A decade ago, Zimbabwean sports administrator Chris Sambo founded Positive Women League, a thriving social football league for women living with HIV, and those at risk of contracting the virus. For a year now, the initiative has been halted by the ongoing COVID-19 pandemic. Sambo himself died of COVID-19 in July 2020.
As the cultural landscape rapidly changes in the wake of the COVID-19 pandemic, musicians and producers across northern Nigeria have creatively employed various strategies to continue making music. With little government support, musicians have had to creatively adapt and embrace new digital opportunities to survive.
In a creative storytelling collaboration with the Open Society Initiative for Southern Africa (OSISA), This is Africa explores new realities, based on the impact of the global Covid-19 pandemic. The collection of feature stories, essays, cartoons, video and animations brings together different experiences, initiatives and perspectives on how the Covid-19 pandemic has affected and altered many lives across the continent as Africans continue to forge new realities and routines for themselves.
When the Royal Moroccan Football Federation (FRMF) signed agreements with the football federations of Burkina Faso, Gambia, Rwanda and Burundi back in 2015 , few would have guessed that this was the start of an era of football diplomacy that will result in the transformation of the beautiful game on the continent.
Morocco made history on Sunday when they became the first team to win CHAN back-to-back after beating Mali 2-0 in the final played in Yaoundé, Cameroon.
The increased migration of Africans and the global growth of hip hop culture has seen a dynamic new generation of Pan Africanism emerge.
South Africa’s famous toyi-toyi was adopted from Zimbabwean troops, who learned it in Algeria – showing the interconnected nature of Africa’s liberation struggles.
She was a vocalist who sang in every style – from Carmen to UShaka – with equal mastery, popularising classical forms and epitomising ‘the new South Africa’.
The revered trombonist, composer and cultural activist never wished to be ‘the state composer’ but remained political until the end, in service of the people.