Kwanele Sosibo speaks with Ntone Edjabe about the creation of, and thinking behind, the FESTAC ’77 publication.
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In pirating the head of Queen Idia to use it as a logo for Festac 77 , proposes another dissonant route that challenges the very idea of the work of art as unique object.
Early in 1977, thousands of artists, writers, musicians, activists and scholars from Africa and the black diaspora assembled in Lagos for FESTAC ’77, the 2nd World Black and African Festival of Arts and Culture.
Early in 1977, thousands of artists, writers, musicians, activists and scholars from Africa and the black diaspora assembled in Lagos for FESTAC ’77,,, To many, too many, FESTAC sounded like cacophony – we reproduced its music on the page, decomposed and an-arranged.
After New York in October 2019, and in the spirit of the trans-continentalism (aka Black World) of the event, we return to Dakar to celebrate the release of Chimurenga’s new publication on FESTAC ’77 – in collaboration with RAW Material Company.
“There’s no real vocabulary for the non-photographed of apartheid‟ – Santu Mofokeng
448 pages, colour illustrations featuring extensive unseen photographic and archival materials, interviews and new commissions.
The cast list of actors and character who make an appearance in the issue includes everyone from Ché Guevara and psychiatrist, political theorist and Frantz Fanon, to Rashidi Muzele, the assassin who pulled the trigger and many more.
Perfect, perfect, you have solved the problem for me, we have deconstructed the idea of National Theatre. We have taken the national and thrown it in the dust bin.
The Nigerian superstar bandleader Fela Anikulapo-Kuti hosted a covert summit meeting in the summer of 1977.
Its location, vocation, and publication intended to speak to a politicised Third World imaginary.
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