• L’#identité_hongkongaise d’aujourd’hui est née dans les années 1960

    Il est intéressant, pour les nouveaux venus à Hong Kong, de rappeler quelques faits historiques qui permettent de comprendre la société d’aujourd’hui et les sources de cette identité hongkongaise qui s’est créée dans les 1960, période pendant laquelle ont été posés les fondements de la société moderne hongkongaise.

    Une #rébellion contre le gouvernement colonial

    C’est durant le mois de mai 1967 que Hong Kong vit sa période la plus troublée. Une dispute éclate dans une usine de fleurs artificielles, des piquets de grève se forment, la police intervient, la dispute devient violente. L’émeute s’étend à la ville de Kowloon et dure trois jours. Le gouvernement colonial réagit en instaurant le couvre-feu : 800 personnes sont arrêtées. Un mouvement au départ peu politique : les émeutes étaient le résultat accumulé de nombreuses années d’injustice sociale, d’arrogance coloniale, de conditions de travail précaires, de pauvreté et d’un sentiment général de frustration.
    Une époque profondément marquée par la Révolution culturelle qui tenta de s’imposer à Hong Kong : la banque de Chine hérissée de haut-parleurs hurlant des slogans maoïstes

    Mais c’est aussi, aux portes de Hong Kong, la Révolution culturelle en Chine, et très vite l’extrême gauche s’empare du mouvement. La banque de Chine est hérissée de haut-parleurs qui hurlent dans la rue des slogans maoïstes, les gardes rouges se rassemblent devant le palais du gouverneur britannique, brandissant le Petit Livre rouge. Commence alors une série d’attentats à la bombe, qui explosent dans la rue et dans les cinémas, semant la terreur dans la population. Un commentateur radio antigauchiste est brûlé vif dans sa voiture. Un bilan assez lourd, encore contesté, fait état de 51 morts, 100 blessés et 5 000 arrestations…

    La Révolution culturelle, toutefois, n’enthousiasme pas la population, en partie terrorisée, qui verra aussi l’année suivante, en juin 1968, une série de cadavres venus de la Chine dériver au gré des marées et des courants. Des hommes et des femmes de 18 à 35 ans, mais aussi une fillette de 13 ans, les corps ligotés au moyen d’une corde, enserrant les pieds, les poings et le cou, indiquant qu’il s’agissait de suppliciés, victimes d’une même exécution massive.

    Hong Kong rentre alors dans le calme mais sa population chinoise commence à prendre conscience de sa particularité et vit une cassure avec son passé, à la fois britannique et chinois. C’est l’émergence du “Hongkongais”, une population autrefois sans visage qui se dessine soudainement, un style de vie qui s’affirme, différent de celui de la Chine continentale ou de celui de Taïwan.
    Apparition d’un nouvel homme et d’une nouvelle femme hongkongais

    On commence à parler de communauté hongkongaise et de citoyenneté, même si l’idée est instillée par la propagande gouvernementale, qui vise à se prémunir de l’influence du communisme. Hong Kong devient fière d’elle-même. La ville apparaît comme un exportateur majeur, les industries de l’horlogerie et du textile fleurissent. La mode s’occidentalise, le consumérisme s’empare de la population, les valeurs traditionnelles et modernes s’opposent. C’est la rencontre de l’Orient et de l’Occident, qui constituera une culture hybride, contradictoire mais dynamique, même si elle reste floue et désarticulée.

    Les années 1960 sont une période fabuleuse en ce qui concerne le design et la mode hongkongais, avec l’apparition de tout un environnement quotidien redessiné, d’un nouvel homme et d’une nouvelle femme hongkongais, du moins dans la jeunesse aisée, qui se libère, un peu provocatrice, portant minijupe et dansant en discothèque. Une musique se crée, les studios de cinéma se développent, une quantité de nouvelles revues de mode mais aussi de poésie, de cinéma, de bandes dessinées apparaissent. C’est un peu plus tard l’époque où la nouvelle vague française, avec Jean-Luc Godard et François Truffaut, créent un impact sur les intellectuels. C’est à cette époque qu’apparaît l’embryon des mouvements étudiants qui suivront et réclameront le chinois comme deuxième langue officielle.

    C’est là que naît le débat sur l’identité hongkongaise, qui sera exacerbé lors du retour à la Chine en 1997. Une époque encore très méconnue à l’extérieur de Hong Kong. Nombre d’intellectuels hongkongais sont amers lorsqu’ils évoquent ce passé car cette histoire – leur histoire –, personne ne l’a racontée en dehors du territoire, malgré l’hypermédiatisation lors de la rétrocession. La plupart des médias occidentaux ont véhiculé les mêmes clichés éculés sur la “perle de l’Orient”, le “désert culturel”, le “miracle économique”, “Suzie Wong” et les bars à filles de Wanchai, repos du guerrier américain lors de la guerre du Vietnam. Les livres d’histoire ne content qu’une histoire officielle entre Chine et Grande-Bretagne, entre colonialisme et communisme, laissant de côté les luttes, les espoirs, les rêves d’une société de 6 millions de personnes que l’Occident et la Chine continentale ont ignorée. L’espoir n’est cependant pas perdu, car depuis la rétrocession les nouvelles générations d’intellectuels ont entrepris de nombreuses recherches sur l’histoire politique, sociale, éducationnelle et culturelle de leur cité, recherches qui ont déjà donné de nombreux fruits et qui leur permet d’affirmer leur différence face à la Chine.

    Des recherches qui ont également nourri les jeunes générations de Hongkongais qui s’affirment aujourd’hui et qui se sont déjà par deux fois rebellées, cette fois contre leur propre gouvernement et celui de la Chine, pour les plus jeunes c’était en 2014 avec le mouvement des parapluies. Mais la plus grande révolte fut le 1er juillet 2003 jour anniversaire de la Rétrocession, des centaines de milliers de personnes – plus d’un demi-million, selon les organisateurs –, étaient descendus dans la rue, pour protester contre une loi antitrahison, subversion, sécession, contre le gouvernement central de Pékin.

    Les Hongkongais, après un siècle et demi de domination britannique, avaient enfin leur propre gouvernement, leur propre assemblée législative. Seulement, ils avaient aussi un chef de l’exécutif qu’ils n’avaient pas choisi, élu par un collège électoral restreint de notables choisis par la Chine et une assemblée législative dont une minorité seulement est élue au suffrage universel. Mais ils avaient cependant cru que le gouvernement travaillerait pour eux. Et c’était la grande désillusion. La mariée ruait dans les brancards.

    Hong Kong n’avait pas connu de telles manifestations depuis le 4 juin 1989, date de la manifestation de protestation contre le massacre de Tiananmen.

    Cette loi dénommée – article 23 – menaçait la liberté d’expression des Hongkongais. Tout groupe politique ou religieux banni en Chine pourrait l’être également sur le territoire hongkongais.

    Si les Hongkongais montraient leur colère, c’est que leur gouvernement avait décidé de faire voter la loi le 1er juillet, après une consultation express du public, consultation dont il n’a pas tenu compte. Car si la miniconstitution prévoyait cette loi, elle prévoit aussi la possibilité d’un Parlement et d’un chef de l’exécutif élu au suffrage universel, et sur ce point le gouvernement n’était point si pressé d’agir, il avait même politiquement jeté cette provision aux oubliettes.

    Depuis des mois, il se moquait des souhaits profonds des Hongkongais qui désiraient une société sûre, où la liberté d’expression demeure, allant jusqu’à prétendre que ces aspirations et ce mécontentement n’étaient le fait que d’une petite minorité.

    Le gouvernement reçut ce jour-là une véritable gifle, car ce n’étaient pas seulement les partis démocrates, les associations de journalistes, de juristes ou de défense des droits de l’homme qui étaient descendus dans la rue. C »étaient les gens modestes, les familles avec leurs enfants, les vieillards et les jeunes, dans une ambiance chaleureuse de solidarité et d’entraide. C’étaient aussi les protestants, les catholiques, les bouddhistes, toutes les églises qui savent que la liberté d’expression religieuse n’existe toujours pas en Chine, et qui ne tiennent pas à ce que la loi chinoise s’applique à Hong Kong.

    Une leçon que ni le gouvernement de Carrie Lam ni la Chine ne semblent pas avoir entendue. On comprend donc la colère qui habite les Hongkongais.

    https://blog.courrierinternational.com/entre-montagnes-et-mers/2019/11/21/lidentite-hongkongaise-daujourdhui-est-nee-dans-les-anne
    #identité #Hong-Kong #histoire #colonialisme #résistance #colonisation #révolution_culturelle #Chine #maoïsme #citoyenneté #fierté #consumérisme #occidentalisation #culture_hybride #hybridation #mode #design

    #géographie_culturelle

  • Totems et Tabous

    Un imposant palais, le Musée Royal de l’Afrique Centrale à Bruxelles. Rénové, il devient aujourd’hui l’Africa Museum ! Une voix venue d’Afrique hante les lieux... Elle nous raconte les origines coloniales de ce musée. Aujourd’hui, c’est le temps de l’ouverture à la restitution de cet héritage. Une restitution vers des Musées en République démocratique du Congo, au Sénégal,... C’est le temps de la réconciliation avec le passé...

    http://www.film-documentaire.fr/4DACTION/w_fiche_film/55083_1
    #film #film_documentaire
    #Belgique #Musée_Royal_de_l'Afrique_centrale #Congo_Kinshasa #musée #Léopold_II #stéréotypes #colonisation #appropriation #colonialisme #restitution #histoire_coloniale #mémoire #imaginaire #peur #spoliation #objet #décolonisation #sauvagerie #exposition_universelle (1897) #zoo_humain #travail_forcé #Congo_belge #symbole #nationalisme #récit_national #clichés #domination #masque #culture #identité_culturelle #Zaïre #Mobutu

    #géographie_culturelle

    ping @karine4 @cede

  • Toutes les couleurs de la Terre - Ces liens qui peuvent sauver le monde

    Et si tout n’était qu’une question de liens ? C’est l’hypothèse de laquelle sont partis #Damien_Deville et #Pierre_Spielewoy pour élaborer le cheminement théorique et politique de l’#écologie_relationnelle. Fils de la fin du XXe siècle, les auteurs font partie de cette génération qui a vécu à la fois la diversité du monde et sa #destruction précipitée. S’ils formulent une puissante critique de l’#uniformisation des territoires et des #paysages actuellement à l’œuvre, c’est pour mieux dynamiter les barrières qui nous empêchent de penser pour et par la #diversité, et nous inciter à redécouvrir la #complexité du vivant, des individus et des cultures, ferment d’une société empreinte de #justice et riche de #rencontres. En renouvelant notre façon d’#habiter_la_Terre et en définissant avec justesse la place de l’humanité dans la grande fresque du vivant, l’écologie relationnelle devient une ode à la #pluralité et à la #solidarité. Elle est le point de départ d’un projet politique qui porte avec fierté des #métissages_territoriaux par-delà les individus et par-delà l’Occident.


    https://www.lisez.com/livre-grand-format/toutes-les-couleurs-de-la-terre-ces-liens-qui-peuvent-sauver-le-monde/9791030103038
    #livre #liens #relations #écologie #géographie_culturelle

    #faire_monde

    ping @karine4 @cede

  • Farine de teff : main-basse sur une tradition africaine

    Pendant plus de quinze ans, une société néerlandaise a fait prospérer un brevet qu’elle avait déposé en Europe sur la farine de teff, une céréale servant d’aliment de base en Éthiopie et en Érythrée depuis des siècles, en dépit des protestations de nombre d’ONG qui considèrent cette pratique comme un vol des cultures traditionnelles, notamment africaines. Enquête.

    C’est une crêpe épaisse couleur sable, sur laquelle les cuisinières dispersent les purées, les viandes mijotées, les ragoûts. Des lambeaux déchirés avec la pince des doigts servent à porter le repas à la bouche. Depuis des siècles, c’est ainsi que l’on mange en Éthiopie et en Érythrée : sur une injera, une grande galette spongieuse et acidulée fabriquée à base de teff, une graine minuscule aux propriétés nutritives exceptionnelles, riche en protéines et sans gluten. Depuis trois mille ans, on la récolte en épi dans des brassées de fines et hautes herbes vertes sur les hauts-plateaux abyssins.

    Mais une cargaison de teff expédiée en 2003 aux Pays-Bas a aussi fait la fortune d’une petite société privée néerlandaise. Dirigée par l’homme d’affaires Johannes « Hans » Turkensteen et le chercheur Jans Roosjen, cette structure baptisée à l’époque Soil & Crop Improvements (S&C) a en effet prospéré sur un brevet européen s’appropriant l’utilisation de cette « super céréale », alors que le marché du bio et des aliments sans gluten connaissait une expansion progressive.

    Un voyage d’affaires

    Tout avait commencé quelques mois plus tôt par un voyage de Hans Turkensteen à Addis-Abeba. Se prévalant du soutien de l’Université de sciences appliquées de Larenstein, l’homme d’affaires avait signé, en mars 2003, un mémorandum avec l’Organisation éthiopienne de la recherche agricole, l’EARO, accordant à sa société la livraison de 1 440 kg de graines de teff, prétendument destinées à l’expérimentation scientifique.

    « Turkensteen a fait croire à un accord mutuellement bénéfique pour toutes les parties : un meilleur rendement du teff pour les agriculteurs éthiopiens et un programme de lutte contre la pauvreté pour l’université, raconte le journaliste éthiopien Zecharias Zelalem, qui a mené sur le sujet une grande enquête pour le quotidien éthiopien Addis Standard. Il a même utilisé le prétexte de la grande famine de 1984 pour convaincre les signataires, affirmant que si les paysans éthiopiens avaient eu un meilleur teff à l’époque, le désastre n’aurait pas eu lieu. »

    Or, parallèlement, S&C a déposé auprès de l’agence néerlandaise des brevets une demande de protection des « méthodes de transformation » du teff ; un brevet finalement accordé le 25 janvier 2005, contraignant tous ceux qui souhaiteraient produire de la farine de teff ou des produits issus de la graine éthiopienne à obtenir une licence auprès d’eux, contre le paiement de royalties. Au bas du document figurait cette mention pour le moins étonnante pour une farine utilisée depuis des millénaires : « Inventeur : Jans Roosjen ».

    « Étonnement, les autorités éthiopiennes n’ont pas admis - ou n’ont pas voulu admettre - la supercherie, se désole Zecharias Zelalem. Même après que l’Université de Larenstein a exprimé des doutes et commandé un rapport d’enquête sur l’accord et même après que les Néerlandais ont reçu un "Captain Hook Award" [une récompense infamante baptisée d’après le pirate de dessin animé Capitaine Crochet et décernée chaque année par une coalition d’ONG, la Coalition contre la biopiratie, ndlr] en 2004, pour leur exploit en matière de biopiraterie. »

    Sans autres entraves que les protestations et la mauvaise publicité, les deux associés ont donc continué leur moisson de brevets. Les années suivantes, ils ont d’abord obtenu une licence auprès de l’Office européen des brevets, lui ouvrant le droit de faire des demandes auprès des agences de protection de la propriété intellectuelle d’Allemagne, d’Australie, d’Italie et du Royaume-Uni.

    « Les plus étonnant, explique l’avocat allemand Anton Horn, spécialiste de la propriété intellectuelle, est que le bureau européen des brevets leur aient accordé un brevet exactement tel qu’ils l’avaient demandé. C’est très rare. D’habitude, on fait une demande plutôt large au départ, afin que le périmètre puisse être réduit pendant son examen par le bureau des brevets. Là, non. Il a été accepté tel quel, alors que, pour ma part, il m’a suffi de trente minutes pour comprendre que quelque chose clochait dans ce brevet. » Du reste, ajoute-t-il, celui-ci a été refusé par les agences des États-Unis et du Japon.

    Treize années de bénéfices

    Pourtant, pendant les treize années suivantes, personne n’est venu s’opposer à ce que Zecharias Zelalem considère comme « un pillage des traditions éthiopiennes et un pur et simple vol des paysans éthiopiens ». C’est la curiosité de la presse éthiopienne qui a commencé à perturber des affaires alors florissantes.

    Toutefois, de faillites opportunes en changements de noms, la compagnie néerlandaise, rebaptisée entre-temps ProGrain International, a tout fait pour conserver les droits acquis par son tour de passe-passe juridique. Elle a continué à développer son activité, au point que Turkensteen a pu, par exemple, célébrer en grande pompe, en 2010, la production de sa millième tonne de farine de teff dans ses usines d’Espagne, de Roumanie et des Pays-Bas. À raison de 100 euros le kilo, selon le compte effectué en 2012 par l’hebdomadaire éthiopien Addis Fortune, son bénéfice a été considérable, alors que l’Éthiopie n’a touché, en tout en pour tout, qu’environ 4 000 euros de dividendes, selon l’enquête du journaliste Zecharias Zelalem.

    Mais l’aventure a fini par atteindre ses limites. Un jour de 2017, saisi par un ami éthiopien devenu directeur du Bureau éthiopien de la propriété intellectuelle, l’avocat Anton Horn a d’abord suggéré aux associés néerlandais de ProGrain International, par courrier, d’abandonner, au moins en Allemagne, leurs droits sur la farine de teff. Mais le duo néerlandais n’a pas répondu. Puis une société ayant acheté une licence à la société de Turkensteen et Roosjen a attaqué le brevet néerlandais devant un tribunal de La Haye, refusant dorénavant de lui payer des royalties. Pari gagné : le 7 décembre 2018, la justice lui a donné raison et « annulé » le brevet, estimant qu’il n’était ni « innovant » ni « inventif », tandis que, simultanément, sur ses propres deniers, Anton Horn a contesté le brevet en Allemagne devant les tribunaux et obtenu, là aussi, son annulation. Deux coups portés au cœur de la machine industrielle des Néerlandais, après quinze ans sans anicroche.

    Abandon progressif

    Sollicités par RFI, ni la société détentrice des brevets restants ni Hans Turkensteen n’ont souhaité donné leur version de l’histoire. Mais le duo néerlandais semble avoir abandonné la partie et renoncé à ses droits. Annulé aux Pays-Bas et en Allemagne, le brevet reste cependant valide aujourd’hui dans plusieurs pays européens. « Mais depuis août 2019, le non-paiement des frais de renouvellement du brevet devrait conduire logiquement, durant l’été 2020, à l’annulation de celui-ci dans tous les pays de l’espace européen », espère Anton Horn.

    Cette appropriation commerciale d’une tradition africaine par une société occidentale n’est pas un cas unique. En 1997, la société américaine RiceTec avait obtenu un brevet sur le riz basmati, interdisant de fait la vente aux États-Unis de riz basmati cultivé dans ses pays d’origine, l’Inde et le Pakistan. « En 2007, la société pharmaceutique allemande Schwabe Pharmaceuticals obtenait un brevet sur les vertus thérapeutiques de la fleur dite pélargonium du Cap, originaire d’Afrique du Sud et connue pour ses propriétés antimicrobiennes et expectorantes, ajoute François Meienberg, de l’ONG suisse ProSpecieRara, qui milite pour la protection de la diversité génétique et culturelle. Brevet finalement annulé en 2010 après une bataille judiciaire. Et c’est aujourd’hui le rooibos (un thé rouge, ndlr), lui aussi sud-africain, qui fait l’objet d’une bataille similaire. »

    Des négociations internationales ont bien été engagées pour tenter de définir un cadre normatif qui enrayerait la multiplication des scandales de vol de traditions ancestrales par des prédateurs industriels. Mais elles n’ont pour l’instant débouché sur rien de significatif. Le problème est que, d’une part, « tous les pays ne protègent pas les traditions autochtones de la même manière, explique François Meierberg. Les pays scandinaves ou la Bolivie, par exemple, prennent cette question au sérieux, mais ce sont des exemples rares. » L’autre problème est que nombre d’États industrialisés refusent d’attenter à la sainte loi de la « liberté du commerce ». Au prix, du coup, de la spoliation des plus démunis.

    http://www.rfi.fr/fr/afrique/20200212-farine-teff-main-basse-une-tradition-africaine
    #teff #farine #alimentation #céréale #céréales #agriculture #Afrique #tef #injera #Pays-Bas #brevet #industrie_agro-alimentaire #mondialisation #dynamiques_des_suds #ressources_pédagogiques #prédation #géographie_culturelle #culture #Hans_Turkensteen #Turkensteen #Jans_Roosjen #Soil_&_Crop_Improvements (#S&C) #brevet #propriété_intellectuelle #gluten #bio #EARO #licence #loyalties #Université_de_Larenstein #Captain_Hook_Award #biopiraterie #pillage #vol #ProGrain_International #justice #innovation #appropriation_commerciale #RiceTec #riz #riz_basmati #basmati #Inde #Pakistan #Schwabe_Pharmaceuticals #industrie_pharamceutique #big_pharma #multinationales #mondialisation #globalisation

    L’injera, plat cuisiné dans la #Corne_de_l'Afrique, notamment #Erythrée #Ethiopie :


    https://fr.wikipedia.org/wiki/Injera

    ping @reka @odilon @karine4 @fil @albertocampiphoto

  • #Bruno_Le_Maire, Ministre de l’Economie et de la finance, a prononcé ces mots le 2 décembre 2019 à la Journée de la filière automobile :

    « J’aime la voiture, j’adore la voiture. J’aime conduire, j’adore conduire. Je ne fais pas partie de tous ceux qui réclament la fin de la voiture, la disparition de la voiture. La voiture, c’est la liberté. Et tous ceux qui condamnent si facilement la voiture devraient se souvenir de ce qu’était l’Union Soviétique il y a quelques années. J’y suis allé. Et ce qui m’avait le plus frappé dans ce voyage dans les années 1980 dans l’Union soviétique, c’est qu’il n’y avait pas de voiture, parce qu’il n’y avait pas de liberté. La voiture c’est la liberté. La liberté de se déplacer, la liberté de circuler, la liberté de transporter sa famille, la liberté de voyager. C’est une liberté extraordinaire. Et cette liberté-là, j’y tiens à ce qu’elle soit garantie dans l’avenir, dans le respect évidemment de notre planète, dans le respect de l’environnement, mais n’oublions pas tout ce que la voiture apporte à notre société. Et puis la voiture c’est la France, la voiture c’est une puissance économique considérable, c’est des centaines de milliers d’emplois partout sur le territoire. (...) Je pourrais citer des dizaines et des dizaines de sites automobiles qui font la vitalité de notre territoire. C’est une puissance économique considérable. Et il n’est pas question de laisser tomber une puissance économique aussi importante. C’est un vecteur de recherche technologique exceptionnel. Et c’est enfin notre culture. Et je reviens sans cesse, toujours, en permanence à notre culture, parce que c’est ce qui guide le mieux les choix économiques. L’industrie automobile appartient à la culture française. »

    https://twitter.com/EmmanuelSPV/status/1201566207335374848/video/1
    #automobile #industrie_automobile #culture #France #culture_française #économie
    #géographie_culturelle

  • UAE Issues Stamp Depicting Jerusalem as Palestinian Capital
    November 20, 2019 7:35 PM – IMEMC News
    https://imemc.org/article/uae-issues-stamp-depicting-jerusalem-as-capital-of-palestine

    Emirates Post issued a commemorative stamp in support of Palestine featuring the Dome of the Rock, and stresses that Jerusalem al-Quds is the capital of Palestine.

    The stamp features the Dome of the Rock, located at Al-Aqsa Mosque compound, the third holiest site in Islam, along with the flag of Palestine. A white dove symbolizing peace also appears.

    According to Emirates Post, the “Al Quds – capital of Palestine” stamp aims to uphold the cultural importance the city holds in the eyes of Arabs.

    “Such initiatives are proof that all Arab countries continue to stand by Palestine and support Al Quds’ cause, as well as a confirmation of the existing national ties and the special status Al Quds holds as an Arabic city and an important religious landmark,” said Obaid al-Qatami, acting chief commercial officer of Emirates Post Group.

    #Jerusalem #AlQods

  • #Propaganda (9/10). Korean Pop

    Vous faîtes partie des milliards de personnes ayant dansé sur #Gangnam_Style ? Dans le neuvième épisode de #Propaganda, on verra pourquoi produire de la musique pop et raconter des #histoires_d'amour permet de donner une image positive à un pays. C’est la technique du #NATION_BRANDING.


    https://www.arte.tv/fr/videos/075937-009-A/propaganda-9-10
    #pop #musique #nationalisme #géographie_culturelle #musique_et_politique #imaginaire_national #Corée_du_sud #vidéo #soft_power #image #ressources_pédagogiques

    ping @sinehebdo

  • Sammy Baloji – interview: ‘I’m not interested in colonialism as a thing of the past, but in the continuation of that system’
    https://www.studiointernational.com/index.php/sammy-baloji-im-not-interested-in-colonialism-as-a-thing-of-the

    Sammy Baloji – interview: ‘I’m not interested in colonialism as a thing of the past, but in the continuation of that system’
    The Brussels-based Congolese artist talks about the past and present of colonialism and mineral extraction in the context of his recent exhibition at Salzburg’s Stadtgalerie Museumspavillon, Salzburg Summer Academy

    #colonialisme

    • #néo-colonialisme #continuum #extractivisme #Sammy_Baloji #art #exposition

      –------

      #Extractive_Landscapes

      How is history reflected in landscape? How does an object give evidence of its own transformations, and how do these become visible? Sammy Baloji’s exhibition in Salzburg enquires how history is inscribed in artefacts and landscapes. The exhibition shows traces left by mining in the province of #Katanga, rich in raw materials, in the Democratic Republic of #Congo. Starting from the exploitation of natural resources in this region, Baloji examines processes of abstraction and transformation. Geological maps become abstract compositions when separated from their legends. The habit of a mineral is no longer recognisable in its geometric form. Photographs of rugged landscapes give only an indirect suggestion of human bodies that have laboured there. Even copper shell casings can be unresistingly turned to decorative account as flower vases.

      Thus the historical living conditions and work processes in the mining region are rendered invisible. The power exerted by global value-chains, operative here, is lost in perfectly alluring images and objects that negate their origin. The traces of mining in Salzburg are still clearly evident in the landscape and in the wealth of the town – though quite differently from those left in Katanga. Without suggesting direct parallels, the exhibition invites the viewer to take a close look at landscapes, and asks how images and objects operate as bearers of testimony.


      https://www.summeracademy.at/en/kurse/an-exhibition-by-sammy-baloji
      #paysage_extractif #RDC #géographie_culturelle #mines #travail #in/visibilisation #visibilité #invisibilité #pouvoir

      ping @albertocampiphoto

    • What I found particularly interesting in this article is how Salmmy Baloji made art about copper mining in Katanga relevant for a city like Salzburg, thereby drawing connections between, what many believe to be, incomparable cities.

  • « Ohh j’adore les asiatiques ! » | Une boîte à outils pour démonter les clichés et le #racisme anti-asiatiques - Tram-Anh
    http://tram-anh.com/2019/06/09/boite-a-outils-cliches-racisme-anti-asiatiques

    Voilà un article sur lequel je travaille depuis un moment. Cela fait longtemps que je voulais réaliser quelque chose sur le sujet, sans toutefois savoir comment l’aborder. C’est réellement LE sujet qui me tient à coeur, qui peut me faire réagir au quart de tour, et donc je ne savais pas forcément comment l’aborder pour expliquer mes idées clairement.

    C’est quelques remarques entendues au cours de mon existence qui m’ont poussée à choisir ce format : une sorte de boîte à outils, des ressources simples à comprendre (j’ai choisi de ne pas y mettre d’article académique), qui expliquent ce que je pense, mieux que je pourrais le faire moi-même.

  • Il 20 luglio del 2001 ci lasciava #Indro_Montanelli. Nel 1969, la scrittrice #Elvira_Banotti, non lasciava invece che Montanelli dimenticasse quello che aveva fatto a una bambina di 12 anni.

    Il 20 luglio del 2001 ci lasciava Indro Montanelli. Nel 1969, la scrittrice Elvira Banotti, non lasciava invece che Montanelli dimenticasse quello che aveva fatto a una bambina di 12 anni, comprata “legalmente” e che non poteva essere paragonata a una bambina europea.

    https://www.facebook.com/thevisioncom/videos/2045296802219095/?__xts__[0]=68.ARDiZ8HwHiIy8aqhbsZ-O1hVy6-Iya_zcUJ2WKN3_7uAJLGCl5vNMToC7zk

    #géographie_culturelle #mariage_forcée #viols #Italie #Abyssinie #colonialisme #colonisation #relativisme_culturel #armée #femmes #enfants #enfance

    ping @albertocampiphoto @wizo

  • A drinkable history of colonialism in North Africa, vol 2:

    LEMONADE ?? You are probably familiar with the delicious orange sparkling soda #Orangina. What you may not know is that it was invented in Algeria, in a dramatic TALE OF TWO SODAS.
    Colonial Algeria was a great producer of citrus ? so much so that a Catholic monk near Oran, frère Clément ended up giving his name to the clementine (which he supposedly ’discovered’)
    n the worldwide recession of the 1930s, Algeria had a crapload of oranges and nowhere to sell them to. So a man from Boufarik, Léon Béton, decided to use these excess oranges to make a refreshing sparkling drink: voilà, Orangina was invented in 1935... OR WAS IT?
    WHO ?? INVENTED ??ORANGINA??? Orangina was at the centre of a bitter controversy (geddit? Bitter fruit?) A Spanish doctor from Valencia, Trigo Miralles, claimed to have developed the recipe first - but follow me to an even shadier conspiracé
    This is the national drink of Algeria: #Selecto, a sweet soda made by the #Hamoud_Boualem company

    As you can see from their logo, the Boualem family has been in the soda business for a long time - IN FACT, they won a prize for their original lemonade (gazouz blanche pour les amateurs) all the way back in 1889 at the Paris World Fair
    The Boualems are a rare case of Algerian entrepreneurial success that made it through the entire colonial period with their delicious lemonades, while winning prizes and keeping ownership in the same family until this day
    o this day some claim that other lemonade companies including Beton’s Orangina stole recipes and techniques from the industrious Boualems
    So, pied-noir Orangina (now produced near Marseille) or Algerian Hamoud Boualem? Next time you sip, drink up the history

    https://twitter.com/ArthurAsseraf/status/1081849364342104064
    #limonade #alimentation #colonialisme #histoire #citronnade #géographie_culturelle #colonisation #Algérie

  • « ديزني » تعرض الملصق الدعائي لفيلم « علاء الدين » | القدس العربي
    https://www.alquds.co.uk/%D8%AF%D9%8A%D8%B2%D9%86%D9%8A-%D8%AA%D8%B9%D8%B1%D8%B6-%D8%A7%D9%84%D9%85

    Une vision de "l’Arabe" tout aussi kitch que celle des fous furieux de Daech : l’affiche de la prochaine production des studios Disney.

    #clichés_arabes

  • The Mediterranean crush

    http://www.synaps.network/the-mediterranean-crush

    Du grand Harling.

    The Mediterranean was born in a massive collision between North and South, when the African, Arab and Eurasian plates ground into each other—a process started millions of years ago and ongoing today. Mountains rose, volcanoes erupted, and a depression was formed, which was fated to become a crucible of civilizations. Contemporary Europeans, if they had it their way, would reverse this tectonic encounter, push back incoming continents, and turn the sea our world once revolved around into an ocean.

    #méditerranée
    A space intimately associated with much of what we Europeans cherish culturally—from the foundations of philosophy to the better sides of religion, through to the renaissance and its ensuing humanism—is now increasingly associated with terrorism and unwelcome migration. The estrangement between the two sides of the Mediterranean is catalyzing a wishful, paranoid and self-destructive retreat: as Europe’s heterogeneous societies play up the fear of the Other, they sow mistrust among and within themselves. The more Europe locks down in response to the fragmentation of the Arab world, the more it seems to break apart along its own myriad fault-lines.

  • Des singes en hiver, partie 2
    http://www.radiopanik.org/emissions/emissions-speciales/des-singes-en-hiver

    Vers le XIXème siècle le colonialisme s’approprie massivement les terres du monde entier. Une étrange image accompagne cette démarche : l’idée que ces terres sont un #désert, et que seules les techniques et l’économie occidentale peuvent faire fleurir le désert. En Argentine le massacre des indiens et le vol de leur terres s’appelle officiellement la conquête du désert. Mais on retrouve cette image aux Etats-Unis, en Algérie, en Palestine…

    Ce n’est pas un manque d’information, les colons savent très bien qu’il y a des gens, des animaux, des plantes, des minéraux précieux, de l’eau… dans ces déserts. Mais « désert » est une manière d’envisager le rapport à la terre.

    Parallèlement, lors de ces conquêtes, et c’est aussi une nouveauté de l’humanisme du XIXème siècle (les Espagnols ou les Portugais ne s’étaient pas (...)

    #racisme #décolonisation #racisme,décolonisation,désert
    http://www.radiopanik.org/media/sounds/emissions-speciales/des-singes-en-hiver_05714__1.mp3

  • The Everyday Consumption of “#Whiteness”: The #Gaikokujin-fū (Foreign-Like) Hair Trend in Japan

    In feminist literature, the beauty and the fashion industries have at times been criticized for being one of the means through which women are objectified.1 Likewise, Critical Race Studies have often pinpointed how the existence of a global beauty industry has the effect of propagating Eurocentric beauty ideals.2 Throughout this article I aim to explore the complicated ways in which beauty and racialized categories intersect in Japan through an analysis of the female-targeted hair trend of the gaikokujin-fū (foreigner-like) hair.

    Essentialism is what prompts us to divide the world into two, “us” versus “them,” negating all that is in between the two categories or even changes within the categories themselves. Although this binary thinking has been subject to criticism by various disciplines, such as Critical Race Studies and Postcolonial Studies, it is still among the dominant ways in which human relations are performed in Japanese society. The essentialistic opposing duality between Foreignness and Japaneseness has been constructed in post-war Japan through widespread discourses known by the name nihonjinron (lit. the theories on the Japanese).3 Even though it could be understood as a powerful reply to American racism towards the Japanese, nihonjinron only confirms stereotypes by reversing their value, from negative to positive. Moreover, these theories have had the effect of emphasizing Japanese racial and cultural purity through the alienation and exoticization of the other, most often represented by the white “Westerner”4 (obeijin, seiyōjin, hakujin).

    The ambivalent exoticism that surrounds the foreigner (gaikokujin) has made it possible for racialised categories and consumerism to intersect in the archipelago. The beauty industry is particularly susceptible to the segmentation between “self” and “other,” and the global white hegemony has a certain influence over it. However, as Miller rightly observes, dominant beauty standards in Japan are equally influenced by local values of “Japaneseness.”5 Torigoe goes even farther: in her essay, she positions whiteness as a power relation and through her analysis she demonstrates how white women are constructed as Others in Japanese media representations, thus creating “a racial ladder that places Japanese people on top.”6 The link between whiteness and widespread beauty practices has been criticized also in studies of the neighbouring country of Korea, with scholars arguing that cosmetic surgeries in the country are successful only if they enhance the body’s natural “Koreanness.”7

    My aim in this paper is to tackle the capitalistic commercialization and fetishization of whiteness in contemporary Japan. As it will become clear throughout the analysis, the Japanese beauty industry is creating a particular image of whiteness that is suitable to the consumers’ needs and desires: this toned-down, less threating way of becoming “foreigner-like” is marketed as an accessory that far from overriding one’s natural features, is instrumental in accentuating and valorizing them. Investigating the peculiar position of this beauty trend, which has been affected by the influence of the two contrasting hegemonic discourses of white supremacy and the purity/superiority of the Japanese race, might be helpful in shedding some light on the increasingly complicated ways the concept of race is being constructed in a setting that has been often considered “other” to the Eurocentric gaze.

    Whiteness and the Global Beauty Industry

    Beauty is an important practice in our daily life, and as such it has been at the center of animated discussions about its social function. Seen as one of the practices through which gender is performed, it has been put into scrutiny by feminist literature. The approach used to analyze beauty has been dualistic. On the one hand, the beauty and fashion industries have been criticized for being among the reasons of women’s subordination, depriving them financially8 and imposing on them male normative standards of beauty.9 On the other, it has been cited as one of the ways in which female consumers could express their individuality in an oppressive world.10

    The increasingly globalized beauty and fashion industries have also been subjects of criticism from the viewpoint of Critical Race Studies. It is not uncommon to hear that these industries are guilty of spreading Eurocentric tastes, thus privileging pale-skinned, thin women with light hair.11 The massive sale of skin-whitening creams in Asia and Africa as well as the creation of new beauty standards that privilege thinness over traditionally preferred plump forms are often cited to defend this argument. At the same time, there have been instances in which this denouncing of Eurocentrism itself has been charged guilty of the same evil. Practices such as plastic surgery in South Korea and Japanese preference for white skin have been often criticized as being born out of the desire to be “Western”: these analyses have been contested as simplistic and ignoring the cultural significance of local standards of beauty in shaping beauty ideals.12

    Answers to these diatribes have not been yet found.13 It is nonetheless clear that beauty practices articulate a series of complex understandings about gender and race, often oscillating between particularisms and universalisms. Throughout this article I would like to contribute to this ongoing discussion analyzing how pre-existing notions of race and gender intersect and are re-shaped in a newly emerging trend aptly called gaikokujin-fū (foreigner-like) hair.

    Us/Others in Japan: The Essentialization of the Foreign
    Japan and the tan’itsu minzoku

    It is not uncommon to hear that Japan is one of the most ethnically homogenous countries in the world. In Japanese, the locution tan’itsu minzoku (single/unique ethnic group, people, nation), was often used as a slogan when comparing the archipelago with significantly multi-ethnic countries such as the USA.14 The notion of Japan as a mono-ethnic country is being starkly criticized in recent years:15 minorities such as the zainichi Koreans and Chinese who have been living in the country since the end of the second world war, the conspicuous populations of foreign immigrants from Asia and Latin America, as well as mixed-race people, who were thought of as a social problem until these last ten years,16 have been making their voices heard. In the following paragraphs, I will trace how the idea of a racially homogeneous Japan was constructed.

    The word minzoku (ethnic group, people, nation) first appeared in the Japanese language in the Taishō Period (1912-1926), as an alternative to the term jinshū (race).17 The concept of race did not exist prior to the Meiji period (1868-1912), when it was introduced by scholars as one of the ideas from the “West” that would have helped Japan become a modernized nation.18 It could be argued that while the opening up of Japan after the sakoku period was not the first time that the Japanese government had to interact with people of different racial features,19 it was the first time that the idea of racial hierarchies were introduced to the country. Japanese scholars recognized themselves to be part of the ōshoku jinshū (“yellow race”), hierarchically subordinate to the “white race.”20 With rising nationalism and the beginning of the colonization project during the Taishō period, the need arose for a concept that could further differentiate the Japanese people from the neighboring Asian countries such as the newly annexed Taiwan and Korea:21 the newly created minzoku fit this purpose well. Scholar Kawai Yuko compared the term to the German concept of Volk, which indicates a group whose identity is defined by shared language and culture. These traits are racialized, as they are defined as being “biological,” a natural component of the member of the ethnic group who acquires them at birth.22 It was the attribution of these intrinsic qualities that allowed the members of the naichi (mainland Japan) to be assigned in a superior position to the gaichi (colonies). Interestingly, the nationalistic discourse of the pre-war and of the war period had the double intent of both establishing Japanese supremacy and legitimizing its role as a “guide” for the colonies grounding it in their racial affinities: unlike the conquerors from Europe, the Japanese were of similar breed.

    These hierarchies were ultimately dissociated from the term minzoku after the end of the Second World War, when it was appropriated by Leftist discourse. Opposing it to ta-minzoku (multiethnic nation or people)23

    that at the time implied divisions and inequalities and was perceived as a characteristic of the Japanese Empire, Left-leaning intellectuals advocated a tan’itsu minzoku nation based on equality. The Leftist discourse emphasized the need of the “Japanese minzoku” to stand up to the American occupation, but the term gradually lost its critical nuance when Japan reached economic prosperity and tan’itsu minzoku came to mean racial homogeneity as a unique characteristic of Japanese society, advocated by the Right.24

    Self-Orientalism

    The term minzoku might have “lost his Volk-ish qualities,”25 but homogeneity in Japan is also perceived to be of a cultural nature. Sociologists Mouer and Sugimoto26 lament that many Japanese people believe to be the carriers of an “unique” and essentialized cultural heritage, that renders them completely alien to foreigners. According to the two scholars, the distinctive qualities that have been usually (self-)ascribed to Japanese people are the following: a weak individuality, the tendency to act in groups, and the tendency to privilege harmony in social situations.27 Essentialized “Japaneseness” is a mixture of these psychological traits with the products of Japanese history and culture. The perception that Japaneseness is ever unchanging and a cultural given of each Japanese individual was further increased by the popularity of the nihonjinron discourse editorial genre, which gained mass-media prominence in the archipelago after the 1970s along with Japan’s economic growth.28 Drawing on Said’s notion of Orientalism,29 Miller states that “in the case of Japan, we have to deal […] with the spectacle of a culture vigorously determined to orientalize itself.”30 According to Roy Miller, Japan has effectively constructed Japaneseness through a process of self-othering, which he refers to as self-Orientalism. The nihonjinron publications were very much influenced by cultural anthropologist Ruth Benedict’s highly influential “The Chrysanthemum and the Sword,” published in 1946. Benedict’s study of the “Japanese people” is based on the assumption that the USA and Japan are polar opposites where the former stands for modernity and individualism whereas the latter is characterized by tradition and groupism.31

    Japanese anthropologists and psychoanalysts, such as Nakane and Doi32 further contributed to the study of Japaneseness, never once challenging the polar opposition between the “Japanese” and the “Westernerners.”

    It would seem contradictory at first for a large number of people in Japan to have this tendency to think and consume their own culture through stereotypes. However, Iwabuchi draws attention to the fact that Japan’s self-Orientalism is not just a passive acceptance of “Western” values but is in fact used to assert the nation’s cultural superiority. It remains nonetheless profoundly complicit with Euro-American Orientalism insofar that it is an essentializing and reifying process: it erases all internal differences and external similarities.33 This essentialization that Japan is capitalizing on proves fundamental for the “West,” as it is the tool through which it maintains its cultural hegemony.

    Images of the Foreigner

    Images of the foreigner are not equal, and they form an important node in the (self-)Orientalistic relations that Japan entertains with the rest of the world. An essentialized view of both the Euro-American and Asian foreigner functions in different ways as a counterweight to the “we-Japanese” (ware ware Nihonjin) rhethoric.

    In the Japanese language, gaikokujin (foreigner) refers to every person who doesn’t have the same nationality as the country she/he lives in.34 The term gaikokujin does not have racial connotations and can be used to effectively describe anyone that is not a Japanese citizen. However, the racially-charged related term gaijin35 refers especially to the “white” foreigner.36 Written very similarly to gaikokujin, the word gaijin actually has a different origin and the double meaning of “foreigner” and “outsider.” The word carries strong implications of “othering,” and refers to the construction of the Europe and America as other to the young nation-state in the Meiji period, during which knowledge was routinely imported from the “West.”37 Thus, gaijin and the representation of foreigners-as-other came to reflect the dominant hierarchies of nineteenth-century “Western” knowledge.38

    Putting every white-skinned individual in the same category functions as a strategy to create the antithetical “West” that is so important as a marker of difference in self-Orientalism: it serves to create an “Other” that makes it possible to recognize the “Self.”39 At the same time, it perpetuates the perception of whiteness as the dominant position in America and Europe. In her analysis on the use of foreigner models in Japanese advertisements, Creighton notes that representation of gaijin positions them both as a source of innovation and style and as a potential moral threat.40

    This splitting is not uncommon when dealing with representations of the Other. What generates it is the fetishistic component that is always present in the stereotype.41 Bhabha argues that this characteristic allows the Other to be understood in a contradictory way as a source of both pleasure and anxiety for the Non-Other. Stuart Hall draws on Bhabha’s theories to state that the stereotype makes it so that this binary description can be the only way in which is possible to think of the Other–they generate essentialized identities.42 In the Japanese context, the gaijin, fulfilling his role as a racially visible minority,43 is thus inscribed in the double definition of source of disruption and person to admire (akogare no taishō).

    Whiteness in the Japanese Context

    Akogare (admiration, longing, desire) is a word that young women44 in Japan often use when talking about the “white, Western” foreigner. Kelsky explains that the word indicates the longing for something that is impossible to obtain and she maintains that “it is a rather precise gloss […] of the term “desire” in Lacanian usage. […] Desire arises from lack and finds expression in the fetish. The fetish substitutes the thing that is desired but impossible to obtain.”45 Fulfilment of this unattainable desire can be realized through activities such as participation in English conversation classes and engaging in conversation with “Western” people.46 The consumption of “Western” images and representations as well as everyday practices associated with the Euro-American foreigner could also be considered a fetish that substitutes the unattainable object of desire. In this sense, the gaikokujin-fū hairstyle trend might be for the producers one such way of catering to young Japanese women’s akogare for the “Western” world.

    Gaikokujin-fū is inextricably connected to gaijin, “white” foreigners. For instance, the Hair Encyclopedia section of the website Hotpepper Beauty reports two entries with the keyword gaikokujin-fū: gaikokujin-fū karā (foreigner-like color) and gaikokujin-fū asshu (foreigner-like ash). The “color” entry states the following:

    Gaikokujin-fū karā means, as the name suggests, a dye that colors the hair in a tint similar to that of foreigners. The word “foreigner” here mostly stands for people with white skin and blond hair that are usually called “American” and “European.”47

    Similarly, the “ash” entry explains the following:

    The coloring that aims for the kind of blond hair with little red pigments that is often found among Americans is called gaikokujin-fū asshu.

    Asshu means “grey” and its characteristic is to give a slightly dull (dark?) impression. It fits well with many hairstyles ranging from short cuts to long hair, and it can be done in a way to make you look like a “western” hāfu (mixed race individual).

    It is clear from these descriptions that the term gaikokujin-fū is racially charged. What hairdresser discourse is trying to reproduce is a kind of hair color associated with America and Europe’s Caucasian population. They are selling “whiteness.”

    Writing from the viewpoint of multicultural England, Dyer writes that the study of the representation of white people is important because “as long as white people are not racially seen and named, they/we function as a human norm.”49 White discourse is ubiquitous, and it is precisely this unmarked invisibility that makes it a position of dominance. The representation of people belonging to minority groups is inevitably marked or tied to their race or skin color, but Caucasians are often “just people.” At the base of white privilege there is this characteristic of universality that is implied in whiteness.

    The marked positioning of the white foreigner in Japanese society would seem an exception to this rule. Torigoe, while acknowledging that the Japanese media “saturated [her] with images of young white females as the standard of beauty,”50 analyzes in her article how white beauty actually embodies values such as overt sexual attractiveness that would be considered deviant or over the top by standard societal norms.51 Likewise, Russell points to the scrutiny that the bodies of the white female woman receive on Japanese mass media, dominated by a male gaze. White females become subject to the sexual curiosity of the Japanese male, and being accompanied by one of them often makes him look more sophisticated and competitive in a globalized world.52 As the most easily, less controversially portrayed Other through which Japanese self-identity is created, the white individual is often subject to stereotyping and essentialization. Russell notes this happening in both advertisement and the portrayal of white local celebrities, that assume even “whiter” characteristics in order to better market their persona in the Japanese television environment.

    However, it is my opinion that we must be careful to not be exceedingly uncritical of the marginality that Caucasians are subject to in Japanese society. I argue that whiteness is in an ambiguous position in the Japanese context: it would be wrong to say that in the archipelago white people do not benefit from the privileges that have accompanied their racialization up to the present times. The othering processes that whites are subject to is more often than not related to them being brought up and representing a different culture than to their racial difference.54 The word hakujin (lit. white person) is barely used in everyday conversation, whereas it is more common to hear the term kokujin (lit. black person): white people are not reduced to their racial characteristics in the same way as black people might be.55 Whiteness might not be the completely hegemonic in the Japanese context, but the country does not exist in a vacuum, and its standards have been influenced by the globally hegemonic white euro-centric values to some extent.

    To reiterate, white people in the Japanese archipelago experience the contradictory position of being a visible minority subject to reifying “othering” processes while at the same time reaping many of the benefits and privileges that are usually associated with the color of their skin. They are socially and politically located at the margins but are a hegemonic presence in the aesthetic consciousness as an ideal to which aspire to. In the following sections, I will expand on gaikokujin’s ambiguous location by looking at the ways in which whiteness is consumed through the gaikokujin-fū hairstyle trend.

    Producing Whiteness: Selling gaikokujin-fū Hair
    Creating the “New”

    In order to understand the meanings shaping the catchphrase gaikokujin-fū, I have used a mixture of different approaches. My research began by applying the methods of Visual Analysis56 to the latest online promotional material. I have tried to semiotically analyze the pictures on the websites in relation to the copywriting. In addition, I have complemented it with fieldwork, interviewing a total of seven hairdressers and four girls aged from 20 to 2457 in the period between April and June 2017. It was while doing fieldwork that I realized how important social networking is for the establishment of contemporary trends: this is frequently acknowledged also in the press by textually referencing hashtags.58 Instagram is a very important part of Japanese girls’ everyday life, and is used both as a tool for self-expression/self-promotion as well as a compass to navigate the ever-growing ocean of lifestyle trends. Japanese internet spaces had been previously analyzed as relatively closed spaces created and accessed by predominantly Japanese people, and this had implications on how online discourses about races were carried on.59 However, being a predominantly visual medium, Instagram also functions as a site where information can, to a large extent, overcome language barriers.

    The gaikokujin-fū hashtag counts 499,103 posts on Instagram, whereas 381,615 pictures have been tagged gaikokujin-fū karā.60 Most of them are published by professional whose aim is to publicize their work, and it is not uncommon to find pricing and information for booking in the description.

    Scrolling down the results of the Instagram search, it is easy to notice the high number of back and profile shots; what the hairdressers are trying to show through these pictures is their hairdressing skills. By cutting out the face they are putting the hair itself at the center of the viewer’s attention and eliminating any possibility of identification. The aim here is to sell “whiteness” as an object. The trendsetters are capitalizing on a term (gaikokujin-fū) that has already an appealing meaning outside the field of hair coloring, and that is usually associated with the wider desire or longing (akogare) for “Western” people, culture and lifestyle.

    To the non-initiated, the term gaikokujin-fū might indicate anything that is not “Japanese like” such as curly hair, or blonde hair. However, it became clear when speaking to my hairdresser informants that they only used the term referring to the ash-like coloring. Professionals in the field are reclaiming it to define a new, emerging niche of products that only started appearing a couple of years ago.61 In doing so, Japanese hairdressers are creating a new kind of “whiteness” that goes beyond the “Western” cultural conception of white as blonde and blue-eyed, in order to make it more acceptable to Japanese societal standards. In fact, fair hair is considered extremely unnatural.62 The advantage that ash brown hair has over blonde is the relatively darker shade that allows consumers to stand out without being completely out of place.63

    However, gaikokujin-fū hair comes at a cost. All of my informants told me during the interviews that the colors usually associated with this trend involve dyes have a blue or green base, and are very difficult to recreate on most people of the East Asia whose naturally black hair has a red base. The difficulty they experienced in reproducing the Ash (asshu) and Matt colors on Japanese hair constituted a fundamental charm point for hair technicians, and precisely because of this being able to produce a neat ash coloring might be considered synonymous with keeping on pace with the last technology in hair dying. The Wella “Illumina Color”64 series came out in September 2015, while Throw,65 a Japanese-produced series of hair dyes that eliminate the reddish undertones of Japanese black hair, went on sale very recently in June 2016.66 Another Japanese maker, Milbon, released its “Addichty Color”67 series as recently as February 2017. The globally dominant but locally peripheral whiteness has been “appropriated” and domesticated by Japanese hairdressers as a propeller of the latest trends, as a vital tool in creating the “new.”

    To summarize, the technological developments in hair dyes certainly gave a big push to the popularizing of the gaikokujin-fū hairstyle trend. Moreover, in a very chicken-and-egg-like fashion, the technological advancing itself was at the same time motivated by the admiration and desire towards Euro-American countries. However, this desire for “Westerness” does not entail adopting whiteness in its essentialized “purest” form,68 as that would have negative implications in the context of Japanese society. Rather, Japanese trendsetters have operated a selection and chosen the variant of whiteness that would be different enough to allow the creation of the “latest” while minimizing its more threatening aspects.
    Branding the “New”

    In the previous section I mentioned the fact that most of pictures posted on the social network Instagram serve to amplify and diffuse existing values for consumption, and constantly refer to a set of meanings that are generated elsewhere reifying them. Throughout this section I will examine the production of these values through the branding of the aforementioned hair dye brands: Wella’s “Illumina Color,” THROW, and Milbon’s “Addichty Color.”

    Wella’s “Illumina Color” offers an interesting case study as it is produced by an American multinational brand. Comparing the Japanese website with the international one, it is clear that we have before our eyes a prime example of “glocalization.”69 While on the international webpage70 the eye-catch is a picture of a white, blue-eyed blonde woman that sports an intricate braided hairstyle with some purplish accents in the braid, the Japanese71 version features a hāfu-like72 young woman with long, flowing straight dark brown hair. The description of the product also contains the suggestive sentence “even the hard and visible hair typical of the Japanese [can become] of a pale, soft color.” The keywords here are the terms hard (katai) and soft (yawaraka). Hardness is defined as being a characteristic typical of the Japanese hair texture (nihonjin tokuyū) and it is opposed to the desired effect, softness. The sentence implies by contrasting the two terms that softness is not a characteristic of Japanese hair, and the assumption could be taken further to understand that it is a quality typical of the “foreign.” Perhaps unsurprisingly, the international webpage contains no such reference and instead vaguely praises the hair dye’s ability to provide a light color. The visuals of the latter are consistent with Dyer’s definition of whiteness.

    Unlike Wella, Milbon and beauty experience are Japanese companies, and their products ORDEVE Addichty and THROW are only geared to the Japanese marketplace. Milbon’s ORDEVE Addichty dye series is the most recent of the two. The product’s promotional webpage is almost entirely composed of pictures: the top half features 14 moving pictures, two for each of the seven colours available. The pictures slide in a way that shows the customer all the four sides of the model’s bust up, and each one of the girls is holding a sign with the name of the product. To the center left, we see a GIF image with the name of the brand in the roman and Japanese alphabet, accompanied by the catchphrase hajimete mitsukaru, atarashii watashirashisa (“I found it for the first time, a new way of being myself”), that slides into another text-filled picture that explains the concepts behind the branding.

    Occidental-like (ōbeijin) voluminous hair with a shine (tsuya) never seen before. This incredible feeling of translucence (tōmeikan) that even shows on your Instagram [pictures], will receive a lot of likes from everybody. Let’s find the charm of a freer myself with Addichty color!

    The red-diminishing dyes are here associated with both physical and ideological characteristics identified as “Western,” like the “feeling of translucence” (tōmeikan)73 and “freedom” (jiyū). The word tōmeikan is a constant of technical descriptions of gaikokujin-fū and it is generally very difficult for the hairdressers to explain what does it mean. My hairdresser informant N. quickly explained to me that having translucent hair means to have a hair color that has a low red component. Informants H. and S., also hair professionals, further explained that translucency is a characteristic typical of hair that seems to be semi-transparent when hit by light. While in the English-speaking world it would certainly be unusual to positively describe somebody’s hair as translucent, tōmeikan is a positive adjective often used as a compliment in other different contexts and it indicates clarity and brightness. In fact, the Japanese Daijisen dictionary lists two definitions for translucent, the second of which reads “clear, without impurities.”74 It is perhaps in relation to this meaning that the melanin-filled black core of the Japanese hair is considered “heavy” (omoi) and strong. Reddish and lighter brown colors are also defined in the same way. What is more, even hair colors at the other end of the spectrum can be “muddy”(nigori no aru): blonde hair is also described as such.75 It is clear that while tōmeikan is a quality of “occidental hair,” it is not a characteristic of all the shades that are usually associated with whiteness.

    In the last sentence, “freedom” is linked to charm (miryoku) and the individual. These three concepts are also very often associated with the foreigner. The freedom of the gaijin is a freedom from social constraints and from the sameness that pervades dominant representations of Japaneseness.76 Individualism is further emphasized by the pronoun “myself,” which in the original Japanese is a possessive pronoun to the word “charm” (miryoku). As a word, miryoku has an openly sexual connotation, and because of this it might be linked to the concept of “foreignness.” As Torigoe found out in her analysis of Japanese advertisements, white women are often represented as a sexualized counterpart to the more innocent Japanese woman.77 Gaikokujin-fū hair offers customers the possibility to become closer to obtaining this sexiness, that distances the self from the monotone standards of society.

    Of the three, THROW is possibly the most interesting to analyze, mostly because of the huge quantity of content they released in order to strengthen the brand image. In addition to the incredibly detailed homepage, they are constantly releasing new media contents related to gaikokujin-fū coloring on their “THROW Journal.”78

    The “story” page of the website serves as an explanation of the brand identity. It is a vertically designed page heavy on images, possibly designed to be optimally visualized in mobile devices such as smartphones and tablets. The first image that the viewer encounters is that of a girl whose brown hair is flowing in the wind, which results in some strands covering the features of her pale-white face. This makes it hard to understand her nationality and makes it so that all the attention is focused on the light, airy qualities of the hair. As I said before, “lightness” (karusa) is associated to translucency and is one of the characteristics at the center of the marketing of gaikokujin-fū. This picture very clearly renders those sensations in a way that is very pleasant to the eye and indeed invites consumption.

    Under the picture we find a very short narration that complements it. In bigger characters, the words dare de mo nai, watashi ni naru, that roughly translates as “I’ll become a myself, that is nobody else.” Here again we find an emphasis on individuality and difference. Scrolling down, we find the following paragraph written in a smaller font:

    I leave my body to the blowing wind.

    My hair is enveloped in light, and is filled by the pleasant air.

    What I needed was this [facial] expression.

    I got rid of what I did not need, and refreshingly freed my mind.

    Gracefully, freely.

    I should just enjoy myself more.79

    Unlike the tagline in the Addichty webpage, THROW’s brand identity is here described in ideological terms only. Once again, “freedom” is the central theme, and is associated with a sensation of freshness (kaze, “the wind”; also, the onomatopoeia sutto, here rendered as “refreshingly”). The image of release is further emphasized by the fact that “I” of this text is in close contact with nature: her skin feels the wind, she is shrouded in light and breathes pure air. But what is the subject being released from? The fourth and the last line would suggest that she is being trapped by social constraints, something akin to the Freudian super-ego, that somehow renders her unable to enjoy herself for what she really is. My literal translation of the sixth line makes it hard to understand the hedonistic implications of its meaning: what the original Japanese implies is not simply that she should “have fun,” but she should be finding pleasure in what she is and not what she is expected to be. It is perhaps strange to the eyes of the Euro-American observer accustomed to the discourse of white supremacy that the consumption of whiteness comes with an invitation to spontaneity. The whiteness being sold here is certainly perceived in a radically different way from the Eurocentric “West,” where it is associated with self-constraint.80 It is being marketed to the Japanese public in a way that reminds the portrayal of minorities in the white-dominated world,81 and that makes it particularly appealing to the archipelago’s consumers.

    Listening to the producers’ interviews, it becomes clear for them that the red pigments of the hair, as a symbol of this self-Orientalistically represented “Japaneseness” are represented as a further constraint. Producer Kimura Naoto speaks of a “liberation from redness for the women who hate it”;82 fellow member of the production team Horiuchi brings up the ever-present desire in Japanese women to “become like foreigners,”83 but neither of the two explains the connection between the deletion of red pigments from the hair and the possibility of becoming foreigner-like. It is perhaps this lack of an explicit connection in an explanation from an expert that makes it perceived as an “obvious truth.” In fact, nobody seems to refer to the fact that red undertones are common overseas as well, not to mention the existence of redheads in predominantly Caucasian regions. By hiding these facts, the red pigments are constructed as something that is peculiarly Japanese and juxtaposed to the exclusively foreign blue pigments, further contributing to the essentializing of the gaikokujin that propels self-Orientalism.

    Consuming Whiteness: Gaikokujin-fū and Everyday Life

    To understand the ways that gaikokujin-fū was being interpreted and consumed I conducted fieldwork for two months (April-June 2017) in Tokyo. Engaging in participant observation proved to be relatively easy, since superficial conversation about beauty trends is one of the most common ways that young women around my age use to socialize. Most of my peers were very quick to react every time I lightly introduced the subject. However, due to the perceived “lightness” of the topic, not many people showed to be willing to talk prolongedly about it. This prompted me to supplement the fieldwork with semi-structured interviews I conducted with four people aged 20-22.

    The general reaction to the gaikokujin-fū buzzword was one of recognition–the existence of the trend was acknowledged both by people who were actually familiar with it as well as by others who were not really interested but had seen the phrase and recognized a more general idea behind it. As the reader might expect after having gone through the previous chapter, consumers of gaikokujin-fū hair all brought up the difficulties they had in obtaining the desired results. When I first contacted K., a 23-year-old university student in Tokyo, she told me to wait till the following week for the interview since she had an appointment to dye her hair of an ash-like color. Seven days later, I was surprised to see that her hair had not changed much. Turns out that her virgin hair was a very difficult base to work with: having never bleached it, it proved to be very resistant to blue-green dyes. Dying the hair of an ash-like color would have been impossible as the naturally red pigments of the hair would have completely nullified the effect.

    Whiteness as Empowerment, Whiteness as Difference

    K. was nonetheless very accommodating and answered my questions very enthusiastically. To her, the word gaikokujin had indeed a very positive meaning, and she specifically associated it to difference. My informant used a very harsh word when talking about her fellow Japanese: to her, Japanese style equals mass-production. Her image of Japan was perfectly congruent with those described by Mouer and Sugimoto in their critique of Nihonjinron. “Ordinary” Japanese girls were, in her opinion, the cutesy and quiet girls with straight black hair and bangs covering their foreheads. Why did she feel attracted to gaikokujin-fū in the first place? K. felt that the “traditional” Japanese image was constraining, and she had both very physical and empirical reasons (she does not like face with bangs) as well as a specific ideological background. It is worth nothing here that K. has had since her childhood a very strong akogare towards “Western countries”: she has studied English since she was a small child and is now studying Italian, which led her to spend a year abroad in the University of Venice. Moreover, she attended a very liberal protestant high school in Tokyo, where students were allowed to dye their hair and had no obligation to wear the school uniform. She herself stated that the liberal environment she was brought up in had a huge influence on her view of the world and thus she did not feel the need to “conform.” K. speaks from a privileged position that allowed her to glimpse a “different” world, in which she is promised freedom. In a similar fashion to the representations I analysed in the previous chapter, “Western” foreign becomes a symbol of liberation from the societal constraints of a traditionalistic society.

    The liberating qualities of the akogare towards the essentialized “Western” foreign have been brought up in previous research as a space for young women to astray themselves from the hierarchies of everyday life. The link between freedom and diversity was indeed particularly strong in K., who feels somehow “oppressed” by certain aspects of society. However, this is far from being a universal mode of consumption: in fact, the other three girls never even mentioned anything ideological. To S., a 22-year-old girl I met while studying in Tokyo two years ago, dying her hair of an ash-like hue was an act genuinely finalized to the enhancement of her beauty: she thought the color made her face look brighter. While she too stated during the interview that foreigners are viewed as cool and fashionable, she did not allude to a desire to “become” one nor she mentioned any ideological values associated with them that she emphasized with. In her everyday practice, whiteness is consumed as a tool regardless of its hegemonic signified. Informants A. and H. talked about the trend in a similar way. H. initially dyed her hair because she liked how cute ash hair looked on her favourite model, and had little more to say other than that. Her friend A., who recently graduated from a fashion school, confessed that in her environment standing out was more the rule than a subversive act. Her ash phase was brief and followed by even more explosive hues such as blue and pink. S., A., and H., were very much less conscious of their ways of consumption, but, as French theorist Michel de Certeau argues,84 it is precisely the aimlessness of their wandering that make their practices subvert the hegemony established by the global white supremacy. Having gaikokujin-fū hair is one of the strategies that Japanese women have at their disposition to attain beauty, and while it is trendy, it is far from being superior to different styles. Whiteness becomes an accessory that enhances the natural beauty of the self, and it is not employed to override one’s original racial features but rather to enrich them through the display of individuality. Under this light, it is possible to see the consumption of foreign-like hair as an unconscious tentative of overcoming the racialized barriers that might generate uncanny feelings in the eyes of the “white” spectator.

    Subdued Subversion and the Ambiguities of Consumption

    There are however at least two factors that complicate the consumption of gaikokujin-fū hair, making it a multifaceted and complex process. Firstly, during my interview with K. we discussed the differences between this and other fashion trends that tend to refuse the stereotypical sameness of the constructed Japanese image. K. suggested the existence of an even more individualistic trend–Harajuku–style fashion. The Harajuku district of Tokyo is famous world-wide for hosting a wide range of colourful subcultures,85 which my interviewee described with terms such as dokusouteki (creative) and yancha (mischievous). Harajuku fashion is individuality taken to such a level in which it becomes even more openly contestant of society. S. described these subcultures as referencing the image of “an invented fantasy world, completely out of touch with reality.” The gaikokujin-fū hair colour is indeed a way to break out of the “factory mould,” but it is a relatively tame way of doing it as it is the consumption of a domesticized otherness. As I also pointed out during the analysis of the production processes, the aesthetics of the trend are largely shaped in relation to societal norms and purposely do not excessively break out of them. Especially in its darker tones, foreign-like ash hair is visually closer (albeit chemically harder to obtain) than platinum blonde, and it is precisely in these shades that the hue is being consumed by girls like K. and S.

    Furthermore, one could say that Gaikokujin-fū hues can at times be experimentations instrumental to the formation of one’s identity. H. and S. both explained that they tried out ash dyes as a phase, only then to move on to something that they thought better reflected their own selves. In both cases, that meant going back to their natural black color and to darker tones. H., in particular, after spending her three years of freedom in university experimenting with various hues, finally concluded in her fourth and final year that natural black hair was “what suits Japanese people best.”. After trying out the “Other” and recognizing it as such, her identification acted as what Stuart Hall might have called a suture between her as an acting subject and the discursive practices of “Japaneseness.”86 As “foreignness,” and whiteness as one of its variants, cannot be easily conceived outside the dominant self-Orientalistic discourses, even gaikokujin-fū is inevitably bound to the essentialized “Japaneseness” of the Nihonjinron. This is only worsened by the fact that foreign-like hair colors are a product in the beauty market: they need to be marketed to the consumers, and this necessitates simplification. Essentialization and the reinforcement of self-Orientalism are the high prices that one must pay for the consumption of the other, and constitute a big limitation of its subversive power.

    Conclusion

    I have attempted to analyse the ways in which whiteness is produced and consumed in Japan, a country with significant economic and cultural power that does not have a significant Caucasian population. I have chosen as the topic a feature of the human body that is usually considered peripherical to the construction of racialized categories, and I have attempted to demonstrate how it becomes central in the production of an occidentalistic image of “whiteness” in the Japanese Archipelago.

    What this trend helps us to understand is the complexities and multiplicities of whiteness. By shedding some light on the way that hairdressers in Japan construct and sell the gaikokujin-fū trend we become aware of the fact that an aspect such as hair color that we do not usually pay much attention to in relation to this racialized category can be central when the same is consumed in a different setting. It is significant that what is being marketed here it is a slightly different paradigm from the Eurocentric or conventional idea of “white” people, that sees at its center blonde-haired, fair-skinned people with blue or green eyes: whiteness is mitigated and familiarized in order to make it more desirable to wider audiences. Its localized production and its consumption as a disposable accessory might be taken as challenging to the global dominance of Caucasian aesthetic.

    Acting in the (locally) ambiguous field of racial representations,87 hairdressers in Japan are creating their own whiteness, one that is starkly defined by what is socially acceptable and what is rejected.88 It thus becomes apparent the fact that racialized categories are nothing but discourses, constantly morphing in relation to time and space. The existence of a different whiteness created by and for the use of people who are not considered as belonging to this racialized category creates conflict with the discourse of a global, hegemonic whiteness by demonstrating its artificiality and construction.

    However, the use of the word gaikokujin inevitably generates ambivalent meanings. The trend becomes linked to the discourse of “foreignness” and the desires associated with it. Eventually, it ends up reproducing the essentialist and reifying stereotypes that are creating through the occidentalistic (and self-Orientalistic) practices of nihonjinron. The trend potentially reinforces the “us/them” barriers that are at the basis of essentialistic thought by juxtaposing the desired “foreign hair” as a polar opposite of the more conservative and traditional “Japanese hair.”

    To reiterate, gaikokujin-fū might be subversive on the global scale, but it is nonetheless an expression of the oppressive mainstream on the local level, as it restates notions of difference and exclusivity that form the basis for social exclusion of phenotypically alien foreigners. Unfortunately, the practices of marketing necessitate simplifications, and makes it is hard to achieve what I believe would be the most subversive action: the elimination of these reifying barriers. It is imperative that we start to think about ways to talk about race and culture in a non-essentializing manner while maintaining an anti-white-centric stance.

    Although the problem of essentialization cannot be resolved by looking at representation only, by looking at how the product is effectively consumed in everyday life we might find that these semi-conscious practices already offer some hints on how to overcome the barriers that reification builds around us. It is indeed true that consumers answer to the “call” of the marketers, and that they identify themselves to some extent with the images of racialized whiteness created by the beauty industry. However, what the interviews revealed is that often times the link between image and product is broken in the immediacy of consumption. By using whiteness as an accessory, some of the consumers open up a space in which they contest the seriousness and rigidity of racialized categories–a space that allows hybridity to exist.


    http://zapruderworld.org/journal/archive/volume-4/the-everyday-consumption-of-whiteness-the-gaikokujin-fu-foreign-like-
    #corps #beauté #femmes #géographie_culturelle #japon #cheveux #identité #altérité #orientalisme #blancheur #hakujin #blancs #représentation

  • Géographie du souvenir. Ancrages spatiaux des mémoires de la #Shoah

    Comme l’écrit Denis Peschanski dans sa préface, le livre de #Dominique_Chevalier apporte une pierre importante aux études sur la Shoah et, de manière plus générale, à la réflexion sur les relations entre mémoire et #espace qui furent au cœur des travaux de Maurice Halbwachs. L’ambition de l’ouvrage est en effet d’articuler des régimes de spatialité à des régimes d’historicité, voire de #mémorialité, dans la lignée de la réflexion alimentée depuis les années 1990 sur les « lieux spatiaux », alors même que la notion de « #lieux_de_mémoire » esquivait en partie la relation au territoire.

    Pour mener à bien son entreprise, Dominique Chevalier définit une problématique, un objet, des espaces et une méthodologie. Les politiques mémorielles et patrimoniales de la Shoah, dans leur dimension spatiale, constitue l’objet de cette recherche dont le pari est d’étudier sous l’angle géographique les différentes formes de territorialités et de mémorialités des principaux musées-mémoriaux urbains mondiaux consacrés au judéocide. Les connexions entre échelles spatiales, échelles temporelles et échelles mémorielles, corrélées aux relations des rapports sociaux/spatiaux permettent la co-construction et la co-production de lieux de mémoire singuliers si remarquables qu’il paraît tout à fait légitime de parler de « régime de spatialité », nous prévient l’auteur (p. 18). Le questionnement se déploie alors dans plusieurs dimensions : géopolitique d’abord, territoriale ensuite, spatiale, à l’intérieur des musées, pour finir. C’est ainsi que, de l’échelle la plus réduite à la plus grande, se constitue un continuum entre des espaces distincts qui dessinent in fine une forme de mondialisation de la mémoire de la Shoah, tissée de circulations intenses. Encore fallait-il échapper aux pièges que tend la mémoire de la Shoah d’un continent à l’autre : aux États-Unis, le terme de « survivor » désigne tous les Juifs ayant survécu aux années 1930 et 1940, y compris ceux installés en Amérique, alors que celui de « rescapé », dans la tradition européenne et israélienne, ne désigne que ceux qui survécurent à l’expérience des camps.

    Quelles sont les répercussions spatiales, géographiques et géopolitiques de cette mémoire qui semble constamment et partout présente, bien au-delà des lieux d’exclusion, de concentration et d’extermination des Juifs pendant la guerre ? L’enquête commence à une échelle « macro » où sont situés les lieux commémoratifs mondiaux, avec une attention particulière pour ces lieux « délocalisés » spatialement, loin du terreau des souffrances, loin des « lieux-témoins » centre-européens. Ces lieux ex situ, qui n’utilisent pas le substrat tangible des camps comme « ressource mémorielle » (p. 205), échappent donc à la concordance mémoire/lieu. Ils constituent une ressource idéelle accentuant une production culturelle et spatiale inédite et spécifique : Yad Vashem, les musées de Washington, de New York, de Los Angeles, de Montréal mais aussi de Budapest, de Berlin, de Paris et de Varsovie, sont ainsi mobilisés. Quant à la méthode, Dominique Chevalier s’appuie sur des observations in situ et des témoignages qui dénotent un goût pour les rapports subjectifs des individus à l’espace, notamment en ce qui concerne l’analyse des pratiques des usagers.

    La première partie de l’ouvrage identifie quatre temps de la mémoire de la Shoah qui correspondent à quatre investissements spatiaux distincts. Le premier voit l’affrontement du mémorial de Paris et de Yad Vashem, à Jérusalem, dans les années 1950. La double concurrence, idéelle et idéologique, qui résulte de ces projets contraste avec le projet du kibboutz Lohamei Haghetaot, fondé par 196 rescapés de la Shoah. Le deuxième temps est celui de la guerre froide, de la guerre des Six Jours et de la guerre du Kippour qui contribue à lier étroitement la mémoire de la Shoah à celle de l’existence, un temps compromise, de l’État d’Israël. C’est sur ce substrat que la Shoah s’américanise rapidement, à partir de 1974-1977. Troisième temps, celui du Rideau de fer et de la chute du mur de Berlin où l’Allemagne s’impose comme un épicentre européen de la mémoire de la Shoah puis, dans son sillage, certains pays de l’Europe centrale comme la Hongrie et la Pologne. Enfin, à partir des années 2000, on assiste à une extension mondiale qui touche aussi bien l’Australie que l’Afrique du Sud, la Turquie ou, dans une moindre mesure, l’Iran.

    La deuxième partie de l’ouvrage se concentre sur les stratégies spatiales de chacune de ces créations ex situ qui révèlent une forme de globalisation des rapports au passé. En géographe, Dominique Chevalier avance une sorte de typologie des territoires mémoriaux de la Shoah sans s’éloigner du fil conducteur de sa réflexion qui est le phénomène de métropolisation des lieux de mémoire. Dans un premier cas de figure, le musée-mémorial s’articule de manière essentielle à l’histoire des Juifs dans un territoire donné : à Paris, le mémorial s’implante très tôt à proximité du Pletzl mais aussi, de façon plus étonnante, à Shanghai, Los Angeles ou Montréal, les musées s’implantent dans le quartier des rescapés. Deuxième cas de figure : la co-présence d’autres mémoires blessées qui établissent avec la Shoah un lien existentiel. À Melbourne, la mémoire du judéocide se trouve associée à celle des Aborigènes ; au Cap, à celle de l’esclavage ; à Fukuyama, à celle des bombes atomiques. En troisième lieu, les musées-mémoriaux s’enracinent dans des lieux symboliques mais dont la récurrence mémorielle n’est liée ni à un passé juif, ni à la possible communion avec d’autres mémoires douloureuses. Là, ils valorisent des territoires dans lesquels s’ancrent des architectures médiatisées, telles que celle de Berlin où intervint Daniel Libeskind mais aussi l’Holocaust Mahnmal de Peter Eisenman, et l’Holocaust Memorial Museum à Washington. La quatrième catégorie concerne les espaces offrant l’opportunité d’embrasser de larges paysages naturels, comme le mémorial de San Francisco, le Jewish Heritage Museum de New York et Yad Vashem à Jérusalem. Pour finir, Dominique Chevalier souligne combien la Maison de la Terreur, à Budapest, relève d’une logique à part qui est celle du non-lieu, d’un lieu excentré. Tous ces exemples ont en commun de constituer des instruments essentiels d’aménagement et de communication territoriale et politique, que ce soit celle de la catastrophe revendiquée pour légitimer a posteriori la création de l’État d’Israël, ou bien celle des culpabilités embarrassantes qui servent à expier les fautes, comme à Washington ou à Berlin. En bref, pour Dominique Chevalier, l’espace urbain est un « miroir social sur lequel se réfléchissent des intentions, des logiques d’acteurs, des temporalités, des références identitaires, des relations passé/présent et des rapports local/global particuliers » (p. 132).

    La troisième partie s’intéresse à la micro-échelle des lieux où se noue la connexion entre le lieu et le sujet sur le mode de l’expérience individuelle et collective. Accéder au musée, se déplacer en son sein puis franchir la distance qui sépare l’observateur d’un objet difficile à comprendre comme l’est la Shoah : tels sont les passages obligés auxquels se confrontent les visiteurs des lieux étudiés. Les corps sont de plus en plus mis à l’épreuve des mémoires blessées par des dispositifs architecturaux et muséographiques qui favorisent le déséquilibre, les troubles et les vertiges de l’espace. L’usage des sons et du jeu lumière/ténèbres y est intense. L’architecture se veut volontiers anxiogène afin de reproduire le récit mémoriel développé par les institutions muséales. Ces lieux mettent en scène trois formes spatiales privilégiées : l’espace de méditation, sorte de « cabinet de réflexion » (p. 167), qui prépare le visiteur à devenir témoin et à transmettre ce qu’il vient de voir ; des micro-territoires de reconstitution (une rue de ghetto, un wagon à bestiaux, etc.) ; des espaces de sacralisation de la nature qui sont autant de lieux de purification, de ressourcement moral à la gloire du Créateur ou de l’État, selon les versions. Cette mythification de la nature n’est pas propre aux musées de la Shoah mais elle y joue un rôle essentiel. L’auteur montre ainsi que les micro-agencements muséaux, organisés à travers des seuils, des passages, des déambulations, des frontières, des discontinuités, traduisent et incarnent des récits chronologiques et muséographiques. L’expérience souvent douloureuse de ces lieux cherche à se rapprocher, sur un plan physique et émotionnel, des trajectoires individuelles des victimes et des diasporas européennes.

    La dernière partie de l’ouvrage est consacrée au tourisme de mémoire, c’est-à-dire aux destinataires de tels lieux. L’expérience muséale n’a pas la même signification que le visiteur soit étudiant, chercheur, touriste, enfant de rescapé, juif ou pas, etc. Dominique Chevalier tente alors une comparaison des publics pédagogiques, qui constituent partout la part la plus importante des visiteurs, sur la base de trois cas d’étude (Washington, Jérusalem et Paris). Puis elle se concentre sur le touriste dont elle souligne les similarités avec les autres touristes patrimoniaux, culturels et urbains. À l’inverse, le thanatotourisme (dark tourism) des lieux de massacre ne trouve pas là de terrain privilégié dans la mesure où la relation matérielle et historique avec les lieux de la catastrophe y est distendue.

    En conclusion, l’auteur, à travers l’exemple de la Shoah, a indéniablement réussi à démontrer que la mémoire constitue (aussi) un objet spatial, et ceci à plusieurs échelles. La mémoire produit de l’espace « en conjuguant le global au local, le général au particulier » (p. 209). Ces lieux permettent à leur manière la circulation de savoirs entre les lieux mêmes de la destruction des Juifs d’Europe et les autres lieux attestant diverses mémoires douloureuses. Ces musées, qui sont bien souvent des vitrines architecturales, sont des éléments de valorisation des territoires, outils et produits du marketing culturel et patrimonial performant. En effet, le propre de ces lieux n’est pas le contenu de leurs collections mais leur capacité à raconter une histoire difficile. Au total, cet ouvrage remarquable ouvre une foule de nouvelles pistes de réflexion, des formes de l’autonomie du sujet à l’invention sociale des territoires. Il mérite indéniablement d’être lu.


    http://www.memoires-en-jeu.com/compte_rendu/geographie-du-souvenir-ancrages-spatiaux-des-memoires-de-la-shoah/
    #livre #mémoire #géographie #géographie_culturelle
    ping @reka

  • Le #monument aux morts de #Gentioux-Pigerolles : « Maudite soit la #guerre »
    J’ai entendu parler pour la première fois du monument aux morts de #Gentioux pendant mon service militaire. Un camarade, ayant séjourné au camp de la Courtine, m’avait affirmé que l’armée française refusait de défiler devant pour les célébrations du 11 novembre.

    Sans avoir jamais pu vérifier cette anecdote mais assez intrigué par l’histoire, j’ai eu depuis à plusieurs reprise l’occasion de m’arrêter sur la place du village pour saluer un des plus célèbres #monuments_aux_morts de #France, connu, paraît-il, des pacifistes du monde entier.

    Elevé en 1922 à l’initiative d’un maire ancien combattant, blessé de guerre, et fidèle à la tradition socialiste de ces terres rudes, le monument représente un écolier, en sabots et sarreau, dénonçant de son point fermé la légende « #maudite_soit_la_guerre ». Ce simple sujet a fait plonger ce souvenir dans l’enfer des orgueils militaires, et explique que l’Etat -aucun préfet ou sous-préfet n’a jamais daigné l’inaugurer- et l’état-major de la Courtine aient maudit cet extraordinaire édifice !

    Loin de la vague patriotique et nationaliste qui a pardonné aux généraux le sacrifice de plus d’un million de nos compatriotes, ce coin de Limousin, proche du lac de Vassivières, a été un des rares endroits où le #pacifisme et l’#humanisme ont su louer les valeurs de la #Paix.

    Le cimetière du village contiendrait les cendres d’un fusillé pour l’exemple, mais je n’ai pas eu le temps d’aller me renseigner sur place.

    Le petit écolier change parfois de couleur. Vert anglais il y a un quart de siècle, crème au cours de l’été 2011.


    http://histoire.et.cartes.postales.over-blog.com/article-le-monument-aux-morts-de-gentioux-pig
    #mémoire #nationalisme #géographie_culturelle

    ping @reka via @albertocampiphoto

    • Dans les cahiers, n°2, on peut lire :

      “Si le fait d’être renvoyé vers ses #racines est une forme d’#assignation_à_la_différence, le déni de sa #particularité est tout autant une forme de #négation de la #personne”.

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.2.

      “La #colonisation a alors beaucoup contribué à ce que certains ont appelé une ‘#dictature_de_la_pensée’ qui a eu comme effet un manque d’écoute des peuples colonisés ainsi qu’une absence de reconnaissance de leurs savoirs. L’exemple de la découverte au #Nigeria en 1910 de sculptures africaines comparables dans leur précision aux #sculptures italiennes de la Renaissance est probant. Ces dernières étaient considérées comme tellement ‘non-africaines’ que les premiers archéologues cherchaient l’origine des sculptures en dehors de l’Afrique. Cette #négation des #cultures_africaines a encore son impact aujourd’hui”.

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.3.
      #art #archéologie

      “Entre ces positions tranchées, il y a une différence fondamentale dans la façon de penser l’autre et en l’occurrence un habitant de quartier : en termes de #manques (de capital social, économique etc.) ou en termes de #potentiel mais dont l’expression est bloquée par des dynamiques de #pouvoir

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.4.
      #quartiers_populaires #villes #urban_matter

      Dans le numéro on cite aussi #Anibal_Quijano et le concept de #colonialité_du_pouvoir
      #colonialité

      « Tout comme les sculptures trouvées à Ife, au Nigeria, ne pouvaient pas être africaines en 1910 car elles ne correspondaient à l’idée européenne d’un art africain primitif, #Bienvenu_Bazié, un choréographe burkinabé de danse contemporaine racontait récemment dans un entretien qu’en France on s’attend à ce qu’il fasse de la #danse_africaine burkinabée. Son choix pour la #danse_contemporaine semble déranger et il se pose donc la question ’Pourquoi, parce que je suis burkinabé, je ne pourrais pas moi aussi être influencé par toute la culture mondiale ? La France, l’Europe est influencée par cette culture mondiale, et pourquoi, moi, parce que je suis Burkinabé, il faudrait que j’aie une pureté burkinabé, africaine, je ne sais pas, quelque chose de complètement fantasmé ici en France ?’ Cette expérience fait écho au vécu de M., artiste et éducateur d’origine algérienne qui observe une réaction fréquente à son égard : ’Vous faites des #contes_orientaux ?’ Cela donne l’impression qu’on ne peut faire autre chose que ce qui est associé à son pays d’origine, comme si tous les artistes algériens faisaient des contes orientaux. Ce processus consistant à renvoyer la personne habitant en France à sa présumée culture d’origine s’appelle l’#assignation_culturelle »

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.8.

      ping @reka

  • Salvini: chiusura entro le 21 dei negozi etnici. Confesercenti: no a discriminazioni

    Nel #decreto_sicurezza ci sarà un emendamento per prevedere «la chiusura entro le 21 dei negozietti etnici che diventano ritrovo di spacciatori e di gente che fa casino». Lo ha detto il ministro dell’Interno Matteo Salvini in diretta Facebook sottolineando che «non è un’iniziativa contro i negozi stranieri ma per limitare abusi».

    Market etnici, Confesercenti: no a norme discriminatorie
    Contro l’iniziativa annunciata da Salvini si schiera Confesercenti. «Non si può fare una norma che discrimina determinati imprenditori rispetto ad altri. Chi ha un’attività commerciale ha diritti e doveri: il dovere di rispettare le regole e il diritto di restare aperti, sia che siano esercizi gestiti da stranieri, sia che siano esercizi gestiti da italiani» dichiara Mauro Bussoni segretario generale della Confesercenti nazionale.

    Codacons: negozi etnici utili per acquisti “last minute”
    Per il Codacons la chiusura dei “negozietti etnici” deve essere prevista solo nei centri storici delle città italiane e in tutti quei casi in cui gli esercizi in questione
    creino degrado. «Crediamo che in materia di commercio e sicurezza non sia corretto generalizzare - spiega il presidente Carlo Rienzi -. Tali negozi etnici sono molto utili ai consumatori, perché rimangono aperti più a lungo degli altri esercizi e commercializzano una moltitudine di prodotti di diverse categorie, consentendo ai cittadini di fare acquisti “last minute”. Certamente la loro apertura va vietata in tutti quei casi in cui gli esercizi in questione creino disordini, e in modo assoluto nei centri storici delle città, perché la loro presenza alimenta il degrado urbano e danneggia le bellezze artistiche come nel caso di Roma, dove alcune vie del centro sono state trasformate in #suk» conclude Rienzi.


    https://www.ilsole24ore.com/art/notizie/2018-10-11/salvini-dl-sicurezza-chiusura-entro-21-negozi-etnici--160739.shtml?uuid

    #magasins_ethniques #ethnicité #negozi_etnici #fermeture #it_has_begun #discriminations #géographie_culturelle #Italie #criminalisation #Italie #sécurité #drogue #magasins #negozi_stranieri #magasins_étrangers #terminologie #mots #vocabulaire

    #lois_raciales?

    • Italy’s Matteo Salvini says ’little ethnic shops’ should close by 9pm

      Minister calls late-night stores mostly run by foreigners ‘meeting place for drug deals’

      Italy’s far-right interior minister has come under fire for a proposal that would force what he calls “little ethnic shops” to close by 9pm.

      Matteo Salvini added the measure to his immigrant-targeting security decree, arguing late-night grocery stores, mostly run by foreigners, are “a meeting place for drug deals and people who raise hell”.

      He claimed the initiative was not specifically aimed at foreigners and was merely a way to “limit the abuses of certain shops”.

      Thousands of grocery stores across Italy are run by immigrants, mainly people from Bangladesh and India, many of whom bought premises for a low price during the financial crisis.

      Mauro Bussoni, the general secretary of Confesercenti, a retail association, said: “You can’t make a law that discriminates some entrepreneurs over others.

      “Those who have a commercial activity have rights and duties: the duty to respect rules and the right to remain open, whether the activity is managed by a foreigner or an Italian.”

      Carlo Rienzi, the president of Codacons, a consumer association, said it was unfair to “generalise”, while noting shops that stayed open late were essential for people seeking “last-minute” purchases. But he agreed there should be a clampdown on outlets that have “created disorder” or “degraded” historical town centres.

      Andrea Marcucci, a politician from the centre-left Democratic party, said imposing curfews was among the premises of “a regime”.

      If the proposal became law, an industry source said, it should also apply to Italian-owned outlets, including bars, while security measures must also extend to foreign business owners.

      “Some say that Italian people go into their shop late at night and try to extort money from them,” said the source. “But they are too afraid to report such incidents to the police.”

      Salvini’s security decree, unveiled in September, includes plans to abolish key protections for immigrants and make it easier for them to be deported.

      On Thursday, he reiterated a plan to hire 10,000 more police officers, an initiative funded by money that previously paid for migrant reception and integration projects. Parliament has until mid-November to debate and modify the decree before it becomes law.

      Salvini’s latest proposal comes after Luigi Di Maio, his coalition partner, said measures would be introduced by the end of the year to limit Sunday trading in an attempt to preserve family traditions.

      https://www.theguardian.com/world/2018/oct/12/italy-matteo-salvini-little-ethnic-shops-foreigners?CMP=share_btn_tw
      #désordre #couvre-feu #décret
      ping @isskein

  • Les zoos humains, une réalité française (une interview de Pascal Blanchard)

    Dans cet entretien avec la journaliste Dolores Bakela, Pascal Blanchard parle de la domination blanche, l’exotisation des corps, de la naissance du racisme et de la distinction entre les races... bref, d’une histoire française qui a laissé des traces durables dans le présent. Attention, les images et même les propos de Monsieur Blanchard peuvent heurter.

    > https://peertube.heraut.eu/videos/watch/6cdadeb3-db47-4f55-9a0f-6651493511d3

    Le documentaire lui même est disponible en replay par ici : https://www.arte.tv/fr/videos/067797-000-A/sauvages-au-coeur-des-zoos-humains

    #peertube #lemedia #arte #documentaire #interview #PascalBlanchard #colonialisme #Histoire

  • À petit feu. Les sacrifiés du #golfe_de_Fos

    La #Camargue, ses paysages de carte postale, ses flamands roses et, à quelques pas de là, ses usines classées #Seveso : #sidérurgie, #pétrochimie, #raffineries… À la jonction de ces deux univers, le golfe de Fos, devenu le carrefour de #maladies_rares. Ici, les risques de #cancers sont multipliés par deux.

    Le Quatre heures est parti à la rencontre de ceux qui, coincés entre #omerta et #déni, ont décidé de lutter pour leur survie.

    https://lequatreheures.com/episodes/a-petit-feu
    #résistance #lutte #France #pollution

    Derrière le #paysage... pour mon cours de #géographie_culturelle

    ping @albertocampiphoto @marty @mathieup