{"id":9929,"date":"2024-12-01T13:36:33","date_gmt":"2024-12-01T13:36:33","guid":{"rendered":"https:\/\/www.globalafricasciences.org\/actualites\/planter-soigner-eclore-myriam-mihindou-chamane-du-vivant\/"},"modified":"2025-10-19T17:29:49","modified_gmt":"2025-10-19T17:29:49","slug":"planter-soigner-eclore-myriam-mihindou-chamane-du-vivant","status":"publish","type":"post","link":"https:\/\/www.globalafricasciences.org\/fr\/planter-soigner-eclore-myriam-mihindou-chamane-du-vivant\/","title":{"rendered":"Planter, soigner, \u00e9clore Myriam Mihindou, chamane du vivant"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"9929\" class=\"elementor elementor-9929\" data-elementor-post-type=\"post\">\n\t\t\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-036a802 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"036a802\" 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PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-2724b9e e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"2724b9e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f03e25c elementor-widget elementor-widget-heading\" data-id=\"f03e25c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\"><a href=\"\/?issues=Africa%20and%20the%20World%20in%20Viral%20Time%20\">02.2022<br>L\u2019Afrique et le monde \u00e0 l\u2019heure virale<\/a><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b2b07a4 elementor-widget elementor-widget-text-editor\" data-id=\"b2b07a4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><strong>Publi\u00e9 le : 16 d\u00e9cembre 2022<br><\/strong><strong>ISSN: 3020-0458<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-38d84bf elementor-align-center elementor-widget__width-inherit elementor-hidden-mobile elementor-widget elementor-widget-button\" data-id=\"38d84bf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"\/wp-content\/uploads\/2024\/12\/Global-Africa-Issue-02-Africa-and-the-World-in-Viral-Time.pdf\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">T\u00c9L\u00c9CHARGER LE NUM\u00c9RO PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b5db791 elementor-widget elementor-widget-image\" data-id=\"b5db791\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/GA-Issue-07-1.jpg\">\n\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1240\" height=\"1754\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic.jpg\" class=\"attachment-full size-full wp-image-1045\" alt=\"CERFIG an African Health Research of Excellence\" srcset=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic.jpg 1240w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic-212x300.jpg 212w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic-724x1024.jpg 724w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic-768x1086.jpg 768w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa-Issue-02-African-knowlewdge-against-the-pandemic-1086x1536.jpg 1086w\" sizes=\"(max-width: 1240px) 100vw, 1240px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-ae2d51c e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"ae2d51c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-3c8215e e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"3c8215e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fa2f8e7 elementor-widget elementor-widget-eael-adv-tabs\" data-id=\"fa2f8e7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"eael-adv-tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t        <div data-scroll-on-click=\"no\" data-scroll-speed=\"300\" id=\"eael-advance-tabs-fa2f8e7\" class=\"eael-advance-tabs eael-tabs-horizontal eael-tab-auto-active  responsive-vertical-layout\" data-tabid=\"fa2f8e7\">\n            <div class=\"eael-tabs-nav \">\n                <ul class=\"eael-tab-inline-icon\" role=\"tablist\">\n                                            <li id=\"abstract\" class=\"active-default eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"abstract-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_the_United_States.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Abstract<\/span>                            \n                                                    <\/li>\n                                            <li id=\"rsum\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"rsum-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_France.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >R\u00e9sum\u00e9<\/span>                            \n                                                    <\/li>\n                                            <li id=\"muhtasari\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"muhtasari-tab\" aria-expanded=\"false\">\n                            \n                                                                <img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Flag_of_Kenya.svg\" alt=\"\">\n                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Muhtasari<\/span>                            \n                                                    <\/li>\n                                            <li id=\"\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"-tab\" aria-expanded=\"false\">\n                            \n                                                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"900\" height=\"600\" viewBox=\"0 0 900 600\"><path id=\"green\" d=\"m0 600h900v-600h-900z\" fill=\"#005430\" stroke-width=\".375\"><\/path><g id=\"white\" transform=\"scale(.375)\"><g id=\"shahada\"><g transform=\"matrix(7.3042,0,0,-6.7531,1800,635.53)\"><path d=\"m0 0c-0.023 4.162-1.516 15.373-1.895 19.134-0.378 3.761-0.759 7.173-0.667 7.972 0.09 0.771 1.187-1.072 1.767-1.221 0.3 0.065 0.166 1.229-0.379 2.223-0.369 0.675-1.627 3.199-2.39 4.678-0.359 0.7-0.439 1.106-0.612 1.192-0.172 0.086-1.561-2.945-1.409-3.281 0.379-0.616 0.639-0.91 0.698-1.998 0.06-1.088 0.58-8.856 1.243-14.744 0.499-4.442 1.594-14.012 1.633-19.962 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10.022-0.179 3.547-0.703 7.172-1.001 11.013-0.096 1.235-0.283 2.953-0.498 4.816 2.086-2.604 4.252-5.247 5.566-6.692 0.453-0.499 0.931-1.053 1.422-1.638 0.392-5.814 0.769-13.089 0.968-16.142 0.197-3.042 0.07-6.866 0.047-7.531-0.024-0.665 0.318-0.551 0.809 0.925 0.658 1.981 1.071 7.176 0.927 10.621-0.086 2.047-0.275 5.779-0.479 9.309 1.619-2.081 3.156-4.182 4.156-5.6 1.778-2.518 3.411-5.512 3.982-7.38 0.57-1.87 0.633-2.424 0.744-2.757s0.602 1.031 0.524 3.168\" fill=\"#fff\"><\/path><\/g><\/g><path id=\"sword\" d=\"m1558.8 1170.7c-1.1729-3.3554-4.7649-5.8169-9.0607-5.8169s-7.8806 2.4615-9.0608 5.8169h-40.678c-0.4105-4.5128-0.01-9.0477 1.2683-13.465l83.981-0.051 2.3385 3.9414c2.1113 3.5531 4.7797 6.7619 7.8731 9.5751zm55.596-39.026h-100.92c7.7559-5.5971 11.824-13.766 10.732-22.029-0.6964-5.2089-5.8571-9.099-12.147-9.6264h-3.1596c-7.6532 0.7472-13.203 6.2637-12.396 12.322l0.3079 2.3297 0.3738 3.5824c0.4106 4.4982 0.015 9.0183-1.2535 13.421h-745.97c11.077 16.117 31.273 26 53.082 25.985l680.71-0.4178c-7.7852 5.6044-11.868 13.788-10.769 22.066 0.8064 6.0585 7.6533 10.374 15.307 9.6263 7.6459-0.7472 13.195-6.2637 12.396-12.33l-0.3079-2.3223h40.004c0.7037 3.9048 4.6037 6.9011 9.354 6.9011s8.6502-2.9963 9.3613-6.9011h40.693v-0.095c8.4963 6.0294 19.294 9.4946 30.716 9.4946 10.747 0 19.456-7.4652 19.456-16.681v-4.8205c0-16.842-15.922-30.506-35.569-30.506\" fill=\"#fff\"><\/path><\/g><\/svg>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >\u0645\u0644\u062e\u0635<\/span>                            \n                                                    <\/li>\n                    \n                                  <\/ul>\n            <\/div>\n            \n            <div class=\"eael-tabs-content\">\n\t\t        \n                    <div id=\"abstract-tab\" class=\"clearfix eael-tab-content-item active-default\" data-title-link=\"abstract-tab\">\n\t\t\t\t        <p>How can the visual and performance practices of the Franco-Gabonese artist Myriam Mihindou be at the origin of a reflection on care? This article answers this question by analysing the video La Robe envol\u00e9e [The Flying Dress] (2008) and the photographic series D\u00e9choucaj&rsquo; (2004-2006). The \u2018transperformances&rsquo; represented in these works are a means of healing individual and collective wounds through ancestral remedies from traditional religious cultures. African belief systems comprise conceptions of care, solidarity, and nature that constitute a healing horizon from which Myriam Mihindou draws to perceive alternatives to contemporary wounds.. The works studied thus constitute emancipatory spaces in which bodies free themselves from political and social injunctions. By developing new imaginaries in which hierarchies are abolished, the artist produces what has been called a \u00abdecolonial aesthetic of care.\u00bb In a context where colonial legacies and legacies of slavery are constantly being revived, this implementation of care becomes a political act with critical and therapeutic potential.<\/p><h5>Keywords<\/h5><p>Care, esth\u00e9tique, d\u00e9coloniale, genre, environnement, performance<\/p>                    <\/div>\n\t\t        \n                    <div id=\"rsum-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"rsum-tab\">\n\t\t\t\t        <p>Comment la pratique plastique et performative de l\u2019artiste francogabonaise Myriam Mihindou peut-elle \u00eatre \u00e0 l\u2019origine d\u2019une r\u00e9flexion sur le care\u2009? Cet article r\u00e9pond \u00e0 cette question par l\u2019analyse de la vid\u00e9o <em>La Robe envol\u00e9e<\/em> (2008), ainsi que de la s\u00e9rie photographique <em>D\u00e9choucaj<\/em>\u2019 (2004-2006). Les \u00ab\u2009transperformances\u2009\u00bb repr\u00e9sent\u00e9es dans ces \u0153uvres sont le moyen de gu\u00e9rir de blessures individuelles et collectives par des rem\u00e8des ancestraux venus de cultures traditionnelles animistes. Les conceptions du soin, des solidarit\u00e9s et de la nature que ces croyances venues d\u2019Afrique composent, constituent un horizon r\u00e9parateur dans lequel Myriam Mihindou puise pour percevoir des alternatives aux blessures contemporaines. Les \u0153uvres \u00e9tudi\u00e9es constituent ainsi des espaces \u00e9mancipateurs dans lesquels les corps s\u2019affranchissent des injonctions politiques et sociales. En d\u00e9veloppant de nouveaux imaginaires dans lesquels les hi\u00e9rarchies sont abolies, l\u2019artiste produit ce que l\u2019on qualifie d\u2019\u00ab\u2009esth\u00e9tique du <em>care<\/em> d\u00e9coloniale\u2009\u00bb. Dans un contexte o\u00f9 les s\u00e9quelles coloniales et esclavagistes sont constamment raviv\u00e9es, cette mise en \u0153uvre du <em>care<\/em> devient un acte politique au potentiel critique et th\u00e9rapeutique.<\/p><h5>Mots-cl\u00e9s<\/h5><p>Care, d\u00e9colonialit\u00e9, esth\u00e9tique, environnement, performance<\/p>                    <\/div>\n\t\t        \n                    <div id=\"muhtasari-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"muhtasari-tab\">\n\t\t\t\t        <p>\/\/\/<\/p>                    <\/div>\n\t\t        \n                    <div id=\"-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"-tab\">\n\t\t\t\t        <p>\/\/\/<\/p>                    <\/div>\n\t\t                    <\/div>\n        <\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff89d56 elementor-widget elementor-widget-text-editor\" data-id=\"ff89d56\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div id=\"bgLayers_comp-li5pzpqr\" class=\"MW5IWV\" data-hook=\"bgLayers\" data-motion-part=\"BG_LAYER\"><h2>Introduction[1]<\/h2><\/div><div class=\"\" data-mesh-id=\"comp-li5pzpqrinlineContent\" data-testid=\"inline-content\"><div data-mesh-id=\"comp-li5pzpqrinlineContent-gridContainer\" data-testid=\"mesh-container-content\"><div id=\"comp-li5pzpqt\" class=\"TWFxr5 \"><div class=\"comp-li5pzpqt\"><div class=\"sGWYken comp-li5pzpqt\" data-hook=\"ricosviewer-wrapper\"><div class=\"nIlW2\" dir=\"ltr\" data-id=\"content-viewer\"><div class=\"C0hbR\"><div class=\"av0i6\"><blockquote class=\"_5-ovX\"><div id=\"viewer-pgt4y147394\" class=\"_6Vwzd HjRUP\" dir=\"auto\"><span class=\"B-fpk _6Vwzd\">\u00ab\u2009Je suis un \u201cNous\u201d dans un \u201cJe\u201d. Dans mon corps s\u2019exprime le collectif et je suis le passeur de l\u2019exp\u00e9rience que j\u2019ai de ma propre existence, tout comme je suis le passeur de toutes ces voix et de tous ces corps\u20092 \u00bb.<\/span><\/div><\/blockquote><p id=\"viewer-c1ac8286599\" class=\"_1LEAZ A-ZZ4 _6Vwzd HjRUP\" dir=\"auto\"><span class=\"-EZUV _6Vwzd\">C\u2019est ainsi que l\u2019artiste franco-gabonaise Myriam Mihindou con\u00e7oit son \u0153uvre : si sa pratique artistique est pluridisciplinaire, le corps en est la mati\u00e8re centrale. De Port-au-Prince \u00e0 Las Palmas, la plasticienne autopsie les m\u00e9moires corporelles aussi bien collectives que personnelles pour en extraire les blessures et y apporter un soin tout particulier. Habit\u00e9es par le schisme que constitue son m\u00e9tissage, ses \u0153uvres sont tapiss\u00e9es de ruptures \u00e9l\u00e9mentaires dans lesquelles l\u2019artiste cherche sa place entre le colonisateur et le colonis\u00e9, le f\u00e9minin et le masculin, le pur et l\u2019impur. Ces tensions, auxquelles s\u2019ajoutent les traumatismes li\u00e9s \u00e0 son histoire personnelle et \u00e0 son exp\u00e9rience de femme racis\u00e9e, apparaissent dans son \u0153uvre comme une blessure n\u00e9vralgique qui r\u00e9clame r\u00e9paration. Sous des formes ritualis\u00e9es, le corps et l\u2019\u00e2me sont apais\u00e9s en un puissant langage plastique. La plasticienne affirme ainsi le r\u00f4le th\u00e9rapeutique de son art, dont le soin est la source. En quoi la pratique artistique et performative de Myriam Mihindou permet-elle d\u2019enrichir les d\u00e9bats sur le care\u2009? \u00c0 travers l\u2019analyse de l\u2019\u0153uvre vid\u00e9o <i>La Robe envol\u00e9e<\/i> (2008), ainsi que de la s\u00e9rie photographique <i>D\u00e9chouc<\/i><em>aj\u2019<\/em> (2004-2006), nous verrons comment l\u2019\u0153uvre de la plasticienne nous invite \u00e0 consid\u00e9rer le care en tant que pratique th\u00e9rapeutique inspir\u00e9e des cosmogonies propres aux cultures traditionnelles animistes. <\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-221b6f2 elementor-widget elementor-widget-text-editor\" data-id=\"221b6f2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><span class=\"-EZUV _6Vwzd\">Mettre des mots sur des maux<\/span><\/h2><p id=\"viewer-jk06y569\" class=\"_1LEAZ A-ZZ4 _6Vwzd HjRUP\" dir=\"auto\"><span class=\"-EZUV _6Vwzd\">Dans l\u2019\u0153uvre vid\u00e9o <em>La Robe envol\u00e9e,<\/em> l\u2019artiste r\u00e9alise une performance dans laquelle elle s\u2019affranchit des injonctions faites \u00e0 son corps de femme racis\u00e9e. Par une m\u00e9tamorphose tant physique qu\u2019affective et \u00e9motionnelle, elle se d\u00e9fait doucement des tabous li\u00e9s au corps f\u00e9minin, au corps m\u00e9tis domestiqu\u00e9 par l\u2019\u00e9ducation, les lois, la soci\u00e9t\u00e9 et l\u2019histoire. Sur une terrasse \u00e0 Las Palmas (Espagne), l\u2019artiste, assise sur une chaise, se filme en un plan fixe o\u00f9 seules ses jambes nous sont d\u00e9voil\u00e9es. La sobri\u00e9t\u00e9 de l\u2019image en noir et blanc accentue la transe \u00e9motionnelle et verbale de l\u2019artiste th\u00e9rapeute. Ses gestes blessent autant qu\u2019ils r\u00e9parent, douloureux et sensuels : ils cherchent \u00e0 trouver ce qui se cache sous la peau, sous le masque de la domestication. <\/span><\/p><h3><span class=\"-EZUV _6Vwzd\" style=\"font-weight: normal;\">F\u00e9minit\u00e9 et nature<\/span><\/h3><p id=\"viewer-ar9mp286607\" class=\"_1LEAZ A-ZZ4 _6Vwzd HjRUP\" dir=\"auto\"><span class=\"-EZUV _6Vwzd\"><em>La Robe envol\u00e9e<\/em> : ce titre, \u00e0 la fois \u00e9vocateur d&rsquo;une f\u00e9minit\u00e9 abandonn\u00e9e et d&rsquo;une intimit\u00e9 d\u00e9voil\u00e9e, en appelle visuellement \u00e0 la statuette Baub\u00f4 et au mythe qui l&rsquo;accompagne. En 1898, dans les ruines d&rsquo;un temple de D\u00e9m\u00e9ter (datant du IVe si\u00e8cle avant notre \u00e8re) \u00e0 Pri\u00e8ne &#8211; une cit\u00e9 grecque d&rsquo;Asie Mineure aujourd&rsquo;hui situ\u00e9e en Turquie -, des arch\u00e9ologues d\u00e9couvrent un ensemble de statuettes en terre cuite. Sur les ventres ronds de ces figurines se dessinent de larges visages : les yeux s&rsquo;apparentent aux seins et le menton \u00e0 la vulve. D&rsquo;\u00e9paisses cuisses soutiennent leur t\u00eate qu&rsquo;une \u00ab\u2009robe envol\u00e9e\u2009\u00bb d\u00e9voile \u00e0 la vue de tous. Dans la mythologie grecque, D\u00e9m\u00e9ter (d\u00e9esse de l&rsquo;agriculture et des moissons) erre sur Terre depuis que Had\u00e8s (dieu des enfers) a enlev\u00e9 sa fille Pers\u00e9phone. Dans sa douleur et son d\u00e9sespoir, la m\u00e8re arrive \u00e0 \u00c9leusis, dans la maison de Baub\u00f4 la nourrice. En un geste qui a le m\u00e9rite de faire sourire D\u00e9m\u00e9ter, Baub\u00f4 soul\u00e8ve sa robe et lui laisse d\u00e9couvrir ses parties. Ce personnage excentrique \u00ab\u2009sera tout \u00e0 la fois repr\u00e9sent\u00e9 comme la nourrice, mais aussi comme la sorci\u00e8re, la vieille femme salace, la prostitu\u00e9e\u2026 toutes figures d&rsquo;inqui\u00e9tante \u00e9tranget\u00e9, d&rsquo;effroi et de terreur, figures de l&rsquo;innommable du sexe de la femme quand le r\u00e9el du corps n&rsquo;est pas voil\u00e9\u2009\u00bb (Jamart, 2006).\u00a0<\/span><\/p><figure id=\"attachment_5749\" aria-describedby=\"caption-attachment-5749\" style=\"width: 619px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"wp-image-5750 size-full\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/02\/Image29775.webp\" alt=\"\" width=\"619\" height=\"421\" \/><figcaption id=\"caption-attachment-5749\" class=\"wp-caption-text\">Myriam Mihindou, La Robe envol\u00e9e, vid\u00e9o performance, 19 min 23 s, Las Palmas Gran Canaria, Espagne, 2008 \u00a9 Adagp, Paris, 2021.<\/figcaption><\/figure><p>\u00a0<\/p><p>Le mythe de Baub\u00f4 cristallise l&rsquo;id\u00e9e d&rsquo;une intimit\u00e9 physique d\u00e9concertante et obsc\u00e8ne, aussi bien attirante que repoussante. Nietzsche reprend cette figure mythique dans la pr\u00e9face de la deuxi\u00e8me \u00e9dition de son ouvrage Le Gai Savoir (1887) :<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c47934f elementor-widget elementor-widget-text-editor\" data-id=\"c47934f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div dir=\"ltr\">\n<blockquote>\n<div title=\"Page 3\">\n<div class=\"page\" title=\"Page 3\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><span style=\"font-style: normal;\">\u00ab Avis aux philosophes ! On devrait mieux honorer la pudeur avec laquelle la nature se dissimule derrie\u0300re des e\u0301nigmes et des incertitudes bigarre\u0301es. Peut-e\u0302tre la ve\u0301rite\u0301 est-elle une femme qui est fonde\u0301e a\u0300 ne pas laisser voir son fondement ? Peut-e\u0302tre son nom, pour parler grec, serait-il Baubo\u0302 ? \u00bb (Nietzsche [1982\/1887], 1982, p. 27).<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/blockquote>\n<\/div>\n<p dir=\"auto\">Du mythe de Baub\u00f4, on retient l\u2019association entre femme et nature s\u2019opposant \u00e0 l\u2019homme et \u00e0 la culture\u2009; l\u2019humanit\u00e9 se dissocie de l\u2019animalit\u00e9 tout comme le savoir de l\u2019ignorance, le corps de l\u2019esprit, la raison de l\u2019\u00e9motion, etc. Ces cat\u00e9gories fondamentales de la pens\u00e9e moderne \u2013 encore pr\u00e9sentes dans les soci\u00e9t\u00e9s occidentales \u2013 imposent un cadre identitaire que Myriam Mihindou cherche imp\u00e9rativement \u00e0 d\u00e9passer. Si l\u2019artiste n\u2019\u00e9voque pas explicitement les m\u00e9canismes de domination \u00e0 l\u2019\u0153uvre, elle use, tout au long de son monologue, de la m\u00e9taphore de la chenille qui se transforme en papillon pour \u00e9voquer son incapacit\u00e9 \u00e0 trouver sa place au sein de la soci\u00e9t\u00e9. Le cocon repr\u00e9senterait la soci\u00e9t\u00e9, dont il faudrait absolument s\u2019extraire pour devenir papillon, pour devenir femme. Elle dit ainsi :<\/p>\n<blockquote>\n<div dir=\"auto\">\u00ab\u2009Je me sens encore\u2026 comme\u2026 fossilis\u00e9e\u2026 dans cette id\u00e9e du corps qui n\u2019arrive pas encore \u00e0 trouver sa place dans le cocon. [\u2026] Moi, je n\u2019arrive pas encore \u00e0 trouver ma place dans le cocon. Le papillon\u2026 ne m\u2019a encore rien dit \u00bb. (10 min 37 s)<\/div>\n<\/blockquote>\n<p dir=\"auto\">Ni le patriarcat ni aucune forme de domination des corps ne sont cit\u00e9s, mais les effets sur son corps sont bel et bien pr\u00e9sents : \u00ab\u2009Avec cette histoire du corps, j\u2019ai perdu l\u2019usage de la parole pendant plusieurs ann\u00e9es. J\u2019ai perdu cet usage du corps\u2026 je parle de mon corps de femme aussi\u2026 Et mon corps de femme n\u2019est pas propre\u2009\u00bb (9 min 30 s). Ces mots, un peu confus, rel\u00e8vent d\u2019un traumatisme inscrit dans la chair\u2009; la parole lui serait \u00f4t\u00e9e, comme si elle ne la m\u00e9ritait pas. Elle poursuit d\u2019une voix pleine de sanglots : \u00ab\u2009J\u2019ai tr\u00e8s peur de me laisser d\u00e9couvrir\u2026 C\u2019est quelque chose\u2026 Je ne peux pas\u2009! Montrer la peau, je ne peux pas\u2009! Je ne dois pas\u2009!\u2009\u00bb (14 min 58 s) En m\u00eame temps, l\u2019artiste d\u00e9chire son collant, laisse appara\u00eetre sa peau nue qu\u2019elle griffe, qu\u2019elle frotte avant de la caresser, comme pour l\u2019apaiser. Sa plainte qui s\u2019exprime tant par la parole que par les gestes se d\u00e9charge de son histoire subjective demeur\u00e9e en souffrance. La parole \u2013 qu\u2019elle a su recouvrir \u2013 devient un acte cr\u00e9ateur par lequel l\u2019artiste laisse place aux blessures de sa m\u00e9moire. Les gestes qu\u2019elle procure \u00e0 son corps lui offrent la possibilit\u00e9 de se reconnecter \u00e0 ses sensations, de mettre fin au dualisme entre le corps et l\u2019esprit.<\/p>\n<h3><span style=\"font-weight: normal;\">\u00ab\u2009\u00c0 fleur de peau \u00bb3<\/span><\/h3>\n<p dir=\"auto\">Ce sont ses diff\u00e9rents voyages qui ont contribu\u00e9 \u00e0 transformer le rapport de l\u2019artiste \u00e0 son propre corps :<\/p>\n<blockquote>\n<div dir=\"auto\">\u00ab\u2009Et j\u2019ai chang\u00e9 de pays souvent\u2026 Et il a toujours fallu que je\u2026 Je n\u00e9gocie avec cette histoire de la peau\u2026 La peau\u2026\u2009\u00bb (2 min 12 s).<\/div>\n<\/blockquote>\n<p dir=\"auto\">Du Gabon \u00e0 la France, de l\u2019\u00cele de la R\u00e9union au Maroc en passant par l\u2019\u00c9gypte, Myriam Mihindou a fait des sols o\u00f9 elle se trouvait des exp\u00e9riences personnelles et singuli\u00e8res aussi bien que des terreaux de cr\u00e9ation. D\u2019un corps d\u00e9nud\u00e9 qu\u2019elle pouvait exposer librement \u00e0 La R\u00e9union \u00e0 un corps qu\u2019elle devait cacher en \u00c9gypte, ces v\u00e9cus ont achev\u00e9 de rendre l\u2019artiste \u00e9trang\u00e8re \u00e0 elle-m\u00eame. \u00ab\u2009Lorsque je suis pass\u00e9e de l\u2019\u00eele de la R\u00e9union\u2026 \u00e0 l\u2019\u00c9gypte, il a fallu que je couvre ce corps-l\u00e0. Il a\u2026 fallu que j\u2019int\u00e8gre des notions nouvelles.\u2009\u00bb (4 min 23 s). Une scission s\u2019est op\u00e9r\u00e9e entre ce qu\u2019elle ressent de son corps et de ce que les autres y d\u00e9c\u00e8lent : \u00ab\u2009Je ne sais pas d\u00e9finir cette image du corps\u2026\u2009\u00bb (3 min 3 s). Une f\u00e9minit\u00e9 taboue a fait de son corps un objet \u00e9rotique qui a contribu\u00e9 \u00e0 effacer tout caract\u00e8re sensoriel et empirique du corps. \u00ab\u2009Aujourd\u2019hui je cherche la robe\u2026 Je\u2026 J\u2019ai d\u00fb porter des robes pendant des ann\u00e9es, mais\u2026 Je ne peux plus porter de robe aujourd\u2019hui. Je suis incapable de\u2026 porter une robe\u2026 Je suis incapable de sentir l\u2019eau sur mon corps\u2026 Je suis incapable de sentir l&rsquo;eau sur mon corps\u2026 Je suis incapable de sentir ce contact\u2026 Je pense que\u2026 tout mon travail artistique porte cette question de la m\u00e9moire de la peau\u2009\u00bb (3 min 33 s). Lorsque l&rsquo;artiste avoue qu&rsquo;elle ne peut pas se laisser d\u00e9couvrir, que \u00ab\u2009montrer la peau [elle] ne peu[t] pas\u2009! [Elle] ne doi[t] pas\u2009!\u2009\u00bb (14 min 58 s) et que \u00ab\u2009[son] corps de femme n&rsquo;est pas propre\u2009\u00bb (9 min 30 s), il y a tout un h\u00e9ritage de la pudeur qui se cache dans ce discours. Cette pudeur engage un sentiment de honte : si Myriam Mihindou portait des robes auparavant, aujourd&rsquo;hui, elle n&rsquo;en porte plus \u00e0 cause du regard port\u00e9 sur elle. La pudeur et la honte sont des sentiments particuli\u00e8rement genr\u00e9s : quand la honte masculine s&rsquo;apparente \u00e0 la transgression des convenances d&rsquo;une soci\u00e9t\u00e9 donn\u00e9e, la honte f\u00e9minine fait fortement r\u00e9f\u00e9rence \u00e0 la pr\u00e9servation d&rsquo;une int\u00e9grit\u00e9 sexuelle.<\/p>\n<p dir=\"auto\">Au fil de ses d\u00e9placements, Myriam Mihindou incorpore ces doxas qui font du corps des femmes l&rsquo;objet de pol\u00e9miques permanentes et incessantes. Ces tiraillements culturels imposent un cadre perceptif sur le corps, dont l&rsquo;artiste peine \u00e0 se d\u00e9tacher. Son incapacit\u00e9 \u00e0 porter des robes, \u00e0 exhiber sa peau, tout comme sa mani\u00e8re de se sentir impure (\u00ab\u2009mon corps de femme n&rsquo;est pas propre\u2009\u00bb [9 min 30 s]) est le reflet du monde ext\u00e9rieur qui impr\u00e8gne tout son \u00eatre. Myriam Mihindou entame ainsi sa performance aux allures de rituel chamanique par ces mots : \u00ab\u2009Cette peau\u2026 Je ne sais pas pourquoi on dit toujours la peau\u2026 Je n&rsquo;ai jamais compris pourquoi la peau pouvait faire l&rsquo;objet de tant de discours. J&rsquo;ai toujours eu envie de l&rsquo;arracher, cette peau \u00bb (1 min 17 s). La peau, cette interface qui s\u00e9pare l&rsquo;ext\u00e9rieur de l&rsquo;int\u00e9rieur du corps, est cens\u00e9e prot\u00e9ger des agressions provenant du dehors. Son \u00e9piderme, sujet \u00e0 la honte de l&rsquo;irrepr\u00e9sentable, ne parviendrait plus \u00e0 assumer sa capacit\u00e9 protectrice. En terme psychiatrique, ce mal-\u00eatre concernant la peau s&rsquo;apparente \u00e0 une \u00ab\u2009prison de chair\u2009\u00bb, qui se caract\u00e9rise par une indiff\u00e9renciation entre son monde interne et son monde externe, entre soi et la soci\u00e9t\u00e9. Int\u00e9rieur et ext\u00e9rieur s&rsquo;encha\u00eenent \u00e0 la mani\u00e8re d&rsquo;un anneau de Moebius, entra\u00eenant une incapacit\u00e9 \u00e0 se repr\u00e9senter soi-m\u00eame.<\/p>\n<p dir=\"auto\">Ce trouble psychologique est au c\u0153ur du concept du \u00ab\u2009Moi-peau\u2009\u00bb th\u00e9oris\u00e9 par le psychiatre Didier Anzieu. Lors de sa parution en 1985, dans l\u2019ouvrage Le Moi-Peau, ce n\u00e9ologisme a un parfum de subversion : il entend r\u00e9habiliter le Moi et le corps. C\u2019est dans un premier article publi\u00e9 en 1974 que le m\u00e9decin d\u00e9finit pour la premi\u00e8re fois cette notion :<\/p>\n<blockquote>\n<div dir=\"auto\">\u00ab\u2009Une figuration dont le Moi de l\u2019enfant se sert au cours des phases pr\u00e9coces de son d\u00e9veloppement pour se repr\u00e9senter lui-m\u00eame comme Moi \u00e0 partir de son exp\u00e9rience de la surface du corps\u2009\u00bb.<\/div>\n<\/blockquote>\n<p dir=\"auto\">Le \u00ab\u2009Moi-peau\u2009\u00bb, tel qu\u2019il appara\u00eet dans cette premi\u00e8re d\u00e9finition, se manifeste comme une repr\u00e9sentation d\u2019un Moi \u00e0 la fois primaire et m\u00e9taphorique, corrobor\u00e9 par une \u00ab\u2009sensorialit\u00e9 tactile\u2009\u00bb (Anzieu, 1995, p. 1). Les fonctions de ce Moi-peau sont con\u00e7ues \u00e0 partir des fonctions de la peau. \u00c0 travers cette ode \u00e0 l\u2019\u00e9piderme comme organe sensitif vital, Didier Anzieu \u00e9labore une conception de la tactilit\u00e9 capable de mettre en correspondance le dedans et le dehors : la diff\u00e9renciation entre le Moi psychique et le Moi corporel permet ainsi de s\u2019auto-repr\u00e9senter. Si Myriam Mihindou peine \u00e0 se repr\u00e9senter elle-m\u00eame en dehors des injonctions ext\u00e9rieures, sa performance, entre don de soi et regard introspectif, agit comme une pratique curative susceptible de d\u00e9limiter le dedans et le dehors. En effet, le Moi-peau est une entit\u00e9 \u00e0 la fois psychique et corporelle \u00e0 partir de laquelle les soins port\u00e9s au corps peuvent \u00eatre pens\u00e9s dans leurs dimensions psychiques. C\u2019est en ce sens que l\u2019artiste entend soigner son \u00eatre. Mais cette cure n\u2019est pas seulement individuelle\u2009; c\u2019est aussi par l\u2019interface de la peau que Myriam Mihindou entend faire de son r\u00e9cit un espace dans lequel toutes les femmes peuvent se reconna\u00eetre. Ainsi, la plasticienne explique :<\/p>\n<blockquote>\n<div dir=\"auto\">\u00ab\u2009J\u2019ai souhait\u00e9 y ajouter une traduction en anglais parce que je voulais que ce corps parle \u00e0 tous les corps de femmes et qu\u2019elles soient toutes concern\u00e9es par ce corps, comme un \u00e9cho\u2009\u00bb4 .<\/div>\n<\/blockquote>\n<figure id=\"attachment_5753\" aria-describedby=\"caption-attachment-5753\" style=\"width: 784px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/02\/Le_Monologue_des_anges_s_rie_D_choucaj__Myriam_Mihindou.webp\" alt=\"\" width=\"784\" height=\"1020\"><figcaption id=\"caption-attachment-5753\" class=\"wp-caption-text\">Myriam Mihindou, \u00abLe Monologue des Anges\u00bb from the series D\u00e9choucaj\u2019, 2004\u20132006, digital ink print on fine art paper mounted on steel, 120 x 92 cm \u00a9 Adagp, Paris, 2021.<\/figcaption><\/figure>\n<h2>Du corps individuel au \u00ab\u2009grand corps\u2009\u00bb<\/h2>\n<h3><span style=\"font-weight: normal;\">Ha\u00efti, une longue histoire de violence<\/span><\/h3>\n<p dir=\"auto\">Cet \u00e9cho entre les corps, Myriam Mihindou en d\u00e9ploie les fondements au sein de la s\u00e9rie photographique <em>D\u00e9choucaj\u2019<\/em>, r\u00e9alis\u00e9e \u00e0 Ha\u00efti cette fois. Ha\u00efti est un pays qui s\u2019est fond\u00e9 sur le malstrom de la traite n\u00e9gri\u00e8re et la barbarie de l\u2019esclavage. Les populations africaines d\u00e9port\u00e9es ont uni leurs forces en une longue lutte pour faire face \u00e0 la domination du ma\u00eetre blanc. Anciennement connu sous le nom de Saint-Domingue, le pays renonce officiellement au despotisme fran\u00e7ais et Ha\u00efti naquit le 1er janvier 1804, devenant ainsi la premi\u00e8re R\u00e9publique noire au monde. Ce statut symbolique fort s\u2019accompagne de longues p\u00e9riodes d\u2019instabilit\u00e9 politique, durant lesquelles les puissances \u00e9trang\u00e8res ne cessent d\u2019intervenir \u2013 en particulier les \u00c9tats-Unis. La longue dictature de Fran\u00e7ois et Jean-Claude Duvalier (1957-1986) est \u00e0 l\u2019origine de 30 000 morts dans le pays, qui s\u2019habitue \u00e0 la violence structurelle de la soci\u00e9t\u00e9 politique. Le premier pr\u00e9sident \u00e9lu d\u00e9mocratiquement, Jean-Bertrand Aristide, n\u2019\u00e9chappe pas aux d\u00e9rives despotiques. Avec la d\u00e9liquescence de l\u2019\u00c9tat ha\u00eftien et les diverses immiscions, le pr\u00e9sident est finalement d\u00e9chu, gr\u00e2ce \u00e0 l\u2019aide des Am\u00e9ricains, \u00e0 la suite d\u2019un coup d\u2019\u00c9tat en 2004. Par la suite, le nombre de violences, d\u2019exactions et de tortures subies par les Ha\u00eftiens a atteint un seuil sans pr\u00e9c\u00e9dent. C\u2019est dans ce contexte de vagues de violences perp\u00e9tuelles et dont personne ne semble voir l\u2019issue que Myriam Mihindou agit. Le nom de la s\u00e9rie, <em>D\u00e9choucaj\u2019<\/em> (qui signifie \u00ab\u2009arracher la souche apr\u00e8s l\u2019abattage d\u2019un arbre\u2009\u00bb en cr\u00e9ole ha\u00eftien), fait r\u00e9f\u00e9rence au terme employ\u00e9 par les Ha\u00eftiens \u00e0 la fin du r\u00e9gime dictatorial des Duvalier. Le <em>d\u00e9choucaj<\/em> consiste \u00e0 d\u00e9truire jusqu\u2019\u00e0 la fondation des maisons appartenant aux notables ou aux bourreaux li\u00e9s aux diff\u00e9rents despotes. C\u2019est le r\u00e9sultat d\u2019une explosion populaire contre les responsables politiques, administratifs, militaires et m\u00eame religieux. Cette pratique a ressurgi lors de la chute du pr\u00e9sident Aristide.<\/p>\n<p dir=\"auto\">Arriv\u00e9e \u00e0 Port-au-Prince en 2003, la photographe collabore avec la compagnie de th\u00e9\u00e2tre Nous. En se rendant sur leur lieu de travail, les membres de la troupe et l\u2019artiste se font encercler lors d\u2019une embuscade par des miliciens arm\u00e9s. Contre toute attente et face aux armes dirig\u00e9es contre eux, les com\u00e9diens d\u00e9bitent des psalmodies po\u00e9tiques qui leur sauvent la vie. En \u00e9tat de choc au lieu de rendez-vous, l\u2019id\u00e9e de travailler abandonne les esprits et les acteur\u00b7rice\u00b7s pr\u00e9f\u00e8rent sublimer leur peur au moyen d\u2019un rituel vodou. Myriam Mihindou capte ces corps en plein exorcisme. Cet \u00e9v\u00e9nement fait suite \u00e0 de nombreux autres dans un contexte de banalisation de la violence en Ha\u00efti, o\u00f9 r\u00e8gne l\u2019ins\u00e9curit\u00e9. Les \u00e9v\u00e9nements extr\u00eamement violents qui ont suivi la chute du pr\u00e9sident Aristide ont caus\u00e9 de profonds traumatismes chez les populations ha\u00eftiennes. L\u2019une des photographies de cette s\u00e9rie, Le Monologue des Anges, met en sc\u00e8ne trois protagonistes, presque sans vie, en plein exorcisme vodou5 . Deux d\u2019entre eux gisent au pied d\u2019un arbre tandis qu\u2019un autre est suspendu \u00e0 une branche. Les asp\u00e9rit\u00e9s de l\u2019arbre, semblables \u00e0 celles des corps, am\u00e8nent \u00e0 confondre peau et \u00e9corce en un tout presque indissociable. La photographie d\u2019un peu plus d\u2019un m\u00e8tre de hauteur se pr\u00e9sente en n\u00e9gatif, avec de forts contrastes : les corps noirs deviennent blancs et les blancs sur la composition deviennent noirs. Les feuilles de l\u2019arbre, au sommet de l\u2019image, semblent vouloir se d\u00e9verser comme une pluie d\u2019insectes au moindre bruit, \u00e0 la moindre respiration : entre ciel et terre, paradis et enfer, ce lieu est fantasmatique et irr\u00e9el.<\/p>\n<h3 dir=\"auto\"><span style=\"font-weight: normal;\">La m\u00e9moire aux corps<\/span><\/h3>\n<p dir=\"auto\">\u00c0 son arriv\u00e9e en Ha\u00efti en 2004, Myriam Mihindou n\u2019avait certes pas v\u00e9cu les exactions endur\u00e9es par les Ha\u00eftiens, mais le d\u00e9c\u00e8s de sa s\u0153ur un mois auparavant a fait na\u00eetre un terrain de souffrances communes sur lequel l\u2019artiste a pu tisser des liens avec les populations locales. Par ailleurs, cette souffrance a trouv\u00e9 un langage commun au travers de gestes c\u00e9r\u00e9moniaux. Quelques semaines avant d\u2019arriver en Ha\u00efti, Myriam Mihindou a r\u00e9alis\u00e9 une vid\u00e9o en hommage \u00e0 sa s\u0153ur, La Colonne vide (2004), dans laquelle elle se performe sur un socle, effectuant des gestes \u00ab\u2009kongo\u2009\u00bb. Ce rituel d\u2019accompagnement et de protection des morts lui a \u00e9t\u00e9 transmis dans l\u2019enfance, au Gabon. Cette vid\u00e9o a \u00e9t\u00e9 le point de relation pour communiquer avec les Ha\u00eftiens, qui ont des rites similaires. En effet, au Gabon, les morts sont plus importants que les vivants et l\u2019ensemble de la vie est r\u00e9gie autour de cette conception, selon Myriam Mihindou6 . De fa\u00e7on analogue, dans la culture ha\u00eftienne, les morts et les vivants continuent \u00e0 vivre ensemble sur un plan fantasmatique et imaginaire. Ainsi, le travail de la photographe sur la m\u00e9moire du corps a trouv\u00e9 un point d\u2019ancrage important autour des c\u00e9r\u00e9monies rituelles : dans l\u2019optique de l\u2019aider \u00e0 faire son deuil et d\u2019\u00eatre en capacit\u00e9 de travailler avec la troupe de th\u00e9\u00e2tre Nous, l\u2019artiste a \u00e9t\u00e9 initi\u00e9e au v\u00e9v\u00e9 (pratique de rituel vodou).<\/p>\n<p dir=\"auto\">Ainsi, lorsque les acteur\u00b7rices de la troupe de th\u00e9\u00e2tre Nous et Myriam Mihindou tombent en transe, c\u2019est tout un h\u00e9ritage d\u2019asservissement et de souffrance que les artistes expurgent. De la menace suscit\u00e9e par les miliciens, au contexte de violence g\u00e9n\u00e9ralis\u00e9e \u00e0 la suite de la chute du pr\u00e9sident Aristide, en passant par les conditions de domination pass\u00e9es et pr\u00e9sentes, ce sont tous les fl\u00e9aux de l\u2019histoire ha\u00eftienne qui transitent par le corps des poss\u00e9d\u00e9s. Dans une allure d\u00e9sordonn\u00e9e, les acteur\u00b7rice\u00b7s inclinent leur t\u00eate, cambrent la colonne, rejettent tout leur corps en arri\u00e8re\u2026 Ces postures douloureuses \u00e0 voir sont en r\u00e9alit\u00e9 curatives pour les artistes. Ce rituel de possession les d\u00e9poss\u00e8de de leurs peurs, de leurs angoisses, de leurs traumatismes\u2009; ils se d\u00e9chargent \u00e9motionnellement de toutes les violences endur\u00e9es. Les rituels de transe ont une valeur th\u00e9rapeutique ind\u00e9niable, que les Ha\u00eftiens transforment en une arme contre l\u2019humiliation et le d\u00e9sespoir. Cette m\u00e9moire commune, qui a \u00e9t\u00e9 partag\u00e9e avec Myriam Mihindou par son initiation au <em>v\u00e9v\u00e9<\/em>, se r\u00e9active au sein d\u2019une transe collective adapt\u00e9e aux circonstances du pr\u00e9sent (la peur provoqu\u00e9e par les miliciens arm\u00e9s). Cette m\u00e9moire collective provient d\u2019un ensemble de liaisons entre m\u00e9moires individuelles. Le corps appara\u00eet comme l\u2019interface entre les individus : le v\u00e9cu de chacun trouve le moyen de se prolonger dans le corps de l\u2019autre. Dans la s\u00e9rie D\u00e9choucaj\u2019, la transe rev\u00eat une dimension th\u00e9rapeutique gr\u00e2ce \u00e0 l\u2019int\u00e9gration du corps individuel dans le corps collectif.<\/p>\n<h2 dir=\"auto\">De nouvelles relations au monde<\/h2>\n<h3><span style=\"font-weight: normal;\">Le \u00ab\u2009corps cosmique\u2009\u00bb<\/span><\/h3>\n<p dir=\"auto\">Cette interrelation entre son corps propre et le corps de l\u2019autre est au c\u0153ur de la pratique artistique de Myriam Mihindou. Loin de s\u2019arr\u00eater aux portes de l\u2019humanit\u00e9, l\u2019artiste tisse \u00e9galement des liens avec ce qu\u2019elle nomme le \u00ab\u2009corps cosmique\u2009\u00bb, qui comprend la nature, les plantes, l\u2019eau, l\u2019air7 . Dans La Robe envol\u00e9e, la performeuse explique qu\u2019elle a d\u00fb apprendre \u00e0 se d\u00e9voiler face aux autres, mais \u00e9galement face \u00e0 elle-m\u00eame. Les gestes qu\u2019elle entreprend en m\u00eame temps qu\u2019elle s\u2019exprime semblent essentiels \u00e0 la compr\u00e9hension de sa propre personne. Ses mains arrachent le collant, le d\u00e9chirent et l\u2019emm\u00ealent. Les caresses sur ses jambes raides sont tant\u00f4t douces et d\u00e9licates, tant\u00f4t agressives et rudes. L\u2019artiste tombe dans une sorte de transe, qu\u2019elle qualifie de \u00ab\u2009transperformance\u2009\u00bb : \u00e0 d\u00e9faut de sortir de son corps, elle l\u2019incarne pleinement. L\u2019environnement ext\u00e9rieur semble essentiel \u00e0 cette pratique de connaissance de soi : \u00ab\u2009J\u2019ai pass\u00e9 beaucoup de temps lorsque j\u2019\u00e9tais enfant \u00e0 laisser cette peau nue\u2026 C\u2019est comme \u00e7a que j\u2019ai appris de mes exp\u00e9riences de la nature \u00bb (1 min 17 s). Les sensations que la peau ressent au contact du milieu contribuent \u00e0 porter l\u2019attention aussi bien sur les mouvements de sa nature interne que de la nature externe, tout en faisant le lien entre les deux. Cet ancrage sensoriel a pour m\u00e9rite d\u2019agir sur soi et le monde, d\u2019agir sur soi dans le monde. Tout comme dans la s\u00e9rie <em>D\u00e9choucaj\u2019<\/em>, il s\u2019agit de se r\u00e9approprier son corps \u00e0 travers la transe, de se r\u00e9approprier son histoire. Le rel\u00e2chement \u00e9motionnel qui s\u2019exprime par l\u2019\u00e9tat de possession s\u2019av\u00e8re cathartique et lib\u00e9rateur.<\/p>\n<p dir=\"auto\">Selon l&rsquo;artiste, tous ces corps constituent une seule et m\u00eame entit\u00e9 dans laquelle dissociation et hi\u00e9rarchie sont toutes deux abolies. Le \u00ab\u2009grand corps\u2009\u00bb, comme elle le nomme, agit sur son \u0153uvre et l&rsquo;influence. Dans cette perspective animiste, l&rsquo;artiste entend \u00ab\u2009produire des \u0153uvres qui m\u00e8nent \u00e0 des perspectives int\u00e9rieures pour entrer en connexion avec les espaces des vivants et des morts \u00bb[8]. Tour \u00e0 tour artiste, puis chamane, Myriam Mihindou se fait l&rsquo;intercesseur entre une r\u00e9alit\u00e9 rationnelle et une autre spirituelle. Dans les soci\u00e9t\u00e9s traditionnelles, le\u00b7la chaman\u00b7e assume un r\u00f4le social essentiel : il\u00b7elle fait le lien entre une conception \u00e9prouv\u00e9e et conceptualis\u00e9e du monde et une r\u00e9alit\u00e9 cosmique, capable de discerner toutes les formes d&rsquo;\u00e9nergies. \u00c0 l&rsquo;instar des chaman\u00b7e\u00b7s des soci\u00e9t\u00e9s traditionnelles, les transperformances de Myriam Mihindou, susceptibles d&rsquo;ouvrir \u00e0 l&rsquo;\u00e9coute de soi-m\u00eame et du monde qui nous entoure, rel\u00e8vent d&rsquo;une pratique du care[9]. Selon la politologue am\u00e9ricaine Joan Tronto ([1993] 2009: 103) :&nbsp;<\/p><blockquote>\u00ab\u2009le care est une activit\u00e9 caract\u00e9ristique de l&rsquo;esp\u00e8ce humaine qui inclut tout ce que nous faisons en vue de maintenir, de continuer ou de r\u00e9parer notre \u201cmonde\u201d de telle sorte que nous puissions y vivre aussi bien que possible \u00bb.&nbsp;<\/blockquote><p dir=\"auto\">La performance et l&rsquo;\u00e9tat de transe dans laquelle se plonge Myriam Mihindou constituent aussi bien des espaces dans lesquels l&rsquo;artiste prend soin d&rsquo;elle-m\u00eame que des autres et de ce qui l&rsquo;entoure. La transperformance lui permet de se lib\u00e9rer des oppressions \u00e0 l&rsquo;\u00e9gard de son corps post-colonial de femme, comme elle permet aux acteurs et actrices de la troupe de th\u00e9\u00e2tre ha\u00eftienne de se d\u00e9charger des carcans sociaux et de la violence historique. Les th\u00e9ories du care, telles qu&rsquo;elles ont pu se constituer au sein des \u00e9tudes f\u00e9ministes et \u00e9cologistes, s&rsquo;enrichissent au contact des croyances traditionnelles africaines. Chaque individu prend part au corps cosmique, s&rsquo;int\u00e8gre et se r\u00e9g\u00e9n\u00e8re \u00e0 son contact. Cette \u00e9thique de la relation endosse \u00e9galement une dimension politique : d&rsquo;une part, elle s&rsquo;oppose au mod\u00e8le d&rsquo;individualisme et d&rsquo;autonomie pr\u00f4n\u00e9 par nos soci\u00e9t\u00e9s n\u00e9olib\u00e9rales\u2009; de l&rsquo;autre, elle fait advenir d&rsquo;autres mani\u00e8res d&rsquo;\u00eatre au monde gr\u00e2ce, entre autres, \u00e0 une d\u00e9colonisation des imaginaires.<\/p>\n<h2 dir=\"auto\">La transperformance :<br>une esth\u00e9tique du care d\u00e9coloniale<\/h2>\n<p dir=\"auto\">Les pens\u00e9es d\u00e9coloniales[10] affirment l&rsquo;existence d&rsquo;un \u00ab\u2009continuum colonial\u2009\u00bb dont il faudrait se d\u00e9livrer en \u00e9laborant des pratiques th\u00e9oriques, critiques, politiques, militantes et artistiques en dehors des \u00e9pist\u00e9mologies occidentalocentr\u00e9es. Selon le s\u00e9miologue argentin Walter Mignolo et l&rsquo;historien de l&rsquo;art mexicain Pedro Pablo Gomez (2012), la culture artistique, et plus particuli\u00e8rement l&rsquo;esth\u00e9tique, font partie de la matrice coloniale du pouvoir dans ses processus d&rsquo;utilisation et de manipulation des subjectivit\u00e9s : dans <span style=\"background-color: var(--nv-site-bg); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-Serif; font-size: var(--bodyfontsize); font-weight: var( --e-global-typography-text-font-weight ); letter-spacing: var(--bodyletterspacing); text-transform: var(--bodytexttransform);\">l\u2019esth\u00e9tique occidentalo-coloniale s\u2019imbrique une colonialit\u00e9 du sentir, \u00e9troitement li\u00e9e \u00e0 une colonialit\u00e9 de l\u2019\u00eatre. Ainsi, les chercheurs proposent le concept d\u2019\u00ab\u2009esth\u00e9tique d\u00e9coloniale\u2009\u00bb, qui consisterait \u00e0 proposer des imaginaires autres que ceux d\u00e9velopp\u00e9s par la norme h\u00e9g\u00e9monique occidentale. Pedro Pablo G\u00f3mez ajoute que :<\/span><\/p><p dir=\"auto\"><span style=\"background-color: var(--nv-site-bg); color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-Serif; font-size: var(--bodyfontsize); font-weight: var( --e-global-typography-text-font-weight ); letter-spacing: var(--bodyletterspacing); text-transform: var(--bodytexttransform);\">\u00ab\u2009tout ceci poss\u00e8de un composant critique et une praxis o\u00f9 divers modes de faire, d\u00e9sob\u00e9issant \u00e0 la hi\u00e9rarchie esth\u00e9tique globale occidentale, commencent \u00e0 appara\u00eetre, \u00e0 se faire visibles, non comme des pratiques esth\u00e9tiques alternatives, mais comme alternatives \u00e0 l\u2019art et \u00e0 l\u2019esth\u00e9tique \u2013 d\u2019autres voix pour une conversation diff\u00e9rente et horizontale entre arts et esth\u00e9tiques\u2009\u00bb (G\u00f3mez, et al., 2016). Les pratiques de soin ancestrales venues de cultures traditionnelles animistes qui s\u2019expriment dans La Robe envol\u00e9e et la s\u00e9rie D\u00e9choucaj\u2019 participent sans aucun doute de cette esth\u00e9tique d\u00e9coloniale. Les mod\u00e8les discursifs dominants sont d\u00e9stabilis\u00e9s par les r\u00e9cits v\u00e9hicul\u00e9s dans ces \u0153uvres, qui agissent comme des outils th\u00e9rapeutiques et \u00e9mancipateurs. Ainsi, cette esth\u00e9tique d\u00e9coloniale est-elle per\u00e7ue comme une forme de r\u00e9paration des blessures coloniales. \u00c0 une esth\u00e9tique d\u00e9coloniale r\u00e9paratrice, les \u0153uvres de l\u2019artiste chamane conjuguent une pratique d\u00e9coloniale du care : si ses transperformances soignent la m\u00e9moire des corps bless\u00e9s, elles r\u00e9parent \u00e9galement un r\u00e9gime visuel dans lequel les subjectivit\u00e9s et les sensibilit\u00e9s autochtones ont longtemps \u00e9t\u00e9 exclues. Myriam Mihindou cr\u00e9e ainsi ce que l\u2019on pourrait qualifier d\u2019\u00ab\u2009esth\u00e9tique du care d\u00e9coloniale\u2009\u00bb : ses \u0153uvres renvoient \u00e0 des formes de relations \u00e9thiques dans lesquelles les cosmologies et les \u00e9pist\u00e9mologies autochtones sont mises en lumi\u00e8re comme autant de savoirs curatifs. <\/span><\/p>\n<h2>Conclusion : des graines \u00e0 semer<\/h2>\n<p dir=\"auto\">La pratique artistique de Myriam Mihindou cherche \u00e0 redonner corps aux personnes opprim\u00e9es par une approche \u00e0 la fois curative et d\u00e9coloniale. Dans La Robe envol\u00e9e, l\u2019artiste d\u00e9livre son intimit\u00e9 en parlant de l\u2019exp\u00e9rience conflictuelle qu\u2019elle entretient avec son corps. Par une transe \u00e9mancipatrice qu\u2019elle qualifie de \u00ab\u2009transperformance\u2009\u00bb, la performeuse tend \u00e0 se lib\u00e9rer des injonctions que les nombreux pays dans lesquels elle a v\u00e9cu lui ont impos\u00e9es. Les paroles qu\u2019elle d\u00e9charge et les gestes qu\u2019elle effectue apparaissent comme des actes de soin \u00e0 destination de sa m\u00e9moire corporelle bless\u00e9e, autant qu\u2019\u00e0 celle de toutes les femmes qui peuvent se reconna\u00eetre dans son r\u00e9cit. Dans la s\u00e9rie photographique D\u00e9choucaj\u2019, des acteur\u00b7rice\u00b7s ha\u00eftien\u00b7ne\u00b7s exorcisent leur peur au travers d\u2019une transe collective. Du traumatisme politique \u00e0 la blessure individuelle, les corps gardent en eux les traces des violences pass\u00e9es. Leur performance renvoie au caract\u00e8re corporel du politique autant qu\u2019\u00e0 la nature politique du corps, qui s\u2019inscrit perp\u00e9tuellement dans des relations de pouvoir. En repr\u00e9sentant des subjectivit\u00e9s longtemps minor\u00e9es par l\u2019esth\u00e9tique occidentale, Myriam Mihindou cr\u00e9e ce que l\u2019on nomme une \u00ab\u2009esth\u00e9tique du <i>care<\/i> d\u00e9coloniale\u2009\u00bb.<\/p><p dir=\"auto\">La d\u00e9marche th\u00e9rapeutique de l\u2019artiste chamane se refl\u00e8te po\u00e9tiquement \u00e0 travers la m\u00e9taphore du \u00ab\u2009silo\u2009\u00bb. Cette cavit\u00e9 creus\u00e9e dans la terre permet de pr\u00e9server les r\u00e9coltes au fil des saisons. Comme un synonyme du \u00ab\u2009grand corps\u2009\u00bb, le silo relie les humains \u00e0 la terre, la vie \u00e0 la mort. L\u2019exposition Silo, r\u00e9alis\u00e9e par la curatrice Julie Crenn au Transpalette de Bourges, exploite l\u2019image de cette fosse emplie de vie pour pr\u00e9senter un ensemble d\u2019\u0153uvres de Myriam Mihindou[11]. Vingt ann\u00e9es de cr\u00e9ation y sont expos\u00e9es afin de rendre compte de l\u2019\u00e9tendue de sa pratique curative. Du Gabon, \u00e0 la France, en passant par l\u2019\u00c9gypte ou le Maroc, l\u2019artiste y d\u00e9ploie sa pens\u00e9e engag\u00e9e comme autant de graines \u00e0 semer.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-2d9184d e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-child\" data-id=\"2d9184d\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a7fd8c3 ignoretoc elementor-hidden-mobile elementor-widget elementor-widget-heading\" data-id=\"a7fd8c3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">L'auteur<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-38b0172 ignoretoc elementor-hidden-mobile elementor-widget elementor-widget-link-in-bio\" data-id=\"38b0172\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"link-in-bio.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio e-link-in-bio\">\n\t\t\t<div class=\"e-link-in-bio__content\">\n\n\t\t\t\t\t\t<div class=\"e-link-in-bio__identity\">\n\t\t\t\t\t\t\t\t\t<div class=\"e-link-in-bio__identity-image e-link-in-bio__identity-image-profile has-style-circle\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"217\" height=\"289\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/12\/Yasmine-Belhadi-.webp\" class=\"e-link-in-bio__identity-image-element\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__bio\">\n\t\t\t\t<h2 class=\"e-link-in-bio__heading\">Yasmine Belhadi<\/h2>\t\t\t\t<h3 class=\"e-link-in-bio__title\">Critique d\u2019art et curatrice, France\n\n\n<\/h3>\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"e-link-in-bio__icons has-size-small\">\n\t\t\t\t\t\t\t<div class=\"e-link-in-bio__icon is-size-small\">\n\t\t\t\t\t<a aria-label=\"Email\" class=\"e-link-in-bio__icon-link\" href=\"mailto:yasminebelhadi@gmail.com?subject=Contact%20from%20GA%20Bio\">\n\t\t\t\t\t\t<span class=\"e-link-in-bio__icon-svg\">\n\t\t\t\t\t\t\t<i aria-hidden=\"true\" class=\"fas fa-envelope\"><\/i>\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t<div class=\"e-link-in-bio__ctas has-type-button\">\n\t\t\t\t\t\t\t<a href=\"http:\/\/authors\/yasmine-belhadi\" target=\"_blank\" rel=\"noopener \" class=\"e-link-in-bio__cta is-type-button has-corners-rounded\">\n\t\t\t\t\t\t\t\t\t\t<span class=\"e-link-in-bio__cta-text\">\n\t\t\t\t\t\tVoir le profil complet\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\t<div class=\"e-link-in-bio__bg\">\n\t\t\t\t<div class=\"e-link-in-bio__bg-overlay\"><\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ca44f9b ignoretoc elementor-widget elementor-widget-heading\" data-id=\"ca44f9b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\u00c9galement dans ce num\u00e9ro<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-08ab0bf elementor-grid-1 elementor-grid-tablet-1 elementor-grid-mobile-1 elementor-posts--thumbnail-top elementor-posts--show-avatar elementor-card-shadow-yes elementor-posts__hover-gradient elementor-widget elementor-widget-posts\" data-id=\"08ab0bf\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;posts_cards_pp_authors_columns&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:27,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_columns_tablet&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_columns_mobile&quot;:&quot;1&quot;,&quot;posts_cards_pp_authors_row_gap_laptop&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_tablet_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;posts_cards_pp_authors_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"posts.posts_cards_pp_authors\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-posts-container elementor-posts elementor-posts--skin-posts_cards_pp_authors elementor-grid\" role=\"list\">\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15271 post type-post status-publish format-standard has-post-thumbnail hentry category-revue author-global-africa\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1200\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Issue-10-\u2013-Global-AfricaProtective-Knowledges-The-Wisdom-to-Protect-.webp\" class=\"attachment-full size-full wp-image-15268\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" target=&quot;_blank&quot;>\n\t\t\t\tNum\u00e9ro 10 \u2013 Global Africa\u00ab Savoirs protecteurs, savoir prot\u00e9ger \u00bb\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/numero-10-global-africa-savoirs-protecteurs-savoir-proteger\/\" aria-label=\"En savoir plus sur Num\u00e9ro 10 \u2013 Global Africa\u00ab Savoirs protecteurs, savoir prot\u00e9ger \u00bb\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tGlobal Africa\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15509 post type-post status-publish format-standard has-post-thumbnail hentry category-analyses-critiques author-karine-collette-fr author-ibrahima-ba-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41.png\" class=\"attachment-full size-full wp-image-14990\" alt=\"\" srcset=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41.png 527w, https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.19.41-210x300.png 210w\" sizes=\"(max-width: 527px) 100vw, 527px\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" target=&quot;_blank&quot;>\n\t\t\t\tTerre-M\u00e8re : trace discursive d\u2019une \u00e9mancipation \u00e9cologique au Nord et au Sud ?\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/terre-mere-trace-discursive-dune-emancipation-ecologique-au-nord-et-au-sud\/\" aria-label=\"En savoir plus sur Terre-M\u00e8re : trace discursive d\u2019une \u00e9mancipation \u00e9cologique au Nord et au Sud ?\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tKarine Collette, Ibrahima Ba\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15517 post type-post status-publish format-standard has-post-thumbnail hentry category-champ author-cheikh-sadibou-sakho-fr author-masengesho-kamuzinzi-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.18.04.webp\" class=\"attachment-full size-full wp-image-14982\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" target=&quot;_blank&quot;>\n\t\t\t\t\u00ab We Heal Together \u00bb, un savoir protecteur par excellence qui s\u2019inspire de l\u2019h\u00e9ritage africain, o\u00f9 les responsabilit\u00e9s envers soi et envers autrui sont indissociables\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/we-heal-together-un-savoir-protecteur-par-excellence-qui-sinspire-de-lheritage-africain-ou-les-responsabilites-envers-soi-et-envers-autrui-sont-indissociables\/\" aria-label=\"En savoir plus sur \u00ab We Heal Together \u00bb, un savoir protecteur par excellence qui s\u2019inspire de l\u2019h\u00e9ritage africain, o\u00f9 les responsabilit\u00e9s envers soi et envers autrui sont indissociables\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tCheikh Sadibou Sakho, Masengesho Kamuzinzi\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-15523 post type-post status-publish format-standard has-post-thumbnail hentry category-analyses-critiques author-cheikh-sadibou-sakho-fr author-ndeye-laity-ndiaye-fr\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" tabindex=\"-1\" target=\"_blank\"><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"752\" src=\"https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/06\/Capture-decran-2025-06-27-a-19.17.22.webp\" class=\"attachment-full size-full wp-image-14992\" alt=\"\" \/><\/div><\/a>\n\t\t        <div class=\"elementor-post__avatar\">\n            <img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2025\/04\/Cheikh-Sadibou-Sakho-.webp' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/><img alt='' src='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' srcset='https:\/\/www.globalafricasciences.org\/wp-content\/uploads\/2024\/11\/Global-Africa.jpg' class='multiple_authors_guest_author_avatar avatar' height='128' width='128'\/>        <\/div>\n        \t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h4 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" target=&quot;_blank&quot;>\n\t\t\t\tIt Takes a Village! (R\u00e9)inventer la mise \u00e0 l\u2019abri des survivantes de violences sexuelles au S\u00e9n\u00e9gal<br>Pistes \u00e0 partir de l\u2019exp\u00e9rience du centre Kullimaaroo de Ziguinchor\t\t\t<\/a>\n\t\t<\/h4>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/www.globalafricasciences.org\/fr\/it-takes-a-village-reinventer-la-mise-a-labri-des-survivantes-de-violences-sexuelles-au-senegalpistes-a-partir-de-lexperience-du-centre-kullimaaroo-de-ziguinchor\/\" aria-label=\"En savoir plus sur It Takes a Village! (R\u00e9)inventer la mise \u00e0 l\u2019abri des survivantes de violences sexuelles au S\u00e9n\u00e9gal&lt;br&gt;Pistes \u00e0 partir de l\u2019exp\u00e9rience du centre Kullimaaroo de Ziguinchor\" tabindex=\"-1\" target=\"_blank\">\n\t\t\tRead More \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t        <span class=\"elementor-post-author\">\n\t\t\tCheikh Sadibou Sakho, Nd\u00e8ye La\u00efty Ndiaye\t\t<\/span>\n        \t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<\/div>\n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-e590199 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"e590199\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3dd1381 elementor-widget elementor-widget-eael-adv-tabs\" data-id=\"3dd1381\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"eael-adv-tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t        <div data-scroll-on-click=\"no\" data-scroll-speed=\"300\" id=\"eael-advance-tabs-3dd1381\" class=\"eael-advance-tabs eael-tabs-horizontal eael-tab-auto-active  responsive-vertical-layout\" data-tabid=\"3dd1381\">\n            <div class=\"eael-tabs-nav \">\n                <ul class=\"eael-tab-inline-icon\" role=\"tablist\">\n                                            <li id=\"pour-citer-larticle-\" class=\"active-default eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"pour-citer-larticle--tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-quote-left\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Pour citer l&rsquo;article :<\/span>                            \n                                                    <\/li>\n                                            <li id=\"notes\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"notes-tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-notes-medical\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Notes<\/span>                            \n                                                    <\/li>\n                                            <li id=\"bibliographie\" class=\"inactive eael-tab-item-trigger eael-tab-nav-item\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"bibliographie-tab\" aria-expanded=\"false\">\n                            \n                                                                <i class=\"fas fa-book\"><\/i>                                                            \n                                                            <span class=\"eael-tab-title title-after-icon\" >Bibliographie<\/span>                            \n                                                    <\/li>\n                    \n                                  <\/ul>\n            <\/div>\n            \n            <div class=\"eael-tabs-content\">\n\t\t        \n                    <div id=\"pour-citer-larticle--tab\" class=\"clearfix eael-tab-content-item active-default\" data-title-link=\"pour-citer-larticle--tab\">\n\t\t\t\t        <h5>APA<\/h5>\n<p>Belhadi Y. (2022). Planter, soigner, \u00e9clore : Myriam Mihindou, chamane du vivant. Global Africa, 2, p.172-180.<br \/>https:\/\/doi.org\/10.57832\/rrpv-re98    <a href=\"https:\/\/doi.org\/10.57832\/syhq-vs53\">https:\/\/doi.org\/10.57832\/syhq-vs53<\/a><\/p>\n<h5>MLA<\/h5>\n<p>Belhadi Yasmine. \u00ab Planter, soigner, \u00e9clore : Myriam Mihindou, chamane du vivant \u00bb. Global Africa, no. 2, 2022, p. 172-180.<br \/>doi.org\/10.57832\/rrpv-re98   <\/p>\n<h5>DOI<\/h5>\n<p><a href=\"https:\/\/doi.org\/10.57832\/syhq-vs53\">https:\/\/doi.org\/10.57832\/syhq-vs53<\/a><\/p>\n<p>\u00a9 2022 by author(s). This work is openly licensed via CC BY-NC 4.0 <\/p>\n                    <\/div>\n\t\t        \n                    <div id=\"notes-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"notes-tab\">\n\t\t\t\t        <ol class=\"of8PI joYDm\">\n<li class=\"AY0Vp\">\n<p id=\"viewer-foo\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Cette recherche s\u2019inscrit dans une r\u00e9flexion plus large en histoire de l\u2019art sur les pratiques artistiques contemporaines de so- ins port\u00e9s aux blessures coloniales et esclavagistes. Ce texte s\u2019inspire grandement d\u2019une discussion publique que j\u2019ai men\u00e9e avec l\u2019artiste Myriam Mihindou lors de son exposition monographique \u00ab SILO \u00bb au Transpalette de Bourges (commissariat : Julie Crenne ; 2 juillet-19 septembre 2021)  <\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-17ndh26197\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Les Abattoirs, Conversation no 8 \/ Myriam Mihindou, conversation between the artist Myriam Mihindou, the art critic and curator Julie Crenn and Annabelle T\u00e9n\u00e8ze, the director of the art centre Les Abattoirs (Toulouse), 6 May 2021, link: <a class=\"_5VzWt lfO3I\" href=\"http:\/\/www.youtube.com\/watch?v=CqiN4OXr5RY\" target=\"_top\" rel=\"noopener\">https:\/\/ <\/a><a class=\"_5VzWt lfO3I\" href=\"http:\/\/www.youtube.com\/watch?v=CqiN4OXr5RY\" target=\"_self\" rel=\"noopener\">www.youtube.com\/watch?v=CqiN4OXr5RY<\/a> [accessed on 01\/08\/2021].<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-zzefy26205\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Ce titre correspond au nom donn\u00e9 \u00e0 une autre s\u00e9rie d\u2019\u0153uvres de Myriam Mihindou, t\u00e9moignant ainsi de l\u2019int\u00e9r\u00eat de l\u2019artiste pour la peau.<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-cr1d826216\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Les Abattoirs, Conversation no 8 \/ Myriam Mihindou, op. cit.<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-v4ecc26338\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">L\u2019\u00e9criture du terme \u00ab vodou \u00bb renvoie \u00e0 un consensus de plus en plus r\u00e9pandu, qui consiste \u00e0 \u00e9crire ce mot de la m\u00eame fa\u00e7on qu\u2019il est prononc\u00e9 en cr\u00e9ole.<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-wyc8426353\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Interview between Philippe Piguet and Myriam Minhidou, \u00abMyriam Mihindou, l\u2019\u00eatre et l\u2019image,\u00bb Art Absolument, no. 53, May\u2013June 2013, <a class=\"_5VzWt lfO3I\" href=\"https:\/\/media.artabsolument.com\/pdf\/article\/53813.pdf\" target=\"_self\" rel=\"noopener\">https:\/\/media.artabsolument.com\/pdf\/article\/53813.pdf<\/a> [accessed on 14\/06\/2020].<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-1y00c26485\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Les Abattoirs, Conversation no 8 \/ Myriam Mihindou&#8230;, op. cit.<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-3ig2e26500\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Myriam Minhidou, interview by Sylvie Arnaud, Mouvements, 3 April 2018, online: <a class=\"_5VzWt lfO3I\" href=\"http:\/\/www.mouvement.net\/teteatete\/entretiens\/myriam-mihindou\" target=\"_self\" rel=\"noopener\">http:\/\/www.mouvement.net\/teteatete\/entretiens\/myriam-mihindou<\/a> [accessed 01\/08\/2021].<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-3sw6t26518\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Le terme anglais \u00abcare\u00bb n\u2019est d\u00e9lib\u00e9r\u00e9ment pas traduit dans les textes francophones, car il ne trouve pas d\u2019\u00e9quivalents\u00e9mantique : il signifie tout \u00e0 la fois \u00ab prendre soin \u00bb, \u00ab donner de l\u2019attention \u00bb, \u00ab t\u00e9moigner de la sollicitude \u00bb.<\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-cln0z26549\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Les \u00e9tudes d\u00e9coloniales sont n\u00e9es en 1998 d\u2019un groupe interdisciplinaire de th\u00e9orie critique en Am\u00e9rique Latine, \u00ab Modernit\u00e9\/ colonialit\u00e9\/d\u00e9colonialit\u00e9\u00bb. Aujourd\u2019hui, les \u00e9tudes d\u00e9coloniales s\u2019ancrent dans diff\u00e9rentes traditions philosophiques, dont l\u2019espace de cet article ne nous permet pas d\u2019\u00e9tablir des cartographies intellectuelles et historiques pr\u00e9cises. <\/span><\/p>\n<\/li>\n<li class=\"AY0Vp\">\n<p id=\"viewer-6rxa226567\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Centre d\u2019art Antre-Peaux: Transpalette, \u201cSilo\u201d, monographic exhibition by Myriam Mihindou, curated by Julie Crenn, 2 July \u2013 19 September 2021, link: <a class=\"_5VzWt lfO3I\" href=\"https:\/\/antrepeaux.net\/silo\/\" target=\"_self\" rel=\"noopener\">https:\/\/antrepeaux.net\/silo\/<\/a> [accessed on 02\/08\/2021].<\/span><\/p>\n<\/li>\n<\/ol>\n                    <\/div>\n\t\t        \n                    <div id=\"bibliographie-tab\" class=\"clearfix eael-tab-content-item inactive\" data-title-link=\"bibliographie-tab\">\n\t\t\t\t        <p id=\"viewer-foo\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Anzieu, D. (1974). Le Moi-peau. <em>Nouvelle Revue de psychanalyse,<\/em>(9) pp. 195-208. <\/span><\/p>\n<p id=\"viewer-dpikh8409\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Anzieu, D. (1995). <em>Le Moi-Peau<\/em>. Dunod. <\/span><\/p>\n<p id=\"viewer-b8bid8413\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Mignolo, W., &amp; Go\u0301mez, P. P. (2015). <em>Este\u0301ticas decoloniales: sentir, pensar, hacer en Abya Yala y la Gran Comarca<\/em>. Universidad Distrital Francisco Jose\u0301 de Caldas. <\/span><\/p>\n<p id=\"viewer-6579d8417\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Go\u0301mez, P. P., Va\u0301squez, A. G., &amp; Zacarias, G. F. (2016). \u201cEsthe\u0301tique de\u0301coloniale\u201d Entretien avec Pedro Pablo Go\u0301mez. <em>Marges<\/em>, pp. 102-110.  <\/span><\/p>\n<p id=\"viewer-lntvq8421\" class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Jamart, C. (2016). Vulvodynie et fe\u0301minite\u0301. <em>Cahiers critiques de the\u0301rapie familiale et de pratiques de re\u0301seaux<\/em>, p. 5967.  <\/span><\/p>\n<p class=\"o0STb GF80u joYDm HjRUP\"><span class=\"B-fpk\">Nietzsche, F. [1882] (1982). <em>Le gai savoir<\/em>. [pre\u0301face a\u0300 la deuxie\u0300me e\u0301d. 1887]. Gallimard.Tronto, J.   <em>Un monde vulne\u0301rable. Pour une politique du care <\/em>. La De\u0301couverte.<\/span><\/p>\n                    <\/div>\n\t\t                    <\/div>\n        <\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div data-particle_enable=\"false\" data-particle-mobile-disabled=\"false\" class=\"elementor-element elementor-element-5aff930 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"5aff930\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fc34b86 elementor-widget elementor-widget-off-canvas\" data-id=\"fc34b86\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"off-canvas.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div id=\"off-canvas-fc34b86\" class=\"e-off-canvas\" role=\"dialog\" aria-hidden=\"true\" aria-label=\"Off-Canvas\" aria-modal=\"true\" inert=\"\" 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NUM\u00c9RO PDF Abstract R\u00e9sum\u00e9 Muhtasari \u0645\u0644\u062e\u0635 How can the visual and performance practices of the Franco-Gabonese artist Myriam Mihindou be at the origin of a reflection on care? This article answers this question by analysing the video La Robe envol\u00e9e [The Flying Dress] (2008) and the photographic series D\u00e9choucaj&#8217; (2004-2006). The \u2018transperformances&#8217; represented in these works are a means of healing individual and collective wounds through ancestral remedies from traditional religious cultures. African belief systems comprise conceptions of care, solidarity, and nature that constitute a healing horizon from which Myriam Mihindou draws to perceive alternatives to contemporary wounds.. The works studied thus constitute emancipatory spaces in which bodies free themselves from political and social injunctions. By developing new imaginaries in which hierarchies are abolished, the artist produces what has been called a \u00abdecolonial aesthetic of care.\u00bb In a context where colonial legacies and legacies of slavery are constantly being revived, this implementation of care becomes a political act with critical and therapeutic potential. Keywords Care, esth\u00e9tique, d\u00e9coloniale, genre, environnement, performance Comment la pratique plastique et performative de l\u2019artiste francogabonaise Myriam Mihindou peut-elle \u00eatre \u00e0 l\u2019origine d\u2019une r\u00e9flexion sur le care\u2009? Cet article r\u00e9pond \u00e0 cette question par l\u2019analyse de la vid\u00e9o La Robe envol\u00e9e (2008), ainsi que de la s\u00e9rie photographique D\u00e9choucaj\u2019 (2004-2006). Les \u00ab\u2009transperformances\u2009\u00bb repr\u00e9sent\u00e9es dans ces \u0153uvres sont le moyen de gu\u00e9rir de blessures individuelles et collectives par des rem\u00e8des ancestraux venus de cultures traditionnelles animistes. Les conceptions du soin, des solidarit\u00e9s et de la nature que ces croyances venues d\u2019Afrique composent, constituent un horizon r\u00e9parateur dans lequel Myriam Mihindou puise pour percevoir des alternatives aux blessures contemporaines. Les \u0153uvres \u00e9tudi\u00e9es constituent ainsi des espaces \u00e9mancipateurs dans lesquels les corps s\u2019affranchissent des injonctions politiques et sociales. En d\u00e9veloppant de nouveaux imaginaires dans lesquels les hi\u00e9rarchies sont abolies, l\u2019artiste produit ce que l\u2019on qualifie d\u2019\u00ab\u2009esth\u00e9tique du care d\u00e9coloniale\u2009\u00bb. Dans un contexte o\u00f9 les s\u00e9quelles coloniales et esclavagistes sont constamment raviv\u00e9es, cette mise en \u0153uvre du care devient un acte politique au potentiel critique et th\u00e9rapeutique. Mots-cl\u00e9s Care, d\u00e9colonialit\u00e9, esth\u00e9tique, environnement, performance \/\/\/ \/\/\/ Introduction[1] \u00ab\u2009Je suis un \u201cNous\u201d dans un \u201cJe\u201d. Dans mon corps s\u2019exprime le collectif et je suis le passeur de l\u2019exp\u00e9rience que j\u2019ai de ma propre existence, tout comme je suis le passeur de toutes ces voix et de tous ces corps\u20092 \u00bb. C\u2019est ainsi que l\u2019artiste franco-gabonaise Myriam Mihindou con\u00e7oit son \u0153uvre : si sa pratique artistique est pluridisciplinaire, le corps en est la mati\u00e8re centrale. De Port-au-Prince \u00e0 Las Palmas, la plasticienne autopsie les m\u00e9moires corporelles aussi bien collectives que personnelles pour en extraire les blessures et y apporter un soin tout particulier. Habit\u00e9es par le schisme que constitue son m\u00e9tissage, ses \u0153uvres sont tapiss\u00e9es de ruptures \u00e9l\u00e9mentaires dans lesquelles l\u2019artiste cherche sa place entre le colonisateur et le colonis\u00e9, le f\u00e9minin et le masculin, le pur et l\u2019impur. Ces tensions, auxquelles s\u2019ajoutent les traumatismes li\u00e9s \u00e0 son histoire personnelle et \u00e0 son exp\u00e9rience de femme racis\u00e9e, apparaissent dans son \u0153uvre comme une blessure n\u00e9vralgique qui r\u00e9clame r\u00e9paration. Sous des formes ritualis\u00e9es, le corps et l\u2019\u00e2me sont apais\u00e9s en un puissant langage plastique. La plasticienne affirme ainsi le r\u00f4le th\u00e9rapeutique de son art, dont le soin est la source. En quoi la pratique artistique et performative de Myriam Mihindou permet-elle d\u2019enrichir les d\u00e9bats sur le care\u2009? \u00c0 travers l\u2019analyse de l\u2019\u0153uvre vid\u00e9o La Robe envol\u00e9e (2008), ainsi que de la s\u00e9rie photographique D\u00e9choucaj\u2019 (2004-2006), nous verrons comment l\u2019\u0153uvre de la plasticienne nous invite \u00e0 consid\u00e9rer le care en tant que pratique th\u00e9rapeutique inspir\u00e9e des cosmogonies propres aux cultures traditionnelles animistes. Mettre des mots sur des maux Dans l\u2019\u0153uvre vid\u00e9o La Robe envol\u00e9e, l\u2019artiste r\u00e9alise une performance dans laquelle elle s\u2019affranchit des injonctions faites \u00e0 son corps de femme racis\u00e9e. Par une m\u00e9tamorphose tant physique qu\u2019affective et \u00e9motionnelle, elle se d\u00e9fait doucement des tabous li\u00e9s au corps f\u00e9minin, au corps m\u00e9tis domestiqu\u00e9 par l\u2019\u00e9ducation, les lois, la soci\u00e9t\u00e9 et l\u2019histoire. Sur une terrasse \u00e0 Las Palmas (Espagne), l\u2019artiste, assise sur une chaise, se filme en un plan fixe o\u00f9 seules ses jambes nous sont d\u00e9voil\u00e9es. La sobri\u00e9t\u00e9 de l\u2019image en noir et blanc accentue la transe \u00e9motionnelle et verbale de l\u2019artiste th\u00e9rapeute. Ses gestes blessent autant qu\u2019ils r\u00e9parent, douloureux et sensuels : ils cherchent \u00e0 trouver ce qui se cache sous la peau, sous le masque de la domestication. F\u00e9minit\u00e9 et nature La Robe envol\u00e9e : ce titre, \u00e0 la fois \u00e9vocateur d&rsquo;une f\u00e9minit\u00e9 abandonn\u00e9e et d&rsquo;une intimit\u00e9 d\u00e9voil\u00e9e, en appelle visuellement \u00e0 la statuette Baub\u00f4 et au mythe qui l&rsquo;accompagne. En 1898, dans les ruines d&rsquo;un temple de D\u00e9m\u00e9ter (datant du IVe si\u00e8cle avant notre \u00e8re) \u00e0 Pri\u00e8ne &#8211; une cit\u00e9 grecque d&rsquo;Asie Mineure aujourd&rsquo;hui situ\u00e9e en Turquie -, des arch\u00e9ologues d\u00e9couvrent un ensemble de statuettes en terre cuite. Sur les ventres ronds de ces figurines se dessinent de larges visages : les yeux s&rsquo;apparentent aux seins et le menton \u00e0 la vulve. D&rsquo;\u00e9paisses cuisses soutiennent leur t\u00eate qu&rsquo;une \u00ab\u2009robe envol\u00e9e\u2009\u00bb d\u00e9voile \u00e0 la vue de tous. Dans la mythologie grecque, D\u00e9m\u00e9ter (d\u00e9esse de l&rsquo;agriculture et des moissons) erre sur Terre depuis que Had\u00e8s (dieu des enfers) a enlev\u00e9 sa fille Pers\u00e9phone. Dans sa douleur et son d\u00e9sespoir, la m\u00e8re arrive \u00e0 \u00c9leusis, dans la maison de Baub\u00f4 la nourrice. En un geste qui a le m\u00e9rite de faire sourire D\u00e9m\u00e9ter, Baub\u00f4 soul\u00e8ve sa robe et lui laisse d\u00e9couvrir ses parties. Ce personnage excentrique \u00ab\u2009sera tout \u00e0 la fois repr\u00e9sent\u00e9 comme la nourrice, mais aussi comme la sorci\u00e8re, la vieille femme salace, la prostitu\u00e9e\u2026 toutes figures d&rsquo;inqui\u00e9tante \u00e9tranget\u00e9, d&rsquo;effroi et de terreur, figures de l&rsquo;innommable du sexe de la femme quand le r\u00e9el du corps n&rsquo;est pas voil\u00e9\u2009\u00bb (Jamart, 2006).\u00a0 \u00a0 Le mythe de Baub\u00f4 cristallise l&rsquo;id\u00e9e d&rsquo;une intimit\u00e9 physique d\u00e9concertante et obsc\u00e8ne, aussi bien attirante que repoussante. Nietzsche reprend cette<\/p>\n","protected":false},"author":108,"featured_media":6450,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[201],"tags":[],"issues3":[],"post_folder":[],"ppma_author":[513],"class_list":["post-9929","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-regarts-fr","author-yasmine-belhadi-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Planter, soigner, \u00e9clore Myriam Mihindou, chamane du vivant | Global Africa<\/title>\n<meta name=\"description\" content=\"Planter, soigner, \u00e9clore Myriam Mihindou, chamane du vivant. 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