View allAll Photos Tagged colonialism
sketches from a 1980s Australian movie "the Tracker" set in the South Australian desert about Aboriginal mythology and British colonialism. 3 horsemen approaching
Née en 1990 en Namibie et installée aujourd'hui au Cap, Stéphané Edith Conradie explore les histoires du colonialisme et de la créolisation inscrites dans la culture matérielle domestique, interrogeant la manière dont l'identité se construit dans la sphère privée. Ces objets lui offrent un langage pour analyser les constructions identitaires créolisées, liées à l'histoire du colonialisme, de l'esclavage, de la ségrégation et de l'apartheid en Afrique du Sud. Dénichés sur les marchés aux puces ou dans des intérieurs oubliés, ces modestes trésors témoignent d'histoires à la fois intimes et collectives. Véritable archéologue du quotidien, Conradie insuffle une nouvelle vie à ces fragments de mémoire épars, les réassemblant et les superposant pour transformer un kitsch apparent en objets d'une profonde résonance symbolique.
Born in Namibia in 1990 and now based in Cape Town, Stéphané Edith Conradie explores the histories of colonialism and creolization inscribed in domestic material culture, questioning how identity is constructed in the private sphere. These objects provide her with a language to analyze creolized identity constructions linked to the history of colonialism, slavery, segregation, and apartheid in South Africa. Unearthed in flea markets or forgotten homes, these modest treasures bear witness to stories that are both intimate and collective. A true archaeologist of the everyday, Conradie breathes new life into these scattered fragments of memory, reassembling and layering them to transform apparent kitsch into objects of profound symbolic resonance.
Rainbow Falls bei Keri Keri New Zealand (North)
Einer der vielen Wasserfälle in Neuseeland, in den Reiseführern kaum erwähnt, deswegen kann man entlang des Kerikeri-Rivers ungestört spazieren gehen und im Pool des Wasserfalls baden.
im Vordergrund Montbretien (orange).
Diese Blumen sind klassische Invasionspflanzen, sie stammen ursprünglich aus Südafrika, sind dann als Folge des Kolonialismus nach Großbritannien und Irland gekommen und umrahmen inzwischen fast die gesamte irische Westküste. Als nächster Kolonialschritt sind die Montbretien von den Britischen Inseln nach Neuseeland gekommen..... Globalisierung per Blumen.... (flower power?) Nicht umsonst kontrollieren die Neuseeländischen Zöllner heute sehr genau Wanderkleidung, vor allem Wanderschuhe und in vielen Naturschutzgebieten muss man mit den Schuhen zuerst einmal durch Desinfektionsschleusen gehen, so z.B. bei den letzten Kauri-Wäldern auf der Nordinsel.
This orange flowers have their origin in South-Africa and came via colonialism to the Britihs Isles. The Montbretia are now (beneath Fuchsia) one of the typical flowers along the Irish West-Coast (and I think in great parts of England and Wales too). Later the flower came in the next step from the British Isles to New Zealand..... Globalism by flowers (Flower Power?). Now the custom-officers at the NZ-Airports look at all shoes, specailly hiking-shoes from incoming people.
Tisiga’s work addresses the effects of colonialism on Indigenous identity, representation and experience. The text he superimposed over architectural plans from a now-demolished residential school in Whitehorse, evokes both resilience and hopelessness. References to golf courses recall land-related confrontations such as the 1990 Oka Crisis. An Exercise in Resilience incorporates natural and synthetic materials in abstract compositions that suggest aerial views of as golf course as they draw connections between the game, social status and environmental concerns.
This monument is erected on the square of Emperor Menelik near St. George Church and is a standing testimony of the famous Battle of Adwa in 1896, witnessing Africa’s triumph over European colonialism.
The statue of Emperor Menelik is one of the monuments erected many years after the foundation of Addis Ababa. A German architect, Hartel Spengler, cast it in bronze on the orders of Queen Zewditu, the daughter of Emperor Menelik II, in memory of her father. The statue symbolizes the anti-colonial struggle of Emperor Menelik who waged the Battle of Adwa, the climatic battle of the First Italo-Ethiopian War.
The statue portrays Emperor Menelik in his coronation robes riding gloriously on Abba Dagnew, his horse which is depicted with both forelegs raised, looking to the north where the victorious Battle of Adwa took place. Sadly, before the statue could be erected, Queen Zewditu died in 1930. Thus, the then crown prince (later Emperor Haile Selassie) attended the inauguration ceremony on the eve of his coronation day in the same year. In the 1936 fascist invasion, Benito Mussolini gave his personal order that this statue should be pulled down and hidden somewhere so that the humiliating defeat of the Italians at Menelik’s hand in the Battle of Adwa could be forgotten. However, in 1941 when the invaders were ousted by the patriots and allied forces, the statue was restored to its original place.
It just makes sense, as peaceful protesters object to an unsanctioned war with a sign for a good idea.
NOTE: Oil can be substituted with Precious Metals, Colonialism, Expansion, Greed, Retribution...any number of equally invalid words without reason.
Plantações de Chá Gorreana, Ribeira Grande, São Miguel, Azores, Portugal
The vivid green striations of tea plantations are a common sight in East Asia and, especially, China, where camellia sinensis and its cultivation originated. European taste for tea exploded in the 1700s and whilst war, trade and colonialism ensured supply, tea has always been oriental. The curious exception is Europe’s sole functioning tea plantation, Chá Gorreana, on the Azorean Island of São Miguel. The estate has been running since 1883 and produces organic green and black tea. These two drone photographs show the tea fields from different aerial perspectives.
A tribute to all the past, present, future hard working men, women and children in the world.
Manual labour (in British English, manual labor in American English) or manual work is physical work done by humans, in contrast to labour by machines and working animals. It is most literally work done with the hands (the word "manual" comes from the Latin word for hand) and, by figurative extension, it is work done with any of the muscles and bones of the body. For most of human prehistory and history, manual labour and its close cousin, animal labour, have been the primary ways that physical work has been accomplished. Mechanisation and automation, which reduce the need for human and animal labour in production, have existed for centuries, but it was only starting in the 18th and 19th centuries that they began to significantly expand and to change human culture. To be implemented, they require that sufficient technology exist and that its capital costs be justified by the amount of future wages that they will obviate. Semi-automation is an alternative to worker displacement that combines human labour, automation, and computerization to leverage the advantages of both man and machine.
Although nearly any work can potentially have skill and intelligence applied to it, many jobs that mostly comprise manual labour—such as fruit and vegetable picking, manual materials handling (for example, shelf stocking), manual digging, or manual assembly of parts—often may be done successfully (if not masterfully) by unskilled or semiskilled workers. Thus there is a partial but significant correlation between manual labour and unskilled or semiskilled workers. Based on economic and social conflict of interest, people may often distort that partial correlation into an exaggeration that equates manual labour with lack of skill; with lack of any potential to apply skill (to a task) or to develop skill (in a worker); and with low social class. Throughout human existence the latter has involved a spectrum of variants, from slavery (with stigmatisation of the slaves as "subhuman"), to caste or caste-like systems, to subtler forms of inequality.
Economic competition often results in businesses trying to buy labour at the lowest possible cost (for example, through offshoring or by employing foreign workers) or to obviate it entirely (through mechanisation and automation).
For various reasons, there is a strong correlation between manual labour and unskilled or semiskilled workers, despite the fact that nearly any work can potentially have skill and intelligence applied to it (for example, the artisanal skill of craft production, or the logic of applied science). It has always been the case for humans that many workers begin their working lives lacking any special level of skill or experience. (In the past two centuries, education has become more important and more widely disseminated; but even today, not everyone can know everything, or have experience in a great number of occupations.) It has also always been the case that there was a large amount of manual labour to be done; and that much of it was simple enough to be successfully (if not masterfully) done by unskilled or semiskilled workers, which has meant that there have always been plenty of people with the potential to do it. These conditions have assured the correlation's strength and persistence.
Throughout human prehistory and history, wherever social class systems have developed, the social status of manual labourers has, more often than not, been low, as most physical tasks were done by peasants, serfs, slaves, indentured servants, wage slaves, or domestic servants. For example, legal scholar L. Ali Khan analyses how the Greeks, Hindus, English, and Americans all created sophisticated social structures to outsource manual labour to distinct classes, castes, ethnicities, or races.
The phrase "hard labour" has even become a legal euphemism for penal labour, which is a custodial sentence during which the convict is not only confined but also put to manual work. Such work may be productive, as on a prison farm or in a prison kitchen, laundry, or library; may be completely unproductive, with the only purpose being the effect of the punishment on the convict; or somewhere in between (such as chain gang work, treadwheel work, or the proverbial "breaking rocks"—the latter two of which are almost certain to be economically unproductive today, although they sometimes served economic purpose in the preindustrial past).
There has always been a tendency among people of the higher gradations of social class to oversimplify the [partial] correlation between manual labour and lack of skill (or need for skill) into one of equivalence, leading to dubious exaggerations such as the notion that anyone who worked physically could be identified by that very fact as being unintelligent or unskilled, or that any task requiring physical work must (by that very fact) be simplistic and not worthy of analysis (or of being done by anyone with intelligence or social rank). Given the human cognitive tendency toward rationalisation, it is natural enough that such grey areas (partial correlations) have often been warped into absolutes (black and white thinking) by people seeking to justify and perpetuate their social advantage.
Throughout human existence, but most especially since the Age of Enlightenment, there have been logically complementary efforts by intelligent workers to counteract these flawed oversimplifications. For example, the American and French Revolutions rejected notions of inherited social status (aristocracy, nobility, monarchy), and the labour movements of the 19th and 20th centuries led to the formation of trade unions who enjoyed substantial collective bargaining power for a time. Such counteractive efforts have been all the more difficult because not all social status differences and wealth differences are unfair; meritocracy is a part of real life, just as rationalisation and unfairness are.
Social systems of every ideological persuasion, from Marxism to syndicalism to the American Dream, have attempted to achieve a successfully functioning classless society in which honest, productive manual labourers can have every bit of social status and power that honest, productive managers can have. Humans have not yet succeeded in instantiating any such utopia, but some social systems have been designed that go far enough toward the goal that hope yet remains for further improvement.
At its highest extreme, the rationalised distortion by economic elites produces cultures of slavery and complete racial subordination, such as slavery in ancient Greece and Rome; slavery in the United States; or slavery under Nazism (which was defeated in 1945). Concepts such as the Three-fifths compromise and the Untermensch defined slaves as less than human.
In the middle of the spectrum, such distortion may produce systems of fairly rigid class stratification, usually rationalised with fairly strong cultural norms of biologically inherited social inequality, such as feudalism; traditional forms of aristocracy and monarchy; colonialism; and caste systems (e.g., Apartheid, separate but equal/Jim Crow, Indian caste). One interesting historical trend that is true of all of the systems above is that they began crumbling in the 20th century and have continued crumbling since. Today's forms of them are mostly greatly weakened compared to past generations' versions.
At the lowest extreme, such distortion produces subtler forms of racism and de facto (but not de jure) inequality of opportunity. The more plausible the deniability, the easier the rationalisation and perpetuation. For example, as inequality of opportunity and racism grow smaller and subtler, their appearance may converge toward that of meritocracy, to the point that valid instances of each can be found extensively intermingled. At such areas of the spectrum, it becomes ever harder to justify efforts that use de jure methods to fight de facto imbalances (such as affirmative action), because valid instances can be highlighted by all sides. On one side, the cry is ongoing oppression (ignored or denied) from above; on the other side, the cry is reverse discrimination; ample valid evidence exists for both cases, and the problem of its anecdotal nature leaves no clear policy advantage to either side. Source Wikipedia.
TD : Agfapan 100 Professional 35mm film, developed in D-76 1+1 for 7 minutes. Exposure ISO 100 @35mm lens, natural daylight. Scanned with Alpha 6000 edited in ACR, inverted in CS6.
Ready for sheering, sheep inside the Fortress of Louisbourg, National Historic Site, Nova Scotia, Canada, provide the raw materials, wool, for the authentically sewn clothing used to recreate 18th Century life in New France.
Lenka's story at the Venice Biennale 2024.
Colonialism, exploitation of plant and animal resources, anthropocentrism and speciesism: a denunciation at the Venice Biennale.
La storia di Lenka alla Biennale di Venezia 2024.
Colonialismo, sfruttamento delle risorse vegetali e animali, antropocentrismo e specismo: una denuncia alla Biennale di Venezia.
www.ilgiornaledellarte.com/Articolo/Diario-da-Venezia-qua...
"The war in Ukraine reminds us how unjust and painful the construction of a people's identity, the affirmation of national independence and the reclamation of one's roots can be. Repairing serious and profound wounds inflicted throughout history is a slow, complex and difficult process. A metaphor and monument of a similar condition is Lenka, in the Czech Pavilion. The famous giraffe captured in Kenya in 1954, transported to the Prague zoo, survived in captivity for only two years, then taxidermied and preserved in the museum, after having thrown its organs into the city sewers. Eva Kotakova's work, «The heart of a giraffe in captivity is twelve kilos lighter», is a walkable environmental installation that reproduces the inside of the long dissected neck of the animal arranged in a circle. In the center of the room there is a blackboard and a space for meeting and reflection to learn about its history, its meaning and its cultural implications. On the floor, Lenka's skeleton is reproduced and as a sound that pervades the Pavilion the hymns of the countries that the giraffe crossed on its long journey to Prague, many of which no longer exist today."
"La guerra in Ucraina ci ricorda quanto ingiuste e dolorose possano rivelarsi la costruzione di un’identità di un popolo, l’affermazione dell’indipendenza nazionale e la rivendicazione delle proprie radici. Risarcire gravi e profonde ferite inflitte nel corso della storia è un processo lento, complesso e difficile. Metafora e monumento di simile condizione è Lenka, nel Padiglione della Cecoslovacchia. La celebre giraffa catturata in Kenya nel 1954, trasportata allo zoo di Praga, sopravvissuta in cattività solo due anni, poi tassidermizzata e conservata nel museo, dopo aver gettato gli organi nelle fogne cittadine. L’opera di Eva Kotakova, «Il cuore di una giraffa in cattività è dodici chili più leggero», è un’installazione ambientale percorribile che riproduce l’interno del lungo collo sezionato dell’animale disposto a cerchio. Al centro della sala una lavagna e uno spazio di incontro e riflessione per conoscerne la storia, il suo significato e le sue implicazioni culturali. Sul pavimento lo scheletro di Lenka riprodotto e come suono che pervade il Padiglione gli inni dei Paesi che la giraffa attraversò nel suo lungo viaggio verso Praga, molti oggi non più esistenti."
labiennale.ngprague.cz/it-2024-eva-kotkov
milano.czechcentres.cz/it/blog/2023/08/eva-kotatkova-bude...
Bing Image Creator
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Llun coch
- er cof am y Palestiniaid a laddwyd ac a leddir yn yr hil-laddiad trefedigaethol yn Gaza.
Er cof hefyd am frodorion Gaza a'r Tiroedd Meddianedig a gollodd eu plant, eu mamau, eu tadau, eu teuluoedd, eu golwg, eu clyw, eu coesau, eu breichiau, eu hiechyd a'u hiawn bwyll fel rhan o'r glanhau ethnig didrugaredd i greu Israel Fawr.
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A red picture
- in memory of the Palestinians killed and being killed in the colonial genocide in Gaza.
Also in memory of the natives of Gaza and the Occupied Territories who lost their children, their mothers, their fathers, their families, their eyesight, their hearing, their legs, their arms, their health and their sanity as part of the ruthless ethnic cleansing in order to create the Greater Israel.
Now in the State's custodianship
His letters, armor, and death-mask
A green silk sash
Ghostly intimidation
Across the road, Ned was hung
A life of situations beyond his control
There is no claim to objectivity
The impossibility of justice
Read More: www.jjfbbennett.com/2019/12/melbourne-to-darwin-november-...
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This photo depicts one of the remaining pieces of foundation on the grounds of the former St. Mary's Indian Residential School (Stó:lō Nation name: Pekw'xe:yles) and is now part of Fraser River Heritage Park in Mission, B.C. The school originally opened in 1863 operated by the Catholic Church of Canada. The Indian residential schools were a sad part of our Canadian history as young first nations children were removed from their families and placed in residential schools. It was part of colonialism and a method of "civilizing" the native population. In recent years the government has acknowledged that the policy was wrong and that the schools were often crowded, underfunded and in some cases there was abuse and disease. The St. Mary's school closed in 1958 and the buildings were demolished in 1965.
.... A number of Toronto statues were vandalized as Black Lives Matter protesters took to the streets demanding the defunding, disarming, de-militarizing and ultimate abolishment of the Toronto Police. Messages written at the statues read: “Tear down white supremacist monuments that represent slavery, colonialism and violence.” The current campaign of vilification and erasure is being carried out against Egerton Ryerson, for whom the downtown Toronto university is named. Ryerson, who founded Ontario's public education system, was also a proponent of residential schools, that sought to assimilate Indigenous children into Canadian culture .... *Update* - Egerton Ryerson statue was toppled in June of 2021, it no longer stands ....
It is really disgraceful when those in power allow the mass despoiling of the Highlands of Scotland. It has got to the stage where there is hardly a view of our wonderful landscape that does not have turbines and/or pylons marching through it.
They are not there to give the people of Scotland cheap power, as we have the most expensive prices in the UK and amongst the most expensive in Europe. They are there to make landowners and developers rich via monumental subsidies, shareholders rich via huge profits, and to give cheap electricity to our colonial masters in England and beyond. We already have more turbines than we need for our own purposes in Scotland, by some margin.
Currently the Highlands are under siege from literally hundreds of applications (about 1400 at the last count, with 40 or more turbines within each turbine application, for example) for even more turbines, giant pylon lines and huge substations and batteries the size of small towns. The Highlands are being industrialised and our government is helping them. It is an epidemic that will further destroy nature, destroy beauty and wipe out communities. A new Highland Clearances supported by the SNP in the Scottish Government on behalf of Westminster.
This is greenwashing at its best, the turbines are usually made in fossil-fuel fired China and shipped halfway around the world. Ancient trees are felled and peat moorland dug up for them, and thousands of tons of concrete replaces the precious peat. Communities are against it, locals are against it, the tourist industry is against it, but our government isn't. The whiff of corruption is ever present. And the land and nature is being trashed like the Amazon.
Detalle del Parque Samà. Maravilloso parque-jardín de corte romántico en Cambrils. Salvador Samà , Marqués de Marianao, fue el origen de un legado promovido por su sucesor Samà i Torrens, enamorado de la cultura indiana y de la belleza romántica, modernista y colonial.
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Please, don’t use this images in websites, blogs or other media without my explicit permission. Use without consent on my part of it, will report the formal complaint to the registration of intellectual property. Thanks.
Stephen Kotkin: Putin, Stalin, Hitler, Zelenskyy, and War in Ukraine | Lex Fridman Podcast
Why do Russians Support Putin? | Konstantin Kisin
'F--- the war!' Russians defiantly chant against war in St Petersburg concert
Stand with Ukraine!
Stop Putin now!
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photo:
Romanian democratic solidarity with Ukraine against Putin autocracy and resentment in the center of Bucharest, on the walls of the former royal palace.
MNAR
National Art Museum of Romania (former Royal Palace)
www.monumenteromania.ro/index.php/monumente/detalii/en/Na...
Category: Palaces
Period: 1928-1937-1947
Importance: A
LMI code: B-II-m-A-19856
Address: Calea Victoriei 49-53 sector 1
Location: municipiul BUCUREŞTI
District: Bucuresti
Region: Muntenia
Romania
Initial plans by architects Paul Gottereau and Karl Liman
Additional works by architects N.N. Nenciulescu, Karl Liman and Arthur Lorentz
Palatul Regal, azi Muzeul Naţional de Artă al României
www.monumenteromania.ro/index.php/monumente/detalii/ro/Pa...
Categorie: Palate
Perioada: 1928-1937-1947
Importanta: A
Cod LMI: B-II-m-A-19856
Adresa: Calea Victoriei 49-53 sector 1
Localitate: municipiul BUCUREŞTI
Judet: Bucuresti
Regiune: Muntenia
Romania
Planuri initiale: arh. Paul Gottereau si Karl Liman. Lucrari de reconstructie si extindere dupa incendiul din 1926: arh. N.N. Nenciulescu, Karl Liman si Arthur Lorentz.
distorted perception ...
Isaac Julien. What Freedom Is To Me ...
The first survey exhibition of the British artist and filmmaker Isaac Julien (*1960 in London) in Germany shows the breadth of his groundbreaking work from its creation in the 1980s to the present day. Julien's critical thinking, which is primarily aimed at an intensive examination of the culture and history of colonialism, is expressed in his early films as well as in the highly aesthetic film images of the large, internationally acclaimed film installations of the last 20 years.
It was interesting because Julien showed mainly black people wearing elegant upper class clothes and staying in sophisticated museums, university rooms, stately homes, cultural and government buildings, men with velvet collars and bow ties as well as black people with white coats, all attributes that are supposed to suggest success, wealth and education, in front of Central European art of the last 2500 years and "primitive" art of the southern hemisphere and then a white man comes along in between ... and you involuntarily ask yourself which person nevertheless radiates more social status and more competence ... and to what extent people are shaped by prejudices and affiliation ...
Und weiterhin ... Status stirbt nie ...
verzerrte Wahrnehmung ...
Isaac Julien. Was Freiheit für mich bedeutet ...
Die erste Überblickausstellung des britischen Künstlers und Filmemachers Isaac Julien (*1960 in London) in Deutschland zeigt die Bandbreite eines bahnbrechenden Werks von seiner Entstehung in den 1980er Jahren bis in die Gegenwart. Juliens kritisches Denken, das vor allem auf eine intensive Auseinandersetzung mit der Kultur und Geschichte des Kolonialismus abzielt, kommt in seinen frühen Filmen ebenso zum Ausdruck wie in den hochästhetischen Filmbildern der großen, international gefeierten Filminstallationen der letzten 20 Jahre.
Es war interessant denn Julien zeigte hauptsächlich schwarze Menschen, die elegante upperclass-Kleidung tragen und sich in mondänen Museen, Universitätsräumen, Herrschaftshäusern, Kultur- und Regierungsgebäuden aufhalten, Männer mit Samtkragen und Fliege sowei schwarze Menschen mit weißem Kittel, alles Attribute die Erfolg, Wohlstand und Bildung sugerieren sollen, vor Mitteleuropäischer Kunst der letzten 2500 Jahre und "primitiver" Kunst der Südhalbkugel und dann kommt zwischendurch ein weißer Mann daher ... und man fragt sich unwillkürlich, welche Person trotzdem mehr sozialen Status und mehr Kompetenz ausstrahlt ... und wie weit Menschen durch Vorurteile und Zugehörigkeit geprägt sind ...
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Excerpt from the plaque:
Cody James Houle, also recognized as Stalking Heron, is an Anishinaabe artist. Raised in an unsafe home in the small military city of North bay, Ontario, Houle had to generate his own sense of security and sustain his survival through a deeply intimate connection to nature. Being an artist is his calling and passion but being a father to daughter, Phoenix Raine, and showing her what it means to be an Anishnaabe'kwe is his ultimate priority in life. Growing up with intergenerational trauma and colonialism, Houle felt shame and guilt about being Native; now, his art allows him to show pride and strength in being an indigenous man.
A self-taught painter, Houle is drawn to abstract visualizations and animate florals, it is the woodland paintings that resonate most for Houle and his sense of his culture. Houle believes it is important to share art to inspire hope and encourages anyone (especially youth!) to create for the sake of creating.
Excerpt from www.insauga.com/artists-sought-for-indigenous-art-walk-in...:
Burlington, with support of the Hamilton Halton Brant Tourism Relief Fund, is creating an Indigenous Art Walk in Spencer Smith Park. This project seeks to celebrate and honour the work of First Nations, Métis and Inuit artists.
This project will link Spencer Smith Park with other key downtown arts and culture destinations including Joseph Brant Museum and the Art Gallery of Burlington.
In addition to the vinyl wraps, the Art Walk will include an Indigenous-themed crosswalk and a public art sculpture by David General which is being installed later this year at Joseph Brant Museum.
“Spencer Smith Park, along with every City facility, park and greenspace, is a welcoming and inclusive space,” said Chris Glenn, director of Recreation, Community and Culture.
“These nine commissions will honour and celebrate the work of First Nations, Metis and Inuit artists as residents and tourists walk along Spencer Smith Park and visit key downtown destinations such as the Joseph Brant Museum and the Art Gallery of Burlington.”
Home is often a place of gathering and grounding. Yet these very qualities have also made it a target for those wishing to eradicate peoples and their cultures. Artists depict how communities resist destructive legacies of government agendas by embracing cherished memories of home and community. In response to the traumas of colonialism, an alternate world of fantastical depictions becomes a site of habitation and diasporic displacement is eased through shared spaces of community and family gatherings. Non-human community is also shown as a reminder that natural sites are shared, cross-species places; to enter these spaces is to enter another’s home. Ultimately artworks remind us that home is a place of respect, enriched through shared experiences, values and memories.
Shading from the sunshine with a colourful umbrella on the fort walls of Galle in the south of Sri Lanka.
I have just written a blog on the compositional use of negative space in photography:
Negative Space in Photography Blog
If you would like to use any of my photos please contact me and ask permission first.
If you want to look at more of my photography you can check my website and social media links below:
www.facebook.com/geraintrowlandphotography
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The indigenous monument, located along the Barkly Highway between Cloncurry and Mount Isa, Northwest Queensland, pays tribute to Kalkadoon (Mount Isa area) and Mitakoodi People (Cloncurry/Fort Constantine area). It has been subjected to vandalism and was destroyed by an explosion in 1992 but has since been rebuilt.
The monument was erected as a Bicentennial Project in 1988 by Dr. David Harvey Sutton who designed and financed the monument with the support of the Mitakoodi Aboriginal Corporation in Cloncurry, to highlight Aboriginal history in the Bicentenary Year.
Battle Mountain:
The Kalkadoon were tracked 60 miles north of Cloncurry to a place now known as Battle Mountain where over 900 Kalkadoon lay in wait. The Kalkadoon had chosen this place for the battle to take place they had stockpiled spears, boomerangs and rocks and the view from the mountain overlooked the plain below giving the tactical advantage to the Kalkadoon.
Sub inspector Urquhart started the battle by ordering the Kalkadoon to stand in the Queen’s name, they replied with a battle cry and hundreds of rocks thrown down the mountain. Urquhart then ordered a cavalry charge of 200 men on horseback up the mountain, their bullets bouncing off the rocks the Kalkadoon were using as cover and after 30 metres the horses could no longer climb the steep mountain and the men had to dismount and run for cover under a hail of spears. From high above the warriors shouted in defiance and continued their assault with rocks thrown down the mountain and while Urquhart was trying to regain control of his men and the battle he was hit in the head by a rock thrown by a large Kalkadoon warrior and fell unconscious to the ground. The native police temporarily abandoned other dead and dying and rushed to save their leader under a wall of covering rifle fire and with their leader saved but unconscious for hours the white army could offer no fight to the Kalkadoon warriors that were still raining rocks down the mountain.
When Sub Inspector Urquhart regained consciousness he immediately halved his army and flanked the mountain ready for an assault on two sides, it looked like the Kalkadoon warriors had little choice but to leave the cover of the boulders and prepare to defend in the open on two fronts. Upon seeing the flanking movement by Urquhart the Kalkadoon warriors left their cover and quickly formed ranks and without warning the warriors charged down the mountain with spears raised. The Kalkadoon lines with the pride and history of over 60,000 years of culture held for a brief moment as they charged their attackers and then as if history itself was being erased from the earth the Kalkadoon warriors were cut down by round after round after round of rifle fire. The brave remaining Kalkadoon warriors waivered but not able to accept defeat, this was their land they had no choice so they reformed their lines and again charged their attackers. Again the mountain rang with rifle fire that mowed down the charging warriors, after a while the rifle fire stopped and so too had the Kalkadoon resistance. Urquhart was not satisfied with the slaughter that had taken place and for several days with his native troopers commenced a cleaning up operation where any Kalkadoon survivors found were also killed.
The Kalkadoon people were the only aboriginal people to stand up to an organised force of white men in open combat and fight to the very end but their stone age weapons of the past were no match for the white man’s firepower of the future. Only 29 Kalkadoon people survived the battle of Battle Mountain.
The Kalkadoon mob:
The Kalkadoon People, also known as the Kalkatungu, Kalkatunga, or Kalkadungu, ruled what is called the Emu Foot Province and have been living on these lands for over 40 thousand years. The Kalkadoon People owned vast tracts of land extending from McKinley’s Gap in the east where they joined the Goa tribe of the Winton district to Gunpowder Creek which was the territory of the Waggaboongas. On the southern side of their territory the Kalkadoons were touched upon by the Pitta-Pitta tribe of the Boulia district, and on the northern side by the Mittakoodi of the Fort Constantine country.
The Kalkadoons would mark their territory boundaries with an emu or cranes foot that was either painted onto rocks and trees or carved into the hard granite rock. This was also a warning for other Aboriginal clans not to pass these boundaries.
The Kalkadoon (Kalkatungu) are descendants of an Indigenous Australian tribe living in the Mount Isa region of Queensland. Their forefather tribe has been called 'the Elite of the Aboriginal warriors of Queensland'. In 1884 they were massacred at "Battle Mountain" by settlers and police.
The first Europeans to visit the area were explorers Burke and Wills who crossed the Cloncurry River in 1861. Though their journals make no mention of the tribe, their passing through is said to have been recorded in Kalkatungu oral history, and in their language they coined the term walpala (from 'white feller') to denote Europeans. Three parties sent out to search for Burke and Wills, led respectively by John McKinlay, William Landsborough, and Frederick Walker, passed through the general area. Walker, a former commander of the Dawson native police, shot 12 natives dead and wounded several more, just to the north east of Kalkatungu territory.
Another early European settler, Edward Palmer, who was described by George Phillips as 'one of that brave band of pioneer squatters who in the early sixties swept across North Queensland with their flocks and herds, settling, as if by magic, great tracts of hitherto unoccupied country', settled on the edge of Kalkatungu country in 1864, at Conobie, on the western bank of the Cloncurry River. Decades later, Palmer described the natives as a peculiar people of which little was known. Palmer was critical of the use of native police and interested in indigenous tribes. His station lands did not cover any Kalkatungu sacred sites, he did not object to their presence in the vicinity, and found no problem in his relations with the Kalkatungu. He tried to learn their language. Ernest Henry arrived in 1866, discovering, with the assistance of Kalkatungu guides, copper deposits the following year, and founded the Great Australia Mine. He successfully enlisted some Kalkatungu people to work one of these mines. A short attempt at settlement by W. and T. Brown at Bridgewater in 1874 experienced, like Palmer, no difficulties with the indigenous owners of the land.
The Scottish settler Alexander Kennedy then took up land in the area in 1877. He had managed, since his arrival in 1861, to accumulate land holdings of some 4,800 sq. miles, holding 60,000 cattle, and established himself in a residence he built, called Buckingham Downs. Kennedy is thought to have begun the troubles with the native peoples of the area by instigating murderous assaults on the Kalkatungu. Iain Davidson describes him as 'the man who led the destruction of the tribes of North West Central Queensland.'
The traditional white heroic narrative version of what then occurred drew on the account provided by Sir Wilmot Hudson Fysh in 1933. According to this version, the Kalkatungu was by nature a hostile and bellicose tribe, exceptionally brave with 'primitive' military cunning and guerilla-like tactics of strategic withdrawals to the mountains to evade reprisals for their savagery. They were eventually vanquished and broken after a last stand against men like Alexander Kennedy.
The Mitakoodi mob:
The Mitakoodi peoples of the Cloncurry River (the 'River People') and region, have a rich and diverse archaeological history unknown to the rest of Australia.
They are the custodians of the famous basalt axe quarries which along with the Kalkadoon (Mount Isa) axe quarries have been foremost as a regional stone source, supplying high quality stone axes to many language groups throughout Australia via the 'Channel Country' and its complex social exchange network system.
The Mitakoodi peoples are also the custodians of the white ochre dreaming ceremonial and initiation sites, large and small tangible man made monuments, and structures scattered throughout the harsh spinifex landscape.
Source: Monument Australia, Chernee Sutton (www.cherneesutton.com.au/pages/battle-mountain), Australian National University & Kalkadoon PBC (www.kalkadoonpbc.com.au)
We share a terrible history of global destruction
Our crown's propensity towards violence
Capital Imperialism
Driven by the right to reign
At heaven's command, Britain first
Extermination
Mass execution
Murder
Rape
Violence
Plunder
Suppression
Internment
Power is destiny
Glorification and institutionalization of historical benefits
Underlined by imperial knowledge banks
Written by those who are dedicated to logic and rationalization
Strategic justification
The order of might
This is what the colonizers know and do
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La pratique artistique diversifiée de Raphaela Vogel fait fusionner des médias qui sont à première vue opposés: objets, sculptures, collages, peintures, vidéos et musique. Elle éveille ainsi des paysages oniriques qui racontent une histoire tout sauf claire et linéaire. Avec beaucoup d'humour et de légèreté, ses sculptures remettent en question de grandes idéologies telles que l'impérialisme ou le colonialisme. À une époque où les sculptures publiques font l'objet d'un débat à l'échelle internationale, cette artiste casse les codes avec ce qu'elle appelle les medium-sized narratives. C'est la réponse à deux discours: les grandes histoires souvent critiquées que l'on voit illustrées dans les monuments et la micropolitique, qui suppose que l'on peut changer le monde en commençant par soi-même. Tel un compromis entre les deux discours, Raphaela Vogel raconte des histoires 'de taille moyenne', parfaits successeurs des idéologies poussiéreuses et dépassées dont la date de péremption est aujourd'hui plus que passée.
L'artiste s'amuse avec le motif séculaire dans l'histoire de l'art où deux animaux doivent protéger un élément en l'entourant symétriquement, éloignant ainsi le mal. Pour Beaufort, elle choisit deux girafes. Ces dernières essaient de se faire plus grandes en se hissant sur des réfrigérateurs ordinaires en guise de socle. De par leur caractère non menaçant et leur slogan appelant à la reconnaissance des medium-sized narratives, elles introduisent un nouveau type de monument, sans glorification, plus approprié à l'époque actuelle.
Les girafes semblent faire référence à Testreep, l'île qui se trouvait au large de la côte et à laquelle Ostende ('Oost-einde', ou extrémité orientale) doit son nom. Au XVe siècle, cette langue de terre a été définitivement submergée par la mer du Nord. Les fossiles échoués sur le rivage témoignent aujourd'hui encore de l'activité humaine et animale de l'époque. Si des girafes ont déambulé à Testreep? On ne le sait pas (encore), l'artiste s'en remet entièrement à la riche imagination des spectateurs.
Avec beaucoup d'humour et de légèreté, les sculptures de Raphaela Vogel remettent en question de grandes idéologies telles que l'impérialisme ou le colonialisme.
Raphaela Vogel's diverse artistic practice merges media that are at first glance opposed: objects, sculptures, collages, paintings, videos and music. It thus awakens dreamlike landscapes that tell a story that is anything but clear and linear. With a lot of humor and lightness, his sculptures question great ideologies such as imperialism or colonialism. At a time when public sculptures are the subject of international debate, this artist breaks codes with what she calls medium-sized narratives. This is the answer to two discourses: the often criticized great stories that we see illustrated in monuments and micropolitics, which assumes that we can change the world by starting with ourselves. Like a compromise between the two discourses, Raphaela Vogel tells 'medium-sized' stories, perfect successors of dusty and outdated ideologies whose expiration date is now more than passed.
The artist plays with the centuries-old motif in art history where two animals must protect an element by surrounding it symmetrically, thus warding off evil. For Beaufort, she chooses two giraffes. The latter try to make themselves bigger by hoisting themselves on ordinary refrigerators as a base. By their non-threatening character and their slogan calling for the recognition of medium-sized narratives, they introduce a new type of monument, without glorification, more appropriate to the present day.
Giraffes seem to refer to Testreep, the island that lay off the coast and to which Ostend ('Oost-einde', or eastern end) owes its name. In the 15th century, this tongue of land was permanently submerged by the North Sea. Fossils washed up on the shore still bear witness to human and animal activity at the time. If giraffes roamed Testreep? We do not know (yet), the artist relies entirely on the rich imagination of the spectators.
With a lot of humor and lightness, Raphaela Vogel's sculptures challenge great ideologies such as imperialism or colonialism.
The city's official name change, to Mumbai from Bombay happened when regional political party Shiv Sena came into power in 1995. The Shiv Sena saw Bombay as a legacy of British colonialism and wanted the city's name to reflect its Maratha heritage, hence renaming it to pay tribute to the goddess Mumbadevi
Tisiga’s work addresses the effects of colonialism on Indigenous identity, representation and experience. The text he superimposed over architectural plans from a now-demolished residential school in Whitehorse, evokes both resilience and hopelessness. References to golf courses recall land-related confrontations such as the 1990 Oka Crisis. An Exercise in Resilience incorporates natural and synthetic materials in abstract compositions that suggest aerial views of as golf course as they draw connections between the game, social status and environmental concerns.
The Abbey has many hundreds of monuments and wall plaques commemorating the great and the good. Alexander Champion (d. 1793) was one of them - a military commander of the East India Company and, at the age of 29, wealthy enough to retire. How he or rather his social class wished to see him and themselves symbolically represented, becomes clear in this image. Colonialism is one of the sources of the wealth acquired by the financial elites of the Georgian era, another are slavery and the slave trade. And the Church profited from this too (in fact, it even co-owned a slave plantation on Barbados) and allowed the glorification of exploitation and inhumanity inside the sanctuary. Instead of removing these stone-carved monuments of atrocity, the Diocese decided these days to confront its own collusion with colonialism, Empire and the slave trade by staging an exhibition - inside the Abbey.
rather rare one here that does not look very Soviet at all. only 24,000 printed. Artist is Vera Livanova Publisher is Soviet Artist. Judging by the garb and the first sign this is a poster about Africa. . 1st sign says something like Free all of Africa. 2nd sign at the bottom of the poster says down with colonialism- thanks Goetz Burrggaf.
...and then some. A deteriorating building slated for a future renovation along Calle Crislogo in Vigan, Philippines. Many Spanish colonial buildings are quickly deteriorating from decades and centuries of neglect. Although slated for restoration, the lack of finances to restore these buildings will amount to little original materials left to incorporate into the future structures.
Hello, dear world!
Here what is happening in Silwan and the Sheikh-Jarrah neighborhood in Jerusalem.
80 Palestinian families are threatened to be expelled from their own homes by the Zionist occupation in Silwan, as 500 Palestinian residents in the Sheikh-Jarrah are still facing the forced eviction by Zionist settler-colonialism.
Amani Mousa, a Palestinian mother from Silwan, says she was surprised to see each one of her sons take one toy with him to school because they fear that they will find their home demolished when they come back from school.
Force of Nature by Ts’msyen artist Phil Gray on the side of the Douglas Reynolds Gallery, South Granville Street in Vancouver.
The work, sponsored by the gallery, was painted for the 2021 Vancouver Mural Festival (VMF).
Artist Statement:
“The story of Salmon Woman tells how this supernatural woman brought salmon to Raven.
After Raven’s many travels, he was worn down and tattered. He met and married Salmon Woman who healed him and cleaned him up.
While he was searching for food, she touched the water and hundreds of salmon appeared for him to feast on.
Although she saved him and nursed him back to health, he took her for granted and treated her terribly. In the end, Salmon Woman became fed up and took everything with her when she left him, leaving him as desolate as before.
This design is a commentary about how colonialism has negatively affected the way we treat women, LGBTQ+, and the environment.
Although women are life givers and interconnected with the environment, heteropatriarchy forced a shift in our morals and responsibilities in relation to them.
This representation of Salmon Woman with all the colours of the rainbow is a reminder that until women and LGBTQ+ are valued, respected, and reinstated back into their traditional roles and responsibilities our communities will continue to struggle to become healthy vibrant communities again.” – Phil Gray, 2021
A 16th century brass plaque from the royal palace of Benin City, certainly one of the treasures of Black African art. It is a privilege, and a joy, to see this wonderful sculpture in the British Museum, London. But it raises all sorts of questions. The British had "acquired" this and many other objects in 1897 after they had burned down Benin City. This was part of one of the so-called punitive expeditions - punishment, because the kingdom of Benin had refused to be colonised by the British. As with the "Elgin Marbles", a term that comes straight out of the colonialist's dictionary for we are talking of the sculpture frieze of the Parthenon in Athens, the question of 'returning' museum items with a 'dodgy' acquisition history is definitely on the table. Edited in Fujifilm's raw converter and in Luminar.
The ocean water is clear enough in front of Fortress Louisbourg, on Cape Breton Island, Nova Scotia, to see the bottom of the bay. In the view is a large yellow gate, the entrance from the bay and on the right side of the rampart, a canon is aimed through an opening in the wall. The angular design of the historic fortress contrasts with the walkways and curves of the waterfront. The massive French fortress was destroyed by the British but is now partially rebuilt using original architectural drawings. A visit is highly recommended and is enjoyable for all ages.
Head of Henry the Navigator (acrylic cast taken from his tomb at the Monastery of Batalha, here seen at the Casa do Infante Dom Henrique, Porto). Whether we like it or not, the history of European overseas "discovery", expansion and Christian mission has been one of the major factors shaping the world as we know it. At the beginning of it, that is, in the 15th century, stands the formidable figure of Dom Henrique in Porto. His overseas projects were knowledge-based (navigation, geometry, mathematics, astronomy, cartography) and involved the university. Portugal's colonial empire produced the wealth that led for example to the baroque and gold-plated makeover of Porto's churches. Though Brazil got its independence in the 19th century, in other parts of the world Portuguese colonialism lasted up to the 1970s. Those subjected to Portuguese colonialism tend to tell this story in less gentle ways.
"History says don't hope on this side of the grave. But then once in a lifetime justice can rise up And hope and history rhyme"
The Cure at Troy
Seamus Heaney
Another door image shot along Calle Crisologo in Vigan, Ilocos Sur, Philippines. Old brick roads and buildings made during the Spanish colonial era slowly decay from neglect and the influx of tourism.
A large memorial statue of Gandhi on the promenade in front of Marina Beach in Chennai, India. Mohandas Karamchand Gandhi was an Indian activist who was the leader of the Indian independence movement against British colonial rule. Employing nonviolent civil disobedience, Gandhi led India to independence and inspired movements for civil rights and freedom across the world. Wikipedia.
A photo blog about the birds on the beach in Chennai.
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