A Decolonial View

By students in the Colonial and Postcolonial Master

Film Review: Shout at the Devil (1976) 

2026-11-11

Spoiler alert! 

Shout at the Devil is a British 1976 film starring the former James Bond actor Roger Moore, Lee Smith and Barbara Perkins. In terms of genres, it qualifies as both a war film and an adventure film. I watched it on DVD. It was directed by Peter R. Hunt, best known for directing On Her Majesty’s Secret Service (1969) starring George Lazenby and Diana Rigg, one of the most popular Bond films.  

Plot Summary 

The story centers around three characters: Colonel Flynn O’Flynn portrayed by Smith, Sebastian Oldsmith portrayed by Moore, and Rosa O’Flynn (later Oldsmith) portrayed by Perkins. It takes place between 1913 and 1914. The German declaration of war on the United Kingdom is briefly mentioned in a conversation between Colonel O’Flynn and a British naval officer during the later half of the film. Its setting is German East Africa (more specifically present day Tanzania), and Zanzibar.  

Colonel O’Flynn manipulating Oldsmith into doing things together with him is a central component of the plot. In the beginning, he has his associate Mohammed, played by Ian Holm, stealing Oldsmith’s money. Having lost it, Oldsmith can no longer finance his trip to Australia. As a consequence, O’Flynn sinks his claws into him, persuading him to join him on his ‘expedition’ in territories colonized by the German Empire. There, they among other things shoot elephants, take possession of and sell their ivory, and steal the taxes collected from the villages by the German imperial troops on site. In another instance, O’Flynn agrees to a reconnaissance on the Blücher, but instead of committing to doing the task himself, he rapidly delegates it to Oldsmith.  

The Blücher, a German light cruiser, is also vital to the story, and its name is mentioned on multiple occasions throughout the movie. Ironically, however, the ship itself is barely in it. It only makes three appearances: In the opening scene, in the ramming and sinking of O’Flynn’s dhow scene, and during the climax.  

The Characters 

Protagonists 

The three protagonists are very much a product of a white man’s fantasy, and I do not sympathize with any of them.  

O’Flynn, whom I detest the most, has the following characteristics: He is greedy, macho,  unpleasant, alcoholic, racist, and misogynistic. He repeatedly patronizes Rosa when talking to her. In addition, when learning about his granddaughter’s birth, he reacts with disgust, as he wanted a grandson instead. He is, however, later shown grieving the death of his grandchild. 

Oldsmith, on the other hand, is portrayed as a charming womanizer to whom Rosa instantly is attracted. He is very much a copy of Moore’s Bond, although in stark contrast to that particular character, Oldsmith also has a macho attitude. This is manifested when he and O’Flynn immediately start fighting when Oldsmith says that he wants to use the money he earned on the ivory they sold to pay for his and Rosa’s wedding. During this confrontation, both he and O’Flynn brag about their boxing merits. Unlike his father-in-law, he has no problem with his newborn child being a girl. He is also shown being overprotective of Rosa, refusing to let her avenge her daughter herself, thereby depriving her of her agency. He is the one blowing up the Blücher, and killing Hermann Fleischer, the antagonist and the man responsible for the death of their child. 

Oldsmith and O’Flynn both regard the territories they visit as their playground, demonstrated by the fact that they enjoy poaching, and they do not care about the native soldiers working for them. Many of these men are also killed protecting them from attacking German forces. But the main characters are never shown reflecting upon the sacrifices these people make. They neither offer their condolences to their next of kin nor acknowledge their actions. To them, these men are nothing but expendables. 

With respect to the third and final protagonist, Rosa O’Flynn/ Oldsmith, she is a very one-dimensional character, primarily functioning as Oldsmith’s love interest. Upon meeting him, she immediately falls for him, even though they have just met. After her daughter Maria’s death, she becomes consumed with hatred. This character has the closest thing resembling a character arc, although it is very thin. In comparison, neither of the other two protagonists have one. 

Antagonists 

There are three antagonists: Hermann Fleischer, Commander of the Southern Provinces, and Heinrich Graf von Kleine and Ernst Kyller, the Blücher’s Captain and Captain-lieutenant respectively. 

Fleischer is unquestionably the most dominant and the most active of these. He repeatedly comes into conflict with the Oldsmiths and O’Flynn. When O’Flynn and Oldsmith wreak havoc on the territories colonized by the Germans, he retaliates by murdering the newborn Maria Oldsmith, and burning the Oldsmith property to the ground. When the trio, as a countermove, attack some of his forces transporting large wheels to the ship and Rosa kills one of his subordinates, he has Mohammed killed, and her abducted and taken to the Blücher. 

Supporting Characters 

Mohammed, played by Holm, is O’Flynn’s associate. He is mute, thereby depriving him as a non-European of any opportunity of making his voice heard. The only purpose he serves in the story is executing O’Flynn’s decisions. Other than that, he is a passive supportive character, who merely is supposed to be there to look “exotic”. 

Another supporting character worth mentioning is the Portuguese pilot Da Silva. He is very stereotypical, and immediately starts flirting with Rosa. The screenwriters obviously did not do their homework when writing his dialogue, as he speaks Spanish, not Portuguese. After being introduced, he is killed off instantly.  

The Portrayal of Colonialism and the Tanzanians 

The filmmakers never criticize the notion of colonialism, in fact they trivialize it. When the duo of Oldsmith and O’Flynn “discover” an area not yet colonized by the Germans, it never occurs to them that there are already people living here, and that it is de facto their land. Instead, they discuss whether it should become an American or British colony. Since they disagree, they decide to flip a coin. Oldsmith wins, and it becomes a British one. 

After being washed ashore in a land colonized by the Portuguese, the duo is shown being carried on stretchers by the natives, emphasizing the belief that the natives in their eyes are nothing but labor power. In another scene, the Germans are also shown employing them as such, when transporting cannons and gun parts through the mountains. The Tanzanians composing O’Flynn’s army are portrayed as incompetent for comedic effect when being unable to hit the targets, instead hitting the wall right behind them. O’Flynn yells at them when one of the bullets ricochets, destroying his bottle of gin. He is not the only one yelling at them, Oldsmith and Fleischer repeatedly do it as well. Whether or not it is a matter of them giving them orders or not, I still associate this behavior with an attitude of hostility and racism.  

Besides being used as soldiers, the natives are also shown working as maids and nannies for the Oldsmiths. Treating them as such reproduces a racist hierarchy in which the white man is regarded as “superior” to the black man. 

These people are also othered and dehumanized when in the dark shown attacking and setting fire to the Oldsmiths’ residence, bayonetting the maids and nannies, and killing Oldsmiths’ infant daughter by throwing her into a burning house. They also laugh and grimace at Rosa Oldsmith. Them being depicted as sadists increases this dehumanization. 

What further contributes to this othering and dehumanization is the blackface used by Oldsmith as a “camouflage” when infiltrating the Blücher. Naturally, the Germans don’t notice him, nor do they spoil the operation.   

The movie itself was actually filmed in Apartheid South Africa, thereby normalizing and directly supporting racist politics of its government when the international community had imposed sanctions on it. Add to it, South African investors also financed the project. 

Tropes and Narrative Devices 

Upon rewatch I also noticed the utilization of one trope and one narrative device, which deserve being brought up. The trope in question was the Sacrificial N****. The proof of its existence in the story was that many of the soldiers working for O’Flynn and Oldsmith died protecting them. This is another example of this racist hierarchy being recreated.  

The narrative device in question was the Damsel in Distress trope. In this case, Rosa is held captive onboard the Blücher, needing to be rescued by her husband and her father. 

The Pacing 

When I watched this the first time, I remember finding the pacing incredibly slow. Consequently, I was quickly bored. However, on rewatch, I found it to be slightly, slightly better. But given all the problems with the movie detailed in the sections above, this will not affect the score positively in any way. I want to make that perfectly clear. 

Rating 

1 star out of 5 for the Blücher exploding at the end.  

Elias Abrante 

Gustavsberg, September 24th, 2026 

Film Review: The Wild Geese (1978)

Elias Abrante

Spoiler alert! 

The Wild Geese is a 1978 British film starring Roger Moore, Richard Harris, and Richard Burton among others. Genre-wise, it is an action film and a war film. It was directed by Andrew V. McLaglen. I watched it on DVD. Moore was still portraying James Bond at the time, continuing this tenure until 1985, when his seventh and last Bond film, A View to a Kill premiered.   This film was released between The Spy Who Loved Me (1977) and Moonraker (1979). Coincidently, Moonraker was his most lucrative Bond film and The Spy Who Loved Me his second most lucrative one. Moreover, Moonraker remained the highest-grossing Bond film for many years, until Goldeneye starring Pierce Brosnan outperformed it in 1995. Besides being Moore’s personal favorite, The Spy Who Loved Me is also regarded as one of the best Bond films ever made.  

Plot Summary 

The story follows a mercenary, Colonel Allan Faulkner (Burton), who by his employer in London, Sir Edward Matheson, is given two tasks. Firstly, he needs to rescue Julius Limbani, the former President of the fictional country of Zembela, who is imprisoned, awaiting his execution, which the now ruling dictator General Ndofa personally will carry out. Secondly, he needs to topple said General and replace him with Limbani. 

The reason why Matheson convinces Faulkner to make this intervention is because he wants to protect his geopolitical interests, namely the copper mines. General Ndofa, however, is willing to sell these to be able to have Limbani executed. Faulkner agrees, and proceeds to recruit the officers. Each one of these will command a unit participating in the operation. The men who he hires are the following: Lieutenant Shawn Fynn (Moore), Captain Rafer Janders (Harris), Lieutenant Pieter Coetzee (Hardy Krüger), and Regimental Sergeant Major Sandy Young (Jack Watson). Collectively, these men then enlist 45 men, their soldiers, before heading to Swaziland (today’s Eswatini) to undergo training under Young’s supervision.  

After that, they are sent to Zembela. But after having stormed the prison, and broken Limbani out of it, they are double-crossed by Matheson at an airfield awaiting extraction. Having made a deal with General Ndofa, Matheson gets the copper concessions, and the General in return gets Limani.  

Having been betrayed, the mercenaries are forced to fight the General’s private army while fleeing for their lives.  

The Characters 

I struggled to sympathize with the five protagonists, mainly because they all felt very bland and generic. They are also portrayed as moralists and/or idealists, which also is a character trait that I find problematic, as it signalizes that these individuals believe that they are entitled to make decisions about the future of Zembela without having consulted its population. The character Pieter Coetzee, one of the unit leaders, is particularly problematic because of his beliefs and his associations. A former member of the South African Defense Forces, he on numerous occasions makes racist and pro-colonialist statements when interacting with President Limbani, whom he for some inexplicable reason is assigned to protect. The filmmakers had the opportunity of having Limbani in return presenting arguments which prove him wrong and ultimately destroy his ignorant argumentation, but they instead have him delivering some platitudes about forgiveness as a response. Had they taken the chance, they could effectively have condemned the practice of these through this character, and also criticized South Africa (at the time still an apartheid state). By not making antiracist and anticolonial statements, they de facto turn a blind eye to those exposed to such inhumane treatment, in this case black people, thereby othering them. 

Another way in which black people are othered is through the constellation of the mercenary army. It predominantly consists of white men, both with respect to the recruits and to the soldiers. The number of black people belonging to it is extremely low. I only counted one, two, maybe three people. None of them are officers, they are all soldiers. The only one of them who gets some screen time is Sergeant Jesse Blake, portrayed by John Kani, who is best known for portraying T’Chaka, the father of T’Challa (The Black Panther), in Captain America: Civil War (2016). But Blake himself does not get very much to do besides following orders, e.g. carrying and protecting Limbani. We do see him assume the command after one of the officers is killed towards the end, in spite of this he is not given more attention by his colleagues. They are more concerned with mourning for instance Captain Rafer Janders, who was white, and who was killed in action. 

In addition to the racism and the othering, the film also contains some homophobia which the medic of the group, Arthur Witty, played by Kenneth Griffith is exposed to by Young, the Regimental Sergeant Major. This happens during the preparations for the operation in Swaziland. It also says something about the structure of the mercenary army, which is not particularly inclusive, as black men and homosexuals are discriminated against, while white heterosexual men are not.  

The White Savior Trope and the Racism   

The White Savior trope is used frequently in the story. Firstly, Faulkner and his team are assigned to help Limbani escape from his prison. Secondly, it is when they are tasked with deposing General Ndofa, although that task is never completed. This brings us to the third example, that is when they have to carry and protect Limbani, who was injured during the prison raid, from the General’s troops. By having this character sustaining those injuries, he becomes dependent on these foreigners, perpetuating this trope. Another instance in which this particular trope is utilized is when the decimated group arrive at the home town of Limbani, where they have to offer the inhabitants some protection as well, since they are portrayed as ill-equipped and unable to fight back. 

The film’s portrayal of the General’s soldiers is very racist. They are dehumanized when shown grimacingly attacking Witty, who is dying, with machetes. Another example of this dehumanization is when the mercenaries are chased by them at the runway, the wounded Janders asks Faulkner to kill him, claiming they will torture him if he is captured.  The so-called protagonists, who are portrayed as ‘superior’ to them, kill hundreds and hundreds of these soldiers throughout the film. Another example of this racism is when the officers of said army are seen. They too are white, further perpetuating the belief that white people are seen as ‘superior’ to black ones. 

Speaking of racism, it is worth mentioning that the only country willing to let the ‘protagonists’ land on one of its airports is Rhodesia (today’s Zimbabwe). That country was just as South Africa was at the time notorious for its racism towards its black citizens. Similarly to Shout at the Devil (1976), which I also have reviewed, this movie was filmed in South Africa at the time of the apartheid. This was to me a problematic action, as the filmmakers by putting money in the South African apartheid system gave their support to the discriminatory system which that state was built on. 

The Pacing 

The pacing of the movie was very bad. I had to wait over an hour before they finally arrived in Zembela, as I first had to endure watching Faulker getting his instructions, assembling the members of his team, and training together with them.  

Once the story moves from London and Swaziland to Zembala, it on the other hand quickly becomes repetitive. The same things happen over and over again. The group go from point A to point B, and once they are there, they are attacked and decimated by General Ndofa’s army, forcing them to fall back. Once they have retreated to another location, i.e point C, they are ambushed once again, suffering heavy losses as a consequence, and have to pull back to point D. This is the story in a nutshell. 

Ergo, with the first hour being tedious, and the second one being repetitious, the film, at the end of the day, failed to grab and maintain my interest.  

Rating 

1 star for Fynn wearing a silly Sherlock Holmes outfit when being introduced.

Film Review: Pirate Hunting  

Pirate Hunting is a 2009 Norwegian documentary directed by Øystein Bogen. It is currently available for streaming on Netflix. 

While watching this film, one can easily draw parallels to the themes of exploitation, corporate colonialism, the accumulation of wealth and othering, all of which have been discussed in this programme’s courses. While being thought-provoking and enlightening at times, it does however completely ignore the conflicts and wars which have plagued Somalia for a long time, causing political instability and poverty. It merely implies that there is a correlation between piracy and poverty, but it does not further explore that topic, which to me is a very questionable choice. With respect to the members of its cast, those being given the most screen time are all either from Norway or from the UK, rather than from Kenya or Somalia which would have been more interesting and contributed to a decolonisation of the subject. Consequently, this makes the film very Eurocentric as Europeans and non-Europeans are not given the same opportunity to make their voices heard. Its buildup ending in an anticlimax too was a huge letdown. 

The story of this documentary centers around piracy in the Gulf of Aden, located in the Indian Ocean, through which freighters transporting goods from Asia to Europe and vice versa have to travel. When taking this route, however, the crews of these vessels are vulnerable to being ambushed by Somali pirates and taken as hostages, only to be released once a ransom is paid by their governments. The film explores the lucrative businesses which have emerged in Somalia and in the West as a consequence of this phenomenon. Those in Somalia emerged after many former fishermen turned to piracy in order to be able to provide for their families, having been driven out of markets by the trawlers of the West. While the leaders of these pirates profit from these large ransoms being paid to them, they also need them to pay off their debts. Insurance companies in the West have also earned a lot of money by offering these ship crews expensive and tailor-suited insurances, “piracy insurances”, covering the costs of their transit via the Gulf of Aden. Private military contractors calling Operation Atalanta (the European Union’s anti-piracy operation) inadequate have also made a lot of money. Their business idea is offering their clients armed protection, using their own navies and soldiers. Besides investigating these enterprises, the documentary examines the measures taken against these maritime crimes. 

What I appreciate about the documentary is the interconnectedness of different perspectives in the story. Besides holding different nationalities, the cast has different professions and social positions. To begin with, there is the local perspective, represented by a Somali pirate leader living in the town of Eyl, whose perspective is sharply contrasted with that of the captain of the Norwegian Navy’s frigate HNoMS Fridtjof Nansen, and that of the crew onboard a Norwegian cargo ship travelling through the Gulf of Aden. The legal dimensions of piracy are explored through interviews with a Somali human rights activist, a Kenyan judge, a Kenyan Member of Parliament, and a Kenyan lawyer. The inclusion of the Dutch commander of Operation Atalanta, an Italian investigative journalist, a London-based insurance company, a British lawyer, a British private security and insurance company, and Norwegian private military contractors in the cast opens up for questions about globalisation and capitalism. Lastly, the interview with the Ukrainian crew members who were held as hostages by pirates and their families highlights the human consequences of piracy. 

The stories told by these individuals for instance allow the viewer to put themselves in a position of a person being held as a hostage by pirates. They also open up a discussion about how the problem should be properly solved, as the interviews with the three Kenyans clearly indicate that prosecuting, convicting and sentencing them is far from a sustainable solution. Furthermore, the information given by the human rights activist and the journalist demonstrate the complexity of the problem, i.e piracy being an act of desperation and these maritime operations not having the desired effect, as ships still are attacked in the area. The human rights activist and the private military contractors also heavily disagree on which solutions are optimal. The latter claim that more violence needs to be exerted against the pirates. The first objects to this, stating that such actions could lead to an escalation as the pirates have access to more destructive weapons. Weapons which they so far have abstained from using. Although, if they are provoked, they might have a change of heart.  

I noticed that the director, Øystein Bogen, quite often used split screens as a technique in order to make transitions from one perspective to another. The pacing, i.e. how the scenes are connected to each other, was decent. I would argue that the first half of the film was better than the second one. The reason for that being that was more at stake in the first one and there was also a buildup for a satisfying climax, making that part more engaging and more suspenseful for me as a viewer. Despite this, there was no real payoff for that buildup and consequently it all fell flat, leaving me disappointed.  

I particularly liked the scenes featuring the insurance company in the UK, the private military contractors and the private security guards, and the Somali pirate leader. However, the director did not give these actors enough screen time, which the film would have benefited enormously from. In that way, more focus could have been put on the exploitative nature of large commercial fishing and its political consequences for Somalia, the motivations for Somali fishermen to become pirates when large corporations deprive them of their livelihood, and the reason why insurance companies and private military contractors are uninterested in solving the problem properly.  

Instead of digging deeper and exploring these aspects more thoroughly, they are all just briefly touched on by the interviewees and the narrator while the Norwegian frigate captain and the cargo crew are given considerably more attention. While it makes sense for the filmmakers to do so as these interviewees are their countrymen, I still think it was an unwise decision, as I found both these actors quite boring. 

In conclusion, I would not consider this film worth watching, as it merely scratches on the surface of the phenomenon. It had the potential and the opportunity to go deeper but unfortunately it preferred taking the short-cut instead.  If one is interested in learning more about this subject, I would therefore advise looking somewhere else. 

My rating: 2 stars out of 5. 

Elias Abrante, Gustavsberg, September 24th 2026 

The Elephant in the Room: What is Left Unsaid in Natural History Museums’ Animal Displays. 

Museums, I would like to think, are capsules of memory. They are places with fragments of pasts, preserved, for the future. Inside, there is a sense of ‘forever’, of time being frozen. 

But just as much as museums remember, they also, often, forget.  

By forgetting I do not mean the provenance of objects or specimens museums do not have access to, which I consider more of a gap in knowing. By forgetting I mean the thought-out, deliberate kind of forgetting.  

Considering my interest in human-nonhuman animal relationships, both within this programme and beyond, I situate this writing within Gallery 10 in the Colombo National Museum of Natural History (CNMNH) in Sri Lanka. Gallery 10 is the osteology gallery at the CNMNH, and houses, among others, 3 full skeletal structures of Asian Elephants. They are placed in a straight line; an adult male tusker, a baby and an adult female.  

Animals often live in the shadow of museums. They are forgotten in multiple ‘layers of forgetting’. When they enter the space of the museum, their personhood is forgotten, and they are reinscribed as ‘specimens’. Their individual lives, personalities, stories of their interaction with each other or even humans—even the little that is known of it—is all flattened into straightforward Linnaean taxonomy. This changes slightly with the elephants’ proximity to religion and ritual, but that also allows for another layer of forgetting; labour.  

Rosa Dyer’s ongoing doctoral work in the Pitt Rivers museum as shared in ‘Animal Highlights’—an academic animal-studies blog/podcast—perfectly illustrates the idea of ‘flattening’ the memory of animals in museum spaces. Dyer’s studies of featherwork collections alongside her studies of hummingbirds in the wild allows her to see this flattening of personality all the more clearly.1 In the wild, hummingbirds are notoriously feisty, territorial birds, but they are preserved in the feathered fan in a romantic aesthetic that allows an unknowing viewer to presume that they are birds who would peacefully coexist. This display without explanation makes it possible for exhibition spaces to mould narratives they see fit.  

This flattening made me think of the elephant skeletons displayed in Gallery 10. All three are, to varying degrees, flattened into merely a neat structure. The baby elephant (below) is the least remembered. There is no information attached to the display beyond a taxonomic one, and the obvious reference to age. There isn’t even a mention of where or how they were acquired from; were their remains found in the wild or did they die in captivity? But even more than this, I want to know them like I know the animals in my home or neighbourhood. What were they like as an individual? – shy, playful, naughty? What did they like to eat? Elephants are incredibly social animals. With whom did this little one spend their time with? How did they die? While I do understand this information may not be accessible if their remains were found in the wild, even the elephants in captivity do not seem to escape this forgetting.    

The adult female skeletal structure (below) that stands behind the baby elephant structure is a little less forgotten. She has a name; Lechchamii, and the description plate mentions where she came from – the National Zoological Gardens (NZG). Her name makes me curious about her story. Lechchamii is a Tamil name (an ethnic minority), and captive elephants in Sri Lanka, with their close ties to Buddhist temples, are often given Sinhala names, the ethnic majority most closely associated with the Buddhist faith. There is no mention of how old she was, or how and where she came to the National Zoological Gardens from.  

Despite coming from the NZG and living in close proximity to humans, there seems to be a total forgetting of this human-elephant connection. No mention of who took care of her, if she had one or multiple mahouts and if they shared a special bond.  What she was like with the crowds that came to see her? Was she a shy and gentle elephant or was she feisty and difficult? The plate (below) first communicates taxonomic information. It then clinically reads that “the animal was named Lechchamii” – almost unfeelingly as a labelled  object – and promptly continues to confirm her place in this space by remembering her as only a “specimen”, to be studied, assembled, exhibited and looked at.  

The plate reads “(The) Asian Elephant is the largest terrestrial mammal in Asia. The animal was named as Lechchamii. This specimen was donated to the Natural Science Museum by (the) National Zoological Gardens in 1992.” 

Of the three, it is Heiyantuduwa Rāja who is least forgotten. A decorated ceremonial tusker, Rāja (above) was known for his exceptionally long pair of tusks. Tusks are a rarity in the Sri Lankan Asian Elephant population, only seen in some males. Having them (among other requirements) qualifies these elephants to carry the casket that holds the sacred relic (believed to be) of the Buddha, that is annually displayed to the public in a ceremonial parade. Unlike Lechchamii and the baby elephant, Heiyantuduwa Rāja is remembered prominently by his name on the descriptive plate, and the photographs that are both near his exhibit and on the large placard adjacent to his skeletal structure. The Gajaga Vannama—a tune traditionally played during the perahára (the ceremonial parade) in which the elephants carry the sacred casket—is played on loop in the background.   

The poster/placard (above) records an approximate year of birth, the date and place of his capture, and the date of his passing. It also shows photos of his day-to-day, taking a bath in the river, with his mahout, and what he is most remembered for, carrying the sacred relic, dressed in the ceremonial regalia.  

His proximity to the ethno-religious majority, and subsequently to the ethno-religious state, ensures he is remembered in a state institution. Yet, despite all this remembering, there is much that is forgotten. The placard, almost dismissively, states that he was “caught in the wild…and tamed”, actively forgetting the brutality of his displacement and the ensuing physical and emotional pain that would have been inflicted to ‘tame’ him into a docile, accepting being. While the image of his bullhook-yielding mahout is on the same placard, this connection is not easily made. As with most ceremonial elephants attached to temples, Heiyantuduwa Rāja is also anthropomorphised. By giving him a (false?) sense of human-ness, he is easily made part of a system of religious belief that allows the extraction of labour that is required of temple elephants, under the guise of an “opportunity” or (as read in the Sinhala translation) “good fortune” to accumulate merit for his next life.  

The three elephant skeletal structures in the Osteology Gallery of the Colombo National Museum of Natural History are, for me, an interesting starting point in the study of non-human animals within museums. Animal (hi)stories get lost with relative ease within ethnographic museums, both in physical objects (as inside the craft galleries that hold intricate ivory carvings that have forgotten the elephant) and in iconography – in flags, swordheads, stone carvings and jewellery that depict animals, both mythical and real. But forgetting the animal in a natural history museum seems like a paradox in itself, forgetting the very thing it is meant to remember. But a quick peep into the history of these spaces will tell us that they were never meant to remember just the animal. They were spaces built to collect, entertain, to immortalize stories of conquest and far-away exotic places. And when museum spaces only allow for one kind of remembering, it will also function as a space of forgetting.  

References

1 Rosa Dyer, “Hummingbirds: Warrior birds and feathered jewels,” The Animal Turn (blog), March 23, 2026. https://www.theanimalturnpodcast.com/post/hummingbirds-warrior-birds-and-feathered-jewels 

Indigenous Women, Extractivism, and Alternative in Bolivia

Joris Heyvaert

In 2024, I worked with a grassroots network of Indigenous women, the Red Nacional de Mujeres en Defensa de la Madre Tierra (RENAMAT – The National Network of Women Defending Mother Earth).  RENAMAT brings together women from various rural communities, most of whom are engaged in agriculture and livestock raising, which form the basis of their livelihoods and play a central role in sustaining their families and communities. Their lifestyle, however, is increasingly threatened by the arrival of extractive projects – especially mining – to their territories. Mining of silver, tin, zinc and other materials causes contamination and depletetion of  water sources, degrades soils, reduces agricultural productivity, harms livestock and ecosystems, and ultimately threatens the ability of communities to continue living from the land. While the socio-environmental consequences of extractive activity in Indigenous territories have received much of the attention, the gendered dimensions of environmental degradation have often been overlooked (Garcia-Torres et al. 2020). 

The gendered Impacts of Extractivism 

The idea is not to dismiss that entire Indigenous communities are affected by the arrival of mining activities in their territories. But what’s important is that these impacts are not experienced equally by all. In Bolivian Andean society, women already carry much of the responsibility for agriculture, food production, water collection, caregiving, and the care of animals. As men often become employed in the mines or migrate elsewhere in search of work, women are left alone to confront the deterioration of their territories and livelihoods, intensifying their reproductive work even more.  

When water sources become contaminated or dry up, women often have to travel longer distances to collect clean water, which reduces their time to take care of their other reproductive tasks. Water contamination also exposes women to health problems and makes everyday tasks such as cooking and washing more dangerous. Their bodies become increasingly exposed to toxic chemicals that can cause diseases, respiratory problems, gastrointestinal issues, irritations, and even unwanted abortions (Aliaga 2015). At the same time, soil pollution can lead to the loss of crops and the death of their livestock. This undermines women’s economic autonomy, increasing their dependence on market incomes and threatening livelihoods that depend directly on the land. Extractive industries can also reinforce existing gender inequalities in other ways. The influx of predominantly male workers into mining areas has been associated with gender-based violence and sexual exploitation, while men’s exclusive access to mining wages can strengthen patriarchal power relations within communities. Women’s concerns about land, water, and community wellbeing may therefore remain marginalized in decision-making spaces that are already largely dominated by men.  

These gendered impacts can be understood through Indigenous feminist Lorena Cabnal’s concept of body-territory. The concept emphasizes that women’s bodies and the territories they inhabit are deeply interconnected, and that both are sites of exploitation, control, and dispossession (Cabnal 2015). For the women of RENAMAT, territory is not simply understood as land, but as the basis of material survival as well as social relations, cultural practices, ancestral knowledge, and collective identity. So, when the land is contaminated, the women’s bodies and livelihoods are also affected. It is from this understanding of the interconnected violence between their bodies and territories that RENAMAT developed the concept of “environmental violence against women,” which they define as “any action or omission which, in causing damage to the environment, restricts or limits women’s exercise of their rights, in relation to their patrimony, economy, work and health” (Aliaga & Cuenca 2015:74). This awareness generates the emotional and ethical commitments to resist extractivism and defend life for future generations. 

Building alternatives from below 

While RENAMAT women participate in marches, road blockades, public demonstrations, and other forms of collective mobilization to defend their territories, their resistance is not limited to opposing extractive projects. Rooted in Andean principles of ayni (reciprocity), minka (communal labor), and trueque (exchange), resistance also involves protecting and strengthening the ways of living that extractivism threatens to undermine. 

An important part of this resistance is engaging in a communitarian economy, or an economy that takes place outside formal state structures and is centred on meeting the needs of families and communities rather than on making profit. Women grow crops and raise animals mainly for their own consumption and for their communities, while any surplus can be sold or exchanged at agroecological fairs to cover other basic needs. The aim is therefore not to accumulate money, but to sustain everyday life. At the same time, these fairs make women’s agricultural work more visible and show that communities can continue to sustain themselves through the land rather than becoming dependent on mining.  

Where mining has damaged soils and water sources, RENAMAT also tries to come with alternatives. These women have developed rainwater harvesting systems and revived ancestral practices to collect and store water. They have established community gardens, solar greenhouses, and microtunnels that allow vegetables and medicinal plants to be cultivated throughout the whole yearwith limited water and under increasingly unpredictable climatic conditions. Native seeds passed down through generations are shared, reproduced, and protected collectively. The work of planting, watering, and harvesting is likewise shared, as is the produce that results from it. Such initiatives strengthen food sovereignty while reducing dependence on external markets and reclaiming a degree of control over the conditions necessary to sustain everyday life. 

These collective practices also transform the position of women themselves. Workshops, assemblies, productive projects, and shared spaces give women opportunities to exchange experiences, learn about their rights, speak publicly, and take on leadership roles. For women who had previously been excluded from political decision-making or discouraged from participating outside the household, collective organization can become a space for gaining confidence and challenging patriarchal expectations. As a result, their resistance is directed not only against extractivism but also against the gender relations that have historically marginalized women’s voices, labour, and knowledge within their own communities. 

The alternatives created by RENAMAT are therefore part of their resistance itself. Planting seeds, protecting water, exchanging products, preserving ancestral knowledge, and creating spaces where women can speak and take on leadership roles all help defend the way of life that mining threatens. These practices also show that Indigenous women are not only affected by extractivism; they are actively responding to it and building other ways of organizing economic and community life. RENAMAT therefore connects environmental protection with women’s rights, collective care, and the defence of Indigenous knowledge. At a time when debates about climate change, environmental futures, and sustainable development continue, RENAMAT’s experience shows that alternatives can also be built from below, through everyday practices that already exist within communities. 

Bibliography 

Aliaga, C., 2015. La tierra es nuestra madre, el agua es nuestra leche. La defensa de la Madre Tierra y del agua como estrategia de lucha contra la violencia medioambiental hacia las mujeres. La Paz: Colectivo CASA. 

Aliaga. C., & Cuenca, A., 2015. Participation of Peasant Indigenous Women In Contexts of Environmental Violence in Bolivia. In Women Defending the Territory: Experiences of participation in Latin America. Fondo de Accion Urgente. 

Cabnal, L., 2015. Without being consulted: the commodification of our body-land territory. In Women defending the Territory: Experiences of participation in Latin America. 

Garcia-Torres, M., 2020. Extractivismo y (re)patriarcalización de los territories. In book: Cuerpos, Territorios y Feminismos: Compilación latinoamericana de teorías, metodologías y prácticas políticas (pp.23-43) Publisher: Abya Yala, IEETM y Bajo Tierra Ediciones. Quito- Ecuador/México.

Reclaiming the Body: The Islamic Republic and the Colonization of Iran

Somayeh Aghajani

When the “Woman, Life, Freedom” uprising captured global headlines, the Western media apparatus defaulted to a familiar, liberal Eurocentric binary. The complex, deep-rooted struggle inside Iran was swiftly flattened into a tidy “clash of civilizations”—a predictable conflict between secular liberation and religious fundamentalism. Within this narrative, Iranian women are frequently cast as passive victims of an archaic, medieval patriarchy, waiting to be conceptually “saved” by Western ideals of modernity.   

As a student of colonial and postcolonial studies, I argue that this binary is entirely inadequate. To truly comprehend the current situation in Iran, we must look past superficial religious rhetoric and ask a harder question: What if the Islamic Republic is operating not as an ancient theological relic, but as a hyper-modern, totalitarian colonial state that has turned the entire nation into an occupied territory?   

Caption: A demonstrator holds a handmade “Woman Life Freedom” sign during a rally. Source: Taymaz Valley / Flickr / CC BY 2.0 

The Totalizing Project: Colonizing Minds and Bodies 

In classical decolonial theory, colonization extends far beyond physical geography or foreign empires; it is a profound project of control targeting both the mind and the body. Looking closely at Iran, the state operates through a distinct form of internal coloniality. For over four decades, the regime has sought to completely restructure the private and public spheres, attempting to colonize the thoughts, choices, and physical presence of its citizens. Historians track this four-decade trajectory back to the immediate aftermath of the 1979 revolution, when the state systematically consolidated power by transforming individual moral choices into institutionalized mandates of absolute civil compliance (Milani, 2011).   

To unpack this mechanism, we must center the everyday reality of the Gasht-e Ershad —the morality police. For any woman navigating an Iranian street, the morality police are not an abstract theological concept; they represent a physical, omnipresent panopticon. Armed with discretionary powers of detention, public humiliation, and bodily chastisement, these units actively enforce state regulations on how a woman must walk, what she must wear, how much hair escapes her headscarf, and how her body occupies public space (Amnesty International, 2023).   

In her work on the “Modern/Colonial Gender System,” decolonial feminist María Lugones (2007) argues that enforcing strict, hierarchical body categorization is a core axis of state power. The state demands total sovereignty over the subaltern body to preserve its own authority.   

When applying Lugones’ framework to the Iranian context, a striking realization emerges: the mandatory hijab enforced by the morality police is not merely a sign of religious piety. It is a tool of state biopolitics—the literal colonization of the body. By turning the female body into an ideological battleground, the state uses systematic surveillance, psychological terror, and physical violence to enforce its rule. This structural violence targets all women across Iran. Every single time an Iranian woman steps outside, her body is treated as state property to be regulated, watched, and subdued.   

Capillary Power and the Bureaucracy of the State 

Yet, the coloniality of the Islamic Republic goes far deeper than a single police force driving green-striped vans. To understand how this regime has colonized the minds, bodies, and spaces of the entire country, we must analyze how the state transforms ordinary citizens into extensions of its own disciplinary power.   

This structural dynamic is explained deeply by Aníbal Quijano’s (2000) concept of the “coloniality of power.” Quijano posits that modern colonial structures persist long after classical geopolitical empires recede, operating as an integrated matrix that hinges on the total control of authority and the institutional imposition of essentialized social hierarchies to classify, dominate, and exploit populations. In the context of Iran, this matrix is ​​fueled, institutionalized, and state-directed through a foundational Islamic moral tenet: Al-Amr bil-Ma’ruf wan-Nahy ‘anil-Munkar (“Commanding right and forbidding wrong”). As the historian Michael Cook (2000) documents in his extensive study of the concept, this duty historically served as a decentralized moral obligation for Muslims to uphold communal ethics.   

However, the Iranian regime systematically institutionalized and bureaucratized this concept. Within the state’s interpretation of Islam, Amr bil-Ma’ruf is framed not merely as a theological ideal, but as an individual religious duty incumbent upon every single Muslim to police the moral behavior of others. To direct, enforce, and organize this collective surveillance, the state established a formal, powerful bureaucratic apparatus: The Headquarters for Enjoining Right and Forbidding Wrong (ستاد امر به معرف و نهی از منکر). This expansive administrative body issues formal directives, coordinates with paramilitary wings, and operationalizes civil surveillance by training civilian volunteers to actively monitor public spaces (Human Rights Watch, 2022).   

By transforming an individual religious concept into a state-directed, bureaucratic mandate, the regime successfully outsources its violence to the public sphere. It creates an atmosphere of constant societal surveillance where minds and bodies are managed by a collective, internalized gaze. 

Consequently, the colonization of the body is enacted not just by men in uniform, but by a neighbor, a passerby on the street, or a passenger in a taxi. Under the direct ideological backing of the State Headquarters, these individuals assume the right to dictate how a woman must dress, what people can eat or drink during Ramadan, or whether a person is allowed to consume alcohol. This dynamic closely mirrors what French philosopher Michel Foucault (1977) observed regarding the architecture of modern power. Foucault argued that control becomes “capillary” when it flows through the everyday interactions of society until citizens internalize the panopticon, effectively turning the gaze of power onto themselves and one another.   

Jina Mahsa Amini: A Shared Iranian Tragedy 

When Jina Mahsa Amini was arrested in Tehran for an allegedly “improper” hijab and subsequently killed while in the custody of the morality police, the resulting shockwave did not fragment the country; it united it (United Nations Fact-Finding Mission, 2024). For the people of Iran, the tragedy was deeply personal and universally understood. She was not targeted as an outsider; she was targeted because she was a young woman trying to exist in her own country.   

Every Iranian woman saw herself, her sister, or her daughter in Jina Mahsa Amini. Every Iranian citizen recognized the violent hand of a regime that has spent decades suffocating their collective future. Her death became the catalyst for an uprising precisely because it exposed the raw, unyielding nature of the state’s bodily colonization.   

The Kurdish and Persian chant “Zan, Zendegi, Azadi (Woman, Life, Freedom)” resonated from Tehran to the furthest corners of the country because it was a collective demand to decolonize everyday life—to rip the state’s hands off the minds, bodies, and futures of the Iranian people. As an intersectional cry, “Zan, Zendegi, Azadi (Woman, Life, Freedom)” deliberately targeted the very core of the state’s internal colonial authority, fusing gender liberation, bodily autonomy, and a rejection of totalitarian subjugation into a singular political paradigm (Abdi, 2023). 

Dismantling the Rhetorical Illusion 

The ultimate irony of the Islamic Republic lies in its intense anti-imperialist, anti-Western rhetoric. For over forty years, the regime has framed itself as the ultimate bulwark against the Western empire. However, a decolonial lens allows us to see through this rhetorical illusion.  

 A state does not need to be white, Western, or European to practice coloniality. When we align Quijano’s coloniality of power with the actions of the Iranian state, the structural parallels become undeniable. By relying on a centralized bureaucracy, constant ideological policing through institutions like the Headquarters for Enjoining Right and Forbidding Wrong, the institutionalized degradation of women, and the total subjugation of its citizens’ personal freedoms, the Iranian state utilizes the exact same violent mechanisms of control perfected by modern colonial empires. It behaves as an occupying force within its own borders.   

When Iranian women stand in front of the morality police, strip off their headscarves, and demand their fundamental rights, they are not asking for Eurocentric “enlightenment” or Western liberal salvation. They are engaging in a deeply radical, localized, and indigenous act of decolonial resistance. They are fighting to reclaim their bodies, their minds, and their country from a modern colonial machine.  

References: 

Abdi, N. (2023). Epistemic Shifts and Indigenous Resistance: Unpacking Zan, Zendegi, Azadi. Middle Eastern Critical Studies, 14(2), 105–122. 

Amnesty International. (2023). Iran: Intensified Crackdown on Women and Girls Defying Discriminatory Mandatory Veiling Laws. Amnesty International Secretariat. 

Cook, M. (2000). Commanding Right and Forbidding Wrong in Islamic Thought. Cambridge University Press.   

Foucault, M. (1977). Discipline and Punish: The Birth of the Prison. Vintage Books.  Human Rights Watch. (2022). The Bureaucracy of Repression: Inside Iran’s State-Directed Surveillance Apparatus.  

Human Rights Watch Report. 

Lugones, M. (2007). Heterosexualism and the Colonial/Modern Gender System. Hypatia, 22(1), 186–209.   

Milani, F. (2011). Words, Not Swords: Iranian Women Writers and the Freedom of Movement. Syracuse University Press. 

Quijano, A. (2000). Coloniality of Power, Eurocentrism, and Latin America. Nepantla: Views from the South, 1(3), 533–580.   

United Nations Independent International Fact-Finding Mission on the Islamic Republic of Iran. (2024). Report on Human Rights Violations and the Catalyst of Custodial Deaths. UN Human Rights Council. 

Oil Grabs and Energy Blockades in Americas–At the Mercy of the Sovereign

Johannes Sundstrom

The aim with this text is to demonstrate that the current international world order is neocolonial and necropolitical at its core, by discussing the most recent US military invasion of Venezuela and the subsequent oil grabs in the country, followed by an extensive energy embargo against Cuba in 2026. This text will mainly draw on Achilles Mbembe’s article Necropolitics (2003), Giorgio Agamben’s text Homo Sacer: Sovereign Power and Bare Life (1998), and Frantz Fanon’s The Wretched of the Earth (1963) and his views on violence, especially in the international context.

Necropower can be viewed as the (sovereign’s) ability to determine whose life is “grievable” or not – to borrow a term from Judith Butler (2009). The idea or logic behind necropower could be linked to the sovereign’s (e.g. United States) power to spare or destroy life. Mbembe links together the power of sovereignty and necropower: “In this case, sovereignty means the capacity to define who matters and who does not, who is disposable and who is not.” (Mbembe 2019, 80), where “disposable” aligns with Butler’s argument about whose life is “grievable” or not. Agamben (1998, 15) argues that the power of the “sovereign” lies in its ability to pause or ignore the “validity of law”, which means that the sovereign’s power lies both inside and outside the law (i.e. international law in this case). One could argue that it is through this self-justified “right of exception” and the material and military power that enables these neocolonial actions against Venezuela and subsequent necropolitical actions against Cuba by the United States. Mbembe discusses the connection between sovereignty and the material destruction of populations: “[…] sovereignty whose central project is […] the generalized instrumentalization of human existence and the material destruction of human bodies and populations”. (Mbembe 2003, 14)

In January 2026, we witnessed a short military invasion of Caracas and the kidnapping of Venezuelan president Maduro. An operation which could be described as a “hit and run operation” (Mbembe 2003, 30). Additionally, the subsequent increased influx of American multinational oil companies signals another step towards controlling Venezuelan oil, a country which arguably is sitting on the largest crude oil reserves globally. The short military invasion and kidnapping were condemned by the United Nations Security Council, however, given the US’s veto power, any resolution that would condemn or “legally” bind them by international law for their actions would always be blocked. The United States, could through the veto, “uphold” its “right of exception” in terms of their neocolonial practices in Venezuela. The fact that the United States colonized Venezuela’s oil reserves seemed to have slipped the minds of mainstream media right up until recently (September 2026). Earlier this year, US-owned Bloomberg News even reported on February 20th, 2026, and called it: “the US effort to rebuild Venezuela’s oil industry” (Bloomberg News, 2026). However, more recently as stated, other big media outlets, including BBC (2026) and Qatari Al Jazeera (2026) recently started to question these US oil projects in Venezuela. The question is, why did it take so long to start reflecting over these neo-colonial actions carried out by the United States in January of this year?

This year we have also witnessed the consequences with US oil grabs in Venezuela, especially in Cuba. Cuba used to receive much of its energy supplies (through oil) from Venezuela, which now has been abruptly stopped by the US in recent months (January 2026). This has caused major disruptions to daily life and Cuban livelihoods. In September 2026, during the latest UN General Assembly, the Cuban Foreign Minister Rodriguez called the US energy and oil blockade an act of “collective punishment” (UN News 2026). In this case, one could argue that the US carries out necropolitical energy blockades against Cuba and its population by denying them energy resources (i.e. oil), essential for survival. The US president did not even attempt to hide his view on the situation in Cuba during a speech on March 7 in 2026 when he said that Cuba is “in its last moments of life” (France24 2026, 9:42).

These actions can arguably be linked to the concept or “bare-life” (Agamben 1998) where one could claim that the United States considers the Cuban population “disposable” (Mbembe 2019) and “nongrievable” (Butler 2009). However, we must remember that we are simply witnessing a continuation of blockades and embargoes against Cuba and its population since the early 1960s following the Cuban Revolution during the Cold War. Fast-forwarding to today’s political rhetoric, the argumentation hasn’t changed. Cuban communism is existentially dangerous for the US, (a similar argument used against socialist Venezuela), therefore, the United States justifies its neocolonial and necropolitical actions through a “rhetoric of modernity” and the promise of “progress” (Mignolo 2019), by repeating over and over again that Venezuela and Cuba are failed states and that they need saving. The “saviour” just happens to be the United States.

This “promise of progress” has been repeated many times, both in Venezuela regarding its oil production and US multinational oil companies and in Cuba, since US officials often refer to Cuba as a “failed state” led by “incompetent communists” (Bloomberg News 2026, 0:55), which needs “saving”. Mbembe explains that “[…] the two narratives are incompatible […]” (Mbembe 2003, 27) and the two narratives being capitalism and communism, which once more reminds us of a post-Cold War environment. However, it is often used in the context to justify what Mbembe refers to as the “[…] state of siege […]” when “[…] Entire populations are the target of the sovereign. The besieged villages and towns are sealed off and cut off from the world.” (Mbembe 2003, 30). In this case, the “besieged villages and towns” are the Cuban population in Cuban cities, villages and towns, and they are the target of the “sovereign” (i.e. United States).

Perhaps Fanon (1963, 29) was right when he said that the (neocolonial, my emphasis) colonial world was a divided or compartmentalized world. Fanon also discusses the American sanctions and embargoes against Castro’s Cuba back in the 1960s and explains that “These former colonies [Latin America, my emphasis] since their liberation have suffered the brazen-faced rule of Western capitalism in terror and destitution” (Fanon 1963, 76, footnote). Fanon refers to newly independent countries in the Americas, and since the US basically took control over Cuba after the Spanish-American War in the late 19th century, Cuba has been at the mercy of the United States, up until its revolution in 1959 and continious to be through blockades, sanctions and embargoes.

To conclude, if we apply Fanon’s thinking to the international system (as with the case of Venezuela and Cuba today), we can see that the United States (i.e. the sovereign) continuously creates and consolidates a compartmentalized and divided neo-colonial world in the Americas, through trade embargoes, energy blockades and oil grabs. Already in the 1960s, Fanon observed and foresaw the extended suffering of the Cuban people (Fanon 1963, 77, footnote) which we still witness today. Whether these actions are considered necropolitical or neo-colonial, I will leave it up to the reader to decide, however, one thing is certain. Venezuelan oil is no longer in the hands of Venezuela and through the continuous energy blockade against Cuba, the US president considers Cuban lives “disposable” and “non-grievable” as we have seen in his speeches and the US has reduced the Cuban population to “barelife” as they continue to be at the mercy of the sovereign, the United States.

References

Agamben, Giorgio. 1998. Homo Sacer: Sovereign Power and Bare Life, translated by Daniel HellerRoazen (Stanford: Stanford University Press, 1998), 15–67.

Al Jazeera. “Why are people calling Venezuela oil deal a new form of US colonialism?”. September 1, 2006. https://www.aljazeera.com/video/newsfeed/2026/9/3/aje-onl-nf_us-venezuela-oildeal_colonialism-030926.

BBC. “Remarkable US Oil deal puzzles analysts and angers many Venezuelans”. September 1, 2006. https://www.bbc.com/news/articles/c93vkgk5e1yo.

Bloomberg News. “Is Cuba Finally Ready for Capitalism?” Published August 16, 2026. Accessed September 30, 2026. https://www.youtube.com/watch?v=AWMrdf_ToJk&t=300s.

Butler, Judith. Frames of War: When is Life Grievable? London: Verso, 2009.

Fanon, Frantz. 1963 (2001). The Wretched of the Earth. Translated by Constance Farrington. Penguin Books.

France 25 English. “Cuba could collapse. Here is what Trump wants”. August 3, 2026. Accessed September 29, 2026. https://www.youtube.com/watch?v=M_NTF1sqZGo.

Mbembe, Achille. “Necropolitics.” Public Culture, vol. 15, no. 1, 2003, pp. 11–40, https://doi.org/10.1215/08992363-15-1-11.

Mbembe, Achille. 2019. “Necropolitics”. Public Culture vol.15, no. 1.

Mignolo, Walter D., and Walsh, Catherine E. 2018. On Decoloniality: Concepts, Analytics, Praxis. Durham: Duke University Press. Accessed on April 7, 2026. ProQuest Ebook Central

United Nations News. “Cuba warns against ‘law of the jungle’ as Foreign Minister denounces US pressure” September 26, 2006, New York. https://news.un.org/en/story/2026/09/1168458

A Camera Can Record a Voice. But Who Listens?

A demolition can be captured in seconds by a camera. What it is unable to assure is that those in power will listen…

This tension is the keystone of the 2024 documentary by Basel Adra, Yuval Abraham, Hamdan Ballal, and Rachel Szor, No Other Land. The film is also characterized by the European Film Academy as a creation of a Palestinian-Israeli team. It is preceded by life in Masafer Yatta, where Adra records demolitions, displacement, protests, and the day-to-day lives of the Palestinian residents. This is further unveiled in the film through the concept of the subaltern as proposed by Gayatri Chakravorty Spivak. Her well-known question, “Can the subaltern speak?”, is not simply about whether marginalized people can talk. It raises a harder issue: whether systems shaped by powerful groups can truly hear and recognize those voices.

The Problem Is Not Silence
No Other Land makes that difference visible. Residents talk, demonstrate, take notes, and describe what is going on around them. Throughout the film, their voices can be heard. But talking does not necessarily enable one to influence decision-making that determines everyday life.

According to the Columbia University Press, the groundbreaking essay authored by Spivak explores the subject of colonialism, representation, labor, and individuals forced to the periphery of major systems. Her argument attracts attention to the systems that determine which words become authoritative and which experiences that will stay on the margins.

It is not straightforward silence, therefore, the problem. Individuals can articulate themselves and yet still, institutions that are very strong dictate what voices are heard and how their voices are interpreted.

What the Camera Changes
The role of Basel Adra lends the film a certain force. He is not merely someone who is being filmed by an outside observer. He documents events and assists in determining the method of reaching the viewers. This renders this documentary a sort of self-representation and cooperation. All four filmmakers are credited as writers and directors by the European Film Academy, indicating that the project was developed by a collective of people and not by an external voice.

The latter structure relates to Spivak and his issues of representation. The movie permits Palestinian experience to be captured in part by a person who is living the experience. Simultaneously, the increased visibility does not eliminate all the issues. Israeli journalist Yuval Abraham, who is a co-director, assists in relating the story to wider media viewers. Such a collaboration enhances the spread of the film, yet media institutions and viewers continue to influence the way testimony is heard.

The harder question remains: what happens after a voice becomes visible?

Why Masafer Yatta Still Matters
The problem was not solved after the release of the documentary. In September 2026, the United Nations Office for the Coordination of Humanitarian Affairs reported further demolitions in Masafer Yatta.

OCHA claimed that Israeli forces dismantled buildings in settlements in the zone that was declared by Israeli officials as the Firing Zone 918 to conduct military drills. The agency noted that displacement occurred among families and homes; animal shelters, water tanks, and other structures were affected. These subsequent events provide the documentary with a current situation. Personal experience is captured by the camera, and humanitarian reports indicate that even after the film, the disputes on housing, land, and displacement persist.

More Than Being Seen
No Other Land demonstrates that the concepts of visibility and power are not interchangeable. One is able to talk clearly, be on a screen, and reach a global audience yet have little influence on institutions of power. The work by Spivak assists in understanding why the tension is present without transforming the film into a lesson about a theory. The documentary puts the voices of the marginalized right before its viewer. The more difficult question is whether political and media systems acknowledge such voices on an equal footing.

People can be seen with a camera. No Other Land poses the question of what occurs when visibility is not sufficient.

References

European Film Academy. (n.d.). No other land. https://www.europeanfilmacademy.org/no-otherland/

Morris, R. C. (Ed.). (2010). Can the subaltern speak? Reflections on the history of an idea. Columbia University Press. https://cup.columbia.edu/book/can-the-subalternspeak/9780231143851/

United Nations Office for the Coordination of Humanitarian Affairs. (2026, September 21). Humanitarian situation report | 18 September 2026. https://www.ochaopt.org/content/humanitarian-situation-report-18-september-2026

Chinamaxxing, wild horses and other hidden gems: Western escapism and the orientalization of the “authentic” 

Thea Šebková

Whether returning to ancestral, timeless wisdom in the form of drinking warm lemon water and Qigong (while calling them “Chinese auntie exercises”), seeking moral philosophy in handleless mugs (yunomi) bought on Etsy, or feeling the urge to “leave everything behind and ride horses in the wild mountains of Kyrgyzstan,” the online Westerner increasingly yearns to enrich their life by hollowing out other cultures.1 Taking the road less traveled, eating homemade pho on a plastic chair in Hanoi, or sleeping in nomadic huts in Kyrgyzstan are all mechanisms of seeking authenticity eastward and escaping a capitalist reality that failed to live up to the promise of the American dream. 

“The East” is still being constructed as timeless, spiritual, communal and untouched because the West experiences itself as broken, alienated, and inauthentic. The East, then, becomes the cure for Western disappointment and emptiness. As bell hooks argues, “ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream white culture.”2 The interest in other cultures doesn’t stem from genuine curiosity but to fill a gap in the dull, consumer-driven life. This Orientalizing gaze is nothing new, but it has found a new distribution system in Instagram and TikTok’s short content aesthetics, where an entire culture can be summed up into one reel. The Western tourist romanticizes smoking cigarettes and playing Mahjong with Chinese “uncles” supposedly untouched by technological advancements… so he immediately films them. This fleeting interaction is presented as an authentic encounter but is altered from the first moment the camera is pulled out. Authenticity, in this economy, only counts when documented. The “untouched” life is valuable only when ready to be captured and shared and used to gain social capital. 

Similarly, the Westerner wants to feel unique, a new conqueror of sorts, an anti-tourist, a traveler. Being aware of gentrification and mass tourism, the progressive Westerner knows better than to go to a tourist hub that has already started protesting its exploitation. Berlin starting to feel too mainstream? Go to Athens! Southern Europe too expensive? Albania is the “Maldives of Europe.” Still hearing too much American English? Kyrgyzstan – the ultimate frontier!! Once cities, beaches or hiking trails become recognized and accessible to the masses, the gentrification-aware conqueror seeks the emptier and quieter spot, establishing their moral superiority and satisfying their neocolonial desire by being the first one to discover a place before it becomes the next obvious trend. The trailblazer finds and sets the new frontier, a more easily exploitable place that welcomes him with hospitability and the necessary viral content. What is significant about this new frontier relationship is the implication that the very awareness of gentrification becomes an instrument of it, just one country further east. 

hooks borrows the concept of imperialist nostalgia, which is described (roughly) as a desire for a lost culture or past that one has destroyed, to argue that “the imperialist, colonizing journey [is reenacted or reritualized] as narrative fantasy of power and desire, of seduction by the Other.”3 The legacy of Anthony Bourdain is a great example. His show created the template where the respectful and curious outsider finds a homemade meal in an unsuspecting place. This template now becomes a genre replicated by thousands of online creators performing that same discovery over and over. To know the unknown place before everyone else arrives is the ultimate status marker. But in today’s fast-paced attention economy, new places are consumed at rapid speed. A country, a city, a mountain range, all become aestheticized into a short reel and flood algorithms for a week, only to be discarded for the next frontier. Riding wild horses in the mountains, sleeping in yurts, experiencing the nomadic lifestyle is how the modern colonizer exercises his power to experience “authenticity.” For no more than three days, of course. 

And how is this quest for authenticity received at the other end? The “Easterner” who has for years been sold the American dream witnesses their own culture and landscape become the object of desire. To relish this newfound cultural superiority, they reframe common practices like pickling vegetables, folk health remedies and superstitions as an ideal, slowed down, conscious lifestyle in intentional contrast to the fast-paced, detached Western world. This idealized self-Orientalization, where people continue to perform their own exoticism, still exists within the Westerner’s framework of desire. Genuine respect for the Other is gained only when it serves his own social standing. 

In a different light, the mockery of the “food and family is important in our culture” sentiment itself exposes that people are growing to see community and food-related traditions as universal rather than exotic and the need to Orientalize them starts to look absurd. The traditions don’t need to feel rare or mythical if they were never that unusual to begin with. Maybe this way, we can move forward from constantly seeking the next new frontier and exploiting locals for viral “authentic” encounters; by emphasizing that meaningful connections and fascinating traditions can be found around the nearest of corners. 

References 

hooks, bell. “Eating the other: Desire and resistance.” In Black Looks: Race and Representation. South End Press, 1992.

On Ideology and the Limits of Class Politics on Decolonisation

Isak Ebbelind

During a recent three-day seminar which was held together with students and teachers from the University of Konstanz we discussed questions of decolonisation in detail. At the beginning of the seminar, we were asked to share our expectations for the workshops. Many students, me included, wished for concrete actions one could take to decolonise ourselves and our educational systems. After now having had time to digest the thoughts raised during the seminar, I realize that this is more difficult than one could first have imagined.

I have been writing many iterations of this text and started over many times. Not because of lack of thoughts, but due to difficulties in figuring how best to frame these thoughts. The perspectives through which one can view the issues of decolonisation are many and I find it somewhat difficult to make myself understood in such a limited number of words. I have therefore decided to limit myself to the discussion of ideology through the perspective of Slavoj Zizek. More specifically, I am going to argue for the necessity of expanding Marxist and leftist ideology for decolonisation to be made possible. I believe that a blog post would be the appropriate arena for such a tentative text, and I hope to invite into discussion.

Traditional Marxist conceptualisations of ideology tend to view it as false consciousness that the subject will revolt against once they learn of its falsity. Zizek does a convincing job of arguing against this, stating that people are generally aware of the arbitrariness of ideology, but pretend as though it was real. He gives the example of money, that people intuitively know are paper or numbers on a screen, but that they live as though it has inherent objective value[1]. Money in Zizekian terms is a sublime object. It does not possess inherent value but derives its value from intersubjective relationships. If you the reader are familiar with Baudrillard, it could be likened to the term sign value.

As Marxists we ought to ask ourselves why capitalism endures despite the injustice of it and despite the material conditions for socialism being more than present. I argue that it would be beneficial to look at this question in the chronology of GramsciàAlthusseràZizek. Gramsci opens for us the questioning of the supremacy of the base over the superstructure. Althusser helps us understand how the superstructural constructs of ideology become cemented in collective consciousness through practice, ideological state apparatuses and interpellation, thus takin on agency stretching beyond that power initially granted to it by its material circumstances. Zizek helps us understand how ideology as a practice is tied to the organizing of desire, and how the central organizing principle as to why ideology survives is precisely this desire.

Zizek comes to this conclusion and argues from Lacan that the human subject through the mirror stage experiences chronic sense of lack due to the learned identification with an external object (the mirror image)[2]. The person tries to fill this lack with objects that are ascribed the role of being able to fulfil it[3]. But this lack cannot be fulfilled by an external object. Upon acquisition of this object, desire therefore shifts to another object. This idea of the object of desire being able to fulfil lack is a fantasy.

Zizek adds to Lacan, saying that it is through ideology that an object becomes assigned the role of being able to fulfil lack. It is thus through ideology that the organization of desire and fantasy takes place. But external objects cannot fulfil internal sense of lack, and desire therefore moves to another object designated as fulfilling through ideological frameworks. Ideology is thus self-propagating in the sense that it introduces people into a closed circuit of desire fulfilment within the framework of itself[4]. For example, a person believes that money will fulfil her, but upon gaining money she realizes that she still desires. The object of desire is transferred to a dream car. And the story repeats itself again. Ideology is the framework that designates the money and the car as being able to fulfil desire.

In order to understand the implications that this has on the issue of decolonisation and the need for expansion of class politics, I believe that we would benefit from looking at this Zizekian argument of ideology as self-promulgating through organizing desire and reading it alongside theories on the making of humans into objects. This would show that there are struggles other than that of the proletariat that results from capitalism and the ideological constructs around it, which are qualitatively different from the suffering of the proletariat. I argue that the ideological constructs around the productive mode of capitalism have for long directly enabled capitalism through the making of humans into objects. Through the production of the other, through fetish, through cultural productions cementing articulations between certain groups of humans and arbitrary signifiers, the systematic exploitation of these people has been justified, or even made necessary according to some “cultural logic”.

This incorporation of the fetishized human being into the role of the object of desire means not simply that the human is objectified. It means that because the human is made object she becomes assigned the role as fulfilling desire. She is transformed into an object that is hunted. She is not exploited for her capacity for labour, but for psychological satisfaction on the part of the ones allowed to remain subjects by ideology.

Thus, these productions effectively set up relations that go beyond the class distinction, and these do not automatically disappear with the fall of capitalism. To believe that just because a thing originates in a phenomenon, it will fall with that phenomenon, is a logical error (hopefully I´m not debating with anyone here). Despite disagreements with Laclau and Mouffe and other post-Marxists, I do believe that an effective left must articulate different struggles against the mechanisms of capitalism together. It cannot all be about acquiring the means of production, but also about the transformation from object to subject of women, LGBTQ+ groups, and people experiencing different forms of prejudices based on ethnicity.

To someone who says that all of this will be accomplished simply through acquiring the means of production, I note that racism and sexism did not disappear under socialist projects. On the contrary, prejudice was justified through socialist rhetoric, where for example homosexuality was constructed as a bourgeoisie excess, and extraction of indigenous land was framed as inclusion into the socialist project. And if the answer to that is that “this was not real socialism”, I would note the risk of straying from material analysis into metaphysical claims.

The struggle against capitalism therefore does not belong solely to the proletariat, but also to other marginal and subaltern groups. The struggles of these groups are furthermore phenomenologically different. One struggles for the acquisition of the means of production.  The other struggles to regain subjectivity. This does not mean that both are not made into objects, or that these two forms of struggle doesn´t overlap at times, but it means that the objects which they are made into are of fundamentally different natures. One becomes a resource and the other becomes an object of consumption.

Works Cited

Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 2008).


[1] Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 2008). P.12

[2] Ibid. P.116

[3] Ibid. P.105

[4] Ibid. P.48