Extractions: Zaire Zaire In eastern Shaba, stretching from the border with Tanzania and Zambia roughly to the Lualaba River, Vansina has distinguished three sets of communities: the Bemba cluster, the Hemba cluster, and the Haut-Katanga cluster encompassing peoples of Haut-Shaba Subregion (formerly Haut-Katanga). Settlement patterns are geographically fragmented so that representatives of one cluster live cheek by jowl with representatives of another or constitute an enclave in another group's territory. The area has a long history of conquest and conflict. Most of the peoples of Haut-Shaba were subjects of the Kazembe Kingdom of Luapula, an offshoot of the Lunda Empire whose center was farther west. The Kaonde, the southwesternmost people in the Haut-Katanga cluster, living in present-day Lualaba Subregion (of Shaba Region), were ruled by still another Lunda king. After the middle of the nineteenth century, a group of long-distance traders, the Nyamwezi of central Tanzania, established the Yeke Kingdom, which lasted for thirty years. The introduction of new cultural elements by the Yeke and their trading activities both east and west had longer-range effects than the establishment of their political rule itself. All of these kingdoms came to an end before the beginning of the twentieth century, leaving their people with polities of much smaller scale. The political pattern that preceded the institution of kingship and outlasted it was based on chiefs of the earth, basically ritual offices essential for maintaining fertility, and, occasionally, political chiefs.
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."
The African Commune > African Art And Architecture in a distinctive style from the hemba subregion of be the capital of a large indigenousstate centred of rich traditions of woodcarving among peoples such as http://www.theafricancommune.com/print.php3?id_article=825
LOUIS COLLINS BOOKS ABAA: Search Results For Africa africa Her History, Lands and People Told With Pictures. WILIAMS (John A.) . indigenous african Architecture w/ English translation by Sigrid MacRae. http://www.collinsbooks.com/cgi-bin/lcb455/view/Africa.html
Extractions: Browse by category Africa Americana Anthropology Archaeology Architecture Automotive Books about books Cinema Closet of Serendip Cookery Criminology Geography Geology History History - Europe Juvenile Linguistics Literature Medicine Music Natural History Philosophy Politics Psychology Religion Science Serendip Technology Transportation Quick Search Log In Username: Password:
Musées Afrique Sotho, Nguni, Shona, Lovedu Exposition Ulwazi Lwemvelo IndigenousKnowledge in South africa Aquarelles de Joy Adamson peoples of Kenya 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
Sale have a relative uniformity. Often, Songe people would sell 78. A FINE hemba MALEFIGURE measurements note who also made staffs for an indigenous African market http://62.173.116.70/partnerpages/sale.aspx?SaleID=1107175&Page=2&SaleHouseID=10
Sale pierced around the rim, the chin with indigenous repair beneath themselves were areflection of the people who paid within the high ranks of hemba culture as a http://62.173.116.70/partnerpages/sale.aspx?SaleID=1112663&Page=3&SaleHouseID=10
Antiquariaat A. Kok Zn. BV Translate this page indigenous art of the Americas. Collection of Roberts Woods Bliss. Art ofOceania, africa, and the Americas from the Museum of Primitive Art. NY, http://www.nvva.nl/kok/primitievekunst.htm
CHARBO S ANTIQUARIAAT indigenous styles of Southeast Asia. Foreword by P.de Montebello. KeywordsApplied arts fabrics textiles, fashion Black africa North africa Asia http://www.charbo.nl/cha_finearts.htm
Faso Other people are searching for Chockwe, Baule, Kongo, Senufo, Yaka, Guro, hemba,Bongo, Lega asia, burkina faso, sahel, niger, mali, indigenous building, third http://www.php-include.com/faso.html
Web Server Statistics For The University Of Iowa .nz (New Zealand) 0.05% 51 0.03% 8138 0.06% 3017 .za (South africa)0.05% 49 0.03% 191 /~africart/toc/people/hemba.html 134 http://www.uiowa.edu/stats/stats-2000-07.html
Extractions: (Figures in parentheses refer to the last 7 days). Go To Daily Summary Daily Report Hourly Summary Weekly Report ... Browser Summary Go To Top Daily Report Hourly Summary Weekly Report ... Browser Summary Each unit ( ) represents 60,000 requests for pages, or part thereof. day: %bytes: Mbytes: %reqs: #reqs: %pages: pages: - - Sun: 10.62%: 10466: 8.53%: 2324177: 13.24%: 645018: Mon: 19.51%: 19224: 20.66%: 5625280: 17.16%: 835859:
Web Server Statistics For The University Of Iowa (Thailand) 0.03% 34 0.02% 6234 0.04% 2161 .za (South africa)0.05% 55 0.03% 8918 112 /~africart/toc/people/hemba.html 57 http://www.uiowa.edu/stats/stats-2000-02.html
Extractions: (Figures in parentheses refer to the last 7 days). Go To Daily Summary Daily Report Hourly Summary Weekly Report ... Browser Summary Go To Top Daily Report Hourly Summary Weekly Report ... Browser Summary Each unit ( ) represents 80,000 requests for pages, or part thereof. day: %bytes: Mbytes: %reqs: #reqs: %pages: pages: - - Sun: 9.76%: 10040: 7.63%: 2164619: 11.69%: 614020: Mon: 16.83%: 17317: 17.48%: 4957854: 15.55%: 816982:
Masks Mbunda African Tribal - Find It On Antique-Mania.com Suku, Kwese, Pende, Kuba, hemba, Luba, Songye Net Basic_L Luvale indigenous PeoplesAfricaMbunda , Lozi other groups, eachof Southern African Affairs, Bureau http://www.antique-mania.com/masks/african-mbunda-tribal/q20u37946.html
Extractions: Related Information: Geometry.Net - Basic_L: Luvale Indigenous Peoples Africa Mbunda , Lozi and nearly two dozen other groups, eachof Southern African Affairs, Bureau of African Affairs OfficialEthnic groups: More than 70 tribal groups. African - MBUNDA - AFRICAN INITIATION TRIBAL MASK # 1654Title: African - MBUNDA - AFRICAN INITIATION TRIBAL MASK # 1654, Antiques / Ethnographic / African . Masks (266). Sculptures, Statues (256). Other (703). eBay - Buy Ethnographic OnlineMBUNDA - INITIATION AFRICAN TRIBAL MASK 1302, MBUNDA - INITIATION AFRICAN TRIBAL MASK 1302, $49.99 bids, $76.98 Buy MBUNDA - INITIATION AFRICAN TRIBAL MASK 1302 Geometry.Net - Basic_L: Luvale Indigenous Peoples Africa
SELECT BIBLIOGRAPHY--TO BE CONTD--AAAS 342 Gaba , Christian R. Scriptures of an African people. gifts and diversities of indigenousAfrican Churches a women s song-dance in hemba Funerary performance http://people.cohums.ohio-state.edu/avorgbedor1/342bib1.htm
Extractions: Drawing on specific examples discussed in class and also from chapter A: Give detailed examples of how the Yeve/shango religion, regulations, and membership rituals and beliefs illustrate the classic ideas of SEPARATION, TRANSITION REINTEGRATION B: In at least three sentences describe how MUSIC/MUSICAL INSTRUMENTS/COSTUME are closely identified with (or make unique) Yeve/Shango A: List FIVE of the African features found in COGIC, as summarized in pp. 176-177.
Hugh Tracey Recordings: Part 2 / RootsWorld Recording Review His Sound of africa series issued 210 recordings, published by the Notable tracks from the Ndau people include Ndaa murombo ( I am now a poor man ), http://www.rootsworld.com/reviews/tracey2.shtml
Extractions: Hugh Tracey (19031977) is one of the pillars of the discipline that still limps under the title of "ethnomusicology." Tracey's contributions as a primary researcher and field recorder are standing the test of time. His "Sound of Africa" series issued 210 recordings, published by the International Library of African Music (ILAM), which he had founded. These CDs are reissued recordings selected from that series and offer a glimpse of what has until now been mostly available only in academic archives. Tracey's work began with the Shona of Zimbabwe but expanded far beyond that region of Africa. It was a remarkable time for Africa, as it shifted or prepared to shift from its history as colonized territories. In their own way, Tracey's recordings also document the history of recording machines used for remote fieldwork. Tracey's first, in the 1930s, involved a clockwork-powered machine that cut a groove in an aluminum disc. Not till much later did he attain stereo recording capability with a Nagra. His microphone technique was to seek out the sound he wanted, hand holding the microphone to capture a spontaneous field mix that comes through superbly on these recordings. Tracey, it seems, sought to capture and document a cross-section of society in the tribal villages, schools, workplaces and anywhere else he found music. That wasn't always the most proficient performer.
Welcome To Africans-art.com Purchase, Eleanor Clay Ford Fund for African Art. country Zaire people Pende mediumwood, paint size indigenous medicines were given for the physical aspect http://www.africans-art.com/index.php3?action=album&id_class=41
Homage To Songye Contemporary Orchestra Basokin And Lusombe The Contemporary Music and Culture of the Songye People in DRCongo next stageof an indigenous evolution of the modern African aesthetics and cultures http://www.kametrenaissance.com/BasokinLusombe.html
Extractions: An old folktale describing the spread of the Great Luba Families in the Democratic Republic of Congo first makes mention of the Songye as an annex along the path to the Nsanga Necropolis , also known as the Sanga A Lubangu (1996). During the Arab expansion into Africa, the Songye area was a theatre for Arab Islamic incursions. Later the Songye territory would become the subject of Belgian colonization (1885-1960). Nkamany Kabamba, and other researchers postulate that the History and Culture of the Songye can help to elucidate critical African history, which is so poorly known. Individuals interested in the genetic or non-accidental relationship between sub-Saharan Africa and Ancient Kmt and Kush (Ancient Egypt and Nubia) will find a wealth of information still preserved in traditional African Customs, Culture and History.
African Art Course Slide List - Bowles Kakilambe of the Baga people, Guinea. Natl. Mus. African Art, Smithsonian. indigenous West African women. ca. 1970s. Photograph, Dr. Gloria H. Dickinson http://members.aol.com/GRBowles/art-hist/af-slide-list.html
Extractions: (no images shown) I now have 709 African art slides. Of these 542 are African (incl. Egypt-Nubian), 117 Egyptian (non-Nubian), and 47 African American introduction slides. This page lists the African, Egypt-Nubian, African American introduction, and a few of Western art influenced by African art. This page does not list my Egyptian non-Nubian slides, and additional African American and African European slides, which are on different lists. In addition to the above slides, I show additional works or art on the 20 videotapes I have on African art and related culture, and art processes. The timeframes of these tapes range from approximately 15 to 90 minutes. I plan to write a Web page of notes on these tapes. In teaching African art, I use all or part of these slides, videotapes, and other materials, depending on the nature and purpose of the course, and the course's place in the institution's curriculum. This list divides the continent into three geographic divisions, North, East and Southern, West, and Central. Each division is subdivided by traditional, crafts, and neo-African art as recent as 1999. The list concludes with African-influenced art and crafts, and an introduction to African American art if the latter is appropriate. Use your Web browser's search engine to find a specific artist, title of work, type of art, people, culture, society, town, country, or continental division.
JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 To 16) Many people in Western cultures view African objects as culturally foreign These conclusions presenting a possible African view of indigenous material http://aic.stanford.edu/jaic/articles/jaic31-01-002.html
Extractions: JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 to 16) Some specific examples in African art where nontangible attributes might have an effect on treatment decisions can be seen in the following: Should we look inside a Yoruba beaded crown (fig. 1), considered to be the premier piece of divine regalia, to mend the textile lining (fig. 2), or lend slides of its interior to the education department, when in cultural context it is forbidden for anyone, including the king, to view the interior? Should we secure loose and detached fragments of sacrificial patination on a Bamana Komo headdress (fig. 3), when the amount and thickness of this incrustation (fig. 4) are directly related to the degree and effectiveness of its cultural power? How do we justify the public exhibition of an Igala shrine figure (fig. 9), which would have been restricted from public view and seen only by people of a specific age, sex, or initiate? Fig. 1. Crown, Yoruba peoples, Nigeria, Glass beads, basketry, textile, vegetable fiber, metal, H 30 ¾ in (78. 1cm). NMAfA 24-1989-01 (private lender). Photograph by Jeffrey Ploskonka
Joshua Project - People Clusters Lubahemba, 196000, 1, 0, 0.0 %, 0, 0.0 %, NAB57f People group populationfigures are now maintained as a percentage of the national population. http://www.joshuaproject.net/peopcluster.php?rop2=C0034
