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Much of my academic career has been spent investigating the impact of Islam upon Africa, a topic that I explored during my initial stint of field-work in Ghana and Ivory Coast and later developed in an exhibition and collection of essays entitled African Islamthe Artistry and Character of Belief (Smithsonian Institution,1984). I have continued to examine this vast topic in a variety of contextsthe rich blending of Arabic written amulets and traditional protective medicines at the court of Asante kings; Muslim ritual and practice among the Bamana of 19th century Segudescribed by French colonials as the “citadel of paganism”; and, in the last several years, the Gnawa of Marrakech, Morocco, where possession ceremonies demonstrate the creative interactions that have been forged between Islam and African artistry within this black community of nearly 20,000 people. My teaching has tended to be much broader in scope touching upon a variety of topics in what I refer to as comparative tropical art-history. My seminars in the last several years have included such topics as “Tribal” Art in a Post-Colonial World; Imaging the 3rd Worlda consideration of documentary film-making in Africa, Australia and the Pacific; Seeking the Sources of History: On the Use of Historical Methods in the Study of “Third-World” Art and Creativity.
Islam and Tribal Art in West Africa, Cambridge U. Press, 1974 (paperback, 1979) The Poetry of Formthe Hans and Thelma Lehman Collection of African Art, U.Washington Press, 1982 "Painted Incantationsthe Closeness of Allah and Kings in 19th Century Asante" in Studies of the Asante Center and Periphery, E. Schildkraut, ed., American Museum of Natural History Press, 1987. With Ray A. Silverman. “The Sahel and Savanna,” in Africathe Art of a Continent, ed. T. Phillips, Royal Academy of the Arts, 1995 Islamic Art and Material Culture in Levtzion and Pouwells, A History of Islam in Africa, 2000 |
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