By virtue of its geographic situation, the art of Ethiopia belongs to Africa, however its development was inevitably shaped by historical events. As a result, it is closely linked to models derived from the artistic traditions of Byzantium, and also incorporates elements of Islamic culture and those originating in the Indian sub-continent. The volume presents a comprehensive catalogue of the exceptional collection of paintings on wood belonging to the Institute of Ethiopian Studies in Addis Ababa.
In An Ethiopian Reading of the Bible, Keon-Sang An explores the distinctive biblical interpretation of the Ethiopian Orthodox Tewahido Church (EOTC). He illuminates the interpretation of the Bible in a particular historical and cultural context and presents a compelling example of the contextual nature of biblical interpretation. Since the earliest years of the Christian church the EOTC has significantly informed the unique spirituality of Ethiopia. Drawing on his own experience of teaching theology in Ethiopia, Keon-Sang An provides a comprehensive consideration of the EOTC's past and present, and examines the interplay between tradition and context in biblical interpretation. An Ethiopian Reading of the Bible contributes much to current biblical scholarship and equips readers with the tools for a future of mutual learning.
This book explores the biblical interpretation of the Ethiopian Orthodox Tewahido Church (EOTC). In doing so, it illuminates the interpretation of the Bible in a particular historical and cultural context and presents a compelling example of the contextual nature of biblical interpretation. Those who visit Ethiopia experience its unique spirituality, which is significantly informed by the presence of the EOTC. The EOTC has existed from earliest years of the Christian church. It has also developed and maintained its own ecclesiastic tradition in the Ethiopian context and has its own distinctive way of reading the Bible. It is noteworthy, particularly in the African context, that it has its own commentaries on the Scriptures, which continue to serve as a vital tradition in the EOTC's interpretation of the Bible. This is evident in the contemporary hermeneutics and sermons of EOTC preachers. In its comprehensive consideration of the EOTC's past and present, this book examines the interplay between tradition and context in biblical interpretation and contributes to current biblical scholarship.
The truth has been buried more than one hundred years . . . Leading a small army of slaves, Nat Turner was a man born with a mission: to set the captives free. When words failed, he ignited an uprising that left over fifty whites dead. In the predawn hours of August 22, 1831, Nat Turner stormed into history with a Bible in one hand, brandishing a sword in the other. His rebellion shined a national spotlight on slavery and the state of Virginia and divided a nation’s trust. Turner himself became a lightning rod for abolitionists like Harriet Beecher Stowe and a terror and secret shame for slave owners. In The Resurrection of Nat Turner, Part 1: The Witnesses, Nat Turner’s story is revealed through the eyes and minds of slaves and masters, friends and foes. In their words is the truth of the mystery and conspiracy of Nat Turner’s life, death, and confession. The Resurrection of Nat Turner spans more than sixty years, sweeping from the majestic highlands of Ethiopia to the towns of Cross Keys and Jerusalem in Southampton County. Using extensive research, Sharon Ewell Foster breaks hallowed ground in this epic novel, revealing long-buried secrets about this tragic hero.
This book is an interdisciplinary theological exploration of Haile Gerima's cinema, an Ethiopian filmmaker and storyteller who successfully translated African folkloric orality and wove other indigenous art forms into the language of cinema. Gerima's five decades legacy of Pan-African cinema embodies 'symbolic resistance' against Afro-pessimistic and stereotypical mis/disrepresentations, both manifestations of neo-colonialism. In response, he uses "camera as a weapon" to resist exotic otherness and alienation invented by conventional cinema. Through an alternative moving pictures, he depicted dignified images of Africa towards decolonising cinema and liberating the mind. His memory-films achieves archiving the stories of the people of African descent. Gerima, who stands in par with great African film griots such as Ousmane Sembène - 'the father of African cinema' and Med Hondo, deserves further interdisciplinary reflections. Gerima's 'Triangular cinema' and 'imperfect cinema' are inspired from indigenous values and cultural products such as holy icons and fireplace stories. His works foster asserting identity of the self, maintaining the right to difference and embracing ubuntu-like human personhood. They are essential acts in the 21st century. Like theology, cinema alters a way of life - human experiences, imaginations, and narrative identity. This book engages with the works and thoughts of Gerima towards re-imaging Africa through cinematic narratives in being and becoming an African.
Painting the Soul is a beautifully illustrated study of the creation and development of the icon. "This book is a firework display. It sets off scores of explosions which light up the sky over-arching our field, terrain that is normally traversed nose down and too mindful of the footsteps of our predecessors."—Burlington Magazine
