His art work is known for creating alternative black iconography connected to Africa and rooted in struggle, in order to replace the history of demeaning stereotypes found in mainstream white culture.
Within AfriCOBRA, it was Donaldson's idea to synthesize an all-encompassing transnational aesthetic—to, in effect, collaborate internationally to unify the then-fragmented concept of black art.
Having been displaced from their native lands and transplanted into foreign locations, members of the African diaspora grasped onto the only thing that remained of their lost identity—the fact that they descended from Africa, and that they were removed thence.
[4] He worked for a year at Lanier High School, establishing an arts program for black students then was drafted into the U.S. Army for service.
[5] As the chairman of Howard University beginning in 1970, Donaldson used his influence to revolutionize the curricula of the African and African-American art history majors.
[1] He broadened the narrowly defined concept of art to include its other, less mainstream facets, causing its most dedicated pupils to view it with a new respect and significance.
"[7] AfriCOBRA, under Donaldson's influence, was pivotal in the definition and support of the transAfrican movement by means of the various international and national conferences it both organized and participated in.
According to Donaldson, the transAfrican style is characterized by "high energy colour, rhythmic linear effects, flat patterning, form-filled composition and picture plane compartmentalization.
Cool green and dark blue contrast with the warm oranges, crimsons and yellows to create an eye-catching, visually stimulating work.
True to its cause, the mural depicts African Americans as champions, displaying the heads and figures of the diaspora's most successful and highly regarded members.
[11] In addition to displaying national diasporic symbols, Victory in the Valley of Eshu incorporates many elements of traditional African culture, paying homage to the common heritage of diaspora members.
The little splotches and dots of color seem to emanate from the bodies and to dance their way around the edges of the portrait, conveying that notion of a rhythmic motion which was integral in transAfrican work.
The popular abstract style of the late 20th century is apparent in his work, and there is a clear shift from the humanistic and realistic forms to geometric shapes and lines.
The geometric shapes, however, along with the bustling activity, bright colors, and concentric circles, combine to endow the work with a traditional, almost tribal African feel.
In other words, while transAfrican art still maintains its general themes in an overarching community, fewer stylistically singular group efforts are being pursued, as was the case with the Wall of Respect.
Donaldson noted this change, and reflected that the broadening geographic diversity within the African diasporic art movement has "greatly increased contacts with other Africentric artists in the various cities, thereby intensifying individual expression within the context of unity.
By means of his transAfrican style and community-oriented artwork, Jeff Donaldson showed members of the African diaspora that they were indeed an independent, able people who were not to be perpetually confined to the role of the conquered.