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Cultural artifacts in the public arena can be important transmission mechanisms for cultural policy and negotiate the representation of different societal groupings in multicultural settings. This article focuses on the case of Durban, a large coastal city with a high level of multicultural diversity. It investigates how city authorities and political officials utilize public art to adjust a monocultural artistic landscape and articulate the democratization of urban environments. The article engages with different concepts of multiculturalism and discusses the shift from the rainbow-nation model toward African nationalism, illustrated through selected examples. It is argued that an examination of the state-endorsed practice of installing works of public art sheds light on the interpretation of larger discourses on race, cultural diversity and nation-building. The article concludes by advocating the need for a broader and less prescribed understanding of public art.", "publicationTitle": "Visual Anthropology", "publisher": "", "place": "", "date": "2010", "volume": "23", "issue": "2", "section": "", "partNumber": "", "partTitle": "", "pages": "77-97", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "", "DOI": "10.1080/08949460903472929", "citationKey": "", "url": "http://dx.doi.org/10.1080/08949460903472929", "accessDate": "2014-05-29T13:58:40Z", "PMID": "", "PMCID": "", "ISSN": "0894-9468", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "Taylor and Francis+NEJM", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [ "TR9BUFJS" ], "relations": {}, "dateAdded": "2014-06-14T16:59:04Z", "dateModified": "2014-06-14T16:59:04Z" } }, { "key": "3G634B7B", "version": 8375, "library": { "type": "group", "id": 44485, "name": "MobileA2K", "links": { "alternate": { "href": "https://www.zotero.org/groups/mobilea2k", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/44485/items/3G634B7B", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/mobilea2k/items/3G634B7B", "type": "text/html" } }, "meta": { "createdByUser": { "id": 171166, "username": "iopensa", "name": "Iolanda Pensa", "links": { "alternate": { "href": "https://www.zotero.org/iopensa", "type": "text/html" } } }, "creatorSummary": "Freschi", "parsedDate": "2007", "numChildren": 0 }, "data": { "key": "3G634B7B", "version": 8375, "itemType": "journalArticle", "title": "Postapartheid Publics and the Politics of Ornament: Nationalism, Identity, and the Rhetoric of Community in the Decorative Program of the New Constitutional Court, Johannesburg", "creators": [ { "creatorType": "author", "firstName": "Federico", "lastName": "Freschi" } ], "abstractNote": "Abstract Focusing on the new Constitutional Court in Johannesburg, South Africa, this article considers the role that the architecture of public buildings, and more particularly the decorative programs in these public buildings, are playing in constructing the national imaginary of \"unity in diversity\" in contemporary South Africa. It proceeds from the understanding that architectural ornament, far from being merely an elaboration of the appearance of the building for the sake of visual pleasure, is in fact central to the way in which a building can carry social meaning. Ostensibly innocuous, certainly unthreatening (these ideas, after all, are implicit in the definitions of \"decoration\" and \"ornament\" as essentially superfluous—indulgent afterthoughts to the serious business of structure), architectural ornament provides fixed points of reference for connecting a building with notions of place. It enters into the debate around the beliefs and perceptions that constitute citizens' longings for the tangible proof of identity—of being in the world—afforded by the fantasy of an inalienable sense of place. The architectural solutions that the Constitutional Court and other recent examples discussed in the article offer are fairly modest, but their decorative programs are consistently driven by the need to establish a rhetoric of \"community.\" They enable a shift in the discourse of public architecture—away from staid notions of civic decorum and conventionalized grandeur, and toward open-endedness, inclusivity, and a sense of a deliberate playing with the elements and expectations of public space in relation to notions of individualized and personal place. They thus raise interesting questions, around not only the notion of constructing, both literally and metaphorically, \"imagined communities\" (to use Benedict Anderson's phrase), but also the centrality of visual experience to urban experience in the construction of postcolonial, urban identity in post-apartheid South Africa.", "publicationTitle": "Africa Today", "publisher": "", "place": "", "date": "2007", "volume": "54", "issue": "2", "section": "", "partNumber": "", "partTitle": "", "pages": "27-49", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "", "DOI": "", "citationKey": "", "url": "http://muse.jhu.edu/journals/africa_today/v054/54.2freschi.html", "accessDate": "2014-05-29T13:59:49Z", "PMID": "", "PMCID": "", "ISSN": "1527-1978", "archive": "", "archiveLocation": "", "shortTitle": "Postapartheid Publics and the Politics of Ornament", "language": "", "libraryCatalog": "Project MUSE", "callNumber": "", "rights": "", "extra": "

Volume 54, Number 2, Winter 2007

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The paper situates developments in public arts practice in the context of developments in cultural politics in South Africa and globally. More especially, it discusses new genre arts projects, which focus on a range of issues related to identity, space and place. The projects-the District Six Museum, District Six Sculpture Project, PTO, Y30, BLAC, Returning the Gaze, and the In Touch Poetry Bus Tour-focus on issues such as rethinking monuments, the memorialising of 'hidden histories', engagements with racism and the abuse of power, and the reimagining of the city. 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Index

\n
\n
dossier
Edito 73 Festivals et renouveau ?\n

par Ayoko Mensah

\n
\n

\"Ils construisent pour le futur…\"\n

par Cédric Vincent

\n
\n

L'impact durable d'une action artistique : le Festival Mondial des Arts Nègres de Dakar en 1966\n

par Éloi Ficquet

\n
\n

Festac 77 et projet de modernité africaine : des méfaits d'un nationalisme culturel excessif Traduit de l'anglais par Marie-Emmanuelle Chassaing\n

par Denis Ekpo

\n
\n

Compagnons d'Armes : l'Avant-garde africaine au premier Festival Mondial des Arts Nègres de Dakar en 1966 (1)\n

par Sylvester Ogbechie

\n
\n

Rumble in the Jungle : boxe, festival et politique À Norman Mailer, qui vient de nous quitter…\n

par Dominique Malaquais

\n
\n

Festivals touristiques et expressions identitaires au Mali\n

par Anne Doquet

\n
\n

Festival au désert : peace and love\n

par Bernard Desjeux

\n
\n

Le Festival International de Théâtre et de Marionnettes de Ouagadougou sous le regard de son fondateur entretien de Christine Douxami avec Jean-Pierre Guingané\n

par Christine Douxami

\n
\n

Douala en habit de festival\n

par Dominique Malaquais

\n
\n

CAPE 07 - de l'art contemporain dans un environnement urbain dissonant\n

par Tobias Wendl

\n
\n

CAPE 07. Gérer la ville par la marque\n

par Cédric Vincent

\n
\n

Instrumentaliser l'événementiel entretien de Cédric Vincent avec Simon Njami\n

par Cédric Vincent

\n
\n

Angola Pop (2005-2007) : la première Triennale de Luanda Traduit de l'anglais par Marie-Emmanuelle Chassaing\n

par Nadine Siegert

\n
\n

L'évolution de l'exposition transitionnelle. L'art de la compétition en Afrique du Sud. Traduit de l'anglais par Marie-Emmanuelle Chassaing\n

par Sean O'Toole

\n
\n

Festivals de BD d'Afrique : comment sortir de l'événementiel ?\n

par Christophe Cassiau-Haurie

\n
\n

\"Le grand défi de Dak'art, c'est l'élargissement de son public\" entretien de Cédric Vincent avec Rémi Sagna\n

par Cédric Vincent

\n
\n

Écrire Dak'art (Entendus, sous-entendus et malentendus) Traduit de l'anglais par Marie-Emmanuelle Chassaing\n

par Christian Hanussek

\n
\n

Art et culture entre empire et souveraineté Traduit de l'anglais par Marie-Emmanuelle Chassaing\n

par Jessica Winegar

\n
\n

Biennale de Johannesburg : chronique d'une mort annoncée\n

par Marie-Laure Allain

\n
\n

Une biennale sous le chapeau Notes pour une histoire des biennales absentes ou inachevées\n

par Cédric Vincent

\n
\n
\n
\n
cahier critiqueArts plastiques
\"Gabs' Art 2007\" : plateforme émergente de la scène contemporaine africaine ?\n

par Marie-Christine Eyene

\n
\n

\"L'art est souvent une manière de supporter le monde\" entretien de Virginie Andriamirado avec Julie Bessard\n

par Virginie Andriamirado

\n
\n

Le souffle avant-gardiste des plasticiens congolais\n

par Virginie Andriamirado

\n
\n

L'artcréologie de Wilhiam Zitte : les cultures réunionnaises mises au jour entretien de Christine Eyene avec Wilhiam Zitte\n

par Marie-Christine Eyene

\n
\n

Art Contemporain et Mémoire Coloniale\n

par Julie Crenn

\n
\n
Cinéma/TV
Les cinq décennies des cinémas d'Afrique\n

par Olivier Barlet

\n
\n

Grandeur et ambivalences de la révolution numérique\n

par Olivier Barlet

\n
\n
Littérature
Za de RaharimanaÀ portée d'haleine des murs d'ombre\n

par Yves Chemla

\n
\n

\"Publier peut être une provocation, mais pas écrire\" entretien de Virginie Andriamirado avec Raharimanana\n

par Virginie Andriamirado, Claire Mestre

\n
\n

Césaire, créateur et passeur de mots\n

par Tanella Boni

\n
\n

Ferrements et autres poèmes d'Aimé CésaireCheminement incandescent\n

par Yves Chemla

\n
\n
Musique
Youssou au quotidien entretien de Gérald Arnaud avec Youssou N'DourReims, 1er mars 2008\n

par Gérald Arnaud

\n
\n

Sabaly de Cheick Tidiane SeckChef d'œuvre\n

par Gérald Arnaud

\n
\n
Poésie
Césaire, créateur et passeur de mots\n

par Tanella Boni

\n
\n

Ferrements et autres poèmes d'Aimé CésaireCheminement incandescent\n

par Yves Chemla

\n
\n
Théâtre
Cette Vieille magie noire de Koffi KwahuléMystérieuse et musicale magie noire à l'Atelier du Plateau\n

par Fanny Le Guen

\n
\n

Attitude Clando écrit et mis en scène par Dieudonné Niangouna\"Un effacement du corps-frontière pour tenter de raconter\"\n

par Fanny Le Guen

\n
\n

Ida de Baka Roklo\n

par Sylvie Chalaye

\n
\n
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Un dossier coordonné par Cédric Vincent
Des manifestations festivalières d'envergure internationale et régionale se multiplient depuis une vingtaine d'années sur le continent africain. Parmi celles-ci on trouve aussi bien des méga-productions qui reflètent les tendances de l'art international que des manifestations plus modestes, porteuses d'une gamme variée et étendue d'expressions. Puissants opérateurs de mondialisation pour l'Afrique postcoloniale, ces festivals agissent aussi comme une focale permettant d'observer les dynamiques sociales qui se jouent aux croisements des logiques internes aux milieux artistiques et des logiques externes des attentes politiques et économiques.
Ce dossier d'Africultures propose des pistes pour comprendre les enjeux qui se concentrent dans la mise en relation entre les sphères artistiques, leurs publics et les instances de pouvoir. Il s'appuie aussi bien sur l'analyse historique des festivals organisés pour accompagner la construction des jeunes États indépendants que sur les biennales d'art contemporain qui ont fleuri depuis la deuxième moitié des années 1980.

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