wwiafrica:

A rarity among rarities: a photo of a Senegalese tirailleur (sharpshooter) with woman and child in Marseille, France. 1914.
Find out more about World War I in Africa.

wwiafrica:

A rarity among rarities: a photo of a Senegalese tirailleur (sharpshooter) with woman and child in Marseille, France. 1914.

Find out more about World War I in Africa.

Remembering the East Africa campaign like it was

wwiafrica:

Among World War I campaigns, the East African one was the longest of all: as the armistice was being signed in Europe on November, 11th 1918, the last of the German forces were still fighting their British counterparts. Indeed the general who led them only surrendered two weeks later, on November, 25th 1918.

But who knows any of this, whether in America, in Europe or indeed in Africa? As the world commemorates the Centenary of the Great War, the African side of this story remains a footnote, despite huge losses of human lives and major consequences for the future of the African continent.

thelastedition:

C R I M S O N
Jeneil Williams by Julia Noni for Vogue Deutsch
Red palm leaves - unknown

thelastedition:

C R I M S O N

Jeneil Williams by Julia Noni for Vogue Deutsch

Red palm leaves - unknown

Introducing the #WWIAfrica project

"The story of Africans’ involvement in the Great War is unheard of outside of academia, and thus remains to be told: the tens of thousands of African lives lost at home and abroad, defending the interests of foreign powers and the lives of complete strangers; the forced recruitment of African soldiers to fight Europe’s war, and of African workers to replace the labour force gone to the front; the battles between colonies pitting Africans against each other on their own soil; the reshaping of Africa’s borders and inner workings after the war under new rulers."

(Source: wwiafrica)

derica:

On Saturday 9th August at 3PM, THE FUTURE WEIRD presents REMOTE CONTROL at the Museum of Arts and Design’s MAD Biennale, in association with Spectacle Theater
REMOTE CONTROL is a program of short films concerning witches & bitches – women who see, take, and sell things they cannot grasp. Whether they wield powers to possess, or are somehow controlled, the technologies these films document are deployed without regard for reciprocity or consent. 
Presenting shorts by Zina Saro WiwaFyzal Boulifa and Shola Amoo, we’re talking possession, surveillance, “brain to brain interface”, and the human use of human beings. 
THE FUTURE WEIRD is a screening series dedicated to speculative, experimental and weird film by directors from Africa and the Global South. 
WHEREMuseum of Arts and Design, 2 Columbus Circle
WHEN: Saturday 9th August 2014 @3PM
TIX: $10/$5 concessions

(via ladyfresh)

thisislagos:

NEW FLYER

SIMPLY BECAUSE THIS FLYER IS EVERYTHING UNDER THE SUN!

thisislagos:

NEW FLYER

SIMPLY BECAUSE THIS FLYER IS EVERYTHING UNDER THE SUN!

Well worth the wait!! @justaband’s newold? oldnew? video: Probably for lovers #Kenyafeelthelove

Follow them here justabandwidth

Inspired by @chichiagram rocking @shopsoko  (at Philadelphia, Pennsylvania)

Inspired by @chichiagram rocking @shopsoko (at Philadelphia, Pennsylvania)

Live from Bongoland: The Story of Tanzania's Music Economy

In the 70’s and 80’s, the east African nation of Tanzania was home to one of the continent’s greatest music scenes. But you wouldn’t know from the recorded evidence. Join us for this Hip Deep Edition of Afropop Worldwide, as we explore how Tanzania developed a booming music economy without any music industry (and yes- we’ll explain what that means) and then how, in the course of a single decade, it developed one of the premier recording industries on the continent. Featuring professor Alex Perullo, and veteran guitarist John Kitime. Produced by Sam Backer.

Tanzania womens jazz band

msadjei:

Earlier this year I did a concept shoot for Ghana based clothing label Osei Duro (www.oseiduro.com). It was shot at Labadi Beach in Accra by amazing artist and photographer Kenturah Davis. The concept idea came from Marion Payen, a French visual artist, who wanted the shoot to have a “nomadic feeling with an outer space vibe.”

I had a great time and we had lots of spectators who were fully intrigued with our use of flour and Tang ( yes the drink Tang) at the beach. Without the camera i’m sure they would have easily assumed there was some ancestral ritual going on.

Supersisters Trading Cards #43 Ruby Dee #TBT
"For the dedicated sports fan, a collectible trading card is a glorified and appreciated form of professional athletic recognition. Published in 1979 with a grant from the New York State Education Department, Lois Rich and her sister Barbara Egerman contacted five hundred women of achievement and created cards for the first seventy-two that responded. Inspired by Lois Rich’s (at the time) eight-year-old daughter who was a baseball card collector, she asked her mother why there weren’t any girls on the cards. Supersisters trading cards developed into a playful, informative, and accessible way to spread feminism to younger audiences. Emulating collectible sports cards, the Supersisters were a sold out set with over ten thousand sold. This is a fantastic collection honoring women in a variety of fields while mirroring a timeless form of sports memorabilia." http://www.juxtapoz.com/current/supersisters-trading-cards

Supersisters Trading Cards #43 Ruby Dee #TBT

"For the dedicated sports fan, a collectible trading card is a glorified and appreciated form of professional athletic recognition. Published in 1979 with a grant from the New York State Education Department, Lois Rich and her sister Barbara Egerman contacted five hundred women of achievement and created cards for the first seventy-two that responded. Inspired by Lois Rich’s (at the time) eight-year-old daughter who was a baseball card collector, she asked her mother why there weren’t any girls on the cards. Supersisters trading cards developed into a playful, informative, and accessible way to spread feminism to younger audiences. Emulating collectible sports cards, the Supersisters were a sold out set with over ten thousand sold. This is a fantastic collection honoring women in a variety of fields while mirroring a timeless form of sports memorabilia." http://www.juxtapoz.com/current/supersisters-trading-cards

Trailer for Spoek Mathambo’s upcoming ‘Future Sound of Mzansi’ documentary.

From Kwaito house and township funk, to Shangaan electro and
sghubu sapitori, South Africa has fast become home to a burgeoning and ever-growing culture of various inter-related strands of homegrown electronic music.

South African jack of many creative trades Spoek Mathambo is now using film to document the musical and cultural history, as well as the present state, of all these various genres of music in the country.

"We traveled around South Africa to explore our rich electronic music scene. For years there’s been a strong movement of producers, instrumentalists, vocalists and most importantly, party goers, giving themselves to new ideas of African electronic music…Our mission was simple, to meet up with some of our heroes, colleagues, competition, and co-conspirators…an ever potent gang of electronic music pioneers sculpting The Future Sound of Mzansi.”

via dynamicafrica:

Josephine Baker was born 108 years ago today in St. Louis, Missouri. She was photographed here by the wonderful Eve Arnold at the “Josephine Baker Day” celebration in New York in 1950. Photo: Magnum Photos.
vintageblackglamour:

Josephine Baker was born 108 years ago today in St. Louis, Missouri. She was photographed here by the wonderful Eve Arnold at the “Josephine Baker Day” celebration in New York in 1950. Photo: Magnum Photos.

vintageblackglamour:

Yuri Kochiyama on her Internment in WWII Japanese American Detention Camp & Malcolm X Assassination

(Source: d-pi)

dericashields:

A man dressed in a sharp grey suit glides into view of the patrons at London’s Tate Modern Gallery. They turn and stare as he, accompanied by a woman dressed in pink Americana, walks towards the gallery’s Picasso Wing. He will sit there for an hour, balancing on his shoulders a head which entirely covers his own. The head is big and round, its blackness punctuated only by a pair of crimson lips.

This is Larry Achiampong, a British-Ghanaian artist who uses a range of media to reinterpret the visual and aural archives that he has inherited. In the past, Achiampong has delved into  the sounds of his upbringing by Ghanaian parents to create mixtapes Meh Mogya (My Blood) and its follow up More Mogya. Some of his most arresting visual works are digitally manipulated family photographs. In these, he overlays the faces of loved ones with the black head and red lipped motif that he calls “cloudface.” His Tate performance piece brought cloudface to life for the purposes of the group show Project Visible

In photo-form, Achiampong’s “Cloudface” is jarring.  The intimacy of the family portrait, an index of black survival in a hostile 1980s Britain, is interrupted by the derogatory iconography of blackness that we associate with blackface performance, golliwog dolls and the pickaninny caricature. But this interruption serves an important purpose: to remind a forgetful British public about Empire, colonialism and its more domestic forms of racism, too. In Achiampong’s words “just because Golliwogs and Blackface are not paraded in the way they were in the past, it doesn’t mean the world has thrown that type of mentality to the dust. I think in the UK we are quite guilty of sweeping moments like these under the carpet in the hope that no one will unearth them.”

This is a crucial moment to unearth them. In recent months the UK Border Agency has unleashed officers on train stations to stop and question people about their immigration status based on race and accentDawn raids continue unabated and theofficial discourse around immigration throbs with xenophobia, despite the very real human costs of European border policy. With his performance, Achiampong aimed to think  ”the experience of being categorized and treated like an alien based on the colour of my skin and my origins.” Placing this overdetermined body in full view, Achiampong also calls our attention to the ongoing and relentless processes by which some people are marked as expendable, disposable and ungrievable “others”.

The full Interview