African poets for Africa

Badilisha is rare: an African project funded by a mix of government and private art donors, facilitating media access to African poets.

Badilisha Poetry X-Change (via Wiki Commons).

Back in 2011, Badilisha Poetry X-Change was previously featured on this platform with a spotlight on its podcast, Badilisha Poetry Radio. But, there is a lot more to Badilisha than just the podcast. This is a digital poetry archive, preserving African poetry in both its written and oral forms. This dynamic archive is managed by Linda Kaoma (a poet in her own right) and is a product of the Cape Town-based Africa Centre, a pan-Africanist collective that aims to use culture as a means for social change (some other projects from Africa Centre that you might have come across include the Infecting the City festival and WikiAfrica).

Badilisha is rare, in a sense, because it is completely funded by South African donors, including the National Lottery, the National Arts Council of South Africa, and Spier Wine Farm. If you look back through most of the Digital Archive posts, the majority of African digital projects are either based in the U.S/Europe or funded by backers from these regions. But, this is an African project, aiming to broaden the access to African poets for Africans in particular who, without a forum such as this, have limited ability to be “inspired and influenced by their own writers and poets – negatively impacting their personal growth, identity, development and sense of place.” The initiative is also intended to bring African authors’ work to a wider audience, which it most certainly does.

Though this is a South African-based project, it’s content certainly isn’t limited to South Africa.  Content comes from around the world, from the United Kingdom to Senegal to Sri Lanka to Zimbabwe. You can also search for poets by language, with poems in major European languages (like English, French, German, and Portuguese) as well as African languages (like Xhosa, Zulu, Pedi, Venda, and Swahili, to name a few). You can also navigate the nearly work of the over 350 poets by theme and emotion. I lost myself in the History-themed poems for quite a while, especially “Things Fall Apart” by Hector Kunene.

Follow Badilisha on Facebook and Twitter. Explore this awesome collection and let us know what you think in the comments below. As always, feel free to send me suggestions in the comments or via Twitter of sites you might like to see covered in future editions of the series.

Further Reading

Energy for whom?

Behind the fanfare of the Africa Climate Summit, the East African Crude Oil Pipeline shows how neocolonial extraction still drives Africa’s energy future.

The sound of revolt

On his third album, Afro-Portuguese artist Scúru Fitchádu fuses ancestral wisdom with urban revolt, turning memory and militancy into a soundtrack for resistance.

O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

Biya forever

As Cameroon nears its presidential elections, a disintegrated opposition paves the way for the world’s oldest leader to claim a fresh mandate.

From Cornell to conscience

Hounded out of the United States for his pro-Palestine activism, Momodou Taal insists that the struggle is global, drawing strength from Malcolm X, faith, and solidarity across borders.

After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.