The performance of Pan-Africanism

staging the African Renaissance at the First World Festival of Negro Arts

Research output: Chapter in Book/Report/Conference proceedingChapter

6 Downloads (Pure)

Abstract

On 30 March 1966, the Senegalese poet-president Léopold Sédar Senghor ascended the steps of the National Assembly in Dakar, which stands at the heart of the Plateau, the gleaming white city built by the French colonial authorities at the start of the twentieth century to act as the administrative centre of its vast West African Empire. Senegal had freed itself from French colonial rule in 1960, and here it was, just six years later, proclaiming itself as temporary capital of black civilization at the launch of the First World Festival of Negro Arts. The festival proper would not begin for two days. Senghor was in fact at the National Assembly to launch a colloquium on ‘The Function of Negro Art in the life of and for the people’, which would run from 30 March-8 April. That Senegal should hand over its legislative chamber for more than a week to writers, performers, artists and scholars to discuss the significance of art in the emerging post-imperial world was entirely in keeping with the central role that Senghor attributed to culture and the arts.1 Culture was not merely rhetorically significant, for Senghor apparently backed up his words with hard cash: various sources estimate that up to 25% of the national budget was devoted to the arts in the early years after independence (see Harney 2004: 49).
Original languageEnglish
Title of host publicationThe First World Festival of Negro Arts, Dakar 1966
Subtitle of host publicationContexts and Legacies
EditorsDavid Murphy
Place of PublicationLiverpool
Pages1-42
Number of pages43
Publication statusPublished - 1 Sep 2016

Fingerprint

Pan-Africanism
Africa
Negroes
Leopold Sedar Senghor
Art
National Assembly
Launch
Senegal
Civilization
Poet
Authority
Performer
White City
Colonies
Plateau
Colonial Rule
Writer
Colloquium
Artist

Keywords

  • post-colonialism
  • African Renaissance
  • pan-Africanism

Cite this

Murphy, D. (2016). The performance of Pan-Africanism: staging the African Renaissance at the First World Festival of Negro Arts. In D. Murphy (Ed.), The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies (pp. 1-42). Liverpool.
Murphy, David. / The performance of Pan-Africanism : staging the African Renaissance at the First World Festival of Negro Arts. The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies . editor / David Murphy. Liverpool, 2016. pp. 1-42
@inbook{e7415fbc36b84fdf9c17b425b8dfb209,
title = "The performance of Pan-Africanism: staging the African Renaissance at the First World Festival of Negro Arts",
abstract = "On 30 March 1966, the Senegalese poet-president L{\'e}opold S{\'e}dar Senghor ascended the steps of the National Assembly in Dakar, which stands at the heart of the Plateau, the gleaming white city built by the French colonial authorities at the start of the twentieth century to act as the administrative centre of its vast West African Empire. Senegal had freed itself from French colonial rule in 1960, and here it was, just six years later, proclaiming itself as temporary capital of black civilization at the launch of the First World Festival of Negro Arts. The festival proper would not begin for two days. Senghor was in fact at the National Assembly to launch a colloquium on ‘The Function of Negro Art in the life of and for the people’, which would run from 30 March-8 April. That Senegal should hand over its legislative chamber for more than a week to writers, performers, artists and scholars to discuss the significance of art in the emerging post-imperial world was entirely in keeping with the central role that Senghor attributed to culture and the arts.1 Culture was not merely rhetorically significant, for Senghor apparently backed up his words with hard cash: various sources estimate that up to 25{\%} of the national budget was devoted to the arts in the early years after independence (see Harney 2004: 49).",
keywords = "post-colonialism, African Renaissance, pan-Africanism",
author = "David Murphy",
year = "2016",
month = "9",
day = "1",
language = "English",
isbn = "9781781383162",
pages = "1--42",
editor = "David Murphy",
booktitle = "The First World Festival of Negro Arts, Dakar 1966",

}

Murphy, D 2016, The performance of Pan-Africanism: staging the African Renaissance at the First World Festival of Negro Arts. in D Murphy (ed.), The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies . Liverpool, pp. 1-42.

The performance of Pan-Africanism : staging the African Renaissance at the First World Festival of Negro Arts. / Murphy, David.

The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies . ed. / David Murphy. Liverpool, 2016. p. 1-42.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - The performance of Pan-Africanism

T2 - staging the African Renaissance at the First World Festival of Negro Arts

AU - Murphy, David

PY - 2016/9/1

Y1 - 2016/9/1

N2 - On 30 March 1966, the Senegalese poet-president Léopold Sédar Senghor ascended the steps of the National Assembly in Dakar, which stands at the heart of the Plateau, the gleaming white city built by the French colonial authorities at the start of the twentieth century to act as the administrative centre of its vast West African Empire. Senegal had freed itself from French colonial rule in 1960, and here it was, just six years later, proclaiming itself as temporary capital of black civilization at the launch of the First World Festival of Negro Arts. The festival proper would not begin for two days. Senghor was in fact at the National Assembly to launch a colloquium on ‘The Function of Negro Art in the life of and for the people’, which would run from 30 March-8 April. That Senegal should hand over its legislative chamber for more than a week to writers, performers, artists and scholars to discuss the significance of art in the emerging post-imperial world was entirely in keeping with the central role that Senghor attributed to culture and the arts.1 Culture was not merely rhetorically significant, for Senghor apparently backed up his words with hard cash: various sources estimate that up to 25% of the national budget was devoted to the arts in the early years after independence (see Harney 2004: 49).

AB - On 30 March 1966, the Senegalese poet-president Léopold Sédar Senghor ascended the steps of the National Assembly in Dakar, which stands at the heart of the Plateau, the gleaming white city built by the French colonial authorities at the start of the twentieth century to act as the administrative centre of its vast West African Empire. Senegal had freed itself from French colonial rule in 1960, and here it was, just six years later, proclaiming itself as temporary capital of black civilization at the launch of the First World Festival of Negro Arts. The festival proper would not begin for two days. Senghor was in fact at the National Assembly to launch a colloquium on ‘The Function of Negro Art in the life of and for the people’, which would run from 30 March-8 April. That Senegal should hand over its legislative chamber for more than a week to writers, performers, artists and scholars to discuss the significance of art in the emerging post-imperial world was entirely in keeping with the central role that Senghor attributed to culture and the arts.1 Culture was not merely rhetorically significant, for Senghor apparently backed up his words with hard cash: various sources estimate that up to 25% of the national budget was devoted to the arts in the early years after independence (see Harney 2004: 49).

KW - post-colonialism

KW - African Renaissance

KW - pan-Africanism

UR - https://www.liverpooluniversitypress.co.uk/books/id/39034/

UR - http://hdl.handle.net/1893/23402

M3 - Chapter

SN - 9781781383162

SP - 1

EP - 42

BT - The First World Festival of Negro Arts, Dakar 1966

A2 - Murphy, David

CY - Liverpool

ER -

Murphy D. The performance of Pan-Africanism: staging the African Renaissance at the First World Festival of Negro Arts. In Murphy D, editor, The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies . Liverpool. 2016. p. 1-42