Podcasts about aim c

Desde as memórias de infância entre as rimas do pai e o grande vulto são-tomense Alda Espírito Santo, com toda a riqueza da poesia lusófona, ou ainda Aimé Césaire ou Langston Hughes, Conceição Lima falou em Junho de 2025 das suas influências literárias. Algumas semanas após a sua morte prematura, a RFI passa excertos inéditos dessa entrevista. Em 2025, a RFI esteve em São Tomé e Príncipe para uma série de entrevistas sobre os 50 anos da independência do país. Um dos primeiros nomes falados na redacção como imprescindível para um relato justo do país neste último meio século foi Conceição de Deus Lima. Nascida ainda sob o jugo colonial, em Santana, na ilha de São Tomé, Conceição tornou-se uma das vozes mais activas e mais conhecidas da sociedade civil são-tomense como jornalista, escritora e poetisa.  Fez os estudos até ao liceu em São tomé e Príncipe, tendo depois começado os estudos superiores em Portugal e formando-se ainda na King's College de Londres. Em Londres trabalhou na BBC e em São Tomé fundou e dirigiu o semanário independente "O País Hoje". Teve vários cargos na televisão e na rádio públicas em São Tomé. Foi na poesia, aliás, que mais terá encontrado a sua voz, uma mistura de rectidão, liberdade e encanto. É a poetisa mais traduzida de São Tomé e Príncipe, com as suas rimas a chegarem a pessoas que falam línguas distantes como o alemão, o árabe ou o turco. Após vários encontros e tentativas de persuasão, Conceição Lima concedeu uma entrevista à RFI em que falou sobre os poetas da sua terra, sobre a músicas, sobre a luta pela libertação no arquipélago e sobre a sua visão para o país. Fê-lo com conhecimento de causa, como uma das figuras mais relevantes das sua geração, mas sobretudo com justeza e imparcialidade, ora não fosse jornalista. Alguns excertos da entrevista foram publicados nessa altura, mas ficaram inéditos os excertos em que Conceição Lima falou sobre as suas próprias influências e sobre a sua poesia. Conceição Lima morreu no dia 15 de Maio de 2026, mas a sua obra e a sua influência junto dos são-tomenses e todos os leitores lusófonos perdura. Durante a celebração do dia da mulher são-tomense, em 19 de setembro do ano passado, Conceição de Deus Lima foi distinguida pelo Governo são-tomense como embaixadora da Cultura de São Tomé e Príncipe em reconhecimento pelo papel na valorização e promoção da identidade cultural do país no plano internacional. O Governo são-tomense decretou três dias de luto por Conceição Lima e centenas de pessoas acorreram à última homenagem. Em Junho de 2025, na espalanada da Cacau, Conceição Lima falou-nos sobre as suas influências, a poesia, a música e a esperança no futuro.

Por ocasião da celebração hoje do Dia da Libertação de África, esta segunda-feira e nos dias 28, 29 e 30 de Maio, decorre em Lisboa, um colóquio sobre o legado cultural e político de Mário Pinto de Andrade, líder independentista angolano, intelectual de vulto, contemporâneo de Aimé Césaire e Leopold Sédar Senghor, que escreveu obras designadamente sobre literatura e história e foi ministro da cultura da Guiné-Bissau, país onde se exilou em 1975. O evento que abrange conferências, projecções de filmes ou ainda exposições em Picoas, na Cidade Universitária e no Espaço Cultural Mbongi 67 nas imediações da Lisboa, é organizado nomeadamente pela associação dos amigos de Sarah Maldoror e Mário Pinto de Andrade, o Centro de Estudos Internacionais, a Casa da Cultura da Guiné-Bissau, ou ainda o Centro de Intervenção para o Desenvolvimento Amílcar Cabral. Entre os estudiosos que participam no evento, estão presentes os sociólogos Cristina Roldão e Miguel de Barros, a universitária Inocência Mata ou ainda o historiador Julião Soares Sousa. Em entrevista à RFI, Sumaila Djaló, activista e estudioso guineense membro da organização desta série de encontros, evocou a figura de Mário Pinto de Andrade e o seu enorme legado intelectual. RFI: Nesta data em que se celebra o Dia da Libertação de África, o que os levou a escolher organizar um colóquio específico em torno de Mário Pinto de Andrade? Sumaila Djaló: Mário Pinto de Andrade é uma figura interessante, incontornável das lutas de libertação dos países africanos colonizados por Portugal. Nasceu em Angola, mas teve uma passagem por Portugal entre as décadas de 40 e 50 do século passado, onde conheceu com toda aquela malta da Casa dos Estudantes do Império, que veio das várias colónias portuguesas para estudar em Portugal e onde também esses encontros forjaram a consciência para o anticolonialismo. Liderou não só o MPLA como o seu primeiro presidente e um dos seus fundadores, mas as organizações unitárias das ex-colónias portuguesas em África. A partir destes espaços, também abriu possibilidades de alianças internacionais na Europa, na Ásia e em outros cantos do mundo desses movimentos de libertação. Por isso, a sua figura é muito importante não só para a independência de Angola, mas também para as independências de todos os outros países. Aliás, depois da independência, logo em 1975, exilado na Guiné-Bissau, desempenharia funções governamentais muito importantes nesse país também, para além de mais tarde, outras funções em organizações internacionais como a UNESCO. Portanto, a sua figura, na sua vertente militante, revolucionária, política, intelectual e cultural, é toda esta diversidade em torno do intelectual que é e é muito importante para as gerações actuais e para a historiografia, mas também a memória das lutas de libertação das ex-colónias de Portugal em África. RFI: Não dá, com certeza, para evocar, todos os acontecimentos que estão a ser organizados em torno da figura de Mário Pinto de Andrade. Mas se pudesse citar alguns, quais vão ser os pontos altos dessa série de eventos? Sumaila Djaló: Logo no dia 25 de Maio, em que é celebrado também o Dia da Libertação Africana, temos a abertura de uma exposição no Centro de Intervenção para o Desenvolvimento Amílcar Cabral - CITAC, em Lisboa, Picoas, onde às 17 da tarde abre-se um painel em debate sobre a memória e os arquivos que também conduzem a esse legado cultural e político de Mário Pinto de Andrade. Uma exposição em que estará disponível para investigadores, para pessoas interessadas, estudantes e também jornalistas e todas as pessoas interessadas. Uma exposição que conduz ao arquivo do CITAC sobre Mário Pinto de Andrade. Livros, artigos sobre Mário Pinto de Andrade. Comunicações que também ajudam a compreender todo este seu percurso multifacetado. Depois, no dia 28 e dia 29, na Faculdade de Direito da Universidade de Lisboa, teremos durante esses dois dias conferências mesas redondas em torno desse mesmo legado cultural e político de Mário Pinto de Andrade, juntando investigadores, historiadores, ensaístas e pessoas que estudam o percurso político e cultural de Mário Pinto Andrade, mas também activistas e outras pessoas que se contactam com o seu legado de outra forma. No último dia, no dia 30, teremos na parte da manhã um passeio histórico intitulado de 'Itinerários de Mário Pinto de Andrade', que passa por diferentes espaços frequentados por Mário Pinto de Andrade durante a sua estadia em Lisboa nos anos 40 e 50. E, finalmente, à tarde, temos uma sessão cultural no Espaço Cultural Mbongi 67, no Monte Abraão, em Lisboa, também onde o contacto será com textos da literatura oral e tradicional angolana, mas também da literatura moderna angolana ao ritmo de Kora, uma mesa redonda de diálogo a partir do seu livro 'As origens do Nacionalismo Africano' e a partir desse livro debater o panafricanismo, desde as suas origens até hoje. São estas actividades que fazem o conjunto do colóquio a acontecer em quatro dias, que também visa a resgatar esta memória importante para os povos africanos de língua oficial portuguesa, mas para os povos que combateram o colonialismo português em África. RFI: Relativamente a, lá está, resgatar esta memória, Mário Pinto de Andrade marcou a época em que viveu. E como é que ele marca a nossa época hoje em dia? Sumaila Djaló: Mário de Andrade tem um legado interessante e diverso. Esse legado faz a intersecção entre a cultura e política. Ele não concebia a cultura fora de uma intervenção política que visa a transformação da vida das pessoas na sociedade e de toda a humanidade. Isto é um legado muito importante para os nossos dias, em que se tende a separar a acção cultural com a vida social e política que até certo ponto mais interessa a transformação da vida das pessoas e ao progresso da própria humanidade. Para ele não havia essa dicotomia entre política e cultura. Na medida em que se acrescentam, se complementam estas duas áreas e o seu legado intelectual, passando pela intersecção destas duas áreas, leva nos à literatura, à militância política, ao pensamento intelectual que não dissocia o acto de pensar a sociedade, o acto de reflectir sobre a vida das pessoas nas sociedades, da intervenção para a transformação dessas mesmas sociedades e para o bem da humanidade. Eu julgo que é o principal ensinamento que podemos retirar do legado de Mário de Andrade, mas também o esforço para a construção da união num sentido panafricano em termos de unidade entre os povos africanos, para a concretização do grande objectivo da construção do progresso de todos os povos africanos e a partir de África, para o benefício da humanidade. Isto é uma questão também muito presente no seu pensamento, pensar a partir de África. RFI: Isto é um evento de vulto em torno de África, em torno de uma figura africana de primeiro plano que está a acontecer em Lisboa. Como é que estamos em Portugal relativamente a este passado? Sumaila Djaló: Portugal tem vários desafios a enfrentar em relação às suas responsabilidades. Também com um passado colonial muito marcado por violências de vária ordem e por subalternizações que persistem até aos dias de hoje. O passado colonial ajuda a configurar questões muito presentes, como o racismo e o neocolonialismo que também se expressa de alguma maneira nas relações entre o Estado português e as suas ex-colónias. Por isso, a figura de Mário Pinto de Andrade, tendo passado por Portugal, onde estudou e onde iniciou a primeira fase da sua militância política, mas também passado por outros países da Europa, como a França, onde teve grande impacto nos círculos panafricanos que também viriam a influenciar os movimentos de libertação na sua construção ideológica, os movimentos de libertação africanos, mas também as dinâmicas do envolvimento directo no processo das lutas de libertação a partir de Conacri, a partir de Angola, a partir da Guiné-Bissau e do envolvimento com todas estas redes transnacionais de lutas anticoloniais, ajudam-nos hoje, a partir de Portugal, também a reflectir sobre o papel que o Estado português e a sociedade portuguesa têm para a sua mobilização no sentido de superar os resquícios do colonialismo manifestados hoje regularmente, através do racismo que é muito marcado na sociedade portuguesa e que tem esse desafio de superar o racismo, mas também nas relações do Estado português com as ex-colónias africanas, onde a relação de subalternização destas ex-colónias permanece nos nossos dias e onde o espaço chamado Lusofonia tem servido como um antro da manutenção desta relação de subalternização entre Portugal e as ex-colónias. Portanto, evocar Mário Pinto de Andrade nos dias de hoje também tem esse papel, essa função de chamar a sociedade portuguesa na sua pluralidade, ao diálogo que contraria os legados do colonialismo presentes na sua sociedade. RFI: Este colóquio conta com a participação de diversos intelectuais de primeiro plano a nível de África. Há um fervilhar em termos de estudos em torno da questão pós colonial. E há também uma passagem de testemunho. Há cada vez mais estudiosos jovens que vão tentar estudar de outra forma a história de África. Sumaila Djaló: Penso que o movimento intelectual que ajudou a configurar o espaço ideológico anticolonial em África e de que fez parte numa das suas fases mais salientes, Mário Pinto de Andrade tem um legado que persiste até aos nossos dias e por isso é que tudo o que jovens estudantes, investigadores e estudiosos africanos, mas também estudiosos e investigadores da Europa e de outros cantos do mundo vão fazer a partir dos legados destas figuras proeminentes das lutas de libertação, tem também a ver com uma forma de continuidade, uma linha de pensamento que pauta pelas sociedades mais plurais e democráticas, onde a liberdade do homem e da mulher nessas sociedades estará sempre no centro, mas também um pensamento que contraria todas as formas de subalternização de povos e de menorização de culturas. E por isso, a partir deste colóquio, mobiliza-se também pessoas de várias geografias, obviamente a partir de África. Como podemos ver no programa, assinalo aqui duas conferências, a da abertura e do encerramento, a serem dirigidas por dois intelectuais africanos que passam muito pelos estudos das várias formas de pensamento africano anticolonial a partir da literatura, a partir da cultura, como a professora Inocência Mata e a partir da história e da historiografia, com o professor Jean-Michel Mabeko Tali e de outros intelectuais que vão fazer os painéis, quer da nova geração, quer de uma geração mais antiga, de intelectuais africanos e de outros cantos do mundo.

L'auteur Ismael JUDE a deux actualités littéraires avec Une vie de Jasmin, un roman publié aux éditions Verticales mais aussi avec un atlas, En France : sur les pas de personnages de romans, publié chez Autrement. Connaissez-vous la France de Madame Bovary, celle de Lancelot du Lac ou encore celle d'Augustin Meaulnes ? Autant de héros qui ont arpenté villes et campagnes, donnant à certains paysages une aura, comme la Provence de Marcel Pagnol. De Desvres à Pointe-à-Pitre, avec une escale à Porto-Vecchio, ce voyage littéraire suit les traces de personnages qui ont façonné notre imaginaire, héros comme anti-héros. Un atlas pour du tourisme littéraireCet atlas offre une véritable occasion de faire du tourisme littéraire, de vivre, aimer et mourir avec les héros des romans. Une quarantaine de destinations sont proposées, on y trouve des itinéraires, mais aussi des cartes pour identifier les lieux de ces personnages. Tout commence avec Balzac qui, inspiré par Walter Scott, veut écrire l'histoire récente de la France en répartissant ses romans sur tout le territoire. Il commence par décrire la ville de Tours et ses alentours. On y croise aussi des portraits du Havre, de Toulon, de Marseille.Certaines villes ou régions sont devenues indissociables d'un auteur : Chateaubriand et Saint-Malo, la Provence et Pagnol. Quelques régions sont toutefois surreprésentées, comme la Normandie ou la Provence. Et certains écrivains se sont arrangés avec la réalité : certains auteurs se sont quelque peu arrangés avec la réalité: Trouville n'est plus le petit port de pêche paisible des romans de Flaubert. Cependant, l'émission y reste présente. D'autres territoires, comme le Pays basque ou le Béarn, sont au contraire moins bien représentés. Cet atlas met en avant une véritable dimension patrimoniale de la littérature : plein de références littéraires   Une vie de Jasmin, un roman éco-poétiqueIsmael Jude publie également un roman. C'est l'histoire assez extraordinaire, d'une jeune femme-fleur prénommée Jasmin, qui s'écrit étrangement avec des caractères arabes et dont les parents se sont rencontrés sous le signe des fleurs, avant de les détester Jasmin aime les fleurs et qui ne vit que par les odeurs. Elle a un lien très fort avec les fleurs puisque son corps se recouvre de fleurs ou de herbes diverses. Mieux encore : quand Jasmin marche pieds nus, sur ses traces poussent des fleurs. Elle pratique une sorte de “dermaculture” et se drogue au glyphosate…Un roman éco-poétique écrit entre La Ciotat et Grasse dans une langue rare et sensuelle qui permet de renouer avec le végétal qui est en nous.L'auteur a beaucoup joué avec les mots et le champ lexical des plantes   Invité :  Ismaël Jude, romancier et docteur en littérature. Auteur de En France : sur les pas de personnages de romans, publié chez Autrement. Il vient également de publier Une vie de jasmin, aux éditions Verticales. Et la chronique Ailleurs nous emmène à Nouakchott, en Mauritanie, pour parler du concert autour de la chanteuse de jazz Leïla Olivesi qui s'est profondément inspirée de la littérature et des poèmes de la négritude (Aimé Césaire, Senghor, Glissant, David Diop) pour son album African Rhapsody avec également une rencontre littéraire, le 6 mai 2026. Cette rencontre poétique et musicale mettra en scène les voix des écrivains Mbarek Ould Beyrouk et Salihina Moussa Konaté à l'Institut français de Mauritanie.   Programmation musicale : L'artiste Aupinard avec le titre Le Thé   

L'auteur Ismael JUDE a deux actualités littéraires avec Une vie de Jasmin, un roman publié aux éditions Verticales mais aussi avec un atlas, En France : sur les pas de personnages de romans, publié chez Autrement. Connaissez-vous la France de Madame Bovary, celle de Lancelot du Lac ou encore celle d'Augustin Meaulnes ? Autant de héros qui ont arpenté villes et campagnes, donnant à certains paysages une aura, comme la Provence de Marcel Pagnol. De Desvres à Pointe-à-Pitre, avec une escale à Porto-Vecchio, ce voyage littéraire suit les traces de personnages qui ont façonné notre imaginaire, héros comme anti-héros. Un atlas pour du tourisme littéraireCet atlas offre une véritable occasion de faire du tourisme littéraire, de vivre, aimer et mourir avec les héros des romans. Une quarantaine de destinations sont proposées, on y trouve des itinéraires, mais aussi des cartes pour identifier les lieux de ces personnages. Tout commence avec Balzac qui, inspiré par Walter Scott, veut écrire l'histoire récente de la France en répartissant ses romans sur tout le territoire. Il commence par décrire la ville de Tours et ses alentours. On y croise aussi des portraits du Havre, de Toulon, de Marseille.Certaines villes ou régions sont devenues indissociables d'un auteur : Chateaubriand et Saint-Malo, la Provence et Pagnol. Quelques régions sont toutefois surreprésentées, comme la Normandie ou la Provence. Et certains écrivains se sont arrangés avec la réalité : certains auteurs se sont quelque peu arrangés avec la réalité: Trouville n'est plus le petit port de pêche paisible des romans de Flaubert. Cependant, l'émission y reste présente. D'autres territoires, comme le Pays basque ou le Béarn, sont au contraire moins bien représentés. Cet atlas met en avant une véritable dimension patrimoniale de la littérature : plein de références littéraires   Une vie de Jasmin, un roman éco-poétiqueIsmael Jude publie également un roman. C'est l'histoire assez extraordinaire, d'une jeune femme-fleur prénommée Jasmin, qui s'écrit étrangement avec des caractères arabes et dont les parents se sont rencontrés sous le signe des fleurs, avant de les détester Jasmin aime les fleurs et qui ne vit que par les odeurs. Elle a un lien très fort avec les fleurs puisque son corps se recouvre de fleurs ou de herbes diverses. Mieux encore : quand Jasmin marche pieds nus, sur ses traces poussent des fleurs. Elle pratique une sorte de “dermaculture” et se drogue au glyphosate…Un roman éco-poétique écrit entre La Ciotat et Grasse dans une langue rare et sensuelle qui permet de renouer avec le végétal qui est en nous.L'auteur a beaucoup joué avec les mots et le champ lexical des plantes   Invité :  Ismaël Jude, romancier et docteur en littérature. Auteur de En France : sur les pas de personnages de romans, publié chez Autrement. Il vient également de publier Une vie de jasmin, aux éditions Verticales. Et la chronique Ailleurs nous emmène à Nouakchott, en Mauritanie, pour parler du concert autour de la chanteuse de jazz Leïla Olivesi qui s'est profondément inspirée de la littérature et des poèmes de la négritude (Aimé Césaire, Senghor, Glissant, David Diop) pour son album African Rhapsody avec également une rencontre littéraire, le 6 mai 2026. Cette rencontre poétique et musicale mettra en scène les voix des écrivains Mbarek Ould Beyrouk et Salihina Moussa Konaté à l'Institut français de Mauritanie.   Programmation musicale : L'artiste Aupinard avec le titre Le Thé   

durée : 00:28:50 - Les Nuits de France Culture - par : Albane Penaranda - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Dans L'Apocalypse d'Adam et Aimée, Adama Diop poursuit son travail de création et revisite l'œuvre fondatrice du poète, Aimé Césaire, Cahier d'un retour au pays natal. Le père, Adam, figure tutélaire, fatiguée, crépusculaire, raconte l'apocalypse à sa fille, Aimée. Pour ce faire, il reprend parfois les mots d'Aimé, le grand Césaire. Un baisser de rideau pour l'humanité, écrit et incarné par Adama Diop, qui se joue actuellement au Théâtre du Rond-Point.   Être la bouche des malheurs qui n'ont point de bouche Le spectacle se construit sur des échos : ‘Aimée' rappelle ‘Aimé', Adama est ‘Adam', le premier homme qui est aussi le dernier, et qui est encore l'interprète présent devant son public. Les voix de tous se prolongent, se répondent et se confondent. Adama Diop évoque un « rapport presque radiophonique à dire de la littérature ». Sur scène, Adama Diop porte un costume brodé de fleurs rouges et déclame dans un décor minimaliste, où la nature reprend progressivement ses droits. Il parle pour le végétal menacé, pour les espèces animales disparues, et la poésie perdue. À travers sa lecture, Adama Diop explique avoir voulu permettre à la poésie de reprendre ses droits sur le plateau de théâtre. L'Apocalypse d'Adam et Aimée est une pièce qu'il qualifie plutôt de « grand poème », poème qui rend hommage à un autre : le Cahier d'un retour au pays natal.   Genèse d'un récit de la fin des temps Au commencement, il y a donc le Cahier de Césaire, œuvre indomptable qui le suit depuis l'adolescence. Au commencement, il y a aussi une commande du musée de l'Orangerie à Adama Diop pour un texte sensé être lu in situ, avec en toile de fond les nymphéas de Monet. Les peintures de Monet sont symptomatiques d'une frénésie de dire le monde, dans laquelle se reconnait Diop. La civilisation déchue qu'il décrit est un peu la nôtre, documentée dans tous ses excès, le point de bascule dépassé.   Entre retour et renoncement, fin et recommencement Pour Adama Diop, l'Apocalypse n'est pas juste la fin du monde. « L'Apocalypse, c'est aussi une révélation », rappelle-t-il. L'effondrement d'une société devient le moment de prise de conscience qui permet d'envisager le monde d'après, celui qui se dessine par-delà les décombres. On pourrait même épouser l'embrasement de « mini-apocalypses pour laisser place à des mondes plus ouverts, plus justes. » C'est bien la fin des temps qui permet au futur d'advenir. Si Adam ressasse le passé, Aimée est l'avenir, un futur au féminin. Elle assure la préservation de sa lignée et la survie de l'humanité...  Le texte est à retrouver aux éditions Actes sud.  Invité : Adama Diop, auteur, comédien et metteur en scène, né à Dakar, au Sénégal. Il se forme à partir de 2002 à l'ENSAD de Montpellier puis au CNSAD de Paris. En 2016, il est révélé dans la pièce-fleuve 2666 de Julien Gosselin.  En 2018, il tient le rôle-titre dans Macbeth de Stéphane Braunschweig. En 2021, le rôle de Ermolaï dans la Cerisaie mis en scène par Tiago Rodrigues. En 2022, il est Othello dans la mise en scène de Jean-François Sivadier.  En 2021, Diop crée au Sénégal l'« École internationale d'acteurs et d'actrices de Dakar » (EIAD), un lieu dédié à la formation et à la professionnalisation des comédiens et comédiennes issus de tout le continent africain. En 2024, il met en scène Fajar ou l'Odyssée de l'homme qui rêvait d'être poète.  L'Apocalypse d'Adam et Aimée est sa deuxième mise en scène.    Programmation musicale :  Les artistes Meryl feat Umpa avec le titre Lajen.

Dans L'Apocalypse d'Adam et Aimée, Adama Diop poursuit son travail de création et revisite l'œuvre fondatrice du poète, Aimé Césaire, Cahier d'un retour au pays natal. Le père, Adam, figure tutélaire, fatiguée, crépusculaire, raconte l'apocalypse à sa fille, Aimée. Pour ce faire, il reprend parfois les mots d'Aimé, le grand Césaire. Un baisser de rideau pour l'humanité, écrit et incarné par Adama Diop, qui se joue actuellement au Théâtre du Rond-Point.   Être la bouche des malheurs qui n'ont point de bouche Le spectacle se construit sur des échos : ‘Aimée' rappelle ‘Aimé', Adama est ‘Adam', le premier homme qui est aussi le dernier, et qui est encore l'interprète présent devant son public. Les voix de tous se prolongent, se répondent et se confondent. Adama Diop évoque un « rapport presque radiophonique à dire de la littérature ». Sur scène, Adama Diop porte un costume brodé de fleurs rouges et déclame dans un décor minimaliste, où la nature reprend progressivement ses droits. Il parle pour le végétal menacé, pour les espèces animales disparues, et la poésie perdue. À travers sa lecture, Adama Diop explique avoir voulu permettre à la poésie de reprendre ses droits sur le plateau de théâtre. L'Apocalypse d'Adam et Aimée est une pièce qu'il qualifie plutôt de « grand poème », poème qui rend hommage à un autre : le Cahier d'un retour au pays natal.   Genèse d'un récit de la fin des temps Au commencement, il y a donc le Cahier de Césaire, œuvre indomptable qui le suit depuis l'adolescence. Au commencement, il y a aussi une commande du musée de l'Orangerie à Adama Diop pour un texte sensé être lu in situ, avec en toile de fond les nymphéas de Monet. Les peintures de Monet sont symptomatiques d'une frénésie de dire le monde, dans laquelle se reconnait Diop. La civilisation déchue qu'il décrit est un peu la nôtre, documentée dans tous ses excès, le point de bascule dépassé.   Entre retour et renoncement, fin et recommencement Pour Adama Diop, l'Apocalypse n'est pas juste la fin du monde. « L'Apocalypse, c'est aussi une révélation », rappelle-t-il. L'effondrement d'une société devient le moment de prise de conscience qui permet d'envisager le monde d'après, celui qui se dessine par-delà les décombres. On pourrait même épouser l'embrasement de « mini-apocalypses pour laisser place à des mondes plus ouverts, plus justes. » C'est bien la fin des temps qui permet au futur d'advenir. Si Adam ressasse le passé, Aimée est l'avenir, un futur au féminin. Elle assure la préservation de sa lignée et la survie de l'humanité...  Le texte est à retrouver aux éditions Actes sud.  Invité : Adama Diop, auteur, comédien et metteur en scène, né à Dakar, au Sénégal. Il se forme à partir de 2002 à l'ENSAD de Montpellier puis au CNSAD de Paris. En 2016, il est révélé dans la pièce-fleuve 2666 de Julien Gosselin.  En 2018, il tient le rôle-titre dans Macbeth de Stéphane Braunschweig. En 2021, le rôle de Ermolaï dans la Cerisaie mis en scène par Tiago Rodrigues. En 2022, il est Othello dans la mise en scène de Jean-François Sivadier.  En 2021, Diop crée au Sénégal l'« École internationale d'acteurs et d'actrices de Dakar » (EIAD), un lieu dédié à la formation et à la professionnalisation des comédiens et comédiennes issus de tout le continent africain. En 2024, il met en scène Fajar ou l'Odyssée de l'homme qui rêvait d'être poète.  L'Apocalypse d'Adam et Aimée est sa deuxième mise en scène.    Programmation musicale :  Les artistes Meryl feat Umpa avec le titre Lajen.

durée : 00:40:11 - Les Nuits de France Culture - par : Mathias Le Gargasson - En 1966 à l'issue d'un colloque qui se tient en marge du Festival Mondial des Arts Nègres, le poète Aimé Césaire prononce son discours sur la place et l'avenir de l'art africain dans le monde des années 60. Plus spécifiquement, il lance un appel vibrant aux politiques à sauver l'art africain. - réalisation : Virginie Mourthé - invités : Aimé Césaire Écrivain et homme politique français

durée : 00:59:47 - Une vie, une oeuvre - par : Irène Omélianenko - Homme politique et poète d'envergure, chéri de la Martinique au Congo en passant par Haïti, murmuré, chanté d'île en île, de continent en continent, pour son verbe haut et sa lucidité, Aimé Césaire demeure peut-être avant tout le "Nègre fondamental", celui qui jamais ne renonce à sa liberté. - réalisation : Claire Poinsignon, Nedjma Bouakra, Christine Robert - invités : Françoise Vergès Historienne et politologue, Daniel Maximin Ecrivain, Sarah Frioux-Salgas Responsable des archives et de la documentation des collections de la médiathèque du musée du quai Branly - Jacques Chirac, Priska Degras Maître de conférence de lettres et littérature françaises, Université d'Aix Marseille III., Romuald Fonkoua Universitaire, rédacteur en chef de " Présence Africaine". Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:47 - Toute une vie - par : Irène Omélianenko, Nedjma Bouakra - Homme politique et poète d'envergure, chéri de la Martinique au Congo en passant par Haïti, murmuré, chanté d'île en île, de continent en continent, pour son verbe haut et sa lucidité, Aimé Césaire demeure peut-être avant tout le "Nègre fondamental", celui qui jamais ne renonce à sa liberté. - réalisation : Christine Robert - invités : Françoise Vergès Historienne et politologue; Daniel Maximin Ecrivain; Sarah Frioux-Salgas Responsable des archives et de la documentation des collections de la médiathèque du musée du quai Branly - Jacques Chirac; Priska Degras Maître de conférence de lettres et littérature françaises, Université d'Aix Marseille III.; Romuald Fonkoua Universitaire, rédacteur en chef de " Présence Africaine".

Comment se libérer du grand récit occidental qui encapsule le réel planétaire ? En redonnant au poétique toute sa place, lui qui fait surgir du réel une multiplicité de possibles. Dans le cadre d'existence planétaire qui est le nôtre, dominé depuis cinq siècles par le système capitaliste qui a « chaussé les souliers du colonialisme et transformé la mondialisation en globalisation économique », Patrick Chamoiseau montre comment le poétique a été nié et recouvert par du prosaïque. L'obscurantisme s'est installé, produisant partout de l'inconcevable, de l'impensable. L'urgence est aujourd'hui de remettre du poétique dans nos vies. Car le poétique est ce qui fait notre humanité, notre capacité à créer. À l'image du conteur créole dans les plantations, l'art, quel qu'il soit, stimule le sensible, ouvre des possibles et redonne une puissance créatrice. Aussi, Patrick Chamoiseau nous invite à être attentif au réel, à se relier aux autres et au vivant, et à vivre la relation dans toutes ses diversités, dans le droit à l'opacité, jusqu'à la quintessence. Il nous parle en passant de ses relations à Aimé Césaire, Édouard Glissant et Edgar Morin, entre admiration et profonde amitié. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode of the Review of Democracy podcast, political theorist Shuk Ying Chan (UCL) discusses her new book Postcolonial Global Justice (Princeton University Press, 2026), which develops an account of postcolonial global justice as social equality by thinking with anticolonial leaders Aimé Césaire, Frantz Fanon, Kwame Nkrumah and JawaharlalNehru. Chan explains her method of “historically inflected normative theorising”, which treats specific historical actors as interlocutors in developing normative principles for the present. The discussion also explores how the nation-state was often an instrument used by these thinkers to pursue abroader ideal of relational equality, and Chan's conceptualisation of postcolonial global justice as a matter of social equality, focusing on the ability of individuals and groups to “stand as equals”. Finally, the conversation turns to contemporary problems of undemocratic global governanceand Chan's proposal to rethink global democracy in terms of horizontal inequalities of power between groups, rather than only a vertical gap between individuals and global institutions.

Hello Interactors,Minnesota has seen federal incursion and overreach before. And not just in 2020. These removal tests we're witnessing are rooted in the premise of US ‘manifest destiny' and how quickly the notion of ‘home' can be made fungible by a violent state. But likeminded bodies always resist being bullied.SCAFFOLD, SOVEREIGNTY, AND SEIZUREOn December 26, 1862, during the Civil War, President Abraham Lincoln authorized the hanging of 38 Dakota men in Mankato, Minnesota. The execution, staged as public theater, was not a solemn judicial act. A special scaffold was built, martial law was declared, and an estimated 4,000 spectators witnessed the largest mass execution in U.S. history. The spectacle mattered because it carried meaning beyond Mankato. The hanging marked the end of the six-week U.S.–Dakota War of 1862. This brutal conflict devastated the Minnesota River Valley and left deep trauma in Dakota communities. It also conveyed that the state could swiftly and effectively attempt control of contested land by violent force.Mankato was the visible climax, but Fort Snelling was the quieter cruelty that continued. After the war, Dakota families — women, children, elders — were confined in harsh conditions near the fort during the winter of 1862–63. Disease and exposure killed between 130 and 300 Dakota people. Execution and exile worked together. One provided public power, the other attempted to ensure territorial outcomes.Here's what Dakota Chief Wabasha's son-in-law, Hdainyanka, wrote to him shortly before his execution:“You have deceived me. You told me that if we followed the advice of General Sibley, and gave ourselves up to the whites, all would be well; no innocent man would be injured. I have not killed, wounded or injured a white man, or any white persons. I have not participated in the plunder of their property; and yet to-day I am set apart for execution, and must die in a few days, while men who are guilty will remain in prison. My wife is your daughter, my children are your grandchildren. I leave them all in your care and under your protection. Do not let them suffer; and when my children are grown up, let them know that their father died because he followed the advice of his chief, and without having the blood of a white man to answer for to the Great Spirit.”This moral failing was part of a larger burgeoning political economy. In 1862, the Twin Cities were still emerging, with mills, river commerce, and infrastructure. Yet the region's future as an urban, financial, and political center depended on converting Dakota and Ojibwe homelands into transferable property. The spring prior to the massacre, in May 1862, Lincoln signed the Homestead Act, handing out 160-acre chunks of stolen land labeled now as “public.” Colonizers and immigrants could occupy this land, and be defended by the US government, if they showed they could “improve” it through five years of occupation.This act negated all Dakota treaties, seized 24 million acres of Minnesota lands, and mandated removal of what were now called Dakota “outlaws.” This converted communal Indigenous homelands into surveyed “public domain” eligible for homesteading, auctions, and rail grants, directly feeding wheat production for Minneapolis mills. Speculators and railroads exploited the act via proxy filings, reselling “cleared” parcels at profit to European immigrants.By 1870, non-Native population surged from 172,000 to over 439,000. The “clearing” of land was not metaphorical. It was the prerequisite for surveying, fencing, settlement, rail corridors, and the wider commodity circuits that would bind the Upper Midwest to national and global markets.That is what Harvard historian Sven Beckert calls war capitalism. He argues that global capitalism's ascent was not a clean evolution toward free exchange. It relied on coercion, conquest, and violence. As his book on the history of Capitalism lays out, state funded war capitalism fundamentally relied on slavery, the dispossession of Indigenous peoples, imperial expansion, armed commerce, and the imposition of sovereignty over both people and territory. In this framing, the Dakota and Ojibwe were obstacles to industrialization and commodification. The frontier needed to be safe for settlement and investment of Germans, Irish, and Scandinavians, as well as railroads and industry. This included these two flour mills, the world's largest by 1880: General Mills and Pillsbury.The gallows in Mankato were the blunt instrument that made the state-capital alliance credible. The point was not only to punish alleged crimes, but to demonstrate a capacity and will to kill. The American state needed to show it could override Indigenous sovereignty and reorder space. The subsequent removals and confinement at Fort Snelling completed the transformation. “Home” was recoded from relationship into asset. This land was no longer lived geography but extractable territory, from stewarding real soil to the selling of real estate.TOPHOPHILIA, TIES, AND TENSIONSWar capitalism is not merely to punish resistance, but to convert a lived place into a fungible asset. But violence plays a deeper role than just legal rearrangement. It has to break this constant of human life: our attachment to place.Behavioral geographer Yi-Fu Tuan borrowed the term topophilia to describe this attachment — the “affective bond between people and place or setting.” The phrase can sound soft and sentimental but it can also cause friction in projects of political economy.The state may be able to abolish or rewrite a treaty, redraw a border, rename a river, and issue new deeds, but it still confronts bodies that have been oriented by firm ground. It's on these grounds that paths are walked, food gathered, relatives buried, stories anchored to landmarks, and seasonal rhythms internalized as a habit of life. The obstacle is embedded and embodied in the physiology, including cognitive, and grounds to location.Modern neuroscience gives a concrete account of how place becomes part of a person. The hippocampus plays a central role in spatial memory and navigation, and research on place cells shows that hippocampal neurons fire in relation to specific locations in an environment. Familiar surroundings are not only around us they are within us. The brain builds spatial scaffolding that links location to memory, routine, prediction, and emotional regulation.When cognition is tied to the specificity of place, it becomes hard for a parcel to be made equivalent to another. Commodification demands interchangeability. A home cannot easily be made equivalent to another home when it's part of the nervous system — not quickly, not cleanly, and often not at all. When the state-capital alliance imagines territory as a grid of extractable value, it is implicitly trying to override how humans experience territory. That is why “simple” displacement so often produces disproportionate harm. Psychiatrist Mindy Fullilove coined the term root shock to describe the traumatic stress that follows the destruction of one's “emotional ecosystem.” Root shock is not only grief or nostalgia. It is a stress response to the sudden loss of the social and spatial cues that stabilize daily life. The shredding of a mesh of relationships, routines, and meanings embedded in a neighborhood or homeland.The root shock of the state violence of 1862 was not just incidental to the project of transformation. It was structurally necessary. If topophilia is a biological and psychological anchor, then a purely legal or economic strategy (bureaucratic coercion) will often be insufficient because the anchor of topophilia holds. To clear land at speed and scale, the state reaches for tools that can sever attachment abruptly. Public executions, mass incarceration, forced marches, and exile doesn't just relocate people. They're violent attempts to scramble the conditions under which people can remain attached at all. It transforms topophilia into vulnerability.Work on social exclusion and “social pain” helps explain why. In a widely cited fMRI study, Naomi Eisenberger and colleagues found increased activity in the anterior cingulate cortex during experiences of exclusion. This parallels patterns seen in physical pain studies where distress is tracked with painful activities. The point is not that social threat is “just like” physical injury, but that the brain treats social severing as a serious alarm condition. It's something that demands attention, vigilance, and behavioral change to overcome.ROOTS, RESISTANCE, AND REPAIRTopophilia doesn't end with the so-called frontier or attempts at ‘removing' its inhabitants. It reappears wherever people form durable bonds. That includes the streets and schools, churches and parks, language, kin, and the local economies and cultures war capitalism eventually built. The Dakota and Ojibwe were never “removed” in any final sense. Many live and organize in and around the Twin Cities today.In South Minneapolis, the Indigenous Protector Movement, a biproduct of the American Indian Movement, works out of the American Indian Cultural Corridor along Franklin Avenue — an immediate target for ICE. The protectors made their presence known as a form of ongoing place-based care and defense. It is a living archive of tactics for defending attachment under pressure through direct action, community building, patrols, and the mundane discipline of showing up. What it offers is not merely a critique of state violence, but vigilance without spectacle, care without permission, and solidarity as a daily habit rather than a momentary sentiment.Other areas of Minneapolis show how when federal enforcement turns public space into a zone of uncertainty, topophilic neighbors often respond by adopting exactly those same “weapons” of persistence — care, documentation, rapid communication, mutual aid — that have long characterized Indigenous resistance and slavery abolitionist networks.Standing Rock, where the Standing Rock Sioux Tribe and allies gathered in 2016 to oppose the Dakota Access Pipeline, demonstrated how quickly infrastructure can scale when a place becomes a shared object of defense.The #NoDAPL movement assembled a broad coalition of Indigenous nations and allies, over 200 tribes, alongside legal support, medical care, and communications systems designed to withstand state patience. The 2020 George Floyd uprising in Minneapolis also revealed how love of place can become a platform for organized care rather than retreat. Alongside protest, residents built mutual-aid channels, street-medic networks, food distribution, and neighborhood defense efforts that treated the city as an emotional ecosystem worth repairing. What looked to outsiders like spontaneous eruption was, on the ground, a rapid layering of roles that included medics, legal observers, supply runners, translators, and de-escalators. This ecology of participation made it possible for large numbers of people to act without centralized command.Social psychology helps explain why these movements generate allies rather than only sympathizers. One key concept is collective efficacy — the combination of social cohesion and a shared willingness to intervene for the common good. It blossoms when people repeatedly see each other act, learn local norms of mutual obligation, and build trust that intervention will be supported rather than punished. All rooted in topophilia.Place attachment can bridge boundaries that would otherwise keep people separate. Work in community psychology and planning shows that place attachment and meaning can support participation and collective engagement, especially when development or coercion threatens everyday life. In other words, topophilia is not just private feeling. When it's under threat it can become public motive and an engine for coalition.The coalition in Minneapolis is being characterized by the federal government as terrorists. This borrows from a long history of resistance to violence because war capitalism has never been only domestic. The United States and its allies refined coercive governance overseas through night raids and “capture-or-kill” operations in Afghanistan, midnight house raids in Iraq, and broader militarized campaigns that treat homes as “searchable terrain” and communities as “intelligence environments.”Many of the officials, contractors, and voters who authorized or normalized these methods rarely imagined the same atmosphere of violent seizure in their neighborhood. As unimaginable as it may be watching unmarked vehicles, sudden detentions, and public uncertainty coming to American streets — used against the very citizens and taxpayers who fund such operations — it's not to those victims overseas in places like Afghanistan, Iraq, Palestine, or even inner city America.That return is what the poet and politician Aimé Césaire called the “imperial boomerang” effect, the idea that techniques tolerated in peripheral countries can come home to roost. In the U.S., the boomerang has long “landed” first on people of color. It emerges through surveillance and disruption campaigns like the two decades of the covert and illegal COINTELPRO program where the FBI targeted counterculture groups of the so-called New Left.Or the “Palmer Raids” of 1919 and 1920 targeting largely Italian and Eastern European Jewish immigrants and their left-leaning politics. These led to riots in 30 US cities and culminated in the bombing of the home of A. Mitchell Palmer, the US attorney general. These programs all reflect the notion that war can come home — just look at the increased militarizing of policing complete with SWAT tactics. And the same history that produced the scaffold of war capitalism of the past also produced reservoirs of resistance we see here and now. When neighbors anywhere respond to incursions not only with fear but with organized vigilance and material support, they are adapting older strategies of care found in Indigenous, abolitionist, and other movement-based defenses of people and places against infiltration, intimidation, and attempted violent removal.We can see how war capitalism endures. Mankato's 1862 gallows aimed to clear Dakota homelands of their people for homesteading, rails, and mills. Meanwhile, today's Operation Metro Surge includes thousands of federal agents raiding Minneapolis homes and streets, attempting to sever immigrant attachments to allegedly enforce labor control and national security. These militarized spectacles of warrantless entries, tear gas, and shootings echo what Beckert has uncovered. They treat people and place as obstacles to commodification rather than roots of stewardship.Yet topophilia also persists. These cross cultural rapid-response networks are not new to these lands, even though the US government tried to erase them centuries ago. The inspiring actions we see in Minneapolis reflect the values of compassion, positiveness, and respect for all relatives with neighborly solidarity that the first occupants of that land embraced. They're now woven with their allied 21st century neighbors in common and shared resistance. As best expressed here by Indigenous studies and political ecology scholar Melanie Yazzie. (and the longer version here) Minneapolis, like those acts of resistance in the nearby Dakotas, enacts and rehearses an alternative form of civil governance that centers mutual obligation over coercion and extraction. It shows how cities can survive the strain and stay alive — not through fear and gain, but through care that grounds and sustains. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

In today's episode, we are joined by the author of a new book published by Princeton University Press. The book offers a bold reimagining of global justice, drawing on anticolonial thought to confront the unfinished work of decolonization. Rather than defending decolonization as a nationalist project, it advances a powerful vision of global social equality.Our guest is Dr. Shuk Ying Chan, Assistant Professor of Political Theory at UCL Political Science. Regular listeners will recall her previous appearances on the podcast, including episodes on resisting colonialism and the trouble with exporting Hollywood films.In Postcolonial Global Justice, Shuk Ying Chan proposes a new account of global justice centered on the value of social equality. Drawing on the ideas of Aimé Césaire, Frantz Fanon, Kwame Nkrumah, and Jawaharlal Nehru, Chan argues that a core commitment of anticolonial thought is the rejection of hierarchy and the embrace of equality. These insights from decolonization, she suggests, give us critical tools for challenging contemporary global hierarchies and for rejecting forms of postcolonial nationalism that are more focused on policing citizens than promoting their freedom and equality. UCL's Department of Political Science and School of Public Policy offers a uniquely stimulating environment for the study of all fields of politics, including international relations, political theory, human rights, public policy-making and administration. The Department is recognised for its world-class research and policy impact, ranking among the top departments in the UK on both the 2021 Research Excellence Framework and the latest Guardian rankings.

Kader Attia talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Attia was born in 1970 in Dugny, France, and lives in Berlin and Paris. He grew up between the French capital and Bab el Oued, a suburb of Algiers in Algeria, and his Algerian-French identity and the culture and history of Europe and North Africa—the global north and south—have profoundly informed his subject matter and materials. His work across three decades in photography, collage, sculpture, installation and sound, is concerned with a central concept: repair. By association, the notion of repair is inevitably connected with violence and injury. Within this overarching theme, he explores political and social issues in the present and the complex legacies of colonialism. While directly addressing particular historical and current moments, his work is rich in metaphor, and he considers this poetic aspect crucial to art's ability to effect social change. Attia regards his output as the evidence of an ongoing process of research, but despite its fundamentally philosophical and textual genesis, it is often dramatic visually and experientially.He reflects on what he calls the “menemonic traces” and ghosts present through his work, explains why he feels the gaze is a bodily phenomenon beyond the ocular, and discusses the importance of his trips while a young person in Congo and Mexico. He talks about his early interest in Michelangelo's drawings, his engagement with writers from the psychoanalyst Karima Lazali to the poets Édouard Glissant and Aimé Césaire, and the cathartic power of music. Plus he gives insight into his life in the studio and answers our usual questions, including the ultimate: what is art for?Kader Attia: Shattering and Gathering our Traces, Lehmann Maupin, New York, until 20 December; Kader Attia. The Lost Paradise, Centro Andaluz de Arte Contemporáneo, Seville, Spain, until 18 January 2026; Kader Attia: A Descent into Paradise, Museo Amparo, Puebla, Mexico, until 4 January 2026.Bienal de Sao Paulo: Not All Travellers Walk Roads—Of Humanity as Practice, until 11 January 2026; The World Tree: 24th Paiz Art Biennial, Guatemala City and Antigua Guatemala, until 15 February 2026. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:49:15 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires sensibles : Aimé Césaire et le Parti communiste, un divorce dans le fracas des mots. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

The Museum of Fine Arts (MFA) in Boston, US, has agreed to return two works from 1857 by the enslaved 19th-century potter David Drake to his present-day descendants. By the terms of the contract, one vessel will remain on loan to the museum for at least two years. The other—known as the “Poem Jar”—has been purchased back by the museum from the heirs for an undisclosed sum and now comes with “a certificate of ethical ownership”. Ben Luke talks to Ethan Lasser, the MFA's chair of the art of Americas, about this landmark agreement. At the Museum of Modern Art in New York, the exhibition Wifredo Lam: When I Don't Sleep, I Dream opens on Monday. Lam, who was of African and Chinese descent, is now widely regarded as a key, and singular, figure in Modernist painting. Connected in his long life to the Surrealists and Pablo Picasso, and to literary greats including Aimé Césaire and Edouard Glissant, his distinctive practice was above all centred on a profound engagement with Black diasporic culture. Ben talks to the two lead curators of the exhibition, Beverly Adams, curator of Latin American Art at MoMA, and the museum's new director, Christophe Cherix. And this episode's Work of the Week is the Adoration of the Magi (1488) by Domenico Ghirlandaio. The painting is in the Ospedale degli Innocenti, the first hospital for unwanted or orphaned infants, or foundlings, in Europe, built by the great Renaissance architect, Filippo Brunelleschi. The Innocenti, as it is called, is the subject of a new book, called The Innocents of Florence: The Renaissance Discovery of Childhood, by Joseph Luzzi, and Ben speaks to him about the painting and its significance in the Innocenti's collection.Wifredo Lam, Museum of Modern Art, New York, 10 November-11 April 2026.The Innocents of Florence: The Renaissance Discovery of Childhood, published in hardback by WW Norton, from 11 November in the US, priced $29.99, and from 28 November in the UK, priced £23.New subscription offer: eight-week free digital trial of The Art Newspaper. The subscription auto-renews at full price for your region. Cancel anytime. www.theartnewspaper.com/subscriptions-8WEEKSOFFER Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:59 - Le Book Club - par : Marie Richeux - L'écrivain et économiste sénégalais Felwine Sarr a accepté de nous faire découvrir sa bibliothèque. Au programme : de la résistance poétique avec René Char et Aimé Césaire, du langage amoureux avec Pascal Quignard, et de la sagesse intellectuelle avec Hermann Hesse et le poète persan Rûmî. - réalisation : Vivien Demeyère - invités : Felwine Sarr Écrivain, musicien, économiste et universitaire

With a rough Halloween weekend at the box office, we're looking forward to Predator: Badlands, analysing pre-sales, audiences, and marketing opportunities for the upcoming title this week Behind the Screens.Topics and times:Back from AIMC - 0:18Box office overview - 2:29Bugonia box office and audience breakdown - 4:12Upcoming titles - 7:18Predator: Badlands pre-sales - 8:13Predator: Badlands pre-sales audience analysis - 8:52Predator: Badlands marketing opportunities - 10:43Next week - 11:29Find us at https://www.linkedin.com/company/vista-group-limited/, and follow lifeatvistagroup on Instagram

Between Chainsaw Man - The Movie, Regretting You, and Springsteen: Deliver Me From Nowhere hitting the big screen, there's a wide variety of audiences to appeal to at the box office this weekend. With Matthew away at AIMC, Simon and Lauren give us all the details on the box office and audience breakdowns for each title.Topics and times:Box office overview - 0:49Chainsaw Man - The Movie audience analysis - 1:35Chainsaw Man - The Movie critical and audience reception - 3:29Regretting You box office performance - 4:41Regretting You audience analysis - 5:20Regretting You critical and audience reception - 7:51Springsteen: Deliver Me From Nowhere box office and audience - 8:17Next week - 10:11Find us at https://www.linkedin.com/company/vista-group-limited/, and follow lifeatvistagroup on Instagram

No segundo episódio do Análise Comuna, fazendo uma análise da série Gears of War. O episódio começa contextualizando o lançamento do primeiro jogo da série em 2006, sua relevância como um marco para jogos de tiro em terceira pessoa e sua narrativa cinematográfica. O objetivo é analisar a trilogia original não apenas como entretenimento, mas também como uma metáfora dos processos de colonização, considerando as leituras críticas de Frantz Fanon, que em Os Condenados da Terra descreve a violência como elemento estruturante da colonização, e de Aimé Césaire, que em Discurso sobre o Colonialismo vê a prática colonial como uma desumanização mútua entre colonizador e colonizado. A narrativa de guerra contra os Locust será interpretada à luz dessas ideias, explorando suas implicações sociais e políticas. Ajude a financiar o Holodeck Design no Apoia.se e Orelo.cc ou fazendo doações pelo PicPay. Siga o Holodeck Design no Twitter, Facebook, Instagram e TikTok e entre no grupo para ouvintes do Telegram! Nossos episódios são gravados ao vivo em nosso canal na Twitch e YouTube, faça parte também da conversa. Curso Preparatório para seleção de Mestrado/Doutorado. Conquiste sua vaga no Mestrado ou Doutorado com nossa preparação especializada, focada exclusivamente na sua aprovação! Abordamos todos os pilares essenciais do processo seletivo: elaboração de projeto de pesquisa, preparação para entrevistas, desenvolvimento de escrita científica de alto impacto, estratégias para a prova escrita e compreensão do funcionamento do ensino superior de pós-graduação. Além das aulas regulares, você recebe aulas bônus exclusivas e suporte contínuo através de mentoria em nosso grupo, garantindo uma preparação estratégica e completa para ingressar no programa dos seus sonhos. Acesse nosso link afiliado e use o cupom REGRASDOJOGO para ganhar 33,34% de desconto na hora da compra: Preparatório para seleção de Mestrado/Doutorado. Participantes Fernando Henrique Anderson do Patrocínio Cupons de Desconto regrasdojogo – 10% Descontos em todas as camisas da Veste Esquerda. Músicas: Persona 5 – Beneath The Mask lofi chill remix

Fuhrig, Dirk www.deutschlandfunk.de, Büchermarkt

Fuhrig, Dirk www.deutschlandfunk.de, Büchermarkt

À Mexico City, dans les quartiers de la Condesa et la Roma, très prisés des touristes et des étrangers, la sauce piquante ne pique plus. Dans les taquerias, ces traditionnels stands de vente de tacos que tous les Mexicains dégustent arrosés de sauce pimentée, le piment a été banni. Cela peut paraître anecdotique, mais veut dire beaucoup sur la gentrification de cette partie de la ville. Reportage de notre correspondante à Mexico City, Marine Lebègue.Dette haïtienne : après les annonces d'Emmanuel Macron, des réactions mitigéesPour l'homme d'affaires et auteur haïtien Jerry Tardieu, joint par RFI, l'annonce d'une commission mixte franco-haïtienne est « une première étape qui doit en appeler d'autres ». L'homme politique insiste, cela ne devra pas être seulement un travail mémoriel aboutissant à des mesures symboliques. « Il faut du concret (…) une forme de compensation (…) Le pays est à l'agonie, il faut que cette commission aboutisse à donner les moyens à Haïti de se battre contre l'insécurité » et de se développer.Dans les rues de Port-au-Prince, notre reporter Peterson Luxama a recueilli la parole d'Haïtiens en demande de réparation et restitution, deux termes éludés par le communiqué de la présidence française publié hier. « Cela doit prendre la forme d'un dédommagement. Cette sois disant dette a plombé notre économie. Je pense que le seul mot qu'on aimerait entendre aujourd'hui, c'est le mot restitution », déclare Roobens Isma, étudiant, à notre journaliste.Haïti : en Artibonite, la vie rendue impossible par les gangsÀ Port-au-Prince, comme dans le département de l'Artibonite, au nord, les habitants sont descendus dans la rue, fin mars, pour réclamer aux autorités des actions concrètes pour lutter contre cette insécurité. Dans la commune de Petite Rivière de l'Artibonite, contrôlée par le gang « Gran Grif » (le plus violent de la région), la population exige une réponse musclée de la Police nationale haïtienne. Reportage sur place de notre correspondant Ronel Paul.États-Unis : une photo de l'habitant du Maryland, Salvadorien, expulsé par erreur, à la Une de la presseSur cette photo, Kilmar Abrego Garcia, Salvadorien expulsé par erreur des États-Unis, est attablé dans le hall d'un hôtel de San Salvador avec le sénateur démocrate Van Hollen.Le père de famille, résident dans le Maryland est vêtu d'une chemise à carreaux et d'une casquette. « Ces photos renvoient une atmosphère bien différente de celle d'une prison surpeuplée », les deux hommes étant assis dans un hall d'hôtel, « au sol ciré », « avec une végétation luxuriante en arrière-plan », analyse le New York Times.La photo a été repostée aussi par le président salvadorien, autoritaire et fervent supporter de Donald Trump. Nayib Bukele se permet une légende moqueuse, rapportée par Politico : « Kilmar Abrego Garcia miraculeusement ressuscité des camps de la mort et de torture, en train de siroter une margarita ». Mais d'après les informations du New York Times, c'est un assistant de Bukele qui aurait servi les cocktails et tenté de mettre en scène la photo.En Floride, une tuerie fait au moins 2 morts et 6 blessésLe suspect de 20 ans, abattu sur place par la police, a agi avec l'arme de service de sa mère, adjointe du shérif du comté de Leon. Le Miami Herald raconte la panique sur place, « les ordinateurs et sacs encore éparpillés dans l'herbe du campus ». « Tout le monde est en colère, je ne comprends juste pas comment cela peut arriver », déclare un étudiant. La tuerie ravive aussi de douloureux souvenirs en Floride. Certains parents des victimes de la tuerie de Parkland, en 2018, ont désormais des enfants étudiants dans l'université de Tallahassee. « Mon cœur a lâché », décrit une mère de famille au Miami Herald, « c'était un effrayant 'déjà vu' ». Elle ajoute : « Arrêtez la politique et protégez nos enfants. On ne peut pas devenir insensible à ces tueries. On doit bien mieux à nos enfants ». À la Une du journal des Outre-mers, de notre partenaire La 1eLa Martinique commémore les 17 ans de la mort du penseur et écrivain Aimé Césaire.

Este podcast es un viaje sonoro al universo de Wifredo Lam, el pintor cubano que rompió fronteras entre lo africano, lo caribeño y lo surrealista. Desde sus raíces en Sagua La Grande hasta su conexión con figuras como Picasso, André Breton y Aimé Césaire, exploramos cómo Lam convirtió el lienzo en un campo de batalla simbólico, fusionando espíritus, máscaras y resistencia anticolonial. A través de análisis, entrevistas y relatos históricos, desentrañamos cómo su obra se convirtió en un grito visual de identidad y poder afrocaribeño en pleno siglo XX. Magia, mestizaje y modernidad — la visión radical de Wifredo Lam como nunca la habías escuchado.

Huit ans après Ascensions, le chanteur Babx nous revient avec un nouvel album Amour colosse. Neuf nouveaux titres mélodiques empreints de poésie nés pendant le confinement. L'album Amour colosse a été imaginé pendant le premier confinement de 2020 durant lequel la chanson Prendre soin a été écrite, mais il prend aussi racine avec la naissance de sa fille, Alma. C'est le premier album composé en tant que papa. Les contes et les légendes mêlées à la fureur du monde actuel y ont une part importante. Babx nous transmet un message engagé au travers de ses chansons comme dans Jeux d'Hiver ou Les apaches. Il y a toujours une lecture politique dans une chanson, une manière d'essayer de comprendre le présent. Chanter une chanson, c'est déjà un acte politique. Les chansons sont conçues comme des images avec parfois des ambiances cinématographiques... mais aussi comme des petits cocons, « des chansons cabanes, des chansons-refuge, des chansons-cailloux pour ne pas perdre notre chemin ». Amour colosse est sorti le 4 avril dernier et a été produit par JP Nataf du groupe Les Innocents.Invité : Babx, de son vrai nom David Babin, est né en 1981. Il est issu d'une famille d'artistes et de musiciens ; sa mère est pianiste. Il a appris le piano très tôt et a commencé à écrire des textes à son adolescence. Il sort son premier album en 2006. En 2015, il crée son propre label et sort l'album Cristal automatique #1, sur des textes d'Arthur Rimbaud, Charles Baudelaire, Jean Genet ou encore Aimé Césaire dont l'un des poèmes donne le titre. Programmation musicale :Les titres de Babx suivants tous issus de son album Amour colosse : Alma, Amour Colosse, Apaches, Nos années Lumière.Et la chronique Ailleurs nous emmène en Haïti avec Iléus Papillon, poète, journaliste, sociologue et président du salon du livre et des arts du grand nord d'Haïti (SLAGNH) qui aura lieu du 23 au 25 avril 2025 à Port-Margot, une commune située à 36 km de Cap-Haïtien. Ce rendez-vous a pour but de promouvoir la lecture et les arts dans le nord d'Haïti et de mettre en lumière le patrimoine matériel et immatériel de Port-Margot, avec des rencontres avec des écrivains, des conférences et panels sur l'art, la culture et l'histoire et des performances artistiques (musique, danse, théâtre).

Huit ans après Ascensions, le chanteur Babx nous revient avec un nouvel album Amour colosse. Neuf nouveaux titres mélodiques empreints de poésie nés pendant le confinement. L'album Amour colosse a été imaginé pendant le premier confinement de 2020 durant lequel la chanson Prendre soin a été écrite, mais il prend aussi racine avec la naissance de sa fille, Alma. C'est le premier album composé en tant que papa. Les contes et les légendes mêlées à la fureur du monde actuel y ont une part importante. Babx nous transmet un message engagé au travers de ses chansons comme dans Jeux d'Hiver ou Les apaches. Il y a toujours une lecture politique dans une chanson, une manière d'essayer de comprendre le présent. Chanter une chanson, c'est déjà un acte politique. Les chansons sont conçues comme des images avec parfois des ambiances cinématographiques... mais aussi comme des petits cocons, « des chansons cabanes, des chansons-refuge, des chansons-cailloux pour ne pas perdre notre chemin ». Amour colosse est sorti le 4 avril dernier et a été produit par JP Nataf du groupe Les Innocents.Invité : Babx, de son vrai nom David Babin, est né en 1981. Il est issu d'une famille d'artistes et de musiciens ; sa mère est pianiste. Il a appris le piano très tôt et a commencé à écrire des textes à son adolescence. Il sort son premier album en 2006. En 2015, il crée son propre label et sort l'album Cristal automatique #1, sur des textes d'Arthur Rimbaud, Charles Baudelaire, Jean Genet ou encore Aimé Césaire dont l'un des poèmes donne le titre. Programmation musicale :Les titres de Babx suivants tous issus de son album Amour colosse : Alma, Amour Colosse, Apaches, Nos années Lumière.Et la chronique Ailleurs nous emmène en Haïti avec Iléus Papillon, poète, journaliste, sociologue et président du salon du livre et des arts du grand nord d'Haïti (SLAGNH) qui aura lieu du 23 au 25 avril 2025 à Port-Margot, une commune située à 36 km de Cap-Haïtien. Ce rendez-vous a pour but de promouvoir la lecture et les arts dans le nord d'Haïti et de mettre en lumière le patrimoine matériel et immatériel de Port-Margot, avec des rencontres avec des écrivains, des conférences et panels sur l'art, la culture et l'histoire et des performances artistiques (musique, danse, théâtre).

In France's overseas departments, Creole language and culture are seen as a bulwark against racism and standardisation. The concept of "Créoleness" was developed in the late 1980s, in the wake of Aimé Césaire's writings on Négritude and Edouard Glissant's notion of "Antillanité", or a specifically Caribbean identity. Our reporters Florence Gaillard and Georges Yazbeck travelled to Martinique to hear from those who embody this complex identity.  Following the Christian calendar, the four days before Ash Wednesday are known as "les jours gras" in Martinique: a time of celebration and mischief. Everyone is invited to the carnival: rich, poor, white, black, locals and tourists.The festivities are populated by some emblematic local characters: King Vaval, the Red Devils and Marianne La Po Fig, a mysterious creature made of banana leaves. According to Marie-Lyne Psyché-Salpétrier, president of the Recherches et Traditions association, Marianne La Po Fig is part of Martinique's spiritual pantheon, handed down by the island's Yoruba ancestors and belonging to its African roots. Philosopher Edouard Glissant called Martinique "the melting pot of the world". Like all Creole societies, it is the product of three centuries of colonisation and a mixture of European, African and Asian populations. The indigenous Amerindians, known as Kalinagos or Caribs, have all but disappeared. This physical and cultural intermingling has led to the emergence of a popular language: Creole. Long associated with slavery, Creole was forbidden in the classroom and frowned upon in polite society. Yet the language continued to evolve – largely thanks to songs and stories – and today it's a poetic, multi-layered idiom. We meet Jocelyne Béroard, a singer with the group Kassav', who told us more about the inherent poetry of Créole and how she uses it on stage and in daily life. Meanwhile, the "Groupe d'Etudes et de Recherches en Espace Créole" has been working for almost 30 years to lay the written foundations of Creole, publishing dictionaries and novels in a Creole that borrows expressions from Martinique, French Guiana, Haiti and Reunion Island. More importantly, GEREC has fought to bring Creole to school textbooks and universities and thereby formalise its use beyond the oral sphere. In 1989, Raphaël Confiant, Jean Bernabé and Patrick Chamoiseau published "Eloge de la Créolité" or "In Praise of Creoleness". This manifesto celebrates Creole identity as the acceptance of all diversities and the endorsement of plural identities. For its co-author Confiant: "Creoleness is, in fact, the opposite of apartheid!"

Des élèves de 5ème du collège Aimé Césaire, à Vaulx-en-Velin, en banlieue de Lyon, racontent les changements de leurs corps à l'aune de l'adolescence. « Trop grande pour une fille », « trop petit pour un garçon »… Certains sont complexés, d'autres apprennent à s'accepter.Une lettre sonore réalisée par Charlie Dupiot et Alice Milot.Mise en ondes, mixage et réalisation : Romain Dubrac.Illustration : Charlotte des Ligneris. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:55:02 - Les Nuits de France Culture - par : Philippe Garbit - Dans "Au cours de ces instants - Aime Césaire et la révolte", le poète et homme politique Antillais s'exprimait sur son enfance, le colonialisme, son oeuvre poétique, sa vision de l'Afrique et de l'Europe. Un entretien avec José Pivin diffusé la première fois le 30 janvier 1966. - réalisation : Virginie Mourthé - invités : Aimé Césaire Écrivain

แบงก์ชาติ ‘คงดอกเบี้ย' เพื่อเก็บกระสุนรองรับความเสี่ยงที่อาจสูงขึ้นในอนาคต รายละเอียดเป็นอย่างไร AIMC นัดถกกำหนดแนวทางลงทุนหุ้นเครือซีพี มีเรื่องอะไรต้องกังวล พูดคุยกับ ชวินดา หาญรัตนกูล นายกสมาคมบริษัทจัดการลงทุน (AIMC)

สมาคมบริษัทจัดการลงทุน หรือ AIMC เล็งหารือสมาชิกถกปม ‘CPAXT' ลงทุนโครงการอสังหาผ่านบริษัทย่อย ผิดธรรมาภิบาลหรือไม่ หลังนักลงทุนกังวลเทขายหุ้นมูลค่าหาย 6.7 หมื่นล้านบาทในวันเดียว รายละเอียดเป็นอย่างไร วิเคราะห์ตลาดหุ้นไทย SET Index จุดกลับตัวอยู่ตรงไหน พูดคุยกับ เอกภาวิน สุนทราภิชาติ นักกลยุทธ์อาวุโสตลาดหุ้นและตลาดอนุพันธ์ ฝ่ายกลยุทธ์การลงทุน บล.อินโนเวสท์ เอกซ์ จำกัด (InnovestX)

Aimé Césaire's masterpiece of exile and homecoming, Return to my Native Land – beautifully translated by John Berger – is now a Penguin Classic. To celebrate, Jason Allen-Paisant (who has written the introduction for the new edition) and Colin Grant discuss the poem. Allen-Paisant's most recent poetry collection, Self-Portrait as Othello (Carcanet), won both the T.S. Eliot Prize and the Forward Prize for Best First Collection; Colin Grant is director of WritersMosaic, a division of the Royal Literary Fund, his most recent book is a memoir, I'm Black So You Don't Have to Be (Jonathan Cape). Hosted on Acast. See acast.com/privacy for more information.

Simon and Matthew share their highlights from AIMC, and while it was mostly holdovers this week, we break down the box office and audiences for Tom Hanks' new title, Here. Plus, we dive in to the pre-sales for Gladiator 2, Wicked, and Moana 2.  AIMC summary- 0:59 October box office YoY- 1:45 Here box office overview & audience analysis- 3:05 Box office overview: Venom: The Last Dance, The Wild Robot - 6:17 Bollywood box office - 8:58 Upcoming title releases - 10:30 Pre-sales for Gladiator 2, Wicked, and Moana 2 - 11:47 Next week - 14:08 Find us at https://www.linkedin.com/company/vista-group-limited/, and follow lifeatvistagroup on Instagram Box Office Overview: October 2024 domestic box office -17% YoY ($462M vs $556M October 2023) Year-to-date box office -12.2% at $6.6B vs $7.6B for the same period in 2023 Here opened in 5th position domestically with $4.88M in the domestic market. Venom: The Last Dance took another $68.4M in its second weekend, bringing its cumulative total to $317M. The Wild Robot in its sixth week grossed another $7.55M domestically (+11% WoW), bringing the global total to almost $270M.

Matthew and Simon are coming to us live from AIMC on the gold coast, joined by Ryan as they break down Venom: The Last Dance and Conclave. Join us Behind the Screens as we explore the box office and the audience behind the latest movies to hit the big screen. Topics and times: Preparing for AIMC - 0:44 Venom: The Last Dance box office overview - 1:17 Venom: The Last Dance audience analysis - 2:06 Venom: The Last Dance reception - 4:40 Conclave impressions - 6:14 Conclave box office and audience analysis - 7:25 Marketing opportunities for Conclave - 10:32 Box office roundup - 11:31 Next week - 12:00   Find us at https://www.linkedin.com/company/vista-group-limited/, and follow lifeatvistagroup on Instagram Box Office Overview: Venom: The Last Dance debuted with $51M in the domestic market, and a massive $124M internationally, making for a $175M global opening. Smile 2 grossed $9.4M domestically, and a total of $22M worldwide for the weekend, bringing its global total to $84M. The Wild Robot in week 5 took $6.5M domestically and now sits at $230M worldwide. Terrifier 3 has now reached a global cumulative total of $53M, after adding just under $5M this weekend domestically. Conclave grossed $6.5M for its domestic opening weekend.

durée : 00:28:55 - Les Nuits de France Culture - par : Mathias Le Gargasson - René Maran, premier écrivain noir à recevoir le prix Goncourt en 1921, est un peu oublié de notre mémoire littéraire. Cette émission de 1960 lui rend un hommage appuyé et est l'occasion d'entrevoir ce qu'il a apporté à la culture noire et en quoi il a été un précurseur. - réalisation : Virginie Mourthé - invités : Aimé Césaire Écrivain; Édouard Glissant Écrivain, poète et philosophe

durée : 00:40:15 - Les Nuits de France Culture - par : Mathias Le Gargasson - En 1966 à l'issue d'un colloque qui se tient en marge du Festival Mondial des Arts Nègres, le poète Aimé Césaire prononce son discours sur la place et l'avenir de l'art africain dans le monde des années 60. Plus spécifiquement, il lance un appel vibrant aux politiques à sauver l'art africain. - réalisation : Virginie Mourthé

In today's episode, River and I return to a conversation about Gaza, focusing on the discourse surrounding it, the function of antisemitism in the colonial creation of Israel, the state of resistance and the state of Israel's genocide, as well as decolonization and the way whiteness and identification with institutions hampers leftist's solidarity with decolonial movements. Perhaps a fitting epigraph for this episode would be a line from Aimé Césaire that River quotes in our conversation: “Europe is indefensible.” The end of Israel is not enough, we need the end of Europe and the end of the United States. One facet of our discussion is trying to get at the way we can find true solidarity with and inspiration from the resistance in Palestine. How do we bring the decolonial force from the colony to the heart of empire? In thinking about this, we touch on what stops people from having solidarity, or what trips up white leftists in their conceptions of decolonization. We also talk a bit about knowledge production in the academy and writing and thinking during this endless series of horrors surrounding us and escalating every day. But don't worry, it's not just doom and gloom: we find hope in the ways that Palestinians and others are teaching us life independent from the state. Remember, as always, we have an online submission form at https://form.jotform.com/thebreakuptheory/stories and a phone line at ‪(917) 426-6548. Please write and call us, to share your break up stories, your questions about ending things, and your hopes for liberation! Our letters episodes are a recurring feature on the show, and we find that our writers appreciate the ways we help think of these situations, so keep writing us! If you like this show, please share with your friends and rate and follow us wherever you get podcasts. You can also support the project and my writing by subscribing to my patreon patreon.com/thebreakuptheory. If you have any extra cash, you can sign up for $5/month, though nothing there is paywalled. On my patreon, I regularly post both short and long written pieces, along with episodes, and other conversations I'm having. I am so grateful for all of you supporting me and this project! The Breakup Theory is a member of the Channel Zero Network of anarchist podcasts. CZN brings together a slew of amazing audio projects, so check them out at https://channelzeronetwork.com/    

Brent Hayes Edwards talks to Adam about Aimé Césaire's 1950 essay Discourse on Colonialism, a groundbreaking work of 20th-century anti-colonial thought and a precursor to the writings of Césaire's protégé, Frantz Fanon. Césaire was Martinique's most influential poet and one of its most prominent politicians as a deputy in the French National Assembly, and his Discourse is addressed directly at his country's colonisers. Adam and Brent consider Césaire's poetry alongside his political arguments and the particular characteristics of his version of négritude, the far-reaching movement of black consciousness he founded with Léopold Sédar Senghor and Léon Damas.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Subscribe to Close Readings:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsBrent Hayes Edwards is a scholar of African American and Francophone literature and of jazz studies at Columbia University.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this live taping of Jacobin's podcast The Dig—recorded at Jewish Currents's recent daylong event and presented in partnership with On the Nose—host Daniel Denvir convened a conversation with scholars Aslı Bâli and Aziz Rana on the past and present of left internationalism. Placing the current eruption of solidarity with Palestine in the context of the rise and fall of Third Worldism, they discuss the history and legacy of that project, the lasting structures of neocolonialism, and the challenge of contesting empire from the heart of empire.This episode was produced by Alex Lewis and Jackson Roach, with music by Jeffrey Brodsky. Thanks also to Jesse Brenneman for additional editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).Texts Mentioned and Further Reading:“Left Internationalism in the Heart of Empire,” Aziz Rana, Dissent“Reviving the Language of Empire,” Aziz Rana in conversation with Nora Caplan-Bricker, Jewish Currents“The Disastrous Relationship Among Israel, Palestinians and the U.N.,” Aslı Bâli on The Ezra Klein Show, The New York TimesNeo-Colonialism, the Last Stage of Imperialism by Kwame Nkrumah“What We Did: How the Jewish Communist Left Failed the Palestinian Cause,” Dorothy M. Zellner, Jewish CurrentsEmpire As a Way of Life by William Appleman WilliamsDiscourse on Colonialism by Aimé Césaire“From Minneapolis to Jerusalem,” Hannah Black, Jewish Currents“Charging Israel with Genocide,” On the Nose, Jewish Currents

Dr. Rupa Marya discusses her work at the intersection of medicine, health, land, and justice. She explains the concept of deep medicine, which looks at the health impacts of colonialism and colonial capitalism and emphasizes the need to address the root causes of illness.Dr. Rupa Marya is a physician, activist, writer, and composer at UC, San Francisco. Her work intersects climate, health, and racial justice. As founder of the Deep Medicine Circle and co-founder of the Do No Harm Coalition, she's committed to healing colonialism's wounds and addressing disease through structural change. Recognized with the Women Leaders in Medicine Award, Dr. Marya was a reviewer for the AMA's plan to embed racial justice. Governor Newsom appointed her to the Healthy California for All Commission to advance universal healthcare. Also a musician, she's toured 29 countries with her band, creating what Gil Scott-Heron called "Liberation Music”. Together with Raj Patel, she co-authored the international bestseller, Inflamed: Deep Medicine and the Anatomy of Injustice. Links and Resources: RupaMarya.org Deep Medicine Circle Inflamed: Deep Medicine and the Anatomy of Injustice by Raj Patel & Rupa Marya “Discourse on Colonialism” by Aimé Césaire “The Deep Medicine of Rehumanizing Palestinians” by Dr. Rupa Marya & Ghassan Abu-Sitta Where Olive Trees Weep (film) Where Olive Trees Weep - Conversations on Palestine “Work for Peace” by GIl Scott Heron Topics: 00:00 - Introduction 02:01 - Meeting Dr. Marya 06:31 - Shallow vs Deep Medicine 11:58 - Balancing Deep Medicine and Immediate Health Crises 15:28 - Essential & Integrative of Medicine 19:48 - Media Narratives Around Health 25:32 - Colonialism & Healthcare 30:51 - Dehumanization 36:16 - The Power Mind Virus 40:19 - Imagining What's Possible 44:16 - Narratives Supporting Genocide 50:46 - Heaviness, Hopefulness & Listening 53:37 - Protest Music in the Era of Big Media 56:01 - Closing Support the mission of SAND and the production of this podcast by becoming a SAND Member.