This book brings together from four years of study on Nigerian contemporary art's internationalization. The monograph integrates voices of African (Nigerian) artists and art market players into the growing discourse on the emerging art markets in the global South. It explores the logic of competition and dynamics of power relations in the global markets, focusing on the internationalization of contemporary art forms from peripheral regions. The book confirms that the internationalization of contemporary art form from Nigeria is limited due to systematic marginalization in the artistic field, which in this case based on postcolonialism, and debilitating socio-economic factors such as outmoded art education, unstructured support system and weak mechanism for local validation, and an inefficient political framework for art governance. It will therefore be useful to students and researchers in the sociology of art, art market studies, art history and culture polity.

This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region. This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.

Re-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years. In discussions of the canon of art history, the notion of ‘inclusiveness’, both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of ‘exclusion’, which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of ‘others’ from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction that discusses these issues, thirteen newly commissioned essays present case studies of consecration in the contemporary art field, and three commissioned discussions present diverse positions on issues of the canon and consecration processes today. This volume will be of interest to instructors and students of contemporary art, art history, and museum and curatorial studies.

Focusing on high-end cuisine, this book examines the flows of culinary knowledge from culturally peripheral locations to two cities at the global center, London and New York. Through the voices of chefs and other professionals in the industry, this book invites readers to rethink our understandings of high-end and ethnic cuisines, as well as the conventions and principles that shape the contemporary field of gastronomy and fine-dining. It examines a broad range of cuisines, including Peruvian, Korean, Mexican, Malaysian, Senegalese, West African, Thai, Chinese, and Indian, and conveys the chefs’ voices as they strive to elevate their cuisines through discursive and material means, including the shaping of menus, and restaurant decor. While the main focus falls on chefs as the producers of high-end cuisines, this book also gives consideration to their consumers, that is cosmopolitan diners in the two global cities, and to the influence of culinary intermediaries judging and legitimizing their high-end status. Theoretically, this book contributes to the debate on cultural globalization. It undertakes a study of hitherto rarely examined cultural counterflows or reverse cultural globalization and analyzes both the precipitants of this occurrence and the effects of cultural counterflows on both Western global cities and the home countries of chefs. This book will be of great interest to students and scholars of food studies, food cultures, cultural globalization, and culinary studies.

This book centers people of African descent as cultural leaders to challenge the myth that they do not know how or care about managing and preserving their culture. Arts Management, Cultural Policy, & the African Diaspora also presents comparative case studies of the challenges, differences, similarities, and successes in approaches to cultural leadership across multiple cultural contexts throughout the diaspora. This volume disrupts the enduring and systemic global marginalization, oppression, and subjugation that threatens and undermines people of African descent’s cultural contributions to humanity. The most important distinguishing feature of the volume is its geographical use of the African diaspora to explore the subjects of arts management and cultural policy which, to date, no volume has done before. Furthermore, the volume’s comparative examination of ten critical, historical, practical, and theoretical questions makes it a significant contribution to the literatures in Arts Management, Cultural Policy, Cultural, Africana, African American, and Ethnic studies.

The Routledge Handbook of Tourism and Indigenous Peoples presents an up-to-date, critical and comprehensive overview of established and emerging themes around Indigeneity and connections between Indigenous peoples and tourism development. Offering socio-cultural perspectives and multidisciplinary insights from leading Indigenous and non-Indigenous scholars and tourism practitioners, the book explores contemporary issues, challenges and trends. Organised into six sections, the handbook explores Indigenous community involvement in tourism, Indigenous entrepreneurship and innovation, Indigenous tourism policies and politics, and the complexities of colonialism and decolonisation issues. This text focuses on the active role that Indigenous peoples have in the industry and uses international case studies and experiences to explore the global context of Indigenous tourism. This handbook fills a notable gap by offering a critical and detailed understanding of the role of Indigenous practitioners and societies in tourism and how they interact within the tourism nexus. It will be of interest to scholars, students, tourism practitioners and policymakers working in tourism, development studies, anthropology, human geography and sociology.

The Creative Industries and International Business Development in Africa takes an unorthodox approach to showcasing the trends and challenges of the contemporary creative economy with a view to positioning the sector for a global audience.

This handbook fills a large gap in the current knowledge about the critical role of Africa in the changing global order. By connecting the past, present, and future in a continuum that shows the paradox of existence for over one billion people, the book underlines the centrality of the African continent to global knowledge production, the global economy, global security, and global creativity. Bringing together perspectives from top Africa scholars, it actively dispels myths of the continent as just a passive recipient of external influences, presenting instead an image of an active global agent that astutely projects soft power. Unlike previous handbooks, this book offers an eclectic mix of historical, contemporary, and interdisciplinary approaches that allow for a more holistic view of the many aspects of Africa’s relations with the world.

The Journal of Integrative Humanism Ghana is a publication of the Faculty of Arts, University of Cape Coast, Ghana. All papers, reports, communications and contributions published in this journal and copyright in the same are the property of Faculty of Arts, University of Cape Coast, Ghana and the University of Calabar, save where otherwise indicated.

In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.