The articles in this special section highlight the need to adopt “an African-focused perspective” to understand African experiences of mobility. 1 The impetus for an African-focused perspective that places African experiences at the center has
The Impact of Two Strategies
Stiles X. Simmons and Karen M. Feathers
has expanded reading achievement gaps between African American males and their Caucasian, Hispanic, and female counterparts ( Haddix 2010 ; Strickland 1994 ; Tatum 2005 ; Taylor 2005 ). Additionally, literacy researchers contend that these reforms
Main Reef Road, South Africa, 1999; Nicolaas Hofmeyr (director and writer); 88 minutes; Free Filmmakers Production
structure with which Afrikareisende (African explorers) organize and express their experiences of Africa. This shared knowledge creates a bond not only between Afrikareisende themselves but also between the explorers and their readership. The analysis of
the German exploration of Africa. His untimely death turned him into a martyr of science and challenged posterity to lift the mystery surrounding his demise. The search for his remains and his murderers was instrumental in accelerating the process of
Pragmatic Approaches to Sustainability
Hans Peter Hahn
Bicycles have a wide range of functions and roles in West Africa. They have vital functions for everyday necessities, but they also constitute prestige objects. The appreciation of bicycles in Africa started very early, almost simultaneously with their diffusion as consumer goods in Europe. However, the adoption of bicycles followed a specific pathway, which is explained in this article within the conceptual framework of appropriation. Cultural appropriation highlights the significant modifications of bicycles in Africa and the abandonment of some functions like braking. In spite of the technical simplifications, modified bicycles are perceived as having higher value, by virtue of their fitness for the tough roads and their increased reliability. Appropriation results in a specific “Africanized“ bicycle, which makes possible a prolonged usage. This essay argues that the “Africanized“ bicycle constitutes a model of sustainability in matters of transport, one which is not sufficiently recognized in current debates about sustainable innovations.
Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist
Walter S. Temple
In recent years, North African queer cinema has become increasingly visible both within and beyond Arabo-Orientale spaces. A number of critical factors have contributed to a global awareness of queer identities in contemporary Maghrebi cinema
Nakia M. Gray
Faye Z. Belgrave and Joshua Brevard. 2015. African American Boys: Identity, Culture, and Development. New York, NY: Springer, 2015. 174 pp., $129.00 (hb) ISBN: 9781493917174.
Teresa Hoefert de Turégano
French efforts in lobbying for a “cultural exception” in world trade agreements have attracted much attention. Less noticed have been the long-standing French attempts to support the film production of individuals from around the world, for whom making films in their countries of origin is difficult for economic, political, and social reasons. One of France’s areas of predilection for such cinematographic support has been francophone sub-Saharan Africa, specifically countries that were once former colonies. Shortly after most African countries in the region became independent, France created the Ministry of Cooperation and Development to administer relations with the African states; an important part of French support consisted of helping develop cinematographic production.
In the aftermath of unification, the loss of job security and other forms of social support under East Germany's comprehensive (if increasingly inefficient and corrupt) system of welfare state paternalism, coupled with a newfound dependence on West German financial largesse, not only disoriented former East Germans, but also led to pressures on them to repress their past experiences of solidarity and distinctiveness. Schultze Gets the Blues, the critically acclaimed box office hit from director Michael Schorr, relates the story of a retired mineworker and accordionist for a town band in the economic backwaters of eastern Germany who undergoes a lifechanging conversion to the Cajun folk music of Zydeco. Drawing from Joseph Roach's notion of surrogation and Cornel West's articulation of an African-American tragic sensibility, this article casts Schultze in the role of a postunification mediating figure reconciling East German solidarity and localism with West German individualism and multiculturalism.