{"id":5428,"date":"2024-09-06T07:35:38","date_gmt":"2024-09-06T07:35:38","guid":{"rendered":"https:\/\/outsiderland.com\/danahilliot\/?p=5428"},"modified":"2024-09-06T07:35:38","modified_gmt":"2024-09-06T07:35:38","slug":"le-corps-lieu-de-la-hantise-coloniale-giulia-grechiin","status":"publish","type":"post","link":"https:\/\/outsiderland.com\/danahilliot\/le-corps-lieu-de-la-hantise-coloniale-giulia-grechiin\/","title":{"rendered":"Le corps, lieu de la hantise coloniale (Giulia Grechiin)"},"content":{"rendered":"
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\"\"Je traduis un texte magnifique de Giulia Grechiin (Accademia di Belle Arti di Napoli) \u00ab\u00a0Colonial Cultural Heritage and Embodied Representations\u00a0\u00bb, in Gabriele Proglio, Camilla Hawthorne, et al., The Black Mediterranean\u00a0: Bodies, Borders and Citizenship<\/em>, Palgave 2021.<\/p>\n

Afin d’illustrer ce que j’appelle notre \u00ab\u00a0colonialisme\u00a0\u00bb intime (lequel en r\u00e9alit\u00e9, ne questionne pas seulement le rapport \u00e0 la m\u00e9moire coloniale, mais au pr\u00e9sent n\u00e9ocolonial. Ici, il s’agit de comprendre la persistance d’un racisme structurel en Italie.<\/p>\n<\/div>\n<\/div>\n

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\u00ab\u00a0Les traces coloniales que j\u2019ai mentionn\u00e9es pr\u00e9c\u00e9demment ne se trouvent pas seulement dans les espaces publics et dans les r\u00e9cits institutionnels de nos villes. Elles se trouvent \u00e9galement dans l\u2019intimit\u00e9 de nos maisons, dans les tiroirs ou les greniers, dans les vieilles bo\u00eetes de photographies d\u2019un grand-p\u00e8re parti \u00e0 la guerre en Afrique ou dans les lettres de ceux qui ont \u00e9migr\u00e9 dans les colonies, ou encore dans nos armoires\u00a0: dans les biscuits Tripolini, la r\u00e9glisse Assabesi, les chocolats Negrita, les sachets de parfum Carta d\u2019Eritrea\u00a0; dans les chansons de 1960 comme Ciccio Bello Angelo Negro ou Bessie the lively little negro\u00a0; dans les disques \u00e0 succ\u00e8s comme \u00ab\u00a0Bongo\u00a0\u00bb de 1948, ou \u00ab\u00a0I Watussi\u00a0\u00bb de 1963\u00a0; ou la comptine sur l\u2019homme noir, \u00ab\u00a0la Ninna nanna dell’uomo nero\u00a0\u00bb, chant\u00e9e \u00e0 beaucoup d\u2019entre nous quand nous \u00e9tions enfants. Les traces coloniales se retrouvent dans les sachets de sucre \u00e0 l\u2019iconographie raciste propos\u00e9s dans les caf\u00e9s et dans les imaginaires racialis\u00e9s qui circulent encore dans les publicit\u00e9s, les vid\u00e9os musicales, les photographies de mode et le langage courant, comme l\u2019expression \u00ab\u00a0sono incazzato nero\u00a0\u00bb, une fa\u00e7on de dire \u00ab\u00a0je suis furieux\u00a0\u00bb, mais qui signifie litt\u00e9ralement \u00ab\u00a0je suis noir en col\u00e8re\u00a0\u00bb.<\/p>\n

Pour reprendre les termes de Vincent Meessen, artiste et commissaire d\u2019exposition belge, il s\u2019agit d\u2019une \u00ab\u00a0hauntologie coloniale\u00a0\u00bb, un processus \u00e9trange d\u2019apparition du discours colonial et de ses imaginaires dans des lieux inattendus, dans l\u2019intimit\u00e9 quotidienne des gestes, des mots et des objets. La culture populaire et racialis\u00e9e de la p\u00e9riode coloniale est bien vivante et active, bien que sous des formes d\u00e9guis\u00e9es ou apparemment inoffensives et donc difficiles \u00e0 d\u00e9masquer. Cela cr\u00e9e une \u00ab\u00a0proximit\u00e9 vertigineuse\u00a0\u00bb, comme le dit Merleau-Ponty (2002, p. 39), entre les choses, les corps et les souvenirs, faisant du processus de m\u00e9moire lui-m\u00eame un acte essentiellement politique, une revendication d\u2019espace et un remembrement (en italien, rimembrare), une recomposition de ces membres d\u00e9vi\u00e9s de notre identit\u00e9 culturelle.<\/p>\n

Les imaginaires et les repr\u00e9sentations coloniales sont comme une rivi\u00e8re souterraine, invisible mais omnipr\u00e9sente. Ils sont dans nos bouches, nos syst\u00e8mes digestifs, nos oreilles et nos voix. Nous les avons inhal\u00e9s avec certaines odeurs, ils nous ont nourris et ont impr\u00e9gn\u00e9 notre peau blanche. Ils sont les gants avec lesquels nous touchons, les lentilles color\u00e9es qui filtrent notre r\u00e9alit\u00e9. Nous les avons litt\u00e9ralement incorpor\u00e9s. Ils sont devenus des habitus, des habitudes, des clich\u00e9s, des st\u00e9r\u00e9otypes, des parties de nous-m\u00eames et de notre identit\u00e9. Le corps est le lieu principal de cette m\u00e9moire, une m\u00e9moire qui se traduit et se reproduit \u00e0 travers nous. Paul Connerton explique que \u00ab\u00a0dans la m\u00e9moire habituelle, le pass\u00e9 est s\u00e9diment\u00e9 dans le corps\u00a0\u00bb. La m\u00e9moire (individuelle et collective) n\u2019est pas seulement spirituelle, intellectuelle ou s\u00e9miotique dans le cadre d\u2019une certaine tradition culturelle, mais elle est li\u00e9e au corps. Pour comprendre comment la m\u00e9moire d\u2019un groupe social est construite, transmise et entretenue, il est n\u00e9cessaire de relier le processus de m\u00e9morisation aux corps qui le font. Ainsi, certains savoirs se reproduisent \u00e0 travers une s\u00e9rie de rituels, d\u2019attitudes, de gestes et d\u2019habitudes, ou \u00ab\u00a0pr\u00e9dispositions affectives\u00a0\u00bb (ibid.), et \u00e0 travers la performativit\u00e9 des corps qui les mettent en sc\u00e8ne. La m\u00e9moire, m\u00eame collective, est toujours incarn\u00e9e. Et elle est toujours culturelle, tout comme les corps qui l\u2019animent sont des \u00eatres culturels. Chacun d\u2019entre nous a absorb\u00e9 une sorte de chor\u00e9graphie du pouvoir et de l\u2019autorit\u00e9, exprim\u00e9e par des gestes et des comportements et inscrite dans une signification culturelle sp\u00e9cifique \u2013 des gestes et des comportements qui ne sont pas consciemment enseign\u00e9s ou communiqu\u00e9s, mais simplement reproduits \u00e0 un point tel qu\u2019ils deviennent automatiques et \u00ab\u00a0infra-ordinaires\u00a0\u00bb (Perec) que nous les consid\u00e9rons comme allant de soi. Ils semblent transparents, inoffensifs et naturels. En ce sens, explique Connerton, le corps est un v\u00e9ritable syst\u00e8me mn\u00e9motechnique. Sa performativit\u00e9 rappelle automatiquement tout un \u00ab\u00a0ordre discursif\u00a0\u00bb li\u00e9 au pouvoir, \u00e0 l\u2019identit\u00e9 et \u00e0 la diff\u00e9rence. Ainsi, \u00ab\u00a0chaque groupe social attribue aux r\u00e9flexes physiques et aux automatismes corporels des valeurs et des significations sp\u00e9cifiques qu\u2019il esp\u00e8re pr\u00e9server\u00a0\u00bb (Connerton 1999, p. 117).\u00a0\u00bb<\/p><\/blockquote>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Je traduis un texte magnifique de Giulia Grechiin (Accademia di Belle Arti di Napoli) \u00ab\u00a0Colonial Cultural Heritage and Embodied Representations\u00a0\u00bb, in Gabriele Proglio, Camilla Hawthorne, et al., The Black Mediterranean\u00a0: Bodies, Borders and Citizenship, Palgave 2021. Afin d’illustrer ce que j’appelle notre \u00ab\u00a0colonialisme\u00a0\u00bb intime (lequel en r\u00e9alit\u00e9, ne questionne pas seulement le rapport \u00e0 la…<\/p>\n Read More<\/span> Le corps, lieu de la hantise coloniale (Giulia Grechiin)<\/span><\/a>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"Layout":"","footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[75,91,77],"tags":[],"class_list":["entry","author-danah","post-5428","post","type-post","status-publish","format-standard","category-colonialisme","category-racisme","category-xenophobie"],"yoast_head":"\nLe corps, lieu de la hantise coloniale (Giulia Grechiin) - Outside Dana Hilliot<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/outsiderland.com\/danahilliot\/le-corps-lieu-de-la-hantise-coloniale-giulia-grechiin\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le corps, lieu de la hantise coloniale (Giulia Grechiin) - Outside Dana Hilliot\" \/>\n<meta property=\"og:description\" content=\"Je traduis un texte magnifique de Giulia Grechiin (Accademia di Belle Arti di Napoli) \u00ab\u00a0Colonial Cultural Heritage and Embodied Representations\u00a0\u00bb, in Gabriele Proglio, Camilla Hawthorne, et al., The Black Mediterranean\u00a0: Bodies, Borders and Citizenship, Palgave 2021. 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