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Africa in StereoModernism, Music, and Pan-African Solidarity$
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Tsitsi Ella Jaji

Print publication date: 2014

Print ISBN-13: 9780199936373

Published to Oxford Scholarship Online: April 2014

DOI: 10.1093/acprof:oso/9780199936373.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 07 March 2021

Négritude Musicology

Négritude Musicology

Poetry, Performance, and Statecraft in Senegal

Chapter:
(p.66) 3 Négritude Musicology
Source:
Africa in Stereo
Author(s):

Tsitsi Ella Jaji

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199936373.003.0003

This chapter integrates a close reading of Léopold Sédar Senghor’s writings on jazz with a study of the 1966 World Festival of Negro Arts, which Senghor envisioned as an actualization of negritude and what he called “the black soul.” Beginning with his earliest speeches in the 1930s, the chapter shows that the recurrent metaphors of jazz in his work reveal a transnational dimension to Senghorian nègritude sometimes eclipsed by his traditionalism. The chapters analysis of the World Festival of Negro Arts shows that while the festival was beset by ideological contradictions as a proxy of Cold War politics, it was also an important forum for critical views on negritude, from such attendees as William Greaves, Katherine Dunham, Langston Hughes and Hoyt Fuller. These African American perspectives amplify our understanding of the festival’s significance and its legacy in relation to later large-scale festivals held in Algeria (1969), Nigeria (1977) and beyond.

Keywords:   Nègritude, jazz, Senghor, festival, musicology, poetry, Greaves, Dunham, Hughes, Fuller

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