In contrast to the context of Francophile Africa, where the main interest was in literary works and an idea of blackness that involved the relatively contentious appropriation of European modernity, certain mediators, located further south, questioned the possible evolution of local cultures and of their own major artistic traditions, free from the subordination of European models, which were viewed in a critical way in terms of the visual arts. Within the framework of the inevitable death of the tribal art which was characteristic of traditional societies (even via tourist reproductions), new and spontaneous forms of artistic production (and also sophisticated forms of syncretism in the case of "natural synthesis" proposed by Uche Okeke in the Zaria School) were being sought without any nativist essentialism (in the cases of Beier, Guedes and Beinart).
In contrast to the context of Francophile Africa, where the main interest was in literary works and an idea of blackness that involved the relatively contentious appropriation of European modernity, certain mediators, located further south, questioned the possible evolution of local cultures and of their own major artistic traditions, free from the subordination of European models, which were viewed in a critical way in terms of the visual arts. Within the framework of the inevitable death of the tribal art which was characteristic of traditional societies (even via tourist reproductions), new and spontaneous forms of artistic production (and also sophisticated forms of syncretism in the case of "natural synthesis" proposed by Uche Okeke in the Zaria School) were being sought without any nativist essentialism (in the cases of Beier, Guedes and Beinart). 
