Robin Poynor
Dados Biográficos
| ID | 5455728 |
|---|---|
| NOME | Robin Poynor |
| PRENOMES | Robin |
| SOBRENOME | Poynor |
| ASSINATURA | POYNOR R |
| AFILIAÇÕES | African Forum for Agricultural Advisory Services |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 20 |
| TOTAL DE CITAÇÕES | 36 |
| TOTAL COMO AUTOR | 20 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1976 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 3 |
An Ancestral Shrine in Ọ̀wọ, Nigeria
The oju'po (ancestral shrine) of the Olúdásà, a descendent of Eléwùokùn, one of the most illustrious rulers of the Ọ̀wọ Kingdom, may be almost 200 years old and has been documented in scholarly literature for the last 75 years. Here we attempt to reconstruct its history, explain its function, and consider the various visual elements that constitute the shrine. The oju'po functioned as a space full of distinct iconographic statements that the view…
I Hold in My Hand
The oríkì1 of High Chief Elerewe of Ọ̀wọ̀ refers to “a well-born person who holds the staff of brass” (omalóreye te òpá ude).2 To hold a brass òpá (staff) indicates position within a structured and ranked social and political system. Objects held in the hand can be seen as extensions of the individual's presentation of self through dress. In his discussion of dress as performance, Rowland Abiodun emphasizes the transformation and redefinition of …
Gatekeepers and Vengeful Spirits of the Ọ̀wọ̀ Past
Under the assumption that there is value in retrospectively examining one's earlier research to assess areas of omission or misunderstanding, I write this article some fifty years after my initial research in Ọ̀wọ̀, Nigeria, the capital city of a once powerful, sprawling kingdom on the eastern edge of Yòrùbá territory, bordering on the powerful Edo Benin Kingdom whose capital is a scant 75 miles south.As a neophyte researcher whose training prior…
Personal Reflections on Technologies and the Study of African Art
A few of us remember Hal, the fictional AI character that takes control of the spaceship Discovery One in the 1968 film 2001: A Space Odyssey. Hal1 was not friendly when the protagonist of the film interacted with him. He took over, refusing to cooperate with human “passengers.” The character was capable of performing tasks we recognize as AI (artificial intelligence) today: speech recognition, simulated speech, peforming visual input processing …
The Cloth That Eats Money
In August 2019, Ajibade Gbadegesin Ogunoye was installed as Ogunoye III, the 32nd Olọ́wọ̀ of Ọ́wọ̀ and Paramount Ruler of Ọ́wọ̀ Kingdom.1 The steps leading to his coronation involved numerous ceremonies and ritual acts that transpired over more than two weeks. Several variations of attire were required over the period of intense ritual activity. On the day of his investiture (September 8, 2019, seventeen days after his installation), Ogunoye was …
Ancestors and Elders
My research in Owo, Nigeria, revealed to me three broad ways ancestors were remembered there. In the ako ceremony hundreds of pieces of commemorative cloth were woven and a life-sized effigy of a recent ancestor was carried through the streets before it was buried (Poynor 1987) (Fig. 1). Commemorative rituals at paternal ancestral shrines (oju'po) venerated several generations of named ancestors. A retablo carved or modeled in relief backed the a…
Kongo across the Waters
December 01 2013 Kongo across the Waters Susan Cooksey, Susan Cooksey Susan Cooksey is the Curator of African Art at the Samuel P. Harn Museum of Art, University of Florida. She has curated a number of original exhibitions on African, Oceanic, and ancient American art. Her recent publications include: Africa Interweave: Textile Diasporas, Harn Museum of Art (2011) and “Double Images in Win Divination and the Negotiation of Spirit-Human Identities…
The Many and Changing Faces of Ògún
Ògún, the Yorùbá god of iron, is venerated throughout the Atlantic world. While many African-based religions coexist in Florida, the shrines discussed here were developed by individuals connected with Oyotunji Village in South Carolina. South Florida's urban shrines differ remarkably from north central Florida's rural shrines. I suggest several factors determine this variation: changing characteristics of Ògún, differing circumstances of the shri…
Resonance and Inspiration
Art, Innovation, and Politics in Eighteenth-Century
The Scramble for Art in Central Africa
The Scramble for Art in Central Africa. Enid Schildkrout and Curtis A. Keim (eds.). New York, NY, and London, UK: Cambridge University Press, 1998. xiii. 257 pp. (Cloth US$59.95; Paper US$21.95)
African Art at the Harn Museum
Icons
Ako Figures of Owo and Second Burials in Southern Nigeria
Naturalism and Abstraction in Owo Masks
six hundred years. Fagg noted as early as 1951 (pp. 73-76) that Owo was a major style center whose importance may rival that of Ife or Benin. The objects illustrated in that article (Figs. 2-4) might be used as an index of an Owo court style. Many other objects, however, defy such categorization. There are object types as well as styles that have been introduced from neighboring areas as a result of migrations into the Owo kingdom. 1 Changes in a…
Yoruba
Traditional Textiles in Owo, Nigeria
African Artistry
The Egungun of Owo
Edo Influence on the Arts of Owo
Kongo across the Waters
December 01 2013 Kongo across the Waters Susan Cooksey, Susan Cooksey Susan Cooksey is the Curator of African Art at the Samuel P. Harn Museum of Art, University of Florida. She has curated a number of original exhibitions on African, Oceanic, and ancient American art. Her recent publications include: Africa Interweave: Textile Diasporas, Harn Museum of Art (2011) and “Double Images in Win Divination and the Negotiation of Spirit-Human Identities…
The Egungun of Owo
The Cloth That Eats Money
In August 2019, Ajibade Gbadegesin Ogunoye was installed as Ogunoye III, the 32nd Olọ́wọ̀ of Ọ́wọ̀ and Paramount Ruler of Ọ́wọ̀ Kingdom.1 The steps leading to his coronation involved numerous ceremonies and ritual acts that transpired over more than two weeks. Several variations of attire were required over the period of intense ritual activity. On the day of his investiture (September 8, 2019, seventeen days after his installation), Ogunoye was …
Ako Figures of Owo and Second Burials in Southern Nigeria
Traditional Textiles in Owo, Nigeria
Edo Influence on the Arts of Owo
I Hold in My Hand
The oríkì1 of High Chief Elerewe of Ọ̀wọ̀ refers to “a well-born person who holds the staff of brass” (omalóreye te òpá ude).2 To hold a brass òpá (staff) indicates position within a structured and ranked social and political system. Objects held in the hand can be seen as extensions of the individual's presentation of self through dress. In his discussion of dress as performance, Rowland Abiodun emphasizes the transformation and redefinition of …
Personal Reflections on Technologies and the Study of African Art
A few of us remember Hal, the fictional AI character that takes control of the spaceship Discovery One in the 1968 film 2001: A Space Odyssey. Hal1 was not friendly when the protagonist of the film interacted with him. He took over, refusing to cooperate with human “passengers.” The character was capable of performing tasks we recognize as AI (artificial intelligence) today: speech recognition, simulated speech, peforming visual input processing …
The Many and Changing Faces of Ògún
Ògún, the Yorùbá god of iron, is venerated throughout the Atlantic world. While many African-based religions coexist in Florida, the shrines discussed here were developed by individuals connected with Oyotunji Village in South Carolina. South Florida's urban shrines differ remarkably from north central Florida's rural shrines. I suggest several factors determine this variation: changing characteristics of Ògún, differing circumstances of the shri…
Naturalism and Abstraction in Owo Masks
six hundred years. Fagg noted as early as 1951 (pp. 73-76) that Owo was a major style center whose importance may rival that of Ife or Benin. The objects illustrated in that article (Figs. 2-4) might be used as an index of an Owo court style. Many other objects, however, defy such categorization. There are object types as well as styles that have been introduced from neighboring areas as a result of migrations into the Owo kingdom. 1 Changes in a…
Edo Influence on the Arts of Owo
The Egungun of Owo
Traditional Textiles in Owo, Nigeria
African Artistry
Yoruba
Ako Figures of Owo and Second Burials in Southern Nigeria
Naturalism and Abstraction in Owo Masks
six hundred years. Fagg noted as early as 1951 (pp. 73-76) that Owo was a major style center whose importance may rival that of Ife or Benin. The objects illustrated in that article (Figs. 2-4) might be used as an index of an Owo court style. Many other objects, however, defy such categorization. There are object types as well as styles that have been introduced from neighboring areas as a result of migrations into the Owo kingdom. 1 Changes in a…
Icons
African Art at the Harn Museum
Art, Innovation, and Politics in Eighteenth-Century
The Scramble for Art in Central Africa
The Scramble for Art in Central Africa. Enid Schildkrout and Curtis A. Keim (eds.). New York, NY, and London, UK: Cambridge University Press, 1998. xiii. 257 pp. (Cloth US$59.95; Paper US$21.95)
Resonance and Inspiration
The Many and Changing Faces of Ògún
Ògún, the Yorùbá god of iron, is venerated throughout the Atlantic world. While many African-based religions coexist in Florida, the shrines discussed here were developed by individuals connected with Oyotunji Village in South Carolina. South Florida's urban shrines differ remarkably from north central Florida's rural shrines. I suggest several factors determine this variation: changing characteristics of Ògún, differing circumstances of the shri…
Kongo across the Waters
December 01 2013 Kongo across the Waters Susan Cooksey, Susan Cooksey Susan Cooksey is the Curator of African Art at the Samuel P. Harn Museum of Art, University of Florida. She has curated a number of original exhibitions on African, Oceanic, and ancient American art. Her recent publications include: Africa Interweave: Textile Diasporas, Harn Museum of Art (2011) and “Double Images in Win Divination and the Negotiation of Spirit-Human Identities…
Ancestors and Elders
My research in Owo, Nigeria, revealed to me three broad ways ancestors were remembered there. In the ako ceremony hundreds of pieces of commemorative cloth were woven and a life-sized effigy of a recent ancestor was carried through the streets before it was buried (Poynor 1987) (Fig. 1). Commemorative rituals at paternal ancestral shrines (oju'po) venerated several generations of named ancestors. A retablo carved or modeled in relief backed the a…
Gatekeepers and Vengeful Spirits of the Ọ̀wọ̀ Past
Under the assumption that there is value in retrospectively examining one's earlier research to assess areas of omission or misunderstanding, I write this article some fifty years after my initial research in Ọ̀wọ̀, Nigeria, the capital city of a once powerful, sprawling kingdom on the eastern edge of Yòrùbá territory, bordering on the powerful Edo Benin Kingdom whose capital is a scant 75 miles south.As a neophyte researcher whose training prior…
Personal Reflections on Technologies and the Study of African Art
A few of us remember Hal, the fictional AI character that takes control of the spaceship Discovery One in the 1968 film 2001: A Space Odyssey. Hal1 was not friendly when the protagonist of the film interacted with him. He took over, refusing to cooperate with human “passengers.” The character was capable of performing tasks we recognize as AI (artificial intelligence) today: speech recognition, simulated speech, peforming visual input processing …
The Cloth That Eats Money
In August 2019, Ajibade Gbadegesin Ogunoye was installed as Ogunoye III, the 32nd Olọ́wọ̀ of Ọ́wọ̀ and Paramount Ruler of Ọ́wọ̀ Kingdom.1 The steps leading to his coronation involved numerous ceremonies and ritual acts that transpired over more than two weeks. Several variations of attire were required over the period of intense ritual activity. On the day of his investiture (September 8, 2019, seventeen days after his installation), Ogunoye was …
I Hold in My Hand
The oríkì1 of High Chief Elerewe of Ọ̀wọ̀ refers to “a well-born person who holds the staff of brass” (omalóreye te òpá ude).2 To hold a brass òpá (staff) indicates position within a structured and ranked social and political system. Objects held in the hand can be seen as extensions of the individual's presentation of self through dress. In his discussion of dress as performance, Rowland Abiodun emphasizes the transformation and redefinition of …
An Ancestral Shrine in Ọ̀wọ, Nigeria
The oju'po (ancestral shrine) of the Olúdásà, a descendent of Eléwùokùn, one of the most illustrious rulers of the Ọ̀wọ Kingdom, may be almost 200 years old and has been documented in scholarly literature for the last 75 years. Here we attempt to reconstruct its history, explain its function, and consider the various visual elements that constitute the shrine. The oju'po functioned as a space full of distinct iconographic statements that the view…
Art (16 obras) · Visual arts (12 obras) · African history and culture studies (9 obras) · History (8 obras) · Archaeology (5 obras) · Geography (5 obras) · The arts (5 obras) · Aesthetics (4 obras) · Philosophy (4 obras) · Political science (4 obras)