Inna Modja – Tombouctou (Clip officiel)

This video speaks to the devastating effects of war on women, and the spirit of resistance that emerges to confront such existential threats. It is the official video released by Inna Modja in 2015 to accompany the release of her album: Hotel Bamako.

Special thanks to Clyde T. who sent me the link from Panama.


Also from Hotel Bamako: Outlaw.


Inna Modja


The Prophecy Full Documentary

Concerned about the environmental issues that Senegal is facing, the photographer Fabrice Monteiro in collaboration with the designer “Jah Gal” created “The Prophecy”, a photographic project which objective is to raise awareness to the Senegalese population and to the rest of the world by combining art, culture and tradition.

The series of surrealist photographs details the most representative sites of Senegal’s environmental destruction. The essence of each site’s is characterized by a Jinn – supernatural genies omnipresent in African cultures – merging with its environment.
The documentary “The Prophecy” communicates and shares the objectives and process of realization of the creators in showing the results that have been achieved so far.


In French & Wolof with English subtitles.

DIRECTOR: Marcia Juzga
PRODUCER: Fabrice Monteiro / Ecofund
EDITOR: Marcia Juzga

Yellow Fever: a short film by Ng’endo Mukii

I am interested in the concept of skin and race, and what they imply; in the ideas and theories sown into our flesh that change with the arc of time. The idea of beauty has become globalised, creating homogenous aspirations, and distorting people’s self-image across the planet. In my film, I focus on African women’s self-image, through memories and interviews; using mixed media to describe this almost schizophrenic self-visualization that I and many others have grown up with —Ng’endo Mukii

Yellow Fever: FULL from Ng’endo Mukii on Vimeo.

-Best Experimental Short Film, Black Star Film Festival, USA August 2014
-Best Short Film, AfriKamera Film Festival, Warsaw, Poland April 2014
-3rd place in the Documentary Category, 2nd Afrinolly Short Film Competition, February 2014
-Best Animation, This Is England Film Festival, Rouen, France November 2013
-Best Student Film, Underexposed Film Festival, SC, USA November 2013
-Silver Hugo for Best Animated Short, 49th Chicago International Film Festival, USA October 2013
-Special Mention, 59th Oberhausen International Short Film Festival, Germany May 2013
-Best Short Film, Africa Magic Viewers’ Choice Awards, Lagos, Nigeria March 2013
-Best Animation, 7th Kenya International Film Festival, Nairobi, Kenya November 2012


Simphiwe Dana is a Xhosa Singer and song-writer in South Africa. Due to her unique combination of Jazz, Afro-soul, RAP and Traditional music, she has been hailed as the “new Miriam Makeba”.wiki.

Mayine (Official Video)

MAYINE tells the tale of being cursed and shackled by a lack of self-awareness.


State Of Emergency Lyric Video – International Version With Subtitles


Bantu Biko Street


Nzima (Official Music Video)

The song is inspired by the Marikana tragedy.

According to Dana the song is drawn from centuries of pain and violence.

“It is essentially a prayer for a people that have had a history of violence inflicted upon them,” she says.

“A prayer for Marikana. The wretched of the earth will one day rise and offer their lives as a covenant written in blood. For their children to see the sun again.”


Check out this recent interview with the activist-singer-songwriter at City Press.


Photo: Lesego Legobane

Photo: Lesego Legobane

Africa Beats – Songhoy Blues

When Islamist militants captured Timbuktu and banned secular music, the members of Songhoy Blues felt they had no choice but to leave their homes in the north and head south to the Malian capital, Bamako. They were traumatised by having to leave behind loved ones, but they also had some luck. British musician Damon Albarn and his Africa Express collective went to Mali in a gesture of solidarity, and Songhoy Blues was one of the bands they recorded for their Maison des Jeunes album. As a result, the desert band’s international career has taken off and they have played at several European festivals.

There Was No First Human

The video below makes an important point about human evolution, but Joe Hanson, the host and writer, simply can’t escape the trap of Eurocentrism and White Supremacy in how he illustrates his narrative. Notice the appearance of the “human” ancestors depicted in the slides. At 1:01 minutes into the video we encounter “Mesolithic Man,” an ancestor who lived approximately 20,000 years ago. He is depicted as “white” with long hair, and clearly is intended to serve as the prototypical modern human. Moving further along the timeline, at 1:05 minutes we encounter “Paleolithic Man,” a human ancestor that lived approximately 200,000 years ago. Note that he is yet another “white” male with light straight hair, and light eyes. Is it possible our earliest human ancestors possessed such phenotypic (outward physical) characteristics?

Any scientist who has not succumbed to the flat-earth theory that modern humans evolved separately in different regions around the world (so-called polygenesis), recognizes that modern humans originated on the African continent and from there populated the globe. The vast majority of geneticists and physical anthropologists thus believe in the monogenesis of modern humans according to evidence from DNA studies and the fossil record in Africa. Scientists also agree our modern human ancestors were dark-skinned by virtue of the environment in which they evolved. Apparently Hanson didn’t get the memo, nor did his art director.

But wait … Hanson is hardly done. When we arrive at 1:13 minutes into the presentation we encounter a 1.5 million year old ancestor, Homo Erectus, who Hanson describes as “not the human,” and who is depicted as a dark-skinned individual.

Do you get it? The human ancestral line is depicted as “white,” while the prehuman line is depicted as “black.” Traditionally, the graphic images used to illustrate the human evolutionary line slavishly follow this same pattern. Observe this familiar example:










African ancestors in the human ancestral line invariably are depicted as pre- or sub-human. The implication being that human beings didn’t become “human” until they left the African continent. In other words, humans aren’t truly “human” unless they are “white” European and male.

Hanson didn’t have to fall into this trap. Richard Neave, one of Britain’s leading forensic scientists, created the clay sculpture shown below using fossilized fragments of skull and jawbone found in a cave in Romania in 2002. The remains are believed to be 35,000 years old based on carbon-dating. This individual lived in Europe at a time when there were only two known species to inhabit the region: Modern humans and Neanderthals. But his ancestors eventually prevailed in Europe, as the Neanderthal population declined and gradually disappeared from the human landscape.












Back in the 1970s I began doing a series of lectures titled: “Human Evolution from an African Origin and Perspective.” In my presentation I pointed out that the notion of humanity’s origins in Africa is not a recent one (Darwin suggested as much in 1859), but that the problem we have is a failure to view our common heritage from an African perspective. Why do we need an African perspective? Because people like Hanson fail to recognize and consider the central role of Africa in human development.