August Černigoj, The Rebellion Of The Young, 1972

Vitra Design Museum, Basel, 2015. Making Africa - A continent of Contemporary Design.

Jeune officier Chaïgir - 11 mars 1970 - Photographe Al Rashid Mahdi

Time is not a general framework but a provisional result of the connections among entities. Modern discipline has reassembled, hooked together, systematized the cohort of contemporary elements to hold it together and thus to eliminate those that do not belong to the system. This attempt has failed; it has always failed. There are no longer - has never been - anything but elements that elude the system, objects whose date and duration are uncertain. It is not only the Bedouins and the !Kung who mix up transistors and traditional behaviours, plastic buckets and animal-skin buckets. What country could not be called ‘a land of contrasts’?

Bruno Latour, We Have Never Been Modern (1991)

Breathtaking Photos of Witch Doctors and Healers Reveal the Spiritual Diversity of Bolivia

Demetrius Oliver, Till, 2004

Isuama Ibo. Isu tribe. ‘Okorosie’ masquerade. Masks called ‘Nwanyioma’ and ‘Akatakpuru’ 1931 Vintage Nigerian photos

Mbari is a visual art form practiced by the Igbo people in southeast Nigeria consisting of a sacred house constructed as apropitiatory rite.  Mbari houses of the Owerri-Igbo, which are large opened-sided square planned shelters contain many life-sized, painted figures (sculpted in mud to appease the Alusi (deity) and Ala, the earth goddess, with other deities of thunder and water).Other sculptures are of officials, craftsmen, foreigners (mainly Europeans), animals, legendary creatures and ancestors. Mbari houses take years to build and building them is regarded as sacred. A ceremony is performed within the structure for a gathering of town leaders. After the ritual is complete, going in or even looking at the Mbari house is considered taboo. The building was not maintained and decayed in the elements.

Chinua Achebe, renowned Nigerian novelist and literary theorist said, in his essay on Mbari, “Mbari was a celebration through art of the world and of life lived in it. It was performed by the community on command by its presiding deity, usually the Earth goddess, Ala, who combined two formidable roles in the Igbo pantheon as fountain of creativity in the world and custodian of the moral order in human society.

Afrakans consist integration with the spirit of the land and heavens. Symbolism and Spirituality in all aspects of life.- Khepri Neteru

 Photographer Cristina de Middel’s Intoxicating Blend of Truth and Fiction

Paul Strand, Anna Attinga Frafra, Accra, Ghana, 1964

The world had to be “disenchanted” in order to be dominated.

Silvia Federici, Caliban and the Witch (via goneril-and-regan)

Khayelitsha, a human dumping ground of about 1 million people was built by the apartheid government and continues to be maintained by the current neoliberal ‘democratic’ regime. The townships are hell on earth. They are a space that dehumanises all those who live in it. by The Tokolos Stencil Collective