Reducing Madikizela’s entire life and legacy to her relationship with Mandela has more to do with patriarchal tropes about powerful women than reality.
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A new recording of South African composer Arnold van Wyk’s complete solo piano music explores new perspectives.
Bleaching cream companies, with the help of Bollywood male stars are making huge profits.
By expanding our understanding of streets and enhancing their design, every street corner could become a space to socialise, to exercise, to play, or to trade.
Survivor’s guilt is arguably an instance of good character, an emotional expression.
Veteran Ethiopian jazz musician Mulatu Astatke continues to have an extraordinary mobility and exposure to a wide range of musical sounds.
Following the explosion of screen-based personal devices, the risk of users slipping into hyper reality has multiplied enormously since the television age.
Hollywood will allow the world of the Black Panther to be black, only if it doesn’t hurt white people’s feelings.
China’s offensive ‘blackface’ skit intended to highlight the positive aspects of China-Africa relations, has done the opposite.
The decision by South Africa’s Film and Publication Board to ban the film Inxeba has been widely criticised.
The banned film Inxeba certainly deserves more than to languish in the mire of South African scandal.
In China, like in other parts of the world, Africa is routinely treated as a single unit, erasing its linguistic, racial and cultural diversity.
In a society like South Africa’s that is increasingly becoming polarised, simplified opinions should be approached with caution.
Performing art music in South Africa today is ideologically ambiguous. And in this ambiguity, there is much artistic and intellectual interest.
The international community has failed to recognise the new political visions being articulated by young musicians and activists across Africa.
Hugh Masekela’s itinerary-in-exile was loud and clear in his songs.
“Critique of Black Reason” offers readers insight into how the construction of race and racism underpins our understanding of modernity.
In 1985 The Junkyard Band shifted the paradigm by challenging Reaganomics. Many of those same key issues still rage on today, across the world.
Amos Tutuola has contributed significantly to the resilience of ways of life and worldviews that could easily have disappeared under the weight of colonialism, globalisation and the market economy.
Sporting extravaganzas are a way for globalising cities in emerging market economies to try and play the “modernity game”. But they don’t make the rules, and so they can never “win”.
Writing and rewriting black sporting history is a means of redressing exclusion.
The debate around photos of two Nigerian Salafi clerics taken in London wasn’t a trivial conversation about dress and recreational choices. It was loaded with symbolism.
“The Magnificent Seven” was a slice of daily life, a class struggle song framed by the sound of funk and the emergent hip-hop in New York.
Afrikaners in post-apartheid South Africa struggle with a historical sense of inferiority that reinforces their whiteness.
Keorapetse Kgositsile was made South Africa’s national poet laureate in 2006, the only person to have been given the honour.