Witchcraft as a case of ethnographic murk: Impasse of knowledge, harshness of experience
Witchcraft as a case of ethnographic murk: Impasse of knowledge, harshness of experience
Ethnography, Volume 25, Issue 4, Page 428-448, December 2024.
Witchcraft has been described as knowledge that resists knowledge. Drawing on our field research on witchcraft, alienation, and violence in Mali and southern Cameroon as well as with migrants coming from sub-Saharan Africa, we consider two main issues. The first concerns the epistemic challenge of ‘witchcraft’ and its satellite notions (mystical weapons, animal metamorphosis, fetish and so forth). We analyse this ‘challenge’ beyond the problems of translation, both as a particular expression of African perspectivism and an unending struggle concerning epistemic sovereignty. The second issue directly originates from our field research. Prudently, we will try to give a new lease of life to an ethnographic material, studied 20 years ago. We would turn back to some drawings made by students at the primary school of Mbom (Sangmelina, southern Cameroon), and explore the power of what we provisionally define as ‘visual utterances’.
Witchcraft has been described as knowledge that resists knowledge. Drawing on our field research on witchcraft, alienation, and violence in Mali and southern Cameroon as well as with migrants coming from sub-Saharan Africa, we consider two main issues. The first concerns the epistemic challenge of ‘witchcraft’ and its satellite notions (mystical weapons, animal metamorphosis, fetish and so forth). We analyse this ‘challenge’ beyond the problems of translation, both as a particular expression of African perspectivism and an unending struggle concerning epistemic sovereignty. The second issue directly originates from our field research. Prudently, we will try to give a new lease of life to an ethnographic material, studied 20 years ago. We would turn back to some drawings made by students at the primary school of Mbom (Sangmelina, southern Cameroon), and explore the power of what we provisionally define as ‘visual utterances’.