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== Strategy ==
+
{{Actualités
 +
|Published=2022-02-07
 +
|Image=cognialex.jpg
 +
|Description=[[Animated Film|erg AnimLAB]] and [[Erg tv|ergTV]] are happy to announce
  
Over the past decade, the erg has established a series of partnerships with institutions in Europe and around the world. These bilateral exchanges allow students to broaden their artistic knowledge while continuing their studies and for teachers to re-examine their practice from new perspectives.
 
Erg's teaching is characterized by its transdisciplinarity and collaboration with numerous institutions and practices. These educational priorities are worked on with the Erg teaching team in conjunction with a program of invitations to personalities from the artistic, scientific and humanities fields, whose presence at the school takes the form of workshops, seminars and public interventions.
 
These partnerships contribute to positioning the school as a flagship institution for teaching and artistic research in Europe, and to setting up and promoting projects that reinforce the erg's recognition as a pedagogical laboratory. The choice of partners is therefore based on the possibilities of working on innovative and complementary practices, thus aiming to enhance the crossbreeding of cultures, to develop a transversality between the mediums offered in the erg curriculum and to deepen the questions naturally raised by an artistic cooperation between different cultures. Thus, we are attentive to developing together, through these numerous exchanges within and outside the EU, a reflection on an alternative to Eurocentrism (by privileging a plural and non-ethnocentric point of view), thus building a transcultural contemporary pedagogical artistic project. Partnerships can therefore be set up according to different timeframes: in the very long term, thus perpetuating student and teacher mobilities in a constant flow; sometimes in the medium term when it is a question of setting up specific and punctual teaching structures. Thus, our long-standing bilateral agreement with Besançon has made it possible, among other things, to initiate and develop the European project Teaching To Transgress Toolbox, in the framework of strategic partnerships, in consortium with the University of Gothenburg.
 
The teachers are fully involved in the bilateral agreement process and ensure the greatest possible diversity, thus including in the erg's pedagogical project the know-how and good practices implemented within our partner institutions.
 
In collaboration with its academic advisors, the Erg strives to offer all students an education that implements measures aimed at eliminating or reducing the material, pedagogical, cultural, social and psychological barriers encountered. Here again, the partner's position on these issues is essential and is the subject of constant vigilance.
 
As far as student mobility is concerned, the erg has always fully integrated academic recognition and the application of ECTS rules, thus guaranteeing great fluidity and optimization of exchange stays, whether for courses or internships. Students are selected on the basis of their ability to develop their personal artistic project in the host institution and to confront practices that are situated in theoretical and formal risk zones. The erg being in essence a place of research, it can only be anchored in a sustainable way in the Erasmus+ program, by decompartmentalizing pedagogies and by stimulating continuous interaction with other places, spaces, institutional or not.
 
  
== Incoming students ==
 
  
In order to take part to the Erasmus+ program and study at erg, you need to meet the following requirements :
+
'''Thursday 10.2.22 3pm'''
  
A/ To be a student registered in a higher education program leading to a recognized diploma (including doctorate) in one of the participating countries.
+
Lecture by director Dagmawi Yimer and discussion Dagmawi Yimer / Francesca Cogni
  
B/ To be a citizen of those countries (or hold a continuous (“A”) or permanent (“P”) passport)  
+
(online, in english)
  
C/ To have successfully completed at least the two first years in your institution.
+
session in 0P09 and live streamed on https://youtu.be/zzbkOVaPhhc
  
If you wish to spend a semester at erg as an international / Erasmus student, please contact your school’s Erasmus coordinator to ensure there is an agreement between erg and your institution.
 
  
== Application Documents ==
+
Dagmawi Yimer will present his work and his practice of filmmaking, storytelling and activism.
 +
This session, open to all students, teachers and guests, is part of a series of guests lectures, in the frame of the workshops “Animation as contre-champ” facilitated by Francesca Cogni.
  
*[[Fichier:INCOMING APPLICATION FORM 2021-2022.odt|vignette]]
+
“Dagmawi Yimer gives migrants a voice with his cinematic works—well aware that the documentation of their stories is often neglected and forgotten. Following on from his own biography—the director, who was born in Addis Ababa, arrived in Lampedusa in the summer of 2006 and is involved, among other things, in the ‘Archivio delle memorie migranti’—he focuses on the situation of migrants or racism in Italy. His short and longer film works stand in the aesthetic tradition of Italian political documentary films and focus on the oral and visual memory of migration.
 +
In 2010, Dagmawi Yimer returns to Lampedusa to capture the atmosphere on the island for his work Nothing but the sea. Due to its proximity to North Africa, Lampedusa is the first destination for many migrants who flee across the Mediterranean, and the island is accordingly present in international media coverage, but also in the xenophobic propaganda of Italian politicians.  
  
*Portfolio (digital only)
+
In Nothing but the sea, Dagmawi Yimer, who in 2006 only saw the island through the windows of the reception camp, confronts his own migrant history—but also that of others who fled—with the realities of the islanders. It becomes clear that the experience of migration, the departure and the hopes associated with it, as well as the sea, have always shaped the history of the island and its inhabitants. The shooting of Nothing but the sea in 2010 was marked by the agreement negotiated between the former Italian Prime Minister Berlusconi and the Libyan dictator Muammar al-Ghadhafi, which made it impossible for many refugees to cross the Mediterranean Sea. 
  
*[[Fichier:LA -Incoming.odt|vignette]]
+
ASMAT – Names in memory of all victims of the sea on the other hand, was realised in 2015 and addresses the experience of the terrible tragedies that took place in the Mediterranean from 2011 onwards, in particular the boat accident of 3 October 2016, in which 366 migrants lost their lives. The film mentions the names of all the people who died in the accident and reminds us that behind these names lie stories, lives and meanings.  
  
*Curriculum Vitae
+
In Waiting, his latest film, Dagmawi Yimer deals with the state of waiting that characterises the lives of so many refugees. It becomes clear that keeping people waiting is always a way to practice domination and power. The film starts from a conversation between the filmmaker and an anthropologist and explores the theme of waiting through the testimonies of three migrant men in Europe. The testimonies about waiting appear in different forms: letter writing, painting and poetic research. With waiting, Dagmawi Yimer’s intent is to integrate academic knowledge into migrant stories and make them accessible to a broader audience by a combination of words and images.”
  
*2 ID photos
+
[from “The Sea. Sounds & Storytelling” Istituto svizzero di cultura 2020]
  
 +
***************
  
-All documents must be signed and approved by your school and sent '''by email only''' to [[Sammy Del Gallo]] - International Relations : [mailto:erasmus@erg.be email me]-
+
Animation as contre-champ, facilitated by [[Francesca Cogni]]
  
== Deadline for admission ==
+
The workshop explores animation as a possibility for contre-champ and couter-narration, revealing hidden images, which flips the point of view, and changes the dominant narration.
  
'''1st of May 2022''' for 1st semester ( September - January ) or full academic year (no incoming students in 2nd semester only)'''
+
In 1942, Albert Camus wrote the novel L'Étranger, a story about Meursault, a man living in Algerie, who kills an Arab man. The story is focused on Meursault, the act he committed, the court. 
 +
The died man, a young Arab, not even has a name. He is an anonyme character, without history. 
 +
Kamel Daoud, an Algerian writer, published in 2013 Meursault, contre-enquête, a novel which tells the story of L’Étranger from the perspective of the brother of the killed Arab man.  Suddenly the protagonist has a name and a story: it is the story of Moussa, told by his brother Haroun.
 +
A mirrored story talking about the omitted part in Camus’ book, who was a pied-noir, born in Algerie form a French family in colonial times. Daoud tries to rebalance the story, giving a name, a body and a story to one of the main character of the novel. 
 +
This is not only a literary experiment, but also a necessary and radical change of perspective on colonialism and representation: give another point of view, listen to the other side of the story: the colonised.
  
 +
Reflecting on colonial history and current representation of racialized and indigenous people in western society, the workshop will build an open laboratory to investigate together - through animation - the gaze on others, the relations with other’s stories, the positioning and awareness on colonial history affecting our society until today, in the construction of identities and systemic racism.
  
- For non-French speaking students: CEFR level B1 is recommended as most of our courses are taught in French -
+
Animation can break the unique-narration, multiplying points of views and voices and perspectives on History and present time. Filling the gaps, adding contre-champs, details, voices, stories. 
 +
In a society where images are compulsory to “create” the reality of a fact which reverberates into political narrations, producing and showing different, forgotten, hidden images can radically change the narration of the history and of present time, assuming a political value. 
  
== [[Guide for incoming students|Download the Guide for incoming students]] ==
+
We will also approach a methodology, the way of doing that. How do we, as artists and animators, face this? How do we position ourselves - with our background, privileges, tools, thoughts? How do we face the “otherness”? How to respect individuals, avoiding an extractivist approach - of informations, images, contents? To whom does a story belong? Our work as artist can not be neutral. It concerns many political questions. We are part of the process while we work, we do play a role, we may reproduce the system we want to call in question in our work.
 
+
}}
== Plan of studies ==
 
 
 
== BACHELORS ==
 
 
 
[[Fichier:PLAN OF STUDIES BA2.pdf|aucun]]
 
 
 
[[Fichier:PLAN OF STUDIES BA3.pdf|aucun]]
 
 
 
== MASTERS ==
 
 
 
[[Fichier:PLAN OF STUDIES INCOMING MASTERS.docx.pdf|aucun]]
 
 
 
== [[Inclusive education at Erg]]==
 
 
 
 
 
----
 
 
 
== Étudiant.e.s sortant.e.s / Outgoing students ==
 
 
 
Les étudiant.e.s peuvent partir en échange international en Bac3 et Master1. En Master 1, les étudiant.e.s peuvent postuler pour une année complète à l’étranger. En Bac3, l’échange doit impérativement s’effectuer lors du 1er quadrimestre (septembre-février). Les étudiant.e.s conviennent avec l’erg d’un projet d’étude précis dans l’établissement d’accueil. A la fin de leur séjour ils doivent avoir validé le nombre d’ECTS demandés. Tout.e étudiant.e ne peut bénéficier qu’une seule fois de la bourse ERASMUS au sein d’un même cycle d’études, quelle que soit la durée du séjour. Les candidat.e.s Erasmus doivent également adresser à leurs enseignant.e.s d’Atelier Pluridisciplinaire et d’orientation une lettre de candidature détaillant leur motivation à partir en séjour d’échange, un portfolio artistique de leurs travaux récents et un descriptif de leur projet personnel. Après avoir examiné les dossiers de candidatures des étudiant.e.s, les enseignant.e.s d’orientation et d’AP, réunis en commission, marquent ou non leur accord à la demande d’échange et, en cas de candidatures multiples à un même établissement, sélectionne le/la candidat.e autorisé.e à postuler.
 
Si le relevé de notes de l'étudiant.e présente après la session de janvier plusieurs échecs ou 1 échec supérieur à 2 points de balance (en-dessous de 8/20), la demande de candidature est automatiquement refusée.
 
 
 
étape 1 : télécharger, compléter et remettre le formulaire de candidature interne
 
 
 
étape 2 : soumettre par email un portfolio, accompagné d’une lettre de motivation et d’un descriptif du projet artistique personnel
 
 
 
étape 3 : après autorisation de la commission d’enseignant.e.s, envoyer l’ensemble des documents requis à l’institution choisie, dans les délais impartis
 
 
 
étape 4 : mise en ordre du dossier administratif à l’erg (remise de la fiche de réinscription et du plan d’études 2022-2023, paiement du minerval annuel)
 
 
 
'''---------------------------------------'''
 
 
 
Students can go on an international exchange in Bac3 and Master 1. In Master 1, students can apply for a full year abroad. In Bac3, the exchange must take place during the 1st quarter (September-February). Students agree with the erg on a specific study project in the host institution. At the end of their stay they must have validated the number of ECTS requested. All students may only benefit from the ERASMUS grant once in the same course of study, regardless of the length of their stay. Erasmus candidates must also send their Multidisciplinary and Orientation Workshop teachers a letter of application detailing their motivation to go on an exchange stay, an artistic portfolio of their recent work and a description of their personal project. After examining the students' application files, the guidance and AP teachers, meeting in committee, decide whether or not to approve the exchange request and, in the case of multiple applications to the same institution, select the candidate authorized to apply. If the student's transcript presents several failures or 1 failure greater than 2 balance points (below 8/20) after the January session, the application is automatically rejected.
 
 
 
step 1: download, complete and submit the internal application form
 
 
 
step 2: submit by email a portfolio, accompanied by a cover letter and a description of the personal artistic project
 
 
 
step 3: after authorization by the teacher board, send all the required documents to the chosen institution within the prescribed time frame
 
 
 
step 4: putting the administrative file in order at the erg (submission of the re-registration form and study plan 2019-2020, payment of the annual fee)
 
 
 
== Partenaires / Partners ==
 
 
 
===Albanie / Albania===
 
 
 
– [http://www.epoka.edu.al/home.html Epoka University]
 
 
 
===Allemagne / Germany===
 
 
 
– [https://www.adbk.de/de/ Akademie der Bildenden Künste München]
 
 
 
– [https://www.hbk-bs.de/en/ Braunschweig University of Art]
 
 
 
– [http://kd.hfg-karlsruhe.de/index.php?lan=en HFG Staatliche Hochschule für Gestaltung Karlsruhe – Faculty of Communication Design]
 
 
 
– [https://www.hfbk-hamburg.de/en/ Hochschule fur Bildende Künste Hambourg]
 
 
 
– [https://www.merz-akademie.de/ Merz Akademie - Stuttgart]
 
 
 
– [http://www.kh-berlin.de/ Weißensee Kunsthochschule Berlin]
 
 
 
===Autriche / Austria===
 
 
 
– [http://www.dieangewandte.at/ University of Applied Arts of Vienna, Master Art & Science]
 
 
 
===Belgique / Belgium===
 
 
 
– [http://www.luca-arts.be/ LUCA, School of Arts]
 
 
 
===Brésil / Brazil===
 
 
 
– [https://ufmg.br/ Universidade Federal de Minas Gerais]
 
 
 
===Canada===
 
 
 
– [http://www.concordia.ca/fr.html University of Concordia]
 
 
 
– [https://uqam.ca/ UQAM]
 
 
 
===Chili / Chile===
 
 
 
– [https://www.pucv.cl/ Pontificia Universidad Católica de Valparaíso]
 
 
 
===Croatie / Croatia===
 
 
 
[https://uniri.hr/en/home/  University of Rijeka]
 
 
 
===Danemark / Denmark===
 
 
 
– [https://kunstakademiet.dk/en/search/english The Royal Danish Academy of Fine Arts, Schools of Visual Art]
 
 
 
===Espagne / Spain===
 
 
 
– [https://www.ehu.eus/eu/home Universidad del País Vasco, Facultad de Bellas Artes]
 
 
 
– [http://www.upv.es/ Universidad Politécnica de Valencia, Facultad de Bellas Artes ]
 
 
 
===Finlande / Finland===
 
 
 
– [http://arts.aalto.fi/en/ Aalto University School of Arts, Design and Architecture]
 
 
 
– [http://www.uniarts.fi/en Uniarts ]
 
 
 
===France===
 
 
 
– [https://cca-martinique.com/ Campus Caribéen des Arts]
 
 
 
– [https://www.ecv.fr/ École de Communication Visuelle (ECV)]
 
 
 
– [http://esadmm.fr/ École supérieure d’art & de design  Marseille-Méditerranée]
 
 
 
– [http://www.ebabx.fr/fr/ École d’enseignement supérieur d’art de Bordeaux]
 
 
 
– [http://www.eesi.eu/site/index.php École européenne supérieure de l’image, Angoulême et Poitiers]
 
 
 
– [http://www.eesab.fr/ École européenne supérieure d’art de Bretagne]
 
 
 
– [https://www.ensad.fr/ École nationale supérieure des arts décoratifs]
 
 
 
– [http://www.ensa-dijon.fr/ École nationale supérieure d’art de Dijon]
 
 
 
– [http://www.ensba-lyon.fr/ École nationale supérieure des beaux-arts de Lyon]
 
 
 
– [http://www.ensa-nancy.fr/ École nationale supérieure d’arts de Nancy]
 
 
 
– [http://www.ensapc.fr/fr/ École nationale supérieure d’arts de Paris Cergy]
 
 
 
– [http://www.esad-gv.fr/fr/ École supérieure d’art et design, Grenoble / Valence]
 
 
 
– [http://www.esba-talm.fr/ École supérieure des beaux-arts, Tours / Angers / Le Mans ]
 
 
 
– [https://www.esareunion.com/ ESA Réunion]
 
 
 
– [http://www.hear.fr/ Haute école des arts du Rhin (HEAR)]
 
 
 
– [http://www.isba-besancon.fr/ Institut supérieur des beaux-arts, Besançon ]
 
 
 
– [https://www.villa-arson.org/ Villa Arson]
 
 
 
===Hong Kong===
 
 
 
– [http://www.hkdi.edu.hk/en/ Hong Kong Design Institute]
 
 
 
===Hongrie / Hungary===
 
 
 
– [http://www.mome.hu/en/ Moholy-Nagy University of Art and Design Budapest]
 
 
 
===Islande / Iceland===
 
 
 
– [https://lhi.is/en/node/12295 Iceland Academy of the Arts, Department of Design & Architecture]
 
 
 
===Italie / Italy===
 
 
 
– [https://www.abaq.it/ Accademia di Belle Arti dell’Aquila]
 
 
 
– [http://www.ababo.it/ABA/ Accademia di Belle Arti Bologna]
 
 
 
– [https://www.accademiadibrera.milano.it/ Accademia di Belle Arti di Brera, Milano]
 
 
 
– [http://www.isiaurbino.net/home/ ISIA Urbino]
 
 
 
– [http://www.naba.it/ NABA Milano]
 
 
 
– [https://www.unirufa.it/en/ Rome University of Fine Arts ]
 
 
 
===Lituanie / Lithuania===
 
 
 
– [http://www.vda.lt/en/ Vilnius Academy of Arts]
 
 
 
===Mexique / Mexico===
 
 
 
– [https://www.esmeralda.edu.mx/ Escuela Nacional de Pintura, Escultura y Grabado «La Esmeralda»]
 
 
 
===Monaco===
 
 
 
– [http://www.pavillonbosio.com/ Pavillon Bosio, École Supérieure d’Arts Plastiques de la Ville de Monaco]
 
 
 
===Norvège / Norway===
 
 
 
– [http://www.kit.ntnu.no/en/ Trondheim Academy of Fine Art]
 
 
 
===Pays Bas / Netherlands===
 
 
 
– [https://www.kabk.nl/ Koninklijke Academie van Beeldende Kunsten]
 
 
 
- [http://www.pzwart.nl/experimental-publishing/ Piet Zwart Institute ]
 
 
 
===Portugal===
 
 
 
– [https://www.ulisboa.pt/ Universidade de Lisboa, Faculdade de Belas Artes]
 
 
 
===République Tchèque / Czech Republic===
 
 
 
– [https://www.vutbr.cz/en/ Brno University of Technology]
 
 
 
===Suède / Sweden===
 
 
 
– [http://www.khm.lu.se/ Malmö Art Academy, Lund University]
 
 
 
===Suisse / Switzerland===
 
 
 
– [https://www.hkb.bfh.ch/ Bern University of Applied Sciences]
 
 
 
– [https://www.hesge.ch/head/ HEAD Genève]
 
 
 
- [https://www.edhea.ch/ Edhea]
 
 
 
== Bourses de mobilité ==
 
 
 
[[Fichier:FN2019 taux.pdf|vignette]]
 
 
 
[[Fichier:TAUX ERASMUS+ 2018 (1).pdf|vignette]]
 
 
 
 
 
== Mobilité du personnel académique ==
 
 
 
Procédures OUT enseignants
 
 
 
Missions d’enseignement (STA)
 
 
 
Cette action permet au personnel enseignant dans un établissement d'enseignement supérieur et au personnel invité d'entreprise* d’effectuer une période d’enseignement dans un établissement d'enseignement supérieur d’un autre pays participant au Programme.
 
 
 
Les objectifs de la mobilité :
 
 
 
• encourager les établissements d’enseignement supérieur à élargir et enrichir l’éventail et le contenu des cours proposés
 
 
 
• permettre aux étudiant·e·s qui ne sont pas en mesure de participer aux programmes de mobilité de bénéficier des connaissances et de l’expertise d’enseignant·e·s et d’expert·e·s d'autres pays européens
 
 
 
• promouvoir l’échange d’expertise et d’expériences concernant les méthodes pédagogiques
 
 
 
• créer des liens entre établissements d'enseignement supérieur ainsi qu’avec les entreprises
 
 
 
 
 
Modalités:
 
 
 
• La sélection du personnel mobile relève de la compétence des institutions et doit être opérée de façon transparente, équitable et cohérente. Dans le cas d’expert·e·s du monde de l’entreprise, la mission de mobilité est lancée par une invitation de l'établissement d'enseignement supérieur à l’expert·e.
 
 
 
• Documents:
 
 
 
Les établissements d’enseignement supérieur, les entreprises partenaires et l’enseignant·e/expert·e conviennent à l'avance du programme des cours dispensés: programme d’enseignement. A la fin du séjour, l’institution d’accueil délivre à l’enseignant·e/expert·e une attestation de séjour. L’enseignant·e/expert·e conclut sa mission en rédigeant un rapport de mobilité.
 
 
 
• Aspects financiers :
 
 
 
La bourse est gérée par l’établissement d’enseignement supérieur d’origine dans le cas d’enseignant·e·s et par l’établissement d’accueil dans le cas d’expert·e·s invité·e·s, elle peut couvrir les frais de voyage et de séjour. Les modalités liées au financement de la mobilité doivent être précisées dans un contrat de bourse.
 
 
 
 
 
 
 
[[Fichier:ECHE Template FR-erg.jpg|vignette|Erasmus Charter]]
 
 
 
[[Catégorie: English]]
 

Version du 8 février 2022 à 16:26

Actualités
Publiée 2022-02-07
Cognialex.jpg

erg AnimLAB and ergTV are happy to announce


Thursday 10.2.22 3pm

Lecture by director Dagmawi Yimer and discussion Dagmawi Yimer / Francesca Cogni

(online, in english)

session in 0P09 and live streamed on https://youtu.be/zzbkOVaPhhc


Dagmawi Yimer will present his work and his practice of filmmaking, storytelling and activism. This session, open to all students, teachers and guests, is part of a series of guests lectures, in the frame of the workshops “Animation as contre-champ” facilitated by Francesca Cogni.

“Dagmawi Yimer gives migrants a voice with his cinematic works—well aware that the documentation of their stories is often neglected and forgotten. Following on from his own biography—the director, who was born in Addis Ababa, arrived in Lampedusa in the summer of 2006 and is involved, among other things, in the ‘Archivio delle memorie migranti’—he focuses on the situation of migrants or racism in Italy. His short and longer film works stand in the aesthetic tradition of Italian political documentary films and focus on the oral and visual memory of migration. In 2010, Dagmawi Yimer returns to Lampedusa to capture the atmosphere on the island for his work Nothing but the sea. Due to its proximity to North Africa, Lampedusa is the first destination for many migrants who flee across the Mediterranean, and the island is accordingly present in international media coverage, but also in the xenophobic propaganda of Italian politicians.

In Nothing but the sea, Dagmawi Yimer, who in 2006 only saw the island through the windows of the reception camp, confronts his own migrant history—but also that of others who fled—with the realities of the islanders. It becomes clear that the experience of migration, the departure and the hopes associated with it, as well as the sea, have always shaped the history of the island and its inhabitants. The shooting of Nothing but the sea in 2010 was marked by the agreement negotiated between the former Italian Prime Minister Berlusconi and the Libyan dictator Muammar al-Ghadhafi, which made it impossible for many refugees to cross the Mediterranean Sea. 

ASMAT – Names in memory of all victims of the sea on the other hand, was realised in 2015 and addresses the experience of the terrible tragedies that took place in the Mediterranean from 2011 onwards, in particular the boat accident of 3 October 2016, in which 366 migrants lost their lives. The film mentions the names of all the people who died in the accident and reminds us that behind these names lie stories, lives and meanings.

In Waiting, his latest film, Dagmawi Yimer deals with the state of waiting that characterises the lives of so many refugees. It becomes clear that keeping people waiting is always a way to practice domination and power. The film starts from a conversation between the filmmaker and an anthropologist and explores the theme of waiting through the testimonies of three migrant men in Europe. The testimonies about waiting appear in different forms: letter writing, painting and poetic research. With waiting, Dagmawi Yimer’s intent is to integrate academic knowledge into migrant stories and make them accessible to a broader audience by a combination of words and images.”

[from “The Sea. Sounds & Storytelling” Istituto svizzero di cultura 2020]

Animation as contre-champ, facilitated by Francesca Cogni

The workshop explores animation as a possibility for contre-champ and couter-narration, revealing hidden images, which flips the point of view, and changes the dominant narration.

In 1942, Albert Camus wrote the novel L'Étranger, a story about Meursault, a man living in Algerie, who kills an Arab man. The story is focused on Meursault, the act he committed, the court.  The died man, a young Arab, not even has a name. He is an anonyme character, without history.  Kamel Daoud, an Algerian writer, published in 2013 Meursault, contre-enquête, a novel which tells the story of L’Étranger from the perspective of the brother of the killed Arab man.  Suddenly the protagonist has a name and a story: it is the story of Moussa, told by his brother Haroun. A mirrored story talking about the omitted part in Camus’ book, who was a pied-noir, born in Algerie form a French family in colonial times. Daoud tries to rebalance the story, giving a name, a body and a story to one of the main character of the novel.  This is not only a literary experiment, but also a necessary and radical change of perspective on colonialism and representation: give another point of view, listen to the other side of the story: the colonised.

Reflecting on colonial history and current representation of racialized and indigenous people in western society, the workshop will build an open laboratory to investigate together - through animation - the gaze on others, the relations with other’s stories, the positioning and awareness on colonial history affecting our society until today, in the construction of identities and systemic racism.

Animation can break the unique-narration, multiplying points of views and voices and perspectives on History and present time. Filling the gaps, adding contre-champs, details, voices, stories.  In a society where images are compulsory to “create” the reality of a fact which reverberates into political narrations, producing and showing different, forgotten, hidden images can radically change the narration of the history and of present time, assuming a political value. 

We will also approach a methodology, the way of doing that. How do we, as artists and animators, face this? How do we position ourselves - with our background, privileges, tools, thoughts? How do we face the “otherness”? How to respect individuals, avoiding an extractivist approach - of informations, images, contents? To whom does a story belong? Our work as artist can not be neutral. It concerns many political questions. We are part of the process while we work, we do play a role, we may reproduce the system we want to call in question in our work.