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Founder and curator of African Mobilities, Mpho Matsipa, grew up in apartheid South Africa. Lately, she’s been thinking about colonial urban histories and the relationship between blackness, landscapes and the environment: ‘There is a lot that still can and needs to be said about spatial representation, racialized dispossession and imagination on the African continent.’
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About the Author
trained as an architect and is an urban scholar and curator of African Mobilities—a multi-sited, curatorial project. Her research-driven curatorial practice aims to build transnational experimental research platforms and projects across Africa and the diaspora.
Nigerian novelist, poet and author of Graceland, Chris Abani, does not believe ‘Nigerian literature’ exists as a category: ‘It is a common misconception that there is a fixed category that can be read as essentially “Nigerian literature”. Nigeria has 500 nations, 500 languages and about 2,000 dialects. While culture and language can overlap, the level of diversity is such that Nigerian literature cannot be easily narrowed down.’
For the co-founder and publishing director, of Cassava Republic Press, which marks its 20th anniversary this year, Bibi Bakare-Yusuf, it is telling that African literature is often pronounced dead in recent years, when more women and queer voices are becoming more prominent: ‘The loudest obituary writers about African literature tend to be men. These elegies seem to come from a tacit sense of personal or generational displacement rather than from the actual state of the field.’
Nigerian poet, novelist and author of Madame Sosostris and the Festival for the Broken-Hearted, Ben Okri, argues that Nigerian literature doesn’t always have to be about Nigeria: ‘Nigerian literature limits itself to Nigeria and then limits even the ways in which the country can be written about. What we want is a vast literature, a great literature…that speaks to all humanity.’
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