In Picturing Casablanca , Susan Ossman probes the shape and
texture of mass images in Casablanca, from posters, films, and
videotapes to elections, staged political spectacles, and changing
rituals. ...In a fluid style that blends ethnographic narrative,
cultural reportage, and the author's firsthand experiences, Ossman
sketches a radically new vision of Casablanca as a place where
social practices, traditions, and structures of power are in flux.
Ossman guides the reader through the labyrinthine byways of the
city, where state bureaucracy and state power, the media and its
portrayal of the outside world, and people's everyday lives are all
on view. She demonstrates how images not only reflect but inform
and alter daily experience. In the Arab League Park, teenagers use
fashion and flirting to attract potential mates, defying
traditional rules of conduct. Wedding ceremonies are transformed by
the ubiquitous video camera, which becomes the event's most
important spectator. Political leaders are molded by the state's
adept manipulation of visual media. From Madonna videos and the
TV's transformation of social time, to changing gender roles and
new ways of producing and disseminating information, the Morocco
that Ossman reveals is a telling commentary on the consequences of
colonial planning, the influence of modern media, and the rituals
of power and representation enacted by the state.
Moving Matters is a richly nuanced portrait of the serial migrant: a person who has lived in several countries, calling each one at some point "home." The stories told here are both extraordinary and ...increasingly common. Serial migrants rarely travel freely—they must negotiate a world of territorial borders and legal restrictions—yet as they move from one country to another, they can use border-crossings as moments of self-clarification. They often become masters of settlement as they turn each country into a life chapter. Susan Ossman follows this diverse and growing population not only to understand how paths of serial movement produce certain ways of life, but also to illuminate an ongoing tension between global fluidity and the power of nation-states. Ultimately, her lyrical reflection on migration and social diversity offers an illustration of how taking mobility as a starting point fundamentally alters our understanding of subjectivity, politics, and social life.
While some people study globalization, others live their lives as global experiments. This book brings together people who do both. The authors or subjects of these studies are of diverse national, ...religious, and ethnic backgrounds. What they have in common is a connection to Morocco. It is from this shared space that they draw on personal stories, fieldwork, and literary and linguistic analysis to provide a critical, socially reflexive response to the conceptions of culture, identity, and mobility that animate debates on migration and cosmopolitanism. On the trail of the Bedouin or Europe's new nomads and of Zaccarias Moussaoui Places We Share explores the relationship of mobility to subjectivity, and how physically moving can be a way of escaping the stigma of being an immigrant. Reading Rushdie, listening to Moroccan women converse in the UAE, or examining how the experience of serial migration can shape comparative ethnography we become more aware of how moving pushes us up against the limits of global experience. These limits must be recognized. They can be positively embraced to develop new ways of conceiving of ourselves, the world and our connections to others.
In this article, I study the quilting practice of Barbara James to investigate the making of serial migrant subjects. Serial migrants are not from a single place, nor do they travel in the same ...direction. They have moved beyond a first experience of immigration and in so doing, step beyond the home/host dualities of immigration. One might see the project of following their paths as a move from accounts of the creative, imaginative ‘third space’produced by immigrants’arrival in their new homes, toward a consideration of the concrete ‘third place’ of the second or third-time immigrant. Exile, economic migrant, love migrant, exchange student, refugee: a serial migrant adds up not just several identities but systems of categorisation over time. This migratory subject often changes ‘positions’ not only geographically but socially, making us question the static assumptions of social theory with their experiences of diverse approaches to nationality, class, race, ethnicity and gender.
This vignette tells the story of 'On the Line', a Riverside, California series of exhibitions, performances, research and participatory interventions that focus on clotheslines to probe divisions of ...life and art, gender and culture and generation. Who does your laundry? What does an electric dryer indicate about changing relationships to nature? How do movements and conversations around laundry lines differ across the world? Each event has associated art and ethnography differently, building on earlier work to develop varied modes of spectatorship, participation, research and dialogue. The programme started with my work: first a painting, then in 2013 the first 'On the Line' exhibition. Artists, anthropologists and graduate students developed a 'critique' and then a 'remake' of that exhibition called 'On the Line: A Second look'. The circle of collaborative research and practice widened and produced 'Hanging Out' in 2015. That exhibition was developed as a site for fieldwork, collaboration and performance, leading to a project to expand the widening circle of participation with outdoor pop-up exhibitions and performances in neighbourhoods across the city in 2016. I propose an engaged, insider's account of the process to suggest how focusing on a simple, nearly universal practice across scenes designed to shift participants' roles and positions, brought something of the estrangement and iterative qualities of fieldwork to collaborative practices and public discussions.
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In Picturing Casablanca, Susan Ossman probes the shape and texture of mass images in Casablanca, from posters, films, and videotapes to elections, staged political spectacles, and changing rituals. ...In a fluid style that blends ethnographic narrative, cultural reportage, and the author's firsthand experiences, Ossman sketches a radically new vision of Casablanca as a place where social practices, traditions, and structures of power are in flux. Ossman guides the reader through the labyrinthine byways of the city, where state bureaucracy and state power, the media and its portrayal of the outside world, and people's everyday lives are all on view. She demonstrates how images not only reflect but inform and alter daily experience. In the Arab League Park, teenagers use fashion and flirting to attract potential mates, defying traditional rules of conduct. Wedding ceremonies are transformed by the ubiquitous video camera, which becomes the event's most important spectator. Political leaders are molded by the state's adept manipulation of visual media. From Madonna videos and the TV's transformation of social time, to changing gender roles and new ways of producing and disseminating information, the Morocco that Ossman reveals is a telling commentary on the consequences of colonial planning, the influence of modern media, and the rituals of power and representation enacted by the state. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994. In Picturing Casablanca, Susan Ossman probes the shape and
texture of mass images in Casablanca, from posters, films, and videotapes to elections, staged political spectacles, and changing rituals. In a fluid style that blends ethnographic narrativ.
Studies in Serial Migration Ossman, Susan
International migration,
01/2004, Letnik:
42, Številka:
4
Journal Article
Recenzirano
The effects of serial migration on immigrants' relations to others, notions of identity, & political & religious perspectives are studied. Contemporary literature that has examined serial migration ...is reviewed, indicating that serial migrants occupy a third space that challenges the conventional delineation of host & immigrant communities. Interviews with migrants living in Morocco were conducted to ascertain how serial migration affected their lives. Topics addressed include how serial migrants conceptualize the notion of home, distinguish themselves from nonserial migrants from their home countries, & establish a stronger sense of self-understanding. In addition, such research challenges the tendency to delineate serial migrants as devoid of loyalty since such individuals retain fidelity to family, friends, & particular ideals. 28 References. J. W. Parker
Making Matrice Allison, Juliann Emmons; Ossman, Susan
Collaborative anthropologies,
10/2014, Letnik:
7, Številka:
1
Journal Article
Recenzirano
Artists and ethnographers work together to probe topics of common concern or to devise projects that bring people together to stage events or develop community artworks.1 Fewer collaborative projects ...involving the arts focus on more intimate topics and situations; and those that do rarely have the production of art as their primary goal.2 In this article we develop an intersubjective narrative (McCleary and Viotti 2009) about one such project that resulted in the making of Matrice, an installation composed of latex, burlap, and oil paint on canvas panels. While most women approach belly casting as an afternoon diy project to be completed arts-and-crafts fashion as a pregnancy souvenir, belly casting has become a full service "salon" industry; ninety dollars buy the expectant mom a private session, strongly encouraged due to the (partial) nudity involved, with a waxing addon available for an additional charge (Osier 2008; Warner 2006).\n Then, listening to music, I thought of the Belly and dancing, and with the circling motions of my hands I traced the lines in ways that felt like the way I might imagine my full belly jiggling if I were to dance while pregnant.
TAKE MY PICTURE SUSAN OSSMAN
Picturing Casablanca,
09/2023
Book Chapter
Zohra and Mariam smile as I sit down for tea.
“So you like to watch wedding tapes?” they ask. “Nadia told us that you like to see home videos.” us that you like to see home videos.”
“You should see ...the video from my wedding!” Zohra exclaims proudly.
She prompdy puts it into the VCR as her sister says, “Turn it to when you come in,” referring to the moment when the bride makes the first of her four entrances among her guests.
“Just a minute,” says Zohra. “It will come.”
Zohra starts the video at the beginning. We watch
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