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In honor of the place where we were visiting, Marleen woke early in the morning to collect Water from the nearby Great Lake, and we lovingly created a makeshift altar of fresh flowers and rebozos. We opened the circle with a public song about sacred Water, then moved on to introductions: “Please share your name, pronouns, and which Waters hold you as your home.”Some folks chose lakes, oceans, rivers, some shared a name in English, some named their home Waters by their ancestral languages. As a collective, we took in a deep breath, and dropped down into our bodies, and into relational ways of knowing and being in community. We were ready to begin.As Indigenous educators, we are responsible and response-able (Kuokkanen, 2007) to our home communities, to our human and more-than-human kin (Nxumalo & Villanueva, 2020) and to each other to follow cultural protocols that prepare us for our work. In this paper, we reflect on our learning journeys, discussing our roles as Water protectors, mothers, community organizers, and scholars, and offer three examples of ongoing Water work.

Keywords: Pedagogía indígena, Indigenous pedagogy, Pédagogie autochtone, Yanawana, Yanawana, Yanawana, Coahuilteca, Coahuiltecan, Coahuiltecan, Native American, nativos americanos, Amérindiens, matriculture, matriculture, matricultura

Within their corpus, religions develop a differentiation principle between those inside and outside their system of reference. From this principle, a fundamental value, of a metaphysical nature, is promoted as the true and the universal essence, thus considering all other values as false. In fact, this principle ends up negating the ontology of the other. While the encounter of distinct traditions can generate syncretism, the aim of this article is to study the opposite process – that of hermeticity –, and to propose an interdisciplinary study of contempt that certain religious discourses can foster and maintain. The analysis of this two-stage process of negation of the other, first, by acceptance and, then by rejection, questions, from a “religiological” angle, the link between the view of the universal, mental representations, and otherness, as well as the (im)possibilities of ecumenism and of coexistence.

Keywords: religion, religion, substance, substance, relation, relation, ethnicité, ethnicity, negation, négation, hierarchy, hiérarchie, contempt, mépris

The recent excitement around the restitution of twenty-six arts objects preserved at the Musée du Quai Branly in November 2022, after years of negotiations, has opened up a broader perspective for the return of a greater number of pieces, cultural and artistic objects from the heritage of African countries formerly colonized by France. Finally, the dynamics of the return of these objects, and the problems associated with them, are more widely shared with former colonial powers including England, Holland, Belgium and even Germany. These cultural objects are strongly present in Tierno Monénembo’s novel. This contribution postulates that, at the heart of these novels and perhaps also of their creation, these cultural objects circulate, irradiating the narratives and destinies of the characters, thus stimulating novelistic creation. From Un Attiéké pour Elgass to Pelourinho and even Peuls or Les coqs cubains chantent à minuit, and other texts, we can put forward a typology of material cultural objects (sassa, fetishes, statuettes, coralline hexagrams, etc.) alongside more immaterial objects (such as the figa and the song).

For half a century, rock music has now been an ideological factor of our everyday mythology, and it has attracted several contemporary composers (John Adams, Luciano Berio, Steve Martland, Theo Loevendie, etc.). This essay examines the history of the contexts and the interactions of the “popular” and the “learned.” By focusing on rockers' symbolic instrumentarium (electric organ, electric guitar, bass, drums), this essay studies an array of cases from Pierre Henry's to Philippe Manoury's music, as well as music from Cathy Berberan, György Ligeti and Tristan Murail.

This article proposes an alternative conceptualization of cultural entrepreneurship. Based on a semi-structured interview study conducted in the music industry of linguistic minorities, it offers a model in line with the practice perspective, that considers the mutually constitutive relationship between the context and the entrepreneurial practices. This model emerges from the stories of 35 musical entrepreneurs. It invites to pay attention to the practices as they answer tensions induced by the context, between musical creation and subsistence, for example, and as they transform this context. It led to identifying 14 practices that allow entrepreneurs to ensure the viability of creating and producing vocal music in their language. In revealing the relational logic underlying the emergence of these practices, the article contributes to the efforts undertaken for theorizing cultural entrepreneurship. It expands and diversifies knowledge on this entrepreneurship by unveiling informal practices implemented in marginal social contexts. Understanding these practices may be relevant for any person or organization able to support cultural entrepreneurs from these contexts.

Keywords: Entrepreneuriat culturel, Perspective de la pratique, Industrie de la musique, Minorités linguistiques, Contextes sociaux marginaux, Cultural entrepreneurship, Practice perspective, Music industry, Linguistic minorities, Marginal social contexts, Emprendimiento cultural, Perspectiva desde la práctica, Industria de la música, Minorías lingüísticas, Contextos sociales marginales