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resilients:debrouillardise_et_coquetterie [2012-05-28 16:12] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 19:48] – 109.129.58.244 | ||
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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/ | 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/ | ||
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- | - **History**, | + | - **History**, |
http:// | http:// | ||
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http:// | http:// | ||
- | - Experimental | + | - Experimental |
-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. | -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. | ||
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-Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | ||
** | ** | ||
- | °Anthropology of tranmission | + | °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. | 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. | ||
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** | ** | ||
- | ° Anthropology of cloth | + | ° Anthropology of cloth / Costume History |
** | ** | ||
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Out of my desire to collect stories from the past as precious fabrics…. | 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) | + | 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) |
- | Some Notes on my personal methodological approach: | + | METHODOLOGY / EXPERIENTIAL PART : (in construction) |
- | | + | |
- | For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation. | + | - Phenomenology of the encounter |
- | At the core of my ethnographical practice lies LISTENING to the other, as a receiving | + | - Assessment of the relational complexity induced by the dynamics |
- | Somewhere in between ethics and Sensoriality/Sensuality. | + | - Design spaces/conditions/ |
- | Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads. | ||
- | As listening | + | [[Some Notes : on my way of hybridizing ethnography |
- | Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices. | + | PROCESS |
- | Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen. | ||
- | Deepening | + | 1. DOCUMENTING |
- | Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity | + | Fields of interests |
- | If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, | + | **Débrouillardise** |
- | Textile conservation also attrackts me as a discipline: | + | |
- | Because it is a lived, bodily practice | + | Repertory of |
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
- | The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices. | ||
- | « Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ; | + | **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/ | ||
- | Values of the conservator that I admire: | + | ** |
- | -Sticking to the concrete | + | Resilience** |
- | -Taking utmost care of the piece you are in charge of | + | |
- | -Humility in the presence of the object | + | |
- | -Respect of the integrity of the object | + | |
- | -Develop a deep affinity with the object | + | |
- | -Commitment to extremely slow processes | + | |
- | -Accept that after the short moment of excitement you will commit to a long time of routine tasks, you will be bored. | + | |
- | -Minutiae /Precision of craftmanship. | + | |
- | + | ||
- | The textile conservator is constantly involved in finding out all kind of strategies : conservation is about inventing ways of handling difficult objects. Your ability to handle difficult situation in everyday life will help you a lot, they say in the guide for textile conservation! | + | |
- | + | ||
- | I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past. | + | |
- | + | ||
- | FINDINGS: | + | |
- | The Nature of the piece of textile is of fundamental influence on what can be at best done to preserve it. This rules inspires me ver much… but which words to define the nature of a story ? | + | Moral, social and cultural resilience |
- | Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ : | + | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , |
- | Texture | + | development |
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
- | Characteristics : | ||
- | Loose patterns Zig Zag Patterns | ||
- | Unevenness in tension | ||
- | Missing parts | ||
- | Schilferend | ||
- | Scheuren | ||
- | Extreme cases of total fragmentation | ||
- | Qualities: | + | 1.1. consultation of specialized literature, articles and archives |
- | Extensibility | + | |
- | Elastic limit | + | |
- | Flexibility | + | |
- | Density | + | |
+ | 1.2. consultation of experts: | ||
- | Folds | + | **Irène Guenther** |
+ | – Specialist in modern German cultural and gender history | ||
+ | http:// | ||
+ | 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:// | ||
- | Size – weight – complexity | + | **Dominique Veillon** |
+ | « La mode sous l’occupation », 1990, éditions Payot. | ||
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
- | Fragile zones | + | Hannelore Vandebroek, Nel de Mûelenaere, |
+ | cf ETUDE : | ||
+ | http:// | ||
+ | Le travail des femmes dans la fabrique d' | ||
- | How much repair needed ? | + | Cette recherche analyse le travail des femmes dans l' |
- | How much alteration has bien carried out ? | + | |
- | The irreductible individuality of the story. | + | side note 1 on 1.1 |
+ | contacted Documentation Centers in Brussels | ||
+ | - Algemeen Rijksarchief: | ||
- | Actions | + | -Archief en Museum voor het Vlaamse Leven in Brussel (online archive)/recommend to look also at Archives from the KVS (Koninklijke Vlaamse Schouwburg) |
- | -cleaning | + | - Brussels Museum voor Arbeid en Industrie ‘La Fonderie’ |
+ | mainly about the end of the 19th, beginning of the XXth century. There would be a gap in documentation of the second world war period, they start to have a good documentation from the fifties on. Maybe they have info on the industrial inventories. | ||
- | -sewing (steunweefsel naaien) | + | My research questions |
- | -To raise the piece of cloth/ to raise the story | + | -CINEMATEK |
- | -To cover the piece of cloth/ To cover the story | + | access@cinematek.be |
- | -Framing, positioning the piece of cloth/ the story | + | |
- | -Unroll the cloth/ the story | + | |
- | Pinning : involves making holes, or having marks that tends to remain | + | Filmmaterial will be accessible, there are pictures but they are not filed at all so it will be quasy impossible |
- | Transfer to other contexts | + | Of interest |
- | Unprotected condition of the released object/story | + | Interesting reading : « Henri Storck, le cinéma belge et l' |
+ | -MJB Musée Juif de Belgique | ||
- | What does this displacement | + | -Koninklijk Museum van het Leger en de Krijgsgeschiedenis |
+ | information about the requisitioning | ||
- | IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/ | + | -Musée National de la Résistance |
+ | interesting material : double pockets that were sewen to transport weapons. | ||
+ | The museum does not have examples of it, but can try to put me in contact with people then involved in Resistance who did such a textile practices. | ||
- | At risk of dissapearing. | + | -CEGESOMA, |
+ | does have a research center for WW II | ||
+ | http://www.cegesoma.be/ | ||
- | Decaying is part of their very essence. | + | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] |
- | The responsability | + | [[Communities |