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Proceedings*

*The following excerpts are courtesy of Présence Africaine, who devoted a special 1956 issue of their journal, Présence Africaine: Revue culturelle du monde noir, to the 1st International Congress of Black Writers and Artists.

The First International Congress of Black Writers and Artists organized in Paris in 1956 is remembered for its speeches of historic importance, in terms of ideas as well as creativity.

The Congress was also an opportunity for debates characterized by thought-provoking statements and fruitful controversies. These debates give us a glimpse of the diversity, richness, and positive influence of the intellectual environment of the post-World War II era on the creativity of black writers and artists, who were an integral part of those momentous times on which they left their mark.

The minutes of the Congress include the texts of speeches and a thorough transcription of the debates, during which the main speakers at the Congress unambiguously expressed their views. The minutes were published that same year by Présence africaine.

This compendium, who is made available to the public again at the occasion of the Anniversary, was reprinted several times because of its importance.

The complete proceedings, consisting of the Minutes of the First International Congress of Black Writers and Artists and made available in the latest edition with the preface and inaugural address by Alioune Diop, still preserve their historic significance for two reasons. They are a record of what actually happened then and reveal in a lively way the quality of the contributions of black writers and artists to the crucial post-World War II era. They also make accessible to us documents that express premonitory visions and proved extremely influential, sometimes even decisive, because of their powerful content.

These brief excerpts aim to remind us of the themes that preoccupied the great black thinkers and artists of those times and that they discussed during the first congress held at the Sorbonne, in Paris, in 1956, and later in Rome, in 1959, during the second congress.

The Minutes from the First International Congress of Black Writers and Artists, published as a special issue of the journal Présence Africaine (No. VIII-IX-X, June–November 1956), are available, like those from the Second Congress, which took place in Rome in 1959 (No. XXIV-XXV February-May 1959) at Présence Africaine, 25 bis, rue des Ecoles, Paris 75005.

THE Editorial titled "La culture moderne et notre destin" that was included in this publication was penned by Alioune Diop, founder and director of Présence africaine.

While this text reflects the difficult circumstances of the post-war era, it also hints at the emergence of a modern culture without borders. Alioune Diop opened the way toward the fulfillment of the black world's destiny.

"For a long time, writes Alioune Diop, we have felt the need to illustrate the presence of men of black culture within a modern world that is increasingly violent and where those who are silent are ruthlessly crushed. The number, quality, and diversity of the talents should be a first message showing the world that we exist." (p. 3)

This editorial, while skimming through the acute problems faced by the black world, also expresses the constant desire of universalism of both writers and artists.

"Thus, again, we are concerned with world culture, regardless of our level of modernity." (p. 5)

And Alioune Diop concludes:

"Therefore, we have two major tasks before us:

1. Help a world audience discover our original cultures, insofar as these cultures express the real life of our people and our true personality.
2. Reflect to our people the image of their hopes, experiences, and joys, enlightened by the ordeals, the joys, and the hopes of the rest of the world." (p. 6)

Alioune Diop'S INAUGURAL ADDRESS

"This day will be remembered as a great day. If it can be said that the Bandoeng Conference was the most important event for raising awareness among non-European people since the end of the war, I believe that this first World Congress for Men of Black Culture will be the second major event of this decade." (p. 9)

Thus spoke Alioune Diop when he opened the First Congress of Black Writers and Artists, which, in his view, was the cultural Bandoeng of the time.

"Black people from the United States, the Caribbean, and the African continent, regardless of the distance which sometimes separates our spiritual universes, we definitely have something in common: we all have common ancestors." (p. 9)

And, immediately after saying this, he added:

"Skin color is just an accident; this color, however, is responsible for events and intellectual creations, institutions, and ethical laws which have indelibly marked the history of our relations with the white man." […]

"During the next few sessions, you will be able to hear speakers stress the responsibilities of Western culture with respect to colonization and racism. We must recognize that we are not the only victims of racism. During the last war, Jews were the victims of hardships planned and carried out at a level of cruelty that could not even be imagined until then. It is with great emotion that we pay tribute here to the memory of all the victims of Hitler's racism. We should not hesitate, however, to note that the roots and nature of anti-Semitism are quite different from anti-Negro racism. Jews are not usually considered as unwelcome barbarians in the international community, or even in the context of a modern life in which Blacks and White would live in peace together, without any reference to the color of their skins. Many Jews are well known in the fields of science, philosophy, politics, and literature, and they enjoy the respect of people all over the world for their achievements. How many black ambassadors, scientists, statesmen, or artists did we know before the war who could have been appreciated on the basis of their skills or talents?" (pp. 9, 10)

"Here is the outrageous issue of people without culture. Although the true culprits in the tragedy of colonization intentionally created such a myth, it is still surprising that generations of cultural and spiritual authorities have considered that men may live in society without having a culture. […] There are no people without culture." (p. 12)

"The state is the guarantor of a culture's memory, traditions, and characteristics […] Thus, the cult of our classics and their actualization in light of our current situation are refused to colonized people, as well as the freedom to think of a future commensurate with their love for the world." (p. 13)