Cette recherche interroge le champ des objets ethnographiques au prisme de leur circulation entre deux médiateurs situés entre leur production et leur réception : les musées d’ethnographie et les marchés de l’art. Aucune recherche scientifique ne s’est jusqu’à maintenant penchée en profondeur sur les relations entretenues entre ces deux intermédiaires dans le champ de l’art africain et océanien, si ce n’est pour décrire ou critiquer le cas précis de la fondation du Musée du quai Branly-Jacques Chirac.Mobilisant l’anthropologie et la muséologie, ma recherche est basée sur un travail de terrain intensif auprès des galeries, des maisons de ventes aux enchères et des musées en Suisse, en France et en Belgique entre 20013 et 2017. L’analyse, fondamentalement compréhensive, montre les enjeux territoriaux à l’œuvre et souligne l’impact d’une montée de l’événementiel tant du côté des musées que des marchés. Ma recherche dresse un portrait du marché, de son fonctionnement et de ses hiérarchies à l’heure actuelle et propose une typologie des différentes relations et acteurs afin de comprendre le processus de fixation de la valeur des objets. Sur un marché où domine la spéculation et une grande part d’arbitraire, je montre que cette valeur est intimement liée à la maîtrise de l’information. Finalement, l’analyse met en évidence les « prêts-à-penser » et processus développés par l’entier des acteurs du champ pour rationaliser une partie de ces pratiques spéculatives. J’espère souligner dans cette recherche les formes nouvelles de production, d’appropriation, de consommation et de valorisation de l’altérité par notre société aujourd’hui. / This PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today.

Master thesis on the topic Characterization of artistic expression of Kenyan pupils is composed of theoretical and empirical part. The theoretical part is focused on cultural, social and political arrangement in Kenya and brief characterization of chosen ethnics related to their historic and cultural context. Important part of the thesis is dedicated to contemporary and also to the traditional Kenyan art. The goal of the theoretical part is to clarify Kenyan educational system focused on art education. Empirical part is focused on actual artistic expression of Kenyan pupils and describes the process of in advance prepared lectures of art in elementary schools in set areas. Part of the thesis is also image documentation.

Panapanayan 是位於台灣東南海岸的地點，至少有阿美、卑南、排灣及魯凱 等鄰近四族群的祖源傳說與該地有關，文化現象亦有許多相似之處，形成一個可 資觀察的「文化圈」區域。 該文化圈內之文化現象除了具有空間的關聯性之外，亦具有時間深度，其關 聯與互動可以延伸到史前時代，尤以文化圈內之舊香蘭遺址所發掘出土的文物， 有石刀、陶片上吐信蛇紋的應用，與現生族群間沿用之圖紋習慣似乎具有傳承關 係。文化圈內核心區域太麻里、知本部落流傳的生命儀禮中，文身（口傳及文獻 記錄）及使用琉璃珠（佩戴珠飾、陪葬）的習慣，是當地整體生命認知的價值體 系一環，與而舊香蘭遺址亦發現大量之琉璃珠，古今相疊的地緣空間中相似的文 化現象，不免引人注目。 此外，本地區(太麻里部落祖靈屋)發現的吐舌和大塊面雕刻人像，為台灣原 住民木雕圖紋表現習慣中少見的形式，卻與境外南太平洋文化的表現具有類緣的 關係，在在凸顯了本地除具有獨特的藝術表現外，又具有與分佈廣大的南島語族 間文化相連的多元關係。因此，似可以從物質文化中之藝術表現做為媒介觀察整 體社會文化變遷，與人群表達集體情感與識別作用的文化認同現象。 受國家政治現代化政策的影響，本地區百年來沐浴在現代化影響下，傳統生 活與文化產生了很大的變遷，但是在晚近族群運動與強調在地化文化資產發掘的 文化政策影響下，促進了民族風潮與部落主體意識的覺醒，太麻里、知本部落透 過重建palakuwan、恢復祭儀、傳統歌謠及工藝美感經驗的傳承等，紛紛進行文 化復振工作。各部落為尋找歷史記憶，熱絡進行祭儀交流、尋根溯源及跨部落結 盟等活動，使文化圈內人群緊密互動的現象，有促進區域生成共同體的趨勢。 太麻里、知本部落的社會環境，也在全球化和商業化、觀光化影響下變遷， 藝術表現由傳統制式的風格，漸轉化為多樣取向的個人性創作，這種轉變衝擊了 在地文化的傳承，以及部落主體性的維繫，為了凝聚族人共識，有心者於是透過 藝術媒介塑造部落文化特徵，強化為部落象徵，使藝術表現再度成為扮演彰顯族 群（部落）認同的重要功能。 本研究透過物質文化的表現，特別是所謂「藝術」（原始藝術或民族藝術） 的生成與顯現過程，觀察Panapanayan 當地多元視覺藝術要素與歷史傳統、社會 生活祭儀、象徵認同之間的關係，以瞭解藝術表現的脈絡與部落主體意識、民族 認同之間的互動關係。 / Panapanayan is located on the southeast coast of Taiwan. The ancestral origin stories of at least four ethnic groups, including the Amis, Puyuma, Paiwan and Rukai, can be traced back to this place. The many similar cultural phenomena demonstrated by these various groups suggest the formation of a culture circle. The relations between the cultural phenomena within this culture circle are not only based on space, but also on time. The relations and interactions between them can be traced back to prehistoric times. For example, snake tongue patterns seen on artifacts like stone blades and pieces of pottery uncovered at the Jiuxianglan Site are still seen in the patterns used by these ethnic groups to this day. The life-cycle rituals, tattooing (described by the oral tradition and written records) and use of ceremonial glass beads (used for both decretive purposes and buried with the deceased) found in the villages of Taimali and Zhiben, which are at the center of this culture circle, represent local values and beliefs about life and death. Many glass beads were also uncovered at the Jiuxianglan Site. The number of similar cultural phenomena occurring within this region from ancient times to present day is truly striking. In addition, the tongue-like patterns and large carvings of human figures found in this region (at the ancestral shrine in Taimali) have rarely been seen among the wood-carving patterns of Taiwan’s aboriginal people. However, these patterns are related to those found within Austronesian culture outside Taiwan. This finding further highlights the uniqueness of the artistic expressions found in this area and points to diverse ties with the widespread Austronesian peoples. As a result, the artistic expressions found within the material culture in this area can be used to trace social and cultural change. These artistic expressions can also help us to better understand collective emotions and cultural identities. With the emergence of modern national politics, the traditional life and culture of this region have been strongly influenced by the onslaught of modernization. However, the rise of the ethnic movement in Taiwan and the emphasis on cultural heritage within political policy has inspired a new awakening of tribal consciousness. By rebuilding Palakuwan and restoring traditional rituals, songs and artistic aesthetics, the people in Taimali and Zhiben have begun to engage in the process of cultural restoration. To rediscover their historical memory, various villages have worked together by exchanging rituals, tracing their roots and creating alliances. The close interactions between people living within the culture circle have led to the formation of community within this region. The social environment in Taimali and Zhiben has also been influenced by globalization, commercialization and tourism. Artistic expression has graduallyshifted from a structured traditional style to more diverse forms of individualized production. This transformation has greatly affected the transmission of local culture, as well as the maintenance of tribal subjectivity. In order to promote consensus among tribal members, concerned individuals have used the media to shape cultural characteristics and strengthen tribal symbols. As a result, artistic expression once again is playing an important role in shaping ethnic (tribal) identity. By exploring material culture, in particular the process of producing and displaying “art” (primitive art or ethnic art), this study investigates the relations between the diverse artistic elements, historical tradition, social rituals and symbolic identity in Panapanayan. The purpose of this study is to further understand the interaction between artistic expression, tribal subjective consciousness and ethnic identity.