ABSTRACT
How possible is it to achieve collaborations in which “involvement in the decision-making process must occur at all signifi cant junctures” (Ruby 1995)? Luke Lassiter has spelt out what he sees as signifi cant junctures in the context of collaborative ethnography: project conception; fi eldwork; the writing (or production) process (Lassiter 2005, 17). But what are the signifi cant junctures of different creative collaborations in reality? Can they be identifi ed in advance? Is it realistic to ever expect involvement of all collaborators at all of the key decision-making junctures? The experiences of many collaborative art and anthropology practitioners suggests many factors infl uence the ways in which creative collaborations manifest in practice, often different from than those projected at the outset.
