#West African folklore

[howhow326]

Anansi - SMT V Vengeance

[nomgeonmunchie]

Ninki Nanka from West African Folklore?

[patheticbatman]

Day 1 of my 47th Win A Commission Contest! If you guess what story this is from before I post the title, you get a commission! Click the link or check out the tag #wac for more details! :) This one ends on March 14th, 2023.

Hint: This is a giant hippo villain

[iloveethnicities]

Oral tradition and storytelling hold a revered and enduring place in Afro-Bahamian culture, serving as a foundational practice for preserving heritage, history, and cultural values across generations. The roots of this oral tradition extend back to West African cultures, where storytelling was central to cultural continuity, education, and community life. Afro-Bahamians have maintained and evolved these traditions, blending them with Caribbean and Bahamian influences to create a rich tapestry of narratives that reflect their unique experiences, identity, and worldview.

Oral tradition in Afro-Bahamian culture goes beyond entertainment; it is a mechanism of cultural preservation, a medium of education, and a source of identity. Stories passed down through oral means serve as “living histories,” chronicling ancestral experiences, significant events, social norms, and moral values that are essential to community life. Through storytelling, older generations impart wisdom and life lessons to younger ones, covering topics as diverse as resilience, love, bravery, and the importance of community. For Afro-Bahamians, storytelling is often a way to affirm their connection to African ancestry while also highlighting their adaptation and resilience within the Bahamian context.

Afro-Bahamian storytelling includes a variety of forms, such as folk tales, myths, historical recounts, parables, and personal anecdotes. Among the most popular are Anansi stories, which center around the clever and mischievous spider Anansi, a figure borrowed from West African folklore. Anansi tales often revolve around themes of cleverness, cunning, and justice, and they serve as both moral lessons and sources of humor. Anansi’s character embodies the idea of “outsmarting” rather than overpowering, reflecting the wisdom of adaptability and intelligence as tools for survival and success.

In addition to Anansi tales, Afro-Bahamian oral tradition also includes historical stories and ancestral accounts, which often recount the struggles, resilience, and achievements of Afro-Bahamians throughout history. These stories frequently explore the experiences of enslaved people brought to the Bahamas and how they preserved their identity despite the hardships of colonization. Narratives of freedom, survival, and resistance are prominent, helping Afro-Bahamians connect with their past while fostering pride in their heritage.

Storytelling in Afro-Bahamian culture is inherently social, often taking place within community gatherings, family settings, and during festive events. These stories are traditionally passed down during intimate family gatherings, community celebrations, or in informal settings like porches and outdoor spaces where elders gather with younger community members. Within these settings, the storytelling experience is participatory, as listeners often engage by responding, asking questions, or even adding their own versions or interpretations of the story. This shared experience reinforces the sense of community and mutual responsibility, as stories become the collective property of the group.

The art of storytelling is also embodied in specific Bahamian celebrations, such as Junkanoo, the colorful festival that showcases Bahamian history and identity through dance, music, and costume. Although primarily a visual and performative event, Junkanoo embodies the spirit of Afro-Bahamian storytelling by reenacting historical narratives and myths, often through characters who represent figures from folklore or Bahamian history.

In Afro-Bahamian culture, the storyteller holds a respected role within the community. Often an elder or someone with a gift for words, the storyteller is seen as a custodian of tradition and a conveyor of wisdom. They are trusted to maintain the integrity of the stories while also interpreting and adapting them to ensure relevance to contemporary life. Skilled storytellers may use rhythm, song, humor, and even improvisation to captivate their audience, ensuring that stories are not only memorable but also engaging.

Many Afro-Bahamian storytellers employ call-and-response, a rhythmic and participatory style rooted in African oral traditions, where the audience plays an active role. This technique helps to engage listeners and make the stories more immersive, turning the storytelling session into a communal event where everyone, regardless of age, can feel involved and connected.

With modernization, the role of oral storytelling in Afro-Bahamian culture faces both challenges and opportunities. The rise of digital media, globalization, and a shift away from traditional lifestyles mean that young people today may have fewer opportunities to hear and participate in oral storytelling as their parents or grandparents did. However, there is a growing movement within the Bahamas to preserve these traditions. Efforts are being made by cultural organizations, schools, and community groups to keep the art of storytelling alive through organized events, storytelling festivals, and educational programs focused on Bahamian history and folklore.

Furthermore, technology is being harnessed to help preserve these stories. Audio recordings, podcasts, and social media platforms are increasingly being used to share Afro-Bahamian folk stories, ensuring that they reach a wider audience, including the Bahamian diaspora. This digital adaptation helps bridge the generational gap, allowing younger Bahamians and those abroad to access, enjoy, and pass on these cultural treasures.

Afro-Bahamian storytelling is rich with moral and cultural values, many of which emphasize the importance of community, resilience, respect for elders, and justice. Themes of collective responsibility, kinship, adaptability, and respect for heritage are interwoven throughout these narratives. For example, tales involving clever, trickster characters often underscore the importance of intelligence and quick thinking in overcoming adversity—an enduring message that reflects the Afro-Bahamian experience of survival and adaptation throughout history.

Storytelling also reinforces family and social bonds, as stories often include lessons about respect, kindness, and cooperation, emphasizing the values that keep the community strong. These narratives remind listeners that every individual has a role to play in the greater good of society, encouraging them to act with integrity and compassion.

In Afro-Bahamian culture, storytelling and oral tradition are far more than pastimes; they are integral parts of cultural expression, education, and continuity. By keeping the voices of ancestors alive, these stories offer a sense of identity, place, and purpose. They allow Afro-Bahamians to celebrate their unique heritage, honor the resilience of those who came before them, and pass down timeless wisdom to future generations. Through storytelling, Afro-Bahamians connect to both their African roots and their Bahamian home, weaving a cultural legacy that continues to shape and enrich their collective identity.

"Sloop John B."

[eyetviseveryonestv]

This is a drawing I did at Sage Studios called, “The Water God’s god-dom enters the house of the Sun God and Moon Goddess.” It’s inspired by an old Nigerian myth about how the sun and moon gave up their home for the water to live in the sky, and recalling from a retelling illustrated by Blair Lent, I was greatly inspired by how these deities had their own people or living things they governed over. I also took influence from Renaissance, Baroque, and early 19th century paintings that depicted Greco-Roman mythological events and gave it a more inclusive flair in my own style. I used colored pencils, pen, regular pencils, and permanent maker on paper. It took me from late Spring to August 11th, 2023 to finish this.

[o-the-mts]

90 Movies in 90 Days: Kirikou and the Sorceress (1998)

I’m kicking off 2023 by trying to watch and review one movie every day for the first 90 days, all of which will be 90 minutes or less. Title: Kirikou and the Sorceress Release Date: 9 December 1998 Director: Michel Ocelot Production Company: France 3 Cinéma | Les Armateurs | Monipoly Productions | Odec Kid Cartoons | Rija Studio | Studio O | Trans Europe Film Summary/Review: In a series of…

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[wwyptt]

13 Unusual Beasts and Spirits: the Dodo

The Dodo is a great, gluttonous trickster beast from the Hausa mythology, who has spread a little across West Africa. They're known for their massive size, long hair, and a destructive fixation on bum deals, big meals, and beautiful women -- all of which bode poorly for whatever human has the misfortune of attracting their attention. The Dodo depicted here has encountered a Zankallala: another Hausa shapeshifter whose more cooperative approach to nature and people helps it defeat the larger spirit ten times out of ten.

[allgirlsareprincesses]

I'm really intrigued by the sleeping beauty story you mentioned in the Acolyte what the force episode - I can't seem to find it through online searches or on your blog though. Can you direct me to a source for it please?

I'm so glad you asked! Here's the West African Snow White variation, The Beautiful Daughter, that I mentioned on What The Force? I come back to it often because not only is it a lovely story, but it flies in the face of many historical and cultural prejudices.

Granted, this was originally recorded by a colonial traveler, but I believe the beauty of the original oral tale shines through.

[cobalt-owl]

Trying to find good books on mythology/folklore!

Hey so I'm trying to find some good books on mythology around the world! Currently I've got some for Egyptian, Norse, and Celtic but I've wanted to expand my knowledge on other mythologies! One of the next on my list is African mythology but I am having difficulties finding a good book/books for it.

The only one that I've seen to have a collection from all over the continent is more encyclopedic and has a biased/shockingly ignorant view of some things based off the reviews. These range from considering African "sorcerers" (Actual term being closer to Aje) as "Inherently evil" to getting the origins of "The Lion of Judah" incorrect and makes me hesitant due to other discrepancies that are likely inside the novel that aren't mentioned.

I do have African Myths from J.K. Jackson in sight but I'm struggling to find reviews that have any actual information on them. Any suggestions?

[howhow326]

For black history month, I think we should begin popularizing monsters from the African continent the same way European monsters are overpopularized. To that end, here's a list of some of the most famous folkloric figures from Africa!

Mmoatia

Origin: Ghana (Akan)

Creature it is not: Dwarf

(Singular: Aboatia) Mmoatia are a subclass of abosom (spirits in between Man and Creator) that live in the forests of Ghana. They are short, have curved noses, backwards feet, and a unique language made up of only whistling sounds. Whistling in the forest is a sure way to get their attention. According to legend, they are phenomenal herbalists that will sometimes share their knowledge with humans. When a person gets lost in the woods, they are said to have been taken by Mmoatia. Humans who come back after being taken will become incredible medicine men. In Ghana, Dust Devils are called "Mmoatia Mframa" (Wind of Mmoatia) because they are belived to be a portal to their world similar to how fairyrings are treated in Ireland.

Mmoatia are divided into three tribes: Black, White, and Red. Black Mmoatia are supposedly harmless, while White and Red ones are always up to some kind of mischief.

Adze

Origin: Ghana (Ewe)

Creature it is not: Vampire

In Ewe culture, the Adze is a type of demonic spirit associated with witchcraft. They take the form of a fire fly that, during the night, crawls inside human beings in order to posses them. People possesd by the Adze are said to be witches, who use the spirit to slowly drain the life force of people that they envy (Old witches target the young, Poor witches target the wealthy, enslaved witches target their masters as they should).

When targeting a person, the Adze will leave it's host human during the night and crawl into the house of the victim. When it's close, it will drain blood from the victim like a mosquito.

Werehyena

Origin: Pan-African

Creature it is not: Werewolf

Just like how there are Werewolf stories all over Europe, there are Werehyena stories all over Africa. Compared to werewolves, which are said to be men cursed to be monsters, Werehyenas are actually monsters that disguise themselves as humans only to eat it's friends during the night. The people most likely to be werehyenas are village outsiders and blacksmiths, who are associated with magic.

In Angola, there is a similar (but not the same) creature to the werehyena called the Kishi. It is literally a two-faced demon that has a handsome man's body and face in the front, and a hyena's face in the back. This creature lures unsuspecting women into relationships so that it may eat them. If the Kishi has any male children with it's prey, it teaches them the art of femicide.

Mami Wata

Origin: Pan-African

Creature it is not: Mermaid (ok, it kinda is a mermaid but I need to keep the joke running)

Even more wide-spread than the Werehyena, Mami Wata is a figure so popular that it is common for water spirits in Africa to be retroactively labeld as Mami Wata and take on her iconography.

The most famous picture of Mami Wata is actually a french painting of a black Caribbean snake charmer, who west africans later identified as Her. Mami Wata is worshipped as a powerful, female river spirit that controls the flow of the river, the rate at which fish can be caught, the money that men can make, and several other things important to humanity. She is also said to be a seductress, who sleeps with unsuspecting men only to later kill them for cheating on their wives. Indeed, Mami Wata is a defender of women and a slayer of sinful and abusive men.

In many places, it is common to believe that women who drown or go missing in bodies of water were taken by Mami Wata to be taught magic. The women who return become pristessess to her, while the women who never come back become new Mami Watas.

Impundulu

Origin: South Africa (Zulu)

Creature it is not: Thunderbird (no hate, Thunderbird gets constantly thrown into things where it shouldn't be by people who don't understand it. And those people tend to be not native)

Impundulu, or Lightning Bird (NOT THUNDER BIRD), is a person sized Hamerkop bird that has the power to control the weather and summon lightning. It is also creature of evil magic, allied with witches and it has a never ending hunger for blood. It is said to sometimes take the form of a handsom young men in order to seduce women (why dose that keep happening).

Impundulu are immortal, and the ones that serve as witch familiars are passed down in the family as the old master dies and the child becomes grown. The bird is immune to gunshots, stabbing, drowning, and poison. It's only weakness is fire.

[caito-does-stuff]

i love combining so much mythology and history into my books lore because it creates such an interesting historical dynamic and character interactions ❤️❤️

[patheticbatman]

Day 2 of my 47th Win A Commission Contest! If you guess what story this is from before I post the title, you get a commission! Click the link or check out the tag #wac for more details! :) This one ends on March 14th, 2023.

Hint: she’s casting a spell to kill the monster hippo

[arthurdrakoni]

Season 3 of Residents of Proserpina Park has mythological tricksters, character development, and uh, oh right, me! I’m in this season too.

Season three of @proserpinapark has been something really special. We got twelve episodes rather than the usual ten, we got to meet the tricksters of the park, and the voice actors gave fantastic performances. Oh, and I got to be one of those voice actors.

When we last left our heroes, they had just come to a shocking revelation: the park is named Proserpina Park! Oh, and Sam is back. That’s also pretty important. Ah, but Sam isn’t alone. He’s joined by an old friend named Jessica. She has a freewheeling devil-may-care personality, and a very cavalier when it comes to the creatures of the park. Jessica is back to settle some old business. Business that Dog, the gang’s loyal alien in canine disguise, has some connection to. It has something to do with a particularly mysterious creature. 

Alina and her friends are going to have to venture into the depths of the park to find answers. They must be sure to keep their wits sharp. For, in this season, we shall meet the tricksters who call the park home. Meanwhile, Mirai is having her own adventures in Japan. She has found her way to a village populated by yoaki. She’s certainly out of place as a mere human, but she’ll make some unlikely allies during her time in the village. Everyone buckle up, because this season of Residents of Proserpina Park is sure to be a wild ride.

In the immortal words of John Lennon, you get by with a little help from your friends. That is a major theme of this season. It is repeatedly emphasized how Alina’s friends, Drew and Jun, help to reign in Alina and dial back her impulses.

Jessica, a new character from this season, also emphasizes the theme of friendship. She does so as a foil to Alina. Jessica is, essentially, how Alina would have turned out if she didn’t have her friends, or if she had alienated them. Jessica tends to rush in first, and ask questions later, if at all. She tends to focus on whether she can do something, rather than if she should do it. Jessica is determined to become the most powerful being in the park. It doesn’t matter how many creatures she has to hurt to achieve this.

We also get to learn more about Drew and Jun’s backstories this season. We learn that Drew tried college, decided it wasn’t for them, dropped out, and doesn’t have any concrete plans in life. They’re just going wherever the winds of fate take them. Drew is well aware that they will probably part ways with Alina and Jun one day. However, they don’t despair. It isn’t how much time they have with Alina and Jun, but how they spend it that matters. Even if they must part ways eventually, Drew will always have Alina and Jun’s backs.

This is quite a thoughtful and introspective moment from what tends to be a fairly lighthearted audio drama. It rings very true to my own experiences.

Naturally, we get to meet all sorts of amazing new creatures from across World Mythology and Folklore. I had been hoping we might meet Anansi, the trickster spider god of the Akan people, at some point. Lo and behold, this season more than delivered on that. Vincent C. Davis gave such an absolutely wonderful performance. He sounded almost exactly how I always envisioned Anansi sounding. It was pitch-perfect casting. I loved getting to meet the wemategunis. It is a creature from the folklore of the Lenape people. I always appreciate getting to learn more about Native American cultures. I was also pleasantly surprised that we got an entire episode devoted to Mirai’s adventures in Japan. I had been hoping we might get something like this at some point.

Let’s see, what am I forgetting? Oh, right, I’m in this season too. I got to voice Slenderman. He was included as an example of a creature form modern day folklore. This was the first major voice acting role that wasn’t a bit part. I’m very excited that I actually got to be part of Residents of Proserpina Park. I had a lot of fun voicing Slenderman. Angela Yih said she envisioned Slenderman sounding like God from Puppet History of the Universe. So, I tried to mimic that style. I love the distorted sound-effects that Angela included for the parts where Slenderman really shows his true colors. And hey, who knows, maybe you’ll get to hear me again when season four rolls around.

I don’t know what direction season four of Residents of Proserpina Park will be heading, it can’t wait to find out. Season three introduced so many amazing new creatures, but also have character development to the humans. The future is looking very bright for Residents of Proserpina Park.

Have you listened to season three of Residents of Proserpina Park? If so, what did you think?

Link to the original review on my blog: https://drakoniandgriffalco.blogspot.com/2023/08/the-audio-file-residents-of-proserpina.html

And here’s the links to my reviews of the first two seasons of you haven’t checked those out

Season One: https://drakoniandgriffalco.blogspot.com/2021/08/the-audio-file-residents-of-proserpina.html?m=1

Season Two: https://drakoniandgriffalco.blogspot.com/2022/04/the-audio-file-residents-of-proserpina.html?m=1

[capeverdequeen]

Fun fact, I once had a very popular instagram about our culture and history. Even lost folklore no one knows of that my aunt shares with me. But I shut it down because I hate social media. Should I restart it?