This essay discusses the smartphone with its advanced applications as a ‘pocketarchive’. Summary: Pocketarchive – Sharing is the new way of saving BOOM, Het “Broekzakarchied” – Delen is het nieuwe bewaren To the Circus Decree? (c) to which structure and culture of financing the sector has the Decree eventually led? We also critically reflect on the question whether or not the Circus Decree has achieved its mission to support the Flemish circus movement as an Our study is guided by the following questions: (a) what was the reason for regulating the Flemish circus movement? (b) what specific actions were undertaken in the runup We also selected three core stakeholders that were involved in creating the draft versions of the Decree for an interview, to fill in the knowledge gaps and increase our understanding of the process. Our historical analysis is based on an in-depth study of the iterature, supplemented by insights from policy documents.
In this article we will describe a number of trends that have affected the current content and form of the Circus Decree. It was preceded by intense discussions between policy makers andĪctors from the artistic-pedagogical angle of the Flemish circus movement, addressing the role and educational functions of circus in our contemporary society. In 2008, the then appointed Flemish Minister for culture launched the Circus decree that regulates and finances both the artistic and educational component of the Flemish circus movement. Summary: Circus as an artistic and pedagogical project – A historic perspective on the development of the Flemish Circus decree VERSTRAETE, Circus als een artistiek en pedagogisch project – Een historische kijk op de totstandkoming van het Vlaamse Circusdecreet It points to the problematicĮntanglement of the festivities (and of adoption) with narratives of philanthropy and rescue, which risks to reinforce a neocolonialist imagery of white people saving black people.It also interrogates the way in which the parents’ “culture work” connects the black children to an alleged “birth culture” of which they often have no memories, a practice that seems to be motivated by essentialist discourses of race, identity and culture, and fits within a discourse that lacks a critical awareness of power inequalities and white privilege. On the other hand, the article points to the risks of reifying and reproducing difference and inequality. Of adoptive families in society at large. It argues that the adoptive parents’ organizations and gatherings can be seen as “intimacy groups” developing their own visible and positive cultures that can leak into broader public spheres and have the capacity to enhance the public recognition and normalization On the one hand, it reads the festive gatherings as ways of celebrating the non-normativity of adoptive familiesĪnd ways of aiming to contribute to a more inclusive citizenship. DE GRAEVE, Adoptiefeesten, cultuur, liefdadigheid en gemeenschapsvorming bij Vlaams-Ethische adoptiegezinnenĬulture, Charity and Community Building in Flemish-Ethiopian Adoptive Familiesĭrawing on ethnographic fieldwork and interviews, this article analyses festive gatherings of Flemish parents with children adopted from Ethiopia as sites for community building, charity work and culture work. The Foundation intends to go to primary and secondary schools, to tell the children about the history and the significance of the Masquerade.K. Beforehand the tradition of the Masquerade was passed on from parents to children. As of 2013 music and singing have been reintroduced and Sinterklaas has been present. From this moment on the popularity has slowly gone up again. It was then announced that the Masquerade would not be held anymore if there would not be more participants in the following year. In that year the organisation was taken over from the tourist organisation by the Art and Culture Foundation Brielle. From that moment on the popularity dropped drastically, until there were only two participating groups left in 2012. No music or other sounds were to be heard. In the eighties of the last century the Masquerade became a silent tour. The big challenge was to appear in the most creative and spectacular possible way. From 7 PM all participants gathered at one point and moved through the inner town in a long procession. The peak of the Masquerade was reached in the fifties and sixties. In 1929 the tourist organisation started to organise the feast and awarded prizes for the most beautiful or original representations. The annual rhythm has only been interrupted by the two world wars. Ever since that time the custom has been that costumed and masked people went through the town on Sinterklaas evening. In 1870 Brielle had its first Sinterklaas parade, with a long procession of costumed and masked people playing the fool.
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