Edited by Azizi Powell

This pancocojams post provides some information about the Chaoui ethnic group of Algeria, North Africa and showcases seven YouTube videos of Chaoui's Rahaba music and dance.

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these videos and all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
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This pancocojams post expands this blog's focus by providing information about and examples of cultures in Africa besides those that are considered to be part of "Black Africa".

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INFORMATION ABOUT CHAOUI ETHNIC GROUP
From https://en.wikipedia.org/wiki/Chaoui_people
"The Chaoui people or Shawia (Algerian Arabic: شاويه‎, Tachawit: Išawiyen) are a Berber population inhabiting the Aurès, Batna and Khenchla Oum bwaghi Biskra regions located in and surrounded by the Aurès Mountains. They also live in the Tébessa area and other parts of eastern Algeria coextensive with ancient Numidia, as well as a few adjacent towns in Tunisia. They call themselves Išawiyen/Icawiyen (pronounced [iʃawijən]) and speak the Shawiya language.

[...]

Chaoui music is a specific style of Berber music. The Shawia dance is called Rahaba; men and women dancing at weddings."...

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INFORMATION ABOUT RAHABA MUSIC AND DANCE
From https://translate.google.com/translate?hl=en&sl=fr&u=https://lecourrier-dalgerie.com/rahaba-un-genre-authentique-de-chant-et-de-choregraphie/&prev=search

[Pancocojams' Editor's Note: This article is translated from French to English and given "as is".]

"Rahaba: An authentic genre of singing and choreography
Intangible heritage preserved and reproduced to date by Chaouis, Rahaba is an authentic kind of singing and rhythmic dance still present during the various occasions and festivals in the wilaya of Khenchela.

The term Rahaba comes from the Arabic word Tarhib which means "to welcome" for the holiday guests, but the Amazigh name is "Therdest" which means to beat the earth with the feet while singing, explains the researcher in the history of Aurès, Mohamed Salah Ounissi. With distant origins, Rahaba is a choreography of the Mediterranean basin and North Africa which has striking similarities with the Moroccan folk dances of the genres: "Ahouach", "Ahidous" and "Akoual", notes the researcher, who considers that the bendir (tambourine) and El Gasba (flute) are "intruder" instruments of the authentic Chaouia genre still preserved in Khenchela.

Rahaba, a diversified heritage
For Mr. Ounissi, Rahaba comes in three forms. It is either performed by two rows of dancers facing each other, or by two rows of dancers also standing face to face, or by a row of dancers facing a row of dancers. There are also three kinds of Rahaba in Khenchela wilaya, he says. The first called "Oudjani" is attributed to the tribe of "Beni Oudjana" installed including Yabous, Bouhmama and Taouzianet. The song is piercing and the dance is punctuated by the movements of the feet and shoulders. "Laamrami" is another type prevalent in the localities of Tamza, El Hamma, N'sigha and Ouled Yakoub. It is distinguished by powerful ground beats and a softer song. The third kind is called "Nememcha". It is performed with dances similar to both previous genres and a song rather piercing and sharp, adds the researcher.

The Rahaba song, loaded with messages and meaning
Rahaba poems, sung in dialectal Arabic or chaouia, often carry social and religious content. They glorify the values of nobility, the population and the history of Aurès and Chaouias. They also address lyrical themes and love without being "even less crude vulgar," notes the researcher history of Aurès. Created in the early 1990s, the association "Assala" of the municipality of Tamza (25 km south-west of Khenchela) works to preserve this authentic music, ensures its president Belkacem Salmia, welcoming that the association has made out in 1998 his first album Rahaba. The preservation of this music requires more interest from cultural sector actors to promote it as intangible heritage and to support the associations and troupes that continue to perpetuate this musical genre, said Mr. Salmia . For many Aures intellectuals, the genre Rahaba deserves to be preserved for future generations and to be on the list intangible cultural heritage of humanity like the "Ahalil", a mystical music of southern Algeria , and "Imzad", a Tuareg musical instrument.

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SHOWCASE VIDEOS
Example #1: Folkore chaoui - Irehaben (Rahaba) - Tajnanet (Mila)



Vidéo chaoui, Published on Sep 10, 2013

Style : Irehaben (Rahaba), musique et danse chaoui. polyphonie, chœurs , sebaha
Lieu : Tadjenanet (Mila- Algérie)
Src : Lamri Ketfi

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Example #2: rahaba a khenchela



Aures photographie, Published on Mar 1, 2016

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Example #3: اصيلة Mariage chaoui



المتميز الشاوي exceptionnel Chaoui, Published on Jan 5, 2017

افضل رحابة شاوية اصيلة Mariage chaoui
البندير والرقص بطريقة الشاوية
ادعمونا بجام واشتراك في القناة ليصلكم كل جديد من الفيديوهات وشكرا لكم نرجو منكم زيارة صفحتنا في الفيسبوك وعمل اعجاب هذا هو رابط الصفحة

https://www.facebook.com/pg/148187245... mariage staifi chaoui, mariage staifi en France, chanson arassi staifi 2017, staifi 2017 arassi remix
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Translated from Arabic to English:
Distinguished Chaoy exceptionnel Chaoui, Published on Jan 5, 2017

The best authentic Chaoyan hospitality
Bandar and dance in a chaotic way
Support us in Jam and subscribe to the channel to receive all the new videos and thank you Please visit our page on Facebook and like this page link

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Example #4: افضل اغنية شاوية يما حنا Rahaba chaouia



المتميز الشاوي exceptionnel Chaoui, Published on Jan 13, 2017

افضل اغنية شاوية يما حنا Rahaba chaouia
ادعمونا بجام واشتراك في القناة ليصلكم كل جديد من الفيديوهات وشكرا لكم نرجو منكم زيارة صفحتنا في الفيسبوك وعمل اعجاب هذا هو رابط الصفحة
https://www.facebook.com/pg/148187245... mariage staifi chaoui, mariage staifi en France, chanson arassi staifi 2017, staifi 2017 arassi remix
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translated from Arabic to English:

Outstanding Chaoy exceptionnel Chaoui, Published on Jan 13, 2017

The Best Song of Chaya
Support us in Jam and subscribe to the channel to receive all the new videos and thank you Please visit our page on Facebook and like this page link

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Example #5: رحابة شاوية مع زوبير دارو حالة اغنية (زوج دراري طلعو لجبال) Chanson Chaoui



المتميز الشاوي exceptionnel Chaoui, Published on Jul 20, 2017

افضل واجمل واروع رحابة مع اللباس الشاوي الانيق وابداعهم في البارود روعة
لاتنسو دعمنا بلايك لصفحة في الفايسبوك https://www.facebook.com/pg/148187245... ومشاركة الفيديو مع اصدقاءكم mariage staifi chaoui, mariage staifi en France, chanson arassi staifi 2017, staifi 2017 arassi remix

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Example #6: rahaba arris 2018



midou chaoui, Published on Nov 22, 2017

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Example #7: MOV 0044



midou chaoui, Published on Nov 26, 2017

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents an excerpt from the 2013 Wake Forrest University undergraduate thesis by Yasmin Bendaas. That thesis is entitled "Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance".

This text only excerpt focuses on descriptions of and meanings for various traditional female tattoos among Chaouia women in Algeria, North Africa.

This post serves as a companion piece to this pancocojams post: http://pancocojams.blogspot.com/2018/01/chaoui-ethnic-groups-algeria-north.html Chaoui Ethnic Group's (Algeria, North Africa) Rahaba Music & Dance (information & videos).

This post is also part of an ongoing pancocojams series about traditional and contemporary body decorations. Use pancocojams's internal search engine or click this tag below to find other pancocojams post on this subject.

The content of this post is presented for folkloric, cultural, educational, and aesthetic purposes.

Note: I feature excerpts of thesis and dissertations that are found on the internet on this blog to raise awareness about the information that is presented in these scholarly works.

All copyrights remain with their owners.

Thanks to Yasmin Bendaas for researching this topic and sharing this thesis online. Thanks also to all those who are quoted in that research.

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THESIS EXCERPT: CHAOUIA TATTOES: SYMBOLIC MEANING, CONTRIBUTION TO IDENTITY, AND REASONS FOR DISAPPEARANCE.
https://chaouiatattoos.wordpress.com/category/1-cover-page/
Thesis Cover Page
PUBLISHED ON September 29, 2013
Chaouia Tattoos: Symbolic Meaning, Contribution to Identity, and Reasons for Disappearance

Yasmin Bendaas

An Undergraduate Honors Thesis submitted to the Department of Anthropology in partial fulfillment of the requirements for graduation with honors.

WAKE FOREST UNIVERSITY

April 2013

https://chaouiatattoos.wordpress.com/category/6-symbolic-meaning/ chaouia tattoos

CATEGORY: 6) SYMBOLIC MEANING
Symbolic Meaning
PUBLISHED ON September 29, 2013

Although I still cannot say what the tradition might have meant hundreds of years ago, I came to understand the significance of the tattoos among the Chaouia of Algeria in the 1930s and 1940s when the current eldest generation of women were often tattooed. The most popular answer I received is that traditional tattoos signify beauty, though I am uncertain if the idea of beauty is tied to any particular symbol. Coming to conclusive symbolic meaning was also especially difficult because some women did not know the name of all the symbols. In fact, some did not know any of the names at all.

Symbols commonly found on the face include shams (sun), ain hijla (eye of a partridge), burnous (soldier’s coat), cinsla (chain), and thabanat (flies). Further, most who knew the name of their tattoos were not aware of a specific symbolic meaning. This lack of knowledge indicates that perhaps the tattooing practice began to fade well before the current eldest generation received tattoos. Still, I identified the symbolic meaning of some tattoos.

Burnous, a tattoo commonly found on the forehead, refers to a coat made of animal skin worn by soldiers (or – as I would discover later – by men for a variety of ceremonious occasions)

[...]

Among the twenty women, burnous was the most common forehead tattoo, though other tattoos could also be found on the forehead. It is also one documented by generations of scholars, as is seen in Gaudry’s drawings from 1929…
The shape, again, is derived from an animal skin coat worn by men (seen around my aunt’s husband in picture below). It is a symbol of strength and masculinity. Since these ornamental tattoos mark the faces of women only, it is interesting to note that burnous is not the only masculine figure tattooed.

[...]

[The] diamond figure is called ain hijla, literally meaning, “eye of a partridge.” Some women simply called this figure hijla, or “partridge.” The diamond symbol, found around the Chukar partridge’s face, is one that was said by many women to be representative of beauty; however, it may also be viewed as a masculine symbol as the partridge is a commonly hunted bird, and hunting is a task of men. Margaret Courtney Clarke’s description of the partridge symbol within weaving supports an argument for the symbol’s significance of beauty:

In Berber culture, the partridge is considered a bird of great grace and beauty, and is thus associated with the qualities of a good wife. Its sharp eyes are also thought to be vigilant
watchers against danger. [1996:78]

While there were no direct answers from the women regarding the symbolic meaning of the tattoos, they may serve the same purpose as writing: to tell a story. During one interview, the son of an elderly woman mentioned that he believed the symbols behind tattoos do represent a story. Unfortunately, the elderly women could not provide information about that hypothesis because their knowledge about the meaning of the symbols has been lost. Shapes were often not of their choosing as this power rested in the hands of the person giving the tattoos.

It seems likely that the tattoos are telling a story, but surprisingly the story seems to be about a man. Symbols signifying animals, such as camels, gazelles, and partridges, often relate to travel or hunting. The soldier’s coat and rikab (horse stirrups) also relate to masculinity.

However, if it is true that the stories tell a story of a soldier or a strong man then who is he? And why is his story told through tattoos on the bodies of women? Could it be that these symbols are not about a man but are instead symbols attractive to men? These questions remain unanswered during the course of my research.
Placement

While all the women interviewed had facial tattoos, only certain symbols appear on the face, and it is important to note that facial tattoos geared towards beautification are not the only tattoos a woman may have. It is common for the women interviewed to carry traditional tattoos on other parts of their bodies, and a difference in placement between two tattoos often results in a different significance. The table below shows the variety of symbols identified on the twenty women, as well as their placement and frequency. Images found of gazelles and scorpions on the arm were much more literal than the ornamental symbols adorning faces. It is also interesting to note that the women identified the tattoo symbols in Arabic, even if they are Chaouia. This Arabic identification of tattoos is likely because of the language of the tattoo-giving adasiya (gypsy) and may shed light on the origins of tattooing within Algeria.

[...]

I found that tattoos on arms, hands, legs, and even the breast held a completely different meaning for the women unassociated with beauty, but rather with health (Bendaas 2012). One woman, Janat, had tattoos on her right hand and one above her right ankle. She explained that she received the tattoo when having trouble becoming pregnant and heard that the tattoos promote fertility. After receiving the tattoo, she did have children. Janat was not the only woman I interviewed who received additional tattoos for reasons related to fertility and childbearing. Another woman tattooed her breast after losing several children post-birth. Early childhood death was common during wartime due to poverty and lack of access to medical care. After receiving the tattoo, the woman told me that of 20 children, ten of her children had lived and ten had died (Bendaas 2012).

Other tattoos for healing often related to relieving localized pain, such as pain in the wrist. One woman, Yamina provided a particularly unique example because a murderer made the tattoo on her aching wrist (seen below). She said that after receiving the tattoo her wrist pain healed. The practice of receiving a tattoo from a murderer is noted by Maarten Hesselt Van Dinter who writes, “The Ouled Abderrahman, a Shawiya tribe of the Aurès Plains, preferred to have tattoos applied with a murderer’s knife, and, if possible, by the murderer himself” (2005:192). Though I am unsure that Yamina, who is from M’lila, is of the same tribe Van Dinter refers to, she is the only interviewee who noted receiving a healing tattoo from a murderer, and she is Chaouia. It is possible that this act of healing the pain of others was a form of penance for the murderer.

[...]

After hearing so many stories like these, I realized the use of traditional tattoos to promote beauty and health shed light on a practice integral to the beliefs, environment, and needs of the time period. With a lack of doctors, tattoos held a healing purpose. Due to cultural views on beauty, tattoos acted as beautifiers, whereas today, make-up serves the same purpose. In this way, the tattoos captured and reflected the needs and desires of women in the region

[...]

Some believe that the tattoos functioned solely to make indigenous women unattractive to the French and consequently protected from rape or any unwanted contact. Many tattooed women acknowledged that this legend is false, as they felt their tattoos were part of a tradition that extended long before the French invasion of 1830. Two women, Roqaya and Duloola, spoke directly to this idea saying that tattoos did not act as protection against the French, and instead to do so they would cover themselves with soot. Duloola said that when the women did this, the French would ask them “You haven’t any soap?” and they would respond that they did not.

Further, most women considered their tattoos as beautiful, directly countering the idea of making oneself unattractive. I do not know what French soldiers thought of tattoos, but it is apparent that tattooing the face was not the measure of protection against rape and instead that covering oneself in soot was. However, the idea that women would need to protect themselves is a significant one, as many considered colonization the rape and forced penetration and control of a nation, particularly in terms of African colonization.

Still, the myth of the tattoos’ protection of women is not entirely unfounded. When examining the tattoos themselves, several prominent symbols are clearly masculine symbols, referring to Algerian soldiers or powerful men – protectors. It is more likely that these symbols embody a more general preservation, not only of women, but also of the land. With tattoos containing literal depictions of nature such as partridges, gazelles and camels, ties to the environment are abundant, and the Aurès has a particular history of defying foreign influences including that of the Romans, the Muslim Arab invasion of Sidi Okba, and finally the French (Bendaas 2013).”
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This thesis also includes photographs and drawings.

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases seven videos of traditional Congolese dancers and musicians who are wearing dots and/or other face and body paint.

This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.

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PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face or one another person's face. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s"African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.

The culturally appropriateness of such face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on that subject.

However, rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials about "What African ethnic groups* do these designs come from?"

Most of the publishers of these tutorials (and other "tribal" painting tutorials) respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups".

Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

This post doesn't mean to imply that any contemporary "African Tribal Painting" designs come from. However, this post and other posts in this series provides some answers to the questions about which African ethnic groups are known to have traditionally worn face and body painting for various reasons, and may still wear face and body painting for those reasons and/or for other reasons.

In other pancocojams posts I'll explore what the designs and colors of these traditional African face and body paintings might mean. Here's one quote from Young Paris (a contemporary Black male musician who was born to Congolese parents in France, and raised in New York) about the meanings of colors in the Congo:

From https://www.youtube.com/watch?v=ecTm5gYZ5Bc
Young Paris: Afropunk 2015 *
"Good afternoon, this is Young Paris. We’re at the HausOAlt

Oh, AfroPunk is all. I was here last year as a guest. It’s funny, I did some social media stuff and a lot of it kinda went viral and people started following the aesthetic where I was going with this afro futuristic, afro-futuristic, traditional, contemporary concept, And it just started rapidly growing an audience. It’s just down to see the timing when it happened and that they’re able to put me on a platform where I can sharing the information. So that’s how I see it hear. Just the sharing.

Well my father co-founded the Congo ballet. And in their lineage they would use different colors to highlight their features. And so the national ballet had like a distinction within the Congo about how they would present themselves. He was a choreographer at thirteen and he continued this lineage. So I just carry on that tradition.

We wear different colors for different reasons. So with red, it symbolizes the blood of our people. Yellow is the sun that provides life. And green is the grass, It gives us food. And the white is –when we lose our ancestors, we wear white in remembrance of them because we carry on their lineage.

So my father died a couple of years ago, Since then I usually only wear the white.

For me I took the idea of this science and built it into a pop culture aesthetic around it."...
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*This is my transcription from the video. Additions and corrections are welcome.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

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SHOWCASE VIDEOS
Example #1: BASOKIN,Basongye a Kinshasa



ngandu a mushinga, Published on Oct 22, 2007

Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
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Google translation from French to English:
Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant
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In the context of this comment, the word “terrible” probably means something like “awesome”

Here are three comments from this video's YouTube discussion thread:
DELTA_, 2014
"Story on this band in National Geographic Magazine for September 2013. Congratulations, and best of luck and blessings to keep the values and culture of the Congo alive as Kinshasa evolves. Hold on to your beauty and love for each other and the Earth."

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NYCBG, 2015
"What's the correct pronunciation of "Songye" or "Basongye"?

**
REPLY
Sarkin Makanda, 2017
"NYCBG both are correct. the ba refers to people so when you refer to the people of songye you say basongye."

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Example #2: Hommage Ngeleka et les Artistes du Congo Kinshasa [sound file with photograph collage]



compukin, Published on Jun 19, 2008

Les artistes ne meurent pas, ils demeurent survivent à travers leurs oeuvres

Google translation from French to English:
Artists do not die, they stay alive through their works

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Example #3: The Best of Congo Kasai Folk Music Allstars



compukin, Published on Mar 15, 2009

Kasaï is one of the richest provinces of the Democratic Republic of the Congo not only for diamond but also for its culture and Arts. Here we have a compilation of some traditional dance and music. A project to collect information on the Kasaï's master pieces in music, arts and culture is in progress at Heritage Panafrica Centre
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Scenes that include dancers with face and/or body painting can be found at 3:29-7:15

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Example #4: ballet MBONDA AFRICA



pelengamo tonka, Published on Jan 2, 2013

directeur général TONKA PELENGAMO de ballet mbonda africa dans ...rdc
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"rdc" = [in English] the Democratic Republic Of The Congo

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Example #5: Traditional Congolese dance - in theatre with Ballet Arumbaya Ndendeli



Ballet Arumbaya Ndendeli, Published on Mar 23, 2014

Ballet Arumbaya Ndendeli performs in theatre in Kinshasa

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Example #6: BIBOC - traditional folk musical assembly of Democratic Republic of Congo



Dr SImon KALOMBO, Published on Jun 16, 2014

Very popular congolese folk assembly, with main goal to promote the african and congolese art and culture. Big performance, percusition, live music and dynamic dance, accompnied of high show. More than 25 young singers, dancors, musicians are able to take you over the wellknown african movings

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Example #7: BAYUDA DU CONGO, KADIYOYO 2015, TSHINTUA NDEMBA



Eugene Jpx, Published on Jan 3, 2015

NOUVEL ALBUM DE KADIYOYO BAYUDA DU CONGO Nouvelle Génération 2015

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases five videos of Xhosa female dancers and Xhosa female singers who are wearing dots and/or other face and body paint. "Xhosa" is an ethnic group in the nation of South Africa.

This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
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DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Xhosa females.

PANCOCOJAMS EDITOR'S NOTES
These videos don't show any Xhosa males wearing face paint or body paint. I don't know if any Xhosa males traditionally wore any face paint or body paint or if any contemporary Xhosa males wear face paint or body paint.

**
A number of traditional Xhosa dance videos show females without clothing covering their breast. The only video in this post that has any scenes of topless females is Example #4. That video has some scenes of includes some scenes in which pre-adolescent girls are topless.

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PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=y0mxolHUa-g&t=78s"African face paint tutorial: DOTS" published by Loumingou Night on Mar 10, 2015.

The culturally appropriateness of such face and body painting has been and continues to be hotly debated. The videographer in the example given above discusses this topic while painting her face. Also, click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.

Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"

Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.

*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

In other pancocojams posts I'll explore in more depth what the designs and colors of these traditional African face and body paintings might mean.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

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SHOWCASE VIDEOS
Example #1: Xhosa Girls Dancing



onetruegem, Published on May 18, 2008

These girls are dancing at Guga's Thebe in the Langa Township in Cape Town, South Africa

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Example #2: Mzansi Youth Choir



Tony Stroebel, Published on Jul 20, 2010

One of the best choirs South Africa has to offer! Performed at the opening of the Fifa 2010 Soccer World cup. Shot with a Canon 5D by Redletter productions.

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Example #3: iKusasa - Xhosa Dance



Ikusasa Entertainment, Published on Apr 29, 2015

An example or our traditional Xhosa dance performance

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Example #4: IGOLI by Jessica Mbangeni



JESSICA MBANGENI, Published on Feb 11, 2016

The good morals and values of our culture and traditions restore our beauty and dignity.
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WARNING: Portions of this video show topless pre-adolescent girls. The women in this video aren't topless.

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Example #5: Traditional Dance uMxhentso



caprileefilms, Published on Dec 7, 2016

Traditional Xhosa Dance uMxhentso

Umxhentso has always been a pride to the Xhosa people as they use this type of dancing in their celebrations. These traditional Xhosa dancers are at the royal wedding of Phakamisa Tyali and Bongiwe Kali in Tsolo

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases seven videos of West African females and males who are wearing dots and/or other face and body paint. The West African nations that are showcased in this video are (in alphabetical order) Cameroons, Niger, Nigeria, Senegal, and Togo.

This post is part of an ongoing pancocojams series about traditional and contemporary African face and body painting.

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by West Africans.

Nor does this post imply that people from the ethnic groups who are showcased in these videos always wear face or body paint during these dances or otherwise.

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PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s"African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015

The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.

The culturally appropriateness of such face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.

Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"

Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.

*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

In other pancocojams posts I'll explore what the designs and colors of these traditional African face and body paintings might mean.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

****
SHOWCASE VIDEOS
Example #1: Wodaabe Tribe (Niger)



IndigoChildrenVideo, Published on Apr 30, 2009
-snip-
In contrast to most YouTube videos that I've watched about the Wodaabes, this video doesn't only focus on the men, but also includes some scenes of females with facial paint.

Here's an excerpt from https://en.wikipedia.org/wiki/Wodaabe
"The Wodaabe (Fula: Woɗaaɓe), also known as the Mbororo or Bororo, are a small subgroup of the Fulani ethnic group. They are traditionally nomadic cattle-herders and traders in the Sahel, with migrations stretching from southern Niger, through northern Nigeria, northeastern Cameroon, southwestern Chad, and the western region of the Central African Republic.[1] The number of Wodaabe was estimated in 2001 to be 100,000.[2][3] They are known for their elaborate attire and rich cultural ceremonies."...

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Example #2: St Michael's Catholic Youth Dance - Okija, Nigeria (Part 1)



missionoz, Published on Jul 19, 2011

'The Outing Ceremony' dance is performed by the Youth of St Michael's Catholic in Ihite Okija in Nigeria. This event was hosted by the Parish Priest, Rev. Fr. Anthony C. Ananwa. [Igbo ethnic group]
-snip-
Two times in this video when the body paint can be clearly seen are 8:19 and 9:51.

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Example #3: Manyu Music [Manyu Christian song; The Cameroons]



Bishop Bonnie Etta, Published on Feb 27, 2012

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Example #4: Spectacle danse Africaine à Kuvé, Togo.



jongleaveclavie, Published on Jul 2, 2012

Nous rendons visite à l'école du Village de Kuvé pour assister à... disons une fête de fin d'année...
-snip-
Google translation from French to English:
We visit the village school of Kuvé to attend ... say a holiday season ...
-snip-
The scenes that show face painting worn by the students begin at 2:35 to 4:26.

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Example #5: Efik Dance Nigeria



fulani100, Published on Oct 28, 2012

A dance that the Efiks do during the traditional wedding of one of theirs

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Example #6: Mbaye Ndiaye - tilala [Senegal]


Djoloftv Sénégal, Published on Apr 29, 2014

-snip-
Two times in this video when the body paint can be clearly seen up close are 2:14 and 3:07.

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Example #6: Akwa Ibom tradition | Ikon dance [Nigeria]



Uduak Essien, Published on Jun 20, 2014

The Ikon Eto (wooden xylophone) and Obodom (wooden drum) are also popular instruments in Akwa Ibom State. The homogenous nature of the people is accountable for the minor difference in our traditions and custom, including all other aspects of cultural life. Little or no difference exists in our dances, songs, myths, shrines, funerals, folklore, mode of dressing, foods, cults, festivals and monuments.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases three videos of ritual scarification and temporary face painting among the Hamar (Hamer) ethnic group of Ethiopia preparing face paint and other men from that ethnic group being face painted.

WARNING*: Brief scenes of women being whipped during a ritual ceremony and brief scenes of naked men are included in these videos.

This post is part of an ongoing pancocojams series about traditional and contemporary body decorations and traditional and contemporary African face and body painting .

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to all the publishers of these videos on YouTube.
-snip-
DISCLAIMER: This post isn't meant to represent all of the different types of face painting or body painting that is worn by Hamar people.

Nor does this post imply that people from this ethnic group always wear face or body paint.

Note that these videos were published in 2011 and 2013. I don't know whether these traditional scarification customs and face & body painting customs are still done.

*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.

****
PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body. One example of these YouTube tutorials is https://www.youtube.com/watch?v=21fe7pjH1xw&t=3s"African Tribal Makeup (NIGER) -Traditional Clothing- Maquillage traditionel du NIGER" published by Belledu Sahel, Published on Feb 13, 2015

The videographer wrote in her summary that "This is a traditional makeup and outfit from my country Niger." In response to a question (written in French) about whether the clothing was from the Fulanis, the videographer said that it was Taureg.

The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.

Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"

Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.

*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

In other pancocojams posts I'll explore what the designs and colors of these traditional African face and body paintings might mean.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

****
INFORMATION ABOUT THE HAMAR ETHNIC GROUP OF ETHIOPIA
From https://en.wikipedia.org/wiki/Hamar_people
"The Hamar (also spelled Hamer) are an Omotic community inhabiting southwestern Ethiopia. They live in Hamer woreda (or district), a fertile part of the Omo River valley, in the Debub Omo Zone of the Southern Nations, Nationalities, and Peoples Region (SNNPR). They are largely pastoralists, so their culture places a high value on cattle.

[...]

Demographics
The 2007 national census reported 46,532 people in this ethnic group, of whom 957 were urban inhabitants. The vast majority (99.13%) live in the SNNPR.[1]

According to the Ethiopian national census of 1994, there were 42,838 Hamer language speakers, and 42,448 self-identified Hamer people, representing approximately 0.1% of the total Ethiopian population.[2]

Culture

Bull-jumping ceremony
The Hamar are known for their unique custom of "bull jumping," which initiates a boy into manhood. First, female relatives dance and invite whipping from men who have recently been initiated; this shows their support of the initiate, and their scars give them a right to demand his help in time of need. The boy must run back and forth twice across the backs of a row of bulls or castrated steers, and is ridiculed if he fails. [3]"...
-snip-
As shown in these videos, Hammar girls who are related a boy who will attempt to jump over bulls standing in a row are voluntarily publicly whipped before that ceremony as a sign of their affection for that boy.

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SHOWCASE VIDEOS
Example #1: Hammer wedding at Turmi [Ethiopia]



Keith Rogers, Published on Jan 9, 2011

Various shots of Hammer wedding
-snip-
Scenes of preparing face paint and actual face painting begin at 3:47 of this video.
There are no scenes of topless women in this video and there's only a very brief scene that includes a naked man jumping the bulls near the end of this video.

****
Example #2: Rituals - Hamar Tribe - Ethiopia



Selim Fehmi Ozcan, Published on May 13, 2011

Selim Fehmi Ozcan

Country: Ethiopia
Region: Omo Valley
Town: middle of nowhere

Description: This documentary gives a rare glimpse into the world of the Hamar Tribe living in the Omo Valley in Southern Ethiopia. You will see true my eyes, the unique rituals performed around the rite-of-passage ceremony done by a boy trying to make the transition to become a man. Unfortunately, the boy fails to successfully complete the bull jumping thus failing to make the transition to become a man and denied the permission to get married, The rituals include traditional dancing, face and body painting, whipping, clothing and garb, singing and bull jumping - the ‘Ukuli Bula’. The Hamar People share in the same desperate problem as the Karo People with the lack of water and food due to the drought problem currently happening in Southern Ethiopia.
-snip-
Scenes of preparing face paint and actual face painting are from 2:40 to 3:31 of this video.

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Example #3: Tattoo Hunter - Hamar of Ethiopia

Skinsmods, Published on Jan 28, 2013

Dr. Lars Krutak ventures to Ethiopia's Omo Valley to learn about the scarification rituals of the Hamar, a warrior tribe. Women's ritual scarification surrounding the bullah (bull jumping) rite is also featured.
-snip-
WARNING: This video includes scenes of a young woman voluntarily getting body scars for beautification purposes (around 18:00 to 19:25.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases a video of a tour of various ethnic groups in southern Ethiopia's Omo Valley. The tour was conducted by a "country caravan" that included a truck with a piano.

This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting. As such, I've included some time notations about certain portions of this video.

WARNING*: Some topless women are shown in some portions of this video. Also, a portion of this video shows women being whipped during a ritual ceremony and a naked man jumping the bulls as part of a ritual ceremony.

The content of this post is presented for folkloric, cultural, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
-snip-
Click http://pancocojams.blogspot.com/2018/01/ritual-scarification-temporary-face.html for a closely related pancocojams post entitled "Ritual Scarification & Temporary Face Painting Among The Hamar People Of Ethiopia".

DISCLAIMER:
This post isn't meant to represent all of the different types of face painting or body painting that is worn by people in the Omo Valley of Ethiopia. Nor does this post imply that people from these ethnic groups always wear face or body paint.

The video's narration is in French. Since I only speak English I have no idea what was said and whether it was culturally appropriate.

*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

****
INFORMATION ABOUT ETHNIC GROUPS WHO RESIDE IN ETHIOPIA'S OMO VALLEY
From https://www.nytimes.com/2017/10/30/travel/omo-valley-ethiopia-eco-tourism.html
Up Close With the Tribes of Ethiopia’s Imperiled Omo Valley

Both dams and overtourism threaten the Omo Valley. But a sustainable
travel initiative offers an intimate experience with local peoples.

By ANDREW McCARTHY OCT. 30, 2017

This southwestern corner of Ethiopia is home to seven primary tribes who coexist with varying degrees of peace. The land is largely dry savanna, with the Omo River cutting a nearly 475-mile-long swath down to Lake Turkana on the Kenya border. The discovery of human remains dating back nearly 2.5 million years prompted Unesco to dub the Lower Valley a World Heritage site in 1980.

Continue reading the main story
But today the Omo is a region on the precipice. The Ethiopian government has recently completed the third of five proposed dams upriver. The dams threaten to alter the lives of the communities that have inhabited this valley for millennium and depend on the river’s moods for survival"...
-snip-
This article provides commentary about the following ethnic groups:
Hamar
Karo
Nyangatom
Daasanach
-snip-
This article also includes a photo with this caption:
"Scarification — small, raised scars created by rubbing charcoal in deliberately administered cuts, causing the skin to welt in intricate patterns — is common among tribes in the Omo Valley, including the Daasanach (a tribesman is pictured here)." Credit Andy Haslam for The New York Times

One of the commenters wrote "I hope the photographer paid his dues to the people photographed for this article, most villagers expect some 'tip' for taking a picture."

Here are two comments from that article's discussion thread:
Maja Wichhart Donzo Boulder, CO November 4, 2017
"Your account of your time spent in Ethiopia is so beautifully done. However, I can't help but feel bitter after reading it. It seems like the Omo are being left behind, praying for the river to rise and their crops to prosper. It makes me sad to think that all they can do is pray when there are intrusive dams upstream that are destroying their livelihood."

**
Gigi San Luis Obispo November 2, 2017
"The nearest outpost of civilization, the town of Jinka, is currently a 2-3 day drive from Addis. There, some local tribespeople, esp Aari, have integrated into the larger community. But thanks to Chinese development, an airport and giant sugar factory are going up and will ensure more ferengi s ( foreigners) coming to this beautiful but remote region. Will see how many of these folks go into the tribal lands, and if or how their cultures will change in response. Don't miss the South Omo museum in Jinka or the videos of the tribal rituals. Hard to watch through the lens of the West and hard -fought women's rights."

****
From https://www.roughguides.com/article/ethiopia-omo-valley/ 17 striking portraits of Ethiopia’s Omo Valley tribes
20 May 2016; Updated 24 May 2016

Tim Draper
"Renowned the world over for its decorated tribes, the Omo Valley is a stop on many a tourist route in Ethiopia. But visits to the area can cross ethical boundaries, and few tourists are allowed the pleasure of a genuine experience with local people. Here, Rough Guides photographer Tim Draper tells us about his experience photographing some of southern Ethiopia’s most fascinating tribes.

As a travel photographer I desperately wanted to capture creative and authentic portraits in the Omo Valley, whilst hoping to avoid the negative experiences told in tourists tales of ‘zoo-like’ excursions.

After spending almost a week researching tour companies in Addis I carefully chose my driver, and together we planned our trip around the Omo villages.

We stayed overnight in most villages, camping or sleeping in huts. It was a good way to get to know the tribes, spending long afternoons with them while tourists came and went, barely getting out of their vehicles before they were whisked away.

If you don’t want a zoo-like experience in Omo, you’d do well to keep your camera in your pocket for a little while longer, try to connect with the people on a deeper level than that of a fifteen-minute whistle-stop photo opportunity.

I took my pictures methodically and slowly, with good humour and in a relaxed atmosphere. After all, good travel portraits – like good travel experiences – require time, care and trust.
-snip-
The first photograph in this article is a closeup of two children from the Arbore ethnic group with red paint with white dots around their eyes.

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SHOWCASE VIDEO: ETHIOPIE Au coeur de la Vallée de l'Omo



Jean Pierre Tixier, Published on Jul 29, 2016

Découverte et Rencontre des ethnies du sud de l’Éthiopie, dans la vallée de l'Omo, avec Marc VELLA et son piano accompagné de la "caravane amoureuse". Un voyage hors du temps qui a permis d'échanger et de partager des moments inoubliables avec ces populations combien attachantes que sont les Hamer, les Mursi, les Karo, les Dorzé, les Konso
....
-snip-
Google translation from French to English:
Discovery and meeting of the ethnic groups of southern Ethiopia, in the Omo Valley, with Marc VELLA and his piano accompanied by the "caravane amoureuse". A trip out of time which allowed to exchange and share unforgettable moments with these endearing populations that are Hamer, Mursi, Karo, Dorzé, Konso ....

-snip-
Here are my notes about this video, with special attention to scenes of face painting and/or scarification:

13:24 people wearing face and chest paint (Karo ethnic group?)

12:08-13:01 children and adults wearing white face paint. I’m not sure which ethnic group this is

13:42 -14-19 - people with dots on their face

14:40-15:50 WARNING topless women

18:11-18:29 women being whipped before the ritual bull jumping ceremony

18:58 – Hamer men with facial paint

19:23 one Hamer man with facial paint standing in a row of men

WARNING: 19:31 to 19:47 man naked jumping the bulls

22:31 woman with face paint also with large lip plate [The Mursi ethnic group]

22:47 back of lip plate has painted geometric designs ; some people shown with white paint on their face and chest

23:19 woman with black face paint

24:56 woman with white face paint

25:14 young girl with white face paint around her eyes

25:42 -26-08 topless women moving in a counterclockwise circle and then standing talking some with face paint and some with scarification on their upper arms

33:34 young boy with faded paint on his forehead and around his face

35:50 Designs on this woman’s scarf are very similar to some facial designs

42:01 scene of Marc Vella playing piano surrounded by various Black people most of whom are wearing white paint on their faces and chest

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases two videos that present examples of traditional African scarification.

One of these videos also showcast examples of African face/body painting.

This post is part of an ongoing pancocojams series about traditional and contemporary tattoos and scarification, and traditional and contemporary African face and body painting.

WARNING*: Topless women are shown in some portions of these videos.

The content of this post is presented for folkloric, cultural, and aesthetic purposes.

Thanks to all those who are featured in this post and all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
*One reason why I include WARNING notices in this and other pancocojams posts is to alert adults in public or private schools or other institutions who might want to use this post as supplemental educational material, but are prohibited from or reluctant to use material that contains content that is considered problematic for children and youth in their particular culture/s.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

****
SHOWCASE VIDEOS

WARNING: Some topless women are shown in some portions of these videos.

Example #1: Scarifications(Musique de Dobet Gnahore- Boudou)



Jahdid2, Published on Feb 6, 2012

Scarifications
(Musique et paroles de Dobet Gnahore from Album Djekpa La You )

En Afrique Noire, le tatouage est essentiellement tribal et effectué par scarifications. C'est un embellissement et aussi un vêtement.
Chez le peuple "Sarakole" d'Afrique Occidentale, les gencives des filles sont tatouées en bleu, à l'aide d'une épine vers l'âge de 13/14 ans.
En Afrique le tatouage permettait de prouver son identité par une marque tribale, et de se différencier des esclaves, qui eux, n'étaient pas marqués.
Le tatouage et la scarification en Afrique Noire sont revendicateurs des rites d'initiation. Ils peuvent accompagner le fait d'appartenir à une communauté, marquer le passage d'un état à un autre (celui d'enfant à adolescent ou d'adolescent à adulte).
Toutes ces agressions corporelles vont fortifier la personnalité de celui qui les subies, et augmenter ses forces vitales.
Chez les "Konkomba" du Togo du nord, les hommes et les femmes ont le torse entièrement scarifié et portent sur le visage des dessins noircis au charbon représentant la tribu.
Category

-snip-
Google translation from French to English

In Black Africa, the tattoo is essentially tribal and carried out by scarifications. It is an embellishment and also a garment.
Among the "Sarakole" people of West Africa, the gums of girls are tattooed in blue, using a spine at the age of 13/14 years.
In Africa tattooing allowed to prove its identity by a tribal mark, and to differentiate themselves from slaves, who themselves were not marked.
Tattooing and scarification in Black Africa claim to be rites of initiation. They can accompany the fact of belonging to a community, mark the passage from one state to another (that of child to teenager or teenager to adult).
All these bodily attacks will strengthen the personality of the one who suffered them, and increase his vital forces.
In the "Konkomba" of northern Togo, the men and women have their torso completely scarified and bear on the face charcoal black drawings representing the tribe.

****
Example #2: Painted Bodies: African Body Painting, Tattoos, and Scarification



Rizzoli Books, Published on Sep 11, 2012

Carol Beckwith and Angela Fisher have photographed the peoples and cultures of the Horn of Africa for more than 30 years. Together, they exhibit internationally and lecture widely at prestigious venues such as the American Museum of Natural History, The Explorers Club, The Smithsonian Institution, the National Geographic Society, and the Royal Geographical Society.

In "Painted Bodies", Beckwith and Fisher focus on the traditions of body painting spanning the vastly unique cultures of the African continent. Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.

Painted Bodies: African Body Painting, Tattoos, and Scarification
by Carol Beckwith and Angela Fisher

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post is Part I of an ongoing series that presents quotes from various online articles that provide information about the meaning of certain colors, designs, and objects in specific traditional African cultures.

The excerpts in this post refer to the BaKuba ethnic group (Democratic Republic Of The Congo) and the BaLuba ethnic group (Democratic Republic Of The Congo).

Seven YouTube videos of Baluba and Bakuba culture are also included in this post.

The Addendum to this post provides information about the significance of cowrie shells which were (are) used a lot in African artistic decorations, among other functions.

The content of this post is presented for folkloric and cultural purposes and aesthetic purposes.

Thanks to all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

****
PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting)". Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body.

The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.

Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"

Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.

*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

In this pancocojams series I'll provide some information gleaned from the internet that may be extrapolated to help explain what some traditional African face/body painting and scarification designs might mean.

Use pancocojams's internal search engine or click the "traditional and contemporary African face and body painting" tag below to find other pancocojams post on this subject.

DISCLAIMER
By no means is this post meant to be a definitive account of the meanings of colors, designs, and objects in traditional African cultures.

Even a cursory search for such meanings should lead a person to conclude that there's no one meaning for any particular color, design, or object in the vast African continent. Instead, there are multiple, sometimes conflicting meanings depending on which ethnic group you are researching.

Also, notice that some of the excerpts in this series refers to traditional African masks as I believe that descriptions of those masks may be useful in helping to explain the meaning of temporary face and body painting or permanent scarification in those specific African cultures.

Of course, many contemporary African face/body painting in Africa and elsewhere may the results of the painter's own creativity, and have very little or no real (authentic) traditional African cultural source and meaning.

****
EXCERPTS ABOUT THE MEANINGS OF SPECIFIC COLORS, DESIGNS, AND OBJECTS IN VARIOUS TRADITIONAL AFRICAN CULTURES
Excerpts #2 and Excerpt #3 describe a photograph given on that page.

The excerpts are given in no particular order and are numbered for referencing purposes only.

I added italics for statements that describe or explain the significance of colors, designs, or objects.

EXCERPT #1:

"The Kuba live in the Lower Kasai region of central Zaire in a rich environment of dense forest and savanna.
Organized into a federation of chiefdoms, the almost 200,000 Kuba are a diverse group of over eighteen different
peoples unified under the Bushong king. They share a single economy and, to varying degrees, common cultural
and historical traditions. Agriculture is the main occupation, supplemented by hunting, fishing, and trading. The
name "Kuba" comes from the Luba people to the southeast. The Kuba call themselves "the children of Woot"—
after their founding ancestor (Vansina 1964:6;1078:4).

Praised as "God on Earth," the king, nyim, is a divine ruler who controls fertility and communicates with the creator,
Mboom. The royal court at Nsheng is a hierarchical complex of councils and titled officials who advise the king and
balance his power. Outlying Kuba chiefdoms are largely autonomous, organized on models analogous to those of
the capital but on a lesser scale (Vansina 1964:98-99; 1978:216). Kuba society parallels governmental
organization in that it is stratified. Yet the Kuba people prize hard work and achievement, and while position of birth
may secure advantage, it is not binding (Vansina 1964:188;1968:13,15).

Kuba religion, however, is not highly organized. The creator, Mfcoom, is recognized but is not formally worshiped.
More considera¬tion is given to Woot, who led the Kuba migration "up river" and established matrilineal descent,
male initiation, and kingship. Local nature spirits, tended by priests and priestesses, are actively involved in
people's lives, notably in matters of fertility, health, and hunting. The Kuba have no ancestor cult but do believe in
reincarnation (Vansina 1964:9-10).

Kuba arts primarily address status, prestige, and the court; they are manifestations of social and political hierarchy.

Rank and wealth are expressed in extensive displays of regalia: jewelry, rich garments of embroidered raffia cloth,
ceremonial knives, swords, drums, and elaborated utilitarian items. Valuable imported cowrie shells and beads
emblellish garments, furniture, baskets, and masks.

The outstanding Kuba style diagnostic is geometric patterning used to embellish the surfaces of many objects.
These designs are woven into raffia textiles and mats, plaited in walls, executed in shell and bead decoration, and
incised on bowls, cups, boxes, pipes, staffs, and other forms including masks. All art forms and designs are laden
with symbolic and iconographic meaning, and the same is true of the rich Kuba masquerades.

Masking was first introduced by a woman who carved a face on a calabash, the original model for initiation masks.
The invention was taken over by men, incorporated into initiation, and remains a male privilege. Once Bushong
boys move into the nkan initiation shelter, they can wear masks and make excursions into the village frightening
women and small children. More powerful masks are worn by initiation officials. The masked Kuba dancer is, in
every instance, a spirit manifestation (Torday 1910:250; Vansina 1955:140).

Three royal mask types exist: the tailored Mwaash aMbooy, representing Woot and the king; the wooden face
mask, Ngady Mwaash aMbooy, the incestuous sister-wife of Woot; and the wooden helmet mask, Bwoom ,the
commoner. These characters appear in a variety of contexts including public ceremonies, rites involving the king,
and initiations. Although their dances are generally solo, together the three royal masks reenact Kuba myths of
origin (Cornet 1982:254,256; Roy 1979:170).

[...]

Bwoom appears on the nkan "initiation fence" of the Bushong (Vansina 1955:150-151) and in other initiation
contexts. Little is known of this mask (or indeed most Kuba arts) outside of the royal Nsheng tradition.
A royal mask, Bwoom is sometimes worn by the king. Yet unlike Mwaash aMbooy, Bwoom does not appear at
funerals, and it is never interred with the king or other dignitaries (Cornet 1982:270). The costume is similar to that of Mwaash aMbooy: heavy with profuse layers of raffia-cloth, bead and cowrie decoration, leopard skins, anklets,
armlets, and fresh leaves. Eagle feathers or other prestigious media are added to the crown of the head when the
mask is danced.

Despite regional variations, the Bwoom mask conforms to a distinct type. All styles feature strongly rendered
proportions dominated by an enlarged brow, broad nose, and usually naturalistic ears. Typical features include the
metal work on the forehead, cheeks, and mouth, bands of beads that embellish the face, and an expanse of
beadwork at the temples and back of the head. Plate 8 has these plus patterned raffia-cloth covering the top of the
head, with a fringe of hair. The blue beads set into the white band at the temples imitate ethnic tattoo patterns
(Cornet 1982:266), and the design at the back of the head is one associated with royalty."

****
EXCERPT #2
1. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=3
KUBA ART AND RULE
BY JOSEPH AURÉLIEN CORNET (1919 - 2004)
FORMERLY INSTITUTE FOR NATIONAL MUSEUMS OF CONGO

"Kuba titleholder tshik'l, Democratic Republic of the Congo. Photo by Angelo Turconi.

"Among the nobles who surround the king, called “the uncles of the king,” the second rank is made up of those who are given the title tslhik’l. In addition to the king's collar (made of long straight wool), his two major symbols or badges of office are the axe he carries on his left shoulder and the headgear that is reserved only for him. This is generally in the shape of a Kuba hat, but is enriched with beads and cowries. It is surmounted by a tuft of red parrot leathers, and below by a tail that hangs in front of the face. The headgear is accompanied by a band of cowries across the chest. The white pigment on the forearm represents the tradition of rubbing oneself with kaolin for important ceremonies. In the corner of his mouth, the red parrot feather is a symbol of wisdom, and because it makes it difficult to speak, it is then a symbol of circumspection.

****
2. From https://africa.uima.uiowa.edu/topic-essays/show/35?start=12
"Between two segments of the performance in the dance area at Mushenge, the moshambwooy and bwoom masks rest for a moment. On the former, we can admire the great white beard, symbol of the wisdom of this most senior of masks; the latter allows us to take a close look at his tunic covered with cowries and the long strands of raffia that are used to help direct the dance of this blind character."

****
3. WARNING: the photograph in this article is of women who are topless [not wearing anything over their chest]

From https://africa.uima.uiowa.edu/topic-essays/show/35?start=13
"Women's dance in the royal court, Kuba peoples, Democratic Republic of the Congo. Photograph by Angelo Turconi.

The women's dances in the royal palace are elaborate and refined, very slow and carefully choreographed, both in gesture and in step. The women's choir accompanies them, with the rhythm accentuated by the sound of gourds struck on the sand. The participants carry richly decorated flywhisks, which they wave dramatically. The first three performers have particularly spectacular costumes. These performers include two of the king's aunts and his most senior wife. One can identify three different types of women's skirts, each of which identifies the social rank of the wearer. The metal anklets symbolize nobility. These details contrast markedly with the simplicity of the women who follow dressed in simple raffia skirts dyed red with tukula powder, and without anklets. The women gesture symbolically."

****
EXCERPT #3
1. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=7
LUBA ART AND DIVINATION
BY MARY NOOTER ROBERTS
UNIVERSITY OF CALIFORNIA, LOS ANGELES

"Mbudye official during initiation, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

The most important function of the Mbudye association was to initiate potential rulers and other officeholders into Luba esoteric knowledge. Initiation rites consisted of four stages, during which didactic devices were used to convey complex information about the origins and premises of Luba kingship. During the third level of initiation, wall paintings were used to illustrate migrations and to show sacred sites where spirits reside across the Luba landscape. During this level, each initiate adopted a spirit persona and became clairvoyant, as reflected by the white lines of enlightenment painted around the official’s eyes. But only during the fourth and final stage of lukasa did an initiate achieve full mastery of the nuances of Luba royal precepts and prohibitions. As guardians of such knowledge, Mbudye officials could remove a king from office if he transgressed the royal codes."

****
2. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=8

[Pancocojams Editor's Warning: The photograph that is described includes a woman whose chest isn't covered.]

"Investiture ceremony for a Luba chief, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

During investiture rites, a Luba king or chief is transformed from an ordinary mortal into a sacred ruler. Here, two elder titleholders anoint a candidate to the office of territorial chief with white chalk to indicate ritual transition and accord with the spirit world. Chalk is a metaphor for the moon, which rises to brighten the sky each month after several days of darkness. Like the rising moon, a Luba ruler brings enlightenment to his people in the form of sound leadership and heightened vision. The investiture of a king is also compared to forging iron, for just as a blacksmith transforms raw metal into useful tools and weapons, so is an ordinary mortal transformed into a superhuman being through a ceremony called "the beating of the anvils," during which a dignitary would symbolically beat upon the knees of a king to signify the creation of sacred power."

****
3. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=11
"Luba diviner wearing beaded headdress, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

Once Bilumbu diviners have been "seized" by the spirit, they chalk their laces with pemba chalk, called "the diviner’s oil," and don accoutrements that reflect the spirit's special attributes. Bilumbu attire includes bead and shell necklaces, turtle-shaped arm bands, animal pelts, leathers, and the beaded headdress called nkaka, which refers to a pangolin. Pangolin scales are considered strong, durable, and resistant, and for this reason, they are often included in the medicinal compositions of Luba diviners and healers. An nkaka headdress is worn by all royal specialists who undergo possession, and the purpose of this colorful rectangular headband, with its juxtaposed isosceles triangles and lozenges, is to take hold of the spirit as it mounts the diviner’s head and to contain, control, and protect it—in the same way a pangolin wraps itself up in a ball, its horny scales defending it from danger.

****
EXCERPT #4:
From http://www.artic.edu/aic/collections/artwork/99539
"Kuba
Western Kasai region, Democratic Republic of the Congo

Mask (Mukenga), Late 19th/mid-20th century

Wood, glass beads, cowrie shells, feathers, raffia, fur, fabric, thread, and bells
57.5 x 24.1 x 20.3 cm (22 5/8 x 9 1/2 x 8 in.)

Laura T. Magnuson Fund, 1982.1504

Arts of Africa and the Americas
Gallery 137

Mukenga masks like this one* are worn at funerals of influential, titled men in the northern part of the Kuba kingdom. The mask's form and materials combine symbols associated with status and leadership. Its surface is comprised of raffia cloth upon which glass beads, cowrie shells, raffia fibers, and animal fur are attached. The carefully arranged cowrie shells, once prized as currency, signal wealth and status. The beard-like ruff of the large and dangerous colobus monkey refers to powers of the forest. A prominent trunk projecting upward and over the front of the mask represents the elephant, the supreme symbol of leadership.

Formed in the seventeenth century, the Kuba Kingdom unites an ethnically diverse population across the Western Kasai region of today’s Democratic Republic of the Congo. This mask, called mukenga, is a regional variant of a Kuba royal mask that is made only in the northern part of the kingdom. The mask’s form and lavish embellishment are associated with wealth and status. Cowrie shells and glass beads, once highly valued imports, cover much of its surface. A stylized elephant trunk and tusks rise from the top, evoking the powerful animal and the wealth accrued by the Kuba in the nineteenth century through control of the ivory trade. The tuft of red parrot feathers that is suspended from the tip of the trunk and the spotted cat fur on the mask’s face are insignias of rank.

During the funerals of titled aristocrats, a member of the men’s initiation society may dance wearing the mukenga mask and an elaborate costume that includes many layers of woven raffia skirts and cowrie- and bead-laden belts, gloves, bracelets, and anklets. The deceased is laid out in identical attire, underscoring the association between the spirit, which is manifested through the performance of the mask, and the realm of the ancestors.

— Entry, Essential Guide, 2009, p. 13.
-snio-
An example of this mask is found as Video Example #4_ below.

****
SHOWCASE VIDEOS: KUBA ETHNIC GROUP MASKING TRADITIONS (DEMOCRATIC REPUBLIC OF THE CONGO)
Example #1: BASOKIN,Basongye a Kinshasa



ngandu a mushinga, Published on Oct 22, 2007

Musique folklorique du Peuple SONGYE de la LOMAMI terribles danses ancestrales royales pleines d'élégance!!Ouhhhh la fierté du MUSONGYE,souche pharaonique pure.....Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Votre serviteur
-snip-
Google translation from French to English
"Folk music SONGYE of the LOMAMI terrible royal dances full of elegance !! Ouhhhh the pride of MUSONGYE, pure pharaonic strain ..... Eyendo Basongye ni m'Bakielengye m'BAKALANGA.Wonderful dancers and Maskers makers.
Your humble servant"
-snip-
Here's information about Lomami Province
From https://en.wikipedia.org/wiki/Lomami_Province
Country Democratic Republic of the Congo
Region Kasai region
Established 2015
Capital Kabinda

[...]

Languages
• Official French
• National Tshiluba

****
Example #2: Masterpiece Collection of African Kuba Textiles



Los Angeles County Museum of Art, Published on Feb 23, 2011

Through April 10th, 2011, the Los Angeles County Museum of Art is displaying a collection of Kuba textiles in the Ahmanson Building. These textiles from the Democratic Republic of the Congo were created by men and women of the Kuba culture. They are embellished with a dazzling array of geometric patterns. Modern artists including Paul Klee, Pablo Picasso, Henri Matisse and Gustav Klimt were inspired by African art and by Kuba textiles in particular...
Video production: Jun Tiangco

****
Example #3: Kuba Art in Washington, D.C.



TV2Africa, Published on Jan 18, 2012

The Kuba people from the Democratic Republic of Congo see patterns everywhere and their designs are being featured at Washington's Textile Museum. VOA's Carolyn Turner reports.

****
Example #4: BMA Voices: A Royal Man’s Mask (Mukenga) from the Kuba kingdom



artBMA, Published on Oct 6, 2014

Aden Weisel, Curatorial Assistant of Arts of Africa, the Americas, Asia & the Pacific Islands, discusses a Royal Man’s Mask (Mukenga) from the Kuba kingdom (Democratic Republic of the Congo).
-snip-
Information from http://blog.artbma.org/2014/10/bma-voices-a-royal-mans-mask-mukenga-from-the-kuba-kingdom/:
"Artist Unidentified. Kuba kingdom (Democratic Republic of the Congo). Royal Man’s Mask (Mukenga). 1970s. The Baltimore Museum of Art: Gift of the Friends of the Arts of Africa, the Pacific and the Americas, and Amy Gould and Matthew Polk, Gibson Island, Maryland, BMA 2013.363"

Note that the video summary indicated that the narrative in the video could be read at that link, but no such narrative is found at that link.

****
Example #5: African Mwaash Ngady mask KUBA Congo RDC



David Norden, Published on Nov 10, 2014

Lot 42 African Mwaash Ngady mask - KUBA - Congo (RDC)
Ca. 1920-1940 - good condition


A portrait mask of the first Kuba king wife.
There are more than twenty different types of masks that function within the men's initiation society. The Kuba Ngaady mask represents the ideal of beauty. It is one of three important Kuba mask, on the old picture taken at Mushenge in 1909 shows a similar mask: Ngady aMwaash, Bwoom, and Mosh'ambooy mu shall.
The provenance of this fine mask that is to be dated between the two worldwars, is the collection of Gaëtan Schoonbroodt in Verviers, Belgium.

Size: 50 cm on its included base , 30 cm without.
Condition: One ear missing, as depicted.

****
Example #6: Danse Traditionnelle des Baluba, BAKUBA



b-one TV Congo, Published on Feb 6, 2015

****
Example #7 Kuba Kingdom



L’uomo di Mannheim, Published on May 21, 2017

****
ADDENDUM: INFORMATION ABOUT COWRIE SHELLS
From https://gnosticwarrior.com/cowry-shell.html
The Giver of Life: Cowry Shell
by Moe | Dec 10, 2014
..."The mystical cowry shell is small, white and glossy, resembling the female life-giving organ that is an amulet which increases fertility, and gives life. A beautiful shell that many ancient cultures had regarded as an amulet to add vitality to life, and to prolong their lives to the point of immortality.

In ancient medical treatises these shells were often listed as one of the best medicines for many ailments, and long before we had the mighty paper dollar with the all-seeing eye emblazoned upon the backside, cowry-shells were used as money and a form of currency for thousands, if not tens of thousands of years.

Cowry-shells were used for centuries as medicine and currency in Africa, China, India; and with the Indians of North America such as the Ojibwa and Menomini Indians who had called it the sacred money-cowrie, that for centuries was used by medicine men in initiation ceremonies and shamanic rituals. They had also used these shells as money for a form of exchange.

[...]

The same ideas and connection in these ceremonies by these various cultures seems to prove they are somehow connected or related at sometime in the distant past. These themes of medicine, health, life, death, and resurrection with the cowry shell being the main symbol intuitively, tells me that there must be a science behind this mystical shell that is waiting to be discovered."

****
This concludes Part I of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post is Part II of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.

The excerpts in this post refer to the traditional cultures of the Chokwe ethnic group (Angola), the Baluba ethnic group (Democratic Republic Of The Congo), the Central Ijo ethnic group (Nigeria), the Igbo ethnic group (Nigeria), the Dan ethnic group of Liberia, and the Lobi and Bwa ethnic groups (Burkina Faso).

I've also included additional online quotes about Igbo religion under the #1 of the text given as Excerpt #4.

One video of Mami Wata sculptures and four videos of Burkina Faso masks are included in this post.

Use pancocojams's internal search engine or click the "the meaning of colors in traditional African cultures" tag below to find other pancocojams posts on this subject.

The content of this post is presented for folkloric, cultural purposes and aesthetic purposes.

Thanks to the researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
Part III of this post which showcases the Yoruba orisa Obatala,whose title means "the king of the white cloth", will be published ASAP and can be found by clicking the above mentioned tag.

****
PANCOCOJAMS EDITOR'S COMMENT
Since at least 2015, there have been a number of YouTube tutorials about "African Face Painting" (also given as "African Tribal Painting"). Many of these videos focus on painting temporary designs made out of dots, lines, swirls, and/or other geometric figures on one's face and/or body or on another person's face/body.

The appropriateness of Black people and other people in the United States and other Western cultures wearing so-called "African tribal" face and body painting has been and continues to be hotly debated. Click http://pancocojams.blogspot.com/2016/01/young-paris-response-to-zipporah-genes.html for a 2016 pancocojams post on the subject of whether it's culturally appropriate for Black people in the African Diaspora (and other people) to paint dots and other so-called African tribal designs on their face and/or body.

Rather than add to that debate, I've chosen to focus on questions that continue to be asked in a number of discussion threads of YouTube videos of these "African Tribal Painting" tutorials. This post and some other posts in this pancocojams series addresses the question: "Which African ethnic groups* do these painted designs (or designs like this) come from?"

Most of the publishers of these tutorials respond to these questions by saying that their designs are "inspired" by various (usually unnamed) African "ethnic groups"*.

*Note that I've substituted the term "ethnic group" for "tribe" as I consider "tribe" to be a term that's loaded with all sorts of negative European colonial connotations.

In this pancocojams series I'll provide some information gleaned from the internet that provides some information about the meanings of colors in traditional African face and body painting, scarification, masking, and sculpturing.

Use pancocojams's internal search engine or click the "meanings of colors in traditional African cultures" tag below to find other pancocojams post on this subject.

DISCLAIMER
By no means is this post meant to be a definitive account of the meanings of the color white in traditional African cultures.

I have very little knowledge about this subject and I'm learning as I go...

Notice that some of the excerpts in this series refers to traditional African masks as I believe that descriptions of those masks may be useful in helping to explain the meaning of temporary face and body painting or permanent scarification in those specific African cultures.

Of course, many contemporary African face/body painting in Africa and elsewhere may the results of the painter's own creativity, and have very little or no real (authentic) traditional African cultural source and meaning.

****
EXCERPTS ABOUT THE MEANINGS OF THE COLOR WHITE IN A FEW TRADITIONAL AFRICAN CULTURES
The excerpts are given in no particular order and are numbered for referencing purposes only.

These excerpts discuss a photograph that is found on the linked page.

I added italics for statements that describe or explain the significance of the color white in that photograph. Statements about other tattoos or other body decorations are also included in some of these excerpts. Note, for example, the statement about the meaning and history of the triangle tattoo on the forehead. In some other African ethnic groups that design or similar cross-like designs are also worn over the forehead extending from a female's headband.

EXCERPT #1:
From https://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art/african-art-collection-masks.htm

"Masks and headdresses
in the collection of antique, classical, ethnic, ethnographic, ethno-tribal, native, ritual, traditional, tribal, so-called "primitive" art from Sub-Saharan black Africa
Angola or Zambia or Congo / DRC / formerly Zaire
Bachaukwe / Bachokwe / Badjok / Bajokwe / Bakjokwe / Batshioko / Batsjokwe / Chaukwe / Chokwe / Ciokwe / Cokwe / Djok / Djokwe / Jokwe / Kioko / Kiokue / Quioco / Shioko / Tchokwe / Tschokwe / Tsjokwe / Tshokwe / Tsjaukwe / Tshioko / Tsonge / Tuchokwe / Watschiwokwe tribe/people
mwanaphwo / mwanapwo / mwanapwevo / mwana phwo / mwana pwo / mwano pwo / pwo / phwo / pwevo / p'wo face masks

This type of mask represents the archetypal, ideal young female beauty.

Most pieces show traditional facial scarification patterns; markings / motifs that represent tattoos, filed teeth, remarkable hair styles.

About the tattoos the following has been written:
The cruciform tattoo with triangles on the forehead is known as cingelyengelye.

Originally, cingelyengelye occurred as a necklace in the form of a cross, cut from tin plate, and worn by the Chokwe as an amulet. During the 17th century, Capuchin monks from the Order of Christ of Portugal had distributed medals in
the form of a cross throughout Chokwe country, and this cross was probably the prototype for cingelyengelye.

Another type of tattoo is known as cijingo, in combination with a cross. Cijingo denotes a spiral brass bracelet.

A tattoo on the forehead and extending to the temples is known [as] a mitelumuna, or "knitted eyebrows," an allusion to discontentedness or arrogance.

Tattoos under the eyes are known as masoji, signifying tears.

Some masks have white kaolin around the eyes, which may represent the ability to see into spiritual realms.

****
EXCERPT #2
1. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=7
"LUBA ART AND DIVINATION
BY MARY NOOTER ROBERTS
UNIVERSITY OF CALIFORNIA, LOS ANGELES

Mbudye official during initiation, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

The most important function of the Mbudye association was to initiate potential rulers and other officeholders into Luba esoteric knowledge. Initiation rites consisted of four stages, during which didactic devices were used to convey complex information about the origins and premises of Luba kingship. During the third level of initiation, wall paintings were used to illustrate migrations and to show sacred sites where spirits reside across the Luba landscape. During this level, each initiate adopted a spirit persona and became clairvoyant, as reflected by the white lines of enlightenment painted around the official’s eyes. But only during the fourth and final stage of lukasa did an initiate achieve full mastery of the nuances of Luba royal precepts and prohibitions. As guardians of such knowledge, Mbudye officials could remove a king from office if he transgressed the royal codes."

**
2. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=8

[Pancocojams Editor's Warning: The photograph that is described includes a woman whose chest isn't covered.]

"Investiture ceremony for a Luba chief, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

During investiture rites, a Luba king or chief is transformed from an ordinary mortal into a sacred ruler. Here, two elder titleholders anoint a candidate to the office of territorial chief with white chalk to indicate ritual transition and accord with the spirit world. Chalk is a metaphor for the moon, which rises to brighten the sky each month after several days of darkness. Like the rising moon, a Luba ruler brings enlightenment to his people in the form of sound leadership and heightened vision. The investiture of a king is also compared to forging iron, for just as a blacksmith transforms raw metal into useful tools and weapons, so is an ordinary mortal transformed into a superhuman being through a ceremony called "the beating of the anvils," during which a dignitary would symbolically beat upon the knees of a king to signify the creation of sacred power."

**
3. From https://africa.uima.uiowa.edu/topic-essays/show/23?start=11
"Luba diviner wearing beaded headdress, Katanga Province, Democratic Republic of the Congo, 1988. Photo by Mary Nooter Roberts.

Once Bilumbu diviners have been "seized" by the spirit, they chalk their laces with pemba chalk, called "the diviner’s oil," and don accoutrements that reflect the spirit's special attributes. Bilumbu attire includes bead and shell necklaces, turtle-shaped arm bands, animal pelts, leathers, and the beaded headdress called nkaka, which refers to a pangolin. Pangolin scales are considered strong, durable, and resistant, and for this reason, they are often included in the medicinal compositions of Luba diviners and healers. An nkaka headdress is worn by all royal specialists who undergo possession, and the purpose of this colorful rectangular headband, with its juxtaposed isosceles triangles and lozenges, is to take hold of the spirit as it mounts the diviner’s head and to contain, control, and protect it—in the same way a pangolin wraps itself up in a ball, its horny scales defending it from danger.

****
EXCERPT #3
1. From https://africa.uima.uiowa.edu/topic-essays/show/21?start=1
"Shrine for Wonyinghi, the creator, Azuzama, Bassan clan. Central Ijo peoples, Nigeria, 1979. Photo by Martha G. Anderson.

The Ijo believe that both people and spirits originate far off in the sky in a place called Wonyinghibou, or 'Our Mother's Forest', and return there after death to await rebirth. They reason that the creator is female, because only women can bear children. Wonyinghi takes little interest in earthly events, but some Central Ijo towns seek her help in preventing epidemics. The priest of this shrine claims that no one knows what Wonyinghi looks like because she lives so far away, but songs portray her as an old woman wearing white, the color associated with the spirit world. The staff and stool combination, which serves as her emblem here, can also be used to represent other spirits. At a festival held during the dry season, shrine members raise the divination ladder to communicate with Wonyinghi, sweep the town clean with the broom, and sprinkle medicines from the pot to keep sickness at bay.

**
2. From https://africa.uima.uiowa.edu/topic-essays/show/21?start=6
"Shrine for the nature spirit Apeghele. Olugbobiri, Olodiama clan. Central Ijo peoples, Nigeria, 1979. Photo by Martha G. Anderson.

In contrast to spirits living on land, water spirits tend to be benevolent beings who bring people children and money. Instead of black or dark blue, the colors bush spirits use to signify indomitability, water spirits like white, a color which connotes spirituality and wealth; they prefer offerings of imported food and beverages, like corned beef and Sprite, to the local produce bush spirits consume. Likewise, water spirits typically materialize as aquatic animals or things found in the water, instead of as vines and termite mounds, and seldom request figure carvings. In spite of these differences, the Ijo view spirits from the two zones as complementary and claim they can even intermarry. Diviners consulted about a small bronze caryatid found in the water determined it was Apeghele's water wife. Apeghele, a bush spirit, formerly had two wives; the carving of his bush spirit wife has deteriorated, but his water wife stands propped against his legs.

**
3. From https://africa.uima.uiowa.edu/topic-essays/show/21?start=7

"Ijo peoples, Nigeria, diviner and shrine. Photo by Martha G. Anderson.

Water spirits can materialize in many forms, but the Ijo generally describe them as beautiful beings with fair skin and long, flowing hair. In keeping with their watery habitat and associations with wealth and trade, they often choose shiny and/or manufactured items as their emblems: men typically purchase plastic dolls to represent their water wives; women use a glass tumbler, white saucer, and native chalk ensemble for their water husbands. As in the case of Apeghele's water wife, diviners often consider objects people find in the water, like miniature paddles, sticks of wood, and keys, to be water spirits. This diviner says the emblems in her shrine appeared magically, like the glass tumbler she discovered after hearing something fall during a storm. According to her, not even the wooden objects in the shrine were carved by human hands. Diviners often have multiple spirit companions; this one claims to have one hundred and forty.

****
EXCERPT #4
1. From https://africa.uima.uiowa.edu/topic-essays/show/14?start=3
"MBARI: ART AS PROCESS IN IGBOLAND
BY HERBERT M. COLE
PROFESSOR EMERITUS, UNIVERSITY OF CALIFORNIA, SANTA BARBARA

Figure of Ala in an mbari. Igbo peoples, Nigeria. Photo by Herbert M. Cole.

Larger than life-size, Ala dominates the most accessible side of houses dedicated to her. Like other Igbo deities, she is ambivalent, considered good—she peels yams for her "children" (villagers) with the knife she holds aloft—and potentially evil—“dark Ala, who kills those who offend her."But her face, like those of most mbari inhabitants, is white, the honorific color of goodness and purity (and having nothing to do with race or actual skin color). As Earth, she opens "to swallow people" in graves, the same Earth that provides yam, the main prestige food, plus other plant and animal life. Despite being an older woman of high status (Igbo culture is gerontocratic), she is a principal font of human, animal, and agricultural fertility and productivity.

Behind Ala are two elongated figures in high relief that represent the "spirit workers" initiated into the sacred building activity—liminal beings whose rendering in relief, rather than three dimensionally, reinforces their status as "in between." Note too the two figures seated above, on the "second storey" level, with a painted cloth between them.
-snip-
Here's information about Ala and "mbari" from https://en.wikipedia.org/wiki/Ala_(odinani)
"Ala (also known as Ani, Ana, Ale, and Ali in varying Igbo dialects) is the female Alusi (deity) of the earth, morality, fertility and creativity in Odinani. She is the most important Alusi in the Igbo pantheon. In Odinani, Ala rules over the underworld, and holds the deceased ancestors in her womb. Her name literally translates to 'Ground' in the Igbo language, denoting her powers over the earth and her status as the ground itself. Ala is considered the highest Alusi in the Igbo pantheon. Ala's husband is Amadioha, the sky deity.

As the goddess of morality, Ala is involved in judging human actions and is in charge of Igbo law and customs known as 'Omenala'. Taboos and crimes among Igbo communities that are against the standard of Ala are called nsọ Ala. All ground is considered 'Holy land' as it is Ala herself. With human fertility, Ala is credited for the productivity of the land. Ala's messenger and living agent on earth is the python (Igbo: éké), which is especially revered in many Igbo communities. In art, Ala is often represented as a regal figure seated on a throne, surrounded by her family. In the past, such figures took the form of life-size mud sculptures in special festive shrines dedicated to the deity and known as Mbari."
-snip-
Herbert M. Cole, the researcher of this essay describes "mbari" as a "monument is a merging of architecture, sculpture, bas relief, and painting, designed and executed as a work of art, as well as a major offering to an unseen but ever present god."https://africa.uima.uiowa.edu/topic-essays/show/14

Here's information about the Igbo word "Odinani" from https://en.wikipedia.org/wiki/Odinani
"Odinani (Igbo: ọ̀dị̀nànị̀) comprises the traditional religious practices and cultural beliefs of the Igbo people of southern Nigeria.[1] Odinani has monotheistic and panentheistic attributes, having a single God as the source of all things. Although a pantheon of spirits exists, these are lesser spirits prevalent in Odinani expressly serving as elements of Chineke (or Chukwu), the supreme being or high god.[2] Chineke is a compound word encompassing the concept of chí is the creator (nà) is a verb meaning 'that' while ékè means create. Chineke therefore means the Creator or the God that created all things...

Chukwu as the central deity is classed among the ndi mmuo, 'invisible beings', an ontological category of beings which includes Ala the divine feminine earth force, chi the 'personal deity', ndichie the ancestors, and mmuo the minor spirits. The other ontological category consists of ndi mmadu, 'visible beings', which include ánụ́ animals, ósísí plants, and the final class ùrò which consists of elements, minerals and inanimate beings.[14] Chukwu as the creator of everything visible and invisible and the source of lesser divinities is also referred to as Chineke. Chukwu is genderless[15] and is reached through various spiritual forces mainly under the spirit class of Alusi who are incarnations of the high god; no sacrifices, however, are given to Chukwu and no shrines and altars are erected for him"...

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EXCERPT #5
From https://africa.uima.uiowa.edu/topic-essays/show/29?start=3
1. MASQUERADES AMONG THE DAN PEOPLE
BY WILLIAM SIEGMANN (1943 - 2011)
FORMERLY THE BROOKLYN MUSEUM
“Korto (deangle mask), Dan peoples, Liberia. February 1986. Photo by William Siegmann.

Deangle masks have oval faces with slit-like eyes. Their characteristic behavior is graceful and gentle and they represent the Dan ideal of beauty. Other canons of beauty are illustrated by the full lips with a few teeth showing in the partially open mouth and the elegant curve of the forehead. The eyes are nearly closed conveying a sense of serenity. A band of white clay across the eyes represents the cosmetic decoration used by women as adornment on special occasions. The white cowry shells which form a band on the forehead of this mask symbolize wealth and prestige and the honor which is given to the mask.

**
2. From https://africa.uima.uiowa.edu/topic-essays/show/29?start=4
"Deangle mask (Korto=“You don’t make farm”), Dan peoples, Liberia. February 1986. Photo by William Siegmann.

Deangle masks are meant to give pleasure and comfort to the community. Their most basic function is to serve as intermediaries during initiation rites between the boys in the “bush school” camps and their mothers in the town. In addition, however, many are also either singers or dancing masks. This dancing mask is named “Korto,” a popular woman’s name. The name translates as “you don’t make farm” meaning that the mask is so beautiful to watch that it serves as a distraction and keeps people from their work.

**
3. From https://africa.uima.uiowa.edu/topic-essays/show/29?start=5
"Deangle mask (sohn), Dan peoples, Liberia. February 1986. Photo by William Siegmann.

The tall conical hat worn by this deangle is called a sohn and announces to the audience that this mask is an entertainer and most particularly a dancer. The mask is also a jokester, however, and frequently comes out on solemn occasions to lighten and enliven the atmosphere.

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EXCERPT #6
1. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=6
"NATURE, SPIRITS AND ARTS IN BURKINA FASO
BY CHRISTOPHER D. ROY
UNIVERSITY OF IOWA

A Lobi diviner casting cowrie shells to communicate with God, south of Gaoua, Burkina Faso, 1984. Photo by Christopher D. Roy.

The Lobi ritual specialist is called thildaar. He is a diviner, a person who specializes in communicating with God, or the gods. In other communities, he may be called a rabbi, pastor or priest, and he may communicate with God by means of prayer. This diviner uses cowry shells, which he casts in a sacred circle of chalk on the floor in front of him. This diviner, south of Gaoua, has covered himself with the same sacred chalk he uses to draw the circle, as a sign that he is in contact with the spirits. The spirits are represented by the three small wooden figures next to the cowries. It is through the diviner that the spirits pass down to their human congregation the religious taws they must observe if they are to receive the spirits' blessings.

**
3. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=9
"Four nwantantay (plank masks), Nyumu family, Bwa peoples, village of Boni, Burkina Faso, 1983. Photo by Christopher D. Roy.

Among the Bwa people, who live just to the north of the Lobi and to the west of the Kassena, in central Burkina Faso, the graphic patterns that represent the religious laws each community or congregation must obey are made visible on the great plank masks which perform in the village several times each year. The masks are said to embody the spirits of the wilderness, which intervene with the forces of nature to provide health and well being to the community. In the case of the plank masks, which may be six feet tall and two feet wide, the broad flat masks serve as an ideal medium for displaying these laws in the form of graphic patterns. Here, four such masks, which belong to the Nyumu family in the town of Boni, are seated, awaiting their turn to perform in the plaza at the center of the community."

**
4. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=10
"Mamy Wata mask, Bwa peoples, village of Boni, Burkina Faso, 1983. Photo by Christopher D. Roy.

Among the most common of graphic patterns are the alternating black and white rectangles that form what looks like a checkerboard. The Bwa associated these with the value of spiritual knowledge and the importance of lifelong learning. In contrast to our own systems of symbols, in which white represents the light of knowledge and black the darkness of ignorance, for the Bwa, who are themselves black, black represents knowledge and white is ignorance. When every young Bwa man and woman leaves the initiation camp he is given a newly cured, white goat hide on which he sits during every mask performance. These are stored between sacred performances in the smoky kitchens to keep them safe from insect damage. With increasing use and increasing knowledge, the new white hides become a rich, sooty, glossy black.

**
5. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=18
"Nwantantay (plank masks), Lamien family, Bwa peoples, village of Dossi, Burkina Faso, 1984. Photo by Christopher D. Roy.

The plank masks serve as moving, living signboards that display ideas about ethical and moral behavior. The cross at the center is worn by all southern Bwa as a mark of faith. The waves or zigzags represent the path of the ancestors, which every Bwa should follow if he wishes to receive the blessings and guidance of his grandfathers. It is a difficult path to follow and easy to go astray. The pair of concentric circles represent the sacred wells around which Boni was founded, and the crescent at the peak represents the hot season moon beneath which the young men and women of the community are initiated. The masks weigh more than sixty pounds each, and only the strongest young men, with neck muscles strengthened by months of practice, can wear the masks without serious injury.

**
6. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=19

"The Bwa are cultural sponges. They are quick to adopt any new patterns of belief that they feel will help them against disaster and disease.

[...]

**
7. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=20
"Mamy Wata mask, Nyumu family, Bwa peoples, village of Boni, Burkina Faso, 1984. Photo by Christopher D. Roy.

The newest Bwa cultural “acquisition” is the religion of Mamy Wata, a spirit of prosperity and well-being that originated in the Niger River Delta, far to the southeast of Burkina Faso. Mamy Wata is a spirit associated with the watery environment of southern Nigeria, and so her image is part woman, part fish. In 1983, when all foreign workers were expelled from Nigeria, three young Bwa men from Boni returned home bringing Mamy Wata with them. Her image was then carved on the great plank masks as a means of communicating the image of this new spirit. As she is represented on the backs of the masks, she raises her arms in the Bwa gesture of praise for success and achievement."

**
8. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=21
"Joseph Chukwu (ca. 1900-1986, Utu Etim Ekpo, Abak, Akwa Ibom State)

Nigeria

Mami Wata figure, ca. 1975

Wood, fiber, pigment

H. 58.42 cm (23")

The University of Iowa Museum of Art, Gift of Pamela J. Brink, RN, PhD, 1991.225

The image of Mamy Wata in the Stanley Collection at the University of Iowa was carved in 1972 by the Anang artist Thomas Chukwu. It was collected by the scholar Jill Salmons, who sold it to a faculty member at Iowa, who in turn gave it to the art museum in 1991. The image was “invented” based on a photograph of a female snake charmer from Samoa who worked in a German circus early in this century. The photograph made its way to Africa, whence it was sent to India to be reproduced in great numbers, which were shipped back to Africa to serve as images of the spirit. Mamy Wata is conceived of as a white woman, with long straight hair, often with snakes, which are symbols of fertility, and often with a fish’s tail, perhaps in reference to mermaids as the figureheads of 19th century European sailing ships. She is the embodiment of wealth and well-being."

**
9. From https://africa.uima.uiowa.edu/topic-essays/show/6?start=22
"Mamy Wata mask, Bwa peoples, village of Boni, Burkina Faso, 1983. Photo by Christopher D. Roy.

The presence of Mamy Wata, a spirit from the swamps and lagoons of the Niger Delta, in the dry, dusty plains of West Africa is a testament to the constant flow of ideas, as well as goods and people, from one part of Africa to another, spreading patterns of belief and the art forms that serve to communicate them. The image has spread across the continent, and is now ubiquitous in sub-Saharan Africa. Her presence among the Bwa is evidence of their willingness to adopt any new idea that will help them deal with the challenges of life in a difficult environment."

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SHOWCASE VIDEOS
WARNING: The sculptures of Mami Wata are topless.
Example #1: Mami Wata Art Exhibit on VOA's In Focus



TV2Africa, Published on May 26, 2009

The National Museum of African Art exhibits the African water goddess known as Mami Wata in Washington, D.C.

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Example #2: MASKS OF THE NUNA PEOPLE Burkina Faso



mirekkocur, Published on Jul 13, 2010

Wroclaw BRAVE Festival 2010

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Example #3: African Art: The Masks of the Bonde Family in Boni Perform, 2007



Christopher Roy, Published on Jan 24, 2011

On a market day in the Bwa village of Boni, in central Burkina Faso, West Africa a group of masks perform, including the great plank masks called nwantantay, the leper, hyena, dwarf, antelope, and bush buffalo.

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Example #4: Burkina Faso Mask Dance 1



Tony McGowan, Published on Nov 15, 2016

Scenes from a mask dance festival in Boromo, Burkina Faso around 2005.

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Bwa Masks of Leaves and of Wood



Christopher Roy, Published on Oct 16, 2017

The Bwa people of Burkina Faso carve masks of wood and fashion masks of leaves to represent the spiritual beings that watch over them and their families. Young men repair and repaint the masks and repair the fiber costumes. The masks appear in performances in the southern Bwa villages, accompanied by male and female initiates.

****
This concludes Part II of this series on the meanings of colors in traditional African cultures.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases Oprah Winfrey's Golden Globes Cecil B. DeMille Award acceptance speech.

Excerpts from Wikipedia's article on Oprah Winfrey preface the video and transcript of this speech.

The content of this post is presented for historical, cultural, and inspirational purposes.

All copyright remains with their owners.

Thanks to Oprah Winfrey for her artistic, entrepreneurial, and philanthropic work. Thanks to the publishers of this video and the publishers of this transcript.

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INFORMATION ABOUT OPRAH WINFREY
From https://en.wikipedia.org/wiki/Oprah_Winfrey
"Oprah Winfrey (born Orpah Gail Winfrey; January 29, 1954) is an American media proprietor, talk show host, actress, producer, and philanthropist.[1] She is best known for her talk show The Oprah Winfrey Show, which was the highest-rated television program of its kind in history and was nationally syndicated from 1986 to 2011 in Chicago, Illinois.[6] Dubbed the "Queen of All Media",[7] she is the richest African-American[8] and North America's first multi-billionaire black person[9]and has been ranked the greatest black philanthropist in American history.[10][11] Several assessments rank her as the most influential woman in the world.[12][13] In 2013, she was awarded the Presidential Medal of Freedom by President Barack Obama[14] and honorary doctorate degrees from Duke and Harvard.[15][16]

Winfrey was born into poverty in rural Mississippi to a teenage single mother and later raised in an inner-city Milwaukee neighborhood. She has stated that she was molested during her childhood and early teens and became pregnant at 14; her son died in infancy.[17] Sent to live with the man she calls her father, a barber in Tennessee, Winfrey landed a job in radio while still in high school and began co-anchoring the local evening news at the age of 19. Her emotional ad-lib delivery eventually got her transferred to the daytime talk show arena, and after boosting a third-rated local Chicago talk show to first place,[18] she launched her own production company and became internationally syndicated.

Credited with creating a more intimate confessional form of media communication,[19] she is thought to have popularized and revolutionized[19][20] the tabloid talk show genre pioneered by Phil Donahue,[19] which a Yale study says broke 20th century taboos and allowed LGBT people to enter the mainstream.[21][22] By the mid-1990s, she had reinvented her show with a focus on literature, self-improvement, and spirituality.

[...]

Publishing and writing
Winfrey has co-authored five books....

Her memoir, The Life You Want, is scheduled for publication in 2017.[71]

Winfrey publishes magazines: O, The Oprah Magazine; from 2004 to 2008, she also published a magazine called O at Home.[72] In 2002, Fortune called O, the Oprah Magazine the most successful start-up ever in the industry."...

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SHOWCASE VIDEO: Oprah Winfrey Golden Globes Cecil B. DeMille Award Acceptance Speech



Pop & Sports HQ, Published on Jan 7, 2018

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FULL TRANSCRIPT OF OPRAH WINFREY'S GOLDEN GLOBES ACCEPTANCE SPEECH (2018)
From http://www.cnn.com/2018/01/08/entertainment/oprah-globes-speech-transcript/index.html

Read Oprah Winfrey's rousing Golden Globes speech
Updated 8:58 AM ET, Mon January 8, 2018

"In 1964, I was a little girl sitting on the linoleum floor of my mother's house in Milwaukee watching Anne Bancroft present the Oscar for best actor at the 36th Academy Awards. She opened the envelope and said five words that literally made history: "The winner is Sidney Poitier." Up to the stage came the most elegant man I had ever seen. I remember his tie was white, and of course his skin was black, and I had never seen a black man being celebrated like that. I tried many, many times to explain what a moment like that means to a little girl, a kid watching from the cheap seats as my mom came through the door bone tired from cleaning other people's houses. But all I can do is quote and say that the explanation in Sidney's performance in "Lilies of the Field":

"Amen, amen, amen, amen."

In 1982, Sidney received the Cecil B. DeMille award right here at the Golden Globes and it is not lost on me that at this moment, there are some little girls watching as I become the first black woman to be given this same award. It is an honor -- it is an honor and it is a privilege to share the evening with all of them and also with the incredible men and women who have inspired me, who challenged me, who sustained me and made my journey to this stage possible. Dennis Swanson who took a chance on me for "A.M. Chicago." Quincy Jones who saw me on that show and said to Steven Spielberg, "Yes, she is Sophia in 'The Color Purple.'" Gayle who has been the definition of what a friend is, and Stedman who has been my rock -- just a few to name.

I want to thank the Hollywood Foreign Press Association because we all know the press is under siege these days. We also know it's the insatiable dedication to uncovering the absolute truth that keeps us from turning a blind eye to corruption and to injustice. To -- to tyrants and victims, and secrets and lies. I want to say that I value the press more than ever before as we try to navigate these complicated times, which brings me to this: what I know for sure is that speaking your truth is the most powerful tool we all have. And I'm especially proud and inspired by all the women who have felt strong enough and empowered enough to speak up and share their personal stories. Each of us in this room are celebrated because of the stories that we tell, and this year we became the story.

But it's not just a story affecting the entertainment industry. It's one that transcends any culture, geography, race, religion, politics, or workplace. So I want tonight to express gratitude to all the women who have endured years of abuse and assault because they, like my mother, had children to feed and bills to pay and dreams to pursue. They're the women whose names we'll never know. They are domestic workers and farm workers. They are working in factories and they work in restaurants and they're in academia, engineering, medicine, and science. They're part of the world of tech and politics and business. They're our athletes in the Olympics and they're our soldiers in the military.

And there's someone else, Recy Taylor, a name I know and I think you should know, too. In 1944, Recy Taylor was a young wife and mother walking home from a church service she'd attended in Abbeville, Alabama, when she was abducted by six armed white men, raped, and left blindfolded by the side of the road coming home from church. They threatened to kill her if she ever told anyone, but her story was reported to the NAACP where a young worker by the name of Rosa Parks became the lead investigator on her case and together they sought justice. But justice wasn't an option in the era of Jim Crow. The men who tried to destroy her were never persecuted. Recy Taylor died ten days ago, just shy of her 98th birthday. She lived as we all have lived, too many years in a culture broken by brutally powerful men. For too long, women have not been heard or believed if they dare speak the truth to the power of those men. But their time is up. Their time is up.

Their time is up. And I just hope -- I just hope that Recy Taylor died knowing that her truth, like the truth of so many other women who were tormented in those years, and even now tormented, goes marching on. It was somewhere in Rosa Parks' heart almost 11 years later, when she made the decision to stay seated on that bus in Montgomery, and it's here with every woman who chooses to say, "Me too." And every man -- every man who chooses to listen.

In my career, what I've always tried my best to do, whether on television or through film, is to say something about how men and women really behave. To say how we experience shame, how we love and how we rage, how we fail, how we retreat, persevere and how we overcome. I've interviewed and portrayed people who've withstood some of the ugliest things life can throw at you, but the one quality all of them seem to share is an ability to maintain hope for a brighter morning, even during our darkest nights. So I want all the girls watching here, now, to know that a new day is on the horizon! And when that new day finally dawns, it will be because of a lot of magnificent women, many of whom are right here in this room tonight, and some pretty phenomenal men, fighting hard to make sure that they become the leaders who take us to the time when nobody ever has to say "Me too" again."

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post is Part III of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.

The excerpts in this post provide some information about Olodumare and Obatala (Oxalá) and the color white in Yoruba traditional religion and in the Santeria and Condomble religions which it has influenced/influences.

Eight videos are also included in this post. These videos are from Nigeria, Brazil, Cuba, Trinidad & Tobago, and the United States.

Use pancocojams' internal search engine or click the "the meaning of colors in traditional African cultures" tag below to find other pancocojams posts on this subject.

The content of this post is presented for folkloric, cultural, and aesthetic purposes.

Thanks to the researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.

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EXCERPTS ABOUT OLODUMARE AND OBATALA AND THE COLOR WHITE

Pancocojams Editor's Note:
With the exception of the Excerpts given as #1 and #2, these excerpts are given in no particular order and are numbered for referencing purposes only.

I added italics to highlight statements in these excerpts about the color white.

EXCERPT #1
From https://en.wikipedia.org/wiki/Yoruba_religion
"The Yoruba religion comprises the traditional religious and spiritual concepts and practices of the Yoruba people. Its homeland is in present-day Southwestern Nigeria and the adjoining parts of Benin and Togo, commonly known as Yorubaland. Yoruba religion is formed of diverse traditions. It has influenced a host of thriving traditions such as Santería, Umbanda, and Candomblé.[1] Yoruba religious beliefs are part of Itan, the total complex of songs, histories, stories, and other cultural concepts which make up the Yoruba society"...

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EXCERPT #2
[Pancocojams Editor's Note: In this pdf file page numbers are given at the bottom of each page.

I corrected some obvious typographical errors in this quoted excerpt of this pdf file.]

From http://www.obafemio.com/uploads/5/1/4/2/5142021/04-1_162.pdf
AJT/4:l/90
"RITUALS, SYMBOLISM AND SYMBOLS IN YORUBA TRADITIONAL RELIGIOUS THOUGHT
E. Dada Adelowo*

[...]

Ritual Sanctity
This has to do with the various taboo in connection with the administration of the various rituals and rites that constitute Yoruba traditional religion. This can also be called ritual holiness. The taboo are what the Yoruba call eewo, a ku see, ohun.

Each ritual has its taboo that should be avoided by the priest-king, Olofi dwon [woro, other priests, [woro or Abore, and the worshipers. For examples the priests and devotees of the god called Esu should avoid having any contact with palm nut oil (Yoruba: adi) in order not to incur the wrath of Esu. Moreover, the priests and devotees of the arch-divinity of Yoruba pantheon, Obatala, should avoid palmwine completely in order to maintain ritual sanctity with regard to the worship of Obatala. They should also promote anything white and avoid black items in order to keep the ritual sanctity in connection with the worship of the divinity. ·White is a symbol of purity, holiness and peace. So, priests and devotees of Obatala should, during ritual activities, present themselves as'pure and holy.

[page] 164

[...]

Let us start with the ritual in connection with the worship of God - Olodumare and gods - Orisa. There is a specific cult of Olodumare in Yorubaland. This may baffle those foreign arm-chair investigators who hold the thesis that Olodumare is not an object of worship in Yoruba religion. The point here is. because 016dumare cannot be confined into space (the Yoruba described Him as A-te-rere-K'aye - One who occupies the whole extent of the world); the ritualistic worship offered to Him takes place in the open and not in building like temples and mosques. The worshiper makes a circle of ashes (Yoruba: eeru) or white chalk (Yoruba: efun); within the circle, which is a symbol of eternity, he pours a libation of cold water, and in the centre he places his kolanut (Yoruba: obi on cotton wool- Yoruba: owu etUtu). He then takes the kolanut, splits it and holding the valves within the circle. Often, a white fowl (Yoruba: adiefunfun) is offered in the same way. In lle-Ife, the ancestral home of the Yoruba, there is a priest-chief whose duty is to offer this ritual every morning in the name of the Doni and of all the people. However, it is unfortunate to note that the direct ritualistic worship of 0lodumare, as a regular aspect of cultic
activities in Yorubaland, is dying out. In some places, according to Bolaji Idowu, it is no longer known; in some, it has become the cult of women.

[...]

[page] 165

[...]

The Yoruba used wood and metal carvings, plants and animals as symbols of gods and ancestral spirits. Before we go further, iris important to note that, as said earlier, these symbols are not ends in themselves but means to certain ends. Thus those who are out to conduct a genuine research into the religious situation in Yorubaland should not take appearance for reality, means for an end, symbol for the symbolised and reality for shadow.

Divinities and ancestors are sure objects of worship and reverence among the Yoruba. However, it is to be noted that they are a means to get to Olodumare - God, the ultimate End of everything. The Yoruba 'have never made the mistake of putting God, Olodumare, on the same pedestal with the divinities (arisa) and the ancestors.

In their belief, 0lodumare is unique, incomparable. The. uniqueness of Olodumare is one reason why there are no images-graven or in drawing or in painting - of Him in Yorubaland. Symbols there are copious, but no images of Him. Symbols or images of deities or divinities abound in Yorubaland. Orisa'nla, the arch-divinity of Yoruba pantheon is usually pictured as an ancient figure in white and bedecked with white

[page] 168

ornaments. His temple, especially the inside, is washed white, his emblems are to be kept in white containers and consists, among other things, of white chalk and white beads. His priests and priestesses are robed in white and wear white ornaments.

Those who do not understand the religion of the Yoruba might think that the items are the things that matter here. This is patently wrong. The message here is that all those white items point to Orisa-'nla as presenting, to the Yoruba, the idea of ritual and ethical purity, and therefore the demands and sanctions of high moral pattern.

The white items are mere symbols symbolising purity, holiness, cleanliness on the part of the ritual leaders and the worshipers of Orisa- 'nla.”

[page] 169

[...]

Concluding Remarks
So far we have been able to give a broad survey of rituals, symbols and their implications in Yoruba traditional religion. It is seen in the paper that the idea of the supreme Being, called 0lodumare in Yoruba religion, is central in and crucial to Yoruba belief system. We have seen this rituals, symbolism and symbols have ultimate reference to Olodumare who is believed to be the Maker,the Creator, the Owner of Life.

It is also made clear in the paper that the Yoruba are not worshipers of woods, plants, animals and so on as erroneously conceived by some foreign researchers.

Rather, they employ those items to give some kind of concrete and objective reality to their religious dreams and aspirations. Thus all items in their religious thought, apart from the supreme Being, are a means to an end, the end itself being the supreme Being known as 0lodumare, Oluwa; Olorun, 0lofin drun, EImaa. Those who do riot know but are ready to learn and know should realise that in all things the Yoruba are religious. The focal point of their religious aspiration is God. It would be proper then for those who want to conduct a genuine research into the traditional religious thought of the Yoruba to avoid prejudice and preconceived notion and show extra caution, openness and sympathy by calling the Yoruba what they actually call themselves. There is no point pontificating on items that are alien to one. Such would lead one to commit academic fallacy that does not augur well for true scholarship.

[...]

[page] 171"

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EXCERPT #3
http://santeriachurch.org/the-orishas/obatala/
Santeria Church of the Orishas Dedicated to the religion of Santería and worship of the Orishas
"Obatala

Obatalá (also spells Obbatala or Obatala) is the eldest of the orishas in Santeria and king of the religion in orun (heaven). He is also the father of many of the orishas and as such is given great respect and deference by the other orishas in matters of great importance. He also acts as the “referee” or judge when the orishas have quarrels, working to restore and preserve peace at all times. To reflect his place of importance in the Lukumí pantheon, Obatala’s shrine is always placed higher than any other orisha in the home. Obatala is the owner of all heads, because it is said that he molded the bodies of humans before Olodumare breathed life into them. As such, Obatala protects all people, and acts as a guardian for those who do not yet know who their guardian orisha is.

Obatala encourages us to be patient and to handle matters with calm and reason. His ashé (power) is perfectly embodied within his favorite color: white. He is always dressed in white and all of his offerings are white to reflect his spiritual purity and the coolness of his energy. White is our most sacred color in Santeria because it represents Obatala. When olorishas attend ceremonies we wear white clothing as holy vestments and to surround ourselves with Obatala’s protective energy. Iyawos (new initiates) in Santeria have to wear white clothing from head-to-toe for a year for the same reason: as a symbol of purity and as an energetic protection against osogbo.

Obatala along with Oshun, Yemaya and Changó is one of the four pillar orishas that every olorisha receives at his kariocha initiation. Obatala is unique in that half of his roads are female and half are male. In that sense Obatala transcends gender, further demonstrating his ability to act impartially in orun (heaven) and with the orishas. If there is ever a debate about who a person’s guardian orisha is, they can safely be initiated with Obatala as he is the owner of all heads. Obatala is often depicted as elderly, with a full head of white hair, dressed in white robes.

Symbols, Numbers, Colors and Attributes of Obatalá

Obatala’s eleke is always made with white beads. This unique Obatala eleke has mother-of-pearl and purple beads added for the road Oba Moro.

Number: 8

Sacred Place in Nature: hills, mountains or high places

Color: White

Tools: A horsetail fly-whisk (some roads use a sword or cane)

Temperament: Calm, reasonable, quiet (some roads, like Ayáguna are youthful and fiery)

Syncretized Catholic Saint: Our Lady of Mercy or Jesus Christ"...
-snip-
Click http://www.aboutsanteria.com/what-is-santeria.html for general information about Cuba's Santería (Lucumi) religion.

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EXCERPT #4
From https://lukumipeople.wordpress.com/2013/04/01/the-orisha-who-do-you-most-identify-with/
The Orisha, Who Do You Most Identify With?
"In the Yoruba based religions, the Orisha are angelic emanations of The Creator (God Almighty) manifesting through nature. To put it simply, God created the universe and everything in it. God then manifested bits of himself creating lesser gods or guardian angels, governing over the various forces of nature. So yes, for every force of nature, there is a spiritual being governing it.

[...]

Obatala’s day is Sunday.
The day for settling differences. Useful for long-range planning and the perfect day for the preparation of amulets and charms for longevity and good health.

Obatala is the Father of the White Cloth, Peace, Calm. His domain is the Sky, Clouds, Mountaintop."...

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EXCERPT #5
Santeria: The Beliefs and Rituals of a Growing Religion in America
https://books.google.com/books?isbn=0802849733
Miguel A. De La Torre - 2004 - ‎History
white dove is a symbol of Obatala, and for this reason he is petitioned for peace when his fellow orishas act cruelly toward humans. While Obatala has been revealed through several Catholic saints, he is best known as Our Lady of Ransom. (As mentioned earlier, crossing between genders is common among the orishas.”...

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EXCERPT #6
From http://www.aboutsanteria.com/obatalaacute.html
"Obatalá, Owner of All Heads

Obatalá (Obbatalá) is called the creator of earth and the sculptor of mankind because he was given this job by his father Olodumare, the supreme God in the Lucumí pantheon....

Obatalá is the owner of all things that are white, as well as the human head and all of its thoughts and dreams. He also owns silver and white metals, and the ceiba tree. Obatalá likes cotton, cocoa butter, cascarilla (powder made of egg shells), marble eggs, and snails. As tribute, he likes merengues, white rice, white custard, rice pudding, black eyed peas, fruits with a grainy texture like pomegranates, pears and custard apples, roasted ñamé (sweet potato) and malanga (taro root). Obatalá's food can never be salted. He's an Oricha who came directly to earth from heaven as the son of God, specifically Olodumare and Olofi. He was sent to earth to do good and govern as the king of the planet. Obatalá is calm, wise, understanding, and he loves peace and harmony. He demands proper behavior from his children and, out of respect, they obey him. No one can swear or blaspheme in front of Obatalá, and no one should appear naked in his presence. He hates alcohol and prohibits his children from drinking it. He always dresses in white, and his eleke (beaded necklace) is also white. He lives in a white porcelain sopera (soup tureen) kept on the altar of the home."..

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EXCERPT #7
From https://en.wikipedia.org/wiki/Obatala

[...]

In the Americas
Santería
Obatalá (also known as Ochalá or Oxalá; Orichalá or Orixalá) is the oldest "Orisha funfun" ("white deity"), referring to purity, both physically and symbolically as in the "light" of consciousness. In Santería, Obatalá is syncretized with Our Lady of Mercy and Jesus Of Nazareth.

Candomblé
In Candomblé, Oxalá (Obatalá) has been syncretized with Our Lord of Bonfim; in that role, he is the patron saint of Bahia. The extensive use of white clothing, which is associated with the worship of Oxalá, has become a symbol of Candomblé in general.[2] Friday is the day dedicated to the worship of Oxalá. A large syncretic religious celebration of the Festa do Bonfim in January in Salvador celebrates both Oxalá and Our Lord of Bonfim; it includes the washing of the church steps with a special water, made with flowers."...

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EXCERPT #8
From https://discoverthebrazil.blogspot.com/2014/01/bonfim-festival-salvador-brazil.html
Friday, January 17, 2014 Postado por MARIA O'LEARY
"BONFIM FESTIVAL - SALVADOR - BRAZIL

The best time to visit the Brazilian city of Salvador, the capital of Bahia, is in the summertime, between the months of December and March. At this time the city is on fire with religious, folk, and popular festivals all filled with music, food, drinks, água de cheiro (perfumed water), flowers, dancing and happiness. Almost every weekend in this time frame there is either a lavagem (ritual washing of a church which culminates into a party) or a Candomblé `beating of the drums' (a ceremony in the Nigerian Yoruba religion of Candomblé). The three most popular festivals are: the Lavagem of the Church of Nosso Senhor do Bonfim, the Festa of Yemanjá (Yoruban Goddess of the Ocean) and of course, Carnaval. (Pravina Shukla)

Bonfim Festival (Lavagem do Bonfim) is one of the biggest events in Salvador. The Catholic celebration starts at Nossa Senhora da Conceição Church, with devotees wearing white clothing, beads and carrying the important vases containing perfumed water along with beautiful flowers before heading to Nosso Senhor do Bonfim Church, which is the best known in Bahia State and an important symbol for locals. The festival honors Senhor do Bonfim (associated with the important orixá Oxalá, by Candomblé - Nigerian Yoruba religion - whose color is white).

[...]

The annual and popular Lavagem do Bonfim festival is attended by thousands of people who come to not only take part in the ritual blessing but to also join in the celebrations afterwards.

The procession travels for about 10 miles to the Church of Bonfim where even more spectators are gathered, eagerly awaiting the blessing that takes place there. During the blessing, the perfumed water that has been so carefully carried is subsequently poured over people's hands and on their heads.

[...]

The steps of the Church of Bonfim are also cleaned with the perfumed water as part of the ritual cleansing of the church. At this point, all sing the anthem of Senhor do Bonfim and it is after this event that the street parties often begin and contain plenty of music entertainment, singing and dancing not to mention plenty of street vendors to help keep everyone going. People go to the booths by the Church of Bonfim to eat and drink. There's dancing on the streets, among the traditional booths of Baianas selling acarajé (West African food made of black eyed peas fried in palm oil).

[...]

One popular tradition is to have a Bonfim ribbon tied around your wrist and to make a wish, if the ribbon wears off naturally then it is believed that your wish will come true.

[...]

This festival takes place usually the second Thursday of January every year. This ritual has been occurring in Salvador since 1754.

There are also horse-drawn carriages, musicians, as well as government officials, including the mayor of Salvador. The Carnaval group Filhos de Gandhy (Son of Gandhi), who traditionally lead the procession, march right behind the Baianas all the way to the Church of Bonfim."...
-snip-
This article includes a number of photographs. One of the photographs about Bonfim, shows that Bonfim ribbons can be of any color, including white.

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SHOWCASE VIDEOS
Example #1: Ilu Aye - Obatala video by DennisFlores.com



Dennis Flores. Published on Mar 26, 2006

ILU AYE (Literally, "The Drum of the World" in Yoruba)was founded in 2004, to celebrate the connections between the peoples and cultures of the African Diaspora. Bringing together the next generation of Afro-Puerto Rican, -Dominican, and -Cuban percussionists and singers, ILU AYE is dedicated to preserving and promulagting the rich cultural legacy of Africa in the Americas and the Caribbean, through performance, educational workshops, and community-centered gatherings where the rhythms of the African Caribbean reign. Trained by master musicians from all three islands, and versed in sacred and popular rhythms such as bata, guiro, rumba (Cuba); bomba and plena (Puerto Rico); and palos, salves, and kongos (Dominican Republic), ILU AYE interprets traditional songs and reinvigorates the genres with original compositions by renowned akpwon, Osvaldo "Bembe" Lora....

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Example #2: Orisha Dance



Baba Abayomi, Published on Jul 20, 2007

Song and Dance For Orisha Obatala from 17th annual African Street Festival.
-snip-
Here's a comment from this video's discussion thread about this African Street Festival:

rbso6, 2009
"this was at the Annual African Street Festival in Brooklyn sometime in th 80's This the Afrtican Traditional Religion of Ifa. They are singning for the various orisas. This song is for Obatala."

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Example #3: Obatala and Oshun Festival 2009 Part II of III



Iya Fayemisi Shangobukola, Published on May 13, 2009

Obatala and Oshun Festival 2009 Part II, Ode Remo, Ogun state, Nigeria.

African Traditional Isese Festival.

During this Yoruba festival the followers worship Orisa Obatala and Oshun with dances, songs and traditional donations. This festival took place in February - March, 2009 in the Ode Remo town, Ogun state, Nigeria.

The organizator of this festival is IyalOrisa Iya Afin Iyedola Onajoko Oduwole Sokunmbi, among with the female community of Obatala priestesses.
-snip-
Here's some information about Osun from http://www.ancient-origins.net/myths-legends-africa/oshun-african-goddess-love-and-sweet-waters-002908
..."Although Oshun (also spelt Osun) is regarded principally as a goddess of love, there are other aspects to this Orisha as well. One of the most important roles that Oshun plays is that of the goddess of the sweet waters and the protective deity of the River Oshun in Nigeria....

Although Oshun governs love and the sweet waters, she is also regarded as a highly benevolent deity. Oshun is said to be the protector of the poor and the mother of all orphans. It is Oshun who brings to them their needs in this life. Additionally, Oshun is regarded as a healer of the sick, the bringer of song, music and dance, as well as prosperity and fertility. Oshun is also depicted as a teacher, who taught the Yoruba agriculture, culture and mysticism. She also taught them the art of divination using cowrie shells, as well as songs, chants and meditations taught to her by her father Obatala, the first of the created Orishi."...
-snip-
Osun's color is honey yellow.

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Example #4: Nigeria- Obatala Shrine in Ile Ife



wavawoman, Published on Jun 16, 2009

©2006 Wavawoman Films, LLC] Devotees inside the Obatala Shrine in Ile-Ife, Nigeria playing igbin bells and dancing for Obatala.

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Example #5: Band Cidade - Lavagem do Bonfim



Band Bahia, Published on Jan 14, 2011

Olho na Tela. Olho na Band.

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Example #6: Lavagem do Bonfim . Salvador . Bahia



Marcelo Reis, Published on Jun 19, 2011
-snip-
Google translation from Portuguese to English: Lavagem do Bonfim = Cleaning the Bonfim

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Example #7: Festival De Obatala



Ileorisa Apesin, Published on Jul 17, 2013

Festival de Obatala Realizado en Trinidad y Tobago
Difundiendo la Tradiccion Yoruba

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Example #8: Yoruba Andabo - Obbatalá



AyvaMusica, Published on Jan 12, 2014
-snip-
Commenters in this video's discussion thread indicated that this dance was performed in Cuba.

****
This concludes Part III of this pancocojams ongoing series about the meaning of colors in traditional African cultures.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases the Calypso song "Fire In Me Wire" performed by Calypso Rose.

Information about Calypso Rose is also given in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Calypso Rose for her musical legacy. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.

****
SHOWCASE VIDEOS
Example #1: Calypso Rose - Fire Fire



IsDePanInMe, Published on Jul 13, 2008
-snip-
This video shows the complete song.

****
Example #2: Calypso Rose"Fire in me wire"( part1) live@Petit Bain Paris May 26th 2012



Azimuthprod2, Published on May 27, 2012

Calypso Rose "Fire in me wire"(1ère partie) en concert au Petit Bain à Paris le 26 Mai 2012
-snip-
Part I of this two part video includes an introduction in which Calypso Rose tells how the road march judges first refused to crown this song the winner of the road march competition because she is a woman. Here's the transcript to those remarks which are given at .03-1:33 in this video:

"The refused to give me the first Road March.

The "Road March" in Trinidad & Tobago for Carnaval is the most played music on the road by the steel pan and the brass. In 1968 I won the Road March with a tune they call "Fire In My Wire". And now being sung by nine different languages. The last territory to pick up the rights to "Fire In Me Wire" was Japan.

And they say, they couldn't give it to me because I am a woman and they could not of given the Road March to a woman in front of the men.

But thank God, two years ago, they came and acknowledged me. No, no one year 2011 and they made 2011 in Trinidad & Tobago "Calypso Rose Carnaval Year". And they, and they Paid Me all my Interest and they honor me for the former Marches I won which they denied too* and they honored me for all."
-snip-
After these remarks Calyso Rose starts her performance with the command to the band "Hit me!"

*This might be the word "two".


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Example #3: Calypso Rose "Fire in me wire"(part2) live@Petit Bain Paris May 26th 2012



Azimuthprod2, Published on May 27, 2012

Calypso Rose "Fire in me wire"(2ème partie) en concert au Petit Bain à Paris le 26 Mai 2012

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INFORMATION ABOUT CALYPSO ROSE
From http://www.tucott.com/calypso-rose/
"Calypso Rose born McCartha Linda Sandy-Lewis, April 27, 1940 in Bethel, Tobago is a calypsonian. She began writing songs at the age of 15, turned professional in 1964 and has written over 800 songs and recorded over 20 albums.

Rose’s father was a leader with the Spiritual Shouter Baptists. Her family was very traditional and opposed her singing in Carnival Tents. She composed her first Calypso in 1955 after seeing a man steal the spectacles off of a lady’s face in the Croisée, San Juan. In the song, she advises Tobagonians to stay at home, because Trinidad was no place for them. Originally she used Crusoe Kid as her stage name, the name Calypso Rose was given to her by the Spoiler, and tent members Piggy and Spike.

Travelling outside of Trinidad and Tobago for the first time in 1963, Rose covered the islands from Grenada to St. Thomas. She won the Calypso King contest and the Roadmarch in St. Thomas with her first recording, Cooperation. In 1966 she wrote the song Fire in Me Wire, the first calypso ever sung two years running at the Trinidad carnival, in 1966 and 1967.

In the mid-70s, as well as dominating the race for the Calypso Queen Title, a title she won five years running from 1972 to 1976, Rose had major hits with Constable Rose and Do Dem Back which became her first gold disc.

Rose was the first female to win the Trinidad Road March competition, in 1977 with her song Gimme More Tempo and in 1978 she took the title again with Come Leh We Jam. In the same year she won the Calypso King competition, the first time it had ever been awarded to a female. The competition’s title was changed to Calypso Monarch in her honour.

She has lived in New York, since 1983."....

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INFORMATION ABOUT TRINIDAD & TOBAGO'S ROAD MARCH COMPETITION
From https://en.wikipedia.org/wiki/Carnival_Road_March
"The Carnival Road March is the musical composition played most often at the "judging points" along the parade route during Carnival. Originating as part of Trinidad and Tobago Carnival, the term has been applied to other Caribbean carnivals.

In Trinidad and Tobago the Road March title has been given out in every year since 1932 (with the exception of years affected by World War II when Carnival did not take place). Scoring is based upon a rank-and-points system devised by a Carnival committee before the start of the parade. The Road March title is among the most prestigious in Trinidad Carnival. The most such titles have gone to the Mighty Sparrow and Machel Montano with eight wins, Super Blue, with nine wins, and the late Lord Kitchener, with ten. In the mid-1970s, women entered the calypso men' s oriented arena. Calypso Rose was the first female to win the Trinidad Road March competition in 1977 with her song "Gimme More Tempo". The following year with "Come Leh We Jam" she won the "Calypso King " competition, the first time a woman had received the award. The competition's title was changed to Calypso Monarch in her honour."...
-snip-
Information about Road March Competitions in other Caribbean nations is also given in this article along with a list of road march winners for each of those competitions.

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LYRICS: FIRE FIRE IN ME WIRE
(Calypso Rose)

I heard a bawling, like somebody crying
I could imagem what was happening
I saw this old lady running
Calling out to she neighbour Ramsingh
Neightbour neighbour, come o lord
My house on fire
And if yuh hear she

Fire Fire!
In meh wire papa
Ay ya yeye
O yo yoye
Fire Fire
"Spanish"
Heat for so

Ah jump out me bed
Start holding me head
Well ah say tonight lord
somebody dead
Because this old lady
She ent living with nobody
So ah jump from meh house
And ah start bawling like ah crazy mouse
and if yuh hear me

Fire Fire!
In she wire papa
Ay ya yeye
O yo yoye
Fire Fire
"Spanish"
Heat for so

When me neighbour Ramsingh
He came running
He thought it was a joke
Because he didnt see no smoke
She bawling come over Ramsingh
Where is the ladder
Unreel the house
And let go the water
To out the fire
and if yuh hear she


Fire Fire!
In she wire papa
Ay ya yeye
O yo yoye
Fire Fire
"Spanish"
Heat for so


Fire Fire!
In she wire papa
Ay ya yeye
O yo yoye
Fire Fire
"Spanish"
Heat for so

Source: http://islandlyrics.com/lyrics-calypso_rose-fire_fire_in_me_wire_1980s_calypso.htm

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases the Fijian song performed by Black Rose (Rosiloa),

Information about Fiji is also given in this post along with information about traditional Fijian Meke music and dance. Information about the music group Black Rose (Rosiloa) is also included in this pancocojams post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Black Rose (Rosiloa) for their musical legacy. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
-snip-
This pancocojams post expands this blog's focus by providing information about and examples of other cultures throughout the world besides those that are from Africa or the Black African Diaspora.

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SHOWCASE VIDEO Black Rose - Raude - clip officiel



MangroveNoumea, Published on May 24, 2012

3 jours de tournage pour ce clip de 2 minutes, qui nous a mené de Nandi aux dunes de sable de Sigatoka, en passant par l'île de Malolo Lailai. Simon le caméraman a bien failli s'y faire arracher la tête par l'avion qui décolle dans le clip ! On avait demandé au pilote de décoller "le plus tard possible" pour avoir un plan "au plus près" du décollage, ce qu'il a fait... En prenant des risques énormes !
-snip-
Google translation from French to English:
3 days of filming for this 2 minutes clip, which took us from Nandi to the sand dunes of Sigatoka, passing by the island of Malolo Lailai. Simon the cameraman almost got his head torn off by the plane taking off in the clip! The pilot was asked to take off "as late as possible" to have a plan "closer to" take-off, which he did ... taking enormous risks!

****
INFORMATION ABOUT FIJI
From https://en.wikipedia.org/wiki/Fiji
"Fiji ... officially the Republic of Fiji[11] (Fijian: Matanitu Tugalala o Viti;... is an island country in Melanesia in the South Pacific Ocean about 1,100 nautical miles (2,000 km; 1,300 mi) northeast of New Zealand's North Island. Its closest neighbours are Vanuatu to the west, New Caledonia to the southwest, New Zealand's Kermadec Islands to the southeast, Tonga to the east, the Samoas and France's Wallis and Futuna to the northeast, and Tuvalu to the north.

Fiji is an archipelago of more than 330 islands, of which 110 are permanently inhabited, and more than 500 islets, amounting to a total land area of about 18,300 square kilometres (7,100 sq mi). The farthest island is Ono-i-Lau. The two major islands, Viti Levu and Vanua Levu, account for 87% of the total population of 898,760. The capital, Suva on Viti Levu, serves as Fiji's principal cruise port.[14] About three-quarters of Fijians live on Viti Levu's coasts, either in Suva or in smaller urban centres like Nadi (tourism)[14] or Lautoka (sugar cane industry). Viti Levu's interior is sparsely inhabited due to its terrain.[15]

[...]

Ethnic groups

The population of Fiji is mostly made up of native Fijians, who are Melanesians (54.3%), although many also have Polynesian ancestry, and Indo-Fijians (38.1%), descendants of Indian contract labourers brought to the islands by the British colonial powers in the 19th century. The percentage of the population of Indo-Fijian descent has declined significantly over the last two decades due to migration for various reasons.[76] Indo-Fijians suffered reprisals for a period after the Fiji coup of 2000.[77][78] There is also a small but significant group of descendants of indentured labourers from the Solomon Islands.[citation needed]

About 1.2% are Rotuman—natives of Rotuma Island, whose culture has more in common with countries such as Tonga or Samoa than with the rest of Fiji. There are also small but economically significant groups of Europeans, Chinese, and other Pacific island minorities. The total membership of other ethnic groups of Pacific Islanders is about 7,300"...

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INFORMATION ABOUT MEKE MUSIC
From https://en.wikipedia.org/wiki/Meke
"Meke is a broad term in the Fijian language, primarily referring to all traditional style of dance. It is a cognate of the words "maka" (Rotuman) and "mele" in Hawaiian. It is typically performed during celebrations and festivals. Traditionally the dances that comprise the meke art form are performed by groups of men only or women only, however, foreign influences, such as the male/female Tongan ma'ulu'ulu becoming the Fijian vakamalolo, are evident throughout.

Professor Friedrich Ratzel in his 1896 publication (Macmillan of London), The History of Mankind,[1] writes about the Fijian meke as both song and dance which only a few are given to invent and which those who do, allege that they do so in the spirit world where divine beings teach them the song and the appropriate dance. He wrote that the ideal of the Fijian poet is poetry with every verse ending with the same vowell of regular measure, which, in practice is often achieved with poetic license through the use of arbitrary abbreviations or lengthenings, and omission of articles, etc."...

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INFORMATION ABOUT ROSILOA (Formerly known as "Black Rose")
From http://www.fijianlyrics.com/rosi-loa-black-rose-artist/
"Rosiloa (previously known as Black Rose) is a Fijian music band, currently signed by the New-Caledonian music label “Mangrove Productions”.

After releasing several cover albums locally, they really broke through with their first original album released in 2000 Voices of Nature, and the single Raude. This song is a mix between a traditional Fijian music form called “meke”, and modern dance rhythms and sounds, brought in by David LE ROY, producer and co-founder of the famous 2001 French dance act Daddy DJ. “Voices of Nature” was a huge success in the whole south Pacific area, and paved the path for Black Rose’s second album released in 2002 Kila…?. It was followed in 2005 by their first best-of album Rosiloa, which featured a new song, as well as unreleased remixes and video footage from the making of Kila…?. The bands latest effort is titled Ancient Pulse. It was released in 2009.
Date Added: July 31st, 2012"
-snip-
This is the same text as that found on Wikipedia (https://en.wikipedia.org/wiki/Rosiloa) except that Wikipedia also has a list of band members.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post showcases seven contemporary Papua New Guinean songs.

Information about Papua New Guinea (PNC) is also included in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

These singers were selected in relatively random manner. I intend to feature other PNG performers in subsequent pancocojams post. Click the Papua New Guinea tag for pancocojams posts that were previously published.

Some of these videos include examples of face and body painting. Click the "traditional and contemporary African face and body painting" tag to notice how similar the examples of facial and body painting in those videos are to some of the examples in this post.

All copyrights remain with their owners.

Thanks to all those who are featured in this post. Thanks also to all those who are quoted in this post and thanks to CHM Supersound, the publishers of these videos on YouTube.
-snip-
This pancocojams post expands this blog's focus by providing information about and examples of other cultures throughout the world besides those that are from Africa or the Black African Diaspora.

Note:
A number of Papua New Guinean videos on YouTube include scenes of females who are topless. I've chosen not to feature any of these videos so that this post could be accessible for supplemental curriculum in United States schools and cultural centers.

Click http://pancocojams.blogspot.com/2018/01/excerpts-from-topix-forum-discussion.html for a closely related pancocojams post entitled "Excerpts From The Topix Forum Discussion "Are Papuans from New Guinea considered Blacks?"

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INFORMATION ABOUT PAPUA NEW GUINEA
From https://en.wikipedia.org/wiki/Papua_New_Guinea
Papua New Guinea (PNG)..., officially the Independent State of Papua New Guinea, is an Oceanian country that occupies the eastern half of the island of New Guinea and its offshore islands in Melanesia, a region of the southwestern Pacific Ocean north of Australia. Its capital, located along its southeastern coast, is Port Moresby. The western half of New Guinea forms the Indonesian provinces of Papua and West Papua.

At the national level, after being ruled by three external powers since 1884, Papua New Guinea established its sovereignty in 1975. This followed nearly 60 years of Australian administration, which started during World War I. It became an independent Commonwealth realm in 1975 with Queen Elizabeth II as its head of state and became a member of the Commonwealth of Nations in its own right.

Papua New Guinea is one of the most culturally diverse countries in the world. It is also one of the most rural, as only 18 percent of its people live in urban centres.[10] There are 852 known languages in the country, of which 12 now have no known living speakers.[11] Most of the population of more than 7 million people live in customary communities, which are as diverse as the languages.[12] The country is one of the world's least explored, culturally and geographically. It is known to have numerous groups of uncontacted peoples, and researchers believe there are many undiscovered species of plants and animals in the interior.[13]

[...]

Demographics

Papua New Guinea is one of the most heterogeneous nations in the world.[65] There are hundreds of ethnic groups indigenous to Papua New Guinea, the majority being from the group known as Papuans, whose ancestors arrived in the New Guinea region tens of thousands of years ago. The other indigenous peoples are Austronesians, their ancestors having arrived in the region less than four thousand years ago.

There are also numerous people from other parts of the world now resident, including Chinese,[66] Europeans, Australians, Indonesians, Filipinos, Polynesians, and Micronesians (the last four belonging to the Austronesian family). Around 40,000 expatriates, mostly from Australia and China, were living in Papua New Guinea in 1975.[67]

[...]

Culture

It is estimated that more than a thousand cultural groups exist in Papua New Guinea. Because of this diversity, many styles of cultural expression have emerged. Each group has created its own expressive forms in art, dance, weaponry, costumes, singing, music, architecture and much more.

Most of these cultural groups have their own language."...

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SHOWCASE VIDEOS

If you have any information about these performers and these songs, please add it to those YouTube videos' discussion threads or this post's comment thread. Thanks!

Example #1: Steve Lahui - Emu Rubu



CHM Supersound, Published on Jun 29, 2017

Welcome to the CHMSupersound YouTube the place to find over 40 years history of PNG Music and all the greatest and latest music from Papua New Guinea and the South Pacific region. With an affiliation with smaller studios through PNG and even to other nations of the south pacific, CHM Supersound Studios has an extensive music library that covers all dominant genres from the area from the initial stringband and traditional contemporary style to the modern island reggae, R 'n' B, hip hop, etc. You want it -- this site's got it.
For more information just log on our new website http://www.chmsupersound.com

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Example #2: Noel Asi - Gini Mare



CHM Supersound, Published on Jul 12, 2017

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Example #3: Mirupa Doubts - Kulusi



CHM Supersound, Published on Nov 3, 2017


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Example #4: Taina Brothers - Jahrox



CHM Supersound, Published on Nov 9, 2017

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Example #5: Risco - Gaukara



CHM Supersound, Published on Nov 9, 2017

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Example #6: Saugas - Everlasting Memory



CHM Supersound, Published on Nov 9, 2017

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Example #7: Basil Greg - Lonely Makuri



CHM Supersound, Published on Nov 27, 2017

... Welcome to the CHMSupersound YouTube Channel the place to find over 40 years history of PNG Music and all the greatest and latest music from Papua New Guinea and the South Pacific region. PNG has over 800 tribes and 800 different languages, CHMSUPERSOUND Studio has been in the forefront pioneering music with the different tribes and their languages and creating hits songs that can break through the language barrier as well as enjoy by everyone in the world. With an affiliation with smaller studios through PNG and even to other nations of the south pacific, CHM Supersound Studios has an extensive music library that covers all dominant genres from the area from the initial stringband and traditional contemporary style to the modern island reggae, R 'n' B, hip hop,Gospel etc. You want it -- this site's got it -even PNG Comedy🤣😂and dancing!

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents a compilation of selected comments from a discussion thread on the African American Forum on Topix. That discussion thread (which is still open for comments) is entitled "Are Papuans from New Guinea considered Blacks?". As of the date of this pancocojams post, that thread which began on February 15, 2008 has a total of #281 comments, with the latest comment added on November 12, 2017.

The content of this post is presented for sociological and cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

Click http://pancocojams.blogspot.com/2018/01/seven-contemporary-papua-new-guinean.html for a recently published closely related pancocojams post.

I viewed those (and other YouTube videos) and published that post after I happened upon that Topix discussion thread because I wanted to see for myself examples of what Papua New Guineans look like.

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SELECTED COMMENTS FROM THE TOPIX DISCUSSION THREAD: "ARE PAPUANS FROM NEW GUINEA CONSIDERED BLACKS?"
Pancocojams Editor's Note:
I realize that any other compilation of this discussion would be different from this one. However, I believe that these selected comments are relatively representative of this discussion's comments.

Numbers for these comments in this pancocojams compilation are added for referencing purposes only.

WARNING: Some comments in this discussion thread contain profanity and/or sexual explicit language. Comments with sexually explicit language aren’t quoted in this pancocojams compilation and comments that contain profanity are given with amended spelling that is indicated by an asterisk.

Quotes from other commenters within these comments are given in italics (as they appear in the original discussion).

I've also added notes after a few of these comments.

From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks.

1. Garrig
#1 Feb 15, 2008
"I have met a few and they look just like African Americans, but someone said they are Pacific Islanders? Is this true?"

**
2. Casual Thought
Youngstown, OH
#3 Feb 15, 2008
"Yes, they are Pacific Islanders.

Yes, they have melinated skin. Infact, many peoples in that area of the world have features similar to your stereotypical West African.


Though in some areas it seems, blond hair is quite common.

Genetically speaking though, they don't have any recent African ancestry. They are Asian, they just live in a tropical environment."

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3. Garrig
#5 Feb 15, 2008
"Michelle Kia wrote:
Yes..they share similiar genetic make-up to Pacific Islanders and some Asians..

But they look Black"

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4. Michelle Kia
St Louis, MO
#6 Feb 15, 2008
"Garrig wrote:

But they look Black

Phenotype and genotype are two different things."

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5. Fijian Lady in London
Stoke-on-trent, UK
#17 Feb 16, 2008
"Papuans from New Guinea are black and Melanesian. I am also Melanesian but I see Africans as brothers and sisters because we are all black people."

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6. #16 Feb 16, 2008
"Osibisa wrote:

"You have no idea what you're talking about, you f**king idiot. The people of Papua, New Guinea are Melanesians. They have almost nothing in common with Africans - genetically, culturally and lingustically. Their closest genetic links are with southeast Asians. A white Norwegian has more in common genetically with an African than a Melanesian does.
As for Columbus ascribing the term "Indians" to the native Americans, ALL the Portuguese and Spanish explorers of that era called the native peoples they met "Indians" or "Indio," Latin for indigenous peoples or, literally, "people of God." In fact, there was no nation of India or people called Indians on the Asian sub-continent during the time of Columbus. The India we know today was then divided into a number of kingdoms and sultanates with the people known to Europeans as Punjabis, Sikhs, Bengalis, Mughals, Kashmiris, and others.

So take your racist rap and stuff it, negro. The only thing truly recessive is your feeble brain.
this is white supremacy at work. Tying geography to ancestry to dilute the African presence."
-snip-
This entire comment is quoted as it was written in that discussion

“negro” (purposely spelled with a lower case “n” in contemporary African American conversation) is a derogatory referent.

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p3

7. Blackinjun
United States
#64 Feb 16, 2008
"Black-Cuban_Mami wrote:

black is a term used to refer to a pretty much non-exisistent thought of race.
black has changed names throughout the years... it used to mean anyone or dark skin who was not african or a moor.
you need to school yourself a bit.
there is no such thing as "race." race is a man made constraint.
phenotypically we are different, however realistically we are gentically not really far from one another.
it's sorta like dogs. you have all sorts of dogs that make up all sort of breeds.. YET, these various dogs all are "Dogs" and genetically the are sorta different (not much).. but if you look at them .. well dogs are SO different).
in reality genetically they aren't that different. they just *look* different.
there is such a small genetic difference betwixt between we humans. when in reality we really have such a small difference. race is not broken down unto subsbecies.
when people really understand taxonomy then they will understand what race means. as far as humans are concerned.. there is no delineation

what about culture? what about the deep cultural structures that humans learned from their environments? Are all of them similar or the same?

Hint:

Why is the ballet a product of the european cultural mind and the African rhthyms a product of the African cultural mind? In other words, why do europeans hop when they dance and africans sway to the rhthyms of nature?

why is heavy metal music a product of the european cultural mind, and "R&B" a product of the African cultural mind?

why are Europeans mechanical in their movements and Africans again sway with the rhthyms of nature?

you get my point, i hope...."

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8. Black-Cuban_Mami
#70 Feb 16, 2008
Blackinjun wrote:

what about culture? what about the deep cultural structures that humans learned from their environments? Are all of them similar or the same?
Hint:
Why is the ballet a product of the european cultural mind and the African rhthyms a product of the African cultural mind? In other words, why do europeans hop when they dance and africans sway to the rhthyms of nature?
why is heavy metal music a product of the european cultural mind, and "R&B" a product of the African cultural mind?
why are Europeans mechanical in their movements and Africans again sway with the rhthyms of nature?
you get my point, i hope....

i get your point, sorta.. but the way people dance or the sort of music they can be credited for really has no bearing upon anything.

culture runs deep, skin colour does not."

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9. Sinajuavi
Harrisonburg, VA
#72 Feb 17, 2008
"Actually, skin color and other biological traits run deep...in the genes, though of course these can be modified by evolution.

Cultural is learned, and within one generation can completely change. A person can be raised in an entirely different cultural context from that of his parents, and will therefore have a different ethnicity.

Culture is in no way determined by the genes."

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10. Garrig
#75 Feb 18, 2008
"Osibisa wrote:

Right off the bat, your premise is screwed up. When I lived in the Pacific, I attended a Pacific-wide arts festival in Noumea, New Caledonia. There were groups from almost every island in the Pacific including a large contingent of Papuans. I'm sorry, but they didn't look at all like African-Americans to me. True, some of the younger performers were wearing western-style, hip-hop attire during the times they weren't on stage in their traditional garb, but even walking down 125th Street in Harlem wearing FUBU, there would be no mistaking them for Pacific islanders.
You people need to get out and see more of the world before making such crass statements.

I have met people from Papua who look exactly like Blacks.."

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11. renee
Williamsburg, KY
#77 Feb 20, 2008
"okay wait i don't understand, im going to admit i have only recently been exposed to Papuans and i thought they were black until i realized where they were, and I thought maybe there was African blood in their early ancestry but none in the resent. The part i donut get is how someone else can be loser to AA's in genotype. Especially if your saying they would be closer to Chinese which is understandable, but how close are Chinese to African genotype?
A side comment when i see someone dark i define them as Black until they alert me as otherwise. I am technically only one third African American but i look Black so therefore i am, and consider myself none other, not even multi racial because thats what culture i know. Also that is what makes the diaspora as a whole Black, and not Strictly African."

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12. Wasteman
UK
#79 Feb 29, 2008
"Race sucks a**, just a nother reason to fight. I am a very mixed person wid african,white,indian(not american) and southeast asian and from my own mixture i can tell race is lame"
-snip-
This comment is quoted exactly as it was given in this discussion thread.

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p4

13. BritishBoy
East London UK
#96 Mar 21, 2008
"some of you may want to consider them black because you love to claim everyone just like some of you like to claim arabs as black. i dont claim anyone who isn't black. i cant belive how yall say they look like afrian americsns, they look like exactly what they are, which is pacific islanders, also aborigines look nothing like west africans, same to pacific islanders, maybe they are black, but it doesn't mean they are related o west africans."

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14. Garrig
#99 Mar 24, 2008
"BritishBoy wrote:
they are black people in my opinion but it doesn't mean they r related to west africans.
Yes. They are Black people but not imediately related to africans."

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15. AA Diasporan
#111 Mar 24, 2008
"BrooklynJoao wrote:

"Probably because you need to mind your own business and worry about your own culture. You are not Pacific Islander, so I clearly don't see why you are so passionate about this.

I see a double standard. Non-Pacific Islanders will post with views similar to yours and you don't question their background. Last time I checked "white" people aren't originally from the Pacific Islands and look nothing like the indigenous population. You are questioning my background, because we disagree. Anyway, I want to give you a serious answer. I am a diasporan black person that happen to live in America. During the slave trade we dispersed throughtout the world. My heart goes out for all black/negroidal people found anywhere in the world. It does not matter if you are Afro-Columbian, African American, Afro-Brit, or of ancient African stock. The common denominator is the continent you originally hailed from. A lot of African/Africoidal people have been mistreated for simply looking black. Look at the Dravidians of India and the Aboriginals of Australia. Look at the Negritos of the South Pacific. Look at the black people found in the Americas. Many ancient indigenous Africoidal people left the African continent approx 50,000 yrs ago and are now call Melanesians, Negritos etc... The culture and educational system in American is Eurocentric to the core. Most accomplishments by black/Africoid people are ignored or stolen by whites in the history books. Look at ancient Egyptian history. Of course, I have some resentment. Its seems like most black contributions to society have been convered up or white washed. I only recently learned that some of the earliest and most ancient civilizations were founded by African decent people like myself. I know for a fact that the original Pacific Islander people are of African origin. I'm not guessing or stating my opinion. This makes them my distant cousins. Unfortunately, the world has allowed a handful of Europeans with outdate racial myths to decide the racial classifications of all people. We accept their divisions and out dated teaching even when they are wrong. Somehow the world has been braishwashed into believing "black" is bad. This is why some Pacific Islanders who cleary look black are quick to deny any association with Africa. They bought into the divide and conquer mentality. It makes me sick. If you are interested I have proof that will clearly explain why I consider the Africoidal Pacific islanders to be my distant cousins. Thus they are my concern."

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16. Garrig
#113 Mar 24, 2008
Eddy Smegma wrote:

Shut up, you black fool, and let the Papuans have their own culture.

This is not about their culture but what they look like.

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17. Garrig
#114 Mar 24, 2008
AA Diasporan wrote:

I. The common denominator is the continent you originally hailed from. A lot of African/Africoidal people have been mistreated for simply looking black. Look at the Dravidians of India and the Aboriginals of Australia. Look at the Negritos of the South Pacific. Look at the black people found in the Americas...

That's true. Historically, we all have been treated similarly and looked down upon because of our phenotype. White prejudice makes no distincton for Black Pacific Islanders, or Aborignes for that matter. To them they are all simply blacks."

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p5

18. asha
Falls Church, VA
#123 Mar 24, 2008
"Hijacked Journalism wrote:
you are correct. Skin hue does not determine race or ethnicity. Vijay Sighn the pro golfer is as dark as an african american person can get, but he is Indian...

Isn't Viyaj Singh, Trinidadian? Yes, he's Indian descent, but could be also,particularly since he's Trinidadian, that he might have some african heritage as well....but I've always seen him as Indian descent, carribean."

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19. true soldja
Englewood, CO
#129 Mar 28, 2008
"skip over the bullshyt white anthropologic horsesh&t* and ask the people themselves. are they pacific islanders? yes because they are in the pacific on some islands, are they melanesians? yes because the are in melanesia. are they black? do you really need to think twice? hello take a good look at the shades of black and the kinky hair. whats this whole bullshyt about people not being black if they arent african american. lol thats a joke. sure they share genetic resemblance to asians. DID WE NOT ALL COME FROM BLACK PEOPLE?!! wake up people, do u REALLY know where asians come from? its not the melanesians who came from asian ok. i SWEAR all u hooked on racist cultural anthropology and these other bullshy white supremacy categories would never be able to point out a melanesian walking down the streets of brooklyn. LETS BE REAL,. askin about if they black. what a joke. the planet was populated by african people so ofcourse they dont have "RECENT" AFRICAN genese, they left thousands of years ago stupid.thats why they were born there and not in somewhere like nigeria! hello!! not to mention African is the most genetically diverse(need we mention birthplace)"
-snip-
*This word is fully spelled out in this comment.

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20. asha
Falls Church, VA
#138 Apr 1, 2008
"Eddy Smegma wrote:

Sorry, but Vijay Singh is of full Indian ancestry and was born and raised in Fiji. Different islands, different ocean from Trinidad.

No need to be sorry...I don't care if Vijay is full indian or not...just wasn't exactly sure of his background b/c he is from an island country and there has been some mixing between Carribean black and carribean indian populations so I thought there could be some possibility that he was mix."

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21. aliyah
New York, NY
#141 Apr 1, 2008
"well yeah they melanesians, pacific islanders. but i do believe there is an african component there, although the scientific world would be quick to dismiss that. many africans were seafaring in the ancient past, the Mande people especially were reported to have traveled as far as the phillipines. and there are alot of people who have these black african features in places like borneo, samoa, indonesia, the "negritos" of the phillipines, and of course Papau New Guinea.Many practices of these people bear similarity to the Mande ( Mandinka, Mandingo) people of West Africa"

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22. Essence
Las Vegas, NV
#147 Apr 1, 2008
"Eddy Smegma wrote:

""Many practices of these people bear similarity to the Mande ( Mandinka, Mandingo) people of West Africa"
Maybe they do. But they also bear similarities to the practices of ancient southeast and east Asians. In fact, they bear similarities to every ancient culture that's ever lived including white Europeans and native Americans. The material aspects of a culture may differ according to environment, but the methods are the same.

As for the Mande seafarers, there's no evidence for that whatsoever. Africans have never had a maritime culture.

E. Africans did have a maritime culture. A simple google would teach you alot."

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p6

23. Aqeel
East Norwich, NY
#151 Apr 10, 2008
"I am an Pacific Islander and I can say one thing for sure that Papuans are not African 100% However they are African 50% and 50% Asian including south Asian Indians"

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24. Charles R
#154 Apr 11, 2008
"Garrig wrote:
I have met a few and they look just like African Americans, but someone said they are Pacific Islanders? Is this true?

Yes to both questions. They are people of african ancestry who migrated to the Pacific Island centuries ago. Yes, they are as black as a brother from Detroit. No question about it."

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25. Garrig
#160 Apr 22, 2008
"YourMomsHole wrote:

This is the problem, according to some it does, according to others it does not. So heads will always butt on the issue, what then, is the point?

Well if we are not going to base race on phenotype, what will we base it on? Apparently Melanesians and Australian aborigenes represent one of the first groups of modern man to leave out of Africa. Being that the migrated along the tropics through India, Southeast Asia and into the Pacific Isles, their original African phenotype has changed very little. With that in mind, it seems strange to call them a different race, merely because they moved to the other side of the globe"

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26. Garrig
#163 Apr 22, 2008
Eddy Smega wrote:

"Well, for the same reasons, why not call EVERY culture in the world "Africans"? Because it's ridiculous and based on the assumption that every culture that migrated "out of Africa" was black.

It's not just because they came out of Africa, it's because they maintained the phenotyical continuity whereas other groups diverged.

See, that wasn't so hard...:D

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27. Garrig
#167 Apr 23, 2008
Eddy Smegma wrote:

"What "phenotypical continuity"? Phenotypes are based on observable traits as opposed to genotypes which are based on the acquired DNA and may or may not be visible. The fact that you think Aborigines and Melanesians LOOK like Africans is a subjective observation and has no bearing on reality.
Because of my many years living in the Pacific islands (and being one myself), I happen to think Pacific islanders look nothing like Africans. In fact, genetically, culturally and linguistically, Melanesians are closer to Southeast Asians than black Africans."

The belief is that Melanesians have pretty much kept their orignal phenotype since they left Africa. And sure they may have some linguistic and cultural commonality with Southeast Asians, but surely a Papuan looks nothing like a Vietnamese. And where are you from btw, if you don't mind my asking?

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28. Garrig
#172 Apr 23, 2008
Eddy Smegma wrote:
"I'm from Guam too.
Whereabouts you at in Troy?

Guamanians in upstate New York, how interesting. Of course if the native pacific islanders you describe are actually your fellow Guamians, then you are right they don't look African at all but when you go to the Solomon Islands Papua that's a different story.”...
-snip-
This comment also included the statement “This is what Melanesians look like” along with five hyperlinks. Unfortunately, those links are no longer active.

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p7

29. Alejandro Valentino
Columbia, MO
#183 Jul 3, 2012
"I agree with Osibisa on this, I am Hispanic, Papuan, and East indian, and ignorant people out here in kansas city, mo think that if you are brown skined then you are "african" and then people are like "look at your hair?" I'm like, "and?" Read a book, that's like saying that native americans and East indians are whaite because they have streight hair. People need to get educated."

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30. Nesian girl
Kent Town, Australia
#186 Apr 26, 2013
"Omg!!!! You guys r honestly f&&king* in sane !!!! Let me put it out ther for you loud an clear coming from a Papua New Guinean . I'll just hav u know that we are not African , yes we have black skin but we r very different , our features r more softer than the Africans and our ancestors by the way aren't from Africa their from Asia that is why we are different .png culture is very diverse this includes our features for example a person from the highlands has an Afro black skin , built body and big noses and thighs . Unlike a central from the coast who which are Polynesian have long black hair and light tanned skin. You guys hav no idea what you are talking about and what may also prove it is for the fact that you also think aboriginals r malenisian . Just cause their black and live next to the pacific they are still a totally different rac , and that is an australoid .obviously they look nothing like us malenisians you see they are more likely to be have closer facial characteristics to a person from South Asia ."
-snip-
*This word is fully spelled out in this comment.

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31. Mint cookies
#187 Apr 26, 2013
“They look hella african to me”
-snip-
“Hella” is African American Vernacular English word that means “a hell of a lot” (i.e. “a lot like”)

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32. Analyze_
#192 Feb 12, 2014
Casual Thought wrote:
"Yes, they are Pacific Islanders.
Yes, they have melinated skin. Infact, many peoples in that area of the world have features similar to your stereotypical West African.
Though in some areas it seems, blond hair is quite common.
Genetically speaking though, they don't have any recent African ancestry. They are Asian, they just live in a tropical environment.

Can you explain to me this: if these people migrated out of africa, how the hell are they not related to africans? Last time I checked, A lot of Asians have african ancestry.

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33. Analyze_
#193 Feb 12, 2014
Garrig wrote:

"Well if we are not going to base race on phenotype, what will we base it on? Apparently Melanesians and Australian aborigenes represent one of the first groups of modern man to leave out of Africa. Being that the migrated along the tropics through India, Southeast Asia and into the Pacific Isles, their original African phenotype has changed very little. With that in mind, it seems strange to call them a different race, merely because they moved to the other side of the globe.

My point exactly ! Your race does not change just because you migrated out of your country of origin.

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34. Most definitely not
Cleveland, OH
#197 Apr 4, 2014
"If they look black there black."

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35. panamanian
Dallas, TX
#198 May 11, 2014
GOD is of all colors, it Doesn't matter what our skin color is. Calm down, who cares what people think you are...just embrace who you know you truly are and pass that knowledge on. This thread saddens me, I just wanted to know if the guinea ppl were of Africa descent.

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36. lol
London, UK
#203 Apr 15, 2015
"Oh great, a bunch of self hating black americans desperate to claim anything with a tan as black.
Sorry losers, buyt they are not black."

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p8

37. bantu
Bothell, WA
#206 Apr 15, 2015
"no paupa new gunieans are not black neither are australian aborigines."

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38. Ingwe Temujin
#213 Jun 4, 2015
UruEuWauWau wrote:

"Nah, they dun really look the same. ;-) PNGeans are not really Melanesians, but Melanesians are part of PNGeans. ;-) Australoids are very diff. in phenotypes, not all have nappy hairs, not all are dark, some look mo' Asian, some look mo' Austronesian, some mo' Polynesian, some Melanesian, some Aussie abboes, some mixed of all these groups, & so forth. ;-) & there are PNGeans who look like some archaic nappy Arabs w/ light skin & are hairy. ;-D There are faces amongst PNGeans ya wun find anywhere else in the world. ;-) So, nah, overall, they aren't 'blacks', no matter what Yank or Anglo whitey-mighty believes. ;-)

You got a lot that look mixed with malayo-polesian but there are many that look African.

I met a Pupaun diplomat in DC and thought he was African. I couldnt really tell."

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p9

39. Moses
Johannesburg, South Africa
#232 Sep 11, 2016
Garrig wrote:
"I have met a few and they look just like African Americans, but someone said they are Pacific Islanders? Is this true?

They are ASIANS not related to black Africans!!!"

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From http://www.topix.com/forum/afam/TH69GECMVFGQN9856/are-papuans-from-new-guinea-considered-blacks/p9

40. David A Pugh
Decatur, GA
#244 Jan 24, 2017
"Papuan people are Black people. Even the name implies it. Papua means island of fuzzy hairs and tje name New Guinea hot its name because the people look like people from Guinea in west Africa."

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41. Rick
Durham, NH

#245 Feb 3, 2017
"Hello everyone,
I'm from West Papua (Western part of New Guinea island). I've been living in New Guinea for 18 years before moving to the US. People from New Guinea in my knowledge as an indigenous people of Papua, we're considered to be Melanesians. The word "Mela" is a Greek's word which means "Black/dark", and because New Guinea is one of the pacific islands, we're considered ourself as Pacific Islanders/Melanesians. Western part of New Guinea is now under Indonesian's rules and administrations which has been disgraced by a lot of the indigenous people. We're proud to say that yes, we are pacific islanders and black at the same time. However, the word "black" that we use doesn't share similarities with the word "black" used by a lot of people from western countries. Black is the color of our skin, Black is just a color, and to be honest I don't understand anything about the relationship between the words "Black" and "Africa". Don't get me wrong but we look at other people with dark skin as our brothers and sisters. From the point of view of Melanesian, if you think "Black" means Africans then you have problems in interpreting the meaning of that word. Melanesia itself contains the word "Black". Thus if you ask "Are papuans Black?" Yes we are because we live in Melanesia despite the fact that we have a lot of different skin tones and type of hair and we are proud of that, but if by saying "black" you're asking "are there any connections between melanesians and africans?" I'd say I don't know because my ancestors have been living in this islands for thousands of years, we have our own cultures, stories, myths, religions, languages, etc that are different from Africans' but closer to other oceania countries'. Our cultures are not even close to South East Asian countries'. I can say this because politically speaking I am Indonesian which make me Asian politically but melanesians geographically and historically, and we don't share any culture and tradition with other Indonesians."
-snip-
This discussion thread is still open for comments (as of the date of this post’s publication). The last comment in this discussion thread is dated November 12, 2017.

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UPDATE #1: (January 11, 2018 11:16 AM) I joined that forum in order to post a comment to that discussion. I didn't save that comment, and it doesn't appear to be added to that discussion. The main points of my comments were that
1. "Black" and "African" aren't the same thing.
2. Given that Africa is the birthplace of all people, it's a given that Melanesians originally came from Africa.
3. However, usually nowadays when people refer to the African Diaspora we are referring to the spread of Black people out of Africa since chattel slavery in the 16th or 17th century and not tens of thousands of years ago (when people first began to spread out from Africa).
4. [This is the point that I think is most important.] Most of the commenters in this discussion answered the question as though it was asking "Do Papua New Guineans look Black"? However, such a question doesn't take into consideration that All Black people don't look alike. The skin color of African Americans, for example, run the gamut from white to very dark brown.
5. That said, many of the Papuans in YouTube music/dance videos that I've watched do look like many brown skin African Americans to me.

****
UPDATE #2: (January 11, 2018 12:10 PM)
Here's another blog post on this same subject that I just found:
From http://theracecardproject.com/black-papua-new-guinea-curious-adopted/
Black, Papua New Guinea, curious, adopted

Brittany Barnes
Reno, NV
"I am adopted. I was born in Irian Jaya, Indonesia, now known as Western New Guinea. I don’t really tell people where I was born, because I don’t find it necessary in conversations and it never really comes up. People look at me and automatically assume that I am African-American and this is not the case, but I don’t really correct them. I consider myself black just to make it easier for people, but what would you call me if someone were to label me. I have done extensive research and I have found that I am Papuan if I were to label myself, but then our government has those stupid boxes to check what race you are. I now put other Pacific Islander because Indonesia/Papua New Guinea are considered to be Pacific Islands. I am a person of mixed cultures given the circumstances and the environment I was raised in. I don’t talk “black” or act “black” and people always say oh you’re such a white girl, or oh you’re so white washed. It may sound like a joke especially when it comes to friends saying this, but it’s like, why does having a skin color have to limit someone’s ability to talk or act a certain way. I feel that my friends judge me all the time because of the way I sound or act and it’s tiring. I want to tell people where I come from, but I hate explaining my life story. So for whoever is reading this, tell me…what do you think? Are people who are born in Papua New Guinea considered black? Pacific Islander? Is there anyone else out there that was born in Papua New Guinea? I need someone to talk to about this. Even just to hear opinions about this. Thanks."
-snip-
Here are two selected comments that were written in response to that post by two other Papuans:
Sean McCarthy, 2014
"Hey bro, i understand what you mean. I am a papua new guinean, born In Rabual, East New Britain Province. I've lived in australia since i was 3 and as far as i can remember, people were always dropping lines about eating chicken, and kool-aid and other stuff like that. even now, I'm 15 and matured a lot more,i even transferred from a state high school to a private, but there is always that segregation and racial stereotypes and all that, just because i have brown skin, everyone considers me a black american. i think all of this happens mostly because of the stereotypes African-Americans set.Like I mean no offence to any african-americans reading this, but because America is considered the 'centre of the world' everything from the stereotypical chicken eating, the Rappers, the gangsters (bloods - Crips etc.) the robbing of stores, all that kind of stuff reflects from america all over the world, making everybody think all coloured people are like that. as i said before, i mean no offence, and i know that ony a small percentage of black americans are like that, i know so many of them are successful and happy people, some of the nicest i've met in my life."

**
amaiuwaro, 2016
"Hey men l,m from Papua New guinea I came to america when i was 14 and now I,m 18 and people still treat me like I,m and African american its common for them to treat you like that if you want some advise,just flow with it let them call you what they want to call you, cause everybody expect you to be an African american cause your black and it doesent matter what they call you as long as you know where your from than your fine"

****
UPDATE #3 (January 11, 2018 1:04 PM)
Here are a few excerpts from a 1995 Los Angeles Times newspaper article entitled "Destination: Papua New Guinea : Pacific Embrace : African American tourists are greeted as family in this remote land
June 04, 1995|MERLE ENGLISH | NEWSDAY http://articles.latimes.com/1995-06-04/travel/tr-9393_1_african-americans
..."Faces beaming, the villagers piled into our bus, which had stopped on the road leading to our lodge, 7,000 feet above the town where we had gone for dinner. They extended their hands, eager to get close to us. We were the first black people they were meeting from outside their island world of Papua New Guinea.

We were a group of two dozen African Americans taking a tour organized by Simmons African Museum in Brooklyn, N.Y., which runs cultural trips to Africa and South America, and were three days into our second South Pacific adventure. We had visited Fiji, Vanuatu, Western Samoa and Tonga two years before in our quest to make contact with some of the millions of black people living on the islands known as Melanesia, and with the people of the Polynesian archipelago.

[...]

All activity ceased and traffic halted in one town when we stopped at a bank to change dollars into kina, the local currency. Few had ever seen blacks other than themselves. Wantok , a village leader greeted us in pidgin English, his native language.

One of the few who spoke English, he explained what the word meant: "You are family. We are one skin. We're the same."

[...]

From http://articles.latimes.com/1995-06-04/travel/tr-9393_1_african-americans/2

(Page 2 of 3)

[...]

"We think we are the only black people. We don't know about you," one village chief told us through an interpreter. "We are happy you are our brothers and sisters. The dress is different, but the color is still the same. When you go back to your country, talk about us. Say you saw some of your family in PNG."

[...]

From
http://articles.latimes.com/1995-06-04/travel/tr-9393_1_african-americans/3

(Page 3 of 3)

[...]

Some in our travel group asked Lumbia what other visitors had told them about African Americans. "Those of us who have been to school, we meet many Americans, but very few of them have good thoughts about African Americans," he responded. "They say you are troublemakers, aggressive. I saw you coming. I say our wantoks are coming, same color, friend.

"We learned about your unfortunate history a long time ago and always felt sorry for you, how they went and got your ancestors and took them out. It could have been us," he added.

Mato told us, "We saw you in the films. We see that you are very good sports people. They don't show you're doctors and lawyers."

He also told us he'd read about the 19th-Century African American educator Booker T. Washington and was impressed. "You people have determination. We don't agree with what they did to you. If they'd come this way, we would have been slaves."

Our tour leader, Stan Simmons, told them: "We're very interested in the culture of our people around the world. We want you to learn about us, because the [limited] information you got about us is misinformation."

This same educational quest had taken the group to Fiji and other islands of the South Pacific, but none of our experiences had touched us as much as our contact with the Papua New Guineans. Our river voyage ended at Madang, a coastal town. We said our final goodbys during an impromptu stop at an elementary school, where the children and their teachers had abandoned their classes to crowd around us."

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post presents a compilation of examples of the children's rhyme "Order In The Court" (also known as "Silence In The Court".

The content of this post is provided for folkloric purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
DISCLAIMER:
This compilation isn't meant to be a comprehensive listing of every example of these rhymes. If you know other versions of "Order in the court" ("Silence in the court") please share it in the comment section below, along with demographics (when [which decade] and where [city/state and nation if outside of the United States), along with any comments that you want to add. Thanks!

****
EXAMPLES OF "ORDER IN THE COURT" ("SILENCE IN THE COURT")

Pancocojams Editor's Note:
The first excerpt given below dates "Order in the court" rhymes to the 1920s and 1930s (New York).

With the exception of that first excerpt, these examples are given in relative chronological order based on the publishing dates online (of the first example, if the excerpt includes multiple examples), with the oldest dated excerpts given first.

Examples with no online publishing dates were retrieved on January 11, 2018, and are placed after the excerpts that have publishing dates.

I've added italics for the rhyme when it is included in a long comment.

For referencing purposes, I've added numbers for the excerpts and for the multiple examples of this rhyme in some of those excerpts.

EXCERPT #1
From https://www.waywordradio.org/on-the-shoe-phone/ On the Shoe Phone
Posted by Grant Barrett on September 20, 2014 ·
"Monkey for a Week
“Order in the court, the monkey wants to speak, the first one to speak is a monkey for a week!” This children’s rhyme appears in print in the 1950s, and Israel Kaplan mentions it in When I Was a Boy in Brooklyn, his take on growing up in New York in the 20s and 30s. Many of his rhymes were less tame."

****
EXCERPT #2
From https://mudcat.org/thread.cfm?threadid=81350"I'm Rubber . You're Glue: Children's Rhymes"
1. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: SINSULL
Date: 20 May 05 - 11:41 AM

"Order in the court room!
Monkey wants to speak!
Speak, monkey, speak!


And the first to speak is the monkey. Used in our family car for years in an attempt to keep five battling kids quiet."

**
2. Subject: Speak Monkey Speak
From: GUEST,sunday monkey
Date: 17 Jun 05 - 01:53 AM

from the sf bay area in the 60's:

"order in the court
the monkey wants to speak
speak monkey speak
the first one to speak
is the monkey of the week"

**
3. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: firemonkey
Date: 22 Jul 07 - 09:42 PM

I remember this one

Order in the court!
The monkey wants to speak
The first one to talk
is a monkey for a week!

**
4. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: GUEST,kfo
Date: 25 Feb 08 - 02:56 PM

Does anyone remember something like this:

Order in the courthouse,
The monkey wants to speak.
No laughing, no smiling
No showing your teeth!

Then if anyone talked or smiled, etc, they were "it".

**
5. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: Big Mick
Date: 15 Mar 08 - 12:22 AM

from an unattributed GUEST post which is not allowed:

I remember:

Order in the court
the monkey wants to speak
the first one to speak is
the monkey for the week.

My parents used to use it on long car trips to try to get me not to talk.

**
6. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: GUEST
Date: 24 Aug 08 - 05:35 PM

Silence in the gallery
Silence in the court
The biggest monkey in the world
is just about to talk!

**
7. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: GUEST,Anje
Date: 22 Feb 09 - 06:49 PM

Only remember a little of this:

Order in the court
The judge is eating beans.
His wife is in the bathtub (bathroom?)
sinking submarines

**
8. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: GUEST,Tom Jenkins (UK)
Date: 04 Mar 09 - 08:18 AM

Silence in the Courtyard,
Silence in the street
The biggest fool in [town name]
Is just about to speak

(Often closed with 'Starting froooooom... NOW!')

**
9. Subject: RE: I'm Rubber . You're Glue: Children's Rhymes
From: GUEST,kenny boy
Date: 09 Aug 14 - 09:36 PM

"Growing up in Central California in the 1950s, My Mom & Dad would say at the dinner table:

Order in the court.
The monkey wants to speak.
Speak monkey speak.
The first one to speak is a monkey.


It made us all shut up for up to minutes at a time.
In the 1980s it worked just as well on my kids."
-snip-
Pancocojams Editor's note:
I started this discussion mudcat discussion thread on children's rhymes, and added a comment that I remember "Order in the court" from my childhood in the 1950s (Atlantic City, New Jersey). I didn't add the version that I remember reciting (with no accompanying hand clapping or other body motions. However, that version is
Order in the court
The monkey wants to speak.
Speak monkey speak!

[And then we tried not to make any sound, because the first person who talked or even made the slightest sound after that lost the game. That person was "the monkey".

This was a fun game. "Being the monkey" didn't have any racial derogatory association for us Black kids when we played that game. But when we were in later elementary school grades, we became aware that "monkey" was used as a put down for Black people.

Instead of "Order in the court", I played another "silence competition" game with my children that I had also played when I was growing up. That game begins after someone says "Next one to talk is a rotten egg". The first person who says anything loses i.e she or he is a "rotten egg".

****
EXCERPT #3
From https://www.disboards.com/threads/what-should-i-say-to-my-neighbor-about-her-kids.2175196/page-3 What should I say to my neighbor about her kids?

TEENEE, May 13, 2009
"Sounds like normal kid stuff to me. They have been together every school day and are comfortable with each other, no big deal. It's also the end of the school year and they are ready for summer. All kids get a little antsy this time of year. Try to distract them, sing a silly song, ask them questions, anything to change their routine. When we were kids my mom would say "order in the court room, the monkey wants to speak, no laughing, no talking, no showing your teeth." The first person to speak, laugh or show their teeth is the monkey. I use that little game with kids all the time, it works. The first time you try it they won't understand. Once you explain it they will have fun with it. Explain it to your dd before they get in the car so she has the upperhand. That way she won't be the monkey the first time you play."
-snip-
dd= dear daughter

****
EXCERPT #4
From http://transgressors-grace.blogspot.com/2010/01/order-in-court.html
JANUARY 20, 2010 Posted by Jess
"Order in the Court
I was walking through my kitchen last night when a song popped into my head. Well, not a song really. More like a ditty. It's been stuck there ever since. I can't sing it for you, obviously, but it goes like this:

Order in the court.
The judge wants to speak.
The first one to talk is the monkey of the week.

Now my question is, where the hell did that come from? I mean, I recognize it. It's a little song that my fourth grade teacher used to sing when she wanted us to quiet down. How's that for sudden and serious clarity of memory? But the point is, it's not been a part of my waking consciousness for the past 21 years. So why now? Why that moment as I passed the fridge heading for the sink? Seriously. It makes me wonder what else is lurking around in there.

[...]

There are years of useful information floating around up there, just waiting for the appropriate trigger to activate the pathways to memory and I end up with Order in the Court? I'm certain this says something important about my early childhood development. I just can't remember what."
-snip-

Comment:
Anonymous said...
"I remember:
Order in the court, the monkey wants to speak. No laughing or talking or showing your dirty teeth.

I too am trying to find the origin of the saying. Please let us know if you find out.
December 17, 2012

****
EXCERPT #5
From https://www.tapatalk.com/groups/survivorsucks/childhood-ryme-t71488.html
1. Old Guy Don
22 Jun 2010
"Order in the court, the Judge is eating beans, his wife is in the bathtub floating submarines.

So, what in the hell was this all about..............Google provides squat"

**
2. StatelyWayneManor
22 Jun 2010,
"Just checked the internets.
The original ryme/rhyme may have been...
Order in the court
Judge is eating beans
Now he 's in the bathtub
Shooting submarines

In brief...it's about the bubbles you make
while farting underwater."

**
3. elhongotom
30 May 2013
"When I was a kid, about a hundred years ago, I assumed that the submarines were her turds that she crapped into the bath water."

****
EXCERPT #6
From http://www.essentialkids.com.au/forums/index.php?/topic/1087465-naughty-rhymes-from-childhood/ Naughty Rhymes from childhood.
Elemenopee
Posted 23 June 2013 - 10:42 PM
"My husband says:
Silence in the court
Monkey wants to talk
Speak up monkey, speak!
(and the next one to speak is 'the monkey')"

****
EXCERPT #7
From https://www.deepfun.com/not-laughing/ Not Laughing
[comment posted about the article]
Steve Wilson on July 3, 2013 at 9:29 am
"This rhyme was the start for a childhood game in Philly: “Order in the court, the monkey wants to speak. No laughing, no talking, no showing your teeth.” The one who is the monkey then tries anything–but no touching–to get one of the other players to smile or laugh or talk, who then becomes the monkey"

****
EXCERPT #8
From http://www.funnysongsforkids.com/funny-poems-for-kids/category/folk-rhymes
Order in the Court – Traditional American
10/4/2014
Order in the court
The judge is eating beans
His wife is in the bathtub
Shooting submarines

****
EXCERPT #9
From https://mudcat.org/jumprope/jumprope_display.cfm?rhyme_number=213
Order in the courts
The judge is eating beans.
His wife is in the bathtub
Counting submarines.
One, two, three, ... (* Continue counting *)
Source: Abrahams (1969), Hastings (1990)
-snip-
Note that this is a jump rope rhyme.

****
EXCERPT #10
From http://dragon.sleepdeprived.ca/songbook/songs5/S5_128.htm Announcements Song
Announcements, Announcements, Announcements,

[...]

Order in the court
Order in the court
Monkey wants to speak
SPEAK monkey SPEAK!
-snip-
This is one of the latter verses given for this song. Each four line verse begins with the words "Announcements, Announcements, Announcements"

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

As those who are familiar with this pancocojams blog know, I rarely focus on political subjects. Also, as those who are familiar with this blog know, I screen out profanity in comments and don't feature any videos that include profanity. This post is an exception to both of those rules.

This pancocojams post showcases a video of CNN Tonight with Don Lemon 01/11/18. I'm showcasing this video because I feel strongly that the entire clip of that news show should be watched and heard, but in particular I believe that Don Lemon's opening statements are just as eloquent and historically important as the Golden Globes acceptance speech that Oprah Winfrey gave which I featured in another pancocojams post last week (http://pancocojams.blogspot.com/2018/01/oprah-winfreys-golden-globes-cecil-b.html Oprah Winfrey's Golden Globes Cecil B. DeMille Award Acceptance Speech (2018) with full transcript).

This post includes my transcription of host Don Lemon's opening statements (cold open/monologue) for that segment of that news program, prior to the segments with the political correspondents.

This post also include segments with a panel of guest political commentators.

The content of this post is presented for historical, socio-cultural, and political purposes.

All copyrights remain with their owners.

Thanks to Don Lemon, and thanks to all the non-racist participants in that television segment.
-snip-
Click https://www.huffingtonpost.com/entry/durbin-trump-shithole_us_5a58c7ffe4b02cebbfdb29c8?ncid=inblnkushpmg00000009 for context information about Don Lemon's statement.

****
SHOWCASE VIDEO: CNN Tonight with Don Lemon 01/11/18 | CNN News Today January 11, 2018



Amanda Scott, Published on Jan 11, 2018

****
UNOFFICIAL TRANSCRIPT OF DON LEMON'S OPENING STATEMENTS (CNN Tonight 1/11/18)
"This is CNN Tonight. I'm Don Lemon.

The president of the United States is racist. A lot of us already knew that.

Today, President Trump talking with lawmakers in the oval office about immigrants from Haiti, from El Salvador, and from Africa said-and I quote-“Why are we having all those people from shithole countries come here?”

But you know who he said he would welcome here? He said, "The U.S. should bring in more people from countries like Norway."

And CNN has been told that he went on to say “Why do we need more Haitians? Take them out.”

Those comments are frankly, disgusting.


There’s other language I’d like to use, but we are on television.

But you know what, they’re not shocking, not even really surprising. Because this is who Donald Trump is. This is what he thinks. Apparently, we have to go through this repertoire every time he says something like this, or exhibits some racist behavior.

This is a man who in the oval office last year said that Nigerian immigrants should, in his words, “go back to their huts”.

Who in that same meeting said “All Haitian immigrants have AIDs”.

A man who bases his entire political career -for years- on the racist birther lie that President Barack Obama was born in Africa.

A man who reportedly still believes that to this day.

A man who started his campaign trashing Mexicans and then made the Muslim ban a centerpiece of his bid.

A man who responded to White supremacists who killed a young woman in Charlottesville by claiming, in his words, “very fine people on both sides”.

A man who responded to protests by Black NFL players by calling them quote “sons of bitches”.

Do we go on with all of this? I -I get tired of saying it.

This is a man who today complained about immigrants who quote “are from shithole countries”.
Tonight a White House official told CNN that they’re not worried. They think that this is good for them. And the President’s comments will actually resonate with his base.

Jesus.

Admitting that for all their talk about making America great, the President is playing to a base that welcomes his racism and will enjoy it. And that is disgraceful.

With that said, here’s what’s worse. And probably the most important point. So gather around the television everyone. And this is for anyone who may be taken aback by my comments. I want to be very clear here. I don’t really care if you are. I hope you are.

For years now-it has been, you know, two and a half years since he officially entered the political arena.

For years I and others have been trying to tell you the American people that this man was exhibiting bigoted behavior.

I asked him about a number of times and he denied it. But kept up the racist rhetoric and behavior throughout the campaign and now while he’s in the White House. His supporters made excuses, continue to make excuses for him. Some of the people I personally know. Some of them are his friends, as a matter of fact. And I can hear them now telling me “Oh, Don. Donald didn’t mean that. Donald isn’t a racist.”. Or people who don’t know him “I don’t think that was what he said. It was taken out of context. I’m not sure.”

Well, how many examples do you need of this?

But he is a racist.

And for all of you who over the last few years have uttered that tired, lazy, uniformed, uneducated, ignorant response of calling me and others who point out racist behavior racist, you know what, you can go do?


I can’t say that. But you can go read a book- a history book. Because you might learn that people from some of those shithold countries were slaves who were brought here by force to help build this country. And then start your learning process from there.

You also might want to do some self-examination. What does it say about you that no matter what, no matter what, you continue to make excuses for this man, for his vile behavior, his sort of vile behavior? Doesn’t that make you just as bad, if not worse than him?

And I have to be honest. I was , I was not shocked that Donald Trump reportedly called the majority of Black and Hispanic countries or continents “shitoles.'” I wasn’t shocked. I’m not I’m really not outraged. I’m not outraged. I’m tired of being outraged, as a matter of fact. I’ve been outraged too many times. It’s more important to be strategic than to be outraged. Some people can be outraged, but it’s more important for level headed people to be strategic rather than outraged. Otherwise, it becomes a sky-is-falling situation every time he says something dumb or stupid or racist.

Here’s why I’m not outraged-because People of Color warned you.

You called us racist or race baiters.


I’m not mad that you called me those things because I’m not one of them.

So why are you mad if someone calls you a racist if you know you’re not one? Think about that.

If you know you’re not a racist then why are you made about it when someone calls out racism?

What does that say about you?

You know what those Black and Brown folks who you called racist are saying now?

They’re saying “You bought it. You own it.”

And as we say in the South-you know what this means- “Bless your heart”."
-snip-
This monologue (as Don Lemon referred to it later in that clip) occurs from the beginning of that video to 5:26 of that video clip.

Portions of my transcription are gleaned from these two articles:
http://ew.com/news/2018/01/11/don-lemon-donald-trump-racist/ Don Lemon slams Trump and his supporters: 'The president of the United States is racist' by DEREK LAWRENCE January 11, 2018 AT 11:29 PM EST

and

http://variety.com/2018/tv/news/anderson-cooper-don-lemon-donald-trump-racist-shithole-remark-1202662653/ Anderson Cooper, Don Lemon Call Trump ‘Racist’ Over ‘S-thole Countries’ Remark; By Erin Nyren JANUARY 11, 2018 8:45PM PT

Additions and corrections to this transcription are welcome.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Edited by Azizi Powell

This pancocojams post provides examples of the gospelized Christian hymn "Standing On The Promises" [of Christ my king].

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composer of this song and thanks to all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.

****
PANCOCOJAMS EDITOR'S NOTES
This song shouldn't be confused with the African American Gospel song "I Am Standing On His Promises"* or several other Christian songs with similar titles.

The content of this post is presented for religious, cultural, and aesthetic purposes.
Note: I often showcase multiple versions of a song to demonstrate how that song might be performed differently by different singers.

All copyrights remain with their owners.

Thanks to the composer of this song and thanks to all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
-snip-
*Click http://pancocojams.blogspot.com/2018/01/five-examples-of-norman-hutchins-gospel.html for the pancocojams post entitled "Five Examples Of Norman Hutchins' Gospel Song "I Am Standing On His Promises"

**
"Gospelized hymn" is a term that I coined for a Christian hymn (song) that is performed in an African American Gospel style.

**
I often showcase multiple versions of a song to demonstrate how that song might be performed differently by different singers.

****
EXAMPLE OF A STANDARD RENDITION OF THIS HYMN

Standing on the Promises - Mormon Tabernacle Choir



Mormon Tabernacle Choir, Published on Mar 21, 2013

The Mormon Tabernacle Choir with the Orchestra at Temple Square perform Ryan Murphy's arrangement of "Standing on the Promises" composed by Russell K. Carter, lyrics by Russell K. Carter.

Episode 4353. Aired February 17, 2013

****
SHOWCASE EXAMPLES OF GOSPELIZED RENDITIONS OF THIS HYMN
Example #1: Standing On The Promises - Sensational Nightingales,"Together As One"



Pannellctp Traditional Gospel Music, Published on Feb 6, 2012

Originally recorded in 1994 and released as 3 separate projects by Pilgrim Jubilees, Angelic Gospel Singers and the Sensational Nightingales, this contain the best of each project.

This concert in Birmingham, Alabama, brought together three of the most exciting acts in gospel. Each using their own distinct style, the Pilgrim Jubilees, Sensational Nightingales, and Margaret Alison backed by the Angelic Gospel Singers sing spiritual songs in front of an enthusiastic southern crowd. All three acts join together for an exciting finale.

****
Example #2: Standing On The Promises Of God



Moses Chikosi, Published on Jan 2, 2013

****
Example #3: Biblical Gospel Singers - Standing On The Promises (1974) [sound file]



Gospel Explosion, Published on Apr 18, 2013

Biblical Gospel Singers
"It's So Easy Now"
©1974 ABC/Songbird Records

****
LYRICS: STANDING ON THE PROMISES OF GOD
Lyrics: Russell Kelso Carter (1849-1928)
Music: Russell Kelso Carter (1849-1928)

Standing on the promises of Christ my King,
Through eternal ages let His praises ring,
Glory in the highest, I will shout and sing,

Standing on the promises of God.
Standing, standing,
Standing on the promises of God my Savior;
Standing, standing,
I’m standing on the promises of God.

2
Standing on the promises that cannot fail,
When the howling storms of doubt and fear assail,
By the living Word of God I shall prevail,
Standing on the promises of God.

3
Standing on the promises I now can see
Perfect, present cleansing in the blood for me;
Standing in the liberty where Christ makes free,
Standing on the promises of God.

4
Standing on the promises of Christ the Lord,
Bound to Him eternally by love’s strong cord,
Overcoming daily with the Spirit’s sword,
Standing on the promises of God.

5
Standing on the promises I shall not fall,
List’ning every moment to the Spirit’s call.
Resting in my Savior as my All in all,
Standing on the promises of God.

Source: https://www.hymnal.net/en/hymn/h/340

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Edited by Azizi Powell

This pancocojams post provides examples of the African American Gospel song by Norman Hutchins entitled "I Am Standing On His Promises" [2nd line: I believe what His word says".

This song shouldn't be confused with the Christian hymn "Standing On The Promises"* or several other Christian songs with similar titles.

The content of this post is presented for religious, cultural, and aesthetic purposes.
Note: I often showcase multiple versions of a song to demonstrate how that song might be performed differently by different singers.

All copyrights remain with their owners.

Thanks to the composer of this song and thanks to all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
-snip-
*Click http://pancocojams.blogspot.com/2018/01/one-standard-rendition-three-black.html for the pancocojams post entitled "One Standard Rendition & Three Black Gospelized Renditions Of The Christian Hymn "Standing On The Promises"

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SHOWCASE EXAMPLES
Example #1: Norman Hutchins - I Am Standing On The Promises / "Where I Long To Be" CD & DVD - JDI Records



JDIRecordsInc, Published on May 21, 2009
-snip-
I featured this video of Norman Hutchins & Choir first since he is the composer of this song. All these other examples are given in chronological order based on their publishing date on YouTube, with the oldest example given first.

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Example #2: Am Standing On The Promises



Detroitchurchboy, Published on Nov 22, 2008

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Example #3: I Am Standing On The Promises - ASBC Mass Choir



majcpw, Published on Dec 20, 2008

"I Am Standing On The Promises" was performed at the Alfred Street Baptist Church on the 27th of September 2008 at a Pre-Installation Concert of Praise to commemorate the installation of their 8th Pastor the following day.

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Example #4: Mt. Zion Kalamazoo "Standing On The Promises"



nella271, Published on Dec 11, 2009

Mt. Zion (Dr. Addis Moore, Pastor) sings Norman Hutchins'"Standing On The Promises" with Rev. Christopher Moore leading.

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Example #5: I Am Standing on the Promises, CDC Men's Choir (2013 Summer Conference)



CaliforniaDistrict, Published on Jul 22, 2013

Song: I Am Standing on the Promises by Norman Hutchins

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LYRICS: STANDING ON HIS PROMISES OF GOD
(Norman Hutchins)

[Chorus:]
I am standing on His promises,
I believe what His word says.

I am standing on His promises,
I believe what His word says.

I have faith that God will do just what He said;
I am standing on the promises of God.

[Verse:]
If you have faith, the size of mustard seed,
You can speak to the mountains in Your life.
Nothing's impossible to them that believe,
I am standing on the promises of God.

[Chorus]

[Bridge:]
If God said it, I believe it.
If God said it, I believe it.
If God said it, I believe it.
If God said it, I believe it;
I am standing on the promises of God.

[Vamp 1:]
God said it, I believe it,
That's good enough for me.

[Vamp 2:]
God said it, God said it.
God said it, God said it.

[Vamp 3:]
I believe it, I believe it.
I believe it, I believe it.

[Vamp 4:]
That settles it, that settles it.
That settles it, that settles it.

[Ending:]
God said it, I believe it,
That's good enough for me.

Source: https://www.azlyrics.com/lyrics/normanhutchins/iamstandingonhispromises.html

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