• What colonial space does the entry point to?
• What does decolonizing space mean or entail for the author?

“Art is man’s constant effort to create for himself a different order of reality from that which is given to him.”—Chinua Achebe

In her lecture, Dr. Agha places agency at the heart of spatial justice. Similarly, in Dele Adeyemo’s “Black Horizon,” decolonizing the space of Oworonshoki entails the reclaiming by community members themselves of names and labels, of history and memory, of movement, beauty, and shared endeavor. On the edge of the Lagos lagoon, Oworonshoki is underserved by the city that looms over it; regarded by Lagosians as a “slum” and by Uber drivers as a no-go zone, this place has been shaped by “the failing infrastructures of slavery and colonialism”—e.g., by the ravages of an extractive economy, of exile, social forgetting, and dispossession. In response, the film “Black Horizon” places dance at the center of celebration, using movement as a language to evoke community rituals of the past and to “archive” the failures of the surrounding city while reasserting the creative agency and vitality of the people who live by the waters’ edge. Their bodies, in dance, are the means to reimagine and reconnect relations across space and time; through the agency of art, to decolonize the space and forge meanings anew.