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2 weeks ago | 
lrb.co.uk | Gazelle Mba
William Ansah Sessarakoo’s father, John Corrantee of Annamaboe, on the Gold Coast, was a member of the Fante ruling family and a prominent merchant, well known in the interior and among European slave traders. In order to strengthen ties with his European business partners, and to give his heirs an advantage over their countrymen, Corrantee sent one of his sons to be educated in France and another – Sessarakoo – in England. Sessarakoo was about eleven when he left Africa in 1747.
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1 month ago | 
lrb.co.uk | Gazelle Mba
A few years ago I worked for an organisation that collected donations for large humanitarian agencies such as Médecins Sans Frontières, Amnesty International and Save the Children. My job was to approach passers-by – students milling around campus, office workers heading to lunch – and encourage them to contribute to these causes. Most conversations followed a predictable pattern: a polite decline or a brief acknowledgment of the importance of the work. One exchange stood out though.
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2 months ago | 
worldofinteriors.com | Gazelle Mba
When bell hooks died in 2021 my social-media timeline was awash with pictures of the author, single braids softly framing her face, that contradictory gaze at once tender and serious, playful and frank. Otherwise she is shown in her youth, right hand cupping her cheek, afro coiffed and flowers embroidered around the neckline of her smock. We didn’t know her, but we knew her.
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Jan 8, 2025 | 
dialnet.unirioja.es | Gazelle Mba
Ayuda Buscar en la ayuda Buscar en la ayuda
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May 3, 2024 | 
factmag.com | Gazelle Mba
Tschabalala Self on heritage, identity, and what it means and looks like to be a practicing artist today. A Black woman is seated in her finery, upright posture, paying you no mind. Or her legs are splayed, an open secret. Or she is bent over, her gaze turned towards the floor, nonchalant and carefree. Many of the artist Tschabalala Self’s paintings are character studies of these kinds.
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Mar 15, 2024 | 
factmag.com | Gazelle Mba
The American artist on her debut feature The African Desperate and creating work where humour and pain connect. Martine Syms works across film, video, programming, photography, sculpture, performance, and writing. Her skills run deep and wide. She retains artistic control over every aspect of the projects she undertakes, from cinematography to editing and graphic design, seeing it through from beginning to end.
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Jan 31, 2024 | 
lrb.co.uk | Jamaica Kincaid |Gazelle Mba
Elaine Potter Richardson changed her name to Jamaica Kincaid in 1973. She was 24 years old and had decided that ‘Jamaica’ was more stylish. More important, a new name would allow her to publish without attracting the attention of her mother, Annie Drew – no matter that Annie was living in Antigua and Kincaid in New York. She had been sent away from home at sixteen to work as an au pair. To punish her family, she refused to send money back.
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Jan 19, 2024 | 
factmag.com | Gazelle Mba
The digital media artist on challenging the art world’s exclusion of Black trans people and creating art through interactive technology. While the possibilities of who we can be are endless, digital embodiment comes with its risks and dangers, especially for those who inhabit marginalised bodies.
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Nov 10, 2023 | 
factmag.com | Gazelle Mba
One of Toronto’s rising stars on how her Caribbean roots shape her approach as a DJ and producer. In her debut EP Infinity Club, Toronto-based artist BAMBII’s productions are as discursive and innovative as her work as a DJ, inviting the listener to think about the euphoric release made possible when we find ourselves under the sway of a beat good enough to dance to. “I’m not a pseudo-spiritual person, but I found the right group of people,” she says. “ The things I was trying to do took off.
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May 22, 2023 | 
lrb.co.uk | Gazelle Mba
Steve McQueen’s Grenfell, on show at the Serpentine last month, emerged from the filmmaker’s desire to stop ‘us’ – whoever ‘we’ are – from forgetting about the deadly fire which claimed 72 lives in the summer of 2017. McQueen filmed the ravaged building in the winter of that year, before it was covered up, bringing the viewer up close and personal with the remains. The work tries to inscribe the fire into public memory.
