Water Mamas among the Makushi in Guyana

Abstract

This article examines folklore concerning water spirits among the Makushi Amerindians in Guyana. Makushi accounts of spirits called ‘water mamas’—twingram or Tuenkaron in Makushi—associate these beings with white people in both past and present. The case is presented here that this folklore reflects Makushi histories and experiences of European contact, colonialism in Dutch and British Guiana, and ongoing relations with Europeans and other outsiders. The themes of abduction, enticement, capricious wealth, and exotic ‘palaces’ found in stories of water mamas relate to these histories and experiences and inscribe them into the present landscape in Guyana. In addition to describing beliefs in water mamas and examining Makushi histories of interaction with Europeans, the article begins to explore the comparative context of this folklore in relation to other beliefs in water spirits across Amazonia and beyond.     

Shipwrecks and the Maritime Cultural Landscape of the Gulf of the Farallones

Journal of Maritime Archaeology - The waters of the Gulf of the Farallones are a diverse and expansive maritime cultural landscape that includes at least 400 historically documented shipwrecks....     

Becoming Cleopatra: the forgotten Zionism of Raphael Lemkin

The biography of Raphael Lemkin has emerged of late as a highly contested lieu de memoire in charged political debates in Europe, the United States and the Middle East about the meaning, past and present, of the Holocaust and genocide. At the same time, scholars have attempted to demythologize Lemkin by reinscribing his life into its pre-World War II Polish context. Yet thus far no one has identified the precise political activities and affiliations that shaped Lemkin’s concept of genocide. In this article, I show that Lemkin, far from being a Jewish Bundist, a Polish nationalist or an apolitical cosmopolitan, was an active member of the interwar Polish Zionist movement, from which he drew the ideas that inspired his idea of the crime of genocide. In the first part of this article, I use his published writings from the 1920s and 1930s in Hebrew, Yiddish and Polish to recover a rich Jewish political framework in which his concepts of barbarism and genocide first began to emerge. In the second section, I ask how this crucial dimension of Lemkin’s life and thought vanished from the historical record, and why it has yet to be recovered in spite of the boom in biographical scholarship. Finally, I suggest how the recovery of Lemkin’s Zionism helps to reframe the current political impasse in the historiography of Holocaust and genocide studies.     

‘Why did they take him away?’ The theft of Neddy Larkin

Neddy Larkin, a Bundjalung man from New South Wales, Australia, was stolen from his grave and in 1891 sold to the Peabody Museum, Cambridge, MA. This paper uses the methodology and concepts outlined in Latour’s An Inquiry into Modes of Existence to chart Neddy Larkin’s transitions from kinsman to scientific data.     

Democratic ambivalence in post mortem

Pablo Larraín’s trilogy of films has broken new ground in Chilean cinema by offering a new perspective on realities of the Pinochet dictatorship, the outbreak of the coup, and the dissolution of Pinochet’s power. This article explores Larraín’s use of banality, which, I claim, realizes a democratic ambivalence that is latent in historical representation and History proper. Rather than accusing Larraín’s films of conservatism or apathy, I argue that these films seek to destabilize the known categories of identification: a radical gesture against any form of establishment. Paying particular attention to Larraín’s aesthetics, I claim that the radical gesture of Post mortem (2010) lies in its innovations at the level of mise-en-scène and editing. Drawing on philosophical insights in Jacques Rancière’s and Gilles Deleuze’s writings on historical representation and ambivalent representations, I argue that Larraín avoids conventional forms of historical fiction and Latin American political cinema.