Abstract
| Language | English |
|---|---|
| Pages | 125-146 |
| Number of pages | 22 |
| Journal | World Art |
| Volume | 6 |
| Issue number | 1 |
| Early online date | 11 Feb 2016 |
| DOIs | |
| Publication status | Published - 4 May 2016 |
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Keywords
- festivals
- archive
- performance
- nostalgia
- African renaissance
Cite this
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Archiving the First World Festival of Negro Arts (Dakar 1966) : recuperation, nostalgia and utopianism. / Murphy, David.
Vol. 6, No. 1, 04.05.2016, p. 125-146.Research output: Contribution to journal › Article
TY - JOUR
T1 - Archiving the First World Festival of Negro Arts (Dakar 1966)
T2 - recuperation, nostalgia and utopianism
AU - Murphy, David
N1 - This is an Accepted Manuscript of an article published by Taylor & Francis in World Art on 11/02/2016, available online: https://doi.org/10.1080/21500894.2016.1165730
PY - 2016/5/4
Y1 - 2016/5/4
N2 - This article will examine the concepts of recuperation, nostalgia and utopianism in relation to the First World Festival of Negro Arts, which was held in Dakar in 1966, in part through an exploration of how this event was evoked in the third edition of the festival (known as FESMAN) in 2010. It will address a series of intriguing questions about the difficulties involved in locating an archive of ephemeral, performance-based events, which may leave few material traces after they have been completed. Although the major Pan-African cultural festivals of the 1960s are regularly cited (usually in passing) as key illustrations of the utopianism that marked the period of decolonization, the issue of their actual legacy in terms of popular, institutional and official national memory is a complex one. The first half of the article will thus explore the official archive of the 1966 festival, while also attempting to identify new ways of engaging with some of its legacies for its multiple audiences. The second half of the article will then explore what FESMAN 2010 reveals about the prevalence of processes of recuperation and nostalgia, but also the ongoing utopian engagement with the Pan-African archive in contemporary encounters with these ephemeral events from the past.
AB - This article will examine the concepts of recuperation, nostalgia and utopianism in relation to the First World Festival of Negro Arts, which was held in Dakar in 1966, in part through an exploration of how this event was evoked in the third edition of the festival (known as FESMAN) in 2010. It will address a series of intriguing questions about the difficulties involved in locating an archive of ephemeral, performance-based events, which may leave few material traces after they have been completed. Although the major Pan-African cultural festivals of the 1960s are regularly cited (usually in passing) as key illustrations of the utopianism that marked the period of decolonization, the issue of their actual legacy in terms of popular, institutional and official national memory is a complex one. The first half of the article will thus explore the official archive of the 1966 festival, while also attempting to identify new ways of engaging with some of its legacies for its multiple audiences. The second half of the article will then explore what FESMAN 2010 reveals about the prevalence of processes of recuperation and nostalgia, but also the ongoing utopian engagement with the Pan-African archive in contemporary encounters with these ephemeral events from the past.
KW - festivals
KW - archive
KW - performance
KW - nostalgia
KW - African renaissance
U2 - 10.1080/21500894.2016.1165730
DO - 10.1080/21500894.2016.1165730
M3 - Article
VL - 6
SP - 125
EP - 146
IS - 1
ER -