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The De-Africanization of African Art
This book argues for a radical new approach to thinking about art and creativity in Africa, challenging outdated normative discourses about Africa’s creative heritage. Africanism, which is driven by a traumatic response to colonialism in Africa, has an almost unshakable stranglehold on the content, stylistics, and meaning of art in Africa. Post-African aesthetics insists on the need to move beyond this counter-colonial self-consciousness and considerably change, re-work and enlarge the ground, principles and mission of artistic imagination and creativity in Africa. This book critiques and dismantles the tropes of Africanism and Afrocentrism, providing the criteria and methodology for a Post-African art theory or Post-African aesthetics. Grounded initially in essays by Denis Ekpo, the father of Post-Africanism, the book then explores a range of applications and interpretations of Post-African theory to the art forms and creative practices in Africa. With particular reference to South Africa, this book will be of interest to researchers across the disciplines of Art, Literature, Media Studies, Cultural Anthropology, and African Studies.
Subject to Colonialism
DIVThe discursive construction of Africa under colonialism, with an emphasis on the part played by African writers themselves./div
Compass - Comparative Literature in Africa
This is a commemorative volume devoted to the late Professor Willfried F. Feuser, a literary icon and a comparatist of no mean repute. Though German by origin, Professor Feuser showed great concern to the Africanist agenda of self-realisation, and therefore devoted the greatest part of his productive academic life to the cultural revival and socio-economic emancipation of Africa and the Diaspora through his scholarly publications. This book contains 20 essays on a wide range of issues in literary criticism.
African Philosophical and Literary Possibilities
Recognizing philosophy’s traditional influence on—and literature’s creative stimulus for—sociopolitical discourses, imaginations, and structures, African Philosophical and Literary Possibilities: Re-readingthe Canon, edited by Aretha Phiri, probes the cross-referential, interdisciplinary relationships between African literature and African philosophy. The contributors write within the broader context of renewed interest in and concerns around epistemological decolonization and to advance African scholarly transformation . This volume argues that, in their convergent ideological and imaginative attempts to articulate an African conditionality, African philosophy and literature share o...
Compass
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The Arts and Indigenous Knowledge Systems in a Modernized Africa
This collection derives from a conference held in Pretoria, South Africa, and discusses issues of indigenous knowledge systems (IKS) and the arts. It presents ideas about how to promote a deeper understanding of IKS within the arts, the development of IKS-arts research methodologies, and the protection and promotion of IKS in the arts. Knowledge, embedded in song, dance, folklore, design, architecture, theatre, and attire, and the visual arts can promote innovation and entrepreneurship, and it can improve communication. IKS, however, exists in a post-millennium, modernizing Africa. It is then the concept of post-Africanism that would induce one to think along the lines of a globalized, cosmopolitan and essentially modernized Africa. The book captures leading trends and ideas that could help to protect, promote, develop and affirm indigenous knowledge and systems, whilst also making room for ideas that do not necessarily oppose IKS, but encourage the modernization (not Westernization) of Africa.
Decolonizing African Knowledge
Addressing the consequences of European slavery, colonialism, and neo-colonialism on African history, knowledge and its institutions, this innovative book applies autoethnography to the understanding of African knowledge systems. Considering the 'Self' and Yoruba Being (the individual and the collective) in the context of the African decolonial project, Falola strips away Eurocentric influences and interruptions from African epistemology. Avoiding colonial archival sources, it grounds itself in alternative archives created by memory, spoken words, images and photographs to look at the themes of politics, culture, nation, ethnicity, satire, poetics, magic, myth, metaphor, sculpture, textiles, hair and gender. Vividly illustrated in colour, it uses diverse and novel methods to access an African way of knowing. Exploring the different ways that a society understands and presents itself, this book highlights convergence, enmeshing private and public data to provide a comprehensive understanding of society, public consciousness, and cultural identity.
The Third Text Reader
Collection of essays by some of the best-known critics in global art and cultural studies, together with some of the most exciting new voices to emerge over the last two decades. Covers History, Representation, Identity, Film, "Post" theory and Globalisation.
Globalizing Contemporary Art
Today, contemporary art is a global phenomenon. Biennales, museums, art fairs, galleries, auction houses, academies and audiences for contemporary visual art are all institutions whose presence on a global scale has widened tremendously during the past two decades. Thus, by including contemporary art from non-Western regions, these traditional Western art institutions have not only broadened their scope to a greater extent, but have also been challenged themselves by the new cultural, economic and media world order of globalization. How contemporary art is made 'international' is the subject of this book, tracing as it does developments during the past two decades, while focusing particularly on the mechanisms of 'globality' which are at work in the art world today. The book critically investigates fundamental questions like: What is 'New Internationalism' in contemporary art, and how it affected the art world? How does New Internationalism relate to concepts like ethnicity, aesthetics, standard art history, and new media? And how is New Internationalism, rather paradoxically, furthered to a greater extent by global capitalism than it is by seemingly progressive art projects?
