<p>From FRANTZ FANON, ON NATIONAL CULTURE</p><p>In the sphere of plastic arts, for example, the native artist who wishes at whatever cost to create a national work of art shuts himself up in a stereotyped reproduction of details. These artists who have nevertheless thoroughly studied modern techniques and who have taken part in the main trends of contemporary painting and architecture, turn their backs on foreign culture, deny it, and set out to look for a true national culture, setting great store by what they consider to be the constant principles of national art. But these people forget that the forms of thought and what it feeds on, together with modern techniques of information, language and dress have dialectically reorganized the people’s intelligences and that the constant principles which acted as safeguards during the colonial period are now undergoing extremely radical changes.</p><p>The artist who has decided to illustrate the truths of the nation turns paradoxically toward the past and away from actual events. What he ultimately intends to embrace are in fact the castoffs of thoughts, its shells and corpses, a knowledge which has been stabilized once and for all. But the native intellectual who wishes to create an authentic work of art must realize that the truths of a nation are in the first place its realities. He must go on until he has found the seething pot out of which the learning of the future will emerge.</p><p>From Frantz Fanon, The Wretched of the Earth. Preface by Jean-Paul Sartre. Translated by Constance Farrington. Pinguin Books 1963, p 181.</p>