Independence gave rise in Africa to a proliferation of festivals of art and culture, symposia, and gatherings on musical and later cinematic themes. This emerging scene felt the lasting imprint of a number of massive pan-African events held in various countries. Four in particular were radically new phenomena for their time and deserve special attention:
- The first World Festival of Negro Arts (Dakar, 1966)
- The first Pan-African Cultural Festival (Algiers, 1969)
- The Zaire 74 Festival, accompanying the world boxing championship between Mohammed Ali and George Foreman (Kinshasa, 1974)
- The Second World Black and African Festival of Arts and Culture, a.k.a. FESTAC (Lagos, 1977)
Those four festivals followed fairly similar models. They featured delegations from around the world and were attended by tens of thousands of visitors. The festivities created encounters between music and fine art, theater and cinema, dance and literature, and in one case even included one of the most ambitious sporting events ever organized on the continent. There were panels and round-table discussions by the score. Grand avenues were added to the map and imposing structures built (such as the Dynamique Museum in Dakar and the National Theater in Lagos). Even entire neighborhoods were erected (e.g. Festac Town in Lagos), profoundly transforming the fabric of the host cities. The budgets were dizzying and the infrastructure was a complex financial undertaking.
The festivals of Dakar, Algiers, Kinshasa, and Lagos left their marks on the pan-African cultural landscape, on the continent both north and south of the Sahara, and even further afield, inspiring people in the US, Latin America, the Caribbean, and the islands of the Indian Ocean. Strangely enough, however, they have not received much attention from academics and have never been the subject of a collective study to date. This is a crucial oversight that essentially consigned an entire chapter of cultural and political history in the postcolonial period to the dustbin. The team of the Panafest Archive research project (EHESS-CNRS, Paris) is now working to fill that gap.
As shown above, the grand events in question had a global impact and continue to be remembered as symbols of a cultural Golden Age. They owe this memory to their political character. It would be inaccurate to think of these four festivals as “mere” cultural and artistic events. Rather, they were central nodes in a network of relations and representations, situated at the very heart of movements that had fundamental global effects on the structuring of the nation-state and the incipient political imaginary. As sites of coordination and mediation between artistic creators and decision-makers on one side and widely disparate audiences on the other, they served as sounding boards for the public dissemination of ideas that had previously been confined to the elite. As showcases for the states that organized and participated in them, they served as entrance ways – via the artists’ work – for diplomacy around various issues at various scales: among young African nations, between culturally Arab North Africa and sub-Saharan Africa, between independent countries and liberation movements in the remaining colonies and apartheid regimes, between the Americas and Africa, between former metropolises and former colonies, and between international organizations and bilateral cooperation structures.