Race on Display in 20Th- and 21St-Century France
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The Sarkozy Effect France’S New Presidential Dynamic J.G
Politics & Diplomacy The Sarkozy Effect France’s New Presidential Dynamic J.G. Shields Nicolas Sarkozy’s presidential campaign was predicated on the J.G. Shields is an associate professor of need for change in France, for a break—“une rupture”—with the French Studies at the past. His election as president of the French Republic on 6 University of Warwick in England. He is the first May 2007 ushered in the promise of a new era. Sarkozy’s pres- holder of the American idency follows those of the Socialist François Mitterrand Political Science Associ- ation's Stanley Hoff- (1981-95) and the neo-Gaullist Jacques Chirac (1995-2007), mann Award (2007) for who together occupied France’s highest political office for his writing on French more than a quarter-century. Whereas Mitterrand and Chirac politics. bowed out in their seventies, Sarkozy comes to office aged only fifty-two. For the first time, the French Fifth Republic has a president born after the Second World War, as well as a presi- dent of direct immigrant descent.1 Sarkozy’s emphatic victory, with 53 percent of the run-off vote against the Socialist Ségolène Royal, gave him a clear mandate for reform. The near-record turnout of 84 percent for both rounds of the election reflected the public demand for change. The legislative elections of June 2007, which assured a strong majority in the National Assembly for Sarkozy’s centre-right Union pour un Mouvement Populaire (UMP), cleared the way for implementing his agenda over the next five years.2 This article examines the political context within which Sarkozy was elected to power, the main proposals of his presidential program, the challenges before him, and his prospects for bringing real change to a France that is all too evidently in need of reform. -
Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa
Reconsidering Cultural Entrepreneurship: Hip Hop Music Economy and Social Change in Senegal, Francophone West Africa Jenny Fatou MBAYE Thesis submitted for the degree of Doctor of Philosophy (PhD) London, July 2011 LONDON SCHOOL OF ECONOMICS AND POLITICAL SCIENCE 1 Declaration of Originality I certify that the thesis I am presenting for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. 2 Abstract The increasing interest in the cultural economy is part of an attempt to invent new industrial development strategies that comprises a capacity to transform locations. In policy-making, the cultural economy is commonly framed from an economic perspective that salutes the role of the cultural economy and the dynamics of entrepreneurship in processes of urban and regional developments. Moreover, explorations of cultural economy and entrepreneurship are mainly represented by studies of Europe and North America. This thesis departs from such a normative perspective, and critically examines the links between a situated music economy, its cultural entrepreneurs and social change in West Africa. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W. -
Traversing Boundaries in Gottschalk's the Banjo
Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts 5-2017 Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Performance Commons This is a pre-publication author manuscript of the final, published article. Repository Citation Pruett, L. M. (2017). Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo. Journal of the Society for American Music, 11(2), 155-183. Available at: https://scholarworks.merrimack.edu/vpa_facpub/5 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk’s The Banjo LAURA MOORE PRUETT ABSTRACT This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white -
Questioning Whiteness: “Who Is White?”
人間生活文化研究 Int J Hum Cult Stud. No. 29 2019 Questioning Whiteness: “Who is white?” ―A case study of Barbados and Trinidad― Michiru Ito1 1International Center, Otsuma Women’s University 12 Sanban-cho, Chiyoda-ku, Tokyo, Japan 102-8357 Key words:Whiteness, Caribbean, Barbados, Trinidad, Oral history Abstract This paper seeks to produce knowledge of identity as European-descended white in the Caribbean islands of Barbados and Trinidad, where the white populations account for 2.7% and 0.7% respectively, of the total population. Face-to-face individual interviews were conducted with 29 participants who are subjectively and objectively white, in August 2016 and February 2017 in order to obtain primary data, as a means of creating oral history. Many of the whites in Barbados recognise their interracial family background, and possess no reluctance for having interracial marriage and interracial children. They have very weak attachment to white hegemony. On contrary, white Trinidadians insist on their racial purity as white and show their disagreement towards interracial marriage and interracial children. The younger generations in both islands say white supremacy does not work anymore, yet admit they take advantage of whiteness in everyday life. The elder generation in Barbados say being white is somewhat disadvantageous, but their Trinidadian counterparts are very proud of being white which is superior form of racial identity. The paper revealed the sense of colonial superiority is rooted in the minds of whites in Barbados and Trinidad, yet the younger generations in both islands tend to deny the existence of white privilege and racism in order to assimilate into the majority of the society, which is non-white. -
The Dance in Place Congo. I. Congo Square
THE DANCE IN PLACE CONGO. I. CONGO SQUARE. HOEVER has been to New Orleans with eyes not totally abandoned to buying and selling will, of course, remember St. Louis Cathedral, looking south-eastward — riverward — across quaint Jackson Square, the old Place W d'Armes. And if he has any feeling for flowers, he has not forgotten the little garden behind the cathedral, so antique and unexpected, named for the beloved old priest Père Antoine. The old Rue Royale lies across the sleeping garden's foot. On the street's farther side another street lets away at right angles, north-westward, straight, and imperceptibly downward from the cathedral and garden toward the rear of the city. It is lined mostly with humble ground-floor-and-garret houses of stuccoed brick, their wooden doorsteps on the brick sidewalks. This is Orleans street, so named when the city was founded. Its rugged round-stone pavement is at times nearly as sunny and silent as the landward side of a coral reef. Thus for about half a mile; and then Rampart street, where the palisade wall of the town used to run in Spanish days, crosses it, and a public square just beyond draws a grateful canopy of oak and sycamore boughs. That is the place. One may shut his buff umbrella there, wipe the beading sweat from the brow, and fan himself with his hat. Many's the bull-fight has taken place on that spot Sunday afternoons of the old time. That is Congo Square. The trees are modern. So are the buildings about the four sides, for all their aged looks. -
1 Soulsister the Way to Your Heart 1988 2 Two Man Sound Disco
1 Soulsister The Way To Your Heart 1988 2 Two Man Sound Disco Samba 1986 3 Clouseau Daar Gaat Ze 1990 4 Isabelle A He Lekker Beest 1990 5 Katrina & The Waves Walking On Sunshine 1985 6 Blof & Geike Arnaert Zoutelande 2017 7 Marianne Rosenberg Ich Bin Wie Du 1976 8 Kaoma Lambada 1989 9 George Baker Selection Paloma Blanca 1975 10 Helene Fischer Atemlos Durch Die Nacht 2014 11 Mavericks Dance The Night Away 1998 12 Elton John Nikita 1985 13 Vaya Con Dios Nah Neh Nah 1990 14 Dana Winner Westenwind 1995 15 Patrick Hernandez Born To Be Alive 1979 16 Roy Orbison You Got It 1989 17 Benny Neyman Waarom Fluister Ik Je Naam Nog 1985 18 Andre Hazes Jr. Leef 2015 19 Radio's She Goes Nana 1993 20 Will Tura Hemelsblauw 1994 21 Sandra Kim J'aime La Vie 1986 22 Linda De Suza Une Fille De Tous Les Pays 1982 23 Mixed Emotions You Want Love (Maria, Maria) 1987 24 John Spencer Een Meisje Voor Altijd 1984 25 A-Ha Take On Me 1985 26 Erik Van Neygen & Sanne Veel Te Mooi 1990 27 Al Bano & Romina Power Felicita 1982 28 Queen I Want To Break Free 1984 29 Adamo Vous Permettez Monsieur 1964 30 Frans Duijts Jij Denkt Maar Dat Je Alles Mag Van Mij 2008 31 Piet Veerman Sailin' Home 1987 32 Creedence Clearwater Revival Bad Moon Rising 1969 33 Andre Hazes Ik Meen 't 1985 34 Rob De Nijs Banger Hart 1996 35 VOF De Kunst Een Kopje Koffie 1987 36 Radio's I'm Into Folk 1989 37 Corry Konings Mooi Was Die Tijd 1990 38 Will Tura Mooi, 't Leven Is Mooi 1989 39 Nick MacKenzie Hello Good Morning 1980/1996 40 Noordkaap Ik Hou Van U 1995 41 F.R. -
The State of Artistic Freedom 2021
THE STATE OF ARTISTIC FREEDOM 2021 THE STATE OF ARTISTIC FREEDOM 2021 1 Freemuse (freemuse.org) is an independent international non-governmental organisation advocating for freedom of artistic expression and cultural diversity. Freemuse has United Nations Special Consultative Status to the Economic and Social Council (UN-ECOSOC) and Consultative Status with UNESCO. Freemuse operates within an international human rights and legal framework which upholds the principles of accountability, participation, equality, non-discrimination and cultural diversity. We document violations of artistic freedom and leverage evidence-based advocacy at international, regional and national levels for better protection of all people, including those at risk. We promote safe and enabling environments for artistic creativity and recognise the value that art and culture bring to society. Working with artists, art and cultural organisations, activists and partners in the global south and north, we campaign for and support individual artists with a focus on artists targeted for their gender, race or sexual orientation. We initiate, grow and support locally owned networks of artists and cultural workers so their voices can be heard and their capacity to monitor and defend artistic freedom is strengthened. ©2021 Freemuse. All rights reserved. Design and illustration: KOPA Graphic Design Studio Author: Freemuse Freemuse thanks those who spoke to us for this report, especially the artists who took risks to take part in this research. We also thank everyone who stands up for the human right to artistic freedom. Every effort has been made to verify the accuracy of the information contained in this report. All information was believed to be correct as of February 2021. -
Teaching Critical Whiteness Theory: What College and University Teachers Need to Know
Understanding and Dismantling Privilege Nichols, Teaching Critical Whiteness 1 Teaching Critical Whiteness Theory: What College and University Teachers Need to Know Dana Nichols St. John Fisher College My small, four‐year, regional, upstate New York college is similar to many colleges and universities across the country. It has a predominantly white student population, comprised primarily of middle‐ and working‐class students. The majority of my students are from rural, economically depressed, racially homogenous areas. When planning my first critical whiteness theory course, I knew that most, if not all of my students, would be white. I also knew that my class would probably be the first time white students had been asked to think about their racial identity in a formal educational setting and that they would need as many tools as I could offer them to critically engage with whiteness. I anticipated that I would encounter some resistant students, while other students would eagerly embrace a new way of thinking about themselves and the world, and I wanted to feel as prepared as possible for both kinds of students. In planning my own classes, I have turned to recent scholarship to glean some advice about how to build a successful whiteness studies class. This paper is a brief overview of some of those ideas and it covers four major areas: (1) the attitudes that white students bring with them, (2) the goals of critical whiteness pedagogy, (3) the potential pitfalls of critical whiteness pedagogy, and (4) strategies for counteracting the pitfalls. Volume 1, Issue 1, August 2010 Understanding and Dismantling Privilege Nichols, Teaching Critical Whiteness 2 When teachers think about the attitudes white students bring with them to the college classroom, they sometimes assume that white students have no awareness of themselves as racial subjects. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
White Privilege: Exploring the (In)Visibility of Pakeha Whiteness
White Privilege: Exploring the (in)visibility of Pakeha whiteness A thesis submitted in partial fulfilment of the requirements for the Degree of Masters of Arts in Human Services at the University of Canterbury By Claire Frances Gray Human Services Programme School of Social and Political Sciences University of Canterbury 2012 Contents Acknowledgements .......................................................................................................................................... 1 Abstract ................................................................................................................................................................. 2 Chapter 1 .............................................................................................................................................................. 3 Introduction ........................................................................................................................................................ 3 A New Zealand Context ............................................................................................................................. 5 Adoption of a Critical Stance ................................................................................................................... 7 Thesis Overview ........................................................................................................................................... 8 A Note on Writing Style ......................................................................................................................... -
Discours De Madame Rama YADE Secrétaire D'etat Chargée Des
Discours de Madame Rama YADE Secrétaire d’Etat chargée des Sports, En ouverture des premières Assises du Sport et du Développement Durable Paris, jeudi 20 mai 2010 ***** Madame la Ministre, chère Chantal, Monsieur le Président, cher Denis, Cher Yann Arthus-Bertrand, Mesdames et Messieurs, Chers amis, Nous venons d’entendre une belle voix simple, j’allais dire une voix d’humanité. Ce qui nous rassemble aujourd’hui, c’est justement une certaine idée de l’Homme, de son rapport aux autres, et à son environnement. Longtemps, nous avons cru que l’Homme était maître de l’univers comme de lui-même. Cet orgueil, cette foi prométhéenne dans l’activité des hommes, nous savons aujourd’hui qu’ils conduisent à des dérèglements irréversibles, qu’ils soient climatiques, économiques ou sociaux. Il ne s’agit pas de mettre en cause les progrès de la science ou le développement économique : je crois profondément à l’intelligence collective de nos sociétés et en la capacité de chacun de prendre la mesure des défis que nous devons relever. La liberté de l’Homme, c’est d’arrêter l’irréversible. Il y a une urgence environnementale. Nous devons y faire face. C’est le défi de ce nouveau siècle ; c’est le défi de notre temps. C’est pourquoi c’est un grand plaisir pour moi de vous accueillir ici pour le lancement de ces premières Assises nationales du sport et du développement durable. Je vous remercie d’avoir répondu si nombreux à notre invitation. Notre invitation : le pluriel est important. Le sport, 1/5 Seul le prononcé fait foi même individuel, est un moment de partage.