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This book is a product of a select and innovative “think tank,” NobbleAfriq Institute. It stands as the pillar and the revival of the African system of thought and spiritualism which, in turn, pave the road to Afro-modernity. For those seeking the answers to the root of the malady of our time in Africa, this book serves as a guide and inspiration. This book projects that the problem of Africa is Africa due to loss of intuitive thinking, freedom, and identity, which brought about the natural spiritual and psychological void known as “disintegrated individuality.” Failure of political leadership, lack of good governance, and stunted progress in Africa are not the main problems but symptoms of disintegrated individualism, which is a loss of sense of being. We are evolving beings; therefore, we can no longer search for our identity out of the old world of the past. Our old tribal and ancestral world are not lost but outgrown. As such, our identity and the meaning of who we are cannot be found; rather, they are to be created and achieved.
African, American and European Trajectories of Modernity asks why, from some moment onwards, 'Europe' and 'the rest of the world' entered into a particular relationship: one of domination, conceived as a kind of superiority and as an 'advance' in historic
One of the extraordinary events of the twentieth-century has been the emergence of Black modernities across the oceanic divide. These modernities took on particular historical forms as well as singular cultural configurations. Invariably, in their formation, realization, and actualization's, whether in Africa or in the African Diaspora, they have constituted themselves as historical discourse, usually across the Atlantic, about cultural identities, historical survivals, invention of traditions, and the formulation of new nationalities. At the center of these reciprocal exchanges and interactions in the Black world has been the "New Negro" modernity, which orchestrated the deeper strains of the cultural splay of Black historical avant-gardes globally. "New Negro" modernity and modernism found its perfect realization in the Harlem Renaissance (1924-30). Through one of its eminent figures, Langston Hughes, the Harlem Renaissance had a profound impact on Black modernist cultural formations. In contrast to these complex diasporic and African exchanges, the effect of the influence and impact of United States modernity on the making of South African modernity resulted in something very spectacular and very unique: the transformation of a whole national culture, and the re-vitalization and re-invigoration of the national consciousness of Africans in South Africa. This anthology consists of contributions by African American scholars, writers and artists (Ishmael Reed, Joyce F. Kirk, John Higginson, Robert Hill, Gregory A. Pirio, Sonia Sanchez, Robin D.G. Kelley, Molefi Kete Asante, David H. Anthony, Houston A. Baker, Elliott Butler Evans, Sterling Plumpp, Stanley Crouch, Garth Fagan, GregTate, Cedric J. Robinson, Primus St. John, Dolores E. Cross, Gerald Horne and Sidney J. Lemelle); and African scholars, writers and artists (Mazisi Kunene, Ntongela Masilela, Bernard Makhosozwe Magubane, Nomazengele A. Mangaliso, Alosi J.M. Moloi, Keorapetse Kgositsile, Es'kia Mphalele and Cecil Abrahams) jointly examining the historical conjuncture between United States and South African modernity.
"There I was, standing alone, unable to cry as I said goodbye to Sidimé Laye, my best friend, and to the revolution that had opened the door of modernity for me--the revolution that had invented me." This book gives us the story of a quest for a childhood friend, for the past and present, and above all for an Africa that is struggling to find its future. In 1996 Manthia Diawara, a distinguished professor of film and literature in New York City, returns to Guinea, thirty-two years after he and his family were expelled from the newly liberated country. He is beginning work on a documentary about Sékou Touré, the dictator who was Guinea's first post-independence leader. Despite the years that have gone by, Diawara expects to be welcomed as an insider, and is shocked to discover that he is not. The Africa that Diawara finds is not the one on the verge of barbarism, as described in the Western press. Yet neither is it the Africa of his childhood, when the excitement of independence made everything seem possible for young Africans. His search for Sidimé Laye leads Diawara to profound meditations on Africa's culture. He suggests solutions that might overcome the stultifying legacy of colonialism and age-old social practices, yet that will mobilize indigenous strengths and energies. In the face of Africa's dilemmas, Diawara accords an important role to the culture of the diaspora as well as to traditional music and literature--to James Brown, Miles Davis, and Salif Kéita, to Richard Wright, Spike Lee, and the ancient epics of the griots. And Diawara's journey enlightens us in the most disarming way with humor, conversations, and well-told tales.
For the better part of two centuries, racial domination has been the central concern of African social thought. Other questions, among them national identity, the role of chieftaincy, representation, justice, and constitutional design, have often been defined in relation to a preoccupation with racial and colonial forms of domination. This book, by examining the history of African thought, will prove an invaluable tool to those new thinkers who have begun to revisit the intellectual history of Africa at the outset of the twenty-first century.
The period between 1880 and 1918, at the end of which Jim Crow was firmly established and the Great Migration of African Americans was well under way, was not the nadir for black culture, James Smethurst reveals, but instead a time of profound response fr
Elisa Joy White investigates the contemporary African Diaspora communities in Dublin, New Orleans, and Paris and their role in the interrogation of modernity and social progress. Beginning with an examination of Dublin's emergent African immigrant community, White shows how the community's negotiation of racism, immigration status, and xenophobia exemplifies the ways in which idealist representations of global societies are contradicted by the prevalence of racial, ethnic, and cultural conflicts within them. Through the consideration of three contemporaneous events—the deportations of Nigerians from Dublin, the aftermath of Hurricane Katrina in New Orleans, and the uprisings in the Paris suburbs—White reveals a shared quest for social progress in the face of stark retrogressive conditions.
Winner of the 2015 Best Scholarly Book Award presented by the Diopian Institute for Scholarly Advancement Afrocentricity is the most intellectually dominant idea in the African world, one that is having a growing impact on social science discourse. This paradigm, philosophically rooted in African cultures and values, fundamentally challenges major epistemological traditions in Western thought, such as modernism and postmodernism, Marxism, existentialism, feminism, and postcolonialism. In The Demise of the Inhuman, Ana Monteiro-Ferreira reviews what Molefi Kete Asante has called the "infrastructures of dominance and privilege," arguing that Western concepts such as individualism, colonialism, race and ethnicity, universalism, and progress, are insufficient to overcome various forms of oppression. Afrocentricity, she argues, can help lead us beyond Western structures of thought that have held sway since the early fifteenth century, towards a new epistemological framework that will enable a more human humanity.
An examination of Africa's experience of modernity which draws out its wider implications for social theory
An intellectual biography of a modern African artist and his immense contribution to twentieth-century art history. The history of world art has long neglected the work of modern African artists and their search for forms of modernist expression as either irrelevant to the discourse of modern art or as fundamentally subservient to the established narrative of Western European modernist practice. With this engaging new volume, Sylvester Ogbechie refutes this approach by examining the life and work of Ben Enwonwu (1917-94), a premier African modernist and pioneer whose career opened the way for the postcolonial proliferation and increased visibility of African art. In the decades between Enwonwu's birth and death, modernization produced new political structures and new forms of expression inAfrican cultures, inspiring important developments in modern African art. Within this context, Ogbechie evaluates important issues such as the role of Anglo-Nigerian colonial culture in the development of modern Nigerian art, andEnwonwu's involvement with international discourses of modernism in Europe, Africa, and the United States over a period of five decades. The author also interrogates Enwonwu's use of the radical politics of Negritude ideology to define modern African art against canonical interpretations of Euro-modernism; and the artist's visual and critical contributions to Pan Africanism, Nigerian nationalism, and postcolonial interpretations of African modernity. First and foremost an intellectual biography of Ben Enwonwu as a modern African artist, rather than an exhaustive critical exploration of the discourse of modernism in African art history or in modern art in general, Ben Enwonwu situates the artist historically and interprets his work in ways that surpass traditional discourse around the canon of modern art. Sylvester Ogbechie is Associate Professor of Art History at the University of California, Santa Barbara.