
Die Antwoord is Blackface
Die Antwoord is basically blackface. But blackface is also tricky, argues poet and writer Rustum Kozain.
6265 Articles by:
Miguna Miguna is a Kenyan activist and lawyer.
Die Antwoord is basically blackface. But blackface is also tricky, argues poet and writer Rustum Kozain.
Poor whites don’t even make up 5% of the poor. Contrast that to more than 60% of blacks. But that’s not a story for foreign media.
The Senegalese-American crooner’s uninspiring “Oh Africa” reminds of bubblegum South African pop from the 1980s.
The Winter Olympics features a Russian skaters who dress in animal skin costumes to perform to an “Aboriginal Song.” There’s more.
At minimum, VICE’s work demonstrates there are stories to tell about Africa that can reach an audience beyond public television.
The top tunes dedicated to Nelson Mandela, arguably the most recognizable liberation figure from South Africa.
Wiley, known for painting black men as figures from Renaissance art, now does the same with Africa’s best football talents.
How a political song about the aftermath of the Cold War, refugees and statelessness was defanged, first for FIFA and then for Coca Cola.
European media’s lopsided attempts to make sense of South Africa ahead of the World Cup, continues.
The New York Times’ chief theater critic, surprise, misses the point about the musical, “Fela!”
Janka Nabay is the premier exponent of Sierra Leone’s frantic and frenetic Bubu Music.
The nonsense that foreign journalists, who don’t understand Afrikaans or the language’s creole cultural history, write about Die Antwood.
South African feminist academic, Pumla Gqola, takes on all the whataboutisms thrown up by Jacob Zuma’s defenders.
Africa’s first Nobel literature laureate is accused of Islamophobia. It is not his first time.
No one mixes nationalism, tourism and sport in a feel-good cocktail quite like the South African advertising industry.
We join forces with the Italian news aggregator Afronline. That and other “Africa” references from this week.