Suzette Heald, director. Law and War in Rural Kenya. 2010. 64 minutes. English and Kuria, with English subtitles. United Kingdom. The Royal Anthropological Institute. $95.00.

Suzette Heald, director. Law and War in Rural Kenya. 2010. 64 minutes. English and Kuria, with English subtitles. United Kingdom. The Royal Anthropological Institute. $95.00.Directed by the anthropologist Suzette Heald, Law and War in Rural Kenya (2010) examines the rise and fall of a vigilante group that emerged in southwest Kenya in 1998 with the aim of curbing violent cattle raids. A research officer in the Crisis States program at the London School of Economics and the author of two books on masculinity and violence in Ugandan society, Heald studies the relationships among gender norms, land and livestock shortages, and civil violence as a response to the political instabilities of contemporary East Africa. Part of her broader work on vigilantism, Law and War in Rural Kenya is a 64-minute documentary that combines a variety of formal devices, including interviews, an explanatory voice-over narration, and an unobtrusive, observational shooting style that affords numerous glimpses into the community policing initiatives that, beginning in 1998, attempted to address both cattle raiding and the perceived failures of the Kenyan state.Distanced from, say, Jean Rouch's emotionally immersive, performative approach to ethnographic documentary filmmaking, while still appearing to reflect Rouch's influential commitment to "shared anthropology," Heald deemphasizes her authorial presence in Law and War in Rural Kenya, embracing the contributions of a range of African participants, especially the young translator who at one point occupies Heald's frame, taking the place of the director. At no point do we see Heald's face or hear her speaking voice; the film's narrator, the Ugandan-born journalist Paul Bakibinga, is Heald's audible stand-in-a reversal, perhaps, of more familiar, Rouchian forms of ventriloquism. The film unfolds in long takes and features a minimum of graphic superimpositions, further underscoring Heald's observational approach to her subject.Law and War in Rural Kenya opens in a pastoral mode, with a series of bucolic images: cows graze, children wander, and women work the sundrenched fields of Kenya's Bukira East. Eventually a middle-aged man emerges into the light of late afternoon, a small child in his arms. Describing "the old days" in a steady, nostalgic voice that seems suited to the sylvan images, the man makes the seemingly paradoxical claim that cattle raiding was once a deeply ethical practice, in keeping with traditions that militated against the use of force in human interactions. "In the past, stealing was done quietly," he says, explaining that no cattle thief would have dared frighten a child or desecrate a homestead. These socially enforced conditions changed, however, when guns became widely available in the late 1990s-the products of newly liberalized forms of transnational trade that brought the scraps of global capitalism to Kenya. Emboldened as much by their suddenly plentiful weapons as by the numerous shortcomings of the Kenyan state, cattle raiders began to commit violent acts in the name not only of their ungulate quarry, but also of a deep-seated cynicism regarding the role of the Kenyan government in promoting ethnic prejudice, particularly during the early 1980s, which witnessed the state-sanctioned Garissa and Wagalla massacres of ethnic Somalis.Several of Heald's documentary subjects describe the atrocities carried out in the name of "modern" (i.e., weapons-assisted) cattle raiding; most of them agree that in the absence of effective state intervention-and, moreover, in the absence of ethical models of state governance-vigilantism offered the only means of redressing what had become an intolerable state of affairs in rural Kenya, particularly Kuria. …