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John Thabiti Willis

Associate Professor
Department chair of African Diaspora Studies

Kesho Scott Chair

Offices, Departments, or Centers: African Diaspora Studies ,
I am a scholar of the history of Africa and its diaspora in the Atlantic and Indian Ocean worlds whose research explores themes of performance, labor, and heritage. I earned my Ph.D. in History from Emory University and have held fellowships at the Carter G. Woodson Institute for African-American and African Studies and from the Fulbright-Hays Program. My first major project, Masquerading Politics: Kinship, Gender, and Ethnicity in a Yoruba Town, Otta, 1774鈥1928 (Indiana University Press, 2018), reimagines Yoruba political and cultural history through 19 months of fieldwork in southwestern Nigeria. This work demonstrates how ritual masquerades shaped artistic, religious, and political life while serving as arenas for contestations over labor and authority. It challenges fixed notions of gender in Africanist scholarship and was recognized as a finalist for the 2019 African Studies Association Best Book Prize and winner of the 2020 Yoruba Studies Book Prize. My current research extends into critical heritage studies and GIS to investigate Africa鈥檚 role in Gulf pearling. Drawing on archival sources, manumission records, ethnography, and oral histories, I recover the experiences of Africans and their descendants who labored in pearling communities and examine how their presence has been erased from official heritage narratives. Supported by a Mellon New Directions Fellowship, this work uses GIS mapping to visualize the socio-spatial dynamics of pearling and to illuminate the intertwined histories of Africans and Arabs in the Gulf.

Education and Degrees

Ph.D. African History, Emory University 
 
M.A. African History, Emory University
 
M.P.S. African and African American Studies, Cornell University
 
B.A. Accounting, Clark Atlanta University

Selected Publications

Book: 

Masquerading Politics: Kinship, Gender, Ethnicity in a Yoruba Town. Bloomington: Indiana University Press, 2018. 

Peer Reviewed Articles: 

鈥淢an versus Nature: Constructing National Identity and Heritage,鈥 Hawwa: Journal of Women of the Middle East and the Islamic World, Volume 19 (2021): Issue 1 (March 2021) 
 
Gender and Identity in the Gulf: Cultural Constructions and Representations, edited by Sarina Wakefield and Sabrina DeTurk. 鈥淏ridging the Archival - Ethnographic Divide: Gender, Kinship, and Seniority in the Study of Yoruba Masquerade,鈥 History in Africa: A Journal of Method Vol. 44 (2017), 63-100. 
 
鈥淣egotiating Gender, Power, and Spaces in Masquerade Performances in Nigeria,鈥 Gender, Place, and Culture: A Feminist Geography Journal, 21, 3 (2014): 322- 336. 

Contributions to Anthologies/Edited Volumes: 

鈥淜ingship and Egungun Masquerade in the Yoruba Towns of Oyo and Otta鈥, in H茅l猫ne Joubert (ed.), Kings and Queens of Africa: Forms and Figures of Power, exh. cat., Abu Dhabi, Louvre Abu Dhabi, 29 January鈥25 May 2025, Ghent, Snoeck and Abu Dhabi, Louvre Abu Dhabi, 2025. 
 
鈥溾楾he performance of servitude鈥: gendered and racialized representations of citizenship at the Bahrain National Museum,鈥 56-71. The Art of Minorities: Cultural Representation in Museums of the Middle East and North Africa. Edited by Virginie Rey. Edinburg: Edinburg University Press, 2020. 
 
鈥淩esilient but Disempowered: Representations of African Pearl Divers in Contemporary Heritage Discourses versus Early Twentieth-Century Manumission Records in the UAE.鈥 Africa and Its Diasporas: Rethinking Struggles for Recognition and Empowerment. Edited by Behnaz A. Mirzai and Bonny Ibhawoh. Trenton: Africa World Press & Red Sea Press, 2018. 
 
鈥淎 Visible Silence: Africans in the History of Pearl Diving in Dubai, UAE.鈥 34-49. Museums in Arabia: Transnational Practices and Regional Processes. Edited by Karen Exell and Sarina Wakefield. Surrey, U.K.: Ashgate, 2016. 
 
鈥淧ower and Gender in the History of Egungun.鈥 Central Nigeria Unmasked: Arts of the Benue River Valley, ed. by Marla Berns, Richard Fardon, and Sidney Kasfir. Los Angeles: Fowler Museum, UCLA, 2011.

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