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The year that Prince Akeem, Queen Aoleon, King Jaffe Joffer and the "African" Kingdom of Zamunda made a spectacular comeback.

Twitter.

For all the serious stuff we wrote or filmed about, tweeted or Facebooked this year, this was undoubtedly the year that Prince Akeem, Queen Aoleon, King Jaffe Joffer and the “African” Kingdom of Zamunda made a spectacular comeback. Whether it was Snoop Dogg’s wife throwing a “Coming to Africa” birthday party for their son (TMZ has the video evidence), rapper Jidenna (!) throwing his “Nigerian Renaissance Ball,” Action Bronson reprising the whole film as a music video (Chance the Rapper played the Cuba Gooding Jnr. role) and, most notably, the Knowles-Carters borrowing not once–but twice–first in May (we couldn’t help noticing their inspiration) or at Halloween (above), everyone seemed to be in on Eddie Murphy and John Landis’s 1988 send-up of African stereotypes.

Well, not everyone seemed to be in the joke: For example, Kandi from TV’s Real Housewives of Atlanta recreated scenes from Coming to America, including rose petals and real lions, for her wedding: “I wanted to do something inspired by Africa,” she said. Nevertheless, the upshot of all of this is that it is so 1988 to go after bad Western media representations of Africa and Africans. We dispense with that on Twitter. There are more important things going on. Of course, someone is probably planning to write a blog post (calling out celebrities who can’t find Zamunda on a map) or a dense academic paper (quoting Baudrillard or Stuart Hall) about what Zamunda stands for or to decipher Randy Watson’s homilies. While they figure that out (we’re onto something else in the meantime, just check the Archive), I’ll take the opportunity to say thank you to everyone who worked on AIAC this year and for staying the course. We’re exhausted. So, we’ll be on a break from tomorrow till January 13th. Here’s to 2016.

Further Reading

After the uprising

Years into Cameroon’s Anglophone conflict, the rebellion faces internal fractures, waning support, and military pressure—raising the question of what future, if any, lies ahead for Ambazonian aspirations.

In search of Saadia

Who was Saadia, and why has she been forgotten? A search for one woman’s story opens up bigger questions about race, migration, belonging, and the gaps history leaves behind.

Binti, revisited

More than two decades after its release, Lady Jaydee’s debut album still resonates—offering a window into Tanzanian pop, gender politics, and the sound of a generation coming into its own.

The bones beneath our feet

A powerful new documentary follows Evelyn Wanjugu Kimathi’s personal and political journey to recover her father’s remains—and to reckon with Kenya’s unfinished struggle for land, justice, and historical memory.

What comes after liberation?

In this wide-ranging conversation, the freedom fighter and former Constitutional Court justice Albie Sachs reflects on law, liberation, and the unfinished work of building a just South Africa.

The cost of care

In Africa’s migration economy, women’s labor fuels households abroad while their own needs are sidelined at home. What does freedom look like when care itself becomes a form of exile?

The memory keepers

A new documentary follows two women’s mission to decolonize Nairobi’s libraries, revealing how good intentions collide with bureaucracy, donor politics, and the ghosts of colonialism.

Making films against amnesia

The director of the Oscar-nominated film ‘Soundtrack to a Coup d’Etat’ reflects on imperial violence, corporate warfare, and how cinema can disrupt the official record—and help us remember differently.