|October 17, 2018
Charles Kabwete Mulinda, National University of Rwanda
July 1993: The Events that Made the Rwandan Genocide Possible
Dr. Charles Kabwete Mulinda is Associate Professor at the University of Rwanda, acting head of the Department of History and Heritage Studies, and postdoctoral research associate at the School of Global Studies at the University of Gothenburg. He is also Chairman of the Board of Directors of the Institute of National Museums of Rwanda. D. Kabwete Mulinda completed his PhD in History in 2010 at the University of the Western Cape. He has published extensively on Rwandan history, democracy in Africa, China-Africa relations and genocide studies.
Organized in collaboration the African Studies Symposium and the support of the Office of Global Education
|October 28, 2018
Kathryn Brackney, Vienna Wiesenthal Institute for Holocaust Studies and Yale University
Beyond Bearing Witness: Art and Literature after the Holocaust, 1945-1963
Kathryn Brackney is a research fellow at the Vienna Wiesenthal Institute for Holocaust Studies and a doctoral candidate at Yale University in modern European intellectual and cultural history. Her research has received supported from the US Holocaust Memorial Museum and the USC Shoah Foundation. Her article, “Remembering ‘Planet Auschwitz’ During the Cold War” is forthcoming in Representations.
Realism, visual minimalism, and fragmentation are the primary aesthetic approaches to Holocaust remembrance today in North America, Western Europe, and Israel; the formulation of these conventions has its own important history. This talk, however, will explore alternative patterns of representation in the writing and visual art of Holocaust survivors and Jewish refugees in the first two decades following World War II. Unlike Primo Levi in his extraordinary memoir If This Be a Man (1947) or Elie Wiesel in Night (1958), who attempted to document for the world the destruction of Europe’s Jewish populations, writers and artists like Avrom Sutzkever, Marc Chagall, Yehuda Bacon, and Paul Celan used a surreal visual idiom to address themselves to the dead and describe spaces where their murdered loved ones might live on. As they attempted to make sense of postwar life and mourning in different national contexts, indeterminate images of hybridity and afterlife linked their works together. Their poems, novels, and paintings convey enduring intimacy with the world they lost and, often, distance from the world of the living.
|November 25, 2018
Sapin Mankengele, painter (DRC)
Popular Painting as History in the Congo — an Artist Talk
Sapin Makengele is a self-taught Congolese popular painter from Kinshasa, DRC. His work depicts and comments upon social and political lifeworlds in the Congo and beyond. His paintings have been excited in group and individual exhibitions in Austria, Belgium, Canada, Chad, Congo, France, the Netherlands, South Africa, and the United States.
Organized in collaboration with the African Studies Symposium