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Notes
1. Okot p’Bitek, Artist, the Ruler: Essays on Art, Culture, and Values, Including Extracts from Song of Soldier and White Teeth Make People Laugh on Earth (Nairobi: Heinneman Kenya, 1986), 34.
2. See Chinweizu, Decolonizing the African Mind (Lagos: Pero Press, 1987); Ngugi Wa Thiong’o, Decolonizing the Mind: The Politics of Language in African Literature (Nairobi: East African Educational Publishers, 1981); and Jane Bingham, African Art and Culture (Hampshire, U.K.: Raintree, 2004).
3. Roy Sieber, “African Tribal Scuplture” (PhD diss., University of Iowa, 1957).
4. Susan Blier, “African Art: An Overview,” in Oxford Encyclopedia of African Thought (Oxford: Oxford University Press, 2010), 30.
5. Oluwatoyin Adepoju, “Contemporary African Art,” in Oxford Encyclopedia of African Thought, 36.
6. Robert Farris Thompson, African Art in Motion (Los Angeles: University of California Press, 1974), 49.
7. Rowland Abiodun, “Àṣẹ: Verbalizing and Visualizing Creative Power through Art,” Journal of Religion in Africa 24, no. 4 (1994): 309–10.
8. Ibid., 311.
9. Awo Fagbami Nougbodekon, “Weekly Divination,” University of African Art Facebook, September 25, 2014.
10. Robert Farris Thompson, “An Aesthetic of the Cool,” African Arts 7, no. 1 (Autumn 1973): 41.
11. Pablo Picasso, in conversation with André Malraux, 1937, quoted in Henry Louis Gates, “Europe, African Art and the Uncanny,” in Africa, the Art of a Continent, ed. Tom Phillips (New York: Prestel; London: Royal Academy of Arts, 1995), 28–29.
12. For a full discussion of the work of Fela, see Michael Veal, Fela: The Life and Times of an African Musical Icon (Philadelphia: Temple University Press, 2000).
13. Antawan I. Byrd, “Lagos,” in Art Cities of the Future: 21st Century Avant-Gardes (London: Phaidon Press, 2013).
14. Anthony J. Ratcliff, “When Négritude Was in Vogue: Critical Reflections of the First World Festival of Negro Arts and Culture in 1966,” Journal of Pan African Studies 6, no. 7 (February 2014): 167–86.
15. Janheinz Jahn, A History of Neo-African Literature, trans. Oliver Coburn and Ursula Lehrburger (London: Faber, 1968), 265–66.
16. Andrew Apter, “FESTAC for Black People: Oil Capitalism and the Spectacle of Culture in Nigeria,” Program of African Studies (Northwestern University), no. 6 (1993): 1–3, 5. Marcus Garvey founded the Universal Negro Improvement Association in 1914, which sought to cultivate racial pride and cooperation among the blacks of the world.
17. Adepoju, “Contemporary African Art.”
18. Sylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008), 11.
19. Ladislas Segy, African Sculpture (New York: Dover, 1958), 5.
20. Jean Borgatti, “Review: African Sculpture Speaks by Ladislas Segy,” Journal of African Historical Studies 10, no. 2 (1977): 282.
21. Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art (Cambridge: Cambridge University Press, 2014), 4.
22. See Olu Oguibe, Uzo Egonu: An African Artist in the West (London: Kala Press, 1995); Philip Altbach and Sallah M. Hassan, eds., The Muse of Modernity: Essays on Culture as Development in Africa (Trenton, N.J.: African World Press, 1996); and Sidney Littlefield Kasfir, “One Tribe, One Style? Paradigms in the Historiography of African Art,” History in Africa 11 (January 1984): 163–93.
23. The three core curators are Elise Atangana, Abdelkader Kamani, and Ugochukwu-Smooth Nzewi.
24. Dianne Smith, in conversation with the author, October 20, 2014.
25. Michael D. Harris, Colored Pictures: Race and Visual Representation (Chapel Hill: University of North Carolina Press, 2003), 157.
26. Langston Hughes, “Cross,” in The Weary Blues (New York: Knopf, 1962).
27. See Sarah Betzer, “Where Do We Come From? What Are We? Where Are We Going? Review of Writing Art History, by Margaret Iversen and Stephen Melville,” Art Journal 72, no. 2 (Summer 2013): 116–20, http://artjournal.collegeart.org/?p=3983.
28. Akirash, in conversation with the author, CAAD Gallery, Art Building, University of Texas, Austin, October 15, 2014.
29. Craig Werner, A Change Is Gonna Come: Music, Race and the Soul of America (New York: Plume, 1999), 66–67.
30. Minnette Vári, “Quake,” unpublished interview with James Sey, 2007.
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Moyo Okediji
Moyo Okediji is professor of art and art history and director of the Center for Art of Africa and Its Diasporas at the University of Texas. Among his publications are African Renaissance: Old Forms, New Images in Yoruba Art and The Shattered Gourd: Yoruba Forms in Twentieth Century American Art [Center for Art of Africa and Its Diasporas, University of Texas at Austin, 1 University Station, D1300, Austin, Tex. 78712, [email protected]].