What is the reasoning for the Grand Paris? What does the transformation of the relationship between Paris and its suburbs imply? “Searching for the Grand Paris” is an original MOOC featuring accounts from residents, association representatives, experts, and researchers. It also contains archival footage and documents, as well as a comparative analysis of Brussels, London, and other French cities. The MOOC combines historical and comparative approaches with a discussion of controversial topics. It also reflects upon the notion of scale and questions what is at stake in the implementation of the Grand Paris. It discusses the evolution of Paris and its region, as well as issues such as ethnic and social segregation, economic growth, safety, the environment, housing, transportation, city construction, education, and culture. “Searching for the Grand Paris” is not exclusively directed towards universities. It is free and for the general public. This dynamic, even lively, MOOC was made in collaboration with students from the University of Science Po (Paris Institute of Political Studies), along with many other contributors. TEACHER : Patrick Le Galès (politist and sociologist) PREREQUISITE There is no required prerequisite for this course. PLAN DU COURS Session 1: Metropolization and Economic Growth Session 2: Population and Migration Session 3: Housing and Construction Session 4: Transportation and Mobility Session 5: Law enforcement and Environment Session 6: Culture and Education EVALUATION This MOOC offers a final MCQ. PEDAGOGICAL TEAM Héloïse Thibault, Valentine Quinio, Judith Lienhard, Ninon Beillard, Juliette Guichardet, Odile Gaultier-Voituriez, Miyuki Tsuchiya, Maxime Crépel, Pôle Audiovisuel Sciences Po TERMS OF USE All rights reserved PARTNERS Mairie de Paris | Ecole urbaine de SciencesPo Paris | Grand Public
ITW - JEAN-DENIS FRATER
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来自 Sciences Po 的课程
Searching for the Grand Paris
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从本节课中
Session 6: Culture and Education
与讲师见面
Patrick Le Galès
Centre d'études européennes
"Searching for the Grand Paris"
"What is the TRAM network?"
-TRAM, simply, is an organization from 1901,
that, from the outset, has been community-based.
We are not government officials,
but we have partners, institutional partners,
who are, on the one hand,
the Île-de-France region, one of our main financers,
and then the state, through the DRAC Île-de-France,
who support our operation.
So there are really these two aspects.
And obviously, the membership fees, which are the third source of finance,
a major source of finance, and also self-financing.
The DNA of the network has already been set out.
It is both a professional network
which allows places organizing art exhibitions
to meet, to connect, to work together to create things,
and equally, it is a promotion tool, a communication tool,
to attract the public into these spaces.
And so, since....
There obviously were many stages that were very gradual.
There were seven or eight institutions in the Parisian suburbs,
and what is interesting
is that they were almost all communist, or very left-wing socialist suburbs,
with the will to make a "red belt" around Paris,
there was a real sense of unity.
It has a real political dimension, the creation of the network.
Obviously,
as the area and the awareness of culture as an economic force grew,
the network changed a little bit, but this political DNA is still there
and there are still structures that fit into this political dimension.
It is interesting, there are still heated debates within the network
regarding the nature of the network's action.
Is it a network that only communicates
or should we take a position on certain political issues ?
It is always interesting to see the discussion.
Up until the 1990s,
the network developed in that kind of manner.
Very suburbs-based, very autonomous.
At the turn of the 2000s, that is when the network became TRAM,
it became more regional and therefore connected to Paris,
which was very late, at the end of the 1990s, start of the 2000s.
So, it is a suburbs-based network that became a region-based network,
but it has its roots in the suburbs.
We regularly meet artists in the little... "In the little..."
"Little", I do not mean it negatively.
In the smallest places in the suburbs, in the art centers in the suburbs,
which are more open, which are more free to experiment,
with "a return on investment"
that is not the same for the larger Parisian structures
which have to attract the public, et cetera,
and so it is very interesting for us to see the artists start to experiment
in the TRAM spaces in the suburbs and later rediscover them
in a big exhibition in Paris.
I think that in the Parisian suburbs,
when the large housing complexes were built,
there was this real "red belt",
that was a really strong communist area,
from the end of the Second World War, which is very important.
I think that the cultural dimension, the dimension of mass education,
was extremely present.
But what happened was all of the actions that were carried out,
in the 60s, 70s and 80s, beginning of the 90s,
they were actions that were aimed at a population that was already there,
which were, as I said, more linked to education for the masses,
and then in Paris, we had a culture that was more prestigious.
Then a change took place for the large institutions...
Well, more for live performance,
but also for visual arts, perhaps to a lesser extent,
because it is a sector that receives less funding,
that is less visible,
that has always been a bit unstable, marginalized,
but we see the large institutions that started out in the suburbs,
such as the cultural center in Créteil,
the MC93, various theaters...
And so, we have the idea
that Paris is expanding for a more specific audience,
but unfortunately, it is a kind of one-way street.
The people from Paris can very easily come and visit the suburbs.
I had the experience recently at a performance at MC93.
There was a sort of migration from the Métro,
a group of Parisians who came to Bobigny
and then returned to Paris after the performance had finished.
I think that there are few people living in Bobigny
who regularly visit the MC93.
We clearly see this aspect, that the Grand Paris
is a gentrification from the center out to the suburbs,
rather than a rebalancing of all this.
Maybe the Grand Paris Express will change that
and this centralist dimension will disappear
because of its circular nature.
"What changes can we expect with the arrival of the Grand Paris?"
-I think there is this idea of creating new centers of activity.
It is not just the stations.
Many property projects will be implemented
around these 60 stations or more.
I think there is the idea of new towns which will develop,
including cultural institutions.
I think that the Grand Paris will work for its users,
from many different cultural backgrounds.
I doubt many Parisians think twice
about going to the theater in Gennevilliers
or the Théâtre de la Cité internationale.
To him, there is no difference.
He won't say: "I'm going to see a play in the suburbs, or in Malakoff."
On the other hand, when it comes to the Grand Paris itself,
there is still a need to seize these cultural skills,
especially in areas where there is no obligation to have these skills.
Their obligations are related to transport and housing,
not necessarily culture.
We see that certain areas in Grand Paris
are in the process of taking charge
of their own cultural skills and facilities,
cultural facilities that were managed within communities before urbanization,
which is really interesting.
For the moment, we have a lot of identification work to do.
We had the opportunity to participate in a consultation about Grand Paris.
There was a panel of cultural experts.
It was really interesting to be able to have a discussion
with directors of high-level cultural facilities in Paris
and also those working in the suburbs, and compare their opinions.
At the moment, we are looking at projects with community interest.
And, really this dimension...
We should note that it is not just these large visible structures
that are deemed "of community interest" and funded by the city.
There are also all the little arts centers.
"Little," not in a negative sense.
These places are less visible, less well-known.
Also, it is important to have a presence in all areas,
with very flexible and reactive places
that work with the community,
whilst at the same time acting as places of experimentation
and are internationally recognized.
They are also part of a network that is local, national and international
and that is very, very, very important.
Among the art centers, the conventional art centers,
which are more recognized
by the state, by the profession.
There are 11, I think, in the network, mostly outside the city center.
In general, contemporary art centers and museums
are thought of as tourist attractions by the local authority,
from the point of view of the visitor, in terms of visitor numbers.
It is more of an attraction.
And then there are the facilities in the towns, libraries, conservatoires,
so public literature, and the study of music and theater,
which are facilities that do not have visitors, they have users.
They are different things, they are integrated in a kind of dynamic,
the town's appeal to inhabitants rather than visitors.
This is something that, in my opinion, has to be developed in a very....
I see it in the local places in the network.
So, they are not just places for exhibitions.
They are also local art services.
They put on classes for adults, classes for children,
they have a very specialist exhibition space,
which attracts lots of external artists,
who will also work with local artists.
There is a dynamic like that of a library, for example,
which attracts a range of people,
people who hold conferences,
people who tell stories to children,
and it is really important to have this dimension.
A place for contemporary art, visual art,
has this dimension of being a vital public facility.
I think so,
as far as the towns surrounding Paris are concerned,
which do not attract a lot of tourist activity
or do not make a large contribution to the economy.
There is that dimension of local public service
like you get in a library or a conservatoire.
It is very, very important, in my opinion.
Aside from the artistic practice.
Because there are also art courses, where people can learn how to sculpt,
how to paint, how to make pottery,
so there is that element of learning.
