Territoire et mémoire

1. Présentation

Introduction

Good morning.

he document I’m going to present is a colour photograph taken in a street in Bristol, in the United Kingdom. It shows an empty stone pedestal. This image is directly connected to the notion “Territory and memory”. The main question it raises is: how can public spaces reflect changing attitudes towards history? First, I will describe the photograph in detail. Then, I will analyse its deeper meaning. Finally, I will give my personal opinion on what should be done with such empty pedestals.

Description

Let’s begin with the description. In the centre of the photograph, we can see a large stone pedestal. It is completely empty – there is no statue on top of it. The stone looks weathered, slightly dirty, which suggests it has been there for a very long time. On the front of the pedestal, there is an inscription carved into the stone. It is partially worn out, but we can still read the words: “Erected by citizens of Bristol as a memorial of one of the most virtuous and wise sons of their city.” This inscription glorifies the person who once stood on top of the pedestal. At the foot of the pedestal, a temporary sign has been placed. It reads: “Here stood the statue of Edward Colston, slave trader, pulled down by the people on 7 June 2020.” This modern sign is simple, printed on paper or metal, and contrasts sharply with the old, carved tribute. All around the pedestal, people have left flowers, candles and handwritten messages. Some of the messages seem to be tributes to the victims of slavery. In the background, we can see passers-by in the street. Some are looking at the pedestal; others are walking past as if it were a normal day. The weather looks cloudy, which adds a slightly solemn atmosphere to the scene.

Signification

This photograph is extremely powerful because it captures a moment of historical transformation. The contrast between the original inscription and the temporary sign tells the story of a change in collective memory. In 1895, when the statue was erected, Edward Colston was celebrated as a benefactor. The words “virtuous and wise” show how the city of Bristol chose to remember him. But in June 2020, during a Black Lives Matter protest, the people of Bristol pulled the statue down and threw it into the harbour. The temporary sign corrects the official narrative: Colston is no longer a “virtuous son”, but a “slave trader”. This is a perfect example of how public spaces can become battlegrounds of memory. The flowers and messages at the foot of the pedestal are also significant. They transform the site into a spontaneous memorial, not for Colston, but for the victims of the slave trade. This act of reappropriation shows that ordinary citizens can challenge the official version of history inscribed in stone. The passers-by in the background remind us that this is a living city, and that history is not confined to museums – it is in the streets, in the squares, under our feet.

Lien avec l’axe

This brings me to the notion “Territory and memory”. A public square or a street is never neutral. The statues we choose to erect – or to remove – reveal what a society wants to remember and what it wants to forget. For over a century, the pedestal in Bristol glorified a slave trader, sending a message that this man’s wealth and status were more important than the suffering he caused. By toppling the statue, the people of Bristol reclaimed their public space. They replaced a symbol of oppression with a site of reflection and education. This event shows that territory is a living archive, constantly rewritten by each generation. The temporary sign is a fascinating solution because it does not erase the past – it comments on it. It turns the pedestal itself into a historical document, showing both the old glorification and the modern condemnation.

Opinion personnelle

Now, the question is: what should be done with empty pedestals like this one? In my opinion, leaving them empty is sometimes the most powerful statement. An empty pedestal is a visible wound; it forces us to ask what was there and why it was removed. It is more thought-provoking than simply replacing the statue with a new one. However, I also believe that contextualisation, like the temporary sign, is essential. Without explanation, some people might see only an act of vandalism. The sign tells the full story. Personally, I would prefer to see these empty pedestals kept in place, with informative plaques, and perhaps surrounded by new public art that celebrates the victims of slavery or the heroes of abolition. The empty pedestal then becomes a monument to the idea that history is never finished – it is always open to re-examination.

Conclusion

To conclude, this photograph of an empty pedestal in Bristol perfectly illustrates how public spaces reflect changing attitudes towards history. It shows that monuments are not timeless truths, but products of their time. The empty pedestal and the temporary sign together create a dialogue between past and present. They invite us to question who we choose to honour, and why. For me, this is what a living democracy looks like: a constant, critical conversation about memory, identity and justice.

Thank you.

2. Exemple de questions de l'examinateur et réponses possibles

: Do you think the people who pulled down the statue should have been punished?

Élève : That’s a difficult question. Legally, they damaged public property, which is against the law. However, the jury in Bristol eventually acquitted them, recognising that their action had a moral dimension. I think the legal system was wise to consider the context. The statue had been a source of pain for the Black community in Bristol for decades, and official attempts to add a plaque had been blocked. So, the protesters felt they had no other option. In a democracy, citizens should have the right to challenge symbols of injustice, but I would prefer this to happen through peaceful dialogue and official decisions rather than illegal actions.

Examinateur : Can you think of a similar example in another country or in your own experience?

Élève : In France, statues of figures linked to the slave trade or colonialism have also been targeted. For example, in Martinique, statues of Victor Schoelcher, who abolished slavery in 1848, have been toppled by some activists who argue that he still represented a colonial power. In Paris, streets named after controversial figures have been renamed. The debate is very similar: how do we honour historical progress without excusing the injustices of the past? It shows that this is a global conversation, not just a British or American one.

Examinateur : Some people say removing statues is a form of censorship. What is your response to that?

Élève : I understand the concern. But I don’t think it’s censorship if the statue is moved to a museum, where it can be explained and contextualised. A public square is a place of honour. Keeping a statue there means the community officially endorses that person. Moving it to a museum allows us to remember the person without celebrating them. Censorship would be destroying the statue and pretending the person never existed. Contextualisation, on the other hand, is about adding knowledge, not removing it.