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Trevor Marchand on Craft: It’s an unusual approach for an academic: a hands-on approach. Literally a hands-on approach. Trevor Marchand is an anthropologist interested in how information about crafts is transferred from expert to novice. This has led him to Nigeria,...

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It’s an unusual approach for an academic: a hands-on approach. Literally a hands-on approach. Trevor Marchand is an anthropologist interested in how information about crafts is transferred from expert to novice. This has led him to Nigeria, Yemen, Mali, and East London and has required him to use his hands to build, among other things, minarets and homes of mud bricks.
Marchand, currently at SOAS, University of London, started his studies -- in architecture -- at Canada’s McGill University, which paved the way for field research on mud-brick building in northern Nigeria. That experience in turn spurred Marchand’s focus on an anthropological approach to architecture, a crafts-oriented approach to anthropology, and now study of how all of this plays out in a neuro-scientific context.
This unusual approach has also allowed him to build up a pile of awards resulting from his investigations. For example, hs 2009 monograph on The Masons of Djenné, written after his rise from apprentice to skilled craftsman in this Malian city, won the Elliot P. Skinner Award from the Association for Africanist Anthropology, the 2010 Melville J. Herskovits Award from the African Studies Association, and the Amaury Talbot Prize for African Anthropology from the Royal Anthropological Institute. Just last year he was awarded the Rivers Memorial Medal by the Royal Anthropological Institute, an honor that recognizes exceptional work accomplished in the field.
In this Social Science Bites podcast, philosopher Nigel Warburton asks about Marchand’s field work, looking at what ties these disparate locales together and what sets them apart, not just in techniques but how crafts [people approach their work and how it influences them.
 
But as he tells Warburton, Marchand has a larger agenda behind his scholarship. “I think it’s extremely important for a general public to gain appreciation for the kind of skill and the diversity of knowledge that goes into producing something with the body,” he explains. “I think for far too long we’ve made that division between manual labour and intellectual work, and it’s something that goes back centuries. Leonardo da Vinci made that distinction between manual labour and intellectual work, and that distinction too between craft and fine art. And so, it’s been kind of relegated to the side-lines; it’s been marginalised and unfortunately vocational education - not just here in the UK but in other parts of the world - is something that children go into or are steered into when their peers or adults feel that they’re not academically inclined.”

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