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| | MEMORY LINES: ART IN THE PAN-AFRICAN WORLD |
 | | So, in 1978 when her world was falling apart: the end of a marriage, the loss of a mother, no job, no family, no financial means of support, Montgomery intuitively did what diasporic Africans did in Brazilian Candomblé, Haitian Vodun, Jamaican Pukuminia, Cuban Lucumi, and the Hoodoo cultural rites of Southern United States. |
 | | In accordance with his African beliefs, he holds that images, colors, and forms have latent powers, which must consciously be released if the rite of creation is to be completed satisfactorily. |
 | | His conceptualization, simultaneously esoteric and aesthetic, recollects the ancient metaphysical view of colors as possessing energy, a view that is held by Candomblé, Lucumí and Vodun devotees in the Americas, and in Africa by the Dogon, Igbo, Ibibio, Akan, Mende, Yorùbá, and Ewe to name a few. |
| www.africaresource.com /ijele/vol1.2/nzegwu2.html (15687 words) |
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