{"id":35853,"date":"2026-03-24T18:09:39","date_gmt":"2026-03-24T17:09:39","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=35853"},"modified":"2026-03-21T16:15:57","modified_gmt":"2026-03-21T15:15:57","slug":"heritages-tisses-histoires-circulations-et-reappropriations-du-patrimoine-textile-en-afrique","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/heritages-tisses-histoires-circulations-et-reappropriations-du-patrimoine-textile-en-afrique\/","title":{"rendered":"H\u00e9ritages tiss\u00e9s : Histoires, circulations et r\u00e9appropriations du patrimoine textile en Afrique"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" datetime=\"2026-03-21T16:09:14+01:00\">21 mars 2026<\/time>\t\t\t\t<\/div>\n<p class=\"zn-singledetail-calenda-info\">\n\t\t\t\t\t\tInformations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce <a class=\"calenda-link prettylink\" href=\"https:\/\/calenda.org\/1369182\" target=\"_blank\"><strong>Calenda<\/strong><\/a>.\t\t\t\t\t<\/p>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/images-cinema-audiovisual-media-and-cultural-industries\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-mediations-memorielles-culturelles-et-patrimoniales\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/memorial-cultural-and-heritage-mediation\/\" title=\"M\u00e9diations m\u00e9morielles, culturelles et patrimoniales\"><span class=\"termslist-itemname\">M\u00e9diations m\u00e9morielles, culturelles et patrimoniales<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>17\/04\/2026<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Avenir Meikengang<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:avenirmeikengang@yahoo.fr\">avenirmeikengang@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-weblinks\">\n<h3 class=\"zn-singledetail-section-title\">Sites internet de r\u00e9f\u00e9rence<\/h3>\n<ul class=\"zn-singledetail-weblinks-list\">\n<li>\n\t\t\t\t\t\t\t<a class=\"prettylink chainlink\" href=\"https:\/\/heritisses.sciencesconf.org\/?lang=fr\" title=\"Site du colloque\" target=\"_blank\">Site du colloque<\/a>\n\t\t\t\t\t\t<\/li>\n<li>\n\t\t\t\t\t\t\t<a class=\"prettylink chainlink\" href=\"https:\/\/resotissus.patrimundus.org\/\" title=\"ResoTissus\" target=\"_blank\">ResoTissus<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu <time class=\"event-start-time\" datetime=\"2026-11-18T00:00:00+00:00\">18\/11\/2026<\/time> au <time class=\"event-end-time\" datetime=\"2026-11-20T00:00:00+00:00\">20\/11\/2026<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-place\">CY Cergy Paris Universit\u00e9<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-street\">33 Boulevard du Port Cergy <\/span>, <span class=\"adr-city\">Cergy<\/span>\t\t\t\t\t\t<span class=\"adr-cp\">95<\/span>, <span class=\"adr-country\">France<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Ces derni\u00e8res ann\u00e9es, les questions li\u00e9es \u00e0 la provenance, \u00e0 la circulation et \u00e0 la restitution des biens culturels, notamment des collections africaines sont au c\u0153ur des discussions internationales. Ce mouvement a \u00e9t\u00e9 renforc\u00e9 par la publication de rapports importants et par une collaboration scientifique accrue. Le rapport Sarr-Savoy (2018) a jou\u00e9 un r\u00f4le crucial en relan\u00e7ant le d\u00e9bat sur les responsabilit\u00e9s des institutions culturelles, mettant en avant le besoin de red\u00e9finir une nouvelle \u00e9thique du patrimoine culturel. Une \u00e9thique qui reposerait sur la transparence, le respect et la reconnaissance des valeurs traditionnelles. Les directives de l\u2019ICOM (2021\u20132023) relatives \u00e0 l\u2019acquisition et \u00e0 l\u2019inscription \u00e0 l\u2019inventaire des objets des collections des mus\u00e9es<a href=\"https:\/\/calenda.org\/1369182#_ftn1\" name=\"_ftnref1\">[1]<\/a>, ainsi que les recommandations de l\u2019UNESCO en mati\u00e8re de protection contre le trafic illicite<a href=\"https:\/\/calenda.org\/1369182#_ftn2\" name=\"_ftnref2\">[2]<\/a>, ont renforc\u00e9 la n\u00e9cessit\u00e9 d\u2019un changement de paradigme dans les institutions mus\u00e9ales europ\u00e9ennes et africaines, et consolid\u00e9 la dynamique en faveur d\u2019une documentation plus rigoureuse et d\u2019une implication accrue des communaut\u00e9s d\u00e9tentrices de savoirs.<\/p>\n<p>Dans ce contexte, les textiles patrimoniaux africains &#8211; ndop (Cameroun), appliqu\u00e9s royaux d\u2019Abomey (B\u00e9nin), bogolan (Mali), bazin (S\u00e9n\u00e9gal), tissages \u00e0 bandes (C\u00f4te d\u2019Ivoire), ainsi que les pratiques sah\u00e9liennes autour du Lac Tchad- occupent une place singuli\u00e8re. Loin d\u2019\u00eatre de simples objets d\u2019apparat, ethnographiques et esth\u00e9tiques, ils constituent de v\u00e9ritables archives culturelles. Porteurs d\u2019identit\u00e9s, de m\u00e9moires, de hi\u00e9rarchies sociales, de techniques et valeurs ancestrales, de r\u00e9cits interg\u00e9n\u00e9rationnels et d\u2019ancrages territoriaux, ils repr\u00e9sentent des objets plurifonctionnels.<\/p>\n<p>Dans les soci\u00e9t\u00e9s traditionnelles africaines, le textile est riche en enseignements divers car il englobe toute une industrie, allant de la mati\u00e8re premi\u00e8re \u00e0 la technique, pour s\u2019\u00e9tendre aux modes, styles, formes, usages, fonctions et repr\u00e9sentations sociales, culturelles et symboliques. Se v\u00eatir devient alors un processus ou\u0300 l\u2019\u00eatre, l\u2019habillement et le para\u00eetre se rencontrent pour former un tout complet<a href=\"https:\/\/calenda.org\/1369182#_ftn3\" name=\"_ftnref3\">[3]<\/a>. L\u2019\u00e9tude du patrimoine textile africain interroge simultan\u00e9ment la m\u00e9moire coloniale, les circulations historiques et les \u00e9changes internationaux. Cependant, malgr\u00e9 leur richesse symbolique et leur importance historique, les textiles africains ne b\u00e9n\u00e9ficient (toujours) pas de suffisamment d&rsquo;attention. Les recherche et les politiques nationales et internationales en faveur de la protection du patrimoine culturel, ainsi que les d\u00e9bats autour des restitutions de biens culturels, restent centr\u00e9s sur les objets de sculpture, peinture et arch\u00e9ologiques faisant fi ou tr\u00e8s peu r\u00e9f\u00e9rence au patrimoine textile. Pourtant, des initiatives d\u00e9terminantes ont montr\u00e9 la pertinence de ce champ de recherche. Citons entre autres l\u2019exposition virtuelle \u00ab&#160;Les costumes traditionnelles du Cameroun&#160;: V\u00eatir son identit\u00e9<a href=\"https:\/\/calenda.org\/1369182#_ftn4\" name=\"_ftnref4\">[4]<\/a>&#160;\u00bb port\u00e9 par l\u2019association PatriMundus, l\u2019exposition \u00ab&#160;Le fil voyageur<a href=\"https:\/\/calenda.org\/1369182#_ftn5\" name=\"_ftnref5\">[5]<\/a>&#160;\u00bb au Mus\u00e9e du Quai Branly \u2013 Jacques Chirac sur les arts du fil&#160;; et les initiatives locales telles que \u00ab&#160;Sauvons le Ndop&#160;\u00bb, \u00ab&#160;La Cit\u00e9 du Textile de Demain<a href=\"https:\/\/calenda.org\/1369182#_ftn6\" name=\"_ftnref6\">[6]<\/a>&#160;\u00bb. Toutes ces actions t\u00e9moignent d\u2019un mouvement global de reconnaissance des textiles comme patrimoines vivants dont l\u2019identification, la protection, la sauvegarde, la valorisation et la transmission reposent sur une collaboration \u00e9troite entre les professionnels de mus\u00e9es, les chercheurs, les artisans, les communaut\u00e9s d\u00e9tentrices et les institutions publiques.<\/p>\n<p>Dans ce cadre, le colloque international \u00ab&#160;H\u00e9ritages Tiss\u00e9s&#160;: Histoires, circulations et r\u00e9appropriations du patrimoine textile en Afrique&#160;\u00bb, se pr\u00e9sente comme une \u00e9tape essentielle. Il rassemblera chercheurs, professionnels de mus\u00e9es, d\u00e9tenteurs de savoirs, d\u00e9cideurs politiques, artisans, designers, afin de mettre en perspective les r\u00e9sultats du projet R\u00e9soTissus et de questionner le r\u00f4le du textile dans la valorisation et la transmission des identit\u00e9s locales. L\u2019extension \u00e0 d\u2019autres pays, notamment le Burkina Faso, le S\u00e9n\u00e9gal, permettra de croiser les techniques de tissage de confection, les formes, les valeurs et repr\u00e9sentations sociales et symboliques des diff\u00e9rentes \u00e9toffes, et de valoriser les savoirs et techniques artisanales des communaut\u00e9s d\u00e9tentrices. Cela permettra \u00e9galement de questionner les enjeux de provenance, circulation, restitution, r\u00e9appropriation et valorisation \u00e0 l\u2019\u00e9chelle sous-r\u00e9gionale.<\/p>\n<p>Globalement, ce colloque r\u00e9pond \u00e0 un besoin fondamental de reconnaissance des sp\u00e9cificit\u00e9s culturelles, et de consid\u00e9rer les textiles africains comme des vecteurs de transmission de la m\u00e9moire, d\u2019identit\u00e9, d\u2019innovation et de coh\u00e9sion sociale, capables de renouveler les pratiques mus\u00e9ographiques, mus\u00e9ologiques, les approches participatives et les politiques de conservation. Par leurs usages diversifi\u00e9s, leur charge symbolique et leur capacit\u00e9 \u00e0 circuler \u00e0 travers les si\u00e8cles, les textiles constituent aujourd\u2019hui un terrain privil\u00e9gi\u00e9 pour proposer une mus\u00e9ologie et mus\u00e9ographie plus inclusives, plus contextualis\u00e9es et respectueuses des valeurs et pratiques religieuses et spirituelles des communaut\u00e9s d\u00e9tentrices.<\/p>\n<h3>Axe 1- Patrimoine textile&#160;: identification, provenance et circulations historiques.<\/h3>\n<p>Cet axe attend des contributions explorant&#160;:<\/p>\n<ul>\n<li>Les trajectoires historiques des textiles africains de leur production \u00e0 leur dispersion dans les collections<\/li>\n<li>Les m\u00e9thodologies d&rsquo;identification des techniques, mat\u00e9riaux et origines g\u00e9ographiques<\/li>\n<li>Les circuits de circulation Afrique-Europe (p\u00e9riodes pr\u00e9coloniale, coloniale, postcoloniale)<\/li>\n<li>Les recherches de provenance et contextes d&rsquo;acquisition&#160;: collectes ethnographiques, commerce, spoliations<\/li>\n<li>L&rsquo;analyse des lacunes documentaires et sources alternatives<\/li>\n<li>Les \u00e9tudes de cas sur des pi\u00e8ces conserv\u00e9es dans les mus\u00e9es europ\u00e9ens et africains<\/li>\n<li>Les approches croisant archives \u00e9crites, sources orales et analyses mat\u00e9rielles<\/li>\n<li>La restitution de la complexit\u00e9 des histoires textiles<\/li>\n<li>La critique des r\u00e9cits dominants sur la pr\u00e9sence des textiles dans les institutions patrimoniales<\/li>\n<\/ul>\n<p>L&rsquo;objectif est de documenter rigoureusement les parcours des objets textiles et de questionner leur insertion dans les collections internationales.<\/p>\n<h3>Axe 2 \u2013 Savoirs artisanaux, transmission et r\u00e9appropriations communautaires<\/h3>\n<p>Cet axe sollicite des communications analysant&#160;:<\/p>\n<ul>\n<li>Les dynamiques de transmission des savoir-faire textiles traditionnels<\/li>\n<li>Les modes d&rsquo;apprentissage&#160;: familial, corporatif, institutionnel<\/li>\n<li>Les ruptures et continuit\u00e9s g\u00e9n\u00e9rationnelles face aux mutations socio-\u00e9conomiques<\/li>\n<li>Les initiatives communautaires de revitalisation&#160;: ateliers coop\u00e9ratifs, programmes de formation, festivals<\/li>\n<li>Les strat\u00e9gies de r\u00e9appropriation patrimoniale par les communaut\u00e9s sources<\/li>\n<li>Les r\u00f4les genr\u00e9s dans la production textile<\/li>\n<li>Les innovations introduites par les artisans contemporains<\/li>\n<li>Les dialogues entre savoirs locaux et recherche acad\u00e9mique<\/li>\n<li>Les approches participatives donnant la parole aux praticiens<\/li>\n<li>Les rapports de pouvoir dans la patrimonialisation des savoir-faire vivants.<\/li>\n<\/ul>\n<p>L&rsquo;accent est mis ici sur les pratiques vivantes et les acteurs qui perp\u00e9tuent, transforment et r\u00e9inventent les h\u00e9ritages textiles.<\/p>\n<h3>Axe 3 \u2013 Valorisation, innovation et nouvelles mus\u00e9ologies du patrimoine textile<\/h3>\n<p>Dans cet 3<sup>\u00e8me<\/sup> et dernier axe, nous accueillerons des propositions sur&#160;:<\/p>\n<ul>\n<li>Les approches mus\u00e9ographiques innovantes et d\u00e9coloniales<\/li>\n<li>Les collaborations avec des artistes contemporains r\u00e9interpr\u00e9tant les techniques ancestrales<\/li>\n<li>Les dispositifs participatifs impliquant les communaut\u00e9s dans la m\u00e9diation culturelle<\/li>\n<li>Les usages des technologies num\u00e9riques&#160;: bases de donn\u00e9es collaboratives, expositions virtuelles, mod\u00e9lisation 3D<\/li>\n<li>La d\u00e9mocratisation de l&rsquo;acc\u00e8s aux collections<\/li>\n<li>La cr\u00e9ation de nouveaux r\u00e9cits patrimoniaux autour des objets et artefacts textiles<\/li>\n<li>Les r\u00e9flexions sur les restitutions et pr\u00eats \u00e0 long terme<\/li>\n<li>Les partenariats \u00e9quitables entre institutions africaines et europ\u00e9ennes<\/li>\n<li>La circulation des savoirs et reconnaissance des \u00e9pist\u00e9mologies locales<\/li>\n<li>Les textiles comme vecteurs de dialogue interculturel et d\u00e9veloppement durable.<\/li>\n<\/ul>\n<p>L&rsquo;objectif est de repenser les pratiques mus\u00e9ales pour une valorisation inclusive et \u00e9quitable du patrimoine textile.<\/p>\n<h2>Publics et acteurs attendus<\/h2>\n<ul>\n<li>Chercheurs en anthropologie, histoire, mus\u00e9ologie, arts visuels, patrimoine, etc.<\/li>\n<li>Professionnels de mus\u00e9es (conservateurs, r\u00e9gisseurs, m\u00e9diateurs, sc\u00e9nographes)<\/li>\n<li>Artisans et cr\u00e9ateurs textiles (tisserands, brodeurs, stylistes, collectifs de mode)<\/li>\n<li>Repr\u00e9sentants de communaut\u00e9s d\u00e9tentrices de savoirs ou de patrimoines<\/li>\n<li>Responsables d\u2019institutions culturelles, ONG patrimoniales et r\u00e9seaux africains.<\/li>\n<\/ul>\n<h2>Calendrier pr\u00e9visionnel<\/h2>\n<ul>\n<li>Lancement officiel de l\u2019appel \u00e0 participation&#160;: F\u00e9vrier 2026<\/li>\n<li><strong>Date limite de soumission des propositions&#160;: 17 Avril 2026<\/strong><\/li>\n<li>R\u00e9ponse aux participants s\u00e9lectionn\u00e9s&#160;: Mai 2026<\/li>\n<li>R\u00e9ception des articles \u00e9crits&#160;: Septembre 2026<\/li>\n<li>Tenue du colloque&#160;: 18 au 20 novembre 2026.<\/li>\n<\/ul>\n<h2>Modalit\u00e9s de participation<\/h2>\n<p>Les propositions peuvent prendre la forme&#160;:<\/p>\n<ul>\n<li>Communications individuelles (15 minutes)<\/li>\n<li>Pr\u00e9sentations de projets et\/ou retours d\u2019exp\u00e9rience<\/li>\n<li>D\u00e9monstrations ou ateliers pratiques (savoir-faire textile, performances, documentaire)<\/li>\n<\/ul>\n<p>Les propositions (titre et axe concern\u00e9 + r\u00e9sum\u00e9 500 mots + courte biographie de l\u2019auteur) sont \u00e0 d\u00e9poser <a href=\"https:\/\/heritisses.sciencesconf.org\">sur la plateforme<\/a> <strong>au plus tard le 17 avril 2026<\/strong> \u00e0 18h00.<\/p>\n<p>Ce colloque se veut un espace de r\u00e9flexion, mais \u00e9galement de construction. Il ambitionne de poser les bases d\u2019un r\u00e9seau international de professionnels d\u00e9di\u00e9 aux patrimoines textiles africains, et d\u2019ouvrir la voie \u00e0 des collaborations concr\u00e8tes (expositions itin\u00e9raires, r\u00e9sidences artistiques, publications collectives, dispositifs num\u00e9riques).<\/p>\n<h2>Comit\u00e9 Scientifique du colloque<\/h2>\n<p>Pr Didier HOUENOUDE, Universit\u00e9 d\u2019Abomey-Calavi (B\u00e9nin)<br \/>\nPr Mahamat Abba OUSMAN, Universit\u00e9 de Maroua (Cameroun)<br \/>\nPr Fran\u00e7ois WASSOUNI, Universit\u00e9 de Maroua (Cameroun)<br \/>\nPr C\u00e9cile DOUSTALY, CY Cergy Paris Universit\u00e9 (France)<br \/>\nPr Daouda KEITA, Directeur du Mus\u00e9e National (Mali)<br \/>\nPr El Hadji Malick NDIAYE, Mus\u00e9e Th\u00e9odore Monod-IFAN (S\u00e9n\u00e9gal)<br \/>\nPr Claire SCOPSI, Conservatoire National des Arts &amp; M\u00e9tiers (France)<br \/>\nPr Rachel MARIEMBE, Universit\u00e9 de Douala, (Cameroun)<br \/>\nDr Paul AKOGNI, Universit\u00e9 d\u2019Abomey-Calavi (B\u00e9nin)<br \/>\nDr Wenceslas MAHOUSSI, Universit\u00e9 d\u2019Abomey-Calavi (B\u00e9nin)<br \/>\nDr Franck OGOU, Ecole du Patrimoine Africain (B\u00e9nin)<br \/>\nDr Jean-Paul C. LAWSON, CY Cergy Paris Universit\u00e9 &amp; Association PatriMundus (France)<br \/>\nDr Avenir G. MEIKENGANG, CY Cergy Paris Universit\u00e9 &amp; Association PatriMundus (France)<br \/>\nDr Paulin GOHOUNGODJI, HEC Montr\u00e9al, (Canada)<br \/>\nDr Salom\u00e9 SOLOUM, Universit\u00e9 de Pala (Tchad)<br \/>\nDr Richard TSOGANG FOSSI, Technishe Universit\u00e4t Berlin (Allemagne)<br \/>\nDr Eric Bouba DEUDJAMBE, R\u00e9seau des Professionnels du Patrimoine Africain &#8211; REPPAF (Tchad)<br \/>\nDr Ch\u00e9hibou COULIBALY, Universit\u00e9 des Sciences de Gestion de Bamako (Mali)<br \/>\nM. Gnol\u00e9ba F. TAGRO, Directeur du Mus\u00e9e des Civilisations (C\u00f4te d\u2019Ivoire)<br \/>\nM. Djimmy Djiffa EDAH, Directeur du Patrimoine Culturel (B\u00e9nin)<br \/>\nM. Mactar Sidy Mbaye, Directeur R\u00e9gional de la Culture \u2013 R\u00e9gion de Thi\u00e8s (S\u00e9n\u00e9gal)<br \/>\nMme Paule DASSI KOUDJOU, Conservatrice du Patrimoine &#8211; Route des Chefferies (Cameroun)<br \/>\nMme Esther VIHOUNKPAN, Conservatrice du Patrimoine (B\u00e9nin)<br \/>\nMme Ad\u00e9wol\u00e9 FALADE, Pr\u00e9sidente de l&rsquo;Association MEWIHONTON (B\u00e9nin)<\/p>\n<p>Cette liste n&rsquo;est pas exhaustive. Elle est sujette \u00e0 modifications.<\/p>\n<h2>Bibliographie indicative<\/h2>\n<p>Adler, T., &amp; Macdonald, S. (Eds.). (2026). <em>Artistic provenance research<\/em>. Transcript Publishing.<\/p>\n<p>Benjamin, J. (2024). Textiles in West Africa up to the 20th century. In <em>Oxford research encyclopedia of African history<\/em>. Oxford University Press. <a href=\"https:\/\/doi.org\/10.1093\/acrefore\/9780190277734.013.1117\">https:\/\/doi.org\/10.1093\/acrefore\/9780190277734.013.1117<\/a><\/p>\n<p>Berloquin-Chassany, P. (2006). Cr\u00e9ateurs africains de mode vestimentaire et labellisation \u00ab&#160;ethnique&#160;\u00bb (France, Antilles, Afrique de l&rsquo;Ouest francophone). <em>Autrepart, 38<\/em>(2), 173-190. <a href=\"https:\/\/doi.org\/10.3917\/autr.038.0173\">https:\/\/doi.org\/10.3917\/autr.038.0173<\/a><\/p>\n<p>Bickford, K. E. (2014). Mourning and memory&#160;: Factory-printed textiles and the Baul\u00e9 of C\u00f4te d&rsquo;Ivoire. <em>Textile Society of America Symposium Proceedings<\/em>. <a href=\"https:\/\/digitalcommons.unl.edu\/tsaconf\/\">https:\/\/digitalcommons.unl.edu\/tsaconf\/<\/a><\/p>\n<p>Blake, J. (2018). <em>Museums and safeguarding intangible cultural heritage \u2013 Facilitating participation and strengthening their function in society<\/em>. <a href=\"https:\/\/memoriamedia.net\/Bibliography-ICH\/175_BLAKE_2018_Museums.pdf\">https:\/\/memoriamedia.net\/Bibliography-ICH\/175_BLAKE_2018_Museums.pdf<\/a><\/p>\n<p>Boser-Sarivax\u00e9vanis, R. (1975). <em>Recherche sur l&rsquo;histoire des textiles traditionnels tiss\u00e9s et teints de l&rsquo;Afrique occidentale<\/em>. Naturforschenden Gesellschaft.<\/p>\n<p>British Museum. (n.d.). <em>Appliqu\u00e9 cloth from Abomey, 1912 (Fon, Benin)<\/em> [Museum object record]. <a href=\"https:\/\/www.britishmuseum.org\/collection\/object\/E_Af1982-23-1\">https:\/\/www.britishmuseum.org\/collection\/object\/E_Af1982-23-1<\/a><\/p>\n<p>Clarke, D., Drake Moraga, V., &amp; Fee, S. (2022). <em>Textiles africains<\/em> (J.-F. Allain &amp; C. Vair, Trans.). Citadelles &amp; Mazenod. (Original work published 2022)<\/p>\n<p>Coquet, M. (1998). <em>Textiles africains<\/em> (Nouv. \u00e9d.). A. Biro.<\/p>\n<p>Druesedow, J. L. (Ed.). (2019). <em>The museum as a cultural hub&#160;: The future of tradition. Proceedings of the ICOM Costume Committee Annual Meeting, Kyoto, Japan, 1-7 September 2019<\/em>. ICOM Costume Committee. <a href=\"https:\/\/costume.mini.icom.museum\/publications-2\/publications\/proceedings-of-the-icom-costume-committee-annual-meeting-in-kyoto-2019\/\">https:\/\/costume.mini.icom.museum\/publications-2\/publications\/proceedings-of-the-icom-costume-committee-annual-meeting-in-kyoto-2019\/<\/a><\/p>\n<p>Grosfilley, A. (2017). <em>Wax &amp; co&#160;: Anthologie des tissus imprim\u00e9s d&rsquo;Afrique<\/em>. \u00c9ditions de La Martini\u00e8re.<\/p>\n<p>ICOM. (2023). <em>Rapport annuel 2023<\/em>. <a href=\"https:\/\/icom.museum\/fr\/news\/le-rapport-annuel-2023-de-licom-est-disponible-en-ligne\/\">https:\/\/icom.museum\/fr\/news\/le-rapport-annuel-2023-de-licom-est-disponible-en-ligne\/<\/a><\/p>\n<p>ICOM Costume. (2009). <em>Colonial fashion&#160;: What happens to fashion when it travels&#160;? <\/em><em>Santiago de Chile, 2009<\/em> (I. Alvarado, Ed.). <a href=\"https:\/\/costume.mini.icom.museum\/wp-content\/uploads\/sites\/10\/2018\/12\/2008_colonial_fashion.pdf\">https:\/\/costume.mini.icom.museum\/wp-content\/uploads\/sites\/10\/2018\/12\/2008_colonial_fashion.pdf<\/a><\/p>\n<p>Ladu D. M. Lemi. (2024). Commemorative textiles&#160;: An African narrative of identity and power. <em>Humanities and Social Sciences Communications<\/em>.<\/p>\n<p>Lawson, J.-P. (2025). Digital enhancement of African museum collections&#160;: Lessons learned from the virtual exhibition project heritage costumes in Cameroon&#160;: \u00ab&#160;Dressing up your identity.&#160;\u00bb In <em>CHNT Proceedings<\/em>. Propylaeum.<\/p>\n<p>Magnavita, C., Dangbet, Z., &amp; Bouimon, T. (2019). The Lake Chad region as a crossroads&#160;: Archaeological perspectives. <em>Afrique&#160;: Arch\u00e9ologie &amp; Arts, 15<\/em>, 91\u2013120.<\/p>\n<p>Meikengang, A. G. (2024). <em>Les costumes patrimoniaux dans les Grassfields au Cameroun&#160;: Savoirs et savoir-faire, repr\u00e9sentations sociales et strat\u00e9gies de valorisation<\/em> [Th\u00e8se de doctorat, CY Cergy Paris Universit\u00e9]. <a href=\"https:\/\/theses.fr\/s273076\">https:\/\/theses.fr\/s273076<\/a><\/p>\n<p>Menzel, B. (1972). <em>Textilien aus Westafrika<\/em>. Museum f\u00fcr V\u00f6lkerkunde.<\/p>\n<p>Nguiafing, J.-B. (2005). Le tissu douop (ndop) \u00e0 Baham&#160;: Appropriation d&rsquo;un art s\u00e9culaire. In J.-P. Notue &amp; B. Triaca (Eds.), <em>Baham. Arts, m\u00e9moire et pouvoir dans le royaume de Baham (Cameroun)<\/em> (pp. 96-113). \u00c9ditions 5 Continents.<\/p>\n<p>Perrois, L., &amp; Notu\u00e9, J.-P. (1997). <em>Rois et sculpteurs de l&rsquo;Ouest Cameroun<\/em>. Karthala &amp; ORSTOM.<\/p>\n<p>Picton, J., &amp; Mack, J. (1979). <em>African textiles&#160;: Looms, weaving, and design<\/em>. British Museum.<\/p>\n<p>Sarr, F., &amp; Savoy, B. (2018). <em>The restitution of African cultural heritage&#160;: Toward a new relational ethics<\/em>. <a href=\"https:\/\/www.about-africa.de\/images\/sonstiges\/2018\/sarr_savoy_en.pdf\">https:\/\/www.about-africa.de\/images\/sonstiges\/2018\/sarr_savoy_en.pdf<\/a><\/p>\n<p>Soloum, S. (2025). <em>Mode vestimentaire, accessoires et parures corporels dans le Sud-B\u00e9nin du XVIIe au XIXe si\u00e8cle<\/em>. L&rsquo;Harmattan.<\/p>\n<p>Sonkeng, F. U. A. (2025). <em>Textiles patrimoniaux en Afrique, circulation des savoirs faires et d\u00e9veloppement durable<\/em>. <a href=\"https:\/\/zenodo.org\/records\/15603947\">https:\/\/zenodo.org\/records\/15603947<\/a><\/p>\n<p>Summerour, R., &amp; Madden, O. (2016). Exploring origins&#160;: The technical analysis of two Yoruba masquerade costumes at the National Museum of African Art. In <em>Textile Society of America Symposium Proceedings<\/em> (Paper 997). <a href=\"http:\/\/digitalcommons.unl.edu\/tsaconf\/997\">http:\/\/digitalcommons.unl.edu\/tsaconf\/997<\/a><\/p>\n<p>Textile Society of America. (2016). <em>African textiles&#160;: Social meanings and cultural practices. <\/em><em>Conference proceedings<\/em>. <a href=\"https:\/\/digitalcommons.unl.edu\/tsaconf\/\">https:\/\/digitalcommons.unl.edu\/tsaconf\/<\/a><\/p>\n<p>UNESCO. (2003). <em>Convention de 2003 pour la sauvegarde du patrimoine culturel immat\u00e9riel<\/em> (texte et directives op\u00e9rationnelles). <a href=\"https:\/\/ich.unesco.org\/fr\/convention\">https:\/\/ich.unesco.org\/fr\/convention<\/a><\/p>\n<p>UNESCO. (2021). <em>Museums around the world in the face of COVID-19&#160;: \u00c9tat des lieux, impacts, recommandations<\/em>. <a href=\"https:\/\/unesdoc.unesco.org\/ark:\/48223\/pf0000376729_eng\">https:\/\/unesdoc.unesco.org\/ark&#160;:\/48223\/pf0000376729_eng<\/a><\/p>\n<h2>Notes<\/h2>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref1\" name=\"_ftn1\">[1]<\/a> <a href=\"https:\/\/icom.museum\/wp-content\/uploads\/2022\/03\/Accessioning-Standards_FR.pdf\">https:\/\/icom.museum\/wp-content\/uploads\/2022\/03\/Accessioning-Standards_FR.pdf<\/a>, en ligne le 05 f\u00e9vrier 2026<\/p>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref2\" name=\"_ftn2\">[2]<\/a> <a href=\"https:\/\/www.unodc.org\/documents\/organized-crime\/trafficking_in_cultural\/RES-681-86\/A_RES_69_196_F.pdf\">https:\/\/www.unodc.org\/documents\/organized-crime\/trafficking_in_cultural\/RES-681-86\/A_RES_69_196_F.pdf<\/a>, en ligne le 05 f\u00e9vrier 2026<\/p>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref3\" name=\"_ftn3\">[3]<\/a> Meikengang, A. G. (2024). <em>Les Costumes patrimoniaux dans les Grassfields au Cameroun&#160;: Savoirs et savoir-faire, repr\u00e9sentations sociales et strat\u00e9gies de valorisation<\/em> (Th\u00e8se de doctorat, CY Cergy Paris Universit\u00e9). <a href=\"https:\/\/theses.fr\/s273076\">https:\/\/theses.fr\/s273076<\/a><\/p>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref4\" name=\"_ftn4\">[4]<\/a> <a href=\"https:\/\/costumestradi.patrimundus.org\/\">https:\/\/costumestradi.patrimundus.org\/<\/a>, en ligne le 05 f\u00e9vrier 2026<\/p>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref5\" name=\"_ftn5\">[5]<\/a><a href=\"https:\/\/www.quaibranly.fr\/fr\/expositions-evenements\/au-musee\/expositions\/details-de-levenement\/e\/le-fil-voyageur\">https:\/\/www.quaibranly.fr\/fr\/expositions-evenements\/au-musee\/expositions\/details-de-levenement\/e\/le-fil-voyageur<\/a>, en ligne le 05 f\u00e9vrier 2026<\/p>\n<p><a href=\"https:\/\/calenda.org\/1369182#_ftnref6\" name=\"_ftn6\">[6]<\/a> <a href=\"https:\/\/www.cauxseine.fr\/projet\/la-cite-du-textile-de-demain\/\">https:\/\/www.cauxseine.fr\/projet\/la-cite-du-textile-de-demain\/<\/a>,\u00a0en ligne le 05 f\u00e9vrier 2026<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-afrique\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/africa\/\" title=\"Afrique\"><span class=\"termslist-itemname\">Afrique<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-patrimoine\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/heritage\/\" title=\"Patrimoine\"><span class=\"termslist-itemname\">Patrimoine<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-reappropriation\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/reappropriation\/\" title=\"R\u00e9appropriation\"><span class=\"termslist-itemname\">R\u00e9appropriation<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-textile\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/textile\/\" title=\"Textile\"><span class=\"termslist-itemname\">Textile<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour [&hellip;]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,57],"tags":[361,193,353,1010],"thematique":[35,38],"sfsic":[],"class_list":["post-35853","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-afrique","tag-patrimoine","tag-reappropriation","tag-textile","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>H\u00e9ritages tiss\u00e9s 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