Sankofa, Marla A. Jackson

This quilt, made of cotton and batik fabric, features four silhouettes decorated with cowry shells, Austrian crystal, and metallic thread. These figures—defined by their Black bodies, bright headdresses, and skirts—are a direct reference to the monochromatic compositions of Aaron Douglas, a notable figure of the Harlem Renaissance. Jackson created this quilt in 2007 when the Spencer Museum of Art organized a major retrospective of Douglas’s work. Beyond this connection to the Spencer Museum and African American history, a central narrative of this work is the Ghanaian notion of sankofa. Defined as an embodied practice that translates from the Twi language as “go back and get it,” this philosophical and meditative process involves the exploration of forgotten histories and past deeds in order to move into a better future. In this quilt, Jackson employs the philosophy of sankofa to pay homage to African American artists of the past by reflecting on their artistic concerns and embedding their creative essence in the fabric. In this act of remembrance, Jackson weaves her vision of a collective African narrative and history into the very fiber of her creation. Written by Natasha Welsh.

This quilt, made of cotton and batik fabric, features four silhouettes decorated with cowry shells, Austrian crystal, and metallic thread. These figures—defined by their Black bodies, bright headdresses, and skirts—are a direct reference to the monochromatic compositions of Aaron Douglas, a notable figure of the Harlem Renaissance. Jackson created this quilt in 2007 when the Spencer Museum of Art organized a major retrospective of Douglas’s work. Beyond this connection to the Spencer Museum and African American history, a central narrative of this work is the Ghanaian notion of sankofa. Defined as an embodied practice that translates from the Twi language as “go back and get it,” this philosophical and meditative process involves the exploration of forgotten histories and past deeds in order to move into a better future. In this quilt, Jackson employs the philosophy of sankofa to pay homage to African American artists of the past by reflecting on their artistic concerns and embedding their creative essence in the fabric. In this act of remembrance, Jackson weaves her vision of a collective African narrative and history into the very fiber of her creation. Written by Natasha Welsh.

The name Sankofa comes from the Twi language of Ghana, Africa, and translates roughly as “go back and get it.” The idea of Sankofa is often represented as a heart or bird-shaped symbol. It represents the importance of reflecting on the past to build a successful future. Jackson created this quilt in response to the ideas of Topeka-born artist Aaron Douglas at the time of the major exhibition of Douglas’s work that the Spencer Museum organized in 2007. As Douglas became one of the key visual artists of the Harlem Renaissance during the 1920s and 1930s, he called upon his African heritage to form the foundation of his work.

The name Sankofa comes from the Twi language of Ghana, Africa, and translates roughly as “go back and get it.” The idea of Sankofa is often represented as a heart or bird-shaped symbol. It represents the importance of reflecting on the past to build a successful future. Jackson created this quilt in response to the ideas of Topeka-born artist Aaron Douglas at the time of the major exhibition of Douglas’s work that the Spencer Museum organized in 2007. As Douglas became one of the key visual artists of the Harlem Renaissance during the 1920s and 1930s, he called upon his African heritage to form the foundation of his work.