Le manioc dans le ventre ne revient pas (proverbe Nyang – Soudan, Ethiopie). – Une fois la palabre tranchée, on n’y revient pas.
The cassava in the stomach does not come back (Nyang proverb – Sudan, Ethiopia). – Once a palaver is settled, there is no going back.
Just like Cheikh Anta Diop, Leo Frobenius, the German ethnologist and archaeologist who visited Africa in the 1900s saw fetishism as a creation of Europe, made to dehumanize Africans to justify and normalize slavery of the Black man [Dum Diversas or The Vatican’s Authorization of Slavery]. In all his travels throughout Africa, he had never seen natives worship fetishes!
“The new country of America needed slaves and Africa offered them: hundreds, thousands, full shiploads of slaves. “However, the slave trade was never a matter of peace; it required its justification ; so the Negro was made into a half-animal, a commodity. And this is how the notion of the fetish was invented (Portuguese : feticeiro) as a symbol of an African religion. European trademark. As for me, I have not seen in any part of black Africa the natives worship fetishes.
The idea of the “barbarian Negro” is a European invention which, as a consequence, dominated Europe until the beginning of this century.”
Leo Frobenius, La Civilisation africaine, Le Rocher, Paris, “Civilisation et Traditions”, Jean-Paul Bertrand Editeur, p. 16-17 (1984). Translated to English by Dr. Y, Afrolegends.com.
In Africa, there is the concept of fetishism which has been prevalent as a description of African beliefs. Thus, a fetish is an object which holds spiritual power or supernatural significance. Given that African statues hold deep cultural, spiritual, and symbolic significance [Authorship in African Art: The Case of Yoruba Art], the term fetishism has been historically associated to them. Early European anthropologists have linked African religions and statues to fetishism. However, we are learning that this was a technique designed by Europeans to denigrate and dehumanize the African person so as to justify slavery [Dum Diversas or The Vatican’s Authorization of Slavery] early on, and colonialism later on.
Cheikh Anta Diop, the great Senegalese historian, anthropologist, philosopher, physicist, and politician, showed in his book, Nations Nègres et Culture: de l’Antiquite nègre égyptienne aux problèmes culturels de l’Afrique noire d’aujourd’hui, that fetishism in Africa is not an inherent school of thought, but rather arose from the disconnection of modern Africans to their original religions due to violent exposure to centuries of attacks (slavery) from the West. Thus, he said,
“From one end of Black Africa to the other, passing through Egypt, the statues were originally intended to be the support of the immortal “double” of the ancestor after his earthly death. Placed in a sacred place, the statue was the object of offerings and libations: this fact, misinterpreted by Westerners, created the false idea of fetishism. In reality, there is a tendency towards fetishism, that is, idolatry, only where the meaning of the cult has been forgotten through a break in tradition.”
Cheikh Anta Diop, Nations Nègres et Culture, Présence Africaine, Paris p. 339 (1954). Translated to English by Dr. Y, Afrolegends.com.
Le lion ne prête pas ses dents à son frère (proverbe Sotho – Lesotho).
The lion does not lend its teeth to its brother (Sotho proverb – Lesotho).
On March 1, 2025, Burkinabè filmmaker Dani Kouyaté was awarded the prestigious Étalon d’or de Yennenga (Golden Stallion of Yennenga). His film, Katanga, la danse des scorpions, is a cinematic adaptation of William Shakespeare’s Macbeth set in an African (Burkinabe) context and told in the Mooré language of Burkina Faso. His movie focuses on the power play in Africa. His win marked Burkina Faso’s first Étalon d’or in 28 years after Buud Yam of Gaston Kaboré, and the third win of Burkina Faso 34 years after the first Tilai of Idrissa Ouedraogo. Beyond the Étalon d’or, Katanga, la danse des scorpions garnered several other accolades, including the Public Prize with an average score of 9.18/10, the Sembène Ousmane Prize from the Ecobank Foundation, the Special Prize from the Cultural and Tourism Development Fund (FDCT), the Special UEMOA Prize for feature fiction, and the Paulin Soumanou Vieyra African Critics’ Prize.
Enjoy the trailer below.
The 29th edition of the FESPACO took place from February 22 to March 1, 2025, in Ouagadougou, the capital of Burkina Faso.
The host country, Burkina Faso was represented by two films: Katanga, la danse des scorpions by Dani Kouyaté and Les Invertueuses by Chloé Aïcha Boro. The guest country of honor, Chad, was represented by Diya by Achille Ronaimou. There were several entries from diverse countries including Egypt, Algeria, Tunisia, Democratic Republic of Congo (DRC), Côte d’Ivoire, Zambia, Somalia and many more.
On March 1, 2025, Burkinabè filmmaker Dani Kouyaté was awarded the prestigious Étalon d’or de Yennenga (Golden Stallion of Yennenga). His film, Katanga, la danse des scorpions, is a cinematic adaptation of William Shakespeare’s Macbeth set in an African (Burkinabe) context and told in the Mooré language of Burkina Faso. His win marked Burkina Faso’s first Étalon d’or in 28 years after Buud Yam of Gaston Kaboré, and the third win of Burkina Faso 34 years after the first Tilai of Idrissa Ouedraogo. Beyond the Étalon d’or, Katanga, la danse des scorpions garnered several other accolades, including the Public Prize with an average score of 9.18/10, the Sembène Ousmane Prize from the Ecobank Foundation, the Special Prize from the Cultural and Tourism Development Fund (FDCT), the Special UEMOA Prize for feature fiction, and the Paulin Soumanou Vieyra African Critics’ Prize.
The Somali movie The Village next to Paradise by Mo Harawe won the Silver Stallion of Yennenga. The Bronze Stallion (Étalon de bronze) was awarded to On Becoming a Guinea Fowl by Rungano Nyoni (Zambia).
L’Homme-Vertige by Guadeloupean Malaury Eloi-Paisley won the Golden Stallion in the documentary section, as well as the Paul Robeson Prize for best diaspora film.
During the award ceremony, a special tribute was paid to Malian filmmaker Souleymane Cissé, who had been slated as jury president but passed away shortly before the festival. Dani Kouyaté, upon receiving his award, honored Cissé by saying, “Souleymane Cissé has been a model for me… he lives on in our hearts and minds.”
Burkina Faso’s President, Ibrahim Traoré, presented Kouyaté the award and praised film enthusiasts for the “resounding success of this celebration of African cinema.”
“The director [Dani Kouyaté] shows legitimate recognition for the courage and self-sacrifice of our worthy daughters and sons committed to victory over the forces of evil,” Traoré said on social media after the event.
The 30th edition of FESPACO is set for 2027. To read more about FESPACO 2025, please check out TRT Global – FESPACO Festival 2025 shines with cinematic triumphs in Burkina Faso
Le poisson (le crocodile) n’est fort que dans l’eau (proverbe Mambwe, Tonga – Tanzanie, Zambie, Zimbabwe).
The fish (the crocodile) is only strong in the water (Mambwe, Tonga proverb – Tanzania, Zambia, Zimbabwe).
We have previously talked about the Ishango bone, or rather the first evidence of a calculator in the world. Named after the place where it was found in the Democratic Republic of Congo (DRC), the Ishango bone is what is called a bone tool or the craddle of mathematics, and dates as far back as 22,000 years ago, in the Upper Paleolitic era; It is the oldest attestation of the practice of arithmetic in human history.
This month, archaeologists have published in the journal Nature their discovery of the earliest known bone tools, showing evidence of their use 1.5 million years ago. These bone tools were found in the Olduvai Gorge, in Tanzania. The tools were carved from elephant and hippopotamus bones. The article, Systematic bone tool production at 1.5 million years ago by de la Torre et al., was published on March 5, 2025, and provides new insights into the intelligence and innovation of East African hominins who showed “a transfer and adaptation of knapping skills from stone to bone,” which until now were thought to be restricted only to European sites dating back 500,000 years.
Excerpts below are from AfricaNews. To read in depth, please check out the original article of de la Torre, I., Doyon, L., Benito-Calvo, A. et al. Systematic bone tool production at 1.5 million years ago. Nature (2025). https://doi.org/10.1038/s41586-025-08652-5 and the Nature Podcast by N.P. Howe & S. Bundell .
As the authors say in the Nature article, “… East African hominins developed an original cultural innovation that entailed a transfer and adaptation of knapping skills from stone to bone. By producing technologically and morphologically standardized bone tools, early Acheulean toolmakers unravelled technological repertoires that were previously thought to have appeared routinely more than 1 million years later.”
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Archaeologists have discovered the earliest known bone tools, pushing back evidence of their use by around a million years.
The find suggests early humans had more advanced tool-making skills than previously thought. These 27 fossilised bones, shaped into tools 1.5 million years ago, are rewriting the history of early human technology.
The collection, found in Tanzania’s Olduvai Gorge, provides the earliest evidence of deliberate bone tool-making by ancient hominins. Carved from the thick leg bones of elephants and hippos, the implements reveal that early humans were using more complex toolkits than previously thought.
Researchers know that simple stone tools were being made as far back as 3.3 million years ago. But until now, bone tools were believed to be a much later innovation. The well-preserved artifacts, some measuring up to 40 centimetres, show clear signs of intentional shaping. At the time they were created, our ancestors lived a precarious hunter-gatherer existence on the plans of the Serengeti region, a landscape teeming with wildlife. They made them using a technique similar to how stone tools are made, by chipping off small flakes to form sharp edges, revealing skilled craftsmanship.
… The tools were likely used as handheld axes for butchering animal carcasses, particularly scavenged remains of elephants and hippos. Unlike later tools, they were not mounted on handles or used as spears. Researchers say the uniform selection of bones, primarily large leg bones from specific animals, suggests early humans deliberately sought out the best raw materials for making tools.
… The discovery dates back more than a million years before Homo sapiens emerged. At the time, at least three different hominin species lived in the region, including Homo erectus, Homo habilis, and Paranthropus boisei.
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Have you by any chance watched the South African movie “Tsotsi”? In 2006, it was the first South African film and first African film not made in French to win an Oscar for foreign language film and numerous international awards. It tells the story of a ruthless gang leader who steals a car, only to find a baby in the back seat. The movie is based off the novel by the same name “Tsotsi” by South African playwright, novelist, actor, and director widely regarded as South Africa’s greatest playwright Athol Fugard.
This past Saturday, Athol Fugard, who in 1985 was acclaimed as “the greatest active playwright in the English-speaking world” by Time, passed away at the age of 92. His work confronted apartheid and spanned over 7 decades with over 30 playwrights. He was a critic of apartheid and very early broke the rules and included all as in his 1961 breakthrough play, Blood Knot, which featured for the first time in South African history a black and white actor played by Fugard himself, and was played in front of a multiracial audience.
Excerpts below are from the BBC. Enjoy!
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Athol Fugard, who has died aged 92, was widely acclaimed as one of South Africa’s greatest playwrights.
The son of an Afrikaner mother, he was best known for his politically charged plays challenging the racist system of apartheid.
… Fugard wrote more than 30 plays in a career that spanned 70 years, making his mark with The Blood Knot in 1961. It was the first play in South Africa with a black and white actor – Fugard himself – performing in a front of a multiracial audience, before the apartheid regime introduced laws prohibiting mixed casts and audiences. The Blood Knot catapulted Fugard onto the international stage – with the play shown in the US, and adapted for British television. The apartheid regime later confiscated his passport, but it strengthened Fugard’s resolve to keep breaking racial barriers and exposing the injustices of apartheid. He went on to work with the Serpent Players, a group of black actors, and performed in black townships, despite harassment from the apartheid regime’s security forces.
Fugard’s celebrated plays included Boesman and Lena, which looked at the difficult circumstances of a mixed-race couple. Having premiered in 1969, it was made into a film in 2000 starring Danny Glover and Angela Bassett.
His novel, Tsotsi, was also made into a film, winning the 2006 Oscar for best foreign language movie.
… Other well-known plays by Fugard include Sizwe Banzi Is Dead and The Island, which he co-wrote with the actors John Kani and Winston Ntshona, in a powerful condemnation of life on Robben Island, where anti-apartheid icon Nelson Mandela was imprisoned.
… Fugard won several awards for his work, and received a lifetime achievement honour at the prestigious Tony awards in 2011, while Time magazine described him in 1985 as the greatest active playwright in the English-speaking world.
“Apartheid defined me, that is true… But I am proud of the work that came out of it, that carries my name,” Fugard told the AFP news agency in 1995.
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Le chien avec sa langue seule lave tout son corps (Proverbe Zandé – République Démocratique du Congo (RDC), République Centrafricaine (RCA), Soudan du Sud). – Une seule femme suffit dans le ménage.
The dog washes his whole body with his tongue alone (Azande proverb – Democratic Republic of Congo (DRC), Central African Republic (CAR), South Sudan). – Only one wife is enough in the household.
African Heritage 