2024-01-19 06:30:11
As soon as Rachida Dati’s name came out of the hat on January 11, the creative galaxy made its phone crackle with a Pavlovian reflex: “Have you encountered her in your theater, your museum, your concert hall? » No. And as she could have been named elsewhere, that her target is Paris, that she has Brigitte Macron and Nicolas Sarkozy in support, you get frank hostility from the culture house.
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Why more hostile than for others before her, with such a right-handed profile? No doubt Rachida Dati is not familiar with the mechanisms of cultural exception and the mechanisms of her tribes. But neither have most of the twenty-seven ministers who preceded her since 1959. We will not, out of charity, recall the ordeal of some.
Only André Malraux and Jack Lang succeeded. They were well prepared and lasted ten years, compared to two on average. They were known both to the public and to the cultural community. What is atypical about Dati is the deep gulf between the two, even if one underestimates his networks in art.
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No, if it worries the cultural world so much, it is for another reason: most ministers, especially those who are not in construction but not only, were afraid of artists. Dati doesn’t know much about it, but she’s not afraid. She won’t be afraid of the hazing of making her comment on the last book she read or the last play she saw. While Christine Albanel was tarnished upon her nomination in 2007 for having tarnished the name of the conceptual artist Daniel Buren, Dati will be able to cite a boulevard pochade with relish.
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A character in a novel, she has already been the subject of four books which praise her nerve or her cynicism, her courage or her careerism. She has always grown up denouncing the illegitimacy of the trial and the class contempt of the elites. Applied to culture, posture can do damage. What has she been saying for eight days? “You do not recognize me because I am not from the seraglio, not from yours, not from the left; but I am the daughter of a Moroccan mason and if you look for me, you will find me. »
In his book of interviews with Claude Askolovitch, I make you judges (Grasset, 2007), the former Minister of Justice identifies with the youth of the neighborhoods, who do not have the codes, “not the same culture”feels like stones are raining on her like in the movie Raining Stones (1993), by Ken Loach, a social and angry filmmaker whom she admires.
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So when we close the door on her, she forces it. As a teenager, she wrote to the singer Alain Souchon, with whom she maintained a twenty-year correspondence, or to the conductor Jean-Claude Casadesus (Rachida Dati. A French ambitionby Lionel Cottu, First, 2007).
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