Formerly, "This is Africa/fyeahAfrica".
(Profile Photo by Mama Casset)
DISCLAIMER:
I do not endorse any of the products or opinions shared on this site, nor do I claim any of the work posted here to be my own - except where stated. All posts originally made by me are credited. If no credit is given then the work is either my own/written by me or reblogged from another source.
A LITTLE ABOUT ME:
Student, 24
Based in Cape Town, South Africa
From Lagos, Nigeria
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(As an unemployed media student, all donations go into ensuring my survival in this cruel world and future projects I hope to embark on).
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(since Oct. 21th 2012)
The New African Photography - Emeka Okereke: Invisible Borders
“100 years ago, photography was a colonial tool…”
“A photography is a window and not the view” - Emeka Okereke
For decades, the camera was used as a tool through which colonial governments and Western photojournalists alike imposed their own views on Africa through the restrictions of 2D imagery, defining Africa without much, if any, input from those whose faces were plastered on postcards, posters, magazines and media platforms across the world.
Profiling a new crop of African photographers using their lens to transform and inspire both change and development, Al Jazeera opens us up to the world of Nigerian photographer Emeka Okereke, founder of Invisible Borders - a organization that gives ‘African artists a space to define Africa for themselves’. In this video, the group travels on their annual roadtrip within Africa, going from Lagos to Kinshasa, as a means of developing young African artists through the lens of photojournalism.
A must-watch journey.
1910 Congo - Turumbu Man Tattoo Scarification
Aimé Mpane : 2007 Portraits installation gravure peinte
The carved and often burnt pieces of wood show us how a scar has been left on the community of Kinshasa
By carving out these faces on the wood, instead of leaving the image as a flat painting, Mpane seems to be inviting us into the psyche of the people that have been through this turmoil
Cecile Kyenge, Italyâs first black government minister, proposes a law that would give citizenship to the children of immigrants if they are born on Italian soil.
Born in the Congo, Kyenge moved to Italy in the 1980s to study medicine in Rome, before obtaining a position in a hospital in Modena. She met her husband, a native Italian with whom she has two children, after he underwent surgery in her department. Kyenge was at the forefront of a dramatic demographic shift in Italy. As recently as 1991, just 1 in 100 residents held a foreign passport. Today, it’s 1 out of every 12. For every five children delivered in the country, one is born to a foreign parent. Unlike Kyenge, most of Italy’s recent arrivals are poor and employed in jobs that Italians refuse: construction workers, maids, caregivers for the elderly. The foreign-born middle class has yet to establish itself, while the first generation of immigrant children born and educated in the country is just moving into the workforce.
While Italians don’t like to think of their country as racist, the experience of non-white Italians and resident immigrants illustrates a culture that has found it hard to welcome increasing diversity. “How many times have I been told, ‘You’re so beautiful, you don’t even seem truly black?’” says Medhin Paolos, 23, an Italian of Eritrean descent and a member of Rete G2, a group campaigning for a reform of Italy’s citizenship laws. “Where I come from, this is not a compliment.”
A study by the University of Messina and the anti-discrimination group ARCI found that a substantial majority of the children of immigrants reported being insulted on the streets, talked down to by teachers, watched with suspicion in shops, turned away from restaurants and treated rudely by immigration officials. In 2002, the Italian government passed a law requiring all non-Italian residents to have their fingerprints taken, as part of the process for applying for residency.
“There’s the idea that black people stink,” says Jean Zongo, 28, the son of African immigrants. There was a period when he was younger, Zongo was afraid to take the bus at night, for fear of encountering racial violence. More than once, he has climbed aboard to hear a group of young men grunting like monkeys. It’s a charmless display of racism that has migrated from Italy’s soccer stadiums — where Mario Balotelli, the Italian football star of Ghanaian heritage, has famously faced chants of “There’s no such thing as a black Italian” — to youth culture at large. Zongo has traveled to France, Spain and England. Only in his own country, he says, is he made to feel second class. “[Discrimination] is present in just about every aspect of life, in every circumstance,” he says.
Né en 1981 à Kinshasa, Vitshois Mwilambwe Bondo est un peintre, plasticien, vidéaste et performer congolais.
Diplômé de l’institut des Beaux-Arts et de l’Académie des Arts de Kinshasa au début des années 2000, il a suivi la formation des arts visuels à l’école des Arts décoratifs de Strasbourg de 2004 à 2005.
Vivant entre le Congo et les Pays-Bas, Vitshois fait partie de ces jeunes artistes africains contemporains qui souhaitent se détourner des clichés de l’Afrique dite « traditionnelle », cherchant à se confronter à l’actualité de leur continent en même temps qu’à l’art dans sa dimension mondiale.
Vitshois a récemment exposé au Centre culturel français de Pointe-Noire (Congo), en mars 2011. Cette première exposition individuelle, après deux ans de résidence à Rijksakademie à Amsterdam, présentait des œuvres réalisées à partir de techniques de collages. Pour composer des figures, portraits et visages, il a utilisé des fragments de visages et de membres découpés dans des revues.
Work by Congolese artist, painter, sculpture, performer and videographer Vitshois Mwilambwe Bondo, who studied at l’institut des Beaux-Arts et de l’Académie des Arts de Kinshasa and now lives between his home country and the Netherlands.
“They are fed up with the dark narrative international media keep reporting on their region.” See how young photographers in Congo are using photography to tell new stories about their nation.
(via africaisdonesuffering)
In light of the recent UN report that was published and circulated earlier this week, highlighting the ‘misdeeds’ of United Nations Peacekeeping forces globally - including sexual abuse, money laundering, fraud and illegal transportation of minerals across international borders, I remembered a highly disturbing documentary I watched in one of my political science classes whilst in college.
The documentary, ‘Blue Helmets: Peace & Dishonor’, focuses on the heinous sexual abuse crimes committed by UN peacekeeping forces in the Democratic Republic of Congo and other African countries.
Unfortunately, my internet won’t allow me to watch the film at a normal rate but based on my first viewing of the documentary, it provides a critical insight into the systematic criminal activities that take place through the abuse of power of UN peacekeeping forces, and the injustices that are insufficiently dealt with punished.
Born in 1948 in Kimbembele Ihunga, in the Democratic Republic of Congo, structural sculpture artist Bodys Isek Kingelez or Jean Baptiste is known for his incredibly detailed and colourful mixed-media architectural model-like sculptures which he calls “Architecture Maquettique”.
Currently based in the capital city Kinshasa, Kingelez has been making these sculptures since the mid-1980s.
Congolese artist, Bodys Isek Kingelez is renowned for his fantastic architectural models, made from cardboard and scrap materials.
Source: http://dukepope.wordpress.com
Flamme Kapaya (Beat Making Lab) - Zenga
Zenga, is a global dance anthem by Congolese maverick guitarist Flamme Kapaya, produced by Apple Juice Kid .
A member of the House of Lords, Lord Lea, has written to the London Review of Books saying that shortly before she died, fellow peer and former MI6 officer Daphne Park told him Britain had been involved in the death of Patrice Lumumba, the elected leader of the Congo, in 1961.
NEW MUSIC: D’banj & Fally Ipupa - Nous Le Meilleurs (We The Best)
This really sounds like a case of too many cooks spoiling the broth.
Efé woman National Geographic November 1989 Robert C Bailey
(via aphoticoccurrences)