This book explores the politics of artistic creativity, examining how black artists in Africa and the diaspora create art as a procedure of self-making. Essays cross continents to uncover the efflorescence of black culture in national and global contexts and in literature, film, performance, music, and visual art. Contributors place the concerns of black artists and their works within national and transnational conversations on anti-black racism, xenophobia, ethnocentrism, migration, resettlement, resistance, and transnational feminisms. Does art by the subaltern fulfill the liberatory potential that critics have ascribed to it? What other possibilities does political art offer? Together, these essays sort through the aesthetics of daily life to build a thesis that reflects the desire of black artists and cultures to remake themselves and their world.

"African Humanity: Creativity, Identity and Personhood is a collection of thought-provoking essays from scholars around the world on topics that inform new ways of thinking while engaging critical perspectives about Africa and the African Diaspora. The essays focus on the discourse of creativity, culture, identity and well-being from multiple fields such as design, art, gender studies, education, health and museum studies in pre-colonial, colonial and post-colonial Africa and the African Diaspora. This multidisciplinary group of global scholars offer a critical dialogue on topics such as the creative process in Africa and the African Diaspora; gender and creative space; histories of creativity and inventions; globalized modernity and its consequence on cultural performances; politics of creativity; creativity, performance and Nollywood; social, political, and economic ramifications of creativity and design; ethical issues in creativity; and sustainability, well-being and the environment. The book's goal is to offer a comparative critical dialogue for a multidisciplinary academic audience, artists, grassroots activists, diverse communities and interested members of the general public. It has five distinct sections: Gender, Education, and Language; Design and Art in Africa and Its Diaspora; Creativity, Performance and Nollywood; Identity and Institutions of Politics and Living; and Sustainability, Health and the Environment. This book is part of the African World Series, edited by Toyin Falola, Jacob and Frances Sanger Mossiker Chair in the Humanities, University of Texas at Austin"--

Over the years, Kobena Mercer has critically illuminated the visual innovations of African American and black British artists. In Travel & See he presents a diasporic model of criticism that gives close attention to aesthetic strategies while tracing the shifting political and cultural contexts in which black visual art circulates. In eighteen essays, which cover the period from 1992 to 2012 and discuss such leading artists as Isaac Julien, Renée Green, Kerry James Marshall, and Yinka Shonibare, Mercer provides nothing less than a counternarrative of global contemporary art that reveals how the “dialogical principle” of cross-cultural interaction not only has transformed commonplace perceptions of blackness today but challenges us to rethink the entangled history of modernism as well.

Stereomodernism and amplifying the Black Atlantic -- Sight reading: early Black South African transcriptions of freedom -- Négritude musicology: poetry, performance and statecraft in Senegal -- What women want: selling hi-fi in consumer magazines and film -- 'Soul to soul': echo-locating histories of slavery and freedom from Ghana -- Pirate's choice: hacking into (post- )pan-African futures -- Epilogue: Singing songs.

Western Frontiers of African Art navigates the problems and prospects of prometheusis in creative cultural productions. Artists, writers, musicians, and other creative practitioners share icons, ideas, images, and paraphernalia across cultures, mediums, and disciplines in many ways including borrowing, copying, adoption, adaptation, abbreviation, distortion, and even outright pilfering. Their reasons for sharing creative elements range from admiration to subversion, pedagogical innovation, criticism, hegemony, revenge, anger, fear, malice, and even pathology. Once shared these artistic materials become links and crossroads that complicate creativity and culture with prometheusis. But what is prometheusis? How does it work and how is it evaluated? Drawing on the visual arts, this book elaborates on prometheusis as a general theory of cultural exchange, productivity, and analysis. Examples focus on the intersections and frontiers of western modernity and African art. Moyo Okediji is Director of the Center for Art of Africa and its Diasporas at the University of Texas at Austin and the author of several books on African art.

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.

This pioneer book focuses on the work of dele jegede, one of the leading Nigerian artists in the last three decades, to reflect on the connections between images and the nation state, the linkages between art and humanity, and the understanding of society through means different from oral and written texts. Various chapters written by prominent art historians, based on the analysis of jegede?s cartoons, drawings, and paintings, reflect extensively on how he has defined and imagined a postcolonial state, in its nakedness and hope, but gesturing towards change and a utopian moment. The book draws on the individual experiences of scholars and professional artists in Nigeria and the Diaspora to paint a complex, multi-dimensional portrait of jegede, one that puts in context his work as a scholar, painter, curator, critic, cartoonist, and administrator. In dreaming of the ideal, jegede?s creative cadence detours from the sheer pursuit of beauty and celebrates a conscious engagement with social realism and political visual expressions. In ways never clearly explained before now, jegede?s artistry, seen in slow motion as offered here, is inevitably tied to activism, a nationalistic credo, and the elevation of the spirits of humankind.

"Informed by the latest scholarship yet written for the general reader, this has been the first comprehensive study to present the arts of Africa in art historical terms. A History of Art in Africa covers all parts of the continent, including Egypt, from prehistory to the present day and includes the art of the African Diaspora. Many aspects of visual culture are given detailed consideration, including sculpture, architecture, and such quintessentially African forms as masquerades, festivals, and personal adornment. The arts of daily life, of royal ceremony, and of state cosmology receive compelling discussions. Throughout, the authors emphasize the cultural contexts in which art is produced and imbued with meanings." "Among the ancient works illustrated are masterpieces in brass, gold, ivory, stone and terracotta. Religious arts serving Islamic and Christian communities are presented, as are fascinating hybrid arts that periodically arose from African interactions with Europe, Asia and the Americas. Twentieth-century arts are explored as part of the vibrancy of modern Africa and as ingenious responses to historical change. 'Twenty-first-century African artists, and artists of the African Diaspora, are presented in the context of changing global economies and new theoretical positions." "This expanded and revised second edition provides a new chapter on African artists working abroad, and five new short essays on cross-cultural topics such as tourist arts, dating methods, and the illicit trade in archaeological artifacts. The illustrations - featuring a vast and rich array of images of artworks, archival and contemporary field photographs, explanatory drawings and plans, and individual objects displayed in museums and in use - have likewise been greatly extended, with many more pictures now shown in color."--BOOK JACKET.

Annette Schemmel provides a highly illuminating case study of the major actors, discourses and paradigm that shaped the history of visual arts in Cameroon during the second part of the 20th century. Her book meticulously reconstructs the multiple ways of artistic knowledge acquisition - from the consolidation of the "Système de Grands Frères" in the 1970s to the emergence of more discursively oriented small artists' initiatives which responded to the growing NGO market of social practice art opportunities in the 2000s. Based on archival research, participant observation and in depth interviews with art practitioners in Douala and Yaoundé, this study is a must read for everyone who wants to better understand the vibrant artistic scenes in countries like Cameroon, which until today lack a proper state-funded infrastructure in the arts.

* How black people established their identities in the African diaspora.