This article discusses the practice of ‘genealogical re/entanglement’ developed in the context of a project about the ways colonial amnesias obscure the connections between the histories of Anglo-European colonialities and the crises of contemporary migrations. This methodology appropriates archival and assemblage art making practices to make visible and ‘familialise’ the prior encounters of Irish and Nigerian diasporans that remain unknown in Ireland, towards reshaping the grounds of present and future relations. The centrality of embodied knowledges in decolonial scholarship creates an imperative of not only grounding theoretical work in the materialities of lived experiences but also confronting the colonial inheritances that underpin the methods employed to engage them. As such, in the contexts of this project, the development of the methodology became a project in itself. In this article, I reflect on the decolonial interrogations and method(il)logical transfigurations of the Western art and research traditions that intersected with and co-constructed the substantive analysis of Irish and Nigerian diasporic entanglements. An interactive account of how the method operates provides an opportunity to explore the ways the interconnectedness of the aesthesic, epistemological and pedagogical projects underpinning decolonial work combine to constitute a dynamic praxis.

中文翻译：

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重新/纠缠爱尔兰人和尼日利亚人的侨民：殖民失忆症，殖民主义美学和档案整理实践

本文讨论了在一个项目背景下开发的“族系重新纠缠”的实践，该项目探讨了殖民遗忘症掩盖了英欧殖民历史与当代移民危机之间的联系的方式。这种方法适用于档案和组合艺术制作方法，以使以前在爱尔兰仍不为人知的爱尔兰和尼日利亚流浪汉的遭遇可见并“家族化”，以重塑当前和未来关系的基础。体现性知识在非殖民地学术中的中心地位不仅势在必行，不仅要使理论工作立足于生活经验的实质，而且还要面对殖民地遗产，这些遗产继承了从事这些活动的方法。因此，在这个项目的背景下，方法论的发展本身就是一个项目。在本文中，我反思了与爱尔兰和尼日利亚流放纠缠相交并共同构建了实质分析的西方艺术和研究传统的非殖民化审问和方法论变相。关于该方法如何运作的互动说明为探索以殖民主义工作为基础的美学，认识论和教学项目的相互联系如何构成动态实践提供了机会。