
The art of Victor Ehikhamenor
Victor Ehikhamenor’s images always work as a proliferation of forms. It’s the sort of proliferation that

Victor Ehikhamenor’s images always work as a proliferation of forms. It’s the sort of proliferation that

The paintings in Meleko Mokgosi's ongoing "Pax Kaffraria" series interrogate colonialism, politics, power, and identity in Botswana and Southern Africa

Frantz Fanon once said: “Each generation must discover its mission, fulfill it or betray it, in relative opacity.”

On those images by South African photographer, Pieter Hugo, pairing perpetrators and victims of the 1994 Genocide.

If you only visit South African townships to confirm your prejudices and not to experience them the way they are, stay away.
The actress Lupita Nyong'o was born in Mexico, who wanted to claim her Oscar win. But why should she owe the Oscar to Mexico, a country with such high levels of racism?

Gabriel Garcia Marquez wanted to counter the notion that everything in Latin America can be understood only through Euro-American lenses.

Bringing attention to African filmmakers who challenge prevalent cinematic depictions of the continent.

Basil Breakey's photographs serves as an important recording of South Africa jazz music in the 1960s and 1970s.

The strong local identity of Colombia's most African big city is slowly being erased. But not all its artists, especially musicians, are giving up without a fight.

The film "Forgotten Kingdom" has become one of the most powerful representations of Lesotho. Does it get it right?

Angolans protest as the state threatens to tear down an historic building.

Are development agencies derailing the film industry in Tanzania?

For years Bisi Silva, Nana Oforiatta-Ayim and others have been active players in the art world. Why are they being written out of the story?

"Jazzing" on the Cape Flats, almost similar to salsa as developed in New York City. It's the dominant sound of parties in Cape Town.

The musical groups perhaps setting the pace for a new idea of liberation for people of African descent in the Americas.

The writer went for a visit and found Stellenbosch, a Western Cape town that is home to one of South Africa's universities, strange, interesting and also very sad.

How can bodily experiences be shared, asks British Nigerian director Shola Amoo in his short film, "Touch."

The brochures about the town left out the reality for Stellenbosch's black residents: poor, nasty, brutish, and short.

Colbert’s satire is based in a smug ironic whiteness. It doesn't mean I have to like it or can't feel it's problematic or alienating as a person of color.