Politics is often framed as a series of never-ending discussions about social justice: The experience from South Africa.
The makers of a new French film on decolonization in Africa and Asia superimpose their own voices, incapable of avoiding the Eurocentrism they want to avoid.
War, peace, and cooperation among herder-farmers in northeastern Uganda.
Meryam Joobeur’s film, Brotherhood explores Tunisia's outsized role in the Syrian conflict; the country contributes a disproportionately large number of foreign fighters to the conflict.
It is no longer shocking to witness the prejudice among French institutions and intelligentsia against Africa and Africans.
Coverage of the #LuandaLeaks revelations have steered clear of the art world dealings of Isabel dos Santos’s husband, and art luminaries have largely defended Dokolo’s reputation.
Multinational corporations are considered motors for development in Africa and the Dutch beer giant Heineken is often cited as one of the best examples. The reality is different and distressing.
The German far right party AfD has extended its revisionism of German history to the colonial era. It amplifies global far-right discourses on colonialism’s “balance sheet.”
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Beyond news headlines, African artists complicate common migration narratives.
“African corruption” is only African as regards its victims. Its perpetrators are institutions and individuals from across the globe.
The question is not how, or where, or when neoliberalism will end, but if it will, and what the left will do about it. The case of South Africa is instructive.