In the Nigerian film 'La Femme Anjola,' which delights with brilliant performances, no one is exactly who they seem.
Academic journals pride themselves on “blind peer-review.” However, what if all that’s blind is the reckoning with inherent systemic discrimination?
Julie Mehretu, an Ethiopian-American painter, defies expectations that artists of color should produce representational work.
The film Adú justly calls attention to Europe’s closed borders, but neglects to examine why people are migrating from Africa.
The increasing visibility of Qur’anic healing in Cairo intersects with psychiatry’s growing foothold in public awareness, creating fertile ground for debates about affliction, care, and expertise.
Muammar Gaddafi occupies a contested space in the histories of postcolonial Africa. What about his Libyan opponents?
The ongoing displacement and killings of minorities and the ongoing war in Tigray—labeled by the federal government as enforcing law and order—are disturbing. It can't go on.
Nkrumah’s written works and speeches reveal a selective encounter and appropriation of tools—in this case from Marxist thought—that were translated through Nkrumah’s traveling theory.
Raoul Peck's 'Exterminate All the Brutes' missed the opportunity to engage with the history of colonialism in a way that empowers viewers to imagine a future in which whiteness is not the locus of power and authority.
تكمن فرادة حالة العدمية في أفريقيا كتاريخ وحضارة وشعوب في ارتباطها المتشعب بواقع دموي عنيف من جهة وصيرورة رؤى طوباوية من جهة أخرى، كما يعبر عنه كل من رواية "ذوي الجمال لم يولدوا بعد" للكاتب الغاني ايي كواي أرما وفيلم "آخر أيام المدينة" للمخرج المصري تامر سعيد.
Oral histories conducted with women involved in South Africa’s liberation struggle offer us startlingly candid portraits of youth activism.
How racialized intellectual outputs placed in just the right circumstances can do the most damage.