Latest news with #colonialism
Yahoo
an hour ago
- General
- Yahoo
Trigger warning put on ancient Egyptian slave statues
The National Trust has put a trigger warning on a pair of ancient Egyptian slave statues. The statues, at Cliveden House in Buckinghamshire, depict two children clothed in gold, raising torches and standing on either side of a staircase. A report published by the Prosperity Institute revealed that a trigger warning has been placed next to them. A placard says the Trust is 'working to redisplay and reinterpret these statues' so that the 'appalling histories of slavery and the slave trade' can be recognised. It reads: 'Today, the depiction of black people in European sculpture causes upset and distress to many. We don't want to censor or deny the way colonial histories are woven into the fabric of our places. 'Cliveden, including these statues, is Grade I-listed, meaning it has been identified as nationally significant. So we're working to redisplay and reinterpret these statues in a way that acknowledges the appalling histories of slavery and the slave trade. 'We invite you to consider what they represent about British and global history.' Dr Radomir Tylecote, managing director of the Prosperity Institute, said the report exposes how the National Trust 'uses woke rhetoric while pursuing policies that patently reduce accessibility.' He added: 'Supporters of the Trust have defended its woke initiatives by claiming they make the organisation more accessible and inclusive.' The statues, also known as torcheres, were created in the 19th century by Val D'Osne, a leading French art foundry, after a model by the French visual artist Mathurin Moreau. They were bought by Hugh Grosvenor, the 1st Duke of Westminster, who lived at Cliveden from 1868 to 1893. They incorporate several stylistic motifs reflecting the fashions and cultural interests of the time. The figures are modelled as children, but their pose and function derive from a much older European decorative tradition known as the 'Blackamoor,' which was a European art style that depicted highly-stylised figures, often African males, in subservient or exoticised form. The term is now viewed as racist or culturally insensitive. A trigger warning was also added to the website of Trengwainton Garden, a National Trust property in Cornwall. The website discusses the history of Sir Rose Price, the owner of the property in 1814, whose wealth came from inherited sugar plantations in Jamaica. A box reads: 'Please be aware: The following web page discusses the legacy of colonialism at Trengwainton and historic slavery and includes references to histories that some people may find upsetting.' The Prosperity Institute report argues that in recent years the management of the Trust, which is regulated by the Charity Commission, has been neglecting its principal duty of restoring houses and instead focused on projects that 'do not fall within the charity's core remit'. It also claims the Trust has started to added labels to its properties highlighting links to slavery and colonialism 'without providing sufficient context or balance' in the wake of the Black Lives Matter protests in 2020. A National Trust spokesperson said: 'Everything we do is guided by our charitable purpose. 'Our new strategy is clear that we want to increase people's access to places of nature, beauty and history and looking after our shared national heritage will always be a crucial part of that.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
2 hours ago
- General
- Telegraph
Trigger warning put on ancient Egyptian slave statues
The National Trust has put a trigger warning on a pair of ancient Egyptian slave statues. The statues, at Cliveden House in Buckinghamshire, depict two children clothed in gold, raising torches and standing on either side of a staircase. A report published by the Prosperity Institute revealed that a trigger warning has been placed next to them. A placard says the Trust is 'working to redisplay and reinterpret these statues' so that the 'appalling histories of slavery and the slave trade' can be recognised. It reads: 'Today, the depiction of black people in European sculpture causes upset and distress to many. We don't want to censor or deny the way colonial histories are woven into the fabric of our places. 'Cliveden, including these statues, is Grade I-listed, meaning it has been identified as nationally significant. So we're working to redisplay and reinterpret these statues in a way that acknowledges the appalling histories of slavery and the slave trade. 'We invite you to consider what they represent about British and global history.' Dr Radomir Tylecote, managing director of the Prosperity Institute, said the report exposes how the National Trust 'uses woke rhetoric while pursuing policies that patently reduce accessibility.' He added: 'Supporters of the Trust have defended its woke initiatives by claiming they make the organisation more accessible and inclusive.' The statues, also known as torcheres, were created in the 19th century by Val D'Osne, a leading French art foundry, after a model by the French visual artist Mathurin Moreau. They were bought by Hugh Grosvenor, the 1st Duke of Westminster, who lived at Cliveden from 1868 to 1893. They incorporate several stylistic motifs reflecting the fashions and cultural interests of the time. 'Legacy of colonialism' The figures are modelled as children, but their pose and function derive from a much older European decorative tradition known as the 'Blackamoor,' which was a European art style that depicted highly-stylised figures, often African males, in subservient or exoticised form. The term is now viewed as racist or culturally insensitive. A trigger warning was also added to the website of Trengwainton Garden, a National Trust property in Cornwall. The website discusses the history of Sir Rose Price, the owner of the property in 1814, whose wealth came from inherited sugar plantations in Jamaica. A box reads: 'Please be aware: The following web page discusses the legacy of colonialism at Trengwainton and historic slavery and includes references to histories that some people may find upsetting.' The Prosperity Institute report argues that in recent years the management of the Trust, which is regulated by the Charity Commission, has been neglecting its principal duty of restoring houses and instead focused on projects that 'do not fall within the charity's core remit'. It also claims the Trust has started to added labels to its properties highlighting links to slavery and colonialism 'without providing sufficient context or balance' in the wake of the Black Lives Matter protests in 2020. A National Trust spokesperson said: 'Everything we do is guided by our charitable purpose. 'Our new strategy is clear that we want to increase people's access to places of nature, beauty and history and looking after our shared national heritage will always be a crucial part of that.'
News24
a day ago
- General
- News24
Five things you should know about Ngũgĩ wa Thiong'o, one of Africa's greatest writers
One of Africa's most celebrated authors, Ngũgĩ wa Thiong'o, has died. The Kenyan academic was 87 years old. His first novel, Weep Not Child was published in 1964 and he pursued a rich and acclaimed career as a decolonial thinker. Kenyan academic and writer Peter Kimani sets out five things you should know about the legendary African writer. He understood the politics of his time Ngũgĩ wa Thiong'o is regarded as one of Africa's greatest writers of all time. He grew up in what became known as Kenya's White Highlands at the height of British colonialism. Unsurprisingly, his writing examines the legacy of colonialism and the intricate relationships between the locals seeking economic and cultural emancipation and the elites serving as agents of neo-colonisers. The great expectations for the new country, as captured in his seminal play, The Black Hermit, anticipated the disillusionment that followed. His fiction in the foundational trilogy of Weep Not, Child, The River Between and A Grain of Wheat, amplifies those expectations, before the optimism gives way in Petals of Blood and is replaced by disillusionment. He shaped a new African story African fiction is fairly young. Wa Thiong'o stands in the continent's pantheon of writers who started writing when Africa's decolonisation gained momentum. In a certain sense, the writers were involved in constructing new narratives that would define their people. But his recognition goes beyond his pioneering role at home: his writing resonates with many across Africa. One could also recognise his consistency in churning out high-quality stories about Africa's contemporary society. This he always did in a way that illustrates his commitment to equality and social justice. He has done much more, through scholarship. His treatise, Decolonising the Mind, now a foundational text in post-colonial studies, illustrates his versatility. His ability to spin yarns while commenting on the politics that go into the literary production of marginal literature is a very rare combination. Finally, one could talk about Wa Thiong'o's cultural and political activism. This precipitated his yearlong detention without trial in 1977. He attributed his detention to his rejection of English and embracing his Gikuyu language as his vehicle of expression. Critics are divided on his greatest works It's hard to pick a favourite from more than two dozen of his texts. But there is concurrence among critics that A Grain of Wheat, which was voted among Africa's best 100 novels at the turn of the last century, stands out for its stylistic experimentation and complexity of characters. Others consider the novel as the last signpost before his work became overly political. For other critics, it's Wizard of the Crow, published in 2004 after nearly two decades of waiting, that encapsulates his creative finesse. It utilises many literary tropes, including magical realism, and addresses the politics of African development and the shenanigans by the political elite to maintain the status quo. His work has been translated into more than 30 languages around the world. He stopped writing in English in 1977 Without a doubt, the continent would be poorer without the efforts of Wa Thiong'o and other pioneering writers to tell the African story. He was an important figure in post-colonial studies. His constant questioning of the privileging of the English language and culture in Kenya's national discourse saw him lead a movement that led to the scrapping of the department of English at the University of Nairobi. It was replaced by a department of literature that placed African literature and its diasporas at the centre of scholarship. He never stopped writing Wa Thiong'o remained an active writer even in old age. Among his later offerings was the third instalment of his memoir, Birth of a Dreamweaver which looks back on his years at Makerere University in Uganda. This is the period when he published his novels, Weep Not, Child and The River Between, while still an undergraduate. Also at this time, he wrote the play The Black Hermit, which was performed as part of Uganda's independence celebrations in 1962. In later years, he was busy restoring his early works into Gikuyu from English, which he bid farewell to in 1977, opting rather to write in his indigenous language. Ngũgĩ wa Thiong'o appeared on the list of favourites to win the Nobel prize for literature for several years. Since the workings of the Nobel award committee remain secret, the lists of the committee's deliberations are kept for 50 years, it will be decades before we know why he was overlooked when so many felt he richly deserved the prize.
Geek Vibes Nation
2 days ago
- Entertainment
- Geek Vibes Nation
'Red Island' Blu-Ray Review - A Reflective, Child's-Eye View Of Colonization
Living on one of the last remaining military bases amidst a hedonistic group of French armed forces in 1970s Madagascar, ten-year-old Thomas begins to find cracks in the surface of his family's blissful existence on the idyllic island. Taking inspiration from his comic book hero Fantomette, Thomas spies on those around him, discovering the hidden and tangled political and sexual lives of the colonizers and the colonized. As relocation looms, Thomas questions whether the memories he has made are ones he should remember fondly. Simultaneously a sensual evocation of discovering the adult world and a sober reflection of what it represents, Robin Campillo's anticipated follow-up to his acclaimed 120 BPM weaves together the personal and political in a 'visually spectacular [and] masterful portrayal of colonialism through a child's eyes' (The Upcoming). For in-depth thoughts on Red Island, please see my colleague Will Bjarnar's review from its original theatrical release here. Video Quality Red Island arrives on Blu-Ray courtesy of Film Movement with a sumptuous 1080p presentation that perfectly captures the look of the film. This is a visually resplendent film with a significant amount of time spent around the community, and the camera soaks up every single moment of it. There is a fetching amount of detail in close-up shots, along with wide shots of the beautiful scenery. Colors are deftly saturated and especially vibrant within the foliage. Skin tones look natural, and there are some wonderful facial details present. Black levels are solid with no obvious crush, and highlights avoid blooming under the bright sun. Compression artifacts and other digital anomalies are fortunately not an issue. The film looks great in high definition. Audio Quality The Blu-Ray comes with a Dolby TrueHD 5.1 track in the original mixture of French and Malagasy that sounds lovely. The movie is primarily dialogue-driven with room to observe and luxuriate in the soundscape as a whole. Dialogue is clear without being burdened by the score or sound effects. This is not a film that commands a particularly robust low end, but there is some valuable texture at points. The track shakes things up with sounds of nature emanating out of the speakers. The film makes good use of panning effects to make the island come alive. Environmental sounds come through distinctly in the side and rear speakers. Overall, this track does a tremendous job of representing the film. Optional English subtitles are available. Special Features Audio Commentary: Director Robin Campillo provides a commentary track in which he discusses the process of making the film, the inspiration for the narrative, the fairy tale qualities, the performances, and more. Trailer (1:56) Booklet: A multi-page booklet featuring the essay 'Masks Off: On Robin Campillo's Red Island ' by film critic Sam Cohen is provided here. This piece gives a well-rounded analysis and context for the historical aspects, themes, and plot developments, which strengthens your appreciation overall. Final Thoughts Red Island provides a unique entry point into the colonization of a community as seen through the wide, deeply observant eyes of a kid. Director Robin Campillo weaves in the stories of multiple different members of the community, but the limited lens means that some of the narratives feel a bit incomplete or superfluous. There is a mixture of tones that mostly works out well, but the clashes are jarring in a few key moments. The performances of the young newcomers are quite good, and the adults in the ensemble all feel completely authentic to the time period. It is not always the smoothest path, but the narrative journey is worth taking. Film Movement has provided a Blu-Ray with a splendid A/V presentation along with a valuable commentary track. Recommended Red Island is currently available to purchase on Standard Edition Blu-Ray or with a Limited Edition Slipcover exclusively through Vinegar Syndrome. Note: Images presented in this review are not reflective of the image quality of the Blu-Ray. Disclaimer: Film Movement and OCN Distribution have supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
The National
2 days ago
- Entertainment
- The National
Late Mohammed Lakhdar-Hamina overcame bomb threats to become first Arab to win Cannes Palme d'Or
In May 1975, Mohammed Lakhdar-Hamina became the first Arab and African to win the Palme d'Or, the top honour at the Cannes Film Festival, for Chronicles of the Years of Fire. It was not just a moment of cinematic triumph for the Algerian filmmaker – who has died aged 95, his family said on Friday – but a testament to his resilience. After all, the screening of Chronicles of the Years of Fire was rife with tension. Lakhdar-Hamina was facing an assassination attempt as the festival received a series of bomb threats for giving the film and the filmmaker a platform. But what was it about Chronicles that caused such an uproar and made it one of the most politically charged titles to screen at Cannes? The historical epic is set between the 1930s and 1954, drawing a trajectory of the events that led to the Algerian War of Independence. The film is segmented into six chapters, showing Algeria's road to revolution through the perspective of Ahmed, a peasant who gradually becomes involved in the nationalist struggle against colonial rule. Each chapter represents a phase in Algeria's political awakening, beginning with drought, poverty and colonial exploitation before culminating in armed resistance and the first flares of the War of Algerian Independence. Ahmed's personal transformation, along with the experiences of his village, brilliantly depict this blooming political consciousness. As such, Chronicles of the Years of Fire is a portrait of the brutality of colonialism, showing how revolt was a natural result from years of repression and suffering. Yet, Lakhdar-Hamina made not only a political film, but also a poetic one – with tastefully paced scenes and tableauxesque shots that capture the communal and cultural significance of the moment. Lakhdar-Hamina drew from his personal background to make Chronicles. The filmmaker was born in 1934 to a peasant family in M'Sila. He studied agriculture and law in French universities. His father was kidnapped, tortured and killed by the French Army during the Algerian War. In 1958, Lakhdar-Hamina himself deserted the French Army and joined the Algerian resistance in Tunisia. Revolution and the anticolonial struggle was a lived experience, deftly communicated through Chronicles of the Years of Fire. The political implications of the film were towering for its time. The Algerian War had ended a mere 13 years before Chronicles was screened at Cannes. The conflict marked the end of 130 years of French colonial rule in Algeria, but it was signified by a reshaping of France's global position and identity. This was a change some segments of French society were not particularly happy with. The film exposed these ruptures, particularly when veterans of Organisation armee secrete – a far-right French paramilitary and terrorist group that opposed Algeria's independence – threatened to bomb the festival and kill Lakhdar-Hamina. Thankfully, the assassination attempt was not carried out, and Lakhdar-Hamina received his award with the pomp and ceremony he deserved. Chronicles of the Years of Fire still stands as both a cinematic feat and a political one. 'What prevails is the motivation for the Algerian War,' Lakhdar-Hamina has been quoted as saying in an article that marks the 50th anniversary of the film on the Cannes Film Festival website. 'For young people who have not known this era, this would help them understand, while older people will recognise the truth in what is being told.' Chronicles of the Years of Fire has endured, as Lakhdar-Hamina intended, as 'a film against injustice, against humiliation', while also being a sharp historical resource. It shows how the Algerian War was not merely a fight for political freedom and land, but also a struggle to reclaim cultural identity and dignity. Its legacy looms alongside that of the war, which continues to inform relations between France and Algeria, as well as conversations around postcolonial identity and memory.
