Category: English

Source: The Conversation – Africa – By Marian Selorm Sapah, Senior lecturer, University of Ghana

Impact craters are formed when an object from space such as a meteoroid, asteroid or comet strikes the Earth at a very high velocity. This leaves an excavated circular hole on the Earth’s surface.

It is a basic geological process that has shaped the planets from their formation to today. It creates landscapes and surface materials across our solar system. The moon is covered with them, as are planets like Mercury, Mars and Venus. On Earth, impacts have influenced the evolution of life and even provided valuable mineral and energy resources. However, very few of the impact craters on Earth are visible because of various processes that obscure or erase them.

Most of the recognised impact craters on Earth are buried under sediments or have been deeply eroded. That means they no longer preserve their initial forms.

The Bosumtwi impact crater in Ghana is different, however. It is well preserved (not deeply eroded or buried under sediments). Its well-defined, near-circular basin, filled by a lake, is surrounded by a prominent crater rim that rises above the surface of the lake and an outer circular plateau. This makes it a target for several research questions.

As an Earth scientist, I joined a research team from 2019 to better understand the morphology of the crater. We carried out a morphological analysis of the crater (a study of its form, structure and geological features).

This study concluded that the activities of illegal miners are a threat to the sustainability of the crater. We also discovered that the features of the Bosumtwi impact crater can be considered as a terrestrial representation for a special type of impact crater known as rampart craters. These are common on the planets Mars and Venus and are found on icy bodies of the outer solar system (like Ganymede, Europa, Dione, Tethys and Charon).

For future studies, the Bosumtwi impact crater can be used to help understand how rampart craters form on Mars and Venus. So the Bosumtwi impact crater should be protected and preserved.

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Read more: Curious Kids: Why are there so few impact craters on Earth?

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The crater

The Bosumtwi impact crater is in Ghana’s mineral-rich Ashanti gold belt. It is the location of the only natural inland lake in Ghana. As one of the world’s best-preserved young meteorite impact craters it is designated as an International Union of Geological Sciences geoheritage site.

It is one of only 190 confirmed impact crater sites worldwide, one of only 20 on the African continent. Its lake is one of six meteoritic lakes in the world, recognised for their outstanding scientific value.

At almost 1.07 million years old, the crater offers unparalleled opportunities for studying impact processes, climate history and planetary evolution. It’s an irreplaceable natural laboratory for researchers and educators.

Beyond its scientific importance, the crater holds cultural significance for the Ashanti people of Ghana. The lake at its centre serves as a sacred site and spiritual landmark. The crater’s breathtaking landscape also supports eco-tourism and local livelihoods, contributing to Ghana’s economic development while maintaining exceptional aesthetic value.

The research

As part of further research work on the 2019 study, in 2025 we have discovered through field work and satellite data analysis that illegal artisanal mining is prevalent in the area and threatening the crater. This refers to informal, labour-intensive extraction of minerals, primarily gold. It is conducted by individuals or small groups using basic tools and rudimentary machinery. The use of toxic chemicals such as mercury and cyanide, and practices such as river dredging, cause severe environmental harm.

Illegal miners are encroaching on and around the crater rim, posing severe threats to its environment and sustainability. Their activities have become more prevalent over the course of less than 10 years, indicating a growing problem. If unchecked, it could lead to irreversible damage to the crater.

These mining operations risk contaminating the lake with toxic heavy metals. The consequences of these are grave. They include destroying critical geological evidence, accelerating deforestation, and degrading the land. All this damages the crater’s scientific, cultural and economic value.

The International Union of Geological Sciences geoheritage designation of the crater underscores the urgent need for protection measures. The loss of this rare geological wonder would represent not just a national tragedy for Ghana, but a blow to global scientific heritage.

Immediate action is required. This includes enhanced satellite monitoring (tracking illegal mining, deforestation and environmental changes) using optical imagery (such as Sentinel-2, Landsat, PlanetScope). These tools can detect forest loss, identify mining pits and sediment runoff, and analyse changes over time.

Stricter enforcement of mining bans, and community engagement programmes, will help preserve the Bosumtwi impact crater’s unique attributes for future generations of scientists, students, tourists and local communities who depend on its resources.

– Ghana has a rare treasure, a crater made when a meteor hit Earth: why it needs to be protected
– https://theconversation.com/ghana-has-a-rare-treasure-a-crater-made-when-a-meteor-hit-earth-why-it-needs-to-be-protected-260600

Source: The Conversation – Africa – By Mariapaola McGurk, Lecturer in Innovation & Entrepreneurship, University of Auckland, Waipapa Taumata Rau

Johannesburg is weathering a storm of crises. Nowhere is its complex tangle of challenges more visible than in the inner city, where crime, overcrowding, and infrastructure collapse – such as roads literally exploding – paint a grim picture. Cultural institutions haven’t been spared either, with long-standing landmarks like the Johannesburg Art Gallery caught in cycles of neglect and crisis.

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Read more: South Africa doesn’t need new cities: it needs to focus on fixing what it’s got

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Yet, while many avoid the inner city or speak only of its decline, the creative and cultural practitioners of Johannesburg never left. In fact, artists, architects, fashion designers, animators, musicians and the like have been hard at work. They’re building, dreaming and shaping a new urban reality that could become the beacon of hope this city needs.

As a researcher and visual artist, I recently completed a PhD study that focused on Johannesburg’s cultural and creative industries. My research revealed that a clear understanding of the existing structures and dynamics within this industry is essential for developing effective strategies to strengthen its role in local economic development.

Here I explore one such opportunity: creative hubs. I argue that they represent a low-hanging fruit for the inner city’s growth and revitalisation.

Urban renewal

Numerous articles have explored strategies for the city’s economic development and urban renewal. One group of scholars recently outlined four critical focus areas: coordinated efforts across government levels; an active civil society; a shift in political culture; and restored leadership in a revitalised administration.

These are vital interventions, but they still beg a deeper question. What is the new “gold” of the “City of Gold”, the mining town founded in 1886 and on track to become a megacity by 2030?

What is it that truly sets Johannesburg apart, nationally and globally? What strengths already exist that, if nurtured, could help address the city’s challenges? The answer may not lie in building something entirely new, but in recognising and investing in what already thrives. The city’s people, its culture, and its extraordinary creativity.

In 2004, Unesco launched the Creative Cities Network. Today it comprises 246 cities in 80 member states. South Africa has three cities in the network: Cape Town (design), Durban (literature) and Overstrand (gastronomy). Johannesburg has never applied to belong.

Cities are acknowledging the economic and social value of the cultural and creative industries, particularly in addressing challenges such as youth unemployment, micro-enterprise growth, equity and community development.

Yet cities globally are grappling with how to retain creative professionals. This is the case in cities like Toronto, Sydney, Los Angeles, Cologne or Barcelona. Rising property prices, the redevelopment of industrial areas into commercial or luxury spaces, and short-term rental agreements are displacing these professionals from the urban cores they help energise. Cities are coming up with incentives and programmes to correct this.

A recent World Cities Cultural Forum report offers a solution in the form of Creative Land Trusts. These permanently hold land and assets at affordable rates for creatives. They take property out of speculative real estate markets. They’re designed to support not galleries or theatres, but the studios and workspaces where creative production actually happens.

Similar initiatives are happening in London, Helsinki and San Francisco.

Mapping Johannesburg’s creative hubs

Unlike cities that are trying to reverse the exodus of creatives, Johannesburg’s inner city has seen a recent surge in creative hub development.

A creative hub is a physical or digital space (in this case physical) designed to bring together cultural and creative professionals for studio space, collaboration, networking and the exchange of ideas.

Over the last year, 21 creative hubs have been mapped in the city, the majority newly established. Notable examples include Transwerke Studios, Asisebenze Art Atelier, Victoria Yards and Oovookoo. Remarkably, 19 of the 21 hubs identified in my open-source mapping process are in the inner city. Only two are government run – Transwerke and Downtown Music Hub.

Across Johannesburg, creative hubs buzz with independent activity, yet share a common commitment to cultivating talent, business support and community impact. They are evidence of innovative partnerships between creatives and property developers.

Inside these spaces, artists and creatives get opportunities through gallerist and investor visits (access to markets). They build practical and entrepreneurial skills through tailored workshops. And they collaborate on projects that place social upliftment at their heart.

Some hubs focus on offering studio spaces, while others extend their reach beyond their walls, blending artistic expression with community development and public engagement.

By actively building community and opportunity, creative hubs are becoming

lighthouses for the new urban economy.

They are small business incubators, urban beautification engines and potential cultural tourism hotspots. An event like Contra Fair opens the doors of art studio hubs once a year. Entrepreneur and social activist Tebogo Moalusi has now taken the lead in the establishment of Creative20. This will become a platform for revitalising Johannesburg’s creative cities campaign.

Neglected by the city

And yet the cultural and creative industries remain almost entirely absent from the city’s strategic planning. The Johannesburg 2040: Growth and Development Strategy fails even to mention the sector.

This is despite Gauteng, the province that houses Johannesburg, being the epicentre of South Africa’s creative economy. It contributes 46.3% of the industry’s gross domestic product and generates the highest employment impact. Johannesburg hosts the majority of creative businesses in the province.

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Read more: The real Johannesburg: 6 powerful photos from a gritty new book on the city

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The Gauteng 2030 Strategy highlights three high-growth sectors: agro-processing, cultural and creative industries, and high-tech/knowledge sectors, including digital and gaming. Two of these directly involve the creative economy. Yet there’s been little effort to integrate them into Johannesburg’s urban development agenda.

If Johannesburg is serious about inclusive economic development and sustainable urban growth, it must recognise and invest in the cultural and creative industries which are already thriving within its borders.

– Johannesburg’s creative hubs are booming: how artists are rejuvenating a failing inner city
– https://theconversation.com/johannesburgs-creative-hubs-are-booming-how-artists-are-rejuvenating-a-failing-inner-city-260224

Source: The Conversation – Africa – By Hayes Mabweazara, Senior Lecturer in Sociological & Cultural Studies (Media, Culture & Society), University of Glasgow

Media capture happens when media outlets lose their independence and fall under the influence of political or financial interests. This often leads to news content that favours power instead of public accountability.

Media Capture in Africa and Latin America: Power and Resistance is a new book edited by news media scholars Hayes Mawindi Mabweazara and Bethia Pearson. It explores how this dynamic plays out in the global south and how journalists and citizens are resisting it. We asked them four questions.

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What is media capture and how has it reshaped itself in recent times?

Media capture describes how media outlets are influenced, manipulated or controlled by powerful actors – often governments or large corporations – to serve their interests. It’s an idea that helps us understand how powerful groups in society can have a negative influence on news media. While this idea isn’t new, what has changed is how subtly and pervasively it now operates.

These groups include big technology organisations that own digital media platforms – such as X, owned by xAI (Elon Musk), and Instagram and Facebook, owned by Meta. But it’s also important to consider Google as a large search engine that shapes the news content and audience of many other platforms.

This matters because the media are important for the functioning of democratic societies. Ideally, they provide information, represent different groups and issues in society, and hold powerful actors to account.

For example, one of the key roles of the media is to provide accurate information for citizens to be able to decide how to vote in elections. Or to decide what they think about important issues. One big concern, then, is the effect of inaccurate or biased information on democracy.

Or it might be that accurate information is harder to access because algorithms and platforms make it easier to access inaccurate or biased information. These can be intended and unintended consequences of the technology itself, but algorithms can amplify misinformation and fake news – especially if this content has the potential to go viral.

So, what’s particular about media capture in the global south?

This is a really interesting question that is still being investigated, but we have some ideas.

First of all, it’s useful to know that media capture scholarship from the global north emerged around the time of the 2008 financial crisis. The influence of financial institutions on business journalists was one of the first areas of study. Since then, research in the US has focused on the capture of government-funded media organisations like Voice of America. And on how digital platforms like Google and Facebook can lead to capture.

In the global south, scholars have drawn attention to the importance of large media corporations in understanding media capture. For example, in Latin America, there’s a high level of what’s called “media concentration”. This is when many media outlets are owned by a few companies. These companies often own companies in other sectors, which means that critical reporting on business interests presents a conflict of interest.

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Read more: Public trust in the media is at a new low: a radical rethink of journalism is needed

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But to focus on Africa, scholars have drawn attention to governments as a source of pressure on journalists and editors. This can be through direct pressure or what we might call “covert” pressure. Withholding advertising that helps to fund media outlets is an example, or offering financial incentives to stop investigating certain topics.

Researchers are also concerned about the influence of big tech in Africa. Digital platforms like Google and Facebook can shape the news and information that citizens have access to.

Can you share some of the studies from the book?

Our book includes many interesting studies – from Colombia, Brazil and Mexico in Latin America to Ethiopia and Morocco in Africa. We’ll share a few African cases here to give an overview of the issues.

The book’s contribution on Ghana warns us that although more overt “old” types of media capture may have subsided, transitional democracies can feature messier, more nuanced forms of media control. This can be evident in government pressures and through capture of regulators.

In the Morocco chapter, we see the threat to media freedom presented by digital platforms owned by global tech giants. This is known as “infrastructural capture”. It means news organisations become dependent on tech giants to set the rules of the game for democratic communication.

Another compelling case is Nigeria, where researchers explore ties between media ownership and political patronage. The authors argue that the Nigerian press is failing in its democratic duty because of its reliance on advertising and sponsorship income from the state. Added to this are ineffective regulatory mechanisms and close relationships with some big businesses that own newspapers and printing presses.

How can media capture be resisted in the global south?

The studies in the book show some ways forward and we do think it’s important to be optimistic! Resistance takes many forms. Sometimes it comes through legal and policy reform aimed at increasing transparency and media diversity. In other cases, it’s driven by social movements, investigative journalists and independent media who continue to operate under pressure.

The chapter on Uganda shows that journalist groups working with media advocacy organisations can strategically act to resist government media capture and harmful regulations. For example, to push back against one legislative change, several groups formed a temporary network called Article 29 (named after the article in the Ugandan constitution protecting free speech) and the African Centre for Media Excellence produced a report criticising the proposed changes.

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Read more: Western media outlets are trying to fix their racist, stereotypical coverage of Africa. Is it time African media did the same?

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One of the chapters on Ghana also shows how networks such as journalists, media associations, human rights groups and legal organisations can mobilise to push back against government influence. Organisations including the Ghana Journalists Association and Ghana Independent Broadcasters Association have played key roles in, for example, taking the media regulator to court to overturn laws that would have led to censorship. These findings are echoed in Latin America, where research on Mexico and Colombia also found professional journalism to be a strong source of resistance.

The conversation must also include rethinking how we define capture itself. If we frame it only as total control, we risk missing the everyday ways influence operates – and the spaces where it can be resisted. We would also say it’s really important that citizens are aware and alert to the issues when they think about how they access news media and what platforms they use. This is sometimes called “media literacy” and is about people being more knowledgeable about where trustworthy news comes from.

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You can listen to a podcast about the book over here.

– African media are threatened by governments and big tech – book tracks the latest trends
– https://theconversation.com/african-media-are-threatened-by-governments-and-big-tech-book-tracks-the-latest-trends-258017