Abstract
Résumés: Notre étude des pratiques artistiques interroge le rôle de l'art comme voie parmi les stratégies connues d'adaptation des récits d'exil pour susciter la sympathie et organiser les conditions d'une régularisation. Elle suggère une perspective singulière sur le devenir migrant. Face à la prescription d'un statut, ces individus renouvellent leurs identités avec créativité. Ainsi, devenir artiste est perçu comme un accomplissement. Ces parcours témoignent du rôle et du pouvoir de l'art à re-symboliser le réel, ici, à travers la danse et le son. Ces réalités nous incitent à formuler l'hypothèse selon laquelle l'art, en tant que processus liminal, constituerait une pratique, un moment de transition, de flottement et d'inversion. Ainsi, la régularisation de leurs situations comme artistes constitue, pour des migrants aux statuts juridiques singuliers, une occasion de renversement d'une situation qui révèle le caractère construit et relatif des hiérarchies sociales. Abstracts: Based on the fieldwork research and immersion in artistic groups founded by Cameroonian migrants, this article addresses the complexity of the migration process. Within the well-known strategies of adapting exile narratives to elicit sympathy and organize the conditions for regularization, the interlocutors of the study open up a dynamic perspective on becoming a migrant. Faced with the prescription of a status, these individuals renew their identities through artistic practice; thus, becoming an artist is perceived as an accomplishment. These journeys testify to the role and power of art in re-symbolizing reality, here through dance and sound. We start from the hypothesis that liminality is a moment of transition and floating, a moment of inversion where art in general presents an opportunity to turn a situation around. The aim is to observe the constructed and relative nature of social hierarchies between migrants, and the singular legal dimension involved in regularizing their situations as artists.
Published Version
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