Attempting to interrogate its own lens, the documentary Stop Filming Us mixes sharp insights with disappointing shortcomings.
According to a new study, painting eyes on the backsides of cows can reduce attacks by animal predators.
In the wake of initiatives to repatriate Africa’s stolen property, the author of this letter asks the French President to repair what his ancestors have broken, before attempting to restore the war trophies of colonial conquest.
The medieval epoch shouldn’t only be envisioned through a European lens.
Thanks to artist Max Siedentopf, the 1982 soft-rock staple turned über-meme has reached its logical conclusion.
Forty years on, a new arrogance continues to complicate the narrative of Africa as China encroaches — physically, socially, and economically — on its soil.
Futuristic pyramids and boxy concrete forms rose up with the modernist architecture of Africa in the 1960s and ’70s, although beyond the continent the radical forms aren’t widely recognized.
In the 1960s, while the United States and the Soviet Union were playing out their battle of who would make it to the moon first and so dominate the galactic skies, a former high school teacher in Zambia decided his country needed a space program.
China’s destruction of some 6.1 tons of seized ivory earlier this month may have seemed like a small dent in a country where around 70% of the illegal trade is concentrated, but it was an encouraging sway in the right direction.
KAMPALA, Uganda — All over Kampala, and in many parts of Uganda, you’ll find them: shipping containers. From and to all over the world, shipping containers arrive and go out. Some stay, serving as a storage container on the side of a road, repurposed for whatever the contents. Others go. But, for this foreigner at least, they make up part of the city’s character.
Whether sequestered behind glass in a museum or sold to tourists along Fifth Avenue, the African mask is an image from the non-Western world that we are all familiar with. Yet walking though the African art galleries at the Metropolitan Museum of Art the other day, I felt somewhat disconnected from the African mask. Severed from its intended use for performance and ceremonies, the mask as it is presented in the museum becomes an ambiguous object. Does the mask still have relevance when removed from its cultural context? Can we appreciate it for just its form? Is it art or artifact?
At Pitti Immagine, one of the largest fashion trade shows in Florence, Dame Vivienne Westwood debuted her second Ethical Fashion Africa Collection in partnership with the International Trade Centre. The first, back in February, was a small offering of three tote bags, but for her sophomore effort she came back with a fuller collection of totes, handbags, duffles and key chains. Though she says of Africa, “I’ve never been before, [and] I shall probably never go again…”, she appears to be getting a lot accomplished in this one shot.