Economic Development and Mass Poverty in Africa: Assessment of the Nigerian Experience

The forces surrounding the emerging economies of underdeveloped world, especially Africa has practically stifled its economic progress, growth, development and sustainability. This economic condition brings to the fore the massive onslaught of rural/urban poverty which the African continent grapples with since the post-world war II era to date. The economic misfortunes and incidence of mass poverty in Africa, vis-à-vis Nigeria is used as a point of departure in this study. The paper underscores the ideological and philosophical undertone of international capital manifesting in form of colonialism and imperialism as a major character in the historical process of underdevelopment and mass poverty in peripheral states of Africa, Asia and Latin America, respectively. Of particular interest in this study is the activities of domestic bourgeoisie elite class who have vigorously displayed some degree of lack of much needed vision and abject lack of desires to draw up workable plans to redeem the battered image of African/ Nigerian economic misfortunes. This state of affairs has practically engendered economic underdevelopment, misery and disturbing levels of poverty in the nation-state system. The paper concludes with the forward towards realizing the vision 20-20-20 objectives in the 21t century and beyond.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.