Please use this identifier to cite or link to this item:
Full metadata record
DC FieldValueLanguage
dc.contributor.authorMurphy, Daviden_UK
dc.contributor.editorMurphy, Den_UK
dc.description.abstractFirst paragraph: 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).en_UK
dc.publisherLiverpool University Pressen_UK
dc.relationMurphy D (2016) The Performance of Pan-Africanism: Staging the African Renaissance at the First World Festival of Negro Arts. In: Murphy D (ed.) The First World Festival of Negro Arts, Dakar 1966: contexts and legacies. Postcolonialism Across the Disciplines, 20. Liverpool: Liverpool University Press, pp. 1-42.
dc.relation.ispartofseriesPostcolonialism Across the Disciplines, 20en_UK
dc.rightsThis item has been embargoed for a period. During the embargo please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study. Publisher allows this work to be made available in this repository. Published in The First World Festival of Negro Arts, Dakar 1966: contexts and legacies (ed. by David Murphy) copyright by Liverpool University Press.
dc.titleThe Performance of Pan-Africanism: Staging the African Renaissance at the First World Festival of Negro Artsen_UK
dc.typePart of book or chapter of booken_UK
dc.rights.embargoreason[DM_LUPintro.pdf] Publisher requires embargo of [length of delay] months after formal publication.en_UK
dc.type.statusAM - Accepted Manuscripten_UK
dc.citation.btitleThe First World Festival of Negro Arts, Dakar 1966: contexts and legaciesen_UK
rioxxterms.typeBook chapteren_UK
local.rioxx.authorMurphy, David|0000-0002-4450-6308en_UK
local.rioxx.projectInternal Project|University of Stirling|
local.rioxx.contributorMurphy, D|en_UK
Appears in Collections:Literature and Languages Book Chapters and Sections

Files in This Item:
File Description SizeFormat 
DM_LUPintro.pdfFulltext - Accepted Version426.56 kBAdobe PDFView/Open

This item is protected by original copyright

Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

The metadata of the records in the Repository are available under the CC0 public domain dedication: No Rights Reserved

If you believe that any material held in STORRE infringes copyright, please contact providing details and we will remove the Work from public display in STORRE and investigate your claim.