21. 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/

A Guide to the Jembe Eric Charry An unedited expanded version of the article published in Percussive Notes , vol. 34, no. 2, April 1996, pages 66-72. Portions reprinted by permission of the Percussive Arts Society. Send a comment Last updated 14 May 1996. (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.

22. Traditional Storytelling The variety of the region’s 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/

Home FAQ Articles Books ... Wild Times Traditional Storytelling 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

23. 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

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 N’goni Crown Publishers, 1982, New York NY Diallo Yaya The Healing Drum: African Wisdom Teachings Destiny Books, 1989

24. 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

25. 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

West and Central Africa Return to List Selection Page

26. Bullom So Language - Encyclopedia Article About Bullom So Language. all of the most widely spoken indigenous languages of Subsaharan africa belongto this group. It is related to the baga languages spoken in Guinea. http://encyclopedia.thefreedictionary.com/Bullom So language

Domain='thefreedictionary.com' word='Bullom So language' Your help is needed: American Red Cross The Salvation Army join mailing list webmaster tools Word (phrase): Word Starts with Ends with Definition subscription: Dictionary/ thesaurus Computing dictionary Medical dictionary Legal dictionary Financial dictionary Acronyms Columbia encyclopedia Wikipedia encyclopedia Hutchinson encyclopedia Bullom So language 0.03 sec. Page tools Printer friendly Cite / link Email 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.' History Main article: History of Guinea Click the link for more information.

27. 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

UNITED NATIONS EP United Nations Environment Programme Distr. GENERAL UNEP/POPS/INC.2/INF/14/Rev.1 29 January 1999 ORIGINAL: ENGLISH INTERGOVERNMENTAL NEGOTIATING COMMITTEE FOR AN INTERNATIONAL LEGALLY BINDING INSTRUMENT FOR IMPLEMENTING INTERNATIONAL ACTION ON CERTAIN PERSITENT ORGANIC POLLUTANTS Second session 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

28. 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

MUSEES Afrique Afrique du Sud Angola Botswana Burkina Faso ... Zimbabwe ou plusieurs oeuvres majeures. Afrique du Sud 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

29. 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

CentralAsia-L Announcement Archive 3. Publications Page 36 To Index of Publications Postings Harvard Program on Central Asia PUBLICATION- Fourth Livshits Orientalist Workshop, Barnaul 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. CALL FOR REVIEWERS- Int'l Journal for Comp. Sociology and Comp. Sociology pscw.uva.nl JOURNAL/CFP- Fiscal Decentralization and Local Government Issues PUBLICATION- Central Asia-Caucasus Analyst, 24 April 2002 Issue on Web 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

30. 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

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

31. 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

Baga Indigenous Ethnicities index Home People African ... Contact Baga Web resources african indigenous people baga Baga Art Here you will find a good article and images of Baga arts. - illustrated - african indigenous people bamana Africa, African Anthropology - General Resources. By peoples. Akan Akuapem Akye American Visions: The Baga and their art - art of a people living ... ...presented by the Museum for African Art (New ... Baga society has no centralized political American Visions: The Baga and their art - art of a people living ... ...villages had abandoned many of their indigenous religious and ... In Guinea as elsewhere african art, real antiques shop, gifts. Discuss tribes, masks ... Bwa, Chiwara, Mali, Kafigeledio, Toma, Liberia,Baga, Sierra Leone ... read and see African African tribes Baga. ... The ndako gboya appears to be indigenous; a spirit that affords protection Christas Egill Jacobsen, sought inspiration from indigenous Zande Encyclop¦dia Britannica ...in the beliefs of many African and indigenous peoples throughout ... African Art Museum African art. The Columbia Encyclopedia, Sixth Edition. 2001

32. Western And Central Sudan, 1800-1900 A.D. | Timeline Of Art History | The Metrop early 19th century The agrarian Lobi peoples migrate into the Upper Volta regionfrom Other works by baga and Nalu sculptors exhibit stylistic elements http://www.metmuseum.org/toah/ht/10/sfw/ht10sfw.htm

Encompasses present-day Gambia, Guinea, Mali, Senegal, Burkina Faso, Mauritania, Niger, and eastern Chad See also Central Africa Eastern Africa Guinea Coast , and Southern Africa Jenne and Timbuktu . By the end of the century, Senegal emerges as France's most productive and populous colony, with important mercantile centers located at Dakar and Saint-Louis along the coast. 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.

33. 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

Pictures / photos / images of some MASKS and headdresses in the African tribal, antique, ritual, ethnographic, classical, "primitive" art collection (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. In producing a mask, a sculptor's aim is to depict a person's psychological and moral characteristics, rather than provide a portrait. 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. He then paints the mask with pigments such as charcoal (to give a black colour), powders made from vegetable matter or trees (for ochre/earth tones) or mineral powders like clay (to give a white colour).

34. 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

English Deutsch Español Français ... Português Three Pointe Dr. Suite 301 Brea, California 92821 U.S.A. Tel.: Fax: Toll Free (U.S.) With a global network of experienced resources, InterSol provides customized, cost-effective solutions to the challenges of international communications. Other Editions 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 National or official languages: Portuguese (official), Bantu and other African languages. The number of languages listed for Angola is 42, of which 41 are living languages (including Mbundu, Loanda, Kongo, Chokwe, Luchazi) and 1 (Kwadi) is extinct. Benin

35. 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

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. The Second Lesson moves to West Africa; the students look at indigenous architecture for West African mosques and compare it with that of other Islamic mosques they studied last month. They complete a model of an indigenous West African mosque as well. 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.

36. 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

37. 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

Magbana Drum and Dance NYC REPERTORY "MAGBANA," orchestrated and choreographed by Michael Markus, is a percussion arrangement that shows the group's rhythmic versatility. "ODE TO THE BAGA," choreographed by Michael Markus, is a drum and dance composition inspired by sorsornet, a rhythm from the Baga ethnic group of Guinea, West Africa. "DJEMBE DJAZZ" is an improvisational solo demonstrating the many sounds and colors of the djembe. "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 "KAWA," arranged by Michael Markus, is a rhythm of the Malinke people from the region of Faranah in Guinea, West Africa. "WOO DONG E’BANG BALA", choreographed by Michael Markus, is a fusion of Shaolin Kung Fu from China with West African dance. The music is doundounba, a strong man's dance, from Guinea, West Africa.

38. 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

Search View African Art and Architecture Article View To find a specific word, name, or topic in this article, select the option in your Web browser for finding within the page. In Internet Explorer, this option is under the Edit menu. The search seeks the exact word or phrase that you type, so if you don’t 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.

39. 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

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.

40. 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

Collection Tribes Masks museums ... fairs related articles: Home Up Eastern-Africa Western-Soudan South-Africa Central Africa Aboriginal American Indians ... African Antiques e-Newsletter Your email address will only be used to notify you about the African Antiques free e-newsletter. You should join if you want to read the last news and learn everything about the new exhibitions African art fairs auctions , buying tips, tribes stolen pieces , interesting opinions, museums , etc.. It will not be used for any other purpose. Discover a new World ! visit our other site and Discover a new World ! visit our other site and BuyAfricanAntiques David Norden Sint-katelijnevest 27 ANTWERPEN-Belgium Tel +32 3 227 35 40 Join our discussion group: Discussions AntiquesAfricaines en Français (100 membres) var site="sm5african" Western Soudan and Mali 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.

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