Building Peace and Deconstructing War is an essential component of Think Tank, the Handy Concept for Connecting People (HCCP).
This international non-profit association (AISBL) aims to become a key interface in the implementation of the EU-Africa partnership. Our intellectual, scientific, cultural and relational platform has multiple objectives which aim essentially at the strengthening and reinvention of the strategic and political relationship between Europe and Africa under an innovative angle in a competitive geopolitical context. In this regard, we organize the Thursday of Peace on 09 june 2022, in order to raise awareness among the international public opinion and European public opinion on the importance of privileging the ancient links that unite Europe and Africa with as nodal point: The Art of Peace.
The vernissage of about twenty paintings realized in the clash of bombs and the tumult of war in of war in various African countries under the title: “Ode to the African woman – The Nyangos d’Afrique”. These works are on their way to Brussels to the Schleiper House where they will be where they will undergo a work of sealing and jointing with the apposition of neoclassical frames.
Accidents of life, forks in the road and bends in the road are sources of drama and tragedy as much as they open the way to a multiplicity of possibilities, undesirable or desirable. These vacillations which weaken lives also shake the certainties and the representations but are the foundation of the foundation of new dialectics. Therefore, it seemed interesting to me to share with you some reflections of this project and a daring parallel a daring parallel between an ancestral Japanese technique, known since the 15th century in Japan, Kintsugi and the modes of devulnerability and prevention of vulnerability anchored in our African intangible heritage.
African intangible heritage. Kintsugi is thus this art which consists in repairing a broken object broken object by underlining the joints with gold powder at the end of a long process of assembly and sealing.
Beyond the artistic performance, this practice hides a real philosophy, that of resilience and the sublimation of stigmas. It is a question of assuming one’s experience, one’s “wounds of and to magnify them as the samurais used to wear their scar as a sign of braver of bravery.
In the name of a certain universalism, this Japanese metaphor actually allows us to summon resilience and to try to decipher its stakes in the overcoming of traumas and to investigate its and to investigate its mechanisms and its factors of outcome.
Based on a few traumatogenic episodes in Cameroon, Chad, Central African Republic and Côte d’Ivoire and in Ivory Coast at the individual or societal level, my questioning aims to start from fragilities inducing vulnerabilities to try to determine an aesthetics of the crack.
In other words, how, from our cultural substratum and our European and African imaginary and African imaginary, to pass from the trauma to the adaptation, from the consent of the real to the investigation of
new possibilities, from commitment to the power of collective action and to the devulnerability? These few lines of thought (which will perhaps allow us) to reinvent a fertile and truly universal en-community.
As a bridge-builder, I look forward to meeting you and your teams to start this construction site of new futures that are always possible.