Festac 77 Images
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The Pan-African Nation
Author: Andrew Apter
language: en
Publisher: University of Chicago Press
Release Date: 2008-10-01
When Nigeria hosted the Second World Black and African Festival of Arts and Culture (FESTAC) in 1977, it celebrated a global vision of black nationhood and citizenship animated by the exuberance of its recent oil boom. Andrew Apter's The Pan-African Nation tells the full story of this cultural extravaganza, from Nigeria's spectacular rebirth as a rapidly developing petro-state to its dramatic demise when the boom went bust. According to Apter, FESTAC expanded the horizons of blackness in Nigeria to mirror the global circuits of its economy. By showcasing masks, dances, images, and souvenirs from its many diverse ethnic groups, Nigeria forged a new national culture. In the grandeur of this oil-fed confidence, the nation subsumed all black and African cultures within its empire of cultural signs and erased its colonial legacies from collective memory. As the oil economy collapsed, however, cultural signs became unstable, contributing to rampant violence and dissimulation. The Pan-African Nation unpacks FESTAC as a historically situated mirror of production in Nigeria. More broadly, it points towards a critique of the political economy of the sign in postcolonial Africa.
The End of the Museum
This provocative book challenges frequently voiced assertions regarding museums as necessary and valued modern institutions. It raises fundamental, existential questions about contemporary museums as products of the modern colonial world order. Drawing on practical examples of collecting and exhibiting, theoretical research, and critique from diverse countries across the globe, including Chile, India, Korea, the Netherlands, Nigeria, Palestine, Portugal, Sri Lanka and the United States, this book moves beyond the conventional Eurocentric museological framework. This book synthesizes contemporary critiques of museums, while arguing that societies need the sociocultural examinations that museums are capable of facilitating and that radical transformations of "the museum" are fraught with difficulty, but also possible and necessary. Ultimately, Coffee argues that museums can only be future orientated if they are transformed into agents of social justice and inclusion, divestors of illicit collections, and proponents of a liberatory ethic, opposing neo-colonialism in all of its forms. During that transformative process, as this book demonstrates, museum practice and museum theory must also be transformed. The End of the Museum: Culture, Colonialism, and Liberation will appeal to students, researchers, and practitioners interested in a critical examination of museum work and theory.