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Masai/Maasai African Culture and Art

Masai/Maasai African Culture and Art
Image: Maasai Walking Stick
Size in cm: 92 x 13 x 5
Weight: 800 gr.

Since the colonial period, most of what used to be Maasai land has been taken over, for private farms and ranches, for government projects or for wildlife parks. Mostly they retain only the dryest and least fertile areas. The stress this causes to their herds has often been aggravated by attempts made by governments to 'develop' the Maasai. These are based on the idea that they keep too much cattle for the land. However, they are in fact very efficient livestock producers and rarely have more animals than they need or the land can carry. These 'development' efforts try to change their system of shared access to land. While this has suited outsiders and some entrepreneurial Maasai who have been able to acquire land for themselves or sell it off, it has often denuded the soil and brought poverty to the majority of Maasai, who are left with too little and only the worst land.

How do they live?
For the Maasai, cattle are what make the good life, and milk and meat are the best foods. Their old ideal was to live by their cattle alone – other foods they could get by exchange – but today they also need to grow crops. They move their herds from one place to another, so that the grass has a chance to grow again; traditionally, this is made possible by a communal land tenure system in which everyone in an area shares access to water and pasture. Nowadays Maasai have increasingly been forced to settle, and many take jobs in towns. Maasai society is organised into male age-groups whose members together pass through initiations to become warriors, and then elders. They have no chiefs, although each section has a Laibon, or spiritual leader, at its head. Maasai worship one god who dwells in all things, but may manifest himself as either kindly or destructive. Many Maasai today, however, belong to various Christian churches.

Maasai Art:
The Massai are one of the most famous African ethnic people known today. Living in southern Kenya and North central Tanzania these tall graceful people dress in many varieties of red and seem to refuse against all pressures to settle down to a village or agricultural life believing it a sin to cultivate land, as it is considered ruined for grazing after cultivation. They are nomadic and live by herding cattle and goats. Money is not important to them; they instead use cattle as a sign of wealth. Instead of villages the Maasai build temporary corrals where the women construct huts of clay, these are lived in for a little while and then abandoned. The Masai are a very communal people, and from a very young age children are divided into age groups to which they remain faithful to throughout their life. Men advance through different divisions in their age group hoping to achieve the status of a warrior. Traditionally, the only way to achieve this status is to single handily kill a lion with a spear. Known for their elaborate beadwork, the Maasai seem to be obsessed with red; they rub red dye all over their bodies and also cover themselves in elaborate red beadwork. Another art form of the Maasai is hair braiding. Most Masai will spend days doing elaborate hair designs. Men will sometimes grow their hair into huge braids similar to the women.

The African Mbira

The African Mbira (aka. plucked idiophone)
Image: Antique Mbira/Marimba Dark Africa Collection
Size in cm: 17 x 30 x 6
Weight: 400gr.

The mbira has been an important instrument in sub-Saharan Africa and has played a part in African culture for 800 years. Although it can be a solo instrument, it is more commonly used as an accompaniment to singers, musicians and dancers. It is not uncommon for the native African instruments to allow solo harmonization, but typically, harmony in African music serves as a variation to the theme being performed. Many versions of the mbira exist with tribes creating distinctive performance styles and names for the instrument. They vary widely in appearance, size, materials, and tuning from the smallest 6-note models of the Kalahari Bushmen, to the sophisticated 33-note instrument found in Zimbabwe. The name mbira is know throughout much of Africa, but regionally, the name mbira is more commonly used in Zimbabwe, while the name Kalimba is used in Kenya, the name ikembe is used in Rhuanda, and the name likembe is used in the Congo, while other names are bit less common such as sanza, sansa, marimba, marimbula, there are more generic names of finger harp, gourd piano, and thumb piano that are often used in the west. The mbira is also known as the thumb piano, because one's thumbs are used to pluck (or more accurately depress and release) the metal strips (tongues or lamellas) that sound particular notes. It is common for two mbiras to play together where one covers the melodic accompaniment of the singer while the other plays the bass line (or bourdon). Some mbiras have few tongues and others have many. Some of the more sophisticated instruments have two sets of tongues for one performer to play melody and harmony, or melody and bass line on the same instrument. In the 1920's, Hugh Tracey came from England to Rhodesia (now Zimbabwe) to help his older brother run a tobacco farm. He became fascinated by the local music culture and created the Kalimba, a version of the mbira. Introduced by Tracy in the early 1960's, Kalimba was the registered trademark for his diatonic instrument that soon became popular around the world. The word kalimba literally means little music. It was well suited for Western music and made it easy for the performer to play harmony using both thumbs. Today, versions of this African instrument can be found in most parts of the world, with a wide use in parts of Asia, the Middle East, North and South America. Much of this popularity is due to the work of Hugh Tracy, but the simplicity of the instrument's design and construction and the relative ease by which one can learn to play it has added to it's wide acceptance throughout the world.

Physical Description:
The basic mbira is a simple sound board or sound box with wooden (typically cane) or metal keys or tongues (called lamellas) attached on the top. The sound box is typically made from a calabash (gourd) or wood, and often the metal keys (tongues) were made from old spoon handles, bicycle spokes or spring wire that were cut and hammered to the desired shape. The keys (tongues) are plucked with the thumbs, or with combinations of thumbs and fingers. The keys usually consist of 6 to 33 metal keys (tongues) mounted across two bars (or wooden dowels) at one end attached to the sound box with another wooden dowel holding them in place. The bar closest to the sound hole serves as a bridge, the other to provide a means for the dowel to hold the keys (tongues) in place. The free ends of the keys (tongues) are positioned at different lengths to produce the variety of pitches. The length of the vibrating end of the keys (tongues) determines the pitch (a shorter key or tongue produces a higher pitch, and a longer key or tongue produces a lower pitch). Many of the mbiras with sound boxes, have holes drilled in the sides of the sound box. When the instrument is held in both hands with the thumbs plucking the tongues, the index fingers on each side can cover and uncover these side holes to change the resonance and can provide a tremolo effect. The mbira often has several rows of keys (tongues) positioned like multiple manuals (or rows of keys) on a keyboard. The lower manual (typically longer tongues and lower pitched notes) often represent the men's voices, while the upper manual (typically shorter tongues with higher pitched notes) represent the young men's voices, or are split with one side of the upper manual representing the young men's voices and the other representing the women's voices. The tuning and arrangement of the tongues are varied.

Sound Properties:
The mbira produces a haunting, fluid percussive sound that is considered tranquil and enchanting. Since you can play either simultaneously or alternating between both thumbs, harmonic and rhythmic effects are possible. An important feature of mbira music is its cyclical nature, with each new repetition of a theme varying slightly from the last and incorporate numerous interwoven melodies, with contrasting and syncopated rhythms. Mbira music lends itself to rhythmic and melodic diversity, and entails a great deal of improvisation, qualities common to African traditional music. The compositions usually consist of a main melodic part (kushaura), and a secondary melodic part (kutsinhira). A special attention should be paid to the combination of quadruple (4/4) and triple 3/4 meters within the rhythmic structure of the music. Most compositions can be thought of as a sequence of four 12-beat phrases. Those 12 beat can be divided into three groups of four, or four groups of three. While the Mbira can be an effective solo instrument, it is rarely found by itself at traditional Shona religious ceremonies. It is ordinarily accompanied by hosho players, handclapping, and singing. The persistant array of complex rhythms and variations of the melodies provides a rich source of sounds that captivates listeners. Many effects can be employed by plucking up or down on the keys (tongues). The sound can also be altered by wrapping the tongues with wire or adding a mirliton device. This adds an additional buzzing or humming character to the sound of the instrument which is an important sound in many of the tribal cultures. Often, snail shells or metal bottle caps are often attached to the sound board or the sound box to create or enhance the rich buzzing sound. The buzzing is thought to clear the mind and allow the listener to focus totally on the music. These buzzing effects are not commonly used on the diatonic versions of the mbira or outside of the African tribal cultures. Most recordings do not include these effects as they tend to favor the pure sounds of the instrument. Mbira tunings are numerous, and usage depends on personal preference. Mbira players usually settle on a particular tuning and use it consistently. Some of the more common Mbira tunings are Nyamaropa (most common), Gandanga Dongonda, Gandanga (or Mavembe), Nyuchi, Dambatsoko, Katsanzaira, Mande, Nemakonde, Nyamaropa Dongonda, Samsengere, and Saungweme.

African Djembe

African Djembe

Information on the djembe, their preparation and origin as well as some background knowledge.

The Djembe is a West African instrument whose origin was a long time ago in Guinea.
Over the years, the musical cultures have blended in Africa.
Today, the djembe in many other countries, such as in Mali, Senegal, Gambia, Burkina Faso, Niger, Ivory Coast / Cote d'Ivoire and in Ghana.

Djembe or: Jembe is traditionally an instrument of the Mande Bambara and Malinke peoples. From their settlements it has spread since the 60's in a regular sweeping across West Africa to South Africa and in recent decades in Europe and America.

Traditionally, the djembe of "musicians" is made, wherein the timber body in the "rhythm" worked.
There are few high-quality timber species which are, according to African musicians for the Djembe-production very well.
These particular species are West African and exotic woods hot Lenke, Iroko / Odum or Dweneboa. They are ideal for the construction of instruments such as djembe and balafon suitable.

During my musical travels through West Africa, I came into a small town, where be built today without European tools, but with self-forged tools Djembe.
This is done by means of a common rhythm, with the heaviest operation eg the hollowing out of the heartwood the beat determined and minor works, such as Decorations at the foot of the djembe, the melody arise.

For generations, this tradition has been maintained in musical families. When I am on my first visit in 1986 approached the small African town, where the tradition still exists today, I assume meant the sound of drums and rhythms can be.
At first I thought that one of the usual events in Africa such as Birth celebrations, weddings, outdooring ceremonies, harvest festivals or funerals drummed, danced and sung, but as I approached, I realized very soon that there were musicians at work or carving the Djembés there. By working on the Holzkorpora created rhythms that combines revealed a complex melodies play.

Later, I told an old, blind musician and carver, that he has made throughout his life and music made these instruments with his hands and has played and believe that the instruments of the rhythm is on, drums in carving.

Very soon I realized the value differences between instruments, which are made from cheap materials and with European tools and instruments that would be made to the old style of music sent hands in excellent quality.

The demand for African Art

CNN.com's video on the "Growing Demand for African Art"
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African People and Culture

African People and Culture

The ZULU People of South Africa

The Zulu are the better indigenous accumulation in South Africa. They are able-bodied accepted for their admirable blithely black chaplet and baskets as able-bodied as added baby carvings.

The Zulu accept that they are descendents from a arch from the Congo area, and in the 16th aeon migrated south acrimonious up abounding of the traditions and community of the San who additionally inhabited this South African area. During the 17th and 18th centuries abounding of the best able chiefs fabricated treaties and gave ascendancy of the Zulu villages to the British. This acquired abundant battle because the Zulu had able affectionate apple government systems so they fought adjoin the British but couldn't win because of the baby backbone they possessed. Finally, afterwards abundant of the Zulu breadth had been accustomed to the British the Zulu bodies absitively as a accomplished that they didn't appetite to be beneath British aphorism and in 1879 war erupted amid the British and the Zulu. Though the Zulu succeeded at aboriginal they were in 6 months baffled by the British who adopted the Zulu Kings and disconnected up the Zulu kingdom. In 1906 addition Zulu insurgence was advance and the Zulu abide to try to accretion aback what they accede to be their age-old kingdom.

The Zulu accept in a architect god accepted as Nkulunkulu, but this god does not collaborate with bodies and has no absorption in accustomed life. Therefore, best Zulus collaborate on a day to day akin with the spirits. In adjustment to collaborate with the alcohol the Zulu charge use divination to collaborate with the ancestors. All accident is a aftereffect of a angry abracadabra or affronted spirits, annihilation aloof happens because of accustomed causes.

The Zulu are about disconnected in bisected with about 50% active in cities and agreeable in calm assignment and addition 50% are working on farms.

Art from Zanzibar and Tanzania

Art from Zanzibar and Tanzania

Website recommendation: http://www.jumart.net/

Tanzania and Zanzibar are affluent in ability and art. Below are a few examples and in the absolute branch breadth to acquisition the art should you anytime appointment Tanzania.

Mokonde Abstraction is a charge shop for if you adore African abstraction from Tanzania. The Makonde bodies alive in the South East of Tanzania. This alien breadth of Tanzania has become acclaimed for the abstraction of atramentous [mpingo] or ironwood. Modern Makonde sculptures are able carvings, anniversary one unique. Their capacity usually accommodate shetani - which are spirits, demons and devils. The art is aqueous and at the aforementioned time awful angled. Traditionally the best able-bodied accepted carvings from this breadth were macho admission masks and abundant torsos absorption the accent of women in their society. Outside the arcade at the Cultural Heritage in Arusha in Northern Tanzania stands a twelve bottom aerial and ten bottom blubbery Mokonde carving. This abstraction is from a distinct timberline block and depicts intersecting abstracts assuming accustomed activity in Tanzania.

Tinga Tinga painting basic in Southern Tanzania and Mozambique and were corrective from pigments begin in nature; archetypal capacity to be corrective were bodies and animals. Eduardo S. Tingatinga was built-in in Mozambique but during the backward 1960s confused and acclimatized in Tanzania. He is accustomed with founding this art movement, which today takes his name; Tinga Tinga [sometimes spelt Tingatinga]. Traditionally corrective on aboveboard board bedding with active apply colors; generally corrective assimilate a atramentous background. The Tinga Tinga appearance of African art is corrective in a affable and aboveboard way.

The Maasai are apparently one of Africa's broadly apparent tribes. And their beadwork is apparent the apple over. The Maasai accept roamed the aerial grasslands of the Serengeti and Masai Mara of Southern Kenya and Northern Tanzania for centuries. The Maasai beadwork carries messages, from breadth you are and to which age accumulation you belong. The patterns and colors in a armlet are fabricated alone for anniversary age accumulation and the women alive calm in groups that adjudge the appearance of the jewellery to be fabricated for menfolk.

Red signifies danger, ferocity, bravery, strength, and decidedly unity, because it is the blush of the claret of the cow that is collapsed back the association comes calm in celebration.

Blue is important because it represents the sky which provides baptize for the cows.

Green is important because it represents the acreage which grows aliment for the beasts to eat. Green additionally represents the bloom of the Maasai association as there is a bounded bulb alleged olari which grows alpine and plentiful, as the Maasai.

Orange is the blush of the gourds that authority the milk that are offered to visitors and accordingly is the blush of hospitality.

Yellow additionally represents accommodation because it is the blush of the beastly banknote on the beds.

White is the blush of milk, which comes from a cow, advised a allowance from the gods to the Maasai bodies and so represents purity; and additionally health, because it is milk that nourishes the community.

Black represents the bodies but added decidedly it represents the hardships of life.

In Stone Town, Zanzibar, there are accounted to be 806 board doors dating from 1870. Designs arise from about the Persian Gulf, Afghanistan and the Punjab. They aboriginal accustomed in East Africa about 1500AD. It was in the time of Sultan Barghash (1870-1880) - the third Omani of Zanzibar that the doors became popular. The ellipsoidal aperture is encased in an intricately carved anatomy with the exoteric band of the anatomy carved into chains allegorical of the enslavement of angry alcohol aggravating to access the residence. There are eleven chain sections to a archetypal door. The abutting anatomy is sometimes carved with lotus flowers or approach leaves. Fish are generally carved into the doors, actuality an important allotment of aliment on the island. Above the aperture panels the axle is carved with rosettes, sometimes the name of the abode buyer is carved assimilate the lintel. In the earlier doors there is generally a ballad from the Koran and the date of carving. The axial column amid the doors is additionally carved. Generally the aperture panels accept huge assumption studs set into the aperture which are an accessory adaptation of spikes originally advised to anticipate battering by elephants.

The best way to ascertain the art of Tanzania is by visiting and exploring Dar es Salaam and Zanzibar. All to generally the day-tripper will appointment Tanzania for the bold safari. The cultures, the bodies the backdrop out of the bold parks has so abundant to action and is all to generally neglected. If you are anytime advantageous abundant to appointment Tanzania booty some time to analyze the art and ability begin in the cities forth the Swahili coast. Art can be begin in Dar es Salaam at Morogro Stores abutting to the Slipway and Mwenge Market. In Zanzibar there is art at the Old Fort in Stone Town.