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Thursday, June 25, 2009
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Masks are the most important art form of the Dan. Many of the other forms of sculpture are derived from the mask and what the mask symbolizes. Numerically, more masks are created than any other form of sculpture. Spiritually, masks are perceived to embody the most powerful of spirit forces. Socially, masks are the means of bringing control and order to village life. Masks provide the strongest impressions of a young Dan person's earliest experience, as their importance is reinforced by their presence at all significant events.
Masks are empowered by the strongest of supernatural spirit forces, called gle. Like dii, gle inhabit the dark forest, particularly where the trees grow high and dense. Gle long to enter into and participate in the ordered world of the village but, being invisible, cannot until a visible form for each is made. The nature of that form, a mask and complete masquerade ensemble meant to represent the personality of the gle, is seen in a dream. In addition, the gle must reveal its intended function in the dream or that dream is considered useless. The dreamer, who must be an initiated member of the men's society, reports the dream to the council of elders. They then decide whether the masquerade ensemble should be created for that man to wear and perform. The carver carves the wooden face, and this is accompanied by attire that includes forest materials such as raffia, feathers, and fur. It is believed that each gle has its own personality, character, dance, speech patterns, likes, and dislikes, and it is given a personal name. The wearer of the mask takes on all these characteristics and qualities when he wears the mask ensemble. Having come from the unknown realm of the dark forest, a gle is thought to be unpredictable. Therefore it always has an attendant with it to control it as well as to interpret its speech.
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Monday, May 18, 2009
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Djobu Mask Society of the Diaspora The Djobu Mask Society was created to remember the spirits of those africans from africa through the diaspora. We act as a bridge between the ancestors and the living. The Djobu mask society represents the spirits of those of african origin who lived the experience of the americas. We represent those africans that were taken in bondage and died /and survived the middle passge. Those Africans who lived and died on this side of the Atlantic. The society comes out of a revival of african centered rites of passage among the peoples of african origin through out the diaspora. The society was formed as a result of many people of african origin returning to their roots and embracing traditional and re-invented traditional african ceremonies. The mask may be performed for many reasons from rights of passage of boys and girls,funeral ceremonies,wedding ceremonies,festivals, religious ceremonies, and many other celebrations. The mask comes out to represent the presence of the spirits at any occasion.
The Djobu mask society is represented by 3 spirits. Djobu which represents a more contemporary face of the african spirits in the diaspora. The 2nd is the Maafa spirit mask which represents those spirits who died and survived the middle passage. The 3rd is the Simbi spirit mask which represents a nature spirit.
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Thursday, April 30, 2009
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Current mood:  enlightened
looking for some african brothas living the american experience to represent the spirit of our ancestors in the diaspora through masks. Get at me
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Friday, August 22, 2008
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Current mood:  sad
Time is something that goes on with or without us. I just woke up from a dream in which I was seeing myseld spending time with my grandmother before she passed on into the realm of ancestors. I wasn't there when she past but, I would go and spend my summer and winter breaks with my family helping to take care of her in the last couple years of her life on earth. Working in the school system helped give me the chance to do so. I am glad that I got to spend that time with her. Taking care of her the way she loved and took care of me. She was and is truly my GRAND-MOTHER. I have lost family and friends within these last couple of years. It really shakes you up when you lose friends around your own age. I think what sparked all of this is the start of another school year. Missing the bonds that you make with students that just pass through the doors of your class in life. They become like family to you as much time as they spend with you. I look forward to the new class that I will teach this year. Getting to know my students and trying to meet their individual needs. But, I always remember so many of them who have passed on through their journey in life and wonder what they have and are molding into. I have worked with children at many schools and many youth programs and I always wonder how they are all and I keep them all in my prayers.
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Saturday, August 02, 2008
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Check out www.palapalamagazine.com A Pan-African journal of culture, the politics of art and the media . and also get your copy of Fragmented Melodies by a very great African writer Kangsen Feka Wakai. It is available at Amazon.com
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Sunday, July 13, 2008
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Current mood:  warm
Olujimi -Given by God
It has been a while since I blogged. Just troddin thru to bring light to the creations I am bringing forth through my spirit. I have been given such a wonderful gift of being able to carve and bring life out of the wood. I am creating tools by which I hope to connect people to the spirit(s) of ones ancestors. I hope you all enjoy my works as much as I do creating them
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Saturday, May 03, 2008
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Current mood:  angry
I just recently saw a comment on a capoeira documentary clip on youtube where and individual commented on how capoeira is not african. Although africans brought to Brazil used it to free themselves from slavery and oppression it is not african. He said even the word capoeira is portuguese. I was enraged when I read his comment. I am not surprised though. I responded by saying with the little space I had to respond,"Because the African is not in Africa does that make him not an African? History is written and told by the victor. The Portuguese did not start it , they tried to control and outlaw it but could not erase the culture and legacy of the African. So what do they do to control it. They join it so they can control its destiny. Africans had and molded their arts into what is known as "capoeira in brazil (Portuguese the language of the master) Ladja or Danmye in Martinuque(french the language of the master)And the other AFRICAN arts that have survived,and been lost throughout the americas. The African not just in Brazil is still being disrespected and forgotten. Just a novel face to what was to them OUR culture. The few of US who can afford to learn and get back a piece of OUR ancsestors legacy. because it was stolen from US as we were stolen from Africa. To get a bigger picture and more information check http://www.mashufaa.co.uk/history.htm .
I am tired of other people trying to define who WE are as Africans and what we have contributed to this world through their bullshyt history books. We are a living testament to our ancsestors and this western world was built off of their labor. Even through all of the torture,abuse and rape of African people and our culture. We still taught and took care of the slave master and his offspring. We still remained Humane and did what we had to live and survive in balance with the rest of the universe. And if we could'nt gain it peacefully there was those of us who made things right by force. I pay homage to those Africans that died and survived the horrors of the African holocaust. I try everyday to honor them by learning and teaching others our continuing story.
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Sunday, January 13, 2008
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"There is no place outside that fight for the artist or for the intellectual who is not his/her self concerned with and completely at one with the people in the great battle of Africa and of suffering humaity." Sekou Toure
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Saturday, January 12, 2008
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C'est dans ma galère que la go Antou m'a quitté oh ah {x4}
Quand j'avais un peu Matin midi soir On été ensemble A la rue Princesse Aux mille maquis Santos payait les poulets L'argent est fini Antou a changé de côté Wari ban nan Elle a changé de copain
Nan guin nan wan, nan guin nan wan Nan guin nan wan, nan guin nan wan
Dieu merci pour moi je savais chanter un peu J'ai fait ma cassette oh on me voit à la télé Matin midi soir c'est moi je chante à la radio Antou a vu çà elle dit le gaou a percé Attends je vais partir le couper
{Refrain:} Et on dit premier gaou n'est pas gaou oh C'est deuxième gaou qui est niata oh ah Et on dit premier gaou n'est pas gaou oh C'est deuxième gaou qui est niata oh ah
Dimanche matin koko on frappe à ma porte A ma grande surprise c'est la go Antou je vois On s embrasse j'ai dit y'a longtemps qu'on c'est plus revu Elle veut me mentir elle dit chéri j'avais voyagé Je suis de retour Je t'appartiens Prends moi cadeau, fais ce que tu veux
{au Refrain}
J'ai dit chéri koko qu'est ce que tu veux manger Sans même hésiter elle me dit poulet braisé
J'ai dit chéri koko c'est poulet tu veux manger Poulet est trop petit çà peut pas te rassasier C'est caïman braisé, je vais te donner Kedjenou d'éléphant, tu vas manger
Nan guin nan wan, nan guin nan wan
Elle est fâché elle dit elle s'en va à la maison Si elle va à la maison population va me tuer Je lui ai demandé pardon, elle a accepté A un moment donné, elle a tout gâté Elle est quitté dans poulet, elle s'en va dans aloco Si c'est aloco c'est pas compliqué C'est plantation de bananes Tu vas griller Au l ...
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Friday, January 11, 2008
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Ndeye Gueye of Senegal, West Africa will be in Houston, TX (along with a host of drummers) on Friday, January 25th and Saturday, January 26th teaching beginner's Sabar Dance classes. Sabar is the indigenous dance and drum performed in Senegal, West Africa. Classes will be held at 7pm at the Barnevelder Movement/Arts Complex. More details coming soon!!
More on Ndeye ...
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Ndeye Gueye - (Senegal) |
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Ndeye Gueye, known for her electric femininity, is a dynamic dancer from Grand Dakar, Senegal. She has performed and traveled internationally with several companies including Ballet Diamone Tey, Ballet Bara, and Ballet Bougarabou. In 1993 she made her US debut and since then has performed at many dance festivals and with acclaimed musicians Youssou Ndour, Wyclef Jean, and Salif Keita. In 2004 she received the Isadora Duncan Award for outstanding choreography and in 2005 her company, Chosaanu Africa Dance Company, was invited to perform at the Chinese Ethnic Dance festival. Ndeye Gueye currently teaches sabar dance throughout the San Fransisco Bay Area and works closely with Dimensions Dance Theater. | ..> ~~~ Directions to Barnevelder (from 59S/288S): Take 59 N towards Downtown, exit Polk, continue on feeder (Chartres), turn right on Preston, travel 2 blocks to corner of Hutchins & Preston. Turn left to enter complex.
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