Papers by Jessica De Largy Healy
Ethnologie française, Jun 4, 2024
HAL (Le Centre pour la Communication Scientifique Directe), 2022
Entrée de dictionnaire, in: Dictionnaire Universel : Dieux, Déesses, Démons. Paris, Seui
HAL (Le Centre pour la Communication Scientifique Directe), Nov 30, 2015
International audienc
Journal de la Société des Océanistes, Jun 30, 2022
HAL (Le Centre pour la Communication Scientifique Directe), 2021
HAL (Le Centre pour la Communication Scientifique Directe), 2014
International audienc
HAL (Le Centre pour la Communication Scientifique Directe), 2014
What is the value of heritage? A source of explosive emotions which oppose the "value" of so-call... more What is the value of heritage? A source of explosive emotions which oppose the "value" of so-called Western expertisehistory of social and human sciences and constant reevaluation of the heritage marketversus the values in "becoming" of the people who recognise themselves in this heritage and who claim it as a foundation for an alternative and better life? In this paper, we examine some of the ways in which different groups in the Pacific reinterpret their heritage in order to redefine their singular values as cultural subjectivities: individual, collective and national, diasporic or transnational in the case of some Indigenous networks (Festival of the Pacific Arts, Declaration on the Rights of Indigenous Peoples, etc).
HAL (Le Centre pour la Communication Scientifique Directe), May 26, 2014
National audienc
HAL (Le Centre pour la Communication Scientifique Directe), 2021
HAL (Le Centre pour la Communication Scientifique Directe), Nov 13, 2014
International audienc
HAL (Le Centre pour la Communication Scientifique Directe), 2022
Civilisations, 2022
Since the late 1920s, Arnhem Land bark paintings have found their way into the most prestigious m... more Since the late 1920s, Arnhem Land bark paintings have found their way into the most prestigious museums in the world. Referred to as “the backbone of the land and sea” by Yolŋu scholar Joe Neparrŋa Gumbula (2010), these historical paintings materialise the religious knowledge, authority, and agency of the Old people. In the past two decades, contemporary communities have instigated new forms of collaborations to reconnect with their collections. Drawing on long-term research in the region, and a recent experience in co-curation with the Milingimbi Art and Culture Centre and the Musée du quai Branly, this paper questions our understanding of historical bark paintings as religious heritage. Far from being a one-way movement from the centres to the periphery, built solely upon sentiments of post-colonial redress, exhibitions can be seen as a Yolŋu-led two-way processes of sharing that aim for a deeper appreciation of the value of their collections. By enabling the collections to be re-embedded in meaningful relations, these processes invite us to reconsider the epistemological and ethical stakes of displaying sacred Aboriginal images in public places. They also invite us to think practically about the curatorial responsibilities entailed by such a posture of respect.
HAL (Le Centre pour la Communication Scientifique Directe), 2022
Le Centre pour la Communication Scientifique Directe - HAL - memSIC, Jul 1, 2017
Le Centre pour la Communication Scientifique Directe - HAL - Inria, 2021
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Papers by Jessica De Largy Healy
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The French academic journal of ethnology, social and cultural anthropology, TERRAIN, directed by Christine Jungen, makes a Call for Paper for the Spring 2020 issue (n°75) devoted to forbidden attachment to a non-human : "Objects of Desire: Lethal Attraction?". This issue is coordinated by Agnès Giard.