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• Historical anthropology of Shahsun nomads of Iran

  35-47

  Péter Gaál-Szabó

  Mortaza Feridouni

  Views:

  220

  Nomads are a group whose axis of social communication is organized based on relative, causal, real, or ideal kinship. Shahsun lived in parts of northwestern Iran, especially Mughan and Ardabil. Shahsuns are one of the most important and famous nomads of Eastern Azerbaijan province and have a long history. Shahsun nomads have special customs and traditions. Their life is mostly based on the animal husbandry economy, and agricultural activities are at the next stage of importance. They had special local clothes such as Petawa and Charuq, which are indicators of Ilat Shahsun's clothing. Among the special arts of Shahsun, I can mention handicrafts, the most important of which is Varnish weaving, as well as music and the use of various instruments such as Reeds, Tutak, Tar, and Garman, which are popular among these nomads. They live in the region of The beauty of Arsbaran is that in their way of accommodation, it is possible to mention the use of pavilions, Kome, and Chatma. Apart from field research and objective observations and experiences, the present article is an analytical study and review of texts and documents related to the history of Shahsuns. This research is based on the opinion of the French anthropologist Marcel Moss, who believes in the in-depth research method, that is deep observation and study about a limited community like nomads. What is followed in this research is to investigate and analyze the culture, beliefs, religious practices, and social behavioral patterns of the Shahsun nomads.

• Possessions, Pride, and Privilege Martaban Jar and the Visual Power from Three Photographs from Borneo

  109-121

  Rusyanti Rusyanti

  Views:

  64

  Photographs have become important subjects of study since the early nineteenth century, drawing attention from a wide range of disciplines. In cultural anthropology, photographs function as both pictorial representa-tions and cultural artifacts, providing evidence of social practices and material traces of the past. Clothing, objects, gestures, space, and social relations in photographs communicate collective and historical meanings. Additionally, photographs reveal hidden meanings related to cultural constructions, ideology, and power; as Barthes argued, photography is a system of signs in which meaning is never neutral. This study analyzes three late-nineteenth-century photographs from Borneo to clarify their social, cultural, and ideological significance. Furthermore, the study interprets the historical connection between Dayak communities in Borneo and Martaban jars, valued as indispensable objects. The analysis aims for rigor and neutrality by distinguishing between visible elements (denotation), cultural associations (connotation), and underlying ideology (myth). The three photographs, featuring deliberately arranged scenes, focus on ethnic features with the jar as the principal subject. The jar conveys clear ideas of ownership, strong possessions, pride, and privilege, reflecting a persistent social construct. As depicted, the vase is an integrated element of the human world, persisting across different times and places and bringing a unique narrative with each appearance.