{"id":14380,"date":"2021-05-27T01:01:10","date_gmt":"2021-05-27T01:01:10","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=14380"},"modified":"2021-06-16T12:11:52","modified_gmt":"2021-06-16T12:11:52","slug":"gatherings-gendering-decolonizations-ways-of-seeing-and-knowing","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/gatherings-gendering-decolonizations-ways-of-seeing-and-knowing\/","title":{"rendered":"Gathering(s) Gendering Decolonizations: Ways of Seeing and Knowing"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text css=”.vc_custom_1622027786970{padding-left: 25px !important;}”]<\/p>\n

Gathering(s) Gendering Decolonizations: Ways of Seeing and Knowing<\/h1>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1623258852238{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-image: url(https:\/\/hangar.com.pt\/online\/wp-content\/uploads\/2021\/05\/tradicao-imaginacao.jpg?id=14498) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”1080px”][vc_column_text css=”.vc_custom_1623258661101{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]\u00a9 Tradi\u00e7\u00e3o e Imagina\u00e7\u00e3o, Vanessa Fernandes<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Info<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1614172912666{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Title[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622027792716{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Gathering(s) Gendering Decolonizations: Ways of Seeing and Knowing[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622026657417{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Organized by[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622026690351{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Ana Cristina Pereira
\nIn\u00eas Beleza Barreiros
\nMaria do Carmo Pi\u00e7arra[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1598972106365{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Location[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622027307787{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]HANGAR
\nR. Damasceno Monteiro, 12 R\/C
\n1170-112 Lisbon[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205246127{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Opening[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622027067108{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]May 27th – 10 am[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205271348{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Dates[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622077860831{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]May 27th to June 3rd[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205299977{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Videos[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1622077380439{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]De Submisso a Pol\u00edtico: o Lugar do Corpo Negro na Cultura Visual – Melissa Rodrigues, 2021<\/p>\n

Essencial \u00e9 a Fome – Raquel Lima, 2020<\/p>\n

N\u00f4s Terra – Ana Tica, 2020<\/p>\n

ANTICORPO: a Parody on the Colonial Ambition – Patr\u00edcia Lino, 2019-20<\/p>\n

Teko Haxy – Ser Imperfeita – Patr\u00edcia Ferreira & Sophia Pinheiro, 2018<\/p>\n

Recognition – Sara Serpa, 2020<\/p>\n

Rorschach for a blindness – Vanessa Fernandes, 2020<\/p>\n

Tradi\u00e7\u00e3o e Imagina\u00e7\u00e3o – Vanessa Fernandes, 2018<\/p>\n

Mulheres de Armas – Kamy Lara, 2012[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Synopsis<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_column_text]In the context of the internationalism that was the backbone of liberation struggles worldwide, women used images \u2013 mostly photography and film \u2013 as a weapon. In a certain way, this political engaged praxis was a sort of response to the use of images by political, scientific, and economic propaganda, which very much sustained the colonial order and ideology.<\/p>\n

In Portuguese-speaking countries, among the women who photographed or made films for political purposes, the names of Augusta Conchiglia, Margaret Dickinson, Ingela Romare, Sarah Maldoror and Suzanne Lipinska stand out. The filmed materials \u2013 and not just the ones women authored \u2013 were given meaning by film editors Jacqueline Meppiel, Cristiana Tullio-Altan or Josefina Crato (the only woman among the four young Guineans sent, by Am\u00edlcar Cabral himself, to Cuba to study cinema).
\nMargarida Cardoso, Pocas Pascoal, Maria Jo\u00e3o Ganga, Isabel Noronha through their cinematographic fictions; Kamy Lara, Ana Tica, Diana Andringa and Catarina Laranjeiro, through their documentary films; Eur\u00eddice Kala, Vanessa Fernandes, Filipa C\u00e9sar, M\u00f3nica de Miranda, ngela Ferreira, Luciana Fina, Jota Momba\u00e7a and Grada Kilomba through their projects, installations, performances and visual art works, make decisive contributions that reflect on (post-)colonial memories and experiences, ways of decolonizing the archive and re-imagine Portuguese colonialism and the struggle against it.<\/p>\n

No history of decolonization or of decolonizing praxes is ever completed without attention to gender. How did women view the liberation struggles in the former Portuguese colonies? How were their ways of seeing integrated or not in the imagination of colonialism? Was there a specific gaze to women over the liberation struggles? What knowledge and awareness do we have of\/about these ways of seeing? And how do these ways of seeing intersect with those of contemporary filmmakers, artists, curators and academics who are now questioning public and private archives, are visually recreating their memories or re-imagining colonialism? What role academic research, archive conservation policies, programming and curatorship have in questioning or prolonging (official) \u201cpolitics of memory\u201d?<\/p>\n

GATHERING(S) Gendering Decolonizations: Ways of Seeing and Knowing intends to contribute to the debate.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Ana Cristina Pereira<\/strong>
\nActress and director since 1996 and teacher in secondary and higher education since 2001, Ana Cristina Pereira (also known as Kitty Furtado) has a Ph.D. in Cultural Studies from the University of Minho, with the thesis “Alterity and identity in film fiction in Portugal and Mozambique”. Her main research themes include racism, social identity, social representations, and cultural memory in cinema, from a post-colonial and intersectional perspective, on which she has published various scientific articles. She is a researcher of the (THE)OTHERING project and a member of the N\u00facleo Anti\u2011Racista do Porto.<\/p>\n

In\u00eas Beleza Barreiros <\/strong>
\nVisual archaeologist. She finished her Ph.D. in Media, Culture and Communication Studies at New York University. Her research interests are located at the intersection of visual culture, memory studies and decolonial theory-praxis and their articulation within the history of the Portuguese empire, in particular its contemporary modes of existence. She also holds a special interest in indigenous cosmogonies, animal studies, and trees.
\nIn\u00eas has an M.A. in Contemporary Art History from FCSH-Universidade Nova de Lisboa and a B.A. in History, branch Art History from Faculdade de Letras-Universidade de Lisboa. She also studied at the New School for Social Research (anthropology) and at Sorbonne-Paris IV.
\nIn addition she works in film and is currently developing the visual project Colonial Specters: a visual hauntology.
\nIn\u00eas is the author of \u201cSob o Olhar de Deuses sem Vergonha\u201d: Cultura Visual e Paisagens Contempor\u00e2neas (Lisboa: IHA-EAC\/Colibri, 2009).<\/p>\n

Maria do Carmo Pi\u00e7arra<\/strong>
\nCommunication Sciences PhD, New University of Lisbon. Postdoctoral Researcher at the Centre of the Communication and Society Research of the University of Minho and the Centre for Comparative Studies of the University of Lisbon. Co-editor of Aniki \u2013 Portuguese Journal of the Moving Image, she is a journalist, film critic and programmer. She published Azuis ultramarinos. Propaganda colonial e censura no cinema do Estado Novo (Overseas blues. Colonial propaganda and censorship in the cinema of Estado Novo (2015), Salazar vai ao cinema I, II (Salazar goes to to movies) (2006, 2011), and co-edited, with Jorge Ant\u00f3nio, the trilogy \u201cAngola, o nascimento de uma na\u00e7\u00e3o\u201d (Angola, the birth of a nation) (2013, 2014, 2015).[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_basic_grid post_type=”post” max_items=”20″ element_width=”6″ gap=”10″ order=”ASC” item=”11567″ grid_id=”vc_gid:1623258748947-4bd49128-b297-4″ taxonomies=”6572″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text css=”.vc_custom_1622027786970{padding-left: 25px !important;}”] Gathering(s) Gendering Decolonizations: Ways of Seeing and Knowing [\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1623258852238{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-image: url(https:\/\/hangar.com.pt\/online\/wp-content\/uploads\/2021\/05\/tradicao-imaginacao.jpg?id=14498) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover … <\/p>\n","protected":false},"author":34,"featured_media":14498,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"pmpro_default_level":0,"footnotes":""},"categories":[6545],"tags":[],"class_list":["post-14380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-videos","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/14380","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/comments?post=14380"}],"version-history":[{"count":17,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/14380\/revisions"}],"predecessor-version":[{"id":14499,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/14380\/revisions\/14499"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media\/14498"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media?parent=14380"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/categories?post=14380"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/tags?post=14380"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}