
Liz Johnson-Artur’s Archive
The Ghanaian-Russian photographer documents the African diaspora in Europe, mostly in the United Kingdom.
The Ghanaian-Russian photographer documents the African diaspora in Europe, mostly in the United Kingdom.
Zeal Onyia was a master Nigerian trumpet player from the 1950s treated as an equal by Louis Armstrong.
Is the New York Times' correspondent in East Africa, a journalist or just someone relaying stereotypes?
The revival of Ethiopian jazz, a tradition that dates back to the 1920s, and had its heyday under Emperor Haile Selassie.
Parts of Johannesburg's inner city has been subjected to aggressive gentrification. It also comes with lots of mindless media.
Why does a progressive Spanish TV channel close to the ruling Socialist government exploit Africans for entertainment?
Die Antwoord is basically blackface. But blackface is also tricky, argues poet and writer Rustum Kozain.
The Senegalese-American crooner's uninspiring "Oh Africa" reminds of bubblegum South African pop from the 1980s.
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.
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.
We join forces with the Italian news aggregator Afronline. That and other "Africa" references from this week.
Scorcese not only restores prints of African cinema classics, he also counts Ousmane Sembene as one of cinema's greatest directors.
Black America want better schools, better jobs, cheaper health care, lower taxes, smaller prison populations, stronger labor unions.
Van Heerden was a fixture in Cape Town's jazz and alternative music scenes. His music is now available for purchase online.
What is that sample of Arabic during Slick Rick’s verse on Mos Def's "The Auditorium"?