2018
DOI: 10.1111/anti.12392
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A “Scented Declaration of Progress”: Globalisation, Afropolitan Imagineering and Familiar Orientations

Abstract: Branded as “Africa's first luxury perfume”, the Scent of Africa perfume is a “scented declaration of progress”. Particularly fascinating is the commercial advertisement for the perfume, which I argue to be an “Afropolitan Imagineering” project that is intended to signal Africa's rise and its new association with global cosmopolitanism. At first glance, the Scent of Africa perfume advertisement seems to point to the ways in which Imagineering projects can reproduce colonial discourses about Africanness. However… Show more

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Cited by 11 publications
(14 citation statements)
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“…Her tenure as a senior Bush Administration official coincided with the rapid militarisation of US foreign policy towards Africa, through the creation of the Department of Defense’s Africa Command (AFRICOM) and the expansion of the GWOT in West Africa (Meché ). Not far from the exhibit hall—but perhaps beyond the purview of an official Afropolitan sensibility (Adeniyi Ogunyankin )—one can observe another kind of pan‐African art on display: graffiti etched under a highway overpass approximating a Black Power‐era Angela Davis (see Figure ). Painted in red, the rendering of Davis with her mouth open defiantly attests to the durability and desirability of her image as a global symbol of protest politics (Davis ; James ; Raiford ).…”
Section: Portraits Of a Citymentioning
confidence: 99%
“…Her tenure as a senior Bush Administration official coincided with the rapid militarisation of US foreign policy towards Africa, through the creation of the Department of Defense’s Africa Command (AFRICOM) and the expansion of the GWOT in West Africa (Meché ). Not far from the exhibit hall—but perhaps beyond the purview of an official Afropolitan sensibility (Adeniyi Ogunyankin )—one can observe another kind of pan‐African art on display: graffiti etched under a highway overpass approximating a Black Power‐era Angela Davis (see Figure ). Painted in red, the rendering of Davis with her mouth open defiantly attests to the durability and desirability of her image as a global symbol of protest politics (Davis ; James ; Raiford ).…”
Section: Portraits Of a Citymentioning
confidence: 99%
“…Thus, there are ongoing, pervasive and conscious efforts to project a new image of Africa and Africans as worthy of being considered world‐class and central to the global imaginary. Such efforts are what I refer to as Afropolitan Imagineering (Adeniyi Ogunyankin, ).…”
Section: Afropolitan Imagineering and The Urban In Africamentioning
confidence: 99%
“…Unlike Selasi's definition of Afropolitan, Afropolitan Imagineering primarily pertains to the continent and similarly to Mbembe's definition; it is about the refusal of victim identity and assertion that Africa is part of the world. Moreover, to echo the critiques of Afropolitan/Afropolitanism, the project of Afropolitan Imagineering has the proclivity towards re‐centring the West as the ‘world’ in terms of the aspiration to be identified as world‐class, which is often predicated on Westernized standards and definitions (Adeniyi Ogunyankin, ).…”
Section: Afropolitan Imagineering and The Urban In Africamentioning
confidence: 99%
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