Musées Afrique indigenous Knowledge in South africa . Lwalu, Tshokwe,Luba, Zela, hemba, Songye, Boyo Aquarelles de Joy Adamson peoples of Kenya . 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
African Art On The Internet Stanford University Libraries/Academic Information ResourcesCategory Regional africa Arts and Entertainment Bamana, Baule, Bwa, Dogon, Fang, hemba, Ibibio, Kongo twostory architecture, Islamand indigenous african cultures displays from 20 major peoples from West and 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:
VADA - Volkeren Stammen Peoples Tribes G - H (Native American, USA). indigenous peoples in GUYANA (Europa Europe). hemba (Democratische Republiek Congo - Democratic Republic HOTTENTOT (Afrika - africa). HOUMA (Native American, http://www.vada.nl/volkengh.htm
Extractions: Courtesy Zaire National Tourism Office A square-shaped thatched roof hut, typical of the Kasai-Oriental Region, provides shelter against the heavy rains. Extending across much of the southern savanna east of the middle reaches of the Kasai River are the Tshiluba- and Kilubaspeaking peoples. (Kiluba is the language of the Luba-Katanga as distinct from Tshiluba, the language spoken by the Luba-Kasai.) Vansina distinguishes three clusters: the Luba-Katangacomprising the Luba-Katanga proper, the Kaniok, the Kalundwe, and the Lomotwa; the Luba-Kasaicomprising the Luba-Kasai proper, the Lulua, the Luntu, the Binji, the Mputu, and the North Kete; and the Songye comprising the Songye proper and the Bangu-Bangu. losely related to the Luba-Katanga and living to their east are the Hemba, separately distinguished chiefly because, unlike the others, they are matrilineal. All of these peoples appear to have shared a tradition of chieftainship, but it was among the Luba-Katanga that more complex centralized states emerged as early as the fifteenth and sixteenth centuries. Elsewhere, the people and territory over which a chief ruled were much more restricted, and even among the Luba-Katanga local chiefs had a substantial degree of autonomy.
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 Bamana, Baule, Bwa, Dogon, Fang, hemba, Ibibio, Kongo 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 Education On The Internet An annotated guide to internet resources on education in and about africa. audience." Includes stories from africa. http peoples Database which includes the Ashanti, Bamana, Baule, Bwa, Dogon, Fang, hemba, on the indigenous Selected Essays 19811998 " http://www-sul.stanford.edu/depts/ssrg/africa/ed.html
Africa Architect Exposition "Ulwazi Lwemvelo indigenous Knowledge in South africa" Lwalu, Tshokwe, Luba, Zela, hemba, Songye, Boyo, Bembe, Lengola, Kumu, Aquarelles de Joy Adamson "peoples of Kenya" http://www.africa-architect.com/architect/galerie.htm
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 Ethnographie et archéologie de l'Afrique australe: terres cuites de Lydenburg San (peintures rupestres), Zimbabwe Tsonga , Khoikhoi, Sotho, Nguni, Shona, Lovedu... Exposition "
HOME TEST PAGE There is a peoples Database which includes the Bamana, Baule, Bwa, Dogon, Fang, hemba,Ibibio, Kongo story architecture, Islam and indigenous African cultures http://www.msu.edu/~metzler/matrix/dream/humanities.html
Extractions: LIST OF IMPORTANT AFRICA-RELATED WEB SITES Introduction Culture Current Events Economics ... Society ART Extensive site for the traveling art exhibit from the Field Museum, Natural History Museum of Los Angeles County, and others. Includes video, photographs on the history and art of the Royal Palace of the Bamum (Cameroun), conflict resolution among the BaKongo (Congo-Brazzaville and Kinshasa, Angola), Benin history through elephant tusks and Benin bronzes, metal working, use of gold weights, commerce across the Sahara, the market in Kano (Nigeria), men's hats, combs/jewelry, rock art, a Liberian folk tale, the role of masks, drums, kora music from Senegal, the elephant as a royal animal, and more. Has a
JAIC 1992, Volume 31, Number 1, Article 2 (pp. 03 To 16) intention in this paper to ascertain an indigenous perspective how Male and femalefigures, Chamba peoples, Nigeria Ancestor sculptures like hemba figures (fig 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
A F R I B E A T capodasta (open string). These performers were Lubahemba. a new accompainmentto an indigenous form of and Tumbuka; these are also all heptatonic peoples. http://www.afribeat.com/archiveafrica_hughtracey_newrelease1.html
Extractions: Hugh Tracey historic recordings Cape Jazz 1959 - 1963 The preservation of grace - the Buena Vista Social Club From the foot of the Shrine of Fela Kuti ... Ubuyile - Jazz coming home radio documentaries Past, present and future are inextricably linked. And the music of Africa reflects this in its experiences and realities. There are some exciting archives that capture this, private collections that represent it and slowly fading oral histories that tell of all the pains, tragedies and triumphs. In the new urban culture during the fifties in the copper mining towns of Katanga province in southern Congo and on the Copperbelt in northern Zambia, the guitar became an important status symbol. The Katanga guitar style came from the rich likembe tradition of the Luba peoples, whereas on the Zambian Copperbelt the guitar songs are very diverse - being either traditionally based or heavily influenced by the mainly American music, popular in the fifties, played by the radio station specifically set up for African broadcasts. An exciting document, with some famous names such as Mwenda Jean Bosco and George Sibanda, of the emergence of a new sound.
SELECT BIBLIOGRAPHY--TO BE CONTD--AAAS 342 the growth, gifts and diversities of indigenous African. oratory women's songdancein hemba Funerary performance that are common Sub-Saharan African peoples. http://aaas.ohio-state.edu/dka/342bib1.htm
Hugh Tracey Recordings: Part 2 / RootsWorld Recording Review Hasai, Luluwa, Songye, LubaKatanga, hemba) 1952 began encouraging the use of indigenousAfrican musical Katanga mine culture where peoples lived together http://www.rootsworld.com/reviews/tracey2.shtml
Extractions: Hugh Tracey (19031977) is one of the pillars of the discipline that still limps under the title of "ethnomusicology." Tracey's contributions as a primary researcher and field recorder are standing the test of time. His "Sound of Africa" series issued 210 recordings, published by the International Library of African Music (ILAM), which he had founded. These CDs are reissued recordings selected from that series and offer a glimpse of what has until now been mostly available only in academic archives. Tracey's work began with the Shona of Zimbabwe but expanded far beyond that region of Africa. It was a remarkable time for Africa, as it shifted or prepared to shift from its history as colonized territories. In their own way, Tracey's recordings also document the history of recording machines used for remote fieldwork. Tracey's first, in the 1930s, involved a clockwork-powered machine that cut a groove in an aluminum disc. Not till much later did he attain stereo recording capability with a Nagra. His microphone technique was to seek out the sound he wanted, hand holding the microphone to capture a spontaneous field mix that comes through superbly on these recordings. Tracey, it seems, sought to capture and document a cross-section of society in the tribal villages, schools, workplaces and anywhere else he found music. That wasn't always the most proficient performer.
Extractions: Zaire Zaire In eastern Shaba, stretching from the border with Tanzania and Zambia roughly to the Lualaba River, Vansina has distinguished three sets of communities: the Bemba cluster, the Hemba cluster, and the Haut-Katanga cluster encompassing peoples of Haut-Shaba Subregion (formerly Haut-Katanga). Settlement patterns are geographically fragmented so that representatives of one cluster live cheek by jowl with representatives of another or constitute an enclave in another group's territory. The area has a long history of conquest and conflict. Most of the peoples of Haut-Shaba were subjects of the Kazembe Kingdom of Luapula, an offshoot of the Lunda Empire whose center was farther west. The Kaonde, the southwesternmost people in the Haut-Katanga cluster, living in present-day Lualaba Subregion (of Shaba Region), were ruled by still another Lunda king. After the middle of the nineteenth century, a group of long-distance traders, the Nyamwezi of central Tanzania, established the Yeke Kingdom, which lasted for thirty years. The introduction of new cultural elements by the Yeke and their trading activities both east and west had longer-range effects than the establishment of their political rule itself. All of these kingdoms came to an end before the beginning of the twentieth century, leaving their people with polities of much smaller scale. The political pattern that preceded the institution of kingship and outlasted it was based on chiefs of the earth, basically ritual offices essential for maintaining fertility, and, occasionally, political chiefs.
