• Racisme dans le #travail_du_sexe

    Dans le domaine du travail du sexe, les #rapports_de_pouvoir présents dans la société actuelle et leurs manifestations racistes sont particulièrement visibles. Les #discriminations subies par les travailleur·euse·x·s du sexe racisé·e·x·s ne sont cependant pas seulement d’origine sociale, mais aussi juridique et structurelle.

    En Suisse, le travail du sexe n’est pas le seul domaine dans lequel s’exprime le #racisme_structurel et l’#héritage_colonial, mais c’est celui dans lequel ces phénomènes se donnent le plus à voir. Les travailleur·euse·x·s du sexe (TdS) racisé·e·x·s* sont souvent exposé·e·x·s quotidiennement à de multiples discriminations. Ces personnes sont fréquemment considérées soit comme dangereuses, immorales et mauvaises pour la société, soit comme des personnes dans le besoin, qui ont été contraintes au travail du sexe et ne savent pas ce qu’elles font. Une législation répressive en matière de migration et d’importants obstacles à l’exercice légal du travail du sexe exacerbent le racisme structurel persistant.

    Des #stéréotypes racistes particulièrement visibles

    En Suisse, le domaine du travail du sexe se caractérise souvent par des rapports de pouvoir inégaux entre la clientèle et les TdS. La position de la personne qui achète des services sexuels est définie par son pouvoir, son statut, ses ressources et son argent, alors que celle des TdS est à l’inverse souvent envisagée sous le prisme de l‘origine, de la couleur de peau, du type de permis de séjour ou encore de l’identité de genre. Selon Naomi Chinasa Bögli, du Centre d’assistance et d’intervention aux migrantes et victimes de la traite des femmes (FIZ) à Zurich, les TdS racisé·e·x·s se trouvent, dans de nombreux cas, au plus bas de la hiérarchie. Les images que projettent sur ces personnes la clientèle, les exploitant·e·x·s et la société dans son ensemble sont très fortement imprégnées de racisme. On le voit notamment dans la manière dont on présente les TdS racisé·e·x·s en utilisant des catégories qui répercutent des stéréotypes racistes moins connus et thématisés. Les images racistes sont toujours liées à leurs corps, reléguant ainsi leur personnalité et leur humanité à l’arrière-plan.

    Quelques féministes et figures politiques participent pourtant également à la stigmatisation et à la discrimination des TdS. L’interdiction du travail du sexe rémunéré est constamment réclamée pour les « protéger ». Dans cette logique, les TdS migrant·e·x·s sont, sans distinction aucune, considéré·e·x·s comme des victimes, incapables d’autonomie et d’autodétermination. Les débats reflètent la discrimination et la stigmatisation qui s’exercent tout particulièrement sur les TdS racisé·e·x·s non seulement pour leur travail mais également sur la base d’autres caractéristiques telles que leur couleur de peau, leur passé migratoire, leur féminité, leur identité de genre, leur profession ou leur rôle de mère. Pour un grand nombre de TdS racisé·e·x·s, cela a pour conséquence des microagressions quotidiennes, voire des agressions verbales et physiques.
    Un cadre juridique structurellement discriminant

    En Suisse, outre les formes quotidiennes de discriminations et de racismes, les TdS racisé·e·x·s sont aussi désavantagé·e·x·s de manière structurelle par le cadre juridique. Pour Naomi Chinasa Bögli, la mise en œuvre d’une politique migratoire restrictive l’illustre bien : les obstacles bureaucratiques et les conditions strictes pour exercer légalement le travail du sexe mènent à la précarité, à l’illégalité et à la dépendance, surtout pour les personnes extérieures à l’Union européenne, dont beaucoup sont racisées. Yasmine Soler**, une TdS racisée, affirme que ces lois spécifiques sont motivées par des intentions racistes : « Officiellement, on fait des lois pour les TdS. Mais en réalité, ces lois sont faites parce que beaucoup sont des migrant·e·x·s ». Un rapport de l’Alliance européenne pour les droits des TdS (ESWA) publié en avril 2022 analyse de manière approfondie l’impact du processus historique du racisme croissant sur les législations européennes contemporaines restreignant le travail du sexe, la traite d’êtres humains et l’immigration.

    Dans les débats sur le travail du sexe et le racisme, il est essentiel de comprendre, de qualifier et de lutter contre la vulnérabilité des TdS racisé·e·x·s dans les rapports de domination existants. Il faut néanmoins toujours garder à l’esprit que les TdS ont tou·te·x·s des individualités différentes, parlent en leur nom propre et peuvent et veulent mener la vie qu’elles ont librement choisie. Dans un cadre réglementé et dans des conditions équitables, le travail du sexe peut être source d’émancipation individuelle et être exercé de manière choisie et indépendante.

    –-

    Le terme « personne racisée » a une connotation positive, empreinte de la volonté politique des personnes exposé·e·x·s à des discriminations raciales de se définir. Il renvoie à l’ensemble des expériences communes aux personnes non blanches, découlant notamment de l’absence d’accès à un certain nombre de privilèges. Ce terme ne décrit ainsi pas (directement) la couleur de peau mais reflète une position sociopolitique et est porteur d’émancipation lorsqu’il est utilisé par les personnes concernées.

    * Ce nom est un pseudonyme. La véritable identité de cette personne est connue de ProCoRe.

    https://www.humanrights.ch/fr/nouvelles/racisme-travail-sexe

    #racisme #rapport #ProCoRe #prostitution

    ping @cede

  • La naissance du racisme

    Pour LSD, Stéphane Bonnefoi questionne les #origines du racisme et la notion de #race, depuis l’antiquité jusqu’au XIXe siècle, au gré de quatre épisodes historiques.

    https://www.radiofrance.fr/franceculture/podcasts/serie-la-naissance-du-racisme

    –—

    Les 4 épisodes :

    Épisode 1/4 : L’héritage grec en question

    #Aristote et l’esclave « par nature », #Hippocrate et sa #théorie_climatique… Les penseurs grecs ont souvent été convoqués pour justifier l’esclavage et l’infériorité de certains peuples, à l’époque moderne mais aussi plus tôt, au cours de la #traite_arabo-musulmane

    https://www.radiofrance.fr/franceculture/podcasts/lsd-la-serie-documentaire/l-heritage-grec-en-question-5278625

    Épisode 2/4 : L’#exclusion par la pureté de #sang

    Après avoir converti juifs et musulmans, les rois catholiques de la péninsule ibérique vont imposer aux « conversos » de nouveaux statuts, discriminatoires : La #pureté_de_sang (Limpieza de sangre).

    https://www.radiofrance.fr/franceculture/podcasts/lsd-la-serie-documentaire/l-exclusion-par-la-purete-de-sang-8270617

    Épisode 3/4 : Dans l’ombre des Lumières, la construction de la race

    En pleine expansion de la #traite transatlantique au XVIIIe siècle, la #racialisation de l’esclavage se met en place dans les colonies européennes aux Amériques. Une frontière se forme entre le « nègre » et le blanc...

    https://www.radiofrance.fr/franceculture/podcasts/lsd-la-serie-documentaire/dans-l-ombre-des-lumieres-la-construction-de-la-race-3173051

    Épisode 4/4 : La république des #zoos_humains

    Au XIXe et jusqu’au milieu du XXe siècle, les zoos humains vont mettre en scène l’infériorité des peuples colonisés, tant en Europe qu’au Japon ou aux Etats-Unis. Et permettre ainsi une large diffusion de ce que nous nommons, depuis le début du XXe siècle, le racisme.

    https://www.radiofrance.fr/franceculture/podcasts/lsd-la-serie-documentaire/la-republique-des-zoos-humains-2354253

    #podcast #racisme #esclavage #Antiquité #histoire #Lumières #colonisation #colonialisme #domination #taxonomie #préjugés #système_de_domination #égalité #esclavage_colonial #couleur_de_peau #statut_social #esclavage_moderne #héritage #mythe

    ping @_kg_ @cede

  • « #Lausanne doit reconnaître son passé colonialiste »

    En lutte contre une inscription problématique sur un immeuble du #Flon, au centre-ville de Lausanne, #Samson_Yemane va plus loin : le conseiller communal socialiste demande à la Municipalité de réaliser un #état_des_lieux du #passé_colonialiste de la cité olympique.

    Les questions relatives à la migration ne sont pas qu’un dossier politique pour Samson Yemane : c’est l’histoire de la vie du conseiller communal lausannois. Le socialiste n’avait que « 12 ou 13 ans » lorsqu’il a fui l’Érythrée en direction de la Libye puis de l’Europe. Sur un bateau.

    Aujourd’hui bientôt trentenaire et naturalisé, le Vaudois travaille à l’Organisation suisse d’aide aux réfugiés et s’est beaucoup engagé dans la votation sur Frontex, l’agence européenne de protection des frontières dont il a fait le sujet de son mémoire de master.

    Malheureux de l’issue de la votation sur le plan fédéral, Samson Yemane essaie d’agir à son échelle : celle de sa commune de Lausanne. Il vient de déposer un postulat pour rendre la capitale vaudoise « inclusive et non-discriminante ». Interview.

    Vous écrivez que Lausanne a directement participé, voire contribué à l’#esclavage et au #colonialisme. À quoi faites-vous référence ?
    C’est là tout l’enjeu : la population n’a pas du tout conscience qu’au début du XXe siècle encore et même jusqu’à la Seconde Guerre mondiale, il y avait des « #zoos_humains » au coeur de Lausanne. La Suisse a accueilli des dizaines de « #villages_nègres » et autres exhibitions exotiques, pour le plus grand plaisir des habitants. Il y a donc un immense devoir de mémoire et de #visibilisation.

    Votre #postulat a pour point de départ le travail d’une étudiante sur une devanture au Flon. Or, la régie voulait justement faire retrouver au bâtiment son visage d’origine. N’est-ce pas précisément un travail de mémoire ?
    Où est l’importance historique de cette inscription ? Elle avait été effacée et, là, on la fait renaître sans contexte, sans explication. Il s’agit purement de #racisme_ordinaire, et c’est pour cela que j’ai pris autant cette histoire à cœur : elle mérite que des mesures soient prises.

    Par exemple ?
    Tout dépend du contexte. Pour cette inscription, beaucoup de gens sont pour qu’elle soit effacée, car elle n’a pas vraiment d’utilité et elle heurte les personnes concernées. De manière générale, je milite pour qu’un état des lieux soit réalisé sur le passé colonial de Lausanne. Cela peut prendre plusieurs formes (conférence, discussion, etc.), mais devrait impérativement inclure des personnes compétentes dans ces sujets-là.

    Jusqu’où cela peut-il aller ? Le stade #Pierre_de_Coubertin (ndlr : notoirement raciste, persuadé de la supériorité des Blancs sur les Noirs) doit-il être rebaptisé, selon vous ?
    C’est un bon contre-exemple : dans ce cas, ce lieu a un important #héritage_historique. Le rebaptiser serait contre-productif et ne serait pas compris par la population. Je ne suis pas pour réécrire l’histoire, ni pour créer une polémique, mais pour sensibiliser les Lausannois : pourquoi ne pas mettre une mention sur place, ou réaliser quelque chose au Musée olympique par exemple ?

    N’est-ce pas un peu infantilisant, comme démarche ? Faut-il vraiment une intervention du monde politique ?
    Il y a toujours des combats plus importants que d’autres, mais celui-ci est très légitime à mes yeux. Cette inscription heurte beaucoup de monde, et le vivre-ensemble est primordial, surtout au niveau communal. Plusieurs études scientifiques prouvent que reconnaître notre passé colonial nous amène à consolider notre #cohésion_sociale. D’autres villes (Berne, Zurich, Genève...) ont d’ailleurs fait cet exercice.

    Lausanne dispose déjà pour cela d’un Bureau lausannois pour les immigrés (BLI), avec notamment une permanence contre le racisme. Vous voulez aller plus loin ?
    Mon postulat s’inscrit précisément dans ce contexte. Le travail du BLI est crucial et contribue intellectuellement à notre cohésion sociale. Je veux encourager la Municipalité à mettre l’accent sur l’histoire coloniale. Je l’ai vu avec les réactions après votre premier article : c’est un sujet tabou, très clivant et qui fait parler tout le monde. Un débat public éclairé n’en sera que plus bénéfique. « Décoloniser » l’espace public ne vise en aucun cas à falsifier l’histoire de notre commune — au contraire, le but est de reconnaître les faits historiques et de sensibiliser.

    #Mobimo « comprend la polémique »

    Informée par la Ville que l’#inscription « #Magasin_de_denrées_coloniales » du Flon faisait débat, la régie propriétaire du bâtiment assure à Blick qu’elle avait comme « unique perspective un rappel purement historique de la fonctionnalité du bâtiment ».

    C’est pour cette raison que Mobimo a voulu restituer le nom des enseignes présentes au Flon comme au début du XXe siècle. « Nous comprenons les sensibilités actuelles et sommes conscient des préoccupations de notre société face à des faits socio-historiques ainsi qu’à la portée sémantique des mots », assure Hélène Demont, porte-parole pour la Suisse romande.

    Mobimo estime qu’en tant qu’acteur économique, elle n’a « pas la légitimité de porter un jugement sur des faits historiques se rapportant à l’inscription ». Mais elle veut la replacer dans son contexte avec une notice explicative, et se conformera à la décision de la Ville si un effacement venait à être décidé.

    https://www.blick.ch/fr/news/suisse/le-combat-de-samson-yemane-lausanne-doit-reconna-tre-son-passe-colonialiste-id
    #histoire #Suisse #colonisation

    ping @cede

    –-

    ajouté à la métaliste sur le #colonialisme_suisse :
    https://seenthis.net/messages/868109

  • Postcolonial Italy. Mapping Colonial Heritage

    Even though the period of Italian colonial rule is long gone, its material traces hide almost everywhere. Explore cities, their streets, squares, monuments, and find out more about their forgotten connections to colonial history.

    https://postcolonialitaly.com

    Exemple, Turin :

    #Cagliari #Bolzano #Florence #Firenze #Roma #Rome #Turin #Torino #Trieste #Venise #Venezia #cartographie #héritage #colonialisme #colonialisme_italien #Italie_coloniale #traces #villes #cartographie_participative
    #TRUST #Master_TRUST

    ping @cede @postcolonial

    –---

    ajouté à la métaliste sur le colonialisme italien :
    https://seenthis.net/messages/871953

  • Rapid Response : Decolonizing Italian Cities

    Anti-racism is a battle for memory. Enzo Traverso well underlined how statues brought down in the last year show “the contrast between the status of blacks and postcolonial subjects as stigmatised and brutalised minorities and the symbolic place given in the public space to their oppressors”.

    Material traces of colonialism are in almost every city in Italy, but finally streets, squares, monuments are giving us the chance to start a public debate on a silenced colonial history.

    Igiaba Scego, Italian writer and journalist of Somali origins, is well aware of the racist and sexist violence of Italian colonialism and she points out the lack of knowledge on colonial history.

    “No one tells Italian girls and boys about the squad massacres in Addis Ababa, the concentration camps in Somalia, the gases used by Mussolini against defenseless populations. There is no mention of Italian apartheid (…), segregation was applied in the cities under Italian control. In Asmara the inhabitants of the village of Beit Mekae, who occupied the highest hill of the city, were chased away to create the fenced field, or the first nucleus of the colonial city, an area off-limits to Eritreans. An area only for whites. How many know about Italian apartheid?” (Scego 2014, p. 105).

    In her book, Roma negata. Percorsi postcoloniali nella città (2014), she invites us to visually represent the historical connections between Europe and Africa, in creative ways; for instance, she worked with photographer Rino Bianchi to portray Afro-descendants in places marked by fascism such as Cinema Impero, Palazzo della Civiltà Italiana and Dogali’s stele in Rome.

    Inspired by her book, we decided to go further, giving life to ‘Decolonizing the city. Visual Dialogues in Padova’. Our goal was to question ourselves statues and street names in order to challenge the worldviews and social hierarchies that have made it possible to celebrate/forget the racist and sexist violence of colonialism. The colonial streets of Padova have been re-appropriated by the bodies, voices and gazes of six Italian Afro-descendants who took part in a participatory video, taking urban traces of colonialism out of insignificance and re-signifying them in a creative way.

    Wissal Houbabi, artist “daughter of the diaspora and the sea in between“, moves with the soundtrack by Amir Issa Non respiro (2020), leaving her poetry scattered between Via Cirenaica and Via Libia.

    “The past is here, insidious in our minds, and the future may have passed.

    The past is here, even if you forget it, even if you ignore it, even if you do everything to deny the squalor of what it was, the State that preserves the status of frontiers and jus sanguinis.

    If my people wanted to be free one day, even destiny would have to bend”.

    Cadigia Hassan shares the photos of her Italian-Somali family with a friend of hers and then goes to via Somalia, where she meets a resident living there who has never understood the reason behind the name of that street. That’s why Cadigia has returned to via Somalia: she wants to leave traces of herself, of her family history, of historical intertwining and to make visible the important connections that exist between the two countries.

    Ilaria Zorzan questions the colonial past through her Italo-Eritrean family photographic archive. The Italians in Eritrea made space, building roads, cableways, railways, buildings… And her grandfather worked as a driver and transporter, while her Eritrean grandmother, before marrying her grandfather, had been his maid. Ilaria conceals her face behind old photographs to reveal herself in Via Asmara through a mirror.

    Emmanuel M’bayo Mertens is an activist of the Arising Africans association. In the video we see him conducting a tour in the historic center of Padova, in Piazza Antenore, formerly Piazza 9 Maggio. Emmanuel cites the resolution by which the municipality of Padova dedicated the square to the day of the “proclamation of the empire” by Mussolini (1936). According to Emmanuel, fascism has never completely disappeared, as the Italian citizenship law mainly based on jus sanguinis shows in the racist idea of ​​Italianness transmitted ‘by blood’. Instead, Italy is built upon migration processes, as the story of Antenor, Padova’s legendary founder and refugee, clearly shows.

    Mackda Ghebremariam Tesfau’ questions the colonial map in Piazza delle Erbe where Libya, Albania, Ethiopia and Eritrea are marked as part of a white empire. She says that if people ignore this map it is because Italy’s colonial history is ignored. Moreover, today these same countries, marked in white on the map, are part of the Sub-saharan and Mediterranean migrant routes. Referring then to the bilateral agreements between Italy and Libya to prevent “irregular migrants” from reaching Europe, she argues that neocolonialism is alive. Quoting Aimé Césaire, she declares that “Europe is indefensible”.

    The video ends with Viviana Zorzato, a painter of Eritrean origin. Her house, full of paintings inspired by Ethiopian iconography, overlooks Via Amba Aradam. Viviana tells us about the ‘Portrait of a N-word Woman’, which she has repainted numerous times over the years. Doing so meant taking care of herself, an Afro-descendant Italian woman. Reflecting on the colonial streets she crosses daily, she argues that it is important to know the history but also to remember the beauty. Amba Alagi or Amba Aradam cannot be reduced to colonial violence, they are also names of mountains, and Viviana possesses a free gaze that sees beauty. Like Giorgio Marincola, Viviana will continue to “feel her homeland as a culture” and she will have no flags to bow her head to.

    The way in which Italy lost the colonies – that is with the fall of fascism instead of going through a formal decolonization process – prevented Italy from being aware of the role it played during colonialism. Alessandra Ferrini, in her ‘Negotiating amnesia‘,refers to an ideological collective amnesia: the sentiment of an unjust defeat fostered a sense of self-victimisation for Italians, removing the responsibility from them as they portrayed themselves as “brava gente” (good people). This fact, as scholars such as Nicola Labanca have explained, has erased the colonial period from the collective memory and public sphere, leaving colonial and racist culture in school textbooks, as the historian Gianluca Gabrielli (2015) has shown.

    This difficulty in coming to terms with the colonial past was clearly visible in the way several white journalists and politicians reacted to antiracist and feminist movements’ request to remove the statue of journalist Indro Montanelli in Milan throughout the BLM wave. During the African campaign, Montanelli bought the young 12-year-old-girl “Destà” under colonial concubinage (the so‑called madamato), boasting about it even after being accused by feminist Elvira Banotti of being a rapist. The issue of Montanelli’s highlights Italy’s need to think critically over not only colonial but also race and gender violence which are embedded in it.

    Despite this repressed colonial past, in the last decade Italy has witnessed a renewed interest stemming from bottom-up local movements dealing with colonial legacy in the urban space. Two examples are worth mentioning: Resistenze in Cirenaica (Resistances in Cyrenaica) in Bologna and the project “W Menilicchi!” (Long live Menilicchi) in Palermo. These instances, along with other contributions were collected in the Roots§Routes 2020 spring issue, “Even statues die”.

    Resistenze in Cirenaica has been working in the Cyrenaica neighbourhood, named so in the past due to the high presence of colonial roads. In the aftermath of the second world war the city council decided unanimously to rename the roads carrying fascist and colonial street signs (except for via Libya, left as a memorial marker) with partisans’ names, honouring the city at the centre of the resistance movement during the fascist and Nazi occupation. Since 2015, the collective has made this place the centre of an ongoing laboratory including urban walks, readings and storytelling aiming to “deprovincialize resistances”, considering the battles in the ex-colonies as well as in Europe, against the nazi-fascist forces, as antiracist struggles. The publishing of Quaderni di Cirene (Cyrene’s notebooks) brought together local and overseas stories of people who resisted fascist and colonial occupation, with the fourth book addressing the lives of fighter and partisan women through a gender lens.

    In October 2018, thanks to the confluence of Wu Ming 2, writer and storyteller from Resistenze in Cirenaica, and the Sicilian Fare Ala collective, a public urban walk across several parts of the city was organized, with the name “Viva Menilicchi!”. The itinerary (19 kms long) reached several spots carrying names of Italian colonial figures and battles, explaining them through short readings and theatrical sketches, adding road signs including stories of those who have been marginalized and exploited. Significantly, W Menilicchi! refers to Palermitan socialists and communists’ battle cry supporting king Menelik II who defeated the Italian troops in Aduwa in 1896, thus establishing a transnational bond among people subjected to Italian invasion (as Jane Schneider explores in Italy’s ‘Southern Question’: Orientalism in One Country, South Italy underwent a socio-economic occupation driven by imperial/colonial logics by the north-based Kingdom of Italy) . Furthermore, the urban walk drew attention to the linkage of racist violence perpetrated by Italians during colonialism with the killings of African migrants in the streets of Palermo, denouncing the white superiority on which Italy thrived since its birth (which run parallel with the invasion of Africa).

    These experiences of “odonomastic guerrillas” (street-name activists) have found creative ways of decolonising Italian history inscribed in cities, being aware that a structural change requires not only time but also a wide bottom-up involvement of inhabitants willing to deal with the past. New alliances are developing as different groups network and coordinate in view of several upcoming dates, such as February 19th, which marks the anniversary of the massacre of Addis Ababa which occurred in 1937 at the hands of Italian viceroy Rodolfo Graziani.

    References:
    Gabrielli G. (2015), Il curriculo “razziale”: la costruzione dell’alterità di “razza” e coloniale nella scuola italiana (1860-1950), Macerata: Edizioni Università di Macerata.
    Labanca, N. (2002) Oltremare. Storia dell’espansione coloniale italiana, Bologna: Il Mulino.
    Scego, I. (2014) Roma negata. Percorsi postcoloniali nella città, Roma: Ediesse.
    Schneider J (ed.) (1998) Italy’s ‘Southern Question’: Orientalism in One Country, London: Routledge.

    https://archive.discoversociety.org/2021/02/06/rapid-response-decolonizing-italian-cities

    #décolonisation #décolonial #colonialisme #traces_coloniales #Italie #Italie_coloniale #colonialisme_italien #statues #Padova #Padoue #afro-descendants #Cadigia_Hassan #via_Somalia #Ilaria_Zorzan #Emmanuel_M’bayo_Mertens #Mackda_Ghebremariam_Tesfau #Piazza_delle_erbe #Viviana_Zorzato #Via_Amba_Aradam #Giorgio_Marincola #Alessandra_Ferrini

    ping @postcolonial @cede

    –—

    ajouté à la métaliste sur l’Italie coloniale :
    https://seenthis.net/messages/871953

    • #Negotiating_Amnesia

      Negotiating Amnesia is an essay film based on research conducted at the Alinari Archive and the National Library in Florence. It focuses on the Ethiopian War of 1935-36 and the legacy of the fascist, imperial drive in Italy. Through interviews, archival images and the analysis of high-school textbooks employed in Italy since 1946, the film shifts through different historical and personal anecdotes, modes and technologies of representation.

      https://vimeo.com/429591146?embedded=true&source=vimeo_logo&owner=3319920



      https://www.alessandraferrini.info/negotiating-amnesia

      En un coup d’oeil, l’expansion coloniale italienne :

      #amnésie #film #fascisme #impérialisme #Mussolini #Benito_Mussolini #déni #héritage #mémoire #guerre #guerre_d'Ethiopie #violence #Istrie #photographie #askaris #askari #campagna_d'Africa #Tito_Pittana #Mariano_Pittana #mémoire #prostitution #madamato #madamisme #monuments #Romano_Romanelli #commémoration #mémoriel #Siracusa #Syracuse #nostalgie #célébration #Axum #obélisque #Nuovo_Impero_Romano #Affile #Rodolfo_Graziani #Pietro_Badoglio #Uomo_Nuovo #manuels_scolaires #un_posto_al_sole #colonialismo_straccione #italiani_brava_gente #armes_chimiques #armes_bactériologiques #idéologie

    • My Heritage ?

      My Heritage? (2020) is a site-specific intervention within the vestibule of the former Casa d’Italia in Marseille, inaugurated in 1935 and now housing the Italian Cultural Institute. The installation focuses on the historical and ideological context that the building incarnates: the intensification of Fascist imperial aspirations that culminated in the fascistization of the Italian diaspora and the establishment of the Empire in 1936, as a result of the occupation of Ethiopia. As the League of Nations failed to intervene in a war involving two of its members, the so-called Abyssinian Crisis gave rise to a series of conflicts that eventually led to the WW2: a ‘cascade effect’. On the other hand, the attack on the ‘black man’s last citadel’ (Ras Makonnen), together with the brutality of Italian warfare, caused widespread protests and support to the Ethiopian resistance, especially from Pan-African movements.

      Placed by the entrance of the exhibition Rue d’Alger, it includes a prominent and inescapable sound piece featuring collaged extracts from texts by members of the London-based Pan-African association International African Friends of Ethiopia - CLR James, Ras Makonnen, Amy Ashwood Garvey - intertwined with those of British suffragette Sylvia Pankhurst and Italian anarchist Silvio Corio, founders of the newspaper New Times and Ethiopian News in London.

      Through handwritten notes and the use of my own voice, the installation is a personal musing on heritage as historical responsibility, based on a self-reflective process. My voice is used to highlight such personal process, its arbitrary choice of sources (related to my position as Italian migrant in London), almost appropriated here as an act of thinking aloud and thinking with these militant voices. Heritage is therefore intended as a choice, questioning its nationalist uses and the everlasting and catastrophic effects of Fascist foreign politics. With its loudness and placement, it wishes to affect the visitors, confronting them with the systemic violence that this Fascist architecture outside Italy embodies and to inhibit the possibility of being seduced by its aesthetic.



      https://www.alessandraferrini.info/my-heritage

      #héritage

    • "Decolonizziamo le città": il progetto per una riflessione collettiva sulla storia coloniale italiana

      Un video dal basso in cui ogni partecipante produce una riflessione attraverso forme artistiche differenti, come l’arte figurativa, la slam poetry, interrogando questi luoghi e con essi “noi” e la storia italiana

      Via Eritrea, Viale Somalia, Via Amba Aradam, via Tembien, via Adua, via Agordat. Sono nomi di strade presenti in molte città italiane che rimandano al colonialismo italiano nel Corno d’Africa. Ci passiamo davanti molto spesso senza sapere il significato di quei nomi.

      A Padova è nato un progetto che vuole «decolonizzare la città». L’idea è quella di realizzare un video partecipativo in cui ogni partecipante produca una riflessione attraverso forme artistiche differenti, come l’arte figurativa, la slam poetry, interrogando questi luoghi e con essi “noi” e la storia italiana. Saranno coinvolti gli studenti del laboratorio “Visual Research Methods”, nel corso di laurea magistrale “Culture, formazione e società globale” dell’Università di Padova e artisti e attivisti afrodiscendenti, legati alla diaspora delle ex-colonie italiane e non.

      «Stavamo preparando questo laboratorio da marzo», racconta Elisabetta Campagni, che si è laureata in Sociologia a marzo 2020 e sta organizzando il progetto insieme alla sua ex relatrice del corso di Sociologia Visuale Annalisa Frisina, «già molto prima che il movimento Black Lives Matter riportasse l’attenzione su questi temi».

      Riscrivere la storia insieme

      «Il dibattito sul passato coloniale italiano è stato ampiamente ignorato nei dibattiti pubblici e troppo poco trattato nei luoghi di formazione ed educazione civica come le scuole», si legge nella presentazione del laboratorio, che sarà realizzato a partire dall’autunno 2020. «C’è una rimozione grandissima nella nostra storia di quello che ricordano questi nomi, battaglie, persone che hanno partecipato a massacri nelle ex colonie italiane. Pochi lo sanno. Ma per le persone che arrivano da questi paesi questi nomi sono offensivi».

      Da qui l’idea di riscrivere una storia negata, di «rinarrare delle vicende che nascondono deportazioni e uccisioni di massa, luoghi di dolore, per costruire narrazioni dove i protagonisti e le protagoniste sono coloro che tradizionalmente sono stati messi a tacere o sono rimasti inascoltati», affermano le organizzatrici.

      Le strade «rinarrate»

      I luoghi del video a Padova saranno soprattutto nella zona del quartiere Palestro, dove c’è una grande concentrazione di strade con nomi che rimandano al colonialismo. Si andrà in via Amba Aradam, il cui nome riporta all’altipiano etiope dove nel febbraio 1936 venne combattuta una battaglia coloniale dove gli etiopi vennero massacrati e in via Amba Alagi.

      Una tappa sarà nell’ex piazza Pietro Toselli, ora dedicata ai caduti della resistenza, che ci interroga sul legame tra le forme di resistenza al fascismo e al razzismo, che unisce le ex-colonie all’Italia. In Italia il dibattito si è concentrato sulla statua a Indro Montanelli, ma la toponomastica che ricorda il colonialismo è molta e varia. Oltre alle strade, sarà oggetto di discussione la mappa dell’impero coloniale italiano situata proprio nel cuore della città, in Piazza delle Erbe, ma che passa spesso inosservata.

      Da un’idea di Igiaba Scego

      Come ci spiega Elisabetta Campagni, l’idea nasce da un libro di Igiaba Scego che anni fa ha pubblicato alcune foto con afrodiscendenti che posano davanti ai luoghi che celebrano il colonialismo a Roma come la stele di Dogali, vicino alla stazione Termini, in viale Luigi Einaudi.

      Non è il primo progetto di questo tipo: il collettivo Wu Ming ha lanciato la guerriglia odonomastica, con azioni e performance per reintitolare dal basso vie e piazze delle città o aggiungere informazioni ai loro nomi per cambiare senso all’intitolazione. La guerriglia è iniziata a Bologna nel quartiere della Cirenaica e il progetto è stato poi realizzato anche a Palermo. Un esempio per il laboratorio «Decolonizzare la città» è stato anche «Berlin post colonial», l’iniziativa nata da anni per rititolare le strade e creare percorsi di turismo consapevole.

      Il progetto «Decolonizzare la città» sta raccogliendo i voti sulla piattaforma Zaalab (https://cinemavivo.zalab.org/progetti/decolonizzare-la-citta-dialoghi-visuali-a-padova), con l’obiettivo di raccogliere fondi per la realizzazione del laboratorio.

      https://it.mashable.com/cultura/3588/decolonizziamo-le-citta-il-progetto-per-una-riflessione-collettiva-sull

      #histoire_niée #storia_negata #récit #contre-récit

    • Decolonizzare la città. Dialoghi Visuali a Padova

      Descrizione

      Via Amba Alagi, via Tembien, via Adua, via Agordat. Via Eritrea, via Libia, via Bengasi, via Tripoli, Via Somalia, piazza Toselli… via Amba Aradam. Diversi sono i nomi di luoghi, eventi e personaggi storici del colonialismo italiano in città attraversate in modo distratto, senza prestare attenzione alle tracce di un passato che in realtà non è ancora del tutto passato. Che cosa significa la loro presenza oggi, nello spazio postcoloniale urbano? Se la loro origine affonda le radici in un misto di celebrazione coloniale e nazionalismo, per capire il significato della loro permanenza si deve guardare alla società contemporanea e alle metamorfosi del razzismo.

      Il dibattito sul passato coloniale italiano è stato ampiamente ignorato nei dibattiti pubblici e troppo poco trattato nei luoghi di formazione ed educazione civica come le scuole. L’esistenza di scritti, memorie biografiche e racconti, pur presente in Italia, non ha cambiato la narrazione dominante del colonialismo italiano nell’immaginario pubblico, dipinto come una breve parentesi storica che ha portato civiltà e miglioramenti nei territori occupati (“italiani brava gente”). Tale passato, però, è iscritto nella toponomastica delle città italiane e ciò ci spinge a confrontarci con il significato di tali vie e con la loro indiscussa presenza. Per questo vogliamo partire da questi luoghi, e in particolare da alcune strade, per costruire una narrazione dal basso che sia frutto di una ricerca partecipata e condivisa, per decolonizzare la città, per reclamare una lettura diversa e critica dello spazio urbano e resistere alle politiche che riproducono strutture (neo)coloniali di razzializzazione degli “altri”.

      Il progetto allora intende sviluppare una riflessione collettiva sulla storia coloniale italiana, il razzismo, l’antirazzismo, la resistenza di ieri e di oggi attraverso la realizzazione di un video partecipativo.

      Esso è organizzato in forma laboratoriale e vuole coinvolgere studenti/studentesse del laboratorio “Visual Research Methods” (corso di laurea magistrale “Culture, formazione e società globale”) dell’Università di Padova e gli/le artisti/e ed attivisti/e afrodiscendenti, legati alla diaspora delle ex-colonie italiane e non.

      Il progetto si propone di creare una narrazione visuale partecipata, in cui progettazione, riprese e contenuti siano discussi in maniera orizzontale e collaborativa tra i e le partecipanti. Gli/Le attivisti/e e artisti/e afrodiscendenti con i/le quali studenti e studentesse svolgeranno le riprese provengono in parte da diverse città italiane e in parte vivono a Padova, proprio nel quartiere in questione. Ognuno/a di loro produrrà insieme agli studenti e alle studentesse una riflessione attraverso forme artistiche differenti (come l’arte figurativa, la slam poetry…), interrogando tali luoghi e con essi “noi” e la storia italiana. I partecipanti intrecciano così le loro storie personali e familiari, la storia passata dell’Italia e il loro attivismo quotidiano, espresso con l’associazionismo o con diverse espressioni artistiche (Mackda Ghebremariam Tesfaù, Wissal Houbabi, Theophilus Marboah, Cadigia Hassan, Enrico e Viviana Zorzato, Ilaria Zorzan, Ada Ugo Abara ed Emanuel M’bayo Mertens di Arising Africans). I processi di discussione, scrittura, ripresa, selezione e montaggio verranno documentati attraverso l’utilizzo di foto e filmati volti a mostrare la meta-ricerca, il processo attraverso cui viene realizzato il video finale, e le scelte, di contenuto e stilistiche, negoziate tra i diversi attori. Questi materiali verranno condivisi attraverso i canali online, con il fine di portare a tutti coloro che sostengono il progetto una prima piccola restituzione che renda conto dello svolgimento del lavoro.

      Le strade sono un punto focale della narrazione: oggetto dei discorsi propagandistici di Benito Mussolini, fulcro ed emblema del presunto e mitologico progetto di civilizzazione italiana in Africa, sono proprio le strade dedicate a luoghi e alle battaglie dove si sono consumate le atrocità italiane che sono oggi presenze fisiche e allo stesso tempo continuano ad essere invisibilizzate; e i nomi che portano sono oggi largamente dei riferimenti sconosciuti. Ripercorrere questi luoghi fisici dando vita a dialoghi visuali significa riappropriarsi di una storia negata, rinarrare delle vicende che nascondono deportazioni e uccisioni di massa, luoghi di dolore, per costruire narrazioni dove i protagonisti e le protagoniste sono coloro che tradizionalmente sono stati messi a tacere o sono rimasti inascoltati.

      La narrazione visuale partirà da alcuni luoghi – come via Amba Aradam e via lago Ascianghi – della città di Padova intitolati alla storia coloniale italiana, in cui i protagonisti e le protagoniste del progetto daranno vita a racconti e performances artistiche finalizzate a decostruire la storia egemonica coloniale, troppo spesso edulcorata e minimizzata. L’obiettivo è quello di favorire il prodursi di narrazioni dal basso, provenienti dalle soggettività in passato rese marginali e che oggi mettono in scena nuove narrazioni resistenti. La riappropriazione di tali luoghi, fisica e simbolica, è volta ad aprire una riflessione dapprima all’interno del gruppo e successivamente ad un pubblico esterno, al fine di coinvolgere enti, come scuole, associazioni e altre realtà che si occupano di questi temi sul territorio nazionale. Oltre alle strade, saranno oggetto di discussione la mappa dell’impero coloniale italiano situata proprio nel cuore della città, in Piazza delle Erbe, e l’ex piazza Toselli, ora dedicata ai caduti della resistenza, che ci interroga sul legame tra le forme di resistenza al fascismo e al razzismo, che unisce le ex-colonie all’Italia.

      Rinarrare la storia passata è un impegno civile e politico verso la società contemporanea. Se anche oggi il razzismo ha assunto nuove forme, esso affonda le sue radici nella storia nazionale e coloniale italiana. Questa storia va rielaborata criticamente per costruire nuove alleanze antirazziste e anticolonialiste.

      Il video partecipativo, ispirato al progetto “Roma Negata” della scrittrice Igiaba Scego e di Rino Bianchi, ha l’obiettivo di mostrare questi luoghi attraverso narrazioni visuali contro-egemoniche, per mettere in discussione una storia ufficiale, modi di dire e falsi miti, per contribuire a dare vita ad una memoria critica del colonialismo italiano e costruire insieme percorsi riflessivi nuovi. Se, come sostiene Scego, occupare uno spazio è un grido di esistenza, con il nostro progetto vogliamo affermare che lo spazio può essere rinarrato, riletto e riattraversato.

      Il progetto vuole porsi in continuità con quanto avvenuto sabato 20 giugno, quando a Padova, nel quartiere Palestro, si è tenuta una manifestazione organizzata dall’associazione Quadrato Meticcio a cui hanno aderito diverse realtà locali, randunatesi per affermare la necessita’ di decolonizzare il nostro sguardo. Gli interventi che si sono susseguiti hanno voluto riflettere sulla toponomastica coloniale del quartiere Palestro, problematizzandone la presenza e invitando tutti e tutte a proporre alternative possibili.

      https://cinemavivo.zalab.org/progetti/decolonizzare-la-citta-dialoghi-visuali-a-padova

      https://www.youtube.com/watch?v=axEa6By9PIA&t=156s

  • Portrait du colonialiste. L’#effet_boomerang de sa #violence et de ses #destructions

    Les #ravages insoupçonnés du colonialisme


    Nous rééditons, à l’automne 2021, le livre de Jérémie Piolat intitulé Portrait du colonialiste, augmenté d’un avant-propos de l’auteur et d’une préface de Grace Ly. Ce court essai part du constat d’une disparition des pratiques culturelles populaires, notamment des chants et des danses dans le monde occidental, et plus particulièrement en France. En reprenant à son compte le titre du fameux livre d’Albert Memmi, Portrait du colonisé, Jérémie Piolat s’inscrit dans cette tradition intellectuelle critique de la colonisation et de son héritage. À travers une succession de récits à cheval entre la philosophie et l’anthropologie, Piolat dissèque les ravages contemporains de ladite colonisation comme de la figure de l’occidentalisé, cet « être tissé de manques », entravé par un passé mythifié.

    « Il appartient désormais à chacun de percevoir ce qui lui a été ôté et de quelle manière il pourrait commencer à retrouver ce dont il a été privé depuis si longtemps et qui le rend si indifférent face aux nouvelles menaces qui pèsent aujourd’hui sur toute l’humanité. »

    Une réflexion passionnante sur les #ambivalences de la modernité et le poids de l’#héritage_colonial.

    « Le livre de Jérémie Piolat est une œuvre complexe. Il touche plusieurs sensibilités disciplinaires, notamment dans les sciences sociales. (…) En 2005, le projet de loi des Députés de la droite française, qui voulait imposer aux historiens l’enseignement des pages positives de la colonisation, nous amène à comprendre que la réflexion sur la colonisation n’était déjà plus l’apanage des seuls historiens. Avec l’ouvrage de Jérémie Piolat, elle nous concerne encore plus. Son travail interpelle plus que jamais les historiens. D’un récit à un autre, nous sommes les acteurs et les spectateurs des scènes du quotidien. Sommes-nous des victimes de la colonisation ? »

    https://www.editionslibre.org/produit/portrait-du-colonialiste-jeremie-piolat-leffet-boomerang-de-sa-violen
    #livre #colonialisme
    #Jérémie_Piolat

    ping @karine4 @cede @postcolonial

  • Israel’s archaeological war on Palestinian cultural heritage
    Yara Hawari - 18 March, 2022

    https://english.alaraby.co.uk/analysis/israels-archaeological-war-palestinian-cultural-heritage

    Scattered along the unassuming beaches of Gaza, buried under the rubble and destruction of Israel’s bombs, lie several extraordinary archaeological sites dating all the way back to the Iron age.

    Now, a new investigation by the research group Forensic Architecture details how Israel has deliberately targeted archaeological sites in the besieged Gaza strip in a blatant attack on Palestinian cultural heritage.

    Over successive bombing campaigns, these sites along Gaza’s coastline, which include a Roman era fountain and an Iron Age rampart, are now facing an “existential threat”. Working with journalists, archaeologists and activists from Gaza and beyond, Forensic Architecture has collated a wide range of evidence to map and reconstruct these sites. It’s being called a pioneering form of “open source archaeology” and has the potential to be a significant tool in the fight against cultural erasure. (...)

    #archéologie

  • Difficult Heritage

    The Royal Institute of Art in Stockholm and the University of Basel are collaborating in the organization of the international summer program Difficult Heritage. Coordinated by the Decolonizing Architecture Course from Sweden and the Critical Urbanism course from Switzerland, the program takes place at #Borgo_Rizza (Syracuse, Italy) from 30 August to 7 September 2021, in coordination with Carlentini Municipality, as well as the local university and associations.
    The program is constituted by a series of lectures, seminars, workshop, readings and site visits centered around the rural town of Borgo Rizza, build in 1940 by the ‘#Ente_della_colonizzazione’ established by the fascist regime to colonize the south of Italy perceived as backward and underdeveloped.
    The town seems a perfect place for participants to analyze, reflect and intervene in the debate regarding the architectural heritage associated to painful and violent memories and more broadly to problematize the colonial relation with the countryside, especially after the renew attention due the pandemic.
    The summer program takes place inside the former ‘entity of colonization’ and constitutes the first intensive study period for the Decolonizing Architecture Advanced Course 2020/21 participants.

    https://www.youtube.com/watch?v=x0jY9q1VR3E

    #mémoire #héritage #Italie #Sicile #colonialisme #Italie_du_Sud #fascisme #histoire #architecture #Libye #Borgo_Bonsignore #rénovation #monuments #esthétique #idéologie #tabula_rasa #modernisation #stazione_sperimentale_di_granicoltura #blé #agriculture #battaglia_del_grano #nationalisme #grains #productivité #propagande #auto-suffisance #alimentation #Borgo_Cascino #abandon #ghost-town #villaggio_fantasma #ghost_town #traces #conservation #spirale #décolonisation #défascistisation #Emilio_Distretti

    –-
    ajouté à la métaliste sur le colonialisme italien :
    https://seenthis.net/messages/871953

    via @cede qui l’a aussi signalé sur seenthis : https://seenthis.net/messages/953432

    • Architectural Demodernization as Critical Pedagogy: Pathways for Undoing Colonial Fascist Architectural Legacies in Sicily

      The Southern question

      In 1952, #Danilo_Dolci, a young architect living and working in industrial Milan, decided to leave the North – along with its dreams for Italy’s economic boom and rapid modernization – behind, and move to Sicily. When he arrived, as he describes in his book Banditi a Partinico (The Outlaws of Partinico, 1956), he found vast swathes of rural land brutally scarred by the war, trapped in a systematic spiral of poverty, malnutrition and anomie. After twenty years of authoritarian rule, Italy’s newly created democratic republic preserved the ‘civilising’ ethos established by the fascist regime, to develop and modernize Sicily. The effect of these plans was not to bridge the gap with the richer North, but rather, to usher in a slow and prolonged repression of the marginalised poor in the South. In his book, as well as in many other accounts, Dolci collected the testimonies of people in Partinico and Borgo di Trappeto near Trapani, western Sicily.1, Palermo: Sellerio Editore, 2009.] Living on the margins of society, they were rural labourers, unemployed fishermen, convicted criminals, prostitutes, widows and orphans – those who, in the aftermath of fascism, found themselves crushed by state violence and corruption, by the exploitation of local notables and landowners, and the growing power of the Mafia.

      Dolci’s activism, which consisted of campaigns and struggles with local communities and popular committees aimed at returning dignity to their villages, often resulted in confrontations with the state apparatus. Modernization, in this context, relied on a carceral approach of criminalisation, policing and imprisonment, as a form of domestication of the underprivileged. On the one hand, the South was urged to become like the North, yet on the other, the region was thrown further into social decay, which only accelerated its isolation from the rest of the country.

      The radical economic and social divide between Italy’s North and South has deep roots in national history and in the colonial/modern paradigm. From 1922, Antonio Gramsci branded this divide as evidence of how fascism exploited the subaltern classes via the Italian northern elites and their capital. Identifying a connection with Italy’s colonisation abroad, Gramsci read the exploitation of poverty and migrant labour in the colonial enterprise as one of ‘the wealthy North extracting maximum economic advantage out of the impoverished South’.2 Since the beginning of the colonisation of Libya in 1911, Italian nationalist movements had been selling the dream of a settler colonial/modern project that would benefit the underprivileged masses of southern rural laborers.

      The South of Italy was already considered an internal colony in need of modernization. This set the premise of what Gramsci called Italy’s ‘Southern question’, with the southern subalterns being excluded from the wider class struggle and pushed to migrate towards the colonies and elsewhere.3 By deprovincialising ‘the Southern question’ and connecting it to the colonial question, Gramsci showed that the struggle against racialised and class-based segregation meant thinking beyond colonially imposed geographies and the divide between North and South, cities and countryside, urban labourers and peasants.

      Gramsci’s gaze from the South can help us to visualise and spatialise the global question of colonial conquest and exploitation, and its legacy of an archipelago of colonies scattered across the North/South divide. Written in the early 1920s but left incomplete, Gramsci’s The Southern Question anticipated the colonizzazione interna (internal colonization) of fascism, motivated by a capital-driven campaign for reclaiming arable land that mainly effected Italy’s rural South. Through a synthesis of monumentalism, technological development and industrial planning, the fascist regime planned designs for urban and non-urban reclamation, in order to inaugurate a new style of living and to celebrate the fascist settler. This programme was launched in continuation of Italy’s settler colonial ventures in Africa.

      Two paths meet under the roof of the same project – that of modernization.

      Architectural colonial modernism

      Architecture has always played a crucial role in representing the rationality of modernity, with all its hierarchies and fascist ramifications. In the Italian context, this meant a polymorphous and dispersed architecture of occupation – new settlements, redrawn agricultural plots and coerced migration – which was arranged and constructed according to modern zoning principles and a belief in the existence of a tabula rasa. As was the case with architectural modernism on a wider scale, this was implemented through segregation and erasure, under the principle that those deemed as non-modern should be modernized or upgraded to reach higher stages of civilisation. The separation in the African colonies of white settler enclaves from Indigenous inhabitants was mirrored in the separation between urban and rural laborers in the Italian South. These were yet another manifestation of the European colonial/modern project, which for centuries has divided the world into different races, classes and nations, constructing its identity in opposition to ‘other’ ways of life, considered ‘traditional’, or worse, ‘backwards’. This relation, as unpacked by decolonial theories and practices, is at the core of the European modernity complex – a construct of differentiations from other cultures, which depends upon colonial hegemony.

      Taking the decolonial question to the shores of Europe today means recognising all those segregations that also continue to be perpetuated across the Northern Hemisphere, and that are the product of the unfinished modern and modernist project. Foregrounding the impact of the decolonial question in Europe calls for us to read it within the wider question of the ‘de-modern’, beyond colonially imposed geographical divides between North and South. We define ‘demodernization’ as a condition that wants to undo the rationality of zoning and compartmentalisation enforced by colonial modern architecture, territorialisation and urbanism. Bearing in mind what we have learned from Dolci and Gramsci, we will explain demodernization through architectural heritage; specifically, from the context of Sicily – the internal ‘civilisational’ front of the Italian fascist project.

      Sicily’s fascist colonial settlements

      In 1940, the Italian fascist regime founded the Ente di Colonizzazione del Latifondo Siciliano (ECLS, Entity for the Colonization of the Sicilian Latifondo),4 following the model of the Ente di Colonizzazione della Libia and of colonial urban planning in Eritrea and Ethiopia. The entity was created to reform the latifondo, the predominant agricultural system in southern Italy for centuries. This consisted of large estates and agricultural plots owned by noble, mostly absentee, landlords. Living far from their holdings, these landowners used local middlemen and hired thugs to sublet to local peasants and farmers who needed plots of land for self-sustenance.5 Fascism sought to transform this unproductive, outdated and exploitative system, forcing a wave of modernization. From 1940 to 1943, the Ente built more than 2,000 homesteads and completed eight settlements in Sicily. These replicated the structures and planimetries that were built throughout the 1930s in the earlier bonifica integrale (land reclamation) of the Pontine Marshes near Rome, in Libya and in the Horn of Africa; the same mix of piazzas, schools, churches, villas, leisure centres, monuments, and a Casa del Fascio (fascist party headquarters). In the name of imperial geographical unity, from the ‘centre’ to the ‘periphery’, many of the villages built in Sicily were named after fascist ‘martyrs’, soldiers and settlers who had died in the overseas colonies. For example, Borgo Bonsignore was named after a carabinieri (military officer) who died in the Battle of Gunu Gadu in 1936, and Borgo Fazio and Borgo Giuliano after Italian settlers killed by freedom fighters in occupied Ethiopia.

      The reform of the latifondo also sought to implement a larger strategy of oppression of political dissent in Italy. The construction of homesteads in the Sicilian countryside and the development of the land was accompanied by the state-driven migration of northern labourers, which also served the fascist regime as a form of social surveillance. The fascists wanted to displace and transform thousands of rural laborers from the North – who could otherwise potentially form a stronghold of dissent against the regime – into compliant settlers.6 Simultaneously, and to complete the colonizing circle, many southern agricultural workers were sent to coastal Libya and the Horn of Africa to themselves become new settlers, at the expense of Indigenous populations.

      All the Sicilian settlements were designed following rationalist principles to express the same political and social imperatives. Closed communities like the Pontine settlements were ‘geometrically closed in the urban layout and administratively closed to farmers, workmen, and outside visitors as well’.7 With the vision of turning waged agrarian laborers into small landowners, these borghi were typologically designed as similar to medieval city enclaves, which excluded those from the lower orders.

      These patterns of spatial separation and social exclusion were, unsurprisingly, followed by the racialisation of the Italian southerners. Referring to a bestiary, the propaganda journal Civiltà Fascista (Fascist Civilisation) described the Pontine Marshes as similar to ‘certain zones of Africa and America’, ‘a totally wild region’ whose inhabitants were ‘desperate creatures living as wild animals’.8 Mussolini’s regime explicitly presented this model of modernization, cultivation and drainage to the Italian public as a form of warfare. The promise of arable land and reclaimed marshes shaped an epic narrative which depicted swamps and the ‘unutilised’ countryside as the battlefield where bare nature – and its ‘backward inhabitants’ – was the enemy to be tamed and transformed.

      However, despite the fanfare of the regime, both the projects of settler colonialism in Africa and the plans for social engineering and modernization in the South of Italy were short-lived. As the war ended, Italy ‘lost’ its colonies and the many Ente were gradually reformed or shut down.9 While most of the New Towns in the Pontine region developed into urban centres, most of the fascist villages built in rural Sicily were meanwhile abandoned to a slow decay.

      Although that populationist model of modernization failed, the Sicilian countryside stayed at the centre of the Italian demographic question for decades to come. Since the 1960s, these territories have experienced a completely different kind of migration to that envisaged by the fascist regime. Local youth have fled unemployment in huge numbers, migrating to the North of Italy and abroad. With the end of the Second World War and the colonies’ return to independence, it was an era of reversed postcolonial migration: no longer white European settlers moving southwards/eastwards, but rather a circulatory movement of people flowing in other directions, with those now freed from colonial oppression taking up the possibility to move globally. Since then, a large part of Sicily’s agrarian sector has relied heavily on seasonal migrant labour from the Southern Hemisphere and, more recently, from Eastern Europe. Too often trapped in the exploitative and racist system of the Italian labour market, most migrants working in areas of intensive agriculture – in various Sicilian provinces near the towns of Cassibile, Vittoria, Campobello di Mazara, Caltanissetta and Paternò – have been forced out of cities and public life. They live isolated from the local population, socially segregated in tent cities or rural slums, and without basic services such as access to water and sanitation.

      As such, rural Sicily – as well as vast swathes of southern Italy – remain stigmatised as ‘insalubrious’ spaces, conceived of in the public imagination as ‘other’, ‘dangerous’ and ‘backward’. From the time of the fascist new settlements to the informal rural slums populated by migrants in the present, much of the Sicilian countryside epitomises a very modern trope: that the South is considered to be in dire need of modernization. The rural world is seen to constitute an empty space as the urban centres are unable to deal with the social, economic, political and racial conflicts and inequalities that have been (and continue to be) produced through the North/South divides. This was the case at the time of fascist state-driven internal migration and overseas settler colonial projects. And it still holds true for the treatment of migrants from the ex-colonies, and their attempted resettlement on Italian land today.

      Since 2007, Sicily’s right-wing regional and municipal governments have tried repeatedly to attain public funding for the restoration of the fascist settlements. While this program has been promoted as a nostalgic celebration of the fascist past, in the last decade, some municipalities have also secured EU funding for architectural restoration under the guise of creating ‘hubs’ for unhoused and stranded migrants and refugees. None of these projects have ever materialised, although EU money has financed the restoration of what now look like clean, empty buildings. These plans for renovation and rehousing echo Italy’s deepest populationist anxieties, which are concerned with managing and resettling ‘other’ people considered ‘in excess’. While the ECLS was originally designed to implement agrarian reforms and enable a flow of migration from the north of the country, this time, the Sicilian villages were seen as instrumental to govern unwanted migrants, via forced settlement and (an illusion of) hospitality. This reinforces a typical modern hierarchical relationship between North and South, and with that, exploitative metropolitan presumptions over the rural world.

      The Entity of Decolonization

      To imagine a counter-narrative about Sicily’s, and Italy’s, fascist heritage, we presented an installation for the 2020 Quadriennale d’arte – FUORI, as a Decolonizing Architecture Art Research (DAAR) project. This was held at the Palazzo delle Esposizioni in Rome, the venue of the Prima mostra internazionale d’arte coloniale (First International Exhibition of Colonial Art, 1931), as well as other propaganda exhibitions curated by the fascist regime. The installation aims to critically rethink the rural towns built by the ECLS. It marks the beginning of a longer-term collaborative project, the Ente di Decolonizzazione or Entity of Decolonization, which is conceived as a transformative process in history-telling. The installation builds on a photographic dossier of documentation produced by Luca Capuano, which reactivates a network of built heritage that is at risk of decay, abandonment and being forgotten. With the will to find new perspectives from which to consider and deconstruct the legacies of colonialism and fascism, the installation thinks beyond the perimeters of the fascist-built settlements to the different forms of segregations and division they represent. It moves from these contested spaces towards a process of reconstitution of the social, cultural and intimate fabrics that have been broken by modern splits and bifurcations. The project is about letting certain stories and subjectivities be reborn and reaffirmed, in line with Walter D. Mignolo’s statement that ‘re-existing means using the imaginary of modernity rather than being used by it. Being used by modernity means that coloniality operates upon you, controls you, forms your emotions, your subjectivity, your desires. Delinking entails a shift towards using instead of being used.’10 The Entity of Decolonization is a fluid and permanent process, that seeks perpetual manifestations in architectural heritage, art practice and critical pedagogy. The Entity exists to actively question and contest the modernist structures under which we continue to live.

      In Borgo Rizza, one of the eight villages built by the Ente, we launched the Difficult Heritage Summer School – a space for critical pedagogy and discussions around practices of reappropriation and re-narrativisation of the spaces and symbols of colonialism and fascism.11 Given that the villages were built to symbolise fascist ideology, how far is it possible to subvert their founding principles? How to reuse these villages, built to celebrate fascist martyrs and settlers in the colonial wars in Africa? How to transform them into antidotes to fascism?

      Borgo Rizza was built in 1940 by the architect Pietro Gramignani on a piece of land previously expropriated by the ECLS from the Caficis, a local family of landowners. It exhibits a mixed architectural style of rationalism and neoclassical monumentalism. The settlement is formed out of a perimeter of buildings around a central protected and secured piazza that was also the main access to the village. The main edifices representing temporal power (the fascist party, the ECLS, the military and the school) and spiritual power (the church) surround the centre of the piazza. To display the undisputed authority of the regime, the Casa del Fascio took centre stage. The village is surrounded on all sides by eucalyptus trees planted by the ECLS and the settlers. The planting of eucalyptus, often to the detriment of indigenous trees, was a hallmark of settler colonialism in Libya and the Horn of Africa, dubiously justified because their extensive roots dry out swamps and so were said to reduce risks of malaria.

      With the end of the Second World War, Borgo Rizza, along with all the other Sicilian settlements, went through rapid decay and decline. It first became a military outpost, before being temporarily abandoned in the war’s aftermath. In 1975, the ownership and management of the cluster of buildings comprising the village was officially transferred to the municipality of Carlentini, which has since made several attempts to revive it. In 2006, the edifices of the Ente di Colonizzazione and the post office were rehabilitated with the intent of creating a garden centre amid the lush vegetation. However, the garden centre was never realised, while the buildings and the rest of the settlement remain empty.

      Yet despite the village’s depopulation, over the years the wider community of Carlentini have found an informal way to reuse the settlement’s spaces. The void of the piazza, left empty since the fall of fascism, became a natural spot for socialising. The piazza was originally designed by the ECLS for party gatherings and to convey order and hierarchy to the local population. But many locals remember a time, in the early 1980s, before the advent of air-conditioned malls that offered new leisure spaces to those living in peri-urban and rural areas, when people would gather in the piazza for fresh air amid summer heatwaves. The summer school builds on these memories, to return the piazza to its full public function and reinvent it as a place for both hospitality and critical pedagogy.

      Let’s not forget that the village was first used as a pedagogical tool in the hands of the regime. The school building was built by the ECLS and was the key institution to reflect the principles of neo-idealism promoted by the fascist and neo-Hegelian philosophers Giovanni Gentile and Giuseppe Lombardo Radice. Radice was a pedagogue and theoretician who contributed significantly to the fascist reforms of the Italian school system in the 1930s. Under the influence of Gentile, his pedagogy celebrated the modern principle of a transcendental knowledge that is never individual but rather embodied by society, its culture, the party, the state and the nation. In the fascist ideal, the classroom was designed to be the space where students would strive to transcend themselves through acquired knowledge. A fascist education was meant to make pupils merge with the ‘universal’ embodied by the teacher, de facto the carrier of fascist national values. In relation to the countryside context, the role of pedagogy was to glorify the value of rurality as opposed to the decadence wrought by liberal bourgeois cultures and urban lifestyles. The social order of fascism revolved around this opposition, grounded in the alienation of the subaltern from social and political life, via the splitting of the urban and rural working class, the celebration of masculinity and patriarchy, and the traditionalist nuclear family of settlers.

      Against this historical background, our summer school wants to inspire a spatial, architectural and political divorce from this past. We want to engage with decolonial pedagogies and encourage others to do the same, towards an epistemic reorganisation of the building’s architecture. In this, we share the assertion of Danilo Dolci, given in relation to the example of elementary schools built in the fascist era, of the necessity for a liberation from the physical and mental cages erected by fascism:

      These seemed designed (and to a large extent their principles and legacies are still felt today) to let young individuals get lost from an early age. So that they would lose the sense of their own existence, by feeling the heavy weight of the institution that dominates them. These buildings were specifically made to prevent children from looking out, to make them feel like grains of sand, dispersed in these grey, empty, boundless spaces.12

      This is the mode of demodernization we seek in this project: to come to terms with, confront, and deactivate the tools and symbols of modern fascist colonization and authoritarian ideologies, pedagogy and urbanism. It is an attempt to fix the social fabric that fascism broke, to heal the histories of spatial, social and political isolation in which the village originates. Further, it is an attempt to heal pedagogy itself, from within a space first created as the pedagogical hammer in the hands of the regime’s propagandists.

      This means that when we look at the forms of this rationalist architecture, we do not feel any aesthetic pleasure in or satisfaction with the original version. This suggests the need to imagine forms of public preservation outside of the idea of saving the village via restoration, which would limit the intervention to returning the buildings to their ‘authentic’ rationalist design. Instead, the school wants to introduce the public to alternative modes of heritage-making.

      Architectural demodernization

      In the epoch in which we write and speak from the southern shores of Europe, the entanglement of demodernization with decolonization is not a given, and certainly does not imply an equation. While decolonization originates in – and is only genealogically possible as the outcome of – anti-colonialist struggles and liberation movements from imperial theft and yoke, demodernization does not relate to anti-modernism, which was an expression of reactionary, anti-technological and nationalist sentiment, stirred at the verge of Europe’s liberal collapse in the interwar period. As Dolci explained for the Italian and Sicilian context, there is no shelter to be found in any anachronistic escape to the (unreal and fictional) splendours of the past. Or, following Gramsci’s refusal to believe that the Italian South would find the solutions to its problems through meridionalism, a form of southern identitarian and essentialist regionalism, which further detaches ‘the Southern question’ from possible alliances with the North.

      Demodernization does not mean eschewing electricity and wiring, mortar and beams, or technology and infrastructure, nor the consequent welfare that they provide, channel and distribute. By opposing modernity’s aggressive universalism, demodernization is a means of opening up societal, collective and communal advancement, change and transformation. Precisely as Dolci explains, the question it is not about the negation of progress but about choosing which progress you want.13

      In the context in which we exist and work, imagining the possibility of an architectural demodernization is an attempt to redraw the contours of colonial architectural heritage, and specifically, to raise questions of access, ownership and critical reuse. We want to think of demodernization as a method of epistemic desegregation, which applies to both discourse and praxis: to reorient and liberate historical narratives on fascist architectural heritage from the inherited whiteness and ideas of civilisation instilled by colonial modernity, and to invent forms of architectural reappropriation and reuse. We hold one final aim in mind: that the remaking of (post)colonial geographies of knowledge and relations means turning such fascist designs against themselves.

      https://www.internationaleonline.org/research/decolonising_practices/208_architectural_demodernization_as_critical_pedagogy_pathway

      #Partinico #Borgo_di_Trappeto #Italie_du_Sud #Italie_meridionale #Southern_question #colonizzazione_interna #colonisation_interne #Ente_di_Colonizzazione_de_Latifondo_Siciliano (#ECLS) #Ente_di_Colonizzazione_della_Libia #modernisation #bonifica_integrale #Pontine_Marshes #Borgo_Bonsignore #Borgo_Fazio #Borgo_Giuliano #latifondo #Pietro_Gramignani #Caficis

  • https://afriquexxi.info/article4919.html

    Aux origines coloniales de Barkhane (4)
    Maréchal (Lyautey), nous voilà !

    Rémi Carayol, 7 février 2022

    Figure de la conquête coloniale, le maréchal Hubert Lyautey, célèbre notamment pour avoir fait en sorte de « gagner les cœurs et les esprits » en Afrique du Nord, est aujourd’hui cité comme une référence par les officiers français. Ses méthodes, soi-disant humanistes, inspirent les stratèges qui élaborent les doctrines contre-insurrectionnelles et sont recyclées par les commandants de la force Barkhane au Sahel. Un héritage contestable, pourtant totalement assumé par les militaires.

    La franchise n’était pas la moindre des qualités du général François Lecointre lorsqu’il était encore en fonction. À plusieurs reprises au cours des quatre années qu’il a passées à la tête de l’armée française, de juillet 2017 à juillet 2021, ses interlocuteurs ont pu s’en rendre compte – et notamment les parlementaires, qui l’ont régulièrement auditionné. Ainsi, le 6 novembre 2019, c’est en toute simplicité que François Lecointre confie, devant les membres de la commission des affaires étrangères de l’Assemblée nationale, que la doctrine de l’armée française, dans cette région où elle se bat depuis 2013, est en grande partie basée sur un logiciel certes actualisé, mais vieux de plus d’un siècle, et que l’une de ses références, en la matière, a pour nom Hubert Lyautey, une figure de la conquête coloniale, célèbre pour s’être battu en Indochine, à Madagascar et en Algérie, mais aussi pour avoir administré le Maroc et organisé la fameuse exposition coloniale de Paris en 1931.

    Il est un peu moins de 17 heures, ce mercredi, quand le général tire les choses au clair devant les députés : « Je décrirai notre vision de l’“approche globale” comme une stratégie de gestion de crise centrée sur les populations et sur leur perception du développement de la crise. Ce concept est hérité de notre aventure coloniale. Dans la manière dont les militaires français, de [Joseph] Gallieni à Lyautey, ont pensé l’établissement d’un empire colonial, il y avait d’abord une vision humaniste [sic] de la gestion de crise et de la guerre ». Le général marche sur des œufs. Il prend donc soin d’apporter cette précision : « Ne voyez pas dans mon propos un jugement, positif ou négatif, sur l’époque coloniale ». Pas d’ode à la colonisation donc. Pas de condamnation non plus. Mais ce constat : « J’observe simplement que ce qui fait le savoir-faire français dans la gestion de crise, c’est aussi cet héritage : nous entretenons depuis très longtemps la conception d’une approche globale et d’une victoire qui doit essentiellement être remportée dans les cœurs et les esprits
    des populations au secours desquelles nous venons dans les régions que nous cherchons à stabiliser. »

    (...)

    #Maroc #impérialisme #opérations_extérieures #Lyautey #armée_française #héritage_colonial

    • As Anne Sudrow has shown, prisoners were assigned to a special shoe-runner commando. The prisoners were forced to test-march the shoes fashioned in the camp for 35 kilometers a day, baking in the hot sun or enduring icy cold and schlepping heavy loads along a circular track that mimicked the challenges the shoes would have to weather in quarries and mines, swamps and marshlands. Like the Scheisskommandos, the shoe-runner commandos served as a punitive assignment, reserved for those who were accused of theft or other violations of camp rules.
      […]
      What qualifies as reusable resource and what as waste are the result of historical processes, of ascription. Waste is pushed into rubbished spaces. Trashcans and waste workers disappear them. Across political regimes, across modes of production and forms of rule, proximity to wastes codes sub-status.
      […]
      Instead, I see continuities of erasure and fantasy. While we tend to champion zero waste politics as progressive, waste management and recycling are inherently conservative practices. They preserve and reproduce the existing social order by removing and reusing that which would otherwise spill into our “civilized” public and private spaces. What is more, we continue to witness the erasure of the waste workers and the constant violence of waste labor – now not in concentration camps but in the informal and formal economies of recycling that rely on the labor of predominantly poor, “expendable” populations. This violence is both slow and fast as it powers our green fantasies, fantasies that enable our continued overconsumption and our convictions that we are going to recycle our way out of the current climate pickle.

    • Der Schuh im Nationalsozialismus | Leibniz-Zentrum für Zeithistorische Forschung Potsdam
      https://zzf-potsdam.de/de/publikationen/der-schuh-im-nationalsozialismus

      La chaussure sous le national-socialisme

      Anne Sudrow Der Schuh im Nationalsozialismus
      Eine Produktgeschichte im deutsch-britisch-amerikanischen Vergleich, 2010

      Ausgezeichnet mit dem Hedwig-Hintze-Preis 2010 des Verbandes der Historiker und Historikerinnen Deutschlands.

      Politik und Konsum: Die Entwicklung des »modernen Schuhs« in der Zeit des Nationalsozialismus.

      Warum wurde der Schuh im Nationalsozialismus Gegenstand wissenschaftlicher Forschung? Gab es hier technische Innovation? Wie lenkten die Nationalsozialisten die Schuhmode? In welchem Zusammenhang standen die Menschenversuche auf der »Schuhprüfstrecke« im KZ Sachsenhausen mit der Verwendung erster Kunststoffe in Schuhen? Warum raubte die SS in Auschwitz ganze »Schuhberge«? Diesen und weiteren Fragen geht die Autorin im Rahmen ihrer Produktgeschichte nach. Sie untersucht die Entstehung des »modernen Schuhs« in Deutschland und vergleicht diese - auf Grundlage internationaler Quellenrecherchen - mit Großbritannien und den USA. Als Methode wird hierfür der transnationale Produktlinienvergleich entwickelt. So werden NS-spezifische Phänomene der materiellen Kultur der Alltagsdinge nicht nur in ihrem politischen, ökonomischen und wissenschaftlichen Kontext erklärt, sondern auch in die internationale Entwicklung eingeordnet.


      Sachsenhausen concentration camp. Marker for shoe-runners-track (photograph by author [Anne Berg])

    • Anne Berg, Author at Allegra Lab
      https://allegralaboratory.net/author/anneberg

      Anne Berg is Assistant Professor of History at the University of Pennsylvania. Anne studies the histories of waste and recycling, film and cities, racism and genocide. Her first book, “On Screen and Off: Hamburg and the Making of the Nazi City” is forthcoming with University of Pennsylvania Press in April 2022. Anne’s current book project examines the disturbing connections between waste management and genocide in the Third Reich, entitled Empire of Rags and Bones: Waste and War in Nazi Germany.

  • Pourquoi existe-t-il des inégalités patrimoniales entre les hommes et les femmes ?

    « En matière d’héritage, les fils, et a fortiori les fils ainés, sont favorisés par rapport aux filles, même lorsque ces dernières sont les aînées de la famille. » Par Maud Navarre.

    https://blogs.mediapart.fr/dieses/blog/050122/pourquoi-existe-t-il-des-inegalites-patrimoniales-entre-les-hommes-e

    Plusieurs études ont montré que les inégalités sociales progressent ces dernières années et, en particulier les inégalités de patrimoine, qui s’accroissent davantage encore que les inégalités de salaire. C’est ce qu’indiquent le best-seller de l’économiste Thomas Piketty, Le Capital au XXIe siècle (Seuil, 2013), ou encore le livre Les Nouveaux Héritiers de Nicolas Frémeaux (Seuil, 2018). Mais les inégalités de patrimoine entre les hommes et les femmes sont demeurées peu étudiées. Pour cause, la statistique française a abordé les questions pendant longtemps à travers le prisme du couple, considéré comme une unité homogène. Or, le gender mainstreaming, l’approche genrée imposée dorénavant dans la plupart des analyses statistiques, fait ressortir l’existence d’inégalités de patrimoine très fortes entre les hommes et les femmes. À en croire les sociologues Céline Bessière et Sybille Gollac (Le Genre du capital, La Découverte, 2020), les écarts de richesse entre hommes et femmes se seraient accrus, passant de 9% en moyenne en la défaveur des femmes en 1998 à 16% en 2015. Ces résultats convergent avec les analyses internationales. Le rapport Wealth and Gender in Europe réalisé par une équipe de chercheuses pour la Commission européenne et publié en 2017 mentionne que la France fait partie des pays où les écarts entre le patrimoine détenu par les femmes et les hommes sont les plus élevés. Certes, le pays n’est pas le seul dans ce cas puisque le rapport pointe une situation analogue en Autriche ou encore en Allemagne. Pourtant, alors que l’égalité des droits entre époux s’est progressivement instaurée en France au XXe siècle, on peut se demander pourquoi de tels écarts subsistent encore aujourd’hui et pourquoi augmentent-ils.

  • « La fiscalité successorale est un système aveugle, injuste et inefficace »

    Les propositions des candidats à l’élection présidentielle sur les droits de succession ne visent qu’à perpétuer un système bancal au lieu de chercher à le réparer en garantissant l’égalité des chances, estime dans sa chronique Stéphane Lauer, éditorialiste au « Monde ».

    [...] Dans les faits, l’immense majorité des Français héritent de sommes si faibles qu’elles échappent à toute taxation. Ainsi, moins d’une succession sur cinq dépasse les 100 000 euros, tandis qu’une sur deux est inférieure à 30 000 euros, selon l’Insee. A l’autre bout du spectre, 800 individus héritent en moyenne de 13 millions d’euros.

    Une passionnante note du Conseil d’analyse économique (CAE) intitulée « Repenser l’héritage » prend le contre-pied de bien des idées reçues. Plusieurs enseignements s’en dégagent. Le premier est que la France est redevenue une société d’héritiers dans laquelle le patrimoine global provient à 60 % des successions (soit un doublement en cinquante ans). Les transmissions alimentent ainsi une accumulation de capital privé, qui a retrouvé des niveaux équivalents à ceux de 1914, annihilant les effets redistributifs qu’avaient eus les deux guerres mondiales et la crise de 1929.

    Second enseignement, notre système fiscal n’est pas aussi progressif qu’il le proclame. Sur le papier, le fisc a effectivement la main lourde. Mais les stratégies d’exonération sont nombreuses et ciblées sur des types d’actifs qui sont massivement détenus par les ménages les plus riches (assurance-vie, patrimoine professionnel, démembrement de propriété), de sorte qu’à l’arrivée, les taux appliqués restent faibles.

    « Notre système fiscal est un tigre de papier », résume l’économiste Camille Landais, coauteur de la note avec Clément Dherbécourt, Gabrielle Fack et Stefanie Stantcheva. Ainsi, le taux effectif payé par les 0,1 % des Français les plus riches sur l’intégralité du patrimoine qu’ils lèguent n’est que de 10 %, bien en dessous des 45 % théoriques pour les successions supérieures à 1,8 million d’euros.
    https://www.lemonde.fr/idees/article/2021/12/26/la-fiscalite-successorale-est-un-systeme-aveugle-injuste-et-inefficace_61073

    Des économistes plaident pour une réforme de la fiscalité des successions, car la France devient une « société d’héritiers »
    https://justpaste.it/5bjzk

    Les auteurs proposent quelques pistes de réformes. Ils suggèrent notamment que la fiscalité des successions prenne en compte l’ensemble des flux transmis au cours de la vie – les héritiers les plus riches reçoivent plusieurs transmissions au cours de leur vie, ce qui permet d’utiliser plusieurs fois les abattements – et que soient réduites les exemptions dont la justification économique est discutable. Ils recommandent ainsi d’inclure l’assurance-vie dans l’assiette des successions, et de supprimer le dispositif Dutreil, qui allège la fiscalité des transmissions d’entreprise familiale, les bénéfices de ces exemptions pour l’économie étant quasi nuls concernant l’investissement. Reste une question-clé pour l’acceptabilité d’une telle réforme : celle de l’utilisation des recettes ainsi dégagées, par des Etats dont l’endettement s’est considérablement alourdi depuis deux ans.

    #héritage #patrimoine #fiscalité #exemptions_fiscales #héritiers #rentiers

  • Heritage as a vector of social inclusion in a “changing metropolis” The case of the renovation of Fort Saint-Nicolas in Marseille, France. by Coline Pélissier and Eléonore Bully
    https://www.roots-routes.org/heritage-as-a-vector-of-social-inclusion-in-a-changing-metropolis-the-

    L’articolo Heritage as a vector of social inclusion in a “changing metropolis” The case of the renovation of Fort Saint-Nicolas in Marseille, France. by Coline Pélissier and Eléonore Bully sembra essere il primo su roots§routes.

  • ÉDITO : Quand la fièvre spéculative s’empare du jeu vidéo… – Le Mag de MO5.COM
    https://mag.mo5.com/a-la-une/208592/edito-quand-la-fievre-speculative-sempare-du-jeu-video

    Ce qui a changé par rapport aux précédents records, c’est que l’agence de notation WataGames lui a décerné un 9.8A++, a priori la note maximale qu’un exemplaire de ce jeu pourrait décrocher, mais cela reste étonnant quand un 9.4A+ faisait presque quarante fois moins en début d’année. Et dans la mesure où Heritage Auctions récupère 20% de la transaction – le jeu a en réalité été adjugé à 1,3 millions – plus 5% de la somme touchée par le vendeur, on peut effectivement se demander s’il n’y a pas anguille sous roche… Car si la maison de vente aux enchères assure faire toutes les vérifications nécessaires, l’acheteur demeure en général anonyme à moins de se manifester publiquement. Les arnaques ne sont hélas pas nouvelles dans le jeu vidéo, avec des faux prototypes et kits de développement par exemple, mais c’est bien sûr à tout autre chose que l’on a affaire ici, bien plus subtile et plus légale en apparence.

    Sur l’étonnante envolée des prix de jeux vidéo anciens, avec une relation consanguine, voire collusion, entre organisateurs des enchères et les évaluateurs des jeux, dont les acheteurs anonymes sont tantôt associés à des fonds d’investissements, tantôt les vendeurs, désireux de faire gonfler artificiellement les prix.

    De manière connexe, on peut s’intéresser à la concentration constatée dans le marché de l’art en général :

    The Art Market is a Scam (And Rich People Run It)
    https://www.youtube.com/watch?v=ZZ3F3zWiEmc

    #jeu_vidéo #jeux_vidéo #art #spéculation #enchères #population #édité #enquête #estimation #wastagames #heritage_auctions #console_nes #console_playstation #jeu_vidéo_super_mario_bros #jeu_vidéo_stadium_events #deniz_khan #jeu_vidéo_the_legend_of_zelda #jeu_vidéo_super_mario_64 #chris_kohler #frank_cifaldi #magazine_superman #comics_superman #karl_jobst #jim_halperin #just_press_play #seth_abramson #otis #mythic_markets #jeu_vidéo_super_mario_bros_3 #dain_anderson #gocollect #sec #nintendoage #gamevaluenow #jeu_vidéo_tomb_raider #console_saturn #kelsey_lewin #video_game_history_foundation #jeu_vidéo_spiderman #console_atari_2600 #seth_abramson #yūji_naka #jeu_vidéo_sonic #mega_drive #goodwill

  • U.S. States Toss Thousands Of Vaccine Doses. Could They Be Donated Instead? : Goats and Soda : NPR
    https://www.npr.org/sections/goatsandsoda/2021/08/10/1025463260/alabama-just-tossed-65-000-vaccines-turns-out-its-not-easy-to-donate-unused-dos

    Persad says another barrier could be the contracts that the Trump administration signed with vaccine makers in which there appears to be some language restricting the use of vaccines abroad — although the contract language isn’t fully public.

    #états-unis #leadership

  • Collectors are as confused as you are about that $1.56M Super Mario 64 sale | Ars Technica
    https://arstechnica.com/features/2021/07/collectors-are-as-confused-as-you-are-about-that-1-56m-super-mario-64-s

    But for newcomers from other collectible spaces, this kind of quality-based price premium is relatively common. “In other spaces such as comics, coins, or sports cards, and many other collectibles, the difference between the second-highest grade and the highest grade can be a drastic difference in value and sometimes much more,” Wata Games CEO Ryan Sabga told Ars. “Attaining the finest known example from a condition standpoint drives a certain type of collector’s behavior, specifically the collector who wants the absolute best. The collectible video game market is no different.”

    #jeu_vidéo #jeux_vidéo #culture #collection #heritage_auctions #wata_games #record #analyse #zelda #the_legend_of_zelda #mario #super_mario_bros #mario_64 #jeu_vidéo_zelda #jeu_vidéo_the_legend_of_zelda #jeu_vidéo_mario #jeu_vidéo_super_mario_bros #jeu_vidéo_mario_64 #excellence #rareté

  • Super Mario 64 sells for $1.5 million at auction - Polygon
    https://www.polygon.com/22574261/super-mario-64-auction-record-price-heritage-auctions-wata-nintendo

    Last week, a game cartridge of The Legend of Zelda sold for $870,000, the highest price ever paid for a video game at auction. But The Legend of Zelda only held that record for a few days before it was figuratively butt-stomped into second place. Over the weekend, a sealed copy of Super Mario 64 sold for $1.56 million at Heritage Auctions.

    […]

    “The price jump on this stuff is so sudden, and on such specific items, that I do not believe it happened naturally,” Cifaldi tweeted Sunday. “It all feels really suspect imo.”

    #jeu_vidéo #jeux_vidéo #culture #super_mario_64 #mario #the_legend_of_zelda #zelda #jeu_vidéo_super_mario_64 #jeu_vidéo_mario #jeu_vidéo_the_legend_of_zelda #jeu_vidéo_zelda #nintendo_64 #console_de_jeux_vidéo #business #vente_aux_enchères #heritage_auctions #wata_games #record #exceptionnel #surprise #étonnement #méfiance #suspicion

  • Mint Condition Copy of ’Super Mario 64’ Sells for $1.5 Million
    https://www.vice.com/en/article/epnmnz/mint-condition-copy-of-super-mario-64-sells-for-dollar15-million

    An unopened copy of the legendary Nintendo 64 game Super Mario 64 sold for a record-breaking $1.5 million at auction over the weekend.

    Although Super Mario 64 is the best-selling Nintendo 64 game of all time, with more than 11 million copies sold, the auctioned cartridge was one of less than five sealed copies that has been graded by professionals as a 9.8, A++ Wata rating, which is an out-of-10 grading system done by a company called Wata Games. 

    “It seems impossible to overstate the importance of this title, not only to the history of Mario and Nintendo, but to video games as a whole," Heritage Auctions Video Games Specialist Valarie McLeckie said in a press release. “This copy is a true prize for any serious collector."

    The idea of paying that much for Super Mario 64 still shocked many video game enthusiasts and historians.

    #jeu_vidéo #jeux_vidéo #culture #super_mario_64 #mario #the_legend_of_zelda #zelda #jeu_vidéo_super_mario_64 #jeu_vidéo_mario #jeu_vidéo_the_legend_of_zelda #jeu_vidéo_zelda #nintendo_64 #console_de_jeux_vidéo #business #vente_aux_enchères #heritage_auctions #wata_games #record #exceptionnel

  • Une cartouche Super Mario 64 vendue 1,56 million de dollars aux enchères, nouveau record
    https://www.bfmtv.com/economie/consommation/une-cartouche-super-mario-64-vendue-1-56-million-de-dollars-aux-encheres-nouv

    Ce dimache, une cartouche scellée du mythique « Super Mario » pour console Nintendo 64 a été vendue pour 1,56 million de dollars, un nouveau record pour un jeu vidéo selon la maison d’enchères américaine Heritage Auctions.

    « C’est le premier jeu à jamais avoir été vendu aux enchères pour plus d’un million de dollars », a expliqué à l’AFP Eric Bradley, un porte-parole de la société basée à Dallas, au Texas (Etats-Unis).

    Cette cartouche de « Super Mario 64 » date de 1996 et utilise pour la première fois la 3D.

    #jeu_vidéo #jeux_vidéo #culture #super_mario_64 #mario #jeu_vidéo_super_mario_64 #jeu_vidéo_mario #nintendo_64 #console_de_jeux_vidéo #business #vente_aux_enchères #heritage_auctions #wata_games #record #exceptionnel

  • Une cartouche du jeu vidéo Zelda vendue 870 000 dollars aux enchères - Le Parisien
    https://www.leparisien.fr/high-tech/une-cartouche-du-jeu-video-zelda-vendue-870-000-dollars-aux-encheres-10-0

    Une cartouche du mythique jeu vidéo « La légende de Zelda », compatible avec les consoles des années 1980 Nintendo NES, a été adjugée pour la somme « record » de 870 000 dollars ce vendredi, a annoncé la maison d’enchères Heritage Auctions dans un communiqué. Datée de 1987, la pièce était toujours scellée dans son emballage d’origine.

    #jeu_vidéo #jeux_vidéo #culture #zelda #the_legend_of_zelda #jeu_vidéo_zelda #jeu_vidéo_the_legend_of_zelda #nintendo_nes #console_de_jeux_vidéo #business #vente_aux_enchères #heritage_auctions #record #exceptionnel