Keith had a fascinating life... although he and I went to the same school, I feel everyone will identify with his message. Read it!

I did not understand nor really enjoy Keith Harings work until I read his journal. His thought processes that develope in the book talk about what he was trying to acomplish with his work. Knowing the angle that he was working from gave me a much deeper appreciation for his work. I think this is a very valuable book in understand Keith's views and philosophies behind his work.

Keith Haring is unbelievably talented. He is one of my favorite artist's--and in his journals I got to understand where some of his compositions came from---If you like his work and you want to know where some of his ideas came from. Check out this book!!!!!!!!!!!!!!!

John Biggers came to artistic maturity in an academic setting far from the art centers of New York. He was repulsed by the New York art scene that had so summarily dismissed black art when he had participated in a MOMA black student art exhibit. Perhaps his avoidance of the centers of art commerce were as responsible for the late acceptance of his genius as was the segregationist mindset in the United States during Biggers's early career. As well as producing important paintings, drawings, and sculpture, Biggers is one of this country's most important muralists, creating more than twenty major murals in fifty years. His life has been dramatic in both content and context. Wardlaw draws a clear portrait of African-American life in the black section of a sharply segregated Gastonia, North Carolina, where Biggers grew up in the 1930s, and the rich family and community life of rural black America of the time. The other essays, written by noted scholars, trace the history of Biggers's artistic career through a careful study and analysis of his body of work.

Edmondson was one of the few artists ever to be led into his work by pure inner vision and his work shows the extraordinary power of genuine and uninfected inspiration so rare to us these days. A wonderful gift for anyone interested in the power of stone.

Divine Inspiration is an unusual coffee table book because the pictures do tell a thousand words, and because the text is helpful and interesting, not just filler. It is a good, respectful introduction to the Yoruba religion and its many offspring in the Americas.

This book, the companion piece to the exhibition of the same name, is a blessing. Thompson, professor & head of the department of African Art at Yale, directed this incredible exhibition in 1993 at NYC's Museum of African Art. From Ifa in Nigeria, to Santeria in Puerto Rico, to Obeah in Jamaica, to Vodun in Haiti, he and his companion scholars and curators have contributed in a healing circle across the Middle Passage. Shattering damaging, racist mythologies of these religions, _Face of the Gods_ fosters an understanding for these misunderstood religions while maintaining a respectful distance. Complete with analyses, interviews, and color photographs.

This work details the religious, political and cultural heritage of the Congolese people of Central Africa and how that heritage is evident in art throughout the Americas, including the American South. Ornamentation, like personal affects and shards of broken glass, in Southern graveyards reflect Congolese religious heritage; baton-twirling, by Cuban dancers and Southern cheerleaders, and jug bands in Louisiana reflect Congolese musical heritage. Other aspects of African-American and American Southern culture reflect not only Congolese religious and artistic heritage, but Congolese religio-political thought and practice. Some rightly advise caution in considering the consistency of a culture over several centuries. This work, however, is not only composed magnificently, but argued well and substantiated convincingly.

For works on the same region, see books by Wyatt MacGaffey, Jan Vansina, John M. Janzen and John Kelly Thornton, in addition to other works by Robert Farris Thompson. For similar themes of African culture in America, with a stronger caveat against thinking a culture does not change over time, see works by Mechal Sobel, Michael Angelo Gomez and Melville Herskovits. For studies of people from different African regions brought to different American regions, see Philip D. Curtin, The Atlantic Slave Trade: A Census; David Eltis, et al., Routes to Slavery; and Daniel C. Littlefield, Rice and Slaves.

If you are looking for a quick yet thorough coverage of this topic then this is the book for you. It is a relatively short book, coming in at 167 pages (not including bibliography but including notes section), yet it covers the whole spectrum of the national music of the Dominican Republic.

Mr Austerlitz covers the beginnings of this music all the way through to its current state. It also spends time on Merengue's development during the Trujillo era (a particularly interesting topic to anyone who studies the Dominican Republic).

Mr Austerlitz also does a good job of addressing the sociological issues that arise from music and manages to blend well the merengue of the campo with that of the salon.

A good read and it even comes with a CD with some very good campo (country) merengue. If you are looking for merengue at its roots then this CD should please you.

TABLE OF CONTENTS:

1.Introduction

PART 1: THE HISTORY OF MERENGUE 1854-1961. 2. Nineteenth-Century Caribbean Merengue. 3. Merengue Cibaeno, Cultural Nationalism, and Resistance. 4. Music and the State: Merengue during the Era of Trujillo, 1930-1961.

PART 2: The Contemporary Era, 1961-1995. 5. Merengue in the Transnational Community. 6. Innovation and Social Issues in Pop Merengue. 7. Merengue on the Global Stage. 8. Enduring Localism. 9. Conclusion

Let me know if you found this useful.

Up in Manhattan's Morningside Heights and its Dominican analogs all over the US, salsa is edged out by the magnificently manic beat of the merengue, whether stirred into Dominican rap and house (the most original as well as the least known versions of the genre) or in the tear-em-down accordion of Fefita La Grande. Austerlitz has all this and a lot more, all the way from the luckless Toma' back in the 1840s (read the book!)Austerlitz covers merengue from rural to hi-society in all its fierce joviality. Read this book and you'll know there's one good thing Trujillo did for the Dominican Republic!

John Storm Roberts

Enjoyed the insight into the history of Merengue and its cultural context. This book has a place on my bookshelf along with "The Latin Tinge" and "The Brazilian Sound."

I enjoyed this book when I first read it as much for the kinds of bridges it seemed to make as for his own writing style and subject matter. R.F. Thompson, who I had the pleasure of meeting once in the Metropolitan Museum of Art in New York, is someone who along with being highly knowledgeable cares a great deal for the subject. Where the book could be considered lacking I would say is it's way of seeming dated. It bares some cultural prejudice which, considering the cultural remoteness of the subject matter when compared to the intellectual/cultural arena of the writer(African and African-American, Afro-Cuban/Hispanic culture vs. Post-World War II Ivy League) - and how well he did anyway- is forgiveable, but present nonetheless. If you are expecting some pretty powerful things to be said about Coltrane, or the early days of Rap music and Hip-hop dance (now in its third decade of existence already), or Modigliani, or other things that are in the forefront of the present culture's mind, to a certain degree you will be disappointed. However, if you had no idea other than the Alex Haley "Roots" era rhetoricals about the derivation of many African-American and Hispanic/Hispanic-American cultural paradigms, this will enlighten you in ways that will have you going to the bookstore to see what else he and many others have written on the subjects. I recommend it- particularly for lovers of European modern art, studies of religion, and other things influenced by the Mother country.

Thompson's work on African retentions in New World artforms is seminal in the field of African Diasporan art history. However, Flash of the Spirit reads more like a best seller than a textbook. Fascinating details and insights into the meanings of art from Haiti to Georgia to Brazil, with excellent context for all objects. Great for anyone at all curious about African heritage, religion, and art. Occasionally thick reading, as one must trace entire cosmologies, but well layed out, full of illustrations, and textually easy to follow. Thompson makes an obscure genre easily accesible to readers of varied backgrounds.

If I could give this book 6 stars I would. Robert Farris Thompson presents our rich, ancient history making it quite clear that African Americans are not an isolated group but a group intimately connected to particular cultures and societies in West Africa and the African diaspora. The rich text is generously supported by illustrated plates. Essential reading for those who wish to gain an understanding of African cosmology, philosophy and art in relation to the African diaspora (North and South America, copious information on Brazil, the Carribean etc) Great reference material for students, artists, writers, researchers and thinkers. As an educator, writer and author I highly recommend this book.

While the information in the book can be gotten elsewhere these days, Davis' text holds together quite well, and without caving in to any commercial artiface. The term "ethnobiology" seems a little much, however -- I am not sure that any new theoretical ground has been surveyed.

This is an excellent well written and well researched book that gripped my like few non-fiction books ever have, yet, it leaves science minded people hanging. After all the research Davis conducted it makes no sense that he failed to follow up with experimentation using tetrodotoxin in a laboratory setting. It seems that he comes so close to finding a new use for this sodium blocking drug but fails to follow up. Maybe he has and I just haven't been able to find it despite extensive efforts. If you know of any follow-up please e-mail me

I actually met Wade Davis when he came to Haiti to do his research on his book, and I know personnaly manny of the characters in the book. Wade did an excellent job in portraying what goes on in the underworld of Haiti.

The chapter when he talks about the driver of the commandant of St Marc who was actually a secret society leader and actually had more power and influence than his boss is really key point in the balance of power in Haiti. Those who seem to be nobodies sometimes have more power than presidents

I used this book, along with a host of other books, transcripts, articles and recordings of capoeira to complete my undergraduate thesis in anthropology. Regarding an earlier post here, i don't think that Lewis was trying to necessarily undermine the black African origins of capoeira, but rather his experiences with capoeiristas around Brazil led him to focus on the wholly Brazilian cultural aspects (samba, too, is a cultural phenomenon with roots in Africa). While i do belive that his treatment of the African origins of capoeira were sketchy, this is to be expected as the data on capoeira's African origins is not very clear, and to the best of my knowledge is to date a matter of conjecture. The only truth regarding that matter is that capoeira did come from Africa with the (primarily West African) slaves and developed into modern capoeira while in Brazil. This last part, "in Brazil", is something that I stress in the sense that although many Caribbean and South American nations received slaves from the same parts of Africa, only Brazil's slaves and mulattos produced capoeira.

More to the point of this type of entry: the book is a definite must-read for anyone (capoeirista or not) interested in the modern expressions of african diasporan culture.

Yes, I think this book deserves five stars, because it gave me insight; both professional and personal. Training Capoeira for seven years (including two trips to Brazil for the same reason) has taken me to the strange border between two cultures: my own Danish average European socio-historic background, and the Afro-brazilian transcultural vegetation in which Capoeira flourishes. Alouring - and as Lewis notes: deceptive, Capoeira as a performance reveals conflictuality on the Afro-brazilian social and historical level, which differs from the writers own background; in this case quite similar to my case. The task of relating to this difference is met by Ring of Liberation through respect of the ontic 'way' of the capoeirista, and at the same time maintaining an epistemic approach. What this means, is that Ring of Liberation can be read by the intellectual layman as well as the non-brazilian capoeira enthusiast, as a guide to experiences already had or about to happen...great stuff!

I found that this is a VERY true to actual accounts of Capoeira. I've been practising Capoeira myself for a while now, and this book reflex the views that I, and most of my Groups shares. It would seem very one-sided, but you NEED to be a Capoeirista to fully understand the concpts and ideas and history of this book. To me, A VERY GOOD BOOK ON WHAT I BELIEVE

PEACE