Natural Hair, Confidence, & African Tribal Hairstyle

Would you ROCK a Tribal Hairstyle?

[E1] Caribana 2014 - Toronto Carnival

[E1] Caribana 2014 – Toronto Carnival

Not many people can rock a bona fide African Tribal hairstyle. Working women need hairstyles which are easy to manage, maintain, and are not too heavy on the wallet. Lately however I’ve noticed a comeback (resurgence if you will) of natural hairstyles with the afrocentric look, driven in part by the definition of beauty that has become more inclusive and puts a premium on confidence, uniqueness, health, and color. The other driver to this is the willingness of African American women to quietly embrace their afrocentric origins, a non-quiet rebellion against the societal norms of styles based on long, straight hair.

Basic Continuum

Let’s start with the basic minimum/maximum look, with the minimum look gaining ground on the heels of the award winning performance of Lupita Nyong’o in 12 Years a Slave (2013) [1].

[E2] Trinidad & Tobago Carnival 2014

[E2] Trinidad & Tobago Carnival 2014

Very few women are daring enough to pull off either extreme.

[E3] Ally - Metropolitan Museum 2013

[E3] Ally – Metropolitan Museum 2013

Igbo Influence

The prize for the most visually stunning goes to versions stemming from the 1800’s to the early 20th century Igbo style.

[E4] Girls passing through Nkpu ceremony

[E4] Girls passing through Nkpu ceremony

In African Tribal art this hairstyle is represented by the Agbogho mmwo [2], or “maiden spirit,” masks worn by men at festivals that honor important deities. They represent the Igbo ideal of female beauty: small, balanced features, elaborate hairstyles, and delicate tattoos.

[E5] Maiden Spirit mask

[E5] Maiden Spirit mask

One of the fascinating aspects of the many variations currently in fashion is the wide options of micro-braid styles available to be used. I think this will grow in popularity in coming years.

[E6] Toronto Caribana 2014

[E6] Toronto Caribana 2014

[E7] TnT Carnival 2014

[E7] TnT Carnival 2014

[E8] Igbo Hairstyle

[E8] Igbo Hairstyle

[E9] Awka maiden circa 1921

[E9] Awka maiden circa 1921

[E10] Afrocentric Variant - TnT Carnival 2014

[E10] Afrocentric Variant – TnT Carnival 2014

Mende Perspective

“The top of every Sowo mask is carved to represent braided hair, and the style of hair braiding is one of the mask’s most individualized features. The hair crest always displays axial symmetry around the facial vertical line… the mask’s hairstyle is always grander and more distinctive”[2]

[E11] Mende carvings - "Sowo wui" helmet masks

[E11] Mende carvings – “Sowo wui” helmet masks

Baule

A variation of a Baule style that has a large following is the Bantu knot-out (aka China Bump)

[E12] Baule "blolo bla" (spirit wife carving)

[E12] Baule “blolo bla” (spirit wife carving)

Luba Style

One lesser known style was very popular among the Luba tribe and reflected in many different forms of Luba sculpture.

[E13] Luba Carving

[E13] Luba Carving

[E14] Luba Tribeswomen

[E14] Luba Tribeswomen

There are too many African tribes with identifiable hairstyles to mention (Mangbetu, Kuba). It is a fascinating aspect of Collecting African Tribal Art which can assist in learning one’s history and provide clues to cultural norms and values.

[1] http://en.wikipedia.org/wiki/Lupita_Nyong’o
[2] Radiance from the Waters; Sylvia Ardyn Boone, p.184

[E4] Among the Ibos of Nigeria; Basden, G.T. 1921; p288/289
[E14] http://blog.brunoclaessens.com/wp-content/uploads/2013/08/Shankadi-headdress-Michel.jpg

Clouds, Silver Linings, and the Kongoli.

One of the benefits of Collecting Tribal African Art is simply gaining exposure to the diversity of cultural knowledge associated with the tribes, and masks.

The day did not begin well. Today (01/12/14) marked the second consecutive auction where I missed placing a bid on a mask that seemed interesting. It was advertised as a Kongoli from the Mende culture in Sierra Leone – I had never come across this type of mask (or so I thought), but accessing the auction mere minutes after the mask was sold seemed unbelievably unlucky. In an auction in December I missed an Igala mask (gutting) because I fell asleep after shoveling snow. So, on the bright side I decided to read up on the Kongoli mask, and I’m sure glad I did. Apart from being a funny mask, from a tribe with a great masking tradition, I realized I actually had one in my collection. It had been mis-categorized as belonging to the Bamum tribe, from the Cameroon.

Kongoli (previously attributed to Bamum)

Kongoli (previously attributed to Bamum)

Cue the silver lining. It absolutely turned my day around, but there’s another side to this that blew me away. Modern society is becoming increasingly paralyzed by political correctness. The Kongoli is in truth and fact “the village clown”, and as the following video demonstrates sometimes entertainment is simply entertaining.

The short video documentary below, by Bill Hart (University of Ulster), examines the role of the Kongoli/Gongoli mask in Sierra Leone culture. The first 22 secs are classic





Gongoli Description (from the Yale University Art Gallery eCatalogue)

Kongoli (Gongoli) Mask [E1]

Kongoli (Gongoli) Mask [E1]


“Ugly! This is the reaction that the Mende audience has when seeing this mask in performance. The uglier, the better. The function of the Gongoli performance is to show the worst side of human nature: deformed, disheveled, chaotic, undisciplined, deceptive, and antisocial. The mask is worn with a hideous costume of dead leaves and rags. The movements of the performer are disjointed, erratic, awkward?and amusing. Gongoli masks are usually owned by private individuals and may appear at any celebration.”


[E1] Photo Credit to Yale University Art Gallery eCatalogue
http://ecatalogue.art.yale.edu/detail.htm?objectId=84527

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

Kibbutz, Mende, and Thoreau

Henry David Thoreau’s essay Civil Disobedience,  advocated passive resistance to unjust authority, and strongly influenced the thought and tactics of Mohandas Gandhi and Martin Luther King.[1] On the question of practical living and idealistic aspirations he was on point when he observed that,

“If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.”

Applying the idealistic concept of communal living in a practical framework can be fraught with missteps. Many years ago it was enough to start a discussion by either modeling the basic framework on a continuum, or by using a discrete (good/bad) function, but nowadays one can pick a specific point of balance and (very much like enlarging a view on a smartphone by widening one’s fingers) examine the merits or demerits from a sustainable and practical perspective.

The kibbutzim were built on the attempt to create a permanent and institutionalized framework, which would be able to set a pattern of conduct which would successfully handle the implementation of shared values…..The original concept of the kibbutzim was based to a large extent on self-sacrifice of its members for the sake of abstract foundations and not on the cancellation of work, and therefore after the pioneer period the linkage between the kibbutz members decreased, due to the decline in the pioneering spirit and the decline in the importance of the self-sacrifice values.[2]

So one can argue that utopian ideas were incorporated into practical life without going through the period of practical development and flexible adaptation. Ideas which may seem foreign and socialist to a certain degree (equal pay, sharing property, equal standard of living) were attempted, which in the long term did not thrive in the globalization of an individualistic and capitalistic society.

Sowo-wui (Ndoli Jowei) : "The Sande woman is not a child!!"

The Sande (Female society of the Mende , Sierra Leone) used a much more flexible and socially inclusive device to develop their Value – Ritual – Norm (VRN) system.  The most important aspect seemed to be the initial transfer of Values. The head of the Sande lodge is the Sowei, who is in charge of the initiation of young girls and are viewed as the “arbiters and creators of beauty and morality in Mende society.”[3] The Sowei’s mask is referred to as the Sowo-wui or is more commonly known to as the “Mende Mask”. It is through the masked spirit counterpart, Sowo, that the Sowei receives her temporal authority. This is the ritual aspect of this value transference device which then develops into the social norms or rules followed by the community. Again each initiate can aspire to the utopian ideal at their own pace as opposed to hard and fast rules laid down by community leaders.

Sande Society Helmet mask - Brooklyn Museum, 2010

In her book, Radiance from the Waters, Sylvia Boone identifies several Sande (and Mende) social ideals.

Nemahulewe – cleverness, intelligence, use of mind.

Kahu – strength, endurance, stamina

Kpaya – authority, responsiibility

Ndilo – bravery, courage, (the heart can stand the strain).

Malondo – be quiet, be silent, the silence to endure hardship, long suffering

Fulo-Fulo – doing things smartly and quickly

Tonya – Truth

Di – persistence

Pona – to be correct, straight, reliable, doing things properly

Hindawanda – goodness, generosity

But there is more….. the Sande Society has two masks, for while Sowo shows the nobility of human Sowei the counterpart of failure and disgrace belongs to Gonde.

“Mende women have created two masks because it takes both to express fully the realities of the social milieu out of which the Sande mask forms emerge.”[4]


[1] http://www.morning-earth.org/ARTISTNATURALISTS/AN_Thoreau.html

[2] http://en.wikipedia.org/wiki/Kibbutz

[3] Radiance from the Waters, Sylvia Boone, p 34

[4] Radiance from the Waters, Sylvia Boone, p 39

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