Popular Arts in Africa

All the acts of the drama of world history were performed before a chorus of laughing people. Without hearing this chorus we cannot understand the drama as a whole. Mikhail Bakhtin In the last three or four years we have witnessed an upsurge of interest in African popular art forms so strong that it promises to become a movement. The individual researchers scattered over the continent, who for decades have been pursuing their interest in these arts in isolation, are suddenly finding that there is a forum emerging. Issues formerly raised piecemeal, mainly in short articles and often as a sideline by people whose principal expertise lay in some better-established field, are now getting full-scale treatment in the detailed monographs that are appearing from different parts of Africa. It seems the right moment to set out the scope and possibilities of this field, and to lay claim to a central position for it in the humanities and social sciences. The most obvious reason for giving serious attention to the popular arts is their sheer undeniable assertive presence as social facts. They loudly proclaim their own importance in the lives of large numbers of African people. They are everywhere. They flourish without encouragement or recognition from official cultural bodies, and sometimes in defiance of them. People too poor to contemplate spending money on luxuries do spend it on popular arts, sustaining them and constantly infusing them with new life.