Pondering The Pachyderm: The Elephant And Its Ivory In African Culture (Getty Ar Background information and activity questions that focus on Osei Bonsu's Ntan drum. For the bamana peoples of Mali, images of the elephant and other bush animals, appear in the masks to remember that indigenous ivory use in africa never threatened the elephant http://www.getty.edu/artsednet/resources/Look/Animals/ntan.html
Extractions: They have also hunted it for its abundant meat, strong hide, hair, bone, and precious tusks. It is hardly surprising, therefore, that the elephant has nourished the African imagination. Its image is creatively transformed in African art and literature. The rich and enduring presence of the elephant in African art reflects as much about human society as about the animal itself. When elephant steps on trap, no more trap. The image of the elephant appears on some of the most important ritual objects used in ancestor veneration, masquerades, and rites of passage. Yet it also adorns humble domestic objects (combs, food bowls, heddle pulleys) and commercial products (beer, detergent, and postage stamps). Sometimes the elephant is depicted in isolation, other times it is part of a complex scene.
African Art On The Internet Stanford University Libraries/Academic Information ResourcesCategory Regional africa Arts and Entertainment Database which includes the Ashanti, bamana, Baule, Bwa twostory architecture, Islamand indigenous african cultures displays from 20 major peoples from West http://www-sul.stanford.edu/depts/ssrg/africa/art.html
Extractions: Topics : Art Search: Countries Topics Africa Guide Suggest a Site ... Africa Home See also: South African Art Photographs In Italian. A quarterly magazine about African culture and society. Has the table of contents. Topics covered: literature and theatre, music and dance, visual arts (painting, sculpture, photography) , cinema, immigration. Owned by Lai-momo, a non-profit co-operative. Contact:
Africa (s1)(afr1Page1) bamana (Mali). BAMBA (Oeganda Uganda). BAMBARA (Guinee - Guinea, Mali, Niger). BAMBUTI (Afrika - africa) BOIS-BRULES (Noord Amerika - North America). indigenous peoples in BOLIVIA http://www.tribalworldbooks.com.au/afr1Page1.html
Musées Afrique indigenous Knowledge in South africa . Aquarelles deJoy Adamson peoples of Kenya . Tellem ) Arts du Mali (bamana, Bobo, Dogon http://www.unil.ch/gybn/Arts_Peuples/Ex_Africa/ex_Af_musaf.html
Extractions: Cape Town South African National Gallery Government Avenue ma-di 10-17 Arts de la perle / Expositions temporaires Cape Town - Gardens South African Museum 25 Queen Victoria Street lu-di 10-17 terres cuites de Lydenburg San (peintures rupestres), Zimb abwe Tsonga , Khoikhoi, Sotho, Nguni, Shona, Lovedu... Exposition " Ulwazi Lwemvelo - Indigenous Knowledge in South Africa Cape Town - Rosebank University of Cape Town Irma Stern Museum Cecil Road ma-sa 10-17 Arts de Zanzibar et du Congo: Lega, Luba Durban Art Gallery City Hall lu-sa 8.30-16; di 11-16 Durban Local History Museum Aliwal Street East London East London Museum lu-ve 9.30-17; sa 9.30-12 Grahamstown Albany Museum. Natural Sciences and History Museums Somerset Street lu-ve 9-13 / 14-17; sa-di 14-17 Johannesburg MuseuMAfricA Newtown Cultural Precinct
ArtLex On African Art in the Dogon, a bamana village, and the walled city the warrior tradition of indigenous africa, the Jihad tradition of and accomplishments of the peoples who inhabited the region http://www.artlex.com/ArtLex/a/african.html
Extractions: A frican art - Ceremonial sculpture masks , and crafts produced by African tribal cultures , as well as by the African cultures of colonial and post-colonial periods. Generally African art means sub-Saharan art, with the cultures of Africa's northern parts typically referred to as Egyptian and North African. Making generalizations about the visual culture of any group of people is a crude endeavor, especially with a culture as diverse as Africa's. With this thought in mind, know that this survey, as any must be, is tremendously limited in its breadth and depth. Examples of African art: Mali, Bougouni or Dioila area, Bamana peoples, Mother and Child , 15th-20th century, wood, height 48 5/8 inches (123.5 cm), Metropolitan Museum of Art, NY. Nigeria, Edo peoples, Court of Benin, Pendant Mask: Iyoba , 16th century, ivory iron copper , height 9 3/8 inches (23.8 cm), Metropolitan Museum of Art, NY. See mask and pendant Nigeria, Edo peoples, Court of Benin, Head of an Oba , c. 1575-1650, bronze , 9 3/4 x 7 1/2 x 7 3/4 inches, Albright-Knox Art Gallery, Buffalo, NY. Mali, Dogon peoples
African Education On The Internet An annotated guide to internet resources on education in and about africa. audience." Includes stories from africa. http//hazel.forest.net/whootie a peoples Database which includes the Ashanti, bamana, Baule, on the indigenous Selected Essays 19811998 " http://www-sul.stanford.edu/depts/ssrg/africa/ed.html
Africa South Of The Sahara - Culture And Society An annotated guide to internet resources on african culture and society.Category Regional africa Society and Culture peoples include the Ashanti, bamana, Baule, Bwa, Dogon twostory architecture, Islamand indigenous african cultures web site for her course peoples and Cultures http://www-sul.stanford.edu/depts/ssrg/africa/culture.html
African Studies - Art And Archaeology of illustrated short essays on 'indigenous sculptural arts of Senufo, Dan, Yoruba) Headdress (bamana) from West research among the Sherbro peoples of Sierra http://www.columbia.edu/cu/lweb/indiv/africa/cuvl/AfArt.html
VADA - Volkeren En Stammen Peoples Tribes B Iran, Pakistan, Turkmenistan); bamana (Mali); BAMBA BOERS (Zuid Afrika South africa);BOHICKET BOHICKETT indigenous peoples in BOLIVIA; BOLOVEN (Laos); BOMBAY http://www.vada.nl/volkenbb.htm
Extractions: BAGA (Guinee) H+K Gallery - About the Baga Tribe - An enormous head with beak nose and horseshoe ears (typical of the work of west Atlantic tribes), the whole heavily scarified, is cantilevered on a long neck. The huge breasts are carved in one with the shoulders and it is worn on the head of the dancer, whose body is hidden under a raffia costume, so that the head and breasts are all that is visible of the carving
Explore Mali! - WorldMouse.com Top Explore africa! Religions Muslim 90%, indigenous beliefs 9%, Christian 1%. believedto have introduced agriculture to the Bambara (bamana) peoples of Mali http://worldmouse.safeshopper.com/77/cat77.htm?68
AFRICA-RELATED VIDEOS AT THE UIUC MEDIA CENTER lifestyles, between vast wealth and indigenous poverty, between VIDREC 363 For theDogon peoples, the meeting The bamana people have developed a unique form of http://www.afrst.uiuc.edu/Library/videos95-00.html
COMMEMORATING THE AFRICAN BURIAL GROUND IN NEW YORK CITY Barbara Chase Riboud a sculpture entitled africa Rising figure and Angola, Yorubaof Nigeria, bamana and Dogon as well as other indigenous peoples) possess an http://www.ijele.com/ijele/vol1.1/frohne.html
Extractions: SPIRITUALITY OF SPACE IN CONTEMPORARY ART WORKS Andrea Frohne The New York City African Burial Ground was actively used by enslaved and freed Africans and people of African descent from approximately 1712 until 1790. The cemetery covered five to six acres, in which between 10,000 and 20,000 people were buried, with bodies three layers deep in places. The 1991 unearthing of the Burial Ground has altered historical misconceptions, such as the mistaken belief that virtually no slave trade existed in the north. Few realized that during most of the eighteenth-century, New York City held the largest number of enslaved blacks outside of South Carolina. In 1790 for instance, slaves were owned by about 40% of the white households around New York City, with blacks comprising nearly one-quarter of the urban population. In the late seventeenth and entire eighteenth-century, the African Burial Ground was located on the periphery of the town so that funerals were performed beyond the scrutiny and surveillance of Europeans. It was Trinity Church who perhaps prompted use of the site, although it may have been in use prior to the Church's ordering in October 1697, "...that after the expiration of four weeks from the date here of no Negroes be buried within the bounds and limits of the church yard of Trinity Church."
African Studies - Art And Archaeology africa Forum (Hafrica, H-Net Humanities and Social essays on 'indigenous sculptural arts of South africa', 'modern' sculpture of in the lives of african peoples. This project is http://www.columbia.edu/cu/libraries/indiv/area/Africa/AfArt.html
Mali Empire And Djenne Figures peoples living in presentday Mali (bamana, Senufo and life styles and skills of thepeoples from this and cultures and accepting of the indigenous rulers and http://www.nmafa.si.edu/educ/mali/
Extractions: Mali Empire Works of Art Resources Back to Curriculum Resource MM_preloadImages('images/ghaM.gif','images/ghaH.gif'); MM_preloadImages('images/malM.gif','images/malH.gif'); MM_preloadImages('images/sonM.gif','images/sonH.gif'); MM_preloadImages('images/map4.gif','images/p4H.jpg'); MM_preloadImages('images/map5.gif','images/p5H.jpg'); MM_preloadImages('images/map6.gif','images/p6H.jpg'); MM_preloadImages('images/map7.gif','images/p7H.jpg'); MM_preloadImages('images/map0.gif','images/backH.gif'); MM_preloadImages('images/map0.gif','images/bb2H.gif'); MM_preloadImages('images/map0.gif','images/returnHH.gif'); From A.D. 700 to 1600 the ancient empires of Ghana (700-1100), Mali (800-1550) and Songhay (1300-1600) controlled vast areas of West Africa (see map and time line). Although each empire rose to assert its power, they coexisted independently for centuries. At its peak (1200-1300), the Mali Empire covered an area that encompasses significant portions of the present-day country of Mali, southern and western Mauritania and Senegal. Note that the old kingdoms of Mali and Ghana are not the present-day countries of Mali and Ghana. Predominately a savannah, this vast region has two seasonsa rainy season and a dry season, the latter being the longer of the two. The Mande-speaking peoples living in present-day Mali (Bamana, Senufo and Dogon peoples) have inhabited this area since the days of the Mali Empire. Today, Mande-speaking peoples live in almost all parts of West Africa, having migrated in search of trade or having been displaced by war or climatic conditions. Their migrations are indicative of the mobility of African peoples in many parts of Africa.
JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 To 16) 3. Komo headdress, bamana peoples, Mali, Wood, horn twin figures (ere ibeji), Yorubapeoples, Nigeria, Wood paper to ascertain an indigenous perspective how http://aic.stanford.edu/jaic/articles/jaic31-01-002_1.html
Extractions: JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 to 16) Some specific examples in African art where nontangible attributes might have an effect on treatment decisions can be seen in the following: Should we look inside a Yoruba beaded crown (fig. 1), considered to be the premier piece of divine regalia, to mend the textile lining (fig. 2), or lend slides of its interior to the education department, when in cultural context it is forbidden for anyone, including the king, to view the interior? Should we secure loose and detached fragments of sacrificial patination on a Bamana Komo headdress (fig. 3), when the amount and thickness of this incrustation (fig. 4) are directly related to the degree and effectiveness of its cultural power? How do we justify the public exhibition of an Igala shrine figure (fig. 9), which would have been restricted from public view and seen only by people of a specific age, sex, or initiate? Fig. 1. Crown, Yoruba peoples, Nigeria, Glass beads, basketry, textile, vegetable fiber, metal, H 30 ¾ in (78. 1cm). NMAfA 24-1989-01 (private lender). Photograph by Jeffrey Ploskonka
JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 To 16) It is the intention in this paper to ascertain an indigenous perspective how Africansfeel Staff top, bamana peoples, Mali. Stilt dencer, Punu peoples, Gabon. http://aic.stanford.edu/jaic/articles/jaic31-01-002.html
Extractions: JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 to 16) Some specific examples in African art where nontangible attributes might have an effect on treatment decisions can be seen in the following: Should we look inside a Yoruba beaded crown (fig. 1), considered to be the premier piece of divine regalia, to mend the textile lining (fig. 2), or lend slides of its interior to the education department, when in cultural context it is forbidden for anyone, including the king, to view the interior? Should we secure loose and detached fragments of sacrificial patination on a Bamana Komo headdress (fig. 3), when the amount and thickness of this incrustation (fig. 4) are directly related to the degree and effectiveness of its cultural power? How do we justify the public exhibition of an Igala shrine figure (fig. 9), which would have been restricted from public view and seen only by people of a specific age, sex, or initiate? Fig. 1. Crown, Yoruba peoples, Nigeria, Glass beads, basketry, textile, vegetable fiber, metal, H 30 ¾ in (78. 1cm). NMAfA 24-1989-01 (private lender). Photograph by Jeffrey Ploskonka
AFRICA The bamana people believed that the antelope is a because of their relation to indigenousproverbs. very sacred Funerary artifact(?), Akan peoples, Ghana The http://www.cc.jyu.fi/~yaselma/africa.html
Anthropology Faculty Profiles At SUNY Cortland Recent publications Monolingual bamana Dictionary; More taught Anthropological Theory,peoples of Latin Cultural/Symbolic Anthropology; indigenous People and http://www.cortland.edu/sociology/antprofiles.html
Extractions: Assistant Professor of Anthropology. Ph.D., Indiana University. Courses taught: Introduction to Cultural Anthropology, Anthropological Theory, Peoples of Africa, Language and Culture, Introduction to Language Study, Applied Anthropology, Development Anthropology. Research specialization's: languages and cultures of Africa, ethnomusicology, African art, agriculture in the developing world. Recent publications : Monolingual Bamana Dictionary More than 1000 Mande Proverbs (Bilingual), Mother-Tongue Editions, 1996. E-mail: kone@cortland.edu Ellis McDowell-Loudan Professor of Anthropology. Ph.D., American University. Courses taught: Human Evolution and Survival, World Prehistory, Eastern U.S. Archaeology, Native American Archaeology, Native American Ethnology, Field Work in Archaeology (Archaeological Field School). Research interests: Archaeology/ethnology, Eastern U.S.A and Canada; prehistoric peoples and culture, material culture. Recent publications/papers: Homer, NY Emergency Archaeology c. 1800"; Archaeological Ethics; Local History: If Its All Written Down, Why Dig?; Archaeological Site Survey, Central NY. Research in progress: Archaeology: Introductory Guide for Classroom and Field (in press); Cortland Co., NY prehistoric archaeological survey with SUNY Cortland Field School; cultural resource management contracts. New interdisciplinary minor proposal: Native American Studies; New interdisciplinary course in development: Native American Film Analysis. E-mail:
The Oral Tradition - Drumming music of the Manding (Mande) group of peoples, who were They speak a dialect of bamana,but have maintained The addition of the indigenous tama drum with its http://www.si.umich.edu/chico/UMS/Drummers/drumming.html
Extractions: (after arriving in Africa for the first time to meet Doudou N'diaye Rose) Styles of playing The styles described here are divided into several groups: Manding and Mbalax, based on the traditional music of the Manding and Wolof peoples and modern African and contemporary Western music. African drumming has heavily influenced by Cuban dance music and western pop. Manding Manding music is the music of the Manding (Mande) group of peoples, who were the inhabitants of the vast Manding empire 13th to 15th century. It stretched from the south of what is now Senegal and Gambia, and included Mali and the west of Guinea as well. Music used to be the exclusive domain of a caste of musicians, the Jalis or griots . Though this is now starting to change, this is still obvious nowadays. There are three main styles, related to a language and people of the same name: Maninka, Bamana (or Bambara) and Mandinka. The last few years, the Wassoulou style from the region of the same name is gaining popularity.
