romanticised way, and the polemical organisation of the film allows the ethnographic details of the life of these river Indians to be placed in a wide social and economic context.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Ariane Deluz, fl. 1971, Brian Moser, fl. 1960, Chris Kelly, fl. 1971
Author / Creator
Brian Moser, fl. 1960, Ariane Deluz, fl. 1971
Date Published / Released
1971
Publisher
Royal Anthropological Institute
Series
Disappearing World
Speaker / Narrator
Chris Kelly, fl. 1971
Topic / Theme
Chocoe, Ethnic relations, Societal structure, Shamanism, Cultural change and history, American Indians, Asians
Copyright Message
Copyright © 1971 by the Royal Anthropological Institute
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Disappearing World, Last of the Cuiva
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 1 hour 6 mins
The film focuses on recent changes in the culture and society of the Cuiva, hunters and gatherers in a remote forest region of south-eastern Colombia, brought about through contact with Colombian settlers. Two groups of Cuiva are shown: one is relatively isolated, while the other has had extensive contacts with th...
Sample
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 1 hour 6 mins
Description
The film focuses on recent changes in the culture and society of the Cuiva, hunters and gatherers in a remote forest region of south-eastern Colombia, brought about through contact with Colombian settlers. Two groups of Cuiva are shown: one is relatively isolated, while the other has had extensive contacts with the settlers. The first group live a nomadic life moving frequently: the men hunt and fish, the women gather. The second group has been d...
The film focuses on recent changes in the culture and society of the Cuiva, hunters and gatherers in a remote forest region of south-eastern Colombia, brought about through contact with Colombian settlers. Two groups of Cuiva are shown: one is relatively isolated, while the other has had extensive contacts with the settlers. The first group live a nomadic life moving frequently: the men hunt and fish, the women gather. The second group has been drawn into the Colombian economy, working occasionally for the ranchers to earn money to buy trade goods. The film also usefully includes interviews with white ranchers, showing their racist attitudes to the Indians, whom in the past they feared and on whose land they are now continually encroaching. The basic incompatibility between the economic systems of the Cuiva (based on communal distribution of food, gift-giving and receiving), and that of the settlers who attempt to survive within the world-capitalist market, is startlingly illustrated. Unlike later films in the series, The Last of the Cuiva relies on a moving commentary recorded during filming by the French-Canadian anthropologist, Bernard Arcand, who emphasises that the traditional way of life of the Cuiva (whom he describes, following Sahlins, as exemplifying the `original affluent society') will be seriously damaged by these contacts with whites. Rather than giving a more conventional anthropological description, Arcand's commentary is a humanist plea for the survival of hunter-gatherer groups, and carries an implicit criticism of western lifestyles.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Bernard Arcand, 1945-2009, Brian Moser, fl. 1960
Author / Creator
Brian Moser, fl. 1960, Bernard Arcand, 1945-2009
Date Published / Released
1971
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Cuiba, American Indians, Cultural norms, Cultural change and history
Copyright Message
Copyright © 1971 by the Royal Anthropological Institute
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Disappearing World, War of the Gods
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 1 hour 7 mins
While relying on a polemical stance directed against the cultural genocide wrought by missionaries, War of the Gods also contains a wealth of information and detail about Amazonian Indian cosmology, social life and sexual division of labour. Two groups of Indians from the Vaupes region of Colombia are shown, the M...
Sample
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1971), 1 hour 7 mins
Description
While relying on a polemical stance directed against the cultural genocide wrought by missionaries, War of the Gods also contains a wealth of information and detail about Amazonian Indian cosmology, social life and sexual division of labour. Two groups of Indians from the Vaupes region of Colombia are shown, the Maku, who live mainly by hunting and gathering, and the sedentary Barasana, who live mainly by farming. The film contrasts the belief sy...
While relying on a polemical stance directed against the cultural genocide wrought by missionaries, War of the Gods also contains a wealth of information and detail about Amazonian Indian cosmology, social life and sexual division of labour. Two groups of Indians from the Vaupes region of Colombia are shown, the Maku, who live mainly by hunting and gathering, and the sedentary Barasana, who live mainly by farming. The film contrasts the belief systems and way of life of the Indians, presented by the anthropologists who worked and lived with them, with those of Protestant and Catholic missionaries. The Protestants, North American Fundamentalists from the Summer Institute of Linguistics, are said to have used their organisation as a cover in order to be allowed to work with the Indians, because open Protestant missionary activity would not have been acceptable to the authorities. No attempt is made to gloss over the complexities of contact between Whites and Indians: the Barasana themselves want change, and the missionaries' influence is undoubtedly more beneficial to the Indians than that of rubber gatherers. Included in this film is an interview — using voice-over — with a Maku shaman, and there are scenes from the Barasana moloka, the communal house which is a centre of social and domestic activity. The climax of the film is a contrasting look at a church service at the S.I.L. headquarters, a Barasana ritual dance (accompanied by the ritual use of the hallucinogen yage), and a Mass at the Catholic mission attended by some of the Indians who took part in the ritual dance. Some missionaries who have seen this film consider that its editing is unfair to the S.I.L., but the head of another important missionary organisation has said that it should be screened during missionary training courses.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Christine Hugh-Jones, fl. 1971, Stephen Hugh-Jones, 1945-, Peter Silverwood-Cope, fl. 1971, Brian Moser, fl. 1960
Author / Creator
Brian Moser, fl. 1960, Christine Hugh-Jones, fl. 1971, Stephen Hugh-Jones, 1945-, Peter Silverwood-Cope, fl. 1971
Date Published / Released
1971
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Colombian, Cultural change and history, Religious beliefs, Missionaries, American Indians, English
Copyright Message
Copyright © 1971 by the Royal Anthropological Institute
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Disappearing World, The Meo
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute), 55 mins
Over the last three thousand years the Meo (Miao or Hmong) have migrated south from north and central China to avoid oppression and protect their way of life. Today they live in scattered mountain villages in south China and south-east Asia; and the 250,000 of them who live in the Kingdom of Laos have suffered gre...
Sample
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute), 55 mins
Description
Over the last three thousand years the Meo (Miao or Hmong) have migrated south from north and central China to avoid oppression and protect their way of life. Today they live in scattered mountain villages in south China and south-east Asia; and the 250,000 of them who live in the Kingdom of Laos have suffered greater losses, relative to their numbers, in the Indo-China wars than any other single group. In 1972, when this film was made, the Vietn...
Over the last three thousand years the Meo (Miao or Hmong) have migrated south from north and central China to avoid oppression and protect their way of life. Today they live in scattered mountain villages in south China and south-east Asia; and the 250,000 of them who live in the Kingdom of Laos have suffered greater losses, relative to their numbers, in the Indo-China wars than any other single group. In 1972, when this film was made, the Vietnam war was still at its peak; therefore it is not surprising that a fairly straightforward ethnographic account is combined with a more journalistic analysis of the political situation. Indeed it would be difficult to approach a discussion of the Meo without such an emphasis, and the review in RAIN (listed below) is a useful supplement to this. In effect, the film's narrative divides into two parts: first we are introduced to a village which managed to remain neutral and avoid the worst effects of the war (which was why the anthropologist chose it for his fieldwork). The daily life and material culture of the Meo people are shown as they sow rice using slash-and-burn agricultural methods, distil opium for sale and entertainment, and discuss with the anthropologist their fear of conscription and its effects on other villages. Two rituals are shown ( the shaman who performed them was the close friend of the anthropologist) one to banish a nightmare, the other to exorcise the spirit of a man which haunts the house of the brother who accidentally killed him while out hunting.
In the second part of the film we see the Meo who live in American-run refugee camps (which is the majority of them), far removed form the village life of their fellows. The interviews with some of the Meo pilots who fly American B28 bombers over their homeland emphasise the tragic absurdities of such a war; for these Meo are not sure exactly who the `enemy' are, each one giving vague answers to the interviewer's questions.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Jacques Lemoine, Brian Moser, fl. 1960
Author / Creator
Brian Moser, fl. 1960, Jacques Lemoine
Date Published / Released
1972
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Miao, Soldiers, War, Refugees, Cultural identity, Tribal and national groups
Copyright Message
Copyright © 1972 by Disappearing World Films. Contact Royal Anthropological Institute
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Disappearing World, The Tuareg
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1972), 54 mins
This film is about a group of nomadic Tuareg living high up in the Hoggar Mountains near Tamanrasset in Algeria. The main focus of the film is the collapse of the former economic basis of their camps. In 1962 the Algerian government banned the system of slavery and contract labour which had helped to keep the Tuar...
Sample
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1972), 54 mins
Description
This film is about a group of nomadic Tuareg living high up in the Hoggar Mountains near Tamanrasset in Algeria. The main focus of the film is the collapse of the former economic basis of their camps. In 1962 the Algerian government banned the system of slavery and contract labour which had helped to keep the Tuareg camps supplied with grain. Now, instead of undertaking 500 mile long trading journeys to Niger, Tuareg buy grain in Tamanrasset with...
This film is about a group of nomadic Tuareg living high up in the Hoggar Mountains near Tamanrasset in Algeria. The main focus of the film is the collapse of the former economic basis of their camps. In 1962 the Algerian government banned the system of slavery and contract labour which had helped to keep the Tuareg camps supplied with grain. Now, instead of undertaking 500 mile long trading journeys to Niger, Tuareg buy grain in Tamanrasset with money obtained form selling cheap leather goods to the burgeoning tourist trade. The commentary, by Jeremy Keenan, also introduces aspects of the Tuareg kinship system, and material about the social life of the group.
The second part of the film concentrates on the devastating effects of the recent drought on this way of life. The pasture is now so poor that camps have to move more frequently, and so traditional patterns of life are being abandoned in favour of a sedentary existence as cultivators alongside the Tuareg's former slaves.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Jeremy Keenan, 1945-, Charlie Nairn, fl. 1974
Author / Creator
Charlie Nairn, fl. 1974, Jeremy Keenan, 1945-
Date Published / Released
1972
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Tuareg, Social strata, Cultural change and history, African ethnic groups
Copyright Message
Copyright © 1972 by Disappearing World Films. Contact Royal Anthropological Institute
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Disappearing World, Kataragama: A God for All Seasons
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1973), 53 mins
In ever-increasing numbers Sinhalese of all religions (Muslims, Christians and Buddhists) are turning to Kataragama, an ancient Hindu God, at times of trouble and desperation. Once a year pilgrims make the journey to Kataragama's shrine in southeast Sri Lanka (Ceylon) to fulfil vows by performing acts of penance a...
Sample
directed by Charlie Nairn, fl. 1974; produced by Charlie Nairn, fl. 1974, in Disappearing World (London, England: Royal Anthropological Institute, 1973), 53 mins
Description
In ever-increasing numbers Sinhalese of all religions (Muslims, Christians and Buddhists) are turning to Kataragama, an ancient Hindu God, at times of trouble and desperation. Once a year pilgrims make the journey to Kataragama's shrine in southeast Sri Lanka (Ceylon) to fulfil vows by performing acts of penance and worship in payment for a favour received. Kataragama is called on to help with a wide range of problems (unemployment, sickness, exa...
In ever-increasing numbers Sinhalese of all religions (Muslims, Christians and Buddhists) are turning to Kataragama, an ancient Hindu God, at times of trouble and desperation. Once a year pilgrims make the journey to Kataragama's shrine in southeast Sri Lanka (Ceylon) to fulfil vows by performing acts of penance and worship in payment for a favour received. Kataragama is called on to help with a wide range of problems (unemployment, sickness, examinations, personal relationships) and is appealed to by people of all social backgrounds, notably the growing middle class and urban dwellers. A good third of the film is concerned with the annual festival, showing the often gruesome and sensational acts which the pilgrims perform including fire-walking, and the piercing of body and tongue with needles – all acts designed to obtain forgiveness and grace. One man is suspended from hooks in his back – a self-torture undertaken with apparent joy by a man who, like many others that perform such acts, feels himself (after a time) to be possessed by the God's spirit. These rather sensational acts are interwoven with the story of a peasant family whose son has disappeared, leading them eventually to seek help from Kataragama. The unfolding of this personal drama (with reconstruction of early episodes, and voice-over to detail their thoughts and feelings) forms the context for the events we see at the festival. The effect of the interweaving of these two `stories' is to place the otherwise purely exotic spectacle of the pilgrims' acts of penance within a universally understandable social context – that of the despair of a family whose young son is lost. The unplanned return of the boy, apparently in response to the family's appeal to Kataragama, provides a dramatic and moving finale to a film which has been compared in some respects to the great Italian neo-realist films. Clearly this film is an important one both for anthropologists and those concerned with ethnographic film per se.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Gananath Obeyesekere, 1930-, Charlie Nairn, fl. 1974
Author / Creator
Charlie Nairn, fl. 1974, Gananath Obeyesekere, 1930-
Date Published / Released
1973
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Sri Lankan, Religious beliefs, Sri Lankan people, Religious practices, Spanish
Copyright Message
Copyright © 1973 by the Royal Anthropological Institute
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Disappearing World, The Dervishes of Kurdistan
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1973), 59 mins
A community of Kurds resident in Iran on the border with Iraq forms the subject of this film. Many of the inhabitants of the community are refugees from Kurdish areas of Iraq and the villagers are Qadiri Dervishes – followers of an ecstatic mystical cult of Islam. The unusual manifestations of the Qadiri Dervish...
Sample
directed by Brian Moser, fl. 1960; produced by Brian Moser, fl. 1960, in Disappearing World (London, England: Royal Anthropological Institute, 1973), 59 mins
Description
A community of Kurds resident in Iran on the border with Iraq forms the subject of this film. Many of the inhabitants of the community are refugees from Kurdish areas of Iraq and the villagers are Qadiri Dervishes – followers of an ecstatic mystical cult of Islam. The unusual manifestations of the Qadiri Dervish faith are explored in this film, both in the context of religious ceremonies and everyday life, with the main focus on the spiritual a...
A community of Kurds resident in Iran on the border with Iraq forms the subject of this film. Many of the inhabitants of the community are refugees from Kurdish areas of Iraq and the villagers are Qadiri Dervishes – followers of an ecstatic mystical cult of Islam. The unusual manifestations of the Qadiri Dervish faith are explored in this film, both in the context of religious ceremonies and everyday life, with the main focus on the spiritual and temporal power wielded by their leader, Sheikh Hussein. For the Durvishes, Hussein is the direct representative of Allah and, therefore, by serving the Sheikh they are also serving God. In rituals presided over by him they have the power to carry out acts which would normally be harmful, such as having electricity passed through their bodies, eating glass, handling poisonous snakes and skewering their faces. The film includes interviews, not only with members of the cult, but also with the local mullah (representative of orthodox Islam), in an attempt to explore the difference between those two manifestations of the same faith. The film is visually compelling, especially the sequences showing religious celebration and ceremony.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Ali Bulookbashi, fl. 1973, Andre Singer, fl. 1975, Brian Moser, fl. 1960, John Sheppard
Author / Creator
Brian Moser, fl. 1960, Ali Bulookbashi, fl. 1973, Andre Singer, fl. 1975
Date Published / Released
1973
Publisher
Royal Anthropological Institute
Series
Disappearing World
Speaker / Narrator
John Sheppard
Topic / Theme
Kurdish, Kurdish people, Religious practices, Religious communities, Dervishes, Europeans, Afghans
Copyright Message
Copyright © 1973 by the Royal Anthropological Institute
×
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Disappearing World, In search of cool ground, Part 1. The Mursi: The Mursi Trilogy
directed by Leslie Woodhead; produced by Leslie Woodhead, in Disappearing World (London, England: Royal Anthropological Institute, 1974), 54 mins
What made this trilogy special was that, unlike most television reportage, it had a temporal dimension. That is to say, it offered not a brutal, intrusive and uncomprehending snapshot, but a sympathetic, well-informed and thoughtful history of ten difficult years in the life of a tribe. Its insight derived from an...
Sample
directed by Leslie Woodhead; produced by Leslie Woodhead, in Disappearing World (London, England: Royal Anthropological Institute, 1974), 54 mins
Description
What made this trilogy special was that, unlike most television reportage, it had a temporal dimension. That is to say, it offered not a brutal, intrusive and uncomprehending snapshot, but a sympathetic, well-informed and thoughtful history of ten difficult years in the life of a tribe. Its insight derived from an anthropologist, David Turton, who has been studying the Mursi for years and who was able to provide the absolutely essential explanati...
What made this trilogy special was that, unlike most television reportage, it had a temporal dimension. That is to say, it offered not a brutal, intrusive and uncomprehending snapshot, but a sympathetic, well-informed and thoughtful history of ten difficult years in the life of a tribe. Its insight derived from an anthropologist, David Turton, who has been studying the Mursi for years and who was able to provide the absolutely essential explanations of the mysterious events filmed by the Granada crew. This is the kind of illumination which is often provided by books or by personal experience, but almost never by television. John Naughton This is a trilogy about aspects of the culture of two groups of people, the Kwegu and the Mursi, in Ethiopia. The titles are: THE MURSI, THE KWEGU, THE MIGRANTS.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David Turton, Leslie Woodhead
Author / Creator
Leslie Woodhead, David Turton
Date Published / Released
1974
Publisher
Royal Anthropological Institute
Series
Disappearing World
Topic / Theme
Mursi, Societal structure, Tribal and national groups, Group dynamics, Africans
Copyright Message
Copyright © 1974 by the Royal Anthropological Institute
×
