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AAP Global Engagement Fund Support Arts-Based Youth Research and Engagement

When photographer and educator Prof. Peter Glendinning of Michigan State University returned to South Africa this September, his goal went far beyond presenting artwork. Supported by the Alliance for African Partnership (AAP) Global Engagement Fund (GEF), Glendinning traveled to Johannesburg and Cape Town to advance a collaborative, arts-driven research initiative that is reshaping how youth experiences are documented and understood across Africa. For years, Glendinning has been developing Attached to the Soil, a project that pairs portrait photography with metaphor and narrative to explore young people’s aspirations, challenges, and identities. What began as a 2019 Fulbright project in South Africa has evolved—through sustained partnership—into a model for how the arts can generate meaningful social insight. This work aligns directly with AAP’s culture & society priority area, which supports projects that use cultural expression to address complex societal issues. Strengthening a Continental Research Partnership During his visit, Glendinning met with partners at University of Pretoria, one of AAP’s 12 member institutions, including Prof. Zitha Mokomane, a professor in the Department of Sociology and Deputy Dean for Teaching and Learning in the Faculty of Humanities, who has been conducting sociological analysis of the project’s original youth-created images and stories. The findings point to recurring themes: belonging, hope, fear, opportunity, and the persistence of socio-economic barriers. With support from the Global Engagement Fund, the partners spent their time together outlining the next phase of the work—a potential 2027 pan-African expansion that could engage youth from multiple institutions and countries. The goal is to create one of the most comprehensive collections of narrative and visual data on African youth aspirations to date. “The dataset we envision would allow us to compare experiences across countries, contexts, and cultures, using the arts as a bridge,” Glendinning explained. The in-person meetings made possible by the GEF award were essential for refining the research design, establishing a shared methodological framework, and preparing for future proposal development. Cultural Institutions as Crucial Partners Glendinning’s work emphasizes not only the creation of new cultural materials but also the preservation of Africa’s photographic heritage. While in Johannesburg, he met with leaders at the Bensusan Museum of Photography to advance efforts to secure funding for preserving its internationally significant collection of historic photographic equipment and images. He also held discussions at the Nelson Mandela Foundation, which held an 8-month exhibit of the project in 2023, exploring how youth-generated narratives from Attached to the Soil could contribute to public memory and civic learning through the foundation’s ongoing partnership. These engagements expand the project’s reach beyond academia and into community and heritage spaces—an approach deeply aligned with AAP’s focus on research for broader impact. Festival Participation Amplifies Youth Perspectives Glendinning’s work also reached public audiences during the inaugural Cape Town Photography Festival, where Attached to the Soil opened as an exhibition at the Simon’s Town Museum. The festival setting provided a platform for deeper conversation around the project’s themes. During a public dialogue, Glendinning and Malissa Louw, one of the original participants, spoke about the creative process and the realities behind the images—drawing attention to the power of youth storytelling as a form of social documentation. He also led two workshops: a digital photography master-class for community members and a session for 40 students at the Cape Peninsula University of Technology. Both emphasized photography as a tool for reflection, empowerment, and evidence-gathering—illustrating how artistic training can support community insight and youth leadership. A Model for Arts-Driven, Partnership-Based Research Following the festival, Glendinning continued planning with Prof. Mokomane during her September visit to Michigan State University, which was also supported by the GEF. Together, they are refining the concept for the multi-country expansion and identifying ways for AAP partners to contribute to the next phase. For AAP, Glendinning’s and project and his partnership with Mokomane exemplify the role arts and culture can play in addressing societal challenges: by elevating local narratives, strengthening community connections, and deepening understanding across diverse contexts. The Global Engagement Fund is central to this impact—making it possible for faculty like Glendinning to build the relationships and shared vision that long-term, equitable partnerships require. As plans move forward, Attached to the Soil will offer youth across the continent the chance to tell their stories—and help researchers, educators, and communities better understand the world through their eyes.

By: Baboki Gaolaolwe-Major

Monday, Dec 15, 2025

CULTURE AND SOCIETY
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Article

AAP Steps Up Its Global Footprint at Falling Walls 2025

The Alliance for African Partnership (AAP) strengthened its global visibility this year with a significantly expanded presence at the Falling Walls Summit in Berlin, signaling a new phase in Africa’s engagement with one of the world’s leading platforms for science, innovation, and societal impact. The momentum follows a fast-growing collaboration between AAP and the Falling Walls Foundation, an alliance that has already produced tangible results. LUANAR in Malawi became the first institution in the consortium to launch a combined Falling Walls Engage and Lab, followed by the University of Botswana, which introduced the Gaborone Lab in 2025 and is preparing to roll out the Engage program in 2026. For AAP, these developments are more than individual wins: they mark the beginning of a wider rollout across the consortium, designed to strengthen research communication and create a more connected science engagement ecosystem across Africa. At this year’s Summit, AAP member universities made their strongest showing yet. Lab winners from LUANAR and the University of Botswana took the stage in Berlin, showcasing African innovation to an international audience of scientists, investors, policymakers, and global media. Senior leaders from across the consortium also attended, led by Michigan State University’s Vice-Provost for International Studies and Programs, Professor Titus Awokuse. During the delegation meeting with Falling Walls’ Executive Director, Andreas Kosmider, there was clear enthusiasm about the trajectory of the partnership. Discussions focused on deepening African participation in next year’s Summit and widening the circle of collaborators to include government ministries, policymakers, and funding agencies, an effort aimed at opening new channels for African–German cooperation. For AAP, the stakes are high. Strengthening research communication equips young African scientists to tell their stories compellingly, improving public understanding and increasing the influence of research on policy. The Labs, meanwhile, function as early-stage innovation pipelines, giving African entrepreneurs exposure, mentorship, and a global platform for emerging ideas. The partnership also enhances institutional visibility, positioning African universities as active players in global science diplomacy. Planning has already begun for next year’s Summit, with AAP leaders working on a coordinated roadmap to ensure a more visible and more diverse African presence in 2026. The goal is not simply to attend, but to shape the agenda by bringing African voices, research, and innovation to the centre of the global conversation. As AAP expands its Falling Walls footprint, the partnership is beginning to look less like a program and more like an ecosystem-building catalyst. It is strengthening the consortium internally, opening new possibilities externally, and giving African researchers and innovators a much-needed global stage. And if the early signs are anything to go by, the walls separating African science from global visibility are starting to crack, making space for a new era of collaboration and opportunity.

By: Baboki Gaolaolwe-Major

Thursday, Dec 11, 2025

CULTURE AND SOCIETY
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Article

Culture in collaboration: repurposing folklore for youth empowerment

Africa, particularly Nigeria, has a teeming young population who attempt to creatively navigate rapidly shifting identities within an unstable economy. For them, storytelling becomes a powerful tool through which sense is made of their place in the world. My research on folklore reimagination interrogates how traditional narratives are transformed into contemporary artistic endeavour that reflect the social realities of the youth. Folklore reimagination thus becomes an avenue for skill acquisition and empowerment in a society plagued with mismanaged resources and youth unemployment. By perceiving folklore as a living resource rather than a mere relic of the past, my research attempts to revive cultural heritage into digital content for the screen, constituting a source of self-employment for young creatives. In addition to addressing SDG number 8 – decent work and economic growth, this research fosters partnerships between culture and performance, youth and communities, tradition and modernity, and between local narratives and a global audience, offering education opportunities and reduced poverty. The research goal is to develop a toolkit which serves as both a learning and teaching aid for students and teachers of creative writing, further resonating with SDG number 4. Besides offering a platform for creativity and skills acquisition leading to self-employment, this research provides a model for a cultural engagement that is rooted in heritage preservation, shared creativity, collaboration and mutual respect. The research, which began in 2022, is divided into three distinct phases – toolkit draft, evaluation and update. Phase one involves the draft of the toolkit, which is divided into 5 parts and provides ethical insights and guidelines on working with folklore from the point of collection until reimagination. Offering mostly a theoretical guide, this phase is completed, and phase two is in progress. Phase two demands working closely with student writers to test the toolkit draft. Through a close collaboration with my students, aspects of the toolkit are currently being tested for effectiveness. Through feedback provided by the students, the toolkit will be updated with practical guides and sample scenarios. Further updates are expected following curated workshops, writers’ conference and creative labs. The creation of this toolkit resonates with the theme for this newsletter - art in partnership. Currently under the mentorship of Dr Jeff Wray of Michigan State University and Professor Chinenye Amonyeze of University of Nigeria, this research highlights that art, generally and folklore in particular, is not just a memory of set time in history, but a flexible material that can be reshaped into performances and creative narratives with social and economic value, while fostering partnerships driven by art. Folklore reimagination is, at its heart, an art of cultural partnership which depends on collaborations between researchers and creatives. By centring youths as creative agents, it leverages heritage to build skills, empowerment and self-employment. In this partnership, cultural memory is perceived and treated as a resource for innovation and economic growth. This art of partnership is therefore a sustainable one built on shared stories – stories that bear identities shaped by the past, present and future.

By: Baboki Gaolaolwe-Major

Thursday, Dec 11, 2025

CULTURE AND SOCIETY
+1

Article

2025 AAP Consortium Delegates Welcomed in Classic Warm Heart of Africa Style

Delegates to the AAP Consortium Meeting in Malawi were welcomed with a vibrant cultural reception on the afternoon of Sunday, June 8, 2025, at the Bingu International Convention Centre (BICC) Amphitheatre. The event offered a rich immersion into Malawi’s cultural heritage, from traditional dances that transported participants across the country, to rhythmic music echoing tales of generations past, complemented by a curated selection of local foods and beverages. Set in the warmth of Malawian hospitality, the reception also featured interactive activities celebrating African cultural diversity through language games and cultural lightning talks. Reception Planning The reception was carefully designed to celebrate cultural identity and diversity while ensuring an enjoyable and memorable experience for all attendees. Preparations began with identifying local performance groups whose artistry authentically reflects the Malawian cultural brand. Consultations with selected groups ensured a thoughtful balance of energetic and soothing performances suited to a diverse audience, ultimately creating a programme that offered a cultural tour of Malawi through music and dance. Organisers also coordinated with the hosting hotel to incorporate Malawian cuisine on the cocktail menu, showcasing the country’s culinary heritage. With the performances and menu in place, the reception hosts curated additional interactive activities to promote cultural exchange and engagement among delegates. Performances The Malawi National Dance Ensemble, popularly known as the Kwacha Cultural Troupe, headlined the afternoon. Established in 1987, the renowned 30-member troupe delivered a captivating sequence of traditional dances representing Malawi’s regions. Their repertoire included Beni, Chimtali, Chisamba, Chiterera, Mjedza, Malipenga, Ingoma, Mganda, Vimbuza, and Gule Wamkulu—the iconic masked dance of the Chewa people. Adding to the ambiance, Owen Mbilizi and his team offered a rich musical experience featuring original compositions and Malawian classics, blending skilled instrumentation with harmonious vocals. Delegates responded with enthusiastic applause and cheers throughout the performances. Local Foods Participants enjoyed an assortment of local delicacies, including mandazi, zitumbuwa (banana fritters), malambe (baobab) juice, and thobwa (sweet beer), alongside familiar continental snacks. The refreshment break provided an informal space for delegates to mingle, exchange reflections, and deepen their appreciation of the cultural showcase. Significance The cultural reception successfully highlighted Malawi’s artistic and culinary traditions while fostering a shared appreciation for cultural diversity among delegates. It was an afternoon filled with warmth, laughter, and a strong sense of community, the perfect icebreaker for the week’s engagements.

By: Baboki Gaolaolwe-Major

Tuesday, Dec 9, 2025

CULTURE AND SOCIETY
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Article

From Lens to Learning: Alex Mkwizu’s Transformative MSU Journey

When Ibn Battutah said, “Traveling—it leaves you speechless, then turns you into a storyteller,” in his famous volumes Travels of Ibn Battutah, little did I know how profoundly this wisdom would echo throughout my eight-day experience at Michigan State University (MSU), East Lansing. I had the honor of attending as the overall winner of the InVision Africa Photography Competition, curated and sponsored by the Alliance for African Partnerships. This MSU initiative champions collaboration with African universities in art, culture, language, and other fields. My time at MSU was eye-opening, filled with warm introductions to professors and artists. I met Professor Peter Glendinning from the Kresge Art Center, whose expertise in photography was inspiring; Professor Susan Wyche, who specializes in Human-Computer Interaction (HCI); and Mr Vadu Rodrigues, a Master of Fine Arts candidate, from whom I learned how his personal influences shaped his narrative and storytelling in photography. I also met many other colleagues, learning from their diverse experiences and creative processes. These key encounters with experts and practitioners across different artistic disciplines opened doors for me to continue exploring, collaborating, and discovering new opportunities as a multidisciplinary creative artist passionate about the intersection of data, technology, and human-centered storytelling. One of the most memorable encounters was with Professor Peter Glendinning and his body of work Attached to the Soil, a brilliant photographic project consisting of fifty portraits, oral history-based stories, and metaphoric representations of South African youth. He shared fascinating insights into his process, including an old, rare tool he once used to achieve a stroboscopic effect before the era of advanced cameras and editing software. What stood out most to me was that each photograph’s story was told from the perspective of the subject themselves, a powerful approach to narrative photography. Another remarkable interaction was with Mr. Vadu Rodrigues and his artistic initiative Positive Africa, which seeks to challenge negative and biased narratives about Africa through photography and other art forms. Spending time with him in his studio was deeply insightful. I admired his practice of carrying a small notebook to document daily experiences and visual ideas that later influence his creative work. Observing his process from conceptualization to a finished art piece was a masterclass in intentional storytelling. The culmination of this experience profoundly influenced my growth as a creative technologist and multidisciplinary artist. It also opened new doors for collaboration, one of which came through the MSU Museum CoLab Studio. I learned about a call for artists to create a piece exploring AI singularity in all its forms. Having subscribed to the studio’s newsletter, I received the announcement and decided to apply with a concept for a Virtual Reality immersive experience: a VR tribunal where sentient AIs bring cases against humans. Participants take the role of the defendant, while a generative AI judge, UbuntuBot, presides, modelled on African communal justice systems. The project merges storytelling, ethics, and digital futures. As the old proverb goes, “Luck is when opportunity meets preparedness.” Fortunately, I was selected as one of the artists to collaborate with the MSU CoLab Studio, supported by a seed grant to bring this piece to life and exhibit it at the MSU Museum. While the journey has only just begun with MSU Art Community, the experience with the Invision Africa Photography Competition and the exposure and connections made within MSU’s artistic community have left a lasting and transformative impact. It will continue to shape my creative path and remain a defining part of my artistic journey.

By: Baboki Gaolaolwe-Major

Tuesday, Dec 9, 2025

CULTURE AND SOCIETY
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Article

Celebrating The Role of Art and Creativity in Shaping Global Partnerships

Photo by: Cris Dopher. The arts represent the most imaginative and creative form of expression, integral to the civilizational progress of communities worldwide. In Uganda, an East African country where I originate, the arts are embodied and lived through music, dance, theatre, poetry, storytelling, folktales, and other forms of artistic engagement. The cultural, historical, social, and political meanings are etched in the art forms of the people. The arts are evolutionary and revolutionary, depicting the changes and continuities, and instigating shifts in the lived experiences of communities. The arts have demonstrated their value in fostering community transformation across histories and territories. In Africa, the role of the arts has evolved in tandem with sociocultural, political, and economic changes in communities. The arts have offered platforms to sensitize communities around ever-emerging challenges, such as disease, climate change, conflicts, forced migration, gender-based violence, poverty, and cultural differences, among others. The functions of the arts have transcended stage performances and entertainment. Communities have deployed their creative and artistic potential to explore local solutions to prevailing problems. Within international development discourse on Africa, there is talk about ‘Africa finding local solutions to African problems’. Arts-oriented interventions that communities have applied and sustained offer a rubric on how communities in Africa can develop and implement sustainable and cost-effective solutions to local challenges. The migratory and borderless natures of the creative arts, and their distinctiveness as a universal language, position them strategically to mediate differences, heal broken communities, quell tensions, and pluralize perspectives. The transnational and transcultural nature of the creative arts is evident in how they are constituted by cross-pollination of diverse cultural traditions, stories, and orthodoxies. The art forms are reinvented and reimagined at the intersection of other existing artistic practices. The aspect of embodiment that gives the arts their true meaning and essence centers people, as bearers of practices, meanings, and knowledge. The global flow of art forms stems from local innovations. The being of the global dimension of the creative arts is rooted in their local value. Art proliferates by diffusion. The notion of art being born of people’s imaginaries enables its adaptation, assimilation, transcendence, and permeation across localities and contexts. Across Africa, the Black Diaspora, and global indigeneity, the commonalities between the arts demonstrate their universal reach, underscoring histories of migration, cultural connections, and intercultural interfaces. Scholarship, practice, and research are media through which the arts have found expressions in transboundary contexts. In the realm of scholarship, collaborative research in the creative arts has increased, generating rich and diverse knowledge that has improved the human condition. The mobility of scholars and researchers between cultures and nationalities has augmented the exchange of expertise and circulation of artistic and cultural ideas and practices. My current tenure as an African Futures Fellow at Michigan State University under the auspices of the Alliance for African Fellowship (AAP) is testimony to how the creative arts and artists can support global partnerships through scholarship and research. As a dance studies scholar at Makerere University in Uganda, East Africa, the program has supported me to connect with scholars at MSU and the US; co-write articles for publications; present at conferences; collaborate on artistic works with communities; and partner with researchers on ideation, incubation, writing, and submission of research grant ideas. Such engagements have facilitated the convergence of ideas, cultures, and people. My story represents a myriad of scholars who are leveraging the scholarly prowess of the creative arts to dissolve boundaries and dismantle barriers. The arts have accelerated global partnerships through joint performances and collaborative creative processes. Worldwide, concerts, festivals, competitions, showcases, and productions have facilitated exchanges between artists, communities, artistic works, and audiences, and have supported the mobilization of resources through fundraising to care for those in need. The arts have been the heartbeat of globalization. Through exposure to different artistic forms, communities have peeked into cultures beyond their own. The creative arts carry a unique ability to communicate across generations, demographics, cultures, and geographies. Communities across the globe have united through the creative arts to draw attention to and amplify the voices of the oppressed. The emergence of innovative technologies and platforms has empowered creatives worldwide to access wider audiences and listenership. Technology has democratized access and consumption of creative artworks globally. For Africa, the innovative platforms have enabled people to tell their own stories and confront stereotypical views through artistic and cultural products. Global business collaborations have emerged, resulting from the potential for the creative arts to circulate as commercially valuable products. The creative arts possess inherent power to unite people across divides. As the world confronts challenges of conflicts, climate change, food insecurity, natural disasters, disease, social injustices, forced labour, and human trafficking, among others, the arts will continue to take center stage as strategic tools through which global communities can partner to find solutions to these problems. The creative arts have always been the heart that gives and receives.

By: Baboki Gaolaolwe-Major

Thursday, Dec 11, 2025

CULTURE AND SOCIETY

Opportunity

Call for Papers: History of Technology Conference

“Engaging the History of Technology” International Congress of History of Science and Technology Annual Meeting Democritus University of Thrace Alexandroupolis, Greece October 8 – 11, 2026 The theme of this conference, “Engaging the History of Technology”, invites critical reflections on how history of technology can engage with evolving methodologies, theories and pedagogies, and other branches of historical study to demonstrate that understanding technologies’ pasts are essential to navigating contemporary challenges. The conference, therefore, seeks contributions across spatial and epistemic boundaries: from the everyday and local to the geopolitical and planetary; from archival practice to classroom teaching and public engagement; and from discipline-specific research methods to interdisciplinary collaborations. Contributors may engage with one or more of the following themes, or even suggest new ways of thinking about: 1. The History of Technology between the Local, the Regional, and the Global:• Circulation of technologies, expertise, and knowledge across borders• Adaptation and appropriation of technologies in different cultural contexts• Tensions between globalisation and localisation in technological change• Regional networks and their role in shaping technological trajectories• Colonial, postcolonial and decolonial dimensions of technology• Networks of maintenance and repair2. History of Technology, Historiography and Education:• Methodological innovations in researching the history of technology• Interdisciplinary approaches and their challenges• Teaching the history of technology in universities and schools• Public engagement and the communication of technological history• The relevance of technology history to contemporary policy debates• Digital humanities and new forms of historical scholarship3. Intersections between the History of Technology and Other Fields of Historical Study:• Technology and social history: class, labour, gender, and everyday life• Technology and cultural history: representation, identity, and meaning• Technology and environmental history: sustainability, resource use, and ecological change• Technology and economic history: innovation, industrialisation, and development• Technology and political history: governance, regulation, and power• Technology and the history of medicine: cultural values, therapeutic practice, and material conceptions about the human body4. Special Focus: Museums, Material and Intangible Cultural Heritage, and Public Engagement: Given our collaboration with the Ethnological Museum of Thrace, the planners particularly welcome proposals that engage with material and intangible culture, museum practices, and public history. They are interested in innovative session formats that:• Explore tensions and synergies between academic and museum approaches to technological history• Demonstrate object-based learning methodologies• Address the challenges of communicating technological history to diverse publics• Examine the role of museums in preserving and interpreting technological heritage• Study visitor engagements with intangible heritage, particularly those of marginalised and silenced ethno-cultural communities• Critically examine the funding relationships between private technological and industrial interests, and museum Proposals will be accepted in the following formats: Paper presentations Individual and author teams’ presentations.Please, submit an abstract of up to 350 words. Panel Sessions Thematically coherent sessions of 3-4 papers. Panel organisers should submit a panel abstract (up to 400 words) describing the theme and its significance; after approval the conference committee and the panel organisers will issue a specific call for proposals (individual or author teams’ paper abstracts up to 350 words each). Roundtables Discussion-based sessions with 4-6 participants addressing a specific question or debate. Organisers should submit a description of the topic and format (up to 350 words); names and brief bios of participants (up to 100 words each); key questions to be addressed. Graduate Student and Early Career Opportunities ICOHTEC is committed to supporting emerging scholars. We particularly welcome submissions from graduate students and early career researchers. The conference will feature:• Visual Lightning Talk Competitions for graduate students• Mentorship opportunities pairing students with established scholars• Book development workshops Submissions of abstracts through the conference website: December 15, 2025 - January 31, 2026 Official conferencewebsite: https://icohtec2026.hs.duth.gr - Peter Alegi, MSU Department of History -“Soccer as Work and Play: A Congolese Life Story, from Colonialism to Globalization” (co-sponsored by the MSU Department of African American and African Studies and the MSU African Studies Center) Monday, March 23 - Jenelle Thelen – “Smooth as Silk: Working Women of the Belding, MI Silk Mills (1902-1908)” (co-sponsored by the MSU Center for Gender in Global Context) Friday, April 3 - David Stowe, MSU Religious Studies – “The Musical Tanner: Negotiating Work, Music, and Belief in Revolutionary Boston” * TBD - Nicholas Sly, MSU Department of History - “Curing the Crisis of Masculinity: Calisthenics and Office Work in the Early Twentieth Century” Check out all the Our Daily Work/Our Daily Lives brown bag presentation recordings available on the MSU Library website (over 125 and still counting!!- JPB) Did you miss a brown bag presentation that you really want to hear? Or perhaps you may want to explore the listing of past presentations that you didn't even know about. There's an answer to both quests. Thanks to all our friends at MSU Vincent Voice Library, there is a new home for all our recorded brown bags. Follow these links and you should be able to tap into all of the recordings we have cataloged thus far: Our Daily Work/Our Daily Lives Channel or https://mediaspace.msu.edu/channel/channelid/209060293. Easy Peasy!! Thanks to everyone for setting us up this way!!! The deepest note of Thanks to all of the folks at the Vincent Voice Library who have worked with us to create this archived set of recordings. Thanks to Shawn, James, Mike, Rick and the late John Shaw for their work over the years on our behalf. For over thirty years, "Our Daily Work/ Our Daily Lives" has been a cooperative project of the Michigan Traditional Arts Program and the Labor Education Program.

By: Aaron Dorner

Thursday, Dec 4, 2025

CULTURE AND SOCIETY
+1

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