Camthropod

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 7 of Artery features Florentina Manuel Martínez with Michele A. Feder-Nadoff and Claudia Rocha Valverde Florentina Manuel Martínez is a textile artist originally from the state of Veracruz, in the municipality of Chicontepec, in the community of Ateno. She is a Náhuatl language speaker. Currently she is living in Tamaletom (the municipality of Tancanhuitz, in the state of San Luis Potosí, México). Florentina is married to a Tének flyer man of Tamaletom. (Tének is an Indigenous group of Mexico and flying refers to the traditional ritual dance of prehispanic origins.) Florentina has lived in Tamaleton for 18 years and has learned much about the Tének culture. Michele A. Feder-Nadoff is an artist and anthropologist whose practice and research is concerned with the meaning of making [https://mfedernadoff.academia.edu]. Her longterm ethnography in Santa Clara del Cobre, Michoacán, México began in 1997 initiated by her apprenticeship with a master coppersmith, Maestro Jesús Pérez Ornelas. This led to her founding the non-profit Cuentos Foundation, becoming a Fulbright Scholar and cultural anthropologist, PhD, El Colegio de Michoacán. Her critical aesthetics integrates onto-epistemology, performance, and phenomenology with multimodal and collaborative methods designed to decolonize education, art and anthropology. Her artwork is included in private and public collections worldwide. Recent publications include her edited volume, Performing Craft in Mexico: Artisans, Aesthetics and the Power of Translation, 2022, Lexington (Bloomsbury Press), her monograph An Anthropology of Making in Santa Clara del Cobre: Presence of Absence, 2024, Palgrave, and numerous book chapters and articles. She is the assistant editor of the Journal of Embodied Research and an independent scholar, translator, curator, video-producer, lecturer and a multimodal workshop facilitator. Claudia Rocha Valverde, PhD in Art History is a professor and investigator at El Colegio de San Luis (COLSAN) in the Social Sciences and Humanities Research Center in Mexico. [https://scholar.google.es/citations?user=aZ-M7XMAAAAJ&hl=es] Currently, Claudia is the academic liaison of the CASA COLSAN Xilitla Project. Her fieldwork is in the region of Huasteca in the state of San Luis Potosi, where she has carried out research on contemporary traditions of pre-Hispanic origins. In particular, she has specialized in how the knowledge of Indigenous Nahua and Tének women is manifested in the history and symbolism of their clothing, which they wear today in ceremonial contexts related to the concept of Madre Tierra, Mother Earth, which reflects the natural environment in which they live. For more (and the Spanish version) click here Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Series 3, Episode 6 of Artery features Adèle Commins and Daithí Kearney with Kayla Rush Musicologist Dr Adèle Commins is Head of Department of Creative Arts, Media and Music at Dundalk Institute of Technology. Her PhD from Maynooth University focused on the music of Irish-born composer Sir Charles Villiers Stanford. Her recordings include contributions to an album of Irish piano accordion music released by Comhaltas in 2014 and vocal soloist on an album by Irish composer Sr Marie Dunne in 2015. She also contributes music in two local churches. Her recent research includes critically documenting the music of Co. Louth céilí bands from the mid-twentieth century. Her compositions featured in the seminal publications Tunes from the Women (2023) and some have been recorded by Cork-based Ceolta Sí (2020). Ethnomusicologist and geographer Dr Daithí Kearney is co-director of the Creative Arts Research Centre at Dundalk Institute of Technology, where he lectures in music, theatre and tourism. His PhD from University College Cork examined the geographies of Irish traditional music. An All-Ireland champion musician, he has toured and recorded as a musician, singer and dancer with a number of groups including Siamsa Tíre, The National Folk Theatre of Ireland, and performed for President Obama in The White House. He recorded the critically acclaimed album Midleton Rare with accordion player John Cronin in 2012 and continues to tour regularly. He wrote and produced the musical To Stay or Leave (2005, 2015) and his compositions have been recorded by groups including Nuada (2004) and Ceolta Sí (2020). As a composer, he has received commissions funded by the Department of Culture, Heritage and the Gaeltachts and Cork County Council. Both Commins and Kearney have published extensively on music including contributions to the Companion to Irish Traditional Music and the Encyclopaedia of Music in Ireland . In 2017 they released an album A Louth Lilt, featuring their own compositions, and produced the documentary The Road to Speyfest in 2016. International tours including North and South America, France, Scotland, Norway and England. They have composed and arranged a number of pieces for the Oriel Traditional Orchestra, of which they are musical directors. In 2024, they were commissioned by Louth County Council to compose the score for a music theatre production Brigid, Lady of Light for the 1500 celebrations of St Brigid in Co. Louth. Dr Kayla Rush is an assistant lecturer in music at Dundalk Institute of Technology. An anthropologist of art, music, and performance, her current research examines private, fee-paying rock music schools in global perspective. She previously held a Marie Sklodowska-Curie Individual Fellowship, supporting ethnographic research with Rock Jam, a private music education organisation in Ireland. Her work has appeared in Borderlands, Liminalities, Feminist Anthropology, Journal of Popular Music Education, and IASPM Journal, among others. She is the author of The Cracked Art World: Conflict, Austerity, and Community Arts in Northern Ireland (Berghahn, 2022). She is also a recognized teacher and practitioner of creative ethnography, with a particular interest in ethnographic science fiction. Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 5 of Artery features Aline Motta with Alex Ungprateeb Flynn Alex Ungprateeb Flynn is Assistant Professor and Graduate Vice Chair at the Department of World Arts and Cultures/Dance, University of California, Los Angeles. Working with activists, curators, and artists in Brasil, Alex investigates the prefigurative potential of art in community contexts to theorize the production of knowledge, notions of utopia, and social and aesthetic dimensions of form. Framed by a collaborative methodological approach, Alex fundamentally inquires how human beings express themselves artistically, and in doing so, seek to transform the world. X/ Insta: alexungprateebf With her artistic practice, Aline Motta (b. 1974, Niterói, Brazil) seeks to point out and fill in the gaps in her own family history as a result of colonial erasure. Her videos, photographs, installations, and performances are based on speculative studies that mix archival research, field trips, and oral history reports that she uses to access, nourish, and reveal parts of the past that were previously thought to be lost. In 2023, she exhibited in the Sharjah Biennial 15 (UAE), at MoMA Museum of Modern Art and the 35th São Paulo Biennial. Insta: 1alinemotta (Instagram) The link to article featuring the full interview: https://terremoto.mx/en/online/escribiendo-historias-manifestando-futuros/ Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 4 of Artery features Ayala Gazit with Rotem Steinbock Ayala Gazit is a visual artist who specializes in photography and installation. Born in Israel, she is currently living and working in Berlin. Prior to moving to Berlin she lived in New York city, where she completed, with honors, a BFA in Photography in The School of Visual Arts. Ayala has presented works in art venues around the globe, including in Germany, USA, Australia, New Zealand, and Israel. She is the recipient of numerous awards such as The Tierney Fellowship and The Photography NOW Award at Woodstock, amongst others. Her works cover a wide range of themes, including history, memory, loss, family, and creation, all explored through a special focus on the question of how can the photographic image capture the things that are no longer there. https://www.ayalagazit.com/ Rotem Steinbock is a PhD candidate in the Department of Social Anthropology at the University of Cambridge, working on the intersection between art, immigration, and identity. Her PhD research follows Jewish Israeli visual artists who immigrated to Berlin, focusing on the ways they negotiate, reflect upon, and visually represent their dynamic senses of alterity and belonging. Before coming to Cambridge Rotem completed a B.A. in psychology and sociology and anthropology and an M.A. in anthropology at the Hebrew University of Jerusalem, and a B.F.A. at the Department of Fine Arts at the Bezalel Academy of Arts and Design in Jerusalem. https://www.socanth.cam.ac.uk/staff/rotem-steinbock-2019 Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 3 of Artery features Eliana Otta Vildoso and Nuno Cassola Marques with Frederick Schmidt and Sera Park. Eliana Otta Vildoso (Lima, 1981) holds a degree in art, an MA in Cultural Studies from the Universidad Católica del Perú, and a PhD in Practice from the Academy of Fine Arts, Vienna. She co-founded the artist collective Bisagra in Lima and the ecofeminist collective Mouries in Athens. She coordinated the curatorial team for the permanent exhibition at Lugar de la Memoria, la Tolerancia y la Inclusión Social. She has taught at the Art Faculty of PUCP, Corriente Alterna and Escuela Nacional de Bellas Artes. She lives and works between Vienna and Athens. Website: eliana-otta.com https://drivingthehuman.com/prototype/virtual-sanctuary-for-fertilizing-mourning/ Instagram: eliana.otta Nuno Cassola Marques (Aveiro, 1984) holds a degree in Fine Arts and an MA in Contemporary Art Practice from the University of Porto, Portugal. He co-founded and co-curated the first edition of the Wadi Rum film festival, and co-founded the community kitchen Khora in Athens, which continues to serve 1200 meals a day to people in need. In addition to his activism, he works as a cinematographer and filmmaker. He lives and works in Athens. Website: www.nunocassola.com Interviewers: Frederick Schmidt is currently completing his PhD in Social Anthropology at Cambridge with the title “Un-Contemporary Arts: Norms and Forms in a Greek Art School”. Based on two years of ethnographic fieldwork in Athens (2020-2022), his PhD concerns the imbrication of private and public educational institutes in the landscape of artistic education in Athens, and makes the case for a reappraisal of formalist methodologies in visual anthropological research. Sera Park is Associate Lecturer in Social Anthropology at the University of St Andrews. Her PhD (University of Cambridge, 2022) examined the collective mourning and activism that emerged in the aftermath of the Sewol Ferry Disaster in South Korea. Her research interests include social movements and activism, the affective and moral dimensions of social life, and death, mourning, and memorialization. Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 2 of Artery features Elzė Sigutė Mikalonytė with Edoardo Chidichimo Elzė Sigutė Mikalonytė is a Research Associate at the Department of Psychology and a Junior Research Fellow at Wolfson College, University of Cambridge. Her research interests are in aesthetics, metaphysics, experimental philosophy, and philosophy of cognitive science. She currently works on the project “Higher Values: Aesthetic Experiences, Transcendence, and Prosociality” with Prof. Simone Schnall and Dr Ryan Doran. Her doctoral work focused on the philosophy of music and the ontology of musical works. As part of her doctoral research, Elzė conducted experimental philosophy studies in musical ontology. She has also investigated other topics in experimental philosophy of aesthetics, such as the folk concept of art, judgments of the identity of artworks, and intuitions on AI-created art. https://mikalonyte.com/ https://twitter.com/ElzeSigute Edoardo Chidichimo is a social anthropologist and computational neuroscientist who is interested in all things social. Combining anthropology, AI, mathematics, and philosophy, Edoardo seeks to address sociality in the broadest way, confronting disciplinary niches and pushing toward an integrated study of interpersonal human behaviour and cognition. LinkedIn: https://www.linkedin.com/in/ec750 Profile: https://www.neuroscience.cam.ac.uk/member/ec750 Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 1 of Artery features Xasan Daahir Ismaaciil (Weedhsame) with Christina Woolner Xasan Daahir Ismaaciil (‘Weedhsame') is a Somali poet currently based in Hargeysa, Somaliland. Mentored by the beloved late poet Maxamed Xaashi Dhamac ‘Gaarriye', his work includes hundreds of poems and song lyrics on themes including politics, migration and love. He is widely considered one of the most influential poets of his generation. Trained as a mathematician, Weedhsame currently teaches Somali language and literature at the University of Hargeysa and works as a statistician for the Ministry of Education. Some of his work has been translated by the Poetry Translation Centre, and is available here: https://www.poetrytranslation.org/poets/xasan-daahir-weedhsame Christina Woolner is a Leverhulme Early Career Fellow in the Department of Social Anthropology at Cambridge. Her research broadly explores how forms of popular art and practices of “voicing” are entangled in processes of sociopolitical change, especially in the wake of violence. For the last decade she has been studying the political and affective dynamics of love songs and political poetry in Hargeysa, Somaliland. Her first book, Love Songs in Motion: Voicing Intimacy in Somaliland recently came out with the University of Chicago Press. Information about the book, alongside supplemental audio-visual material, is available on the book's companion website: www.lovesongs.christinawoolner.com. Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Earlier this year Professor Stuart Earle Strange (National University of Singapore) visited Cambridge to give a Malay World Studies talk on his upcoming book Snatching Control: Animals, Deities, and State Power. MPhil student Ashley Chin caught up with Professor Strange to discuss his ideas on how control and the Singaporean state can be examined in unexpected places: through more-than-human interactions with monkeys and Taoist deities.

Episode 37: Origin Studies Part 3, by Adam Hinden. With Mike Degani, Timothy Cooper, and Marilyn Strathern Anthropologists often work with communities far away from where they live and study. How do we come to commit ourselves to years of engagement in a specific field site? Inspired by a gap in anthropological education surrounding the selection of field-sites, this three-part podcast explores how some anthropologists developed their interest in specific settings and topics, and how these inclinations are shaped by various external factors into life-long research interests and specializations. Each episode contains the "origin stories" of three anthropologists at the University of Cambridge, and shows how anthropological knowledge often hinges on indirect, serendipitous experiences. Episode 3 features Mike Degani, Timothy Cooper, and Marilyn Strathern Adam Hinden is an Irish-American researcher and musician currently based in London. His work, both for his anthropology MPhil at the University of Cambridge and in his current research with ACLED, surrounds activism and allyship among indigenous groups in Taiwan.

Episode 36: Origin Studies Part 2, by Adam Hinden. With Andrew Sanchez, Elizabeth Turk, and Caroline Humphrey Anthropologists often work with communities far away from where they live and study. How do we come to commit ourselves to years of engagement in a specific field site? Inspired by a gap in anthropological education surrounding the selection of field-sites, this three-part podcast explores how some anthropologists developed their interest in specific settings and topics, and how these inclinations are shaped by various external factors into life-long research interests and specializations. Each episode contains the "origin stories" of three anthropologists at the University of Cambridge, and shows how anthropological knowledge often hinges on indirect, serendipitous experiences. Episode 2 features Andrew Sanchez, Elizabeth Turk, and Caroline Humphrey Adam Hinden is an Irish-American researcher and musician currently based in London. His work, both for his anthropology MPhil at the University of Cambridge and in his current research with ACLED, surrounds activism and allyship among indigenous groups in Taiwan.

Episode 35: Origin Studies Part 1, by Adam Hinden. With Sian Lazar, Thomas White, and Iza Kavedžija Anthropologists often work with communities far away from where they live and study. How do we come to commit ourselves to years of engagement in a specific field site? Inspired by a gap in anthropological education surrounding the selection of field-sites, this three-part podcast explores how some anthropologists developed their interest in specific settings and topics, and how these inclinations are shaped by various external factors into life-long research interests and specializations. Each episode contains the "origin stories" of three anthropologists at the University of Cambridge, and shows how anthropological knowledge often hinges on indirect, serendipitous experiences. Episode 1 features Sian Lazar, Thomas White, and Iza Kavedžija Adam Hinden is an Irish-American researcher and musician currently based in London. His work, both for his anthropology MPhil at the University of Cambridge and in his current research with ACLED, surrounds activism and allyship among indigenous groups in Taiwan.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 8 features Rabab Chamseddine with Rebecca Appleton Rabab Chamseddine (b.1997, Abidjan, Ivory Coast) is a Lebanese (spoken word) poet and film-maker based in Tyre and Beirut, Lebanon. She is currently completing her master's in Literature at the American University of Beirut. Her poetry unfolds as an exploration of the bilateral theme of love and loss, and the poetics of meaning-making that emerge between them, in that very space of mourning, in Beirut. Chamseddine began her spoken word poetry journey in 2017 by partaking in poetry nights hosted in the hubs and communal cafes of Beirut, to later become the winner of Beirut Poetry Slam 2018. Her work will be appearing in an anthology entitled We Call to the Eye and the Night: Love Poems by Writers of Arab Descent (Persea Books), edited by Hala Alyan and Zeina Hashem Beck, as of spring 2023. Find her on Instagram @ rababchamseddine Rebecca Appleton is a postgraduate researcher in the Department of Social Anthropology at the University of Manchester. She is currently undertaking PhD research about the politics of contemporary women's poetry in Beirut, Lebanon. The project researches the emerging and evolving performance and politics of women's poetry in Beirut, focussing on poetry's capacity to generate alternative spaces for personal, social, political, and gendered expression as the city negotiates crises. Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 7 features Emiko Agatsuma with Iza Kavedžija Emiko Agatsuma is a dancer and a choreographer specializing in Butoh, a dance genre that emerged in Japan in the1960s as a reaction to Western modern dance. Having graduated from Waseda University in Tokyo in 1999, she joined the largest Butoh Company - Dairakudakan founded by Akaji Maro. She had performed in every Dairakudakan production until 2019. She now heads the AGAXART production company for Butoh dancers and artists in Japan. Emiko is a recipient of the prestigious Best Young Artist 2015 Award by the Japan Dance Critics Association and she represented Japan in 2020 at the 39th annual Battery Dance Festival in New York City, USA. https://agaxart.wixsite.com/agart/home @emiko.agatsuma Iza Kavedžija is an Assistant Professor of Medical Anthropology at the University of Cambridge. She is specialising in Japan, with primary research interests in art and creativity, the life course and aging, and health and wellbeing. She is currently leading an AHRC-funded project entitled ‘The Work of Art in Contemporary Japan: Inner and outer worlds of creativity'. https://www.socanth.cam.ac.uk/directory/dr-iza-kavedzija Translation and narration by Kaori Yoshikawa. Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 6 features Bronagh Lawson with Kayla Rush Bronagh Lawson is an artist based in Belfast who has written a blog about the vibrant local contemporary visual arts scene for the last ten years. Previously she ran cross-community cross-border development programmes for 13 years. Originally from Portaferry and Strangford, Northern Ireland, she is a Fulbright scholar and graduate of Winchester School of Art. Bronagh is a co-founder of the Hydrangea project, a Belfast-Chicago collaboration which uses contemporary art underpinned with art therapy to act as a healing mechanism. Her book Belfast City of Light: Looking and Listening to Belfast Come with Me is based on her experience as a non-churchgoer attending every church in Belfast for a service. https://www.lulu.com/shop/bronagh-lawson/belfast-city-of-light/paperback/product-1z7ympqj.html?page=1&pageSize=4 https://iarc.ie/exhibitions/previous-exhibitions/ebb-and-flow-prints-by-bronagh-lawson/ https://us4.campaign-archive.com/home/?u=849f2610883f3b34ac8274556&id=595d763c41 Kayla Rush is an anthropologist of art, music, and performance. She is an assistant lecturer in music at Dundalk Institute of Technology in Dundalk, Ireland. Kayla's previous research examined community arts in contemporary Northern Ireland; her book on this research, The Cracked Art World: Conflict, Austerity, and Community Arts in Northern Ireland, was published in June 2022. Her current research is focused on private, extracurricular, fees-based rock and popular music schools. https://www.berghahnbooks.com/title/RushCracked https://doi.org/10.1386/jpme_00054_1 Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 5 features Nazli Tabatabai-Khatambakhsh with Anonymous Anthropologist Nazli Tabatabai-Khatambakhsh BSc. Hons, MLitt, MA is a practice-based opera doctoral researcher at the Guildhall School of Music and Drama, in London where she also teaches. Her research engages with the opera “Carmen” drawing on the Tehran Opera Company to forecast what new socio-political futures could be dreamt through opera. Her new libretto of “Carmen” in 2025 will coincide with the 150th anniversary of “Carmen's” premiere in Paris. In this episode, as the librettist, Nazli reflects upon the production of the opera "Paradise Garden" (2021). Nazli Tabatabai-Khatambakhsh is an experienced transdisciplinary and interdisciplinary artist with a portfolio spanning live and recorded arts, both place based and touring. Currently she is associate director of the Glasgow based Queer Sanctuary Arts with a focus on future artistic planning. She is a member of the Governance Committee for the New York based International Society for the Performing Arts (ISPA), of which she was an Arts Council England Fellow. At the Royal Central School of Speech and Drama she is the Deputy Chair of the inaugural Independent Equity Committee. Twitter: @Nazli_Tabatabai Anonymous Anthropologist By anonymising herself, she hopes to highlight that artists are constantly asked to do things for free. As anthropologists are keen to collaborate with artists (sometimes for free), she hopes her small act could highlight the issue and help fellow anthropologists reflect on the ‘friendship' convention in Social Anthropology. More info: http://www.payingartists.org.uk/ Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 4 features Jesús Guevara Rico with Alanna Cant Jesús Guevara Rico is an artist and art conservator, originally from San José Tateposco in the state of Jalisco, Mexico. He trained at the prestigious Western School of Conservation and Restoration (Escuela de Conservación y Restauración de Occidente) in Guadalajara. Now based in Oaxaca City, Jesús works on and oversees the conservation and restoration of colonial heritage throughout the state, especially religious paintings, frescos, and carvings. Novohispano art also provides inspiration for the content, materials, and techniques of Jesús's oil paintings, murals, and tattoos. Find him on Twitter @JesusGuevaraRi3 Alanna Cant is an anthropologist in the Department of Archaeology at the University of Reading. Her work is about aesthetics, identity, material culture, and religion within the ‘economies of culture' of Mexico and the United Kingdom. Her book The Value of Aesthetics: Oaxacan woodcarvers in global economies of culture was published in 2019 by the University of Texas Press. https://www.reading.ac.uk/archaeology/staff/alanna-cant https://www.alannacant.com/ Voice credit: Alfredo Narváez Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

This podcast examines the shifting sonic politics of the marching band scene in Derry, Northern Ireland. 20 years ago, Protestant parading in Derry was a source of intense political conflict but over the years it has become less controversial due to inter-community collaboration. However, tensions remain. Sean French and his interlocutors discuss how different political styles sound and how acoustic experience intersects with political marginalization. Through ideas around rowdiness, volume, and voice, French shows how marching band members in contemporary Northern Ireland negotiate different political stances and forms of identification. Acknowledgements: Special thanks to Richard Holland and the East Bank Protestant Boys, everyone at Bready Ulster Scots Pipe Band, and everyone at the North West Cultural Partnership. I am so grateful for all you've done for me, and I would be nowhere without your kindness letting me be a temporary part of the marching band world in Derry. Sean French is a third year Social Anthropology PhD student at the University of Cambridge. (https://www.socanth.cam.ac.uk/staff/sean-french-2020)

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 3 features Tuguldur Yondonjamts with Hermione Spriggs Tuguldur Yondonjamts (b.1977, Ulaanbaatar, Mongolia) lives and works in Ulaanbaatar and in New York. His work is very much dependent on research and careful analysis of certain environments and materials, often responding to the nomadic culture of Central Asia and the issues affecting Mongolia's society and economic development. By using investigational logic, he is able to create large scale drawings and diagrams, representing imagined journeys. His work is widely exhibited in Mongolia, the US and internationally. https://tugulduryondonjamts.com/ tuguldur_yondonjamts_ Hermione Spriggs is an artist and anthropologist based between London and Yorkshire. She is currently undertaking practice-based PhD research with an ethnographic focus on trapping and pest control in North Yorkshire. Her edited volume Five Heads: Art, Anthropology and Mongol-Futurism (2018) is published by Sternberg Press. https://hermione-spriggs.com hermione.spriggs Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

What does it mean to have a voice? And how does a voice need to sound like if it is going to matter? In this episode, Marlene Schäfers (Utrecht University) discusses her research with Kurdish women singers and poets to explore what makes the voice an object of desire and appeal in the contemporary world, particularly for historically marginalized subjects. Field recordings of Kurdish classical and recent repertoires reveal how contemporary politics of voice shape what voices mean, how they sound, and how they impact listeners. Marlene Schäfers is Assistant Professor in Cultural Anthropology at Utrecht University, Netherlands. She obtained her PhD at the Department of Social Anthropology at the University of Cambridge. Her first monograph, Voices that Matter: Kurdish Women at the Limits of Representation in Contemporary Turkey was published with the University of Chicago Press in 2022. You can find more information, including additional field recordings on her website: www.marleneschafers.com Acknowledgements: My thanks are due to the Kurdish women who so generously shared their time with me and let me record their voices. The recordings featured in this podcast were made in Wan, Turkey, in 2011-12.

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Episode 2 features Mzuzile Mduduzi Xakaza with Jeannine-Madeleine Fischer Mzuzile Mduduzi Xakaza works as Director of the Durban Art Gallery and also paints and draws on a part-time basis. He has participated in numerous group and solo exhibitions in South Africa and abroad since the early 1990s. His art is inspired mainly by the love and appreciation of his social and physical environment (landscape) as well as social issues that are subtly evoked by such a theme. However, there is always something enigmatic about some of the creative ideas that flow into his mind whilst creating - something that seems to defy definition of any sort. https://asai.co.za/artist/mduduzi-xakaza/ Jeannine-Madeleine Fischer is a cultural anthropologist at the University of Konstanz and is currently researching aesthetic activism in South Africa. She is part of the interdisciplinary research group "Traveling Forms". https://www.uni-konstanz.de/en/research/research-institutions/nomis-research-project-traveling-forms/research-fields/activism-as-a-mobile-aesthetic-form/ Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Episode 25. The Future of the Anthropological Journal. by Cambridge Anthropology

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Maree Clarke is a Mutti Mutti/Wemba Wemba/Boonwurrung/Yorta Yorta artist, from Mildura in northwest Victoria, Australia, now living and working in Naarm (Melbourne). With over 30 years experience as an artist, Clarke's work focuses on new ways of telling old/ongoing stories through art-making, much of which occurs in her backyard. https://www.ngv.vic.gov.au/exhibition/maree-clarke/ https://vivienandersongallery.com/artists/maree-clarke/ Fran Edmonds is an interdisciplinary scholar who has worked extensively with Aboriginal artists, community organisations and galleries, libraries, archives and museums (GLAMs) for almost 30 years. Her work supports First Nations people to reclaim their stories from the ‘archives'. https://blogs.unimelb.edu.au/livingarchiveofaboriginalart/ https://omeka.cloud.unimelb.edu.au/livingarchivenaidoc/blog https://www.facebook.com/LivingArchiveofAboriginalArtandKnowledge/ Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

With the arrival of home recording technology in the early 1980s, many Shi'i Muslims in Pakistan started to record the majlis mourning assemblies and processions that are central to their faith. Soon after, some established family-run religious media stores beside Muslim shrines or in Shi'a-majority neighbourhoods. In this episode, Dr Timothy Cooper (Research Fellow at the Department of Social Anthropology) examines the distinct sonic aesthetic of Shi'i religious media in Pakistan through interviews with his interlocutors in Lahore, as well as through extracts from their personal archives of Shi'i majlis assemblies, rituals, and recitations. He is joined by Karen Ruffle from the University of Toronto and Charles Hirschkind from the University of California, Berkeley, who help to put Shi'i relationships with sound in a wider geographic and disciplinary context. This podcast forms the final part of a three-part multi-platform sound essay titled The Recorded and the Live that examines Shi'i faith, ritual, and recording media in Pakistan. It was produced through the support of an Economic and Social Research Council (ESRC) Postdoctoral Fellowship (ES/V011669/1). Part 1 is an ethnographic film titled This is a Majlis: A Sound Essay co-directed with Abeera Arif-Bashir that was screened at the 2021 Royal Anthropological Institute Film Festival. https://festival.raifilm.org.uk/film/decolonising-the-archive-shorts-2/ Part 2 is an hour-long collection of laments and elegies from the collections of Shi'i media traders in Pakistan titled Recitations for Muharram and Ashura, broadcast and archived on NTS Radio. https://www.nts.live/shows/pirate-modernity/episodes/pirate-modernity-2nd-august-2021 Acknowledgements: My immense gratitude goes to Karen Ruffle, Charles Hirschkind, and Abeera Arif-Bashir for taking the time to work with me on this podcast, and to my interlocutors in Lahore, Muhammad Shehzad, Muhammad Ashiq, Ali Raza, Hurr Abbas, whose patience and intellectual generosity knows no bounds. The interviews featured in this podcast were conducted in Lahore between January and February 2020.

On the 9th of November 2019, Germany celebrated the 30th anniversary of the fall of the Berlin Wall. Yet, the country appeared to be once more divided along political lines as the far-right party Alternative for Germany gained enormous success in the Eastern regions. Laura Tradii was on fieldwork in rural Brandenburg as the electoral campaign unfolded, and she discusses the debates that emerged around the failures and successes of the German Reunification.

In November 2019, Max Bolt came to the department of Social Anthropology at Cambridge to deliver the weekly senior seminar. Kevin Yildirim spoke with him beforehand to learn more about his recent work in Johannesburg, which concerns inheritance laws and custom in post-apartheid South Africa. The interview was recorded by Javier Ruiz. Max Bolt is Reader in Anthropology and African Studies at the University of Birmingham. He is the author of the book Zimbabwe's Migrants and South Africa's Border Farms: The Roots of Impermanence, published by Cambridge University Press in 2015.

Alisi Mekatoa and Nina Fudge are health researchers. They came to Cambridge to speak about how their undergraduate anthropology degree has informed their careers in and outside of academia. They spoke with Sian Lazar about general practice and primary health care in the UK, and the role of anthropological approaches in health research.

Gareth Ward visited Cambridge just before he began his appointment as British Ambassador to Vietnam. He spoke with David Sneath about how anthropology has informed his career in the diplomatic service. (We are sorry that the recording quality of this interview is not as good as we would usually aim for.)

Tropes of 'running away' abound in popular notions of the circus, but how true is this to the lived experiences of circus folk? In this episode of the podcast, Laura Byng uses interviews with different members of a contemporary UK circus to explore they ways in which they came to work in the circus, and, once there, why they stayed. What emerges is a varied set of relationships to the circus, but a shared passion for this way of life.

In November 2017, Michael Puett, Professor of Chinese History and Anthropology at Harvard University, gave two talks at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) at Cambridge on the subject of neoliberalism in China. Beth met with Professor Puett after his talks to discuss Puett’s critical stance on the naturalness of neoliberalism, and his assertion that comparative analysis can help us create alternative models by which to organize our world. They also talked about how to contextualize the particular version of neoliberalism found in China today.

David MacDougall visited Cambridge University this year for a series of talks and screenings and to open an exhibition of stills from his films at King's College. After the opening Rafael Dernbach met MacDougall to talk about the particular knowledge visual anthropology can produce and his practice as a filmmaker. David MacDougall is one of the world’s leading ethnographic filmmakers. He also writes regularly on documentary and ethnographic cinema and is the author of Transcultural Cinema (Princeton University Press, 1998) and The Corporeal Image: Film, Ethnography, and the Senses (Princeton, 2006). He is presently Adjunct Professor at the Research School of Humanities, Australian National University, Canberra.

Ilana Gershon visited Cambridge University this summer, and after her Senior Research seminar at the department, Oliver Balch caught up with her to talk about her research on new media and the contemporary world of work, and her latest book Down and Out in the New Economy: How People Find (or Don't Find) Work Today. Ilana is Associate Professor of Anthropology at Indiana University. Her intellectual interests range from linguistic anthropology, science studies, media studies, legal anthropology, anthropology of democracy, and anthropology of work.

This podcast asks what vision means to those who describe theatre for blind and partially-sighted audiences. Harsha Balasubramanian shares some of the findings from her undergraduate dissertation, and argues that these audio describers' understandings of vision are revealed through their practices. These shape the experiences of sight-impaired theatre-goers. With editing by Christina Woolner and voice acting from Rebecca Vaa, Francesca Firth, and Sian Lazar. I am hugely indebted to everyone who has helped with this podcast: all its participants and my friends and former teachers from university.

The processing and storage of data underpins the digital economy. With 2.5 exabytes of data being produced every day, storing and securing this highly valuable asset is an increasingly challenging task. But where exactly is all this data stored and how is it secured? In this episode, Alexander Taylor visits The Bunker, a subterranean data centre in south-east England and talks with Al Webb, the Head of Physical Security, about the increasingly extreme measures being taken to store and secure data within ‘the cloud’.

When credit is an essential means of getting by, how can debt advice organisations help those who are struggling to repay? This episode of the podcast considers some of the conundrums that debt advisers face in Britain today, as a result of credit having become a vital means of subsistence for millions of people. It is an attempt to explore the normative implications of anthropological research for this particular field of social practice, and considers the viability of advocating debt refusal and debt cancellation. The episode comprises a conversation between Carl Packman, Research and Good Practice Manager at the anti-poverty charity Toynbee Hall, and Ryan Davey, a researcher in the Anthropology Department at the London School of Economics. The presenters would love to hear from any debt advisers who listen to the podcast, to find out your views about what’s being discussed. Please contact Ryan at r.davey@lse.ac.uk or Carl at carl.packman@toynbeehall.org.uk. Further information about the research can be found here: http://www.lse.ac.uk/anthropology/research/An-Ethnography-of-Advice

Birdsong is a ubiquitous feature of the British countryside. But what is the cultural significance of this much-loved part of our landscape? Jonathan Woolley reflects upon the meanings made by birds - as omens, as signs, as proxies, and as music - from the Norfolk Broads, to Bosavi in Papua New Guinea. This podcast uses audio from freesound.org: Lapwing.wav by Juskiddink (http://freesound.org/people/juskiddink/sounds/72560/) 120319_001_L4 Rooks and some magpies.mp3 by Nemark (http://freesound.org/people/nemark/sounds/150176/) Blackcap01_13-03-2016.wav by Tim_Lomas (http://freesound.org/people/Tim_Lomas/sounds/342098/) 20080321.warbler.wav by dobroide (http://freesound.org/people/dobroide/sounds/51028/) The full version of Hanna Tuulikki’s ‘At Sing, Two Birds’ is available here: https://www.youtube.com/watch?v=pKcETcbf8Es

Earlier this year Professor Richard Werbner gave a senior research seminar in the Department entitled 'The Poetics of Wisdom Divination: Renewing the Moral Imagination'. PhD student Joe Philp caught up with Professor Werbner afterwards to ask him more about his recent book, Divination's Grasp: African Encounters with the Almost Said (Indiana University Press: 2015). In the interview, Professor Werbner explains what divination can reveal about moral peril and the moral imagination in contemporary Botswana.

Camthropod welcomes you to the new academic year with an episode dedicated to the Mongolia and Inner Asia Studies Unit, which is celebrating its 30th anniversary this term. Sian Lazar spoke with several members of the unit to find out just what makes it so distinctive.

On April 8th 2015, in North West London, without any warning or permission a buzzing local pub was torn down by developers hoping to erect luxury flats in its place. The resulting scandal made national headlines, feeding into an intense debate around gentrification and property speculation in London. But what exactly was lost? This episode looks at the demolition of the Carlton Tavern through the eyes of those who used to frequent it, uncovering the value of spaces like pubs in bringing communities together in rich and often unexpected ways.

Tanya Luhrmann gave the 2016 W.H.R. Rivers Memorial Lecture in Cambridge, and during her visit she discussed with Rupert Stasch the larger research project she is currently engaged in, about contrasts in the psychological experience of “hearing voices” in the United States, Ghana, and India. Both in a study of how certain Christians experience hearing the voice of God, and in a study of the auditory experiences of diagnosed schizophrenics, Luhrmann and her collaborators have discovered correlations between the kinds of voices people hear in each of these countries and main wider understandings in those countries of the nature of “mind.”

In this episode, Sian Lazar discusses two sounds of different kinds of street mobilisation in Argentina: the bombos, or drums, which are associated with organised social forces, and the cacerolazo, or pots and pans demo, associated with the ‘middle classes’. She relates these different political soundscapes to the politics of the ‘Pink Tide’ and the recent turn back to the right in the country.

Opened in 2014, Hiddo Dhawr is Somaliland’s first and only live music venue to operate since the 1988 civil war, which decimated the capital Hargeysa, and displaced the artistic community. In this episode, social anthropology PhD candidate Christina Woolner visits Hiddo Dhawr – which specializes in the performance of acoustic music popular before the war – to explore what it means to sing, and particularly about love, in contemporary Hargeysa. Conversations with the venue’s founder Sahra Halgan, reflections from some young patrons, and an evening taking in the music reveal the many meanings of love songs, and offer insight into the social and political climate of life in a post-war, unrecognized state.

Anna Tsing visited our department to give the Marilyn Strathern lecture for CUSAS in 2015. Corinna Howland took the opportunity to sit down with her to discuss her classic book Friction: An Ethnography of Global Connection, and to find out a bit more about her thinking on issues of globalization, scale, environmental politics, and capitalism.

Since the liberalisation of the Indian economy in the early 1990s, an entire industry of commercial English language training centres has emerged, offering spoken English classes for adults. In this episode, Sazana Jayadeva speaks with Prakruthi Banwasi, the founder of one of the first English training centres in Bangalore, India, about why it has become so important to know English in this city today.

Patrick O’Hare is a PhD student in social anthropology researching waste-pickers, the landfill economy and the recycling industry in Montevideo, Uruguay. In this podcast he visits Save the Date in London, a Dalston café which forms part of the ‘Real Junk Food Network’ dedicated to diverting food from landfill and transforming it into wholesome, affordable meals. With its founders James and Ruth, Patrick explores why so much edible waste makes it into the trash and how food activists like them are challenging wasteful practices and people’s perceptions about what is good to eat.

Gogo Breeze, a popular radio personality in Zambia's Eastern Province, styles himself as his listeners' grandfather and attends to them through a variety of radio programmes. In this podcast, Cambridge anthropologist Harri Englund introduces the key means by which Gogo Breeze pursues kinship over the airwaves. Examples of broadcasts bring to life the radio grandfather's multivocal approach to his vocation.

Camthropod, the Cambridge Anthropology Podcast. Camthropod is produced by a collective of staff and students from the Cambridge Division of Social Anthropology. We aim to broadcast it fortnightly during term time. Camthropod will include interviews with visiting speakers and with members of the department about their work, as well as audio pieces presenting aspects of our research or just things that interest us about daily life. We welcome all kinds of contributions, and invite you to get in touch with us at camthropod@gmail.com