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Bibliographies thématiques / World Black and African Festival of Arts and Culture

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Littérature scientifique sur le sujet « World Black and African Festival of Arts and Culture »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "World Black and African Festival of Arts and Culture"

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Olaniyan, O. M., F. B. Egunjobi, and A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan." Environmental Technology and Science Journal 14, no. 2 (2024): 9–15. http://dx.doi.org/10.4314/etsj.v14i2.2.

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Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architectur

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Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.

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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of t

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O’Malley, Hayley. "The 1976 Sojourner Truth Festival of the Arts." Feminist Media Histories 8, no. 3 (2022): 127–54. http://dx.doi.org/10.1525/fmh.2022.8.3.127.

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In 1976, a remarkable group of Black feminist artists organized the first ever Black women’s film festival, the Sojourner Truth Festival of the Arts, at the Women’s Interart Center in New York. Screening films by at least sixteen Black women directors, the festival was simultaneously a celebration of the emerging world of Black women’s filmmaking and a radical call for the kinds of socio-political and institutional changes necessary for a Black women’s film culture to thrive. This essay uses archival materials and personal interviews to reconstruct the festival, arguing that although it has lo

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Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.

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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we te

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Bush. "Culture, Race, and the Welfare State: The British Contribution to the 1966 First World Festival of Black and African Culture." Research in African Literatures 50, no. 2 (2019): 19. http://dx.doi.org/10.2979/reseafrilite.50.2.03.

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Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a

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Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a

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Adelusi-Adeluyi, Ademide. "Remixing a Cultural Festival - FESTAC ’77: The 2nd World Black and African Festival of Arts and Culture Decomposed, An-Arranged and Reproduced by Chimurenga; Misdirections in Music by Ntone Edjabe Edited by Chimurenga with Ntone Edjabe, Graeme Arendse, Ziphozenkosi Dayile, Duduetsang Lamola, Stacy Hardy, Bongani Kona, Ben Verghese, Moses März, Akin Adesokan, Mamadou Diallo, Dominique Malaquais, Terry Ayugi, Andrea Meeson, and Eva Munyiri. Cape Town: Chimurenga; London: Afterall Books, in association with Asia Art Archive, the Center for Curatorial Studies, Bard College, and RAW Material Company, 2019. Pp. 445. $32.09, paperback (ISBN: 9781846382123)." Journal of African History 64, no. 1 (2023): 131–34. http://dx.doi.org/10.1017/s0021853723000105.

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Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (2011): 176–96. http://dx.doi.org/10.1162/daed_a_00086.

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Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – loca

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Kirkland, Teleica. "Reflections of Durbar in the Diaspora." Critical Studies in Men???s Fashion 8, no. 1 (2021): 127–40. http://dx.doi.org/10.1386/csmf_00036_1.

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This article questions if the propensity of Black men in globally dominant western countries to wear black or dark colours is an outcome of internalized subjugation and an adherence to westernized projections of masculinity. It uses the 2018 Akinola Davies Junior film Zazzau as its backdrop, drawing parallels with other examples of colourful clothing in the context of Black masculinity. Zazzau shows the annual festival of Durbar, a vibrant celebration at the end of Ramadan in Kaduna State, Nigeria, where the Emir of the region and his entourage use traditional dress and contemporary fabrics to

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Livres sur le sujet "World Black and African Festival of Arts and Culture"

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Alagoa, Ebiegberi Joe. Festac remembered: Cultural intolerance in the Nigerian nation. Centre for Black & African Arts and Civilisation, 2007.

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Touré, Seynabou. Les coulisses du FESMAN 2009: Récit d'un rêve avorté : témoignage. Acoria, 2010.

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Wole, Soyinka. Festac ´77: 2nd World Festival of Black and African Arts and Culture. Verlag der Buchhandlung Walther Konig, 2019.

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Festac remembered: Cultural intolerance in the Nigerian Nation. Centre for Black and African Arts and Civilisation, 2007.

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Apter, Andrew H. Pan-African Nation: Oil and the Spectacle of Culture in Nigeria. University of Chicago Press, 2009.

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The Pan-African nation: Oil and the spectacle of culture in Nigeria. University of Chicago Press, 2004.

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Black Art: A Cultural History (World of Art). 2nd ed. Thames & Hudson, 2002.

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Prieres d'exil: Poèmes. Editions Maguilen, 2003.

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Page, Yolanda Williams, ed. Icons of African American Literature. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400667909.

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The 24 entries in this book provide extensive coverage of some of the most notable figures in African American literature, such as Alice Walker, Richard Wright, and Zora Neale Hurston. Icons of African American Literature: The Black Literary World examines 24 of the most popular and culturally significant topics within African American literature's long and immensely fascinating history. Each piece provide substantial, in-depth information—much more than a typical encyclopedia entry—while remaining accessible and appealing to general and younger readers. Arranged alphabetically, the entries co

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Kachun, Mitch. Crispus Attucks Meets Dorie Miller. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199731619.003.0007.

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Interest in promoting Attucks as a national hero was redoubled as African Americans’ heroic participation in World War II once again presented opportunities to sharpen activists’ arguments for black inclusion and full citizenship rights. Even before the Japanese attack at Pearl Harbor drew the United States fully into the new world war, African Americans expressed concern about the meaning the global crisis would hold for black citizens and soldiers. African Americans, growing numbers of sympathetic whites, and US government propagandists all used the era’s expanding mass media—books, periodic

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Chapitres de livres sur le sujet "World Black and African Festival of Arts and Culture"

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Fenderson, Jonathan. "Expansion Plans." In Building the Black Arts Movement. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042430.003.0004.

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This chapter recounts the international organizing efforts of Hoyt Fuller and the ways Black Arts activists understood their work as part of a larger Pan-African project. Spanning an explosive decade of decolonization on the African continent, this chapter uses Fuller’s experiences across three seminal African festivals to explore the ways US-based Black Arts movement discourses engaged with discussions of art and struggle on the African continent. The chapter recovers the varied roles Fuller played in organizing and participating in the First World Festival of Negro Arts, in Dakar, Senegal in

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Kluczewska-Wójcik, Agnieszka. "„Wiem skąd pochodzę”. Współczesna sztuka afrykańska – tradycja i tożsamość." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.08.

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In the 60’s, at the end of the colonial era, artists of Africa embarked on a path of self-identification. In 1966, Lepold Sedar Senghor organized “Premier Festival Mondial des Art Negres – The First World Festival of Black Arts” in Dakar to initiate the dialog on that topic. The first event of such scale in Africa brought artists, intellectuals and politicians from the continent and diaspora. The participants, Aime Cesaire among them, called for a return to traditions and for the reaffirmation of the “negritude” as a condition for further development of the African Arts. The event was accompan

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"Resolution of Commendation and Appreciation to the Federal Republic of Nigeria for Hosting the Second World Black and African Festival of Arts and Culture." In African Cinema: Manifesto and Practice for Cultural Decolonization. Indiana University Press, 2023. http://dx.doi.org/10.2307/jj.5186770.17.

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Kowal, Rebekah J. "Staging Diaspora." In Dancing the World Smaller. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190265311.003.0003.

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Chapter 3 focuses on the artistic, cultural and political significance of Sierra-Leonean choreographer Asadata Dafora’s work in the mid-1940s. The first part of the chapter examines the import of three African dance festivals that Dafora directed and produced at Carnegie Hall on behalf of the African Academy of Arts and Research (AAAR), a pro-nationalist and anti-colonialist organization founded by Nigerian students living in New York City at the time. Seen in this light, Dafora’s performance of diaspora makes visible practices of black creativity and resistance, seeking to bridge Africanist s

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Harney, Elizabeth. "Postwar Imaginings." In Postwar Revisited. Duke University Press, 2025. https://doi.org/10.1215/9781478060437-015.

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This chapter recalls the numerous efforts by Black intellectuals in France and its colonies to invest in cultural expressions (literary, visual, theatrical, exhibitionary) as essential tools to imagine liberated futures and new forms of postwar humanism. In examining the First International Congress of Black Writers and Artists (1956, Paris) and the First World Festival of Negro Arts, 1966, Dakar), it asks how art historians might productively revisit the rise of postcolonial nation-states in Africa to better shape understandings of the fluidity and rapidity with which ideas of cultural partic

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Lohman, Kirsty, and Ruth Pearce. "Queering community development in DIY punk spaces." In Arts, Culture and Community Development. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781447340508.003.0007.

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Queer feminist punk organising can be understood as a form of prefiguration. Through creating and facilitating access to a cultural scene, participants model the changes they wish to see in the wider world. This chapter positions the UK’s contemporary queer feminist punk scenes within the context of the wider history of prefigurative social movements, including the New Left, community arts, and global justice movements, as well as queer, feminist, and punk histories. Drawing on findings from recent social research, the authors examine how organisers and musicians continue to build on the lesso

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Fenderson, Jonathan. "A Local Construction Site." In Building the Black Arts Movement. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042430.003.0003.

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This chapter provides an institutional history of the Organization of Black American Culture (OBAC), one of the most renowned African American artist collectives of the Black Arts movement. It recounts OBAC’s efforts to challenge Chicago’s established racial order and to reorient Black Chicago’s relationship to artistic production. It argues that OBAC pioneered several community-centered projects that served as hallmark modes of artistic practice within the movement while simultaneously helping to popularize the era’s burgeoning ideas. The group made Chicago an important epicenter of movement

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Nishikawa, Kinohi. "From the Ground Up." In Black Cultural Production after Civil Rights. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0010.

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The chapter is anchored in a survey of African American-owned small presses, literary journals, and magazines to demonstrate how the Black Arts Movement’s editors negotiated readerly taste and institutional politics to bring Black Arts to the masses. I consider, for example, Dudley Randall at Detroit’s Broadside Press, Naomi Long Madgett at Lotus Press (also Detroit), and Haki Madhubuti (Don L. Lee) at Chicago’s Third World Press alongside Hoyt Fuller’s work for periodicals in Chicago (Negro Digest/Black World), and Nommo, the small literary journal of the Organization of Black American Cultur

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Schryer, Stephen. "Introduction." In Maximum Feasible Participation. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603677.003.0001.

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Focusing on the African American poet and playwright Amiri Baraka (LeRoi Jones), the Introduction explores links between 1950s and 1960s process literature and the Community Action Program. Baraka’s Black Arts Repertory Theatre and School (BARTS) was funded through the War on Poverty, and his version of process art fulfilled the participatory requirements of the Community Action Program. Both Baraka and many welfare activists allied with the Community Action Program also drew on a binary conception of class culture popularized by the post–World War II counterculture and liberal social science.

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Actes de conférences sur le sujet "World Black and African Festival of Arts and Culture"

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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.

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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s

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