It’s been way too long since I last was on tumblr, Ndi Oyibo na ndi Diaspora how fa???*
Lupita Nyong’o lands her first ever Vogue magazine cover.
Whilst not a throwback post, this is still history in the making. She’s won multiple awards, is the new face of beauty brand Lancome, has acquired the rights to produce Chimamanda Adichie’s ‘Americanah’, bringing it to celluloid, is starring in the latest Star Wars flick and now, she’s on the cover of American Vogue.
If you, like us, follow her on instagram you probably noticed that she was recently in Morocco. Whilst we know she was taking a vacation, we also now know that Nyong’o was hard at work shooting for her spread in Vogue, photographed by Mikael Jansson.
Don’t quote us on this but we think she’s the first ever Kenyan actress to land this cover and one of the few African women to do so, aside from Iman and Alek Wek.
Next Chapter: Inquiries into emerging art practices
…With all the buzz about Africa and it’s artwork, the biggest question that arises is what does all this mean for the next generation of artists? Will all this attention turn into programs providing previously unattainable resources? Will this lead to a greater emphasis on art-based education? And will young emerging artists begin to receive the exposure their work deserves?
Join us over the next three months for Next Chapter, a series that focuses on a group of countries in three regions of the continent, southern Africa, northern Africa and western Africa.
The series will attempt to provide an invigorating survey of the current conditions, education and resources available to young emerging artists in these regions on the continent. Next Chapter will include interviews, in depth discussions with, and reflections from, practitioners on the continent and those in the diaspora, all with the intention of highlighting the work being done by emerging African artists and making sense of what the impact of this African resurgence means to this new generation of artists.
Images courtesy of Mohamed Aredjal. All rights reserved.
In a way, Kanye’s entire discography is leading to this (probable) point—his first two records were about reaching the top, Graduation was about loving life there, 808’s and Heartbreak was how the top can fuck up your personal life, My Beautiful Dark Twisted Fantasy was about growing restless at the top, and Watch the Throne found him and Jay-Z negotiating the idea of why there weren’t more black men at the top. And now, it seems, Kanye’s taking stock of the world as he sees it from upon high, and deciding that he doesn’t like what’s flashing in front of his Fendi frames. The fact that the biggest black entertainer in the country even made those two records and debuted them on the beyond-white bread Saturday Night Live is huge. This isn’t Das Racist razzing a few privileged white kids at Music Hall of Williamsburg. This is Kanye West going into a million white people’s living rooms and saying, “Look at the terrible things your people have done to my people and are still doing to my people. We are not going to take it. I’m so pissed right now I wouldn’t even be here if I didn’t have something incredibly urgent to say. Fuck you.” That’s a powerful act, something that you can put up there with things that Bob Marley or Tupac did. I know that’s outlandish, but one day we’ll be holding Kanye West up next to those guys, so we might as well start now.
“Now that the annual Children’s Day celebration has come and gone,the question of what happens to the average Nigerian child after that one day jamboree still lingers in the hearts of concerned parents and education stakeholders.
As a matter of fact, it appears the Nigerian child is only celebrated once a year, May 27. Even the so-called annual ritual celebration organized by each state of the federation doesn’t really go round as it parades and favours mostly children of the high and mighty. But to children of the masses, May 27 is just like any other day.” (read more)
"Across the nation’s states, there is a class of children who neither feel good nor happy. Their outlook paints a vivid picture of their state of helplessness.
They appear unkempt and totally hopeless regarding their future. In their tattered clothes, they find homes in the most filthy and awkward places like abandoned buildings, under overhead bridges and school premises. Usually, they retire to these “abodes” at dusk and dash out early in the morning before the prying eyes of security agents or the rightful owners of the structures turn out for business.
Holding a bottle of water mixed with little soap, another detergent in one hand and an improvised brush in the other, he walks up to a car in traffic uninvited, and begins to wash its windscreen, hoping the car owner or driver would be compassionate enough to give him some money. …” (read more)
An excerpt from The Vanguard newspaper Nigeria article “Sorry tales of Nigerian kids living on the streets" By CHIOMA GABRIEL