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The Struggle Is Not Over Yet – An Archive in Relation
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  The Struggle Is Not Over Yet An Archive in Relation
Contributions by Jean-Pierre Bekolo, Sónia Borges, Wladimir de Brito, Filipa César, Anselm Franke, Nuno Faria, Louis Henderson, Tobias Hering, Grada Kilomba, Catarina Laranjeiro, Patrícia Leal, Olivier Marboeuf, Sana Na N'Hada, Yonamine, Ala Younis.

Graphic design: Rui Silva, alfaiataria.org.

Published with A Oficina, CIPRL.
published in August 2018
English edition
14,5 x 21,5 cm (softcover)
256 pages (ill.)
€15.00
ISBN: 978-3-943620-57-3
EAN: 9783943620573
in stock
 
Borrowing its title from an unfinished documentary film on post-independence Guinea-Bissau, this reader stems from a conference which brought together artists, writers and researchers to address issues related to the people's struggle for independence from Portuguese colonialism and subsequent nation building. The contributors also engage in a reflection on the experimental use of archives in their research.
A conference, hosted by the International Center for the Arts José de Guimarães, borrowed its title from an unfinished film stored in an archive in Bissau. Luta ca caba inda (The struggle is not over yet) was conceived as a documentary film on post-independence Guinea-Bissau, but was abandoned in the editing process in 1980. The archive testifies to a decade of collective and internationally connected cinema praxis in the country, as part of the people's struggle for independence from Portuguese colonialism.
Fifteen contributors brought their expertise to the task of re-visiting a period of revolutions whose reverberations can still be felt today. A rare coming together of artistic, juridical, cinematographic, curatorial and academic practices, the conference was not only a timely and important occasion to address issues of the post-colony in Portugal, but it also yielded new and experimental ways of convening around an archive, convoking conflicts and probing its topicality in the present. It took place in a room in which, echoing Édouard Glissant's notion of the “Creole garden”, plants, archival objects, technical props, furniture and people were arranged on equal terms.