#west african history
Explore tagged Tumblr posts
Text
Exploring the Legacy and Influence of Cheikh Anta Diop: A Pivotal Figure in Academia
Cheikh Anta Diop was a multifaceted Senegalese scholar whose far-reaching work spanned the realms of history, anthropology, physics, and politics. He emerged as a prominent figure in the study of the origins of human civilization and pre-colonial African culture, asking pivotal questions about cultural bias in scientific research. His profound insights significantly contributed to the…
View On WordPress
#African civilizations#African History#African intellectual history#Afrocentricity#Ancient Egyptians#ancient egyptians history#Black people#Cheikh Anta Diop#Senegalese anthropologist#Senegalese historian#Senegalese physicist#West African#West African history
88 notes
·
View notes
Text
pinned post; lets go.
essentially a blog where my personal experiences as a (first gen american) black queer person will be talked about through a lens of analyzation, as well as analyzing theory from those who came before me. thats the main purpose, anyway. will also probably get silly sometimes on here. what can i say; its in my nature.
antiblackness and my frustration with it will be a heavy topic here, and mentions of violence, both historical and present, will be mentioned quite a bit here. i will tag it as needed.
transmisogynoir will also be a topic here, and i'll be pulling from black trans women who are essayists, my own birds eye view of it as a black person, and lived experiences of black transfems who i know and love. mentions of violence from this will be properly tagged as well.
the tagging system will probably grow larger as we go along, but let me set out the baseline now:
#sign of my times - my own personal ramblings and vents through an analytical lens. theory will be drawn upon here, but it'll be applied to my own experiences.
#mental digest - analyses of the essays, books, and other such i've read.
#tales from the table - writing about the experiences of others, sometimes collaborating directly with them, sometimes not.
#point n' click - me analyzing antiblackness in media or spaces that were not dedicated to it or written by other black people, but still intrigue me. will be almost entirely my own thoughts on the piece.
#no place like - specifically studying theory, black, queer, or otherwise, from Ghana. it's where my family is from, and the situation over there at the moment for my queer family is dire. sometimes will be my own thoughts on it as well.
#sign of my times#mental digest#tales from the table#point n' click#no place like#black history#black literature#black liberation#black theory#african america history#west african history#black queerness#black queer history
10 notes
·
View notes
Text
Wrapped up the next book:
This book covers the history of the Empires of Ghana, Mali, and Songhai from an emphasis at both decolonization and an emphasis on a changing, not static African world and from the simple recognition that the written history of this part of the world is overwhelmingly an Islamic one and one written by peoples who had millennia-ancient Arab prejudices against the Zanj (aka Black) peoples of the Bilad al-Sudan. In the writings of the Islamic consensus the Bilad Al-Sudan was a realm of monsters and subhumans without a history, infidels who worshiped fell gods in sinister rites involving cannibalism, human sacrifices, and the pounding of drums in darkling woods. If this sounds like it could have been written by Lovecraft there's a reason for that.
This is not European racism, as the mark of descent is from the status of the father, not the mother, and because it's not rooted in science or pseudoscience, but in the concept of Allah/God the most merciful marking peoples by skin color in a category of superiority for the white people (aka Arabs and let this stand in turn as a commentary on later European white supremacy, a religious Islamic version of it already existed and Arabs and to a lesser degree some Amazigh were 'white' and therefore innately blessed with rationality, control of sexual impulses, and all the other things they said the Black people, the Sudani, did not have).
Now why does all this matter? Because under Ghana, Mali, and Songhai West Africa underwent a transformation from an ancient region of urbanized areas led by sacred kings and religions that worshiped many gods to the monotheistic Jihad-societies of Ghana and Songhai, with Mali in between and marking the point where the Islamic world went from the kind of syrupy condescension used for modern African states to actually taking African Muslims seriously.
Equally crucially this shaped the medieval Sahelian Ruling class's self-perception. It downplayed Blackness and demonized it in line with the tradition of Islamic history, it created the same artificial bullshit whereby European nobilities were somehow descended from Trojans or Roman Emperors with Yemeni and the Al-Qays tribes of Arabs. It also shaped the specific dynamic of West African Islam, that of Ghana (and the founder of the Songhai Empire, Sunni Ali), a heavily syncretic version but also that of Mali and Songhai at their height cosmopolitan and with a global ambition that shaped the Islamic world at its own heights.
In short, too, the African states that arose were not ancient traditional concepts, they were new creations charged with the self-serving mission of Jihad at the expense of pagans, and the fallen old empires were neatly redefined as pagan to suit their new successors, to boot. Their impact on the ethnogenesis and self-perception of Sahelian West Africa was very real and this book notes that the Griot traditions match up fairly closely with the Islamic written tradition and as such the dismissal of oral histories is, in actual fact, bullshit.
This book also notes that both the novelty and the scale of expansion created its own problems and its own weaknesses, and that the endemic inability of Islamic states to solve the succession problem in a way to simultaneously satisfy political and religious elites created major weaknesses and civil wars, with the endemic civil warfare prior to the Battle of Tondibi contributing at least as much to the final fall of the Songhai Empire as Tondibi itself did.
9/10.
#lightdancer comments on history#book reviews#african history#west african history#ghana empire#mali empire#songhai empire#muslim history
4 notes
·
View notes
Text
Is there any pre-colonial West African drawing styles? I know about sculpting and textiles but I’m looking for drawing/painting specifically. Also y’all got any book suggestions for West African Vodun and Bakongo religion specifically?
#west africa#West African Art#West African Art History#West African History#african history#african american history#west african vodun#vodun
0 notes
Text
youtube
0 notes
Text
This is a colourization I did of a Senegalese woman wearing traditional dress. The original b+w was taken by Mama Casset.
This took 3 hours to colourize.
I got the original b+w from @vintageeveryday
#africa#african#senegal#senegalese#black girl#black woman#african woman#west africa#history#black history#african history#traditional dress#colorization#colorized
127 notes
·
View notes
Text
#blacktumblr#black history#black liberation#african history#free palestine#ceasfire now#capitalism#west
111 notes
·
View notes
Text
Jamaican Obeah
Jamaican Obeah refers to the practice of Obeah, a spiritual and magical tradition rooted in West African and Caribbean cultures. Obeah has a significance presence in Jamaica and holds cultural and historical importance on the island. Obeah in Jamaica has its roots in the spiritual beliefs and practices brought to the Caribbean through the transatlantic slave trade. Enslaved Africans brought with them a rich tapestry of religious and spiritual traditions, and Obeah emerged as a distinct syncretic practice in Jamaica. Individuals who practice Obeah are often referred to as "Obeah men" or "Obeah women". These practitioners have a deep understanding of the spiritual realm and are sought after for their abilities in healing, protection, divination and other spiritual services.
It's crucial to approach discussions about Jamaican Obeah with cultural sersitivity, recognizing the diversity of beliefs and practices within the Afro-Caribbean spiritual landscape. Different individuals and communities may have variations in their practices, and interpretations may differ among practioners. Respect for cultural beliefs and traditions is essential and fostering understanding.
#Obeah#Spiritual#Magical#Tradition#West African#Caribbean#Culture#History#Enslaved Africans#Syncretic Practice#Healing#Protection#Divination#Afro-Caribbean#Jamaica
77 notes
·
View notes
Text
Sayed
#afrocentric#moors#afrofuturism#africanart#africa#african king#moorishking#mansa musa#history#African kingdom#blackprince#beautiful black men#love black men#lovemelanin#kemet#nubianroyalty#black men#black royalty#west africa#black men are kings#black men are beautiful#black king
75 notes
·
View notes
Text
Ivory double bell (egogo) from the Benin kingdom in present-day Edo State, Nigeria, depicting the oba (king) with his arms upheld by two attendants, possibly high priests. The oba wielded the egogo during the Emobo rite that concluded the Igue festival, using its sound to repel troublesome spirits. Artist unknown; early 16th century. Now in the Brooklyn Museum. Photo credit: Brooklyn Museum.
#art#art history#Africa#African#African art#West Africa#West African#West African art#Nigeria#Nigerian art#Kingdom of Benin#Benin art#sculpture#ivory#ivory carving#African religions#16th century art#Brooklyn Museum
155 notes
·
View notes
Text
Sculpture of a Woman with Four Children, from Mali, c.1100-1450 CE: this sculpture was created in the ancient city of Djenné-Djenno
Created during the 12th-15th centuries CE, this sculpture depicts a woman sitting cross-legged on the ground, with two children on her lap and two more clinging to her back. Scarification patterns are visible on the woman's temples, and there is a thick, undulating line running from her forehead to the nape of her neck, likely representing a serpent.
As this article explains:
Snakes on Inner Niger Delta sculptures are a common element and should be seen as a positive iconographic component. They represent control of a potentially dangerous benevolent power that must be tamed, domesticated, nourished, and satisfied so it will continue to provide protection.
This is one of the many terracotta sculptures that were produced in Djenné-Djenno, located in the Niger River Valley of Mali, in West Africa; Djenné-Djenno sits just to the south of the Medieval city of Djenné, which is still a major center of Islamic scholarship.
The ancient city of Djenné-Djenno dates back to at least 250 BCE, making it one of the oldest cities in West Africa. For centuries, it also served as one of the largest urban centers/trading hubs in the region, with a peak population of about 20,000 people. The city began to decline in the 9th century CE, when residents (and trade) began moving northward to the nearby city of Djenné, which had just recently been founded by Muslim traders. Djenné-Djenno was ultimately abandoned by the end of the 15th century.
Unfortunately (and unsurprisingly), most of the artifacts from Djenné-Djenno were looted or destroyed by colonizing forces during the 19th-20th centuries. Some of those artifacts have been repatriated in recent years, and there are ongoing efforts to return more of them.
Why Western museums should return African artifacts.
Sources & More Info:
Yale University Art Gallery: Female Figure with Four Children
World History Encyclopedia: Djenné-Djenno
Tribal Art: Scrofulous Sogolon (PDF)
ArtNews: Museum of Fine Arts Boston to Return Terra-Cotta Figures from Mali in Latest Restitution Efforts
CBS: African Nations Want their Stolen History Back, and Experts Say it's Time to Speed up the Process
Fair Observer: It is Now Time for the West to Return African Art
#archaeology#artifact#history#anthropology#dogon#djenne-djenno#mali#west africa#medieval art#sculpture#art#motherhood#children#djenne#african art#african history#repatriation#inner niger valley#terracotta#conservation#timbuktu
26 notes
·
View notes
Text
The Historical Significance of the Benin Moat in Nigeria's Edo State
The Benin Moat, also known as the Walls of Benin, holds a significant place in history as a remarkable feat of ancient engineering and a symbol of defense for Benin City in Nigeria’s Edo State. Dating back to around 800 AD and continuing to 1460 AD, these massive earthworks were constructed through extensive manual labor and earth repurposing, forming a structure of immense historical and…
View On WordPress
#African architecture#African History#Benin Iya#Benin Moat#Walls of Benin#West African#West African history
10 notes
·
View notes
Text
The African Roots of Black Slang 🌍
📚✨ Black slang has deep roots in African languages and cultures. Many popular slang terms today, like "lit," "bae," and "periodt," originated from African American Vernacular English (AAVE), which has connections to West African languages.
🔹 Fun Fact: AAVE developed during slavery as a way for African Americans to communicate covertly and preserve their cultural identity.
🔹 Intriguing Insight: The vibrant expressions in Black slang reflect the resilience, creativity, and community spirit of African Americans throughout history.
Let’s celebrate and honor the linguistic creativity and cultural significance behind Black slang! 🌟
#black slang#aave#cultural heritage#linguistic creativity#black culture#history#black tumblr#west african language#the black book#black history
12 notes
·
View notes
Text
First in the list of the Niger-Congo languages to be covered is Fula:
The speakers of this language played a vital part in the recent history of West Africa in the form of the Fulani Jihads, and in the following history of the region in resistance to colonialism. As with Hausa for obvious reasons the Fulbe languages have influences from Arabic, while as with the Hausa and the Yoruba the languages are spoken across multiple states in the region.
And as will be noted, the Fulani and the Hausa in particular have longer and more complex histories. Specifically, in this case, one intertwined enough that speakers of very different languages with different roots can and do converge with each other culturally.
#lightdancer comments on history#african history#black history month#west african history#african linguistics#fulbe language
3 notes
·
View notes
Text
Igbo-Ukwu Archaeology
Glass production: Igbo-Ukwu has one of the oldest glass productions in West Africa. The archeology of Igbo-Ukwu had over 600 prestige objects including complex cast copper-alloy sculptures and more than 165,000 glass and carnelian beads. The most common glass among the 138 analytical results for Igbo-Ukwu beads is soda-lime glass produced using plant ash.Glass beads from Igbo-Ukwu
Igbo-Ukwu is a historically significant archaeological site located in southeastern Nigeria, in what is now Anambra State. The site is renowned for its remarkable discoveries of ancient artifacts that date back to the 9th and 10th centuries AD. The archaeological findings at Igbo-Ukwu have provided valuable insights into the early history and cultural achievements of the Igbo people and their interactions with other civilizations in the region. The artifacts may be associated with the traditional Kingdom of Nri and its priest-king, the Eze Nri.
The significance of Igbo-Ukwu lies in the following aspects: Sophisticated Artifacts: The excavations at Igbo-Ukwu revealed a collection of highly sophisticated and elaborately crafted artifacts, including intricately designed bronze, copper, and iron objects. These artifacts demonstrate the advanced metallurgical skills of the ancient Igbo people and their ability to work with various metals.
The Igbo-Ukwu artifacts predate certain other well-known Nigerian bronze sculpture traditions such as those of Ife and the Benin Kingdom and have contributed to our understanding of the development of metallurgical techniques in Africa.
Cultural Exchange and Trade: The presence of exotic materials like glass beads and imported ceramics at the Igbo-Ukwu site suggests that the people of Igbo-Ukwu were engaged in trade and had connections with other cultures and civilizations, both within and outside of Africa.
Evidence of Social Complexity: The intricate and finely crafted artifacts found at Igbo-Ukwu suggest the existence of a sophisticated and socially complex society. The level of craftsmanship and the variety of artifacts indicate the presence of skilled artisans and a hierarchical social structure.
Influence on Igbo Art and Culture: The artifacts discovered at Igbo-Ukwu have had a profound impact on the understanding and appreciation of Igbo art and culture. They have inspired contemporary Igbo artists and craftsmen and contributed to a sense of cultural identity and heritage.
Recognition of African Achievements: The discoveries at Igbo-Ukwu challenged the outdated notion of Africa as a continent with no significant history or cultural achievements. The site's findings have demonstrated the richness and complexity of ancient African civilizations. The archaeological site of Igbo-Ukwu was first discovered in 1939 when a group of villagers accidentally came across the artifacts while digging a trench. Subsequent excavations conducted in the 1950s and 1970s uncovered a wealth of cultural treasures. The Igbo-Ukwu artifacts are now housed in various museums, including the Nigerian National Museum in Lagos.
Overall, Igbo-Ukwu remains a vital archaeological site that continues to contribute to our understanding of ancient African civilizations and their contributions to human history. 9th Century Igbo-Ukwu face pendantDouble egg pendant, leaded bronze, 9th-10th century, unearthed in Igbo Ukwu, AnambraBronze ornamental staff head, 9th century, Igbo-Ukwu
Glass production: Igbo-Ukwu has one of the oldest glass productions in West Africa. The archeology of Igbo-Ukwu had over 600 prestige objects including complex cast copper-alloy sculptures and more than 165,000 glass and carnelian beads. The most common glass among the 138 analytical results for Igbo-Ukwu beads is soda-lime glass produced using plant ash.
#african#afrakan#kemetic dreams#africans#brownskin#afrakans#brown skin#african culture#igbo#ukwu#anambra#west africa#igbo culture#igbo history#afrakan spirituality
54 notes
·
View notes
Text
For #ManateeAppreciationDay:
1. original watercolor by Joseph Wolf (German, 1820-1899) for ZSL, 1879 via ZSL Library 2. published version, plate 7 in Biologia Centrali-Americana: Mammalia, 1879-1882 via BHL
More info via ZSL Library: "Watercolour on paper, in window mount ; art - 35 x 27 cm., mount - 57.5 x 44.5 cm. Signed by artist in black paint in lower right corner: 'J. Wolf. 1879'." "Mss title in ink and pencil, in unidentified handwriting, on label pasted on mount: 'Manatee (Manatus americanus) from a specimen living in the Westminster Aquarium 1879. See PZS 1879'."
"According to the caption the painting was made of an animal living in Westminster Aquarium. A manatee - said to be Manatus americanus - was living in the Westminster Aquarium in 1879 and a note about it by Dr James Murie was published in 'PZS' 1879 : 552. This refers to Murie's forthcoming paper on that manatee based on observations of the great mobility of the upper lip and use of the limbs in feeding when it was living in the Aquarium and brain structure (after it died). This paper was published : Murie, J. (1880) 'Further observations on the manatee', 'TZS' 11 : 19-48 5 pls (by C. Berjeau). On p. 21-23 Murie states the adult female manatee was caught in a net on the Dauntless Bank, off the Island of Lequana, near the mouth of the Essiquibo River, British Guiana, taken to London and purchased by the Aquarium in June 1878. It died on 15 March 1879. Wolf's painting is [therefore] presumably of the West African manatee, Trichechus senegalensis."
🆔Manatee, likely West African Manatee (Trichechus senegalensis); Kingfisher, likely Giant Kingfisher (Megaceryle maxima)
FYI, there are three living species of manatee, and Wolf's illustration has gone through the confusion of first being misidentified as one, then another, before finally being correctly recognized as the third! More info on the blog:
#animals in art#animal holiday#european art#19th century art#illustration#manatee#kingfisher#bird#birds in art#Giant Kingfisher#African Manatee#West African Manatee#BHL#ZSL#ZSL Library#book plate#lithograph#watercolor#painting#Joseph Wolf#natural history art#scientific illustration#species ID#Manatee Apprecation Day
32 notes
·
View notes