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Abstract
This essay takes as its starting point two hymns from the First World Festival
of Negro Arts in 1966 – one composed by Abdoulaye Ndiaye “Thiosanne”
and the other played by saxophonist Bira Guèye and sung by the griot
Mada Thiam – in order to analyze and rethink the involvement of the
population in this festival. In the light of the fiftieth anniversary of this
historic event, the essay offers a comparative study of the 1966 and 2010
festivals, which took place in entirely different periods and contexts. It
focuses on the population and their involvement. By applying a
methodology that uses the archival research of the national newspaper
Dakar-Matin in 1966, and Le Soleil in 2010, as well as a selection of sound
archives, we hope to understand the perception that the local and
international population had, as well as their differences and convergences.
The festivals in 1966 and 2010, organized under the presidency of Senghor
and Wade, respectively, will be examined in the context of their different
cultural policies. We suggest that the festival of 1966 can be seen as a
“festival of affirmation” (of black identity). In contrast, the festival of 2010, also celebrated at Dakar, can be seen as a “festival of mimicry and
popularization.” We question whether the Senegalese people claimed these
two festivals as theirs.
of Negro Arts in 1966 – one composed by Abdoulaye Ndiaye “Thiosanne”
and the other played by saxophonist Bira Guèye and sung by the griot
Mada Thiam – in order to analyze and rethink the involvement of the
population in this festival. In the light of the fiftieth anniversary of this
historic event, the essay offers a comparative study of the 1966 and 2010
festivals, which took place in entirely different periods and contexts. It
focuses on the population and their involvement. By applying a
methodology that uses the archival research of the national newspaper
Dakar-Matin in 1966, and Le Soleil in 2010, as well as a selection of sound
archives, we hope to understand the perception that the local and
international population had, as well as their differences and convergences.
The festivals in 1966 and 2010, organized under the presidency of Senghor
and Wade, respectively, will be examined in the context of their different
cultural policies. We suggest that the festival of 1966 can be seen as a
“festival of affirmation” (of black identity). In contrast, the festival of 2010, also celebrated at Dakar, can be seen as a “festival of mimicry and
popularization.” We question whether the Senegalese people claimed these
two festivals as theirs.
| Original language | English |
|---|---|
| Pages (from-to) | 965-986 |
| Journal | Interventions International Journal of Postcolonial Studies |
| Volume | 20 |
| Issue number | 7 |
| Publication status | Published - 2018 |
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Dive into the research topics of '50th Anniversary of the Festival Mondial des Arts Nègres: A Comparative Study of the Engagement of the Population in the 1966 and 2010 Festivals'. Together they form a unique fingerprint.Activities
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'Decolonising Film Festivals: Learning the Lessons of Senegal.' In King's News Centre
Sendra, E. (Interviewee)
27 Oct 2023Activity: Other › Types of Public engagement and outreach - Media article or participation