September 29, 2018
2–4 p.m.
National Museum of African Art
950 Independence Ave SW

Moderated by Mabel O. Wilson (Columbia University), this roundtable focuses on African and African diaspora directions in architecture and design. Panelists will talk about their work as it relates to the theme and may consider broader questions, such as what is an architect’s or designer’s responsibility to successive generations. Panelists include
Olalekan Jeyifous, visual artist
Joe Osae-Addo, ArchiAfrika and Ghana Institute of Architects
Sara Zewde, Studio Zewde
Mario Gooden, Huff + Gooden Architects and Columbia University
Monte Oyd Harris, Center for Aesthetic Modernism

Self-guided tour of the National Museum of African Art follows the roundtable.

This program is held in collaboration with the National Museum of African American History and Culture.

The roundtable is part of the symposium Shifting the Landscape: Black Architects and Planners, 1968 to Now, sponsored by the National Museum of African American History and Culture (NMAAHC), which examines achievements and challenges within architecture and planning over the last 50 years.

Free and open to the public

Guangzhou Dream Factory
October 3, 2018
7–9 p.m.
Meyer Auditorium, Freer Gallery of Art
1050 Independence Avenue SW

Guangzhou Dream Factory (2018, 65 min., English and Mandarin with English subtitles) explores the evolving relationship between China and Africa. Guangzhou, aka Canton, is southern China’s centuries-old trading port and, today, a mecca of mass consumption. Every year more than half a million Africans travel to Guangzhou to buy goods to resell in Africa. Some have chosen to stay, and for these Africans China looks like the new land of opportunity, a place where anything is possible. But is it? A discussion with film director Christiane Badgley and light refreshments follow the film.

Presented with the Freer Sackler Gallery and in partnership with the Young African Professional Network (YAP DC). African Diaspora Heritage Talk Series encourages dialogue between the National Museum of African Art and D.C.’s local African diaspora community.

Free and open to the public

“Good As Gold” is the first major exhibition of Senegalese gold jewelry to date that focuses on the history of Senegal’s gold, from past to present, and the beauty and complexity of the way Senegalese women use ornament and fashion to present themselves. Rooted in the Wolof concept of sanse (dressing up, looking and feeling good), Good As Gold examines the production, display, and circulation of gold in Senegal as it celebrates a significant gift of gold jewelry to the National Museum of African Art collection.