This chapter addresses the Musée National Boubou Hama du Niger's change in legal status from a Public Institution to a Public Research Institution for Science, Culture, and Technology, ratified by the National Assembly of Niger on May 26, 2015 (République du Niger, Law number 2015-27), which defined the national museum as a scholarly research center working in cooperation with scholars at universities and other museums. It first traces the genealogy of this change to the museum's founding. Next, the essay considers the role of research and scholarship during the history of the museum from 1959 until 2015. It concludes by offering preliminary analyses of how the change in legal status has affected the museum's mission since 2015, considers challenges to the implementation of the law, and introduces recent research projects at the museum. We argue that research and knowledge creation was one of scholar, anticolonial activist, and politician Boubou Hama's original priorities for the institution, and that, like the new name, the legal identification as a Public Research Institution draws upon the period immediately following independence for inspiration and direction.

Abstract:In the early 1970s, author and president of the National Assembly of Niger Boubou Hama argued that it was Africa's duty to save humanity. He maintained that only Africa's spiritual humanism was capable to countering Western industrial dehumanization and environmental destruction. Hama joined many other voices at the time in advocating for African unity, but he did so with a global perspective. He argued that Africans must join together to save not only Africa, but the rest of the Earth as well.

September 01 2015 A Place That Matters Yet: John Gubbins's MuseumAfrica in the Postcolonial World A Place That Matters Yet: John Gubbins's MuseumAfrica in the Postcolonial World by Sara G.ByalaChicago: university of Chicago Press, 2013. 344 pp., 8 b/w illustrations. $35.00, paper Author and Article Information Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2015 by the Regents of the University of California.2015 African Arts (2015) 48 (3): 94–95. https://doi.org/10.1162/AFAR_r_00245 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation A Place That Matters Yet: John Gubbins's MuseumAfrica in the Postcolonial World. African Arts 2015; 48 (3): 94–95. doi: https://doi.org/10.1162/AFAR_r_00245 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search In her opening paragraphs, Sara Byala leads the reader on a tour of a museum that few people would bother to fit into their itineraries today. Dusty, outdated, confusing: this, we learn, is Johannesburg's MuseumAfrica. Then, she quickly asserts that the book's primary goal is to demonstrate the importance of this place, despite its seeming obsolescence. A Place That Matters Yet: John Gubbins's MuseumAfrica in the Postcolonial World contributes to a significant body of scholarship on museums in South Africa (Murray and Witz 2014, Dubin 2006, Coombes 2003, Rassool and Prosalendis 2001, Rankin and Hamilton 1999). Furthermore, the book contains insights for all historians of museums, as it traces the many different functions of MuseumAfrica since it was founded as the Africana Museum in 1935. In particular, Byala offers an example of how to study other museums often dismissed as outdated or irrelevant. These... You do not currently have access to this content.

In his November 2011 solo art exhibition, Fashion Victims, held in Niamey, Niger, the Cameroonian artist Alioum Moussa launched a critique of global participation in the industrial fashion system by employing secondhand garments as his primary medium. The show had special resonance in a city attempting to cultivate both industrial and artisanal production of dress and fashion for global markets. Moussa demanded that viewers reckon with their own consumerist dress practices and potential fashion victimization in what he described as "global games of seduction," and he offered tributes to the different "fashion victims" by inviting others to play in shared games of history.

Through the analysis of photographs of artisans and students working, this essay traces the pedagogical precedents of an artisanal educational experiment in Niamey, Niger in the 1970s to racialized...

June 01 2014 Hot and Haute: Alphadi's Fashion for Peace Amanda Gilvin Amanda Gilvin Amanda Gilvin is a Five College Mellon Fellow in African Art and Architecture at Mount Holyoke College and Smith College. She coedited the volume Collaborative Futures: Critical Reflections on Publicly Active Graduate Education. Her research in Niger has been supported by the Fulbright-Hays DDRA, the Mario Einaudi Center for International Studies, Cornell University Department of the History of Art, and Cornell University Africana Studies and Research Center. agilvin@mtholyoke.edu. Search for other works by this author on: This Site Google Scholar Author and Article Information Amanda Gilvin Amanda Gilvin is a Five College Mellon Fellow in African Art and Architecture at Mount Holyoke College and Smith College. She coedited the volume Collaborative Futures: Critical Reflections on Publicly Active Graduate Education. Her research in Niger has been supported by the Fulbright-Hays DDRA, the Mario Einaudi Center for International Studies, Cornell University Department of the History of Art, and Cornell University Africana Studies and Research Center. agilvin@mtholyoke.edu. Online Issn: 1937-2108 Print Issn: 0001-9933 © 2014 by the Regents of the University of California.2014 African Arts (2014) 47 (2): 40–55. https://doi.org/10.1162/AFAR_a_00137 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Amanda Gilvin; Hot and Haute: Alphadi's Fashion for Peace. African Arts 2014; 47 (2): 40–55. doi: https://doi.org/10.1162/AFAR_a_00137 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search This content is only available as a PDF. © 2014 by the Regents of the University of California.2014 Article PDF first page preview Close Modal You do not currently have access to this content.

Traditional or modern? Art or artisanry? Craft or contemporary art? The same African artwork can move in and out of the apparently mutually exclusive binary taxonomies of visual culture over the co...

Scholars of African visual culture will be well served by Akin Adesokan’s recent book Postcolonial Artists and Global Aesthetics, which offers a model for interpreting artworks within the many cultural and economic contexts in which they function. The book is structured as a collection of case studies of writers and filmmakers, and while each chapter focuses on a specific cultural producer, Adesokan builds connections between his figures of analysis across time and space. Adesokan offers a successful, rigorous example of a project that demonstrates the political urgency and conceptual depth of African artists, as well as artists’ investment in mercurial global political networks that stretch across generations and continents.

Other| May 01 2009 YINKA SHONIBARE: GARDEN OF LOVE Amanda Gilvin Amanda Gilvin Amanda Gilvin is a doctoral student in the History of Art and Visual Studies at Cornell University, where she also completed a master's degree in Africana Studies Search for other works by this author on: This Site Google Nka (2009) 2009 (24): 168–170. https://doi.org/10.1215/10757163-24-1-168 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Amanda Gilvin; YINKA SHONIBARE: GARDEN OF LOVE. Nka 1 May 2009; 2009 (24): 168–170. doi: https://doi.org/10.1215/10757163-24-1-168 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsNka Search Advanced Search The text of this article is only available as a PDF. Copyright © 2009 Nka: Journal of Contemporary African Art2009 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.