Decolonialization

Federally-recognized tribes must adapt to many ecological challenges arising from climate change, from the effects of glacier retreat on the habitats of culturally significant species to how sea level rise forces human communities to relocate. The governmental and social institutions supporting tribes in adapting to climate change are often constrained by political obstructions, raising concerns about justice. Beyond typical uses of justice, which call attention to violations of formal rights or to considerations about the degree to which some populations may have caused anthropogenic climate change, a justice framework should guide how leaders, scientists and professionals of all heritages and who work with or for federally-recognized tribes understand what actions are morally essential for supporting tribes’ adaptation efforts. This paper motivates a shift to a forward-looking framework of justice. The framework situates justice within the systems of responsibilities that matter to tribes and many others, which range from webs of inter-species relationships to government-to-government partnerships. Justice is achieved when these systems of responsibilities operate in ways that support the continued flourishing of tribal communities.

The dislocated, deterritorialized discourse produced by repatriates from formerly European colonies has remained overlooked in academic scholarship. One such group is the Eurasian “Indo” community that has its roots in the former Dutch East Indies, today’s Indonesia. This article focuses on Tjalie Robinson, the intellectual leader of this community from the 1950s to the mid-1970s. The son of a Dutch father and a British-Javanese mother, Robinson became the leading voice of the diasporic Indo community in the Netherlands and later also in the United States. His engagement resulted in the foundation of the Indo magazine Tong Tong and the annual Pasar Malam Besar, what was to become the world’s biggest Eurasian festival. Robinson played an essential role in the cultural awareness and self-pride of the eventually global Indo community through his elaboration of a hybrid and transnational identity concept. By placing his focus “tussen twee werelden” (in-between two worlds) and identifying “mixties-schap” (mestizaje) as the essential characteristic of Indo identity, Robinson anticipated debates on hybridity, transnationalism, and creolism that only much later would draw attention from scholars in the field of postcolonial studies. This article highlights Robinson’s pioneering role in framing a deterritorialized hybrid alternative to nationalist essentialism in the postcolonial era.

This article draws on the epistemologies of the south, namely decolonial theory, to point to the analytical and interpretive limitations of northern theories of globalisation. It gestures toward decolonial globalisation studies to provide an alternative reading of global justice movements, including university student movements in Latin America. Moreover, it maintains that situating university student movements geopolitically provides a valuable way out of the theoretical limitations of critical globalisation studies informed by northern perspectives. By adopting a geopolitical perspective, decolonial globalisation studies unsettles and provincialises the central myth of modernity, which portrays the emergence of modern institutions and globalisation as endogenous European and Anglo-American phenomena subsequently diffused to the Global South. Finally, this article addresses the need for decolonial globalisation studies to ground its theorisation in alternative sites of knowledge production.

Theorizations on Western Muslim identity that are multi-layered and
grounded in actual Western Muslim experiences are hard to find.
Two exceptions to this are The Road to Mecca by Muhammad Asad
(1954/2005), and Islam is a Foreign Country by Zareena Grewal
(2014), rich texts that span across six decades. Asad’s classic account
of a European convert’s nested journeys and Grewal’s historical
ethnography of American Muslim student-travelers offer readers an
opportunity to examine how theorizing Western Muslim identity
has changed and to ask: How does theorizing Western Muslim
identity construct itself? What does it construct itself against? What
are some of the assumptions and contradictions that it tells us? In
this essay review, I look at how travel, particularly travel as a quest
for knowledge, has served as a way of becoming a sovereign
human subject at home in the West through travel to the East. I
argue that, paradoxically, Western Muslims may retrieve sovereignty
through a process of becoming Western constructed against an
Eastern Other. Juxtaposing Asad’s and Grewal’s writings shows
conceptually similar blind spots that reveal the paradox of this
pursuit of subjecthood. I argue that the strategies illustrated by the
protagonists in the two texts utilize an Orientalist gaze within a
framework of a Western human subject that entrenches the eternal
Otherness of Western Muslims, even as it secures a Western
selfhood for its individual subjects. In doing so, I seek to contribute
to a broader debate in curriculum studies on anti-racism,
decolonization and racialized minorities by complicating the frame
of inclusion for equality.

In "Ethics: Subjectivity and Truth" (1998), Michel Foucault states that before a person can reach a spiritual transformation, they should seek the very truth that will leave one transformed, a phenomenon he describes as "techniques of the self." Additional theorists and philosophers, such as explore the relationship of the self to "the other" in their theoretical texts. Through a careful analysis of decolonial and philosophical ideas about identity, I critically analyze the journey and eventual transformation that fictional character Micaela (also known as Lorenzo) undertakes in Emma Pérez's novel "Forgetting the Alamo, or, Blood Memory." Micaela struggles with the resilience of the "coloniality of power" in her everyday life as it leaves her angry, hateful and "uncivilized." I address questions about barriers that make personal transformations difficult. Micaela's retelling demonstrates that cycles of violence can stop if one begins with the self. In this manner, she repudiates the dominant power structures while transforming her soul.

O artigo tem como intenção analisar as associações comumente feitas entre representação e representatividade, que supõem que a representatividade entre produtores leva necessariamente à representação positiva de determinados grupos e minorias sociais em obras faccionais, ou que toda e qualquer representação ficcional levam à representatividade positiva (no sentido de identificação, aceitação e reconhecimento) de determinados grupos sociais nessas obras. Para isso, são propostas reflexões sobre as (não) falas das personagens protagonistas do vídeo Angry black woman (Porsha O., 2014) e do filme Vênus negra (Abdellatif Kechiche, 2010).

O campo da EA é composto por diversas  identidades que refletem distintas concepções de relação sociedade-natureza. Tais perspectivas vão apontar para específicas práticas e políticas que direcionam a forma de atuação no campo. Para contribuir com reflexões no campo da EA e para desenvolver pedagogias conectadas com as demandas e características dos povos latino-americanos em situação de vulnerabilidade socioambiental, é necessário enfrentar e superar a colonialidade pedagógica. Para tal, trata-se de reconhecer e problematizar que junto com o silenciamento das culturas foram silenciadas suas pedagogias que continuaram sobrevivendo na clandestinidade. Esse capítulo busca tecer relações entre o campo da EA crítica, o pensamento decolonial e a ecologia política, no sentido de defender uma identidade para a perspectiva da educação ambiental “desde el Sur”. Em termos de delimitação metodológica, partimos de uma revisão bibliográfica e da análise de conteúdo de acordo com Bardin (2009). Como corpus do capítulo, foram analisados autores específicos da Educação Ambiental, da Ecologia Política e dos Estudos Decoloniais. O que estamos chamando de Educação Ambiental desde el Sur se alimenta destas correntes de pensamento. Os processos de resistência dos grupos subalternizados pelos modos de fixação dependem de uma tomada de posição, e os exemplos retirados de pensadores como Fanon (2008) indicam que o legado colonial, o qual modifica colonizados e
colonizadores, não controla por completo as formas de representação daqueles posicionados em desvantagem. Notadamente, o sistema democrático baseado na representatividade é imperfeito e, por essas especificidades que o caracteriza, é necessário realizarmos uma revisão que favoreça o reconhecimento e a redistribuição, atingindo os grupos colocados à margem das instituições. Numa proposta menos eurocentrada de transposição cultural, o conhecimento passa, necessariamente, e pelos interesses dos grupos periféricos e sua legitimidade está comprometida quando não se problematiza o lugar da enunciação. Disputamos sentidos de currículo e, nesses interstícios, aprendemos com os movimentos sociais sobre as trilhas para “afetar” diferentes segmentos jovens em idade escolar/universitária. Também aprendemos sobre modos outros de análise das tramas da mediação cultural exigida no interior dos sistemas de ensino em seus diferentes níveis. Sob influência dos achados de Fanon, foi possível identificar importante nó epistemológico para os estudos desenvolvidos no campo da Educação o autor pode influenciar diferentes grupos de ativistas e de pensadores/as em todo o globo com destaque para a população da Diáspora Africana. Suas teses sobre nossas “relações de inspiração colonial” (MIRANDA, 2006) atravessam outras teses e animam estudos que impactam o Brasil, desde a primeira década do século XXI. Sua mensagem foi para qualquer segmento vítima da experiência de ser
colonizado e o propósito foi apresentar um diagnóstico dessa condição e seus efeitos. Transformar o mundo era a tarefa mais urgente e, com isso, o jovem Fanon viveu com o propósito de promover experiências de descolonização da consciência. A inventividade pode ser um aspecto comum em todos os estudos contemplados, aqui, para o exercício de pensar os descaminhos das nossas amplas referências epistemológicas. E as práxis decoloniais que buscamos atravessam as expressões
artísticas e afetam o olhar acerca do que de fato é referência e/ou conhecimento válido.

The United Nations' Charter was prepared during the Second World War in order to protect the peace and security of the World from another kind of Lebensraum ideology1. The Lebensraum ideology of Germany was the key reason for the Second World War, and similar ideologies can be found in the history of wars conducted for colonization and conquest.

The 1965 disappearance of Mehdi Ben Barka in Paris, the catalyst of one of the greatest political scandals in the history of post-war France, is still shrouded in mystery several decades later. Newly declassified documents from Czech archives have shed light on the final years of the Moroccan politician’s life, revealing that Ben Barka had cooperated with Czechoslovak intelligence from 1961 until his abduction. The aim of this study is to assess the nature of this partnership and demonstrate the activities, methods, and aims of Czechoslovak intelligence in the Third World during the 1960s.

This paper examines the ethical dilemmas surrounding the Algerian War of Independence (1954 – 1962) against France. This war is considered one of the bloodiest wars post-WWII, with estimates of 1 – 1.5 million killed as a result. I use a strong form of consequentialist ethics to provide a justification for the violent actions of the Algerian National Liberation Front (FLN) as actions that were justified by their ends. At the same time, I argue the actions of the French are not deserving of the same verdict. This paper examines the historical roots of the war, the meaning behind each party's strategies, and their consequences postwar in order to provide an effective ethical evaluation of means and ends.

Photography has been used by settlers to document and fictionalize colonial encounters in Canada since the mid-19th century as an attempt to displace Indigenous peoples from the land, to contain them within settler albums.  In this paper, I look at visual practices of settler photograph albums in British Columbia from the turn of the 20th century to argue that this is a key site of settler forgetting and erasure of colonial violence.  Specifically, I analyse the visual practices of depicting the ‘before’ and ‘after’ of colonial encounter in two personal photograph albums of contractor Andrew Onderdonk, (ca. 1885) and photographer and civil servant Benjamin Leeson (n.d., active 1887-1900). Paulette Regan’s methodology of ‘unsettling’ (2011) guides a destabilization of the historical narratives that are supported by these personal photographic albums, and asks how they produce settler denial and guilt about Indigenous-settler relations, as well as what we can learn about colonial injustice and violence through an unsettling encounter with these same images.
This paper is a part of a larger decolonizing project that aims to destabilize the objectivity of photographic documentation to show how this archive is used to structure a fantasized ‘before’ and ‘after’ of settler contact that erases the violence of Indigenous-settler relations to depict North American colonization as a benevolent intervention.

Cecilia Milesi was one of the experts and social leaders from around the world invited to contribute to an on-line global consultation aiming better understanding the multiple dynamics between international and local actors during aid initiatives, including exits and transitions.

The consultation brought together 95 participants from over 40 countries to critically engage with discussions on: Power Dynamics in the Aid Sector, The Role of Local Actors and Capacity Building and Sustainability. The process was part of a USAID-funded collaborative learning project, ‘Stopping As Success’, which is being carried out by Peace Direct, Search for Common Ground and CDA Collaborative Learning Projects.

This consultation report presents key insights from global leaders consulted. They answered diverse questions such as:

a) Is capacity building a waste of time? b) What is local ownership? c) what is means “decolonising aid”.

In January 2017, settler Australian artist, Amy Spiers, launched a creative campaign to contest habitual associations at the site of Hanging Rock in Central Victoria with a white vanishing myth. Entitled #MirandaMustGo, the campaign’s objective was to provoke thought and unease about why the missing white schoolgirls of Joan Lindsay’s fictional novel, Picnic at Hanging Rock, prompted more attention and feeling in the general public than the actual losses of lives, land and culture experienced by Indigenous people in the region as a consequence of rapid and violent colonial occupation. The campaign incited significant media attention, substantial public debate and some reconsideration of the stories told at Hanging Rock. In this article, Spiers will describe how she conceptualized the artwork/campaign as a propositional counter-memorial action that attempted to conceive ways in which non-Indigenous Australians can acknowledge, and take responsibility for, the denial of colonization’s impact on Indigenous people. She will do so by discussing the critical methodology that underpinned this socially engaged artwork and continue by analysing the public reception and dissensus the campaign provoked. She will conclude in presenting some thoughts about what #MirandaMustGo produced: a rupture of the public secret of Australia’s violent colonial past, a marked shift to the discourse concerning Hanging Rock and an ongoing, unresolved agitation stimulated by Picnic at Hanging Rock’s persistent reproducibility.

En este artículo se propone valorar las limitaciones de la historiografía decolonial que derivan de la herencia recibida del programa de investigación desarrollado por Immanuel Wallerstein. Se trata de un ejercicio al interior de giro decolonial, un intento por ir más allá del momento de criticidad, porque los límites de los marcos categoriales justo aparecen en el momento constructivo. Aportes para unas historias globales de/desde el sur, se propone retomar las cuestiones abiertas por el primer giro decolonial, presentando el programa de las historias globales del sur como un segundo momento necesario para ir en pro de historias decoloniales de la humanidad. Abstract: This article intends to assess the shortcomings in decolonial historiography stemming 1 Este artículo recoge algunos de los resultados del proyecto de investigación Historias Globales desde el sur, Sistema-mundo y divergencia colonial.

Over the years, the exclusion of children has been given many names: adultism, childism, adultarchy, adult supremacy, misopedy. Whatever we wish to name it, the exclusion of children based on a deficiency of reason is a remnant of the colonial mindset, the preservation of which has a profound impact on modern politics.

Decolonising Freshwater Management in the Anthropocene crosses disciplinary boundaries to connect theories of environmental justice with Indigenous people’s experiences of freshwater management and governance. The book traces the history of one freshwater crisis – the degradation of Aotearoa New Zealand’s Waipā River– to the settler-colonial acts of ecological dispossession resulting in intergenerational injustices for Indigenous Māori iwi (tribes). The authors draw on a rich empirical base to document the negative consequences of imposing Western knowledge, worldviews, laws, governance and management approaches onto Māori and their ancestral landscapes and waterscapes. Importantly, this book demonstrates how degraded freshwater systems can and are being addressed by Māori seeking to reassert their knowledge, authority, and practices of kaitiakitanga (environmental guardianship). Co-governance and co-management agreements between iwi and the New Zealand Government, over the Waipā River, highlight how Māori are envisioning and enacting more sustainable freshwater management and governance, thus seeking to achieve Indigenous environmental justice (IEJ). The book provides an accessible way for readers coming from a diversity of different backgrounds (be they academics, students, practitioners, decision-makers) to develop an understanding of IEJ and its applicability to freshwater management and governance in the context of changing socio-economic, political, and environmental conditions that characterise the Anthropocene.

Keywords: Freshwater management, Māori, water governance, environmental justice, Indigenous knowledge, settler colonialism

The coastal Isthmus of Tehuantepec region of Oaxaca, Mexico – known locally as the Istmo – is regarded as one of the best wind energy generating sites in the world. Marketed as a preeminent solution to mitigating climate change, wind energy is now applying increasing pressure on indigenous groups in the region. The article begins by outlining a definition of colonialism that assists in identifying the temporal continuity of the colonial project to understand its relationship with wind energy development. The next section briefly reviews colonial genocide studies, discussing disciplinary debates between liberal and post-liberal genocide scholars, the relevance of self-management within colonial systems, the genocide-ecocide nexus and the ‘intent’ of destructive development projects. This leads into reviewing the claims and findings that emerged from fieldwork in the Istmo, which is divided into the north and south to show the different, yet similar dynamics taking place in the region. Finally, the article concludes that wind energy development as a ‘solution’ to climate change not only distracts from its dependence on fossil fuels and mining, but renews and continues a slow industrial genocide, assimilating and targeting (indigenous) people who continue to value their land, sea and cultural relationships.

Este artigo é uma proposta de discussão sobre as possíveis contribuições da perspectiva pós-colonial para a teoria da imagem e os estudos do jornalismo. A partir de uma fotografia amplamente divulgada pela imprensa brasileira em 2016, o caso de Sheila no Morro do Fallet (RJ), elencamos uma série de assuntos que põem em xeque o problema da epistemologia e da colonialidade frente ao desenvolvimento da ciência e da tecnologia. Conclui-se que o acontecimento se efetivou com tamanha repercussão porque operou com questões relacionadas ao imaginário ao mesmo tempo com os códigos jornalísticos.

Il lavoro di ricerca svolto in questa tesi, dal titolo “Ultime tendenze dell'arte cinese alla Biennale di Venezia ”, nasce dal desiderio di approfondire diversi aspetti dell’identità artistica nell’ambito della cultura geopolitica nel contesto ideale dell'integrazione multiculturale.La Biennale di Venezia ha una storia di oltre 120 anni e ognuna si configura come riflessione su un valore importante, legato a intuizioni diverse. Scenario ideale per l'integrazione multiculturale, è un luogo di dialogo libero e indipendente.
Lo scopo di questa tesi è analizzare le esperienze di artisti e curatori cinesi apparsi in diverse epoche alla Biennale di Venezia, guardando allo status quo e alle tendenze, dello sviluppo dell'arte cinese all’interno di questa manifestazione negli anni 1993 -2021, per cercare di presentare il passaggio dell'identità in un contesto speciale nel modo più autentico e appropriato. Dagli 'inquietanti' manufatti in carta tagliata e ricamata della 38esima Biennale di Venezia del 1980, alla 45esima Biennale di Venezia del 1993, dove hanno esposto quasi 20 pionieri dell'avanguardia; dalla 48esima Biennale di Venezia del 1999, dove The Rent Collection di Cai Guoqiang ha vinto il Leone d'Oro, alla 50esima Biennale di Venezia del 2003, dove gli artisti cinesi hanno esposto in modo indipendente nel nome del governo. Si inaugura l'era del padiglione cinese alla Biennale di Venezia. Dalla situazione caotica intorno al 2010, quando hanno usato tutti i mezzi necessari per partecipare alla Biennale in cerca di fama e fortuna, alle ultime due edizioni, quando le loro opere e idee artistiche sono diventate oggetto di discussione e riconoscimento internazionale. L'arte dalla Cina è diventata sempre più protagonista sul palcoscenico della Biennale di Venezia.Il motivo decisivo è che il cambiamento più significativo degli ultimi anni è senza dubbio che la geopolitica del mercato dell'arte si sta spostando da Occidente a Oriente. Spinta dallo sviluppo economico sostenuto e dall'aumento della domanda di fascia alta, la Cina ha attualmente il più grande mercato d'arte al mondo. Dal punto di vista del valore artistico, l'arte contemporanea cinese ha trovato un punto di equilibrio adeguato, trasformandosi da arte tradizionale a linguaggio artistico internazionale.
La manipolazione delle questioni identitarie da parte della globalizzazione, combinata con le forze del mercato globale, ha spinto gli artisti a creare lavori con un carattere nazionale, con l'obiettivo di saccheggiare tutti gli angoli del mondo alla ricerca di prodotti esotici che possano essere venduti. L'artista non si esprime a modo suo, non ha una vera libertà e quindi diventa un'altra persona. Sulla base di questo punto di vista, la scintilla tra identità e ambiente è il punto di partenza per uno studio degli artisti con una specifica identità culturale. L'uso degli artisti cinesi e della Biennale di Venezia come soggetti di ricerca è quindi una scelta rischiosa con un ricco valore sociologico.
Le differenze e le specificità delle culture identitarie si rivelano spesso in contesti culturali non nativi. Quando i professionisti dell'arte di una specifica regione geografica mettono piede in una nuova terra, molteplici complessità si riverberano nell'ambiente non familiare. La Biennale di Venezia riassume da tempo le tendenze artistiche attuali e ispira le direzioni future: non c'è un angolo di mondo che possa essere completamente distaccato.

A questionnaire on Decolonizing Art History, with thirty responses from art historians, curators, artists and writers.

When, in 2015, students at the University of Cape Town in South Africa demanded the removal of a statue of British colonial and diamond merchant Cecil Rhodes from their campus, they initiated what was to become a global call to 'decolonize the university'. In the same year, students at University College London began to ask the question: why is my curriculum white? Other public sector cultural institutions soon joined the chorus in an overdue acknowledgement that unspoken colonial legacies had for too long upheld and promulgated white privilege. The role of public sculpture as a catalyst for political debate and change has a long tradition within art's histories. It serves to remind us of the centrality of the discipline in promoting and maintaining dominant cultural values; and yet it also enables us to interrogate them as historically located and subject to inevitable temporal mutation. Whilst postcolonial studies and critical race studies have been informing and challenging the shape of art history for several decades, new generations of students, scholars, critics, curators, collectors, artists and audiences are seeking radical re-evaluations of the academy and those cultural institutions who hold themselves up as standard-bearers of our collective cultural heritage. But, what, if anything, is specific about the current moment's demands to reassess how universities, museums, and galleries teach, research, collect and exhibit? How can art historians, curators, collectors, museum directors, artists and writers respond to the call to decolonize art history? How can we draw from the rich legacy of postcolonial, feminist, queer and Marxist perspectives within art history, and what are the new theoretical perspectives that are needed? Writing these questions within the context of the UK, the backdrop of Brexit cannot be ignored, along with the impact of austerity and precarity in the university and museum sectors, and the rise of nationalism and xenophobia in response to both economic and political migration. There is a sense of instability in the political landscape, and conversations are often harder to hear than accusations, condemnation or dismissal. This is coupled with an increasing sense of art history being an embattled discipline, an unnecessary luxury for many students faced with tens of thousands of pounds of student debt. Yet conversely some of the loudest voices in the conversations around decolonizing art and its histories have been from young artists, scholars, curators and students, demanding that the institutions from which they feel excluded start to listen. For many of us working within (and alongside) the discipline of art history, these calls have asked us to reckon with what we do as teachers, scholars and curators. In order to continue this conversation, we have asked a range of art historians, curators and artists to respond to a series of questions that consider some of the recent calls to 'decolonize art history'. The responses vary in format, length and focus. We offered some guidelines regarding length but otherwise were open to the ways in which the questions were addressed. Continuing the vision for Art History set out by Price in her inaugural editorial in February 2018, the following seeks to give space to some of the conversations that many of us are having within and between our institutions. The questionnaire format indicates that there is not one way to 'decolonize art history', but rather it is a debate that the editorial board of Art History, alongside many of our colleagues in the

A partir de lo dicho, este trabajo se propone como objetivo examinar cómo se configura el sujeto indígena (subalterno) en Instrucción para descubrir todas las guacas del Piru y sus camayos y haciendas del predicador Cristóbal de Albornoz, redactada en 1583, considerando la gran relevancia que poseía la evangelización para los conquistadores.
La metodología a seguir será el análisis del texto a través de categorías y nociones de diferentes autores que resultan útiles a la hora de hacer un abordaje en clave descolonial.

Tansi. Comment le présenter ?... Te présenter cher Sony, puisque, comme dit mon ami franco-camerounais acteur, chorégraphe et danseur – et pas seulement de la tête –, James Carlès, depuis le jour où nous avons commencé à te lire ensemble à haute voix, et à éclater de rire ensemble de t'entendre parler, tu es pour nous une personne – c'est-à-dire un homme comme nous tous, « fait avec de la viande et du sang, porteur d'espoirs, de rêves, de folies, de peur », un homme de sueur et de salive. Comment te présenter ?... en tous cas, certainement pas en faisant une conférence. Pour les raisons que tu as toi-même dites devant les universitaires de la faculté des lettres et sciences humaines de l'Université Marien-Ngouabi de Brazzaville qui, justement, t'invitaient imprudemment à en faire une : d'abord, parce que les conférences sont « des machins du 20 ème siècle » et que « les races, les tribus, les classes, en un mot le coeur humain n'est pas au 20 ème siècle » ; ensuite parce que les conférences sont le fait d'intellectuels, c'est-à-dire « d'ustensiles de cuisine » que tu digères très mal. Parce que les conférences – nous sommes payés pour le savoir (et pour le faire) – visent bien, comme tu l'as dit, en tirant le plus grand nombre de mots à la seconde, à enseigner non pas à écrire, ou, ce qui revient au même, à exister, mais autant de comportements possibles face à l'écriture (face à l'existence) qu'il en faut pour susciter d'infinies polémiques et un brouhaha de thèses, d'antithèses, de synthèses et de doctorats à rédiger et à soutenir. Autant de manières de disserter l'existence sans écrire, au lieu de prendre la sienne entre les dents – dans tes mots : de s'en « frotter le coeur », de la « frotter crasseusement à celle d'en face ». A la conférence tu opposes et substitues l'adresse. La meilleure façon de te présenter serait alors peut-être de parler de toi en s'adressant à qui on parle « droit dans le fond de la culotte », comme tu dis encore, au lieu de leur parler de dos – et donc, de ne te citer qu'à condition que chaque citation ait la force d'une adresse et ne puisse jamais être l'occasion d'un charcutage intellectuel. Sony est Tansi, parce que la vocation du poète kongo, Marcel Ntsony ou Gérard-Philippe Tchicaya, est de perdre son nom français pour être U Tam'si : celui qui témoigne d'un pays, d'une terre. Ce qui n'a rien à voir avec une quelconque délégation ou représentation. Tansi n'est pas Senghor. Tansi n'est pas le nom d'un député noir au parlement des Blancs, ni d'un fétiche nègre dans un musée parisien. Ni Quai d'Orsay, ni Quai Branly. Mais de quoi témoigne Tansi ? De ce dont nous qui ne sommes pas kongo n'avons pas vraiment idée. Et si nous ne pouvons pas satisfaire ceux d'entre nous qui s'attendaient tout de même légitimement, vu les circonstances, à une dissertation sur la marque de fabrique de ce Sony Labou Tansi, savoir par exemple comment son réalisme merveilleux se positionne à l'égard des choses en soi, du réalisme spéculatif ou pas… parlons au moins du sujet annoncé dans le programme… ce dont témoigne d'abord Tansi c'est du fait que nous n'avons, ici, dans toute l'Europe, comme dans toute l'étendue du monde européanisé qui est partout le même ici, pas de plus dur traumatisme à vivre que celui de risquer de se faire couper la bistouquette par papa, de brailler jusqu'à l'épuisement parce que le maintien de l'ordre social veut qu'un braillard ne reste pas, comme partout ailleurs, accroché jour et nuit au sein de sa mère, au bras de ses tantes, à la tempe de ses oncles – de traumatisme plus terrible à se mettre sous le cerveau que celui de Cécile Münch : l'effondrement d'un pont de chemin de fer suisse construit par le même centralien qui fit dresser en bordure de Seine ce grotesque clou d'Exposition Universelle planté dans le coeur des peuples noirs auquel le poète Tansi, dans La troisième France, réserve deux vers définitifs : « Tu mens la Seine/Tu mens la Tour Eiffel ».

Decoloniality is, in the first place, a concept whose point of origination was the Third World. Better yet, it emerged at the very moment in which the three world division was collapsing and the celebration of the end of history and a new world order was emerging. The nature of its impact was similar to the impact produced by the introduction of the concept of “biopolitics”, whose point of origination was Europe. Like its European counterpart, “coloniality” moved to the center of international debates in the non-European world as well as in “former Eastern Europe.” While “biopolitics” moved to center stage in “former Western Europe” (cf., the European Union) and the United States, as well as among some intellectual minorities of the non-European followers of ideas that originated in Europe, but who adapt them to local circumstances, “coloniality” offers a needed sense of comfort to mainly people of color in developing countries, migrants and, in general, to a vast quantitative major...

A chapter in:
Femminismi Queer Postcoloniali: critiche transnazionali all’omofobia, all’islamofobia e all’omonazionalismo. Contributing co-editor, with Laura Fantone. Verona, Italy: Ombre Corte, 2015. http://www.ombrecorte.it/more.asp?id=456&tipo=novita

Generally, a lot of scholarly effort went into chronicling the historical development of the educational system in Sudan, analysing its current state, making comparisons with other countries, proposing reforms or envisioning alternative systems. In this volume, the lens for analysing the education system is "social justice". This analytical framework is combined in this chapter with critical futures thinking to explore possibilities for the educational system in Sudan, but also to question whether we are seeing all the possibilities or being impeded by our worldviews and mental models. I elaborate on this argument by first exploring examples of images that we hold about the future of education, presumably a better one. Secondly, I use decolonial and feminist ideas, as well as draw on Paulo Freire's educational theories, to investigate whether particular images have become dominant by reflecting on the power of knowledge and meaning nested in these images of the future. In other words, are they framing what is possible? For example, can we imagine a decolonised and feminist education in Sudanese schools and universities any time soon?

https://www.jstor.org/stable/j.ctv10crdt6.8
This chapter examines the local and international politics of disaster response and disaster aid after the 1960 earthquake in Agadir, Morocco.  It emphasizes that decolonization was a multivalent process that took on specific local forms and that extended long after political independence in 1956.  The 1960 earthquake shaped the exodus of French settlers, the expatriation of settlers’ remains, and the efforts of the Moroccan state to utilize disaster diplomacy to lessen its dependence on France and to break from colonial patterns of urban planning and architecture.  The earthquake also exposed tensions and divergences of interests between French settlers and the French state, and provided an opportunity for the Moroccan monarchy to consolidate its own authority within the Moroccan state while fostering rivalry between France and the United States.  The chapter demonstrates how disaster shaped political contestation over the meaning of decolonization.

An inner link has always connected the artistic avant-garde with acts of insurgency carried out by socially disenfranchised populations insofar as both embrace the possibility of an emancipated future that is radically at odds with the present (picture Gustave Courbet
helping to topple the Vendome Column in
1871), except something about such historical repetition and reenactment at this time  –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?

In this essay, I assert that a leftist Taiwan Independence movement must be both anti-imperial and anti-colonial. Rather than seeking Taiwan Independence—the global recognition of Taiwanese national sovereignty—as an absolute end goal, a decolonizing practice of Independence is to become independent from Taiwan's role in sustaining a Cold War imaginary that is no longer productive against the increasingly authoritarian US and neoliberal China. Additionally, it necessitates a politics that situates Taiwan in the interdependent relations between the nation's anti-imperial resistance and de-Sinicization, and Indigenous peoples' struggle of decolonization. To put forth a left-oriented vision for our movement and practice toward sovereignty, I argue that it would be more productive to conceptualize Taiwan Independence as critique, strategy, and method toward a broader decolonial project that challenges both the imperial domination and settler colonial relations.

My journey into the world of the rural artisan communities was not with the intention of 'developing' them or educating them. I went to them to regain that which I had lost in the process of getting educated.  To learn from them. Having escaped 'education' and 'development' they were still original and authentic and were holding on to the culture and world-view, which sustained them for centuries. I perceived the rural / tribal communities as being wise and evolved. And recognized that only by learning from them could we lead sustainable lives.

So the documentation of the Aruvacode project is not about how I 'developed' them, but about what I have learnt from them. In that sense, it is a critique of the modern paradigm of life. It is also about what harm we, the 'educated' are doing in the name of 'development' and 'education'.

Globally, the application of museum interpretative theory is an effective way to communicate with diverse and democratic audiences. However, museums inadequately relate to their audiences, as the world in which they operate is volatile and in recent years has dramatically changed. Despite transformative efforts, museum interpretation does not always meet audience expectations. This is largely due to many challenges facing museums, such as a continued lack of interpretative expertise, funding not directed at widening public engagement and superficial consultation. Social and political issues to address decolonisation, multiple identities and inclusive narratives towards shared notions of nation building, social cohesion and museum change often compound these problems. The purpose of this paper is to explore the application of a (re)interpretation theory known as the IPOP theory to engage South African museum audiences better, and more inclusively. IPOP is orientated towards museum audiences' primary interests: Ideas (intangible), People, Objects and the Physical (tangible). As a model, it has never been utilised in a South African environment before, nor surfaced within local museological discourse. It offers a stimulating avenue of new enquiry for South African museology as well as heritage site reinterpretation. IPOP theory has been successful in both Western and non-Western contexts, so it has potential for Africa and the global south. The IPOP theory is introduced as a method and proposes practical benefits utilising a pilot study, which has already produced positive outcomes. The IPOP theory certainly has strong resolve in a South African museum (re)interpretative context and has further potential to unpack within the ongoing decoloniality discourse.

Resumen: El objeto de investigación del presente artículo es identificar las diferentes perspectivas epistemológicas y metodológicas que han emergido desde el Sur global. También se aborda la irrupción de la globalización y los procesos transfronterizos del cambio climático desde la
denominada “epistemología del sur”. Como resultado, se manifiesta la necesidad de crear puentes transculturales entre los pueblos de todo el mundo para superar la encrucijada paradigmática en la que nos encontramos como sistema-mundo, con la finalidad de alcanzar los Objetivos de Desarrollo Sostenible establecidos por los Naciones Unidas para el año 2030.

Resumo: O objetivo de pesquisa do presente artigo é identificar as diferentes perspectivas epistemológicas e metodológicas que tem emergido desde o Sul global. Aborda-se também o surgimento da globalização e os processos transfronteiriços da mudança climática a partir da chamada “epistemologia do Sul”. Como resultado, a necessidade de criar pontes transculturais entre os povos do mundo para superar a encruzilhada paradigmática onde estamos como sistema-mundo,
com o fim de alcançar os Objetivos de Desenvolvimento Sustentável estabelecidos pelos manifestos das Nações Unidas do ano 2030.

Abstract: The research object of this article is to identify the different epistemological and methodological perspectives that have emerged since the global South. It also addresses the irruption of globalization and cross-border processes of climate change from the called “epistemology of the South” perspective. As result, it claims the need for cross-cultural bridges between peoples worldwide to overcome the paradigmatic crossroads at which we find ourselves as a world-system, with the aim to achieve the Sustainable Development Goals set by the United Nations for 2030.

La cuestión que en este lugar nos ocupa es ¿participan las mujeres en las revoluciones árabes? ¿Están jugando un papel activo? 26/11/2011 -Autor: Sirin Adlbi Sibai -Fuente: Revista Solidaridad Internacional, nº 60 (2011) Cuando en el año 1550 Juan Ginés de Sepúlveda y Bartolomé de las Casas cuestionaban si tenían alma o no los "salvajes", ya no importaba tanto la respuesta. Lo esencial era la pregunta que se habían planteado: ¿tienen alma? La cuestión que en este lugar nos ocupa es ¿participan las mujeres en las revoluciones árabes? ¿Están jugando un papel activo?