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ย ๐ฆ๐๐ฟ๐ถ๐ป๐ฎ๐บ๐ฒ ๐ฑ๐ฌ: ๐๐ถ๐น๐บ๐ + ๐ฑ๐ถ๐ฒ๐ฝ๐ฒ ๐๐ฎ๐ธ๐ถ #๐ฏ
In the ๐๐ต๐ถ๐ฟ๐ฑ ๐ฒ๐ฑ๐ถ๐๐ถ๐ผ๐ป of ๐ฆ๐๐ฟ๐ถ๐ป๐ฎ๐บ๐ฒ ๐ฑ๐ฌ: ๐๐ถ๐น๐บ๐ + ๐ฑ๐ถ๐ฒ๐ฝ๐ฒ ๐๐ฎ๐ธ๐ถ, we will screen ๐ช๐ฎ๐น๐๐ฒ๐ฟ ๐ฅ๐ผ๐ฑ๐ป๐ฒ๐: ๐ช๐ต๐ฎ๐ ๐ง๐ต๐ฒ๐ ๐๐ผ๐ป’๐ ๐ช๐ฎ๐ป๐ ๐ฌ๐ผ๐ ๐ง๐ผ ๐๐ป๐ผ๐ (2024) at ๐ง๐ผ๐ฟ๐ถ ๐ข๐๐ผ in ๐ฃ๐ฎ๐ฟ๐ฎ๐บ๐ฎ๐ฟ๐ถ๐ฏ๐ผ! ๐๐ฟ๐คโ๐ฟ
Before the documentary is screened, there will be a panel discussion, a ๐ฑ๐ถ๐ฒ๐ฝ๐ฒ ๐๐ฎ๐ธ๐ถ, addressing the question: How can we relate Rodneyโs work to our (post)colonial relationship between Suriname and the Netherlands, and between Surinamese people here and in the diaspora? The evening will be opened by ๐๐๐ป๐ผ ๐๐ผ๐ป๐ฒ๐ (holder of the Anton de Kom Chair at Vrije Universiteit Amsterdam), and there will be a panel discussion with ๐๐ถ๐ฟ๐๐ถ๐ฒ ๐๐น๐ด๐ผ๐ฒ (lecturer at Anton de Kom University of Suriname), ๐ ๐ฎ๐ฟ๐ฐ๐ฒ๐น๐ถ๐ป๐ผ ๐ก๐ฒ๐ฟ๐ธ๐๐๐ (president of the Federation of Organizations of Teachers in Suriname, FOLS), ๐๐ฎ๐ฟ๐ฒ๐น ๐๐ฐ๐ธ๐ต๐ผ๐ฟ๐๐ (until recently Surinameโs negotiator with the IMF), and ๐๐ถ๐น๐ถ๐ฎ ๐๐ฟ๐ฎ๐บ๐ฝ (author of Schaduwnatie and Kringloop van moed). The discussion will be moderated by ๐๐๐ฟ๐ถ๐๐ต๐ฎ ๐ง๐ท๐ฎ๐ป ๐ ๐ช๐ฎ๐, journalist at De Ware Tijd.
๐ฆ๐๐ฟ๐ถ๐ป๐ฎ๐บ๐ฒ ๐ฑ๐ฌ: ๐๐ถ๐น๐บ + ๐ฑ๐ถ๐ฒ๐ฝ๐ฒ ๐๐ฎ๐ธ๐ถ #๐ฏ
Date: Thursday February 12, 2026
Time: 19:00 (conversation) and 20:30 (film screening)
Location: Tori Oso Suriname
Address: Fred DerbyStraat 76, Paramaribo, Suriname
Film: ๐ช๐ฎ๐น๐๐ฒ๐ฟ ๐ฅ๐ผ๐ฑ๐ป๐ฒ๐: ๐ช๐ต๐ฎ๐ ๐ง๐ต๐ฒ๐ ๐๐ผ๐ป’๐ ๐ช๐ฎ๐ป๐ ๐ฌ๐ผ๐ ๐ง๐ผ ๐๐ป๐ผ๐
Director: Daniyal Harris-Vajda and Arlen Harris
Country: Guyana ๐ฌ๐พ and United Kingdom ๐ฌ๐ง
Year: 2024
Length: 72′
Language: English
Subtitles: English
Extra: With an opening by ๐๐๐ป๐ผ ๐๐ผ๐ป๐ฒ๐ amd a panel discussion ft. ๐๐ถ๐ฟ๐๐ถ๐ฒ ๐๐น๐ด๐ผ๐ฒ, ๐ ๐ฎ๐ฟ๐ฐ๐ฒ๐น๐ถ๐ป๐ผ ๐ก๐ฒ๐ฟ๐ธ๐๐๐, ๐๐ฎ๐ฟ๐ฒ๐น ๐๐ฐ๐ธ๐ต๐ผ๐ฟ๐๐ and ๐๐ถ๐น๐ถ๐ฎ ๐๐ฟ๐ฎ๐บ๐ฝ, moderated by ๐๐๐ฟ๐ถ๐๐ต๐ฎ ๐ง๐ท๐ฎ๐ป ๐ ๐ช๐ฎ๐
Extra: Presented by ๐ฉ๐จ ๐๐ป๐๐ผ๐ป ๐ฑ๐ฒ ๐๐ผ๐บ๐น๐ฒ๐ฒ๐ฟ๐๐๐ผ๐ฒ๐น, ๐๐ฎ๐ฟ๐ถ๐ฏ๐ฏ๐ฒ๐ฎ๐ป ๐๐ฟ๐ฒ๐ฎ๐๐ถ๐๐ถ๐๐ and ๐๐ณ๐ฟ๐ถ๐ฐ๐ฎ๐ฑ๐ฒ๐น๐ถ๐ฐ
More info and tickets: Soon available
๐๐ฏ๐ผ๐๐ ๐ช๐ฎ๐น๐๐ฒ๐ฟ ๐ฅ๐ผ๐ฑ๐ป๐ฒ๐: ๐ช๐ต๐ฎ๐ ๐ง๐ต๐ฒ๐ ๐๐ผ๐ป’๐ ๐ช๐ฎ๐ป๐ ๐ฌ๐ผ๐ ๐ง๐ผ ๐๐ป๐ผ๐
๐ช๐ฎ๐น๐๐ฒ๐ฟ ๐ฅ๐ผ๐ฑ๐ป๐ฒ๐: ๐ช๐ต๐ฎ๐ ๐ง๐ต๐ฒ๐ ๐๐ผ๐ปโ๐ ๐ช๐ฎ๐ป๐ ๐ฌ๐ผ๐ ๐๐ผ ๐๐ป๐ผ๐ is a feature-length documentary that explores the assassination of Dr. Walter Rodney and the Cold War conspiracies, Black Power movements, and colonial legacies connected to it โ all linking to todayโs surveillance, policing, and activism. For the first time, Rodneyโs widow Patricia Rodney shares the personal toll of his murder on their family. Highlighting the demand for alternative historical perspectives, the film includes insights from Angela Davis, Gina Miller, and former Guyanese President Donald Ramotar. Premiering at the British Film Instituteโs largest screen to a sold-out audience, the film uncovers Rodneyโs surveillance from age 19 after his visits to Russia and Cuba, as his academic and activist work was deemed threatening by British intelligence. A secret propaganda unit even financed negative reviews of his landmark book, How Europe Underdeveloped Africa, which remains influential in modern movements like BLM and Pan-Africanism. Through declassified documents, intimate interviews, and reenactments, the documentary captures Rodneyโs enduring global legacy, filmed with local crews in the Caribbean, U.S., Africa, and the U.K. Supported by The Walter Rodney Foundation & The Ameena Gafoor Institute.
โ๐๐ฉ๐ช๐ด ๐ค๐ฐ๐ฎ๐ฑ๐ฆ๐ญ๐ญ๐ช๐ฏ๐จ ๐ฅ๐ฐ๐ค๐ถ๐ฎ๐ฆ๐ฏ๐ต๐ข๐ณ๐บ ๐ฅ๐ฆ๐ญ๐ท๐ฆ๐ด ๐ช๐ฏ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐ญ๐ช๐ง๐ฆ ๐ข๐ฏ๐ฅ ๐ญ๐ฆ๐จ๐ข๐ค๐บ ๐ฐ๐ง ๐๐ณ. ๐๐ข๐ญ๐ต๐ฆ๐ณ ๐๐ฐ๐ฅ๐ฏ๐ฆ๐บ, ๐ข ๐ฑ๐ณ๐ฐ๐ฎ๐ช๐ฏ๐ฆ๐ฏ๐ต ๐ฉ๐ช๐ด๐ต๐ฐ๐ณ๐ช๐ข๐ฏ, ๐ข๐ค๐ต๐ช๐ท๐ช๐ด๐ต, ๐ข๐ฏ๐ฅ ๐ข ๐ค๐ฉ๐ข๐ฎ๐ฑ๐ช๐ฐ๐ฏ ๐ง๐ฐ๐ณ ๐ต๐ฉ๐ฆ ๐ง๐ช๐จ๐ฉ๐ต ๐ข๐จ๐ข๐ช๐ฏ๐ด๐ต ๐ค๐ฐ๐ญ๐ฐ๐ฏ๐ช๐ข๐ญ๐ช๐ด๐ฎโ (๐๐ข๐ค๐ฆ๐ต๐ด.๐ฐ๐ณ๐จ).
๐๐ฏ๐ผ๐๐ ๐ฆ๐๐ฟ๐ถ๐ป๐ฎ๐บ๐ฒ ๐ฑ๐ฌ: ๐๐ถ๐น๐บ๐ + ๐ฑ๐ถ๐ฒ๐ฝ๐ฒ ๐๐ฎ๐ธ๐ถ
On 25 November, 2025, Suriname marked 50 years of independence. The Anton de Kom Chair, in collaboration with Caribbean Creativity and Africadelic, is celebrating this with film evenings featuring classic films and documentaries, followed by discussions on representation. Stuart Hall analyzed films by examining the role cinema plays in shaping and representing cultural identity. He emphasized how films, as a form of ‘enunciative practice’ (a mode of expression or articulation), can challenge colonial stereotypes and shape diasporic identities. Crucially, Hall shows that meanings expressed through cultural representations such as films are dynamic (not fixed) and dependent on power and perspective. Which stories are told and by whom? Which stories or themes are silenced or underrepresented in films? And what role do gender, ethnicity, and class play in this?
