Xhosa During the 1820s and 30s southern africa was torn apart by violent wars betweenthe different indigenous peoples, the socalled Mfecane/Difeqane (The http://www.safarihotel.co.za/africa_xhosa_2.html
Extractions: Greater Kruger Area [previous page] During the 1820s and 30s southern Africa was torn apart by violent wars between the different indigenous peoples, the so-called Mfecane/Difeqane (The Crushing). Two Nguni chiefs started these wars, Zwide of the Ndwandwe kingdom in the north of present-day Zululand (the area of KwaZulu-Natal lying north of the Tugela River) and Dingiswayo of the Mthethwa kingdom in the south. Refugees from both armies became new Mfecane tribes on the march and swept across the country crushing anyone who came in their path. When the British came to the Eastern Cape, they tried to prevent military invention by adopting a treaty-state system. Treaties of friendship tied Independent African states such as Ciskei and Pondoland to Britain. However, the treaty-state system did not last very long and war soon broke out between the White settlers and the Xhosa tribes. An allied army of Ngqika-Xhosa, Gcaleka-Xhosa and Thembu defeated the British. However, this did not deter the British from annexing the Keiskamma territory, thus setting the scene for yet another war which would eventually escalate into a civil war between Gcaleka, the Xhosa chief and the local Mfengu tribe that lived amongst them.
Swazi Initiation. All the indigenous peoples of South africa have some form ofinitiation. This is often associated with circumcision for http://www.safarihotel.co.za/africa_swazi_4.html
Extractions: Greater Kruger Area [previous page] This was the sign for the warriors to resume their dancing while singing their ritual songs and pleading with the king to return to them for another year of reinforced rule. The king then left his bower, indicating his acceptance, and symbolically tasted the first fruits of the harvest. This signified that the crops could now be harvested and eaten. The next day was a sacred day of seclusion on which no work was done. On the morning of the sixth and last day, the warriors marched off into the hills to collect firewood for a huge bonfire. In the afternoon, this pyre was set alight. Singing and dancing, the warriors then burnt on the pyre those items of their costumes worn the previous year. They implored the ancestral spirits to send rain to put out the fire and as a sign of their favour for the coming year. When rain fell, the ceremony ended with a general celebration of feasting, dancing and singing.
Pagans.Org :: View Topic - Tradition - Hoodoo Kongo, Suku, and yaka people of Central africa create some to bilongo and mooyo andthat their african predecessors are indigenous people are vary adaptable. http://forum.pagans.org/bbs/viewtopic.php?t=3162&sid=08c7b188e527485b41795d96736
Survival International Pygmies are the indigenous people of the central African rainforest. More Sights Sounds Massana the yaka pygmies High quality (broadband) http://www.survival-international.org/sights.php?gallery_id=48
African Art, Trade Beads, Masks, Carvings, Artifacts, Textiles yaka people. Demopcratic Republic of the Congo. Wood. Baule people. Ivory Coast.(Cote D Ivoire). Early 20th century. There is an indigenous repair to . . . http://www.africadirect.com/ccproducts2.php?category=11&pagenum=8&start=210&affi
African Art On The Internet africa Talks.org an online and faceto-face community of people interested indevelopment Islam and indigenous african cultures, Shawabtis and Nubia, http://www-sul.stanford.edu/depts/ssrg/africa/art.html
Extractions: "Ethiopia’s leading artist." Biography, his paintings, sculptures, mosaics, murals, art in the artist's home. Afewerk created the stained-glass windows at the entrance of Africa Hall, headquarters of the United Nations Economic Commission for Africa. "In 1964, he became the first winner of the Haile Selassie I prize for Fine Arts." "In 2000, he was one of the few chosen World Laureates by the council of the ABI on the occasion of the 27th International Millennium Congress on the Arts and Communication in Washington DC." He painted Kwame Nkrumah's portrait and was awarded the American Golden Academy Award and the Cambridge Order of Excellence England. Prints of his work may be purchased online. http://www.afewerktekle.org
Dr Jerome Lewis Jerome Lewis Dr Jerome Lewis is a specialist on Central africa and (with J.Kenrick) indigenous people s rights and the politics of the term indigenous http://www.lse.ac.uk/collections/anthropology/jeromelewis.htm
Extractions: Home Help Search Site index ... LSE for you You are here - Welcome to LSE Department of Anthropology Departmental Staff Dr Jerome Lewis is a specialist on Central Africa and hunter-gatherer societies. He has conducted extensive fieldwork in the Republic of Congo (Brazzaville) with Yaka forest hunter-gatherers and to a lesser extent with neighbouring farming peoples. His research is a continuing long-term ethnographic study focused on Yaka social organisation, religion and ritual structures, child development and learning, Yaka relations with other hunter-gatherers, hunter-gatherers' relations with settled people and officials, and the impact of logging and conservation initiatives. Dr Lewis has also worked with Twa Pygmies in the Great Lakes Region, but especially in Rwanda before and after the 1994 genocide and war. 2004. Whose forest is it anyway? Mbendjele Yaka pygmies, the Ndoki Forest and the wider world. In Property and equality (vol. 2), Thomas Widlok and Gossa Tadesse (eds). Oxford: Berghan Books. 2003. (with J. Kenrick) Indigenous people's rights and the politics of the term "indigenous."
African Statues, Sculptures, Figures, Fetishes Baule people/tribe from Ivory Coast in Westafrica The yaka were/are a highlyartistic people/tribe they give an aesthetic touch to many everyday http://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art/african-art-collection-sta
Extractions: (of variable age, artistic quality, and degree of authenticity) Clicking on a small photo brings you a bigger photo. Some of the pieces are available (for exchange for instance). The attributions of the origin of the objects is based on their stylistic characteristics and/or on the data provided by the seller and/or experts, but of course certainty cannot be reached. 1. Bamana / Bambara / (Baumana) / (Banbara) people/tribe from Mali, West-Africa 1.1. Female janiform figure in the style of the Bamana / Bambara / (Baumana) or the neighbouring Marka/Warka and Bozo tribes/people Information about Mali and the art from that country can be found on the WWW: http://www.vmfa.state.va.us/mali_geo_hist.html Information about Bamana/Bambara ceremonies and art can be found for instance in the following sources: Jacques Kerchache, Jean-Louis Paudrat, Lucien Stephan, L'art et les grandes civililitations: L'art africain. Paris : Editions Mazenod, 1988, 620 pp.
Mbwoolo Sculpture Of The Yaka - RAND AFRICAN ART exhibitions of Central African art. (1) In yaka terminology indigenous dressor traditional dress is defined as the attire of the people of a country or http://www.randafricanart.com/Mbwoolo_sculpture_Yaka.html
Bibliography On African Traditional Religion Human rights in African indigenous religion, Bulletin of Ecumenical Scriptures of African peoples The Sacred utterances of the Anlo, New York, 1973. http://www.afrikaworld.net/afrel/atr_bibliography.htm
Extractions: , "Reading the entrails: analysis of an African divination discourse", Man Abimbola W., "The Place of African Traditional Religion in Contemporary Africa: The Yoruba Example" in Olupona, ed. Kingship, Religion and Rituals in a Nigerian community: a phenomenological study of Ondo Yoruba festivals . Stockholm,1991, 51-58. Abrahamsson H., The Origin of Death, Studies in African Mythology, Studia Ethnographica Upsaliensia III, Uppsala, 1951. Acheampong S.O., "Reconstructing the structure of Akan traditional religion," Mission Ackah C. A., Akan Ethics. A Study of the Moral Ideasand the Moral Behaviour of the Akan Tribes of Ghana, Accra, 1988. Achebe Chinua, "Chi in Igbo Cosmology", in In Morning Yet on creation day, N.Y., 1975. Achebe Chinwe, The World of the Ogbanje, Enugu, 1986. Adagala K., "Mother Nature, Patriarchal Cosmology & Gender" in Gilbert E.M., ed. Nairobi: Masaki Publishers.1992, 47-65.
Spirits The Portuguese first traveled to central africa in 1483, when Diogo Cão The exhibition opens with a series of artworks from the Dan peoples of Côte http://www.nmafa.si.edu/exhibits/spirits/intro.htm
Extractions: MM_preloadImages('images/introH.gif'); MM_preloadImages('images/wcaH.gif'); MM_preloadImages('images/konH.gif'); MM_preloadImages('images/matH.gif'); MM_preloadImages('images/zomH.gif'); MM_preloadImages('images/choH.gif'); MM_preloadImages('images/ngaH.gif'); MM_preloadImages('images/bidH.gif'); MM_preloadImages('images/retH.gif'); Also at the Smithsonian: Worshiping the Ancestors at the Sackler Gallery looks at the spirits of China. In the Presence of Spirits This exhibition examines an impressive group of over 140 objects that reflect the influences of the supernatural world in both public and private life throughout sub-Saharan Africa. The exhibition is organized according to both geography and the numerous cultural groups represented in the National Museum of Ethnology's collection. In the Presence of Spirits features objects that derive mainly, although not exclusively, from those areas where the Portuguese were present, such as Angola, Mozambique and Guinea-Bissau. A group of important artworks from western, central and southern Africa complements this selection. These artifacts demonstrate the rich variety and sculptural inventiveness of the cultures indigenous to these regions and provide insight into many of their spiritual practices. Highlights of the exhibition include figures, decorated stools and chairs, pipes, masks, staffs and dolls used by kings, queens, chiefs, priests, priestesses and diviners to summon spiritual forces. Major themes include an examination of prestige objects and power figures, initiation and funerary rituals, and symbols of spiritual and secular authority.
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
African Choral Music Resources Twelve indigenous songs from South africa in the original languages with The Rainbow People of God NY Doubleday, 1994 An african Prayer Book NY http://www.pitts.emory.edu/theoarts/multi/Countries/Africa/african_res.html
Extractions: African Choral Music Resources Multicultural - Repertoire African Repertoire Multicultural Choral Home TheoArts Home The following are choral-related websites with predominantly English language pages. This is not meant to be an exhaustive list - just a helpful one! More sites will be added as they are identified. Please let us know if you discover any new ones. For any choral musician who looks at the score of an African piece and discovers a series of letters, dots and dashes. This notation system is not an African system, but an English one, developed by Curwen in the 19th century and brought to Africa by missionaries. See The Teachers Manual of the Tonic Sol-Fa Method reprinted by Bernard Rainbow (Boethius Press, c. 1986).
FGBCWorld would use this work to plant indigenous churches that training materials he has writtenin yaka, the language is building His church among many people who are http://www.fgbcworld.com/new/article.asp?IDNum=35
Extractions: Zaire Zaire Four clusters have been distinguished among the mixture of peoples in this area: the Yaka cluster includes, among others, the Suku. The Mbala cluster also includes several groups and is perhaps the most fragmented of the lot. The Pende cluster includes the Kwese; the Lunda cluster includes the Soonde and the Chokwe. The Lunda, closely related to the peoples of western Shaba, are included here by Vansina because they are separated from their core area and have had a longtime relationship with the other peoples in the area. Mixture and mutual influence have characterized these peoples, often in less than peaceful ways. In general, Lunda expansion led to the formation of Lunda-ruled states, a process that continued through the first half of the nineteenth century. The Chokwe, who became such a powerful presence in the core Lunda area in western Shaba in the second half of the nineteenth century, also drove north here in the same period, fragmenting local groups but also incorporating many of them. They were stopped only in 1885 by a coalition of Mbun, Njembe, and Pende, the first two being peoples of the lower Kasai. Except for the members of the Lunda cluster, most of the peoples in the area originally spoke a dialect of Kikongo or a language related to it. Over a period beginning in the seventeenth century, a good deal of movement was set in train by the expansion of the Lunda Empire. The result was the establishment of Lundainfluenced political patterns of Kongo peoples in the area.
The Languages And Writing Systems Of Africa Angola, Republic of Angola, República de Angola, former People s Republic of Angola Also includes Mandinka, Wolof, Fula, other indigenous vernaculars. 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
SELECT BIBLIOGRAPHY--TO BE CONTD--AAAS 342 of divinatory utterance in the yaka milieu (Zaire Gaba , Christian R. Scripturesof an African people. gifts and diversities of indigenous African Churches a 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.
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