iluvsouthernafrica: Zimbabwe: A woman and children in late 19th century Bulawayo, (then) Rhodesia I am curious about the man/woman behind the lens who captured this amazing picture

iluvsouthernafrica:

Zimbabwe:

A woman and children in late 19th century Bulawayo, (then) Rhodesia

I am curious about the man/woman behind the lens who captured this amazing picture

Jun. 18 2013
Via iluvsouthernafrica
#africa #photography
7 notes
blackfashion: Saloan Rochelle, 27, Charlotte, NC Submitted by : saloanrochelle.tumblr.com/    I love this gal!

blackfashion:

Saloan Rochelle, 27, Charlotte, NC

Submitted by : 

I love this gal!

Jun. 18 2013
Via blackfashion
#saloan rochelle #fashionista #pretty black girls
446 notes
iluvsouthernafrica: South Africa: Mbuyisa Makhubu On this eve of the anniversary of June 16, I wanted to focus on the life and disappearance of Mbuyisa Makhubo, the young man carrying Hector Pieterson in the iconic photograph from that historic day that changed South Africa. Andrew Molefe: newage.co.za One of the most enduring mysteries of South Africa’s march to freedom must be the whereabouts of Mbuyisa Makhubo. Makhubo is the young, tall and lithe Soweto youth in dungarees in that iconic and now historic June 16, 1976 picture. He was photographed carrying the limp body of Hector Pieterson and fleeing as apartheid security forces mowed down hapless ­students. The question, whatever happened to Mbuyisa Makhubo has been asked every single year around June 16 commemorations for the past 35 years. The answer has repeatedly being the same: “No-one knows.” The picture that was taken by Sam Nzima made security forces interested in the young man but Makhubo managed to stay one step ahead of them until the pressure became unbearable and he fled to neighbouring Botswana where he stayed only for a while. There is little information about his stay in Botswana because he feared cross-border raids ­common in those days and instead went underground to avoid ­detection. He remained in Botswana just long enough to father a son Thato, with a Motswana woman. Thato was yesterday spotted at the Hector Pieterson memorial event in Soweto. He is said to be a disc jockey in Botswana. Thato is 34 years old now and his father would have been 53 today. The anguished schoolgirl who ran alongside Makhubo, Pieterson’s sister Antoinette Sithole will carry the image of her dying brother been carried by Makhubo to the grave. In a newspaper interview earlier, she said of that fateful day, Hector was shot dead before she had the opportunity to take him home and avoid the carnage and bloodletting that was going on the streets. A 17-year-old Form 2 (Grade nine) student then, Sithole saw Makhubo running past. He was carrying something and on close inspection, realised it was her 12-year-old younger brother, Hector. She joined Mbuyisa who was running towards the clinic with the lifeless body of Hector in his arms. He was pronounced dead upon arrival at the clinic. There never were reports of Makhubo’s death. The world only knows that from Botswana he wondered further into exiled and landed in Nigeria. It was only in Nigeria that Makhubo got in contact with his family back home for the first time. His mother, Nombulelo Makhubo who died in 2004, told the TRC that Mbuyisa wrote her a letter from Nigeria in 1978. Another letter said he was studying medicine. The family later learnt he was very sick and unhappy in Nigeria and that was the last they heard of and from him. Please note that there are differing ways of spelling the Makhubu last name.  No disrespect intended. Such a powerful story…the “detective” in me makes me want to investigate this further… iluvsouthernafrica: South Africa: Mbuyisa Makhubu On this eve of the anniversary of June 16, I wanted to focus on the life and disappearance of Mbuyisa Makhubo, the young man carrying Hector Pieterson in the iconic photograph from that historic day that changed South Africa. Andrew Molefe: newage.co.za One of the most enduring mysteries of South Africa’s march to freedom must be the whereabouts of Mbuyisa Makhubo. Makhubo is the young, tall and lithe Soweto youth in dungarees in that iconic and now historic June 16, 1976 picture. He was photographed carrying the limp body of Hector Pieterson and fleeing as apartheid security forces mowed down hapless ­students. The question, whatever happened to Mbuyisa Makhubo has been asked every single year around June 16 commemorations for the past 35 years. The answer has repeatedly being the same: “No-one knows.” The picture that was taken by Sam Nzima made security forces interested in the young man but Makhubo managed to stay one step ahead of them until the pressure became unbearable and he fled to neighbouring Botswana where he stayed only for a while. There is little information about his stay in Botswana because he feared cross-border raids ­common in those days and instead went underground to avoid ­detection. He remained in Botswana just long enough to father a son Thato, with a Motswana woman. Thato was yesterday spotted at the Hector Pieterson memorial event in Soweto. He is said to be a disc jockey in Botswana. Thato is 34 years old now and his father would have been 53 today. The anguished schoolgirl who ran alongside Makhubo, Pieterson’s sister Antoinette Sithole will carry the image of her dying brother been carried by Makhubo to the grave. In a newspaper interview earlier, she said of that fateful day, Hector was shot dead before she had the opportunity to take him home and avoid the carnage and bloodletting that was going on the streets. A 17-year-old Form 2 (Grade nine) student then, Sithole saw Makhubo running past. He was carrying something and on close inspection, realised it was her 12-year-old younger brother, Hector. She joined Mbuyisa who was running towards the clinic with the lifeless body of Hector in his arms. He was pronounced dead upon arrival at the clinic. There never were reports of Makhubo’s death. The world only knows that from Botswana he wondered further into exiled and landed in Nigeria. It was only in Nigeria that Makhubo got in contact with his family back home for the first time. His mother, Nombulelo Makhubo who died in 2004, told the TRC that Mbuyisa wrote her a letter from Nigeria in 1978. Another letter said he was studying medicine. The family later learnt he was very sick and unhappy in Nigeria and that was the last they heard of and from him. Please note that there are differing ways of spelling the Makhubu last name.  No disrespect intended. Such a powerful story…the “detective” in me makes me want to investigate this further… iluvsouthernafrica: South Africa: Mbuyisa Makhubu On this eve of the anniversary of June 16, I wanted to focus on the life and disappearance of Mbuyisa Makhubo, the young man carrying Hector Pieterson in the iconic photograph from that historic day that changed South Africa. Andrew Molefe: newage.co.za One of the most enduring mysteries of South Africa’s march to freedom must be the whereabouts of Mbuyisa Makhubo. Makhubo is the young, tall and lithe Soweto youth in dungarees in that iconic and now historic June 16, 1976 picture. He was photographed carrying the limp body of Hector Pieterson and fleeing as apartheid security forces mowed down hapless ­students. The question, whatever happened to Mbuyisa Makhubo has been asked every single year around June 16 commemorations for the past 35 years. The answer has repeatedly being the same: “No-one knows.” The picture that was taken by Sam Nzima made security forces interested in the young man but Makhubo managed to stay one step ahead of them until the pressure became unbearable and he fled to neighbouring Botswana where he stayed only for a while. There is little information about his stay in Botswana because he feared cross-border raids ­common in those days and instead went underground to avoid ­detection. He remained in Botswana just long enough to father a son Thato, with a Motswana woman. Thato was yesterday spotted at the Hector Pieterson memorial event in Soweto. He is said to be a disc jockey in Botswana. Thato is 34 years old now and his father would have been 53 today. The anguished schoolgirl who ran alongside Makhubo, Pieterson’s sister Antoinette Sithole will carry the image of her dying brother been carried by Makhubo to the grave. In a newspaper interview earlier, she said of that fateful day, Hector was shot dead before she had the opportunity to take him home and avoid the carnage and bloodletting that was going on the streets. A 17-year-old Form 2 (Grade nine) student then, Sithole saw Makhubo running past. He was carrying something and on close inspection, realised it was her 12-year-old younger brother, Hector. She joined Mbuyisa who was running towards the clinic with the lifeless body of Hector in his arms. He was pronounced dead upon arrival at the clinic. There never were reports of Makhubo’s death. The world only knows that from Botswana he wondered further into exiled and landed in Nigeria. It was only in Nigeria that Makhubo got in contact with his family back home for the first time. His mother, Nombulelo Makhubo who died in 2004, told the TRC that Mbuyisa wrote her a letter from Nigeria in 1978. Another letter said he was studying medicine. The family later learnt he was very sick and unhappy in Nigeria and that was the last they heard of and from him. Please note that there are differing ways of spelling the Makhubu last name.  No disrespect intended. Such a powerful story…the “detective” in me makes me want to investigate this further…

iluvsouthernafrica:

South Africa: Mbuyisa Makhubu

On this eve of the anniversary of June 16, I wanted to focus on the life and disappearance of Mbuyisa Makhubo, the young man carrying Hector Pieterson in the iconic photograph from that historic day that changed South Africa.


Andrew Molefe: newage.co.za

One of the most enduring mysteries of South Africa’s march to freedom must be the whereabouts of Mbuyisa Makhubo.

Makhubo is the young, tall and lithe Soweto youth in dungarees in that iconic and now historic June 16, 1976 picture.

He was photographed carrying the limp body of Hector Pieterson and fleeing as apartheid security forces mowed down hapless ­students.

The question, whatever happened to Mbuyisa Makhubo has been asked every single year around June 16 commemorations for the past 35 years. The answer has repeatedly being the same: “No-one knows.”

The picture that was taken by Sam Nzima made security forces interested in the young man but Makhubo managed to stay one step ahead of them until the pressure became unbearable and he fled to neighbouring Botswana where he stayed only for a while.

There is little information about his stay in Botswana because he feared cross-border raids ­common in those days and instead went underground to avoid ­detection. He remained in Botswana just long enough to father a son Thato, with a Motswana woman.

Thato was yesterday spotted at the Hector Pieterson memorial event in Soweto.

He is said to be a disc jockey in Botswana.


Thato is 34 years old now and his father would have been 53 today. The anguished schoolgirl who ran alongside Makhubo, Pieterson’s sister Antoinette Sithole will carry the image of her dying brother been carried by Makhubo to the grave.

In a newspaper interview earlier, she said of that fateful day, Hector was shot dead before she had the opportunity to take him home and avoid the carnage and bloodletting that was going on the streets.

A 17-year-old Form 2 (Grade nine) student then, Sithole saw Makhubo running past. He was carrying something and on close inspection, realised it was her 12-year-old younger brother, Hector.

She joined Mbuyisa who was running towards the clinic with the lifeless body of Hector in his arms. He was pronounced dead upon arrival at the clinic.

There never were reports of Makhubo’s death.

The world only knows that from Botswana he wondered further into exiled and landed in Nigeria. It was only in Nigeria that Makhubo got in contact with his family back home for the first time.

His mother, Nombulelo Makhubo who died in 2004, told the TRC that Mbuyisa wrote her a letter from Nigeria in 1978. Another letter said he was studying medicine.

The family later learnt he was very sick and unhappy in Nigeria and that was the last they heard of and from him.

Please note that there are differing ways of spelling the Makhubu last name.  No disrespect intended.

Such a powerful story…the “detective” in me makes me want to investigate this further…

Jun. 15 2013
Via iluvsouthernafrica
#south african heroes #apartheid #soweto massacres
270 notes
artbyfola: “HER RELIGION” 2013 Art by Folasade (c) This is just…amazingly beautiful…

artbyfola:

“HER RELIGION”

2013

Art by Folasade

(c)

This is just…amazingly beautiful…

Jun. 14 2013
Via artbyfola
#black art #folasade
1,672 notes
Ol’ Dirty Basquiat Limited Edition T-shirt The Eklektic Aught (http://eklektic.storenvy.com/)

Ol’ Dirty Basquiat Limited Edition T-shirt

The Eklektic Aught (http://eklektic.storenvy.com/)

Jun. 14 2013
#ol dirty bastard #odb #basquiat #urban streetwear
1 note
dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa dynamicafrica: iluvsouthernafrica: South Africa: The art of Mohau Modisakeng William A Ewing : The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood. For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences. His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor. The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history. Outstanding. I am forever inspired by the artists emerging from Africa

dynamicafrica:

iluvsouthernafrica:

South Africa:

The art of Mohau Modisakeng

William A Ewing :

The young Soweto-born Mohau Modisakeng is all for the coming together of the peoples of post-colonial Africa, but feels that this can’t be done at the expense of history. There are scores to settle, and better that they are settled in symbolic combat than blood.

For the most part Modisakeng works as a sculptor, with recourse to performance, video and photography as the concept requires. In the triptych Untitled, the artist himself embodies that need for confrontation to resolve differences.

His apron speaks for the hard, industrial labour that was the fate of his ancestors; the leopard print signifies high status among his fellow men (male members of Zulu royalty wore leopard skins to remind their enemies that this fierce animal hides, waits and attacks at the right moment); the bowler hat stands for the patriarchal white man, the ‘civilized’ oppressor.

The body language is clear: this is a fighter come to seek justice. He emerges from a dark past, striding forward into the light, clothed in history.

Outstanding.

I am forever inspired by the artists emerging from Africa

(via studiomuseum)

Jun. 14 2013
Via iluvsouthernafrica
#african artists #south africa #contemporary african art
246 notes

The Lovelight Episode ➔

Saf’s mixes always put me in a good mood… :)

Jun. 13 2013
1 note
I so want his t-shirt!!

I so want his t-shirt!!

(via devoutfashion)

Jun. 13 2013
Via drugsbydreads
#black beavis and butthead #mtv #retro style #throwback style #hip hop
1,261 notes
Students from the Edeyo Foundation School in Bel Air (Port-au-Prince), Haiti February 2010 Students from the Edeyo Foundation School in Bel Air (Port-au-Prince), Haiti February 2010 Students from the Edeyo Foundation School in Bel Air (Port-au-Prince), Haiti February 2010 Students from the Edeyo Foundation School in Bel Air (Port-au-Prince), Haiti February 2010

Students from the Edeyo Foundation School in Bel Air
(Port-au-Prince), Haiti

February 2010

Jun. 13 2013
#edeyo foundation #haiti #port-au-prince #haitian children #bel air #education #kids
1 note
thecreationofman: Junior, Elliot, Jourdan and Antony all @AMCK Well hello….

thecreationofman:

Junior, Elliot, Jourdan and Antony all @AMCK

Well hello….

(via thatafricanspice)

Jun. 13 2013
Via thecreationofman
#black men
596 notes

FCK THE BELIEFS - Saul Williams

“What is your minds immigration policy?”

New music from Saul Williams…he’s a breath of fresh air…

Jun. 12 2013
Via vimeo.com
#Vimeo #saulwilliams #fckthebeliefs #spoken word #poetry #street poet #hip hop poetry
1 note
iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me… iluvsouthernafrica: Namibia: Photos of beautiful San women and girls by Tim Thornton * The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho. The diversity of African people never ceases to amaze me…

iluvsouthernafrica:

Namibia:

Photos of beautiful San women and girls by Tim Thornton

* The San are one of the main history, culture, beauty, style and everything icons of Southern Africa imho.

The diversity of African people never ceases to amaze me…

(via neoafrican)

Jun. 12 2013
Via iluvsouthernafrica
#southern africa #namibia #hair game #diversity #african beauty #african children #African women
1,063 notes
neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I… neoafrican: Summer 2013 Reading List…for my niece and I…

neoafrican:

Summer 2013 Reading List…for my niece and I…

Jun. 12 2013
Via neoafrican
#summer reading #african american culture #black hair #african american history #african stories
593 notes
Oroma…

Oroma…

(via devoutfashion)

Jun. 12 2013
Via fashioninspirationdiary
#oroma elewa #african fashion #black girls rock
2,349 notes
Matching your head scarf to your trousers is so…”Afropolitan”

Matching your head scarf to your trousers is so…”Afropolitan”

(via devoutfashion)

Jun. 12 2013
Via daghanaianchiq
#ankara #head scarf #african fashion #afropolitan
213 notes