Search Results for senegal

...• 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...

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

... 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...

...Manthia Diawara Since 2015, Cheikh Ndiaye has been painting the most famous theaters between Abidjan, Côte d’Ivoire, and Dakar, Senegal, including their emblematic names: the Mansour, Liberté, VOG, Vox, ABC, Rio, the Medina, and Le Paris, et cetera. The artist’s obsessive paintings are without...

...Anna Arabindan-Kesson This article reviews a selection of works by Black diaspora artists who were included in the 2024 Venice Biennale. The article focuses on artists included in the pavilions of Nigeria, Senegal, South Africa, and Benin, along with artists included in the Arsenale...

... 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...

... of clarity, resolution, and aesthetic resonance to the exploration of various economies—visual, spatial, material, and commercial—that shape lived experience in Dakar. Copyright © 2015 Nka: Journal of Contemporary African Art 2015 Viyé Diba Dakar Senegal Dak’Art Biennale urbanization VIYÉ...

... 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...

... 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...

... of despite its merits—has reached Contemporary African Art, Dakar, its limits. It needs to be rein• Senegal. From a modest begin• forced...