Written symbols, religious objects, oral traditions, and body language have long been integrated into the Kongo system of graphic writing of the Bakongo people in Central Africa as well as their Cuban descendants. This book provides a significant overview of the social, religious, and historical contexts in which the Kongo kingdom developed and spread to the Caribbean.
Writing Through the Visual and Virtual: Inscribing Language, Literature, and Culture in Francophone Africa and the Caribbean interrogates conventional notions of writing. The contributors—whose disciplines include anthropology, art history, education, film, history, linguistics, literature, performance studies, philosophy, sociology, translation, and visual arts—examine the complex interplay between language/literature/arts and the visual and virtual domains of expressive culture. The twenty-five essays explore various patterns of writing practices arising from contemporary and historical forces that have impacted the literatures and cultures of Benin, Cameroon, Côte d’Ivoire, Egypt, Guadeloupe, Haiti, Martinique, Morocco, Niger, Reunion Island, and Senegal. Special attention is paid to how scripts, though appearing to be merely decorative in function, are often used by artists and performers in the production of material and non-material culture to tell “stories” of great significance, co-mingling words and images in a way that leads to a creative synthesis that links the local and the global, the “classical” and the “popular” in new ways
In 1978, Congolese inventor David Wabeladio Payi (1958–2013) proposed a new writing system, called Mandombe. Since then, Mandombe has grown and now has thousands of learners in not only the Democratic Republic of Congo, but also France, Angola and many other countries. Drawing upon Ramon Sarró's personal friendship with Wabeladio, this book tells the story of Wabeladio, his alphabet and the creativity that both continue to inspire. A member of the Kimbanguist church, which began as an anticolonial movement in 1921, Wabeladio and his script were deeply influenced by spirituality and Kongo culture. Combining biography, art, and religion, Sarró explores a range of ideas, from the role of pilgrimage and landscape in Wabeladio's life, to the intricacies and logic of Mandombe. Sarró situates the creative individual within a rich context of anthropological, historical and philosophical scholarship, offering a new perspective on the relationships between imagination, innovation and revelation.
In a gathering of griot traditions fusing storytelling, cultural history, and social and literary criticism, Put Your Hands on Your Hips and Act Like a Woman “re-members” and represents how women of the African diaspora have drawn on ancient traditions to record memory, history, and experience in performance. These women’s songs and dances provide us with a wealth of polyphonic text that records their reflections on identity, imagination, and agency, providing a collective performed autobiography that complements the small body of pre-twentieth-century African and African American women’s writing. Gale P. Jackson engages with a range of vibrant traditions to provide windows into multiple discourses as well as “new” and old paradigms for locating the history, philosophy, pedagogy, and theory embedded in a lineage of African diaspora performance and to articulate and address the postcolonial fragmentation of humanist thinking. In lyrically interdisciplinary movement, across herstories, geographies, and genres, cultural continuities, improvisation, and transformative action, Put Your Hands on Your Hips and Act Like a Woman offers a fresh perspective on familiar material and an expansion of our sources, reading, and vision of African diaspora, African American, and American literatures.
Trans Identity as Embodied Afrofuturism / Amber Johnson -- "I Luh God" : Erica Campbell, Trap Gospel and the Moral Mask of Language Discrimination / Sammantha McCalla -- The Conciliation Project as a Social Experiment : Behind the Mask of Uncle Tomism and the Performance of Blackness / Jasmine Coles & Tawnya Pettiford-Wates.
Material Culture in Transit: Theory and Practice constellates curators and scholars actively working with material culture within academic and museal institutions through theory and practice. The rich collection of essays critically addresses the multivalent ways in which mobility reshapes the characteristics of artefacts, specifically under prevailing issues of representation and colonial liabilities. The volume attests to material culture as central to understanding the repercussions of problematic histories and proposes novel ways to address them. It offers valuable reading for scholars of anthropology, museum studies, history and others with an interest in material culture.
William Faulkner and the Materials of Writing examines the many physical texts in Faulkner's novels and stories from letters and telegrams to Bibles, billboards, and even the alphabetic shape of airport runways. Current investigations in print culture, book history, and media studies often emphasize the controlling power of technological form; instead, this book demonstrates how media should be understood in the context of its use. Throughout Faulkner's oeuvre, various kinds of writing become central to characters forming a sense of the self as well as bonds of intimacy, while ideologies of race and gender connect to the body through the vehicle of writing. This book combines close reading analysis of Faulkner's fiction with the publication history of his works that together offer a case study about what it means to live in a world permeated by media.
In Insignificant Things Matthew Francis Rarey traces the history of the African-associated amulets that enslaved and other marginalized people carried as tools of survival in the Black Atlantic world from the seventeenth to the nineteenth centuries. Often considered visually benign by white Europeans, these amulet pouches, commonly known as “mandingas,” were used across Africa, Brazil, and Portugal and contained myriad objects, from herbs and Islamic prayers to shells and coins. Drawing on Arabic-language narratives from the West African Sahel, the archives of the Portuguese Inquisition, sixteenth- and seventeenth-century European travel and merchant accounts of the West African Coast, and early nineteenth-century Brazilian police records, Rarey shows how mandingas functioned as portable archives of their makers’ experiences of enslavement, displacement, and diaspora. He presents them as examples of the visual culture of enslavement and critical to conceptualizing Black Atlantic art history. Ultimately, Rarey looks to the archives of transatlantic slavery, which were meant to erase Black life, for objects like the mandingas that were created to protect it.
"The Oxford Handbook of Caribbean Religions offers a comprehensive overview of Caribbean religions. The Caribbean is a microcosm of the world's religions, but the small geographic space resulted in the encounter of global religions and indigenous religious practices. The racial, ethnic, and cultural diversity of this region makes brief introductions to Caribbean religions incapable of truly addressing its complex and diverse religious landscape. The Handbook also elaborates on the diversity of the religious traditions and the national particularity of the region while also considering multiple geographic settings. It mentions how often Caribbean religion is studied through the perspective of a discrete religious tradition or geographic setting"--
