Art is a way we can realise our imagination, feel its potential and piece it into a form of hope. Upon entering the Edinburgh Palestine Museum, one is not first encountered by images of ruin, but by Anani’s grand canvas of rolling hills, lush green trees, and floral meadows. Where one enters expecting violence, Anani’s painting embraces us in its haven and pokes at our presumptions: Why is it that people expect only darkness when they hear of Palestine?Â
Both Amazon and the judicial system of South Africa have acted as neocolonial powers, employing colonial tactics to further dispossess the Khoisan people. In this case, Amazon as neocolonial infrastructure is supported by the divide and conquer strategy and by the South African post-apartheid legislature and judiciary, which ensures the systemic erasure of the Khoisan people.
What does it mean to move on from violence when memory itself is a site of conflict? In Gujarat, the legacy of the 2002 pogrom has been carefully, even violently, curated into the official memory of the state, one that erases as much as it remembers. What remains is not reconciliation, but a selective memorisation that excludes the lived trauma of the Muslim community.
