Head Hunters Research Articles

The Silent Enemy (1930) and n’Daki Menan: Reclaiming Mise-en-Scène as Authorial Expression

Paramount Pictures’ The Silent Enemy, released in 1930, is a fascinating cultural artifact made and released during the transition from silent to sound film. One of the last silent feature films made by the studio, this critically acclaimed film took three years to make and was shot in large part on location on n’Daki Menan, the traditional territory of the Teme Augama Anishnabai in northern Ontario. Like other silent films made in Indigenous communities during this period such as Curtis’ In the Land of the Head Hunters (1914) and Myles’ The Daughter of Dawn (1920), The Silent Enemy employed local Indigenous actors and drew on their knowledge and traditions to construct its vision of pre-contact Anishinaabe life. While the exact location and community are never mentioned in The Silent Enemy itself, local Anishinaabe people were hired to act in the film and make the costumes and sets according to pre-contact standards, all elements of the film form that added greatly to the production’s claims of authenticity. This cultural labour went uncredited and unacknowledged. While the film recycles the prominent ethnographic narrative of the dying “Indian” culture, it does feature ironic moments of Indigenous survivance, such as an introductory sequence with Chief Yellow Robe shot in synchronized sound, naturalistic performances, material culture designed by locals that continue to captivate community members, and over-the-top colonial takes on pre-contact life. Until now, most readings of this silent feature focused on the celebrity image of Chief Long Lance and his “outing” as an African American and its use of Native American actors in leading roles, but for far too long, the story of its long-lasting influence as both a personal and a public historical artifact for the Teme Augama Anishnabai has not been told. The authors’ method for telling this story will alternate between oral storytelling and scholarly analysis of the film’s formal and thematic elements. The authors hope that by drawing on oral and traditional storytelling approaches, Indigenous ways of knowing will be foregrounded.

The Mongrel Mob or Head Hunters? The association between neighbourhood-level factors on different types of gang membership in Aotearoa/New Zealand

Previous research has shown that gang members typically emerge from more socially disorganised neighbourhoods. What is less known however is whether members of different types of gangs emerge from the same types of neighbourhoods. In this study, we use the social disorganisation theory as a framework to examine the spatial risk factors associated with two different types of gangs in New Zealand: Outlaw Motorcycle Gangs and New Zealand Adult Gangs. Overall, we found some consistency in spatial risk factors associated with gang membership by type in New Zealand; however, certain variables were significantly predictive of one type of gang membership but not of the other. The overall performance of our models also differed marginally depending on the type of gang being examined. In fact, our findings suggest some non-uniformity in the extent to which the various social disorganisation factors impact gang membership rates by type. The implications of this finding are discussed in the context of an ever-changing gang landscape in the country.

“Ethnology as an Epic”: The Modern Cinema of Edward S. Curtis and the Kwakwa̲ka̲’wakw

In 1914, the American photographer Edward S. Curtis released the first feature-length silent film to star an entirely Indigenous cast. In the Land of the Head Hunters—an epic melodrama of love, war, and ritual—was made with Kwakwa̲ka̲’wakw (Kwakiutl) people on location in British Columbia. Curtis then worked with artists and musicians in New York to frame it as commercial entertainment. This interdisciplinary essay explores an inherent tension in Curtis’s landmark film between his reliance on Western aesthetic references (classical literature, orchestral music, fine and popular art), and his efforts to be taken seriously as an ethnographer. Neither pure artistic fiction nor anthropological “documentary,” Head Hunters emerged in an intermediate zone of popular culture during the early twentieth century. Curtis and his Kwakwa̲ka̲’wakw partners mobilized both European and Indigenous mythologies, aesthetics, and theatrical traditions to make a shared contribution to that quintessentially modern art form—the motion picture.

Engagement and the Nonprofit Organization: Voices from the Margins

Little academic attention has been focused on the experiences of communities situated at the margins in receiving nonprofit services. In this essay, we draw on the culture-centered approach to critically interrogate the concept of engagement among a range of nonprofit organizations. We analyze ethnographic fieldwork conducted in a low income suburban area in Aotearoa New Zealand, in which narrative accounts of 60 residents formed the basis of our deliberations with an advisory board. Our findings indicate that many nonprofit organizations are constructed as spaces of othering that do not attend to the cultural norms or needs of those situated at the margins. Alternatively, the Head Hunters outlaw motorcycle gang and Destiny’s Church, both vilified in mainstream media outlets, were sites of significant community engagement. Our study illuminates the impact of dialogic group engagement and of initiatives being developed and driven by the community.

Hells Angels, Head Hunters and the Filthy Few: The History of Outlaw Bikers in Aotearoa New Zealand

ABSTRACT Aotearoa New Zealand has recently seen a growth in outlaw biker membership since the Australian Rebels MC patched over several chapters of the tribesmen MC in 2011. From these bases, they spread throughout Aotearoa New Zealand becoming one of the largest outlaw biker clubs in the country. The Rebels were not the first overseas-based club to establish a presence in Aotearoa New Zealand and would not be the last as Australia deports outlaw bikers with Aotearoa New Zealand citizenship back to their birth country. This paper provides an overview of the two major phases of outlaw biker internationalization in Aotearoa New Zealand while highlighting the developmental and historical changes in this process between the twentieth and the twenty-first century. In so doing we can compare the nuances of expansion within Aotearoa New Zealand and emphasizing continuities and similarities, but also departures from the global experience of outlaw biker internationalization. This article provides an up-to-date account of outlaw bikers in Aotearoa New Zealand up to 2020 since Jarrod Gilbert’s historical account in 2013, extending our knowledge of a little known part of the outlaw biker world.

Kampanie i strategie propagandowe towarzyszące budowie muru berlińskiego

Propaganda campaigns and strategies accompanying the construction of the Berlin Wall The article deals with propaganda campaigns connected with the construction of the Berlin Wall. Propaganda activities assisted the police operations which were aimed at the separation of the east sector from the west sectors of Berlin. These activities took place before, during and after the operation 13, August 1961. In the first part of the paper I describe the prior campaign on the basis of daily newspaper „Neues Deutschland”, the main press organ of the political party SED. The two dominating topics are related: „the human trafficking” and the people regularly crossing the sector border. Refugees became the main topic of the campaign due to the constant mass outflow of people from 100 to even 300 thousand people fled through West Berlin annually. The fake story, common in the soviet Stalin era, tells about western agents recruiting and trading citizens of the GDR to the West. They were denominated by the propaganda as „head hunters” or „human traffickers”. The people regularly crossing the sector border became the inner enemy. They lived in the eastern sector and worked in the western sectors which resulted in higher revenue. By manipulating the aroused feeling of jealousy the propagandists turn the group into a scapegoat. They accuse them of lack of merchandise and of offences. To put an end to these activities the border had to be closed. The closer to the day of the operation, the more aggressive and hysteric becomes the campaign. The culminant events are the „show trials” at the end of July 1961 during which the assumed „human traffickers” are sentenced to prison. The second part of the article deals with post campaigns which aimed at integration of the citizens within the borders of the DDR.

Shooting Melanesians: Martin Johnson and Edward Salisbury in the Southwest Pacific

By the turn of the 20th century American photographers were venturing into the western Pacific. Two of the first cinematic teams to film in Melanesia were the Kansan explorers Martin and Osa Johnson and the yachtsman Edward A. Salisbury, who was joined by Merian Cooper (of later King Kong fame). Both drew on representational practice honed partly along the American Western Frontier. Both pairs took still and motion pictures in the New Hebrides and Solomon Islands which they used to illustrate magazine articles, travelogue books and silent films, including the Johnsons’ Cannibals of the South Seas [1918] and Head Hunters of the South Seas [1922], and Salisbury and Cooper's Gow the Head Hunter [1928]. Differences in their print and motion imagery of islanders reflect the newer movie aesthetic, stimulating new ways to shoot Melanesians as spectators, as actors and as occasional filmmakers themselves.

Review: Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakwaka’wakw, and the Making of Modern Cinema by Brad Evans and Aaron Glass, editors, foreword by Bill Holm

Review: Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakwaka’wakw, and the Making of Modern Cinema by Brad Evans and Aaron Glass, editors, foreword by Bill Holm

Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakwaka’wakw, and the Making of Modern Cinema. Brad Evans and Aaron Glass, eds. Seattle: University of Washington Press, 2014. 464 pp.

Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakw<u>a</u>k<u>a</u>’wakw, and the Making of Modern Cinema. Brad Evans and Aaron Glass, eds. Seattle: University of Washington Press, 2014. 464 pp.

Return to the land of the head hunters: Edward S. Curtis, the Kwakwaka'wakw, and the making of modern cinema

U'mista Cultural Society Statement of Participation / William T. CranmerForeword / Bill HolmPreface / Brad Evans and Aaron GlassAcknowledgmentsIntroduction PART ONE. Mediating Indians / Complicating Curtis1. Edward and In the Land of the Head Hunters: Four Contexts / Micky Gidley2. Images of Time: Portraiture in The North American Indian / Shamoon Zamir3. Indian Landscapes: Pauline Johnson and Edward / Kate Flint4. A Chamber of Echoing Songs: Edward as a Musical Ethnographer / Ira JacknisPhoto Essay 1. At the Kitchen Table with Edward Curtis/ Jeff Thomas PART TWO. Head Hunters Across Two Centuries5. Consuming the Head Hunters: A Century of Film REception / Aaron Glass and Brad Evans6. Unmasking the Documentary: Notes on the Anxiety of Edward / Colin Browne7. Indian Movies and the Vernacular of Modernism / Brad Evans8. Musical Intertextuality in Indigenous Film: Making and Remaking In the Land of the Head Hunters / Klisala Harrison9. Reflections on Working with Edward / Barbara Cranmer (Tlakwagila'ogwa)Photo Essay 2. Old Images / New Views: Indigenous Perspectives on Edward Curtis / Dr. E. Richard Atleo, Pam Brown, Marie Clements, Karrmen Crey, Mique'l Icesis Dangeli, Andy Everson, Linc Kesler, David Neel, Evelyn Vanderhoop, and William Wasden Jr. PART THREE. Reimaging Today10. In the Land of the Head Hunters: Reconstruction, not Restoration. Jere Guldin11. In the Land of the Head Hunters and the History of Silent Film Music / David Gilbert12. Performing Braham, Interpreting Curtis: A Conversation on Conducting / Neal Stulberg, Owen Underhill, Timothy Long, and Laura Ortman13. What the Creator Gave to Us: An Interview with William Wasden Jr. (Waxawidi)14. Cultural Interpretation / Dave Hunsaker15. The Kwakwakka'wakw Business of Showing: Tradition Meets Modernity on the Silver Screen and the World Stage / Aaron Glass Afterword. Twentieth Century Fox / Paul Chaat SmithAppendix 1. Promotional Images for In the Land of the Head HuntersAppendix 2. The Kwakwaka'wakw Cast and Crew of In the Land of the Head HuntersAppendix 3. Film Props in the Collection of the Burke Musem of Natural History and CultureAppendix 4. Title Cards from the 2008 Reconstruction of In the Land of the Head HuntersReferencesContributorsIndex

Edward Curtis, In the Land of the Head Hunters

En 1911, Edward S. Curtis (1868-1952) entreprend de faire un film sur les tribus indiennes vivant sur l’ile de Vancouver, a l’ouest de la Colombie britannique au Canada. Photographe professionnel, Curtis connait deja les Kwakiutl, auxquels il a consacre un tome de The North American Indian, œuvre monumentale parue en vingt volumes (1907-1930) melant textes a visee ethnographique et quelque 2000 photographies. Curtis veut saisir l’Indien avant sa disparition complete (the vanishing Indian), n’...

“Chameleon” Meets Soul Train : Herbie, James, Michael, Damita Jo, and Jazz-Funk

Herbie Hancock must have felt great when he and his group, the Head- hunters, gave a live performance of their hit song Chameleon on the weekly television show Soul Train, airing September 28, 1974. Released late the previ- ous year, Chameleon and the album for which it was the lead single (Head Hunters)1 were enjoying an extended ride on the pop, rhythm and blues (RB public-radio jazz stations had little attraction to album cuts from Head Hunt- ers at first, but urban and free-form radio embraced Chameleon. Nevertheless, the album had been issued initially through jazz store outlets, and album sales were tracked on this basis. Soon enough, record bins in the RB perhaps a new, younger, and less category-bound jazz audience was emerging.5 Yet the album was not re- garded as precisely funk either, including by Hancock himself. Endeavoring to create a funk album, not a jazz one, Hancock fortuitously decided to pay atten- tion to the way things were flowing and not just stick to what [he] originally had in mind.6 The musical result fit precariously into a set of contested categorical terms: jazz-rock, funk-jazz, fusion jazz, and others, offered up by fans and crit- ics to both describe the music and set stylistic boundaries for exclusivity and inclusivity.While I explored Hancock's album largely through the lens of jazz studies in my earlier work, in this paper I consider Chameleon and Head Hunters from their collective perception as funk; I view the Soul Train performance as a metaphoric goal for Herbie Hancock. Hancock wanted to reconnect, through his new direction, with a young, hip, black listenership that had largely come to yawn at jazz. …

The Evolution of the State Bank of Travancore as a Learning Organisation - The Role of the Trainer and Innovative Methods of Training

Banks have come to know that human resource is the most important asset, and have evolved many methods to tap the most intelligent youth through campus recruitment and with the help of professional head hunters. But, the real challenge is retaining them for a longer period in the organisation, and the stress would be experienced when the top strata would retire in a few years of time. They need a set of well-informed, skilled and dedicated work force to keep the business level high and also to boost the image of the banks. Here lies the importance of training the personnel to develop their career as well as change their attitudes. Training centres and trainers play a crucial role in this area. The present study envisages uncovering the efforts of the State Bank of Travancore, the premier bank of Kerala, to evolve itself as a learning organisation. It also explores the possibility of developing a conceptual model of a learning organisation, depicting various stages, identifying the characteristics of a learning organisation, the role of a trainer in building a learning organisation and the innovative training methods that can be adopted to improve the effectiveness of the training system.

Vulnerabilities Associated to Migration Trajectories from Romania to EU Countries

In recent years, migration for work has become the most important component of Romanian migration. According to several studies are about two million Romanian workers abroad, around 10% of population. This paper is an overview of all possible trajectories for temporary migration from Romania to EU countries. By using data from National Employment Agenc y, we have identified for each emigration trajectory the vulnerabilities associated. During the crisis the most vulnerable migrants for work were low skilled legal workers from less developed EU countries. The less vulnerable were highly skilled migrants for work in health or IT sectors. On the other hand, the head hunters were stimulated during the crisis, becoming more aggressive and increasing workers vulnerability. The offer for highly qualified jobs were relatively modest in terms of provided benefits which has turned into an obvious advantage for employers and a major disadvantage for migrants for work on medium term.

Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion (review)

UNITED STATES Birds of Fire: Jazz, Rock, Funk, and Creation of Fusion. By Kevin Fellezs. (Refiguring American Music) Durham, NC: Duke University Press, 2011. [xii, 299 p. ISBN 9780822350309 (hardcover), $84.95; ISBN 9780822350477 (paperback), $23.95.] Illustrations, bibliography, index. A welcome addition to jazz scholarship, Kevin Fellezs's Birds of Fire: Jazz, Rock, Funk, and Creation of Fusion is well-researched and thought-provoking book on fusion; its title Birds of Fire comes from Mahavishnu Orchestra's 1973 album title (Columbia KC 31996, LP). This book discusses fusion starting from late 1960s and singles out four representative musicians for extended discussions: Tony Williams, John McLaughlin, Joni Mitchell, and Herbie Hancock. The chapters on each of these musicians do not present comprehensive overview of their music and careers, but focus instead on limited span of time in their respective engagements with fusion. For Williams, focus is on his early fusion, represented by his band Lifetime; for McLaughlin, on his bands Mahavishnu Orchestra and Shakti; for Mitchell, on her collaborations with jazz musicians in 1970s; and for Hancock, on his bands Mwandishi and Headhunters. Although these musicians provide four interesting case studies, Fellezs does not explain his rationale for selecting these particular fusion musicians over others. It is significant that, in exploring fusion as transgeneric creation that challenged notions of authenticity, legitimacy, and authority, Fellezs takes into account sociopolitical, economic, and musical factors such as social and cultural hierarchies embedded in music. In particular, his examination of racialized nature of genres and cultural identity is interesting, and it is refreshing that, in discussing issue of race in music, he advocates avoiding essentialism by emphasizing hybridity in genres and by illustrating instances of influence between black and white musicians. It is clear that Fellezs conducted extensive research on subject matter, especially in terms of archival documents, but he was not interested in interviewing musicians on whom he focused. His rationale is that he did not want retrospective recollections spanning thirty-plus years. There was ample material . . . from 1970s to aid me in my attempt to capture musicians and listeners, particularly critics, in heat of moment (p. 12). This, interestingly, points toward synchronic approach, but problem is that not all source materials used in his book are contemporaneous; he consulted several sources from 2000s that include musicians' retrospective recollections. A more fundamental question is whether synchronic approach would be best suited for historical subject. (One exception is 2002 interview with drummer Steve Smith on smooth jazz, more contemporary subject [pp. 29-30].) The self-imposed limitation can represent missed opportunity because interviews with musicians, even if they are conducted decades after the moment, can provide valuable insight and enrich understanding of subject. The lack of interviews in Fellezs's book is one of differences between it and two major previous books on fusion, Stuart Nicholson's Jazz-Rock: A History (New York: Schirmer, 1998) and Steven Pond's Head Hunters: Making of Jazz's First Platinum Album (Ann Arbor: University of Michigan Press, 2005). And, of course, Julie Coryell and Laura Friedman's Jazz-Rock Fusion: People, Music (2d ed. Milwaukee: Hal Leonard, 2000) is an interesting collection of interviews with number of fusion musicians. Fellezs's introduction provides conceptual framework in order to explain wide variety of styles encompassed in fusion. A central idea is in-between-ness, term that denotes fluid status of fusion, being both inside and outside of genre categories (p. 5) and articulating a multiple sense of belonging and nonbelonging (p. …

Perspectives of science in iran.

It cannot be ignored that Iran had an impressive history in science over the very ancient years; through significant number of unique inventions, ideas, and discoveries brought by Iranian scientists such as Farabi, Toosi, Razes, Avicenna, Hesabi, and many others. During centuries due to political, cultural circumstances and war, Iran’s activities in all aspects of science and technology (S & T), as well as art have been changed. Expansion of internet and information technology in the last 50 years has eased estimation of impact of each scientist or institute or even countries in the world. When one examines scientometric databases such as Thompson Reuters (ISI). Scopus, or Google Scholar, the growth in Iranian ST for instance, attention of decision and policy makers to S&T in terms of research budget, training of experts, and updating instruments. Currently, Iranian government allocates around 0.5% of its GDP to S&T, which still ranks it behind industrialized countries which spend around 1.4% of their GDP on average. Despite such growth in S&T, brain drain has been increased in the last few years that need special attention. Regarding high potential of Iranian educated people, most of Iranians have got the best scientific jobs in the world especially in USA and other Western countries. Therefore, decision makers should be aware of establishing encouragement protocols to prevent brain drain. Some countries in the world, even the neighbor countries, have been lucky in returning their eminent scientists even those who had spent most of their lives abroad. The reality of the matter is that the brain drain is not an issue of only the developing countries. Lots of developed countries are dealing with a huge brain exodus especially to US, Canada, and Australia. Lessons should be learned from the countries that were having problems with brain drain and now not only they have overcome the issue, but also eventually have become “head hunters”. A good example is Canada! Dealing with up to 27% brain drain in 1920 and now absorbing scientists from every corner of the world. Technical Service Council was one of their strategies to deal with the problem. Regarding brain drain in Iran, some solutions can be taken into account as follow: establishment of a national academy of genius scientists to create a cluster, establishment of knowledge business developing centers to hire scientists, emphasis on innovation and self-reliance, focusing in international collaboration and offering scholarships not only to eligible national graduate students but also to foreign young scientists and investing on them which will definitely contribute to knowledge transfer, considering changes in educational and examination systems and attempting to encourage innovation and problem solving skills in students, considering weekly/monthly scheduled meetings with students and getting updated in progress of their research, establishment of massive doctoral and postdoctoral training programs with cooperation of top universities of the world, revising eligibility criteria for appointments of faculty members and trying to hire tops of the world, closure of sub-standard institutions, encouragement of thinking scientifically among decision makers, working multiculturalism in scientific society, and finally upgrading the educational and research facilities to prevent time and budget waste. Ultimately, I would like to emphasize that one of Iran’s big potentials is its human resources, meaning intelligent young scientists. If good seeds are implanted today, then good fruits will be resulted in near future. Dr. Mohammad Abdollahi is currently working as a Professor of Toxicology and Pharmacology, Faculty of Pharmacy and Pharmaceutical Sciences Research Center, Tehran University of Medical Sciences, Tehran, Iran. He could be reached at the following e-mail address: mohammad@tums.ac.ir

The Harmonic and Rhythmic Language of Herbie Hancock's 1970s Fender Rhodes Solos

Herbie Hancock's Fender Rhodes electric piano solos of the 1970s, recorded primarily within the jazz‐funk contexts of his Headhunters band and other projects (on albums such as Head Hunters, Flood, Man‐Child, and others), represent a high‐point of improvisation over groove‐based forms. These solos built on the developments of Hancock's piano work from the 1960s to reach new heights of harmonic and rhythmic sophistication. Predominantly in riff‐driven settings based on a single harmonic area or few chord changes, he masterfully balanced elements of tension and release over this, with elaborate harmonic development and rhythmic modulation juxtaposed against his harmonically and metrically stable backings, drawing on both jazz and funk aesthetics. This article explores these solos from an analytical perspective, aiming to identify specific harmonic and rhythmic devices and shed new light on this period of Hancock's output.

Head hunters: the making of jazz's first platinum album

Head hunters: the making of jazz's first platinum album

The effective management of employment agencies

In order to be able to manage a business, it is wise to study the nature of that particular business. Employment agencies are also known as recruiters, head hunters and career counselors. There are differences amongst these types of organisations but, here, the article’s focus is geared toward employment agencies.

Arrangement institutionnel et fonctionnement du marché du travail. Le cas de la chasse de tête

Do head hunters firms improve the matching process, and therefore contribute to the efficiency of the labour market of top executives? Far from being a passive vector, on one hand they contribute to shape companies' specific demand; on the other hand, they initiate the supply of candidates resorting to their networks. Head hunters implement idiosyncratic categories of evaluation in order to fit as well as possible both parties' preferences. If such a type of transaction reduces information costs, it nevertheless produces distortions with regard to the market efficiency. It introduces a bias in favour of mobility between identical jobs (in terms of occupation and industry) and therefore participates to the labour market segmentation, which impedes substitution mechanisms. As a consequence, they contribute to the inflationary pressures that characterise the top executives' labour market. — Special issue: New patterns of institutions.