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Just under a week to go, with the last chance saloon doors swinging, we are dipping in to our archives: this AiW #PastAndPresent post may look back but has our sights set firmly forward to the Digital Festival Day (04 Feb) of the inaugural International Black Speculative Writing Festival weekender –– at Goldsmiths University in London, from the 2nd – 4th Feb 2024.
Because the in-person Festival — 3 days celebrating African and African diasporic spec fic writing — is London-based, organisers are running a Digital day-long edition on the Sunday 4th Feb, with priority bookings for people who cannot attend in-person due to distance or disability.
Additionally, AiW readers based *anywhere on the continent* have been offered a number of *free* tickets by the IBSW Festival for remote attendance to the full day-long Digital edition (otherwise £20 / £10 discounted, both + fee).
Claim your free day ticket for the Digital International Black Speculative Fiction Writing Festival on Sunday February 4th before they sell out.
If you are based on the continent (i.e., Africa – [you’d be amazed… Ed.]), you can follow the directions in the image above – or jump to its “How to claim yours...” details, repeated at the end of this post.
If you’re so inclined, you can also head to our socials (the image above is from our Instagram, but details are available on X and our Facebook as well).
NB: The Fest are keeping these free tix available for our readers but they are limited in number, still being allocated on a first-come first-served basis.
All other ticket details are here, at the Fest’s Eventbrite page…
This offer from the Festival presents an interesting opportunity…It’s partly this generosity in this first happening of this new UK-based international literary festival, and partly the nature of attendance at the literary festival per se, with its spotlighting capacities on its own particular stage and its gathering-up work — that’s got us rifling back through the AiW archives.
Finding evidence of the speculative and of Afrofuturist divinings winding throughout them, going way back to 2013 — from reviews to calls to Q&As; from Tutuola’s pervasive influence, to the energies emanating from the Nommos and the resources collected at https://www.africansfs.com/, to the vibrancy of the indie literary magazines furnishing the newest writing in the field — this return to the archives has woven us into a thought experiment: beginning to connect up some of the many interstitial dots in the “blossoming” rise of “home-grown” speculative fiction, alongside the launch of IBSWF2024 now.
It’s in that light that we’ve been looking again at those of the tidal currents that are shaping and reforming the defining terms that come to make up our collective sense of this capacious genre — its own archives and geographies, its possibilities, echo-chambers, and its mirror-sides — not to mention the ways that this offer out, to continent-based spec fiction and AiW readers from the first International Black Speculative Writing Festival in 2024, concentrates some of the relationships that show up in how spec fic is circulated, travels, lands with us.
Simply thinking on the internationalised histories of the evolutions that run across every word in the Festival’s full title, just for starters…
So, alongside finalised programme details of the Digital Day Fest, we’ve dug in with a few of our associative links to content — from ours, with #Past posts, and linking out to other pertinent conversations to this spec fic moment — to bring out some of the connective tissue afforded by the IBSWF’s offer to our readers, and/or as a re-starting point for (pre)orienting around some of what is being curated by the Digital Fest’s line-up — the names, spaces, journeys, worlds (and beyonds)...
Full Festival programme details for both the in-person and digital day (above) are available on this link: http://bit.ly/420kn4J
One of the primary opportunities for connection on the day, it seems, is that of the Networking Session that closes it out (18.20-19.20 GMT), where breakout rooms will offer the space to meet other participants — writers, readers, editors, each other… (It may be pretty late for some of our readers’ timezones, but it’s probably do-able late..?)
Here, we will make our way through the Day Festival programme, section by section, with the #PastAndPresent in mind — skip as desired and/or jump to claiming the freebies/purchasing your tickets at the head and tail of it — the ‘Claim your Fest tix‘ jump links throughout will speed you down to the bottom of the post.
In its spirit, and with all spirits present, as ever, please feel free to connect up with us with any thoughts or other links that can feed the conversation – comment directly on the post at its foot, or be in touch, and we can keep an Afropast feeding in to a futurist and ongoing Afropresent, where all things spec fic can be in the pic, writing our future memories…
IBSWF2024 Programme / Q&A Kadija Sesay – Archives #P&P
First up in our #PastAndPresent linkage, the Festival is organised by Founder-Director, Dr Kadija Sesay, Sierra Leonean/British scholar, publisher — of Sable LitMag and at co-director at Inscribe / Peepal Tree Press, where she commissioned Glimpse: An Anthology of Black British Speculative Fiction, among other path-breaking publications — and of tireless literary champion and cultural activist fame.
Readings from Glimpse will round out the presentations on the Digital Festival Day (17.05-18.05), with Muli Amaye, Koye Oyedeji, and Joshua Idehen.
The anthology also includes Alinah Azadeh‘s ‘The Beard,’ which was selected for the Best British Short Stories 2023 collection (published by Salt). Artist, writer, performer and cultural activist Azadeh is appearing as part of the digital day as lead and curator of the project We Hear You Now, subject of an earlier afternoon, 14.40-15.55 session (more on this and its coastal, Afrofuturistic depths and revisionings later…).
Glimpse Author Panel – ‘Glimpse at Fantasy’ Leeds Central Library, Dec 2023. If you’re not yet familiar with Glimpse, you may find spaces where you can check out its opening ahead of the event (we were able to via an online sample). There is a theory and historically focused Foreword by Reynaldo Anderson — who is Associate Professor of Africology and African American Studies at Temple University in Philadelphia Pennsylvania, and Executive Director and Co-founder of the Black Speculative Arts Movement (BSAM), a network of Artists, Curators, intellectuals and Activists. Revealing an approachable scholarly drive from someone at the forefront of Afrofuturist studies, Anderson opens the book with…
The changing world order and our metamodern moment is haunted by the ghosts of slavery, colonialism, and genocide… (Reynaldo Anderson, GLIMPSE – Foreword, ‘The Rise of the Black British Speculative Tradition’, p.7)
The Foreword is followed by the collection’s editor Leone Ross’ Introduction, which starts with the joys of editing, in general — “Some of my fondest childhood memories growing up in Jamaica involve debating the ‘right’ word with my editor mother” — describes proposing to co-director of Inscribe Press, Kadija, that this latest Peepal Tree anthology be a speculative fiction one, and impresses the “fierce joy” and sheer excitement of facilitating this specific set of spec fic stories into Glimpse — because, as she says,
…the weird shit, that’s my thing.
Leone Ross, GLIMPSE – Introduction, p. 15
Archives #P&P
Taking things back a notch to our March 2022 archives, we have a richly in-depth interview with Kadija, in which AiW’s Davina Kawuma talks with her as a “Scholar-Activist” about the Pan-Africanism at the core of one of her then current projects, the AfriPoeTree app, as well as…
…the importance of networks in managing a literary festival, gatekeeping and reading practices…
Touching on a range of Kadija’s activities and other writing and curatorial projects, this is one of those broad and far-ranging interviews that also laser focuses in.
The following excerpt, from about halfway through the conversation, contains both a mention of the literary festival, as well as making a critical distinction between forms of literary activism as she sees them (and as Davina sets them up), while making comment on genre and what “counts” as “the literary” — all with a literary-community-mind in focus:
…[Davina Philomena Kawuma, for AiW]: In ‘Literary Activism in A Country That Doesn’t Read’ (2021, Eastern African Literary and Cultural Studies, 7:1-2, 167-170), Edwige-Renée Dro argues that, in fact, Ivorians do read – only that many of them don’t read what those in intellectual circles consider worth reading:
“It is being asked again and again what I as a writer am doing to make Ivorians read that I became a literary activist. It is the endless refrain of ‘Ivorians don’t read’, ‘Africans don’t read’, ‘If you want to hide something from an African, put it in a book’ that made me a literary activist. It is people reducing literature to reading that made me a literary activist. It is people reducing the role of the writer to one who should put society on the right path that I became a literary activist.“
Is the reduction of reading to literature, and of literature to reading, something you commonly encounter? What kind of refrains turned you into a literary activist?
[Kadija Sesay]: I agree with Dro that you can’t reduce literature to reading, which renders it easy to confuse literary activism with reader activism. Is the aim to encourage people to read or is it to open up vistas for people to enjoy literature? Different approaches are needed.
I love going to literary festivals, but I don’t necessarily read all of the books of the people I go and listen to. I may buy a book, but it is often in mind to give it to someone as a gift, so I’m still supporting the writer and the festival – I just know that I won’t particularly read that book myself. But giving a book as a gift may be my way of encouraging someone else to read.
And I also just like owning books – the same way that some people like owning trainers (I only ever have one pair of trainers, but a floor covered in books) – so there is both literary activism and reader activism going on here.
I came to be known as a literary activist when I was asked to do an event, and the person who recommended me asked how I wanted to be described and I just talked about what I did, and he said, “Oh, I’ll just say that you are a literary activist, then.”
https://africainwords.com/2022/03/23/qa-scholar-activist-kadija-sesay-on-afripoetree/
Another example of that zoomed in, spotlight-like quality of the interview is its handling of the centrality of concerns around “decolonising” (and we have this in quotes here only, to acknowledge the fluidity of the word and the possibilities it encompasses, its multivalence, as concept, process, movement, and its shifting meanings in relation to the positions of both its (en)actors and its audiences).
We love the way that, throughout, Davina puts Kadija to work! Her questions share the passions of reader to reader, the experience of one writer to another, consistently gesturing to the ways that Kadija’s activist practices, literary and other festival organisation, and her interest in questions about the decolonisation of literature and publishing, in particular, weave across each other.
One of the neatest examples comes in their discussion of another of Kadija’s projects, the co-edited book, with Joan Anim-Addo and Deirdre Osborne, This is the Canon: Decolonize Your Bookshelves in 50 Books (Quercus, 2021),
…described as “a decolonized reading list that celebrates the wide and diverse experiences of people from around the world, of all backgrounds and all races” – one that “disrupts the all-too-often white-dominated ‘required reading’ collections that have become the accepted norm and highlights powerful voices and cultural perspectives that demand a place on our shelves”
When Davina condenses by simply asking:
“Is there a novel or two among those 50 that you wish you’d written, and why?“
…Kadija responds in kind…
KS: Segu by Maryse Condé. It is a wondrous epic… I just love it.
See the full interview for more on scholarly-activism and the AfriPoeTree app at this link, or via the hyperlinked image above…
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Beyond our archives…
Read Kadija’s article, ‘The Rise of Black Speculative Fiction‘ (2021), in the award-winning edition of UK-based online industry magazine, The Bookseller – which can be accessed with a free, non-commitment registration first.
We are loving the build-up to the International Black Speculative Writing Festival 2024 happening across its socials, particularly the ‘Top 50 Recommended Speculative Fiction Books’ set, each edition of which comes with some useful blurb from a spec fic writer’s own recommendation of it, a chance to re-curate the bookshelves and to-read lists of our minds…
https://www.instagram.com/litmagsable/
IBSWF2024 Programme – “morning” (GMT) sessions
To the Digital Festival itself, a run through the earlier part of the programme shows up one notable change to earlier billing for the hosting line-up — the Digital Day Fest will now be introduced by Dr. Kelley Page Jibrell, a doctoral graduate of African Studies and Adjunct Professor of International Business at Howard University, aka QueenMother Akua Kalia Adayé of the Royal Brong Kingdom in Côte d’Ivoire and Ghana, who has worked in every region in Africa and across 25 countries worldwide (11.00-11.15 GMT).
The “morning” session then opens with a choice between 2 workshops, both of which centre around Afrofuturist explorations – through sequential narrative with Tim Fielder (you’ll need to bring your own drawing materials), creator of Infinitum, an Afrofuturist graphic novel, through which Publisher’s Weekly describes Fielder digging,
… deep into his pulp toolbox to fuse genre influences in this daring epic, which bristles with action and verve.…and another workshop that takes us ‘Writing Underwater: Language to Probe the Depths’, “plumbing the subconscious for buried treasure and monsters alike“ with Gemma Weekes, critically acclaimed scriptwriter and author of coming-of-age novel, Love Me (Vintage Digital, 2009).
Weekes also has a short story, ‘(Dying of) Thirst’ (pp.215-228), in the anthology Glimpse (as above — source of the second of two readings sessions that round out the day, before the networking session gets underway).
You can read Weekes on her love of fantasy in a short piece, ‘Coming Home to Magic’, she wrote for the online Fantasy Book Cafe (April 18th, 2023), part of the ‘Women in SF&F Month’:
I was always coming home to magic.
As a child I was obsessed with fantasy. Every book was a door. Each story was a passage into wonder; an initiation into the promise of an expanded, heroic self. Books were the beginning of magic: fairies that lived at the bottom of the garden; portals to enchanted forests through a wardrobe; entire kingdoms floating in the clouds…
https://www.fantasybookcafe.com/2023/04/women-in-sff-month-gemma-weekes/
The workshops will be followed by a session with John ‘Titi’ Naima, ‘A Story from Kenya’ (12.50-13.20). Naima is an experienced Sigana storytelling practitioner who works with Nairobi-based Zamaleo ACT, a cultural organisation synthesising Kenyan storytelling traditions for original interactive performances and educational programmes.
Zamaleo ACT’s website is clear about the critical functions of Sigana Storytelling: interrogating “story” — what it is, how it is “birthed” within us — and taking craft, technique, and their seamless weaving with different elements — such as narrative telling, banter, riddling, chant, recitation, song, para-linguistics, dance and stylized movements — seriously, to channel experiences and creative, imaginative capacities, all within the optics of “communing beyond us”.
STORYTELLING
How does ‘Story’ function as an instrument of our collective human connection, sharing and communing? We focus on various ‘Story’ presentational styles. We unravel how ‘Story’ makes meaning, communicates and opens endless frontiers of human understanding of themselves and realities known as well as imagined. We examine the magic that unfolds when ‘Storytelling brings together Storyteller and audiences in experiencing Story’!
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IBSWF2024 Programme – “afternoon” (GMT) sessions
The latter of the choice of workshops with Weekes, perhaps in particular, sets a spatial tone, with a distinctly inter- and cross-national watery feel that carries through to the afternoon sessions, leading into the two sets of readings — with Caine Prize shortlistees and writers from Glimpse — as the evening (GMT) draws in.
This definitely surfaces a facet of Afrofuturism with the “International” of the Festival’s title, as bringing life to the transformative capacities of the violent legacies of oceanic spaces through the reimaginings of the speculative.
The film extract (14.40-14.55) and readings and discussion session on the project We See You Now, We Hear You Now later in the afternoon (14.55-15.55), sediments this. We Hear You Now is a collection building out of a literary and rural Britain landscape heritage project. Resulting from a two year programme of research, walking and creative writing called We See You Now, the culmination of the project presented “a spoken word audio journey” of contemporary speculative fiction, poetry, and new myths, We Hear You Now, embedded in the landscape across a walking tour of 6 km of the Seven Sisters and Sussex Heritage Coast.
The series of white chalk cliffs of the Seven Sisters heritage coast: this is one of those sites of absolute visual archetype — of the southernmost English contact points between sea and land, beautiful, haunted by unreckoned violences, still silenced legacies: this is the site that is retold, re-seen and re-formed by the voices of We Hear You Now: eleven women writers of colour, curated and co-written by Alinah Azadeh.
The work they produced seeks to reframe the traditional pastoral image of the English coastal landscape through a global, poetic and quietly radical lens.https://www.sevensisters.org.uk/we-hear-you-now/meet-the-writers/
You can preface the session, and any undertow of its watery links, through Azadeh’s website, with links to where to find highlights of each of the writers’ work on the project (including a film made by Bip Mistry streaming on YouTube) that is still available online, and to more info out at the Seven Sisters South Downs National Park website.
We find ourselves dreaming, swimming between the buoys of the literary — the pastoral, heritage, the sublime — to landscapes and belonging, theories and story, the named and the nameless… What would you do, what kind of project would emerge from turning a “global, poetic and quietly radical lens” to our own various sites of legacy, to see and hear them, what’s lying there, over a two year period?
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IBSWF2024 Programme – Africa Risen (TorDotCom, 2022)
Prefacing the We See You Now, We Hear You Now session is the digital festival headliner conversation, with Sheree Renée Thomas, ‘Cultural Alchemy: Afrofuturism in the Real World’ (13.35-14.35).
Thomas is a New York Times bestselling, two-time World Fantasy Award-winning author and editor. (For more, see her profile at Goldsmiths (University) Press.)
And, returning to our archives, of interest here (albeit a bit sideways at first glance) is our interview with TorDotCom editor Eli Goldman, as publisher of Africa Risen: a New Era of Speculative Fiction.
Africa Risen celebrates the vibrancy, diversity, and reach of African and Afro-Diasporic SFF and reaffirms that Africa is not rising—it’s already here.
~ Tordotcomhttps://publishing.tor.com/africarisen-shereereneethomas/9781250833006/
Co-edited by Thomas, with Oghenechovwe Donald Ekpeki and Zelda Knight, Africa Risen was created “in the legacy of the seminal, award-winning anthology series Dark Matter“, as TorDotCom has it.
This refers to Thomas’ groundbreaking anthologies, Dark Matter: A Century of Speculative Fiction from the African Diaspora which was published by Time Warner under its Aspect imprint in 2001, receiving a New York Times Notable Book of the Year accolade; followed in 2004 with Dark Matter: Reading the Bones. Thomas became the first Black World Fantasy Award winner when both titles won World Fantasy Awards.
Our interview with TorDotCom features Africa Risen as part of our coverage of the 2023 Caine Prize for African Writing shortlist, where we were keen to continue highlighting different sorts of work in the making of the Literaray Prize, and to bring out the stories’ publishers’ relationships to the Prize’s tagline, “Always something new from Africa”:
AiW: Could you tell us about your journey of/with the two 2023 Caine Prize shortlisted stories published by TorDotCom, the “story of the story”, so to speak? […] Why this, why now?
[Goldman, TorDotCom] All credit goes to Sheree Renée Thomas, Oghenechovwe Donald Ekpeki, and Zelda Knight, the phenomenal editorial team behind the anthology Africa Risen: A New Era of Speculative Fiction. Africa Risen was originally inspired by and conceived of as an unofficial third entry in Sheree’s foundational Dark Matter anthology series of African Diaspora SFF throughout history. The aim of Africa Risen was to showcase and celebrate the breadth, vibrancy, and reach of present-day African SFF, and to demonstrate that “Africa isn’t risen—it’s already here”. Mame Bougouma Diene and Woppa Diallo’s ‘A Soul of Small Places’ and Tlotlo Tsamaase’s ‘Peeling Time (Deluxe Edition)’ do all of the above and more.
IBSWF 2024 Programme – Readings, with Caine Prize 2023 finalists
We put the 2023 Caine Prize Shortlist ‘Words On’ questions to the story writers, their publishers who submit the stories to the Prize, and to the first all-female Caine Prize judging panel for its last edition.
The resulting 2023 interview series therefore happens to feature, in some way, all of the writers appearing in the first set of the International Black Speculative Writing Fest’s Digital Day Readings sessions (16.00-17.00), as Caine Prize finalists.
Notably, this year 3 of the 5 stories on the Caine Prize shortlist were spec fic, with 2 published in Africa Risen. The Q&A with Mame Bougouma Diene and Woppa Diallo — the Senegalese husband and wife writing team, who went on to win the 2023 Prize, the first duo to do so — mentions being published by Tor:
AiW: Looking to you as a reader, what’s the strangest, most significant – outrageous, even – thing you yourself have done, or would do, because of, or for a book (text / story / poem/ piece of writing)? Perhaps there’s a serendipitous, interesting, or uncanny book / text related thing that’s happened to you, or a happy, weird accident that has occurred around books or writing that you can share with us?Mame Bougouma Diene: Getting published by Tor. I grew up with Tor on my bookshelves. Now they published me twice for fiction and nonfiction. I feel like I’ve lived the dream that way…
And we have the same Qs (different As) with Tlotlo Tsamaase (whose Caine story also first appeared in Africa Risen), a Motswana author (xe/xem/xer or she/her pronouns), whose debut novel, Womb City — a “genre-bending Africanfuturist horror novel [that] blends The Handmaid’s Tale with Get Out in an adrenaline-packed, cyberpunk body-hopping ghost story exploring motherhood, memory, and a woman’s right to her own body” (Erewhon Books) — was published days ago (late-Jan, 2024):
AiW: Could we open with a bit about some of the “other lives” or pre-lives of your Caine Prize shortlisted story, perhaps something that our readers might not yet know (or that they should, or need to know) about it? Tlotlo Tsamaase: Thank you so much! My story, ‘Peeling Time (Deluxe Edition)’, came about during a jog whilst listening to rap music – a thought came about to write a story about women trapped in songs. I liked the double meaning of trap: to confine something and trap music. I thought I could write the story as a song, so I went about figuring out how I could have the text and content of the story as lyrics. The story is a fusion of many things—satire, social commentary on riots and protests regarding gender-based violence against women, etc.
https://africainwords.com/2023/11/02/qas-tlotlo-tsamaase-caine-prize-shortlist-2023/
Also in the same series Q&A, we shared responses from Ukamaka Olisakwe, founder-editor of Isele Magazine, and publisher of Nigerian writer Pius Ekemini’s shortlisted story, ‘Daughters, By Our Hands’.
For Pius’s story, I realized that there was so much soul in the early draft; he was playing with genre. Here is a story set in a world that looks like ours but is a little bit different, the difference being in how children are brought into the world. Beyond being a feminist story, it also makes great social commentary about family and love and community[…]
Now I look back to how far these stories have come and my heart is full.
Ukamaka Olisakwe, on the 2023 Caine Prize shortlisted stories published in Isele Magazine (with her editor/publisher hat on..).
As well as finding them in their original publication contexts, for all the additional surrounds and wealth this brings, you can shortcut to reading all three, and all the 2023 shortlisted stories — “FIVE STORIES SHOWCASING “THE DEPTH AND BREADTH OF WRITING ON THE CONTINENT AND BEYOND” Fareda Banda, 2023 Chair of Judges — at the Caine Prize website here.
Our full Caine Prize shortlist 2023 Q&A series is here.
And n.b. The Caine Prize have just launched their call for stories for this year’s award – see https://www.caineprize.com/.
~ jump to the end of this post for claim/purchase Fest tix details ~
Many of our readers will be aware of the significance of the literary mag to AiW’s archives, with some of our earliest series (2013) involving their production and publication, with first issues of Chimurenga and Jungle Jim mags… So, in a slight deviation but too-close-to-our-hearts not to, bonus feature…
As we’re always delighted to focus in on the work of continent-based (“homegrown”) indie mags, like the beautifully produced Isele, and continuing to think through the fibers of spec fic, we couldn’t but be put in mind and, so, reach back to the December 2022 conversation hosted here at AiW, with Nzube Nlebedim of The Shallow Tales Review, Mazi Nwonwu at Omenana Magazine, and Kenechi Uzor for Iskanchi Magazine, as they are interviewed by SarahBelle Selig of Catalyst Press for their annual #ReadingAfricaWeek campaign.
Of the 3, it is Omenana that is a dedicated speculative fiction magazine, born to fill a niche gap at that point in the Nigerian literary landscape, Nownwu explains. But all 3 publications, as Selig identifies, “place great import on fluidity, unruliness, wildness, disobedience”, as she drills down into what the history “that’s implied there” might be…
IBSWF Programme / Archives #P&P
And this nudges us forward, once again, to the speculative and its journeying capaciousness, and back, then, to the International Black Speculative Writing Festival 2024.
Bringing this post to its circle and perhaps fitting to close is more from our archives from Festival Director Kadija Sesay direct —
We also have a Caine Prize 2023 Shortlist ‘Words On…’ Q&A with her in the archives, showing another literary facet she holds in her role on the first all-female judging panel determining the Prize shortlist (and winners) this year, where she revisits activist decolonisation in response to the Words on… question about “…the most ethical and/or heart-lifting changes in practice you’ve seen happening across your industry/industries recently and what would you like to see become more visible going forward (jobs, roles, avenues, practices)?”
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Full details of the first International Black Speculative Writing Festival can be found at their Eventbrite page, with a description of ticket types at the end.
A 3 day writing Festival and a 1 day online festival celebrates Black speculative writing. Sessions include discussions, workshops, readings, storytelling, conversations and a reading club from established, award winning and emerging writers. Weird wild and Wonderful Words (and Worlds!)!
Programmes for the in-person and the digital festival are both available at this link: http://bit.ly/420kn4J
AiW reader and speculative fiction lover? Based on the continent?
Get your free ticket for the online day festival on Sunday February 4th – before they go…
how to claim yours1. Email: [email protected]
2. Subject line: AiW and Spec Fic reader
3. Include in the body: your full name and where on the continent you reside (to fulfill the distance requirements for online attendance)For all other tickets – see Eventbrite (ticket types description at the end of the page).
click to jump back up to IBSWF2024~AiW archives
AiW Intro –
Fest Director, Scholar-Activist Kadija Sesay (introducing Glimpse)
Programme –”morning” (GMT) sessions
Programme –”afternoon” (GMT) sessions
Programme –Africa Risen (2022): Digital Fest Headliner & AiW publisher Q&A
Programme –2023 Finalists, Caine Prize Readings~AiW Q&As + Mags!
Catch the build up at the Fest’s socials –
Instagram
Twitter/X
FacebookEnjoy – you’re welcome
–
and with big thanks to Kadija and our friends at Sable Lit Mag.Black people are more emboldened to call out racist behaviour and to challenge organisations (and individuals) with regards to what decolonisation means and actions that need to be taken in order to decolonise. However, it is taking a long time to educate people about this, that it is a long, ongoing process.Kadija Sesay, on uplifting practices she’s come across recently in the field as part of our ‘Words on…’ Q&A series:
https://africainwords.com/2023/11/01/qas-kadija-george-sesay-judging-the-caine-prize-2023/
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