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Memory of the World; 2012 - unesdoc - Unesco

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John Marshall Ju/’hoan<br />

bushman film and video<br />

collection, 1950–2000<br />

Inscribed 2009<br />

What is it<br />

This collection, created over a span <strong>of</strong> fifty years,<br />

is an unparalleled historical record not only <strong>of</strong> an<br />

indigenous people’s traditional way <strong>of</strong> life, but also<br />

<strong>of</strong> its transformation caused by <strong>the</strong> rapidly changing<br />

social and economic landscape, combined with <strong>the</strong><br />

struggle for Namibian independence.<br />

Why was it inscribed<br />

It is one <strong>of</strong> <strong>the</strong> seminal visual anthropology projects<br />

<strong>of</strong> <strong>the</strong> 20th century, unique for <strong>the</strong> scope <strong>of</strong> its<br />

sustained audiovisual documentation <strong>of</strong> one cultural<br />

group, <strong>the</strong> Ju/’hoansi <strong>of</strong> <strong>the</strong> Kalahari desert in<br />

nor<strong>the</strong>astern Namibia.<br />

Where is it<br />

Human Studies Film Archives, Smithsonian Institution,<br />

Washington, DC, USA<br />

John Marshall first visited <strong>the</strong> Kalahari desert in<br />

nor<strong>the</strong>astern Namibia in <strong>the</strong> 1950s, when his parents<br />

travelled <strong>the</strong>re on sponsored expeditions between 1950<br />

and 1958. These early visits were <strong>the</strong> start <strong>of</strong> a lifelong<br />

bond between him and <strong>the</strong> Ju/’hoansi, a group <strong>of</strong><br />

hunter-ga<strong>the</strong>rer bushmen from <strong>the</strong> Nyae Nyae area<br />

� John Marshall relaxing with Ju/’hoan friends in 1955. Marshall<br />

immersed himself in Ju/’hoan life, learning to speak <strong>the</strong> language<br />

fluently and participate in rituals.<br />

500 John Marshall Ju/’hoan bushman film and video collection, 1950–2000<br />

� Tsamko Toma (in suit and tie) at a SWAPO political rally before<br />

Namibia’s first democratic elections. An important leader in <strong>the</strong><br />

Ju/’hoan community, Tsamko was <strong>the</strong> first president <strong>of</strong> <strong>the</strong> Nyae<br />

Nyae Farmers’ Coop, a local governing body formed by Ju/’hoansi<br />

as <strong>the</strong>y organized <strong>the</strong>mselves and entered into Namibian politics<br />

in <strong>the</strong> 1980s.<br />

<strong>of</strong> <strong>the</strong> desert. Marshall became one <strong>of</strong> <strong>the</strong> world’s<br />

foremost anthropological filmmakers and his crowning<br />

achievement is <strong>the</strong> record he has made <strong>of</strong> <strong>the</strong> changing<br />

lifestyle <strong>of</strong> <strong>the</strong> Ju/’hoansi over fifty years. His relationship<br />

with <strong>the</strong>m is close and he has created a foundation to aid<br />

<strong>the</strong>ir development and dedicated most <strong>of</strong> his adult life<br />

to advocacy on <strong>the</strong>ir behalf.<br />

In <strong>the</strong> 1950s <strong>the</strong> Ju/’hoansi were still surviving<br />

using traditional hunter-ga<strong>the</strong>ring practices that had<br />

remained unchanged for centuries. In <strong>the</strong> decades that<br />

followed, <strong>the</strong>ir way <strong>of</strong> life was influenced by increasing<br />

contact with <strong>the</strong> modern world. As <strong>the</strong>ir opportunities<br />

to survive by hunter-ga<strong>the</strong>ring were reduced, Marshall<br />

recorded <strong>the</strong>ir difficult entry into <strong>the</strong> modern global<br />

community, including: <strong>the</strong>ir decline into malnutrition,<br />

influenced by <strong>the</strong>ir attempts at subsistence farming;<br />

<strong>the</strong> impact <strong>of</strong> alcoholism and domestic violence; <strong>the</strong>ir<br />

struggles for rights to traditional land and waters and<br />

<strong>the</strong>ir grassroots political campaigning. These changes<br />

happened against a backdrop <strong>of</strong> conflicting needs and<br />

interests <strong>of</strong> neighbouring ethnic groups, international<br />

aid programmes, <strong>the</strong> fight for Namibian independence<br />

and <strong>the</strong>n dealing with Namibia’s new democratic<br />

administration.<br />

His work among <strong>the</strong> Ju/’hoansi has produced hundreds<br />

<strong>of</strong> hours <strong>of</strong> film, video and audio recordings as well as<br />

twenty-three edited films and a five-part video series,

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