Project Narratives: Investigating Participatory Conservation in the Peruvian Andes

This article shares findings from a participatory assessment study of a community-based environmental monitoring project in the Peruvian Andes. The objective of the project was to generate evidence to support sustainable livelihoods through participatory knowledge generation. With the use of narrative framing, the study retrospectively reconstructs the project's trajectory as perceived by the three stakeholder groups: the community, the researchers, and the implementing NGO. This analysis reveals discrepancies between the stakeholder groups both in their view of the course of events and their understanding of the purpose of the intervention. However, while the storylines depict differing project trajectories, they often agree in terms of long-term goals. The study also uncovers some neglected positive externalities that are of considerable significance to local stakeholders. These include community-to-community knowledge transfer, inter-generational knowledge sharing and ecosystem knowledge revival. The article illustrates how assumptions and expectations about participatory projects are encapsulated in narratives of positive change despite the limited level of agreement among stakeholders about what such a change should comprise. It sheds light on development narratives and their power to shape stakeholders’ perceptions in accordance with their beliefs and priorities. This is of special importance for ecosystem governance projects, which are sensitive to normative differences and subject to competing claims.     

Holocene sediments of the Ustka Cliff (Northern Poland) in view of radiometric dating

The cliff in Ustka is an active one. The area is one of the most eroded sea shores of the Polish coast. The Ustka Cliff mainly consists of Holocene sandy deposits, but its basis is built of glacial till and clay. Field search allowed to recognize the structure and sedimentary conditions of Holocene deposits exposed in the cliff. A comparison of dating results obtained for fossil soils and peat as well as aeolian deposits, using ¹⁴C and TL methods, respectively, with available literature records is presented. The evaluation of results obtained allowed to define three main dune-forming phases for the first time for this part of the Polish coast. During the research studies new data on the processes and environmental conditions was gained and the development of structure of the area during the last 10 thousand years was reconstructed. The analysis of available data from other sections of the southern Baltic coast shows that results obtained are age similar to those determined for the ?eba Spit. The research is part of a project concerning the geomorphology of the Ustka Bay.     

A sense of scent: A review of two books dealing with primate endocrinology

Stoddart, D. Michael. The Scented Ape: The Biology of Human Odour. Cambridge: Cambridge University Press, 1990. ix + 286 pp. including glossary, references, and index. $80 cloth, $24.95 paper.

Ziegler, Toni E. and Fred B. Bercovitch, eds. Socioendocrinology of Primate Reproduction. New York: Wiley‐Liss, 1990. viii + 217 pp. including chapter references and index. $72.50 cloth.     

Further Ektopodontidae (Phalangeroidea,Mammalia) from southwestern Victoria

The youngest members of the Ektopodontidae, an enigmatic family of Phalangeroidea, are reported from southwestern Victoria. Four isolated teeth are described as Ektopodon paucicristata sp. nov. (from the ?mid-?late Pliocene, and early Pliocene) and two isolated Pleistocene teeth are assigned to Darcius duggani Rich, 1986. Previously, the youngest known ektopodontid was early Pliocene.     

Problematizing silences in intangible heritage: unsettling historical records of women in protests

Abstract

This paper addresses questions of women’s visibility in constructed histories, as well as levels of recognition concerning their participation in politics through historical narratives. In particular, historical narratives representing women in protest in the context of waterfront heritage zones associated with the shipbuilding industry are examined, based on examples of two public art projects: Strong Women of the Clydeside: Protests and Suffragettes from Govan’s Hidden Histories led by the artist t s Beall in the Govan area of Glasgow, Scotland and Shipyard is a Woman by Arteria Association and Metropolitanka in Gdansk, Poland.     

Lost boys,invisible girls: stories of Sudanese marriages across borders

Forced migration challenges and changes gender relations. The transnational activities of refugees resettled in the West create gender asymmetries among those who stay behind. This article explores the transnational marriages of young southern Sudanese women (‘invisible girls’), who either stayed in Sudan or remained in refugee camps in Kenya, to Sudanese men who were resettled to America, Canada or Australia (‘lost boys’). Incorporating gender as a relational category into the analysis of transnational practices that migrants and refugees engage in is important. The article argues that there is a need to put feminist analysis at the centre of transnational processes resulting from (forced) migration. It looks at the connections between different geographical locations, the impacts of the migration of young refugee men on bridewealth and marriage negotiations and the gender consequences for young women, men and their families. It is argued that transnational activities, such as marriage, contest, reconfigure and reinforce the culturally inscribed gender norms and practices in and across places. Transnational marriage results in ambiguous benefits for women (and men) in accessing greater freedoms. Anthropological analyses of marriage need a geographical focus on the transnational fields in which they occur. The article seeks to deepen understanding of the nuanced gendered consequences of transnationalism. It shows how gender analysis of actions taken across different locations can contribute to the theorisation of transnational studies of refugees and migrants.     

The sound of music heritage: curating popular music in music museums and exhibitions

A significant amount of previous academic research into popular music museums centres on critiques of the content, design and layout of predominantly authorised institutions. Throughout much of this research, authors consistently criticise the use, or rather, the perceived misuse, of music played within music museums, arguing that the music itself, rather than artefacts, constitutes the most significant part of popular music exhibition. This article seeks to counter this trend by exploring the challenges of incorporating recorded sound into popular music exhibits as understood by curators and exhibit designers. Utilising interviews conducted within 14 authorised and DIY museums devoted to popular music, the researchers demonstrate a distinct contrast between current academic critiques of music use in these museums and the attitudes of the people who create them. The result is a varied discussion surrounding sound in the museal space, including issues of sound bleed, technology and the creation of balance between artefacts and sound. This account draws attention to curators’ intentions of telling the story of popular music history by engaging with both the visual and aural memories of museum patrons, and suggests a new understanding of the purpose underpinning popular music museums in modern contexts.     

A Multidisciplinary Study of a Group of Post‐Classical Cameos from the National Museum in Krakow,Poland

A group of 18 cameos dated from the 16th to 19th centuries (bearing motifs of Roman emperors and female members of their families) from the Constantine Schmidt‐Ci??yński collection was investigated with gemmological analyses, supported by non‐destructive mineralogical methods such as X‐ray diffraction (XRD) and micro‐Raman spectroscopy (RS) to ascertain the material used. Although there is no scientific method to date the specimens precisely, the mineralogical data supported by archaeological analyses enabled the estimation of the possible timing of the manufacture of the gems. As a result, the cameos were divided into four basic chronological groups: (1) Renaissance, (2) Baroque, (3) uncertain and (4) Classical and Neoclassical.