THE SECOND WORLD BLACK AND AFRICAN FESTIVAL OF ARTS AND CULTURE: , Author(s): Ife Enohoro Source: The Black Scholar, Vol. 9, No. 1, BLACK LABOR (September 1977), pp. 26-33 Published by: Taylor & Francis, Ltd. Stable URL: https://www.jstor.org/stable/41066960 Accessed: 09-11-2018 00:13 UTC

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms Mask of Benin

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms THE SECOND WORLD BLACK AND AFRICAN FESTIVAL OF ARTS AND CULTURE: LAGOS, NIGERIA

by If e Enohoro

THE FESTIVAL EMBLEM Our smiles and laughter needed not a common THE ROYAL IVORY Language to be understood. MASK OF BENIN To be appreciated. Welcome brother they said to me. 16th Century Ivory Mask from Welcome Home ! Benin has emerged through the years Lidge Daily Soledad Prison as one of the finest examples of known African and black art. It was worn as a pectoral by Benin INTRODUCTION Kings on royal ancestral ceremonial occa- The "Scramble for Africa" ravaged sions; was last worn by King Ovaramwen Africa's human and natural resources and who was dethroned at the fall of the gave impetus to the establishment of insti- Benin Empire in 1897. The same year, it tutions which have continually deprived fell into the hands of the Consul General Africans throughout the world both socio- of the Niger Coast Protectorate, Sir Ralph psychologically and materially. For the Moor, and now rests in the British past four hundred years the essence of life Museum. The tiara formation at the crest for black people has been the search for of the Mask is made of 10 stylised heads the effective theories and methods to im- and symbolises the King's divine suprem- plement decolonization, encompassing acy and suzerainty. The two incisions bothon the internal and external com- the forehead which were originally filled ponents. with iron strips are royal tattoo marks As a necessary ramification, many prag- round the neck; the artist has carved the matic prescriptions have been contra- coral bead collar which is a common fea- vened, conjoined and/or repudiated dur- ture of the King's paraphernalia. ing theoretical discussions, yet there is no indication that these doctrinal disputes "FEST AC 77" are near an end. In fact, if these disputes desisted today, it would cause an insur- I shared a feeling with my people. I looked into their faces mountable set-back in the growing sophis- and saw mine. tication of the liberation struggle for

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms Africa, for the self-acknowledged African At the end of the , the matter was resuscitated, and the Festival descendant in the New World, and the was rescheduled to be held at the end of yet-to-be ideologically defined "Third 1975. But consequent on changes in the World Alliance." There has been, how- Federal Military Government of Nigeria ever, one carefully elaborated concept, (the host government) in July 1975, the Festival was postponed 'in view of the ob- and that is Négritude.* The essence of vious difficulties in providing all necessary Négritude ¿s the black "consciousness," facilities.'2 that which perceives the real and causes the question of unity, contem- understanding. This essence gives Négri- porary Négritudinists generally feel tude its cultural foundation, which Presi- that one of the major prerequisites for dent Senghor promotes as the basis for unification of black people towards a African Unity. federation is knowledge of 'who we are.' The phenomenon of Négritude in its It is necessary to know each other on a contemporary form- that as a conscious personalized basis in order to develop as a reality- can be traced back to the period people. Part of this knowledge is an of 1804 to the present, although founda- awareness of the past, of our heritage, our tions were laid long before then. For ex- history; and thus an understanding and ample, the documentation of suicides and appreciation for our cultural achieve- rebellions aboard the slave ships. For, any- ments, for example, religion, philosophy thing threatening the essence of a person and art. must be resisted and destroyed. In this article we will describe the ex- Historically, the term was used in the ternal forces of the Second World Black first issues of ¿'Etudient Noir, a student and African Festival of Arts and Culture, review edited in during the 1930s by Aime Césaire of Martinique and Leopold and the internal impact, "the spirit of Sedar Sénghor of . Drawing inspira- FESTAC," held in Nigeria, 1977, hope- tion from DuBois' Pan Africanism and fully demonstrating the importance of Alain Locke's concept of the New Negro, FESTAC as an international forum for these two figures, in company with Damas and others, launched a movement which both the development of the black com- found a brilliant fruition in Presence Afri- munities in and outside the continent and caine, both a journal and a publishing the survival of black culture within our house, which from its Paris home has or- ganized two cultural congresses of persons respective visions as artists. •* of African descent and inspired the first World Festival of Negro Arts, held in FESTIVAL FLAG in April, 1966.1 The flag of the festival is a tricolor flag Evolving to the Second World Black of Jthree equal perpendicular rectangles. and African Festival of Arts and Culture The two outside rectangles are in black held in Nigeria, January/February 1977: and the central rectangle is gold. Over the At the end of that First Festival in 1966, gold is superimposed centrally the festival Nigeria-was invited to host the Second Fes- emblem. tival in 1970. Nigeria accepted the invita- tion, but because of the internal situation The black color represents the black in the country, it was not possible to hold people of the world. the Festival that year. The gold color represents two ideas. It represents the wealth of the culture of the * "Négritude has been defined as the whole complex ofareas and peoples embraced by the festi- civilized values- cultural, economic, social and political -which characterizes the black peoples, or more pre- val. It also stands for the non-black cisely, the Negro African world." Walter A. C. Skurnik, The Foreign Policy of Senegal (Northwestern University peoples associated with black people in Press, 1972), p. 201. the festival.

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms AIMS OF THE FESTIVAL barriers and also to reach all oppressed black and African peoples everywhere. The principal aims of the festival It alsoare: stated that it was meant to re- (i) to ensure the revival, resurgence, move the yoke of feudalism, imperialism, propagation and promotion of black and African culture and black and African cul- neo-colonialism, all forms of human op- pression and also, to serve as a moral tural values and civilization; support for those engaged in the struggle (ii) to present black and African cul- to liberate themselves. This spirit- this ture in its highest and widest conception; motivation- is exemplary of the messages (iii) to bring to light the diverse contri- brought to the festival from the fifty- butions of black and African peoples to seven representative contingencies. the universal currents of thought and arts; His Excellency Lt.-General Olesegun (iv) to promote black and African Obasanjo, Head of State of Nigeria and artists, performers and writers and facili- Festival Patron, in his numerous ad- tate their world acceptance and their ac- dresses, charged the participants and visi- cess to world outlets; tors at the festival with the responsibility (v) to promote better international and of continuing and spreading the "Spirit of interracial understanding; FESTAC." (vi) to facilitate a periodic return to origin in Africa by black artists, writers Most expressedly said in his opening address at the Durbar: and performers uprooted to other conti- nents. In a sense the whole of FESTAC is one grand Durbar in which African peoples with their kith and kin are in one simple FESTAC 77 event trying to recapture their common identity and pride which is the beginning Although the emotion, the life, the ofsen- a new independent collective future. We sual feeling of the rhythm of joy, of mustfear, derive pride and inspiration from each and every contribution no matter of love, is subdued when we use literary from what African country and which part forms of communication, it often of be-the black world. I do hope Your Excel- comes necessary in order to share anlencies ex- will carry away lasting impressions of this Durbar and all other contributions perience with a broader audience. made to this Festival and keep the spirit Communication on the external, physi- and the purpose of the Festival alive for cal level, and on the internal mind-soul the good of our peoples. level was the central theme of the festival. The following interviews are presented The essence of this dialogue being the in an effort to transmit a glimpse of the establishment of a spiritual bond natureof the of the "Spirit of FESTAC," how heart and soul of the participants and the participants were most inspired and visitors. On Saturday, January 29, Ethi- how they envisage building these energies opia presented "Our Struggle"- intoan epic tangible practicalities. story of their revolution. In a three-act Our first interview was with Ms. Hasani dance drama, it carried a message thatLa Reine the La Mar. She is a vivacious and spirit and love put into the dance would stimulating singer and instrumentalist. As unify all oppressed brothers and asisters member of the National Black Theatre under a united front in the struggle of New York, added to her artistic skills against all forms of human oppression. A are duties of administrator, teacher, and brief resumé on the play explained that manager of. public relations. Hasani is a the revolutionary dance drama was pre- dedicated young lady who has been part- pared to transcend all languages and other

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms icipating in the Theatre group for nine years. "The goal of the National Black Theatre is to inspire people especially black people, although we transcend color, to love themselves. Our per- formances are designed to rehabilitate our ability to love ourselves. We project gut- real images so that our audiences leave the theatre in a state of joy, and can at a later date reflect this love in each other. We aim to incite a common purpose of love and respect to remove blocks and barriers in the mind. Essentially we work to free the mind. So, in our performance feed- back is necessary, not just the presenta- tion of the show. "We started feeling the spirit before our performance. We walked through FESTAC Village giving flyers about, face National Theatre. Photo by Ayodele Okanlawon to face invitations to the other 'par- ticipants; the outcome being a build up in interest by the audience. It seemed as though every contingent was represented that night and a clear hook-up in energy and spiritual transmission could be felt. We became one family. "FESTAC is a tremendous opportunity for mixture of artists from all countries. We gained a sense of the struggle from different perspectives. To continue and to spread the "Spirit of FESTAC," it would be advantageous if black television and radio stations in The Americas would fea- ture material of FESTAC in their com- munity programs. This would aid in get- ting across cultural interaction and project culture of other countries."

he second interview was with Mr. Lenardo Dedman of the Troy Robin- son Youth Orchestra, in Los Angeles, CA. Lenardo plays alto saxophone; he has been playing for twenty years and started with the tenor saxophone. Opening Ceremony. Photo by Ayodele "I came to FESTAC as a replacement Okanlawon for one of the original musicians, two weeks before leaving. Prior to that I didn't

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms know about FESTAC. Even on the way spired by being a representative of blacks over, I didn't understand fully the mag- from the United States. Being there in the nitude of FESTAC. This is the last day African World Village, where you could and I am only beginning to understand- go across the street to Tanzania, next awakening to what is happening. This is door to Trinadad, three blocks to An- really a super strong political event. Ar- zania, look out your window to the Ivory tistic! It is one of the most fantastic Coast. Just to be there to be part of the things I have ever seen. Seeing and celebration inter- and part of the history of acting with people from all over the black world people throughout the world and to see how music has grown from mankind. this source (Africa). This is an artist's dream. "For the success of future festivals it is When I return to America I will in- necessary to intensify the interest of the corporate into my lifestyle a new regions feeling here in America. We must get out of closeness that I have with black the word men, of the significance of FESTAC, and use the music and ideas I've learned that it is continuous and that it must grow to create more music. For my five andchil- develop. Generally, FESTAC should dren I am bringing many pictures, Ibe will an independent black venture. The fes- tell them of their black ancestors and of tival should be seen as a collective black the African instruments I have seen and I festival, rather than a hosted festival; this will tell them how nice people are. way all the countries contribute skills and 'To me, finding a common language finances is to help solve basic problems. one of the most important decisions we as"It would be extremely beneficial if a people can make, which would promote future United States participants were unification." oriented to the realities of the motherland The third interview was with Nontsizi and the importance of their roles as cul- Cayou. Nontsizi is creator and director tural of representatives of a group and of all "Wajumbe," people who bring a message, blacks. established in San Francisco in 1969. She "A special day could be added to the has been an instructor of Dance, Depart- festival format so that people could get ment of Physical Education, San Fran- together in areas of their interest. Dance cisco State University since 1967. An- ensembles of all countries come together other dedicated young sister known to find ways of organization and com- throughout the Bay Area for her tireless munication for the next festival. efforts in promoting African culture, she "We can translate the spirit here by describes "Wajumbe" as a cultural en- institution building. By teaching- instill- semble that works from the African con- ing African values; then the atmosphere cept that Art is life. Therefore whatever will recreate the spirit of FESTAC. Touch ideas and themes they have come out ofthe latent Africanism which will lead to reality and not as intellectual or artistic another development, another commit- exercises. ment-to work." "The spirit is blackness, this time and Our fourth interview was with Mr. space. It is a harmonious energy that Arthur is Monroe. Arthur is a visual artist envigorating, uplifting, gives knowledge acclaimed internationally. He has studied that collectively you can do anything. The and worked in South America, the Orient, energy keeps you moving, you realize the Africa and throughout the United States. little need you have of sleep. He is curator at the Sanderson Museum, in "You become spiritually awakened, the African American Historical and Cul- your consciousness is expanded. I was in-tural Society of San Francisco and is THE BLACK SCHOLAR SEPTEMBER 1977 PAGE 31

This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms Director of FESTAC, Far West Region, include participants in all the various North American Zone. disciplines, both artists and craftsmen, painting, sculpture, and printmaking, the Arthur FESTAC is a way of life. performing arts, dance, drama and music, He has been actively coordinating and and all technical assistance. directing FESTAC in the Western Region "Secondly, to provide educational serv- and on the National Board for five years. ices that will include the presentation of "It all goes back to what Gowan said: necessary information that is accessible devise a way to develop a federation- for through these artists and that should be equal participation. But how can you have made available to the black community. a federation when people do not know Priorities being a concern with supplying each other? FESTAC is a step to bridge an added dimension to the educational- the gap between the diaspora. In an arena cultural needs of the children in the com- such as FESTAC, people had the first munity, and with encouraging, develop- time to engage or test ideas in a compara- ing, and supporting the artistic potential tive way. This enabled us to understand of these children and providing a forum in what is happening in our consensual which to display their work. At the other systems. It will no longer be just an asso- end of the spectrum, we should also work ciation of myths. People were able to see closely with the senior citizens to satisfy each other, to talk, to touch, to love, and their cultural and artistic needs and exchange information. No longer can develop an oral history program." Western societies define art for those who It is safe to infer that the above inter- went. Not what art is; but how it func- views in conjunction with the principal tions, for in the course of its functioning aims of the festival indicate that FESTAC therein lie many things that sustain a cul- is a viable mechanism for presentation and ture. It can be seen in expressions, eating, exchange. walking, talking, modes of thinking, in the This time is a critical phase in the black forms of utility and adornment. All of man's struggle for independence which that interplay and cross cultural reference necessitates our extending all efforts to of blacks and Africans heightened the establish a wholesome atmosphere for its spiritual qualities of the festival, which growth. It is a matter of concern for the gave us a feeling and sense of identity and black community that the time lapse be- security. tween the International Black Festival of "Now we must look out for our up and Arts in Senegal in 1966 and the Second coming young artists. Why are black art Black and African Festival of Arts in students not taught African technologies Nigeria in 1977 was so long, and too im- in their studio classes? What can we do to personal. Steps are being taken to see that see that they are introduced and trained this does not reoccur. Throughout the to African sensibilities? Inclusive of country FESTAC committees are present- people, ideas, and places, FESTAC ing hasmotivating projects and programs to shown us that an exchange is one ofthe the community. We not only seek com- most viable ways to bring the black munity com- input in the form of suggestions munity in close proximity to its heritage. but on a physical level of involvement in Ideas worth consideration would be, planning first, and implementing events leading to organize and facilitate an immediate to the next festival. The charge to spread exchange of Afro-American artists and sind to continue the "Spirit of FESTAC" African artists in their respective mustcom- be taken seriously. munities on both continents. This would

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This content downloaded from 130.126.162.126 on Fri, 09 Nov 2018 00:13:38 UTC All use subject to https://about.jstor.org/terms Notes

1. Berrian A. H., Long, R. A., Négritude: Es- says and Studies (Virginia:* Hampton Institute Press), p. 1. 2. FESTAC 77: Spotlight, Publicity Divi- sion, International Secretariat, Nigeria, Academy Press Ltd., Lagos.

FESTAC Emblem, National Theatre. Photo by Ayodele Okanlawon

Closing Ceremony. Photo by Tumani Onabiyi Nigerian Roadsign. Photo by Ayodele Qkanlawon

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