Music Break
The video for “All the Same” by Vieux Farka Toure, son of Ali, from his new album, “The Secret.” The song features the singer Dave Matthews (born in South Africa). Yes him.
Further Reading
The roots of our storytelling
What happens when we stop reading African fiction through European literary history and instead trace its worldmaking through indigenous cosmology?
Where have the Chapungu gone?
What connects Zimbabwe’s chimurenga spirit, the disappearing bateleur eagle, and the stubborn afterlife of colonial capital?
Whose story gets to be heard?
A new film investigates the long-standing land disputes between Kenyans, the government, and multinational corporations, whose expansive plantations are the site of much of the Kikuyu people’s hardship.
Visiting Ngara
A redevelopment project in Nairobi’s Ngara district promises revival—but raises deeper questions about capital, memory, and who has the right to shape the city.
Revolution without illusion
The Marxist historian Mohammed Harbi spent a lifetime dismantling the myths of Algeria’s national movement and warning that anticolonial victories could harden into bureaucratic rule.
Who owns Ghana’s mission schools?
A constitutional challenge over religious practice reveals the unresolved colonial and postcolonial politics of Ghana’s mission-founded secondary schools.
Gen Z’s electoral dilemma
Long dismissed as apathetic, Kenya’s youth forced a rupture in 2024. As the 2027 election approaches, their challenge is turning digital rebellion and street protest into political power.
A world reimagined in Black
By placing Kwame Nkrumah at the center of a global Black political network, Howard W. French reveals how the promise of pan-African emancipation was narrowed—and what its failure still costs Africa and the diaspora.
The trouble with ‘showing the real Africa’
iShowSpeed’s Africa tour is widely celebrated as respectful and refreshing, yet it operates within a long tradition of racialized spectacle that turns Africa into content and Blackness into performance.
Securing Nigeria
Nigeria’s insecurity cannot be solved by foreign airstrikes or a failing state, but by rebuilding democratic, community-rooted systems of collective self-defense.
Co-opting African literature
Can a festival meaningfully applaud African creativity while its sponsor profits from African death?
Repression by other means
The shooting and prolonged detention of Serrote José de Oliveira expose how Angola’s legal order is not merely breaking down, but being deliberately replaced by a system of impunity and police power.
Who gets to tell the history of Mau Mau?
David Elstein’s attack on David Olusoga’s docuseries on the legacy of the British empire reveals less about historical error than about the enduring impulse to rehabilitate British colonial rule.
What Kwame Nkrumah knew about profit shifting
From colonial accounting tricks to modern tax havens, Nkrumah understood how capital escapes, and why political independence was never enough.
Labor without boundaries
In Chad, domestic labor between Chinese employers and local workers unfolds in private spaces where rules are missing and conflict fills the gap.
When charity poses for a Grammy
Burna Boy’s highly publicized Lagos prison visit looked like generosity, but it also looked like content. Who was it really for?
Wrestling power from political dinosaurs
The passing of Raila Odinga has unsettled Kenya’s political equilibrium, exposing a crowded field of veterans, opportunists, and activists, alongside a growing generational demand to reclaim power from an aging elite.
Empire’s middlemen
From Portuguese Goa to colonial Kampala, Mahmood Mamdani’s latest book shows how India became an instrument of empire, and a scapegoat in its aftermath.
Who is AFCON for?
From air travel costs and border regimes to television culture and class exclusion, the problem of attendance at AFCON is structural, not because fans lack passion.
À qui s’adresse la CAN ?
Entre le coût du transport aérien, les régimes de visas, la culture télévisuelle et l’exclusion de classe, le problème de l’affluence à la CAN est structurel — et non le signe d’un manque de passion des supporters.