- Museography, History Education
- Consulting on History Education Projects
- Project Management, History Education
- Journalism with a focus on history and history education
Fields of expertise
- Art History
- Global History
- Local History
- Histories of Authoritarian Regimes and Dictatorships
- History of Anti-Semitism
- History of Colonialism
- Remembrance / Collective Memory
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André Bossuroy, initially a Civil engineer in Biotechnology, transitioned into film production, specializing in historical narratives. As the general coordinator for MEDIEL, he has been instrumental in creating historical-themed documentary films and interdisciplinary educational workshops. Since 1999, Bossuroy has empowered young Europeans to become citizen-reporters, delving into European history, examining its past, societal norms, institutions, critical questions, and vulnerabilities. One of Bossuroy's notable achievements is the inclusion of his documentary film "Etty Hillesum, The Convoi" in the European Commission's Europe for Citizens programme, highlighting its significance in remembrance. In collaboration with Roman Kroke, Bossuroy led the 'LIVING MEMORIALS' project, focusing on historically significant sites like the House of the Wannsee Conference in Berlin and locations linked to the Jewish Bielski partisans in Novogrudok, Belarus. The project aimed to strengthen the remembrance of Europe's recent history, reflecting on the causes of totalitarian regimes and commemorating their victims, particularly those of Nazism, Fascism, Stalinism, and totalitarian communist regimes.
In 2012 Bossuroy's documentary film "Etty Hillesum, The Convoi" was selected to be part of the 25 iconic projects of the Europe for Citizens programme / REMEMBRANCE of the European Commission. Other television productions followed : - 'Ich bin' (2012) about the White Rose resistance group with Hans and Sophie Scholl (Germany), the Maquis of Vercors and the Rafle of Vel d'Hiv (France) and the Katyn forest massacre (Russia); - 'The Ramparts of Warsaw' (2014) about the Warsaw uprising in 1944; - '30 years ago, the Fall of the Berlin Wall' (2019); - 'Maxime Steinberg, pioneer of the history of the Shoah in Belgium' (2020); - 'Living Memorials, the Wannsee conference and the resistance of the Jewesh Bielski partisans in Eastern Europe' (2021-2022); 'Le réseau d'évasion COMETE, Andrée De Jongh et Nadine Dumon' (2023). These films aim to strengthen remembrance of the recent European history, reflecting on causes of totalitarian regimes in Europe's modern history (especially, but not exclusively, Nazism that led to the Holocaust, Fascism, Stalinism and totalitarian communist regimes) and to commemorate the victims of their crimes.
After starting his career as a Civil engineer in Biotechnology, André Bossuroy chose a cinematographic path by turning to film production. As general coordinator for the MEDIEL’s projects, André Bossuroy develops also intercultural projects based on the production of documentary films and educational interdisciplinary workshops with artists and young people. His films are broadcasted by ARTE.tv, RTBF, VRT and European TV channels. Since 1999, its activities have offered a number of young Europeans the chance to bross the world assuming the role of citizen-reporter. Their reports are an invitation to gain a better understanding of our European society, its past, its ways of living, its institutions, its questions, and its fragilities. In 2021-2022 André Bossuroy implemented, with the pedagogical and artistic director Roman Kroke, the project and concept 'LIVING MEMORIALS' around two historical sites: firstly, the Memorial and Educational Site House of the Wannsee Conference (Berlin/Germany) and, secondly, various sites in and around Novogrudok (Belarus) linked to the history of the Jewish Bielski partisans. At both sites a group of local pedagogues explores the following guiding questions: - What could be understood under the concept of a "Living Memorial"? - How may such a concept enrich the pedagogic practice of international youth encounters by engaging young people more creatively in shaping the narrative at historical sites of National Socialist persecution? - At the same time, how may one protect the "sacred" narratives and authenticity of the sites from inaccurate/inappropriate interpretation, visitor pressure, ...?
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