opmaak journal 4 - Prince Claus Fund
opmaak journal 4 - Prince Claus Fund
opmaak journal 4 - Prince Claus Fund
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Contents<br />
Contenu<br />
Contenido<br />
p. 2 Organisation of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
Organisation de la Fondation <strong>Prince</strong> <strong>Claus</strong><br />
Organización de la <strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
p. 3 Editorial<br />
p. 6 Avishai Margalit<br />
Es la verdad el camino a la reconciliación?<br />
p. 9 Pieter Boele van Hensbroek<br />
Colloque à Beyrouth sur le rôle des intellectuels<br />
dans la sphère publique<br />
p. 13 Elias Khoury<br />
Un double langage<br />
p. 19 Paulin J. Hountondji<br />
Tradition: Hindrance or Inspiration?<br />
p. 23 William Kentridge<br />
Overvloed<br />
p. 28 Pepetela<br />
Creating Spaces of Freedom<br />
p. 31 Heri Dono<br />
Art and the City<br />
p. 34 Works of Art<br />
Oeuvres d’Art<br />
Obras de Arte<br />
The Arab Image Foundation:<br />
Collecting a History of Photography<br />
p. 52 Goretti Kyomuhendo<br />
Hidden Identity<br />
p. 58 Activities supported by the <strong>Prince</strong> <strong>Claus</strong><br />
<strong>Fund</strong> Activités soutenues par la Fondation<br />
<strong>Prince</strong> <strong>Claus</strong> Actividades patrocinadas por<br />
la <strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
p. 66 Recent publications<br />
Publications récentes<br />
Publicaciones recientes<br />
p. 70 Adriaan van der Staay<br />
A Second Look at Culture and Development<br />
p. 74 In Memoriam: Arvind Das<br />
p. 77 Contributing authors<br />
Auteurs participants<br />
Contribuidores<br />
p. 79 The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
La Fondation <strong>Prince</strong> <strong>Claus</strong><br />
p. 80 La <strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 1
Board of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
Comité de Direction de la Fondation <strong>Prince</strong> <strong>Claus</strong><br />
Junta Directiva de la <strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
HRH <strong>Prince</strong> <strong>Claus</strong> of the Netherlands,<br />
Honorary Chairman<br />
Professor Anke Niehof, Chair, Professor of SociologyoOrganisation<br />
at the Wageningen University and Research Centre,<br />
the Netherlands<br />
of<br />
Professor Adriaan van der Staay, Vice-Chair, the <strong>Prince</strong> <strong>Claus</strong><br />
Professor of Cultural Politics and Cultural Critique at the <strong>Fund</strong><br />
Erasmus University, Rotterdam, the Netherlands Organisation de la<br />
Edith Sizoo, Secretary, International Coordinator of Fondation <strong>Prince</strong><br />
Réseau Cultures et Développement, Brussels, Belgium <strong>Claus</strong><br />
Professor Louk de la Rive Box, Treasurer, Director Organización de la<br />
of the European Centre for Development Policy <strong>Fund</strong>ación Príncipe<br />
Management, Maastricht, the Netherlands<br />
<strong>Claus</strong><br />
Ashok Bhalotra, architect and urban planner,<br />
Rotterdam, the Netherlands<br />
Professor Lolle Nauta, Professor Emeritus of Social<br />
Philosophy at the University of Groningen,<br />
the Netherlands<br />
Office Bureaux Oficina<br />
Els van der Plas, Director<br />
Cora Taal, Executive Secretary<br />
Vivian Paulissen, Policy Officer<br />
Geerte Wachter, Policy Officer<br />
Marlous Willemsen, Policy Officer<br />
Bozzie Rabie, Policy Assistant<br />
Fernand Pahud and Jacobine Schwab, Secretaries<br />
Jacqueline Meulblok, Publicity Officer<br />
Frans Bijlsma, Librarian<br />
Marije Gerrist and Ianthe Sahadat, Trainees<br />
2000 <strong>Prince</strong> <strong>Claus</strong> Awards Committee<br />
Comité des Prix <strong>Prince</strong> <strong>Claus</strong> pour 2000<br />
Comité de Premios Príncipe <strong>Claus</strong> 2000<br />
Professor Adriaan van der Staay, Chair, member<br />
of the Board of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>, The Hague,<br />
the Netherlands<br />
Professor Charles Correa, architect and planner,<br />
Bombay, India<br />
Emile Fallaux, script-writer and President of the<br />
Hubert Bals Fonds, Amsterdam, the Netherlands<br />
Mai Ghoussoub, artist, writer and Director of Al Saqi<br />
Publishers and Bookshop, London, UK; Beirut, Lebanon<br />
Gaston Kaboré, historian and film director,<br />
Ouagadougou, Burkina Faso<br />
Gerardo Mosquera, curator and art critic, Havana, Cuba<br />
Bruno Stagno, architect and Director of the Institute for<br />
Tropical Architecture, San José, Costa Rica<br />
2 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
2000 Exchanges Committee<br />
Comité des Echanges pour 2000<br />
Comité de Intercambios 2000<br />
Professor Lolle Nauta, Chair, member of the Board<br />
of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>, The Hague, the Netherlands<br />
Dr. Pieter Boele van Hensbroek, philosopher,<br />
University of Groningen, the Netherlands<br />
Arvind N. Das, <strong>journal</strong>ist and editor, New Delhi,<br />
India (d. 6 August 2000)<br />
Professor Achille Mbembe, historian, University<br />
of Capetown, South Africa<br />
Anil Ramdas, essayist, the Netherlands<br />
2000 Publications Committee<br />
Comité des Publications pour 2000<br />
Comité de Publicaciones 2000<br />
Professor Anke Niehof, Chairperson of the Board<br />
of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>, The Hague, the Netherlands<br />
Professor Hilary Beckles, historian and Dean of<br />
the University of the West Indies, Jamaica<br />
Professor Leonard Blussé, Professor of the<br />
History of European Expansion at Leiden University,<br />
the Netherlands<br />
Professor Ian Buruma, historian, London, UK<br />
Professor Avishai Margalit, philosopher at Hebrew<br />
University, Jerusalem, Israel<br />
On 9 December 1999 the members of the Inter-<br />
national Advisory Board of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
met in Amsterdam to discuss the <strong>Fund</strong>’s policy.<br />
This board is made up of the members of the<br />
various advisory committees of the four programmes.<br />
The <strong>Fund</strong>’s Board asked the advisors for<br />
their visions on topics of the four programmes,<br />
such as ‘Creating Spaces of Freedom’, ‘The Role of<br />
the Intellectual in the Public Sphere’, ‘Truth and<br />
Reconciliation’, ‘The Commemoration of Slavery’,<br />
‘Cosmopolitanism and the Nation State’, ‘Beauty<br />
in Context’ and ‘Urban Heroes’. These are topics<br />
that have been examined in earlier volumes of the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal, and that are found in<br />
this issue as well: Avishai Margalit writes on ‘Truth<br />
and Reconciliation’, Elias Khoury on ‘Cobra’ as a<br />
case study of intellectual life in the Arab world,<br />
William Kentridge and Pepetela offer a contribution<br />
on ‘Creating Spaces of Freedom’ and Heri<br />
Dono on ‘Urban Heroes’. There is also a presentation<br />
of the Arab Image Foundation in the colour<br />
section of this Journal, a survey of recent publications<br />
and activities in the various fields of<br />
interest of the <strong>Fund</strong>, and an article by Adriaan van<br />
der Staay, Vice President of the <strong>Fund</strong>’s Board, on<br />
the role of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> in modern<br />
cultural developments in the world.<br />
The members of the <strong>Fund</strong>’s International Advisory<br />
Board recognised the importance of all of these<br />
themes and proposed several lines of thought<br />
and policy. At the same time they expressed the<br />
importance of maintaining the <strong>Fund</strong>’s flexibility,<br />
arguing that its overall area of interest, ‘culture<br />
and development’, can best flourish in an eclectic<br />
fund. Topics offer a tool for policy development<br />
and for extending the network, but must never<br />
stand in the way to new developments and an<br />
alternative discourse. In the words of Arvind Das,<br />
‘The <strong>Fund</strong> should provide ‘freedoms’ – in the<br />
plural. The strength of the <strong>Fund</strong> is the possibility<br />
to mediate between many aspects of life in many<br />
parts of the world.’<br />
eArvind Das was present on 17 July of this year at the<br />
meeting of the Exchanges Committee of the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong> in the Netherlands. An important<br />
discussion item was the international conference<br />
on ‘Cosmopolitanism and the Nation State’ which<br />
is on the programme for February 2001; it will be<br />
Editorial<br />
The <strong>Prince</strong> <strong>Claus</strong><br />
<strong>Fund</strong> Journal<br />
reflects the aims<br />
of the <strong>Prince</strong> <strong>Claus</strong><br />
<strong>Fund</strong> and reports<br />
on the outcome of<br />
activities initiated,<br />
supported and<br />
stimulated by the<br />
<strong>Fund</strong>. The <strong>Fund</strong><br />
seeks to publicise<br />
the intellectual<br />
and artistic results<br />
of its activities and<br />
to disseminate<br />
these throughout<br />
the world. The<br />
<strong>Fund</strong> – and likewise<br />
the Journal –<br />
acts as an interested<br />
listener, a<br />
partner in discussion<br />
and a catalyst<br />
in cultural<br />
innovation and<br />
development.<br />
organised by the Asian Development and Research<br />
Institute (adri) in Patna, India. Arvind was the<br />
chairman of adri and played a crucial role in the<br />
preparations of the conference. En route to his next<br />
destination, he had a heart attack while still in the<br />
Netherlands. Arvind Das died on Sunday, 6 August<br />
2000 in Amsterdam. Board members, director and<br />
everyone in the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> would like to<br />
express their sincere sympathy to the family and<br />
friends of Arvind.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 3
Le 9 décembre 1999, les membres du Conseil<br />
International de la Fondation <strong>Prince</strong> <strong>Claus</strong> se sont<br />
entretenus à Amsterdam de la politique de la<br />
Fondation. Les membres des différentes commités<br />
de consultation pour les quatre programmes de<br />
la Fondation font partie de ce conseil. Le ComitéeEditorial<br />
de direction de la Fondation a demandé aux<br />
membres de ce conseil d’exprimer leurs points<br />
de vues sur les thèmes des quatre programmes Le Journal de la<br />
choisis par la Fondation, comme ‘La Création Fondation <strong>Prince</strong><br />
d’espaces de liberté’, ‘Le Rôle des intellectuels <strong>Claus</strong> reflète les<br />
dans la sphère publique’, ‘Vérité et récon- objectifs de la Fonciliation’,<br />
‘La Commémoration de l’esclavage’, ‘Le dation <strong>Prince</strong> <strong>Claus</strong><br />
Cosmopolitisme et l’Etat nation’, ‘Beauté et con- et relate les résultats<br />
texte’ et ‘Héros urbains’. Ces sujets, déjà traités des activités lancées,<br />
dans les précédents numéros du Journal de la soutenues et encou-<br />
Fondation <strong>Prince</strong> <strong>Claus</strong>, reviennent dans ce ragées par la Fond-<br />
présent Journal avec Avishai Margalit qui parle de ation. La Fondation<br />
‘Vérité et réconciliation’, Elias Khoury qui tient à publier les<br />
présente ‘Cobra, une étude de cas sur la vie résultats au plan<br />
intellectuelle dans le monde arabe’, William intellectuel et artisti-<br />
Kentridge et Pepetela qui traitent de ‘La Création que de ses activités<br />
d’espaces de liberté’ et Heri Dono qui expose ses et à les diffuser dans<br />
vues sur les ‘Héros urbains’.<br />
le monde entier.<br />
Par ailleurs ce Journal propose une présentation A l’instar de la<br />
de la Fondation Arabe pour l’Image dans son Fondation, ce bulletin<br />
cahier en couleur, suivie d’un compte rendu de agit en interlocuteur<br />
publications récentes et d’activités concernant attentif, en parte-<br />
les divers centres d’intérêt de la Fondation et naire dans les débats<br />
enfin un article d’Adriaan van der Staay, vice- et joue un rôle<br />
président du comité de direction de la Fondation, catalysateur dans<br />
qui évoque le rôle de la Fondation <strong>Prince</strong> <strong>Claus</strong> l’innovation et le<br />
dans l’évolution actuelle de la culture à travers le développement<br />
monde.<br />
Les membres du Conseil International de la<br />
Fondation ont reconnu l’importance de chacun<br />
des thèmes et tracé des lignes d’orientation en ce<br />
qui concerne leur contenu. Ils ont en même<br />
temps plaidé pour le maintien d’une certaine<br />
flexibilité de la Fondation qui, avec un rayon<br />
d’action défini comme ‘culture et développement’<br />
peut s’épanouir comme une fondation à<br />
caractère éclectique. Les thèmes sont des outils<br />
qui permettent le développement de la stratégie<br />
et l’élargissement des réseaux d’echanges, mais<br />
ils ne devront en aucun cas empêcher l’ouverture<br />
aux changements et à d’autres débats. Pour citer<br />
Arvind Das: ‘La Fondation doit apporter des<br />
‘libertés’ – au pluriel. La force de la Fondation<br />
réside dans cette possibilité de servir de médiateur<br />
entre les aspects les plus divers de la vie dans les<br />
régions du monde les plus diverses.’<br />
culturels.<br />
4 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Le 17 juillet dernier Arvind Das participait encore<br />
à la réunion du Comité des Echanges de la<br />
Fondation <strong>Prince</strong> <strong>Claus</strong> aux Pays-Bas. La conférence<br />
internationale ‘Le Cosmopolitisme et<br />
l’Etat nation’, prévue pour le mois de février 2001<br />
à Patna (Inde) et organisée par le Asian Development<br />
and Research Institute (institut de recherche<br />
et de développement asiatique) constituait<br />
un thème important de cette rencontre.<br />
Arvind était le président de l’adri. Son rôle dans<br />
les préparatifs de la conférence était capital.<br />
En route vers une nouvelle destination, Arvind a<br />
été frappé d’une crise cardiaque alors qu’il était<br />
encore en Hollande. Il est décédé le dimanche<br />
6 août 2000 à Amsterdam. Les membres du<br />
comité de direction, le directeur et le personnel<br />
de la Fondation <strong>Prince</strong> <strong>Claus</strong> adressent leurs plus<br />
sincères condoléances à la famille et aux proches<br />
d’Arvind.<br />
En diciembre 9 de 1999, los miembros del comité<br />
de consejería internacional de la <strong>Fund</strong>ación<br />
Príncipe <strong>Claus</strong> se reunieron en Amsterdam para<br />
discutir la política de la <strong>Fund</strong>ación. La Junta Directiva<br />
de esta indagó con los asesores sobre sus<br />
visiones en cuanto a los temas de los cuatro proeEditorial<br />
gramas, consistentes en ‘Creando Espacios de<br />
Libertad’, ‘El Rol de lo Intelectual en la Esfera<br />
Pública’, ‘Verdad y Reconciliación’, ‘La Conme- El Journal de la<br />
moración de la Esclavitud’, ‘Cosmopolitanismo y <strong>Fund</strong>ación Príncipe<br />
Nación Estado’, ‘Belleza y Contexto’ y ‘Héroes <strong>Claus</strong> refleja los<br />
Urbanos’. Estos son temas que han sido examina- objetivos de la<br />
dos en anteriores volúmenes de la revista de la <strong>Fund</strong>ación Príncipe<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong>, y se encuentran en <strong>Claus</strong> y reporta los<br />
artículos tales como: Avishai Margalit escribe resultados de activi-<br />
sobre ‘Verdad y Reconciliación’, Elias Khoury en dades iniciadas,<br />
‘Cobra’, como un caso de estudio de la vida patrocinadas o<br />
intelectual en el mundo árabe, William Kentridge estimuladas por la<br />
y Pepetela ofrecen una contribución en ‘Creando <strong>Fund</strong>ación. La<br />
Espacios de Libertad’ y Heri Dono en ‘Héroes <strong>Fund</strong>ación procura<br />
Urbanos’. También hay en la sección a color de la publicar los logros<br />
revista, una presentación de la <strong>Fund</strong>ación Arabe de intelectuales y<br />
la Imagen, una panorámica general de publica- artísticos de sus<br />
ciones recientes y actividades inscritas en varios actividades y difun-<br />
campos de interés de la <strong>Fund</strong>ación Principe <strong>Claus</strong>, dirlos por todo el<br />
así como un artículo escrito por Adriaan van der mundo. La <strong>Fund</strong>ación<br />
Staay, vicepresidente de la junta directiva de la – y por consiguiente<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong>, sobre el rol de ésta en la revista – actúan<br />
cuanto al moderno desarrollo cultural en el como un escucha<br />
mundo.<br />
interesado, un com-<br />
Los miembros de la junta de asesores internaciopañero en la discusión<br />
nales de la <strong>Fund</strong>ación reconocieron la impor- y un catalizador para<br />
tancia de todos estos temas y propusieron diver- la innovación y el<br />
sas líneas de pensamiento y política. Al mismo desarrollo cultural.<br />
tiempo, ellos expresaron la importancia de<br />
mantener la flexibilidad de la <strong>Fund</strong>ación, argumentando<br />
que esta area de interes total ‘cultura y<br />
desarrollo’ puede depurarse de una mejor forma<br />
en una fundación ecléctica. Los temas ofrecen una<br />
herramienta para la política de desarrollo y un<br />
discurso alternativo. En palabras de Arvind Das: ‘La<br />
<strong>Fund</strong>ación debe proveer ‘libertades’ en plural. La<br />
fortaleza de la <strong>Fund</strong>ación es la posibilidad de<br />
mediar entre muchos aspectos de la vida en<br />
muchas partes del mundo.’<br />
Arvind Das fue presentado el 17 de julio de este<br />
año en la reunión de los comités de intercambio<br />
de la <strong>Fund</strong>ación del Príncipe <strong>Claus</strong> en Holanda.<br />
Un importante punto de discusión fue la conferencia<br />
internacional sobre ‘Cosmopolitanism<br />
and the Nation State’ (cosmopolitanismo y nación<br />
estado), la cual está en el programa para febrero del<br />
2001; esta estará organizada por Asian Development<br />
and Research Institute (instituto para la<br />
investigación y desarrollo asiático) en Patna, India.<br />
Arvind fue el presidente de adri y jugó un papel<br />
crucial en la preparación de la conferencia.<br />
Camino hacia su siguiente destino, tuvo un ataque<br />
al corazón mientras permanecía en Holanda. Arvin<br />
Das murió el domingo 6 de agosto del 2.000 en<br />
Amsterdam. Los miembros de la Junta de la fundación<br />
Príncipe <strong>Claus</strong> desean expresar sus sinceras<br />
condolencias a la familia y amigos de Arvind.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 5
Conferencia de trabajo en La Haya sobre el tema de<br />
‘Verdad y Reconciliación’<br />
Es la verdad el camino a la reconciliación?<br />
La verdad es algo bueno. La reconciliación es algo bueno. Discutir contra la verdad y la<br />
reconciliación es como discutir contra la maternidad y la amistad. Yo no voy a discutir en<br />
contra de eso. El problema que quisiera abordar, y la duda que quiero plantear es sobre la<br />
relación causal putativa entre los dos, soportado en la idea de que la verdad lleva consigo<br />
reconciliación; o poniéndolo de una manera más cautelosa, de que la verdad contribuye para<br />
la reconciliación.<br />
Hay excelentes razones para buscar la verdad. La verdad es buena dentro y fuera de ella<br />
misma. No existen razones excelentes para buscar la reconciliación en paises desgarrados<br />
por la pugna y el sufrimiento. La salida, de cualquier forma, es entender que la verdad es una<br />
buena herramienta para llevar consigo reconciliación.<br />
Entonces, lo que propongo poner bajo el escrutinio es el lema de la Comisión Surafricana<br />
para la Reconciliación y la Verdad (Truth and Reconciliation Commission): ‘Verdad: El<br />
camino para la reconciliación’. El asunto es, creo, de gran actualidad, desde que el modelo<br />
surafricano para llevar reconciliación a través de la verdad esta considerado por muchos<br />
como un rígido modelo para manejar justicia transicional en muchas otras partes<br />
problematizadas del mundo.<br />
De la misma forma en que escribo esta frase, el escritor surafricano André Brink estuvo<br />
siendo entrevistado en la televisión israelí, y la primera pregunta, fue si el formato de verdad<br />
y reconciliación es aplicable al conflicto entre Israel y Palestina. Es por eso que tengo una<br />
gran apuesta en poner a prueba este modelo, más allá de una mera curiosidad académica. La<br />
fé en el poder curativo de la verdad es casi tan viejo como la historia del tiempo. Yo retomé<br />
un intimidante espiritual como Nietsche, en el idioma de Nietsche, para ‘las fuerzas de vida’.<br />
A pesar de Nietsche, la fuerza del poder tradicional curativo de la verdad nunca fue seriamente<br />
cuestionada.<br />
El sicoanálisis estuvo por entero sustentado en la creencia en la facultad emancipatoria de<br />
llevar la verdad reprimida hacia afuera. Una vez esta verdad es revelada y admitida, su rol<br />
subversivo y disfuncional esta obligado a detenerse.<br />
Este modelo de liberar lo reprimido, el cual estaba destinado a servir como patrón para la<br />
sicología individual, se fue extendiendo completamente – aún sin cuestionamiento – a la<br />
sicología colectiva. De esta forma, dijimos por ejemplo, que los franceses reprimieron las<br />
vergonzosas memorias de Vichy, con la ayuda de el Gaulle como arqueador de la censura , y<br />
que todas esas memorias continuaron jugando trucos en el inconsciente subversivo de la<br />
psyque francesa, de tal forma que llevaron a toda la nación hacia un neurótico estado disfunsional,<br />
manifestado en las guerras en Algeria e Indochina. De cualquier forma, personas<br />
valientes impulsaron la verdad en la sociedad francesa, asi que la historia se extendió y se<br />
hizo confrontar su pasado vergonzoso de colaboración, el cual fue sepultado bajo el mito de<br />
la resistencia francesa. Una vez la verdad dolorosa fue abierta hacia afuera, un proceso de<br />
sanación comenzó a tener lugar.<br />
Esta imagen de una nación sentada sobre el diván del sicoanalista, tan cruda como suena,<br />
es una imagen contundente a favor del poder curativo de la verdad. Pero es una imagen, no<br />
un argumento. Así que dejen que me extienda un poco sobre mi problema acerca de la<br />
relación entre verdad y reconciliación. Para empezar una significante discusión de este<br />
problema ordenadamente, debo entonces empezar con la verdad.<br />
Ya había preguntado Pilatos, con un sarcástico tono de voz, ‘Qué es verdad?’ Pues bien,<br />
por verdad aquí me refiero a destapar y revelar factores bochornosos, dolorosos y distractores<br />
que la gente trata de ocultar de otros y de ellos mismos. Mucho se ha dicho sobre el<br />
6 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Avishai Margalit<br />
De izquierda a derecha:<br />
Gavin Ruxton (consejera<br />
mayor legal para la oficina<br />
del fiscal, International<br />
Tribunal for the Former<br />
Yugoslavia), Lolle Nauta<br />
(Profesor emérita de<br />
Filosofía Social y miembro<br />
de la Junta Directiva de la<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong>)<br />
y Elias Khoury<br />
Gavin Ruxton y<br />
Avishai Margalit<br />
Mahmood Mamdani y<br />
Albie Sachs<br />
práctico sentido de la verdad aquí, y mucho más se debe decir, desde que la Comisión para la<br />
verdad y la reconciliación) atestó la noción de verdad con ‘diálogo verdadero o social’, más<br />
adelante adhiriendo ‘verdad narrativa’ que incluyó ‘historias y mitos’, y a la cabeza de todo,<br />
reflexionando sobre ‘la verdad curativa’.<br />
Yo creo entender lo que estaba tratando de hacer la trc con estas desafortunadas divisiones<br />
en torno a la verdad, con las cuales aparentemente se relativiza la verdad más allá de<br />
su admisión. La idea, si la entiendo correctamente, fue no solo capturar la proporcionalidad<br />
en la relevancia del pasado, sino tambien hacer que el pasado viva, reviviendo la experiencia<br />
y las emociones de sus víctimas. Para elaborar la revivificación del pasado, la trc invitó en<br />
primera instancia personas responsables en éste, narrando las experiencias vistas y sentidas<br />
por las víctimas en el momento en que sucedieron, aún cuando esas situaciones no fueron<br />
entéramente precisadas por la perspectiva de un tercer observador.<br />
La idea era capturar como era estar bajo el oscuro control del Apartheid – y parece que los<br />
sucesos en esos testimonios estaban exactamente ligados a que eran ellos quienes narraban<br />
estas experiencias. Pero entonces la idea de revivir el pasado cuando este resulta profundamente<br />
humillante, tiene sus víctimas. No puedes revivir la humillación sin ser humillado<br />
por ende. Las heridas de la humillación nunca están completamente sanadas, en especial la<br />
humillación que viene acompañada de tortura.<br />
Trauma, que es la palabra griega para herida, es una herida sangrante. El esfuerzo de la<br />
trcpara promulgar el pasado parece devaluar la importante idea de sanar las heridas de este.<br />
Y aquí voy con el segundo de los términos con los que estoy lidiando, llamado reconciliación.<br />
Reconciliación, a diferencia de arrepentimiento, tiene una relación simétrica. Ambas<br />
partes tienen que acordar y resolver sus más profundas diferencias aceptando y admitiendo<br />
las acciones vergonzosas de cada lado como una forma de restaurar la armonía. Nadie puede<br />
pedir reconciliación entre judíos y alemanes. No habia simetría entre la culpa de los Nazis<br />
alemanes y los judíos. Todo estaba cargado hacia un lado. Cuando personas como Nolte<br />
tratan de crear cierta simetría, culpando al ‘mundo judío' por haber declarado la guerra en la<br />
Alemania Nazi y por ser una parte en el conflicto, esto suena de una manera escandalosa. En<br />
el caso del Apartheid, el asunto de la simetría en las malas acciones es de una muy seria<br />
importancia. Es cierto que en orden para contrarrestar los actos malvados del Apartheid, los<br />
negros africanos recurrieron a la violencia y al terror. Pero puedo ver para cuantos de ellos se<br />
resentía la idea de implicar la simetría que la noción de reconciliación envuelve.<br />
Ellos ven su violencia como violencia de reacción, y no se suscriben a la doctrina del pecado<br />
original de acuerdo a la cual hay una simetría construida entre todos los seres humanos, que<br />
están todos condenados por el mal, por el simple hecho de que son todos humanos. Yo<br />
retomé la autoridad moral de Desmond Tutu, con sus profundas convicciones religiosas para<br />
reconciliar a la comunidad negra con la idea de reconciliación, lo que implica un conocimiento<br />
del mal obrar de su parte también.<br />
Tutu es como lo veo, quién confirió un significado religioso al acto de la reconciliación<br />
como un acto de desagravio, para lo cual se requiere una confesión explícita de los pecados,<br />
como una condición necesaria para restaurar la relación original entre el hombre y Dios.<br />
En su punto de vista sobre el mundo, el desagravio juega un rol, y la verdad contada<br />
por los perpetradores del mal es vista como una confesión que se convierte en un acto de<br />
desagravio.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 7
Es así como pienso que cuando una comunidad sustenta su visión de mundo, esta es una<br />
comunidad en la cual la verdad puede llevar sin lugar a duda a la reconciliación, porque aún<br />
cuando un perpetrador recibe inmunidad en intercambio por decir la verdad, no es inmune<br />
de ser responsable para Dios. Entonces la religión, en el caso de verdad y reconciliación<br />
ayuda.<br />
Pero qué pasa en esos casos donde la religión no ayuda, por que la comunidad no es<br />
religiosa? Podemos ver facilmente argumentos a favor y en contra de la creencia en que la<br />
verdad, en una sociedad secular, pueda llevar consigo reconciliación. Para empezar con algún<br />
argumento contra esta creencia: cuando personas que sufren inmesuráblemente saben por<br />
entero muy bién que sus verdugos saldrán libres, cambiando tortura y violación por contar<br />
sus historias, aún si estos lo hacen entonces en menor medida como una forma honesta y<br />
sabiendo exáctamente que perpetradores hicieron que, y a quienes, es más fácil reconciliarse<br />
con el pasado. Y como para los perpetradores, esta es una verdad que esta contando un oscuro<br />
secreto, lleva consigo un sentido de alivio, pero es un alivio vivido brévemente. Habiendo<br />
narrado esta verdad, tú y tu familia estarán mancillados por muchos años.<br />
Por otra parte, tu estás con las manos atadas para sentir resentimiento hacia esos que una<br />
vez en tus manos, están pidiendo los disparos y forzándote a decir lo que estás renuente a<br />
admitir inclusive para tí mismo. Estas son razones poderosas contra la creencia de que la<br />
verdad es el camino a la reconciliación.<br />
Qué cuenta entonces, para creer en esto? Un argumento poderoso en favor del poder<br />
curativo de la verdad en los casos relevantes es la gran necesidad que tienen las víctimas para<br />
que su sufrimiento sea reconocido. Negando, o ignorando su sufrimiento, este sufrimiento<br />
queda desprovisto de su significado, hace a quien sufre sentir como si no contase para nada, y<br />
niega la humanidad de quienes sufren. Entonces aún si las victimas sienten un fuerte impulso<br />
por justicia retributiva, la necesidad por que su sufrimiento sea reconocido es aún mayor.<br />
En comunidades en las cuales las primeras víctimas y los primeros perpretadores están<br />
destinados a vivir juntos después de un periodo de transición, retribuir justicia puede ser<br />
muy costoso o políticamente imposible. Lo segundo, y más importante, desde el punto de<br />
vista de la sicologia de quienes han sufrido, es que el sufrimiento será al menos reconocido<br />
por todos.<br />
Confesión primero, entonces, no sólo se crea un sentido religioso, sino también un buen<br />
sentido sicológico. Es así como el problema que tenemos para debatir es: es la verdad el<br />
camino a la reconciliación?<br />
Los resultados de otros debates sobre este tema seran publicados en<br />
las siguiente entregas del Journal de la <strong>Fund</strong>ación Príncipe <strong>Claus</strong>.<br />
8 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Pieter Boele van<br />
Hensbroek<br />
Colloque à Beyrouth sur le rôle des intellectuels dans<br />
la sphère publique<br />
Ce colloque a été organisé par la Fondation <strong>Prince</strong> <strong>Claus</strong>,<br />
en collaboration avec l’Université américaine du Liban (LAU),<br />
les 24 et 25 février 2000. Pieter Boele van Hensbroek, membre<br />
du Comité des Echanges de la Fondation <strong>Prince</strong> <strong>Claus</strong>, écrit:<br />
L’avion rase une forêt d’immeubles: Beyrouth. Après avoir traversé un dernier désert en<br />
marbre brillant, je me retrouve dans les embouteillages. La moitié des voitures sont des<br />
Mercedes et les autres sont tout aussi grandes. Le code de la route semble un luxe superflu:<br />
les imposants véhicules se faufilent les uns entre les autres. On ne se fait pas de concessions<br />
mais l’agressivité n’est pas de mise non plus. ‘Les Libanais aiment frimer et profiter de la<br />
vie’, explique le guide qui perçoit mon étonnement devant la profusion de boutiques, de<br />
grands immeubles et de richesses sur le chemin qui me conduit à une conférence sur le<br />
développement. Magnifiquement situé au bord de la Méditerranée, le Liban est un centre<br />
économique et commercial qui offre un certain espace de liberté au Moyen-Orient. Presque<br />
plus rien ne rappelle les dégâts subis par la ville au cours de cette guerre civile de près de<br />
vingt ans (1975-1992) qui a complètement détruit la vieille ville et une large bande de<br />
maisons et d’immeubles le long de la ‘ligne verte’. Les grands panneaux publicitaires montrant<br />
des femmes en sous-vêtements donnent même à penser que la pudeur et l’influence<br />
des fondamentalistes musulmans sont relatives.<br />
Dans un débat sur le Moyen-Orient, les universitaires néerlandais ont vite l’impression<br />
de se mouvoir sur un terrain glissant. Ne sommes-nous pas imprégnés de tant de stéréotypes<br />
sur l’islam et le fondamentalisme que, dans la discussion, nous commettons facilement<br />
des faux pas? L’amitié néerlando-israëlienne ne nous met-elle pas tout de suite sur le<br />
banc des accusés? Dans l’ensemble, nous savons d’ailleurs bien peu de choses sur l’histoire<br />
et la situation de ce pays. Je me rappelle à quel point lors d’un voyage en Afrique occidentale,<br />
je me suis étonné de trouver la culture islamiste si détendue et si agréable: cette<br />
surprise révélait bien des préjugés. A Beyrouth, la sécurité était une cause supplémentaire<br />
d’inquiétude: moins d’une semaine avant notre départ, les Israéliens avaient bombardé<br />
plusieurs centrales électriques libanaises et la police avait dispersé des étudiants qui<br />
manifestaient devant l’immeuble de cnn.<br />
La conférence intitulée ‘Le rôle des intellectuels dans la sphère publique’ (24 et 25 février<br />
2000) était organisée par la Fondation <strong>Prince</strong> <strong>Claus</strong>. La fondation attribue chaque année les<br />
célèbres prix <strong>Prince</strong> <strong>Claus</strong> à des artistes et à des intellectuels innovateurs. Elle stimule<br />
également la production culturelle hors des pays riches occidentaux par des publications et<br />
des projets, et en accordant des subventions pour soutenir certaines activités. Le choix<br />
d’une ville cosmopolite non européenne, la diversité des participants et les sujets retenus<br />
devaient empêcher que le débat ne soit dominé par la conception européenne de<br />
l’intellectuel et de son rôle. Le cadre d’un débat original était ainsi posé et la fondation était<br />
en situation d’étudier comment, en s’adaptant à la situation spécifique des intellectuels<br />
dans les pays en voie de développement, éviter les sentiers battus en matière de politique de<br />
subventions. Avec des participants venant de pays aussi divers que le Liban, l’Egypte, la<br />
Tunisie, Cuba, la république de Guyana, l’Angleterre, le Nigeria, l’Erythrée, les Etats-Unis<br />
et les Pays-Bas, la conférence s’annonçait prometteuse.<br />
Dès l’ouverture de la conférence par Elias Khoury, éminent écrivain libanais et rédacteur<br />
en chef du supplément culturel d’un grand quotidien, le Liban des brochures touristiques a<br />
été battu en brèche. Khoury a parlé du rôle des intellectuels en analysant le scandale<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 9
provoqué par l’interdiction d’un <strong>journal</strong> intime tenu par le garde du corps d’un chef de<br />
milice pendant la guerre civile, qui par la suite est devenu ministre. Le <strong>journal</strong> qui décrit<br />
sans détour les pratiques cruelles et les excès du chef de la milice, de son garde du corps et de<br />
toute la milice, est désormais à la disposition du public libanais grâce à Internet et aux<br />
photocopies. Rien ne permet de supposer que dans les autres milices, les pratiques étaient<br />
différentes. Leurs chefs appartiennent aussi à l’élite politique d’aujourd’hui. Ces révélations<br />
mettent en cause l’intégrité de toute une classe politique et de toute une partie de la<br />
population, en particulier les miliciens. Pour Khoury, cet ‘oubli forcé’ de l’histoire récente<br />
qui a pour but de favoriser la stabilité du régime politique actuel, constitue une véritable<br />
bombe au sein de la nation libanaise tout entière. Les intellectuels ont devant eux une<br />
mission importante, celle de faire ressortir la vérité. En effet, la vérité est indispensable pour<br />
une société: la vérité pour arriver à la réconciliation nationale, comme l’ont montré<br />
l’Afrique du Sud, l’Argentine et le Chili.<br />
Le débat qui a suivi ne portait pas sur la prétention de l’intellectuel à se poser en porteparole<br />
de la vérité ou autres subtilités de ce genre: la censure et les violations de la vérité<br />
sont en effet suffisamment claires et flagrantes. Le débat s’est orienté sur le risque d’une<br />
fixation unilatérale des intellectuels sur la ‘vérité’, alors que la réconciliation, le risque<br />
d’instabilité sociale et d’autres questions de même nature exigent peut-être un plus grand<br />
sens des responsabilités de leur part. Ne faut-il pas parfois savoir sacrifier la vérité à la<br />
prévention des conflits et à la stabilité sociale? La ‘vérité’ est-elle toujours l’instrument de la<br />
‘réconciliation’? Les vérités trop cruelles ne peuvent-elles pas au contraire entretenir les<br />
conflits? Ces questions ne trouvent pas de réponse absolue. En Afrique du Sud et en<br />
Argentine, il y avait deux camps bien déterminés, chacun doté d’une hiérarchie des<br />
responsabilités clairement définie: la structure en commando de l’agresseur était bien<br />
identifiée. Au Liban, en revanche, il y avait toutes sortes de milices, et beaucoup de citoyens,<br />
membres des milices, étaient impliqués dans le conflit. Ils étaient forcés, dans une plus ou<br />
moins grande mesure, de participer activement à des actes criminels. Il n’est tout<br />
simplement pas possible et vraisemblablement pas souhaitable de traîner toute une<br />
génération devant les tribunaux.<br />
Le cadre interculturel de la conférence a fait apparaître un autre obstacle à l’idée de ‘vérité et<br />
réconciliation’. La stratégie d’un tel règlement de comptes avec le passé repose sur l’idée que la<br />
vérité est dévoilée et que le coupable reconnaît sa faute sous forme d’expiation publique. Or, le<br />
sociologue indien Arvind Das a fait remarquer que dans les cultures indiennes, les notions de<br />
faute et de punition n’ont pratiquement pas de sens. La notion de vérité n’est pas non plus<br />
forcément un bien inconditionnel; l’approche indienne est plutôt la suivante: ‘Dis la vérité,<br />
mais dis une vérité agréable’.<br />
La discussion sur la définition de l’intellectuel s’est révélée inévitable. L’emphase qu’a<br />
revêtue cette question est intéressante. Un intellectuel n’est pas simplement quelqu’un qui,<br />
par définition, milite dans la sphère publique, comme l’a suggéré Lolle Nauta, président de la<br />
conférence. Ahmed Abdalla, <strong>journal</strong>iste et assistant social égyptien qui se bat contre le travail<br />
des enfants, a proposé d’autres définitions liées à l’influence et à la pertinence sociale. D’autres<br />
participants ont avancé qu’un intellectuel qui n’a pas de liens avec des mouvements sociaux<br />
n’est rien de plus pour la société qu’une vaine décoration. L’idée d’un ‘intellectuel organique’<br />
soutenue par Gramsci demeure pertinente. Selon Roger Assaf, acteur et directeur de théâtre à<br />
Beyrouth, dans la société libanaise, il est inévitable que les intellectuels recherchent<br />
activement des alliances avec la population. Sans un soutien de la population, les intellectuels<br />
sont totalement impuissants face à l’Etat et à l’élite économique.<br />
Bizarrement, pendant les débats, le danger que présentent les mouvements fondamentalistes<br />
musulmans a été assez peu évoqué. On retrouve peut-être dans ce phénomène l’idée<br />
de ‘l’intellectuel organique’, bien que plusieurs participants ne voyaient plus du tout<br />
comme un idéal cette relation étroite entre l’intellectuel et les mouvements sociaux. Au<br />
Liban, le mouvement radical islamiste Hezbollah n’est généralement pas considéré comme<br />
une menace fondamentaliste mais plutôt comme l’un des mouvements politiques et<br />
sociaux les plus actifs actuellement, trouvant de ce fait sa légitimité et méritant éven-<br />
10 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
tuellement d’être soutenu. En réponse au Premier ministre français, Lionel Jospin, qui a<br />
qualifié l’Hezbollah de ‘terroriste’, notre guide chrétien (!) parlait des combattants de<br />
l’Hezbollah en termes de héros. Pour les participants à la conférence qui venaient du<br />
Moyen-Orient, l’ennemi c’était plutôt l’élite politique, corrompue et oppressive, et non pas<br />
les mouvements islamistes de leur propre pays.<br />
Le fondamentalisme et la corruption ne sont cependant pas les seuls obstacles à la liberté<br />
et à l’autonomie des intellectuels. Une émouvante biographie de l’écrivain libanais Dalal el-<br />
Bizri raconte l’histoire d’une jeune fille qui se bat au sein de sa famille et de l’école par le<br />
biais de ses relations amoureuses, de l’activisme politique et du parti communisme, et qui<br />
se retrouve mère célibataire en pleine guerre civile. Son inlassable combat de femme et<br />
d’intellectuelle de gauche, et son esprit critique la conduisent finalement à adopter une<br />
conception très personnelle de la manière de vivre sa vie d’intellectuelle. Elle conquiert sa<br />
propre ‘modernité’, suit son intuition; devenue une personnalité publique, elle montre un<br />
flair surprenant et développe un style personnel qui lui permet de préserver son autonomie<br />
dans une société complexe. Pour obtenir une autonomie intellectuelle, il faut lutter dans la<br />
vie privée comme dans la sphère publique.<br />
Les débats ont également porté sur le thème inattendu des conditions matérielles<br />
nécessaires au travail intellectuel. A l’heure de la mondialisation, peut-on envisager un<br />
intellectuel sans ordinateur portable? A ce propos, le <strong>journal</strong>iste nigérian Waziri Adio a<br />
tracé un tableau attristant des intellectuels qui doivent se passer de presque tous les<br />
équipements de base comme les bibliothèques, l’électricité, etc.<br />
Les organisateurs s’étaient attendu à des débats animés sur le thème ‘La tradition: obstacle<br />
ou source d’inspiration?’ Le fondamentalisme et, d’une manière plus générale, la mobilisation<br />
politique de l’identité par l’Etat ou par les mouvements d’opposition sont d’actualité;<br />
en outre, les chercheurs se penchent aujourd’hui sur la question de la culture propre et des<br />
alternatives ‘africaines’ ou ‘islamistes’ aux conceptions ‘occidentales’ sur la démocratie, les<br />
droits de l’homme, la philosophie et même la science. Cependant, la discussion sur ce que<br />
les orateurs ont appelé ‘les dilemmes de la mobilisation et de la remise en cause des<br />
traditions auxquelles appartient un intellectuel’ tournaient surtout autour des connaissances<br />
indigènes. Mamadou Diawara, directeur d’un centre malien de recherche sur les<br />
pratiques des connaissances indigènes, a introduit la notion de ‘nouveau Sud’. Ce terme<br />
n’implique pas que l’on fixe par écrit et que l’on admire la sagesse traditionnelle, mais que<br />
l’on retrouve l’origine des pratiques locales qui sont encore appliquées en agriculture et en<br />
médecine, et qui souvent sont le résultat de la combinaison d’un savoir indigène et d’un<br />
savoir occidental. La dynamique de ces connaissances locales, étudiées par un groupe de<br />
chercheurs maliens, européens et américains, est particulièrement importante dans ce<br />
contexte. Le débat sur la pertinence et sur les possibilités que peut offrir la science locale a<br />
fait apparaître de profondes divergences d’opinions.<br />
Les discussions sur l’introduction de la charia dans certains Etats du Nigeria, sur la<br />
clitoridectomie et sur l’abattage rituel des animaux ont illustré le dilemme concernant la<br />
‘tradition’. Selon Mai Ghoussoub, une artiste et éditrice libanaise, la question de la<br />
clitoridectomie montre que la reconnaissance par les intellectuels du caractère universel de<br />
certaines normes fondamentales est une nécessité absolue. Il faut par ailleurs que nous<br />
soyons prêts à imposer ces normes dans la pratique. L’éditeur érythréen Kassahun Chekole<br />
a posé la question de la mise en pratique effective. Les pratiques ne meurent que lorsque les<br />
populations se rendent compte que c’est mieux ainsi. Pendant la lutte érythréenne pour<br />
l’indépendance, qui a duré trente ans, les membres de la guérilla étaient traités de la même<br />
manière quel que soit leur sexe, et les femmes ont voulu aussi supprimer les pratiques de<br />
clitoridectomie dans les populations des zones libérées. Cependant, on a sciemment choisi<br />
d’étudier d’abord les pratiques en détail et de les combattre en faisant appel au dialogue et à<br />
la conscientisation. Toutefois, les ‘modernisations’ culturelles de ce type ne sont pas toujours<br />
irréversibles: ainsi, les mariages célébrés entre personnes de religions ou de classes<br />
différentes ont difficilement résisté à la pression sociale après la guerre. Ces dernières<br />
années, l’idée de ‘modernité universelle’ a fondu comme neige au soleil au profit de la<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 11
notion de ‘localité’. Il est en effet plus logique d’étudier le contexte des notions que nous<br />
utilisons couramment, ainsi que l’ancrage des conceptions et des connaissances dans les<br />
pratiques localisées. Pourtant, de nombreux participants ont estimé qu’Annemarie Mol,<br />
philosophe néerlandaise, allait trop loin dans le développement de cette idée qu’elle présentait<br />
dans son style inimitable. Certes, ils adhéraient à l’idée qu’il ne sert à rien d’analyser<br />
les différences culturelles en termes de ‘systèmes de connaissances’ qui semblent s’opposer,<br />
d’autant plus qu’ils sont bâtis avec cohérence (moderne-prémoderne; occidental-islamiste/africain);<br />
ils adhéraient également à l’idée d’analyser les différences en termes de<br />
‘pratiques’. Mais est-il exact que l’eau ne bout pas partout à 100 degrés, qu’on ne peut pas<br />
tout bonnement transposer les faits et que certaines notions ont leur origine à Paris<br />
(intellectualisme) et d’autres à Athènes (sphère publique)?<br />
Il convient de relever que le simple fait de mentionner les notions de tradition et de<br />
modernité dans l’annonce de la conférence a provoqué une certaine confusion. Bien que ces<br />
notions aient fait l’objet de critiques, elles continuaient à être utilisées, en particulier par les<br />
participants originaires du Moyen-Orient. On essayait de diverses façon de mettre en place<br />
une troisième position, en plus de la tradition et de la modernité. Les deux notions de tradition<br />
et de modernité servaient en fait de tremplin pour tenter de définir une nouvelle position.<br />
Dans cette recherche, on restait assez réservé sur le postmodernisme mais non sur la notion<br />
‘d’universalisme contextuel’, présentée par le philosophe néerlandais René Gabriels.<br />
Si le postmodernisme n’a pas remporté de nombreux suffrages à Beyrouth, il s’est<br />
toutefois présenté des situations qu’on pourrait qualifier de postmodernes. Pendant qu’un<br />
des participants faisait la grasse matinée pour se remettre d’une nuit passée à boire et à<br />
fumer du haschisch en compagnie de la jeune élite artistique et fortunée de Beyrouth, je me<br />
trouvais dans un camp de réfugiés palestiniens. Le camp, situé dans la ville de Sidon, a été<br />
créé en 1948. Il est protégé par une haute clôture pourvue de tours de guet et il est entouré de<br />
chars et de pièces d’artillerie – libanais – à moitié ensevelis et dirigés vers le camp! Un<br />
nombre incroyable de personnes – quelque 60 000 selon mon guide – y vivent entassées<br />
dans une zone peu étendue qui ne comprend que quelques rues. Les maisons sont si<br />
rapprochées qu’il arrive souvent, paraît-il, qu’il faille porter les morts jusqu’à la rue pour les<br />
mettre en bière parce que les passages sont trop étroits pour les cercueils. En Europe, quand<br />
j’entendais que des ‘bases dans les camps de réfugiés’ avaient été bombardées, je m’imaginais<br />
toujours un vaste terrain avec, ici et là, des bunkers à moitié ensevelis et des<br />
combattants. Mais, dans ce camp, les bombes ne peuvent que tomber sur des habitations<br />
pleines de gens; l’ancien bureau de l’olp, rasé par une bombe, a laissé la place à un petit<br />
parking coincé entre les maisons. Au bout d’un demi-siècle de bombardements, de<br />
restrictions imposées par les Libanais et de destruction du camp au bulldozer, l’absurdité est<br />
devenue aussi banale que le bruit des chasseurs israéliens que nous entendions au loin et<br />
auquel nous n’accordions aucune attention.<br />
Ceux qui ont fui en 1948 (et à qui l’Etat palestinien dans les territoires occupés en 1967,<br />
objet des négociations actuelles, n’offre pas de solution) ont, 50 ans plus tard, pratiquement<br />
perdu toute raison d’espérer. Les Palestiniens ne peuvent pas travailler au Liban, si ce n’est<br />
dans les emplois les moins rémunérés; ceux qui travaillent à l’étranger et ne renouvellent<br />
pas à temps leur permis, ne peuvent plus jamais rentrer dans le pays. Les Libanais ont<br />
manifestement l’intention de forcer les Palestiniens à partir. Cela m’a frappé tout particulièrement<br />
lorsque, par la suite, mes amis palestiniens m’ont raconté leur dernière initiative<br />
pour obtenir un ‘droit au retour’ pour ceux qui ont été chassés par la force. Ils ont donné<br />
à cette initiative le nom de ‘A’idun’. C’est une magnifique déclaration invoquant tout un<br />
éventail de résolutions de l’onu, de conventions internationales et de principes de droit<br />
généralement acceptés.<br />
L’universalisme en guise d’arme. Nous parlions du rôle public des intellectuels? A défaut<br />
de principes universels qui soient inhérents à ce rôle, nous devons œuvrer pour que certains<br />
principes deviennent universels et, mieux encore, pour en imposer l’application.<br />
12 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Elias Khoury<br />
Elias Khoury est romancier, critique littéraire et rédacteur du<br />
supplément littéraire hebdomadaire du principal quotidien de<br />
Beyrouth, ‘Al-Nahar’. Né en 1948 au Liban, il grandit dans le quartier<br />
Ashrafiyyeh de Beyrouth. Il s’inscrit à l’université libanaise au milieu<br />
des années soixante et devient un militant pro-palestinien. En 1976,<br />
il quitte les rangs du mouvement armé palestinien, mais reste un<br />
sympathisant convaincu de la cause palestinienne. Khoury a prononcé<br />
le discours suivant lors du congrès sur ‘Le rôle des intellectuels dans<br />
la sphère publique’ (voir aussi les pages précédentes).<br />
Un double langage<br />
Nom: Robert Hatem<br />
Nom de guerre: Cobra<br />
Fonction: chien de garde et ombre<br />
Statut: exilé, quelque part en Europe<br />
Exploits: tueur, kidnappeur, maître chanteur, etc.<br />
Je voudrais commencer en vous racontant l’histoire de cet homme. Mais en fait, je ne la<br />
connais pas. Ce que je sais, c’est le retentissement sur la société libanaise, d’un livre écrit par<br />
un certain M. Hatem alias Cobra. Je vais d’abord vous parler de ce livre, intitulé ‘D’Israël à<br />
Damas’ et publié par Pride International Publication en 1999, non seulement parce que le<br />
ministre de l’Information l’a interdit au Liban mais aussi parce qu’il va me permettre<br />
d’attirer votre attention sur le problème lié à l’écriture dans le Liban d’après-guerre.<br />
Laissez-moi d’abord vous expliquer la situation, avant d’essayer de l’analyser. Hatem (ou<br />
Cobra) était autrefois le garde du corps d’Elie Hobeika, ancien ministre et membre du<br />
parlement libanais. Son livre est à la fois une confession et un moyen de faire chanter son<br />
ancien employeur. Dans ce livre, il décrit une série de crimes, accompagnés de pillage et de<br />
kidnapping, qui ont eu lieu pendant la guerre du Liban, à l’époque où Hobeika était l’un des<br />
leaders des ‘Forces libanaises’.<br />
Au moment où le livre de Hatem est sorti et où a été reproduit sur Internet, la vie<br />
politique et culturelle libanaise souffrait déjà depuis un certain temps de l’impact causé par<br />
la publication de ces scandales. La matière était donc connue. Pourtant le livre a été perçu<br />
comme quelque chose de nouveau. Ce livre a été photocopié à des milliers d’exemplaires. Le<br />
chapitre 34, qui donne le plus de détails sur les relations sexuelles de Hobeika, est devenu le<br />
grand sujet de conversation du moment. Hatem a été interviewé par la télévision par<br />
satellite Al-Jazeera. Au cours de cette interview, il a donné encore plus de détails sur son<br />
ancien employeur. Cette émission est à son tour devenue l’affaire du moment ce qui a<br />
contraint Hatem à répliquer dans une longue interview diffusée le samedi 20 février sur<br />
Future television,.<br />
J’ai commencé par mentionner un livre interdit, non seulement pour défendre la liberté d’expression<br />
et de publication, mais pour illustrer un phénomène qui domine la scène culturelle<br />
libanaise. Il s’agit de ce double langage qui traite les faits réels comme des rumeurs et<br />
les rumeurs comme des faits réels. Ce phénomène est peut-être dû au fait que les récits<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 13
véridiques et les expériences de guerre au Liban n’ont pas été consignés sur papier. Mis à part<br />
quelques rares témoignages (comme celui de Joseph Saadé) et de sporadiques analyses sociologiques,<br />
les seules références écrites à la guerre n’apparaissent que dans les romans libanais.<br />
On peut aussi expliquer ce phénomène du double langage par la loi d’amnistie qui a clos<br />
tous les dossiers concernant les crimes commis pendant la guerre du Liban sans avoir<br />
aucunement tenté de mettre en place un cadre de compréhension et de réconciliation.<br />
Enfin, troisième hypothèse, on peut placer ce double langage dans le contexte de l’amnésie<br />
générale imposée à la scène politique de l’après-guerre; une amnésie qui a conduit à raser le<br />
centre ville de Beyrouth (l’un des principaux théâtres de la guerre), emportés dans ce rêve<br />
de construire une ville nouvelle et différente, un centre commercial international, une île<br />
isolée du reste de la cité.<br />
Avec son livre si mal écrit, Robert Hatem a pourtant réussi à lever le voile du silence qui<br />
étouffait la vie culturelle libanaise. On peut aussi considérer ce qu’il écrit dans le cadre des<br />
conflits entre les services secrets des différentes régions. Pourtant, je ne comprends pas<br />
pourquoi son livre a été interdit au lieu d’être utilisé par la justice libanaise comme document<br />
d’identification. Est-ce parce que la nouvelle classe dirigeante souhaite que le peuple du Liban<br />
ne se souvienne plus de rien? Au point même d’ignorer des crimes comme les massacres de<br />
Sabra et Chatilla en septembre 1982, lorsque quelque 500 réfugiés palestiniens ont été<br />
massacrés devant les yeux – sous les phares – de l’armée israélienne qui occupait Beyrouth?<br />
Des crimes sur lesquels Hobeika, le premier suspect, n’a jamais été interrogé au Liban?<br />
Le seul interrogatoire de l’après-guerre a eu lieu lors du procès de Samir Geagea, le leader<br />
des ‘Forces libanaises’, qui est aujourd’hui l’unique prisonnier de la période de guerre.<br />
Pendant le procès, lorsque Hobeika a été appelé comme témoin, ce fut vraiment une<br />
situation absurde. Cela m’a rappelé l’un de ces récits qui mettent en scène Geha, le héros<br />
d’une série de contes populaires incarnant à la fois la sagesse et la bêtise. Une fois, Geha<br />
rencontre un Qady, c’est-à-dire un juge, qui doit arbitrer une dispute entre un homme et<br />
une femme. L’homme présente d’abord sa version des faits; le juge, convaincu par son<br />
témoignage, déclare que c’est lui qui a raison. La femme vient ensuite exposer sa version; le<br />
juge, convaincu aussi par son histoire, déclare qu’elle aussi a raison. Geha intervient à ce<br />
moment-là et dit: ‘Monsieur le juge, si l’homme et la femme ont tous les deux raison, où est<br />
la vérité?’ Le juge se tourne alors vers Geha et déclare: ‘Tu as raison toi aussi’. Cette histoire<br />
illustre les difficultés auxquelles la justice doit faire face, et les énormes problèmes liés au<br />
concept de vérité dans un pays comme le Liban. Un pays qui souffre encore des blessures de<br />
la guerre et où les ‘non-dits’ dominent tous les discours. Je voudrais maintenant revenir à<br />
Hatem et le citer: ‘Monsieur Hobeika a soudain réalisé que moi, Robert Hatem, connu<br />
comme Cobra, comme son ombre et son plus loyal chien de garde, mais aussi comme son<br />
homme de main depuis 20 ans, j’en savais trop pour vivre.’<br />
Hatem donne trois définitions de lui-même; il était, dit-il, une ‘ombre’, un ‘chien’ et ‘quelqu’un<br />
qui en sait trop pour vivre’. Je ne veux pas comparer le terme de ‘chien’ utilisé par<br />
14 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
De gauche à droite:<br />
Ursula Owen, directrice de<br />
‘Index on Censorship’<br />
(Angleterre); Zeina Arida,<br />
directrice de la Fondation<br />
Arabe de l’Image (Liban)<br />
(voir aussi les pages 34-51 de<br />
ce Journal) et Elias Khoury<br />
Les philosophes Pieter Boele<br />
van Hensbroek (Pays-Bas) et<br />
Paulin Hountondji (Bénin)<br />
L’écrivain libanaise Dalal<br />
Al-Bizri; le chercheur malien<br />
Mamadou Diawara; Lolle<br />
Nauta (philosophe et<br />
membre du Comité de<br />
Direction de la Fondation<br />
<strong>Prince</strong> <strong>Claus</strong>)<br />
Le chercheur égyptien<br />
Ahmed Abdalla; le critique<br />
Desiderio Navarro de Cuba<br />
Robert Hatem à la fameuse définition de Julien Benda qui caractérise les intellectuels de<br />
‘chiens de garde’. Pourtant cette comparaison paraît inévitable quand on associe le terme de<br />
‘chien’ aux deux autres étiquettes que Hatem se donne – ‘ombre’ et ‘quelqu’un qui en sait<br />
trop pour vivre’– et qui suggèrent que la connaissance conduit à la mort. C’est là que réside<br />
le paradoxe de l’accueil fait au livre au Liban. On ne l’a pas considéré comme un livre ou un<br />
document qu’il fallait authentifier mais comme une rumeur. Or nous savons que la rumeur<br />
n’a pas de limites. Bien qu’on ne peut considérer ce livre comme une œuvre sérieuse, il<br />
contient bien plus que des rumeurs et la justice libanaise aurait pu l’utiliser comme<br />
document dans l’investigation des crimes. Cela ne s’est pas fait: le ‘chien’ est devenu une<br />
‘ombre’, et la connaissance a été transformée en une cause possible de menace et de mort.<br />
On s’étonne de la réaction à la publication du livre de Hatem: le livre a été interdit et le<br />
service des postes du Liban soumis à des contrôles stricts pour éviter que le livre ne<br />
s’introduise par ce canal. Il devînt très difficile d’envoyer ou de recevoir des livres ou des<br />
vidéos par la poste. En fait, le livre a servi de prétexte aux autorités pour imposer un<br />
nouveau type de censure bien calculée, accompagnée de mesures sévères contre les<br />
intellectuels. La chanson de Marcel Khalifeh, ‘Père, c’est moi Joseph’, et la production de<br />
ballet de Maurice Béjart, ‘Oum Koulthoum’, en ont fait les frais. On peut trouver des<br />
relations entre la structure des rumeurs et l’oppression qui expliquent peut-être la crise de<br />
la vie intellectuelle dans le Beyrouth de l’après-guerre.<br />
Ceci m’amène à la question des espaces intellectuels au Liban et dans le monde arabe. Je<br />
dois faire remarquer ici que la crise qui touche la vie intellectuelle et le statut des intellectuels<br />
est en fait une crise internationale. On peut en chercher la cause dans les grands<br />
bouleversements qui se sont produits à la fois dans le domaine des connaissances et dans la<br />
politique; ces bouleversements ont engendré un type d’intellectuel fortement médiatisé au<br />
service des nouveaux dieux du marché et de la suprématie. Dans le tiers-monde, on peut<br />
considérer la crise à différents niveaux: dans la globalisation de l’intellectuel, la domination<br />
de la pétroculture comme le résultat de ses énormes possibilités, etc.<br />
Mais mon propos est ici d’analyser l’espace intellectuel dans sa dynamique interne. Dans<br />
cette perspective, je distingue trois éléments majeurs. Le premier se rapporte aux ‘non-dits’;<br />
les exemples que j’ai pris dans le livre de Hatem peuvent nous aider à comprendre cette<br />
notion. Les ‘non-dits’ ou le silence s’expliquent par différentes raisons, et ce phénomène se<br />
manifeste sous différents aspects.<br />
1. Des raisons et des aspects d’ordre social. Nous allons voir ici que l’Etat n’est pas le seul<br />
appareil de répression. Diverses formations sociales peuvent aussi s’en charger, comme<br />
au Liban où le consensus général qui a pu être atteint grâce aux différents groupes de<br />
croyances et de religions d’une part, et à une police d’Etat semi-officielle de l’autre, a<br />
abouti à ‘l’oubli’ de l’expérience de la guerre.<br />
2. Des raisons et des aspects d’ordre religieux. Nous découvrons ici que, tant que le sacré joue<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 15
un rôle symbolique essentiel dans la vie sociale, le ‘non-dit’ peut être interdit. On<br />
répliquera que les religions, en particulier le renouveau de l’islam, ont été une sorte de<br />
réaction contre la dictature; c’est quand même une réaction qui a détruit toutes les<br />
expressions de société (dans le cas de l’Iran et de l’Algérie par exemple). Bien que cela ne<br />
soit que partiellement vrai, il reste un problème à analyser concernant la relation entre la<br />
société et la religion.<br />
3. Des raisons et des aspects d’ordre culturel. Nous devons considérer ici le système<br />
d’éducation dans sa totalité, en particulier les relations entre l’université et la société.<br />
Dans la dynamique interne de l’espace intellectuel, le second élément est l’oppression. Il est<br />
facile de parler de l’oppression, mais bien plus difficile d’analyser ses mécanismes. On ne<br />
peut pas la réduire à un simple coup d’Etat ou à une junte militaire au pouvoir: l’oppression<br />
représente aussi une crise culturelle. Elle exprime un problème politique ou une impasse.<br />
Elle peut prendre l’aspect d’un père, le père de la nation, le leader, etc., ou celle du<br />
nationalisme. Souvenons-nous ce qu’il est advenu de ces ‘Damnés de la Terre’– pour<br />
utiliser l’expression de Franz Fanon – en Algérie ou dans le monde arabe en général.<br />
L’oppression enfin peut prendre la forme d’une force de modernisation: le modernisme<br />
était le but poursuivi par les officiers égyptiens qui entouraient Nasser.<br />
Dans la réalité du tiers-monde, il est facile de parler de démocratie mais très difficile de<br />
mettre en place une société démocratique. Sur ce point, je suggèrerais de développer une<br />
critique profonde du concept de volonté; ce concept basé sur l’hypothèse que seule la<br />
volonté peut changer l’histoire et la société. Je ne me réfère pas ici à Gramsci. Dans la pensée<br />
de ce dernier, l’optimisme de la volonté est associé à l’intellectuel organique utilisant ses<br />
connaissances pour changer le statu quo. Mais la volonté présente dans les coups d’Etat a<br />
généré un type de régime militaire qui utilisait les slogans de la modernisation pour créer<br />
une nouvelle organisation de style Mamelouk qui a anéanti les structures sociales, les<br />
remplaçant par le vide de l’oppression.<br />
On trouve le concept d’oppression fondée sur des images du père dans la trilogie<br />
romanesque de Naguib Mahfouz où le père mène une double vie et parle un double langage.<br />
Le personnage d’Ahmad Abdel Jawad incarne différentes sortes d’oppression de femmes et<br />
d’enfants, etc. Le mécanisme de l’oppression a détruit la vie intellectuelle (la liberté des<br />
universités, la liberté des écrivains, etc.) et a engendré ce que j’appelle le double exil de<br />
l’intellectuel arabe. 1. Un exil à l’intérieur de son propre pays. L’intellectuel est contraint à la<br />
fois à se taire et à parler une absurde langue de bois. Bien sûr, il peut aussi choisir d’aller<br />
droit au but; 2. L’exil hors de son propre pays; des milliers d’intellectuels n’ont pas eu<br />
d’autre alternative que de quitter leur pays pour chercher refuge en Europe. Il faut réexaminer<br />
dans cette perspective la destruction de Beyrouth comme centre de la culture<br />
arabe. Avant la destruction de Beyrouth en effet, les intellectuels arabes pouvaient s’exiler<br />
dans une autre société arabe; l’exil avait alors une autre connotation, cela faisait partie de la<br />
16 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
De gauche à droite:<br />
Le <strong>journal</strong>iste Dapo Adeniyi<br />
(Nigeria) et l’écrivain libanais<br />
Hassan Daoud<br />
L’historien Abdeljelil Temimi<br />
(Tunisie) et Els van der Plas,<br />
directrice de la Fondation<br />
<strong>Prince</strong> <strong>Claus</strong><br />
documents photografiques:<br />
LAU<br />
lutte pour la liberté. Je suis très sceptique sur le rôle que peuvent jouer les exilés à partir de<br />
l’Europe, même si quelques idées très novatrices ont surgi de cet exil – citons le nom<br />
d’Edward Said et le cas de Nasser Hamed Abou Zeid par exemple. Le troisième et dernier<br />
élément dans la dynamique interne de l’espace intellectuel est la relation entre la vérité et la<br />
justice. Ceci m’amène à la partie la plus compliquée de mon analyse: une hypothèse<br />
lourdement chargée de problèmes et de malentendus.<br />
Le problème dont je voudrais parler surtout est celui que l’on pourrait appeler le problème de<br />
la ruse, ou de l’élégance intellectuelle. J’ai à l’esprit les noms de toutes ces entreprises<br />
intellectuelles qui ont tenté de poser un pont entre le pouvoir intellectuel d’un côté, et la<br />
société et la culture de l’autre: de l’écrivain Ibn al Muqaffah qui, au 17ème siècle, utilisait la<br />
métaphore pour créer un lien entre le discours critique et le pouvoir politique, au poète<br />
Majakovski pour qui le suicide était la seule position politique possible. Deux grands exemples<br />
devenus des modèles d’authenticité intellectuelle. Je ne me réfère pas ici à ces intellectuels ou à<br />
ces types d’intellectuels qui se sont mis au service des pouvoirs politiques et économiques. Il<br />
s’agit là de trahison. L’élégance de Ibn al Muqaffah ne l’a pas sauvé d’une mort atroce puisqu’il a<br />
été mis en pièces et brûlé vif sur l’ordre du gouverneur d’Al Basra. Lorsque la connaissance se<br />
met au service du pouvoir, cela ne conduit jamais à un climat de liberté réelle pour l’activité<br />
intellectuelle. Au contraire. Et la mort n’est peut-être pas la pire conséquence.<br />
Le malentendu dont je voudrais parler est celui qui sous-tend la pensée dominante en<br />
Occident concernant la Palestine. C’est à mon avis le malentendu le plus important. Il en<br />
existe d’autres bien sûr. Les exemples sont nombreux: des approches orientalistes aux séries<br />
de romans arabes qui traitent de ‘La migration vers le Nord’, pour citer le titre de Tayed<br />
Saleh. Mais le problème essentiel vient de la relation entre la vérité et la justice. La question<br />
palestinienne l’illustre parfaitement.<br />
J’ai beaucoup de mal à comprendre comment les principales tragédies de l’histoire européenne,<br />
comme l’antisémitisme, le racisme et l’holocauste, ont pu été utilisées, de manière<br />
très ambiguë, pour justifier une injustice énorme: l’expulsion, par la force, du peuple palestinien<br />
de son pays en 1948. L’intellectuel arabe qui arrive à comprendre cela se retrouve<br />
dans une impasse entre vérité et justice. D’un côté, il entend bien que la vérité a plusieurs<br />
visages. Mais il est aussi bien placé pour connaître la vérité de la tragédie palestinienne.<br />
Cette vérité a déjà été falsifiée et brandie pour servir un projet colonial. Le sentiment que<br />
vérité et justice ne peuvent être réunies en un concept unique engendre en moi ce que je<br />
définirais comme une certaine amertume. Et l’amertume peut mener à la bêtise, comme on<br />
l’a vu il y a deux ans, lors de la grande fête de bienvenue organisée pour Garaudy dans le<br />
monde arabe.<br />
La conscience d’un malentendu est un obstacle aux vrais echanges intellectuels. Un grand<br />
nombre d’intellectuels influencés par le concept cosmopolite de l’intellectuel global, en<br />
arrivent à embrasser une autre forme de bêtise qui se manifeste dans la mise en place d’un<br />
double langage, l’un pour le monde extérieur et l’autre pour leur univers local (si du moins<br />
leur univers local les intéresse). Ce concept de double langage nous ramène à la fonction de<br />
la rumeur comme activité intellectuelle dans les sociétés en proie à une double oppression:<br />
d’une part celle de la dictature, et d’autre part celle de la domination et de l’occupation.<br />
Pour l’intellectuel, quelle attitude prendre face à l’oppression? Je ne suis pas assez naïf pour<br />
penser que les efforts des intellectuels peuvent suffire à créer des sociétés démocratiques.<br />
Mais je suis persuadé que l’activité intellectuelle est un élément essentiel de la lutte pour la<br />
démocratie. Arrivé à ce point, je voudrais proposer deux concepts complémentaires de<br />
l’espace intellectuel. Le premier concept est le marginalisme, le choix d’une position marginale.<br />
On peut bien sûr aller à la recherche des limites de la marginalité qui doivent être<br />
constamment remises en question. Mais je pense que le critère le plus évident pour définir<br />
ces limites est la ‘décadence du langage’, pour citer George Orwell. La marge n’est pas un lieu<br />
de repos. Au contraire, c’est un lieu de questionnement et de remise en cause. Et peut-être<br />
que la question la plus importante restera celle du statut du travail intellectuel lui-même.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 17
Le second concept est l’opposition, et pas seulement dans le domaine politique. Cette<br />
opposition exige le développement d’un esprit critique qui rebâtit la relation entre la vérité<br />
et la justice; un esprit critique qui refuse d’obéir à la fois aux anciens et aux nouveaux dieux du<br />
pouvoir, et qui s’efforce de sonder les falsifications et la structure de l’idéologie dominante.<br />
Cette attitude d’opposition devra affronter toutes sortes de pouvoirs mais nous ne<br />
devons pas oublier que le rôle de l’intellectuel est à la fois de servir la vérité et de créer un<br />
langage libre à partir de l’expérience humaine de l’oppression.<br />
Les deux espaces que je viens de définir sont difficiles à mettre en place. Mais pour les<br />
intellectuels du tiers-monde, leur réalisation constitue le défi essentiel, puisque leur seule<br />
alternative par ailleurs est d’accepter le langage oppressif du pouvoir.<br />
18 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Paulin J. Hountondji<br />
1.<br />
Gobineau, Joseph Arthur<br />
comte de; Essai sur l’inégalité<br />
des races humaines, Didot,<br />
Paris, 1853-1855, 4 volumes<br />
2.<br />
The French anthropologist<br />
intended to oppose the basic<br />
hypothesis of ‘the English<br />
anthropological school’,<br />
namely Tylor and Frazer.<br />
The latter assumed, first,<br />
that human nature was<br />
identical everywhere and at<br />
all times, and secondly, that<br />
the facts and deeds of the<br />
primitive man were based<br />
on a particular philosophy,<br />
that is a coherent and selfconscious<br />
worldview. Tylor<br />
called this particular worldview<br />
‘animism’. To him,<br />
animism was a philosophy<br />
shared by all members of<br />
‘primitive’ societies, and<br />
the rationale for all those<br />
customs, habits, rites, social<br />
uses which seem at first so<br />
peculiar to the European<br />
observer. In view of this<br />
theory, Tylor appears to<br />
have been doing what we<br />
call today ethno-philosophy,<br />
while Levy-Bruhl’s refutation<br />
amounts to substituting for<br />
this ethno-philosophical<br />
In co-operation with the Lebanese American University, the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong> organised a conference on ‘The Role of the Intellectual in<br />
the Public Sphere’. (See also previous pages.) Discussions took place<br />
on 24 and 25 February 2000. Among the speakers were Elias Khoury<br />
from Lebanon, Desiderio Navarro from Cuba, Ahmed Abdalla from<br />
Egypt, Mamadou Diawara from Mali, Waziri Adio from Nigeria and<br />
1999 <strong>Prince</strong> <strong>Claus</strong> Award laureate Paulin Hountondji from Benin.<br />
Tradition: Hindrance or Inspiration?<br />
Two temptations<br />
In examining a given tradition, two temptations should be resisted: first, the temptation of<br />
contempt, and second, that of overall justification. It was the fate of some cultures in the<br />
world to have been systematically said to be inferior during centuries of Western domination<br />
including, as far as Africa is concerned, a long history of slave trade and colonialism.<br />
This sense of inferiority was unfortunately internalised to various degrees by the cultures<br />
themselves. On the other hand, voices arose both from within these cultures and from within<br />
the dominant, i.e. the European cultures, to resist that claim to superiority and put Western<br />
civilisation back in its right place, a place far more modest than it pretended. African voices<br />
were part of this new concert. The danger then, however, was to fall into the exact opposite<br />
of the first attitude by idealising and romanticising non-Western cultures.<br />
Cultural imperialism<br />
The first temptation is that of cultural imperialism based on what might be called first order<br />
ethnocentrism, as opposed to a defensive or second order ethnocentrism. Historically, its<br />
most visible form during the last four centuries or so was the collective sense of superiority<br />
developed within the Western civilisation by some of its ideologists. This form of ethnocentrism<br />
is known as Eurocentrism. For centuries, a whole range of scholars have been for<br />
centuries putting their intelligence and learning to the service of this prejudice. For instance<br />
Gobineau, the author of ‘Essai sur l’inégalité des races humaines’, thought he was engaged in<br />
science. So obvious, however, were his racist assumptions, that nobody should have given<br />
the slightest credit to his scientific pretensions. 1 Lévy-Bruhl’s theory of ‘primitive mentality’<br />
seemed at first sight more consistent, though in the final analysis it was based on the same<br />
kind of prejudice. 2 Levy-Bruhl’s work is a good example of how an accumulation of real facts<br />
can be arranged, organised and interpreted in such a way to serve as a means to reinforce<br />
sheer prejudice. Books like ‘Les fonctions mentales dans les sociétés inférieures’ and the five<br />
others which were to follow 3 are good illustrations of how false science is constructed. The<br />
case is all the more eloquent since the author himself was to write a self-criticism published<br />
posthumously as ‘Les carnets de Lucien Lévy-Bruhl’. 4 Mutatis mutandis, one dares to hope<br />
that the authors of ‘The Bell Curve’, a book much talked about in America in the last five<br />
years, which also tried to give scientific appearance to sheer racist prejudice, will rehabilitate<br />
themselves before they die, for the sake of science and for their own personal dignity. 5<br />
Cultural nationalism<br />
The second temptation is that of an excessive and uncritical reaction to the former one. It<br />
usually takes the form of an identification with one’s own tradition, as a result of self-defence<br />
and justification. We are still facing this danger today. Most of the time, we develop a kind of<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 19
elation with our own cultures which is not so pure and straightforward as it would have<br />
been normally, if we did not feel compelled to answer the challenge of other cultures at the<br />
same time. For instance, because some of our ancestral uses have been or are still under<br />
external (say, Western) attack, we would still today defend or seek to justify them as part of<br />
our identity though we are conscious ourselves of how outdated and little adapted they are<br />
to the present conditions of life. We would have certainly rejected these uses or fought for<br />
them to be improved and better adapted if we had been alone together. In other words, our<br />
relation as individuals to our original cultures is frequently biased, not to say poisoned by the<br />
obsession of collective self-defence imposed on us by a hostile environment.<br />
One of the most serious issues today, therefore, is how to get rid of this obsession of the<br />
Other and develop again a free and critical relationship to our own cultures. In other words,<br />
how can we revive this debate: in places or circumstances where the internal debate within<br />
particular cultures has been slowed down or even stifled by external aggression? How can we<br />
minimise the negative impact of racism and colonial contempt on the way people behave<br />
towards their own culture? How can we mentally liberate ourselves from other cultures’<br />
views of our own culture, in order to prioritise our own debate with and within the latter?<br />
William Abraham, a Ghanaian (now Ghanaian-American) philosopher, wrote something<br />
similar in ‘The Mind of Africa’: it has often been said, he argues, that the eyes of the whole<br />
world are upon us; this is not true, we must get rid of this idea and behave just as we think we<br />
have to (I cannot unfortunately give the exact quotation, since it is impossible to find the<br />
book anywhere in Cotonou - which, by the way, is also part of the conditions of intellectual<br />
work in our countries). 6<br />
A secret complicity<br />
People from dominated cultures are not the only ones, however, to react this way. Not only<br />
are they strongly supported, but most of the time they are preceded and shown the way by<br />
dissident voices from within the dominant cultures themselves. I called attention to this<br />
point many years ago: the rejection of Eurocentrism came first from European intellectuals<br />
themselves, namely the anthropologists. Some of them went so far as simply to invert the<br />
imperialistic scale of cultural norms: whereas Western civilisation was usually valued for its<br />
technical and economic achievements, Malinowski, instead, saw ‘a menace to all real spiritual<br />
and artistic values in the aimless advance of modern mechanisation’. To him, the study of<br />
primitive forms of human life was ‘one of the refuges from this mechanical prison of culture’<br />
and ‘a romantic escape from our over-standardised culture’. I recalled the major role played<br />
by the German anthropologist Frobenius in the intellectual development of both Senghor<br />
and Césaire, the two poets of ‘negritude’. There is therefore, I suggested, a secret complicity<br />
between the ‘progressive’ anthropologist in the West and the cultural nationalist in the<br />
South. 7 The latter is often provided his arguments by the former. When these arguments<br />
happen to be weak or inconsistent, the cultural nationalist tends unfortunately to take them<br />
up as they are.<br />
Let me give an example. In his overview of ‘African Religion, Spirituality and Thought’,<br />
published 30 years ago, Dominique Zahan, a French anthropologist, mentions incidentally a<br />
custom which was held sacred in some parts of Africa as late as the 19th century: at the burial of<br />
King Ghezo of Abomey, now part of the Benin Republic, several dozens of his wives were<br />
sacrificed to accompany and continue to serve him in the Beyond. Moreover, most of them<br />
were said to be volunteers and to consider it a great honour to be chosen. Colonial ideologists<br />
would have simply presented this practice as one more proof of how savage or primitive<br />
Africans are. Instead, the modern anthropologist tries to identify the philosophy behind this<br />
custom. To Dominique Zahan, this ritual only means that for the Blacks, there is no real<br />
discontinuity between life and death: life flows from death, and death is but the continuation<br />
of life. 8<br />
This way of presenting things is a good example of how ethnophilosophy works: it refers to<br />
some collective worldview or conceptual framework as possible justification for the most<br />
unjustifiable customs. Cultural nationalism aims at the same goal: it seeks to justify all inherited<br />
20 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
account, an ethno-psychological<br />
account of non-Western<br />
realities. To him, the rationale<br />
for the primitive way<br />
of life does not lie in any kind<br />
of philosophy but in a ‘mentality’,<br />
i.e., the bare fact of a<br />
given psychic constitution.<br />
The primitive’s behaviour is<br />
not motivated by logical reasons,<br />
but determined by his/<br />
her psychological nature. To<br />
that extent, no real understanding<br />
is possible between<br />
the ‘primitive’ and the ‘civilised’.<br />
Levy-Bruhl’s story<br />
amounts to widening the gap<br />
between cultures and splitting<br />
down the unity of humankind.<br />
3.<br />
Lévy-Bruhl, Lucien;<br />
Les fonctions mentales dans<br />
les sociétés inférieures,<br />
Paris, 1910; La mentalité<br />
primitive, Paris, 1922; L’âme<br />
primitive, Paris, 1927; Le<br />
surnaturel et la nature dans<br />
la mentalité primitive; Paris,<br />
1931; La mythologie<br />
primitive, Paris, 1935;<br />
L’expérience mystique et<br />
les symboles chez les<br />
primitifs, Paris, 1938<br />
4.<br />
A good presentation of<br />
Lévy-Bruhl’s thought and<br />
development on primitive<br />
mentality is found in:<br />
Cazeneuve, Jean; La mentalité<br />
archaïque, Armand<br />
Colin, Paris, 1961.<br />
5.<br />
Herrstein, Richard and Charles<br />
A. Murray; The Bell Curve:<br />
Intelligence and Class Structure<br />
in American Life, First<br />
Free Press, New York, 1995<br />
6.<br />
Abraham, William; The Mind<br />
of Africa (The Nature of<br />
Human Society), University<br />
of Chicago Press, Chicago/<br />
Weidenfeld and Nicolson,<br />
London, 1962<br />
7.<br />
See Hountondji, Paulin J.;<br />
African Philosophy, Myth and<br />
Reality, Indiana University<br />
Press, Bloomington and<br />
Indianapolis, 1996 (second<br />
edition), p. 157-159<br />
8.<br />
Zahan, Dominique; Religion,<br />
spiritualité et pensée africaines,<br />
Payot, Paris, 1970,<br />
p. 245<br />
9.<br />
Hountondji, Paulin J.;<br />
‘Brainstorming - Or How to<br />
Create Awareness of Human<br />
Rights’, in: Mayor, Federico,<br />
in collaboration with Roger-<br />
Pol Droit (ed.); Taking<br />
Action for Human Rights in<br />
the Twenty-first Century,<br />
UNESCO Publishing, Paris,<br />
1998, p. 144-147<br />
10.<br />
This does not only apply to<br />
Africa. Examples can be<br />
taken from any other culture.<br />
For instance, committing<br />
hara-kiri has been said to be<br />
part and parcel of Japanese<br />
culture. The heroism of the<br />
kamikazes who, during the<br />
Second World War, sacrificed<br />
their lives to destroy<br />
enemies’ boats, appears to<br />
be a modern illustration of<br />
an age-old practice, deeply<br />
rooted in the ancestral<br />
culture. However, how<br />
universally approved was<br />
this practice? Who can<br />
assert that there has never<br />
been at any time, in any<br />
circumstances, a secret<br />
protest by a mother, a sister<br />
or a lover, a discrete murmur,<br />
a self-contained revolt<br />
against the unwritten law<br />
or the social pressure that<br />
forced young and valid<br />
people to commit suicide?<br />
practices including the most unjustifiable. That is why ethnophilosophy, obviously an<br />
invention of the West, has been so massively taken up by Third World intellectuals and<br />
especially by African philosophers. Yet, as a matter of fact, no woman today, even from the<br />
culture of King Ghezo, the Fon culture in present-day Benin, would like to be buried alive with,<br />
or sacrificed in any other way for the sake of her husband, however prestigious he may be.<br />
What is needed, therefore, in the present circumstances, is to get rid of this need for selfjustification<br />
before the tribunal of other cultures in order to develop the internal debate<br />
within our own cultures. We need to question our cultures from within, i.e. from our own<br />
point of view instead of assuming that they can only be questioned from without. We need<br />
to understand how such a ritual came into existence in the past, why so many princesses not<br />
only accepted it but went so far as to offer themselves as voluntary victims. Zahan’s reference<br />
to a certain conception of life and death is probably not false, but we need more: we need to<br />
appreciate how strong the social pressure was on these princesses and the overall social<br />
atmosphere in the context of absolute monarchy in a small size country. We need to<br />
understand how this very philosophy of life and death came to develop and why it no longer<br />
works today.<br />
I wrote some time ago about brainstorming as a way to favour, from within a society, a<br />
new awareness of values. Instead of trying to impose norms imported from other cultures, it<br />
would be more effective, I argued, to draw upon the inner dynamism of every culture, the<br />
inner potential for self-criticism and self-improvement. All cultures have developed social<br />
practices in the past which common sense totally disapproves of today. What seemed<br />
normal yesterday no longer does today. For instance, the Inquisition in Western Europe and<br />
later on, the slave trade and the anti-Black racism in Western Europe and America. Second,<br />
not only are cultures dynamic and bound to change over time; no culture admits just one<br />
system of norms at the same time. Instead, in any given culture there are always several<br />
systems mutually competing. Therefore, instead of taking for granted the claim for<br />
universality of a given model at a given time, one should always look carefully beyond the<br />
dominant social model for the wide range of secondary or marginal models. 9<br />
Identifying murmurs<br />
We are facing, therefore, two kinds of problems: a theoretical problem and a practical one.<br />
We need, first, to develop new paradigms in the social sciences. Whatever the discipline,<br />
whether history or sociology or economics or law or any branch of anthropology including<br />
legal anthropology and religious anthropology, to quote just a few examples, so far in Africa<br />
the tendency in the social sciences has been to frame out just one way of living, doing or<br />
thinking that appears to express, in each case, the specificity of Africa. This search for specificity<br />
is probably still relevant today. However, by calling attention exclusively to what<br />
might be considered as ‘the African difference’, social scientists have overlooked so far the<br />
internal pluralism of African cultures, the inner tensions that make them living cultures, just<br />
as unbalanced and therefore, just as dynamic, just as bound to change as any other culture in<br />
the world.<br />
Greater attention should be paid, beyond the norms and social practices usually held as<br />
characteristic of a given culture, to the wide range of marginal practices and norms. The<br />
problem, then, is a methodological one: by what methods, through what theoretical and practical<br />
tools is it possible today for the social scientist to identify these hidden models? How can<br />
we best recognise, behind the brouhaha of the dominant culture, the stifled voices that tell<br />
another story? To stick to our example, how can the anthropologist or historian of Africa today<br />
identify and make evident all the critical murmurs, the stifled protest which were presumably<br />
uttered or eventually suppressed, at the time of King Ghezo’s burial, by the princesses’<br />
mothers, sisters, relatives, secret lovers (if any), or even by the princesses themselves, when<br />
given the opportunity to speak off the record? What was the comment of the king’s jester or of<br />
the authorised satirical singers? Such questions are based on the assumption that, beyond the<br />
unity and specificity of a culture, it is important to explore its internal diversity and pluralism.<br />
They invite new approaches and an important shift in the current scientific paradigms. 10<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 21
Breaking the walls of prejudice<br />
However, it is not enough to develop a new reading of the past, a new comprehension of<br />
tradition. Once it has been recognised that tradition is plural, the practical question is: how<br />
can we promote the internal debate inside our own culture here and now in such a way that it<br />
may itself develop new, and the best possible alternatives? I may not have perceived, in my<br />
aforementioned article, how difficult it is to organise brainstorming in a social context where<br />
very few people really want it; in a context where some people are used to manipulating the<br />
masses and for that reason do not want the truth to become evident at all. A favourite<br />
method used by these manipulators is to pour torrents of lies on their followers. More<br />
exactly put, they deposit in their followers’ minds the seeds of lie and delusion in such a way<br />
that these seeds grow by themselves without any need for additional intervention. Followers<br />
internalise what they have been told, including the forbidding of all dialogue with other<br />
sides and the conviction that the people in front are bad people.<br />
I do not wish to elaborate on this. Let me just mention how harsh this refusal of dialogue<br />
can be, not only in politics but even in such domains as religion. In my country we know of a<br />
religious chief, a pastor of the Methodist Church of Benin, who was elected President of the<br />
Church in March 1993 for a five years’ mandate, renewable once. In 1997, instead of organising<br />
new elections to get another mandate starting from 1998, he came to the annual Synod<br />
with a new draft constitution with the provision that once a President is chosen, he should<br />
remain in office till his retirement. This gave birth to a deep crisis within the Church, the<br />
deepest crisis ever experienced by this congregation which happens to be the first Christian<br />
group ever established in Benin. 11<br />
Time has not yet come to draw the lessons of this crisis, which has been stirring up all<br />
religious communities in Benin, whether Christian or not, for the last two years or so. What<br />
strikes me most, however, is how an issue which looks so clear, so simple, so limpid has been<br />
confused so far by all means and through all kinds of methods by the man in question and his<br />
staff. What fascinates me is the way they have exploited the ignorance and lack of information<br />
of thousands of people in the Church. They rush here and there to whatever local church<br />
they feel has not yet got the proper information to mislead the members and warn them<br />
against any contact with the so-called ‘rebels’ or ‘dissidents’. They erect around them walls of<br />
prejudice that incline them simply not to listen to any other explanation or information.<br />
Despite this, however, some of these people sometimes come across the facts that the man<br />
has been trying to hide. The charm then is neutralised and people are prepared, once again, to<br />
face reality.<br />
I myself happen to be part of this conflict - you can guess on which side I stand. Beyond this<br />
specific fight, however, one question arises: how can the walls of prejudice be broken in each<br />
case? How can people unwilling to discuss or warned against any questioning of the established<br />
order be progressively brought to face reality and accept discussion? How can such people be<br />
brought into the brainstorming exercise which is the condition for collective invention and<br />
renewal? To me, the well known sentence of the Founding Act of unesco (‘Since wars begin in<br />
the minds of men, it is in the minds of men that the defences of peace must be constructed’)<br />
sounds like a paradox: if principles of tolerance, ideas of human rights and human equality or,<br />
for that matter, the belief in the God of love are understood to be the defences of peace, piling<br />
these principles and belief up in the minds of men will never be enough to create peace.<br />
Specific actions are needed to deconstruct and, whenever possible, break down the walls of<br />
prejudice erected by manipulators to prevent fair discussion and dialogue.<br />
22 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
11.<br />
The first Christian<br />
missionary came to<br />
Danhome in 1843 in the time<br />
of King Ghezo, and he was<br />
from the Methodist Church<br />
of Britain, founded by John<br />
Wesley in the 18th century.<br />
William Kendridge<br />
p. 24-27<br />
William Kentridge<br />
(1955, Afrique du Sud)<br />
‘Overvloed’, 1999<br />
vidéo fixe<br />
avec la gracieuse autorisation<br />
de l’artiste<br />
Lors de la cérémonie de remise des Prix <strong>Prince</strong> <strong>Claus</strong> 1999, l’artiste<br />
sud-africain William Kentridge a présenté ‘Overvloed’ (abondance),<br />
une installation vidéo réalisée à la demande de la Fondation <strong>Prince</strong><br />
<strong>Claus</strong> sur le thème du Grand Prix <strong>Prince</strong> <strong>Claus</strong> 1999: ‘La Création<br />
d’espaces de liberté’. L’œuvre était projetée sur le plafond peint<br />
de la Salle des Citoyens du Palais Royal d’Amsterdam pendant la<br />
cérémonie. On avait distribué des miroirs au public pour qu’il puisse<br />
bien voir cette projection.<br />
Overvloed<br />
Le sujet de ‘Overvloed’ est la dislocation – essentiellement celle de l’horizon conventionnel –<br />
qui survient quand on regarde un tableau ou une projection sur un plafond. Cette expérience<br />
bouleverse notre perception habituelle du haut et du bas, du sol et du ciel. Face au tableau ou<br />
à la projection sur un plafond, le spectateur s’efforce de découvrir un point ou une série de<br />
points qui lui permet de trouver le sens. Cette façon de faire reflète de manière très large nos<br />
multiples tentatives pour trouver un point de vue nous permettant de donner un certain<br />
sens à l’univers.<br />
De manière plus spécifique, ‘Overvloed’ évoque les relations géographiques et historiques<br />
entre les Pays-Bas et l’Afrique. La construction du Palais Royal en 1648 coïncide avec la<br />
colonisation hollandaise de l’Afrique du Sud (1652). Cette époque qui, par bien des aspects,<br />
constitue l’apogée du Siècle d’or marque aussi le début d’un chapitre extrêmement compliqué<br />
de l’histoire de l’Afrique du Sud. Trois cent cinquante ans plus tard, les résonances se font<br />
encore sentir.<br />
‘Overvloed’ est une œuvre en devenir, le point de départ d’une étude encore en cours sur les<br />
projections de plafond. Elle procède du désir constant de l’artiste de découvrir des manières<br />
non littérales de clarifier l’énigme de l’héritage européen en Afrique. L’œuvre comprend des<br />
textes brefs dérivés de proverbes hollandais et d’Afrique orientale.<br />
L’incertitude qu’entraîne le fait de travailler sur un nouveau support (le plafond) – avec tous<br />
les aléas et les incertitudes qui en découlent – est une référence littérale à ces libertés essentielles<br />
au bon fonctionnement de l’œuvre d’art: le choix de travailler à partir du doute, la<br />
valorisation de l’incertitude, et la conscience que le projet peut aboutir à un échec.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 23
24 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 25
26 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
William Kendridge<br />
p. 24-27<br />
William Kentridge<br />
(1955, Suráfrica)<br />
‘Overvloed’, 1999<br />
video fotograma<br />
cortesía del artista<br />
Durante la ceremonia de la presentación de los Premios Príncipe<br />
<strong>Claus</strong> en 1999, el artista surafricano William Kentridge presentó<br />
‘Overvloed’ (abundancia), una video instalación que realizó bajo<br />
el requerimiento de esta, y en referencia al tema principal de estos<br />
premios en 1999: ‘Creando espacios de libertad’. La obra fue<br />
proyectada en el techo pintado de el Salón de los Ciudadanos del<br />
Palacio Real de Amsterdam durante la ceremonia de premiación.<br />
Se entregó a la audiencia espejos para ver la proyección.<br />
Overvloed<br />
‘Overvloed’ es sobre dislocación; en primeria instancia la dislocación de un horizonte<br />
convencional. Esto surge cuando se observa una proyección sobre el techo. Nuestro sentido<br />
habitual del arriba y el abajo, tierra y aire, se salen del equilibrio. Por cada pintura o proyección<br />
sobre el techo, uno lucha para encontrar un punto, o series de puntos desde los cuales<br />
esta tenga sentido.<br />
En la forma más amplia posible, los espejos son el camino por el cual luchamos para encontrar<br />
un punto ventajoso desde el cual el mundo tenga sentido.<br />
Más específicamente, ‘Overvloed’ juega con las interconexiones geográficas e históricas<br />
entre Holanda y Africa. La construcción del Palacio Real (1648) coincide con la colonización<br />
holandesa de Suráfrica (1652), así que lo que en muchas formas fue el pináculo de la Era<br />
Dorada holandesa, fue el comienzo de un extremádamente complicado capítulo en la historia<br />
surafricana -de lo cual su resonancia y desarrollo siguen en juego 350 años después.<br />
‘Overvloed’ es un trabajo en progreso, el comienzo de una investigación que se lleva a cabo<br />
dentro de proyecciones en techos, y como parte de un interés en curso de encontrar formas<br />
no literales de burlarse de la adivinanza del legado europeo en Africa. La pieza incluye textos<br />
cortos derivados de proverbios holandeses y del este de Africa.<br />
Lo incierto de trabajar en un nuevo terreno (el techo), donde incertidumbre y duda son<br />
altos, se constituye en una evocación literal de esas libertades vitales para que un trabajo<br />
artístico funcione – la posibilidad de trabajar partiendo de la duda, celebrando la incertidumbre<br />
y reconociendo que el proyecto puede terminar en fracaso.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 27
On 8 December 1999, Angolan novelist Pepetela was granted a<br />
<strong>Prince</strong> <strong>Claus</strong> Award. At the festive award ceremony at the Netherlands<br />
Embassy in Luanda, Pepetela delivered this speech on the theme of<br />
the 1999 <strong>Prince</strong> <strong>Claus</strong> Awards, ‘Creating Spaces of Freedom’:<br />
Creating Spaces of Freedom<br />
When I was informed by the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> that my work had been chosen for one of its<br />
awards this year, I thought of coming here only to say a few necessary words to express my<br />
sincere gratitude. But afterwards I thought that, if this award is destined by such a prestigious<br />
foundation to recognise the work of people who in some way or other have been highlighted<br />
for their contribution to culture and development, I had to mention some present matters<br />
related to this area in which I have a modest role. Therefore, I ask your indulgence for a little<br />
bit longer, while I read this text which I promise will be as short as possible.<br />
My gratitude goes first of all to <strong>Prince</strong> <strong>Claus</strong>, who by creating and developing his foundation,<br />
has called upon the attention, first of all of the Netherlands and secondly of the world<br />
in general, to current issues related to the relationship between culture and its social components,<br />
who has provided the incentive through awards and other kinds of support to<br />
creative people to take a more active participation in the life of their communities, and of this<br />
planet which is so often mistreated. My gratitude goes also to the jury, for recognising some<br />
merit in the little that I have done, and to the Ambassador of the Netherlands, who enthusiastically<br />
organised this ceremony and gave prominence to this event.<br />
With all this, I could not be silent in receiving this award which is not only literary, but is<br />
also for something more, for citizenship. I could not be silent when I am preoccupied with<br />
recent events that have affected culture in this country, and which have not received<br />
sufficient and deserving explanations.<br />
First of all, I refer to the right extended to me as a writer to treat any theme I want and in<br />
the manner and style I choose. In brief, I have the right of freedom of creation. I presume no<br />
one would dare deny me this right at the end of the 20th century. However, when it comes to<br />
the expression of this freedom of creation, some obstacles may crop up. There is the editor<br />
who for various reasons may not accept my text, a right that I cannot deny him. There are the<br />
authorities who may limit the disclosure of the work, offering a varying degree of arguments.<br />
Fortunately, I think we do not live in such a situation, but only in a similar one due to the<br />
extreme debility of the editors, who, without any prodding by the State, have provided very<br />
little publicity for local work. I said, and I repeat, that I have not felt any political pressure to<br />
restrain literary freedom of expression.<br />
However, there are winds which may be foreboding. The present climate of intimidation<br />
of <strong>journal</strong>ists by some backward sectors of the country may work to force us writers to the<br />
other side of the psychological barriers which we involuntarily build in the process of<br />
writing. And what worries me is not to have noticed, among the community of literary<br />
people, and in general, among people involved in culture, a collective and firm public<br />
position to call attention to the fossilised sectors, to the uselessness and ridiculousness of<br />
their unjust attempts at intimidation. Times have changed, freedom of information is part of<br />
the path of history, and no matter how difficult it is for many, we have to accept the publication<br />
of negative criticism, even if highly biased. We as writers have to accept criticism that<br />
may appear in the media about our books. And politicians have to accept criticism about their<br />
acts. And businessmen about their businesses. Those who feel that they have been particularly<br />
wronged can resort to the proper legal instruments. But, I insist that we, as writers,<br />
we let the moment slip by to express full, public solidarity with our colleagues of the press,<br />
out of self-indulgence, cowardice and omission. I humbly recognise this. The <strong>journal</strong>ists are<br />
28 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Pepetela<br />
The Netherlands<br />
Ambassador to Angola,<br />
HE Mr. J.E. van den Berg,<br />
presenting the 1999 <strong>Prince</strong><br />
<strong>Claus</strong> Award to Pepetela<br />
courtesy Netherlands<br />
Embassy in Angola<br />
our ‘front line’ to use a rare expression nowadays, they are the ones taking the brunt of the<br />
attack in this universal fight for the freedom of expression and communication of ideas. In<br />
general, we writers hold back comfortably, waiting to see what will happen. We have to<br />
change our attitude, take an approach worthy of the tradition of irredentism and rebellion of<br />
the initiators and creators of Angolan literature. From this irredentism and rebellion the idea<br />
of an independent nation was born and consolidated, in spite of the obstacles along the way,<br />
and is a tradition of which we are proud today.<br />
Even a few days ago we women and men of culture allowed one more collective omission,<br />
one which a brilliant chronicler of this country called ‘the silence of the indecent’. In the face<br />
of the savage onslaught against Angolan history and culture represented by the demolition<br />
of the Dona Ana Joaquina palace, there has not been sufficient public indignation on our part.<br />
We are witness to the rude arrogance of an arbitrary decision for which we do not even know<br />
the authors of the decision, or their reasons. We do not know the objective of their crime, the<br />
confessed and the hidden objective, because hidden objectives will always exist. Someone<br />
has decided, will we ever know who? I would not be surprised if this was committed by<br />
someone who has not been elected for anything, or even if he/she has a position related to<br />
the historic patrimony or the city... we live in a country of parallels, where each structure or<br />
official process has its clandestine copy, which is often the one that takes charge, in the<br />
shadow of anonymity. We, women and men preoccupied with the country’s paths, who<br />
know that often the underlying reasons for the wrongs of today are to be found in the past,<br />
we have the right and duty to demand clear explanations, and to accept no false arguments.<br />
Enough doubles, replicas, parallels, whatever we want to call them. We want to know who is<br />
‘the alligator stirring the mud in the bottom of the river to cloud the water of our<br />
understanding’, to quote one of our country's sayings. We have the duty not to let this issue<br />
die, so that tomorrow we will not regret the fact that our Iron Palace has been sold in pieces to<br />
some antique market in Paris, or the Fort of S. Miguel has been exported to some oil island, or<br />
that the black stones of Pungo Andongo have been used to decorate the private gardens of<br />
Japan or Texas. And that we are dispossessed of our collective memory, so that we can be<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 29
etter dominated, like colonialism once tried to do. We have the right and the duty to<br />
demand a public inquiry and to have its findings published in the shortest period of time.<br />
And let the criminals be punished, whoever they might be.<br />
Dear friends,<br />
Forgive me my harsh words. But accept the sincerity of the person expressing them. I do not<br />
wish to gain any notoriety from them. Besides, in that respect life has given me more than I<br />
ever desired. Personally, I have only one regret today, that I do not have next to me at this<br />
moment the two most important people in my life, my wife and my daughter, both absent<br />
due to unavoidable circumstances.<br />
But I do have a collective ambition and that is to see definitive peace in Angola, to see<br />
Angola no longer walking in the path of agony, but on a real road of progress and equal<br />
opportunities for all its children. For this reason, the women and men of culture have to<br />
make themselves listen, must defend just causes, even if sometimes, like our forefathers, we<br />
feel we are crying out into the desert. Even in the desert of intolerance and arrogance there<br />
will always be a listening ear. And future generations will be witnesses and judges.<br />
30 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Heri Dono<br />
In the year 2000 the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> focuses on ‘Urban Heroes’.<br />
The aim is to identify and recognise creative solutions conceived and<br />
implemented by the inhabitants of rapidly expanding cities in Africa,<br />
Asia, Latin America and the Caribbean. The issue of metropolitan<br />
problems and cultural innovation inspired 1998 <strong>Prince</strong> <strong>Claus</strong> Award<br />
laureate Heri Dono, based in Yogyakarta, Indonesia, to write the<br />
following reflection.<br />
Art and the City<br />
At the present time in Indonesia many people feel distanced from culture. The buildings<br />
exist for preserving and presenting art and culture. The problem is that many intellectuals<br />
and government people have institutionalised anything connected with art and culture, and<br />
people feel there are no important reasons for them to visit a gallery or museum or concert<br />
hall. From their point of view, art and culture have very little to do with their daily lives.<br />
This is the picture of urban life: everything is cut up and put in cultural boxes resulting in the<br />
nightmare of living in a labyrinth. And newly rich bought the land in the countryside. The<br />
villagers lost it and many of them made their exodus to the big cities. (The dispossessed<br />
villagers built very poor housing. At the same time, the newly rich constucted their houses in<br />
the countryside, copying the architecture of the cities. Everywhere became like the cities then.)<br />
Cities contain many facilities like entertainment areas, hotels, hospitals, motorways,<br />
banks, schools, tourist areas, golf links, shopping centres, movie theatres, restaurants, etc.<br />
mostly for the middle and upper class of society. The ‘have nots’ have no money for<br />
breathing. Their salary each month is probably depleted in ten days. For them, the glamour of<br />
life of ‘city people’ remains only a dream: their ‘urban myth’.<br />
In a Third World country like Indonesia, the purpose of art is not solely as a vehicle for aesthetics,<br />
beauty, but more importantly to awaken people to the reality of their life, awareness.<br />
Art is a language of communication as well as a witness to the times in which the artists live.<br />
Artists gather inspiration from phenomena of human life and nature; furthermore the<br />
responsibility of artists is to return this inspiration to people, as an original art form and expression<br />
of cultural belonging. Art becomes a sustainable cultural resource for future<br />
generations. The artist is the conduit.<br />
A few years ago, the military used the city, as if it were the jungle, as a staging ground for<br />
manoeuvers. And by the end of their urban war game, people realised that protesting<br />
students had been the victims. In the aftermath, artists resurrected the space in the city as a<br />
gallery. The city itself, including slums and marginal village areas, became space for art,<br />
including guerilla art, and informal happenings. And the people became more familiar with<br />
and gained respect for this kind of art, and contributed their involvement in the process.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 31
32 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
1-4<br />
Apotik Komik group<br />
Sakit Berlanjut, 7 July 1999,<br />
in Jalan Perwakilan,<br />
Yogyakarta<br />
5<br />
Apotik Komik group<br />
Tangkapan RI for Anti-<br />
Militarism, April 1998,<br />
near Gedung DPRD<br />
(Representative House),<br />
Yogyakarta<br />
Yogyakarta-based<br />
Cemeti Art Foundation<br />
and the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
will publish a book on<br />
contemporary Indonesian<br />
art, as part of the new<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Arts<br />
Library. Apotik Komik<br />
group will be presented in<br />
this book (2001).<br />
6, 7<br />
By students of the<br />
Indonesia Institute of the<br />
Arts in Yogyakarta, Anti<br />
Dwi Fungsi ABRI, April<br />
1998, at Wirobrajan,<br />
Yogyakarta<br />
8<br />
Taring Padi group<br />
Humanism Universal, 1998,<br />
at Gedung Ajiyasa, ISI lama,<br />
Yogyakarta<br />
9, 11<br />
Tolak Pengendalian Bahaya<br />
GAM, July 1999, in front of<br />
KOREM Headquarters of the<br />
Military Commando,<br />
Yogyakarta.<br />
10<br />
Sanggar Suwung group<br />
Anti-Militarism, August<br />
1999, in the corner of<br />
Gondomanan, Yogyakarta<br />
12<br />
Anak-Anak Jalanan<br />
Malioboro group<br />
Festival Kesenian<br />
Yogyakarta, May 1998, at<br />
Malioboro, Yogyakarta<br />
13<br />
Taring Padi group<br />
1000 Posters, April 1999, in<br />
Gampingan street,<br />
Yogyakarta<br />
photo 1:<br />
courtesy Cemeti Art<br />
Foundation<br />
photos 2-13:<br />
Padma Witana<br />
courtesy Heri Dono<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 33
The Arab Image Foundation<br />
Works of Art it did elsewhere in Europe and North America.<br />
It is important to note that the introduction of<br />
The Arab Image Foundation is a non-profit foun- Studio Fouad photography in the Arab world occurred in the<br />
dation that was established in Lebanon in 1997. Mohi Aref<br />
context of a larger modernising project whose ef-<br />
The Foundation aims to promote photography in Van Leo<br />
fects were felt in the social, political and economic<br />
the Middle East and North Africa by locating,<br />
life of the emerging nation-states. The geo-poli-<br />
collecting and preserving the region’s phototical<br />
re-mapping of the region after World War I<br />
graphic heritage. The collections will be made<br />
and the rise of nationalist liberation movements<br />
available to the public at large in museum and<br />
spawned a new consciousness of geography and<br />
gallery exhibitions and in published monographs.<br />
identity. In architecture and civil engineering, new<br />
Material in the collections will date from the<br />
ways of building were introduced along with new<br />
early-nineteenth century to the present. The<br />
materials and technologies. Modern approaches<br />
long-term goal of the foundation is the preser-<br />
to urban planning were implemented to accomvation,<br />
documentation and in-house exhibition of<br />
modate the new means of train, car, and plane<br />
its photographic collections, the study of Arab<br />
transport.<br />
visual culture, and the promotion of contem-<br />
The Arab world at the time also witnessed the<br />
porary Arab cultural production and analysis.<br />
emergence of labour and women’s movements as<br />
The AIF bases the selection of photographs for its<br />
well as modern disciplinary institutions. New liter-<br />
collection on aesthetic, artistic, cultural and historary<br />
and artistic forms certified that the question<br />
ical criteria, regardless of genre. All images pro-<br />
of identity was central to the emerging social,<br />
duced by Arab photographers or residents of the<br />
economic, and political reality that was unfolding.<br />
Arab world are of interest. They shed light on<br />
AIF’s collection traces these developments through<br />
artistic and cultural currents that emerged in the<br />
the history of the photographic medium, through<br />
region during a period of intense social, econo-<br />
a history of various practices and differing indimic,<br />
cultural, and political transformation.<br />
vidual and institutional relationships to photo-<br />
From 1997, there has been research and acquigraphy.sition<br />
of photographs in Lebanon, Syria, Israel/<br />
The Arab Image Foundation is planning to open its<br />
Palestine, Jordan, Egypt, Morocco and Iraq. The<br />
Center for Photography in Beirut in 2001. The<br />
collections acquired from these countries include<br />
Center will comprise about 700 square meters in-<br />
22,000 photographs and negatives covering the<br />
cluding exhibition spaces, storage and archives,<br />
time period of 1860 to 1960. The images and ne- p. 36<br />
spaces for research, restoration, conservation and<br />
gatives stem from family and professional studio Anonymous<br />
training, a laboratory, a screening room and offices.<br />
collections, and were produced by resident photo- From the Mardam Bey It will be located on the top floor of an old building<br />
graphers and not by visiting European travelers. Family, no date, Syria in Bab Idriss, the old central district of Beirut.<br />
Photography was introduced to the Arab world collection Hala<br />
by European photographers who traveled in the Mardam Bey/Arab Further information from:<br />
region in the early 1850s, taking photographs of Image Foundation Arab Image Foundation, 8, Chukri Assaly street,<br />
archaeological and biblical sites. Towards the end p. 37<br />
Achrafieh, Beirut, Lebanon, PO Box 13-6676,<br />
of the 1860s, the young locals who had worked as Anonymous<br />
telephone and fax: +961-1-336 820,<br />
assistants to the European pioneers began produc- Asmahan and Fouad el e-mail: info@fai.org.lb, www.fai.org.lb<br />
ing their own images. Local photographic pro- Atrash, 1935, Syria<br />
duction intensified after Yessai Garabedian, the collection Faysal el<br />
Armenian Patriarch of Jerusalem, held the first Atrash/Arab Image<br />
photography workshop in the region in the 1860s. Foundation<br />
In the years that followed, photographic produc- p. 38-39<br />
tion expanded, especially after the massive exodus Hashem el Madani<br />
of Armenians (many of whom had worked as (1930, Lebanon)<br />
photographers) from Turkey to Arab lands. This Palestinian Resistance,<br />
exodus provided the labor force necessary to ac- 1967, Saida, Lebanon<br />
commodate an expanding appetite for photo- studio portrait<br />
graphs, especially after the invention and export of collection Arab Image<br />
Kodak box cameras in the 1880s and 1890s to the<br />
Arab world. This phenomenon put photography in<br />
Foundation<br />
the hands of many, especially non-professionals, as all photos: courtesy AIF<br />
34 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
La <strong>Fund</strong>ación Arabe de la Imagen<br />
Obras de Arte de la región después de la Primera Guerra Mundial, así<br />
como el surgimiento de movimientos nacionalistas de<br />
La <strong>Fund</strong>ación Arabe de la Imagen es una fundación sin Studio Fouad liberación, produjo una nueva conciencia geográfica y de<br />
ánimo de lucro que se estableció en el Líbano en 1997. El Mohi Aref<br />
identidad. En Arquitectura e Ingeniería civil, nuevas formas<br />
objetivo de la fundación es promover la fotografía en el Van Leo<br />
de construcción fueron introducidas, acompañadas de<br />
Medio Este y Norte de Africa, localizando, coleccionando,<br />
nuevos meteriales y tecnologías. Modernas visiones de<br />
y preservando la herencia fotográfica de la región. La<br />
planeación urbana se implementaron para acomodarse a<br />
colección estará disponible libremente para el público en<br />
las nuevas formas de trenes, automóviles y transporte<br />
museos y exhibiciones en galerías, así como en mono-<br />
aéreo. El mundo árabe fue testigo también en ese tiempo<br />
grafías publicadas. El material de la colección data desde<br />
de la emergencia laboral y movimientos de mujeres así<br />
principios del siglo XIX hasta el presente. La meta a largo<br />
como de modernas instituciones disciplinarias. Nueva<br />
plazo de la fundación es la preservación, documentación, y<br />
literatura y formas artísticas certificaron que el problema<br />
exhibición interna de esta colección fotográfica para el<br />
de identidad era central en la nueva realidad social, econó-<br />
estudio de la cultura visual árabe, asi como para la<br />
mica y política que se desarrolló. La colección de la<br />
promoción en la producción y análisis de la cultura árabe<br />
<strong>Fund</strong>ación Arabe de la Imagen traza estos sucesos a través<br />
contemporánea.<br />
de la historia del medio fotográfico, por medio de una<br />
La FAI basa la selección de fotografías en un criterio<br />
historia de varias prácticas así como de varias relaciones<br />
estético, artístico, cultural e histórico, sin importar su tipo.<br />
individuales e institucionales con la fotografía.<br />
Todas las imágenes producidas por fotógrafos árabes o<br />
La FAI está planeando abrir su Centro para la Fotografía en<br />
residentes en el mundo árabe son de interés, pues dan<br />
Beirut en el año 2001. Este centro cubrirá alrededor de 700<br />
luces sobre el momento cultural que emergió en la región<br />
metros cuadrados, incluyendo espacios de exhibición,<br />
durante un intenso periodo de transformación social,<br />
depósito y archivo, espacios de búsqueda, restauración,<br />
económico y político. Desde 1997, la búsqueda y adqui-<br />
conservación y entrenamiento, un laboratorio, un salón de<br />
sición de fotografías tuvo lugar en el Líbano, Siria,<br />
proyección y oficinas. Estará localizado en el último piso de<br />
Israel/Palestina, Jordania, Egipto, Marruecos e Iraq. Las<br />
un viejo edificio en Bab Idriss, el viejo distrito central de<br />
colecciones reunidas de estos paises incluyen 22.000<br />
fotografías y negativos que abarcan un periodo de tiempo<br />
Beirut.<br />
entre 1860 hasta 1960. Las imágenes y negativos tienen p. 36<br />
Para más información: <strong>Fund</strong>ación Arabe de la Imagen,<br />
como origen colecciones de familias y de estudios profesio- Anónimo<br />
8, calle Chukri Assaly, Archfieh, Beirut, Líbano,<br />
nales y fueron producidas por fotógrafos residentes y no Propiedad de la familia PO Box 13-6676, telefax: +961-1-336 820,<br />
por viajeros provenientes de Europa. La fotografía fue Mardam Bey, sin fecha, e-mail: info@fai.org.lb, www.fai.org.lb<br />
introducida al mundo árabe por fotógrafos europeos que Siria<br />
viajaron por la región a principio de los años cincuenta, colección Hala<br />
tomando fotografías de lugares bíblicos y arqueológicos. Fue Mardam Bey/<br />
al final de 1860, cuando los jóvenes locales que trabajaban <strong>Fund</strong>ación Arabe<br />
como asistentes de los pioneros europeos, empezaron a de la Imagen<br />
producir sus primeras imágenes. La producción fotográfica p. 37<br />
local se intensificó en la región después de 1860. En los años Anónimo<br />
siguientes, la producción fotográfica se extendió, especial- Asmahan y Fouad el<br />
mente durante el éxodo masivo de armenios (muchos de Atrash, 1935, Siria<br />
los cuales trabajaban como fotógrafos) de Turquía hacia los colección Faysal el<br />
pueblos árabes.<br />
Atrash/<strong>Fund</strong>ación<br />
Este éxodo dió la fuerza de acción necesaria para acomo- Arabe de la Imagen<br />
dar y expandir el apetito de fotografías, especiálmente p. 38-39<br />
después de la invensión y exportación de las cámaras de Hashem el Madani<br />
caja Kodak entre 1880 y 1890 al mundo árabe. Este fenó- (1930, Líbano)<br />
meno puso a la fotografía al alcance de muchos, especial- Resistencia Palestina,<br />
mente no profesionales, de la misma forma que sucedia en 1967, Saida, Líbano<br />
Europa y Norteamérica.<br />
estudio retrato<br />
Es importante anotar que la introducción de la fotografía en collección <strong>Fund</strong>ación<br />
el mundo árabe ocurrió en el contexto de un extenso<br />
proyecto de modernización, cuyos efectos fueron sentidos<br />
Arabe de la Imagen<br />
en la vida social, política y económica de las emergentes todas las fotografías:<br />
naciones-estados. Políticamente, la redelimitación geopolítica cortesía de FAI<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 35
Born in Jaffa in 1926 and 1929 respectively, and<br />
exiled from Palestine in 1948, Adib and Fouad<br />
Ghorab Bendali settled in Lebanon. Here they<br />
learned photography from their uncle Michel<br />
Fakhoury, a photographer established in Jounieh,<br />
15 kilometers to the north of Beirut. Soon they<br />
rented a small room at the famous Odeon Cinema<br />
in downtown Beirut, where they started working<br />
on their own. They used that studio as a workspace<br />
for their photosurprise business. In 1954,<br />
they became the appointed photographers of<br />
the Oriental lodge for freemasons and opened a<br />
larger studio in Accaoui, which was known as<br />
Studio Fouad. Over the years they became renowned<br />
for their hand-coloured portraits.<br />
They remained there until Fouad’s death in 1996.<br />
In an interview given a year before his death,<br />
Fouad explained his approach: ‘The work of the<br />
photographer consists of controlling light and<br />
knowing how to reflect it. I mainly concentrate<br />
on essential features in the face, such as the eyes<br />
and mouth, which are major determinants of<br />
beauty in someone’s face. Then I work on details<br />
that are particular to the model’s face, and light<br />
the scene accordingly.’<br />
Adib still practices photography in a small studio<br />
in Bourj Hammoud. The Studio Fouad collection<br />
is the first professional collection acquired by<br />
the AIF in 1997.<br />
AIF, March 2000<br />
Studio Fouad<br />
Adib and Fouad<br />
Ghorab Bendali<br />
Studio Fouad:<br />
Fouad Ghorab Bendali<br />
(1929-1996, Palestine/<br />
Lebanon)<br />
p. 40<br />
Studio portrait, 1955,<br />
Beirut, Lebanon<br />
collection Arab Image<br />
Foundation<br />
Estudio-retrato, 1955,<br />
Beirut, Líbano<br />
colección <strong>Fund</strong>ación<br />
Arabe de la Imagen<br />
p. 42-43<br />
Studio portrait, 1950s,<br />
Beirut, Lebanon<br />
collection Arab Image<br />
Foundation<br />
Estudio-retrato, 1950s,<br />
Beirut, Líbano<br />
colección <strong>Fund</strong>ación<br />
Arabe de la Imagen<br />
Nacidos en Jaffa en 1926 y 1929 respectívamente,<br />
y exiliados de Palestina en 1948, Adib y Fouad se<br />
establecieron en el Líbano. Allí aprendieron fotografía<br />
de su tío Michel Fakhoury, un fotógrafo<br />
radicado en Jounieh, a 15 kilómetros al norte de<br />
Beirut. En poco tiempo rentaron un pequeño<br />
local en el famoso Cinema Odeon en el centro de<br />
Beirut, donde empezaron a trabajar por su cuenta.<br />
Usaron este estudio como un espacio de trabajo<br />
para su sorpresivo negocio fotográfico.<br />
En 1954, elllos se convirtieron en fotógrafos oficiales<br />
de la logia oriental de los libremasones y<br />
abrieron un estudio más amplio en Accaoui, el<br />
que fue conocido como el estudio Fouad. A través<br />
de los años se convirtieron en fotógrafos reconocidos<br />
por sus retratos coloreados a mano. Permanecieronen<br />
ahí hasta la muerte de Fouad en 1996.<br />
En una entrevista concedida un año antes de su<br />
muerte, Fouad explicó su enfoque: ‘El trabajo del<br />
fotógrafo consiste en controlar la luz y saber<br />
como ésta se refleja. Me importa concentrarme<br />
en los rasgos esenciales en el rostro, que son los<br />
ojos y la boca, los cuales son los mayores determinantes<br />
de belleza en la cara de cualquier persona.<br />
Después trabajo en detalles que son particulares<br />
en el rostro del modelo, e ilumino la<br />
escena acordemente’.<br />
Adib continua practicando la fotografía en un<br />
pequeño estudio en Bourj Hammoud. La colección<br />
del estudio Fouad es la primera colección<br />
profesional adquirida por la <strong>Fund</strong>ación Arabe de<br />
la Imagen en 1997.<br />
FAI, marzo de 2000<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 41
Mohi Aref was born in Baghdad, Iraq, in 1920. He<br />
was introduced to photography during a workshop<br />
at Al Jawiyya vocational school in 1935. He<br />
was appointed as the official photographer of the<br />
Ministry of Defence. He worked for the Ministry<br />
from 1937 to 1945. The following year, 1946, he<br />
opened his first photography studio in the Karkh<br />
district of Baghdad. In the 1960s he moved to<br />
another studio located across the street from the<br />
first. Over the years, he has exposed over a<br />
million negatives (glass plates, paper and gelatin<br />
negatives) that are deteriorating fast due to a<br />
lack of an adequate conservation facility.<br />
AIF researchers met Mohi Aref in February 2000<br />
during an expedition financed by the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong>.<br />
AIF, March 2000<br />
Mohi Aref<br />
Mohi Aref (1920, Iraq)<br />
p. 44, 46, 47<br />
Studio Portrait of a<br />
Soldier, 1970s,<br />
Baghdad, Iraq<br />
collection Mohi Aref/<br />
Arab Image Foundation<br />
Estudio-retrato de un<br />
Soldado, 1970s,<br />
Baghdad, Iraq<br />
colección Mohi Aref/<br />
<strong>Fund</strong>ación Arabe de la<br />
Imagen<br />
Mohi Aref nació en Baghdad, Iraq en 1920. Se<br />
introdujó a la fotografía durante un taller en la<br />
escuela vocacional Al Jawiyya en 1935. Fue nombrado<br />
fotógrafo oficial del Ministerio de Defensa,<br />
donde trabajó desde 1937 hasta 1945. El siguiente<br />
año (1946) abrió su primer estudio fotográfico en<br />
el distrito Karkh de Baghdad. En los años sesenta<br />
se mudó a un nuevo estudio, localizado cruzando<br />
la calle del anterior. A través de los años, ha<br />
expuesto más de un millón de negativos (placas<br />
de vidrio, asi como negativos de papel y gelatina)<br />
que se están deteriorando rápidamente debido a<br />
carencias que dificultan su conservación adecuada.<br />
Investigadores del FAI se reunieron con Mohi Aref<br />
en febrero de 2000, durante una expedición financiada<br />
por la <strong>Fund</strong>ación Príncipe <strong>Claus</strong>.<br />
FAI, marzo de 2000<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 45
Levon Boyadjian was born in Jihane, Turkey, in<br />
1921, to an Armenian family that moved to<br />
Zagazig, Egypt, in 1924. In 1940, he enrolled at the<br />
American University in Cairo, but soon left to<br />
establish his first photo studio in his parents’<br />
house. He had been trained as an assistant in<br />
Studio Venus, owned by the photographer<br />
Artinian. Levon’s brother Angelo, also a photographer,<br />
joined him a year later.<br />
In the early forties, Levon started experimenting<br />
with self portraits of which he produced<br />
hundreds throughout his career. Angelo and<br />
Levon’s intimate ties to the entertainment<br />
industry permitted them to produce numerous<br />
portraits of local and foreign entertainers, both<br />
renowned and not-so-renowned. In 1947, the<br />
brothers’ partnership broke and Van Leo bought<br />
what used to be Studio Metro at number 7,<br />
Fouad Street. He worked under the name of<br />
Studio Metro until 1950, when he changed it to<br />
studio Van Leo, a name he derived from Levon.<br />
The new location, also close to the arts and entertainment<br />
world, allowed Van Leo to produce<br />
many portraits of artists during the 1950s. After<br />
an unsuccessful trip to Paris in 1961, where he<br />
tried to work at the Studio Harcourt, Van Leo<br />
returned to Cairo and continued working until<br />
April 1998, when age and poor health forced him<br />
to retire. AIF researchers met Van Leo in January<br />
1998 in Cairo.<br />
Currently, the larger parts of his impressive collection<br />
are at the American University in Cairo<br />
and the AIF.<br />
AIF, March 2000<br />
Van Leo<br />
Van Leo (1921, Turkey)<br />
p. 48<br />
Dalida: Singer in Paris,<br />
1986, Cairo, Egypt<br />
collection Van Leo/<br />
Arab Image Foundation<br />
Dalida: Cantante en<br />
París, 1986, Egipto<br />
colección Van Leo/<br />
<strong>Fund</strong>ación Arabe de la<br />
Imagen<br />
p. 50<br />
Mirvat Amin: Film Star,<br />
1973, Cairo, Egypt<br />
collection Van Leo/<br />
Arab Image Foundation<br />
Mirvat Amin: Estrella<br />
de Cine, 1973, Cairo,<br />
Egipto<br />
colección Van Leo/<br />
<strong>Fund</strong>ación Arabe de la<br />
Imagen<br />
p. 51<br />
Self-portrait as an<br />
Aviator, 1944, Cairo,<br />
Egypt<br />
collection Van Leo/<br />
Arab Image Foundation<br />
Autorretrato como un<br />
Aviador, 1944, Cairo,<br />
Egipto<br />
colección Van Leo/<br />
<strong>Fund</strong>ación Arabe de la<br />
Imagen<br />
Levon Boyadijan nació en Jihane, Turquía, en 1921,<br />
proveniente de una familia armenia que se mudó<br />
a Zagazif, Egipto, en 1924. En 1940 se inscribió en<br />
la Universidad Americana del Cairo, pero se<br />
retiró al corto tiempo para establecer su primer<br />
estudio fotográfico en la casa de sus padres.<br />
Estuvo siendo entrenado como asistente en el<br />
Estudio Venus del fotógrafo Artinian. Angelo,<br />
hermano de Levon, también fotógrafo, se unió a<br />
el un año más tarde.<br />
A principios de los años cuarenta, Levon comenzó<br />
a experimentar con autorretratos, de los cuales<br />
produjo cientos de ellos durante su carrera. Las<br />
relaciones íntimas de Angelo y Levon con la<br />
industria del entretenimiento, les permitió producir<br />
numerosos retratos de personas del espectáculo<br />
locales y foráneos famosos, y algunos no<br />
tan famosos. En 1947 la relación como socios de<br />
los hermanos se rompió y Van Leo compró lo<br />
que solía ser el Estudio Metro en el número 7 de<br />
la calle Fouad. Trabajó bajo el nombre de Estudio<br />
Metro hasta 1950, año en que cambió a Estudio<br />
Van Leo, un nombre compuesto que derivó de<br />
Levon. El nuevo local, también centrado en las<br />
artes y el mundo del entretenimiento, llevó a Van<br />
Leo a producir una grán cantidad de retratos de<br />
artistas durante los años cincuenta. Después de un<br />
desafortunado viaje a París en 1961, donde trató de<br />
trabajar en el Estudio Harcourt, Van Leo regresó al<br />
Cairo y continuó trabajando hasta abril de 1998,<br />
cuando la edad y un pobre estado de salud lo forzó<br />
al retiro. Investigadores del FAI conocieron a Van<br />
Leo en enero de 1998 en el Cairo.<br />
Actualmente, la mayor parte de su impresionante<br />
colección esta en la Universidad Americana<br />
del Cairo, y en la FAI.<br />
FAI, marzo de 2000<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 49
Goretti Kyomuhendo participated in the Time of the Writer festival<br />
which took place in Durban, South Africa from 6 to 13 March 2000.<br />
It was the third time that the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> supported this<br />
festival. On pages 60-61 of this Journal Goretti Kyomuhendo<br />
reports about the festival. Below follows a story first published in<br />
‘A Woman’s Voice’, a short story anthology by Ugandan women<br />
(FEMRITE Publications Ltd, Kampala, Uganda, 1998).<br />
Hidden Identity<br />
I was born in Wangale, a small landing site on the shores of Lake Victoria. Wangale is<br />
situated in the small township of Matana. This small township of ours could only be<br />
accessed by a single creaking, dilapidated boat which plied the island only once a week. The<br />
perilous journey was known to instill the fear of God in travellers more than the daily<br />
preachings of the priests. They would promise God to become more obedient, compassionate<br />
and faithful in return for their safety during the journey. It was that risky! Stories<br />
abound of how often that boat capsized, killing all aboard, and how many sacrifices would<br />
be offered before it could be put to use again.<br />
The only thing that made me proud of being a native of this miserable island was that it<br />
was surrounded by Lake Victoria, the largest fresh water lake in the world. I swam in this<br />
lake, drank its water and ate fish bred in it. I was important!<br />
In those days when I was growing up, mothers were the sole caretakers of the homes. This<br />
meant that they would stay at home, tending to the farms, rearing the children and animals,<br />
and making sure that the members of their families had food on their plates. The men, on the<br />
other hand, would go hunting and come back late in the evening, with or without meat,<br />
depending on the mood of the gods that day. If the gods were in a happy mood, they would<br />
shower them with a bounty of as much as two animals, but if they were unhappy…<br />
The men on coming back would order the young children to fetch water for them from<br />
the well to wash their blood-stained or fatigued, bush-smelling bodies, before going off to<br />
join the other men in beer-drinking clubs. (Some men did not participate in the hunting<br />
exercise, the elderly, the disabled, or the outright lazy. Otherwise, all able-bodied young<br />
men in the village were hunters). They would not come back home until past midnight<br />
when they would demand the roasted meat they had left their wives to prepare.<br />
I remember the hunting story my mother told us when I was about eight years old.<br />
‘Listen to this story, my children’, my mother had began. ‘There was a woman who was my<br />
friend and neighbour and whose husband was a hunter just like your father. In those days,<br />
the men in the hunting party would send an advance party of one or two to go ahead and<br />
inform their wives that the gods had been merciful that day. The wives would immediately<br />
understand the message and do what ws needed. So one day one such messenger, who had<br />
problems expressing himself because of a pronounced stammer, (the villagers had nicknamed<br />
him Kibubu) was sent to deliver a message to this friend and neighbour of mine. On<br />
this particular occasion, Kibubu was totally inarticulate, I guess because he was in deep<br />
shock. Instead of telling the woman that her husband had been killed by a buffalo, he said it<br />
the other way round. The woman subsequently set out the green vegetables she had<br />
prepared for dinner and invited her friends to come and share in the feasting which was<br />
bound to follow. It was so sad! The ‘party’ which followed was instead to mourn the dead<br />
man’, my mother concluded.<br />
52 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Goretti Kyomuhendo<br />
Goretti Kyomuhendo<br />
doing her speech at the 2000<br />
Time of the Writer festival
My father was not a particularly good hunter, so the other men in the village said. They<br />
always looked down on him for his cowardice and scorned him for being lazy. They said<br />
that he could not even participate in the ferrying of the meat after it was cut into smaller<br />
pieces. As a result, my father had very few friends, if any, in the hunting groups. But he<br />
always defended himself by saying that hunters were like chameleons, never to be trusted,<br />
especially after the kill. He said they were just envious of him. But my mother knew how<br />
difficult and almost impossible it was for him to sustain any kind of friendship. Hunting<br />
was, however, not his full time occupation and after a time, he quit it altogether.<br />
I had long known that I was not my father’s favourite child. In fact, his feelings for me<br />
bordered on hate. In my small mind, I suspected that it was due to something bad I had<br />
done or said to him. One day, I asked my mother why my father felt like that towards me.<br />
‘When you are a bit older, I will explain all this to you and you will understand,’ my mother<br />
had replied. ‘Can’t you tell me now, mother? I really want to know, please,’ I had insisted.<br />
It was raining heavily that day and we were all seated in the small kitchen waiting for my<br />
father to come back so that we could eat dinner together. My mother had prepared dinner<br />
early in order not to get caught in the darkness bound to envelop the whole landscape once<br />
the rain stopped.<br />
I peeped outside as I waited for my mother’s reply. The rain was still raging unabated and<br />
I briefly wondered what my father was doing in this storm, alone, and in the dark. The<br />
smoke still came from the heap of rubbish burning in the backyard, which we had weeded<br />
from the gardens that afternoon, and I also wondered how the fire had survived in all this<br />
storm. The heap of rubbish would soon turn into ashes and later my mother would plant in<br />
green vegetables, which she would sell in the nearby market. The storm outside was<br />
becoming stronger and my mother went to the corner of the kitchen and got a palm-leaf<br />
which hung on the soot-covered wall. The priest had poured holy water on it the last Palm<br />
Sunday and my mother believed it was blessed. She threw it in the raging storm and the<br />
storm miraculously subsided.<br />
When it became apparent that my father was not going to join us for dinner, my mother<br />
decided to serve us. She wanted us to go in the main house where we would be warm and<br />
secure. She had still not answered my question but continued to tell us stories, which both<br />
frightened and excited us. My cousin who was also my age and my best friend was around,<br />
having come to spend the weekend with us.<br />
We finished eating and went in the main house to prepare for bed. The house was warm<br />
and cozy, but my cousin and I were not particularly sleepy and we implored my mother to<br />
tell us more stories. She did not refuse because it was a pastime for her too, as she had to<br />
wait for my father to serve him his dinner before she could sleep.<br />
‘I will tell you the story of Buchachi, a legendary thief who lived before the time you were<br />
born’, my mother started. ‘Buchachi was known across the valleys and ridges for his bravery<br />
when it came to stealing. Everyone loved and respected him here, for even though he was a<br />
notorious thief, he had great respect for his fellow villagers. As a rule, he never stole from<br />
them. Whenever he went on his stealing missions, he would come back with lots of<br />
treasure which he would distribute evenly among the villagers. Children who had been<br />
sent away from school for non-payment of school dues, people whose loved ones were<br />
languishing in hospitals and prisons and needed money to bribe the authorities to release<br />
them or clear hospital bills, or those whose stores were dwindling would all come to him<br />
for help, and he would solve their problems. But of course, Buchachi was unpopular among<br />
the security forces, to say the least. Whenever they tried to arrest him, no one was willing to<br />
divulge any information regarding his whereabouts, or they would even alert him and he<br />
would escape. He made them look like fools!<br />
Another big problem for the security officials was that they did not know what the man<br />
looked like. There were rumours that he was capable of switching identities whenever he<br />
was in trouble. But the security officials had to do something! The man had become so<br />
popular by vandalising people’s property. So they decided to bribe one of his best friends<br />
and use him to catch Buchachi. This friend agreed to betray Buchachi. He lured him to his<br />
54 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
house one night and at the agreed time the police came. Buchachi, being the thief he was,<br />
immediately sensed danger when he heard muffled voices outside. He knew it was useless<br />
to try and escape, so he waited calmly for whoever was outside to come and arrest him. As<br />
soon as the policemen entered, he stood up and said, ‘here is the most notorious thief of the<br />
century, when do I collect my reward?’ His friend and the policemen were confused and<br />
starting moving about and struggling to arrest Buchachi. He managed to escape in the<br />
confusion.’<br />
‘What happened then, mother?’ I asked, fascinated. ‘Well, the police knew they had been<br />
duped and felt even more foolish. But his friend did not survive the wrath of the villagers,<br />
they lynched him. As for Buchachi, no one ever saw him again in this village.’<br />
The story ended and we all went to bed except my mother. When my father finally<br />
returned, he was drunk as usual and I heard his drunken insults as he abused my mother.<br />
She kept quiet as she normally did on such occasions, not wanting to trigger off his violent<br />
temper. He demanded his dinner and she dutifully brought it. He tasted a few mouthfuls<br />
and declared it tasteless. He continued to stuff food in his mouth and munch away rather<br />
noisily until he had finished the last morsel on the plate.<br />
It was a great wonder that I did extremely well in class despite the tense environment I was<br />
living in at home. My father continued to treat me as if I were a piece of cow-dung and hit me<br />
whenever he had an excuse, or even when he did not have one. I was his punching bag.<br />
I still remember one ghastly incident which occurred around the time I was twelve years<br />
old. My father was going to visit his brother, and I wanted to go with him because I wanted<br />
to play with my cousin, my best friend. He told me sternly that he would not take me, but I<br />
insisted and began following him. When he turned and saw me on his heels, he picked up a<br />
big stone, and hurled it at me with all his force.<br />
‘Go back, you bastard,’ he shouted at me. There was a gleam in his eyes which I had never<br />
seen before. It was a mixture of anger and hatred. I stood there, tears of frustration rolling<br />
down my cheeks. I meekly went back home and narrated the sad incident to my mother.<br />
She did not make any comment but I could see she was greatly disturbed. I was lucky I had<br />
dodged the big stone, otherwise, I would have been dead meat. When I was fifteen, my<br />
mother called me aside and told me why she thought my father treated me as he did.<br />
‘When you were born, he denied having fathered you. He claimed I had got you from<br />
another man.’ I stared at my mother in stunned silence. ‘What is the truth, mother?’ I asked,<br />
with great difficulty. ‘My son, I would never lie to you. You are your father’s son.’<br />
I believed my mother. She had not shifted her gaze while saying it. It did not help me to<br />
know the truth because I was powerless. I though of confronting my father, but what good<br />
would it do? He still paid despite everything and at the moment that was what mattered.<br />
With this disturbing knowledge, my relationship with my father continued to deteriorate. I<br />
couldn’t imagine where he had got the crazy idea that I was not his son. I tried to compare<br />
myself with the rest of my siblings, and found no great difference. Even the teachers at<br />
school said I resembled my cousin, and he was my uncle’s son, brother to my father.<br />
I asked my mother if she knew the basis of my father’s allegations. She told me that when<br />
I was born, I did not possess the ‘famous’ protruding chin which was like a birthmark<br />
among my father’s clan. I could not see how this had alarmed my father. I was naturally a fat<br />
boy and the baby fat around my cheeks was still visible. So how could one tell if I was going<br />
to have the protruding chin or not?<br />
I finished secondary school and passed well. I was admitted to Higher Secondary School<br />
and I had to leave home and go to another town. It was a welcome relief in my life, but I<br />
missed my mother immensely. I knew she was the only person who really cared for me. My<br />
relationship with my siblings was strained. I knew they had heard of the rumour that I was<br />
not their real brother from our neighbours who talked about it quite openly. I vowed to<br />
spend the two years it took to complete my higher level without going back home. I never<br />
went back until I started university so that I would not have to ask my father for school fees.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 55
But I was summoned back when my mother was on her deathbed and wanted to see me. I<br />
broke down when I saw my mother’s emaciated body. My elder sister told me that she had<br />
had a miscarriage and lost a lot of blood and had not received proper treatment. I hugged her<br />
frail body and she clung to me as if I was going to cure her. I blamed myself for not checking<br />
on her regularly. The following day, she died. I was devastated and left soon after the burial.<br />
I did not see any reason for staying, or for ever going back for that matter. I now doubted if<br />
my father would continue to pay my school fees.<br />
For five years, I lived without hearing much from home. I had finished university and got a<br />
job in the city. Occasionally, I did get a letter from my elder sister telling me what was<br />
happening at home, but that was all. If there was a death or a celebration, I would stay with<br />
my cousin and his family.<br />
Then one day, I was at the bus park where I had gone to meet my sister from the village.<br />
She was with a man who looked haggard and sickly. When they drew nearer, I realised it<br />
was my father. I was momentarily shocked by his appearance and that my sister had not<br />
told me she would be taking him with her. She had only said she was coming to the city for<br />
treatment. ‘Good evening,’ I said to him. He turned to me, startled. It seemed as if he did not<br />
expect to find me here.<br />
‘Do I know you?’ he asked, surprised. I knew he was not pretending. We had spent<br />
almost seven years without seeing each other and I must have changed a lot in those years. I<br />
said nothing. He took a few steps towards me and his eyes seemed to register recognition.<br />
He opened his mouth to say something, then closed it again. His lower lip began to quiver,<br />
then fell. His eyes bulged, as if they would pop out. I noticed beads of perspiration on his<br />
forehead which slowly began trickling down until they settled on the tip of his nose. He<br />
took another step and this time stood directly in front of me. He reached out his hands and<br />
began tracing the contours of my chin as if he wanted to commit it to memory.<br />
‘You are my son,’ he whispered, tears glistening in his eyes. ‘My true son.’<br />
‘Yes,’ I answered. ‘I am your son, Richard. Richard Kalenzi.’<br />
56 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
a<br />
+<br />
p<br />
Activities supported by the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
Activités soutenues par la<br />
Fondation <strong>Prince</strong> <strong>Claus</strong><br />
Actividades patrocinadas por la<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
Recent publications<br />
Publications récentes<br />
Publicaciones recientes<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 57
Activities supported by the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
Activités soutenues par la<br />
Fondation <strong>Prince</strong> <strong>Claus</strong><br />
Actividades patrocinadas por la<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong><br />
First Batapata International Artists Workshop<br />
Zimbabwe, October 1999<br />
The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> provided Lilian Naboulime’s<br />
airfare to enable her to attend the two week<br />
Batapata workshop in Harare, Zimbabwe, which<br />
was held at the Diocesan Training Centre in<br />
Mutare, Zimbabwe. The workshop was followed<br />
by a Public Open Day, giving the public the<br />
chance to meet artists at work. The workshop was<br />
to be followed by an exhibition of selected works Lilian Naboulime<br />
which will tour all three national galleries in (Uganda)<br />
Harare, Mutare and Bulawayo. The workshop in- Unity, 1999<br />
cluded participants from Zimbabwe, India, Papua wood sculpture<br />
New Guinea, Kenya, Zambia and South Africa. courtesy of the artist<br />
A wide range of skills were represented including<br />
ceramics, printmaking, painting and stone, metal<br />
and wood sculpture.<br />
Further information from: Lilian Naboulime,<br />
University of Makerere, School of Industrial<br />
and Fine Art, Kampala, Uganda,<br />
fax: +256-41-230724/344785<br />
58 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
aThe<br />
described<br />
events have taken<br />
place or will take<br />
place with the<br />
support of the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>.<br />
Lotusland. Installation by Dinh Q. Lê at<br />
the Rich Mix–Slow Release Exhibition<br />
UK, December 1999<br />
Slow Release/Rich Mix organise exhibitions in<br />
London, focusing on rich and exciting cultural Dinh Q. Lê (1968,<br />
diversity. The Lotusland installation is the second Vietnam)<br />
project by artist Dinh Q. Lê on the continuing Lotusland, 1999<br />
effects of the chemical herbicide ‘Agent Orange’ installation<br />
in Vietnam. Years of exposure to the toxic agent courtesy of the artist<br />
have produced an alarming incidence of birth<br />
defects and an unprecedented rate of conjoined<br />
(Siamese) twins in Vietnam. Most of the conjoined<br />
twins do not survive. Some Vietnamese believe<br />
that after they die they become holy spirits in the<br />
Buddhist legion of deities, gods and goddesses.<br />
Lotusland interweaves the reality of ‘Agent<br />
Orange’ and Vietnam’s Buddhist mythology into a<br />
beautiful floor-based installation of painted figurines.<br />
The installation consists of five pairs of<br />
Siamese twins placed on lotus flowers and leaves –<br />
symbols for purity and beauty that have emerged<br />
from muddy soil – as a reflection of this poignant<br />
situation. The success of Lê’s work lies in the<br />
artist’s ability to represent the specific horrors of<br />
Vietnamese history in a subtle and yet playfully<br />
elegant and moving manner. Dinh has great<br />
difficulty in exhibiting this work in Vietnam due<br />
to its sensitive nature. The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
provided Dinh Q. Lê’s airfare to enable him to<br />
attend the exhibition in London.<br />
Further information from: Panycheat,<br />
Shaheen Merali, Unit 20 Sara Lane Studios,<br />
60 Stanway Street, London n16 re, uk<br />
e-mail: slowrelease@clara.co.uk<br />
‘Seeing Ourselves’: una visión en progreso<br />
Suráfrica, 2000 - en curso<br />
Nacido del deseo de explorar la historia, cultura y<br />
producción artística de formas no convencionales<br />
y generadoras de ideas, se realiza progresivamente<br />
uno de los proyectos de ‘Seeing Ourselves’<br />
(mirando hacia nosotros mismos), una iniciativa<br />
consistente en un documental filmado que pretende<br />
incrementar de la mejor manera posible el<br />
entendimiento y la disponiblidad de información<br />
sobre las prácticas artísticas desarrolladas en<br />
Africa. Producida por la curadora, promotora artística<br />
y facilitadora Susan Glanville, bajo el auspicio<br />
de ‘the project room’, y co-dirigido hasta la fecha<br />
con el artista-curador Wayne Barker, la serie<br />
documental y los proyectos relacionados con esta,<br />
estan asociados en fases subsecuentes que se<br />
expanden e insertan actualmente hacia el sur de<br />
Africa, el continente africano y la diáspora, así<br />
como la promoción de artistas que trabajan en<br />
estos contextos a través del uso de multimedia<br />
como plataforma para llegar a diversas audiencias.<br />
La <strong>Fund</strong>ación Príncipe <strong>Claus</strong> financió la realización<br />
de tres documentales de cinco minutos cada uno,<br />
que perfila artistas surafricanos, como parte del<br />
proyecto ‘Seeing Ourselves’.<br />
Las metas promocionales del proyecto estan enfocadas<br />
a contradecir una visión estereotípica de<br />
Africa a través de la exploración dentro de las<br />
prácticas artísticas contemporáneas en un contexto<br />
de una perpetuamente cambiante dinámica<br />
histórica. Los realizadores de imágines asi<br />
como las imágenes mismas creadas en estos contextos,<br />
definen una intersección fascinante de<br />
historias y cultura que es geográfica y socialmente<br />
localizable pero universalmente significante.<br />
La forma y tratamiento de las series en sí<br />
mismas están concebidas para reproducir en un<br />
plazo indefinido el dinamismo del mundo visual.<br />
La vida y trabajo de los artistas – articulados en<br />
cortos, concisos e íntimos retratos filmados –<br />
reflejan las complejas matrices de sus respectivos<br />
mundos sociales y culturales, y presenta una<br />
mirada perspicaz sobre la diversidad de sus procesos<br />
y métodos. Con un énfasis autobiográfico,<br />
esta primera y corta fase de pérfiles revela la<br />
conexíón entre un contexto social, así como de<br />
historia personal y el trabajo en sí. Preguntando<br />
que hacen estos artistas y por qué, son ellos<br />
mismos quienes responden. El resultado son<br />
series que exploran – sin cohibirse a recurrir al<br />
academicismo – cómo las imágenes definen el<br />
mundo en que vivimos y como nosotros mismos<br />
usamos estas para representarnos, constituirnos<br />
y mirarnos.<br />
De la forma en que se expande el proyecto de<br />
‘Seeing Ourselves’, este creará idealmente una<br />
corriente cultural construida a partir de la expansión<br />
de alianzas – una red de puntos de contacto y<br />
fuentes accesibles de información extendiéndose<br />
a través del continente y la diáspora. ‘Seeing<br />
Ourselves’ iniciará y facilitará proyectos fílmicos<br />
en el continente, colaborando con productores de<br />
cine cualquira que sea su enfoque.<br />
Para más información:<br />
Susan Glanville/Seeing Ourselves,<br />
314 Broadlands, 16 Tyrwhitt Rosebank,<br />
Johannesburgo 2196, Suráfrica<br />
Poster annonçant<br />
‘Against All Odds’<br />
Video fotograma<br />
de ‘Seeing Ourselves’,<br />
1999: Mmakgabo<br />
Helen Sebidi<br />
cortesía de los<br />
iniciadores<br />
Against All Odds: langues et littératures<br />
africaines au 21ème siècle<br />
Érythrée, janvier 2000<br />
Le congrès ‘Against All Odds’ (contre toute attente)<br />
a duré six jours et comportait au total 42 sessions<br />
entrecoupées de séances plénières, de films et de<br />
spectacles culturels donnés par la compagnie<br />
nationale de musique et de danse Sibrit. Les<br />
thèmes traités étaient d’une grande diversité,<br />
comme par exemple ‘Le drame et le théâtre<br />
africain’ ou encore ‘Langage et liberté à travers<br />
l’Afrique’.<br />
Le <strong>journal</strong>iste érythréen Habtom Yohannes – qui a<br />
reçu une subvention de la Fondation <strong>Prince</strong> <strong>Claus</strong><br />
pour participer au congrès – a présenté son intervention<br />
au cours de cette dernière session.<br />
L’organisation du congrès était entre les mains de<br />
Red Sea Press (Kassahun Chekole), le front populaire<br />
pour la démocratie et la justice (Zemhret<br />
Yohannes, devenu depuis ministre de l’Information<br />
et de la Culture) et l’université d’Etat de<br />
Pennsylvanie (Charles Cantalupo).<br />
Ce congrès a été très utile. C’était la première fois<br />
que des Africains se réunissaient pour parler de<br />
‘l’état des langues africaines’. Pour les écrivains<br />
débutants, c’était vraiment très important de<br />
rencontrer des vétérans du métier. Des écrivains<br />
comme Ngugi wa Thiongó et Nawal El Saadawi<br />
ont remonté le moral des Africains qui veulent<br />
réaliser ce rêve d’écrire dans une langue africaine.<br />
Pour les Africains qui ne venaient pas d’Erythrée,<br />
c’était encourageant de participer à un tel congrès<br />
justement dans ce pays. L’Erythrée est en<br />
effet l’un des rares pays d’Afrique où la langue de<br />
l’ancien colonisateur n’est pas utilisée comme<br />
langue nationale. Voici un extrait de l’intervention<br />
de Yohannes:<br />
‘Lorsque j’ai lu pour la première fois le sous-titre<br />
du congrès, une question rhétorique m’est venue<br />
à l’esprit et m’a poursuivi. Qu’est-ce qu’une<br />
langue sans la liberté? Qu’est-ce qu’un drapeau<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 59
sans pays? Oui, qu’est-ce que la parole sans la<br />
liberté? C’est à partir de là que j’ai choisi le titre de<br />
ma brève intervention: ‘La liberté, c’est la parole,<br />
et la parole, c’est la liberté’. Je perçois la liberté de<br />
parler ici comme un libre processus de réflexion,<br />
de rassemblement d’idées, d’interprétation, d’expression<br />
et de diffusion dans toutes les formes de<br />
communication possibles; toujours et en toutes<br />
circonstances. A mon avis, la liberté – ou la démocratie<br />
d’ailleurs – est un processus en constant<br />
devenir, sans stade final, qui permet à quelqu’un<br />
d’affirmer qu’il a accompli quelque chose en<br />
toute liberté. Si la voie de la démocratie, c’est la<br />
démocratie elle-même; la voie de la liberté de<br />
parole, c’est la liberté elle-même.’ A la fin du<br />
congrès, on a procédé à la lecture de ‘La déclaration<br />
Asmera sur les langues et les littératures<br />
africaines’.<br />
Pour plus d’informations, veuillez contacter<br />
le bureau de la Fondation <strong>Prince</strong> <strong>Claus</strong><br />
60 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Screendump from<br />
Nairobits<br />
courtesy NairoBits<br />
NairoBits: youngsters and computer art<br />
Kenya, March 2000<br />
NairoBits is a creative multimedia project which<br />
uses the medium internet as a platform for<br />
personal expression and cultural exchange. The<br />
core of the project is a one year interdisciplinary<br />
webmaster programme for 20 youths from<br />
Nairobi. These youngsters received training and<br />
started working to create their own website and<br />
multimedia art projects. In March 2000 the<br />
project ended with an exhibition of the results in<br />
the National Museum in Nairobi, Kenya. The<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> supported the logistics of the<br />
organisation. The project will have similar followups<br />
in other countries.<br />
Further information from: www.nairobits.org<br />
Journalisme et démocratie: colloque international<br />
Burkina Faso, mars 2000<br />
La Fondation <strong>Prince</strong> <strong>Claus</strong> a apporté son soutien au<br />
colloque que Pierre Gomdaogo Nakoulima - philosophe<br />
attaché à l’université de Ouagadougou au<br />
Burkina Faso – a organisé en collaboration avec le<br />
Mouvement pour le manifeste de la liberté. Ce<br />
mouvement a été fondé après l’assassinat du<br />
rédacteur en chef du <strong>journal</strong> L’Indépendant en<br />
décembre 1998.<br />
Pierre Gomdaogo Time of the Writer<br />
Le colloque était consacré à la question du Nakoulima pronon- South Africa, 6 to 13 March 2000<br />
fonctionnement de la presse comme quatrième çant son discours lors By Ugandan writer Goretti Kyomuhendo, who<br />
pouvoir. ‘La presse tient son pouvoir de la fonction de l’ouverture du participated with the support of the <strong>Prince</strong> <strong>Claus</strong><br />
politique dérivant de la vérité qu’elle émet. colloque ‘Journalisme <strong>Fund</strong><br />
L’expression de la vérité permet de soumettre et démocratie’ There was the Canadian born writer, Nancy Huston,<br />
l’activité politique au tribunal de l’opinion pu- avec la gracieuse who joined us later, two or three days after we<br />
blique et donne à l’espace public l’occasion de autorisation de Pierre had arrived in Durban. What triggers off her<br />
s’affirmer comme critique du politique. C’est Gomdaogo Nakoulima writing? Sparks generated by her conflicting<br />
pourquoi le <strong>journal</strong>isme est consubstantiel à la<br />
identities – English and French, books and children,<br />
démocratie. Il fallait donc situer l’importance du<br />
the need to wander and the need to have roots,<br />
<strong>journal</strong>isme pour la démocratie, amener les pro-<br />
words and silence.<br />
fessionnels des médias à prendre conscience et à<br />
Then there was the Zambian professor and writer,<br />
assumer véritablement leur rôle, et à cesser d’être<br />
Lazarus Miti. A long time ago, when he was barely<br />
les ‘nouveaux chiens de garde’.<br />
15, his teacher chased him out of class because he<br />
Parmi les participants au colloque, il y avait: Pierre<br />
did not posses a fountain pen and a bottle of<br />
Bouda (Burkina Faso), Hamidou Talibi (Niger),<br />
Quink ink. He was embarrassed! He could not tell<br />
Christophe Yayet (Côte d’Ivoire) et Djigui Keita<br />
his fellow students that actually his father was too<br />
(Mali).<br />
poor to afford the pen and ink. He took refuge in<br />
Pour plus amples informations:<br />
his dormitory and out of frustration, started<br />
Université de Ouagadougou, département de<br />
Goretti Kyomuhendo writing poetry. He has since written six books and<br />
philosophie et psychologie,<br />
doing her speech at published two.<br />
Pierre Nakoulima, 03 bp 7021, Burkina Faso<br />
the 2000 Time of the Aaaah! The South African medical doctor now<br />
e-mail: Pierre.nakoulima@univ.ouaga.bf<br />
Writer festival turned writer, Gomolemo Mokae, who has not<br />
practiced medicine for two years because he has<br />
to dedicate all his time to writing! I wonder what<br />
happens to his patients in the meantime.<br />
The tallest man in the group was Adriaan van Dis,<br />
born in the Netherlands. A man who wanted to<br />
be on stage, a man who was abused by his father<br />
so much so that he decided to write, if only to<br />
recreate him (his father) in his books. And also to<br />
be on stage, with readers as his audience.<br />
From England came Joanna Trollope. (What a<br />
surname for a writer! She swore to be born with a<br />
different one in the next life.) She has written<br />
twenty books in twenty years. What inspires her<br />
to write? How does she find the time? Maybe I<br />
should have talked about her first, but the first<br />
shall be last: the chronically humorous Icelandic<br />
writer, Einar Mar Gudmundsson. First, he read a<br />
poem in Icelandic, second, he came on stage<br />
without socks on his feet and when someone<br />
complained, he said he would come with only<br />
socks and no shoes the following day. He refused<br />
to remove his coat despite the scorching heat of<br />
Durban at the time; after all he comes from<br />
Iceland. With a primary audience of a mere<br />
280,000 people living in Iceland, whom is he<br />
writing for?<br />
It was indeed a time for the writer! Organised<br />
jointly by the Centre for Creative Arts, University<br />
of Natal and the French Institute of South Africa,<br />
the festival brought together 14 writers from<br />
around the globe representing 13 countries. From<br />
France to Uganda, via Guadeloupe to the Congo,<br />
Switzerland to the Ivory Coast. As one speaker<br />
correctly put it: for the past three years since its<br />
inception, Time of the Writer has become a truly<br />
international intellectual event, where imaginary<br />
worlds of Africa and the rest of the world have<br />
cross-pollinated.<br />
Writing being a noble but isolating, lonely and at<br />
times frustrating profession, the need for writers<br />
to meet and share experiences, anxieties, fears<br />
and successes cannot be over-emphasised. In<br />
Africa, this does not happen a lot. For one, writers<br />
who live on the continent are not well coordinated;<br />
their books do not cross borders within<br />
Africa nor outside of it. African writers who have<br />
managed to penetrate international markets and<br />
audiences were mostly published abroad and<br />
now live and work in the diaspora.<br />
The new (and young) voices from Africa need to<br />
be heard, to be read and critiqued. They need to<br />
be promoted and opened to wider audiences.<br />
That is why the festival in Durban was special. It<br />
brought together both the young and new voices<br />
Claudia Roden in<br />
Egypt during the feast<br />
of Sham el Nessim,<br />
May 2000<br />
courtesy Claudia<br />
Roden<br />
(more photos on p. 76)<br />
and the established old voices. Five out of fourteen<br />
participants were from Africa! Highly<br />
commendable. I have attended festivals in Asia,<br />
and America, but at times, there is only one<br />
participant from Africa! The cost of bringing in<br />
people from Africa is too high. We need more<br />
‘Durban festivals’, in Africa. This will enable more<br />
African writers and their works to interact and be<br />
promoted. (See also pages 52-56 of this Journal.)<br />
Further information from: femrite,<br />
Shimoni Road Plot 18, p.o. Box 705,<br />
Kampala, Uganda, fax: +256-41251831<br />
Claudia Roden on Egyptian Food<br />
Egypt, 8 and 9 May 2000<br />
Egyptian-born Claudia Roden received a <strong>Prince</strong><br />
<strong>Claus</strong> Award in 1999. The award was presented to<br />
her by the Netherlands Ambassador in London,<br />
where she currently lives. At the invitation of the<br />
Egyptian Chefs Association, Claudia Roden traveled<br />
to Cairo to lecture on Egyptian food at the<br />
Netherlands-Flemish Institute and at the Cairo<br />
Marriott Hotel. Over 80 cooks, restaurant owners<br />
and experts from the Egyptian food industry<br />
attended her stimulating talk entitled ‘The Revival<br />
of Culinary Traditions’. Roden reports:<br />
‘I was invited to lecture in Egypt. One of the<br />
lectures was a seminar for the Egyptian Chefs<br />
Association. Part of my mission was to convince<br />
professional cooks that they had a cuisine worth<br />
serving in the best of restaurants. I decided to<br />
travel across the country, from Aswan and Luxor<br />
all the way to the Delta and the sea, to discover<br />
what regional foods there were. I was born and<br />
raised in Egypt, and I felt like a fish swimming<br />
back into home waters, with everything familiar -<br />
the warmth of the air, the colour of the sky, the<br />
smells and sounds. There is something about<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 61
Egypt, a certain joie de vivre, a special humour<br />
and humanity that I have never found elsewhere.<br />
I sometimes wandered in a village. Somebody<br />
always popped out of a house and invited me in to<br />
have tea. They would ask who I was, ‘Have you got<br />
a husband? Have you got children? What are you<br />
doing here alone?’ When I said I was finding out<br />
about the cooking, they invited me to eat. Village<br />
life is much as it always was, except that there is<br />
television, and houses are not all made of mud<br />
but also brick and cement. These seem unfinished<br />
with metal poles sticking out of the top<br />
so that another floor can be added when the<br />
family expands.<br />
While the gamoussa (water buffalo) is now in a<br />
pen outside, goats and rabbits, ducks, geese,<br />
pigeons, and turkeys are in the house or on the<br />
roof. I found all kinds of foods being prepared -<br />
okra stew, fried aubergines with garlic and<br />
vinegar, lentils and rice with fried onions, beans<br />
with tomatoes, roast peppers, vegetable omelets,<br />
and stuffed pigeons.<br />
The best food I had was at an eisba (farm) in the<br />
Delta at Kafr el Rigalate in Kaloubeya, where I<br />
stayed for three days. It belonged to Dr. Galal who<br />
has a riding school and grows oranges, bananas,<br />
potatoes and various vegetables as well as decorative<br />
plants. Every day, Hannan the cook made<br />
a variety of dishes, all of them exquisite. Among<br />
them were stuffed vegetables and vine leaves,<br />
veal stew with artichokes, a creamy courgette<br />
gratin, rice with vermicelli, chicken marinated in<br />
yoghurt, and gullash (filo pies filled with cheese<br />
and with spinach). Hannan learnt to cook in wellto-do<br />
families in Cairo.<br />
In the cities there had always been a grand,<br />
refined, sophisticated style of cooking in the<br />
homes of the old bourgeoisie and aristocracies.<br />
Some of it is still there although great cooks are<br />
hard to find (they have gone to work in Bahrein<br />
and Saudi Arabia). Because they share many<br />
dishes with their neighbours, and because these<br />
came with Arab and Ottoman rule, Egyptians<br />
wonder if they can call any food their own, apart<br />
from ful (broad beans), melokheya (a green leaf<br />
soup), and falafel (bean rissoles), indeed any food<br />
that wasn’t around in the time of the pharaohs.<br />
But the foods introduced by the conquerors are<br />
also part of Egypt’s culinary heritage and Egypt<br />
has added its special touch. They have a different<br />
quality from those in Syria, Lebanon, Turkey and<br />
elsewhere in the Middle East.’<br />
Further information: through the office of the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
62 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
New architectural<br />
styles in Bangalore,<br />
with increased use<br />
of steel and glass<br />
Ring road<br />
construction,<br />
Bangalore<br />
photos: Clare Arni<br />
courtesy Janaki Nair<br />
Beladide Noda Bengaluru Nagara! Exhibition<br />
of Photographs on Contemporary Bangalore<br />
India, June 2000<br />
Bangalore is at once the capital of Karnataka state,<br />
the home of several large scale public sector industries<br />
and their ancillaries – and more recently the<br />
infotech and garment industries – as well as the<br />
gateway to styles of global consumption. Thus,<br />
the city has always been marked in very definite<br />
ways by forces and interests that are regional,<br />
national and global. From a town of tanks and<br />
vineyards, low-walled compounds and walkable<br />
distances in the 1950s, the city has spread in all<br />
directions, unhindered by any natural boundaries.<br />
The growing middle class thirst for building<br />
sites has consumed farmland and villages, within<br />
and beyond corporation limits, displacing thousands<br />
from market-gardening communities, and<br />
transforming the urban fabric. By the late 1970s,<br />
the city found a new vertical orientation, apartments<br />
and multistoried office blocks soon became<br />
not just a necessity but a desirable address. In the<br />
late 1990s, the metropolis has continued to expand<br />
both upward and outward, the grid of the layout<br />
marching on over farm and tank bed, while high<br />
rise structures crowd out small lanes.<br />
This exhibition is a project by Janaki Nair who<br />
received a grant from the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> to do<br />
research on the project ‘Worlding the City: the<br />
Futures of Bangalore’.<br />
Further information from:<br />
Institute for Social and Economic Change,<br />
Visiting Fellow Janaki Nair, 422 Third Cross,<br />
Indiranagar First Stage, Bangalore 560 038, India<br />
e-mail: jnair@vsnl.net<br />
Havanaviva.com: website para las artes y<br />
culturas de Cuba, América Latina y el Caribe<br />
Cuba, desde septiembre 2000<br />
‘To be or not to be... en internet. Ese es el problema.’<br />
Por Abelardo Mena, iniciador de Proyecto Rayuel@<br />
En el mundo globalizado de hoy, existir también<br />
significa estar en Internet. Sin embargo, esta posibilidad<br />
comunicativa está sometida a los embates<br />
del abismo entre norte y sur, así como las carencias<br />
socioeconómicas de gran parte de la población de<br />
los mundos ‘en desarrollo’. En la red de redes,<br />
convertida en industria del entretinimiento alimentada<br />
por grandes trasnacionales en fusión de<br />
capitales y tecnologías, el arte y la voz de los<br />
creadores e instituciones latinoamericanos no está<br />
presente con el peso que su creatividad exige.<br />
Y dentro del continente, hay países prácticamente<br />
ausentes porque carecen del soporte tecnológico<br />
adecuado. El Proyecto Rayuel@ de promoción<br />
cultural iberoamericana con base en La Habana,<br />
Cuba, decidió iniciar el proceso para crear el sitio<br />
Havanaviva.com, que ofrecerá servicios gratuitos<br />
de diseño, hospedaje y promoción de páginas<br />
webs relacionadas con las diversas artes del<br />
continente, sus artistas y colectivos, instituciones y<br />
comunidades, así como su patrimonio cultural y<br />
arquitectónico. Instrumento de comunicación<br />
abierto a la participación de creadores y promotores<br />
de la región, HavanaViva quiere convertirse en<br />
testimonio eficaz y actualizado de la creatividad de<br />
nuestras culturas, incluso bajo difíciles condiciones<br />
económicas y tecnológicas.<br />
Auspiciado por la <strong>Fund</strong>ación Príncipe <strong>Claus</strong>, el<br />
sitio contará con un directorio temático capaz de<br />
buscar y localizar en Internet páginas institucionales<br />
y personales relacionadas de alto valor<br />
cultural con nuestra área. En HavanaViva.com, el<br />
usuario encontrará también artículos y entrevistas,<br />
publicaciones y proyectos, exposiciones<br />
virtuales, imágenes animadas de conciertos,<br />
presentaciones musicales y teatrales, notas sobre<br />
becas, festivales y eventos, así como servicios y<br />
productos de empresas y entidades del sector<br />
cultural de Cuba y Latinoamérica, creados o<br />
compilados por el equipo gestor y colaboradores<br />
de todos los países. Aunque sólo en español en su<br />
etapa inicial, el sitio ha sido proyectado para su<br />
traducción al inglés y francés, para lo cual la<br />
colaboración de voluntarios será bienvenida. El<br />
diseño y programación ha considerado las realidades<br />
tecnológicas de la región: la mayoría de los<br />
usuarios no cuentan con tarifas planas de acceso,<br />
conexiones de banda ancha ni computadoras<br />
veloces; por ello el énfasis esencial recaerá en una<br />
navegación amigable y sencilla sin plug-in, ni<br />
sofisticados despliegues visuales.<br />
En Internet, HavanaViva.com desea convertirse en<br />
una red de difusión atractiva y ágil de nuestro<br />
quehacer cultural; para el fin damos la bienvenida y<br />
requirimos el apoyo de los creadores y gestores, así<br />
como de las entidades no lucrativas y empresas de<br />
todos los rincones de América Latina.<br />
Para más información:<br />
Proyecto Rayuel@, Abelardo Mena,<br />
Calle 19 no.1164 apto 5 e/16 y 18, Vdo,<br />
Hab. 4-10400, Cuba<br />
e-mail: probiz@cubarte.cult.cu<br />
Dense Death: an experimental documentary<br />
Brazil, November 2000<br />
The following text is written by Kiko Goifman,<br />
director of the film together with Jurandir Müller:<br />
‘It is clear that the motif of the serial killer has<br />
played a major role on people’s lives. This project<br />
aims at a dialogue, or even a confrontation with<br />
the banality of such murders. Different from the<br />
serial killer movie craze we see all over the world,<br />
the main purpose of this documentary is to reveal<br />
the meaning of death for those who have once<br />
killed somebody at a certain moment of their<br />
lives. One-time murderers. ‘Dense Death’ is an<br />
experimental documentary that addressess this<br />
subject. The project was supported by the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong>. To carry out the documentary we<br />
interviewed people who had committed one<br />
murder and were meaningfully affected by it. We<br />
are interested not only in the psycho-pathological<br />
disorder aspects – the favorite target when<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 63
we talk about serial killers – but also in the perception<br />
of the cultural reference networks and in<br />
the construction and maintenance process of<br />
social relationships of those people after their<br />
first murder. Among these testimonies is one of a<br />
young woman:<br />
‘… I called the police and said: ‘I stabbed my<br />
boyfriend.’ And then the people were around me,<br />
holding my arm, pushing me, sending me away,<br />
telling me he was already dead. I did not have the<br />
courage to leave him that way. I held him in my<br />
arms again and tore his shirt to see if the wound<br />
was deep. And then I started to blow in his mouth<br />
hoping he could breath. As I blew the wound<br />
started making bubbles, and a jet of blood<br />
spurted over me. I held him tight against my<br />
body, rocking his body, kissing him and telling<br />
that I had not wanted to do that.’ We illustrate<br />
these testimonies with experimental images that<br />
make reference to the feelings; they do not pretend<br />
to be the reconstruction of a crime scene.<br />
According to some interviews, murderers try to<br />
save their reputation. The idea of the legitimacy<br />
of their crimes results from their seeking to<br />
restore their infringed rights. They support<br />
themselves by values that justify their act. They<br />
killed; they admit their mistake but they did so<br />
because they needed to fix something that was<br />
wrong in the first place. A body is marked forever,<br />
with or without bloodshed. In this case, human<br />
flesh is not sliced or swallowed as in a cannibal<br />
ritual. This is a crime for morality. It is Sunday, a<br />
man goes past a window and shoots. A precise<br />
shot, and a brother, old friend, or partner is dead.<br />
People have increasingly been killed in very trivial<br />
situations. These are not serial killers, so they are<br />
not spectacular. They are souls to raise and<br />
bodies to bury.’<br />
Further information from: Dense Death<br />
fax: +55-11-2880715<br />
e-mail: goifman@hotmail.com<br />
Héros urbains: présentation des Prix <strong>Prince</strong> <strong>Claus</strong><br />
2000 et discours d’Ismail Serageldin<br />
Aux Pays-Bas et dans les pays des lauréats, le<br />
12 décembre 2000<br />
Les Prix <strong>Prince</strong> <strong>Claus</strong> sont décernés chaque année<br />
à des artistes et à des intellectuels d’Afrique,<br />
d’Asie, d’Amérique Latine et des Caraïbes. Le 12<br />
décembre 2000, le Grand Prix <strong>Prince</strong> <strong>Claus</strong> de<br />
cette année d’une valeur de 100 000 euros sera<br />
remis aux ‘Héros urbains’ dans le Palais Royal<br />
d’Amsterdam. Le terme de ‘Héros urbains’<br />
s’applique aux habitants des villes champignon<br />
64 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Stills from the experimental<br />
documentary<br />
‘Dense Death’<br />
courtesy of the<br />
makers<br />
d’Afrique, d’Asie, d’Amérique latine et des<br />
Caraïbes, qui ont surpris leur entourage par les<br />
idées novatrices qu’ils ont développées afin<br />
d’améliorer la vie dans la cité. A cette occasion,<br />
Ismail Serageldin, architecte et promoteur de la<br />
dimension culturelle dans la coopération internationale,<br />
prononcera un discours ayant pour<br />
thème l’héroïsme urbain. Outre le Grand Prix<br />
<strong>Prince</strong> <strong>Claus</strong>, le nom des lauréats de plusieurs prix<br />
d’une valeur de 20 000 euros seront communiqués<br />
à ce moment-là. Les bénéficiaires recevront<br />
leur distinction lors de cérémonies organisées<br />
dans les pays où ils résident et travaillent. La<br />
Fondation publiera et diffusera un livre concernant<br />
les Prix <strong>Prince</strong> <strong>Claus</strong> 2000. Ce livre sera disponible<br />
à partir du 12 décembre 2000.<br />
Pour plus d’informations, veuillez contacter la<br />
Fondation <strong>Prince</strong> <strong>Claus</strong>.<br />
South: an exhibition<br />
Mozambique, 2001<br />
José Ferreira is an artist from Mozambique, living<br />
in South Africa. With the support of the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong>, Ferreira started research in 1999 for<br />
the purpose of curating a multi-media exhibition<br />
in several countries with the participation of<br />
artists from those countries. The selected countries<br />
were at some point in history all colonised<br />
by Portugal, and are characterised by a dominant<br />
Portugese influence. The process of re-articulating<br />
lives, of recovering cultural esteem is the<br />
main interest of this exhibition. ‘South’ hopes to<br />
facilitate consent between the public and<br />
contemporary artistic creation within the designated<br />
metropolitan centers. It hopes to<br />
integrate previously homogeneous cultures and<br />
the recently fragmented social fabric of the cities,<br />
with artists’ works from a variegated diaspora. As<br />
the project’s circuitous journey augments and<br />
distends, the conceptual amalgam created by<br />
artists with contingent histories will become the<br />
focal point in the conjuncture of events.<br />
Taking the form of a multidisciplanary show, the<br />
exhibition project seeks to disseminate and disperse<br />
video, photographic and performance pieces<br />
throughout the cities. These projections will illuminate<br />
buildings within the periphery of the cities,<br />
fabricating an expansive landscape of imagery.<br />
Supported by the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>, the exhibition<br />
project will start in Maputo, Mozambique in<br />
January 2001.<br />
Further information from: The South Foundation,<br />
7 Strano Court, 14 Gleneagles Road,<br />
Greenside 2193, Johannesburg, South Africa,<br />
e-mail: jobrig@iafrica.com<br />
Still from the digital<br />
progress report of<br />
‘South’, 2000<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 65
Recent publications<br />
Publications récentes<br />
Publicaciones recentes<br />
New from the Institute of<br />
International Visual Arts (inIVA)<br />
Reading the Contemporary: African Art from<br />
Theory to the Marketplace (1999)<br />
Edited by Olu Oguibe and Okwui Enwezor, highly<br />
regarded writers and contemporary art historians<br />
specialised in this field, ‘Reading the Contemporary’<br />
provides an invaluable context for viewing<br />
African visual art and culture. This anthology brings<br />
together twenty-two essays in which key critical<br />
thinkers, scholars and artists explore a wide range<br />
of subjects including contemporary African art,<br />
cinema and photography. They lay out a theoretical<br />
and critical framework within the context of current<br />
debate and the continent’s particular history.<br />
Included are texts by: Kwame Anthony Appiah,<br />
Manthia Diawara, Ima Ebong, Okwui Enwezor,<br />
Rotimi Fani-Kayode, Salah Hassan, Sidney Kasfir,<br />
David Koloane, Thomas McEvilley, Kobena<br />
Mercer, V.Y. Mudimbe, Laura Mulvey, Everlyn<br />
Nicodemus, Olu Oguibe, Chika Okeke, John<br />
Picton, Colin Richards, Margo Timm, N. Frank<br />
Ukadike and Octavio Zaya.<br />
Olu Oguibe has taught at the universities of<br />
London, Illinois at Chicago and South Florida,<br />
Tampa, where he held the Stuart S. Golding<br />
Endowed Chair in African Art. Okwui Enwezor is<br />
the Artistic Director of Documenta XI, Kassel,<br />
Germany, 2002, and is Adjunct Curator of<br />
Contemporary Art at the Art Institute of Chicago.<br />
66 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
The <strong>Prince</strong> <strong>Claus</strong>pThe<br />
Journal also<br />
<strong>Fund</strong> Journal con- seeks to draw<br />
tains brief outlines attention to recent<br />
and commentaries publications rele-<br />
on publications vant to the debate<br />
supported or pub- on non-Western<br />
lished by the <strong>Fund</strong>. culture.<br />
><br />
In 1997, he was the Artistic Director of the Second<br />
Johannesburg Biennial. Both editors are also editors<br />
of ‘Nka: Journal of Contemporary African Art’,<br />
which the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> supports.<br />
ISBN 1 899846 21 2 Price: GBP 20,00<br />
The publication can be ordered from: iniva,<br />
tel: +44-20-76361930 or www.iniva.org<br />
New from the National Film<br />
Theatre/The British Film Institute in<br />
association with Visiting Arts<br />
Life and Art: The New Iranian Cinema (1999)<br />
In the last decade Iranian cinema has gained new<br />
international recognition and boasts at least two<br />
directors of world class stature. Yet even as audiences<br />
around the world respond to this vibrant<br />
cinema, it becomes ever more apparent how<br />
little we know about it. This publication provides<br />
an accessible and substantial historical and contemporary<br />
overview of Iranian film, as well as sections<br />
on individual directors and bio/filmographies,<br />
which will enable viewers to increase their<br />
understanding and enjoyment of one of the most<br />
cinematically creative national cinemas of the late<br />
twentieth century. One chapter is dedicated to<br />
filmmaker Rakhshan Bani-Etamed, who received<br />
in 1998 a <strong>Prince</strong> <strong>Claus</strong> Award.<br />
Contributor Hamid Reza Sadr receives support<br />
from the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> for the preparation of<br />
a publication on Iranian Cinema and Politics.<br />
Edited by Rose Issa and Sheila Whitaker.<br />
ISBN 0 85170 775 0<br />
The publication can be ordered from the<br />
National Film Theatre, The British Film Institute,<br />
21 Stephen Street, London w1p 2ln, uk<br />
New from Athlone Press/Oxford<br />
University Press India<br />
The Politics of Cultural Practice: Thinking<br />
Through Theatre in an Age of Globilization (2000)<br />
‘The Politics of Cultural Practice’ defies the homogenising<br />
and anti-democratic forces of globalisation.<br />
Refuting the assumption that the West is<br />
everywhere, the book draws on the emergent<br />
cultures of secular struggle in contemporary India<br />
to engage with the volatile global issues of intellectual<br />
property rights, cultural tourism, and the<br />
marking of minorities on the basis of religion,<br />
caste, language, gender and sexuality. A dazzling<br />
analysis of life, politics and art in our globalising<br />
world, this book demonstrates the power of the<br />
intercultural imaginary to radically shape the<br />
twenty-first century.<br />
Author Rustom Bharucha received a grant from<br />
the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> to write this book.<br />
ISBN 0 485 00417 8 HB/0 485 00614 6 PB<br />
Price: GBP 45 HB/GBP 15.99 PB<br />
The publication can be ordered from:<br />
The Athlone Press, I Park Drive,<br />
London nw11 7sg, uk, fax: +44-20-82018115,<br />
e-mail: athlonepress@btinternet.com<br />
Oxford University Press, New Delhi,<br />
fax : +91-11-3277812<br />
New from Greenwood<br />
Publishing Group<br />
Political Discourses in African Thought: 1860 to<br />
the Present (1999)<br />
New issues have arisen in African political thought<br />
in the 1990s, such as democracy, civil society, the<br />
nation-state, and the relevance of ‘traditional’<br />
political institutions. This ‘democratic turn’ in the<br />
1990s is seldom analysed against the background<br />
of the history of African political thought. The<br />
present book provides in-depth discussions of the<br />
most important African political discourses in the<br />
last 150 years and an analysis of dominant models<br />
of thought in that tradition. This historical and<br />
philosophical analysis allows for a critical inventory<br />
of African political thought on the brink of the<br />
twenty-first century.<br />
Author Pieter Boele van Hensbroek is a member of<br />
the Exchanges Committee of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong>.<br />
ISBN 0 275 96494 9 Price: GBP 47.95<br />
The publication can be ordered in the USA toll-<br />
Free: +1-800225-5800 or www.greenwood.com.<br />
To order in Europe and the uk, contact Westport<br />
Publications Ltd., 3 Henrietta Street, London<br />
wc2E 8lu, uk, fax: +44-20-7379 0609,<br />
e-mail: orders@edspubl.co.uk or<br />
www.eurospan.co.uk<br />
New from Hyperion<br />
Memories of a Pure Spring: After the War is Won,<br />
Another Struggle Begins (2000)<br />
Duong Thu Huong’s accomplished new novel<br />
takes place in the years immediately after the<br />
great victory and is a continuing evocation of a<br />
kind of post war despair among those morally<br />
conscious enough to experience it. But it would<br />
be a mistake to see Huong’s most recent book,<br />
translated by Nina McPherson and Phan Huy<br />
Duong, as aiming mainly to make a political statement.<br />
One reads it certainly for its politics, but<br />
even more for the depth and complexity of its<br />
characters who strive to define themselves in a<br />
world that still puts everything and everybody in<br />
one category or another of ideology and national<br />
aspiration. Duong Thu Huong wrote the keynote<br />
essay on ‘Creating Spaces of Freedom’ for the<br />
book with the same title to be published by the<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> this autumn. (See the prepublication<br />
of her text in French in <strong>Prince</strong> <strong>Claus</strong><br />
<strong>Fund</strong> Journal # 3, December 1999.)<br />
ISBN 0 7868 6581 4 Price: USD 23.95<br />
New from Curzon/European<br />
Cultural Foundation<br />
Alienation or Integration of Arab Youth:<br />
Between Family, State and Street (2000)<br />
It is within the triangle of the family, the state and<br />
the street that modern Arab young people are<br />
growing up. This triangle determines to a large<br />
extent the process of integration and alienation.<br />
Massive changes in the Middle East and North<br />
Africa have rapidly eroded the traditional extended<br />
family and have chipped away at the authority<br />
of the father and the family. Western youth<br />
culture has provided alternatives in lifestyles and<br />
different norms and values from traditional ones.<br />
Today Western media exert a considerable influence<br />
on Arab youth, offering a host of alternatives<br />
to choose from, to compare their situation with<br />
and to criticise their surroundings. The amount of<br />
information and the conflicting alternative role<br />
models and modes provided by the street are also a<br />
source of confusion and frustration, and form the<br />
ingredients of an identity crisis. Arab youth are on<br />
the move looking for new ways of finding meaning<br />
for their lives. They are looking for new forms of<br />
integration and community.<br />
Among the 12 contributors are: Youssef Courbage,<br />
Ahmed Abdalla, Hadj Milani and Mounia Bennani-<br />
Chraïbi. Editor Roel Meijer holds a PhD in Middle<br />
Eastern History from the University of Amsterdam<br />
(1995) and teaches Middle Eastern history at the<br />
University of Nijmegen, Netherlands.<br />
‘Alienation or Integration of Arab Youth’ appeared<br />
as part of the Diagnosis programme of the European<br />
Cultural Foundation. ‘Cosmopolitanism, Identity<br />
and Authenticity in the Middle East’ (1999) is<br />
the title of the first book in this series, also edited<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 67
y Roel Meijer. In this publication leading Arab<br />
intellectuals from countries from Morocco to the<br />
Gulf, among them Sami Zubeida and Nasr Hamid<br />
Abu Zeid, discuss their own highly diverse personal<br />
and professional perspectives on cosmopolitanism<br />
in the Middle East.<br />
ISBN 0 7007 1248 8 (HB)/0 7007 1255 0 (PB),<br />
Price: GBP 40/GBP 14.90<br />
The publication can be ordered from Curzon<br />
Press Ltd, 15 The Quadrant, Richmond, Surrey<br />
tw9 1bp, uk, fax: +44-208-3326735,<br />
e-mail: publish@curzonpress.co.uk.<br />
Further information also from:<br />
The European Cultural Foundation,<br />
Jan van Goyenkade 5, 1075 hn Amsterdam,<br />
the Netherlands, fax: +31-20-6752231<br />
New from Amsterdam<br />
University Press/Oxford University<br />
Press India<br />
Down and Out: Labouring under Global<br />
Capitalism (2000)<br />
This book, written by Arvind N. Das and Jan Breman,<br />
calls attention to the conditions in which (poor)<br />
labourers around Surat, India are forced to work.<br />
‘Down and Out’ is the first book to provide a<br />
visual report on the way people live and work in<br />
India. With the inclusion of more than 150 colourful<br />
photographs, an image is given of the lives of<br />
workers in their villages, on their way to work and<br />
at the workplace. The various industries are shown,<br />
such as textile industries, the diamond trade, sugar<br />
production, brickmaking and road construction<br />
work. Jan Breman is a sociologist at the Amsterdam<br />
School for Social Science Research. Arvind N.<br />
Das was a sociologist and <strong>journal</strong>ist in India, and a<br />
member of the Exchanges Committee of the <strong>Prince</strong><br />
68 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
<strong>Claus</strong> <strong>Fund</strong>. The photographs are the work of the<br />
Indian photographer Ravi Agarwal.<br />
ISBN 90 5356 450 0 Price: NLG 39.95<br />
The publication can be ordered from:<br />
Oxford University Press India , fax : +91-11-3277812<br />
Nouveaud’Editions Le Fennec<br />
Etes-vous vacciné contre le harem? (1998)<br />
En tant que Marocaine, rire de l’arrogance de<br />
l’Occident a toujours été un de mes fantasmes les<br />
plus délicieux. J’ai commencé à le savourer en écrivant<br />
ce livre dans lequel je décortique les archaïsmes<br />
chez nos voisins européens. Archaïsmes<br />
soigneusement cachés derrière le mythe de la modernité<br />
occidentale. Les Européens nous disent<br />
qu’ils sont modernes, mais… ils rêvent de<br />
harems, comme les pires despotes de l’âge des<br />
cavernes. Bon, vous m’avez comprise.<br />
Une autre raison m’a poussée à écrire un livre<br />
pour faire rire les Marocains. D’après les psychiatres<br />
de Rabat que j’écoute religieusement,<br />
rire est une des thérapies les plus efficaces et les<br />
plus économiques pour se remonter le moral et<br />
renforcer la confiance en soi. On en a besoin pour<br />
se jeter dans la compétition qu’exige la globalisation.<br />
Cependant, que se passera-t-il si le livre<br />
ne vous fait pas rire? Eh bien, essayez de le<br />
revendre à la Joutiya la plus proche. Recycler les<br />
choses et les idées inutiles est une autre thérapie<br />
très précieuse pour s’entraîner à surfer sur les<br />
vagues de cette troublante globalisation qui nous<br />
guette.’ Voilà l’introduction du livre par son<br />
auteur, Fatima Mernissi. Sociologue à l’Institut<br />
universitaite de rechercherche scientifique de<br />
l’Université Mohamed V à Rabat au Maroc,<br />
Mernissi est un auteur qui a déjà publié beaucoup<br />
d’ouvrages.<br />
ISBN 9981 838 88 8, Prix: MAD 75<br />
L’Islam est-il hostile à la laïcité? (1999)<br />
Cet ouvrage est le premier de la collection ‘Islam<br />
et humanisme’ des Editions le Fennec, installées<br />
au Maroc. La collection se propose de contribuer<br />
à briser les liens entre religion et violence et à<br />
permettre l’éclosion d’une nouvelle identité<br />
culturelle enracinée dans l’héritage islamique et<br />
ouverte à la modernité. Son objectif est de proposer<br />
des textes courts et accessibles, afin d’atteindre<br />
ceux qui en ont le plus besoin.<br />
Le petit livre ‘L’Islam est-il hostile à la laïcité?’, est<br />
né de la suggestion de publier séparément l’introduction<br />
d’ Abdou Filali-Ansary à la traduction de<br />
l’ouvrage d’Ali Abderraziq, ‘L’islam et les fondements<br />
du pouvoir’ (Paris, Le Fennec, 1994). L’idée<br />
derrière cette proposition ést de contribuer à faire<br />
connaître un autre visage de l’islam contemporain<br />
dont l’existence souvent n’est même pas soupçonnée<br />
et que les effervescences actuelles, ainsi<br />
que d’autres facteurs liés à la conjoncture politique<br />
et culturelle, ont tendance à occulter. Il s’agit<br />
d’attitudes et de projets qui cherchent à retrouver<br />
le sens premier de la religion islamique, par-delà<br />
les formulations qui lui ont été données dans<br />
l’histoire des sociétés anciennes et médiévales.<br />
Abdou Filali-Ansary est chercheur et directeur de<br />
‘Prologues: revue maghrébine du livre’.<br />
ISBN 9981 838 51 9, Prix: MAD 25<br />
Plaidoyer pour un islam moderne (1999)<br />
Ce livre de Mohamed Talbi est le quatrième de la<br />
collection ‘Islam et humanisme’. Il répond à cette<br />
curiosité pour l’Islam qui s’est développée en Occident<br />
depuis quelques années.<br />
De nombreuses publications ont paru, mais malheureusement<br />
les ouvrages sont de valeur très inégale.<br />
Ils manquent souvent de qualité, entre autres<br />
parce que leurs auteurs sont rarement des croyants<br />
musulmans. Le livre de Mohamed Talbi offre au lecteur<br />
francophone l’occasion de mieux connaître<br />
l’islam, tout en apportant des réponses aux questions<br />
brûlantes. Mohamed Talbi est un universitaire<br />
et un historien tunisien.<br />
ISBN 9981 838 83 7, Prix: MAD 45<br />
Initiatives féminines (1999)<br />
Le thème ‘Initiatives féminines’ a été choisi pour le<br />
neuvième ouvrage du collectif Approches, qui<br />
publie une série d’ouvrages concernant des affaires<br />
féminines . Ce n’est ni acte fortuit ni un acte spontané:<br />
la réflexion sur ce thème a entraîné un grand<br />
débat, surtout au moment où les changements<br />
politiques au niveau national engendrent un processus<br />
de démocratisation dont les femmes, en<br />
tant que citoyennes, sont parties prenantes. Au<br />
moment aussi où les mutations économiques à<br />
l’échelle mondiale opérant une ouverture des<br />
marchés et amplifiant les circuits de communication<br />
mettent à contribution toutes les forces et<br />
les potentialités nationales dont celles des femmes.<br />
Collection dirigée par Aïcha Belarbi.<br />
ISBN 9981 838 77 2, Prix: MAD 75<br />
L’oeil de Drissi (1999)<br />
Ce livre propose les commentaires de François<br />
Devalière sur l’éclat des tableaux de l’artiste<br />
marocain Mohammed Drissi (1946, Tétouan;<br />
réside actuellement à Tanger). Drissi évite les<br />
explications et cache derrière la représentation<br />
ce qu’il affirme voir. Son regard d’artiste est une<br />
invitation, il déniche l’invention et confronte le<br />
spectateur avec une légère ironie. Chaque espace<br />
a une forme; c’est à vous de jouer et de trouver<br />
l’harmonie. Cette publication en anglais, français,<br />
arabe et allemand, a été éditée en collaboration<br />
avec Atlantica, France.<br />
ISBN 2 84394 157 1<br />
Qotbi dédié à la lettre (1999)<br />
Ce livre présente des textes d’Adonis, d’Edouard<br />
Glissant, d’Abdelkébir Khatibi et de beaucoup<br />
d’autres auteurs connus, sur le travail du calligraphe<br />
maroccain Mehdi Qotbi. Le livre présente<br />
également une vingtaine de travaux de Qotbi luimême,<br />
dont une dizaine a été créée en collaboration<br />
avec d’autres artistes comme Ahmed<br />
Sayed, Gérard Fromanger et Fernando Arrabal.<br />
ISBN 9954 0 0020 8 Prix: MAD 150<br />
Pour commander tous les titres présentés<br />
ci-dessus : Editions Le Fennec,<br />
89 B, bd D’Anfa, 20000 Casablanca, Maroc,<br />
tel: 212 277702, e-mail: fennec@techno.net.ma<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 69
The people in the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> are constantly discussing<br />
the role of the <strong>Fund</strong> in current cultural developments in the world.<br />
Adriaan van der Staay is Vice-President of the <strong>Fund</strong> and wrote the<br />
following piece as a discussion paper for a brainstorming session of<br />
the Board on 19 May of this year.<br />
A Second Look at Culture and Development<br />
The discussion on culture and development seems to have entered a new, more cultural<br />
phase. It is nearly half a century ago that Margaret Mead published her ‘Patterns of Culture<br />
and Technical Change’ (1955). In it she drew attention to the anthropological context into<br />
which modernity was injecting itself. But nobody yet seemed able to imagine that<br />
modernity could reach so far and so deep and that the new culture of modernity could<br />
replace and wipe out cultural forms that had existed for centuries, if not millennia.<br />
From the 1950s onwards culture would be seen as a factor of resistance, a formidable<br />
opponent to change. The traditional way of life was an obstacle to be overcome by any<br />
possible means, if one wished successfully to reap the fruits of modernity: wealth, health<br />
and respect in an ever-widening circle of developed nations. Economic development could<br />
be achieved as a matter of course by ignoring culture. Villages could be uprooted and<br />
displaced, religious sensibilities counted for nothing measured against the promised gains<br />
of development. Monuments as ancient and sacred as the temples of Abu Simbel in the Nile<br />
valley could not stop new nationalist leaders from adopting Russian models of<br />
development: flooding whole areas irrevocably and building dams for the production of<br />
electricity. Europe, and the still mainly European unesco, tried to mitigate the cultural<br />
consequences of ruthless development. In saving the temples of Abu Simbel, culture was<br />
recognised as being important but also museumised. Culture could be saved as a legacy<br />
from the past, but the future clearly belonged to development.<br />
One cannot say that there was a fundamental change in this attitude, but the practice<br />
became more sophisticated. The brutal eradication of existing culture, if it stood in the way<br />
of development, seemed lacking in intelligence and efficiency. The costs were relatively<br />
high. The disaffection of the population, even local resistance and revolt, told the developers<br />
that the going was not that easy. Taking culture into account to a certain degree might<br />
be advisable and smooth the path of progress. Could local customs and institutions not be<br />
used, and harnessed to the yoke of development? Out of the studies of culture as an adversary<br />
grew a new appreciation of culture as a factor in development. People and their values<br />
might prove beneficial to the development process after all. This clearly was not a sufficient<br />
change of heart. It left intact the paramount doctrine of development as an unquestionable<br />
benefit in itself.<br />
Yet out of this approach of taking account of people and their culture grew an awareness<br />
that people mattered after all. In this, the insight of the Dutch development adviser, <strong>Prince</strong><br />
<strong>Claus</strong> of the Netherlands, struck a clear note. People, he told international development<br />
organisations, cannot be developed; they can only develop themselves. This brought a<br />
fundamental change of perspective to those who share his views. Not only were people<br />
made interesting, and no longer seen as obstacles, or merely collaborators in development,<br />
they were the originators of development. People and their cultures were not only recognised,<br />
they were seen as the prime movers of the development process. This of course<br />
tied in with the widespread movement of empowerment, starting in the 1970s, which saw<br />
the giving of power to minorities as one of the tools of development. The poor, women,<br />
ethnic minorities, sexual minorities had to be empowered to achieve their own liberation.<br />
70 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Adriaan van der Staay<br />
This article will appear<br />
in Dutch translation in:<br />
Tijdschrift voor Humanistiek<br />
4 (December), SWP,<br />
Amsterdam<br />
Members of the Board, the<br />
International Advisory<br />
Board and staff of the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong>, Amsterdam,<br />
9 December 1999<br />
photo: Fotobureau Thuring<br />
This was at least the belief in progressive circles. It was a minority belief not widely shared,<br />
and certainly not in the centres of power related to development, by governments, the<br />
Monetary <strong>Fund</strong> or the World Bank.<br />
However, the recognition of the importance of people and their values was a decisive<br />
step forward in thinking about development as such. If people were to be empowered to<br />
develop themselves, they should be given the right to impose their own values. Values<br />
became important as an expression of self, of identity. If development was after all<br />
something not imposed on people but wanted by them as opposed to the former dogmatic<br />
top-down development, would not development have to take into account their diversity<br />
of cultures? Indeed a number of more or less declamatory roads to development were<br />
proclaimed: non-aligned development, Burmese development, Islamic banking, Asian<br />
values supporting Asian Tigers, and so on.<br />
This people-power reasoning led not only to a diversification of the meaning of development,<br />
but also to the proverbial Tower of Babel, i.e. to mutual incomprehension and the<br />
danger of relativism. Relativism is here meant as giving up any hope of finding common<br />
values in the achievement of development. This relativist, even cynical approach to the<br />
multifarious ways to development, in which development could be the means to any cultural<br />
result, struck a deep hole in the centre of development. It meant that development<br />
was no longer in possession of some guiding culture, Western or otherwise. Development<br />
had briefly entered its nihilistic phase and had become in a sense valueless, without value.<br />
An aim only unto itself.<br />
This crisis at the centre of development philosophy was bravely tackled at a large conference<br />
on cultural policies held in 1982. The Mexican hosts of this conference<br />
(Mondiacult) may not have foreseen the wide-ranging implications of the reversal of<br />
values that was embedded in its Declaration of Mexico. Basically, the message was very<br />
simple. If economic development had lost its way, some central core of belief should be<br />
reinstated. Culture should be the aim of development, not its means. On the global level,<br />
values should be found to guide development. After all, if people’s lives were the aim of<br />
development, the collective will of the people should guide the development process.<br />
Culture beats economics.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 71
As a participant at this conference, I must admit having overlooked the far-reaching impact<br />
of our Declaration and the watershed-like divide that this reversal of roles between culture<br />
and development indicated. On the one hand, it was easily observable that power in the<br />
world was still, as it is today, in the hands of the economic elite that gathers at the World<br />
Economic Forum in Davos. The crowing of cultural luminaries like France's Jacques Lang<br />
(then Minister of Culture and prominent at Mondiacult) could be constructed as a symptom<br />
of weakness. Moreover, the failure of political hegemony over economic development<br />
in the Communist countries did not bode well for a new attempt to ride the economic tiger.<br />
All this made for scepticism. I returned from Mexico with the depressing feeling that we<br />
had achieved not much more than the pitting of the word culture against the manifest<br />
realities of economic development.<br />
Somehow I was wrong. In the twenty or so years after Mexico the discussion of the<br />
relationship between culture and development seemed to change, just as the triumph of<br />
economic development seemed to become almost complete. Perhaps it was the very<br />
success of economic development in certain countries that made obvious a hollowness in<br />
the development process. Though the means might deliver the wished-for effects and<br />
nobody seemed to wish to change course completely, world capitalism started to look at<br />
itself in the mirror and did not quite like what it saw. It saw a world in many ways out of<br />
control, with dwindling natural reserves, a devastated ecology, growing pollution and global<br />
warming. It saw persistent inequities in the distribution of power, economic or<br />
otherwise. It saw huge population shifts away from traditional agriculture into the brokenback<br />
economy of megacities. It also increasingly had to cope with public opinion and critical<br />
movements which rattled its cosy self-confidence. Most importantly, people all over the<br />
world were worried. They did not reject the brave new world of economic development<br />
and indeed were voting by their feet and flocking to the biblical fleshpots of Egypt,<br />
wherever these appeared. But they felt worried nevertheless, not about the past, but about<br />
their future and that of their children.<br />
I think this is much the situation today. The twin regulatory processes of the market and<br />
democracy have acquired great prestige, the first for its efficiency, the second for its<br />
avoidance of insoluble strife and as a platform. If one wants efficiency and harmony in the<br />
development process, one should clearly lean towards the market and democracy, and<br />
forget about command economies or dictatorships. But both regulatory frameworks tell us<br />
little about the future. At any moment the market or democracy may go haywire. Therefore<br />
there is a great cultural challenge at the core of present-day thinking, to define the future of<br />
mankind as a whole. How far can the population, indeed the economy, grow; can geosphere<br />
and biosphere deteriorate; can cultural traditions disappear; can values be left out of<br />
the development equation without courting catastrophe? These are important questions<br />
which have to be debated.<br />
There is no world parliament to effectively debate all this, since the structures of the<br />
United Nations family of organisations is, as the word implies, an assembly of states,<br />
sending their diplomats and occasionally experts to peacefully settle differences. The<br />
United Nations is not a world parliament. Whatever may be globalised in this world, it is<br />
not the will of the people. There is not a single forum for the vox populi. The world may not<br />
be ready for this type of gathering; one would still be at a loss to assemble the founding<br />
fathers for it. But the clear need exists to take into account the wishes of the people and<br />
their values, if one wants to solve the battle between culture and development.<br />
Within this wide framework of future construction, a small book (or rather a small part<br />
of a medium-sized book) took up the challenge of answering the question as to which<br />
values should guide development. The book was the result of a contorted process of<br />
decision-making that started with the strangely heroic Mondiacult conference of 1982. It<br />
goes under the innocuous title of ‘Our Creative Diversity’ and was the result of work by a<br />
committee of international experts. It tried to act as an embryonic world parliament by<br />
listening to countless shouts and murmurs in many corners of the world. It tried to define<br />
the outlines of global ethics, a set of common values that should guide development. For<br />
72 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
this we must thank the economist Paul Streeten, who conceived this non-economic approach<br />
to development. In recent years the ethical approach to the process of development<br />
has gained in prestige, while the status of the purely economic approach to the world’s<br />
future has been questioned. The Nobel Prize awarded to the Indian economist Amartya Sen<br />
has confirmed this alternative approach.<br />
One should perhaps descend a little way from these Olympian heights and ask oneself<br />
where this leaves a relatively small organisation named the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> for Culture<br />
and Development. If one takes seriously what was described above and considers culture as<br />
the prime mover in the development process, at least for the time being, one should have<br />
the courage to state a few obvious facts. People all over the world are struggling to find<br />
answers to new problems. It is quite probable that certain answers will be more successful<br />
in coping with these problems than others. The answers will not only be different from<br />
those of the past but also not immediately widely known or respected. It behoves good<br />
governance to make these good practices known as quickly as possible, and to discuss their<br />
implications and values. This can only be done by intelligent scouting. There is no bureaucratic<br />
formula for this scouting process. It depends on scouts in many parts of the world, a<br />
network that carries the information, platforms of communication for testing the value of<br />
these solutions, but of all things it depends mainly on the eyes, ears and noses of people to<br />
discover them. It is this avant-garde, in a world of as yet virtual culture and development,<br />
that the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> should seek to befriend.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 73
In Memoriam: Arvind Das<br />
Achille Mbembe<br />
The first meeting I took part in as a member of the<br />
Exchanges Committee of the <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong><br />
was at the offices of the <strong>Fund</strong> in The Hague. I had<br />
arrived from London the day before and was to<br />
leave again immediately. One of the points of<br />
order of the day was the preparation of the<br />
conference on the role of intellectuals in the<br />
public sphere – a conference that was to be held<br />
in Beirut, Lebanon.<br />
The most vivid memory I have of that first<br />
meeting was Arvind. I do not know why that<br />
memory has stayed with me all this time. Arvind,<br />
whom I met for the first time, had arrived as he<br />
would do so often thereafter: very unobtrusively.<br />
But he had arrived with priceless gifts: a series of<br />
issues of ‘Biblio’, the impressive book review that<br />
he published in India.<br />
I paged through a few issues of the review. And<br />
very quickly I realised that the work was extremely<br />
reliable and competent. I believe that starting at<br />
that very moment Arvind and ‘Biblio’ became the<br />
same person in my eyes. And that was the way it<br />
stayed. At subsequent meetings Arvind would<br />
arrive, his arms full of the same presents: ‘Biblio’,<br />
that work of the mind.<br />
That is how I think of Arvind, as an intellectual<br />
who was constantly occupied with matters of the<br />
mind. His eyes would light up when he would<br />
start to think. His body would become animated<br />
and a discrete smile would light up his face. He<br />
liked to share that enthusiasm and that joy. As for<br />
me, I took that joy and that enthusiasm as a gift.<br />
That was how it was every time we met. The last<br />
two meetings before his death were held in the<br />
north of the Netherlands. We spent a few long<br />
hours in the train. Sometimes he seemed to be<br />
asleep, but I always suspected him of being deep<br />
in thought. And indeed, as soon as the conversation<br />
became more lively he would suddenly<br />
wake up.<br />
He had a delightful sense of humour, which he<br />
used with moderation. And we were grateful to<br />
him. He also had extraordinary patience. He<br />
would explain something over and over again<br />
with great tenacity. He spoke with the marvelous<br />
accent of those who have perfect mastery of a<br />
foreign language and instill it with the turns of<br />
their own language. At such moments his eyes<br />
would shine and his face would bear a slight smile.<br />
It was last July. On that evening we returned from<br />
the north of the Netherlands. We took a taxi<br />
74 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Arvind Das<br />
participating in the<br />
meeting of the<br />
International Advisory<br />
Board of the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong>, 9<br />
December 1999<br />
photo: Fotobureau<br />
Thuring<br />
together to the hotel. We said goodbye at the lift.<br />
We knew we would see each other again in<br />
October. We will not see each other again. But<br />
Arvind will be there. He will be there for a long<br />
time, I am sure.<br />
In Memoriam: Arvind Das<br />
Achille Mbembe<br />
La première réunion à laquelle je pris part en ma<br />
qualité de membre du Comité des Echanges de la<br />
Fondation <strong>Prince</strong> <strong>Claus</strong> avait eu lieu au siège de la<br />
Fondation à La Haye. J’étais arrivé la veille de<br />
Londres et devait repartir aussitôt. L’un des<br />
points à l’ordre du jour était la préparation de la<br />
conférence sur le rôle des intellectuels dans la<br />
sphère publique – conférence qui devait se tenir a<br />
Beyrouth, au Liban.<br />
Le souvenir le plus vivant que je gardai de cette<br />
première réunion fut Arvind. Je ne sais pas pourquoi<br />
ce souvenir me poursuit depuis lors. Arvind –<br />
que je rencontrais pour la première fois – était<br />
entré comme il le fera si souvent par la suite: très<br />
discrètement. Mais il était arrivé avec d’inestimables<br />
cadeaux: une série de numéros de ‘Biblio’,<br />
l’imposante revue de livres qu’il publie en Inde.<br />
Je feuilletai quelques numéros de cette revue.<br />
En quelques minutes, je compris qu’il s’agissait<br />
d’un travail extrêmement sérieux et compétent.<br />
Je crois que, dès ce moment, Arvind et ‘Biblio’<br />
devinrent, a mes yeux, le même personnage.<br />
Et ce fut ainsi par la suite. Lors des réunions<br />
suivantes, Arvind revint les mains chargées<br />
des mêmes cadeaux: ‘Biblio’, ce travail de l’esprit.<br />
C’est ainsi qu’à mes yeux se construisit l’identité<br />
d’Arvind: un intellectuel passionné par les choses<br />
de l’esprit. Ses yeux s’illuminaient chaque fois<br />
qu’il s’agissait de réfléchir. Son corps soudain<br />
s’animait et un sourire discret illuminait son<br />
visage. Il aimait partager cet enthousiasme et<br />
cette joie. Pour ma part, je recevais cette joie et<br />
cet enthousiasme comme un don.<br />
Ce fut ainsi chaque fois que nous nous revîmes.<br />
Les deux dernières réunions avant sa mort se tinrent<br />
dans le Nord de la Hollande. Nous passâmes<br />
de longues heures ensemble dans le train. Parfois il<br />
fit semblant de dormir. Je le soupçonnais toujours<br />
d’être en train de réfléchir. Et de fait, dès que la<br />
conversation s’animait, il se réveillait.<br />
Il avait un sens exquis de l’humour. Il en usa<br />
chaque fois avec mesure. Et nous lui en étions reconnaissants.<br />
Il avait une extraordinaire patience.<br />
Il expliquait, expliquait et expliquait avec ténacité.<br />
Il s’exprimait avec l’adorable accent de ceux qui,<br />
maîtrisant parfaitement les contours de la langue<br />
étrangère, y introduisent les ruses de leur propre<br />
langue. A ces moments-là, ses yeux brillaient et<br />
son visage s’ornait d’un léger sourire.<br />
C’était en juillet dernier. Ce soir-là, nous revînmes<br />
du Nord de la Hollande. Nous prîmes ensemble le<br />
taxi jusqu’à l’hôtel. Nous nous séparâmes devant<br />
l’ascenseur, certains de nous revoir au mois d’octobre.<br />
Nous ne nous reverrons pas. Mais Arvind sera<br />
là. Il sera là pendant très longtemps, j’en suis certain.<br />
En Memoria: Arvind Das<br />
Achille Mbembe<br />
La primera reunión en la que tomé parte como<br />
miembro del Comité de Intercambios de la<br />
<strong>Fund</strong>ación Príncipe <strong>Claus</strong>, fue en las oficinas de la<br />
<strong>Fund</strong>ación en La Haya. Llegué proveniente de<br />
Londres el día anterior, y partí de nuevo inmediatamente.<br />
Uno de los puntos en el orden del día fue<br />
la presentación de la conferencia sobre el rol de<br />
los intelectuales en la esfera pública, conferencia<br />
que tendría lugar en Beirut, Líbano.<br />
El más vivo recuerdo que tengo de esta primera<br />
reunión es Arvind. No se por qué este recuerdo<br />
permaneció en mí todo este tiempo. Arvind, a<br />
quien conocí por primera vez, y que llegó como<br />
solía hacerlo; muy discrétamente, pero con regalos<br />
invaluables: series de fasículos de ‘Biblio’, la<br />
admirable revista crítica que publicaba en la India.<br />
Yo leí algunos fascículos de de la revista, y rápidamente<br />
pude darme cuenta de que el trabajo era<br />
extremádamente fidedigno y competente. Creo<br />
que a partir de ese momento Arvind y ‘Biblio’ se<br />
convirtieron en la misma persona para mis ojos, y<br />
esta fue la manera en que permaneció para mí. En<br />
subsecuentes reuniones en las que Arvind<br />
asistiría, sus manos estaban llenas de los mismos<br />
presentes: ‘Biblio’, ese trabajo de la mente.<br />
Así es como pienso en Arvind, como un intelectual<br />
que estaba constantemente con la mente<br />
ocupada. Sus ojos se iluminaban cuando empezaba<br />
a pensar. Su cuerpo se animaba y una discreta<br />
sonrisa iluminaba su rostro. El deseaba compartir<br />
ese entusiasmo y ese júbilo. En lo que se refiere a<br />
mí, yo recibí ese júbilo y ese entusiasmo como un<br />
regalo.<br />
Así era cada vez que nos encontrábamos. Las<br />
últimas dos reuniones antes de su muerte, que<br />
tuvieron lugar al norte de Holanda, pasamos un<br />
par de largas horas en el tren. Algunas veces<br />
parecía estar quedándose dormido, pero siempre<br />
lo advertí pensativo. Y de hecho, tan pronto como<br />
la conversación se tornaba más acalorada, él<br />
despertaba de repente.<br />
Tenía un agradable sentido del humor, el que<br />
usaba con moderación. Y nosotros estábamos<br />
agradecidos con él. Contaba también con una<br />
paciencia extraordinaria. Podía explicar algo una y<br />
otra vez con gran tenacidad. Hablaba con el<br />
maravilloso acento de quien tiene una maestría<br />
perfecta en lenguas ajenas a la suya, a las que<br />
infundía giros de su propio idioma. En esos<br />
momentos sus ojos brillaban, y su rostro develaba<br />
una leve sonrisa.<br />
Ocurrió en julio pasado. En esa tarde nosotros<br />
regresábamos del norte de Holanda. Tomamos un<br />
taxi juntos hacia el hotel. Nos despedimos<br />
rápidamente. Sabíamos que nos veríamos de<br />
nuevo en octubre. No nos volvimos a ver nuca,<br />
pero Arvind estará. Estará presente por un gran<br />
tiempo. Estoy seguro.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 75
76 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
Cooks at an eisba (farm)<br />
near Kanater in the Egyptian<br />
Nile Delta region<br />
courtesy Claudia Roden<br />
see p. 61-62<br />
c<br />
Pieter Boele van Hensbroek (1954, Pays-Bas) est<br />
membre du Comité des Echanges de la Fondation<br />
<strong>Prince</strong> <strong>Claus</strong>. Spécialiste de la philosophie africaine,<br />
il a publié récemment ‘Political Discourses<br />
in African Thought: 1860 to the Present’. Il est<br />
également rédacteur de la revue philosophique<br />
‘Quest’, pour laquelle il collabore avec des philosophes<br />
et des institutions en Afrique.<br />
Contributing<br />
authors<br />
Heri Dono (1960, Indonesia) is an artist work- Auteurs participant<br />
ing in painting, sculpture, installations, perfor- à ce numéro<br />
mance and music. Among many other exhib- Contribuidores<br />
itions he most recently participated in the 1999<br />
Yogyakarta Biennial in Indonesia, in ‘Cities on<br />
the Move’ (touring) and in ‘Knalpot’ at Cemeti<br />
Art House in Yogyakarta, a show that also travelled<br />
to Museum Puri Lukisan in Bali, Indonesia.<br />
Heri Dono received a <strong>Prince</strong> <strong>Claus</strong> Award in 1998.<br />
José Henrique (Kiko) Goifman (1969, Brazil)<br />
has directed several documentary works, such as<br />
‘Clones, Barbarians and Replicants’ and ‘Tereza’<br />
which was shown at video-festivals all over the<br />
world and received a number of prizes, such as<br />
Best Documentary at the vi Video festival of<br />
Porto Alegre (1993), Best National Video at xvi<br />
Guarnicêde Vídeo in the state of Maranhão,<br />
Brazil, and Best Experimental Documentary,<br />
VideoBrasil International Festival.<br />
Paulin J. Hountondji (1942, Ivory Coast) is<br />
Professor of Philosphy and is based in Benin. He<br />
founded the Inter-African Council for Philosophy,<br />
through which English-speaking and<br />
French-speaking philosophers are brought together,<br />
and where African-based philosphers<br />
and African philosophers in the diaspora can<br />
exchange ideas. He is the author of ‘African<br />
Philosophy: Myth and Reality’ (1996 and 1976).<br />
Paulin Hountondji was awarded a <strong>Prince</strong> <strong>Claus</strong><br />
prize in 1999.<br />
Elias Khoury (1948, Liban) est romancier,<br />
critique littéraire et rédacteur du supplément<br />
littéraire hebdomadaire du principal quotidien<br />
de Beyrouth, ‘Al-Nahar’. Parmi ses œuvres littéraires,<br />
on peut citer ‘Ala Ilaat al Dair’a’ (sur les<br />
relations du cercle) et ‘Al-Jabal al-Saghir’ (la<br />
petite montagne) (1976) qui présente une série<br />
de brefs ‘portraits’ de la guerre civile, basés en<br />
partie sur l’expérience personnelle de l’auteur.<br />
Goretti Kyomuhendo (1965, Uganda) is a writer<br />
and the coordinator of Femrite in Kampala, the<br />
Uganda Women Writers Association. In 1997 she<br />
was awarded a fellowship in the International<br />
Writing Programme of the University of Iowa,<br />
USA. Among her literary publications are the<br />
novels ‘The First Daughter’ (1996) and ‘Secrets No<br />
More’ (1999), the ‘Best Novel of the Year’ of the<br />
National Book Trust of Uganda.<br />
William Kentridge (1955, Afrique du Sud) est<br />
artiste. Ses dessins et ses œuvres d’animation<br />
témoignent d’un profond engagement politique<br />
et social. Il aborde par exemple des sujets tels<br />
que la commission de vérité et de réconciliation<br />
de son pays. Il a exposé aux biennales de Sydney,<br />
de La Havane, de Johannesburg et d’Istanbul et à<br />
la Documenta x. En 1998, le Palais des Beaux-Arts<br />
de Bruxelles a organisé une grande rétrospective<br />
de son œuvre.<br />
Avishai Margalit (1953, Israel) es profesor de<br />
Filosofía en la Universidad Hebrea en Jerusalem.<br />
Es uno de los fundadores del movimiento Paz<br />
Ahora en Israel y autor de La Sociedad Decente<br />
(1996), así como de Idolatría (1992) junto con<br />
Moshe Harberthal. Es también miembro del<br />
Comite de Intercambio de la <strong>Fund</strong>ación Príncipe<br />
<strong>Claus</strong>, asi como del gabinete fundador de Verdad<br />
y Reconciliación.<br />
Abelardo Mena Chicuri (1962, Cuba) ha ejercido<br />
como profesor universitario, crítico de arte<br />
y promotor cultural. Actualmente trabaja como<br />
curador de la colección de arte internacional del<br />
siglo xx del Museo Nacional de Cuba. Trabaja<br />
actualmente en la curaduría conjunta de las exposiciones:<br />
‘Suite Erótica Cubana’, ‘Arquitectura<br />
Cubano Contemporáneo’ y ‘Nueva York-Habana:<br />
Arquitectura 1910-1970’.<br />
Pepetela (1941, Angola) is a writer and Professor<br />
of Urban Sociology at the university in<br />
Luanda. He shows social and political concern<br />
both in his literary work and as a participant in<br />
the public debate in his country. Among his<br />
literary publications are: ‘Mayombe’ (1976), ‘Yaka’<br />
(1984), ‘Caluandas’ (1985) and ’Lueji e os Cães’<br />
(Lueji and the dogs) (1990). Pepetela received a<br />
<strong>Prince</strong> <strong>Claus</strong> Award in 1999.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 77
Claudia Roden was born in Egypt, 1936, lives in<br />
London and is a 1999 <strong>Prince</strong> <strong>Claus</strong> Award laureate.<br />
Roden is a food writer and has conducted research<br />
on Mediterranean and Jewish cookery. Among<br />
her books are: ‘A Book of Middle Eastern Food’<br />
(1968 and 1985), ‘The Book of Jewish Food’ (1997)<br />
and ‘Saffron and Tamarind (1999). Her writings<br />
not only present many recipes, but set out a<br />
history and anthropology of food combined with<br />
many personal experiences of cooks and eaters.<br />
Adriaan van der Staay (1933, the Netherlands)<br />
is Professor of Cultural Politics and Cultural<br />
Critique at Erasmus University in Rotterdam.<br />
In 1990-1992 he was President of the World<br />
Culture Decade (un-unesco, 1987-1996). He held<br />
the position of Director of the Social and Cultural<br />
Planning Office of the Netherlands (1979-1998)<br />
and of the Rotterdam Arts Foundation (1968-<br />
1979). He is a member of the Board of the <strong>Prince</strong><br />
<strong>Claus</strong> <strong>Fund</strong> and Chairman of the 2000 <strong>Prince</strong><br />
<strong>Claus</strong> Awards Committee.<br />
78 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> stimulates and supports<br />
activities in the field of culture and development<br />
by granting awards, funding and<br />
producing publications and by financing and<br />
promoting networks and innovative cultural<br />
activities. Support is given both to persons<br />
and to organisations in African, Asian, Latin<br />
America and Caribbean countries. Equality,<br />
respect and trust are the essential parameters<br />
of such partnerships; quality and innovation<br />
are the preconditions for support.<br />
The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> for Culture and Development<br />
was established to mark the 70th<br />
birthday of HRH <strong>Prince</strong> <strong>Claus</strong> of the Netherlands<br />
on 6 September 1996. It represents an<br />
appreciation of his lifelong efforts stressing<br />
the importance of culture in international<br />
cooperation and of his achievements in this<br />
field.<br />
The <strong>Fund</strong> adopts a broad and dynamic approach<br />
to culture, based on the concept of<br />
constant change. Culture is those values and<br />
processes which invest life with meaning<br />
through professional artistic achievements<br />
and academic work in the humanities. The<br />
<strong>Fund</strong>’s chief interest is in the development of<br />
ideas and ideals, the manner in which people<br />
give form to these ideas and ideals and the<br />
manner in which such ideas and ideals give<br />
form to society.<br />
The <strong>Fund</strong> stimulates exchanges between purveyors<br />
of culture, notably in non-Western<br />
countries, exchanges designed to push back<br />
both national and disciplinary frontiers. Such<br />
exchanges encourage critical reflection on<br />
one’s own culture and that of others, and at<br />
the same time generate cultural self-confidence.<br />
The <strong>Fund</strong> also hopes to contribute to<br />
a critical reflection on the cultural foundations<br />
of international co-operation.<br />
The <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> envisages a worldwide<br />
platform for the intellectual debate on<br />
shared values, in the form of meetings, discussions,<br />
lectures and publications. All too<br />
often this debate is dismissed as useless and<br />
unnecessary. Appreciation and stimulation<br />
will attract greater recognition and esteem,<br />
facilitating the propagation of important<br />
ideas.<br />
The <strong>Prince</strong> <strong>Claus</strong><br />
<strong>Fund</strong><br />
La Fondation <strong>Prince</strong><br />
<strong>Claus</strong><br />
La Fondation <strong>Prince</strong> <strong>Claus</strong> encourage et soutient<br />
des activités dans le domaine de la culture et du<br />
développement, en décernant des prix, en subventionnant<br />
et en publiant des ouvrages et en encourageant<br />
la création de réseaux et des activités<br />
culturelles novatrices. La Fondation accorde son<br />
soutien à des personnes et à des organisations dans<br />
des pays d’Afrique, d’Asie, d’Amérique latine et des<br />
Caraïbes. Egalité, respect et confiance mutuels sont<br />
les principes fondamentaux d’un tel partenariat;<br />
qualité et originalité sont les conditions préalables<br />
au soutien accordé.<br />
La Fondation <strong>Prince</strong> <strong>Claus</strong> pour la Culture et le Développement<br />
a été créé à l’occasion du 70e anniversaire<br />
de SAR le <strong>Prince</strong> <strong>Claus</strong> des Pays-Bas, le 6<br />
septembre 1996; il s’agissait d’honorer son œuvre<br />
et ses efforts constants pour faire reconnaître le<br />
rôle fondamental de la culture dans le cadre de la<br />
coopération internationale.<br />
La Fondation a opté pour une approche large et<br />
dynamique du phénomène culturel. Elle part du<br />
principe que la culture est en constante mutation.<br />
La culture désigne les valeurs et les processus qui<br />
donnent sens à la vie à travers des réalisations artistiques<br />
et des travaux universitaires dans le domaine<br />
des sciences humaines. La Fondation s’intéresse<br />
tout particulièrement au développement d’idées et<br />
d’idéaux, à la manière dont une société leur donne<br />
forme et, inversement, comment ils la modèlent.<br />
La Fondation stimule les echanges entre tous ceux<br />
qui créent la culture sous une forme ou une autre,<br />
notamment dans les pays non-occidentaux. Ces<br />
echanges permettent de dépasser les frontières,<br />
géographiques ou académiques. Ces echanges favorisent<br />
une réflexion critique réciproque sur chacune<br />
des cultures engagées dans ce partenariat et donne<br />
en même temps naissance à une prise de conscience<br />
culturelle. La Fondation espère ainsi contribuer à<br />
une réflexion critique plus générale concernant les<br />
fondements culturels de la coopération internationale.<br />
La Fondation <strong>Prince</strong> <strong>Claus</strong> se propose de créer un<br />
espace mondial pour un débat d’idées sur les valeurs<br />
partagées, et ceci sous la forme de rencontres, de<br />
discussions, de conférences et de publications<br />
d’ouvrages. Ce débat est trop souvent considéré<br />
comme inutile et superflu. Lui accorder une importance<br />
permet au contraire de valoriser les différentes<br />
cultures et de diffuser des idées fondamentales.<br />
<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4 79
La <strong>Fund</strong>ación Príncipe <strong>Claus</strong> fomenta y apoya actividades<br />
en el campo de la cultura y el desarrollo y, con<br />
este fin, concede premios, secunda y edita publicaciones,<br />
promueve actividades culturales innovadoras e<br />
intercambios interculturales. Presta ayuda a personas<br />
y organizaciones en países de Africa, Asia, América<br />
Latina y el Caribe. Igualdad, respeto y confianza son<br />
los principios esenciales entre los integrantes de la<br />
<strong>Fund</strong>ación; calidad y perseverancia son las condiciones<br />
mínimas de apoyo.<br />
La <strong>Fund</strong>ación Príncipe <strong>Claus</strong> para la Cultura y el<br />
Desarrollo se creó con ocasión de los 70 años de<br />
SAR Príncipe <strong>Claus</strong> de los Países Bajos, el 6 de septiembre<br />
de 1996, con el fin de ‘fomentar el entendimiento<br />
de las culturas y promover la interacción<br />
entre cultura y desarrollo’.<br />
La <strong>Fund</strong>ación aplica un concepto amplio y dinámico<br />
de la cultura, basado en el principio de que ésta<br />
cambia permanentemente. La cultura no es solo la<br />
manifestación de la forma de vida cotidiana, sino<br />
también los procesos y valores que dan sentido a la<br />
vida. El interés primordial de la <strong>Fund</strong>ación es el desarrollo<br />
de ideas e ideales y la manera de darles forma.<br />
La <strong>Fund</strong>ación fomenta el intercambio entre los contribuyentes<br />
al desarrollo de la cultura. El fin de estos<br />
intercambios es traspasar las fronteras disciplinarias y<br />
nacionales. Se concede gran importancia a los intercambios<br />
entre individuos portadores de cultura fuera<br />
de los países occidentales. Tales intercambios incitan<br />
a reflexionar críticamente sobre la propia cultura y la<br />
ajena, lo que permite la formación de una conciencia<br />
cultural propia. La <strong>Fund</strong>ación también intenta contribuir<br />
a la reflexión crítica sobre las bases culturales de<br />
la cooperación internacional.<br />
La <strong>Fund</strong>ación es como una plataforma mundial para<br />
el debate intelectual sobre los valores compartidos<br />
por medio de encuentros, discusiones, conferencias y<br />
publicaciones. Este debate es a menudo considerado<br />
como inútil e innecesario. Darle valor y promoverlo<br />
hace que se le reconozca y aprecie, facilitando así la<br />
difusión de ideas.<br />
80 <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Journal # 4<br />
La <strong>Fund</strong>ación<br />
Príncipe <strong>Claus</strong>