Wednesday, June 21, 2017

Workshop for Emerging Africanist Scholars based on the Continent

African Studies Review Pipeline for Emerging African Scholars Workshop
In Collaboration with the African Studies Association of Africa
October 11, 2017
University of Ghana, Legon, Accra, Ghana

The African Studies Review (ASR) convenes Pipeline for Emerging African Scholars (PEAS) Workshops, in collaboration with the African Studies Association of Africa (ASAA http://www.as-aa.org), to stimulate, solicit, and further develop high-quality journal submissions from Africa-based scholars under the close mentorship of senior Africanists from the continent and beyond. In collaboration with the ASAA the ASR will sponsor a PEAS workshop at the University of Ghana, Legon, on October 11, 2017. Scholars who wish to submit a proposal are, ideally, post-doctoral researchers, newly minted PhDs with works-in-progress currently underway, and soon-to-submit Ph.D. students. Emerging scholars will have an opportunity to work closely with senior scholars to re-work a pre-circulated draft article.

Preliminary List of Scholar Mentors:
Wale Adebanwi, Oxford University (TBC)
Jean Allman, Washington University in St Louis
Akosua Adomako Ampofo, University of Legon
Brenda Chalfin, University of Florida (TBC)
Akosua Darkwah, University of Legon
Wangui wa Goro, African Development Bank, Abidjan (TBC)
Walter Hawthorne, Michigan State University (TBC)
Benjamin N. Lawrance, African Studies Review Editor-in-Chief
Patricia Makepe, University of Botswana
Insa Nolte, University of Birmingham (TBC)
Naaborko Sacheyfio, Dartmouth College

The broader goals of PEAS are:
  1. To increase submissions from emerging Africa-based scholars to top-rated journals, especially ASR;
  2. To improve the quality of submissions from emerging Africa-based scholars;
  3. To increase the R&R (revise and resubmission) rate from emerging Africa-based scholars;
  4. To improve access to the ASR for emerging Africa-based scholars; and,
  5. To increase participation of emerging Africa-based scholars in the review process.

Eligibility & Application Criteria:
  1. Applications may be submitted in English, French, or Portuguese BY JULY 31, 2017;
  2. All applicants shall be members of ASAA [http://www.as-aa.org/index.php/membership] and shall submit an abstract for the ASAA 2017 annual conference to be held at the University of Ghana, Legon [see http://www.as-aa.org/index.php/asaa-2017-conference/call-for-papers-posters-and-panels in English, French, and Portuguese];
  3. Ph.D. student applicants shall be in the second year of their program or higher;
  4. Early career applicants shall have completed their Ph.D. within the past five years; and,
  5. Priority shall be given to applicants from under-resourced institutions; women are particularly encouraged to apply.

Submission Process:
Applicants for a PEAS workshop must prepare the following BY JULY 31, 2017:
  1. A cover letter that outlines the applicant’s broad academic goals and interests, and gives an express commitment to revise and submit the material of the workshop to the ASR for peer-review and possible publication;
  2. A current curriculum vitae listing all educational qualifications, research funding received, pending applications, publications, and employment history;
  3. A polished draft article of between 5000-10,000 words, with complete citations;
  4. One letter of recommendation from an individual familiar with the applicant, addressed to the ASR’s Editor-in-Chief, Benjamin N. Lawrance, that includes, but is not limited to (a) confirmation that the recommender has read either the submission or previous work by the applicant; (b) an evaluation of the draft work; (c) confirmation that the recommender considers the work well enough developed to be on the path to submission to a journal; and (d) confirmation of the academic standing and progress of the applicant as represented in the accompanying CV;
  5. Either, evidence of status as a Ph.D. student, including year in program, or, for early career applicants, a letter from their Head of Department indicating their status;
  6. For early career applicants ONLY, a copy of Ph.D. certificate/diploma awarded;
The entire dossier shall be compiled as a single PDF file and submitted by email to ASAA Conference Secretariat asaaconference@gmail.com with ASR PEAS workshop in the subject line. 

Selection Criteria:
Applicants selected for participation will be notified by the ASR’s Managing Editor after confirmation of the applicant’s ASAA registration, by SEPTEMBER 1, 2017.
All successful applicants shall receive the following:
  1. Payment of ASAA conference registration fee;
  2. Accommodation for three nights (workshop and ASAA meeting); and,
  3. Meals for three days and nights (workshop and ASAA meeting).
Applicants are responsible for their own travel and all other costs incurred. However, limited funding for travel within the continent courtesy of the Royal Air Maroc, and accommodation courtesy of the African Studies Association (USA) is available. Priority will be given to applicants from under-resourced institutions.  Women are particularly encouraged to apply. 
General queries may be directed to Kathryn Salucka kathryn@africanstudies.org or Benjamin Lawrance bnl.rit2011@gmail.com with ASR PEAS workshop in the subject line.



Thank you to CAAS/ACEA for assistance in French translation. Please consider attending the CAAS/ACEA annual conference at Queen's University, Kingston, Canada, May 4-6, 2018. Details to be announced shortly on http://caas-acea.org/conference/annual-conference.

Wednesday, June 14, 2017

Sotheby's Establishes Major Prize for Curatorial Projects

Last month Sotheby’s announced the launch of a new and exciting initiative that we feel will bring great benefit to the wider arts community: The Sotheby’s Prize for a ground-breaking exhibition.

This is an annual prize to support and encourage ground-breaking, thought-provoking museum exhibitions and curatorial initiatives. Extending up to a maximum value of $250,000, the prize will be available to institutions, curators and museum directors with ambitions to realize trailblazing, potentially landscape-changing, projects in the cultural field.

Nominees and the inaugural winner will be determined by a jury of esteemed art world figures representing a broad spectrum of cultures and disciplines, including: Sir Nicholas Serota (Chair, Arts Council England), Connie Butler (Chief Curator at the Hammer Museum in Los Angeles), Okwui Enwezor (Director of the Haus der Kunst Museum in Munich) and Donna De Salvo (Senior Curator at the Whitney Museum of American Art in New York). 

If you would like to learn more about the new Sotheby’s Prize and how to apply then please look through this dedicated page. Please note that the application deadline is 9am (EST) on July 24 2017. We can only consider applications received in the standard format with all sections complete.

Upon submission you will receive an acknowledgement that your application has been received. You will be notified after 24 July of whether your proposal will move into the next phase. The jury will make its final decision in early September and you will be notified of their decision by 15 September 2017.

Please note that the Sotheby’s Prize winner will be expected to attend a celebratory dinner in New York on 3 November at which the Sotheby’s Prize will be officially awarded.


If you have any queries please email prize@sothebys.com.

Monday, June 12, 2017

CAA-Getty 2018 International Program Announced



PhD study Grant for Classical and Traditional African Art in Germany

Alfried Krupp von Bohlen und Halbach PhD Grant "Historical and Tradition-Based
African Art"

The Institute of Art History at Freie Universität Berlin will be awarding the first Alfried Krupp von Bohlen and Halbach PhD Grant for dissertation projects in the field of African art history. Applicants are invited to submit PhD proposals focusing on historical and tradition-based arts including their repercussions into the present art scene. The research may be designed as co-operation projects with museums or important private collections in Europe as well as in Africa.

The successful candidate is expected to hold an excellent Master’s degree in African art history or related disciplines and show proof of academic excellence. He or she is expected to present an innovative dissertation project which can successfully be completed within the three-year grant period. Research experience in Africa as well as publications or exhibition projects are welcome. The grantee will take up residence in Berlin throughout the grant period and participate in the activities of the Institute of Art History.

Applications are invited from students of all nationalities. Non-native German speakers should show German language proficiency of at least C1 level.

The grant will initially be awarded for three years, with an option of a six-month extension. The monthly grant rate is € 1.300. Research stays in African countries are encouraged and supported for six months or less with an additional allowance of up to € 1.000 per month.
Application documents:

  • completed application form
  • CV
  • PDF copy of Master’s thesis;
  • copies of published texts
  • proposal of the dissertation project (max. 4.000 words) including a detailed work plan and a schedule
  • copies of university degrees and diplomas
  • Letters of Recommendation by two university teachers

Complete application documents (including the Master’s thesis) must be sent electronically in the form of PDF documents to: kunstafrikas@zedat.fu-berlin.de

Application deadline is July 31, 2017.

Saturday, June 3, 2017

Frank Bowling's Survey Exhibition Opens at Haus der Kunst, Munich, June 22

Artist Frank Bowling in his studio in South London. Photograph: David Levene. Source TheGuardian.com

Later this month, the work of Frank Bowlingone of the most important painters of the 20th century, will be presented in an incredible exhibition at the Haus der Kunst, Munich. This show, Frank Bowling: Mappa Mundi is curated by my brotherfriend and colleague Okwui Enwezor who has, more than any curator working today, organized some of the most sophisticated and paradigm-shifting exhibitions the modern/contemporary artworld has ever seen. This survey of Bowling's magisterial map paintings, shows why Bowling ought to have been positioned at the forefront of postwar painting, rather than as part of its marginalia. From what I have seen of its preparation, it is impossible to not ask how come this artist and his art had not been given a full-fledged exhibition by the same big time US and British modern art museums that fawn over white artists with half of Bowling's majestic painterly talent and accomplishment. I guess that's why Okwui's work in Munich and elsewhere matters.

I will be seeing the exhibition later this month, and will hopefully write more on it. Here below is the information about it, from the Haus der Kunst press room.

--------------------------------------------------------------------------------------------------------------------------
Frank Bowling, Australia to Africa, 1971, acrylic on canvas, 280 x 712 cm. Courtesy Hales Gallery, London


Frank Bowling: Mappa Mundi
June 23, 2017 - January 7, 2018
Preview for press on Thursday, June 22, 2017, 11 am
Opening on Thursday, June 22, 2017, 7 pm
With a podium conversation between Frank Bowling and Okwui Enwezor

With "Frank Bowling: Mappa Mundi" Haus der Kunst presents the most comprehensive overview the work of Frank Bowling (born in Bartica, British Guyana, in 1934) ever received.

In the aftermath of World War II, as part of the momentous wave of Anglophone West Indian and Caribbean populations that migrated to England, Frank Bowling left his native country at the age of 19, arriving in London in 1953. Later he would study painting at The Slade School, and Royal College of Art, distinguishing himself - next to David Hockney - with the silver medal for painting in RCA's 1962 graduating class.

Starting in the mid-1960s, Bowling began to surpass the rigid geometries of the pictorial field. The decisive moment of Bowling's artistic maturation was his move from London to New York in 1966. New York had produced postwar abstract painting of a certain scale and ambition. Bowling's painterly experimentation led him to consider how abstract painting could be invested with social, cultural, and personal meaning without losing the essential and formal principles still open to the medium.

The seminal "Map Painting" series would preoccupy him from 1967 to 1971. With this series, he began to summon some of the sociopolitical changes and radical cultural forces that were reshaping Western postindustrial society into his pictures. At the same times, the series expressed his understanding of identity. As a humanist and internationalist, being an artist of African descent born under colonial conditions in South America and living in New York, the topic had its complexity, more so in the high tide of the Black Power movement of the late 1960s. The image and representation of the map - for example, South America in "South America Squared" (1967), became a metaphor in Bowling's work of home and exile. He developed a chromatic repertoire of dazzling colors and muted tones, of contrapuntal layers that evoked evanescent seascapes, geological landscapes, and liquefied magma.

As an essayist (for Arts Magazine among others), Bowling played an active role in the debates of institutional exclusion and media marginalization of black artists. In his paintings and writings, he opened a pathway toward the reconsideration of space and territory. It compelled him to tackle the idealism of mapping journeys and voyages of discovery upon which the colonization and domination of space occurred.

"As when first made, today these paintings remain unparalleled pictures of astonishing physical power", says Okwui Enwezor. "The imposing presence of Bowling's paintings, with their mists of muted colors and scumbled fiery substrates, evokes feelings of vast oceanic presence." Water was the omnipresent element in the artist's biography: From the marsh flats of British Guyana, where Bowling was raised; to the undertow of the Caribbean Sea that he sailed to escape the island existence; from the River Thames in London, to the hubbub of New York, where he honed his artistic voice.

Besides the "Map Paintings", objects-cum-paintings from the early 1980, the series "Great Thames", "Bartica Flats" and "Wintergreens" are on display, too. Material from the archives, such as the extensive correspondence with the eminent modernist critic Clement Greenberg, exhibition catalogues, reviews, and photography sheds light on Bowling's participation in the Black Arts debates in New York in the late 1960s and 1970s.

"Frank Bowling: Mappa Mundi" is curated by Okwui Enwezor with Anna Schneider. The exhibition is organized by Haus der Kunst and will travel to the Irish Museum of Modern Art (IMMA), and to Sharjah Art Foundation.

The catalogue is published by Prestel, edited by Okwui Enwezor, with contributions by Frank Bowling, Okwui Enwezor, Rose Jones, Kobena Mercer, Anna Schneider, Zoe Whitley and Lynette Yiadom-Boakye; English, with German booklet, 288 pages, 23 x 28,9 cm, hardcover, 49.95 €.
Images are available on our download area.
If you have further questions, please do not hesitate to contact:
Elena Heitsch


Stiftung Haus der Kunst München, gemeinnützige Betriebsgesellschaft mbH
Prinzregentenstraße 1
80538 München
Germany
+49 89 211 27-115
+49 89 211 27-157 Fax
presse@hausderkunst.de
www.hausderkunst.de

Direktor und Geschäftsführer: Okwui Enwezor
Kaufmännischer Leiter: Marco Graf von Matuschka
Vorsitzender des Aufsichtsrates: Staatsminister Dr. Ludwig Spaenle
Handelsregister München: HRB100018
USt-ID: DE811612530  

Tuesday, May 23, 2017

African Art history position at the University of Hong Kong

If you know anyone interested in a teaching job in African art history, the University of Hong Kong has created a new position for this. The call for application can be found by clicking here

Sunday, May 21, 2017

The Nigerian-Biafran War and the making of "Igbo art" collections in the West

If you have had the chance to read my Opinion essay in today's  NYT, Sunday Review, you will notice that it includes a personal note, about the discussion I had with my mother about the effect of the Nigerian-Biafran War on art and culture in my hometown: This is the passage:

"Recently, my 72-year-old mother was looking at a glossy catalog of Igbo sculptures from major European collections, most of which were acquired during the Nigerian-Biafran War of the late 1960s. She told me that the disappearance of similar sculptures from our hometown shrines in southeastern Nigeria, and the end of the associated festivals, was one of her most painful memories of that war."

I am sure some want to know more, about what appears to be a link between the disappearance of these sculptures in time of war and their simultaneous emergence in the major European collections. I too want to know. And that is a topic for another day. Stay tuned; for how long, I am not sure!

Saturday, May 20, 2017

My Opinion Piece in New York Times, Sunday Review

To read the Op-Ed piece click HERE

Op-Ed Piece in the New York Times, Sunday Review, May 21

So, I have an opinion piece coming out tomorrow (May 21) in the New York Times, Sunday Review, on matters arising from the increasingly strong auction market for modern and contemporary African art. The motivation for this was the inaugural Sotheby's Modern and Contemporary African Art auction this past Monday, along with a new department in the world's largest and arguably the most influential art business. What does this mean? What's good about this, and what challenges does this portend for the field and for Africa?  I mull over these questions in the essay. Like it or not, comments will be most welcome! 

Sunday, May 14, 2017

On Damien Hirst's Ife Head controversy


Golden Heads (Female)
All images from Damien Hirst's Treasures from the Wreck of the Unbelievable, courtesy, CNN.com
I have been reading with mild amusement about the so-called controversy surrounding the inclusion by the British artist Damien Hirst of a golden head made after the famous brass heads of ancient Ife Kingdom in southwestern Nigeria. He has been accused of "cultural appropriation" and the CNN has even featured this. Unsurprisingly, the charge is led by Africans. And Hirst's people have been forced to make a statement. Of course Hirst has built a career, a stupendous one at that, by courting controversy and delivering highly provocative work. So another controversy would be just part of Hirst business you might say.

But what is all the brouhaha about? What naughty game has Hirst pulled this time? What about the Ife head appropriation? What exactly did he do with this head? Did he copy and exhibit it as his own golden sculpture, in the manner of the Appropriation artists of the 1980s (Sherrie Levine, Richard Prince, etc) and after? And if so, wouldn't his critics have some point, just as people were riled up by the work of the Appropriation artists, some of the cases ending up in the court of law?

Scale model of the ship, "Unbelievable"



Installation view
Actually, I doubt that most of the people who accuse Hirst of cultural appropriation have taken a look at his project, Treasures from the Wreck of the Unbelievable, in which we find the Ife-style head among numerous other sculptures made after ancient treasures from many cultures across the planet. For in this sprawling installation (btw, how does anyone find the money to put up such a show?!), there are objects and sculptures made in the manner of ancient objects and sculptures from Europe (Rome, Greece), Middle East (Minos, Mesopotamia), Africa (Egypt, Ife), Asia (Indus Valley, China, India) and the Americas (Olmec, Maya, Aztec, Inca), etc. You could say that he has gathered in this exhibition examples of the world's ancient artistic and cultural heritage, all supposedly recovered from the wreck of a fictional Greek ship owned by a freed slave. 
Sphinx
And by the way, there is a note accompanying the Ife-style head (see p. 23 of the exhibition guide), referencing the story of the German Leo Frobenius who, on encountering the Ife brasses in the first decade of the 20th century, claimed that they proved the existence of the lost, mythic, city of Atlantis (for in his estimation, only an artist as sophisticated as those from ancient Greece could have made the sculptures he saw in Ife). In other words, the Hirst project acknowledged the original ancient works from which he copied or adapted the objects in the Treasures exhibition. 

So, my question to Hirst's critics is this: given the idea behind his project, would  you have been happier if he decided to NOT include any example from Africa (besides Egypt) in his list of the world's ancient treasures? Then, perhaps someone would have accused him of blatant refusal to acknowledge African contribution to the world's artistic heritage. 

Just because an artist is called Damien Hirst does not mean we have to have a knee-jerk response to every work by him. Crying wolf this time makes no sense.

My Video Review of Congolese Art Workers exhibition at New York's Sculpture Center

Exhibition Installation view




Irene Kanga, Viol (Rape), 2016

The Art Collector (2014), by Jeremie Mabiala and Djonga Bismar
Cedrick Tamasala, How My Grandfather Survived, 2015

Self-Portrait Without Clothes (2014), by Mbuku Kimpala

The current issue of Artforum, the New York-based contemporary art magazine, published my review of a recent exhibition of sculptures made out of chocolate, by Congolese plantation workers, supported by the Dutch artist, Renzo Martens. It is a most interesting project, and I don't mean this in a good way! Here is a video review produced by Artforum to accompany the in-print version. Unfortunately, you have to be a subscriber to read the magazine online. The video is free access.

Clike HERE for the video statement. 

Wednesday, April 26, 2017

"Remembering Biafra" Conference, Apr 20-21 2017

Last week the newly-established Institute of African Studies and the Elliott School of International Affairs at George Washington University, Washington, DC hosted the Remembering Biafra conference to mark the 50th anniversary of the founding of the Republic of Biafra. Fortunately, video recording of all the panels are available on Youtube. Check them out, if you wish. The highlight of the event was the keynote lecture by Chimamanda Ngozi Adichie who spoke about her family, and the ways memories and imaginaries of Biafra shaped her life and work as a writer. Her lecture was about Biafra and Nigeria, but it was a most moving tribute to her father, mother who listed to her talk from the front seat and who she asked to stand to be recognized by the audience. She spoke about the scars they bear, the losses--profound and profane, and that determination, shared by most survivors of that war, to rebuild their lives and worlds, in spite the heartbreak called Nigeria. Chimamanda showed once again why she is one of today's most important voices; a calm voice that commands wildfires. And, oh, the lecture was an occasion to celebrate Chimamanda's election to the American Academy of Arts and Letters. Come to think of it, last year, none other than El Anatsui became an Academician. Which makes you wonder: what is the Nsukka connection? Congratulations, my dear sister! 
And thank you, Chimamanda, for calling out the Nigerian authorities for the extrajudicial murders of scores of people--unarmed supporters of Indigenous People of Biafra movement--in Onitsha on May 30, 2016. Let me say it: the thirst for Igbo blood is what will doom that country we call home, Nigeria. And as deliberations from the GWU conference make clear, the pogroms against the Igbo in the summer of 1966, when ordinary citizens mass-murdered their Igbo compatriots, with no one held accountable till today, will continue to haunt Nigeria. NEVER FORGET THE POGROMS!



National Museum of African American History and Culture (NMAAHC), Smithsonian Institution, Washington DC
All photos copyright: Chika Okeke-Agulu

Professors Anthonia Kalu, Gloria Chuku and Femi Vaughan at NMAAHC

Reception hosted by George Washington University, NMAAHC, ahead of the Keynote Lecture

Ambassador Reuben Brigety II, Dean Elliott School of International Affairs, GWU

Right Center, Cecelia Lynch, Ambassador Liberata Mulamula

Left: Professor Gloria Chuku; Center: Professor Chima Korieh


Professor Melani McAlister, conference host




Who Will Save Southern Kaduna people?

The Nigerian government and its agencies have formed a terrible habit of punishing anyone from Southern Kaduna and the Nigerian Middle Belt region who dares speak out about the unimaginable levels of terroristic violence levied on their communities by mostly Fulani cattle herders, and other shadowy armed groups with what might be territorial agenda. This has been going on for quite some time now; but it cannot go on, and the world must pay attention to this. The report on Sahara Reporters (see link below) is only the latest in this regime of oppression and suppression of free speech, and of the people's right to complain not to mention express outrage about the ordeal to which they have been subjected, often with little or no protection from state and national governments. This cannot go on. (I won't be surprised if someone in Nigeria reads this and decides that I have joined their perceived enemies of state. But please President Buhari, do something about this gradual and sustained regime of violence to which these people have been subjected by  marauding, fully-armed bands of so-called cattle herders).

There is no doubt that part of the problem is the expanding Sahara, that has desiccated areas of the Sahel that had previously sustained enough green vegetation on which nomadic herders in the region depend. But what is to be done? Can the government whose primary duty is to guarantee safety of all its citizens look the other way as the herders take their cattle southward, invading societies who depend on farming? It simply cannot. Nor could they, as now, be more invested in squelching any voice raised to call attention to the plight of communities ravaged by armed cattle herders.

It is time to take seriously the question of compelling the cattle herders to change their lifeways in accordance to the changing climate and population growth. Where in the past, land available for grazing seemed limitless, the nomadic lifestyle thus unproblematic, the changed and changing times calls for drastically curtailing the culture of herding cattle through the length and breadth of the land, Federal and State governments must, as a matter of extreme urgency, establish a concrete plan for settling cattle herding groups so they don't continue to invade communities to the south ostensibly in search of green pastures for their animals. Nigeria already has more than enough problems that militate against its survival as a nation; what is happening in Southern Kaduna and the Middle Belt region, and increasing even further south in Enugu and Anambra States, should worry anyone, especially those in government who are sworn to protecting all Nigerian citizens. And this cannot be resolved by harassment and detention of anyone who calls attention to the plight of victims of these armed cattle herders. As my people, the Igbo, say: "I gaghi eti nwata si ya ebekwana akwa" (You cannot beat a child and tell her not to cry).

http://saharareporters.com/2017/04/24/nigerian-journalist-detained-over-whatsapp-comment-granted-bail

Sunday, April 9, 2017

‘An Insistence on Not Being Discouraged’ with Chika Okeke-Agulu

Eddie S. Glaude Jr., Chika Okeke-Agulu

If you wish to learn a little bit about my story, about my life, art, politics, check out this new interview podcast with my fabulous colleague, Eddie S. Glaude, Jr., who is William S. Tod Professor of Religion and African American Studies, and Chair, Department of African American Studies, Princeton University. And oh, it is nearly an hour long. So, the question is this: Who has time to listen to this kind of stuff; this long story?!

If you do, then click here to listen: 

Tuesday, March 21, 2017

Photos from presentation of "Obiora Udechukwu: Line, Image, Text," March 21

Today was the public presentation of my new book, Obiora Udechukwu: Line, Image, Text, at the African Artists Foundation. Thanks to the Ford Foundation, Princeton University, and the African Artists Foundation. And thanks to my family, friends old and new, and the many guests that turned up. And to my publisher, Skira Editore. Here, are some images from the event. All images under copyright. 

His Royal Majesty, at Kola breaking rite, gives Kola to El Anatsui

With my mother, Joy Okeke-Agulu, El Anatsui, Innocent Chukwuma, His Royal Majesty, Igwe Achebe, The Obi of Onitsha, Obiora Udechukwu, and Alhaji Abdulaziz Ude
With Jahman Anikulapo, Olu Amoda, and Toyin Akinosho


Ori and Tony Okoro

Add caption

With George Nwadiogbu, Faridah Folawiyo, Sandra Obiago, Innocent Chukwuma, Awam Amkpa, and Jahman Anikulapo
Ndidi Dike, Uche Edochie, and Chinwe Uwatse

Obiora Udechukwu, Ada Udechukwu, El Anatsui, and Innocent Chukwuma


Faridah, and guests

Obiora Udechukwu, Ada Udechukwu, and El Anatsui

Remarks by His Royal Majesty, Igwe Achebe, The Obi of Onitsha (Agbogidi)

Tony Nsofor and Chike Nwagbogu




Ozioma Onuzulike, book reviewer

Kolade Oshinowo, Chinwe Uwatse


Toni Kan and Victor Ehikamenor

Obiora Udechukwu



El giving closing remarks

Friday, March 3, 2017

Remembering Biafra Conference, April 21-22, 2017

Image Courtesy: International Business Times, UK


To mark the fiftieth anniversary of the birth of Biafra, that shortlived republic that was the southeastern Nigerian region a conference organized and hosted by George Washington University will take place on April 21-22, in Washington DC. Memory of Biafra remains strong in the hearts of many Biafran Children like me who were born on the eve of that war, and who survived the mass starvation used by the Nigerian government as a weapon of war, while most of the world looked away. It still hurts, as many of us who survived still carry a deep scar lodged in our souls these many years after.
For more on the Remembering Biafra Conference please check out the conference website.