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Bracelet africain Massai ::: Timeless Fineries
https://www.timeless-fineries.com/collections/bracelets-africains-massai
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Cliché Then and Now
An analysis of the Fraggle Rock episode "Mokey, Then and Now" and how stereotypes permeate our perceptions
Disclaimer: I am not calling for a disavowal of the show, nor am I implying the creators were intentionally racist. I am also not African, so there are likely things I got wrong or missed out on.
Special thanks to @jazzyjuno for contributing to the essay and @madamegemknight for helping me compile screenshots!
— ☆ —
When I first watched the Fraggle Rock episode “Mokey, Then and Now”, I laughed at the usual wackiness and welcomed the surprise of a dynamic between Mokey, Boober and Wembley. However, a strange discomfort lurked at the back of my head once they traveled to the past and met their ancestors. I couldn’t understand why at first when the episode seemed to radiate nothing but the fun I’ve come to expect from this show. Then, the first song came on.
youtube
I looked up the lyrics to confirm what I had heard, and to my disappointment, I didn’t mishear. This is one of many examples of pop culture’s reference to Vodou, a widely misunderstood religion from Haiti that garnered an unfair reputation for being “dangerous” and “demonic”, and like a lot of media back in the day—even still today—Fraggle Rock utilized this to create a mystifying atmosphere with a sinister undercurrent. While the portrayal is not as negative as the caricatures surrounding it, it is still a questionable usage of an already stigmatized religion.
(From the first verse)
Who do you do? We do voodoo
(We do voodoo)
Who do you do? We do voodoo
(Who do you do?)
(From the chorus)
Eye of bat, ear of toad,
Hoppin' down the dusty road,
Lizard, gizzard, beetle stew,
These will bring good luck to you.
It's true... True Voodoo!
Caterpillar, caterwaul,
Crawling up the garden wall,
Song of shadow, air of rain,
These will make you strong again.
It's true... True voodoo!
It wasn’t just the lyrics that caught my eye. Funnily enough, I went to the comments section of the music video, and I saw someone say this.
This person is not the only one who made the connection. So have I, and that is because the instrumentation sounds like an amalgamation of different African music genres. The beginning shots even showed the past Fraggles playing drums which look similar to the djembe, a percussion instrument from West Africa.
I had originally thought the instrumentation derived solely from Afrobeat, but my friend Juno pointed out how the creators had blended music from different cultures together to create what was commonly identified as tribal music, making it difficult to pinpoint a specific genre it was emulating. She even caught similarities to music outside of Africa, namely the Axé genre from Salvador, Brazil.
Once that link had been established, I realized why I felt uncomfortable with the past Fraggles. The creators of this episode likely meant to play on generic caveman stereotypes, but in doing so, they accidentally emulated elements of African culture and their stereotypes.
• African Influences in the Past Fraggles' Culture
Take a look at the clothing that the past Fraggles wore. Their accessories and colorful patterns allude to tribal African clothing, specifically Maasai bead necklaces from Kenya and Tanzania, and other jewelry they wear are made from natural materials such as stones, plants and hay.
Covering hair is a very common practice in many African countries such as Nigeria, Ghana and Zimbabwe to the point the clothing they use to wrap their heads has its own name which is a headwrap. While the hats that the past Fraggles wear aren’t explicitly headwraps, the past Fraggles demonstrate a reverence of covering their heads to the point when Mokey accidently cited a word to force them to take their hats off, they cried out in despair.
Moreover, when people depict Africans in media or simply imagine them, Africans are often imagined as bald which is a consequence of the generalization of an important part of ancient culture and the spread of ideas propped up by eugenicists. Guess what happens when the past Fraggles take their hats off.
The past Fraggles operated under a monarchy under the “Great and Wondrous leader” Fishface Fraggle whose presentation screams of what an average person may think of when visualizing an African king. His sceptre is carved like an Asante linguist staff—which, while not held by the king, is closely related to the king—and his throne has a loose resemblance to a palanquin which, while not exclusive to African culture, is used in Ghana. To add onto the African king imagery, the past Fraggles briefly showed off fans in the first song which are associated with the king’s fan bearers in Egypt.
• The Poor Implications
On its own, the past Fraggles having African influences in their culture isn’t an awful idea. It only becomes a problem when those influences are being used in a context which further perpetuates African stereotypes.
With all of this in mind, Boneface Fraggle suddenly takes on the “savage caricature” image which depicts Africans wearing bones in their nose and speaking in “broken” English.
It wasn’t just Boneface who spoke like this. There were multiple instances where the past Fraggles didn’t follow General American English and chanted caveman speech which has been associated with Africans to imply their lack of articulation and therefore inferiority.
The savage and uncivilized stereotypes are pushed further when the past Fraggles act in an unsavory way. For instance, they have outlawed laughter, even though it is a completely natural act, and imprisoned a Fraggle for breaking this law.
When Mokey is proven to not be Blundig Fraggle as she claimed to be, they immediately called for her, Boober and Wembley to be imprisoned and tied to a rock for what is implied to be eternity.
• Why Should We Care?
After all, the creators likely didn’t consciously draw inspiration from African cultures, nor did they intend to enforce these stereotypes. In fact, I proposed they were likely focusing more on caveman imagery.
That’s the thing though. Stereotypes, especially racial ones, are ingrained in us so deeply that we can subconsciously be influenced by them when we create and enjoy art connected to their subjects. Caveman stereotypes have a lot of overlap with African stereotypes, so in the creators attempting to portray one image, they accidentally invoke another.
In spite of my speculations on them drawing from cavemen, we cannot be completely sure of the intentions of the creators when trying to portray the past Fraggles as from what I can tell, they had not made them public. Regardless of what they intended, that doesn’t erase that the culture of the past Fraggles can be interpreted as a cumulation of African stereotypes.
We may not even remember where stereotypes originate from as they are a gross oversimplification of observations from our ancestors, yet these stereotypes stick with us and our culture even if we aren't actively thinking about them. Believing and passing on generalizations is a lot easier than thinking of all the nuances of a subject and researching where these generalizations came from.
Let me make it clear: you are not a bad person for not noticing before. The creators are not bad people for unintentionally perpetuating these stereotypes. This isn’t an issue with individual morality. Stereotypes are, by their design, meant to go unchallenged for literal centuries, and people aren’t meant to ponder over their validity. They are presented as simple truths so that we won’t have to think about why they factor into how we treat and think about other people, and we won’t have to confront the prejudice that they can cause.
This is why we have to actively call out stereotypes when we do notice them because how else will we ever stop believing them so easily? If we never question why we believe and enforce them, how can we undo their harm? Even something as small as pointing out when stereotypes are used in a TV show or calling out someone who uses them for their tasteless jokes can lead to bigger changes such as dismantling the racism which benefited from stereotypes.
• So What Do We Do About It?
Moving forward, we need to be more mindful about how we portray subjects in our art to ensure we can explore them with the nuance they need and to ensure that marginalized groups aren't harmed by our art. We also need to be aware of when the media utilizes these stereotypes and how they are presented in the media’s context. Recognizing harmful portrayals in others’ work can help us stay vigilant when making our own art, and we can also help each other realize our own shortcomings and minimize the harm done in the future. We live and learn then, we can live and learn now.
#i hope you found something useful out of this! or at the very least i hope you understand where i'm coming from#and as always i am open to corrections; feedback; and other forms of discussion on this post#fraggle rock#the muppets#african culture#stereotypes#racism#media analysis#media criticism#essay#chris p fried rambles#long post
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Sept 18-24, 2023. Pardamat Conservancy
At Brackenhurst breakfast I met up with the other 6 volunteers. There were three young women from UK and one man from Belgium. So along with Joanne and myself we were 7 to travel to the Pardamat conservancy where the base camp was situated.
We were loaded onto a large passenger van that held us all nicely but no room for luggage. A separate vehicle had been allocated for that. Our first stop was at a curio shop/rest area with a lookout over the vast Rift Valley, the cradle of mankind as Louis Leaky had found the earliest fossil remains of man. Conversation flowed at first as we learne about each other. After a few hours we became more quiet looking at the scenery and the villages we passed by.
Herds of cattle an shoats (sheep and goats) grazed on the road shoulders and in and between buildings. The towns were one story little open fronted stores selling everything imaginable. Quite a hodgepodge of goods, people and animals. Many of the Maasai were colorfully dressed in shukas (wraps usually in a red or blue and green plaid design tied over their shoulders and a swathe of material usually red tied around the torso and body, knee length. Miriads of multicolored beads around the necks and as bracelets and leg bands adorn them. Dangling small discs of bright metal hang from the beaded belts, catching the sunlight and reflecting the colors around them. Women were dressed in western clothes sometimes but often in Kanga cloths tied around the waist, topped by a blouse of another hue and pattern with another brightly designed Kanga cloth over their shoulders.
As we left more populated areas behind the gorgeous plains of Kenya came into view with small thorn trees and acacias and brush. Much was fenced with electric wire fences. It was always a joy to me to see the unfenced areas as I knew there the animals could pass freely.
I can see I am writing a book here so I better condense to try to give you the high lights, or you will say, “this is to long, forget it!”
We arrived at the transfer point after about 5 hours of riving. Here the camp vehicles came to pick us up and it started to rain. One of the vehicles did not keep out the rain very well so we switched to the other and stowed all the luggage in the rather leaky one. Fortunately, after a short while, the rain stopped so the luggage did not get too wet. I was in that vehicle in the front seat as the other could not fit me in. After passing through part of Naboisho conservancy we came to the gate for the Pardamat conservancy where we waited fro a fellow to come out of the nearby hut and open the gate. Soon after passing by fields and fenced areas and places were the fences had been removed, and Masai homes and bomas and seeing lots of cattle and shoats, we bumped along heading north to some hills where our camp was perched.
It is new; finished in January 2023, a space for 120 people; students of the guiding school, us volunteers, researchers, and staff. the dining room holds 120 people. It is really lovely although a lot bigger than what I was used to last year in Naboisho.
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https://www.wakuda.co.uk/
Discover the Beauty of African Handmade Gifts
African handmade gifts are more than just items; they are a testament to the rich cultural heritage and craftsmanship of the African continent. These unique pieces often carry stories of tradition, skill, and creativity passed down through generations. Whether you are looking for a meaningful gift or a beautiful addition to your home, African handmade gifts offer a diverse range of options that reflect the vibrant cultures of Africa.
Why Choose African Handmade Gifts?
Unique and Authentic
Each African handmade gift is a unique piece of art, crafted with care and precision. From intricately woven baskets to hand-carved wooden sculptures, these items are made by skilled artisans who infuse their creations with cultural significance and personal touch. Owning an African handmade gift means possessing something truly one-of-a-kind.
Support Local Artisans
Purchasing African handmade gifts directly supports local artisans and their communities. Many of these craftsmen rely on their skills as a primary source of income. By buying their products, you contribute to the sustainability of their livelihoods and help preserve traditional crafts that might otherwise be lost.
Sustainable and Eco-Friendly
African handmade gifts are often made from natural and sustainable materials, such as wood, clay, beads, and textiles. These materials are sourced responsibly, ensuring minimal impact on the environment. Additionally, the handmade nature of these products means less reliance on mass production and industrial processes, making them an eco-friendly choice.
Cultural Connection
African handmade gifts offer a tangible connection to the diverse cultures and traditions of the continent. Each item reflects the artistic expressions and heritage of its creator. Whether it's a piece of jewelry, a decorative mask, or a textile, these gifts provide a window into the rich tapestry of African life.
Types of African Handmade Gifts
Jewelry
African handmade jewelry is renowned for its beauty and diversity. From beaded necklaces and bracelets to intricate metalwork and gemstones, African jewelry often incorporates traditional symbols and designs. These pieces make for stunning accessories and meaningful gifts.
Textiles and Clothing
African textiles, such as kente cloth, mudcloth, and batik, are celebrated for their vibrant colors and patterns. Handwoven and hand-dyed, these fabrics can be used to create clothing, home decor items, or accessories. Wearing or displaying these textiles is a way to celebrate African artistry and culture.
Home Decor
African handmade home decor items include everything from hand-carved wooden sculptures and masks to woven baskets and pottery. These pieces can add a touch of African elegance to any space, serving as conversation starters and adding cultural depth to your home.
Traditional Crafts
Many African regions are known for their distinctive traditional crafts, such as Zulu beadwork, Maasai jewelry, and Tuareg leatherwork. These crafts often have cultural and symbolic significance, making them valuable keepsakes and thoughtful gifts.
Where to Find African Handmade Gifts
Local Markets and Shops
If you have the opportunity, visiting local markets and shops in African communities is a wonderful way to find authentic handmade gifts. Engaging with the artisans and learning about their craft adds a personal dimension to your purchase.
Online Retailers
Many online retailers specialize in African handmade gifts, offering a wide selection of items from different regions. These platforms often provide detailed descriptions and background information about the artisans, ensuring that you make an informed and ethical purchase.
Cultural Festivals and Fairs
Cultural festivals and fairs celebrating African heritage often feature stalls and exhibitions showcasing handmade crafts. These events are great opportunities to explore a variety of gifts and meet the artisans behind the creations.
Conclusion
African handmade gifts are more than just beautiful objects; they are a celebration of culture, tradition, and craftsmanship. By choosing these unique pieces, you not only enrich your life with authentic art but also support the artisans who keep these traditions alive. Whether you're looking for a special gift or a meaningful addition to your home, African handmade gifts offer a world of possibilities.
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The Role of Jewellry in Cultural Traditions
Jewellry touches every culture for hundreds of years. More than just pretty, jewellry often means more. It shows status, money, faith, and important life events. We'll look at how different cultures use jewellry. We'll see why it's so important to them.
The Story of African Beadwork:
More Than Art: Beads are not merely for decoration across African societies. They hold significant meaning, expressing identity, standing, and dialogue. Take, for example, the Maasai community from Kenya and Tanzania. They cleverly use vibrant beads to represent various social aspects. What the beads look like and what shades they are can hint at if someone is married, how old they are, and where they stand socially in the tribe.
Indian Bridal Jewellry: Not Just Pretty, But Meaningful:
Indian bridal jewellry is more than just decoration. It's part of the wedding and stands for good fortune, charm, and safety. Every item is important, from the maang tikka on the bride's forehead to the payal on her feet. The mangal sutra necklace is another crucial piece. The groom ties it during the ceremony. It shows that the bride is married and is thought to keep the marriage safe from harm.
Jade Pieces from China: A Snapshot of Goodness and Righteousness:
Loved for millennia in China, jade is a symbol of pure beauty, elegance, and solid morals. Jade ornaments like bracelets and charms are popular gifts, representing well-wishes and safety. It's also thought to keep harm far and bring equilibrium and unity to the life of the one wearing it.
Heirloom Jewells in Europe: Linking Past and Present:
In various European societies, jewells frequently find their way from one generation to the next, preserved as family treasures. These items hold value not just from their skillful crafting and high-quality materials, but also from the family tales and remembrances they enshrine. Wearing these heirloom jewells during notable events pays homage to forebears while affirming the family's ongoing bond and lineage.
Gold in the Middle East: A Sign of Wealth and Standing:
Gold trinkets in Middle Eastern traditions are a vivid sign of luxury and social standing. They are commonly part of wedding dowries, signifying the family's affluence. The detailed patterns on Middle Eastern gold trinkets mirror the vibrant cultural legacy and artistic customs of the area. Gold trinkets are also viewed as a safe asset and a type of financial safety.
The Art of Kintsugi: Honoring the Broken:
Kintsugi emerges from Japan. It's a method that mends shattered pottery using a blend of lacquer and precious metal dust such as gold, silver, or platinum. The same technique also applies to jewellry. This process underscores the appeal of flaws and champions repair over disposal. As a symbol, Kintsugi jewellry communicates grit, evolution, and the charm of faultiness. It mirrors the Japanese mindset of wabi-sabi.
Shell Accessories of Pacific Islanders: A Link to Earth and Heritage:
Shell adornments in plenty of Pacific Island societies signify a profound bond with nature and lineage. These shells are transformed into various items such as necklaces, earpieces, and ornamental headwear, representing the crucial role the sea plays in their existence. Often, these articles act like protective charms, creating a spiritual connection between the wearer, their forefathers, and the environment.
Conclusion:
Jewellry holds a special spot in many cultures, standing for more things than just aesthetics. From the detailed African bead designs, and India's meaningful wedding gems, to the sacred turquoise of Native Americans, each piece carries a tale of culture, lineage, and principles. Recognizing what jewellry means culturally lets us see its actual worth and the deep customs it showcases.
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Indigenous Jewellery: Celebrating Culture and Craftsmanship
Indigenous jewellery is not just an accessory; it is a vibrant expression of culture, history, and identity. Created by Indigenous peoples around the world, these pieces are rich with symbolism and tradition, reflecting the deep connections between artisans and their heritage. In this blog, we will explore the significance of Indigenous jewellery, its unique craftsmanship, and the importance of supporting Indigenous artisans.
The Cultural Significance of Indigenous Jewellery
Indigenous jewellery serves as a powerful medium for storytelling and cultural expression. Each piece is often imbued with meanings that go beyond its aesthetic appeal. Symbols, materials, and designs used in the jewellery can represent various aspects of life, such as spiritual beliefs, social status, and historical events.
For example, in many Native American cultures, turquoise is a cherished stone believed to bring protection and good fortune. In Australia, Aboriginal jewellery often incorporates natural elements like seeds, shells, and feathers, each telling stories of the land and the people. Maori bone carvings from New Zealand are renowned for their intricate designs that carry deep spiritual significance, such as the hei matau (fish hook), symbolizing prosperity and safe travel.
The Craftsmanship Behind Indigenous Jewellery
The creation of Indigenous jewellery is a meticulous process that involves traditional techniques passed down through generations. These artisans use locally sourced materials like metals, stones, beads, and organic elements, which are carefully crafted into unique pieces.
The skills required to create Indigenous jewellery are often learned through apprenticeships within the community. This hands-on training ensures that traditional methods are preserved and respected. Techniques such as beadwork, weaving, carving, and metalworking showcase the artisans' expertise and their intimate knowledge of their materials.
For instance, the intricate beadwork of the Maasai people of East Africa is known for its vibrant colors and patterns, which signify various aspects of their culture. In the Arctic regions, Inuit artisans create beautiful pieces using materials like walrus ivory and caribou antler, reflecting their deep connection to the natural world.
Supporting Indigenous Artisans
Purchasing Indigenous jewellery is more than just acquiring a beautiful piece; it is a way to support and sustain Indigenous cultures and economies. By buying directly from Indigenous artisans or through fair-trade organizations, you contribute to the preservation of traditional craftsmanship and provide economic opportunities for Indigenous communities.
However, it is crucial to ensure that the jewellery is authentically Indigenous and ethically sourced. Many mass-produced imitations flood the market, often exploiting Indigenous designs without proper credit or compensation. Supporting reputable sources helps to combat cultural appropriation and ensures that the benefits go directly to the artisans.
Conclusion
Indigenous jewellery is a celebration of culture, identity, and artistry. Each piece tells a story, crafted with skill and deep cultural significance. By choosing to support Indigenous artisans, we not only adorn ourselves with beautiful, meaningful pieces but also honor and preserve the rich heritage they represent. As we wear these pieces, we carry with us the stories and traditions of the people who crafted them, fostering a deeper appreciation and respect for Indigenous cultures worldwide.
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The Timeless Elegance of Women's Anklets
In the reign of timeless accessories, anklets have emerged as a symbol of grace, femininity, and style. In this blog, we'll go through the world of women's anklets, exploring their rich history, diverse styles, and tips for choosing the perfect one for you.
A Walk through Time:
The origin of anklets can be traced back to ancient times when they were worn by women in various cultures. In ancient Egypt, anklets were considered a symbol of social status and were often adorned with intricate charms. In South Asia, anklets, known as "payal" or "pajeb," have been a part of traditional attire for centuries. In some cultures, anklets served as symbols of wealth and status, while in others, they held spiritual significance. Over time, anklets have become a global fashion statement.
Global Glimmer:
Today, anklets continue to be a cherished part of traditional attire around the world. The Maasai of Kenya adorn their ankles with vibrant beaded anklets, each color and pattern carrying specific meaning. In India, payal, the melodious anklets worn by brides and dancers, add a rhythmic tinkle to their steps.
Styling Your Story:
Women's anklets come in a countless of styles, catering to diverse tastes and preferences. Here are some popular styles that have captivated fashion enthusiasts:
Chain Anklets: Simple and elegant, chain anklets are a classic choice. They can be crafted from various materials like gold, silver, or stainless steel, making them versatile for both casual and formal occasions.
Festival Fun: Adding a bohemian touch to any outfit, get playful with statement anklets featuring feathers, or vibrant beads at your next festival. They are perfect for summer days or beach outings, exuding a laid-back and carefree vibe.
Anklets with Charms: Personalized anklets featuring charms hold sentimental value for many. From initials and birthstones to symbolic charms, these anklets allow women to express their individuality.
Anklets with Gemstones: For those who love a touch of glamour, anklets adorned with gemstones add a sparkling dimension to any ensemble. Whether it's a single gem or a combination, these anklets are perfect for evening events.
Toe-Ring Anklets: A fusion of toe rings and anklets, this style adds an unconventional and trendy element to your accessory collection.
Beach Bliss: Let your anklet chime with the ocean breeze by pairing it with sandals or barefoot steps on the sand.
Anklets are more than just adornments; they are whispers of faraway lands, symbols of tradition, and expressions of personal style. So, embrace the clinking charm of an anklet and let it tell your story, one beautiful step at a time.
Whether chosen for their aesthetic appeal, sentimental value, or cultural significance, anklets continue to grace the ankles of women, adding a touch of allure and personality to their overall style.
For more, you can visit: https://rawshans.com/
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Beads with a Purpose: The Impact of Shopping SAWA SAWA Ornaments
Shop Ornaments From the dawn of time, the Maasai and Samburu tribes have been masterful artisans, creating stunning beads from natural materials like wood, gems, rocks, bones, and more. These beads hold significant cultural importance, with each color and pattern carrying a unique message. Today, these tribes continue their ancient traditions, even as the world around them changes. The…
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You know you like bead work.
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Indigenous African Beadwork Distinctions
I love looking at African beaded jewelry through the lens of what makes it culturally distinct as someone living in the diaspora- which is relevant bc when you look up ‘beaded jewelry’ you get NA Indigenous designs and white people’s interpretation of said designs, mostly. The prior isn’t a gripe, since I’m currently living on/in Turtle Island and that’s the Indigenous culture here. As someone with African heritage though and as a bead artist, the differences are of course really important. Pattern and symbol have cultural meanings and we always have to know what we are doing and what we aren’t doing; and as someone in the African diaspora specifically through enslavement there’s some nuance as far as what I will do and what I won’t, what I have ties to and what I still do slightly differently out of respect and because I am also free from certain constraints.
On the one hand, African beadwork is distinguished from TI beadwork by pattern (though certain patterns like the rainbow, which is pretty much universally a Big Deal and which features heavily in various African Indigenous cultures, still show up) and thus color. There’s also the fact that only *some* of African beadwork is done with small beads and plenty of it actually relies on large / pony beads moreso than I usually see with NA Indigenous beadwork. Like Ifa eleke need large beads-
And otherwise there are lots of similarities because Indigenous People Doing Stuff With Beads often follows a similar logic wherever there are beads. So we also:
Though a lot of times we go CHONKY w it:
And of course
But one of the things I think is really distinct and I love a lot since I’ve been working with this material since I was a kid, is the addition of wire as a beading element leading to the concept of African beading including lots of collars and earrings with structures owing themselves to the addition of wire (especially in Maasai collars). Like:
And I’m curious as to when it became a cultural staple or what would have been used before wire, bc I know there are other things like horse hair for instance that can to a point provide the firm, springy form achieved here.
Another thing that definitely stands out is the breast piece collars & capes
especially Zulu beadwork-
Of course there’s always:
On a whole nother level.
Before I go, this post features primarily Maasai and Zulu beadwork, here is some Xhosa all of which is incredibly fleeky bc Xhosa color combos are icy af but looking at the collars always reminds me how many of the old pieces are still in museums
Of course my whole point here is exemplified by the fact that when I looked up ‘ndebele stitch’ to give an example for the end of this post, I find this:
And it’s like... you know I’ll give that techniques can travel and spawn bc they’re a result of action and geometry and eventually ppl in other places will derive similar approaches and actions through shared human consciousness. I’m not mad that a 2 bead pattern is being done by someone else...but you....literally called it the Ndebele pattern...on your little animal print bracelet...smh.
ANYWAY! That’s been a rant on African beads I guess!
#what's irksome about that last thing is like#there's LOTS of european beadwork!#it's gorgeous!#DO YOUR OWN SHIT PLS#indigenous#yoruba#ifa#xhosa#ndebele#zulu
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Boucles d'oreilles africaines traditionnelles ::: Timeless Fineries
https://www.etsy.com/fr/listing/1741210126/longues-boucles-doreilles-africaines
#boucles d'oreilles africaines#bijoux africains#timeless fineries#bijoux massai#mode afro chic#bijoux ethniques#boucles d'oreilles massai#bijoux exotiques#boucles d'oreilles tribales#bijoux traditionnels#boucles d'oreilles ethniques#bijoux bohème#african jewellery#maasai earrings#ethnic jewellery#african earrings#traditional jewellery#beaded earrings#maasai beadwork#tribal patterns#traditional ear pendants#african fashion#hippie boho#ethnic earrings
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20 Cultures & Nations That Continue to Wear Traditional Clothing Everyday
The world has drastically evolved in many different ways during the past 100 years.
Previously, for a number of reasons, each nation, each region, and almost every town or tribe wore its own distinctive traditional attire. Some were made due to the weather, some for the class, and some because those were the only colors and materials available.
Today, only a small percentage of communities worldwide continue to dress traditionally on a daily basis.
Pakistan
Sari and the shalwar kameez, two types of traditional dress, are worn in Pakistan.
The shalwar kameez is more popular throughout the nation, even among Punjabis.
Saris are typically worn by Muslim and Hindu devotees, and are more frequent in cities than anywhere else. These traditional outfits are made of cotton and are loosely draped around the body, keeping the wearer warm in the winter and cool in the summer.
Indonesia
Indonesia is a group of islands with many varied civilizations, each of which has its own traditional and "westernized" clothing.
Let's focus on the kebaya. Today, Malaysia, Singapore, Brunei, Myanmar, some regions of Thailand, Cambodia, and the Philippines all wear the kebaya.
It's almost always floral and typically paired with a silk, cotton, or polyester sarong. It’s the traditional dress of Indonesia but is predominantly worn by the Javanese, Balinese, and Sundanese.
The kebaya blouse, the brooch (since the original and traditional kebaya has no buttons), and the sarong or skirt make up the traditional clothing ensemble that is typically worn. Many different styles are used today to make it modern, and it's common to see among the people
Maasai of Kenya
They still wear clothing with a variety of colors and patterns nowadays. Both men and women wear flowery patterns. The most prevalent traditional clothing costume is a kanga, a one piece worn over the body.
It's also customary to wear beaded jewelry, and each hue has a unique meaning. For instance, the colors white and red denote peace and bravery, respectively.
The beads were made out of a variety of materials before European contact, including clay, seeds, bone, etc.
The majority of beads created today are composed of glass. Head shaving is also a right of passage for both genders. The Maasai's traditional clothing seems to be enduring despite their use of contemporary materials.
Sami of Sapmi
The Sami people are found in northern Russia, Sweden, Finland, and Norway. You may have seen Kristof in Frozen wearing all black, but Sami's traditional attire is the complete opposite!
They dress in vibrant hues, elaborate designs, and a variety of styles. It is known as a gakti and is worn during ceremonies, work, and reindeer herding.
Nowadays, the gakti is typically made of cotton, wool, or silk instead of the reindeer leather used in traditional versions.
Wearing certain colors, patterns, or jewelry might reveal a person's origins, marital status, and even the identity of their family.
Bhutan
Both men and women still dress traditionally in the little nation to China's south.
A gho is the term used for guys. Women refer to it as kira. The men's attire consists of a knee-length robe with a waist tie. A kabney, a silk scarf that hangs from the left shoulder down to the right hip, may be worn occasionally (like at celebrations).
In fact, if a man works for the government or a school in Bhutan, he must wear the traditional garb, called gho.
The female kira is an ankle-length dress that is typically tied at the waist and clipped with brooches at the shoulders.
Vietnam
Although the ao dai may not be as popular as it once was, it does seem to be making a comeback.
Although it is gender neutral, today most women wear it.
This is the attire you will find in settings where uniforms are common (e.g., schools, banks, restaurants, flight attendants, etc.). Typically, when we think of traditional attire, we picture conservative looks that cover everything.
The ao dai does cover everything, but if you want it to be more promiscuous, you may make the cloth as thin and translucent as you like. Additionally, it can be tailored to fit tightly and form-fittingly to highlight the body's inherent curves.
Japan
We've all heard of the kimono, which in Japanese literally translates to "thing to wear," but did you realize there are other types of it?
The kimono is available for both men and women.
The most complicated ones have 12 separate parts, including the women's. There are several obi styles and ways to tie them for formal and casual situations in addition to various kimono styles for various occasions.
The kimono for males is more simple, typically consisting of 5 pieces. Today, they are typically darker in tone (blues, blacks, and greens), however occasionally brighter hues are used for more laid-back occasions.
Conclusion
Just as in the summer and spring, dresses are appropriate in the fall. We've gathered some of our favorite cute Best Fall Dresses for Women to assist you figure out how to look put-together in a dress while the temperature outside is 40 degrees.
To read more:
Difference Between Casual and Formal wear
Meta title - Traditional wear around the world 2022[updated] - RAzidonz store.
Meta Description -Culture refers to aspects of human-made elements, including tools, dress, and media, in addition to values, attitudes, and norms.
Web URl - https://razidonz.store/cultural-wear-traditional-clothing/
Focus KWs - Traditional Clothing
Related Kws - traditional dress
culturally-specific clothing
Cultural dress
National clothing sense
Clothing to wear
#traditional dress#culturally-specific clothing#Cultural dress#National clothing sense#Clothing to wear
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[id: azu from rusty quill gaming, a black, kenyan orc woman wearing a brightly colored pink and orange leso. the pink sections of fabric are wax printed with purple patterns. around her neck, she wears several colorful and intricately beaded maasai necklaces. she is grinning broadly, her eyes closed, as she waves with one hand. end id]
#the print on the fabric is called akyekydeɛ akyi but that doesn't read well by screenreaders so its not in the desc!#it translates to 'back of the tortoise' and symbolizes stability/protection#azu#rusty quill gaming#rqg#rqgaming#azu rqg#valentinarts
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Samburu/Lokop/Loikop women
The Samburu are a Nilotic people of north-central Kenya. They are a sub tribe of the Maasai. The Samburu are semi-nomadic pastoralists who herd mainly cattle but also keep sheep, goats and camels. The name they use for themselves is Lokop or Loikop, a term which may have a variety of meanings which Samburu themselves do not agree on. Many assert that it refers to them as "owners of the land" ("lo" refers to ownership, "nkop" is land) though others present a very different interpretation of the term. The Samburu speak the Samburu dialect of the Maa language, which is a Nilo-Saharan language.
Women traditionally wore two pieces of blue or purple cloth, one piece wrapped around the waist, the second wrapped over the chest. Women keep their hair shaved and wear numerous necklaces and bracelets. In the past decade, traditional clothing styles have changed. Some women still wear two pieces of blue or red cloth, but it has become fashionable to wear cloths with animal or floral patterns in deep colors. Women may also often wear small tank tops with their cloths, and plaid skirts have also become common.
The distinctive feature of the Samburu is the amount of jewellery, especially colourful multi-beaded bracelets, anklets and necklaces they wear, both men and women. The Samburu are famous for the countless necklaces that the girls wear. These coloured multi-bead necklaces are a symbol of beauty and reflect the social status and wealth of the wearer. In the Samburu culture the more necklaces women wear the more they are considered beautiful, and it also identifies their wealth and civil status.
The girls receive the first necklaces from their father when they are very young. They are usually red in colour, which means that the father has promised to marry the daughter to an already identified man. But despite a girl being already committed to marriage, the Samburu teenagers enjoy a fairly broad level of sexual freedom and girls can have Moran (warrior class) boyfriends.
The Samburu young warriors also give necklaces as a gift to show their love to a girl or the one with whom they have a steady relationship. This girl in the Samburu language is called nekarai, i.e. not married girl. The necklaces are expensive for their standard of living, i.e. up to 100 US dollars for a single piece. When a girl gets married she has to return the necklaces to her boyfriend, and after that she wears heavy brass earrings that in the Samburu culture symbolize marriage. Whenever she gives birth to a son, she adds a ring to these earrings.
The Samburu women spend much of their time making jewellery, necklaces, anklets and bracelets with coloured beads; in the past they used coloured seeds, pieces of old tires, copper, brass and iron wire instead of beads. The colours have a specific meaning: white stands for purity and health because it is associated to cow’s milk; black means discomfort; yellow and orange are the colours of hospitality; while red means danger, courage and unity.
In some cases, the necklaces are used as magical amulets. For example, if a woman is infertile, or presumed as such, she will receive a collar of pearls from the wizard that will allow her to give birth to her children.
10. Photo by Sergey Agapov
#fashion#samburu#lokop#loikop#samburu fashion#jewelry#african fashion#subsaharan africa#subsaharan african fashion
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Maasai Long Slim Earrings - Beaded, Tube Shaped, Assorted Colors and Patterns, Size - 2” long by Bluma Collections on Storenvy
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