w.'s crime fighters are back with africa's most successful radio drama series continues from the all of us odes are available online and of course you can share and discuss on w. africa's facebook page and other social media platforms crime fighters tune in now . on the one hand you had this kind of european civilization on the exploitation. the question of the day what is colonialism it everywhere and it's in everything and that nobody can really see it her name in. most european countries did was sell it civilizing mission.

to go. back to the. good. look. in the black lives mashonee then to new 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 reach it in colonial ism. what are the questions we need to be asking who are anxious to respond. images of people under colonial rule objectified by the white king with a few brush strokes american artist roger carlo reinvents these photos and many others. she made him so 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 intuitive really and i just let the images kind of come and often what happens is that there's a kind of funny or violent. pushback to the image. i mean was burma's girl with a taste for revenge. aluminum indio we having claws for a superpower. so it seems islanders uniting in solidarity. photographs and buy for europeans in the 19th and 20th centuries to come of color has been reclaiming them for 20 years she says she still shaped how people other even today. these

images still 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. and why do those images still affect how people see me. carlos 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 an american so having this imperial history and legacy as part of

my identity and that these were always the starting point for the day understand. and keep cool. in history. in the rest of the world. has reclaimed hundreds of photos from this book the people 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 no person 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 maims 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 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 that original photograph. her latest project for. this isn't how the media portrays people who fled their

homes compared to more privileged travelers painted on to pages of an expedition records filed by wilfred faster german progeny of a british colonial dynasty. for me wilfrid this is your symbolize kind of everything i hate. and. got a big thing to say like he is aristocratic british and who travelled with tribal people in saudi arabia and he's 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 passed all the job they are criminalized and they are few years. raj kumar carlo counters this image with

portraits of people looking from the pages of fence sitters 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 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. to hope for true subjects' games out of this world with. for me important form of protest it's about making. a new sense of empowerment and

then also it's about giving even some to the people that are part of our it's a kind of redistribution of power. should build a city in the north of england is when johnny pitts grew up. a journalist television presenter and photographer his mother was from beaumont winton class family and his father was an african american so musician that spoke afro payne 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 but you don't often see the in-between this of things the banality of the every day. 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. field and johnny pitts travel to paris and brussels going to amsterdam to live in stockholm i must say he wanted to meet black europeans from the most diverse backgrounds is the son of an african-american he experiences structural racism 1st tam's but he knows that his experiences are different from many other black britons. while my dad was brought to this very house you know the neighbors would say oh 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 are who have this shared history who. 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 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 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. 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 paean in to read stories of the people pitts meets on his journey with the history of beauty in colonialism slight of atrocities what you peons committed on africans that is still often shrouded in silence today that it was the genocide people trying to buy imperial german troops against a number of people in present day new b.b.'s. 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 'd have 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 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 'd. what would it mean to 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 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 the. prejudices in place. johnny ph 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 the museum 3 we look at those objects. like it is not the case in the whole thing. i think institutions any and. whole global north africa conservative that means they don't want to change that poll position of course. take the lens noise museum it holds the famous bust of now for t.-t. which attract 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 al badri and john nikolai mehlis published this 3 d. scan of national t.v. online without the museum's permission. as long as not just the physical artifacts but also the. kind of narrative around it because then you can decide which

research so for example. with the data in the public domain berlin state museums lost their monopoly over this cultural treasure at least digitally now anyone with a treaty printer can make their own efforts one replica now lies buried in the egyptian desert as a kind of symbolic restitution. that actually. cut material objects off in another country and completely. and actually. violently. so it doesn't matter where the object is who gets to tell the story the museum is also the producer of the transmission of the museum has. publishing the data set on a public domain with an effort. without the project very important that

now because everyone can actually. talk about it discuss it. with the help of scraped data 3 d. technology and artificial intelligence 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 just so 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 do it totally and through this digital what i call techno heritage it's to reappropriate the meaning of representation and. i mean for nora al badri the images have special meaning because they represent the cultural heritage of our

father's homeland iraq. mission 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 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 the 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 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 this place and talk to the people one of these places is berlin's girl it's all part of tortillas for drug dealing many of the dealers here fled from sub-saharan africa they lack work permits and prospects. is planning an event where these men will peddle art not drugs. i think a. situation in real time here what we can see. and that's constantly. right. like bodies and my proposition here are death up and if

a substance for imagining another world. nor al badri 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 camera. crying at the same time. she says women there were treated with more respect before the europeans came. out of. such an impact but also people mentality they were purposely raising also the culture of the people. of

a black male attention 1st century i couldn't swallow my pride. i try. you. know was 10 when she left cameroon and came to germany along with her 2 brothers. their mother wanted to do her doctorate at a german university. here it was a dream as a small child white culture is. everywhere it's the norm. 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 corn and isn't 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 whether teach you supposably about the world you're going to be living in and leave out this huge part of history. and when she was 20 i was decided to return to cameroon in search of her roots. it was really researching where i'm coming from where i wore my in terms of legacy and history. and it was really sad also to see that my parents have little connection to even what was before them. she wanted to establish a musical connection to geoff you know the our welcome home is about family and all

its strengths and flaws. when i went to come out i was playing the guitar and i was singing and i got in common and just realised that. the good how to live in was not loud enough i couldn't hold on like europe is very close. in europe. yeah on this. it's like on adrenaline so it didn't matter 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 in the digital form basically 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 mock 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 blink on their country's colonial past in germany i have more with people like jim need to. 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

a world. and i. go back to. that i felt through which wasn't true but i guess i needed to do that. so at the end it would be up to me to create that. mixture in my everyday life right through because it's just very much healthy if the healthy balance. and that's something she hopes to pass on to her daughter. what i discovered is not that important in focus. that's not knowing and uncertainty while enjoying the journey to maybe be called a warrior. 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 this city's black communities. the past can help the future that was 21. in phoenix time.

the greater the danger the bigger the rush. thrill seekers on the hunt for the ultimate adrenaline kick willing to risk their minds in the process. we're in little masochistic we want to take things to the edge. more zones and disasters extreme terms of. 15 minutes on t.w. . the 77 percent of young people in uganda are driving change

a debate in kampala on political apathy among ugandans youth many young lust rising up against injustice a talk with musician turned opposition leader bobby wine and meet young farmers n s one teenage they're taking a stand against teams want to use land grabs. the 77 percent. to 90 minutes on t w. how does a virus spread. why do we panic and when will all this. just 3 of the topics covered in the weekly radio program. if you would like any information on the coronavirus or any other science topics you should really check

out our podcast where ever you get your podcasts you can also find us and dot com look forward slash science. it's an ongoing quest for a bit of. the arab spring began in 2011. people stood. against corrupt and dictatorship. all these moments. have left deep box in my memory. they had hoped for more security more freedom more dignity. have their hopes been fulfilled. in years after the arab spring. 1000000000 starts june 7th on g.w. .

faces date every news live from but in no diplomatic breakthrough and no let up in the israeli palestinian violence palestinian rescuers pick through the rubble searching for survivors after another night of air strikes one of the targets the home of the top hamas neda in gaza also coming up it's crunch time in the goodness league at aldeburgh beit bremen and books themselves and now this season in germany tops why.