Several professors, government officials and political party members spoke in a forum on political and social issues affecting U.S. territories, which focused mainly on the relationship between the U.S. federal government and the governments of the territories. Following the speakers' prepared remarks, the panelists responded to questions from members of the audience.

This article examines the relationship between custody, access, and provenance through a case study of the records of a former Danish colony, the United States Virgin Islands. In 1917, when the United States purchased the Virgin Islands from Denmark, Danish archivists removed the majority of records created there during colonial rule and deposited them in the Danish National Archives. Following its establishment in the 1930s, the National Archives of the United States sent an archivist to the Virgin Islands to claim most of the remaining records and ship them to Washington. The native population of the Virgin Islands, primarily former colonials whose ancestors were brought from Africa as slaves, were left without access to the written sources that comprised their history. While all three parties have claims to custody of the records, the claim of the people of the Virgin Islands relies on an expanded definition of provenance that includes territoriality or locale, as well as on a custodial responsiblity for access. The competing custodial claims suggest a dissonance between legal custody, physical custody, and archival principles that may be resolvable through post- custodial management practices.

The website ‘The West Indian Heritage’ tells its story using the buildings as a framework for understanding the structure, function, and people of the colony who were either forced to risk their lives producing the coveted goods or benefited from the profits on the goods throughout the first 150 years of the colony’s history.

The Dama is the rite of passage for the men of the Dogon tribe. Conditions must be just right before a Dama can take place, and in the village of Tireli, in Mali, it is the responsibility of the oldest man in the village, the revered "Keeper of the Masks," to determine the timing of the Dama. In this video segment from the series Africa, young men in Tireli feel suspended between boyhood and manhood because there has not been a Dama in the village in 20 years. There is a conflict. A spirit told the village fortune teller that the next Dama would herald the village elder's death, and so the old man believes that if he organizes a Dama he will die.

WNYC Studios and Futuro Studios present “La Brega: Stories of the Puerto Rican Experience”: a seven-part podcast series that uses narrative storytelling and investigative journalism to reflect and reveal how la Brega has defined so many aspects of life in Puerto Rico. Available in English and Spanish.

ASF presented a virtual conversation between artists Jeanette Ehlers and La Vaughn Belle on “Race in the Colonial Past and Present,” moderated by Ursula Lindqvist, exploring the history of Denmark's colonial presence in the mid-17th century and how it has since affected representation.
In 2018, Virgin Islands artist La Vaughn Belle and Danish artist Jeannette Ehlers created the monumental public sculpture entitled I AM QUEEN MARY, the first collaborative sculpture to memorialize Denmark’s colonial impact in the Caribbean and those who fought against it. In this program, listen to the two artists discuss colonialism and how commemorative representations can impact the public discourse surrounding Danish colonial history. What do these representations mean for people of African descent living in the Nordic Countries? What do they mean to the Virgin Islands? And how can they intervene in the historic, current and future relationship between Denmark and the Virgin Islands?

Jeannette Ehlers is a Danish-Trinidadian multi disciplinary visual artist who aims to disrupt the dominating narratives and replace them with ones that acknowledge the aspects of history that have thus far been ignored. Ehlers engages themes of visibility, identity, and collective memory, such as her work I am Queen Mary, which represents one of four queens who led the 1878 labor revolt in Saint Croix, a former Danish colony.

Presenting her works at the sixth MAD Symposium, Ehlers discusses how it is possible to reframe history so that it is inclusive to all and provides examples how to do so through her works. Ehlers engages us, urging us to see how art, and other mediums like food, can provoke, lead and guide, people to better self-understanding.

Michael Miller is the co-founder of the London and New York Meditation Center. Miller regularly teaches all across the globe, introducing the ancient technique of Vedic Meditation in a way that is accessible and relevant to people living in today's world.

Interweaving practical techniques with vocal advice, Miller compels us to see how meditation can make us more available, responsive, and active in our lives. By tuning in to, and ridding ourselves of stress we can create better kitchen environments, he argues.

About MAD:
MAD is a non-profit transforming our food system by giving chefs and restaurateurs the skills, community, time, and space to create real and sustainable change in their restaurants, their communities, and across the world.

The St. John Heritage Collective hosts a panel discussion regarding the importance of Virgin Islands Creole.