La Culture, ses objets – témoins et l’action muséologique: Sémiotique d’un objet-témoin : le masque kanaga des Dogons de Sanga

Annotation

Ousmane Sow Huchard, known as Soleya Mama, is one of the few people who still remember Senegal’s artistic history from its independence to the present day. His book La Culture, ses objets-témoins et l’action muséologique [Culture, its Witness-objects and the Museological Action] resumes his professional career – he is an anthropologist, museologist, musicologist and art critic who fought for museum studies to be rethought from the point of view of our cultural, social and religious history – and edifies us on the way with how this history was constructed as well as the political, geopolitical and economic issues that conditioned it. This book is considered an important reference work for those wanting to find out more about what those years were like in Senegal. Moreover, and in addition to the fact that his fondness for the poet-president is, so to speak, tangible in reading these memoirs, the fact that archival elements are reproduced here (letters, speeches, transcripts of radio messages, as well as photographs, etc.) makes it a reliable measuring instrument for us all.

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[...] Il s’agit pour nous de montrer, à nouveau, que la culture, depuis l’émergence de la pensée conceptuelle et symbolique, est au coeur de toute expérience humaine, donc sociale ; qu’elle est le moteur de tout processus cognitif et de conceptualisation ; qu’elle est au centre de la dynamique sociale qui, elle, est le moteur de toute activité économique, politique, religieuse etc. [...].