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Just a reminder that abstracts for ‘Writing/Curating/Making Feminist Art Histories’ are due on the 17 January, so please email feministarthistories@gmail.com with a 250 word abstract by 5pm.

Also, for anyone wishing to attend the conference, free tickets are available here: http://www.eventbrite.co.uk/e/writing-curating-making-feminist-art-histories-tickets-9295407815. Registration before 1 March is necessary (further details for registering for the conference dinner will shortly follow).

Wishing you all a very happy 2014!

The current Explorations II: Religion and Spirituality exhibition is organized around six broad, overlapping themes, with a gallery dedicated to each theme. Here is the text panel for the fifth gallery, titled “Prayer and Ritual”:

The work in this gallery consists of various representations and evocations of prayer and ritual and, in doing so, also focuses on the performative nature of popular religions and spiritual practices, particularly the role of music and dance.

Revival religion features prominently in this section, for instance Osmond Watson’s celebratory Revival Kingdom (1969) and Day of the Pentecost (1971) or, in a more satirical vein, in Carl Abrahams’ Hallelujah, Hallelujah, Hallelujah (c1965) and Backyard Preacher (c1975). The same exuberant spirit of Revival is also evident in the examples by Revival leader Mallica “Kapo” Reynolds, particularly his Revival Baptism Ceremony (1972) and Allan “Zion” Johnson’s Giving Praise to the Lord (1972), although Kapo is also represented…

The current Explorations II: Religion and Spirituality exhibition is organized around six broad, overlapping themes, with a gallery dedicated to each theme. Here is the text panel for the fourth gallery, titled “Spiritual Warriors”:

The work in this gallery reflects on the role of religion and spirituality in local resistance and liberation movements, especially during the colonial period.

Religion and spirituality played a critical role in the fight against slavery throughout the Americas. In Jamaica, Nanny of the Maroons, had charismatic spiritual powers which she used to empower her followers in guerrilla warfare against the colonial authorities. Similarly, Tacky, the leader of the 1760 rebellion, was an Obeah Man and it is worth noting that Boukman Dutty, who presided over the Vodou ceremony at Bois Cayman that marked the start of the Haitian Revolution in 1791, was from Jamaica. These rebel leaders are symbolically represented in this exhibition by Renee…

Looking for a fresh and engaging way to teach your students about race?  Why create your own Facebook page or twitter account when you can participate in ours?