Heinrich Böll Stiftung Nairobi Office in collaboration with the deCOALonize campaign is pleased to finally release the Kenya Coal Report 2021. The report provides information for policymakers, civil societies, community members, and others interested in Coal Power exploration and production in Kenya.
This special edition of Perspectives reflects on, analyzes and documents the evolution of African feminisms and feminist action that African activists have taken up to address both old as well as persistent and new threats to women’s rights and gender justice. It also reflects on lessons learned from African feminist practices for current and future generations across the region.
Stella Nyanzi’s No Roses From My Mouth includes 159 poems written in 2019 and 2020 from Luzira Women’s Prison in Kampala, Uganda during a trial and serving time for cyber-harassing and offending the President of Uganda, Yoweri Kaguta Museveni in a poem where she uses his dead mother’s vagina as an image to comment on her son’s "oppression, suppression and repression" of Ugandans. This poetry collection includes poems "written by an activist who uses the space of incarceration and the time of detention to reflect on the conditions of being incarcerated itself", the position of the woman in society, and the political conditions of the Ugandan state.
Kenya has a long history of police use of excessive force during law enforcement operations, either in informal settlements or in response to demonstrations, often resulting in unnecessary deaths. Several deaths from police violence were reported in 2020 during the first days of Kenya's dawn to dusk curfew imposed on March 27,2020 to contain the spread of COVID-19.
The Hollywood action movie Black Panther captured the imagination of audiences around the globe. In several African countries, it quickly became the highest grossing film of all time. The tale is set in Wakanda, a technologically advanced African kingdom that avoided the shackles of colonialism and slavery by isolating itself behind a guise of poverty and deprivation. Although what it presents as “African”, in terms of narrative and images, is far from uncontested, the film catapulted Afrofuturism – a discipline or aesthetic that enlists science fiction and technology to imagine black identities and futures unconstrained by past and present circumstances – from the avant-garde circles of artists and intellectuals into the mainstream.
“People and Power: Stories of Small Scale Renewable Energy Entrepreneurs in Kenya” documents 11 renewable energy projects that highlight the uptake of renewable energy in Kenya.
With this edition of Perspectives, the Heinrich Böll Foundation explores some of the approaches and instruments that communities and their NGO partners have developed to create room for community-centred stakeholder participation, and to champion community interests and rights.
Supported by the Heinrich Boell Foundation and coordinated by Nani Croze of Kitengela Glass, the Kenya Arts Diary has become a popular annual art exhibition in Nairobi, Kenya and identified with the Heinrich Boell Foundation. The diary has built a new physical but portable space whose multi-functionality allows local artists to display their craft, advertise their skills, join a regional network, and find belonging.
First published in 2011, the Kenya Arts Diary is a catalogue - complete with descriptors - of photography, installations, oils, acrylics, patch-work quilts, wood, cement and scrap metal sculptures, some from “stitched found objects”. The Diary also carries artists’ bios and a directory that provides artists’ contacts and announces the range of collectives and studios where contemporary artists pursue their passions.
The current public debate on African migration to Europe is largely fuelled by visions of boats crossing the Mediterranean Sea, filled with desperate people in search of a better life. The narrative positions Africa as a “continent on the move” whose people are surging into Europe on a seemingly endless tide. Although media images of desperate African refugees fleeing to Europe do portray the daily reality and the often-tragic consequences of the treacherous crossing, the framing conceals more than it reveals.
