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Terrorism is no longer reliant on acts of violence but rather their aesthetic presentation and its transmission via media. The display of corpses throughout a city must be achieved purposefully, with subtlety, elegance. This is The Corpse Exhibition.

In Catherine Anyango’s adaptation of Boubacar Boris Diop’s Kaveena, the boundary between nightmare and reality unravels when Colonel Asante Kroma stumbles upon the corpse of the head of state in a bunker.  How do you solve a crime in a country where the very institutes meant to prevent crime are themselves criminal?
Amos Tutuola’s sly satire of spectral global capitalism and Afro-modernity, debt is paid off with body parts traded on the open market, human flesh carries magnetic appeal and beauty is fatal. London Kamwendo pieces together The Complete Gentleman.
Set in 2020, Kojo Laing‘s 1992 dark ecological sci-fi novel envisions a condition of total war in which mutant insects, birds, fruits, animals, vegetables and the humans of Achimota City fight for the right to futurity against an overseas enemy only discernible through cyber proxies and decoys. Nikhil Singh interprets Major Gentl and the Achimota Wars.

There are only three Afro-Horns in the world. Forged from a rare metal found only in Africa and South America. Brent Hayes Edwards (Interpreted by Native Maqari)  follows the afro-diasporic sonic adventures of Henry Dumas, Sun Ra and Francisco Mora-Catlett, and many others who have braved the middle passage on a quest to find the mythical instrument to open the mouths of the gods.
An explosive bellow from the spiritual heart of the black experience, saxophonist and composer Winston Mankunku’s Ngozi’s Yakhal’ Inkomo is at once a call to action, an open letter and a prayer. Recorded in 1968, as a cry mourning the Sharpeville massacre, and reinvoked in Mongane Wally Serote’s 1972 collection of poems, it tasks us with imagining dispossessed feelings in common as the basis of a new community. This is Breeze Yoko’s response.
In the Cameroonian imaginary “Avions de nuit” are tiny vessels fueled by the blood of their cargo, making nightly flights carrying passengers into slavery. In South Africa, the tikoloshe extract the souls of innocents, transporting them to the mythical Gwadana, where they are transformed into Isisthunzela, to doing the bidding of their masters. This is Pumle April‘s take on the Night Planes.




The latest issue of the Chronic, explores ideas around mythscience, science fiction and graphic storytelling. Like previous editions of the Chronic, this edition is borne out of an urgent need to write our world differently – beyond the dogma of growth and development and the endless stream of future projections released by organisations like the IMF and the World Bank.

In opposition to the idea of the future as progress – a linear march through time – we propose a sense of time is innately human: “it’s time” when everyone gets there. We invited artists to produce graphic adaptations of stories that speak of everyday complexities in the world in which we live, in which we imagine we will live and in which we want to live.

Corpse Exhibition and Older Graphic Stories




Applied Theory of Expanding Minds

Set in a future Kenya long after the Chinese have left, Lena Bergendahl, Jennifer Rainsford and Rut Karin Zettergren‘s new short film rejects the codified coloniser-colonised relationship and explores the possibilities of an emergent hybrid 21st century culture.



Making History

Linton Kwesi Johnson, the father of Dub poetry and Edouard Glissant meet on a summer day. This is their conversation.



Black Atlantis

Ayesha Hameed presenting a series of sounds and images that form a part of her “Black Atlantis” project that looks at the Black Atlantic in contemporary, illegalised migration at sea, in oceanic environments,  through Afro-futuristic dance floors, on sound systems and in outer-space.