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Hello, everybody. Good morning. My name is Omar, and I'm going to be chair today for this session. So I'm going to read the acknowledgment

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of country, please. So on behalf of everyone, gather I pay respect to the spirit of country. Here in Norm, where we are meeting, I acknowledged the past and present coly nation ruined the voyage room as the sovereign people here the cultural. Here a knowledge holders who maintain and promote the norm aboriginal law, customs, and custodianship responsibilities for country

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and the people. That country continues to sustain generation after generation into the future. For all of us I recognize important contribution that first nation thinkers have made to sociology, including challenges to our dominant ways of thinking.

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We thank all first nations delegates in the room, and with it keeps

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so. thank you for coming here. We're going to start in this order that we have here. We will start with Mr. Mrs. Vanderbrook

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memories of Congo, an autonographic exploration of how my grandparents generation in my Belgian family negotiate colonial memories

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using photo elicitation. So it's Vanderb.

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Please go

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15 years.

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Good morning. Everyone. My name is Lukavan Lebuch. I'm currently studying anthropology at the Australian National University, and last year I wrote this thesis at the University of Antarp. Before I start I would like to express my gratitude to the International Sociological Association for having me and for the grant I received from them. I'm also grateful to the fire scholarships of Flanders for that grant which allows me to study here in Australia, and to be here today.

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And last, but not least, thank you. To my Supervisor Pfizer, Paolo Faveiro, and Co-assessor Luke Powell, who is here today in a session. I think Paulo may join later as well, so I have learnt a lot from them. And yeah, thank you for that. while presenting this research today. I also hold in memory my grandfather and his brother, who participated in this research. And who sadly passed away during my studies here in the past year.

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So my great-grandfather was a Colonial, and he worked in Congo for the colonial Belgian Government from 1,924 until 1,955. My grandfather and his siblings spent a part of their youth in colonial Belgian Congo. So as children From what I picked up from conversations over the past years, these years of their lives are remembered, remembered fondly, however, as a grandchild and a part of a younger generation. I have always felt a bit skeptical about this

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as a white Belgian with colonist ancestors. I feel a sense of responsibility to learn more about my colonial family history, and how it relates to our present.

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This micro-level approach is important. Since an individual's reactions to their nations or family's colonial past influence, their attitudes and behavior towards the formerly colonized, and their descendants.

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Rikata and Volpato noted that colonial pasts are one of the main sources of racism, xenophobia, and intolerance towards Africans, Asians, and indigenous peoples, and they added that the way this violent past is collectively remembered today is therefore a crucial factor for understanding contemporary instances of intergroup conflict, prejudice, stigmatization, and racism.

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So therefore I decided to dedicate my thesis to reaching a deeper understanding of my family's memories and of their past in colonial Belgian Congo. So, more specifically, I focus on how they narrate and make sense of their relationships with their Congolese domestic servants, and in extension with other Congolese.

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and how this leads to a negotiation of collective memories of Belgium's colonial past in Congo. My purpose was not to look for truth or the right way to remember the past, but to learn more about how these family members think, feel, and talk about this period in their life, about Belgian colonialism, and about what it means to them today in our current society.

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So in 2,010 Likata and Clan found 2 different views on Belgium's colonial past in Congo one is a paternalistic narrative of development and civilization by the Belgians to the advantage of the Congolese, while the other view pictures, systematic human rights, violations, and atrocities for the benefit of an exploitative king and nation.

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So collective memory connects individual memories, and offers a frame within which they can be remembered and understood, while, conversely, individual memories can shed light on collective memories and their meanings. And this is a method used in auto ethnography, where personal accounts of the researcher are studied to lead to a better understanding of the broader society. And this is sort of what I did in my study.

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So individuals or groups define their collective identity through the construction of memory. Memories of the past are constantly reconstructed, depending on contemporary needs and objectives, in order to maintain a positive self-image in the present, and with future aspirations in mind when memories of a collective's dark past threaten a positive social identity.

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Collective guilt is an an emotion that members of a perpetrator group which harmed or harms members of another social group might feel when they are reminded or accused of these wrongdoings. It's not necessary for an individual of the perpetrator group to have been involved, involved themselves in the harming. In order to feel this collective guilt.

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the impact of mistreatments like colonization, can be felt for generations after, and by sharing membership of the same social group. Present-day members of the perpetrator group may feel guilt by association.

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and members of the perpetrator group will thus often use strategies to legitimize their group's damaging actions in an attempt to maintain a positive group image and alleviate feelings of guilt

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for the Belgian context specifically Dakota, and identify 4 strategies that Belgians use. These strategies are the idea of the benevolence of Belgian colonial colonials. The idea that the past cannot be judged by contemporary moral standard.

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The idea that the Colonials are not representative for all Belgian people, and I would add here the argument that not all Colonials were the same. Lastly, the fourth strategy is to acknowledge the past immoral behavior, to accept feelings of collective guilt, and to seek reparation.

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however, according to Bruknut. This is another strategy used by European nations with colonial pasts to redeem and sustain a positive self-image. So here the collective memories of a negative colonial past serve as the anti-thesis of the identity that these nations and people wish to construct today, and their positive image is created by distancing themselves from these past wrongdoings, and presenting these as incompatible with their present day identity.

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The female gaze are aesthetic and social conventions of family photos which often uphold the hegemonic ideology of a happy family unit, free of conflict, for example, by symbolizing togetherness

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through spatial proximity of family members in the photo. Another way to analyze the female gaze is by not only looking at the how, how the self is represented, but also how otherness is represented. One way of dealing with diversity in family photos is by creating the fantasy of sameness and by fabricating a sense of familiarity.

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Collard, found in that during the Belgian era, photography was used for reproachment. It needed to promote the Id of an equal Belgian Congolese family. This was meant to ease interracial tensions and to assure Belgium's Belgium's domination over the Congo.

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The 6 respondents of this research are colored in orange. Here they were aged between 80 and 88. All names in this presentation will be pseudonyms. And I interviewed these people in duos and twice each. So 6 interviews in total

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oral history was central. I did 6 photoalicitation interviews, using photos in interviews can help to facilitate the discussion and negotiation of painful or controversial memories such as a colonial past.

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The photos I selected were used as visual data for visual analysis, and also as prompt in these interviews.

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then to better understand and explain the patterns or relationships in and between the photos and interviews and their underlying underlying meanings, I used critical discourse analysis.

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So from the very first interview this first follow became a main interest in this research. It was immediately very clear that this photo had become controversial in the family.

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In this photo you can see my great grandparents posing outside their fourth home in den Elizabethville, now Lungbashi. This was between 1,953, and 1,955, and they're together with 7 of their 9 children.

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Behind a family is a window, and behind that window we can see a figure standing in the less well-lit interior of the home.

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This person is Samuel P. You don't even the family's boy. At the time a boy in Colonial Belgium, Congo was usually an adult Congolese man who served a Belgian family in their home as a domestic helper, doing chores like washing, cooking, and taking care of Belgian children. the term boy illustrates the paternalistic attitudes of Belgian colonials.

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My respondents mentioned a few times that their parents did not allow them to call them boys. They had to call them by their names to show some respect. but during the interviews they did use the term to refer to them. So I will use the term boy in this discussion as well.

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so yeah, as you can see, Samuel is standing behind the family as if joining the group photo, but he's separated by a wall and a window, so one could interpret this. The boy's positioning relative to the family, and the difference in lighting as signs of distance between him and the family, despite being included in the picture.

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and this is also what happens in 2,020, a museum organized an exhibition for the occasion of the sixtieth birthday of the Congolese independence, and just like other other former colonists and my children, my family was contacted to share photos and stories which they did. And this photo was deemed by a museum staff member as quote interesting because it shows how much the lives of Belgium and Congolese converged, yet a certain divide always remained.

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and they plan to support. They plan to support the image in the exhibition with the statement, with the whole family in the photo of only our shadow has the same color, and this resulted in negative feedback from the family.

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because To them his presence proved that he was allowed to join in the photo, that he liked being there, and even that he was considered part of the family. So it's very clear that the museum staff and my family members interpreted the photo and what it says about the relationship with the Congolese very differently.

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 So by stating that Samuel's presence shows his inclusion in the family. My respondents appropriate the familiar gaze to create a fantasy of sameness and togetherness. Additionally, my correspondence narratives of having a family-like bond with their boys fits with Collair's theory of the promotion of a Belgian Congolese family.

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When I'm more critical of reading question these narratives. My respondents use different arguments to legitimize social differentiation as well as sharing narratives of their good relationship with their boys and other Congolese.

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oops.

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Yeah, in this photo, Samuel, the boy is again standing in the back of the photo wearing his clothes.

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 here my family members made similar arguments as they did with the previous photo, but they wouldn't say that. It means that Samuel was considered part of the family. So I want to talk a little bit about the changes to the arguments of female feminiality after I did some more probing.

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so I use the probing. my! The probe I used was addressing how the boy was never included in group pictures with them in the same way that they were. He would never be positions, positions on the same spatial level as them, and he would usually be working, wearing working clothes instead of being dressed up like the family members.

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And the inclusion of the boys in our group. Photos of our family is also rare, and there were no group photos where the boys and or their families were intentionally posing together with my family positioned and dressed equally

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so. Eventually, despite admitting that the boys were not really part of the family, my family members stated that there was a serious bond. We cared about each other. Many anecdotes were shared throughout the interviews to illustrate how they were good to their boys and other Congolese people, and that they had good relationships with them.

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A thesis by Emma Ves Kagan in 2,017, where Where? Children of ex-colonials were interviewed, found that the urge to show that their boys had a good life, and that they had a positive contact with Congolese is a common defense mechanism to prove how their family did not participate in racism or exploitation.

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This is also in accordance with the strategy mentioned before, where people exempt their family from a negative collective memory by creating family memories where the behavior of their ancestors is portrayed as but benevolent.

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The interviews further also revealed how hegemonic colonial discourse at the time influenced the nature of my respondents, contact with their boys as a child, and how they are still used now as a strategy to validate it.

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Skip a bit.

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 The interviews with my family members illustrate how, looking at personal family photography can result in a negotiation of not only family memories, but also discourses in collective memory of Belgium's colonial past.

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while Likata and Glenn found an intergenerational difference in their quantitative research. There was an intergenerational disagreement within my family ranging from pro-colonial to anti-colonial.

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and it shows how controversial this past is, not only within society at large or between generations, but also within the same generation, and even within one family.

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the views of Belgians on our colonial past are clearly more complex than a quantitative research can capture. especially when family histories and family identities are involved.

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So I saw how my family tried to navigate their personal memories within current collective memories, through looking at family photos and negotiating their meaning. When the initial narratives of a Congolese Belgian family were questioned on the basis of composition of the photo.

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they resorted to using strategies named by Lakata and Clan to deal with collective guilt. Conversations like these show how problematic, hegemonic, colonial discourse still persist, but also how they are being negotiated and altered.

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Sorry for my language. This was a conclusion. Thank you very much.

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Thank you, Luca. I hope

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most clubs this one.

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So now we are going to have

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 Pre-recorded

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the lecture by Mr. Listero and Sonini.

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They are from South America and I and Latin America. So when I read it in Spanish

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in the so

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what is

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I just clicked here?

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I mean.

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shorter like this.

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Have this trouble

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the

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what to do.

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Never had this something before.

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Well, it's searching for the video.

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Let me ask you, yeah, I have a proposal that to to miss time

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it's a pre-recorded. We can move it in the order, if you agree with me.

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so we can now have. It's Mr. Bucket going.

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but you hear them are in the zoom

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neither, but but a coin. They're not at the room. Okay.

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there's no more presenters. Oh, I got it. I got the point.

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But well, in order to to

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have a yeah.

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you need to have this window open. Ok, but maybe we can discuss the work of Luca

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in between. So if you have any question or comments for Luca, please go ahead.

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Yes, yes, please, if you can take that mic for yeah.

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just for the people that are in that zoom can. I have a question regarding the photos of Samuel. I was wondering when you say like, why not any photos of him with

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the family to show that he was, you know, assimilated with the family gaze and how they sort of negotiated, for there any other photos of Samuel, perhaps with his own family, to contrast with

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photos of Samuel with your family, or were there none taken of this?

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Yeah, I can do that.

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yeah. There were definitely photos of several, and there were also other boys as well throughout their time there. There were photos of them individually, and also with their families, because they would live in small houses outside of the Belgian family's house.

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These photos. I'm not sure if they're necessarily meant to contrast but These photos they would usually be wearing nice clothes as well, or sometimes they're working close as well. but sometimes they would also wear a nice clothing. and it was like a proper port portraits.

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But My respondents told me that they were meant as a souvenir, according to their words, and that they were also meant to be giving to the voice families as well.

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So but yeah, they. I think my family mostly kept them as a sort of souvenir.

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That answer your question.

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Thank you for

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 I was curious about the way this is taking you now. But I being in Australia, I've been seeing the possibility of

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this kind of work.

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 yeah, I think if you mean by auto and the Graphic that I'm doing my family.

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yeah, my suggestions are definitely also for future research to focus on families of Congolese or people with companies ancestry in Belgium and also in Congo. I think it's definitely very important to look at their perspectives as well. and yeah, I would potentially be interested in this as well. And I think, in terms of other context in other countries.

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Yeah, definitely, similar research could, in my opinion, should be done. I think it's very important to look at.

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Yeah. Families, histories in like like colonial colonizer families. to it. It's also like this, this topic is kind of upward a lot of the time. There's a lot of controversy in Belgium around this. So it's very hard to talk about this. But I wanted to do this research

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kind of yeah, to not stop having this conversation. And I think this is very important in other contexts as well. I think in Australia, specifically, it might be a bit difficult. I'm not super familiar with indigenous culture, but I know that there is so

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difficulty. I guess some sensitivity was showing pictures of indigenous ancestors who have passed away. So I'm I'm not sure how that would work. But yeah, I think this kind of work is very important to doing many more complex. I hope that answer

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any other comment or question about Lucas's work.

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Nobody else. Well, I'm me myself. I have someone for you, because it's quite interesting. This contrast you you made in between what the positive and negative view of colonialism.

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and

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we had Latin America, even though we have a more time being free countries and that stuff, it remains this kind of feeling. Sometimes when we speak with Spanish people they like well, we come there to civilize you and blah blah blah, and if you learn history from the Mexican side

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mit Ctl. And we were civilized nations in the Aztec May, and so on, and they come and cut off everything. So it's quite interesting to have

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an approach to both narratives in order to

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how can I say

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to heal the wound? Maybe that that's that's like the metaphor I I I could race, and we have some remains of that colonial behavior and culture in Mexico still to 3 centuries later, because for example. Maybe some of you have seen because it was a world widespread. This Mexican movie called Roma.

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It's about precisely an indigenous woman that works like, how would you name the guy at the window? It's like a more or less a Samuel story. And it was very controversial at Mexico, this movie, because some people

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uploaded and like it, and cheered the fence of Karon's work. And other people were like this. This girl is not an actress. She was just put there because they needed some kind of people like these. But there's

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there's no acting abilities, and you name it. So in trying to get a discussion in order that we have plenty of time of doing that. How could you visualize this ecosystem, for example, this Australian view? I've I've read this, the this Statements that we we have here at Isa for Original people here at Australia. The

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presence of Europeans, then in Africa, on these Latin America feelings that we have what what you think when you do have this possibility to show your work in order in a worldwide spread vision of

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how colonialism is, is still present in many societies. What do you think about?

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So I

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well, I think that's showing your work in a place like this. It's for having this kind of responses ideas of people from other parts of the world. So yeah, it. It's an Nico. I think that the that we are having this kind of a dialogue, it's an nicke of what you're doing. So if if there is for you any reflection of having this

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this E coast of Australia, Mexico, or whatever other parts of the world.

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 I'm still not entirely sure if I get the question. Are you trying to get a like, how I would intend to inspire all the people to look into their colonial histories.

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Is that what you're? Yeah, yeah, definitely. Also, in my personal life. I talk about this a lot.

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It comes up a lot of people ask what I did for my thesis. So I explain to them. And a lot of times people react by reflecting on their families problematic past. So I would hope

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the

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yeah, more globally. And in research, more people are inspired. And we're doing the same.

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and more like the collective guilt and the wrong doings of colonizers on histories.

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I hope, and more people will be able to come out and acknowledge their family's histories and start the conversation about it despite all the controversies, and maybe some fear of

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that being criticized.

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Okay, thank you. Have any other comment or leave.

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because

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I'm wondering if we don't have any response in a few minutes from somebody else at soon. that you will be the only prisoner.

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 because there's no more people here. And the other guys didn't load up the video, and

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it's not there.

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He's not there. We click them, and

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there's open a window that asks us for browse for the file. Obviously, I don't.

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Yeah. If I click there it. It's supposed that the video showed up, and instead of that the window was open, asking me for upload the the file. Obviously I don't have the file, so there's no possibilities. And the other people that are supposed to be online are not connected, as you see. So

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I don't know if you want to wait some minutes, or maybe we can close here.

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Yeah.

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yeah, yeah. So please. excuse me, it's obviously not my fault, but but I I feel responsible of this misunderstanding. And I I hope you enjoyed Mrs. Vanderbilt. expositions of please thank you. And you said you're able to go wherever you want. Other sessions. Have a coffee

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or whatever you want to the beach also. Thank you.

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Well, if I'm wearing the other side, I would connect at the precise moment that the session starts

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so

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15 min. Yeah, exactly.

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It's like, if you do that, it's not very proper, not polite.

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Yeah, of course. So thank you for coming. We have another session at 5 30.

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We'll get to present.

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Okay, any questions addressed to the publisher. Okay.

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coordinators of the series

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also here. And one of them and another way to

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outgoing the outgoing residential person. 57 will be online. Okay.

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thank you. At which room will be the same room. Okay, okay, thank you for the invitation.

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Great, thank you.

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Nice for you.