
What is the new image of Africa?
“Africa is finally seizing control of its image” goes the mantra. But which Africa and which image?
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Sheila Adufutse is a feminist activist and trained as a project manager.

“Africa is finally seizing control of its image” goes the mantra. But which Africa and which image?


A new Israeli law orders asylum-seekers to be detained for an unlimited period without judicial oversight or criminal proceedings, even for misdemeanors like bicycle or cell-phone theft.

A New York Times article that’s respectful and mostly accurate, including the use of terminology, when covering African Traditional Religion.

The merits of restaging ‘Une Saison au Congo,’ Aimé Césaire’s history of the life and death of Patrice Lumumba, in London, starring Chiwetel Ejiofor.

The South African feature film, “Of Good Report,” deals with the relationship of a teacher with his underage student. The local censors decided it is a crime to screen it.

Hashim Amla’s appearances on the cricket pitch and its meaning, reflects similarly on South Africa’s own, ongoing, liberation struggle.


I do know a bit about Mali, but I hardly recognize The New Yorker’s Jon Lee Anderson’s version of it.

South Africa’s film censor bans the film ‘Of Good Report’ by Jahmil XT Qubeka, which deals with predatory teachers.

The writer, an American graduate student at the time, goes in search of Nelson Mandela to tell the story of Mandela’s alma mater, the University of Fort Hare.

In South Africa, many youth votes are up for grabs for the first time, from the generation facing 70% unemployment and with little loyalty to the ANC of their parents.

The focus should be on white people. Why have so many of us chosen not to demonstrate?

A review of Aimé Césaire’s ‘A Season in the Congo’ (Une Saison au Congo) at the Young Vic theatre in London.

The simple fact that all forms of violence in South Africa have a male face tells us there’s something fundamentally wrong with ideas around manhood there.

Julie Mehretu’s canvases depict a public zone dichotomous to that of their own surrounding, brimming with a sense of the life of a city which we can never really know or measure, whose politics is alive but oddly incubated.

The historian Max Siollun wants to present Nigerian history as something more than a mechanical rendering of dates and facts.