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#afro caribbean folklore
seasonofthewitch06 · 7 months
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I want to learn more about African-American, Afro-Caribbean, Afro-Latino, and continental African folklore!!!
Especially the horror stories!!! I already know some but there’s so much I don’t know!
Can anybody please suggest any books or resources that talk extensively about folklore from these communities 🙏🏾?
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barrewithme · 7 months
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barre with me🩰✨💕
February 18th 2024
Dance update! 🤗
I’ve gotten the opportunity to understudy for the Belize National Dance Company!
They’re working on several Caribbean cultural/folk dances and I’m rehearsing with them two times a week in preparation for a showcase in May 🥰
Super grateful for the opportunity to grow my repertoire💖
gif 📸: me trying on a cultural skirt
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afrotalescast · 1 year
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diaryofaphilosopher · 1 month
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"The shift from the Afro-Caribbean zombie to the U.S. zombie is clear: in Caribbean folklore, people are scared of becoming zombies, whereas in U.S. narratives people are scared of zombies. This shift is significant because it maps the movement from the zombie as victim (Caribbean) to the zombie as an aggressive and terrifying monster who consumes human flesh (U.S.). In Haitian folklore, for instance, zombies do not physically threaten people; rather, the threat comes from the voduon practice whereby the sorcerer (master) subjugates the individual by robbing the victim of free will, language and cognition. The zombie is enslaved."
— Justin D. Edwards, "Mapping Tropical Gothic in the Americas" in Tropical Gothic in Literature and Culture.
Follow Diary of a Philosopher for more quotes!
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reasoningdaily · 7 months
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African Gods, African Goddesses & African Mythology Guide – Culture Bay
The vibrant lore of African deities and mythology contributes greatly to the richness of cultural traditions. The pantheon plays a pivotal role in African culture, embodying the values, beliefs, and customs of various communities. It's more than just deities; it's a reflection of societal norms and historical narratives.
The diversity within the African pantheon further enhances its depth, offering unique insights into different ethnic groups across the continent. This starter guide aims to give you an overview of this fascinating aspect of African culture that continues to shape identities and influence contemporary thought.
Table Of Contents
Key Takeaways
The Origins and Diversity of African Mythology
Prominent Deities in African Mythology
The Diversity of Beings in African Mythology
Beauty and Significance of African Mythology
Exploring Yoruba Mythology and Deities
Ancestral Spirits and Nature Beings Across Africa
The Influence of African Gods on the Diaspora
Moral Teachings and Aesthetic Expressions in African Myths
Syncretism in African Diaspora Religions
Cosmic Tales and Creation Myths in Africa
Oral Tradition and Storytelling in African Mythology
North, South, East, and West: Diversity of African Folklore
The Impact of Egyptian Mythology on African Beliefs
Exploring Bantu and Kuba Creation Myths
Santeria: A Deeper Dive into Afro-Caribbean Faiths
Exploring Afro-Brazilian and Haitian Vodou Deities
The Mysteries of Oshun, Nana Buluku, and Oya
Understanding the Powers of Shango, Obatala, and Olokun
Exploring the Stories of Yemoja, Elegua, and Babalú-Ayé
Pan-African Historical Legends: A Comparative Study
Conclusion
Frequently Asked Questions
Key Takeaways
African mythology is a rich tapestry of tales and teachings, with each region offering unique deities and spirits that reflect the continent's immense cultural diversity.
The Orishas of the Yoruba tradition, such as Oshun and Shango, are central figures that embody various aspects of life and nature, and their stories provide valuable insights into Yoruba beliefs and values.
Ancestral spirits play a critical role across many African cultures, emphasizing the importance of lineage, respect for elders, and the interconnectedness of the living and the spiritual realms.
Understanding the impact of African gods on the diaspora reveals how these mythologies have adapted and survived through syncretism in religions like Santeria and Vodou, especially in the Caribbean and South America.
Anansi the Trickster is a key figure in African folklore whose stories underscore the significance of intelligence and cunning over brute strength, teaching moral lessons that resonate across various African societies.
The oral tradition remains a vital part of African mythology, ensuring the preservation and transmission of these stories through generations, which continue to influence modern culture, art, and religious practices.
The Origins and Diversity of African Mythology
Historical Roots of African Mythology
The intricate web of African mythology has its roots in the very beginnings of civilization. These mythologies, deeply ingrained in the cultural fabric, were a way for early societies to make sense of their world and existence.
The myths served as moral compasses, guiding people through life's challenges and uncertainties.
Take for instance, the Yoruba tribe in West Africa. Their mythology revolves around a pantheon of gods and goddesses, each responsible for different aspects of life. One such deity is Olorun, the sky god believed to have created the universe.
Variety in Myths Across Different Regions
Moving from one region to another within Africa reveals a diverse array of myths. This diversity is reflective not just of geographical boundaries but also distinct ethnic groups and cultures.
In North Africa, Egyptian mythology holds sway with its famous gods like Ra (the Sun God) and Isis (the Goddess of Magic). Meanwhile, southern Africa has its own unique set including Mukuru - revered by the Himba people as an ancestor spirit who intervenes on behalf of humans.
Influence Of Geography On Mythological Narratives
Geography plays a significant role in shaping these mythologies. From river valleys to arid deserts, every landscape has influenced local myths in one way or another.
Consider how Nile River shaped Egyptian mythology. The annual flooding was attributed to Hapi - the god of inundation – ensuring fertile lands for agriculture.
Similarly, among the Maasai tribes inhabiting East Africa’s savannahs, Enkai is worshipped as both sun and fertility god – demonstrating how geography influences divine attributions.
Prominent Deities in African Mythology
Key Gods and Goddesses in Africa
Africa is rich with numerous gods and goddesses, each playing a significant role in the life of their believers. Among them, Amun-Ra, the creator god of ancient Egypt, stands out prominently. He was worshipped as the king of gods and symbolizes creation.
Anansi, another key deity from West Africa, is renowned for his wisdom. Often depicted as a spider, he is associated with storytelling and trickery. In Yoruba mythology from Nigeria, Oshun is revered as the goddess of love, fertility and rivers.
Roles and Significance of These Deities
Each African god or goddess holds a unique role within their respective cultures. For instance, Amun-Ra was considered the supreme power responsible for creating everything in existence. His significance extended beyond spiritual beliefs into political realms; Pharaohs often claimed to be his descendants to legitimize their rule.
In contrast to Amun-Ra's grandeur, Anansi plays a more down-to-earth role as a cultural hero. His stories are used to teach morals and social values to children.
Oshun's importance lies in her connection with fertility and prosperity. She provides hope for childless couples and blesses them with offspring.
Unique Attributes Associated With Each Deity
Each deity possesses unique attributes that distinguish them from others. Amun-Ra embodies duality; he represents both hidden (Amun) and visible (Ra) aspects of life.
Anansi’s primary attribute is intelligence; his cunning ways make him an interesting character in folk tales.
Oshun personifies love and beauty; she manifests through sweet waters like rivers or streams where devotees perform rituals to seek her blessings.
The Diversity of Beings in African Mythology
African mythology is rich with a variety of beings, each with unique characteristics and roles in the natural and supernatural worlds. These beings often serve as deities, spirits, and creatures in African folklore, shaping the cultural and religious beliefs of various African tribes and communities. Here, we explore some of the most prominent types of beings in African mythology.
Gods and Goddesses
In African mythology, gods and goddesses are the supreme beings who rule over the universe. They are often associated with natural elements like the sun, moon, earth, and water. Notable gods include Amun-Ra, the Egyptian sun god; Olorun, the Yoruba god of the sky; and Mawu, the Ewe goddess of the earth and moon.
Ancestral Spirits
Ancestral spirits are revered in African mythology as they are believed to have a direct influence on the lives of the living. They are often invoked for guidance, protection, and blessings. An example of this is the veneration of ancestors in the Zulu tradition.
Nature Spirits
These are spirits associated with natural elements such as rivers, mountains, trees, and animals. They are believed to inhabit these elements and can either bring fortune or misfortune. The Yoruba river goddess Yemoja and the Igbo earth goddess Ala are examples of nature spirits.
Mythical Creatures
African mythology is replete with mythical creatures, often embodying both human and animal traits. These include the Anansi, a trickster spider from Akan mythology; the Sphinx, a creature with a human head and a lion's body from Egyptian mythology; and the Mokele-mbembe, a dinosaur-like creature from Congo River basin folklore.
Demonic Beings
In the realm of African myth, entities symbolizing wickedness or bad luck are prevalent. One such example is the Tikoloshe, a small water spirit resembling a dwarf.
Beauty and Significance of African Mythology
The allure of African mythology is in its elaborate mix of narratives, figures, and mythical features. These lively stories do more than just amuse; they teach valuable lessons about life, ethics, and our environment.
Aesthetic Expressions in Myths
The myths play a significant role in shaping aesthetic expressions. The narratives inspire various forms of art such as sculpture, painting, and dance. For instance:
Sculptures often depict gods and goddesses from mythology.
Dance routines are choreographed to tell the story of a particular myth.
Paintings portray scenes from these myths.
These artistic representations bring to life the beauty inherent in African mythology. They provide a visual narrative that complements oral storytelling while adding an extra layer of appreciation for the depth and complexity of these myths.
Moral Teachings within Communities
African mythology is an important tool for moral instruction within communities. These stories often contain lessons on virtues like honesty, bravery, kindness, and respect for elders. For example:
The Yoruba god Shango teaches about justice and wrath.
Anansi the spider from Akan mythology emphasizes wisdom and cunningness.
Maasai's lion-god Nemele teaches about bravery.
Through these stories, children learn about good behavior while adults are reminded of their responsibilities towards society.
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Exploring Yoruba Mythology and Deities
Overview of Yoruba Mythology
Yoruba mythology is a rich tapestry of tales, beliefs, and traditions. Originating from the Yoruba people in West Africa, it has influenced cultures worldwide.
The Yorubas believe in a pantheon of gods and goddesses, each governing different aspects of life. These mythical beings are revered for their divine powers and wisdom.
For instance, Ogun, known as the god of iron and warfare, symbolizes strength and courage. His influence extends to professions that involve metalwork like blacksmithing and surgery.
Similarly, Osanyin is another important figure in Yoruba mythology. As the god of herbal medicine, he represents healing and protection against diseases.
Key Figures in Yoruba Pantheon
In addition to Ogun and Osanyin, other key figures populate the Yoruba pantheon. One such figure is Oduduwa.
Oduduwa holds a special place as he's considered the progenitor of all Yorubas. He's associated with creation myths where he descended from heaven to create the earth at Ile-Ife, now regarded as the spiritual home of all Yorubas.
Another notable deity is Oya. She's revered as a goddess who governs winds and storms—a symbol of drastic change.
Moreover, divination plays an essential role in connecting with these deities. It involves rituals where priests interpret signs or symbols to reveal divine messages or prophecies.
Cultural Impact of Yoruba Myths
Yoruba myths have left an indelible mark on various cultures globally through migration and diaspora communities—especially in countries like Brazil, Cuba, Trinidad & Tobago where African religions mixed with Christianity led to syncretic faiths like Candomblé or Santería where many African gods found new identities.
For instance, in Brazil's Candomblé religion, Ogun is syncretized with Saint George—both sharing attributes of a warrior. Similarly, Osanyin is often associated with Saint Joseph or Saint Sebastian, reflecting their shared association with healing and protection.
Yoruba mythology also significantly influences art, music, and literature. For example, Nigerian author Wole Soyinka's works often incorporate Yoruba myths and legends.
Ancestral Spirits and Nature Beings Across Africa
The Role of Ancestral Spirits
Ancestral spirits hold a significant place in many African cultures. These entities, often deceased family members, are believed to influence the daily lives of the living. They provide guidance, protection, and blessings to their descendants.
For instance, in Saharan Africa, ancestral spirits are revered and consulted for wisdom during important decision-making.
The belief in these spirits is deeply ingrained in African societies. It transcends generations and forms an integral part of their cultural identity.
Their presence is felt through rituals that honor them - from simple offerings at home altars to grand festivals celebrated community-wide.
Nature Beings and Environment Connection
In addition to ancestral spirits, nature beings also feature prominently in African mythology. These beings embody natural elements like rivers, mountains, trees, or animals. They symbolize the intimate connection between humans and their environment.
Nature beings are considered guardians of specific natural elements they represent. For example, a river deity would be responsible for maintaining the balance of aquatic life within its domain.
These entities remind people of their duty towards environmental conservation. By venerating nature beings, communities show respect for nature itself - preserving forests as sacred groves or protecting certain animal species seen as incarnations of these deities.
Rituals Associated with Spirits and Nature Beings
Rituals form an essential aspect of engaging with both ancestral spirits and nature beings across Africa. They range from personal prayers at home shrines to elaborate ceremonies involving music, dance, sacrifices, or processions.
For instance, during harvest season in many agricultural societies across Africa, rituals are performed to thank the ancestral spirits for bountiful crops while seeking blessings for future harvests.
Similarly, before embarking on a fishing expedition or hunting trip - activities closely linked with survival - people might offer prayers or sacrifices to nature deities seeking success and safety.
The Influence of African Gods on the Diaspora
Migration and the Spread of African Mythology
The migration of Africans, forced or voluntary, to different parts of the world had a significant impact on the spread of African mythology.
People carried their beliefs with them, including stories about their gods and goddesses. These narratives found new homes in various corners of the globe, from the Americas to Europe.
For example, during the transatlantic slave trade, enslaved Africans brought their religious practices to North and South America.
Over time, these practices evolved into unique belief systems like Vodou in Haiti and Candomblé in Brazil. Both religions feature African gods known as Loa (Vodou) or Orishas (Candomblé).
Adaptation of African Gods in New Cultural Contexts
In new environments, these deities adapted to resonate with local cultures. This fusion resulted in hybrid forms that retained core elements from Africa while integrating aspects from other influences.
In Cuba, for instance, Yoruba gods became syncretized with Catholic saints due to colonial pressures. Thus Santería was born - a religion where Yemaya (a Yoruba goddess) is associated with Our Lady of Regla and Ogun (a Yoruba god) corresponds to Saint Peter.
These adaptations allowed diaspora communities to preserve their ancestral beliefs covertly under oppressive regimes while also making these traditions accessible and relevant within their new cultural contexts.
Continuity and Change in Diaspora Beliefs
Despite these changes, there's a remarkable continuity within diaspora beliefs. The reverence for ancestors remains central across many Afro-diasporic religions today as it was back in Africa.
Simultaneously though, some alterations have been inevitable due to geographical separation from the continent and interaction with other cultures.
For example, Oya is a Yoruba goddess associated with rivers in West Africa but she's linked with the wind and cemeteries in Cuban Santería.
Another change is the increased prominence of certain deities. In Africa, Eshu was a relatively minor Yoruba deity but in diaspora practices like Vodou and Candomblé, he's become a central figure as Legba or Exu who controls access to all other gods.
These shifts reflect the resilience and dynamism of African mythology within the diaspora. They testify to its ability to maintain core principles while adapting to new circumstances.
Moral Teachings and Aesthetic Expressions in African Myths
Ethical Lessons Derived from Myths
African mythology is rich with moral teachings. These ethical lessons are often communicated through stories featuring gods, goddesses, and other mythical creatures.
For instance, the Yoruba people of Nigeria tell tales of Esu, a trickster god who teaches the importance of truthfulness and fairness. In one story, Esu tricks two friends into breaking their bond by spreading lies about each other. The lesson here is that trust should not be easily broken based on hearsay.
Similarly, the Akan people of Ghana have a spider god called Anansi who often finds himself in tricky situations due to his greediness. Through Anansi's mistakes, listeners learn about the consequences of excessive greed and selfishness.
Artistic Representations Inspired by Mythology
Art has always been an integral part of African culture and mythology plays a significant role in inspiring artistic expressions.
For example, the Dogon people of Mali create masks representing their gods for ceremonial dances. These masks are intricately designed and painted to capture the essence of each deity.
In addition to physical art forms like sculpture and painting, African myths also inspire music and dance performances. The Zulu people of South Africa perform dances dedicated to their ancestors during religious ceremonies as a form of worship.
The influence extends beyond Africa too; many contemporary artists around the world draw inspiration from African myths for their work.
Intersection Between Aesthetics and Spirituality
In African cultures, there is often no separation between aesthetics (art) and spirituality (religion). They intersect at various points creating a unique blend that shapes societal norms.
Take for example body art practices such as scarification or tattooing which are common in many African tribes like Nuba in Sudan or Yoruba in Nigeria. These markings are not just beautification tools but are deeply rooted in spiritual beliefs about protection and identity.
Similarly, African architecture often reflects spiritual beliefs. The houses of the Musgum people in Cameroon are shaped like shells, symbolizing the life-giving properties of water and fertility goddesses.
Syncretism in African Diaspora Religions
This section explores the fusion of traditional beliefs with foreign religions, examples of syncretic practices in diaspora communities, and the impact of syncretism on religious identity.
The Fusion of Beliefs
The term 'syncretism' refers to the blending or merging of different religious practices. In the context of African diaspora religions, it is often seen as a survival strategy.
During the Atlantic slave trade, enslaved Africans were forcibly converted to Christianity. However, Africans managed to retain elements of their indigenous religions by fusing them with Christian beliefs and practices.
This fusion resulted in unique syncretic religions such as Vodou in Haiti, Santeria in Cuba, and Candomble in Brazil.
For instance, many African gods and goddesses found parallels within Catholic saints. Yemaya, an Orisha (god) from Yoruba religion associated with motherhood and rivers was syncretized with Our Lady of Charity in Santeria. Similarly, Ogun - god of iron and war - was equated to Saint Peter who holds the keys to heaven.
Syncretic Practices in Diaspora Communities
In diaspora communities today, these syncretic practices continue to thrive. Rituals often include elements from both African traditional religion and Christianity.
For example, practitioners may invoke both Orishas (African gods) and Catholic saints during ceremonies.
In Haitian Vodou rituals for instance, songs are sung not only for Lwa (spirits akin to deities), but also for Virgin Mary or Jesus Christ. An altar might display Catholic icons alongside objects symbolizing African gods.
Moreover, there are special days dedicated to specific Orishas which coincide with feast days of corresponding saints. On these occasions devotees participate in elaborate ceremonies involving music, dance and animal sacrifices – a practice rooted deeply into African traditions.
Impact on Religious Identity
Syncretism has had a profound impact on religious identity among African diaspora communities.
It provided a way for enslaved Africans to maintain their cultural heritage under oppressive conditions. Today, it serves as a bridge between the past and present, connecting individuals with their ancestral roots.
However, syncretism also poses challenges. The blending of beliefs can lead to misunderstandings and misinterpretations about the nature of African gods and goddesses.
It may also cause tension between traditional practitioners and those who follow syncretic practices.
Cosmic Tales and Creation Myths in Africa
African Creation Myths: An Overview
African creation myths are as diverse as the continent itself. Each region, each tribe carries a unique story of how life began, often intertwined with natural phenomena and celestial bodies.
For instance, the Dogon people of Mali believe that all life originated from a single grain of sand flung into space by the god Amma.
The Role of Cosmic Entities in African Narratives
In these narratives, cosmic entities often play significant roles. They're not just characters but symbolic representations of complex ideas about existence and morality.
Take for example the Yoruba deity Olorun who is associated with the sun and sky. Olorun is considered the source of life, embodying notions of warmth, vitality, light, and guidance.
In another instance, consider the Zulu myth where Unkulunkulu (the first man) emerged from an 'uthlanga', or reed. Here reeds symbolize fertility and continuity - vital elements to human survival.
The Universe According to African Mythology
African mythology offers fascinating interpretations of the universe too. In many traditions, Earth is seen as a woman giving birth to all forms of life while Sky is viewed as her husband or partner.
For example, among the Kikuyu people in Kenya, Ngai (God) resides on Mount Kenya which they consider to be God's throne on earth. This mountain represents an umbilical cord connecting humanity with their Creator.
The San people in Southern Africa view stars as ancestors watching over them. This belief instills a sense of unity between humans and cosmos where every individual has a role to play in maintaining cosmic harmony.
Oral Tradition and Storytelling in African Mythology
The Significance of Oral Tradition
Oral tradition plays a crucial role in preserving myths in African culture. It is through this method that the tales of African gods, goddesses, and mythology have been kept alive for centuries.
The griot tradition, a West African practice where designated storytellers preserve historical narratives and genealogies, exemplifies the importance of oral storytelling.
In societies without written languages, oral traditions are the primary means to pass down cultural knowledge.
For instance, traditional beliefs about African gods and goddesses often exist in folklore passed down through generations orally.
Techniques Utilized in Storytelling
African storytelling employs several techniques to engage listeners effectively. Repetition is a common feature; it reinforces the story's message and makes it easier for listeners to remember.
Proverbs, riddles, songs, and dance are also incorporated into these stories to make them more engaging.
Storytellers sometimes use physical objects like masks or puppets as visual aids during their narratives. These objects not only enhance the entertainment factor but also serve as symbolic representations within the stories themselves.
Moreover, interactive storytelling is prevalent in Africa. Audience participation is encouraged whereby listeners respond to certain parts of the story or repeat phrases after the storyteller. This interaction fosters a sense of community while reinforcing key aspects of the narrative.
Community's Role in Sustaining Oral Traditions
The community plays an indispensable role in perpetuating oral traditions. In many cases, everyone has a part to play - from young children learning their first tales to elders who carry vast amounts of traditional knowledge.
These stories are often shared during communal gatherings such as festivals or ceremonies where multiple generations come together. By participating actively in these events, individuals learn about their cultural heritage while contributing towards its preservation.
For example, griots hold an esteemed position within their communities due to their extensive knowledge of traditional stories and histories. They are not only storytellers but also historians, advisers, and arbitrators. Their role exemplifies the community's collective effort in maintaining their cultural heritage.
North, South, East, and West: Diversity of African Folklore
African folklore is a rich tapestry of diverse narratives. This diversity stems from the regional variations present within the continent's cultural heritage.
Regional Variations Within African Folklore
African folklore is not a monolith. It comprises an array of stories, myths, and legends that have been passed down through generations in various tribes and cultural groups.
Each region in Africa has its unique set of tales that mirror its people's history, beliefs, and values.
For instance, in West Africa, Anansi the spider features prominently as a trickster figure whose exploits often impart moral lessons. Meanwhile, Southern Africa is known for its stories about animals like the cunning hare or the mighty lion.
These regional variations are a testament to Africa's immense diversity. They reflect how different environments and historical events shape cultures and their storytelling traditions.
Unique Characteristics of Myths From Each Direction
The myths from each direction also showcase unique characteristics shaped by local contexts. Let's take North Africa as an example where Egyptian mythology reigns supreme. Here we find gods such as Ra (the sun god) or Isis (the goddess of motherhood), reflecting ancient Egyptians' reverence for natural phenomena and family ties.
In contrast to this pantheon-based system, Central African mythologies often center around ancestral spirits rather than gods per se. The Bakongo people believe in Nzambi Mpungu who remains distant while lesser spirits interact with humans directly.
East African mythology presents another variation with figures like Nyame - the supreme sky deity among the Gikuyu people of Kenya - embodying abstract concepts like infinity or omnipresence.
Interactions Between Different Regional Traditions
Despite these differences between regions, there are instances where different regional traditions interact with each other. Trade routes facilitated cultural exchanges that brought together diverse elements into shared narratives.
One notable example is Mami Wata, a water deity whose worship spans from West Africa to Southern Africa. Despite her origins in the coastal regions of West Africa, Mami Wata's influence spread across the continent through trade and migration.
This intermingling of traditions underscores the dynamic nature of African folklore. It shows how myths and legends are not static but evolve over time as cultures interact with each other.
The Impact of Egyptian Mythology on African Beliefs
Ancient Egypt's Influence on African Culture
Egypt, one of Africa's most ancient civilizations, has left a profound impact on the wider African culture. Its mythology is rich with gods and goddesses that have shaped many beliefs across the continent.
For instance, the concept of life after death in Egyptian mythology found resonance in other African cultures. Many societies adopted this belief, manifesting it in their rituals and practices.
The Egyptian god Osiris, symbolizing resurrection and fertility, also influenced various African tribes. They started venerating similar deities symbolizing rebirth and abundance.
Shared Motifs Between Egyptian and Other African Mythologies
Interestingly, there are shared motifs between Egyptian mythology and other African mythologies. These common elements highlight how interconnected these diverse cultures are.
One such shared motif is the reverence for animal totems. In both Egyptian and many other African mythologies, animals like lions, crocodiles, or birds often represent certain gods or spiritual entities.
Another common theme is ancestor worship. Both ancient Egyptians and other Africans believed their ancestors played an active role in their lives from beyond the grave. This belief led to elaborate burial rituals to honor the dead.
Legacy of Egyptian Beliefs in Contemporary Practices
The legacy of ancient Egyptian beliefs continues to influence contemporary practices across Africa today.
In many parts of Africa, people still practice traditional religions that incorporate elements from ancient Egypt. For example, some communities believe in a supreme creator god akin to Amun-Ra from the pantheon of ancient Egypt.
Moreover, symbols derived from Egyptian mythology remain prevalent in modern cultural expressions throughout Africa. Ankh crosses representing life are seen as protective amulets by several communities across the continent.
Exploring Bantu and Kuba Creation Myths
Overview of Bantu and Kuba Cosmogonies
The African continent, with its diverse cultures, has a rich tapestry of myths. Among these are the creation stories of the Bantu and Kuba peoples.
The Bantu cosmogony revolves around the deity named Bumba. He vomited out all life forms after suffering from a severe stomach ache. On the other hand, the Kuba people believe in a more complex process involving multiple deities.
Key Figures and Events in These Myths
In the Bantu creation myth, it is said that after vomiting out the sun, moon, stars, animals and humans, Bumba was left weak but satisfied. His children continued his work by creating more aspects of life on earth.
In contrast to this single-deity creation story, the Kuba myth involves several gods working together. It begins with Mbombo or Woot who vomits out the sun causing a massive fire that leads to creating dry lands. Then his sons create plants and animals each contributing to shaping earth as we know it today.
These two myths provide an interesting comparison as they both involve vomiting as a means of creation but diverge in terms of complexity and number of key figures involved.
Cultural Insights Derived from These Stories
The cultural implications derived from these stories are profound. They give us insights into how these societies view their world's origin and structure.
For instance, in both myths there is an emphasis on creation being born out of pain or discomfort (Bumba's stomach ache). This could suggest that these cultures see hardship or struggle as integral parts of existence or even necessary for growth and development.
Furthermore, while both myths revolve around vomiting as a means of creation they differ significantly.
Lastly, these myths also show the importance of collaboration and familial bonds. In both stories, creation is not a solitary act but involves multiple beings working together. This might reflect the community-oriented nature of these societies.
Santeria: A Deeper Dive into Afro-Caribbean Faiths
Understanding the Roots of Santeria
Santeria is a religious practice that has its roots in African mythology. Originating from the Yoruba people of West Africa, it was brought to the Caribbean by enslaved Africans.
As they strived to preserve their cultural heritage and spiritual beliefs, they developed Santeria by blending elements of their indigenous faith with Catholicism.
In Santeria, African deities known as Orishas are revered alongside Catholic saints. These Orishas have distinct personalities and domains, ranging from love and fertility to war and wisdom. They serve as intermediaries between humans and the supreme deity, Olodumare.
For instance, Oshun, an Orisha associated with rivers, love, beauty, and fertility is often syncretized with Our Lady of Charity in Catholicism. On the other hand, Shango - god of thunder and lightning - is equated with Saint Barbara.
The Afro-Caribbean Connection
The connection between Santeria and African mythology lies in its pantheon of deities – the Orishas. These divine beings mirror those found in traditional Yoruba religion. However, over time they've evolved to reflect the unique experiences of Afro-Caribbean communities.
Take for example Eleggua – he's equated with both Eshu (a trickster deity) from Yoruba mythology and Saint Anthony in Catholicism. In Santeria rituals he's invoked first because he holds the keys to destiny; he opens or closes doors leading to fortune or misfortune.
Such connections highlight how African mythology shapes many aspects of Afro-Caribbean spirituality despite centuries of geographical separation.
African Deities within Ritual Practices
African deities play a crucial role in Santeria rituals. Followers believe that these divine beings can intervene on their behalf if they're honored with offerings, music, dance and prayers.
These rituals often involve animal sacrifices as a way of feeding the Orishas. The blood is seen as life-giving sustenance for these deities, enabling them to continue their protective roles.
Divination is another key aspect of Santeria practice. It's used to communicate with the Orishas and gain insights into one’s destiny. Tools like cowrie shells or an ikin palm nut are commonly used in these divinatory practices.
Exploring Afro-Brazilian and Haitian Vodou Deities
Afro-Brazilian and Haitian Vodou pantheons are rich with a myriad of deities. These gods have influenced New World religions, and there are unique practices associated with them.
Afro-Brazilian and Haitian Vodou Pantheons
The Afro-Brazilian religion, known as Candomblé, venerates the Orishas. The Orishas are powerful spirits representing natural forces. For instance, Yemanja is the goddess of the sea while Ogun is the god of iron and war.
In contrast, Haitian Vodou focuses on the veneration of Loa or Lwa. These spirits serve as intermediaries between humans and Bondye, the supreme god in this belief system. Famous Loa include Papa Legba, guardian of crossroads, and Erzulie Freda, goddess of love.
The pantheons in both religions reflect their African roots. They're derived from traditional West African religions like Yoruba and Dahomey faiths.
Influence on New World Religions
These African gods left a significant impact on New World religions due to historical events such as slavery. Slaves brought their deities along with them to new lands like Brazil or Haiti. Over time these beliefs fused with indigenous practices and Catholicism to form syncretic religions.
For example, in Santeria – an Afro-Caribbean religion mentioned earlier – many Orishas align with Catholic saints. Saint Barbara corresponds to Chango (god of thunder) while Our Lady of Charity matches Oshun (goddess of rivers).
Similarly, in Louisiana Voodoo – not to be confused with Haitian Vodou – you'll find parallels between Loa and Catholic figures too.
Practices Associated With These Gods
Worship methods vary among followers but generally involve offerings, music, and dance. In Candomblé, each Orisha has specific foods, colors, and symbols associated with them. Devotees offer these items during rituals to show their respect.
Haitian Vodou ceremonies typically start by honoring Papa Legba. As the gatekeeper of the spirit world, his permission is crucial for successful communication with other Loa. Ceremonies also feature rhythmic drumming and dancing to invite Loa possession.
Another common practice in both religions is divination using the Ifa system. This Yoruba method involves casting a chain or palm nuts onto a tray to seek guidance from Orishas or Loa.
The Mysteries of Oshun, Nana Buluku, and Oya
Deep Dive into Three Deities
Africa is rich with a plethora of gods and goddesses that have shaped cultures across the continent. Among them, three stand out for their unique roles and attributes: Oshun, Nana Buluku, and Oya.
Oshun is a Yoruba deity associated with love, beauty, fertility, and rivers. She is often depicted as a beautiful woman adorned in yellow attire. Her followers believe she brings prosperity and happiness to those who honor her.
Nana Buluku is considered the supreme deity by many West African cultures such as the Fon people of Benin. She represents the essence of life itself. As a creator goddess, she birthed the universe and everything within it.
Oya is another powerful Yoruba deity known for her control over winds, storms, and transformation. She symbolizes change – both destructive and regenerative - much like natural phenomena like tornadoes or hurricanes.
Unraveling Myths Surrounding These Goddesses
Numerous myths are woven around these deities which further highlight their significance in African mythology.
One popular myth about Oshun tells how she saved the world from drought by luring Oggun out of his isolation using her charm. This story underscores her role as a nurturer who sustains life on earth through water.
The myth surrounding Nana Buluku speaks volumes about her creative power. It's said that after creating the universe, she gave birth to twins: Mawu (moon) and Lisa (sun), who further created all other gods.
As for Oya, one well-known story narrates how she earned her title "the Rain Queen". In this tale, she confronts an arrogant king who refuses to respect nature's balance. By summoning a storm that floods his kingdom until he repents his arrogance, Oya demonstrates her control over natural phenomena.
The Cultural Impact of Oshun, Nana Buluku, and Oya
These goddesses have left an indelible mark on their respective cultures. Their influence is evident in the various rituals, ceremonies, and traditions that are still practiced today.
In Yoruba culture, for instance, annual festivals are held in honor of Oshun. During these events, devotees gather at the riverbanks to offer gifts and prayers to this goddess of fertility and prosperity.
Nana Buluku's influence extends beyond West Africa to Afro-Brazilian religions like Candomblé where she is revered as "Nanã". Here she is seen as a deity of wisdom and serenity, embodying the life-giving essence of water.
Understanding the Powers of Shango, Obatala, and Olokun
Attributes of Shango, Obatala, and Olokun
Shango is a god revered in African mythology. He's known for his fiery temper and control over thunderstorms. His attributes include strength, courage, and justice.
Obatala is another significant deity. Often referred to as the "Sky Father," he represents wisdom, patience, and fairness. Traditionally depicted as an elderly man with pure white clothes, he embodies purity and peace.
Olokun is a goddess of the sea in Yoruba mythology. She symbolizes wealth, health, prosperity, and the unfathomable depths of knowledge.
All these deities play crucial roles in African mythology.
Stories Featuring Shango, Obatala and Olokun
Numerous tales feature these gods displaying their unique attributes.
In one story about Shango's wrathful nature unfolds when he destroys an entire village due to disrespect. This tale teaches respect for authority figures.
Another story tells how Obatala created human beings out of clay. The narrative underscores the importance of patience and careful planning as it shows how haste led to imperfections in his creations.
A popular tale about Olokun talks about her rivalry with the sky god. It highlights her power over water bodies on earth.
These stories aren't just entertaining; they carry moral lessons that shape societal norms.
Influence on Social Norms and Values
The influence of these deities extends beyond myths into social norms and values.
Shango’s association with justice influences societal expectations regarding fair treatment from leaders. His stories reinforce that those who wield power should do so responsibly or face dire consequences.
Obatala's attribute of patience informs cultural practices around decision-making processes. It encourages individuals to take time deliberating before making decisions to avoid mistakes caused by haste or ignorance.
Olokun’s representation as the goddess of wealth and prosperity influences societal views on success. Her stories often underscore the importance of hard work, resilience, and determination in achieving prosperity.
Exploring the Stories of Yemoja, Elegua, and Babalú-Ayé
African gods, goddesses, and mythology form a rich tapestry of cultural narratives. This guide delves into the stories of Yemoja, Elegua, and Babalú-Ayé - three significant figures in African mythology.
The Tales of Yemoja
Yemoja is a revered deity in African mythology. As the mother of all waters and fertility goddess, she holds immense significance for her followers. Her narrative is one that interweaves tales of creation with themes of nurturing and protection.
Yemoja's story begins with her birth from the sea foam. She then proceeds to give birth to numerous other deities, thus earning her title as 'Mother Goddess.' Her tale's importance lies not just in its content but also in its implications for understanding African cosmology.
The lessons derived from Yemoja's story are manifold. They underscore values such as respect for nature, maternal strength, and the importance of community bonds.
Understanding Elegua
Elegua is another prominent figure in African mythology. Known as the god of crossroads and opportunities, his narratives often involve trickery and cunning.
Elegua's stories are marked by his playful yet wise character. He often uses his wits to outsmart other gods or humans, showcasing his intelligence while teaching valuable lessons about life choices.
His tales' cultural significance extends beyond their entertainment value; they serve as moral compasses guiding individuals towards making ethical decisions.
Lessons from Elegua’s tales include understanding the consequences of actions and appreciating life's unpredictability. His narratives remind us that wisdom can come from unexpected places – even through trickery!
Delving into Babalú-Ayé’s Narrative
Babalú-Ayé, known as the god of disease and healing, is a fascinating figure within African mythology. His stories offer a unique perspective on suffering and resilience.
Babalú-Ayé's tale is one of transformation. Stricken by disease, he endures immense suffering before emerging as a powerful healer.
This narrative holds great cultural significance, shedding light on African societies' views towards illness and recovery.
The lessons from Babalú-Ayé’s narrative are profound. They emphasize the power of endurance in the face of adversity and the potential for growth through hardship.
Overview of Pan-African Legends
The African continent is rich with an array of diverse cultures. Each culture has a unique set of legends that offer a glimpse into their history and belief systems.
These legends often revolve around gods, goddesses, and mythical creatures, forming the backbone of African mythology.
Comparison Between Different Historical Narratives
Despite the vast geographical distances and cultural differences among various African societies, striking similarities can be observed in their historical narratives.
Many stories involve gods interacting with humans or intervening in human affairs. There's often a moral lesson embedded within these tales.
Comparatively speaking:
The Yoruba people from Nigeria tell stories about Eshu-Elegua, a trickster deity similar to Anansi.
Amongst the Zulu people of South Africa exists Unkulunkulu who like Qamata is credited with creating humans.
The Dogon people from Mali have Amma as their supreme being who just like Leza is associated with creation and control over nature.
These analogies indicate that despite cultural variations across Africa, shared themes persist in their legends.
Insights Into African History From These Legends
African legends are not just fascinating tales; they also provide valuable insights into history. They paint pictures of ancient societies' social norms and values while reflecting historical events or natural phenomena that impacted those communities.
For example:
The legend of Yemoja among Yoruba people reflects matriarchal influences prevalent during certain periods in West African history.
Stories about Babalú-Ayé, an Orisha associated with disease and healing, likely originated during times of epidemics.
The tale of the Ethiopian goddess Atete indicates agricultural practices and fertility rites that were integral to ancient societies.
These narratives serve as historical documents, preserving knowledge about past civilizations that would otherwise be lost.
Conclusion
This exploration of African mythology has underscored the rich diversity and profound depth of these ancient traditions. The myriad deities, from the Yoruba Orishas to the trickster Anansi, embody a vast range of human experiences and natural phenomena, reflecting the intricate tapestry of life across the continent. These narratives not only convey moral teachings but also inspire aesthetic expressions, contributing significantly to Africa's cultural heritage and its influence on diasporic religions.
The study of African gods, goddesses, and mythology is an ongoing journey that offers invaluable insights into humanity's quest for understanding and connection. It invites us to delve deeper into these captivating narratives, exploring their implications on various aspects of culture, religion, and history. Let's continue this exploration together, shedding more light on these fascinating tales and their enduring impact on societies across the globe.
Frequently Asked Questions
Who are some prominent deities in African mythology?
African mythology boasts a diverse pantheon, with prominent deities including Shango, Obatala, and Olokun from Yoruba traditions. Other notable gods include Oshun, Nana Buluku, and Oya.
What are Orishas in Yoruba traditions?
In Yoruba traditions, Orishas are divine beings that act as intermediaries between humans and the Supreme Being. They serve various functions and possess unique attributes.
Can you explain the role of Anansi the Trickster?
Anansi the Trickster is a central figure in African folklore. Known for his cunning and intelligence, Anansi uses his wit to overcome difficulties or create mischief.
How does Egyptian mythology impact other African beliefs?
Egyptian mythology has significantly influenced African beliefs through shared themes of creation, life after death, divine intervention, and moral teachings.
What is Santeria?
Santeria is an Afro-Caribbean faith that blends elements of West African religions with Catholicism. It's characterized by rituals involving offerings to saints (Orishas).
Can you tell me about Afro-Brazilian and Haitian Vodou deities?
Afro-Brazilian and Haitian Vodou religions have a rich pantheon of deities derived from West African religious systems. These include spirits like Lwa in Vodou or Orishas in Candomblé.
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vii3000 · 11 months
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Gameplay characters lookbook .2.
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fit 1. Hat Ea | Glasses @pralinesims | Hair greenteahoney i think | Top busra-tr | Pants @saruin| Shoes @charonlee | Nails @ohmybunnny | Bracelet @waterblue
fit 2. Benie @reinasimsstory | Hair same creator in fit 1 | Top @babyetears | Skirt @atomiclight | Tights Ea | Shoes @charonlee | Nails @saruin
fit 3. Hair same creator | Top Ea | Shorts Sm sims | Socks I'll have to check but their name starts with s | Shoes Sm sims
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Character info (for fun ) -
Name? Lei Castro, named after her great grandmother
Age? 23
Birthplace? Sim birthplace would be San Myshuno irl birthplace would be New York either way she's a city girl
Ethnicity? Mixed heritage (Chinese and Irish mother, Filipino father)
Fav season? Summer
Hobbies? watching ghost hunting videos, swimming, taking care of flowers and trees in graveyards, summoning ghost and obsessing over Ghostface & Michle Myers
Religion? She believes in many things from different religious scriptures but belongs to no religion
Special Interest? She is mostly interested in anything involving the occult or mythology (Mostly Greek , Chinese and Haitian folklore)
Fears? anyone who dislikes cats and soft serve ice cream
Ideal partner? Preferably male and hopefully a vampire or a ghost
Pet? Cute ragdoll cat named fish
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fit 1. Hair @lam-z | Top @gigglecoffin | Skirt @babyetears| Shoes @miro-sims
fit 2. Hair @greenllamas | Top + undershirt @charonlee | Pants sunberry | Shoes @charonlee
fit 3. Hair @greenllamas| Top idk | Accs ( Nails, headphones, glasses, waist beads and nails) @miro-sims @greenllamas @arethabee @gigglecoffin | Shorts @tina-sims | Socks - Shoes @greenllamas
(forgot to check for the backpack but its prob rimmings or miro maybe reina)
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Character info (for fun ) -
Name? Tanya Reeves
Age? 19
Birthplace? Sim birthplace Sulani irl birthplace thinking somewhere in the Turks and Caicos Islands cuz her mom is from there
Ethnicity? Afro-Caribbean/Multiethnic (aa and Ethiopian dad - her mother is Afro-Caribbean)
Fav season? Spring
Hobbies? Sewing, gardening, watching messy reality tv shows, attempting to learn Amharic, playing old wii and nintendo games, painting and origami
Religion? Christan
Special Interest? Anything involving modeling or the history of makeup
Fears? Wasp and people who get on their bed with their shoes on
Ideal partner? Any living, breathing human
Pet? A jack russell terrier named Kik
dividers from (@mewryn)
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transgenderer · 5 months
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okay so afro-caribbean religions, particularly voodoo but i think also some other ones have the notion of the "thunder stone", a stone axehead created by the indigenous people that is understood to have been created by lightning and has magic properties. and there was a similar belief in europe, same deal, neolithic stone axes, magic properties, made by lightning. but weirdly, this afro-caribbean belief seems to be generally understood to have come from africa, but i cant find any actual sources desciribing this? "shango thunder stones" are a thing people sell on etsy. but i cant find any real sources. driving me crazy. it FEELS plausible that the european folklore got transplanted to the caribbean, but also possible that africa and europe developed the same strange specific idea
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Lydia Cabrera
Lydia Cabrera was born in 1899 in Havana, Cuba. Cabrera was a scholar who devoted herself to the study of Afro-Cuban culture. She was the author of more than 20 books, and produced what is regarded as the most complete and significant body of research on Afro Caribbean folklore and religion. Cabrera is best known for El Monte, which became an important resource on santería. She received several honorary doctorates, and was honored with the Florida Folk Heritage Award.
Lydia Cabrera died in 1991 at the age of 92.
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jasminewalkerauthor · 10 months
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Deep dives into folklore: witches' familiars
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The concept of witches' familiars has woven its mystical threads throughout the tapestry of human history, leaving behind a trail of intrigue, fear, and fascination. Familiars are often depicted as animal companions endowed with supernatural abilities, serving as intermediaries between the witch and the spirit world. This week we embark on a journey to unravel the rich tapestry of witches' familiars, exploring their historical roots, cultural variations, and the psychological significance that has endured through centuries.
The roots of the concept of witches' familiars can be traced back to ancient times, with different civilizations harboring beliefs in magical creatures and spirits. In medieval Europe, during the witch trials of the 15th to 18th centuries, the idea of familiars gained prominence. Witches were accused of forming pacts with the devil and employing familiars as accomplices in their dark arts. These creatures were believed to be supernatural entities or ordinary animals possessed by demons.
The concept of familiars extends beyond Europe, finding counterparts in various cultures worldwide. In African and Afro-Caribbean traditions, practitioners may work with spirits manifested in animals for magical purposes. In Native American folklore, certain tribes believe in spirit animals that guide and empower individuals. The common thread among these diverse beliefs is the idea that animals serve as conduits to the spirit realm, aiding practitioners in their magical endeavors.
Beyond the literal interpretation of familiars as magical companions, the concept holds symbolic and allegorical significance. Animals have long been associated with specific traits and characteristics, and their inclusion in magical practices may represent a connection between the practitioner and these symbolic attributes. For example, a cat, often depicted as a familiar in European folklore, is associated with mystery, independence, and intuition, qualities sought after by practitioners of the mystical arts.
The psychological aspect of the witch-familiar relationship is a fascinating realm of exploration. Carl Jung's concept of the "anima" and "animus," representing the feminine and masculine aspects of the psyche, respectively, may shed light on the archetype of the familiar. The animal companion could serve as a manifestation of the practitioner's unconscious, representing untapped potential, instincts, or repressed aspects of the self. In this way, the familiar becomes a symbolic partner in the individuation process, aiding the practitioner in self-discovery and personal transformation.
In contemporary witchcraft and neopaganism, the concept of familiars persists but has evolved beyond historical associations with devilish pacts. Modern practitioners often view familiars as spiritual allies, guides, or even extensions of their own psyches. Some may work with animal totems or incorporate symbolic representations of animals in their rituals, emphasizing the psychological and symbolic aspects of the familiar bond.
The concept of witches' familiars, deeply rooted in historical, cultural, and psychological contexts, continues to captivate the human imagination. Whether seen as supernatural entities, symbolic manifestations, or psychological archetypes, familiars persist as intriguing companions in the mystical realm. The enduring allure of these magical creatures reflects humanity's enduring fascination with the mysterious, the otherworldly, and the transformative power of the unseen.
taglist (reply/reblog to be added):
@axl-ul @crow-flower @thoughts-fromthevoid @alderwoodbooks @harleyacoincidence @tuberosumtater @sonic-spade @theonlygardenia @holymzogynybatman @nulliel-tres
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doberbutts · 2 years
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Also I’m just gunna do a head count here real quick hold on.
Galadriel: white (Welsh)
Celebrimbor: white (English)
Elrond: white (English)
Gil-Galad: white (American)
Arondir: Afro-latino
Bronwyn: Iranian
Halbrand: white (simply says “British”)
Theo: simply says “Australian” but he doesn’t look particularly white to me tbh
Waldreg: white (Australian)
Nori: white (Australian)
Isildur: white (English/Russian)
Marigold: simply says “Australian” but she talks about being black so...
Miriel: black (US-white/Ghana)
Poppy: simply says “English” but, I dunno.
Elendil: white (Welsh/English)
Largo: white (Canadian)
The Stranger: white (English)
Sadoc: black (black British)
Valandil: simply says “New Zealand” but clearly not white lmao
Adar: white (English)
Malva: Sri Lankan
Vilma: Caribbean
Ontamo: white (New Zealand)
Tredwill: white (New Zealand)
Dilly: literally nothing except that she’s working in New Zealand between ROP productions, brand new actress
Vrath: white (New Zealand) (hilariously this is Jed Brophy so he has played multiple orcs in the series so far)
Durin 4: white (Welsh)
Bazur: white (New Zealand)
Pharazon: white (Welsh)
Earien: white (American)
Disa: African-Iranian
Durin 3: white (Scottish)
Rowan: white (New Zealand)
Kemen: white (New Zealand)
Medhor: white (English)
Revion: white (English)
Tar-Palantir: white (New Zealand)
Sail Master: Maori (lmao, of course)
Tamar: white (New Zealand)
The Nomad: white (New Zealand)
Malva’s Sister: First Nations/Black
The Ascetic: Maori
The Dweller: white (New Zealand)
Numenorian Smithy: white (New Zealand)
Finrod: white (American)
Thondir: white (Australian)
Rian: white (New Zealand)
Eamon: white (Australian)
Abigail: Aboriginal
Astrid: white, unsure country
Edda: white (New Zealand)
Mairen: white (New Zealand)
So out of 52 named characters, 14 are confirmed POC and 3 are ambiguous. That’s 17/52 or or 14/52, which is either 1/3 or 1/4 of the named characters. The rest are all white. So whenever these racist fanboys are mad that there’s “so many” nonwhite characters... there’s 14 of them.
Additionally, of the 14 confirmed characters of color there is:
1 elf
6 humans
5 harfoots
1 dwarf
1 cultist
When we further analyze it:
Arondir is the only named, speaking elf.
Bronwyn and Theo are living in “the Southlands” which technically speaking per Tolkien’s books is populated by nonwhite peoples prior to the return of Sauron. Too bad in Tolkien’s books these nonwhite peoples belong to a Bad Guys Only race where all but a few are Super Evil.
Miriel, Valandil, and the Sail Master belong to an island nation that has some form of contact with Middle Earth due to the knowledge they have of the area, so trade and travel are likely to be occurring frequently in Numenor. Island nations that have ready access to trade and travel with the nations around them are frequently ethnically diverse.
Marigold, Sadoc, Malva, Malva’s Sister, and Vilma belong to a nomadic tribe which moves locations frequently. Nomadic tribes are often incredibly ethnically diverse as they move from place to place, mix with the people who live around them, and then get up and move again.
Abigail is a shipwrecked human that instantly gets swallowed by a giant fish and we have no idea where her ship was from.
Disa is the only named, speaking dwarf.
The Ascetic hasn’t even spoken more than a single line yet or really done anything except stand in the background looking evil and mysterious and sometimes be a dick to the harfoots.
So when people are complaining about adding in “random ethnicities” to “English folklore” I think some perspective is in order.
Additionally I also think it’s really interesting that people keep saying “it’s European! No POC allowed” and “it’s based on England!” and yet not a single word about all the New Zealanders, Australians, Americans, and the like one Russian in the group. Oh, does “random ethnicity” only count if their skin is dark? If they’re white it doesn’t matter what ethnicity they are?
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burlveneer-music · 1 year
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A Plane To Catch - Moko Jumbie - jazz/funk from Denmark
Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark’s renowned outlet for jazz, April Records, proudly presents ‘Moko Jumbie’, the debut by it’s latest outfit ‘A Plane To Catch’, set to release on April 28th. The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist's space in an old industrial facility in Copenhagen’s outskirts, they created a space for themselves to improvise in a funky, groove-based setting.. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70’s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularised by Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title ‘Moko Jumbie’ derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.  A PLANE TO CATCH is: Andreas Toftemark - Saxophone Rolf Thofte – Trumpet Mads Nørgaard - Guitar Anton Langebæk - Bass David Besiakov – Drums Guests: Simon Eskildsen – Organ (1, 3, 4, 5, 8) Yohan Ramon – Percussion (2, 4, 5, 7, 8) Cover Artwork by Simon Eskildsen All compositions by Andreas Toftemark, except “Lingon Grove” by David Besiakov and Andreas Toftemark. Published by April Publishing ApS
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astramachina · 1 year
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watches Castlevania Nocturne
confused by the term Iwa (as someone who just wrapped a whole project drenched in Afro-Caribbean folklore)
crash course on the differences between French versus Spanish colonial rule, specifically how they impacted language
now digging through the library for relevant texts
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afrotalescast · 1 year
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https://www.podpage.com/afrotalescast/monkey-liver-soup/
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artadorkable · 1 year
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Hey sorry I don’t have a name for her yet. But her character plus others and her story will be inspired by my culture. I’m African American West Indian and my grandparents hailed from Saint Thomas.I have tons of family that’s from Nigeria,Saudi Arabia,Jamaica, and other parts of the Caribbean.
This character is a Draft horse/gypsy mix and a unicorn
Her story is going to be based and inspired by the folklore,mythology,and fashion from my culture and other medias
Inspired by
Castlevania
Wakanda
Disney’s Atlantis
Elding ring
Kirby
Legend of Zelda
Rick and morty
Neon Genesis
Afro punk
🇸🇦🇳🇬🇪🇬🇯🇲
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kickmag · 2 years
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Watch: Nite Bjuti Mood (Liberation Walk)
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Candice Hoyes, Val Jeanty and Mimi Jones are Nite Bjuti. They are an Afro-Caribbean Brooklyn-based trio having chosen their name from Haitian folklore called "Night Beauty" about a girl who sings for justice in the afterlife. Their debut in 2018 at Jazz at Lincoln Center to celebrate International Women's Day was followed by performances at the NYC Winter Jazzfest, Nublu Jazz Fest, WBGO and The Schomberg. Today they share their first single "Mood (Liberation Walk)." The avant-garde musing flips the "Miss Mary Mack" nursery rhyme into a slightly eerie modern fusion.  Hoyes questions false feelings of freedom as Jeanty's drumsticks click like a bondage chain. The visuals are a montage of them taking the walk, jump-roping and performing as they are seen through a psychedelic filter. Some scholars have pegged the rhyme as originating from a game created by slave children. Hoyes explained the imagery of them jump-roping in a statement:
"What good is freedom if you don’t really feel free? Black girlhood maturation brings a range of evocative contradictory experiences. In 'Mood (Liberation Walk)' we express the sudden sensation of a girl jumping/jumped into puberty, roped into a new emotional reality, physicality and societal positionality. As explored in the music video, she jumps through the portals of her own design right until the foreboding street lights flicker. Jumping is tied to shared childhood experiences, embodies connectivity and the chasmic leaps of growth in the Black womanly experience."
Watch Nite Bjuti's Afrofuturist breakdown of contemporary questions of Black freedom in "Mood (Liberation Walk)."  The trio are currently working on their full-length album after becoming recipients of the 2020  NYC Women's Fund In Jazz. 
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justbgraphic · 2 years
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Afrobeats and Traditional African dance with Zahra Abena.
Afrobeats and Traditional African dance with Zahra Abena.
Take a minute to meet Zahra is a dancer/teacher/choreographer originally from. Her passion for dance started at a very young. Through discovery and training, she is skilled in Traditional West African, Afro-Caribbean folklore, Afrobeats, Dancehall and Soca. Zahra is dedicated to disseminating knowledge about the vast beauty and history of Afro-Diasporic dance. Whether through seminars, podcast…
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