Capel-Le-Ferne
▻https://www.antiwarsongs.org/canzone.php?id=67693&lang=it
"At the beginning of July 2010 I visited the Battle Of Britain memorial site, on the cliffs, at Capel-le-Ferne,...
Capel-Le-Ferne
▻https://www.antiwarsongs.org/canzone.php?id=67693&lang=it
"At the beginning of July 2010 I visited the Battle Of Britain memorial site, on the cliffs, at Capel-le-Ferne,...
Capel-Le-Ferne
#Capel-Le-Ferne #guerre #seconde_guerre_mondiale #chanson #musique #musique_et_politique #WWII #Greg_Harper
–---
I remember that summer, a long time ago
The waiting and the weather, wondering if they’d show
Flying high over white cliffs, over fields and sand
Looking down and protecting this green pleasant land
Now they ask, ’was it exciting, well you must’ve been so proud
A swooping and a soaring way up in the clouds
Mister how many did you get, how many did you kill?’
But me I think of lost friends, I’m thinking of them still
But if you ask me I’ll tell you
It felt just like dancing
Dancing on air
A dance for survival
A dance of despair
Life on the edge
Living life to the full
For death or glory
Oh glory, so cruel
So I stand on the white cliffs, at Capel-le-Ferne
There’s a band and a fly past, how the years have flown
As I stand in the crowd there, I feel so alone
Well the Few they get fewer, and soon we’ll be gone
But if you ask me I’ll tell you
It felt just like dancing
Dancing on air
A dance for survival
A dance of despair
Life on the edge
Living life to the full
For death or glory
Oh glory, so cruel
Oh glory, so cruel
–—
Capel-le-Ferne
Capel-le-Ferne est un village situé près de Folkestone, dans le Kent. Il a une population d’environ 2 400 habitants. Perché au sommet des Falaises blanches de Douvres, son attraction la plus importante est le Mémorial de la bataille d’Angleterre, érigé à l’initiative de Geoffrey Page, un pilote honoré de la RAF, qui est ouvert le 9 juillet 19931. Le mémorial est construit sur une partie d’une ancienne batterie côtière de la Seconde Guerre mondiale2.
#mémoire #mémoriel #UK #Angleterre
Briançon : un cairn en #hommage aux migrants décédés érigé au petit matin
Ce mardi 6 février, au petit matin, un collectif de « solidaires des personnes exilées » a érigé un cairn en hommage “aux morts aux frontières”, à proximité de la porte du pont d’Asfeld, dans la vieille ville de Briançon.
Il est un peu plus de 7 heures, ce mardi 6 février à Briançon, et le soleil n’a pas encore percé depuis l’Italie, à quelques dizaines de kilomètres. Sur la petite butte, juste après avoir passé la porte de la cité Vauban en direction du pont d’Asfeld, un petit groupe s’affaire à la frontale et à la truelle : un collectif de « solidaires des personnes exilées » érige un cairn.
(#paywall)
▻https://www.ledauphine.com/societe/2024/02/06/briancon-un-cairn-en-hommage-aux-migrants-decedes-erige-au-petit-matin
#mémoire #commémoration #Briançon #migrations #réfugiés #6_février #commémor'action #commémoraction #Hautes-Alepes #France #cairn #monument #mémoriel #morts_aux_frontières #mourir_aux_frontières #frontières #frontière_sud-alpine #mémorial #6_février_2024
À Briançon, un monument en hommage aux mort·es des frontières 🏔
Ce jour du 6 février, journée transnationale d’hommage des mort·es des frontières, des solidaires de Briançon ont érigé un monument en hommage aux personnes décédées, blessées ou traumatisées aux frontières.
https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/7c649620b-69b6c5/4hMqKMIPEsrg/inNEDJTkZ6eSoPNAOXwVTrvVzQa6eDk4CINT5K3s.jpg https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/7c649620b-69b6c5/piXU91sYPco0/KqYEFnuKpek5CguqXD9BX5IiidYBFH4F8Zcx3BYT.jpg https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/7c649620b-69b6c5/9MRbBKlB5Hrz/VVV1AmYm7Ihl0nVu4lDS6cCzr8o2jPwZfJ8GVEnx.jpg Alors que 12 personnes en situation d’exil ont perdu la vie entre Oulx, Briançon et Modane, autant de personnes victimes des politiques de non accueil et du régime des frontières, ce monument est là pour que la société n’oublient pas leur nom.
Sous forme de cairn, monticule communément dédié à guider les personnes en montagne, ce monument est aussi dédié aux familles des victimes.
📍Proche du pont d’Asfeld en venant de la vieille ville de Briançon (05). N’hésitez pas à venir poser des fleurs ou rajouter une pierre.
▻https://twitter.com/BrianconExil/status/1754795986327634091
Photos de Morgane Dujmovic, 06.02.2024 :
Briançon : un monument en hommage aux mort·es des frontières érigé par des solidaires
Ce mardi 6 février, nous venons d’être informés que quelques heures avant le rassemblement en hommage aux personnes décédées à la frontière dans le cadre de l’appel transnational de la commémoration, à Briançon, à quelques kilomètres de la frontière franco-italienne, des solidaires ont érigé un monument mémorial.
Un mémorial pour ne pas oublier. Pour ne pas oublier que chaque année des milliers de personnes perdent la vie aux frontières partout dans le monde, aux frontières de l’Europe, aux frontières de la France, et ici même à Briançon. Pour ne pas oublier non plus le nom de celles et ceux victimes de décisions politiques faisant de la France et de l’Europe des forteresses meurtrières et excluantes. Ce mémorial est pour les victimes et leurs familles.
Prenant la forme d’un cairn, objet communément érigé pour guider les personnes en montagne, et surplombé de plaques avec le nom des personnes décédées, ce monument est dédié aux victimes, à leur familles, mais aussi à toutes les autres, blessées ou traumatisées par leur parcours d’exil.
Près du pont d’Asfeld à Briançon, dans ce lieu hautement symbolique proche duquel une personne exilée, Mahadi, a perdu la vie le 29 octobre dernier, tous les briançonnais et briançonnaises sont appelé·es aujourd’hui et dans les prochains jours à venir déposer des fleurs pour en faire un lieu de vie, de mémoire et de lien entre les vivants et celles et ceux qui nous ont quittés.
Un rassemblement hommage se tiendra également à 17h30, place Gallice Bey à Briançon.
▻https://briancon-solidaire.org/2024/02/06/briancon-un-monument-en-hommage-aux-morts-des-frontieres-eriges-
Hommage à celles et ceux qui ont eu le courage de fuir : ne laissons pas notre idéal européen mourir aux frontières
Mardi 6 février à Briançon est érigé un monument aux morts des frontières. Un cairn gravé des noms des personnes exilées mortes ou disparues entre Oulx, Briançon et Modane depuis 2018. Nous publions l’appel lancé par de nombreuses personnalités à cette occasion.
Un monument pour ne pas oublier qu’à la frontière avec l’Italie dans les montagnes, à Calais, à Vintimille, en Méditerranée, tout au long des parcours de celles et ceux qui prennent la route de l’exil, meurent chaque année des milliers d’hommes, de femmes et d’enfants. Ils et elles ont un nom et une histoire trop souvent effacés, perdus, gommés par des statistiques déshumanisantes [et des regards froids].
Ne pas oublier. Oui, ce monument aux mort·es des frontières leur est dédié. Pour toujours se rappeler que lorsque nos égoïsmes nationaux nous font ériger des murs, notre humanité se perd et des vies en sortent brisées. C’est un lieu pour les victimes et leurs familles, c’est à elles d’en donner le sens. Ce mémorial est aussi dédié aux personnes blessées, traumatisées par leur parcours d’exil. Nous ne laisserons pas notre société les oublier. Ce cairn (objet communément érigé pour guider les personnes en montagne) est une lanterne pour que la France retrouve le chemin de la fraternité.
Ce qui se joue dans le Briançonnais, c’est aussi l’avenir de l’idéal européen. Nous ne pouvons pas accepter que les frontières des pays de l’Union s’enfoncent dans la militarisation et la surveillance. Face à la surenchère sécuritaire, la solidarité s’est organisée depuis des années. Nous apportons notre plein soutien aux associations, aux montagnard·es ainsi qu’aux bénévoles venu·es de toute la France pour porter assistance aux exilé·es qui tentent, malgré tout, de traverser les Alpes au péril de leurs existences dans un geste désespéré de survie.
Non, les mort·es aux frontières ne sont pas victimes d’accident, de mauvaises conditions météorologiques, de prises de risques inconsidérées : ils et elles sont victimes de nos politiques de construction de barrières toujours plus hautes. Les frontières ne sont pas géographiques mais sociales, culturelles et administratives. La frontière franco-italienne a déjà fait des dizaines de victimes. Nous n’oublions pas non plus les lois d’exclusion telles que la loi asile et immigration et ce marchandage indigne autour de la santé des personnes étrangères protégées, pour l’instant, par l’aide médicale d’État.
Aujourd’hui, l’ensemble du parcours d’une personne étrangère en France est indigne de notre République. Du passage de la frontière avec la négation d’un certain nombre de droits (documentée par de nombreux·euses observateur·trices), aux solutions d’hébergement précaires en passant par la stigmatisation permanente et par le travail sans droit qui engendrent exploitation et marginalisation : l’absence d’une politique d’intégration digne est un facteur de risque sur la santé des personnes, de précarisation et de désordre dans nos sociétés.
Pour que nous arrêtions de compter les mort·es des frontières, il est temps de ne plus céder aux sirènes populistes et réactionnaires dans notre approche des migrations. Regarder la réalité migratoire en face passe par la construction d’une réelle politique d’accueil, d’intégration et de droits pour celles et ceux qui rejoignent notre continent. Un accueil qui permette aux personnes de guérir de leurs blessures et de retrouver du pouvoir d’agir. L’avenir de notre fraternité, le destin de notre idéal européen se joueront aussi dans notre capacité à faire tomber certaines frontières pour ériger des ponts et bâtir un parcours digne.
►https://www.humanite.fr/en-debat/briancon/hommage-a-celles-et-ceux-qui-ont-eu-le-courage-de-fuir-ne-laissons-pas-notr
Photos de Baptiste Soubra:
N’oublions pas les victimes des frontières, non à la destruction du mémorial de Briançon
Le 7 mars dernier, le maire de Briançon a fait savoir à l’association Tous Migrants qu’il souhaitait faire retirer le mémorial aux mort·es des frontières érigé près du lieu où la dernière victime est morte noyée après être tombée d’une falaise le 29 octobre dernier. Pour ne pas oublier les victimes de la militarisation des frontières, soutenons ce mémorial.
Blessing, Mamadi, Mohamed, Douala, Tamimou, Mohamed, Mohammed, Fahallah, Ullah, Moussa, Mohamed, Mahadi. Ce sont les prénoms des 12 personnes mortes ou disparues en tentant de rejoindre la France depuis Oulx en Italie entre mai 2018 et octobre 2023. 12 prénoms que nous ne voulons pas oublier. 12 prénoms gravés sur le mémorial que le maire de Briançon souhaite faire retirer des remparts de la vieille ville de Briançon.
Ce mémorial a été érigé le 6 février 2024, à l’occasion de la 10e journée mondiale de commémor’action des mort·es des frontières, par des habitant·es du Briançonnais et des bénévoles solidaires grâce aux contributions de l’artiste embrunaise Alexis Zibolt et de l’association Tous Migrants. Une œuvre collective reprenant le symbole du cairn, amas de pierres qui guide les randonneur·euses et montagnard·es du monde entier. Partout en montagne, nous honorons la mémoire de nos proches et des alpinistes décédé·es en tentant d’atteindre des sommets. Comment ne pas honorer celle de personnes qui ont perdu la vie dans ces mêmes montagnes en tentant de rejoindre des conditions de vie dignes ?
L’installation de ce mémorial a reçu un soutien national dans une tribune signée par des chercheur·ses de renommée mondiale, des parlementaires, des représentant·es d’ONG et des figures publiques reconnues et respectées. Briançonnaises et Briançonnais lui ont aussi apporté leur soutien en le fleurissant et en s’y recueillant. Depuis qu’il a été érigé, il intéresse quotidiennement les personnes passant à proximité. En plus d’avoir été érigé sans aucune dégradation, il s’inscrit aisément dans le paysage du patrimoine exceptionnel que représentent le fort Vauban et le pont d’Asfeld en cultivant son aspect mémoriel. Les décès des personnes exilées à Briançon font aussi partie de l’Histoire.
Dès la mise en place du mémorial, l’association Tous Migrants a établi un dialogue avec le cabinet du Maire de Briançon. Après avoir expressément invité l’association à formuler une demande d’autorisation, le maire de Briançon a subitement refusé la demande, sans même permettre qu’elle puisse être présentée aux services municipaux compétents.
Quel·le montagnard·e ne respecterait pas la mémoire de personnes décédées en montagne ? Quel·le élu·e de la République Française oserait profaner un monument aux mort·es ?
Monsieur le maire de Briançon, au nom du respect de la mémoire des personnes décédées sur les chemins de l’exil sur notre territoire, au nom de la fraternité, au nom des valeurs des Escartons chères à notre territoire, nous vous demandons d’autoriser le maintien du mémorial à son emplacement Porte de Durance. Les forteresses briançonnaises ne doivent pas faire rempart à notre humanité.
Mouvement citoyen Tous Migrants
Collectif Solidaires de Briançon
▻https://www.change.org/p/n-oublions-pas-les-victimes-des-fronti%C3%A8res-non-%C3%A0-la-destruction-du
#pétition
Une pétition pour éviter la démolition du cairn en hommage aux migrants décédés
Dans un communiqué de presse, ce jeudi 14 mars, Tous migrants annonce avoir lancé une pétition pour empêcher la démolition du “mémorial” érigé le 6 février dernier au-dessus du pont d’Asfeld.
Celui-ci comporte 12 plaques comme autant de personnes migrantes décédées ou portées disparues dans le Briançonnais lors de leur tentative de passage de la frontière entre l’Italie et la France.
Changement d’avis de la mairie selon Tous migrants
Si, dans un premier temps, la mairie n’a pas souhaité démolir le cairn, la donne a changé. “Le 7 mars dernier, le maire de Briançon [Arnaud Murgia, NDLR] a fait savoir à l’association tous migrants qu’il souhaitait faire retirer le mémorial”, indique l’association. Celle-ci assure avoir “dès [sa] mise en place”, “établi un dialogue avec le cabinet du maire”.
Et Tous migrants d’ajouter : “Après avoir expressément invité l’association à formuler une demande d’autorisation [pour le cairn, NDLR], le maire de Briançon a subitement refusé la demande, sans même permettre qu’elle puisse être présentée aux services municipaux compétents.” La pétition compte , ce vendredi 15 mars près de 1 350 signatures.
▻https://www.ledauphine.com/politique/2024/03/15/une-petition-pour-eviter-la-demolition-du-cairn-en-hommage-aux-migrants-
26.03.2024
Ce matin, à l’abri des regards, le maire de Briançon a détruit le monument aux morts dédié aux personnes exilées décédées dans la montagne. Même mortes, un élu “républicain” leur interdit d’exister.
▻https://twitter.com/Utopia_56/status/1772643162223255884
–—
Dans le Flash info de Tous Migrants (26.03.2024) :
–-
Commentaire de Myriam Houssay-Holzschuch sur l’oiseau bleu :
Je m’intéresse de plus en plus à la production de l’amnésie neo/post-)coloniale (et le travail sans fin pour la contrer, de reparler de Fanon, de reparler de la torture en Algérie, de rappeler l’histoire) et il faut avouer qu’on a là un cas exemplaire.
A Briançon il sindaco fa abbattere il cippo in ricordo dei caduti alle frontiere
Un piccolo memoriale ricordava le persone migranti morte sulle Alpi. Una nuova installazione è già stata collocata
La cattiveria e la grettezza stanno nelle piccole meschinità. Nella storia abbiamo esempi infiniti in tal senso.
Martedì 26 marzo 2024, il sindaco di Briançon Arnaud Murgia ha chiamato i servizi tecnici della cittadina francese, appena al di là del confine con il Piemonte, sulle Alpi. Scortati dalla Polizia per distruggere il monumento ai caduti alla frontiera, eretto alla Porte de Durance, una delle entrate alla splendida città vecchia, la Citè Vauban, dal nome dell’ingegnere del Re Sole che ideò questo imponente complesso di fortificazioni, dal 2008 patrimonio Unesco.
Appaiono non sorpresi i gruppi formali e informali che nell’intera provincia denunciano l’inumanità delle politiche di gestione del fenomeno migratorio e si dicono determinati a difendere la memoria di coloro che su questi sentieri hanno perso la vita, l’ultimo il 29 ottobre scorso.
Secondo i testimoni, intorno alle 7 del mattino, sotto la neve, il monumento, un piccolo cippo sul modello degli omini in pietra, tipiche costruzioni informali che siamo soliti vedere sulle vette dei monti, è stato distrutto con un escavatore dagli agenti del servizio tecnico della cittadina, meta sciistica.
Il giorno seguente una delegazione di cittadini solidali e rappresentanti di associazioni, fra le quali la protestante “Cimade” e “Tous Migrants” (che in queste terre sta compiendo un incredibile lavoro di accoglienza, sostituendosi di fatto alla latitanza completa delle politiche di accoglienza francesi), ha tentato invano di avere un incontro con Murgia.
Appena due giorni prima ero stato sul luogo e ho incontrato donne e uomini, giovani e pensionati, che dandosi il cambio mantenevano un presidio fisso per informare i passanti sul significato di quel mucchietto di pietre, di quei fiori, di quelle scarpe abbandonate e diventate parte del memoriale.
Un mucchietto di pietre che non ostacolano alcun passaggio, non rappresentano alcun pericolo, ma vogliono ricordare che anche qui, fra le piste da sci e le cabinovie di nuova generazione, muoiono persone in cammino, in cerca di un futuro.
Il monumento era stato eretto il 6 febbraio, a dieci anni da quel 6 febbraio 2014 quando più di 200 persone, partendo dalle coste marocchine, tentarono di raggiungere a nuoto la spiaggia di Tarajal, nell’enclave spagnola di Ceuta. Per evitare che arrivassero in “terra spagnola”, la Guardia Civil utilizzò attrezzature antisommossa e anche i soldati marocchini presenti non soccorsero le persone che stavano annegando davanti a loro. Quindici corpi vennero ritrovati sul versante spagnolo, decine di altri scomparvero, i sopravvissuti vennero respinti, alcuni per morire sul versante marocchino.
Dieci anni durante i quali il numero dei morti e dei dispersi ha continuato ad aumentare, nel Mediterraneo e sulla rotta delle Canarie, all’interno delle frontiere interne dell’UE, nella Manica, alle frontiere orientali, lungo la rotta dei Balcani, o nel deserto del Sahara e lungo qualsiasi altra traiettoria di mobilità.
Dieci anni durante i quali le associazioni, le famiglie e tutti coloro che si battono per il diritto alla mobilità per tutte e tutti hanno continuato a chiedere verità e giustizia per queste vittime, a evidenziare le responsabilità dirette e indirette del regime delle frontiere, a lavorare per dimostrare queste responsabilità e sostenere le famiglie e i propri cari nel doloroso viaggio di ricerca dei dispersi e di identificazione delle vittime.
Blessing, Mamadi, Mohamed, Douala, Tamimou, Mohamed, Mohammed, Fahallah, Ullah, Moussa, Mohamed, Mahadi. Questi i nomi delle 12 persone morte o scomparse mentre cercavano di raggiungere la Francia dall’ Italia tra maggio 2018 e ottobre 2023. «12 nomi che non vogliamo dimenticare. 12 nomi incisi sul monumento» mi raccontano.
«Dopo questo nuovo tentativo fallito di scambio, non possiamo che ripeterlo e rammaricarcene: il sindaco di Briançon si chiude nel rifiuto del dialogo. Di fronte a questo attacco al dovere di ricordare, rimaniamo determinati a difendere la memoria delle persone che sono morte sulla via dell’esilio.
«Cosa impedisce al sindaco di consentire il mantenimento di questo memoriale? Perché non ha mai avuto una parola, un omaggio per gli esuli che morirono alle porte della sua città? ».
Un nuovo tumulo di tributo è già stato eretto spontaneamente.
▻https://riforma.it/2024/03/28/a-briancon-il-sindaco-fa-abbattere-il-cippo-in-ricordo-dei-caduti-alle-front
Un mémoriel pour les mort·es aux frontières (région de l’Evros, Grèce) détruit
Thread de Lena K. sur X :
In August 2011, activists of the Welcome to Europe network & solidarians built a memorial for people who died while crossing the #Evros border: a water fountain at the village of Provatonas. The fountain now lies in ruin - visual proof of local hostility to border crossers.
I found out about the fountain online, by chance. Like many aspects of the past of the local border regime and resistance to it, it’s been forgotten. I didn’t have time to investigate when, how and why it was destroyed (next time!) but one source suggests it was by locals:
“Here we had built a fountain, as Greek tradition would have it, for travellers. To drink water, wash and rest before continuing their journey. Today this tap has been destroyed, they don’t even want the refugees to pass through here. On the one hand, I understand them
A lot of people crossed then and never stopped crossing. People are tired. On the other hand, however, with what various people say and do, they have made people lose its humanity. I hope this broken fountain reminds us that we were human."
▻https://www.avgi.gr/politiki/344653_ebros-thraysmata-pliroforisis
The names of people who died crossing the #Evros were inscribed on the fountain. Its destruction erased them, rendering the dead nameless, dehumanising border crossers once again.
▻https://twitter.com/lk2015r/status/1692824778153787769
#monument #mémoriel #mémoire #morts_aux_frontières #mourir_aux_frontières #asile #migrations #réfugiés #Grèce #frontières #destruction #Welcome_to_Europe #Provatonas
Μια βρύση-μνημείο των χαμένων μεταναστών-ριών στον Προβατώνα/Τυχερό Έβρου
Όνομα και Αξιοπρέπεια για τους νεκρούς μετανάστες των συνόρων Μια βρύση-μνημείο των χαμένων μεταναστών-ριών στον Προβατώνα Έβρου
Την Τρίτη 30 Αυγούστου με πρωτοβουλία του πανευρωπαϊκού δικτύου Welcome to Europe και πολλών αλληλέγγυων ανθρώπων, δημιουργήσαμε ένα μνημείο για τους χαμένους μετανάστες στα σύνορα του Έβρου. Για την Τζέιν και τον Μπασίρ που πνίγηκαν τον περασμένο χρόνο στο ποτάμι, αλλά και για τους εκατοντάδες άλλους, ανώνυμους νεκρούς και αγνοούμενους των συνόρων και των ναρκοπεδίων. Θελήσαμε να δώσουμε πίσω το Όνομα και την Αξιοπρέπεια, το σεβασμό που πρέπει σε κάθε νεκρό. Θελήσαμε, σε πείσμα των καιρών, να εκφράσουμε την Φιλοξενία και την αγωνία μας για τις διαστάσεις του εγκλήματος που λαμβάνει χώρα στα ευρωπαϊκά σύνορα. Θελήσαμε να πούμε όχι σε μια Ευρώπη που οχυρώνεται πίσω από το φόβο και χτίζει τείχη, σε μια Ευρώπη που μετατρέπει τους μετανάστες και μετανάστριες σε αποδιοπομπαίους τράγους της κρίσης. Να πούμε όχι σε μια Ευρώπη που μετατρέπει τους χιλιάδες νεκρούς των συνόρων σε αριθμούς και στατιστικές και που εξακολουθεί να τους μεταχειρίζεται ως ανεπιθύμητους ακόμη και μετά θάνατον. Όπως ανακαλύψαμε το 2010, υπάρχει ένας χώρος ταφής στο Σιδηρώ, που σε καμιά περίπτωση δεν μπορεί να χαρακτηριστεί νεκροταφείο, που προσβάλει τους νεκρούς και τους συγγενείς τους που έρχονται να τους αναζητήσουν. Από το 1995 μέχρι και το 2009, 104 άνθρωποι έχασαν τη ζωή τους από νάρκες και 187 ακρωτηριάστηκαν. Μόνο το 2011 έχουν σκοτωθεί στα σύνορα του Έβρου 70 άνθρωποι, 47 από τους οποίους δεν έχουν ταυτοποιηθεί. Λίγες ημέρες πριν, ένας ακόμη μετανάστης έπεφτε νεκρός όταν περιπολία της συνοριοφυλακής και της Frontex άνοιξε πυρ εναντίον ομάδας που διέσχιζε το ποτάμι. Πρόκειται για ένα έγκλημα που μένει ατιμώρητο, για μια βαρβαρότητα που ωστόσο δικαιολογούν και υποθάλπουν κυβερνήσεις και αξιωματούχοι. Στις 30 Αυγούστου βρεθήκαμε μαζί με συγγενείς και αγαπημένους δύο ανθρώπων που έχασαν τη ζωή τους στην περιοχή του Έβρου, με κατοίκους της περιοχής, με αντιρατσιστές-ριες που ήρθαν έπειτα από το Νο Border camp της Βουλγαρίας. Φτιάξαμε μια βρύση και τοποθετήσαμε μια επιγραφή με τα ονόματα των νεκρών, ένα μνημείο για όλους και όλες που έχουν χαθεί άδικα στα σύνορα. Η βρύση βρίσκεται στον Προβατώνα, στο δρόμο για το Τυχερό. Δίκτυο Welcome to Europe
En occasion de la journée mondiale de la paix, une #commémoration a eu lieu à #Zagreb, le 23.09.2023. J’y étais et ai pris quelques photos...
La commémoration a eu lieu dans le parc mémoriel de #Dotrščina
L’installation artistique qui a été conçue par l’occasion :
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Des images du parc mémoriel, qui n’a jamais été terminé, car avant la fin c’était aussi la fin de la Yougoslavie...
Mais des images du projets dans le spomenik database :
VIRTUALNI MUZEJ DOTRŠČINA
Virtualni muzej Dotrščina je autorski projekt Saše Šimprage.
Projekt je pokrenut 2012. godine u sklopu programa kulture sjećanja Documente – Centra za suočavanje s prošlošću, a od 2016. godine djeluje samostalno.
Temeljni cilj Virtualni muzej Dotrščina je vraćanje spomen-područja Dotrščina u kolektivnu memoriju.
Muzej, u okviru skromnih mogućnosti, djeluje u četiri osnovna polja:
— suvremena umjetnička i kulturna produkcija
— obrazovni programi
— istraživanje i izložbe
— komunalne incijative za održavanje i poboljšanje spomen-područja
Godišnja memorijalna umjetnička intervencija u čast žrtava fašizma organizira se svake godine na prostoru spomen-područja Dotrščina u povodu (i prve subote najbliže) Svjetskog dana mira (21. rujna).
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Liste des victimes du massacre :
Spomen-park Dotrščina. 10 godina Virtualnog muzeja
Zahvaljujući desetogodišnjoj upornosti da očuva sjećanje na prostor u kojemu je preko 7000 sugrađana/ki izgubilo živote tijekom Drugog svjetskog rata, kao i kreativnosti ’postava muzeja’, Sasa Agarpmis i njegovi suradnici/e nas svaki puta podsjete da se umjetničkim intervencijama u prostor šume-parka čita i prošlost i upisuje budućnost.
Danas je to učinio uz ’pomoć’ Darko Simicic i rad(ove) mog studentskog sudruga, ’umjetnika 10%’ Vlade Marteka (ali koji zna da ’na umjetnicima svijet ostaje’ (ili je barem od njih obilježen) kako stoji na njegovu samizdatu br.26, Dotrščina, 2023., koji nam je podijelio.
Danas je ’na Dotrščini’, unatoč najavama kiše, bilo mnogo ljudi, mladih , djece i pasa... Bio je tu i Tvrtko Jakovina , dva veleposlanika, šefica jednog veleposlanstva, predstavnik srpske Boris Milošević i židovske zajednice (Ognjen Kraus)
Posljednje dvije godine Grad se pridružio obnavljanju spomenika i kulture sjećanja na žrtve ustaškog režima - vraćena je info-ploča na ulazu u park, kao i vjerna replika ploče sa stihovima Jure Kaštelana - koja je ’netragom nestala’ 90-ih.
Dogradonačelnik Luka Korlaet nije trebao posebno isticati da ovoj Upravi, i političkoj opciji M!, antifašizam nije tek upisan u Ustavnu preambulu.
Mi smo i ranije dolazili...
▻https://www.facebook.com/rada.boric/posts/pfbid02EZKSP7spzqDshdXFjYwjKEumoDT9AdjrcZ6oH6C71Efz4SsgsoqRWw9x56iNR29Ll
Showing Human Stories Behind Data Points
▻https://nightingaledvs.com/showing-human-stories-behind-data-points
Will Stahl-Timmins was struggling to visualize groups of people in a humanizing way. Then he heard Nadieh Bremer’s tips on data aggregation.
Avec notamment cette intéressante #visualisation :
An Incalculable Loss
“An Incalculable Loss” by The New York Times shows individual silhouettes, letting the reader scroll down the page to give a sense of what the first 100,000 people to die from COVID-19 would look like arranged in this way.
–-> utile aussi pour une visualisation des #morts_aux_frontières, @reka
Voir #Calais et mourir, 367 fois
Nouvelle série. Depuis 1999, la frontière franco-britannique tue et tue encore. « Les Jours » remontent le fil d’un #carnage silencieux et éminemment politique.
Le lundi 11 janvier 1999, un homme irakien est retrouvé mort dans l’enceinte du port de Douvres, en Angleterre. Caché sous la remorque d’un poids lourd, au niveau des essieux, il venait à peine de franchir la frontière franco-britannique quand les secousses du camion l’ont déséquilibré. Tombé à terre, il a été immédiatement happé et écrasé par les roues. L’identité de cet homme n’est pas connue, pas plus que son histoire personnelle. Sans la vigilance de quelques citoyens britanniques, son décès serait sans doute passé inaperçu.
Il ne s’agit pourtant pas d’un événement isolé. Depuis cette nuit d’hiver, 367 migrants sont morts entre la zone frontière franco-belge et le Royaume-Uni. C’est ce qu’ont dénombré Les Jours dans un travail aussi inédit qu’exceptionnel. Nom, prénom, âge, nationalité, parcours migratoire, circonstances du décès, photos… Nous avons cherché et compilé pendant plusieurs années toutes les informations possibles sur les exilés disparus le long de cette frontière maritime. Notre « Mémorial de Calais », à découvrir ci-dessous, recense les victimes pour qu’on ne les oublie pas. Il décompte les morts parce que ces vies comptent.
▻https://i.imgur.com/HN4orG8.png
(#paywall)
►https://lesjours.fr/obsessions/calais-migrants-morts/ep1-memorial
#frontières #asile #migrations #réfugiés #mourir_aux_frontières #morts_aux_frontières #Manche #France #Angleterre #UK #visualisation #statistiques #chiffres #Maël_Galisson #mémoriel
ping @visionscarto
Rapid Response : Decolonizing Italian Cities
Anti-racism is a battle for memory. Enzo Traverso well underlined how statues brought down in the last year show “the contrast between the status of blacks and postcolonial subjects as stigmatised and brutalised minorities and the symbolic place given in the public space to their oppressors”.
Material traces of colonialism are in almost every city in Italy, but finally streets, squares, monuments are giving us the chance to start a public debate on a silenced colonial history.
Igiaba Scego, Italian writer and journalist of Somali origins, is well aware of the racist and sexist violence of Italian colonialism and she points out the lack of knowledge on colonial history.
“No one tells Italian girls and boys about the squad massacres in Addis Ababa, the concentration camps in Somalia, the gases used by Mussolini against defenseless populations. There is no mention of Italian apartheid (…), segregation was applied in the cities under Italian control. In Asmara the inhabitants of the village of Beit Mekae, who occupied the highest hill of the city, were chased away to create the fenced field, or the first nucleus of the colonial city, an area off-limits to Eritreans. An area only for whites. How many know about Italian apartheid?” (Scego 2014, p. 105).
In her book, Roma negata. Percorsi postcoloniali nella città (2014), she invites us to visually represent the historical connections between Europe and Africa, in creative ways; for instance, she worked with photographer Rino Bianchi to portray Afro-descendants in places marked by fascism such as Cinema Impero, Palazzo della Civiltà Italiana and Dogali’s stele in Rome.
Inspired by her book, we decided to go further, giving life to ‘Decolonizing the city. Visual Dialogues in Padova’. Our goal was to question ourselves statues and street names in order to challenge the worldviews and social hierarchies that have made it possible to celebrate/forget the racist and sexist violence of colonialism. The colonial streets of Padova have been re-appropriated by the bodies, voices and gazes of six Italian Afro-descendants who took part in a participatory video, taking urban traces of colonialism out of insignificance and re-signifying them in a creative way.
Wissal Houbabi, artist “daughter of the diaspora and the sea in between“, moves with the soundtrack by Amir Issa Non respiro (2020), leaving her poetry scattered between Via Cirenaica and Via Libia.
“The past is here, insidious in our minds, and the future may have passed.
The past is here, even if you forget it, even if you ignore it, even if you do everything to deny the squalor of what it was, the State that preserves the status of frontiers and jus sanguinis.
If my people wanted to be free one day, even destiny would have to bend”.
Cadigia Hassan shares the photos of her Italian-Somali family with a friend of hers and then goes to via Somalia, where she meets a resident living there who has never understood the reason behind the name of that street. That’s why Cadigia has returned to via Somalia: she wants to leave traces of herself, of her family history, of historical intertwining and to make visible the important connections that exist between the two countries.
Ilaria Zorzan questions the colonial past through her Italo-Eritrean family photographic archive. The Italians in Eritrea made space, building roads, cableways, railways, buildings… And her grandfather worked as a driver and transporter, while her Eritrean grandmother, before marrying her grandfather, had been his maid. Ilaria conceals her face behind old photographs to reveal herself in Via Asmara through a mirror.
Emmanuel M’bayo Mertens is an activist of the Arising Africans association. In the video we see him conducting a tour in the historic center of Padova, in Piazza Antenore, formerly Piazza 9 Maggio. Emmanuel cites the resolution by which the municipality of Padova dedicated the square to the day of the “proclamation of the empire” by Mussolini (1936). According to Emmanuel, fascism has never completely disappeared, as the Italian citizenship law mainly based on jus sanguinis shows in the racist idea of Italianness transmitted ‘by blood’. Instead, Italy is built upon migration processes, as the story of Antenor, Padova’s legendary founder and refugee, clearly shows.
Mackda Ghebremariam Tesfau’ questions the colonial map in Piazza delle Erbe where Libya, Albania, Ethiopia and Eritrea are marked as part of a white empire. She says that if people ignore this map it is because Italy’s colonial history is ignored. Moreover, today these same countries, marked in white on the map, are part of the Sub-saharan and Mediterranean migrant routes. Referring then to the bilateral agreements between Italy and Libya to prevent “irregular migrants” from reaching Europe, she argues that neocolonialism is alive. Quoting Aimé Césaire, she declares that “Europe is indefensible”.
The video ends with Viviana Zorzato, a painter of Eritrean origin. Her house, full of paintings inspired by Ethiopian iconography, overlooks Via Amba Aradam. Viviana tells us about the ‘Portrait of a N-word Woman’, which she has repainted numerous times over the years. Doing so meant taking care of herself, an Afro-descendant Italian woman. Reflecting on the colonial streets she crosses daily, she argues that it is important to know the history but also to remember the beauty. Amba Alagi or Amba Aradam cannot be reduced to colonial violence, they are also names of mountains, and Viviana possesses a free gaze that sees beauty. Like Giorgio Marincola, Viviana will continue to “feel her homeland as a culture” and she will have no flags to bow her head to.
The way in which Italy lost the colonies – that is with the fall of fascism instead of going through a formal decolonization process – prevented Italy from being aware of the role it played during colonialism. Alessandra Ferrini, in her ‘Negotiating amnesia‘,refers to an ideological collective amnesia: the sentiment of an unjust defeat fostered a sense of self-victimisation for Italians, removing the responsibility from them as they portrayed themselves as “brava gente” (good people). This fact, as scholars such as Nicola Labanca have explained, has erased the colonial period from the collective memory and public sphere, leaving colonial and racist culture in school textbooks, as the historian Gianluca Gabrielli (2015) has shown.
This difficulty in coming to terms with the colonial past was clearly visible in the way several white journalists and politicians reacted to antiracist and feminist movements’ request to remove the statue of journalist Indro Montanelli in Milan throughout the BLM wave. During the African campaign, Montanelli bought the young 12-year-old-girl “Destà” under colonial concubinage (the so‑called madamato), boasting about it even after being accused by feminist Elvira Banotti of being a rapist. The issue of Montanelli’s highlights Italy’s need to think critically over not only colonial but also race and gender violence which are embedded in it.
Despite this repressed colonial past, in the last decade Italy has witnessed a renewed interest stemming from bottom-up local movements dealing with colonial legacy in the urban space. Two examples are worth mentioning: Resistenze in Cirenaica (Resistances in Cyrenaica) in Bologna and the project “W Menilicchi!” (Long live Menilicchi) in Palermo. These instances, along with other contributions were collected in the Roots§Routes 2020 spring issue, “Even statues die”.
Resistenze in Cirenaica has been working in the Cyrenaica neighbourhood, named so in the past due to the high presence of colonial roads. In the aftermath of the second world war the city council decided unanimously to rename the roads carrying fascist and colonial street signs (except for via Libya, left as a memorial marker) with partisans’ names, honouring the city at the centre of the resistance movement during the fascist and Nazi occupation. Since 2015, the collective has made this place the centre of an ongoing laboratory including urban walks, readings and storytelling aiming to “deprovincialize resistances”, considering the battles in the ex-colonies as well as in Europe, against the nazi-fascist forces, as antiracist struggles. The publishing of Quaderni di Cirene (Cyrene’s notebooks) brought together local and overseas stories of people who resisted fascist and colonial occupation, with the fourth book addressing the lives of fighter and partisan women through a gender lens.
In October 2018, thanks to the confluence of Wu Ming 2, writer and storyteller from Resistenze in Cirenaica, and the Sicilian Fare Ala collective, a public urban walk across several parts of the city was organized, with the name “Viva Menilicchi!”. The itinerary (19 kms long) reached several spots carrying names of Italian colonial figures and battles, explaining them through short readings and theatrical sketches, adding road signs including stories of those who have been marginalized and exploited. Significantly, W Menilicchi! refers to Palermitan socialists and communists’ battle cry supporting king Menelik II who defeated the Italian troops in Aduwa in 1896, thus establishing a transnational bond among people subjected to Italian invasion (as Jane Schneider explores in Italy’s ‘Southern Question’: Orientalism in One Country, South Italy underwent a socio-economic occupation driven by imperial/colonial logics by the north-based Kingdom of Italy) . Furthermore, the urban walk drew attention to the linkage of racist violence perpetrated by Italians during colonialism with the killings of African migrants in the streets of Palermo, denouncing the white superiority on which Italy thrived since its birth (which run parallel with the invasion of Africa).
These experiences of “odonomastic guerrillas” (street-name activists) have found creative ways of decolonising Italian history inscribed in cities, being aware that a structural change requires not only time but also a wide bottom-up involvement of inhabitants willing to deal with the past. New alliances are developing as different groups network and coordinate in view of several upcoming dates, such as February 19th, which marks the anniversary of the massacre of Addis Ababa which occurred in 1937 at the hands of Italian viceroy Rodolfo Graziani.
References:
Gabrielli G. (2015), Il curriculo “razziale”: la costruzione dell’alterità di “razza” e coloniale nella scuola italiana (1860-1950), Macerata: Edizioni Università di Macerata.
Labanca, N. (2002) Oltremare. Storia dell’espansione coloniale italiana, Bologna: Il Mulino.
Scego, I. (2014) Roma negata. Percorsi postcoloniali nella città, Roma: Ediesse.
Schneider J (ed.) (1998) Italy’s ‘Southern Question’: Orientalism in One Country, London: Routledge.
▻https://archive.discoversociety.org/2021/02/06/rapid-response-decolonizing-italian-cities
#décolonisation #décolonial #colonialisme #traces_coloniales #Italie #Italie_coloniale #colonialisme_italien #statues #Padova #Padoue #afro-descendants #Cadigia_Hassan #via_Somalia #Ilaria_Zorzan #Emmanuel_M’bayo_Mertens #Mackda_Ghebremariam_Tesfau #Piazza_delle_erbe #Viviana_Zorzato #Via_Amba_Aradam #Giorgio_Marincola #Alessandra_Ferrini
ping @postcolonial @cede
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ajouté à la métaliste sur l’Italie coloniale :
►https://seenthis.net/messages/871953
Negotiating Amnesia is an essay film based on research conducted at the Alinari Archive and the National Library in Florence. It focuses on the Ethiopian War of 1935-36 and the legacy of the fascist, imperial drive in Italy. Through interviews, archival images and the analysis of high-school textbooks employed in Italy since 1946, the film shifts through different historical and personal anecdotes, modes and technologies of representation.
En un coup d’oeil, l’expansion coloniale italienne :
#amnésie #film #fascisme #impérialisme #Mussolini #Benito_Mussolini #déni #héritage #mémoire #guerre #guerre_d'Ethiopie #violence #Istrie #photographie #askaris #askari #campagna_d'Africa #Tito_Pittana #Mariano_Pittana #mémoire #prostitution #madamato #madamisme #monuments #Romano_Romanelli #commémoration #mémoriel #Siracusa #Syracuse #nostalgie #célébration #Axum #obélisque #Nuovo_Impero_Romano #Affile #Rodolfo_Graziani #Pietro_Badoglio #Uomo_Nuovo #manuels_scolaires #un_posto_al_sole #colonialismo_straccione #italiani_brava_gente #armes_chimiques #armes_bactériologiques #idéologie
Mackda Ghembremariam Tesfau’, “Visual Research Methods”
▻https://www.youtube.com/watch?v=uIEsiiFipWk&t=2s
#mappa_coloniale #carte_coloniale #ignorance #impunité
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Elle parle de cette carte, présente dans #Piazza_delle_Erbe à #Padoue :
▻https://www.crushpixel.com/big-static7/preview4/italian-colonial-empire-map-square-183671.jpg
"L’Europa è indifendibile"
My Heritage ?
My Heritage? (2020) is a site-specific intervention within the vestibule of the former Casa d’Italia in Marseille, inaugurated in 1935 and now housing the Italian Cultural Institute. The installation focuses on the historical and ideological context that the building incarnates: the intensification of Fascist imperial aspirations that culminated in the fascistization of the Italian diaspora and the establishment of the Empire in 1936, as a result of the occupation of Ethiopia. As the League of Nations failed to intervene in a war involving two of its members, the so-called Abyssinian Crisis gave rise to a series of conflicts that eventually led to the WW2: a ‘cascade effect’. On the other hand, the attack on the ‘black man’s last citadel’ (Ras Makonnen), together with the brutality of Italian warfare, caused widespread protests and support to the Ethiopian resistance, especially from Pan-African movements.
Placed by the entrance of the exhibition Rue d’Alger, it includes a prominent and inescapable sound piece featuring collaged extracts from texts by members of the London-based Pan-African association International African Friends of Ethiopia - CLR James, Ras Makonnen, Amy Ashwood Garvey - intertwined with those of British suffragette Sylvia Pankhurst and Italian anarchist Silvio Corio, founders of the newspaper New Times and Ethiopian News in London.
Through handwritten notes and the use of my own voice, the installation is a personal musing on heritage as historical responsibility, based on a self-reflective process. My voice is used to highlight such personal process, its arbitrary choice of sources (related to my position as Italian migrant in London), almost appropriated here as an act of thinking aloud and thinking with these militant voices. Heritage is therefore intended as a choice, questioning its nationalist uses and the everlasting and catastrophic effects of Fascist foreign politics. With its loudness and placement, it wishes to affect the visitors, confronting them with the systemic violence that this Fascist architecture outside Italy embodies and to inhibit the possibility of being seduced by its aesthetic.
"Decolonizziamo le città": il progetto per una riflessione collettiva sulla storia coloniale italiana
Un video dal basso in cui ogni partecipante produce una riflessione attraverso forme artistiche differenti, come l’arte figurativa, la slam poetry, interrogando questi luoghi e con essi “noi” e la storia italiana
Via Eritrea, Viale Somalia, Via Amba Aradam, via Tembien, via Adua, via Agordat. Sono nomi di strade presenti in molte città italiane che rimandano al colonialismo italiano nel Corno d’Africa. Ci passiamo davanti molto spesso senza sapere il significato di quei nomi.
A Padova è nato un progetto che vuole «decolonizzare la città». L’idea è quella di realizzare un video partecipativo in cui ogni partecipante produca una riflessione attraverso forme artistiche differenti, come l’arte figurativa, la slam poetry, interrogando questi luoghi e con essi “noi” e la storia italiana. Saranno coinvolti gli studenti del laboratorio “Visual Research Methods”, nel corso di laurea magistrale “Culture, formazione e società globale” dell’Università di Padova e artisti e attivisti afrodiscendenti, legati alla diaspora delle ex-colonie italiane e non.
«Stavamo preparando questo laboratorio da marzo», racconta Elisabetta Campagni, che si è laureata in Sociologia a marzo 2020 e sta organizzando il progetto insieme alla sua ex relatrice del corso di Sociologia Visuale Annalisa Frisina, «già molto prima che il movimento Black Lives Matter riportasse l’attenzione su questi temi».
Riscrivere la storia insieme
«Il dibattito sul passato coloniale italiano è stato ampiamente ignorato nei dibattiti pubblici e troppo poco trattato nei luoghi di formazione ed educazione civica come le scuole», si legge nella presentazione del laboratorio, che sarà realizzato a partire dall’autunno 2020. «C’è una rimozione grandissima nella nostra storia di quello che ricordano questi nomi, battaglie, persone che hanno partecipato a massacri nelle ex colonie italiane. Pochi lo sanno. Ma per le persone che arrivano da questi paesi questi nomi sono offensivi».
Da qui l’idea di riscrivere una storia negata, di «rinarrare delle vicende che nascondono deportazioni e uccisioni di massa, luoghi di dolore, per costruire narrazioni dove i protagonisti e le protagoniste sono coloro che tradizionalmente sono stati messi a tacere o sono rimasti inascoltati», affermano le organizzatrici.
Le strade «rinarrate»
I luoghi del video a Padova saranno soprattutto nella zona del quartiere Palestro, dove c’è una grande concentrazione di strade con nomi che rimandano al colonialismo. Si andrà in via Amba Aradam, il cui nome riporta all’altipiano etiope dove nel febbraio 1936 venne combattuta una battaglia coloniale dove gli etiopi vennero massacrati e in via Amba Alagi.
Una tappa sarà nell’ex piazza Pietro Toselli, ora dedicata ai caduti della resistenza, che ci interroga sul legame tra le forme di resistenza al fascismo e al razzismo, che unisce le ex-colonie all’Italia. In Italia il dibattito si è concentrato sulla statua a Indro Montanelli, ma la toponomastica che ricorda il colonialismo è molta e varia. Oltre alle strade, sarà oggetto di discussione la mappa dell’impero coloniale italiano situata proprio nel cuore della città, in Piazza delle Erbe, ma che passa spesso inosservata.
Da un’idea di Igiaba Scego
Come ci spiega Elisabetta Campagni, l’idea nasce da un libro di Igiaba Scego che anni fa ha pubblicato alcune foto con afrodiscendenti che posano davanti ai luoghi che celebrano il colonialismo a Roma come la stele di Dogali, vicino alla stazione Termini, in viale Luigi Einaudi.
Non è il primo progetto di questo tipo: il collettivo Wu Ming ha lanciato la guerriglia odonomastica, con azioni e performance per reintitolare dal basso vie e piazze delle città o aggiungere informazioni ai loro nomi per cambiare senso all’intitolazione. La guerriglia è iniziata a Bologna nel quartiere della Cirenaica e il progetto è stato poi realizzato anche a Palermo. Un esempio per il laboratorio «Decolonizzare la città» è stato anche «Berlin post colonial», l’iniziativa nata da anni per rititolare le strade e creare percorsi di turismo consapevole.
Il progetto «Decolonizzare la città» sta raccogliendo i voti sulla piattaforma Zaalab (►https://cinemavivo.zalab.org/progetti/decolonizzare-la-citta-dialoghi-visuali-a-padova), con l’obiettivo di raccogliere fondi per la realizzazione del laboratorio.
▻https://it.mashable.com/cultura/3588/decolonizziamo-le-citta-il-progetto-per-una-riflessione-collettiva-sull
Decolonizzare la città. Dialoghi Visuali a Padova
Descrizione
Via Amba Alagi, via Tembien, via Adua, via Agordat. Via Eritrea, via Libia, via Bengasi, via Tripoli, Via Somalia, piazza Toselli… via Amba Aradam. Diversi sono i nomi di luoghi, eventi e personaggi storici del colonialismo italiano in città attraversate in modo distratto, senza prestare attenzione alle tracce di un passato che in realtà non è ancora del tutto passato. Che cosa significa la loro presenza oggi, nello spazio postcoloniale urbano? Se la loro origine affonda le radici in un misto di celebrazione coloniale e nazionalismo, per capire il significato della loro permanenza si deve guardare alla società contemporanea e alle metamorfosi del razzismo.
Il dibattito sul passato coloniale italiano è stato ampiamente ignorato nei dibattiti pubblici e troppo poco trattato nei luoghi di formazione ed educazione civica come le scuole. L’esistenza di scritti, memorie biografiche e racconti, pur presente in Italia, non ha cambiato la narrazione dominante del colonialismo italiano nell’immaginario pubblico, dipinto come una breve parentesi storica che ha portato civiltà e miglioramenti nei territori occupati (“italiani brava gente”). Tale passato, però, è iscritto nella toponomastica delle città italiane e ciò ci spinge a confrontarci con il significato di tali vie e con la loro indiscussa presenza. Per questo vogliamo partire da questi luoghi, e in particolare da alcune strade, per costruire una narrazione dal basso che sia frutto di una ricerca partecipata e condivisa, per decolonizzare la città, per reclamare una lettura diversa e critica dello spazio urbano e resistere alle politiche che riproducono strutture (neo)coloniali di razzializzazione degli “altri”.
Il progetto allora intende sviluppare una riflessione collettiva sulla storia coloniale italiana, il razzismo, l’antirazzismo, la resistenza di ieri e di oggi attraverso la realizzazione di un video partecipativo.
Esso è organizzato in forma laboratoriale e vuole coinvolgere studenti/studentesse del laboratorio “Visual Research Methods” (corso di laurea magistrale “Culture, formazione e società globale”) dell’Università di Padova e gli/le artisti/e ed attivisti/e afrodiscendenti, legati alla diaspora delle ex-colonie italiane e non.
Il progetto si propone di creare una narrazione visuale partecipata, in cui progettazione, riprese e contenuti siano discussi in maniera orizzontale e collaborativa tra i e le partecipanti. Gli/Le attivisti/e e artisti/e afrodiscendenti con i/le quali studenti e studentesse svolgeranno le riprese provengono in parte da diverse città italiane e in parte vivono a Padova, proprio nel quartiere in questione. Ognuno/a di loro produrrà insieme agli studenti e alle studentesse una riflessione attraverso forme artistiche differenti (come l’arte figurativa, la slam poetry…), interrogando tali luoghi e con essi “noi” e la storia italiana. I partecipanti intrecciano così le loro storie personali e familiari, la storia passata dell’Italia e il loro attivismo quotidiano, espresso con l’associazionismo o con diverse espressioni artistiche (Mackda Ghebremariam Tesfaù, Wissal Houbabi, Theophilus Marboah, Cadigia Hassan, Enrico e Viviana Zorzato, Ilaria Zorzan, Ada Ugo Abara ed Emanuel M’bayo Mertens di Arising Africans). I processi di discussione, scrittura, ripresa, selezione e montaggio verranno documentati attraverso l’utilizzo di foto e filmati volti a mostrare la meta-ricerca, il processo attraverso cui viene realizzato il video finale, e le scelte, di contenuto e stilistiche, negoziate tra i diversi attori. Questi materiali verranno condivisi attraverso i canali online, con il fine di portare a tutti coloro che sostengono il progetto una prima piccola restituzione che renda conto dello svolgimento del lavoro.
Le strade sono un punto focale della narrazione: oggetto dei discorsi propagandistici di Benito Mussolini, fulcro ed emblema del presunto e mitologico progetto di civilizzazione italiana in Africa, sono proprio le strade dedicate a luoghi e alle battaglie dove si sono consumate le atrocità italiane che sono oggi presenze fisiche e allo stesso tempo continuano ad essere invisibilizzate; e i nomi che portano sono oggi largamente dei riferimenti sconosciuti. Ripercorrere questi luoghi fisici dando vita a dialoghi visuali significa riappropriarsi di una storia negata, rinarrare delle vicende che nascondono deportazioni e uccisioni di massa, luoghi di dolore, per costruire narrazioni dove i protagonisti e le protagoniste sono coloro che tradizionalmente sono stati messi a tacere o sono rimasti inascoltati.
La narrazione visuale partirà da alcuni luoghi – come via Amba Aradam e via lago Ascianghi – della città di Padova intitolati alla storia coloniale italiana, in cui i protagonisti e le protagoniste del progetto daranno vita a racconti e performances artistiche finalizzate a decostruire la storia egemonica coloniale, troppo spesso edulcorata e minimizzata. L’obiettivo è quello di favorire il prodursi di narrazioni dal basso, provenienti dalle soggettività in passato rese marginali e che oggi mettono in scena nuove narrazioni resistenti. La riappropriazione di tali luoghi, fisica e simbolica, è volta ad aprire una riflessione dapprima all’interno del gruppo e successivamente ad un pubblico esterno, al fine di coinvolgere enti, come scuole, associazioni e altre realtà che si occupano di questi temi sul territorio nazionale. Oltre alle strade, saranno oggetto di discussione la mappa dell’impero coloniale italiano situata proprio nel cuore della città, in Piazza delle Erbe, e l’ex piazza Toselli, ora dedicata ai caduti della resistenza, che ci interroga sul legame tra le forme di resistenza al fascismo e al razzismo, che unisce le ex-colonie all’Italia.
Rinarrare la storia passata è un impegno civile e politico verso la società contemporanea. Se anche oggi il razzismo ha assunto nuove forme, esso affonda le sue radici nella storia nazionale e coloniale italiana. Questa storia va rielaborata criticamente per costruire nuove alleanze antirazziste e anticolonialiste.
Il video partecipativo, ispirato al progetto “Roma Negata” della scrittrice Igiaba Scego e di Rino Bianchi, ha l’obiettivo di mostrare questi luoghi attraverso narrazioni visuali contro-egemoniche, per mettere in discussione una storia ufficiale, modi di dire e falsi miti, per contribuire a dare vita ad una memoria critica del colonialismo italiano e costruire insieme percorsi riflessivi nuovi. Se, come sostiene Scego, occupare uno spazio è un grido di esistenza, con il nostro progetto vogliamo affermare che lo spazio può essere rinarrato, riletto e riattraversato.
Il progetto vuole porsi in continuità con quanto avvenuto sabato 20 giugno, quando a Padova, nel quartiere Palestro, si è tenuta una manifestazione organizzata dall’associazione Quadrato Meticcio a cui hanno aderito diverse realtà locali, randunatesi per affermare la necessita’ di decolonizzare il nostro sguardo. Gli interventi che si sono susseguiti hanno voluto riflettere sulla toponomastica coloniale del quartiere Palestro, problematizzandone la presenza e invitando tutti e tutte a proporre alternative possibili.
►https://cinemavivo.zalab.org/progetti/decolonizzare-la-citta-dialoghi-visuali-a-padova
When Memory is Confined : Politics of Commemoration on #Avenida_26, Bogotá
After more than five decades of conflict, the Colombian capital, Bogotá, is undergoing processes not just of regeneration, but also of commemoration. The decision to create spaces of memory along one particular road in the city, Avenida 26, has highlighted the stark differences between neighborhoods on either side of its congested lanes—and runs the risk of reinforcing existing segregation.
Bogotá, Colombia, is a socially divided city in a post-conflict country marked by clashing spatial and cultural cleavages. Over the last 20 years, institutional investments have concentrated on the renewal of the city center in order to boost Bogotá’s image. At the same time, the end of the Colombian conflict has led to the proliferation of a politics of memory in the city. The politics of memory, driven by the pedagogical imperative of “never again” (Bilbija and Payne 2011), expose the difficult task of imagining spaces as contemplative and as sites of reconciliation through their portrayal of past events in the conflict (Jelin 2002).
The street known as Avenida 26 (Figure 1)—at the center of my four-months-long fieldwork—is a key space for analysis of the city’s regeneration programs and politics of memory. The case of Avenida 26 demonstrates the tensions between urban development and memory-making. It reveals how institution-led production of “spaces of memory” (Huyssen 2003), as cultural spaces dedicated to commemoration and remembrance, also play a crucial role in the process of gentrification and the exclusionary dynamics in the city. Sites of national memory on Avenida 26 reflect strategic plans to build a protective barrier from urban violence and conflicts for the city’s middle class while at the same time further marginalizing low-income residents. These are the same residents who are often most directly touched by the conflict and for whom the politics of memory are officially dedicated.
Segregated memory, between two Avenidas
“That [a museum] is like for kids who are studying […], it’s not for everyone, for example, for me […] why should I go to a museum, what for? All these museums, what for? […] For me, my museums are my flowers,” said Catalina, a flower seller, in a half-sarcastic, half-bitter tone. [1]
Catalina is referring to the future National Museum of Memory of Colombia, which is slated to open in 2021 as a space for reflection over the Colombian conflict. [2] The museum will be built on Avenida 26, where Catalina’s flower stand is located. As she speaks, her voice almost fades into the roar of traffic. The street is one of Bogotá’s main thoroughfares. It is nearly 14 kilometers (8.7 miles) long and as wide as a highway. It is one of the most congested streets in the city (Figure 2).
Avenida 26 is central to Bogotá’s politics of memory. In 2012, the Center for Memory, Peace and Reconciliation, or CMPyR (Centro de Memoria, Paz y Reconciliación; Figure 3), opened next to the city’s central cemetery, where florists and candle sellers have their stands. Public art on the street [3] portrays the Colombian conflict. In 2014, the municipality renamed the section of Avenida 26 that hosts these cultural initiatives Eje de la Paz y la Memoria, or “Axis of Peace and Memory.” In 2016, a new park, Parque del Renacimiento (“Park of the Rebirth”), was opened.
As a highly congested major thoroughfare, Avenida 26 does not correspond to conventional spaces of memory. Many institutional representatives define it as an empty space or a “blank slate.”
“It’s like a corridor: when you cross it in some way you are inhabiting a place that is not a place where one would stop to contemplate […] that is to say it is a non-place,” a member of IDARTES (a body which promotes public art initiatives on the streets of Bogotá) said.
The imaginary of Avenida 26 as a non-place among public officials reveals their uncomfortable awareness that Avenida 26 is an extremely segregated—and at times violent—place. The renamed section of the avenue—the “Eje de la Paz y la Memoria”—divides two very distinct neighborhoods: the middle-income neighborhood of Teusaquillo on one side, and the deprived and extremely precarious neighborhood of Santa Fe on the other. It would seem that the urban violence that characterizes the avenue would make it unsuitable for commemorative practices, yet officials have focused significant public resources in creating cultural institutions of public memory along this route.
“The side that is in Teusaquillo is cool, I have friends working with screen printing, who have a cultural center, there is the graffiti […]. In front of the cemetery [on the Santa Fe side], it’s very ugly, people steal and at night there are many homeless people […], I really prefer not to be there,” said Santiago, a skater and graffiti artist, capturing the geographical imagination of the street as a divided space.
In this context, the siting of the CMPyR and the future Museum of Memory, as well as ancillary museum initiatives, on Avenida 26 is not unintentional or strictly about memory. They represent selective investments on one side of the street in the middle-class neighborhood of Teusaquillo, and not on the Santa Fe side. The siting of these projects on Avenida 26 is not due to the relevance of this place for commemorative purposes, but instead acts as a revitalization strategy that encloses the more economically viable neighborhood through cultural projects as a means of shielding this neighborhood from the poverty and urban violence on the other side of Avenida 26. A member of the current CMPyR administration mentioned this selective use of the street when sharing his unease over being located to what he perceives as the “wrong” side of the street: “We work looking at that side [pointing to the Teusaquillo side], or we go to the mayor’s office, but we don’t go over there [the Santa Fe side]. […] One is always between two parallel worlds. Let’s say that, among ourselves, we know that on the other [Santa Fe] side there is the jungle.”
In this scenario, Avenida 26 acts as a true frontier between two neighborhoods that memory professionals deem to be incompatible. Indeed, cultural actors and memory professionals seem to identify two different Avenidas: one apt to welcome initiatives and spaces of memory; the other inaccessible due to urban violence.
Enclosed spaces, incompatible languages
The consequences of this enclosure are detrimental to the low-income communities on the Santa Fe side of the street. Gates and security guards around the CMPyR contribute to a significant securitization of this area. Candle and flower sellers on the Santa Fe side, who work informally, face increased policing, disrupting their business and limiting their ability to develop a regular clientele.
The marginalization and exclusion of these residents is even more evident symbolically. Interviewees on the Santa Fe side of the street are mostly uninformed of the activities of politics of memory—for example, they often confuse the CMPyR with a monument. They are also limited by a linguistic barrier. For example, memory, a common word in public art projects (Figure 4) and part of the title of the CMPyR—is an unfamiliar concept to many of these residents. The vocabulary employed by memory professionals reinforces a social and symbolic barrier among actors sharing the same space. This, in turn, contributes to the general indifference of many people in Santa Fe toward spaces of memory, and often results in explicit opposition to politics of memory on the street.
A kiosk owner near the Parque del Renacimiento expressed her rejection of the politics of memory through her concerns about the present and her children’s future, “I’m not interested in who is buried there, why he died, why it’s called memory […] I want my children to be well, [I want to know] what time my daughter gets home, because if she is late then what happened to her? […] How can I be interested in this bullshit?”
Avenida 26 is not a blank slate. It is a “lived space” made of uses and practices that politics of memory dismiss (Lefebvre 1974; de Certeau 1990). These regeneration plans ignore residents’ use of space and relation to memory by relying on cultural tools and a language that excludes them from participation. Avenida 26 highlights the necessity to think of spaces of memory as urban spaces whose function extends beyond their commemorative role (Till 2012). This case demonstrates how the appropriation or rejection of spaces of memory is dependent on urban dynamics—social inequalities, spatial segregation, and access to resources—influencing both the appropriation of spaces of memory and the possibility that a sense of belonging among local actors may flourish (Palermo and Ponzini 2014).
Finally, the role played by the imperative of “never again” in gentrification and displacement is far from being an exclusively Colombian phenomenon. Across the globe, cities are increasingly taking a stance over episodes of the past at a national scale and publicly displaying it for collective engagement (as in post-apartheid Johannesburg, or in post-9/11 New York, among others). Academic and policymaking literature needs to deepen our understanding of the intricacy of these dynamics and the problematic cultural undertakings in such processes. If remembering is indeed a right as well as a duty, “walking down memory lane” should represent an exercise of citizenship and not the rationalization of social and spatial segregation.
▻https://www.metropolitiques.eu/When-Memory-is-Confined-Politics-of-Commemoration-on-Avenida-26-Bogo
#mémoire #Bogotá #Colombie #commémoration #mémoriel #divided_city #villes #géographie_urbaine #ségrégation #post-conflict #réconciliation #never_again #plus_jamais_ça #violence_urbaine #National_Museum_of_Memory_of_Colombia (CMPyR) #musée #contested_city #guerre_civile #non-lieu #Teusaquillo #Santa_Fe #violence_urbaine #art #frontières_urbaines #fractures_urbaines #gentrification #citoyenneté
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Toponymie :
In 2014, the municipality renamed the section of Avenida 26 that hosts these cultural initiatives #Eje_de_la_Paz_y_la_Memoria, or “Axis of Peace and Memory.” In 2016, a new park, #Parque_del_Renacimiento (“Park of the Rebirth”), was opened.
ping @albertocampiphoto @reka
Il memoriale voluto dal pescatore-eroe per ricordare la strage di Lampedusa
A Lampedusa è stato inaugurato il memoriale ideato da Vito Fiorino per le ricordare tutte le vittime della strage del 3 ottobre 2013, con il supporto dell’associazione #Gariwo. Durante l’inaugurazione l’abbraccio tra i superstiti e i pescatori di vite umane che quel giorno salvarono i superstiti del naufragio dove morirono 366 persone
Memorial In Thermi
29.09.19 Memorial In Thermi. 6 years ago was created the memorial for the dead at the EU borders. Fascists destroyed it twice. During ceremony we commemorated the dead of borders and hot spot system together with survivors and relatives.
#mémoire #monument #migrations #Grèce #Thermi #décès #morts #mourir_dans_la_forteresse_Europe #mémoriel
ping @isskein
Border Memorial: Frontera de los Muertos
#Border_Memorial: Frontera de los Muertos is an augmented reality public art project and memorial, dedicated to the thousands of migrant workers who have died along the U.S./Mexico border in recent years trying to cross the desert southwest in search of work and a better life.
Sorte de #cartographie_macabre...
#mémoire #morts #mourir_aux_frontières #art #art_et_politique #décès #mémoriel #frontières #réalité_augmentée #app #visualisation #squelettes #google_earth
ping @mobileborders @isskein @reka
#Sacrario_militare #Redipuglia
▻https://fr.wikipedia.org/wiki/Cimeti%C3%A8re_militaire_de_Redipuglia
Quelques photos prises le 08.05.2019:
Un monument impressionnant, très très imposant:
Et cette liste infinie de noms... avec cette inscription à gros caractères PRESENTE ("présent"):
Ne nous oubliez pas!
Quelques #chiffres des #pertes de vies humaines
Non curiosità di vedere
ma proposito di ispirarvi
vi conduca
Agli invitti
che diedero per la Patria
tutto il sangue
solo è degno di accostarsi
chi ha nel cuore la Patria
Et des #graffitis de #guerre dont on peut voir les photos dans le musée...
Avec cette introduction:
Se un giorno gli uomini taceranno.
Se l’ingratitudine ucciderà ogni ricordo
grideranno le pietre
#mémoriel #musée #WWI #première_guerre_mondiale #monument #Italie #guerre
ping @reka
Artist Shames Tourists Taking Inappropriate Selfies At The Holocaust Memorial Site In Berlin (NSFW) | DeMilked
▻https://www.demilked.com/holocaust-memorial-selfies-yolocaust-shahak-shapira
Il semble qu’il reste à faire un travail de mémoire aussi à destination de celles et ceux qui rendent visite à des lieux de mémoire.
sraeli artist Shahak Shapira has seen enough of these disrespectful selfies taken in the absolute worst places for them. So he launched an art project called “Yolocaust” in hopes to shame the selfie-takers from the Holocaust Memorial in Berlin.
“Over the last years, I noticed an interesting phenomenon at the Holocaust memorial in Berlin: people were using it as a scenery for selfies. So I took those selfies and combined them with footage from Nazi extermination camps,” Shapira wrote. He gathered the selfies from the social media sites like Facebook, Instagram, Tinder, and Grindr, and then combined them with the hard-to-watch real footage from concentration camps. The artist was shocked by just how distanced from the actual meaning of the monument its visitors were, which is illustrated with the comments, hashtags and “likes” that were posted with the selfies.
@reka et @l_l_de_mars quels curieux tags vous utilisez l’un et l’autre, surtout @reka, je propose #destruction_des_juifs_d_europe
Bon et sinon mes propres images de ce genre de comportement à Auschwitz et Birkenau
Et sinon le photographe Ambroise Tézemas, exposé à Arles il y a deux ans, a produit des images remarquables de ce qu’il appelle le tourisme de la désolation :
pas mal de choses sur seenthis avec le mot-clé #dark_tourism :
▻https://seenthis.net/tag/dark_tourism
La Tête haute, au cœur de la vallée de #la_Roya
C’est l’histoire d’une vallée magnifique, paisible, en bordure de l’Italie. Et puis un jour, surgit l’inattendu. Des dizaines, bientôt des centaines de migrants, font irruption sur la route, sur les chemins. Une fois retombés les feux de l’actualité, que reste-t-il de cette aventure extraordinaire qui voit l’engagement des uns, les doutes des autres, la désobéissance civile des plus motivés, la sourde hostilité des silencieux ? Oui, qu’en reste-t-il ? C’est là que commence ce film.
#mémoriel #plaque_commémorative #morts #mourir_aux_frontières #décès :
▻https://seenthis.net/messages/786000)
Quelques citations tirées du film...
Chamberlain, réfugié :
« Je dis à certaines personnes qui s’intéresse à savoir mon parcours : ’Si tu trouves cela pathétique, moi ça me vexe, parce que c’est ça qui m’a construit, c’est tout ça qui fait de moi ce que je suis’. »
René Dahon, habitant de la vallée:
« Ma famille pendant la guerre a été déportée, parce qu’ici c’était une #ligne_de_front : derrière c’était l’Italie et sur #Sospel c’était la ligne de front français. Entre les deux, en 1943-45, ça a été une espèce de couloir, un no man’s land. #Saorge a été dans ce couloir. Et ma famille a été déportée en Italie. Donc, moi l’idée de la solidarité, je l’ai tout connement connue sur un truc de rien du tout. Ma grand-mère m’a dit ’Quand on a marché de Saorge à Turin à pied, quand on a traversé certains villages du Piémont, il y a des gens qui ont ouvert leurs portes et qui ont donné quelque chose. Et moi j’ai ça d’idée de la solidarité. Moi j’ai l’idée que dans la vallée derrière, c’était des solidaires »
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Toujours René Dahon:
« ça fait 40 ans que je suis dans l’associatif. Je me bagarre dans plein de domaines, mais on voulait bien que je sois gauchiste et que je défende le train ou la poste et les écoles, ça pose pas de problèmes, mais défendre du Black, c’est ça le problème. C’est drôle ! Alors qu’ils en ont jamais vu à Tendre. TEndre n’a jamais été envahi par les Noirs »
Suzel PRIO :
"La Roya terre d’accueil, la Roya solidaire c’est vraiment un cliché. Ça plait beaucoup ça, mais c’est beaucoup plus complexe que ça. Il y a aussi tous ces réflexes de #peur, des gens ici qui ne sont pas contents qu’on voit la Roya comme ça, qu’elle soit célèbre avec ces valeurs-là. Au début, il y avait des gens qui étaient vraiment sur l’humanitaire. Donc ce débat entre politique ou humanitaire, on l’a eu à plusieurs reprises. Certaines personnes souhaitant au début qu’on fasse que de l’#humanitaire et petit à petit d’autres personnes qui souhaitaient qu’on fasse que du #politique. Cela voulait dire, je ne sais pas... arrêter d’acheter des couvertures, arrêter de faire à manger et ne faire que des communiqués et des soirées... Au final, notre positionnement a été arrêté sur : ’C’est les deux. C’est simple, il faut les deux !’
What do images in public space do?
Damien Darcis
Pictures that denounce? In the Jungle of #Calais, #Banksy and the hearts of cardboard [Full text]
Zara Fournier
Images in South Lebanon: an Absent Presence. The case of the former #Khiam Prison [Full text]
#Liban #prison
Olivier Gaudin
The Public Life of Images: Towards a Social Ecology of the Urban Gaze. The example of Bologna’s #Sacrario_dei_Partigiani [Full text]
#Bologne #partisans #Italie #WWII #deuxième_guerre_mondiale #seconde_guerre_mondiale
Vivien Philizot
Kodak’s Colorama and the Construction of the Gaze in Public Space [Full text]
Tanja Schult and Diana I. Popescu
Infelicitous Efficacy: Alfred Hrdlicka’s Memorial against War and Fascism [Full text]
#mémoire #mémoriel #Alfred_Hrdlicka #monument
Laurent Viala
The political mission of contemporary urban statuary. Image, history and territorial identity in Montpellier (France) [Full text]
▻https://journals.openedition.org/articulo/3222
#espace_public #revue #images
List of 34,361 documented deaths of refugees and migrants due to the restrictive policies of « Fortress Europe »
▻https://uploads.guim.co.uk/2018/06/19/TheList.pdf
Liste des #morts en #Méditerranée et dans la #Forteresse_Europe mise à jour (juin 2018)
#mourir_aux_frontières #mourir_dans_la_forteresse_Europe #asile #migrations #réfugiés #frontières #décès #liste #UNITED_for_Intercultural_Action
cc @isskein @reka
It’s 34,361 and rising: how the List tallies Europe’s migrant bodycount
The deaths do not just occur at sea – but in detention blocks, asylum units and even town centres. Here’s how the List is put together
►https://www.theguardian.com/world/2018/jun/20/the-list-europe-migrant-bodycount
Roma, al Pigneto i nomi dei migranti morti in mare diventa opera d’arte con #(S)ink
Prende il via in via del Pigneto, nel cuore dello storico quartiere romano il progetto dell’artista e performer Fabio Saccomanni, (S)ink, Opera urbana di denuncia alle leggi europee sulle migrazioni. Si tratta di un vero e proprio monumento funebre realizzato con i nomi delle 36.570 persone morte mentre tentavano di raggiungere l’Europa. Questa immensa lista di nomi resterà invisibile per la maggior parte del tempo, ma nei giorni di pioggia emergerà in tutto il suo potentissimo messaggio di memoria e celebrazione: i passanti, camminando sulla strada bagnata di pioggia, saranno costretti a calpestare quei nomi che, d’improvviso, diventeranno concreti e reali. Un progetto realizzato nell’ambito della Biennale MArteLive 2019 all’interno del Progetto Speciale Street Art for Rights, curato da Oriana Rizzuto e Giuseppe Casa, prodotto da Scuderie MArteLive in collaborazione con RomaBPA Mamma Roma e i suoi figli migliori, patrocinato dal V Municipio del Comune di Roma
▻https://roma.repubblica.it/cronaca/2019/12/10/foto/roma_al_pigneto_i_nomi_dei_migranti_morti_in_mare_diventa_opera_d_arte_con_s_ynk-243103625/1/#11
#art #art_et_politique #Rome #mémoire #monument #mémoriel
ping @karine4
Je ne découvre que 10 après sa publication cette #visualisation de #Elise_Gay, publiée donc en 2010, et disponible sur le site de @visionscarto :
Fermeture et démantèlement en 2002 (par M. Nicolas Sarkozy) du centre d’hébergement et d’accueil d’urgence humanitaire à Sangatte ; démantèlement en 2009 (par M. Nicolas Sarkozy) de la « jungle » de Calais ; lancement en 2002 de la politique anti-Roms (par M. Nicolas Sarkozy) avec piqûre de rappel en 2010 (effectuée par M. Nicolas Sarkozy). Revues de presse désespérantes, annonçant toutes les semaines les naufrages des bateaux des clandestins, leurs conditions de vie misérables, la peur... Autant d’événements qu’il est nécessaire de connaître et faire connaître. Mais comment ?
En #Espagne, la #Guerre_civile est l’objet de luttes mémorielles incessantes. Le film analyse le rôle des majorités politiques, des historiens et de la société civile dans ces affrontements autour de la #mémoire.
►https://sms.hypotheses.org/11268
#espagne #guerre #guerre_d'espagne #mémoire #mémoriel #politique #histoire #société_civile #lutte #film #CHS #XXe_siècle #conflit #historiographie #transition #démocratie #dictature #IIe_république #république #franquisme #franco #histoire #historien
#Addis_Ababa_massacre memorial service – in pictures
The Addis Ababa massacre or #Graziani_massacre, in which 20,000 to 30,000 Ethiopians were killed by Italian occupying forces on 19 February 1937, is commemorated at the Holy Trinity Cathedral in the Ethiopian capital
–—
ajouté à la métaliste sur le colonialisme italien :
►https://seenthis.net/messages/871953
Le #mémoriel (#monument) à Addis Abeba
Yekatit 12
Yekatit 12 (amharique : የካቲት ፲፪) ou monument du 12 Yekatit est un obélisque dressé au centre de la place du 12 Yekatit, dans la ville d’#Addis-Abeba, en Éthiopie.
Etiopia, i conti col passato: la strage di Addis Abeba del 1937
►https://seenthis.net/messages/950246
Memorializing mass deaths at the border: two cases from Canberra (Australia) and Lampedusa (Italy)
In this paper, we compare two seemingly very similar instances in which individuals and organizations within the borders of the global North have memorialized the deaths of irregular migrants at sea: the #SIEV_X_memorial in Australia’s national capital Canberra, and the #Giardino_della_memoria (Garden of Remembrance) on the Italian island of Lampedusa. Unlike ephemeral manifestations of grief, potentially these memorials have effects that reach well beyond their creation. We relate the differences between the memorials to the contexts within which they were created: an immediate local response involving people directly affected by the disaster’s aftermath, on the one hand, and a delayed nation-wide response involving people removed from the deaths at sea, on the other. We also discuss the difference between a memorial that names and thereby individualizes victims, and one that does not, and between one that celebrates an alternative, hospitable society, and one that does not.
▻http://www.tandfonline.com/doi/full/10.1080/01419870.2017.1394477
#mémoire #Italie #migrations #Australie #réfugiés #asile #mémoriels #monuments #Canberra #Lampedusa #morts #décès #mourir_aux_frontières #victimes
Emmett Till Historical Marker in Mississippi Destroyed By Vandals
A historical marker created in Mississippi to memorialize and educate the public about the 1955 kidnapping and lynching death of 14-year-old Emmett Till was destroyed by vandals who obliterated all visible information about the death that helped galvanize the civil rights movement.
#vandalisme #mémoire #mémoriel #monument #USA #Etats-Unis #Noirs #racisme #xénophobie
Un mémorial en mémoire de #Nelson_Mandela à Genève qui nous fait honte (ou devrait nous encourager à agir)
Nous avons, à Genève, un fort épuré mémorial tout neuf (2015) en hommage à Nelson Mandela voulu par le Grand Conseil Genevois. Ces jours, pourtant, nous en avons honte. Et pourquoi en avons-nous honte ? Parce que Nelson Mandela a toujours répété : « Nous savons trop bien que notre liberté n’est pas complète sans la liberté des Palestiniens » Et alors que nous vénérons quotidiennement l’icône du prix Nobel (en oubliant le condamné à perpétuité pour ’terrorisme’), à ce jour 7000 palestinien-ne-s sont en prison, leur détention violant de règles de droit international, et plus de 1000 en sont au 40e jour de leur grève de la faim. Ces derniers risquent leurs vies pour dénoncer des abus de droits et dénis de justice, défendant des valeurs qui sont les nôtres : la liberté, le respect du droit, l’indépendance et la justice. Un mémorial de Mandela à Genève ? Sommes-nous vraiment dignes d’honorer la mémoire d’un tel homme si nous sommes incapables d’endosser ses combats ?
Croatie : les antifascistes et les associations de victimes boycottent les commémorations officielles de #Jasenovac
Ils manifesteront par leur absence. Pour la deuxième année consécutive, les commémorations officielles de l’insurrection du camp d’extermination oustachi de Jasenovac, en avril 1945, se feront sans les représentants des victimes serbes, juives et croates antifascistes, qui dénoncent le révisionnisme et la « néo-oustachisation » de la société. Un désaveu pour le Premier ministre « modéré » Andrej Plenković.
#Bosnie-Herzégovine : à #Mostar, l’#antifascisme est toujours un combat
Les partisans de Tito ont libéré la ville de Mostar le 14 février 1945. Samedi, des militants antifascistes de toute la région s’étaient joints aux survivants pour célébrer cet anniversaire, alors que le #cimetière des #partisans de la ville est régulièrement vandalisé.
Au #Cambodge, le #business de la #mémoire
Le jour suivant, lors de la visite des « killing fields » (les camps d’extermination le plus secret du régime des #Khmers_Rouges), à quelques kilomètres de Phnom Penh, l’hypothèse du business de la mémoire a pris le dessus dans mes réflexions. En effectuant des recherches sur le mémorial, je tombe sur la référence à un article publié en 2005 dans l’édition du Pacifique Sud du Time International. Il rapporte un plan secret pour privatiser les « killing fields ». Un accord à hauteur de 15000 dollars par an sur 30 ans a été passé entre la municipalité de Phnom Penh et une entreprise japonaise, la #JC_Royal Co.