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Olivia Umurerwa Rutazibwa

opposition to coloniality, even in the most ‘benign’ of research and policy areas, like international aid and humanitarianism. Coloniality can be understood as the perpetuation of colonial systems and technologies of domination into the present. As discussed by scholars such as Quijano, Grosfoguel, Dussel and Ndlovu-Gatsheni, the concept of decoloniality encourages systemic and historical analysis of the organised (re)production of injustice and mass human suffering. Formal colonialism (which arguably existed from 1492 to the 1960s) and transatlantic

Journal of Humanitarian Affairs
Views from two Mediterranean cities
Mahdis Azarmandi
and
Piro Rexhepi

from which we are making these observations. Mahdis is a queer German-Iranian woman while Piro is a queer Albanian Muslim man raised in the Former Yugoslav Republic of Macedonia, once the Socialist Republic of Macedonia and now Northern Macedonia. We owe a great deal of gratitude to our common friend and member of the trans-feminist collective t.i.c.t.a.c., Tjaša Kancler, who introduced and invited us to the encuentro antirracista. Situated in decolonial de-linking and divesting from the ways in which Barcelona is moulded and modelled in Eurocentric epistemologies

in European cities
Joy Y. Zhang
and
Saheli Datta Burton

or to Western societies with similar socio-economic backgrounds. Thus, there is a need for more radical rethinking of science governance at the global scale. The decolonial imperative of science governance Decoloniality is an epistemic project. Whereas the concept of ‘coloniality’ points to a vertical global power structure and the term ‘post-colonial’ refers to the understanding and dissection of that power in various aspects of socio-political life, decoloniality has a more specific focus on the anti-hegenomic endeavours to

in The elephant and the dragon in contemporary life sciences
Cathrine Brun
and
Cindy Horst

literature on civic humanitarianism and humanitarianism embedded in social practice – with inspiration from relational ethics, such as feminist ethics of care ( Held, 2010 ; Robinson, 2011 ), communitarian or contextualised ethics ( Gouws and van Zyl, 2015 ; Imafidon, 2022 ; Metz, 2013 ; Rapatsa, 2016 ) and decolonial ethics ( Dunford, 2017 ; Hutchings, 2019 ) – we identify four elements of a relational ethics: (1) solidarity, responsibility and justice; (2) identity and belonging; (3

Journal of Humanitarian Affairs
Amanda Alencar
and
Julia Camargo

. Gutiérrez-Rodríguez , E. ( 2010 ), Migration, Domestic Work and Affect: A Decolonial Approach on Value and the Feminization of Labor ( New York and London : Routledge ). Hackl , A. (ed.) and ILO ( 2021 ), Digital Refugee Livelihoods and Decent Work: Towards Inclusion in a Fairer Digital

Journal of Humanitarian Affairs
Corporations, Celebrities and the Construction of the Entrepreneurial Refugee Woman
Annika Bergman Rosamond
and
Catia Gregoratti

beyond borders. Yet, UNHCR-endorsed corporate and celebrity humanitarians are located within immense privilege and power, as well as being immersed in the colonial, gendered and capitalist logics of humanitarianism, rather than being wedded to the transformation of the global order and decoloniality ( Bergman Rosamond, 2015 , 2016 ). Directly relevant is also the contention that humanitarian actors, many of whom are located within a neoliberal feminist logic

Journal of Humanitarian Affairs
Megan Daigle
,
Sarah Martin
, and
Henri Myrttinen

. and Björkdahl , A. ( 2015 ), ‘ The “Field” in the Age of Intervention: Power, Legitimacy, and Authority Versus the “Local” ’, Millennium , 44 : 1 , 23 – 44 . Rutazibwa , O. U. ( 2019 ), ‘ What’s There to Mourn? Decolonial Reflections on (the End of

Journal of Humanitarian Affairs
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A new history of photographic cultures in Egypt
Author:

The events of 25 January 2011 placed Egypt at the front and centre of discussions around radical transformations taking place in global photographic cultures. Yet Egypt and photography share a longer, richer history rarely included in Western histories of the medium. Decolonizing Images focuses on the local visual heritage of Egypt and, in doing so, continues the urgent process of decolonizing the canon of photography. Drawing on a wide range of historical and contemporary visual materials this book discovers the potential of photography as a decolonizing force. In diverse ways the medium has been used to influence political affairs, cultural life and reimaginings of Egypt in the transformation from a colony to a sovereign nation. Ronnie Close presents a new account of the visual cultures produced in and exhibited inside of Egypt by interpreting the camera’s ability to conceal as much as it reveals. He rethinks how the visual has constituted a distinct cultural sensibility on its own terms. This book moves from the initial encounters between local knowledge and Western-led modernity to explore how the image intersects with issues of representation, censorship, activism and art photography. The image disseminates knowledge from the specificity of its time but retains a singular property of its own creative expression that is more than the sum of its parts. Close overturns Eurocentric understandings of the photograph through a compelling narrative on this indigenous visual culture in a complex vision of decolonial difference in contemporary Egypt.

Subversive aesthetics and anticolonial indigeneity in Santiago de Chile

Building on analyses of the relationship between race, aesthetics and politics, the volume elaborates on the epistemological possibilities arising from collaborative and decolonial methodologies at the intersection of ethnography, art, performance and the urban space. It moves from practice-based and collaborative research with young Mapuche and mestizo artists and activists in Santiago (Chile), drawing together a range of different materials: from artworks to theatre and performance; from graphics to audio and visual materials. An edited collection, the book is constructed by shifting between different authorships and changing perspectives from the individual to the collective. This approach, while to a certain extent within the classical structure of editors/authors, plays with the roles of researcher/research participant, highlighting the ambiguities, frictions and exchanges involved in this relationship. Elaborating on indigenous knowledge production, the book thus addresses the possibility of disrupting the social and material landscape of the (post)colonial city by articulating meanings through artistic and performative representations. As such, the essays contained in the book put forward alternative imaginations constructed through an aesthetic defined by the Mapuche concept of champurria (‘mixed’): a particular way of knowing and engaging with reality, and ultimately an active process of home- and self-making beyond the spatialities usually assigned to colonised bodies and subjects. Actively engaging with current debates through collective writing by indigenous people raising questions in terms of decolonisation, the book stands as both an academic and a political project, interrogating the relationship between activism and academia, and issues of representation, authorship and knowledge production.

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Decolonial aesthetic futures
Ronnie Close

understood over phases of social transformation to suggest other values for photography. Decoloniality is not a singular entity itself but rather a framework of approaches that seeks to disrupt colonial pasts and rethink the knowledge economy in order to allow breathing space for other cultures formed on the margins to become visible, beyond the orbit of Western thought. Such a reset decentres from hetero/cisnormativity, gender hierarchies and racial privilege underpinned by modernity to allow for the multiplicity of lives of colonized people to appear

in Decolonizing images