THE GARDEN LETTERS OF YVONNE VERA by Tadiwa Madenga
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MUSIC NOTEBOOK by Ari Sitas
Chimurenga Factory – 157 Victoria Rd, Woodstock
Thursday, 17 August 2023 from 6pm
This entry in our Chimurenganyana series takes the form of a mixtape […]
The latest addition to the Chimurenganyana series available now
by Dambudzo Marechera
Available now at our online store.
By Dominique Malaquais and Cedric Vincent
The latest addition to the Chimurenganyana series
A limited Chimurenganyana edition of Even When My Soup-Curlers Slur, I Still Keep the Take by Georgia Anne Muldrow is now available.
Why does it seem that the genocide deniers have perked up? What […]
A limited edition of the iconic FESTAC 77 t-shirt now available.
Stokely Carmichael (Kwame Ture) was viewed by many during the civil rights […]
Kwanele Sosibo speaks with Ntone Edjabe about the creation of, and thinking behind, the FESTAC ’77 publication.
In pirating the head of Queen Idia to use it as a logo for Festac 77 , proposes another dissonant route that challenges the very idea of the work of art as unique object.
Early in 1977, thousands of artists, writers, musicians, activists and scholars from Africa and the black diaspora assembled in Lagos for FESTAC ’77, the 2nd World Black and African Festival of Arts and Culture.
Early in 1977, thousands of artists, writers, musicians, activists and scholars from Africa and the black diaspora assembled in Lagos for FESTAC ’77,,, To many, too many, FESTAC sounded like cacophony – we reproduced its music on the page, decomposed and an-arranged.
After New York in October 2019, and in the spirit of the trans-continentalism (aka Black World) of the event, we return to Dakar to celebrate the release of Chimurenga’s new publication on FESTAC ’77 – in collaboration with RAW Material Company.
448 pages, colour illustrations featuring extensive unseen photographic and archival materials, interviews and new commissions.
On January 16, 2001, in the middle of the day, shots are […]