Africa in Fragments is one of a few texts to tackle many topics on the position and challenges of Africa, its peoples, and its diaspora in the world today. It is part of a new genre that makes old and new academic debates on the problems and predicaments of Africanness accessible to a broad spectrum of audiences while outlining and defending the author's own compelling arguments. This book is also one of a few texts breaking new ground by bringing nation, continent, and diaspora into conversation. It weaves together analyses of Nigerian, African, and global African topics in an informed but polemical style, challenges readers to rethink their preconceptions on the topics, and offers profoundly new insights into these issues.

Issued in conjunction with the exhibition Caravans of Gold, Fragments in Time, held January 26, 2019-July 21, 2019, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois.

What Is Africa to Me? traces the late 1950s to 1968, chronicling Condé’s life in Sékou Touré’s Guinea to her time in Kwame N’Krumah’s Ghana, where she rubbed shoulders with Malcolm X, Che Guevara, Julius Nyerere, and Maya Angelou. Accusations of subversive activity resulted in Condé’s deportation from Ghana. Settling down in Sénégal, Condé ended her African years with close friends in Dakar, including filmmakers, activists, and Haitian exiles, before putting down more permanent roots in Paris. --Front flap.

Winner of IASPM Book Prize, given by IASPM, 2023 This book is an ethnographic study of sound archives and the processes of creative decolonization that form alternative modes of archiving and curating in the 21st century. It explores the histories and afterlives of sound collections and practices at the International Library of African Music. Sound Fragments follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa. The narrative speaks to larger issues in sound studies, curatorial practices, and the reciprocity and ethics of listening to and reclaiming culture. Sound Fragments interrogates how Xhosa arts activism contributes to an expanding notion of what a sound or cultural archive could be, and where it may resonate now and in future.

A tapestry of innovation, ideas, and commerce, Africa and its entrepreneurial hubs are deeply connected to those of the past. Moses E. Ochonu and an international group of contributors explores the lived experiences of African innovators who have created value for themselves and their communities. Profiles of vendors, farmers, craftspeople, healers, spiritual consultants, warriors, musicians, technological innovators, political mobilizers, and laborers featured in this volume show African models of entrepreneurship in action. As a whole, the essays consider the history of entrepreneurship in Africa, illustrating its multiple origins and showing how it differs from the Western capitalist experience. As they establish historical patterns of business creativity, these explorations open new avenues for understanding indigenous enterprise and homegrown commerce and their relationship to social, economic, and political debates in Africa today.

Fragments of Trauma and the Social Production of Suffering: Trauma, History, and Memory offers a kaleidoscope of perspectives that highlight the problem of traumatic memory. Because trauma fragments memory, storytelling is impeded by what is unknowable and what is unspeakable. Each of the contributors tackles the problem of narrativizing memory that is constructed from fragments that have been passed along the generations. When trauma is cultural as well as personal, it becomes even more invisible, as each generation’s attempts at coping push the pain further below the surface. Consequently, that pain becomes increasingly ineffable, haunting succeeding generations. In each story the contributors offer, there emerges the theme of difference, a difference that turns back on itself and makes an accusation. Themes of knowing and unknowing show the terrible toll that trauma takes when there is no one with whom the trauma can be acknowledged and worked through. In the face of utter lack of recognition, what might be known together becomes hidden. Our failure to speak to these unaspirated truths becomes a betrayal of self and also of others. In the case of intergenerational and cultural trauma, we betray not only our ancestors but also the future generations to come. In the face of unacknowledged trauma, this book reveals that we are confronted with the perennial choice of speaking or becoming complicit in our silence.

A member of the African elite groping his way out of the background of slavery and colonialism, Baako sees his education as preparation for the lifework of a socially innovative artist. His family, more pragmatic, expects an elite resume to convert into power and wealth in the real world here and now. Unable to harmonize contervailing needs with wider social aspirations, both family and individual drift toward confrontation and inexorable loss.