For this study, the researcher sought to implement a visual arts-based Afrivisual to help inspire, motivate and empower African American students in gaining a culturally relevant education in Euro-American-centered schools. Using the Afrivisual in this work as an action-oriented tool the researcher sought to expose African American students to an African historical context. This research project utilized three African-centered theoretical frameworks: (1) Afrocentricity, (2) Africana Philosophy, and (3) Africana Critical Theory. The problem this work addresses is found in four areas, (1) American history is Eurocentric, (2) African history has been distorted, (3) Africa’s contribution to world civilization has been ignored, and (4) African American students have suffered from identity issues. The primary purpose of the study was to show how African American students may react to culturally relevant exposure to African history and to investigate if exposure to African history is culturally relevant for them. The researcher also hoped to present an effective strategy for Black students from an African-centered point of view. The central questions of this study were, “How do native-born African American community college students respond to a culturally relevant visual tool? What experiences have they had with history? How has their exposure to history affected them?” Both quantitative and qualitative phases of this study were based on data and interviews with African American community college students. Descriptive statistics, including frequency percentages shown in tables were used to present the questionnaire data. Qualitative coding techniques were used to present the focus group data. The qualitative phase of the study highlighted the introduction of the Afrivisual, a visual arts-based and culturally relevant educational tool. There were similarities between the survey sample and the interview sample. The quantitative and qualitative data combined to show the strong desire African American students have to study African history, African civilizations, and to learn about their African ancestors. The triangulation of the data revealed that African American students who were found to be proud to be Black, vowed to be vigilant in future history classes about what they’re being taught, and to present questions about African history. The students also expressed a tremendous need to share what they’ve learned about African history with other African Americans. The significance of this study is that the Afrivisual can be a potentially effective teaching strategy. Also additional researchers may be able to build upon the findings of this inquiry by using another media form of the Afrivisual. Lastly, it exposed weaknesses in the self-hatred thesis as it applies to African American adults, and called for the groundbreaking theoretical framework to be revisited.

La recherche a été menée sur les amphores d’origine africaine produites entre le milieu du IIe siècle av. J. C. et la fin du Ier-début du IIe siècle apr. J. C. et prend son origine dans l’étude du mobilier provenant des fouilles d’archéologie urbaine réalisées à Rome, dans le quartier du Testaccio, dans les années 2005-2009. Les amphores sélectionnées ont été celles de production de tradition punique, africaine (où présumée africaine) et tripolitaine. En particulier la catégorie d’amphores appelées amphores africaines précoces, fait encore l'objet de beaucoup de doutes, en l'absence de recherches systématiques. L'étude a permis de proposer une nouvelle reconstruction générale de l'évolution typologique des amphores et des dynamiques chronologiques et commerciales du Ier siècle de l'Empire romain, en enrichissant la connaissance de leur diffusion à Rome. L’étude peut offrir une première reconstruction générale, à travers une recherche systématique, de l'évolution typologique et chronologique, de la production (les ateliers des premières phases productives de l’époque romaine ne sont presque pas connus par rapport à ceux des époques successives, à partir du IIe siècle) et de la diffusion dans le bassin de la Méditerranée en contribuant à éclaircir les dynamiques commerciales et productives du premier siècle de l'Empire romaine. En particulier cette étude a permis de comprendre que l’origine des amphores africaines précoces est désormais à placer dans le nord-ouest de la Tunisie, redonnant toute sa place a une région relativement délaissée par les études récentes, bien que elle était la premier zone de colonisation de l’Afrique romaine. / The research is pointed on the ancient african amphorae coming from the excavation of Nuovo Mercato Testaccio, carried out between 2005 and 2009 in Rome. In particular, beside the punique and tripolitanian types as so called Dressel 18, Schoene-Mau 40, Schoene-Mau 35 and Tripolitanian amphora first-second, the research is focused on the type Dressel 26, Ancient Tripolitanian amphora and Ostia 59 and 23, at the moment less known in terms of typology, production and diffusion.The quite strong presence of those amphorae in the excavation of Nuovo Mercato Testaccio has been the “start” for this research. The aims of the research are: define the typological evolution and origin of the early african amphorae; reconstruct the commercial flux of african goods to Rome in the 1st century A.D.; analyze the contents of amphorae with gascromatography (we already analyze nine samples); The present research implement the typological study of early african amphorae and, with the support of petrographic analysis, contribute to clarify origin and chronology of amphorae. The study try to give back an image of the presence of those amphorae across the Mediterranean and in Rome from the 2nd century B.C. to the 1st century A.D. One of the most important results of this study is to identify the origin of Early African Amphorae in Northern-Tunisia. In conclusion the research contribute to highlight the trade of african goods in the Mediterranean basin and in Rome from half II B.C. to end of I A.D.-beginning of II A.D.