« Murayana va à Garma cette année ! » : cérémonies publiques et rituels contemporains du nord-est de la Terre d’Arnhem (Australie)

International audienceBuilding on the idea that Yolngu ceremonies from northeast Arnhem Land arise from dynamic negotiations between individuals, clans and ancestors, this article examines how a series of ritual exchanges were performed within the framework of a cultural festival open to tourists. I show how a digital archiving project provided momentum for ritual creativity in several localities within this region, and resulted in a deliberate campaign of self-representation at the Garma Festival, which is a large annual gathering that brings together participants from around the world. Through analysis of the events that first led to the Gupapuyngu clan’s participation in this festival, this article sheds light on some of the political processes that underlie contemporary ritual exchange in Arnhem Land.Partant de l’idée que les cérémonies yolngu du nord-est de la Terre d'Arnhem (Australie) relèvent de négociations dynamiques entre des individus, des clans et des ancêtres, cet article examine comment une série d'échanges rituels furent articulés dans le cadre d’un festival culturel ouvert aux touristes. Je montre comment un projet de patrimonialisation numérique insuffla un élan de créativité rituelle dans plusieurs localités de la région et aboutit à une véritable campagne de représentation de soi durant le Festival Garma, un vaste rassemblement qui réunit chaque année des participants venus du monde entier. À travers l’analyse des événements qui précédèrent la première participation du clan Gupapuyngu au festival, l’article propose un éclairage sur les processus politiques qui sous-tendent l’échange rituel contemporain en Terre d’Arnhem

They Are Talking To Us!: Digital Heritage in the Making in Indigenous Australia

International audienceIn the early 2000, as Internet was reaching the remote Aboriginal community of Galiwin’ku, in north-east Arnhem Land, a group of ceremonial leaders set out to establish an Indigenous Knowledge Centre. Conceived around a complex database that would reflect the principles of Yolngu knowledge organization, the centre sought to establish relations with various institutions holding north-east Arnhem Land collections in order to initiate the digital repatriation of these materials. This ambitious digital heritage program, which involved new forms of reflexivity, self-representation and collaborative practice, was followed throughout the region by a myriad of creative experiments with new media technologies. Drawing from a number of these recent productions, this paper will reflect on the ways in which these digital cultural practices challenge common perceptions of what heritage is and how these may enable new perspectives on the value of museum collections

Indigenous and Transnational Values in Oceania: Heritage Reappropriation, From Museums to the World Wide Web

International audienceWhat is the value of heritage? A source of explosive emotions which oppose the " value " of so-called Western expertise – history of social and human sciences and constant reevaluation of the heritage market – versus the values in " becoming " of the people who recognise themselves in this heritage and who claim it as a foundation for an alternative and better life? In this paper, we examine some of the ways in which different groups in the Pacific reinterpret their heritage in order to redefine their singular values as cultural subjectivities: individual, collective and national, diasporic or transnational in the case of some Indigenous networks (Festival of the Pacific Arts, Declaration on the Rights of Indigenous Peoples, etc). ow can societies deal with different value systems in a way that does not lead to the total domination of one system by another? 1 The framework of our discussion builds on a trend of engaged French scholarship in the Pacific that is evidenced in a number of recent conferences and publications (Dousset, Glowczewski & Salaün eds. 2014). Our concern is to explore ways to " decolonize " the gaze we use in social sciences, to conceive of a paradigm that shifts the scientific values associated to the foundation and filiation of anthropology as a discipline in the light of the values promoted by the people whose practices and discourses we study in the field and, increasingly so, through a variety of new media such as the Internet

Remediating sacred imagery on screens: Yolngu experiments with new media technology

When I first arrived in the Yolngu township of Galiwin’ku to undertake fieldwork for my doctoral thesis at the University of Melbourne and the Ecole des Hautes Etudes en Sciences Sociales, almost a decade ago to the day, a particular research question had been on my mind for some time. Over the past few years, I had been keenly following the development in Aboriginal Australia of several exciting projects making use of digital technologies – such as the Central Australian Ara Irititja interac..

Éditorial

Quatre mains autour d’une table, des plantes, et beaucoup de vert : la couverture de ce nouveau numéro, une photographie confiée par A-Tena Pidjo, prise lors d’un atelier de confection d’un herbier, illustre l’article « Recherche de sens et stratégies de soins chez les Mwalebeng de Pouebo (Nouvelle-Calédonie) ». Pidjo et ses co-auteur·es, Catherine Sabinot et Edouard Hnawia, y racontent l’entrelacs des pratiques traditionnelles et contemporaines que tissent les communautés kanak de la région ..

Introduction. The Pacific on Screens: From Representation to Reappropriation

The Pacific region occupies a unique place in the history of world cinema, covering a wide range of genres, including Hollywood blockbusters, ethnographic documentaries, and contemporary local productions. Despite this, studies on the subject are rare, especially in French-language research. Yet, from the perforated reels of the first cameras to modern-day digital equipment, the Pacific on film raises a number of questions, be it as a vehicle for colonial propaganda, font of exoticism, scient..

“This is the Circle of the Art World”: Joe Gumbula and the Value of Digital Repatriation in Australia and Beyond

International audienc

“This is the Circle of the Art World”: Joe Gumbula and the Value of Digital Repatriation in Australia and Beyond

International audienc

Yolngu Zorba meets Superman: Australian Aboriginal people, mediated publicness and the culture of sharing on the Internet

International audienceThis article concerns the creative ways in which some Australian Indigenous groups are engaging with online interfaces to display select images of their culture to a worldwide audience. The Yolngu of North-East Arnhem Land, in the Northern Territory of Australia, have recently started filming themselves with camcorders and mobile phones to broadcast images of everyday activities, ceremonies, community events, music clips, short fictions and political statements on content-sharing platforms such as YouTube. Through the analysis of a recent internet phenomenon, a dance performance called « Zorba the Greek Yolngu Style », I examine the ways in which online indigenous media practices challenge existing stereotypes about “traditional” cultures and give rise to new self-authored forms of public visibility.Este artículo se interesa en las formas creativas según las cuales diferentes grupos aborígenes australianos utilizan interficies on-line para presentar imágenes seleccionadas de su propia cultura dirigidas a una audiencia global. Los Yolngu del norte-este de la tierra de Arnhem, en el norte de Australia, empezaron hace ya unos años a filmarse con cámaras digitales y teléfonos móviles y a publicar vídeos de su vida cotidiana, ceremonias, acontecimientos comunitarios, clips musicales, cortometrajes y declaraciones políticas en plataformas on-line dedicadas al intercambio de contenidos, como Youtube. A través del análisis de un fenómeno reciente vinculado a Internet –una danza llamada “Zorba el Griego en el estilo Yolngu”– examino las formas a partir de las cuales estas prácticas indígenas ligadas o los media desafían los estereotipos existentes sobre culturas “tradicionales” y dan lugar a nuevas formas autoproducidas de visibilidad pública.Cet article s’intéresse aux manières créatives dont différents groupes aborigènes australiens se saisissent d’interfaces en ligne pour présenter des images choisies de leur culture à une audience globale. Les Yolngu de la Terre d’Arnhem, dans le Territoire du Nord de l’Australie, ont commencé depuis quelques années à se filmer avec des caméras et des téléphones portables et à publier en ligne des vidéos de leur vie quotidienne, de cérémonies, d’événements communautaires, de clips musicaux, de courts-métrages et de déclarations politiques sur des sites de partage de contenus tel YouTube. A travers l’analyse d’un phénomène internet récent, une danse appelée « Zorba the Greek Yolngu style », j’examine les façons dont ces pratiques médiatiques autochtones remettent en question certains stéréotypes sur les cultures « traditionnelles » et donnent lieu à de nouvelles formes auto-produites de visibilité publiqu