African Underground: Democracy in Dakar is a groundbreaking documentary film about hip-hop youth and politics in Dakar Senegal. The film follows rappers, DJs, journalists, professors and people on the street at the time before during and after the controversial 2007 presidential election in Senegal and examines hip-hop’s role on the political process. Originally shot as a seven part documentary mini-series released via the internet – the documentary bridges the gap between hip-hop activism, video journalism and documentary film and explores the role of youth and musical activism on the political process.
Watch at vimeo.com/5512360

African Underground: Democracy in Dakar is a groundbreaking documentary film about hip-hop youth and politics in Dakar Senegal. The film follows rappers, DJs, journalists, professors and people on the street at the time before during and after the controversial 2007 presidential election in Senegal and examines hip-hop’s role on the political process. Originally shot as a seven part documentary mini-series released via the internet – the documentary bridges the gap between hip-hop activism, video journalism and documentary film and explores the role of youth and musical activism on the political process.

Watch at vimeo.com/5512360

Bamako Internet Kiosk being built at the lab for After Hours
Designed by 5NA….open for one night only
Saturday 18th August
Whitworth Art Gallery 7pm onwards

Bamako Internet Kiosk being built at the lab for After Hours

Designed by 5NA….open for one night only

Saturday 18th August

Whitworth Art Gallery 7pm onwards

Trashy Bags is a social enterprise based in Accra, Ghana that makes recycled eco-friendly bags and gifts from plastic trash.

They employ over sixty local people to collect, clean and stitch plastic trash in the form of sachets that have been previously used to contain drinking water and other drinks, into fashionable and useful bags and other products.  Plastic sachets have become a big problem across Africa because of the lack of recycling initiatives and waste management infrastructure.

Trashy Bags is leading the way in sustainable development in Africa in the area of plastic recycling and we have collected and recycled approximately 20 million plastic sachets since we started in 2007. Every month nearly 200,000 plastic sachets are being collected and brought to Trashy Bags by a network of people who are obtaining an income from their efforts.

A new line of Trash bags is trash Ad Bags these are made from discarded advertising billboards that are now proliferating throughout Accra.

Because the Ad Bags are all made from different billboards, each one cut for individual products, every one of the Ad Bags is unique in design and colour.

Trashy Ad Bags are hand-crafted with a luxurious batik fabric lining.

Primary School Gando, Burkina Faso by Francis Kere 

In a country where only half the primary-school-aged children receive an education, this school provides a necessary facility for the residents of Gando, a small village of 3,000 people. While still an architecture student in Berlin, Kéré, the first person in his village to study abroad, raised private money and government support to replace Gando’s existing dark and crumbling school. The new building forms part of a larger complex which includes teachers’ housing, a well, allotments and a sports field. The building and materials are perfectly adapted to both local climate and economic conditions. A large oversailing roof unites three linearly arranged classrooms. Covered outdoor teaching and play spaces sit between the classrooms. Walls and ceiling are constructed of locally made earth blocks, the ceiling supported on reinforcement bars. These provide thermal mass and reduce temperature fluctuation.

The roof shades the facades and protects the rammed earth from rain. Cooling air is allowed to flow between the roof and the classroom ceilings. The floor is made of beaten earth. Metal shutters can be opened in various configurations to admit light and air through large windows. Timber, difficult to obtain and subject to termite attack, was hardly used. Villagers were involved in every aspect of the school’s construction. Training programmes provided instruction in making clay blocks, local smiths fabricated the roof and shutters, children helped move stones and women helped carry water from several kilometres away.

Letter from Dakar

From New Statesmen…a letter from the presidential campaign in the city. 

When an awkward, mild-mannered geologist called Macky Sall won a landslide over his former boss Abdoulaye Wade in Senegal’s presidential election, Simon Akam was there.

Feeding Dakar is part of a series of BBC documentaries exploring the food crisis.

We Face Forward Toward the City curator David Pound has recently completed work for Architecture for Humanity on the Cape Coast Football for Hope Centre, bringing together a range of sustainable building techniques to create a truly great community building. You can read more about the project at Architectural Record by clicking on the photo

We Face Forward Toward the City curator David Pound has recently completed work for Architecture for Humanity on the Cape Coast Football for Hope Centre, bringing together a range of sustainable building techniques to create a truly great community building. You can read more about the project at Architectural Record by clicking on the photo

Overhead photograph of Niamey, capital of Niger 
(J.Silver)

Overhead photograph of Niamey, capital of Niger 

(J.Silver)

Urban Afro hip hop from Bamako 

Sacral spaces in two West African cities by AbdouMaliq Simone

A link to Abdou Malique Simone’s article discussing sacred spaces in Abidjan and Douala. Simone is one of the foremost urban thinkers in Africa and beyond and this article shows his widening scope of analysis around urbanism based in West Africa. 

We Face Forward: Season of West African Art in Manchester
There’s an African vibe in Manchester this summer. That’s all down to We Face Forward, a season of contemporary art and music from West Africa, taking place in Manchester’s galleries, museums, music venues, parks and public spaces. It’s part of the London 2012 Festival and runs from 2 June to 16 September 2012.
For the first time ever, Manchester Art Gallery, Whitworth Art Gallery and the Gallery of Costume (Platt Hall), are collaborating to stage a single exhibition across all three venues. We Face Forward: Art from West Africa Today is a spectacular celebration of contemporary art, showing the work of over 30 artists, including Barthélémy Toguo, Pascale Marthine Tayou and Romauld Hazoume. It features painting, drawing, photography, textiles, sculpture, video and sound work, and includes new commissions.
There are more We Face Forward exhibitions and events at Manchester Museum and the National Football Museum and a packed programme of We Face Forwardfamily activities at various venues.
http://www.wefaceforward.org/
Confirmed artists
Georges Adéagbo (Benin), El Anatsui (Ghana/Nigeria), Hélène Amazou (Togo / Belgium), Lucy Azubuike (Nigeria), Mohamed Camara (Mali / France), Cheick Diallo (Mali / France), Aida Duplessis (Mali), Aboubakar Fofana (Mali / France), Meschac Gaba (Benin/ Netherlands), Francois-Xavier Gbré ( Ivory Coast / France), Romuald Hazoumè (Benin), Abdoulaye Armin Kane (Senegal), Abdoulaye Konaté (Mali), Soungalo Malé (Mali), Hamidou Maiga (Burkina Faso), Nii Obodai (Ghana), Emeka Ogboh (Nigeria), Abraham Oghobase, Amarachi Okafor (Nigeria / UK), Charles Okereke (Nigeria), Nnenna Okore (Nigeria / USA), Duro Olowu (Nigeria / London), George Osodi (Nigeria / London), Nyaba Leon Ouedraogo (Burkina Faso), Ibrahima Niang AKA Piniang (Senegal), Nyani Quarmyne (Ghana), Abderramane Sakaly (Senegal / Mali), Amadou Sanogo (Mali), Malick Sidibé (Mali), Pascale Marthine Tayou (Cameroon / Belgium), Barthélémy Toguo (Cameroon / France), Victoria Udondian (Nigeria)
Confirmed musicians
AfroCubism – featuring Eliades Ochoa of Buena Vista Social Club and Toumani Diabaté (Cuba / Mali), Diabel Cissokho (Senegal), Angelique Kidjo with Manchester World Voices Choir (Benin / UK) ; Dele Sosimi Afrobeat Orchestra(Nigeria / UK); Endless Journey – featuring members of Mamane Barka and Etran Finatawa (Niger); Kanda Bongo Man (Congo / UK); Jaliba Kuyateh & The Kumareh Band (Gambia); Seckou Keita Band (Senegal / UK)

We Face Forward: Season of West African Art in Manchester

There’s an African vibe in Manchester this summer. That’s all down to We Face Forward, a season of contemporary art and music from West Africa, taking place in Manchester’s galleries, museums, music venues, parks and public spaces. It’s part of the London 2012 Festival and runs from 2 June to 16 September 2012.

For the first time ever, Manchester Art Gallery, Whitworth Art Gallery and the Gallery of Costume (Platt Hall), are collaborating to stage a single exhibition across all three venues. We Face Forward: Art from West Africa Today is a spectacular celebration of contemporary art, showing the work of over 30 artists, including Barthélémy Toguo, Pascale Marthine Tayou and Romauld Hazoume. It features painting, drawing, photography, textiles, sculpture, video and sound work, and includes new commissions.

There are more We Face Forward exhibitions and events at Manchester Museum and the National Football Museum and a packed programme of We Face Forwardfamily activities at various venues.

http://www.wefaceforward.org/

Confirmed artists

Georges Adéagbo (Benin), El Anatsui (Ghana/Nigeria), Hélène Amazou (Togo / Belgium), Lucy Azubuike (Nigeria), Mohamed Camara (Mali / France), Cheick Diallo (Mali / France), Aida Duplessis (Mali), Aboubakar Fofana (Mali / France), Meschac Gaba (Benin/ Netherlands), Francois-Xavier Gbré ( Ivory Coast / France), Romuald Hazoumè (Benin), Abdoulaye Armin Kane (Senegal), Abdoulaye Konaté (Mali), Soungalo Malé (Mali), Hamidou Maiga (Burkina Faso), Nii Obodai (Ghana), Emeka Ogboh (Nigeria), Abraham Oghobase, Amarachi Okafor (Nigeria / UK), Charles Okereke (Nigeria), Nnenna Okore (Nigeria / USA), Duro Olowu (Nigeria / London), George Osodi (Nigeria / London), Nyaba Leon Ouedraogo (Burkina Faso), Ibrahima Niang AKA Piniang (Senegal), Nyani Quarmyne (Ghana), Abderramane Sakaly (Senegal / Mali), Amadou Sanogo (Mali), Malick Sidibé (Mali), Pascale Marthine Tayou (Cameroon / Belgium), Barthélémy Toguo (Cameroon / France), Victoria Udondian (Nigeria)

Confirmed musicians

AfroCubism – featuring Eliades Ochoa of Buena Vista Social Club and Toumani Diabaté (Cuba / Mali), Diabel Cissokho (Senegal), Angelique Kidjo with Manchester World Voices Choir (Benin / UK) ; Dele Sosimi Afrobeat Orchestra(Nigeria / UK); Endless Journey – featuring members of Mamane Barka and Etran Finatawa (Niger); Kanda Bongo Man (Congo / UK); Jaliba Kuyateh & The Kumareh Band (Gambia); Seckou Keita Band (Senegal / UK)

Welcome to Lagos, extraordinary BBC documentary showing the daily lives of residents in the booming Nigerian city. 

Infrastructure histories in Ga Mashie, Accra

A history of infrastructures in Ga Mashie, Accra

By Jonathan Silver (Durham University)

Overview

The Ga people, the original inhabitants of James Town arrived from Chad creating a number of coastal towns including Ga Mashie although a date for this migration is not known its estimated that Ga settlements have existed along the coast for hundreds of years before European exploration and exploitation. The Portuguese were the first European power to establish a settlement in present day Accra, building Fort Vincente in the 1560s. The growth of the slave trade along the West Africa coastline meant that fortified settlements and deep harbors became a necessity for the slave trading nations of Europe and the British built a fortified James Fort in 1659 in which to link up with other settlements along the Gold Coast. At this time mixed European and Africa families lived in a cosmopolitan mix of peoples in James Town in run down thatched cottages overlooking the harbor. The end of the slave trade brought new economic opportunities for the area beyond slavery and the growth natural resource extraction such as cocoa and palm oil production brought more traders and administrators to James Town. By 1877 the British had moved their capital of the Gold Coast to Christiansbourg Castle, Accra (from Cape Coast) and James Town became the epicentre of trade and administration for the country with its deep harbor receiving many trade ships each year.

Colonial infrastructures

Colonial era infrastructure systems in James Town closely mirrored that of other urban areas across Africa. This history is a history of the colonial authorities ignoring the African population and itsinfrastructural needs as Myers (2006:294) explains about Lusaka; “for the most part urban authorities and European residents simply ignored developments in the African part of town”. Ghana would be no exception. Indeed with this exclusionary colonial mindset manifested in political under representation and a lack of essential urban services, justified through various discourses of subjegation and imperial supremacy James Town represents an important example of the colonial governance practices of urban areas in Africa in the late 19th century. This attitude is reflected in the words of the Colonial Governor in 1858; “the object of this Government was not to clean out dirty towns but to direct the people to that and other objects by controlling and modifying their own Government”(cited in Hess, 2000:40). This lack of consideration by colonial authorities for their urban subjects can be illustrated vividly by the example presented by Brand (1972:42) in which £62,000 was spent by the Governor of James Town on the British Empire Exhibition whilst only £1,400 was spent on anti plague measures (Brand, 1972:42).

Within a year of the British move from Cape Coast James Town became a focus for colonial administrators seeking to create better living conditions for the European settlers. The 1878 Gold Coast Towns Police and Health Ordinance creating a new legislative tool for the authorities with the objective of empowering the Governor to deal with unsanitary conditions and impose punishments including fines and court appearances on those deemed to be creating unsanitary conditions (Hess, 2000). This was followed by further legislation in 1894 which was perhaps spurred by the outbreak of bubonic plague and the burning of parts of James Town by the British1. Under the guise of the Town Council Ordinance which sought to further enforce sanitation and general improvement through the introduction of street lighting (paraffinlights), the construction of drains, waste disposal and building on the provision of safe water, first begunin 1885 with the building of a reservoir. Urban governance of James Town was further developed through the establishment of the Accra Municipal Council with committees set up to develop infrastructural systems across of range of urban issues including water supply, sanitation and lighting (Dixon,1968). James Town had been spatially organised with a de facto segregation with the run down thatched cottages of the Ga people based away from the brick buildings of the settlers near the harbor. This segregation was not just about interaction but was viewed as essential to prevent disease in the settler community through the development of its own urban infrastructural systems such as water. By the mid 1890s an increasingly worried colonial authority concerned about the sanitary conditions of James Town and the spread of disease (such as the bubonic plague) led to the planning and creation of a new town in Accra, Victoriaborg. Well away from the cramped and unsanitary conditions of James Town this new settlement would provide a safe and comfortable environment. This racially segregated neighbourhood would attract many of the traders, administrators and other settlers away from the hot and busy streets of James Town and so by the early 20th century James Town would once again be dominated by the Ga people. Although the Devonshire White Paper of 1923, drafted by the colonial secretary in Kenya, advocated for the ending of racial segregation in Britain’s African colonies James Town had long since ceased to act as the centre of British imperical trading activity on the Gold Coast.

Post independence

James Town would become the focus for much of the independence movement during the 1930s with the future president Dr Kwame Nkrumah taking his constituency seat in Old Accra by 1951 and many of the mobilisations by war veterans seeking autonomy taking place around the harbor. The British post  development of a masterplan for Accra by architect Maxwell Fry envisaged a vast governmental complex supporting the ever increasing number of traders to Ghana. Along the coast from James Town to Osu the plan envisaged a city with separated zones of activity for industry, the urban poor and the middle class all being confined to particular spaces. Although many of these plans were rejected in the post independence era the building of the giant courts complex on High Street saw the demolishing of some of the western parts of James Town. Once Ghana had become independent in 1957 Nkrumah set about developing his own vision of Accra with a focus on creating an (Afro) united and modern(ist) culture that would bind together Africa’s first independent country and create a prosperous future for all. Although the colonial authorities developed an electricity supply for the settler communities as early as 1916 it was not until Nkrumah’s programme of modernisation in the early 1960s that James Town was provided with a networked electricity infrastructure. Nkrumah’s vision for the country included the development of a central business district in Accra and James Town was repeatedly targeted for slum clearance to make way for this vision;

“In the development of the central business area under the Nkrumah administration, quite different priorities and political exigencies are evident. The administration repeatedly instigated slum clearance in James Town and Ussher Town, but relocation and demolition efforts, according to an article published in the Daily Graphic, 16 May 1957, were consistently resisted by Ga leaders and members of the opposition” (Hess, 2000:54).

The end of the Nkrumah regime brought about through a military coup in 1966 brought about the end of grand visions for Accra and the country and the city began to buckle under the accelerating urbanization that the country was experiencing and the ever increasing debt burden that its leaders were running up. After the promises of the post independence government of a modern future for Accra attention to urban infrastructures and architecture declined markably. The 1980s witnessed the introduction of structural adjustment programmes (SAPs) into the Ghanian economy, brought about through IMF and World Bank macro economic planning and further sapping investment in urban infrastructure networks.

Facing forward in the queue for football at Accra

Facing forward in the queue for football at Accra

African Underground: Democracy in Dakar is a groundbreaking documentary film about hip-hop youth and politics in Dakar Senegal. The film follows rappers, DJs, journalists, professors and people on the street at the time before during and after the controversial 2007 presidential election in Senegal and examines hip-hop’s role on the political process. Originally shot as a seven part documentary mini-series released via the internet – the documentary bridges the gap between hip-hop activism, video journalism and documentary film and explores the role of youth and musical activism on the political process.
Watch at vimeo.com/5512360

African Underground: Democracy in Dakar is a groundbreaking documentary film about hip-hop youth and politics in Dakar Senegal. The film follows rappers, DJs, journalists, professors and people on the street at the time before during and after the controversial 2007 presidential election in Senegal and examines hip-hop’s role on the political process. Originally shot as a seven part documentary mini-series released via the internet – the documentary bridges the gap between hip-hop activism, video journalism and documentary film and explores the role of youth and musical activism on the political process.

Watch at vimeo.com/5512360

Bamako Internet Kiosk being built at the lab for After Hours
Designed by 5NA….open for one night only
Saturday 18th August
Whitworth Art Gallery 7pm onwards

Bamako Internet Kiosk being built at the lab for After Hours

Designed by 5NA….open for one night only

Saturday 18th August

Whitworth Art Gallery 7pm onwards

Trashy Bags is a social enterprise based in Accra, Ghana that makes recycled eco-friendly bags and gifts from plastic trash.

They employ over sixty local people to collect, clean and stitch plastic trash in the form of sachets that have been previously used to contain drinking water and other drinks, into fashionable and useful bags and other products.  Plastic sachets have become a big problem across Africa because of the lack of recycling initiatives and waste management infrastructure.

Trashy Bags is leading the way in sustainable development in Africa in the area of plastic recycling and we have collected and recycled approximately 20 million plastic sachets since we started in 2007. Every month nearly 200,000 plastic sachets are being collected and brought to Trashy Bags by a network of people who are obtaining an income from their efforts.

A new line of Trash bags is trash Ad Bags these are made from discarded advertising billboards that are now proliferating throughout Accra.

Because the Ad Bags are all made from different billboards, each one cut for individual products, every one of the Ad Bags is unique in design and colour.

Trashy Ad Bags are hand-crafted with a luxurious batik fabric lining.

Primary School Gando, Burkina Faso by Francis Kere 

In a country where only half the primary-school-aged children receive an education, this school provides a necessary facility for the residents of Gando, a small village of 3,000 people. While still an architecture student in Berlin, Kéré, the first person in his village to study abroad, raised private money and government support to replace Gando’s existing dark and crumbling school. The new building forms part of a larger complex which includes teachers’ housing, a well, allotments and a sports field. The building and materials are perfectly adapted to both local climate and economic conditions. A large oversailing roof unites three linearly arranged classrooms. Covered outdoor teaching and play spaces sit between the classrooms. Walls and ceiling are constructed of locally made earth blocks, the ceiling supported on reinforcement bars. These provide thermal mass and reduce temperature fluctuation.

The roof shades the facades and protects the rammed earth from rain. Cooling air is allowed to flow between the roof and the classroom ceilings. The floor is made of beaten earth. Metal shutters can be opened in various configurations to admit light and air through large windows. Timber, difficult to obtain and subject to termite attack, was hardly used. Villagers were involved in every aspect of the school’s construction. Training programmes provided instruction in making clay blocks, local smiths fabricated the roof and shutters, children helped move stones and women helped carry water from several kilometres away.

Letter from Dakar

From New Statesmen…a letter from the presidential campaign in the city. 

When an awkward, mild-mannered geologist called Macky Sall won a landslide over his former boss Abdoulaye Wade in Senegal’s presidential election, Simon Akam was there.

Feeding Dakar is part of a series of BBC documentaries exploring the food crisis.

We Face Forward Toward the City curator David Pound has recently completed work for Architecture for Humanity on the Cape Coast Football for Hope Centre, bringing together a range of sustainable building techniques to create a truly great community building. You can read more about the project at Architectural Record by clicking on the photo

We Face Forward Toward the City curator David Pound has recently completed work for Architecture for Humanity on the Cape Coast Football for Hope Centre, bringing together a range of sustainable building techniques to create a truly great community building. You can read more about the project at Architectural Record by clicking on the photo

Overhead photograph of Niamey, capital of Niger 
(J.Silver)

Overhead photograph of Niamey, capital of Niger 

(J.Silver)

Urban Afro hip hop from Bamako 

Sacral spaces in two West African cities by AbdouMaliq Simone

A link to Abdou Malique Simone’s article discussing sacred spaces in Abidjan and Douala. Simone is one of the foremost urban thinkers in Africa and beyond and this article shows his widening scope of analysis around urbanism based in West Africa. 

We Face Forward: Season of West African Art in Manchester
There’s an African vibe in Manchester this summer. That’s all down to We Face Forward, a season of contemporary art and music from West Africa, taking place in Manchester’s galleries, museums, music venues, parks and public spaces. It’s part of the London 2012 Festival and runs from 2 June to 16 September 2012.
For the first time ever, Manchester Art Gallery, Whitworth Art Gallery and the Gallery of Costume (Platt Hall), are collaborating to stage a single exhibition across all three venues. We Face Forward: Art from West Africa Today is a spectacular celebration of contemporary art, showing the work of over 30 artists, including Barthélémy Toguo, Pascale Marthine Tayou and Romauld Hazoume. It features painting, drawing, photography, textiles, sculpture, video and sound work, and includes new commissions.
There are more We Face Forward exhibitions and events at Manchester Museum and the National Football Museum and a packed programme of We Face Forwardfamily activities at various venues.
http://www.wefaceforward.org/
Confirmed artists
Georges Adéagbo (Benin), El Anatsui (Ghana/Nigeria), Hélène Amazou (Togo / Belgium), Lucy Azubuike (Nigeria), Mohamed Camara (Mali / France), Cheick Diallo (Mali / France), Aida Duplessis (Mali), Aboubakar Fofana (Mali / France), Meschac Gaba (Benin/ Netherlands), Francois-Xavier Gbré ( Ivory Coast / France), Romuald Hazoumè (Benin), Abdoulaye Armin Kane (Senegal), Abdoulaye Konaté (Mali), Soungalo Malé (Mali), Hamidou Maiga (Burkina Faso), Nii Obodai (Ghana), Emeka Ogboh (Nigeria), Abraham Oghobase, Amarachi Okafor (Nigeria / UK), Charles Okereke (Nigeria), Nnenna Okore (Nigeria / USA), Duro Olowu (Nigeria / London), George Osodi (Nigeria / London), Nyaba Leon Ouedraogo (Burkina Faso), Ibrahima Niang AKA Piniang (Senegal), Nyani Quarmyne (Ghana), Abderramane Sakaly (Senegal / Mali), Amadou Sanogo (Mali), Malick Sidibé (Mali), Pascale Marthine Tayou (Cameroon / Belgium), Barthélémy Toguo (Cameroon / France), Victoria Udondian (Nigeria)
Confirmed musicians
AfroCubism – featuring Eliades Ochoa of Buena Vista Social Club and Toumani Diabaté (Cuba / Mali), Diabel Cissokho (Senegal), Angelique Kidjo with Manchester World Voices Choir (Benin / UK) ; Dele Sosimi Afrobeat Orchestra(Nigeria / UK); Endless Journey – featuring members of Mamane Barka and Etran Finatawa (Niger); Kanda Bongo Man (Congo / UK); Jaliba Kuyateh & The Kumareh Band (Gambia); Seckou Keita Band (Senegal / UK)

We Face Forward: Season of West African Art in Manchester

There’s an African vibe in Manchester this summer. That’s all down to We Face Forward, a season of contemporary art and music from West Africa, taking place in Manchester’s galleries, museums, music venues, parks and public spaces. It’s part of the London 2012 Festival and runs from 2 June to 16 September 2012.

For the first time ever, Manchester Art Gallery, Whitworth Art Gallery and the Gallery of Costume (Platt Hall), are collaborating to stage a single exhibition across all three venues. We Face Forward: Art from West Africa Today is a spectacular celebration of contemporary art, showing the work of over 30 artists, including Barthélémy Toguo, Pascale Marthine Tayou and Romauld Hazoume. It features painting, drawing, photography, textiles, sculpture, video and sound work, and includes new commissions.

There are more We Face Forward exhibitions and events at Manchester Museum and the National Football Museum and a packed programme of We Face Forwardfamily activities at various venues.

http://www.wefaceforward.org/

Confirmed artists

Georges Adéagbo (Benin), El Anatsui (Ghana/Nigeria), Hélène Amazou (Togo / Belgium), Lucy Azubuike (Nigeria), Mohamed Camara (Mali / France), Cheick Diallo (Mali / France), Aida Duplessis (Mali), Aboubakar Fofana (Mali / France), Meschac Gaba (Benin/ Netherlands), Francois-Xavier Gbré ( Ivory Coast / France), Romuald Hazoumè (Benin), Abdoulaye Armin Kane (Senegal), Abdoulaye Konaté (Mali), Soungalo Malé (Mali), Hamidou Maiga (Burkina Faso), Nii Obodai (Ghana), Emeka Ogboh (Nigeria), Abraham Oghobase, Amarachi Okafor (Nigeria / UK), Charles Okereke (Nigeria), Nnenna Okore (Nigeria / USA), Duro Olowu (Nigeria / London), George Osodi (Nigeria / London), Nyaba Leon Ouedraogo (Burkina Faso), Ibrahima Niang AKA Piniang (Senegal), Nyani Quarmyne (Ghana), Abderramane Sakaly (Senegal / Mali), Amadou Sanogo (Mali), Malick Sidibé (Mali), Pascale Marthine Tayou (Cameroon / Belgium), Barthélémy Toguo (Cameroon / France), Victoria Udondian (Nigeria)

Confirmed musicians

AfroCubism – featuring Eliades Ochoa of Buena Vista Social Club and Toumani Diabaté (Cuba / Mali), Diabel Cissokho (Senegal), Angelique Kidjo with Manchester World Voices Choir (Benin / UK) ; Dele Sosimi Afrobeat Orchestra(Nigeria / UK); Endless Journey – featuring members of Mamane Barka and Etran Finatawa (Niger); Kanda Bongo Man (Congo / UK); Jaliba Kuyateh & The Kumareh Band (Gambia); Seckou Keita Band (Senegal / UK)

Welcome to Lagos, extraordinary BBC documentary showing the daily lives of residents in the booming Nigerian city. 

Infrastructure histories in Ga Mashie, Accra

A history of infrastructures in Ga Mashie, Accra

By Jonathan Silver (Durham University)

Overview

The Ga people, the original inhabitants of James Town arrived from Chad creating a number of coastal towns including Ga Mashie although a date for this migration is not known its estimated that Ga settlements have existed along the coast for hundreds of years before European exploration and exploitation. The Portuguese were the first European power to establish a settlement in present day Accra, building Fort Vincente in the 1560s. The growth of the slave trade along the West Africa coastline meant that fortified settlements and deep harbors became a necessity for the slave trading nations of Europe and the British built a fortified James Fort in 1659 in which to link up with other settlements along the Gold Coast. At this time mixed European and Africa families lived in a cosmopolitan mix of peoples in James Town in run down thatched cottages overlooking the harbor. The end of the slave trade brought new economic opportunities for the area beyond slavery and the growth natural resource extraction such as cocoa and palm oil production brought more traders and administrators to James Town. By 1877 the British had moved their capital of the Gold Coast to Christiansbourg Castle, Accra (from Cape Coast) and James Town became the epicentre of trade and administration for the country with its deep harbor receiving many trade ships each year.

Colonial infrastructures

Colonial era infrastructure systems in James Town closely mirrored that of other urban areas across Africa. This history is a history of the colonial authorities ignoring the African population and itsinfrastructural needs as Myers (2006:294) explains about Lusaka; “for the most part urban authorities and European residents simply ignored developments in the African part of town”. Ghana would be no exception. Indeed with this exclusionary colonial mindset manifested in political under representation and a lack of essential urban services, justified through various discourses of subjegation and imperial supremacy James Town represents an important example of the colonial governance practices of urban areas in Africa in the late 19th century. This attitude is reflected in the words of the Colonial Governor in 1858; “the object of this Government was not to clean out dirty towns but to direct the people to that and other objects by controlling and modifying their own Government”(cited in Hess, 2000:40). This lack of consideration by colonial authorities for their urban subjects can be illustrated vividly by the example presented by Brand (1972:42) in which £62,000 was spent by the Governor of James Town on the British Empire Exhibition whilst only £1,400 was spent on anti plague measures (Brand, 1972:42).

Within a year of the British move from Cape Coast James Town became a focus for colonial administrators seeking to create better living conditions for the European settlers. The 1878 Gold Coast Towns Police and Health Ordinance creating a new legislative tool for the authorities with the objective of empowering the Governor to deal with unsanitary conditions and impose punishments including fines and court appearances on those deemed to be creating unsanitary conditions (Hess, 2000). This was followed by further legislation in 1894 which was perhaps spurred by the outbreak of bubonic plague and the burning of parts of James Town by the British1. Under the guise of the Town Council Ordinance which sought to further enforce sanitation and general improvement through the introduction of street lighting (paraffinlights), the construction of drains, waste disposal and building on the provision of safe water, first begunin 1885 with the building of a reservoir. Urban governance of James Town was further developed through the establishment of the Accra Municipal Council with committees set up to develop infrastructural systems across of range of urban issues including water supply, sanitation and lighting (Dixon,1968). James Town had been spatially organised with a de facto segregation with the run down thatched cottages of the Ga people based away from the brick buildings of the settlers near the harbor. This segregation was not just about interaction but was viewed as essential to prevent disease in the settler community through the development of its own urban infrastructural systems such as water. By the mid 1890s an increasingly worried colonial authority concerned about the sanitary conditions of James Town and the spread of disease (such as the bubonic plague) led to the planning and creation of a new town in Accra, Victoriaborg. Well away from the cramped and unsanitary conditions of James Town this new settlement would provide a safe and comfortable environment. This racially segregated neighbourhood would attract many of the traders, administrators and other settlers away from the hot and busy streets of James Town and so by the early 20th century James Town would once again be dominated by the Ga people. Although the Devonshire White Paper of 1923, drafted by the colonial secretary in Kenya, advocated for the ending of racial segregation in Britain’s African colonies James Town had long since ceased to act as the centre of British imperical trading activity on the Gold Coast.

Post independence

James Town would become the focus for much of the independence movement during the 1930s with the future president Dr Kwame Nkrumah taking his constituency seat in Old Accra by 1951 and many of the mobilisations by war veterans seeking autonomy taking place around the harbor. The British post  development of a masterplan for Accra by architect Maxwell Fry envisaged a vast governmental complex supporting the ever increasing number of traders to Ghana. Along the coast from James Town to Osu the plan envisaged a city with separated zones of activity for industry, the urban poor and the middle class all being confined to particular spaces. Although many of these plans were rejected in the post independence era the building of the giant courts complex on High Street saw the demolishing of some of the western parts of James Town. Once Ghana had become independent in 1957 Nkrumah set about developing his own vision of Accra with a focus on creating an (Afro) united and modern(ist) culture that would bind together Africa’s first independent country and create a prosperous future for all. Although the colonial authorities developed an electricity supply for the settler communities as early as 1916 it was not until Nkrumah’s programme of modernisation in the early 1960s that James Town was provided with a networked electricity infrastructure. Nkrumah’s vision for the country included the development of a central business district in Accra and James Town was repeatedly targeted for slum clearance to make way for this vision;

“In the development of the central business area under the Nkrumah administration, quite different priorities and political exigencies are evident. The administration repeatedly instigated slum clearance in James Town and Ussher Town, but relocation and demolition efforts, according to an article published in the Daily Graphic, 16 May 1957, were consistently resisted by Ga leaders and members of the opposition” (Hess, 2000:54).

The end of the Nkrumah regime brought about through a military coup in 1966 brought about the end of grand visions for Accra and the country and the city began to buckle under the accelerating urbanization that the country was experiencing and the ever increasing debt burden that its leaders were running up. After the promises of the post independence government of a modern future for Accra attention to urban infrastructures and architecture declined markably. The 1980s witnessed the introduction of structural adjustment programmes (SAPs) into the Ghanian economy, brought about through IMF and World Bank macro economic planning and further sapping investment in urban infrastructure networks.

Facing forward in the queue for football at Accra

Facing forward in the queue for football at Accra

Infrastructure histories in Ga Mashie, Accra

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