感动与改变:田野工作中的自我反思与互惠

IF 0.3 3区 艺术学 0 ART
AFRICAN ARTS Pub Date : 2023-05-11 DOI:10.1162/afar_a_00705
Jordan A. Fenton
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引用次数: 0

摘要

当我右手端着一杯杜松子酒站在那里时,紧张和恐惧压倒了我。我站在我的尼日利亚养父最后的埋葬和安息地前。那是2022年的夏天,自他2020年去世以来,我第一次能够去卡拉巴尔,看看我的养父母。COVID当然是罪魁祸首,因为它让我无法旅行。在此之前,我深情地回忆起我在俄亥俄州(美国)的家中与养母和其他家人就他的去世打过电话(并通过WhatsApp发过信息)。然而,当我站在那里时,尽管我的焦虑被放大了,但我也出奇地平静和平静。养母和兄弟们站在我身边,安慰着我,帮助我平息了不安。我正准备在尼日利亚家人的支持下向我的养父敬酒。这不是我第一次以Ekpe/Mgbe社会祖先的名义斟酒了。然而,即使我以前按照老师的要求做过,我也从来没有放松过。尽管我在如何做这件事上受过良好的训练,遵循适当的协议和漫长的步骤,但这个过程总是有一种力量,我害怕,也不完全理解。然而,当我的前辈老师要求我这样做时,为了我的养父,这种想法来得快去得也快。就在我开始献祭之前,我的脑海里闪过养父教我的一课:尊重我的Ekpe/Mgbe老师教给我的知识,并在证明它的时候要有信心。在我成功地献上并倒上酒后的那一刻,我感到难以用语言表达的东西让我如释重负。说完,我的养母和兄弟们拥抱了我,微笑着,很满意。之后,我们坐在养父安息之处旁边的房间里聊天,聊着构成一个整体的事情。那一刻,我非常感激奥夸一家邀请我作为他们的一员,在他们面前向我们的爸爸和这个家庭致敬。这是我被深深触动和明显改变的许多次之一,尽管这种持久的影响很难表达,但我能说的最好的就是它让我有了家的感觉。在我被感动和改变的同时,在场的所有人也分享了一种相互的体验。我得到了一个很好的机会,通过被我收养的家庭所接受的温暖感觉来纪念我心爱的导师。作为回报,这家人通过祭奠来纪念他们的祖先,祭奠的人通常对这种虔诚的宗教行为一无所知,也很笨拙。祭典的成功向下一代(在这种情况下,是一个外国人)的成员展示了他们祖先教义的力量和成果;我养父的知识和善行将继续流传下去。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Touched and Changed: Self-Reflexivity and Reciprocity in Fieldwork
REMEMBERING MY ADOPTIVE FATHER As I stood with a tumbler filled with gin in my right hand, heightened nerves and trepidation overcame me. I was standing in front of the final burial and resting place of my Nigerian adoptive father. It was summer of 2022—the first time I was able to travel to Calabar and see my adoptive family since his passing in 2020. COVID was of course to blame, as it prevented me from traveling. Prior to this, I fondly recall phone calls (and messaging via WhatsApp) from my home in Ohio (USA) with my adoptive mother and the rest of the family about his passing. Yet even with my amplified anxiety as I stood there, I was also oddly calm and at peace. The comfort of my adoptive mother and brothers standing beside me helped subdue the restlessness I felt. I was about to pour libation to my adoptive Papa with the support of my Nigerian family. This was not the first time I poured libation in the name of the ancestors of the Ekpe/Mgbe society. However, even though I had done it before at the request of my teachers, I am never at ease about it. Even though I was well trained on how to do it, following the proper protocol and lengthy steps, there was always a power about the process that I feared and did not completely understand. However, when my elder teachers asked me to do it, and for the sake of my adoptive father, such thoughts left as quickly as they came. Right before I started the offering my mind scrolled to one of the lessons my adoptive father taught me: to respect the knowledge my Ekpe/Mgbe teachers taught me and have confidence when it was time to demonstrate it. The moments after I successfully offered and poured the libation, relief came over me as I felt something hard to put into words. Upon finishing, my adoptive mother and bothers embraced me, smiled, and were content. After, we sat in the room beside my adoptive father’s resting place chatting and catching up about the things that make one whole. At that moment I was so grateful to the Oqua family for asking me to honor our Papa and the family in their presence, as a member of the family. This was one of the many times I was deeply touched and clearly changed, and although the lasting impact is hard to articulate, the best I can offer is that it made me feel at home. While I was touched and changed, a reciprocal experience was also shared by all present. I was given a great opportunity to honor a beloved mentor through the warm feeling of acceptance by my adopted family. In return, the family had their ancestor honored through libation by someone who would normally be ignorant of and clumsy in this act of religiosity. The success of the libation demonstrated the power and fruition of their ancestor’s teachings to a member of the next (and in this case, a foreign) generation; my adopted father’s knowledge and good deeds continue to live on.
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来源期刊
CiteScore
0.50
自引率
33.30%
发文量
38
期刊介绍: African Arts is devoted to the study and discussion of traditional, contemporary, and popular African arts and expressive cultures. Since 1967, African Arts readers have enjoyed high-quality visual depictions, cutting-edge explorations of theory and practice, and critical dialogue. Each issue features a core of peer-reviewed scholarly articles concerning the world"s second largest continent and its diasporas, and provides a host of resources - book and museum exhibition reviews, exhibition previews, features on collections, artist portfolios, dialogue and editorial columns. The journal promotes investigation of the connections between the arts and anthropology, history, language, literature, politics, religion, and sociology.
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