Africa Indigenous People Baule africa, african Anthropology General Resources. By peoples. Idoma Igbira Igbo Ijo Kabre Karagwe Kassena Katana Kom Kongo Kota Kuba Kusu Kwahu kwere Laka Lega http://www.archaeolink.com/africa_indigenous_people_baule.htm
Extractions: Baule Home Africa, African Anthropology General Resources By peoples Akan Akuapem Akye Anyi ... Zulu ArtWorld AFRICA - Baule "One of the Akan group sharing similar language and, in general, matrilineal inheritance. They broke away from the Asante of Ghana in the 18th century, bringing with them craftsmanship in gold and gold leaf decoration." - From University of Durham - http://artworld.uea.ac.uk/teaching_modules/africa/cultural_groups_by_country/baule/welcome.html Baule People "The Baule belong to the Akan peoples who inhabit Ghana and Côte d'Ivoire. Three hundred years ago the Baule people migrated westward from Ghana when the Asante rose to power. The tale of how they broke away from the Asante has been preserved in their oral traditions." You will find material related to history, culture, religion, political structure, art and more. - From University of Iowa - http://www.uiowa.edu/~africart/toc/people/Baule.html
ListRecords Central to his scheme for policy change and improved welfare outcomes are two core propositions. subject Law and indigenous peoples /subject subject Property the Kamoro, amokokwere, narratives about the ancestral Bantu speaking peoples of sub-equatorial africa. Where the http://eprints.anu.edu.au/perl/oai?verb=ListRecords&metadataPrefix=oai_dc&am
ListRecords Central to his scheme for policy change and improved welfare outcomes are two core propositions. subject Law and indigenous peoples /dcsubject dcsubject For the Kamoro, amokokwere, narratives about the ancestral Bantu speaking peoples of sub-equatorial africa. Where the http://eprints.anu.edu.au/perl/oai2?verb=ListRecords&metadataPrefix=oai_dc&a
Musées Afrique indigenous Knowledge in South africa Shona, Chopi, Lozi, Kamba, kwere, Makonde, Lwimbi Aquarelles de Joy Adamson peoples of Kenya http://www.unil.ch/gybn/Arts_Peuples/Ex_Africa/ex_Af_musaf.html
Extractions: Cape Town South African National Gallery Government Avenue ma-di 10-17 Arts de la perle / Expositions temporaires Cape Town Gold of Africa Museum . Martin Melck House 96 Strand Street Bijoux d'or d'Afrique de l'Ouest (coll Barbier-Mueller); objets d'or des civilisations d'Afrique australe Cape Town - Gardens South African Museum 25 Queen Victoria Street lu-di 10-17 terres cuites de Lydenburg San (peintures rupestres), Zimb abwe Tsonga , Khoikhoi, Sotho, Nguni, Shona, Lovedu... Exposition " Ulwazi Lwemvelo - Indigenous Knowledge in South Africa Cape Town - Rosebank University of Cape Town Irma Stern Museum Cecil Road ma-sa 10-17 Arts de Zanzibar et du Congo: Lega, Luba Durban Art Gallery City Hall lu-sa 8.30-16; di 11-16 Durban Local History Museum Aliwal Street East London East London Museum lu-ve 9.30-17; sa 9.30-12
Extractions: E-mail: journals@indiana.edu In the Sukuma area of northwest Tanzania, farmer-musicians, or farmers who compose and perform music, introduce themselves in public interactions first as farmers, with the phrase "I am a farmer, I hold a hoe," and second as performers, with the phrase "I am also a dancer, I twirl a hoe." Identification with music operates on many psychological and cultural levels from childhood to old age, and is reinforced and expressed most cogently in their use of song during cotton farming. Cotton farming is a relatively recent chapter in Sukuma history, a result of (and creative response to) British colonial government requirements between the two world wars. A new farming class emerged, which drew on prior musical labor fraternities such as medicinal societies, hunting societies, porters, and military organizations for their personnel, musical repertory, and dance paraphernalia. The Sukuma made the imposition of long-distance migrant labor and cotton cropping their own by making these labors musical. The author discusses how Sukuma farmers developed musical farming from these prior musical labor practices, and provides several examples of this transformation.
OneWorld Tentoonstelling kwere kwere Journeys into Strangeness. « Terug Meer Organisatienieuws. africaStudiecentrum, AI Burma desk, indigenous peoples Resource Base, http://www.oneworld.nl/politiek/p_or_re.asp?BerichtID=1337
Extractions: Fadhili Mshana Staffs come in different materials and forms and most examples in Africa are made of wood and are most commonly used for walking, though some staffs serve as ritual items and as symbols of authority. For example, chiefs, diviners, and linguists own staffs connected with their obligations. This is not to say that such types of staffs are used on a daily basis. Rather, these items are employed during special events and for performing specific tasks. These include chiefs who display them to legitimize their title, and to represent their realm and power. Healers and diviners also utilize staffs in their activities, as do linguists, orators, and leaders of associations (fig.1). To cite an example, in Ghana, major Ashanti chiefs have an okyeame or public spokesman who holds his staff as he speaks to underscore his authority and message. While the woodcarver was the main creator of staffs, the chief or title-holder could ask other artisans like a smith to work with the carver. Indeed, a combined effort perhaps depended on the materials that a staff demanded. If, for instance, metal such as iron and copper was needed, then specialists in this field of metallurgy were called upon to contribute their expertise. In another example, a bead-worker may be involved together with a woodcarver in the creation process if a staff was to be decorated with beads. Considering the crucial functions of staffs, it would seem that after the creation process is completed, other actions may be taken upon the objects. For example, a practitioner would be given the task of manipulating a staff with view to consecrate it, thereafter the object is given to the title person.
Extractions: Bangwa Home Africa, African Anthropology General Resources By peoples Akan Akuapem Akye Anyi ... Zulu ArtWorld AFRICA -Bangwa "The Bangwa occupy a mountainous and part forested countryside west of the Bamileke in south-eastern Cameroon, near the headwaters of the Cross River. They comprise nine chiefdoms. People live in separate family compounds, sometimes with large meeting houses where visitors may be received." - From University of Durham - http://artworld.uea.ac.uk/teaching_modules/africa/cultural_groups_by_country/bangwa/welcome.html Bangwa People "Authority among the Bangwa was traditionally instituted as part of the Bamileke political complex. Like most of the western Grasslands people, Babanki political authority is vested in a village chief, who is supported by a council of elders, and is called Fon." You will find material related to Bangwa history, culture, arts, political structure and more. - From University of Iowa - http://www.uiowa.edu/~africart/toc/people/Bangwa.html
Paul Weinberg Once We Were Hunters exploring indigenous people in africa The Forgotten People , exhibited as kwere kwere Journeys into Strangeness, Castle of Good Hope http://www.sahistory.org.za/pages/people/weinberg,p.htm
Joshua Project - Peoples By Country Profiles People Name General kwere. Language. Primary Language kwere. Language Code (ROL3) CWE, Ethnologue Listing. Languages Spoken 1. indigenous Fellowship of 100+ http://www.joshuaproject.net/peopctry.php?rop3=105537&rog3=TZ
South Photographs Gallery Once We Were Warriors exploring indigenous people in africa The Forgotten People , exhibited as kwere kwere Journeys into Strangeness, Castle of Good Hope http://www.southphoto.com/paulw.htm
Extractions: Paul Weinberg Weinberg sustains a spiritual and spirited focus on the land and indigenous populations. The importance of ongoing long-term vision and photographic collaboration is an issue close to his heart. One of the country's leading social-documentary photographers with a firm belief in the collaborative strength of South African photographers, Weinberg helped establish the Afrapix photographers collective in the eighties which put South African images into the mainstream international media network. His work has appeared in numerous photographic books and anthologies. Much of it concerns the environment and the local communities. Weinberg has just completed a book titled " Once We Were Warriors " exploring indigenous people in Africa and their relationship to land, conservation, and the survival of their cultures. He is currently working on a book about Durban, a portrait of a city. Books:
East Africa Living Encyclopedia Tensions between indigenous Tanzanians and the Asian community, which are Kwaya Mepa Pangwa Sukuma Baragugu Ikiza kwere Mpepo Pare Kilimanjaro and its People. http://www.africa.upenn.edu/NEH/tethnic.htm
A R T T H R O B kwere kwere/ Journeys into Strangeness at the Castle and historical relationships between africa and Portugal Native Americans and indigenous people everywhere http://artthrob.worldonline.co.za/00mar/listings.html
Extractions: CAPE TOWN Kevin Brand, Louise Linder and John Murray at the AVA In the Main Gallery, Kevin Brand is showing a group of remarkable small bronzes entitled 'Late Afternoon'. The body of work has been taken from his sketchbooks of the last 10 years and represents ideas on a variety of themes, many of which have been realised in other media and on other scales as well as some which haven't made it there yet. Brand has been the recipient of various awards, has exhibited nationally and internationally and his work is included in several important collections Louise Linder, who has also exhibited widely and is also well represented in public collections, is showing a group of oil paintings entitled 'Encounters'. The works deal with personal history and family memories and are based on small black and white photographs from her childhood in Mozambique. Upstairs on the ArtsStrip, recent Stellenbosch graduate John Murray shows his mixed media works. He explores themes including violence, sex, religion and consumerism in these works. Monday March 27 - April 15 The Association for Visual Arts, 35 Church Street, Cape Town.
Traditional Bukakhwae Cultural knowledge falls into the category of indigenous knowledge and many people know how In 1972 Keitiretse kwere was born in the middle of a breading http://www.khwai.org/culture.html
Extractions: Indigenous Knowledge I How the Culture is Changing Traditional Bukakhwae The naming of the people of Khwai and the greater ethnic group they belong to is problematic. The most familiar name is probably Bushmen or Bushpeople but some consider this to be an insult. The Setswana name is Basarwa and anthropologists have named these people San. When I asked people in Khwai what they wanted to be called most people didn't care. They referred to themselves by bushman and Basarwa and sometimes San. I think this partly shows how silly labeling is but it's still needed so I'll use the legal term, Basarwa. The Basarwa were the first inhabitants of Southern Africa. Traditionally they made a living through hunting and gathering. Their lifestyle is often called nomadic but that is a misnomer. Basarwa did not move aimlessly like a nomad does but instead moved from location to location according to the seasons and the food resources available in each place. Food and water resources were protected form over-exploitation through elaborate social customs about which groups of people could use which regions and how often people should hunt. The hunting and gathering lifestyle required an intimate knowledge of their natural surroundings. Many Basarwa may never have attended school but they were still highly educated by a different set of standards. The Babukakhwae are a section of the Basarwa also known as "river bushmen." They are typically taller than other Basarwa and their language and culture varies greatly from other Basarwa groups in the Kalahari and even just 30 Km away in Mababe village.
Bwa The Physical Environment The peoples that are discussed in this in collections outside of africa retain any traces of the is used by all peoples in Burkina, and is prepared http://www.uiowa.edu/~africart/Art of Burkina Faso.html
Extractions: African Pottery Techniques Contents Burkina Faso Demography History Mossi ... BIBLIOGRAPHY The Physical Environment: The peoples that are discussed in this study live in the West African country named Burkina Faso. (Map of Burkina Faso) Burkina Faso is a landlocked country of about 274,200 square kilometers (about the size of the State of Colorado) just south of the great bend of the Niger River and 500 kilometers from the Bight of Benin. To the south along the coast are Ivory Coast, Ghana, Togo, and Benin (Dahomey). To the north and northwest lies Mali, and the eastern border is with Niger. Rainfall amounts vary considerably from year to year, and since the late 1950's there has been a steady decrease in averages. o C. (105 o F.), and it is not much cooler at night. The landscape is desolate, with grey or red dust and dust-covered vegetation to the horizon. Families retreat to the shade of the family dwellings, and livestock huddle in the sparse shade of the few scorched trees. Dust devils dance across the fields, and as the water level of wells drops, women must walk miles for a muddy bucketful. With the first heavy and frequent rains in June, the landscape is transformed, as roads become lined with dense green walls of millet and sorghum stalks seeming to submerge villages in a sea of vegetation.
The Atlantic | November 2001 | South Africans Only | Nixon South Africans claim to hear kwere, kwere when immigrants as President, unfamiliar, unimagined people started to Beach promenade are indigenous South Africans http://www.theatlantic.com/issues/2001/11/nixon.htm
A R T T H R O B / I N T L _ L I S T I N G S kwere kwere/Journeys into Strangeness is curated by Rory and geographical variety of people in South the categories of European and indigenous arts are http://www.artthrob.co.za/03apr/listings_intl.html
Extractions: Kendell Geers at the Centre Pompidou 'Red Sniper' is a new project piece by Kendell Geers and Patrick Codenys. Kendell Geers, who is due to show at Johannesburg's Goodman Gallery in May, is not averse to incorporating pop musical elements into his work. A previous work, shown at London's Delphina Project Space two years ago, included elements of a Sex Pistols song. This new project also follows close on the heals of his appearance at the Palais de Tokyo last year, when the artist launched his monograph My Tongue in Your Cheek . If you can't afford to import it, the latest issue of
