On Festac ’77
<p>Marilyn Nance was 23 when she photographed Festac ’77, a global celebration of Black and African art that she described as ‘the Olympics, plus a Biennial, plus Woodstock’. In his review of Nance’s book, Sean Jacobs traces a more fraught history of the festival than her photographs would suggest. Sean joins Tom to discuss what Festac meant for politicians, attendees and the proponents of négritude, third worldism and pan-Africanism.</p><br><p>Find further reading on the episode page: <a href="https://lrb.me/festacpod" rel="noopener noreferrer" target="_blank">https://lrb.me/festacpod</a></p><p>Find out more about Serious Readers: <a href="https://www.seriousreaders.com/lrb" rel="noopener noreferrer" target="_blank">https://www.seriousreaders.com/lrb</a></p><hr><p style='color:grey; font-size:0.75em;'> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.</p>
The LRB Podcast · The London Review of Books
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Show Notes
Marilyn Nance was 23 when she photographed Festac ’77, a global celebration of Black and African art that she described as ‘the Olympics, plus a Biennial, plus Woodstock’. In his review of Nance’s book, Sean Jacobs traces a more fraught history of the festival than her photographs would suggest. Sean joins Tom to discuss what Festac meant for politicians, attendees and the proponents of négritude, third worldism and pan-Africanism.
Find further reading on the episode page: https://lrb.me/festacpod
Find out more about Serious Readers: https://www.seriousreaders.com/lrb
Hosted on Acast. See acast.com/privacy for more information.