BE.BOP 2018 is a two-day event. Tickets are £25 / £15 for each day. Lunch is included in the ticket price.
Autograph is fully accessible.
Mon 11 June, 10:30am-6:30pm and Tue 12 June 10:30am-8pm
Two day event, £25 / £15 each day. Ticket price includes lunch
The fifth edition of BE.BOP tackles central questions on Black European citizenship within global affairs. Incorporating a variety of disciplines and approaches - art, science, film, performance, activism - BE.BOP confronts colonial legacies and continuities with artistic strategies that enable the retelling of violent histories.
Grounded in the contributions of Decolonial Aesthetics, this year’s event explores the concept of ‘White Innocence’, coined by influential Caribbean Diaspora thinker Gloria Wekker in order to make visible the continuing inequalities caused by colonial modernity. Coloniality means that these unequal power relations continue to have effects on current epistemologies and white hegemonic notions on humanity and citizenship.
During the performances and panel discussions, different initiatives from Europe, the African continent and its diasporas, and the Pacific region will present options to delink from coloniality.
BE.BOP founder Alanna Lockward states in her introduction to this year’s catalogue: “If there is one word that takes a while to refer to in a negative way, it is ‘modern’. BE.BOP’s 2018 program reflects that terms like 'modernity', 'modernization', or 'civilization' and 'development' can be acknowledged as an epistemic trap of White Innocence. For centuries, these concepts have accumulated undeserved legitimacy at the expense of the colonial and imperial wounds they have inflicted.
BE.BOP aims at contributing to possible alliances and coalitions between so-called ‘minorities’ while simultaneously promoting the critical self-reflection of educators, public institutions and cultural agents.
BE.BOP 2018 is a two-day event. Tickets are £25 / £15 for each day. Lunch is included in the ticket price.
Autograph is fully accessible.
Monday 11 June
10:30 - 11:00 Registration
11:00 - 11:30 Introduction
11:30 - 13:00 Stitches of Power Stitches of Sorrow
Patricia Kaersenhout, Performance
Associating the Dahomey Women warriors active along the shores of West Africa in the 18th and 19th centuries, with Angela Davis and the Black Panther Movment of the 1970s, Kaersenhout highlights the relationality of movements and the continuity of time.
In this performance Kaershout engages in acts of embroidery, subverting a popular past time of white colonial women by creating images of violence.
13:00 - 15:00 Lunch
15:00 - 16:30 Panel I: The Commons of Struggle / The Common Struggle?
Robbie Shilliam, Gurminder Bhambra, Sasha Huber, Sophie Maríñez. Moderated by Alanna Lockward
This panel will present various takes on colonial legacies and how they inform the present.
From Britain’s fantasy of the old colonial empire, reflected in recent Brexit debates, to Decolonial literature and poetry that celebrates a legacy of solidarity between the Dominican Republic and Haiti, against dominant readings of historiographies.
Panellists will discuss various methods and strategies to excavate and make visible long and forgotten histories of Decolonial aesthesis.
17:00 - 18:30 Panel II: Decolonial Aesthesis and the End of the Contemporary
Rolando Vázquez, Patricia Kaesenhout, Ovidiu Tichindeleanu. Moderated by Walter Mignolo
This panel will show the significant influence of non-European political and artistic praxis on dominant Western canons both within art history and political struggles.
Speakers will consider the influence of Black thought and intellectual labor on European politics and cultural life, and to what extent this influence has been neglected.
Tuesday 12 June
10:30 - 11:00 Registration
11:00-13:00 Perception Gap
Patrice Naiambana, solo digital performance
This performance explores the psychological pressures that the African immigrant/outsider experiences, and the fear of being a ‘here and there’ person lost somewhere between perceptions of insider and outsider.
13:00 - 15:00 Lunch
15:00-16:30 Panel III: On Misplaced Women?, Inner Diasporas and Respectable Maroons
Tanja Ostojic, Nazila Kivi, Alanna Lockward, Chandra Frank. Moderated by Rolando Vázquez
In these presentations, artists and scholars will think through various histories of transnational Diasporic solidarity work, spanning from Black and Brown Queer kinship to theologies of liberation intrinsic to Decolonial political struggles. The discussion intends to take a complex look into Diasporic communities and analyse unequal power structures within groups of marginalised peoples.
16:30 - 17:00 Break
17:00 - 18:30 Panel IV: Decolonial Praxis of Living through Aesthesis and Education
Walter Mignolo, Mark Sealy, Julia Roth, Joiri Minaya. Moderated by Alanna Lockward
How do educators and cultural agents move and teach in places entrenched in long histories of colonial enterprise? What strategies can they apply to challenge students and visitors in their thinking and behavior?
This panel will discuss the pragmatic application of Decolonial aesthesis and education within cultural institutions and places of higher learning.
18:30-20:00 Open Mic
Moderated by Robbie Shilliam
Gurminder K. Bhambra is professor of Sociology at the University of Warwick, UK. She is also Guest Professor of Sociology and History at the Centre for Concurrences in Colonial and Postcolonial Studies, Linnaeus University and the 2016 Boaventura de Sousa Santos Chair in the Faculty of Economics, University of Coimbra. Her research addresses how the experiences and claims of non-European “others” tend to be rendered invisible to the standard narratives and analytical frameworks of social science.
Chandra Frank is a PhD candidate and independent curator. She holds an MPhil in African Studies from the University of Cape Town and is currently a PhD candidate at Goldsmiths, University of London. Chandra’s work is focused on the Black, migrant and refugee women’s movement in the Netherlands during the 1980s. She explores the role of archives, transnational queer kinship, the making of feminist geology and the politics of pleasure. Chandra has taught on feminism, queerness, and popular culture and given lectures about her work internationally.
Miguel Gomez is a freelance photojournalist based in Spain where he has lived since 2005. Before that Gomez worked for the Associated Pressin the Dominican Republic and Spain and for newspapers as a staff photographer (Listín Diario, El Caribe, La Voz de Cadiz) as well as contributor for other publications and news agencies (The New York Times, Los Angeles Times, The Boston Globe, The Miami Herald, Star-Telegram, UNO, Oh!, Publishing House of Magazines, Vocento, Tiempo, Reuters, Interview). He also worked for NGOs like Médecins Sans Frontièresin Africa covering riots, sports, spot news, political summits, fashion, editorial photography and social reportages around the world. He received a scholarship from the – FNPI- New Iberoamerican Journalism Foundationto develop and teach a photojournalism workshop in Guayaquil, Ecuador and similar ones in the Dominican Republic, Spain and Argentina. He won the Journalistic Excellence Arturo J. Pellerano Alfau prize among others and has been part of several individual and collective exhibitions as well as audiovisual projects and books. Currently, he works in different places around the world developing commissions and reportages. Miguel Gomez also supports personal projects, teaches photo workshops and consults on political photography.
Sasha Huber is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She lives and works in Helsinki, Finland. Huber's work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses video, photography, collaborations with researchers, and performance-based interventions. She has also discovered the compressed-air staple gun as a tool capable of producing visually arresting works that also functions like a symbolic weapon, offering the potential to renegotiate unequal power dynamics. This can be experienced in her portrait series Shooting Back (2004) and Shooting Stars (2014). Huber’s work took a new direction in 2007 when she joined the transatlantic committee Demounting Louis Agassiz, initiated by the Swiss historian and political activist Hans Fässler. This long-term project has been concerned with unearthing and redressing the little-known history and cultural legacies of the Swiss-born naturalist and glaciologist Louis Agassiz (1807-1873), an influential proponent of scientific racism who advocated for segregation and racial hygiene. One of the core project actions was a campaign to officially rename Agassizhorn mountain peak in the Swiss Alps. The proposed new name is Rentyhorn, in tribute to Renty: an enslaved person from the Congo whom Agassiz photographed in 1850, and who is emblematic of other silent and unnamed victims of racism. An actual renaming has yet to take place, but in 2008 Huber performed the first of several transformative interventions in her oeuvre, embarking on a private expedition in which she reached the top of the mountain and momentarily placed an engraved plaque of Renty in the crisp white snow. Using her voice and body to mediate the unfinished business of history, Huber’s work now attempts to heal environmental ruptures troubled by a colonial inheritance, whilst stepping inside the shoes of those who came before.
Patricia Kaersenhout is a visual artist / activist / womanist. Born in the Netherlands but a descendant from Surinamese parents, Patricia Kaersenhout developed an artistic journey in which she investigates her Surinamese background in relation to her upbringing in a Western European culture. The political thread in her work raises questions about the African Diaspora’s movements and their relation to feminism, sexuality, racism and the history of slavery. She considers her art practice to be a social one. With her projects she empowers (young) men and women of color.
Nazila Kivi is an independent scholar, journalist, activist and a literary critic at one of Denmark's largest newspaper, Politiken. She is co-founder and editor of the Danish queer feminist magazine Friktion and teaches history of women's movements, nation and nationalist discourse, modern eugenics, population politics, and radical resistance. She has more than ten years of experience in community based sex-education and lgbt rights. She is based in Copenhagen and connected to Iran where she was born and grew up, as well as Mexico where she has lived and worked.
Sophie Maríñez is Associate Professor of French and Spanish at City University of New York, Borough of Manhattan Community College, and a former Faculty Fellow at the Center for Place, Culture, and Politics at the Graduate Center (CUNY). She holds a PhD in French from the Graduate Center, where she studied with Édouard Glissant and early modernist scholars Francesca Sautman and Domna Stanton. She is the author of the NEH-funded monograph Mademoiselle de Montpensier: Writings, Châteaux, and Female Self-Construction in Early Modern France (Brill/Rodopi, 2017) and the chief editor of J’essaie de vous parler de ma patrie (Mémoire d’encrier, 2018), a translation into French of Haitian-Dominican Jacques Viau Renaud’s poetry. Her groundbreaking article “Poética de la Relación en Dominicanishde Josefina Baez” (Revista La Torre, 2005) in which she draws from Glissant’s concept of Relation to examine dominant discourses of Dominican national identity, has been widely cited in scholarship on Dominican identity and literature. Her recent research on Haitian-Dominican relations has appeared in The Cambridge History of Latino/a Literature.
Walter D. Mignolo is William H. Wannamaker Professor and Director of the Center for Global Studies and the Humanities at Duke University. He has been associated researcher at Universidad Andina Simón Bolívar, Quito, since 2002 and an honorary research associate for CISA (Center for Indian Studies in South Africa), Wits University at Johannesburg. Among his books related to the topic are: The Darker Side of the Renaissance. Literacy, Territoriality and Colonization (1995, Chinese and Spanish translation 2015); Delinking: The Rhetoric of Modernity, the Logic of Coloniality and the Grammar of Decoloniality.
Joiri Minaya is a Dominican-American multi-disciplinary artist. Born in New York, U.S, she grew up in the Dominican Republic. Minaya graduated from the Escuela Nacional de Artes Visuales in Santo Domingo, the Altos de Chavón School of Design and Parsons the New School for Design. She has participated in residencies like Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon and BronxArtSpace, Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists. Minaya has exhibited internationally across the Caribbean and the U.S. Her work has been awarded by the Joan Mitchell Foundation and the Rema Hort Mann Foundation, and is in the collection of the Museo de Arte Moderno in Santo Domingo and the Centro León Jiménes in Santiago, Dominican Republic.
Patrice Naiambana is an African performing artist from Sierra Leone, currently based in Birmingham. He founded Tribal Soul in 1991 to make visible stories from African Diaspora experiences, in response to simplistic representations of Africans in the West. He will be appearing this year as the lead actor in The Secret Lives of Baba Segi’s Wives by Lola Shoneyin and New Nigerians by Dipo Agbolouaje for The Arcola Theatre. Patrice’s Actor professional background includes work with The Royal National Theatre, most recently with the acclaimed Barbershop Chroniclesand playing lead in Pinter’s The Caretaker for Bristol Old Vic. With the Royal Shakespeare Company, he played the title role in Kathryn Hunter’s Othello, andWarwick the Kingmakerin the Olivier Award-winning Histories Cycle Ensemble. He starred as General Mukata in the Channel 4 sitcom In Exile, and has provided voices for the award-winning BBC animation series Nina and The Neuronsand Tinga Tinga Tales. His Edinburgh Fringe First Award-winning solo show The Man Who Committed Thought regularly tours internationally. His passion is performance for social transformation and playing for the non-exclusive audience. With his company Tribal Soul he hopes to utilise Diaspora experience to encourage citizens to create and distribute stories in their own image. In this capacity he has worked world wide.
Tanja Ostojić is a Berlin based independent performance and interdisciplinary artist, researcher, educator and cultural activist. She includes herself as a character in performances, and uses diverse media in her ethical artistic researches, thereby examining discrimination, racisms, social configurations and relations of power. She works predominantly from the migrant woman's perspective, while political positioning, advocacy, solidarity and integration of the recipient define approaches in her work. Since 1994 she presented her work in numerous exhibitions, festivals and venues around the world. Her work is part of permanent museum collections and she has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.
Julia Roth is post-doctoral researcher and instructor at the BMBF-project “The Americas as Space of Entanglement(s)” at the Center for Inter-American Studies of Bielefeld University in Germany. Previously, she has worked as Post-Doctoral fellow at the interdisciplinary research project “desiguALdades – Interdependent Inequalities in Latin America”at Freie Universität Berlin and lecturer at Lateinamerikainstitut (FU Berlin) and the center for transdisciplinary Gender Studies (HU Berlin). Her current research focuses on intersectional approaches in transnational contexts and Caribbean feminism. Alongside her academic work, Julia Roth forms part of the Flamenco project “Zarandeo” (with Simone Abrantes and Olga Iturri) and organizes and curates cultural-political events, most recently the symposium “Black Diaspora + Berlin. Decolonial Narratives” with Alanna Lockward (2015) and “Multiple Europes” with Manuela Boatcă (2015). Further she is author and editor of the magazine polarand has written the dramatic dialogue“Salmas Brüste … Frida Kahlo trifft Rosa Luxemburg” (directed by Susann Neuenfeldt 2010). Recent publications: 2017: »Sugar and Slaves: The Augsburg Welser Company, the Conquest of America, and GermanColonial Foundational Myths«, Atlantic Studies Journal, Special Issue: »German Entanglement in Transatlantic Slavery in the Americas«; »Mujeres de letras, de arte, de mañas”: hip hop cubano y la producción de espacios alternativos del feminismo«, Boletín Hispánico Helvético. Historia, teoría(s), prácticas culturales. 29 (primavera 2017), 161-177; (with Manuela Boatcă); »Unequal and Gendered: Notes on the Coloniality of Citizenship Rights«, Current Sociology, monograph issue: »Dynamics of Inequalities in a Global Perspective«, January 2016, 191-212
Robbie Shilliam is reader in International Relations at Queen Mary University of London. He is author of The Black Pacific: Anti-Colonial Struggles and Oceanic Connections (Bloomsbury Academic Press, 2015), and a member of the Ras Tafari: Majesty and the Movement UK committee.
Ovidiu Tichindeleanu, Philosopher and social theorist living in Chisinau, Moldova. Editor of IDEA magazine, and Collection Coordinator of IDEA Publishing House, Cluj, Romania. Co-founder of the independent platforms Indymedia Romania (2004), CriticAtac.ro (2010) and LeftEast International (2012). Member in the Board of Directors of El Taller International. From 2012 teaches at the Decolonial School of Roosevelt Institute, Middelburg, Netherlands.
Rolando Vázquez teaches sociology at the University College Roosevelt, University of Utrecht in the Netherlands. Since 2010 he has been coordinating with Walter Mignolo the Middelburg Decolonial Summer School. Through his work he seeks to develop learning experiences that transgress disciplinary boundaries, in particular between the arts and critical thought and that challenge the geo-politics of knowledge by bringing into dialogue western traditions of thought with the traditions of thought from the global south. His work seeks to overcome the western critique of modernity and to envision decolonial horizons of liberation in the emergence of relational worlds.
This year’s event takes place in two cities, Berlin and London. Berlin’s Maxim Gorki theatre and ifa-Gallery will host performances, lectures and panels from 4 – 7 June. In London BE.BOP will be hosted by Autograph ABP from 11 – 12 June and an additional talk will be held at Tate Britain on 13 June.
BE.BOP 2018 Autograph
BE.BOP 2018 IFA
BE.BOP 2018 SAVVY
Social media hashtags
#bebop2018 #coalitionsfacingwhiteinnocence #artlabourarchives #bebopments #bebopfaces
BE.BOP 2018 is curated by Alanna Lockward.
Alanna Lockward is a Dominican-German writer, journalist, filmmaker and founding director of Art Labour Archives, an exceptional platform centered on theory, political activism and art. Lockward has conceptualized and curated the groundbreaking transdisciplinary meeting BE.BOP. BLACK EUROPE BODY POLITICS (2012-2018). Her interests are Caribbean marronage discursive and mystical legacies in time-based practices, critical race theory, decolonial aesthetics/aesthesis, Blak feminism and womanist ethics. Lockward is the author of Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (Cendeac, 2006), a collection of essays, the short novel Marassá and the Nothigness (Partridge Africa 2016) and Un Haití Dominicano. Tatuajes fantasmas y narrativas bilaterales (1994-2014), a compilation of her investigative work on the history and current challenges between both island-nations (Santuario 2014). Lockward is the editor of BE.BOP 2102-2014. El cuerpo en el continente de la conciencia Negra (Ediciones del Signo 2016). She is currently research professor at the Center for Caribbean Studies, Pontificia Universidad Católica Madre y Maestra (PUCMM).
WHITE INNOCENCE is a project of Art Labour Archives in cooperation with Studio Я / Maxim Gorki Theater and Autograph ABP curated by Alanna Lockward. Supported by Bundeszentrale für politische Bildung/bpb and ifa-Galerie Berlin (Institut für Auslandsbeziehungen) with friendly support by Danish Arts Foundation, Savvy Contemporary, American Studies Program - Humboldt University Berlin, London College of Communication, UAL, King's College London and Tate Britain.