The online dossier of the same name recalls the emancipatory, feminist, leftist movements and struggles of 1968 by confronting the dominant, popular historical narratives with , Afro-German, African, and queer perspectives and biographies.
Browsing: Colonialism
Japanese and US-American rhythm machines of the 50s and 60s, products of the so-called “China trade” or the colonial phantasm of a railroad line between Hamburg and Baghdad – these are only three examples of discourses, things and narratives that the “Museum of our Transcultural Present” gathers in an exhibition and tries to relate to each other.
Once a month, südnordfunk goes on air: The podcast project of the magazine iz3w (of the Information Center 3.Welt) broadcasts debates and perspectives from the global south.
“Struggles for Reparations for Colonialism and the Enslavement Trade.” Under this motto, the blog gathered contributions in the form of texts, videos, links or event notes from October 2015 to December 2016.
Frantz Fanon, born in Martinique in 1925, is considered one of the most analytically incisive anti-colonial thinkers and activists. This portrait of his companion Alice Cherki, a psychotherapist and psychiatrist from Algiers, paints a contoured picture of Frantz Fannon-dense and fact-filled writing, light on its feet and narrative like an essay.
There are countless blanks in the hegemonic historiography. Many stories that are important for shaping our present and imagining possible futures have not even been written yet.
Under this motto, the “Conference on Migration, Development and Ecological Crisis.” took place from 06-08 October 2017. took place in Leipzig.
The album by the Belgian-British musician Natacha Atlas is a frequently cited example of an attempt to sonify existential experiences of (post-)colonial life worlds.
The term “Madgermanes” is used in Mozambique to refer to the approximately 15-20,000 people who worked as “contract workers” in the GDR between 1979 and 1991 – and were subsequently deported from the GDR, having been cheated out of most of their wages by Mozambique.
In this literary essay, Kenyan writer Binyavanga Wainaina, drawing on an interview with Senegalese musician and politician Youssou N’Dour, tells of colonialism and learning to swim, of politics and poetry, of music and essentialist understandings of culture and identity.
The series of talks curated by Grada Kilomba invited refugee artists to the Maxim Gorki Theater in Berlin between 2015 and 2017. The focus of the 13 talks was the question of how systems of knowledge and representation can be artistically and politically transformed, de-colonized, rewritten.
The teaching material collection “We are here. What Our Colonial Past Has to Do with Flight and Migration” was published in May 2017.