Occupied Territories

better story than a prostrate and defenceless African, fixed in that interminable dilemma called death, waiting for a tale that seems forever buried beneath the charm of good intentions. One's naivete oi perhaps overdetermined good faith would lead many to believe that curatorial practices in the 90s are too sophisticated to become entangled with the same kind of visual logic that fills our television screens. But how mistaken we all are as we struggle to make intelligible stories of Africa. Nortje and Marechera are good examples of the way we tell the story of 20th century African arts. Because they both lived in the West and practised in a manner that defied the 'authenticity' test, their work gets deliberately lost in the shuffle. In other words they are tainted material, insufficiently native, contaminated by that virus known as 'contact with the West1. Reflecting his pain, Nortje's words are charged with a plenitude of emotion, an aberrant eroticism, longing, desire and memory. As we know, all exiles live through memory. The act of remembrance makes wanderers of us all, helping us build communities out of skeins of desire and nostalgia, feelings which Occupied inevitably succumb to the logic of reality. Forget it boy, your country ,continent, and century is gone, long gone, lie the blast of a gun to the head. Your memory, jus* like your body, is now an occupied territory, a colonial commodity bought cheaply and Territories sold dearly. Dislocated to the west, like many African artists, writers, and intellectuals, and far from the fitful POWER, ACCESS & AFRICAN ART upheaval* that tarnish the doily reality of Africans in T7ie isolation of exile is a gutted wharehoute the continent, I, too, feel perpetually suspended at the back of pleasure streets between reveries of unfulfilled desires made more - Arthur Nortje, 'Waiting" vivid by the frustration of Africa's misrepresentation in the western metropolis. For many of us now, Africa it a memory, not a place. Each attempt at self- recognition inexorably marred by the lack of freedom Okwui THESE lines were written while Nortje's body of self-narro»ion, a state that Olu Oguibe has referred Enwezor and psyche lay ravaged by the dissipation of to O* '(he legislative code of speech1. This code, drugs and loneliness wrought by exile in however, reveals the limitations of language within England. Brilliant but troubled, the South African discourse. It seems to melhat while self-narration has poet - like his Zimbabwean compatriot, the often employed the syntax of signifiers, it is the writer Dambudzo Marechera - is emblematic of enunctati vg component of text that leaps off the page a generation of African cultural producers whose to embracedifference. In replacing oratory as a more works are yet to be sufficiently recovered within permanent and contestable emblem, text is the the canons of 20th century African arts and necessity towards freedom that is so intricately enmeshed and iterated in the constant contest for letters. possession of one's own voice that is only made The parallel between the uneasy roods Noftje plural by the contingency of history. But to face hi story and Marechera both travelled towards artistic fulfilment with a predetermined outcome of events is no choice is eerie. Nortje would succumb to depression and, in at all. It is within such a choiceless terrain, where the 1970, die at 28 of an accidental drug overdose. silenced narratives of those who have borne severely Marechera would die similarly young, more than a the sentence of history have suffered constant revisions, decade later, and not long after leaving England. Do that the exhibitions and conferences making up the not ask me why England was such an inhospitable mega festival of African arts called africa95 opened place for these two young men. As the nightly news in London. has consistently informed us, nothing makes for a African Quarterly on thf Arts V,LIIN03 Billed as a season of events from the clutches of the colonial project. the conversation that seeks to deny the celebrating African creativity, from the But much has changed in the continent. legislative authority which values Africa visual arts to music, drama, dance, and Major artists, intellectuals, and writers only as an idea, a free-for-all zone to be literature, africa95 started about three pressurised by totalitarian regimes have liberally conjured up through a given years ago as a loosely organised series of either fled into exile or have been silenced narrator's imagination, an affective but exhibitions managed under one umbrella by censorship. Younger artists, in a climate nonetheless false memory (best discribed logo. Aimed at the professionals that of apathy and dire economic and political as the Margaret Mead Syndrome). make up the cadres of the academy, conditions, are no longer indebted to a Foucauldianscholarand philosopher V.Y. popular journalists and a general public vision of pan-Africanism which was Mudimbe ironises this concept of Africa largely ignorant of the 'true' story of supposed to be a binder of African as an idea by naming his influential book Africa, the festival saw its role as helping consciousness and identity, and have The Invention of Africa, in other words to shape debate on issues of artistic joined the exodus. The unfortunate suggesting Africa, as we know it, to be the practice coming out of Africa and to outcome of this flow of talent has meant figment of other people's imagination. examine the wide dimensions and that a great many African artist who either Edward Said argues in his book dynamism of the African experience, once contributed or would have Orientalism that the Orient is not only a particularly in the 20th century. While contributed immensely to the debate of career but an invention and locality of one can argue about whether a festival Africa's 20th century are no longer resident Western desire, and to be effective, such format is the means through which the art in the continent. This is a major shift, a conceptualisation of Africa has to be of any continent can be sufficiently reversing much of the pioneering work projected onto the binary logic of the 'self examined and studied with perspicacious undertaken in the 50s and 60s. made more potent through the emphasis scrutiny, africa 95 nonetheless shaped up of the 'other's' limitations. However, as as a unique event in a moment when Ignorant, perhaps, of these basic Mudimbe argues, this division is intolerance toward the non-westerner has facts, the fatal mistake of the organisers misleading because between the two been on the rise in Europe. Never before was to assume that the history of 20th extremes there is an intermediate space in has there been such a concentration of century Africa could be sufficiently which social, political and economic voices (forget for one moment that many represented only by those living in the contingencies define the extent of were actually engaged in some strange continent today. While some of the marginality This observation precisely soliloquy). The grand selling point of the participants do live outside Africa, it taxes the dominant notion of the dichotomy season foreshadowed the relative scarcity remains a fact that their contributions to which is at the heart of analysis of of any sustained interest in Africa that the debate were neither cherished nor contemporary African studies. Furthering does not privilege its marginality. What this illusion, the transition from one state to the organisers failed to tell the public was totally welcomed, remaining peripheral another is often emphasised by that africa 95 was unique only because of in all areas, especially in the exhibitions. constructing a progressive lineage for the West's usual reluctance to address Africa is gigantic one cannot begin African artists. issues of representation that do not place to know even the strange behaviour furthest the West on top. In terms of diversity and south in my xenophobic department. size, despite all the hype, this festival was This strategy - buried deep in the 2 never going to come close to the Leopold - Arthur Nortje core of africa 95- has helped institute the Sedar Senghor-sponsored 'World Negro fragmentation of discourses around Africa Arts Festival' organised in Dakar in 1 965. The organisers' second mistake, into little-occupied principalities. africa95 Nor would it approximate or replicate the symptomatic of most approaches to Africa, took this imaginary progression like a stupendous ambition and success of was to treat a complex land mass such as relay race by micro-managing all the FESTAC 77 in Lagos 1 2 years later. And Africa as a monolithic structure - in other events, jumping from one paradigm to the only recently had the Johannesburg words like a country. Here again Nortje next: primitive to modern, rural to urban, Biennale joined biennales in Dakar and recapitulates the one fact that has remined secular to religious, sacred to profane Cairo as venues where the cultural events a thorn in the side of many would-be Those who no longer have anything to say of disparate African realities are truly historians, which is the provocative yet about African representation were invited given force. basic inference of the continent's plurality, as people of the moment. At the opening its unrepresentability as a mono cultural, conference 'African Artists: school, studio socio-political landscape While lacking and society1 at University of London's Indeed, on the African continent in novelty, the inference of Africa's School of Oriental and African Studies, a itself many broad-based festivals objective reality as plural ought to be an so-called 'celebrated scholar' from object lesson to all hack historians • celebrating the continent and shaped by Nigeria, to the audience's astonishment, beginning with the organisers and the perspectives of Africans have been delivered a 30 year-old paper The participating institutions - of a nascent successfully staged.

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