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| 1 |
ID:
145050
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| Summary/Abstract |
In London and Lyon, urban cultural movements rooted in racism and segregation such as the Notting Hill carnival and hip-hop dance have been progressively converted into events designed and organized for the benefit of the city's social and economic development. In a context where neoliberal and managerial models inspired by market-driven regulation are a growing reference in matters of public action, this article show that the celebration of the artistic qualities of such cultural practices associated with ethnic minorities comes with their esthetization, a process that tends to erase the differences between populations and to attenuate the emotional and affective discrepancies. Relying on some 30 semi-open interviews conducted between 2000 and 2005 with volunteer militants, artists, and professionals in charge of the organization of the Notting Hill carnival in London and of the Défilé de la Biennale de la danse in Lyon, as well as on the participating observation of the preparation and execution of these two events, I argue that the culture professionals play a crucial role in the functional rapprochement between the urban elites and the ethnic minorities.
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| 2 |
ID:
114684
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| Publication |
2012.
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| Summary/Abstract |
In our digital age when most movies viewed at home carry Interpol warnings that copyright piracy is a crime, yet patented medicines are unaffordable for millions, ethical debates about intellectual property rights and freedom of information are becoming widespread. But a less noticed topic in these debates is the recent international effort to expand and implement Euro-American models of intellectual property law among peoples whose daily activities previously have not been covered by formal intellectual property laws (primarily copyright, patent, and trademark regulations). This essay considers how this trend is unfolding in post-Suharto Indonesia, particularly the tension between national efforts to create legal property rights over cultural resources and the fact that most ordinary Indonesians do not view their cultural knowledge and aesthetic or ritual activities as property to be claimed in an exclusive way by their ethnic group or government. Plans to legalize the cultural ownership of regional arts are addressed with ethnographic examples from Indonesian fieldwork including 2005-07 visits conducted by an international team of lawyers, musicologists, anthropologists, and Indonesian community activists with 'traditional' arts producers from eleven cultural regions in eight provinces.
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