The study of West Africa has contributed to the expansion of comparative arid-lands floodplain prehistory, from both the data collection (cultural and historical) and the theoretical aspects. The neoevolutionary approach that often pictures Africa as a backward continent has been successfully challenged. In the Middle Senegal Valley and in the Inland Niger Delta, research on their societies’ complexity done along these two subcontinent’s floodplains has described new processes (including urbanization) that were not previously featured in the archaeological literature. The two floodplains, because of their ecological diversity, with the richness of their ecological diversity, attracted Saharan populations affected by drought at the end of the second millennium and the first millennium BC. However, after their initiation occupation the two areas took different trajectories in complexity and settlement organization. Large complex settlements have been found at Jenne-jeno and in the Ile a Morphil that illustrate whole new trajectories of civilization. These forms of complexity, found in areas with historically known polities, were not included in the range of possibilities predicted by standard complexity theories regarding civilizational development. Ethnographic and historical data, reveal the existence of societies with a central authority embedded within and balanced by a diffuse, segmented and heterarchical power structure; often as a strategy to resist the individual consolidation of power. These societies exhibit evidence of horizontal differentiation and consensus-based decision making. All these types of organization are characterized by the presence of several sources of power vested in corporate entities, such as lineages, age groups, cults and secret societies.
Contrary to popular belief, the animated moving image on the African continent has long and diverse histories across many countries. Although it shares both the technology and some of the formal aspects of cinema, its historical development followed a different trajectory to that of indexical film, both in Europe and in Africa. This may be because of animation’s ability to draw upon a range of artistic practice, which means it can take many guises; at times it appears like a cartoon, or sometimes like puppets or sculptures that come to life; at other times it is a metamorphic drawing or painting, or even a photographic montage. In addition, while animation tends to be associated with content specifically intended for a children’s audience, it has in fact been an effective vehicle to conceal sociopolitical critique that would otherwise be considered problematic. Different animators in Africa have used animation to this end, presenting subversive and social-realist content within the unrealistic depictions of fantastical stories, the parodic, comedic or allegorical, or culturally located visual metaphors. African animators have also used animation to safeguard and give permanence to the stories, myths, and legends they grew up with. These legends have occasionally also informed animated superheroes in games such as the Kenyan mobile phone application Africa’s Legends, or the cast of an Afro-futurist setting such as the Nigerian “Afro-anime” production Red Origins. With the onset of digital technology, the landscape of animation in Africa has seen a blossoming of activity from expert and non-expert prod-users. Their work circulates in formal and informal settings, whether visible at a festival, on television and mainstream media, in online social networking spaces or on video streaming sites such as YouTube or Vimeo. The prolific characteristic of animation made for digital spaces has resulted in a paradoxical simultaneous visibility and invisibility. Networks of African artists have benefited from the visibility and distribution that the Internet and smart phone technologies offer; for example, Kenyan multimedia artists Just a Band were quoted as saying that they were discovered online before they were discovered in Nairobi. However, the ephemeral quality of these digital spaces can also be problematic from the archivist’s perspective as digital traces change. For this reason it is increasingly important to capture the traces that African artists leave in this dynamic space as they reflect the zeitgeist.
From the period of the “Scramble for Africa” in the 1880s to the era of decolonization that began in the 1950s, culture and media played essential roles in constructing images of the colonized subject as well as governing newly conquered empires. In the struggle for political independence, Africans used film, music, literature, journals, and newspapers to counter European ideas about African society as well as to provide the foundations for postcolonial national identities. With sovereignty largely realized across Africa in the 1960s and 1970s, the roles of culture and media were critical in forging the bonds of nationhood and solidifying the legitimacy of the new states. However, those official efforts increasingly clashed with the aspirations of cultural activists, who desired a more thorough transformation of their societies in order to transcend the colonial legacy and construct progressive communities. Media and culture became a forum for political conflict whereby governments increasingly restricted creativity and subsequently sought complete control of the means of cultural creation and diffusion. Both the aspirations of public officials and opposition activists suffered during a period of prolonged economic crisis in Africa, which began in the 1970s and stretched into the 1990s. The sinews of governance as well as the radical pretensions of culture workers were torn asunder as many parts of Africa suffered state collapse, civil war, famine, and epidemic diseases (including the HIV/AIDS and Ebola crises). The dawn of the new millennium coincided with the age of neoliberal globalization that, for many African countries, was synonymous with structural adjustment programs and oversight from such international lending institutions as the International Monetary Fund (IMF) and the World Bank. This often required the privatization of media across Africa and included the greater prominence of non-African media sources on radio, television, and the cinema throughout the continent. It also was reflected in a shift among African culture workers, who frequently centered on the impact of globalization on African societies in their work. Filmmakers, musicians, and writers often use their platforms to speak to the wider world beyond Africa about the place of African societies in the globalized world.
The history of North Africa from the coming of Islam to the rise of the Almoravid Empire in the 11th century is a crucial period in the making of the Islamic Maghrib. From 600