|
|
| |
|
|
|
|
| |
|
 |
|
| |
|
About
us
Awards
Performances
Exhibitions
Festival de l'Imaginaire
Ethnoscenology
International resource center on world performing
arts
Intangible cultural heritage
Cultural engineering
INÉDIT CD collection
The journal International De l'Imaginaire
Training and residency programs
|
|
| |
|
|
|
|
|
MAISON
DES CULTURES DU MONDE (World Cultures Institute) |
 |
| |
|
"Enrichment
results from diversity.
Through self-assertion the individual becomes universal."
The World Cultures Institute was created in 1982 to promote cultural
exchange programs between French and other countries throughout
the world. It is open to all horizons and civilizations, with
a preference for cultural and artistic perspectives rather than
a strictly political focus. It is committed to protecting cultural
diversity and the expression of cultural identities.
Based on its main on-going mission of supporting and sustaining
intangible cultural heritage throughout the world, it focuses
on unveiling the immense diversity of creation and re-creation
through the extraordinary abundance of festivities, rituals, games
and entertain-ment by which man depicts himself. Human beings
express their most personal aspects through the act of creation,
and by opening ourselves to the cultural expressions of others
we come to know each other better and to better understand the
specificity of human nature and the relationship of human beings
to the world.
The World Cultures Institute is recognised in France and abroad
for its pioneering role in :
-protecting and encouraging awareness of cultural diversity and
respect for difference;
-researching and programming intangible cultural heritage performing
art forms;
-founding the anthropological discipline "ethnoscenology", in
conjunction with the interna a-tional academic community and Unesco;
-documenting and recording rare and endangered music.
The World Cultures Institute is not a government office that uses
culture in international relations. It is a place for genuine
discovery and exchanges, and works on behalf of the French Government
in one of its key areas of action : welcoming professionals and
cultural managers from abroad within the framework of a variety
of programs combining visits, internships and training programs
in every cultural field. These programs focus on French cultural
management and organizational methods in all cultural sectors
and offer participants the means to establish a network of contacts
in France.
Founded by Mr Chérif Khaznadar in 1982, the World Cultures Institute
a been successively chaired by the renowned sociologist Jean Duvignaud
(from 1982to 2000) and by the Ministre Emile J. Biasini (from
2000 to 2007). After having directed the Institute from 1982 to
September 2007, Chérif Khaznadar has been entrusted with
its chairmanship. Ms Arwad Esber was appointed Director on October
1st 2007.
The World Cultures Institute is funded by the French
Ministry of Culture and Communication, the city of Paris, and supported by the French Ministry of
Foreign Affairs, and the Alliance Française.
|
|
| |
|
|
|
|
|
AWARDS |
|
| |
|
The "Prix Diderot Universalis" of 1989 was awarded to
the Maison des Cultures du Monde for its efforts to popularise traditional
and modern forms of theatre.
The France-Korea Cultural Award of 1999 was conferred to the Maison
des Cultures du Monde for its commitment to the promotion of Korean
arts and performances.
The French-Taiwanese cultural foundation Prize of 2004 was awarded
to the Maison des Cultures du Monde for its commitment to the promotion
of Taiwanese cultures. |
|
| |
|
|
|
|
|
PERFORMANCES |
|
| |
|
"There is no one single culture ; there are cultures."
Over the centuries, people have created the means and forms of their
own expressions, using the cultural attributes of their neighbours
at random – as historical bonds or conflicts provided –
and remodelling them according to their needs, tastes, fears and
beliefs.
At a time when no one spoke of globalization, cultural diversity,
or intangible cultural heritage, Chérif Khaznadar established
the Festival for Traditional Arts in France (Rennes) in 1974.
The Maison des Cultures du Monde is convinced that knowledge of
others comes for discovery of their intrinsic cultures and that
these cultures are in a process of continuous renewal. Since the
time of its founding, it has been dedicated to the astonishing wealth
of cultural expression, regardless of place of origin, form (music,
performance, fine arts), whether traditional or contemporary, erudite
or widespread, professional or amateur, literary or oral, erudite
or widespread, minimalist or sophisticated.
The importance and success of this action can be measured by looking
at the number of programs and festivals that have followed in its
footsteps and the numerous performances from abroad and world music
concerts that now take place in Parisian, French and European venues.
The Institute for World Cultures programs exclusively forms that
still have a profound meaning and important purpose for the people
who perform them, focusing on the question of the human path: where
do we come from, where are we going? It does not limit its interest
to "traditional“ forms, but is also strongly committed
to presenting contemporary forms when these are rooted in the imagination
of a people and a society and not merely the pale reflections of
Western models. Artists are often from an ethnic background and
are usually considered, in their own countries, as “backward”
and their art as “primitive”.
Due to this undermining, young generations are less and less inclined
to perpetuate the traditions of their ancestors and there is a high
risk that this precious heritage will soon disappear forever. However,
this process is reversed when these groups are invited to perform
in Paris and other European cities and are acclaimed with great
success. By consistently skirting the pitfalls of the star system,
the World Cultures Institute brings recognition to hitherto unrenowned
artists, thus giving them the opportunity to launch an international
career (e.g., Alim Qâsimov, virtuoso of Azerbaijani mugam,
or Faiz Ali Faiz, Pakistan’s golden voice) and often confers
the visibility required to ignite the revival of an endangered art
form (e.g., the Muqam music of the Dolan, a Uighur sub-group living
in the desert of Taklamakan, in the center of Xinjiang, China).
|
|
| |
|
|
|
|
|
EXHIBITIONS
|
|
| |
|
The World Cultures Institute has also achieved considerable success
in the promotion of fine arts, notably in the field of contemporary
art. It has hosted exhibitions such as New Trends in New York,
Terrae Motus (Italy), Zhang Peili (China), Moon in Soo (Korea),
Rei Naito (Japan), A Su Wu (Taiwan), The Mask and the Five Worlds,
Wooden Sculptures of the Paiwan (Taiwan), Fabric Design (Syria),
Naïve Art from Brazil, Paris- scène du Monde...
|
|
| |
|
|
|
|
|
FESTIVAL
DE L'IMAGINAIRE* |
|
| |
The
14th edition of the festival should take place between March 8th and April
18th, 2010. |
|
|
*
Much more than just imagination, the word “imaginaire”
also implies the rich and boundless capacity for imaginative thinking
innate in human beings, our imaginative spirit, our creative ethos.
"A landmark event for the least known
expressions of intangible cultural heritage.
An open stage for young artists constantly working on re-creating
their own culture.
A tribute to the modernity of living traditional cultural art
forms around the world.
An ongoing effort against stylisation and the uniformization of
cultural expressions."
The
Festival de l'Imaginaire, established in 1997, is held each year
in early spring and featu-res about 15 groups of traditional performing
artists. Most of the artists are performing in France for the
first time, or there may be "comebacks" after several years of
absence, either to cater to the desires of a new generation of
spectators or to introduce new talents to the international scene.
During the festival, it is not uncommon to watch great masters,
guardians of tradition, performing alongside young artists eager
to enrich and revive age-old art forms.
Over a period of one month, around March and April, the festival
is held at several wellknown Parisian venues (The Alliance Française
Theatre, the Amphitheatre of the Opéra Bastille, the Auditorium
of the Louvre Museum, the Zingaro Equestrian Theatre, etc.) and
marshals the energies and enthusiasm of other regional and European
institutions that want to introduce as yet unknown cultural forms
to European audiences.
The festival strives to constantly kindle spectators' curiosity
with a three-pronged approach: Exploration, Discovery and Revelation.
Each performance is put through a painstaking field study before
selection. The decision to schedule a given art form on the Parisian
cultural scene is not taken lightly: the choice is based on several
parameters, in particular, the esthe-tic yardstick of the culture
in which this art form originated, and the risks inherent to trans-planting
it into a "foreign" environment. A large network of consultants,
cultural advisors and associates assure this phase of extensive
research and the preliminary groundwork: anthropo-logists, theatre
people, local consultants, and others work to ensure that the
programming remains true to its meticulous standards and philosophy.
In 2006, Chérif Khaznadar entrusted Arwad Esber with the artistic
direction the Festival de l'Imaginaire and appointed her Director
of the World Cultures Institute in 2007. With one foot in western
culture and the other in oriental culture, she is particularly
sensitive to questions of respect for the right to difference
and for cultural diversity. While observing the founding purpose
of the festival, she wants to develop the festival further in
three main direction: -doing research on unknown expressions of
intangible cultural heritage and promoting the transmission of
these cultural expressions to new generations; -focusing special
attention on countries which have, throughout the years, witnessed
the multiplication of its peoples and cultures and presenting
the results of such crossbreeding;
-seeking artists among the new generations who have been able
to recreate their traditions according to their own cultural assets
and to produce new creations.
-further developing of educational and outreach activities, and
the launching of a Master Class program.
The festival is also a forum for reflection and for debate. Symposiums,
round tables, conferences, lecture-demonstrations and other activities
highlighting issues of cultural interest or of social concerns,
offer new landmarks, thus broadening our vision of the world.
The festival is funded by the French Ministry of Culture and Communication,
the City of Paris, The French ministry of Foreign Affairs and
the Alliance Française. It is also strongly followed and
supported by important French media.
|
|
| |
| |
|
|
|
|
|
ETHNOSCENOLOGY |
|
| |
|
"Avoiding ethnocentrism in the study of performing arts
and practices in their cultural, historical and social context."
The term ethnoscenology was first coined in 1995 in Paris. The concept
was born of a scientific need defined by the Institute for World
Cultures and the specialized Research Laboratory on the Study of
Human Performing Phenomena of the University of Paris VIII Saint-Denis.
The founding symposium was organized under the auspices of UNESCO
on May 3, 1995. The discipline attempts to view the immensity of
human expression with new eyes, through an array of performances
juxtaposed with a study of forms, avoiding all hierarchies and exclusions:
theatre, music, dance, masked games, puppets, shadow shows, rituals,
coded tracings, etc., all these and more find their way into ethnoscenology's
sweeping embrace.
The aims of this new field which comprises anthropology of theatre,
ethnology, musicology and sociology are manifold :
- to question the way we look at the immense diversity of human
expression, today endan-gered by the ramifications of "mass production".
The dubious terms "universality" and "fusion" have in fact reduced
observers' capacity for objectivity. The universality of cultures
can only be achieved at the expense of the weaker ones - progress
in technology automatically favors the stronger cultures. Ethnoscenology
is thus an unswerving champion of diversity;
- to forge a concept, a notion, a method and to bring together all
that lies scattered. To tirelessly explore and publish inventories
and research findings. To patiently but firmly remind people that
forms as diverse as the Gambuh from Bali, the Kagura from Japan,
the Teyyam from India, the Tchiloli from São Tomé, the Sulamiyya
rituals from Tunisia, or the Diablada from Bolivia, are full-fledged
art forms, and not - as is often condescendingly implied - poor
relatives of Western theatre, itself a relic inherited from ancient
Greek drama;
- to emphasise that these art forms obey other rules, meet other
criteria and are appraised by other value systems
Through the study of these forms, using all the possible means at
our disposal today and by correlating them, we will eventually witness
the emergence of a new field of scientific enquiry, shorn of all
ethnocentricity.
Several meetings, symposiums, seminars and workshops have been held
since the official "birth" of ethnoscenology: in Paris
(UNESCO and the Maison des Cultures du Monde), in Cuernavaca (Mexico),
and in Salvador de Bahia (Brazil).
Ethnoscenology is now taught in several French universities such
as Paris VII, Paris VIII and Paris X. |
|
| |
|
|
|
|
| |
|
|
INTERNATIONAL RESOURCE CENTER ON WORLD PERFORMING ARTS |
|
|
|
The Center, located in a former Benedictine priory in Vitré,
one of the oldest cities in Brittany. The restauration of the historical
building of the Resource Centre was jointly funded by the city of
Vitré, the Departmental Council of Ille-et-Vilaine and the
Regional Council of Brittany.
Documention
The Center has a unique library that covers all forms of traditional
performing arts from all over the world: music, theater, dance,
marionettes, shadow puppets, and rituals. It is based on the archives
of the Maison des Cultures du Monde and the Festival des Arts traditionnels
of Rennes (1974-1983) and includes more than one thousand books
and journals, encyclo-pedias and reference books, 1,500 unpublished
texts (performance programs, reports, papers, theses and travel
notes), 50,000 photos and more than 2,500 sound and audio-visual
recordings.
A digitizing, cataloging and indexing program has organized all
of these documents in a database by topic, genre and cultural area
with a thesaurus of 3,800 key words specially developed for the
needs of the database.
This on-line database, called Ibn Battuta to pay tribute to the
famous 14th-century Moroccan explorer who traveled all over the
world for more than twenty years and brought back descriptions that
were very accurate for the time, is thus a real webencyclopedia
of performance traditions from around the world. Each form is presented
with texts, photos, sound recordings and video sequences.
Education and outreach
The Center’s projects with schools aim to provide an opening
to world cultures. Going beyond typical subjects of learning, the
traditional arts provide an opportunity for dialogue with other
cultures in the course of students’ daily lives. These meetings
with distant cultures give them a new perspective in which to consider
their immediate environment. The topics and issues raised by the
Maison des Cultures du Monde encourage a cross-discipline approach,
and the variety of sources available (books, CD’s, video,
photos, objects) allow for a diversified exploration of traditional
arts.
The potential of the Center’s documents as teaching resources
and tools for reflection are all the greater because they offer
content that is not governed by Western social norms and esthetics.
These activities intended for primary and secondary schools pupils
and for university students are carried out in cooperation with
teachers through topic-based projects such as "Ethnocentrism
– racism", "Funeral Rites", "Initiation
Rituals", "Commemoration of Ancestors", "Afro-Brazilian
Culture", "Masks in Africa", "Ritual and daily
life", "Jewellery", "Theater of the Orient”,
etc.
Cultural activities
The Documentation Center also works on bringing performances from
the Maison des Cultures du Monde’s programs to Brittany by
establishing partnerships with local cultural institutions and acts
as a consultant for performing arts programs.
Since 2007, the center has been organizing temporary exhibitions
based on its collections of objects (masks, marionettes, musical
instruments), workshops, meetings and artist in residence programs.
RESOURCE
CENTER ON
WORLD PERFORMING ARTS
2 rue des Bénédictins
35500 Vitré, France
Phone : 33 (0)2 99 75 82 90
Fax : 33 (0)2 99 78 82 93
documentation@mcm.asso.fr
|
|
| |
|
|
| |
|
|
THE PERFORMING ARTS AND WORLD PORTAL
|
|
| |
|
Several key public institutions involved in the dissemination and documenting of world musical traditions, including the Cité de la Musique, the Maison des Cultures du Monde, the Musée du Quai Branly and the Théâtre de la Ville, have teamed up to develop a portal offering access to their audiovisual archives. The portal aims to contribute to our knowledge of these traditions based on archives dedicated to the performing arts, improve the visibility of stakeholders and resources, and help preserve this intangible heritage through digitisation.
It brings together records of recorded music and audio and video extracts, revealing the diversity of programming in the field. Some this collection was digitised in 2008 as part of the national digitisation plan, and the lexicons of partner catalogues have been merged and standardised.
 www.spectaclesdumonde.fr
|
|
| |
|
|
| |
| |
|
|
INTANGIBLE
CULTURAL HERITAGE
|
|
| |
|
"The
practices, representations, expressions, knowledge, skills –
as well as the instruments, objects, artefacts and cultural spaces
associated therewith – that communities, groups and, in some
cases, individuals recognize as part of their cultural heritage."
As President of the Culture Committee of the French National Commission
for Unesco, Chérif Khaznadar has played an important role
in drafting the Convention for the Safeguarding of the Intangible
Cultural Heritage (ICH). This convention was adopted in 2003 and
is currently being ratified at a steady pace by member states around
the world. It should be implemen-ted as of 2009.
The intangible cultural heritage, transmitted from generation to
generation, is constantly recreated by communities and groups in
response to their environment, their interaction with nature and
their history, and provides them with a sense of identity and continuity,
thus promoting respect for cultural diversity and human creativity.
For the purposes of this Convention, consideration will be given
solely to such intangible cultural heritage as is compatible with
existing international human rights instruments, as well as with
the requirements of mutual respect among communities, groups and
individuals, and of sustainable development.
The ICH as defined above is manifested in the following domains
among others :
:-oral traditions and expressions, including language as a vehicle
of the intangible cultural heritage;
;-performing arts;
;-social practices, rituals and festive events;
;-knowledge and practices concerning nature and the universe;
;-traditional craftsmanship.
.
The ICH is traditional and living at the same time. It is constantly
recreated and mainly transmitted orally. It is difficult to use
the term authentic in relation to ICH; some experts advise against
its use in relation to living heritage.
The
Wolrd Cultures Instituteorganizes, during each editionof the Festival
de l’Imaginaire, an ICH workshop co-organized with the UNESCO
Division of cultural heritage.
|
|
| |
|
|
|
|
|
CULTURAL
ENGINEERING
|
|
| |
|
Cultural programming, especially in the field of traditional arts,
entails a particular know-how that the World Cultures Institute
has acquired through the organization of many festivals, events
and festivities at the request of public authorities and private
bodies. It has organized numerous prestigious events, including
the Grand Mela that marked the opening of the Year of India in France
(1985), and reciprocally, the French Mela in India (1989), the Carnival
of Venice in the Palais Royal Gardens (1987), the concert of Sacred
Music of the World at the Pantheon (1992) and the Icelandic Fortnight
(2004).
The World Cultures Institute has also been in charge of the programming
of the Mawazine-Rhythms of the World Festival in Rabat, Morocco
since 2002 and of the Islamic world music programs of the Louvre
Museum since 2004. It has been a co-organizer of the Asilah Forum
in Morocco since 1982. It organized the first “Conference
on Music in the World of Islam“ which took place in Morocco
in August 2007. The goal of this Conference was to encourage the
vitality and the diversity of the traditions and musical practices
of the world of Islam today and to promote greater circulation of
knowledge and practices in a spirit of tolerance and mutual recognition.
The French Ministry of Culture and Communication and other governmental
bodies also frequently call on the World Cultures Institute the
organization of international meetings, such as Europe in Paris
(1992), Europe Culture Horizon (1994), the Colors of Freedom (1994),
the European Conference of Recording Industries (1996), the Slovakian
Presence (1996), the Symposium on Japanese Architecture (1997),
the Franco-Japanese Cultural Summit (1997), and the Iceland Fortnight
Festival (2004).
|
|
| |
|
|
|
|
|
INÉDIT
CD COLLECTION |
|
| |
|
"Documenting and recording rare and endangered music."
"World traditional music" has braved considerable changes
over these last few years. Today the heading "world music"
encompasses a variety of genres: from traditional music –
both erudite and popular - to international pop and urban foreign
music. The INEDIT series, founded in 1985 by Françoise
Gründ and led since 1999 by ethnomusicologist Pierre Bois,
is the World Cultures Institute’s answer to the ever-evolving
trends and the confusion of genres that prevail in the market.
It is the alternative born of our commitment to defend the
integrity of living cultures and repertoires emanating from tradition.
The INEDIT series, recognizable for its singular world view, is
a mirror to the musical discoveries offered by the World Cultures
Institute (live concert recordings), a means for ethnomusicologists
to publish field recordings and an active memorial dedicated to
the preservation of endangered forms of the world musical heritage
(through anthologies and complete series). Each CD contains extensive
information in the form of a bilingual (sometimes trilingual)
booklet written by ethnomusicologists and researchers. The series
has received more than 180 awards and citations for its relentless
quest for quality and originality, both "trademarks"
of the World Cultures Institute. With an average turnout of six
releases per year and also available in download and streaming
on major e-stores, the catalogue of the INEDIT series currently
contains 130 albums.
Alim Qâsimov, Aqakhan Abdullaev, Ida Widawati, Davlatmand,
Abida Parveen, Aïcha mint Chighaly, Okna Zam Tsagan, Faiz
Ali Faiz, Hukwe Ubi Zawose and Gigi are a few examples from among
today’s internationally acclaimed artists who recorded their
first album with Inédit.
|
|
| |
|
|
|
|
|
| |
|
|
THE
JOURNAL INTERNATIONALE DE L'IMAGINAIRE |
|
| |
|
This journal, formerly directed by Jean Duvignaud (the renowned
sociologist, President of the World Cultures Institute from 1982
until 2000), seeks to highlight the multiple aspects of creation
present in different regions of the modern world. Each issue invites
writers, artists and specialists from the world of performing
arts to discuss and debate on a wide range of topics, such as
“ethnoscenology”, “world music”, “cultural
crossbreedings”, “the body as a taboo”, “intangible
world heritage”, and many others.
The journal Internationale
de l'Imaginaire is a forum for debate. Like the World Cultures
Institute itself, it seeks to highlight the multiple aspects of
creation present in different regions of the modern world.
The journal avoids dogma and ideology and is committed to independent
reviews, scientific and literary testimonies, reassessment of
heritage, and information on the mutation of cultural forms.
Each issue brings together writers, artists, specialists and people
from the world of performing arts for wide-ranging discussions
on a given topic; discussions that inevitably give rise to appraisals
as well as new perspectives for the future.
The Internationale
de l'Imaginaire can boast of an impressive array of bylines
such as those of Jacques Berque, Jean-Paul Aron, Malek Chebel,
Renaud Camus, and Gilbert Rouget, but it also provides space for
young researchers. More than forty issues of the journal have
been published in association with Babel / Actes Sud since 1994.
Since 2008, the journal specifically focuses on intangible
cultural heritage topics.
|
|
| |
|
|
|
| |
| |
|
|
TRAINING
AND RESIDENCY PROGRAMS |
|
| |
|
"Dynamic
networks for cultural leaders from abroad.
Over 2700 professionnals invited since 1992."
Welcoming professionals from abroad to France is one of the key
international areas of action of the Ministry of Culture and Communication.
Because it helps build long-term networks for exchange, this policy
meets one of France’s primary goals: the promotion of cultural
diversity. It takes the form of visits, internships and training
programs in every cultural sector. The European and International
Affairs Department of the French Ministry of Culture and Communication
entrusted the organization of these programs to the World Cultures
Institute in 1994.
World Trends Program (Programme “Courants”)
A dynamic network materialized through this interactive directory
of professionals around the world who hold positions of responsibility
and who are confirmed specialists in their field of activity, creating
sustained co-operation and exchange activities in the field of culture
between France and foreign countries.
The most frequently requested fields include cultural management
and administration, books and reading, decorative and fine arts,
museums, audio-visual and multimedia, performing arts, archives,
heritage, publishing, libraries, architecture and city planning.
This program, set up and administered by the Institute for World
Cultures, receives the support of the European and International
Affairs Department as well as that of the various specialized Divisions
of the Ministry of Culture and Communication. It also relies on
a large network of public and private cultural infrastructures,
whose broad range of competencies covers every aspect of modern
cultural activities.
1) Training workshops & seminars
These take place all year round in Paris and other French cities
and aim at providing cultural leaders with practical tools for the
analysis, design and management of cultural projects and institutions.
At the same time, these workshops promote the creation of networks
of cultural leaders from around the world.
Interaction among specialists in smaller groups is encouraged around
specific technical topics over a two-week period. The participants
take part in training courses and information sessions held by both
academics and practitioners, meet up with leaders of French cultural
institutions, visit a large number of cultural organizations and
participate in discussions and debates. There are currently eight
of these programs per year :
> Leading and Managing Cultural Projects (French speaking professionals);
> Cultural Industries in Europe and in the Euromed countries
(bilingual);
> European Seminar for Curators (bilingual);
> Cultural Policies and Cultural Administration (French speaking
professionals);
> Financing and Economics of Culture (French speaking professionals);
> Archival Theories and Practices (French speaking professionals);
> Managing Library Projects (French speaking professionals);
> Electronic Resources in Librairies (French speaking professionals).
2) Cultural residencies and individual networking programs
Every year, the World Cultures Institute invites 50 to 60 cultural
professionals for custom-designed programs to promote exchanges
of know-how between participants and their French counterparts and
to encourage partnerships. These two-week programs are intended
for cultural leaders in the following fields: fine arts, museum,
theater, circus, music, dance, cinema, archive, library, architecture,
city planning and heritage.
3) Bilingual Art Administrator Exchange Programs
Expertise projects are organized for non French-speaking professionals
upon request from foreign institutions* with the European and International
Affairs Department of the Ministry of Culture and Communication,
according to pre-established agreements.
Some of the specific topics that have been addressed so far are:
Film preservation, heritage preservation and promotion, music industry
and property rights, design, prehistoric rock art, organization
of festivals, publishing industry, educational and outreach policies
in the field of Arts and Culture, creative centers formed from grassroots
artistic initiatives and founded with the involvement of communities,
etc.
*USA - French-American Foundation
Japan- Japan Foundation for Regional Art Activities (JAFRA)
Taiwan - Ministry of Culture
Korea - Korean Culture and Arts Foundation
South Africa (Department for Arts and Culture)...
Starting January of each year, application forms may be downloaded
from www.mcm.asso.fr or from the French Embassy’s Service
for Cooperation and Cultural Action (SCAC) website in the candidate’s
country of residence.
Online
alumni directory : www.mcm.asso.fr
|
|
| |
|
|
|
| |
|
|
|
| |
|
|
|
|
