Paper short abstract:

Discussions about "African", "Black" or "Pan-African" aesthetics have been inspiring philosophers, writers, artists and poets up to today. Notions and framings keep circulating in both art world and academia. The intellectual history and writings of a contemporary scholar exemplify the variety.

Paper long abstract:

When recounting the history of Pan-Africanism in its global context, narrations of African and African diaspora aesthetics are rather overlooked. Historical research tends to focus on big names and prominent movements, enfolding a picture of Pan-African aesthetics as either invention of a few Francophone intellectuals in mid-20th century or part of 1960/70s' Black radicalism in the USA. But, the discourse has not only formed crucial part of cultural and political liberation movements both on the African continent as well as in the USA and Caribbean, it keeps inspiring philosophers, writers, artists and poets. Up to today, intellectuals have been arguing for the necessity and benefit of the development of Black (or African) critical standards for the evaluation of art and literature. By invoking notions like "Black aesthetics", "African aesthetics", "Afrocentric aesthetics" and "Pan-African aesthetics", framings of African art and philosophy, and ultimately Africanness and Blackness, are contested and re-interpreted. In the paper I argue that the respective debates can help understanding the kaleidoscope of the many 'Pan-African identities', as well as frictions in the discussions. They can be understood as 'pars-pro-toto'; as one angle to interrogate the complex and multi-sited phenomenon of Pan-Africanism and transnational Blackness. Resemblances and deviations are exemplified not regarding specific cultural or artistic forms, but by analyzing how Pan-Africanism is framed by scholars in academia today. This is done through a close reading of the biography and writings of Praise Zenenga, a contemporary theater historian and director of Africana Studies at the University of Arizona.