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This article argues for a reframing of the curriculum within the academy in order to make the academy more inclusive and more accessible to a diverse student body. Reframing the curriculum is seen as an aspect of decolonizing the university. Many questions emerge from this argument to include the following: What curriculum informs the education contemporary learners receive and how do they apply this to their academic and work lives? How do educators re-fashion their work as educators and also as learners to create more relevant understandings of what it means to be human and to determine what is human work? What are the limits and possibilities of visions of and counter and anti-visions to contemporary education? How do educators and learners challenge colonizing and imperializing relations within the academy and that influence the academy and its learners? How does curriculum become inclusive through teaching, research and graduate training and how does it make space for Indigeneity and multi-centric ways of knowing? How do we frame an inclusive, anti-racist, and anti-colonial global future and what is the work that is required to collectively arrive at that future? These complex questions, stimulated by my decolonizing curriculum work and experience, are engaged through the body of this article.

When the #RhodesMustFall movement called for the decolonization of the university curriculum in South Africa in 2015, academics were soon under pressure to begin to explore various ways to go about beginning such a complex process. One possible approach to this would be to explore whether Afrofuturism could practically liberate the mind towards addressing any forms of cognitive injustice that students may experience as a result of a colonized curriculum, and in what ways it might do so. A literature review has found a paucity of empirical research exploring ways in which a film that employs Afrofuturism could be used to advance the decolonization project in teaching and learning practices in South African higher education. This article aims to contribute to this discourse through a case study which attempted to uncover the attitudes and emotions of a group of students who, after viewing the film Black Panther, which employs Afrofuturism, were or were not, able to make sense of and/or re-imagine their identities and relationships with others in the context of Afrofuturism, and to what extent. The article thus reports on a case study at a university of technology (UoT) in South Africa in which the film was used to attempt to advance the idea of Afrofuturism in the university curriculum and to uncover the lived experiences, social realities and ideas of self/identity of particular students from marginalized communities.

I dwell here on my own experience of working at Cambridge University for methodological reasons. Anthropologists could make more of the humanities tradition of going deeply into particular personalities, places, events and relations in search of wider truths. Ethnography exemplifies this, but the discipline's assimilation into the social sciences and academic bureaucracy counteract this impulse. I draw selectively on my anthropological education and academic work to interrogate the political relationship between western societies and their former colonies. Cambridge University is reactionary for sure, but its decentralized organization makes room for a minority sometimes to change the world. The historical example of the abolition movement illustrates this. Anthropology ought to be a way of rethinking the world, and I conclude with how and why I introduced students to the anti-colonial intellectuals who did just that when they led the liberation (not 'decolonization') movements that overthrew European empires.

Knowledge producers of Romani ethnicity, like the people to whom they belong, both inside and outside normative frameworks governing development modes and the transmission of knowledge, are hampered profoundly by three fundamental ethical credentials of being: the power to say, the power to act, and the power to collect their own lives into a comprehensible and acceptable story. Due to an historical process of epistemological alienation which appeared with the Enlightenment, it has been impossible for Romani subjects to have as their duty, their responsibility to the world, the power to act. Through a "Foucauldian archaeology" on Romani iconography in the Louvre and Prado collections, and using as a methodologicalpresupposition historical and epistemological decolonial thought, this paper will try to advance the understanding of the genealogy of abnormativity by referring to the study of the Romani motifin the arts. The analysis of the pictographic treatment allows us to understand how those "topoi" responded to religious, ethical-moral, and geopolitical imperatives of majority society in a dialectic that oscillates between formal presence and ontological absence from the fifteenth to nineteenth centuries. The arrival of the Roma in fifteenth-century Europe, in full epistemological caesura, between a dying hermeneutic age and the age of the nascent cogito, conditions a radical change in the consideration of Romani alterity. Indeed, this alteration of the Romani alterity experience by mainstream societies constitutes a paradigmatic example of epistemicidiary structural dynamics and idiomicidiaries born of the slime of "historical modernity".

This article has grown out of ongoing conversations, critical reflections and practical attempts at decolonizing anthropology at Cambridge. We begin with a brief account of recent efforts to decolonize the curriculum in our department. We then consider a few key thematic debates relating to the project of decolonizing the curriculum. First, we interrogate some consequences of how the anthropological 'canon' is framed, taught and approached. Second, we ask how decolonizing the curriculum might subtend a broader project towards epistemic justice in the discipline and the university at large. Third, we reflect on the necessity of locating ethics and methodology at the heart of ongoing conversations about anthropology and decoloniality. We conclude by reflecting on the affective tensions that have precipitated out of debate about the 'uncomfortable' relationship between anthropologists as intellectual producers at the 'cutting edge' of the canon, and the discipline's rife colonial residues.

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Abstract
A public debate about the social status of women accompanied the emergence of mass politics in Morocco after World War II. The Arabic-language press argued that true sovereignty required the liberation of the kingdom's female citizens from the shackles of tradition. Taking inspiration from developments across the decolonizing world, nationalists promoted women's "rights and duties" to build a "new Morocco" beyond the constraints of French colonialism. State formation became dependent on a profound social transformation. Following independence in 1956, however, King Mohammed V gradually replaced the public conversation about female emancipation with a narrative that began and ended with the royal palace, thereby constructing a unique version of state feminism that persists today.

The violence in Mexico is frequently signified in documentary images by the visibility of the corpse, which abstracts the social conditions of disenfranchisement and vulnerability parsed unevenly on the basis of gender and sexuality. Specifically with respect to missing and murdered women across the Americas, the corpse frequently comes to signify abstract violence itself rather than the social conditions of disenfranchisement and vulnerability that women and queer and trans people face daily. Through a reading of installations and interventions by the Mexican artist Teresa Margolles, this article seeks to address how ethical encounters might be summoned through proximate, intimate encounters with the very absence of the disappeared body, represented through bodily fluids and fragmentary remains. The article argues that such aesthetic experiments point to decolonizing forms of intimacy that entail new forms of relationality, resisting a socially confined "rights-based" subject. Instead of structures of recognition, the decorporealized matter present in Margolles's work both represents the biopolitical regulation of life and continues to impress themselves on the living from another social space. Finally, the article reflects on Margolles's invitation to participate in performing her sculptures and on the circuits of debt, remittances, and gifts proffered by such intimate engagements with bodily and nonhuman life.

This article explores what it means to decolonize feminism in the university today. Pushing against the idea that feminism in the university is disengaged from broader struggles, the article suggests a complex relationship between feminism as a knowledge project and as a political one. While feminism has had a long-standing decolonizing imperative within the university, equally challenging has been the decolonization of feminism. The #MeToo era has foregrounded the universalizing horizon of feminism, posing new challenges for this project. Arguing for a more complex understanding of generations and the politics of location in these debates, the article draws on a recent and not so recent feminist archive, such as the articulation of ideas of intersectionality and the ways in which multiple feminisms have been understood, in order to explore decolonizing feminism today.

Annette K. Joseph-Gabriel's Reimagining Liberation: How Black Women Transformed Citizenship in the French Empire (2020) models the critical possibilities of attending to the overlooked records of Black women's political imaginations. This discussion essay explores what happens if we extend Joseph-Gabriel's recuperative method past the 1960s and into the early independence era. No one would call the Senegalese novelist Mariama Bâ overlooked, and yet Bâ herself has often been absent from her own reception history. One understudied archive for Bâ is a biography of the novelist written by her daughter Mame Coumba Ndiaye. Harmonizing with Joseph-Gabriel's notion of decolonial citizenship, this essay asks how the stakes of Bâ's work shift if we read her alongside Ndiaye's overlooked text. While Black women of Bâ's generation may have been more likely to be widely recognized than those explored in Reimagining Liberation, their political imaginations have sometimes been misconstrued as nationalist in ways that obscure their articulation through the transnational feminist networks that sustained them.

Examines development discourse & educational discourse as components of global economization, focusing on how economic interests dominate the US system of mandatory education. The close association of education & international development with progress is discussed. The origins of development discourse in medieval Europe as part of the political strategy of economization, which formally separated economics from society & culture, is described. It is shown how economization sees scarcity as necessary to human existence, transforming basic needs into unlimited wants & destroying the heterogeneity of traditional societies in Europe & its colonies. It is argued that the imposition of development discourse & economization on colonized peoples is similar to the dominance of economic concerns in US public schools. It is hoped that, by understanding the link between current educational discourse & this economic mode of human understanding & action, educators will band together to de-economize the public schools &, thus, decolonize society. T. Arnold