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« Des Artistes Et Des Territoires : Palestine Et Palestinité » « Des artistes et des territoires : Palestine et palestinité » Adrien SCANGA Séminaire de « La Fabrique Culturelle » Mémoire sous la direction de Mme Claire TOUPIN-GUYOT 2014-2015 Remerciements Mes remerciements vont tout d'abord à madame Claire Toupin-Guyot pour son accompagnement et sa bienveillance tout au long de la constitution de ce mémoire. Je tiens à remercier tout particulièrement Amina Hamshari pour son amabilité et sa bienveillance, pour m'avoir accordé deux entretiens qui ont été essentiels à ma réflexion, pour avoir eu la patience et la disponibilité de répondre à mes questions. Je tiens à remercier monsieur Anthony Bruno pour sa bienveillance, pour sa disponibilité et pour m'avoir aiguillé dans mes recherches. Mes remerciements vont aussi spécialement à Marion Slitine pour m'avoir accordé de son temps lors d'un rapide passage à Rennes, pour m'avoir fourni des informations nécessaire à l'orientation de mes recherches et pour m'avoir présenté Arab Nasser. Je souhaite adresser un chaleureux "shukran" à Arab Nasser pour l'agréable discussion que nous avons pu avoir à Rennes avec Marion Slitine et pour la bière qu'il m'a offerte et dont je lui suis redevable. Je souhaite exprimer ma gratitude envers Frank Barat et Hamid Moulay avec lesquels j'ai beaucoup discuté et qui sans le savoir ont contribué à mon investissement dans la rédaction de ce mémoire. Je tiens à remercier également mes très chères Barbara, Lucia et Adèle qui m'ont encouragé et qui ont relu ce mémoire. Je souhaite également exprimer ma gratitude aussi envers Enora, Pauline et Alexandre pour leurs encouragements et leur intérêt pour ce mémoire et les services qu'ils m'ont rendu, ainsi que pour les programmes télévisés pertinents qu'ils m'ont suggérés. Il me semble également important de remercier Ece et Aurelia pour m'avoir beaucoup encouragé par la chaleur de leur accueil qui a rendu le travail infiniment plus léger. Merci également à Alizée pour le temps et la discussion qu'elle m'a accordés et les sources précieuses qu'elle m'a fourni. Je voudrais remercier enfin très particulièrement Pino, Marine, Elsa et Hamza, à qui j'ai pensé tous les jours en écrivant ce mémoire. Résumés/Synopsis Français La culture collective est une question fondamentale de l'histoire du peuple Palestinien. Elle s'est constituée autour d'événements et de conditions qui lui sont propres, notamment depuis qu'il a été chassé de la terre de Palestine en 1948, lors de l'épisode de la Nakba, la "catastrophe". Depuis, l'immense diaspora qu'il a formé (plus de 10 millions de personnes en 2013), les 5,5 millions de réfugiés recensés en 2014, l'éclatement de ce peuple à travers des enclaves territoriales dans les Territoires Palestiniens Occupés, en Israël ou à Gaza forcent la reconnaissance d'un paradoxe : il semble que les Palestiniens conservent malgré tout une unité grâce à l'identification aux mêmes référents imaginaires, qui sont qualifiés ici d'identification à la Palestinité. Une approche par les arts de Palestiniens de différentes origines géographiques est entreprise ici pour mieux saisir les tensions qui unissent les identités individuelles et la culture collective mais aussi la façon dont l'art permet aux Palestiniens de s'affirmer de se définir par eux-mêmes et d'agir sur la réalité de leurs conditions malgré leur situation de faiblesse dans le conflit avec Israël. Les symboles de la terre de Palestine et la multitude de territoires sur lesquelles demeurent les Palestiniens étant les charnières entre la culture et l'identité, le passé et le futur. English Collective culture is a fundamental question of the Palestinian people history. It has been formed by events and conditions that are specific to it, especially since it has been chased from the land of Palestine in 1948, during the Nakba episode, "the catastrophe". Since then, the enormous diaspora that it formed – more than 10 million people in 2013, the 5,5 million refugees that have been registered in 2014, the dispersion of this people through territorial enclaves in the Occupied Palestinian Territories, in Israel or in Gaza force the recognition of a paradox: it seems that the Palestinians - despite everything - kept a strong feeling of unity thanks to the identification to the same imaginary referents, called here identification to palestinity. An approach through the arts of Palestinians from different geographical origins is set here to understand better the interactions that links individual identity and collective culture but also the way that art empowers Palestinians to assert, to define themselves and to influence on their conditions despite their weak situation in the Israeli-Palestinian conflict. The symbols of the land of Palestine and the multitude of territories on which dwell Palestinians are the hinges between culture and identity, past and future. Mots-clefs / key words : identification, performativité, palestinité, territoires, Palestine / identification, performativity, palestinity, territories, Palestine. Sommaire Introduction Le contexte de la Palestine Hypothèses Artistes, territoires, Palestine, palestinité Choix des supports Approche du sujet Première partie : histoire, palestinité, culture A) LA PALESTINE AUJOURD’HUI, ISOLEMENT, DESESPOIR, ET DIVISION 1) Oslo et le désespoir Oslo, la paix sans justice 1993-2014, vingt ans acculés au désespoir 2) Le morcellement du territoire Les accords de Taba, verrouillage du territoire palestinien L’archipel mondial des Palestiniens 3) Les Palestiniens aux yeux des Palestiniens B) LA « PALESTINITE » 1) Identification et identité L’identité et la multitude L’imaginaire comme ancrage Identification à la palestinité 2) Une palestinité enracinée dans le temps : terre, résilience et idéal Le revirement du récit national après la Nakba (1948) Récit national, opposition de deux idéaux Résilience et résistance 3) Une palestinité suspendue à l’avenir : résistance, retour et pragmatisme Définir la Résistance Projets politiques et culture à l’épreuve de l’avenir Droit au retour, approche pragmatique et révision de la perspective nationaliste C) LA SINGULARITE DU PALESTINIEN 1) Palestiniens et Arabes L’arabité des Palestinien L’identification arabe à la Nakba La condition palestinienne 2) Le contexte de la création artistique en Palestine Tensions dans la paix et tensions dans la guerre Réhabiliter la culture dans les TPO Ambitions locales et dépendance extra-territoriale des TPO et de Gaza Israël et la diaspora 3) Les figures d’une excellence reconnue Indépendance du récit national Richesse et illustration de la production cinématographique palestinienne Rayonnement de la littérature Ambitions et reconnaissance des arts plastiques palestiniens Deuxième partie : des artistes et des territoires A) DESTRUCTION ET ENFERMEMENT, L’ART GAZAOUI ET LE BESOIN D’HUMANITE 1) Des conditions propres à Gaza Situation humanitaire Le quotidien gazaoui 2) Du cinéma sans cinémas Gaza, territoire des enfants Le décalage artistique, cinéma et œuvres plastiques des frères Abu Nasser 3) S’exprimer : transcender et humaniser Gaza 100 Days of Solitude, apporter un autre regard sur l’espace Gazaoui Voir Gaza à travers son humanité B) L’ESPACE ET L’IDENTITE : LE CINEMA DANS LES TERRITOIRES OCCUPES 1) La question de l’espace L’espace palestinien : rappels Traiter la question de l’espace dans le cinéma Cinéma Tora Bora 2) Les Roadblock Movies, l’occupation à l’écran S’identifier dans des expériences individuelles S’approprier les symboles de leur fragmentation La temporalité du présent 3) Une réalité-fiction Une réalité dévorante Une réalité suggestive C) RYTHMES SUBVERSIFS D’AILLEURS : HIP-HOP ET REGGAE EN PALESTINE 1) Naissance et évolution du groupe DAM « I’m the negro of the Middle East » Culture globalisée et culture palestinienne Répliquer à la réalité 2) Naissance du reggae en Palestine ? Prémices d’une dynamique reggae-dub arabe en Israël Toot Ard, reggae Syrien du plateau du Golan « Dub, Dub-Key, dabkeh » 3) La subversivité inhérente des rythmes Solidarité outre-Atlantique et culture hip-hop Le reggae et la lutte universelle contre Babylone D) « ET LA TERRE COMME LA LANGUE », DARWICH, L’IDENTITE, L’EXIL 1) « Sajjil! Ana ‘Arabi - Inscris! Je suis Arabe », La langue, racine de la palestinité La langue, première marque d’identité Exister : occuper la terre par la culture et par l’esprit 2) « L’épopée poétique palestinienne » Engagements et appréhensions de la réalité par la poésie Exil, altérité, identité 3) « La Palestine comme Métaphore », reflet de l’épopée humaine Echange mutuel de sens entre la terre et le poème Portée universelle du poème Troisième partie : le fruit de la recherche esthétique, la nation palestinienne A) LA PALESTINE, EN SORTIR ET Y RESTER 1) La nécessité de s’extraire du contexte S’émanciper pour une démarche uniquement artistique Dynamique d’ouverture 2) La réintégration dans le contexte L’expression artistique ou déplacer l’accès à la réalité La glocalisation, application au contexte 3) Transmettre un message universel Le langage de l’art Devenir une référence culturelle pour le monde B) AGIR SUR LE REEL, LA PERFORMATIVITE DE L’ART 1) « L’intifada artistique » La pratique artistique La bataille pour l’espace culturel Etre Homme-Habitant 2) Performativité de l’art, subvertir les discours imposés Performativité linguistique Performance artistique et discours performatif 3) Cristallisation et échos de l’identité : « l’acte nécessaire de la performance » Performance et performativité Performance et médiation C) L’ART ET LA CULTURE : ATTRIBUTS ET OUTILS DES PALESTINIENS
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