...Grant Farred “When I was nineteen, Miles Davis put his finger on my soul, and it never went away,” Stuart Hall reflects in John Akomfrah’s documentary, The Stuart Hall Project . Miles Davis not only “touched” Hall’s soul, but the music and its many moods, its vagaries, its experimentations provided...

... and experience from the mid-1920s to the mid-1950s. Copyright © 2017 by Nka Publications 2017 Feral Benga primitivism (afro)modernism African dance music-hall homoeroticism FÉRAL BENGA African Muse of Modernism James Smalls n 1923, at the age of seventeen, François Benga a central...

..., the black-and-white footage of Hall’s performance. are derived from a lover’s rock song from 1970, orig- Having rejected a reverential attitude toward the inally written and performed by Susan Cadogan. A past, Boyce empowers herself to manipulate the variation of reggae music, lover’s rock emerged...

... Hall describes the symbolic journey of the new homeland after a three-week transatlantic jour- diasporic subject as circuitous rather than teleologi- ney by sea. With dignity and respectability packed cal. He characterizes diasporic subjectivity as a pro- deep in their suitcases, they were formally...

... pointed articulation in her decision to place a musician inside the gated perimeter of Preservation Jazz Hall. Trespassing solely to play music, the same purpose as the venue, Smith comments on the different modes of musical production that exist in New Orleans: those outfitted for touristic audiences...

... from Chimurenga magazine, Chimurenga Library project. “Wall-­Writing,” Old Drill Hall, Cape Town Central Library, Cape Town, South Africa, May 2 – June 21, 2009. Courtesy Chimurenga magazine 26 • Nka Journal of Contemporary African Art • 34 • Spring 2014 Jesús Palomino, Dikalo La...

... for the city of Richmond. Negro” in a modern world had further broadened Johnson again incorporates the theme of music in for Johnson, due to contact with customs and art- these along with the Africanized mask in one of the work from countries that bordered the Paci c Dance Hall compositions...

... Press Ferguson Nka 137 evocations. In the history and her- meneutic that Bourland produces, the reader is presented with not only the visual genealogies of Fani-Kayode s work, but also the musical, dance, and social cultures that shaped his art as well. As a result, Bourland il- lustrates how Fani...

..., a Dutch artist mounted his own works amidst murals and graffiti dedicated to loved ones who had died of AIDS. This hall was a thoroughfare to an auditori• um where a Chicano performance artist deployed several media-legends on dig• ital screen, music, mime-to dramatize aspects of Mexican...

.../10757163-3641898 © 2016 by Nka Publications lampooning them. Perhaps most effec- musical, literary, or visual artists as a Texas at Austin, where she directs the tive is Saggese’s eshing out of sty- way to re ect on genius, virtuosity, John L. War eld Center for African and listic comparisons...

...• scape that complicates the distinction between the amnesiac present and the postcolonial aftermath. Stuart Hall once asked "When was the post...

... center established by the Emirate in 2018, and the nearby Africa Hall, site of the exhibition s March Meeting.9 Rather than a fashionable or opportunistic (or neocolonial) appropriation of Africa, this engagement was experienced by visitors and attendees as a discursive exchange connecting cultures...

... drawings scene of their crimes, not only a detailed description from the 1980s by Gedewon (1939 – 95). This gallery, of the specific place but also a personal narrative is adjacent to the hall of Tintorettos borrowed from given. In an important twist, direct quotations by Venetian museums, buttressed...

... the corridor leading to the first hall, you are From "Three Generations of Wyeth Art" (1989) through confronted by two assemblages — Object de Quite and Crucifix, "Chagall" (1989) to "The Treasures of the British Museum (1990) both 1995, by the Ivoirean, Kra...

... on a crucial mo• artists, and film makers like Stuart Hall, Paul element: a cautious racialism preferred by the ment of 20th century modernity. Three years Gilroy, Kobena Mercer, Isaac Julien, John likes of Booker T. Washington against...

... military marches, diately obvious and might no longer seem neces- funeral processions, and carnival parades to enter- sary given the context that I previously highlighted: tain, educate, protest, pray, mourn, and celebrate, the increasing recognition, mainstreaming, and in silence and in music...

... Journal of Contemporary African Art • 41 • November 2017 14 • Nka DOI 10.1215/10757163-4271619 © 2017 by Nka Publications Paul Colin, poster for La Revue Negre au Music-hall des Champs-Élysées, 1925. © Artists Rights Society, New York / ADAGP, Paris. Photo: DeA Picture Library / Art...

... musical pairs such as Marvin Gaye and Tammi Terrell, Ike and Tina Turner, Beyonce and Jay Z, the glow of whom one can catch in Afro Sunrise.^ Indeed, despite numerous formal and conceptual references to Christian iconography and history, Ofili's sheer irreverence towards any...

... - Greaves (the “dean of black documentarians”) at sters.” Tall and striking, Saint loved music, espe - WNET’s Black Journal in the late 1960s . As an cially black music, and he spoke...

... message the sends Gaba in Africa, art contemporary to dedicated seum mu no is there As it. to relationship our and museum the of function and nature the confront which ronment, envi in amuseum found usually not Room,” “Music the Room,” and “Game Room,”the “Marriage...