Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
resilients:debrouillardise_et_coquetterie [2012-05-07 10:35] – nik | resilients:debrouillardise_et_coquetterie [2012-06-03 20:49] – 109.129.58.244 | ||
---|---|---|---|
Line 5: | Line 5: | ||
Coralie Stalberg, April - May 2012 | Coralie Stalberg, April - May 2012 | ||
- | | + | |
- | * something on wikipedia | + | **PRESENTATION** |
+ | |||
+ | **“Débrouillardise et Coquetterie”** is a project on DIY textile practices and associated recycling strategies during a historical period characterized by a radical scarcity of material resources — the Second World War and the years right after the war. In the context of research for a resilient future that would be more sensitive and committed to sustainability, | ||
+ | |||
+ | D&C consists in an ongoing registration and documentation process of the WWII textile DIY practices and the narratives around them, mainly through fieldwork in Senior meeting places and elderly houses. The collected material will be hosted in a living archive. | ||
+ | |||
+ | I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | ||
+ | |||
+ | |||
+ | ** | ||
+ | METHODOLOGY / THEORETICAL PART : at the crossroad of History, Ethnography and Textile Conservation.** | ||
+ | |||
+ | |||
+ | - **History**, | ||
+ | |||
+ | http:// | ||
+ | http:// | ||
+ | http:// | ||
+ | |||
+ | An inspiring text from Dominique Veillon : http:// | ||
+ | |||
+ | « Longtemps, les documents écrits ont seuls eu droit au statut d' | ||
+ | |||
+ | **-Anthropology**: | ||
+ | ** | ||
+ | °Experimental Ethnography** : | ||
+ | http://www.osea-cite.org/history/exp_ethnography.php | ||
+ | |||
+ | - Experimental Ethnography locates the value of the anthropological intervention, | ||
+ | |||
+ | -Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. | ||
+ | |||
+ | -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | ||
+ | ** | ||
+ | °Anthropology of Transmission | ||
+ | |||
+ | Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. | ||
+ | |||
+ | http:// | ||
+ | |||
+ | ** | ||
+ | ° Anthropology of cloth / Costume History | ||
+ | ** | ||
+ | |||
+ | « Pour une anthropologie du vêtement » Yves Delaporte, CNRS/Musée de l’Homme | ||
+ | http:// | ||
+ | |||
+ | «Le vêtement est l' | ||
+ | |||
+ | http:// | ||
+ | |||
+ | °My own ‘bricolage’ : **In search of an incarnated practice of anthropology : a Poetical Ethnography inspired by the gestures, tools and strategies of Textile Conservation, | ||
+ | |||
+ | Out of my desire to collect stories from the past as precious fabrics…. | ||
+ | |||
+ | The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations) | ||
+ | |||
+ | |||
+ | **METHODOLOGY / EXPERIENTIAL PART** : (in construction) | ||
+ | |||
+ | - Phenomenology of the encounter (cf fieldwork) | ||
+ | |||
+ | - Assessment of the relational complexity induced by the dynamics of the gift/ | ||
+ | |||
+ | - Design spaces/ | ||
+ | |||
+ | |||
+ | [[Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation|Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation]] | ||
+ | |||
+ | PROCESS | ||
+ | |||
+ | |||
+ | 1. **DOCUMENTING** the research topic | ||
+ | |||
+ | Fields of interests : | ||
+ | |||
+ | **Débrouillardise** | ||
+ | |||
+ | | ||
+ | |||
+ | Repertory of | ||
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
+ | |||
+ | |||
+ | **Coquetterie** | ||
+ | |||
+ | dignity – history of the bodies that is sensitive to a memory of emotions and affect (from proudness to shame, the hiding of precariousness) – costume as overstatement/ | ||
+ | |||
+ | ** | ||
+ | Resilience** | ||
+ | |||
+ | Moral, social and cultural resilience | ||
+ | |||
+ | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , | ||
+ | |||
+ | development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/ | ||
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
+ | |||
+ | |||
+ | 1.1. consultation of specialized literature, articles and archives | ||
+ | |||
+ | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] | ||
+ | |||
+ | 1.2. consultation of experts: | ||
+ | |||
+ | **Irène Guenther** | ||
+ | – Specialist in modern German cultural and gender history | ||
+ | http://www.uh.edu/ | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
+ | |||
+ | **Jonathan Walford** | ||
+ | Founder and Curatorial Director of Fashion History Museum of Canada, Writer | ||
+ | http:// | ||
+ | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 | ||
+ | http:// | ||
+ | |||
+ | **Dominique Veillon** | ||
+ | |||
+ | « La mode sous l’occupation », 1990, éditions Payot. | ||
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
+ | |||
+ | Hannelore Vandebroek, Nel de Mûelenaere, | ||
+ | cf ETUDE : | ||
+ | http:// | ||
+ | |||
+ | Le travail des femmes dans la fabrique d' | ||
+ | |||
+ | Cette recherche analyse le travail des femmes dans l' | ||
+ | |||
+ | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] | ||
+ | |||
+ | [[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]] | ||
+ | |||
+ | |||
+ | **FIELDWORK** | ||
+ | |||
+ | Senior centers interested in participation : | ||
+ | -Résidence Arcadia (elderly house Molebeek/ | ||
+ | -LDC Randstad (social restaurant for Seniors, Molenbeek) | ||
+ | -the Institut Pachéco (elderly house in 1000 Brussels), | ||
+ | -‘Ages et Transmissions’: | ||
+ | -‘La Mémoire Vivante’ : http:// | ||
+ | |||
+ | |||
+ | The first interviews: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | |||
+ | |||
+ | Observations / | ||
+ | (in process) | ||
+ | |||
+ | 4.CASE STUDIES :: intergenerational workshops | ||
+ | (in construction) | ||
+ | |||
+ | |||
+ | TOWARD A LIVING ARCHIVE | ||
+ | Search for critical/ | ||
+ | |||
+ | Philosophy | ||
+ | |||
+ | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive | ||
+ | |||
+ | Discursive practices involve systems that allow statements to emerge as ' | ||
+ | |||
+ | Paul Ricoeur « Arcives, Documents, Traces » | ||
+ | http:// | ||
+ | |||
+ | “Any trace left by the past becomes a document for historians […], the most valuable traces are the ones that were not intended for our information.” (2006: 67) | ||
+ | |||
+ | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 | ||
+ | http:// | ||
+ | “the archive is situated between langue, as the system of construction of possible sentences – that is, of possibilities of speaking – and the corpus that unites the set of what has been said, the things actually uttered or written.” | ||
+ | |||
+ | |||
+ | |||
+ | Archive Practices in Contemporary Art | ||
+ | |||
+ | General writings : | ||
+ | |||
+ | Schaffner, Ingrid et Matthias Winzen (éditeurs). 1998. Deep storage: collecting, storing, and archiving in art. Munich ; New York : Prestel, 303 p. | ||
+ | Mokhtari Sylvie (éditeur). 2004. Les Artistes contemporains et l' | ||
+ | |||
+ | Dans Archive Fever Enwezor | ||
+ | principale de vérité historique » | ||
+ | Aby M. Warburg, «Mnemosyne-Atlas», | ||
+ | http:// | ||
+ | |||
+ | Gerhard Richter, « Atlas », 1962 | ||
+ | http:// | ||
+ | |||
+ |