#dogon people

[altrbody]

The religious beliefs of the Dogon are enormously complex and knowledge of them varies greatly within Dogon society. Dogon religion is defined primarily through the worship of the ancestors and the spirits whom they encountered as they slowly migrated from their obscure ancestral homelands to the Bandiagara cliffs. They were called the Nommo.

The Nommo are ancestral spirits (sometimes referred to as deities) worshipped by the Dogon people of Mali. The word Nommos is derived from a Dogon word meaning "to make one drink." The Nommos are usually described as amphibious, hermaphroditic, fish-like creatures. Folk art depictions of the Nommos show creatures with humanoid upper torsos, legs/feet, and a fish-like lower torso and tail. The Nommos are also referred to as "Masters of the Water", "the Monitors", and "the Teachers". Nommo can be a proper name of an individual, or can refer to the group of spirits as a whole.

Dogon mythology states that Nommo was the first living creature created by the sky god Amma. Shortly after his creation, Nommo underwent a transformation and multiplied into four pairs of twins. One of the twins rebelled against the universal order created by Amma. To restore order to his creation, Amma sacrificed another of the Nommo progeny, whose body was dismembered and scattered throughout the world. This dispersal of body parts is seen by the Dogon as the source for the proliferation of Binu shrines throughout the Dogons' traditional territory; wherever a body part fell, a shrine was erected.

The Nommo allegedly descended from the sky in a vessel accompanied by fire and thunder. After arriving, the Nommos created a reservoir of water and subsequently dove into the water. The Dogon legends state that the Nommos required a watery environment in which to live. According to the myth related to Griaule and Dieterlen: "The Nommo divided his body among men to feed them; that is why it is also said that as the universe "had drunk of his body," the Nommo also made men drink. He gave all his life principles to human beings." The Nommo was crucified on a tree, but was resurrected and returned to his home world. Dogon legend has it that he will return in the future to revisit the Earth in a human form.

The Dogon are famous for their astronomical knowledge taught through oral tradition, dating back thousands of years, referencing the binary star Sirius. In the latter part of the 1940s, French anthropologists Marcel Griaule and Germaine Dieterlen - who had been working with the Dogon since 1931 - confirming this theory. Their astronomical information begs the question - How did the Dogon come by this knowledge? Their oral traditions say it was given to them by the Nommo.

As the story goes ... in the late 1930s, four Dogon priests shared their most important secret tradition with two French anthropologists, Marcel Griaule and Germain Dieterlen after they had spent an apprenticeship of fifteen years living with the tribe. These were secret myths about the star Sirius, which is 8.6 light years from the Earth.

The Dogon priests said that Sirius had a companion star that was invisible to the human eye. They also stated that the star moved in a 50-year elliptical orbit around Sirius, that it was small and incredibly heavy, and that it rotated on its axis.

Initially the anthropologists wrote it off publishing the information in an obscure anthropological journal, because they didn't appreciate the astronomical importance of the information.

What they didn't know was that since 1844, astronomers had suspected that Sirius A had a companion star. This was in part determined when it was observed that the path of the star wobbled.

In 1862 Alvan Clark discovered the second star making Sirius a binary star system (two stars).

In the 1920's it was determined that Sirius B, the companion of Sirius, was a white dwarf star. White dwarfs are small, dense stars that burn dimly. The pull of its gravity causes Sirius' wavy movement. Sirius B is smaller than planet Earth.

The Dogon name for Sirius B is Po Tolo. It means star - tolo and smallest seed - po. Seed refers to creation. In this case, perhaps human creation. By this name they describe the star's smallness. It is, they say, the smallest thing there is. They also claim that it is 'the heaviest star' and is white in color. The Dogon thus attribute to Sirius B its three principal properties as a white dwarf: small, heavy, white.

Source: https://www.crystalinks.com/dogon.html

[chroniclesofnadia111]

The Mothership 🏆

[postcard-from-the-past]

Dogon people from Mali

French vintage postcard

[reasoningdaily]

The Dogon Speak On Healing Black Communities, Contacting Ancestors 

Check out the Ancient Ancestor Space Explorers Dogons - The Dogon Speak On Healing Black Communities, Contacting Ancestors and the Origin of Tribes

[dream-world-universe]

Banani, Dogon Country, Mali: Banani is a village in Mali, populated by the Dogon people. Banani village is situated at the base and on the lower slopes of a mountain ridge. There is a steep road leading up to Sangha. Toro So is spoken in the village. .. Dogon country is a region of eastern Mali and northwestern Burkina Faso populated mainly by the Dogon people, a diverse ethnic group in West Africa with diverse languages. Wikipedia

[bloodflwrz]

These wall artworks in Carl Manfred's Mansion (theory and analysis)

Carl's mansion itself is an amazing location because I can't help but look and analyze every single piece of art scattered across the walls and floor. But these three objects in particular made me curious, I wanted to understand why they were specifically chosen to be placed on that wall. None of them are similar in any way, stemming from different cultures, eras, and material. So, what could they mean? I have an idea, sort of.

I believe each of these three pieces represent our main three protagonists, from left to right: Connor, Markus, and Kara. It represents their identity, their story, their journey. I did some research on these objects, using Google Lens to help point me first in the right direction of the possible inspiration or sources of the pieces, and afterwards my own reading using various art archives, articles, galleries, and museum sites. (I apologize for the wall of text 😅)

1st, Connor:

This seems to be a type of emblem, shield, a coat of arms. A coat of arms is typically adorned and used to represent an entity, and organization, an empire, government, army, or a noble family. Coats of arms are intellectual property, meaning, they cannot be worn just by anybody and flaunted just to feel special, you have to be deserving and privileged enough to display it. Wearing one is a sign of honor and respect, as well as servitude, and with it comes the duty of representing your status and regulating civil law, should you be in a position of policing, legal activity, or combat.

How does this relate to Connor?

Our beloved Android sent by CyberLife has been given orders by his makers, the great and all powerful company that produces every single Android we see in game. His duty is to assist the Detroit Police Department in investigating deviants. This coat of arms, particularly shaped like a shield or police badge, represents Connor's story as a prestigious and advanced prototype Android, with the capability to analyze clues at an inhuman rate and perform combat maneuvers like its child's play. He is not a force to be reckoned with, should he choose to stay a machine, in fact, he IS the law. He is the shield and representative of the company, CyberLife, and its only chance at finding the source of deviancy among their highest-profiting product, Androids. Without Connor, CL is headed straight into nothingness. He must not disappoint Amanda, his handler, and be the loyal subject that he was programmed to be. The infamous blue triangle logo found on every Android's uniform, a symbol of CL, is just a modern version of a coat of arms.

If you look from a Deviant Connor perspective, the police badge/shield-shaped coat of arms could also represent his loyalty to Hank and his protective demeanor. At almost every dangerous encounter alongside his partner, Connor is given the choice to either protect or ignore Hank's safety. Though his priority is to find the deviants, it is his personal mission to protect Hank from harm.

2nd, Markus:

A Marka/Dogon mask, originating from West African ethnic groups (Mali, Ivory Coast, Burkina Faso), particularly the Bambara and Dogon people (and other adjacent groups within the geographic location). This one was a bit difficult to research about, as many masks tend to have ambiguous origins and meaning, but from what I read, these masks tend to represent the coming of age, male initiation, journey into manhood, identity within a society, as well as religious association when used in rituals, sacrifice, and tradition. Some forms of these masks are used in rituals that have a connection with the dead, showing reverence and respect for those who passed on. Practicing remembrance and showing honor to their ancestors are large aspects of their culture with the use of these masks. The masks are also used in traditional healing practices, where they are believed to have powerful spiritual properties that can help cure illness and promote well-being. These handcrafted masterpieces are extremely important in these cultures and are often passed down by generations, signifying the importance of family and bond.

How does this relate to Markus?

These unique masks were primarily made and used by men in West African ethnic groups during the initiations of boys transitioning to men. Much like our Markus, the 'adoptive son' of Carl himself, Markus' innocence and youth is suddenly taken and he's forced into chaos, being harassed by protestors, threatened by Leo, almost permanently shutdown, thrown into the android scrapyard, and has to navigate the world by himself without his father to protect him. He has to mature and leave the comfort of his peaceful and comfy life, and come to terms with the cruelty of the world where Androids are subjugated to abuse and slavery. As a man, no longer a protected child, he takes the responsibility of protection and guidance for his people, symbolizing his 'coming of age' and transition into manhood. He is changed, has endured trauma, and must put on a mask to show that he is still strong and ready to live a life in his new role as a leader. As Lucy puts it, "You had it all, and you lost it all... You've seen hell and now hell lives in you."

Markus' story is closely related to death and the reverence of his 'ancestors': previous Androids who have suffered and died at the hands of humans. His goal as the leader of Jericho is to avenge those that they have lost and fight for those he can yet save. Every deviant's life is unique and special, their stories have meaning, even if they are treated like mere objects and servants by human society. Markus is willing to sacrifice his life in many instances to send a message to the humans, pass on his legacy to Jericho, and afterwards, all of society. His ability to convert is symbolic of a crying, healing, and inspiring message, reaching the furthest reaches of Detroit to those that need it the most. He wants to heal and save his people, bringing them biocomponents and thirium, expanding their sanctuary, arming his people (or family, at this point) with defenses, but in order to do that, he has to be willing to carry the burden of leadership.

3rd, Kara:

The skull of a bull, carved, broken, yet standing strong, thanks to kintsukuroi, aka Kintsugi. Kintsugi is the intricate Japanese art of repairing broken ceramic pottery using powdered gold/silver/platinum to put the pieces together, and display something in a different light, even more special than its original form. The purpose of Kintsugi isn't to hide or disguise the broken figure, but to instead emphasize its history, showing the life that the object had endured. The traditional Japanese philosophy of "Wabi-sabi", often associated with this particular art, describes that beauty can be appreciated even when it's broken and imperfect. There is beauty even in something modest and rough. Even a powerful and enduring beast, like a bull, can be broken down, but its story isn't over, its remains can still be repaired and appreciated if put together by a powerful glue such as gold, or perhaps... Love?

How does this relate to Kara?

Kara, the perfect housemaid Android for domestic work and childcare, is no stranger to being broken. In fact, our first scene with Kara is her being repaired and returned to Todd. Her memory has been wiped clean, she's been made anew, it's almost like nothing has happened, right? Over the course of her story, we learn that Kara has in fact been destroyed, broken, and abused by Todd. How do we come to the realization of her past? Thanks to Alice. Alice, in this case, is her glue, the mold between her cracks and shards. The bond and natural love between Alice and Kara is what keeps her together, alive. Because Kara is a protective mother-figure, the bull, or a cow, whatever you perceive it as, is a perfect symbol for her. Bulls are gentle in their nature, until a trigger sets off their instinct to fight and run you over with their body mass and horns. This is seen in her constant struggle to survive and seek shelter.

We come across two men in particular (out of her many escapes from danger) who set this instinct off, Todd and Zlatko. Both of them want to (or attempt to) break her, wipe her memory clean, and take away the beauty that is her caring nature and deviancy. Just like how mankind has domesticated cattle for their own benefit. Alice brings her back every single time. No matter how much of her body and memory is stripped away, she is back and stronger than before. Kara is a survivor. She can cut her hair, remove her LED, wear ragged clothes as a disguise, but deep down it's still Kara. Her story is shown in her battle scars and changes in her appearance, just like the golden streaks of broken pottery. As long as she has the protective instinct and love for Alice, it'll always be Kara. This is the beauty symbolized by Kintsugi and Wabi-sabi.

---

If you made it this far, thank you! I'd love to hear your opinions and comments on my analysis. This might all be a stretch, but seeing as how the game is littered with references, themes, and symbolism across many scenes, these artworks seemed to standout for a reason, at least to me.

[blackhistorystoryteller]

Diverse African Cultures and Beliefs about Life After Death

Introduction

Africa is a continent rich in cultural diversity and traditions, and this extends to its beliefs about life after death. Across the vast expanse of Africa, there are numerous cultures, each with its own unique perspective on what happens when life on Earth comes to an end. In this article, we will explore some of the fascinating beliefs about life after death that are deeply ingrained in African societies.

1. The Ancestor Veneration of the Akan People (Ghana and Ivory Coast)

In Akan culture, which encompasses the Ashanti, Fante, and Akuapem people, ancestors hold a significant place in the spiritual realm. They believe that after death, the souls of the departed continue to exist and influence the lives of their living descendants. Ancestor veneration involves rituals, offerings, and prayers to keep these spirits content and receive guidance and protection from them.

2. The Reincarnation Belief of the Yoruba People (Nigeria, Benin, and Togo)

The Yoruba people have a belief in reincarnation, where it is thought that the soul of a deceased person is reborn into a new body. The deceased's name may even be given to the newborn as a way of connecting the past and present lives. The Yoruba also believe that the deceased can communicate with the living in dreams and visions.

3. The Eternal Journey in Ancient Egyptian Culture (Egypt)

Ancient Egypt is renowned for its elaborate beliefs about the afterlife. Egyptians believed in a complex journey after death, where the soul faced trials and judgment before reaching the eternal paradise known as the "Field of Reeds." To ensure a successful afterlife, elaborate burial rituals and tombs were constructed, including the famous pyramids.

4. The Importance of Ancestral Connection in Zulu Beliefs (South Africa)

Among the Zulu people, the connection to ancestors is deeply cherished. It is believed that after death, the ancestors continue to play a role in the lives of their descendants. Rituals such as sacrifices and ceremonies are performed to honor and seek guidance from these ancestral spirits. Displeasing the ancestors can bring misfortune, while pleasing them can bring blessings.

5. The Dualistic Beliefs of the Dogon People (Mali)

The Dogon people have a dualistic belief system. They believe that after death, one's soul splits into two parts: one part goes to the ancestral realm, while the other is reincarnated into a new being. This complex system reflects the Dogon's spiritual connection to both their ancestors and the cycle of life.

6. The Spiritual Transition in the Akan-Bono Culture (Ghana)

The Akan-Bono people have a unique belief in the transitional phase after death. It is believed that after a person dies, their soul goes through a period of adjustment before joining the ancestors in the spiritual realm. During this time, the soul is thought to revisit important places and people from their earthly life.:

7. The Burial Rituals of the Senufo People (Ivory Coast, Mali, and Burkina Faso)

Among the Senufo people, the transition from life to the afterlife is marked by elaborate burial rituals. They believe that after death, the deceased's spirit lingers in the vicinity of their burial site. Special ceremonies and sacrifices are conducted to ensure a peaceful journey for the departed and to maintain a connection between the living and the deceased.

8. The Concept of the "Underworld" in San/Bushmen Beliefs (Southern Africa)

The San people, also known as Bushmen, have a belief in an underworld inhabited by spirits. After death, the souls of the departed are thought to travel to this underworld, which is considered a realm of ancestral spirits. The San people often use trance dance rituals to communicate with these spirits and seek guidance.

9. The Immortality Belief of the Himba People (Namibia)

The Himba people hold a belief that the spirits of their ancestors are immortal and continue to watch over the living. They also believe in reincarnation, where the spirit of a deceased person can be reborn into a new child within the same family. This belief reinforces the strong bond between generations.

10. The Role of Dreams in Khoikhoi Beliefs (South Africa)

The Khoikhoi people place great importance on dreams as a means of communication with the deceased. It is believed that dreams can provide insights, warnings, or messages from the spirit world. Special rituals are performed to interpret dreams and receive guidance from ancestors.

11. The Journey to the "Land of the Dead" in Dinka Culture (South Sudan)

Among the Dinka people, the journey to the afterlife is seen as a migration to the "Land of the Dead." They believe that the deceased will join their ancestors in this realm, where they can continue their pastoral lifestyle. Special rites and ceremonies are conducted to facilitate this transition.

12. The Symbolism of the Baobab Tree in Many African Beliefs

Across various African cultures, the mighty baobab tree is often associated with the afterlife. It is believed that these ancient trees serve as a link between the earthly realm and the world of spirits. Many cultures bury their deceased near baobab trees, believing that the tree's roots connect with the spirits below.

Conclusion

The intricate beliefs about life after death in Africa reflect the continent's cultural richness and diversity. From ancestor veneration to reincarnation, from underworld journeys to dream communication, these beliefs offer a glimpse into the deep spiritual connections that African societies maintain with their departed loved ones. Each culture's unique perspective contributes to the fascinating mosaic of African spirituality and traditions.

[babylon-crashing]

Q: what do you think about the art of tarot? does the art motivate you to buy it?

Hmm, speaking only for myself, it has, in the past, made me want to try it myself.

My first deck dealt with Syssk, an alien xenomorph who finds herself stranded in medieval Japan. Later I started on a new project featuring a female Cthulhu-like character (I never really did come up with a name for her) and it was only when I was about halfway through that I realized it was Syssk 2.0, the only real difference being the setting and costumes (Syssk crash lands on Earth in her UFO and, O look, Tentacles also just crash landed in a slightly different looking UFO, huh).

So, I’m trying something different. Instead of having a main character that runs through the story I started working with a pantheon of sea heroes and gods. There are mermaid tarot decks but there has yet to be an ocean-themed deck working with water deities from around the world.

For the wands I decided to focus on Egypt and West Africa. This is a rough draft, but one that has the burden of potential, as they say.

ACE: Mbumba, rainbow serpent of terrestrial waters. [Bantu] TWO: Abena Mansa, sea goddess associated with gold. [Akan] THREE: Erzulie, goddess of sweet water, beauty and love. [Dahomey] FOUR: Mamba Muntu, goddesses of the deep waters and female sexuality. [Bantu] FIVE: Nephthys, goddess of salt water, discoballs and the night. [Egyptian] SIX: Nommo, one of many primordial ancestral spirits that live in the sea [Dogon] SEVEN: Mami Wata, a water loa. [Ewe/ Fon] EIGHT: Yemoja, in rage over the Trans-Atlantic Slave Trade, is the orisha of sea waves and follows her people across the Atlantic. [Yoruba] NINE: Dahomey Amazon warrior weeping over her fallen comrades. [Benin] TEN: Pregnant Oya, orisha of sea storms. [Yoruba] PAGE: La Sirene and her shark [Côte d'Ivoire.] KNIGHT: Sobek, crocodile goddess of the Nile river. [Egyptian.] CONSORT: Unnamed. EMPRESS: Bosompo, primordial embodiment of the oceans and her pet squid, Lil’ Squiggle [Akan]

[ptseti]

The Dogon people of Mali captivate with their mesmerizing masks and dances, offering a window into a world where art and spirituality intertwine. Their masks, are masterfully carved and adorned with vivid colors.

[friendswithclay]

“Removing baked pottery from the fire pit, a Dogon elder dusts off the ash from the vessel that is still warm. Some twenty villages get their pots from Tireli, and the pots can be found as far away as Bandiagara, about twelve miles away.”

From: “Dogon Africa’s people of the cliffs” by Stephanie Hollyman; 2001.

[madamlaydebug]

{💨🛸🙌🏿🙌🏾🙌🏽💨🛸☄️}We’re descendants of the , Nommo, Ancient Anunnaki , Ancient Lemuria ,, Ancient Atlantis , Ancient Sumerians ,Akkadian Empire, Ancient Kemet , Ancient Etruscans , Ancient Akkadian , Ancient Assyrian Empire, Ancient Persia , Anatolian Civilizations, Ancient Kush , Dogon Tribe, Songhai Empire, Mali Empire, Ancient Igbo Tribe , Ancient Americas Olmec, Aztecs, Toltecs, Mixtecs, Zapotecs .Ancient Mayans of Bonampak Chiapas , Zulu Warriors, San Tribe , Moors ( Muurs ) , Washitaw Muurs Melanesian , We’re the original people of Ta meri You’re welcome.

[nogetron]

Nyame, the great weaver of the Akan gods. Nyame was ever present, existing before time flowed. It was by their hands earth was formed, manifesting the spirit of the earth: Asase Yaa. In the form of Nyankopon, Nyame grew intimate with Asase Yaa, with the two creating the sea goddess Bosompo and the rock god Abo. Like Nyame and Asase Yaa before them, Bosompo and Abo gave birth to the Abosom, the gods of the world, each sharing a portion of Nyame’s power. After a night of intimacy between Nyame and Asase Yaa, the earth goddess gave birth to Nyame’s children, Bia and Tano along with the spider Anansi. Nyame sought to create something himself, forming the embodiment of death Owuo. Owuo’s first action upon being born was to kill his creator. Though Nyame was felled, their unmatched power greatly dwarfed that of meager death, resurrecting themselves. Nyame greatly adores their son Anansi, together the two created humanity and after a test Nyame gave the spider god Anansi all the world’s stories. Nyame consists of a trinity with Odomankoma and Nyankapon, the two are separate aspects of the same divinity. Odomankoma is the force by which the universe was created, Nyankapon however is the personality or ego to that force, and Nyame encapsulates all of them a supreme and ineffable existence.

Nyame is one of the many omniscient supreme gods in Africa, placing Nyame with the Egyptian Ra, the Dogon Amma, the Yoruba Olorun, the Malagasy Zanahary, and the San Kaggen just to name a few. Nyame’s omnipotence can also connect him to the supreme gods of other lands, correlating with the Canaanite El, the Chinese Shangdi and the Slavic Rod. Nyame has many names and titles, some of which could’ve started off as separate regional forms that were absorbed back into Nyame. The Fante patron deity Bobowissi is believed to have originated as a regional form of Nyame, possibly focusing more on Nyame’s connection to storms, but with the contact with other Akan people and his own development Bobowissi became its own god separated from Nyame. Each of their names have meaning, Nyankapon translates to “the great Nyame”, Odomankoma translates to “creator” or “the only one who gives the universe” or “infinite”. Nyame holds many epithets as well, Odomankoma wuo and Oboo-wuo translates to “creator of death”, Oboo nkwa translates to “creator of life”, Borebore means “architect”, Amaomee translates to “giver of plenty”, Otumfoo means “the powerful one”, Amowia translates to “the sun giver”, and Opanyin translates to “the great ancestor”. One of Nyame’s popular titles; Ananse Kokuroko, translates to “the great spider”, leading some practitioners to believe that Nyame was a spider god, similar to their son Anansi. Asase Yaa is sometimes believed to be the feminine manifestation of the Nyame trinity, with Nyankapon being the masculine.

[creature-wizard]

https://youtu.be/U8NNHmV3QPw?si=6aInyR5QVTAT3z0R Watch if you're bored but you might be surprised 🤷🏻‍♀️.

It's about spirit science

GHJKSD when you said this video was about Spirit Science, I thought you were gonna like, link to a video talking about how the Spirit Science guy Jordan Duchnycz is a rapist or his weird obsession with Emma Watson or his antisemitic claim that Jews come from another planet. I didn't expect you were going to link to like, an actual Spirit Science video.

In brief, what Jordan's putting out here is straight-up baloney. A lot of it's pretty bog-standard New Age pseudohistory based on unsubstantiated conjecture, misinterpretation of various mythological traditions, and shit somebody just pulled straight from their ass. Not only is there no actual evidence to support any of the stuff he's putting out there, the actual evidence we do have inevitably precludes it.

Here are some links that explain why and how we know that people like Jordan are just wrong:

The Sirius Mystery: did the Dogon know about Sirius B?

The Truth About Atlantis

Atlantis @ Bad Archaeology

The Weird Case of Atlantis-Mu in the Madrid Codex

Lemuria, the weirdest continent that never existed

Naacal @ Wikipedia

Close encounters of the racist kind

The Ancient Astronaut Hypothesis Is Racist And Harmful

Zechariah Sitchin @ Bad Archaeology

"The Emerald Tablets of Thoth": A Lovecraftian Plagiarism

Left- vs. Right-Brained: Why the Brain Laterality Myth Persists

Are the Egyptian pyramids aligned with the stars?

Criticisms of Drunvalo Melchizedek @ Wikipedia

Detailed deconstruction of the "face" and pyramids on Mars claims

"Christ" @ Wiktionary

"Allah" @ Wiktionary

Charles Hapgood @ Wikipedia

It’s better light, not worse behaviour, that explains crimes on a full Moon

Sphinx water erosion hypothesis @ Wikipedia

Egyptian Hieroglyphs @ World History Encyclopedia

Predynastic Period in Egypt @ World History Encyclopedia

Sumer @ World History Encyclopedia

Debunking the Myth: The Council of Nicaea and the Formation of the Biblical Canon

First Council of Nicaea @ Encyclopedia Britannica

Did Jesus Go to India? A Modern Gospel Forgery

Also, the fact that Jordan appeals to channeled information is a massive red flag. Channeling is fun and sometimes produces some interesting things, but a source of reliable information it is not.

He also claims that a pole reversal makes the planet start spinning the other way, which is literally not how pole reversals work at all.

And of course, Jason's claim that thirteen powerful families are controlling the world is that general conspiracy theory shit derived from The Protocols of the Learned Elders of Zion, early modern witch panic, and blood libel. The whole thirteen families thing in particular comes from Fritz Springmeier, a far right conspiracy theorist who proudly cites other hateful kooks like Edith Starr Miller and Alexander Hislop and basically claims anything that isn't good wholesome Christian entertainment is actually Satanic programming.

Basically, Jordan Duchnycz is just another New Age conspiracy theorist pushing the same old garbage as loads of others like him.

[harpagornis]

Kizazi Moto review

Kizazi Moto: Generation Fire is an anthology of animated shorts from studios all over Africa, with the theme of afrofuturism and science fantasy (mixing frequently indigenous spiritual beliefs with the tech, and many shorts are actually about gods or spiritual beings). It's a shame that the project is attached to Disney, because this is one of the best anthologies I've seen in a long while.

So let's review the individual shorts.

Herderboy

By Uganda's Raymond Malinga, this portrays the story of a boy trying to join a band of herders, which harvest kyber crystals from cyborg cows and are under constant attack by spirits (read dark side hyenas). It's a good start to the anthology; the CGI is bright and makes good use of color, and it has a nice twist at the end.

7/10

Mkhuzi the Spirit Racer

By South Africa's Simangaliso Sibaya and Malcolm Wopé, this one bears a bright and joyous 2D animation. It features a half-human half-something boy who struggles with his Zulu identity, and that all comes crashing down in a race against gentrification. It's a delightful short with beautiful visuals and actual incorporation of cultural themes into the narrative.

9/10

Moremi

By Nigeria’s Shofela Coker, this is a pretty bleak looking CGI short not out of place in Love, Death & Robots. Long ago, soul stealing giants forced a woman to construct magical machines by giving her son's heart to the gods; this is about the summary you're gonna get without getting into heavy spoilers. A delight if you're into mythology as there's quite a few allusions to Nigeria's folklore, but I can see people getting a bit confused and the visuals can be grating at times.

6/10

Surf Sagoma

By South Africa’s Nthato Mokgata and Catherine Green, in a future where sea levels rose and mutant octopi lurk in the depths a boy is peer pressured into surfing in dangerous waters. I have to say, while this has a happy ending it is rather bleak and the CGI visuals are not particularly pleasing.

5/10

First Totem Problems

By South Africa’s Tshepo Moche, we're back to 2D, this time more Disney-esque. If I had to describe this, it'd be like a mixture of the first half of Brother Bear and Coco. It's pretty fun, though a bit lacking in substance and the family feuds can get grating.

7/10

Mukudzei

By Zimbabwe’s Pious Nyenyewa and Tafadzwa Hove, an influencer desecrates Great Zimbabwe, only to be taken to a timeline where it never fell to colonialism and became basically Wakanda. The concept alone is amazing, though the story itself is rather generic.

8/10

Hatima

By South Africa’s Terence Maluleke and Isaac Mogajane, this is by far my favourite of the shorts, it features the tragic conflict between merfolk and humans, with a Black Panther 2 reveal at the end. With stellar 2D animation and allusions to Dogon mythology, as well as a good solid plot where the reveal has just the right amount of foreshadowing without becoming obvious.

10/10

Stardust

By Egypt's Ahmed Teilab, I had the highest expectations for this one, being the only Middle Eastern short in the mix. It's an alright story, I really loved the science fantasy twist on astrology by just being handed a "destiny" in a tube with stars inside. The protagonist naturally choses her own fate over the manufactured ones... though getting there is quite spoilerific.

8/10

You Give My Heart

By South Africa’s Lesego Vorster, this is another return to 2D animation and the second one about influencers amusingly enough. The plot kicks off in a competition in which the human contestants can ascend to godhood. Godhood is very much treated like being an influencer, and amusingly one of the previous contestants was demoted by typing in all caps. Overall pretty fun and the animation is gorgeous, though the characters designs can get a bit ugly.

9/10

Enkai

By  Kenya’s Ng’endo Mukii, the final short is done in a CGI mimicking stop motion, which combined with the stellar coloration and lighting makes for a stunning visual experience. This too deals with the divine, this time the young Enkai seeking to become a creator deity like her mother. There is a big plot twist that I will not spoil, and recontextualises the whole short.

9/10

Conclusion

I give the overall anthology 9/10; barring a few hiccups, these are wonderful stories from Africa's many creative voices. Again, pity Disney has a grasp on this.

[shewhoworshipscarlin]

Masquerade vest of the Dogon people, 1900s, Mali.

[artifacts-archive]

Male Figure with Raised Arms

Dogon peoples, 14th–17th century

The most distinctive subject rendered by Dogon sculptures is that of a single figure standing with raised arms. This posture has usually been interpreted as a gesture of prayer—an effort to link earth and heavens—and it has been suggested that it may represent an appeal for rain. This masterpiece of Dogon figurative art depicts a man with a well-modeled body in a naturalistic stance. The artist has carefully rendered the figure's musculature, anatomical detail, and body ornament. His stylized beard identifies him as an elder and an individual whose age and experience entitle him to participate in the most important religious, political, and social affairs of Dogon society. The figure wears wristlets, armlets, and anklets that indicate his status, as well as a belt and neck pendants resembling leather talismans that also suggest his spiritual importance.