Monni Adams

• Locating the Mano Mask

  Monni Adams•ARTICLE•African Arts•2010•Citada por: 1

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  June 01 2010 Locating the Mano Mask Monni Adams Monni Adams Taught African art at Harvard as an Associate Professor of Ethnology and art until the 1990s. She also organized major African art exhibitions at the Carpenter Center for the Visual Arts and the Peabody Museum at Harvard. Currently she holds a research appointment at the Peabody Museum and curated an exhibition on masked festivals in Canton Bo, Côte d'Ivoire (through September 30, 2010).…

• Both Sides of the Collecting Encounter

  Open Access•Monni Adams•ARTICLE•Museum Anthropology•2009•Citada por: 4•Referencias: 10

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  The Peabody Museum of Archaeology and Ethnology holds a large collection of wooden facemasks from the Dan and Mano peoples of Northeast Liberia. Made for ritual use, most of these masks were sold in the 1930s to George W. Harley, a medical missionary who worked in the region. This article explores Harley's training, methods, and motives, and the socio-political conditions under which he collected. Beginning with the notes that Harley provided on …

• Africa

  Monni Adams, Mary Jo Arnoldi et al.•CHAPTER•2003

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• African Roots of the Amistad Revolt

  Open Access•Monni Adams•ARTICLE•American Anthropologist•2001

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  Sierra Leone: The African Roots of the Amistad Revolt: Masks of the Sacred Bush. Peabody Museum of Natural History, Yale University, July 15, 2000- December 2000

• Transatlantic Dialogue

  Monni Adams, Michael D Harris•ARTICLE•The International Journal of…•2000•Citada por: 1

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  Transatlantic Dialogue opens an exciting cultural dialogue at the crossroads where Western and African art traditions intersect. Despite diversity of media, technique, and form, these contemporary African and African American art works and the artists who created them are united by a rich network of connections, exchanges, and associations generated from both shores of the Middle Passage. Collected in this book are 24 color reproductions of the a…

• African Material Culture

  Monni Adams, Mary Jo Arnoldi et al.•ARTICLE•African Arts•1998•Citada por: 13

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• Baule African Art/Western Eyes

  Till Förster, Monni Adams et al.•ARTICLE•African Arts•1998•Citada por: 8

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  The sculptures of the Baule people of the Ivory Coast have long been recognized in Europe and the United States as one of Africa's most significant traditions. The work of many modern artists - Amedeo Modigliani in particular - refelects the direct influence of Baule invention and forms. This text explores for the texture and details of Baule life and art. Illustrations include field photographs showing artworks in the intimacy of daily lives and…

• Gift of the Cotton Maiden

  Open Access•Monni Adams•ARTICLE•Museum Anthropology•1997

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  Gift of the Cotton Maiden: Textiles of Flores and the Solor Islands. Edited by ROY W. HAMILTON. Los Angeles: Fowler Museum of Cultural History, 1994. 287 pp., color and b/w illustrations, maps, appendices, notes, bibliography, list of contributors. $36.00 (paper

• Memory

  Monni Adams, Mary Nooter Roberts et al.•ARTICLE•The International Journal of…•1997•Citada por: 12

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  The Luba are one of the oldest recorded tribes in equatorial Africa. A Bantu-speaking people, they had already expanded their empire throughout central Africa by the 9th century AD. Much of this progress was probably due to their advanced skills in metalwork. The Luba had a wide network of kings governed by a central ruler who succeeded through the mother's line. Much more is known about the Luba than many of the other tribes on the African conti…

• Rencontres Artistiques Belgique-Congo, 1920-1950

  Monni Adams, Patricia Van Schuylenbergh et al.•ARTICLE•The International Journal of…•1997

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• African Vodun

  Monni Adams, Suzanne Preston Blier•ARTICLE•The International Journal of…•1996

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• Mattiebelle Gittinger and H. Leedom Lefferts, Jr. Textiles and the Tai Experience in Southeast Asia; and Sandra A. Niessen. Batak Cloth and Clothing

  Open Access•Monni Adams•ARTICLE•Museum Anthropology•1995

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  Textiles and the Tai Experience in Southeast Asia. MATTIEBELLE GITTINGER and H. LEEDOM LEFFERTS. Jr. Washington, D.C.: The Textile Museum, 1992. Distributed by University of Washington Press. 264 pp., 220 illus., 24 in color, maps, appendices, bibliography, glossary. $45.00 (paper). Batak Cloth and Clothing:. Dynamic Indonesian Tradition, SANDRA A. NIESSEN. Kuala Lumpur, Malaysia: Oxford University Press, 1993. The Asia Collection, xi +136 pp., 4…

• Under the Kapok Tree

  Monni Adams, A Gottlieb et al.•ARTICLE•Journal of Religion in Africa•1995

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• Négociations entre hommes et femmes dans un village ivoirien (Keibli, canton Boo, région Wè)

  Monni Adams•ARTICLE•Journal des africanistes•1994

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  Cet article offre une analyse d'un discours enregistré lors d'une réunion entre maris et épouses d'un patrilignage du village de Keibli chez les Wè (ou Guérés) en Côte-d' Ivoire. Ce discours expose le processus de médiation entre les intérêts opposés de chaque sexe. Les deux sexes ont appelé au consensus. Les hommes, dans une position de pouvoir, reçoivent l'argent des récoltes de rente qui leur permet de donner aux femmes l'argent pour acheter c…

• Zaire 1938/39

  Monni Adams, Hans Himmelheber et al.•ARTICLE•African Arts•1994

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• Astonishment and Power

  Monni Adams, Wyatt Macgaffey et al.•ARTICLE•The International Journal of…•1994

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• The Language of Cloth

  Monni Adams•ARTICLE•African Arts•1993

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• Women's Art as Gender Strategy among the Wè of Canton Boo

  Monni Adams•ARTICLE•African Arts•1993•Citada por: 3

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  Si les hommes we du canton de Boo (Cote d'Ivoire) dirigent la communaute, les femmes dominent la vie artistique. Elles decorent les murs de leurs maisons rondes de formes abstraites, geometriques, blanches, noires, rouges ou ocres, ce qui leur assure une certaine reconnaissance. La poterie decoree est egalement l'oeuvre des femmes. La cuisine fait leur prestige surtout lors du festival masque. Les femmes peignent aussi le visage des filles pour l…

• New Currents, Ancient Rivers

  Monni Adams, Jean Kennedy•ARTICLE•The International Journal of…•1993•Citada por: 6

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• The Wild Bull and the Sacred Forest

  Monni Adams, Peter Mark•ARTICLE•The International Journal of…•1993•Citada por: 3

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  Introduction: method and subject 2. Ethnographic background 3. Bukut initiation 4. History and provenance of the Ejumba mask 5. Iconography of the horned mask 6. Mandinka or Jola? Art and culture as regional processes 7. Islam and Casamance masking traditions 8. Conclusion Appendix Bibliography

• Dida Woven Raffia Cloth from Côte d'Ivoire

  Monni Adams, T Rose Holdcraft•ARTICLE•African Arts•1992

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  Les AA. decrivent precisement les techniques de fabrication des tissus en raffia tisses chez les Dida du Sud de la Cote d'Ivoire et plus specialement la methode du nouer-lier-teindre (tie-dye). Ces habits sont souvent tubulaires et chacun reflete un rang social eleve

• Corps Sculptés, Corps parés, Corps masqués

  Monni Adams, Etienne Féau•ARTICLE•African Arts•1992

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• Emil Torday and the Art of the Congo 1900-1909

  Monni Adams, John Mack•ARTICLE•The International Journal of…•1992•Citada por: 1

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• African Studies Review

  Mary Jo Arnoldi, Paula Ben-Amos et al.•ARTICLE•African Arts•1991

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• To Speak with Cloth

  Monni Adams, Mattiebelle Gittinger•ARTICLE•African Arts•1991

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• African Visual Arts from an Art Historical Perspective

  Monni Adams•ARTICLE•African Studies Review•1989•Citada por: 14•Referencias: 56

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  This overview assesses the study of sub-Saharan art by art historians in the United States, as a complement to the earlier examination by Paula Ben-Amos (1987) of African art studies from an anthropological perspective. Academic status for African art history, focused on sub-Saharan Africa, began in the 1950s, when a small group of scholars assigned style categories and broad social functions to works of West and Central African sculpture. With t…

• African Material Culture

  Monni Adams, Mary Jo Arnoldi et al.•ARTICLE•African Arts•1998•Citada por: 13

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• Memory

  Monni Adams, Mary Nooter Roberts et al.•ARTICLE•The International Journal of…•1997•Citada por: 12

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  The Luba are one of the oldest recorded tribes in equatorial Africa. A Bantu-speaking people, they had already expanded their empire throughout central Africa by the 9th century AD. Much of this progress was probably due to their advanced skills in metalwork. The Luba had a wide network of kings governed by a central ruler who succeeded through the mother's line. Much more is known about the Luba than many of the other tribes on the African conti…

• Baule African Art/Western Eyes

  Till Förster, Monni Adams et al.•ARTICLE•African Arts•1998•Citada por: 8

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  The sculptures of the Baule people of the Ivory Coast have long been recognized in Europe and the United States as one of Africa's most significant traditions. The work of many modern artists - Amedeo Modigliani in particular - refelects the direct influence of Baule invention and forms. This text explores for the texture and details of Baule life and art. Illustrations include field photographs showing artworks in the intimacy of daily lives and…

• New Currents, Ancient Rivers

  Monni Adams, Jean Kennedy•ARTICLE•The International Journal of…•1993•Citada por: 6

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• Mbari

  Monni Adams, Herbert M Cole•ARTICLE•The International Journal of…•1983•Citada por: 6

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  Preface Acknowledgments Chapter One: Introduction: The Setting Chapter Two: The Gods and the People Chapter Three: The People and Processes of Mbari Chapter Four: Form Chapter Five: Inspiration, Individuality, and Aesthetics Chapter Six: Meaning Chapter Seven: Conclusions Glossary Appendix A: Tree Altars Appendix B: Ndimgbe Names Appendix C: Master List of Mbari Subjects in Sculpture Appendix D: Mbari House at Obaku, Oratta clan, Owerri Bibliogra…

• Both Sides of the Collecting Encounter

  Open Access•Monni Adams•ARTICLE•Museum Anthropology•2009•Citada por: 4•Referencias: 10

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  The Peabody Museum of Archaeology and Ethnology holds a large collection of wooden facemasks from the Dan and Mano peoples of Northeast Liberia. Made for ritual use, most of these masks were sold in the 1930s to George W. Harley, a medical missionary who worked in the region. This article explores Harley's training, methods, and motives, and the socio-political conditions under which he collected. Beginning with the notes that Harley provided on …

• Women's Art as Gender Strategy among the Wè of Canton Boo

  Monni Adams•ARTICLE•African Arts•1993•Citada por: 3

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  Si les hommes we du canton de Boo (Cote d'Ivoire) dirigent la communaute, les femmes dominent la vie artistique. Elles decorent les murs de leurs maisons rondes de formes abstraites, geometriques, blanches, noires, rouges ou ocres, ce qui leur assure une certaine reconnaissance. La poterie decoree est egalement l'oeuvre des femmes. La cuisine fait leur prestige surtout lors du festival masque. Les femmes peignent aussi le visage des filles pour l…

• The Wild Bull and the Sacred Forest

  Monni Adams, Peter Mark•ARTICLE•The International Journal of…•1993•Citada por: 3

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  Introduction: method and subject 2. Ethnographic background 3. Bukut initiation 4. History and provenance of the Ejumba mask 5. Iconography of the horned mask 6. Mandinka or Jola? Art and culture as regional processes 7. Islam and Casamance masking traditions 8. Conclusion Appendix Bibliography

• The Power of Headdresses

  Monni Adams, Daniel P Biebuyck et al.•ARTICLE•Man•1986•Citada por: 3

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• Kuba Embroidered Cloth

  Monni Adams•ARTICLE•African Arts•1978•Citada por: 3

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• Women and Masks among the Western Wè of Ivory Coast

  Monni Adams•ARTICLE•African Arts•1986•Citada por: 2

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• Locating the Mano Mask

  Monni Adams•ARTICLE•African Arts•2010•Citada por: 1

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  June 01 2010 Locating the Mano Mask Monni Adams Monni Adams Taught African art at Harvard as an Associate Professor of Ethnology and art until the 1990s. She also organized major African art exhibitions at the Carpenter Center for the Visual Arts and the Peabody Museum at Harvard. Currently she holds a research appointment at the Peabody Museum and curated an exhibition on masked festivals in Canton Bo, Côte d'Ivoire (through September 30, 2010).…

• Transatlantic Dialogue

  Monni Adams, Michael D Harris•ARTICLE•The International Journal of…•2000•Citada por: 1

  Añadir item

  Transatlantic Dialogue opens an exciting cultural dialogue at the crossroads where Western and African art traditions intersect. Despite diversity of media, technique, and form, these contemporary African and African American art works and the artists who created them are united by a rich network of connections, exchanges, and associations generated from both shores of the Middle Passage. Collected in this book are 24 color reproductions of the a…

• Emil Torday and the Art of the Congo 1900-1909

  Monni Adams, John Mack•ARTICLE•The International Journal of…•1992•Citada por: 1

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• "Queens, Queen Mothers, Priestesses and Power," New York University

  Open Access•Monni Adams•ARTICLE•Museum Anthropology•1991•Citada por: 1

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• Th-Century Kuba King Figures

  Monni Adams•ARTICLE•African Arts•1988•Citada por: 1

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  The arts of large sub-Saharan African courts fit more readily into the familiar categories of European art history with regard to subject, purpose, and applicable method of investigation than the arts of small village polities do. In African courts, such as Dahomey, Asante, Benin, and Kuba, images, ceremonial insignia, and costume were displayed prominently to enhance the appearance of power. Such works share characteristics that distinguish arts…

• African Treasures of the Peabody Museum, Harvard

  Monni Adams•ARTICLE•African Arts•1982•Citada por: 1

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• Instruments and Songs of Sumba, Indonesia

  Monni Adams•ARTICLE•Asian Music•1981•Citada por: 1

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• History in a Sumba Myth

  Monni Adams•ARTICLE•Asian Folklore Studies•1971•Referencias: 1

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• Asian Puppets

  Monni Adams•ARTICLE•African Arts•1977

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• An Evening with William Fagg

  Monni Adams•ARTICLE•African Arts•1977

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• The Tribal Eye

  Monni Adams, Annette Grob et al.•ARTICLE•African Arts•1977

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• Kuba Embroidered Cloth

  Monni Adams•ARTICLE•African Arts•1978•Citada por: 3

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• The Art and Material Culture of the Zulu-Speaking Peoples

  Monni Adams, Carolee Kennedy et al.•ARTICLE•African Arts•1979

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• Fon Appliqued Cloths

  Monni Adams•ARTICLE•African Arts•1980

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• Ethnologische Zeitschrift Zürich I/1980

  Richard M Fulton, Monni Adams•ARTICLE•African Arts•1981

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• The Ornate Implement

  Monni Adams•ARTICLE•African Arts•1981

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• Instruments and Songs of Sumba, Indonesia

  Monni Adams•ARTICLE•Asian Music•1981•Citada por: 1

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• Exotische Kunst. Aus der Barbier-Müller Sammlung

  Monni Adams, Jean-Paul Barbier et al.•ARTICLE•African Arts•1982

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• Patterns of Paradise

  Monni Adams, Anne Leonard et al.•ARTICLE•African Arts•1982

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• African Treasures of the Peabody Museum, Harvard

  Monni Adams•ARTICLE•African Arts•1982•Citada por: 1

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• Mbari

  Monni Adams, Herbert M Cole•ARTICLE•The International Journal of…•1983•Citada por: 6

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  Preface Acknowledgments Chapter One: Introduction: The Setting Chapter Two: The Gods and the People Chapter Three: The People and Processes of Mbari Chapter Four: Form Chapter Five: Inspiration, Individuality, and Aesthetics Chapter Six: Meaning Chapter Seven: Conclusions Glossary Appendix A: Tree Altars Appendix B: Ndimgbe Names Appendix C: Master List of Mbari Subjects in Sculpture Appendix D: Mbari House at Obaku, Oratta clan, Owerri Bibliogra…

• Ndebele Images

  Monni Adams, Natalie Knight et al.•ARTICLE•African Arts•1984

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• The Arts of the Dan in West Africa

  Monni Adams, Eberhard Fischer et al.•ARTICLE•African Arts•1984

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• Private Visions

  Marietta B Joseph, Monni Adams•ARTICLE•African Arts•1984

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• The Tribal Style

  Monni Adams, John Grimes•ARTICLE•African Arts•1984

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• Painting from a Single Heart. Preliminary Remarks on Bark-Cloth Designs of the Mbute Women of Haute-Zaire

  Monni Adams, Robert Thompson et al.•ARTICLE•African Arts•1984

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• Cloth as Metaphor

  Monni Adams, Jean M Borgatti et al.•ARTICLE•The International Journal of…•1984

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• Masks in Guro Culture, Ivory Coast

  Monni Adams, Eberhard Fischer et al.•ARTICLE•African Arts•1986

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• Women and Masks among the Western Wè of Ivory Coast

  Monni Adams•ARTICLE•African Arts•1986•Citada por: 2

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• To Dance the Spirits. Masks of Liberia

  Monni Adams•ARTICLE•African Arts•1986

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• Designs for Living

  Arthur P Bourgeois, Monni Adams•ARTICLE•African Arts•1986

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• Exhibits

  Open Access•Monni Adams•ARTICLE•Council for Museum Anthropology…•1986

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Art (47 obras) · History (29 obras) · African history and culture studies (26 obras) · Visual arts (21 obras) · Geography (20 obras) · History (13 obras) · Fashion and Cultural Textiles (11 obras) · Sociology (11 obras) · Archaeology (9 obras) · Philosophy (9 obras)