Roberta Bonetti
Biographic Data
| ID | 1262465 |
|---|---|
| NAME | Roberta Bonetti |
| GIVEN NAMES | Roberta |
| FAMILY NAME | Bonetti |
| SIGNATURE | BONETTI R |
| AFFILIATIONS | Roberta Bonetti is Professor in Museum Anthropology and Applied Anthropology, Faculty Arts and Humanities, Department of Anthropology and Ethnology at University of Bologna. |
| ORCID | 0000-0003-3223-4648 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Ritualità emergenti nella prossimità tra antropologia e archeologia. Nominare i reperti ossei di scavo
L’articolo esplora una pratica situata che emerge nello spazio di prossimità tra antropologia culturale e archeologia, attraverso una micro-etnografia di una consuetudine ufficiosa in uno specifico contesto di scavo: la rinomina dei reperti ossei umani da parte di archeologi e archeologhe italiani/e durante il lavoro sul campo. Basato su un’esperienza di ricerca interdisciplinare inconsueta, e condotta in compresenza, il contributo mostra come la…
Antropologia dell’apprendimento come esperienza applicata
Cinque video sperimentali esplorano il paesaggio urbano e le sue mura nella città di Bolzano. Il lavoro è stato realizzato da un gruppo di studenti e studentesse del corso “Illegal Design - Urban Walls” nella Facoltà di Design e Arti della Libera Università di Bolzano. L’obiettivo è stato quello di cogliere, attraverso azioni di gruppo e condivise, il concetto antropologico di confine “facendo esperienza” dei muri presenti nello spazio urbano. Pe…
The Media-action of abebu adekai (Ghana's Sculptural Coffins) in the World Market and Design
Abebu adekai, literally “receptacles of proverbs”, known worldwide as fantasy coffins, are funeral sarcophagi used primarily by the Ga people who live in Accra, south Ghana. These coffins rapidly achieved popularity abroad after they began to be presented as artwork in international exhibitions, and caught the interest of mass media. Through the case of Eric Adjetey Anang (grandson of Kane Kwei), the article examines the intersection between the …
Coffins for wear and consumption
Exploring the reasons for the success and diffusion of the abebuu adekai (literally "receptacles of proverbs") among the Ga, I shall begin by focusing on the importance of the relationship between adeka and clothing. Here I will treat the coffin as an object to be worn, but also as an all-important object of remembrance. In this sense, coffin makers, like photographers and clothing designers, are also image and memory makers. Research has highlig…
Alternate Histories of the Abebuu Adekai
Abebuu adekai constitute a widespread leitmotif in African art. These coffin-sarcophagi are used for funerals primarily by the Ga people, who live in Accra in southern Ghana, although their use has spread to Ewe, Asante, Adangbe, and Fanti as well. Manufactured in Teshie and Nungua (Accra), with some new workshops emerging in Togo, they began to be used on a large scale in the early 1960s, soon after Ghana became independent. Fantasy coffins rapi…
Abebuu adekai chez les Ga du Ghana. Un regard anthropologique sur l’image
Constituant un leitmotiv de l’art contemporain africain, les « Abebuu adekai », terme qui signifie littéralement « récepteur de proverbes », sont connus dans le monde entier sous l’appellation de cercueils fantaisie. Devenus très prisés à l’étranger, où ils sont présentés dans des expositions internationales comme des œuvres relevant du ready-made, ces artefacts ont suscité un grand intérêt médiatique. La vie de ces objets nous rappelle le procéd…
Absconding in Plain Sight
This article discusses the art of concealment in abebuu adekai (literally "receptacles of proverbs"), better known internationally as "fantasy coffins," and the way in which it contributes to shaping political thought and \naction. Although most literature on abebuu adekai tends to present them as direct symbols of the profession or \nthe aspirations of the deceased, in reality, as fieldwork has revealed, motivations for their production and use …
The Museum as an Inhabited Object
To say that an artifact in a museum plays a different role from the one it held in the culture of production \nmay appear to be stating the obvious and inevitable. Less obvious, however, is to consider the museum itself as the context in which the "exotic" artifact was produced or where it originated. What this essay intends to emphasize is that every artifact is always placed (neither delocalized nor relocated) within its own context, regardless…
Alternate Histories of the Abebuu Adekai
Abebuu adekai constitute a widespread leitmotif in African art. These coffin-sarcophagi are used for funerals primarily by the Ga people, who live in Accra in southern Ghana, although their use has spread to Ewe, Asante, Adangbe, and Fanti as well. Manufactured in Teshie and Nungua (Accra), with some new workshops emerging in Togo, they began to be used on a large scale in the early 1960s, soon after Ghana became independent. Fantasy coffins rapi…
Coffins for wear and consumption
Exploring the reasons for the success and diffusion of the abebuu adekai (literally "receptacles of proverbs") among the Ga, I shall begin by focusing on the importance of the relationship between adeka and clothing. Here I will treat the coffin as an object to be worn, but also as an all-important object of remembrance. In this sense, coffin makers, like photographers and clothing designers, are also image and memory makers. Research has highlig…
Absconding in Plain Sight
This article discusses the art of concealment in abebuu adekai (literally "receptacles of proverbs"), better known internationally as "fantasy coffins," and the way in which it contributes to shaping political thought and \naction. Although most literature on abebuu adekai tends to present them as direct symbols of the profession or \nthe aspirations of the deceased, in reality, as fieldwork has revealed, motivations for their production and use …
The Museum as an Inhabited Object
To say that an artifact in a museum plays a different role from the one it held in the culture of production \nmay appear to be stating the obvious and inevitable. Less obvious, however, is to consider the museum itself as the context in which the "exotic" artifact was produced or where it originated. What this essay intends to emphasize is that every artifact is always placed (neither delocalized nor relocated) within its own context, regardless…
The Museum as an Inhabited Object
To say that an artifact in a museum plays a different role from the one it held in the culture of production \nmay appear to be stating the obvious and inevitable. Less obvious, however, is to consider the museum itself as the context in which the "exotic" artifact was produced or where it originated. What this essay intends to emphasize is that every artifact is always placed (neither delocalized nor relocated) within its own context, regardless…
Abebuu adekai chez les Ga du Ghana. Un regard anthropologique sur l’image
Constituant un leitmotiv de l’art contemporain africain, les « Abebuu adekai », terme qui signifie littéralement « récepteur de proverbes », sont connus dans le monde entier sous l’appellation de cercueils fantaisie. Devenus très prisés à l’étranger, où ils sont présentés dans des expositions internationales comme des œuvres relevant du ready-made, ces artefacts ont suscité un grand intérêt médiatique. La vie de ces objets nous rappelle le procéd…
Absconding in Plain Sight
This article discusses the art of concealment in abebuu adekai (literally "receptacles of proverbs"), better known internationally as "fantasy coffins," and the way in which it contributes to shaping political thought and \naction. Although most literature on abebuu adekai tends to present them as direct symbols of the profession or \nthe aspirations of the deceased, in reality, as fieldwork has revealed, motivations for their production and use …
Alternate Histories of the Abebuu Adekai
Abebuu adekai constitute a widespread leitmotif in African art. These coffin-sarcophagi are used for funerals primarily by the Ga people, who live in Accra in southern Ghana, although their use has spread to Ewe, Asante, Adangbe, and Fanti as well. Manufactured in Teshie and Nungua (Accra), with some new workshops emerging in Togo, they began to be used on a large scale in the early 1960s, soon after Ghana became independent. Fantasy coffins rapi…
Coffins for wear and consumption
Exploring the reasons for the success and diffusion of the abebuu adekai (literally "receptacles of proverbs") among the Ga, I shall begin by focusing on the importance of the relationship between adeka and clothing. Here I will treat the coffin as an object to be worn, but also as an all-important object of remembrance. In this sense, coffin makers, like photographers and clothing designers, are also image and memory makers. Research has highlig…
The Media-action of abebu adekai (Ghana's Sculptural Coffins) in the World Market and Design
Abebu adekai, literally “receptacles of proverbs”, known worldwide as fantasy coffins, are funeral sarcophagi used primarily by the Ga people who live in Accra, south Ghana. These coffins rapidly achieved popularity abroad after they began to be presented as artwork in international exhibitions, and caught the interest of mass media. Through the case of Eric Adjetey Anang (grandson of Kane Kwei), the article examines the intersection between the …
Antropologia dell’apprendimento come esperienza applicata
Cinque video sperimentali esplorano il paesaggio urbano e le sue mura nella città di Bolzano. Il lavoro è stato realizzato da un gruppo di studenti e studentesse del corso “Illegal Design - Urban Walls” nella Facoltà di Design e Arti della Libera Università di Bolzano. L’obiettivo è stato quello di cogliere, attraverso azioni di gruppo e condivise, il concetto antropologico di confine “facendo esperienza” dei muri presenti nello spazio urbano. Pe…
Ritualità emergenti nella prossimità tra antropologia e archeologia. Nominare i reperti ossei di scavo
L’articolo esplora una pratica situata che emerge nello spazio di prossimità tra antropologia culturale e archeologia, attraverso una micro-etnografia di una consuetudine ufficiosa in uno specifico contesto di scavo: la rinomina dei reperti ossei umani da parte di archeologi e archeologhe italiani/e durante il lavoro sul campo. Basato su un’esperienza di ricerca interdisciplinare inconsueta, e condotta in compresenza, il contributo mostra come la…
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