Ahmed Makki Kante
Candice Breitz
Fernando Alvim
Georges Adéagbo
Joseph Kpobly e Thomas Mulcaire
Malick Sidibe
Moshekwa Langa
Seydou Keita
Soly Cissé
Touhami Ennadre
William Kentridge

The tempest


following Willian Shakespeare and Aimé Césaire


Names of the conference delegates:

ALONSO the director of an American Foundation for philanthropy in the style of art

SEBASTIAN the editor of a journal of contemporary African art

PROSPERO a well-assimilated director of a National Gallery in an unnamed African state

ANTONIO his brother, an independent curator renowned for arrogating all theory on Africa to himself

ferdinand a trainee curator

gonzalo a turgid but honest old essentialist fart

adrian & francisco collectors

CALIBAN a savaged but in-form African modernist

trinculo the publisher of Flash Art

STEPHANO a drunken Marxist critic

the master of the slaver


a local

mariners/museum staff

MIRANDA ProsperoËs daughter, a student of Robert Hewison

ariel a writer-philosopher trapped in the body of an engineer


the ghost of oswald de andrade

the ghost of roland barthes

the ghost of picasso

the ghost of andré malraux

the ghost of frantz fanon


macumba spirits


pimps & hookers


The scene: Dakar, Senegal. There is a slaver moored, half-sunken off Gorée Island. It is not clear whether it is a museum piece or a functioning ship.



To be sung to the tune of Bob MarleyËs No Woman No Cry.1the master of the slaver: Over time CalibanËs recovery of his island has proved a qualified triumph, with the autonomy of his emergent nation far more compromised than was imagined by the generation of more optimistic nationalists·politicians and writerËs alike·who saw the arrival of independence. Third Worlders have found it difficult to coax from the play analogies with these new circumstances wherein Prospero, having officially relinquished authority over the island, so often continues to manage it from afar. . . . The playËs declining pertinence to contemporary Africa and the Caribbean has been exacerbated by the difficulty of wresting from it any role for female defiance or leadership in a period when protest is coming increasingly from that quarter.2

1.Bob Marley, V. Ford, No woman no cry, Bob Marley and the Wailers, Live, Island Records, 1975.

2.Rob Nixon, "Caribbean and African appropriations of The tempest," in Critical Inquiry, Spring 1987, Vol. 13, no. 3, p.577.