CFP: Artefilosofia Journal
Submission deadline: August 30, 2019
n the history of Africa are involved events of invasion, rape, enslavement, plundering of natural wealth and robbery of artistic heritage. These actions, practiced for centuries, were sustained by the white belief of "superiority" committed to constructing an ideological discourse, supported by a discourse that scientifically attributed the "innate inferiority" of the Black African. The institutionalization of racism favored and guided the creation of ethnographic museums in the colonizing countries, which reproduced and still reproduce theories based on a supposed exoticism, primitivism and inferiority of the peoples that inhabit Africa. In recalling these facts, we recall that although masks, sculptures and other African productions did not have their recognized art status, they were classified as below the level of art by the settlers; although African artists and men were expropriated and enslaved; although official prohibitions on access to certain materials, such as gold, have already been created for blacks; despite a whole coercive structure of ensuring the stability of the system keeping Africans and their descendants under constant terror, brutality and ignorance. Yet the artistic manifestations of the peoples of Africa, inhabitants of the continent or in diaspora, were not silenced. Africans have been able to resist dehumanization and have continued to develop their artistic productions.
Thus, with the realization that African aesthetics is a topic still little explored in philosophy, we invite researchers to publish articles that deal with such theme. And starting from the fact that aesthetics is a science of sensitivity, then we pose the question: what affections are produced when we articulate the image of Africa with our sensitivities? For this, it is necessary to oppose colonial discourse and the belief in modernity as a Western narrative to give legitimacy to African voices. With this, this dossier will accept texts that encourage rethinking through artistic manifestations in its multiple languages as the idea of Africa becomes a sign (MBEMBE, 2015) contemporary with decolonization not only on the continent (DIAGNE, 2007; MUDIMBE, 1990) , but also in the diaspora through ancestry or in the construction of black discourse territorial (SODRÉ, 1987).
Dr. Luis Thiago Dantasand Dr. Rizzia Rocha