Arts, Ativisms and Memories: the archives of two world histories

The central objective of this course is to help understand the gaps in the “colonial library” (Mudimbe, 1988), analyzing the history of two parts of our libraries, cartography and archives that contain knowledge, artistic and cultural expressions previously relegated to the plane of orality, subjectivity, "civilizational backwardness" and lack of scientific rigor, therefore we do not correspond to the canon of European knowledge (Meneses, 2016). Developed from the theoretical-methodological proposal of the sociology of absences and emergencies of Boaventura de Sousa Santos, this course aims to give visibility to facts and actors that have been actively produced as non-existent dominant issues. Starting from two challenges that Epistemologias do Sul poses – giving voice to those that the Eurocentric canon does not include and promoting an intercultural translation between experiences and struggles – this course chooses multidisciplinary and situated analyses, based on oral history, post-colonial studies, cultural and artistic studies, as a privileged approach to deconstruct the silencing produced by hegemonic interpretations. To amplify reflective and methodological diversity, the course integrates a diversified group of teachers, including artists and academics. These and these will present their contributions to the debates through synchronous and asynchronous online classrooms; These classrooms will be accompanied by analytical texts, films and photographs that allow us to enrich the knowledge about the realities discussed during the course. As a theoretical and methodological proposal, this seminar on the history and memories of struggles in the global South offers students tools that make it possible to (re)learn to study, learn and deepen the epistemologies of the world, providing inspiration and tools that will be useful for others. development of two research projects, in their artistic practices and city interventions.

• When argila discovers stories lived by women
• Filming the construction of the Moçambican nation – challenges and achievements
• Music and Lutas de Libertação: resistance, anticolonialism and memory
• Literature as a living archive: the work of Yara Monteiro
• The “intergenerational historical archive” in Timor-Leste
• Performing the body-territory in the favela, an experience from Maré, Rio de Janeiro
• Protest art in Indonesia and Timor-Leste during authoritarianism and democratization
• Disputes over history, disputes over memory in Angola and Cuba: the role of literature
• Afro-Colombian youth, activism and art: other narratives questioning categories on the margins

• Balona de Oliveira, Ana (2022), “Elas Aqui: Mulheres Artistas de Angola, de Moçambique e das Diasporas e os Circuitos da Arte Contemporânea”, in Wieser, Doris; Falconi, Jessica (org), Declinations: Questioning National Identities, Gender and SexualityCoimbra: CES/Almedina
• Barros, Miguel de e Redy Wilson Lima (2012), “Rap Kriol(u): Cabral's pan-Africanism in youth intervention music in Guiné-Bissau and in Cape Verde.” Realis – Journal of Anti-utilitarian and Post-colonial Studies 2, no. 2, 88-116.
• Cevallos Vivar, Fabián (2021). “Epistemic corpo-politics: a falante monstrosity.” AILP-CSH. pp. 1-10. 
• Commission of Acolhimento, Verdade e Reconciliação (2005), Chega! Report of the Committee on Acolhimento, Verdade e Reconciliação de Timor-Leste: Executive Summary. Díli, Timor-Leste: CAVR, pp. 10-18; 52-59.
• Costa, Elaine, Barbosa Jorge Luiz (2016). “Rolezinho: Territórios e Territorialidades em Cybercultures”. Z Cultural Magazine. UFRJ: Rio de Janeiro. Pp. 1-8. 
• Díaz-Boada, SA (2017). Genocide, paramilitaries and victims in Indonesia. A review of the documentary T (2012). Jangwa Pana, 16(1), 76-89.
• Gonçalves, Marisa Ramos (2016), “As Artes de Rua Em Timor-Leste: Entre o Passado eo Futuro”, em Feijó, Rui (ed.), Timor-Leste: Colonialism, Decolonization, Lusutopia. Porto: Edições Afrontamento, pp. 477–499.
• Howald, Claudia (2022, in publication). “Citizenship, why not? Political practices of Afro-Colombian youth in Quibdó.” Afro Perspectives.
• Jaramillo Marín, Jefferson, Érika Parrado Pardo, and Wooldy Edson Louidor (2019). “Violated Geographies and Experiences of Reexistence. The Case of Buenaventura, Colombia, 2005-2015”. Icons - Journal of Social Sciences (64):111–36. doi: 10.17141/iconos.64.2019.3707.
• Memórias Aparições Arrhythmias, by Yara Nakahanda Monteiro (Companhia das Letras, 2021) by Doris Wieser.
• Meneses, Maria Paula (2018), “Singing Struggles, Affirming Politics: Mozambique's Revolutionary Songs as Other Ways of Being (in) History.” in Mozambique on the Move, edited by Sheila Pereira Khan; Maria Paula Meneses and Bjørn Enge Bertelsen. Leiden: Brill, 254-278.
• Noronha, Isabel (2018), “Tacteando o Indizível”, Tese (doctorate) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas, Campinas, SP.
• Ondjaki (2001), Good morning, comrades (Lisbon: Caminho). Edition in Portuguese
• Ondjaki (2018), Good day, comrades (Buenos Aires: Ed. Puerto de Palos) Spanish edition
• Paramaditha, Intan (2019) Narratives of discovery: Joshua Oppenheimer's films on Indonesia's 1965 mass killings and the global human rights discourse, Social Identities, 25: 4, 512-522.
• Rodrigues, Inês Nascimento (2021), Simulação de 1h de emissão da Rádio Libertação (PAIGC), Radio Program. Coimbra: Rádio Universidade de Coimbra.
• Santos, Boaventura de Sousa (2019). The Demonumentalization of Written and Archival Knowledge, The end of the cognitive empire: The affirmation of the epistemologies of the South, Madrid: Trotta Editorial. (Pp. 260-268; 276-286)
• Vasile, Iolanda (2021). ““Essa Dama Bate Bué” eo Cânone Literário Angolano”. Studia UBB Philologia, LXVI, 4, 2021, p. 239 – 250.
• “As minhas african roots and as minhas são European handles”, interview with Yara Monteiro by Doris Wieser.
• “Women of the mud”
• “Reinata Sadimba, words of clay”
• Films: Lesson finish date (2018). Director: Lara Sousa. With Camilo de Sousa and Lara de Sousa.

The basic requirements for taking a seminar are:

• Availability of at least 4 hours per week to dedicate to the seminar course.
• Internet access.
• Reasonable handling of communication and computer tools.
• Language proficiency in the language in which the course will be taught. The official languages ​​are Spanish and Portuguese.

The seminars last 10 weeks, plus the completion of a final project. 48 hours of work with the instructor and 90 hours of total dedication will be credited.

A course consists of 10 classes, each accompanied by required readings, supplementary readings, discussion forums, and learning activities proposed by the teaching team, as well as partial submissions and a final project. The course is delivered online and asynchronously. Some instructors may propose synchronous activities. In these cases, the time and date will be agreed upon in advance between the teaching team and the students to ensure everyone's participation. To pass the seminar, students must participate in at least 80% of the discussion forums and activities proposed by the instructors, complete all scheduled partial submissions, and pass the final project.

The possible payment methods are credit card, bank transfer and bank deposit.