Licia Clifton-James | Kansas City Art Institute (original) (raw)

Uploads

Papers by Licia Clifton-James

LIST OF ILLUSTRATIONS 2-1. Ukara cloth, Ejagham. Cotton cloth with indigo dye creating Ejagham se... more LIST OF ILLUSTRATIONS 2-1. Ukara cloth, Ejagham. Cotton cloth with indigo dye creating Ejagham secret symbols. Photo by L. Clifton-James. 2-2. Makoza of Kingoyi with two of his miniature niombo. Photo courtesy of Swedish missionary, Karlman, approx. 1934, from The Four Moments of the Sun: Kongo Art in Two Worlds, by Robert Ferris Thompson and Joseph Cornet, 60. 2-3. Detail of chest of miniature niombo on which Makoza of Kingoyi has his hand. Photo courtesy of Swedish missionary, Karlman, approx. 1934, from The Four Moments of the Sun: Kongo Art in Two Worlds, by Robert Ferris Thompson and Joseph Cornet, 69. An example of spirit writing. 2-4. An end of a balcony pew of The First African Baptist Church, Savannah, Georgia. Photos by L. Clifton-James 04/01/10. The designs could have been influenced by Sephardi Hebrew cursive and/or Islamic writing.

depth exploration, from the new cultural hegemonic perspective, of the development of African Ame... more depth exploration, from the new cultural hegemonic perspective, of the development of African American social theories as a result of a well thought-out and manipulative plan supporting and encouraging inequality since slavery. In the first sentence of his introduction, Semmes states, "The purpose of this work is to provide a way of seeing and understanding the intellectual tradition and body of knowledge called Black, African American, or Africana studies." i He goes on to say that Black, African American, or Africana studies "is tied to explicating social and historical processes that affect the status and development of people of African descent on a global scale." ii Within the pages of this book, he uses series of essays to answer questions, such as, "What organizing principles emerge that seem to direct the production of knowledge within the discipline? What are its logical as well as empirical underpinnings? How do we properly locate the parameters of the discipline? What are its major theoretical and conceptual issues and why?" iii He basically proposes that cultural hegemony has turned into the metaproblem or substrate that propagates issues from all areas within African American studies, including issues of epistemological, conceptual, theoretical, and critical concerns.

Books by Licia Clifton-James

J.B. Murray and the Scripts and Spirit Forms of Africa, 2022

Providing an excellent example of why folk artists can be appreciated as carriers of knowledge, e... more Providing an excellent example of why folk artists can be appreciated as carriers of knowledge, even if they are unaware of it, this book could change the ways we understand and appreciate American folk arts. Connecting a sharecropper from Georgia in the Southern United States to a protector and healer in Touba, Senegal, West Africa, the holy city of Mouridism, and the final resting place of its founder, Shaikh Ahmadou Bàmba Mbàcke, it makes an interesting link while examining the cultural aspects of two very different and yet similar paths of life. Historians and art historians alike will find this investigation of African American art and folk culture both interesting and insightful. Not only does this book trace the characteristics of art through the African Diaspora, but it also traces Islam through those same diasporic transportations of colonial exploration and slavery.

LIST OF ILLUSTRATIONS 2-1. Ukara cloth, Ejagham. Cotton cloth with indigo dye creating Ejagham se... more LIST OF ILLUSTRATIONS 2-1. Ukara cloth, Ejagham. Cotton cloth with indigo dye creating Ejagham secret symbols. Photo by L. Clifton-James. 2-2. Makoza of Kingoyi with two of his miniature niombo. Photo courtesy of Swedish missionary, Karlman, approx. 1934, from The Four Moments of the Sun: Kongo Art in Two Worlds, by Robert Ferris Thompson and Joseph Cornet, 60. 2-3. Detail of chest of miniature niombo on which Makoza of Kingoyi has his hand. Photo courtesy of Swedish missionary, Karlman, approx. 1934, from The Four Moments of the Sun: Kongo Art in Two Worlds, by Robert Ferris Thompson and Joseph Cornet, 69. An example of spirit writing. 2-4. An end of a balcony pew of The First African Baptist Church, Savannah, Georgia. Photos by L. Clifton-James 04/01/10. The designs could have been influenced by Sephardi Hebrew cursive and/or Islamic writing.

depth exploration, from the new cultural hegemonic perspective, of the development of African Ame... more depth exploration, from the new cultural hegemonic perspective, of the development of African American social theories as a result of a well thought-out and manipulative plan supporting and encouraging inequality since slavery. In the first sentence of his introduction, Semmes states, "The purpose of this work is to provide a way of seeing and understanding the intellectual tradition and body of knowledge called Black, African American, or Africana studies." i He goes on to say that Black, African American, or Africana studies "is tied to explicating social and historical processes that affect the status and development of people of African descent on a global scale." ii Within the pages of this book, he uses series of essays to answer questions, such as, "What organizing principles emerge that seem to direct the production of knowledge within the discipline? What are its logical as well as empirical underpinnings? How do we properly locate the parameters of the discipline? What are its major theoretical and conceptual issues and why?" iii He basically proposes that cultural hegemony has turned into the metaproblem or substrate that propagates issues from all areas within African American studies, including issues of epistemological, conceptual, theoretical, and critical concerns.

J.B. Murray and the Scripts and Spirit Forms of Africa, 2022

Providing an excellent example of why folk artists can be appreciated as carriers of knowledge, e... more Providing an excellent example of why folk artists can be appreciated as carriers of knowledge, even if they are unaware of it, this book could change the ways we understand and appreciate American folk arts. Connecting a sharecropper from Georgia in the Southern United States to a protector and healer in Touba, Senegal, West Africa, the holy city of Mouridism, and the final resting place of its founder, Shaikh Ahmadou Bàmba Mbàcke, it makes an interesting link while examining the cultural aspects of two very different and yet similar paths of life. Historians and art historians alike will find this investigation of African American art and folk culture both interesting and insightful. Not only does this book trace the characteristics of art through the African Diaspora, but it also traces Islam through those same diasporic transportations of colonial exploration and slavery.