{"id":29191,"date":"2019-07-10T08:28:28","date_gmt":"2019-07-10T07:28:28","guid":{"rendered":"http:\/\/3.230.254.106\/?post_type=magazines&p=29191"},"modified":"2020-11-17T13:32:32","modified_gmt":"2020-11-17T13:32:32","slug":"beauty-and-power-in-black-culture","status":"publish","type":"magazines","link":"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/","title":{"rendered":"Beaut\u00e9 et puissance de la culture capillaire noire"},"content":{"rendered":"

Akosua Adoma Owusu est une cin\u00e9aste ghan\u00e9o-am\u00e9ricaine au sens le plus large du terme. Elle raisonne et pr\u00e9sente son travail dans le cadre du grand format qu\u2019exige le cin\u00e9ma. Son th\u00e8me est un m\u00e9lange hybride de narrations politiques et profond\u00e9ment intimes autour de la mani\u00e8re dont nous percevons l\u2019identit\u00e9 noire et la fa\u00e7on dont elle est d\u00e9form\u00e9e, appropri\u00e9e et ni\u00e9e. \u00c0 la mani\u00e8re d\u2019un collage, elle invente des histoires en m\u00e9langeant paysages urbains locaux, int\u00e9rieurs de salon de coiffure et mouvement des corps \u00e9voluant entre ces espaces. La pr\u00e9sentation de ses \u0153uvres dans un environnement institutionnel comme le CCA Wattis Centre for Contemporary Arts de San Francisco contraste avec les moments d\u2019intimit\u00e9 captur\u00e9s, comme celui d\u2019enfants s\u2019endormant alors que leurs cheveux sont en train d\u2019\u00eatre tress\u00e9s, ou d\u2019une femme assise dans un fauteuil de salon de coiffure avec des bigoudis. Elle nous incite \u00e0 nous rapprocher de l\u2019\u00e9cran et de la sc\u00e8ne, nous donne envie de faire partie int\u00e9grante de l\u2019histoire, touch\u00e9s par le cr\u00e9pitement de l\u2019audio dans Split Ends <\/em>(2012) \u2013\u00a0qui a remport\u00e9 le prix Tom Berman du r\u00e9alisateur le plus prometteur au festival de cin\u00e9ma Ann Arbor Film Festival\u00a0\u2013 ou d\u2019\u00eatre dans la foule dans Pelourinho: They Don\u2019t Really Care About Us <\/em>(2019).<\/em><\/p>\n

\"\"<\/a>

6) Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \u00ab\u00a0Split Ends, I Feel Wonderful\u201d [detail], 2012; Courtesy of the artist; Photo: Johnna Arnold<\/p><\/div>Owusu op\u00e8re selon une pratique rigoureuse que l\u2019on identifie clairement dans son approche de la trilogie\u00a0: Me Broni Ba <\/em>(2009), Split Ends <\/em>(2012) et White Afro <\/em>(2019). <\/em>Dans Me Broni Ba<\/em>, par exemple, les fluctuations de l\u2019action nous permettent de saisir davantage de d\u00e9tails et de mieux percevoir la complexit\u00e9 de la critique autour de la beaut\u00e9 des femmes. On est tent\u00e9 de faire une pause et de r\u00e9fl\u00e9chir aux questions qu\u2019elle soul\u00e8ve. Le r\u00e9cit de l\u2019\u00e9l\u00e9vation des standards de beaut\u00e9 europ\u00e9en au-dessus des standards africains et de la diaspora africaine est un leitmotiv qui revient dans les films r\u00e9alis\u00e9s par d\u2019autres r\u00e9alisateurs noirs (par ex. le court m\u00e9trage de 2005 de Kiri Davis, A Girl like Me, <\/em>et le documentaire de 2008 de Regina Kimbell, My Nappy Roots: A Journey Through Black Hair-itage<\/em>). Au sein de la trilogie, Me Broni Ba<\/em> parvient particuli\u00e8rement \u00e0 capturer ce que Maya Deren appelait les \u00ab\u00a0accidents contr\u00f4l\u00e9s\u00a0\u00bb\u00a0: la petite fille dont on tresse les cheveux et qui s\u2019endort\u00a0; des b\u00e9b\u00e9s qui pleurent, des coqs qui chantent. La cam\u00e9ra d\u2019Owusu est un intrus exigeant dans ces sc\u00e8nes domestiques prises sur le vif qui interpelleraient toute personne ayant des anc\u00eatres noirs.<\/p>\n

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Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \u00ab\u00a0White Afro\u201d [detail], 2019; Courtesy of the artist; Photo: Johnna Arnold<\/p><\/div>L\u2019approche plus exp\u00e9rimentale d\u2019Owusu dans White Afro <\/em>(2019), le dernier chapitre de la trilogie, constitue une fin pertinente de la s\u00e9rie. D\u2019un c\u00f4t\u00e9, ses sc\u00e8nes nous captivent \u00e0 travers le style narratif PBS (Public Broadcasting Service) et, de l\u2019autre, l\u2019envoutante relecture de l\u2019exp\u00e9rience directe de sa m\u00e8re (dont c\u2019est la v\u00e9ritable voix) qui apprend les techniques de coiffures \u00e0 Alexandrie, en Virginie, dans le Sud. Malgr\u00e9 les grandes diff\u00e9rences de styles de cette trilogie, il existe une interaction fascinante des identit\u00e9s noires qui relie en quelque sorte les films entre eux, leurs fils conducteurs respectifs maintenant intacte chaque histoire.<\/p>\n

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Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \u00ab\u00a0Me Broni Ba\u201d [detail], 2009; Courtesy of the artist; Photo: Johnna Arnold<\/p><\/div>Le mouvement agit\u00e9 des prises de vue de la cam\u00e9ra cr\u00e9e une distorsion de la perception qui nous incite \u00e0 la fois \u00e0 nous rapprocher et \u00e0 nous tenir \u00e0 l\u2019\u00e9cart. Int\u00e9grant des h\u00e9ros noirs am\u00e9ricains d\u00e9chus tels que Bill Cosby et Michael Jackson, l\u2019exposition active un m\u00e9canisme int\u00e9ressant qui nous incite \u00e0 nous rapprocher de l\u2019action se d\u00e9roulant \u00e0 l\u2019\u00e9cran tout en \u00e9tant repouss\u00e9 par le choix des c\u00e9l\u00e9brit\u00e9s. C\u2019est un moment propice \u00e0 la r\u00e9flexion sur les histoires intimes, mais aussi sur des probl\u00e9matiques politiques plus larges. Les secousses de la cam\u00e9ra d\u2019Owusu nous relient \u00e0 elle en tant que r\u00e9alisatrice. Laissant libre cours \u00e0 sa triple conscience \u00e0 travers son propre corps au travail (depuis l\u2019autre c\u00f4t\u00e9 de la cam\u00e9ra) qui amplifie les couches audio multiples, l\u2019agitation de la cam\u00e9ra et la rapidit\u00e9 de l\u2019animation, elle r\u00e9affirme l\u2019importance du corps noir et de son interaction dans l\u2019espace. <\/strong>Dans Pelourinho: They Don\u2019t Really Care About Us<\/em>, elle soul\u00e8ve la question de la double conscience \u00e0 travers une lettre \u00e9crite par W.E.B Dubois \u00e0 l\u2019ambassade du Br\u00e9sil dans laquelle il demande pourquoi les Noirs-Am\u00e9ricains se sont vu refuser l\u2019entr\u00e9e au Br\u00e9sil en tant que touristes. Cette r\u00e9\u00e9criture opportune de la missive passionn\u00e9e de Dubois nourrit la r\u00e9flexion dans le climat actuel de violations des droits \u00e0 l\u2019immigration, des droits des femmes, et tout particuli\u00e8rement des corps des personnes noires et m\u00e9tisses.<\/p>\n

\u00a0<\/strong><\/p>\n

L\u2019exposition \u00ab\u00a0Welcome to the Jungle\u00a0\u00bb<\/strong> \u00e9tait \u00e0 voir au<\/strong> CCA Wattis Centre for Contemporary Arts<\/strong><\/a>, \u00e0 San Francisco, \u00c9tats-Unis, jusqu\u2019au 27 juillet 2019.<\/strong><\/p>\n

 <\/p>\n

Akosua Adoma Owusu<\/strong> (n\u00e9e le 1er janvier 1984) est une cin\u00e9aste, productrice et r\u00e9alisatrice ghan\u00e9o-am\u00e9ricaine dont les films et les installations abordent les conflits d\u2019identit\u00e9 des immigr\u00e9s africains aux \u00c9tats-Unis, dot\u00e9s d’une \u00ab\u00a0triple conscience\u00a0\u00bb. Owusu r\u00e9interpr\u00e8te la notion de \u00ab\u00a0double conscience\u00a0\u00bb d\u00e9velopp\u00e9e par Du Bois en cr\u00e9ant un troisi\u00e8me espace cin\u00e9matique ou conscience qui repr\u00e9sente diverses identit\u00e9s, dont celles des femmes, des queers et des immigrants am\u00e9ricains dans leurs interactions avec les cultures africaines et les cultures am\u00e9ricaines blanche et noire.<\/em><\/p>\n

 <\/p>\n

Nan Collymore<\/em><\/strong> est auteure et programmatrice de manifestations artistiques et cr\u00e9atrice de bijoux en cuivre \u00e0 Berkeley, en Californie. N\u00e9e \u00e0 Londres, elle vit aux \u00c9tats-Unis depuis 2006.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Ce texte a \u00e9t\u00e9 initialement publi\u00e9 dans la seconde \u00e9dition sp\u00e9ciale de C& #Detroit et a \u00e9t\u00e9 command\u00e9 dans le cadre du projet \u00ab\u00a0Show me your Shelves\u00a0\u00bb, financ\u00e9 par et faisant partie de la campagne d\u2019une ann\u00e9e \u00ab\u00a0Wunderbar Together\u00a0\u00bb (\u00ab\u00a0Deutschlandjahr USA\u00a0\u00bb\/The Year of German-American Friendship) du minist\u00e8re f\u00e9d\u00e9ral des Affaires \u00e9trang\u00e8res.\u00a0<\/em><\/p>\n

 <\/p>\n

Traduit de l’anglais par Myriam Ochoa-Suel.\u00a0<\/em><\/p>","protected":false},"featured_media":29192,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_links_to":"","_links_to_target":""},"tags":[2682,6437,1235,3584],"magazine-type":[25],"class_list":["post-29191","magazines","type-magazines","status-publish","has-post-thumbnail","hentry","tag-akosua-adoma-owusu","tag-cca-wattis-centre-for-contemporary-arts","tag-nan-collymore","tag-show-me-your-shelves","magazine-type-rezension","topic-type-mag-black-cultures-matter"],"core_raw":{"post_title":"[:de]Beauty and Power in Black Hair Culture[:en]Beauty and Power in Black Hair Culture[:fr]Beaut\u00e9 et puissance de la culture capillaire noire[:]","post_content":"[:de]Akosua Adoma Owusu is a Ghanaian-American filmmaker in the broadest sense. She thinks and presents her work in the large scale format that cinema requires. Her subject matter is a hybrid of political and deeply intimate narratives around how we see Blackness and how Blackness is misrepresented, appropriated, and negated. In collage style, she creates stories by mixing local cityscapes with salon interiors and the movement of bodies between those spaces. To see her pieces on display in an institutional environment such as San Francisco\u2019s CCA Wattis Centre for Contemporary Arts, is in opposition to the moments of intimacy captured, such as children falling asleep while getting their hair braided, or a woman sitting in a salon chair in hair rollers. We want to be closer to the screen and the scene, to be a part of the story, touched by the crackle of the audio in Split Ends <\/em>(2012) which won the Tom Berman Award for Most Promising Filmmaker at Ann Arbor Film Festival or to be a part of the crowd in Pelourinho: They Don\u2019t Really Care About Us <\/em>(2019).<\/em>\r\n\r\n[caption id=\"attachment_29194\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> 6) Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Split Ends, I Feel Wonderful\u201d [detail], 2012; Courtesy of the artist; Photo: Johnna Arnold[\/caption]Owusu has a rigorous practice, one that is evident in her approach to the trilogy: Me Broni Ba <\/em>(2009), Split Ends <\/em>(2012) and White Afro <\/em>(2019). <\/em>In Me Broni Ba<\/em>, for example, the stop and start of the action helps us to absorb\u00a0more detail and more of the complex critique that is created around women\u2019s beauty. One is inclined to take pause and consider the questions she is posing. The narrative of the elevation of European beauty standards over and above those of African and African diasporans is something that is a repeated motif in films made by Black filmmakers (e.g. Kiri Davis\u2019 2005 short A Girl like Me <\/em>and Regina Kimbell\u2019s 2008 documentary My Nappy Roots: A Journey Through Black Hair-itage<\/em>). Within the trilogy, especially Me Broni Ba<\/em> manages to capture what Maya Deren called \u201ccontrolled accidents\u201d: the little girl getting her hair braided and falling asleep; babies crying; and roosters crowing. Owusu\u2019s camera is an exigent interloper in these raw domestic scenes that anyone with Black heritage would potentially find familiar.\r\n\r\n[caption id=\"attachment_29195\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"White Afro\u201d [detail], 2019; Courtesy of the artist; Photo: Johnna Arnold[\/caption]The more experimental approach Owusu takes with White Afro <\/em>(2019), the last chapter of the trilogy, is a fitting end to the series. We are drawn into the scenes partly by the PBS (Public Broadcasting Service) style narration and by the mesmerizing re-telling of her mother\u2019s (in her own voice) first-hand experience of learning hair-styling techniques in Alexandria, Virginia, in the South. There is a fascinating interplay of Black identities throughout the trilogy that somehow links them together, despite their very different styles, the connecting threads keeping the stories intact.\r\n\r\n[caption id=\"attachment_29193\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Me Broni Ba\u201d [detail], 2009; Courtesy of the artist; Photo: Johnna Arnold[\/caption]The turbulent movement in the camerawork builds a textural masquerade for us to want to be close, but simultaneously distant. Including fallen Black American heroes such as Bill Cosby and Michael Jackson, the exhibition is an interesting mechanism by which we are at once wanting to draw nearer to the action taking place on the screen and are repelled by the choice of celebrity characters. It is a moment for reflection of personal histories, but broader political issues, too. The shakiness of Owusu\u2019s camerawork keeps us connected to her as the filmmaker. Allowing for her \u201ctriple-consciousness\u201d with so much of her own body in the work (from behind the camera) amplifying the multi-layered audio, shaky camera and fast-paced animation, she re-asserts the significance of the Black body and its interaction in space. <\/strong>In Pelourinho: They Don\u2019t Really Care About Us<\/em> she raises the issue of double-consciousness through a letter written by W.E.B Dubois to the Brazilian Embassy, asking why Black Americans were refused entry to Brazil as tourists. This timely re-telling of Dubois\u2019 impassioned missive provides food for thought within this current climate of abuse of immigration rights, women\u2019s rights, and specifically the violation of Black and Brown peoples\u2019 bodies.\r\n\r\n\u00a0<\/strong>\r\n\r\nWelcome to the Jungle<\/em><\/strong> continues at <\/strong>CCA Wattis Centre for Contemporary Arts<\/strong><\/a>, San Francisco, USA until 27 July 2019. <\/strong>\r\n\r\n \r\n\r\nAkosua Adoma Owusu<\/a><\/strong> (born January 1, 1984) is a Ghanaian-American filmmaker, producer and cinematographer whose films and installation work address the collision of identities, where the African immigrant located in the United States has a \"triple consciousness\"<\/a>. Owusu interprets Du Bois\u2019 notion of double consciousness and creates a third cinematic space or consciousness, representing diverse identities including feminism, queerness and African immigrants interacting in African, white American, and black American culture.<\/em>\r\n\r\n \r\n\r\nNan Collymore<\/em><\/strong> writes, programs art events and makes brass ornaments in Berkeley California. Born in London, she lives in the United States since 2006.<\/em>\r\n\r\n \r\n\r\nThis text was<\/em>\u00a0commissioned within the framework of the project \u201cShow me your Shelves\u201d, which is funded by and is part of the yearlong campaign \u201cWunderbar Together (\u201cDeutschlandjahr USA\u201d\/The Year of German-American Friendship) by the German Foreign Office.\u00a0<\/em>\r\n\r\n [:en]Akosua Adoma Owusu is a Ghanaian-American filmmaker in the broadest sense. She thinks and presents her work in the large scale format that cinema requires. Her subject matter is a hybrid of political and deeply intimate narratives around how we see Blackness and how Blackness is misrepresented, appropriated, and negated. In collage style, she creates stories by mixing local cityscapes with salon interiors and the movement of bodies between those spaces. To see her pieces on display in an institutional environment such as San Francisco\u2019s CCA Wattis Centre for Contemporary Arts, is in opposition to the moments of intimacy captured, such as children falling asleep while getting their hair braided, or a woman sitting in a salon chair in hair rollers. We want to be closer to the screen and the scene, to be a part of the story, touched by the crackle of the audio in Split Ends <\/em>(2012) which won the Tom Berman Award for Most Promising Filmmaker at Ann Arbor Film Festival or to be a part of the crowd in Pelourinho: They Don\u2019t Really Care About Us <\/em>(2019).<\/em>\r\n\r\n[caption id=\"attachment_29194\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> 6) Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Split Ends, I Feel Wonderful\u201d [detail], 2012; Courtesy of the artist; Photo: Johnna Arnold[\/caption]Owusu has a rigorous practice, one that is evident in her approach to the trilogy: Me Broni Ba <\/em>(2009), Split Ends <\/em>(2012) and White Afro <\/em>(2019). <\/em>In Me Broni Ba<\/em>, for example, the stop and start of the action helps us to absorb\u00a0more detail and more of the complex critique that is created around women\u2019s beauty. One is inclined to take pause and consider the questions she is posing. The narrative of the elevation of European beauty standards over and above those of African and African diasporans is something that is a repeated motif in films made by Black filmmakers (e.g. Kiri Davis\u2019 2005 short A Girl like Me <\/em>and Regina Kimbell\u2019s 2008 documentary My Nappy Roots: A Journey Through Black Hair-itage<\/em>). Within the trilogy, especially Me Broni Ba<\/em> manages to capture what Maya Deren called \u201ccontrolled accidents\u201d: the little girl getting her hair braided and falling asleep; babies crying; and roosters crowing. Owusu\u2019s camera is an exigent interloper in these raw domestic scenes that anyone with Black heritage would potentially find familiar.\r\n\r\n[caption id=\"attachment_29195\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"White Afro\u201d [detail], 2019; Courtesy of the artist; Photo: Johnna Arnold[\/caption]The more experimental approach Owusu takes with White Afro <\/em>(2019), the last chapter of the trilogy, is a fitting end to the series. We are drawn into the scenes partly by the PBS (Public Broadcasting Service) style narration and by the mesmerizing re-telling of her mother\u2019s (in her own voice) first-hand experience of learning hair-styling techniques in Alexandria, Virginia, in the South. There is a fascinating interplay of Black identities throughout the trilogy that somehow links them together, despite their very different styles, the connecting threads keeping the stories intact.\r\n\r\n[caption id=\"attachment_29193\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Me Broni Ba\u201d [detail], 2009; Courtesy of the artist; Photo: Johnna Arnold[\/caption]The turbulent movement in the camerawork builds a textural masquerade for us to want to be close, but simultaneously distant. Including fallen Black American heroes such as Bill Cosby and Michael Jackson, the exhibition is an interesting mechanism by which we are at once wanting to draw nearer to the action taking place on the screen and are repelled by the choice of celebrity characters. It is a moment for reflection of personal histories, but broader political issues, too. The shakiness of Owusu\u2019s camerawork keeps us connected to her as the filmmaker. Allowing for her \u201ctriple-consciousness\u201d with so much of her own body in the work (from behind the camera) amplifying the multi-layered audio, shaky camera and fast-paced animation, she re-asserts the significance of the Black body and its interaction in space. <\/strong>In Pelourinho: They Don\u2019t Really Care About Us<\/em> she raises the issue of double-consciousness through a letter written by W.E.B Dubois to the Brazilian Embassy, asking why Black Americans were refused entry to Brazil as tourists. This timely re-telling of Dubois\u2019 impassioned missive provides food for thought within this current climate of abuse of immigration rights, women\u2019s rights, and specifically the violation of Black and Brown peoples\u2019 bodies.\r\n\r\n\u00a0<\/strong>\r\n\r\nWelcome to the Jungle<\/em><\/strong> continues at <\/strong>CCA Wattis Centre for Contemporary Arts<\/strong><\/a>, San Francisco, USA until 27 July 2019. <\/strong>\r\n\r\n \r\n\r\nAkosua Adoma Owusu<\/a><\/strong> (born January 1, 1984) is a Ghanaian-American filmmaker, producer and cinematographer whose films and installation work address the collision of identities, where the African immigrant located in the United States has a \"triple consciousness\"<\/a>. Owusu interprets Du Bois\u2019 notion of double consciousness and creates a third cinematic space or consciousness, representing diverse identities including feminism, queerness and African immigrants interacting in African, white American, and black American culture.<\/em>\r\n\r\n \r\n\r\nNan Collymore<\/em><\/strong> writes, programs art events and makes brass ornaments in Berkeley California. Born in London, she lives in the United States since 2006.<\/em>\r\n\r\n \r\n\r\nThis text was<\/em>\u00a0commissioned within the framework of the project \u201cShow me your Shelves\u201d, which is funded by and is part of the yearlong campaign \u201cWunderbar Together (\u201cDeutschlandjahr USA\u201d\/The Year of German-American Friendship) by the German Foreign Office.\u00a0<\/em>\r\n\r\n [:fr]Akosua Adoma Owusu est une cin\u00e9aste ghan\u00e9o-am\u00e9ricaine au sens le plus large du terme. Elle raisonne et pr\u00e9sente son travail dans le cadre du grand format qu\u2019exige le cin\u00e9ma. Son th\u00e8me est un m\u00e9lange hybride de narrations politiques et profond\u00e9ment intimes autour de la mani\u00e8re dont nous percevons l\u2019identit\u00e9 noire et la fa\u00e7on dont elle est d\u00e9form\u00e9e, appropri\u00e9e et ni\u00e9e. \u00c0 la mani\u00e8re d\u2019un collage, elle invente des histoires en m\u00e9langeant paysages urbains locaux, int\u00e9rieurs de salon de coiffure et mouvement des corps \u00e9voluant entre ces espaces. La pr\u00e9sentation de ses \u0153uvres dans un environnement institutionnel comme le CCA Wattis Centre for Contemporary Arts de San Francisco contraste avec les moments d\u2019intimit\u00e9 captur\u00e9s, comme celui d\u2019enfants s\u2019endormant alors que leurs cheveux sont en train d\u2019\u00eatre tress\u00e9s, ou d\u2019une femme assise dans un fauteuil de salon de coiffure avec des bigoudis. Elle nous incite \u00e0 nous rapprocher de l\u2019\u00e9cran et de la sc\u00e8ne, nous donne envie de faire partie int\u00e9grante de l\u2019histoire, touch\u00e9s par le cr\u00e9pitement de l\u2019audio dans Split Ends <\/em>(2012) \u2013\u00a0qui a remport\u00e9 le prix Tom Berman du r\u00e9alisateur le plus prometteur au festival de cin\u00e9ma Ann Arbor Film Festival\u00a0\u2013 ou d\u2019\u00eatre dans la foule dans Pelourinho: They Don\u2019t Really Care About Us <\/em>(2019).<\/em>\r\n\r\n[caption id=\"attachment_29194\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> 6) Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Split Ends, I Feel Wonderful\u201d [detail], 2012; Courtesy of the artist; Photo: Johnna Arnold[\/caption]Owusu op\u00e8re selon une pratique rigoureuse que l\u2019on identifie clairement dans son approche de la trilogie\u00a0: Me Broni Ba <\/em>(2009), Split Ends <\/em>(2012) et White Afro <\/em>(2019). <\/em>Dans Me Broni Ba<\/em>, par exemple, les fluctuations de l\u2019action nous permettent de saisir davantage de d\u00e9tails et de mieux percevoir la complexit\u00e9 de la critique autour de la beaut\u00e9 des femmes. On est tent\u00e9 de faire une pause et de r\u00e9fl\u00e9chir aux questions qu\u2019elle soul\u00e8ve. Le r\u00e9cit de l\u2019\u00e9l\u00e9vation des standards de beaut\u00e9 europ\u00e9en au-dessus des standards africains et de la diaspora africaine est un leitmotiv qui revient dans les films r\u00e9alis\u00e9s par d\u2019autres r\u00e9alisateurs noirs (par ex. le court m\u00e9trage de 2005 de Kiri Davis, A Girl like Me, <\/em>et le documentaire de 2008 de Regina Kimbell, My Nappy Roots: A Journey Through Black Hair-itage<\/em>). Au sein de la trilogie, Me Broni Ba<\/em> parvient particuli\u00e8rement \u00e0 capturer ce que Maya Deren appelait les \u00ab\u00a0accidents contr\u00f4l\u00e9s\u00a0\u00bb\u00a0: la petite fille dont on tresse les cheveux et qui s\u2019endort\u00a0; des b\u00e9b\u00e9s qui pleurent, des coqs qui chantent. La cam\u00e9ra d\u2019Owusu est un intrus exigeant dans ces sc\u00e8nes domestiques prises sur le vif qui interpelleraient toute personne ayant des anc\u00eatres noirs.\r\n\r\n[caption id=\"attachment_29195\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"White Afro\u201d [detail], 2019; Courtesy of the artist; Photo: Johnna Arnold[\/caption]L\u2019approche plus exp\u00e9rimentale d\u2019Owusu dans White Afro <\/em>(2019), le dernier chapitre de la trilogie, constitue une fin pertinente de la s\u00e9rie. D\u2019un c\u00f4t\u00e9, ses sc\u00e8nes nous captivent \u00e0 travers le style narratif PBS (Public Broadcasting Service) et, de l\u2019autre, l\u2019envoutante relecture de l\u2019exp\u00e9rience directe de sa m\u00e8re (dont c\u2019est la v\u00e9ritable voix) qui apprend les techniques de coiffures \u00e0 Alexandrie, en Virginie, dans le Sud. Malgr\u00e9 les grandes diff\u00e9rences de styles de cette trilogie, il existe une interaction fascinante des identit\u00e9s noires qui relie en quelque sorte les films entre eux, leurs fils conducteurs respectifs maintenant intacte chaque histoire.\r\n\r\n[caption id=\"attachment_29193\" align=\"alignnone\" width=\"1400\"]\"\"<\/a> Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \"Me Broni Ba\u201d [detail], 2009; Courtesy of the artist; Photo: Johnna Arnold[\/caption]Le mouvement agit\u00e9 des prises de vue de la cam\u00e9ra cr\u00e9e une distorsion de la perception qui nous incite \u00e0 la fois \u00e0 nous rapprocher et \u00e0 nous tenir \u00e0 l\u2019\u00e9cart. Int\u00e9grant des h\u00e9ros noirs am\u00e9ricains d\u00e9chus tels que Bill Cosby et Michael Jackson, l\u2019exposition active un m\u00e9canisme int\u00e9ressant qui nous incite \u00e0 nous rapprocher de l\u2019action se d\u00e9roulant \u00e0 l\u2019\u00e9cran tout en \u00e9tant repouss\u00e9 par le choix des c\u00e9l\u00e9brit\u00e9s. C\u2019est un moment propice \u00e0 la r\u00e9flexion sur les histoires intimes, mais aussi sur des probl\u00e9matiques politiques plus larges. Les secousses de la cam\u00e9ra d\u2019Owusu nous relient \u00e0 elle en tant que r\u00e9alisatrice. Laissant libre cours \u00e0 sa triple conscience \u00e0 travers son propre corps au travail (depuis l\u2019autre c\u00f4t\u00e9 de la cam\u00e9ra) qui amplifie les couches audio multiples, l\u2019agitation de la cam\u00e9ra et la rapidit\u00e9 de l\u2019animation, elle r\u00e9affirme l\u2019importance du corps noir et de son interaction dans l\u2019espace. <\/strong>Dans Pelourinho: They Don\u2019t Really Care About Us<\/em>, elle soul\u00e8ve la question de la double conscience \u00e0 travers une lettre \u00e9crite par W.E.B Dubois \u00e0 l\u2019ambassade du Br\u00e9sil dans laquelle il demande pourquoi les Noirs-Am\u00e9ricains se sont vu refuser l\u2019entr\u00e9e au Br\u00e9sil en tant que touristes. Cette r\u00e9\u00e9criture opportune de la missive passionn\u00e9e de Dubois nourrit la r\u00e9flexion dans le climat actuel de violations des droits \u00e0 l\u2019immigration, des droits des femmes, et tout particuli\u00e8rement des corps des personnes noires et m\u00e9tisses.\r\n\r\n\u00a0<\/strong>\r\n\r\nL\u2019exposition \u00ab\u00a0Welcome to the Jungle\u00a0\u00bb<\/strong> \u00e9tait \u00e0 voir au<\/strong> CCA Wattis Centre for Contemporary Arts<\/strong><\/a>, \u00e0 San Francisco, \u00c9tats-Unis, jusqu\u2019au 27 juillet 2019.<\/strong>\r\n\r\n \r\n\r\nAkosua Adoma Owusu<\/strong> (n\u00e9e le 1er janvier 1984) est une cin\u00e9aste, productrice et r\u00e9alisatrice ghan\u00e9o-am\u00e9ricaine dont les films et les installations abordent les conflits d\u2019identit\u00e9 des immigr\u00e9s africains aux \u00c9tats-Unis, dot\u00e9s d'une \u00ab\u00a0triple conscience\u00a0\u00bb. Owusu r\u00e9interpr\u00e8te la notion de \u00ab\u00a0double conscience\u00a0\u00bb d\u00e9velopp\u00e9e par Du Bois en cr\u00e9ant un troisi\u00e8me espace cin\u00e9matique ou conscience qui repr\u00e9sente diverses identit\u00e9s, dont celles des femmes, des queers et des immigrants am\u00e9ricains dans leurs interactions avec les cultures africaines et les cultures am\u00e9ricaines blanche et noire.<\/em>\r\n\r\n \r\n\r\nNan Collymore<\/em><\/strong> est auteure et programmatrice de manifestations artistiques et cr\u00e9atrice de bijoux en cuivre \u00e0 Berkeley, en Californie. N\u00e9e \u00e0 Londres, elle vit aux \u00c9tats-Unis depuis 2006.<\/em>\r\n\r\n \r\n\r\n \r\n\r\nCe texte a \u00e9t\u00e9 initialement publi\u00e9 dans la seconde \u00e9dition sp\u00e9ciale de C& #Detroit et a \u00e9t\u00e9 command\u00e9 dans le cadre du projet \u00ab\u00a0Show me your Shelves\u00a0\u00bb, financ\u00e9 par et faisant partie de la campagne d\u2019une ann\u00e9e \u00ab\u00a0Wunderbar Together\u00a0\u00bb (\u00ab\u00a0Deutschlandjahr USA\u00a0\u00bb\/The Year of German-American Friendship) du minist\u00e8re f\u00e9d\u00e9ral des Affaires \u00e9trang\u00e8res.\u00a0<\/em>\r\n\r\n \r\n\r\nTraduit de l'anglais par Myriam Ochoa-Suel.\u00a0<\/em>[:]","post_excerpt":""},"acf":{"video_url":null,"Dachzeile":"Akosua Adoma Owusu: Welcome to the Jungle","mag_subtitle":"Entrem\u00ealant des r\u00e9cits h\u00e9t\u00e9roclites autour de l\u2019animation des salons de coiffure et de c\u00e9l\u00e9brit\u00e9s d\u00e9chues, l\u2019exposition personnelle d\u2019Akosua Adoma Owusu dresse le portrait de la complexit\u00e9 de la vie des Noirs. Dans un style au rythme effr\u00e9n\u00e9 qui r\u00e9affirme l\u2019importance du corps noir et de son interaction dans l\u2019espace, elle se fait le reflet d\u2019histoires personnelles tout en les associant \u00e0 des probl\u00e9matiques politiques plus larges. Cette approche est fortement empreinte de la \u00ab triple conscience \u00bb qu\u2019a l\u2019artiste d\u2019\u00eatre un individu pris entre trois cultures aux \u00c9tats-Unis.","mag_author":"Nan Collymore","mag_abstract":"Entrem\u00ealant des r\u00e9cits h\u00e9t\u00e9roclites autour de l\u2019animation des salons de coiffure et de c\u00e9l\u00e9brit\u00e9s d\u00e9chues, l\u2019exposition personnelle d\u2019Akosua Adoma Owusu dresse le portrait de la complexit\u00e9 de la vie des Noirs. Dans un style au rythme effr\u00e9n\u00e9 qui r\u00e9affirme l\u2019importance du corps noir et de son interaction dans l\u2019espace, elle se fait le reflet d\u2019histoires personnelles tout en les associant \u00e0 des probl\u00e9matiques politiques plus larges. Cette approche est fortement empreinte de la \u00ab triple conscience \u00bb qu\u2019a l\u2019artiste d\u2019\u00eatre un individu pris entre trois cultures aux \u00c9tats-Unis.","mag_pubdate":"20190710","image_container":null,"modul_1":null,"modul_4":null,"modul_5":null,"modul_2":null,"modul_3":null,"teaser":null,"smys":null,"image_only_slide":null},"yoast_head":"\nBeaut\u00e9 et puissance de la culture capillaire noire - Contemporary And<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Beaut\u00e9 et puissance de la culture capillaire noire - Contemporary And\" \/>\n<meta name=\"twitter:description\" content=\"Akosua Adoma Owusu est une cin\u00e9aste ghan\u00e9o-am\u00e9ricaine au sens le plus large du terme. 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Son th\u00e8me est un m\u00e9lange hybride de narrations politiques et profond\u00e9ment intimes autour de la mani\u00e8re dont nous percevons l\u2019identit\u00e9 noire et la fa\u00e7on dont elle […]\" \/>\n<meta name=\"twitter:image\" content=\"http:\/\/3.230.254.106\/wp-content\/uploads\/2019\/07\/Wattis_Owusu_5-2019_001.jpg\" \/>\n<meta name=\"twitter:site\" content=\"@contemporaryand\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/\",\"url\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/\",\"name\":\"Beaut\u00e9 et puissance de la culture capillaire noire - Contemporary And\",\"isPartOf\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/#website\"},\"primaryImageOfPage\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/#primaryimage\"},\"image\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/3.230.254.106\/wp-content\/uploads\/2019\/07\/Wattis_Owusu_5-2019_001.jpg\",\"datePublished\":\"2019-07-10T07:28:28+00:00\",\"dateModified\":\"2020-11-17T13:32:32+00:00\",\"breadcrumb\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[[\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/\"]]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/#primaryimage\",\"url\":\"http:\/\/3.230.254.106\/wp-content\/uploads\/2019\/07\/Wattis_Owusu_5-2019_001.jpg\",\"contentUrl\":\"http:\/\/3.230.254.106\/wp-content\/uploads\/2019\/07\/Wattis_Owusu_5-2019_001.jpg\",\"width\":1400,\"height\":933,\"caption\":\"Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute; \\\"Me Broni Ba\u201d [detail], 2009; Courtesy of the artist; Photo: Johnna Arnold\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\/\/3.230.254.106\/fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Editorial\",\"item\":\"http:\/\/3.230.254.106\/fr\/magazines\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Beaut\u00e9 et puissance de la culture capillaire noire\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/3.230.254.106\/fr\/#website\",\"url\":\"http:\/\/3.230.254.106\/fr\/\",\"name\":\"Contemporary And\",\"description\":\"Contemporary And (C&) est un espace dynamique d\u00e9di\u00e9 \u00e0 la r\u00e9flexion et la mise en relation d'id\u00e9es, de d\u00e9bats et d'informations sur la pratique artistique contemporaine issue de diverses perspectives africaines.\",\"publisher\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/#organization\"},\"alternateName\":\"C&\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/3.230.254.106\/fr\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/3.230.254.106\/fr\/#organization\",\"name\":\"Contemporary And\",\"alternateName\":\"C&\",\"url\":\"http:\/\/3.230.254.106\/fr\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"http:\/\/3.230.254.106\/fr\/#\/schema\/logo\/image\/\",\"url\":\"http:\/\/3.230.254.106\/wp-content\/uploads\/2022\/05\/cand_site_logo_140.png\",\"contentUrl\":\"http:\/\/3.230.254.106\/wp-content\/uploads\/2022\/05\/cand_site_logo_140.png\",\"width\":140,\"height\":78,\"caption\":\"Contemporary And\"},\"image\":{\"@id\":\"http:\/\/3.230.254.106\/fr\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/contemporaryand\",\"https:\/\/x.com\/contemporaryand\",\"https:\/\/instagram.com\/contemporaryand\",\"https:\/\/www.youtube.com\/user\/Contemporaryand\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Beaut\u00e9 et puissance de la culture capillaire noire - Contemporary And","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/3.230.254.106\/fr\/magazines\/beauty-and-power-in-black-culture\/","twitter_card":"summary_large_image","twitter_title":"Beaut\u00e9 et puissance de la culture capillaire noire - Contemporary And","twitter_description":"Akosua Adoma Owusu est une cin\u00e9aste ghan\u00e9o-am\u00e9ricaine au sens le plus large du terme. 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