Podcast appearances and mentions of robert farris thompson

Over the past four decades, this episode's guest, Cynthia Winton-Henry, and the worldwide community, she and her collaborator, Phil Porter, have helped to grow, have sparked a reconvening of the pre-historic circle of dance and song, and story that animated and nurtured the nascent human community. For more inspiring change maker stories also check out the Change the Story CollectionBIOCynthia Winton-Henry, M.Div, co-founded InterPlay (www.interplay.org) with Phil Porter in 1989. They mentor teachers around the world in best practices to build community and unlock the wisdom of the body using movement, story, stillness, and voice. Cynthia hosts weekly Online Dance Chapels at the Hidden Monastery at www.cynthiawinton-henry.com and teaches the initiations needed by gifted and sensitive bodies using her Self-Care Playbook in the Art of Ensoulment. She's taught at Holy Names University's Sophia Center and the University of Creation Spirituality in Oakland, and at Pacific School of Religion in Berkeley, where she received the Distinguished Alumni Award. Her books include Move: What the Body Wants by Woodlake Press, Chasing the Dance of Life published by Apocryphile Press and Dance: A Sacred Art by Skylight Press, and wrote the concluding essay "Grace Operatives: How Body Wisdom Changed the World" in Phenomonlogies of Grace edited by Marcus Bussey and Camilla Mozzini.Notable MentionsInterplay: InterPlay is an active, creative way to unlock the wisdom of the bodyPhil Porter: Phil is one of the founders of InterPlay. He is a teacher, performer, writer, and organizer. With Cynthia Winton-Henry he is the co-founder of WING IT! Performance Ensemble, and has written several books, some in collaboration with Cynthia, including Having It All: Body, Mind, Heart & Spirit Together Again at Last and The Slightly Mad Rantings of a Body Intellectual Part One. Phil is particularly interested in the use of InterPlay in organizational life and believes that InterPlay can be a powerful tool to create communities of diversity and peace.African Art in Motion: The exhibition was based on a concept of Robert Farris Thompson, associate professor of art history at Yale University, that African art can only be understood through a grasp of African dance and ritual and in the special language of body motion: implied, arrested, or expressed. TRuth St. Dennis: was an American pioneer of modern dance, introducing eastern ideas into the art and paving the way for other women in dance. She was inspired by the Delsarte advocate Genevieve Stebbins. St. Denis was the co-founder in 1915 of the American Denishawn...

One of the spiritual fathers of Afropop Worldwide has joined the ancestors. After an extraordinarily rich and full life, Dr. Robert Farris Thompson -- or, as he preferred to be called, "T" -- passed on November 29, 2021, at the age of 88. Through his books, lectures and mentorship, T revolutionized the study of African art and culture beginning in the 1950s, and he inspired generations of students and scholars. While his academic discipline was art hisotry, music was central to his conception. This program was produced as an Afropop Worldwide Hip Deep episode in 2005 to celebrate his book Tango: The Art History of Love. In it, T talks to Ned Sublette about the erotic Afro-Argentine dance whose Kikongo-derived name he renders as "moving in time to a beat." With musical examples galore. We present it in loving memory. APWW #479 Produced by Ned Sublette

Greetings Glocal Citizen! For this two part conversation we're continuing on a narrative transformation path in conversation with another writer, author and researcher--meet Dr. T.J. Desch-Obi author of Fighting for Honor: The History of African Martial Arts in the Atlantic World [[https://read.amazon.com/kp/embed?asin=B08N6VLKZC&preview=newtab&linkCode=kpe&ref=cmswrkbdpS75EHRXY70VDFPR4FAB0&tag=glocalcitiz0e-20]. Currently based in Columbio, T.J. is of West African--NIgerian and Liberian parentage and grew up in the Midwestern United States. He received his doctorate in African history from the University of California Los Angeles and is currently a visiting professor at Universidad ICESI's Centro de Estudios Afrodiaspóricos in Cali, Colombia. He specializes in the historical ethnography of pre-colonial Africa and the African Diaspora with a focus upon martial arts, physical culture, religion, sport, historical linguistics, and military history. His current research focuses on the social history of the machete and the Afro-Colombian machete fighting from 1848 to 1960, and twentieth century prison boxing. Dr. Desch-Obi is a permanent member of the history department at the City University of New York's, Baruch College, where he also teaches in the Black and Latino Studies, Latin American and Caribbean Studies Departments. I hope you enjoy this journey with T.J. across continents and through a world history often obscured! Where to find T.J.? Selected research (https://www.researchgate.net/scientific-contributions/T-J-Desch-Obi-2078445331) On YouTube (https://www.youtube.com/watch?v=Aes-OSwEs1s) What's T.J. reading? The Way of a Pilgrim (https://read.amazon.com/kp/embed?asin=B001SAR5B8&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_045FWGCDFQAV7ABMM23N&tag=glocalcitiz0e-20) Other topics of interest: Filipino Kali (https://en.wikipedia.org/wiki/Arnis) [Robert Farris Thompson](https://arthistory.yale.edu/people/robert-farris-thompson) Beni Hasan Tomb (https://www.asor.org/anetoday/2016/07/the-beni-hasan-tomb-painting-and-scholarship-of-the-southern-levant/) Nsibidi script of Nigeria (https://en.wikipedia.org/wiki/Nsibidi) N'Golo (https://dbpedia.org/page/Engolo) Holocene Climactic Optimum (http://www.atmo.arizona.edu/students/courselinks/fall12/atmo336/lectures/sec5/holocene.html) Jan Vansina (https://www.tandfonline.com/doi/full/10.1080/0067270X.2017.1331542) Christopher Ehret (https://en.wikipedia.org/wiki/Christopher_Ehret) La Violencia (https://www.e-ir.info/2013/03/20/colombias-la-violencia-and-how-it-shaped-the-countrys-political-system/) Phillip Zarrilli (https://www.thehindu.com/entertainment/theatre/tribute-phillip-zarrilli-1947-2020-the-mindful-thespian/article31649210.ece) Narrative of the Life of Frederick Douglass: An American Slave (https://read.amazon.com/kp/embed?asin=B08MLJSK2L&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_J7ZJ3QYTHDW4DQ2TV048&tag=glocalcitiz0e-20) by Frederick Douglass

Greetings Glocal Citizens! For this two part conversation we're continuing on a narrative transformation path in conversation with another writer, author and researcher--meet Dr. T.J. Desch-Obi author of Fighting for Honor: The History of African Martial Arts in the Atlantic World [https://read.amazon.com/kp/embed?asin=B08N6VLKZC&preview=newtab&linkCode=kpe&ref=cmswrkbdpS75EHRXY70VDFPR4FAB0&tag=glocalcitiz0e-20]. Currently based in Columbia, T.J. is of West African--NIgerian and Liberian parentage and grew up in the Midwestern United States. He received his doctorate in African history from the University of California Los Angeles and is currently a visiting professor at Universidad ICESI's Centro de Estudios Afrodiaspóricos in Cali, Colombia. He specializes in the historical ethnography of pre-colonial Africa and the African Diaspora with a focus upon martial arts, physical culture, religion, sport, historical linguistics, and military history. His current research focuses on the social history of the machete and the Afro-Colombian machete fighting from 1848 to 1960, and twentieth century prison boxing. Dr. Desch-Obi is a permanent member of the history department at the City University of New York's, Baruch College, where he also teaches in the Black and Latino Studies, Latin American and Caribbean Studies Departments. I hope you enjoy this journey with T.J. across continents and through a world history often obscured! Where to find T.J.? Selected research (https://www.researchgate.net/scientific-contributions/T-J-Desch-Obi-2078445331) On YouTube (https://www.youtube.com/watch?v=Aes-OSwEs1s) What's T.J. reading? The Way of a Pilgrim (https://read.amazon.com/kp/embed?asin=B001SAR5B8&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_045FWGCDFQAV7ABMM23N&tag=glocalcitiz0e-20) Other topics of interest: Filipino Kali (https://en.wikipedia.org/wiki/Arnis) [Robert Farris Thompson](https://arthistory.yale.edu/people/robert-farris-thompson) Beni Hasan Tomb (https://www.asor.org/anetoday/2016/07/the-beni-hasan-tomb-painting-and-scholarship-of-the-southern-levant/) Nsibidi script of Nigeria (https://en.wikipedia.org/wiki/Nsibidi) N'Golo (https://dbpedia.org/page/Engolo) Holocene Climactic Optimum (http://www.atmo.arizona.edu/students/courselinks/fall12/atmo336/lectures/sec5/holocene.html) Jan Vansina (https://www.tandfonline.com/doi/full/10.1080/0067270X.2017.1331542) Christopher Ehret (https://en.wikipedia.org/wiki/Christopher_Ehret) La Violencia (https://www.e-ir.info/2013/03/20/colombias-la-violencia-and-how-it-shaped-the-countrys-political-system/) Phillip Zarrilli (https://www.thehindu.com/entertainment/theatre/tribute-phillip-zarrilli-1947-2020-the-mindful-thespian/article31649210.ece) Narrative of the Life of Frederick Douglass: An American Slave (https://read.amazon.com/kp/embed?asin=B08MLJSK2L&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_J7ZJ3QYTHDW4DQ2TV048&tag=glocalcitiz0e-20) by Frederick Douglass *When you click and purchase books using the links above, as an Amazon Associate I earn from qualifying purchases. Thank you for your support! Special Guest: T.J. Desch-Obi.

Today I’m talking with the artist Tunji Adeniyi-Jones, whose paintings address the ancient history of West Africa and its associated mythology. Born and raised in England to Nigerian parents, Tunji studied art at Oxford University before moving to the United States to pursue his MFA at Yale, an experience that he describes as a culture shock and which had an immediate and profound effect on his work. It was in the US that he was first exposed to painters like Bob Thompson, Barkley Hendricks, and Kerry James Marshall, whose influence you can feel in his work right alongside British painters like Lucian Freud and David Hockney. We spend a lot of time talking about the differences between British and American painting, especially when it comes to representations of the black body. His recent solo show ‘Flash of the Spirit’ at Nicelle Beauchene Gallery takes its name from Robert Farris Thompson’s landmark 1984 book examining the influence of West African aesthetics on the modern diaspora. Seeing the eight works in the show all together is to see the development of Tunji’s language as a painter. His large scale works are inhabited by cast of richly colored, androgynous figures suspended against lush, compressed backgrounds, the forms echoing from one canvas to another. I’ll be looking forward to his upcoming solo show ‘A Place to Belong’ which will be at Hunter Harrison in London.I photographed Tunji in his Brooklyn studio surrounded by a new body of work. You can see the portrait at www.williamjesslaird.com/imageculture or on Instagram @william.jess.laird or @image.cultureI’d like to thank Tunji Adeniyi-Jones as well as the team at Nicelle Beauchene Gallery. This show is produced by Sarah Levine and our music is by Jack and Eliza. Thanks for listening.http://www.tunjiadeniyi-jones.com/https://nicellebeauchene.com/artists/tunji-adeniyi-jones/

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music’s use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music’s use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music’s use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music’s use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music’s use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War's “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop's performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson's “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points to the political implications of music's use in contemporary representations of race and history. The book discusses the meaning of conjure as a political and epistemological practice. Jabir demonstrates how the musical performance allowed troop members to embody new identities about national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-operative state anti-racism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. JOHARI JABIR, a practicing musical artist since age eight, serves as Associate Professor of African American Studies for the Department of African American Studies College of Liberal Arts and Sciences at The University of Illinois at Chicago. He frames his courses, African American introductory course, religious traditions, history, and music, using music as an epistemological frame. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies