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The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought. Topics discussed included the Topics discussed include the effect of the poem on the (Second Festival of Black Arts and Culture) FESTAC's event, the marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle for final emancipation and self-determination.

The article offers poetry criticism of the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba. Topics discussed include (Second Festival of Black Arts and Culture) FESTAC's project that aims to valorize Black and African creative expression and intellectual thought, the marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle in the neocolonial context of the 1970s for final emancipation and self-determination.

The article focuses on African women who have been marginalized in the performance, planning, and documentation of Pan-Africanist projects, following the series of Pan-African Congresses held from 1919 onward. Topics discussed include by the republication of the poem "Festac . . . Souvenirs de Lagos," ("Festac . . . Memories of Lagos") by Mariama Diop nee Ba at the Second World Black and African Festival of Arts and Culture (FESTAC) and the historical relevance of the poem with festival.

The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought on account of the Second Festival of Black Arts and Culture) FESTAC event. Topics discussed include effect of the poem on people attending FESTAC, marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle for final emancipation and self-determination.

In this article, the author discusses the online representation of the African women in Pan-Africanism in the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba on social media platforms such as Instagram. It explains a term mediated ancestrality as a connection of younger generation with ancestors (poets) whose works being adapted to a digital communication technology such as twentieth century African literature, extending it into digital platform.

The article focuses on two poems including "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba and another by Younousse Seye, which aimed at African women in Pan-Africanism.It mentions that these poems were circulated at the Second Festival of Black Arts and Culture) FESTAC event in 1977 and Pan-African Festival of Algiers (PANAF) in 1969. Topics discussed include creative expression and intellectual thought of neocolonial African women.

The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought on account of (Second Festival of Black Arts and Culture) FESTAC event. It discusses an era of Nigeria's geopolitical ascendance in the wake of a 1973 oil embargo, in reference with the Lagos of 1977. It focuses on Nigeria's deviation on shaping the global notions of black culture.

The article by Tobias Warner explores Mariama Bâ's previously unknown poem, "Memories of Lagos," reflecting her experiences at the Second World Black and African Festival of Arts and Culture (FESTAC) in 1977. Topics include Bâ's representation at FESTAC, her poetic work, and the underappreciated influence of pan-Africanism on her creative expressions.

The article suggests the use of Afro-Asianism to describe the notion of connectedness by writer and antiapartheid activist Alex La Guma and his contemporaries during the Cold War. Topics include ways in which Afro-Asianists narrated their position in the world and their conception of writing that bolstered this connectedness using La Guma's nonfiction texts, a description of Afropolitanism and cosmopolitanism, and a discussion of Taiye Selasi's article "Bye-Bye Babar" on Afropolitanism.

The article explores the genealogy of Afropolitanism. Topics cited include a critique of cosmopolitanism as a product of privilege in Cameroonian American writer Imbolo Mbue's "Behold the Dreamers," a historical background on the term Afropolitanism which was introduced by author Taiye Selasi, and an alternative genealogy of Afropolitanism as a biographical concept. Also mentioned are the inequalities of national and global citizenship as the direct effects of colonialism and immigration.

The article explores Afropolitanism in relation to its literary and historical genealogies. Topics cited include the responsibility that comes with being an Afropolitan, the generational reality that Afropolitan is the identity of the new African diaspora, and speculations about the literary genealogy of Afropolitan. Also included is a discussion of Afropolitanism in Cameroonian American writer Imbolo Mbue's debut novel "Behold the Dreamers."

The article discusses the history and proliferation of Afropolitanism. Topics cited include the two textual origins of Afropolitanism such as Taiye Selasi's "Bye-Bye Barbar" published in "The Lip Magazine" in 2005 and philosopher Achille Mbembe's analysis written for the art exhibition "Africa Remix" in 2007, Afropolitanism's proliferation as cultural identity and ethical norm in fashion, music and social media, and its promises and pitfalls on the lines of race and social class.