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ARTD 3138/7138: Journey to Wakanda: African Art and Popular Culture: Bibliography

Special Topics in Art History, Graduate Seminar (R6)


Abiodun, Rowland, Ulli Beier, and John Pemberton. In Cloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection, edited by Mead Art Museum (Amherst College), 28–32; 34–49. Amherst, Mass.: Mead Art Museum, Amherst College, 2004.

Arnoldi, Mary Jo, and Christine Mullen Kreamer. “Selections: Introduction ; Zulu Woman’s Hat.” In Crowning Achievements: African Arts of Dressing the Head, edited by Los Angeles University of California and Fowler Museum of Cultural History, 9 – 25, 40 – 41. Los Angeles, Calif.: Fowler Museum of Cultural History, University of California, Los Angeles, 1995.

Bay, Edna G. “Along the Slave Coast.” In Wives of the Leopard: Gender, Politics, and Culture in the Kingdom of Dahomey, edited by American Council of Learned Societies, 1 – 39. Charlottesville: University of Virginia Press, 1998.

———. “The Military in the Late Eighteenth Century.” In Wives of the Leopard: Gender, Politics, and Culture in the Kingdom of Dahomey, 129 – 142. Charlottesville: University of Virginia Press, 1998.

Boateng, Boatema. The Copyright Thing Doesn’t Work Here Adinkra and Kente Cloth and Intellectual Property in Ghana. Minneapolis; London: University of Minnesota Press, 2011.

Bosko, Dan. “Why Basotho Wear Blankets.” African Studies : A Quarterly Journal Devoted to the Study of African Administration, Cultures and Languages African Studies 40, no. 1 (1981): 23–32.

Bristow, Tegan. “We Want the Funk: What Is Afrofuturism to the Situation of Digital Arts in Africa?” Technoetic Arts 10, no. 1 (2012): 25–32.

Carter, Ruth. “Forest Whitaker.” Ruth E Carter (blog), July 16, 2017.

Carton, Benedict, and Robert Morrell. “Zulu Masculinities, Warrior Culture and Stick Fighting: Reassessing Male Violence and Virtue in South Africa.” Journal of Southern African Studies 38, no. 1 (2012): 31–53.

Cobb, Jelani. “‘Black Panther’ and the Invention of ‘Africa.’” The New Yorker, February 18, 2018.

Cole, Herbert M. “Selections.” In Igbo Arts: Community and Cosmos, edited by Chike Cyril Aniakor, Alexander Okwudor Attah, and Los Angeles) Frederick S. Wight Art Gallery (University of California, 111–35. Los Angeles: Museum of Cultural History, University of California, 1984.

Drewal, Henry John. “Beauty and Being: Aesthetics and Ontology in Yoruba Body Art.” In Marks of Civilization: Artistic Transformations of the Human Body, edited by Arnold Rubin, 83–96. Los Angeles, CA: Museum of Cultural History, UCLA, 1995.

Eells, Josh, and Josh Eells. “Ryan Coogler: Why I Needed to Make ‘Black Panther.’” Rolling Stone (blog), February 26, 2018.

Elliott, Aubrey. “Excerpt.” In The Magic World of the Xhosa, 83 – 95. London: Collins, 1981.

Eyo, Ekpo. “Repatriation of Cultural Heritage: African Experience.” In Museums and the Making of “Ourselves”: The Role of Objects in National Identity, edited by Flora S Kaplan, 330–50. London: Leicester University Press, 1997.

Faris, James C. “Selections.” In Nuba Personal Art, 55, 58 – 70, 83 – 90. London: Duckworth, 1972.

Geschiere, Peter. “Introduction.” In The Perils of Belonging: Autochthony, Citizenship, and Exclusion in Africa and Europe. Chicago: Univ. of Chicago Press, 2010.

Gott, Edith Suzanne. “Ghana’s Glass Beadmaking Arts in Transcultural Dialogues.” African Arts. 47, no. 1 (2014): 10–29.

Guan, Craig Jenkins, Frank. “How Do We Talk About Cultural Appropriation Between People of Color?” Vulture, March 16, 2018.

Hamilton, Elizabeth Carmel. “Afrofuturism and the Technologies of Survival.” Edited by African Art Index Project. African Arts 50 (2017): 18–23.

Haughin, Casey. “Why Museum Professionals Need to Talk about Black Panther.” The Hopkins Exhibitionist (blog), February 22, 2018.

Heathcote, David. “Aspects of Embroidery in Nigeria.” Art of African Textiles : Technology, Tradition, and Lurex., 1995, 38–40.

Igbafe, Philip. “The History of the Benin Kingdon: An Overview.” In Benin Kings and Rituals: Court Arts from Nigeria, edited by Barbara Plankensteiner and Museum für Völkerkunde Wien, 41–53. Ghent: Snoeck, 2007.

Johnson, Tre. “Black Panther Is a Gorgeous, Groundbreaking Celebration of Black Culture.” Vox, February 23, 2018.

Keeshig-Tobias, Lenore. “Appropriation in Art and Narrative: Stop Stealing Native Stories.” In Borrowed Power: Essays on Cultural Appropriation, edited by Bruce H Ziff and Pratima V Rao, 71–73. New Brunswick, N.J.: Rutgers University Press, 1997.

Kendall, Timothy. “Introduction; Ch. 1: Egypt, Nubia, and the Nile Trade.” In Kerma and the Kingdom of Kush: 2500-1500 B.C. : The Archaeological Discovery of an Ancient Nubian Empire ; [Published in Conjunction with the Exhibition The Ancient Nubian City of Kerma, 2500-1500 B.C. ..., 1–17. Washington, D.C.: National Museum of African Art, 1997.

Khau, Mathabo. “Gender and the Politics of the Basotho Blanket.” In Was It Something I Wore?: Dress, Identity, Materiality, edited by Relebohile Moletsane, Claudia Mitchell, and Ann Smith, 95 – 111. Cape Town, South Africa: HSRC Press, 2012.

Kratz, Corinne A, and Donna Pido. “Gender, Ethnicity & Social Aesthetics in Maasai & Okiek Beadwork.” Rethinking Pastoralism in Africa : Gender, Culture & the Myth of the Patriarchal Pastoralist Rethinking Pastoralism in Africa : Gender, Culture & the Myth of the Patriarchal Pastoralist / Ed. by Dorothy L. Hodgson. - Oxford : James Currey, 2000, 43–71.

Law, Robin. “The ‘Amazons’ of Dahomey.” Paideuma : Mitteilungen Zur Kulturkunde Paideuma / Frobenius-Institut, 1993, 245–60.

Lebron, Christopher. “‘Black Panther’ Is Not the Movie We Deserve.” Boston Review, February 16, 2018.

Loughran, Kristyne. “Tuareg Women and Their Jewelry.” In Art of Being Tuareg: Sahara Nomads in a Modern World, edited by Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Los Angeles University of California, and Fowler Museum of Cultural History, 167–93. Los Angeles: Iris & B. Gerald Cantor Center for Visual Arts at Stanford University : UCLA Fowler Museum of Cultural History, 2006.

Marchand, Trevor Hugh James. “The Djenné Mosque: World Heritage and Social Renewal in a West African Town.” Edited by Smithsonian Libraries and African Art Index Project. Religious Architecture " Anthropological Perspectives., 2013, 117–48.

McDonnell, Tim. “Ghanaian Fans Have One Nit To Pick But Otherwise Adore ‘Black Panther.’” NPR, February 20, 2018.

Okeke-Agulu, Chika. “Outrage over Hiring a White Woman as African Art Curator Misunderstands Expertise.” Frieze, April 2018.

Oladipo, Olowookere Peter. “The Yoruba Clothing Culture; Its Forms and Contents.” Journal of Pristine 12, no. 1 (June 2016): 13.

Powell, Ivor. “Beads and Adornments.” Ndebele : A People & Their Art / Author, Ivor Powell; Photographer, Mark Lewis; Ndebele Advisor & Project Co-Ordinator, Mark Hurwitz., 1995, 108–37.

———. “Mural Art.” In Ndebele: A People and Their Art, edited by Walter Knir and Mark Hurwitz, 46–68. Cape Town: Struik Publishers, 1996.

Rabine, Leslie W. “Translating African Textiles into U.S. Fashion Design: Brenda Winstead and Damali Afrikan Wear.” Contemporary African Fashion., 2010, 204–19.

Ragbir, Lise. “What Black Panther Gets Right About the Politics of Museums.” Hyperallergic, March 21, 2018.

Rasmussen, Susan J. “Dress, Identity, and Gender in Tuareg Culture and Society.” Art of Being Tuareg: Sahara Nomads in a Modern World., 2006, 138–57.

Roberts, Allen. “Tabwa Tegumentary Inscription.” In Marks of Civilization: Artistic Transformations of the Human Body, edited by Arnold Rubin, 41–56. Los Angeles, CA: Museum of Cultural History, UCLA, 1995.

Ross, Doran H. “Ross ‘Asante: Kingdom of Cloth’ and ‘A Beautiful Cloth Does Not Wear Itself.’” In Wrapped in Pride: Ghanaian Kente and African American Identity, 31–57. Seattle, Wash.; Chesham: University of Washington Press ; Combined Academic, 2002.

Rovine, Victoria. “Selections.” In Bogolan: Shaping Culture through Cloth in Contemporary Mali, 15 – 26, 37 – 52. Bloomington, Ind.; Chesham: Indiana University Press ; Combined Academic [distributor, 2009.

Schildkrout, Enid. “Inscribing the Body.” Annual Review of Anthropology, 2004.

———. “Les Parisiens d’Afrique: Mangbetu Women as Works of Art.” Black Womanhood: Images, Icons, and Ideologies of the African Body., 2008, 70–93.

Simone, A. M. “‘Remaking African Cities.’” In For the City yet to Come: Changing African Life in Four Cities, 1–19. Durham: Duke University Press, 2006.

Smith, Fred. T. “Gurensi Basketry and Pottery.” African Arts. 12 (1978): 78–81.

Stylianou, Nicola. “Designing for a New Nigeria: Hayes Textiles Limited and the British Manufacture of Gele in the Postcolonial Period.” In Design Objects and the Museum, edited by Liz Farrelly and Joanna Weddell, 41 – 50, 2016.

Vogel, Susan Mullin. “Baule Scarification: The Mark of Civilization.” Marks of Civilization : Artistic Transformations of the Human Body / Edited by Arnold Rubin., 1988, 97–106.

White, Erin. “INTERVIEW: All Hail the Fashion Queen of Wakanda, Costume Designer Ruth E. Carter.” AFROPUNK, December 13, 2017.

Willis, Liz. “Uli Painting and the Igbo World View.” African Arts. 23 (1989): 62–67.

Wyk, Gary N. Van. “Litema: Art of Earth.” In African Painted Houses: Basotho Dwellings of Southern Africa, 78-81;88-111. New York: Harry N. Abrams, 1998.