Vulnerable to Violence: Jeff Donaldson’s Ala Shango and the Erasure of Diasporic Difference

@article{Miller2015VulnerableTV,
  title={Vulnerable to Violence: Jeff Donaldson’s Ala Shango and the Erasure of Diasporic Difference},
  author={Nicholas Miller},
  journal={Nka: Journal of Contemporary African Art},
  year={2015},
  volume={36},
  pages={40 - 47}
}
  • Nicholas Miller
  • Published 1 May 2015
  • Art
  • Nka: Journal of Contemporary African Art
This article examines AfriCOBRA cofounder Jeff Donaldson’s painting Ala Shango (1969) in relation to the 1968 Chicago riots and the militaristic and Pan-Africanist rhetoric of the Black Nationalist movement. Specifically, I discuss the artist’s appropriation and incorporation of a double-headed axe of Shango, the Yoruba god of fire, lightning, and thunder. The axe, wielded by the composition’s central figure, shatters the pictorial plane of the canvas, which Donaldson variously labeled GLASS… 

References

SHOWING 1-10 OF 26 REFERENCES

The Witch's Flight

Kara Keeling contends that cinema and cinematic processes had a profound significance for twentieth-century anticapitalist Black Liberation movements based in the United States. Drawing on Gilles

The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense (review)

1. Mark Reid, “The Black Gangster Film,” in Film Genre Reader III, ed. Barry Keith Grant (Austin: University of Texas Press, 2003), 472. 2. Race films were movies produced by independent filmmakers

The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism

The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism. By Brent Hayes Edwards. Cambridge, Mass.: Harvard University Press, 2003. Pp. viii, 397; 20 illustrations.

The Wretched of the Earth

Frantz Fanon's seminal work on the trauma of colonization, "The Wretched of the Earth" made him the leading anti-colonialist thinker of the twentieth century. This "Penguin Modern Classics" edition

Remembering AfriCOBRA and the Black Arts Movement in 1960s Chicago

This essay, written by one of AfriCOBRA’s members, places the group as an aesthetic life force and a way of seeing the visual world coupled with the social, spiritual, relational, and political

AfriCOBRA and TransAtlantic Connections

Since its beginning in 1969 in Chicago, Afri-COBRA has espoused an Afrocentric aesthetic vision. At the same time, it has deemed demeaning any art that posits African peoples as hapless victims, and

Fanon and the turn to armed struggle in Africa

It is... well known that the main national liberation organisations in this country have consistently followed a policy of non-violence. They have conducted themselves peaceably at all times,

Africobra Manifesto?: “Ten in Search of a Nation”

<p class="summaryheading"><span class="summaryheading">In the AfriCOBRA manifesto Donaldson describes the origins of the group and its aesthetic principles:</span></p><p> “The <i>expressive

Black Skin, White Masks

A major influence on civil rights, anti-colonial, and black consciousness movements around the world, Black Skin, White Masks is the unsurpassed study of the black psyche in a white world. Hailed for