This AFRICAN QUARTERLY ON THE ARTS 
r — 
is a time of swift and confounding changes, a 
time that simultaneously invites 
and rejects statements of selfdefinition 
and redefinition. It is 
now, in this vanishing present, 
perhaps more than ever, that the 
idea of 'Africa' would seem most 
problematic. Africa embodies 
realities as varied and as multifaceted 
as its global diaspora. 
Constantly in renewal, the idea is 
neither unitary nor 
complete. Expectations, 
even by those who 
identify or are identified 
with Africa, can not be 
always assumed. This 
variety, most intensified 
in our age of selective 
globalization, points to 
creative possibilities that 
Glendora Review exists 
as a platform to monitor 
and promote. 
We answer to the call for 
the renewal of perspectives 
on contemporary cultural 
and artistic forms, aware of 
its tone of immediacy. We 
strive to accommodate the 
disparate persuasions that 
define the world today, but 
constantly ensuring that a 
critical journal does not turn Africa 
into a cut-and-wrap discourse 
isolated from the site of its relevance. 
This has sometimes meant 
consciously cultivating an aesthetic 
space for heterodoxy, a celebration 
of the eclectic, and even the 
confounding. Our world admits of 
complexity. 
As a journal of arts and letters 
forged in the crucible of 
marginalization, we are a vehicle 
for varied forms of literary, visual 
and performance cultures, even as 
these are freed and defined by the 
momentous mutations of global 
history. The immediate beneficiaries 
of this editorial outlook are those 
abundant creative energies lurking 
in the big and small corners 
around the African hemispheres. 
We invite you to share in this 
fascinating experience. 
To ensure maximum coverage, 
Glendora Review is working through 
a network of seasoned editors 
located in Africa and North 
America. It's two substantive editors 
are Sola Olorunyomi and Akin 
Adesokan. Sola, a writer and 
freelance journalist, teaches comparative 
literature in the English 
department of Nigeria's premier 
University of Ibadan, while Akin, a 
novelist and erstwhile journalist is 
currently a doctoral candidate at 
Cornell University, Ithaca. Olakunle 
Tejuoso, the editorial director, is a 
music critic and founder of the 
journal, while Ololade Bamidele, a 
literary critic and former co-editor of 
Nigeria's writers' literary magazine 
- 'ANA Review',is the managing 
editor. 
The editors 
168, Awolowo Rood, Ikoyi, Lagos, Nigeria. 
Tel/Fax: Lagos 2692762 
http://www.glendora-eculture.com 
e/mail: 10527). 11 @compuserve.com
A multimedia project exploring 
and commemorating the 
influence of Fela Anikulapo- 
Kuti on artists worldwide 
This extraordinary exhibition of Felarelated 
artilacts and new works by 
premier contemporary artists inspired 
by Fela, accompanied by concerts, 
symposia, a film series, an interactive 
opens in New York City 2003. 
The Legacy of Fela Anikulapo-Kuti 
PROJECT 
Featuring: 
Femi Anikulapo-Kuti. Antibalas. Biyi 
Bandole. Bill Bidjocka. Sokan Douglas 
Camp. Common. Andrew Dosunmu. Yomi 
Durotoye. Kodwo Eshun. Fab 5 Freddy. 
Kendell Geers. Vivien Goldman. Kay 
Hassan. Barkley Hendncks. Juliet Highet. 
Alfredo Jaar. dele |egede. Marcia Kure. 
Ghanokwu Lemi. Rich Medina. Wangechi 
Mutu. Olu Oguibe. Moyo Okediji. Sola 
Olorunyomi. Femi "Foto" Osunla. Knox 
Robinson. The Roots. Kelefa Sanneh. 
Trevor Schoonmaker. Yinka Shombare. 
Pascale Maritime Tayou. Obiora 
Udechukwu. Roberto Visani. Kara Walker. 
Ouattara Walts and Fred Wilson. Michael 
Veal and Wunmi. 
Organized by 
Trevor Schoonmaker 
Kalakuta Projects 
www.felakuti.net
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