PARIS - CULTURE "Kreyol Factory, an area of visibility" By Danik I. 07.00 l Zandwonis 26.03.2009 FRANCE. Paris, Thursday 26 March 2009. (Caribcreole.com) - April 10 to June 7, Parc de la Villette proposed under the generic title of "Kreyol Factory" a series of Creole music, exhibitions of meetings designed to give real visibility to crops of the Caribbean and the Indian Ocean. This is the Guadeloupe, Jacques Martial, President of La Villette Park, which is the initiator of this Kreyol Factory.
Interview: Jacques Martial - Organizer of Martial FactoryJacques Kreyol: I am an actor and director, and now President of the Etablissement Public du Parc et de la Grande Halle de la Villette. As an actor, I worked in movies with directors as diverse as Claire Devers, John Berry, Paul Vecchiali, Samuel Fuller, Robert Kramer, Légitimus Pascal, Alain Maslina, etc.. On stage, I performed as well as Athol Fugard Marivaux or Claudel, Prévand that Césaire Shakespeare that Giraudoux. On television, I'm mainly known for having participated in the incredible adventure of the series I Navarro shot 99 episodes. But my career is not over ... CC1: You took the direction of a big machine, La Villette, you are the "Roselmack" of culture? JM: Harry Roselmack is someone I know and I believe. It is an excellent journalist, his career proves. As for me, I try to be myself and above all that I succeed with such passion today preside la Villette. La Villette is the largest cultural park in Paris. It is located in the 19th arrondissement and is visited by nearly 10 000 000 people each year. Families, tourists, art lovers and culture invest different open and closed the site. The park itself is open 24 hours a day and form a real bridge linking Paris to its eastern suburbs. Prefiguration Greater Paris, one might say today. La Villette is a multidisciplinary program. As such, we welcome both music theater, dance and the circus, exhibitions, films, etc.. All forms of artistic expression today are potentially welcome at La Villette, in the park as well as in our rooms. Turned to contemporary design, our choice of programming makes us a place to sleep artistic spends much of its resources to support the emergence and to the public arts in their process of renewal and innovation of the genera as forms. This willingness to explore this diversity and originality inspired me to design the Season Créole de la Villette. It will begin with the exhibition Kreyol Factory in the Great Hall. CC1: Kreyol Factory, how was born the concept Kreyol Factory? JM: Kreyol Factory is a contemporary art exhibition dedicated to the poet Aimé Césaire who died a year ago. Like all exhibitions at the Villette in recent years, Kreyol Factory is an exhibition of society. It intends to honor nearly 3000m ², some 60 French and international artists, painters, sculptors, visual artists, videographers, photographers today who demonstrate through their works of the major issues that cross the worlds Caribbean Guyanese and the Indian Ocean. For 10 years now, we find that France is concerned about what the French identity. An identity number which seems to discover the reality of diversity. When I arrived at La Villette in late 2006, I decided that the theme of our 2009 season deal with these worlds Creole to provide the public with food for thought on this particular aspect of our society. But the draft Kreyol Factory because it is plural in the same time to demonstrate the richness and originality of contemporary artistic production often poorly known as far as to explore the links between France and its regions. Artistic production of contemporary Creole world is far from the folklore that is often associated. Thus, the artists we have chosen to present in Kreyol Factory interview questions but also on our western societies our relationship to history. In this case, it is more especially that of slavery, colonization and decolonization, which was carried out in different processes depending on whether of France or other countries we deal with. This story and these processes are clearly linked with major western countries have created corporate identities and some features are similar and others that are different and Kreyol Factory to offer a space of visibility. However, these issues might seem to lock ourselves into a debate about history, are a gateway to a subject of the hottest topics, globalization to which these companies offer the alternative of the creolization world. The processes of globalization tend to me to format the companies erasing the past and macaws differences, peculiarities, characteristics and ultimately, creativity. Those of creolization, in contrast, accept the complexity of the world and history, incorporate elements, feed, enrich, and encourage individuals to develop at a pace pus "metabolic" with presents to the mind the need to respect oneself, others and the diversity in the world. A world that should be permanently re. Aimé Césaire reminds us that "the map of the spring is still to be redone." This is called remain vigilant because each must find its place without having to alienate oneself or to abdicate a portion of what constitutes. CC1: This is a first, there will be a second? JM: I hope that the artists of our worlds Creole and more generally, of all French overseas are present, whenever possible, within our programming. However, I refuse the idea of locking them in moments that are exclusive and always put on the sidelines of major artistic movements which we witness at La Villette. There is no art in the world and another creation that would apply only to the worlds "Creole." No, there is a creation in the world who studied French Creole as creating any interesting large currents, aesthetic, thought and the artists themselves, whether in the field of visual arts, literature, film or live performance. We continue to see artists from overseas to Villette. But without doubt, more often than before. CC1: Creole, Creole, it tends to Paris, or is the emergence of a culture far less? JM: We see now that the realities Ultramarines or Creole emerging increasingly in the national debate, surpassing the exotic in which they were confined. These cultures and these islands are opening our eyes to continental expand their horizons. They invite us to rethink our conception of the world and the universal through a new approach and a new relationship to otherness. If this is a trend, it is encouraged. CC1: In Kreyol Factory, you go to crops that are not Caribbean, you do not fear the confusion? JM: It seems to me that this approach is able to inform the public about this reality apparently rather complex, sophisticated Creole cultures. They are the result of the bringing together of very different worlds together. These disparate elements is a unit within the individuals and companies they create. Highlighting the diversity and specificity of these elements, we want the public to understand this sophistication. CC1: How Guadelupian of "far", have you experienced the crisis of Guadeloupe and the LKP? JM: I was pleased to see that beyond the issues of purchasing power that it was quite urgent to meet the company guadeloupéenne raised substantive issues on the future of Guadeloupe. It expressed the wish of a more egalitarian society that takes into account and finally to overcome them, issues of class and race, and the right link to the story which forgetting and denial led abuse that were reported. Guadeloupe demand that its social and societal model is redesigned with new bases shared by all. The stakes are high, it suggests an equal opportunity based on merit and a definition of merit be decided jointly. This is nothing less than the issue of respect for each and every person in the prospect of living together that is at stake than this would be a purely regional. This crisis and its management speak French society as a whole at a time when the global crisis that has burst intimate us to rethink the rules of capitalism and free trade to make them less wild and protect us against their abuses. CC1: The highlights of this Kreyol Factory? JM: Kreyol Factory is a celebration of art and culture in a space where they interact with society. It is a contemporary art exhibition extraordinary, concerts, poetry, dance hip hop, drama, debates, readings. The discovery of an unsuspected wealth culture ... I think the Season créole de la Villette, in combining form and substance, is one of the highlights of the cultural year 2009 from France.