The dominant approach to revitalizing national parks is one-dimensional and sees local residents as obstacles rather than partners.
In what is a victory for media freedom, a Mozambican judge rules it is “perfectly acceptable in a democracy” to criticize your leaders.
A new film about how Mozambican youth express and negotiate the country’s post-socialist modernity through dance.
Achille Mbembe on how the Ebola Crisis exposed Africa’s dependency on the West.
An interview with political scientist Domingos Manuel de Rosário, of Universidade Eduardo Mondlane in Maputo, about the October 2014 elections.
The general trend has been to make immigration more difficult, rather than improving the conditions for asylum seekers and refugees.
Why is it so difficult to understand when we Africans say that it’s offensive?
High school students, a women’s choir, traditional instrumentalists, bands using hand-made instruments, and a tour guide whose nom de guerre is Harry Potter.
One mitigating factor: The Mozambican opposition movement is weak—in terms of political impact, financial resources, popular support, and military resources.
A digital, more lo-fi interpretation of local Marrabenta mixed with dancehall and hip-hop, combined with a mid-tempo, laid-back vibe.
The work of photographer Felipe Branquinho, which portrays workers and working class people in their urban surroundings in Mozambique.
For young musicians in Mozambique, “a career in music is a pipe dream.” The project, Wired for Sound, wants to change that.
“Africa is finally seizing control of its image” goes the mantra. But which Africa and which image?
Germany’s a new campaign to educate Germans about what development policy is, has little to do with Africa and more with local electoral politics.
Licínio Azevedo’s “Virgin Margarida” is a critical look into Mozambique’s past–its re-education camps.
How does it feel to be an African asylum seeker in Europe.
We’ve seen CNN’s “Mozambique or Bust” documentary film before. It’s a staple of its genre.
Dama do Bling is sometimes called a Lusophone Queen Latifah and Mozambican Lil Kim. The comparison doesn’t always work.
A review of a film on a metal genre produced by young Angolans in Huambo, the center of the protracted civil war that ended in 2002.
Gregor Zielke’s photos capture a coal mining company’s broken promises to a Mozambican community, but also the communities’ resilience.