Amidu Olalekan Sanni
Of central interest here are the historical sources on Islam and Africa, the role and contributions of manuscripts to the narrative, and how the new cyber world has become a domain for those sources as instruments for the generation and utilization of knowledge. Africa came in contact with Islam right from the birth of the faith in the 7th century. Although Judeo-Christian, Late-Antique, and pre-Islamic materials provided the earliest historical sources on Islam and its people, the Qur’an, hadith (statements of the Prophet Muhammad), and the sira/maghāzī (biography/expeditions) were the first original sources on Islamic history on which later writings, including those from Africa, drew.
The manuscript tradition in Islam is as old as the faith itself; it was one of the earliest material sources on Islamic sciences, and in the case of Africa, it provided a treasure trove of materials. At the beginning of the 21st century, the approach to scholarship and utilization of manuscripts changed radically, as digitization, creation of online databases, interconnected portals and links to universal portals, catalogs of manuscripts and published materials, among other innovations, redefined the ways knowledge of Islamic history is generated, accessed, and utilized.
The Soninke are an ancient West African ethnicity that probably gave rise to the much larger group that is called the Mande of which the Soninke are part. The Soninke language belongs to the northwestern Mande group but through the dynamism of its speakers has loaned many words and concepts to distant ethnic groups throughout the West African ecological zones. Mande groups such as the Malinke and Bambara may be descendants of the Soninke or a Proto-Soninke group. The Soninke are the founder of the first West African empire, Ghana, which they themselves call Wagadu, from the 6th to the 12th centuries
John C. McCall
Motion picture technology developed at the dawn of the 20th century, just as the formal colonization of Africa was launched at the Berlin Conference of 1884–1885. While it took a few decades for cinema houses to spread in West Africa, by mid-century the colonial administrations began to use film as a means for conveying colonial culture to African subjects. For the British and French colonials, film was a means to shape public opinion. Both British and French colonial administrations criminalized indigenous filmmaking for fear of the subversive potential of anti-colonial messages—film communicated in one direction only. When West African nations became independent in the late 20th century, these restrictions vanished and Africans began to make films. This process played out differently in Francophone Africa than in Anglophone countries. France cultivated African filmmakers, sponsored training, and funded film projects. Talented and determined filmmakers in Anglophone Africa also struggled to produce celluloid films, but unlike their counterparts in former French colonies, they received little support from abroad. A significant number of excellent celluloid films were produced under this system, but largely in Francophone Africa. Though many of these filmmakers have gained global recognition, most remained virtually unknown in Africa outside the elite spaces of the FESPACO film festival and limited screenings at French embassies. Though West African filmmakers have produced an impressive body of high-quality work, few Africans beyond the intellectual elite know of Africa’s most famous films. This paradox of a continent with renowned filmmakers but no local film culture began to change in the 1990s when aspiring artists in Nigeria and Ghana began to make inexpensive movies using video technology. Early works were edited on VCRs, but as digital video technology advanced, this process of informal video production quickly spread to other regions. The West African video movie industry has grown to become one of the most prominent, diverse, and dynamic expressions of a pan-African popular culture in Africa and throughout the global diaspora.