Nǃai, the Story of a ǃKung Woman

Nǃai, the Story of a ǃKung Woman
Title card
Directed by	John Marshall
Narrated by	John Marshall
Edited by	John Marshall
Distributed by	Documentary Educational Resources
Release date	1980 (1980)
Running time	59 minutes
Countries	United States Botswana
Languages	English Juǀʼhoan Afrikaans

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Anthropology of art, media, music, dance and film
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Basic concepts Color symbolism Visual culture Body culture Material culture New media
Case studies Art Art of the Americas Indigenous Australian art Oceanic art Film Nanook of the North The Ax Fight Nǃai, the Story of a ǃKung Woman Incidents of Travel in Chichen Itza The Doon School Quintet
Museums National Anthropological Archives Centro Cultural Mexiquense Museum of Anthropology at UBC Museum of Anthropology, Cambridge Museum of Indian Arts and Culture Robert Hull Fleming Museum List of museums
Related articles Ethnographic film Video ethnography Ethnocinema List of ethnographic films Margaret Mead Film Festival Cantometrics Museum anthropology Salvage ethnography Tribal art/Folk art
Major theorists Tim Asch Gregory Bateson Franz Boas Pierre Bourdieu John Collier Frances Densmore Robert J. Flaherty Robert Gardner Alfred Gell Robert Hugh Layton Claude Lévi-Strauss Alan Lomax John Marshall Margaret Mead Alan Merriam Bruno Nettl Hortense Powdermaker Jean Rouch David MacDougall
Social and cultural anthropology
v t e

Nǃai, the Story of a ǃKung Woman is a documentary film by ethnographic filmmaker John Marshall.

The film was first broadcast in 1980 as part of the Odyssey series on PBS and is distributed by Documentary Educational Resources. It provides a broad overview of Juǀʼhoan life, both past and present, and an intimate portrait of Nǃai, a Juǀʼhoan woman who in 1978 was in her mid-thirties. Nǃai (born 1945) tells her own story, and in so doing, the story of Juǀʼhoan life. Her name is pronounced [ᵑǃa.i], with a nasal alveolar click.

The film

Marshall compiled the footage of Nǃai over the course of 27 years. Marshall shot over 353,000 feet of color film during his expeditions into the Nyae-Nyae region. The footage of Nǃai as a young girl, including her wedding ceremonies, was recorded in 1951.

"Before the white people came we did what we wanted," Nǃai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to ǀGunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As Nǃai speaks, the film presents scenes from the 1950s that show her as a young girl and a young wife.

The film contains a scene from the filming of The Gods Must Be Crazy, with the actual, revealing words of the Bushmen involved translated.

Anthropological significance

The uniqueness of Nǃai may lie in its tight integration of ethnography and history. While it portrays the changes in Juǀʼhoan society over thirty years, it never loses sight of the individual, Nǃai. The film is credited with the introduction of the dialogical structure, whereby both the voices of the filmmaker and the subject are woven together to tell the story. It is also credited as the first ethnographic film to recognize the influence of modernity on the ǃKung people.^[1]

Awards

Cine Golden Eagle
American Film Festival, Blue Ribbon
International Film and Television Festival of New York
Grand Prize, Cinema du RjeZ, Paris
News Coverage Festival, Luchon, France

References

^ Volkman, Toby Alice (19 May 1985). "Despite the Movie, There's Little to Laugh at in Bushmanland". The New York Times. Retrieved 24 July 2020.

"John Marshall: N!ai, the Story of a !Kung Woman". www.der.org. Retrieved 2007-02-15.
Apley, Alice; Tames, David. "Remembering John Marshall". New England Film. Retrieved 2007-03-21.

External links

Nǃai, the Story of a ǃKung Woman at IMDb
Nǃai, the Story of a ǃKung Woman is available for free viewing and download at the Internet Archive
Study guide to the film (PDF)

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