Djam Neguin
Articles tagged with Djam Neguin
Tag Archive
- 25 de abril
- activists
- afro cinema
- afro-portuguese
- Aimé Césaire
- Alberto Carneiro
- Ana Paula Tavares
- angolan fashion
- antiracism
- Ariel Bogault
- buala
- Camaroon
- Cape Verdean
- carbono
- CEDO
- Coleira
- colonialismo
- colonização
- Colorism
- comércio
- contemporary city
- dailylife
- Dakar
- Danting Chen
- democracia racial
- Dockanema
- eduardo mondlane
- Exhibition-Fair Angola 1938
- far-right
- Fernando Pessoa
- Festa do Avante
- forced migration
- fotografia
- Gaza
- gender equality
- geographies
- geração 80
- Guinea Conakry
- hegemony
- heteronormative
- I only rest in the storm
- independence
- informal city
- international relations
- Irland
- Janilda Bartolomeu
- Jihan el Tahri
- Joëlle Sambi
- justiça social
- Keita mori
- landscape
- LGBTI
- Luís Lopes de Sequeira; Angola; história colonial; nativismo; nacionalismo.
- Luso-Tropicalism
- lusophone
- lusotropicalismo
- Mahla Filmes
- mamela nyamza
- Manthia Diawara
- Mão Morta
- Marcelo Ridenti
- Marianne Keating
- Michel Figueiredo
- microeconomics
- migratory politics
- morocco
- movie theaters
- mulher
- Museu é o mundo
- museums
- não dança?
- Natural History Collections
- One World in Relation
- opinion
- Panorama
- Pedro Maurício Borges
- police brutality
- post-memory
- programation
- public space
- Rabbit Hole
- radio
- Rampa
- resentment
- Saidiya Hartman
- silence song
- small axe
- Sociedades Africanas
- South America
- south south
- spaces of invention
- Sudan
- Sueli Duarte
- Suelny Rolnik
- viagem
- violencia
- Viriato da Cruz
- Visuality
- Vital Matter
- women
 It’s about contesting narratives: not only narratives about Africa, Africans, Capeverdeans, and about our diverse perspectives, but also narratives about what cinema is, and what it can be, who gets to watch and be watched, who gets to speak and be heard. It is slow but necessary work. It is the work of re-inscribing our collective imagination with images that belong to us and that, in turn, transform us, and then the world.
				It’s about contesting narratives: not only narratives about Africa, Africans, Capeverdeans, and about our diverse perspectives, but also narratives about what cinema is, and what it can be, who gets to watch and be watched, who gets to speak and be heard. It is slow but necessary work. It is the work of re-inscribing our collective imagination with images that belong to us and that, in turn, transform us, and then the world.		



