Kathleen Madden, in Artforum, on Zwelethu Mthethwa’s 2010 series “The Braves Ones,” showing through July 17th at the Victoria and Albert Museum in London:

[“The Brave Ones”] documents Zulu boys from the Shembe church wearing pink gingham or rich red tartan kilts with tribal hats, a mixed visual code that evokes the Scottish Highlanders who were deployed to the region in the late nineteenth century. The boys pose before the lush backdrop of the KwaZulu Natal, aka the “garden province,” making them appear timeless in an Arcadian landscape.

Further Reading

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.

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.

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.

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.

Lions in the rain

The 2025 AFCON final between Senegal and Morocco was a dramatic spectacle that tested the limits of the match and the crowd, until a defining moment held everything together.