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Բանբեր հայագիտութեան/Journal of Armenian Studies, 2021

Eleonora Duse (1857 1923), considered the queen of Italian classical theater, had occasional contacts with Armenians during her lifetime, although there were quite few in comparison with those of her famous contemporary and competitor, the legendary French actress Sarah Bernhardt 1. of the Divine Duse as Victor Hugo called her are significant, even if some of them may have been fictional in their nature.

In this interview Helen De Cruz, Associate Professor (Senior Lecturer) of Philosophy at Oxford Brookes University, talks about growing up near Ghent, Belgium, Black Pete, her early obsession with the Italian Renaissance, homo universalis, being unimpressed with Hume, dialup, naturists, Lute, English folk music, steampunk, studying art at Ghent University, comic books, Birth of A Nation, why post-18th century music took a nosedive, meeting her husband, soft money, criticisms of the Templeton Foundation, water color and digital painting, the unpleasantness of philosophy majors, losing interest in Vermeer, getting into philosophy via a non-western route, working as a security guard, deep, sometimes creepy, philosophical conversations with her kids, notched artifacts and the cognitive science of mathematics, emic and etic perspectives, The Formal Epistemology Project at University of Leuven, working in a department that was not friendly to women, a bad interview at the Eastern APA, overcoming workaholism in Oxford, science and religion, Plantinga, the God Helmet, her interviews with philosophers working outside of academia, our duties to the community and the aim(s) of What Is It Like to Be a Philosopher?, working on a book about philosophical science fiction with Eric Schwitzgebel, explaining religion to extraterrestrials, The Arrival, The Thirteenth Floor, Leiter and how the internet can make philosophy flatter, job mentoring and Philosopher’s Cocoon, Mengzi, Bryan Van Norden, the Analects, al-Ghazali, Brexit, xenophobia, misogyny, and Kate Manne, Descartes, music recommendations, and her last meal…

SFU educational review, 2019

2018

the areas of didactics, multi/ interculturalism and human rights education. Author of dozens of books and articles on these subjects, she was a member of the committee that elaborated the National Plan for Human Rights Education, in Brazil, and is co-founder of the NGO NovAmerica, whose activities include human rights education within both school and nonformal educational contexts. R (Ralphn Ings Banell): How did you get involved in the field of human rights? V (Vera Maria Ferrão Candau): The truth is that my involvement had different moments. Remembering, today, my trajectory in relation to this topic, my first moment was related to my activity in the student movement at university. My undergraduate degree was in pedagogy in the beginning of the 1960s. These were times of great social and political mobilization. I participated actively in the student movement. Questions related to Brazilian reality-inequality, agrarian reform, educational policy, amongst others-as well as the Latin American context, such as the Cuban revolution, occupied different spaces within the university. So, more than a conceptual approximation to the problematic of human rights, I was involved in actions of denunciation and with the movement to construct a more just and democratic society. Before the beginning of the military dictatorship in Brazil, I won a grant to do postgraduate studies at the University of Louvain, in Belgium. There, I experienced the other side of the human rights question: being a foreigner, who was considered academically "inferior", an object of prejudice and discrimination. I hadn't had this experience before. It was very difficult, not only personally but collectively, and we Latin Americans, together with the Africans, had our meetings and associations where we shared our experiences. At the end of the 60s, I went to Spain to do my doctorate. These were the years of the Franco dictatorship. There, for the first time, I came to experience what it was to live in a dictatorial regime. On my return to Brazil, our dictatorship was already fully installed and the struggle in defence of human rights considered subversive. These were the so-called "lead" years in which the "culture of silence" was imposed. But, in spite of the institutionalised violence, the struggle for democratisation gradually imposed itself and, in the 80s, a democratic transition was affirmed, with the elaboration of a new constitution , approved in 1988, known as the "Citizenship Constitution" because of the extent to which human rights were incorporated into the text. These were times of much discussion, with strong social participation of different groups and organisations, of great enthusiasm and creativity.

interview with Colombian woman peace activist conducted at tamera

Having initially followed a scientific route at university (she did part of a degree in Biology at the

Interview about the book Paul Bowles-The New Generation: Do You Bowles? Jan. 27, 2015

Collective Situations, 2020

Callaloo, 2011

CARRILLO: "Lundu" is a word that means "successor" in the Quicongo language, which comes from Angola. It's a word that came to Peru through the northern region of the country, the Saña region. And currently it's a cultural root, a root from which have emanated many dance and musical manifestations. In Brazil, it's what they call the "ombligada." It's the belly dance from which "samba" comes. Generally speaking, lundu was a manifestation, a dance that made strong references to sexuality and procreation; it was a very erotic dance. That's why when the city of Saña was wiped out by flooding, the Catholic Church said it was because of lundu, because the lundu dance had invoked evil spirits, because it was a very sinful dance. In that sense, lundu has the meaning of "successor" but also a countercultural meaning. JONES: Are you the founder of this organization? And why the name LUNDU? CARRILLO: Yes, I'm the founder. And the name was chosen precisely because of its meaning of "successor." That implied talk of a new, avant-garde generation with new ideas in relationship to the Afro-descendent movement. That also had a meaning pertaining to a sort of generational change, although not necessarily about working with young people, or young people for young people. There's the notion that there's only one identity that you can have as a young person, that you're good and pure. But in reality, I don't agree with this type of concept. Yes, you are young, but it's only for a period of time in your life. So the meaning of "successor" is about intergenerational perspectives. From a counterculture perspective, the word "lundu" was stigmatized by the Catholic Church because of its bad connotations of eroticism or its sexuality. But we can use the word "lundu" in a different context, to address sexuality or sexual identity. LUNDU's main mission is to promote grassroots organizations comprised of Afro-Peruvians, particularly young people and children, with an emphasis on gender issues. And LUNDU is also dedicated to promoting new political and cultural understandings of racism, sexism, homophobia, and other types of discrimination. We want to have a lighthearted perspective regarding our Afro-descendance. LUNDU offers people new ways of understanding * This interview was conducted on June 26, 2007, at the offices of LUNDU in Lima, Peru. C A L L A L O O art and of using this art as a methodology through which a political proposal can be generated. That's the idea. JONES: Tell us more about the programs that LUNDU offers. CARRILLO: Recently, we've strengthened a great deal the work with children because they're a population that's not tended to, and we're going to work more with the elderly. Our goal is to promote the growth of the Afro-Peruvian population, to promote the betterment of their quality of life. That's like our recurring theme for the next ten years. Development takes place through two factors. One is the deconstruction of internal racism so that later, a new thing can emerge. The methodology that we've proven and validated through the years is a very introspective and subjective methodology. The other factor is to improve people's quality of life through public campaigns, health, education, but also through the generation of development campaigns with the help of industry and the development of spaces so that participants can have access to higher education so the population can be educated. And through education they themselves can generate improvements in their lives. Our goal is to give the Afro-Peruvian population tools, especially the children and the young people, so that they can be capable of forging their own development by using psychological tools, using art. We're working on two main projects. One is the black aesthetic, which promotes a better quality of life for children in very marginalized areas, in very poor places, with high levels of malnutrition, high levels of violence. The other project in rural areas, which are the symbolic sites of Afro-Peruvians, is that we're focusing very much on the subject of sexual tourism and the subject of internal racism. They are two paths, the urban and the rural, and the moment will come when they both meet. The other point that's very interesting is that we want to introduce into the marketplace a new Afro-descendant aesthetic that transcends the utilization of the body as your only capital-your body for dancing, for playing. We want to use the visual arts, poetry, painting, so that this, too, can be introduced into the marketplace. Another facet we have is political, and we've launched a campaign called "Racism No More" that aims to make visible not only the work we do but also deals with the high levels of structural and quotidian racism that is experienced in Peru. There are certain jobs in which we expect to find blacks, carrying out dead bodies in hotels, blacks dressed in red manning casino doors, or with bones in their hair to promote African pieces. And the day-today aggression can be eliminated. That's another part of the job. JONES: How did you become interested in issues of racism and discrimination, and how did you found LUNDU? CARRILLO: I founded LUNDU when I was twenty-one years old. It was something I wanted to do since I was young. I earned money from another job. I worked for an organization for women, creating radio programming, campaigns, inquiries about violence against women, since 2001. I've done that job until last year. It's been very good because I acquired the feminist perspective from being in the trenches. At the same time, I worked