..., Senegal, 1913, Artist unknown SUFI ARTS OF URBAN SENEGAL 'The photo of Bamba is indispensable. Little by little, the photo...

...• Senghor, the discourses of modern• tutionalization and implementation ization, democracy, and liberalism of cultural policy under Senegal's two...

...Hudita Nura Mustafa Copyright © 2001 Nka: Journal of Contemporary African Art 2001 1UM0U SY The African Place, Dakar, Senegal Hudita Nura Mustafa...

...Hudita Nura Mustafa Copyright © 2001 Nka: Journal of Contemporary African Art 2001 Textile Market, Dakar, Senegal, 1993. Fashion A s with most world cities, it is impossible to walk in a Dakar...

... Okeke-­Agulu, Nka, no. 26 (2010): 87. Senghor’s Shadow: Art, Politics, and the Avant- 15. Robert Storr, “El Anatsui,” in Storr, Think with the Senses —  ­Garde in Senegal, 1960–1995 (2004), and Inscribing Feel with the Mind. Meaning: Writing and Graphic Systems in African 16...

... to the American continent, my Kalidou Sy, 1995, Goree, Senegal. Photo: Magaye Niang. Journal of Contemporary African Art Man from the South, 2001. Acrylic, clay, and burlap on canvas, 44 x 37 in. Collection of Eileen Julien. Photo by Michael Cavanagh and Kevin Montague...

...Susan Kart Market Imaginary represents a welcome departure from traditional documentary coverage of African peoples. By focusing on a historic market, the Marché Colobane, in Dakar, director Joanna Grabski subverts stereotypes and expectations of consumerism and art making in Senegal. Grabski...

... 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...

... In January 1977, Lagos, Nigeria, was hosting the Second World Black and African Festival of Arts and Culture (FESTAC). It was a grander version of the first World Festival of Black Arts (FESMAN), held in Dakar, Senegal, in 1966, and gathered fifteen thousand participants coming from more than...

...Penny M. Von Eschen This article explores implicit as well as explicit debates over modernity among African American artists at the 1966 World Festival of Black Arts held in Dakar, Senegal, honing in on moments that reveal tensions among the artists as well as between artists and the US officials...

...Ugochukwu-Smooth C. Nzewi The creation of the Dak’Art Biennale in 1989 marked a pivotal moment in the African and international art scenes. President Abdou Diouf’s government had emerged from the worst part of Senegal’s economic crisis in the 1980s and was ready to return to international cultural...

... of non Western art Senegal's international epistemologies. That this should be Ambassadorial corps. Except with is not because the worldly aspira• the notable exceptions of a curator tions of Occidentalartdiscourse rep• from London's excellent Institute...

... around someone or something.”6 Despite the in search of work. Many of those arriving in Dakar city streets’ association with passage and movement, from Senegal’s regions took jobs as vendors, making we rarely move easily through them; rather, we must their presence evident not only in urban...

... closing sequence of Ousmane Sembène’s 1992 cordiality and common purpose that now appear masterpiece Guelwaar imagines a hopeful to bind the formerly warring Muslims and Chris- A resolution of contemporary Senegal’s neo- tians. At one point the imam exhorts his assistant colonial...

... which might be the envy of many other African African Art, is unique on the ever-expanding list of biennales countries in which contemporary culture is given only lip serv• on the international calendar. This is because Dak'Art 2002 is ice, that Senegal "has been convinced...

... by Nka Publications Sonya Clark, thread-wrapped combs, 2019, Black Rock Residency, Senegal. Courtesy the artist Sanders Nka 147 Sonya Clark, Monumental, 2019, collaboration with the Fabric Workshop and Museum, Philadelphia. Woven linen, madder dye, and tea stain, 180 x 360 in. Courtesy the artist...

... reached Contemporary African Art, Dakar, its limits. It needs to be rein• Senegal. From a modest begin• forced by complementary mea...

... whereby Africa can more substantially avail itself of what its own modern and contemporary artists are doing. Though based in Lagos, for Silva, international meant as much about working in Ghana, Senegal, Mozambique, or Mali as it might be working in cities in Europe or the United States. Silva...

..., the Biennale functions under the patronage of Senegal's Ministry of Culture, and is organ• O ized by the Secretariat General de la Biennale de Dakar, supported by a government-appointed council known as Conseil Scientifique, presumably made up of independent art specialists...