Saturday, 10 June 2017

Managing Blackness | African Identity in 21st Century | Morocco

Managing Blackness: the Politics of Race and the Economics of African Identity in 21st Century Morocco

Managing Blackness: the Politics of Race and the Economics of African Identity in 21st Century Morocco

A lecture by Aomar Boum (UCLA)

Thursday, February 16, 2017
12:15 PM - 1:45 PM
352 Haines Hall
UCLA


Due to global warming and political conflicts, illegal immigrants from sub-Saharan, central and West Africa are settling in Moroccan urban centers, waiting for an opportunity to continue their journey to Europe. This has led to the emergence of new discourses about race and blackness in Moroccan society. The social anxieties about the increasing public presence of black immigrants in Moroccan public spaces have rekindled historical and traditional discourses about blacks. In this context the National Human Rights Council (CNDH), a Moroccan public institution devoted to the protection of human rights, has advocated for a new policy that recognizes the human and legal rights of sub-Saharan immigrants and refugees. In fact, while racist incidents towards sub-Saharan African immigrants are on the rise, King Mohammed VI continues to expand Moroccan ties to its southern African neighbors. Using government records and newspaper reports between 2000 and 2015, and ethnographic interviews with policymakers, I argue that Morocco’s policy of African immigration is part of a political strategy to manage racism towards black immigrants through economic, political and religious outreach into the rest of Africa.

Aomar Boum is Associate Professor of Anthropology at UCLA. He is a socio-cultural anthropologist with a historical bent concerned with the social and cultural representation of and political discourse about religious and ethnic minorities in the Middle East and North Africa. He has written on different topics such as Moroccan Jewish historiography, Islamic archives and manuscripts, education, music, youth, and sports among other things. He is currently working on two ethnographic and historically grounded projects: The monarchy, Jews and Holocaust politics in Morocco, 1930s-Present and Virtual Jews: an Ethnography of Moroccan Jews Online. His publications include his book, Memories of Absence: How Muslims Remember Jews in Morocco, and numerous academic articles.
Cost : Free and open to the public
Johanna  Romero
310-825-1181
romero@international.ucla.edu http://international.ucla.edu/cnes

Sponsor(s): African Studies Center, Center for Near Eastern Studies, Dept. of Anthropology's Culture, Power, Social Change (CPSC) series.

Redefining Zion | Tanzania



Redefining Zion: Rastafarian repatriation to Tanzania
Monique Bedasse (left) and Marcus Hunter of the UCLA Department of Sociology (right) at the February 27, 2017 workshop. (Photo: Kevin Sprague/ UCLA.)

Redefining Zion: Rastafarian repatriation to Tanzania


Historian Monique Bedasse recently spoke about Rastafarian repatriation to Tanzania, the emergence of self-governing Caribbean and African nations and transnational pan-African politics.

"[Rastafarians'] desire to return to Africa — which they called Zion — spiritually, intellectually, psychologically and physically signified their resistance to what they believed to be oppressive circumstances in Babylon, [their word for] Jamaica and the White western world, as well as their desire to reclaim their identities."
By Kevin Sprague (UCLA 2018)
UCLA International Institute, March 14, 2017 — On February 27, 2017, Monique Bedasse of Washington University in St. Louis was the third speaker in the “Emancipation and Empire: Africa and the Project of Black Studies” workshop series. The series is organized by the UCLA Department of African American Studies and cosponsored by Professor Melvin L. Rogers, Scott Waugh Chair in the Division of Social Sciences and professor of political science and African American Studies; the UC Consortium for Black Studies in California; the James S. Coleman African Studies Center; and the Ralph J. Bunche Center for African-American Studies .
As part of her presentation, Bedasse discussed her forthcoming book on Rastafarian repatriation to Tanzania, which examines the relationship between that repatriation, the emergence of self-governing Caribbean and African nations and transnational pan-African politics.
Bedasse opened with a brief background on the emergence of the Rastafari religion and pan-Africanism, or political unity and solidarity among Africans, in the 1930s. She explained that among Rastafarians of that era, Ethiopian Emperor Haile Selassie was understood to be the messiah who would help lead the African diaspora home. Their experience in Jamaica — the result of slavery — was perceived as an exile marked by alienation and oppression.
“Their desire to return to Africa — which they called Zion — spiritually, intellectually, psychologically and physically signified their resistance to what they believed to be oppressive circumstances in Babylon, [their word for] Jamaica and the White western world, as well as their desire to reclaim their identities.” said Bedasse. “Repatriation to Africa was not simply migration for Rastafarians.”
Bringing pan-Africanism to the mainstream
Although many interpreted Zion to mean the nation of Ethiopia specifically, other Rastafarians did not interpret repatriation within state boundaries. Repatriation to Tanzania began in 1976, when Rastafarians were drawn to its emergence as a center of pan-African activity under President Julius Nyerere.
Tanzania presented a promising space for Rastafarians, but “decolonization was a protracted process,” said Bedasse. Colonial rule continued at the time in multiple countries, such as Angola and Mozambique, forming a complex geopolitical landscape for newly independent African states. However, the rise of black African leaders allowed the pan-African movement to be incorporated into mainstream politics.
Nyerere was one such leader. He consulted with Rastafarians who had repatriated to Tanzania in hopes of making his vision of African socialism, Ujamaa, a reality. “Rastafarians assisted [Nyerere], because his vision of Ujamaa aligned with their lives and ideals,” said Bedasse.  

Ujamaa comes from the Swahili word for “familyhood” and is a political ideology that promoted “villagization,” or the creation of centralized villages with a few hundred families across the nation. These villages sought to make the distribution of goods and services easier while enabling collective agriculture, which Nyerere saw as necessary for a self-reliant Tanzania. Ultimately, the idea became unpopular and the agricultural yield from these settlements was far lower than expected. Ujaama, in fact, severely crippled banking and industry, leaving Tanzania dependent on foreign aid.
Although Ujamaa under Nyerere was not economically viable, the Rastafarians’ collaboration with Nyerere proved that they had the power to move political actors at the state level. “Rastafarians were only around three percent of the population, but became the face and language of black consciousness in Jamaica,” said Bedasse. “Now this disparity between a small number and a large impact [became] global.”
The impact of Rastafarianism

Rastafarians redefined discussions of pan-Africanism in multiple ways. For example, said the speaker, collaboration between Rastafarians and the Tanzanian government weakened the strict social stratification of African states, which relied on colonial borders and a black elite class.
Bedasse argued that the Rastafarians were also successful in promoting pan-Africanism beyond Tanzania because of the link between Michael Manley, then prime minister of Jamaica, and Julius Nyerere, then president of Tanzania, who were close friends and political allies. Manley was heavily influenced by Rastafarians and ultimately became a pan-Africanist leader in global politics, she noted.
Rastafarians also lessened the importance of imperial boundaries in the discussion of African politics. Most analyses of Nyere’s idea of African socialism (Ujamaa) used the framework of nation states, but Rastafarians forced the discussion of Ujamaa to transcend borders and take on a transnational character. This change in framework meant that idea of reclaiming Africa was seen in terms that went beyond colonial borders and directly addressed global white supremacy, said Bedasse.
Rastafarians further challenged imperialism and the West by rejecting written record keeping, relying instead on oral records through the generations. “They engage in secrecy and are unapologetically selective in whom they trust,” said Bedasse, explaining that written archives have negative colonial and imperial connotations for Rastafarians. Archives thus create the potential for their words to be misconstrued. By using oral history, she continued, Rastafarians seek an autonomous archival space that is wholly their own.

The Rastafarian repatriation movement, concluded Bedasse, was a serious pan-African political force with great impact on post-colonial politics. Rastafari, she said, “is a serious philosophy that has evolved in important ways.”


Published: Tuesday, March 14, 2017

Monday, 17 April 2017

Speech for New Vision | Joe Pollitt

SPEECH MEANT FOR NEW VISION | KAMPALA


Joe Pollitt | Artwork by Hellen Nabukenya
For all those that can not make this historical Art show entitled, “To Live is to Become”, in Kampala by the Artist, Wasswa Donald Augustine, who is the Chairman of Artpunch in Buziga. The Artist has asked if I could write a speech for his Opening on Friday 31st March 2017 at Afriart Gallery – Kenneth Dale Drive, Off Kira Rd, Kamwokya from 6pm to 9pm. I will be wearing a full bodysuit of colourful off-cuts with hat and matching shoes that where created for me by the Artist, Hellen Nabukenya.

Joe Pollitt | Artwork by Hellen Nabukenya

“Good evening ladies and gentle. Some here tonight may know of me, some may have heard of me, most may not but I have flown in from London to be here with you on this very special occasion. This monumental solo show of the new works by Wasswa. My name is Joe Pollitt, that’s right, I am here. Here with you all, here I am, here in the flesh. Tonight, I am introducing Wasswa Donald’s historical show. Together, on this night, we are making history. This show will be recorded, shown to millions around the world. All those with smart-phones, get them out, hold them up and stream this show live to your friends around the world. “To live is to become” is a solo show and the artist is a wealth generator. He has generously paid his whole team and enabled their families to eat. Tonight, this show will be an education. An education into wood found in your glorious forests, here in Uganda. Tonight, with you all, we are naming the National Tree, the Mugavu, the National Tree for Uganda. The Mugavu grows wild here in your glorious forests and the Mugavu has deep roots but few care about this undiscovered tree. I am told by the artist that the Mugavu is almost ignored, sadly overlooked but tonight, here in this gallery Afriart, together we are naming the Mugavu, the National Tree of Uganda discovered by the the Artist, Wasswa Donald.

Joe Pollitt | Artwork by Hellen Nabukenya
The Artist is internationally emerging and tomorrow he flies to Germany, he is rising and with his perfectly framed screw-ups; his dysfunctional, functionals; his King and Queen ebonies, he is rising up to meet his destiny. His worth is extremely important and tonight I am here to announce that his work is International. The Ugandans around the world will see this work and weep at its brilliance. The Ugandans around the world will be so proud of the hard work that has gone into polishing these superior woods of the world that grow so easily, here in Uganda. We are witnessing great changes here in the Capital. The works you are about to see are some of the best I have ever seen anywhere. All of us here tonight are going to be seen. We are going to be recorded and we are going to make history. Together we are writing out a brand new chapter in Ugandan Art. We are making ourselves visible. My dream is to see the first sell-out show here in Kampala. I am not here to talk. I am here to buy. Well-come to the show, “To Live is To Become!”"

Artist | Hellen Nabukenya

Friday, 14 April 2017

To Live is To Become | Wasswa Donald

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Wednesday, 1 March 2017

1:54 Contemporary African Art Fair in Marrakech, 2018

 

Introducing the first Marrakech edition of 1:54 Contemporary African Art Fair, 24–25 February 2018



TAFETA, 1:54 London 2016. Photo: Victor Raison


1:54 Contemporary African Art Fair is delighted to announce its new edition in Marrakech, Morocco, taking place across 24–25 February 2018.
 

Held at La Mamounia, one of Morocco’s most esteemed destinations, the 2018 Marrakech edition will welcome leading galleries from Africa and around the world, and be supplemented by a thematic programme of talks and events in partnership with local institutions.

This new venture builds on the global activity and network 1:54 has cultivated through the London and New York fairs for nearly five years, in London since 2013 and in New York since 2015.

1:54 is thrilled to add a third location to its global roster, particularly one at the forefront of transcultural artistry and visual traditions. 1:54 Marrakech 2018 aims to broaden the reach of the fair and further diversify its purview of exhibiting and promoting galleries and artists that are connected to Africa and its global diasporas.

Further details via 1-54.com

1:54 opens its third New York edition at Pioneer Works, Brooklyn, 5–7 May 2017. Explore the galleries here

1:54 Contemporary African Art Fair 


5–7 May 2017, Pioneer Works, New York
5–8 October 2017, Somerset House, London

24–25 February 2018, La Mamounia, Marrakech 

www.1-54.com / @154artfair 

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or get in touch via info@1-54.com


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1:54 in Morocco in 2018


La Mamounia, Marrakech, Morocco
La Mamounia, Marrakech, Morocco 
1:54 Contemporary African Art Fair, the leading international art fair dedicated to promoting contemporary art from a diverse set of African perspectives, is pleased to announce a new edition to be held in Marrakech, Morocco. After successful editions in London since 2013 and in New York since 2015, 1:54 is thrilled to add a third location to its global roster of art fairs. 1:54 Marrakech will take place from February 24-25, 2018, with a press and collectors previews on February 23, 2018. The Marrakech edition of 1:54 Contemporary African Art Fair will take place at La Mamounia, one of Morocco’s most esteemed hotels.

The 2018 Marrakech edition of 1:54 will welcome leading galleries from Africa and around the world, and will feature an ambitious program of talks and events in partnership with local institutions. This new edition will broaden the reach of the fair and further diversify its portfolio of exhibiting and promoting gallerists and artists that are connected to Africa and its diaspora, adding to the global network 1:54 has cultivated through the London and New York fairs for nearly five years.
“We are thrilled to announce the newest edition of 1:54 in Marrakech,” notes 1:54 Founding Director Touria El Glaoui. "This third edition of 1:54 has been in the works since our first edition in London, and we look forward to continuing to expand and support our network of galleries, artists, collectors and partners with this new fair. It has been an important goal of 1:54 to host an edition on the African continent, and we could not think of a better place than Morocco to host this inaugural edition outside of London and New York. Morocco has one of the continent’s most dynamic art scenes, not to mention the incredibly significant Biennale de Marrakech, which made our decision on where to expand the fair easy for us."