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.
Showing posts with label traditional and contemporary tattoos and scarification. Show all posts
Showing posts with label traditional and contemporary tattoos and scarification. Show all posts
Saturday, January 6, 2018
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"...
****
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Visitor comments are welcome.
Wednesday, January 3, 2018
Information About & Descriptions Of Traditional Female Tattoos Among The Chaoui (Algeria, North Africa)
Edited by Azizi Powell
This pancocojams post presents an excerpt from the 2013 Wake Forrest University undergraduate thesis by Yasmin Bendaas. That thesis is entitled "Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance".
This text only excerpt focuses on descriptions of and meanings for various traditional female tattoos among Chaouia women in Algeria, North Africa.
This post serves as a companion piece to this pancocojams post: http://pancocojams.blogspot.com/2018/01/chaoui-ethnic-groups-algeria-north.html Chaoui Ethnic Group's (Algeria, North Africa) Rahaba Music & Dance (information & videos).
This post is also part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification. Use pancocojams's internal search engine or click this tag below to find other pancocojams post on this subject.
The content of this post is presented for folkloric, cultural, educational, and aesthetic purposes.
Note: I feature excerpts of thesis and dissertations that are found on the internet on this blog to raise awareness about the information that is presented in these scholarly works.
All copyrights remain with their owners.
Thanks to Yasmin Bendaas for researching this topic and sharing this thesis online. Thanks also to all those who are quoted in that research.
****
THESIS EXCERPT: CHAOUIA TATTOES: SYMBOLIC MEANING, CONTRIBUTION TO IDENTITY, AND REASONS FOR DISAPPEARANCE.
https://chaouiatattoos.wordpress.com/category/1-cover-page/
Thesis Cover Page
PUBLISHED ON September 29, 2013
Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance
Yasmin Bendaas
An Undergraduate Honors Thesis submitted to the Department of Anthropology in partial fulfillment of the requirements for graduation with honors.
WAKE FOREST UNIVERSITY
April 2013
https://chaouiatattoos.wordpress.com/category/6-symbolic-meaning/ chaouia tattoos
CATEGORY: 6) SYMBOLIC MEANING
Symbolic Meaning
PUBLISHED ON September 29, 2013
Although I still cannot say what the tradition might have meant hundreds of years ago, I came to understand the significance of the tattoos among the Chaouia of Algeria in the 1930s and 1940s when the current eldest generation of women were often tattooed. The most popular answer I received is that traditional tattoos signify beauty, though I am uncertain if the idea of beauty is tied to any particular symbol. Coming to conclusive symbolic meaning was also especially difficult because some women did not know the name of all the symbols. In fact, some did not know any of the names at all.
Symbols commonly found on the face include shams (sun), ain hijla (eye of a partridge), burnous (soldier’s coat), cinsla (chain), and thabanat (flies). Further, most who knew the name of their tattoos were not aware of a specific symbolic meaning. This lack of knowledge indicates that perhaps the tattooing practice began to fade well before the current eldest generation received tattoos. Still, I identified the symbolic meaning of some tattoos.
Burnous, a tattoo commonly found on the forehead, refers to a coat made of animal skin worn by soldiers (or – as I would discover later – by men for a variety of ceremonious occasions)
[...]
Among the twenty women, burnous was the most common forehead tattoo, though other tattoos could also be found on the forehead. It is also one documented by generations of scholars, as is seen in Gaudry’s drawings from 1929…
The shape, again, is derived from an animal skin coat worn by men (seen around my aunt’s husband in picture below). It is a symbol of strength and masculinity. Since these ornamental tattoos mark the faces of women only, it is interesting to note that burnous is not the only masculine figure tattooed.
[...]
[The] diamond figure is called ain hijla, literally meaning, “eye of a partridge.” Some women simply called this figure hijla, or “partridge.” The diamond symbol, found around the Chukar partridge’s face, is one that was said by many women to be representative of beauty; however, it may also be viewed as a masculine symbol as the partridge is a commonly hunted bird, and hunting is a task of men. Margaret Courtney Clarke’s description of the partridge symbol within weaving supports an argument for the symbol’s significance of beauty:
While there were no direct answers from the women regarding the symbolic meaning of the tattoos, they may serve the same purpose as writing: to tell a story. During one interview, the son of an elderly woman mentioned that he believed the symbols behind tattoos do represent a story. Unfortunately, the elderly women could not provide information about that hypothesis because their knowledge about the meaning of the symbols has been lost. Shapes were often not of their choosing as this power rested in the hands of the person giving the tattoos.
It seems likely that the tattoos are telling a story, but surprisingly the story seems to be about a man. Symbols signifying animals, such as camels, gazelles, and partridges, often relate to travel or hunting. The soldier’s coat and rikab (horse stirrups) also relate to masculinity.
However, if it is true that the stories tell a story of a soldier or a strong man then who is he? And why is his story told through tattoos on the bodies of women? Could it be that these symbols are not about a man but are instead symbols attractive to men? These questions remain unanswered during the course of my research.
Placement
While all the women interviewed had facial tattoos, only certain symbols appear on the face, and it is important to note that facial tattoos geared towards beautification are not the only tattoos a woman may have. It is common for the women interviewed to carry traditional tattoos on other parts of their bodies, and a difference in placement between two tattoos often results in a different significance. The table below shows the variety of symbols identified on the twenty women, as well as their placement and frequency. Images found of gazelles and scorpions on the arm were much more literal than the ornamental symbols adorning faces. It is also interesting to note that the women identified the tattoo symbols in Arabic, even if they are Chaouia. This Arabic identification of tattoos is likely because of the language of the tattoo-giving adasiya (gypsy) and may shed light on the origins of tattooing within Algeria.
[...]
I found that tattoos on arms, hands, legs, and even the breast held a completely different meaning for the women unassociated with beauty, but rather with health (Bendaas 2012). One woman, Janat, had tattoos on her right hand and one above her right ankle. She explained that she received the tattoo when having trouble becoming pregnant and heard that the tattoos promote fertility. After receiving the tattoo, she did have children. Janat was not the only woman I interviewed who received additional tattoos for reasons related to fertility and childbearing. Another woman tattooed her breast after losing several children post-birth. Early childhood death was common during wartime due to poverty and lack of access to medical care. After receiving the tattoo, the woman told me that of 20 children, ten of her children had lived and ten had died (Bendaas 2012).
Other tattoos for healing often related to relieving localized pain, such as pain in the wrist. One woman, Yamina provided a particularly unique example because a murderer made the tattoo on her aching wrist (seen below). She said that after receiving the tattoo her wrist pain healed. The practice of receiving a tattoo from a murderer is noted by Maarten Hesselt Van Dinter who writes, “The Ouled Abderrahman, a Shawiya tribe of the Aurès Plains, preferred to have tattoos applied with a murderer’s knife, and, if possible, by the murderer himself” (2005:192). Though I am unsure that Yamina, who is from M’lila, is of the same tribe Van Dinter refers to, she is the only interviewee who noted receiving a healing tattoo from a murderer, and she is Chaouia. It is possible that this act of healing the pain of others was a form of penance for the murderer.
[...]
After hearing so many stories like these, I realized the use of traditional tattoos to promote beauty and health shed light on a practice integral to the beliefs, environment, and needs of the time period. With a lack of doctors, tattoos held a healing purpose. Due to cultural views on beauty, tattoos acted as beautifiers, whereas today, make-up serves the same purpose. In this way, the tattoos captured and reflected the needs and desires of women in the region
[...]
Some believe that the tattoos functioned solely to make indigenous women unattractive to the French and consequently protected from rape or any unwanted contact. Many tattooed women acknowledged that this legend is false, as they felt their tattoos were part of a tradition that extended long before the French invasion of 1830. Two women, Roqaya and Duloola, spoke directly to this idea saying that tattoos did not act as protection against the French, and instead to do so they would cover themselves with soot. Duloola said that when the women did this, the French would ask them “You haven’t any soap?” and they would respond that they did not.
Further, most women considered their tattoos as beautiful, directly countering the idea of making oneself unattractive. I do not know what French soldiers thought of tattoos, but it is apparent that tattooing the face was not the measure of protection against rape and instead that covering oneself in soot was. However, the idea that women would need to protect themselves is a significant one, as many considered colonization the rape and forced penetration and control of a nation, particularly in terms of African colonization.
Still, the myth of the tattoos’ protection of women is not entirely unfounded. When examining the tattoos themselves, several prominent symbols are clearly masculine symbols, referring to Algerian soldiers or powerful men – protectors. It is more likely that these symbols embody a more general preservation, not only of women, but also of the land. With tattoos containing literal depictions of nature such as partridges, gazelles and camels, ties to the environment are abundant, and the Aurès has a particular history of defying foreign influences including that of the Romans, the Muslim Arab invasion of Sidi Okba, and finally the French (Bendaas 2013).”
-snip-
This thesis also includes photographs and drawings.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post presents an excerpt from the 2013 Wake Forrest University undergraduate thesis by Yasmin Bendaas. That thesis is entitled "Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance".
This text only excerpt focuses on descriptions of and meanings for various traditional female tattoos among Chaouia women in Algeria, North Africa.
This post serves as a companion piece to this pancocojams post: http://pancocojams.blogspot.com/2018/01/chaoui-ethnic-groups-algeria-north.html Chaoui Ethnic Group's (Algeria, North Africa) Rahaba Music & Dance (information & videos).
This post is also part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification. Use pancocojams's internal search engine or click this tag below to find other pancocojams post on this subject.
The content of this post is presented for folkloric, cultural, educational, and aesthetic purposes.
Note: I feature excerpts of thesis and dissertations that are found on the internet on this blog to raise awareness about the information that is presented in these scholarly works.
All copyrights remain with their owners.
Thanks to Yasmin Bendaas for researching this topic and sharing this thesis online. Thanks also to all those who are quoted in that research.
****
THESIS EXCERPT: CHAOUIA TATTOES: SYMBOLIC MEANING, CONTRIBUTION TO IDENTITY, AND REASONS FOR DISAPPEARANCE.
https://chaouiatattoos.wordpress.com/category/1-cover-page/
Thesis Cover Page
PUBLISHED ON September 29, 2013
Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance
Yasmin Bendaas
An Undergraduate Honors Thesis submitted to the Department of Anthropology in partial fulfillment of the requirements for graduation with honors.
WAKE FOREST UNIVERSITY
April 2013
https://chaouiatattoos.wordpress.com/category/6-symbolic-meaning/ chaouia tattoos
CATEGORY: 6) SYMBOLIC MEANING
Symbolic Meaning
PUBLISHED ON September 29, 2013
Although I still cannot say what the tradition might have meant hundreds of years ago, I came to understand the significance of the tattoos among the Chaouia of Algeria in the 1930s and 1940s when the current eldest generation of women were often tattooed. The most popular answer I received is that traditional tattoos signify beauty, though I am uncertain if the idea of beauty is tied to any particular symbol. Coming to conclusive symbolic meaning was also especially difficult because some women did not know the name of all the symbols. In fact, some did not know any of the names at all.
Symbols commonly found on the face include shams (sun), ain hijla (eye of a partridge), burnous (soldier’s coat), cinsla (chain), and thabanat (flies). Further, most who knew the name of their tattoos were not aware of a specific symbolic meaning. This lack of knowledge indicates that perhaps the tattooing practice began to fade well before the current eldest generation received tattoos. Still, I identified the symbolic meaning of some tattoos.
Burnous, a tattoo commonly found on the forehead, refers to a coat made of animal skin worn by soldiers (or – as I would discover later – by men for a variety of ceremonious occasions)
[...]
Among the twenty women, burnous was the most common forehead tattoo, though other tattoos could also be found on the forehead. It is also one documented by generations of scholars, as is seen in Gaudry’s drawings from 1929…
The shape, again, is derived from an animal skin coat worn by men (seen around my aunt’s husband in picture below). It is a symbol of strength and masculinity. Since these ornamental tattoos mark the faces of women only, it is interesting to note that burnous is not the only masculine figure tattooed.
[...]
[The] diamond figure is called ain hijla, literally meaning, “eye of a partridge.” Some women simply called this figure hijla, or “partridge.” The diamond symbol, found around the Chukar partridge’s face, is one that was said by many women to be representative of beauty; however, it may also be viewed as a masculine symbol as the partridge is a commonly hunted bird, and hunting is a task of men. Margaret Courtney Clarke’s description of the partridge symbol within weaving supports an argument for the symbol’s significance of beauty:
In Berber culture, the partridge is considered a bird of great grace and beauty, and is thus associated with the qualities of a good wife. Its sharp eyes are also thought to be vigilant
watchers against danger. [1996:78]
While there were no direct answers from the women regarding the symbolic meaning of the tattoos, they may serve the same purpose as writing: to tell a story. During one interview, the son of an elderly woman mentioned that he believed the symbols behind tattoos do represent a story. Unfortunately, the elderly women could not provide information about that hypothesis because their knowledge about the meaning of the symbols has been lost. Shapes were often not of their choosing as this power rested in the hands of the person giving the tattoos.
It seems likely that the tattoos are telling a story, but surprisingly the story seems to be about a man. Symbols signifying animals, such as camels, gazelles, and partridges, often relate to travel or hunting. The soldier’s coat and rikab (horse stirrups) also relate to masculinity.
However, if it is true that the stories tell a story of a soldier or a strong man then who is he? And why is his story told through tattoos on the bodies of women? Could it be that these symbols are not about a man but are instead symbols attractive to men? These questions remain unanswered during the course of my research.
Placement
While all the women interviewed had facial tattoos, only certain symbols appear on the face, and it is important to note that facial tattoos geared towards beautification are not the only tattoos a woman may have. It is common for the women interviewed to carry traditional tattoos on other parts of their bodies, and a difference in placement between two tattoos often results in a different significance. The table below shows the variety of symbols identified on the twenty women, as well as their placement and frequency. Images found of gazelles and scorpions on the arm were much more literal than the ornamental symbols adorning faces. It is also interesting to note that the women identified the tattoo symbols in Arabic, even if they are Chaouia. This Arabic identification of tattoos is likely because of the language of the tattoo-giving adasiya (gypsy) and may shed light on the origins of tattooing within Algeria.
[...]
I found that tattoos on arms, hands, legs, and even the breast held a completely different meaning for the women unassociated with beauty, but rather with health (Bendaas 2012). One woman, Janat, had tattoos on her right hand and one above her right ankle. She explained that she received the tattoo when having trouble becoming pregnant and heard that the tattoos promote fertility. After receiving the tattoo, she did have children. Janat was not the only woman I interviewed who received additional tattoos for reasons related to fertility and childbearing. Another woman tattooed her breast after losing several children post-birth. Early childhood death was common during wartime due to poverty and lack of access to medical care. After receiving the tattoo, the woman told me that of 20 children, ten of her children had lived and ten had died (Bendaas 2012).
Other tattoos for healing often related to relieving localized pain, such as pain in the wrist. One woman, Yamina provided a particularly unique example because a murderer made the tattoo on her aching wrist (seen below). She said that after receiving the tattoo her wrist pain healed. The practice of receiving a tattoo from a murderer is noted by Maarten Hesselt Van Dinter who writes, “The Ouled Abderrahman, a Shawiya tribe of the Aurès Plains, preferred to have tattoos applied with a murderer’s knife, and, if possible, by the murderer himself” (2005:192). Though I am unsure that Yamina, who is from M’lila, is of the same tribe Van Dinter refers to, she is the only interviewee who noted receiving a healing tattoo from a murderer, and she is Chaouia. It is possible that this act of healing the pain of others was a form of penance for the murderer.
[...]
After hearing so many stories like these, I realized the use of traditional tattoos to promote beauty and health shed light on a practice integral to the beliefs, environment, and needs of the time period. With a lack of doctors, tattoos held a healing purpose. Due to cultural views on beauty, tattoos acted as beautifiers, whereas today, make-up serves the same purpose. In this way, the tattoos captured and reflected the needs and desires of women in the region
[...]
Some believe that the tattoos functioned solely to make indigenous women unattractive to the French and consequently protected from rape or any unwanted contact. Many tattooed women acknowledged that this legend is false, as they felt their tattoos were part of a tradition that extended long before the French invasion of 1830. Two women, Roqaya and Duloola, spoke directly to this idea saying that tattoos did not act as protection against the French, and instead to do so they would cover themselves with soot. Duloola said that when the women did this, the French would ask them “You haven’t any soap?” and they would respond that they did not.
Further, most women considered their tattoos as beautiful, directly countering the idea of making oneself unattractive. I do not know what French soldiers thought of tattoos, but it is apparent that tattooing the face was not the measure of protection against rape and instead that covering oneself in soot was. However, the idea that women would need to protect themselves is a significant one, as many considered colonization the rape and forced penetration and control of a nation, particularly in terms of African colonization.
Still, the myth of the tattoos’ protection of women is not entirely unfounded. When examining the tattoos themselves, several prominent symbols are clearly masculine symbols, referring to Algerian soldiers or powerful men – protectors. It is more likely that these symbols embody a more general preservation, not only of women, but also of the land. With tattoos containing literal depictions of nature such as partridges, gazelles and camels, ties to the environment are abundant, and the Aurès has a particular history of defying foreign influences including that of the Romans, the Muslim Arab invasion of Sidi Okba, and finally the French (Bendaas 2013).”
-snip-
This thesis also includes photographs and drawings.
****
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Visitor comments are welcome.
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