The First World Festival of Negro Arts, Dakar 1966 : contexts and legacies
- Submitting institution
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University of Strathclyde
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 85694607
- Type
- B - Edited book
- DOI
-
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- Publisher
- Liverpool University Press
- ISBN
- 9781781383162
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This edited collection has its origins in Murphy’s research on Lamine Senghor (funded by a British Academy mid-career fellowship) where he identified a shift in the way Pan-Africanism functioned through the 1960s. Originally a political idea, Pan-Africanism underwent a cultural turn in the second half of the twentieth century, and Murphy identified the 1966 First World Festival as a pivotal moment in that process during the era of decolonisation. Murphy’s archival work in Senegal, France and the US (funded by a British Academy small grant), and his collaboration with scholars in France on the PANAFEST Archive project, allowed him to further explore and contextualise the festival and led to the proposal for this collection, for which he commissioned and selected all the essays.
The collection is the first sustained attempt to provide not only an overview of the 1966 Dakar festival itself but also of its multiple legacies: from the subsequent mega-festivals in Algiers (1969), Kinshasa (1974) and Lagos (1977) to the ‘festivalization’ of Africa from the early 1990s onwards, which has seen culture become more explicitly tied into a discourse of economic development through the promotion of cultural tourism. Murphy brought together key scholars in Pan-Africanism and festival studies to trace the problematic aspects of the festival’s performance, as well as the ways in which the event mobilized a set of utopian energies that still have resonance today. In addition to his editorial work in defining and shaping the terms of the study, Murphy’s 18,000-word introduction provides a comprehensive framework for the interpretation of the festival, situating the book within the broader fields of festival studies and the history of cultural and political Pan-Africanism, which come together in the major festivals organized across Africa in the 1960s and 70s.
- Author contribution statement
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- Non-English
- No
- English abstract
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