Background: Despite an increase in health research conducted in Africa, there are still inadequate human resources with research ethics training and lack of local long-term training opportunities in research ethics. A research ethics training program named United States-Mali Research Ethics Training Program (US-Mali RETP) was established through a partnership between the George Washington University Milken Institute School of Public Health (GWSPH), USA and University of Sciences, Techniques & Technologies of Bamako (USTTB), to address the critical need for improved bioethics training, (...) leadership, and policy in Mali. Methods: The aims of the capacity building programme are achieved by leveraging US and Africa-based expertise to strengthen research ethics education and capacity through: (1) intensive faculty development to design ethics training curricula; (2) development of a research ethics specialization within the existing Masters of Public Health program (MPH); and (3) establishing professional development courses through short-term training workshops and webinars to address research and professional needs in ethics. Results: The program will strengthen USTTB’s capacity of research ethics by training at least 15 MPH students over 5 years to prepare the next generation of ethics researchers. During the first two years of the program, a new ethics training curricula was developed, two cohorts of Master’s students were enrolled, and a series of webinars and workshops were conducted with participation of Malian and international researchers. Conclusions: US-Mali RETP will promote a sustainable bioethics enterprise at USTTB, and enable dissemination of research ethics training to increase health research capacity in Mali. (shrink)

Juxtaposing recent site-responsive art installations by artists Mame-Diarra Niang (b.1982, France) and Dineo Seshee Bopape (b.1981, South Africa), this article explores the various geographic, virtual and cultural spaces that the artists simultaneously inhabit in their respective practices. Through interviews with the artists and contextual analysis of their recent projects, one can begin to understand the complex strategies each artist brings to bear to communicate compellingly beyond standard conceptions of past, present and future. Particular attention will be paid to Niang’s (...) Dak’Art 2014 performance Éthéré, which offered a subtle yet trenchant critique of homophobia and related hate crimes in Senegal. Bopape’s aesthetic, meanwhile, exemplified in installations such as but that is not the important part of the story draws on references including slave rebellion and Shembe religious rites. This article will argue that their individual approaches in fact share a number of affinities that can prove revelatory in our understanding of black hauntology, mining the ways in which contemporary African artists alternately negotiate spaces – whether physical, virtual or recorded – and memory. (shrink)

1ère Partie. De l'évolution de la condition humaine -- 2ème Partie. De l'homme au crépuscule de sa vie -- 3ème Partie. La mort de Fako Kouyaba Diarra, Le testament d'Aslam.