Our weekly round-up of new (and a little less new) music videos. First, this great video for ‘I Am An African,’ the first single of Dutch-Ghanaian artist Papa Ghana’s EP ‘I Am An African.’ (The song came out last year).

The video for Nigerian singer Nneka’s latest single, ‘Shining Star’ shot on the Canary Islands in Spain:

Harlem, New York based emcee Rugz D. Brewler‘s race conscious anthem, ‘Cuz I’m Black’:

Yasiin Bey (the former Mos Def) performed N.I.P. at Radio Nova in Paris this week (remember that track, including the line: “Prince William ain’t do it right if you asked me, if I was him I’d put some black up in the family”). He also did this new ‘Sunshine Screwface’:

A music video for ‘Past, Present and Future’ off “The Extraordinaires” by the Zambian-Canadian collaboration, The Holstar and Teck-Zilla. It includes a cameo by Zone Fam:

And Sean is taking a group of New School students to Cape Town this summer. He plans to make this music video compulsory as a language lesson:

http://www.youtube.com/watch?v=UAOJ4VL9Xg4&

Further Reading

Slow death by food

Illegal gold mining is poisoning Ghana’s soil and rivers, seeping into its crops and seafood, and turning the national food system into a long-term public health crisis.

A sick health system

The suspension of three doctors following the death of Chimamanda Ngozi Adichie’s son has renewed scrutiny of a health-care system plagued by impunity, underfunding, and a mass exodus of medical professionals.

Afrobeats after Fela

Wizkid’s dispute with Seun Kuti and the release of his latest EP with Asake highlight the widening gap between Afrobeats’ commercial triumph and Fela Kuti’s political inheritance

Progress is exhausting

Pedro Pinho’s latest film follows a Portuguese engineer in Guinea-Bissau, exposing how empire survives through bureaucracy, intimacy, and the language of “development.”

The rubble of empire

Built by Italian Fascists in 1928, Mogadishu Cathedral was meant to symbolize “peaceful conquest.” Today its ruins force Somalis to confront the uneasy afterlife of colonial power and religious authority.