#12 In the UK with Adelaide Damoah: Decolonizing Arts and Feminism
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Pubdate: 10/18/2020
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For the #12 episode of We Belong, we are back in the UK to meet Adelaide Damoah RWA FRSA, a British painter and performance artist of Ghanaian descent who uses her body as a “living paintbrush”, the starting point for much of her work. Through arts, she addresses feminism, colonialism, religion and spirituality.
As a descendant of Ghanaian parents, Adelaide Damoah has always had a particular interest in colonial history and knew that eventually she would explore the relationship between Ghana and Britain in her work. In 2016, she traveled to Ghana looking for old photographs of her family from the colonial era: it was at this time that she found a very powerful image of her maternal great grandmother which was taken in 1920, when Ghana was the British Gold Coast.
In conversation with Adelaide, we discussed her relationship with her body and how she uses arts to discuss feminism, colonialism, racism and identities.
Key: Rachel Cargle’s Ted Talk: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”
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key:"content": string:"<p><strong>Für die Episode #12 von We Belong sind wir zurück im Vereinigten Königreich, um Adelaide Damoah RWA FRSA zu treffen, eine britische Malerin und Performance-Künstlerin ghanaischer Abstammung, die ihren Körper als “lebende Farbrolle” nutzt, den Ausgangspunkt für einen Großteil ihrer Arbeit. Durch Kunst spricht sie Feminismus, Kolonialismus, Religion und Spiritualität an.</strong></p>\n<p><strong>Als Nachfahrin ghanaischer Eltern hatte Adelaide Damoah schon immer ein besonderes Interesse an der Kolonialgeschichte und wusste, dass sie schließlich die Beziehung zwischen Ghana und Großbritannien in ihrer Arbeit erkunden würde. 2016 reiste sie nach Ghana, um alte Fotografien ihrer Familie aus der Kolonialzeit zu suchen: zu dieser Zeit fand sie ein sehr kraftvolles Bild ihrer mütterlichen Urgroßmutter, das 1920 aufgenommen wurde, als Ghana die britische Goldküste war.</strong></p>\n<p><strong>Im Gespräch mit Adelaide diskutierten wir ihre Beziehung zu ihrem Körper und wie sie Kunst nutzt, um über Feminismus, Kolonialismus, Rassismus und Identitäten zu sprechen.</strong></p>\n<p><strong>Schlüssel: Rachel Cargles Ted Talk: “Sich mit der Trägheit des Rassismus auseinandersetzen: Ahnenverantwortung”</strong></p>",
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key:"summary": string:"Für die Episode #12 von We Belong sind wir zurück im Vereinigten Königreich, um Adelaide Damoah RWA FRSA zu treffen, eine britische Malerin und Performancekünstlerin ghanaischer Abstammung, die ihren Körper als „lebendige Farbrolle“ nutzt, den Ausgangspunkt für einen Großteil ihrer Arbeit. Durch Kunst spricht sie Feminismus, Kolonialismus, Religion und Spiritualität an. \nAls Nachfahrin ghanaischer Eltern hatte Adelaide Damoah schon immer ein besonderes Interesse an der Kolonialgeschichte und wusste, dass sie schließlich die Beziehung zwischen Ghana und Großbritannien in ihrer Arbeit erkunden würde. 2016 reiste sie nach Ghana, um alte Fotografien ihrer Familie aus der Kolonialzeit zu suchen: Zu dieser Zeit fand sie ein sehr kraftvolles Bild ihrer mütterlichen Urgroßmutter, das 1920 aufgenommen wurde, als Ghana die britische Goldküste war. \nIm Gespräch mit Adelaide diskutierten wir ihre Beziehung zu ihrem Körper und wie sie Kunst nutzt, um über Feminismus, Kolonialismus, Rassismus und Identitäten zu sprechen. \nSchlüssel: Rachel Cargles Ted Talk: „Coming to Terms with Racism’s Inertia: Ancestral Accountability“",
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key:"title": string:"#12 In het VK met Adelaide Damoah: Decoloniseren van Kunst en Feminisme",
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key:"content": string:"<p><strong>Voor de #12 aflevering van We Belong zijn we terug in het VK om Adelaide Damoah RWA FRSA te ontmoeten, een Britse schilder en performancekunstenaar van Ghanese afkomst die haar lichaam gebruikt als een “levende penseel”, het startpunt voor veel van haar werk. Door middel van kunst behandelt ze feminisme, kolonialisme, religie en spiritualiteit.</strong></p>\n<p><strong>Als afstammeling van Ghanese ouders heeft Adelaide Damoah altijd een bijzondere interesse gehad in de koloniale geschiedenis en wist ze dat ze uiteindelijk de relatie tussen Ghana en Groot-Brittannië in haar werk zou verkennen. In 2016 reisde ze naar Ghana op zoek naar oude foto's van haar familie uit het koloniale tijdperk: het was op dat moment dat ze een zeer krachtige afbeelding vond van haar materneel overgrootmoeder die in 1920 werd genomen, toen Ghana de Britse Goudkust was.</strong></p>\n<p><strong>In gesprek met Adelaide bespraken we haar relatie met haar lichaam en hoe ze kunst gebruikt om feminisme, kolonialisme, racisme en identiteiten te bespreken.</strong></p>\n<p><strong>Sleutel: Rachel Cargle’s Ted Talk: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”</strong></p>",
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key:"summary": string:"Voor de #12 aflevering van We Belong zijn we terug in het VK om Adelaide Damoah RWA FRSA te ontmoeten, een Britse schilder en performancekunstenaar van Ghanese afkomst die haar lichaam gebruikt als een “levende penseel”, het startpunt voor veel van haar werk. Door middel van kunst behandelt ze feminisme, kolonialisme, religie en spiritualiteit. \nAls afstammeling van Ghanese ouders heeft Adelaide Damoah altijd een bijzondere interesse gehad in de koloniale geschiedenis en wist ze dat ze uiteindelijk de relatie tussen Ghana en Groot-Brittannië in haar werk zou verkennen. In 2016 reisde ze naar Ghana op zoek naar oude foto's van haar familie uit het koloniale tijdperk: het was in deze tijd dat ze een zeer krachtige afbeelding vond van haar moeders grootmoeder, die in 1920 werd genomen, toen Ghana de Britse Goudkust was. \nIn gesprek met Adelaide bespraken we haar relatie met haar lichaam en hoe ze kunst gebruikt om feminisme, kolonialisme, racisme en identiteiten te bespreken. \nSleutel: Rachel Cargle’s Ted Talk: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”",
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key:"title": string:"#12 No Reino Unido com Adelaide Damoah: Descolonizando as Artes e o Feminismo",
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key:"content": string:"<p><strong>Para o episódio #12 de We Belong, estamos de volta ao Reino Unido para conhecer Adelaide Damoah RWA FRSA, uma pintora britânica e artista de performance de ascendência ganense que usa seu corpo como uma “pincelada viva”, o ponto de partida para grande parte de seu trabalho. Através das artes, ela aborda feminismo, colonialismo, religião e espiritualidade.</strong></p>\n<p><strong>Como descendente de pais ganenses, Adelaide Damoah sempre teve um interesse particular pela história colonial e sabia que eventualmente exploraria a relação entre Gana e a Grã-Bretanha em seu trabalho. Em 2016, ela viajou para Gana em busca de antigas fotografias de sua família &nbsp;da era colonial: foi nesse momento que ela encontrou uma imagem muito poderosa de sua bisavó materna, que foi tirada em 1920, quando Gana era a Costa do Ouro Britânica.</strong></p>\n<p><strong>Em conversa com Adelaide, discutimos sua relação com seu corpo e como ela usa as artes para discutir feminismo, colonialismo, racismo e identidades.</strong></p>\n<p><strong>Chave: Ted Talk de Rachel Cargle: “Chegando a Termos com a Inércia do Racismo: Responsabilidade Ancestral”</strong></p>",
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key:"summary": string:"Para o episódio #12 de We Belong, estamos de volta ao Reino Unido para conhecer Adelaide Damoah RWA FRSA, uma pintora britânica e artista de performance de ascendência ganense que usa seu corpo como uma “pincelada viva”, o ponto de partida para grande parte de seu trabalho. Através das artes, ela aborda feminismo, colonialismo, religião e espiritualidade. \nComo descendente de pais ganenses, Adelaide Damoah sempre teve um interesse particular pela história colonial e sabia que eventualmente exploraria a relação entre Gana e a Grã-Bretanha em seu trabalho. Em 2016, ela viajou para Gana em busca de antigas fotografias de sua família da era colonial: foi nesse momento que ela encontrou uma imagem muito poderosa de sua bisavó materna, que foi tirada em 1920, quando Gana era a Costa do Ouro Britânica. \nEm conversa com Adelaide, discutimos sua relação com seu corpo e como ela usa as artes para discutir feminismo, colonialismo, racismo e identidades. \nChave: Ted Talk de Rachel Cargle: “Chegando a Termos com a Inércia do Racismo: Responsabilidade Ancestral”",
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key:"title": string:"#12 Isossa-Britanniassa Adelaide Damoahin kanssa: Taiteen ja feminismin dekolonisaatio",
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key:"content": string:"<p><strong>We Belong -sarjan #12 jaksossa olemme takaisin Isossa-Britanniassa tapaamassa Adelaide Damoah RWA FRSA:ta, brittiläistä maalaajaa ja esitystaiteilijaa, joka on ghanalaista syntyperää ja käyttää kehoaan \"elävänä maalaustyökaluna\", joka on lähtökohta suurelle osalle hänen työstään. Taiteen kautta hän käsittelee feminismiä, kolonialismia, uskontoa ja hengellisyyttä.</strong></p>\n<p><strong>Ghanalaisten vanhempien jälkeläisenä Adelaide Damoah on aina ollut erityisen kiinnostunut kolonialismin historiasta ja tiesi, että hän lopulta tutkii työnsä kautta Ghanan ja Britannian välistä suhdetta. Vuonna 2016 hän matkusti Ghanan etsimään vanhoja valokuvia perheestään kolonialismin aikakaudelta: juuri tuolloin hän löysi erittäin voimakkaan kuvan äitinsä isoäidistä, joka oli otettu vuonna 1920, jolloin Ghana oli Britannian Kultarannikko.</strong></p>\n<p><strong>Keskustellessamme Adelaiden kanssa puhuimme hänen suhteestaan kehoonsa ja siitä, kuinka hän käyttää taidetta keskustellakseen feminismistä, kolonialismista, rasismista ja identiteeteistä.</strong></p>\n<p><strong>Avain: Rachel Carglen Ted Talk: \"Rasismin inertian hyväksyminen: Esivanhempien vastuullisuus\"</strong></p>",
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key:"summary": string:"#12 jaksoa We Belong -sarjassa olemme takaisin Isossa-Britanniassa tapaamassa Adelaide Damoah RWA FRSA:ta, brittiläistä maalaajaa ja esitystaiteilijaa, joka on ghanalaista syntyperää ja käyttää kehoaan \"elävänä maalaustyökaluna\", joka on monien hänen teostensa lähtökohta. Taiteen kautta hän käsittelee feminismiä, kolonialismia, uskontoa ja hengellisyyttä. \nGhanalaisten vanhempien jälkeläisenä Adelaide Damoah on aina ollut erityisen kiinnostunut kolonialismin historiasta ja tiesi, että hän lopulta tutkii työnsä kautta Ghanan ja Britannian välistä suhdetta. Vuonna 2016 hän matkusti Ghanan etsimään vanhoja valokuvia perheestään kolonialismin aikakaudelta: juuri tuolloin hän löysi erittäin voimakkaan kuvan äitinsä isoäidistä, joka oli otettu vuonna 1920, jolloin Ghana oli Britannian Kultarannikko. \nKeskustellessamme Adelaide kanssa keskustelimme hänen suhteestaan kehoonsa ja siitä, miten hän käyttää taidetta keskustellakseen feminismistä, kolonialismista, rasismista ja identiteeteistä. \nAvain: Rachel Carglen Ted Talk: \"Tuleminen toimeen rasismiin liittyvän inertian kanssa: Esivanhempien vastuullisuus\"",
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key:"title": string:"#12 Au Royaume-Uni avec Adelaide Damoah : Décoloniser les arts et le féminisme",
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key:"content": string:"<p><strong>Pour l'épisode #12 de We Belong, nous sommes de retour au Royaume-Uni pour rencontrer Adelaide Damoah RWA FRSA, une peintre britannique et artiste de performance d'origine ghanéenne qui utilise son corps comme un “pinceau vivant”, le point de départ de beaucoup de son travail. À travers les arts, elle aborde le féminisme, le colonialisme, la religion et la spiritualité.</strong></p>\n<p><strong>En tant que descendante de parents ghanéens, Adelaide Damoah a toujours eu un intérêt particulier pour l'histoire coloniale et savait qu'elle explorerait finalement la relation entre le Ghana et la Grande-Bretagne dans son travail. En 2016, elle s'est rendue au Ghana à la recherche de vieilles photographies de sa famille &nbsp;de l'ère coloniale : c'est à ce moment-là qu'elle a trouvé une image très puissante de son arrière-grand-mère maternelle prise en 1920, lorsque le Ghana était la Côte de l'Or britannique.</strong></p>\n<p><strong>Lors de notre conversation avec Adelaide, nous avons discuté de sa relation avec son corps et de la manière dont elle utilise les arts pour discuter du féminisme, du colonialisme, du racisme et des identités.</strong></p>\n<p><strong>Clé : Ted Talk de Rachel Cargle : “Faire face à l'inertie du racisme : responsabilité ancestrale”</strong></p>",
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key:"summary": string:"Pour l'épisode #12 de We Belong, nous sommes de retour au Royaume-Uni pour rencontrer Adelaide Damoah RWA FRSA, une peintre britannique et artiste de performance d'origine ghanéenne qui utilise son corps comme un “pinceau vivant”, le point de départ de beaucoup de son travail. À travers l'art, elle aborde le féminisme, le colonialisme, la religion et la spiritualité. \nEn tant que descendante de parents ghanéens, Adelaide Damoah a toujours eu un intérêt particulier pour l'histoire coloniale et savait qu'elle explorerait finalement la relation entre le Ghana et la Grande-Bretagne dans son travail. En 2016, elle s'est rendue au Ghana à la recherche de vieilles photographies de sa famille datant de l'ère coloniale : c'est à ce moment-là qu'elle a trouvé une image très puissante de son arrière-grand-mère maternelle prise en 1920, lorsque le Ghana était la Côte de l'Or britannique. \nLors de notre conversation avec Adelaide, nous avons discuté de sa relation avec son corps et de la manière dont elle utilise l'art pour discuter du féminisme, du colonialisme, du racisme et des identités. \nClé : Le Ted Talk de Rachel Cargle : “Coming to Terms with Racism’s Inertia: Ancestral Accountability”",
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key:"title": string:"#12 Birleşik Krallık'ta Adelaide Damoah ile: Sanat ve Feminizmi Sömürgecilikten Arındırmak",
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key:"content": string:"<p><strong>We Belong'un #12 bölümünde, vücudunu “canlı bir fırça” olarak kullanan, Ganalı kökenli Britanyalı ressam ve performans sanatçısı Adelaide Damoah RWA FRSA ile tanışmak için Birleşik Krallık'tayız; bu, onun çalışmalarının çoğu için başlangıç noktasıdır. Sanat aracılığıyla feminizm, sömürgecilik, din ve ruhsallık konularını ele alıyor.</strong></p>\n<p><strong>Ganalı ebeveynlerin torunu olarak, Adelaide Damoah her zaman sömürge tarihiyle özel bir ilgiye sahipti ve sonunda çalışmalarında Gana ile Britanya arasındaki ilişkiyi keşfedeceğini biliyordu. 2016 yılında, sömürge dönemine ait ailesinin eski fotoğraflarını aramak için Gana'ya seyahat etti: bu sırada, Gana'nın Britanya'nın Altın Kıyısı olduğu 1920 yılında çekilmiş annesinin büyükannesine ait çok güçlü bir görüntü buldu.</strong></p>\n<p><strong>Adelaide ile yaptığımız sohbet sırasında, vücudu ile olan ilişkisini ve sanatları nasıl feminizm, sömürgecilik, ırkçılık ve kimlikler hakkında tartışmak için kullandığını konuştuk.</strong></p>\n<p><strong>Anahtar: Rachel Cargle'ün Ted Konuşması: “Irkçılığın Eylemsizliği ile Yüzleşmek: Atasal Hesap Verebilirlik”</strong></p>",
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key:"summary": string:"We Belong'un #12 bölümünde, İngiltere'ye geri dönüyoruz ve Gana kökenli Britanyalı ressam ve performans sanatçısı Adelaide Damoah RWA FRSA ile tanışıyoruz. Adelaide, bedenini “canlı bir fırça” olarak kullanarak, eserlerinin çoğunun başlangıç noktası haline getiriyor. Sanat aracılığıyla feminizm, sömürgecilik, din ve ruhsallık konularını ele alıyor. \nGana kökenli ebeveynlerin torunu olan Adelaide Damoah, her zaman sömürge tarihiyle özel bir ilgiye sahipti ve sonunda eserlerinde Gana ile Britanya arasındaki ilişkiyi keşfedeceğini biliyordu. 2016 yılında, sömürge dönemine ait aile fotoğraflarını aramak için Gana'ya seyahat etti: bu sırada, 1920'de, Gana'nın Britanya Altın Kıyısı olduğu dönemde çekilmiş, annesinin büyükannesine ait çok güçlü bir görüntü buldu. \nAdelaide ile yaptığımız sohbet sırasında, bedenine olan ilişkisini ve sanatını feminizm, sömürgecilik, ırkçılık ve kimlikler hakkında tartışmak için nasıl kullandığını konuştuk. \nAnahtar: Rachel Cargle'ın Ted Konuşması: “Irkçılığın Eylemsizliği ile Yüzleşmek: Atasal Hesap Verebilirlik”",
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key:"title": string:"#12 Ve Velké Británii s Adelaide Damoah: Dekolonizace umění a feminismu",
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key:"content": string:"<p><strong>V epizodě #12 pořadu We Belong jsme zpět ve Velké Británii, abychom se setkali s Adelaide Damoah RWA FRSA, britskou malířkou a performanční umělkyní ghanského původu, která používá své tělo jako “živý štětec”, výchozí bod pro většinu její práce. Skrze umění se zabývá feminismem, kolonialismem, náboženstvím a spiritualitou.</strong></p>\n<p><strong>Jako potomkyně ghanských rodičů měla Adelaide Damoah vždy zvláštní zájem o koloniální historii a věděla, že nakonec prozkoumá vztah mezi Ghanou a Británií ve své práci. V roce 2016 cestovala do Ghany, aby hledala staré fotografie své rodiny z koloniální éry: právě v této době našla velmi silný obraz své matčiny prababičky, který byl pořízen v roce 1920, kdy byla Ghana britským Zlatým pobřežím.</strong></p>\n<p><strong>V rozhovoru s Adelaide jsme diskutovali o jejím vztahu k jejímu tělu a o tom, jak používá umění k diskusi o feminismu, kolonialismu, rasismu a identitách.</strong></p>\n<p><strong>Klíč: Ted Talk Rachel Cargle: “Smiřování se s nečinností rasismu: Odpovědnost předků”</strong></p>",
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key:"createdAt": string:"2025-02-10T12:56:20.355",
key:"engine": string:"gpt-4o-mini-2024-07-18",
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key:"summary": string:"Pro epizodu #12 pořadu We Belong se vracíme do Velké Británie, abychom se setkali s Adelaide Damoah RWA FRSA, britskou malířkou a performanční umělkyní ghanského původu, která používá své tělo jako „živý štětec“, výchozí bod pro většinu své práce. Prostřednictvím umění se zabývá feminismem, kolonialismem, náboženstvím a spiritualitou. \nJako potomkyně ghanských rodičů měla Adelaide Damoah vždy zvláštní zájem o koloniální historii a věděla, že nakonec prozkoumá vztah mezi Ghanou a Británií ve své práci. V roce 2016 cestovala do Ghany, aby hledala staré fotografie své rodiny z koloniální éry: právě v této době našla velmi silný obraz své matky prababičky, který byl pořízen v roce 1920, kdy byla Ghana britským Zlatým pobřežím. \nV rozhovoru s Adelaide jsme diskutovali o jejím vztahu k jejímu tělu a o tom, jak používá umění k diskusi o feminismu, kolonialismu, rasismu a identitách. \nKlíč: Ted Talk Rachel Cargle: „Smiřování se s nečinností rasismu: Odpovědnost předků“",
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key:"title": string:"#12 Στο Ηνωμένο Βασίλειο με την Adelaide Damoah: Αποαποικιοποίηση των Τεχνών και του Φεμινισμού",
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key:"content": string:"<p><strong>Para el episodio #12 de We Belong, estamos de vuelta en el Reino Unido para conocer a Adelaide Damoah RWA FRSA, una pintora británica y artista de performance de ascendencia ghanesa que utiliza su cuerpo como un “pincel vivo”, el punto de partida para gran parte de su trabajo. A través del arte, aborda el feminismo, el colonialismo, la religión y la espiritualidad.</strong></p>\n<p><strong>Como descendiente de padres ghaneses, Adelaide Damoah siempre ha tenido un interés particular en la historia colonial y sabía que eventualmente exploraría la relación entre Ghana y Gran Bretaña en su trabajo. En 2016, viajó a Ghana en busca de viejas fotografías de su familia &nbsp;de la era colonial: fue en este momento que encontró una imagen muy poderosa de su bisabuela materna que fue tomada en 1920, cuando Ghana era la Costa de Oro británica.</strong></p>\n<p><strong>En conversación con Adelaide, discutimos su relación con su cuerpo y cómo utiliza el arte para hablar sobre feminismo, colonialismo, racismo e identidades.</strong></p>\n<p><strong>Clave: La charla Ted de Rachel Cargle: “Llegando a Términos con la Inercia del Racismo: Responsabilidad Ancestral”</strong></p>",
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key:"content": string:"<p><strong>Pentru episodul #12 din We Belong, ne întoarcem în Marea Britanie pentru a o întâlni pe Adelaide Damoah RWA FRSA, o pictoriță britanică și artistă de performance de origine ghaneză care își folosește corpul ca un “pensulă vie”, punctul de plecare pentru multe dintre lucrările ei. Prin artă, abordează feminismul, colonialismul, religia și spiritualitatea.</strong></p>\n<p><strong>Fiind descendentă a unor părinți ghanezi, Adelaide Damoah a avut întotdeauna un interes deosebit pentru istoria colonială și știa că, în cele din urmă, va explora relația dintre Ghana și Marea Britanie în lucrările ei. În 2016, a călătorit în Ghana în căutarea unor fotografii vechi ale familiei sale din era colonială: în această perioadă a găsit o imagine foarte puternică a străbunicii sale materne, care a fost făcută în 1920, când Ghana era Coasta de Aur Britanică.</strong></p>\n<p><strong>În discuția cu Adelaide, am discutat despre relația ei cu corpul și cum folosește arta pentru a discuta despre feminism, colonialism, rasism și identități.</strong></p>\n<p><strong>Cheie: Ted Talk-ul lui Rachel Cargle: “Acceptarea inerției rasismului: Responsabilitatea ancestrală”</strong></p>",
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key:"content": string:"<p><strong>For the #12 episode of We Belong, we are back in the UK to meet Adelaide Damoah RWA FRSA, a British painter and performance artist of Ghanaian descent who uses her body as a “living paintbrush”, the starting point for much of her work. Through arts, she addresses feminism, colonialism, religion and spirituality.</strong></p>\n<p><strong>As a descendant of Ghanaian parents, Adelaide Damoah has always had a particular interest in colonial history and knew that eventually she would explore the relationship between Ghana and Britain in her work. In 2016, she traveled to Ghana looking for old photographs of her family &nbsp;from the colonial era: it was at this time that she found a very powerful image of her maternal great grandmother which was taken in 1920, when Ghana was the British Gold Coast.</strong></p>\n<p><strong>In conversation with Adelaide, we discussed her relationship with her body and how she uses arts to discuss feminism, colonialism, racism and identities.</strong></p>\n<p><strong>Key: Rachel Cargle’s Ted Talk: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”</strong></p>",
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key:"content": string:"<p><strong>A We Belong 12. epizódjában visszatérünk az Egyesült Királyságba, hogy találkozzunk Adelaide Damoah RWA FRSA-val, egy brit festőművésszel és performanszművésszel, aki ghánai származású, és a testét „élő ecsetként” használja, ami sok munkájának kiindulópontja. Művészetén keresztül a feminizmust, a kolonializmust, a vallást és a spiritualitást tárgyalja.</strong></p>\n<p><strong>Ghánai szülők leszármazottjaként Adelaide Damoah mindig is különös érdeklődést mutatott a koloniális történelem iránt, és tudta, hogy végül felfedezi a Ghána és Nagy-Britannia közötti kapcsolatot a munkájában. 2016-ban Ghánába utazott, hogy régi fényképeket keressen a családjáról a koloniális korszakból: ekkor talált egy nagyon erőteljes képet az anyai ükanyjáról, amely 1920-ban készült, amikor Ghána a Brit Aranypart volt.</strong></p>\n<p><strong>Adelaide-dal folytatott beszélgetésünk során megvitattuk a testével való kapcsolatát és azt, hogyan használja a művészetet a feminizmus, a kolonializmus, a rasszizmus és az identitások megvitatására.</strong></p>\n<p><strong>Kulcs: Rachel Cargle Ted Talk-ja: “A rasszizmus tehetetlenségével való szembenézés: Ősi felelősségvállalás”</strong></p>",
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key:"title": string:"#12 I Storbritannien med Adelaide Damoah: Dekolonisering av konst och feminism",
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key:"content": string:"<p><strong>För avsnitt #12 av We Belong är vi tillbaka i Storbritannien för att träffa Adelaide Damoah RWA FRSA, en brittisk målare och performancekonstnär av ghanansk härkomst som använder sin kropp som en “levande pensel”, utgångspunkten för mycket av hennes arbete. Genom konsten tar hon upp feminism, kolonialism, religion och spiritualitet.</strong></p>\n<p><strong>Som ättling till ghananska föräldrar har Adelaide Damoah alltid haft ett särskilt intresse för kolonialhistoria och visste att hon så småningom skulle utforska relationen mellan Ghana och Storbritannien i sitt arbete. År 2016 reste hon till Ghana för att leta efter gamla fotografier av sin familj &nbsp;från kolonialtiden: det var vid denna tidpunkt som hon fann en mycket kraftfull bild av sin mormors mormor som togs 1920, när Ghana var den brittiska Guldkusten.</strong></p>\n<p><strong>I samtal med Adelaide diskuterade vi hennes relation till sin kropp och hur hon använder konsten för att diskutera feminism, kolonialism, rasism och identiteter.</strong></p>\n<p><strong>Nyckel: Rachel Cargles Ted Talk: “Att komma till rätta med rasismens tröghet: Ancestral Accountability”</strong></p>",
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key:"summary": string:"För avsnitt #12 av We Belong är vi tillbaka i Storbritannien för att träffa Adelaide Damoah RWA FRSA, en brittisk målare och performancekonstnär av ghanansk härkomst som använder sin kropp som en “levande pensel”, utgångspunkten för mycket av hennes arbete. Genom konsten tar hon upp feminism, kolonialism, religion och spiritualitet. \nSom ättling till ghananska föräldrar har Adelaide Damoah alltid haft ett särskilt intresse för kolonialhistoria och visste att hon så småningom skulle utforska relationen mellan Ghana och Storbritannien i sitt arbete. År 2016 reste hon till Ghana för att leta efter gamla fotografier av sin familj från kolonialtiden: det var vid denna tidpunkt som hon fann en mycket kraftfull bild av sin mormors mor som togs 1920, när Ghana var den brittiska Guldkusten. \nI samtal med Adelaide diskuterade vi hennes relation till sin kropp och hur hon använder konsten för att diskutera feminism, kolonialism, rasism och identiteter. \nNyckel: Rachel Cargles Ted Talk: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”",
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key:"title": string:"#12 W Wielkiej Brytanii z Adelaide Damoah: Dekolonizacja sztuki i feminizmu",
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key:"content": string:"<p><strong>Dla odcinka #12 We Belong, wracamy do Wielkiej Brytanii, aby spotkać Adelaide Damoah RWA FRSA, brytyjską malarkę i artystkę performatywną o ghańskim pochodzeniu, która używa swojego ciała jako „żywej pędzla”, punktu wyjścia dla wielu swoich prac. Poprzez sztukę porusza tematy feminizmu, kolonializmu, religii i duchowości.</strong></p>\n<p><strong>Jako potomkini ghańskich rodziców, Adelaide Damoah zawsze miała szczególne zainteresowanie historią kolonialną i wiedziała, że w końcu zbada relację między Ghaną a Wielką Brytanią w swojej twórczości. W 2016 roku podróżowała do Ghany w poszukiwaniu starych fotografii swojej rodziny z epoki kolonialnej: to właśnie wtedy znalazła bardzo potężny obraz swojej prababci ze strony matki, który został zrobiony w 1920 roku, kiedy Ghana była Brytyjskim Wybrzeżem Złotym.</strong></p>\n<p><strong>W rozmowie z Adelaide omówiliśmy jej relację z jej ciałem i jak wykorzystuje sztukę do dyskusji na temat feminizmu, kolonializmu, rasizmu i tożsamości.</strong></p>\n<p><strong>Klucz: Ted Talk Rachel Cargle: „Zgoda na bezwład rasizmu: Odpowiedzialność przodków”</strong></p>",
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key:"summary": string:"Dla odcinka #12 We Belong, wracamy do Wielkiej Brytanii, aby spotkać Adelaide Damoah RWA FRSA, brytyjską malarkę i artystkę performatywną o ghańskim pochodzeniu, która używa swojego ciała jako „żywej pędzla”, punktu wyjścia dla wielu swoich prac. Poprzez sztukę porusza kwestie feminizmu, kolonializmu, religii i duchowości. \nJako potomkini ghańskich rodziców, Adelaide Damoah zawsze miała szczególne zainteresowanie historią kolonialną i wiedziała, że w końcu zbada relację między Ghaną a Wielką Brytanią w swojej twórczości. W 2016 roku podróżowała do Ghany w poszukiwaniu starych fotografii swojej rodziny z epoki kolonialnej: w tym czasie znalazła bardzo potężny obraz swojej prababci, który został zrobiony w 1920 roku, kiedy Ghana była Brytyjskim Wybrzeżem Złota. \nW rozmowie z Adelaide omówiłyśmy jej relację z jej ciałem i jak używa sztuki do dyskusji na temat feminizmu, kolonializmu, rasizmu i tożsamości. \nKlucz: Ted Talk Rachel Cargle: „Zgoda na bezwład rasizmu: Odpowiedzialność przodków”",
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key:"title": string:"#12 U Ujedinjenom Kraljevstvu s Adelaide Damoah: Dekolonizacija umjetnosti i feminizma",
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key:"content": string:"<p><strong>Za epizodu #12 serije We Belong, vraćamo se u Veliku Britaniju kako bismo upoznali Adelaide Damoah RWA FRSA, britansku slikaricu i izvođačku umjetnicu ganskog podrijetla koja koristi svoje tijelo kao “živu četkicu”, polazište za veći dio svog rada. Kroz umjetnost se bavi feminizmom, kolonijalizmom, religijom i duhovnošću.</strong></p>\n<p><strong>Kao potomak ganskih roditelja, Adelaide Damoah oduvijek je imala poseban interes za kolonijalnu povijest i znala je da će na kraju istražiti odnos između Gane i Britanije u svom radu. Godine 2016. putovala je u Ganu tražeći stare fotografije svoje obitelji &nbsp;iz kolonijalne ere: u to vrijeme pronašla je vrlo snažnu sliku svoje majčine bake koja je snimljena 1920. godine, kada je Gana bila Britanska Zlatna Obala.</strong></p>\n<p><strong>U razgovoru s Adelaide, razgovarali smo o njenom odnosu s tijelom i kako koristi umjetnost za raspravu o feminizmu, kolonijalizmu, rasizmu i identitetima.</strong></p>\n<p><strong>Ključ: Ted Talk Rachel Cargle: “Suočavanje s inertijom rasizma: Predaka odgovornost”</strong></p>",
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key:"summary": string:"Za epizodu #12 serije We Belong, vraćamo se u Veliku Britaniju kako bismo upoznali Adelaide Damoah RWA FRSA, britansku slikaricu i performans umjetnicu ganskog podrijetla koja koristi svoje tijelo kao “živu četkicu”, polazišnu točku za veći dio svog rada. Kroz umjetnost se bavi feminizmom, kolonijalizmom, religijom i duhovnošću. \nKao potomak ganskih roditelja, Adelaide Damoah oduvijek je imala poseban interes za kolonijalnu povijest i znala je da će na kraju istražiti odnos između Gane i Britanije u svom radu. Godine 2016. putovala je u Ganu tražeći stare fotografije svoje obitelji iz kolonijalne ere: u to vrijeme pronašla je vrlo snažnu sliku svoje majčine bake koja je snimljena 1920. godine, kada je Gana bila Britanska Zlatna Obala. \nU razgovoru s Adelaide, razgovarali smo o njenom odnosu s tijelom i kako koristi umjetnost za raspravu o feminizmu, kolonijalizmu, rasizmu i identitetima. \nKljuč: Ted Talk Rachel Cargle: “Suočavanje s inertijom rasizma: Ancestralna odgovornost”",
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key:"title": string:"#12 V UK s Adelaide Damoah: Dekolonizácia umenia a feminismu",
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key:"content": string:"<p><strong>Pre epizódu #12 podcastu We Belong sme späť vo Veľkej Británii, aby sme sa stretli s Adelaide Damoah RWA FRSA, britskou maliarkou a performančnou umelkyňou ghanského pôvodu, ktorá používa svoje telo ako “živý štetec”, východiskový bod pre väčšinu jej práce. Prostredníctvom umenia sa zaoberá feminismom, kolonializmom, náboženstvom a spiritualitou.</strong></p>\n<p><strong>Ako potomok ghanských rodičov mala Adelaide Damoah vždy osobitný záujem o koloniálnu históriu a vedela, že nakoniec preskúma vzťah medzi Ghanou a Britániou vo svojej práci. V roku 2016 cestovala do Ghany, aby hľadala staré fotografie svojej rodiny z koloniálnej éry: práve vtedy našla veľmi silný obraz svojej materskej prababky, ktorý bol zachytený v roku 1920, keď bola Ghana britským Zlatým pobrežím.</strong></p>\n<p><strong>V rozhovore s Adelaide sme diskutovali o jej vzťahu k jej telu a o tom, ako používa umenie na diskusiu o feminizme, kolonializme, rasizme a identitách.</strong></p>\n<p><strong>Kľúč: Ted Talk Rachel Cargle: “Dohodnúť sa s nečinnosťou rasizmu: Zodpovednosť predkov”</strong></p>",
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key:"summary": string:"Pre epizódu #12 relácie We Belong sme späť vo Veľkej Británii, aby sme sa stretli s Adelaide Damoah RWA FRSA, britskou maliarkou a performančnou umelkyňou ghanského pôvodu, ktorá používa svoje telo ako „živý štetec“, východiskový bod pre väčšinu svojej práce. Prostredníctvom umenia sa zaoberá feminismom, kolonializmom, náboženstvom a spiritualitou. \nAko potomok ghanských rodičov mala Adelaide Damoah vždy osobitný záujem o koloniálnu históriu a vedela, že nakoniec preskúma vzťah medzi Ghanou a Britániou vo svojej práci. V roku 2016 cestovala do Ghany, aby hľadala staré fotografie svojej rodiny z koloniálnej éry: práve vtedy našla veľmi silný obraz svojej materskej prababky, ktorý bol zachytený v roku 1920, keď bola Ghana britským Zlatým pobrežím. \nV rozhovore s Adelaide sme diskutovali o jej vzťahu k svojmu telu a o tom, ako používa umenie na diskusiu o feminizme, kolonializme, rasizme a identitách. \nKľúč: Ted Talk Rachel Cargle: „Prijatie zodpovednosti za nečinnosť rasizmu: Ancestrálna zodpovednosť“",
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key:"title": string:"#12 Nel Regno Unito con Adelaide Damoah: Decolonizzare le Arti e il Femminismo",
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key:"content": string:"<p><strong>Per l'episodio #12 di We Belong, siamo tornati nel Regno Unito per incontrare Adelaide Damoah RWA FRSA, una pittrice britannica e artista di performance di origine ghanese che utilizza il suo corpo come un “pennello vivente”, il punto di partenza per gran parte del suo lavoro. Attraverso l'arte, affronta il femminismo, il colonialismo, la religione e la spiritualità.</strong></p>\n<p><strong>Essendo una discendente di genitori ghanesi, Adelaide Damoah ha sempre avuto un particolare interesse per la storia coloniale e sapeva che alla fine avrebbe esplorato la relazione tra il Ghana e la Gran Bretagna nel suo lavoro. Nel 2016, è tornata in Ghana alla ricerca di vecchie fotografie della sua famiglia &nbsp;dell'era coloniale: è stato in quel momento che ha trovato un'immagine molto potente della sua bisnonna materna scattata nel 1920, quando il Ghana era la Costa d'Oro britannica.</strong></p>\n<p><strong>In conversazione con Adelaide, abbiamo discusso della sua relazione con il suo corpo e di come utilizza l'arte per discutere di femminismo, colonialismo, razzismo e identità.</strong></p>\n<p><strong>Chiave: il Ted Talk di Rachel Cargle: “Venire a patti con l'inerzia del razzismo: responsabilità ancestrale”</strong></p>",
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key:"summary": string:"Per l'episodio #12 di We Belong, siamo tornati nel Regno Unito per incontrare Adelaide Damoah RWA FRSA, un'artista britannica e performer di origine ghanese che utilizza il suo corpo come un “pennello vivente”, il punto di partenza per gran parte del suo lavoro. Attraverso l'arte, affronta il femminismo, il colonialismo, la religione e la spiritualità. \nEssendo una discendente di genitori ghanesi, Adelaide Damoah ha sempre avuto un particolare interesse per la storia coloniale e sapeva che alla fine avrebbe esplorato la relazione tra Ghana e Gran Bretagna nel suo lavoro. Nel 2016, è andata in Ghana alla ricerca di vecchie fotografie della sua famiglia dell'era coloniale: è stato in questo periodo che ha trovato un'immagine molto potente della sua bisnonna materna scattata nel 1920, quando il Ghana era la Costa d'Oro britannica. \nIn conversazione con Adelaide, abbiamo discusso della sua relazione con il suo corpo e di come utilizzi l'arte per discutere di femminismo, colonialismo, razzismo e identità. \nChiave: Il Ted Talk di Rachel Cargle: “Coming to Terms with Racism’s Inertia: Ancestral Accountability”",
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