
The Empire Strikes Back
Or how Africa won Euro 2016 for Portugal.
6425 Article(s) by:
Nathan Chiume is an Africa analyst and consultant.

Or how Africa won Euro 2016 for Portugal.

Events at South Africa’s oldest agricultural college become an object lesson in how mastery over language upholds mastery over land.

Anti-government protests in Zimbabwe face the risk of falling into obscurity – the unfortunate and all too common destination of many such movements.

Collapsing the binaries hard-wired into the logic and narrative of “uber-gentrification;” the latter representing the conquest of science over art, technology over soul and innovation over old.

The rowing acceptance of what critics of structural adjustment programs have been arguing for decades, (seems to have had minimal impact on the IMF’s actions.
Anjan Sundaram’s Rwanda exists in an authoritarian bubble characterized by fear and repression.

This planetary turn of the African predicament will constitute the main cultural and philosophical event of the 21st century, argues Achille Mbembe.

The short answer: The UK doesn’t have the same influence on the continent that it did decades ago. And Brexit will be further proof of that.


Muhammad Ali’s political life was like his boxing career: as frustrating and contradictory as it was principled and selfless.

The ultimate goal of Michele Siblioni’s work is to achieve the satisfaction of the white male ego, via the camera lens and exotic depictions of black women.


The Edge of Wrong Music Festival in Cape Town adds value, especially in places where radio airtime has until very recently been monopolized by the American pop genre.


When your Uber driver has never heard of Muhammad Ali you realize you’re not his friend and you and he occupy different worlds.

The author, also named Muhammad, on what having a black hero meant during his childhood in Apartheid South Africa.

The Nsibidi Institute Memory Project attempts to use digital forums to preserve popular, everyday memories of Nigeria.


Is diasporan a word? It is now. You cannot understand what it is to be Nigerian, or Kenyan or South African now, without factoring in the diaspora.

Why are we so averse to acknowledging complexity, difference, subtlety and agency when it comes to art that emerges from and in Africa?