Alain Quillévéré, Bals clandestins pendant la Seconde Guerre mondiale

Le sujet abordé dans cet ouvrage n’avait guère retenu l’attention des historiens de la Seconde Guerre mondiale, y compris de ceux qui l’abordent sous l’angle de l’histoire culturelle. Or il se révèle phénomène de grande ampleur. Tiré d’un mémoire de master préparé à l’université Paris I sous la direction de Denis Peschanski, le volume livre sur ces bals clandestins une monographie inscrite dans le territoire relativement modeste du département des Côtes du Nord, ce que son titre ne laisse pas..

Les enjeux de la danse dans les réseaux « revivalistes » français

Les danses traditionnelles du domaine français ont depuis le milieu des années 1970 un public fourni de praticiens enthousiastes, qui fréquente assidûment bals folk, fest noz et festivals dédiés. Pourtant, les administrateurs de la Fédération des associations de musiques traditionnelles ont hésité à inclure la danse dans sa raison sociale. L’histoire de sa commission Danse, activée fin 1989, témoigne des difficultés du collectif à construire autour de cet objet un discours homogène, en raison d’approches anthropologiques, historiques et sociologiques qui sont demeurées inconciliables. En témoigne l’inaccomplissement de chantiers ambitieux comme le « plan de développement de la danse traditionnelle » (1990-1998) ou l’élaboration d’une formation validante de formateurs (1999-2007), alternative à un diplôme d’État d’enseignement récusé par le milieu comme par la tutelle.Since the middle of the the nineteen-seventies, French traditional dances rely on a vast community of dancers, contributing to the success of events such as bals folks, festoù noz and dedicated festivals. However, the board of the French Federation of traditional musics associations had long hesitations about extending its scope to traditional dance. The history of its Dance commission, first gathered in 1989, shows how difficult it is to reach an agreement on a clear definition of the field, due to unreconcilable anthropological, historical and sociological points of view. Among the bigger symptoms of this impass is the non-completion of some major undertakings, such as the “plan for the development of traditional dance” (1990-1998) or the creation of a formal course for trainers in traditional dance (1999-2007) as an alternative to an official degree that both afficionados and public administration refused

Hootenanny au Centre américain

Réunion chantée où chante qui veut et ce qu’il veut, très en faveur à la fin des années 1950, aux États-Unis, dans les milieux universitaires et libéraux amateurs de folksongs, le hootenanny est importé à l’American Center de Montparnasse à Paris, en 1963. Il y connaît un succès rapide et durable, sous l’impulsion d’un Français issu de l’émigration juive polonaise, Lionel Rocheman. Le répertoire anglo-américain, d’abord hégémonique, fait droit à d’autres esthétiques, notamment à la chanson française dans toutes ses déclinaisons, chanson traditionnelle incluse. Le hootenanny innove surtout en imposant la formule de la scène ouverte qui remet radicalement en cause la frontière entre artistes et public, l’immense majorité des performers étant des amateurs sans ambition de carrière. Le hootenanny fait figure de matrice du mouvement folk français, en sortant, au moins provisoirement, la chanson traditionnelle de l’ornière essentialiste où l’avait enlisé la politique culturelle du gouvernement de Vichy.Hootenanny at the American CenterGathering where anyone could sing, much in favor at the end of the 1950’s in the US, especially among the folksongs enthusiast academic and liberal circles, the hootenanny was imported in 1963 to the Paris American Center in Montparnasse. Its quick and long-lasting success was largely due to Lionel Rocheman, French musician of polish origins.Its repertory, at first mostly English-American, gradually encompassed various influences, particularly French songs of all kinds, including traditional songs. The hootenanny majorinnovation was to promote an open stage, breaking down the boundary between the artists and the audience, most of the performers being amateurs. It also gave birth to the French folk movement by extracting French traditional songs from the essentialist role it had been limited to by the cultural policy of the Vichy regime

L’inlassable quête aux chansons des associations de musiques et danses traditionnelles : une érudition en roue libre et à perdre haleine

Depuis le milieu des années 1960, des militants culturels, plus souvent issus des mouvements d’éducation populaire qu’ils n’étaient proches des défenseurs des « identités » régionales, sollicitent sans relâche – et encore aujourd’hui avec succès – la mémoire musicale et chorégraphique des anciens. Leurs collectes, qu’ils ont d’abord menées concurremment à celles des ethnomusicologues du musée des arts et traditions populaires mais qu’ils poursuivent depuis longtemps en position de monopole, ont notablement enrichi le corpus de chants – dans toutes les langues de France – et de danses traditionnels. Ces érudits-ethnographes de fait, qui se désignent du terme de « collecteurs », ont créé pour conserver et valoriser les archives sonores qu’ils ont constituées des associations actives dans la plupart des régions, dotées de phonothèques dont la compétence est largement reconnue. Leur longévité ou leur persévérance – la relève générationnelle est bien assurée ! –, justifient qu’on les identifie comme un réseau de la France savante dont les ressorts intellectuels et artistiques propres méritent d’être caractérisés

Characterisation of Float Rocks at Ireson Hill, Gale Crater

Float rocks discovered by surface missions on Mars have given unique insights into the sedimentary, diagenetic and igneous processes that have operated throughout the planets history. In addition, Gale sedimentary rocks, both float and in situ, record a combination of source compositions and diagenetic overprints. We examine a group of float rocks that were identified by the Mars Science Laboratory missions Curiosity rover at the Ireson Hill site, circa. sol 1600 using ChemCam LIBS, APXS and images from the MastCam, Mars Hand Lens Imager (MAHLI) and ChemCam Remote Micro-Imager (RMI) cameras. Geochemical data provided by the APXS and ChemCam instruments allow us to compare the compositions of these rocks to known rock types from Gale crater, as well as elsewhere on Mars. Ireson Hill is a 15 m long butte in the Murray formation with a dark cap-ping unit with chemical and stratigraphic consistency with the Stimson formation. A total of 6 float rocks have been studied on the butte

Rosso ou Thiry ?

Connue jusqu'à présent par un burin parisien signé de l'invenit de Rosso Fiorentino, la composition Céphale et Procris doit être réétudiée à l'aune d'un dessin inédit préparatoire à la gravure, passé en vente et acheté par la Réserve du département des Estampes et de la Photographie en 2012. Le style de la feuille comporte des caractéristiques qui la rapprochent davantage de Léonard Thiry, peintre et dessinateur flamand assistant de Rosso sur le chantier de Fontainebleau depuis 1536 que du maître lui-même. Le dessin semble être une mise au nette par Thiry d'une œuvre antérieure de Rosso au moins pour la figure de Céphale, dont les contours ont été transférés à la pierre noire au verso du papier et ont servi de trame à la réalisation du dessin. Cette œuvre est un bel exemple du rôle de Thiry comme intermédiaire entre les compositions de Rosso et l'estampe parisienne.So far ’Céphale et Procris’ was only known as a Parisian engraving signed with the invenit of Rosso Fiorentino, but this work now has to be studied in light of an original preparatory sketch bought at a 2012 auction for the special collections of the Engraving and Photography department at the Bibliothèque nationale de France. The style of this sketch is more reminiscent of Léonard Thiry (Flemish painter and draughtsman, assistant to Rosso for the decoration of Fontainebleau since 1536) than the master himself. The drawing seems to be a fair copy by Thiry of a previous composition by Rosso, at least for the figure of Céphale whose contours have been reported to the back of the sheet in black chalk and used to outline the sketch. This drawing is an illuminating example of Thiry’s role as intermediary between Rosso’s work and the Parisian engraving

First Gale Western Butte Capping-Unit Compositions, and Relationships to Earlier Units Along Curiosity's Traverse

The Curiosity rover has been traversing through the clay-bearing unit (Glen Torridon; GT), approaching Greenheugh pediment, a large, fan-shaped surface surrounding the mouth of Gediz Vallis on the lower slope of Mt. Sharp. The pediment unconformably overlies the underlying bedrock, and is hence younger than units of the Mt. Sharp group. Orbital imaging of the pediment has shown it to have a slightly lower albedo and higher thermal inertia than neighboring units, to be relatively retentive of craters (e.g., erosion resistant), and to exhibit curved bedforms suggestive of lithified eolian bedforms. No diagnostic spectral signature has been observed from orbit. Recent rover positions allowed remote imaging of the contact between Greenheugh pediment and the eroded Murray formation strata below it, showing that the pediment capping material is cross-bedded and relatively thin (1-3 m), and suggesting that the pediment may have been much larger at one time. As Curiosity approached the edge of the pediment, the team investigated two buttes named Central and Western. The latter butte contains dark capping material that initially looked similar to the pediment cap, but close inspection revealed important physical differences. Here we report on compositions from ChemCam of two float rocks that appear to have rolled down from the capping unit, and on potential relation-ships to other targets along the traverse of the rover

Using ChemCam derived geochemistry to identify the paleonet sediment transport direction and source region characteristics of the Stimson formation in Gale crater, Mars.

The NASA Curiosity rover has encountered both ancient and modern dune deposits within Gale crater. The modern dunes are actively migrating across the surface within the Bagnold Dune field of which Curiosity conducted analysis campaigns at two different localities. Variations in mafic-felsic mineral abundances between these two sites have been related to the aeolian mineral sorting regime for basaltic environments identified on the Earth which become preferentially enriched in olivine relative to plagioclase feldspar with increasing distance from the source. This aeolian mineral sorting regime for basaltic minerals has also been inferred for Mars from orbital data. The aim of this study is to investigate whether this aeolian mafic-felsic mineral sorting trend has left a geochemical signature in the ancient dune deposits preserved within the Stimson formation. The Stimson formation unconformably overlies the Murray formation and consists of thickly laminated, cross-bedded sandstone. Stimson outcrops have a variable thickness up to 5 meters covering a total area of 17 square kilometers. A dry, aeolian origin was determined for this sandstone due to the high sphericity and roundness of the grains, uniform bimodal grain size distribution (250-710 microns), and 1-meter-thick cross-beds. Identifying the geochemical signature of mineral sorting can provide insights about the paleo-net sediment transport direction of the dunes and prevailing wind direction at the time of deposition

Apatites in Gale Crater

ChemCam is an active remote sensing instrument suite that has operated successfully on MSL since landing Aug. 6th, 2012. It uses laser pulses to remove dust and to analyze rocks up to 7 m away. Laser-induced breakdown spectroscopy (LIBS) obtains emission spectra of materials ablated from the samples in electronically excited states. The intensities of the emission lines scale with the abundances of the related element. ChemCam is sensitive to most major rock-forming elements as well as to a set of minor and trace elements such as F, Cl, Li, P, Sr, Ba, and Rb. The measured chemical composition can then be used to infer the mineralogical composition of the ablated material. Here, we report a summary of inferred apatite detections along the MSL traverse at Gale Crater. We present the geologic settings of these findings and derive some interpretations about the formation conditions of apatite in time and space