Whenever western publications have written about Kwaito and South African House, the story has almost always been told in terms of a unidirectional migration of House music from the United States to Africa
In a previous post about African versus European craziness, “Crazy oddity #4: ‘dealing’ with your kids” brought up fond memories of the corporal punishment inflicted on some of our readers. We thought we’d explore this side of the discipline issue a bit more.
A Nigerian friend, with whom I went to university in the UK, had tribal marks on his cheeks. I never felt comfortable enough to ask him about them but eventually the subject came up. He wasn’t proud of his traditional Yoruba markings and was tired of explaining to foreigners that they were not accidental scars.
A week before he died, Sankara said, “revolutionaries as individuals can be murdered, but you cannot kill ideas”. And so, for us today, the final challenge rests not in finding more Sankaras, but in becoming them – in bringing these ideas to life
Why do some Nigerians put white people on a pedestal, while others criticise the idea that having paler skin makes you more intelligent, beautiful and successful?
There seems to be a general consensus amongst Africans that while it is occasionally acceptable to comparatively group countries within the continent together, South Africa stands on its own, South Africa is not real Africa. Are we only satisfied with a poorer, less developed Africa or has apartheid left an un-healable scar in the African continent?
Why do good intentions lead to some of the worst songs ever committed to tape? And good intentions aimed at Africa, in particular, seem to inspire in artists the very opposite of the sort of creativity they bring to their regular work