Your Essential Guide to Africa Through Nigeria

Nigeria’s freelance economy is growing, but for millions of digital workers, receiving international payments remains an extreme sport. If the country wants to export digital labour and capture its value at home, it must first fix how that labour gets paid.

Despite the United Nations’ workshop and log-frame fabrication of a particular kind of African woman who can be measured, trained and displayed for prime-time news, African women’s organizing has always exceeded these scripts.

‘We are at your grave. Everyone is crying, everyone is wishing you goodbye. All I have are paralyzed emotions depicted by a numb countenance. When the saints go marching in their immaculate number, I hope you are among them.

Editor of Who Gave The Order: The History of a People’s Movement, Chibueze Darlington Anuonye, believes that 20 October 2020 stands as an indictment of the Nigerian conscience and urges Nigerians to remember that day: ‘What happened at the Lekki Toll Gate could be described as a country waging war a

Funmilayo Ransome-Kuti showed that political organizing could transcend ethnic divisions while staying culturally rooted.

If the media plays an important role in the extreme portrayal of the West as a haven in the mind of the African, we might also assume that the same media largely has a role to play in the making of the self-perception of Africans.

The guardians of ukungwi—a practice that educates girls and women on sex, homemaking and marriage—are reimagining their approach to this East African tradition. Today, they face a dilemma: the risk of losing the cultural essence of ukungwi while seeking to monetize it for sustainability.

In Kenya, three young queer men built a family from stolen kisses, cheap alcohol, and poetry read aloud on thin mattresses, until the world that refused to make space for them claimed two of their lives.

Untruth, injustice and the Nigerian way. A lesson in the difference between a ‘human’ connected Nigerian man and the everyday Nigerian/woman as reflected in the Ibom Air and Comfort Emmanson debacle.

Halimatu Iddrisu paints Muslim women and their voices. She entrusts their faceless bodies with self-expression and the freedom to engage viewers in a dialogue about dressing choices and the hijab—veiling in Islam—that transcends language.

What if our grandmothers’ sacrifices were not about submission, but about survival and resistance?

What does it mean to be a Nigerian woman fighting against the establishment?