Pluriversal Dreams

Researching Pluriversal Cosmovisions, Night Visions, Decolonial Aspirations in Burundian-Congolese Bordelands

Research Streams

“Many words are walked in the world. Many worlds are made. Many worlds make us. There are words and worlds that are lies and injustices. There are words and worlds that are truthful and true. In the world of the powerful there is room only for the big and their helpers. In the world we want, everybody fits. The world we want is a world in which many worlds fit.”

Ejército Zapatista de Liberación Nacional, “The Fourth Declaration of the Lacandón Jungle”

Entrevista a Beatriz Aurora

Le livret digital « Capturing Fluid Borders » cherche à approfondir la réflexion en cours sur les notions de frontières fluides dans la région des Grands Lacs. A partir des textes de grands penseurs sur l’identité et la discrimination tels que Gloria Anzaldua, Aimé Césaire, Frantz Fanon et James Baldwin, nous sommes immergés, nous avons repensé et continué à explorer les thèmes du projet, en interrogeant les frontières, les identités, l’appartenance et l’exclusion, tout en mobilisant des histoires personnelles pour créer les textes poétiques, humoristiques, arts graphiques présentés dans le livret.

“When we become disoriented from that sense of space we fall in danger of becoming psychotic. I question this – to be disoriented in space is the “normal” way of being for us mestizas living in the borderlands. It is the same way of coping with the accelerated pace of this complex, interdependent, and multicultural planet. To be disoriented in space is to be en neplanta. To be disoriented in space is to experience bouts of dissociation of identity, identity breakdowns and buildups. The border is a constant neplanta state and it is an analog of the planet. This is why the borderline is a persistent methaphor in crossings, and hybrid imagery. […] Border artists [have created for longer counter art that engages] with multi-subjectivity, split subjectivity, and refusal-to-be-split themes.” – Gloria Anzaldua, 1993

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