Abstract Transnational cultural encounters between Africa and China, such as Chinese artist Pu Yingwei’s exploration of Kenya’s dam infrastructure and the reception of French-Senegalese director Mati Diop’s film Dahomey on African artifact repatriation among Chinese youth, generate new sites of knowledge circulation and epistemic inquiry. These exchanges exemplify an approach of “reflexivity,” which emphasizes critical reflection on one’s own positionality, research processes, and the broader conditions shaping knowledge production. Oriented toward mutual reference and epistemic affinity between Asia and Africa, this approach promotes a relational mode of knowledge-making attentive to both shared historical legacies and existing structural disparities.
Ying Cheng (2026) studied this question.