Malawi is fed up with Madonna and her school daze, with the singer’s refusal to consult and her autocratic ways. Given the autocratic politics of the Mutharika regime, that’s both quite a statement and none at all. Madonna’s foundation, Raising Malawi (a telling name), has reportedly spent $3.8 million on a state-of-the-art school for girls outside of the Lilongwe. What’s there to show for that? Nothing.

But the bigger picture is that Malawi is fed up, and not only the Mutharika government with Madonna.

Women are fed up with the ways in which the State has failed to respond to HIV and AIDS, and in particular to the ways in which HIV+ women live. For example, Bhatupe Mhango, gospel singer, activist, Malawian, is fed up with the injunction to keep silent about her HIV+ status. She is fed up with being fed up as well. Along with so many others, she is fed up with being told that she must not even whisper about her ‘condition’. She is fed up with State blaming everyone, including ‘the Chinese’, while the illness spreads. And so she is singing out, speaking out, writing out, and organizing.

It’s what women organizing do every day, in Malawi as everywhere. As Hope Chigudu, Ugandan-born Zimbabwe-based feminist organizer in Malawi has explained the process, women gather together, speak, listen, tell stories, listen, share, create and support safe spaces for sharing, demystify the body, attend to new and older forms of leadership, attend to new and older leaders, work at keeping the processes open and sustaining, generate knowledge, cross the line.

Women cross the line all the time. What does that mean?

It means that when discussions of girls’ education in Malawi must be conducted by Malawian women and girls. What comes first? Is it private, safe, secure and clean toilets? Is it daycare for girl students’ children? Questions that cannot be asked or answered from London or Tokyo or Washington, DC.

And so, the women of Malawi are fed up. Over the weekend, the government held a Women of Distinction ceremony, at the ‘magnificent’ State House. Only problem was too many women showed up. So, when the women retired to the restrooms and found that the women’s toilets was actually the woman’s toilet, they ‘invaded’ the men’s restrooms. More like … occupied, liberated, socialized and demystified.

The distinctive and distinguished women of Malawi said no to the architecture of patriarchy and yes to themselves. They said, “Yes, yes we can go in there, for we are many.” And they did.

Further Reading

On Safari

On our year-end publishing break, we reflect on how 2024’s contradictions reveal a fractured world grappling with inequality, digital activism, and the blurred lines between action and spectacle.

Rebuilding Algeria’s oceans

Grassroots activists and marine scientists in Algeria are building artificial reefs to restore biodiversity and sustain fishing communities, but scaling up requires more than passion—it needs institutional support and political will.

Ibaaku’s space race

Through Afro-futurist soundscapes blending tradition and innovation, Ibaaku’s new album, ‘Joola Jazz,’ reshapes Dakar’s cultural rhythm and challenges the legacy of Négritude.

An allegiance to abusers

This weekend, Chris Brown will perform two sold-out concerts in South Africa. His relationship to the country reveals the twisted dynamic between a black American artist with a track record of violence and a country happy to receive him.

Shell’s exit scam

Shell’s so-called divestment from Nigeria’s Niger Delta is a calculated move to evade accountability, leaving behind both environmental and economic devastation.

Africa’s sibling rivalry

Nigeria and South Africa have a fraught relationship marked by xenophobia, economic competition, and cultural exchange. The Nigerian Scam are joined by Khanya Mtshali to discuss the dynamics shaping these tensions on the AIAC podcast.

The price of power

Ghana’s election has brought another handover between the country’s two main parties. Yet behind the scenes lies a flawed system where wealth can buy political office.

Beats of defiance

From the streets of Khartoum to exile abroad, Sudanese hip-hop artists have turned music into a powerful tool for protest, resilience, and the preservation of collective memory.