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complex “ontological choreography” carried out in order to make the Euro- American principle of biological kinship fit with the possibilities of new repro- ductive technologies. By highlighting some connections, downplaying others, CONCLUSION: WORKING WITH NATURE, MAKING COASTAL NATURECULTURES | 317 these practices eventually produce parenthood as socially and naturally groun- ded. My own observations on the ‘working with nature’ imaginary in the politics and practices of soft coastal protection could be seen as evidence to a strategic naturalization of nature

, Frankfurt a.M. Wendl, Tobias (1991): Mami Wata- oder ein Kult zwischen den Kulturen, Müns- ter. Westermarck, Edward (1914): Marriage Ceremonies in Morocco, London. Westermarck, Edward (1926): Ritual and Belief in Morocco, Bd. 1 u. 2, London. Zillinger, Martin (2010): »Passionate Choreographies Mediatized. On Camels, Lions, and their Domestication among the 'Isäwa in Morocco«, in: Anselm Franke (Hg.), Animism, Vol. 1, Berlin/New York, 215-226. Zillinger, Martin (2014): »Was sind mediale Räume?«, in: Cora Bender und Martin Zillinger (Hg.): Handbuch der

1967), I suggest that it was already constitutive of local subjectivities long before the introduction of photography (cf. Silverman 1996:91). Thus, photography’s insertion into weddings followed, first of all, the logic of the already existing ritual choreography that decided when, where, and what was displayed and made visible, and what not. Photography, above all, heightened the already existing choreography of visibility and the spectacle of certain moments in the ritual process. But as performance, photographic acts themselves soon gained the repetitive

Choreography of Reproductive Tech- nologies« (2005). Thema dieses Buches sind Normalisierungsprozesse, durch die Reproduktionstechnologien, wie die In-vitro-Fertilisation, die donogene Insemination mit Spendersamen oder die in den USA legalen Verfahren der Eizellspende und der Leihmutterschaft zu Routinen werden, zu normalen wie normativ akzeptierten Bestandteilen der nordamerikan- ETHNOGRAPHISCHE PRAXIS 263 ischen Alltagskultur. Thompsons Beschreibungen und Analysen beruhen auf mehrjährigen, intermittierenden Phasen teilnehmender Beobachtung in verschiedenen

. Press, S. 79–97. Günter, Uwe (1987): »Szenen von suggestiver Kraft. Leipziger Ballett mit Strawinsky-Abend im Metropol«, in: Neues Deutschland (Ber- liner Ausgabe) vom 04.02.1987. Hartmann, Annette (2010): »Dancing Noises of Modern Life. ›Le Sacre du printemps‹«, in: Monika Wiotas/Annette Hartmann (Hg.), Strawinskys »Motor Drive« (= Aesthetica Theatralia, 7), München: epodium, S. 211–227. Hodson, Millicent (1986/7): »Nijinsky’s Choreographic Method. Vis- ual Sources from Roerich for ›Le Sacre du Printemps‹«, in: Dance Research Journal 2, S. 7–15. — (1996

Forschungszugänge zieht Michi Knecht die Mono- grafie »Making Parents – The Ontological Choreography of Reproductive Tech- nologies« von Charis Thompson heran, die sich mit Fertilitätskliniken in den USA und deren Normalisierungspraxen auseinandersetzt. (2005) Forschungsgegen- stand sind in Thompsons Ansatz nicht mehr die unterschiedlichen Akteurinnen ihres Feldes, Ärztinnen, Nutzerinnen oder Klinikpersonal oder das Kollektiv be- ziehungsweise die Beziehungen der unterschiedlichen Akteurinnengruppen, son- dern eine »sozial-natürliche Konstellation« und ihren »ontologischen

Culture, not Color” 189 example, Julia recalled how she and other women invented choreography for saya that was compatible with performing it on a stage in a theatre, as well as in an entrada in the streets. Subsequently, different saya ensembles had to adjust their performance to varying needs, including trips to international folklore festivals, as well as the recording of CDs, the shooting of videos, performances on TV, at night clubs and in restaurants. In general, people distinguish between la saya de antes (the saya from before the Agrarian Reform) and la saya de


- mington: University of Indiana Press. Introduction: Approximating Mistrust 21 Allard, Olivier, Matthew Carey and Rachel Renault. 2016. De l’art de se méfier, Tracés. Revue de Sciences humaines 31: 7-20. Barkan, Elazar and Karen Barkey (eds), 2015. Choreographies of Shared Sacred Sites: Religion, Politics, and Conflict Resolution. New York: Columbia Uni- versity Press. Candea, Matei, Jo Cook, Catherine Trundle and Tom Yarrow. 2015. ‘Introduc- tion’, in M. Candea, J. Cook, C. Trundle and T. Yarrow (eds), Detachment: Essays on the Limits of Relational Thinking

. »Goals in their setting – A normative analysis of goal set- ting in physical rehabilitation.« Health Care Analysis 12 (2): 131-155. doi: 10.1023/b:hcan.0000041187.93819.17. Struhkamp, Rita, Annemarie Mol, and Tsalling Swierstra. 2009. »Dealing with In/dependence: Doctoring in Physical Rehabilitation Practice.« Science Tech- nology Human Values 34 (1): 55-76. Sumsion, Thelma. 2002. Klientenzentrierte Ergotherapie: Umsetzung in die Pra- xis. Stuttgart: Georg Thieme Verlag. Thompson, Charis. 2005. Making Parents: The Ontological Choreography of Re- productive

preschool mostly catering for children from upper middle class ethnically Chinese families. His willingness to handle three foreign languages at the same time (Chinese, Burmese, and English), to study “numerics” and to prac- tice choreographies for numerous pop songs at initially barely two years of age, as well as having to deal with the inevitable attention he received as the only Eu- ropean child at this institution, was the only thing that enabled us to do any work in the first place. Thus, we decided that there needed to be a place which was relatively free from