Somewhere in between there is something more human that tries to understand these people, imagine if you had to flee your home and you could one carry one thing with you, how would you continue to be yourself? On top of fleeing and experiencing a traumatic conflict you turn up in a place that is supposed to be civilized and you get treated like an abomination. This project is about to try to humanize migrants and make them individuals and real people, our friends, our neighbors.
It has to do with the colonial history of Europe as a whole: I see this phenomenon of migration from the global south to the global north as the latest phase in the long history of racialized capitalism and colonialism. Many of these people who are trying to cross are coming from previously colonized countries by Europe. We know that, that long history of colonization has an impact in the present in terms of structural inequality, poverty, dispossession and war, and at the same time that we are seeing is the inability of Europe to come to terms with its own history. Which is a history of colonization, of course, instigated by proto-capitalism and capitalist developments as well as the hierarchy of racialization and the legacy of whiteness and white supremacy which fueled the whole colonial condition.
As night falls on São Teotónio, the lights are still on at the school. Three times a week, it stays open until midnight to hold classes for adults from the region, who come here at the end of a long day in the greenhouses – knowing they will need to speak some Portuguese in order to qualify for permanent residency. There are currently 500 adult students registered for night classes – almost matching the daytime intake of 600 children. Moldovan Vitali Siminionov, who picks flowers for a living, and whose two children both study at the school, joked: “They’re always correcting me saying ‘Dad, that’s not how you say it!”
Stuart Hall once wrote that James in The Black Jacobins was the first to centre Atlantic slavery in world history – so in this sense the importance of James’s work to these debates is self-evident. Certainly, James’s short discussion on the economic roots of British parliamentary abolitionism formed the essential outline of Eric Williams’s more famous and lengthy contribution in this field – as Williams himself acknowledged, though in my opinion James’s grasp of the modernity of colonial slavery and the slave ships and plantations thanks to his underlying theoretical grasp of the uneven and combined nature of capitalist development meant his analysis of the exact relationship between capitalism and slavery is more sophisticated than that of Williams in many respects.
In Toussaint Louverture: A Black Jacobin in the Age of Revolutions (Pluto) Charles Forsdick and Christian Høgsbjerg have produced what is arguably the most important biography of Louverture since CLR James’ magisterial Black Jacobins was first published in 1938. Kicking against the contemporary anti-Black and anti-radical revisionism that downplays the historical importance of the revolution while dismissing the significance of Louverture himself, Forsdick and Hogsbjerg’s short monograph is urgent, timely, and strikingly well-written. They have also created a sort of supplement to the book, editing The Black Jacobins Reader (Duke), an excellent collection of essays, commentaries, and primary source material that provides additional context and critique for the writing, production, and circulations of James’ classic history.
On March 23, at the outset of the pandemic, United Nations Secretary-General António Guterres called for a global ceasefire, in order to enable countries to focus on the COVID-19 crisis and allow humanitarian organizations to reach vulnerable populations. More than 100 women’s organizations from Iraq, Libya, Palestine, Syria, and Yemen quickly joined the appeal with a joint statement advocating a broad COVID-19 truce, which could form the basis for a lasting peace. It should come as no surprise that women were among the first to support the call for a ceasefire.
If images are powerful for identifying and revolutionising through the multiple interpretations they introduce into human feelings, then words identify through questioning, as they are connected to an idea of language as domination and authority – in other words, only those with social and political legitimacy write and speak.
A Radical Journal of Geography, Global Displacements is a rigorous and trenchantly argued examination of the impact of the global organization of capitalist accumulation and exploitation on the life and labor of Haitian and Dominican people. Focusing on the garment industry, Werner looks at the circulation of capital and labor under neoliberalism, paying close attention to questions of geography, race, and gender. A critical, Caribbeanist intervention into geographic and political-economic research, Global Displacements will stand as a classic work of Caribbean studies.
To celebrate the 45th anniversary of Angola's Independence, the ATD and GERAÇÃO 80 in collaboration with TPA, Mostra de Cinemas Africanos and PlatinaLine will be shown documentaries of the project "Angola - Nos Trilhos da Independência”, “Independence”, “Women of Arms”, “São Nicolau - They Haven't Forgotten” and “The Persistent Fragility of Memory”.
As Black Lives Matter, we recognize and affirm the sanctity of all Black lives everywhere in the world. Following the murder of an unarmed civilian by the Special Anti-Robbery Squad (SARS) unit of the Nigerian police, young people across Nigeria have held protests denouncing years of brutality, torture, abductions, and killings. The demonstrations mark one of the largest Nigerian protest movements in generations. (...) There is a global movement for Black lives afoot. From the protestors in Cameroon who faced down water cannon and tear gas, to the fierce women in Namibia demanding #Shutitalldown, to the brave Zimbabweans campaigning for the release of Takudzwa Ngadziore, we will not be silenced and we cannot be stopped. The call for Black lives to matter is a rallying cry for all Black lives striving for liberation. We stand against all violence inflicted on black communities.
For 20 years, Fran Lebowitz has been dreaming of tourists disappearing from Times Square. “Now there are no tourists in Times Square,” she recently said, “but, of course, there’s no one in Times Square.” When the pandemic hit in March, Times Square went from a congested, and hellish, hub for tourists to an eerily empty dystopia. More recently, though, it has become a site of artistic expression, taken over by a free fall of protest art, colorful parades and performances. “It lacks the same history of worker organization spaces like Union Square, but with the spread of digital graphics and art during the Covid-19 pandemic and black-led uprisings, Times Square has made itself a unique site for protest in a city with more empty space, and an ongoing stream of creative mobilizations,” said Sarah J Seidman, a curator at the Museum of the City of New York.
Somewhere in between there is something more human that tries to understand these people, imagine if you had to flee your home and you could one carry one thing with you, how would you continue to be yourself? On top of fleeing and experiencing a traumatic conflict you turn up in a place that is supposed to be civilized and you get treated like an abomination. This project is about to try to humanize migrants and make them individuals and real people, our friends, our neighbors. 
It has to do with the colonial history of Europe as a whole: I see this phenomenon of migration from the global south to the global north as the latest phase in the long history of racialized capitalism and colonialism. Many of these people who are trying to cross are coming from previously colonized countries by Europe. We know that, that long history of colonization has an impact in the present in terms of structural inequality, poverty, dispossession and war, and at the same time that we are seeing is the inability of Europe to come to terms with its own history. Which is a history of colonization, of course, instigated by proto-capitalism and capitalist developments as well as the hierarchy of racialization and the legacy of whiteness and white supremacy which fueled the whole colonial condition. 
As night falls on São Teotónio, the lights are still on at the school. Three times a week, it stays open until midnight to hold classes for adults from the region, who come here at the end of a long day in the greenhouses – knowing they will need to speak some Portuguese in order to qualify for permanent residency. There are currently 500 adult students registered for night classes – almost matching the daytime intake of 600 children. Moldovan Vitali Siminionov, who picks flowers for a living, and whose two children both study at the school, joked: “They’re always correcting me saying ‘Dad, that’s not how you say it!” 
Stuart Hall once wrote that James in The Black Jacobins was the first to centre Atlantic slavery in world history – so in this sense the importance of James’s work to these debates is self-evident. Certainly, James’s short discussion on the economic roots of British parliamentary abolitionism formed the essential outline of Eric Williams’s more famous and lengthy contribution in this field – as Williams himself acknowledged, though in my opinion James’s grasp of the modernity of colonial slavery and the slave ships and plantations thanks to his underlying theoretical grasp of the uneven and combined nature of capitalist development meant his analysis of the exact relationship between capitalism and slavery is more sophisticated than that of Williams in many respects. 
In Toussaint Louverture: A Black Jacobin in the Age of Revolutions (Pluto) Charles Forsdick and Christian Høgsbjerg have produced what is arguably the most important biography of Louverture since CLR James’ magisterial Black Jacobins was first published in 1938. Kicking against the contemporary anti-Black and anti-radical revisionism that downplays the historical importance of the revolution while dismissing the significance of Louverture himself, Forsdick and Hogsbjerg’s short monograph is urgent, timely, and strikingly well-written. They have also created a sort of supplement to the book, editing The Black Jacobins Reader (Duke), an excellent collection of essays, commentaries, and primary source material that provides additional context and critique for the writing, production, and circulations of James’ classic history. 
On March 23, at the outset of the pandemic, United Nations Secretary-General António Guterres called for a global ceasefire, in order to enable countries to focus on the COVID-19 crisis and allow humanitarian organizations to reach vulnerable populations. More than 100 women’s organizations from Iraq, Libya, Palestine, Syria, and Yemen quickly joined the appeal with a joint statement advocating a broad COVID-19 truce, which could form the basis for a lasting peace. It should come as no surprise that women were among the first to support the call for a ceasefire. 
If images are powerful for identifying and revolutionising through the multiple interpretations they introduce into human feelings, then words identify through questioning, as they are connected to an idea of language as domination and authority – in other words, only those with social and political legitimacy write and speak. 
A Radical Journal of Geography, Global Displacements is a rigorous and trenchantly argued examination of the impact of the global organization of capitalist accumulation and exploitation on the life and labor of Haitian and Dominican people. Focusing on the garment industry, Werner looks at the circulation of capital and labor under neoliberalism, paying close attention to questions of geography, race, and gender. A critical, Caribbeanist intervention into geographic and political-economic research, Global Displacements will stand as a classic work of Caribbean studies. 
To celebrate the 45th anniversary of Angola's Independence, the ATD and GERAÇÃO 80 in collaboration with TPA, Mostra de Cinemas Africanos and PlatinaLine will be shown documentaries of the project "Angola - Nos Trilhos da Independência”, “Independence”, “Women of Arms”, “São Nicolau - They Haven't Forgotten” and “The Persistent Fragility of Memory”. 
As Black Lives Matter, we recognize and affirm the sanctity of all Black lives everywhere in the world. Following the murder of an unarmed civilian by the Special Anti-Robbery Squad (SARS) unit of the Nigerian police, young people across Nigeria have held protests denouncing years of brutality, torture, abductions, and killings. The demonstrations mark one of the largest Nigerian protest movements in generations. (...) There is a global movement for Black lives afoot. From the protestors in Cameroon who faced down water cannon and tear gas, to the fierce women in Namibia demanding #Shutitalldown, to the brave Zimbabweans campaigning for the release of Takudzwa Ngadziore, we will not be silenced and we cannot be stopped. The call for Black lives to matter is a rallying cry for all Black lives striving for liberation. We stand against all violence inflicted on black communities. 
For 20 years, Fran Lebowitz has been dreaming of tourists disappearing from Times Square. “Now there are no tourists in Times Square,” she recently said, “but, of course, there’s no one in Times Square.” When the pandemic hit in March, Times Square went from a congested, and hellish, hub for tourists to an eerily empty dystopia. More recently, though, it has become a site of artistic expression, taken over by a free fall of protest art, colorful parades and performances. “It lacks the same history of worker organization spaces like Union Square, but with the spread of digital graphics and art during the Covid-19 pandemic and black-led uprisings, Times Square has made itself a unique site for protest in a city with more empty space, and an ongoing stream of creative mobilizations,” said Sarah J Seidman, a curator at the Museum of the City of New York. 
