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Lieber examines the emergence of the cross form in Ethiopia and its role in evoking histories and memories of devotion through its incorporation into architectural/aesthetic forms and religious spaces.
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Now Talia Lieber (Art History, University of California, Los Angeles) is bringing us back to visual culture and art with her talk on “Spaces of Wonder and Devotion: The Thirteenth-Century Rock-Hewn Churches of Lalibela, Ethiopia”! #DGMA19 #GlobalMiddleAges #medievaltwitter 
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Crosses, both architectural forms and bronze processional crosses are mnemonic devices for devotees in Lalibela that evoke and preserve memories, histories, aesthetics, and traditions; capable of being used to physically mark sacrality of everyday landscapes.
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There’s a very interactive element to the architecture— some cross forms on roofs aren’t immediately obvious, while some, like cross form windows, are meant to be activated by light passing through them to evoke biblical stories/acts.pic.twitter.com/joiDVhjR89
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Then there's the added element of bronze processional crosses that enter the spaces as performance. Thinking with the “medieval” as a period of time rather than geography may be useful as a way to incorporate African & other locales.
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Of course, we see cross forms in a vast number of other areas, and these shared iconographies do not exist in isolation. Memory and liturgy and ideas about them are not solitary either.
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