w.'s crime fighters are back but africa's most successful radio drama series continues through all of this opens are available online and of course you can share and discuss on w. africa's facebook page and other social media platforms crime fighters tuning in now. on the one hand you had this kind of european civilization on the other hand you had exploitation. the question to be what is the look you know it's everywhere and it's in everything and that nobody can really see it her name in. most european countries did was sell it civilize admission.

was no. good. look. in the black lives matter new men to new migratory flows european colonialism has been put center stage centuries of european imperialism are still impacting on the modern world but this legacy is often completely missing from political discourse how deeply on our western societies themselves reach it and colonialism. what are the questions we need to be asking who are anxious to respond. images of people under colonial rule objectified by the white. or the few brushstrokes american artist roger carlo these photos and many others. 'd

she paints a wavy kickstarter size and white european view of the world and the way so many in the west see history. i work very fast i work very intuitive really and i just let the images kind of come out and often what happens is that there's a kind of funny or violent. pushback to the image. nameless burmese girl with a taste for revenge. aluminum in india we having claws for a superpower. so it seems islanders uniting in solidarity. with photographs. for europeans in the 19th and 20th centuries come of color has been reclaiming them for 20 years she says free still shaped how people view each other even today.

these images exert power and they still exert power over my life how i see myself and how i see others and i think that's true for every everyone and so why these images can still exert this influence is what interested in exploring like how does power work how does how does power work and images. and why do those images still affect how people see me. kolo says she feels less like a foreigner here in her adopted home berlin than she did in california where she was born to indian parents. and i actually see myself as equal parts. so for me it was always rooted in this perspective that i am american and it's from the lens of being a person of color in the u.s. . but also being in america and so having this imperial history and legacy as part

of my identity and these were always a starting point for me to understand. and keep cool. in history. in the rest of the world. has reclaimed hundreds of photos from this book the peoples of the earth originally published in 1002 as an academic work she sees it as more of a collection of colonial fairy tales she dissects them and overlays them with new content waiting with irony and political commentary. gaskins are futuristic aeronauts. persian dervish is lesser. it's also about the type of representation where people are pictured so that their humanity. encounter when you look at their pictures and for me the projects

all my projects are kind of bringing this humanity about. the series do you know what our names there's a similar active rehabilitation based on images of women's bodies from the same book stereotyped for ethnographic research. a lot of these original images the women were without hair without close the eyes were focused there was like so little representation of their humanity or their dignity or their beauty the painting for me was a type of care i started to give them make up i started to give them a modern hairstyle i started to give them clothes and they suddenly started to have an identity and dignity that was taken from that original photograph. her latest project folk. this isn't how the media portrays people who fled their

homes compared to more privileged travelers painted on to page is of an expedition report filed by wilfred faster german progeny of a british colonial dynasty. for me wilfrid this is your symbolize the kind of everything i hear. and. big thing to say like he is aristocratic british and who travelled with tribal people in saudi arabia and he is considered a hero by everyone in the world he gets to define what history is he gets to say what is a what and people listen and then on the other and the other spectrum of this travel. is the refugee and the refugee is path. they are criminalized and their fear. raj kimo carlos counters this image with portraits of

people looking from the pages of passengers travel. she uses colonial era photographs to tell stories about the press. the question should be what is colonialism not rape so it's like if you think about environmental. catastrophe of the environment right now if you think about borders you think about migration and if you think about military occupations everything is conditioned by colonial histories and policies and they continue. to hope for truth. is out of this world. for me is the important for more protests it's about making. a new sense of

empowerment and then also it's about giving agency to the people that are part of it's a kind of redistribution of power. should be a city in the north of england is when johnny pitts grew up. a journalist television presenter and photographer his mother was from a white women class family and his father was an african american so musician it spoke afro painted traces his journey through black europe to uncover black european identities that go beyond cliche. you either get images of black people in tower blocks and hoodies looking like they're violent or you get images of black people or sports stars and smiling or like at festivals or carnivals and have in foreign parts but you don't often see the in-between this of things the banality the every day in this. work commute i want to people on the metro.

going going to pick the kids up from school to get a kind of every day black experience that kind of tries to normalize rather than exhaust to size blackness in your. field of johnny pitts travel to paris and brussels going to amsterdam to live in stockholm and my saying he wanted to meet black europeans from the most diverse backgrounds is the son of an african-american he experiences structural racism firsthand he knows that his experiences are different from paris but many other black britons. while my dad was brought to this very house you know the neighbors would say ah that's richie the american the entertainer there was a kind of romance about it there was something that was exotic about him so people would look at him and after think about british colonialism so that's a very different experience of course the black community is aware here who who have this shared history who tangled up in colonialism.

journey pits tells us about the effects of imperialism on black people in europe the legacy of colonialism and what drew him to backpacking through the continent i did start to know is a rise in racism and it troubled me and i start to know it's a kind of insularity that was taking place in this country that scares me a smooth brown skin living on an island. that is leaning towards the right so i wanted to look beyond britain i discovered an old continent that was creaking. and black community is very often living on the periphery of europe. and the notion of blackness that never really fit together properly you know the more the afro paean solidly on to something the more it fell apart and what is afro paean isn't something that actually exists or is it a construct it's definitely a construct i don't want to say exactly what the word if it resonates if you feel

like you want something that can explain a kind of. pull or listen in a single word then you might flock to and that's what happened in very quickly the community emerged around this word and i think that's something the the black community in europe haven't had historically in the same way that the african-american community of had you know a kind of solidarity in the face of racism 3 pm in to read stories of the people pits meets on his journey with the history of european colonialism the ship's life from atrocities what you peons committed on africans that is still often shrouded in silence today that he was used to genocide people trying to buy imperial german troops against whomever a number of people in present day new media. germans often seem to deny or even suppress their the history of colonialism was that your passion i find that there is a bit of kind of historical amnesia about german colonialism if you think of the where

africa was carved up it was actually in berlin africa was called the people across europe got together in berlin to decide which parts of africa they would choose for themselves which is why the continent of africa is full of the natural straight lines that were drawn by somebody in europe on a rule and said we'll take that part you know and so i think there is a great forgetting all across the continent not just in germany i think one of the places that really shocked me is belgium because you know of course belgian colonialism was a particularly very kind of colonialism that maimed the massacred more than 10000000 congolese. 'd how did countries like belgium justify you know treating people in such a inhumane and cruel way one of the things that really bothered me about what found

in belgium was was found in a book called simpson in congo and i was a big fan of tintin growing up i watched the cartoons and i read the books what scared me is seeing this edition of tintin in congo that was used as propaganda for belgian colonialism. so you had this notion that belgian colonialism was a kind of force for good was a benevolent force that was providing infrastructure for these these lazy or inept africans when of course the real reason they were in belgium was because they were exploits in the ivory and the robot you know during the industrial revolution ringback. what would it take responsibility i guess the political sense where there's a conversation about reparations which i'm completely on board with i don't see why black communities shouldn't receive money for for. you know the things that create

a system that still places him at the bottom i think there needs to be a level of honesty and i think it does start with teaching colonialism in schools when i'm criticizing europe when i'm criticizing this country i want europe to be a better place i want to take part in europe. i want britain to be a better place i'm fighting for this country but maybe not in the way that people traditionally fought for it which is you know to keep. prejudices in place. johnny pitts division a europe that confronts its colonial past head on and stops marginalizing black people. many valuable artifacts from african countries are held in european museums the fact the treasures are here testifies to a colonial past and triggers modern day controversy should they be repatriated and

what context can use your opinion museums show them today. when we go to those museums we look at those objects. like it is not the case thing. i think institutions any and. whole global north fairly conservative that means they don't want to change our position of course. berlin's noise museum it holds the famous bust of now for t.-t. which attracts hundreds of thousands of visitors each year for close to a century egyptians have been demanding her return without success so how can these art collections be freed from their colonial context and made accessible to everyone artists nor all badri and john nikolai mehlis published this 3 d. scan of national t.v. online without the museum's permission. as long as you control not just the physical artifact but also the digital one you kind of control the narrative around

it because then you can decide which research up for example you give it to with the data in the public domain berlin state museums lost their monopoly over this cultural treasure at least digitally now anyone with a tree d. printer can make their own efforts one replica now lies buried in the egyptian desert as a kind of symbolic restitution. that actually matter when all of your material cut material objects of the culture are in another country and completely decontextualized and actually got there violently namely through colonialism so it doesn't matter where the object is who gets to tell the story the imperial museum is also the seat the process of the transmission of the museum has to go now we gained 70 to tell the story publishing the data set on a public domain with an effort. without the project that's very important for me

that now the reality has changed because everyone can actually access it remakes it talk about it discuss it. with the help of scraped data 3 d. technology and artificial intelligence badri begin to reconstruct the history of mesopotamia. to do this she had to collect thousands of images of real objects she managed to get access to the databases of european museums through the digital back door. as long as those kind of kind of just consider themselves i think they are not relevant and meaningful than our world and they don't connect to what's going on today whereas i think the objects and their stories too are totally and through this digital what i like to call techno heritage it's possible to reappropriate the meaning of representation and. meaning for nora how badri the images have special meaning because they represent

the cultural heritage of her father's homeland. vision is one of the few works that actually have a very biographical component i would say because i'm half iraqi it's a country which i could never miss it it's a little bit of research or like how did they look like and can be recreate some things without just copying it but generating completely new objects and that's important especially in a region which is nowadays iraq where everything usually is just destroyed and looked at the way a project fossil futures also employs digital technologies to tackle the issue of stolen cultural heritage and public property and southern tanzania many dinosaur bones were unearthed during the german colonial domination tons of these valuable fossils were taken abroad.

it was the sports and tender group where the dinosaur which is today the centerpiece of the natural history museum in berlin was excavated and seen exploited today it is a multinational company is the exact same spot and. and of course the people there are. great and i totally understand and so for all of my projects i go to this place and talk to the people one of these places is berlin's gurlitz a park torrijos for drug dealing many of the dealers here fled from sub-saharan africa they lack work permits and prospects badri is planning an event where these men will paddle aren't drugs. i think. that you asian and real time here what we can see. and that's. thing. like bodies and my proposition here. and if

a substance for imagining another world. nor a very firmly believes that the power of art can break down colonial structures and the inequality they've created. were. a sort of electronic beat. after a break up. produced this track in cameroon. the same time. she says women there were treated with more respect before the europeans came to me. to find. such an impact. they were raising also the culture of the people. i couldn't swallow my pride

trust. you know you. was 10 when she left cameron came to germany along with her 2 brothers. their mother wanted to do her doctorate at a german university. coming here it was a dream as a small african child white culture is on there with t.v. everywhere it's the normal standard so when you know as a 10 year old that you're going to europe it's like the sugar candy place. but in a small town in southern germany she was the only black girl around she experienced the burden of being a mother of racism they don't teach you about their lives in terms of where the we

sources come from and how did well come to europe and such an amount it came from their colonies and it's really insane to me to be in this world and go to school so many years where they teach you so possibly about the world you're going to be living and 'd leave out this huge part of it certainly. when she was 20 i also decided to return to cameroon in search of how. it was really researching where i'm coming from where war my in terms of legacy and history. and it was really sad also to see that my parents. how little connection to even what was before that. she wanted to establish a musical connection to general welcome home is about family and all its strengths

and flaws. so when i went to come out i was playing the guitar and i was singing and i got in come on and just realize that. the good housed to live in it was not loud enough i couldn't hold on like. europe is very close. in europe and yet. it's like on the adrenaline so it didn't much the energy. should change styles experimented with electronic beats and made sound collages discovering the world a new in the process. and just a mix of the african reality the digital form the sickly but. past and from the.

now spends most of her time in germany she lives with her young daughter in berlin but africa is a strong part of the mix on this track she sample speeches by kwame and crew the 1st leader of an independent gonna. and mixes them with bits of dialogue she recorded during taxi rides around cameroon . now she no longer feels the need to enlighten germans who blank on their country's colonial past in germany. people like germany did. in berlin gets a taste of home at this cameroonian restaurant these days her search for identity has faded a bit into the background. the mixture of the to make. because

going back and that. which wasn't true but i guess i needed to do that figure. so at the end it would be up to me to create that that mixture. i tried so because it's just very much healthy it's a healthy balance. and that's something she hopes to pass on to her daughter. what i discovered when they did that is not that important it's ok. that's not knowing and uncertainty why are you enjoying the journey so maybe be calling closer to war and. so these berlin street names that are a relic of germany's colonial past don't discourage bhalla she says the future of

the streets lies in the hands of the city's black communities. the past can help the future that was 21. in phoenix time.

did beethoven didn't invent shadows did to did he do. might he be the true king rock'n'roll. the subconscious always plays a role in the. last one clear center willis on a musical journey of discovery a world without beethoven i can't even begin to imagine. 15 minutes on d w. 77 percent of. police

brutality in south africa and brutal tactics are often used to impose law and order how much suspect young people have in the justice system in a killing innocent life such as plain innocent life the 77 percent. 90 minutes d.w.i. . we can see them. some time. and slam. walls. what connects people is stronger than what separates them. the mall is so strong that it cannot be torn down.

we celebrate the 30th anniversary of germany's reunification. on children 13 on g.w. . william had a. it goes on because when the highest high if i had known that the boat would be that small i never would have gone on the trip but i would not have put myself and my parents came out of danger to move out of the game that they're going to give us leave with. one funk that one would need to give them i have serious problems on a personal level and i was unable to live there much i'm going to. you want to know their story in full migrants terrified and reliable information for margaret's.

this is a new news live from berlin thailand belongs to the people that's the message from protesters to their king activists calling for reform of the monarchy install a plaque symbolizing democracy near the royal palace and thousands marched across there once took the demands for change at the top also coming up. tributes pouring in for the u.s. supreme court justice ruth bader ginsburg the death of a liberal icon ignites a partisan battle over who will replace her we'll take a look at the latest issue dividing.