 AbstractSince  this  is  a  matter  that  is  not  yet  resolved,  where  the  strength  of  ideologies  and  re-uses may change deeply or even reverse the ways it is evoked, the colonial past may become a problem (Vecchi, 2018a). This is the case of Portuguese colonialism which is frequently invoked to  stress  resentments:  whether  from  the  country  that  was  colonised  or  the  colonising  country  (Ferro, 2009). As soon as the Portuguese Revolution of 25 April 1974 took place, Mozambique promoted the elimination of colonialism symbols. This predictable attitude, aiming to show that the colonisation had ended, was later amended by the future Governments, with the colonial stat-ues (at least, the ones that remained) being relocated to a place where they may be observed and contextualised. This action aimed to preserve the memory, which may enable the development of intercultural dynamics, softening the mentioned resentment: promoting questioning, in order to understand certain logics and, at the same time, filling gaps in the forgotten memory and in the Mozambican identity (Khan, Falconi & Krakowska, 2016). This paper refers to the cases related to the new life of two colonial statues in Maputo – Mouzinho de Albuquerque and Salazar –, during the post-colonial period and the permanence, until today, of the first monumental trace of Estado Novo  [Second  Republic]  (Monumento  aos  Mortos  da  Primeira  Guerra  Mundial  [World  War  I  monument]), showing the importance that the preservation of memory has in a country or a na-tion’s life, even when it is associated with the former coloniser. This sort of mental decolonisation (Mbembe, 2017; Thiong’o, 1986), aims the questioning of the way the colonial past weighs on the current intercultural relations, in Mozambique, when the country establishes a relation with the former coloniser, allowing its inhabitants to look at the past as a way to build future dynamics.
				AbstractSince  this  is  a  matter  that  is  not  yet  resolved,  where  the  strength  of  ideologies  and  re-uses may change deeply or even reverse the ways it is evoked, the colonial past may become a problem (Vecchi, 2018a). This is the case of Portuguese colonialism which is frequently invoked to  stress  resentments:  whether  from  the  country  that  was  colonised  or  the  colonising  country  (Ferro, 2009). As soon as the Portuguese Revolution of 25 April 1974 took place, Mozambique promoted the elimination of colonialism symbols. This predictable attitude, aiming to show that the colonisation had ended, was later amended by the future Governments, with the colonial stat-ues (at least, the ones that remained) being relocated to a place where they may be observed and contextualised. This action aimed to preserve the memory, which may enable the development of intercultural dynamics, softening the mentioned resentment: promoting questioning, in order to understand certain logics and, at the same time, filling gaps in the forgotten memory and in the Mozambican identity (Khan, Falconi & Krakowska, 2016). This paper refers to the cases related to the new life of two colonial statues in Maputo – Mouzinho de Albuquerque and Salazar –, during the post-colonial period and the permanence, until today, of the first monumental trace of Estado Novo  [Second  Republic]  (Monumento  aos  Mortos  da  Primeira  Guerra  Mundial  [World  War  I  monument]), showing the importance that the preservation of memory has in a country or a na-tion’s life, even when it is associated with the former coloniser. This sort of mental decolonisation (Mbembe, 2017; Thiong’o, 1986), aims the questioning of the way the colonial past weighs on the current intercultural relations, in Mozambique, when the country establishes a relation with the former coloniser, allowing its inhabitants to look at the past as a way to build future dynamics.		
		
			City		
		
		13.12.2020 | by Vítor de Sousa		
	
  
    		
		
						 This article examines the impact of contemporary curating and cultural programming in the configuration of critical perspectives on Portugal’s postcolonial identity. It argues that visual creativity is forging a new paradigm in the Portuguese cultural field. In this context, postcolonial discourses are not silenced but, rather, aligned with international agendas in broader cultural initiatives mirroring the transformation of the main Portuguese cities into cosmopolitan, multicultural, and multiethnic enclaves.
				This article examines the impact of contemporary curating and cultural programming in the configuration of critical perspectives on Portugal’s postcolonial identity. It argues that visual creativity is forging a new paradigm in the Portuguese cultural field. In this context, postcolonial discourses are not silenced but, rather, aligned with international agendas in broader cultural initiatives mirroring the transformation of the main Portuguese cities into cosmopolitan, multicultural, and multiethnic enclaves. 		
		
			Games Without Borders		
		
		01.12.2020 | by Marta Lança and Carlos Garrido Castellano