In the CPPD podcast episode *ERINNERUNGSFUTUR*, Iolanda Évora and Ibou Diop discuss colonial continuities, the culture of remembrance, social participation and power relations. Taking Portugal and Germany as their starting points, they explore memory as a political practice and the question of how marginalised perspectives can open up new narratives and democratic futures.
This episode is a recording of excerpts from the panel discussion “After the Carnations – Cycles of Decolonisation and Democratic Futures”, moderated by Cátia Severino, which took place on 24 April 2026 at the Biblioteca de Alcântara – José Dias Coelho in Lisbon as part of the CPPD festival “Voices Rising: Memory Unsilenced”. The panel was held in Portuguese and German. The respective translations can be found in the transcript.
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In ERINNERUNGSFUTUR, scientists, artists, journalists and activists report on their work and perspectives on cultures of remembrance in Germany and Europe. The series is part of the DialoguePerspectives e.V. podcast. This podcast episode was produced in cooperation with Nicole Schweiß’s kleiner Pause podcast.
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Sprecher*innen: Ibou Diop, Iolanda Évora | Musik: Lotus Ensemble; Einleitung: Hannah Blumas, Editorial team: Hannah Blumas, Nihal Çalışır; Audio-Edit: Gal Yaron Mayersohn; Film Glitch by Snowflake ©2017 Licensed under a Creative Commons Attribution-Noncommercial (3.0) license; Illustration: Rosa Viktoria Ahlers; Kurator*innen: Jo Frank, Johanna Korneli, Max Czollek | © 2026 DialoguePerspectives e.V. | http://www.cppdnetwork.com
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No episódio ERINNERUNGSFUTUR do podcast da CPPD, Iolanda Évora e Ibou Diop conversam sobre continuidades coloniais, culturas da memória, participação social e relações de poder. Partindo de Portugal e da Alemanha, discutem a memória como prática política e a questão de como perspectivas marginalizadas podem abrir novos imaginários e futuros democráticos.
Este episódio consiste numa gravação de excertos da mesa-redonda “After the Carnations – Cycles of Decolonisation and Democratic Futures”, moderada por Cátia Severino, que teve lugar no dia 24 de abril de 2026, na Biblioteca de Alcântara – José Dias Coelho, em Lisboa, como parte do festival da CPPD “Voices Rising: Memory Unsilenced”. O painel decorreu em português e alemão. As respetivas traduções podem ser consultadas na transcrição.
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Em ERINNERUNGSFUTUR, cientistas, artistas, jornalistas e ativistas apresentam os seus trabalhos e perspetivas sobre culturas da memória na Alemanha e na Europa. A série faz parte do podcast da DialoguePerspectives e.V.
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Oradores/as: Iolanda Évora, Ibou Diop | Equipa editorial: Hannah Blumas, Nihal Çalışır | Edição de áudio: Gal Yaron Mayersohn | Film Glitch by Snowflake ©2017 Licensed under a Creative Commons Attribution-Noncommercial (3.0) license | Ilustração: Rosa Viktoria Ahlers | Curadores/as: Jo Frank, Johanna Korneli, Max Czollek | © 2026 DialoguePerspectives e.V. | http://www.cppdnetwork.com
In this episode of the CPPD podcast ERINNERUNGSFUTUR, Nicole Schweiß talks to Sharon Dodua Otoo about her new novel *‘So, in etwa, ist es geschehen’* and its relationship to a pluralistic culture and practice of remembrance.
The novel’s title deliberately conveys a sense of uncertainty and invites readers to interpret the events for themselves. The plot intertwines a personal guilt – Amata confesses to the murder of her boss Brockhaus whilst in custody – with numerous historical layers: Nazi history (e.g. the bombing of the Kap Arcona in 1945), colonial crimes and more recent protests such as Black Lives Matter, or the deaths of refugees in the Mediterranean are just a few examples. Through Amata’s family history – her grandfather is a Nazi survivor – and her boss’s entanglement with a family linked to a concentration camp, it becomes clear how past violence reverberates in the present and within the individual psyche. Sharon advocates for spaces of remembrance based on solidarity, where different experiences of discrimination are made visible simultaneously without overlooking the challenges. She also discusses current threats to solidarity-based practice in Germany, which make writing and the culture of remembrance more difficult, and emphasises that literature remains a necessary space for processing complex, intertwined memories and reflecting on social responsibility.
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In ERINNERUNGSFUTUR, scientists, artists, journalists and activists report on their work and perspectives on cultures of remembrance in Germany and Europe. The series is part of the DialoguePerspectives e.V. podcast. This podcast episode was produced in cooperation with Nicole Schweiß’s kleiner Pause podcast.
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Sprecher*innen: Ibou Diop und Katja Kinder | Moderation: Nicole Schweiß | Musik: Lotus Ensemble; Einleitung: Hannah Blumas, Editorial team: Hannah Blumas, Nihal Çalışır; Audio-Edit: Gal Yaron Mayersohn; Film Glitch by Snowflake ©2017 Licensed under a Creative Commons Attribution-Noncommercial (3.0) license; Illustration: Rosa Viktoria Ahlers; Kurator*innen: Jo Frank, Johanna Korneli, Max Czollek | © 2026 DialoguePerspectives e.V. | http://www.cppdnetwork.com
Dagesh at the Jewish Film Festival Berlin-Brandenburg 2026
Film Screening | Workshop Discussion | Network Meeting as part of JFBB Pro
The Dagesh Workshop at the Jewish Film Festival Berlin-Brandenburg 2026 once again demonstrated: contemporary Jewish art is polyphonic, multilingual and multiform. This diversity needs spaces that make it visible and strengthen it, outward into society, and inward as a place of encounter, exchange and solidarity.
As part of the Jewish Film Festival Berlin-Brandenburg 2026 (JFBB), Dagesh was once again represented with its own programme format at JFBB Pro. The Dagesh Workshop took place on 6 May 2026 at the Felleshus | Community House of the Nordic Embassies in Berlin.
JFBB Pro functions as an industry platform for filmmakers, producers and representatives of the film industry from Germany and the international context. It understands itself as a space for exchange on Jewish themes in film, current social debates and new artistic perspectives, this year under the festival’s focus on Nordic-Jewish perspectives.
The Dagesh Workshop was conceived as an open space for conversation and presentation, in which both completed films and projects in the process of being made were introduced. At the centre were five film projects by Dagesh artists: works by Irina Dzhus (ANTICON), Matan Tal (My Sister Shira), Marccela Moreno (Shemira), Ron Segal (ADAM) and Soso Dumbadze (Ein Zufall). The workshop discussion was moderated by Dagesh curator Daniel Laufer together with Dagesh programme associates Alisa Gadas, Paulina Schmid and Yana Lemberska.
Polyphony as an artistic principle
The five works presented differ markedly in language, aesthetics, genre and thematic approach. Essay film, animation, documentary forms, performance and conceptual works stood side by side and opened up different perspectives on memory, identity, migration, the body, language and loss. It was precisely in this multiplicity of perspectives that the format pointed to the multilingualism and polyphony within the Dagesh network. The films and conversations also addressed the artists’ personal experiences in Germany and Europe following 7 October 2023. Throughout, reference was repeatedly made to the significance of Dagesh as a network and platform for Jewish artists, enabling exchange, visibility and solidarity.
Encounter and exchange within the context of network work
Afterwards, artists and network members gathered for the Dagesh network meeting in the rooms of the Nordic Embassies. Over coffee and cinnamon rolls, they exchanged views on current projects, future plans and Jewish perspectives in contemporary film and other art forms. The meeting offered younger filmmakers in particular the opportunity to engage with established artists and forge new connections within the network.
In addition, a shared visit to the official festival opening at the Hans-Otto-Theater in Potsdam enabled encounters and conversations among numerous network members. Participants also attended further events of the JFBB Pro programme, including Talents – Projects – Perspectives, which offered insights into current film and series projects in development and production, and likewise featured works by Dagesh artists, among them Ido Gotlib, Shira Kela and Shoshana Simon.
With the Dagesh Workshop and the network meeting, Dagesh successfully continued its work to create visibility, foster exchange and support artistic networking among Jewish artists in contemporary art. The format once again pointed to the diversity of artistic positions and individual modes of storytelling within the network, and created a space for thinking together, working together and initiating future collaboration.
We would like to thank the JFBB for the fruitful cooperation, the Nordic Embassies for their warm hospitality, and all artists, filmmakers and interested parties for this important exchange across disciplines, experiences and ideas.
Particularly in the face of dramatic social polarisation, making Jewish voices and positions in contemporary art visible and strengthening them is a matter of real importance. For this, we also thank the Stiftung EVZ for the ongoing support of our network work.
As part of the EPNA podcast series introducing the projects of this year’s European Alliance Programme (EAP), they continue to spotlight the people and ideas driving meaningful change across Europe.
In this episode of United Against Antisemitism, we explore the transformative project “How to talk when the world tells us to hate each other?” led by Jolanta Lechowska-Białecka and the HaKoach Association in Poland. This initiative addresses the urgent need for respectful dialogue in a time of growing polarization and hate speech across Europe.
Through a series of public discussions, expert panels, and an art exhibition, the project invited participants to engage in empathetic conversations about sensitive topics such as antisemitism, racism, and the Israeli-Palestinian conflict. Jolanta shares insights on the challenges and successes of fostering constructive dialogue, the importance of linking contemporary issues to a culture of remembrance, and the power of community engagement in promoting understanding.
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Intro: Bethany Odd | Moderator: Nicole Schweiß | Speaker: Jolanta Lechowska-Bialecka | Audio-Edit: Gal Yaron Mayersohn | Music: Hopeful Start by John Bartmann is licensed under a CC0 1.0 Universal License | Illustration: Saskia Schlarmann | Editing: Nihal Çalışır | Project Lead: Florian Eisheuer, Johanna Korneli, Jo Frank | © 2026 DialoguePerspectives e.V. | https://against-antisemitism.eu/ | insta: dialogueperspectives_epna
In the second episode, Jo Frank speaks with Cyril Hovorun, a Ukrainian Orthodox theologian and academic, about the religious dimension of Russia’s war of aggression against Ukraine. Hovorun analyses how the Russian Orthodox Church under Patriarch Kyrill has actively helped shape the so-called ‘Russian World’ ideology – a quasi-theological doctrine that legitimises Russian expansion as a sacred mission and provides the ideological basis for the invasion of Ukraine.
Drawing on decades of experience at the intersection of church, politics and international dialogue – including as a research fellow at Yale and Columbia and as a professor of ecclesiology and international relations at Ignatius College in Stockholm – Hovorun examines the roots of religious nationalism, the role of ecumenical institutions as silent enablers of violence, and the limits of interfaith dialogue. His thesis: without the deconstruction of warmongering ideas and without justice – analogous to the Nuremberg Tribunal after the Second World War – this war will not truly end, regardless of any ceasefire.
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Global DialoguePerspectives, the Future 500 podcast series, brings together emerging thinkers and changemakers from around the world to explore the ideas shaping our societies and to engage with questions of trust, cooperation, and meaningful dialogue across divides. The conversations explore current philosophical and technological developments and examine their impact on dialogue, on rebuilding relationships, and on practical cross-community initiatives amid rising tensions across Europe and around the world. Through expert insights, personal reflections, and shared conversations, we explore: How do we build sustainable movements for change?
We invite you to listen to Global DialoguePerspectives and get involved.
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Speakers: Jo Frank, Cyril Hovorun | Intro: İrem Çörekçi | Editorial team: Nihal Çalışır | Audio-Edit: Gal Mayersohn | Illustration: Andrea Schmidt | Music: Alex Stolze & Yael Gat – White Noise | Programme Lead: Kira Wisniewski | Project Lead: Jo Frank, Johanna Korneli | © 2026 DialoguePerspectives e.V. | https://future500network.com
„Overcoming the wounds of the colonial era does not mean closing them up or soothing them, but rather bringing to light the global interconnections in which formerly colonised societies remain entangled to this day.” (Dr. Ibou Diop)
On 24 and 25 April 2026, the Coalition for Pluralistic Public Discourse (CPPD) held its second festival of the year at the Biblioteca de Alcântara – José Dias Coelho in Lisbon. Under the title ‘After the Carnations – Cycles of Decolonisation and Democratic Futures’, the first day brought together a variety of formats: a panel discussion, artistic performances and the opening of the Dynamic Memory Lab ‘Cycles of Decolonisation’. The second day of the festival focused on a workshop exploring the implications of the Carnation Revolution and practices of public remembrance, as well as a visit to the central commemorative march.
Paneldiscussion “After the Carnations – Cycles of Decolonisation and Democratic Futures”
The event kicked off with the panel discussion “After the Carnations – Cycles of Decolonisation and Democratic Futures”. Moderated by Dr Cátia Severino, Dr Iolanda Évora and Dr Ibou Diop brought together perspectives on Portuguese and German remembrance culture in a discussion conducted in Portuguese and German with simultaneous interpretation, relating them to a European debate on how to deal with the colonial legacy, and what it means when memory is no longer shaped solely by institutions, but by communities, artistic practices and civil society engagement.
In his presentation, Ibou Diop introduced Berlin’s remembrance concept, “Remembering Colonialism”. The Berlin concept highlights colonial history as a structurally defining component of German and European history, closely linked to genocide and leaving deep traces in the history of mentalities that remain visible to this day: in street names, in museum collections, and in school curricula. Inspired by Édouard Glissant and Achille Mbembe, the concept advocates for transversality, for making visible the interconnections, cross-references and resonances between different experiences of violence, including their link to the history of National Socialism, whose misanthropic traditions of thought had their precursors in colonialism. Remembrance is understood here as a practice, as a process of listening, of entering into relationships and of enduring contradictions, rather than as a completed act.
In her presentation, Iolanda Évora provided an introduction to the Portuguese context and demonstrated how the negotiation of citizenship and political participation in Portugal remains, to this day, shaped by the mythology of a ‘gentle and benevolent’ colonisation. A mythology that overlooks both the African struggles for independence and the contributions of people of African descent to contemporary Portuguese society. Using concrete examples, from the absence of a slavery memorial in Lisbon to the controversial “Portugal dos Pequenitos” park in the Portuguese city of Coimbra, she illustrated how institutional memory politics actively resists new interpretations. At the same time, she highlighted the growing counter-movement of Afro-descendant activists who use the word as a form of public intervention.
„A negação, a romantização e o esforço em perpetuar os símbolos e as práticas de memória deparam-se com narrativas e criações que não são simples contra-relatos, pois constituem-se nas margens, mas no coração da situação.”
(„Denial, romanticisation and attempts to preserve symbols and practices of remembrance come up against narratives and creations that are not merely counter-narratives – they emerge on the fringes, yet at the very heart of the situation.“)
The discussion ultimately centred on a key tension: symbolic recognition alone is not enough if it is not accompanied by a real redistribution of voice and power. Both speakers made it clear that a more democratically inclusive future requires concrete changes – in education, in the public sphere, and in terms of who defines a society’s shared symbols and narratives.
Dynamic Memory Lab »Cycles of Decolonisation«
The first day of the festival concluded with the opening of the Dynamic Memory Lab »Cycles of Decolonisation«, curated by Dr Cátia Severino and André Soares.
The DML is the CPPD’s central exhibition format: it operates on a site-specific basis, responds to local needs for remembrance, and sees itself as a process-oriented format – in contrast to self-contained exhibition narratives.
The Dynamic Memory Lab »Cycles of Decolonisation« invites visitors to engage with the legacy of European colonialism and its contemporary manifestations. The exhibition places particular emphasis on the structures of dehumanisation that remain effective to this day. It seeks to break down the invisibility associated with dehumanisation and places the human aspect at the centre of our attention. Using the example of delivery drivers, it shows us the contemporary manifestations in which the legacy of European colonialism persists to this day. »Cycles of Decolonisation« illustrates how contemporary economic systems can replicate colonial dynamics, even without the direct violence and territorial occupation associated with historical colonisation.
Artistic performances
The opening programme featured a rich array of artistic performances. A choir performed key political songs by artists including José Afonso, José Mário Branco and Adriano Correia de Oliveira, all of whom are closely associated with the Portuguese dictatorship and the Carnation Revolution.
In the staged, performative reading of “Caderno de Memórias Coloniais” (“The Notebook of Colonial Memories”) by the Coletivo de Teatro da Biblioteca de Alcântara – José Dias Coelho, excerpts from the work of Isabela Figueiredo were performed, offering an open and unflinching view of the realities of late Portuguese colonialism and colonial violence in Mozambique, as well as the political climate surrounding the “repatriation” of hundreds of thousands of people, primarily from Angola and Mozambique, to Portugal. The reading combined personal memory with political history and shed light on the ambivalences of colonial power relations. The contributions brought history to life in a powerful way and created a collective space of remembrance and resistance. In her live performance “RIBBONS” in the garden of the Biblioteca, the artist Renee van Bavel sewed together collected commemorative ribbons from international sites of remembrance to form a continuous, collective work of art. The work connects different stories, perspectives and forms of remembrance into a shared, transnational narrative. As an open and evolving practice, RIBBONS invites reflection on memory, the present and the possibilities of solidarity and peace.
The opening event attracted a great deal of interest, with over 100 visitors in attendance. Following stops in Berlin and Madrid, the DML’s »Cycles of Decolonisation« exhibition will be on display at the Biblioteca de Alcântara – José Dias Coelho until September 2026.
Workshop & Guided Tour
The second day of the festival began with the workshop “The Missing D – From Utopia to Denial”, led by Dr Cátia Severino and André Soares, and culminated in a joint visit to the central commemorative march through Lisbon.
The workshop took as its starting point the question of the “missing D”. The Carnation Revolution, which in 1974 heralded the end of the fascist dictatorship of the “Estado Novo”, was programmatically focused on three goals: democratisation, development, decolonisation (Democratizar, Desenvolver, Descolonizar). Whilst political democratisation was achieved, the third D remained unfulfilled. Decolonisation was treated primarily as a military-political process, but not as a transformation of memory and social structures. This gap continues to shape Portuguese memory culture to this day: the public narrative remained focused for a long time on the retornados, the returning colonists, whilst colonial violence remained largely invisible in school curricula and public spaces. The workshop also demonstrated how colonial structures persist in the present day, for instance in the concept of racial capitalism, where exploitation changes form but does not disappear, thereby also highlighting the central themes of the DML exhibition »Cycles of Decolonisation«.
The ensuing discussions and the visit to the commemorative march vividly highlighted what makes 25 April unique in a European context: the march as a living, embodied practice of remembrance, as a continuation of the revolution through collective presence in public space. It is both a society-wide event and a space for negotiation: Different groups claim the day in their own ways and bring competing narratives about what the revolution was and what it continues to demand to this day. This plurality is not understood as a threat to remembrance, but as its living expression, a model that differs significantly from more institutionalised or polarised forms of commemoration in other European contexts.
“Der Himmel als Decke | The Sky as a Roof”
Dagesh invites artists to participate in the exhibition “Der Himmel als Decke | The Sky as a Roof.” The exhibition is part of the nationwide series Dagesh-Studio on the Road, which highlights contemporary Jewish perspectives in current art. Following the Purim Edition in March in Dresden, we will continue the series in September 2026 with Dagesh-Studio on the Road #SukkotEdition 2026 in Veitshöchheim.
From September 26 to October 2, 2026, we will activate the Jewish Cultural Museum Veitshöchheim as well as the sukkah in the museum’s historic synagogue courtyard, creating a space where tradition and contemporary art meet. The exhibition opening will take place on September 26, 2026.
The exhibition “Der Himmel als Decke | The Sky as a Roof” takes the Jewish festival of Sukkot as a starting point for an artistic exploration of fragility, protection, and community in a time of crisis. Sukkot recalls the period of wandering and dwelling in temporary shelters during the Exodus from Egypt. The sukkah embodies a precarious space of protection that does not guarantee safety, but enables a moment of pause, openness, and togetherness.
Especially today, in the face of war, displacement, ecological crises, political uncertainty, social polarization, and increasing isolation, the symbolism of the sukkah gains renewed relevance. It represents temporary shelters such as those sought or improvised by refugees, marginalized groups, or people living in unstable conditions. In doing so, the sukkah raises a fundamental question—not only architecturally, but also socially: What does protection mean when it cannot be permanent? And what does community mean under fragile conditions?
For the occasion of the exhibition, a sukkah will be constructed that is both traditional and creatively designed. As a fragile structure, it remains permeable to the elements, far from the permanence of a solid building. Precisely in this temporality, a central idea of Sukkot becomes visible: the awareness that human life and all our achievements are fragile and exist within a larger context. This fragility invites us to acknowledge transience, connect with the present moment, and rediscover the value of simplicity and connectedness.
The gesture of invitation, sharing, and provisional gathering forms the core of the exhibition and points to the idea of community as a resilient practice: “Der Himmel als Decke” understands the sukkah as a space of encounter, where tradition and contemporary artistic positions converge—a place of listening, community, and reflection.
For the design of the exhibition and the opening program, we invite Dagesh artists to submit proposals. Your artistic contributions should reflect the dialogue between tradition and contemporary artistic practice and engage with themes such as fragility, transience, temporary protection in uncertain times, or forms of safety created through gathering in the sukkah and in community. Contributions that address Jewish perspectives in rural contexts are especially welcome.
Submissions may include completed works or project proposals in the form of two-dimensional works, small-scale sculptures, sound and video works, performance formats, essays, or poems.
Application Deadline: 30 May 2026
For the first episode of the new Future 500 Podcastseries “Global DialoguePerspectives” we look back to our Future 500 spring workshop 2026 in Brussels and share insights to the panel discussion “Voices Rising: Rebuilding Bridges. Dialogue, Trust and Solidarity Post-October 7th” with Camila Piastro, Barbara von Freytag, Furkan Yüksel, and Achim Rettinger, moderated by Igor Mitchnik (16 March 2026 | Brussels).
In the aftermath of crisis and collective trauma, rebuilding dialogue is both urgent and complex. This conversation explores how trust and solidarity can be strengthened across communities facing polarisation and uncertainty. The panel examines the role of AI-driven communication, online platforms, and traditional media in shaping narratives, influencing public discourse, and impacting interreligious relations – drawing on practical experience in fields.
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Global DialoguePerspectives, the Future 500 podcast series, brings together emerging thinkers and changemakers from around the world to explore the ideas shaping our societies and to engage with questions of trust, cooperation, and meaningful dialogue across divides. The conversations explore current philosophical and technological developments and examine their impact on dialogue, on rebuilding relationships, and on practical cross-community initiatives amid rising tensions across Europe and around the world.
Through expert insights, personal reflections, and shared conversations, we explore: How do we build sustainable movements for change?
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Speakers: Camila Piastro, Barbara von Freytag, Furkan Yüksel, Achim Rettinger | Moderator: Igor Mitchnik | Intro: İrem Çörekçi | Editorial team: Nihal Çalışır | Audio-Edit: Gal Mayersohn | Illustration: Andrea Schmidt | Music: Alex Stolze & Yael Gat – White Noise | Programme Lead: Kira Wisniewski | Project Lead: Jo Frank, Johanna Korneli | © 2026 DialoguePerspectives e.V. | https://future500network.com
Interreligious and worldview dialogue is one of the most established instruments of peacebuilding and social cohesion in Europe. Yet the evidence of its impact is surprisingly thin. Encounter happens. Representation is secured. But sustained cooperation, shared civic agency, and lasting change in conflict dynamics remain rare.
Recent crises have raised difficult questions about the resilience of dialogue initiatives across Europe: the Russian Orthodox Church’s theological legitimisation of the war against Ukraine, the rupture of Jewish–Muslim dialogue after October 7 and the war in Gaza, and rising antisemitism and anti-Muslim racism despite decades of interreligious dialogue programming.
The uncomfortable question this workshop puts on the table is not how to improve dialogue formats – but whether the concept of dialogue itself has become part of the problem. Most current dialogue practice rests on assumptions that are rarely examined: that encounter reduces prejudice, that shared humanity can be excavated beneath doctrinal difference, and that religious communities are coherent partners capable of speaking with one voice. These assumptions deserve scrutiny. They may not only be empirically fragile – they may actively obscure the power asymmetries, internal heterogeneity, and real conflicts of interest that structured interreligious spaces were never designed to address.
The workshop therefore steps back from methodology to ask more fundamental questions:
A further challenge emerges from transhumanist developments such as cognitive enhancement, digital identity, human–AI hybridisation, and the technological contestation of finitude and embodiment. These developments are already reshaping what it means to be human in a community. And with it, the question of who the dialogue partner actually is.
By integrating perspectives from conflict research, the workshop approaches dialogue not as a harmony project but as a serious form of conflict engagement. It asks what dialogue can realistically achieve, where its structural limits lie, and which normative foundations are necessary for a framework that does not evade tension but treats it as the actual site of democratic work.
The goal is not critique for its own sake, but reconstruction: the development of a dialogue concept that is anthropologically grounded, conflict-aware, transhumanistically literate, and honest about what dialogue can and cannot do. The workshop will bring together several key European actors in the field of interreligious and worldview dialogue, as well as representatives of major European dialogue initiatives. Their practical experience will serve as a starting point for addressing these fundamental questions from within the realities of dialogue practice.
Through a combination of workshops, interactive sessions, and exchanges with experts, participants will explore the challenges and possibilities of contemporary dialogue practice. The programme will place a particular emphasis on engaging conflict, critically reflecting on existing dialogue approaches, and developing new perspectives for interreligious and worldview engagement.
This episode explores Berlin’s ‘Colonialism’ remembrance concept: how it has taken shape since 2019 through a broad, participatory process involving civil society, academia, the arts and education, and why a decentralised, interconnected space of remembrance must be conceived in tandem with a central site of learning and remembrance.
Ibou Diop and Katja Kinder discuss plural, multidimensional remembrance spanning history, the present and the future: from somatic memory and community knowledge of resistance and resilience to political hurdles and the need to make colonial continuities visible in education and academia, archives and the urban landscape. The episode demonstrates that remembering colonialism concerns us all, as the foundation for justice, belonging and a democratic, pluralistic culture of remembrance.
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In ERINNERUNGSFUTUR, scientists, artists, journalists and activists report on their work and perspectives on cultures of remembrance in Germany and Europe. The series is part of the DialoguePerspectives e.V. podcast. This podcast episode was produced in cooperation with Nicole Schweiß’s kleiner Pause podcast.
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Sprecher*innen: Ibou Diop und Katja Kinder | Moderation: Nicole Schweiß | Musik: Lotus Ensemble; Einleitung: Hannah Blumas, Editorial team: Hannah Blumas, Nihal Çalışır; Audio-Edit: Gal Yaron Mayersohn; Film Glitch by Snowflake ©2017 Licensed under a Creative Commons Attribution-Noncommercial (3.0) license; Illustration: Rosa Viktoria Ahlers; Kurator*innen: Jo Frank, Johanna Korneli, Max Czollek | © 2026 DialoguePerspectives e.V. | http://www.cppdnetwork.com
