Chinese, Mandarin

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek, Modern

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

Anthropology

<OpenstaxParagraph>
	Ahmed is a carpet seller in the <OpenstaxTerm>Istanbul Grand Bazaar</OpenstaxTerm>. Every day, people from all over the world come into his stall to examine, and sometimes buy, the carpets in his inventory. Anthropologist Patricia <OpenstaxTerm>Scalco</OpenstaxTerm> (2019) met Ahmed while she was conducting research on market exchange in Istanbul. She carefully observed the set of sales strategies he had crafted to respond to customer desires and knowledge. When anyone pauses at the entrance, Ahmed greets the potential customer and ushers the person into his stall. Bringing out a silver platter, Ahmed offers the customer a cup of tea, a welcoming gesture. As the customer browses, Ahmed initiates a carefully constructed conversation designed to determine what sort of person this customer is, what they are looking for, and what they really know (and do not know) about carpets. He pulls out various carpets from the stacks, unfurling them as he describes their distinctive qualities. Ahmed identifies this interaction as a sort of game he must play with his customers. European tourists in this Turkish marketplace are often inspired by the desire for handmade traditional crafts made by local rural ethnic groups such as the Kurds. These days, however, most carpets sold in the Istanbul market are industrially produced in Pakistan, India, and China. However, in his many years of selling carpets, Ahmed has learned that he must play to Western orientalist fantasies, weaving a distinctive story around the origins and manufacture of a carpet, in order to win a sale. Like other merchants in this market, Ahmed has a family to support, and he cannot afford to openly contradict the knowledge and desires of his customers.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Centered on the material culture of carpets, Ahmed’s work illustrates the importance of what people do and what they think in the making of cultural life. What people do and what they think are nonmaterial elements of culture. In his everyday interactions with customers, Ahmed has developed a set of habitual practices involving gesture and speech. Anthropologists use the term <OpenstaxTerm>cultural practices</OpenstaxTerm> to refer to this form of culture. Routine speech communicates meanings and values (such as the “authenticity” of a carpet), while routine action organizes social events (such as, hopefully, a sale). People from all walks of life develop similar combinations of habitual action and speech that constitute the everyday culture of people in those circumstances.
</OpenstaxParagraph>
<OpenstaxParagraph>
	What do you do in the morning to get ready for the day? That is cultural practice. What do you do when someone comes over to your house? That is cultural practice. What do you do when you’re hungry? That is cultural practice. Some cultural anthropologists focus on these everyday practices as keys to understanding culture, while others are more interested in special events such as ceremonies and festivals.
</OpenstaxParagraph>
<OpenstaxParagraph>
	For instance, <OpenstaxTerm>Carnival in Brazil</OpenstaxTerm> is an annual festival of music and dance held every year to mark the beginning of the Catholic season of Lent. Parades of costumed dancers throng the streets of many cities, interacting with the audience and attracting crowds of followers. Cultural anthropologist Kenneth <OpenstaxTerm>Williamson</OpenstaxTerm> (2012) studied Carnival in Salvador, Bahia, in the north of Brazil. While Brazilian Carnival is framed as a national celebration, Williamson found that Carnival in the poorer and largely Black city of Salvador is distinctively animated by the politics of race. Local Carnival dance groups incorporate Black forms of movement such as capoeira, a combination of dance and martial art techniques created by Brazilian enslaved peoples. Forms of music and religion originating in Africa also contribute to the distinctiveness of Salvadoran Carnival. Carnival has become increasingly commercialized as a tourist attraction in Salvador, bringing in Black and White tourists alike. Black Brazilian activists complain that forms of Black culture are being appropriated and exploited as forms of cultural leisure with little understanding of their deep cultural meanings as expressions of resistance and survival. Meanwhile, most Black Salvadorans enjoy little benefit from the burgeoning tourist economy.
</OpenstaxParagraph>
<OpenstaxParagraph>
	The practices of Turkish carpet merchants and Brazilian Carnival participants are both ways of doing culture, every day and on special occasions. As we see in both examples, the materials and actions of culture are infused with patterns of thought, some shared and some controversial. These ways of thinking constitute a third element of culture.
</OpenstaxParagraph>

3.3.2 Culture Is What We Do

1 What Is Anthropology?

1.1 The Study of Humanity, or "Anthropology Is Vast"

1.1.1 The Heart of Anthropology: Central Narrative and Commitments

1.1.2 Central Commitment #1: Exploring Sociocultural Diversity

1.1.3 Central Commitment #2: Understanding How Societies Hold Together

1.1.4 Central Commitment #3: Examining the Interdependence of Humans and Nature

1.2 The Four-Field Approach: Four Approaches within the Guiding Narrative

1.2.1 Biological Anthropology

1.2.2 Archaeology

1.2.3 Cultural Anthropology

1.2.4 Linguistic Anthropology

1.2.5 How the Four Fields Work Together: The Example of Race

1.3 Overcoming Ethnocentrism

1.3.1 Enculturation and Ethnocentrism

1.3.2 Primitivism and Orientalism

1.4 Western Bias in Our Assumptions about Humanity

1.4.1 Primitivism and Orientalism in Popular Culture

1.4.2 The Bias of Backwardness

1.5 Holism, Anthropology’s Distinctive Approach

1.5.1 Society as an Integrated Whole

1.5.2 Sources of Contradiction, Conflict, and Change

1.6 Cross-Cultural Comparison and Cultural Relativism

1.6.1 Relativism Is Not “Anything Goes”

1.6.2 Morality, Activism, and Cultural Relativism

1.7 Reaching for an Insider’s Point of View

1.7.1 The Challenge of Representing Others

1.7.2 Collaborative Methods of Representation

1.7.3 Working across Cultures toward Common Goals

1.7.4 Suggested Readings

2 Methods: Cultural and Archaeological

2.1 Archaeological Research Methods

2.1.1 Archaeological Techniques

2.1.2 Archaeological Dating Methods

2.2 Conservation and Naturalism

2.2.1 Early Efforts

2.2.2 Salvage Anthropology

2.2.3 Museum Collections

2.2.4 Interpretation and Voice

2.3 Ethnography and Ethnology

2.3.1 The Development of Ethnography and Ethnology

2.3.2 Perspective and Interpretation in Ethnography

2.4 Participant Observation and Interviewing

2.4.1 Participant Observation

2.4.2 Interviewing Informants

2.4.3 Ethical Considerations

2.5 Quantitative and Qualitative Analysis

2.5.1 Differences between Quantitative and Qualitative Information

2.5.2 Modeling

2.5.3 The Science of Anthropology

2.6 Collections

2.6.1 Archives

2.6.2 Three-Dimensional Collections

2.6.3 Ownership

2.6.4 Suggested Readings

3 Culture Concept Theory: Theories of Cultural Change

3.1 The Homeyness of Culture

3.2 The Winkiness of Culture

3.3 The Elements of Culture

3.3.1 Culture Is What We Make

3.3.3 Culture Is What We Think

3.4 The Aggregates of Culture

3.4.1 Symbols

3.4.2 Ritual

3.4.3 Social Structure

3.5 Modes of Cultural Analysis

3.5.1 Evolution, Adaptation, and Historical Particularism

3.5.2 Functionalism

3.5.3 Structuralism

3.5.4 Ontology

3.6 The Paradoxes of Culture

3.6.1 Paradox 1: Culture Is Continuous, but It Changes

3.6.2 Paradox 2: Culture Is Bounded but Mobile

3.6.3 Paradox 3: Culture Is Consensual but Contested

3.6.4 Paradox 4: Culture Is Shared, but It Varies

3.6.5 Suggested Readings

4 Biological Evolution and Early Human Evidence

4.1 What Is Biological Anthropology?

4.1.1 Looking to the Deep Past

4.1.2 Exploring What It Means to Be Human

4.2 What’s in a Name? The Science of Taxonomy

4.2.1 Defining the Science of Taxonomy

4.2.2 Defining a Species

4.3 It’s All in the Genes! The Foundation of Evolution

4.3.1 The Units of Life

4.3.2 Gregor Mendel and the Laws of Heredity

4.3.3 Mendelian Inheritance in Humans

4.4 Evolution in Action: Past and Present

4.4.1 Early Evolutionists and the Fixity of Species

4.4.2 Charles Darwin’s Role in Changing Views of the Natural World

4.4.3 Understanding Darwin’s Theory of Natural Selection

4.5 What Is a Primate?

4.5.1 What Is a Primate?

4.5.2 Primate Behavioral Variation

4.5.3 Explaining Primate Success

4.5.4 Primate Classification and Taxonomy

4.6 Origin of and Classification of Primates

4.6.1 Understanding Concepts of Time

4.6.2 Fossils and Dating Methods

4.6.3 Making Sense of Fossils