La route comme mémoire et comme technologie : Essai sur la dimension philosophique des routes culturelles.

Qu’est-ce qu’une route? Pourquoi est-elle omniprésente? Poursuivant cette enquête sur la problématique philosophico-définitionnelle du concept de la route, ce texte propose dans un premier temps une réflexion à partir du corpus heideggérien pour développer une pensée de la route culturelle comme technè en tant que médium de communication, donc un artéfact culturel. Or, en tant qu’artéfact, la route se présente aussi comme ce dont à travers lequel tous les autres objets culturels, y compris le langage lui-même, s’avancent dans l’apparaitre. Elle est le mode qu’empruntent tous les artéfacts culturels pour rejoindre le monde. Le texte conclura sur une conception de la route qui l’identifie à ce que Bernard Stiegler (1998) appelle (après Gilles Simondon) « préindividuelle » comme fondement d’une anthropologie philosophique où la route culturelle apparait comme source et du politique et de la culture.

Perceptions of Hochelaga-Maisonneuve Neighborhood in Montreal: a Textual Analysis of Written Medias.

A number of authors have documented increased diversification and gentrification in a variety of central city neighborhoods. In Montreal, Hochelaga-Maisonneuve is among those with the highest rates of gentrification in the past few decades, creating new social dynamics and often generating socio-territorial conflicts. What is the significance of social changes for the population of Hochelaga-Maisonneuve? What role does recent immigration play in the mitigation or development of social conflict? In this paper we present the results of the analysis of 1 420 articles taken from the six principal daily newspapers published in Montreal. In our target neighborhood, it would appear that the higher socio-economic status of the newcomers is more disruptive than their ethnocultural background because it is associated with a change in the way people live, shop and interact in public space. The data also reveal disruptive effects on the availability of affordable housing, a feature that means increasing displacement of lower income populations.

South Asians in “Asia’s World City”: Postcolonial Identity Struggles and Art Participation in Hong Kong

Hong Kong, being the “Asia’s world city”, the government proclaimed itself committed to enhancing an inclusive society. However, critics have been questioning the effectiveness of its policy in bringing social inclusion as many South Asians in Hong Kong have to deal with post-colonial identity struggle in everyday life. By using participant observations and interviews, I will discuss how South Asians engage in community art which enables them to find other realms of (self-)representation beyond those delivered by the state and its failed promise of institutionalised assimilatory multiculturalism. Despite the policy shortcomings, a “dual” Hongkonger identity was found in minority descendants, facilitated by participating in community art activities. This article contributes to the knowledge of cultural inclusion, to understand its empowerment and potential conflicts in community art participation, and to invite more academic discussions on multiculturalism in the context of Hong Kong.

Professional and personal strategies of documentary filmmakers in Brazil: the case of the State of Rio de Janeiro and Minas Gerais.

Between 2012 and 2019, this qualitative sociological research was part of a documentary "boom" moment in Brazil, in terms of production and international recognition. Faced with a bottleneck in terms of their distribution, a growing number of festivals have opened up for documentaries, not counting the historical festival "É tudo Verdade" (São Paulo). This period also corresponds to a time when attempts at policies in favor of documentary films were made by the Federation and the Ministry of Culture (MinC) – public channel TV Brasil, TV Cultura, Doc.TV... These various advances have allowed the expression of a "black" cinema (Joel Zito Araujo), LGBT concerns (Karla Holanda), women’s rights (Helena Solberg and Susanna Lira) and the possibility for indigenous people to seize digital tools to reflect their own realities (Vincent Carelli, Video nas aldeias). Thus, while the Brazilian authorities were carrying out unfinished policies facing the weight of the private oligopolistic sector, it was interesting to analyze how documentary filmmakers developed their professional strategies. From this perspective, fourteen directors were the subject of semi-structured interviews in the state of Rio de Janeiro and three in Minas Gerais. In addition, producers and festival managers were also contacted. But the arrival of the Bolsonaro government caused a real rift. Against a backdrop of cultural war, fake news aimed at discrediting artistic circles, the takeover of the National Cinema Agency (ANCINE) and the abandonment of the São Paulo film library, cuts from major corporate sponsors, and beyond, Brazilian documentary filmmakers have found themselves strangers in their own country.

Lieux de mémoire et de pouvoir chez les Oman-Jagou en pays Idaatcha : Ègbakokou et Yaka, symboles de la dualité du pouvoir local.

En plein cœur de Dassa-Zoumè, chef-lieu du département des Collines au centre nord du Bénin, deux lieux symbolisent la vitalité toujours renouvelée de la mémoire collective d’un royaume dont les origines remonteraient au XVIè siècle (Adjiba 2006). En effet, Les lieux de mémoire sont des creusets d’ancrage de la mémoire, mais d’une mémoire généralement collective. Leur vitalité est souvent l’objet d’un entretien périodique pour que la remémoration qui constitue leur essence vitale ne s’estompe pas. Au sein des communautés béninoises urbaines ou rurales, la célébration de la mémoire communautaire à travers des lieux dédiés à cet effet est un usage assez courant. Le présent article propose toutefois de présenter les cas particuliers d’Ègbakokou et Yaka, deux lieux représentant la dualité du pouvoir au sommet de la royauté en pays Idaatcha. Leur symbolique rime avec mémoire et pouvoir. Ancrés profondément dans l’organisation structurelle du royaume d’Igbo Idaatcha, ces deux lieux constituent chez les Oman-Jagou, deux altérités de la même réalité : l’expression et la manifestation du pouvoir. Si le Jagou (roi) règne sur Igbo Idaatcha et siège à Ègbakokou, l’Obaloké, le chef spirituel et la première autorité religieuse du royaume siège à Yaka.

Cultural Diplomacy and Brancusi’s Reception in the Digital Age in Romania

The internet and media resources have opened new opportunities for digital cultural diplomacy and management of culture. Theoretically an ideal choice for cultural diplomacy, Constantin Brancusi’s reputation as a representative for government agency has suffered a crisis of reception. A Romanian-born and French-adopted sculptor, Brancusi has become a symbol of folklore and mythology but also a great, internationally recognized sculptor. This has been due to the existence of preferred or fixed models of desigining projects instead of involving teams of different backgrounds and incorporating cultural concepts in the political discourse. Approaching the topic with concepts of cultural diplomacy, media anthropology, heritage and online discourse, this case study deals with media events of cultural diplomacy broadcasted online in present day Romania. It emphasizes the potential that lies in cultural management and the important role of team spirit in designing public cultural policies and implementing projects.

Mémoire collective dans les industries culturelles

The cultural industries participate in building collective memory because, in many cases, public decision-makers have chosen to elevate individual memories to the rank of collective memory. Cultural industries are faced with systemic discrimination (Eikhof and Warhurst, 2013), which suggests the collective memory of these industries face the same challenges. In this theoretical article, we propose a framework based on Boltanski andThévenot’s (1991, 2006) theory of justification in order to make collective memory in cultural industries more inclusive. First, we conceptualize collective memory as a compromise between the domestic and civic worlds of Boltanski and Thévenot (1991, 2006). Then, the artists and their individual memories are presented using the world of inspiration. Finally, we propose using the world of projects to make the collective memory of cultural industries more inclusive. We, therefore, propose greater openness and democratization of collective memory in the cultural industries due to the world of projects.

Preserving and Promoting Colonial Architecture

Da Nang’s urban landscape reveals more than a half century of colonization and French presence on its territory. The buildings carry the imprint of the colonial experience, as they were once considered a symbol of domination, linking Da Nang to the global history of colonization. After years of independence and reconstruction, the public attitude towards French colonial heritage has changed. Despite its roots and historical origins, today, French colonial architecture is engrained into the collective understanding of Da Nang’s urban landscape and has shaped the local visual identity of the urban space. More importantly perhaps, this architectural style contributes to the city’s connection with cultural tourism, an important tool for economic development. As Da Nang is on a path of constant growth, this paper engages with issues around architectural preservation of built colonial heritage, in terms of both the values of preservation, and the challenges it presents for contemporary urban planning.

Earned Income and American Museums

The basis of the American approach to culture eschews any collective state intervention. Cultural institutions, such as museums, originated as the beneficiaries of private donors. Such philanthropy benefits from a tax code that provides financial incentives for contributions to private organizations. For institutions, funds raised from ancillary activities, such as gift shops, also enjoy significant tax exemptions. Yet, despite these publicly financed tax deductions, cultural visions are privately conceived, and reflect the agendas of the donors. This attitude represents the basic principle of the American patronage system: one that is facilitated by a tax policy, not a cultural policy.

La politique de l'emploi comme instrument de politique culturelle implicite

En 2002, le gouvernement du Nouveau-Brunswick a développé une politique culturelle d’une ampleur sans précédent pour la province. Cette politique devait répondre entre autres aux défis des musées communautaires. Parmi les défis identifiés, on faisait état alors des besoins quant au développement professionnel, à la stabilité financière et à la visibilité au sein de leurs communautés. Cet article étudie en quoi cette stratégie ambitieuse pour le secteur culturel s’est heurtée à des dynamiques propres à la voie choisie et à des effets croisés avec d’autres politiques publiques. En s’appuyant sur une analyse du secteur et de son évolution suite à la mise en œuvre de la politique culturelle, cet article relate les effets insoupçonnés du programme Stage d’emploi étudiant pour demain (SEED), un programme lié à la politique de la formation et de l’emploi de la province.