in the pandemic black lives matter contests shine a spotlight on racially motivated police minds same sex marriage is being legalized in more and more countries discrimination and quality are part of everyday life for many. we ask why. because life is diversity. make up your mind. for minds. on the one hand you had this kind of european civilization on the other 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. to go. back to live. with the black lives matter new mention you 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 are western societies themselves rooted in colonialism. what are the questions we need to be asking for anxious to respond. images of people under colonial. objectified by the white. with

a few brush strokes american artist roger come out carlo reinvents these photos and many others. she paints a wavy exoticism white european a 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 taken by for europeans in the 19th and 20th centuries to come out

of color has been free claiming them for 20 years she says she 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. go 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 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 these were always a starting point for me that understand. and keep. in history. in the rest of the world. rush to mow kahlo 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 her presentation where people are pictured so that their humanity is no purse thing that you 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 how and maims has 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 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 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 focuses on how the media portrays people who fled their homes compared to more privileged travellers painted on to pages of an expedition report filed by wilfred facet of progeny of a british colonial dynasty. for me wilfrid that's it 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 it 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 pathology. they are criminalized and they are few years. 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 and not rape 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' gaze out of this world with confidence. for me beauty is so important on the protests 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 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 working 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 having

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 society's blackness in your. field and johnny pitts travel to paris and brussels on to amsterdam to 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 experiences structural racism 1st hand 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 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. came an 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. 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 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 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 to afro paean solidly on to something the more it fell upon what is afro p.

and 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 pain interweave 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 includes the genocide perpetrated by imperial german troops against a number of people in present day new b.b. and. germans often seem to deny or even suppress their 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 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 in 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 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 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 in 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 we look at those objects. it is not the case and the whole thing. i think institutions and europe and the whole global north fairly conservative that means they don't want to change their power position of course. take programs noise museum that 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 the country 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 digital right now anyone with a tree d. printer can make their own effort 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 cut 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 the seat the party says 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. without the project 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 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 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 like digital what i call

techno heritage it's possible to reappropriate the meaning of representation and. meaning nor how badri deep images have special meaning because they represent the cultural heritage of her father's homeland iraq. mission is one of the few words that actually have a very biographical the component i would say because i'm half iraqi is 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 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 exploited today it is learned 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 in one of these places as. part of torrijos 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 paddle art drugs. i think. that you ation 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 out. produced this track in cameroon. crying the same time. she says women there were treated with more respect before the europeans came. out of.

such an impact. they were raising also the culture of the people. in the 1st century. i couldn't swallow my pride trust i try you will you know else obama 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 lots of small african child white culture is on the way it seems everywhere it's the norm in suspended. 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 quoting their lives and in terms of where do 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 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 20 also decided to return to cameroon in search of progress and. 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 them. she wanted to establish

a musical connection to jeff you know the hour 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 saying and i got in cameroon and just realized that they get how to live in it's not loud enough you can hold of like. europe is very close. in europe. yeah. 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 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 nkrumah 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 conversation 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. because going back to come and that. that i felt i belonged to which was true but i guess i needed to do that. so at the end of the day for me to create. that mixture in my everyday. 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 discovered with this is that important it's ok. not knowing uncertainty while enjoying the journey so maybe because closer to

war and. 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 mapped out 21.

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for a full. 10 years after the arab spring. or a 1000000000 starts june 7th on d w. this is d w news live from berlin the un condemns the senseless cycle of bloodshed in the middle east books there's still no end in sight as desperate search for survivors has more israeli air strikes planning to gaza and prime minister binyamin netanyahu says the military campaign against hamas is continuing full force also coming up on the

program. shooting votes for assembly members to shape a new constitution a legal framework which will sweep away those dating back to.