An introduction into Wikipedia and its sister projects like Wikidata. A talk about their importance for the dissemination of knowledge on Africa and the visibility of Africa research. How can academics contribute and what are the benefits for their research? How can African Studies Centres easily share their image collections with the world via Wiki?

Jos Damen & Ursula Oberst, African Studies Centre Leiden.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 32 mins, by Ras Mutabaruka, 2020

This documentary examines the scientific capabilities of the African continent and the contribution of the Africans and the African diaspora. It is a quest for the origins of science in Africa, the influence of colonialism and slavery on the development of science up to the present day.

Film link will be available on the screening day.

Documentary film, 79mins, by Matthias De Groof, 2018

While disassembling the metre-high statue of Leopold II, his ghost wanders through the corridors and halls of the museum. The renovation of the Royal Museum for Central Africa (now Africa Museum) in Tervuren (Belgium) is an opportunity to give a modern interpretation to the museum's existence and mission. The stuffed wild animals, the traditional masks and the dusted artifacts are to make way for a more complete, modern view on Africa. The museum calls on the help of experts and initiates consultations with representatives of African organisations that have joined forces in a structure set up for this purpose, COMRAF. Exhibiting the minerals from the Congolese soil is no longer just a matter of scientific explanation. We must also consider the horrific conditions in which these raw materials were mined and the disruptive consequences for Congolese society. But in order to completely dislodge the majestic building from its colonial form, more fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here? This film documents the renovation of the Africa Museum as a process of aesthetic mourning, shows the complexity of its transformation and reveals through the eyes of the African diaspora in Belgium what the renovation really puts at stake: the decolonization of the Self.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

The country knowledge profiles include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Documentary film, 18 mins, by Awa Farah, Alice Aedy, 2020

Writer and producer Awa Farah and filmmaker Alice Aedy made a documentary to express her experiences as a British-Somali woman at Cambridge University. Awa had become increasingly irritated by what she saw as a stereotypical depiction of Somali people and, more widely, black, Muslim women. Against the backdrop of the Black Lives Matter movement, and with elite universities under attack for their poor diversity records, Somalinimo follows the conversations of Awa and three other Cambridge University students, Miske Ali, Hafsa Said and Samiya Dubed. The women talk about their immigrant parents, discuss their heritage, unpack identity conflicts and find solidarity in what might have been an intimidating and isolating environment. Somalinimo is also a love-letter to Somali culture: with a distinctive visual approach, it takes us inside one of the most traditional institutions in the UK as well as a the set design of a traditional Somali home, to evoke a powerful sense of nostalgia.

Feature film, 90 mins, by Apolline Traoré, 2017

Senegalese business woman Adjara develops a friendships with three other women from different countries during a bus journey across West Africa. The journey from Dakar, via Mali, Burkina Faso and Benin to Lagos (Nigeria) is full of complications and the women have to face all kinds of dangers as they accomplish an everyday journey while facing the universal challenge of being independent women.

Film link will be available on the screening day.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 85 mins, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

This film paints a portrait of a Senegalese scientist who was a trail-blazing scholar with an insatiable thirst for science and knowledge as well as an honest, enlightened political figure, venerated by some, decried by others, and unknown to most. It’s the story of the lifework of Cheikh Anta Diop, who studied Philosophy, Physics, Chemistry, History and Linguistics. All this knowledge came together in his thesis: Africa is the birthplace of civilisation and the Egyptian pharaohs were black Africans. A claim that came with a high price. This film tells the story of a man who fought his whole life for truth and justice in order to restore historical awareness and dignity to Africa.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Documentary film, 85 mins, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 69 mins, by Matthias De Groof, 2018

While disassembling the metre-high statue of Leopold II, his ghost wanders through the corridors and halls of the museum. The renovation of the Royal Museum for Central Africa (now Africa Museum) in Tervuren (Belgium) is an opportunity to give a modern interpretation to the museum's existence and mission. The stuffed wild animals, the traditional masks and the dusted artifacts are to make way for a more complete, modern view on Africa. The museum calls on the help of experts and initiates consultations with representatives of African organisations that have joined forces in a structure set up for this purpose, COMRAF. Exhibiting the minerals from the Congolese soil is no longer just a matter of scientific explanation. We must also consider the horrific conditions in which these raw materials were mined and the disruptive consequences for Congolese society. But in order to completely dislodge the majestic building from its colonial form, more fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here? This film documents the renovation of the Africa Museum as a process of aesthetic mourning, shows the complexity of its transformation and reveals through the eyes of the African diaspora in Belgium what the renovation really puts at stake: the decolonization of the Self.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 104 mins, by Hassen Ferhani, 2019

In her small shop, in the vast Algerian Sahara desert, Malika offers her guests a place to rest, eat, and, most of all, a listening ear. Chauffeurs, musicians and unintelligible tourists, Malika listens to all their stories. Portrait of a warm and charming woman and the beauty of Algeria’s landscape.

Film link will be available on the screening day.

Documentary film, 91 min, by Jared P. Scott, 2019

The effects of climate change on Africa’s Sahel region are devastating: desertification, famine, conflict and migration. Yet hope lies in the Great Green Wall, an ambitious reforestation project of 8.000 km spanning the continent aimed at revitalizing ecosystems and restoring economies. In this story of resilience and self-determination, Malian musician/activist Inna Modja journeys from Senegal via Mali, Nigeria, Niger and Ethiopia to Djibouti gathering stories and sharing songs with those on the frontline of the fight to save their land and their ways of life. With, amongst others, Songhoy Blues, Didier Awadi en Betty G.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 92 min, by Dieudo Hamadi, 2014

This documentary follows a group of young Congolese high school students who are about to sit the exam for their National Diploma, the "Final Exams", in Kisangani, Democratic Republic of Congo. Dieudo Hamadi’s camera films them as they prepare for the exam, from the benches of the school that they are regularly ejected from because they haven’t paid the 'teachers’ fees' to the “maquis” (a communal house) where they gather to revise and the chaotic streets of the city where they spend their time “looking for a living”.

Film link will be available on the screening day.

Documentary film, 85 mins, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Feature film, 69 mins, by Apolline Traoré, 2017

Senegalese business woman Adjara develops a friendships with three other women from different countries during a bus journey across West Africa. The journey from Dakar, via Mali, Burkina Faso and Benin to Lagos (Nigeria) is full of complications and the women have to face all kinds of dangers as they accomplish an everyday journey while facing the universal challenge of being independent women.

Film link will be available on the screening day.

Documentary film, 40 min, by Mirjam de Bruijn and Sjoerd Sijsma, 2019

"In this film, produced by Voice4Thought, we follow two researchers who, on their turn, follow people who live(d) through long periods of violence, conflict and hardship in Chad and Mali. The stories they encounter are stories of lost hopes, of feelings of being misunderstood, and of radicalization in multiple ways. The two stories of the researchers show how working on such stories also influences their positions, and finally radicalizes their positions.

This film tells the story of the process of radicalization. However, it is mostly a reflection on this process, and how it is an almost inevitable outcome of an unjust world. It raises questions such as: Is it possible to keep distance from the stories when you study them? How do you reflect on the suffering you see? And how does this influence their work and the decisions they take? What do these stories tell us about political interventions in radicalization processes?

This film is freely accessible. See here.

Click here to watch the film.

Documentary film, 25 mins, by Iara Lee, 2020

In Lesotho—a highland country surrounded by South Africa—an artist named Nthabiseng TeReo Mohanela takes discarded materials and transforms them into unique clothing and accessories. Teaching young people the benefits of recycling and re-creation, she calls her project “From Trash to Treasure.” With TeReo’s work as a starting point, this short film showcases a broader spirit of reimagination among artists in Lesotho, who use creativity to respond to entrenched social problems: Filmmakers show the need to end child marriage. Musicians write songs about climate change. Farmers collect seeds to protect endangered tree species. Designers use fashion to preserve traditional Basotho culture and challenge common perceptions of Africa. Profiling a variety of these innovators, "FROM TRASH TO TREASURE: turning negatives into positives" encourages us to take lessons from those who rethink, reuse, and reinvent in order to promote positive change.

This film is freely accessible. See here.

Click here to watch the film.

Documentary film, 69 mins, by Matthias De Groof, 2018

While disassembling the metre-high statue of Leopold II, his ghost wanders through the corridors and halls of the museum. The renovation of the Royal Museum for Central Africa (now Africa Museum) in Tervuren (Belgium) is an opportunity to give a modern interpretation to the museum's existence and mission. The stuffed wild animals, the traditional masks and the dusted artifacts are to make way for a more complete, modern view on Africa. The museum calls on the help of experts and initiates consultations with representatives of African organisations that have joined forces in a structure set up for this purpose, COMRAF. Exhibiting the minerals from the Congolese soil is no longer just a matter of scientific explanation. We must also consider the horrific conditions in which these raw materials were mined and the disruptive consequences for Congolese society. But in order to completely dislodge the majestic building from its colonial form, more fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here? This film documents the renovation of the Africa Museum as a process of aesthetic mourning, shows the complexity of its transformation and reveals through the eyes of the African diaspora in Belgium what the renovation really puts at stake: the decolonization of the Self.

Film link will be available on the screening day.

Documentary film, 85 mins, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Documentary film, 42 mins, by Éric Hahonou and Lotte Pelckmans, 2016

Amongst the many groups which inhabit the river banks and islands scattered along the 4200 kilometers of the Niger river, the Kebbawa stand out for their peculiar nomadic lifestyle. Little is known about these migrant fishermen who form convoys of large wooden boats (called 'pinasses') on which they navigate together from Northern Nigeria (Yauri, Lake Kainji) to North-Western Niger (around Ayorou) and Eastern Mali (Ansongo, Gao, Timbuktu, Tindirma) where fish is abundant during the dry season. At the head of each convoy stands a man – the navigator – whose role is to guide safely the boats from Nigeria to Niger/Mali. The navigator or pilot is the one who makes sure the boats will not hit a rock, take a blind way, or run aground on a shoal in the river.

This film is freely accessible. See here.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Feature film, 69 mins, by Apolline Traoré, 2017

Senegalese business woman Adjara develops a friendships with three other women from different countries during a bus journey across West Africa. The journey from Dakar, via Mali, Burkina Faso and Benin to Lagos (Nigeria) is full of complications and the women have to face all kinds of dangers as they accomplish an everyday journey while facing the universal challenge of being independent women.

Film link will be available on the screening day.

Documentary film, 18 mins, by Awa Farah, Alice Aedy, 2020

Writer and producer Awa Farah and filmmaker Alice Aedy made a documentary to express her experiences as a British-Somali woman at Cambridge University. Awa had become increasingly irritated by what she saw as a stereotypical depiction of Somali people and, more widely, black, Muslim women. Against the backdrop of the Black Lives Matter movement, and with elite universities under attack for their poor diversity records, Somalinimo follows the conversations of Awa and three other Cambridge University students, Miske Ali, Hafsa Said and Samiya Dubed. The women talk about their immigrant parents, discuss their heritage, unpack identity conflicts and find solidarity in what might have been an intimidating and isolating environment. Somalinimo is also a love-letter to Somali culture: with a distinctive visual approach, it takes us inside one of the most traditional institutions in the UK as well as a the set design of a traditional Somali home, to evoke a powerful sense of nostalgia.

This film is freely accessible. See here.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 92 min, by Dieudo Hamadi, 2014

This documentary follows a group of young Congolese high school students who are about to sit the exam for their National Diploma, the "Final Exams", in Kisangani, Democratic Republic of Congo. Dieudo Hamadi’s camera films them as they prepare for the exam, from the benches of the school that they are regularly ejected from because they haven’t paid the 'teachers’ fees' to the “maquis” (a communal house) where they gather to revise and the chaotic streets of the city where they spend their time “looking for a living”.

Film link will be available on the screening day.

Documentary film, 25 mins, by Iara Lee, 2020

In Lesotho—a highland country surrounded by South Africa—an artist named Nthabiseng TeReo Mohanela takes discarded materials and transforms them into unique clothing and accessories. Teaching young people the benefits of recycling and re-creation, she calls her project “From Trash to Treasure.” With TeReo’s work as a starting point, this short film showcases a broader spirit of reimagination among artists in Lesotho, who use creativity to respond to entrenched social problems: Filmmakers show the need to end child marriage. Musicians write songs about climate change. Farmers collect seeds to protect endangered tree species. Designers use fashion to preserve traditional Basotho culture and challenge common perceptions of Africa. Profiling a variety of these innovators, "FROM TRASH TO TREASURE: turning negatives into positives" encourages us to take lessons from those who rethink, reuse, and reinvent in order to promote positive change.

Film link will be available on the screening day.

See film here.

This film is freely accessible. See here for the freely accessible films.

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

The country knowledge profiles (https://www.africaknows.eu/country-profiles/) include a selection of university buildings in Africa, but Africa’s universities are about people: about students and staff. On universities websites, and on their facebook accounts, one can find numerous examples of pictures of university people. This powerpoint gives a selection of the great variety of ways universities show what it means to be knowledge institutes in Africa in 2020. Please enjoy! And if you like: look for yourself as well: the country knowledge profiles include all university websites, which opens a world of visual imaginations for you!

Documentary film, 85 min, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Documentary film, 91 min, by Jared P. Scott, 2019

The effects of climate change on Africa’s Sahel region are devastating: desertification, famine, conflict and migration. Yet hope lies in the Great Green Wall, an ambitious reforestation project of 8.000 km spanning the continent aimed at revitalizing ecosystems and restoring economies. In this story of resilience and self-determination, Malian musician/activist Inna Modja journeys from Senegal via Mali, Nigeria, Niger and Ethiopia to Djibouti gathering stories and sharing songs with those on the frontline of the fight to save their land and their ways of life. With, amongst others, Songhoy Blues, Didier Awadi en Betty G.

Film link will be available on the screening day.

Documentary film, 40 min, by Mirjam de Bruijn and Sjoerd Sijsma, 2019

"In this film, produced by Voice4Thought, we follow two researchers who, on their turn, follow people who live(d) through long periods of violence, conflict and hardship in Chad and Mali. The stories they encounter are stories of lost hopes, of feelings of being misunderstood, and of radicalization in multiple ways. The two stories of the researchers show how working on such stories also influences their positions, and finally radicalizes their positions.

This film tells the story of the process of radicalization. However, it is mostly a reflection on this process, and how it is an almost inevitable outcome of an unjust world. It raises questions such as: Is it possible to keep distance from the stories when you study them? How do you reflect on the suffering you see? And how does this influence their work and the decisions they take? What do these stories tell us about political interventions in radicalization processes?

Film link will be available on the screening day.

Watch the film here.

This film is freely accessible.

Documentary film, 18 mins, by Awa Farah, Alice Aedy, 2020

Writer and producer Awa Farah and filmmaker Alice Aedy made a documentary to express her experiences as a British-Somali woman at Cambridge University. Awa had become increasingly irritated by what she saw as a stereotypical depiction of Somali people and, more widely, black, Muslim women. Against the backdrop of the Black Lives Matter movement, and with elite universities under attack for their poor diversity records, Somalinimo follows the conversations of Awa and three other Cambridge University students, Miske Ali, Hafsa Said and Samiya Dubed. The women talk about their immigrant parents, discuss their heritage, unpack identity conflicts and find solidarity in what might have been an intimidating and isolating environment. Somalinimo is also a love-letter to Somali culture: with a distinctive visual approach, it takes us inside one of the most traditional institutions in the UK as well as a the set design of a traditional Somali home, to evoke a powerful sense of nostalgia.

This film is freely accessible. See here.

Documentary film, 85 min, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Watch the film here. pw: fall

Documentary film, 32 mins, by Ras Mutabaruka, 2020

This documentary examines the scientific capabilities of the African continent and the contribution of the Africans and the African diaspora. It is a quest for the origins of science in Africa, the influence of colonialism and slavery on the development of science up to the present day.

Film link will be available on the screening day.

Watch the film here. pw: 9412

Documentary film, 32 mins, by Ras Mutabaruka, 2020

This documentary examines the scientific capabilities of the African continent and the contribution of the Africans and the African diaspora. It is a quest for the origins of science in Africa, the influence of colonialism and slavery on the development of science up to the present day.

Film link will be available on the screening day.

Watch the film here. pw: 9412

Documentary film, 85 mins, by Rehad Desai, 2018

When South African universities raised their fees in 2015 there were peaceful protests on the part of the students at University of the Witwatersrand. During these protests the university called in the police force. The film shows how the conflict escalated and showed division among the university staff as well as exposing power relationships and inequality among the genders and races.

Film link will be available on the screening day.

Watch the film here. pw: fall

Delegates are invited to watch this performance by kora player, Layba Diawara.

Layba Diawara was born in a family of professional musicians in Faranah (Guinea, West Africa) in 1961. His family helped him to find his way in the rich repertoire of Djali music and motivated him to play in different orchestras and to search for new experiences across regional and national borders. He played as a guitarist in different ensembles before he was asked to join the famous national orchestra "Bembeya Jazz International" in Guinea's capital Conakry. As a guitarist in Bembeya Jazz, he made his first tour to Europe and the US in 1985. In 1990 he settled in the Netherlands where, till today, he plays different styles of music (traditional African, jazz, soul, classic), solo, and with different groups (African, Dutch, International). Layba is a multi-instrumentalist and plays kora, balafon, guitar, and ngoni.

Documentary film, 69 mins, by Matthias De Groof, 2018

While disassembling the metre-high statue of Leopold II, his ghost wanders through the corridors and halls of the museum. The renovation of the Royal Museum for Central Africa (now Africa Museum) in Tervuren (Belgium) is an opportunity to give a modern interpretation to the museum's existence and mission. The stuffed wild animals, the traditional masks and the dusted artifacts are to make way for a more complete, modern view on Africa. The museum calls on the help of experts and initiates consultations with representatives of African organisations that have joined forces in a structure set up for this purpose, COMRAF. Exhibiting the minerals from the Congolese soil is no longer just a matter of scientific explanation. We must also consider the horrific conditions in which these raw materials were mined and the disruptive consequences for Congolese society. But in order to completely dislodge the majestic building from its colonial form, more fundamental questions also need to be asked. Who is looking at whom here? And whose story is being told here? This film documents the renovation of the Africa Museum as a process of aesthetic mourning, shows the complexity of its transformation and reveals through the eyes of the African diaspora in Belgium what the renovation really puts at stake: the decolonization of the Self.

Film link will be available on the screening day.

EN : https://vimeo.com/336069516 password: Palimpseste052019
FR : https://vimeo.com/355547059 password: Palimpseste052019
NL : https://vimeo.com/355551462 password: Palimpseste052019