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Interviews with CENFAD Speakers
Full text linkSoft Power, Hard Truths: Rethinking U.S. Foreign Policy with Osamah Khalil
Talk Loudly and Carry No Plan: Dr. Michael Kimmage on U.S. Strategy in the Age of Trum
Graduate Student Contributions
Full text linkAudrey Rankin – Book Review on Kathleen Murphy, Captivity’s Collections: Science, Natural History, and the British Transatlantic Slave Trade
Andrew Santora – Research Report
Jake Wolff – Research Repor
Masks and Sculptures: The Repatriation of Stolen African Art: A Multi-Dimensional Process
Full text linkThe kidnapping of thousands of pieces of African art has been well documented and studied. There has been, over the years, a growing call, especially on the part of a few African countries, for the return of the stolen pieces to their rightful owners. The full implications of the loss of so many masks and sculptures for Africa has hardly been entertained, nor have there been sound recommendations for the conditions under which stolen artifacts should be returned and cared for in Africa. This essay seeks to remedy this void by addressing the following research questions and propose the idea of “Cultural Rehabilitation Centers” as a viable solution:
Why should African artifacts move back to Africa?
If returned, how should they be cared for?
From a methodological standpoint, this essay utilizes the Afrocentric Paradigm to ensure cultural grounding, as well as to bring a sense of agency to the reader. The research conducted for this study relies on a qualitative analysis of three primary sources of information, digital, visual, and written. 
Two Scholar-Activists on Cultural Consciousness and National Liberation: Cheikh Anta Diop and Frantz Fanon
Full text linkThis article examines the groundbreaking scholarship and theories that Cheikh Anta Diop (1923-1986) and Frantz Omar Fanon (1925-1961) shared at the First and Second International Congresses of Black Writers and Artists organized by Pan-African journal and publishing house Présence Africaine in Paris, France in 1956 and Rome, Italy in 1959. Drawing on the archives of Diop and Fanon, this article explores the relationship between cultural consciousness and modern African national liberation struggles within the ideas they expressed at the First and Second International Congresses in 1956 and 1959. Through qualitative analysis of Diop’s and Fanon’s writings and life histories, this paper finds that Diop’s scholarship advocates a revolutionary Pan-African ideology for national self-determination in Senegal and continental Africa firmly grounded in African historical consciousness while Fanon’s work advances a radical political ideology that countenances the tenets of Arab colonialism in its contest against French colonialism in Algeria. This examination of Diop’s and Fanon’s pioneering scholarship and praxis problematizes the marginalization of African culture and history within Fanon’s theories of decolonization and nationalism without losing sight of the sociohistorical context. This paper demonstrates that Diop and Fanon are vital models for how scholar-activists can begin to conceptualize the critical role African culture and history play in overcoming Eurasian intrusions into one’s consciousness during the ongoing quest for continental and diasporan African unity and sovereignty
Carter G. Woodson and the Africological Precedent of Miseducation
Full text linkCarter G. Woodson was one of the most prolific African American scholars of the early 20th century. Born to formerly enslaved parents in New Canton, Virginia, he spent much of his adolescence in blue-collar labor and did not complete high school until his early twenties. His unconventional educational trajectory shaped his critique of mainstream education and its role in perpetuating white supremacy, leading to his seminal concept of miseducation. Woodson\u27s contributions to African American scholarship include founding the Association for the Study of African American Life and History (1915), launching the Journal of Negro History (1916), establishing Negro History Week (1926), and creating the Negro History Bulletin (1937). This study examines Woodson’s foundational role in Africology and Africana Studies by analyzing his concept of the miseducated African alongside similar intellectual frameworks. Additionally, it traces the trajectory of scholarship on Woodson’s contributions to Black history and pedagogy. As an Africological work, this study underscores the intersection of culture, education, and socialization in Western political contexts as central to the liberation of African minds. 
The Administration of Cardiopulmonary Resuscitation (CPR) in Persons with Obesity: Physical Differences or Cognitive Bias?
No full textChina\u27s Belt and Road Initiative in Ethiopia: Development or New Colonial Project?
No full textThis paper explores the impacts of China’s Belt and Road Initiative (BRI) in Ethiopia, including its economic, political, and social dimensions. By analyzing Ethiopia’s infrastructure projects, economic partnerships, and political alignment with China, the paper highlights both the opportunities and challenges associated with this ambitious global initiative. Key themes include the transformative potential of BRI investments, concerns about debt sustainability and sovereignty, and the broader implications of Ethiopia’s participation in China’s strategic vision. The paper also contrasts Ethiopian, Chinese, and Western perspectives on the BRI, offering insights into the complex dynamics of international development partnerships and competition
Strategic Visions: Volume 25, Number I (Fall 2025)
Full text linkStrategic Visions: Volume 25, Number I (Fall 2025
Performing the Intifada (How Palestinian Performance Artists Utilize Their Art as a Medium of Protest and Resistance Against the Normalcy of the Israeli Occupation)
No full textThis paper was essentially based off the thesis and intent of an undergraduate course I have taken, entitled “Culture and Rebellion in the Arab World”, in which the ways Arabs exercised a rebellion through art was examined on an individual level, and featured artists from a variety of Arab countries. I wanted to shift the conversations found on this topic to focus on Palestine, for as their cultural production is less prominent as the Israeli Occupation has expanded. With that being said, my research question asks how Palestinians utilize the performing arts to protest and resist the persisting Israeli Occupation. Because I have also been fascinated by the performing arts ability to instill a message into the minds of an audience, as well as it being a successful platform for historic storytelling, I have separated my variables of study into three different art mediums: film, music, and theater. To strengthen the probability of my research question and hypothesis being accurately demonstrated, my methodology for this project includes an examination of interviews from artists within these mediums. To add on to this, I noticed that we cannot simply ask why certain events or setbacks for Palestinians result in producing protest art. Instead, I made sure to include a variety of areas of the state and time periods in which these artists came to prominence to prove that while there may be different push factors in performing a piece of resistance, it is all done in the name of Palestinian identity