Robert Farris Thompson

Biographic Data

ID	3671587
NAME	Robert Farris Thompson
GIVEN NAMES	Robert Farris
FAMILY NAME	Thompson
SIGNATURE	THOMPSON R F
AFFILIATIONS	1Yale University, New Haven, U.S.A.
VERIFIED	No
TOTAL WORKS	35
TOTAL CITATIONS	125
AUTHOR COUNT	34
EDITOR COUNT	1
FIRST PUBLICATION YEAR	1970
LATEST PUBLICATION YEAR	2024
H-INDEX	6

Basinjom and the Witches
Robert Farris ThompsonCHAPTERVisual Sense2024
The Basinjom cult is one of the two most important traditional societies of the upper Cross River in Nigeria. The origin of the cult is Ejagham. “Basinjom” in Ejagham literally means “the future brought by God.” 1 an allusion to the divinatory powers of the spirit and the belief that the goodness of his power, to heal and protect the people, stems ultimately from God. The Basinjom cult seems to have emerged in what is now southeastern Nigeria in …
A estrutura da recordação: A tradição visual Kongo no Novo Mundo
Robert Thompson, Robert Farris Thompson et al.ARTICLE19&202020
O exame do comércio escravista revela a chegada de milhares de Bakongo e de seus vizinhos, COMO cativos, ao Hemisfério Ocidental. Lá, sumas imagens e aspirações foram lembradas e não morreram: elas ganharam nova vida, misturando-se com preceitos e formulações de origens diversas. No processo, a etnicidade Kongo se tornou uma influência cultural estratégica no Novo Mundo. Nesse artigo, estudamos os principais motivos de retidão e aspiração espirit…
Joan Myers Brown and the Audacious Hope of the Black Ballerina: A Biohistory of American Performance
Brenda Dixon Gottschild, Ananya Chatterjea et al.BOOKJoan Myers Brown and the…2012
Commander of the Cool: Translating the Art of an African Woman Excerpts from Robert Farris Thompson's Final Keynote Address
Robert Thompson, Robert Farris ThompsonARTICLECallaloo2012
Commander of the Cool: Translating the Art of an African Woman Excerpts from Robert Farris Thompson’s Final Keynote Address Robert Farris Thompson (bio) Delivered Saturday, October 15, 2011, at the Menil Collection, Houston, TX “What is translation? Why don’t we start with bad translation? Bad translation is when John Wayne says, “Give me a shot of red eye,” and it comes out, “Dubonnet s’il vous plait.” Another bad translation: when John Wayne sa…
Blues for New Orleans: Mardi Gras and America's Creole Soul
Roger D Abrahams, John F Szwed et al.BOOKBlues for New Orleans2006
Celebrates the creole heritage of Mardi Gras, and considers the fate of the celebration in the aftermath of Hurricane Katrina
Tango: The Art History of Love
R Feinberg, Robert Thompson et al.ARTICLEForeign Affairs2005
African Nomadic Architecture: Space, Place and Gender
Victoria L Rovine, Labelle Prussin et al.ARTICLEWoman s Art Journal1999
Communiqué from Afro-Atlantis
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1999Cited by: 1
Translating the World into Generousness: Remarks on Haitian Vèvè
Open AccessRobert Thompson, Robert Farris ThompsonARTICLERes: Anthropology and Aesthetics1997
Tap-Tap, Fula-Fula, Kíá-Kíá: The Haitian Bus in Atlantic Perspective
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1996Cited by: 1
Les bus haitiens (tap-tap) presentent des decorations et inscriptions colorees dont les origines viennent, en outre, des Yoruba et des Kongo. Les motifs et les annotations visent a proteger le vehicule et ses passagers et a exprimer un caractere de l'autocar dans un style vaudou. Ce dernier se rencontre egalement sur les routes ou des dessins (symboles, « veve ») sont peints a meme le sol
Face of the Gods: Art and Altars of Africa and the African Americas
George Brandon, Robert Thompson et al.ARTICLEAfrican Arts1995Cited by: 10
Robert Farris Thompson, Professor of the History of African and African-American Art at Yale University, has been working on this study of African-Atlantic altars for twenty-five years. Face of the Gods is based on fieldwork in both Africa and the Americas - in Mali, Ghana, Benin, Nigeria, Zaire, the Central African Republic, Angola, Zimbabwe, and South Africa, on the eastern part of the Atlantic, and in Cuba, Haiti, Puerto Rico, Suriname, the Un…
Face of the Gods: The Artists and Their Altars
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1995Cited by: 4
A propos de quelques 80 autels articulant deux metaphores principales des autels de l'aire Africaine atlantique (Yoruba et Kongo) et composes d'une centaine d'oeuvres d'art africaines et afro-americaines presentes notamment par l'exposition du Museum for African Art a New York (24 septembre - 9 janvier 1994). Chez les Yoruba, les autels sont des lieux d'apaisement sur lesquels on depose la poterie votive et des recipients contenant des liquides f…
Divine Inspiration -- From Benin to Bahia
D Glazier, Stephen D Glazier et al.ARTICLEJournal for the Scientific Study…1995
Illuminating Spirits: "Astonishment and Power" at the National Museum of African Art
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1993
L'exposition « Astonishment and power » au National Museum of African Art de Washington DC (18 avril 1993-2 janvier 1994) proposait en premiere partie une exploration de la tradition Kongo des minkisi (singulier = nkisi), objets complexes contenant des medecines puissantes, invoques dans des buts protecteurs ou aggressifs. Les 31 minkisi (fin 19 e siecle-debut 20 e siecle) exposes, proposaient un eventail de formes figuratives et non-figuratives.…
Interview with Robert Farris Thompson
Donald J Cosentino, Robert Thompson et al.ARTICLEAfrican Arts1992
Pygmées? Peintures sur écorce battue des Mbuti (Haut-Zaïre)
Susanne Fürni, Robert Thompson et al.ARTICLECahiers de musiques traditionnelles1992Cited by: 2
Perspectives: Angles on African Art
Raymond A Silverman, James Baldwin et al.ARTICLEAfrican Arts1987Cited by: 8
Flash of the spirit: African and Afro-American art and philosophy
Robert Farris ThompsonBOOKFlash of the spirit1984
Painting from a Single Heart. Preliminary Remarks on Bark-Cloth Designs of the Mbute Women of Haute-Zaire
Monni Adams, Robert Thompson et al.ARTICLEAfrican Arts1984
The Four Moments of the Sun: Kongo Art in Two Worlds
Jan Vansina, Edward Lifschitz et al.ARTICLEAfrican Arts1982Cited by: 47
African Art in Motion: Icon and Act
Robert Thompson, Robert Farris ThompsonBOOKAfrican Art in Motion1979Cited by: 17
Black Gods and Kings: Yoruba Art at Ucla
Frank Willett, Robert Thompson et al.ARTICLEAfrican Arts1978
Black Gods and Kings. Yoruba Art at Ucla
P R Mckenzie, Precious McKenzie et al.ARTICLEJournal of Religion in Africa1978
African Art in Motion
Gerald Moore, Robert Thompson et al.ARTICLELeonardo1977
African Art in Motion: An Overview of African Dance Videotapes
Roderic Knight, Robert Thompson et al.ARTICLEAfrican Arts1977

The Four Moments of the Sun: Kongo Art in Two Worlds
Jan Vansina, Edward Lifschitz et al.ARTICLEAfrican Arts1982Cited by: 47
African Art in Motion: Icon and Act
Robert Thompson, Robert Farris ThompsonBOOKAfrican Art in Motion1979Cited by: 17
An Aesthetic of the Cool
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1973Cited by: 17
Face of the Gods: Art and Altars of Africa and the African Americas
George Brandon, Robert Thompson et al.ARTICLEAfrican Arts1995Cited by: 10
Robert Farris Thompson, Professor of the History of African and African-American Art at Yale University, has been working on this study of African-Atlantic altars for twenty-five years. Face of the Gods is based on fieldwork in both Africa and the Americas - in Mali, Ghana, Benin, Nigeria, Zaire, the Central African Republic, Angola, Zimbabwe, and South Africa, on the eastern part of the Atlantic, and in Cuba, Haiti, Puerto Rico, Suriname, the Un…
Perspectives: Angles on African Art
Raymond A Silverman, James Baldwin et al.ARTICLEAfrican Arts1987Cited by: 8
The Sign of the Divine King: An Essay on Yoruba Bead-Embroidered Crowns with Veil and Bird Decorations
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1970Cited by: 8
La couronne de grain Yoruba avec son visage frontal, sa decoration d'oiseaux et son voile est le premier attribut des rois traditionnels au sud-ouest du Nigeria. La couronne symbolise les aspirations d'une civilisation arrivee au niveau d'autorite le plus eleve. Depuis des siecles, l'iconographie de la couronne dans cette partie du monde se caracterise par un rassemblement des oiseaux (ou un seul oiseau) surmonte d'un visage frontal. La figure Ga…
African Art in Motion: Icon and Act in the Collection of Katherine Coryton White
William Bascom, Robert Thompson et al.ARTICLEAfrican Arts1974Cited by: 5
Face of the Gods: The Artists and Their Altars
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1995Cited by: 4
A propos de quelques 80 autels articulant deux metaphores principales des autels de l'aire Africaine atlantique (Yoruba et Kongo) et composes d'une centaine d'oeuvres d'art africaines et afro-americaines presentes notamment par l'exposition du Museum for African Art a New York (24 septembre - 9 janvier 1994). Chez les Yoruba, les autels sont des lieux d'apaisement sur lesquels on depose la poterie votive et des recipients contenant des liquides f…
Sons of Thunder: Twin Images among the Oyo and Other Yoruba Groups
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1971Cited by: 4
Pygmées? Peintures sur écorce battue des Mbuti (Haut-Zaïre)
Susanne Fürni, Robert Thompson et al.ARTICLECahiers de musiques traditionnelles1992Cited by: 2
Communiqué from Afro-Atlantis
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1999Cited by: 1
Tap-Tap, Fula-Fula, Kíá-Kíá: The Haitian Bus in Atlantic Perspective
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1996Cited by: 1
Les bus haitiens (tap-tap) presentent des decorations et inscriptions colorees dont les origines viennent, en outre, des Yoruba et des Kongo. Les motifs et les annotations visent a proteger le vehicule et ses passagers et a exprimer un caractere de l'autocar dans un style vaudou. Ce dernier se rencontre egalement sur les routes ou des dessins (symboles, « veve ») sont peints a meme le sol
Icons of the Mind: Yoruba Herbalism Arts in Atlantic Perspective
Robert Thompson, Robert Farris ThompsonARTICLEAfrican Arts1975Cited by: 1