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Les pratiques artistiques environnementales autochtones comme réponses à la pol

Les pratiques artistiques environnementales autochtones comme réponses à la pollution : recherches comparatives entre les Amériques et l’Océanie Colloque international 21-22 Panier en ghostnets, Ghost Nets Australia, 2012. Photo by G. Le Roux octobre 2021 PROGRAMME - RÉSUMÉS PROGRAM - ABSTRACTS 8:30am ______________________________ Registration (the health pass is mandatory) 8:45am __________________________________________ Cérémonie d’accueil Ronan Calvez - directeur du Centre de Recherche Bretonne et Celtique (CRBC) Denis Pourawa - poète kanak (in person). 9:15-10:15am ____________________________________ Conversation with Alexis Wright (online) CHAIR: Anne Le Guellec-Minel (in person) 10:15-11:15am _ _______________________ SESSION 1 Ancestral Knowledge & Sustainability in Carpentaria and The Swan Book by Alexis Wright CHAIR: Salhia Ben Messahel (in person) Temiti Lehartel (online). Laura Singeot (in person). 11:15-11:30am _ ________________________ Tea break 11:30-12:30pm ________________________ SESSION 2 Socio-Environmental Inequalities and Film Activism CHAIR: Elisabeth Mullen (in person) Dr Magali McDuffie & Dr Anne Poelina (online), Jordie Blanc Ansari (in French and in person). 12:30-2:00pm _ _____________________________ Lunch 2:00-3:30pm __________________________ SESSION 3 « Water is life »: Water Protection and Indigenous Artistic Creation CHAIR: Tamatoa Bambridge (in person), Leslie Kimbaza Awassi (online), Laurent Jérôme (in person), Julie Graff (online). 3:30-4:30pm _____________________________________ Conversation with Tara June Winch (in english and in person) CHAIR: Estelle Castro-Koshy (in person), and Laura Singeot (in person) 4:30-5:00pm ___________________________ Tea break 5:00-6:00pm __________________________ SESSION 4 Gesture Transmission, Transforming Material, Questioning Materiality CHAIR: Géraldine Le Roux (in person) Jacqueline Charles-Rault (in person). Dolorès Contré (online). 7:00-9:00pm _______________à l’UFR Lettres, en B001 Round-Table on Nuclear Issues in the Pacific Virtual launch of Andréas Pfersmann’s book, La littérature irradiée : Les essais nucléaires en Polynésie française au prisme de l’écriture. Barbara Glowczewski (in person), Andréas Pfersmann (online), Tamatoa Bambridge (in person), Clémence Maillochon (online). 8:30-9:00am _ _________________________ Registration 9:00-10:00am ____________________________________ Keynote: Craig Santos Perez (online) CHAIR: Estelle Castro-Koshy (in person) 10:00-11:00am _ ______________________ SESSION 5 Imagining the future: Reappropriation and Indigenous Anticipations CHAIR: Sophie Laligant (in person), Garance Nyssen (in person), Mylène Charon (in person). 11:00-11:30am _ ___________________________ Pause 11:30-12:15am _ __________________________________ Drama students read poems by Craig Santos Perez, translated from English into French by the students of the Master’s of translation (in French and in person) INTRODUCTION: Jean-Marc Serme (in person) 12:15-2:00pm _ ____________________________ Lunch 2:00-3:00pm _____________________________________ Keynote: Estelle Castro-Koshy (in French and in person) CHAIR: Barbara Glowczewski (in person) 3:00-3:30pm ______________________________ Pause 3:30-5:00pm _________________________ SESSION 6 Decolonization, Re-Writing, and Environmental Justice CHAIR: Daisy Fabiola Eya’a Obame (in person) Anaïs Roesch (in person), Tatiana Viallaneix (online), Julia L. Frengs (online). 5:00-5:15pm _____________________________________ Concluding Statements Jean-Marc Serme (in person). 5:15-6:00pm _____________________________________ Dédicace de quelques livres venant de paraître en lien avec le thème du colloque Colloque en présentiel et en distanciel. Entrée libre, sur présentation du pass sanitaire. Pour assister aux conférences et aux déjeuners, enregistrez-vous sur : colloque-pae@univ-brest.fr Colloque organisé par : Estelle Castro-Koshy, enseignante-chercheuse, James Cook University Géraldine Le Roux, MCF, UBO/CRBC et James Cook University Jean-Marc Serme, MCF Études étatsuniennes, IdA-Brest et HCTI Laura Singeot, PRAG à l’université Paris Saclay, CREA Paris Nanterre  Marina du Château Espace Bernard Giraudeau 55, quai Éric Tabarly 29200 Brest Australian Government PROGRAMME - PROGRAM THURSDAY, OCT. 21 FRIDAY, OCT. 22 RÉSUMÉS / ABSTRACTS THURSDAY, OCT. 21 8:30am ______________________________________________________________ Registration (the health pass is mandatory) 8:45am ____________________________________________________________________________________________________ Cérémonie d’accueil Ronan Calvez - directeur du Centre de Recherche Bretonne et Celtique (CRBC) Denis Pourawa - poète kanak (in person). 9:15-10:15am ______________________________________________________________________________________________ Conversation with Alexis Wright (online) CHAIR: Anne Le Guellec-Minel (in person) 10:15-11:15am _ _________________________________ SESSION 1 _ _______________________________________________ Ancestral Knowledge & Sustainability in Carpentaria and The Swan Book by Alexis Wright CHAIR: Salhia Ben Messahel Temiti Lehartel (online). Country Custodianship in Carpentaria Carpentaria, by Waanyi elder Alexis Wright is a subversive novel the challenging aesthetics of which deserves careful consideration. Over a decade after its first publication, much of its provocative almost apocalyptic fictional content has found confirmation in the findings of the most recent critical report developed by the Intergovernmental Panel on Climate Change (2018). Given the issues posed by climate change and the ongoing colonial violence imposed on Australia’s first peoples, my approach to Wright’s novel will therefore draw from the ecocritical theory that has recently emerged in the field of postcolonial studies. An ecocritical approach to Wright’s work allows for a clearer understanding of the unsettling potential of the Indigenous Australian perspective embedded in Wright’s novel. The book advocates an ethics of care for Country (land, the earth) by devising a provocative representation of waste management as evinced by the trope of the dump. Likewise, Carpentaria encourages the reader to rethink the technological constraints imposed by cars on the outback communities of Australia through its characterization of bush mechanics. In fine, the talk will consider how Carpentaria leads the reader to think in terms of sustainability with regard to the land, its material realities as well as its spiritual dimensions. More than a sophisticated aesthetic achievement, this novel therefore converges with many other indigenous works that aim to serve as an impetus for life-sustaining changes. Laura Singeot Artful responses to pollution in The Swan Book : art(-)iculating knowledge as an answer. This paper will focus on Alexis Wright’s latest novel, The Swan Book (2013), and will consider the entanglement of traditional forms of knowledge and artistic creation as a way to offer new responses to pollution. The Swan Book is striking by its strong reliance on a complex forging of different microcosms: the polluted lake, the desert taken over by tremendous amounts of owls and pests, and the city devoured by wilderness. Every single environment is laden with images of profusion, contamination and destruction. However, it appears that a first answer to this degenerative world can be found through the use of traditional knowledge, mostly embodied by the three bodyguards and genies and their relation to Country. Oblivia, the protagonist, learns with them how one should connect with the world to which they belong and how to care for Country. This first step will lead her to question her life as a married woman later in the decaying city, looking after the dozens, if not hundreds, of dying swans. As this organic connection to the city strongly jars with the sanitized tiny worlds contained in the snowballs at Warren’s parents’ house, Oblivia realizes that looking through the glass – whether it be through those very snowballs or through the flat’s windows, up high the skyscraper – does not offer a satisfying protection from this contaminated world. Finally, Oblivia’s feeling of estrangement seems to reach some kind of resolution when she decides to go back to the polluted lake, seemingly following the songlines woven throughout the text by her tutor’s books and tales about swans. Those textual tracks finally offer what can be interpreted as an art(-)iculation of ancestral knowledge, place and community in the novel, leading the local to become encapsulated in a globalized vision achieved through art and resting on those new connections, which may also show some limits. The Swan Book can also be considered as a metatext, as far as the production of other “ways of knowing” (B. de Sousa Santos, Epistemologies) and other creative artistic responses offer new ways to navigate the world. 11:15-11:30am _ ___________________________________________________________________________________ Tea break 12:00-1:00pm _ __________________________________ SESSION 2 _ _______________________________________________ Social-Environmental Inequalities and Film Activism CHAIR: Elisabeth Mullen Dr Magali McDuffie & Dr Anne Poelina (Nyikina-Warrwa - Researcher and Advocate) Tentatively: Gwen Knox - Theatre Kimberley Bernadette Trench-Thiedeman - Animator Edwin Lee Mulligan - Nyikina-Walmajarri Artist, Poet and Performer Mervyn Street - Gooniyandi Artist The Kimberley region of Western Australia is a contested space, home to many Aboriginal nations for whom Country is at the very centre of their spirituality, their everyday interactions - a source of well-being, and resilience. At the centre of Yi-Martuwarra identity (“belonging to the Martuwarra, Fitzroy River”), is people’s multi-layered relatedness to the land and waters. The region was colonised by pearlers, pastoralists, and missionaries: Aboriginal people were enslaved and used as a cheap labour force until the end of the 1960s, dispossessed of their land, forbidden to practice their language and culture. The push for the industrialisation of the Kimberley is viewed by many as a newer form of colonialism, in many ways as violent as the first wave of colonisers. Placeless, global multinationals, have set their sights on mineral resources exploration, irrigation, fracking and agricultural ventures. Their capitalist, asset-stripping mentality (Tsing, 2015), collides with the place-basedness that characterises Indigenous lived experiences (Blaser, 2004), and local worldviews and values, grounded in specific stories of place, clash with Western concepts of universality of place (McDuffie, 2019). In these times of friction (Tsing, in Toussaint, 2008), art has become much more than an avenue of individual expression. It has evolved into a unified, yet fluid, movement to protect Country, a symbol of reconciliation through collaborations between Indigenous and non-Indigenous artists, all working with a common vision, that of sustainable development for future generations, or at least a respectful relationship with the environment which recognises Aboriginal sovereignty. Together, they have campaigned for the right of uploads/s3/ program-conf-pratiquesartisticenviroautocht 1 .pdf