Introduction

Abstract

During the Harlem Renaissance when Alain Locke spoke the words above, I wonder if he considered how accurately his words characterized the lived experiences of all people of African descent around the globe? Although scholars have explored aspects of arts management and cultural policy throughout the African diaspora (Adedokun, 2001; Ajala, 2015; Alhassan, 2005; Bauer, 2015; Bell, 2014; Beukelaer, 2016; Boucher et al., 2018; Chandler, 2013; Collins et al., 2016; Fryer, 2016; Nair, 2016; Nawa & Sirayi, 2014; Nawa et al., 2014; Opondo, 2000; Rijsdijk, 2016; Schotlz et al., 2018; Shyllon, 2005; Shyllon, 2004; Shyllon, 1996; Sirayi, 2008; Snowball, 2005; Steinberg, 1995; Thurner, 2013; Tully & Tuwei, 2016; Uwah & Ebewo, 2011; Zaugg & Nishimura, 2015), a damning myth persists that people of African descent do not know how or care about managing their culture. Indeed, Europeans have used this myth as a justification for kidnapping, pillaging, and profiting from the cultural products of people of African descent so much so that over 90–95% of the material cultural legacy of sub-Saharan Africa exists outside of the African continent (Sarr & Savoy, 2018).

“It almost passes human understanding how a people can be so despised and yet artistically esteemed. So ostracized and yet culturally influential. So degraded and yet a dominant editorial force in American life.”

—Alain Locke