Scuola di Scienze Giuridiche, Politiche ed Economico-Sociali
Diagrama de temas
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THE LESSONS WILL TAKE PLACE IN THE CLASSROOM , Thursday and Friday from 2pm to 5 pm in Aula Azzurra (C.so Regina Margherita 60)
RESEARCH GROUPS AND PRESENTATION OF RESULTS: Each student who intends to take the exam as an attending student must participate in face-to-face lessons and participate in a small group research that will deepen a topic dealt with during the course. Work groups of 5-6 students will carry out desk research (or field) and a consequent analysis on the chosen topic. The result of the work will then be presented to the class by the group, (a website, a recorded video, a padlet or any other support). The groups will present their work to the class in the last lessons of December.
The Group Researches and works topics will have to take inspiration from the course themes.
Final Evaluation: class discussions and working group presentation constitute 2/3 of the final evaluation. The other part will consist in the reading and oral exposition of two ethnographies chosen from the exam list, during the oral exam.
Who are the attending students? are those who attend the lessons face to face (they skip no more than 2 lessons) are active in the classroom, participate in a research group and present the result of the research.
Who want to participate in groups researches must enroll herself in the moodle.
Students can attend lessons without participate to the research groups, but will be considered not attending during the oral final exams so the must study 3 book not 2.
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The invention of the America as the first milestone of the colonial project and of the Eurocentric construction of the globalized world in the image and likeness of Europe and the US. The conquest, the invention of the America as a necessary condition for the European and western imperial expansion at epistemological level (as a model of imposition of values based on the logic of coloniality) but also economic.While the term colonialism indicates and designates precise historical periods and areas of imperial domination (Spanish, Portuguese, English, etc.) coloniality is the "dark side" of modernity and European imperial expansion...
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SENKATA - MEMORY OF A MASSACRE
SYNOPSIS
Fall 2019, in Bolivia the tense climate around the presidential elections is at its peak. Evo Morales is re-elected for a third term and the country finds itself split in two. A political division that mirrors the deep social conflict between white westward-looking Bolivia and marginalized indigenous Bolivia.
Senkata is a suburban neighborhood of the city of El Alto, the second largest and youngest urban settlement in Bolivia. It sits on the plateau above La Paz and is largely inhabited by young people, migrants from rural parts of the country, and people of indigenous descent. It was one of the epicenters of clashes between government forces and protesters.
On the morning of November 19, 2019, Senkata found itself under siege: tear gas and gunfire were hurled by security forces at the insurgent inhabitants. By the end of the week there are 78 seriously injured, 11 dead — including from extrajudicial killings — and countless arrests.
The new government of Jeanine Añez justifies the military intervention as an act of defense of democracy, calling the residents of Senkata "vandals" and "terrorists" as they defend their streets filled with grief and sorrow.
"SENKATA - Memory of a Massacre" is a grassroots historical document, a collective narrative that orchestrates different materials: live images of the events, videos from cell phones, archival materials, interviews with relatives of the victims, and testimonies of the people who were present at the events of November 19, 2019 - self summoned, wounded, arrested, and family members of the murdered.
The documentary aims to shed light on the events that occurred at that delicate juncture in Bolivian politics and to serve as a counterpoint to the official narrative of the government and media, so as to reconstruct a shared and more just memory, so as not to forget all the 2019 Senkata victims.
CREDITS
FILM by Juan Carlos Mamani H.
SCREENPLAY: Ludwin Jesús Vega Plaza , Iveth Saravia Lazarte
PHOTOGRAPHY: Franks Bautista Quispe
EDITING: Alexandro Sarsuri
MUSIC: José Manuel Vega Saravia, Hugo Marcelo Vega Saravia, Carlos Ernesto Mamani Totora
PRODUCTION: Inti Phajsi, Aru Bolivia
DISTRIBUTION: .
BOLIVIA, 2022 ● 93 MINUTES
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See also: https://apiboficial.org/marco-temporal/?lang=en
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December 14 in F1: São Palco - an Afropolitan City. A film by Jasper Chalcraft and Rose Satiko Gitirana Hikiji
São Palco - an Afropolitan City
A film by Jasper Chalcraft and Rose Satiko Gitirana Hikiji
LISA-USP, 2023, 72 min
What do African artists who arrive in Brazil bring with them on their journey? How do Brazil's African diasporas interact - the new creative diaspora and the historic one that turned the Atlantic into a cemetery? What stages are sought out, occupied or constructed, and then filled with the performances of artists who cross the ocean? Ancestral identities are updated in performances that construct an Afropolitan present in a metropolis where it is necessary to be bold, to colour the grey. São Palco - an Afropolitan City presents the city of São Paulo itself as a kind of meta-stage occupied by artists from Togo, Mozambique, the Democratic Republic of Congo and Angola, among other African nations, in dialogue with the Brazilian population and all of its openings, contradictions and tensions.
São Paulo – Cidade Afropolitana
Um filme de Jasper Chalcraft e Rose Satiko Gitirana Hikiji
LISA-USP, 2023, 72 min
O que artistas africanos que chegam ao Brasil nos últimos anos carregam consigo na travessia? Como dialogam as diásporas africanas - a nova diáspora criativa e a que fez do Atlântico um cemitério? Que palcos são ocupados, construídos, preenchidos com as performances dos artistas que atravessam o oceano? Ancestralidades atualizadas em performances que constroem um presente afropolitano em uma metrópole em que é necessário ser atrevido, colorir o cinza. São Palco - Cidade Afropolitana apresenta a cidade de São Paulo como um meta-palco ocupado por artistas do Togo, Moçambique, República Democrática do Congo e Angola, entre outras nações africanas, em diálogo com a população brasileira e suas aberturas, contradições e tensões.