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Notice détaillée
Titre :
The apex of the Slaves’ Route is the «GATE OF NO RETURN», the only monument in Ouidah sponsored by the Slave Route Project. Situated at the end of the road, on the beach, the imposing gate was unveiled in November 1995, and still attracts numerous tourists and leading foreign visitors, such as the Brazilian President, Luiz Inacio Lula da Silva who visited the monument during his travel to the country in 2006.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
Bénin
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
The monument, designed and ornamented by Beninese artist Fortune Bandeira, evokes the monumental Soviet aesthetics that dominated the country’s public monuments until the beginning of the 1990s. Placed on a large cement platform, higher than the level of the ground, the Gate’s arcade marks the transition between the beach and the Atlantic Ocean, which is visible through it. On each side of the gate, giant copper sculptures created by Gnonnou Dominique Kouass, represent a group of captives breaking their chains. Close to the monument, tourists can stop at a kiosk to buy “African” sculptures, wooden masks, jewellery, and calabashes. In addition to these “authentic” objects, the visitors can also buy actual Vodun fetishes, taken from neighbouring temples. Ouidah, Benin.
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
The call to “charge”, members of the “Mas-ka-klé” group These young members of the “Mas Ka Klé” group are called to the “charge” by the most senior ones.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
Les Abymes
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
This moment, that borrows a lot from the imaginary of the maroon slaves communities, is also an occasion to reaffirm the group’s identity values and to emotionally load the youth for the “charge”. The “charge” is an unwavering, almost military march, at the side of the Carnival’s official parade. Cité Le Raizet, Les Abymes.
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
The “whippers” during the «charge», Voukoum Group The “whippers” are the «Mas» sentinels, those who open the “charge” with the clacking sound of the their long whip, which handiness is only equaled by the deafening sound it produces.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
Basse-Terre
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
The whip liberates energy and symbolizes the physical punishments inflicted to the slaves by their masters. Ahead of the group, the whippers move the crowd aside, by swirling their instrument in a physically controlled expertise they learn at young age. In fact, it is the favorite game of the children who try the whip, it becomes an initiatory ritual when they’re teenagers, and only pass it when the whip “clacks” like the ones used by the adults. Petit Paris district, Basse Terre
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
Un pèlerin touche le Kita Nago, le tronc d’arbre, devenu symbole de l’unité nationale, après un itinéraire de deux semaines à travers le pays. Site de la Statue du «Marron inconnu» au Champ de Mars, Ville de Port-au-Prince, 2013.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
Port-au-Prince
Date :
2013
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
L’esclave fugitif – ou marron – occupe une place centrale dans l’imaginaire haïtien. Il est l’ancêtre des pères de la nation. Le marron est l’assurance d’une généalogie ininterrompue en dépit des multiples soubresauts qu’a connu la jeune nation depuis sa création en 1804. Il est survie, résistance et refus d’abdiquer. Il est Haïti et vice versa, incarnation de la Révolution haïtienne.
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
[Mas]
Auteur :
Lo Calzo, Nicola (1979-....)Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Mots-clés :
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
[Mas]
Auteur :
Lo Calzo, Nicola (1979-....)Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Mots-clés :
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
[Obia]
Auteur :
Lo Calzo, Nicola (1979-....)Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Mots-clés :
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
«I have a dream», Graffiti in N Prieur Street, Faubourg Tremé, New Orleans, Louisiana According to New Orleans’s official tourist agency.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
La Nouvelle-Orléans
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
«The Faubourg Tremé or as it is more frequently referred to, Tremé, is not only America’s oldest black neighborhood but was the site of significant economic, cultural, political, social and legal events that have literally shaped the course of events in Black America for the past two centuries. Yet, few outside of New Orleans except for scholars and historians know its enourmous importance to Americans of African descent ». The neighborhood has at least three dominant positive identities : as a place of unique African American cultural performance traditions ; as a place of significant African American political achievement and as a place of historic architecture. Tremé is a neighborhood of colorful parades and funerals. It a place of secondlines parades, DJs, jazz music and jazz funerals, corner bars and black Mardi Gras. Tremé is also noted for the radical political activism carried out by its Creole of Color residents in the nineteenth century. Though they may be enjoyable for both partecipants and spectators, these traditions do not exist simply to entertain. They also serve as the basis for community building and political resistence. As Stephan Nathan Haymes writes, «Within the black urban communities place making and therefore the production of public spaces is linked with day-to-day survival. But it is within the realm of day-to-day life, of daily survival, that black urban communities create public spaces that allow them to develop self-definition or social identities that are linked to a politics of resistance. Over the past forty years, Tremé’s longterm black community has chosen to fight for its culture. Michael E. Crutcher JR.
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
«Portrait of Lady» presumed to be a free woman of color, dated 1857, Le Musée de free people of color, New Orleans.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
La Nouvelle-Orléans
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
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Notice détaillée
Titre :
“The British” scene, Natchez Historic Tableau, Mississippi.
Auteur :
Lo Calzo, Nicola (1979-....)Lieu de la prise de vue :
Natchez
Extrait de :
Cham, la mémoire vivante
Type :
Photographie - Couleur
Description :
Extraits from the Tableau schedule: «Be transported to the shores of Ole Man river with the arrival of the Showboat. Celebrate spring while children dance around a Maypole. Witness romance as couples weave intricate waltzes at 1850s soiree. And bid the era adieu when the queen of the ball says farewall to her Confederate sweetheart» / «The May Festival and Maypole Dance were a lovely early custom enjoyed by children of English descent in long ago Natchez was the celebration of spring was marked each year with May Day, a social event especially popular in England. The day of celebration included children dancing around a birghtly bedecked May Pole».
Conditions d'utilisation :
CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance :
