extent they will open ‘the way to new possibilities for action and reflection, and what these are likely to lead to’ ( Mbembe 2020: n.p. ). In Francophone Belgium, in the multicultural city of Liège, several anti-racist initiatives exist from the
Some clues from the Black Out media
Axel Mudahemuka Gossiaux
Jozef Pacolet and An Marchal
What’s in a name? ‘Social quality’ is an attractive yet vague concept. It has an appeal in the context of post-industrial aspirations to rise above the quantitative and the material, towards qualitative, immaterial goals; it emphasises ‘social’ aspects that lie beyond individualistic preoccupations and are oriented towards considerations of collectivity and solidarity. These aspects can be represented in terms of two dimensions (Figure 1), where the notion of social quality is situated in the upper left quadrant. But does this show the real content of this ‘container concept’, and does it reflect present everyday reality? The concept of social quality has been adapted (or rather adopted) in the context of the labour market in terms of the notion of ‘flexicurity’. We shall discover that to an important extent this notion includes both ends of the dimensions; in other words, it is not what it seems.
Social workers, irregular migrants and fragmented statehood in Belgian welfare bureaucracies
entitled to in Belgium. In order to qualify, people need to apply to their local welfare office, which assesses whether people meet the legal requirements before deciding to issue documents that migrants could present to healthcare professionals in case
How Emotions and Professional Ethos Make Public Services
policies are implemented on a daily basis. As a part of wider research on the judicialisation of social assistance in French-speaking Belgium, this article builds on ethnographic fieldwork within three different welfare offices and two lower courts of
Examining the Infrastructuring Processes in Brussels (1950–2019) through the Lens of Social Imaginaries
transformed into urban highways with tunnels and bypasses, becoming part of a roadscape articulating functionality and aestheticism. 41 In this way, the state administration enforced a new “parklike infrastructural landscape” in Belgium. 42 The “modern roads
Olivier Schrauwen’s Arsène Schrauwen beyond Expectations of Autobiography, Colonial History and the Graphic Novel
Benoît Crucifix and Gert Meesters
Olivier Schrauwen and make it clear that a story about the Belgian Congo in his hands might result in something very different from the usual well-documented colonial story. In 2014, at Fantagraphics, Olivier Schrauwen published Arsène Schrauwen , in
Outcomes for Belgium
Veerle de Maesschalck
In presenting social quality indicators for Belgium, we have confined ourselves to explaining the national situation concerning these indicators without reflecting on the theory of social quality itself or the broader theoretical framework. When considering social quality from a Belgian perspective, it is important to keep the national context in mind and this is covered in Part I of this article. Part II focuses on the outcomes of social quality indicators, with the findings presented by domain, rather than by component (security, cohesion, inclusion, empowerment). An example of good practice in the context of social quality is provided in Part III, illustrating how the Belgian system of individual work time reduction embodies elements of each of the four components. Finally, we conclude this article by illustrating how Belgium performs in terms of social quality.
Decolonising Adventure Comics in Baruti and Cassiau-Haurie's Le Singe jaune
other means of expression? Or is it possible to appropriate subversively the ones that have historically dehumanised them? Barly Baruti, a Congolese artist who has studied and worked both in the Democratic Republic of the Congo (DRC) and Belgium, 1 has
'National' culture, one that is linked to the daily perception of cultural artefacts and inevitably affected by the context of globalisation, can be considered through the optic of Belgian comics. And although Belgian national culture escapes easy characterisation, it can at least be explored from three different angles. Firstly, Flemish comics will be discussed in terms of the Flemish way of 'doing comics' or, more broadly, anti-Belgicism, in terms of both political subtext and language issues. Secondly, francophone Belgian comics can be approached as an example of cultural blindness, marked by 'evasion' or the playing-down of Belgian specificity in broad cultural as well as more precise linguistic terms. Drawing upon the works of Deleuze and Guattari, these examples can then be used as an outline for a framework of broader analysis regarding national cultures in peripheral situations.
For more than four years during the First World War Belgium was almost completely occupied. In response to the brutal occupation of the country, while many Belgian Jews were in the army, some played a more or less important role by various kinds of effective or spiritual resistance. A few others collaborated with the enemy. 'The soul of the moral resistance' was Chief Rabbi Armand Bloch (1861–1923), a man who was quiet by nature, but who put himself in danger; among other things, he delivered a sermon on the first day of Passover 1916 that would bring him, in May, in front of the War Council, which sentenced him 'for insult' to a six-month prison term. By describing his career and analysing his published works, this article will try to understand his reasons for resistance.