A Guide To The Jembe Since most African languages have no indigenous writing system, and coastalregions belonging to peoples such as the baga, Toma, Mane, Temne and Guerze. http://echarry.web.wesleyan.edu/jembearticle/
Extractions: (Coming soon: sound and video enhancements) The jembe (spelled djembe in French writing) is on the verge of achieving world status as a percussion instrument, rivaled in popularity perhaps only by the conga and steel pan. It first made an impact outside West Africa in the 1950s due to the world tours of Les Ballets Africains led by the Guinean Fodeba Keita. In the few decades succeeding this initial exposure the jembe was known internationally only to a small coterie of musicians and devotees of African music and dance. In the U.S. interest in the jembe centered around Ladji Camara, a member of Les Ballets Africains in the 1950s, who since the 1960s has trained a generation of American players. Worldwide, a mere handful of LP recordings were released up to the mid-1980s, most containing just a few selections of jembe playing.
Traditional Storytelling The variety of the regions indigenous musical traditions (such as ahouach, Praise poetry is a genre shared by all the peoples of africa South of the http://www.timsheppard.co.uk/story/dir/traditions/
Extractions: Home FAQ Articles Books ... Wild Times Storytelling traditions vary all over the world, yet have many things in common. This section is an attempt to gather information on customs of the oral tradition world-wide. Many people today are rediscovering the pleasures of telling stories, after their culture has lost most of its traditional storytelling, yet cannot easily find out much about the countless millennia of oral traditions with all their wisdom and techniques. I hope this site will help you discover and appreciate something of the central role which traditional storytelling has played in most cultures, and in some places still does. Your help will be welcome if you know or come across any facts or resources to add, current or historical. To begin with I'll be adding bits and pieces as I can, mainly from the perspective of musical commentators. Later on we'll have overviews and this page will split into various areas - this is a big subject! One thing to bear in mind is that in many old traditions storytelling is synonymous with song, chant, music, or epic poetry, especially in the bardic traditions. Stories may be chanted or sung, along with musical accompaniment on a certain instrument. Therefore some who would be called folk musicians by foreign music enthusiasts are just as accurately called storytellers - their true roles are more profound, as their names reflect: bards, ashiks, jyrau, griots amongst many more. Their roles in fact are often as much spiritual teachers and exemplars, or healers, for which the stories and music are vehicles, as well as historians and tradition-bearers. For instance
Bibliography: The Mande Blacksmith And Globalization Globalization, Tourism indigenous peoples What You Should Know About the World s Lamp, Frederick, Art of the baga A Drama of Cultural Reinvention http://www.dambe.org/blacksmith_bibliography.html
Extractions: Bibliography Referenced Literature: Arnoldi, Mary Jo, Playing with Time: Art and Perfomance in Central Mali Indiana University Press, 1995, Bloomington and Indianapolis Asante Kariamu Weish The African Aesthetic: Keeper of the Traditions Praeger Publishers, 1994, Westport Conneticut Boahen , A. Adu African Perspectives on Colonialism The John Hopskins University Press, 1987, Baltimore Maryland Editor, Brincard , Marie-Therese, The Art of Metal in Africa African American Institute, 1982, New York Flam, Jack D., Signs and Symbols in Traditonal Metal Art of Western Sudan Charry , Eric, Mande Music University of Chicago Press, 2000, Chicago London Chernoff , John Miller, African Rhythm and African Sensibility University of Chicago Press, 1979, Chicago London Chu , Daniel, A Glorious Age in Africa Zeneith Books, Doubleday Publishers, 1965, New York NY Cole, Herbert M., Icons: Ideals and Power in the Art of Africa Smithsonian Institution Press, 1989, Washington D.C. and London Courlander , Harold with Sako, Ousmane, The Heart of the Ngoni Crown Publishers, 1982, New York NY Diallo Yaya The Healing Drum: African Wisdom Teachings Destiny Books, 1989
Black History The baga, 15th or 16th-century migrants from the Sudan now occupying the Most peoples of sub-Saharan africa use pottery, many making it themselves. http://search.eb.com/Blackhistory/article.do?nKeyValue=384738
Bracton Books Catalogue List indigenous rights in africa The case of the Twa of the KahuziBiega National Park, 2349, FAGG, WILLIAM A Colossal Mask from the baga of Guinea. http://www.alanmacfarlane.com/newlist/ANT9.HTM
Extractions: Feedback Bullom So (Bullom So) Spoken in: Guinea Republic of Guinea République de Guinée ) is a nation in northwest Africa. It borders Guinea-Bissau and Senegal on the north, Mali on the north and north-east, the Ivory Coast on the south-east, Liberia on the south, and Sierra Leone on the west. Its territory encompases the water source for the Niger, Senegal, and Gambia rivers. The name Guinea (geographically assigned to most of Africa's west coast, south of the Sahara desert and north of the Gulf of Guinea) originates from Berber and roughly translates into 'land of the blacks.' Main article: History of Guinea
Participants List - INC-2 Ms. Carole Mills; Canadian Arctic indigenous peoples Against POPs; (CAIPAP) 3; baga Toiruu 44; Ulaanbaatar 11; Mongolia; Tel (+976 1) 312 269 http://www.chem.unep.ch/pops/POPs_Inc/INC_2/infs/parpops.htm
Extractions: Nairobi, 25-29 January 1999 LIST OF PARTICIPANTS LISTE DES PARTICIPANTS LISTA DE PARTICIPANTES GOVERNMENTS ALGERIA H.E. Mr. Sid-Ali Ketrandji Permanent Representative Permanent Mission of Algeria to the United Nations Environment Programme P.O. Box 53902 Nairobi Kenya Tel.:(+254 2) 213 864/6 Fax: (+254 2) 217 477 M. Youcef Zennir Directeur de la Prévention de Pollutions et Nuisances Secretariat d'Etat chargé de l'Environnement Algiers Algeria Tel: (+213 2) 693 889 Mr. Mohand Nouraï Minister-Counsellor Permanent Mission of Algeria to the United Nations Environment Programme P.O. Box 53902 Nairobi Kenya Tel.:(+254 2) 213 864/6 Fax: (+254 2) 217 477 ANGOLA M. Soki Kue-di-kuenda Directeur National de l'Environnement Rua Frederic Engels Nº92 C.P. 10566
Musées Afrique Exposition Ulwazi Lwemvelo indigenous Knowledge in South africa Arts d Afrique occidentale Rao, Toucouleur, baga, Mende, Bamana, Minianka, Djenne, http://www2.unil.ch/gybn/Arts_Peuples/Ex_Africa/ex_Af_musaf.html
Extractions: Cape Town South African National Gallery Government Avenue ma-di 10-17 Arts de la perle / Expositions temporaires Cape Town Gold of Africa Museum . Martin Melck House 96 Strand Street Bijoux d'or d'Afrique de l'Ouest (coll Barbier-Mueller); objets d'or des civilisations d'Afrique australe Cape Town - Gardens South African Museum 25 Queen Victoria Street lu-di 10-17 terres cuites de Lydenburg San (peintures rupestres), Zimb abwe Tsonga , Khoikhoi, Sotho, Nguni, Shona, Lovedu... Exposition " Ulwazi Lwemvelo - Indigenous Knowledge in South Africa Cape Town - Rosebank University of Cape Town Irma Stern Museum Cecil Road ma-sa 10-17 Arts de Zanzibar et du Congo: Lega, Luba Durban Art Gallery City Hall lu-sa 8.30-16; di 11-16 Durban Local History Museum Aliwal Street East London East London Museum lu-ve 9.30-17; sa 9.30-12
CentralAsia-L Archive - Publications - Page 36 Lawrence, Peter and Colin Thirtle (2001), africa and Asia in Comparative university project in Kansas that has brought indigenous peoples in the Midwest http://casww.iatp.az/casww/calarc/calarc_publ36.html
Extractions: Harvard Program on Central Asia bspu.secna.ru The proceedings of I-III Livshits Orientalist Workshops, as well The Third International Conference "Russia, Siberia, and Central Asia: Interrelation of Peoples and Cultures" are also available at our stock. pscw.uva.nl pcr.uu.se and suggest some topics on which you would like to write. Please remember that The Analyst does not accept double submissions. Svante E. Cornell, Acting Editor Central Asia-Caucasus Analyst Central Asia-Caucasus Institute The Johns Hopkins University Nitze School of Advanced International Studies 1619 Massachusetts Avenue, NW Washington, DC 20036 Tel. 1-202-663-7712 Fax. 1-202-663-7785 svante.cornell pcr.uu.se
African Indigenous People Baga illustrated From African Museum of Art - http//www.zyama.com/baga/index.htm baga People The baga have lived in their current location since the http://www.archaeolink.com/african_indigenous_people_baga.htm
Extractions: Baga Home Africa, African Anthropology General Resources By peoples Akan Akuapem Akye Anyi ... Baga Art Here you will find a good article and images of Baga arts. - illustrated - From African Museum of Art - http://www.zyama.com/baga/index.htm Baga People "The Baga have lived in their current location since the 14th century. They migrated to this area from the interior highlands in upper Niger accompanied by several other peoples who share linguistic similarities, including the Landuma, Tyapi, and Temne peoples. From the 14th to the early 20th century they were repeatedly invaded by the Nalu, Susu, Djalonke, Maninka, and the Fulbe among others." You will find material related to culture, art, history, religion and more. - From University of Iowa - http://www.uiowa.edu/~africart/toc/people/Baga.html Web archaeolink.com Top of Page
Resources On The Baga african indigenous people baga baga Art Here you will find a good article andimages of baga arts. illustrated - african indigenous people bamana http://www.mongabay.com/indigenous_ethnicities/african/Baga.html
Extractions: Building on Islamic Fulani The Mossi kingdoms of Yatenga and Ouagadougou, in what is today Burkina Faso, disintegrate. The agrarian Lobi peoples migrate into the Upper Volta region from present-day Ghana. Due to the British- and French-enforced ban on the international slave trade, slave exports in the region of Senegambia (present-day Senegal and the Gambia) are replaced by local products such as gum, gold, hides, ivory, beeswax, and groundnuts. By the 1830s, the average annual value of gum exports is five times what the slave trade was at its peak. Political stability resulting from the establishment of Islamic states in the Futa Jallon region allows Sudanic peoples access to the West African coast in Senegambia and what is today Guinea and Guinea-Bissau, influencing coastal peoples such as the Baga and Nalu. Sculptural forms and styles associated with inland cultures are integrated into the artistic practices of local peoples. Reflecting the presence of foreign populations are masks such as dimba created by the Baga and Nalu peoples that appear to represent Fulbe women originating from the Futa Jallon area. Other works by Baga and Nalu sculptors exhibit stylistic elements associated with Bamana art in present-day Mali such as horizontally oriented masks representing composites of animal forms.
African Masks African peoples often symbolize death by the colour white rather than Having conquered the indigenous peoples, the Lunda gradually assimilated with them http://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art/african-art-collection-mas
Extractions: (of variable age, artistic quality, and degree of authenticity) Many African societies see masks as mediators between the living world and the supernatural world of the dead, ancestors and other entities. Masks became and still become the attribute of a dressed up dancer who gave it life and word at the time of ceremonies. The sculptor begins by cutting a piece of wood and leaving it to dry in the sun; if it cracks, it cannot be used for a mask. African sculptors see wood as a complex living material and believe each piece can add its own feature to their work. Having made certain the wood is suitable, the sculptor begins, using an azde to carve the main features, a chisel to work on details and a rough leaf to sand the piece.
The Languages And Writing Systems Of Africa Angola, Republic of Angola, República de Angola, former People s Republic of 33 are living languages and 2 are extinct (baga Kaloum, baga Sobané). http://www.intersolinc.com/newsletters/africa.htm
Extractions: Africa Languages of Africa Sources: Ethnologue The World Fact Book Country Language Algeria, Al Jaza'ir, People's Democratic Republic of Algeria, Al Jumhuriyah al Jaza'iriyah ad Dimuqratiyah ash Sha'biyah National or official languages: Standard Arabic (official), French, Berber dialects. The number of languages listed for Algeria is 18, including Chaouia, Kabyle, Tumzabt, Taznatit and others. All are living languages. Angola, Republic of Angola, República de Angola, former People's Republic of Angola
Fourth Grade - Visual Arts - Overview - April The Second Lesson moves to West africa; the students look at indigenous Say to them Native Americans are the indigenous people of the Americas. http://www.cstone.net/~bcp/4/4AArt.htm
Extractions: Fourth Grade - Visual Arts - Overview - April The Visual Arts lessons for the month of April follow the History lessons, centering on the arts of Ancient and Medieval Africa. The first lesson looks at some artworks of Kush (ancient Nubia) and Axum in East Africa. Students recall some of the tombs of Ancient Egypt, which they studied in First Grade; historians now know that many of these massive structures come from the civilization of Ancient Nubia. The students also look at a stele from Axum as well as churches carved out of rock under the Christian King Lalibela. In the Third Lesson, the students look at artworks from the three West African Medieval kingdoms of Ghana, Mali, and Songhay, concentrating on masks and headdresses that either represent animals or incorporate human and animal aspects together. They then create their own masks or headdresses in the style they have observed. Finally, the students look at some of the sculpture that was done at the height of the cultures of the cities of Ife and Benin, especially the cast bronze heads that honor kings and royal families. They learn that these strikingly naturalistic sculptures were made to honor kings and the ancestors of kings. They were placed on altars or shrines, which the students make in honor of their own ancestral families, by constructing simple dioramas with symbolic objects and images brought from home.
African Lesson Plans 1998 The people of western and central africa whose art is represented in the This tradition probably relates more to the ancient indigenous art still http://www.umfa.utah.edu/index.php?id=MTIz
Magbana Repertory Celebrate, entertain and educate people from all cultural backgrounds and agesabout the a rhythm from the baga ethnic group of Guinea, West africa. http://www.magbana.com/HTML/repertory.htm
Extractions: "CRYING FOR A VISION" A vision quest is an old practice of the indigenous people in which a person sits in solitude, fasts and prays to each direction for spiritual guidance. Each direction/element has something important to teach us: fire - the center of the universe, east - new beginnings, north - strength of will, south - facing inner turmoil. Choreography: Michael Markus and Lilka Mimbella
Ninemsn Encarta - Search View - African Art And Architecture African Art and Architecture, the art and architecture of the peoples of the African It is now understood to be the capital of a large indigenous state http://au.encarta.msn.com/text_761574805__1/African_Art_and_Architecture.html
Extractions: The search seeks the exact word or phrase that you type, so if you donât find your choice, try searching for a keyword in your topic or recheck the spelling of a word or name. African Art and Architecture I. Introduction African Art and Architecture , the art and architecture of the peoples of the African continent, from prehistoric times to the 21st century. II. Origins and Sources Art in Africa has found expression in a range of media from architecture, sculpture, and pottery, to music, dance, textiles, body adornment, and epic poetry. Each of these has its own complex and in many cases unresearched local history of stylistic development. griots, or bards. The combination of these various sources, together with inferences drawn from late 19th- and 20th-century data, has allowed scholars to identify what appear to be some of the major building blocks of a history of art in each of the regions of sub-Saharan Africa, but it is clear that many questions remain to be answered. An African response to the earliest European presence in West Africa is apparent in the depiction of European merchants and soldiers in the cast brass plaques made in the 16th century in Benin, as well as the finely carved ivory salt cellars and hunting horns brought back by sailors from Kongo, Benin, and the coast of Sierra Leone. Increasing European involvement on the African continent over the following centuries has had a far-reaching impact that continues to be felt today. It would, however, be a denial of the creative agency of African artistic responses to changing circumstances to see this impact as wholly negative.
How Europe Underdeveloped Africa. Walter Rodney 1973 The indigenous Indian population could not withstand new European diseases such as Oppression of African people on purely racial grounds accompanied, http://www.marxists.org/subject/africa/rodney-walter/how-europe/ch03.htm
Extractions: How Europe Underdeveloped Africa. Walter Rodney 1973 Malachi Postlethwayt, 3.1 How Europe Became the Dominant Section of a World-wide Trade System The first significant thing about the internationalisation of trade in the 15th century was that Europeans took the initiative a little clue as to the tri-continental links between Africa, Europe and the Americas. Europe had a monopoly of knowledge about the international exchange system seen as a whole, for Western Europe was the only sector capable of viewing the system as a whole. When the Portuguese and the Spanish were still in command of a major sector of world trade in the first half of the seventeenth century, they engaged in buying cotton cloth in India to exchange for slaves in Africa to mine gold in Central and South America. Part of the gold in the Americas would then be used to purchase spices and silks from the Far East. The concept of metropole and dependency automatically came into existence when parts of Africa were caught up in the web of international commerce. On the one hand, there were the European countries who decided on the role to be played by the African economy; and on the other hand, Africa formed an extension to the European capitalist market. As far as foreign trade was concerned, Africa was dependent on what Europeans were prepared to buy and sell. Europeans were anxious to acquire gold in Africa because there was a pressing need for gold coin within the growing capitalist money economy. Since gold was limited to very small areas of Africa as far as Europeans were then aware, the principal export was human beings. Only in a very few places at given times was the export of another commodity of equal or greater importance. For instance, in the Senegal there was gum, in Sierra Leone camwood, and in Mozambique ivory. However, even after taking those things into account, one can say that Europe allocated to Africa the role of supplier of human captives to be used as slaves in various parts of the world.
Western-Soudan Their migrations are indicative of the mobility of African peoples in many parts and cultures and accepting of the indigenous rulers and their customs. http://users.telenet.be/african-shop/western-soudan.htm
Extractions: var site="sm5african" This is the name conventionally given to the savanna region of West Africa. It is an area dominated by Islamic states situated at the southern ends of the trans-Saharan trade routes. Back to african tribe list The sculpture here is characterized by schematic styles of representation. Some commentators have interpreted these styles as an accommodation to the Islamic domination of the area, but this is probably not an adequate explanation since Islam in West Africa has either merely tolerated or actually destroyed such traditions while exerting other influences.
