Cameroonian curator Koyo Kouoh aims to deepen the Pan-Africanist political theme at the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in Cape Town. Kouoh, considered a force to be reckoned with, has steered the museum in the city's port district towards a distinct focus on Pan-African identity, spotlighting artists from the continent and its diaspora over local content.

For Kouoh, Africa transcends borders — pushing a race-based concept, she is focusing on art by black people around the globe. "America is another African country," she boldly asserts, challenging conventional perspectives. A country, according to Kouoh, encapsulates diverse cultural expressions, but only the part that is black is relevant here; hence, Brazil, Cuba, and Haiti, in her eyes, resonate as integral parts of the African continent.

Kouoh emphasizes the African diasporic influence in the US, advocating for discussions on "black geographies" that acknowledge the profound impact of black culture on society.

56-year old Kouoh draws on her background in prestigious Western institutions to prioritise black-African identity. Raised between Douala in Cameroon and Zurich in Switzerland, she brings a global perspective to her role. After establishing an avant-garde art center in Dakar, Senegal, she took the helm of MOCAA four years ago, claiming to have transformed it from a "broken" and "dysfunctional" institution to a global art destination.

Firmly rooted in Pan-Africanism, Kouoh believes it's imperative to challenge existing narratives and establish the primacy of blackness in institutions she manages. The MOCAA has gained international recognition for its fashionable approach, attracting collaborations with major institutions in New York and Europe.

Their current exhibition, "SEEKERS, SEERS, SOOTHSAYERS," explores African spiritualism through various mediums, focusing on "owning the space", not to correct narratives, but to replace them.

As MOCAA garners acclaim for its unique perspective, Kouoh's future priorities include showcasing emerging talents, trending practices, and female artists. "I am not an activist about it. I am just decidedly and very forcefully promoting African women artists," she affirms, emphasizing the museum's commitment to "inclusivity and representation".

The extension of the art selection to black Westerners is expected to draw increased funding opportunities from diversity-and-inclusion focused investors overseas.