AfricaIs aCountry

Africa 3.0

Africa Is a Country Podcast
African Five-a-Side Podcast

Africa 3.0

By
Tom Devriendt

Another month, another special Africa issue. This one is by French weekly newspaper Courrier International (part of Le Monde group), edited by Isabelle Lauze and Ousmane Ndiaye. Many of the articles have appeared elsewhere but are published here for the first time in French. Features and profiles include those on Congolese photographer Kiripi Katembo, Angola’s “indignados”, Senegalese collective Y’en A Marre, Nigerian Nollywood, Ghanaian journo Anas Aremeyaw Anas, Ethiopian entrepreneur Bethlehem Tilahun Alemu, a very short introduction to Francophone Hip-Hop, etc. Full table of contents here. The cover photo is lifted from Omar Victor Diop’s 2012 series “The Studio of Vanities”. It’s not clear why they decided to focus only on Sub-Saharan Africa. That said, they’ve used excellent sources.

Further Reading

The people want to breathe

In Tunisia’s coastal city of Gabès, residents live in the shadow of the phosphate industry. As pollution deepens and repression returns, a new generation revives the struggle for life itself.

After Paul Biya

Cameroon’s president has ruled for over four decades by silence and survival. Now, with dynastic succession looming and no clear exit strategy, the country teeters between inertia and implosion.

Leapfrogging literacy?

In outsourcing the act of writing to machines trained on Western language and thought, we risk reinforcing the very hierarchies that decolonization sought to undo.

Repoliticizing a generation

Thirty-eight years after Thomas Sankara’s assassination, the struggle for justice and self-determination endures—from stalled archives and unfulfilled verdicts to new calls for pan-African renewal and a 21st-century anti-imperialist front.

The king of Kinshasa

Across five decades, Chéri Samba has chronicled the politics and poetry of everyday Congolese life, insisting that art belongs to the people who live it.

Drip is temporary

The apparel brand Drip was meant to prove that South Africa’s townships could inspire global style. Instead, it revealed how easily black success stories are consumed and undone by the contradictions of neoliberal aspiration.