Archives par mot-clé : Arts

The Africa Conference 2016: Creativity, Culture and Identity in Africa and the African Diaspora

Discussion published by Abimbola Adelakun on Friday, August 7, 2015

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Call for Papers
March 24, 2016 to March 27, 2016
Subject Fields:
Social Sciences

Creativity, Culture and Identity in Africa and the African Diaspora

Africa Conference 2016

University of Texas, Austin

March 24-27, 2016

Closely allied to the idea of genius, the discourse of creativity has privileged the individual subject whose Promethean determination, originality, and passion bring into being art, innovation, and excellence.  This humanist understanding of creativity still has considerable currency in disciplines such as literature and the arts, psychology, mathematics and the sciences.  Related accounts of creativity and the imagination have emerged in numerous other areas, including business, popular psychology, the social sciences, and engineering and technology.  The discourse of creativity that surfaces within multiple fields reveals that the notion of the individual creator is not simply widespread, but omnipresent; indeed, it is a fundamental ideology of Western culture.

Challenging the individualist and depoliticized ideology of creativity, the conference calls for papers that present alternative accounts of the social and political dimensions of creativity as they relate to invention, technology, work, artistic and cultural production, the body, desire, pedagogy and social change. The conference aims to reach a multidisciplinary academic audience; artists and grassroots activists; the political, journalistic, and information technology communities, and interested members of the general public.  The conference promises to create a provocative space for comparative critical dialogue between scholars and dancers, actors and writers, songwriters and singers. The conference invites papers on all aspects of creativity, identity and culture from the artistic to the scientific, to business and the humanistic. Scholars in all disciplines are invited to propose papers on various aspects, including but not limited to any of the following:

  • Creativity, identity and culture profile: What is novel and original among Africans and Black people generally?
  • Value added to progress: development ideas, new thinking
  • Globalized modernity and its consequences on cultural performances, rhetoric and other forms of expressions.
  • The creative process in Africa and the African Diaspora
  • Creative thought processes
  • Creativity and the everyday
  • Creativity, religion and the performance of rituals
  • Gender, imagination, and creative space
  • Histories of creativity and inventions.
  • The politics of creativity: creativity and resistance, anti-colonial genres, creativity and apartheid, creativity and democratic movements.
  • Nollywood: (production, text, marketing, impact, etc.)
  • Technology, Information, Innovation.
  • The business of creativity; creativity as business
  • “Beyond Art” and an exploration of the current range of artistic and cultural practices, especially in the wake of the drastic shifts in critical paradigms associated with women’s studies, multiculturalism, cultural studies, and queer studies.
  • Social movements: developments in new social movements and their creative strategies for political organizing, protest, and autonomy; how activists and communities had been imagining and enacting their political aspirations and organizing.
  • Ethical issues in creativity: The questions of technological innovations, and stunning improvements in our knowledge of and mastery over the natural world vs. global environmental destruction
  • Creativity and performance
  • The expanding body: widespread experimentation and new theorizations with regard to the body and its relation to subjectivity. Papers can theorize the creative interfacings between the body, mind, and spirit, as well as the outside world.
  • The pedagogy of creativity: the strategies, agents and locations that have sought to transcend the hierarchies and limits of traditional pedagogy.

We expect papers that inform new ways of thinking while engaging critical perspectives. Selected papers will be published in book form. Joint panels are welcome. For this year, we welcome presentations that seek to demonstrate theoretical paradigms through the medium of performance. Graduate students are especially encouraged to attend, present papers and interact with senior scholars to build their own growth process as scholars. This conference encourages interaction between scholars across disciplines, locations and special interests. Ample time will be provided for interactivity between participants.

The deadline for submitting paper proposals is November 30, 2015. Proposals should include a 250-word abstract and title, as well as the author’s name, address, telephone number, email address, and institutional affiliation.

Please submit all abstracts to

A mandatory non-refundable registration fee of $150 for scholars and $100 for graduate students must be paid immediately upon the acceptance of the abstract. This conference fee includes admission to the panels, workshops, and special events, as well as transportation to and from the conference from the hotel, breakfast for three days, dinner on Friday night, lunch on Saturday, and a banquet on Saturday evening. All participants must raise the funding to attend the conference, including registration fee, transportation and accommodation. The conference does not provide any form of sponsorship or financial support. The University of Texas at Austin does not provide participants with any form of funding support, travel expenses, or boarding expenses.

Convened by: Professor Toyin Falola,

Coordinated by: Abimbola Adelakun & Daniel Jean-Jacques,

AAC : Arts chrétiens en Afrique centrale : interculturation et branchements

Appel à communications

 Arts chrétiens en afrique centrale : inculturation et branchements

Colloque de Metz, 12 et 13 mai 2016

Université de Lorraine – Centre de recherche « Ecritures » EA 3943

Programme CRELIM (#2) (Congo : récits, littératures, images)

Argument général

Pour rendre compte des phénomènes de contacts culturels, des études scientifiques ont permis depuis le XIXe siècle l’émergence des concepts d’acculturation, de déculturation, d’interculturalité, de multiculturalité etc… Ces concepts ont tour à tour montré leurs limites car finissent par évoquer l’idée de la pureté originaire des cultures ou de choc des cultures. Ces dernières années, divers travaux ont fait avancer la question des contacts culturels en mettant l’accent sur le caractère ouvert de chaque culture. C’est dans ce sens qu’intervient le concept de « branchement » (Jean-Loup Amselle, 2001). Cette métaphore électrique évoque non pas une mondialisation culturelle mais signifie la dimension non-cloisonnée des cultures mondiales.

Le colloque cherche à examiner de manière pragmatique le phénomène de perméabilité des cultures à travers les productions qui s’inspirent, pour diverses raisons, des traditions chrétiennes et traditions artistiques et culturelles de l’Afrique centrale.

L’existence de beaux livres comme Christliche Kunst in Afrika (1984)[1] témoigne d’une reconnaissance sur le marché de ce type d’art. Cependant, rares sont les travaux universitaires qui rendent compte des enjeux de cette interpénétration culturelle à travers les productions artistiques locales d’inspiration chrétienne à l’échelle d’un pays africain voire d’une sous-région. Dans cette perspective, à titre d’exemple, le cas de la RD Congo revêt une importance toute particulière. Les premières manifestations de ce qu’on peut appeler l’art chrétien africain semblent en effet avoir lieu dans l’ancien royaume du Kongo au xve siècle (Jean-Constant Van Cleemput, 1936).

De la sorte, en raison de son caractère durable jusqu’aujourd’hui, l’art chrétien de l’Afrique centrale peut témoigner de la dynamique des phénomènes d’accommodation, de récupération, d’innovation, de création, d’appropriation et d’invention qui sont à l’œuvre dans les contacts culturels. Parallèlement, il constitue aussi une mémoire, une partie de la « bibliothèque coloniale » qui est désormais aussi une bibliothèque postcoloniale. Une mémoire qui, à la fois, concerne le sacré mais peut, elle-même, être sacralisée, comme toute œuvre d’art, dans un sens plus sociologique.

Continuer la lecture de AAC : Arts chrétiens en Afrique centrale : interculturation et branchements