It’s that time of year again. The students in my required Media and Culture course at The New School (I have a day job yes) just uploaded their final projects–a short documentary or commentary piece (limit under 5 minutes)–online. Here’s one of them. Student Erik Luers debates the decision by mainstream media organizations to show (or inability to control the exhibition of) the gory images of the murder of Libyan dictator Muammar Gaddafi:
The founder of a digital archive of African deities explains the motivation behind its creation.
A postmortem on the African Growth and Opportunities Act.
Despite the popularity of the Sahel’s military leaders internationally, most Malians have yet to see improvement to their material conditions at home.
Africa’s biggest filmmakers are rejecting Western demands for resolution and containment in cinema—instead embracing ambiguity, rupture, and silence as tools for historical reckoning of African stories.
Amid Trump’s tariffs, Africa faces trade disruptions, corporate power, and emerging partnerships in its quest to control its economic destiny.
Musical traditions and language from Edo State have moved from the margins of Nigeria’s national (and international) culture to the center.
A new documentary film examines the politics of waste work and discard infrastructures in Dakar.
A portrait of South Sudan’s unfinished journey, where political sacrifice meets everyday survival, and the burden of memory contends with the quiet power of continuity.
In Johannesburg, a new generation of Black cyclists is redefining joy, movement, and solidarity—taking over the streets to ride, to reclaim space, and to reimagine freedom.
A lack of reliable statistics and coherent strategy to address femicide in Kenya, has left a culture of everyday insecurity for women in the country.
In this wide-ranging conversation, para-disciplinary artist Nolan Oswald Dennis reflects on space, time, Blackness, and the limits of Western knowledge—offering a strategy for imagining grounded in African and anti-colonial traditions.
On his latest EP, Kwame Brenya turns a failed migration into musical testimony—offering a biting critique of ECOWAS, broken borders, and the everyday collapse of pan-African ideals.
Europe’s flagship development plan promises investment and partnership—but delivers debt, displacement, and old colonial patterns dressed up in green.
In the film ‘Tales of Oblivion,’ Dulce Fernandes excavates the buried history of slavery in Portugal, challenging a national mythology built on sea voyages, silence, and selective memory.
Web3 utopians promised a sovereign future for the African diaspora—but what they delivered was a networking club for elites, wrapped in crypto-libertarian hype and Afro-futurist aesthetics.
In the aftermath of the Stilfontein mining tragedy, South Africa must confront not just policy failure but a deeper amnesia: the erasure of women, memory, and indigenous ethics from its extractive economy.
The oppositional sartorial lens of Congolese sapeurs exposes the limits and frailties of representation work in New York’s Met Gala.
Cape Town’s digital nomads chase cheap luxury and scenic backdrops—but behind the matcha lattes and “social impact days” lies a deeper story of economic power, displacement, and global inequality.
With Europe increasingly closed, West African migrants are turning to the US—via Latin America. But the journey is long, dangerous, and brutally expensive, raising urgent questions about global responsibility.
In Tanzania and beyond, political elites manage informal workers not by ignoring them—but by shaping their identities, dividing their ranks, and using class to tighten their hold on power.