Edited by Azizi Powell
This is Part II in a four part pancocojams series that provides information about African originated or African inspired braided hairstyles for females.
This post is a continuation of a 2014 pancocojams post entitled "Examples Of Fulani (African) Female Beaded Or Ornamental Hairstyles (videos & quotes)" http://pancocojams.blogspot.com/2014/07/examples-of-fulani-african-female.html.
Since 2014 when I published that first pancocojams post on this subject, long beaded and/or otherwise ornamented micro (thin) braids have become more popular among Black American females (particularly pre-teen and teenage girls, and young adult women). These various hairstyles are collectively termed "Fulani braids" as they are said to be inspired by traditional Fulani hairstyles.
Like that previous pancocojams post, this post presents excerpts from several online articles about Fulani (African) culture and showcases videos about Fulani culture with special focus on Fulani females' beaded hairstyles.
The videos that are showcased in this post are different than the ones that are featured in that 2014 pancocojams post.
The Addendum to this post showcases a video of Nigerian Afrobeats singer Yemi Alade wearing her hair in one of the traditional Fulani hairstyles for women.
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Click http://pancocojams.blogspot.com/2018/02/five-youtube-examples-of-african.html for Part I of this series. Part I includes my transcription Of a November 1979 Ebony Magazine article about the emerging popularity among African American adults of unadorned braids or braids with beads. Part I also showcase several videos of African American performing artists wearing their hair in braids with beads, cowrie shells, and/or other ornaments.
Part III presents excerpts of several online articles about Black females' braided hairstyles that are inspired by Fulani and/or other African culture.
Part IV showcases three African American hair tutorial videos about "Fulani braids" with beads and/or other ornaments. Selected comments from these videos' discussion threads are also included in that post.
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The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copy rights remain with their owners.
Thanks to the authors of the excerpts that are included in this post. Thanks also to all those who are featured in these embedded YouTube videos and thanks to the publishers of these videos on YouTube.
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PANCOCOJAMS EDITOR'S NOTE
The term "Fulani braids" that has been used since around 2016 in the United States and probably elsewhere refers to a number of different braided hairstyles for Black females that have beads and/or other ornaments added to the braids. These hairstyles are said to be inspired by the Fulani ethnic group of West Africa and the Sahel.*
As used in the United States, "Fulani braids" hairstyles are said to be inspired by traditional Fulani hairstyles for females, but aren't necessarily the same as those traditional hairstyles. One significant difference is that traditional Fulani braids are much shorter than the length of braids in the United States.
These braided with beads hairstyles have sometimes also been referred to as "Alicia Keys braids", after the African American R&B/Soul singer and pianist who popularized that hairstyle in the video of her 2001 hit record "Fallin'". However, hairstyles that are braided with or without beads, cowrie shells, and/or other ornaments has long been a custom for Black girls in the United States and throughout much of the world. Furthermore, a few African American performing artists have worn long braids with beads since the mid 1970s.
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*"The Sahel part of Africa includes (from west to east) parts of northern Senegal, southern Mauritania, central Mali, northern Burkina Faso, the extreme south of Algeria, Niger, the extreme north of Nigeria, central Chad, central and southern Sudan, the extreme north of South Sudan, Eritrea, Cameroon, Central African Republic and extreme north of Ethiopia.
Historically, the western part of the Sahel was sometimes known as the Sudan region.[5] This belt was roughly located between the Sahara and the coastal areas of West Africa." https://en.wikipedia.org/wiki/Sahel
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EXCERPTS FROM FOUR ONLINE ARTICLES ABOUT FULANI CULTURE AND FULANI BRAIDS WITH ORNAMENTS HAIRSTYLES
[Pancocojams Editor's Note: Excerpt #3 is also given in the previously mentioned 2014 pancocojams post on this subject.]
Excerpt #1
From http://en.wikipedia.org/wiki/Fula_people
"The Fula people or Fulani or Fulɓe (Fula: Fulɓe; French: Peul; Hausa: Fulani; Portuguese: Fula; Wolof: Pël; Bambara: Fulaw) are one of the largest ethnolinguistic groups in Africa, numbering approximately 40 million people in total. They form one of the most widely dispersed and culturally diverse of the peoples of Africa.[16] The Fulani are bound together by the common language of Fulfulde, as well as by some basic elements of Fulbe culture, such as The pulaaku , a code of conduct common to all Fulani groups.
A significant proportion of their number, (an estimated 13 million), are nomadic, making them the largest pastoral nomadic group in the world.[17] Spread over many countries, they are found mainly in West Africa and northern parts of Central Africa, but also in Sudan and Egypt. [18]"...
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Excerpt #2
From http://africanbloodsiblings.wordpress.com/2011/12/09/hairstyles-in-african-culture
"Hairstyles in African Culture"
...A coiffure is perfected by various decorations: cowries, beads, mother-of-pearl buttons, medals, pieces of silver, amber balls, metal rings, and pins of wood, bone or ivory. In the West African Sahel, the Fulbe and Peul (Fulani) cultivate impressive hairstyles.
For purposes to do with magic, a man or woman may also attach amulets to certain hairdos. The more elaborate coiffure includes braids, crests, curls, cascades, chignons, and vertical cornrows."...
-snip-
That blogpost includes additional information and photographs of Fulani and other African hairstyles.from the book Hair in African Art and Culture, Edit by Roy Sieber and Frank Herreman, The Museum for African Art, New York, 2000.
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Excerpt #3
From http://www.webpulaaku.net/defte/adepegba/body_ornaments.html
C.O. Adepegba "Decorative Arts of the Fulani Nomads"
Ibadan. Ibadan University Press. 1986. 48 p.
Body Ornaments of the Fulani Nomads [with photographs]
...."In northeastern Nigeria, and in fact from Borno down to the Cameroons, nomadic Fulani women prefer to pack a substantial amount of their hair into the centre of the head like a flat bed stretching from the forehead to the back with hanging braids to the sides and the back.
In other parts of Nigeria, the female Fulani nomads use simple thick, hanging braids, usually one on each side of the face and a big one or some smaller ones at the back. The focus on the sides and back of the head in their hair styling is to ensure that the ornamental purpose for which the hair is done, is not defeated, as elaborate designs on top of the head will be covered by their usual headloads.
Similarly hanging braids, two falling on the cheeks, and ornamented with a white bead under the chin are reported to be worn by Fulani women of Dori who have just had their first baby, in other words, recently married, as Fulani women are not considered properly married until they have their first babies. The hanging braids together with the braids on the nape of her neck, which look like multiple fringes ornamented with stones, are said to symbolize wisdom and calmness, expedient of a new mother of a family 5. But such symbolic association does not seem to hold for such braids of Nigerian Fulani women. This is not to say that special hair styles are not made for that stage of life, the time for their proper marriage.
But in Nigeria styles similar to the one described above are adopted irrespective of the woments [sic] ages and number of children. Women who have apparently passed childbearing age also wear such styles (plate 6), to which most of them also add according to their different tastes, beads, buttons, cowrie shells and various pieces of bright metals, whose colours contrast sharply with their black hair.
The braids of the hair, too, are in most cases not the natural hair of the wearers. According to Eve de Negri, nomadic Fulani make use of false hair, which is generally believed to have been passed down from generation to generation. The false hair is said to be intertwined with the wearer's own hair to give the long braids. However, in many cases, the braids are not attached to the natural hair, but made into wig forms attached to round strings with which they are worn or tied to the head.
-snip-
That excerpt includes photographs. That excerpt provides this related link: http://www.the-nigeria.com/2011/10/fulani-woman-cultural-stylish-hair-and.html#.U7MLiI1OVv4 "Fulani woman: Cultural Stylish Hair and Costumes"
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Excerpt #4:
From https://www.africa.com/history-african-womens-hairstyles/ A History Of African Women’s Hairstyles
By Lebogang Matshego
..."Braids and beads from the Fulani Tribe of the Sahel Region and West Africa
The Fula, or Fulani Tribe, is the largest nomadic pastoral community in the world that populate West Africa and the Sahel Region.
A very traditional hairstyle for women includes long hair being put into five long braids that either hang or are looped on the sides, with a coiffure in the middle of the head. Hair is decorated with beads and cowrie shells. A tradition that is passed through the generations to [sic] women and young girls includes attaching the family’s silver coins and amber onto braids as a heritage symbol as well as for aesthetic purposes.
The Wodaabe Tribe is a subgroup of the Fulani Tribe, also residing in the Sahel Region and West Africa. They are a pastoral nomadic tribe with an estimated population of 100,000. The young girls and women of the tribe wear a braided hairstyle similar to Fulani women, consisting of two braids on either side of the head or a few braids on their hair and a coiffure in the middle. The hair is usually decorated with beads and cowrie shells."...
-snip-
This article also include photographs and information about other African ethnic groups and their traditional hairstyles.
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SHOWCASE YOUTUBE EXAMPLES
Example #1: FULANI CULTURAL DANCE
NIGHTINGALE ACADEMY, Published on Jun 27, 2016
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This video is added to this post in part to show that Fulani females don't always wear beads, cowrie shells, and/or other ornaments in their hair.
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Example #2: Batal Pulaaku - Batal Maasogo [Clip Officiel]
FasoMixTV, Published on Nov 20, 2015
-snip-
As indicated in the Wikipedia article about the Fula (Fulani) whose link is given above "The Fulani are bound together by the common language of Fulfulde, as well as by some basic elements of Fulbe culture, such as The pulaaku , a code of conduct common to all Fulani groups."
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Example #3: Defile Traditionnel_1ere_Edition_Festival_Natal_Pulaaku 2015 [Mali]
VISUALPROD STUDIOS Agence Multimédia, Published on Jul 2, 2016
1ère Edition du FESTIVAL NATAL PULAAKU, Organisé par l'Agence BATHIA PRODUCTION les 18, 19, et 20 Décembre 2015.
Le Samedi 19 Décembre a eu lieu ce grand défilé traditionnel peul au palais de la culture de Bamako.
Couverture Médiatique: VISUALPROD STUDIOS M.A
-snip-
Google translate from French to English:
1st edition of the NATAL PULAAKU FESTIVAL, Organized by BATHIA PRODUCTION Agency on December 18th, 19th and 20th.
On Saturday, December 19th, this grand traditional Peul procession took place at the Bamako Palace of Culture.
Media Coverage: VISUALPROD STUDIOS M.A
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“Peul” is another referent for “Fula” (Fulani).
Among the clips in this almost 1 hour long video that show female hairstyles are 28:46 to 30:16.
-snip-
Here's a comment exchange from that video's discussion thread
Konièlé Kobatchegny, 2018
"This is modern dressing and is not particular to only to Fulani. The most intelligent thig is to present all ethnic group in the same showcase. Some ethnic groups intellectual would feel frustrated."
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REPLY
VISUALPROD STUDIOS Agence Multimédia, 2018
"Konièlé Kobatchegny you're right. This is exactly what we wanted to show: traditional and modern can be mixed so that young people'll je interested. We also invited other ethnics to participate in order To show that Mali is a mixed ethnics country. We ll get closer to the traditional things in the next edition. Thanks.
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Example #4: Natal Pulaaku 1ère Edition-Résumé
VISUALPROD STUDIOS Agence Multimédia, Published on Aug 19, 2016
Vidéo de présentation de la prémiere édition du Festival Natal Pulaaku. Un résumé des trois jours du Festival avec comme activités principales: les conférences, le défilé traditionnel et le grand concert de clôture.
-snip-
Google translate from French to English:
Video presentation of the first edition of the Natal Pulaaku Festival. A summary of the three days of the Festival with as main activities: the conferences, the traditional parade and the big closing concert.
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Example #5: HAWA PULLO FULBE AFRIKI TIDON DIREN
TONTON LAUSSANE KOUROUMA, Published on Oct 17, 2016
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ADDENDUM: YEMI ALADE WEARING A FULANI HAIRSTYLE IN ONE OF HER MUSIC VIDEOS
Yemi Alade - Ferrari (Official Video)
YemiAladeVEVO, Published on Mar 25, 2016
Following the release of Yemi Alade's critically acclaimed sophomore album "Mama Africa (The Diary of an African Woman)"; the Effyzzie Music diva releases the music video for "Ferrari".
The high-life track which is produced by DJ Coublon and features strings from Fiokee serves as the album's official third single; following the dance anthem "Do As I Do" featuring DJ Arafat and the Selebobo assisted gratitude preaching hit "Na Gode".
The music video for "Ferrari" was shot by the award-winning Clarence Peters and features Nollywood heartthrob Kunle Remi. Watch, share, enjoy and buy "Mama Africa (The Diary Of An African Woman)"!
-snip-
Nigerian Afrobeats singer Yemi Alade is known for wearing African fashions in her videos. In portions of this video, Alade wears her hair in one of the Fulani's traditional braided hairstyles.
In Nigeria, Fulanis are mostly from the Northern regions of Nigeria, West Africa. Yemi Alade is Yoruba/Igbo (or Igbo/Yoruba) ancestry.
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This concludes Part II of this two part pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label traditional and contemporary African face and body painting. Show all posts
Showing posts with label traditional and contemporary African face and body painting. Show all posts
Tuesday, February 13, 2018
Sunday, January 7, 2018
Excerpts About The Traditional Meanings Of Specific Colors, Designs, & Objects In The Kuba & Luba Ethnic Groups Of The Democratic Republic Of The Congo
Edited by Azizi Powell
This pancocojams post is Part I of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.
The excerpts in this post refer to the traditional cultures of the Bakuba ethnic group (Democratic Republic Of The Congo) and the Baluba ethnic group (Democratic Republic Of The Congo).
Seven YouTube videos of Baluba and Bakuba culture are also included in this post.
The Addendum to this post provides information about the significance of cowrie shells which were (are) used a lot in African artistic decorations, among other functions.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to the University Of Iowa researchers and thanks to other researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
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PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting"). Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In this pancocojams series I'll provide some information gleaned from the internet that provides some information about the meanings of colors in traditional African face and body painting, scarification, masking, and sculpturing.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" and "meanings of colors in traditional African cultures" tags below to find other pancocojams post on this subject.
DISCLAIMER
By no means is this post meant to be a definitive account of the meanings of colors, designs, and objects in traditional African cultures.
I have very little knowledge about this subject and I'm learning as I go...
Notice that some of the excerpts in this series refers to traditional African masks as I believe that descriptions of those masks may be useful in helping to explain the meaning of temporary face and body painting or permanent scarification in those specific African cultures.
Of course, many contemporary African face/body painting in Africa and elsewhere may the results of the painter's own creativity, and have very little or no real (authentic) traditional African cultural source and meaning.
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EXCERPTS ABOUT THE MEANINGS OF SPECIFIC COLORS, DESIGNS, AND OBJECTS IN VARIOUS TRADITIONAL AFRICAN CULTURES
Excerpts #2 and Excerpt #3 describe a photograph given on that page.
The excerpts are given in no particular order and are numbered for referencing purposes only.
I added italics for statements that describe or explain the significance of colors, designs, or objects.
EXCERPT #1:
From http://www.randafricanart.com/kuba_Mukenga.html
"A Kuba Mask" by Bonnie E. Weston
"The Kuba live in the Lower Kasai region of central Zaire in a rich environment of dense forest and savanna. Organized into a federation of chiefdoms, the almost 200,000 Kuba are a diverse group of over eighteen different
peoples unified under the Bushong king. They share a single economy and, to varying degrees, common cultural and historical traditions. Agriculture is the main occupation, supplemented by hunting, fishing, and trading. The name "Kuba" comes from the Luba people to the southeast. The Kuba call themselves "the children of Woot"—after their founding ancestor (Vansina 1964:6;1078:4).
Praised as "God on Earth," the king, nyim, is a divine ruler who controls fertility and communicates with the
creator, Mboom. The royal court at Nsheng is a hierarchical complex of councils and titled officials who advise the king and balance his power. Outlying Kuba chiefdoms are largely autonomous, organized on models analogous to those of
the capital but on a lesser scale (Vansina 1964:98-99; 1978:216). Kuba society parallels governmental organization in that it is stratified. Yet the Kuba people prize hard work and achievement, and while position of birth may secure advantage, it is not binding (Vansina 1964:188;1968:13,15).
Kuba religion, however, is not highly organized. The creator, Mfcoom, is recognized but is not formally worshiped.
More consideration is given to Woot, who led the Kuba migration "up river" and established matrilineal descent, male initiation, and kingship. Local nature spirits, tended by priests and priestesses, are actively involved in people's lives, notably in matters of fertility, health, and hunting. The Kuba have no ancestor cult but do believe in reincarnation (Vansina 1964:9-10).
Kuba arts primarily address status, prestige, and the court; they are manifestations of social and political hierarchy.
Rank and wealth are expressed in extensive displays of regalia: jewelry, rich garments of embroidered raffia cloth, ceremonial knives, swords, drums, and elaborated utilitarian items. Valuable imported cowrie shells and beads
emblellish garments, furniture, baskets, and masks.
The outstanding Kuba style diagnostic is geometric patterning used to embellish the surfaces of many objects. These designs are woven into raffia textiles and mats, plaited in walls, executed in shell and bead decoration, and
incised on bowls, cups, boxes, pipes, staffs, and other forms including masks. All art forms and designs are laden
with symbolic and iconographic meaning, and the same is true of the rich Kuba masquerades.
Masking was first introduced by a woman who carved a face on a calabash, the original model for initiation masks.
The invention was taken over by men, incorporated into initiation, and remains a male privilege. Once Bushong boys move into the nkan initiation shelter, they can wear masks and make excursions into the village frightening women and small children. More powerful masks are worn by initiation officials. The masked Kuba dancer is, in every instance, a spirit manifestation (Torday 1910:250; Vansina 1955:140).
Three royal mask types exist: the tailored Mwaash aMbooy, representing Woot and the king; the wooden face mask, Ngady Mwaash aMbooy, the incestuous sister-wife of Woot; and the wooden helmet mask, Bwoom, the commoner. These characters appear in a variety of contexts including public ceremonies, rites involving the king, and initiations. Although their dances are generally solo, together the three royal masks reenact Kuba myths of origin (Cornet 1982:254,256; Roy 1979:170).
[...]
Bwoom appears on the nkan "initiation fence" of the Bushong (Vansina 1955:150-151) and in other initiation contexts. Little is known of this mask (or indeed most Kuba arts) outside of the royal Nsheng tradition. A royal mask, Bwoom is sometimes worn by the king. Yet unlike Mwaash aMbooy, Bwoom does not appear at funerals, and it is never interred with the king or other dignitaries (Cornet 1982:270). The costume is similar to that of Mwaash aMbooy: heavy with profuse layers of raffia-cloth, bead and cowrie decoration, leopard skins, anklets, armlets, and fresh leaves. Eagle feathers or other prestigious media are added to the crown of the head when the mask is danced.
Despite regional variations, the Bwoom mask conforms to a distinct type. All styles feature strongly rendered
proportions dominated by an enlarged brow, broad nose, and usually naturalistic ears. Typical features include the
metal work on the forehead, cheeks, and mouth, bands of beads that embellish the face, and an expanse of beadwork at the temples and back of the head. Plate 8 has these plus patterned raffia-cloth covering the top of the head, with a fringe of hair. The blue beads set into the white band at the temples imitate ethnic tattoo patterns (Cornet 1982:266), and the design at the back of the head is one associated with royalty."
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EXCERPT #2
1. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=3
KUBA ART AND RULE
BY JOSEPH AURÉLIEN CORNET (1919 - 2004)
FORMERLY INSTITUTE FOR NATIONAL MUSEUMS OF CONGO
"Kuba titleholder tshik'l, Democratic Republic of the Congo. Photo by Angelo Turconi.
"Among the nobles who surround the king, called “the uncles of the king,” the second rank is made up of those who are given the title tslhik’l. In addition to the king's collar (made of long straight wool), his two major symbols or badges of office are the axe he carries on his left shoulder and the headgear that is reserved only for him. This is generally in the shape of a Kuba hat, but is enriched with beads and cowries. It is surmounted by a tuft of red parrot leathers, and below by a tail that hangs in front of the face. The headgear is accompanied by a band of cowries across the chest. The white pigment on the forearm represents the tradition of rubbing oneself with kaolin for important ceremonies. In the corner of his mouth, the red parrot feather is a symbol of wisdom, and because it makes it difficult to speak, it is then a symbol of circumspection.
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2. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=12
"Between two segments of the performance in the dance area at Mushenge, the moshambwooy and bwoom masks rest for a moment. On the former, we can admire the great white beard, symbol of the wisdom of this most senior of masks; the latter allows us to take a close look at his tunic covered with cowries and the long strands of raffia that are used to help direct the dance of this blind character."
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3. WARNING: the photograph in this article is of women who are topless [not wearing anything over their chest]
From https://africa.uima.uiowa.edu/topic-essays/show/35?start=13
"Women's dance in the royal court, Kuba peoples, Democratic Republic of the Congo. Photograph by Angelo Turconi.
The women's dances in the royal palace are elaborate and refined, very slow and carefully choreographed, both in gesture and in step. The women's choir accompanies them, with the rhythm accentuated by the sound of gourds struck on the sand. The participants carry richly decorated flywhisks, which they wave dramatically. The first three performers have particularly spectacular costumes. These performers include two of the king's aunts and his most senior wife. One can identify three different types of women's skirts, each of which identifies the social rank of the wearer. The metal anklets symbolize nobility. These details contrast markedly with the simplicity of the women who follow dressed in simple raffia skirts dyed red with tukula powder, and without anklets. The women gesture symbolically."
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EXCERPT #3
1. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=7
LUBA ART AND DIVINATION
BY MARY NOOTER ROBERTS
UNIVERSITY OF CALIFORNIA, LOS ANGELES
"Mbudye official during initiation, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
The most important function of the Mbudye association was to initiate potential rulers and other officeholders into Luba esoteric knowledge. Initiation rites consisted of four stages, during which didactic devices were used to convey complex information about the origins and premises of Luba kingship. During the third level of initiation, wall paintings were used to illustrate migrations and to show sacred sites where spirits reside across the Luba landscape. During this level, each initiate adopted a spirit persona and became clairvoyant, as reflected by the white lines of enlightenment painted around the official’s eyes. But only during the fourth and final stage of lukasa did an initiate achieve full mastery of the nuances of Luba royal precepts and prohibitions. As guardians of such knowledge, Mbudye officials could remove a king from office if he transgressed the royal codes."
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2. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=8
[Pancocojams Editor's Warning: The photograph that is described includes a woman whose chest isn't covered.]
"Investiture ceremony for a Luba chief, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
During investiture rites, a Luba king or chief is transformed from an ordinary mortal into a sacred ruler. Here, two elder titleholders anoint a candidate to the office of territorial chief with white chalk to indicate ritual transition and accord with the spirit world. Chalk is a metaphor for the moon, which rises to brighten the sky each month after several days of darkness. Like the rising moon, a Luba ruler brings enlightenment to his people in the form of sound leadership and heightened vision. The investiture of a king is also compared to forging iron, for just as a blacksmith transforms raw metal into useful tools and weapons, so is an ordinary mortal transformed into a superhuman being through a ceremony called "the beating of the anvils," during which a dignitary would symbolically beat upon the knees of a king to signify the creation of sacred power."
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3. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=11
"Luba diviner wearing beaded headdress, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
Once Bilumbu diviners have been "seized" by the spirit, they chalk their laces with pemba chalk, called "the diviner’s oil," and don accoutrements that reflect the spirit's special attributes. Bilumbu attire includes bead and shell necklaces, turtle-shaped arm bands, animal pelts, leathers, and the beaded headdress called nkaka, which refers to a pangolin. Pangolin scales are considered strong, durable, and resistant, and for this reason, they are often included in the medicinal compositions of Luba diviners and healers. An nkaka headdress is worn by all royal specialists who undergo possession, and the purpose of this colorful rectangular headband, with its juxtaposed isosceles triangles and lozenges, is to take hold of the spirit as it mounts the diviner’s head and to contain, control, and protect it—in the same way a pangolin wraps itself up in a ball, its horny scales defending it from danger.
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EXCERPT #4:
From http://www.artic.edu/aic/collections/artwork/99539
"Kuba
Western Kasai region, Democratic Republic of the Congo
Mask (Mukenga), Late 19th/mid-20th century
Wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells
57.5 x 24.1 x 20.3 cm (22 5/8 x 9 1/2 x 8 in.)
Laura T. Magnuson Fund, 1982.1504
Arts of Africa and the Americas
Gallery 137
Mukenga masks like this one* are worn at funerals of influential, titled men in the northern part of the Kuba kingdom. The mask's form and materials combine symbols associated with status and leadership. Its surface is comprised of raffia cloth upon which glass beads, cowrie shells, raffia fibers, and animal fur are attached. The carefully arranged cowrie shells, once prized as currency, signal wealth and status. The beard-like ruff of the large and dangerous colobus monkey refers to powers of the forest. A prominent trunk projecting upward and over the front of the mask represents the elephant, the supreme symbol of leadership.
Formed in the seventeenth century, the Kuba Kingdom unites an ethnically diverse population across the Western Kasai region of today’s Democratic Republic of the Congo. This mask, called mukenga, is a regional variant of a Kuba royal mask that is made only in the northern part of the kingdom. The mask’s form and lavish embellishment are associated with wealth and status. Cowrie shells and glass beads, once highly valued imports, cover much of its surface. A stylized elephant trunk and tusks rise from the top, evoking the powerful animal and the wealth accrued by the Kuba in the nineteenth century through control of the ivory trade. The tuft of red parrot feathers that is suspended from the tip of the trunk and the spotted cat fur on the mask’s face are insignias of rank.
During the funerals of titled aristocrats, a member of the men’s initiation society may dance wearing the mukenga mask and an elaborate costume that includes many layers of woven raffia skirts and cowrie- and bead-laden belts, gloves, bracelets, and anklets. The deceased is laid out in identical attire, underscoring the association between the spirit, which is manifested through the performance of the mask, and the realm of the ancestors.
— Entry, Essential Guide, 2009, p. 13.
-snio-
An example of this mask is found as Video Example #4_ below.
****
SHOWCASE VIDEOS: KUBA ETHNIC GROUP MASKING TRADITIONS (DEMOCRATIC REPUBLIC OF THE CONGO)
Example #1: BASOKIN,Basongye a Kinshasa
ngandu a mushinga, Published on Oct 22, 2007
Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
-snip-
Google translation from French to English
"Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant"
-snip-
Here's information about Lomami Province
From https://en.wikipedia.org/wiki/Lomami_Province
Country Democratic Republic of the Congo
Region Kasai region
Established 2015
Capital Kabinda
[...]
Languages
• Official French
• National Tshiluba
****
Example #2: Masterpiece Collection of African Kuba Textiles
Los Angeles County Museum of Art, Published on Feb 23, 2011
Through April 10th, 2011, the Los Angeles County Museum of Art is displaying a collection of Kuba textiles in the Ahmanson Building. These textiles from the Democratic Republic of the Congo were created by men and women of the Kuba culture. They are embellished with a dazzling array of geometric patterns. Modern artists including Paul Klee, Pablo Picasso, Henri Matisse and Gustav Klimt were inspired by African art and by Kuba textiles in particular...
Video production: Jun Tiangco
****
Example #3: Kuba Art in Washington, D.C.
TV2Africa, Published on Jan 18, 2012
The Kuba people from the Democratic Republic of Congo see patterns everywhere and their designs are being featured at Washington's Textile Museum. VOA's Carolyn Turner reports.
****
Example #4: BMA Voices: A Royal Man’s Mask (Mukenga) from the Kuba kingdom
artBMA, Published on Oct 6, 2014
Aden Weisel, Curatorial Assistant of Arts of Africa, the Americas, Asia & the Pacific Islands, discusses a Royal Man’s Mask (Mukenga) from the Kuba kingdom (Democratic Republic of the Congo).
-snip-
Information from http://blog.artbma.org/2014/10/bma-voices-a-royal-mans-mask-mukenga-from-the-kuba-kingdom/:
"Artist Unidentified. Kuba kingdom (Democratic Republic of the Congo). Royal Man’s Mask (Mukenga). 1970s. The Baltimore Museum of Art: Gift of the Friends of the Arts of Africa, the Pacific and the Americas, and Amy Gould and Matthew Polk, Gibson Island, Maryland, BMA 2013.363"
Note that the video summary indicated that the narrative in the video could be read at that link, but no such narrative is found at that link.
****
Example #5: African Mwaash Ngady mask KUBA Congo RDC
David Norden, Published on Nov 10, 2014
Lot 42 African Mwaash Ngady mask - KUBA - Congo (RDC)
Ca. 1920-1940 - good condition
A portrait mask of the first Kuba king wife.
There are more than twenty different types of masks that function within the men's initiation society. The Kuba Ngaady mask represents the ideal of beauty. It is one of three important Kuba mask, on the old picture taken at Mushenge in 1909 shows a similar mask: Ngady aMwaash, Bwoom, and Mosh'ambooy mu shall.
The provenance of this fine mask that is to be dated between the two worldwars, is the collection of Gaëtan Schoonbroodt in Verviers, Belgium.
Size: 50 cm on its included base , 30 cm without.
Condition: One ear missing, as depicted.
****
Example #6: Danse Traditionnelle des Baluba, BAKUBA
b-one TV Congo, Published on Feb 6, 2015
****
Example #7 Kuba Kingdom
L’uomo di Mannheim, Published on May 21, 2017
****
ADDENDUM: INFORMATION ABOUT COWRIE SHELLS
From https://gnosticwarrior.com/cowry-shell.html
The Giver of Life: Cowry Shell
by Moe | Dec 10, 2014
..."The mystical cowry shell is small, white and glossy, resembling the female life-giving organ that is an amulet which increases fertility, and gives life. A beautiful shell that many ancient cultures had regarded as an amulet to add vitality to life, and to prolong their lives to the point of immortality.
In ancient medical treatises these shells were often listed as one of the best medicines for many ailments, and long before we had the mighty paper dollar with the all-seeing eye emblazoned upon the backside, cowry-shells were used as money and a form of currency for thousands, if not tens of thousands of years.
Cowry-shells were used for centuries as medicine and currency in Africa, China, India; and with the Indians of North America such as the Ojibwa and Menomini Indians who had called it the sacred money-cowrie, that for centuries was used by medicine men in initiation ceremonies and shamanic rituals. They had also used these shells as money for a form of exchange.
[...]
The same ideas and connection in these ceremonies by these various cultures seems to prove they are somehow connected or related at sometime in the distant past. These themes of medicine, health, life, death, and resurrection with the cowry shell being the main symbol intuitively, tells me that there must be a science behind this mystical shell that is waiting to be discovered."
-snip-
To reinforce a point that is made in this article, cowrie shells have a long history of being used for divination purposes in many regions of Africa. In addition, cowrie shells have also been used (and continue to be used) as mask, clothing, and hair decoration in the Africa continent, in the African Diaspora, and elsewhere.
****
This concludes Part I of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post is Part I of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.
The excerpts in this post refer to the traditional cultures of the Bakuba ethnic group (Democratic Republic Of The Congo) and the Baluba ethnic group (Democratic Republic Of The Congo).
Seven YouTube videos of Baluba and Bakuba culture are also included in this post.
The Addendum to this post provides information about the significance of cowrie shells which were (are) used a lot in African artistic decorations, among other functions.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to the University Of Iowa researchers and thanks to other researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
****
PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting"). Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In this pancocojams series I'll provide some information gleaned from the internet that provides some information about the meanings of colors in traditional African face and body painting, scarification, masking, and sculpturing.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" and "meanings of colors in traditional African cultures" tags below to find other pancocojams post on this subject.
DISCLAIMER
By no means is this post meant to be a definitive account of the meanings of colors, designs, and objects in traditional African cultures.
I have very little knowledge about this subject and I'm learning as I go...
Notice that some of the excerpts in this series refers to traditional African masks as I believe that descriptions of those masks may be useful in helping to explain the meaning of temporary face and body painting or permanent scarification in those specific African cultures.
Of course, many contemporary African face/body painting in Africa and elsewhere may the results of the painter's own creativity, and have very little or no real (authentic) traditional African cultural source and meaning.
****
EXCERPTS ABOUT THE MEANINGS OF SPECIFIC COLORS, DESIGNS, AND OBJECTS IN VARIOUS TRADITIONAL AFRICAN CULTURES
Excerpts #2 and Excerpt #3 describe a photograph given on that page.
The excerpts are given in no particular order and are numbered for referencing purposes only.
I added italics for statements that describe or explain the significance of colors, designs, or objects.
EXCERPT #1:
From http://www.randafricanart.com/kuba_Mukenga.html
"A Kuba Mask" by Bonnie E. Weston
"The Kuba live in the Lower Kasai region of central Zaire in a rich environment of dense forest and savanna. Organized into a federation of chiefdoms, the almost 200,000 Kuba are a diverse group of over eighteen different
peoples unified under the Bushong king. They share a single economy and, to varying degrees, common cultural and historical traditions. Agriculture is the main occupation, supplemented by hunting, fishing, and trading. The name "Kuba" comes from the Luba people to the southeast. The Kuba call themselves "the children of Woot"—after their founding ancestor (Vansina 1964:6;1078:4).
Praised as "God on Earth," the king, nyim, is a divine ruler who controls fertility and communicates with the
creator, Mboom. The royal court at Nsheng is a hierarchical complex of councils and titled officials who advise the king and balance his power. Outlying Kuba chiefdoms are largely autonomous, organized on models analogous to those of
the capital but on a lesser scale (Vansina 1964:98-99; 1978:216). Kuba society parallels governmental organization in that it is stratified. Yet the Kuba people prize hard work and achievement, and while position of birth may secure advantage, it is not binding (Vansina 1964:188;1968:13,15).
Kuba religion, however, is not highly organized. The creator, Mfcoom, is recognized but is not formally worshiped.
More consideration is given to Woot, who led the Kuba migration "up river" and established matrilineal descent, male initiation, and kingship. Local nature spirits, tended by priests and priestesses, are actively involved in people's lives, notably in matters of fertility, health, and hunting. The Kuba have no ancestor cult but do believe in reincarnation (Vansina 1964:9-10).
Kuba arts primarily address status, prestige, and the court; they are manifestations of social and political hierarchy.
Rank and wealth are expressed in extensive displays of regalia: jewelry, rich garments of embroidered raffia cloth, ceremonial knives, swords, drums, and elaborated utilitarian items. Valuable imported cowrie shells and beads
emblellish garments, furniture, baskets, and masks.
The outstanding Kuba style diagnostic is geometric patterning used to embellish the surfaces of many objects. These designs are woven into raffia textiles and mats, plaited in walls, executed in shell and bead decoration, and
incised on bowls, cups, boxes, pipes, staffs, and other forms including masks. All art forms and designs are laden
with symbolic and iconographic meaning, and the same is true of the rich Kuba masquerades.
Masking was first introduced by a woman who carved a face on a calabash, the original model for initiation masks.
The invention was taken over by men, incorporated into initiation, and remains a male privilege. Once Bushong boys move into the nkan initiation shelter, they can wear masks and make excursions into the village frightening women and small children. More powerful masks are worn by initiation officials. The masked Kuba dancer is, in every instance, a spirit manifestation (Torday 1910:250; Vansina 1955:140).
Three royal mask types exist: the tailored Mwaash aMbooy, representing Woot and the king; the wooden face mask, Ngady Mwaash aMbooy, the incestuous sister-wife of Woot; and the wooden helmet mask, Bwoom, the commoner. These characters appear in a variety of contexts including public ceremonies, rites involving the king, and initiations. Although their dances are generally solo, together the three royal masks reenact Kuba myths of origin (Cornet 1982:254,256; Roy 1979:170).
[...]
Bwoom appears on the nkan "initiation fence" of the Bushong (Vansina 1955:150-151) and in other initiation contexts. Little is known of this mask (or indeed most Kuba arts) outside of the royal Nsheng tradition. A royal mask, Bwoom is sometimes worn by the king. Yet unlike Mwaash aMbooy, Bwoom does not appear at funerals, and it is never interred with the king or other dignitaries (Cornet 1982:270). The costume is similar to that of Mwaash aMbooy: heavy with profuse layers of raffia-cloth, bead and cowrie decoration, leopard skins, anklets, armlets, and fresh leaves. Eagle feathers or other prestigious media are added to the crown of the head when the mask is danced.
Despite regional variations, the Bwoom mask conforms to a distinct type. All styles feature strongly rendered
proportions dominated by an enlarged brow, broad nose, and usually naturalistic ears. Typical features include the
metal work on the forehead, cheeks, and mouth, bands of beads that embellish the face, and an expanse of beadwork at the temples and back of the head. Plate 8 has these plus patterned raffia-cloth covering the top of the head, with a fringe of hair. The blue beads set into the white band at the temples imitate ethnic tattoo patterns (Cornet 1982:266), and the design at the back of the head is one associated with royalty."
****
EXCERPT #2
1. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=3
KUBA ART AND RULE
BY JOSEPH AURÉLIEN CORNET (1919 - 2004)
FORMERLY INSTITUTE FOR NATIONAL MUSEUMS OF CONGO
"Kuba titleholder tshik'l, Democratic Republic of the Congo. Photo by Angelo Turconi.
"Among the nobles who surround the king, called “the uncles of the king,” the second rank is made up of those who are given the title tslhik’l. In addition to the king's collar (made of long straight wool), his two major symbols or badges of office are the axe he carries on his left shoulder and the headgear that is reserved only for him. This is generally in the shape of a Kuba hat, but is enriched with beads and cowries. It is surmounted by a tuft of red parrot leathers, and below by a tail that hangs in front of the face. The headgear is accompanied by a band of cowries across the chest. The white pigment on the forearm represents the tradition of rubbing oneself with kaolin for important ceremonies. In the corner of his mouth, the red parrot feather is a symbol of wisdom, and because it makes it difficult to speak, it is then a symbol of circumspection.
**
2. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=12
"Between two segments of the performance in the dance area at Mushenge, the moshambwooy and bwoom masks rest for a moment. On the former, we can admire the great white beard, symbol of the wisdom of this most senior of masks; the latter allows us to take a close look at his tunic covered with cowries and the long strands of raffia that are used to help direct the dance of this blind character."
**
3. WARNING: the photograph in this article is of women who are topless [not wearing anything over their chest]
From https://africa.uima.uiowa.edu/topic-essays/show/35?start=13
"Women's dance in the royal court, Kuba peoples, Democratic Republic of the Congo. Photograph by Angelo Turconi.
The women's dances in the royal palace are elaborate and refined, very slow and carefully choreographed, both in gesture and in step. The women's choir accompanies them, with the rhythm accentuated by the sound of gourds struck on the sand. The participants carry richly decorated flywhisks, which they wave dramatically. The first three performers have particularly spectacular costumes. These performers include two of the king's aunts and his most senior wife. One can identify three different types of women's skirts, each of which identifies the social rank of the wearer. The metal anklets symbolize nobility. These details contrast markedly with the simplicity of the women who follow dressed in simple raffia skirts dyed red with tukula powder, and without anklets. The women gesture symbolically."
****
EXCERPT #3
1. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=7
LUBA ART AND DIVINATION
BY MARY NOOTER ROBERTS
UNIVERSITY OF CALIFORNIA, LOS ANGELES
"Mbudye official during initiation, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
The most important function of the Mbudye association was to initiate potential rulers and other officeholders into Luba esoteric knowledge. Initiation rites consisted of four stages, during which didactic devices were used to convey complex information about the origins and premises of Luba kingship. During the third level of initiation, wall paintings were used to illustrate migrations and to show sacred sites where spirits reside across the Luba landscape. During this level, each initiate adopted a spirit persona and became clairvoyant, as reflected by the white lines of enlightenment painted around the official’s eyes. But only during the fourth and final stage of lukasa did an initiate achieve full mastery of the nuances of Luba royal precepts and prohibitions. As guardians of such knowledge, Mbudye officials could remove a king from office if he transgressed the royal codes."
**
2. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=8
[Pancocojams Editor's Warning: The photograph that is described includes a woman whose chest isn't covered.]
"Investiture ceremony for a Luba chief, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
During investiture rites, a Luba king or chief is transformed from an ordinary mortal into a sacred ruler. Here, two elder titleholders anoint a candidate to the office of territorial chief with white chalk to indicate ritual transition and accord with the spirit world. Chalk is a metaphor for the moon, which rises to brighten the sky each month after several days of darkness. Like the rising moon, a Luba ruler brings enlightenment to his people in the form of sound leadership and heightened vision. The investiture of a king is also compared to forging iron, for just as a blacksmith transforms raw metal into useful tools and weapons, so is an ordinary mortal transformed into a superhuman being through a ceremony called "the beating of the anvils," during which a dignitary would symbolically beat upon the knees of a king to signify the creation of sacred power."
**
3. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=11
"Luba diviner wearing beaded headdress, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.
Once Bilumbu diviners have been "seized" by the spirit, they chalk their laces with pemba chalk, called "the diviner’s oil," and don accoutrements that reflect the spirit's special attributes. Bilumbu attire includes bead and shell necklaces, turtle-shaped arm bands, animal pelts, leathers, and the beaded headdress called nkaka, which refers to a pangolin. Pangolin scales are considered strong, durable, and resistant, and for this reason, they are often included in the medicinal compositions of Luba diviners and healers. An nkaka headdress is worn by all royal specialists who undergo possession, and the purpose of this colorful rectangular headband, with its juxtaposed isosceles triangles and lozenges, is to take hold of the spirit as it mounts the diviner’s head and to contain, control, and protect it—in the same way a pangolin wraps itself up in a ball, its horny scales defending it from danger.
****
EXCERPT #4:
From http://www.artic.edu/aic/collections/artwork/99539
"Kuba
Western Kasai region, Democratic Republic of the Congo
Mask (Mukenga), Late 19th/mid-20th century
Wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells
57.5 x 24.1 x 20.3 cm (22 5/8 x 9 1/2 x 8 in.)
Laura T. Magnuson Fund, 1982.1504
Arts of Africa and the Americas
Gallery 137
Mukenga masks like this one* are worn at funerals of influential, titled men in the northern part of the Kuba kingdom. The mask's form and materials combine symbols associated with status and leadership. Its surface is comprised of raffia cloth upon which glass beads, cowrie shells, raffia fibers, and animal fur are attached. The carefully arranged cowrie shells, once prized as currency, signal wealth and status. The beard-like ruff of the large and dangerous colobus monkey refers to powers of the forest. A prominent trunk projecting upward and over the front of the mask represents the elephant, the supreme symbol of leadership.
Formed in the seventeenth century, the Kuba Kingdom unites an ethnically diverse population across the Western Kasai region of today’s Democratic Republic of the Congo. This mask, called mukenga, is a regional variant of a Kuba royal mask that is made only in the northern part of the kingdom. The mask’s form and lavish embellishment are associated with wealth and status. Cowrie shells and glass beads, once highly valued imports, cover much of its surface. A stylized elephant trunk and tusks rise from the top, evoking the powerful animal and the wealth accrued by the Kuba in the nineteenth century through control of the ivory trade. The tuft of red parrot feathers that is suspended from the tip of the trunk and the spotted cat fur on the mask’s face are insignias of rank.
During the funerals of titled aristocrats, a member of the men’s initiation society may dance wearing the mukenga mask and an elaborate costume that includes many layers of woven raffia skirts and cowrie- and bead-laden belts, gloves, bracelets, and anklets. The deceased is laid out in identical attire, underscoring the association between the spirit, which is manifested through the performance of the mask, and the realm of the ancestors.
— Entry, Essential Guide, 2009, p. 13.
-snio-
An example of this mask is found as Video Example #4_ below.
****
SHOWCASE VIDEOS: KUBA ETHNIC GROUP MASKING TRADITIONS (DEMOCRATIC REPUBLIC OF THE CONGO)
Example #1: BASOKIN,Basongye a Kinshasa
ngandu a mushinga, Published on Oct 22, 2007
Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
-snip-
Google translation from French to English
"Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant"
-snip-
Here's information about Lomami Province
From https://en.wikipedia.org/wiki/Lomami_Province
Country Democratic Republic of the Congo
Region Kasai region
Established 2015
Capital Kabinda
[...]
Languages
• Official French
• National Tshiluba
****
Example #2: Masterpiece Collection of African Kuba Textiles
Los Angeles County Museum of Art, Published on Feb 23, 2011
Through April 10th, 2011, the Los Angeles County Museum of Art is displaying a collection of Kuba textiles in the Ahmanson Building. These textiles from the Democratic Republic of the Congo were created by men and women of the Kuba culture. They are embellished with a dazzling array of geometric patterns. Modern artists including Paul Klee, Pablo Picasso, Henri Matisse and Gustav Klimt were inspired by African art and by Kuba textiles in particular...
Video production: Jun Tiangco
****
Example #3: Kuba Art in Washington, D.C.
TV2Africa, Published on Jan 18, 2012
The Kuba people from the Democratic Republic of Congo see patterns everywhere and their designs are being featured at Washington's Textile Museum. VOA's Carolyn Turner reports.
****
Example #4: BMA Voices: A Royal Man’s Mask (Mukenga) from the Kuba kingdom
artBMA, Published on Oct 6, 2014
Aden Weisel, Curatorial Assistant of Arts of Africa, the Americas, Asia & the Pacific Islands, discusses a Royal Man’s Mask (Mukenga) from the Kuba kingdom (Democratic Republic of the Congo).
-snip-
Information from http://blog.artbma.org/2014/10/bma-voices-a-royal-mans-mask-mukenga-from-the-kuba-kingdom/:
"Artist Unidentified. Kuba kingdom (Democratic Republic of the Congo). Royal Man’s Mask (Mukenga). 1970s. The Baltimore Museum of Art: Gift of the Friends of the Arts of Africa, the Pacific and the Americas, and Amy Gould and Matthew Polk, Gibson Island, Maryland, BMA 2013.363"
Note that the video summary indicated that the narrative in the video could be read at that link, but no such narrative is found at that link.
****
Example #5: African Mwaash Ngady mask KUBA Congo RDC
David Norden, Published on Nov 10, 2014
Lot 42 African Mwaash Ngady mask - KUBA - Congo (RDC)
Ca. 1920-1940 - good condition
A portrait mask of the first Kuba king wife.
There are more than twenty different types of masks that function within the men's initiation society. The Kuba Ngaady mask represents the ideal of beauty. It is one of three important Kuba mask, on the old picture taken at Mushenge in 1909 shows a similar mask: Ngady aMwaash, Bwoom, and Mosh'ambooy mu shall.
The provenance of this fine mask that is to be dated between the two worldwars, is the collection of Gaëtan Schoonbroodt in Verviers, Belgium.
Size: 50 cm on its included base , 30 cm without.
Condition: One ear missing, as depicted.
****
Example #6: Danse Traditionnelle des Baluba, BAKUBA
b-one TV Congo, Published on Feb 6, 2015
****
Example #7 Kuba Kingdom
L’uomo di Mannheim, Published on May 21, 2017
****
ADDENDUM: INFORMATION ABOUT COWRIE SHELLS
From https://gnosticwarrior.com/cowry-shell.html
The Giver of Life: Cowry Shell
by Moe | Dec 10, 2014
..."The mystical cowry shell is small, white and glossy, resembling the female life-giving organ that is an amulet which increases fertility, and gives life. A beautiful shell that many ancient cultures had regarded as an amulet to add vitality to life, and to prolong their lives to the point of immortality.
In ancient medical treatises these shells were often listed as one of the best medicines for many ailments, and long before we had the mighty paper dollar with the all-seeing eye emblazoned upon the backside, cowry-shells were used as money and a form of currency for thousands, if not tens of thousands of years.
Cowry-shells were used for centuries as medicine and currency in Africa, China, India; and with the Indians of North America such as the Ojibwa and Menomini Indians who had called it the sacred money-cowrie, that for centuries was used by medicine men in initiation ceremonies and shamanic rituals. They had also used these shells as money for a form of exchange.
[...]
The same ideas and connection in these ceremonies by these various cultures seems to prove they are somehow connected or related at sometime in the distant past. These themes of medicine, health, life, death, and resurrection with the cowry shell being the main symbol intuitively, tells me that there must be a science behind this mystical shell that is waiting to be discovered."
-snip-
To reinforce a point that is made in this article, cowrie shells have a long history of being used for divination purposes in many regions of Africa. In addition, cowrie shells have also been used (and continue to be used) as mask, clothing, and hair decoration in the Africa continent, in the African Diaspora, and elsewhere.
****
This concludes Part I of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Saturday, January 6, 2018
Two Videos That Showcase African Face & Body Painting And African Scarification
Edited by Azizi Powell
This pancocojams post showcases two videos that present examples of traditional African scarification.
One of these videos also showcast examples of African face/body painting.
This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting.
WARNING*: Topless women are shown in some portions of these videos.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
WARNING: Some topless women are shown in some portions of these videos.
Example #1: Scarifications(Musique de Dobet Gnahore- Boudou)
Jahdid2, Published on Feb 6, 2012
Scarifications
(Musique et paroles de Dobet Gnahore from Album Djekpa La You )
En Afrique Noire, le tatouage est essentiellement tribal et effectué par scarifications. C'est un embellissement et aussi un vêtement.
Chez le peuple "Sarakole" d'Afrique Occidentale, les gencives des filles sont tatouées en bleu, à l'aide d'une épine vers l'âge de 13/14 ans.
En Afrique le tatouage permettait de prouver son identité par une marque tribale, et de se différencier des esclaves, qui eux, n'étaient pas marqués.
Le tatouage et la scarification en Afrique Noire sont revendicateurs des rites d'initiation. Ils peuvent accompagner le fait d'appartenir à une communauté, marquer le passage d'un état à un autre (celui d'enfant à adolescent ou d'adolescent à adulte).
Toutes ces agressions corporelles vont fortifier la personnalité de celui qui les subies, et augmenter ses forces vitales.
Chez les "Konkomba" du Togo du nord, les hommes et les femmes ont le torse entièrement scarifié et portent sur le visage des dessins noircis au charbon représentant la tribu.
Category
-snip-
Google translation from French to English
In Black Africa, the tattoo is essentially tribal and carried out by scarifications. It is an embellishment and also a garment.
Among the "Sarakole" people of West Africa, the gums of girls are tattooed in blue, using a spine at the age of 13/14 years.
In Africa tattooing allowed to prove its identity by a tribal mark, and to differentiate themselves from slaves, who themselves were not marked.
Tattooing and scarification in Black Africa claim to be rites of initiation. They can accompany the fact of belonging to a community, mark the passage from one state to another (that of child to teenager or teenager to adult).
All these bodily attacks will strengthen the personality of the one who suffered them, and increase his vital forces.
In the "Konkomba" of northern Togo, the men and women have their torso completely scarified and bear on the face charcoal black drawings representing the tribe.
****
Example #2: Painted Bodies: African Body Painting, Tattoos, and Scarification
Rizzoli Books, Published on Sep 11, 2012
Carol Beckwith and Angela Fisher have photographed the peoples and cultures of the Horn of Africa for more than 30 years. Together, they exhibit internationally and lecture widely at prestigious venues such as the American Museum of Natural History, The Explorers Club, The Smithsonian Institution, the National Geographic Society, and the Royal Geographical Society.
In "Painted Bodies", Beckwith and Fisher focus on the traditions of body painting spanning the vastly unique cultures of the African continent. Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.
Painted Bodies: African Body Painting, Tattoos, and Scarification
by Carol Beckwith and Angela Fisher
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases two videos that present examples of traditional African scarification.
One of these videos also showcast examples of African face/body painting.
This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting.
WARNING*: Topless women are shown in some portions of these videos.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
WARNING: Some topless women are shown in some portions of these videos.
Example #1: Scarifications(Musique de Dobet Gnahore- Boudou)
Jahdid2, Published on Feb 6, 2012
Scarifications
(Musique et paroles de Dobet Gnahore from Album Djekpa La You )
En Afrique Noire, le tatouage est essentiellement tribal et effectué par scarifications. C'est un embellissement et aussi un vêtement.
Chez le peuple "Sarakole" d'Afrique Occidentale, les gencives des filles sont tatouées en bleu, à l'aide d'une épine vers l'âge de 13/14 ans.
En Afrique le tatouage permettait de prouver son identité par une marque tribale, et de se différencier des esclaves, qui eux, n'étaient pas marqués.
Le tatouage et la scarification en Afrique Noire sont revendicateurs des rites d'initiation. Ils peuvent accompagner le fait d'appartenir à une communauté, marquer le passage d'un état à un autre (celui d'enfant à adolescent ou d'adolescent à adulte).
Toutes ces agressions corporelles vont fortifier la personnalité de celui qui les subies, et augmenter ses forces vitales.
Chez les "Konkomba" du Togo du nord, les hommes et les femmes ont le torse entièrement scarifié et portent sur le visage des dessins noircis au charbon représentant la tribu.
Category
-snip-
Google translation from French to English
In Black Africa, the tattoo is essentially tribal and carried out by scarifications. It is an embellishment and also a garment.
Among the "Sarakole" people of West Africa, the gums of girls are tattooed in blue, using a spine at the age of 13/14 years.
In Africa tattooing allowed to prove its identity by a tribal mark, and to differentiate themselves from slaves, who themselves were not marked.
Tattooing and scarification in Black Africa claim to be rites of initiation. They can accompany the fact of belonging to a community, mark the passage from one state to another (that of child to teenager or teenager to adult).
All these bodily attacks will strengthen the personality of the one who suffered them, and increase his vital forces.
In the "Konkomba" of northern Togo, the men and women have their torso completely scarified and bear on the face charcoal black drawings representing the tribe.
****
Example #2: Painted Bodies: African Body Painting, Tattoos, and Scarification
Rizzoli Books, Published on Sep 11, 2012
Carol Beckwith and Angela Fisher have photographed the peoples and cultures of the Horn of Africa for more than 30 years. Together, they exhibit internationally and lecture widely at prestigious venues such as the American Museum of Natural History, The Explorers Club, The Smithsonian Institution, the National Geographic Society, and the Royal Geographical Society.
In "Painted Bodies", Beckwith and Fisher focus on the traditions of body painting spanning the vastly unique cultures of the African continent. Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.
Painted Bodies: African Body Painting, Tattoos, and Scarification
by Carol Beckwith and Angela Fisher
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Examples Of Face Paint And/Or Body Scarification In Various Southern Ethiopian Ethnic Groups
Edited by Azizi Powell
This pancocojams post showcases a video of a tour of various ethnic groups in southern Ethiopia's Omo Valley. The tour was conducted by a "country caravan" that included a truck with a piano.
This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting. As such, I've included some time notations about certain portions of this video.
WARNING*: Some topless women are shown in some portions of this video. Also, a portion of this video shows women being whipped during a ritual ceremony and a naked man jumping the bulls as part of a ritual ceremony.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
-snip-
Click http://pancocojams.blogspot.com/2018/01/ritual-scarification-temporary-face.html for a closely related pancocojams post entitled "Ritual Scarification & Temporary Face Painting Among The Hamar People Of Ethiopia".
DISCLAIMER:
This post isn't meant to represent all of the different types of face painting or body painting that is worn by people in the Omo Valley of Ethiopia. Nor does this post imply that people from these ethnic groups always wear face or body paint.
The video's narration is in French. Since I only speak English I have no idea what was said and whether it was culturally appropriate.
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
INFORMATION ABOUT ETHNIC GROUPS WHO RESIDE IN ETHIOPIA'S OMO VALLEY
From https://www.nytimes.com/2017/10/30/travel/omo-valley-ethiopia-eco-tourism.html
Up Close With the Tribes of Ethiopia’s Imperiled Omo Valley
Both dams and overtourism threaten the Omo Valley. But a sustainable
travel initiative offers an intimate experience with local peoples.
By ANDREW McCARTHY OCT. 30, 2017
This southwestern corner of Ethiopia is home to seven primary tribes who coexist with varying degrees of peace. The land is largely dry savanna, with the Omo River cutting a nearly 475-mile-long swath down to Lake Turkana on the Kenya border. The discovery of human remains dating back nearly 2.5 million years prompted Unesco to dub the Lower Valley a World Heritage site in 1980.
Continue reading the main story
But today the Omo is a region on the precipice. The Ethiopian government has recently completed the third of five proposed dams upriver. The dams threaten to alter the lives of the communities that have inhabited this valley for millennium and depend on the river’s moods for survival"...
-snip-
This article provides commentary about the following ethnic groups:
Hamar
Karo
Nyangatom
Daasanach
-snip-
This article also includes a photo with this caption:
"Scarification — small, raised scars created by rubbing charcoal in deliberately administered cuts, causing the skin to welt in intricate patterns — is common among tribes in the Omo Valley, including the Daasanach (a tribesman is pictured here)." Credit Andy Haslam for The New York Times
One of the commenters wrote "I hope the photographer paid his dues to the people photographed for this article, most villagers expect some 'tip' for taking a picture."
Here are two comments from that article's discussion thread:
Maja Wichhart Donzo Boulder, CO November 4, 2017
"Your account of your time spent in Ethiopia is so beautifully done. However, I can't help but feel bitter after reading it. It seems like the Omo are being left behind, praying for the river to rise and their crops to prosper. It makes me sad to think that all they can do is pray when there are intrusive dams upstream that are destroying their livelihood."
**
Gigi San Luis Obispo November 2, 2017
"The nearest outpost of civilization, the town of Jinka, is currently a 2-3 day drive from Addis. There, some local tribespeople, esp Aari, have integrated into the larger community. But thanks to Chinese development, an airport and giant sugar factory are going up and will ensure more ferengi s ( foreigners) coming to this beautiful but remote region. Will see how many of these folks go into the tribal lands, and if or how their cultures will change in response. Don't miss the South Omo museum in Jinka or the videos of the tribal rituals. Hard to watch through the lens of the West and hard -fought women's rights."
****
From https://www.roughguides.com/article/ethiopia-omo-valley/ 17 striking portraits of Ethiopia’s Omo Valley tribes
20 May 2016; Updated 24 May 2016
Tim Draper
"Renowned the world over for its decorated tribes, the Omo Valley is a stop on many a tourist route in Ethiopia. But visits to the area can cross ethical boundaries, and few tourists are allowed the pleasure of a genuine experience with local people. Here, Rough Guides photographer Tim Draper tells us about his experience photographing some of southern Ethiopia’s most fascinating tribes.
As a travel photographer I desperately wanted to capture creative and authentic portraits in the Omo Valley, whilst hoping to avoid the negative experiences told in tourists tales of ‘zoo-like’ excursions.
After spending almost a week researching tour companies in Addis I carefully chose my driver, and together we planned our trip around the Omo villages.
We stayed overnight in most villages, camping or sleeping in huts. It was a good way to get to know the tribes, spending long afternoons with them while tourists came and went, barely getting out of their vehicles before they were whisked away.
If you don’t want a zoo-like experience in Omo, you’d do well to keep your camera in your pocket for a little while longer, try to connect with the people on a deeper level than that of a fifteen-minute whistle-stop photo opportunity.
I took my pictures methodically and slowly, with good humour and in a relaxed atmosphere. After all, good travel portraits – like good travel experiences – require time, care and trust.
-snip-
The first photograph in this article is a closeup of two children from the Arbore ethnic group with red paint with white dots around their eyes.
****
SHOWCASE VIDEO: ETHIOPIE Au coeur de la Vallée de l'Omo
Jean Pierre Tixier, Published on Jul 29, 2016
Découverte et Rencontre des ethnies du sud de l’Éthiopie, dans la vallée de l'Omo, avec Marc VELLA et son piano accompagné de la "caravane amoureuse". Un voyage hors du temps qui a permis d'échanger et de partager des moments inoubliables avec ces populations combien attachantes que sont les Hamer, les Mursi, les Karo, les Dorzé, les Konso
....
-snip-
Google translation from French to English:
Discovery and meeting of the ethnic groups of southern Ethiopia, in the Omo Valley, with Marc VELLA and his piano accompanied by the "caravane amoureuse". A trip out of time which allowed to exchange and share unforgettable moments with these endearing populations that are Hamer, Mursi, Karo, Dorzé, Konso ....
-snip-
Here are my notes about this video, with special attention to scenes of face painting and/or scarification:
13:24 people wearing face and chest paint (Karo ethnic group?)
12:08-13:01 children and adults wearing white face paint. I’m not sure which ethnic group this is
13:42 -14-19 - people with dots on their face
14:40-15:50 WARNING topless women
18:11-18:29 women being whipped before the ritual bull jumping ceremony
18:58 – Hamer men with facial paint
19:23 one Hamer man with facial paint standing in a row of men
WARNING: 19:31 to 19:47 man naked jumping the bulls
22:31 woman with face paint also with large lip plate [The Mursi ethnic group]
22:47 back of lip plate has painted geometric designs ; some people shown with white paint on their face and chest
23:19 woman with black face paint
24:56 woman with white face paint
25:14 young girl with white face paint around her eyes
25:42 -26-08 topless women moving in a counterclockwise circle and then standing talking some with face paint and some with scarification on their upper arms
33:34 young boy with faded paint on his forehead and around his face
35:50 Designs on this woman’s scarf are very similar to some facial designs
42:01 scene of Marc Vella playing piano surrounded by various Black people most of whom are wearing white paint on their faces and chest
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases a video of a tour of various ethnic groups in southern Ethiopia's Omo Valley. The tour was conducted by a "country caravan" that included a truck with a piano.
This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting. As such, I've included some time notations about certain portions of this video.
WARNING*: Some topless women are shown in some portions of this video. Also, a portion of this video shows women being whipped during a ritual ceremony and a naked man jumping the bulls as part of a ritual ceremony.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
-snip-
Click http://pancocojams.blogspot.com/2018/01/ritual-scarification-temporary-face.html for a closely related pancocojams post entitled "Ritual Scarification & Temporary Face Painting Among The Hamar People Of Ethiopia".
DISCLAIMER:
This post isn't meant to represent all of the different types of face painting or body painting that is worn by people in the Omo Valley of Ethiopia. Nor does this post imply that people from these ethnic groups always wear face or body paint.
The video's narration is in French. Since I only speak English I have no idea what was said and whether it was culturally appropriate.
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
INFORMATION ABOUT ETHNIC GROUPS WHO RESIDE IN ETHIOPIA'S OMO VALLEY
From https://www.nytimes.com/2017/10/30/travel/omo-valley-ethiopia-eco-tourism.html
Up Close With the Tribes of Ethiopia’s Imperiled Omo Valley
Both dams and overtourism threaten the Omo Valley. But a sustainable
travel initiative offers an intimate experience with local peoples.
By ANDREW McCARTHY OCT. 30, 2017
This southwestern corner of Ethiopia is home to seven primary tribes who coexist with varying degrees of peace. The land is largely dry savanna, with the Omo River cutting a nearly 475-mile-long swath down to Lake Turkana on the Kenya border. The discovery of human remains dating back nearly 2.5 million years prompted Unesco to dub the Lower Valley a World Heritage site in 1980.
Continue reading the main story
But today the Omo is a region on the precipice. The Ethiopian government has recently completed the third of five proposed dams upriver. The dams threaten to alter the lives of the communities that have inhabited this valley for millennium and depend on the river’s moods for survival"...
-snip-
This article provides commentary about the following ethnic groups:
Hamar
Karo
Nyangatom
Daasanach
-snip-
This article also includes a photo with this caption:
"Scarification — small, raised scars created by rubbing charcoal in deliberately administered cuts, causing the skin to welt in intricate patterns — is common among tribes in the Omo Valley, including the Daasanach (a tribesman is pictured here)." Credit Andy Haslam for The New York Times
One of the commenters wrote "I hope the photographer paid his dues to the people photographed for this article, most villagers expect some 'tip' for taking a picture."
Here are two comments from that article's discussion thread:
Maja Wichhart Donzo Boulder, CO November 4, 2017
"Your account of your time spent in Ethiopia is so beautifully done. However, I can't help but feel bitter after reading it. It seems like the Omo are being left behind, praying for the river to rise and their crops to prosper. It makes me sad to think that all they can do is pray when there are intrusive dams upstream that are destroying their livelihood."
**
Gigi San Luis Obispo November 2, 2017
"The nearest outpost of civilization, the town of Jinka, is currently a 2-3 day drive from Addis. There, some local tribespeople, esp Aari, have integrated into the larger community. But thanks to Chinese development, an airport and giant sugar factory are going up and will ensure more ferengi s ( foreigners) coming to this beautiful but remote region. Will see how many of these folks go into the tribal lands, and if or how their cultures will change in response. Don't miss the South Omo museum in Jinka or the videos of the tribal rituals. Hard to watch through the lens of the West and hard -fought women's rights."
****
From https://www.roughguides.com/article/ethiopia-omo-valley/ 17 striking portraits of Ethiopia’s Omo Valley tribes
20 May 2016; Updated 24 May 2016
Tim Draper
"Renowned the world over for its decorated tribes, the Omo Valley is a stop on many a tourist route in Ethiopia. But visits to the area can cross ethical boundaries, and few tourists are allowed the pleasure of a genuine experience with local people. Here, Rough Guides photographer Tim Draper tells us about his experience photographing some of southern Ethiopia’s most fascinating tribes.
As a travel photographer I desperately wanted to capture creative and authentic portraits in the Omo Valley, whilst hoping to avoid the negative experiences told in tourists tales of ‘zoo-like’ excursions.
After spending almost a week researching tour companies in Addis I carefully chose my driver, and together we planned our trip around the Omo villages.
We stayed overnight in most villages, camping or sleeping in huts. It was a good way to get to know the tribes, spending long afternoons with them while tourists came and went, barely getting out of their vehicles before they were whisked away.
If you don’t want a zoo-like experience in Omo, you’d do well to keep your camera in your pocket for a little while longer, try to connect with the people on a deeper level than that of a fifteen-minute whistle-stop photo opportunity.
I took my pictures methodically and slowly, with good humour and in a relaxed atmosphere. After all, good travel portraits – like good travel experiences – require time, care and trust.
-snip-
The first photograph in this article is a closeup of two children from the Arbore ethnic group with red paint with white dots around their eyes.
****
SHOWCASE VIDEO: ETHIOPIE Au coeur de la Vallée de l'Omo
Jean Pierre Tixier, Published on Jul 29, 2016
Découverte et Rencontre des ethnies du sud de l’Éthiopie, dans la vallée de l'Omo, avec Marc VELLA et son piano accompagné de la "caravane amoureuse". Un voyage hors du temps qui a permis d'échanger et de partager des moments inoubliables avec ces populations combien attachantes que sont les Hamer, les Mursi, les Karo, les Dorzé, les Konso
....
-snip-
Google translation from French to English:
Discovery and meeting of the ethnic groups of southern Ethiopia, in the Omo Valley, with Marc VELLA and his piano accompanied by the "caravane amoureuse". A trip out of time which allowed to exchange and share unforgettable moments with these endearing populations that are Hamer, Mursi, Karo, Dorzé, Konso ....
-snip-
Here are my notes about this video, with special attention to scenes of face painting and/or scarification:
13:24 people wearing face and chest paint (Karo ethnic group?)
12:08-13:01 children and adults wearing white face paint. I’m not sure which ethnic group this is
13:42 -14-19 - people with dots on their face
14:40-15:50 WARNING topless women
18:11-18:29 women being whipped before the ritual bull jumping ceremony
18:58 – Hamer men with facial paint
19:23 one Hamer man with facial paint standing in a row of men
WARNING: 19:31 to 19:47 man naked jumping the bulls
22:31 woman with face paint also with large lip plate [The Mursi ethnic group]
22:47 back of lip plate has painted geometric designs ; some people shown with white paint on their face and chest
23:19 woman with black face paint
24:56 woman with white face paint
25:14 young girl with white face paint around her eyes
25:42 -26-08 topless women moving in a counterclockwise circle and then standing talking some with face paint and some with scarification on their upper arms
33:34 young boy with faded paint on his forehead and around his face
35:50 Designs on this woman’s scarf are very similar to some facial designs
42:01 scene of Marc Vella playing piano surrounded by various Black people most of whom are wearing white paint on their faces and chest
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Ritual Scarification & Temporary Face Painting Among The Hamar People Of Ethiopia
Edited by Azizi Powell
This pancocojams post showcases three videos of ritual scarification and temporary face painting among the Hamar (Hamer) ethnic group of Ethiopia preparing face paint and other men from that ethnic group being face painted.
WARNING*: Brief scenes of women being whipped during a ritual ceremony and brief scenes of naked men are included in these videos.
This post is part of an ongoing pancocojams series about traditional and contemporary body decorations and traditional and contemporary African face and body painting .
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Hamar people.
Nor does this post imply that people from this ethnic group always wear face or body paint.
Note that these videos were published in 2011 and 2013. I don't know whether these traditional scarification customs and face & body painting customs are still done.
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
****
PANCOCOJAMS EDITOR'S COMMENT [Revised January 7, 2018]
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s "African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015
The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
INFORMATION ABOUT THE HAMAR ETHNIC GROUP OF ETHIOPIA
From https://en.wikipedia.org/wiki/Hamar_people
"The Hamar (also spelled Hamer) are an Omotic community inhabiting southwestern Ethiopia. They live in Hamer woreda (or district), a fertile part of the Omo River valley, in the Debub Omo Zone of the Southern Nations, Nationalities, and Peoples Region (SNNPR). They are largely pastoralists, so their culture places a high value on cattle.
[...]
Demographics
The 2007 national census reported 46,532 people in this ethnic group, of whom 957 were urban inhabitants. The vast majority (99.13%) live in the SNNPR.[1]
According to the Ethiopian national census of 1994, there were 42,838 Hamer language speakers, and 42,448 self-identified Hamer people, representing approximately 0.1% of the total Ethiopian population.[2]
Culture
Bull-jumping ceremony
The Hamar are known for their unique custom of "bull jumping," which initiates a boy into manhood. First, female relatives dance and invite whipping from men who have recently been initiated; this shows their support of the initiate, and their scars give them a right to demand his help in time of need. The boy must run back and forth twice across the backs of a row of bulls or castrated steers, and is ridiculed if he fails. [3]"...
-snip-
As shown in these videos, Hammar girls who are related a boy who will attempt to jump over bulls standing in a row are voluntarily publicly whipped before that ceremony as a sign of their affection for that boy.
****
SHOWCASE VIDEOS
Example #1: Hammer wedding at Turmi [Ethiopia]
Keith Rogers, Published on Jan 9, 2011
Various shots of Hammer wedding
-snip-
Scenes of preparing face paint and actual face painting begin at 3:47 of this video.
There are no scenes of topless women in this video and there's only a very brief scene that includes a naked man jumping the bulls near the end of this video.
****
Example #2: Rituals - Hamar Tribe - Ethiopia
Selim Fehmi Ozcan, Published on May 13, 2011
Selim Fehmi Ozcan
Country: Ethiopia
Region: Omo Valley
Town: middle of nowhere
Description: This documentary gives a rare glimpse into the world of the Hamar Tribe living in the Omo Valley in Southern Ethiopia. You will see true my eyes, the unique rituals performed around the rite-of-passage ceremony done by a boy trying to make the transition to become a man. Unfortunately, the boy fails to successfully complete the bull jumping thus failing to make the transition to become a man and denied the permission to get married, The rituals include traditional dancing, face and body painting, whipping, clothing and garb, singing and bull jumping - the ‘Ukuli Bula’. The Hamar People share in the same desperate problem as the Karo People with the lack of water and food due to the drought problem currently happening in Southern Ethiopia.
-snip-
Scenes of preparing face paint and actual face painting are from 2:40 to 3:31 of this video.
****
Example #3: Tattoo Hunter - Hamar of Ethiopia
Skinsmods, Published on Jan 28, 2013
Dr. Lars Krutak ventures to Ethiopia's Omo Valley to learn about the scarification rituals of the Hamar, a warrior tribe. Women's ritual scarification surrounding the bullah (bull jumping) rite is also featured.
-snip-
WARNING: This video includes scenes of a young woman voluntarily getting body scars for beautification purposes (around 18:00 to 19:25.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases three videos of ritual scarification and temporary face painting among the Hamar (Hamer) ethnic group of Ethiopia preparing face paint and other men from that ethnic group being face painted.
WARNING*: Brief scenes of women being whipped during a ritual ceremony and brief scenes of naked men are included in these videos.
This post is part of an ongoing pancocojams series about traditional and contemporary body decorations and traditional and contemporary African face and body painting .
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Hamar people.
Nor does this post imply that people from this ethnic group always wear face or body paint.
Note that these videos were published in 2011 and 2013. I don't know whether these traditional scarification customs and face & body painting customs are still done.
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.
****
PANCOCOJAMS EDITOR'S COMMENT [Revised January 7, 2018]
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s "African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015
The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
INFORMATION ABOUT THE HAMAR ETHNIC GROUP OF ETHIOPIA
From https://en.wikipedia.org/wiki/Hamar_people
"The Hamar (also spelled Hamer) are an Omotic community inhabiting southwestern Ethiopia. They live in Hamer woreda (or district), a fertile part of the Omo River valley, in the Debub Omo Zone of the Southern Nations, Nationalities, and Peoples Region (SNNPR). They are largely pastoralists, so their culture places a high value on cattle.
[...]
Demographics
The 2007 national census reported 46,532 people in this ethnic group, of whom 957 were urban inhabitants. The vast majority (99.13%) live in the SNNPR.[1]
According to the Ethiopian national census of 1994, there were 42,838 Hamer language speakers, and 42,448 self-identified Hamer people, representing approximately 0.1% of the total Ethiopian population.[2]
Culture
Bull-jumping ceremony
The Hamar are known for their unique custom of "bull jumping," which initiates a boy into manhood. First, female relatives dance and invite whipping from men who have recently been initiated; this shows their support of the initiate, and their scars give them a right to demand his help in time of need. The boy must run back and forth twice across the backs of a row of bulls or castrated steers, and is ridiculed if he fails. [3]"...
-snip-
As shown in these videos, Hammar girls who are related a boy who will attempt to jump over bulls standing in a row are voluntarily publicly whipped before that ceremony as a sign of their affection for that boy.
****
SHOWCASE VIDEOS
Example #1: Hammer wedding at Turmi [Ethiopia]
Keith Rogers, Published on Jan 9, 2011
Various shots of Hammer wedding
-snip-
Scenes of preparing face paint and actual face painting begin at 3:47 of this video.
There are no scenes of topless women in this video and there's only a very brief scene that includes a naked man jumping the bulls near the end of this video.
****
Example #2: Rituals - Hamar Tribe - Ethiopia
Selim Fehmi Ozcan, Published on May 13, 2011
Selim Fehmi Ozcan
Country: Ethiopia
Region: Omo Valley
Town: middle of nowhere
Description: This documentary gives a rare glimpse into the world of the Hamar Tribe living in the Omo Valley in Southern Ethiopia. You will see true my eyes, the unique rituals performed around the rite-of-passage ceremony done by a boy trying to make the transition to become a man. Unfortunately, the boy fails to successfully complete the bull jumping thus failing to make the transition to become a man and denied the permission to get married, The rituals include traditional dancing, face and body painting, whipping, clothing and garb, singing and bull jumping - the ‘Ukuli Bula’. The Hamar People share in the same desperate problem as the Karo People with the lack of water and food due to the drought problem currently happening in Southern Ethiopia.
-snip-
Scenes of preparing face paint and actual face painting are from 2:40 to 3:31 of this video.
****
Example #3: Tattoo Hunter - Hamar of Ethiopia
Skinsmods, Published on Jan 28, 2013
Dr. Lars Krutak ventures to Ethiopia's Omo Valley to learn about the scarification rituals of the Hamar, a warrior tribe. Women's ritual scarification surrounding the bullah (bull jumping) rite is also featured.
-snip-
WARNING: This video includes scenes of a young woman voluntarily getting body scars for beautification purposes (around 18:00 to 19:25.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Friday, January 5, 2018
Seven YouTube Videos Of West Africans Wearing Dots And/Or Other Face And Body Paint
Edited by Azizi Powell
This pancocojams post showcases seven videos of West African females and males who are wearing dots and/or other face and body paint. The West African nations that are showcased in this video are (in alphabetical order) Cameroons, Niger, Nigeria, Senegal, and Togo.
Brief information about the various ethnic groups who are featured in these videos is also included in this post.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting. Click the traditional and contemporary African face and body painting below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by West Africans.
Nor does this post imply that people from the ethnic groups who are showcased in these videos always wear face or body paint during these dances or otherwise.
****
PANCOCOJAMS EDITOR'S COMMENT (Revised January 7, 2018)
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s "African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015
The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: Wodaabe Tribe (Niger)
IndigoChildrenVideo, Published on Apr 30, 2009
-snip-
In contrast to most YouTube videos that I've watched about the Wodaabes, this video doesn't only focus on the men, but also includes some scenes of females with facial paint.
Here's an excerpt from https://en.wikipedia.org/wiki/Wodaabe
"The Wodaabe (Fula: Woɗaaɓe), also known as the Mbororo or Bororo, are a small subgroup of the Fulani ethnic group. They are traditionally nomadic cattle-herders and traders in the Sahel, with migrations stretching from southern Niger, through northern Nigeria, northeastern Cameroon, southwestern Chad, and the western region of the Central African Republic.[1] The number of Wodaabe was estimated in 2001 to be 100,000.[2][3] They are known for their elaborate attire and rich cultural ceremonies."...
****
Example #2: St Michael's Catholic Youth Dance - Okija, Nigeria (Part 1)
missionoz, Published on Jul 19, 2011
'The Outing Ceremony' dance is performed by the Youth of St Michael's Catholic in Ihite Okija in Nigeria. This event was hosted by the Parish Priest, Rev. Fr. Anthony C. Ananwa. [Igbo ethnic group]
-snip-
Two times in this video when the body paint can be clearly seen are 8:19 and 9:51.
-snip-
Here's information about the Igbo ethnic group:
From https://en.wikipedia.org/wiki/Igbo_people
"The Igbo people ...; erroneously Ibo,[3][4] formerly also Iboe, Ebo, Eboe,[5] Eboans,[6] Heebo;[7] natively Ṇ́dị́ Ìgbò [ìɡ͡bò] ... are an ethnic group native to the present-day south-central and southeastern Nigeria. Geographically, the Igbo homeland is divided into two unequal sections by the Niger River – an eastern (which is the larger of the two) and a western section.[8][9] The Igbo people are one of the largest ethnic groups in Africa.[10]
The Igbo language is divided into numerous regional dialects, and somewhat mutually intelligible with the larger "Igboid" cluster.[11] The Igbo homeland straddles the lower Niger River, east and south of the Edoid and Idomoid groups, and west of the Ibibioid (Cross River) cluster."...
****
Example #3: Manyu Music [Manyu Christian song; The Cameroons]
Bishop Bonnie Etta, Published on Feb 27, 2012
-snip-
Here's information about the Manyu ethnic group of the Cameroons:
From http://historum.com/middle-eastern-african-history/30858-manyu-people.html
posted by etamaze, September 2nd, 2011
"The Manyu people belong to the southwest of Cameroon and together hold a population of over 300,000 individuals. Though many often refer to the manyu as one tribe the division consists of three main tribes. The Ejagham, the Bayangi and the Boki. archaeological evidence suggest the Manyu people first settled in their present day land during 170 A.D. The Ikom monoliths of the cross river regions which were built between 270 B.C to 170 A.D suggest the manyu by that time were able to develop the Nsibidi script. First originated by the Ejagham people. The capital of the sub-division is The village of Eyumojock. In ancient times the government was the Mgbe or leopards club. Only ran by men. It helped to keep the villages together and scholars believe they invented the Nsibidi script judging that of the over 500 characters unknown to scientist the Mgbe use them in secret. Such clubs/associations were once a big part of a mans upbringing. The Manyu have a rich culture and history as well that is still fully acknowledged today."...
****
Example #4: Spectacle danse Africaine à Kuvé, Togo.
jongleaveclavie, Published on Jul 2, 2012
Nous rendons visite à l'école du Village de Kuvé pour assister à... disons une fête de fin d'année...
-snip-
Google translation from French to English:
We visit the village school of Kuvé to attend ... say a holiday season ...
-snip-
The scenes that show face painting worn by the students begin at 2:35 to 4:26.
****
Example #5: Efik Dance Nigeria
fulani100, Published on Oct 28, 2012
A dance that the Efiks do during the traditional wedding of one of theirs
-snip-
Here's some information about the Efik ethnic group from https://en.wikipedia.org/wiki/Efik_people
"The Efik are an ethnic group located primarily in southeastern Nigeria, in the southern part of Cross River State....Creek Town and its environs are often commonly referred to as Calabar, and its people as Calabar people, after the European name Calabar Kingdom given to the state [in present-day Cross River State. Calabar is not to be confused with the Kalabari Kingdom in Rivers State which is an Ijaw state to its west. Cross River State with Akwa Ibom State was formerly one of the original twelve states of Nigeria known as the Southeastern State.
The Efik people also occupy southwestern Cameroon including Bakassi.
[...]
The Efik are related to the Annang, Ibibio, Oron, Biase, Akampkpa, Uruan, and Eket people."...
****
Example #6: Mbaye Ndiaye - tilala [Senegal]
Djoloftv Sénégal, Published on Apr 29, 2014
-snip-
Two times in this video when the body paint can be clearly seen up close are 2:14 and 3:07.
Here's a long excerpt about Mbaye Ndiaye which provides some information about aspects of Senegalese culture:
From https://en.wikipedia.org/wiki/Mbaye_Dieye_Faye
Mbaye Dieye Faye (born 1 October 1960) is a singer and percussionist from Senegal.
Overview
Mbaye Dieye Faye is a singer and percussionist in Senegal. He was born to a modest family of griots. He had a difficult life before he became a celebrity. He sings because he's a griot, but it's a passion for him to sing. He dreamt of being one of the famous singers in his country.
He grew in a family of griots, but he had problems when he wanted to be a singer. Formerly, people used to say that when you sing, you are going to "take a bad way". For instance, you can use drugs or alcohol—because of the environment, bars, hotels, dancing—so, that was the reason his father defended him to become a drummer.[1]
When he was child, his father sent him to koranic school before he entered French school. But at a young age, he deserted school and became a carpenter of metals after he began to tap the drums. When he first informed his father about his affection for music, his father started to beat him. It was after becoming conscious of the his son's devotion, that his father consented.[2]
But like many children, Mbaye Dieye Faye was very stubborn, so he continued to decide to be a singer before his father decided to give him his agreement. After all, it was normal for the young son of Sing Sing to tap the drums. Like it is said in a Wolof proverb, "Donou sa baaye ayoul", meaning that it’s not a shame to follow the same job as your father. So Mbaye Dieye Faye begun to tap the drums with his companion Youssou N'Dour well known as the "King of Mbalax" in Senegal. Mbaye Dieye Faye had begun singing when he gave up his work as a metal carpenter. Too young, Mbaye Dieye Faye left this school.
His first concert with Youssou N'Dour was very wonderful for them even if they got only one thousand Cfa each. Youssou N'Dour is an old best friend and a colleague of Mbaye Dieye Faye. According to Mbaye Dieye Faye, Youssou Nour is a best among the best people. They share many things and together they will realize their dream, success.
In his adulthood, he married his beloved Mame Ndiaye and has his kids with her. According to Mbaye Dieye Faye, it is not easy to become famous but also it's not easy being famous. Indeed, famous people are not free; they can’t do whatever they want. To gain his life, Mbaye Dieye Faye has his music, the praise he made during ceremonies, concerts, and advertisements such as ‘ halib’ a milk product, ‘the la force’ a tea product… [2]
Music
Now, Mbaye Dieye Faye is famous singer and percussionist in Senegal. He makes rhythm in his music, the Mbalax. What makes Mbaye Faye famous is not only his ability to beat the drum but his way of dancing and giving life in his concerts. Since he is always a “griot”, he knows how to make himself listened to. He is a court musician; he sang praise and told the history of people or the region which interest people. The advertisements also make him popular.
Formally, the Senegalese Mbalax was not very rhythmic because they used only drums and some traditional instruments. However, it changed completely with the modern musicians particularly Mbaye Dieye Faye. In fact, this latter with the new instruments such as the piano, guitar, and saxophone play a mixed music meaning the traditional music and the modern one—for instance, the beat of drums and the blare of trumpets.[1]
Mbaye Dieye Faye has composed some albums, such as Songama, Live biir Thiossane, Oupoukay, and others. Songoma is the most famous, and the one most appreciated by the audience. This music had caused many problems because of religious principles. Indeed, it is a dance which required a certain way of dressing. It is called “Joubax out”, missing Wolof and English which means literally “navel out”. To attract more attention, girls wore indecent, tied, and transparent clothes. They must look like prostitutes to be exciting. However, others think that “songoma” is only a dance like all dances. It brings people to be more friends, to enjoy oneself. So, even in families, people can dance it just for pleasure."...
****
Example #7: Akwa Ibom tradition | Ikon dance [Nigeria]
Uduak Essien, Published on Jun 20, 2014
The Ikon Eto (wooden xylophone) and Obodom (wooden drum) are also popular instruments in Akwa Ibom State. The homogenous nature of the people is accountable for the minor difference in our traditions and custom, including all other aspects of cultural life. Little or no difference exists in our dances, songs, myths, shrines, funerals, folklore, mode of dressing, foods, cults, festivals and monuments.
-snip-
Here's some information about the Akwa Ibom state of Nigeria:
From https://en.wikipedia.org/wiki/Akwa_Ibom_State#Demography
"Akwa Ibom is a state in Nigeria. It is located in the coastal southern part of the country, lying between latitudes 4°32′N and 5°33′N, and longitudes 7°25′E and 8°25′E. The state is located in the South-South geopolitical zone, and is bordered on the east by Cross River State, on the west by Rivers State and Abia State, and on the south by the Atlantic Ocean and the southernmost tip of Cross River State.
Akwa Ibom is one of Nigeria's 36 states, with a population of over five million people. The state was created in 1987 from the former Cross River State and is currently the highest oil- and gas-producing state in the country. The state's capital is Uyo, with over 500,000 inhabitants...
Demography
The people are predominantly Christian. The main ethnic groups of the state are:
Ibibio
Annang
Oron
Eket
Obolo"...
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases seven videos of West African females and males who are wearing dots and/or other face and body paint. The West African nations that are showcased in this video are (in alphabetical order) Cameroons, Niger, Nigeria, Senegal, and Togo.
Brief information about the various ethnic groups who are featured in these videos is also included in this post.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting. Click the traditional and contemporary African face and body painting below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by West Africans.
Nor does this post imply that people from the ethnic groups who are showcased in these videos always wear face or body paint during these dances or otherwise.
****
PANCOCOJAMS EDITOR'S COMMENT (Revised January 7, 2018)
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s "African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015
The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams' internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: Wodaabe Tribe (Niger)
IndigoChildrenVideo, Published on Apr 30, 2009
-snip-
In contrast to most YouTube videos that I've watched about the Wodaabes, this video doesn't only focus on the men, but also includes some scenes of females with facial paint.
Here's an excerpt from https://en.wikipedia.org/wiki/Wodaabe
"The Wodaabe (Fula: Woɗaaɓe), also known as the Mbororo or Bororo, are a small subgroup of the Fulani ethnic group. They are traditionally nomadic cattle-herders and traders in the Sahel, with migrations stretching from southern Niger, through northern Nigeria, northeastern Cameroon, southwestern Chad, and the western region of the Central African Republic.[1] The number of Wodaabe was estimated in 2001 to be 100,000.[2][3] They are known for their elaborate attire and rich cultural ceremonies."...
****
Example #2: St Michael's Catholic Youth Dance - Okija, Nigeria (Part 1)
missionoz, Published on Jul 19, 2011
'The Outing Ceremony' dance is performed by the Youth of St Michael's Catholic in Ihite Okija in Nigeria. This event was hosted by the Parish Priest, Rev. Fr. Anthony C. Ananwa. [Igbo ethnic group]
-snip-
Two times in this video when the body paint can be clearly seen are 8:19 and 9:51.
-snip-
Here's information about the Igbo ethnic group:
From https://en.wikipedia.org/wiki/Igbo_people
"The Igbo people ...; erroneously Ibo,[3][4] formerly also Iboe, Ebo, Eboe,[5] Eboans,[6] Heebo;[7] natively Ṇ́dị́ Ìgbò [ìɡ͡bò] ... are an ethnic group native to the present-day south-central and southeastern Nigeria. Geographically, the Igbo homeland is divided into two unequal sections by the Niger River – an eastern (which is the larger of the two) and a western section.[8][9] The Igbo people are one of the largest ethnic groups in Africa.[10]
The Igbo language is divided into numerous regional dialects, and somewhat mutually intelligible with the larger "Igboid" cluster.[11] The Igbo homeland straddles the lower Niger River, east and south of the Edoid and Idomoid groups, and west of the Ibibioid (Cross River) cluster."...
****
Example #3: Manyu Music [Manyu Christian song; The Cameroons]
Bishop Bonnie Etta, Published on Feb 27, 2012
-snip-
Here's information about the Manyu ethnic group of the Cameroons:
From http://historum.com/middle-eastern-african-history/30858-manyu-people.html
posted by etamaze, September 2nd, 2011
"The Manyu people belong to the southwest of Cameroon and together hold a population of over 300,000 individuals. Though many often refer to the manyu as one tribe the division consists of three main tribes. The Ejagham, the Bayangi and the Boki. archaeological evidence suggest the Manyu people first settled in their present day land during 170 A.D. The Ikom monoliths of the cross river regions which were built between 270 B.C to 170 A.D suggest the manyu by that time were able to develop the Nsibidi script. First originated by the Ejagham people. The capital of the sub-division is The village of Eyumojock. In ancient times the government was the Mgbe or leopards club. Only ran by men. It helped to keep the villages together and scholars believe they invented the Nsibidi script judging that of the over 500 characters unknown to scientist the Mgbe use them in secret. Such clubs/associations were once a big part of a mans upbringing. The Manyu have a rich culture and history as well that is still fully acknowledged today."...
****
Example #4: Spectacle danse Africaine à Kuvé, Togo.
jongleaveclavie, Published on Jul 2, 2012
Nous rendons visite à l'école du Village de Kuvé pour assister à... disons une fête de fin d'année...
-snip-
Google translation from French to English:
We visit the village school of Kuvé to attend ... say a holiday season ...
-snip-
The scenes that show face painting worn by the students begin at 2:35 to 4:26.
****
Example #5: Efik Dance Nigeria
fulani100, Published on Oct 28, 2012
A dance that the Efiks do during the traditional wedding of one of theirs
-snip-
Here's some information about the Efik ethnic group from https://en.wikipedia.org/wiki/Efik_people
"The Efik are an ethnic group located primarily in southeastern Nigeria, in the southern part of Cross River State....Creek Town and its environs are often commonly referred to as Calabar, and its people as Calabar people, after the European name Calabar Kingdom given to the state [in present-day Cross River State. Calabar is not to be confused with the Kalabari Kingdom in Rivers State which is an Ijaw state to its west. Cross River State with Akwa Ibom State was formerly one of the original twelve states of Nigeria known as the Southeastern State.
The Efik people also occupy southwestern Cameroon including Bakassi.
[...]
The Efik are related to the Annang, Ibibio, Oron, Biase, Akampkpa, Uruan, and Eket people."...
****
Example #6: Mbaye Ndiaye - tilala [Senegal]
Djoloftv Sénégal, Published on Apr 29, 2014
-snip-
Two times in this video when the body paint can be clearly seen up close are 2:14 and 3:07.
Here's a long excerpt about Mbaye Ndiaye which provides some information about aspects of Senegalese culture:
From https://en.wikipedia.org/wiki/Mbaye_Dieye_Faye
Mbaye Dieye Faye (born 1 October 1960) is a singer and percussionist from Senegal.
Overview
Mbaye Dieye Faye is a singer and percussionist in Senegal. He was born to a modest family of griots. He had a difficult life before he became a celebrity. He sings because he's a griot, but it's a passion for him to sing. He dreamt of being one of the famous singers in his country.
He grew in a family of griots, but he had problems when he wanted to be a singer. Formerly, people used to say that when you sing, you are going to "take a bad way". For instance, you can use drugs or alcohol—because of the environment, bars, hotels, dancing—so, that was the reason his father defended him to become a drummer.[1]
When he was child, his father sent him to koranic school before he entered French school. But at a young age, he deserted school and became a carpenter of metals after he began to tap the drums. When he first informed his father about his affection for music, his father started to beat him. It was after becoming conscious of the his son's devotion, that his father consented.[2]
But like many children, Mbaye Dieye Faye was very stubborn, so he continued to decide to be a singer before his father decided to give him his agreement. After all, it was normal for the young son of Sing Sing to tap the drums. Like it is said in a Wolof proverb, "Donou sa baaye ayoul", meaning that it’s not a shame to follow the same job as your father. So Mbaye Dieye Faye begun to tap the drums with his companion Youssou N'Dour well known as the "King of Mbalax" in Senegal. Mbaye Dieye Faye had begun singing when he gave up his work as a metal carpenter. Too young, Mbaye Dieye Faye left this school.
His first concert with Youssou N'Dour was very wonderful for them even if they got only one thousand Cfa each. Youssou N'Dour is an old best friend and a colleague of Mbaye Dieye Faye. According to Mbaye Dieye Faye, Youssou Nour is a best among the best people. They share many things and together they will realize their dream, success.
In his adulthood, he married his beloved Mame Ndiaye and has his kids with her. According to Mbaye Dieye Faye, it is not easy to become famous but also it's not easy being famous. Indeed, famous people are not free; they can’t do whatever they want. To gain his life, Mbaye Dieye Faye has his music, the praise he made during ceremonies, concerts, and advertisements such as ‘ halib’ a milk product, ‘the la force’ a tea product… [2]
Music
Now, Mbaye Dieye Faye is famous singer and percussionist in Senegal. He makes rhythm in his music, the Mbalax. What makes Mbaye Faye famous is not only his ability to beat the drum but his way of dancing and giving life in his concerts. Since he is always a “griot”, he knows how to make himself listened to. He is a court musician; he sang praise and told the history of people or the region which interest people. The advertisements also make him popular.
Formally, the Senegalese Mbalax was not very rhythmic because they used only drums and some traditional instruments. However, it changed completely with the modern musicians particularly Mbaye Dieye Faye. In fact, this latter with the new instruments such as the piano, guitar, and saxophone play a mixed music meaning the traditional music and the modern one—for instance, the beat of drums and the blare of trumpets.[1]
Mbaye Dieye Faye has composed some albums, such as Songama, Live biir Thiossane, Oupoukay, and others. Songoma is the most famous, and the one most appreciated by the audience. This music had caused many problems because of religious principles. Indeed, it is a dance which required a certain way of dressing. It is called “Joubax out”, missing Wolof and English which means literally “navel out”. To attract more attention, girls wore indecent, tied, and transparent clothes. They must look like prostitutes to be exciting. However, others think that “songoma” is only a dance like all dances. It brings people to be more friends, to enjoy oneself. So, even in families, people can dance it just for pleasure."...
****
Example #7: Akwa Ibom tradition | Ikon dance [Nigeria]
Uduak Essien, Published on Jun 20, 2014
The Ikon Eto (wooden xylophone) and Obodom (wooden drum) are also popular instruments in Akwa Ibom State. The homogenous nature of the people is accountable for the minor difference in our traditions and custom, including all other aspects of cultural life. Little or no difference exists in our dances, songs, myths, shrines, funerals, folklore, mode of dressing, foods, cults, festivals and monuments.
-snip-
Here's some information about the Akwa Ibom state of Nigeria:
From https://en.wikipedia.org/wiki/Akwa_Ibom_State#Demography
"Akwa Ibom is a state in Nigeria. It is located in the coastal southern part of the country, lying between latitudes 4°32′N and 5°33′N, and longitudes 7°25′E and 8°25′E. The state is located in the South-South geopolitical zone, and is bordered on the east by Cross River State, on the west by Rivers State and Abia State, and on the south by the Atlantic Ocean and the southernmost tip of Cross River State.
Akwa Ibom is one of Nigeria's 36 states, with a population of over five million people. The state was created in 1987 from the former Cross River State and is currently the highest oil- and gas-producing state in the country. The state's capital is Uyo, with over 500,000 inhabitants...
Demography
The people are predominantly Christian. The main ethnic groups of the state are:
Ibibio
Annang
Oron
Eket
Obolo"...
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Thursday, January 4, 2018
Five YouTube Videos Of Xhosa (South Africa) Female Dancers & Female Singers Wearing Dots And/Or Other Face And Body Paint
Edited by Azizi Powell
This pancocojams post showcases five videos of Xhosa female dancers and Xhosa female singers who are wearing dots and/or other face and body paint. "Xhosa" is an ethnic group in the nation of South Africa.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Xhosa females.
**
These videos don't show any Xhosa males wearing face paint or body paint. I don't know if any Xhosa males traditionally wore any face paint or body paint or if any contemporary Xhosa males wear face paint or body paint.
**
This post doesn't imply that people performing these dances or members of this showcased choir always wear face or body paint.
A number of traditional Xhosa dance videos show females without clothing covering their breast. The only video in this post that has any scenes of topless females is Example #4. That video has some scenes of includes some scenes in which pre-adolescent girls are topless.
****
PANCOCOJAMS EDITOR'S COMMENT (Revised on January 7, 2018)
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s "African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: Xhosa Girls Dancing
onetruegem, Published on May 18, 2008
These girls are dancing at Guga's Thebe in the Langa Township in Cape Town, South Africa
****
Example #2: Mzansi Youth Choir
Tony Stroebel, Published on Jul 20, 2010
One of the best choirs South Africa has to offer! Performed at the opening of the Fifa 2010 Soccer World cup. Shot with a Canon 5D by Redletter productions.
****
Example #3: iKusasa - Xhosa Dance
Ikusasa Entertainment, Published on Apr 29, 2015
An example or our traditional Xhosa dance performance
****
Example #4: IGOLI by Jessica Mbangeni
JESSICA MBANGENI, Published on Feb 11, 2016
The good morals and values of our culture and traditions restore our beauty and dignity.
-snip-
WARNING: Portions of this video show topless pre-adolescent girls. The women in this video aren't topless.
****
Example #5: Traditional Dance uMxhentso
caprileefilms, Published on Dec 7, 2016
Traditional Xhosa Dance uMxhentso
Umxhentso has always been a pride to the Xhosa people as they use this type of dancing in their celebrations. These traditional Xhosa dancers are at the royal wedding of Phakamisa Tyali and Bongiwe Kali in Tsolo
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases five videos of Xhosa female dancers and Xhosa female singers who are wearing dots and/or other face and body paint. "Xhosa" is an ethnic group in the nation of South Africa.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Xhosa females.
**
These videos don't show any Xhosa males wearing face paint or body paint. I don't know if any Xhosa males traditionally wore any face paint or body paint or if any contemporary Xhosa males wear face paint or body paint.
**
This post doesn't imply that people performing these dances or members of this showcased choir always wear face or body paint.
A number of traditional Xhosa dance videos show females without clothing covering their breast. The only video in this post that has any scenes of topless females is Example #4. That video has some scenes of includes some scenes in which pre-adolescent girls are topless.
****
PANCOCOJAMS EDITOR'S COMMENT (Revised on January 7, 2018)
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s "African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: Xhosa Girls Dancing
onetruegem, Published on May 18, 2008
These girls are dancing at Guga's Thebe in the Langa Township in Cape Town, South Africa
****
Example #2: Mzansi Youth Choir
Tony Stroebel, Published on Jul 20, 2010
One of the best choirs South Africa has to offer! Performed at the opening of the Fifa 2010 Soccer World cup. Shot with a Canon 5D by Redletter productions.
****
Example #3: iKusasa - Xhosa Dance
Ikusasa Entertainment, Published on Apr 29, 2015
An example or our traditional Xhosa dance performance
****
Example #4: IGOLI by Jessica Mbangeni
JESSICA MBANGENI, Published on Feb 11, 2016
The good morals and values of our culture and traditions restore our beauty and dignity.
-snip-
WARNING: Portions of this video show topless pre-adolescent girls. The women in this video aren't topless.
****
Example #5: Traditional Dance uMxhentso
caprileefilms, Published on Dec 7, 2016
Traditional Xhosa Dance uMxhentso
Umxhentso has always been a pride to the Xhosa people as they use this type of dancing in their celebrations. These traditional Xhosa dancers are at the royal wedding of Phakamisa Tyali and Bongiwe Kali in Tsolo
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Wednesday, January 3, 2018
Seven YouTube Videos Of Traditional Congolese Dancers & Musicians Wearing Dots And/Or Other Face And Body Paint
Edited by Azizi Powell
This pancocojams post showcases seven videos of traditional Congolese dancers and musicians who are wearing dots and/or other face and body paint.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting in the Democratic Republic of the Congo.
Nor does this post imply that people performing these dances or playing the music for these dances always wear face or body paint.
****
PANCOCOJAMS EDITOR'S COMMENT [Revised on January 7, 2018]
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s "African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Here's one quote from Young Paris (a contemporary Black male musician who was born to Congolese parents in France, and raised in New York) about the meanings of colors in the Congo:
From https://www.youtube.com/watch?v=ecTm5gYZ5Bc
Young Paris: Afropunk 2015 *
"Good afternoon, this is Young Paris. We’re at the HausOAlt
Oh, AfroPunk is all. I was here last year as a guest. It’s funny, I did some social media stuff and a lot of it kinda went viral and people started following the aesthetic where I was going with this afro futuristic, afro-futuristic, traditional, contemporary concept, And it just started rapidly growing an audience. It’s just down to see the timing when it happened and that they’re able to put me on a platform where I can sharing the information. So that’s how I see it hear. Just the sharing.
Well my father co-founded the Congo ballet. And in their lineage they would use different colors to highlight their features. And so the national ballet had like a distinction within the Congo about how they would present themselves. He was a choreographer at thirteen and he continued this lineage. So I just carry on that tradition.
We wear different colors for different reasons. So with red, it symbolizes the blood of our people. Yellow is the sun that provides life. And green is the grass, It gives us food. And the white is –when we lose our ancestors, we wear white in remembrance of them because we carry on their lineage.
So my father died a couple of years ago, Since then I usually only wear the white.
For me I took the idea of this science and built it into a pop culture aesthetic around it."...
-snip-
*This is my transcription from the video. Additions and corrections are welcome.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: BASOKIN,Basongye a Kinshasa
ngandu a mushinga, Published on Oct 22, 2007
Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
-snip-
Google translation from French to English:
Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant
-snip-
In the context of this comment, the word “terrible” probably means something like “awesome”
Here are three comments from this video's YouTube discussion thread:
DELTA_, 2014
"Story on this band in National Geographic Magazine for September 2013. Congratulations, and best of luck and blessings to keep the values and culture of the Congo alive as Kinshasa evolves. Hold on to your beauty and love for each other and the Earth."
**
NYCBG, 2015
"What's the correct pronunciation of "Songye" or "Basongye"?
**
REPLY
Sarkin Makanda, 2017
"NYCBG both are correct. the ba refers to people so when you refer to the people of songye you say basongye."
****
Example #2: Hommage Ngeleka et les Artistes du Congo Kinshasa [sound file with photograph collage]
compukin, Published on Jun 19, 2008
Les artistes ne meurent pas, ils demeurent survivent à travers leurs oeuvres
Google translation from French to English:
Artists do not die, they stay alive through their works
****
Example #3: The Best of Congo Kasai Folk Music Allstars
compukin, Published on Mar 15, 2009
Kasaï is one of the richest provinces of the Democratic Republic of the Congo not only for diamond but also for its culture and Arts. Here we have a compilation of some traditional dance and music. A project to collect information on the Kasaï's master pieces in music, arts and culture is in progress at Heritage Panafrica Centre
-snip-
Scenes that include dancers with face and/or body painting can be found at 3:29-7:15
****
Example #4: ballet MBONDA AFRICA
pelengamo tonka, Published on Jan 2, 2013
directeur général TONKA PELENGAMO de ballet mbonda africa dans ...rdc
-snip-
"rdc" = [in English] the Democratic Republic Of The Congo
****
Example #5: Traditional Congolese dance - in theatre with Ballet Arumbaya Ndendeli
Ballet Arumbaya Ndendeli, Published on Mar 23, 2014
Ballet Arumbaya Ndendeli performs in theatre in Kinshasa
****
Example #6: BIBOC - traditional folk musical assembly of Democratic Republic of Congo
Dr SImon KALOMBO, Published on Jun 16, 2014
Very popular congolese folk assembly, with main goal to promote the african and congolese art and culture. Big performance, percusition, live music and dynamic dance, accompnied of high show. More than 25 young singers, dancors, musicians are able to take you over the wellknown african movings
****
Example #7: BAYUDA DU CONGO, KADIYOYO 2015, TSHINTUA NDEMBA
Eugene Jpx, Published on Jan 3, 2015
NOUVEL ALBUM DE KADIYOYO BAYUDA DU CONGO Nouvelle Génération 2015
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases seven videos of traditional Congolese dancers and musicians who are wearing dots and/or other face and body paint.
This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting in the Democratic Republic of the Congo.
Nor does this post imply that people performing these dances or playing the music for these dances always wear face or body paint.
****
PANCOCOJAMS EDITOR'S COMMENT [Revised on January 7, 2018]
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s "African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.
The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.
Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"
Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.
*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.
In an upcoming pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.
Here's one quote from Young Paris (a contemporary Black male musician who was born to Congolese parents in France, and raised in New York) about the meanings of colors in the Congo:
From https://www.youtube.com/watch?v=ecTm5gYZ5Bc
Young Paris: Afropunk 2015 *
"Good afternoon, this is Young Paris. We’re at the HausOAlt
Oh, AfroPunk is all. I was here last year as a guest. It’s funny, I did some social media stuff and a lot of it kinda went viral and people started following the aesthetic where I was going with this afro futuristic, afro-futuristic, traditional, contemporary concept, And it just started rapidly growing an audience. It’s just down to see the timing when it happened and that they’re able to put me on a platform where I can sharing the information. So that’s how I see it hear. Just the sharing.
Well my father co-founded the Congo ballet. And in their lineage they would use different colors to highlight their features. And so the national ballet had like a distinction within the Congo about how they would present themselves. He was a choreographer at thirteen and he continued this lineage. So I just carry on that tradition.
We wear different colors for different reasons. So with red, it symbolizes the blood of our people. Yellow is the sun that provides life. And green is the grass, It gives us food. And the white is –when we lose our ancestors, we wear white in remembrance of them because we carry on their lineage.
So my father died a couple of years ago, Since then I usually only wear the white.
For me I took the idea of this science and built it into a pop culture aesthetic around it."...
-snip-
*This is my transcription from the video. Additions and corrections are welcome.
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.
****
SHOWCASE VIDEOS
Example #1: BASOKIN,Basongye a Kinshasa
ngandu a mushinga, Published on Oct 22, 2007
Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
-snip-
Google translation from French to English:
Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant
-snip-
In the context of this comment, the word “terrible” probably means something like “awesome”
Here are three comments from this video's YouTube discussion thread:
DELTA_, 2014
"Story on this band in National Geographic Magazine for September 2013. Congratulations, and best of luck and blessings to keep the values and culture of the Congo alive as Kinshasa evolves. Hold on to your beauty and love for each other and the Earth."
**
NYCBG, 2015
"What's the correct pronunciation of "Songye" or "Basongye"?
**
REPLY
Sarkin Makanda, 2017
"NYCBG both are correct. the ba refers to people so when you refer to the people of songye you say basongye."
****
Example #2: Hommage Ngeleka et les Artistes du Congo Kinshasa [sound file with photograph collage]
compukin, Published on Jun 19, 2008
Les artistes ne meurent pas, ils demeurent survivent à travers leurs oeuvres
Google translation from French to English:
Artists do not die, they stay alive through their works
****
Example #3: The Best of Congo Kasai Folk Music Allstars
compukin, Published on Mar 15, 2009
Kasaï is one of the richest provinces of the Democratic Republic of the Congo not only for diamond but also for its culture and Arts. Here we have a compilation of some traditional dance and music. A project to collect information on the Kasaï's master pieces in music, arts and culture is in progress at Heritage Panafrica Centre
-snip-
Scenes that include dancers with face and/or body painting can be found at 3:29-7:15
****
Example #4: ballet MBONDA AFRICA
pelengamo tonka, Published on Jan 2, 2013
directeur général TONKA PELENGAMO de ballet mbonda africa dans ...rdc
-snip-
"rdc" = [in English] the Democratic Republic Of The Congo
****
Example #5: Traditional Congolese dance - in theatre with Ballet Arumbaya Ndendeli
Ballet Arumbaya Ndendeli, Published on Mar 23, 2014
Ballet Arumbaya Ndendeli performs in theatre in Kinshasa
****
Example #6: BIBOC - traditional folk musical assembly of Democratic Republic of Congo
Dr SImon KALOMBO, Published on Jun 16, 2014
Very popular congolese folk assembly, with main goal to promote the african and congolese art and culture. Big performance, percusition, live music and dynamic dance, accompnied of high show. More than 25 young singers, dancors, musicians are able to take you over the wellknown african movings
****
Example #7: BAYUDA DU CONGO, KADIYOYO 2015, TSHINTUA NDEMBA
Eugene Jpx, Published on Jan 3, 2015
NOUVEL ALBUM DE KADIYOYO BAYUDA DU CONGO Nouvelle Génération 2015
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
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