the mid-19th century, The British government wants to open the island to economic exploitation by the Antilles Royal Sugar Company. An English mercenary Sir William Walker is sent to the island of Queimada to organize an uprising of enslaved Africans ( led by José Dolores ) against the Portuguese regime, which the British government intend to replace with a government dominated by pliable white planters.

It's 1857 in India, the 100th year of British rule, and the British army, consisting of English officers commanding Indian fighting men, is trying to avoid a revolution. One British Captain, Jeffrey Claybourne disobeys orders in an attempt to save Indian soldiers trapped in an ambush. He becomes the local hero status among the natives, but he is dismissed from the army. He is approached by powerful warlord Rajah Karam  to help train his army of rebels for rising up against the British.

extract 2 from 11'26 to 14'36

The physical consolidation of the twelve African American that make up this structure, contribute to a surrounding atmosphere of community and togetherness. To the eye of officials of the World’s Fair, the folds on the robes adorned on the performers, resembled strings on a harp. The exaggerated heights of the singers can be emblematic of metaphorical heights that can be reached following liberation. The work of art was destroyed soon after it was open to the public due to the lack of financial support

“In 1987, part of the Royal Family – Prince Andrew who had just married Sarah Ferguson visited Thunder Bay of all places. They were greeted at the Thunder Bay Airport, and journeyed in a birch bark canoe where they disembarked at Fort William. To me it seemed absurd that this Royal visit was taking place because it was basically the Royal Family re-enacting their own colonial history. So thought – what do I wear?”~RB

Bickle’s work uses postcolonial theory to explore the history of Zimbabwe, in line with postcolonial research developed primarily in Anglo-Saxon countries since the 1990s. The artist – a white woman in an African region where the relationships between blacks and whites are fuelled by violence – draws from the past to inform the present. Letters from Portuguese navigators stranded on African coasts in the 15^th and 16^th centuries are important material in her work.

Like an anthropologist, Andrialavidrazana examines the space between the past and present to produce an alternative way to tell stories or to write history. In this piece of art, Andrialavidrazana uses elements and symbols found in regional and world atlases, bank notes, and album covers that marked her generation and reveals the economic domination inherited from a colonial past. Through her deconstructions and reconstructions of imagery, she envisions cartography as a means to convey our current situation, one that is gripped by the phenomenon of globalisation.