Actual questions from a South African journalist

The long-held and widespread attitudes some South African journalists share about the struggle for liberation.

South African peacekeepers South African UNAMID forces sing to honor the legacy of Nelson Mandela in North Darfur (UNAMID, via Flickr CC).

Sometimes you have to despair at the state of South African journalism, as what is the result of a mix of factors: ineptitude, juniorization, but also often the result of long held and widespread attitudes journalists share about the struggle for liberation. A journalist called me up and asked me this as a question:

“Mandela was a terrorist, yet he became an hero and international icon. Do you think the media and the way they portrayed him had something to do with this?… Why would the media choose to see the good in what he has done rather than focus on the bad?”

I did point out that reading some history might be a good idea.

Nelson Mandela, Deputy President of the African National Congress of South Africa, addresses the United Nations in June 1990 (UN Photo, via Flickr CC).

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.