A Man Called "Bee"

Bringing offerings of rice, flowers, and woven coconut leaves, clients visit Jero in her household shrine to determine the cause of their son's death. Jero lights an incense brazier, sprinkles holy water, and recites mantras as preliminaries to trance. Several ancestors and finally the young son speak through her voice, revealing the nature of his premature death (witchcraft) and his wishes for cremation. In contrast to other films about Balinese trance which focus on spectacular, community performances, this film provides an intimate view of a fascinating process of communication between Jero, the spirits, and her clients who are at one point moved to tears. (der.org)

This ethnographic film records a conflict that took place on February 28, 1971, in the Yanomami village of Mishimishimabowei-teri during the fieldwork of Timothy Asch and Napoleon Chagnon. Constructed in four parts, the film first presents the complete unedited footage of the fight as it was witnessed by the filmmakers, followed by slow-motion analysis, kinship diagrams, and a final edited version. Through this structure, the film documents both the social dynamics of the conflict and the process by which ethnographic knowledge is produced from filmed events.

Yanomamo feasts are ceremonial, social, economic, and political events. They are occasions for men to adorn their bodies with paint and feathers, to display their strength in dance and ritualized aggression; for trading partnerships to be established or affirmed; and for the creation or testing of alliances. In the feast filmed in 1968, the Patanowa-teri had invited the Mahekodo-teri to their village. The two groups had been allies until a few years before this event, when they had fought over the abduction of a woman. They now hoped to renew their broken alliance, which they did successfully. Soon after the filmed feast, the two villages together raided a common enemy. A detailed discussion of this feast, and of the significance of feasting among the Yanomamo, is found in chapter 4 of Chagnon's Yanomamo: The Fierce People. The film's graphic representation of reciprocity and exchange may enrich (and be enriched by) a reading of Marcel Mauss' The Gift.

Dedeheiwa the shaman weeds his manioc garden and clears the leaves around his plantains. Tired and sore, he rests while he is massaged and groomed by his wife and numerous children, with whom he plays affectionately.

This film illustrates the field techniques used by a multidisciplinary team of researchers from the University of Michigan in collaboration with their Venezuelan colleagues. The film also includes a brief sketch of Yanomamo culture and society.

The people of the Tana 'Ai region of Flores, Indonesia live in seven ceremonial domains, of which Wai Brama is the largest and the oldest. The people of Wai Brama are shifting cultivators, hunters and gatherers who, unlike their neighbors, have maintained their traditional ceremonial and social system. A Celebration of Origins, filmed in 1980, depicts the first celebration of these rituals since 1960. The rituals, which require the participation of the entire community, had been delayed by poor harvests and epidemics. The film focuses on a small group of ritual leaders who struggle to hold the celebration in the absence of the Source of the Domain, the ritual leader of the community, who died after initiating the rituals. Evoking the contested nature of ritual, the film demonstrates how ritual performance implicates delicate political relationships based on pragmatic alliances, festering antipathies or developing jealousies.

In 1981, anthropologist Linda Connor and filmmakers Tim and Patsy Asch returned to Bali with video cassette recordings of A Balinese Trance Seance. The resulting film presents some of her reactions to Connor as she watched and listened to herself for the first time. Jero had a unique opportunity to spontaneously and consciously react to and reflect upon the experience of possession. Her comments provide insight into how she feels while possessed, her understanding of sorcery, and her humility in the presence of the supernatural world. More mundane thoughts are revealed as well, for example the importance of the fine appearance of her house. Jero On Jero could most fruitfully be used as a companion to A Balinese Trance Seance, which would be shown first and followed by a discussion, before screening Jero Tapakan's own response.

This film examines the ecology and poetry of everyday life. Two Rotinese narrate this film, each offering his perception of the importance of the Lontar (Borassus) palm: a clan leader describes the many practical uses of the palm; a poet tells of its origin and mythic significance. The film complements Fox’s book, The Harvest of the Palm, as well as his essays on ritual language.

A short documentary film by ethnographic filmmaker Tim Asch that shows young members of the Yanomamo Indian tribe sharpening their arrow-shooting skills.