#african traditional dancers

[nuagederose]

🫧 mermay 2024 // day 21: Fez, Morocco 🫧

“the dance” 🧜🏾‍♀️🇲🇦

ig: badmotorartist

[afriblaq]

Did you know that one of the earliest forms of breakdance originated in Nigeria? Contrary to popular belief, breakdance wasn’t first created in New York but was instead inspired by traditional dancers in Nigeria. Decades before Hip Hop and breakdance became global phenomena, dancers in Kaduna state, Northern Nigeria, were already performing moves that would later be recognized as breakdance. What are your thoughts on this?👇🏾 (🎥 Pan African Lifestyle)

[abyss-ice]

Food fantasy diversity issue

Gotta put the word. I'm mad.

Food fantasy isn't the worst game about diversity and skin color... I know but.

It isn't the game with the best rep AT ALL.

You know, I love this game, I love the lore. But this doesn't mean I should be boot licking everything. I have the right to criticize and ask for improvement.

Let's start with the first issue. Skin color. The game of course has more east Asian and European food so it's natural that white skinned characters are the majority. However I noticed that more than half the design of the supposedly more tan or melanined characters are pale or ashey asf. I swear I know they are darker than the white white, but damn I'm as tan as them but I'm actually not tan and I'm white skinned. Artists, please stop being scared to color your character's skin with actual COLOR. Also almost all of them are white haired for some reason. I won't lie about the design some white haired were peak ( Ganache, Reuben, Tomahawk) but a lot of them only have white hair to make their skin appear darker. Also btw the excuse "yeah but you know that not all people of this country are dark skinned" is invalid. Ganache and Reuben are respectively French and United-Statizen. Both these countries are mainly white. So heh.

Ganache and Reuben

Second issue, the orientalism. When I see the dark skinned characters and especially the Middle East food souls, they are often portrayed wearing revealing clothes. If you do some research, it's very weird with their culture. "Yeah but the white characters also wear revealing clothes" Que Neni. If you compare the ratio, obviously dark skinned or just the tan ones are a lot more "fetishized". Always revealing their belly and for what ? Nothing because their outfits are based on fantasm and stereotyped views (belly dancer) about what the middle east looks like not the real traditional clothes which is a shame for a game about food diversity. Food eaten in Muslim countries for Ramadan wearing these ....

Knafeh and Shawarma the worst of them all

And third issue. A lot of them just don't have ethnic physical features. I can understand that this clashes with the artist's art style but I swear it's not that difficult to draw curly and kinky hair. You know it's not that hard to download brush on CSP. Brushes that help you to draw afro hair style.

This food IS FROM ZAMBIA but man looks like a Middle East/American native. Not African from Zambia.

And this is the end of my rant.

"the game company is Asian that's why they don't add a lot of diversity." First research, second, Dislyte, Pokemon both are Asian companies with rad black and poc design. Excuse refused. Don't try to justify culture erasure even if it's not done with a malicious intent. ( And Hoyoverse is NOT a role model. Being better than hoyo at skin diversity isn't a feat. It's the bare minimum)

And yes maybe I'm just a hater "You should just go play another game if you are just gonna hate", man. The bar is so low that I can't even wish for improvement for a game that was my first Gacha Game and a part of my teenage years ?? If you thought like everything I wrote between the quotation marks, I urge you to broaden your horizon and learn about these often misrepresented cultures.

Bye

[nox140497]

Being Colby Brocks Baby Sister Headcanons

Prompt: No.

Request: - Yes.

Summery/ Request: Can you do Colby Brock x adopted 13 year old sister reader (she is half South African and half Brazilian and has tan skin) with ADHD headcannons and has similar personality to Rory keaner from Mbav and Richie Tozier from IT 2017 and she's very very sassy and and when Colby is running after her when she runs away she runs faster than a cheetah and is hyper and can roast people + humbles people like how north west does to Kim K and when Colby or everyone yells at her for doing something she tries not to laugh and stays chill and calm and she's fearless and brave and when Colby and sam + his friends when they're at the haunted house and they tell her to do something embarrassing she does it + how his friends (sam,Tara,jake,Corey, johnnie and brennen) + Colby would react to her and think of her.

Pairings: Big brother Colby Brock x little sister reader

Author's Note: This didn't take as long as I thought it would. I'm not completely happy with how this one ended up, but here you go. Also, so I messed up a bit and can't find the original ask, and I can't remember who sent it, but here you go. Thank you for the request. I hope you like it

Masterlist

Prompt List

--------------‐-----------------------------

Colby's always been the baby of the family.So when his parents decided to adopt a 13 year old girl, he wasn't sure how to feel about it.

But as soon as he met her, he knew she was going to bring a lot of energy and sass into their lives.

The girl's name was Y/N, and she was half South African and half Brazilian. She had tan skin, curly dark hair, and big brown eyes that were always filled with mischief.

Colby (and later his ftiends too) was very interested in learning about her heritage and all of the different traditions that went with it.

Y/N had been diagnosed with ADHD at a young age, and it was clear that she had a similar personality to both Rory Keaner from 'My Babysitter's a Vampire' and Richie Tozier from 'IT 2017'. She was sassy, hyper, and had a knack for roasting people with her quick wit. She was also quick to put you in your place if you were being stupid or mean.

She often used this to defend her new big brother from people who tried to bully him.

Y/N was fearless and brave, never afraid to speak her mind or try new things. And she was also incredibly fast. Whenever Colby tried to catch her when she ran away, she would sprint faster than a cheetah, always managing to stay one step ahead of him.

Once she started going on adventures with him and Sam he had to chase her down alot...

But despite her wild and energetic nature, Y/N had a kind heart and always humbled people with her words, just like North West does to her famous mother, Kim Kardashian.

Colby's friends were apprehensive about her at first, not really sure what to make of her.

Sam, I feel, would be the first to warm up to her. Also, he likes the fact that she causes Colby almost the same amount of chaos as what Colby causes him...

I feel like Jake would get along the best with her when he's warmed up to her. The reason for this is I think their hyper energies would just compliment one another, and they'd love paying pranks on each other and the others... Mostly Colby...

Tara loves her, too. She likes how honest and witty she is.

Johnnie gets along with Jake so I'm sure he'd get along with her as well.

Corey likes to play pranks on everyone with her. She comes up with the BEST prank ideas. She's also a pretty good dancer, so he likes to dance with her.

Brennen gets along with her. He thinks she can be a little childish sometimes, but hey, she's 13.

All in all they were all eventually rather taken with her. They loved her sassy attitude and her fearless nature. They were also impressed by her ability to stay calm and chill, even when someone was yelling at her for doing something mischievous.

Colby says he sometimes thinks that they like her better than they like him.

One day, Colby and Sam decided to go to a haunted house and take Y/N with them as well as taking a few other friends. Y/N, of course, was ecstatic about the idea and couldn't wait to explore the spooky place. As they walked through the dark corridors, their friends dared Y/N to do something embarrassing. Without hesitation, she accepted the challenge and did it with confidence and sass.

Colby and his friends couldn't help but laugh at Y/N's fearlessness and her ability to always stay true to herself. They admired her for being unapologetically herself and never letting anyone dull her shine.

Y/N had quickly become a beloved member of their group, and they couldn't imagine their lives without her.

As for Colby, he was grateful to have Y/N as his adopted sister. She had brought a whole new level of fun and excitement into his life, and he couldn't wait to see what adventures they would embark on together in the future.

Y/N was not only his sister but also his best friend, and he wouldn't have it any other way.

[kemetic-dreams]

Go-go is a subgenre of funk music with an emphasis on specific rhythmic patterns, and live audience call and response.

Go-go was originated by African-American musicians in Washington, D.C., during the mid-60s to late-70s. Go-go has limited popularity in other areas, but maintains a devoted audience in the Washington metropolitan area as a uniquely regional music style and was named the official music of Washington, D.C., in February 2020.

Performers associated with the development of the style include Rare Essence, EU, Trouble Funk, and singer-guitarist Chuck Brown. Modern artists like Charles "Shorty Corleone" Garris continue the go-go tradition in D.C.

Origins

Although Chuck Brown is known as "the Godfather of Go-Go", go-go is a musical movement that cannot be traced back to one single person, as there were so many bands that flourished during the beginning of this era that they collectively created the sound that is recognized as go-go of today. Artists such as Marvin Gaye, Van McCoy, Billy Stewart, Peaches & Herb, Black Heat,Experience Unlimited (E.U.), Vernon Burch, Sir Joe Quarterman & the Free Soul, the Moments, Ray, Goodman & Brown, True Reflection, the Unifics, Terry Huff & Special Delivery, Act 1, the Dynamic Superiors, Skip Mahoney & the Casuals, the Choice Four, and the Fuzz that played soul music during pre-go-go era.

The term "gogo" (as it applies to a music venue) originated in France in the early 1960s, at the Whiskyagogo nightclub, named after the French title for the British comedy "Whisky Galore!".The club also featured go-go dancers. In January 1964, capitalizing on the emerging popularity of "go-go dancers", the name was licensed to a Los Angeles club, the Whisky a Go Go, and from there the term "go-go" spread nationwideThe Cafe Au Go Go in NYC was also in business during that time, gaining notoriety when Lenny Bruce was arrested there in April 1964. By 1965, "go-go" was a recognized word for a music club, as evidenced by the TV show Hollywood A Go-Go (march 1965-1966), or the song title of that year's hit Going to a Go-Go by Smokey Robinson & the Miracles (released November 1965). At a go-go club, dancers could expect to hear the latest top 40 hits, performed by local bands and DJ's. (The French Whiskyagogo had been one of the first venues in the world to replace live music with records selected by a disc jockey.)

In Washington D.C., minor group Wornell Jones and the Young Senators were formed in 1965, beginning a fierce competition with Chuck Brown and Black Heat on the local club circuit. The Young Senators later became known for their song "Jungle" released in 1970 by Innovation Records. Guitarist and bandleader Chuck Brown is widely regarded as "the Godfather of Go-Go".

Chuck Brown was a fixture on Washington and Maryland music scene with his band Los Lotinos as far back as 1966. By the mid-1970s, he had changed the group's name to The Soul Searchers, and developed a laid-back, rhythm-heavy style of funk performed with one song blending into the next (in order to keep people on the dance floor). The beat was based on Grover Washington Jr.'s song "Mr. Magic," though Brown has said in interviews that both he and Washington had adapted the beat from a gospel music beat found in African churches.

Washington, D.C., funk's early national chart action came when Black Heat (the first D.C. go-go band to be signed by a major record label) released their Billboard top 100 hit "No Time To Burn" from their second album on Atlantic Records in 1974. They then toured with such national acts as Earth Wind & Fire, Parliament Funkadelic, Ohio Players, The Commodores, and others. In 1976, James Funk, a young DJ who spun at clubs in between Soul Searchers sets, was inspired (and encouraged by Brown himself) to start a band—called Rare Essence (originally the Young Dynamos)—that played the same kind of music.

[viadescioism]

Praise houses

Praise houses were small, wooden structures used for worship by enslaved people in the American Southeast. They were also known as prayer houses. Praise houses were typically built within plantation complexes. They were often an elder enslaved individual's cabin. 

Praise houses were a part of the early history of the Black church. There is evidence of Christian practice and praise houses from before the first organized Black denominations.

In praise houses, enslaved African Americans held religious services, shared news, and settled disputes. Services were typified by singing, prayer, and the "shout," which was a song accompanied by vigorous hand-clapping and dancing. As an act of resistance, congregants would gather in circle to stomp or shout upon the wooden floors, performing what was known as the Ring Shout. 

These gatherings were not only religious but also a form of resistance and a means of preserving cultural and spiritual traditions in the face of oppression.

"The true shouť takes place on Sundays or on 'praise'-nights through the week, and either in the praise-house or some cabin in which a regular religious meeting has been held. Very likely more than half the population of the plantation is gathered together. Let it be the evening, and a light-wood fire burns red before the door to the house and on the hearth.… The benches are pushed back to the wall when the formal meeting is over, and old and young, men and women, sprucely-dressed young men, grotesquely half-clad field hands—the women generally with gay handkerchiefs twisted about their heads and with short skirts, boys with tattered shirts and men's trousers, young girls barefooted—all stand up in the middle of the floor, and when the 'sperichil' is struck up, begin first walking and by-and-by shuffling round, one after the other, in a ring. The foot is hardly taken from the floor, and the progression is mainly due to a jerking, hitching motion, which agitates the entire shouter, and soon brings out streams of perspiration. Sometimes they dance silently, sometimes as they shuffle they sing the chorus of the spiritual, and sometimes the song itself is also sung by the dancers. But more frequently a band, composed of some of the best singers and of tired shouters, stand at the side of the room to 'base' the others, singing the body of the song and clapping their hands together or on the knees. Song and dance are alike extremely energetic, and often, when the shout lasts into the middle of the night, the monotonous thud, thud of the feet prevents sleep within half a mile of the praise-house."

— New York Nation, May 30 , 1867

[bathoarchives]

Exploring Mpho Sebina's Artistic Appreciation of her African and Setswana Roots

By Atang Moalosi and Tefo Kosie

Hailing from the Kgatleng District’s capital Mochudi is Mpho Sebina, a singer-songwriter who has immersed herself in producing and creating the continent's best jazz, soul, and afro-fusion music. A self-proclaimed Pan-Africanist, Mpho's music has been a true reflection of expressing her African and Tswana roots through cognizant use of local rhythmic instrumentation and vocal progressions, to say the least.

The love and use of indigenous elements prevailed notably in her 2015 debut single 'Loves Light' which she explains was inspired by the song Tselane by BLK JKS which is loosely based on a Tswana folktale 'Tselane'. The song, produced by local legendary beatmaker Favi includes elements of the staple beats and claps of traditional folk music production fused with soul. The music video features a cameo of traditional dancers and showcases the landscape of Botswana from the luscious water basins to the barren semi-desert land with the soundtrack playing behind the eye-catching visuals laying a foundation of Mpho’s start to dominance in the music scene.

stills from the 'Tjuele' music video directed by Thina Zibi

It would take a whole two years for Mpho to return and release two songs leading up to the release of her debut EP 'Neo' with very memorable moments such as the song ‘Tjuele’ which is a rendition of another famous setswana folktale with the same name. The song features ATI, another local music giant who sings the chorus repeatedly in the background. This music video in contrast only features Mpho (Tjuele's mother) and a young girl (Tjuele). In the first scene, Mpho is seen caressing the young girl’s hair, both draped in white dresses. Behind them is a famous portrait of a black woman and her son, which is beloved among the black community directly linking to the thematic affectionate scenery painted by the song and the visuals. The song has this continuous click-clack sound, reminiscent of the tune of clapping hands and matlhoa or traditional leg rattles used as a part of uniform for typical traditional dance. Remarkably Tjuele is the only song in the project sung in Setswana.

stills from the 'Slip Away' music video directed by Mpho Sebina and Motheo Moeng

‘Slip Away’ is another beautiful 5-minute song from the Neo EP of Mpho harmonizing over a midtempo beat, the song was also accompanied by a set of visuals that captures the hustle and bustle of the city of Accra in Ghana. The video includes many beautiful shots including Mpho having her hair plaited in the streets, women dressed in beautiful African attire and women carrying their belongings over their heads which is a very common practice amongst African women.

‘LORA’

'Lora' album cover designed by Tebogo Cranwell and Neo Rakgajane

‘Lora’ is Mpho Sebina's debut album, released in 2020 five years after introducing the world to her very enigmatic sound. The album cover itself is quite a striking piece. With its shade of blue background, it only highlights certain parts of Mpho's half-bodily features. The first thing noticeable is the pink highlighted corn rows, her lips and some African beads which include cowrie shells deemed very valuable in most African cultures. This album is easily Mpho's most definitive record, both sonically and visually as it sets her among the most highly decorated singers the continent boasts.

stills from the 'Pula' music video directed by Yannis Sainte-rose

The lead single 'Pula' is taken from the setswana song 'Pula Nkgodisa' which translates to ‘Rain, help me grow’ and the “Rain Rain Go Away” song. She uses rain as a metaphor for pain and shows struggle with the lyrics 'Rain Rain Go Away, I wanna go out and Play’. Later in the song she employs rain as a metaphor for growth posing a divergent perspective with lyrics 'Pula Nkgodise, Pula Mphodisa'. This song reflects on times of struggle and hope as it was released in 2020 when the world was heavily gripped by the coronavirus pandemic and a worldwide lockdown. The music video includes shots of Mpho wearing an African print headwrap and cardigan along with her Bantu knots. The conscious use of Setswana lyrics and visual nuances further displays Mpho's love for making music that centers her heritage as a Motswana.

stills from the Melodi music video directed by Yannis Sainte-rose

The song ‘Melodi's’ music video features Mpho Sebina in a few shots where she is covered by cloth and some other noteworthy scenes with her in front of the backdrop of the abstract painting which matches the colour of her African headwrap. The constant use of African clothing and artefacts in and around her visual presentations accompanying the already Afrocentric sonics just solidify the passion behind the endemic standard she has set for herself.

stills from the Dumelang music video directed by Mpho Sebina

‘Dumelang’ is a very warm and welcoming song that pretty much highlights a very important aspect of Botswana's culture-the standard gesture of greeting. The song hosts a confident Mpho giving the listeners a brief tour of the beautiful country and her own experiences within the context of the song. It also boasts visual excellence, a highly decorated facet of Mpho Sebina as an artist by showcasing parts of Botswana's culture, including scenes of her dressed in clothing sourced from local brands, also sweeping with a traditional broom/ ‘lefeelo la ditlhokwa’ close to a three-legged pot which is quite reminiscent of a traditional home in a village. Other shots include local art persons cameos including Dato Seiko, Nature Inger along with Mboko Basiami the founder of Glotto, a pan-African clothing brand from Botswana. Notably, Mpho is also seen wearing Zulu female head attire called “isicholo”, and the Basotho hat known as “lekorotlo”. Throughout the video, Mpho is dressed in clothing sourced from local brands.

‘Ntsha Nkgo’ is another rendition of a traditional song with the same title, which is often sung during ceremonies. The song touches on aspects of typical traditional celebratory ceremonies, including the culture of sharing traditional beer among family and friends especially older men hence the line ''Ntsha Nkgo re kgaritlheng le bannabagolo''. The sacred events normally include the slaughtering of an animal to be feasted during the ceremony ''Ko Boseja go tlhabilwe Kolobe hoki''

Renditions of traditional folk songs remain a constant theme in Mpho's music as she also reworks 'Sananapo' a song from a well-known folktale in 'Sananapo's Interlude'. Folktales and songs are essential in traditional culture as they are often used as a form of entertainment and an opportunity for the elderly to pass on and teach the younger generation about customs and values which are indigenous to us. Mpho's modern twist to these songs helps revive the connection between Batswana and their culture especially in modern times where most of the older generation believes that our culture is being eroded.

As we await the release of Mpho's sophomore album, It is well evident that Mpho will always centre her African heritage on her music. Alkebulan, which is the name of the next album, is quite an interesting name as it is believed to be the original name for Africa according to the oldest nubian and kinetic texts. In her interview with Drum Magazine, Mpho reveals that her album will feature female artists from different parts of Africa to celebrate the women and their africaness. She also stated that she was influenced by the various sounds of African music. 

[sheltiechicago]

Goli Dance” – Yamoussoukro, Ivory Coast

Goli is a traditional African dance and masquerade of the Baoulé people of the Ivory Coast. Over 24 hours all Baoulé villages play music and the dancers wear four different types of masks, all of which refer to the social and generational structure of the society.

By Stefano Lotumolo

Independent Photographer’s Travel Photography Contest

[moodybites]

I’m so close to making a video on how to fix the Gerudo because genuinely!!!

Wtf is this:

Wtf. Is this racist orientalist bullshit.

If they’re from the desert/based on North Africans and Middle Eastern cultures, they would be covered up/wear more clothing to protect their skin from the sun!

Second it’s clear the Gerudo outfits are based on the racist belly dancer outfit which, horrifying, because a quick google search shows that traditional outfits of SWANA cultures don’t show off skin like this (I actually couldn’t find any traditional two piece outfits like this that wasn’t made by white people fantasy bs)

Don’t get me started on what you’re making the children wear

Third! You cannot convince me that the belly dancer outfit—which is also based on the west’s orientalist fantasy—wasn’t just taken from lenghas and sarees, which are from India!

South Asian cultures are different from the Middle Eastern cultures and North African cultures. We have similarities in certain things. But we are different. And the people who make Zelda have no fucking excuse to not! Have a fucking proper research team!

[asanee44]

AFRICAN SPIRITUALITY IN NIGERIA

African spirituality and traditional African religions hold a rich and profound significance in the cultural fabric of the continent, particularly in regions like Nigeria. Rooted in indigenous beliefs and spiritual practices, these religions have played a pivotal role in shaping the lives and identities of African communities for centuries. As you may imagine, the religious landscape of Nigeria is incredibly diverse based on the many tribal groups that inhabit this land.

However, the traditional beliefs have stood the test of time as they are interwoven in virtually every aspect of African culture. These age-old religions remain deeply rooted in the belief that our ancestors continue to guide and protect us. Likewise, deities and natural forces shape our existence in deep and meaningful ways. As such, elaborate rituals and ceremonies are often performed to appease these forces.

Each ethnic group in Nigeria has its own unique customs, rituals, and belief systems. As such, it is vital that we recognize and appreciate them accordingly. Because they have all contributed immensely to the respective people groups in which they serve. Outlined below, you will find some of the more common traditions practiced in this region.

YORUBA RELIGION

The Yoruba religion is a deeply rooted spiritual tradition practiced for centuries. Originating from the Yoruba people of Nigeria, Benin, and Togo, this religion encompasses core beliefs, rituals, and deities that span the globe. This comprehensive faith system incorporates veneration of a Supreme Being, Orisas, and ancestor spirits. 

ORISAS

Central to the Yoruba religion is the concept of Orisa, which refers to the various deities or spirits that are worshipped. These Orisas represent different aspects of life and nature, such as love, fertility, wisdom, and prosperity. Each Orisa has its own unique characteristics and attributes that devotees connect with through rituals and offerings.

EGUNGUN

Like many African traditional beliefs, one of the distinctive features of the Yoruba religion is its emphasis on ancestor (Egungun) veneration. Ancestors serve as intermediaries between humans and the astral realm. They maintain powerful influence over events and occurrences in the Earth. As such, they can be called upon for guidance and protection.

One way adherents honor their ancestors is during the annual Egungun festival. During this festival, masked dancers and performers embody the spirits of the deceased, allowing for communication with the ancestors. It is a colorful and lively event with elaborate costumes and drumming designed to evoke the presence of these spiritual forces.

IFA DIVINATION

Ifa divination involves seeking guidance and insight about various aspects of life. It involves the casting of divination tools (including palm nuts or cowrie shells). Thereafter, a priest or priestess interprets the patterns to guide individuals about personal and communal matters.

RITUALS AND CEREMONIES

Rituals also play a significant role in Yoruba religious practices. These rituals often involve music, dance, chanting, drumming, and elaborate costumes. They serve as a way to honor the deities and ancestors while fostering community cohesion.

EVOLUTION 

In recent years, there has been a growing interest in the Yoruba religion outside of its traditional African homeland. This directly connects to its inclusive nature, rich cultural heritage, and spiritual depth of the tradition. The growing resurgence of people desiring to connect with their spiritual heritage has positively impacted the popularity and expansion of Ifa into the Western world.

IGBO RELIGION

The Igbo people, mainly located in southeastern Nigeria, follow Odinani, their traditional religious and spiritual belief system. Odinani revolves around the veneration of various spirits and deities, as well as ancestors. It is much akin to other traditional beliefs in Nigeria, though it maintains its cultural background rooted in the traditions of the Igbo tribe.

WORSHIP AND VENERATION

At the core of Igbo religion is the belief in a Supreme Being known as Chukwu or Chineke. Chukwu is believed to be the Creator of everything and holds ultimate power over all aspects of life. The Igbo also believe in many lesser deities or spirits known as Alusi, associated with various natural elements such as rivers, mountains, and forests.

Some of the prominent deities in this tradition include Ala (the earth goddess), Amadioha (the god of thunder and lightning), and Idemili (the goddess of water), among others. Rituals and ceremonies are performed to appease and seek blessings from these deities.

NEW YAM FESTIVAL (IWA JI)

The New Yam Festival is one of the most significant cultural events among the Igbo people. It marks the beginning of the yam harvesting season. It involves various rituals, including the offering of the first yams to the deities and ancestors to seek their blessings for a bountiful harvest.

NRI-IGBO RELIGIOUS SYSTEM

The Nri-Igbo religious system is a form of Igbo spirituality associated with the Nri Kingdom. It has its own set of religious practices, traditions, and beliefs and plays a vital role in the religious history of the Igbo people. 

HAUSA-FULANI RELIGION

The Hausa and Fulani people, found in northern Nigeria, have their own traditional religious practices. Their belief system often involves the worship of spirits and ancestral veneration, similar to other traditional religions. 

The use of protective charms and amulets is also common in the Hausa-Fulani traditional religion. These objects are believed to ward off evil spirits, provide protection, and bring good luck to the wearer. Charms may be worn as jewelry or carried on one’s person.

Though, it’s important to acknowledge that many Hausa-Fulani individuals and communities have adopted Islam as their primary religion. As such, they often incorporate a syncretic blend of traditional beliefs with Islamic practices. This syncretism varies from one community to another and can lead to a unique fusion of cultural and religious elements.

OTHER TRADITIONAL AFRICAN RELIGIONS IN NIGERIA

Beyond the traditions outlined above, other tribal groups maintain their indigenous belief systems. Below are additional spiritual systems commonly practiced in the region.   

Edo Religion (Edo Traditional Religion): In the Edo State of Nigeria, the Edo people practice a traditional religion centered on the worship of ancestral spirits and deities known as “Ogboni.” One of the most prominent deities in the Edo religion is Edo, the god of divination and destiny.

Ibibio and Efik Religion: The Ibibio and Efik people in the Niger Delta region of Nigeria have their own traditional religious practices that involve ancestor worship and the veneration of various spirits and deities associated with water and the natural environment.

Tiv Religion: The Tiv people, primarily found in Benue State and some parts of Taraba State in Nigeria, practice a traditional religion that emphasizes the worship of ancestral spirits and various deities tied to the agricultural cycle.

Ijaw Religion: The Ijaw people, who inhabit the Niger Delta region, have a belief system that centers on the worship of water spirits, ancestors, and various nature-related deities.

Kanuri Religion: The Kanuri people, living in the northeastern part of Nigeria, practice a traditional religion that involves the veneration of spirits, ancestor worship, and the use of amulets for protection.

SUMMARY

Nigeria is a diverse country with a rich cultural heritage and a wide range of traditional African religions practiced by various ethnic groups. These traditional religions are often closely tied to the cultures and histories of the different ethnic communities in Nigeria. Despite the influence of Islam and Christianity in Nigeria, traditional African religions have managed to survive and adapt over time. 

Many Nigerians practice a syncretic form of religion that combines elements of traditional beliefs with those of other faiths. Yet, the importance of traditional African religions can still be seen in various aspects of Nigerian society. They influence art forms such as sculptures, paintings, and textiles. They also shape social structures through concepts like kinship ties and community solidarity.

In conclusion, traditional African religions continue to hold a significant place in Nigerian culture. They provide a sense of identity, spirituality, and community for many Nigerians. Likewise, they contribute to the country’s diverse religious landscape.

[cleverwordsandotherstuffilike]

“Goli Dance” – Yamoussoukro, Ivory Coast

Goli is a traditional African dance and masquerade of the Baoulé people of the Ivory Coast. Over 24 hours all Baoulé villages play music and the dancers wear four different types of masks, all of which refer to the social and generational structure of the society.

[mote-historie]

Maja Maldita by Federico Beltrán Masses, 1918, oil on canvas, 161.5 x 202 cm.

For contemporary critics and collectors, La Maja Maldita was perhaps the most famous of Beltran Masses' œuvre. The fact that it is also a portrait of an extraordinary figure from the world of dance has been subsumed by the painting's drama and title.

The sitter, Carmen Tortóla Valencia (1882-1955), was a dancer who invented her own unique style based on a study of Arab, Indian and African dance, combining the African-Carribbean music with that of her Spanish heritage. Like her near contemporary Isadora Duncan (1877-1927) she eschewed the strictures of conventional technique, instead embracing a freedom of movement that set both apart from the traditions of classical dance. Her innovative approach and extravagant performances brought her extraordinary fame and sold out performances across Europe and South and Central America, while she also took the lead roles in two Spanish silent films – Pasionaria and Pacto de lágrimas (both in 1917).

Her unrestrained private life cast her in some eyes as the Accursed Maja of the title of this painting – the liberated seductress who had abandoned the corset as an an unwieldy restraint on female movement, whose male lovers were chosen for their intellect but with little regard to permanence, while her long-term companion was a woman, Ángeles Magret Vilá. She rejected the Catholic faith of her ancestors and instead embraced Buddhism, vegetarianism and morphine, but managed nonetheless to make a considerable fortune which enabled her to retire from the stage in 1930.

Her dancing and striking looks inspired poems by the Basque poet Pio Baroja,[i] the dramatist and later anarchist Ramón del Valle Inclan[ii] and the Nicaraguan born writer Ruben Dario. [iii] This portrait of her as the Maja Maldita is perhaps the truest to her character of all the many images of her in dance poses, sometimes wearing even more revealing costumes. Unlike these photographs, however, Beltran's painting portrays her recumbent, a mysterious seductress; there is no hint of movement or of the source of her fame. She stares into the distance, her vermillion lips emphasising her pale features, her unclothed right arm just touching the guitar that is a feature of so many of Beltran's paintings. Through the darkened window, framed by long translucent fabric, we glimpse a mysterious building placed against a deep blue starlit sky. (x)

[lboogie1906]

Syvilla Fort (July 3, 1917 – November 8, 1975) was a dancer, choreographer, and dance teacher. Born in Seattle, she drew on her African American heritage in her original dance works. American composer John Cage wrote his first piece for prepared piano, Bacchanale, for a dance by her.

She attended the Cornish School of Allied Arts in Seattle as their first African American student after graduating from high school. After spending five years at the Cornish School, she decided to pursue her dance career in Los Angeles, composer William Grant Still, introduced her to dancer Katherine Dunham. She began dancing and touring with the Katherine Dunham Company and learning the Dunham technique, which was rooted in the dance traditions of Africa, Haiti, and Trinidad. She danced with the company until 1945 and was included in the well-known film Stormy Weather. #africanhistory365 #africanexcellence

[the-girl-who-didnt-smile]

RE: Is the actual Baron Samedi sometimes portrayed as bisexual in Haitian Vodou?

Unlike my previous posts, this one is about the actual deity, Baron Samedi.

Previously I had claimed that the actual Baron Samedi is portrayed as bisexual (and a vers) in some places in the world. Upon further investigation, this claim is dubious. I have learned the hard way that books and the web are often unreliable sources of information when it comes to Vodou / Voodoo. 

On Wikipedia, there is a claim that Baron Samedi is portrayed as bisexual in Haitian Vodou:

Gede Nibo's parents are Baron Samedi and Maman Brigitte; Baron Samedi is the leader of the Gede and Barons and is depicted as bisexual dandy or occasionally cross-dressing, wearing a top-hat and frock coat along with a woman's skirt and shoes. Samedi has a tendency toward "lascivious movements" that cross gender boundaries and also imply a lust for anal sex.[14]

The source for this claim is from a book written by Randy P. Conner, titled Queering Creole Spiritual Traditions.

There is an image posted on this Wikipedia article, captioned “Depiction of Baron Samedi, a bisexual lwa.” This image is dated from year 2006, taken from the Island of Salvation Botanica in New Orleans. This botanica is owned by Sallie Ann Glassman, “one of few white Americans to have been ordained [into Vodou] via the traditional Haitian initiation.” 

I am not entirely certain of this, but it seems likely that both Conner and Glassman have confused Baron Samedi with one of the Gede. 

Baron Samedi is probably the single most iconic lwa associated with New Orleans Voodoo. This is ironic, as I have been unable to find evidence that he was actually worshiped in New Orleans prior to the revitalization movement. The revitalization movement of the late 20th century draws heavily from Haitian Vodou. It has been criticized by Haitians for bastardizing their traditions and deities. One of the most common errors is the conflation of Baron Samedi with a different category of deities, called the Gede.   

As far as I can tell, there are three sources which claim that Baron Samedi is portrayed as bisexual and/or gender-blending. These sources are Randy P. Conner, Katherine Dunham, and Zora Neale Hurston.

Randy P. Conner is a gay, Caucasian American academic, described as “an initiate and practitioner of both Haitian Vodou and Reglade Ocho (Santeria), studying primarily with Mama Lola, a well-known practitioner of these African Diasporic traditions.” 

The following is a quote from Conner’s Queering Creole Spiritual Traditions (2014):

Sanmdi is a bisexual and occasionally androgynous dandy, leader of both the Bawons and the Gedes and the spirits of the dead. Married to Maman Brijit, he is the father of Gede Nibo…The Bawon is well known for his lascivious movements, which include both phallic thrusts and pelvic grinds, the latter (and perhaps also the former) indicating a desire to engage in anal intercourse.

A similar quote can be found in Conner’s Cassell’s Encyclopedia of Queer Myth, Symbol, and Spirit (1997): 

Baron Samedi (also Baron Cimitiére, Baron La Croix) in Haitian- and New Orleans-based Vodou, a bisexual and occasionally transgendered dandy, leader of the Barons and the GHEDES, the spirits of the dead. He is married to Maman (or Madame) Brigitte (also known as Gran-N. Brigit)...The Baron is well known for his “lascivious movements,” which include both phallic thrusts and pelvic grinds, the latter (and perhaps also the former) indicating a desire to engage in anal intercourse.

Katherine Dunham was a famous African American dancer and social activist, known for studying dance forms within Haitian Vodou. The following is a quote from Dunham’s Dances of Haiti (1983) (which Conner himself quotes in Queering Creole Spiritual Traditions and Cassell’s Encyclopedia)

One of the common and fearsome possessions is by Papa Gede, whose special emissary is Baron Samedi. Baron Samedi fancies himself quite a dandy, is a heavy drinker, and expresses himself in foul language and lascivious movements. He wears a top hat, a black tail coat, a skirt of cloth or grass, and at times dark glasses. If dark glasses are not available, he may simply wear battered rims without lenses. Baron Samedi's dual sexuality is expressed in gesture and language as well as clothing.

Zora Neale Hurston was an African American anthropologist who conducted research in Haiti and Jamaica between years 1936 and 1937. Due to the proximity to Alastor’s lifetime, I admit to relying heavily on her research. In Hurston’s Tell My Horse (1938), Baron Samedi is described as forcing humans to dress and behave in a “transgendered” manner: 

Baron Samedi delights in dressing his “horses” in shabby and fantastic clothes like Papa Guedé. Women dressed like men and men like women. Often the men, in addition to wearing female clothes, thrust a calabash up under their skirts to simulate pregnancy. Women put on men’s coats and prance about with a stick between their legs to imitate the male sex organs. 

All three of these sources are Americans, who studied Haitian Vodou from an outsider perspective.

In America - and other places outside of Haiti - misinformation is frequently spread about Haitian Vodou. There are some really egregious inaccuracies floating around, such as claims that the actual Baron Samedi is asexual or trans man - obviously wrong! A lot of people confuse Baron Samedi with Papa Gede - or even Gede Nibo! Gede Nibo is so different from Baron Samedi, but sometimes people confuse him with Baron Samedi because he also wears a top hat. A similar thing happens with Papa Legba and Elegua, where the two get mixed up due their shared origin and the similar spelling of their names. The burlesque, aggressively sexual traits typically attributed to Baron Samedi are actually features of Papa Gede, and other members of the Gede. The Baron Samedi of Haitian Vodou seems to have a totally different demeanor, where he is a powerful and serious presence.

Granted, it is possible that Baron Samedi has evolved over time, where the Barons (Bawons) have diverged from the Gede. Afterall, Hurston conducted her research in the 1930s. But judging by the descriptions, American sources may have misattributed queer sexuality and/or gender-blending to Baron Samedi, when it is actually the Gede who are associated with marginalized sexualities and genders. 

If Conner, Dunham, and Hurston are in fact misinformed, I apologize for spreading this misinformation. My knowledge of Vodou / Voodoo is so rudimentary, it’s not even funny… 

I have done a piss poor job of vetting my sources, and need to take responsibility! Due to being predominantly white, LGBTQ communities often have a problem with misrepresenting minority cultures.

Moving forward, I will try to be more careful in my research, so not to misrepresent Vodou / Voodoo as it is practiced across the world.

FULL CITATIONS FOR SOURCES MENTIONED

Conner, Randy P. Lundschien, and David Sparks. Queering Creole spiritual traditions: Lesbian, gay, bisexual, and transgender participation in African-inspired traditions in the Americas. Routledge, 2014, p. 64. ISBN: 1560233516, 978-1560233510

Conner, Randy P., et al. Cassell's encyclopedia of queer myth, symbol and spirit: gay, lesbian, bisexual, and transgender lore. Cassell, 1997, p. 83. ISBN: 0304704237, ‎978-0304704231 https://transreads.org/wp-content/uploads/2021/08/2021-08-04_610b1d2370242_Cassellsencyclopediaofqueermyth.pdf 

Dunham, K. (1983). Dances of Haiti. [Los Angeles, CA] : Center for Afro-American Studies, University of California, Los Angeles, pp. 19-20. ISBN: 0934934118, 978-0934934114 https://archive.org/details/dancesofhaiti0000dunh/page/18/mode/2up 

Hurston, Zora Neale. Tell My Horse. Philadelphia ; New York [etc.], J. B. Lippincott company, 1938. ISBN: 0061695130,  ‎ 978-0061695131. https://www.zoranealehurston.com/books/tell-my-horse/  https://bookreadfree.com/24210/646322 

[axilarycobra]

[Wings of Fire] SandWing Headcanons

I have since updated most headcanons to include religious and historical beliefs so the MudWings and some parts of the SandWing headcanons are missing but it doesn't matter.

SandWings are the tallest tribe due to their long legs and neck.

SandWings have stronger immunity to poison & venom compared to the other tribes; however, a SandWing is only completely immune to their own venom.

SandWings were the first tribe to be known for having animus magic. This is believed because of old SandWing scrolls that show SandWings using magic to do evil things. More on this below.

SandWings are experts at agriculture and are careful with growing crops. They use irrigation systems to maintain these crops and most of them are traded to other kingdoms, making agriculture the biggest industry in the SandWing economy.

SandWing scales differ in color depending on the region of the desert they were hatched in. This is because different parts of the desert have different colored sand which means that SandWings have to have different colored scales in order to blend in. This trait is genetic and if a SandWing couple who are from one region have a dragonet in a different region, their scales will stick out.

SandWings often mate for life; however, no SandWing is judged if they don't.

The SandWing Royal Family is represented by gold.

SandWings often have patterns similar to that of desert animals. This can include stripes, diamonds, speckles, gradients, and rings.

Traditional SandWing music is played with varying-sized drums, split gongs, rattles, shakers, bells, harps, mbiras, and flutes. Varying types of accessories such as gold or silver coins or tassels are also used to make sounds. SandWing music is similar to that of stereotypical African and Latin music.

SandWings are the second most nocturnal tribe, only behind the NightWings.

SandWings are superstitious and believe in dark magic. There is a long history of SandWings practicing dark magic and many believe that this is how animus magic originated. Although dark magic isn't widely practiced anymore in the Kingdom of Sand, SandWing witches are known for being fierce, mysterious individuals that many SandWings fear are still out there.

Common SandWing occupations include merchant, shopkeeper, several types of performance jobs (magician, dancer, snake charmer, etc), tavern owner, traveler, farmer, and rancher.

SandWings are responsible for a large majority of Pyrrhia's historical maps. Cartography was a major occupation in ancient SandWing times.

The SandWing tribe has the highest number of criminals not because of anything related to the dragons themselves but because of how difficult it is to live in the desert. The lack of resources and jobs often leads to SandWings stealing. It is also easy for underground organizations to operate in the Kingdom of Sand because of its huge size with large areas where little to no dragons live.

[kentuckycaverats]

Is there anything in particular about New Orleans that has drawn your eye for use as a domain?

yeah there's a whole bunch!!

i read this book a few years ago, the new orleans voodoo handbook by kenaz filan, about the history of nola through the lens of new orleans voudou, and how as both a faith and a practice derived from those of haitian immigrants to the city, these folk magics are really inextricable from the history of the city overall. im really interested in what voudou means to those who practice it and am captivated by the idea of like, what is life like for kinfolk in a city where there IS belief in the supernatural baked into the history of the city itself? what does that mean for the masquerade?

in vtm canon nola is important to a bunch of different splats; obviously there's a significant kindred presence, especially in the french quarter; the garou have considerable uktena/glass walker/bone gnawer populations, and there's a black spiral dancer and a pentex base there; the mages have two competing chantries and strong technocracy roots; it's a hotbed of glamour for kithain and under the banner of the unseelie court; there are soooooo many wraiths and a large piercers of the veil chapter; and given all the monsters running around, there's a hefty hunter presence and one of the oldest society of leopold cenacula in north america

a lot of vtm games seem to skew pretty white american/european, and while there's a ton of french influence in nola there's also a bunch of really interesting haitian, caribbean, and african american history and mythos to delve into. from what ive seen so far (unsurprising from white wolf) a lot of the canon lore re: voudou and african vampires is super racist so we're gonna retcon that shit real hard.

nola doesn't have an extensive underground sewer system, so the nosferatu warrens are not traditional warrens and i get to figure out a fun alternative for that!

in canon nola hurricane katrina decimated the local kindred population, along with the rest of the city. irl katrina obviously had an impact on nola still felt to this day and i think there's a lot of interesting material to work with there too. what was it like for kine vs kindred vs other kinfolk during that time? how has that history shaped the way supernaturals get by in nola? how did power dynamics shift in the city as a result? and so on

mardi gras/carnival. can you imagine