On Sunday “The New York Times” published a photo essay on the daily lives of the approximately 300 immigrants from the Darfur region of Sudan who live in Kensington, Brooklyn. The images are by Dave Sanders, “a photojournalist who lives in nearby Park Slope, has been documenting the community since the fall of 2008.” (He is interviewed on The Times’ Lens Blog.) Here’s some highlights of images of the refugees, now migrants, doing, among other things, back-breaking work, at a wedding (above) and, Abdallah Abaker, a taxi driver, who paints in his free time. It also turns out the largest group of Darfuris in the United States live in Fort Wayne, Indiana, and that some move between there and New York City.
Beyond news headlines, African artists offer nuanced ways to complicate common migration narratives.
“African corruption” is only African as regards its victims. Its perpetrators are institutions and individuals from across the globe who are willing to loot without conscience as they watch their offshore accounts grow.
The question is not how, or where, or when neoliberalism will end, but if it will, and what the left will do about it. The case of South Africa is instructive.
Fela Kuti’s friend, Carlos Moore, the black Cuban emigre writer, is the subject of a film about their at times difficult relationship. The result is complex.
Urdang reflects her long friendship with fellow political exile Jennifer Davis, the anti-apartheid activist and changemaker.
The life of Lumumba advisor, Andree Blouin, offers lessons about the historically racialized and sexualized representations of women of color in politics.
Mukoma wa Ngugi’s opening remarks at the launch (today) of the 2020 Writers Unlimited International Literature Festival in The Hague.
The ongoing socio-political and economic crisis in Zimbabwe requires an unprecedented national dialogue for transition—a “coming together” that appears to be as challenging as the country’s history of struggle is long.
A resurgent conspiracy theory that Nelson Mandela died in 1985 reveals the growing hopelessness in South Africa that rampant inequality is irreversible.
A new film about Kony 2012 is a lesson in how not to fight simplification with more simplification.
Nigerians’ anger and frustration are deservedly directed to their government. But few point to the special breed of Nigerians: the “Crazy Rich Nigerians.”
We are not just marking the end of 2019, but also the end of a momentous, if frustrating decade for building a more humane, caring future for Africans.
Masauko Chipembere’s first solo album is a remarkable achievement and a timely musical reminder of the circular nature of pan-Africanist consciousness.
The use of Evangelical Christianity to oppose progressive policies on sexuality education in schools is another example of Ghana’s march to the right.
Is western media’s mostly individualized focus on the Ugandan opposition figure Bobi Wine helpful to his movement?
The Chimurenga arts collective explores the relevance of FESTAC, a near forgotten, epic black arts festival held in Nigeria in the mid-1970s, for our age.
Evan Mawarire became a leader against Mugabe and ZANU-PF’s oppression in Zimbabwe, but at what personal cost?
Centering African voices in a discussion so often dominated by non-African observers.
Among the many legacies of Teju Olaniyan’s teaching and writing would be a project to not only speak in the ideological name of Africa, but to redistribute the power of speaking in that name.
A response to the latest United Nations report on Zimbabwe’s food emergency.