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Death of Cameroonian Journalist, Samuel Wazizi, Concealed By Military for 10 Months

It's being called the 'worst crime' against a Cameroonian journalist in the past decade by rights groups.

The death of Cameroonian journalist Samuel Wazizi in military custody last Friday is being called "the worst crime against a journalist in the past 10 years in Cameroon" by media rights group Reporters Without Borders (RSF).

It was confirmed on Friday that Wazizi, a broadcast journalist who worked for CMTV covering the country's separatist movement, was arrested on August 2, 2019 for openly criticizing the government's response to the movement. He was said to have been tortured and abused during his detainment.


While the news was confirmed by the Cameroonian Ministry of Defense just last week, reports reveal that Wazizi actually died on August 17, 2019—the same month of his arrest. According to a report from the Committee to Protect Journalists (CPJ), the military claimed that Wazizi was not tortured while in custody, but that he had died "as a result of severe sepsis" and had been in touch with his family. However, his sister-in-law Metete Joan Njang informed CPJ that the family had not been able to reach Wazizi since his arrest, and had only learned the news of his death on June 3.

"The Cameroonian government's cruel treatment of journalist Samuel Wazizi is truly shocking," said Angela Quintal, CPJ's Africa program coordinator in a statement. "It is unbelievable that authorities covered up his death in custody for 10 months despite repeated inquiries from press freedom advocates and his family, colleagues, friends, and lawyers. An independent autopsy should be conducted immediately, and Cameroon must also launch an independent commission of inquiry so that those responsible for Wazizi's death are held accountable."

RSF shared a similar statement and has called on the government to end their silence against the mistreatment of journalists, send Wazizi's body to his family and launch an independent investigation in order to "establish the chain of responsibility and circumstances leading to this tragedy."

The Cameroonian government has come under fire from human rights groups for its censorship and abuse of citizens, since the beginning of the separatist movement occurring amongst members of the country's Anglophone population in the Northwest and Southwest regions. The country ranks 134th out of 180 countries and territories in RSF's 2020 World Press Freedom Index. On several occasions, the government has taken further actions to quell dissent by shutting down the internet.

Several journalists and fellow Cameroonians are calling for #JusticeForWazizi online and are demanding increased freedom of the press.







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Photo: Benoit Peverelli

Interview: Oumou Sangaré Proves Why She's the Songbird of Wassoulou

We caught up with the Malian singer to talk about her new Acoustic album, longevity as an artist, and growing up in Mali.

When Oumou Sangaré tells me freedom is at her core, I am not surprised. If you listen to her discography, you'll be hard-pressed to find a song that doesn't center or in some way touch on women's rights or child abuse. The Grammy award-winning Malian singer has spent a significant part of her career using her voice to fight for the rights of women across Africa and the world, a testimony to this is her naming her debut studio album Moussolou, meaning Woman. The album, a pure masterpiece that solidified Oumou's place amongst the greats and earned her the name 'Songbird of Wassoulou,' was a commercial success selling over 250,000 records in Africa and would in turn go on to inspire other singers across the world.

On her latest body of work Acoustic, a reworking of her critically acclaimed 2017 album Mogoya, Oumou Sangaré proves how and why she earned her accolades. The entirety of the 11-track album was recorded within two days in the Midi Live studio in Villetaneuse in 'live' conditions—with no amplification, no retakes or overdubs, no headphones. Throughout the album, using her powerful and raw voice that has come to define feminism in Africa and shaped opinions across the continent, Oumou boldly addresses themes like loss, polygamy and female circumcision.

We caught up with the Malian singer at the studio she is staying while in quarantine to talk about her new album, longevity as an artist, and growing up in Mali.

This interview has been edited and condensed for clarity.

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Photo by Alet Pretorius/Gallo Images via Getty Images.

How a Global Pandemic Has Failed to Stop South Africa's Gender-Based Violence and Femicide Crisis

We speak to women in key positions about the state of gender-based violence and femicide in South Africa during the continued national lockdown.

Recently, South African women were outraged by the horrific murder of 28-year-old Tshego Pule. She was found hanging from a tree with stab wounds to her chest after she went missing at the beginning of June. Pule was also reportedly heavily pregnant at the time of her death. And while her perpetrator, 31 year-old Mzikayise Malephane, was charged with pre-meditated murder not long afterwards, this is not the universal experience of South African women when it comes to obtaining justice.

There is no other subject, save for governmental corruption and state capture perhaps, that receives as much attention in the media as gender-based violence (GBV) and femicide in South Africa. And despite the alarming statistics which are well above the global average and frighteningly so, there is a glaring lack of political will by the ANC-led government to bring about any actual change. President Cyril Ramaphosa has made promises about perpetrators of violence against women being charged with harsher sentences. This has still not come to fruition. There is radio silence from the numerous task forces set up to develop various approaches in addressing the crisis. And still, women continue to die, the daily online hashtags demanding justice for them falling on deaf ears.

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Photo: Shawn Theodore via Schure Media Group/Roc Nation

Interview: Buju Banton Is a Lyrical Purveyor of African Truth

A candid conversation with the Jamaican icon about his new album, Upside Down 2020, his influence on afrobeats, and the new generation of dancehall.

Devout fans of reggae music have been longing for new musical offerings from Mark Anthony Myrie, widely-known as the iconic reggae superstar Buju Banton. A shining son of Jamaican soil, with humble beginnings as one of 15 siblings in the close-knit community of Salt Lane, Kingston, the 46-year-old musician is now a legend in his own right.

Buju Banton has 12 albums under his belt, one Grammy Award win for Best Reggae Album, numerous classic hits and a 30-year domination of the industry. His larger-than-life persona, however, is more than just the string of accolades that follow in the shadows of his career. It is his dutiful, authentic style of Caribbean storytelling that has captured the minds and hearts of those who have joined him on this long career ride.

The current socio-economic climate of uncertainty that the COVID-19 pandemic has thrusted onto the world, coupled with the intensified fight against racism throughout the diaspora, have taken centre stage within the last few months. Indubitably, this makes Buju—and by extension, his new album—a timely and familiar voice of reason in a revolution that has called for creative evolution.

With his highly-anticipated album, Upside Down 2020, the stage is set for Gargamel. The title of this latest discography feels nothing short of serendipitous, and with tracks such as "Memories" featuring John Legend and the follow-up dancehall single "Blessed," it's clear that this latest body of work is a rare gem that speaks truth to vision and celebrates our polylithic African heritage in its rich fullness and complexities.

Having had an exclusive listen to some other tracks on the album back in April, our candid one-on-one conversation with Buju Banton journeys through his inspiration, collaboration and direction for Upside Down 2020, African cultural linkages and the next generational wave of dancehall and reggae.

This interview has been shortened and edited for clarity.

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[Op-Ed] Speeka: “‘Dankie San’ brought me closer to kasi rap”

A personal reflection on one of South Africa's most influential hip-hop albums, 'Dankie San' by PRO.