{"id":27009,"title":"Premier Festival Mondial des Arts Nègres","dimensions":"28 x 17,5 x 1,2 cm","date_begin":"1966-01-01","material":"","art_status_id":220,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MHKA, Antwerp","cached_tag_list":"Monoculture Negritude","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026nbsp;Premier Festival Mondial des Arts N\u0026egrave;gres/The First World Festival of Negro Arts, 1966\u003cbr /\u003e\r\nPublished by Impressions Andre Rousseau\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"premier-festival-mondial-des-arts-negres","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/184/medium_500/Image00006.jpg?1598953342","cached_actor_names":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Other","nl":"Andere","fr":"Autre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/184/large/Image00006.jpg?1598953342","poster_credits":"scan: (c) M HKA, Published by  Impressions Andre Rousseau","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eThe \u003cem\u003eFirst World Festival of Negro Arts\u003c/em\u003e was held in Dakar, Senegal, 1\u0026ndash;24 April 1966, initiated by L\u0026eacute;opold Senghor under the auspices of UNESCO. Visitors from around the world, as well as Dakar residents, were able to attend a vast programme of events, including exhibitions presenting tribal and modern art, conferences and street performances. According to Senghor, the festival was supposed to be an illustration of \u003cem\u003eN\u0026eacute;gritude\u003c/em\u003e, a major showcase uniting the work of African and African diasporia artists. A colloquium that took place two days before the opening, which was considered the intellectual fulcrum of the event, gathered artists and intellectuals to reflect on the role of art in the emerging post-imperial world as well as the meaning of \u003cem\u003eN\u0026eacute;gritude\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eBesides the colloquium, one of the main events of the festival was the exhibition of Africa\u0026rsquo;s \u0026lsquo;classical\u0026rsquo; art at the newly constructed Mus\u0026eacute;e Dynamique (L\u0026#39;art n\u0026egrave;gre, sources, \u0026eacute;volution,expansion) which, alongside being a major representation of traditional tribal arts, was designed to juxtapose African art with European modernist artworks. The exhibition was later shown at Grand Palais in Paris. While the exhibition of \u0026#39;classical\u0026#39; African art was praised by Senghor as the perfect illustration of the essential uniqueness of black civilisation, the exhibition of artworks by young African painters held simultaneously at the Palais de Justice went almost unnoticed. The festival in Dakar led to the beginning of the international black arts movement, with other pan-African cultural festivals taking place over the following decade: the \u003cem\u003eFirst Pan-African Cultural Festival\u003c/em\u003e (Algiers, 1969), \u003cem\u003eZaire 74\u003c/em\u003e (Kinshasa, 1974) and \u003cem\u003eFESTAC\u003c/em\u003e (Second World Festival of Negro Arts, Lagos, 1977).\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eBezoekers van over de hele wereld en inwoners van Dakar konden een uitgebreid evenementenprogramma bijwonen, waaronder tentoonstellingen met tribale en moderne kunst, conferenties en straatoptredens. Volgens Senghor moest het festival een illustratie zijn van n\u0026eacute;gritude, \u0026eacute;\u0026eacute;n grote vitrine waarin het werk van Afrikaanse en Afrikaanse diasporakunstenaars samenkwam. Een colloquium dat twee dagen voor de opening plaatsvond en beschouwd werd als de intellectuele spil van het evenement bracht kunstenaars en intellectuelen samen om na te denken over de rol van kunst in de opkomende post-imperiale wereld en over de betekenis van n\u0026eacute;gritude.\u003c/p\u003e\r\n\r\n\u003cp\u003eNaast dat colloquium was een van de belangrijkste evenementen van het festival de tentoonstelling \u003cem\u003eL\u0026#39;art n\u0026egrave;gre, sources, \u0026eacute;volution, expansion\u003c/em\u003e die in het pasgebouwde Mus\u0026eacute;e Dynamique \u0026#39;klassieke\u0026#39; kunst uit Afrika toonde. Het ging niet alleen om een belangrijke representatie van traditionele tribale kunst, maar de expo werd ook opgezet om Afrikaanse kunst naast Europese modernistische kunstwerken te tonen. Later deed de tentoonstelling ook het Grand Palais in Parijs aan. De tentoonstelling van \u0026#39;klassieke\u0026#39; Afrikaanse kunst werd door Senghor geprezen als perfecte illustratie van wat essentieel uniek is aan de zwarte beschaving. Maar de tentoonstelling van kunstwerken van jonge Afrikaanse schilders die tegelijkertijd in het Palais de Justice plaatsvond, bleef quasi onopgemerkt. Het festival in Dakar betekende het begin van de internationale zwarte kunstbeweging, met andere pan-Afrikaanse culturele festivals die het daaropvolgend decennium zouden plaatsvinden: het eerste \u003cem\u003eFestival panafricain d\u0026#39;Alger \u003c/em\u003e(1969), \u003cem\u003eZa\u0026iuml;re 74\u003c/em\u003e (Kinshasa, 1974) en \u003cem\u003eFESTAC\u003c/em\u003e (Second World Festival of Negro Arts, Lagos, 1977).\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}