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Niger, which until Wednesday’s coup by mutinous soldiers had avoided the military takeovers that destabilized West African neighbors in recent years.

a Francophone region where anti-French sentiment had opened the way for the Russian private military group Wagner.

Signaling Niger’s importance in the region where Wagner also operates, U.S. Secretary of State Antony Blinken visited in March to strengthen ties and announce $150 million in direct assistance, calling the country “a model of democracy.”Now a critical question is whether Niger might pivot and engage Wagner as a counterterrorism partner like its neighbors Mali and Burkina Faso, which have kicked out French forces. France shifted more than 1,000 personnel to Niger after pulling out of Mali last year.

While it is natural be outraged by the locking up of children in Donald Trump’s United States or the criminalization of rescues in Italy during Matteo Salvini’s reign as interior minister, this deadly game is sadly not just being played by a few erratic and callous politicians. Rather, it is systematic.

For many years now, a key part of the game has been to get poorer neighbors to do the dirty work of deterring migration

outsourcing of migration and border controls represents a spectacular own goal not just in humanitarian terms, but also politically

a sweeping historical recalibration that centers on the importance of 14th-century trade routes that crossed the Sahara Desert and drove the movement of people, goods, and culture. As one flyer exclaims: “Weaving stories about interconnected histories, the exhibition showcases objects and ideas that connected at the crossroads of the medieval Sahara and celebrates West Africa’s historic and underrecognized global significance.” This is ambitious. The show doesn’t aim for less than decentering the idea that the medieval epoch should only be envisioned through a European lens, which are typically stories of feudalism, war, chivalry, and the Bubonic plague. These European sagas are the ones I grew up with, saw dramatized on television, and valorized in film. Caravans of Gold also seeks to put Islam at this reconstructed world’s fulcrum and regard it as a force which impelled cultural advance, rather than to associate it with iconoclastic destruction of historical patrimony — stories we know too well. Even more, it subtly raises up the entire African continent, which becomes through this retelling, a force of profound socioeconomic change at the global level. As their handout highlights: “Journey to a medieval world with Africa at its center.”

“Between the eight and the 16th century, an epoch that corresponds with the medieval period, the Saharan region was the site of world-shaping events.”

Partnering with institutions and researchers in Mali, Morocco, and Nigeria was the only way that Berzock could, in the first instance, begin to understand the significance of scattered bits and pieces of commercially traded items left centuries ago in those once thriving cities and towns encompassed by the Saharan trade networks

the impacts of hardening European Union border policy, which forces refugees back to a dangerous country where they live at the mercy of Libyan militias

UNHCR said it had heard allegations of detainees being used as forced labor in the Gathering and Departure Facility, but it could not verify them.) In the months afterward, Alex returned to detention only for his meetings with UNHCR staff. He was interviewed and fingerprinted, and finally given good news: He would be evacuated to Rwanda.

2,427 people last year got the option to go with UNHCR either directly to European countries or to a transit country where their cases can be considered for resettlement to Europe or North America. In contrast, nearly 1,000 refugees and migrants were returned to Libya in the first two weeks of 2020 alone.

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.

Over three days in May 2017, the Italian secret service—masquerading as a humanitarian nongovernmental organization—summoned to Rome two dozen delegates from the southern edge of the Sahara desert. The pretext was to promote a peace deal for their war-torn region; the real goal was to bring them on board with an Italian plan to curb migration.

the pitfalls of a foreign policy that conflates peace and development with migration control

The Tuareg, the Tebu, and the Awlad Suleiman—the groups represented at the summit—are the gatekeepers of the desert crossed by those hoping to reach the Libyan coast to embark on a sea journey to Europe.

Western countries – whether it’s the US, the EU or Australia – are increasingly electing populist parties, whose solution to almost every problem is: less immigration.

People move because they want to improve their lives, or the lives of their children. They move because they want to see the world. They move because they want to have agency over their own future. Whether there are fences, walls or entire oceans: people will move.

In western media, the overwhelming majority of migration reporting is from the perspective of arrival – not departure