How a music shaped by slavery, epidemics, famine and mass migration travelled the world, narrating stories of suffering and resistance. Over time, morna, also known as “música rainha” (“queen music”), underwent several changes to its melodic and rhythmic characteristics, becoming the slower, more mournful version heard today. Characterised by three dimensions of melody, poetry and dance, morna is often sung in Kriolu, Portuguese-based Creole, though it can be instrumental, too.
No history of decolonization or of decolonizing praxes is ever completed without attention to gender. How did women view the liberation struggles in the former Portuguese colonies? How were their ways of seeing integrated or not in the imagination of colonialism? Was there a specific gaze to women over the liberation struggles? What knowledge and awareness do we have of/about these ways of seeing? And how do these ways of seeing intersect with those of contemporary filmmakers, artists, curators and academics who are now questioning public and private archives, are visually recreating their memories or re-imagining colonialism? What role academic research, archive conservation policies, programming and curatorship have in questioning or prolonging (official) “politics of memory”?
This article demonstrates that antifeminist agendas (often labelled as anti-gender ideology by proponents) are key to understand how ethnonationalist, xenophobic and racist discourses are forwarded by far-right parties in Portugal and across Europe. Therefore, it focuses on the intersections between antifeminism, including femonationalism, and anti-immigration agendas, examining how gendered and racialized tropes are used in conjunction in far-right propaganda.
In her first solo exhibition at Simone Cadinelli Art Gallery, Jeane Terra shows works that are related, directly or indirectly, to the events in Atafona, that are about the ruins produced by the clash between the sea and the city; such events point to the fact that everything that was, is or will be built is going to turn into rubble.
How a music shaped by slavery, epidemics, famine and mass migration travelled the world, narrating stories of suffering and resistance. Over time, morna, also known as “música rainha” (“queen music”), underwent several changes to its melodic and rhythmic characteristics, becoming the slower, more mournful version heard today. Characterised by three dimensions of melody, poetry and dance, morna is often sung in Kriolu, Portuguese-based Creole, though it can be instrumental, too. 
No history of decolonization or of decolonizing praxes is ever completed without attention to gender. How did women view the liberation struggles in the former Portuguese colonies? How were their ways of seeing integrated or not in the imagination of colonialism? Was there a specific gaze to women over the liberation struggles? What knowledge and awareness do we have of/about these ways of seeing? And how do these ways of seeing intersect with those of contemporary filmmakers, artists, curators and academics who are now questioning public and private archives, are visually recreating their memories or re-imagining colonialism? What role academic research, archive conservation policies, programming and curatorship have in questioning or prolonging (official) “politics of memory”? 
This article demonstrates that antifeminist agendas (often labelled as anti-gender ideology by proponents) are key to understand how ethnonationalist, xenophobic and racist discourses are forwarded by far-right parties in Portugal and across Europe. Therefore, it focuses on the intersections between antifeminism, including femonationalism, and anti-immigration agendas, examining how gendered and racialized tropes are used in conjunction in far-right propaganda. 
In her first solo exhibition at Simone Cadinelli Art Gallery, Jeane Terra shows works that are related, directly or indirectly, to the events in Atafona, that are about the ruins produced by the clash between the sea and the city; such events point to the fact that everything that was, is or will be built is going to turn into rubble. 
