Travels
The world is the curriculum.
60 countries. Every continent of human life. A mission underway to visit every habitable nation on earth — not as a tourist, but as a cultural architect reading the world for what it teaches about identity, kinship, and the Global African story.
On a mission to visit every habitable country on earth.
Why it matters
Travel is not tourism. It is research.
There is no institution-builder for Global African culture who has not walked the ground. The AfriKin Art Fair does not present artists from thirty-plus countries because of a database search — it does so because of personal relationships, on-the-ground knowledge, and a lifelong commitment to showing up in the rooms where those cultures are actually alive.
Every country on this list is a chapter in the education that formal institutions could not provide. The markets of Marrakech. The townships of Soweto. The sacred sites of Benin. The street fashion of Tokyo. The colonial architecture of Willemstad. The music of Kingston. These are not stamps in a passport — they are the source material for the work.
You cannot build a credible platform for Global Africa from a desk. You must go. You must stay. You must listen. And you must come back changed.
The mission
Every habitable country on earth.
There are 195 recognized nations. The goal is not to collect them — it is to understand them. To build real relationships with artists, cultural leaders, and communities in every region of the world. To be the person in the room who has actually been in their room.
This mission is inseparable from the work of AfriKin, which was founded on the conviction that culture travels — and that the people who build cultural institutions must travel with it.
“I do not go to these places to observe. I go to belong — to find the thread that connects Sint Maarten to Accra to Amsterdam to Osaka and back again. That thread is the African diaspora, stretched across every longitude on earth.” — Alfonso D. Brooks
Three chapters
Origin. Scale. Home.
Every journey begins somewhere. For Alfonso D. Brooks it begins in Sint Maarten, accelerates through New York, and anchors in Miami — three cities that form the backbone of the work.
Sint Maarten
New York
Miami
By region
Where the work has taken me.
Across six regions, 60 nations — with a particular depth in Africa and the Caribbean that reflects both personal roots and the institutional mission of AfriKin.
Complete list — A to Z
60 countries. Every one a story.
Listed alphabetically. Each one earned — through presence, relationship, and the work that only happens when you actually show up.
- 1Anguilla
- 2Antigua & Barbuda
- 3Aruba
- 4Barbados
- 5Belgium
- 6Benin
- 7Bermuda
- 8Bonaire
- 9Botswana
- 10British Virgin Islands
- 11Cambodia
- 12Canada
- 13Cayman Islands
- 14China
- 15Colombia
- 16Costa Rica
- 17Cuba
- 18Curaçao
- 19Dominica
- 20Dominican Republic
- 21Egypt
- 22England
- 23France
- 24Germany
- 25Ghana
- 26Grenada
- 27Guadeloupe
- 28Holland
- 29Italy
- 30Jamaica
- 31Japan
- 32Kenya
- 33Lesotho
- 34Mexico
- 35Montserrat
- 36Morocco
- 37Namibia
- 38Nigeria
- 39Puerto Rico
- 40Saba
- 41Saint Kitts & Nevis
- 42Saint Lucia
- 43Senegal
- 44Sint Maarten
- 45South Africa
- 46Spain
- 47St. Eustatius
- 48St. Vincent & the Grenadines
- 49Switzerland
- 50Tanzania
- 51Thailand
- 52Togo
- 53Trinidad & Tobago
- 54Turks & Caicos
- 55Uganda
- 56United Arab Emirates
- 57United States of America
- 58US Virgin Islands
- 59Venezuela
- 60Zambia
- 61Zimbabwe
List grows with each journey. Sint Maarten added as country of origin and formative cultural ground.
The larger argument
Presence is the credential that cannot be fabricated.
In a world where anyone can claim global perspective from a screen, the person who has actually stood at the door of Abu Simbel, walked the streets of Lagos, sat with the Himba people of Namibia, and moved through the markets of Marrakech brings something different to the table. Not a simulation of the world — the world itself, internalized.
That embodied knowledge is what makes AfriKin's curation credible. It is what makes the cultural diplomacy real. It is what makes the access genuine rather than performed. Every artist presented at the AfriKin Art Fair, every government relationship, every luxury partnership — all of it traces back to a willingness to go, to stay, and to be changed by what is found there.
The mission to visit every habitable country on earth is not a hobby. It is the ongoing education of a cultural institution builder who believes that the world's cultures deserve to be known — not approximated.
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