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Between 1963 and 1968, as the promises of Congolese independence unraveled in the shadow of early postcolonial fractures, Kwilu, a region in southwestern Congo, entered an unstable period marked by flight, silence, and wounded flesh. There, Pierre Mulele, the former minister of education in Patrice Lumumba’s government, led a revolt against the US-backed Congolese state. Together, the Mulele rebellion and the government’s far more devastating counterinsurgency campaign redefined the thresholds of the livable and the thinkable, inflicting suffering on the living, the dead, and the land. In Violence and Memory, Emery Kalema confronts the suffering born of this historical moment and its long afterlife in postcolonial Congo. Drawing on archives of the events and oral histories of survivors of the conflict, he examines the entanglement of suffering, memory, and power, revealing how each continually reconfigures the others and how, together, they reshape what it means to live after violence in Congo.

In Visual Disobedience, Kency Cornejo traces the emergence of new artistic strategies for Indigenous, feminist, and anticarceral resistance in the wake of torture, disappearance, killings, and US-funded civil wars in Central America. Cornejo reveals a direct line from US intervention to current forms of racial, economic, and gender injustice in the isthmus, connecting this to the criminalization and incarceration of migrants at the US-Mexico border today. Drawing on interviews with Central American artists and curators, she theorizes a form of “visual disobedience” in which art operates in opposition to nation-states, colonialism, and visual coloniality. She counters historical erasure by examining over eighty artworks and highlighting forty artists across the region. Cornejo also rejects the normalized image of the suffering Central American individual by repositioning artists as creative agents of their own realities. With this comprehensive exploration of contemporary Central American art, Cornejo highlights the role of visual disobedience as a strategy of decolonial aesthetics to expose and combat coloniality, heteropatriarchy, white supremacy, empire, and other systems of oppression.

An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire.

By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas.
 
These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.

Since the early 1960s, few other countries have endured more acts of terrorism against civilian targets than Cuba, and the US has had its hand in much of it. This book gives a voice to the victims.

Keith Bolender brings to bear the enormous impact that terrorism has had on Cuba’s civilian population, with over 1,000 documented incidents resulting in more than 3,000 deaths and 2,000 injuries. Bolender allows the victims to articulate the atrocities the Cuban people have suffered - which largely originate from Cuban counter-revolutionaries based in the US, often with the active help of the CIA.

Voices From The Other Side includes first-person interviews with more than 75 Cuban citizens who have been victims of these terrorist acts, or have had family members or close friends die from the attacks. It is a unique resource for activists, journalists and students interested in Cuba's torrid relationship with the US.