These latest events strip bare the racist system in which we live, enforced by the police and through normalised acts of violence against black people of all ages and sexes, and with the continued impunity of those responsible, reaching a level that can no longer be tolerated.
No centro de todos os poderes imperialistas, Portugal incluído, existiu sempre uma incrível habilidade para esquecer, uma fábrica incrível de esquecimento. A tarefa dos artistas, escritores e pensadores é de analisar este processo de ‘lembrar e esquecer’.
Movement is at the core of life, not necessarily space. If it is translated into space, this is done by means of space being perceived as movement. Therefore, we are facing two completely opposing philosophies. From this point of view, the African movement philosophy, the pre-colonial one, is similar to a rationale specific to the digital world, according to which, fundamentally, one seeks to create connectivity, using networks, instead of tracing categories, classifying, establishing hierarchies and limiting movement.
Em Mais um Dia de Vida, encontramos uma estética hollywoodesca, de construção e celebração do herói Kapuscinski. Terá a mais valia de dar a conhecer a outros públicos (em particular ao mais jovem, pelo estilo de filme de ação) o xadrez político regional e internacional que se jogava em Angola. Porém, ao centrar a narrativa de forma tão redutora na figura do ‘herói jornalista’, o filme não responde à evocação de Carlota, ficando suspenso num jogo dúbio de uso (e abuso) da memória e do esquecimento.
“Palimpsest of the Africa museum” documents the moving of the Africa museum as an esthetic mourning process, shows the insanity of the alterations and reveals through the eyes of the Belgian African Diapsora what the renovation really puts at stake: the decolonization of the Self.
This reusing of the past requires us to reflect on how traumatic histories are collectively absorbed, and on how histories can be revised, even distorted, when they are reread. When the past is reused, its image is reinscribed through the prism of a particular, usually other, ideology with the intention of evoking a particular past and creating its counter image. This manoeuvre often has hegemonic ambitions, and aims to impact public opinion.
In his view, “either a society is racist or it is not” and “colonial racism is no different from other racisms.” It is when he tries to explain a key idea and expose a scandal that his poetic and rhetorical prose unfolds. Besides, for him, the liberation of the native means rejecting this interdicted world and embracing the “self” denied by the colonizer, who sees him as disorganised and docile: “The native is a being hemmed in; apartheid is simply one form of the division into compartments of the colonial world.
What Djaimilia Pereira de Almeida writes can be understood as a powerful transformation tool regarding the Portuguese human landscape. With it, the painful fragments of a history made up of frustrations and disappointments, of ruptures and withdrawals and of ambiguous felling are not erased, instead they are reunited in a healing coexistence.
These latest events strip bare the racist system in which we live, enforced by the police and through normalised acts of violence against black people of all ages and sexes, and with the continued impunity of those responsible, reaching a level that can no longer be tolerated. 
No centro de todos os poderes imperialistas, Portugal incluído, existiu sempre uma incrível habilidade para esquecer, uma fábrica incrível de esquecimento. A tarefa dos artistas, escritores e pensadores é de analisar este processo de ‘lembrar e esquecer’. 
Movement is at the core of life, not necessarily space. If it is translated into space, this is done by means of space being perceived as movement. Therefore, we are facing two completely opposing philosophies. From this point of view, the African movement philosophy, the pre-colonial one, is similar to a rationale specific to the digital world, according to which, fundamentally, one seeks to create connectivity, using networks, instead of tracing categories, classifying, establishing hierarchies and limiting movement. 
Em Mais um Dia de Vida, encontramos uma estética hollywoodesca, de construção e celebração do herói Kapuscinski. Terá a mais valia de dar a conhecer a outros públicos (em particular ao mais jovem, pelo estilo de filme de ação) o xadrez político regional e internacional que se jogava em Angola. Porém, ao centrar a narrativa de forma tão redutora na figura do ‘herói jornalista’, o filme não responde à evocação de Carlota, ficando suspenso num jogo dúbio de uso (e abuso) da memória e do esquecimento. 
“Palimpsest of the Africa museum” documents the moving of the Africa museum as an esthetic mourning process, shows the insanity of the alterations and reveals through the eyes of the Belgian African Diapsora what the renovation really puts at stake: the decolonization of the Self. 
This reusing of the past requires us to reflect on how traumatic histories are collectively absorbed, and on how histories can be revised, even distorted, when they are reread. When the past is reused, its image is reinscribed through the prism of a particular, usually other, ideology with the intention of evoking a particular past and creating its counter image. This manoeuvre often has hegemonic ambitions, and aims to impact public opinion. 
In his view, “either a society is racist or it is not” and “colonial racism is no different from other racisms.” It is when he tries to explain a key idea and expose a scandal that his poetic and rhetorical prose unfolds. Besides, for him, the liberation of the native means rejecting this interdicted world and embracing the “self” denied by the colonizer, who sees him as disorganised and docile: “The native is a being hemmed in; apartheid is simply one form of the division into compartments of the colonial world. 
What Djaimilia Pereira de Almeida writes can be understood as a powerful transformation tool regarding the Portuguese human landscape. With it, the painful fragments of a history made up of frustrations and disappointments, of ruptures and withdrawals and of ambiguous felling are not erased, instead they are reunited in a healing coexistence. 
