African Tribes, Demographics, & The Slave Trade Map

Information on African Tribes – Demographics, Politics, Religion, History, Economy, Tribal Art, Neighboring Tribes, Culture, Language.

Aka Akan Akuapem Akye Anyi Aowin
Asante Babanki Baga Bali Bamana Bamileke
Bamum Bangubangu Bangwa Baule Beembe Bembe
Benin Kingdom Berber (Amazigh) Bete Bidyogo Biombo Bobo
Bushoong Bwa Cameroon Grasslands Chokwe Dan Dengese
Diomande Djenn� Dogon Ejagham Eket Ekoi
Esie Fang Fante Fon Frafra Fulani
Guro Hausa Hemba Holoholo Ibibio Idoma
Igala Igbira Igbo Igbo Ukwu Ijo Kabre
Karagwe Kassena Katana Kom Kongo Kota
Kuba Kurumba Kusu Kwahu Kwele Kwere
Laka Lega Lobi Luba Luchazi Luluwa
Lunda Luvale Lwalwa Maasai Makonde Mambila
Mangbetu Manja Marka Mbole Mende Mitsogo
Mossi Mumuye Namji (Dowayo) Ngbaka Nkanu Nok
Nuna Nunuma (Gurunsi) Ogoni Oron Owo Pende
Pokot Punu Salampasu San Sapi Senufo
Shambaa Shona Songo Songye Suku Swahili
Tabwa Tuareg Urhobo We Winiama Wodaabe
Wolof Woyo Wum Yaka Yaure Yombe
Yoruba Zaramo Zulu

 

Destinations of Slaves and their Origins

PROJECTED EXPORTS OF THAT PORTION OF THE FRENCH AND ENGLISH SLAVE TRADE HAVING IDENTIFIABLE REGION OF COAST ORIGIN IN AFRICA, 1711-1810. [1]
 
Senegambia (Senegal-Gambia) * 5.8%
Sierra Leone 3.4%
Windward Coast (Ivory Coast) * 12.1%
Gold Coast (Ghana) * 14.4%
Bight of Benin (Nigeria) * 14.5
Bight of Biafra (Nigeria) * 25.1%
Central and Southeast Africa (Cameroon-N. Angola) * 24.7%
SENEGAMBIA: Wolof, Mandingo, Malinke, Bambara, Papel, Limba, Bola, Balante, Serer, Fula, Tucolor
 
SIERRA LEONE: Temne, Mende, Kisi, Goree, Kru.
 
WINDWARD COAST (including Liberia): Baoule, Vai, De, Gola (Gullah), Bassa, Grebo.
 
GOLD COAST: Ewe, Ga, Fante, Ashante, Twi, Brong
 
BIGHT OF BENIN & BIGHT OF BIAFRA combined: Yoruba, Nupe, Benin, Dahomean (Fon), Edo-Bini, Allada, Efik, Lbibio, Ljaw, Lbani, Lgbo (Calabar)
 
CENTRAL & SOUTHEAST AFRICA: BaKongo, MaLimbo, Ndungo, BaMbo, BaLimbe, BaDongo, Luba, Loanga, Ovimbundu, Cabinda, Pembe, Imbangala, Mbundu, BaNdulunda
 
Other possible groups that maybe should be included as a “Ancestral group” of African Americans:
 
Fulani, Tuareg, Dialonke, Massina, Dogon, Songhay, Jekri, Jukun, Domaa, Tallensi, Mossi, Nzima, Akwamu, Egba, Fang, and Ge.

References

[1] http://wysinger.homestead.com/mapofafricadiaspora.html

The African Tribal Art of Facial Scarification

Scarification is the practice of permanently marking the skin by cutting it, and is widely practised in Africa. The main purpose of African scarification is to enhance a person’s beauty, but scars can also indicate bravery, show group identity, or mark stages in a person’s life. [1] Collecting African Tribal Art through masks, and headdresses is an easy way to examine the cultural differences, and norms of African Tribes.

Guro Mask : Simple Scarification Pattern

Makonde

 The Makonde used body scarification in an effort to prevent their abduction into slavery. Although not as popular as before, scarification still finds a place in the culture, and craft of the tribe. A typical Lipico mask is worn on the top of the head partially covering the face and slanted up to enable the masquerader to see through the mouth area. These masks are used in initiation and circumcision ceremonies for boys as they move from adolescence to manhood. The masks may exhibit scarification, which is reflected in thick, symmetrical zigzag patterns across the face area.

Makonde Tribe : Lipico Mask

Tabwa

 The distinctive facial scarification consisting of a number of lines along the sides of the face and along the forehead, and abdomen were the means whereby Tabwa identified themselves to localities, and displayed social status. They are also a high form of body art or ornamentation. Elaborate and attractive patterns and designs were worked into the skin according to the Tabwa concept of ‘kulemba’ that reflect aesthetics, social membership, and the abstract idea of order upon the chaos of nature. It demonstrates that a person becomes a complete adult when they are properly inscribed with the appropriate scars. These patterns and designs are collectively known as ‘vindala’ and represent one’s advancement through life and within Tabwa society. Distinctive hairstyles among Tabwa men reflect status or membership in a hunter’s cult known as ‘buyange’, and requires some effort to braid, tie and decorate. [2]

Tabwa Tribe

Baule

Consider the marks on the Baule mask. The Senufo use three scars radiating from the edge of the mouth along the side of the face. The Senufo however are close neighbors of the Baule in the Ivory Coast.

Baule Tribe

At one time most slaves in the Baule territory were Senufo and because Baule people make this association, they use this type of scar to protect young children from harm; when a woman has had several children who have died for example this scar is given to her next child so that Death will not be attracted to it. [3]

[1] http://www.prm.ox.ac.uk/pdf/scarification_web.pdf

[2] http://www.africadirect.com/productsdesc.php?ID=53842

[3] http://www.prm.ox.ac.uk/pdf/scarification_web.pdf

Easy Blogging – Carnival and Tribal Art

I often wondered about the viability of blogging about African Art, or African Tribal Art for that matter. The content seemed limited, supposedly having no direct relation to everyday life past a colorful, temporary fancy, or at best a brief insight into a particularly abstract, or hideous item. But I have to admit that I was wrong because I was effectively limiting myself to what others saw and trying to provide another view of existing perspectives.

Puno Tribal Mask : Ritual mask now used for festivals and entertainment

Let me provide an example. I grew up thinking that the etymology of Carnival was French or Spanish, being translated loosely as a combination of Carne – meat (Sp) and Val (from the Sp verb ir, to go). So I came up with “farewell to meat” as the underlying thought. Coincidently the Trinidad and Tobago and Rio  Carnivals end on the night before  Ash Wednesday; the day of the beginning of the Roman Catholic Lenten season. “Carnival”  is actually Italian in origin, being derived from Carnivale – but this is where it gets interesting. The TnT Carnival was started by African slaves  joyfully (I speculate on their emotional state here) celebrating the Emancipation of Slavery. It is commemorative. The music, masks, and masquerades were cultural tribal icons and cultural tribal traditions that  we take with us today. So in effect what is left is a distinctive European veneer on what in essence remains an African tribal motif.

Guro Tribal Mask : Dancing mask - Click for video

I have taken some time to come to a conclusion which may have been obvious to the more astute reader. When you live, or love something, the possibilities are infinite since every convergence or divergence offers opportunities for analysis or understanding. Very much like music which continually evolves and develops, or even marriage, which requires continuous change around a ‘constant’ of commitment.

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