In Senghor's Shadow
Author | : Elizabeth Harney |
Publisher | : Duke University Press |
Total Pages | : 356 |
Release | : 2004-11-23 |
Genre | : Art |
ISBN | : 9780822333951 |
DIVA study of art in post-independence Senegal./div
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Author | : Elizabeth Harney |
Publisher | : Duke University Press |
Total Pages | : 356 |
Release | : 2004-11-23 |
Genre | : Art |
ISBN | : 9780822333951 |
DIVA study of art in post-independence Senegal./div
Author | : Annette Damayanti Lienau |
Publisher | : Princeton University Press |
Total Pages | : 400 |
Release | : 2024-01-09 |
Genre | : Literary Criticism |
ISBN | : 0691249881 |
How Arabic influenced the evolution of vernacular literatures and anticolonial thought in Egypt, Indonesia, and Senegal Sacred Language, Vernacular Difference offers a new understanding of Arabic’s global position as the basis for comparing cultural and literary histories in countries separated by vast distances. By tracing controversies over the use of Arabic in three countries with distinct colonial legacies, Egypt, Indonesia, and Senegal, the book presents a new approach to the study of postcolonial literatures, anticolonial nationalisms, and the global circulation of pluralist ideas. Annette Damayanti Lienau presents the largely untold story of how Arabic, often understood in Africa and Asia as a language of Islamic ritual and precolonial commerce, assumed a transregional role as an anticolonial literary medium in the nineteenth and twentieth centuries. By examining how major writers and intellectuals across several generations grappled with the cultural asymmetries imposed by imperial Europe, Lienau shows that Arabic—as a cosmopolitan, interethnic, and interreligious language—complicated debates over questions of indigeneity, religious pluralism, counter-imperial nationalisms, and emerging nation-states. Unearthing parallels from West Africa to Southeast Asia, Sacred Language, Vernacular Difference argues that debates comparing the status of Arabic to other languages challenged not only Eurocentric but Arabocentric forms of ethnolinguistic and racial prejudice in both local and global terms.
Author | : Shaka Senghor |
Publisher | : Convergent Books |
Total Pages | : 290 |
Release | : 2017-01-31 |
Genre | : Biography & Autobiography |
ISBN | : 1101907312 |
NEW YORK TIMES BESTSELLER • An “extraordinary, unforgettable” (Michelle Alexander, author of The New Jim Crow) memoir of redemption and second chances amidst America’s mass incarceration epidemic, from a member of Oprah’s SuperSoul 100 Shaka Senghor was raised in a middle-class neighborhood on Detroit’s east side during the height of the 1980s crack epidemic. An honor roll student and a natural leader, he dreamed of becoming a doctor—but at age eleven, his parents’ marriage began to unravel, and beatings from his mother worsened, which sent him on a downward spiral. He ran away from home, turned to drug dealing to survive, and ended up in prison for murder at the age of nineteen, full of anger and despair. Writing My Wrongs is the story of what came next. During his nineteen-year incarceration, seven of which were spent in solitary confinement, Senghor discovered literature, meditation, self-examination, and the kindness of others—tools he used to confront the demons of his past, forgive the people who hurt him, and begin atoning for the wrongs he had committed. Upon his release at age thirty-eight, Senghor became an activist and mentor to young men and women facing circumstances like his. His work in the community and the courage to share his story led him to fellowships at the MIT Media Lab and the Kellogg Foundation and invitations to speak at events like TED and the Aspen Ideas Festival. In equal turns, Writing My Wrongs is a page-turning portrait of life in the shadow of poverty, violence, and fear; an unforgettable story of redemption; and a compelling witness to our country’s need for rethinking its approach to crime, prison, and the men and women sent there.
Author | : Joanna Grabski |
Publisher | : Indiana University Press |
Total Pages | : 329 |
Release | : 2017-07-10 |
Genre | : Art |
ISBN | : 0253026229 |
“Insightful . . . should be on the bookshelf of anyone interested in contemporary art on the continent of Africa, its politics, its display, its economics.” —African Arts Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city’s resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar’s creative economy and the city’s urban vibe into an “art world city.” “In her fine-grained analysis, Joanna Grabski demonstrates the ways that the urban environment and the sites of art production, exhibition, and sale imbricate one another to constitute Dakar as an Art World City.” —Mary Jo Arnoldi, Curator, Anthropology, National Museum of Natural History, Smithsonian “A valuable addition to the anthropology of cities and of art worlds. It stretches and revises the notion of art world to include multiple scales, and illustrates how the city enables simultaneous engagement for artists with local, national, Pan-African, and global discourses and platforms.” —City & Society “A beautiful book. The photographs, most of which are by the author, are stunning.” —College Art Association Reviews
Author | : Sheri Dion |
Publisher | : Susquehanna University Press |
Total Pages | : 249 |
Release | : 2011-09 |
Genre | : Literary Criticism |
ISBN | : 1575911507 |
Author | : David Murphy |
Publisher | : Oxford University Press |
Total Pages | : 246 |
Release | : 2016 |
Genre | : Art |
ISBN | : 1781383162 |
In April 1966, thousands of artists, musicians, performers and writers from across Africa and its diaspora gathered in the Senegalese capital, Dakar, to take part in the First World Festival of Negro Arts (Premier Festival Mondial des arts nègres). The international forum provided by the Dakar Festival showcased a wide array of arts and was attended by such celebrated luminaries as Duke Ellington, Josephine Baker, Aimé Césaire, André Malraux and Wole Soyinka. Described by Senegalese President Léopold Sédar Senghor, as 'the elaboration of a new humanism which this time will include all of humanity on the whole of our planet earth', the festival constituted a highly symbolic moment in the era of decolonization and the push for civil rights for black people in the United States. In essence, the festival sought to perform an emerging Pan-African culture, that is, to give concrete cultural expression to the ties that would bind the newly liberated African 'homeland' to black people in the diaspora. This volume is the first sustained attempt to provide not only an overview of the festival itself but also of its multiple legacies, which will help us better to understand the 'festivalization' of Africa that has occurred in recent decades with most African countries now hosting a number of festivals as part of a national tourism and cultural development strategy.
Author | : Joshua I. Cohen |
Publisher | : University of California Press |
Total Pages | : 301 |
Release | : 2020-07-21 |
Genre | : Art |
ISBN | : 0520309685 |
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.
Author | : Léopold Sédar Senghor |
Publisher | : CUP Archive |
Total Pages | : 148 |
Release | : 1977-09 |
Genre | : Literary Criticism |
ISBN | : 9780521291118 |
Author | : Sylvia Washington Ba |
Publisher | : Princeton University Press |
Total Pages | : 317 |
Release | : 2015-03-08 |
Genre | : Poetry |
ISBN | : 1400867134 |
Negritude has been defined by Léopold Sédar Senghor as "the sum of the cultural values of the black world as they are expressed in the life, the institutions, and the works of black men." Sylvia Washington Bâ analyzes Senghor's poetry to show how the concept of negritude infuses it at every level. A biographical sketch describes his childhood in Senegal, his distinguished academic career in France, and his election as President of Senegal. Themes of alienation and exile pervade Senghor's poetry, but it was by the opposition of his sensitivity and values to those of Europe that he was able to formulate his credo. Its key theme, and the supreme value of black African civilization, is the concept of life forces, which are not attributes or accidents of being, but the very essence of being. Life is an essentially dynamic mode of being for the black African, and it has been Senghor's achievement to communicate African intensity and vitality through his use of the nuances, subtleties, and sonorities of the French language. In the final chapter Sylvia Washington Bâ discusses the future of Senghor's belief that the black man's culture should be recognized as valid not simply as a matter of human justice, but because the values of negritude could be instrumental in the reintegration of positive values into western civilization and the reorientation of contemporary man toward life and love. Originally published in 1973. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author | : Elizabeth Harney |
Publisher | : Duke University Press |
Total Pages | : 361 |
Release | : 2004-11-23 |
Genre | : Art |
ISBN | : 0822386054 |
In Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists. Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.