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This chapter wants to argue two things: the first part suggests that reality television in Africa – specifically the series Big Brother Africa, which completed its third season in November 2008 – has had profound impacts for identity politics, gender politics, and the politics of class on the continent. In fact, these are the issues most commonly illuminated by reality television and I wrote about these in a previously published article. The second part of the chapter moves into less explored territory. In that previous article, I briefly discussed how specifically Big Brother Africa can illuminate the workings of globalization in Africa and, in particular, South Africa’s hegemonic role in that process. Here, I expand on my earlier argument by exploring that hegemony in the context of the growing Chinese presence in Africa. All economic and political indicators suggest that China’s growing investment in mining and infrastructure and its political clout relative to South Africa mean that it is destined to assume a place of prominence on the continent. But here I want to argue that if we want to understand how globalization plays out in Africa, we need to look beyond China’s military and economic expansion. For me, Big Brother Africa can help us make sense of these dynamic processes. South Africa has consistently remained the highest-ranking country in Africain terms of its “global competitiveness” as measured by the World Economic Forum. South Africa dominates regional markets in Southern Africa as well as remaining competitive in the rest of the continent against business rivals from United States and Europe. As it was under Apartheid, there is a close symbiosis between the continental aspirations and interests of the postapartheid state and that of South African business. The advent of democracy in 1994 has opened up African markets for South African business on an unprecedented scale. The South African state is very active on the African continent and keen to develop a leading role for itself. In fact, successive United States governments have viewed South Africa as a continental leader. For example, former President George W. Bush referred to former South African President Thabo Mbeki as his “point man in Africa.”4The South African government underwrites and actively promotes SouthAfrican business’s continental schemes through its “Proudly South African” campaign coordinated through an International Marketing Council situated in the Office of (the country’s) President since 2002, which links state nationalism with consumption. Separately a statutory Industrial Development Corporation (established in 1940) underwrites the business expansion of South African capital.

This book proposes contemporary decolonization as an approach to developing cultural economies in the Global South. This book represents the first critical examination and comparison of cultural and creative industries (CCI) and economy concepts in the Caribbean and Africa.

Colonisation bequeathed classical education, among others, to the African continent. The post-colonial utility, function and status of such a knowledge system have been questioned and resisted, and African knowledgebased institutions are making efforts to decolonise such systems. The decolonial project has also impacted popular culture in the sense that African identity and self-presentation are being interrogated using various methods. Adaptations and productions of classical myths are implicated in this discourse. Implicated adaptations serve as platforms for allegorical cross-cultural conversation on shared experiences of a people group, perhaps of an earlier generation with the assumption of partial or absolute continuities. Continuity discourse is problematic when two cultures are implicated, particularly, when one is a colonial culture and the other colonised. The unity of discourse is either affirmed, violated or reconstituted.

In the United States, daytime soap operas are often critiqued as escapist fantasies with narratives that provide leisure and pleasure for middle-class and stay-at-home mothers. The storylines typically involve forbidden sexual liaisons and business relationships, with physical and psychological behaviors that center on powerful families. One family unit usually represents “old money” while the other family represents “new money” or an upwardly mobile group with aspirations of power, status, and influence. The economic differences are usually the source of conflict between the families, around which all other social relationships develop. The temporal space expands and contracts to accommodate storylines, which

African television is at the crossroads. This chapter surveys, describes, analyzes and explains the major changes that have taken place in the African television landscape since the 1990s. It focuses on three major developments that have marked the African television landscape: (1) liberalization of the television space to keep abreast of international developments, and the tension between entrenched governmental public broadcasting systems and newly licensed “independent” TV stations, (2) the process and impact of the analogue to digital TV switchover shepherded by the International Telecommunications Union, and (3) the diffusion of Chinese electronic technology, television, and film content on the African television market as part of the Asian giant’s “soft power” diplomacy and State capitalism. African television is constrained by political regimes that restrict freedom of expression, and regulatory agencies that preside over systems in which the law takes precedence over rights.

Extant research on e-sports has focused on the growth and value of the phenomenon, fandom, and participant experiences. However, there is a paucity of e-sports scholarship detailing women’s experiences from marginalized communities living in various conservative Muslim countries. This shortage of literature remains despite different radical Islamic groups’ consistent demand for banning several online video games and the Muslim youth’s resistance to these calls. This study aimed to understand the motives and lived experiences of Muslim women e-sports participants from Gilgit-Baltistan, Pakistan. The authors collected data via observations of online video games and in-depth interviews. The study participants revealed that they use e-sports as a vehicle for an oppositional agency and personal freedom from the patriarchal system. The findings also suggest that participants are facing systematic marginalization and grave intrusion of post-colonization. The study contributes to the limited scholarship concerning Indian subcontinent Muslim women’s e-sports participation.

The first time I spoke in public about my work was during the Los Angeles Lesbian and Gay Festival in 1990. Cheryl Dunye was the only other woman of color on the panel. When I asked a question regarding funding, I naïvely stated that funding was not a prob lem for me considering the fact that my work at that time was of medium to low production quality. I had minimal access to a low-end production facility, and my piece was only five minutes long. I was alluding to the fact that it has been “easy” for me.

This paper looks at five documentaries on activism around ending the practice of female genital cutting (FGC) in Africa. All were made by or in partnership with UK and US producers and are distributed by the New York-based non-profit media arts organization Women Make Movies. By tracing changing political and representational strategies in feminist documentaries on the issue and the varying terms on which the films engage their subjects and address their viewers, the chapter aims to put the specificity of independent documentary formats, practices, and institutions in dialogue with feminist theoretical critiques of the wider discourse on women's human rights. The chapter looks at Kaplan and Grewal's critique of the neo-colonialism of Alice Walker and Pratibha Parmar's Warrior Marks, the observational strategies of Kim Longinotto's The Day I Will Never Forget, the diasporic dimensions of Mrs. Goundo's Daughter and Sarabah, and the visual rhetoric of human rights models in Equality Now's Africa Rising. The cultural field of documentary constitutes a public sphere in which activist and theoretical debate, contested reception, and continually renewed cultural production articulate the productively shifting terms of transnational feminism.

Comme naguère Jean-Jacques Rousseau dénonçait le scandale d'une société fondée sur l'inégalité, avec la même clarté, et un bonheur d'écriture que seule peut inspirer la passion du juste, Aimé Césaire prend ses distance par rapport au monde occidental et le juge. Ce discours est un acte d'accusation et de libération. Sont assignés quelques ténors de la civilisation blanche et de son idéologie mystifiante, l'Humanisme formel et froid. En pleine lumière sont exposées d'horribles réalités : la barbarie du colonisateur et le malheur du colonisé, le fait même de la colonisation qui n'est qu'une machine exploiteuse d'hommes et déshumanisante, une machine à détruire des civilisations qui étaient belles, dignes et fraternelles. C'est la première fois qu'avec cette force est proclamée, face à l'Occident, la valeur des cultures nègres. Mais la violence de la pureté du cri sont à la mesure d'une grande exigence, ce texte chaud, à chaque instant, témoigne du souci des hommes, d'une authentique universalité humaine. Il s'inscrit dans la lignée de ces textes majeurs qui ne cessent de réveiller en chacun de nous la générosité de la lucidité révolutionnaires. Le Discours sur le colonialisme est suivi du Discours sur la Négritude, qu'Aimé Césaire a prononcé à l'Université Internationale de Floride (Miami), en 1987.

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. Sixteen Indigenous voices convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonisation, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? To whom does the much talked-of 'Indigenous Turn' belong? Does it represent a hegemonic project of introspection and revision in the face of today's ecocidal, genocidal and existential crises?"--Page 4 de la couverture. Autres auteurs/titres:edited by Katya García-Antón ; contributors, Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna'i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura.

This comprehensive anthology places issues of racial representation squarely on the canvas. Within these pages are representations of Nubians in ancient art, the great tradition of Westernmasters such as Manet and Picasso and contemporary work by lesser known artists.

Tourist art production is a global phenomenon and is increasingly recognized as an important and authentic expression of indigenous visual traditions. These thoughtful, engaging essays provide a comparative perspective on the history, character, and impact of tourist art in colonized societies in three areas of the world: Africa, Oceania, and North America. Ranging broadly historically and geographically, Unpacking Culture is the first collection to bring together substantial case studies on this topic from around the world.

"Si tous les groupes humains sont touchés par la violence à grande échelle, les femmes la subissent sous des formes spécifiques, comme en témoignent les assassinats systémiques des femmes et des filles autochtones en Amérique du Nord et en Amérique latine, ou encore les nombreux conflits armés (Syrie, Lybie, Birmanie, entre autres) dans lesquels le viol est érigé en arme de guerre. Les deux phénomènes peuvent d'ailleurs se recouper puisque l'un des tout premiers féminicides à avoir été qualifié et documenté comme tel en Amérique est celui ayant été perpétré contre les femmes mayas durant la guerre civile guatémaltèque au début des années 1980. Cependant, les femmes ne sont pas seulement les victimes de la violence de masse, puisqu'elles sont aussi les premières à témoigner et dénoncer pour faire barrage à cette violence. Ce numéro hors-série regroupe des articles et des projets visuels qui décrivent et analysent la violence de masse liée au genre. Il s'agit de réfléchir sur la manière de représenter cette violence et d'en témoigner, d'autant plus qu'elle est bien souvent rendue invisible et inaudible par le patriarcat, le colonialisme, les intérêts politiques en présence ou l'impéritie de l'État."

Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

Ce travail vise à montrer deux choses. La première, c’est de saisir toute l’importance du tournant postcolonial/afro-décolonial dans la construction d’une contre-épistémologie propre au sujet culturel colonisé africain. En d’autres termes, pour le sujet colonisé, cette contre-épistémologie sert à décoloniser les imaginaires, à partir d’un questionnement de la colonialité de l’épistémologie et du savoir donnés pour universels par l’occident. La deuxième chose, c’est que ̶ à quelques mois de la commémoration du centenaire de la naissance du prolixe et polygraphe auteur africain-colombien Manuel Zapata Olivella (1920-2004) ̶ cet article puisse le situer à sa juste place. Celle d’un sujet culturel colonisé africain des Amériques dont l’abondante production culturelle et la pensée, portées et révolutionnées par le concept de Muntu africain, participent de la décolonisation des imaginaires et de l’épistémologie

Pairing Dominican-born artist Firelei Báez with Kenyan-born artist Wangechi Mutu, this article meditates on relational black and brown aesthetic strategies by reading femme gestures performatively across individual works, as well as the exhibition spaces within which the artists draft practices of informed and resistant engagement. Working with both theories of brownness that emerge from Latinx studies as well as scholarship of the black radical tradition, the author follows a sense of shared aesthetic gestures in Báez and Mutu’s work toward an indictment of pervasive Global North racial epistemologies. Focusing on the performative gesture as the basis for relation, this article ultimately hones in on the chimeric figures—amalgamations of flora and fauna—that both artists deploy, arguing that these present a model for imagining an otherwise arrangement of the social.R Poniendo en diálogo a Firelei Báez, una artista nacida en República Dominicana, con Wangechi Mutu, que nació en Kenia, este artículo invita a una meditación sobre las estrategias estéticas relacionales negras y morenas mediante una lectura en clave performativa de gestos femeninos en obras individuales y en aquellos espacios de exposición en que las artistas elaboran prácticas de participación política informada y de resistencia. Trabajando tanto con las teorías de lo moreno (brownness) que emergen de los estudios Latinx como con el trabajo académico de la tradición radical negra, la autora rastrea gestos estéticos presentes tanto en el trabajo de Báez como en el de Mutu para denunciar las omnipresentes epistemologías raciales del norte global. Centrándose en el gesto performativo como la base de la relación, este artículo se enfoca en última instancia en las figuras quiméricas – amalgamaciones de flora y fauna – que ambas artistas despliegan en su trabajo para sostener que estas presentan un modelo para imaginar otra manera de organizar lo social.

Written by one of the foremost scholars of African art and featuring more than 125 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960.

For the first time, a major exhibition examines the impact of African culture on black artists, both trained and self-taught, in a stunning range of 157 works which are variously bold, witty, historical, and mysterious. 49 biographical outlines; 320 illustrations, 170 in full color.