Bagagem desfeita: a experiência da imigração por artistas congoleses

Two Congolese artists in São Paulo, Yannick Delass e Shambuyi Wetu encounter each other in performances that we record and recreate. Here, music and art are moments of empowerment, subtle shifts in the visible and auditory spaces of immigration policies.Dois artistas congoleses em São Paulo, Yannick Delass e Shambuyi Wetu, encontram-se em performances que registramos e recriamos. Aqui, música e arte são momentos de empoderamento, mudanças sutis na visibilidade e no espaço auditivo das políticas da imigração

Entre arte e antropologia: encontro com Arnd Schneider: Entrevista | Dossiê Artes e antropologias

In this interview the anthropologist Arnd Schneider addresses questions about the relations between contemporary art, film and anthropology, a field explored in several books and events that he has organised since the early 2000s. He emphasises collaborative practices between artists and anthropologists, and the widening of disciplinary boundaries.O antropólogo Arnd Schneider aborda nesta entrevista algumas questões em torno das relações entre arte contemporânea, filme e antropologia, campo explorado em diversos livros e eventos que tem organizado desde o início dos anos 2000. Sua ênfase se dá nas práticas de colaboração entre artistas e antropólogos, e no alargamento das fronteiras disciplinares

Imagens que atravessam. Diáspora africana em performance.

Este artigo analisa como os artistas da diáspora africana no Brasil engajam com espaços institucionais de memória coletiva e com o mundo das artes em seus novos lares, e consideramos o que isso implica para as políticas da memória no Brasil e além. Descrevemos a parceria de produção de imagens e performances entre Shambuyi Wetu, artista congolês que vive em São Paulo, e nós, uma antropóloga brasileira e um britânico. Discutimos algumas questões colocadas no nosso encontro com os artistas da diáspora: Como histórias difíceis podem ser representadas, e quais as implicações de diferentes representações? O que é simplificado - e o que é complexificado - no questionamento transnacional de histórias racistas nacionais? O que significa para um artista africano falar sobre o sofrimento dos negros no Brasil?This article analyzes how artists from the African diaspora living in Brazil engage with the institutional spaces of collective memory and with the world of the arts in their new home; we consider what this implies for the politics of memory in Brazil and beyond. We describe the partnership behind the production of images and performances between Shambuyi Wetu, a Congolese artist living in São Paulo, and us, a Brazilian and a British anthropologist. We discuss some questions catalysed by our work with artists from the diaspora: How can difficult histories be represented, and what are the implications of different representations? What is simplified - and what is made more complex - in the transnational questioning of national racist stories? What does it mean for an African artist to talk about the suffering of blacks in Brazil

De lo visible y lo invisible

This essay is the result of a collaboration between the artist Shambuyi Wetu, from the Democratic Republic of Congo, and us anthropologists. In his chimeras Shambuyi materialises alternative identities for the African migrant and refugee in Brazil. Through his critical utopia, he promotes a narrative that decolonises scarcity, war and suffering.Este ensayo es el resultado de la colaboración entre el artista de la República Democrática del Congo Shambuyi Wetu y nosotros, los antropólogos. En sus quimeras, Shambuyi materializa identidades alternativas para el inmigrante y el refugiado africano en Brasil. Con su utopía crítica, promueve una narrativa descolonizadora sobre la escasez, la guerra y el sufrimiento.Este ensaio resulta de colaborações entre o artista da República Democrática do Congo Shambuyi Wetu e nós, antropólogos. Em suas quimeras, Shambuyi materializa identidades alternativas para o imigrante e o refugiado africanos no Brasil. Com sua utopia crítica, promove uma narrativa decolonizadora acerca da escassez, da guerra, do sofrimento

MOVE 2012–2020 : an evaluation of the design, development and direction of the MOVE

Between July and October 2021, the research team at the International Centre for Community Music (ICCM) undertook evaluation with MOVE, an international music and youth leadership exchange program. The aim was to understand and highlight MOVE's developments and impacts between 2012 and 2020 and support the program partnership in its future developments. The project centred on the question: how is MOVE understood, as an experience and as a concept? We asked this question as a way to learn more about the people who make MOVE happen, the musical and leadership experiences they have, and how this could be understood in the context of international development, cultural participation and learning, and music education. To support this, the MOVE research team conducted a literature review. The literature review, led by Dr Jasper Chalcraft and supported by Dr Ruth Currie focuses on 3 concepts: transcultural capital, cultural hospitality, and embodied participation. A summary of this literature review can be found in our final report. However, it was important to ensure that the full literature review was available to anyone engaging with the report, or those who may like to know a little more about these concepts. The research was conducted by Prof Lee Higgins (Principle Investigator), Dr Ruth Currie (Co-Investigator), Dr Jasper Chalcraft (Research Associate), Karen Boswall (Research Assistant), Shoshana Gottesman (Research Assistant)

Beyond Addis Abeba and Affile : Italian public memory, heritage and colonialism

In February 1937 Italians murdered between 20 to 30,000 Ethiopians over three days in Addis Ababa. Known locally as Yekatit 12, the massacre almost wiped out both the centre of colonial resistance and the country’s intelligensia, and remains a hidden history for most Italians. Indeed, it is for most Europeans. Yet in 2012, a small town in Lazio, Affile, the birthplace of Marshall Rodolfo Graziani, a key figure in the massacre, used regional funds to create a memorial to this fascist Viceroy of Italian East Africa. The ensuing global criticism of this local heritage-making revealed the faultlines not just in Italy’s heritage sector, but between public memory and the transnational entanglements of heritage-making in the present. The Addis Ababa massacre and the Affile monument are emblematic of how colonial memory is ‘staged’, and illustrates a failure of contemporary heritage-making to live up to its promise of social transformation, and to further the social inclusion of the country’s residents. This is despite a series of efforts, in film-making, local activism, theatre and literature - Italy’s ‘postcolonial turn’ - to problematise the country’s cultural projection of itself. Italy’s colonial pasts also matter within a broader European context of slow institutional recognition and limited attempts to represent colonial pasts in reflective ways in the continent’s major memory institutions. This article uses ongoing fieldwork with diaspora communities and heritage professionals to critically map the contours of Italy’s public memory of colonialism

Cosmopolitan cartographies and the colonisation of the past : world heritage and rock art in Italy and Tanzania

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Into the contact zones of heritage diplomacy : local realities, transnational themes and international expectations

First published online: 05 January 2021Heritage is increasingly promoted as a tool for economic and social development to help rebuild societies that have suffered conflict and deep social trauma. Heritage diplomacy is an emergent form of cultural relations that forms a ‘contact zone’ between different stakeholders and divergent expectations. This paper explores some aspects of this field of heritage diplomacy and develops a basic typology by contrasting the tension between the uses of ‘charismatic heritage diplomacy’ and more ‘careful heritage diplomacy’. It examines differences between local realities and international expectations of heritage by bringing together two case studies: one from a Creative Europe–funded project where civil society actors develop strategies for working with the difficult heritage that lies behind nationalist myths, and the other from a British Council–funded programme dealing with endangered heritage in the MENA region. Critical studies of heritage-making often pitch the local against the international, with grassroot activities contrasted with international rhetoric surrounding heritage places, objects and practices. However, this dichotomy can mask other actors and social dynamics, not least the subtleties of how the collective traumas of conflict play out in the cultural field. The idea of heritage diplomacy as a ‘contact zone’ (Clifford 1997) highlights that heritage-making in (post-)conflict cultural relations is an ontological encounter between international agents and the traumatised communities for whom the stakes are, inevitably, higher. Mediated through the transnational best practices of heritage professionals, and through the visible pragmatism of civil society heritage activists, the impacts of heritage-making nevertheless remain complicated and entangled.This article was published Open Access with the support from the EUI Library through the CRUI - Springer Transformative Agreement (2020-2024

Gringos, nômades, pretos – políticas do musicar africano em São Paulo

Ao acompanhar nos últimos anos músicos africanos recém-chegados ao Brasil, observamos como seu musicar em São Paulo cria um mundo de imaginação e potencialidade política, um espaço para a solidariedade, habitado por entidades africanas e afrodiaspóricas da história passada e presente, de lutas e manifestações artísticas anticoloniais, antiescravistas ou afropolitanas (Mbembe, 2015). Como estes músicos lidam com as políticas raciais e culturais do país? Como o racismo e os movimentos afro-brasileiros os interpelam? Que capitais transculturais (Glick-Schiller e Meinhof, 2011) ou formas de “ação social” (Blacking, 1995) mobilizam para navegar na cena artística brasileira? Como lidam com as instituições culturais e com os movimentos sociais? Ser africano no Brasil - seja no palco, no estúdio de gravação, em eventos artivistas ou solidários - é sempre um ato de resistência. “Gringos” ou “nômades” estes artistas constituem uma “comunidade musical” (Shelemay, 2011) com quem dialogamos num fazer etnográfico fílmico e compartilhado.Following African musicians who arrived in Brazil in recent years, we observe how their musicking in São Paulo creates a world of imagination and political potential, a space for solidarity, inhabited by African and Afro-diasporic entities from past and present history, of anti-colonial, anti-slavery or Afropolitan struggles and artistic manifestations (Mbembe, 2015). How do these musicians deal with the racial and cultural politics in the country? How do racism and Afro-Brazilian movements challenge them? What transcultural capitals (Glick-Schiller and Meinhof, 2011) or forms of “social action” (Blacking, 1995) are mobilized to navigate the Brazilian art scene? How do they deal with cultural institutions and social movements? Being African in Brazil - whether on stage, in the recording studio, in artivist or solidarity events - is always an act of resistance. “Gringos” or “nomads” these artists constitute a “musical community” (Shelemay, 2011) with whom we dialogue in a shared and filmic ethnographic making