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Africa in the World: History and Historiography  

Esperanza Brizuela-Garcia

Since antiquity and through the modern era African societies maintained contacts with peoples in Europe, the Near and Far East, and the Americas. Among other things, African peoples developed local forms of Christianity and Islam, contributed large amounts of gold to European medieval economies, and exported millions of slaves through the Sahara, and the Atlantic and Indian Oceans. Despite this, by the 19th century historians and philosophers of history thought Africa was a continent without major civilizations, whose peoples passively rested at the margins of history. These ideas persisted into the 20th century when historians undertook the challenge of writing histories that explained how communities around the world were connected to one another. In their early iterations, however, these “world narratives” were little more than histories of the Western world; Africa continued to be largely absent from these stories. After World War II, increasing interest in the history of African societies and a more generalized concern with the study of communities that were both mis- and under-represented by historical scholarship called for a revision of the goals and methods of world historians. Among the most important critiques were those from Afrocentric, African American, and Africanist scholars. Afrocentric writers argued that Africa had in fact developed an important civilization in the form of Egypt and that Egypt was the foundation of the classical world. African American and Africanist writers highlighted the contributions that peoples of African descent had made to the world economy and many cultures around the globe. Africanists also questioned whether world historical narratives, which meaningfully accounted for the richness and complexity of African experiences, could be achieved in the form of a single universal narrative. Instead, historians have suggested and produced new frameworks that could best explain the many ways in which Africa has been part of the world and its history.

Article

African Films and FESPACO  

Kate Cowcher

The Pan-African Film and Television Festival of Ouagadougou (FESPACO) was founded in 1969. It began as an intimate week-long gathering of filmmakers and enthusiasts in the capital of what is now Burkina Faso to watch contemporary films made by African filmmakers. At its peak in the 1990s, it attracted hundreds of thousands of spectators, both local and international. Since the 2000s, iterations have been smaller affairs, significantly impacted by both changes of government in Burkina Faso and wider political instability in West Africa, as well as ongoing debates about what films it should be showcasing. Despite such challenges (and with only one exception in the mid-1970s), however, FESPACO has remained a constant on the African continent, faithfully screening films by African and diaspora filmmakers every two years for more than half a century. FESPACO was conceived in the age of decolonization by a group of men and women who are considered to be the pioneers of African cinema, including the Senegalese writer and filmmaker Ousmane Sembène. It was established as the first sub-Saharan showcase of African filmmaking, an emergent and significant field in the era of independence when cinema was prized for its ability to make visible African realities and to (re)constitute national histories eclipsed by colonial rule. The concept of a distinctly “African” cinema was articulated most extensively by filmmaker and scholar Paulin Soumanou Vieyra and referred to films made by Africans, telling African stories, principally for African audiences. For Vieyra, Sembène, and their contemporaries, it was essential to take back control of the art of cinema on the African continent, where it had predominantly been deployed as a colonial tool; FESPACO was conceived as the regular forum for those committed to its development to come together and share their work. Through the course of its development, FESPACO has been confronted with a number of challenges regarding its form and its evolution. Its strong connections with the Burkinabe state have been seen as both a significant factor for its growth and its success, and, particularly in the era of Blaise Compaoré, as a source for concern regarding freedom of expression. Since the turn of the 21st century, questions about where video filmmaking—an industry that has proliferated on the African continent in a manner unprecedented internationally—fits within FESPACO’s definition of cinema have been consistent. The festival has, over the years, been accused of being both outdated and elitist in its commitment to celluloid, but also of straying from its original remit to showcase African stories for African audiences, accusations it has responded to by the creation of new prize categories and requirements for submission. The year 2019 was one of reflection, but many critics felt that after some difficult years the festival was showing signs of rejuvenation. Though it is now one of many film festivals on the continent committed to showcasing African cinema, there remains significant appreciation for the historic status of FESPACO as a preeminent sub-Saharan cultural institution.

Article

African Philosophies of History and Historiography  

Toyin Falola and Abikal Borah

Since the late 1950s, the field of African historiography has undergone many changes. While discussing African philosophies of history, one must acknowledge shifts within the discipline of history and the Afrocentric vision of historical scholarship as two constitutive processes through which different historiographical trends have come into being. It is difficult to take an essentialist position on African philosophies of history, because Africa has been at the center of various transnational and global processes of historical formation. As a result, the scope and scale of African historiography signals a variety of entanglements. The imperative lies in recognizing such entanglements in the longue durée of Africa’s past, to dislodge the narrowly framed imagination attached to African historiography. Considering the complexity of the terrain, it would be appropriate to view African philosophies of history and historiography from three different vantage points. Firstly, historical scholarship centering on Africa has produced critiques of the post-Enlightenment philosophy of history in Europe and elsewhere. This strand highlights the interventions posed by African historiography that decenter a globalized philosophical tradition. Secondly, the inclusion of African indigenous epistemological formations into historical scholarship has transformed the scope of African historiography. This shows shifts in the methodological approaches of historical scholarship and highlights the question of access to the multiplicity of Africa’s past. Thirdly, Pan-Africanism and Afropolitanism expanded the scope and scale of the African philosophy of history by thinking through the transnational and global connections of Afrocentric thought. In other words, Afrocentric historiography attends to the ideas of globalism and cosmopolitanism within its scope and scale.

Article

African Women in Film, the Moving Image, and Screen Culture  

Beti Ellerson

While African women in film have distinct histories and trajectories, at the same time they have common goals and objectives. Hence, “African women in film” is a concept, an idea, with a shared story and path. While there has always been the hope of creating national cinemas, even the very notion of African cinema(s) in the plural has been pan-African since its early history. And women have taken part in the formation of an African cinema infrastructure from the beginning. The emergence of an “African women in cinema movement” developed from this larger picture. The boundaries of women’s work extend to the global African diaspora. Language, geography, and colonial legacies add to the complexity of African cinema history. Women have drawn from the richness that this multiplicity offers, contributing on local, national, continental, and global levels as practitioners, activists, cultural producers, and stakeholders.

Article

Ancient Developments in the Middle Senegal Valley and the Inland Niger Delta  

Alioune Dème

The study of West Africa has contributed to the expansion of comparative arid-lands floodplain prehistory, from both the data collection (cultural and historical) and the theoretical aspects. The neoevolutionary approach that often pictures Africa as a backward continent has been successfully challenged. In the Middle Senegal Valley and in the Inland Niger Delta, research on their societies’ complexity done along these two subcontinent’s floodplains has described new processes (including urbanization) that were not previously featured in the archaeological literature. The two floodplains, because of their ecological diversity, with the richness of their ecological diversity, attracted Saharan populations affected by drought at the end of the second millennium and the first millennium BC. However, after their initiation occupation the two areas took different trajectories in complexity and settlement organization. Large complex settlements have been found at Jenne-jeno and in the Ile a Morphil that illustrate whole new trajectories of civilization. These forms of complexity, found in areas with historically known polities, were not included in the range of possibilities predicted by standard complexity theories regarding civilizational development. Ethnographic and historical data, reveal the existence of societies with a central authority embedded within and balanced by a diffuse, segmented and heterarchical power structure; often as a strategy to resist the individual consolidation of power. These societies exhibit evidence of horizontal differentiation and consensus-based decision making. All these types of organization are characterized by the presence of several sources of power vested in corporate entities, such as lineages, age groups, cults and secret societies.

Article

Animals in African History  

Sandra Swart

Animal history in Africa—the multi-species story of the continent’s past—as a separate subdisciplinary “turn” is both recent and tentative, but as an integrated theme within the broader historiography it is both pioneering and enduring. Historians of Africa have long engaged with animals as vectors of change in human history and, of course, at the same time, understood that humans were a key agent of change in animal histories too, especially in the long-lived and extensive writing on epizootics, livestock farming, pastoralism, hunting, and conservation. African animal histories should resist the imposition of intellectual paradigms from the Global North.

Article

Animating African History: Digital and Visual Trends  

Paula Callus

Contrary to popular belief, the animated moving image on the African continent has long and diverse histories across many countries. Although it shares both the technology and some of the formal aspects of cinema, its historical development followed a different trajectory to that of indexical film, both in Europe and in Africa. This may be because of animation’s ability to draw upon a range of artistic practice, which means it can take many guises; at times it appears like a cartoon, or sometimes like puppets or sculptures that come to life; at other times it is a metamorphic drawing or painting, or even a photographic montage. In addition, while animation tends to be associated with content specifically intended for a children’s audience, it has in fact been an effective vehicle to conceal sociopolitical critique that would otherwise be considered problematic. Different animators in Africa have used animation to this end, presenting subversive and social-realist content within the unrealistic depictions of fantastical stories, the parodic, comedic or allegorical, or culturally located visual metaphors. African animators have also used animation to safeguard and give permanence to the stories, myths, and legends they grew up with. These legends have occasionally also informed animated superheroes in games such as the Kenyan mobile phone application Africa’s Legends, or the cast of an Afro-futurist setting such as the Nigerian “Afro-anime” production Red Origins. With the onset of digital technology, the landscape of animation in Africa has seen a blossoming of activity from expert and non-expert prod-users. Their work circulates in formal and informal settings, whether visible at a festival, on television and mainstream media, in online social networking spaces or on video streaming sites such as YouTube or Vimeo. The prolific characteristic of animation made for digital spaces has resulted in a paradoxical simultaneous visibility and invisibility. Networks of African artists have benefited from the visibility and distribution that the Internet and smart phone technologies offer; for example, Kenyan multimedia artists Just a Band were quoted as saying that they were discovered online before they were discovered in Nairobi. However, the ephemeral quality of these digital spaces can also be problematic from the archivist’s perspective as digital traces change. For this reason it is increasingly important to capture the traces that African artists leave in this dynamic space as they reflect the zeitgeist.

Article

Cartography in Colonial Africa  

Lindsay Frederick Braun

Cartography, which includes maps and plans as well as the processes and contexts of their production and use, played an important role in shaping colonial encounters in Africa. The early manuscript and print maps of the limited spaces of interaction, where Europeans expressed power prior to the 19th century, tended to be broadly representative of wide areas or focused closely on key locales, usually forts or coastal settlements. Until the late 18th century most tended to be imprecise and relational, with few clear markers of dominion or signs of administrative structures, and heavily dependent on local exchanges of knowledge. As with other European fields of scientific knowledge that intersected African spaces and places, however, cartography accelerated in importance and changed in character with the expansion of colonial rule and the emergence of modern bureaucracies from the late 19th century. Although manuscript maps never lost their importance to local administrators or their place in the collection of information, cheap lithography after about 1850 assured colonial governments a greater number of precise and elaborate representations than ever before, which created a variety of notional spaces and spatial notions for the deployment of colonial power. Into the 20th century, compilation mapping from variegated data continued to yield slowly—and incompletely—to even more precise survey-based maps that claimed to approach truly objective representational accuracy. This claim of accuracy in turn abetted a variety of new economic, social, and political schemes under colonial auspices. Overall, the relationship between cartography and colonialism was cyclical in that mapped processes framed colonial visions of African territory and spatiality and translated these illusions into instruments of power to advance those colonial designs on people, land, and resources. A lack of consideration for spatialities beyond the idealized model of planimetric positional representation or, thematically, colonial priorities and schemas of organization may be the most consistent characteristic of mapping in colonial Africa. At the same time, this cartography continued to depend on the knowledge of African informants or assistants and, ultimately, the work of locally trained professionals through political independence, which created spaces for interpretation, opposition, and coproduction that shaped the map output. The colonial relationship and colonial priorities thus framed cartography in African spaces throughout the era, although the discursive nature of mapping and its processual nature meant influences traveled in more than one direction, and the map was not simply a direct imposition.

Article

Chinese Images of Africa  

Tara Mock

Africa and China have maintained relations for hundreds of years. The earliest known depictions of Africanity were informed by broad notions of difference that enveloped those originating from outside the known limits of Chinese society. The trajectory of Chinese racial consciousness formed during the Tang (618–907) and Song (960–1279) dynasties, as examples, cast African people and spaces as culturally different to the point of inferior. Though an influx of nonnative visitors to the middle kingdom hastened development of Han identity, the contemporary framing and tone of China’s relationship with the continent, and the individual polities within it, differs greatly from these earliest depictions of African people. During the “solidarity” period of the 1950s–1970s, negative feelings toward the African “other” were subverted as a result of Mao Zedong’s desire to unite revolutionary forces in the Global South against a common threat of imperialism. Contemporary Africa-China relations (2000–) since the First Forum on China-Africa Cooperation (FOCAC) signal a moment of confusion, whereby Chinese depictions of Africa reflect both unity and disharmony, as synergistic images of Afro-Chinese friendship, brotherhood, and solidarity cultivated during the 1950s–1970s are diffused by competing images of racial difference from nonstate actors reminicent of the Tang and Song dynasties.

Article

de Sousa, Noémia  

Hilary Owen

Noémia de Sousa (1926–2002) is traditionally designated as the founding mother of Mozambican national poetry. She was the only woman poet in Mozambique to play a major role in shaping the cultural imaginary of the Portuguese African nationalisms that emerged in the 1940s and 1950s. Her early life as a woman of mixed African, European, and Goan racial heritage, and the education this racial status afforded her, drew her into writing and journalism in opposition to the colonial regime of the Portuguese New State. Her first and only poetry collection, Sangue Negro (Black blood), was completed and circulated clandestinely in 1951. She was subsequently exiled to Lisbon, and from there to Paris, returning to Portugal in 1973, shortly before the April 1974 Revolution. The contents of Sangue Negro were circulated, in the original and in translation, largely through specific selected poems in African nationalist anthologies. Divided into five sections, the poems of Sangue Negro mix oral and literary tropes and influences. They deal with issues of racial hybridity and colonial assimilation, African American and Pan-Africanist influences in Mozambique, Portuguese Neorealism and Marxist resistance, autobiographical memories and testimonies, and the specificity of women’s political voice. The literary establishment’s reception of de Sousa in 1960s Mozambique was generally dismissive. Her work was also afforded relatively minor status in foundational anglophone accounts of the Lusophone African canon, such as those by Russel Hamilton and Patrick Chabal. The Marxist sociologist critic, Alfredo Margarido was an important exception in this regard and an early champion of her work. In the 1990s, de Sousa was progressively validated and incorporated into the canonization of black, Pan-Africanist, and Negritudinist writers by critics such as Pires Laranjeira in Portugal. Since the 1990s she has received more in-depth, gender-informed attention in Mozambique, Portugal, Brazil, the United States, and the United Kingdom, consolidating her international status as a pioneering woman’s voice in Africa’s literary history of national liberation struggle. Her poetry collection Sangue Negro was reprinted by the Mozambican Writers’ Association (AEMO) in a new edition in 2001, for the first time since the 1951 original.

Article

Diaspora Tourism  

Bayo Holsey

Since the 1990s, diaspora tourism has become a significant cultural and economic enterprise within several West African nations. The conservation of important sites related to the history of the slave trade, particularly Cape Coast Castle and Elmina Castle in Ghana and the Slave House on Gorée Island and Senegal, along with the development of the Slaves’ Route in Benin, has led to burgeoning numbers of diaspora tourists in these nations. Although this particular form of travel took off in the 1990s as a result of a growing African American middle class and the simultaneous rise in their level of interest in the history of the slave trade, temporary diasporic travel to West Africa has a much longer history. From the very moment of independence, the development of diaspora tourism industries has been a goal of several African nations. Pan-African festivals held throughout the 1960s and 1970s sought to capture this tourism market and to celebrate historical and cultural connections as well as to encourage economic investment. More recent state-sponsored events such as Emancipation Day and PANAFEST in Ghana have similar goals. For the tourists themselves, diaspora tourism often represents much more than leisure travel. Oftentimes framed as a “homecoming” or a “pilgrimage,” the trips can have deeply personal and even spiritual significance. They occur in the context of anti-Black racism in the home nations of tourists who therefore may seek a sense of belonging within Africa. Many want to learn more about the history of slave trade in order to understand the struggles of their ancestors. Diaspora tourism thus is both an economic enterprise, firmly situated within neoliberal logics, and a potentially oppositional act for Black subjects in the context of global White supremacy. It has also influenced the ways in which continental Africans view the history of the slave trade and their relationship to the African diaspora.

Article

Disease Control and Public Health in Colonial Africa  

Samuël Coghe

Disease control and public health have been key aspects of social and political life in sub-Saharan Africa since time immemorial. With variations across space and time, many societies viewed disease as the result of imbalances in persons and societies and combined the use of materia medica from the natural world, spiritual divination, and community healing to redress these imbalances. While early encounters between African and European healing systems were still marked by mutual exchanges and adaptations, the emergence of European germ theory-based biomedicine and the establishment of racialized colonial states in the 19th century increasingly challenged the value of African therapeutic practices for disease control on the continent. Initially, colonial states focused on preserving the health of European soldiers, administrators, and settlers, who were deemed particularly vulnerable to tropical climate and its diseases. Around 1900, however, they started paying more attention to diseases among Africans, whose health and population growth were now deemed crucial for economic development and the legitimacy of colonial rule. Fueled by new insights and techniques provided by tropical medicine, antisleeping sickness campaigns would be among the first major interventions. After World War I, colonial health services expanded their campaigns against epidemic diseases, but also engaged with broader public health approaches that addressed reproductive problems and the social determinants of both disease and health. Colonial states were not the only providers of biomedical healthcare in colonial Africa. Missionary societies and private companies had their own health services, with particular logics, methods, and focuses. And after 1945, international organizations such as the World Health Organization (WHO) and the United Nations Children’s Fund (UNICEF) increasingly invested in health campaigns in Africa as well. Moreover, Africans actively participated in colonial disease control, most notably as nurses, midwives, and doctors. Nevertheless, Western biomedicine never gained hegemony in colonial Africa. Many Africans tried to avoid or minimize participation in certain campaigns or continued to utilize the services of local healers and diviners, often in combination with particular biomedical approaches. To what extent colonial disease control impacted on disease incidence and demography is still controversially debated.

Article

Film and Video as Historical Sources  

Mahir Şaul

Films and video dramas can become historical sources in different ways. One of them is the use of the filmic images as a source for learning about the physical environment, the layout and look of cities, buildings, rural landscapes, and other cultural elements. The documentation of urban spaces in movies made in the cities that were frequently used as filming locations, such as Dakar in Senegal or Ouagadougou in Burkina Faso, furnish cases for extended treatment. Secondly, feature films can comment on the past as a kind of “history writing,” by offering explanation and perspective on past events, a means of doing what written history does in a different medium. The invention of fictional characters or dialogue and filmic strategies such as condensation do not invalidate the contribution that some movies make to the understanding of historical situations. In the case of African history, films by Ousmane Sembene, Med Hondo, and Raoul Peck are illustrations of how this has been achieved. Finally, movies also bear witness to the time of their production, because as creations of the intellect they reflect the interests, concerns, preoccupations, and possibilities of their time. Studies can focus not only on a movie in itself but also on viewers’ perception of it or on critics’ responses, either at the time of its first release or in subsequent viewings. In contrasting ways, Gaston Kaboré’s pre-colonial era films and Jean-Pierre Bekolo’s depiction of Yaounde working class neighborhoods offer exemplary material for this kind of study. Popular films and video dramas can in turn have an impact on their societies and be used deliberately by their makers to disseminate messages, entering in this way the chain of historical causality. In the 1990s the low budget video dramas first produced in Ghana and Nigeria in analogue recordings on VHS cassettes brought a challenge to the established African cinema that was recognized in the international film festival circuit, by combining amateurish production values and commercial success. This mass cultural phenomenon offers an opportunity to explore the economic and cultural roots of a particular style of visual storytelling, as well as the connections between popular audiences’ thematic preferences in entertainment and their everyday living conditions.

Article

Film, Radio, and Society in Colonial and Postcolonial Africa  

James Genova

From the period of the “Scramble for Africa” in the 1880s to the era of decolonization that began in the 1950s, culture and media played essential roles in constructing images of the colonized subject as well as governing newly conquered empires. In the struggle for political independence, Africans used film, music, literature, journals, and newspapers to counter European ideas about African society as well as to provide the foundations for postcolonial national identities. With sovereignty largely realized across Africa in the 1960s and 1970s, the roles of culture and media were critical in forging the bonds of nationhood and solidifying the legitimacy of the new states. However, those official efforts increasingly clashed with the aspirations of cultural activists, who desired a more thorough transformation of their societies in order to transcend the colonial legacy and construct progressive communities. Media and culture became a forum for political conflict whereby governments increasingly restricted creativity and subsequently sought complete control of the means of cultural creation and diffusion. Both the aspirations of public officials and opposition activists suffered during a period of prolonged economic crisis in Africa, which began in the 1970s and stretched into the 1990s. The sinews of governance as well as the radical pretensions of culture workers were torn asunder as many parts of Africa suffered state collapse, civil war, famine, and epidemic diseases (including the HIV/AIDS and Ebola crises). The dawn of the new millennium coincided with the age of neoliberal globalization that, for many African countries, was synonymous with structural adjustment programs and oversight from such international lending institutions as the International Monetary Fund (IMF) and the World Bank. This often required the privatization of media across Africa and included the greater prominence of non-African media sources on radio, television, and the cinema throughout the continent. It also was reflected in a shift among African culture workers, who frequently centered on the impact of globalization on African societies in their work. Filmmakers, musicians, and writers often use their platforms to speak to the wider world beyond Africa about the place of African societies in the globalized world.

Article

The Image of the Enslaved African in European Art  

Paul H. D. Kaplan

The representation of Black Africans is a significant feature of the European visual arts from antiquity to the modern era, encompassing at a minimum around twenty thousand extant artworks, but those images that clearly depict Black Africans as enslaved constitute only a relatively small percentage of that corpus. To put it another way, Black African skin color and facial features in European works of art are not, by themselves, enough to confirm the enslaved status either of the model or the figure represented. The most common element used to specify that a particular African figure is enslaved is some kind of metal restraint—chain, manacle, or collar. Chronologically, these images of enslavement begin with the ancient Mediterranean of the 3rd millennium bce and end in the mid-19th century, the era of abolition’s most significant achievements in Europe and the United States. The art of the colonial and postcolonial Americas is mostly excluded, although it, of course, does bear many of the marks of the European tradition. The terms Black and African are used in this article to describe dark-skinned people originally from regions south of the Sahara, as well as their diasporic descendants in Europe, the Americas, North Africa, and the Middle East.

Article

The Making of the Maghrib: 600–1060 CE  

Allen Fromherz

The history of North Africa from the coming of Islam to the rise of the Almoravid Empire in the 11th century is a crucial period in the making of the Islamic Maghrib. From 600 ce to 1060 ce Berbers and Arabs interacted in a variety of ways and through a process of acculturation. This interaction created a distinctive cultural and historical zone called the “Maghrib” or the “land of the setting sun,” a zone that would be recognized throughout the Islamic world. While many questions remain unanswered or yet to be explored from this period due to issues with sources, the first centuries after the coming of Islam to the Maghrib (7th—11th centuries) set the stage for the rise of the great Berber and Muslim empires: the Almoravid and Almohads. This period is crucial for understanding the development and history of Maghribi Islam.

Article

Pan-Africanism  

Harry Odamtten

Pan-Africanism is an idea that calls for unity for all peoples of African heritage in order to overcome inequitable global systems, especially racial capitalism. However, defining Pan-Africanism requires a survey of definitions to delineate areas of historical consensus. Thus, this work makes a historical distinction between a prior period of Pan-African ideas and a subsequent Pan-African social movement era, dating from the 1900 Pan-African Conference in London. It also recognizes that Pan-Africanism is dynamic and not static; it evolves within various historical contingencies. Furthermore, a distinction between the canon of Pan-African ideas and the Pan-African social movement is paramount. Black intellectuals, such as Edward Blyden, were the producers of the series of ideas in the 19th century that would catapult Pan-Africanism into a worldwide social movement for global Black unity, racial equality, and legitimize African histories and cultures. Building on these forerunners were the leading lights of the social movements, Henry Sylvester Williams, W. E. B. Du Bois, Anna Julia Cooper, Marcus Garvey, Amy Ashwood Garvey, Amy Jaques Garvey, Paulette Nardal, Jane Nardal, George Padmore, and Kwame Nkrumah. The latter two are included in the pantheon for imbuing the Pan-African ideas and social activism of two prior generations. They were distinctive by their explication of Blyden’s 19th-century African Personality and adopting the symbolism of Garvey’s United Negro Improvement Association in the early 20th century and working with DuBois to organize the 5th Pan-African Congress in 1945. Finally, they also pushed for the Organization of African Unity’s (OAU) formation in 1963. In the aftermath of the seventh Pan-African Congress organized in Dar es Salaam, from 1974 to the end of the 20th century, Pan-Africanism reached its organizational nadir. Beset by neocolonialism, bad leadership, and the complex demands of nation-states in Africa, the movement struggled to maintain worldwide interest even as Pan-African activities and Black internationalist engagements proliferated in various regional enclaves including North and South America, as well as the Caribbean. In the 21st century, the exuberance of Muammar Gadhafi and the sentimental pragmatism of Thabo Mbeki rose to the fore. This new dynamism generated a restructuring of the OAU into the African Union, and the African diaspora became a region of the African continent. Beyond this, while belief in Pan-Africanism as a liberation tool remains, questions persist about African leaders’ agency and institutional frameworks for achieving Pan-African goals.

Article

Western Education and the Rise of a New African Elite in West Africa  

Apollos Okwuchi Nwauwa

With the arrival of Europeans in West Africa in the 15th century, which preceded formal conquest and pacification, missionaries took the lead in introducing Western education as an indispensable tool for effective evangelism. Subsequently, the various European colonial governments appropriated education as a means of consolidating colonial rule in West Africa. By the middle of the 19th century, Western education began to produce a new, educated elite, at the core of which were “liberated slaves” in Sierra Leone. Western education produced its own contradictions. On the one hand, it produced educated hybrids who were alienated from their own peoples and cultures and who collaborated with Europeans to entrench colonialism in West Africa. On the other hand, the new elite, educated both in Africa and overseas, subsequently morphed into the new nationalists who became valuable agents for the liquidation of European imperialism in Africa. The emergent institutions of higher learning and the three new universities in West African founded in the aftermath of World War II became hotbeds of intellectual discourse just as the debate over the need for adaptation and Africanization resurfaced. Following the end of colonial rule, the “new elite,” now expanding in number, continued to provide contentious, neocolonial leadership and direction for development in postcolonial West Africa. Thus, despite its undesirable effect on European colonialism, Western education played into the hands of the educated elite who appropriated and deployed its latent, potent force in order to dislodge Europeans from Africa.