Vladimir Ja. Propp, (1928), Morfologia della fiaba, «Con un intervento di Claude Lévi-Strauss e una replica dell'autore», Edited by Gian Luigi Bravo, «Nuova Biblioteca Scientifica Einaudi» 13, Einaudi, Torino, 1976
From: Vladimir Ja. Propp, (1928), Morfologia della fiaba, «Con un intervento di Claude Lévi-Strauss e una replica dell'autore», (Appendix III), Edited by Gian Luigi Bravo, «Nuova Biblioteca Scientifica Einaudi» 13, Einaudi, Torino, 1976
Mieko Shiomi, A List of the Participants in Spatial Poem (No. 1-4), (photocopy (?), rubber stamp, paper), Osaka, ca. 1975 [Walker Art Center, Minneapolis, MN. @ Mieko Shiomi]
Black Phoenix: Third World Perspective on Contemporary Art and Culture [edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom], Issue 2, Summer 1978, 60 pages
Contributors include art critics, scholars, artists, poets, and writers (pp. 12-31): Rasheed Araeen (Pakistan), Mahmood Jamal (Pakistan), Ariel Dorfman (Chile), Chris Wanjala (Kenya), N. Kilele (Tanzania), Kenneth Coutts-Smith (United Kingdom) [This paper was offered to the Congress of AICA held in Lisbon, September 1976. We are reprinting the paper here as the author’s contribution to the debate initiated by ‘BLACK MANIFESTO’ published in our last issue, with due acknowledgement to ARTERY in which the paper was first published in winter 1976-77. The two illustrations are our own choice.]
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BLACK PHOENIX: NUMBER TWO: SUMMER 1978: EXTRACTS. To say that “this country might be swamped by people of a different culture” at a time when the whole world is being viciously dominated by the West, is to perpetuate imperialist lies; lies which must be exposed
and denounced. BLACK PHOENIX
The new form of children’s literature will have to emerge in the struggle for a new society, they will become necessary in that combat. Only the destruction of the capitalist system, the gradual defeat of economic and mental neo-colonialism, can guarantee that one day, finally, Babar may risk killing the old lady and, by the loss of his innocence, hit upon the first step on the road to complete liberation. ARIEL DORFMAN
It is not possible to separate either, historically, the development of bourgeois consciousness from the development of colonialism, or, socially, the bourgeois value-system from racist and imperialist assumptions of superiority… the Fine Arts have, historically, fallen victim to a myth concerning the absolute and metaphysical nature of its activity, as a result of which its actions and its products have been used to justify not merely a criminal structure of social relations but also the world-wide edifice of imperialism upon which this structure still depends. KENNETH COUTTS-SMITH
While one can speak of an advanced mode of production or a higher level of productive forces, one cannot pass such qualitative judgement on aesthetics. It would be incorrect to say that African aesthetics are
more advanced than European or vice versa. There cannot be one
‘correct’ aesthetics, nationally as well as internationally. N. KILELE
Neo-colonialism is now being ‘brought’ home to the metropolis of the capitalist world, for there exists a people within the Western world that must be neo-colonised and marginalised. That means an intermediary class must be created, a counterpart of native bourgeoisie in the Third World, an ethnic bourgeoisie in the West — exotic and subservient. RASHEED ARAEEN
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