By Dominic Thomas
This stimulating and insightful publication finds how elevated regulate over immigration has replaced cultural and social creation in theater, literature, or even museum development. Dominic Thomas's research unravels the advanced cultural and political realities of long-standing mobility among Africa and Europe. Thomas questions the try and position strict limits on what it potential to be French or ecu and gives a feeling of what needs to ensue to result in a renewed experience of integration and worldwide Frenchness.
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Additional info for Africa and France: Postcolonial Cultures, Migration, and Racism
How can one organize a constructive cultural dialogue? ” (“Un nouveau public pour le Quai Branly”). His position rejoins in powerful ways not only the republican ideal of invisible ethnic affiliation in relation to citizenship but also the official government line on market forces as the solution to economic (and racial) marginalization. The MQB concerns (and is concerned with ) the circulation of objects and the CNHI, one could argue, with migrant subjects. But how can one achieve democracy without people?
In globalization, humanity is glimpsing the possibility of unity, that age-old dream of the Utopians, which has become the promise of our destiny. At the same time, however, standardization is gaining ground, with the worldwide expansion of the law of the market. But who can fail to understand that when globalization brings uniformization it can only exacerbate tensions between different identities, at the risk of igniting murderous violence? (Chirac, “Address,” 4, emphasis added) Cultural Diversity That is also the idea behind this museum.
It is Museology and Globalization 19 important therefore that museum policy is responsive to this possibility. 3 Restitution of Cultural Property. In thinking about the multidimensionality of the postcolonial era, several strategies have emerged with which to confront colonial history: (1) the willingness to rethink the ownership of museum holdings within the context of reckoning with acquisition procedures, (2) responding to the repositioning of museological agendas from aesthetic to political ones,20 (3) privileging the experiential (in exhibits such as Hackney Museum’s exhibition “Abolition ’07”), and (4) narrowing the representational gap between the “us” and the “them” in order to recognize that audiences are also “postcolonial” and that the parameters of the nation-state are no longer the same.
Africa and France: Postcolonial Cultures, Migration, and Racism by Dominic Thomas