« All I really remember is the pain, the unspeakable pain […]. Yes, it does indeed mean something ― something unspeakable ― to be born, in a white country, an Anglo-Teutonic, antisexual country, black. You very soon, without knowing it, give up all hope of communion. Black people, mainly, look down or look up but do not look at each other, not at you, and white people, mainly, look away. And the universe is simply a sounding drum ; there is no way whatever, so it seemed then and has sometimes seemed since, to get through a life, to love your wife and children, or your friends, or your mother and father, or to be loved. »
Mukhtara Yusuf is a cultural activist of Nigerian Yoruba origin who explores identity making in a post-colonial context through Afrofuturist art. Her media of choice include printwork and collage, but she is especially committed to fashion and jewelry design. To her, dress articulates the unfinished business of self-making as a “3rd culture kid” of the diaspora.
A man and woman dance to the hypnotic rhythm of synthesized drums and distorted singing, their stomping feet raising clouds of dust from barren earth, their upper limbs drawing elliptic figures against a backdrop of nebulous galaxies. In this depthless void where stars pulsate from the exposed heart of colored clusters, the lone dancers twist under the invisible pressure of the hammering sound. In gravity-defying gymnastics they move under a fluorescent ray of blue light that beams down from the eye of a nebula. They are being summoned. A ladder appears leading somewhere, nowhere. Is this dystopia or utopia? The scene gives no hint as to its history, whether the characters are welcoming or resisting the call.
The Black lives Matters movement, term used for the first time in 2013, is an activist movement developped, on the other side of the Atlantic ocean, as a reslut of polician’s violence and blunders among the afro-american community. “Black lives matter” is the motto of the mobilisation, wich is presented not only in the United States or in Canada but also in Africa, especially in Ghana.
An article by Laura Havlin that appeared in AnOther Magazine back in September is a good source to get acquainted with the afrofuturist aesthetic and to point to its influence on afrosartorial trends. (N.D.L.R. : This article first appeared on “Afrosartorialism”, Enrica Picarelli’s research blog, on 29 December 2015)
“My nomination is even more valuable to me that you always had the wisdom not to establish racial, ethnical or religious quotas to be admitted among you”. Unanimously elected in 2013, the eighty-years-old Senegalese sculptor follows Léopold Sédar Senghor’s footsteps, elected at the French Academy thirty years earlier, and to whom he paid tribute during his enthronement. This event will surely and durably shake-up the African Diaspora: after the constant search for role models, the awareness of a possible future. Oneself.”
Since 2005, the Ethiopian government has embarked on a broad policy of urban renewal and construction. To meet the growing demand for housing in the Ethiopian cities, he has built nearly 80,000 condominiums. The majority are located in Addis Ababa […]. 63,677 families have already received an apartment in a condominium. The town hall distributes them through a lottery system. Those who have won the lottery then have 30 years to pay 40,000 birr which are about 1800 euros, required by the city to become the proud owners of their new apartments. (Slate Africa)
“I have been drawing since I was little, it has always been a passion, which since recent years has become something more concrete. As my works are mostly inspired by my childhood in Cameroon and the world surrounding me, it has always seemed obvious to work in black and white, pretty much like VHS : I call it the “Monochromatic Visual Metaphor”. I want to share my cultural wealth through my work in a playful way . “Neals
“My interest in collage really came to be when I immersed myself in studying alchemy. The idea of taking prima materia and transmuting it into something brand new grabbed me. I was always captivated by the collage aesthetic, and it was a natural talent for me. What really moved me was the lack of black faces and bodies in this particular expression. ” Krigga