Chimurenga 3 – Biko in Parliament (November 2002)

“Mandela was not the only head of state taken in by Koagne. Le king kept snapshots of himself with many a man of power, among them Mobutu Sese Seko and Denis Sassou Nguesso […] He took Mobutu for 15 million dollars. Blaise Compaoré of Burkina Faso lost 40 million to him. Sassou, Etienne Eyadéma of Togo, several high officials of Gabon, Tanzania and Kenya, a member of the Spanish government and an ex-operative of the Israeli Mossad were bamboozled as well.” – Dominique Malaquais (Blood Money: A Douala Chronicle).

Bantu Serenade by Ntone Edjabe (featuring Nah-ee-lah) (read excerpt)

Santu Mofokeng: Trajectory of a street photographer (part1) (read excerpt)

Binyavanga Wainaina: Hell In Bed With Mrs Peprah (read excerpt)

Dominique Malaquais: Lindela (the winnie suite) (read excerpt)

Boubacar Boris Diop: Myriem (read excerpt)

Cover:
Neo Muyanga


The Geography of Fixed Things: Eastern African Artists from the ARAK Collection by EN Mirembe (Arak Collection, 2025)

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The Geography of Fixed Things: Eastern African Artists from the ARAK Collection by EN Mirembe (Arak Collection, 2025)
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The Geography of Fixed Things explores the intersections of space, identity, and belonging, as inspired by Lucille Clifton's poignant poem “for the lame.” The publication was curated by E.N Mirembe in 2023. Mirembe works with art as a curator, editor, writer and researcher. They were the first ARAK Collection 2023 Curatorial Residency Fellowship Recipient.

In 1937, and for many years after, Makerere University’s art school was the only one in Eastern Africa. This later changed but many Eastern African artists of the time were trained there. Ngugi wa Thiong’o, Kenya’s foremost writer, also attended Makerere College as it was the best school in the region at the time. There was mobility throughout geographies that informed (Eastern) African cultural production. At a time when nation-state boundaries were being so clearly defined, artistic production continued to extend beyond and quite frankly could not, cannot be contained within the ideological fiction. The history and continuing contemporary moment of cultural work in Eastern Africa defy the logic of cartography and are an exercise in connecting beyond the fixed lines. It is within this tradition that this publication is situated.

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