we've got some hot tips for your bucket list. magic corner. spot for some tricks and some great cultural memorials to boot. b.t.w. trouble all 3 goals. 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 you know it's everywhere and it's in everything but nobody can really see it her name and what most european countries did was sell it civilize admission.

and go. back to the part about her. look. at the black lives masha movement in 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 our western societies themselves reach it in colonial ism. what are the questions we need to be asking for artists respond. images of people under colonial rule objectified by the white king or the few brushstrokes american artist raj kumar kahlo reinvents these photos and many others . she paints

a wavy exhaustive 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 bermudez girl with a taste for revenge. aluminum indio weaving cloth for a superpower. islanders uniting in solidarity. photograph station to buy for europeans in the 19th and 20th centuries russia come out of colorado has been free claiming them for 20 years she says he still shaped how people view each 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. colors 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 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 that understand. and tikal. 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 a 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 about kind of bringing this humanity back. to the series do you know our names there's a similar actively 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 that original photograph from. her latest project from. this is on how the media portrays people who fled their

homes compared to more privileged travelers painted on the pages of an expedition report filed by wilfred faster german progeny of a british colonial dynasty. for me wilfrid this is your symbolize kind of everything i hate. and i. got a big thing to say like he is aristocratic british and who traveled 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 the what and people listen and then on the other and the other spectrum of this travel. is the refugee and the refugee is pothole the job they are criminalized and they are few years. raj kumar carlos counters this image with

portraits of people looking from the pages of a church travel. she uses colonial era photographs to tell stories about oppression . the question should be what is colonialism not so it's like if you think about environmental. catastrophe of 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. for me beauty is so important on the protests it's about mine. the sense of empowerment and then also

it's about giving agency to the people that are photographing 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 a white winton class family and his father was an african american so musician kids' 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 and but you don't often see the in-between this of things the banality of the everydayness. work commutes i want to people on the metro

going going to pick their 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 ph travel to paris and brussels on to amsterdam live in stockholm i must say he wanted to meet black europeans from the most diverse backgrounds as the son of an african-american he experienced structural racism 1st chance but he knows that his experiences are different from the midst of 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 as a rising 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 try to the afro peon 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 is 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. pul oral isn't in a single word than 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 you know a kind of solidarity in the face of racism different pian interweave stories of the people pits meets on his journey with the history of european colonialism sleight of atrocities what you peons committed on africans it is still often shrouded in silence today that includes the genocide people trying to buy imperial german troops against her will and none of people in present day new media. germans often seem to deny or even suppress their 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 you have countries like belgium justifying 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 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 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 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 that i'm 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 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 you appear in museums show them today. when we go to the we look at those objects. like a disney vacation thing. i think institutions any and. whole global north fairly conservative that means they don't want to change their poll position i. take programs moya's 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 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 artifact but also the digital one you you kind of control the narrative around it because

then you can decide which research up 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 meffert one replica now lies buried in the egyptian desert as a kind of symbolic restitution. that actually matter when all of. material objects are in another country and completely decontextualized and actually got there violently namely through a colonialist so it totally doesn't matter where the object is who gets to tell the story the imperial museum is also a seat the predecessor of the transmission of the museum has. now we gained 70 to tell a story publishing the data set on a public domain with an effort but also with other projects very important for me

that now the reality is changed because everyone can actually access it remake that talk about it discuss it. with the help of scrapes data 3 d. technology and artificial intelligence nor a 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 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. nor al badri the images have special meaning because they represent the cultural heritage of her father's homeland.

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 it's 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 away 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 centerpiece of the natural history museum in berlin was excavated and seen exploited today it is 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 who one of these places is berlin's gurlitz apart tore us from 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 it's. 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. a sort of electronic beat. after a break up. produced this track in camera. crying all the same time. she says women there were treated with more respect for the europeans could. mean. few. of the suicide. people. there were. also the culture of the people. in the 21st century.

i couldn't swallow my pride trust i try you know you know alison bhalo was 10 when she left cameron and came to germany along with her 2 brothers. for. their mother wanted to do her doctorate at a german university. coming here it was the dream of the small african child white culture is on though it seems everywhere it's the norm with the 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 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 when a 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. 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' little connection to even what was before them. she wanted to establish a musical connection to general welcome home is about family and all its strengths

and flaws. when i went to come i was playing the guitar and i was saying and i got in come on and just realize that. the get how to laser in it's not loud enough you can hold of like. europe is very close. and you. know. it's like when the general the so it didn't. really should change styles experimented with electronic beats and made sound collages discovering the world a new in the process. and that's 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 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 with people like jim lee. and i. can bring lynn the ball 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. go back to. the back. to which was true but i guess i needed to do that. so at the end it would be up to me to create that that mixture in my every deal. i would 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 discovered when they did this is not that important but it's ok. to live in that space of not knowing and uncertainty while enjoying the journey to maybe be calling closer to why you're. so these berlin street names that are a relic of germany's colonial past don't discourage both she says the future of the

streets lies in the hands of the city's black communities. the past can help the future. 21. and see you next time.

ok what's going on here oh no house of your very own from a printer. computer games that are healing. my dog needs electricity. shift explains delivers facts and shows what the future holds for. living in the digital world.

extremism and violence. increasing content like this can be found on young people's cell phones. sharing it is illegal. but that doesn't stop them from spreading like a guy on a trap upset. at school children really becomes count. in 30 minutes on d w. several dead in the right wing extremists and women's rights requesting again world must be a couple raped and burned in south africa people with disabilities more 90 to lose their jobs in the pandemic black lives matter contests to shine a spotlight on racially motivated police minds same sex marriage is being legalized in more and more country. discrimination in

a quite large part of everyday life for many. we ask why. because life is diversity. make up your mind. w. made for minds. trick kids. they're fighting against prejudice. and for me to. be a little stars on stage. the true scotsman 17. w. .

no diplomatic breakthrough. in. comb through the rubble searching for survivors after another. one of the targets the home of the top hamas leader. also coming up. to deal with huge numbers of dead.