#West African society

[heifercatmoon]

Some of the most memorable scenes from the 1987 Malian film Yeelen by Souleymane Cissé.

Yeelen means "brightness/light" in Bambara.

Set in the 13th century, the film tells the legend of Niankoro, the son of the sorceror Soma, and ultimately their fateful confrontation.

Soma, upon seeing a vision in which his son will be the death of him, deigns to slay his son. Niankoro leaves his mother and receives a prophecy from a hyena-man, then embarks on a mystical quest to defeat his father, who is tracking him via Kore magic post through Bambara, Fula and Dogon lands.

After impressing a Fula king with his magic, and helping his men win a war against some rivals, Niankoro receives his wife Attou (after "curing" "her" infertility and the 2 laying together).

The young couple journeys across the arid sun-scorched landscape into the peaceful escarpment where Niankoro's uncle dwells. The junior shaman receives his magic Kore's Wing (wooden sorceror's implement) from his uncle (Soma's benevolent twin), to evade capture, track his father, and ensure the fulfillment of the noble prophecy of he and Attou's descendents.

[panafrocore]

Staff finial: The Iron Staff Finial in Bamana Culture

The iron staff finial holds significant cultural and symbolic importance in the Bamana society of West Africa. Crafted with intricate designs and varying shapes, these finials serve as powerful symbols of authority, lineage, and spiritual connection. Every aspect of the finial, from its material to its visual motifs, carries deep meaning within the Bamana cultural context. The iron staff finial…

[creatingblackcharacters]

“It’s Giving” AAVE, and the Denied Yet Undeniable Impact of Black Culture

I grew up knowing it as Ebonics; I didn’t hear 'AAVE' until I was an adult. Apparently it’s used derogatorily- I did not know. But when Robert Williams coined the term in the 70s, its meaning was:

“…the linguistic and paralinguistic features which on a concentric continuum represents the communicative compentence of the West African, Caribbean, and United States idioms, patois, argots, ideolects, and social forces of black people…Ebonics derives its form from ebony (black) and phonics (sound, study of sound) and refers to the study of the language of black people in all its cultural uniqueness.”

Familiar Examples include but are not limited to:

The History

It was unbelievably difficult to find a solely Black perspective on the subject. I’m gonna need everyone to let Black linguists talk, it’s literally their job. Anyway, I need y’all to actually WATCH this video. Don’t skip it thinking I’ll summarize. Watch it. Actually listen. That’s part of the problem to begin with, is not listening. Even if you have to read this lesson later, so be it.

One of the points emphasized in this video was that AAVE was formed of the need to communicate, and specifically to communicate in a way that hid what we were saying and thinking from antagonistic white society.

“…“the disguise language used by enslaved Africans to conceal their conversations from their white slave masters to the lyrics of today’s rap music, [the magical power of] the word has been shaped by a time when, as observed by Harlem newspaper writer Earl Conrad, ‘it was necessary for the Negro to speak and sing and even think in a kind of code.’””

Because it was in a form that white people could not understand, as well as already existing racist biases against the humanity and intelligence of Black people, naturally it was assumed that our way of communicating was ignorant and ‘false’. Even acknowledging it as a valid language was seen as abhorrent, by nonblack and certain Black people.

“For decades, linguists and other educators, pointing to the logic and science of language, have tried to convince people that Black English exists, that isn’t just a politically correct label for a poor version of English but is a valid system of language, with its own consistent grammar. In 1996, with the unanimous support of linguists, the Oakland School Board voted to recognize AAVE, or the more politicized term “Ebonics” (a portmanteau of “Ebony” and “phonics”), as a community language for African American students, a decision which might have opened up much needed additional funding for education. Instead it resulted in intense public backlash and derision due to the still widespread, incorrect belief that Black English was an inferior, uneducated form of English associated with illiteracy, poverty, and crime. It’s hard for a language to get ahead when it keeps getting put down. Some linguists, such as John Russell Rickford, have noted how even sympathetic linguistic research, which has derived a lot of benefit and understanding from Black English grammar, can unknowingly focus on data that represents African American communities negatively, giving “the impression that black speech was the lingo of criminals, dope pushers, teenage hoodlums, and various and sundry hustlers, who spoke only in ‘muthafuckas’ and ‘pussy-copping raps.’” The term “Ebonics” even now is used mockingly by some as a byword for broken English.”"

(Some of) The Rules

AAVE is a full dialect with grammar and social rules. But the ones most people are familiar with include:

Th becoming D (“dats”)

Double Negative (“I ain’t see nobody”)

Habitual Be (“It’s cuz he be on that phone”)

Possessive s absence (“I’m going to my grandaddy house”)

Question word order (“who that is with the ice cream and cake?”)

Zero copula (“who that?”)

"Why do you talk like that" Would you rather I code switch?

“Code switching, or adjusting one’s normal behavior to fit into an environment, has long been a strategy for BlPOC individuals to navigate interracial interactions successfully. Code switching often occurs in spaces where negative stereotypes of Black individuals run counter to what are considered appropriate or professional behaviors and norms in a specific environment, and regularly happen in work settings.”

In this context, you might recognize it better as “using your white people voice”.

Some Black Americans, for varying reasons including internalized antiblackness and a desire for assimilation, hate AAVE! Some people will hate that you don’t use AAVE! Never assume we’re all on the same page about its use! My own mother used to be big on speaking ‘proper English’.

Regional Differences

The same way regional differences affect standard pronunciation, it’ll affect the AAVE used. Culture in the area as well will affect the words that come from it. So someone Black using a phrase in Philadelphia might not automatically know what someone Black from Compton is saying.

Someone did their dissertation on this topic, and while I’m going to link the summary for yall to give it a shot, Imma be honest- I do not understand this. I tried. It’s interesting how something that comes so innately, once written out like this is like WHAT. But the research has been done!

Easier examples include:

"Aaron earned an iron urn"- Baltimore

GloRilla and "Mursic"- Memphis

A lot of AAVE from New York City is popularized; so you might hear words from anywhere that originated from Harlem or Queens, or New York Ballroom culture

Tonal Languages

One major source of misunderstanding AAVE is people not understanding tonality. AAVE is often tonal, similar to many African languages, languages in general- meaning that unless you hear it or are innately familiar with how it’s spoken, you might not know HOW I’m saying something and therefore will not understand what I’m trying to convey. Given the history, this was on purpose!

Black language- Black culture in general, really- is often conveyed orally. Everything we say and do is not going to be written down for someone else to study. Doesn’t mean we weren’t saying or doing it. If you want to understand, you have to listen!

“Linguist Margaret G. Lee notes how black speech and verbal expressions have often been found crossing over into mainstream prestige speech, such as in the news, when journalists talk about politicians “dissing” each other, or the New York Times puts out punchy headlines like “Grifters Gonna Grift”. These many borrowings have occurred across major historical eras of African American linguistic creativity. Now-common terms like “you’re the man,” “brother,” “cool,” and “high five” extend from the period of slavery to civil rights, from the Jazz Age to hip-hop: the poetry of the people. This phenomenon reflects how central language and the oral tradition are to the black experience.”

Some examples:

1) "You Good" can mean, depending on how it is said and the context in which it is spoken:

Are you okay?

Do we have a problem?

You’re okay.

You don’t want these problems so chill.

Do you have enough money/resource?

It’s fine! Don’t worry about it.

2) This was an interesting experience, watching the misunderstanding of AAVE occur live. It’s the realization that people read this as “This is something Bugs Bunny would wear” versus “Bugs Bunny would wear the fuck outta that outfit”. But if you didn’t know that, if you aren’t familiar with the tonality of AAVE, of course you’d think the first one is what it meant! And it's not wrong-wrong - he would wear it, but that's not necessarily all it meant.

3) “Chill-ay” versus “Chile”. Yeah, we didn’t forget that. This is often why AAVE is used to sound “aggressive” on the internet- if you perceive (however subconsciously) how Black people speak is aggressive, then when you decide to emulate my speech in your moment of aggression, it is because you think my Blackness will make you seem more intimidating! You find Blackness… intimidating. Same reason you think it makes you funnier than if you were to deliver the same joke using your own dialect. It means the jokes not funny; my language is what’s funny.

Black American Sign Language

We even communicate differently in sign language; there’s an entire history and culture behind the Black deaf experience.

“In April 2020, Nakia Smith, aka Charmay, created a TikTok account introducing five generations of her Black Deaf family and how they communicate in Black ASL. As a social media influencer of Black ASL content, Charmay made a series of educational and informative videos on the history and practice of Black ASL. Charmay’s video went viral, landing in a New York Times article, Black, Deaf and Extremely Online, and Blavity: TikToker Has Gone Viral For Putting The Culture On To Black American Sign Language. Additionally, Netflix requested Charmay to explain the difference between Black ASL and ASL.”

Everyone doesn’t speak AAVE!

If your Black character is not Black American, and has never once been connected with Black American culture or people, they are probably NOT going to speak AAVE! They’re going to speak whatever dialect THEY have! And that doesn’t make it any less “Black” of them!

Different dialects and languages across the diaspora include but are certainly not limited to:

Black British English

Haitian Creole

Gullah

Jamaican and Caribbean Patois

Everyone Owes Rihanna an Apology

Y’all remember the song Work. I know you do. It was mainstream’s love and joy when this song dropped to be overtly racist about it, Black Americans included. Everyone claimed it was ‘gibberish’, that she was just mimicking language on a song and ‘it would be popular’.

Meanwhile, it was her singing in her native island patois! The people who spoke her language understood it! Anybody who actually tried to understand it, understood it! Another popular song, Sean Paul’s Temperature, is also in patois! And I thought we loved that song!

So next time Black people speak and you find yourself thinking- ‘wow, this makes no sense’, I want you to think to yourself: ‘does it make no sense, or do I just lack the context/knowledge/language to understand it?’

NOW THAT WE’VE HAD SOME EXPLANATION BEHIND THE LANGUAGE!

Writing AAVE

Me personally, I admit I don’t like it being used in stories where it is clear the author doesn’t understand the dialect, or where it’s clear the only person who speaks it is the “Black character who OMG DID I TELL YOU THEY WERE BLACK”. I’d rather it be the regular Queen’s English. We speak that too. I’m not going to decry your fanfiction or your regular modern-day original story as “bad” if you choose to use whatever language your region commonly uses. We know how to speak it. We will be okay. Using AAVE is not going to sell me that this character is “Black” if the rest of the character writing is still bad.

If it means that much to you, because it is important to the character, then you as the writer need to commit to learning proper AAVE! This isn’t going to be a “look up every turn of phrase on google” or “ask Ice what every single thing means”. You’re going to have to do what everyone who learns a language does- immerse yourself in it! If you can’t be bothered to learn my language, I’m going to know that when I read your work.

Obviously if there’s a context where the Black people involved do not know how to speak a language, it is perfectly fine to show that, as long as you are showing that it’s not due to some innate stupidity or other stereotype that this person cannot communicate the same way others communicate around them.

“The N Word”

I know someone’s thinking it, so let’s address it. There’s a translation for this word in damn near every language that’s ever come across Black people. So don’t go “oh we don’t have that word in my language-” I bet money you do.

Yes, it could be used in historical context- the ‘hard -er’. Yes, it could be used in social context- the ‘-a’. It follows the tonality rules I discussed earlier; that is, the way it’s used and who is using it makes ALL the difference in how it will be received.

Everyone is not on the same page about the use of this word within our community. Some Black people think it should never be used, period, even by us! Some Black people think that it should be reclaimed and use it as such! The only thing we’re on the same page about is that YOU should not be using it.

I say this to say to nonblack writers: put the pen down.

My stance is, if you can’t understand AAVE, you CERTAINLY aren’t going to be able to incorporate the social use of this word. Period. If you scared of the potential smoke incurred if you fuck it up- and if we see it, you will catch it- don’t bother. Trying to “write realistically” does not cut it. You should be doing everything in your power to understand and write a great Black character in all ways before ever thinking this is something you should do. In fact, if you're that thirsty to use this word, you have some other things you need to consider.

In the historical context, just watch yourself. If you’re gonna drop that word, you need to be damn well-researched on every other aspect of Black life and oppression in whatever era you’re writing. Just dropping this word to say “life is racist” shows a lazy lack of understanding of antiblackness. You don’t even have to drop the whole word. A “ni-” at the end of the sentence is enough for me to know exactly where we’re going! But if you not gone do the rest of the work… you know what they say about stupid games.

The Fundamental Disrespect

If you watched the prior videos (and you should have) and paid attention up to this point, you have already heard the struggles that both AAVE as a dialect and those that speak it go through.

There’s a societal connotation of stupidity, aggression, and silliness behind the way I speak. None of those things are true, and it’s hard to be told that even the way you communicate with others is bad.

But the other reason it’s so hard is because we spend our lives hearing that those are the connotations… when WE speak it. It is not the language- it’s ME that makes it so! And that gets into the other part of this lesson, something that AAVE is oft victim to.

This part is a little scarier for me to write, because people don’t like it when you talk about Black Americans as a separate entity from the US of A as it is known. I’m gonna put on my political hat for a second, but I promise this ties into my overall point so stick with me!

Stolen Cultural Hegemony

The reality is that the United States of America has forced a cultural hegemony upon the planet (amongst other forms). Yes. That is due to the capitalism, colonialism, imperialism and damn near just about every other -ism at the US government and military’s disposal. I am not saying that part somehow changes, of course not. That’s just facts. There are people far smarter than I (Edward Said, take the wheel) who could explain this far better. But I’m only here to explain this one point.

What DOESN’T get acknowledged is how much of what is deemed American pop culture across the world is both 1) stolen 2) Black culture! We do not have equivalent political power despite what our hypervisibility would suggest, but our social currency is raw diamond- so naturally, it has to be plundered! The white American dollar might mean far more than my life, but it’ll pay for my creations- even more so when I’m not involved!

The issue is that if your society says that I am less than, how can you justify how you covet everything I create? If I’m supposed to be so much less than you, why do you seek my language, my fashion, my music, my body? Why do you feel entitled to my creation, but you think you should have it… Without me?

Sit on that one for a second!

Appropriation of AAVE

Let's refer back to that chart at the beginning. How many of these have you seen or even used before? How long did it take for you to know it was AAVE? Don’t get me started on the influence of AAVE in queer spaces!

Of course I’m going to get started. Ballroom culture, created by Black and Latino people in New York City in the 80s (Paris is Burning, anyone?), has spawned so much popular “gay” lingo, and it’s not even just “gay”- it’s of color! Black English in particular is the source of many of the words that queer people use now in casual conversation, brought into the ballrooms, normalized, and then proliferated with other communities.

I can always tell when a new phrase from AAVE has hit nonblack audiences because it’ll suddenly be in every sentence I see, often butchered. Remember that historical context- of having to speak in code. Have you ever considered why AAVE is always evolving? Why we have to find new ways to communicate with each other? Have you considered that when people are constantly taking and misplacing your words, they may lose meaning or value, and so you have to come up with something else?

Appropriation of Black Music

Jazz, swing, the blues, disco, rock and roll, pop, even rap and hiphop have all been subject to appropriation- intentional or not. Far more intentional than you might want to believe. And it all comes back to money!

White audiences in the 1900s loved Black music- as long as they didn’t know Black people were singing it! Often, songs would be completely lifted and given to white bands to re-record. When Frankie Lymon first came on stage to perform, some of the audience was stunned! Even you know Itty Bitty Pretty One!

A more modern-day example: not to pick on the K-Poppies, but unfortunately it’s a low hanging branch example.

What K-Pop groups are doing now is heavily influenced what Black pop, rap, and R&B artists were doing from the late 90s to this very day. Part of the reason I enjoy K-Pop is because it reminds me of the stuff I used to listen to growing up. How many times have you heard someone think a Korean rapper in a K-Pop group is “fine”, but “don’t like” rap otherwise? Or will listen to K-Pop groups, but have very few to no one Black of the same sound on their playlists?

Examples:

Rover by Kai (2023) vs Swalla by Jason Derulo (2017)- Idk how popular Kai is outside of EXO, but I do know that some influence was had. And I like the song, btw! I prefer the music video! It’s just not the first time it’s been done!

Sweet Juice by Purple Kiss (2023) vs Say It Right by Nelly Furtado on a Timbaland beat (2006)

Taemin and Michael Jackson, period. Taemin having a song called The Rizzness. How did ‘rizz’ get to him? How did he know? More relevantly, how did the people who wrote his music know? How did something that started with Black people in Baltimore get all the way to Taemin in South Korea without influence?

I’ll use another example, so it doesn’t feel like I’m picking on K-Pop. I’m currently listening to CĂN NHÀ TRANH MÁI LÁ (Vietnamese, if you couldn’t tell) and as much of a banger as it is, with its own amazing cultural spin on the delivery… it is CLEARLY influenced by Black American rap. He nicknamed himself Vietgunna. Yall.

A non-American musical example: Afrobeats has taken the music industry by storm… How many of those people who enjoy an afrobeat from a nonblack artist will enjoy it from Wizkid or TEMS?

Those polls, where they ask how many Black artists you listen to… try paying attention to see just how much of your music takes inspiration from Black creators, but there’s a non-equivalent amount of Black artists that you support!

Political Bastardization of Powerful Black Colloquialisms

The appropriation of Black English isn’t always for entertainment. Sometimes, it’s a purposeful, malicious tactic to demean the words, and therefore the intent behind them.

“Woke”

“Michael Harriot, columnist at TheGrio and author of the upcoming book, Black AF History: The Unwhitewashed Story of America, explains that this kind of insidious takeover and flipping of Black vernacular to anti-Black pejorative has numerous parallels in America’s past and runs all the way up to present day. “When you look at the long arc of history and America’s reaction to the request for Black liberation – every time Black people try to use a phrase or coin a phrase that symbolizes our desire for liberation, it will eventually become a cuss word to white people,” Harriot says in an interview with [Legal Defense Fund]. It’s perhaps this very context — Black people’s awareness of their history and their power to resist injustice — that made woke so ripe for the pernicious mutation it has now undergone. Indeed, the forced transformation of the colloquialism echoes how countless other Black ideas and intellectual contributions have been maligned. “When people during the civil rights movement began saying ‘Black power,’ all of a sudden it became a term that people equated with communism and anti-white sentiment — and then it eventually gave birth to ‘white power,’” Harriot tells LDF. “The ‘1619 Project’ [which centers the ramifications of slavery and the contributions of Black people in American history] has become an insult. ‘Black Lives Matter’ became an ‘anti-white sentiment’ that was banned in school and spawned ‘all lives matter’ and ‘blue lives matter.’”

#SayHerName

This discourse is happening again, it happens like every six months on here, and it’s one of the things on here that fills me with a hatred that I struggle with every single time. It is hard, I literally feel that hatred in the pit of my chest right now as I type this.

Kimberle Crenshaw (Black woman and the originator of the legal term ‘intersectionality’), the Center for Intersectionality and Social Policy Studies, and African American Policy Forum coined the hashtag in 2014. TWENTY FOURTEEN.

It was meant to highlight the violent deaths of Black women and girls at the hands of police, which happens at a high rate like Black men and boys, but often goes far less acknowledged. By appropriating the hashtag, you are actively choosing to speak over the very names and deaths of Black women and girls we don’t know, because we are NOT SAYING THEM, and therefore are allowing those deaths to continue as though they do not matter.

I’m going to stop before I get more upset. But know what violence you’re contributing to in your negligence.

How to Avoid Cultural Appropriation while Showing Appreciation

Everything is obviously not appropriation. It is possible for people to appreciate, replicate, and take influence without being disrespectful! It happens! And because it is possible, is why it’s so infuriating that it does not.

It’s frustrating that when something is on me, it’s ghetto, ugly, ignorant. But when it’s on the right stick thin pale girl, it’s chic, it’s fashionable, it’s new. So if it’s not the language, and it’s not the fashion or music you don’t like… It must be… Me. I am somehow not worthy of respect for the very culture I create.

Can you imagine being told that? That you are not worthy of being… you?

If you are worried about cultural appropriation, both in your writing and in your life, the easiest way to avoid that is to:

1) acknowledge and support the culture that created what you’re saying or doing and

2) actually treat them like human beings instead of zoo animals or a species to study. Show respect! It’s not hard!

This is my body, my language, my creation. It’s not just to entertain you! It’s my life! I talk like this because this is how I speak, not because I want to get Tiktok cool points. If I’m around people who treat the way I talk like childish babble, it makes me feel stupid and disrespected. We can see that, and we can read it in your writing.

And yes, you may be saying “well none of that is unique to AAVE, that’s how other languages work!” Okay then go speak those languages then lmao. But if you’re absolutely determined to understand and utilize mine, then you need to treat it with respect and not like the Gen Z slang babble (or worse- the threat) y’all treat it as. It’s a form of antiblackness that is so normalized that we don’t even think about it… but now that you’ve read this lesson, you can start! You can start taking the time to actively dedicate a thought to what you’re saying and doing and where it came from. You can take the time to notice when something isn’t right- and maybe even choose to speak up, because it’s the thought that counts, but the action that delivers.

[deadhorserecords]

Tales Episode 23: Garfield Moore

Tales From the Jazz Side with cellist/composer/educator Garfield Moore. I have known Mr. Moore for quite some time and have had the privilege to perform with him on only one occasion. And that one time, the plethora of knowledge that I gained in that interaction still sits with me today as I progress into new territories of music. Where do I start with the history of this fascinating and…

[naturalhairhow101]

The Tignon laws of the 18th century were laws that banned black women from exposing their natural hair in public.

Their hairdos was obscuring the status of the white women and this threatened the social stability. The law would control colored women “who dressed too elegantly..”

Resembling today’s West African Gele, a tignon is a type of head-covering. It is a large piece of material wrapped or tied around the head to form a kind of turban concealing the hair.

Tignons were worn by free and slave Creole women of African descent in Louisiana from 1786. Historically, their prevalence was as a result of sumptuary laws passed in 1786 under Governor Esteban Rodriguez Miró.

These prescribed and enforced appropriate public dress styles for women of color in a white-dominated society. Hence, they were made as a way of regulating the appearance of black women in the U.S.

During the period, when black enslavement in America was at its peak, and places like New Orleans was unique in its high population of gens de couleur libres (free people of color), black women’s beauty and features often attracted white men who approached them as suitors.

This enraged white women who perceived them as competitors. Evidently, African women competed openly with white women through elegant dressing, including adorning their textured hair with gems, beads, and other accents that made them stand out from white women and possessing great beauty.

To take care of this perceived menace, series of sumptuary laws birthing the Tignon Law were put in place in order to stop white men from pursuing and engaging in affairs with women of colour, “while also being a class signifier,”

[utilitycaster]

I wanted to explore the idea of people who dislike C3 not engaging with its themes because I haven't actually seen anyone making the argument give a full rundown of said themes, and this may end up being several posts. I'd like to start with anticolonialism. Perhaps it is a theme; if so, I think it's presented exceptionally badly, in a way that appeals uniquely to white westerners desiring to see themselves as a combination of victim and savior, rather than as a complex issue in a story centering the colonized. It got very long, so it's under a cut.

If this is the theme with which we as the viewers are not engaging, I'd argue neither is the work itself - it's largely projection. As many others have pointed out, the use of Marquet, a setting inspired by Africa and Asia (and presented in a highly stereotyped and Orientalist way in Campaign 1 no less) as nothing more than a casual backdrop with little engagement with the cultures present, and with much of the story elsewhere, undercuts that badly. I'd actually argue this is a recurring issue with Critical Role's works; Ank'Harel appears and is even fleshed out more in Call of the Netherdeep, but the story follows, and mostly takes place, among the Calamity-era ruins being excavated and amid faction squabbles concerning them. The culture and politics of Ank'Harel remain a distant second to the greater mythology of the Calamity, and again, after the society and culture and everyday people of the more European-inspired Wildemount took such a front seat in Campaign 2, it seems like a worrying pattern. Given the increased sensitivity and investment towards the cultures based on those in our own world that (for the most part) did the colonizing, and the "set-dressing", as others have called it, status of Marquet, perhaps this world is not a good one to tell that story. What's also interesting, and telling, is that the African and Asian - especially West, South, and Southeast Asian - was even a defense within the fandom: the reason so few of Bells Hells were from Marquet, we were told, is because the cast is white. In that case, and given how Marquet is so poorly integrated into the story that multiple beats relying on knowledge of the Apex War fall flat, why didn't we set this in Issylra (notably, the continent in which modern, mortal-driven occupation efforts are occurring)? And more importantly why are we trusting a group nearly entirely made of white culturally Christian Americans to tell what is argued to be an exceptionally leftist story on religiously-motivated colonialism if we can't even trust them to play a character from a real-world culture heavily impacted by said colonialism?

Another rather significant wrinkle is the fact that those wishing to release Predathos in the service of destroying the gods were happily working with the Kreviris Imperium, who desired to colonize Exandria. Remember how everyone was just talking about how the poor Ruidians would die if the planet were destroyed and how they're the victims in all this (and honestly, I don't disagree that the commoners of Ruidus, especially those without psychic powers, have a uniquely rough deal) when the planet cracks? Well, let's talk that through. I think the role of the Vanguard's Ruidusborn in this is rather important, ie, if they are throwing off the colonialism of the gods (to be discussed later whether I consider that valid), they are doing so by stepping on the necks of the common people of Ruidus. And if those people will be doomed by the release of Predathos, it is Bells Hells who doomed them.

The people of Ruidus were told of their manifest destiny of the Blue Promise by their governing body (which also served, effectively, as religious leadership, with mind control). I think "Propaganda" is a poor real-world metaphor for "sends dreams of the land promised to you each night, making you both jealous of what they have and very much influenced by their culture, while you have no dreams of your own" but it's the best I have, but that itself occupies an interesting space. It's a great beat for sf, but this actually leads to a rather worrisome metaphor regarding the nature of cultural influence (which was spoken of on a 4-sided Dive and is often cited here, and I think the way it's discussed fails to consider the implications). The idea of cultural hegemony and globalization is a very real one. It can occur within one's country (I, a non-Christian American, am well acquainted with many Christmas songs and traditions and am given Christian holidays off work but must use vacation for my own). It can also occur outside of it, as with globalized beauty standards - white ideas of beauty leading to light skin being prioritized in India, or double-eyelid surgery becoming common in South Korea. The situation on Ruidus therefore has some interesting implications. What does it mean for them to have inherited culture from Exandria - but at the hands of their own government that seeks to colonize Exandria? Is this a good way to explore these topics, when Exandrians are neatly excluded from the spread of their own cultural hegemony (as they had no idea) and are also poised to become the victims in this colonization? This idea, incidentally - that the people of Exandria exist in an impossible in-between space in the colonization metaphors, blameless victim yet free from the ugliest consequences of being a colonized culture - will recur, and I think that is the most damning evidence that this is at best a story of anticolonialism stripped of nuance and complexity.

In a further exploration of the cultural impact of colonialism, what does it mean that, again, I, Jewish from birth and raised in a Jewish home and sent, even, to a Jewish school through middle school (though not a Jewish preschool) have a pretty thorough knowledge of not just Christmas songs, but could probably name a bunch of individual Christian denominations and maybe even the intricacies in how they depict their crosses - while generally having freedom to practice my religion within the dominantly Christian US, if not equality in doing so - but Bells Hells, living under the presumed thumb of the gods, can't reliably tell their symbols or domains? Others have already covered this but if the gods are the dominant force, why have Bells Hells managed to largely avoid any actual consequences for godlessness other than "when I asked for something, I didn't get it?"

Why have all the governments we've seen, save Vasselheim (which, again - we haven't ever spent a ton of time in, so why did we go to Marquet again?) failed to convey religious dominance at the hands of the gods? The Clovis Concord, Tal'Dorei, Whitestone, Niirdal-Poc, Syngorn, and as far as I can tell Ank'Harel, Jrusar, Bassuras, Court of the Lambent Path, and the Stratos Throne (and if the latter isn't then Imogen and Ashton grew up in its borders without any religion forced upon them) are all secular governments that at most have outlawed Betrayer God worship. The Empire (in which Ludinus Da'leth has been a major political force for centuries) has strong restrictions on worship of all but six gods, and if you look at the first Tal'Dorei Campaign setting, it was at the timed conceived of as banning all deity worship. The Dynasty is a theocracy for a non-pantheon entity, engaging in missionary work but largely depicted as (if I may, oddly) devoid of violence. While Uthodurn's King Imathan Talviel is himself a worshiper of the Arch Heart, Uthodurn appears to have no state religion. Indeed, I'd say, as again, someone of a frequently persecuted religious minority, who lives in a country with a dark history of forced conversion of the native colonized people into Christianity [the Native American residential school system] I'd say that for a world in which the gods are objectively real? Exandrian governments are bizarrely lenient and bloodless when it comes to religion. Only the Dynasty even has a state religion of the aforementioned locations, and they don't even outlaw worship of non-Betrayer gods. The Empire, Concord, and Dynasty have, at most, fines or incarceration for worship of illegal deities. Hearthdell lost more people from their own attack and from the people teleported away by the solstice than from the missionary work; you think the might of Vasselheim couldn't have slaughtered the entire town if they went in? The only places we know of as even possibly more brutal are the Betrayer-worshiping Iron Authority, which remains vague and undescribed (weirdly, actually, given that the Crown Keepers might have gone there in the time between EXU Prime and Bells Hells); and Aeor (execution by hanging for deity worship).

I am not saying that any outlawing of religious worship (nor lack thereof) is a good thing, but we live in a world where people have - and still are - killed for gods for which we have, in my opinion, no proof of existence. It is unbelievably telling that the grievances provided (Tuldus, Ludinus, and members of Bells Hells) are all entirely individual experiences rather than anything systemic. It's people mad at their small communities or their parents, and that anger is valid, but it is immensely dangerous to take one's own individual negative experiences and treat it as systemic. This is the underlying motivation of how countless people are radicalized into hate groups (see: MRAs/incels, who are mostly mad at their mothers or at the fact that increased rights for women means women don't have to date or marry men if they don't want to - men are still the dominant class here, but their perceived individual slights and their extrapolation to this as systemic dominance of women is the radicalizing factor). The fact that Exandria has failed to set up a world where this is any sort of religious hegemony - Vasselheim is certainly important, but they aren't even a centralized governing body of worship a la the Catholic church, let alone a force outside of Othanzia, and are seen as an ally by the nonreligious Percy and Keyleth - again lethally undercuts the idea of this as anything but the most softened and childish discussion of colonialism and religion. Even Deanna's question to Pelor regarding Hearthdell reveals it as inaction - a failure to stop - rather than a command to act. It's at the level of how we teach American kindergarteners of the first Thanksgiving, except unless the entire narrative is wholly unreliable this is the actual story of Exandria. One giant pulled punch.

To quickly cover other items highly relevant to any sophisticated discussion of decolonialization/postcolonialism/colonialism in general that are absent from Campaign 3, and indeed Exandria as a whole: as multiple other fans have discussed, there is no concept of people of mixed race if the gods are the colonizers here. There is insufficient discussion of how, for example, many colonized or oppressed cultures have adopted western religions and see them as highly integral to their culture today - Catholicism in Central and South America and parts of Southeast Asia; Islam in other portions of Southeast Asia; Christianity within Africa and among African-Americans descended from slaves. This does not make the original forcing of said religion right or just; but any discussion of decolonization must account for the wants of those colonized, and I find that Campaign 3 fails to do so. The lack of meaningful conversation with common people across Exandria is something many of us have brought up. If we assume the members of the Accord are not necessarily speaking for those they rule, why do we have no concept of how the people at large of Whitestone, Gelvaan, Jrusar, Bassuras, Uthodurn, the Silken Squall, the Empire, the Dynasty, and the Tal'Dorei Republic feel? And if they are speaking for those they rule, well, we know how they feel.

I finally want to discuss that weird and, in my opinion, nonexistent irl space between actual colonizer and the colonized that mortals occupy. I personally reject the idea of the gods as colonizers given what we've seen in Downfall and because the metaphor is rather messy given the mythic scale. However, let's let treat them as such in this moment. Exandria was populated by titans. The lore is (possibly deliberately) vague and at times contradictory here, but either the titans lay dormant for a time after the gods arrived but before mortal society developed; or they lived in harmony with said mortals (who were created by the gods). They assisted, in some tellings, of the sealing of Predathos by the gods. They then, for unknown reasons, either awoke, or turned on the mortals; in the resulting schism they were killed and sealed by the Prime deities and the mortals. The Betrayer gods were those who wished to leave. The Betrayer gods too were sealed. The last known titans, sealed but not dead, were either destroyed or banished by the Ring of Brass during the start of the Calamity in order to prevent complete annihilation. The titans are now dead. Per Ashton's commune with them, there may be something that will rise again should the gods be eliminated; [only] the strong will survive it.

Questions to consider:

Why are a number of fans arguing that this story is one of anticolonialism so eager to place blame on Asmodeus and hope Predathos eats him first, when he is arguably the ringleader of those who most hoped to leave Exandria to the titans while they were still living? Do you hate the leader of the one most willing to decolonize? Or is the issue that this would also mean abandonment of the mortals, in which case, which is worse - destabilization or maintenance of a current situation (ie, the status quo)?

If the gods are colonizers, why isn't Predathos? It is no more a native of Exandria than they are. We know the gods were driven by an existential danger to their lives (which may or may not have been Predathos). Did Predathos lead the gods to Exandria and later corner them there, setting all of this in motion? Or is Predathos no different from them, driven to Exandria out of the need to survive? Given the titans opposed Predathos as well it is difficult to paint it as their savior (and the idea of an external savior of the colonized is, as discussed, one with unfortunate implications)? What is Predathos, and why is it better than the gods, if you believe it to be?

What are mortals here? They are not colonizer, nor are they native. I've discussed the (also very unfortunate) implications of treating sentient beings as ecology metaphors, but given that mortals truly did have, per the story, no agency in arriving on Exandria but were rather created here, are they akin to a non-native species? Such a species can be either invasive or beneficial, which fits with the idea of mortals being unique in their ability to change. Mortals were the ones under threat from the titans despite, again, being neither colonizer nor colonized; mortals participated in their destruction.

Where do the eidolons - seemingly unaffected by all of this - fit in? For a story about how change and newness might bring a better world, why the focus on the long-dead titans instead of the nature spirits that have seemingly taken their place? Why are many of Bells Hells constantly looking back and not forward?

And that last point feels particularly salient. The people of Exandria - a people whose opinion, again, in this campaign, it feels we have failed to explore - exist in an in-between state. They are more the heirs of the colonizers, in this assumption that the gods are colonizers, than the colonized. They cannot undo what the gods did. The gods can at this time only act through them.

What does it mean that we as the audience are intended to see ourselves most in a people who were not themselves those doing the colonizing, who are now under threat from colonization, and who might cooperate with the driving force behind that colonization? What does it say that our mortal viewpoint characters put more effort speaking to and for the dead than to the living? What does it tell us that many of them see themselves as the victims? What does it say that past campaigns had multiple characters subjected to actual systemic oppression (the twins, Jester, Molly, Veth-as-a-goblin, and Fjord all experienced racism) and explored the concept of the other (the Dynasty) and Campaign 3 never did? And when we add that to all of the above - that this world has failed to set up religion as even remotely close to both the meaningful and the oppressive force as it is in our own, despite the gods being real, that the grievances are individual and not systemic, that nearly all actions by the gods are motivated not by greed but by survival - is this an anti-colonialist work? Does it grapple with the problems of decolonialism meaningfully? Or does it let a white American viewer fantasize about a world where they are the oppressed, under threat of colonization, where their personal grievances are all forms of systemic oppression, cleansed of their own complicity in these systems, and where they can never be blamed for their actions because this is all so hard to choose- despite a far softer and gentler world than the one in which we actually live. And does it do so in a work they were going to watch anyway because they've been watching since well before this was introduced, thus permitting them to pretend they are experiencing a sophisticated anticolonialism narrative without having to go through the effort of actually reading that linked pdf of Orientalism they reblogged?

[sankofaspirit]

List of notable slave revolts in the Caribbean during the Transatlantic/European Slave Trade. These Slave revolts emphasise the collective struggle for liberation,

unity, and self-determination:

1. The 1638 St. Kitts Slave Revolt: Enslaved Africans resisted early attempts by European colonizers to dominate the island. This uprising showed that from the very beginning, Africans refused to accept their dehumanization and fought to retain their dignity.

2. Barbados Revolt of 1649: Africans in Barbados challenged the plantation system, laying the foundation for future resistance. This revolt demonstrated the shared struggle of African people across different colonies.

3. The 1675 Curaçao Revolt: Enslaved Africans, many of whom were from the Akan and other warrior societies in West Africa, plotted to overthrow the Dutch colonists. This revolt highlighted the persistence of African resistance traditions, even in exile.

4. Tacky’s War (1760, Jamaica) :Led by Akan warriors like Tacky, this revolt was deeply rooted in African military traditions. It was a call for liberation and unity, showcasing the resilience of African cultures under enslavement.

5. Berbice Slave Rebellion (1763, Guyana): Under Cuffy (Kofi), enslaved Africans controlled parts of Berbice for over a year. This Pan-African hero envisioned an independent African-led society in the Americas, directly challenging European colonialism.

6. Coromantee Wars (1765–1766, Jamaica): Enslaved Akan Africans led revolts against British plantation owners. The unity of African warriors in organizing these rebellions demonstrated the spirit of Pan-Africanism.

7. 1773 Grenada Revolt: Africans resisted their French and British oppressors, reflecting a Pan-African vision of collective liberation and defiance against European exploitation.

8. The First Maroon War (1728–1740, Jamaica): Maroons, descendants of escaped Africans, fought the British for autonomy. Their victory in establishing independent territories was a significant Pan-African triumph.

9. Haitian Revolution (1791–1804, Saint-Domingue): The most powerful expression of Pan-Africanism in the Caribbean, this revolution united enslaved Africans and free people of color. Leaders like Toussaint Louverture, Jean-Jacques Dessalines, and others overthrew French rule, ending slavery and creating the first Black republic.

10. Bussa’s Rebellion (1816, Barbados): Bussa, inspired by the African tradition of communal resistance, led this uprising against British slavery. It echoed Garveyite ideals of self-determination before their time.

11. Demerara Rebellion (1823, Guyana): Led by Jack Gladstone and Quamina, this revolt sought freedom for Africans in British Guiana. It reflected a broader Pan-African consciousness and the demand for dignity and justice.

12. Baptist War (1831–1832, Jamaica): Also known as the Christmas Rebellion, it was led by Samuel Sharpe, who united enslaved people under the banner of Christian and African liberation. This revolt hastened the abolition of slavery in the British Empire.

13. The Second Maroon War (1795–1796, Jamaica): Maroons resisted British incursions into their autonomy, preserving their African-rooted systems of governance and solidarity.

14. 1837 St. Lucia Revolt: Enslaved Africans rose up against British oppression. Their resistance embodied Pan-African ideals, rejecting the colonial domination of their homeland.

15. Trinidad Slave Revolt (1838): Enslaved Africans on the brink of emancipation staged a revolt, demonstrating their refusal to accept anything less than complete freedom.

16. 1733 St. John Slave Revolt (Virgin Islands): Enslaved Africans, many of whom were Akan, took control of the Danish colony for several months. Their strategic unity reflected a Pan-African ethos.

17. Leeward Maroon Wars (1730s–1740s, Antigua and Jamaica): These wars involved guerrilla tactics by escaped Africans who maintained cultural and spiritual links to their homelands.

18. Martinique Revolt (1833): Enslaved Africans rose up against French rule, signalling the unity of Black people against colonial oppressors across linguistic and cultural divides.

19. Santo Domingo Resistance (1795, Dominican Republic): Inspired by the Haitian Revolution, enslaved Africans rebelled, resisting both Spanish and French colonial systems.

[fem-lit]

In the current epidemic of rich Western women who cannot “choose” to eat, we see the continuation of an older, poorer tradition of women’s relation to food. Modern Western female dieting descends from a long history. Women have always had to eat differently from men: less and worse. In Hellenistic Rome, reports classicist Sarah B. Pomeroy, boys were rationed sixteen measures of meal to twelve measures allotted to girls. In medieval France, according to historian John Boswell, women received two thirds of the grain allocated to men. Throughout history, when there is only so much to eat, women get little, or none: A common explanation among anthropologists for female infanticide is that food shortage provokes it. According to UN publications, where hunger goes, women meet it first: In Bangladesh and Botswana, female infants die more frequently than male, and girls are more often malnourished, because they are given smaller portions. In Turkey, India, Pakistan, North Africa, and the Middle East, men get the lion’s share of what food there is, regardless of women’s caloric needs. “It is not the caloric value of work which is represented in the patterns of food consumption” of men in relation to women in North Africa, “nor is it a question of physiological needs…. Rather these patterns tend to guarantee priority rights to the ‘important’ members of society, that is, adult men.” In Morocco, if women are guests, “they will swear they have eaten already” or that they are not hungry. “Small girls soon learn to offer their share to visitors, to refuse meat and deny hunger.” A North African woman described by anthropologist Vanessa Mahler assured her fellow diners that “she preferred bones to meat.” Men, however, Mahler reports, “are supposed to be exempt from facing scarcity which is shared out among women and children.”

“Third World countries provide examples of undernourished female and well-nourished male children, where what food there is goes to the boys of the family,” a UN report testifies. Two thirds of women in Asia, half of all women in Africa, and a sixth of Latin American women are anemic—through lack of food. Fifty percent more Nepali women than men go blind from lack of food. Cross-culturally, men receive hot meals, more protein, and the first helpings of a dish, while women eat the cooling leftovers, often having to use deceit and cunning to get enough to eat. “Moreover, what food they do receive is consistently less nutritious.”

This pattern is not restricted to the Third World: Most Western women alive today can recall versions of it at their mothers’ or grandmothers’ table: British miners’ wives eating the grease-soaked bread left over after their husbands had eaten the meat; Italian and Jewish wives taking the part of the bird no one else would want.

These patterns of behavior are standard in the affluent West today, perpetuated by the culture of female caloric self-deprivation. A generation ago, the justification for this traditional apportioning shifted: Women still went without, ate leftovers, hoarded food, used deceit to get it—but blamed themselves. Our mothers still exiled themselves from the family circle that was eating cake with silver cutlery off Wedgwood china, and we would come upon them in the kitchen, furtively devouring the remains. The traditional pattern was cloaked in modern shame, but otherwise changed little. Weight control became its rationale once natural inferiority went out of fashion.

— Naomi Wolf (1990) The Beauty Myth

[visenyaism]

I always wonder what ethnic group the Dornish are meant to be. The Spanish? Does GRRM think the Spanish are just sucking and fucking with everyone all of the time? I feel like he's too racist to make a North African society sexually liberated, which would be my only other guess.

He keeps saying Moorish Spain is the main influence but it’s clearly like actually works of fiction about the Muslim world and Latin America that were more influential than the actual historical analogue. There exists an older form of orientalism that was more prevalent pre-9/11 (really pre-repression of women being used to justify a lot of American intervention in the Middle East) that framed hyper-repressed Victorian sexual mores against like white male fantasies about the Ottoman harem to assert that the Muslim world was actually more sexually liberated than “the west.” That was present in a lot of the works of fiction GRRM was drawing on to write Dorne. It’s also a lot of stereotypes about Latino people being like fiery tempestuous lovers or whatever that have worked their way in there.

[viadescioism]

Kwanzaa:

Kwanzaa, an annual holiday celebrated primarily in the United States from December 26 to January 1, emphasizes the importance of pan-African family and social values. It was devised in 1966 by Maulana Karenga, Inspired by Africa’s harvest celebrations, he decided to develop a nonreligious holiday that would stress the importance of family and community while giving African Americans an opportunity to explore their African identities. Kwanzaa arose from the black nationalist movement of the 1960s and was created to help African Americans reconnect with their African cultural and historical heritage. The holiday honors African American people, their struggles in the United States, their heritage, and their culture. Kwanzaa's practices and symbolism are deeply rooted in African traditions and emphasize community, family, and cultural pride. It's a time for reflection, celebration, and the nurturing of cultural identity within the African American community.

Kwanzaa is a blend of various African cultures, reflecting the experience of many African Americans who cannot trace their exact origins; thus, it is not specific to any one African culture or region. The inclusiveness of Kwanzaa allows for a broader celebration of African heritage and identity.

Karenga created Kwanzaa during the aftermath of the Watts riots as a non-Christian, specifically African-American, holiday. His goal was to give black people an alternative to Christmas and an opportunity to celebrate themselves and their history, rather than imitating the practices of the dominant society. The name Kwanzaa derives from the Swahili phrase "matunda ya kwanza," meaning "first fruits," and is based on African harvest festival traditions from various parts of West and Southeast Africa. The holiday was first celebrated in 1966.

Each day of Kwanzaa is dedicated to one of the seven principles (Nguzo Saba), which are central values of African culture that contribute to building and reinforcing community among African Americans. These principles include Umoja (Unity), Kujichagulia (Self-Determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and Imani (Faith). Each family celebrates Kwanzaa in its own way, but Celebrations often include songs, dances, African drums, storytelling, poetry readings, and a large traditional meal. The holiday concludes with a communal feast called Karamu, usually held on the sixth day​​​​.

Kwanzaa is more than just a celebration; it's a spiritual journey to heal, explore, and learn from African heritage. The holiday emphasizes the importance of community and the role of children, who are considered seed bearers of cultural values and practices for the next generation. Kwanzaa is not just a holiday; it's a period of introspection and celebration of African-American identity and culture, allowing for a deeper understanding and appreciation of ancestral roots. This celebration is a testament to the resilience and enduring spirit of the African-American community.

"Kwanzaa," Encyclopaedia Britannica, last modified December 23, 2023, https://www.britannica.com/topic/Kwanzaa.

"Kwanzaa - Meaning, Candles & Principles," HISTORY, accessed December 25, 2023, https://www.history.com/topics/holidays/kwanzaa-history.

"Kwanzaa," Wikipedia, last modified December 25, 2023, https://en.wikipedia.org/wiki/Kwanzaa.

"Kwanzaa," National Museum of African American History and Culture, accessed December 25, 2023, https://nmaahc.si.edu/explore/stories/kwanzaa.

"The First Kwanzaa," HISTORY.com, accessed December 25, 2023, https://www.history.com/this-day-in-history/the-first-kwanzaa.

My Daily Kwanzaa, blog, accessed December 25, 2023, https://mydailykwanzaa.wordpress.com.

Maulana Karenga, Kwanzaa: A Celebration of Family, Community and Culture (Los Angeles, CA: University of Sankore Press, 1998), ISBN 0-943412-21-8.

"Kente Cloth," African Journey, Project Exploration, accessed December 25, 2023, https://projectexploration.org.

Expert Village, "Kwanzaa Traditions & Customs: Kwanzaa Symbols," YouTube video, accessed December 25, 2023, [Link to the specific YouTube video]. (Note: The exact URL for the YouTube video is needed for a complete citation).

"Official Kwanzaa Website," accessed December 25, 2023, https://www.officialkwanzaawebsite.org/index.html.

Michelle, Lavanda. "Let's Talk Kwanzaa: Unwrapping the Good Vibes." Lavanda Michelle, December 13, 2023. https://lavandamichelle.com/2023/12/13/lets-talk-kwanzaa-unwrapping-the-good-vibes/.

[funkopersonal]

Im quite literally so done with this shit. i keep on going back and forth between hiding all the i/p related tags, but then I realize that its seeped EVERYWHERE. It's in the motherhood tag, and jewish history tag, and everything else. I can't fucking escape it. I opened tiktok yesterday to see one of my favorite characters (iron man) weaponized to support the one group that wants to see me dead, the user saying that iron man would support palestine, and be an antizionist because he "spoke out against the public" and he wasn't like the sheep. It frustrates me to no end this horrible cycle of fucking misinformation that exists.

As a Gen Z, I simply do not understand how its reached this point? I can't even write all my feelings and information about how shitty this is in a single sitting because 1) it'd be too long and 2) my joints wont let me write that long. But how did it reach this point?

How did it reach the point where jewish/isreali stores are fucking marked to notify the public. Their windows are being broken and the stores are being robbed. How did it reach the point where jewish students on some campuses are told to stay home? how they're harassed out of specific areas, and campuses have been made unsafe? How did it reach the point that people literally have written "I ♡ Houthis & Hamas" and "no mercy for Jews."? How did it reach the point that there are nazi symbols, and hanging deadmans, and communist symbols being drawn on college campuses? How is it possible that students are calling for the end of jewish student unions and hillel international on campus? that'd be like calling for the end of the fucking muslim student organization, or disbanding an african-american affinity group. Which would never be acceptable, but apparently its fine when its jews.

I'm sick and tired of all the horrible conditions of palestenian cities being blamed on israel. Palestine is its own country. They had their own government until they elected Hamas to lead them. Hamas, who diverted all their funds to the military. Hamas, who uses hospitals and public spaces as their bases. Hamas, who built miitary tunnels under cities so that when they're invaded, the cities will collapse on itself. Hamas, who steals all humanitarian aid from its citizens. Hamas, who controls palestenian media and teaches hatred to its children. Hamas, who wants their citizens to become martyrs for their country, to die for their goal. Hamas, whose number one goal is to eradicate all jews. Hamas, who denies the existence of the holocaust. Hamas, who enlists children as soldiers and suicide bombers. Hamas, who has has never expressed an interest in a 2 state solution.

Is this the organization you consider freedom fighters? because i dont think they should ever, in any context, be called that. Hamas is nothing but terrorists.

Yes, the deaths and treatment of palestenian citizens is horrible. but no, this is not a genocide. Israel is trying to rid them of Hamas, because quite literally, no country should ever be forced to live in "harmony" with a terrorist group. Especially one who denies their existence and actively wants to kill them all. Israel has been letting palestenians get jobs in the country, has let palestine use their resources and water, all for years. They've let hamas continously bomb them, they've gotten used to a life of bomb shelters in every residence. Hamas has done nothing but crippled their country's own economy and society.

None of the surrounding coutnries want to let in palestenians, or live with palestenians. Egypt wants to annex Gaza, and Jordan wants the West Bank. In fact, they did own that land for a part of history! Yet Israel has let palestenians govern themselves for years, even when Hamas originally came into power, they didn't interfere. Not until they were provoked.

Yes, Israel has flaws. But welcome to the fucking real world, princess. Every country has flaws. Even America, you dipshits. This is not a little fandom for you to play sides on. its not some fictional world that has a black and white solution. Yes theres going to be deaths, just like in any other WAR. But you really can't call for the destruction of a country on the basis that they're trying to make sure they're allowed to stay a country? Because guess what honey bunchkins? "from the river to the sea" really doesn't mean what you think it does. It just means that you want to kill all jews, or at best, forcefully remove them and scatter them around the middle east. (to countries that have killed them in swaths in the past. To countries that have emprisoned jews for helping others escape. To countries that avidly hate jews and want them dead). I don't understand how that would mean peace in any way shape or form?

Not only that, but half of "protestors" and "activists" for palestine, haven't even done basic research. They dont know what river or sea theyre talking about. They dont know that "palestine" was not a palestenian state in 1948, but it was instead a BRITISH MANDATE, that was NOT fully occupied by palestenians. In fact, "palestenians" weren't a thing. Palestenians are just muslims and arabs from countries like syria, who lived alongside jews and christians in the same land (which was largely uninhabited for the most part). Yeah, you heard me right.

Honestly my thoughts on this issue are so scattered its so hard to make a solid points when I can just keep on going forever.

Fact is, Israel deserves to be a country. No one should be supporting Hamas. Everyone should be supporting the eradication of Hamas (and I mean Hamas not palestenian citizens). I don't get how these are debated, and seriously don't understand how citizens of america are so quick to support a terrorist group, to resort to antisemitism.

Im so done with this all. I cant believe we have to tell you gentiles that stoning a 13-year old kid for being jewish is horrible. That throwing a brick through an israeli-owned cafe in New York is horrible. That students not being able to be on campuses because of their religion or ethnicity is horrible.

This has to end.

Do your research, or don't speak (and terrorist-controlled propoganda channels don't count).

[literaryvein-reblogs]

Hi, so i writing a book based in the 1800s like the cowboy eras can you please tell me somethings I should keep in mind about the society and stuff also I need a little motivation I have been loosing it all please and thankyou <<<333

Writing Notes: Cowboys

Cowboy

In the western United States: a horseman skilled at handling cattle, an indispensable laborer in the cattle industry of the trans-Mississippi west, and a romantic figure in American folklore.

Pioneers from the United States encountered Mexican vaqueros (Spanish, literally, “cowboys”; English “buckaroos”) on ranches in Texas about 1820, and soon adopted their masterful skills and equipment—the use of lariat, saddle, spurs, and branding iron.

But cattle were only a small part of the economy of Texas until after the Civil War.

The development of a profitable market for beef in northern cities after 1865 prompted many Texans, including many formerly enslaved African Americans, to go into cattle raising. (Though they have been almost entirely excluded from the mythology of the American cowboy, it is estimated that Black cowboys accounted for nearly a quarter of all cattle workers in the nascent American West during the latter half of the 19th century.)

By the late 1800s, the lucrative cattle industry had spread across the Great Plains from Texas to Canada and westward to the Rocky Mountains.

Vaqueros

In 1519, shortly after the Spanish arrived in the Americas, they began to build ranches to raise cattle and other livestock. Horses were imported from Spain and put to work on the ranches.

Mexico’s native cowboys were called vaqueros, which comes from the Spanish word vaca (cow). Vaqueros were hired by ranchers to tend to the livestock and were known for their superior roping, riding and herding skills.

By the early 1700s, ranching made its way to present-day Texas, New Mexico, Arizona and as far south as Argentina. When the California missions started in 1769, livestock practices were introduced to more areas in the West.

During the early 1800s, many English-speaking settlers migrated to the West and adopted aspects of the vaquero culture, including their clothing style and cattle-driving methods.

Cowboys came from diverse backgrounds and included African-Americans, Native Americans, Mexicans and settlers from the eastern United States and Europe.

Cowboy Life

Cowboys were mostly young men who needed cash. The average cowboy in the West made about $25 to $40 a month.

In addition to herding cattle, they also helped care for horses, repaired fences and buildings, worked cattle drives and in some cases helped establish frontier towns.

Cowboys occasionally developed a bad reputation for being lawless, and some were banned from certain establishments.

They typically wore large hats with wide brims to protect them from the sun, boots to help them ride horses and bandanas to guard them from dust. Some wore chaps on the outsides of their trousers to protect their legs from sharp cactus needles and rocky terrain.

When they lived on a ranch, they shared a bunkhouse with each other. For entertainment, some sang songs, played the guitar or harmonica & wrote poetry.

Cowboys were referred to as cowpokes, buckaroos, cowhands and cowpunchers.

The most experienced cowboy was called the Segundo (Spanish for “second”) and rode squarely with the trail boss.

Everyday work was difficult and laborious for cowboys. Workdays lasted about 15 hours, and much of that time was spent on a horse or doing other physical labor.

Rodeo Cowboys

Some cowboys tested their skills against one another by performing in rodeos—competitions that were based on the daily tasks of a cowboy.

Rodeo activities included bull riding, calf roping, steer wrestling, bareback bronco riding and barrel racing.

The first professional rodeo was held in Prescott, Arizona, in 1888. Since then, rodeos became—and continue to be—popular entertainment events in the United States, Mexico and elsewhere.

Joseph G. McCoy offered the wealthy cattleman's vision of the cowboy. He recorded a reasonably balanced, if slightly condescending, views in his 1874 treatise on the cattle trade.

He lives hard, works hard, has but few comforts and fewer necessities. He has but little, if any, taste for reading. He enjoys a coarse practical joke or a smutty story; loves danger but abhors labor of the common kind; never tires riding, never wants to walk, no matter how short the distance he desires to go. He would rather fight with pistols than pray; loves tobacco, liquor and women better than any other trinity. His life borders nearly upon that of an Indian. If he reads anything, it is in most cases a blood and thunder story of a sensational style. He enjoys his pipe, and relishes a practical joke on his comrades, or a corrupt tale, wherein abounds much vulgarity and animal propensity.

Black Cowboys

African American horsemen who wrangled cattle in the western United States in the late 1800s and beyond.

Though they were almost entirely excluded from the mythology of the American cowboy, it is estimated that Black men accounted for nearly a quarter of all cattle workers in the nascent American West during the latter half of the 19th century.

In the years following the Civil War (1861–65) and emancipation from slavery, a budding ranching industry promised freedom and prosperity unknown to most Black Americans, many of whom were formerly enslaved themselves or were the children of enslaved parents.

Texas became part of the United States in 1845, and, by 1860, enslaved people accounted for 30 percent of the state’s population. Among them were some of the first Black cowboys: skilled laborers with experience in breaking horses and herding stock. Many were given the autonomy to work unsupervised, and some even carried guns.

The cowboy lifestyle came into its own in Texas, which had been cattle country since it was colonized by Spain in the 1500s. But cattle farming did not become the bountiful economic and cultural phenomenon recognized today until the late 1800s, when millions of cattle grazed in Texas.

White Americans seeking cheap land—and sometimes evading debt in the United States—began moving to the Spanish (and, later, Mexican) territory of Texas during the first half of the 19th century.

Though the Mexican government opposed slavery, Americans brought slaves with them as they settled the frontier and established cotton farms and cattle ranches.

By 1825, slaves accounted for nearly 25 percent of the Texas settler population.

By 1860, fifteen years after it became part of the Union, that number had risen to over 30 percent—that year’s census reported 182,566 slaves living in Texas.

As an increasingly significant new slave state, Texas joined the Confederacy in 1861. Though the Civil War hardly reached Texas soil, many white Texans took up arms to fight alongside their brethren in the East.

While Texas ranchers fought in the war, they depended on their slaves to maintain their land and cattle herds.

In doing so, the slaves developed the skills of cattle tending (breaking horses, pulling calves out of mud and releasing longhorns caught in the brush, to name a few) that would render them invaluable to the Texas cattle industry in the post-war era. But with a combination of a lack of effective containment— barbed wire was not yet invented—and too few cowhands, the cattle population ran wild.

Ranchers returning from the war discovered that their herds were lost or out of control. They tried to round up the cattle and rebuild their herds with slave labor, but eventually the Emancipation Proclamation left them without the free workers on which they were so dependent.

Desperate for help rounding up maverick cattle, ranchers were compelled to hire now-free, skilled African-Americans as paid cowhands.

Freed blacks skilled in herding cattle found themselves in even greater demand when ranchers began selling their livestock in northern states, where beef was nearly ten times more valuable than it was in cattle-inundated Texas.

The lack of significant railroads in the state meant that enormous herds of cattle needed to be physically moved to shipping points in Kansas, Colorado and Missouri. Rounding up herds on horseback, cowboys traversed unforgiving trails fraught with harsh environmental conditions and attacks from Native Americans defending their lands.

African-American cowboys faced discrimination in the towns they passed through—they were barred from eating at certain restaurants or staying in certain hotels, for example—but within their crews, they found respect and a level of equality unknown to other African-Americans of the era.

Sources: 1 2 3 4 5 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Writing occasionally makes me feel like I'm losing it too! I find that taking a step back can be good. That time away from being a writer can be used to being the reader again, and to research your topic. And when your head's clear enough, you can go back & see if the story flows more freely, armed with information you collected to incorporate in your writing. Hope this helps <3

[reasonsforhope]

Note: I super don't like the framing of this headline. "Here's why it matters" idk it's almost like there's an entire country's worth of people who get to keep their democracy! Clearly! But there are few good articles on this in English, so we're going with this one anyway.

--

2024 is the biggest global election year in history and the future of democracy is on every ballot. But amid an international backsliding in democratic norms, including in countries with a longer history of democracy like India, Senegal’s election last week was a major win for democracy. It’s also an indication that a new political class is coming of age in Africa, exemplified by Senegal’s new 44-year-old president, Bassirou Diomaye Faye.

The West African nation managed to pull off a free and fair election on March 24 despite significant obstacles, including efforts by former President Macky Sall to delay the elections and imprison or disqualify opposition candidates. Add those challenges to the fact that many neighboring countries in West Africa — most prominently Mali, Burkina Faso, and Niger, but other nations across the region too — have been repeatedly undermined by military coups since 2020.

Sall had been in power since 2012, serving two terms. He declined to seek a third term following years of speculation that he would do so despite a constitutional two-term limit. But he attempted to extend his term, announcing in February that elections (originally to be held that month) would be pushed off until the end of the year in defiance of the electoral schedule.

Sall’s allies in the National Assembly approved the measure, but only after security forces removed opposition politicians, who vociferously protested the delay. Senegalese society came out in droves to protest Sall’s attempted self-coup, and the Constitutional Council ruled in late February that Sall’s attempt to stay in power could not stand.

That itself was a win for democracy. Still, opposition candidates, including Faye, though legally able to run, remained imprisoned until just days before the election — while others were barred from running at all. The future of Senegal’s democracy seemed uncertain at best.

Cut to Tuesday [April 2, 2024], when Sall stepped down and handed power to Faye, a former tax examiner who won on a campaign of combating corruption, as well as greater sovereignty and economic opportunity for the Senegalese. And it was young voters who carried Faye to victory...

“This election showed the resilience of the democracy in Senegal that resisted the shock of an unexpected postponement,” Adele Ravidà, Senegal country director at the lnternational Foundation for Electoral Systems, told Vox via email. “... after a couple of years of unprecedented episodes of violence [the Senegalese people] turned the page smoothly, allowing a peaceful transfer of power.”

And though Faye’s aims won’t be easy to achieve, his win can tell us not only about how Senegal managed to establish its young democracy, but also about the positive trend of democratic entrenchment and international cooperation in African nations, and the power of young Africans...

Senegal and Democracy in Africa

Since it gained independence from France in 1960, Senegal has never had a coup — military or civilian. Increasingly strong and competitive democracy has been the norm for Senegal, and the country’s civil society went out in great force over the past three years of Sall’s term to enforce those norms.

“I think that it is really the victory of the democratic institutions — the government, but also civil society organization,” Sany said. “They were mobilized, from the unions, teacher unions, workers, NGOs. The civil society in Senegal is one of the most experienced, well-organized democratic institutions on the continent.” Senegalese civil society also pushed back against former President Abdoulaye Wade’s attempt to cling to power back in 2012, and the Senegalese people voted him out...

Faye will still have his work cut out for him accomplishing the goals he campaigned on, including economic prosperity, transparency, food security, increased sovereignty, and the strengthening of democratic institutions. This will be important, especially for Senegal’s young people, who are at the forefront of another major trend.

Young Africans will play an increasingly key role in the coming decades, both on the continent and on the global stage; Africa’s youth population (people aged 15 to 24) will make up approximately 35 percent of the world’s youth population by 2050, and Africa’s population is expected to grow from 1.5 billion to 2.5 billion during that time. In Senegal, people aged 10 to 24 make up 32 percent of the population, according to the UN.

“These young people have connected to the rest of the world,” Sany said. “They see what’s happening. They are interested. They are smart. They are more educated.” And they have high expectations not only for their economic future but also for their civil rights and autonomy.

The reality of government is always different from the promise of campaigning, but Faye’s election is part of a promising trend of democratic entrenchment in Africa, exemplified by successful transitions of power in Nigeria, Liberia, and Sierra Leone over the past year. To be sure, those elections were not without challenges, but on the whole, they provide an important counterweight to democratic backsliding.

Senegalese people, especially the younger generation, have high expectations for what democracy can and should deliver for them. It’s up to Faye and his government to follow."

-via Vox, April 4, 2024

[ptseti]

"THERE IS NO GROUP THAT EVER CAME INTO AFRICA THAT MEANT ANYTHING GOOD FOR AFRICANS" -Dr John Henrik Clarke.

“The white man is very clever. He came quietly and peaceably with his religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart.” - From 'THINGS FALL APART' 1958, written by Chinua Achebe and was translated into Italian, French, Hungarian, Portuguese, Russian, Swiss, Flemish and other languages.

According to historian, Dr John Henrik Clarke, "every group of people that came into Africa meant nothing good for the Africans… and the very first thing each and every one of these groups did was to declare war on African culture…" What followed was the bastardization of African spirituality and ways that held the societies together for millennia before there was a Greece or Rome or before "the first European learnt to wear a shoe or live in a house that had a window." Or as Dr. Yosef Ben Jochannan put it, "Before there was Rome, Greece, Jerusalem or Mecca… Before there was a Jehovah, Jesus or Mohommet" (Muhammad ibn Abdul'Mutallib).

It most be noted that the first Hebrew to ever come into existence was a Chaldean from Ur, known as Abram in 1675 BC. Before then, their was no concept of a Jehovah or Jesus, whatsoever, and no Hebrew as a tribe, the world over, from as far as history revealed. By this time, the 82 pyramids in Kemet, and the over 203 pyramids in Meroe, the smaller Nsude pyramids in Udi highlands were already built. The Africans had their own spirituality through which they connected to the non-material world, through which they learnt science like iron smelting, as well as which herbs could heal what sort of disease, agricultural practice, astrology, alchemy, mining for useful minerals from the earth and so on.

Most of Africa were connected to the worship of a deity, Ptah. This was over 5000 years before the first Hebrew came into existence, it was thousands of years before Greece or Rome came into existence and before any Abrahamic religions (which are Judaism, Samaritanism, Christianity and Islam etc) came into the knowledge of anyone at all. Abram, the father of it all had not even come into existence.

In kemet, there was a belief that if one died far away from the Nile, one would not resurrect in the afterlife. Hence Kemet became the place of high culture for all tribal nationalities along the Nile from its source through modern day Tanzania, Uganda, Ethiopia Sudan etc. Abydos was a city of pilgrimage where most Africans, who could, travelled up the Nile, through the Sahara (Which was not a desert until about 5000 years ago, as archeological discoveries indicated), to worship and commune with other Africans. Osiris later become the god in Abydos while Memphis became the home for Ptah, after several foreign invasion from across the Mediterranean and the sands of Arabia.

Most of the magicians in Kemet came from Gao, a city-state of the Soudan(west Africa then). African regions and cities had their own gods and it was necessary to pay homage to the god of a land when visiting or passing through as a sojourner, merchant or gypsy. By this time, Arabian peninsula was the colony of Africans (Study from 'From Babylon to Timbuktu', 'The African Origin of Major Religions, Herodoctus, and Strabo's geographica).

{[IMAGE: The 'inner circle' of the Mossi people. Not every king on the throne rose to the societal status, necessary to attend this gathering. The first shattering effect on this 'inner circle' began when the Arabs arrived west Africa in the 7th century CE, while extending the trans-saharan trade routes through the desert.]}

[fairuzfan]

Hey I am a Sudanese and I want to provide context to why what Motaz said is racist ... (I have to no ill feelings towards him or anything similar ... this is just for education purposes).

1. Attaching being black/dark skinned to being Sudanese. Yes it true Sudanese are "black", but people with dark skin exsist across all the Arab nations ... and Sudanese people have different sade and tone of blackness, you won't find two people with the same "color" in the same household (i.e siblings...etc).

We use different specific terms to describe different skin tone of blackness ... • wheat قمحي • Asmer اسمر• green اخضر •blue ازرق •black اسود.

Attach blackness to Sudanese lead to multiple racist remarks like some can reserve a question "how can you be Sudanese and be light skinned? You are probably mixed right?" .... and multiple portrayal of Sudanese by non-Sudanese actors in media lead to them doing "black face". (For example: ادوار ناصر القصبي في مختلف اجزاء "طاش ما طاش") and (there is a scene in the Egyptian movie "عيال حبيبة" where they meet a light skinned Sudanese person and they end up painting his skin black because light skinned Sudanese do not exist).

I am not talking about South Sudan or the west part of (north) Sudan "Darfur", I am talking about Sudan as whole. Sudanese are East African of course we are "black" (I am not gonna touch the subject of Colorism and tribalism that we suffer as a society).

2. The way he pronounced "Ana Asmar" it sounded like he is trying to imitate the Sudanese dialect by changing the "s" sound to sound like a "z" sound. (It ended up being more like "أنا أزمر" and not "أنا أسمر") ...

First of all: we don't talk like this ... sure some people sometimes change the "س" to "ز" like in the word "nine تسعة تزعة"، but never the word "Asmar اسمر" we say it as it is.

Second: it maybe a reach ... but sounded like a broken Arabic. We are Arabs we speak a normal arabic dialect like any other Arab nation ... (to tell how many times I met Arab for different nations and be surprised that I can speak and understand Arabic... like they expect us to speak in a different language).

This is why what he said in the video is racist and problematic.

Side Note: something related to racism towards Sudanese that unrelated to the video, I am saying this to educate people ... for the love of God عليكم الله when you meet a Sudanese person and know they are a Sudanese for the first time don't say "يعني انت زول؟" ... it is condescending. "زول" means: person/شخص/human it is not a specific term that mean Sudanese it is just a normal word that just means a person. Of course I am a "زول" and you are a "زول", everyone on this earth no matter their nationality/ethnicity/race is a "زول" ... so stop being racist.

I apologise for the long rant.

With love

thank you so much for sharing, i think this is really important for people to read. i really appreciate you taking the time to write this out.

i remember seeing other reasons why people were angry at what he said including how he was laughing instead of asking why the aid was in gaza and not sudan also, making it seem like hes taking the situation in sudan lightly.

[blackhistorystoryteller]

Title: "The Significance and Diversity of African Names"

Introduction

African names are a reflection of the continent's incredible diversity, culture, history, and traditions. With over 2,000 distinct languages spoken and a multitude of ethnic groups, Africa is a treasure trove of names that carry deep meanings and unique stories. In this article, we'll explore the rich tapestry of African names, their significance, and the cultural diversity they represent.

The Importance of Names

Names hold a special place in African societies. They are more than mere labels; they encapsulate a person's identity, heritage, and often convey messages of hope, aspiration, and blessings. African names are deeply rooted in the belief that a name can shape a person's destiny and character.

Linguistic Diversity

Africa's linguistic diversity is astounding, with thousands of languages spoken across the continent. Each language group has its distinct naming traditions, resulting in a vast array of names. For example, in West Africa, Akan names such as "Kwame" (born on a Saturday) and "Kofi" (born on a Friday) are common, while in East Africa, Swahili names like "Amina" (trustworthy) and "Nia" (purpose) are prevalent.

Meanings and Symbolism

African names are rich in meaning and symbolism, often reflecting the circumstances of a child's birth, their family history, or the aspirations of their parents. Names can signify virtues like courage, strength, and wisdom or convey hopes for a prosperous and fulfilling life.

Family and Heritage

In many African cultures, names are chosen to honor ancestors, celebrate cultural heritage, or connect the child to their roots. This practice ensures that generations remain connected to their family's history and traditions. For example, the Igbo people of Nigeria often use "Ngozi" (blessing) to convey the hope for a blessed life..

Naming Ceremonies

Naming ceremonies are significant events in many African communities. These ceremonies are joyous occasions where family and friends gather to celebrate the birth of a child and bestow a name. The rituals and customs associated with these ceremonies vary widely, showcasing the diversity of African naming traditions.

Modern Influences

In today's globalized world, African names are not confined to the continent. Many people of African descent living outside Africa proudly bear African names, celebrating their cultural heritage and contributing to the global recognition of the beauty and significance of these names.

Conclusion

African names are a testament to the continent's diversity, culture, and history. They carry profound meanings, connect individuals to their heritage, and celebrate virtues and aspirations. As we embrace and appreciate the beauty of African names, we also acknowledge the importance of preserving and passing on these cultural treasures to future generations, ensuring that the rich tapestry of African identity remains vibrant and thriving.

1. **Kwame (Akan, Ghana):** A male name meaning "born on a Saturday."

2. **Ngozi (Igbo, Nigeria):** A unisex name meaning "blessing" or "good fortune."

3. **Lulendo (Lingala, Congo):** A male name meaning "patient" or "tolerant."

4. **Amina (Swahili, East Africa):** A female name meaning "trustworthy" or "faithful."

5. **Kwesi (Akan, Ghana):** A male name meaning "born on a Sunday."

6. **Nia (Swahili, East Africa):** A unisex name meaning "purpose" or "intention."

7. **Chinwe (Igbo, Nigeria):** A female name meaning "God owns" or "God's own."

8. **Mandla (Zulu, South Africa):** A male name meaning "strength" or "power."

9. **Fatoumata (Wolof, Senegal):** A female name meaning "the great woman."

10. **Kofi (Akan, Ghana):** A male name meaning "born on a Friday."

These are just a few examples, and there are countless other African names with unique meanings and significance. It's essential to remember that Africa is incredibly diverse, and each region and ethnic group has its own naming traditions and languages, contributing to the rich tapestry of African names.

The most popular African names among Black Americans can vary widely based on individual preferences, family traditions, and regional influences. Many Black Americans choose names that connect them to their African heritage and celebrate their cultural roots. Here are a few African names that have been embraced by some Black Americans:

1. **Malik:** This name has Arabic and African origins and means "king" or "ruler."

2. **Amina:** A name of Swahili origin, meaning "trustworthy" or "faithful."

3. **Kwame:** Derived from Akan culture, it means "born on a Saturday."

4. **Nia:** A Swahili name representing "purpose" or "intention."

5. **Imani:** Of Swahili origin, it means "faith" or "belief."

6. **Jamal:** This name has Arabic and African roots and means "handsome."

7. **Ade:** A Yoruba name meaning "crown" or "royalty."

8. **Zuri:** Of Swahili origin, it means "beautiful."

9. **Sekou:** Derived from West African languages, it means "fighter" or "warrior."

10. **Nala:** This name is of African origin and means "gift."

It's important to note that while these names have African origins, their popularity among Black Americans can vary by region and individual choice. Additionally, some Black Americans choose to create unique or hybrid names that blend African and American influences, reflecting their personal and cultural identities. The naming choices among Black Americans are diverse and reflect the rich tapestry of their heritage and experiences.

African Languages: A Tapestry of Diversity and Culture"

Introduction

Africa is a continent known for its stunning natural landscapes, diverse wildlife, and rich cultural heritage. Among its many treasures, the continent boasts an astonishing linguistic diversity that is often overlooked. In this article, we delve into the fascinating world of African languages, exploring their diversity, cultural significance, and the challenges they face in a rapidly changing world.

The Linguistic Kaleidoscope

Africa is home to over 2,000 distinct languages, making it one of the most linguistically diverse regions on the planet. These languages belong to several different language families, including Afroasiatic, Nilo-Saharan, Niger-Congo, and Khoisan, each with its unique characteristics.

Niger-Congo Family: The vast majority of African languages, including Swahili, Yoruba, Zulu, and Kikuyu, belong to the Niger-Congo language family. This family stretches across West, Central, and Southern Africa, reflecting the continent's linguistic richness.

Afroasiatic Languages: Arabic, a member of the Afroasiatic family, has a significant presence in North Africa, while other Afroasiatic languages like Amharic are spoken in the Horn of Africa.

Nilo-Saharan Languages: Found in parts of East and North Central Africa, Nilo-Saharan languages include Dinka, Kanuri, and Nubian.

Khoisan Languages: These languages, characterized by their unique click consonants, are primarily spoken by indigenous groups in Southern Africa, such as the San and Khoi people.

Cultural Significance

African languages are not just tools of communication; they are repositories of cultural heritage and identity. They carry the history, stories, and traditions of their speakers. Each language is a key to unlocking the rich tapestry of African cultures, from oral storytelling and folklore to religious rituals and traditional medicine

Preserving Cultural Diversity

Despite their cultural importance, many African languages are endangered. The rise of global languages like English, French, and Portuguese, often due to colonial legacies, has led to the decline of indigenous languages. To address this, efforts are being made to document, preserve, and revitalize endangered African languages through education, community initiatives, and technology.

A Language of Unity

In some regions, African languages are a means of fostering unity. For example, Swahili, a Bantu language with Arabic influences, serves as a lingua franca in East Africa, promoting communication and cooperation among diverse ethnic groups.

Challenges and Opportunities

While African languages face challenges in an increasingly interconnected world, they also offer unique opportunities. Embracing linguistic diversity can strengthen cultural identities, promote inclusive education, and drive economic growth through multilingualism.

Conclusion

African languages are an integral part of the continent's rich heritage and cultural tapestry. They represent the diversity of Africa's peoples and their traditions. While challenges exist, there is hope that efforts to preserve and celebrate these languages will ensure that they continue to thrive, enriching the world with their unique beauty and significance. In an increasingly globalized world, Africa's linguistic diversity is a testament to the resilience and vibrancy of its cultures.