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Dancing Dolls: Animating Childhood in a Contemporary Kazakhstani Institution
Anthropological Quarterly ( IF 0.853 ) Pub Date : 2019-01-01 , DOI: 10.1353/anq.2019.0017 Meghanne Barker
Anthropological Quarterly ( IF 0.853 ) Pub Date : 2019-01-01 , DOI: 10.1353/anq.2019.0017 Meghanne Barker
ABSTRACT:This article shows how marginalized children use performance to animate hyperbolic representations of ideal childhood at a state-run home for children in Kazakhstan. Children growing up in institutional group homes, such as orphanages, are frequently objects of pity and stigmatization. These institutions rely on state and private donations. They compete for continued support with an increasingly diverse field of alternative social welfare programs. Based on observations between 2012 and 2014 at Hope House—a temporary, state-run home (with private sponsors) in Almaty—I examine how teachers socialize children into roles of performing for visiting adults. Their songs and poems solicit affection and ongoing engagement from visiting spectators, who include state inspectors, corporate sponsors, and parents who have promised to return for them. These animations stage ideal versions of childhood: children show their vulnerability, and thus their need for support, but also offer promises of their potential. That is, the children work to show that they require assistance now, but will grow up to be competent adults, despite the perceived threat that early institutionalization presents to their development. As these children take on roles that render them helpless or even object-like, they nonetheless actively participate in inviting and sustaining interaction with and investment from visiting adults. Teachers compel children to recite poems and to dance as puppets come to life, exercising both care and control. These routines are thus not simply a show for outsiders. Rather, teachers socialize children through repetition and rehearsal. These animations form a crucial modality through which the children develop relationships with adults inside and outside the institutional home.
中文翻译:
跳舞娃娃:在当代哈萨克斯坦机构中动画童年
摘要:本文展示了边缘化儿童如何在哈萨克斯坦的国营儿童之家利用表演为理想童年的双曲线表现动画。在孤儿院等机构团体之家中长大的儿童经常成为怜悯和污名化的对象。这些机构依靠国家和私人捐赠。他们与日益多样化的替代社会福利计划领域争夺持续支持。根据 2012 年至 2014 年在希望之家(阿拉木图的一个临时国营住宅(有私人赞助))的观察,我研究了教师如何将儿童融入到成人来访的表演角色中。他们的歌曲和诗歌吸引了来访观众的喜爱和持续参与,其中包括国家检查员、企业赞助商和承诺为他们返回的父母。这些动画展示了童年的理想版本:孩子们展示了他们的脆弱性,因此他们需要支持,但也承诺了他们的潜力。也就是说,孩子们努力表明他们现在需要帮助,但会长大成为有能力的成年人,尽管早期机构化对他们的发展带来了威胁。当这些孩子扮演让他们感到无助甚至是客体的角色时,他们仍然积极参与邀请和维持与来访的成年人的互动和投资。教师强迫孩子们背诵诗歌和跳舞,因为木偶栩栩如生,既关心又控制。因此,这些例行公事不仅仅是外人的表演。相反,教师通过重复和排练使孩子社交。
更新日期:2019-01-01
中文翻译:
跳舞娃娃:在当代哈萨克斯坦机构中动画童年
摘要:本文展示了边缘化儿童如何在哈萨克斯坦的国营儿童之家利用表演为理想童年的双曲线表现动画。在孤儿院等机构团体之家中长大的儿童经常成为怜悯和污名化的对象。这些机构依靠国家和私人捐赠。他们与日益多样化的替代社会福利计划领域争夺持续支持。根据 2012 年至 2014 年在希望之家(阿拉木图的一个临时国营住宅(有私人赞助))的观察,我研究了教师如何将儿童融入到成人来访的表演角色中。他们的歌曲和诗歌吸引了来访观众的喜爱和持续参与,其中包括国家检查员、企业赞助商和承诺为他们返回的父母。这些动画展示了童年的理想版本:孩子们展示了他们的脆弱性,因此他们需要支持,但也承诺了他们的潜力。也就是说,孩子们努力表明他们现在需要帮助,但会长大成为有能力的成年人,尽管早期机构化对他们的发展带来了威胁。当这些孩子扮演让他们感到无助甚至是客体的角色时,他们仍然积极参与邀请和维持与来访的成年人的互动和投资。教师强迫孩子们背诵诗歌和跳舞,因为木偶栩栩如生,既关心又控制。因此,这些例行公事不仅仅是外人的表演。相反,教师通过重复和排练使孩子社交。