... met Connie Matthews, the executive director of a UNESCO cultural organization based in Copenhagen and an organizer for the Black Panther Party. Matthews told Wade about the upcoming Pan-African Cultural Festival (PANAF) in Algiers and encouraged him to attend. By then Wade had been working...

...Ahmed Bedjaoui A few years after achieving its independence in 1962, Algeria, under the umbrella of the Organization of the African Union, organized the first Pan African Cultural Festival, referred to as PANAF. The festival it took place in Algiers in July 1969 during a time when a few African...

... of Negro Arts (Dakar, Senegal, 1966), the International Meeting of Sculptors (Mexico City, 1968), and the Pan-African Cultural Festival (Algiers, 1969). The transnational relationships and growing solidarity with Third Worldism and Pan-Africanism evident in the exhibition history of the 1960s show the ways...

...Tsitsi Jaji The large-scale Pan-African festivals held in Senegal, Algeria, and Nigeria (1966–77) are recognized as central to forging a transnational repertoire of cultural practices and memories that are the bedrock of a post-independence global black consciousness. Nevertheless, such festivals...

... Edjabe et al. (London: Chimurenga and Afterall Books, 2019), unpaginated. This remarkable volume and project both recovers and forwards the spirit of FESTAC for the twenty-first century. 4 See David Murphy, Performing Global African Culture and Citizenship: Major Pan-African Cultural Festivals from...

... interdisciplinary orientation was among the most productive and provocative ep- isodes in the history of modern African art. In addi- tion, the Pan African Art Festivals of the 1960s and 1970s (First World Festival of Negro Arts, Dakar, 1966; Pan African Cultural Festival, Algiers, 1969; Festac 77, Lagos, 1977...

... cultural policies. In fact, the tenets of Dak'Arfs construction as a Pan-African discursive Senghorian ideology provide the ideological capi• platform and addresses how this discursive plat• tal for the Biennale. Positioning art as a tool for form acts as a frame for the viewing...

... of Congress, but her FESTAC archive remains hidden, in wait of exhibition and recognition, much like the heritage of the festival itself. Robles talks to Nance about her experience at FESTAC. Copyright © 2018 Nka: Journal of Contemporary African Art 2018 Marilyn Nance FESTAC photography Pan...

... from film• makers in the African diaspora have celebrated the pan-dias- poric sense of longing and displacement as a search to locate...

... Bonetti is also involved with the programming of American short-sightedness. She has been in New million people of African descent I mean, Im sor• "Ubuntu 2000", a pan-African festival...

.... Walters defines Pan-Africanism as a series of contacts and linkages that aim to promote unity and contribute to 108 Nka Journal of Contemporary African Art 50 May 2022 cultural, political, and economic goals.2 Crucially, for Walters, the movement behind the contact is as important...

... a hegemonic and unilateral imposition of an obsolete vision of con• temporary African cultural production. Fourth, the Pan-African vision upon which the Biennale has been founded must be translated into reality. Tapping the abundance of talent and expertise in designing and building exhibitions from...

... had not left its mark on them. 10 In this article, bridging the gap takes three separate but interconnected inquiries. First, the interplay between Africa and America, framed by Kwame Nkrumah and a resurgent Pan-Africanism: given the linkage between civil rights and the anticolonial era, Ananse...

... sovereignty (such as the Black Belt thesis) and anticolonial struggles around the globe. The architects of Pan-Africanism broadly defined as the global cultural and political movement to unify people of African descent around a shared anticolonial struggle were indebted to Marxist theories, even...

... Festival in Dakar in 1966 and the First Pan African Arts and Cultural Festival in Algiers in 1969, both important events in the formation of the Pan...

...Laurie Ann Farrell Copyright © 2009 Nka: Journal of Contemporary African Art 2009 of earlier works appear, including a multiscreen insertion of her body as the central image and the sculptural presentation, this time in a U-shape subsequent covering of her body with grape...

... and map the Black experience in British art exemplified in the story of the African and Asian Vi sual Artist Archives (AAVAA). The conference also addressed the urg ent need for Pa n-African and African-based forums in the visual art such as joint artist residencies, festivals and pan-African art...

... or ists — AfriCOBRA2 in the United States and, in the movement. This apt term connotes “across” (pan-­ Caribbean, Groupe Fwomaje of Martinique, Kou- African aesthetics), “beyond” (the multicontinen- kara of neighboring Guadeloupe, and B’CAUSE in tal scope), and “thoroughly changing” (individual...

... Was in Vogue: Critical Reflections of the First World Festival of Negro Arts and Culture in 1966, Journal of Pan African Studies 6, no. 7 (2014): 167 86; Lindsay J. Twa, Revealing the Trends and Confrontations of Contemporary African-American Art through the First World Festival, World Art 9, no. 1 (2019...

..., ed - rights movement morphed into the Black Power Chamba, which later became known as Chamba itor, or writer received their starts, or a significant and Pan-African movements, and he participated MediaWorks. He produced, directed, and wrote his nudge toward a career...