Bibliographie

Adler Martin – Carter Gérard (2011), *Liszt piano Sonata monographs*, Wensleydale Press, Sydney.

Bartoli Jean-Pierre – Roudet Jeanne (2013), *L'essor du romantisme: la fantaisie pour clavier de Carl Philipp Emmanuel Bach à Franz Liszt*, Vrin, Paris.

Basevi Abramo (1859), *Studio sulle opere di Giuseppe Verdi*, Tipografia Tofani, Firenze.

Bellas Jacqueline – Gut Serge (2001), *Correspondance Liszt-d'Agoult*, Fayard, Paris.

Braun Barnett Elise (ed.,1972), "An annotated translation of Moriz Rosenthal's Franz Liszt, memories and refections", *Current Musicology*, 13, Spring, 29-37.

Cortot Alfred (1958), *Cours d'interprétation de A. Cortot*, R. Regouix, Paris. Gossett Philipp (1974), "Verdi, Ghislanzoni, and Aida: The uses of convention", *Critical Inquiry*, 1/2, 291-334.

Grabócz Márta (2009), *Musique, narrativité, signification*, L'Harmattan, Paris.

Gut Serge (1989), *Liszt, Editions de Fallois – l'Age d'Homme, Genève – Paris*.

Gut Serge (2012), «L'adaptation de la forme sonate beethovénienne dans certaines œuvres du Liszt de la maturité», *Quaderni dell'Istituto Liszt*, 12, 1-23.

Hamilton Kenneth (1996), *Liszt: Sonata in B minor*, Cambridge University Press, Cambridge.

Le Diagon - Jacquin Laurence (2011), *Liszt. Guide pratique du mélomane*, Hermann, Paris.

Liszt Franz (1984), *Fantasie und Fuge über den Choral «Ad nos ad salutarem undam», dans Franz Liszt*. Sämtliche Orgelwerke, hrsg. von M. Haselböck, Band 1, Universal Edition, Vienne.

Liszt Franz (2006), *Concerto sans orchestre*, ed. by M. Storino, Rugginenti, Milano (*Rarità Lisztiane / Liszt Rarities*, 3).

Liszt Franz (2011), *Sonata*, ed. by leslie Howard, Peters Editions LDT, Frankfurt M. – Leipzig, etc.

Liszt Franz (2015), *Klavier Sonate H moll*, hrsg. von Mária Eckhardt, G. Henle Verlag, München.

Longyear R.M. (1973), "liszt9s B minor Sonata. Precedents of a structural analysis", *The Music Review*, 34, 198-209.

Moysan Bruno (1998), *La réécriture et ses enjeux dans les fantaisies de Liszt sur des thèmes d'opéra-1830-1848/Musique, sémantique, société, ANRT-Septentrion, lille*.

Moysan Bruno (2010), *Liszt, virtuose subversif*, Symétrie, Lyon.

Moysan Bruno (2011), "Liszt et le politique: action, langage et représentation", in Bardez J.-
Bibliographie

Adler Martin – Carter Gérard (2011), *Liszt piano Sonata monographs*, Wensleydale Press, Sydney.

Bartoli Jean-Pierre – Roudet Jeanne (2013), *L'essor du romantisme: la fantaisie pour clavier de Carl Philipp Emmanuel Bach à Franz Liszt*, Vrin, Paris.

Basevi Abramo (1859), *Studio sulle opere di Giuseppe Verdi*, Tipografia Tofani, Firenze.

Bellas Jacqueline – Gut Serge (2001), *Correspondance Liszt-d'Agoult*, Fayard, Paris.

Braun Barnett Elise (ed.,1972), "An annotated translation of Moriz Rosenthal's Franz Liszt, memories and refections", *Current Musicology*, 13, Spring, 29-37.

Cortot Alfred (1958), *Cours d'interprétation de A. Cortot*, R. Regouix, Paris. Gossett Philipp (1974), "Verdi, Ghislanzoni, and Aida: The uses of convention", *Critical Inquiry*, 1/2, 291-334.

Grabócz Márta (2009), *Musique, narrativité, signification*, L'Harmattan, Paris.

Gut Serge (1989), *Liszt, Editions de Fallois – l'Age d'Homme, Genève – Paris*.

Gut Serge (2012), «L'adaptation de la forme sonate beethovénienne dans certaines œuvres du Liszt de la maturité», *Quaderni dell'Istituto Liszt*, 12, 1-23.

Hamilton Kenneth (1996), *Liszt: Sonata in B minor*, Cambridge University Press, Cambridge.

Le Diagon - Jacquin Laurence (2011), *Liszt. Guide pratique du mélomane*, Hermann, Paris.

Liszt Franz (1984), *Fantasie und Fuge über den Choral «Ad nos ad salutarem undam», dans Franz Liszt*. Sämtliche Orgelwerke, hrsg. von M. Haselböck, Band 1, Universal Edition, Vienne.

Liszt Franz (2006), *Concerto sans orchestre*, ed. by M. Storino, Rugginenti, Milano (*Rarità Lisztiane / Liszt Rarities*, 3).

Liszt Franz (2011), *Sonata*, ed. by leslie Howard, Peters Editions LDT, Frankfurt M. – Leipzig, etc.

Liszt Franz (2015), *Klavier Sonate H moll*, hrsg. von Mária Eckhardt, G. Henle Verlag, München.

Longyear R.M. (1973), "liszt9s B minor Sonata. Precedents of a structural analysis", *The Music Review*, 34, 198-209.

Moysan Bruno (1998), *La réécriture et ses enjeux dans les fantaisies de Liszt sur des thèmes d'opéra-1830-1848/Musique, sémantique, société, ANRT-Septentrion, lille*.

Moysan Bruno (2010), *Liszt, virtuose subversif*, Symétrie, Lyon.

Moysan Bruno (2011), "Liszt et le politique: action, langage et représentation", in Bardez J.-
M-, Donegani J.M., Moysan B. (éds.), *L'Institution musicale*, Delatour, Sampzon-le Vallier, 103-112.

Moysan Bruno (2015), «la réécriture dans les fantaisies de Liszt sur des thèmes d'opéras: un art de la seconde main», *Analyse musicale*, 72-78.

Moysan Bruno (2017), "Frontière, forme et signification dans le *Poème symphonique* lisztien", *Musicologies nouvelles*, 1, 110-119.

Moysan Bruno (à paraître), "De la forme-fantaisie à la forme romantique", in Grabócz M. (dir.), *Franz Liszt, miroir d'une société européenne en évolution. Les topiques du XIXe siècle et la musique de F. Liszt*, Hermann, Paris.

Nemo Philippe (2002), *Histoire des idées politiques*, II, PUF, Paris.

Newman William S. (1972), *The Sonata since Beethoven*, Norton & Company, New York.

Ott Bertrand (1984), "Pour une interprétation de la Sonate de Liszt", *Revue de Musicologie de Suisse Romande*, 37, 172-183.

Ott Bertrand (1981), "An interpretation of Liszt's Sonata in B minor", *Journal of the American Liszt Society*, 10, 30-38.

Ott Bertrand (2015), "La Sonate en Si mineur: un sphinx lisztien", *Quaderni dell'Istituto Liszt*, 15, 1-48.

Powers Harold (1987), "*la solita forma* and the uses of convention", *Acta Musicologica*, 59/1, 65-90.

Kuhn Thomas (1962), *La structure des révolutions scientifiques*, Flammarion, Paris

Rosen Charles (1978), *Le style classique*, Gallimard, Paris.

Rosen Charles (1993), *Formes sonates*, Actes Sud, Arles.

Rosen Charles (2002), *Génération romantique*. Chopin, Schumann, Liszt et leurs contemporains, Gallimard, Paris.

Saffle Michael (1982), "Liszt's Sonata in B minor: Another look at the 'double-function' question", *Journal of the American Liszt Society*, XI, 28-39

Saffle Michael (2001), "Liszt and the traditions of the keyboard fantasy", in Kagebeck H. – Lagerfeit J. (eds.), *Liszt the progressive*, The Edwin Mellen Press, lewiston USA, 151-185.

Schnapper Dominique (1999), *La compréhension sociologique*. Démarche de l'analyse typologique, PUF, Paris.

Storino Mariateresa (2009), *Franz Liszt. La Sonata in si minore*, Albisani Editore, Bologna.

Stricker Rémy (1993), *Franz Liszt. Les ténèbres de la gloire*, Gallimard, Paris.

Szasz Tibor (1984), "Liszt's symbols for the divine and diabolical. Their revelation of a program in the B minor Sonata", *Journal of the American Liszt Society*, 15, 39-95.
M-, Donegani J.M., Moysan B. (éds.), *L'Institution musicale*, Delatour, Sampzon-le Vallier, 103-112.

Moysan Bruno (2015), «la réécriture dans les fantaisies de Liszt sur des thèmes d'opéras: un art de la seconde main», *Analyse musicale*, 72-78.

Moysan Bruno (2017), "Frontière, forme et signification dans le *Poème symphonique* lisztien", *Musicologies nouvelles*, 1, 110-119.

Moysan Bruno (à paraître), "De la forme-fantaisie à la forme romantique", in Grabócz M. (dir.), *Franz Liszt, miroir d'une société européenne en évolution. Les topiques du XIXe siècle et la musique de F. Liszt*, Hermann, Paris.

Nemo Philippe (2002), *Histoire des idées politiques*, II, PUF, Paris.

Newman William S. (1972), *The Sonata since Beethoven*, Norton & Company, New York.

Ott Bertrand (1984), "Pour une interprétation de la Sonate de Liszt", *Revue de Musicologie de Suisse Romande*, 37, 172-183.

Ott Bertrand (1981), "An interpretation of Liszt's Sonata in B minor", *Journal of the American Liszt Society*, 10, 30-38.

Ott Bertrand (2015), "La Sonate en Si mineur: un sphinx lisztien", *Quaderni dell'Istituto Liszt*, 15, 1-48.

Powers Harold (1987), "*la solita forma* and the uses of convention", *Acta Musicologica*, 59/1, 65-90.

Kuhn Thomas (1962), *La structure des révolutions scientifiques*, Flammarion, Paris

Rosen Charles (1978), *Le style classique*, Gallimard, Paris.

Rosen Charles (1993), *Formes sonates*, Actes Sud, Arles.

Rosen Charles (2002), *Génération romantique*. Chopin, Schumann, Liszt et leurs contemporains, Gallimard, Paris.

Saffle Michael (1982), "Liszt's Sonata in B minor: Another look at the 'double-function' question", *Journal of the American Liszt Society*, XI, 28-39

Saffle Michael (2001), "Liszt and the traditions of the keyboard fantasy", in Kagebeck H. – Lagerfeit J. (eds.), *Liszt the progressive*, The Edwin Mellen Press, lewiston USA, 151-185.

Schnapper Dominique (1999), *La compréhension sociologique*. Démarche de l'analyse typologique, PUF, Paris.

Storino Mariateresa (2009), *Franz Liszt. La Sonata in si minore*, Albisani Editore, Bologna.

Stricker Rémy (1993), *Franz Liszt. Les ténèbres de la gloire*, Gallimard, Paris.

Szasz Tibor (1984), "Liszt's symbols for the divine and diabolical. Their revelation of a program in the B minor Sonata", *Journal of the American Liszt Society*, 15, 39-95.
Szasz Tibor (1986), “Liszt’s Symbolism and musical structure”, Conference library of Congress, Washington DC.

Szasz Tibor (2010), “Liszt’s Sonata in B minor and a woman composer’s fingerprint”, *The Liszt Society Journal*, 35, 3-27.

Szasz Tibor (2011), «les rapports secrets entre les thèmes de la Sonate de Liszt et un lied de Maria Pavlovna Romanova», *Analyse Musicale*, 65, 63-74.

Tanner Mark (2000), “The power of performance as an alternative and analytical discourse: The Liszt Sonata in B minor”, *The Liszt Society Journal*, 25, 24-47.

Tarasti Eero (2009), *Fondements de la sémiotique existentielle*, L’Harmattan, Paris.

Van de Moortele Steven (2009), *Two-dimensional sonata form, form and cycle in single-movement instrumental by Liszt*, Strauss, Schoenberg and Zemlinsky, Leuven University Press, Leuven.

Walker Alan (1993), *Franz Liszt. The Weimar years: 1848-1861*, A. Knopf, New York.

Weber Max (1992), *Essais sur la théorie de la science (1904-1917)*, Pocket, Paris.

Winklhofer Sharon (1980), *Liszt’s Sonata in B minor: A study of autograph sources and documents*, UMI Research Press, Ann Arbor.

Zicari Ida (2017), *Après une lecture du Dante. Fantasia quasi sonata di Franz Liszt*, Il corriere musicale, Milano.

Zuckerman Viktor (1986), “la Sonate en Si mineur”, *Silences*, 3, 55-83.

<figure><img src="image_191.png" /></figure>

## Bruno Moysan

Bruno Moysan, agrégé de musique, docteur en musicologie, a enseigné les relations entre musique et politique à SciencesPo/Institut d'Etudes Politiques de Paris (1998-2010) et au Conservatoire National Supérieur de Musique de Paris (2007-2009), le journalisme et les médias dans le département de musicologie de l'Université de Paris VIII-Saint Denis (2011-2013). Il est membre collaborateur de l'Observatoire Interdisciplinaire de Création et de Recherche de l'Université de Montréal (UdeM). Ses recherches portent sur Liszt et Chopin, la musique romantique de piano, la réécriture en art et spécialement dans la musique du XIXe siècle, les relations musique et politique dans les démocraties modernes, la pensée libérale et ses relations avec la culture. Bruno Moysan est chercheur associé à l'Institut ARI, Bayonne.
Szasz Tibor (1986), “Liszt’s Symbolism and musical structure”, Conference library of Congress, Washington DC.

Szasz Tibor (2010), “Liszt’s Sonata in B minor and a woman composer’s fingerprint”, *The Liszt Society Journal*, 35, 3-27.

Szasz Tibor (2011), «les rapports secrets entre les thèmes de la Sonate de Liszt et un lied de Maria Pavlovna Romanova», *Analyse Musicale*, 65, 63-74.

Tanner Mark (2000), “The power of performance as an alternative and analytical discourse: The Liszt Sonata in B minor”, *The Liszt Society Journal*, 25, 24-47.

Tarasti Eero (2009), *Fondements de la sémiotique existentielle*, L’Harmattan, Paris.

Van de Moortele Steven (2009), *Two-dimensional sonata form, form and cycle in single-movement instrumental by Liszt*, Strauss, Schoenberg and Zemlinsky, Leuven University Press, Leuven.

Walker Alan (1993), *Franz Liszt. The Weimar years: 1848-1861*, A. Knopf, New York.

Weber Max (1992), *Essais sur la théorie de la science (1904-1917)*, Pocket, Paris.

Winklhofer Sharon (1980), *Liszt’s Sonata in B minor: A study of autograph sources and documents*, UMI Research Press, Ann Arbor.

Zicari Ida (2017), *Après une lecture du Dante. Fantasia quasi sonata di Franz Liszt*, Il corriere musicale, Milano.

Zuckerman Viktor (1986), “la Sonate en Si mineur”, *Silences*, 3, 55-83.

<figure><img src="image_189.png" /></figure>

## Bruno Moysan

Bruno Moysan, agrégé de musique, docteur en musicologie, a enseigné les relations entre musique et politique à SciencesPo/Institut d'Etudes Politiques de Paris (1998-2010) et au Conservatoire National Supérieur de Musique de Paris (2007-2009), le journalisme et les médias dans le département de musicologie de l'Université de Paris VIII-Saint Denis (2011-2013). Il est membre collaborateur de l'Observatoire Interdisciplinaire de Création et de Recherche de l'Université de Montréal (UdeM). Ses recherches portent sur Liszt et Chopin, la musique romantique de piano, la réécriture en art et spécialement dans la musique du XIXe siècle, les relations musique et politique dans les démocraties modernes, la pensée libérale et ses relations avec la culture. Bruno Moysan est chercheur associé à l'Institut ARI, Bayonne.
<figure><img src="image_192.png" /></figure>

05

Programme de recherche
<figure><img src="image_190.png" /></figure>

05

Programme de recherche
Amir Ali, 75 ans, joue du violon devant chez lui dans le camp de réfugiés Rohingya de Kutupalong, Bangladesh, 8 février 2019. Photo: Reuters.

Les projets IRN du CNRS permettent la mise en relation de plusieurs équipes de recherche dans le monde pour travailler, à une échelle mondialisée, sur un thème commun dont l'analyse connaît des déclinaisons distinctes selon que l'on se trouve à Bogota ou à Cape Coast, à New York ou à Bayonne. L'Institut ARI (UMR Passages) a été lauréat d'un IRN du CNRS pour la période 2023-27. Haizebegi est associé à ce programme, en particulier à travers son festival annuel «Art – Science – Société» et son livre du Festival. Il nous a paru intéressant de porter à votre connaissance cet aspect des activités de Haizebegi, un aspect moins connu sans doute, mais qui occupe une part importante dans le souci que nous partageons de mettre en relation Art, Science et Société pour mieux cibler les enjeux sociétaux qui doivent permettre de rendre notre monde meilleur. Comme tous les projets internationaux, il est rédigé en anglais.
Amir Ali, 75 ans, joue du violon devant chez lui dans le camp de réfugiés Rohingya de Kutupalong, Bangladesh, 8 février 2019. Photo: Reuters.

Les projets IRN du CNRS permettent la mise en relation de plusieurs équipes de recherche dans le monde pour travailler, à une échelle mondialisée, sur un thème commun dont l'analyse connaît des déclinaisons distinctes selon que l'on se trouve à Bogota ou à Cape Coast, à New York ou à Bayonne. L'Institut ARI (UMR Passages) a été lauréat d'un IRN du CNRS pour la période 2023-27. Haizebegi est associé à ce programme, en particulier à travers son festival annuel «Art – Science – Société» et son livre du Festival. Il nous a paru intéressant de porter à votre connaissance cet aspect des activités de Haizebegi, un aspect moins connu sans doute, mais qui occupe une part importante dans le souci que nous partageons de mettre en relation Art, Science et Société pour mieux cibler les enjeux sociétaux qui doivent permettre de rendre notre monde meilleur. Comme tous les projets internationaux, il est rédigé en anglais.
<figure><img src="image_193.png" /></figure>
<figure><img src="image_191.png" /></figure>
## Ce que peut la Musique en situation de migration forcée

Of What is Music Capable in Situation of Forced Migration (MusiMig)

All over the world, NGOs, the UNHCR itself, cultural operators, and institutions are taking initiatives that make music a tool of resilience or a tool of social inclusion for people plunged into forced migration. We take these initiatives seriously. The great methodological challenge of the MusiMig IRN is to bring together distant fields in a shared questioning dynamic. Gathered in a shared inquiry, these themes can produce the unexpected and be a source of renewed thinking on the role of cultural practices in situations of forced migration on a globalized scale. We, therefore, target (i) the reasons for acting «in the name of music» and (ii) the differentiated modalities of engagement in situations of music making. The basis of the project is a point of method proven in our previous work: an observation work carried

out in a contextualized and situated way, which mobilizes the resources of filmic analysis. 4 axes are privileged: (i) **Activist commitments:** What is acting in the name of the music? NGOs propose musical activities in situations of great precariousness: refugee camps (Moria, Zaatari, Kakuma), CADAs, and structures for victims of natural disasters (New York). How is the question of musical repertoires considered? Is music a tool of resilience or rather of cultural domination through the establishment of repertoires of vicariance? (ii) **Cultural facilities** are built to welcome (and produce) musical diversity: the great festivals of Cape Coast, Rudolstadt, Hanover, New York. This is also the case of the Fort d'Aubervilliers: an entire urban renovation program built around the Villes des Musiques du Monde festival, which the public authorities
## Ce que peut la Musique en situation de migration forcée

Of What is Music Capable in Situation of Forced Migration (MusiMig)

All over the world, NGOs, the UNHCR itself, cultural operators, and institutions are taking initiatives that make music a tool of resilience or a tool of social inclusion for people plunged into forced migration. We take these initiatives seriously. The great methodological challenge of the MusiMig IRN is to bring together distant fields in a shared questioning dynamic. Gathered in a shared inquiry, these themes can produce the unexpected and be a source of renewed thinking on the role of cultural practices in situations of forced migration on a globalized scale. We, therefore, target (i) the reasons for acting «in the name of music» and (ii) the differentiated modalities of engagement in situations of music making. The basis of the project is a point of method proven in our previous work: an observation work carried

out in a contextualized and situated way, which mobilizes the resources of filmic analysis. 4 axes are privileged: (i) **Activist commitments:** What is acting in the name of the music? NGOs propose musical activities in situations of great precariousness: refugee camps (Moria, Zaatari, Kakuma), CADAs, and structures for victims of natural disasters (New York). How is the question of musical repertoires considered? Is music a tool of resilience or rather of cultural domination through the establishment of repertoires of vicariance? (ii) **Cultural facilities** are built to welcome (and produce) musical diversity: the great festivals of Cape Coast, Rudolstadt, Hanover, New York. This is also the case of the Fort d'Aubervilliers: an entire urban renovation program built around the Villes des Musiques du Monde festival, which the public authorities
have turned into a tool for social inclusion. **(iii) Creative networks**, most of them informal, create urban dynamics centered on integrating asylum seekers in innovative participative approaches. What impact does this solidarity activism have on the path of people involved in any musical project in New York, London, Berlin, San Sebastian? **(iv) Institutional arrangements.** Here we question the integrative force of cultural and training policies, considered from the point of view of emotional mobilizations and musical capabilities, but also the point of view of the status and legal frameworks of integration through professional artistic practice.

## The IRN MusiMig project

The great challenge of IRN MusiMig is to bring together these distant fields in a shared dynamic of questioning. We bring them together here in the context of the power of music - or, more precisely, of making music together - to affect social bonds in situations of forced migration. We believe that brought together in a shared questioning, these distinct themes can produce the unexpected and be a source of renewed thinking on the role of cultural practices in situations of forced migration on a globalized scale. We, therefore, target the reasons for acting «in the name of music» and the differentiated modalities of engagement in situations of music making. The basis of the project is a point of method that we have tested in our previous work: an observation work carried out in a

contextualized and situated way, which also mobilizes the resources of filmic analysis.

## The objective of the IRN

Four work axes are privileged, which draw as many situations or «institutional characters» as we analyze by case. In this context, the disparity of the situations is an asset to think this casuistry and trying to organize a rise in generality from these multi-situated observations, which aim to integrate into our analyses the internationalization of the question of asylum:

- **(i) Activist commitments:** What is acting in the name of the music? Here we compare situations in which NGOs propose musical activities in conditions of great precariousness: refugee camps (Moria, Zaatari, Kakuma), various CADAs, and reception structures for victims of natural catastrophes (New York). What does the musician's action in common do in these cases? How is the question of musical repertoires considered? Is music a tool for resilience, training, or a tool for cultural domination that would involve the establishment of a process of vicariousness?

- **(ii) Cultural facilities** have been built to accommodate (and produce) musical diversity. This is the case with the great festivals of Cape Coast, Rudolstadt, Hanover, New York. It is also the case of the buildings dedicated to fabricating a multicultural society. The Fort d'Aubervilliers is a paradigmatic case: an entire urban renovation program is
have turned into a tool for social inclusion. **(iii) Creative networks**, most of them informal, create urban dynamics centered on integrating asylum seekers in innovative participative approaches. What impact does this solidarity activism have on the path of people involved in any musical project in New York, London, Berlin, San Sebastian? **(iv) Institutional arrangements.** Here we question the integrative force of cultural and training policies, considered from the point of view of emotional mobilizations and musical capabilities, but also the point of view of the status and legal frameworks of integration through professional artistic practice.

## The IRN MusiMig project

The great challenge of IRN MusiMig is to bring together these distant fields in a shared dynamic of questioning. We bring them together here in the context of the power of music - or, more precisely, of making music together - to affect social bonds in situations of forced migration. We believe that brought together in a shared questioning, these distinct themes can produce the unexpected and be a source of renewed thinking on the role of cultural practices in situations of forced migration on a globalized scale. We, therefore, target the reasons for acting «in the name of music» and the differentiated modalities of engagement in situations of music making. The basis of the project is a point of method that we have tested in our previous work: an observation work carried out in a

contextualized and situated way, which also mobilizes the resources of filmic analysis.

## The objective of the IRN

Four work axes are privileged, which draw as many situations or «institutional characters» as we analyze by case. In this context, the disparity of the situations is an asset to think this casuistry and trying to organize a rise in generality from these multi-situated observations, which aim to integrate into our analyses the internationalization of the question of asylum:

- **(i) Activist commitments:** What is acting in the name of the music? Here we compare situations in which NGOs propose musical activities in conditions of great precariousness: refugee camps (Moria, Zaatari, Kakuma), various CADAs, and reception structures for victims of natural catastrophes (New York). What does the musician's action in common do in these cases? How is the question of musical repertoires considered? Is music a tool for resilience, training, or a tool for cultural domination that would involve the establishment of a process of vicariousness?

- **(ii) Cultural facilities** have been built to accommodate (and produce) musical diversity. This is the case with the great festivals of Cape Coast, Rudolstadt, Hanover, New York. It is also the case of the buildings dedicated to fabricating a multicultural society. The Fort d'Aubervilliers is a paradigmatic case: an entire urban renovation program is
built around the theater, programming, and mediation activities of the Villes des Musiques du Monde festival, which the public authorities have turned into a tool for social inclusion.

- **(iii) Creative networks**, most of them informal, are creating new urban dynamics centered on the reception and integration of asylum seekers in innovative participative approaches. What impact does this solidarity activism have on the lives of migrants who get involved in a musical project? And how does the social world that accompanies them change? The case studies are in New York, London, Berlin, and San Sebastian.

- **(iv) Institutional arrangements.** This time we shift our attention to institutions, focusing on the integrative force of cultural and educational policies, considered from the point of view of emotional mobilizations and musical capabilities but also the point of view of the status and legal frameworks of integration through artistic practice. On each occasion, we examine how music is used to act on situations, to transform them in an inclusive, participatory, and virtuous way. Let us specify that these virtues are not to be sought in the music «itself» (which can also be an instrument of torture) but in the action in common and in the disposition in which the participants find themselves to believe in the virtue of the musical practice (it is up to the researchers to evaluate the criteriology and the forms of implementation in the situations).

## The strength of the team

Internationally renowned scientists are part of this network. All the researchers involved in the network have already worked together, and the fieldwork is carried out within the framework of projects that have already been funded. The serialization of these case studies should allow us to lay the foundations for a generalization that will allow us to better grasp the importance of cultural practices in situations of forced migration and to grasp them in a reflexive form that questions the sustainability of social inclusion policies on a now globalized scale.

## Objective

The IRN will strengthen the incubator for scientific research and artistic creation for cultural projects with a social vocation that is being created in Bayonne. It will ensure an international influence, not only in terms of visibility but also in terms of replicating the modalities of doing research experimentally. The IRN MusiMig will produce: (i) 11 publications over the next 5 years; (ii) a dedicated website with Pic-Digital (France Relance project with the company Pic-Digital); (iii) an involvement in the Haizebegi Festival in order to make this work known (www.haizebegi.eu); (iv) the ARI Institute has a documentary film team under the direction of Alexandra ENA (director, CNRS Image). Short films (5 min.) will be put online on the website, and a 52 minutes documentary film will be made on the project (funding acquired)
built around the theater, programming, and mediation activities of the Villes des Musiques du Monde festival, which the public authorities have turned into a tool for social inclusion.

- **(iii) Creative networks**, most of them informal, are creating new urban dynamics centered on the reception and integration of asylum seekers in innovative participative approaches. What impact does this solidarity activism have on the lives of migrants who get involved in a musical project? And how does the social world that accompanies them change? The case studies are in New York, London, Berlin, and San Sebastian.

- **(iv) Institutional arrangements.** This time we shift our attention to institutions, focusing on the integrative force of cultural and educational policies, considered from the point of view of emotional mobilizations and musical capabilities but also the point of view of the status and legal frameworks of integration through artistic practice. On each occasion, we examine how music is used to act on situations, to transform them in an inclusive, participatory, and virtuous way. Let us specify that these virtues are not to be sought in the music «itself» (which can also be an instrument of torture) but in the action in common and in the disposition in which the participants find themselves to believe in the virtue of the musical practice (it is up to the researchers to evaluate the criteriology and the forms of implementation in the situations).

## The strength of the team

Internationally renowned scientists are part of this network. All the researchers involved in the network have already worked together, and the fieldwork is carried out within the framework of projects that have already been funded. The serialization of these case studies should allow us to lay the foundations for a generalization that will allow us to better grasp the importance of cultural practices in situations of forced migration and to grasp them in a reflexive form that questions the sustainability of social inclusion policies on a now globalized scale.

## Objective

The IRN will strengthen the incubator for scientific research and artistic creation for cultural projects with a social vocation that is being created in Bayonne. It will ensure an international influence, not only in terms of visibility but also in terms of replicating the modalities of doing research experimentally. The IRN MusiMig will produce: (i) 11 publications over the next 5 years; (ii) a dedicated website with Pic-Digital (France Relance project with the company Pic-Digital); (iii) an involvement in the Haizebegi Festival in order to make this work known (www.haizebegi.eu); (iv) the ARI Institute has a documentary film team under the direction of Alexandra ENA (director, CNRS Image). Short films (5 min.) will be put online on the website, and a 52 minutes documentary film will be made on the project (funding acquired)
## I. 2
STATE OF THE ART

Ethnomusicologists and anthropologists have long been studying music in a wide variety of migration contexts¹. The theme contributes fully to the history of our discipline. It is even a constitutive principle. However, this network project would like to make a distinctive contribution to this problematic by drawing some perspectives that contribute to a renewed attention to the relationship between music and migration. To meet this challenge, we have set up a multi-disciplinary network This point of view is anchored in the heart of our area of specialization and is a form of astonishment: how is it that despite the expertise it has developed on this theme, both within its own field and, more broadly, within the social sciences, ethnomusicology is reduced to an ancillary condition in contemporary debates on mobility, global cities and super-diversity, when the social sciences see it, as suggested by Milena Doytcheva, as «a real turning point in the study of the phenomena of heterogeneity and cultural pluralism»², but also in the broader debates on cultural diversity, or even in those other debates, political ones, which affect the musical practices of populations in situation of forced migration³? We want this project to be an invitation to the social sciences dealing with music to take their rightful place in these social debates, as they have been able to make music a tool for understanding human societies⁴.

The migratory crisis is now shedding new light on the issue of cultural practices in situations of forced migration. Many major symposia and works, most of them exploratory, attempt to identify as closely as possible the issues related to musical practices in such contexts⁵. The questioning comes from afar. It is anchored in this base constituted by a set of ethnomusicological studies, some of which are mentioned above, studies that deal with the circulation of musicians⁶, musical performances and the repertoires mobilized by migrant populations, such as those of Veit Erlmann⁷ and Adelaida Reyes⁸, acoustic landscapes and the link to technological devices⁹ and the construction of public spaces and forms of citizenship through music¹⁰. Other studies seek to understand how musical idioms stabilize or, on the contrary, invent themselves in diasporic forms that aim at the transnational scale¹¹ or mobilize the musical experience to make it an instrument of resilience¹². However, this accumulated knowledge and specific expertise today meet a significant challenge, which is the responsibility of scientific research, and particularly of anthropology or ethnomusicology as a discipline of otherness, to forge appropriate responses to a large-scale societal crisis linked to immigration, for which it is customary to make 2015 the point of origin.

**European migration crisis?**

Let us point out that if we are talking
## I. 2
STATE OF THE ART

Ethnomusicologists and anthropologists have long been studying music in a wide variety of migration contexts¹. The theme contributes fully to the history of our discipline. It is even a constitutive principle. However, this network project would like to make a distinctive contribution to this problematic by drawing some perspectives that contribute to a renewed attention to the relationship between music and migration. To meet this challenge, we have set up a multi-disciplinary network This point of view is anchored in the heart of our area of specialization and is a form of astonishment: how is it that despite the expertise it has developed on this theme, both within its own field and, more broadly, within the social sciences, ethnomusicology is reduced to an ancillary condition in contemporary debates on mobility, global cities and super-diversity, when the social sciences see it, as suggested by Milena Doytcheva, as «a real turning point in the study of the phenomena of heterogeneity and cultural pluralism»², but also in the broader debates on cultural diversity, or even in those other debates, political ones, which affect the musical practices of populations in situation of forced migration³? We want this project to be an invitation to the social sciences dealing with music to take their rightful place in these social debates, as they have been able to make music a tool for understanding human societies⁴.

The migratory crisis is now shedding new light on the issue of cultural practices in situations of forced migration. Many major symposia and works, most of them exploratory, attempt to identify as closely as possible the issues related to musical practices in such contexts⁵. The questioning comes from afar. It is anchored in this base constituted by a set of ethnomusicological studies, some of which are mentioned above, studies that deal with the circulation of musicians⁶, musical performances and the repertoires mobilized by migrant populations, such as those of Veit Erlmann⁷ and Adelaida Reyes⁸, acoustic landscapes and the link to technological devices⁹ and the construction of public spaces and forms of citizenship through music¹⁰. Other studies seek to understand how musical idioms stabilize or, on the contrary, invent themselves in diasporic forms that aim at the transnational scale¹¹ or mobilize the musical experience to make it an instrument of resilience¹². However, this accumulated knowledge and specific expertise today meet a significant challenge, which is the responsibility of scientific research, and particularly of anthropology or ethnomusicology as a discipline of otherness, to forge appropriate responses to a large-scale societal crisis linked to immigration, for which it is customary to make 2015 the point of origin.

**European migration crisis?**

Let us point out that if we are talking
about a «European migration crisis» or a «major societal crisis», we are talking about a political crisis. The crisis arises from the confrontation of the European Union's social, security and economic model with a model of integration which is marking time since it is seen as a matter of urgency and has a complicated relationship with the Geneva Convention of 28 July 1951 relating to the status of refugees. If we are talking about a «migratory crisis» in the discussion that follows, it is on the condition that we consider the crisis as a relational form between asylum application and reception arrangements, at the heart of a dialogical form that links wandering and reception, flight and hospitality.

In 2015, more than one million people passing through countries disorganized by wars - wars in which European countries are involved (Libya, Syria, Iraq, Afghanistan) - will be arriving at the gates of the European Union: 972 500 by sea, 34 000 via the Balkans¹³. Let us try to control the orders of magnitude. In 2015, the European Union will have 508.2 million inhabitants. In raw data, the arrival of these migrants, therefore, represents 0.2% of the European population. How can we speak of a «crisis» given the low orders of magnitude of migration? Let us wager that we should focus our attention elsewhere than on statistics, no longer on flows but their management, no longer on absolute values but on reception facilities, no longer on tables

but on daily experiences. Shifting our attention in this way is also a way of dealing with public action when it comes to dealing with mobile populations in the context of contemporary European migration policies.

It is where the music comes in. As soon as we change the focus to question the multiple forms of solidarity, welcome and collaboration, music comes to occupy a prominent place. It becomes a crucial tool of intelligibility¹⁴ for observing, in real-time, the world that we invent in the form of a «regulatory improvisation» that is globalized, clumsy, worried.

This project considers together very different «institutions «: music places, theatres, art centres, migrant reception structures, refugee camps, festivals, activist associations, artists' groups. The targets of our observations are collectives, individuals, institutions, devices that we all face in distinct social contexts and various cultural areas. This great diversity could be the sign of an announced aporia or a methodological tinkering. But, on the contrary, we intend to make this «great diversity» the major asset of this project.

Migration crises, wars, climate change as well as the Covid19 pandemic question the regularities we were familiar with and were the basis of our strong social ties. The desire for otherness that characterizes all these approaches comes up against the significant disorder of societies undergoing reconstruction. We intend to make forms of improvisation, ways of adaptation of
about a «European migration crisis» or a «major societal crisis», we are talking about a political crisis. The crisis arises from the confrontation of the European Union's social, security and economic model with a model of integration which is marking time since it is seen as a matter of urgency and has a complicated relationship with the Geneva Convention of 28 July 1951 relating to the status of refugees. If we are talking about a «migratory crisis» in the discussion that follows, it is on the condition that we consider the crisis as a relational form between asylum application and reception arrangements, at the heart of a dialogical form that links wandering and reception, flight and hospitality.

In 2015, more than one million people passing through countries disorganized by wars - wars in which European countries are involved (Libya, Syria, Iraq, Afghanistan) - will be arriving at the gates of the European Union: 972 500 by sea, 34 000 via the Balkans¹³. Let us try to control the orders of magnitude. In 2015, the European Union will have 508.2 million inhabitants. In raw data, the arrival of these migrants, therefore, represents 0.2% of the European population. How can we speak of a «crisis» given the low orders of magnitude of migration? Let us wager that we should focus our attention elsewhere than on statistics, no longer on flows but their management, no longer on absolute values but on reception facilities, no longer on tables

but on daily experiences. Shifting our attention in this way is also a way of dealing with public action when it comes to dealing with mobile populations in the context of contemporary European migration policies.

It is where the music comes in. As soon as we change the focus to question the multiple forms of solidarity, welcome and collaboration, music comes to occupy a prominent place. It becomes a crucial tool of intelligibility¹⁴ for observing, in real-time, the world that we invent in the form of a «regulatory improvisation» that is globalized, clumsy, worried.

This project considers together very different «institutions «: music places, theatres, art centres, migrant reception structures, refugee camps, festivals, activist associations, artists' groups. The targets of our observations are collectives, individuals, institutions, devices that we all face in distinct social contexts and various cultural areas. This great diversity could be the sign of an announced aporia or a methodological tinkering. But, on the contrary, we intend to make this «great diversity» the major asset of this project.

Migration crises, wars, climate change as well as the Covid19 pandemic question the regularities we were familiar with and were the basis of our strong social ties. The desire for otherness that characterizes all these approaches comes up against the significant disorder of societies undergoing reconstruction. We intend to make forms of improvisation, ways of adaptation of
do-it-yourself that we will meet our tools to build an epistemic moment of importance that will mark the first year of our IRN and will be the opportunity for a reflexive turn on our approaches to the production of scientific knowledge in which we are involved.

For this reason, we develop a multidisciplinary IRN, intending to ensure that our initiative will have a lasting impact on how we approach social facts captured in situations of uncertainty (see publications and film productions program). We have essential assets to promote: abilities recognized by the scientific community, familiar field approaches, an international reputation, acquired habits of working together, the constitution of inter-laboratory teams to carry out our field investigations, the entry into our academic world of young researchers that we have trained together, the participation of new PhD candidates in our networks of Summer Universities (see PhD students program).

These choices have led us to favour five modes of operation:

1. Meetings of the Scientific Council (the project leaders for each team) twice a year in Bayonne, at the ARI Institute;

2. An introductory conference explicitly devoted to questions of method and epistemology in the social sciences;

3. Four other annual conferences devoted to each of the four themes of this project, organized by the partner laboratories;

4. An annual meeting on the theme of Art and Social Sciences to organize the international cooperation which will accompany the extensive scientific program to create an incubator for artistic and scientific projects aimed at creating a framework for the ERC Synergy Grant project on which this IRN project should lead in 2026-27.

5. For reasons of methods and sharing, each team will be multidisciplinary and will be composed of researchers from several teams involved in IRN.

## I. 3

### SCIENTIFIC PROJECT: MUSIMIG [OF WHAT IS MUSIC CAPABLE IN SITUATION OF FORCED MIGRATION]

We have all worked on cultural institutions that make musical alterity their programming line and that hope to work in this way to build a multicultural world in which music becomes a tool to help a better understanding of cultural differences and a tool for social integration as well. We propose to continue exploring this link between culture and migration, «mimesis and alterity» (Michael Taussig), between sharing social life and institutionalizing differences, even if it is getting hard to conceive uncertainty when we are caught up in the «surfing uncertainty» (Andy Clark) process itself. As the voices rise to demand an upgrading of planning thoughts, the MusiMig project deals with improvisation.

But what about the world that cultural
do-it-yourself that we will meet our tools to build an epistemic moment of importance that will mark the first year of our IRN and will be the opportunity for a reflexive turn on our approaches to the production of scientific knowledge in which we are involved.

For this reason, we develop a multidisciplinary IRN, intending to ensure that our initiative will have a lasting impact on how we approach social facts captured in situations of uncertainty (see publications and film productions program). We have essential assets to promote: abilities recognized by the scientific community, familiar field approaches, an international reputation, acquired habits of working together, the constitution of inter-laboratory teams to carry out our field investigations, the entry into our academic world of young researchers that we have trained together, the participation of new PhD candidates in our networks of Summer Universities (see PhD students program).

These choices have led us to favour five modes of operation:

1. Meetings of the Scientific Council (the project leaders for each team) twice a year in Bayonne, at the ARI Institute;

2. An introductory conference explicitly devoted to questions of method and epistemology in the social sciences;

3. Four other annual conferences devoted to each of the four themes of this project, organized by the partner laboratories;

4. An annual meeting on the theme of Art and Social Sciences to organize the international cooperation which will accompany the extensive scientific program to create an incubator for artistic and scientific projects aimed at creating a framework for the ERC Synergy Grant project on which this IRN project should lead in 2026-27.

5. For reasons of methods and sharing, each team will be multidisciplinary and will be composed of researchers from several teams involved in IRN.

## I. 3

### SCIENTIFIC PROJECT: MUSIMIG [OF WHAT IS MUSIC CAPABLE IN SITUATION OF FORCED MIGRATION]

We have all worked on cultural institutions that make musical alterity their programming line and that hope to work in this way to build a multicultural world in which music becomes a tool to help a better understanding of cultural differences and a tool for social integration as well. We propose to continue exploring this link between culture and migration, «mimesis and alterity» (Michael Taussig), between sharing social life and institutionalizing differences, even if it is getting hard to conceive uncertainty when we are caught up in the «surfing uncertainty» (Andy Clark) process itself. As the voices rise to demand an upgrading of planning thoughts, the MusiMig project deals with improvisation.

But what about the world that cultural
operators were trying to build when they were trying to turn the social handicap of forced migration into an opportunity for our multicultural societies? Is there any contradiction in adhering to the Helmut Rosa theses of the unavailability of the world when availability has been the driving force behind the actors of the worlds of culture? Should we see in the conjunction of this imperative of re-rootedness that forces us to land (Bruno Latour) and this desire to open up to the world of cultural diversity an aporia to be fought or an opening for a liberating improvisation?

We cannot stand aside from the societal debates that will be of crucial importance in the process of inventing «a world after the coronavirus». The MusiMig IRN Project aims to work together with cultural operators, artists and migrants themselves at a worldwide scale, but thanks to case studies (see above), the MusiMig project wants to be part of this worldwide intellectual concern. What part will «World Music Worlds» play in the reinvention of the next world? Our MusiMig network will analize this process «in real time» over the next 5 years.

## Research Program

We have envisioned an argument based on four lines of research which are as many working groups: (i) Activist commitments; (ii) Cultural facilities; (iii) Creative networks; (iv) Institutional arrangements.

The common point of those approaches

is the concern of capture by the participant observation, a situated and contextualized capture which distinguishes between «observation post» (i.e. the place we occupy within the situations envisaged by our program in order to describe them) and «observer posture» (i.e. the critical tools we use to conduct our observations). This choice of method should allow us «to compare the incomparable», as Marcel Détienne would have suggested, and to work together on modalities of generalization without the possibility of generalization being an imperative, and even a guarantee of success of this project. We are not trying to build a «general theory» of music. Thus, there is no operating shortcut or mechanical equivalence in the progression from one particular case to another. How does one reason and to what extent can one generalize when starting from the description of singular configurations? Thinking by cases is our method decree. Comparing will be our way of understanding the role that cultural operators, artists, migrants and politicians make the music play in this world in which we live together.

We have set up four thematic axes which will operate during these five years with bridges since many researchers are involved in several of these projects at the same time. The meetings of the Scientific Committee twice a year will allow planning these stays according to the progress of the respective projects. They will also make it possible to plan the annual colloquiums, as well as the
operators were trying to build when they were trying to turn the social handicap of forced migration into an opportunity for our multicultural societies? Is there any contradiction in adhering to the Helmut Rosa theses of the unavailability of the world when availability has been the driving force behind the actors of the worlds of culture? Should we see in the conjunction of this imperative of re-rootedness that forces us to land (Bruno Latour) and this desire to open up to the world of cultural diversity an aporia to be fought or an opening for a liberating improvisation?

We cannot stand aside from the societal debates that will be of crucial importance in the process of inventing «a world after the coronavirus». The MusiMig IRN Project aims to work together with cultural operators, artists and migrants themselves at a worldwide scale, but thanks to case studies (see above), the MusiMig project wants to be part of this worldwide intellectual concern. What part will «World Music Worlds» play in the reinvention of the next world? Our MusiMig network will analize this process «in real time» over the next 5 years.

## Research Program

We have envisioned an argument based on four lines of research which are as many working groups: (i) Activist commitments; (ii) Cultural facilities; (iii) Creative networks; (iv) Institutional arrangements.

The common point of those approaches

is the concern of capture by the participant observation, a situated and contextualized capture which distinguishes between «observation post» (i.e. the place we occupy within the situations envisaged by our program in order to describe them) and «observer posture» (i.e. the critical tools we use to conduct our observations). This choice of method should allow us «to compare the incomparable», as Marcel Détienne would have suggested, and to work together on modalities of generalization without the possibility of generalization being an imperative, and even a guarantee of success of this project. We are not trying to build a «general theory» of music. Thus, there is no operating shortcut or mechanical equivalence in the progression from one particular case to another. How does one reason and to what extent can one generalize when starting from the description of singular configurations? Thinking by cases is our method decree. Comparing will be our way of understanding the role that cultural operators, artists, migrants and politicians make the music play in this world in which we live together.

We have set up four thematic axes which will operate during these five years with bridges since many researchers are involved in several of these projects at the same time. The meetings of the Scientific Committee twice a year will allow planning these stays according to the progress of the respective projects. They will also make it possible to plan the annual colloquiums, as well as the
summer universities (Hidelsheim in
June, Bayonne in September), which
will be open on a priority basis to PhD
students enrolled in the MusiMig
Network. Here are the four working
groups:

# 1. MAKING MUSIC TOGETHER

## 1.1 The Mavrovouni camp (Lesvos Island, Greece) (Coordinator: Prof. Denis Laborde, ARI Institute)

Among 34,875 migrants and asylum seekers are living on Aeegan islands (Greece). The Mória Camp (Lesvos Island) was the largest refugee camp in Europe until it was burned down in September 2020. It was planned to accommodate 7,000 migrants, they were 20,000 settled in inhuman conditions in the «jungle» of olive groves. These migrants were relocated in extremely precarious conditions in the camp of Mavrovouni. The migrants arrive by sea, pushed by Turkish coastguards. They enter a political space, which is that of the European Union. They apply for asylum. To do so, they have for sure to make an appointment with the administration. For the people arrived in September 2022, the appointment to compile the file is... September 2024. This means that for at least two years, migrants are prisoners in the camp. French novelist Marie Cosnay (Institut ARI, Bayonne) went there in January this year. She met Rouddy Kimpioka, a musician coming from Congo and working with an NGO in the camp, teaching dance and music.

In 2018, he created the group «Rad Music» conceived as a cultural tool in support of asylum seekers waiting on the island. The activity is aimed at both refugees and Greeks. It is carried out in collaboration with the organizations already working on the island in various humanitarian fields for the benefit of asylum seekers.

In this context, Rouddy Kimpioka and his Rad Music team decided to reinforce the cultural project in order to shape a better social life. Music gives hope.

1. The ARI Institute (CNRS, Bayonne) is in contact with Rouddy Kimpioka and the Rad Music group for a while. To continue this collaboration, we have decided to make the Mória camp our fieldwork for an ethnographic approach on “music in migrant camps”.

2. We are also in contact with the Institut Français in Athens which is very involved on the island. Marie Cosnay took part in «La Nuit des Idées» (January, 30th. 2020). Since then we are planning to value those contacts and organize the annual symposium of our IRN group 2022 in Mytilene, the island's capital. This will entitle all of us to meet the Rad Music group, the NGOs present on the spot and the associations of islanders who are involved in the efforts to make cohabitation possible and reduce the present social tensions generated by the administration itself. How do activists use dance and music in this context?
The fieldwork in the Greek island of
summer universities (Hidelsheim in
June, Bayonne in September), which
will be open on a priority basis to PhD
students enrolled in the MusiMig
Network. Here are the four working
groups:

# 1. MAKING MUSIC TOGETHER

## 1.1 The Mavrovouni camp (Lesvos Island, Greece) (Coordinator: Prof. Denis Laborde, ARI Institute)

Among 34,875 migrants and asylum seekers are living on Aeegan islands (Greece). The Mória Camp (Lesvos Island) was the largest refugee camp in Europe until it was burned down in September 2020. It was planned to accommodate 7,000 migrants, they were 20,000 settled in inhuman conditions in the «jungle» of olive groves. These migrants were relocated in extremely precarious conditions in the camp of Mavrovouni. The migrants arrive by sea, pushed by Turkish coastguards. They enter a political space, which is that of the European Union. They apply for asylum. To do so, they have for sure to make an appointment with the administration. For the people arrived in September 2022, the appointment to compile the file is... September 2024. This means that for at least two years, migrants are prisoners in the camp. French novelist Marie Cosnay (Institut ARI, Bayonne) went there in January this year. She met Rouddy Kimpioka, a musician coming from Congo and working with an NGO in the camp, teaching dance and music.

In 2018, he created the group «Rad Music» conceived as a cultural tool in support of asylum seekers waiting on the island. The activity is aimed at both refugees and Greeks. It is carried out in collaboration with the organizations already working on the island in various humanitarian fields for the benefit of asylum seekers.

In this context, Rouddy Kimpioka and his Rad Music team decided to reinforce the cultural project in order to shape a better social life. Music gives hope.

1. The ARI Institute (CNRS, Bayonne) is in contact with Rouddy Kimpioka and the Rad Music group for a while. To continue this collaboration, we have decided to make the Mória camp our fieldwork for an ethnographic approach on “music in migrant camps”.

2. We are also in contact with the Institut Français in Athens which is very involved on the island. Marie Cosnay took part in «La Nuit des Idées» (January, 30th. 2020). Since then we are planning to value those contacts and organize the annual symposium of our IRN group 2022 in Mytilene, the island's capital. This will entitle all of us to meet the Rad Music group, the NGOs present on the spot and the associations of islanders who are involved in the efforts to make cohabitation possible and reduce the present social tensions generated by the administration itself. How do activists use dance and music in this context?
The fieldwork in the Greek island of
Lesvos will be conducted by involving members of all MusiMig Network project teams. This fieldwork will be the common field research for all research teams involved in the project. It will be spread over several years and will be the subject of specific restitution that will combine the scientific contributions of the researchers (book), the artistic contributions of the migrant musicians working on-site and the film that the filmmaker Alexandra ENA (IE UMR Passages, ARI Institute) will dedicate to this camp and to our collective fieldwork.

## 1.2 Negociating diversity in cross-cultural collaborations in the “World After”? (coordinator: Dr. Michael Fuhr, Center for World Music, Hildesheim)

How do people negotiate diversity in cross-cultural collaborations in the “World After” coronavirus? Which strategies for solidarity are going to be developed that will impact new ways of cooperation in transnational music projects? Transnational music worlds are often presented as borderless and global. Through internationally active curators, their festivals and other music organizations, a global art market has developed which adheres to the motto of “diversity” (Hondros & Peres da Silva 2019) for increasing inclusivity. However, at the same time, global art worlds are criticized for being “too international” (But 2017), and for standardizing an international canon, which largely excludes, for example,

“refugee” artists. So is diversity a “white word” (Cañas 2017)? But now? How transnational cooperation will be organized without labelling, paternalizing or exoticizing, i.e. by asking how curating can be decolonized, as structures and practices of neo-colonialism, social inequality and exclusion persist on a global scale.

The focus will lie on both the representation of diversity and otherness in the life-worlds of globally active musicians, festivals and cultural organizations and the performativity of diversity and otherness in these fields of practice. While the former encompasses all structural conditions which influence how diversity and otherness are presented at festivals and other music organizations, the latter limits its attention to the practices and strategies of performing diversity and otherness as border-crossing. The research will lay open the forms, formats, approaches, funding schemes of publicly funded cooperation in transnational music worlds. It will evaluate in particular the conditions of German international cultural policies. Two case studies centered on two music organizations (in Beirut and Johannesburg) will entitle us to conduct a qualitative study focusing on both the people (musicians, managers, curators) working in such projects as well as on the organizations involved.

Field research will be conducted in Beirut, in Johannesburg but also within Germany in order to symmetrize our
Lesvos will be conducted by involving members of all MusiMig Network project teams. This fieldwork will be the common field research for all research teams involved in the project. It will be spread over several years and will be the subject of specific restitution that will combine the scientific contributions of the researchers (book), the artistic contributions of the migrant musicians working on-site and the film that the filmmaker Alexandra ENA (IE UMR Passages, ARI Institute) will dedicate to this camp and to our collective fieldwork.

## 1.2 Negociating diversity in cross-cultural collaborations in the “World After”? (coordinator: Dr. Michael Fuhr, Center for World Music, Hildesheim)

How do people negotiate diversity in cross-cultural collaborations in the “World After” coronavirus? Which strategies for solidarity are going to be developed that will impact new ways of cooperation in transnational music projects? Transnational music worlds are often presented as borderless and global. Through internationally active curators, their festivals and other music organizations, a global art market has developed which adheres to the motto of “diversity” (Hondros & Peres da Silva 2019) for increasing inclusivity. However, at the same time, global art worlds are criticized for being “too international” (But 2017), and for standardizing an international canon, which largely excludes, for example,

“refugee” artists. So is diversity a “white word” (Cañas 2017)? But now? How transnational cooperation will be organized without labelling, paternalizing or exoticizing, i.e. by asking how curating can be decolonized, as structures and practices of neo-colonialism, social inequality and exclusion persist on a global scale.

The focus will lie on both the representation of diversity and otherness in the life-worlds of globally active musicians, festivals and cultural organizations and the performativity of diversity and otherness in these fields of practice. While the former encompasses all structural conditions which influence how diversity and otherness are presented at festivals and other music organizations, the latter limits its attention to the practices and strategies of performing diversity and otherness as border-crossing. The research will lay open the forms, formats, approaches, funding schemes of publicly funded cooperation in transnational music worlds. It will evaluate in particular the conditions of German international cultural policies. Two case studies centered on two music organizations (in Beirut and Johannesburg) will entitle us to conduct a qualitative study focusing on both the people (musicians, managers, curators) working in such projects as well as on the organizations involved.

Field research will be conducted in Beirut, in Johannesburg but also within Germany in order to symmetrize our
observations. We want to make students with migration backgrounds' paths the focus of our analyses on the «integrative power» assigned to music. We will work cooperatively with former students of the MA course «Cultural diversity and music education offered by the Center for World Music. More than 50 % of the participants of this study course came as migrants to Germany. Most of them received a BA degree in Music in countries like Iran, Syria, Iraq, Afghanistan, Turkey as well as in some West African and South American countries. The program enables the students to get access to German cultural and educational institutions (music schools, socio-cultural or adult education centers, public schools, concert and festival organizers, so-called Integration Offices in local councils). In the past, most of those students were in the position to make a living after finishing the course through music, which was nearly impossible before their studies. The world «After Corona» is now different and we must carefully listen to our former students about the new conditions of cultural work and regard them as essential witnesses with enormous expertise for the coming transformations in a multipolar world.

In this MusiMig network, we plan to share with other researchers the ways in which we bring out the concepts that are now at work, concepts of diversity and otherness played out in the curatorial practice of music and performing arts festivals. For this

reason, the observations that we will be able to make in Johannesburg, Beirut or Hanover will allow us to work directly with the teams working on the festivals of Cape Coast, London, Aubervilliers or on the very impressive Tabakalera Art Centre in Saint-Sebastien. For reasons of methods and sharing, our teams will be multidisciplinary and will be composed of researchers from the other teams involved in IRN.

## 2. CULTURAL FACILITIES

### 2.1 Le festival Villes des Musiques & le Fort d'Aubervilliers (93) (Coordinator: Prof. Denis Laborde)

Created in 1997 on the initiative of the Aubervilliers Municipal Youth Office, this festival, which was called «Auber'ville des Musiques du Monde», was joined by La Courneuve in 2000. In this land of festivals the partners structured themselves. The association Villes des Musiques du Monde was set up with three objectives: «To create cultural and artistic events based on world music and dance that can bring together socio-cultural and cultural actors, associations and audiences from all origins and generations». In 2011, the association involved twenty-three cities and defined itself as «a territorial project that relies on its local roots to discover and promote encounters and exchanges around world music and culture, in the process of proximity and accompaniment of the public» (Villes des Musiques du Monde festival, 2011). From its inception, those who brought
observations. We want to make students with migration backgrounds' paths the focus of our analyses on the «integrative power» assigned to music. We will work cooperatively with former students of the MA course «Cultural diversity and music education offered by the Center for World Music. More than 50 % of the participants of this study course came as migrants to Germany. Most of them received a BA degree in Music in countries like Iran, Syria, Iraq, Afghanistan, Turkey as well as in some West African and South American countries. The program enables the students to get access to German cultural and educational institutions (music schools, socio-cultural or adult education centers, public schools, concert and festival organizers, so-called Integration Offices in local councils). In the past, most of those students were in the position to make a living after finishing the course through music, which was nearly impossible before their studies. The world «After Corona» is now different and we must carefully listen to our former students about the new conditions of cultural work and regard them as essential witnesses with enormous expertise for the coming transformations in a multipolar world.

In this MusiMig network, we plan to share with other researchers the ways in which we bring out the concepts that are now at work, concepts of diversity and otherness played out in the curatorial practice of music and performing arts festivals. For this

reason, the observations that we will be able to make in Johannesburg, Beirut or Hanover will allow us to work directly with the teams working on the festivals of Cape Coast, London, Aubervilliers or on the very impressive Tabakalera Art Centre in Saint-Sebastien. For reasons of methods and sharing, our teams will be multidisciplinary and will be composed of researchers from the other teams involved in IRN.

## 2. CULTURAL FACILITIES

### 2.1 Le festival Villes des Musiques & le Fort d'Aubervilliers (93) (Coordinator: Prof. Denis Laborde)

Created in 1997 on the initiative of the Aubervilliers Municipal Youth Office, this festival, which was called «Auber'ville des Musiques du Monde», was joined by La Courneuve in 2000. In this land of festivals the partners structured themselves. The association Villes des Musiques du Monde was set up with three objectives: «To create cultural and artistic events based on world music and dance that can bring together socio-cultural and cultural actors, associations and audiences from all origins and generations». In 2011, the association involved twenty-three cities and defined itself as «a territorial project that relies on its local roots to discover and promote encounters and exchanges around world music and culture, in the process of proximity and accompaniment of the public» (Villes des Musiques du Monde festival, 2011). From its inception, those who brought
this festival to the forefront of the association's activities, including André Falcucci, who is now its president, wanted to affirm the cultural richness of these towns open to the world, a richness that was the result of a long process of immigration, and to consider this diversity as a cultural asset rather than a social handicap. Nothing spontaneous, say the cultural operators in charge of the project. For if Villes des Musiques du Monde exists, it is because there is a collective mobilization to make it exist, to «organize its sharing and dissemination, promote access to the highest number by organizing actions before, around and after the artistic events themselves»(idem). From this point of view, the profession of faith of the cultural operators involved in this protean project remains unchanged. According to André Falcucci: «At the end of a decade of experience, the bets on which the commitment to this adventure is based are still relevant today: the diversity of cultures and forms of expression present in our cities and neighbourhoods are not handicaps but rather an asset that must be increased and shared (André Falcucci, interview, 19 October 2009).

All the epistemic tensions linked to the analysis of such a festival lies at the level of capturing the connections between practical realization, on the one hand, which makes a festival one because the «institutional felicity conditions» are present (Goffman), and social performance, on the other hand,

which makes a festival one because it is recognized as such by its target audience. Kamel Dafri, director of Villes des Musiques du Monde, summed up this tension quite clearly in a talk he gave at the very beginning of our fieldwork: «It is a question of going beyond the simple event to propose an in-depth approach and grasping the problems that drive our world cities.» From such a perspective, music is a tool that makes it possible to build what technocrats call an «integrated approach of actors». Kamel Dafri continues: «The objectives go beyond the simple framework of an artistic program [and] bring together the many sensitive actors and professionals involved in a more global reflection that questions living together». In fact, Villes des Musiques du Monde is at the head of a network composed of municipal services, associations in the cultural, youth and educational sectors, and people involved in popular education and artistic and cultural education. Its success became such that the project now brings together more than 20 cities in the Seine-Saint-Denis department, and is gradually spreading to outlying towns such as Paris, Nanterre, Asnières-sur-Oise or Ris-Orangis. The driving force behind this expansion strategy is to create «a geography of shared values in these world cities» (Kamel Dafri, personal interview, 14 May 2011).

The shared value referred to by Kamel Dafri is the making of music as the fabrication of a festive moment which, in turn, creates social ties. Here, the
this festival to the forefront of the association's activities, including André Falcucci, who is now its president, wanted to affirm the cultural richness of these towns open to the world, a richness that was the result of a long process of immigration, and to consider this diversity as a cultural asset rather than a social handicap. Nothing spontaneous, say the cultural operators in charge of the project. For if Villes des Musiques du Monde exists, it is because there is a collective mobilization to make it exist, to «organize its sharing and dissemination, promote access to the highest number by organizing actions before, around and after the artistic events themselves»(idem). From this point of view, the profession of faith of the cultural operators involved in this protean project remains unchanged. According to André Falcucci: «At the end of a decade of experience, the bets on which the commitment to this adventure is based are still relevant today: the diversity of cultures and forms of expression present in our cities and neighbourhoods are not handicaps but rather an asset that must be increased and shared (André Falcucci, interview, 19 October 2009).

All the epistemic tensions linked to the analysis of such a festival lies at the level of capturing the connections between practical realization, on the one hand, which makes a festival one because the «institutional felicity conditions» are present (Goffman), and social performance, on the other hand,

which makes a festival one because it is recognized as such by its target audience. Kamel Dafri, director of Villes des Musiques du Monde, summed up this tension quite clearly in a talk he gave at the very beginning of our fieldwork: «It is a question of going beyond the simple event to propose an in-depth approach and grasping the problems that drive our world cities.» From such a perspective, music is a tool that makes it possible to build what technocrats call an «integrated approach of actors». Kamel Dafri continues: «The objectives go beyond the simple framework of an artistic program [and] bring together the many sensitive actors and professionals involved in a more global reflection that questions living together». In fact, Villes des Musiques du Monde is at the head of a network composed of municipal services, associations in the cultural, youth and educational sectors, and people involved in popular education and artistic and cultural education. Its success became such that the project now brings together more than 20 cities in the Seine-Saint-Denis department, and is gradually spreading to outlying towns such as Paris, Nanterre, Asnières-sur-Oise or Ris-Orangis. The driving force behind this expansion strategy is to create «a geography of shared values in these world cities» (Kamel Dafri, personal interview, 14 May 2011).

The shared value referred to by Kamel Dafri is the making of music as the fabrication of a festive moment which, in turn, creates social ties. Here, the
concert is only a mode of action. Here, the «musical content» is less important than the creations, co-productions, educational activities, workshops, courses, meetings and festive moments, which certainly develop a better knowledge of world music, songs and dances, but above all make it possible to launch collective projects involving multiple actors and mobilizing the public. For cultural operators, the important thing is to build up the possibilities of doing things together for a better life together: an essential public policy mechanism supported by cultural and political activists.

This voluntarist strategy has recently met with another dynamic of expansion: the requalification of Fort d'Aubervilliers - a former 36-hectare military area built in 1843 to defend the northern entrance to Paris - in a «new» site. The idea of the planners, the State and the local authorities is to develop here an eco-neighborhood combining housing, shops and activities. At the heart of the cultural dimension of this project: the Villes des Musiques du Monde festival becomes a unique operator, erected as a symbol of the city's cultural diversity.

During the period 2020-30, Villes des Musiques will support the ZAC construction site by prefiguring multiple socio-cultural uses even before the first housing and facilities are delivered, and to accompany the development programme the Grand Paris Aménagement developer and local authorities in their consideration of

the emergence of a sustainable business cluster in the heart of the site.

Villes des Musiques du Monde will create various spaces that will be opportunities to install world music (i.e. cultural diversity) at the heart of this project: an imposing Hall, a performance and live performance space, a wooden marquee, coworking spaces, dance studios and music workshops in casemates, a multi-sports space (streetball and roller-skate) in the surroundings and several conviviality spaces, bar and socio-cultural living space for the inhabitants. An atypical site, in which sports classes and shows, conferences and big events, a space to stroll will coexist. As Kamel Dafri says: «The strength of this project lies in the plurality of the actors who carry them: sports associations, artists, chefs, thinkers, business leaders, designers, teachers. Being contemporary means innovating and fighting against the difficulties imposed on us by our world here and now. It is about including and exploring everything, opening up to all creative, relevant and sensitive gestures, wherever they come from.»

The ARI Institute team is asked to conduct a participant observation of the implementation of this «ode to cultural diversity» over the next five years. How will the good intentions of the real estate developers adjust to the social demands in tomorrow's world? Will the consortia of developers turn diversity into something more than a mere alibi to inaugurate a spectacular real estate program on the outskirts of Paris? Does
concert is only a mode of action. Here, the «musical content» is less important than the creations, co-productions, educational activities, workshops, courses, meetings and festive moments, which certainly develop a better knowledge of world music, songs and dances, but above all make it possible to launch collective projects involving multiple actors and mobilizing the public. For cultural operators, the important thing is to build up the possibilities of doing things together for a better life together: an essential public policy mechanism supported by cultural and political activists.

This voluntarist strategy has recently met with another dynamic of expansion: the requalification of Fort d'Aubervilliers - a former 36-hectare military area built in 1843 to defend the northern entrance to Paris - in a «new» site. The idea of the planners, the State and the local authorities is to develop here an eco-neighborhood combining housing, shops and activities. At the heart of the cultural dimension of this project: the Villes des Musiques du Monde festival becomes a unique operator, erected as a symbol of the city's cultural diversity.

During the period 2020-30, Villes des Musiques will support the ZAC construction site by prefiguring multiple socio-cultural uses even before the first housing and facilities are delivered, and to accompany the development programme the Grand Paris Aménagement developer and local authorities in their consideration of

the emergence of a sustainable business cluster in the heart of the site.

Villes des Musiques du Monde will create various spaces that will be opportunities to install world music (i.e. cultural diversity) at the heart of this project: an imposing Hall, a performance and live performance space, a wooden marquee, coworking spaces, dance studios and music workshops in casemates, a multi-sports space (streetball and roller-skate) in the surroundings and several conviviality spaces, bar and socio-cultural living space for the inhabitants. An atypical site, in which sports classes and shows, conferences and big events, a space to stroll will coexist. As Kamel Dafri says: «The strength of this project lies in the plurality of the actors who carry them: sports associations, artists, chefs, thinkers, business leaders, designers, teachers. Being contemporary means innovating and fighting against the difficulties imposed on us by our world here and now. It is about including and exploring everything, opening up to all creative, relevant and sensitive gestures, wherever they come from.»

The ARI Institute team is asked to conduct a participant observation of the implementation of this «ode to cultural diversity» over the next five years. How will the good intentions of the real estate developers adjust to the social demands in tomorrow's world? Will the consortia of developers turn diversity into something more than a mere alibi to inaugurate a spectacular real estate program on the outskirts of Paris? Does
this highly innovative project prefigure
new forms of cultural policies? Would
the gigantic real estate program be to
World Music what philharmonics are
to Western classical music? About ten
researchers linked to the ARI Institute
are involved in this fieldwork financed
by Villes des Musiques du Monde and
the Seine-Saint-Denis Departmental
Council (93).

## 2.2 Tabakalera, an art centre involved in the reception of migrants in the Basque Country (coordinator: Dr. Aitzpea Leizaola)

Tabakalera, Tabakalera: a factory of
creation and living together -yet apart?
After 90 years as a State-owned
cigarette factory Tabakalera reopened its
doors in 2015 as an International Centre
for Contemporary Culture (ICCC)
located in the centre of Donostia. In
1925, over one thousand people worked
there, the majority of them women.
This former tobacco factory that once
vertebrated the neighborhood of Egia,
now houses a variety of projects and
cultural institutions, including the
Donostia San Sebastian International
Film Festival, The Etxepare Institute for
the promotion of Basque Culture, the
Elias Querejeta Cinema School and the
Basque Film Archive, among others, as
well as several private initiatives.

Tabakalera aims to help develop
the artistic and critical capacity of
Basque society through creative and
participative leisure activities. However,
its foundation -as well as its funding-

came after a long period of controversy,
where the mission as well as the cultural
content of the institution were at the
forefront of intense debates. Since its
creation, Tabakalera has been part of
the cultural equipment of the Basque
Autonomous regions, and as such, it
is aimed at playing an important role
in the critical Basque cultural scene.
Today, five years after its opening it
hosts several exhibition spaces as well
as multiple use spaces with a vibrant
agenda of concerts, performances and
theatre. The ICCC is the home of Ubik
too, a creation library that offers free
of charge technical and technological
support and facilities, including a loan
service of musical instruments as well as
the Sound's corner.

Hybridity and adaptability are some
of the Tabakalera key words. The
transformation of the former tobacco
factory into a CICC has entailed
removing fences, surrounding walls and
creating an internal public sheltered
space in a medium size city where it
rains a lot through the year. Located by
the main train station and the recently
opened bus station makes the ICCC
an attractive spot for newcomers, both
tourists and migrants. In fact, its space
has been appropriated in a variety of
ways by different people, including
parents with toddlers, teenagers,
migrants and homeless people who use
the premises for different purposes.
Most of the activities organized by and
within the ICC are free and Tabakalera
wishes to remain a free access space.
this highly innovative project prefigure
new forms of cultural policies? Would
the gigantic real estate program be to
World Music what philharmonics are
to Western classical music? About ten
researchers linked to the ARI Institute
are involved in this fieldwork financed
by Villes des Musiques du Monde and
the Seine-Saint-Denis Departmental
Council (93).

## 2.2 Tabakalera, an art centre involved in the reception of migrants in the Basque Country (coordinator: Dr. Aitzpea Leizaola)

Tabakalera, Tabakalera: a factory of
creation and living together -yet apart?
After 90 years as a State-owned
cigarette factory Tabakalera reopened its
doors in 2015 as an International Centre
for Contemporary Culture (ICCC)
located in the centre of Donostia. In
1925, over one thousand people worked
there, the majority of them women.
This former tobacco factory that once
vertebrated the neighborhood of Egia,
now houses a variety of projects and
cultural institutions, including the
Donostia San Sebastian International
Film Festival, The Etxepare Institute for
the promotion of Basque Culture, the
Elias Querejeta Cinema School and the
Basque Film Archive, among others, as
well as several private initiatives.

Tabakalera aims to help develop
the artistic and critical capacity of
Basque society through creative and
participative leisure activities. However,
its foundation -as well as its funding-

came after a long period of controversy,
where the mission as well as the cultural
content of the institution were at the
forefront of intense debates. Since its
creation, Tabakalera has been part of
the cultural equipment of the Basque
Autonomous regions, and as such, it
is aimed at playing an important role
in the critical Basque cultural scene.
Today, five years after its opening it
hosts several exhibition spaces as well
as multiple use spaces with a vibrant
agenda of concerts, performances and
theatre. The ICCC is the home of Ubik
too, a creation library that offers free
of charge technical and technological
support and facilities, including a loan
service of musical instruments as well as
the Sound's corner.

Hybridity and adaptability are some
of the Tabakalera key words. The
transformation of the former tobacco
factory into a CICC has entailed
removing fences, surrounding walls and
creating an internal public sheltered
space in a medium size city where it
rains a lot through the year. Located by
the main train station and the recently
opened bus station makes the ICCC
an attractive spot for newcomers, both
tourists and migrants. In fact, its space
has been appropriated in a variety of
ways by different people, including
parents with toddlers, teenagers,
migrants and homeless people who use
the premises for different purposes.
Most of the activities organized by and
within the ICC are free and Tabakalera
wishes to remain a free access space.
This variety of uses has been labelled by
the institution as an example of social
coexistence that nevertheless has to be
addressed and somehow, regulated. With
the lockdown due to the Covid-19 crisis,
all the physical premises of the ICCC
were closed. This closure coincided
with the beginning of important
refurbishment work on the railway
and the North station which involved
closing the passage that connects
neighborhood with the city centre. The
closure of restaurants and bars during
the lockout as well as the subsequent
health measures had a negative impact
on the situation of homeless people,
many of them migrants. In 2021, to
alleviate their precarious situation,
local dwellers organized themselves in
order to provide them with a hot meal
per day. This movement, called “kaleko
afariak” took roots in Egia where the
presence of migrants has increased
in the last years. How will Tabakalera
face the post Covid situation in order
to attract more public? And most
importantly, how will migrant users be
considered in an unprecedented crisis
situation that prefigures a broadening of
precariousness?

Our aim is to analyze how these various
appropriations engage with each
other within/around Tabakalera in the
post Covid context, and in doing so,
contribute to pull together or apart
public space and musical creation, in
relation to the participation of precarious
populations. In parallel to the Tabakalera
case study, we intend to focus on the

music festival Atlantikaldia, “the meeting
of cultures and music” organized by a
group of social movements and cultural
associations gathering both local and
migrant associations. Atlantikaldia was
born in 2014 to recover the maritime
memory of Errenteria, to encourage the
town to look at the world and the world
to look at the town. Set in Errenteria, a
former industrial center in Gipzukoa, 20
km far from Donostia, the town has a
tradition of welcoming large numbers of
migrants since the 19th century. One of
the axes of Atlantikaldia is its continuous
evolution to visibilize migrant populations
not only in the cultural program, but
also in the organizational scheme of the
music and culture festival.

3. CREATIVE NETWORKS:
EMERGING PRACTICES
IN PUBLIC SPACES

3.1 Creative economy and its creative
networks: emerging practices in The
Netherlands (coordinator: Prof. Robert
KLOOSTERMAN)

The researchers in the Dutch team bring
together a varied portfolio of expertise
and research in the field of the cultural
and creative economy. The team would
contribute to MUSIMIG by mapping
of spaces of music performance and
of networks of music production and
consumption. What will the impact
of current lockdown measures and
future residual measures on music
practices and spaces of performance
in Amsterdam and Rotterdam? What
This variety of uses has been labelled by
the institution as an example of social
coexistence that nevertheless has to be
addressed and somehow, regulated. With
the lockdown due to the Covid-19 crisis,
all the physical premises of the ICCC
were closed. This closure coincided
with the beginning of important
refurbishment work on the railway
and the North station which involved
closing the passage that connects
neighborhood with the city centre. The
closure of restaurants and bars during
the lockout as well as the subsequent
health measures had a negative impact
on the situation of homeless people,
many of them migrants. In 2021, to
alleviate their precarious situation,
local dwellers organized themselves in
order to provide them with a hot meal
per day. This movement, called “kaleko
afariak” took roots in Egia where the
presence of migrants has increased
in the last years. How will Tabakalera
face the post Covid situation in order
to attract more public? And most
importantly, how will migrant users be
considered in an unprecedented crisis
situation that prefigures a broadening of
precariousness?

Our aim is to analyze how these various
appropriations engage with each
other within/around Tabakalera in the
post Covid context, and in doing so,
contribute to pull together or apart
public space and musical creation, in
relation to the participation of precarious
populations. In parallel to the Tabakalera
case study, we intend to focus on the

music festival Atlantikaldia, “the meeting
of cultures and music” organized by a
group of social movements and cultural
associations gathering both local and
migrant associations. Atlantikaldia was
born in 2014 to recover the maritime
memory of Errenteria, to encourage the
town to look at the world and the world
to look at the town. Set in Errenteria, a
former industrial center in Gipzukoa, 20
km far from Donostia, the town has a
tradition of welcoming large numbers of
migrants since the 19th century. One of
the axes of Atlantikaldia is its continuous
evolution to visibilize migrant populations
not only in the cultural program, but
also in the organizational scheme of the
music and culture festival.

3. CREATIVE NETWORKS:
EMERGING PRACTICES
IN PUBLIC SPACES

3.1 Creative economy and its creative
networks: emerging pratices in The
Netherlands (coordinator: Prof. Robert
KLOOSTERMAN)

The researchers in the Dutch team bring
together a varied portfolio of expertise
and research in the field of the cultural
and creative economy. The team would
contribute to MUSIMIG by mapping
of spaces of music performance and
of networks of music production and
consumption. What will the impact
of current lockdown measures and
future residual measures on music
practices and spaces of performance
in Amsterdam and Rotterdam? What
emerging practices, such as online
performances and social media
gatherings, will be maintained?
And in what ways do they open up
new challenges and opportunities
for cross-cultural encounters and
inclusion? In what ways will the
current pandemic have a differential
impact on particular sections of music
production and consumption in urban
landscapes?

The team's multidisciplinary interest in the creative economy and its creative networks would allow for an investigation in the wider production and consumption networks that support thriving music scenes. Grassroots associations, community centres and specialized shops offer spaces of encounter; but also instrument makers, musicians, sound and light engineers provide the enabling support that keeps art worlds going. The current crisis has already unleashed shockwaves across the entire ecosystem of music production and consumption in EU member states with very steep drop in live performances as well as in all kinds of collaborations which comprise face-to-face contacts. How will actors (e.g. musicians, promoters, suppliers, gatekeepers, policymakers) respond to this crisis and more specifically which cultural and urban policy responses to such challenges, with attention to how inclusivity and participation, can be identified and what kind of impacts are linked to them.

## 3.2 Transgeographies of Sound and Displacement: Music as an Emotional Repository in the Context of Migration (Coordinator: Prof. Alessandra Ciucci, Columbia University New York)

The Columbia University team aims to engage with the central theme of the project -What is Music Capable in a situation of forced migration- through a series of case studies where migrants use music in response to erasure, loss, political and religious violence, trauma, war and genocide. The team intends to participate in this project focusing on the critical role of variables such as culture of origin, circumstances of departure, legal status, and attitudes toward migrants within the receiving society, arguing about the importance that must be given to these variables if migrant musical life is to be actually understood and accounted for (Reyes 2022). Although anchored in geographically distinct case studies, the team seeks to also open up the possibility of collaborative writing, particularly when thinking about the role of music as a catalyst for remembering, but also (re)imagine a future in the context of complex histories of migration.

Sonevytsky's project endeavors to generate a panoramic view of the intersecting concerns of Ukrainian migrant musicians of all genres and from different regions of the country, who are struggling to harness the power of music as a non-lethal weapon in the emergency time of war. Her analysis explores how musicians of various
emerging practices, such as online
performances and social media
gatherings, will be maintained?
And in what ways do they open up
new challenges and opportunities
for cross-cultural encounters and
inclusion? In what ways will the
current pandemic have a differential
impact on particular sections of music
production and consumption in urban
landscapes?

The team's multidisciplinary interest in the creative economy and its creative networks would allow for an investigation in the wider production and consumption networks that support thriving music scenes. Grassroots associations, community centres and specialized shops offer spaces of encounter; but also instrument makers, musicians, sound and light engineers provide the enabling support that keeps art worlds going. The current crisis has already unleashed shockwaves across the entire ecosystem of music production and consumption in EU member states with very steep drop in live performances as well as in all kinds of collaborations which comprise face-to-face contacts. How will actors (e.g. musicians, promoters, suppliers, gatekeepers, policymakers) respond to this crisis and more specifically which cultural and urban policy responses to such challenges, with attention to how inclusivity and participation, can be identified and what kind of impacts are linked to them.

## 3.2 Transgeographies of Sound and Displacement: Music as an Emotional Repository in the Context of Migration (Coordinator: Prof. Alessandra Ciucci, Columbia University New York)

The Columbia University team aims to engage with the central theme of the project -What is Music Capable in a situation of forced migration- through a series of case studies where migrants use music in response to erasure, loss, political and religious violence, trauma, war and genocide. The team intends to participate in this project focusing on the critical role of variables such as culture of origin, circumstances of departure, legal status, and attitudes toward migrants within the receiving society, arguing about the importance that must be given to these variables if migrant musical life is to be actually understood and accounted for (Reyes 2022). Although anchored in geographically distinct case studies, the team seeks to also open up the possibility of collaborative writing, particularly when thinking about the role of music as a catalyst for remembering, but also (re)imagine a future in the context of complex histories of migration.

Sonevytsky's project endeavors to generate a panoramic view of the intersecting concerns of Ukrainian migrant musicians of all genres and from different regions of the country, who are struggling to harness the power of music as a non-lethal weapon in the emergency time of war. Her analysis explores how musicians of various
backgrounds instrumentalize their skills to articulate a vision of Ukrainian futurity under the threat of erasure. Also focusing on different genres and styles, Abrahamyan analyzes the crucial role that music plays in shaping communal memory and preserving cultural identity among displaced Armenians. She turns to the use of music in ritual contexts among the Karabakh refugees and to the role of diasporic musicians as mediators of the Armenian cause, asking how practitioners and audiences engage with and respond to the ever-shifting meaning of Armenianess. Ciucci focuses on the music of the most influential group to emerge in post-independence Morocco, during an era so marked by political violence and oppression that came to be known as the “Years of the Lead”(1960s-1990s). She looks at the role of the songs of Nass el Ghiwane among Moroccan migrants in France during the decades in question, and at their ability to give voice to collective hopes, dreams and aspirations of a generation in exile.

The role of devotional songs in embodying and transmitting the gnosis and ethics of two Sikh communities in Italy and the US, is the focus of Cassio's comparative study. Looking at the dynamics of adaptation and the strategies of preserving a musical heritage critical to the survival of this religious minority in the diaspora, Cassio examines how the pandemic contributed to advance and bridge academic research with community-

led initiatives to reintroduce traditional sonic practices in 21stcentury Sikh diasporas. In a different type of comparative study, Rubin examines how Palestinian and Irish musicians forge “an acoustemological relatedness” which is audible in political and musical collaborations resulting from overlapping histories of colonialism, land dispossession, forced migration, forced containment, and in movements for national sovereignty. It is in this context that she traces three primary axes on which acoustemological relatedness is sounded.

At the intersection of sound, gender and migration, Cossermelli-Messina explores the sonic articulations of home and belonging by Muslim Lebanese women seeking asylum in Brazil since 2012. Her project aims to examine how lullabies and children's songs have traveled with women serving as nodes of connection and remembrance and, at the same time, what new life do these sounds, voices and stories take in different surroundings, and how their meanings shift and adapt.

## 4. ACTIVISTS

### 4.1 Migrants and music-based initiatives in Europe (Coordinator: Dr. Hélène Neveu, University College, London)

The UCL team proposes to explore the relationship between migrant groups (asylum seekers, refugees and other categories of migrants) and institutions in the UK, France, Germany, Greece
backgrounds instrumentalize their skills to articulate a vision of Ukrainian futurity under the threat of erasure. Also focusing on different genres and styles, Abrahamyan analyzes the crucial role that music plays in shaping communal memory and preserving cultural identity among displaced Armenians. She turns to the use of music in ritual contexts among the Karabakh refugees and to the role of diasporic musicians as mediators of the Armenian cause, asking how practitioners and audiences engage with and respond to the ever-shifting meaning of Armenianess. Ciucci focuses on the music of the most influential group to emerge in post-independence Morocco, during an era so marked by political violence and oppression that came to be known as the “Years of the Lead”(1960s-1990s). She looks at the role of the songs of Nass el Ghiwane among Moroccan migrants in France during the decades in question, and at their ability to give voice to collective hopes, dreams and aspirations of a generation in exile.

The role of devotional songs in embodying and transmitting the gnosis and ethics of two Sikh communities in Italy and the US, is the focus of Cassio's comparative study. Looking at the dynamics of adaptation and the strategies of preserving a musical heritage critical to the survival of this religious minority in the diaspora, Cassio examines how the pandemic contributed to advance and bridge academic research with community-

led initiatives to reintroduce traditional sonic practices in 21stcentury Sikh diasporas. In a different type of comparative study, Rubin examines how Palestinian and Irish musicians forge “an acoustemological relatedness” which is audible in political and musical collaborations resulting from overlapping histories of colonialism, land dispossession, forced migration, forced containment, and in movements for national sovereignty. It is in this context that she traces three primary axes on which acoustemological relatedness is sounded.

At the intersection of sound, gender and migration, Cossermelli-Messina explores the sonic articulations of home and belonging by Muslim Lebanese women seeking asylum in Brazil since 2012. Her project aims to examine how lullabies and children's songs have traveled with women serving as nodes of connection and remembrance and, at the same time, what new life do these sounds, voices and stories take in different surroundings, and how their meanings shift and adapt.

## 4. ACTIVISTS

### 4.1 Migrants and music-based initiatives in Europe (Coordinator: Dr. Hélène Neveu, University College, London)

The UCL team proposes to explore the relationship between migrant groups (asylum seekers, refugees and other categories of migrants) and institutions in the UK, France, Germany, Greece
and Lebanon, which have developed music-based initiatives aimed at enabling these groups to act as hosts, thereby enabling them to recover some of their lost agency in the face of displacement.

Recent research into forced migration has shown that the ability to ‘host’ others is a fundamental aspect of a meaningful life and that the role of refugees hosting others has been neglected in scholarly research (Fiddian-Qasmiyeh 2016). This ability to act as host is compromised in forced migration, particularly where people have been forced to leave their possessions behind, where no shared language exists and where states purposefully maintain migrants in situations of dependency, limbo or a protracted state of waiting. Giving people the ability to host events centered around the sharing of music, food and other cultural artefacts and shared practices, then, contributes to restoring a fundamental aspect of their human dignity. Looking at the ways in which migrants use and make music provides exceptional insights into their cultural creativity and heritage – not only as individuals, but also as groups (Baily and Collyer 2006), into their imaginations of ‘home’ (Al-Ali and Koser 2002) and their changing notions of conviviality.

Music opens a space of encounter, allowing people to redraw maps of inclusion and integration, breaking with assimilationist paradigms and subverting logics of who is a host and who is

hosted. It can function as a sounding board of solidarity, an amplifier of creative activism, and a performance of citizenship. Music may also help to create shared social spaces that cut across differences, thereby helping to smooth out the tensions arising from competition between migrants and others. This is particularly important in contexts where post-2008 austerity policies have undermined welfare schemes and increased inequalities, making space for the politicization of migrant support by right-wing movements (Thieme, Kovacs, and Ramakrishnan 2020).

Throughout Europe, the past few years have seen the emergence of a number of local initiatives using music, museums and other artefacts to enable migrants to act as hosts, in a restrictive context marked by ‘hostile environment’ immigration policies and by drastic budget cuts for public institutions and local authorities. Indeed, some of these initiatives have been aimed at filling the gaps left by austerity policies, particularly following the arrival of thousands of migrants from the Middle East since 2015. While there has been recognition that the integration of migrants could not be reduced to fulfilling basic survival needs, the political context has meant that state support has often been reduced to humanitarian aid. In this context, initiatives by non-traditional humanitarian actors, including civil society organizations, charities, museums, universities, festivals and
and Lebanon, which have developed music-based initiatives aimed at enabling these groups to act as hosts, thereby enabling them to recover some of their lost agency in the face of displacement.

Recent research into forced migration has shown that the ability to ‘host’ others is a fundamental aspect of a meaningful life and that the role of refugees hosting others has been neglected in scholarly research (Fiddian-Qasmiyeh 2016). This ability to act as host is compromised in forced migration, particu-larly where people have been forced to leave their possessions behind, where no shared language exists and where states purposefully maintain migrants in situations of dependency, limbo or a protracted state of waiting. Giving people the ability to host events centered around the sharing of music, food and other cultural artefacts and shared practices, then, contributes to restoring a fundamental aspect of their human dignity. Looking at the ways in which migrants use and make music provides exceptional insights into their cultural creativity and heritage – not only as individuals, but also as groups (Baily and Collyer 2006), into their imaginations of ‘home’ (AI-Ali and Koser 2002) and their changing notions of conviviality.

Music opens a space of encounter, allowing people to redraw maps of inclusion and integration, breaking with assimilationist paradigms and subverting logics of who is a host and who is

hosted. It can function as a sounding board of solidarity, an amplifier of creative activism, and a performance of citizenship. Music may also help to create shared social spaces that cut across differences, thereby helping to smooth out the tensions arising from competition between migrants and others. This is particularly important in contexts where post-2008 austerity policies have undermined welfare schemes and increased inequalities, making space for the politicization of migrant support by right-wing movements (Thieme, Kovacs, and Ramakrishnan 2020).

Throughout Europe, the past few years have seen the emergence of a number of local initiatives using music, museums and other artefacts to enable migrants to act as hosts, in a restrictive context marked by ‘hostile environment’ immigration policies and by drastic budget cuts for public institutions and local authorities. Indeed, some of these initiatives have been aimed at filling the gaps left by austerity policies, particularly following the arrival of thousands of migrants from the Middle East since 2015. While there has been recognition that the integration of migrants could not be reduced to fulfilling basic survival needs, the political context has meant that state support has often been reduced to humanitarian aid. In this context, initiatives by non-traditional humanitarian actors, including civil society organizations, charities, museums, universities, festivals and
corporate foundations, become even more crucial in creating spaces for encounter, creativity, dignity and care. But what is to become of these institutions and initiatives in a post-Covid 19 world where funding for the arts is likely to be scarce, and where nations are likely to lean towards nationalism and isolation? Do music and musical encounters have a role to play in fostering alternatives to current, global tendencies towards ‘closure’? And how may music and musical encounters contribute to more equitable ways of living together, in a future world set to become increasingly securitized?

Research will be carried out with young researchers coming from the other teams of the Network. We will also work together with organisations which include (but not limited to): Play for Progress https://www.playforprogress.org/; Confluence Collective Oxford https://confluenceoxford.com/; WOMAD Festival https://womad.co.uk/; Good Change Theatre https://www.goodchance.org.uk/; The Syrian and Greek Youth Forum https://sgyf.city/; Orphé, Berlin https://www.camps2cities.com/project/orphe/

## 4.2 Cape Coast (Ghana) (coordinator: Dr. Eric OTCHERE)

Deeply etched in the annals of history are narratives around the Cape Coast and Elmina Castles which draw numerous tourists annually from within and outside of the country to Cape Coast, Ghana's Central Regional capital.

The Pan-African Historical Theatre Festival (PANAFEST), a special biennial cultural event for Africans and people of African descent meant to promote understanding, peace and unity among African people and her great Diaspora (often celebrated with Emancipation Day), is also held in Cape Coast, and attracts massive participation of people from all-over the world. The 2019 episode of the festival, themed “beyond 400 years; reaching across continents into the future” was particularly exemplary as it coincided with the “Year of Return” (a deep spiritual and birthright journey which invited the Global African family everywhere to observe 400 years of the arrival of the first enslaved Africans in Jamestown, Virginia). Furthermore, the Oguaa Fetu Festival, the annual traditional festival of the indigenes of Cape Coast attracts many tourists as well. In all these, music plays a very central role.

There are a good number of music/dance groups whose diurnal routine is tied to the flow and ebb of tourist activities in Cape Coast. Membership of these groups includes skilled performers who have migrated from all over Ghana and beyond, and who make a living through the revenues generated from performing (and teaching/dance workshops) mostly for tourists. Some of these groups also have foreign partnerships through which they are able to do occasional tours; particularly in Europe and America and receive various donations. Considering the effects of the COVID-19 pandemic
corporate foundations, become even more crucial in creating spaces for encounter, creativity, dignity and care. But what is to become of these institutions and initiatives in a post-Covid 19 world where funding for the arts is likely to be scarce, and where nations are likely to lean towards nationalism and isolation? Do music and musical encounters have a role to play in fostering alternatives to current, global tendencies towards ‘closure’? And how may music and musical encounters contribute to more equitable ways of living together, in a future world set to become increasingly securitized?

Research will be carried out with young researchers coming from the other teams of the Network. We will also work together with organisations which include (but not limited to): Play for Progress https://www.playforprogress.org/; Confluence Collective Oxford https://confluenceoxford.com/; WOMAD Festival https://womad.co.uk/; Good Change Theatre https://www.goodchance.org.uk/; The Syrian and Greek Youth Forum https://sgyf.city/; Orphé, Berlin https://www.camps2cities.com/project/orphe/

## 4.2 Cape Coast (Ghana) (coordinator: Dr. Eric OTCHERE)

Deeply etched in the annals of history are narratives around the Cape Coast and Elmina Castles which draw numerous tourists annually from within and outside of the country to Cape Coast, Ghana's Central Regional capital.

The Pan-African Historical Theatre Festival (PANAFEST), a special biennial cultural event for Africans and people of African descent meant to promote understanding, peace and unity among African people and her great Diaspora (often celebrated with Emancipation Day), is also held in Cape Coast, and attracts massive participation of people from all-over the world. The 2019 episode of the festival, themed “beyond 400 years; reaching across continents into the future” was particularly exemplary as it coincided with the “Year of Return” (a deep spiritual and birthright journey which invited the Global African family everywhere to observe 400 years of the arrival of the first enslaved Africans in Jamestown, Virginia). Furthermore, the Oguaa Fetu Festival, the annual traditional festival of the indigenes of Cape Coast attracts many tourists as well. In all these, music plays a very central role.

There are a good number of music/dance groups whose diurnal routine is tied to the flow and ebb of tourist activities in Cape Coast. Membership of these groups includes skilled performers who have migrated from all over Ghana and beyond, and who make a living through the revenues generated from performing (and teaching/dance workshops) mostly for tourists. Some of these groups also have foreign partnerships through which they are able to do occasional tours; particularly in Europe and America and receive various donations. Considering the effects of the COVID-19 pandemic
and its attendant negative toll on tourist traffic, it goes without saying, that these performance groups will be badly affected.

Within the IRN cooperative project, the UCC team is committed to intensifying the studies on music/dance groups within Cape Coast. Among other things, the team will be interested in (1) highlighting the impact of migrants in these groups on the perpetuation of traditional music/dance forms and the development of new artistic expressions; (2) Examining the post-COVID-19 realities among members of the various groups particularly as it pertains to engendering new audiences; (3) Exploring partnerships between the Department of Music at the University of Cape Coast and music/dance groups which can help sustain the groups; (4) Contributing to the ever burgeoning discourse on music, migrants, mobility and migration through critical engagements with migrants in the various music/dance groups in Cape Coast.

The UCC team will be happy to share and explore new insights on the topics through interactions with other teams within the MUSIMIG project. Research of the Center for World Music team (Hildesheim) are already involved in such programs with the Cape Coast university team. In addition to this, Helene Nevu Kringelbach is working on related themes in Senegal, and Marta Amico (ARI Institute team) has just published a reference book on

similar forms of cultural recomposition among the Tuaregs in Mali. We will welcome them into our research team. Furthermore, Sandrine Lecoz is preparing a PhD thesis at the Paris EHESS under the direction of D. Laborde on the world markets of World Music. We will be hosting her in Cape Coast, and she will be directly involved in our fieldwork in the framework of this IRN.

### 4.3 Performing migration and multiple belonging through the arts
(Coordinator: Monika Salzbrunn, UNIL, Lausanne)

For more than a decade, my research team on “Religion, Migration, Arts” has been working on the link between music, religion and migration (Aterianus-Owanga, Djebbari and Salzbrunn 2019; Capone and Salzbrunn 2018; Navarro 2018; Salzbrunn 2016, 2017; International conference on “Migrating through the arts” in 2019 in Lausanne, with keynotes from colleagues implicated in the present IRN: Hélène Nevu Kringelbach, Denis Laborde and Martin Stokes; a related special issues of New Diversities currently co-edited by Ana Rodriguez Quinones and Monika Salzbrunn). More recently, we have focused on three dimensions of this question, through projects funded by the Swiss National Research Foundation (SNF): 1. Music and (potential) refugees (haraga) (Salzbrunn, Souiah and Mastrangelo, 2015; Rodriguez Quinones 2019), 2. Music and religion,
and its attendant negative toll on tourist traffic, it goes without saying, that these performance groups will be badly affected.

Within the IRN cooperative project, the UCC team is committed to intensifying the studies on music/dance groups within Cape Coast. Among other things, the team will be interested in (1) highlighting the impact of migrants in these groups on the perpetuation of traditional music/dance forms and the development of new artistic expressions; (2) Examining the post-COVID-19 realities among members of the various groups particularly as it pertains to engendering new audiences; (3) Exploring partnerships between the Department of Music at the University of Cape Coast and music/dance groups which can help sustain the groups; (4) Contributing to the ever burgeoning discourse on music, migrants, mobility and migration through critical engagements with migrants in the various music/dance groups in Cape Coast.

The UCC team will be happy to share and explore new insights on the topics through interactions with other teams within the MUSIMIG project. Research of the Center for World Music team (Hildesheim) are already involved in such programs with the Cape Coast university team. In addition to this, Helene Neveu Kringelbach is working on related themes in Senegal, and Marta Amico (ARI Institute team) has just published a reference book on

similar forms of cultural recomposition among the Tuaregs in Mali. We will welcome them into our research team. Furthermore, Sandrine Lecoz is preparing a PhD thesis at the Paris EHESS under the direction of D. Laborde on the world markets of World Music. We will be hosting her in Cape Coast, and she will be directly involved in our fieldwork in the framework of this IRN.

### 4.3 Performing migration and multiple belonging through the arts
(Coordinator: Monika Salzbrunn, UNIL, Lausanne)

For more than a decade, my research team on "Religion, Migration, Arts" has been working on the link between music, religion and migration (Aterianus-Owanga, Djebbari and Salzbrunn 2019; Capone and Salzbrunn 2018; Navarro 2018; Salzbrunn 2016, 2017; International conference on "Migrating through the arts" in 2019 in Lausanne, with keynotes from colleagues implicated in the present IRN: Hélène Neveu Kringelbach, Denis Laborde and Martin Stokes; a related special issues of New Diversities currently co-edited by Ana Rodriguez Quinones and Monika Salzbrunn). More recently, we have focused on three dimensions of this question, through projects funded by the Swiss National Research Foundation (SNF): 1. Music and (potential) refugees (haraga) (Salzbrunn, Souiah and Mastrangelo, 2015; Rodriguez Quinones 2019), 2. Music and religion,
in particular sufi islam (Salzbrunn 2014a, 2016, 2017), and 3. migration, refugees and multiple belonging processes during public performances (Salzbrunn 2014a, 2014b, Ellinghaus and Salzbrunn 2019; under review). The latter reveal various ways of staging belonging and constructing different forms of alterity, often in an interactive process, where mutual stereotypes become visible. We have been observing how migration and diversity occur in artistic forms during official carnival parades and during political carnivalesque performances as well as festivals in different countries (Italy, Germany, France, Cameroon, United States of America). Those include institutions, foundations, non-governmental organisations as well as self-organised anarchic groups. During the next years, I will deepen these issues so that I can contribute to the present IRN with findings from my research project "ARTIVISM. Art and Activism. Creativity and Performance as Subversive Forms of Political Expression in Super-Diverse Cities" funded by the European Research Council (ERC). Monika Salzbrunn and her team have produced two short films, one medium-lenghts and one long documentary film, an exhibition, a blog and an important conference-concert open to a larger public in order to disseminate scientific knowledge widely in an engaged way.

## DOCUMENTARY FILM PROJECT (52 MIN.)

The MUSIMIG network will engage in

a reflection on «scientific documentary film». The ARI Institute is inaugurating a documentary film team under the leadership of Alexandra ENA (film director from CNRS Image) and all the required technological equipment. It seems to all of us that the link to the image is crucial in this project. We plan to make a documentary film on our objects of study as well as on the way we are dealing with them: what does «making science» means? The ARI film team will make short films on each project. At the very end, we aim to make a feature film on all of these cases.

This MUSIMIG network considers music as a tool to understand societies, individuals in crisis situations by crossing observation scales and comparing innovative commitments in various economic situations and various cultural contexts. The film will pursue the issues that structure the research program: 1) How the issue of migration modifies the programming and functioning of this institution; 2) How does an institution open to alterity recompose itself in «the world after the coronavirus»; 3) What the meeting of cultures might look like in a multi-centered world.

The ARI Institute will put its technical equipment and facilities at the disposal of all the research teams involved in the MUSIMIG network. Alexandra ENA will be able to travel on-site with the equipment. Each team will put technicians at her disposal to carry out the filming and sound recording. This work will be realized in consultation with
in particular sufi islam (Salzbrunn 2014a, 2016, 2017), and 3. migration, refugees and multiple belonging processes during public performances (Salzbrunn 2014a, 2014b, Ellinghaus and Salzbrunn 2019; under review). The latter reveal various ways of staging belonging and constructing different forms of alterity, often in an interactive process, where mutual stereotypes become visible. We have been observing how migration and diversity occur in artistic forms during official carnival parades and during political carnivalesque performances as well as festivals in different countries (Italy, Germany, France, Cameroon, United States of America). Those include institutions, foundations, non-governmental organisations as well as self-organised anarchic groups. During the next years, I will deepen these issues so that I can contribute to the present IRN with findings from my research project "ARTIVISM. Art and Activism. Creativity and Performance as Subversive Forms of Political Expression in Super-Diverse Cities" funded by the European Research Council (ERC). Monika Salzbrunn and her team have produced two short films, one medium-lenghts and one long documentary film, an exhibition, a blog and an important conference-concert open to a larger public in order to disseminate scientific knowledge widely in an engaged way.

## DOCUMENTARY FILM PROJECT (52 MIN.)

The MUSIMIG network will engage in

a reflection on «scientific documentary film». The ARI Institute is inaugurating a documentary film team under the leadership of Alexandra ENA (film director from CNRS Image) and all the required technological equipment. It seems to all of us that the link to the image is crucial in this project. We plan to make a documentary film on our objects of study as well as on the way we are dealing with them: what does «making science» means? The ARI film team will make short films on each project. At the very end, we aim to make a feature film on all of these cases.

This MUSIMIG network considers music as a tool to understand societies, individuals in crisis situations by crossing observation scales and comparing innovative commitments in various economic situations and various cultural contexts. The film will pursue the issues that structure the research program: 1) How the issue of migration modifies the programming and functioning of this institution; 2) How does an institution open to alterity recompose itself in «the world after the coronavirus»; 3) What the meeting of cultures might look like in a multi-centered world.

The ARI Institute will put its technical equipment and facilities at the disposal of all the research teams involved in the MUSIMIG network. Alexandra ENA will be able to travel on-site with the equipment. Each team will put technicians at her disposal to carry out the filming and sound recording. This work will be realized in consultation with
the ethnologists under the responsibility
of the team's coordinator. An annual
meeting will take place in Bayonne on
the theme of Visual Anthropology. It
will allow us to map the progress of the
project on two levels: 1. The realization
of short films put online on the website
dedicated to the MUSIMIG network;
2. The elaboration of a 52-minute
documentary film on the whole project.
This work will be realized with dedicated
funding (see budget).

A Scientific Research and Artistic
Creation Incubator for Social projects

People who understand neither art
nor science believe that these are two
immensely different things, of which
they know nothing. They think that
they aid science by allowing it to be
unimaginative, and they believe that
they are elevating art by preventing
anyone from expecting intelligence from
it. Even if humanity has often and for a
long time had to do without knowledge
as well as art, the fact remains that both
are essential to what we consider to be
«humanity»¹⁵

On a third level, the IRN project
should entitle us to build altogether
an **Incubator for Scientific Research
and Artistic Creation for projects
with a social vocation.** Over the last
twenty years or so, the number of
artistic residencies has multiplied. Each
festival has its «artist residency», each
theatre, each project incorporates
an «artist residency». The network of
Heritage Sites for Culture (ACCR in

french) initiated by the Royaumont
Foundation in 1999 now brings together
17 institutions in France (Abbaye aux
Dames, Chartreuse de Villeneuve-lez-
Avignon, the abbeys of Royaumont,
Fontevraud, Sylvanès...) and about
twenty around the world.

I myself have been involved in this
network¹⁶ and Julie Oleksiak (Post-Doc
researcher at the ARI Institute) devoted
her PhD thesis on the Royaumont
Fondation itself, leader of this network
of Heritage Sites for Culture. Aitzpea
Leizaola has been involved in a two year
project bringing together an artistic and
scientific project tackling on dwellers
participation in Hazparne. The Zapat(h)
ari project carried out in conjunction
with the EKE-ICB (Basque Cultural
Institute), the Ethnopôle basque and
Clarenza in which the anthropologist
worked jointly with the photographer
Polo Garat and local dwellers on bringing
to the light the hidden memory of the
industrial past of the village. The IRN
project would like social sciences to play
a central role in this system. This has to
do with the creation of a place of great
ambition as an international residence
center for artists and social scientists, a
place to welcome artists involved in the
development of projects of international
standing, a place to welcome conversely
artists of international standing for
artistic residencies involved with projects
conducted with social scientists, a
place to build a shared horizon of life,
particularly through the development of
participatory projects designed primarily
the ethnologists under the responsibility
of the team's coordinator. An annual
meeting will take place in Bayonne on
the theme of Visual Anthropology. It
will allow us to map the progress of the
project on two levels: 1. The realization
of short films put online on the website
dedicated to the MUSIMIG network;
2. The elaboration of a 52-minute
documentary film on the whole project.
This work will be realized with dedicated
funding (see budget).

A Scientific Research and Artistic
Creation Incubator for Social projects

People who understand neither art
nor science believe that these are two
immensely different things, of which
they know nothing. They think that
they aid science by allowing it to be
unimaginative, and they believe that
they are elevating art by preventing
anyone from expecting intelligence from
it. Even if humanity has often and for a
long time had to do without knowledge
as well as art, the fact remains that both
are essential to what we consider to be
«humanity»¹⁵

On a third level, the IRN project
should entitle us to build altogether
an **Incubator for Scientific Research
and Artistic Creation for projects
with a social vocation.** Over the last
twenty years or so, the number of
artistic residencies has multiplied. Each
festival has its «artist residency», each
theatre, each project incorporates
an «artist residency». The network of
Heritage Sites for Culture (ACCR in

french) initiated by the Royaumont
Foundation in 1999 now brings together
17 institutions in France (Abbaye aux
Dames, Chartreuse de Villeneuve-lez-
Avignon, the abbeys of Royaumont,
Fontevraud, Sylvanès...) and about
twenty around the world.

I myself have been involved in this
network¹⁶ and Julie Oleksiak (Post-Doc
researcher at the ARI Institute) devoted
her PhD thesis on the Royaumont
Fondation itself, leader of this network
of Heritage Sites for Culture. Aitzpea
Leizaola has been involved in a two year
project bringing together an artistic and
scientific project tackling on dwellers
participation in Hazparne. The Zapat(h)
ari project carried out in conjunction
with the EKE-ICB (Basque Cultural
Institute), the Ethnopôle basque and
Clarenza in which the anthropologist
worked jointly with the photographer
Polo Garat and local dwellers on bringing
to the light the hidden memory of the
industrial past of the village. The IRN
project would like social sciences to play
a central role in this system. This has to
do with the creation of a place of great
ambition as an international residence
center for artists and social scientists, a
place to welcome artists involved in the
development of projects of international
standing, a place to welcome conversely
artists of international standing for
artistic residencies involved with projects
conducted with social scientists, a
place to build a shared horizon of life,
particularly through the development of
participatory projects designed primarily
with audiences who are unable to
attend. The strength of this place and its
absolute originality will be to associate
the CNRS with it in the way pioneered
by the Royaumont Foundation. This
project of a **Scientific Research and**

**artistic creation Incubator for projects**
**with a social vocation** has received a
very strong support from the Carasso
Foundation within the framework of its
"Art, Science, Citizenship" program.

1. FRANCE / BASQUE COUNTRY - PROF. DENIS LABORDE,

Social Anthropology, ARI Institute - UMR 5319 Passages 3 av. Jean Darrigrand
64100 Bayonne https://ari.hypotheses.org/

2. GHANA - DR. ERIC DEBRAH OTCHERE,

Ethnomusicology, University of Cape Coast, Music and Dance Department
Cape Coast, Ghana https://music.ucc.edu.gh/

3. USA - PROF. ALESSANDRA CIUCCI,

Ethnomusicology, Columbia University, The Department of Music 621B Dodge
Hall - 2960 Broadway, New York, NY 10027 USA https://music.columbia.edu/

4. GREAT BRITAIN - PROF. MARTIN STOKES,

Ethnomusicology, London University, King's College London Music Department,
Strand, WC2R 2LS, London https://www.kcl.ac.uk/music

5. GREAT BRITAIN - PROF. HÉLÈNE NEVEU KRINGELBACH,

Ethnology, University College London - African Studies Research
Center Gower Street, London, WC1E 6BT
https://www.ucl.ac.uk/institute-of-advanced-studies/african-studies-research-centre

6. THE NETHERLANDS - PROF. ROBERT KLOOSTERMAN,

Economic Geography, University of Amsterdam - Amsterdam Institute for Social
Science Research - Roeterseilandcampus 1018 WV Amsterdam https://aissr.uva.nl/

7. GERMANY - DR. HABIL. MICHAEL FUHR,

Ethnomusicology, Center for World Music Universität Hildesheim
Universitätsplatz 1 - 31141 Hildesheim
https://www.uni-hildesheim.de/center-for-world-music/

8. SWITZERLAND - PROF. MONIKA SALZBRUNN,

Ethnology, Université de Lausanne - Institut de Sciences Sociales des Religions
Anthropole CH-1015 Lausanne https://www.unil.ch/issr/fr/home.html
with audiences who are unable to
attend. The strength of this place and its
absolute originality will be to associate
the CNRS with it in the way pioneered
by the Royaumont Foundation. This
project of a **Scientific Research and**

**artistic creation Incubator for projects**
**with a social vocation** has received a
very strong support from the Carasso
Foundation within the framework of its
"Art, Science, Citizenship" program.

1. FRANCE / BASQUE COUNTRY - PROF. DENIS LABORDE,

Social Anthropology, ARI Institute - UMR 5319 Passages 3 av. Jean Darrigrand
64100 Bayonne https://ari.hypotheses.org/

2. GHANA - DR. ERIC DEBRAH OTCHERE,

Ethnomusicology, University of Cape Coast, Music and Dance Department
Cape Coast, Ghana https://music.ucc.edu.gh/

3. USA - PROF. ALESSANDRA CIUCCI,

Ethnomusicology, Columbia University, The Department of Music 621B Dodge
Hall - 2960 Broadway, New York, NY 10027 USA https://music.columbia.edu/

4. GREAT BRITAIN - PROF. MARTIN STOKES,

Ethnomusicology, London University, King's College London Music Department,
Strand, WC2R 2LS, London https://www.kcl.ac.uk/music

5. GREAT BRITAIN - PROF. HÉLÈNE NEVEU KRINGELBACH,

Ethnology, University College London - African Studies Research
Center Gower Street, London, WC1E 6BT
https://www.ucl.ac.uk/institute-of-advanced-studies/african-studies-research-centre

6. THE NETHERLANDS - PROF. ROBERT KLOOSTERMAN,

Economic Geography, University of Amsterdam - Amsterdam Institute for Social
Science Research - Roeterseilandcampus 1018 WV Amsterdam https://aissr.uva.nl/

7. GERMANY - DR. HABIL. MICHAEL FUHR,

Ethnomusicology, Center for World Music Universität Hildesheim
Universitätsplatz 1 - 31141 Hildesheim
https://www.uni-hildesheim.de/center-for-world-music/

8. SWITZERLAND - PROF. MONIKA SALZBRUNN,

Ethnology, Université de Lausanne - Institut de Sciences Sociales des Religions
Anthropole CH-1015 Lausanne https://www.unil.ch/issr/fr/home.html
## 9. SPAIN / BASQUE COUNTRY – DR. AITZPEA LEIZAOLA,

Ethnology, Euskal Herriko Unibertsitatea, Dpt. de Filosofía de los Valores y Antropología Social - Tolosa Hiribidea 70, 20018 Donostia / San-Sebastián
https://www.ehu.eus/es/web/fvas-bfga/home

## 10. CHILE – DR. MARISOL FACUSE,

Sociología Facultar de Ciencias Sociales, Núcleo de Sociología del Arte y de las Prácticas culturales, Universidad de Chile, Santiago

### Notes

01 - Without entering into school quarrels or epistemology, we consider that "ethnology" and "anthropology of music" are lexical equivalents. Whenever we talk about ethnomusicology, we are also talking about the anthropology of music.

02 - Doytcheva, M. Le multiculturalisme. Paris: La Découverte, 2018: 1.

03 - Crul, M. R. J., Schneider, J., & Lelie, F. (2013). Super-diversité. Amsterdam: VU University Press.

04 - I refer to Laurent Aubert, La musique de l'autre. *Les nouveaux défis de l'ethnomusicologie*, Geneva/Paris: Georg and always left hand on my desk: Bruno Nettl, *The Study of Ethnomusicology. Twenty-nine Issues and Concepts*, Urbana and Chicago, The University of Illinois Press, 1983.2001; Philip V. Bohlman [member of this IRN Project], *World of Music. A Very Short Introduction*, Oxford University Press, 2002.

05 - Among recent meetings: **Ana Maria Ochoa** (Columbia University, New York) and **Denis Laborde** (CNRS, EHESS), Colloque international, *Musical Displacements, Economic Dispossession and Climate Change*, Institut ARI, Bayonne, May, 23-25th 2019; **Monika Salzbrunn** (ISSR-UNIL), International Conference, *Migrating through the Arts: Rethinking worlds of music and dance through the lens of contemporary (im)mobilities*, Lausanne, June, 6-7th 2019.

06 - Luc Charles-Dominique: Les « Bandes » de violons en Europe : cinq siècles de transferts culturels. Des anciens ménétriers aux Tsiganes d'Europe centrale, Turnhout, Brepols Publishers.

07 - Veit Erlmann, *Nightsong: Performance, Power, and Practice in South Africa*, Chicago University Press, 1996.
## 9. SPAIN / BASQUE COUNTRY – DR. AITZPEA LEIZAOLA,

Ethnology, Euskal Herriko Unibertsitatea, Dpt. de Filosofía de los Valores y Antropología Social - Tolosa Hiribidea 70, 20018 Donostia / San-Sebastián
https://www.ehu.eus/es/web/fvas-bfga/home

## 10. CHILE – DR. MARISOL FACUSE,

Sociología Facultar de Ciencias Sociales, Núcleo de Sociología del Arte y de las Prácticas culturales, Universidad de Chile, Santiago

### Notes

01 - Without entering into school quarrels or epistemology, we consider that "ethnology" and "anthropology of music" are lexical equivalents. Whenever we talk about ethnomusicology, we are also talking about the anthropology of music.

02 - Doytcheva, M. Le multiculturalisme. Paris: La Découverte, 2018: 1.

03 - Crul, M. R. J., Schneider, J., & Lelie, F. (2013). Super-diversité. Amsterdam: VU University Press.

04 - I refer to Laurent Aubert, La musique de l'autre. *Les nouveaux défis de l'ethnomusicologie*, Geneva/Paris: Georg and always left hand on my desk: Bruno Nettl, *The Study of Ethnomusicology. Twenty-nine Issues and Concepts*, Urbana and Chicago, The University of Illinois Press, 1983.2001; Philip V. Bohlman [member of this IRN Project], *World of Music. A Very Short Introduction*, Oxford University Press, 2002.

05 - Among recent meetings: **Ana Maria Ochoa** (Columbia University, New York) and **Denis Laborde** (CNRS, EHESS), Colloque international, *Musical Displacements, Economic Dispossession and Climate Change*, Institut ARI, Bayonne, May, 23-25th 2019; **Monika Salzbrunn** (ISSR-UNIL), International Conference, *Migrating through the Arts: Rethinking worlds of music and dance through the lens of contemporary (im)mobilities*, Lausanne, June, 6-7th 2019.

06 - Luc Charles-Dominique: Les « Bandes » de violons en Europe : cinq siècles de transferts culturels. Des anciens ménétriers aux Tsiganes d'Europe centrale, Turnhout, Brepols Publishers.

07 - Veit Erlmann, *Nightsong: Performance, Power, and Practice in South Africa*, Chicago University Press, 1996.
08 - Adelaida Reyes, Songs of the Caged, Songs of the Free. Music and the Vietnamese Refugee Experience, Temple University Press, Philadelphia, 1999.

09 - Alejandra Bronfman, Isles of Noise. Sonic Media in the Caribbean, Chapel Hill, Uni. of North Carolina Press, 2016.

10 - Martin Stokes (ed.), *Ethnicity, Identity and Music. The Musical Construction of Place*, Oxford & New York, Berg, 1994; Anne Damon Guillot & Mélaine Lefront, *Comment sonne la ville ? Musiques migrantes de Saint-Etienne*, Villeurbanne, Centre des Musiques Traditionnelles Rhône-Alpes, 2017; Michael O'Toole, *Sonic citizenship: Music, migration, and transnationalism in Berlin's Turkish and Anatolian diasporas*, Doctoral thesis, University of Chicago, 2014 (dir. Prof. Philip Bohlman) http://search.proquest.com/docview/1559962172

11 - Iain Chambers, Migrancy, Culture, Identity. London, Routledge, 1995; Laurent Aubert (dir.) : Musiques migrantes, de l'exil à la consécration, Collection Tabou, vol. 2. Gollion : Infolio / Genève : Musée d'ethnographie, 2005; Emmanuelle Olivier (dir.), Musiques au monde. La tradition au prisme de la création, Sampzac, Ed. Delatour, 2012; Hugo Ferran, « «Rate This MezmuR»», *Cahiers d'ethnomusicologie*, 28, 2015 : 107-125.

12 - Ditty Dokter (ed.), Arts Therapists, Refugees and Migrants. Reaching Across Borders. London & Philadelphia, Jessica Kingsley Publishers, 2005; Tia DeNora, Music Asylums. Wellbeing Through Music in Everyday Life, Farnham, Ashgate, 2013; Brynjulf Stige, Gary Ansdell, Cochavit Elefant ans Mercédès Pavlicevic, Where Music Helps : Community Music Therapy in Action and Reflection, Mondon; Routlegde, 2016.

13 - https://www.unhcr.org/fr/news/stories/2015/12/567a746ec/million-refugies-migrants-rejoint-leurope-2015.html

14 - Laborde, Denis, « La musique pour s'entendre ? L'accueil des migrants à Baigorri » in Talia Bachir et Anne Damon-Guillot. Une pluralité audible ? Musiques et mondes sonores en contact. Tours : Publications Universitaires François Rabelais, 2019 : 27-51.

15 - Bertodl Brecht, *Was koster das Eisen?*, 1939 (How much is Your Iron? my translation...)

16 - Denis Laborde (éd.), *Le cas Royaumont*, Paris, Creaphis, 2014.
08 - Adelaida Reyes, Songs of the Caged, Songs of the Free. Music and the Vietnamese Refugee Experience, Temple University Press, Philadelphia, 1999.

09 - Alejandra Bronfman, Isles of Noise. Sonic Media in the Caribbean, Chapel Hill, Uni. of North Carolina Press, 2016.

10 - Martin Stokes (ed.), *Ethnicity, Identity and Music. The Musical Construction of Place*, Oxford & New York, Berg, 1994; Anne Damon Guillot & Mélaine Lefront, *Comment sonne la ville ? Musiques migrantes de Saint-Etienne*, Villeurbanne, Centre des Musiques Traditionnelles Rhône-Alpes, 2017; Michael O'Toole, *Sonic citizenship: Music, migration, and transnationalism in Berlin's Turkish and Anatolian diasporas*, Doctoral thesis, University of Chicago, 2014 (dir. Prof. Philip Bohlman) http://search.proquest.com/docview/1559962172

11 - Iain Chambers, Migrancy, Culture, Identity. London, Routledge, 1995; Laurent Aubert (dir.) : Musiques migrantes, de l'exil à la consécration, Collection Tabou, vol. 2. Gollion : Infolio / Genève : Musée d'ethnographie, 2005; Emmanuelle Olivier (dir.), Musiques au monde. La tradition au prisme de la création, Sampzac, Ed. Delatour, 2012; Hugo Ferran, « «Rate This MezmuR»», *Cahiers d'ethnomusicologie*, 28, 2015 : 107-125.

12 - Ditty Dokter (ed.), Arts Therapists, Refugees and Migrants. Reaching Across Borders. London & Philadelphia, Jessica Kingsley Publishers, 2005; Tia DeNora, Music Asylums. Wellbeing Through Music in Everyday Life, Farnham, Ashgate, 2013; Brynjulf Stige, Gary Ansdell, Cochavit Elefant ans Mercédès Pavlicevic, Where Music Helps : Community Music Therapy in Action and Reflection, Mondon; Routlegde, 2016.

13 - https://www.unhcr.org/fr/news/stories/2015/12/567a746ec/million-refugies-migrants-rejoint-leurope-2015.html

14 - Laborde, Denis, « La musique pour s'entendre ? L'accueil des migrants à Baigorri » in Talia Bachir et Anne Damon-Guillot. Une pluralité audible ? Musiques et mondes sonores en contact. Tours : Publications Universitaires François Rabelais, 2019 : 27-51.

15 - Bertodl Brecht, *Was koster das Eisen?*, 1939 (How much is Your Iron? my translation...)

16 - Denis Laborde (éd.), *Le cas Royaumont*, Paris, Creaphis, 2014.
<figure><img src="image_194.png" /></figure>
<figure><img src="image_192.png" /></figure>
Ils nous soutiennent

• PARTENAIRES INSTITUTIONNELS

Bayonne*

<figure><img src="image_195.png" /></figure>

ANGLET

<figure><img src="image_196.png" /></figure>

<figure><img src="image_197.png" /></figure>

VOTRE
PARTENAIRE

<figure><img src="image_198.png" /></figure>

Nouvelle-
Aquitaine

Soutien par

<figure><img src="image_199.png" /></figure>

<figure><img src="image_200.png" /></figure>

MINISTÈRE
DE LA CULTURE

<figure><img src="image_201.png" /></figure>

Été
culturel
2023

<figure><img src="image_202.png" /></figure>

PRÉFET
DE LA RÉGION
NOUVELLE-AQUITAINE

Ministère
de l'Agriculture
et de l'Alimentation

<figure><img src="image_203.png" /></figure>

<figure><img src="image_204.png" /></figure>

<figure><img src="image_205.png" /></figure>

<figure><img src="image_206.png" /></figure>

European
Commission

<figure><img src="image_207.png" /></figure>

Conseil d'Etat
de Marc Bloch

<figure><img src="image_208.png" /></figure>

UMR 5319

Passages

<figure><img src="image_209.png" /></figure>

Université
BORDEAUX
MONTAIGNE.

• AVEC LA PARTICIPATION DE

<figure><img src="image_210.png" /></figure>

Funded by
the European Union

<figure><img src="image_211.png" /></figure>

<figure><img src="image_212.png" /></figure>

EUSKAL KULTUR
ERAUNDEA
INSTITUT CULTUREL
BASQUE

<figure><img src="image_213.png" /></figure>

GIP-DSU
de l'agglomération
bayonnaise

<figure><img src="image_214.png" /></figure>
Ils nous soutiennent

• PARTENAIRES INSTITUTIONNELS

Bayonne*

<figure><img src="image_193.png" /></figure>

ANGLET

<figure><img src="image_194.png" /></figure>

<figure><img src="image_195.png" /></figure>

VOTRE
PARTENAIRE

<figure><img src="image_196.png" /></figure>

Nouvelle-
Aquitaine

Soutien par

<figure><img src="image_197.png" /></figure>

<figure><img src="image_198.png" /></figure>

MINISTÈRE
DE LA CULTURE

<figure><img src="image_199.png" /></figure>

Été
culturel
2023

<figure><img src="image_200.png" /></figure>

PRÉFET
DE LA RÉGION
NOUVELLE-AQUITAINE

Ministère
de l'Agriculture
et de l'Alimentation

<figure><img src="image_201.png" /></figure>

<figure><img src="image_202.png" /></figure>

<figure><img src="image_203.png" /></figure>

<figure><img src="image_204.png" /></figure>

European
Commission

MARK
BLOCH

Conseil Zeileum Marc Bloch

<figure><img src="image_205.png" /></figure>

UMR 5319

Passages

<figure><img src="image_206.png" /></figure>

Université
BORDEAUX
MONTAIGNE.

• AVEC LA PARTICIPATION DE

<figure><img src="image_207.png" /></figure>

Funded by
the European Union

<figure><img src="image_208.png" /></figure>

<figure><img src="image_209.png" /></figure>

EUSKAL KULTUR
ERAUNDEA
INSTITUT CULTUREL
BASQUE

<figure><img src="image_210.png" /></figure>

GIP-DSU
de l'agglomération
bayonnaise

<figure><img src="image_211.png" /></figure>
• AVEC LE CONCOURS DE

<figure><img src="image_215.png" /></figure>

<figure><img src="image_216.png" /></figure>

<figure><img src="image_217.png" /></figure>

<figure><img src="image_218.png" /></figure>

musikene

<figure><img src="image_219.png" /></figure>

<figure><img src="image_220.png" /></figure>

<figure><img src="image_221.png" /></figure>

<figure><img src="image_222.png" /></figure>

BOXE ANGLAISE

<figure><img src="image_223.png" /></figure>

PARRALDEKO
CONSERVATOIRE
KONTSEF MAURICE
BATORIOA TRAVEL
PAYS
BASQUE

<figure><img src="image_224.png" /></figure>

FFBOXE

<figure><img src="image_225.png" /></figure>

• MÉCÈNES - HAIZEBEGI BATZORDEA

<figure><img src="image_226.png" /></figure>

<figure><img src="image_227.png" /></figure>

<figure><img src="image_228.png" /></figure>

<figure><img src="image_229.png" /></figure>

<figure><img src="image_230.png" /></figure>

<figure><img src="image_231.png" /></figure>

<figure><img src="image_232.png" /></figure>

AXA AGENCE
LAGISQUET BERGES

<figure><img src="image_233.png" /></figure>

<figure><img src="image_234.png" /></figure>

<figure><img src="image_235.png" /></figure>

<figure><img src="image_236.png" /></figure>

<figure><img src="image_237.png" /></figure>

<figure><img src="image_238.png" /></figure>

<figure><img src="image_239.png" /></figure>
• AVEC LE CONCOURS DE

<figure><img src="image_212.png" /></figure>

<figure><img src="image_213.png" /></figure>

<figure><img src="image_214.png" /></figure>

<figure><img src="image_215.png" /></figure>

musikene

<figure><img src="image_216.png" /></figure>

<figure><img src="image_217.png" /></figure>

<figure><img src="image_218.png" /></figure>

<figure><img src="image_219.png" /></figure>

BOXE ANGLAISE

<figure><img src="image_220.png" /></figure>

PARRALDEKO
CONSERVATOIRE
KONTSEF MAURICE
BATORIOA TRAVEL
PAYS
BASQUE

<figure><img src="image_221.png" /></figure>

FFBOXE

<figure><img src="image_222.png" /></figure>

• MÉCÈNES - HAIZEBEGI BATZORDEA

<figure><img src="image_223.png" /></figure>

<figure><img src="image_224.png" /></figure>

<figure><img src="image_225.png" /></figure>

<figure><img src="image_226.png" /></figure>

<figure><img src="image_227.png" /></figure>

<figure><img src="image_228.png" /></figure>

<figure><img src="image_229.png" /></figure>

AXA AGENCE
LAGISQUET BERGES

<figure><img src="image_230.png" /></figure>

<figure><img src="image_231.png" /></figure>

<figure><img src="image_232.png" /></figure>

<figure><img src="image_233.png" /></figure>

<figure><img src="image_234.png" /></figure>

<figure><img src="image_235.png" /></figure>

<figure><img src="image_236.png" /></figure>
<figure><img src="image_240.png" /></figure>

Conservatoire du Pays Basque
Maurice Ravel

Iparraldeko Kontserbatorioa

<figure><img src="image_241.png" /></figure>

<figure><img src="image_242.png" /></figure>

Musique - Danse-Théâtre

Le Conservatoire Maurice Ravel est un établissement classé par le Ministère de la Culture dans la catégorie des Conservatoires à Rayonnement Régional « Garantie de qualité et de professionnalisme ». Trois spécialités sont proposées – Musique, Danse, Théâtre – aux 1700 élèves répartis sur le Pays Basque. La structure fonctionne sur quatre sites localisés à Bayonne, Biarritz, Saint-Jean-de-Luz et Hendaye.

Le Conservatoire a pour mission principale la formation initiale des musiciens, danseurs et comédiens dans l'optique d'une orientation amateur ou professionnelle. Il souhaite contribuer, par le biais de la musique, de la danse et du théâtre, à l'épanouissement de la personnalité de tous ses élèves. Entre concerts, spectacles mixtes et projets thématiques, le conservatoire investit au fil de chaque saison, différents espaces scéniques, salles de spectacles, théâtres, plein air, en partenariat avec les acteurs culturels du territoire.

Contact

29 cours du Comte de Cabarrus - 64100 Bayonne
Té: 05 59 31 21 70
www.cmdt-ravel.fr

Le Conservatoire du Pays Basque Maurice Ravel est porté par un syndicat mixte regrouppant la communauté d'Agglomération Pays Basque et les villes de Saint-Jean-de-Luz et Hendaye. Il est subventionné par le Ministère de la Culture et de la Communication via la DRAC, le Conseil Régional Nouvelle Aquitaine, le Conseil Départemental des Pyrénées Atlantiques.
<figure><img src="image_237.png" /></figure>

Conservatoire du Pays Basque
Maurice Ravel

Iparraldeko Kontserbatorioa

<figure><img src="image_238.png" /></figure>

<figure><img src="image_239.png" /></figure>

Musique - Danse-Théâtre

Le Conservatoire Maurice Ravel est un établissement classé par le Ministère de la Culture dans la catégorie des Conservatoires à Rayonnement Régional « Garantie de qualité et de professionnalisme ». Trois spécialités sont proposées – Musique, Danse, Théâtre – aux 1700 élèves répartis sur le Pays Basque. La structure fonctionne sur quatre sites localisés à Bayonne, Biarritz, Saint-Jean-de-Luz et Hendaye.

Le Conservatoire a pour mission principale la formation initiale des musiciens, danseurs et comédiens dans l'optique d'une orientation amateur ou professionnelle. Il souhaite contribuer, par le biais de la musique, de la danse et du théâtre, à l'épanouissement de la personnalité de tous ses élèves. Entre concerts, spectacles mixtes et projets thématiques, le conservatoire investit au fil de chaque saison, différents espaces scéniques, salles de spectacles, théâtres, plein air, en partenariat avec les acteurs culturels du territoire.

Contact

29 cours du Comte de Cabarrus - 64100 Bayonne

Té: 05 59 31 21 70

www.cmdt-ravel.fr

Le Conservatoire du Pays Basque Maurice Ravel est porté par un syndicat mixte regrou-
pant la communauté d'Agglomération Pays Basque et les villes de Saint-Jean-de-Luz et Hen-
daye. Il est subventionné par le Ministère de la Culture et de la Communication via la DRAC,
le Conseil Régional Nouvelle Aquitaine, le Conseil Départemental des Pyrénées Atlantiques.
<figure><img src="image_243.png" /></figure>

# CAFÉ DES PYRÉNÉES

Le quartier du Petit-Bayonne a parfois les allures d'un seul grand bureau à voûcation militante et étudiante. Ce faux air d'open space serein, où chacun vaque nonchalamment, trouve son sens et sa cohérence autour de sa machine à café : *Les Pyrénées*. Drôle d'entreprise, bigarée, où se côtoient les étudiants et leurs profs, les commerçants et leurs clients, les journalistes qui mènent interview, les collègues qui réunionnent, les rugbymen qui s'empaquettent devant les matches, les réfus qui, par potéo concentriques, se

rapprochent de cet épicentre, les joueurs de mus qui parviennent à faire table rase, les francophones, les euskaldun et même ces « petites françaises de la fac » qui délient toutes les langues.

Il faut dire que cette petite société idéale est tenue par le principe fondateur du lieu : « un bar où l'on discute » définit Xina. Avec sa sœur, Sandrine, ils ont repris cette institution petit-bayonnaise il y a huit ans. Un coup de peinture et « c'est comme si un nouveau cycle avait démarré » résume t-il. Bien sûr, il faut da-

vantage qu'une déco pour donner une âme à un lieu, surtout quand on garde l'enseigne et la clientèle du précédent. Mais ça, c'est leur grande affaire.

Xina et Sandrine sont nés avec une cuillère à café dans la bouche. Enfants de ca-

betiers, ils ont grandi à l'ombre d'un comptoir et prônent le bistrot comme lieu de vie, d'échange, de rencontre. Le lien social et tout ce tralala qui définit les nouvelles politiques de villes, ils en ont l'intuition autant que la science. Le « vivre ensemble » est un miracle quotidien, aux Pyrénées, depuis le cafés-

journal de 9h au fameux *Pyrénées Kantuz* mensuel, quand tout le monde se serre, les soirs d'hiver, pour pouvoir chanter.

Avec ces terrasses qui s'étirent sur la place, le quartier se développe. Les bars font florès mais *Les Pyrénées* restent à la croisée du quartier, une pulsation sourde, le rythme de la ville. C'est peut-être pour cette mesure que le café, dont un livre a consacré les trente ans en 2012, reste la porte d'entrée privilégiée de Bayonne, pour ceux qui viennent de l'intérieur du Pays Basque.

<figure><img src="image_244.png" /></figure>
<figure><img src="image_240.png" /></figure>

# CAFÉ DES PYRÉNÉES

Le quartier du Petit-Bayonne a parfois les allures d'un seul grand bureau à voûcation militante et étudiante. Ce faux air d'open space serein, où chacun vaque nonchalamment, trouve son sens et sa cohérence autour de sa machine à café : *Les Pyrénées*. Drôle d'entreprise, bigarée, où se côtoient les étudiants et leurs profs, les commerçants et leurs clients, les journalistes qui mènent interview, les collègues qui réunionnent, les rugbymen qui s'empaquettent devant les matches, les réfus qui, par potéo concentriques, se

rapprochent de cet épicentre, les joueurs de mus qui parviennent à faire table rase, les francophones, les euskaldun et même ces « petites françaises de la fac » qui délient toutes les langues.

Il faut dire que cette petite société idéale est tenue par le principe fondateur du lieu : « un bar où l'on discute » définit Xina. Avec sa sœur, Sandrine, ils ont repris cette institution petit-bayonnaise il y a huit ans. Un coup de peinture et « c'est comme si un nouveau cycle avait démarré » résume t-il. Bien sûr, il faut da-

vantage qu'une déco pour donner une âme à un lieu, surtout quand on garde l'enseigne et la clientèle du précédent. Mais ça, c'est leur grande affaire.

Xina et Sandrine sont nés avec une cuillère à café dans la bouche. Enfants de ca-

betiers, ils ont grandi à l'ombre d'un comptoir et prônent le bistrot comme lieu de vie, d'échange, de rencontre. Le lien social et tout ce tralala qui définit les nouvelles politiques de villes, ils en ont l'intuition autant que la science. Le « vivre ensemble » est un miracle quotidien, aux Pyrénées, depuis le cafés-

journal de 9h au fameux *Pyrénées Kantuz* mensuel, quand tout le monde se serre, les soirs d'hiver, pour pouvoir chanter.

Avec ces terrasses qui s'étirent sur la place, le quartier se développe. Les bars font florès mais *Les Pyrénées* restent à la croisée du quartier, une pulsation sourde, le rythme de la ville. C'est peut-être pour cette mesure que le café, dont un livre a consacré les trente ans en 2012, reste la porte d'entrée privilégiée de Bayonne, pour ceux qui viennent de l'intérieur du Pays Basque.

<figure><img src="image_241.png" /></figure>
<figure><img src="image_245.png" /></figure>

<figure><img src="image_246.png" /></figure>

CIDRERIE TTIPIA

C'est toute l'ambiance des cidreries en plein cœur du Petit Bayonne. Dans un magnifique bâtiment, de pierres et de bois, la cidrerie TTIPIA a su recréer cette chaleur unique qui accompagne les festins dans les règles de la tradition. Quand les basques allaient acher le cidre de l'année et dégustaient au tonneau, pour y inscrire à la craie leur commande. Ils amenaient, pour accompagner cet apéro, de quoi casser la croûte. Une pièce de boucher, de la morue, des œufs, des piments, du fromage de brebis, de la pâte de coing et des noix. C'est le menu exact qui compose aujourd'hui encore l'ordinaire de Ttipia. Avec son cidre, que l'on se sert au tonneau, selon le rituel séculaire, en faisant tinter son verre pour aérer et faire mousser le délicat breuvage. Seule nouveauté, le chef propose également des menus du jour, le midi, pour varier les plaisirs, mais reste exclusivement dans les produits frais. Pour le

reste, les lourdes tables de bois rappelent le principe de la cidrerie et des instants conviviaux et partagés. Une vraie communion qui opère dans cette cathédrale des plaisirs, élevée sur trois niveaux et pouvant accueillir jusqu'à 200 personnes, dans un climat de bonne humeur et d'entrain qu'autour d'Isabelle, l'équipe de TTIPIA a également su recréer.

TTiPiA
27 Rue des Cordeliers, 64100,
Bayonne
ttipia.364.fr

<figure><img src="image_247.png" /></figure>
<figure><img src="image_242.png" /></figure>

<figure><img src="image_243.png" /></figure>

CIDRERIE TTIPIA

C'est toute l'ambiance des cidreries en plein cœur du Petit Bayonne. Dans un magnifique bâtiment, de pierres et de bois, la cidrerie TTIPIA a su recréer cette chaleur unique qui accompagne les festins dans les règles de la tradition. Quand les basques allaient acher le cidre de l'année et dégustaient au tonneau, pour y inscrire à la craie leur commande. Ils amenaient, pour accompagner cet apéro, de quoi casser la croûte. Une pièce de boucher, de la morue, des œufs, des piments, du fromage de brebis, de la pâte de coing et des noix. C'est le menu exact qui compose aujourd'hui encore l'ordinaire de Ttipia. Avec son cidre, que l'on se sert au tonneau, selon le rituel séculaire, en faisant tinter son verre pour aérer et faire mousser le délicat breuvage. Seule nouveauté, le chef propose également des menus du jour, le midi, pour varier les plaisirs, mais reste exclusivement dans les produits frais. Pour le

reste, les lourdes tables de bois rappelent le principe de la cidrerie et des instants conviviaux et partagés. Une vraie communion qui opère dans cette cathédrale des plaisirs, élevée sur trois niveaux et pouvant accueillir jusqu'à 200 personnes, dans un climat de bonne humeur et d'entrain qu'autour d'Isabelle, l'équipe de TTIPIA a également su recréer.

TTiPiA
27 Rue des Cordeliers, 64100,
Bayonne
ttipia.364.fr

<figure><img src="image_244.png" /></figure>
<figure><img src="image_248.png" /></figure>

<figure><img src="image_249.png" /></figure>

100% LOREKI

**Loreki** est une entreprise du Pays Basque, spécialisée dans la valorisation de la biomasse et la fourniture de produits pour les métiers de l'horticulture locale.

La Société Loreki, SCOP SARL à capital variable, a été créée en juillet 1985 à Itxassou, par quatre étudiants motivés par la protection de l'environnement, l'économie sociale, le développement local et ... la création de leurs propres emplois, sur l'idée de valoriser des ressources organiques inexploitées en Pays Basque.

**Loreki** produit des substrats, paillages et amendements horticoles pour la floreculture, la pépinière, les espaces verts, terrains de sports, golfs, le maraîchage, la viticulture et l'arboriculture fruitière à partir de matières sélectionnées, pour les professionnels. **Loreki** distribue des marchandises provenant de partenaires sélectionnés (amendements calcaires et minéraux, engrais organiques, semences). **Loreki** recycle par compostage des déchets verts

et autres déchets organiques locaux. Elle assure des prestations en chantiers.

En complément, Loreki assure la distribution de fournitures pour l'horticulture et les espaces verts grâce au Comptoir Horticole Basco-Landais Batratzezainen Etxea (La maison du jardinier), filiale à 100% de Loreki.

**Loreki** est une Société Coopérative Ouvrière de Production. Tous les salariés sont amenés à devenir associés de la SCOP et participent alors aux assemblées générales avec une voix équivalente pour chacun. Dans un esprit de justice sociale et de solidarité, l'échelle des salaires est modérée, et l'ensemble des salariés bénéficie d'un accord d'intéressement et d'un accord de participation. Les bénéfices sont affectés prioritairement aux salariés (45%) et aux réserves impartageables (45%), et secondairement aux actionnaires (10%). De par son statut, l'entreprise est définitivement indépendante des grands groupes.
<figure><img src="image_245.png" /></figure>

<figure><img src="image_246.png" /></figure>

100% LOREKI

**Loreki** est une entreprise du Pays Basque, spécialisée dans la valorisation de la biomasse et la fourniture de produits pour les métiers de l'horticulture locale.

La Société Loreki, SCOP SARL à capital variable, a été créée en juillet 1985 à Itxassou, par quatre étudiants motivés par la protection de l'environnement, l'économie sociale, le développement local et ... la création de leurs propres emplois, sur l'idée de valoriser des ressources organiques inexploitées en Pays Basque.

**Loreki** produit des substrats, paillages et amendements horticoles pour la floreculture, la pépinière, les espaces verts, terrains de sports, golfs, le maraîchage, la viticulture et l'arboriculture fruitière à partir de matières sélectionnées, pour les professionnels. **Loreki** distribue des marchandises provenant de partenaires sélectionnés (amendements calcaires et minéraux, engrais organiques, semences). **Loreki** recycle par compostage des déchets verts

et autres déchets organiques locaux. Elle assure des prestations en chantiers.

En complément, Loreki assure la distribution de fournitures pour l'horticulture et les espaces verts grâce au Comptoir Horticole Basco-Landais Batratzezainen Etxea (La maison du jardinier), filiale à 100% de Loreki.

**Loreki** est une Société Coopérative Ouvrière de Production. Tous les salariés sont amenés à devenir associés de la SCOP et participent alors aux assemblées générales avec une voix équivalente pour chacun. Dans un esprit de justice sociale et de solidarité, l'échelle des salaires est modérée, et l'ensemble des salariés bénéficie d'un accord d'intéressement et d'un accord de participation. Les bénéfices sont affectés prioritairement aux salariés (45%) et aux réserves impartageables (45%), et secondairement aux actionnaires (10%). De par son statut, l'entreprise est définitivement indépendante des grands groupes.
<figure><img src="image_250.png" /></figure>

CHOCOLAT PASCAL

<figure><img src="image_251.png" /></figure>

Créatif et interprète
passionné de jazz
maître ès chocolat

Pascal Moustirats a travaillé à Paris à La Moï
Maison du Chocolat, chez Pierre Hermé puis
chez Ladurée avant de revenir chez lui, à
Bayonne, pour ouvrir sa chocolaterie jazz
sur les quais de la Nive, tout près du Musée
basque. Venu en voisin, il nous offre son
chocolat chaud lors des concerts au Musée
Basque, à Hendaye lors de la Fête de la
Science et à la Cité des Arts lors de la grande
soirée du 19 octobre, entre Fiesta Cubana et
Ecoute des Paysages du Cap Horn

<figure><img src="image_252.png" /></figure>

<figure><img src="image_253.png" /></figure>

Chocolat Pascal
32 Quai Galuperie
64100 Bayonne
<figure><img src="image_247.png" /></figure>

CHOCOLAT PASCAL

<figure><img src="image_248.png" /></figure>

Créatif et interprète
passionné de jazz
maître ès chocolat

Pascal Moustirats a travaillé à Paris à La Moï
Maison du Chocolat, chez Pierre Hermé puis
chez Ladurée avant de revenir chez lui, à
Bayonne, pour ouvrir sa chocolaterie jazz
sur les quais de la Nive, tout près du Musée
basque. Venu en voisin, il nous offre son
chocolat chaud lors des concerts au Musée
Basque, à Hendaye lors de la Fête de la
Science et à la Cité des Arts lors de la grande
soirée du 19 octobre, entre Fiesta Cubana et
Ecoute des Paysages du Cap Horn

<figure><img src="image_249.png" /></figure>

<figure><img src="image_250.png" /></figure>

Chocolat Pascal
32 Quai Galuperie
64100 Bayonne
<figure><img src="image_254.png" /></figure>

<figure><img src="image_255.png" /></figure>

## CHOCOLAT CAZENAVE

L'histoire du chocolat nous relie à la mésoamérique du XVIIe siècle. En 1528, Hernán Cortés en rapporte pour la première fois et les communautés juives du sud de la péninsule ibérique s'approprient la technique de fabrication. En 1609, chassés d'Espagne et du Portugal, fuyant l'Inquisition, ces artisans trouvent refuge dans le quartier Saint-Esprit de Bayonne. En implantant cette tradition en Pays Basque, ces magiciens bayonnais du goût introduisent le chocolat en France.

En 1854, Pierre Martin **Cazenave** fonde rue Lormand la chocolaterie qui porte son nom. En 1864, il transfère sa fabrique et sa boutique au 19 rue des Arceaux. Plus tard, la chocolaterie **Cazenave** sera vendue à la famille Biraben, célèbre dynastie de chocolatiers de la rue Pannecau.

Au début du XXe siècle, Claudine Bimboire et sa sœur Jeanne Lafourcade travaillent dans cette chocolaterie.

Lorsque Madame Biraben vend la chocolaterie, elle leur propose de perpétuer la tradition. Une usine équipée de machines à vapeur pour produire le

chocolat à partir des fèves de cacao brutes est installée sur les Allées Marines. La chocolaterie des Arceaux devient ce salon de thé dont mobilier, vaisselle de Limoges, décor de miroirs, boiserie et vitraux sont la marque.

Pendant 60 ans, Claudine Bimboire et Jeanne Lafourcade aidées par leurs époux, puis leurs enfants maintiennent la tradition d'une production artisanale de chocolat.

Aujourd'hui les petits enfants de Claudine Bimboire continuent de faire vivre la **Chocolaterie Cazenave**, plus d'un siècle après l'arrivée de leur grand-mère comme serveuse en ces lieux.

En 2004, un nouveau laboratoire remplace l'atelier des Allées Marines du XIXe siècle, les machines à fabriquer le chocolat sont démontées et réinstallées pour continuer à produire le **Chocolat Cazenave** selon les mêmes recettes.

Ainsi depuis plus de 150 ans, la chocolaterie fabrique toujours son chocolat de manière artisanale, à partir des fèves de cacao importées du Venezuela, de Trinidad et de Sao Tomé et de produits naturels.
<figure><img src="image_251.png" /></figure>

<figure><img src="image_252.png" /></figure>

## CHOCOLAT CAZENAVE

L'histoire du chocolat nous relie à la mésoamérique du XVIIe siècle. En 1528, Hernán Cortés en rapporte pour la première fois et les communautés juives du sud de la péninsule ibérique s'approprient la technique de fabrication. En 1609, chassés d'Espagne et du Portugal, fuyant l'Inquisition, ces artisans trouvent refuge dans le quartier Saint-Esprit de Bayonne. En implantant cette tradition en Pays Basque, ces magiciens bayonnais du goût introduisent le chocolat en France.

En 1854, Pierre Martin **Cazenave** fonde rue Lormand la chocolaterie qui porte son nom. En 1864, il transfère sa fabrique et sa boutique au 19 rue des Arceaux. Plus tard, la chocolaterie **Cazenave** sera vendue à la famille Biraben, célèbre dynastie de chocolatiers de la rue Pannecau.

Au début du XXe siècle, Claudine Bimboire et sa sœur Jeanne Lafourcade travaillent dans cette chocolaterie.

Lorsque Madame Biraben vend la chocolaterie, elle leur propose de perpétuer la tradition. Une usine équipée de machines à vapeur pour produire le

chocolat à partir des fèves de cacao brutes est installée sur les Allées Marines. La chocolaterie des Arceaux devient ce salon de thé dont mobilier, vaisselle de Limoges, décor de miroirs, boiserie et vitraux sont la marque.

Pendant 60 ans, Claudine Bimboire et Jeanne Lafourcade aidées par leurs époux, puis leurs enfants maintiennent la tradition d'une production artisanale de chocolat.

Aujourd'hui les petits enfants de Claudine Bimboire continuent de faire vivre la **Chocolaterie Cazenave**, plus d'un siècle après l'arrivée de leur grand-mère comme serveuse en ces lieux.

En 2004, un nouveau laboratoire remplace l'atelier des Allées Marines du XIXe siècle, les machines à fabriquer le chocolat sont démontées et réinstallées pour continuer à produire le **Chocolat Cazenave** selon les mêmes recettes.

Ainsi depuis plus de 150 ans, la chocolaterie fabrique toujours son chocolat de manière artisanale, à partir des fèves de cacao importées du Venezuela, de Trinidad et de Sao Tomé et de produits naturels.
<figure><img src="image_256.png" /></figure>

<figure><img src="image_257.png" /></figure>

# GRAIN DE SOLEIL

Installé à Bayonne dans le Forum, Grain de soleil est un magasin de produits biologiques et naturels en même temps qu'un centre de soin. La conjonction des deux domaines d'activité, jugés inséparables, fait de Grain de Soleil une entité unique en Pays Basque. Le point commun à ces deux activités est le soin de l'environnement et le respect du corps. Les deux activités privilégient donc les produits d'origine biologique certifiée pour le respect de nos organisation et de notre planète.

Au rez-de-chaussée, le magasin bio compte une grande variété de produits,

dont le plus grand rayon « sans gluten » d'Aquitaine. Ses 380m² permettent de proposer 85 variétés de pâtes, 25 sortes de riz et de nombreuses farines et céréales pour le petit déjeuner pré-

sentées dans des emballages écolo-giques, ou en vrac. Il y a aussi des fruits et légumes variés, des vins biologiques, 350 thés ou infusions, des desserts au rayon frais, etc.

L'équipe a également sélectionné des compléments santé (molécules natu-relles aux principes actifs puissants) dont 300 huiles essentielles. Pour l'hy-giène, les soins du corps et la cosmé-tique, Grain de Soleil propose des gammes originales et 100% naturelles. A l'étage, l'espace santé offre des consultations de diététique et de natu-ropathie, le salon de coiffure privilégie les produits naturels et végétaux, l'insti-tut de beauté propose des cures et des soins basés exclusivement sur l'emploi de produits bio et naturels.

<figure><img src="image_258.png" /></figure>

Grain de Soleil
34 rue Arnaud Detroyat
Le Forum
64100 Bayonne
Tél. : 05 59 42 10 83
www.graindesoleil.fr/
<figure><img src="image_253.png" /></figure>

<figure><img src="image_254.png" /></figure>

# GRAIN DE SOLEIL

Installé à Bayonne dans le Forum, Grain de soleil est un magasin de produits biologiques et naturels en même temps qu'un centre de soin. La conjonction des deux domaines d'activité, jugés inséparables, fait de Grain de Soleil une entité unique en Pays Basque. Le point commun à ces deux activités est le soin de l'environnement et le respect du corps. Les deux activités privilégient donc les produits d'origine biologique certifiée pour le respect de nos organisation et de notre planète.

Au rez-de-chaussée, le magasin bio compte une grande variété de produits,

dont le plus grand rayon « sans gluten » d'Aquitaine. Ses 380m² permettent de proposer 85 variétés de pâtes, 25 sortes de riz et de nombreuses farines et céréales pour le petit déjeuner pré-

sentées dans des emballages écolo-giques, ou en vrac. Il y a aussi des fruits et légumes variés, des vins biologiques, 350 thés ou infusions, des desserts au rayon frais, etc.

L'équipe a également sélectionné des compléments santé (molécules natu-relles aux principes actifs puissants) dont 300 huiles essentielles. Pour l'hy-giène, les soins du corps et la cosmé-tique, Grain de Soleil propose des gammes originales et 100% naturelles. A l'étage, l'espace santé offre des consultations de diététique et de natu-ropathie, le salon de coiffure privilégie les produits naturels et végétaux, l'insti-tut de beauté propose des cures et des soins basés exclusivement sur l'emploi de produits bio et naturels.

<figure><img src="image_255.png" /></figure>

Grain de Soleil

Grain de Soleil
34 rue Arnaud Detroyat
Le Forum
64100 Bayonne
Tél. : 05 59 42 10 83
www.graindesoleil.fr/
<figure><img src="image_259.png" /></figure>

<figure><img src="image_260.png" /></figure>

# JARDINERIE LAFITTE

Tout a commencé dans les années 30, à Mendionde. Germain Lafitte, agriculteur s'engage dans la production de châtaigniers japonais résistants à la maladie de l'encre. C'est une nouveauté : ses châtaigniers résistants se vendent partout en Pays Basque. Les pépinières Lafitte sont nées.

Aujourd'hui, le groupe Lafitte propose la palette complète des métiers du jardin, avec :

- les Pépinières Lafitte, production et vente de plantes d'ornement,

- la Jardinerie Lafitte, offre complète de végétaux, d'accessoires complémentaires pour le jardin et une animalerie,

- Lafitte Paysage, la création de jardins,

- Lafitte Services, entretien des jardins de particuliers,

- Lafitte Sport, création et entretien de sols sportifs.

Le groupe Lafitte aujourd'hui, c'est 110 collaborateurs, plus de 1000 variétés de plantes en culture sur 104 ha de pépinières, plus de 500 jardins réalisés chaque année et 150 chantiers d'entretien. Cette grande diversité de produits

et de services divers s'adressent aux amateurs, aux professionnels, aux collectivités, aussi bien au niveau local qu'à l'export.

La Jardinerie Lafitte est située à l'entrée sud de la ville de Bayonne, en bordure du Rond-Point de Maignon, où nous avons souvent l'occasion d'apprécier longuement sa façade bilingue.

Ses 4500 m2 d'exposition sont ouverts tous les jours. On y trouve une belle diversité de végétaux, des poteries, de la décoration et du mobilier de jardin.

La jardinerie accueille également une animalerie (poissons, oiseaux, gallinacées, rongeurs...)

<figure><img src="image_261.png" /></figure>
<figure><img src="image_256.png" /></figure>

<figure><img src="image_257.png" /></figure>

# JARDINERIE LAFITTE

Tout a commencé dans les années 30, à Mendionde. Germain Lafitte, agriculteur s'engage dans la production de châtaigniers japonais résistants à la maladie de l'encre. C'est une nouveauté : ses châtaigniers résistants se vendent partout en Pays Basque. Les pépinières Lafitte sont nées.
Aujourd'hui, le groupe Lafitte propose la palette complète des métiers du jardin, avec :

- les Pépinières Lafitte, production et vente de plantes d'ornement,

- la Jardinerie Lafitte, offre complète de végétaux, d'accessoires complémentaires pour le jardin et une animalerie,

- Lafitte Paysage, la création de jardins,

- Lafitte Services, entretien des jardins de particuliers,

- Lafitte Sport, création et entretien de sols sportifs.

Le groupe Lafitte aujourd'hui, c'est 110 collaborateurs, plus de 1000 variétés de plantes en culture sur 104 ha de pépinières, plus de 500 jardins réalisés chaque année et 150 chantiers d'entretien. Cette grande diversité de produits

et de services divers s'adressent aux amateurs, aux professionnels, aux collectivités, aussi bien au niveau local qu'à l'export.

La Jardinerie Lafitte est située à l'entrée sud de la ville de Bayonne, en bordure du Rond-Point de Maignon, où nous avons souvent l'occasion d'apprécier longuement sa façade bilingue. Ses 4500 m2 d'exposition sont ouverts tous les jours. On y trouve une belle diversité de végétaux, des poteries, de la décoration et du mobilier de jardin.

La jardinerie accueille également une animalerie (poissons, oiseaux, gallinacées, rongeurs...)

<figure><img src="image_258.png" /></figure>
# ENTREPRISE SOKOA

SOKOA est née en 1971, grâce à l'épargne populaire et à des acteurs implantés sur le territoire qui croyaient à la prise en charge de l'avenir par soi-même et à l'animation du tissu économique local afin d'y créer des emplois. Désormais, premier fabricant français de sièges de bureau, à la tête d'un groupe de 20 entreprises, majoritairement implantées au Pays basque, SOKOA emploie 560 salarié(e)s, dont 250 à Hendaye. SOKOA est profondément implantée dans son territoire et ce dernier est ancré dans l'entreprise.
Membre fondateur de HERRIKOA, qui a contribué, à travers les 314 entreprises qu'elle a financées, à la création ou à la consolidation de plus de 3 000 emplois directs au Pays Basque, SOKOA apporte également son soutien à LURZAINDIA (outil de collecte d'épargne pour l'acquisition collective de foncier agricole), dont il est un des principaux actionnaires.

En cohérence avec ses valeurs, partagées par la majorité de ses 900 actionnaires, la politique de mécénat de SOKOA bénéficie à une soixantaine d'associations locales.

Parmi les principales actions structurelles, on peut relever l'appui au défi de l'agriculture paysanne et durable en Pays Basque, avec la participation active de SOKOA dans l'association LABORANTZA GANBARA, et son finance-ment. Ainsi que l'appui en tant que

membre fondateur de la Fondation de l'Ecole d'ingénieurs ESTIA, avec pour objectif de créer de la "matière grise" qui participera au développement futur de son territoire.
Enfin, le capital de SOKOA reste accessible à toute personne désireuse d'investir dans une entreprise locale qui, engagée dans une démarche de développement durable, conjugue ancrage territorial et ouverture sur le monde, création de ruchesses et partage équitable des profits.

<figure><img src="image_262.png" /></figure>

Sokoa
# ENTREPRISE SOKOA

SOKOA est née en 1971, grâce à l'épargne populaire et à des acteurs implantés sur le territoire qui croyaient à la prise en charge de l'avenir par soi-même et à l'animation du tissu économique local afin d'y créer des emplois. Désormais, premier fabricant français de sièges de bureau, à la tête d'un groupe de 20 entreprises, majoritairement implantées au Pays basque, SOKOA emploie 560 salarié(e)s, dont 250 à Hendaye. SOKOA est profondément implantée dans son territoire et ce dernier est ancré dans l'entreprise.
Membre fondateur de HERRIKOA, qui a contribué, à travers les 314 entreprises qu'elle a financées, à la création ou à la consolidation de plus de 3 000 emplois directs au Pays Basque, SOKOA apporte également son soutien à LURZAINDIA (outil de collecte d'épargne pour l'acquisition collective de foncier agricole), dont il est un des principaux actionnaires.

En cohérence avec ses valeurs, partagées par la majorité de ses 900 actionnaires, la politique de mécénat de SOKOA bénéficie à une soixantaine d'associations locales.

Parmi les principales actions structurelles, on peut relever l'appui au défi de l'agriculture paysanne et durable en Pays Basque, avec la participation active de SOKOA dans l'association LABORANTZA GANBARA, et son finance-ment. Ainsi que l'appui en tant que

membre fondateur de la Fondation de l'Ecole d'ingénieurs ESTIA, avec pour objectif de créer de la "matière grise" qui participera au développement futur de son territoire.
Enfin, le capital de SOKOA reste accessible à toute personne désireuse d'investir dans une entreprise locale qui, engagée dans une démarche de développement durable, conjugue ancrage territorial et ouverture sur le monde, création de ruchesses et partage équitable des profits.

<figure><img src="image_259.png" /></figure>

Sokoa
<figure><img src="image_263.png" /></figure>

Accompagnement
Handicaps & Familles

## Association CHRYSALIDE

10, place André Emlinger - Le Forum

64100 BAYONNE

Tél. : 05 59 42 16 03

E-mail : asschrysalide64@gmail.com

www.association-chrysalide.org

<figure><img src="image_264.png" /></figure>

https://fr-fr.facebook.com/chrysalide.association

<figure><img src="image_265.png" /></figure>

La raison d'être de l'Association CHRYSALIDE est d'accueillir et d'accompagner des familles de personnes en situation de handicap, de considérer chacune d'entre elles dans son parcours de vie, et de lui permettre de capitaliser sur ses potentiels, de développer son autonomie, pour vivre et grandir en société.

Forte d'une expérience de près de 29 ans de combats pour la reconnaissance du handicap et de la différence, l'association CHRYSALIDE est attachée à ce que chaque personne en situation de handicap soit considérée d'abord comme « une personne à part entière », avant d'être une personne en situation de fragilité ou d'exclusion.

Rejoignez-nous pour ensemble partager nos expériences, nos compétences, nos énergies.

Adhérez à notre Association

Reconnue d'intérêt général, l'Association permet la défiscalisation de vos dons, legs...

ECOUTER

AGIR CONSEILLER

SOUTENIR AIDER

INFORMER
<figure><img src="image_260.png" /></figure>

Accompagnement
Handicaps & Familles

Association CHRYSALIDE

10, place André Emlinger - Le Forum

64100 BAYONNE

Tél. : 05 59 42 16 03

E-mail : asschrysalide64@gmail.com

www.association-chrysalide.org

<figure><img src="image_261.png" /></figure>

https://fr-fr.facebook.com/chrysalide.association

<figure><img src="image_262.png" /></figure>

La raison d'être de l'Association CHRYSALIDE est d'accueillir et d'accompagner des familles de personnes en situation de handicap, de considérer chacune d'entre elles dans son parcours de vie, et de lui permettre de capitaliser sur ses potentiels, de développer son autonomie, pour vivre et grandir en société.

Forte d'une expérience de près de 29 ans de combats pour la reconnaissance du handicap et de la différence, l'association CHRYSALIDE est attachée à ce que chaque personne en situation de handicap soit considérée d'abord comme « une personne à part entière », avant d'être une personne en situation de fragilité ou d'exclusion.

Rejoignez-nous pour ensemble partager nos expériences, nos compétences, nos énergies.

Adhérez à notre Association

Reconnue d'intérêt général, l'Association permet la défiscalisation de vos dons, legs...

ECOUTER

AGIR CONSEILLER

SOUTENIR AIDER

INFORMER
<figure><img src="image_266.png" /></figure>

## COLLÈGE ALBERT CAMUS (BAYONNE)

Le Collège Albert Camus est implanté au cœur du quartier Sainte-Croix de Bayonne. C'est un collège du monde. Plus de vingt nationalités différentes, autant de langues, de savoir faire et de cultures à partager. D'importants travaux de rénovation et d'extension en ont fait un collège d'une belle architecture contemporaine, avec sa rotonde caractéristique qui abrite notamment une très belle salle polyvalente et qui fait du collège l'icône du quartier. Livré en 2015, le bâtiment avec ses deux nouvelles extensions a été inauguré en février 2016.

Le collège Albert Camus fait partie du Réseau d'Éducation Prioritaire (REP) qui accueille les enfants des écoles du secteur. Cette sectorisation permet aux équipes administratives et pédagogiques d'instituer une continuité des apprentissages au moment de l'entrée en sixième grâce, notamment, aux échanges, aux dispositifs de formation et aux projets communs menés tout au long de l'année avec les écoles. Les élèves qui quittent les CM2 alentours arrivent donc au collège Camus en terrain connu. L'appartenance au Réseau d'Éducation Prioritaire permet en outre au collège Camus de disposer de moyens financiers et humains plus importants pour mener à bien des projets ambitieux et innovants. La mise en œuvre de ces projets sont rendus possibles grâce à l'implication d'une équipe pédagogique et éducative qui développe une pédagogie collective conçue par projets. Cette pédagogie participative et inspirée par un enseignement mutuel qui cherche à nouer des solidarités entre élèves permet au collège de s'impliquer dans les réalisations du réseau Canopée et de conduire des actions qui entrent en interaction avec les événements de la ville de Bayonne (Musée Basque, festival Haizebegi 2017 pour l'accueil des musiciens colombiens de Tumaco). Ce dynamisme se traduit par l'animation d'une Web Radio très écoutée bien au-delà du collège, et dont les émissions sont enregistrées dans un studio dont l'équipement de grande qualité est unique dans la région. L'animation de cette Web Radio est aussi rendue possible par le fait que le collège sait solliciter les compétences réunies dans ce quartier qui fait l'histoire récente de Bayonne. Cela permet de proposer aux élèves de cultiver un jardin partagé, grâce à l'association Graine de Liberté, mais aussi des cours d'archéologie ou des mathématiques numérisées, et de nombreux ateliers de pratique artistique,
<figure><img src="image_263.png" /></figure>

## COLLÈGE ALBERT CAMUS (BAYONNE)

Le Collège Albert Camus est implanté au cœur du quartier Sainte-Croix de Bayonne. C'est un collège du monde. Plus de vingt nationalités différentes, autant de langues, de savoir faire et de cultures à partager. D'importants travaux de rénovation et d'extension en ont fait un collège d'une belle architecture contemporaine, avec sa rotonde caractéristique qui abrite notamment une très belle salle polyvalente et qui fait du collège l'icône du quartier. Livré en 2015, le bâtiment avec ses deux nouvelles extensions a été inauguré en février 2016.

Le collège Albert Camus fait partie du Réseau d'Éducation Prioritaire (REP) qui accueille les enfants des écoles du secteur. Cette sectorisation permet aux équipes administratives et pédagogiques d'instituer une continuité des apprentissages au moment de l'entrée en sixième grâce, notamment, aux échanges, aux dispositifs de formation et aux projets communs menés tout au long de l'année avec les écoles. Les élèves qui quittent les CM2 alentours arrivent donc au collège Camus en terrain connu. L'appartenance au Réseau d'Éducation Prioritaire permet en outre au collège Camus de disposer de moyens financiers et humains plus importants pour mener à bien des projets ambitieux et innovants. La mise en œuvre de ces projets sont rendus possibles grâce à l'implication d'une équipe pédagogique et éducative qui développe une pédagogie collective conçue par projets. Cette pédagogie participative et inspirée par un enseignement mutuel qui cherche à nouer des solidarités entre élèves permet au collège de s'impliquer dans les réalisations du réseau Canopée et de conduire des actions qui entrent en interaction avec les événements de la ville de Bayonne (Musée Basque, festival Haizebegi 2017 pour l'accueil des musiciens colombiens de Tumaco). Ce dynamisme se traduit par l'animation d'une Web Radio très écoutée bien au-delà du collège, et dont les émissions sont enregistrées dans un studio dont l'équipement de grande qualité est unique dans la région. L'animation de cette Web Radio est aussi rendue possible par le fait que le collège sait solliciter les compétences réunies dans ce quartier qui fait l'histoire récente de Bayonne. Cela permet de proposer aux élèves de cultiver un jardin partagé, grâce à l'association Graine de Liberté, mais aussi des cours d'archéologie ou des mathématiques numérisées, et de nombreux ateliers de pratique artistique,
<figure><img src="image_267.png" /></figure>

## COLLÈGE MARRACQ

Situé en centre-ville, le Collège Marracq est un établissement ancien construit sur les plans de l'architecte Charles Lecœur qui dessina par la suite de grands lycées parisiens. Le Collège que nous connaissons aujourd'hui est l'héritier du Lycée de Bayonne fondé le 7 octobre 1879. Les bâtiments sont imposants, d'une grande richesse architecturale et occupent une parcelle de 45 000 m2. 820 élèves sont scolarisés dans ce collège. Le point fort du collège réside dans l'accueil d'enfants en situation de handicap. Les élèves de SEGPA sont intégrées à l'architecture générale de l'établissement. Les élèves sont associés pleinement à la vie du collège et à ses différentes activités (projets culturels, formation des délégués, association sportive, clubs et animations FSE). En outre, le collège a ouvert dès l'année 2010 une Unité Localisée d'Inclusion scolaire qui accueille 12 élèves présentant des troubles cognitifs. Issus de Classes d'Inclusion Scolaire, d'établissements spécialisés de type ITEP (Institut Thérapeutique Educatif et Pédagogique), et IME (Institut Médico Educatif) ou venant du cursus ordinaire, ils sont pris en charge par un professeur des écoles spécialisé ainsi qu'une Auxiliaire de

Vie Scolaire Collective. Dans ce dispositif, la pédagogie et les rythmes sont adaptés à leurs besoins ainsi qu'à leur niveau. A partir de la troisième année, ils suivent des stages en entreprise ou dans les CFA, ce qui débouche sur un DNB qui permet leur inclusion sociale. En parallèle, ils bénéficient de soins adaptés dans des SESSAD (Services d'Education Spéciale et de Soins à Domicile), à l'Hôpital de jour ou dans les CMPP (Centre Médico Psycho Pédagogique). En outre, le Collège Marracs s'ouvre à l'accueil d'enfants atteints de Troubles du Spectre Autistique et d'enfants sourds. Par ailleurs, le collège a mis en place des filières d'enseignement diversifiées avec des sections langues désormais bien reconnues (anglais, espagnols, chinois, basque) et des sections sportives (rugby, aviron) qui participent du rayonnement du collège.
<figure><img src="image_264.png" /></figure>

## COLLÈGE MARRACQ

Situé en centre-ville, le Collège Marracq est un établissement ancien construit sur les plans de l'architecte Charles Lecœur qui dessina par la suite de grands lycées parisiens. Le Collège que nous connaissons aujourd'hui est l'héritier du Lycée de Bayonne fondé le 7 octobre 1879. Les bâtiments sont imposants, d'une grande richesse architecturale et occupent une parcelle de 45 000 m2. 820 élèves sont scolarisés dans ce collège. Le point fort du collège réside dans l'accueil d'enfants en situation de handicap. Les élèves de SEGPA sont intégrées à l'architecture générale de l'établissement. Les élèves sont associés pleinement à la vie du collège et à ses différentes activités (projets culturels, formation des délégués, association sportive, clubs et animations FSE). En outre, le collège a ouvert dès l'année 2010 une Unité Localisée d'Inclusion scolaire qui accueille 12 élèves présentant des troubles cognitifs. Issus de Classes d'Inclusion Scolaire, d'établissements spécialisés de type ITEP (Institut Thérapeutique Educatif et Pédagogique), et IME (Institut Médico Educatif) ou venant du cursus ordinaire, ils sont pris en charge par un professeur des écoles spécialisé ainsi qu'une Auxiliaire de

Vie Scolaire Collective. Dans ce dispositif, la pédagogie et les rythmes sont adaptés à leurs besoins ainsi qu'à leur niveau. A partir de la troisième année, ils suivent des stages en entreprise ou dans les CFA, ce qui débouche sur un DNB qui permet leur inclusion sociale. En parallèle, ils bénéficient de soins adaptés dans des SESSAD (Services d'Education Spéciale et de Soins à Domicile), à l'Hôpital de jour ou dans les CMPP (Centre Médico Psycho Pédagogique). En outre, le Collège Marracs s'ouvre à l'accueil d'enfants atteints de Troubles du Spectre Autistique et d'enfants sourds. Par ailleurs, le collège a mis en place des filières d'enseignement diversifiées avec des sections langues désormais bien reconnues (anglais, espagnols, chinois, basque) et des sections sportives (rugby, aviron) qui participent du rayonnement du collège.
<figure><img src="image_268.png" /></figure>

AGENCE
BLOOM STORIES

Cultivons votre raison d'être.

Pourquoi Bloom ? Pour faire éclore votre identité, votre histoire, vos convictions. Et valoriser vos contributions dans un monde en transition.

Aujourd'hui, communiquer c'est s'engager. Pour mettre en oeuvre la transition écologique, pour soutenir la croissance économique, pour prendre soin de la société. Chez Bloom Stories, la mission est d'accompagner les partenaires sur le chemin d'une communication qui a du sens et de l'utilité. Pour faire ainsi de leur récit, une contribution à la société.

Située à Bidart et membre fondateur du regroupement Le Labo et du réseau Elabe Territoires, l'agence travaille en écosystème avec des partenaires qui proposent des expertises complémentaires et qui partagent les mêmes valeurs d'exigence, de curiosité et de bienveillance.

Fondée en 2015 par Carine Senft, Bloom Stories est une agence indépendante et combative, qui prône une nouvelle lecture des métiers de la communication :

- Le récit comme point de départ de toute stratégie de communication.

- La relation avec l'écosystème des partenaires comme moteur de la communication.

- L'intégration de tous les canaux, traditionnels et digitaux, pour garantir la cohérence des messages et l'efficacité des stratégies.

L'agence accompagne les entreprises de tous secteurs et de toutes tailles, ainsi que les institutions publiques, dans leurs stratégies de communication, éditoriale et d'engagement avec leurs publics.

> « Parfois la réalité est complexe. Les histoires lui donnent forme. »

Jean-Luc Godard
<figure><img src="image_265.png" /></figure>

AGENCE
BLOOM STORIES

Cultivons votre raison d'être.

Pourquoi Bloom ? Pour faire éclore votre identité, votre histoire, vos convictions. Et valoriser vos contributions dans un monde en transition.

Aujourd'hui, communiquer c'est s'engager. Pour mettre en oeuvre la transition écologique, pour soutenir la croissance économique, pour prendre soin de la société. Chez Bloom Stories, la mission est d'accompagner les partenaires sur le chemin d'une communication qui a du sens et de l'utilité. Pour faire ainsi de leur récit, une contribution à la société.

Située à Bidart et membre fondateur du regroupement Le Labo et du réseau Elabe Territoires, l'agence travaille en écosystème avec des partenaires qui proposent des expertises complémentaires et qui partagent les mêmes valeurs d'exigence, de curiosité et de bienveillance.

Fondée en 2015 par Carine Senft, Bloom Stories est une agence indépendante et combative, qui prône une nouvelle lecture des métiers de la communication :

- Le récit comme point de départ de toute stratégie de communication.

- La relation avec l'écosystème des partenaires comme moteur de la communication.

- L'intégration de tous les canaux, traditionnels et digitaux, pour garantir la cohérence des messages et l'efficacité des stratégies.

L'agence accompagne les entreprises de tous secteurs et de toutes tailles, ainsi que les institutions publiques, dans leurs stratégies de communication, éditoriale et d'engagement avec leurs publics.

> « Parfois la réalité est complexe. Les histoires lui donnent forme. »

Jean-Luc Godard