Nollywood: The story behind Nigeria's domestic movie industry, the second biggest producer of films in the world.

Al Jazeera World | 28 Jul 2015

Despite having only 14 cinemas in a country of 170 million people, Nigeria's film industry, dubbed "Nollywood", churns out as many as 50 films a week, sometimes for as little as $10,000 a piece. Many are released straight to DVD and sold cheaply on the streets.
When it comes to sheer volume, the $5bn film industry makes more films than the US and is only rivalled by India, the world's biggest movie industry.
Nollywood  tries to answer that question and more with those who know the industry best - Nigeria's filmmakers, actors and actresses, directors, producers and film critics.
All of them come up with different reasons for the secret behind the popularity of Nigeria's low-budget, self-styled movie industry: originality; "stories that people can relate to"; plots that satisfiy a cultural fascination with African "magic"; and films that draw from "that African thing about us - which is that we love to tell stories."
Nollywood also tries to pin down the origins of the industry - including the contributions of the founders of Nigerian film, Hubert Ogunde and Adeyemi Afolayan (also known as Ade Love) and their 1970s travelling cinema; to the collapse of the film industry and its rebirth as Nollywood in the mid-1990s, based on cheap VHS technology; and the part played by the 1992 film Living in Bondage, which established this new Nigerian way of making films.

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Africa on the Move

Portraits of four individuals who are fighting against the odds to succeed and give back to their African communities. 

Al-jazeera - 08 Jul 2015

The Power of Song

We join Tiken Jah Fakoly, a celebrated reggae singer from the Ivory Coast, who sings about the poverty and corruption that has plagued his continent.

"There is something wrong. Africa is one of the richest continents, yet the people who live on this continent are the world’s poorest. That’s a problem," says Fakoly.

We travel with him from the stage to the two village schools that he funds, all part of his pledge to fight for the poor and marginalised.

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100 African Cities Destroyed By Europeans:

WHY there are seldom historical buildings and monuments in sub-Saharian Africa!

By: Mawuna Remarque KOUTONIN

Silicon Africa- Saturday, November 1st, 2014

The reason is simple. Europeans have destroyed most of them. We have only left drawings and descriptions by travelers who have visited the places before the destructions. In some places, ruins are still visible. Many cities have been abandoned into ruin when Europeans brought exotic diseases (smallpox and influenza) which started spreading and killing people. The ruins of those cities are still hidden. In fact the biggest part of Africa history is still under the ground.
In this post, I’ll share pieces of informations about Africa before the arrival of Europeans, the destroyed cities and lessons we could learn as africans for the future.
The collection of facts regarding the state of african cities before their destruction is done by Robin Walker, a distinguished panafricanist and historian who has written the book ‘When We Ruled’, and by PD Lawton, another great panafricanist, who has an upcoming book titled “African Agenda”.
All quotes and excerpts below are from the books of Robin Walker and PD Lawton. I highly recommend you to buy Walker’s book ‘When We Ruled’ to get a full account of the beauty of the continent before its destruction. You can get more info about PD Lawton work by visiting her blog: AfricanAgenda.net
Robin Walter and PD Lawton have quoted quite heavily another great panafricanist Walter Rodney who wrote the book ‘How Europe Underdeveloped Africa‘. Additional information came from YouTube channel ‘dogons2k12 : African Historical Ruins’, and Ta Neter Foundation work.

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Sociology of Africa: A non-Orientalist Approach to African, Africana and Black Studies

Tugrul Keskin, PhD

Critical Sociology - July 18, 2012       

Whichever nomenclature is used to describe the study of black peoples and the African Diaspora – whether Africana, Black or African Studies – the approach that is taken is critically important to academia in terms of its potential to provide a direct response and challenge to the intrinsic Eurocentric and Orientalist bias of the US educational system. Unlike other area and ethnic studies disciplines, this field was established as a link between the community and academia. However, in recent history, approaches have become polarized and the field has lost momentum as a consequence of arbitrary boundaries and politicized knowledge. In this article, the Orientalist perspective and Afro-centric knowledge in Black Studies are examined in their historical and political context. This analysis culminates in a proposed approach to use the Sociology of Africa as a new model for Afro-centric knowledge and teaching in this field.

Stop Trying To 'Save' Africa

By Uzodinma Iweala

The Washington Post - Sunday, July 15, 2007 

Last fall, shortly after I returned from Nigeria, I was accosted by a perky blond college student whose blue eyes seemed to match the "African" beads around her wrists.
"Save Darfur!" she shouted from behind a table covered with pamphlets urging students to TAKE ACTION NOW! STOP GENOCIDE IN DARFUR!
My aversion to college kids jumping onto fashionable social causes nearly caused me to walk on, but her next shout stopped me.
"Don't you want to help us save Africa?" she yelled.
It seems that these days, wracked by guilt at the humanitarian crisis it has created in the Middle East, the West has turned to Africa for redemption. Idealistic college students, celebrities such as Bob Geldof and politicians such as Tony Blair have all made bringing light to the dark continent their mission. They fly in for internships and fact-finding missions or to pick out children to adopt in much the same way my friends and I in New York take the subway to the pound to adopt stray dogs.
This is the West's new image of itself: a sexy, politically active generation whose preferred means of spreading the word are magazine spreads with celebrities pictured in the foreground, forlorn Africans in the back. Never mind that the stars sent to bring succor to the natives often are, willingly, as emaciated as those they want to help.
Perhaps most interesting is the language used to describe the Africa being saved. For example, the Keep a Child Alive/" I am African" ad campaign features portraits of primarily white, Western celebrities with painted "tribal markings" on their faces above "I AM AFRICAN" in bold letters. Below, smaller print says, "help us stop the dying."
Such campaigns, however well intentioned, promote the stereotype of Africa as a black hole of disease and death. News reports constantly focus on the continent's corrupt leaders, warlords, "tribal" conflicts, child laborers, and women disfigured by abuse and genital mutilation. These descriptions run under headlines like "Can Bono Save Africa?" or "Will Brangelina Save Africa?" The relationship between the West and Africa is no longer based on openly racist beliefs, but such articles are reminiscent of reports from the heyday of European colonialism, when missionaries were sent to Africa to introduce us to education, Jesus Christ and "civilization."
There is no African, myself included, who does not appreciate the help of the wider world, but we do question whether aid is genuine or given in the spirit of affirming one's cultural superiority. My mood is dampened every time I attend a benefit whose host runs through a litany of African disasters before presenting a (usually) wealthy, white person, who often proceeds to list the things he or she has done for the poor, starving Africans. Every time a well-meaning college student speaks of villagers dancing because they were so grateful for her help, I cringe. Every time a Hollywood director shoots a film about Africa that features a Western protagonist, I shake my head -- because Africans, real people though we may be, are used as props in the West's fantasy of itself. And not only do such depictions tend to ignore the West's prominent role in creating many of the unfortunate situations on the continent, they also ignore the incredible work Africans have done and continue to do to fix those problems.
Why do the media frequently refer to African countries as having been "granted independence from their colonial masters," as opposed to having fought and shed blood for their freedom? Why do Angelina Jolie and Bono receive overwhelming attention for their work in Africa while Nwankwo Kanu or Dikembe Mutombo, Africans both, are hardly ever mentioned? How is it that a former mid-level U.S. diplomat receives more attention for his cowboy antics in Sudan than do the numerous African Union countries that have sent food and troops and spent countless hours trying to negotiate a settlement among all parties in that crisis?
Two years ago I worked in a camp for internally displaced people in Nigeria, survivors of an uprising that killed about 1,000 people and displaced 200,000. True to form, the Western media reported on the violence but not on the humanitarian work the state and local governments -- without much international help -- did for the survivors. Social workers spent their time and in many cases their own salaries to care for their compatriots. These are the people saving Africa, and others like them across the continent get no credit for their work.
Last month the Group of Eight industrialized nations and a host of celebrities met in Germany to discuss, among other things, how to save Africa. Before the next such summit, I hope people will realize Africa doesn't want to be saved. Africa wants the world to acknowledge that through fair partnerships with other members of the global community, we ourselves are capable of unprecedented growth.
Uzodinma Iweala is the author of "Beasts of No Nation," a novel about child soldiers.

Now We Can Finally Say Goodbye to the White Savior Myth of Atticus

Osamudia R. James 

The New York Times - July 15, 2015

Like many Americans, I read Harper Lee’s “To Kill a Mockingbird” as a high school student. In a curriculum devoid of explicit discussion about the impact of implicit and structural racism on both blacks and whites, the book stood out from the whitewashed reading list as one that directly engaged with the topic of race. It did so, however, in a matter quite conventional: Atticus Finch was the white savior, a good white liberal whose ethics and values compelled him to defend a black man who had been falsely accused of rape – and all this during a time when many whites would just as soon have lynched the accused without trial. Harper Lee won a Pulitzer Prize for tackling racial inequality, no surprise given how America likes its stories about race: centered on innocent white protagonists benevolently exercising power, with black characters relegated to the margins even in stories about their own oppression.
Atticus Finch presented an enduring model to which many white liberals still cling. But besides being a fictional character, Atticus Finch is a myth. And a dangerous myth because he keeps good white liberals from reconsidering the fact that they live in white neighborhoods; from challenging administrators about the racial segregation of their children’s schools or white supremacy advanced in the curriculum; or from acknowledging how they benefit from a system that keeps people of color laboring in their homes but excluded from their social and professional spaces. Like Finch, it is sufficient that they simply “do their best to love everybody.”

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