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Le programme \u00ab\u00a0Women, Needles, Beads,\u00a0and Digital Tools\u00a0<\/em>\u00bb, d\u00e9velopp\u00e9 par l\u2019IFAS-Recherche et les d\u00e9partements Culture et Audiovisuel de l\u2019IFAS avec le soutien de l\u2019Institut fran\u00e7ais Paris, sera d\u00e9clin\u00e9 en diff\u00e9rents volets\u00a0tout au long de l’ann\u00e9e 2022.<\/p>\n <\/p>\n En 2006, la\u00a0tenture de Keiskamma est accroch\u00e9e\u00a0aux murs du\u00a0Parlement au\u00a0Cap,\u00a0en signe de\u00a0reconnaissance des changements intervenus dans la \u00ab nouvelle Afrique du\u00a0Sud \u00bb depuis la\u00a0fin de\u00a0l\u2019apartheid. Longue de 120 m\u00e8tres,\u00a0con\u00e7ue sur le mod\u00e8le de la tapisserie de\u00a0Bayeux,\u00a0cette \u0153uvre\u00a0brod\u00e9e par cent femmes de la\u00a0Province du Cap oriental\u00a0narre l\u2019\u00e9pop\u00e9e tragique des populations\u00a0xhosa depuis l\u2019arriv\u00e9e des Europ\u00e9ens.\u00a0Elle est\u00a0peut-\u00eatre\u00a0une r\u00e9ponse \u00e0 la tapisserie r\u00e9alis\u00e9e par\u00a0des femmes afrikaners\u00a0dans les ann\u00e9es 1950, au plus\u00a0fort de la s\u00e9gr\u00e9gation,\u00a0dans le but d\u2019exalter le\u00a0Grand Trek<\/em>\u00a0des Boers\u00a0au XIXe\u00a0<\/sup>si\u00e8cle\u00a0\u2014 \u0153uvre\u00a0qui\u00a0est aujourd\u2019hui\u00a0encore\u00a0expos\u00e9e dans le\u00a0monument des\u00a0Voortrekker<\/em>\u00a0\u00e0 Pretoria, haut lieu de la m\u00e9moire afrikaner.\u00a0<\/p>\n <\/p>\n On\u00a0le\u00a0voit avec ces exemples :\u00a0au bout de l\u2019aiguille peuvent affleurer la politique, l\u2019histoire et la\u00a0m\u00e9moire.\u00a0Mais au-del\u00e0 de ces questionnements\u00a0de nature politique, diverses questions \u00e9mergent\u00a0autour des objets li\u00e9s aux traditions de couture et d\u2019ornementation en Afrique du Sud. Nous\u00a0avons\u00a0l\u2019ambition d\u2019interroger cette riche\u00a0culture mat\u00e9rielle li\u00e9e aux femmes\u00a0\u2014 culture\u00a0souvent m\u00e9connue et g\u00e9n\u00e9ralement jug\u00e9e \u00ab modeste \u00bb en comparaison des productions\u00a0masculines.\u00a0Or, en plus de leur\u00a0finalit\u00e9 pratique, broderie, perlage, tissage, tapisserie, filature, tricot, etc.,\u00a0sont des formes\u00a0d\u2019expression\u00a0culturelle et\u00a0artistique\u00a0de premier ordre et\u00a0d\u2019importants vecteurs d\u2019expression de soi.\u00a0Elles constituent une production \u00e9conomique \u00e0 part enti\u00e8re, dont le poids au sein des soci\u00e9t\u00e9s a\u00a0longtemps \u00e9t\u00e9 minor\u00e9,\u00a0le\u00a0travail\u00a0f\u00e9minin \u00e9tant souvent\u00a0\u00ab gratuit \u00bb\u00a0ou sous-pay\u00e9.\u00a0Elles rel\u00e8vent aussi\u00a0de \u00ab traditions \u00bb o\u00f9 l\u2019innovation\u00a0a \u00e9t\u00e9 constante, des aiguilles d\u2019os\u00a0de la Pr\u00e9histoire au design assist\u00e9\u00a0par ordinateur de notre temps.\u00a0<\/p>\n <\/p>\n Men\u00e9\u00a0conjointement\u00a0par l\u2019IFAS-Recherche et\u00a0par\u00a0les d\u00e9partements \u00ab Audiovisuel \u00bb et\u00a0\u00ab Culture \u00bb\u00a0de\u00a0l\u2019IFAS, le projet\u00a0souhaite explorer\u00a0ces diverses pistes\u00a0\u2014\u00a0via<\/em>\u00a0des\u00a0rencontres, des ateliers, un colloque scientifique, une exposition. Il souhaite interroger\u00a0dans la\u00a0longue dur\u00e9e\u00a0la dimension politique (au sens large), culturelle et \u00e9conomique\u00a0des \u00ab travaux\u00a0d\u2019aiguille \u00bb et analyser comment, aujourd\u2019hui,\u00a0l\u2019\u00ab empouvoirment \u00bb (empowerment<\/em>) des\u00a0cr\u00e9ateurs et des cr\u00e9atrices passe par la valorisation de pratiques artisanales (coop\u00e9ratives f\u00e9minines, formation,\u00a0etc.), par l\u2019acc\u00e8s\u00a0aux technologies relevant des industries culturelles et cr\u00e9atives, mais aussi\u00a0par l\u2019int\u00e9gration\u00a0des probl\u00e9matiques\u00a0que soul\u00e8ve la mode \u00e9thique\u00a0ou par l\u2019\u00e9mergence d\u2019identit\u00e9s\u00a0queer <\/em>encore souvent marginalis\u00e9es.<\/p>\n \u00a0<\/p>\n <\/p>\n <\/p>\n \u00a0<\/p>\n The programme “Women, Needles, Beads, and Digital Tools<\/em>“, developed by IFAS-Research and the Culture and Audiovisual departments of IFAS, with the support of the French Institute in Paris, will be declined in different phases throughout 2022.<\/p>\n <\/p>\n In 2006, the Keiskamma tapestry was hung on the walls of the Parliament in Cape Town, as a sign of recognition of the changes that have taken place in the “new South Africa” since the end of apartheid. The 120-metre long work, modelled on the Bayeux tapestry, was embroidered by 100 women from the Eastern Cape and tells the tragic story of the Xhosa people since the arrival of the Europeans. It is perhaps a response to the tapestry made by Afrikaner women in the 1950s, at the height of segregation, in order to exalt the Great Boer Trek<\/em> of the 19th century \u2013 a work that is still on display in the Voortrekker<\/em> monument in Pretoria, a place of Afrikaner memory. <\/p>\n <\/p>\n As we can see from these examples, politics, history and memory can emerge at the end of the needle. But beyond these political questions, various issues emerge around the objects linked to the sewing and ornamental traditions in South Africa. Our ambition is to interrogate this rich material culture linked to women \u2013 a culture that is often overlooked and generally considered ‘modest’ in comparison to men’s productions. However, in addition to their practical purpose, embroidery, beadwork, weaving, tapestry, spinning, knitting, etc., are forms of cultural and artistic expression of the highest order and important vehicles of self-expression. They constitute an economic production in their own right, whose importance within societies has long been underestimated, as women’s work is often “free” or underpaid. They are also part of “traditions” where innovation has been constant, from the bone needles of prehistoric times to the computer-assisted design of our time.<\/p>\n <\/p>\n Conducted jointly by IFAS-Research and the Audiovisual and Culture departments of IFAS, the project aims to explore these various avenues \u2013 via<\/em> meetings, workshops, a scientific symposium and an exhibition. It aims to examine the political (in the broadest sense), cultural and economic dimensions of “needlework” over the long term and to analyse how, today, the “empowerment” of creators is achieved through the promotion of craft practices (women’s cooperatives, training, etc.), through access to the technologies of the cultural and creative industries, but also through the integration of issues raised by ethical fashion or through the emergence of queer<\/em> identities that are still often marginalized.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":12,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,30,1],"tags":[],"class_list":["post-7086","post","type-post","status-publish","format-standard","hentry","category-blog","category-projects","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7086","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=7086"}],"version-history":[{"count":1,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7086\/revisions"}],"predecessor-version":[{"id":7088,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/7086\/revisions\/7088"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=7086"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=7086"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=7086"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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