# data[].attributes.headline
Geopolítica da iconografia das cidades afro-diaspóricas no séculos XIX

# data[].attributes.subject
Geopolítica da iconografia das cidades afro-diaspóricas no séculos XIX

# data[].attributes.headline
Narrativas e Cartografias da presença negra em Salvador

# data[].attributes.subject
Narrativas e Cartografias da presença negra em Salvador

# data[].attributes.body
DIA 05 - Partilhas 2021 - InVision

# data[].attributes.body
ARQUIVOS | PARTILHAS

# data[].attributes.attachment_link.title
quintal transatlantico 1 maior qualidade

# data[].attributes.body
ARQUIVOS | PARTILHAS

# data[].attributes.attachment_link.readable_text
E#13 - Podcast Corpo, Discurso e Território

O episódio #13 do Podcast Corpo, Discurso e Território, traz o registro da conversa com Nô Martins e Ventura Profana, realizada no feriado de 12 de outubro de 2020, no Ateliê de Ofícios (Savador-BA). Em clima de descontração, a conversa- entrevista conduzida por Gabriela Leandro (@gabrielagaiaa) e Lucas Ribeiro (@riibas), girou em torno de temas como os corpos dissidentes nos espaços de arte e estratégias criadas pel_s artistas pret_s para performar e criar sua arte. Confira o episódio abaixo ou, se preferir, também se encontra disponível no Spotify:

O episódio foi idealizado junto com Cibele Bonfim (@cbl.mnb) e Flavio...

# data[].attributes.attachment_link.description
E#13 - Podcast Corpo, Discurso e Território O episódio #13 do Podcast Corpo, Discurso e Território, traz o registro da conversa com Nô Martins e Ventura Profana, realizada no feriado de 12 de outubro de 2020, no Ateliê de Ofícios (Savador-BA).

# data[].attributes.attachment_link.description
This playlist forms part of a project dedicated to the work and writing of Bessie Head. It should be listened to in conjunction with a publication, installat...

# data[].attributes.body
Dia 04 - Partilhas 2021 -
InVision

# data[].attributes.body
DIA 02 -Partilhas 2021 -inVision

# data[].attributes.body
DIA 03 - Partilhas 2021 - iInVision

# data[].attributes.body
DIA 01- Partilhas 2021 - InVision (invisionapp.com)

# data[].attributes.attachment_link.readable_text
Facilitated by Dionne Brand, Christina Sharpe, Torkwase Dyson, Canisia Lubrin, Kevin Adonis Browne, Danai Mupotsa and Dele Adeyemo.

Public Session (Zoom)

April 30th, 2021

12pm(EDT) 6pm(SAST)

Register for the session

# data[].attributes.attachment_link.title
The Sojourner Project - The Sojourner Project

# data[].attributes.attachment_link.description
Facilitated by Dionne Brand, Christina Sharpe, Torkwase Dyson, Canisia Lubrin, Kevin Adonis Browne, Danai Mupotsa and Dele Adeyemo. Public Session (Zoom) April 30th, 2021 12pm(EDT) 6pm(SAST) Register for the session

# data[].attributes.attachment_link.readable_text
In this episode errant_praxis collaborator DK Osseo-Asare speaks with architect, novelist and visionary educator Dr. Lesley Lokko, an architect, educator and best-selling author. She served as founding Head of the Graduate School of Architecture at the University of Johannesburg, and is incoming Dean and Professor at The Bernard and Anne Spitzer School of Architecture at the City University of New York in New York City. She holds MArch from The Barlett and a PhD from the University of London. She is a frequent contributor to The Architectural Review (London), edited the pioneering book, White Papers, Black Marks: Architecture, Race, Culture, and founded FOLIO: Journal of Contemporary African Architecture (GSA Imprints). Prof. Lokko has authored numerous works of fiction, academic book chapters, scholarly publications; serves on architectural juries internationally; and speaks regularly to architecture and design audiences world-wide. Mentioned in this episode: https://www1.cuny.edu/mu/forum/2019/06/07/lesley-lokko-named-dean-of-ccnys-bernard-and-anne-spitzer-school-of-architecture/ https://www.ccny.cuny.edu/architecture The Graduate School of Architecture - University of Johannesburg, South Africa: http://www.gsa.ac.za/ African Mobilities: http://africanmobilities.org/

# data[].attributes.attachment_link.description
Kamukunji is a podcast series by errant_praxis It is a space of unusual encounters and conversations triggered by the errant members. A place where free radical questions open our guest into deeper reflections of their varying modes of praxis and cerebral imaginings in our African continent, its islands and diasporas.

# data[].attributes.body
Doutoranda PPGAU- UFBA + info

# data[].attributes.attachment_link.keywords[]
cabo verde africa architecture social space urbanism

# data[].attributes.attachment_link.authors[].name
Storia na Lugar - unGrounding Narratives

# data[].attributes.attachment_link.title
Storia na Lugar - unGrounding Narratives

# data[].attributes.attachment_link.description
Storia na Lugar - unGrounding Narratives is a multi-disciplinary storytelling platform, which engages through creative critical means, the complex social, cultural, political contexts of African cities and its imaginaries of belonging

# data[].attributes.body
Graduanda FAUFBA. +info

# data[].attributes.attachment_link.description
(this page was last updated in May 2021)Goiânia, Brazil, 1995 Lives and works in Goiânia, Brazil. PIPA 2021 nominee. My artistic researches are autobiogeographic and are manifested by intersections, between the social, the ancestral and the spiritual. Building images, activating possible memories, demarcating original territories in the collective unconscious, crumbling borders and burning herbs to...

# data[].attributes.attachment_link.title
Conversa Extraordinária - O corpo-terreiro em movimento com Renata Segatto

# data[].attributes.attachment_link.description
Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get them in front of Issuu's millions of monthly readers.

# data[].attributes.attachment_link.title
Critical Dialogues on Race and Modern Architecture

# data[].attributes.attachment_link.description
Cesar Schofield Cardoso, Visual Artist, Cabo Verde

# data[].attributes.attachment_link.readable_text
How did writers and artists view the intersection of architecture and race in the modernist era?

Winner of the MSA First Book Prize of the Modern Studies Association

With the development of the first skyscrapers in the 1880s, urban built environments could expand vertically as well as horizontally. Tall buildings emerged in growing cities to house and manage the large and racially diverse populations of migrants and immigrants flocking to their centers following Reconstruction. Beginning with Chicago's early 10-story towers and concluding with the 1931 erection of the 102-story Empire State Building, Adrienne Brown's The Black Skyscraper provides a detailed account of how scale and proximity shape our understanding of race.

Over the next half-century, as city skylines grew, American writers imagined the new urban backdrop as an obstacle to racial differentiation. Examining works produced by writers, painters, architects, and laborers who grappled with the early skyscraper's outsized and disorienting dimensions, Brown explores this architecture's effects on how race was seen, read, and sensed at the turn of the twentieth century.

In lesser-known works of apocalyptic science fiction, light romance, and Jazz Age melodrama, as well as in more canonical works by W. E. B. Du Bois, F. Scott Fitzgerald, Aaron Douglas, and Nella Larsen, the skyscraper mediates the process of seeing and being seen as a racialized subject. From its distancing apex-reducing bodies to specks-to the shadowy mega-blocks it formed at street level, the skyscraper called attention, Brown argues, to the malleable nature of perception. A highly interdisciplinary work, The Black Skyscraper reclaims the influence of race on modern architectural design as well as the less-well-understood effects these designs had on the experience and perception of race.

# data[].attributes.attachment_link.description
How did writers and artists view the intersection of architecture and race in the modernist era?Winner of the MSA First Book Prize of the Modern Studies AssociationWith the development of the first skyscrapers in the 1880s, urban built environments could expand vertically as well as horizontally.

# data[].attributes.body
CONVERSAS

# data[].attributes.body
Arquiteta, Co-diretora do Wolff Architects. +info

# data[].attributes.body
CONVERSAS

# data[].attributes.attachment_link.readable_text
Mpho Matsipa received her PhD in Architecture from UC Berkeley. She is Adjunct Assistant Professor of Architecture and Urbanism at Columbia GSAPP and faculty in the School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, South Africa. She is a researcher at WiSER and co-investigator on an Andrew Mellon research grant on Urban Mobilities. She has written critical essays on art and architecture and curated several exhibitions and discursive platforms, including the South Africa Pavilion at the 11th International Architecture Exhibition, Venice Biennale (2008), African Mobilities at the Architecture Museum, Pinakotheque Moderne in Munich (2018),which will travel in 2019-2020 and Studio-X Johannesburg (2014-2016). She was the guest of a longer Funambulist podcast episode in November 2019.

ABOUT THIS DAILY PODCAST SERIES ///

As many of us are confined in many places of the world, we wanted to provide you with a daily podcast in partnership with Radio Alhara emitting from Palestine. Our ambition for it is to not add to the saturation of information we are currently experiencing but, rather, to propose a daily extension 15-minute of our political imaginaries.

The concept is very simple. Every day, we ask one person the same question: "what is for you a moment of true decolonization?" The answer can be a historial moment or something they witnessed; something heroic and grandiose, or rather discreet and mundane; a durable blow to the structures of colonialism or a short instant of liberation.

While we are recording this podcast in privileged conditions of confinement, we keep in our thoughts the multitude of people around the world who do not share similar conditions or have no choice but to risk being affected by the pandemic because of criminal policies that have to do with neoliberalism, carceralism, or colonialism

We thank you for listening and wish you and your loved ones the very best wherever you are.

(music by hooksounds originals)

NB. The Funambulist daily podcast is also played every day at 3:30PM, Palestine time, on راديو الحارة Radio Alhara, a new radio produced from locked-down Bethlehem and Ramallah, along with another 15-minute production about worldwide solidarity, created specifically by The Funambulist for the purpose of this show.

# data[].attributes.attachment_link.title
Daily Podcast #22 Mpho Matsipa /// Post-Apartheid Spatial Futurities

# data[].attributes.attachment_link.description
Mpho Matsipa received her PhD in Architecture from UC Berkeley. She is Adjunct Assistant Professor of Architecture and Urbanism at Columbia GSAPP and faculty in the School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, South Africa. She is a researcher at WiSER and co-investigator on an Andrew Mellon research grant on Urban Mobilities.

# data[].attributes.attachment_link.readable_text
Tema Harbour and New Town is one site for examining the relationship between the state-regulated dance band and urban and industrial development programmes. Recognizing "the vital role of local popular entertainment in the independence struggle and the creation of an African identity," Nkrumah endorsed an array of "state and parastatal bands and concert parties" associated with state-run corporations, such as the Cocoa Marketing Board, Black Star Shipping Line, State Hotels, Armed Forces, the Workers Brigade, and Farmers Council. And during Nkrumah's presidency, industrial developments throughout Ghana, managed by state corporations, continued to integrate performance venues into the design of their complexes and finance dance bands and concert parties that provided their workers with entertainment. In Tema, this practice was still in place in 1973 when the owner of the Talk of the Town Hotel formed Sweet Talks as the resident act, which included several band members who had earlier gained their experience and developed their musical influences by playing in state-sponsored venues across the country. The band leader, Alfred Benjamin "A.B." Crentsil, had first started playing in the 1960s with other bands at venues affiliated with industrialization projects, namely the El Dorados at the State Aboso Glass Factory in western Ghana and with the Lantics at the State Hotel Corporation. Similarly, the Tema Food Complex, Ghana's largest food processing plant at the time, financed several of the bands in which other members of Sweet Talks first began playing highlife. As their popularity grew, Sweet Talks created a sound coined the Kusum Beat in 1974, which gained international appeal and led them to tour the United States, demonstrating just how quickly Ghanaian culture shifted away from the state-sanctioned national identity that was supposed to have taken shape, in part, through highlife.

Like the modernist architecture plans for the nascent country, highlife's role in a modern Ghanaian society exceeded the scope of government control, becoming a medium for urban youth, in particular, to express alternative ways of being from that imagined by the state. Through the contested field of highlife, it is possible to read the internal contradictions of a new nation that embraced the modernism and industrialization of a global trade economy while simultaneously rejecting the influence of global popular culture on its own urbanizing populations. This contradiction was intensified through spaces designed to manifest the promise of the African Personality with the aid of the state-manufactured dance band, such as Tema. In this industrial, urban context, highlife, and popular music in general, came to exemplify not a binary disavowal of the colonial era, as the new government had hoped, but the inscription and articulation of the cultural hybridity of the Black Atlantic through an "in-between" space. As a sonic intervention into the architecture archive, highlife, as both music and lifestyle, is able to fill the analytical gaps between the modernist architecture constructed, the logistical and infrastructural vision of a state bent on industrialization, and the lived reality of everyday people.

# data[].attributes.attachment_link.description
Dele Adeyemo rereads the modernist development of Tema Harbour and New Town through highlife, positioning the music genre as a sonic body of knowledge and form of testimony that centres the lives of Africans and that tells a different story than architecture archives about how the circulation of cultures, commodities, and political-economic structures condensed into the spatial forms of a modernizing Ghana.

# data[].attributes.body
Summer Flowers

# data[].attributes.attachment_link.description
In 1969, in Botswana, Bessie Head built her house, Rainclouds, with the proceeds from her first novel ‘When Rainclouds gather’. It is in this house that she later, mostly in the evenings, wrote her landmark novel, ‘A Question of Power’. During the day she worked with other volunteers in Serowe as a gardener and as part of, Boiteko, a communal gardening project. The gardening project would later become a central part of her novel. It was also at this time that South Africa, her country of origin, was undergoing the most extreme and violent destructions of historic black neighbourhoods under the racist Group Areas Act. Bessie Head wrote that she is ‘mainly concerned with the manner in which the people lost the land’ and thus, saw her work as in conversation and in continuity with that of Sol Plaatje, who decades earlier documented the effect of the Land Act in ‘Native Life’ and for which she wrote the introduction to its republication in 1982. Today the house is a Botswana national heritage site and this film attempts to thread together, her voice, her writing, her spatial practice and her conversation with the work of Sol Plaatje. It is within this context that we give thanks to Bessie Head, to Sol Plaatje, to prophetic constructions such as Rainclouds and Boiteko Garden, and to the people who made them.

Directed by Ilze Wolff
Edited By Khalid Shamis
Original Score by Cara Stacey
Cinematography by Heinrich Wolff, Malik Ntone Edjabe and Lerato Maduna
With kind permissions by the Bessie Head Heritage Trust and the Khama III Memorial Museum, Serowe
Produced by Wolff Architects
2021


'The film gives such a beautiful artistic response to Head's work, it is as if one is watching the world through her eyes. I love the film, the tempo is so beautiful, it really transports one out of the everyday, into a contemplative space.' - Aryan Kaganof

# data[].attributes.attachment_link.readable_text
As peças disponibilizadas neste site são resultado de duas etapas de arrolamento de parte da Coleção do Acervo da Laje, espaço museal localizado no Subúrbio Ferroviário de Salvador, especificamente, no bairro do São João do Cabrito. Os primeiros resultados (300 obras) foram viabilizados em 2020 a partir do projeto executado pelo Goethe Institut, cujo objetivo foi virtualizar e, principalmente, proporcionar o acesso de maneira digital a obras de arte e o conhecimento de artistas invisibilizados desse território e outras localidades, além de objetos de diversas categorias e artefatos naturais coletados do subúrbio ferroviário, bem como ampliar o acesso a peças preservadas e disponibilizá-las a estudantes, moradorxs locais, público em geral, visitantes, pesquisadorxs, curiosxs, admiradorxs de arte que frequentam ou conhecem o espaço. Em 2021, a partir de um projeto financiado pela Fundação Gregório de Mattos, foi possível realizar novos arrolamentos (311), bem como produzir biografias de alguns artistas presentes no Acervo da Laje.

# data[].attributes.attachment_link.description
O Acervo da Laje é um espaço de memória artística, cultural e de pesquisa sobre o Subúrbio Ferroviário de Salvador, que surgiu em 2011, fruto de pesquisas sobre a arte invisível dos trabalhadores da beleza nas periferias de Salvador, em parceria com o fotógrafo Marco Illuminati.

# data[].attributes.body
HQ relicário de memórias

# data[].attributes.body
As Plantas da Casa de Minha Avó - Gustavo Santiago

# data[].attributes.body
ORGANIZAÇÃO

# data[].attributes.body
Arte: Thalia Silva inspirada nas obras do artista Indiano Carioca (para saber + sobre o artista, visitar a galeria virtual do Aceervo da Laje)

# data[].attributes.body
ORGANIZAÇÃO

# data[].attributes.body
O projeto de extensão Partilhas Transatlânticas realiza sua 2ª edição entre os dias 20 e 26 de julho de 2021, em modo virtual. Serão  5 encontros reunindo pesquisadores, artistas, estudantes, arquitetes e urbanistas, de África, Brasil e outros contextos afrodiaspóricos que participarão de conversas cujo o intuito é aproximar, criar diálogos e ampliar conhecimentos em torno dos imaginários de cidade, da produção de arquitetura, urbanismo e histórias espacias nas quais reverberam questões referentes às conexões atlânticas (NASCIMENTO, 1989), a colonialidade e ao evento racial (SILVA, 2016) que informam a experiência urbana contemporânea. Como afirma bell hooks, muitas das narrativas de luta e resistência da escravidão se mantém até os dias atuais e dizem respeito à políticas do espaços (hooks, 1995).  Neste sentido, o Partilhas é um convite para que, apesar do passado de violências e traumas coloniais (KILOMBA, 2019),  possamos [re]criar conexões que se assentam nas potencialidades oriundas das existências africanas e diaspóricas, suas políticas espaciais situadas e implicações estéticas, técnicas, econômicas, materiais, simbólicas e afetivas nelas contidas.

# data[].attributes.body
CONVERSAS

# data[].attributes.body
- Tradução simultânea inglês/português
- Inscrições gratuitas e limitadas.
- Evento online, através da plataforma zoom.
- Não é necessário ser alune da UFBA para participar.

# data[].attributes.body
Bacharel em Humanidades e graduanda FAUFBA. + info

# data[].attributes.body
ARQUIVOS | PARTILHAS

# data[].attributes.attachment_link.readable_text
We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

# data[].attributes.attachment_link.description
We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

# data[].attributes.body
Histórias de Valéria - Zara Rodrigues

# data[].attributes.attachment_link.title
The Cosmogony of (Racial) Capitalism [Trailer]

# data[].attributes.attachment_link.description
Through an oral ruttier, cuttings of archival media, and drawing, this project moves through time and space, history and geography to uncover the cartographic practices present in The Cosmogony of (Racial) Capitalism. The film invites the audience to ask: “What was the perspective of the enslaved Africans transported to the early plantations of the Atlantic islands?” Taking as its point of departure the meeting between the Portuguese and the Edo people in the Kingdom of Benin, a leading society in West Africa among the Yoruba, Dele Adeyemo surfaces negated histories that connect the extension of the Mediterranean world to the Guinea Coast transforming notions of race in the process. This project moves within, between and against the colonising cartography rooted in Europe's sugar cane plantations which propelled the expansion of the slave trade, slavery and racial capitalism across the planet. By studying the mapping technologies of European and African societies through the portolan map and the ceremony of the Masquerade, the tracing of Yoruba cosmological artefacts extends a practice of (re)creating worlds. 

The research film begins with a circular rotating form emerging from darkness. Constituted from a composite drawing, each layer spins demonically in varying directions around a central axis, creating a portal that the viewer is transported through. Dele Adeyemo’s design-led practice directs the composition, tracing artefacts found through his research process studying the genealogy of slave castles along the Guinea Coast and the creation of Europe’s early sugar-cane plantations on the Atlantic islands. As part of this collaborative project, Christxpher Oliver cuts and mixes Dele’s archival footage, as well as drawing from his own selection. The recursive bass rhythm - a remixed recording of the sun's vibrational movement over time - probes the film's narrative holding the investigation within a celestial beat. At intervals during the introduction sequence, the spinning composite drawing pauses at points in time, indicating cosmic episodes and planetary events significant to the worlding of human logistical networks.  

Preceding the intertitles which structure the film, a burst of visual references citing material from fields of art, science and design, time-travel between historical and contemporary interpretations of capitalism as a planetary system. The recursive bass rhythm connecting the component parts of the film, advances and retracts, mixing with field recordings of sharp metallic sounds, sourced from the setup of a soundsystem; cut with voices from research dialogues and performances; translating the nonlinear practice of collaboration and auto-ethnographic research. The layering of archival media builds an entry point into each chapter - occasionally breaking into spaces of listening to attune to natural elements of wind and water. 

Between the intertitles, Dele’s voice guides the viewer’s perspective through the audio-visual archival recordings of places and spaces sourced from his research process. This oral ruttier navigates through land-, sea- and city- scapes where images flit between their negative copies at sites such as slave forts and megaports - drawing attention to the role of architecture in the construction of race and the manufacturing of “species” as a technique for organising the plantation system. The poetics of the voice hold the listener through this journey, its echo drifting with the sonic material of the archive.
The film was presented along with an essay and drawings at the 5th Istanbul Design Biennial in 2020, titled Empathy Revisited, with additional support from the Het Nieuwe Instituut. Narrated and directed by the architect Dele Adeyemo, and co-written, mixed, and edited by Christxpher Oliver.

# data[].attributes.body
mapeamento da presença negra no campo da arquitetura, urbanismo e planejamento urbano

# data[].attributes.attachment_link.readable_text
African Mobilities examines the possibilities for creative intervention and strategies of interruption by way of obstructions, gaps, pauses, and logistical counterpoints that contest sedimentation and permanent enclosure. It advances towards a more relational, multiscalar and multi-sited approach to an exploded space-time through which the majority of circulation occurs on the African continent. It connects architects and other creative practitioners, theorists, and scholars from fourteen different locations, including Johannesburg, Kampala, Addis Ababa, Luanda, Abidjan, Lagos, New York, Dakar, Nairobi, and Praia. Together, we hope to build a living archive of contemporary African thinking that presents alternative ways of creating urban realities.

The voices and visions carried across several media - podcast; text; video; animation; and drawings - offer new iterations of countercartographies against hegemonic socio-spatial relations and representational practices. The phonic and visual dimensions of this platform work towards the production of new, alternative practices, knowledges, and materialities. They raise a number of questions about which narratives Africans choose to tell and how they tell them. African Mobilities offers up a diverse range of spatial practices in the service of a larger emancipatory spatial project in Africa and beyond. In engaging how Africans from diverse locations in urban space imagine themselves and negotiate spaces of possibility, a form of creative cartography with which to document circulation and produce architecture emerges.

These explorations are subversive, dystopian, and hopeful in giving space to life within the 'uninhabitable'. These improvised lives are held within a network of relational-knowledge structures that offer familiarity and verifiability. This challenges the idea of space as a container for social processes by engaging with the ensemble-work of the dynamic and ongoing production of space in a creative conversation about the future of African cities - constantly 'on the move and out of place', but 'still capable of neighbourly relations' (Simone, 2018). The diverse offerings here make no claims at being comprehensive, nor do they seek an exhaustive representation of all forms of African mobility. Rather, they investigate the multiple registers through which Africans imagine, analyse, and negotiate their place in the world in an open-ended way

# data[].attributes.attachment_link.description
African Mobilities examines the possibilities for creative intervention and strategies of interruption by way of obstructions, gaps, pauses, and logistical counterpoints that contest sedimentation and permanent enclosure. It advances towards a more relational, multiscalar and multi-sited approach to an exploded space-time through which the majority of circulation occurs on the African continent.

# data[].attributes.body
Bacharel em Artes e graduanda FAUFBA. + info

# data[].attributes.body
Mestrando PPGAU-UFBA. + info

# data[].attributes.body
Professora FAUFBA e PPGAU-UFBA. + info

# data[].attributes.body
Doutoranda FAU-USP/ Coletiva Terra Preta Cidade / Vi.Bra.Tion + info

# data[].attributes.body
Professora e criadora do Acervo da Laje. + info

# data[].attributes.body
Mestranda no IPPUR-UFRJ/ Coletiva Terra Preta Cidade +info

# data[].attributes.body
Mestranda PPGAU-FAUFBA. +info

# data[].attributes.body
Artista e mestranda PPGAU-UFBA. + info

# data[].attributes.body
Coletiva Terra Preta Cidade / Doutoranda IPPUR-UFRJ. + info

# data[].attributes.body
Artista e graduando FAUFBA. + info

# data[].attributes.body
Arquiteta e Urbanista. + info

# data[].attributes.body
Prof. Wits School of Architecture and Planning + info

# data[].attributes.body
Realizador Audiovisual. + info

# data[].attributes.body
Arquiteto, Diretor Criativo e Teórico. + info

# data[].attributes.body
Realizador audiovisual e graduando na FAUFBA+ info

# data[].attributes.body
Prof. University of Chicago + info

# data[].attributes.body
Grupo de Estudos Corpo, Discurso e Território (FAUFBA)
https://www.instagram.com/corpo.discurso.territorio/

# data[].attributes.body
Professor, pesquisador e criador do Acervo da Laje. + info

# data[].attributes.body
[BRT TIME ZONE]
DIA 01 - 20/07 | 14h - 16h
DIA 02 - 21/07 | 13h - 15h
DIA 03 - 22/07 | 14h - 16h
DIA 04 - 23/07 | 13h - 15h
DIA O5 - 26/07 | 15h - 17h

[sujeita a disponibilidade de vaga]

# data[].attributes.body
The Partilhas Transatlânticas (Transatlantic Shares) will present its 2nd edition between the July, 20th and 26th of 2021, virtually. There will be 5 meetings gathering researchers, artists, architects and urbanists, located in Brazil, Africa and other afrodiasporic contexts, that will participate in talks in a virtual exchange environment  aiming to gather, create dialogues and amplify knowledges around city imaginaries, in which reverberate questions about the atlantic connections (NASCIMENTO, 1989), coloniality and the racial event (SILVA, 2016) that informs contemporary urban experience. As bell hooks  says, many narratives of the fights and resistance during slavery remains until nowadays, and are about the space policy (hooks, 1995).  In that regard, the Partilhas  is an invitation to, despite the past of violence and colonial traumas (KILOMBA,  2019), we can [re]create connections that settles on the potentiality from the african and diasporic existences, its spatial policies and aesthetic, techniques, economic, material, symbolic and affective implications contained in them.

# data[].attributes.body
Graduanda FAUFBA. + info

# data[].attributes.body
Graduanda FAUFBA. + info

# data[].attributes.body
Graduanda UNB. + info