Africa and France: Postcolonial Cultures, Migration, and by Dominic Thomas

By Dominic Thomas

This stimulating and insightful publication unearths how elevated keep watch over over immigration has replaced cultural and social creation in theater, literature, or even museum building. Dominic Thomas's research unravels the advanced cultural and political realities of long-standing mobility among Africa and Europe. Thomas questions the try to position strict limits on what it skill to be French or ecu and provides a feeling of what needs to take place to result in a renewed experience of integration and international Frenchness.

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But how can one achieve democracy without people? In conclusion, I would like to juxtapose a number of temporary exhibitions that have been held at the MQB with what we have discussed thus far in relation to the permanent collection. Temporary exhibits have covered a broad range of artistic practices, including sculpture, photography, and print culture. Some of these include Maya: de l’aube au crépuscule [From dawn to dusk] ( June 21–October 10, 2011), La fab- Museology and Globalization 37 riques images [The making of images] (February 16, 2010–July 17, 2011), Dogon (April 5–July 24, 2011), and Maori: leurs trésors ont une âme [Their treasures have a soul] (October 4, 2011–January 22, 2012).

One expects debate and controversy in the process of electing a new president. But there are few places in the world where political and social transition generates the degree of international attention and scrutiny that France does. A cursory glance at the early years of the twenty-first century will confirm this. In the 2002 general elections, the unpopular incumbent president Jacques Chirac gathered sufficient votes to make it through to the run-off only to discover that his opponent would be Jean-Marie Le Pen, who was at the time leader of the extreme right-wing Front National party.

10 The politics of circulation—as it relates to objects and subjects—also of course concerns collective histories of conquest commemoration and memorialization while complicating European debates on the singularity of genealogy. It will therefore come as no surprise that new museological practices have overlapped with these modifications and that museums have addressed the shift in concerns and priorities that accompanied new audiences. ”12 As Anne-Christine Taylor (director of the Department of Education and Research at the MQB) has explained, the Quai Branly Museum centralized collections from the Musée de l’Homme (itself having absorbed materials from the Musée d’ethnographie du Trocadéro, the Muséum national d’histoire naturelle, the Bibliothèque nationale, Bibliothèque SainteGeneviève, and the Musée national de la Marine et d’Ethnographie) and the Musée des arts africains et océaniens (MAAO).

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