true kool-aid by going to get out of the this is so what was he asked to conflict. in 60 minutes on d w. what secrets lie behind this wall to discover new adventures in 360 degree. and explore fascinating world heritage sites. double your world heritage 360 getting up now. 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 and but nobody can really see it her name and. most european countries did was sell

it civilize admission. go. back go. back. to. the black lives matter new mention you migratory flows european colonialism has been put center stage centuries of european imperialism still impacting on the modern world but this legacy is often completely missing from political discourse how deeply on our western societies themselves rooted in colonial ism. what are the questions we need to be asking who are anxious to respond. images of people under cold. objectified by the white. with

a few brush strokes american artist roger como carlo reinvents these photos and many others. she made answer when you've exhausted 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. i mean was burmese girl with a taste for revenge. a woman in india we having cloth for a superpower. islanders uniting in solidarity. photographs. for europeans in the 19th and 20th centuries rajkumar kahlo has

been free claiming them for 20 years she says very 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 . how does power work. 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. i actually feel 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 an american 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 she dissects them and overlays them with new content laden with irony and political commentary. gaskins are futuristic aeronauts and a persian dervish is lesser. it's also

about the type of representation where people are pictured so that their humanity is not 1st thing that you encounter when you look at their pictures and for me the projects all of my projects are kind of bringing this humanity about. the series do you know what our names as a similar active rehabilitation based on the 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 i'm 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 makeup i started to give them modern hairstyles 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 reports filed by wilfred facet progeny of a british colonial dynasty. for me wilfrid this is your symbolize kind of everything i hate. and. big thing to say like he is aristocratic british and who traveled with tribal people in saudi arabia and he's considered if hero by everyone in the world he gets to define what history is that 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 pathology. they are criminalized and their fear. kahlo counters this image with portraits of people looking from the pages of passengers travel. she uses colonial era photographs to tell stories about oppression. the question should be what is colonialism not great so it's like if you think about environmental. catastrophe the environment right now if you think about borders if you think about migration if you think about military occupations everything is conditioned by colonial histories and policies and they continue.

subjects' games out of this world with no benefits. for me view so important from 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 it's a kind of redistribution of power. should be a city in the north of england is when johnny peat screw up. a journalist television presenter and photographer his mother was from beaumont winton class family and his father was an african-american so musician gets book propane traces his journey through black urine 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 everydayness i want to work commute i want to people on the metro. going going to pick the kids up from school to get a kind of everyday black experience that kind of tries to normalise rather than exhaust society's blackness in your. field of johnny pitts travel to truce in brussels on to amsterdam palin stockholm and must say he wanted to meet black europeans from the most diverse backgrounds is the son of an african american he experiences structural racism food stamps but he knows that his experiences are different from those of 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 peeps 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 rising 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 i tried the afro solidly on to something the more it fell apart 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. pl oral isn't in a single word that 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 fog you know a kind of solidarity in the face of racism different pain into it stories of the people pitts meets on his journey with the history and beauty and colonialism slight of atrocities what you peons committed on africans that is still often shrouded in silence today that if you see genocide people change by imperial german troops against 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 impression 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. ringback

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 i found in belgium was was found in a book called center 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 god it 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 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 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 vision 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 european museums show them today. when we go to those we look at those objects. like it is not the case in the whole thing. i think institutions any and. whole global north conservative that means they don't want to change the system. take 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 young nikolai melas published this 3 d.

scan of national t.v. online without the museum's permission. as long as 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 efforts one replica now lies buried in the egyptian desert as a kind of symbolic restitution. that actually matter when all of. the 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 is also 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 is change because everyone can actually access it remakes it talk about it discuss it. with the help of scripts data 3 d. technology and artificial intelligence nor i'll 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'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 too are totally and through this like digital what i like to call

techno heritage it's possible to reappropriate the meaning of representation and. meaning for normal badri the images have special meaning because they represent the cultural heritage of her father's homeland. long admission is one of the few words that actually have a very biographical component i would say because i'm half iraqi is a country which i could never visit so 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 object and that's important especially in a region which is nowadays iraq where everything usually is just destroyed and looked at that way 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 the group where the dinosaur which is today centerpiece of the natural history museum in berlin was excavated and seen exploited today it is a land grab by multinational companies the exact same spot and. and of course the people there are great and i totally understand this 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 peddle art drugs. i think it's like a situation in 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 has created. were. a sort of electronic beat. after a breakup. produced this track in camera. in crimea the same time. she says women there were treated with more respect before the europeans came to me. and. out of.

the side of the right. to find. such an impact people. they were raising also the culture of the people. in the tension 1st 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 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 the father of racism they don't teach you about their lives not 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 really insane to me to be in this world and go to school so many years where the teacher who supposedly about the world you're going to be living in and leave out this huge part of history. when she was 20000 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 geoff you know the well welcome home is about family and all its strengths and flaws. when i went to come i was playing the guitar and i was singing and i got in cameroon and just realize that. look it's how to laser in it's not loud enough can hold of like europe is very close. in europe and supergirl yeah on this. it's like on adrenaline so it didn't match the energy. she changed 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 that just with the sickly but.

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 i have no more we people like jim need to. 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. and the. food which wasn't true but i guess i needed to do that to figure. so at i.b.m. up to me to create. that mixture in my everyday life i try to go 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. 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. she says the future of the streets lies in the hands of the city's black communities. the past can help the future not 21. see you next time.

enter the conflict zone with tim sebastian american secretary of state grounds in the lincoln was in ukraine last week his aim of families often words of comfort and support for the country after last intrusive must be huge numbers close to florida i guess this week easy crane's foreign minister to be true cool

a box if you get out of the visit so what was he asked to do conflict zone. 1530 minutes on d w. extremism and violence. increasing content like this can be found on young people's cell phone. sharing. but that doesn't stop them from scranton like ground chapters. as school children really becomes a gallon. mark. in 60 minutes on g.w. . the number of our. people have to say matters to us.

that's right listen to the stories reporter every weekend on d w. it's an ongoing quest for effective church. think arab spring began in 2. it's good that. people stood up against coworkers and dictatorship. all these moments. have left deep box in my memory. place. because of the critical feeling to be put in the work of liberty to. play. and hoped for more security more freedom more dignity. of their hopes mislabeled. 10 years after the arab spring.

or a 1000000000 starts june 7th on d w. played . this is g.w. news to live from berlin no diplomatic breakthrough and no let up in the fighting on day 6 of israeli palestinian violence israeli airstrikes destroy a building in gaza city housing major international media outlets the military says the high rise was linked to how mosques intelligence the press freedom groups are outraged. and israel's financial center comes under its heaviest bombardment so far

a mosque launches dozens of rockets from gaza into tel of the.