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    <loc>https://borderlines-cssaame.org/posts/2026/2/1/difference-in-history-and-theory-interview-with-andrew-sartori</loc>
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    <lastmod>2026-02-02</lastmod>
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      <image:title>Home - “Difference” in History and Theory: An Interview with Andrew Sartori - Make it stand out</image:title>
      <image:caption>"Pondicherry" by Aleksandr Zykov is licensed under CC BY-SA 2.0.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2026/1/1/flow-corporeality-and-the-inebriating-alterity-of-a-kinesthetic-arabness-a-conversation-on-dabke-baathism-and-gender-with-shayna-silverstein</loc>
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    <lastmod>2026-01-09</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/59c39135-0066-4894-8d97-a25389783a93/Screenshot+2026-01-01+at+9.16.23%E2%80%AFPM.png</image:loc>
      <image:title>Home - Flow, Corporeality, and the Inebriating Alterity of a Kinesthetic Arabness: A Conversation on Dabke, Baathism, and Gender with Shayna Silverstein - Make it stand out</image:title>
      <image:caption>The Holiday of Cursing Hafiz’s Soul,” Kafr Rouma. November 2011. Youtube video.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/10/22/o1e64r9j419tc94rtgmek3o9affz32</loc>
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    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/2c995411-1488-46dd-a7a2-907fca660c02/Screenshot+2025-12-01+at+12.13.44%E2%80%AFPM.png</image:loc>
      <image:title>Home - Towards a Technopolitics of the Global South: Political Publics in the Global Present - Make it stand out</image:title>
      <image:caption>Both are images of a geodesic dome, which is modeled on Riemannnian geometry. The left-hand image represents the theme for the US Pavilion in the 1967 Montreal Expo, "Creative America." The other is from Auroville, India, begun in 1971 and completed in 2008. Image credits: Image 1: Expo-67 (Domerama.com, licensed under CC BY-SA 3.0); Image 2: Matrimandir Construction Photos 1971-2008 (Auroville Archives, licensed under CC BY-NC-SA 4.0)</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/10/22/factual-truth-and-securitization-in-emergent-circuits-of-publicity</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/c57caad7-790c-48e8-83e7-915111296472/Francis+Thumbnail.jpeg</image:loc>
      <image:title>Home - Factual Truth and Securitization in Emergent Circuits of Publicity - Make it stand out</image:title>
      <image:caption>Image Credit: Dan Palraz (licensed under CC BY-SA 4.0)</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/10/22/reading-francis-codys-the-news-event-in-the-time-of-unmindfulness</loc>
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    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/10/22/publicity-and-territoriality-in-social-medias-mise-en-scne</loc>
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    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/e21ed1b3-45ee-4433-b199-e550011208d6/Kajri+Thumbnail_Image.jpg</image:loc>
      <image:title>Home - Publicity and Territoriality in Social Media's Mise-en-Scène - Make it stand out</image:title>
      <image:caption>Image by the author (at the Statue of Unity, Gujarat, India)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/43487abe-3cb3-4461-a4a6-d96af5f9c91f/Kajri+Image.jpg</image:loc>
      <image:title>Home - Publicity and Territoriality in Social Media's Mise-en-Scène - Make it stand out</image:title>
      <image:caption>Image by the author (at the Statue of Unity, Gujarat, India)</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/10/22/policing-affect-regulatory-regimes-and-ott-platforms</loc>
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    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/11/9/the-politics-of-the-advertised</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/11/9/influencers-and-the-changing-political-landscape-of-india</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1e778179-4a07-446b-9ef3-7b52c793a57a/Pal+Fig+1.png</image:loc>
      <image:title>Home - Influencers and the Changing Political Landscape of India - Make it stand out</image:title>
      <image:caption>Figure 1: Polarization of Indian media houses [from Political Interviewing on YouTube]. Each account was assigned a binary polarity score based on the number of retweets by the Twitter accounts belonging to party members or official accounts belonging to the ruling party coalition (+1) or all other parties (-1)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/4aae7b74-a661-43ca-b87e-a1e153598eac/Pal+Fig+2.png</image:loc>
      <image:title>Home - Influencers and the Changing Political Landscape of India - Make it stand out</image:title>
      <image:caption>Figure 2: Polarization of Indian journalists and commentators (-1 = engaged solely by opposition) [from Political Interviewing on YouTube]</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/386c4443-3c4e-4272-9e9d-197703b7b0be/Pal+Fig+3.png</image:loc>
      <image:title>Home - Influencers and the Changing Political Landscape of India - Make it stand out</image:title>
      <image:caption>Figure 3: Polarization of Indian digital influencers on Twitter (-1 = engaged solely by opposition) [from Political Interviewing on YouTube]</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/32e08e4a-bd96-4371-afa6-6146781a83ad/Pal+Fig+4.png</image:loc>
      <image:title>Home - Influencers and the Changing Political Landscape of India - Make it stand out</image:title>
      <image:caption>Figure 4: Boxplot shows views of political interviews on YouTube by various channels that interviewed Indian politicians in the 2024 election cycle</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/11/9/shadow-knowledges-on-secrecy-and-the-communicative-state</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-04</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/ff00945d-8723-4a3f-8b22-53060103867b/Sawhney+fig1+2.png</image:loc>
      <image:title>Home - Shadow Knowledges: On Secrecy and the Communicative State - Make it stand out</image:title>
      <image:caption>Figures 1 and 2: Book catalogues by Manas Publications, Daryaganj, Delhi. Images by author.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/e79af6db-09e8-4c61-b455-19dc9f86c084/Sawhney+Fig+3.png</image:loc>
      <image:title>Home - Shadow Knowledges: On Secrecy and the Communicative State - Make it stand out</image:title>
      <image:caption>Figure 3: “Dilawar Singh History Sheeter died. H.S. [History Sheet] may be destroyed.” Haryana State Archives, Panchkula.[11]</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/7/13/ebt6dcgyzjctq31imjjrdg8ptkz1d4</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-11</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1757601545906-GO0ESJCYPAYZTI8ZQEX7/IMG_3031.JPG</image:loc>
      <image:title>Home - Between Radical Promise and Despair: Dalit Literature and Movement in Karnataka - Make it stand out</image:title>
      <image:caption>Photo Credits: Anupama Rao</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2025/4/1/defacement-disfiguration-and-the-human-a-conversation-with-prabhakar-kamble-1</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-04-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549940633-U6HLNNRRDXH76LTM269Q/KAMBLE+IMAGE+1-+Emptiness+and+Equality+II_%28Pillar+with+Buddha++sculpture%29_Fibre%2CIndigo+powder%2C+metal+bars%2C+earthen+pots%2C+Wood._72%E2%80%9DH_12%E2%80%9Dw_12%E2%80%9DL.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Emptiness and Equality II</image:title>
      <image:caption>Pillar with the Buddha sculpture: Fibre, Indigo powder, Metal bars, Earthen pots, Wood. 72”Hx12”Wx12”L (2019)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743550021957-2C4XK3IBY333FHM4G5RI/Screenshot+2025-04-01+at+7.26.21%E2%80%AFPM.png</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Emptiness and Equality I</image:title>
      <image:caption>Pillar with Dr. B.R. Ambedkar’s sculpture: Fibre, Indigo powder, Metal bars, Earthen pots, Wood. 72”Hx12”Wx12”L (2019)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743548898345-YVJ9UDYPKMZ23TI6FSDB/KAMBLE+IMAGE+3-+Participating+artists+during+their+visit+to+Ajanta+Caves_as+part+of+the+workshop+%2C+%27Revolution+and+counter+revolution%27+a+workshop+of+35+artists+across+India+in+2019.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - "Revolution and Counter-Revolution"</image:title>
      <image:caption>A workshop of 35 artists across India in 2019</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743548908571-UMM9J3PBM6GY3EPN5O6K/KAMBLE+IMAGE+4-Secular+Art+Movement_public+exhibition+at+shivaji+park_chaityabhumi_on+6th+December+2019.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Secular Art Movement (SAM) Annual public art exhibition at Shivaji Park Chaityabhumi on 6th December 2019.</image:title>
      <image:caption>SAM pays an artistic tribute to Dr. B. R. Ambedkar on the occasion of his death anniversary every year at Shivaji Park.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/4d2284fb-c868-4981-8e68-d02c62b7c063/KAMBLE+IMAGE+5-Portrait+of+Dr.+B.R.Ambedkar_+in+public+place_20ft+X+15ft_2017.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Make it stand out</image:title>
      <image:caption>Symbol of Liberation: A portrait of Dr. B. R. Ambedkar in a public space. Acrylic colors on wall: 20ft X 15ft (2017)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/04b0090e-734b-4e76-abf6-3fdfcf087571/KAMBLE+IMAGE+6-+Human+in+Una_Diary+Pages_Ink+on+Postcard_2016.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Make it stand out</image:title>
      <image:caption>Human in Una - Una Diary Pages - Ink on Postcard (2016) Prabhakar Kamble: “After the Una atrocity happened in Una, Gujarat in 2016, I made lots of drawings as daily diary sketches”</image:caption>
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      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Baroda, Gujarat (2017)</image:caption>
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    <image:image>
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      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Baroda, Gujarat (2017)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743551032061-EXAU6TF11A0WBB8DWY68/KAMBLE+IMAGE+9-Series+of+Performances+in+Baroda%2C+2017.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Baroda, Gujarat (2017)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743551105977-YHY3XYS1TXRXTY71AFXZ/KAMBLE+IMAGE+10-Series+of+Performances+in+Kankanli%2C+Maharashtra%2C+2016+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Kankavli, Maharashtra (2016)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549337326-9IHYRPMOXN2909RNJI3H/KAMBLE+IMAGE+11-Series+of+Performances+in+Kankanli%2C+Maharashtra%2C+2016.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Kankavli, Maharashtra (2016)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549353347-BUWGKXZG55WQOUDMQVC3/KAMBLE+IMAGE+12-Series+of+Performances+in+Kankanli%2C+Maharashtra%2C+2016.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Kankavli, Maharashtra (2016)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549365072-CDCGE56MBLUSQZVW1T86/KAMBLE+IMAGE+13-Series+of+Performances+in+Kankanli%2C+Maharashtra%2C+2016.jpg+.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Human in Una</image:title>
      <image:caption>Series of performances in Kankavli, Maharashtra (2016)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549422036-QSGGJ3JEGXTCZCXKBGW8/KAMBLE+IMAGE+14-Disfiguration+of+Image_Kinetic+Installation_60%E2%80%9DX8%E2%80%9D_Metal%2CFibre+and+socket+for+electric+supply_2020.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Disfiguration of Image</image:title>
      <image:caption>Kinetic Installation: 60”X8” Metal, Fibre and Socket for electric supply (2020)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549424299-K97136UAF73AFHB3T7HB/KAMBLE+IMAGE+15-Back+View%2C+Disfiguration+of+Image_Kinetic+Installation_60%E2%80%9DX8%E2%80%9D_Metal%2CFibre+and+socket+for+electric+supply_2020.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Disfiguration of Image</image:title>
      <image:caption>Kinetic Installation: 60”X8” Metal, Fibre and Socket for electric supply (2020)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/fff5beac-ef2f-4b9f-944a-933d05490ca1/KAMBLE+IMAGE+16-Broken+Foot_wood_12%E2%80%9D+X+6%E2%80%9D+X+5%E2%80%9D_2019.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Make it stand out</image:title>
      <image:caption>Broken Foot - Wood 12” X 6” X 5” (2019)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549673887-V20OG8S36XZVILB5AS86/KAMBLE+IMAGE+17-Broken+Foot_wood_12%E2%80%9D+X+6%E2%80%9D+X+5%E2%80%9D_2019.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Broken Foot</image:title>
      <image:caption>Wood 12” X 6” X 5” (2019)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549678120-RP2I24AWMRD8CT7MN02S/KAMBLEIMAGE+18-Broken+Foot_wood_12%E2%80%9D+X+6%E2%80%9D+X+5%E2%80%9D_2019.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Broken Foot</image:title>
      <image:caption>Wood 12” X 6” X 5” (2019)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549770367-TIVNHJKK6MA8DXWNRIJ7/KAMBLE+IMAGE+19-Utarand+II+I+2022+I+Earthen+pot%2C+metal%2C+Gloves%2C+indigo+powder%2C+Acrylic+color%2C+iron+I+54_+X+22%E2%80%9D_2022.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Utarand II</image:title>
      <image:caption>54” X 22” : Earthen Pot, Metal, Gloves, Indigo Powder, Acrylic color, Iron (2022)</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1743549773429-6XP3CSHFM3WTH1DMU22S/KAMBLE+IMAGE+20-Utarand%E2%80%99+--+Four+Fold+Storage+System+for+Dehumanisation+2025_66%E2%80%9Dh+x+8%E2%80%9Dl+x+8%E2%80%9D+w_terracotta+pot%2C+nylon+rope%2C+iron%2C+ceramic%2C+indigo_2024.jpg</image:loc>
      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Utarand - Four Fold Storage System for Dehumanisation</image:title>
      <image:caption>66”H x 8”L x 8”W : Terracotta Pot, Nylon Rope, Iron, Ceramic, Indigo (2024)</image:caption>
    </image:image>
    <image:image>
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      <image:title>Home - Defacement, Disfiguration, and the Human: A Conversation with Prabhakar Kamble - Utarand I</image:title>
      <image:caption>48” X 22”: Earthen Pot, Metal, Fiber, Satin Cloth, Indigo Powder, Acrylic, Iron (2022)</image:caption>
    </image:image>
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    <loc>https://borderlines-cssaame.org/posts/2024/10/16/networks-of-praise-and-politics-unveiling-the-taqriz-genre-in-egyptian-periodicals</loc>
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    <lastmod>2024-10-21</lastmod>
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      <image:title>Home - Networks of Praise and Politics: Unveiling the Taqriz Genre in Egyptian Periodicals - Make it stand out</image:title>
      <image:caption>“Bab al-Naqd wa al-Taqriz,” al-Maʻrifa, 1 June 1931. Source: Universitat Bonn.</image:caption>
    </image:image>
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    <loc>https://borderlines-cssaame.org/posts/2024/4/2/paulin-j-hountondji-and-the-defense-of-the-universal-an-interview-with-carmen-de-schryver-part-ii</loc>
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    <lastmod>2024-04-02</lastmod>
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    <loc>https://borderlines-cssaame.org/posts/2024/2/28/presentism-democracy-between-the-historical-genealogical-and-historial</loc>
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    <lastmod>2024-04-02</lastmod>
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      <image:title>Home - Presentism? Democracy between the historical, genealogical, and historial. - Make it stand out</image:title>
      <image:caption>Alice at St. Stephen's. Alice and the caterpillar, representing a judge. Title of Work: The Westminster Alice, Illustrated by F. Carruthers Gould. London : Westminster Gazette, 1902. Credit: From the British Library archive. Shelfmark: 12332.ff.15.</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2024/2/28/a-time-for-space-a-ham-fisted-marxist-geographers-response</loc>
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    <lastmod>2024-05-29</lastmod>
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      <image:title>Home - Response I: Presentism? A Time for Space: A “ham-fisted” Marxist geographer’s response - Make it stand out</image:title>
      <image:caption>Henri Lefebvre with Leszek Kolakowski in Amsterdam, 9 March 1971. Source: Wikimedia Commons</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2024/2/28/wonderland-sans-alice</loc>
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    <lastmod>2024-04-02</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/6e0820b3-25e1-469d-ae93-82fde95cc41d/Alice_in_Wonderlan</image:loc>
      <image:title>Home - Response II: Presentism? Wonderland sans Alice - Make it stand out</image:title>
      <image:caption>Alice in Wonderland; a dramatization of Lewis Carroll's "Alice's adventures in Wonderland" and "Through the looking glass," 1915. Source: Library of Congress, Creative Common License 2.0</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2024/2/28/response-to-ajay-skaria-presentism-democracy-between-the-historical-genealogical-and-historial</loc>
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    <lastmod>2024-04-02</lastmod>
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      <image:title>Home - Response III: “Presentism? Democracy between the historical, genealogical, and historial"” - Make it stand out</image:title>
      <image:caption>Fig 1: ‘The enemy comes forward, and swears allegiance ...’ [Auto de Vassalagem].  Sourced here from: José de Almeida “Pesca-Rãs” (1907-1907), “Campanhas do Cuamato de 1907”, Fundação Mário Soares / Documentos Carvalhão Duarte/Rocha Martins, Disponível HTTP: http://www.casacomum.org/cc/visualizador?pasta=04498.006.040.001 (2022-11-28).</image:caption>
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    <lastmod>2023-10-12</lastmod>
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      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>NOW (2023), from Havah…to breathe, air, life (2023)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/da17643e-99b2-49a5-bd24-18ce15292a16/2.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>A Slight and Pleasing Dislocation (1993)</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/c6fc99d9-9448-4349-aebb-57c74ac6a4e0/3.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Who’s Veiled Anyway? (1997)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/e90d5362-77d0-4ee1-9473-78df45c34a5f/4.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Reinventing the Dislocation (1989-1997)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/c97f4741-7ab1-4616-8ea6-25dd9a65a787/Faiz%E2%80%99s+Gift+%282011%29.jpg</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Faiz’s Gift (2011)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/d5c11215-95ad-4460-823a-42f6bc92d0fd/5.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Movement Lab, Barnard College, April 15, 2023</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/705ab47c-bc37-45bb-9bc8-8c388620fb7c/6.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Gopi Crisis (2001)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/af46e1f0-03eb-48a9-9f0c-9d86f757750b/7.png</image:loc>
      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Home - Unmaking the Manuscript: Archives, Labor, and the Art of Shahzia Sikander - Make it stand out</image:title>
      <image:caption>Movement Lab, Barnard College, April 14, 2023</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2023/8/9/whats-in-a-font-pathways-of-the-medici-oriental-press-arabic-typeface</loc>
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    <lastmod>2023-08-09</lastmod>
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      <image:title>Home - What’s in a Font? Pathways of the Medici Oriental Press’ Arabic Typeface - Make it stand out</image:title>
      <image:caption>Euclidis Elementorum Geometricorum Libri Tredecim. Ex Traditione Doctissimi Nasiridini Tusini. Nunc Primum Arabice Impressi. Romae: in Typographia Medicea, 1594. (Front-page detail).</image:caption>
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      <image:caption>Two pages from Basharat Yasu’ al-Masih kama kataba Mar Mattay wahid min athni ʻashar min talamidh. Romae, In Typographia Medicea, 1591: 14-15. Internet Archive.</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2023/6/12/the-arabian-nights-and-the-pre-history-of-commercial-capitalism</loc>
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    <lastmod>2023-07-03</lastmod>
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      <image:caption>Caravane sur la Route de la soie (Atlas Catalan, 1375).</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2023/1/20/history-sounds-ep-3-cassettes-and-mass-culture-in-egypt-with-andrew-simon</loc>
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    <lastmod>2023-01-25</lastmod>
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      <image:title>Home - History Sounds (Ep. 3) Cassettes and mass culture in Egypt with Andrew Simon - Make it stand out</image:title>
      <image:caption>A collection of cassette tapes at a Cairo kiosk, 2015. Photo by Andrew Simon.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2023/1/6/on-paulin-j-hountondji-and-the-notion-of-influence-in-modern-african-intellectual-history-an-interview-with-carmen-de-schryver-part-i</loc>
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    <lastmod>2023-01-09</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/10/31/history-sounds-ep-2-radio-and-resistance-in-afghanistan-with-mejgan-massoumi</loc>
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    <lastmod>2023-01-20</lastmod>
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      <image:title>Home - History Sounds (Ep. 2) Radio and resistance in Afghanistan with Mejgan Massoumi - Make it stand out</image:title>
      <image:caption>Radio Afghanistan QSL card, 1976</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/life-revolution-and-khoang-lng</loc>
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    <lastmod>2022-09-19</lastmod>
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      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:caption>Former political prisoners (including the memoir’s author) visiting the cemetery on the island where their comrades passed (Image scanned from the memoir)</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2022/9/13/front-page-the-sierra-leone-weekly-news-freetown-sierra-leone-january-11-1919</loc>
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    <lastmod>2022-09-21</lastmod>
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      <image:title>Home - Third World Historical: West African Worlds - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1663050247124-F003GSUBBV6O3RETWGZO/Picture+19.png</image:loc>
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      <image:caption>Front Page, The Sierra Leone Weekly News. (Freetown, Sierra Leone, January 11, 1919)</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2022/9/13/symbols-of-decolonization-feeling-and-infrastructure-in-anticolonial-egypt</loc>
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    <lastmod>2022-09-15</lastmod>
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      <image:title>Home - Third World Historical: Symbols of Decolonization - Feeling and Infrastructure in Anticolonial Egypt - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:title>Home - Third World Historical: Symbols of Decolonization - Feeling and Infrastructure in Anticolonial Egypt - Make it stand out</image:title>
      <image:caption>Photo 430/64 (9) - D. S. George, Construction of the Aswan Dam: Masonry and sluices in the western channel, c. 1900. Platinum print. Copyright © The British Library Board</image:caption>
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      <image:title>Home - Third World Historical: Symbols of Decolonization - Feeling and Infrastructure in Anticolonial Egypt - Make it stand out</image:title>
      <image:caption>Manfred Niermann (personal archive) 1 March 1964. Wikimedia Commons.</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/view-of-summit-minar-lahore-pakistan</loc>
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    <lastmod>2022-09-19</lastmod>
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      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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    <loc>https://borderlines-cssaame.org/posts/2022/9/13/ripping-up-the-script-revolutionary-dar-es-salaam-and-the-invasion-of-czechoslovakia</loc>
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    <lastmod>2022-09-15</lastmod>
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      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/monsters-as-political-education</loc>
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    <lastmod>2022-09-15</lastmod>
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      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:caption>FR ANOM 4005 COL 27 Journal des Peuples Opprimés, September 1934 Archives nationales d’outre mer, Aix-en-Provence, France</image:caption>
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      <image:caption>Image accompanying an article, “The Second World War Is at Our Door,” by L. Magyar (p. 7)</image:caption>
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      <image:caption>Image accompanying an article titled “France in Indochina,” by Francis Jourdain (p. 59)</image:caption>
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      <image:caption>Image accompanying an article titled “La Chine des Soviets,” by Koh-Lin (p. 50)</image:caption>
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      <image:caption>From Page 40 of the Issue</image:caption>
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      <image:title>Home - Third World Historical: Monsters as Political Education - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Home - Third World Historical: Monsters as Political Education - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/us-imperialism-in-ethiopia-biography-of-an-ambiguous-document</loc>
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    <priority>0.5</priority>
    <lastmod>2022-09-15</lastmod>
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      <image:title>Home - Third World Historical: “U.S. Imperialism in Ethiopia”: Biography of an Ambiguous Document - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:caption>Handwriting(s) by the author</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/where-is-the-new-woman-gender-and-the-revolution-in-angolan-literature</loc>
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    <priority>0.5</priority>
    <lastmod>2022-09-15</lastmod>
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      <image:title>Home - Third World Historical: Where is the “New Woman”? Gender and the revolution in Angolan literature. - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/revolution-in-absentia</loc>
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    <priority>0.5</priority>
    <lastmod>2022-09-15</lastmod>
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      <image:title>Home - Third World Historical: Revolution in Absentia - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:title>Home - Third World Historical: Revolution in Absentia - Make it stand out</image:title>
      <image:caption>Image courtesy of Ali Kazim &amp; Jhaveri Contemporary</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/we-had-developed-out-of-the-struggle-visions-of-a-new-humanity-in-lessons-from-the-damned</loc>
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    <lastmod>2022-09-15</lastmod>
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      <image:title>Home - Third World Historical: “We had developed out of the struggle” - Visions of a New Humanity in "Lessons from the Damned" - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:title>Home - Third World Historical: “We had developed out of the struggle” - Visions of a New Humanity in "Lessons from the Damned" - Make it stand out</image:title>
      <image:caption>Cover used for Lessons from the Damned</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/9/13/third-world-historical-documents-kateb-yacine-mohamed-pack-your-bags-1971</loc>
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    <priority>0.5</priority>
    <lastmod>2023-06-12</lastmod>
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      <image:title>Home - Third World Historical Documents: Kateb Yacine, "Mohamed Pack Your Bags" (1971) - Make it stand out</image:title>
      <image:caption>Image courtesy of Hajime Narukawa</image:caption>
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      <image:title>Home - Third World Historical Documents: Kateb Yacine, "Mohamed Pack Your Bags" (1971) - Make it stand out</image:title>
      <image:caption>Image courtesy of Archives Kateb Yacine / IMEC</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/5/25/erasure-neutrality-and-identity-in-assam-a-reading-of-no-lands-people</loc>
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    <priority>0.5</priority>
    <lastmod>2022-08-27</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1653507553405-5DE4DFEA146ETW79TY0G/Image1.jpeg</image:loc>
      <image:title>Home - No Land’s People: The Untold Story of Assam's NRC Crisis (2021) by Abishek Saha - Make it stand out</image:title>
      <image:caption>In August 2019, hundreds of people in certain districts of Assam, like Kamrup (Rural) and Barpeta, received sudden notices to appear for NRC hearings in far-off towns within the next few days. Villagers hired vehicles, including small trucks like in the photograph, to undertake the long journey. This photo was taken by Abhishek Saha in Sontoli village of Kamrup (Rural) district in August 2019.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1653507627312-ZSQIBXYTBNJXE9WEEN2K/Image2.jpeg</image:loc>
      <image:title>Home - No Land’s People: The Untold Story of Assam's NRC Crisis (2021) by Abishek Saha - Make it stand out</image:title>
      <image:caption>A Hindu Bengali woman in Silchar in Cachar district shows he father’s Relief Eligibility Certificate from 1964.  On August 5, 1964, Binoda Bihari Ray, then 39 years old, arrived with his wife and two children in Silchar from Ajmiriganj in then East Pakistan’s Sylhet. The Relief Eligibility Certificate issued to him 15 days later says he had “migrated without documents” because of “atrocities by Muslim goondas.” The section in the document detailing the “route followed during migration” says—“Habiganj by boat, Sylhet by train, Sutarkandi by bus, Karimganj on foot, Silchar by train.” The four-page yellow document bears the sign and seal of New Migrants Camp, Cachar, dated August 20, 1964.  Fifty-five years later, one of his daughters, Shilu Dey (in picture), had used the same document for her NRC application. Photo by Abhishek Saha, August 2019. Read her story here.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/7/5/history-sounds-loud-with-christopher-silver-conversation-1</loc>
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    <priority>0.5</priority>
    <lastmod>2023-01-20</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1657202928382-IVBLPG3WDL5UB9MHLFUH/Figure+3+-+Disque+Yafil.jpg</image:loc>
      <image:title>Home - History Sounds (Ep. 1) The recording industry in North Africa with Christopher Silver - Make it stand out</image:title>
      <image:caption>Disque Yafil. Courtesy of Christopher Silver.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/5/24/ncarcerated-journeys-of-rebellion-interaction-and-belonginga-glimpse-at-south-asian-penal-histories-in-melaka</loc>
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    <priority>0.5</priority>
    <lastmod>2022-06-02</lastmod>
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      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>Creative Commons License.</image:caption>
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      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>Map of Melaka under British rule in the nineteenth century. Creative Commons License.</image:caption>
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      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>Prisoners arrived at Melaka from various parts of Asia. Creative Commons License (modified by author).</image:caption>
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      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>Transportation of goods and people within Melaka largely happened over the river. Creative Commons License.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1653414324729-Z4CX2FETKIJCZDS7LBD2/Picture5.jpg</image:loc>
      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>The prison at Melaka is now preserved as a museum open to the public. Creative Commons License.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1653414380276-S2UFGRKLU4Z2ZF4IVO05/Picture6.jpg</image:loc>
      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>A prison cell where convicts were kept. Creative Commons License.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1653414429727-DOMU53GKJONW9MN8UU6P/Picture7.jpg</image:loc>
      <image:title>Home - Incarcerated Journeys of Rebellion, Interaction, and Belonging—A Glimpse at South Asian Penal Histories in Melaka - Make it stand out</image:title>
      <image:caption>A map of the landscape of Melaka. Creative Commons License (modified by author).</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/5/9/ballestero-commentary</loc>
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    <priority>0.5</priority>
    <lastmod>2022-05-23</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1652979963209-4XPEF4D3M1PUF2T1BGZN/Screenshot+2022-05-19+at+10.04.40+AM.png</image:loc>
      <image:title>Home - Commentary on “A Future History of Water” by Andrea Ballestero - Make it stand out</image:title>
      <image:caption>Sign at entry to the Cocles ASADA. Figure 1.1 from A Future History of Water, included with permission</image:caption>
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      <image:title>Home - Commentary on “A Future History of Water” by Andrea Ballestero - Make it stand out</image:title>
      <image:caption>Organizing promises to conduct local pact meetings. Figure 4.2 from A Future History of Water, included with permission.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/4/11/on-togo-mizrahi-and-layla-murad-a-conversation-with-deborah-starr-and-hanan-hammad-54gfz</loc>
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    <lastmod>2022-05-05</lastmod>
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      <image:title>Home - On Togo Mizrahi and Layla Murad: A Conversation with Deborah Starr and Hanan Hammad</image:title>
      <image:caption>Layla Murad and Togo Mizrahi on the set of Layla the Village Girl. Image courtesy of Jacques Mizart. Graphic design and colorization by Hamada Elrasam.</image:caption>
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      <image:title>Home - On Togo Mizrahi and Layla Murad: A Conversation with Deborah Starr and Hanan Hammad - Make it stand out</image:title>
      <image:caption>The letterhead of the Egyptian Films Company, courtesy of Jacques Mizart.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/4/5/cssaame-413-covid-roundtable-pandemic-biopolitics-ruptures-risks</loc>
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    <lastmod>2022-04-05</lastmod>
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      <image:title>Home - CSSAAME 41:3: Covid Roundtable: Pandemic Biopolitics, Ruptures, Risks - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/28/techofpower-opacity-8dsrj-jch2z-5ml2x</loc>
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    <lastmod>2022-03-31</lastmod>
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      <image:title>Home - #TechofPower: Memory | Praxis and Resistance - Make it stand out</image:title>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/2/22/there-is-no-good-time-for-bad-news</loc>
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    <priority>0.5</priority>
    <lastmod>2022-03-28</lastmod>
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      <image:title>Home - There is No Good Time for Bad News: Aruni Kashyap in conversation with Akshya Saxena - Make it stand out</image:title>
      <image:caption>Cover image of There is No Good Time for Bad News. Image provided by Aruni Kashyap.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/28/techofpower-opacity-8dsrj-jch2z</loc>
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    <lastmod>2022-03-31</lastmod>
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      <image:title>Home - #TechofPower: Afghanistan  | Is the War Over? - Make it stand out</image:title>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/6/on-archiving-surveillance</loc>
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    <priority>0.5</priority>
    <lastmod>2022-02-22</lastmod>
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      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Paperwork at Srinagar High Court, Kashmir. June 2019. Image provided by Shrimoyee Ghosh.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1642780837405-REZWIHLIQ98IO0S4WHKT/Collage.png</image:loc>
      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Tarangini, Pooja, Yael and Shrimoyee (top left to right) in conversation over Zoom.</image:caption>
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      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Public Safety Act files at a human rights lawyer’s office in Srinagar, Kashmir. June 2019. Image provided by Shrimoyee Ghosh.</image:caption>
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      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Cover image of Living Emergency (2017) by Yael Berda.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1642693594251-11HNGFUBMQL9TLL8CMGU/paperwork.jpeg</image:loc>
      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Notice to litigants in the Srinagar High Court by the Jammu and Kashmir Bar Association protesting the illegal detention of their office bearers and appointing a special panel of lawyers to handle Habeas Corpus Petitions during the mass arrests following the Abrogation of Article 370. October 2019. Image provided by Shrimoyee Ghosh.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1642776691766-WJCXHAUDEY35306P67JX/Image+6.jpeg</image:loc>
      <image:title>Home - On Archiving Surveillance - Make it stand out</image:title>
      <image:caption>Cover image of Yael Berda’s book in Hebrew titled The Bureaucracy of the Occupation.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/28/techofpower-opacity</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-02-10</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1644517397997-U0500HM9YP6YVYIA9CRS/Screen+Shot+2022-02-10+at+1.22.52+PM.png</image:loc>
      <image:title>Home - #TechofPower: Opacity - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/28/techofpower-enclosures</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1643406317831-1RDJUGLNHXGTWTT7ZUSV/Thumbnail+for+Tech+of+Power+October+.png</image:loc>
      <image:title>Home - #TechofPower: Enclosures - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/10/8/thinking-the-globally-familiar-in-hip-hop-and-beyond-ethiraj-gabriel-dattatreyan</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-10-22</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1634563209339-9GIBHOSG63F9475Y3UW8/cover.jpeg</image:loc>
      <image:title>Home - Thinking the Globally Familiar in Hip Hop and Beyond: A Conversation with Ethiraj Gabriel Dattatreyan - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1633728593958-RH71HPRGGBRNLJYSG360/borderlinesadidas.jpg</image:loc>
      <image:title>Home - Thinking the Globally Familiar in Hip Hop and Beyond: A Conversation with Ethiraj Gabriel Dattatreyan - Make it stand out</image:title>
      <image:caption>Hip hop mela, South Delhi 2013. Photo by Ethiraj Gabriel Dattatreyan.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1633728735592-4HPRMTYSO9MTOUP0W0FA/Satpulacipha.jpg</image:loc>
      <image:title>Home - Thinking the Globally Familiar in Hip Hop and Beyond: A Conversation with Ethiraj Gabriel Dattatreyan - Make it stand out</image:title>
      <image:caption>Satpula Cipha, South Delhi 2014. Photo by Ethiraj Gabriel Dattatreyan.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1633728853693-50OADM0E88FE0AB6ETGB/LetHimFlyfilmstill.jpg</image:loc>
      <image:title>Home - Thinking the Globally Familiar in Hip Hop and Beyond: A Conversation with Ethiraj Gabriel Dattatreyan - Make it stand out</image:title>
      <image:caption>Still from Let Him Fly (2021). Courtesy of Ethiraj Gabriel Dattatreyan.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/10/6/reflections-on-malini-surs-jungle-passports-2021</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-10-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1634046468714-SVBRK0KXDHSLZ5FLXE1W/Figure+19.JPG</image:loc>
      <image:title>Home - Reflections on Malini Sur's Jungle Passports (2021) - Make it stand out</image:title>
      <image:caption>Indian Garo women laborers mining sand for India’s border fence construction. Photo courtesy: Malini Sur</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2022/1/28/techofpower-place</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1643407708736-SSCTEQ6P2VVZTPTQGBYN/PLACE.png</image:loc>
      <image:title>Home - #TechofPower: Place - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/9/28/techofpower-geopolitics</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1632833364296-A6RXT24VBAJQV4W1X8KN/Screen+Shot+2021-09-28+at+8.48.58+AM.png</image:loc>
      <image:title>Home - #TechofPower: Geopolitics - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/9/15/techofpower-toolbox</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631726300536-54OBUKAY29ST5NU7CS45/TalibanDrones.jpg</image:loc>
      <image:title>Home - #TechofPower Toolbox - Make it stand out</image:title>
      <image:caption>Two civilian contractors prepare a US Army 14′ Shadow surveillance drone before it’s launched at Forward Operating Base Shank May 8, 2013 in Logar Province, Afghanistan / Robert Nickelsberg / Getty Images</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/9/15/techofpower-intimacy</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2022-01-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631722134563-M5U7L6XP6C9WBEEZK1SJ/Screen+Shot+2021-09-15+at+12.08.33+PM.png</image:loc>
      <image:title>Home - #TechofPower: Intimacy - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/9/11/open-access-kitabkhana-forum-afghanistan-rising-islamic-law-and-statecraft-between-the-ottoman-and-british-empires</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-10-08</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631367919076-9A1LEXLBO6WYC72ZEAE4/51qwriPIqhL.jpg</image:loc>
      <image:title>Home - Afghanistan Rising: Islamic Law and Statecraft between the Ottoman and British Empires - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/8/19/making-time-for-gooseberries-haats-memory-belonging-conflict</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-09-09</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631108606525-D19RHU4R76KOOF661OJZ/Mirza+Zulfiqur+Rahman+3.JPG</image:loc>
      <image:title>Home - Living with Oil and Coal: Resource Politics and Militarization in Northeast India (2019) by Dolly Kikon - Make it stand out</image:title>
      <image:caption>On the way to exchange produce in a haat at the Bangladesh-Meghalaya international border. Photo by Mirza Zulfiqur Rahman.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631108834129-4X5QBIS4114Q67NWGAGG/Mirza+Zulfiqur+Rahman+2+%281%29.JPG</image:loc>
      <image:title>Home - Living with Oil and Coal: Resource Politics and Militarization in Northeast India (2019) by Dolly Kikon - Make it stand out</image:title>
      <image:caption>Mithapukhuri, Jorhat, after the local elected representative made a boundary wall with decorative lights around the pond. Photo by Mirza Zunaid Rahman.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1631109254998-JI1I9IFKVOYMXBNG0CLR/Mirza+Zulfiqur+Rahman+5.JPG</image:loc>
      <image:title>Home - Living with Oil and Coal: Resource Politics and Militarization in Northeast India (2019) by Dolly Kikon - Make it stand out</image:title>
      <image:caption>A Khasi woman packing up after her purchases at a local haat in Meghalaya. Photo by Mirza Zulfiqur Rahman.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/8/1/arab-marxism-and-national-liberation-selected-writings-of-mahdi-amel</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-08-19</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1629394550905-DIRYR9KX2DSLKXX5SQDC/Arab+Marxism+and+National+Liberation+English+Book+Jacket.jpg</image:loc>
      <image:title>Home - Arab Marxism and National Liberation: Selected Writings of Mahdi Amel - Make it stand out</image:title>
      <image:caption>Arab Marxism and National Liberation introduces an English readership to the rich thought of the Lebanese Marxist thinker Mahdi Amel (1936-87). The six translated excerpts are testimony to both the scope and breadth of Amel’s thought, ranging from the vexed question of the Arab Cultural Heritage, Amel’s central concern with colonialism and underdevelopment, to the “Sectarian State” – the excerpt reproduced here is made with special permission by the volume’s editor and translator.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1628004664056-JYJNR4Z8PNDXV7KBC8RG/16163039.jpg</image:loc>
      <image:title>Home - Arab Marxism and National Liberation: Selected Writings of Mahdi Amel - Make it stand out</image:title>
      <image:caption>Book Title: On the Sectarian State Beirut: Dar al-Farabi, 3rd edition, 2003. (First published in 1986).</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/8/7/on-theory-and-the-south-with-saronik-bosu-borderlines-meets-the-high-theory-podcast</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-08-07</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1628328064874-LQRX5OI44ZQC47WN2TJU/Untitled-Artwork.jpg</image:loc>
      <image:title>Home - On Theory and the South with Saronik Bosu: Borderlines meets the High Theory Podcast - Make it stand out</image:title>
      <image:caption>Art by Saronik Bosu</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/7/29/reflections-on-the-value-of-malini-surs-jungle-passports-2021</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-10-08</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1627927596726-MXS4IUDY2NXAY9535K40/Figure+1.jpeg</image:loc>
      <image:title>Home - Reflections on the Value of Malini Sur’s Jungle Passports (2021) - Make it stand out</image:title>
      <image:caption>India’s new border fence with Bangladesh under construction in the states of Meghalaya and Assam, North-east India. Photo courtesy: Malini Sur.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/23/south-african-social-photography-the-moment-of-drum</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-07-06</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624479338644-SHTP9HZVG8P34XPOYBAX/Drum+photo+1.jpg</image:loc>
      <image:title>Home - South African Social Photography: The Moment of Drum - Make it stand out</image:title>
      <image:caption>‘Rhodes Must Fall’- A student activist standing on the plinth from which the statue of Cecil John Rhodes was removed University of Cape Town. ©SidLuckett</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1625188466803-5K1TTW0P90QVVLSFP9NR/Magubane+1.jpg</image:loc>
      <image:title>Home - South African Social Photography: The Moment of Drum - Make it stand out</image:title>
      <image:caption>A celebratory exhibition of his photography by the University of Cape Town. Two students looking at one of his photos (Peter Magubane 1). Photo credit: Peter Magubane.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1625188574030-TIKU8KV9IMT2H385QOFR/Magubane+3i.jpg</image:loc>
      <image:title>Home - South African Social Photography: The Moment of Drum - Make it stand out</image:title>
      <image:caption>Photo with Paul Weinberg (Peter Magubane 3i). Photo credit: Peter Magubane.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1625188730701-5XY4QZZOFYTRSENIX9EI/Magubane+4.jpg</image:loc>
      <image:title>Home - South African Social Photography: The Moment of Drum - Make it stand out</image:title>
      <image:caption>Looking around at his photos with James Mathews, a renowned South African writer and anti-Apartheid activist who worked as a journalist contributing to many national newspapers and magazines including the Drum (Peter Magubane 4). Photo credit: Peter Magubane.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/3/ather-zias-resisting-disappearance-2020-a-commentary-3t39w</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-28</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624383357144-YWTW99SKK275PSRH66WT/4.01.JPG</image:loc>
      <image:title>Home - Resisting Disappearance: Military Occupation and Women’s Activism in Kashmir (2020) by Ather Zia - Make it stand out</image:title>
      <image:caption>APDP activists in protest sharing grief. Figure 4.1 from Resisting Disappearance; included with author permission.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624383760178-TSFEV7P3PZ4KSXBVCGRO/6.01.JPG</image:loc>
      <image:title>Home - Resisting Disappearance: Military Occupation and Women’s Activism in Kashmir (2020) by Ather Zia - Make it stand out</image:title>
      <image:caption>An APDP activist in a protest with her son. Figure 6.1 from Resisting Disappearance; included with author permission.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/21/on-transnational-solidarities-of-coloured-cosmopolitanism-comparisons-between-race-and-caste-1</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-10-08</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624288383746-AK1M8KRNSLKTRV315G8O/Kamaladevi-5.jpg</image:loc>
      <image:title>Home - On Transnational Solidarities of Coloured Cosmopolitanism: Comparisons Between Race and Caste - Make it stand out</image:title>
      <image:caption>Kamaladevi Chattopadhyay, an anticolonialist from India, embraced what Slate calls ‘colored cosmopolitanism’. Photo source news karnataka.com</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624288434793-AB4UFS3A6CESYHCC3MHL/martin_luther_king_jr_605_ap.jpg</image:loc>
      <image:title>Home - On Transnational Solidarities of Coloured Cosmopolitanism: Comparisons Between Race and Caste - Make it stand out</image:title>
      <image:caption>Martin Luther King and his wife Coretta Scott King travelled to India in 1959. Photo source: Deccan Chronicle</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624288526515-Q7TVWEEXAY7M245R1Q0F/Coloured+cosmopolitanisms+nico+slate.jpg</image:loc>
      <image:title>Home - On Transnational Solidarities of Coloured Cosmopolitanism: Comparisons Between Race and Caste - Make it stand out</image:title>
      <image:caption>Image Source: Harvard University Press</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/20/unpredictable-and-precarious-yet-expected-chihab-el-khachabs-making-film-in-egypt</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-21</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624278657929-RPANQP2XOSMTULXWO5MR/Photo+1+for+Cooley%27s+piece.png</image:loc>
      <image:title>Home - Unpredictable and Precarious yet Expected: Chihab El Khachab’s Making Film in Egypt - Make it stand out</image:title>
      <image:caption>A photo of the Metro cinema in downtown Cairo, (Photo/Claire Cooley).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624275604435-W9BM1V3M7UT7SNOKLGS9/El+Khacab+piece+photo+2.jpg</image:loc>
      <image:title>Home - Unpredictable and Precarious yet Expected: Chihab El Khachab’s Making Film in Egypt - Make it stand out</image:title>
      <image:caption>Two Egyptians wearing surgical masks pass by a movie theater locked down to stem the spread of the coronavirus in downtown Cairo, Egypt. (Photo/Hamada Elrasam).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624275639852-3B54BI8I22URXYDFM6F2/El+Khacab+piece+photo+3.jpg</image:loc>
      <image:title>Home - Unpredictable and Precarious yet Expected: Chihab El Khachab’s Making Film in Egypt - Make it stand out</image:title>
      <image:caption>Courtesy AUC Press</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1624278062689-3L06ITQHCK7B4CBL0XL6/Photo+4+for+Cooley%27s+piece.png.jpg</image:loc>
      <image:title>Home - Unpredictable and Precarious yet Expected: Chihab El Khachab’s Making Film in Egypt - Make it stand out</image:title>
      <image:caption>Poster for the 2021 film al-Shanta (“The Suitcase”) that was shot partially in Dubai</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/social-theory-from-the-global-south-meghna-chaudhuri-andrew-liu-durba-mitra-anupama-rao-and-matthew-shutzer</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-18</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623692144622-L188SQL9NW3VATMM9V23/03+Liu+comparison.jpeg</image:loc>
      <image:title>Home - Social Theory from the Global South: In Conversation with Durba Mitra, Andrew Liu, Anupama Rao - Make it stand out</image:title>
      <image:caption>Illustration of Chinese and Indian tea sales in an Indian Tea Association pamphlet, 1910. Permission: from p. 11 of Tea War and provided by Andrew B. Liu.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623690770319-T7PKQOR36Q7GKAA3I5B2/01+Mitra+cover.jpeg</image:loc>
      <image:title>Home - Social Theory from the Global South: In Conversation with Durba Mitra, Andrew Liu, Anupama Rao</image:title>
      <image:caption>Author permission</image:caption>
    </image:image>
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      <image:title>Home - Social Theory from the Global South: In Conversation with Durba Mitra, Andrew Liu, Anupama Rao - Make it stand out</image:title>
      <image:caption>Author permission</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623691980517-OSHF4PELZDRZYZBWD7EU/04+Mukherji_Diagram.jpeg</image:loc>
      <image:title>Home - Social Theory from the Global South: In Conversation with Durba Mitra, Andrew Liu, Anupama Rao - Make it stand out</image:title>
      <image:caption>Diagram of “prostitutes” from Hindu sexology, from the textbook Indian Sex Life and Prostitution (1934) by Santosh Kumar Mukherji. Permission: from page 54 of Indian Sex Life and provided by Durba Mitra.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623692488892-W3Y4C3X6GHQZVNZ89MFA/05+Schmidt.jpeg</image:loc>
      <image:title>Home - Social Theory from the Global South: In Conversation with Durba Mitra, Andrew Liu, Anupama Rao - Make it stand out</image:title>
      <image:caption>Richard Schmidt, Kamasutra (1904),  cover. Permission: from p. 33 of Indian Sex Life and provided by Durba Mitra.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/2/india-and-africa-in-parallax</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
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      <image:title>Home - India and Africa in Parallax: In Conversation with Renu Modi, Shobana Shankar, and Meera Venkatachalam - Make it stand out</image:title>
      <image:caption>Shops in Colaba, South Mumbai, selling African cloth. Photo Navin Narang. Image provided to Borderlines by Meera Venkatachalam</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623583471699-GCF3BW22JRNC9W8K9IXZ/Lat+Saheber+Chair+2016.png</image:loc>
      <image:title>Home - India and Africa in Parallax: In Conversation with Renu Modi, Shobana Shankar, and Meera Venkatachalam - Make it stand out</image:title>
      <image:caption>Lat Saheber Chair”, by Dhali al-Mamoon. Image provided by the artist.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623583197897-GYXI5X1DKDEAMO67A46O/15..jpg</image:loc>
      <image:title>Home - India and Africa in Parallax: In Conversation with Renu Modi, Shobana Shankar, and Meera Venkatachalam - Make it stand out</image:title>
      <image:caption>Malik Ambar (1548-1626) born in Ethiopia, was brought to the Deccan as a slave but rose to the rank of prime minister and general of Ahmednagar. From the collection of the National Museum, New Delhi, on display at the special exhibition, ‘India and the World: A History in Nine Stories’, Chhatrapati Shivaji Maharaj Vaastu Sangrahalaya, Mumbai, India, 11 November 2017 to 18 February 2018. Photo Johann Salazar [p. 44, Common Threads]. Image provided to Borderlines by Meera Venkatachalam.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1623582320453-T0SATG9VCS9B1BT0NFZN/Legon+Gandhi.jpg</image:loc>
      <image:title>Home - India and Africa in Parallax: In Conversation with Renu Modi, Shobana Shankar, and Meera Venkatachalam - Make it stand out</image:title>
      <image:caption>Legon Gandhi, Photograph by: Meera Venkatachalam, November 2016</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/6/4/u85y8kepg2ifbsmepsdx9vulmedngb</loc>
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    <lastmod>2025-04-24</lastmod>
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      <image:title>Home - A Cosmovisión of Solidarity:  Anticolonial Worldmaking and the Politics of Possibility - Make it stand out</image:title>
      <image:caption>Pamphlet from the 1961 international student camp in Havana and part of Cuba’s campaign against illiteracy during the ‘Year of Education’.</image:caption>
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  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/5/31/in-conversation-with-samita-sen</loc>
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    <lastmod>2021-10-08</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1620604680649-8OX9HQR01MAEZPHLS1H7/8thM_Feminist_Strike_Spain_Zaragoza_2018_08.jpg</image:loc>
      <image:title>Home - Decolonizing Capital: A Politics of the Present — In Conversation with Samita Sen</image:title>
      <image:caption>Feminist Strike, 2018, Zaragoza, Spain. Slogan on poster - ‘When Women Stop, The World Stops’. Source: Wikimedia Commons.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1620604782656-86E8I6ZX3WUMJBFN2QBK/Presidency_College_Main.jpg</image:loc>
      <image:title>Home - Decolonizing Capital: A Politics of the Present — In Conversation with Samita Sen</image:title>
      <image:caption>Presidency College, Calcutta. Source: Wikimedia Commons.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1620604913557-VUCKHTSDTGQEMA37A5DO/Trinity_College_-_Great_Court_02.jpg</image:loc>
      <image:title>Home - Decolonizing Capital: A Politics of the Present — In Conversation with Samita Sen</image:title>
      <image:caption>Trinity College, University of Cambridge</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1620605026663-MFOPAOYPPRBARGXB5249/Shaheen_Bagh_women_protesters_15_Jan_2020.jpg</image:loc>
      <image:title>Home - Decolonizing Capital: A Politics of the Present — In Conversation with Samita Sen</image:title>
      <image:caption>Women in Shaheen Bagh, New Delhi, India, (January 2020) protesting against the Citizenship Amendment Act. Source: Wikimedia Commons.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/5/24/the-lost-life-stories-of-mahari-devadasis-in-postcolonial-india</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:title>Home - The Lost Life Stories of Mahari-Devadasis in Postcolonial India (1947-2015)</image:title>
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      <image:title>Home - The Lost Life Stories of Mahari-Devadasis in Postcolonial India (1947-2015)</image:title>
      <image:caption>Art and Iconography from Orissa Temples depicting the Devadasi art-form (Image by Shriya Patnaik)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1620407376760-5GGNUUHY7ZMJHNNLBU0Z/Sashimani+Devi+1.jpeg</image:loc>
      <image:title>Home - The Lost Life Stories of Mahari-Devadasis in Postcolonial India (1947-2015)</image:title>
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      <image:title>Home - The Lost Life Stories of Mahari-Devadasis in Postcolonial India (1947-2015)</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1621841197977-FNGYPDAX6URKVSO2Z0UQ/IMG_7443.jpg</image:loc>
      <image:title>Home - The Lost Life Stories of Mahari-Devadasis in Postcolonial India (1947-2015) - Make it stand out</image:title>
      <image:caption>Photos of the Mahari dance-form and dress, from which the modern-form of Odissi is derived (Image clicked by Shriya Patnaik during a local dance-festival in Puri, 2016)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/4/2/histories-of-the-enslaved-in-the-indian-ocean-world-in-conversation-with-nira-wickramasinghe</loc>
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    <lastmod>2021-10-08</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617414453968-PDIUS016LDFEVZ5LK68O/Figure+1+Palanquin.jpeg</image:loc>
      <image:title>Home - Histories of the Enslaved in the Indian Ocean World: In Conversation with Nira Wickramasinghe</image:title>
      <image:caption>Palanquin ca. 1820: with permission from the Department of Archaeology, Sri Lanka; copyright Abhijit Wickramasinghe</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617499484306-60ROJVMT6V61U60FVC4I/Image+2.+Sri+Lanka+in+the+early+nineteenth+Century+copy.jpg</image:loc>
      <image:title>Home - Histories of the Enslaved in the Indian Ocean World: In Conversation with Nira Wickramasinghe</image:title>
      <image:caption>Sri Lanka in the early nineteenth century: author's collection.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617415548137-51X2H5ZHMFIRTLJVCTW7/Figure+3+cutcherry+certificate.jpeg</image:loc>
      <image:title>Home - Histories of the Enslaved in the Indian Ocean World: In Conversation with Nira Wickramasinghe</image:title>
      <image:caption>Certificate, 1830, Jaffna kachcheri, The National Archives of Sri Lanka (SLNA) 10/41</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617415909366-8QDE8QD1IPT581PYEJ8D/figure+4+nellua+slave+child.jpeg</image:loc>
      <image:title>Home - Histories of the Enslaved in the Indian Ocean World: In Conversation with Nira Wickramasinghe</image:title>
      <image:caption>Deed of transfer of slave, 1809, SLNA 7/2133</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/4/2/elizabeth-povinelli-in-conversation-with-amit-baishya</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1618259105478-HAU3TG1RH0O81CSXUKVR/TheInheritance%231.png</image:loc>
      <image:title>Home - Economies, life and otherwise: Elizabeth Povinelli in conversation with Amit Baishya</image:title>
      <image:caption>The Inheritance (p. 4-5)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1618259224215-A1SMOXTX3VZH24E19R0W/TheInheritance%232.png</image:loc>
      <image:title>Home - Economies, life and otherwise: Elizabeth Povinelli in conversation with Amit Baishya</image:title>
      <image:caption>The Inheritance  (p. 288-289)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617400666678-DFVOQMSX88NHD8DSXEDD/unnamed%2B%25282%2529.jpg</image:loc>
      <image:title>Home - Economies, life and otherwise: Elizabeth Povinelli in conversation with Amit Baishya</image:title>
      <image:caption>Screen-grab from Windjarrameru, The Stealing C*nt$ (2015) by Karrabing.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1617401392612-1AOGIEP5INBREWYWRZI9/mermaids1.jpg</image:loc>
      <image:title>Home - Economies, life and otherwise: Elizabeth Povinelli in conversation with Amit Baishya</image:title>
      <image:caption>Screen-grab from The Mermaids, or Aiden in Wonderland by Karrabing, featured in Melbourne Film Festival (2018).</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1618259565013-J2X1F8POJOTG1C1SZWFU/TheInheritance%233.png</image:loc>
      <image:title>Home - Economies, life and otherwise: Elizabeth Povinelli in conversation with Amit Baishya</image:title>
      <image:caption>The Inheritance  (p. 312-313)</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/3/17/the-lost-archive-an-interview-with-marina-rustow</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1615975686600-22NLJJIYPBRN1CCHMSGX/lost+archive.jpg</image:loc>
      <image:title>Home - The Lost Archive: An Interview with Marina Rustow</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1615975839640-JDSRQ3T39MOUP32C18JR/Image+1.+T-S+F8.64.jpg</image:loc>
      <image:title>Home - The Lost Archive: An Interview with Marina Rustow</image:title>
      <image:caption>Part of a late Fatimid decree, reused for a section from the Babylonian Talmud tractate Bava Meṣiʿa. Cambridge University Library, T-S F864; courtesy of the Syndics of the Cambridge University Library.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1615975993383-KZ7ML3T47X6MRXQU45E4/Image+2.+T-S+Ar.35.106.jpg</image:loc>
      <image:title>Home - The Lost Archive: An Interview with Marina Rustow</image:title>
      <image:caption>A fiscal register, written in bifolio format for storage in the central state archives. Cambridge University Library, Ar. 35.106; courtesy of the Syndics of the Cambridge University Library.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1615976057465-X344A3NRYMC12WHV10DM/Image+3.+T-S+Ar.30.40.png</image:loc>
      <image:title>Home - The Lost Archive: An Interview with Marina Rustow</image:title>
      <image:caption>A multi-handed tax receipt dated 405/1015. Cambridge University Library, T-S Ar. 30.40; courtesy of the Syndics of the Cambridge University Library.</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/3/9/call-for-pitches-the-final-frontier-bilad-al-sudan-in-african-and-middle-eastern-studies</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:title>Home - Call for Pitches: The Final Frontier? Bilad al-Sudan in African and Middle Eastern Studies</image:title>
      <image:caption>An artist works on a mural of Alaa Salah, the 22-year-old who became an icon after a video leading chants against Mr Bashir went viral. Photo credit: Getty images</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/3/9/call-for-pitches-another-worldmaking-art-culture-and-thought</loc>
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    <lastmod>2021-03-15</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1615814518342-LA5G31MLL6U339LV4QZ5/image.png</image:loc>
      <image:title>Home - Call for Pitches: Another Worldmaking? Art, Culture and Thought</image:title>
      <image:caption>Egyptian sculptor Mahmoud Mukhtar oversees the making of the famous Nahdat Misr statue. The statue was first displayed in 1920 Paris after Mukhtar was inspired by the 1919 Egyptian revolution against the British. It was eventually displayed in Cairo after Egyptian nationalist leader Saad Zaghlul saw it in Paris during the Anglo-Egyptian negotiations for independence and asked that it be replicated on a grander scale in Cairo. It was officially inaugurated in 1921.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/3/5/lost-opportunities-housing-crisis-and-urban-non-governance-in-egypt</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1614959048533-FWG3I1A0C24CS8E6X357/Picture-1.jpeg</image:loc>
      <image:title>Home - Lost Opportunities: Housing Crisis and Urban Non-Governance in Egypt</image:title>
      <image:caption>A new informal developer tower stands ‘falsely’ demolished in Maryutiya, Giza. Only the walls have been knocked out, making it easy to remedy as opposed to an actual demolition that affects the concrete structure. Notice some sections have been left as they are, and are possibly occupied apartments. December 2018. (Photograph by Yahia Shawkat.)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/2/13/shelter-as-capital-housing-and-commodification-lessons-from-the-global-south</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1613202042664-O0NB2PX5TRJ2B33HV1G9/1200px-Delhi-slum-improvement-1983-street-IHS-98-23.jpeg</image:loc>
      <image:title>Home - Shelter as Capital: Housing and Commodification: Lessons from the Global South</image:title>
      <image:caption>Street, Delhi slum 1983. Photo by: Pál Baross. [licensed under the Creative Commons Attribution-Share Alike 3.0]</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/2/13/protest-politics-and-panjab</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1613200357652-RR2S6XR1I1L8EQ5ZS8M4/Hazuri+Bagh.jpg</image:loc>
      <image:title>Home - Protest, Politics, and Panjab</image:title>
      <image:caption>Hazuri Bagh, the seat of Maharaja Ranjit Singh’s court, with the Badshahi Masjid in the background. Lahore, Pakistan. Photo credit: Navyug Gill</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1613200817142-I8JXYG91D9XCREBKQKU5/paddy.jpg</image:loc>
      <image:title>Home - Protest, Politics, and Panjab</image:title>
      <image:caption>Fields in preparation for the summer transplanting of paddy. Saffuwala, Moga district, India. Photo Credit: Navyug Gill</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1613200614439-UOK86DQH1T024RZIWCFJ/trolley+times.jpg</image:loc>
      <image:title>Home - Protest, Politics, and Panjab</image:title>
      <image:caption>Front page of the third edition of Trolley Times (December 26, 2020). Cover design &amp; illustration by Thukral and Tagra. [Image taken by Navyug Gill from a pdf of the newspaper itself].</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/2/on-touch-intimacy-and-difference</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610373039207-JDH9X3URTF9KXMQJT9EL/Flowers+at+Home%2C+Source_+Hardeep+Dhillon.jpg</image:loc>
      <image:title>Home - On Touch, Intimacy, and Difference: Quarantine Exchanges with Santanu Das</image:title>
      <image:caption>Flowers at Home, Source: Hardeep Dhillon</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610047013795-RQ9C3JO5NNVR3B7F5IPI/zgardeninlondon.png</image:loc>
      <image:title>Home - On Touch, Intimacy, and Difference: Quarantine Exchanges with Santanu Das</image:title>
      <image:caption>Looking across the garden in London on Easter Sunday, 2020: Blossoms fringed with clematis. Taken by Santanu Das</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610371620092-MQVQP9Q2SK2VLSYBXFZI/Floral+Arrangement+on+Writing+Desk%2C+photo+taken+by+Hardeep+Dhillon+%28c.+April+2020%29%2C+Cambridge%2C+Massachusetts.jpg</image:loc>
      <image:title>Home - On Touch, Intimacy, and Difference: Quarantine Exchanges with Santanu Das</image:title>
      <image:caption>Floral Arrangement on Writing Desk, photo taken by Hardeep Dhillon (c. April 2020), Cambridge, Massachusetts</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610372166181-HY7E9UR6HL3XFMEY0APB/Sun+Dial+at+Fort+Worth+Botanic+Gardens%2C+Photo+taken+by+Hardeep+Dhillon+%28Nov+2020%29.jpg</image:loc>
      <image:title>Home - On Touch, Intimacy, and Difference: Quarantine Exchanges with Santanu Das</image:title>
      <image:caption>Sun Dial at Fort Worth Botanic Gardens, Photo taken by Hardeep Dhillon (Nov 2020)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/1/28/worldmaking-and-empire-humanity-and-universals-not-sought</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1611848359808-ENQ1IM5JQQH42JIV34S2/unnamed.png</image:loc>
      <image:title>Home - Worldmaking and Empire: Humanity and Universals Not Sought</image:title>
      <image:caption>A poster from the 2005 World Tribunal on Iraq (WTI) in Istanbul reads: “Come occupier, Give Account!”</image:caption>
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  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/1/18/part-ii-where-is-the-working-class-its-all-over-the-world-today</loc>
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    <lastmod>2021-01-29</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610988506623-BML787KMZ6KEAD8Z8DTS/Fig+3+URG+Bulletin.jpg</image:loc>
      <image:title>Home - “Where is the working class? It’s all over the world today”: Jairus Banaji in conversation with Sheetal Chhabria and Andrew Liu</image:title>
      <image:caption>The 9th issue of the Bulletin of Trade Union Research &amp; Information, edited by the Union Research Group. Courtesy: Jairus Banaji</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610988686392-QFMLFXQBNQT2HD1IUVN4/Fig+4+Berggren.jpg</image:loc>
      <image:title>Home - “Where is the working class? It’s all over the world today”: Jairus Banaji in conversation with Sheetal Chhabria and Andrew Liu</image:title>
      <image:caption>A view of Istanbul and the Golden Horn taken by the Swedish photographer Guillaume Berggren, ca. 1870.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/1/18/where-is-the-working-class-its-all-over-the-world-today</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610986088736-5OSD7O3I1O4NWKWCZ16W/Fig+1+Parsi_Point+wiki.jpg</image:loc>
      <image:title>Home - “Where is the working class? It’s all over the world today”: Jairus Banaji in conversation with Sheetal Chhabria and Andrew Liu</image:title>
      <image:caption>Panchgani near the Satara countryside, in Maharashtra, India. Courtesy: Sonu Singh Bhati, Wikimedia</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1610987383655-OLG3KTPC44FBD95BRJPH/Fig+2+Jairus_late_sixties.jpg</image:loc>
      <image:title>Home - “Where is the working class? It’s all over the world today”: Jairus Banaji in conversation with Sheetal Chhabria and Andrew Liu</image:title>
      <image:caption>Jairus Banaji, 1960s. Courtesy: Jairus Banaji</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/1/12/revolution-and-disenchantment-an-interview-with-fadi-bardawil</loc>
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    <lastmod>2021-01-15</lastmod>
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      <image:title>Home - Revolution and Disenchantment: An Interview with Fadi Bardawil</image:title>
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    <loc>https://borderlines-cssaame.org/posts/2020/10/17/transcript-columbia-university-ambedkar-initiative-podcast</loc>
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    <lastmod>2021-06-16</lastmod>
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      <image:title>Home - Transcript: Columbia University Ambedkar Initiative Podcast</image:title>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/01/03columbia-university-ambedkar-initiative-podcast</loc>
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    <lastmod>2021-05-25</lastmod>
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      <image:title>Home - Columbia University Ambedkar Initiative Podcast</image:title>
      <image:caption>Courtesy of Prakash Vishwasrao, Dr. Babasahab Ambedkar (Mumbai: Lok Vangmay, 2007.)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1607491785951-8B0374CB6OR93SCNU6H5/20%2Bambedkar.jpg</image:loc>
      <image:title>Home - Columbia University Ambedkar Initiative Podcast</image:title>
      <image:caption>Courtesy of Prakash Vishwasrao, Dr. Babasahab Ambedkar (Mumbai: Lok Vangmay, 2007.)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1607491826579-802OCY11FI498TGU9CI1/26+ambedkar.jpg</image:loc>
      <image:title>Home - Columbia University Ambedkar Initiative Podcast</image:title>
      <image:caption>Photograph by Anupama Rao</image:caption>
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      <image:caption>Indu Mill Complex, Mumbai, Photograph by Anupama Rao</image:caption>
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      <image:title>Home - Columbia University Ambedkar Initiative Podcast</image:title>
      <image:caption>Courtesy of Prakash Vishwasrao, Dr. Babasahab Ambedkar (Mumbai: Lok Vangmay, 2007.)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1607492048151-YCACBFJJ8IRIHLM6MWAP/32+ambedkar.jpg</image:loc>
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      <image:caption>Photograph by Anupama Rao</image:caption>
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      <image:caption>Photograph by Anupama Rao</image:caption>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2021/1/04/performing-resistance-exploring-the-lived-histories-of-dalit-mumbai-through-performance</loc>
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    <priority>0.5</priority>
    <lastmod>2021-05-25</lastmod>
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      <image:title>Home - Subaltern Urbanism II: Performing Resistance</image:title>
      <image:caption>(Left to right) Keshar Jainoo Shaikh, Nishant Shaikh, members of Yalgaar Sanskrutik Manch and Sambhaji Bhagat (Image courtesy Godrej India Culture Lab)</image:caption>
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      <image:title>Home - Subaltern Urbanism II: Performing Resistance</image:title>
      <image:caption>(Left to right) Sunil Shanbag, Ganesh Chandanshive, Avatthi Ramaiah, and Shilpa Kamble (Image courtesy Godrej India Culture Lab)</image:caption>
    </image:image>
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      <image:title>Home - Subaltern Urbanism II: Performing Resistance</image:title>
      <image:caption>Kabeer Shakya of Dhamma Wings (Image courtesy Godrej India Culture Lab)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/12/19/return-to-ruin-a-conversation-with-anthropologist-zainab-saleh</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1608407268694-7RBYY23V46BB1A7ABVGG/ReturnToRuin.jpg</image:loc>
      <image:title>Home - Return to Ruin: A Conversation with Anthropologist Zainab Saleh</image:title>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/12/3/shelter-as-capital-egypts-housing-crisis-in-the-countryside</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-03</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1607010393123-5M0JEQHV55IGERGMP13O/Picture1.png</image:loc>
      <image:title>Home - Shelter as Capital: Egypt’s Housing Crisis in the Countryside</image:title>
      <image:caption>Al-Beheira Governorate. Photo: Nada El-Kouny</image:caption>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/11/18/shelter-as-capital-egypts-fight-for-domicile-against-gentrification</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-03</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1605756898347-V9JVRWSQLOIW1CFMBTPS/Screen+Shot+2020-11-18+at+10.33.08+PM.png</image:loc>
      <image:title>Home - Shelter as Capital: Egypt’s fight for Domicile Against ‘Gentrification’</image:title>
      <image:caption>Private agricultural land that is informally subdivided and built on. The nine-story block is clearly not a family home. Mansuriya Canal, Giza. April 2012. (Photograph by Yahia Shawkat.)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/11/23/dalit-is-the-new-political-and-epistemic-horizon-an-interview-with-suraj-yengde</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1606177612893-ZMZ7J626ERRC6F57VZU9/Inaugural+Ambedkar+Lectures.jpg</image:loc>
      <image:title>Home - Dalit is the New Political and Epistemic Horizon:  An Interview with Suraj Yengde</image:title>
      <image:caption>Poster for the Inaugural Ambedkar Lectures at Columbia University, November 2018. Source: The Institute of Comparative Literature and Society, Columbia University.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1606175941404-KO4LZPSGVGHONQMPZ142/EmtOcj-XIAI7_Sq.jpeg</image:loc>
      <image:title>Home - Dalit is the New Political and Epistemic Horizon:  An Interview with Suraj Yengde</image:title>
      <image:caption>Suraj Yengde on the Cover of Sadhana Weekly Magazine, November 14, 2020. Source: https://www.weeklysadhana.in</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1606177357582-CXMAQQT92LL8RZ7SALGP/3137A1C8-F92C-4BDD-96B6-52690E232012.jpg</image:loc>
      <image:title>Home - Dalit is the New Political and Epistemic Horizon:  An Interview with Suraj Yengde</image:title>
      <image:caption>Posters at the Dalit Film Festival at Barnard College, New York. Source: Shaunna Rodrigues</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/11/18/shelter-as-capital-the-city-as-prison-the-housing-question-in-egypt</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1605756189579-1SB72PAJSBSHWJIBCXUO/Picture1.png</image:loc>
      <image:title>Home - Shelter as Capital: The City as Prison/The Housing Question in Egypt</image:title>
      <image:caption>A row of Ibni Baytak (Build Your Home) houses in various stages of development in Badr New City, Egypt. This is a rare example of a formally planned self-build project for low-income households. February 2013. (Photograph by Yahia Shawkat.)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/11/12/writing-the-legacies-of-partition-a-conversation-with-joya-chatterji</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1605159469433-N64CB4EDTNGHD5OHVPR4/station1947.jpg</image:loc>
      <image:title>Home - Writing the legacies of a partition: a conversation with Joya Chatterji</image:title>
      <image:caption>At the Lahore train station, coils of barbed wire separate the waiting areas; a photo from the archives of the Chicago Sun-Times, 1947. Source: Frances Pritchett’s MELEAC Collections.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/10/8/anticolonial-hauntings-the-past-as-inheritance-the-present-as-obligation</loc>
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    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1601984938076-89MN6IB41I31R29VMMBG/fig2+archival+reproduction+1974-1984+Ethiopian+Ministry+of+Information+.png</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>Archival reproduction 1974-1984 from the Ethiopian Ministry of Information. Courtesy of Elleni Centime Zeleke.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1602073187025-CHU66UQSZR7DWTZA5G94/Cairo%2B1.jpg</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>An image of Nasser in Old Cairo. Photo courtesy of Sara Adel Hussein</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1602133676192-8WMB5RQYVZ76YWHTA4YA/Elleni+1+%281%29.png</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>Archival reproduction 1974-1984 from the Ethiopian Ministry of Information. Courtesy of Elleni Centime Zeleke.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1601984321463-K6ZVWQTY6CJBXBU4TDNX/singh+1.jpg</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>Bhagat Singh on Progressive Students' Collective banner, Student Solidarity March, Lahore, 29 November 2019. Photograph courtesy of Javaria Waseem (instagram.com/theselfassumedartist).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1602132661643-TKYQR89JNXQCFNGXK1SM/Bhagat+Singh+2.jpeg</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>Poster of Bhagat Singh hanging in Bradlaugh Hall, Lahore. Photo courtesy of Chris Moffat</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1602089959005-JWJZGY9VOUHJNHE8Y45R/002+%281%29.jpg</image:loc>
      <image:title>Home - Anticolonial Hauntings: The Past as Inheritance, The Present as Obligation</image:title>
      <image:caption>The Tiglachin monument, Addis Ababa. Archival reproduction 1974-1984 courtesy of the Ethiopian Ministry of Information</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/9/12/gods-shadow-an-interview-with-alan-mikhail</loc>
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    <priority>0.5</priority>
    <lastmod>2020-09-21</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1599913366454-ITOYYUIJSXI7NI9E8MAQ/mikhail+book.png</image:loc>
      <image:title>Home - God’s Shadow: An Interview with Alan Mikhail</image:title>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/9/9/fictitious-capital-an-interview-with-elizabeth-holt</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1599658683041-3NQJCLKF95FJV3OUKK8N/fict2.png</image:loc>
      <image:title>Home - Fictitious Capital: An Interview with Elizabeth Holt</image:title>
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    <loc>https://borderlines-cssaame.org/posts/2020/8/22/interviewsanjibbaruah</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1598452847993-8ECDWMZTMAZNNNF87A20/Map+of+NE.png</image:loc>
      <image:title>Home - India and its Northeast: an interview with Sanjib Baruah</image:title>
      <image:caption>Map of Northeast India excluding Sikkim (Seven Sister States by Furfur, Wikimedia Commons)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1598116466546-4USZQSGXV6Q3M05TMJFO/census.jpg</image:loc>
      <image:title>Home - India and its Northeast: an interview with Sanjib Baruah</image:title>
    </image:image>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/8/17/egypts-housing-crisis-an-interview-with-yahia-shawkat</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597694930801-Q4N01FPS4WIH1A09RPHE/shawkat.png</image:loc>
      <image:title>Home - Egypt’s Housing Crisis: An Interview with Yahia Shawkat</image:title>
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    <loc>https://borderlines-cssaame.org/posts/2020/12/10/legalhistoryfromthecourtrooms</loc>
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    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597087490317-SU7TMHLUZAUAKN9MV0R1/Nerium+oleander+%28stick+used+for+abortion+Wellcome%29</image:loc>
      <image:title>Home - Writing History from the Courtrooms: In Conversation with Mitra Sharafi</image:title>
      <image:caption>Oleander, an abortifacient used in colonial India. Source: Wellcome Collection. Attribution 4.0 International (CC BY 4.0)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597085006327-E8XUYH1255UMZEYYEKZD/Winged+figure+Persepolis+Iran</image:loc>
      <image:title>Home - Writing History from the Courtrooms: In Conversation with Mitra Sharafi</image:title>
      <image:caption>Winged figure from Takht-e Jamshid (Persepolis), Iran. Source: Mitra Sharafi</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597085642531-2V2THAF3KSPME2XTWE9P/Winged+figure+Bombay+Zoroastrian+temple</image:loc>
      <image:title>Home - Writing History from the Courtrooms: In Conversation with Mitra Sharafi</image:title>
      <image:caption>Winged figure from Zoroastrian temple (Vatcha Agiary), Mumbai. Source: Mitra Sharafi</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597086412617-H0DQV6N95NPN28W12ED5/PB+Vachha+and+friends+%28RPV%29</image:loc>
      <image:title>Home - Writing History from the Courtrooms: In Conversation with Mitra Sharafi</image:title>
      <image:caption>Parsi lawyer P. B. Vachha (center) and friends, circa 1909. Source: R. P. Vachha</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1597086695592-PPOM57L5IJETLOB7G0CJ/Indian+Cases+shelf+%28Columbia%29</image:loc>
      <image:title>Home - Writing History from the Courtrooms: In Conversation with Mitra Sharafi</image:title>
      <image:caption>Law reports from the Columbia Law Library basement. Source: Mitra Sharafi</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/4/26/zoom-in-on-the-chawls</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-05-25</lastmod>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/5/21/refusal-romanticism-and-ground-realities-in-northeast-india</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1590149114423-QO4KJITBD9EXM4MFOEES/Suraj+Gogoi+Borderlines+1.png</image:loc>
      <image:title>Home - Refusal, Romanticism and Ground Realities in Northeast India</image:title>
      <image:caption>Somewhere in a char (sand-bar) in Boitamari, Bongaigaon, a few men carry a bamboo wall of a house to be re-built in a different place, as the previous location of the house near a river was eroding very fast. This is a typical sight in char-chapori scapes in Assam and a symbol of liminal life. Source: Suraj Gogoi</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1590149390513-LV0YCLRHBIH2P6NRPU9H/Suraj+Gogoi+Borderlines+2.png</image:loc>
      <image:title>Home - Refusal, Romanticism and Ground Realities in Northeast India</image:title>
      <image:caption>The Goalpara detention centre under construction in Matia village, Goalpara district, Assam. Detention Centres are being built to detain ‘illegal immigrants’ across India under the NRC process. With a capacity of 3000 inmates, the detention centre at Goalpara is the largest detention centre in India. Soure: Suraj Gogoi.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1590149749302-MY0GKXYVZL53LYPRFQJ5/Suraj+Gogoi+Borderlines+3.png</image:loc>
      <image:title>Home - Refusal, Romanticism and Ground Realities in Northeast India</image:title>
      <image:caption>Family members of Kharka Bahadur Gurung in Sadiya, Tinsukia district, Assam. Gurung was among the many people who committed suicide in 2018, unable to live with the humiliation of being called a foreigner or an illegal migrant. In the photo his wife Sashi Kala Gurung and son Ranjan Gurung. Source: Suraj Gogoi</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1590149976969-0X1IDE059QPI9DCO3JKA/Suraj+Gogoi+Borderlines+4.png</image:loc>
      <image:title>Home - Refusal, Romanticism and Ground Realities in Northeast India</image:title>
      <image:caption>A wall inscription in Guwahati, Assam during the CAA protest . Wall art/graffiti were extensively used in the city as a site to express hate for migrants. The text in the image reads as follows: āche hengdāngloānāi lole hengdāngrakhyānāi (the hengdāng/sword is there but hasn’t been taken up/if it’s taken up there’s no respite).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1590150571710-Y0N4D5ILS6IQMBS7Z5KK/Suraj+Gogoi+Borderlines+5.png</image:loc>
      <image:title>Home - Refusal, Romanticism and Ground Realities in Northeast India</image:title>
      <image:caption>Public gathering in a CAA protest organized in January, 2020 by the artist collective of Assam in Sadiya. Source: Suraj Gogoi</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/4/29/interview-with-mona-abaza</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1588189636478-BJ8AS3NFKQVDCRQ147TG/cairo-collages.jpg</image:loc>
      <image:title>Home - Narrating the Personal and the Political through a Visual Method: Interview with Mona Abaza</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/3/13/gender-governance-and-islam-book-launch-an-interview-with-deniz-kandiyoti</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1584122206575-JHF4V5Q8QQA1SLF9YYVC/9781474455428_1.jpg</image:loc>
      <image:title>Home - Gender, Governance and Islam: An Interview with Deniz Kandiyoti</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1584140330160-457MONAZX05GIF1OWP1C/Niyati+Shenoy+MESAAS+Profile+Picture.JPG</image:loc>
      <image:title>Home - Gender, Governance and Islam: An Interview with Deniz Kandiyoti</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2020/1/31/b-r-ambedkar-and-the-study-of-religion-at-columbia-university</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-05-25</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1580489576858-S0CUE6ZYT0KLKUOSMPEH/Dr._Babasaheb_Ambedkar_with_Mr._Wallace_Stevens_at_Columbia_University_after_receiving_Doctor_of_Laws_%28LLD%29_on_June_5%2C_1952.jpg</image:loc>
      <image:title>Home - B. R. Ambedkar and the Study of Religion at Columbia University: Castes in India, Gender and Primitivity</image:title>
      <image:caption>Dr. B.R. Ambedkar with Wallace Stevens at Columbia University after receiving an honorary doctorate from the University for his service as “a great social reformer and valiant upholder of human rights”, on June 5, 1952. Image sourced from Wikimedia Commons</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/11/26/to-think-otherwise-an-interview-with-anupama-rao</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575356775317-0HDX5KI0E2ZRVMNIII9R/CasteQuestion.png</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>The First Edition of The Caste Question. Published by University of California Press.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575356921510-IGXY90VDFDANR0C934UH/Dinabandhu%2C+1894+%28Keer+collection%29.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>The Dinbandhu, 1894. Keer Collection, Kolhapur. Photograph by Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575357052041-RISRYTUU1GKGQX4H1LOV/from+the+collection+of+Raja+Dhale.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>From the Collection of Raja Dhale. Sourced to Borderlines by Anupama Rao.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575357337283-U387UPQ3N25AXFJCY9LT/Bezangaon+Dalit+Community+Center+copy.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>Bezangaon Dalit Community Center. Source: Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575357148805-W6DBWFCTI2TCFFEEIKVA/Vasant+Moon%27s+library+%28inside%2C+%232%29-+Nagpur%2C+2006.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>Inside Ambedkarite Scholar Vasant Moon’s Library. Source: Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575354658138-NR6DEKTEATZI8PJFYVW4/The+first+public+screening+of+Jai+Bhim+Comrade+in+Bombay+at+the+BCIT+Chawls</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>The first public screening of Jai Bhim Comrade in Bombay at the BCIT Chawls. Source: Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575357508784-9A6K3SO48Y0J1KMC1IBB/Anu%2C+Subodh+More%2C+Kumud+Pawde%2C+husband-+2008.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>From L-R Motiram Pawde, Anupama Rao, Subodh More, and Kumud Pawde. Source: Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575358166211-3K52MLI6QIY7Z16CBTCV/Bhujanga+Pahilwan%2C+BRA+bodyguard+copy.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>Bhujanga Pahilwan, BRA Bodyguard. Source: Anupama Rao</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1575356705271-FRQJ7JGRT5C3J4KYOTPY/Indu%2BMills%252C%2B2011%2B%2528takeover%2Bby%2B.jpg</image:loc>
      <image:title>Home - To Think Otherwise: An Interview with Anupama Rao</image:title>
      <image:caption>Indu Mills takeover by the Republican Party of India. Source: Anupama Rao</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/11/10/anti-caste-international-interviews-with-paul-divakar-rita-izsk-ndiaye-and-mohamed-nur-iftin</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-05-25</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1573438432967-IBIYE2BYM9OXD92ANLO5/Paul.jpg</image:loc>
      <image:title>Home - Anti-Caste International</image:title>
      <image:caption>N. Paul Divakar, Chairperson of the Asia Dalit Rights Forum (ADRF) and founding member of the National Campaign on Dalit Human Rights (NCDHR) in India</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1573436176812-W3IL27Z5YM9BK05Z1VAI/Rita-Izsak2.jpg</image:loc>
      <image:title>Home - Anti-Caste International</image:title>
      <image:caption>Senegal-based Rita Izsák-Ndiaye, member of the UN Committee on the Elimination of Racial Discrimination, former UN Special Rapporteur on Minority Issues, and Roma activist from Hungary</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1573436565168-VZEMFQ35P2IO4TPPPKPS/MNI.jpg</image:loc>
      <image:title>Home - Anti-Caste International</image:title>
      <image:caption>Mohamed Nur Iftin, Somali Bantu representative and Member of Parliament in Somalia.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/10/31/theory-from-the-south-iii-on-slaves-and-freedmen-in-precolonial-south-asia-a-conversation-with-indrani-chatterjee</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1572519548104-CUG47I9BXPK6FQMYD0DV/chatterjee+pic1.jpg</image:loc>
      <image:title>Home - Theory from the South III: On Slaves and Freedmen in Precolonial South Asia - a Conversation with Indrani Chatterjee</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1572519696949-XTESVGIIRMATQB1U56K2/Chatterjee+pic2.JPG</image:loc>
      <image:title>Home - Theory from the South III: On Slaves and Freedmen in Precolonial South Asia - a Conversation with Indrani Chatterjee</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1572519613809-WNUMATHVUD33058DYQ0Q/Chatterjee+pic3.jpg</image:loc>
      <image:title>Home - Theory from the South III: On Slaves and Freedmen in Precolonial South Asia - a Conversation with Indrani Chatterjee</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/10/7/the-progressive-artists-group-amp-the-idea-of-indianbsp</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-16</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570453020198-0OWT7ZSY2ZOVGO3428CT/Zehra%2B1</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>Installation view of exhibition “The Progressive Revolution: Modern Art for a New India” at Asia Society Museum, New York, 2018. Photograph, Perry Hu; courtesy Asia Society Museum. S.H. Raza. Untitled, ca. 1940s, Jane and Kito de Boer Collection. Progressive Artists Group, Bombay, 1949. Image courtesy The Raza Archives, The Raza Foundation, New Delhi, India. In Image (L-R), Row 1: F.N.Souza, K.H. Ara, H.A. Gade; Row 2: M.F. Hussain, S.K.Bakre, S.H. Raza</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570458478603-935CJ5YW7QRFP89SMO6F/Raza+Bindu+Compressed.png</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>S.H. Raza Bindu, ca. 1980, Oil on canvas, H. 39 x W. 39in. (99 x 99cm), Collection of Jamshyd and Pheroza Godrej, Image courtesy of the lender</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570576169308-OVKF5ADUOBDRACZPLLJH/Krishen+Khanna_News+of+Gandhijis+Death.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>Krishen Khanna, News of Gandhiji's Death, 1948, Oil on canvas H. 33 1/2 x W. 33 1/2 in. (85.1 x 85.1 cm), Radhika Chopra and Rajan Anandan</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570454228881-76ZCZUERVA0RPHQ4MVMC/Tyeb+Mehta_Mahisasura.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>Tyeb Mehta, Mahisasura, 1997; Acrylicon canvas H. 59 x W. 48 in. (149.9 x 121.9 cm); Rajiv and Payal Chaudhri, Image courtesy of the lender</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570623248975-14IPPTBUCM4BS4U53UGN/10.03_Souza_TempleDancer.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>F.N. Souza. Temple Dancer, 1957. Oil on board. H. 48 x W. 24 in. (121.9 x 61 cm). Ashish and Reshma Jain, New Delhi. Image courtesy of Grosvenor Gallery</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570463522003-7YQX762MYU5B1R3LFFTM/Raza_Satpura.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>S. H. Raza Satpura, 1984, Acrylic on canvas H. 47 x W. 94 in. (119.4 x 238.8 cm), Minal and Dinesh Vazirani, Image courtesy of the Lender</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570463937224-38FXC5D1XJTRWMYDUBZ8/Husain_Yatra.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>M. F. Husain Yatra, 1955 Oil on canvas, H. 33 1/2 x W. 42 1/2 in. (85.1 x 108 cm) Collection Kiran Nadar Museum of Art, New Delhi</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570462399117-6FV3YJORC3O5Q1IIDBED/PadamseeLovers.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>Akbar Padamsee. Lovers, 1952. Oil on board. H. 62 x W. 32 in. (157.5 x 81.3 cm). Collection Amrita Jhaveri.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570462741580-141KV9SRZ7KN94E6CYYL/1979.048.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>Shiva and Parvati (Uma-Maheshvara-murti). Transitional period, late 10th–early 11th century. Nepal, Kathmandu Valley. Copper alloy. H. 6⅛ x W. 6¼ x D. 4¾ in (15.5 x 15.9 x 12 cm). Asia Society, New York: Mr. and Mrs. John D. Rockefeller 3rd Collection, 1979.48. Image courtesy Asia Society.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570643345957-GOELHBHZMYG64MBK3G56/ara+nude.png</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>K.H. Ara, Untitled (Large Nude), 1965. Oil on canvas. H. 68 7/8 x W. 27 1/2 in. (175 x 70cm). Collection of Jamshyd and Pheroza Godrej. Courtesy of the lender.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570461979510-ZX2XZ4DDQ0H0SO9U33MJ/Ara+Rag+and+Bone+Man+Compressed.png</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>K. H. Ara. Untitled, ca. 1950s. Oil on canvas. H. 63 x W. 48 in. (160 x 121.9 cm). The Darashaw Collection. Image courtesy of the lender</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570464166537-NB59LG228462GR07640A/10.02_Husain_Villagers.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>M.F. Husain. Villagers, 1955. .Oil on canvas. H. 5 x W. 25 1/2 in. (12.7 x 64.8 cm). Ashish and Reshma Jain, New Delhi. Image courtesy of Grosvenor Gallery</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1570464570748-OISKGNW8WORT7IXTCDZE/15.01_Souza_TycoonandtheTramp.jpg</image:loc>
      <image:title>Home - The Progressive Artists' Group &amp;amp; the ‘Idea of India’</image:title>
      <image:caption>F.N. Souza Tycoon and the Tramp, 1955, Oil on masonite H. 32 x W. 56 in. (81.3 x 142.2 cm), Shumita and Arani Bose Collection, New York. Photography by Richard Goodbody</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/8/17/reproducing-the-future-in-conversation-with-sara-pursley</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1566209512702-K06IRMO7JNRLHED9CBP3/Copy+of+1_cropped.jpg</image:loc>
      <image:title>Home - Reproducing the Future: In Conversation with Sara Pursley</image:title>
      <image:caption>Jawad Salim, Nusb al-Hurriya, 1961. Bronze on travertine, 50m x 8 m. Liberation Square, Baghdad. Photo credit: Atheer Muhammad, 2018</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/4/30/silence-in-iraqi-womens-storytelling</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1556680352024-TBPWLRGDUKNM2X7TA1JI/Silence+and+stories+1976.jpg</image:loc>
      <image:title>Home - Silence in Iraqi Women’s Storytelling</image:title>
      <image:caption>Gathering in the garden of the family house in Harithiya neighbourhood in Baghdad, 1976.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1556906281120-4W8G6XZLQ7GIORK97NMU/038.jpg</image:loc>
      <image:title>Home - Silence in Iraqi Women’s Storytelling</image:title>
      <image:caption>Gathering in the family orchard in Samarra, 1986.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1556680587033-XMMLHYPDETPQ1LOSKLKY/Silence+and+stories+1996.jpg</image:loc>
      <image:title>Home - Silence in Iraqi Women’s Storytelling</image:title>
      <image:caption>Gathering in the garden of the family house in Hay Aljam’a neighbourhood in Baghdad, 1996.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1556680615590-JX9X877YNA8HVW8IEJQ4/Silence+and+stories+2016.jpg</image:loc>
      <image:title>Home - Silence in Iraqi Women’s Storytelling</image:title>
      <image:caption>Imagined gathering in my grandmother’s living room in Vancouver, 2016.</image:caption>
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  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/4/6/glancing-awry-at-sikh-immigrant-life</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554572551646-3KELRGYTGXOOYPA9MZFP/counter+relations.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554572103163-2XVU2G6JYB5QZE1TPO0N/image-asset.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554572985077-BEZ6TGI4G9564R3O6RMG/waiting.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573047138-26P4U04BBXHI0DOCD7LG/image-asset.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573103868-IN7G44GNTIAWWO7VYS8S/tri.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573209611-N0ZJWEN77EXSD0UVJ5V0/day+shift.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573279296-CJQZAA5E4N1C6TS9VKU2/image-asset.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573321837-705D25UBN1UCRIPINZKT/documentation.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573386072-7OZY90GXYUHAQMJIV5O9/herbicides.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1554573457799-7CE30W340SBHDXK07QHN/image-asset.png</image:loc>
      <image:title>Home - Glancing Awry at Sikh Immigrant Life</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/2/14/genealogies-of-law-across-land-peoples-amp-sea-in-conversation-with-renisa-mawani</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1550165515768-2PYBO1GVKHUH80NPKN64/image-asset.jpeg</image:loc>
      <image:title>Home - Genealogies of Law Across Land, Peoples &amp;amp; Sea: In Conversation with Renisa Mawani</image:title>
      <image:caption>The Voyage of the Komagata Maru Map, Source: Renisa Mawani. This map was drawn by Leopold Lambert</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1550164036301-XBVBMS2Q498K46MDE3R9/three+ships+in+Vancouver+Harbour.jpg</image:loc>
      <image:title>Home - Genealogies of Law Across Land, Peoples &amp;amp; Sea: In Conversation with Renisa Mawani</image:title>
      <image:caption>Three Ships in Vancouver Harbour, Source: Renisa Mawani</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1550165630626-42BL6GWMVOO5GQGPTGNK/The+Komagata+Maru+in+Vancouver+Harbour+1914.jpg</image:loc>
      <image:title>Home - Genealogies of Law Across Land, Peoples &amp;amp; Sea: In Conversation with Renisa Mawani</image:title>
      <image:caption>The Komagata Maru in Vancouver Harbour, 1914. Source: Vancouver Public Library</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1550164748487-9I32T5OXB8NNBD1U3QFZ/The+Komagata+Maru+and+Leisure+Boats.jpg</image:loc>
      <image:title>Home - Genealogies of Law Across Land, Peoples &amp;amp; Sea: In Conversation with Renisa Mawani</image:title>
      <image:caption>The Komagata Maru and Leisure Boats in Vancouver Harbour, 1914. Source: Vancouver Public Library</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1550164839409-H2XKK9D2GG78BBS8R6EP/Three+ships.jpg</image:loc>
      <image:title>Home - Genealogies of Law Across Land, Peoples &amp;amp; Sea: In Conversation with Renisa Mawani</image:title>
      <image:caption>Three Ships in Burrard Inlet. Source: Renisa Mawani</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2019/2/3/looking-at-congo-makala-2014-vs-makala-2017</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1549223250821-XX3EGUBT2R6MHZO96IAJ/Kalebwe+Mwenga+Insaji.png</image:loc>
      <image:title>Home - Looking at Congo: Makala (2014) vs. Makala (2017)</image:title>
      <image:caption>Kalebwe Mwenga Insaji, Katangese charcoal worker interviewed in Carolle Maloba wa Maloba's documentary film, Makala (2014)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1549229011949-YJZM6WB3EBFFM5DIM89L/9.png</image:loc>
      <image:title>Home - Looking at Congo: Makala (2014) vs. Makala (2017)</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1549228635968-OXTPN62BYFOOKOG1PGRN/7.png</image:loc>
      <image:title>Home - Looking at Congo: Makala (2014) vs. Makala (2017)</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/12/5/afro-asian-capital-and-its-dissolution</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2019-01-23</lastmod>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/12/8/recording-the-objects-of-a-separation-in-conversation-with-aanchal-malhotra</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2021-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1544314498300-V3O3N96L518R3P7FS7CF/Hand-woven+silk+naalas%2C+carried+from+Multan+to+Delhi.jpg</image:loc>
      <image:title>Home - Recording the Objects of a Separation: in conversation with author Aanchal Malhotra</image:title>
      <image:caption>Hand-woven silk, carried from Multan to Delhi</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1544314686348-6Z85MRD77T658E1BHXHY/A+photo+album+showing+pictures+of+childhood+summers+spent+in+Karachi%2C+carried+from+Jhang-now+in+Pakistan-+to+Delhi-+now+in+India-+in+1947.JPG</image:loc>
      <image:title>Home - Recording the Objects of a Separation: in conversation with author Aanchal Malhotra</image:title>
      <image:caption>A photo album showing pictures of childhood summers spent in Karachi, carried from Jhang-now in Pakistan- to Delhi- now in India- in 1947</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1544314980302-F4XF1R7LT4YX25V1WLCR/A+ghara+carried+from+Lahore+to+Amritsar.JPG</image:loc>
      <image:title>Home - Recording the Objects of a Separation: in conversation with author Aanchal Malhotra</image:title>
      <image:caption>A ghara carried from Lahore to Amritsar</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1544314870659-82HYY3I2F4AJFKM5VJ4Y/Narjis+Khatun.JPG</image:loc>
      <image:title>Home - Recording the Objects of a Separation: in conversation with author Aanchal Malhotra</image:title>
      <image:caption>Narjis Khatun - A khaas-daan carried from Samana, Patiala to Multan</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/11/30/how-i-met-my-great-grandfather-archives-and-the-writing-of-history</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1544143344366-UTNJ7ARPBHBW11EEBIAO/seikaly2.jpg</image:loc>
      <image:title>Home - How I Met My Great-Grandfather: Archives and the Writing of History</image:title>
      <image:caption>Naim and Aniseh Cotran. Acre, February 30, 1930, Family Papers</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/11/10/theories-from-the-south-ii-interview-with-aditya-nigam</loc>
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    <lastmod>2021-06-17</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/11/7/navigating-death-in-migration</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1541622354261-M38WYU445A3UZZN7LZTE/Still+from+%22Les+Sateurs%22+%28Final+Cut+For+Real%2C+2016%29</image:loc>
      <image:title>Home - Navigating Death in Migration</image:title>
      <image:caption>Still from "Les Sateurs" (Final Cut For Real, 2016)</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/11/6/theories-from-the-south-i-an-interview-with-prathama-banerjee</loc>
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    <lastmod>2021-06-17</lastmod>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/11/5/medieval-islamic-work-and-robbery-a-study-of-suyutisfariq</loc>
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    <lastmod>2020-11-12</lastmod>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/9/13/on-methods-of-studying-secularism-an-interview-with-joan-wallach-scott</loc>
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    <lastmod>2021-06-17</lastmod>
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  <url>
    <loc>https://borderlines-cssaame.org/posts/2018/9/13/a-surplus-of-luminous-quality</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-11-12</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1536820103050-VII2Y9LN4DBZ1FIQS4FP/AID2006+George+Szirtes%2C+Arvind+Krishna+Mehrotra%2C+Allan+Sealy.jpg</image:loc>
      <image:title>Home - A Surplus of Luminous Quality by Sharmistha Mohanty</image:title>
      <image:caption>George Szirtes, Arvind Krishna Mehrotra, Allan Sealy (2006)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1536820357165-PRB1M4D582EF32M5W44A/AID2011+Chinese+%26+Indian+writers+at+Ellora+2.JPG</image:loc>
      <image:title>Home - A Surplus of Luminous Quality by Sharmistha Mohanty</image:title>
      <image:caption>Chinese and Indian writers at Ellora (2011)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1536820673727-TI9K3NCSUO1V6Q8MUT65/AID2015+Anna+Deeny+%26+Raul+Zurita+Reading.JPG</image:loc>
      <image:title>Home - A Surplus of Luminous Quality by Sharmistha Mohanty</image:title>
      <image:caption>Deeny and Raul Zurita</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1536820841433-FX6UKR9UWHG7B3UVS9GY/AID2015+Joy+Goswami.JPG</image:loc>
      <image:title>Home - A Surplus of Luminous Quality by Sharmistha Mohanty</image:title>
      <image:caption>Joy Goswami (2015)</image:caption>
    </image:image>
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    <lastmod>2025-07-14</lastmod>
    <image:image>
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      <image:title>People</image:title>
      <image:caption>Antara Chakrabarti, General Editor and Transregional Editor-in-Chief, is a doctoral candidate in the Sociocultural track of the Department of Anthropology at Columbia University. She is currently studying engineering interventions along a river-border in the Bengal Delta to examine the production of knowledge about the environment in precarious landscapes.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/ea5eb335-fa86-40fb-88af-00956a49c867/312126711_10226987213773938_1199932560065804536_n.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Dr. Olga Verlato, General Editor and Middle East Editor-in-Chief, is a Klarman Postdoctoral Fellow in Near Eastern Studies at Cornell University. Her research explores the history of language politics, media, and migration in modern Egypt and the Mediterranean, with a focus on education and the press.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1594758878846-I3MN46TR99EPSQAYGNF9/rishavthakur.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Rishav Kumar Thakur, South Asia Editor-in-Chief (on leave), is a doctoral candidate in sociocultural anthropology at Columbia University, New York. Their research is on performance and nightlife in Assam. They founded Queer Objects, a practice-oriented art incubator in Guwahati, Assam, in 2023.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1633628803743-WXTQHVAAI4SPRGFZN9KZ/Niyati.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Niyati Shenoy, South Asia and Transregional Editor, is a doctoral candidate in the Department of Middle Eastern, South Asian and African Studies and the Institute for the Study of Sexuality and Gender at Columbia University. She is writing a history of rape and retributive justice in colonial India. Her interests include caste studies, sexuality studies, affect theory, anticarceral feminisms, early modern Persianate histories and cultures, life-writing, and autobiography.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1605199839218-SCXHFYI3KYCNZK1OMOKB/Purbasha+pic+%281%29.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Purbasha Das, Contributing Editor for South Asia, completed her doctoral studies at the Center for Historical Studies, Jawaharlal Nehru University, Delhi. Her research explores the history of road transport in 20th century India. Purbasha was a Fulbright Scholar at Columbia University from 2019-2020.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/6f043a20-9d45-48ca-b285-4a9fe6559075/Lidia.jpg</image:loc>
      <image:title>People - Make it stand out</image:title>
      <image:caption>Lidia Helou, Contributing Editor for the Middle East, is a Lebanese-Italian doctoral student in Middle Eastern and Islamic Studies - Culture and Representation at New York University. Her current work focuses on the mechanics of sensorial memory in relation to conceptions of space, time, and agency in the Levant.</image:caption>
    </image:image>
    <image:image>
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      <image:caption>Jade Iris Schoenfeld, Student-Intern, is a junior studying vocal performance with a film and media studies minor at Wagner College. She is interested in all musical endeavors and music from different cultures.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/962c4cb6-0025-45f0-9abe-819f1739d85d/IMG-2335.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Charles Milne-Home, Student-Intern, is a sophomore studying history at Wagner College. He is interested in petroleum politics, militarism in the Middle East, and legal histories.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1626194681962-A4J9O537A9J5IOLKV5R3/Anupama+Rao.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Dr. Anupama Rao, Faculty Advisor, has research and teaching interests in gender and sexuality studies; caste and race. She is the Senior Editor of Comparative Studies in South Asia, Africa, and the Middle East; Associate Director, Institute for Comparative Literature and Society; and organizer of the Ambedkar Initiative, which is supported by the Provost’s Office (Barnard), the Deans of Humanities and Social Sciences (Columbia), the Office of the EVP (Columbia), Columbia University Press, and the Columbia Libraries.</image:caption>
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    <image:image>
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      <image:title>People - Make it stand out</image:title>
      <image:caption>Dr. Marwa Elshakry, Faculty Advisor, specializes in the history of science, technology, and medicine in the modern Middle East. She received her M.A. (1997) and Ph.D. (2003) from Princeton. Her first book, entitled, Reading Darwin in Arabic is forthcoming in 2013 with University of Chicago Press.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1626271249267-ZBTYG84PD7JXU4A6MPL9/Dr.+Steven+Pierce.png</image:loc>
      <image:title>People</image:title>
      <image:caption>Dr. Steven Pierce, Faculty Advisor, is an expert in the history and culture of northern Nigeria and have consulted on issues of human rights, gender, and sexuality in Nigeria. In addition to my position as the Senior Lecturer in Modern African History at the University of Manchester, I am also the Senior Editor for Africa for Comparative Studies of South Asia, Africa, and the Middle East.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1594756346614-CTSYL0DBMPJMOK99FXHA/9166.jpg</image:loc>
      <image:title>People</image:title>
      <image:caption>Dr. Sohini Chattopadhyay, Faculty Advisor (former General Editor), is an Assistant Professor of History at Union College, NY. Her research spans from colonialism to its aftermath, with particular interests in the political history of the region, urbanization, labor histories, caste and community histories, and the history of science and technology.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/1594756379525-CL9HUCUEVDVQPGQZE8R9/Karim%25252Bbio%25252Bphoto.jpg</image:loc>
      <image:title>People - Make it stand out</image:title>
      <image:caption>Dr. Karim Maged Malak, Faculty Advisor (former General Editor) is a Visiting Assistant Professor of Non-Western History at the Department of History at Wagner College, NY. He is a historian of the Global South with a focus on the nineteenth-twentieth century colonialism and governmentality in the Middle East.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5a612946dc2b4ac411a7a831/b3509d39-2c6a-49ef-b2ba-4775aada26ba/Profile+Picture.jpg</image:loc>
      <image:title>People - Make it stand out</image:title>
      <image:caption>Dr. Zeyad el Nabolsy, Faculty Advisor (former Africa Editor), is an assistant professor of Philosophy at York University (Toronto). He specializes in the African intellectual history with a focus on the interactions between philosophy and science on the continent.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://borderlines-cssaame.org/series</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-12-03</lastmod>
  </url>
</urlset>

