try and get all of them will come straight from the heart and you still receive you but when there's no more you delusion the marsh will in trucks come. from the fruit of the long road to their final resting place the russians are doubly documentary. on the one hand you had this kind of narrative of european civilization on the other hand you had exploitation. the question should be what is colonialism it's everywhere and it's in everything but nobody can really see it her name in. most european countries did was sell it civilize admission.

and go. back to the. book back. to. the black live smash a movement a new migratory flows european colonialism has been center stage centuries of european imperialism still impacting on the modern world but this legacy is often completely missing from political discourse how deeply are western societies themselves rooted in colonial ism. what are the questions we need to be asking for anxious to respond. images of people under colonial rule objectified by the white. more the few brushstrokes american artist roger carlo reinvents these photos and many others. she

paints a way if you think sot of sizing white european view of the world and the way so many in the west see history. i work very fast i work very intuitively 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. a nameless burmese girl with a taste for revenge. a woman in india we having claws for a superpower. so it seems islanders uniting in solidarity. with photographs and by 4 europeans in the 19th and 20th centuries russia come out of colorado has been free claiming them for 20 years so the city 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 power work in images. and why do those images still affect how people see me. cole 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. and 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. well but also being in america and so having this

imperial history and legacy as part of my identity and that these were always a starting point for me that 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 1902 as an academic work she sees it as more of a collection of colonial fairy tales. and overlays them with new content laden 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 is not the 1st thing in counter 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 how and mames has a similar act of 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 clothes they were unfocused 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 makeup 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 the original photograph. her latest project. focuses on how the media portrays people who fled their homes

compared to more privileged travelers painted on to pages of an expedition report filed by wilfred sasser german progeny of a british colonial dynasty. for me wilfrid this is yours to symbolize kind of everything that he was. a big thing to say like he is aristocratic british and who traveled 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 the what and people listen and then on the other and the other spectrum of this travel. is the refugee and the refugee is passed all the job they are criminalized and their fear. raj come all colors counters this image with

portraits of people looking from the pages of passengers travel. uses colonial era photographs to tell stories about the press. the question should be what is colonialism not rate so it's like if you think about environmental. catastrophe the environment right now if you think about borders if you think about migration and if you think about military occupations everything is conditioned by colonial histories and policies and they continue. in her portrait subjects getting us out of this world with. for me to important form a protest it's about. my own sense of empowerment and then also it's about giving

agency to the people that are part of our it's a kind of redistribution of power. sharing deal with the city in the north of england is when johnny pitts grew up. a journalist television presenter and photographer his mother was from don't want winton class family and his father was an african american so musician gets book propane 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 having fun and party in but you don't often see the in-between this of things the banality of 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 normalise of an exact size blackness in your from sheffield and johnny pitts travel to paris and brussels on to amsterdam to live in stockholm i must say he wanted to meet black europeans for most diverse backgrounds as the son of an african-american he experienced the structural racism 1st chance but he knows that his experiences are different from paris to many other britons. while my dad was brought to this very house you know the neighbors would say oh that's ritchie 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 are who have this shared history who are in. tangled up in colonialism.

johnny pitts tells us about the effects of imperialism on black people in europe the legacy of colonialism and what drew him to 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 is taking place in this country that scares me a smooth brown skin living on an island. that is leaning towards the right so i want to look beyond britain i discovered an old continent that was creaking. and the 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 i tried the afro peon solidly on to something the more it fell apart on what is afro paean is it 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 alyson 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 god you know a kind of solidarity in the face of racism 3 pm interweave stories of the people pits meets on his journey with the history of european colonialism the ships life of the trustees what you peons committed on africans that is still often shrouded in silence today that includes the genocide people trying to buy imperial german troops against another people in present day new libya. germans often seem to deny or even suppress their the history of colonialism was that your question 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 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 10000 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. what would it take responsibility i guess in a political sense where there's a conversation about reparations which are 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 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 the. prejudices in place. johnny. 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 be european museums show them today. when we go to those we look at those objects. it is not the case and the whole thing. i think the institutions and the euro and then the whole global north fairly conservative that means they don't want to change their power position of course. programs 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 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 3 d. printer can make their own net for t.v. one replica now lies buried in the egyptian desert as a kind of symbolic restitution. that actually matter when all of your material material objects of the culture are in another country and completely decontextualized and actually got there violently namely through colonialism so it totally doesn't matter where the object is who gets to tell the story the imperial museum of these officers eat the prices of the transmission of the museum has to go now we gained 70 to tell a 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 the script data the 3 d. techno. and artificial intelligence nora badri began 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're not relevant and meaningful in our world and they don't connect to what's going on today whereas i think the objects and their stories through a totally and through this digital age what i call techno heritage it's possible to reappropriate the meaning of representation and. meaning for nor 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 visit a little bit of research for 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 looted the way project fossil futures also employs digital technologies to tackle the issue of stolen cultural heritage and public property in 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 exploit it today it is a land grab by multinational companies the exact same spot and of course the people there are great and i totally understand this and so for all of my projects i go to those places and talk to the people one of these places is berlin's gurlitz a part of tortillas for drug dealing many of the dealers here fled from sub-saharan africa they lack work permits and prospects of badri is planning an event where these men will peddle art drugs. i think it's like that you asian and real time here what we can see. and that's. thing. like bodies and my proposition here. and i think 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. assertive electronic beats. after a break up. produced this track in cameroon you. see. the same time. she says women there were treated with more respect before europeans came to me. in. this new side. to find. such an impact but also people. there were. also the culture of the people. in the 21st century. 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. everywhere it's the norm since then. 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 in such an amount it came from their colonies and it's very 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. this huge part of history. 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 thought also to see that my parents' little connection to even what was before them. she wanted to establish a musical connection to geoff you know welcome home is about how well you know and

all its strengths and flaws. and when i went to come when i was playing the guitar and i was saying and i got in common and just realised that gets how to live it was not loud enough i couldn't hold on like. europe is very close. in europe. yes. it's like on adrenaline so it didn't months 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 basically but.

it was a male 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 mock the 1st leader of an independent gonna. and mixes them with bits of dialogue she recorded during taxi rides around cameroon . she no longer feels the need to enlighten germans who blank on their country's colonial past in germany i have conversations more with people like jim need to do. in berlin in bali 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 to come and. go back to. the bank. which wasn't true but i guess i needed to do that to figure out. so at the end of the day for me to create. that mixture in my every deal. i've 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 discover with that is that important it's ok. to live in that space not knowing uncertainty while enjoying the journey to maybe be calling closer to war you know. so these berlin street names that are a relic of germany's colonial past don't discourage elsom bhalla she says the

future of the streets lies in the hands of the city's black communities. the past can help the future. and see you next time.

passengers here are informed my. drivers here need nerves of steel. while passengers here can get an eyeful along the way. taxis accommodate passengers all over the world. dr alice ceiling. read.

the sound of the alps and now open your eyes. what do you. see of houses instead of mountain landscape. welcome to what may be the most unusual event of the year the high rise concert of the dresden symphony orchestra your amps. 16 hours total. we know that this is very time for us the coronavirus is changing the world changing. so please take care of yourself keep your distance wash your hands if you can date and how we do w. here for you we are working tirelessly to keep you informed on all of our platforms

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live. the to play. place . play this is the new slot from building a large scale investigation finds banks were involved in the legal dealings hundreds of investigative journalists working together or field documents leaked from u.s. financial authorities that appeared approved big banks facilitated corruption money laundering and sanctions busting on behalf of criminals. party.