DOCSLIB.ORG

THE SECOND WORLD BLACK and AFRICAN FESTIVAL of ARTS and CULTURE: LAGOS, NIGERIA Author(S): Ife Enohoro Source: the Black Scholar, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE SECOND WORLD BLACK and AFRICAN FESTIVAL of ARTS and CULTURE: LAGOS, NIGERIA Author(S): Ife Enohoro Source: the Black Scholar, Vol THE SECOND WORLD BLACK AND AFRICAN FESTIVAL OF ARTS AND CULTURE: LAGOS, NIGERIA 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 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Taylor & Francis, Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Black Scholar 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 PAGE 26 THE BLACK SCHOLAR SEPTEMBER 1977 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 THE BLACK SCHOLAR SEPTEMBER 1977 PAGE 27 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 Nigerian civil war, 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 Paris during the 1930s by Aime Césaire of Martinique and Leopold and the internal impact, "the spirit of Sedar Sénghor of Senegal. 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 Dakar 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. PAGE 28 THE BLACK SCHOLAR SEPTEMBER 1977 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.
Load more

Recommended publications
  • Festival Events 1
    H.E. Lieutenant-General Olusegun Obasanjo, Head of State of Nigeria and Festival Patron. (vi) to facilitate a periodic 'return to origin' in Africa by Black artists, writers and performers uprooted to other continents. VENUE OFEVENTS The main venue is Lagos, capital of the Federal Republic of Nigeria. But one major attraction, the Durbar. will take place in Kaduna, in the northern part basic facts of the country. REGISTRATION FEES Preparations are being intensified for the Second World There is a registration fee of U.S. $10,000 per partici- Black and African Festival of Arts and Culture to be held pating country or community. in Nigeria from 15th January to 12th February, 1977. The First Festival was held in Dakar, Senegal, in 1966. GOVERNING BODY It was then known simply as the World Festival of Negro The governing body for the Festival is the International Arts. Festival Committee representing the present 16 Festival At the end of that First Festival in 1966, Nigeria was Zones into which the Black African world has been invited to host the Second Festival in 1970. Nigeria divided. These 16 Zones are: South America, the accepted the invitation, but because of the internal Caribbean countries, USA/Canada, United Kingdom and situation in the country, it was not possible to hold the Ireland, Europe, Australia/Asia, Eastern Africa, Southern Festival that year. Africa, East Africa (Community), Central Africa I and II, At the end of the Nigerian civil war, the matter was WestAfrica (Anglophone), West Africa (Francophone) I resuscitated, and the Festival was rescheduled to be held and II, North Africa and the Liberation Movements at the end of 1975.
    [Show full text]
  • The Kano Durbar: Political Aesthetics in the Bowel of the Elephant
    Original Article The Kano Durbar: Political aesthetics in the bowel of the elephant Wendy Griswolda,* and Muhammed Bhadmusb aDepartment of Sociology, Northwestern University, 1810 Chicago Avenue, Evanston, Illinois 60208, USA. E-mail: [email protected] bDepartment of Theatre and Drama, Bayero University Kano, Kano, Nigeria. E-mail: [email protected] *Corresponding author. Abstract Political aesthetics deploy theatrical techniques to unite performers and audience into a cultural community, thereby distracting from conflicts. The Kano Durbar in northern Nigeria demonstrates how the aesthetics of power can promote a place-based political culture. Although power in Kano rests on a wobbly three-legged stool of traditional, constitutional and religious authority, the status quo celebrated by the Durbar holds back ideological challengers like Boko Haram even as it perpetuates distance from the unified nation-state. The Durbar works as a social drama that helps sustain a Kano-based collective solidarity against the threats of ethnic/religious tensions and Salafist extremism. A cultural-sociological and dramaturgical analysis of the Durbar demonstrates how weak sources of power can support one another when bound together in an aesthetically compelling ritual. American Journal of Cultural Sociology (2013) 1, 125–151. doi:10.1057/ajcs.2012.8 Keywords: political aesthetics; place; social drama; Kano; Nigeria; Durbar Introduction While political rituals are expressions of power, what is less often noticed is that they are expressions of place. Bringing this insight to bear on the analysis of these rituals can reveal how they work, what exactly they accomplish, thereby resolving some of the puzzles they present. This article examines the case of the Kano Durbar, a Nigerian ritual that presents a social drama of and for Kano residents, a drama that helps sustain a sense of r 2013 Macmillan Publishers Ltd.
    [Show full text]
  • Culture Education” and the Challenge of Globalization in Modern Nigeria
    Oral Tradition, 21/2 (2006): 325-341 “Culture Education” and the Challenge of Globalization in Modern Nigeria Ademola O. Dasylva Introduction Let me begin with a quotation from Frantz Fanon’s The Wretched of the Earth that I find quite apposite to the main thrust of this paper (1967:168): … the passion with which the native intellectuals defend the existence of their national culture may be a source of amazement, but those who condemn this exaggerated passion are strangely apt to forget that their own psyche and their own selves are conveniently sheltered behind a French or German [or any western] culture which has given full proof of its existence and which is uncontested. I must also confess that the full import of the above statement by Fanon did not occur to me until I came across the same reference again in Toyin Falola’s The Power of African Cultures (2003:49) while in the course of preparing the present article. Fanon’s treatise is not only relevant to the present discourse but also directly foregrounds this paper’s philosophy. For the purpose of clarity, let me explain the term “culture education” as it is intended herein. If “education” is the process of knowledge acquisition, “culture education” emphasizes the peculiar means and methods of instruction by which a society imparts its body of values and mores in the pursuance and attainment of the society’s collective vision, aspirations, and goals. Thus, anyone who demonstrates a degree of knowledge of his or her societal values and general education is said to be educated.
    [Show full text]
  • Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89
    POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr.
    [Show full text]
  • Download (4MB)
    SUSTAINING THE NEW WAVE OF PAN-AFRICANISM A collection of papers that were presented at the Workshop: 'Sustainmg a New Wave of Pan-Afncan1sm' at the University of Namibia (Unam) Windhoek, Namibia, December 6-9, 2010. Sustaining the New Wave of Pan-Afncan1sm Published In 2011 by the National Youth Council of Namibia (NYCN) and the Nigerian H1gh Commission in Windhoek P 0 Box 60956 Katutura Windhoek, Namibia ©Copyright National Youth Council of Namibia and Nigerian High Commission in Wind­ hoek 2011 All rights reserved No part of this publication may be reproduced, stored 1n a retneval system or transmitted, in any form or by any means, electronic, mechamcal. photocopying or otherwise, without the prior written permission of the copynght holder. ISBN: 978-99945-72-28-1 Pnnted by the Polytechmc Press, The Polytechnic of Nam1b1a Edited by: Bankie F. Bankie and Viola C. Zimunya Printed by: the Polytechnic Press at the Polytechnic of Namibia iii TABLE OF CONTENTS Laaw in Sustaining the new wave of Pan-Africanism utments Papers resulting from a workshop held at the Windhoek Campus of the University of Na­ and Hu- mibia, December 6-9, 2010 Page SECTION 1: In the beginning- Opening statements 1 and so­ , on the Mandela Kapere, Execut1ve Chairperson, Nat1onal Youth Council of Namibia (NYCN) 1 2. H.E. (Prince) Adegboyega C Ariyo, Nigenan H1gh Commissioner to Namibia 2 coloma I 3. Statement for and on behalf of Freedom Park, South Africa, by Dr Mongane Wally Serote 3 4. Maureen Hmda, Pan-Afnkan Centre of Namibia (PACON) 4 5. Statement for and on behalf of the Centre for Black and African Arts and C1vilizat1on (CBAAC), by Dr Tony C Onwumah 6 6 Tenda1 Wenyika, Secretary General Pan-African Youth Union (PAYU) 8 and the 7 Advocate B1ence Gawanas, Comm1ss1oner of Social Affairs, Afncan Union Senegal Commission 9 •n which 8 KEYNOTE ADDRESS- H.E Dr Sam NuJoma , Founding President of the Jlication Republic of Namibia and Father of the Namibian Nation, and Patron of the •0-1945, Pan-Afrikan Center of Namibia (PACON) 11 9.
    [Show full text]
  • Pan-Africanism and the Black Festivals of Arts and Culture: Today’S Realities and Expectations
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 20, Issue 3, Ver. 1 (Mar. 2015), PP 22-28 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Pan-Africanism and the Black Festivals of Arts and Culture: Today’s Realities and Expectations Babasehinde Augustine Ademuleya (Ph. D) & Michael Olusegun Fajuyigbe (M. Phil) Department of Fine and Applied Arts, Obáfémi Awólówò University, Ile-Ife, Nigeria . Abstract: The first two editions of the Festivals of Blacks arts and culture which owed much to the ideologies of the Pan-Africanism and Negritude that preceded them, no doubt laid legacies that have continued to serve as strong reference points in the discussion of Africans and African descent relationship. Apart from providing an unusual forum that brought to light the diverse contributions of Blacks and African peoples to the universal currents of thought and arts, both editions drew attentions to the expected relationship between the continental Africans and their offspring in the Diaspora. The events reassert the African identity thus creating the platform for continental Africa and the Diaspora to move through the borders of nation state and the psychosocial borders of racism which is central to all Pan-Africanist freedom movements. It is however worrisome that forty eight years after the maiden edition of the festival (FESMAN) and thirty seven years after the second (FESTAC), the achieved cultural integration is yet to translate into much expected economical, political, educational, philosophical and technological advancements of African nations and that of the Diaspora. This paper therefore attempts a review of the Black Festivals of Arts with a view to highlighting how the achieved cultural integration through the arts could be further explored for today’s realities and expectations.
    [Show full text]
  • (7R 50 S 167 Pj
    ARTS AND AFRICA No. 167 (7R 50 S 167 PJ ANNOUNCEMENT AND SIGNATURE TUNE: ALEX TETTEH-LARTEY: Welcome to "Arts and Africa"o This is Alex Tetteh-Lartey with a look back at Festac '77. SIG. TUNE: ALEX TETTEH-LARTEY: As you know, for the last few weeks we've been running several on the spot reports on Festac '77 from Florence Akst in Lagos. We 1_1 today, we' re going to look back at Festac with two ,journalists who've been covering the Festival. They're Ahmed Aminu of the BBC's Hausa Service and Alex Pascall from Granada in the Caribbean, who presents a weekly programme called "Black Londoners" for BBC Radio London in the UK. They're both with me now: Welcome gentlemen to "Arts and Africa". First of all Ahmed, you come from Nigeria? AHMED AMINU: Yes I do. ALEX TETTEH- LARTEY: How did you feel, going back to the country? AHMED AMINU: It has been a very emotional kind of "going bs.ck to Nigeria", being inside and outside at the same time, present as ~n overseas journalist to cover Festac, and I was absolutely taken away, carried away by the atmosphere of Festac. It has been such a great thing not only for the Nigerian government, but the black race in the whol" v10rld tho.t Festac 1 77 has been such a great success. ALEX TETTEH-LARTEY: Well, we'll come back to you, but let me turn to Alex. Now you as an outsider, how did you find Nigeria, Festac in particular? ALEX PASCALL: Well, as an African born abroad nnd going to Africa for the first time ever to meet Africans all told, brother it was one of the grentest feelings I hove ever h~d nnd I think it will be a memory printed on me no one could wipe out.
    [Show full text]
  • APPENDICES These Historic Documents Which Are Also Found in Peju Layiwola, Benin 1897.Com, Art and the Restitution Question, 2010,( Wy Art Editions, P.O
    APPENDICES These historic documents which are also found in Peju Layiwola, Benin 1897.com, Art and the Restitution Question, 2010,( Wy Art Editions, P.O. Box 19324, University Post Office, Ibadan, Oyo State, Nigeria. www.benin 1897.com) enable the reader to follow closely the reasoning behind the positions of the parties involved in the debate on the restitution of the Benin Bronzes. APPENDIX I List of holders of the Benin Bronzes Almost every Western museum has some Benin objects. Here is a short list of where the Benin Bronzes are to be found and their numbers. Various catalogues of exhibitions on Benin art or African art also list the private collections of the Benin Bronzes. The museums refuse to inform the public about the number of Benin artefacts they have and do not display permanently the Benin artefacts in their possession since they do not have enough space. Some museums have their section on Benin or African artefacts closed for years for repair works or other reason. 1. Berlin – Ethnologisches Museum 580. 2. Chicago – Art Institute of Chicago 20, Field Museum 400. 3. Cologne – Rautenstrauch-Joest-Museum 73. 4. Glasgow _ Kelvingrove and St, Mungo’s Museum of Religious Life 22 5. Hamburg – Museum für Völkerkunde, Museum fur Kunst und Gewerbe 196. 6. Dresden – Staatliches Museum für Völkerkunde 182. 7. Leipzig – Museum für Völkerkunde 87. 8. Leiden – Rijksmuseum voor Volkenkunde 98. 9. London – British Museum 900. 10. New York – Metropolitan Museum of Fine Art 163. 11. Oxford – Pitt-Rivers Museum/ Pitt-Rivers country residence, Rushmore in Farnham/Dorset 327.
    [Show full text]
  • A Pan-African Space in Cape Town? the Chimurenga Archive of Pan-African Festivals
    Journal of African Cultural Studies ISSN: 1369-6815 (Print) 1469-9346 (Online) Journal homepage: https://www.tandfonline.com/loi/cjac20 A Pan-African space in Cape Town? The Chimurenga archive of Pan-African festivals Alice Aterianus-Owanga To cite this article: Alice Aterianus-Owanga (2019): A Pan-African space in Cape Town? The Chimurenga archive of Pan-African festivals, Journal of African Cultural Studies, DOI: 10.1080/13696815.2019.1632696 To link to this article: https://doi.org/10.1080/13696815.2019.1632696 Published online: 23 Aug 2019. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=cjac20 JOURNAL OF AFRICAN CULTURAL STUDIES https://doi.org/10.1080/13696815.2019.1632696 A Pan-African space in Cape Town? The Chimurenga archive of Pan-African festivals Alice Aterianus-Owanga Institut de sciences sociales des religions, Université de Lausanne, Lausanne, Switzerland ABSTRACT KEYWORDS Created in 2002 in Cape Town by Ntone Edjabe, Chimurenga is a Pan-Africanism; archives; multidimensional project that combines a print magazine, a festivals; FESTAC; memory; workspace, a platform for editorial and curatorial activities, an Cape Town; South Africa; online library, and a radio station (the Pan-African Space Station). Chimurenga Based on collaborative ethnographic research with the Chimurenga team, this paper discusses the collection, production and creation of an archive about Pan-African festivals that this collective has developed through their cultural activities. After a brief overview of Festival of Black Arts and Culture (FESTAC) which took place in Lagos in 1977, and the history of Pan-African festivals, I describe the materials collected by Chimurenga and the projects in which they have participated.
    [Show full text]
  • View the Full Chronology (PDF, 548KB)
    CHRONOLOGY POLITICAL KEY POLITICAL ATLANTIC ART AND ART BACKGROUND EVENTS AND PEOPLE THOUGHT LITERARY EVENTS MOVEMENTS 0 Portuguese bring 0 5 African captives to 1 . Europe as slaves c 8 First African captives 1 5 shipped directly from 1 . c Africa to America Start of large-scale s slavetrading by 0 4 British slavers and 6 1 sugar cultivation in British Caribbean 0 4 7 1 Jamaica’s First – 5 Maroon War 6 6 1 5 Olaudah Equiano 4 7 born in what is now 1 . c Nigeria (West Africa) Ottobah Cugoano 7 5 born near Ajumako, 7 1 modern Ghana 3 8 – American War of 5 7 Independence 7 1 Ottobah Cugoano Freed black settlers publishes Thoughts 7 from England, Nova 8 and Sentiments on 7 1 Scotia and Jamaica the Evil of Slavery and arrive in Sierra Leone Commerce of the Human Species 9 9 – 9 French Revolution 8 7 1 4 0 8 1 – Haitian Revolution 1 9 7 1 Olaudah Equiano publishes The 9 Interesting Narrative of 8 7 the Life of Olaudah 1 Equiano, or Gustavus Vassa the African POLITICAL KEY POLITICAL ATLANTIC ART AND ART BACKGROUND EVENTS AND PEOPLE THOUGHT LITERARY EVENTS MOVEMENTS 1 January, 4 Haiti declared a 0 8 free republic 1 5 2 Wars for – 6 independence 0 8 in South America 1 25 March, Act for the Abolition of the Slave 7 0 Trade declares the 8 1 slave trade illegal in the British Empire Sierra Leone becomes a British colony, in which 8 0 Christian missionaries 8 1 settle and educate slaves rescued from slave ships 1 Chile gains 1 8 1 independence 8 1 8 1 14 February, r o Frederick Douglass 7 born (as slave) 1 8 1 9 About 8000 9 – Afro-Brazilian former
    [Show full text]
  • Black Cultural Citizenship and the Arab Question in FESTAC 77
    Journal of African Cultural Studies ISSN: 1369-6815 (Print) 1469-9346 (Online) Journal homepage: http://www.tandfonline.com/loi/cjac20 Beyond Négritude: Black cultural citizenship and the Arab question in FESTAC 77 Andrew Apter To cite this article: Andrew Apter (2016) Beyond Négritude: Black cultural citizenship and the Arab question in FESTAC 77, Journal of African Cultural Studies, 28:3, 313-326, DOI: 10.1080/13696815.2015.1113126 To link to this article: http://dx.doi.org/10.1080/13696815.2015.1113126 Published online: 17 Nov 2015. Submit your article to this journal Article views: 25 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=cjac20 Download by: [University of California, Los Angeles (UCLA)] Date: 14 April 2016, At: 08:44 Journal of African Cultural Studies, 2016 Vol. 28, No. 3, 313–326, http://dx.doi.org/10.1080/13696815.2015.1113126 Beyond Négritude: Black cultural citizenship and the Arab question in FESTAC 77 Andrew Apter* Departments of History and Anthropology, University of California, 6265 Bunche Hall, Box 95173, Los Angeles, CA 90095-1473, USA When Nigeria hosted the Second World Black and African Festival of Arts and Culture (FESTAC 77) to celebrate the cultural foundations of the ‘Black and African World’, it was fashioned after Senghor’s festival mondial des arts nègres (FESMAN 66) held in Dakar 11 years earlier. What began as an alliance between festival co-patrons, however, soon developed into a divisive debate over the meanings and horizons of black cultural citizenship.
    [Show full text]
  • Request for Recognition and Endorsement of the Centre for Balck and African Arts and Civilization (Cbaac)
    r c AFRICAN UNION UNION AFRICAINE '"<jU-£>M; UNIAO AFRICANA Addis Ababa, Ethiopia P. O. Box 3243 Telephone: 5517 700 Fax: 5517844 Website: www. Africa-union.org 3rd SESSION OF THE AFRICAN UNION CONFERENCE OF MINISTERS OF CULTURE 25-29 OCTOBER 2010 ABUJA, NIGERIA CAMC/EXP/13(III) THEME; SUSTAINABLE FINANCING OF THE CULTURAL DEVELOPMENT SECTOR IN AFRICA REQUEST FOR RECOGNITION AND ENDORSEMENT OF THE CENTRE FOR BALCK AND AFRICAN ARTS AND CIVILIZATION (CBAAC) 25-26 October 2010 REQUEST FOR RECOGNITION AND ENDORSEMENT OF THE CENTRE FOR BLACK AND AFRICAN ARTS AND CIVILIZATION (CBAAC) AS A PAN-AFRICAN CULTURAL INSTITUTION BY AFRICAN UNION MINISTERS OF CULTURE (MEMO BY THE HONOURABLE MINISTER OF TOURISM, CULTURE AND NATIONAL ORIENTATION, NIGERIA) INTRODUCTION Following the successful and epoch-making hosting of the 2nd World Black and African Festival of Arts and Culture (FESTAC 77), the Centre for Black and African Arts and Civilization (CBAAC) was established by Decree 69 of 1979. The Centre houses all the artifacts and rare cultural items that were used during the FESTAC 77. It is in fulfillment of Nigeria's pledge to keep the materials in trust for the 59 Black and African Countries and communities which participated in the Festival that the Centre was established. The preservation and maintenance of these relics of FESTACC 77 was to reinforce and build upon the gains of the historical festival. 2. In order to achieve its goals and objectives, the centre holds lectures, seminars objectives, symposia, workshops and mounts exhibition to showcase the African cultural heritage as wells as project the overall image of Black and Africa peoples.
    [Show full text]