Notes
- Kevin Carroll, Yoruba Religious Carving. Pagan and Christian Sculpture in Nigeria and Dahomey (London: Geoffrey Chapman, 1967).
- See Lamidi O. Fakeye, Lamidi Olonade Fakeye: A Retrospective Exhibition and Autobiography (Holland, Mich.: DePree Art Center and Gallery, Hope College, 1996).
- John Picton, “Art, Identity, and Identification: A Commentary on Yoruba Art Historical Studies,” in The Yoruba Artist: New Theoretical Perspectives on African Arts, eds. Henry Drewal, Rowland Abiodun, and John Pemberton III (Washington D.C.: Smithsonian Institution Press, 1994); and Sidney Kasfir, “Apprentices and Entrepreneurs: The Workshop and Style Uniformity in Sub-Saharan Africa,” in Iowa Studies in African Art Volume 2, ed. Christopher Roy (1987): 25&ndash47
- See for example, Marshall Ward Mount, African Art: the Years since 1920 (Bloomington: Indiana University Press, 1973); and Frank Willett, African Art: An Introduction (New York: Thames and Hudson, 1971).
- Nicholas J. Bridger, “The Oye-Ekiti Workshop and its Origins: A Study of Missionary Art Patronage in Colonial Nigeria, 1947–1954,” (M.A. thesis, San Francisco State University, 2002). The following summer (2003) I visited Nigeria to meet Lamidi Fakeye and to research the effects of time and changing conditions on the Oye-Ekiti experiment, on Yoruba Christian art, and its sibling genre, Yoruba neo-traditional art.
- Carroll's files contain correspondence with and references to William Fagg, Kenneth Murray, Ulli Beier, Roy Sieber, Robert Farris Thompson, and John Picton.
- While rummaging through the undergraduate library at University of California, Berkeley, I came across over a dozen very worn, dog-eared, underlined copies of Carroll's rather scarce book, which today costs over a hundred dollars for a decent copy on the rare book market. These appear to be leftovers from William Bascom's required reading/reserve bookshelf for his African art course in the 1960s.
- Bridger, 27. The original concept, championed by Cardinal Celso Costantmi beginning in 1937, gained support of the papacy of both Pius XI (1926 to 1939) and Pius XII (1939 to 1958) and also gained official acceptance from the Second Vatican Council (1962 to 1965).
- Bridger, “The Oye-Ekiti Workshop,” 1.
- Richard Ostling, “Christian Art in Africa,” Time, 27 March 1989: 76–77.
- Ibid.
- Monica Visona, Robin Poynor, Herbert Cole, and Michael Harris, A History of Art in Africa (Upper Saddle River, N.J.: Prentice Hall, 2003).
- See for example, Sidney Littlefield Kasfir, Contemporary African Art (London: Thames and Hudson, 1999).
- John Picton, “Neo-Traditional Sculpture in Nigeria,” in An Anthology of African Art: The Twentieth Century, eds. N'Gone Fall and Jean Loup Pivin (New York: Distributed Art Publishers, 2002), 100–101.
- Allen F. Roberts and Mary Nooter Roberts, A Saint in the City: Sufi Arts of Urban Senegal (Los Angeles: UCLA Fowler Museum of Cultural History, 2003).
- David Morgan, The Sacred Gaze: Religious Visual Culture in Theory and Practice (Berkeley: University of California Press, 2005).
- David Morgan and Sally M. Promey, eds., The Visual Culture of American Religions (Berkeley: University of California Press, 2001).
- Philip Jenkins, The New Anti-Catholicism: The Last Acceptable Prejudice (Oxford: Oxford University Press, 2003).
- Philip Jenkins, The Next Christendom: The Coming of Global Christianity (Oxford: Oxford University Press, 2002).
- Joanne O'Brien and Martin Palmer, The Atlas of Religion (Berkeley: University of California Press, 2007).
- Jenkins, The Next Christendom: 4–5. Missiology is a multidisciplinary and cross-cultural field of study that examines the multiple facets of the propagation of the Christian religion, including theology, history, anthropology, and comparative religion.
- As translated and quoted in Martin Ott, African Theology in Images (Balantyre, Malawi: Kachere Series, 2000), 73.
- Andrew F. Walls, The Missionary Movement in Christian History (Maryknoll, N.Y: Orbis Books, 1996), 175. Walls references Celso Costantini, L'Arte Cristiana nelle Missioni (Rome: Tipografia Poliglotta Vaticana, 1940); and L'Art chretien dans les Missions (Paris: Desclee De Brouwer, 1949).
- Ibid.
- Sally M. Promey, “The ‘Return’ of Religion in the Scholarship of American Art,” The Art Bulletin 83, 3 (2003): 581–603.
- Ibid., 583.
- Ibid., 584.
- Ibid., The extent of secular-minded research within the American academy is somewhat incongruous in that the larger society has not followed the European pattern of religious drop-off since World War II. The United States remains relatively stable in between this decline in institutional religious participation and membership as witnessed in western Europe and the rapid expansion of Christianity as in Sub Saharan Africa and elsewhere in the global South.
- Ibid., 584
- Ibid.
- Ibid.
- Christian Smith, “On Multiple Modernities: Shifting the Modernity Paradigm,” (unpublished paper, University of Notre Dame, Notre Dame, Ind., 2006), 1.
- Ibid.
- Rosalind I.J. Hackett, “Revitalization in African Traditional Religion,” in African Traditional Religions in Contemporary Society, ed. Jacob Olupona (St. Paul: Paragon House, 1991), 135.
- Rosalind I.J. Hackett, Art and Religion in Africa (London: Cassell, 1996), viii.
- Bridger, “The Oye-Ekiti Workshop,” 21.
- Hackett, Art and Religion, viii.
- J.D.Y Peel, Religious Encounter and the Making of the Yoruba (Bloomington: Indiana University Press, 2000), 3–6.
- John Picton, “In memoriam: Father Kevin Carroll, S.M.A.,” African Arts 27, 3 (1994): 25, 98.
- Peel, Religious Encounter, 3–6.
- Ibid. 209.
- Ibid., 3.
- Modupe Oduyoye, “The Planting of Christianity in Yorubaland, 1842–1888,” in Christianity in West Africa: The Nigerian Story, ed. Ogbu Kalu (Ibadan: Daystar, 1978), 19–21.
- Peel, Religious Encounter, 22–23.
- Jacob Olupona, “Major Issues in the Study of African Traditional Religion,” Olupona, ed., African Traditional Religions, 30.
- Suzanne Blier, review of “African Art in the Cycle of Life,” African Arts 22, 3 (May 1989): 23.
- Walls, Missionary Movement, 173.
- Morgan, Sacred Gaze, 147.
- Ibid. 148–149.
- “Documenting Change, Returning to the Field” was the title of a two-part panel organized by Christine Kreamer for the 2004 Triennial Conference of the Arts Council of the African Studies Association, Cambridge, MA. As a part of that panel, I presented a paper entitled: “Revisiting the Oye-Ekiti Workshop: Africanizing Christian Art and Neo-Traditionalizing Yoruba Art.”
- John Picton, personal communication, 2 April 2004.