CUB COOPERA EUROPA AFRICA.Indd, Page 1 @ Preflight

Total Page:16

File Type:pdf, Size:1020Kb

CUB COOPERA EUROPA AFRICA.Indd, Page 1 @ Preflight Agencia Española de Cooperación Internacional para el Desarrollo 12 Cultura y desarrollo Cooperación cultural Cultura y entre Europa y África TÍTULOS DE ESTA COLECCIÓN desarrollo Actas del 1er Campus Euroafricano 00. Derechos Culturales y Desarrollo humano de Cooperación Cultural 01. Comunicación Sostenible y Desarrollo Humano en la Sociedad de la Información. Consideraciones y propuestas Juan Carlos Miguel de Bustos. 02. Turismo, Cultura y Desarrollo Damián Moragues Cortada. 03. La Cooperación al Desarrollo La cultura es un elemento indispensable para en las Universidades Españolas Koldo Unceta (dir.) alcanzar un desarrollo humano y sostenible, así como un ámbito fundamental para profundizar en el intercambio y conocimiento mutuo entre los países y sociedades. 04. Cultura. Estrategia para el desarrollo local Pau Rausell Köster (dir.) El I Campus Euroafricano de Cooperación Cultural, organizado por la Fundación Interarts y el Observato- rio de Políticas Culturales en África (OCPA), con el respaldo de AECID, constituyó un punto de encuentro 05. Ciencia, Tecnología y Desarrollo Jesús Sebastián y Carmen Benavides. donde refl exionar y compartir conocimientos, intercambiar experiencias y proponer iniciativas conjuntas en el campo de la cooperación cultural entre Europa y el África Subsahariana. 06. La Cooperación Cultura-Comunicación en Iberoamérica Enrique Bustamante (Ed.) Esta publicación pretende dar a conocer y difundir las actas de dicho encuentro, así como algunos do- cumentos de síntesis que contribuyan a mantener vivos el diálogo y el debate, favorezcan la retroalimen- 07. Gestión Cultural e Identidad: Claves del Desarrollo tación entre teoría y práctica y estimulen una mayor conectividad entre los distintos tipos de actores. Hector Ariel Olmos 08. Redes Culturales. Claves para sobrevivir en la globalización Javier Brun 09. ¿Cómo evaluar la Cooperación Cultural al Desarrollo? Campus Euroafricano de Cooperación Cultural Campus Euroafricano Una propuesta metodológica er 10. Industrias Culturales, Creatividad y Desarrollo Germán Rey Cooperación cultural entre Europa y África Europa Cooperación cultural entre Actas del 1 11. Cultura y ODM Coordina: Carlos Moneta 12. Cooperación Cultural entre Europa y África Actas del 1er Campus Euroafricano de Cooperación Cultural Cooperación cultural entre Europa y África Actas del 1er Campus Euroafricano de Cooperación Cultural Agencia Española de Cooperación Internacional para el Desarrollo Ministerio de Asuntos Exteriores y de Cooperación Catálogo general de publicaciones generales http://publicaciones.administración.es © Agencia Española de Cooperación Internacional para el Desarrollo. Dirección de Relaciones Culturales y Cien- tíficas. Avda. Reyes Católicos, 4, 28040 Madrid. Diseño de la colección y portada: Cristina Vergara. NIPO: 502-10-028-3. ISBN: 978-84-8347-133-3. Depósito legal: M. 49409-2010. Impresión: Egraf, S.A. Campus Euroafricano de Cooperación Cultural Maputo (Mozambique), 22-26 de junio de 2009 CRÉDITOS Una iniciativa de la Fundación Interarts y el Observatorio de Políticas Culturales en África (OCPA), con el apoyo, como patrocinador principal, de la Agencia Española de Cooperación Internacional para el Desarrollo (AECID). Con la colaboración del Ayuntamiento de Maputo y el Ministerio de Educación y Cultura de la República de Mo- zambique. Otros patrocinadores: Fundación Calouste Gulbenkian, Africalia, Comisión Nacional UNESCO de Mo- zambique, Ayuntamiento de Barcelona y Agenda 21 de la cultura. Media Partner: The Courier ACP. Comité Científico: Korkor Amarteifio (Ghana), Pedro Canut (España), Maude Dikobe (Botswana), Marcel Diouf (Senegal), Ti- mothy J. Doling (Reino Unido), Augustin Hatar (Tanzania), Frédéric Jacquemin (Bélgica), Angeline S. Kamba (Zimbabwe), Ya- couba Konaté (Costa de Marfil), Andrea Marchesini (Italia), Pedro Pimenta (Mozambique), Peter Rorvik (Sudáfrica) y Raymond Weber (Luxemburgo). Entidades asociadas talleres: Ecole du Patrimoine Africain (EPA, Benín), Africalia (Bélgica), Centre for Creative Arts (Durban, Su- dáfrica), Africa e Mediterraneo (Italia), Culturelink (Croacia), Comité de Cultura de Ciudades y Gobiernos Locales Unidos (CGLU), Arterial y el Programa de Economía e Industrias Creativas de la Conferencia de las Naciones Unidas para el Comercio y el De- sarrollo (UNCTAD). Equipo OCPA: Pierre Dandjinou (presidente), Lupwishi Mbuyamba (director ejecutivo), Máté Kovács (responsable de investiga- ción), Tapiwa Petronella Chimbiro, Simon Höher, Pedro Cossa y Yonese Plinio; con la colaboración de Ofélia da Silva. Equipo Interarts: Eduard Miralles Ventimilla (presidente), Mercedes Giovinazzo (directora), Jordi Baltà Portolés, Ramona Laczko- David, Tania Adam, Oriol Freixa Matalonga y Annamari Laaksonen. Para más información, visitar www.aecid.es, www.interarts.net y www.ocpanet.org 3 Índice Presentación Prólogo Soraya Rodríguez Ramos Introducción.................................................................................................................................................................................................... 15 • Los Campus como estrategia de cooperación cultural, Eduard Miralles Ventimilla ..................................................... 17 • El Campus: una iniciativa ejemplar de cooperación cultural euroafricana, Lupwishi Mbuyamba........................... 21 • Introducción, Mercedes Giovinazzo .................................................................................................................................................. 25 • Introduction aux Actes du Campus, Raymond Weber .............................................................................................................. 29 TEXTOS.............................................................................................................................................................................................................. 37 Documentos de base ................................................................................................................................................................................. 39 • Coopération culturelle entre l´Europe et l´Afrique dans un monde globalisé: enjeux et nouvelles tendances, Lupwishi Mbuyamba................................................................................................................ 41 • La coopération culturelle entre l’Afrique et l’Europe dans un monde globalisé: courants et défis, Yacouba Konaté.................................................................................................................................................... 71 • Cultural Diversity and Cultural Rights: building a global agenda, Annamari Laaksonen............................................. 83 • Culture et Développement: vers un nouveau paradigme?, Raymond Weber.................................................................. 99 Diversidad cultural y derechos culturales ................................................................................................................................... 139 • The Relevance of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions to Africa, Mojisola Okuribido ................................................ 141 • ‘A Long Way Gone’ – Cultural Rights, Identity & Citizenship: How Africa and Europe Are Impacting Each Other in Practice, Olu Alake ....................................................................... 151 • L’importance des responsabilités et droits culturels dans le développement, Abdoulaye Sow.............................. 161 • Human Rights and Cultural Responsibilities: Women and Ethnic Minorities in Popular Arts, Maude Dikobe .............................................................................................. 181 5 • Un aperçu des stratégies pour la culture et le développement en Afrique, Kladoumadje Nadjaldongar ............................................................................................................................................................................................... 191 Migraciones y cultura.............................................................................................................................................................................. 197 • Economic and Socio-cultural Aspects of Africa-EU Migration, Eugene K. Campbell ................................................. 199 • Culture and Migration: Contradictory attitudes of Europe to Africa, Christian Kravagna........................................... 215 Experiencias de cooperación cultural euroafricana .............................................................................................................. 219 • La coopération culturelle entre l’Afrique et L’Europe dans un monde globalisé: tendances et défis, Olivier Barlet ........................................................................................................................................................ 221 • How I made 5 000 Twitter Friends in 10 days, Nicky du Plessis........................................................................................... 227 • Experiencias de formación: la asociación Multilateral, Joaquín Benito.............................................................................. 233 • The International Network for Cultural Diversity (INCD), Tade Adekunle........................................................................... 239 Gobernanza de la cultura.....................................................................................................................................................................
Recommended publications
  • Iwmf African Great Lakes Reporting Initiative
    IMPACT RE PORT IWMF AFRICAN GREAT LAKES REPORTING INITIATIVE Five years ago, the International Women’s Media Foundation (IWMF) received an opportunity that shifted the course of the organization. With a deep commitment to gender equality and the power of the media, the Howard G. Buffett Foundation awarded the IWMF a transformative $5 million grant to change the narrative in Africa’s Great Lakes region. The IWMF began work across the continent decades ago, but never at this scale. We are still humbled by this show of faith in our team, our efforts and our mission. What began in 2012 as a pilot project to bring journalists to Western Sahara grew into a five-year, six-country initiative taking us to Eastern Congo in 2014 and then to Rwanda, Uganda, Tanzania, South Sudan, the Central African Republic, North Kivu and other regions of the Democratic Republic of the Congo in the following years of the program. This initiative took place against an incredible backdrop of world events that our program’s fellows lived through and reported on every day. Despite wars, insurgencies, rigged elections, expired mandates, famines, a refugee crisis, pandemics and economic collapses, the 2 IMPACT REPORT IWMF AFRICAN GREAT LAKES REPORTING INITIATIVE IWMF continued its work, empowering touching the lives of 130 local and 178 fellows’ reporting, that number is closer journalists with the skills and network to international journalists whose reporting to 36 percent. The GMMP also notes do better, more nuanced reporting on landed on the front page of The New that just 37 percent of articles in general a complex and beautiful region.
    [Show full text]
  • Words of the World: a Global History of the Oxford English Dictionary
    DOWNLOAD CSS Notes, Books, MCQs, Magazines www.thecsspoint.com Download CSS Notes Download CSS Books Download CSS Magazines Download CSS MCQs Download CSS Past Papers The CSS Point, Pakistan’s The Best Online FREE Web source for All CSS Aspirants. Email: [email protected] BUY CSS / PMS / NTS & GENERAL KNOWLEDGE BOOKS ONLINE CASH ON DELIVERY ALL OVER PAKISTAN Visit Now: WWW.CSSBOOKS.NET For Oder & Inquiry Call/SMS/WhatsApp 0333 6042057 – 0726 540316 Words of the World Most people think of the Oxford English Dictionary (OED) as a distinctly British product. Begun in England 150 years ago, it took more than 60 years to complete, and when it was finally finished in 1928, the British prime minister heralded it as a ‘national treasure’. It maintained this image throughout the twentieth century, and in 2006 the English public voted it an ‘Icon of England’, alongside Marmite, Buckingham Palace, and the bowler hat. But this book shows that the dictionary is not as ‘British’ as we all thought. The linguist and lexicographer, Sarah Ogilvie, combines her insider knowledge and experience with impeccable research to show that the OED is in fact an international product in both its content and its making. She examines the policies and practices of the various editors, applies qualitative and quantitative analysis, and finds new OED archival materials in the form of letters, reports, and proofs. She demonstrates that the OED,in its use of readers from all over the world and its coverage of World English, is in fact a global text. sarah ogilvie is Director of the Australian National Dictionary Centre, Reader in Linguistics at the Australian National University, and Chief Editor of Oxford Dictionaries, Australia.
    [Show full text]
  • 7-Perez Crozas.Pmd 129 14/04/2010, 15:06 130 Afrique Et Développement, Vol
    Afrique et développement, Vol. XXXIV, No. 2, 2009, pp. 129–158 © Conseil pour le développement de la recherche en sciences sociales en Afrique, 2009 (ISSN 0850-3907) Des lançados aux expatriés :1 « l’Ethnie2 Blanche »3 entre les fleuves Sénégal et Casamance Armonia Pérez Crosas* Résumé La région comprise entre les fleuves Sénégal et Casamance a un long parcours historique de contact et de présence de l’homme Blanc occidental. Même si les personnages et les situations qu’ont conformé « l’Ethnie Blanche » pendant le temps ont été très variés, il existe des caractéristiques qui se répètent, des continuités associées avec l’ambiguïté du statut social, des relations entre les sexes ou les spécialisations économiques, à la frontière entre le local et le global. L’article explore cette durabilité d’une frontière culturelle, en proposant des pistes de recherche à partir de la figure des lançados. L’analyse montre des indices, des parallélismes réitérés entre les effets des varia- tions dans les conditions frontalières sur le collectif « Blanc », en oscillant entre le maintien de son identité et l’intégration dans les communautés autochtones. L’auteur estime qu’une perspective de longue durée aiderait à comprendre l’articulation actuelle des contingents de coopérants et d’agents économiques qui arrivent à la région, compréhension qui pourrait être extrapolée à d’autres zones du continent. Abstract The region located between the Senegal and the Casamance rivers has a long history of the presence of Western white men. Although the characters and situations modeled by the ‘White Ethnic Group’ over time have been very varied, there are characteristics that are repeated, continuities associated with the ambiguity of social status, gender relations or economic specializations, on the boundary between both * Agrupament per a la Recerca i la Docència d’Àfrica (ARDA), Université de Barcelone.
    [Show full text]
  • Laurie Beth Clark 1610 Waunona Way Madison. Wi
    LAURIE BETH CLARK 1610 WAUNONA WAY ART DEPARTMENT MADISON. WI 53713 UNIVERSITY OF WISCONSIN 6241 HUMANITIES BUILDING (608) 223-1455 455 NORTH PARK STREET MADISON. WI 53706 [email protected] (608) 262-1660 www.lbclark.net EDUCATION M.F.A. RUTGERS UNIVERSITY. NEW BRUNSWICK. NJ. 1983 M.A. UNIVERSITY OF NEW MEXICO. ALBUQUERQUE. NM. 1981 B.A. HAMPSHIRE COLLEGE. AMHERST. MA. 1976 TEACHING 1996 - present Professor. Non-Static Forms. University of Wisconsin. Madison. WI Spring 2015 Faculty and Resident Director. Florence. ITALY 1990 - 1995 Associate Professor. Non-Static Forms. University of Wisconsin. Madison. WI 1985 - 1990 Assistant Professor. Non-Static Forms. University of Wisconsin. Madison. WI 1984 - 1985 Visiting Instructor. Sculpture. Drawing. and Art Survey. University of Minnesota. Duluth. MN ADMINISTRATION 2004 - 2008 Vice Provost for Faculty and Staff. University of Wisconsin. Madison. WI 2000 - 2007 Coordinator. Visual Culture Cluster. University of Wisconsin. Madison. WI 2003 - 2004 3-D Area Chair. Art Department. University of Wisconsin. Madison. WI 1998 - 2001 Chair. Art Department. University of Wisconsin. Madison. WI Spring 1998 Interim Associate Dean. School of Education. University of Wisconsin. Madison. WI 1994 - 1998 Graduate Chair. Art Department. University of Wisconsin. Madison. WI 1993 3-D Area Chair. Art Department. University of Wisconsin. Madison. WI CAMPUS AFFILIATIONS 2018 – present Holtz Center for Science and Technology Studies 2018 – present Center for Integrated Agricultural Studies 2018 – present Public Humanities Graduate Certificate 2015 – present Interdisciplinary Theatre Studies 2014 - present Art History 2012 - 2015 Theatre and Drama 2008 - present Center for Visual Cultures LAURIE BETH CLARK / CURRICULUM VITAE /14 December 2018 PAGE 1 2000 - 2007 Visual Culture Cluster 1997 - present Gender and Women’s Studies PROFESSIONAL AFFILIATIONS American Society for Theatre Research Performance Studies international ADVISORY BOARDS 2017 – 2019 Chair, Advisory Board, South American Institute for Resilience and Sustainability.
    [Show full text]
  • Uzi Kurinda Imana We: a Story of Resilience in Rwanda
    2007 Ethics Center Student Fellows Translations Six Stories of (Mis)Understanding The International Center for Ethics, Justice, and Public Life • Brandeis University Translations: Six Stories of (Mis)Understanding 2007 Ethics Center Student Fellows The International Center for Ethics, Justice, and Public Life Brandeis University Table of Contents Introduction 3 Daniel Terris Stars in the Sky: Race, Class, and Security in Randleman, North Carolina 5 Ramon De Jesus ‘08 ¡El Pueblo Unido Jamás Será Vencido! 13 The People United Will Never Be Defeated! Rachel Kleinbaum ‘08 Sentences and Words: Language and Legacy Inside the International 23 Criminal Tribunal for Rwanda Daniel Koosed ‘08 Uzi Kurinda Imana We: A Story of Resilience in Rwanda 34 Margot Moinester ‘09 Coercion and Conversion: The Organic Farming Movement 42 in Maharashtra, India Neena Pathak ‘08 Kakamega: Living and Learning in Kenya’s Last Remaining Rainforest 54 Jamie Pottern ‘09 Introduction uring a presentation to the Brandeis community in December called “Unpacking: Six DANIEL TERRIS Journeys Towards Understanding Communities Around the World,” the 2007 Ethics Director, International Center for Ethics, Justice, and Public Life D Center Student Fellows brought their suitcases to the Brandeis Library to share an inside look, in more ways than one, at details of their travels. In the same way, they carried their baggage—literally and metaphorically—as they moved during the summer of 2007 from continent to continent, from community to community, from home to home. They also scrutinized it closely. What was the meaning of the contents of their suitcases: of the clothes, the iPods, and the toiletries that they brought from home .
    [Show full text]
  • Names Used for Pwa
    NAMES USED FOR PWA If you wish to contribute to this Catalogue, please email us at: [email protected] LANGUAGE NAME PRONOUNCED CATEGORY MEANING AFRICA 1 Benin Yovo Other PWA 2 Burkina Faso Mossi Moinga mo-in-ga Other PWA 3 Burundi Kirundi Iboro e-bo-ro Money Big Deal 4 Burundi Kirundi Nyamweru Supernatural The one who lights up 5 Burundi Kirundi Kitabona Scorned/mocked person The one who can't see anything 6 Burundi Muzungu moo-zoon-goo Other White 7 Botswana mpopi Object Doll 8 Botswana leswafe Other PWA 9 Botswana lebone Object Lamp 10 Cameroon Bamileke Mbumbu Plant A banana that has ripens early 11 Cameroon Medimba Mekat Other white person 12 Cameroon Ndock Other white person 13 Cameroon Nnang Other white person 14 Cameroon Manga Blanc Other Half white 15 Cameroon Mbemba Mbak Other white person 16 Cameroon Ewa Mange Other white person 17 Cameroon Les Mergens Other white person 18 Cameroon Fulani Nassara Other white person 19 Central African Republic Sango Mami Wata Supernatural Goddess of the Waters Iri so amu kamela na ngonzo osse kwe. 20 Central African Republic Sango Supernatural Spirit and fantom Aba ala tonga na ta zo pepe mais tonga na toro (fantom) 21 Chad French Faux Scorned/mocked person Fake 22 Côte d'Ivoire Dioula & Senoufo Gombêlê gom-bea-lea as in head Scorned/mocked person Redhead 23 Côte d'Ivoire Agni, Abron & Koulango Fri fre like heat Other PWA 24 Côte d'Ivoire Bete Lapau lei-poo Other PWA 25 Congo - Brazzaville Lingala Ndoudou Supernatural Ghost 26 DRC Lingala Ndundu n-doon-doo Supernatural Specific term for
    [Show full text]
  • GERMAINE ACOGNY's MODERN AFRICAN DANCE TECHNIQUE 1962-1975 a Dissertation Submitted To
    MODERNISM, MÉTISSAGE AND EMBODIMENT: GERMAINE ACOGNY’S MODERN AFRICAN DANCE TECHNIQUE 1962-1975 A Dissertation Submitted to the Temple University Graduate Board In PartiaL FulfiLLment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by OmiLade Davis May 2019 Examining Committee Members: Dr. Kariamu WeLsh, Advisory Chair, Dance Dr. SherriL Dodds, Dance Dr. Benjamin TaLton, History Dr. Babatunde LawaL, ExternaL Member, Virginia CommonweaLth University © Copyright 2019 by OmiLade Davis ALL Rights Reserved ii ABSTRACT This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowLedge that reveaLs insight into nationaLism, Négritude, modernism and perspectives on modernity during the early years of SenegaL’s independence. By investigating the Technique in reLationship to its historicaL context, this study aims to identify how culturaL and politicaL vaLues, which comprise the Technique’s embodied knowLedge, are evident in its aesthetic design and phiLosophicaL underpinnings. A hybrid methodologicaL approach is employed that merges theoreticaL anaLysis with autoethnography. FieLdwork in SenegaL, archivaL research, interviews and embodied practice informed this study. A new theoreticaL frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation concLude that the Technique sits at the junction of African and Euro-American culturaL templates, which coaLesce in the production
    [Show full text]
  • The Agĩkũyũ, the Bible and Colonial Constructs: Towards an Ordinary African Readers‟ Hermeneutics
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository THE AGĨKŨYŨ, THE BIBLE AND COLONIAL CONSTRUCTS: TOWARDS AN ORDINARY AFRICAN READERS‟ HERMENEUTICS. by JOHNSON KĨRIAKŨ KĨNYUA A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Theology and Religion College of Arts and Law The University of Birmingham February 2010 . [1] ABSTRACT THE AGĨKŨYŨ, THE BIBLE AND COLONIAL CONSTRUCTS: TOWARDS AN ORDINARY AFRICAN READERS‟ HERMENEUTICS. By Johnson Kĩriakũ Kĩnyua February 2010 (346 Pages) Recognising the paradigm shift in African biblical studies where the image of a “decontextualized and non-ideological” scientific Bible reader is slowly being replaced with one of a “contextualized and ideological” reader, this research seeks to explore and understand the role of the “ordinary readers” in the development of biblical interpretation in colonial Kenya. It seeks to understand whether the semi- illiterate and illiterate can engage the Bible as capable hermeneuts. The study uses postcolonial criticism to recover and reconstruct the historical encounters of the Agĩkũyũ with the Bible. It reveals that ordinary African readers actively and creatively engaged biblical texts in the moment of colonial transformation using several reading strategies and reading resources. Despite the colonial hegemonic positioning, these Africans hybridised readings from the Bible through retrieval and incorporation of the defunct pre-colonial past; creating interstices that became sites for assimilation, questioning and resistance. The study proposes an African hermeneutic theory that accepts both scholarly readers and the ordinary readers with respect to biblical interpretation as constitutive of a community of readers positioned in a particular sociocultural milieu.
    [Show full text]
  • Colonialidade Na Dança E As Formas Africanizadas De Escrita De Si: Perspectivas Sul–Sul Através Da Técnica Germaine Acogny
    DOI 10.20396/conce.v6i2.8648597 Colonialidade na dança e as formas africanizadas de escrita de si: perspectivas sul–sul através da técnica Germaine Acogny Coloniality in dance and the Africanized forms of self-inscription: South- South perspectives thought Germaine Acogny´s Technique Luciane Silva1 1. Inaicyra Falcão dos Santos2 Doutoranda em Artes da Cena pela Universidade Estadual de Campinas. ORCID: http://orcid.org/ 0000-0002-1723-719X Contato: RESUMO [email protected] Situado no campo transversal entre educação, dança e antropo- 2. logia, na esteira da reflexão sobre corpo e cultura, nosso texto Profa. Dra. Livre docente colaboradora da busca apresentar as preocupações principais do campo da teoria Universidade Estadual social que investiga a colonialidade que ora utilizamos como de Campinas. mola propulsora para ampliar as perspectivas epistemológicas ORCID: http://orcid.org/ 0000-0001-6321-6325 no campo de conhecimento da dança. No percurso investigativo Contato: apresentamos a técnica Acogny enquanto epistemologia do sul e [email protected] possível conexão atlântica. Palavras-chave: Colonialidade. Dança. Germaine Acogny. ABSTRACT Placed at the crossroads of education, dance and anthropology, addres- sing body and culture, the article presents key concerns in the field of social theory investigating coloniality as a driving force to broaden epistemological perspectives in the dance field. In the investigative course we present Acogny technique as an epistemology of the south and a possible atlantic connection. Keywords: Coloniality. Dance. Germaine Acogny. Submetido em: 02/04/2017 Aceito em: 25/08/2017 © Conceição | Concept., Campinas, SP, v. 6, n. 2, p. 162–173, jul./dez. 2017 162 DOI 10.20396/conce.v6i2.8648597 Sendo o corpo fluidez de memórias, superfície e continente de inscrições culturais e políticas, entidade viva capaz de perguntar e responder de diferentes maneiras a treinamentos, lingua- gens e estéticas, impõe-se ao nosso tempo o desafio de ampliar as paisagens epistemológicas que sugerem sentidos e sensos para os corpos que dançam.
    [Show full text]
  • Mission Ad Gentes and the Perils of Racial Privilege
    Theological Studies 70 (2009) MISSION AD GENTES AND THE PERILS OF RACIAL PRIVILEGE PAUL V. KOLLMAN, C.S.C. Building on an episode in Uganda, the author considers ethical issues facing missionaries due to race-based privileges. He uses the notion of white privilege to consider how missionaries should negotiate the default racialization found in missionary settings where race operates differently than it does where white privilege is usually found. Racial privileges intensify the competing demands at work in contemporary theologies of mission between dialogue and proclamation. In acknowledging such privileges and the accompa- nying tension they augment, missionaries should pursue awareness of and accountability for them. HITE PRIVILEGE is a term and notion that has in recent years emerged Win discussions of race and racism to describe a broad set of presumed advantages accorded those designated white.1 Though most references to white privilege have appeared in relation to the distinctive history of race associated with the United States, certain types of privileges asso- ciated with whiteness also operate outside the United States. This article will address the ethical complexities missionaries face in prototypical PAUL V. KOLLMAN, C.S.C., earned his Ph.D. from the University of Chicago Divinity School and is now assistant professor in the Department of Theology at the University of Notre Dame. Specializing in African Christianity and history of religions, his recent publications include The Evangelization of Slaves and Cath- olic Origins in Eastern Africa (2005). Currently in preparation is a monograph on the Catholic evangelization of eastern Africa. An earlier version of this article was presented to the Mission and Missiology section of the Catholic Theological Society of America at its annual meeting in Houston, June 2006.
    [Show full text]
  • Crossing the Line Festival 2019 Press Release
    French Institute Alliance Française (FIAF) Announces Lineup of 12 Groundbreaking Shows for 2019 Crossing the Line Festival In the First Season Curated by New FIAF Artistic Director Courtney Geraghty, the Festival Engages Artists Linked by Their Fearlessness in Confronting and Defying Artistic and Social Boundaries 2019 Crossing the Line Festival Includes: Two Performances Reconsidering Iconic Films: Cyril Teste’s Adaptation of John Cassavetes’ Opening Night, Starring Acclaimed French Actress Isabelle Adjani (September 12–14); and Choreographer Stefanie Batten Bland’s Modernized Take on Guess Who’s Coming to Dinner (October 3–6) The US Premiere of Why?, a Poignant Reflection From 94-Year-Old Iconoclast Peter Brook (September 21–October 6) New Works from Mother of Contemporary African Dance Germaine Acogny (September 26–28); Choreographer Jérôme Bel, Honoring Modern Dance Pioneer Isadora Duncan (September 25); and Musician/Dancer/ Choreographer Olivier Tarpaga (October 10) Theatrical Convention-Breaking Performances from 600 HIGHWAYMEN (September 13–15), Fanny de Chaillé (September 17–18), and François Chaignaud (October 11–12) The Sun Too Close to the Earth, a Crossing the Line Commission From Composer and Multi-Instrumentalist Rhys Chatham (October 4–5) Pierre Huyghe’s The Host and the Cloud to Be Presented in FIAF Gallery (September 12–October 12) A Radio-Performance with Journalists Aurélie Charon, Caroline Gillet, and Youth Activists from Around the World (October 2); Workshops with Cyril Teste and Germaine Acogny, the Focus of the 4th Annual BRIDGING: An International Dialogue on Diversity and Inclusion in the Arts, in Collaboration with the Edmond de Rothschild Foundations New York, NY (June 19, 2019) — The French Institute Alliance Française (FIAF), New York’s premier French cultural and language center, today announced the 2019 Crossing the Line Festival, featuring 11 performances and a gallery exhibition from a geographically, generationally, and artistically diverse group of artists whose work transcends genres and boundaries.
    [Show full text]
  • Reaching Back While
    RICE UNIVERSITY The African American Dancing Body: A Site for Religious Experience through Dance By Shani Diouf A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Master of Arts APPROVED, THESIS COMMITTEE Claire Fanger Associate Professor Co-Director of MA Studies Elias Bongmba Professor of Religion, Harry & Hazel Chavanne Chair in Christian Theology, Department Chair Niki Clements Watt J. and Lilly G. Jackson Assistant Professor of Religion, Allison Sarofim Assistant Professor of Distinguished Teaching in the Humanities, Director of Undergraduate Studies for the Department of Religion HOUSTON, TEXAS April 2021 Abstract African American religious dance is not a topic previously explored in detail beyond dance that has historically existed in the church within the confines of Christianity. However the African American religious experience is not limited to Christianity and is inclusive of various religious practices extending beyond the church and thus required deeper exploration of what constitutes an African American religious experience, especially as it relates to dance. In an effort to explore this, careful exploration of the Ring Shout was necessary as a tool in discussing the evolution of the African American religious dances. Using the Ring Shout as a lens for viewing subsequent dances of the diaspora within my thesis, I acknowledge it as the first African American Religious dance with special emphasis being placed on its purpose and function as a form of communal action and way of achieving oneness by the practitioners, ultimately laying the foundation for subsequent dances. I also include interviews that I conducted with dance practitioners of different dance genres about their perceived notions and personal experiences of what makes a dance religious.
    [Show full text]