RAND AFRICAN ART - HOME PAGE expressions of traditional, indigenous African cultures. figure, bamana Boliand bamana Tji Wara figures (bamana Chi wara) from Mali, a bamana goat http://www.randafricanart.com/index1.html
The Blacksmith's Art From Africa Flute like horns are used by the bamana Kòmò society to communicate in an occult Many traditional people living in africa consider red iron oxide, http://www.africans-art.com/index.php3?action=page&id_art=363
African Art Then local Malian inhabitants in the Dogon, a bamana village, and the walled city of A36 W56 1993, Twentymillion people inhabit southern africa. http://www.library.wwu.edu/ref/subjects/africana/alpha.htm
Extractions: Linked to Online Catalog Record Call Number Summary Africa close-up. Egypt, Tanzania Maryknoll, NY : Maryknoll World Productions, c1997. This video will show U.S. children the different ways young people live in other parts of the world. Fifteen-year-old Samah Ibrahim Hussein shows us Islamic life in her neighborhood in Cairo, Egypt, along with a tour of the Pyramids, the Sphinx and the Nile River. Fifteen-year- old Bernard Bulemela of rural Tanzania, East Africa, tells us about his people's struggle with desertification, tree and water projects, the opening of a new well, and the teaching of Kiswahili at his school. Africa Dreaming San Francisco, CA : California Newsreel, 1997. "Four short films on love from Namibia, Mozambique, Senegal, Tunisia"Container. African Art BBC/RM Associates Co-Production; written and directed by Aminatta Forna. Chicago : Public Media Home Vision, 1995.
MusicMoz - Regional: Africa: Links Free Mzwakhe Mbuli Website for musician and people s poet of South africa, RootsyRecords also produces other CDs of traditional bamana music from http://musicmoz.org/Regional/Africa/Links/
Extractions: Advanced Search A Historical Study of West African Music - This web page was created for HIST 3120 at the University of Wyoming. The main focal point of study was on Western African Music; a paper written by Justin Cobb, Barbara Bragg, Brian White, Amparo Crump, and Stephen Lund. There are also a couple links to actual African music. AIT Records - Traditional and contemporary Ethiopian music. Abdullah Ibrahim's Mantra Modes - Devoted to the inspirational music and artistry of leading South African composer, pianist, and bandleader Dr. Abdullah Ibrahim (formerly known as Dollar Brand). AfricMusic - Broadcasts non stop live music and streaming video from Africa, Latin America and the Caribbean. Africa Festival - International African music festival held in Wuerzburg, Germany. Site in German and English. Africa Online Music Forum - An ongoing, online discussion of African music. African Australian Cultural Homepage - African musicians in Australia.
Back To Plep 8th January Anglo-Saxon Churches In Britain. Until Photography of indigenous people. The Living Link Amazon Basin, Ecuador. Some people claim that only the african can really appreciate africa s culture http://www.nutcote.demon.co.uk/nl04jan0610.html
Extractions: Anglo-Saxon Churches in Britain. 'Until some hundred and fifty years ago, it was widely believed that there were no remains of Anglo-Saxon architecture to be seen in Britain. Despite there being next to no surviving parts of secular buildings, Saxon features were slowly recognised in standing ancient churches and today there seem to be few church guides which do not claim some form of Saxon origin ... ' Monasticism in Britain. 'Monastic communities, both of men and women, have played an important role in the history of Britain. In a society which presented few options or opportunities, this way of life offered many attractions. What the life lacked in glamor, it more than made up for in serenity and stability. The monastic life offered social mobility for some, and a refuge for others. The monasteries provided the opportunity for education, freedom from some of the economic uncertainties of the times, and, often, a career path that could lead to a very high station in life ... '
Ninemsn Encarta - Search View - African Art And Architecture African Art and Architecture, the art and architecture of the peoples of the The bamana live in the countryside around the Malian capital Bamako. 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.
Inside Oregon This is a Baobab tree in africa, under which people traditionally hold town Baobab Talks, is named after a tree indigenous throughout africa where http://duckhenge.uoregon.edu/io/article.php?id=231
Extractions: The cover illustration of the catalogue is Lot 53, an "important" Igbo female figure that is 54 ½ inches high. Finely detailed with a smiling mouth, pointed nose and incised with organic and geometric motifs, the figure has deep layers of red, yellow ochre, black, white and blue pigment. It was on loan to the National Museum of African Art of the Smithsonian Institution in Washington from 1989 to 1993. "This female figure," the catalogue entry noted, "represents one of the finest examples of Igbo sculpture, and certainly the hand of a master carver. The strength of the facial features and development of the surface compares most closely to another female figure from the Schindler Collection at the Dallas Museum of Art. However, this figure compares even more favorably in the lightness and attenuation of form couple with the subtle suggestion of movement. This figure is called ugonachomma , meaning 'the eagle seeks out beauty.' This saying metaphorically compares a young woman to an eagle as both are held to high moral and aesthetic ideals in Igbo thought."
Djembe Record Label Djembe CD s, Drum Class , and Trips to africa make this Site the best The djembe originated from the bamana people from Mali in the Wosolo region. http://www.rootsyrecords.com/
Extractions: Rootsy Records is the first and only record label focused on traditional djembe drumming CD's. Rootsy Records also produces other CDs of traditional music from West Africa. The djembe originated from the Bamana people from Mali in the Wosolo region. The Bamana are a subset of the malinke who resisted modernization efforts. Rootsy Records is an independent record label devoted to the cultural preservation of traditional djembe drumming music from West Africa. Much of the worlds indigenous music is being lost because of a lack of audio recordings. UNESCO has a program devoted to " intangible cultural heritage ". The UNESCO website defines "intangible cultural heritage" as: The Convention for the Safeguarding of the Intangible Cultural Heritage defines the intangible cultural heritage as the practices, representations, expressions, as well as the knowledge and skills, that communities, groups and, in some cases, individuals recognise as part of their cultural heritage. It is sometimes called living cultural heritage, and is manifested inter alia in the following domains:
Extractions: The art of Africa is a visible expression of the invisible. It combines the natural and the abstract into transcendental forms that transmit communal history, laws, moral codes and beliefs from one generation to another. There is no "art for art's sake." It is an integral part of daily life rooted in ancestral spiritual worship, funeral rites, initiation ceremonies, celebratory dance and the sacred rituals of secret societies. The African artist makes something for a particular purpose. The function of the work is paramount; in fact, some are discarded after one use if the function has been fulfilled. The African art best known in the west and best represented in the Museum began to be collected in the 19th century in the Sub-Sahara just before the culture and ethno geography of Africa began to be frozen in place by colonial empires.
African Folklore -- A-Z Entries bamana Banjo african Roots Bao Bascom, William Basketry, africa RastafariA Marginalized People Rattray, RS Religion african Traditional Religion http://www.routledge-ny.com/folklore/african/azentries.html
African Science Winter 1997, 7997;; Ron Eglash, bamana Sand Divination Recursion in Ron Eglash, African Fractals, Modern Computing and indigenous Design, http://www.africahistory.net/kani.htm
Extractions: Documentary evidence at our disposal suggests that earlier in 17th century West Africa some Ulama (scholars) of Kanem -Bornu were highly skilled in the science of Ilm al-Awfaq (the science of magic squares). By the 18th century, the Borno kingdom became the most important center of learning of Mathematics in the Central Sudan attracting peoples from adjacent areas linking this at times to the occult sciences. There is ample evidence to prove that the scholars of Hausaland and Borno were also consulting Coptic Solar Calendars in determining their economic activities. The recovery of a book written probably in Egypt on agrarian activities, from Bauchi in 1973 points to the fact that some aspects of of the agricultural sciences were being diffused in this area.The book, which is copied in a Sudanic script, contains mathematical charts dealing with agronomic activities such as the right time of harvest; the various directions of the wind;time of germination; and the seasons during which insects appear. A conversion table to lunar months is also made at the beginning of the book as a guide for the users of the chart. It seems that some scholars in the Central Bilad al- Sudan especially the area of Katsina, were well versed in numerology and astrology. The recovery of some books from Katsina areas such as Borno by the late Professor M.A. al-Hajj and other researchers suggests that the scholars of Katsina were versed in these occult sciences .
A Guide To The Jembe Since most African languages have no indigenous writing system, rhythms simplyby the ethnic affiliations of the people from whom they come bamana, 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.
Extractions: Lesotho Liberia Madagascar Malawi ... African cinema videography (via U. Pennsylvania) Films and Documents About Women in Africa (via UCB African American Studies Dept.) African Cinema and African Cinematic Representation: A Short Bibliography/Videography of Materials in the UC Berkeley Libraries Africa. 8 part series by Basil Davidson. The story is unfolded on location all over Africa, showing life as it is today, plus archive film and dramatized reconstructions. Two programs per cassette, each an hour long. 1984. Different But Equal (Part 1). Describes how some of the world's greatest early civilizations had their origins in the heart of black Africa and discusses some of their artistic, technical and scientific achievements. Video/C MM452 Mastering a Continent (Part 2). Looks at two important developments in early African society, the growth of cattle keeping and agriculture. Focuses on the activities of three communities, the Pokot in Northern Kenya, Sukor in Nigeria and the Dogon of Mali. Video/C MM452 Caravans of Gold (Part 3).
Fractals Provide Unusual Theme In Much African Culture And Art Eglash is author of African Fractals Modern Computing and indigenous Design he illustrated how divination priests of the bamana people in Dakar, http://www.sciencedaily.com/releases/1999/07/990727071229.htm
Extractions: Source Ohio State University Date Print this page Email to friend COLUMBUS, Ohio In everything from braided hairstyles to the design of housing settlements, the geometric structures known as fractals permeate African culture. Related News Stories Fractals Provide Unusual Theme In Much African Culture And Art (July 27, 1999) In everything from braided hairstyles to the design of housing settlements, the geometric structures known as fractals permeate African ... full story Earth Scientists Use Fractals To Measure And Predict Natural Disasters (January 31, 2002) Predicting the size, location, and timing of natural hazards is virtually impossible, but now, earth scientists are able to forecast hurricanes, floods, earthquakes, volcanic eruptions, wildfires, ... full story (February 4, 2004) full story (April 21, 2000)
Extractions: Once upon a time, we were Africans, involved in a unique lexicon of beliefs, lore, stories, and customs designed to help integrate us into an environment filled with plants, animals, elements, and a complex array of spirits. With the advent of slavery, those who had stayed the longest severed the physical bond with the Motherland, but like seeds lifted from a flower by wind, we found fertile ground in distant lands. The freshly sown seeds took strongest hold in sunny climes reminiscent of our Motherland. Separated physically, we remained united as brothers and sisters in spirit. The various hybrids of traditional African-based religions continue to thrive in coastal Brazil, the Dominican Republic, and Cuba in the form of Candomble, Shango, Lucumi, Umbanda, and Santeria. In Louisiana and Haiti, our spirituality thrives in the form of Vodoun. In the southern United States, Hoodoo took root in Alabama, Mississippi, Georgia, Florida, North Carolina, and South Carolina. Hoodoo was established during slavery using the types of plants available in the United States. Our knowledge of African herbalism was enhanced through the generosity of Native American tribes such as the Cherokee, Chickasaw, Chocktaw, and Seminole who understood our suffering intimately. Many Black Indians were the result of this interchange. The proof to this is within our recipes, appearance, and of course within Hoodoo.
African-vibes African or Africanborn artists, most of which combines indigenous and Western Mali, bamana, Segou District. On this headdress, a baby antelope is http://users.telenet.be/african-shop/african-vibes.htm
Extractions: var site="sm5african" Videos return context and spirit to objects in exhibition. By Edward J. Sozanski Inquirer Columnist Loud noise in art museum galleries, whether ambient chatter, the murmur of recorded commentaries, or video soundtracks, usually distracts and annoys, even when the source is benign. "African Art, African Voices" turns this observation on its head. The exhibition of nearly 200 works at the Philadelphia Museum of Art pulsates with continuous sound - singing, chanting, drumming and dancing.
Research In African Literatures--Amadou Hampaté Bâ The waalde (as well as the equivalent bamana ton which Amadou joins during addressing one another within an indigenous African elite setting than the http://iupjournals.org/ral/ral31-3.html
Extractions: From a Colonial to a Postcolonial African Voice: Amkoullel, l'enfant peul Permission to Copy You may download, save, or print for your personal use without permission. If you wish to disseminate the electronic article, or to produce multiple copies for classroom or educational use, please request permission from: In our broad use of the term "postcolonial" to characterize contemporary African culture, there is an implicit understanding that the colonial experience played a critical role in shaping the identity of societies that emerged from extensive periods of European rule. We can trace such an impact directly through a great variety of written African documents produced under colonialism as well as through various reflections on this experience by African historians and other thinkers after the attainment of independence. However, among the fictional works that have entered into the canon of modern African literature, the topic of colonialism is conspicuous for its relative absence. This hiatus can be explained in part by the chronology of colonial rule, which did not last long enough for the first generation of major writers in English and French to reach their full powers much before its demise.
Extractions: In this paper I would like to briefly explore the possibilities that analyses of African verbal arts present for an understanding of ìaestheticsî in African cultures. When used in African studies, by both nonindigenous and indigenous scholars, the Western-derived label ìaestheticsî generally serves to refer to a given culture's views on ìbeautyî or related qualities. Scholarly attention has until now been largely focused on beauty as an attribute of human beings and anthropomorphic renditions in statuary art and masked performances, in addition to several other visual phenomena. Although analyses of African verbal arts, both oral and written, may also instruct us on notions of quality in nonvisual domains, in the present paper emphasis will be on what the opinions that are expressed in various literary types may teach us about the aesthetics informing the creation and evaluation of the visual arts in African cultures. While in keeping with the focus of this special issue of
Adherents.com Indeed, neighboring Muslim peoples look down on them as pagans. There theyfound an indigenous body of beliefs and practices which substantially stemmed http://www.adherents.com/Na/Na_64.html
Extractions: Notes Bahai Faith Zambia Barrett, David B. World Christian Encyclopedia Data transcribed by Simeon Kohlman Rabbani Bahai Faith Zambia Barrett, David B. World Christian Encyclopedia Data transcribed by Simeon Kohlman Rabbani. Percent: Bahai pop./country pop. from PRB (http://www.prb.org): 9,582,000 Bahai Faith Zimbabwe Barrett, David B. World Christian Encyclopedia Data transcribed by Simeon Kohlman Rabbani Bahai Faith Zimbabwe Barrett, David B. World Christian Encyclopedia Data transcribed by Simeon Kohlman Rabbani. Percent: Bahai pop./country pop. from PRB (http://www.prb.org): 11,343,000 Bahamas National Baptist Missionary and Education Convention Bahamas
