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Editura MARTOR (MARTOR Publishing House), Muzeul Țăranului Român (The Title: “Un siècle de singularité, un an d’hospitalité” Author: Ioana Popescu How to cite this article: Popescu, Ioana. 2006. “Un siècle de singularité, un an d’hospitalité”. Martor 11: 9‐12. Published by: Editura MARTOR (MARTOR Publishing House), Muzeul Țăranului Român (The Museum of the Romanian Peasant) URL: http://martor.muzeultaranuluiroman.ro/archive/martor‐11‐2006/ Martor (The Museum of the Romanian Peasant Anthropology Review) is a peer‐reviewed academic journal established in 1996, with a focus on cultural and visual anthropology, ethnology, museum studies and the dialogue among these disciplines. Martor review is published by the Museum of the Romanian Peasant. Its aim is to provide, as widely as possible, a rich content at the highest academic and editorial standards for scientific, educational and (in)formational goals. Any use aside from these purposes and without mentioning the source of the article(s) is prohibited and will be considered an infringement of copyright. Martor (Revue d’Anthropologie du Musée du Paysan Roumain) est un journal académique en système peer‐review fondé en 1996, qui se concentre sur l’anthropologie visuelle et culturelle, l’ethnologie, la muséologie et sur le dialogue entre ces disciplines. La revue Martor est publiée par le Musée du Paysan Roumain. Son aspiration est de généraliser l’accès vers un riche contenu au plus haut niveau du point de vue académique et éditorial pour des objectifs scientifiques, éducatifs et informationnels. Toute utilisation au‐delà de ces buts et sans mentionner la source des articles est interdite et sera considérée une violation des droits de l’auteur. Martor is indexed by EBSCO and CEEOL. http://martor.muzeultaranuluiroman.ro / www.cimec.ro Anii 90_1_115 11/16/06 5:11 PM Page 9 Un siècle de singularité, un an d’hospitalité1 Ioana Popescu Directeur de recherche, Musée du Paysan Roumain 2006 est, pour la Roumanie, un bon cru : on travail comme dans les lieux publics (tous ces a en effet accordé aux roumains le statut tant gens qui s’embrassent, parlent fort dans les au- convoité de citoyens européens et fait du 1er jan- tobus, envahissant, tout en souriant, ta sphère vier 2007 la date à laquelle ils devront, aux côtés privée) et à cet anthropologue américain décou- des européens de souche, réaliser cette condition vrant dans les villes roumaines un espace dans qui n’est pas foncièrement différente de celle lequel le féminisme n’a aucun sens, tellement les des années précédentes, même si elle réserve femmes y sont libres et puissantes... En un mot, certaines surprises et suscite beaucoup d’espoirs. on n’en pouvait plus de tant de surprises. Les surprises roumaines ont commencé à appa- Toute l’Europe, au début des années 90, se raître immédiatement après la chute du rideau trouvait marquée du sceau de la diversité. Un de fer et ont la plupart du temps pris des dimen- des principaux critères de différenciation était sions drôles, voire grotesques. On pense à cette alors cette organisation du temps collectif visible étudiante américaine qui s’est vue obligée de dans les espaces publics à différents moments de renoncer à son jogging quotidien dans le parc de l’année, organisation qui se voyait déterminée Bucarest à côté duquel elle résidait temporaire- par le religieux et le politique, certes, mais aussi ment parce que les pelouses étaient, l’hiver, pro- par la durée du temps de travail, sa répartition tégées du gel par des tablettes de sel sur dans la semaine, et surtout par la manière dont lesquelles était écrit NE MARCHEZ PAS SUR les traditions populaires avaient investi le temps L’HERBE, à nos collègues muséographes quotidien. Il nous faut cependant remarquer françaises qui, invitées à déjeuner par leurs con- que, simultanément à cela, les tendances uni- frères roumains, découvraient avec stupeur que formisantes étaient aussi déjà très présentes sur les couverts quotidiennement utilisés à Bucarest le continent, façonnant paysages, usages, cou- étaient identiques à ceux que leurs grands-par- tumes et comportements dans divers pays et ré- ents pouvaient employer lors des grandes récep- gions. Elles étaient avant tout dues aux innova- tions, ou encore à nos collaborateurs britan- tions techniques (ayant remplacé les méthodes niques gênés par ce contact physique, jugé selon de travail et d’artisanat obsolètes), aux transfor- eux beaucoup trop intime, qui peut exister au mations des modes d’habitation (les immeubles 1 C’est la dévise du centenaire du Musée du Paysan Roumain, 2006. Martor, XI – 2006, Museums and Society / Musées et Societé http://martor.muzeultaranuluiroman.ro / www.cimec.ro Anii 90_1_115 11/16/06 5:11 PM Page 10 10 Ioana Popescu étant construits conformément à des critères bien mauvaises, disparaîtraient purement et sim- stylistiques internationaux), à l’extension du plement : autrement dit, ils persistaient dans le paysage sonore urbain et mobilier des espaces fantasme d’une loi commune, d’une mesure re- publics, ou encore à une homogénéisation cer- connue par tous, d’un système de comporte- taine des modes vestimentaires et des comporte- ment, d’une religion, voire même d’une langue ments alimentaires. L’adoption par tous d’un identiques. De tels rêves auraient-ils pu déter- même régime politique, prônant la démocratie, miner la réalité de manière plausible ? Selon Po- le respect des droits de l’homme (ne serait-ce au mian, il est évident que non : à des intervalles de niveau déclaratif) et, bien sûr, l’économie de temps variables, les vagues d’uniformisation sont marché n’a fait, après la chute du mur, que arrêtées par des actions de résistance, de plus ou pousser encore plus loin cette uniformité. moins grande envergure, menées par les divers Krysztof Pomian, lors de la première rencon- groupes en présence cherchant à défendre une tre européenne des musées d’ethnographie identité locale en péril ; non, encore, car l’ex- (Paris, 1993), a pu se poser les questions suiv- périence sociale a déjà démontré que, suite aux antes : « Est-ce que, oui ou non, nous nous différentes vagues d’uniformisation, les vieilles acheminons vers un effacement des différences? différences culturelles n’ont fait qu’être rem- Est-ce que, oui ou non, nous allons vers une Eu- placées par de nouvelles, réaction naturelle à rope complètement homogénéisée, pleinement cette tendance à l’uniformité3 uniformisée, où les seules différences percepti- Si 2006 est une année importante pour la bles seront celles qui resteront en tant que ves- Roumanie et l’Europe, elle l’est aussi pour le tiges du passé et celles qu’aura préservées l’envi- Musée du Paysan Roumain, qui fête les cent ans ronnement physique ? Est-ce que, en d’autres de sa naissance, naissance qui coïncide, plus termes, l’uniformisation qui est incontestable- généralement, avec l’apparition et le développe- ment à l’oeuvre dans tous les pays du continent, ment de l’ethnomuséographie roumaine. et plus encore l’unification européenne en Créée comme Musée National d’Arts et Tra- cours, sont-elles, oui ou non, des menaces pour ditions populaires, l’institution a été transformée les différences culturelles ? Si tel était le cas, il par le pouvoir communiste en Musée d’Art pop- nous faudrait choisir entre un attachement à ces ulaire et / ou Musée du Parti Communiste, pour différences qui définissent, bien qu’à des degrés devenir en 1990 le Musée du Paysan Roumain. divers, nos identités et un engagement pour l’u- En parcourant des avatars (in)imaginables, il a nité européenne. Mais sommes-nous placés de- toujours gardé in nuce cet intérêt pour la culture vant un pareil dilemme ? »2 paysanne, ayant comme enjeu principal la déter- mination d’une identité nationale roumaine. Par Ces questions sembleraient à première vue contre, selon changements politiques, sociales et être purement rhétoriques. Mais en 1993, cer- idéologiques, le Musée a du changer de discours tains rêvaient encore d’une Europe unie, simple et de scénographie. Son exposition permanente a et familière, dans laquelle la réalité, plus ou ainsi été construite sur la base de différents moins uniformisée, pourrait être prédite sans thèmes, d’objets et de représentations d’un trop de difficultés (indépendamment des dis- même monde, celui du village roumain. Au tances), dans laquelle ces surprises dont j’ai pu niveau visuel, le musée a assumé des identités et parler précédemment, fussent-elles bonnes ou des buts différents, en fonction des idées (ou de 2 Pomian, K, Les musées d’ethnographie dans l’Europe d’aujourd’hui, Rencontres europeenes des musees d’ethno- graphie, Paris, 1993, p.43. 3 Idem, p.47. http://martor.muzeultaranuluiroman.ro / www.cimec.ro Anii 90_1_115 11/16/06 5:11 PM Page 11 Un siècle de singularité, un an d’hospitalité 11 la propagande) à partir desquelles il a construit venue des communistes, qui proposent une son discours. image extrême d’un paysan pauvre et exploité Le cas du Musée du Paysan Roumain est une auquel on fait référence en tant que repère des démonstrations les plus intéressantes de la d’une tradition prolétaire qui confère une légit- possibilité pour un même référent d’être imité historique à la dictature national-commu- représenté différemment selon le contexte poli- niste. Enfin, l’ètape des années 90 est associée à tique et les mentalités. Toutefois, un siècle d’ex- un discours sonnant comme un défi – la sugges- istence signifie pour notre Musée une énorme tion de l’idée selon laquelle la figure du paysan responsabilité; les différents choix de segments roumain représente l’homme traditionnel eu- de la civilisation rurale et des modalités de les ex- ropéen. poser se concrétiseront en dernier lieu dans une C’est pourquoi nous avons décidé d’organiser volonté de construire chaque fois un paysan dif- les débats qui suivent, portant sur les musées de férent, voire même une Roumanie différente.
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