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Indigenous religions of Africa
Indigenous religions of Africa
Indigenous religions of Africa
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With over one million people living between the Comoé and Bandama rivers identifying as such, the Baule represent one of the largest ethnic groups in Côte d'Ivoire. Living in villages organically organized into compounds that center around family courtyards which open onto the communal gathering space, the Baule form independent communities of agriculturalists. They grow yams, maize, kola nuts and cocoa and supplement their diet with fish and pastoralism. A fairly egalitarian society, Baule social and political institutions consist of a centralized government headed by a king or chief who inherits his position according to matrilineal lines. However, elders and Goli association members serve as local representatives and judges.
In an environment known for its ambiguity, the geographic area in which the Baule occupy consists of open spaces surrounded by forest. For centuries, the distinction between the ordered village and the disorienting wilderness beyond has constituted a central aspect of Baule philosophy. Naturally, this manner of thought has influenced rich religious traditions including the Baule belief in a sacred hierarchy consisting of the divine couple Nyamien and Asie at the top, mediating divinities in the middle, and the spirits of nature at the bottom. In turn, these religious connotations have inspired works of Baule art. While researchers like Susan M. Vogel caution that, “‘art’ cannot be described from a Baule point of view at all, simply because their view does not include ‘art’ in the Western sense of the word,” the Baule are nonetheless regarded for their craftsmanship which is as beautiful as it is thoughtful. Intended to be incorporated into the context of a dialogue with the spirit world, Baule artwork...
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Vogel, Susan Mullin. Baule: African Art, Western Eyes. New Haven: Yale University Press, 1997.
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Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin. Over time, concepts of ‘Race’, defined as a distinct group with a common lineage, and ‘Primitive’ which pertains to the beginning or origin,, have been inextricably linked with the perception of Africa. The confusion of the two in the minds of people at the end of the 19th century, and some of the 20th, caused a sense of superiority amongst the ‘White Races’ that affected every aspect of their interaction with ‘the Black’. The ‘Civilisation’ of Africa by conquest and force is justified by these views.
The Boli, or altar, figure from the Bamana peoples of Mali is a unique piece of art not based on what an individual knows about the figure, but rather what it doesn’t. The Boli has a secretive quality that harnesses energy from the community and peoples reactions to the Boli can fluctuate based on their interpretations of the object. The Boli is made of materials ranging from human bodily fluid to sticks and string. The figure is generally made to resemble an animal, typically a hippopotamus or cow, but over time with sacrificial material covering the figure it can become somewhat unclear. The Bamana peoples have an obscure relationship with the Boli for many reasons that could sprout from the materials it is made from, its uses in the society, and its extremely secretive nature.
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In summary, Davidson successful traces Africa’s earliest origins and demonstrates that this is a civilization far from having no arts, technology, sophistication and unique culture. Culture and civilization as we know it today can be traced back to Africa, and modern science has verified the early perceptions of Europeans to be wrong. He provides more than adequate evidence of Africa having a history complete with vast and rich civilization, including archaeological finds and specialized interviews with distinguished scholars and philosophers. Despite the fact that society possesses a more positive attitude towards African civilization today in terms of recognition, equality, and acceptance than in the past, negative stereotypes are still acknowledged and modern day racism unfortunately exists. I believe that the existence of Davidson’s work and videos such as Different but Equal are crucial to challenging these stereotypes and discrimination in order to create a more accurate image of Africa and its history. Overall, Davidson proves that the continent of Africa is home to a history that is just as meaningful, comprehensive, and progressive as that of any other civilization in the
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...econd African Writers Conference, Stockholm, 1986. Ed. Kirsten Holst Petersen. Upsala: Scandinavian Institute of African Studies, 1998. 173-202.