Bibliografie tematiche / World Black and African Festival of Arts and Culture

Letteratura scientifica selezionata sul tema "World Black and African Festival of Arts and Culture"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "World Black and African Festival of Arts and Culture"

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Olaniyan, O. M., F. B. Egunjobi e A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan". Environmental Technology and Science Journal 14, n. 2 (9 febbraio 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 architecture of the National Theatre in Lagos, and other cultural centres in other cities in Nigeria including the Cultural Centre, Ibadan which exemplified African arts and ornamentation in its façade and spaces. The Cultural Centre Ibadan is a significant masterpiece adorned with African traditional arts and ornamentation. It embodies a bold fusion of art and architecture evident in the intricate sculptural reliefs that beautify its walls, the wooden and metal ornamentation embellishing its halls and lobbies, the luscious blend of geometrical forms and shapes in its façade, its harmony with the undulating landscape and the concrete anthropomorphic sculptural pieces that welcome guests into the entrance quadrangle. The themes of the arts and ornamentation of the Cultural Centre Ibadan reflect traditional Yoruba cultural festivals, philosophical and religious motifs that has transformed the building into a cultural heritage. Artfully embellished architecture with symbolic meanings like the Cultural Centre Ibadan affords the dividends of cultural emancipation, cultural renaissance and cultural preservation. The interweaving of art and architecture in public buildings should be promoted.
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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, n. 1 (2 marzo 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 the artists were so professionally accepted that it was named the National Studios of Art. However, at the time the Studio had become the centre of sound informal art training, it was given a relocation order which caused serious controversy between the Gallery and the artists. The artists eventually accepted the relocation order, and this, necessarily, led to changing the name to the Universal Studios of Art (USA). As the professional artists became globally known, the USA also became a tourist centre for both local and foreign visitors and artists. Till today, the activities of the USA continue to attract national and international attention. Very as unfortunately, no scholarly study of the Universal Studios of Art has been carried out, despite its outstanding professional qualities.. For many years, the artists have developed valuable art forms and art styles that have contributed to the advancement of modern Nigerian art. It is the objective of this article, therefore, to document the artists of the Universal Studios of Art.
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O’Malley, Hayley. "The 1976 Sojourner Truth Festival of the Arts". Feminist Media Histories 8, n. 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 long been overlooked, it represents a foundational moment for Black feminist film culture and epitomizes the cross-arts networks of influence that shaped Black feminist artmaking in the period. At the same time, engaging with a fragmentary archive, the essay reflects on the forms of speculation needed to reconstruct the events, lived experiences, and long-term legacies of the festival.
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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, n. 41 (30 dicembre 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 tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
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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, n. 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, n. 3 (ottobre 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 ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Diop, Alioune. "Art and Peace (1966)". ARTMargins 9, n. 3 (ottobre 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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Abstract (sommario):
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 ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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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, n. 1 (marzo 2023): 131–34. http://dx.doi.org/10.1017/s0021853723000105.

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Morgan, Marcyliena, e Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form". Daedalus 140, n. 2 (aprile 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 – locally, nationally, and globally. International representations of hip-hop capture and reinterpret hip-hop's history by incorporating local as well as African American aesthetic, cultural, social, and political models. This essay examines the global movement of the hip-hop nation and its artistic incorporation into global youth culture. It considers how that movement is both a social and political process that integrates symbols of African American culture and political struggle.
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Kirkland, Teleica. "Reflections of Durbar in the Diaspora". Critical Studies in Men???s Fashion 8, n. 1 (1 ottobre 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 demonstrate their sartorial elegance. The bold and flamboyant dress of the men is not only indicative of the pageantry of this procession but is reminiscent of the creative exuberance and stylishness of annual carnivals in the Caribbean. This article uses this comparison as a tool to discuss a reengagement with the creativity, styling and colour of Black men’s clothing, and demonstrates how an engagement with colourful design aesthetics maintains its sense of masculinity. ‘Reflections of Durbar in the Diaspora’ draws parallels between the robes of the Emir, men’s costumes at carnival and the tailoring of Abrantie the Gentleman to examine how social engagement, living culture and traditional fashion intersect to influence and impact the ways in which men’s style is understood in Africa and the African Diaspora.
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Più fonti

Libri sul tema "World Black and African Festival of Arts and Culture"

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

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2

Touré, Seynabou. Les coulisses du FESMAN 2009: Récit d'un rêve avorté : témoignage. Paris: 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. Lagos [Nigeria]: 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. Chicago, IL: University of Chicago Press, 2004.

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

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

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Page, Yolanda Williams, a cura di. 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 cover such writers as Maya Angelou, James Baldwin, and August Wilson; major works, such as Invisible Man, Native Son, and Their Eyes Were Watching God; and a range of cultural topics, including the black arts movement, the Harlem Renaissance, and the jazz aesthetic. Written by expert contributors, the essays discuss the enduring significance of these topics in American history and popular culture. Each entry also provides sidebars that highlight interesting information and suggestions for further reading.
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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, periodicals, plays, pageants, radio broadcasts, film, visual arts, school programs, and more—in order to make Crispus Attucks and other black heroes visible in American public culture as never before. Yet mainstream attention to black history, as well as advances in African Americans’ ability to participate fully in American social and political life, were still slow in coming.
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Capitoli di libri sul tema "World Black and African Festival of Arts and Culture"

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Fenderson, Jonathan. "Expansion Plans". In Building the Black Arts Movement, 91–118. 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 1966; the First Pan-African Cultural Festival, in Algiers, Algeria, in 1969; and the Second World Festival of Black and African Art, in Lagos, Nigeria, in 1977. It argues that Fuller’s festival experiences map the ruptures, strains, collective aspirations, and points of unity that constituted the asymmetries of Pan-African power in the late 1960s and 1970s.
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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 accompanied by a grand exposition “L’art negre. Sources, evolution, expansion”, staged by an international team directed by George Henri Riviere. The continuation of the presence of the African Art on the international art scene in the postcolonial times is the Dak’Art – “Biennale de l’Art Africain Contemporain”, This year’s Biennnale is curated by Simon Njami who in 2005 presented the most important and comprehensive exhibition of the African Art to-date “Africa Remix. L’Art contemporain d’un continent” at the Centre Pompidou in Paris. The presenting artists, like El Anatsui or Romuald Hazoume, are members of the international art world. Their works are added to the most significant modern collections and their output, based on their own traditions and contemporary artistic expressions, are part of the greater visual culture of modern times.
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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, 85. 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, 120–63. 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 solidarities toward the formation of a black American identity defined in global terms. The second part of the chapter analyzes the importance of a tour Dafora took with his dance company, Shogola Oloba African Dance Group, across the American South and Midwest, performing “Africa” for largely African American audiences on the eve of the civil rights movement.
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Lohman, Kirsty, e Ruth Pearce. "Queering community development in DIY punk spaces". In Arts, Culture and Community Development, 111–28. 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 lessons of the past to imagine new futures. Central to this is the importance of enabling participation, and embracing an ethos of continual self-reflection, renewal, and change. Through examples such as the First Timers festival and Black feminist punk band Big Joanie, the authors argue that such approaches to punk politics disrupt established agendas and organising modes in a productive way. This enables the reconstruction of existing scenes as well as the creation of new spaces, community groups and cultural artefacts.
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Fenderson, Jonathan. "A Local Construction Site". In Building the Black Arts Movement, 55–90. 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 activity, attracting artists, activists, and intellectuals from around the world. At their peak, OBAC sparked a national intellectual debate over their creative philosophy of “a black aesthetic,” effectively polarizing arts discourse as it related to African Americans. Their growing popularity and heightened national profile generated a number of internal challenges, including intractable ideological and class contradictions, and tensions between individual professional aspirations and collective community engagement.
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Nishikawa, Kinohi. "From the Ground Up". In Black Cultural Production after Civil Rights, 202–24. 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 Culture. The chapter also reveals how post-civil rights black literary publics formed and considers how, for example, the establishment of Howard University Press in 1974 extended the black intellectual tradition’s effort to recover a “usable past.”
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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. This binary conception produced two figures that alternately incited and frustrated literary and social work efforts to bridge the gap between the middle class and the poor: the juvenile delinquent and the welfare mother.
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Atti di convegni sul tema "World Black and African Festival of Arts and Culture"

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Arantes, Priscila, e 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 place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.
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