African Masks of the Suku / Basuku / Suko (related to the yaka) people/tribe Having conqueredthe 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 First Masks Over thirty thousand years ago, somewhere in africa, an indigenous Hunter the Latin, persona, which means mask. For early indigenous peoples, masks were a http://www.africans-art.com/index.php3?action=page&id_art=28378&comments=1
The First Masks Over thirty thousand years ago, somewhere in africa, an indigenous Hunter had a idea For early indigenous peoples, masks were a way to the gods, and http://www.africans-art.com/index.php3?action=page&id_art=28378
UNITED NATIONS Press Release Xxxxxxxxxx COMMISSION ON HUMAN RIGHTS YMER yaka, of International Federation of Human Rights Leagues, Operationsagainst indigenous peoples were carried out by the police, the military, http://www.unhchr.ch/huricane/huricane.nsf/0/0ED80B41F7F6BD01802567470067FC41?op
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.
In The Presence Of Spirits and sculptural inventiveness of the cultures indigenous to these These objects comefrom the yaka, Nkanu, Zombo of objects from the Bidjogo peoples who live on http://www.webzinemaker.net/africans-art/index.php3?action=page&id_art=534
Welcome To WoYaa Search Engine This dazzling display presents an indigenous American art, an RAMS HEADS OF THEEDOSPEAKING peoples Roger de la Clark Smith THE ART OF THE yaka Kenneth Lee http://www.woyaaonline.com/links/ARTS/more11.html
Index00 Etude d un genre littéraire poétique oral yaka (République Démocratique du indigenous peoples and the Legacy of Perestroika. Edmonton 1999. 214 pp. http://www.anthropos-journal.de/index00/body_index00.htm
Eden Project - Jungle Nights Strategies for Survival the challenges facing indigenous peoples in BrazilianAmazonia. The case of the Mbendjele yaka in CongoBrazzaville. http://www.edenproject.com/6124_6146.htm
Extractions: About Education Foundation Arts ... Jungle Nights 14 16 September 2005 Co-sponsored by the Eden Project Association for Tropical Biology and Conservation. DAY 1 Wednesday 14th September Venue: The Core at the Eden Project Speaker and delegate arrival (Tea/Coffee) Welcome: Mr. Don Murray, Curator Tropics, Eden Project Key Note: Dr. W. John Kress , Executive Director, The Association for Tropical Biology and Conservation Beyond Paradise - Meeting the Challenges of Tropical Biology in the 21st Century. What do forests do for us/what do we do for them? Chair: Mr. Don Murray, Curator Tropics, Eden Project Dr. Valerie Kapos , Senior Advisor in Forest Ecology and Conservation UNEP- World Conservation Monitoring Centre Rainforests, people and policy BREAK Dr. Gustavo B. Fonseca, Executive Vice President for Programs and Science Education, Conservation International Brazils Two Rainforests: Threats, Opportunities and Solutions, or the Plausibility of the Impossible Prof. Peter S. Ashton, Charles Bullard Research Professor of Forestry, USA Biodiverse tropical forests and coral reefs are dynamic, and so are human societies: Can we bring these dynamics into harmony?
The Lightspan Network - Sw indigenous peoples Index. Aborigines of Australia General Resources Hmong Chile EcuadorGeneral Resources peoples of the Wolof Woyo Wum Xhosa yaka Yombe Yoruba http://www.lightspan.com/common/studyweb/sw.asp?target=http://www.studyweb.com/H
Igor Kopytoff In James L. Gibbs, Jr. (ed), peoples of africa., 2nd edition of 1965 above, 1979 indigenous african Slavery Commentary One. In Michael Craton (ed), http://www.sas.upenn.edu/~kopytoff/
Extractions: Contact Information I am a general practitioner in cultural anthropology, with an ethnographic focus on Africa and with some past research in northern Asia. More specifically, my interests, research, and publications deal with social structure, political organization, and religion - and the process of transformation in them. I have also worked and published on slavery as a general cultural phenomenon, with a special interest in indigenous slavery in Africa as a culture-historical phenomenon. I have done fieldwork in the Congo, Cameroon, and the Ivory Coast. IGOR KOPYTOFF
Re: New Graham Massey Remix industry to give something back to indigenous communities. raise awareness of thesethreatened peoples and help For the yaka Pygmies of Northern Congo, Yombo http://discussion.808state.com/_disc4/00000199.htm
Extractions: Remote Name: Leftfield, Banco de Gaia and The Orb give something back to tribal peoples: Unique new album in aid of Survival International A remarkable compilation album, Tribal Futures: the way ahead, will be released on 23 October 2000 by Survival, the world's leading organisation for tribal peoples' rights. Leading artists in the dub and trance scene have produced original tracks and special remixes to create a unique album to raise funds for Survival's campaigns. Tribal Futures celebrates the importance of tribal communities and their music in the 21st century. The artists have drawn inspiration from the music and dances of particular tribes, including the Kalahari 'Bushmen', African 'Pygmies', Australian Aborigines and Amazonian Indians, reflecting their empathy with indigenous communities. For over thirty years, Survival has campaigned for the rights of tribal peoples worldwide, from the reindeer-herding Khanty of Siberia to the honey-hunting Ogiek of Kenya, from the uncontacted Indians of Brazil to the forcibly-settled Innu Indians of Canada, with many successes. Current threats to tribal peoples include illegal logging, mining, colonisation and dams, and the violence, crippling suicide rates and disease that is introduced to tribal communities. If tribal peoples are to continue to survive, it is vital that they are seen as relevant to the present day, and not as relics destined to perish through 'progress'. The dance and trance scene has been heavily influenced by tribal music, and this is a great opportunity for the music industry to 'give something back' to indigenous communities. Tribal Futures is part of an ongoing project which aims to raise awareness of these threatened peoples and help fund Survival's vital work with them. This album is the first in a series of remixes, events and live recordings to be released under Survival's label, Yombo. For the Yaka Pygmies of Northern Congo, 'Yombo' means life. Survival and Yombo are ideally placed to give tribal peoples a voice, and to bring their music and culture to a wider audience.
Extractions: Understanding Narrative The Praise Song Cultural Borrowing Objects of Power ... In and Out of Context The second part of this introductory essay consists of conversations between the authors. Bourgeois and Rodolitz have team-taught a web-based course on this subject for more than five years utilizing a dialogue medium that lends itself to immediacy and informality. Essays in the usual sense speak TO the reader; dialogue, however, allows the reader to participate, if only in an imaginary sense. Additionally, in the medium of dialogue, the evolution of thought is more apparent than in an edited essay. Often, the journey to a conclusion is as important as the conclusion itself. The reader is encouraged to join in this ongoing exploration. AB: Why don't we begin by considering a group of related objects, not necessarily related by culture but by function?
Leftfield, Bancode Gaia And The Orb Give Something Back To Tribal Peoples music industry to give something back to indigenous communities to raise awarenessof these threatened peoples and help In the language of the yaka Pygmies of http://www.zuvuya.net/sites/babylontravel/english/mailbox/e-release-survivalcd.h
Extractions: Unique new album in aid of Survival International A remarkable compilation album, Tribal Futures: the way ahead , will be released on 23 October 2000 by Survival. Leading artists in the dub and trance scene have produced original tracks and special remixes to create a unique album to raise funds for Survival's campaigns. Tribal Futures celebrates the importance of tribal communities and their music in the 21st century. The artists have drawn inspiration from the music and dances of particular tribes, including the Kalahari 'Bushmen', African 'Pygmies', Australian Aborigines and Amazonian Indians, reflecting their empathy with indigenous communities. For over thirty years, Survival has campaigned for the rights of tribal peoples worldwide, from the reindeer-herding Khanty of Siberia to the honey-hunting Ogiek of Kenya, from the uncontacted Indians of Brazil to the forcibly-settled Innu Indians of Canada, with many successes. Current threats to tribal peoples include illegal logging, mining, colonisation and dams, and the violence, crippling suicide rates and disease that is introduced to tribal communities.
..::: BABYLON :::.. industry to ´give something back´ to indigenous communities. to raise awareness ofthese threatened peoples and help In the language of the yaka Pygmies of http://www.zuvuya.net/cad_galeria_materia_ver_B.asp?cod_capa=376&site=B&pasta=tr
Counsellingbooks.com > Indigenous Peoples Products In indigenous peoples (Total Products 769, Showing 611 together investigationsof the yaka people of Congo how the LundaZdembu people of northwestern http://www.counsellingbooks.com/section.php?xSec=1023&xPage=62
African Art On The Internet Mossi, Pende, Suku, Tabwa, Woyo, yaka, Yoruba twostory architecture, Islam andindigenous African cultures, Shawabtis displays from 20 major peoples from West http://www.artisandesigngroup.ws/museums/africa/africa.htm
Bibliography On African Traditional Religion The Khita GynEco Logical Healing Cult Among the yaka, Chicago, 1993 Scriptures of African peoples The Sacred utterances of the Anlo, New York, 1973. http://africamissions.org/africa/atr_bibliography.htm
Volume 4 No.2 In contrast to other peoples in africa who base the names of edible indigenous insect treats titillate the palate of Americans abroad (but there can be http://www.food-insects.com/Vol4 no2.htm
Extractions: In this issue of the Newsletter , a report by Dr. Stein Holden urges that edible caterpillars become an active focus of agroforestry research in Zambia (page 3), and Dan Turk reviews Tango Muyay's book (page 5) which emphasizes the increasing importance of edible insects in Zaire, particularly some of the edible caterpillars. As brief backgrounding for their contributions, attention is called t o two earlier and very valuable studies, one by Malaisse and Parent (1980) on the specific identity of caterpillars used as food in southern Zaire, and one by Leleup and Daems (1969) on the timing of bush fires in relation to the survival of edible caterpillars.
