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valign="top"> <strong><span
style="font-size:20px"><span
style="color:#ba2025"><span
style="font-family:lato,helvetica neue,helvetica,arial,sans-serif">Without
Culture, Freedom Is
Impossible: The
Thirty-Eighth Newsletter
(2022)</span></span></span></strong>
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valign="top"> <br>
<span
style="font-family:lato,helvetica
neue,helvetica,arial,sans-serif">
<div id="attachment_66571"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-66571"
class="wp-image-66571
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/09/01_Roberto-Matta-Chile_web.jpg"
alt="Roberto Matta
(Chile), Cuba es la
capital (‘Cuba Is the
Capital’), 1963."
srcset="https://thetricontinental.org/wp-content/uploads/2022/09/01_Roberto-Matta-Chile_web.jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/09/01_Roberto-Matta-Chile_web-300x165.jpg
300w,
https://thetricontinental.org/wp-content/uploads/2022/09/01_Roberto-Matta-Chile_web-768x422.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-66571"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Roberto
Matta (Chile), <i>Cuba
es la capital </i>(‘Cuba
Is the Capital’), 1963.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Dear
friends,</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Greetings
from the desk of <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=865a77bdb7&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">Tricontinental:
Institute for Social
Research</a>.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">In
2002, Cuba’s President Fidel
Castro Ruz visited the
country’s National Ballet
School to inaugurate the
18th Havana International
Ballet Festival. Founded in
1948 by the <i>prima
ballerina assoluta</i> <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=24b348a554&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">Alicia
Alonso</a> (1920–2019),
the school struggled
financially until the Cuban
Revolution decided that
ballet – like other art
forms – must be available to
everyone and so must be
socially financed. At the
school in 2002, Castro <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=3de8112b25&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">remembered</a>
that the first festival,
held in 1960, ‘asserted
Cuba’s cultural vocation,
identity, and nationality,
even under the most adverse
circumstances, when major
dangers and threats loomed
over the country’.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Ballet,
like so many cultural forms,
had been stolen from popular
participation and enjoyment.
The Cuban Revolution wanted
to return this artistic
practice to the people as
part of its determination to
advance human dignity. To
build a revolution in a
country assaulted by
colonial barbarism, the new
revolutionary process had to
both establish the country’s
sovereignty and build the
dignity of each of its
people. This dual task is
the work of national
liberation. ‘Without
culture’, Castro said,
‘freedom is not possible’.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_66090"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-66090"
loading="lazy"
class="wp-image-66090
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/09/Enrique-Tabara-Ecuador_web.jpg"
alt="Enrique Tábara
(Ecuador), Coloquio de
frívolos (‘Colloquium of
the Frivolous’), 1982.
Acrylic on canvas,140.5 x
140.5 cm."
srcset="https://thetricontinental.org/wp-content/uploads/2022/09/Enrique-Tabara-Ecuador_web.jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/09/Enrique-Tabara-Ecuador_web-297x300.jpg
297w,
https://thetricontinental.org/wp-content/uploads/2022/09/Enrique-Tabara-Ecuador_web-768x777.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-66090"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Enrique
Tábara (Ecuador), <i>Coloquio
de frívolos </i>(‘Colloquium
of the Frivolous’),
1982.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">In
many languages, the word
‘culture’ has at least two
meanings. In bourgeois
society, culture has come to
mean both refinement and the
high arts. A property of the
dominant classes, this
culture is inherited through
the transmission of manners
and higher education. The
second meaning of culture is
the way of life, including
beliefs and practices, of a
people who are part of a
community (from a tribe to a
nation). The Cuban
Revolution’s democratisation
of ballet and classical
music, for instance, was
part of its attempt to
socialise all forms of human
life, from the economic to
the cultural. Furthermore,
the revolutionary processes
attempted to protect the
cultural heritage of the
Cuban people from the
pernicious influence of the
culture of colonialism. To
be precise, to ‘protect’ did
not mean to reject the
entirety of the coloniser’s
culture, since that would
enforce a parochial life on
a people who must have
access to all forms of
culture. Cuba’s Revolution
adopted baseball, for
instance, despite its roots
in the United States, the
very country that has sought
to suffocate Cuba for six
decades.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">A
socialist approach to
culture, therefore, requires
four aspects: the
democratisation of forms of
high culture, the protection
of the cultural heritage of
formerly colonised peoples,
the advancement of the basic
elements of cultural
literacy, and the
domestication of cultural
forms that come from the
colonising power.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_66068"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-66068"
loading="lazy"
class="wp-image-66068
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/09/Violeta-Parra-Chilesharp_web.jpg"
alt="Violeta Parra
(Chile), Untitled
(unfinished), 1966.
Embroidery on sackcloth,
136 x 200 cm."
srcset="https://thetricontinental.org/wp-content/uploads/2022/09/Violeta-Parra-Chilesharp_web.jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/09/Violeta-Parra-Chilesharp_web-300x212.jpg
300w,
https://thetricontinental.org/wp-content/uploads/2022/09/Violeta-Parra-Chilesharp_web-768x543.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-66068"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Violeta
Parra (Chile). <i>Untitled</i>
(unfinished), 1966.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">In
July 2022, I delivered a
lecture at Cuba’s Casa de
las Américas, a major
institution in Havana’s
cultural life and
a heartbeat of cultural
developments from Chile to
Mexico, that centred on ten
theses on Marxism and
decolonisation. A few days
later, Casa’s director, Abel
Prieto, also a former
minister of culture,
convened a seminar there to
discuss some of these
themes, principally how
Cuban society had to both
defend itself from the
onrush of imperialist
cultural forms and from the
pernicious inheritance of
racism and patriarchy. This
discussion provoked a series
of reflections on the
process of the National
Programme Against Racism and
Racial Discrimination
announced by President
Miguel Díaz-Canel in
November 2019 and on the
process that led to the 2022
Family Code referendum
(which will come to a
popular vote on 25
September) – two dynamics
that have the capacity to
transform Cuban society in
an anti-colonial direction.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Dossier
no. 56 (September 2022) from
Tricontinental: Institute
for Social Research and Casa
de las Américas, <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=6e150e3839&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true"><i>Ten
Theses on Marxism and
Decolonisation</i></a>,
contains an expanded version
of that lecture with a
foreword by Abel Prieto. To
give you a taste of it, here
is thesis nine on the Battle
of Emotions:</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_66144"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-66144"
loading="lazy"
class="wp-image-66144
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/09/Antonio-Berni-Argentina_web.jpg"
alt=""
srcset="https://thetricontinental.org/wp-content/uploads/2022/09/Antonio-Berni-Argentina_web.jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/09/Antonio-Berni-Argentina_web-300x238.jpg
300w,
https://thetricontinental.org/wp-content/uploads/2022/09/Antonio-Berni-Argentina_web-768x610.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-66144"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Antonio
Berni (Argentina), <i>Juanito
Laguna</i>, n.d.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><b>Thesis
Nine: The Battle of
Emotions</b>. Fidel Castro
provoked a debate in the
1990s around the concept of
the Battle of Ideas, the
class struggle in thought
against the banalities of
neoliberal conceptions of
human life. A key part of
Fidel’s speeches from this
period was not just what he
said but how he said it,
each word suffused with the
great compassion of a man
committed to the liberation
of humanity from the
tentacles of property,
privilege, and power. In
fact, the Battle of Ideas
was not merely about the
ideas themselves, but also
about a ‘battle of
emotions’, an attempt to
shift the palate of emotions
from a fixation on greed to
considerations of empathy
and hope.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">One
of the true challenges of
our time is the
bourgeoisie’s use of the
culture industries and the
institutions of education
and faith to divert
attention away from any
substantial discussion about
<i>real</i> problems – and
about finding common
solutions to social dilemmas
– and towards an obsession
with <i>fantasy</i>
problems. In 1935, the
Marxist philosopher Ernst
Bloch called this the
‘swindle of fulfilment’, the
seeding of a range of
fantasies to mask their
impossible realisation. The
benefit of social
production, Bloch wrote, ‘is
reaped by the big capitalist
upper stratum, which employs
gothic dreams against
proletarian realities’. The
entertainment industry
erodes proletarian culture
with the acid of aspirations
that cannot be fulfilled
under the capitalist system.
But these aspirations are
enough to weaken any
working-class project.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">A
degraded society under
capitalism produces a social
life that is suffused with
atomisation and alienation,
desolation and fear, anger
and hate, resentment and
failure. These are ugly
emotions that are shaped and
promoted by the culture
industries (‘you can have it
too!’), educational
establishments (‘greed is
the prime mover’), and
neo-fascists (‘hate
immigrants, sexual
minorities, and anyone else
who denies you your
dreams’). The grip of these
emotions on society is
almost absolute, and the
rise of neo-fascists is
premised upon this fact.
Meaning feels emptied,
perhaps the result of a
society of spectacles that
has now run its course.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">From
a Marxist perspective,
culture is not seen as an
isolated and timeless aspect
of human reality, nor are
emotions seen as a world of
their own or as being
outside of the developments
of history. Since human
experiences are defined by
the conditions of material
life, ideas of fate will
linger on as long as poverty
is a feature of human life.
If poverty is transcended,
then fatalism will have a
less secure ideological
foundation, but it does not
automatically get displaced.
Cultures are contradictory,
bringing together a range of
elements in uneven ways out
of the social fabric of an
unequal society that
oscillates between
reproducing class hierarchy
and resisting elements of
social hierarchy. Dominant
ideologies suffuse culture
through the tentacles of
ideological apparatuses like
a tidal wave, overwhelming
the actual experiences of
the working class and the
peasantry. It is, after all,
through class struggle and
through the new social
formations created by
socialist projects that new
cultures will be created –
not merely by wishful
thinking.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">It
is important to recall that,
in the early years of each
of the revolutionary
processes – from Russia in
1917 to Cuba in 1959 –
cultural efflorescence was
saturated with the emotions
of joy and possibility, of
intense creativity and
experimentation. It is this
sensibility that offers a
window into something other
than the ghoulish emotions
of greed and hatred.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_66581"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-66581"
loading="lazy"
class="wp-image-66581
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/09/05_Nicolas-Guillen-honours-Alicia-Alonso-at-the-Union-Nacional-de-Escritores-y-Artistas-de-Cuba-Havana-1961..jpg"
alt="Nicolás Guillén
honours Alicia Alonso at
the Unión Nacional de
Escritores y Artistas de
Cuba (‘National Union of
Writers and Artists of
Cuba’), Havana, 1961."
srcset="https://thetricontinental.org/wp-content/uploads/2022/09/05_Nicolas-Guillen-honours-Alicia-Alonso-at-the-Union-Nacional-de-Escritores-y-Artistas-de-Cuba-Havana-1961..jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/09/05_Nicolas-Guillen-honours-Alicia-Alonso-at-the-Union-Nacional-de-Escritores-y-Artistas-de-Cuba-Havana-1961.-300x232.jpg
300w,
https://thetricontinental.org/wp-content/uploads/2022/09/05_Nicolas-Guillen-honours-Alicia-Alonso-at-the-Union-Nacional-de-Escritores-y-Artistas-de-Cuba-Havana-1961.-768x594.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-66581"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Nicolás
Guillén honours Alicia
Alonso at the National
Union of Writers and
Artists of Cuba (UNEAC),
Havana, 1961.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">In
the early years after 1959,
Cuba convulsed with such
surges of creativity and
experimentation. Nicolás
Guillén (1902–1969), a great
revolutionary poet who had
been imprisoned during
Fulgencio Batista’s
dictatorship, captured the
harshness of life and the
great desire for the
revolutionary process to
emancipate the Cuban people
from the wretchedness of
hunger and social
hierarchies. His poem
‘Tengo’ (‘I Have’) from 1964
tells us that the new
culture of the revolution
was elemental – the feeling
that one did not have to bow
one’s shoulders before a
superior, to say to workers
in offices that they too are
comrades and not ‘sir’ and
‘ma’am’, to walk as a Black
man into a hotel without
being told to stop at the
door. His great
anti-colonial poem alerts us
to culture’s material
foundations:</p>
<p style="padding-left:
40px;margin: 10px 0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">I
have, let’s see,<br>
I’ve learned to read,<br>
to count.<br>
I’ve learned to write,<br>
and to think,<br>
and to laugh.<br>
I have, yes, I have<br>
a place to work<br>
and earn<br>
what I have to eat.<br>
I have, let’s see,<br>
I have what I have to have.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">At
the close of his foreword to
the dossier, Abel Prieto
writes, ‘we must turn the
meaning of anti-colonial
into an instinct’. Reflect
on that for a moment:
anti-colonialism is not just
the ending of formal
colonial rule, but a deeper
process, one that must
become ingrained at the
instinctual level so that we
can build the capacity to
solve our basic needs (such
as transcending hunger and
illiteracy, for instance)
and build our alertness to
the need for cultures that
emancipate us and do not
bind us to the flashy world
of unaffordable commodities.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Warmly,</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Vijay</p>
</span> </td>
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