Call for Submissions: “Frantz Fanon’s Legacies in the Literature and the Arts of the Americas”


Two workshops dedicated to the study of Frantz Fanon’s legacy—Héritages de Frantz Fanon dans les arts et la littérature des Amériques [Frantz Fanon’s Legacies in the Literature and the Arts of the Americas]—will be held in France. The first—hosted by Interactions culturelles et discursives (ICD) team—will be held on December 15, 2017 at François Rabelais University, in Tours. The second—hosted by Centre Interlangues (Texte, image, langage)—will be held on April 6, 2018, at the University of Bourgogne-Franche-Comté, in Dijon. The deadline for submissions to participate in these workshops is October 1, 2017.

Description [my translation of excerpts from Fabula]: “Yet another book on Fanon?,” asked Lylian Kesteloot a few years ago in the preface to Frantz Fanon, l’homme de rupture, by Abdelkader Benarab (2010: 9). The same can be said of these workshops centering on the emblematic figure of Frantz Fanon, on his “metamorphic thought” [pensée métamorphique] (Mbembe 2012: 9), whose work “allowed for the constitution of a multifarious, rhizomatic field of studies, and, today, of global scope” (Fanbé 2011: 12) The universality and contemporary nature of Fanon are not doubted in the least, as evidenced by the abundance, at the beginning of this millennium, of critical literature and events devoted to him, both in France and other areas in Europe, Africa, or the Americas. However, there are two gaps in the field of Fanonian studies: on the one hand, there has been only minimal attention to the impact of Fanon’s thought on art and literature, while sociological, historical, or psychological readings prevail. On the other hand, although much work has been done on the resonances of Fanon’s thought in the United States and (to a lesser extent) in Latin America, there is at present no broad study that takes into account all of the Americas, including the Caribbean, in a perspective of dialogue between these geographical areas. The workshops entitled “Héritages de Frantz Fanon dans les arts et la littérature des Amériques” will therefore attempt to meet this dual ambition, by allowing the possibility of an exchange between sub-continents separated by criticism, and by centering mainly on the impact of Fanon in the artistic and literary world.

To approach the work and the thought of Frantz Fanon through the prism of the arts and literature is probably not the first approach that comes to mind; nevertheless, Fanon, had a definite interest in these cultural expressions, as indicated by his observations on national culture, which he saw as a necessary condition for the constitution of a nation and the emancipation of peoples (Fanon 2002). He had followed the courses of Aimé Césaire in Fort-de-France, for whom he had great admiration, and was himself the author of several unpublished poems (Cherki 2011: 22) and two plays, L’Œil se noie and Les mains parallèles, published recently (Khalfa, Young 2015), he participated in the 1959 Second Congress of Black Writers in Rome, and his essays underwent careful linguistic work. [. . .]

Guidelines: The workshops may be organized around the following (non-exclusive) axes: Modalities of expression: How do we identify the traces of Fanon’s thought in the arts and literature of the Americas? Is it a matter of (explicit, implicit) citations, homage, commentary, imitation (especially in terms of style), etc.?  Are the artists directly inspired by the texts of Fanon, or is the re-appropriation directly or indirectly, conscious or unconscious (through, for example, American theoreticians on gender, post-decoloniality and / or intersectionality)?; Most utilized themes: Is there a consistency among the themes that have been most analyzed or controversial in critical production? [. . .]; Issues of translation [. . .]; Diachronic perspectives [. . .].

Due to the resolutely transdisciplinary lens of the “Héritages de Frantz Fanon dans les arts et la littérature des Amériques” workshops, people representing all countries and territories of the Americas and the Caribbean, regardless of their language, as well as all arts—from literature to cinema, painting, sculpture, song, street art (as in Bogota, for example)—are called to participate. Comparative approaches between two geographical areas are welcome but not required.

The language of communication will preferably be French, but English and Spanish will also be accepted.

Proposals—including a title, an abstract of approximately 250 words, and a brief bio-bibliographic note, must reach the following two addresses before October 1, 2017: and

[Image above by Hossein Gaber; accessed via]

For original information, see

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