Black Orpheus (magazine)
Black
Orpheus was a Nigeria-based literary journal founded in 1957 by German expatriate
editor and scholar Ulli Beier
that has been described as "a powerful catalyst for artistic awakening
throughout West Africa". Its name derived from a 1948 essay by Jean-Paul
Sartre, "Orphée Noir", published
as a preface to Anthologie de la nouvelle poésie nègre et malgache,
edited by Léopold Sédar Senghor. Beier wrote in an editorial statement (Black Orpheus
1) about the fact that "it is still possible for a Nigerian child to leave
a secondary school with a thorough knowledge of English literature, but without
even having heard of Léopold Sédar Senghor or Aimé
Césaire", so Black Orpheus
became a platform for Francophone as well as Anglophone writers. In 1961, Beier
also founded the Mbari Club,
a cultural centre for African writers, which was closely connected with Black
Orpheus. The magazine ceased publication in 1975.
History
Black
Orpheus was "a journal of African and
Afro-American literature" established in 1957 by university professor Ulli
Beier. It was produced in Ibadan,
Nigeria, and was groundbreaking as the
first African literary periodical in English, publishing poetry, art, fiction,
literary criticism and commentary. Its editors included Wole
Soyinka and Es'kia
Mphahlele (1960–64).
Characterised
by its pan-African
reach, Black Orpheus also published in English translation the work of
Francophone writers, among them Léopold Senghor,
Camara
Laye, Aimé
Césaire and Hampâté Bâ,
as well as playing a significant role in the careers of such notable authors
and artists as Wole Soyinka,
John Pepper Clark,
Gabriel Okara,
Dennis Brutus,
Kofi
Awoonor, Andrew
Salkey, Léon
Damas, Ama
Ata Aidoo, Cyprian
Ekwensi, Alex
La Guma, Bloke
Modisane, Birago
Diop, D.
O. Fagunwa, Wilson
Harris, Valente Malangatana
and Ibrahim el-Salahi.[1][6] Many of them featured in a 1964 anthology edited by Beier, Black
Orpheus: An Anthology of New African and Afro-American Stories, which was
published in Lagos, London, Toronto and New York.
Black
Orpheus is considered to have been one of
the world's most influential literary magazines during its existence, with Abiola
Irele – the magazine's editor from 1968 –
writing in the Journal of Modern
African Studies: "The steady development of Black
Orpheus over the last seven years amounts to a remarkable achievement. It
has succeeded in breaking the vicious circle that seems to inhibit the
development of a proper reading public by its continued existence, by its very
availability; more than that, it has also gone on to establish itself as one of
the most important formative influences in modern African literature.…It can be
said, without much exaggeration, that the founding of Black Orpheus, if
it did not directly inspire new writing in English-speaking Africa, at least
coincided with the first promptings of a new, modern, literary expression and
re-inforced it by keeping before the potential writer the example of the
achievements of the French-speaking and Negro American writers."
Beier
also founded the Mbari Club,
in 1961, a cultural hub for African writers that was closely connected with Black
Orpheus, and during the 1960s also acted as a publisher — considered to be
the only African-based publisher of African literature at the time — producing
17 titles by African writers.
Having
earned a reputation as "the doyen of African literary magazines", Black
Orpheus eventually ceased publication in 1975.
References
· Kate Tuttle, "Black
Orpheus", in Anthony
Appiah and Henry Louis Gates Jr (eds), Encyclopedia of Africa, Volume 1, Oxford
University Press, 2010, p. 189.
· · Peter Benson, Black
Orpheus, Transition, and Modern Cultural Awakening in Africa, University of California Press, 1986, p. 24.
· · Quoted in Mark
Wollaeger with Matt Eatough, The
Oxford Handbook of Global Modernisms,
Oxford University Press, 2012, p. 276.
· · Dele Meiji Fatunla, "Three
African and African Diasporan Literary Magazines the Everyone Should Know", What's On Africa, Royal African Society, 30 June 2015.
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