presentatie nancy jouwe
DESCRIPTION
Super-Diversity in Dynamic Cities: Nieuwe uitdagingen voor de cultuursector. Kosmopolis Utrecht, Den Haag en Rotterdam organiseerden de internationale conferentie Super-Diversity in Dynamic Cities. Onderzocht werd welke uitdagingen de eigentijdse dynamiek in Europese metropolen stelt aan de kunst- en cultuurpraktijk. Verschillende internationale denkers reflecteren op grootstedelijke ontwikkelingen, superdiverse samenlevingen en identiteitsvorming. De conferentie werd door een klein 200 mensen bezochtTRANSCRIPT
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Test
The reciprocal mixBringing heritage to the streets
Presentation
at the conference Superdiversity
in Dynamic
CitiesNew Challenges
for
the Cultural
Sector
Lantaren/Venster, Rotterdam ‐
October
11, 2011
Nancy
Jouwe, director Kosmopolis
Utrecht
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today’s talk
•intro•our working method when doing cultural
heritage projects: Lombok Linkages and China festival Utrecht
•results: what do the examples tell us
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intro (1)
•Kosmopolis
is a cultural platform, set up November 2006 in NL•The context: Western fear of the Muslim ‘other’
had obtained a Dutch
face through the murder of Dutch opinion maker Theo van Gogh.•The reason: counter the rise of polarization between ethnic groups
through the power of art/culture. Hence, Kosmopolis
was set up, and now operates in Rotterdam, The Hague and Utrecht.
•Our corebusiness: create artistic productions that display the current real life and diverse dynamics of present‐day larger Dutch cities.
•Our core value: diversity = quality
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intro (2)• concept of Intersectionality
(Krenshaw
1989, Wekker
2001)
• premises: •
diaspora
communities are important stakeholders but often do not have control over
their own (tangible) heritage and how it is presented
• A more open view of tangible heritage is needed (dynamic usage, with multiple meanings, not
just on display, but with a story to tell)
• Both tangible and intangible heritage are important
• Cultural heritage is a way of historicizing culture but also works as a display of current‐
day dynamics of Diaspora communities, esp. through intangible heritage (song, dance,
lifestories). A shared albeit dynamic cultural identity is celebrated and strengthened, it
reinforces our cultural identity or sense of who we are as a people. Thus cultural heritage
works as an empowerment tool.
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Intro (3)
Stakeholders that we work with on heritage topics
•Museums/heritage organizations• Universities/research institutes: scientists/scholars • representatives + talents/artists of migrant/diaspora
communities• Artists• Curatorial
platforms eg. Framer
Framed, Unfixed
These different positions
can
be
intermingled
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work method
When working on cultural heritage projects, our working process involves:• involving diaspora
communities as stakeholders, co‐curators,
working in a co‐creative working process; • working in neighbourhoods
in the city, that are in some way
historically connected with the heritage topic as well as linking up with the city centre;
• working with a mixture of intangible and tangible heritage as well as mixing high and popular art, and vernacular culture.
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Lombok Linkages, 2009
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Lombok Linkages
Factsheet• Partners: Kosmopolis
Utrecht, foundation Papua Cultural Heritage,
Museum Maluku • Aim: bringing the his/stories behind the streetnames
in neighbourhood
Lombok to life. Referring to the colonial past of the Netherlands and
current postcolonial dynamics . • partners included key figures of the postcolonial communities involved: ie
Indo European, Moluccan
and Papuan communities; visual artists;
inhabitants and entrepeneurs
of the neighbourhood, the Central Museum,
the city library, Utrecht‐based choirs, Radio Netherlands Worldwide,
debate centre Tumult, activists• activities: a literary festival, a community art project, film +debate, an art
route and a GPS tour, a homecooking
event; poetry performances,
webmovies, a photo exhibition and a website• 4500 visitors, 500 participants, local
and national
media coverage• spin off: GPS route is taken over by café
Kopi Susu, a photobook
on
Papuans in the Netherlands is being made; discovery of mispelling
of a
streetname
in Lombok, namely Sapoeracourt
(Sapoerahof), instead of
Saparoeascourt.
The streetname
committee was notified who then
apologized for the mistake. It was a case in point of being out of touch with
our own shared colonial history.
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Lombok Linkages, 2009
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Lombok Linkages, 2009
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China Festival Utrecht, 2010
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CFU Factsheet• partners: Kosmopolis
Utrecht, foundation Lay Yin, community museum
WIJKC • aim: celebrating 100 years of Chinese community in the Netherlands• partners included key figures of the chinese
community; visual artists
(Chinese, Dutch and Korean); inhabitants of the neighbourhood, the
Municipal Theatre, Chinese School Utrecht, theatre makers.• we used
important milestones
in Chinese celebrations
to set up the
program • activities: Chinese New year
celebration, cooking
and lampion
workshops, exhibition
of Chinese boarding
house, photo
exhibition
of
Chinese businesswomen, Moonfest; performances predominantly Chinese • 9000 visitors
(50% Chinese), 500 participants, local, regional
and Chinese
TV coverage• spin off: many of the individuals involved started organizing their own
cultural events both in Utrecht and other cities, RASA centre for World
music and dance took over the annual Chinese New Year celebration, GPS
tour taken over by the community museum
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Linken Leggen Lombok, 2009
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China festival Utrecht, 2010
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China festival Utrecht, 2010
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China festival Utrecht, 2010
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China Festival Utrecht, 2010
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results
(1)
As a result, the projects show that
cultural heritage can simultaneously be shared, contested, unknown and even be considered ‘hot’
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results
(2)
shared
because
it is actually something that we literally share in the Netherlands, involving at least a
geographical, infrastructural or time/space connection;
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results
(3)
unknown, because in the Netherlands we know little of or have a
limited conceptual framework to understand migrant histories, colonial and postcolonial
history, and current‐day urban (superdiverse) dynamics
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results
(4)
contested because
how the story is told or framed really depends on who tells the story (position,
powerrelations, interpretation, interest), often resulting in colliding frames
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results
(5)
Hot, because forms of vernacular culture (karaoke, storytelling, cooking events,
tattoos) display current‐day cultural dynamics or trends, that are appealing to
different publics.
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Conclusion: a reciprocal mix that works
Through working with a mix of partners, who have equally important roles
the sum becomes better than the parts and the content more dynamic.
On an organizational level we also get something out of it:individual partners
• develop working experience and broaden their networks, getting noticed is key• get more business opportunities, other cultural organizations hire them• develop more self‐confidence to actually create + realize their own creative ideas
• institutions and platforms such as ourselves• learn new stories, broaden scopes, broaden networks, reach new/mixed public• learn what is important in terms of topics, how to address and organize them
• Together we’ve created a more inclusive project, which gives room to
multiple perspectives; cultural heritage = layered, complex, empowering
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For example
Symposium Gedeeld Erfgoed (Shared
Heritage),
May 20, 2011, Museum Maluku, Utrecht
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Slavery: the Utrecht connection?!
Lantarenconsole Oudegracht
18, Utrecht
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Test
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