Man dies after setting himself on fire outside UN headquarters in New York: police

Protest has returned to the National Arts Festival, but this time it is not driven by divisive rhetoric or political agendas aimed at pitting one group of Africans against another. Instead, the festival has become a stage for deeply resonant, humanitarian expressions of dissent—rooted in both a celebration of African identity and a critique of historical injustices. As the festival moves beyond its midpoint, the themes of protest are increasingly centered on humanity, dignity, and the need for acknowledgment and reconciliation.

One standout piece at the festival is *Dear Museum!* by Albert Ibokwe Khoza, a multidisciplinary performance that blends elements of dance, song, ritual, and multimedia storytelling. Khoza, an internationally recognized performance artist known for their complex and often provocative work, co-created the piece with collaborator Julia Burnham. The show explores the legacy of colonialism, particularly focusing on the role of Western institutions in the exploitation and appropriation of African cultural artifacts. Through a mix of archival footage, live performance, and interactive segments, Khoza challenges audiences to confront uncomfortable truths about history and the ongoing consequences of systemic oppression.

The performance does not rely on anger or confrontation to make its points. Rather, it uses emotional honesty and a deep sense of urgency to convey its message. Khoza’s work is described as both poignant and powerful, drawing viewers into a space where they are forced to reflect on their own complicity in systems of power and privilege. One of the most striking aspects of the show is its use of audience interaction, which turns spectators into participants. In these moments, the audience is subjected to the same scrutiny and objectification that has historically been directed toward African cultures by Western institutions.

This element of the performance is designed to evoke empathy and understanding, allowing attendees to experience firsthand the discomfort of being observed and studied as if they were objects of ethnographic interest. This mirrors the way in which African art and culture have often been displayed in Western museums—not as living traditions, but as relics of a bygone era, stripped of their meaning and context. The show invites reflection on the ethical responsibilities of cultural institutions and the need for restitution and recognition of historical wrongs.

Khoza’s work is part of a broader trend within the National Arts Festival, where artists are using their platforms to address issues of justice, identity, and heritage. The festival has long been a space for creative expression and social commentary, but recent years have seen an increasing focus on themes related to decolonization, reparations, and the reclamation of African narratives. These performances are not merely artistic endeavors—they are acts of resistance and advocacy, seeking to challenge dominant paradigms and inspire change.

As the festival continues, it remains to be seen whether the messages conveyed by artists like Khoza will lead to tangible shifts in policy or public consciousness. However, the presence of such bold and unflinching works suggests that the festival is still a vital forum for dialogue and transformation. For now, the stage is set for continued exploration of these pressing issues, with the hope that the voices raised here will echo far beyond the confines of the festival grounds.