When rights collide: land grabbing,force and injustice in Uganda

The realisation of rights and enforcement of correlative duties through practice and politics legitimate the use of force against some, to protect and fulfil the rights of others. When a conflict occurs, whose rights and which rights should take priority require clarification. Land grabs represent a conflict not just between use and exchange values but also potentially between different types of rights – such as property rights and the right to the means of subsistence. In such cases, it seems that the dictum ‘between equal rights force decides’ seems to be particularly applicable. This paper explores recent experiences of displaced people in the Karamoja and Teso regions of North Eastern Uganda in order to examine this phenomenon. A socially inclusive and just epistemic perspective requires that we extend our gaze to take account of the local political dynamics and impacts on, and voices of, people who have been displaced and how their basic rights have been affected – ‘putting the last first’. The analysis suggests that the transition to formalised property regimes based on liberal conceptions of ‘rights’ represents a case where the language of rights is usurped to serve the interests of the powerful and privileged rather than challenging social injustice.     

Closed Proceedings in Havana

By analysing three works of fiction set in Havana, Fresa y Chocolate by Tomas Gutiérrez Alea and Juan Carlos Tabi (Cuba/Mex./Spain/USA, 1993), Retour à Ithaque by Laurent Cantet (France/Belg., 2014) and Viva by Paddy Breathnach (Irl., 2015), we propose to study the Cuban capital as a sick body, as an architecturally, economically, politically and socially dilapidated organism. Its citizens struggle to survive, lacking basic necessities and trapped under a claustrophobic political and social surveillance, which the film directors convey through the use of a variety of aesthetic devices. There is a form of symbiosis between Havana and its inhabitants. The characters are confined in a labyrinth of alleys, stairs and narrow corridors, enveloped in a nocturnal atmosphere. The constricted arteries through which they move show that the body of Havana lacks oxygen. Its inhabitants need to find spaces to breathe and to express their authentic selves, to regenerate. This space is to be found behind Havana’s façades, behind its closed doors (an apartment, a cabaret) and even on a roof-top terrace. These private spaces reveal the dual nature of the city and its people, and constitute pockets of liberty as well as places of catharsis. The external façade presents a socially acceptable figure while covering and protecting the authentic self. The private spaces provide the physical and mental oxygen that the soul of Havana needs to survive. It is here that individual liberties flourish, allowing rights to be asserted, and art to be both preserved and created. The premise of a spiritual transformation begins to take form.

     

Choctaw Tales: An Interview with LeAnne Howe

LeAnne Howe, a citizen of the Choctaw Nation of Oklahoma and the Eidson Distinguished Professor of American Literature in the Franklin College of Arts and Sciences at the University of Georgia, writes poetry, fiction, screenplays, plays, creative non-fiction and critical essays. Her work is primarily concerned with the experiences and the perspectives of American Indian people and communities. Howe’s latest book, Choctalking on Other Realities (2013), which she describes as ‘three parts memoir, one part tragedy, one part absurdist fiction, and one part “marvellous realism”’, received the inaugural Modern Language Association Prize for Studies in Native American Literatures, Cultures and Languages in 2014. Along with being the recipient of a United States Artists Ford Fellowship and a Lifetime Achievement Award from the Native Writers’ Circle of the Americas, Howe also received the 2015 Western Literature Association Distinguished Achievement Award. Howe’s writing could easily be described as enlivening, eclectic and often hectic, and, more often than not, she brings together a plethora of stories concerning the historical and contemporary experiences of the Choctaw Nation. Various geographical, spiritual, familial and narratological spaces are revealed or plotted during the course of Howe’s narratives, and, as a consequence, images that relate to the act of mapping, the basis of storytelling, and the subject of community and place become recurring motifs throughout her writing. Concerned with the ways in which Choctaw lifeways have been mapped out across time, Howe appears to be especially interested in the representation of travel, exchange, contact and consumption not only in the pre-contact and post-contact United States, but also within the global village.