Contemporary African Art Since 1980 is the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years. Its frame of analysis is absorbed with historical transitions: from the end of the postcolonial utopias of the sixties during the 1980s to the geopolitical, economic, technological, and cultural shifts incited by globalization. This book is both narrower in focus in the periods it reflects on, and specific in the ground it covers. It begins by addressing the tumultuous landscape of contemporary Africa, examining landmarks and narratives, exploring divergent systems of representation, and interrogating the ways artists have responded to change and have incorporated new aesthetic principles and artistic concepts, images and imaginaries to deal with such changes. Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage. It also covers aesthetic forms and genres, from conceptual to formalist, abstract to figurative practices. Moving between discursive and theoretical registers, the principal questions the book analyzes are: what and when is contemporary African art? Who might be included in the framing of such a conceptual identity? It also addresses the question of globalization and contemporary African art. The book thus provides an occasion to examine through close reading and visual analysis how artistic concerns produce major themes. It periodizes and cross references artistic sensibilities in order to elicit multiple conceptual relationships, as well as breaks with prevailing binaries of center and periphery, vernacular and academic, urban and non-urban forms, indigenous and diasporic models of identification. In order to theorize how these concerns have been formulated in artistic terms and their creative consequences Contemporary African Art Since 1980 examines a range of ideas, concepts and issues that have shaped the work and practice of African artists within an international and global framework. It traces the shifts from earlier modernist strategies of the sixties and seventies after the period of decolonization, and the rise of pan-African nationalism, to the postcolonial representations of critique and satire that evolved from the 1980s, to the postmodernist irony of the 1990s, and to the globalist strategies of the 21st century. The main claim of this book is that contemporary African art can be best understood by examining the tension between the period of great political changes of the era of decolonization that enabled new and exciting imaginations of the future to be formulated, and the slow, skeptical, and social decline marked by the era of neo-liberalism and Structural Adjustment programs of the 1980s. These issues are addressed in chapters covering the themes of "Politics, Culture, Critique," "Memory and Archive," "Abstraction, Figuration and Subjectivity," and "The Body, Gender and Sexuality." In addition, the book employs sidebars to provide brief and incisive accounts of and commentaries on important contemporary political, economic and cultural events, and on exhibitions, biennales, workshops, artist groups and more. Rather than a comprehensive survey, this richly illustrated book presents examples of ambitious and important work by more than 160 African artists since the last 30 years. This list includes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dim , Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Sho

The first major publication with a focus on contemporary art that reflects on a pre- and post-Windrush Caribbean/British movement This fascinating book traces the connection between Britain and the Caribbean in the visual arts from the 1950s to today, a social and cultural history more often told through literature or popular music. With its multi-generational perspective, it reveals that the Caribbean connection in British art is one of the richest facets of art in Britain since the Second World War, and is a lens through which to understand the Caribbean diasporic experience in all its social, cultural, psychological, and political complexities across generations. Features over 40 artists, including Aubrey Williams, Donald Locke, Horace Ové, Sonia Boyce, Claudette Johnson, Peter Doig, Hurvin Anderson, Grace Wales Bonner, and Alberta Whittle.

In Jamaican dancehalls competition for the video camera's light is stiff, so much so that dancers sometimes bleach their skin to enhance their visibility. In the Bahamas, tuxedoed students roll into prom in tricked-out sedans, staging grand red-carpet entrances that are designed to ensure they are seen being photographed. Throughout the United States and Jamaica friends pose in front of hand-painted backgrounds of Tupac, flashy cars, or brand-name products popularized in hip-hop culture in countless makeshift roadside photography studios. And visual artists such as Kehinde Wiley remix the aesthetic of Western artists with hip-hop culture in their portraiture. In Shine, Krista Thompson examines these and other photographic practices in the Caribbean and United States, arguing that performing for the camera is more important than the final image itself. For the members of these African diasporic communities, seeking out the camera's light--whether from a cell phone, Polaroid, or video camera--provides a means with which to represent themselves in the public sphere. The resulting images, Thompson argues, become their own forms of memory, modernity, value, and social status that allow for cultural formation within and between African diasporic communities.  

This book accompanies the first exhibition entirely of Jamaican art to take place in the north-west of the UK. The exhibition, Jamaica Making: The Theresa Roberts Art Collection, is sited at the Victoria Gallery and Museum, Liverpool in 2022, and is a comprehensive presentation of the best ofJamaican art since the 1960s.The Theresa Roberts Art Collection is the private collection of Theresa Roberts, a Jamaican-born businesswoman and philanthropist, who has made the UK her home. This collection offers an important insight into the development of Jamaican art since the country gained Independence in 1962. Indeed, theexhibition also acts to commemorate the 60th anniversary of Jamaican Independence in 2022.Included in the book are the following: an official welcome from the Prime Minister of Jamaica; an essay by the collector, exhibition donor and philanthropist, Theresa Roberts; an introduction by eminent British-Jamaican art historian, Edward Lucie-Smith; essays by Emma Roberts, the exhibitioncurator, (Liverpool John Moores University), Davinia Gregory, writer, educator and researcher, (Columbia University, USA) and Sireita Mullings, arts practitioner and visual sociologist (University of Bedfordshire). The final section of the book is the full visual catalogue of the Jamaica Makingexhibition - a unique record of this historic exhibition.

As a source of colonial wealth and a crucible for global culture, Jamaica has had a profound impact on the formation of the modern world system. From the island's economic and military importance to the colonial empires it has hosted and the multitude of ways in which diverse people from varied parts of the world have coexisted in and reacted against systems of inequality, Jamaica has long been a major focus of archaeological studies of the colonial period.   This volume assembles for the first time the results of nearly three decades of historical archaeology in Jamaica. Scholars present research on maritime and terrestrial archaeological sites, addressing issues such as: the early Spanish period at Seville la Nueva; the development of the first major British settlement at Port Royal; the complexities of the sugar and coffee plantation system, and the conditions prior to, and following, the abolition of slavery in Jamaica. The everyday life of African Jamaican people is examined by focusing on the development of Jamaica's internal marketing system, consumer behavior among enslaved people, iron-working and ceramic-making traditions, and the development of a sovereign Maroon society at Nanny Town.   Out of Many, One People paints a complex and fascinating picture of life in colonial Jamaica, and demonstrates how archaeology has contributed to heritage preservation on the island.

The privileging of global circulation as a form of freedom in recent theories of world literature recalls bourgeois political economy’s celebration of the liberalization of trade. However, as Marx points out, the framework for such circulation—the world market—was created by chattel slavery. The economic channels of the two seventeenth-century trade triangles, the first, transporting manufactured goods to Africa, African slaves to the Americas, and American tropical commodities to Europe, and the second, selling rum to Africa, bringing African slaves to the West Indies, and bringing molasses back to New England to make rum, created the New World, the most important segment of the world market at its moment of origin. Needless to say, these human commodities experienced circulation as the antithesis of freedom. The New World is worldless for those transported by colonial slavery and for indigenous people who survived genocide.

2021 Choice Outstanding Academic Title The Caribbean has long been a key area for empires warring over influence spheres, and where migration waves from Africa, Europe, and Asia accompanied every political transformation. In this volume, an interdisciplinary group of scholars studies the Caribbean's "unincorporated subjects," and explores how against all odds, Caribbean artists, filmmakers, and writers have been resourceful at showcasing migration as the hallmark of our modern age.  

In the course of the nineteenth century, Jamaica transformed itself from a pestilence-ridden "white man's graveyard" to a sun-drenched tourist paradise.  Deftly combining economics with political and cultural history, Frank Fonda Taylor examines this puzzling about-face and explores the growth of the tourist industry into the 1990s.  He argues that the transformations in image and reality were not accidental or due simply to nature's bounty.  They were the result of a conscious decision to develop this aspect of Jamaica's economy. Jamaican tourism emerged formally at an international exhibition held on the island in 1891.  The international tourist industry, based on the need to take a break from stressful labor and recuperate in healthful and luxurious surroundings, was a newly awakened economic giant.  A group of Jamaican entrepreneurs saw its potential and began to cultivate a tourism psychology which has led, more than one hundred years later, to an economy dependent upon the tourist industry. The steamships that carried North American tourists to Jamaican resorts also carried U.S. prejudices against people of color. "To Hell withParadise" illustrates the problems of founding a tourist industry for a European or U.S. clientele in a society where the mass of the population is poor, black, and with a historical experience of slavery and colonialism.  By the 1990s, tourism had become the lifeblood of the Jamaican economy, but at an enormous cost: enclaves of privilege and ostentation that exclude the bulk of the local population, drug trafficking and prostitution, soaring prices, and environmental degradation.  No wonder some Jamaicans regard tourism as a new kind of sugar. Taylor explores timely issues that have not been previously addressed.  Along the way, he offers a series of valuable micro histories of the Jamaican planter class, the origins of agricultural dependency (on bananas), the growth of shipping and communications links, the process of race relations, and the linking of infrastructural development to tourism.  The text is illustrated with period photographs of steamships and Jamaican tourist hotels.

This book explores the distinct nuisances and obstacles that are brought on by the tourism and travel industry within Caribbean small island developing countries (SIDS). The author explores best practices and measures that can be used to overcome or alleviate the hardship faced by the industry by giving voice to the nations that are often overshadowed or restrained by their developed counterparts. This book reflects on and assesses the transformative power that tourism has in Caribbean small island developing states, while unearthing the threats that affect the longevity and economic viability of the industry in general. It is an important and overdue text focusing on this unique group of islands and will inform students and researchers on the struggles and opportunities they face.   

The Caribbean is everybody's idea of a tropical paradise, but its traditional economy faces a precarious future. Tourism is increasingly touted as its only hope of creating jobs and wealth. This book explores this mega industry, and the way it is changing the face of the Caribbean.

The contributors to Passages and Afterworlds explore death and its rituals across the Caribbean, drawing on ethnographic theories shaped by a deep understanding of the region's long history of violent encounters, exploitation, and cultural diversity. Examining the relationship between living bodies and the spirits of the dead, the contributors investigate the changes in cosmologies and rituals in the cultural sphere of death in relation to political developments, state violence, legislation, policing, and identity politics. Contributors address topics that range from the ever-evolving role of divinized spirits in Haiti and the contemporary mortuary practice of Indo-Trinidadians to funerary ceremonies in rural Jamaica and ancestor cults in Maroon culture in Suriname. Questions of alterity, difference, and hierarchy underlie these discussions of how racial, cultural, and class differences have been deployed in ritual practice and how such rituals have been governed in the colonial and postcolonial Caribbean. Contributors. Donald Cosentino, Maarit Forde, Yanique Hume, Paul Christopher Johnson, Aisha Khan, Keith E. McNeal, George Mentore, Richard Price, Karen Richman, Ineke (Wilhelmina) van Wetering, Bonno (H.U.E.) Thoden van Velzen

Studies of African-derived religious traditions have generally focused on their retention of African elements. This emphasis, says Dianne Stewart, slights the ways in which communities in the African diaspora have created and formed religious meaning. In this fieldwork-based study Stewart shows that African people have been agents of their own religious, ritual, and theological formation.

"Strikingly dramatic, yet simple and unrestrained . . . an unusual and intensely interesting book richly packed with strange information." --New York Times Book Review Based on Zora Neale Hurston's personal experiences in Haiti and Jamaica, where she participated as an initiate rather than just an observer of voodoo practices during her visits in the 1930s, this travelogue into a dark world paints a vividly authentic picture of the ceremonies, customs, and superstitions of voodoo.