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Sakasaka Music

promoting and creating contemporary music in northern ghana
Sep 25 '14

immigrantslenz:

Cholera Dairies

A play by the Accra Theater Workshop on the recent Cholera outbreak in Ghana. I think shows like this should be encouraged and supported. These type of activities should be the best social marketing strategies the ministry of health and the government adopt and use in the fight against the Cholera disease that has killed about 128 people so far!

Sep 24 '14

kaewashere:

the-goddamazon:

beautiesofafrique:

Soukous (Congolese) dancer Chantal in the Democratic Republic of Congo

Soukous is a genre of dance music that originated from Cuban Rumba music in the Belgian Congo and French Congo during the 1940s and gained popularity throughout Africa.

Soukous is known as Congo in West Africa and Lingala in Kenya, Uganda and Tanzania after the Lingala language of the lyrics. In Zambia and Zimbabwe, where Congolese music is also influential, it is still usually referred to as Rumba. It mixes the kwasa kwasa with the fast tempo zouk style and Congolese rumba. It is also an individual dance. 

Source

Soukous definitely originated the rumba. It’s the modern version of a lot of traditional tribal dances done in Congo.

I think my mom had this on VHS when I was a kid. She always felt connected to Congo (I think it’s also the fact that Haiti and Congo both suffered from French colonialism). Plus, she was a dancer. Soukous and coupe decale where always in my household.

This feels like home.

Aug 29 '14
Abdul Samed - Naa Sigli Oyaba (Naa Sigli Oyaba)
Aug 29 '14
morrismirelesstuff:

Aburi though the lens of a bike, Ghana, 2014.

morrismirelesstuff:

Aburi though the lens of a bike, Ghana, 2014.

Aug 27 '14

beautiesofafrique:

African Kingdom/Empire of the week: The Songhai/ Songhay Empire

(Images of pre-colonial to modern day Songhai people above)

The Songhai Empire was the largest and last of the three major pre-colonial empires to emerge in West Africa.  From its capital at Gao on the Niger River, Songhai expanded in all directions until it stretched from the Atlantic Ocean to what is now Northwest Nigeria and western Niger.  Gao, Songhai’s capital, which remains to this day a small Niger River trading center, was home to the famous Goa Mosque and the Tomb of Askia, the most important of the Songhai emperors. The cities of Timbuktu and Djenne were the other major cultural and commercial centers of the empire.

The Songhai people founded Gao around 800 A.D.  As the city and region grew in importance, the Malian Empire incorporated both as it expanded across the West African savanna. 

Though the Songhai people are said to have established themselves in the city of Gao about  800 A.D , they did not regard it as their capital until the beginning of the 11th century during the reign of the dia (king) Kossoi, a Songhai convert to Islām. Gao so prospered and expanded during the next 300 years that from 1325 to 1375 the rulers of Mali added it to their empire. In about 1335 the dia line of rulers gave way to the sunni, or shi, one of whom, Sulaiman-Mar, is said to have won back Gao’s independence. The century or so of vicissitudes that followed was ended by the accession in about 1464 of Sonni ʿAlī, also known as ʿAlī Ber (d. 1492). By repulsing a Mossi attack on Timbuktu, the second most important city of Songhai, and by defeating the Dogon and Fulani in the hills of Bandiagara, he had by 1468 rid the empire of any immediate danger. He later evicted the Tuareg from Timbuktu, which they had occupied since 1433, and, after a siege of seven years, took Jenne (Djenné) in 1473 and by 1476 had dominated the lakes region of the middle Niger to the west of Timbuktu. He repulsed a Mossi attack on Walata to the northwest in 1480 and subsequently discouraged raiding by all the inhabitants of the Niger valley’s southern periphery. The civil policy of Sonni ʿAlī was to conciliate the interests of his pagan pastoralist subjects with those of the Muslim city dwellers, on whose wealth and scholarship the Songhai empire depended. His son Sonni Baru (reigned 1493), who sided completely with the pastoralists, was deposed by the rebel Muḥammad ibn Abī Bakr Ture, also known as Muḥammad I Askia (reigned 1493–1528), who welded the central region of the western Sudan into a single empire. He too fought the Mossi of Yatenga, tackled Borgu, in what is now northwestern Nigeria (1505)—albeit with little success—and mounted successful campaigns against the Diara (1512), against the kingdom of Fouta-Toro in Senegal, and to the east against the Hausa states. In order to win control of the principal caravan markets to the north, he ordered his armies to found a colony in and around Agadez in Aïr. He was deposed by his eldest son, Musa, in 1528. Throughout the dynastic squabbles of successive reigns (Askia Musa, 1528–31; Bengan Korei, also known as Askia Muḥammad II, 1531–37; Askia Ismail, 1537–39; Askia Issihak I, 1539–49), the Muslims in the towns continued to act as middlemen in the profitable gold trade with the states of Akan in central Guinea. The peace and prosperity of Askia Dāwūd’s reign (1549–82) was followed by a raid initiated by Sultan Aḥmad al-Manṣūr of Morocco on the salt deposits of Taghaza. The situation, which continued to worsen under Muḥammad Bāni (1586–88), culminated disastrously for Songhai under Issihak II (1588–91) when Moroccan forces, using firearms, advanced into the Songhai empire to rout his forces, first at Tondibi and then at Timbuktu and Gao. Retaliatory guerrilla action of the pastoral Songhai failed to restore the empire, the economic and administrative centres of which remained in Moroccan hands.

At its peak, the Songhai city of Timbuktu became a thriving cultural and commercial center. Arab, Italian, and Jewish merchants all gathered for trade. A revival of Islamic scholarship also took place at the university in Timbuktu. However, Timbuktu was but one of a myriad of cities throughout the empire. By 1500, the Songhai Empire covered over 1.4 million square kilometers

Economic trade existed throughout the Empire, due to the standing army stationed in the provinces. Central to the regional economy were independent gold fields. The Julla (merchants) would form partnerships, and the state would protect these merchants and the port cities of the Niger. It was a very strong trading kingdom, known for its production of practical crafts as well as religious artifacts.

The Songhai economy was based on a clan system. The clan a person belonged to ultimately decided one’s occupation. The most common were metalworkers, fishermen, and carpenters. Lower caste participants consisted of mostly non-farm working immigrants, who at times were provided special privileges and held high positions in society. At the top were noblemen and direct descendants of the original Songhai people, followed by freemen and traders. At the bottom were war captives and European slaves obligated to labor, especially in farming. James Olson describes the labor system as resembling modern day unions, with the Empire possessing craft guilds that consisted of various mechanics and artisans

Upper classes in society converted to Islam while lower classes often continued to follow traditional religions. Sermons emphasized obedience to the king. Timbuktu was the educational capital. Sonni Ali established a system of government under the royal court, later to be expanded by Askia Muhammad, which appointed governors and mayors to preside over local tributary states, situated around the Niger valley. Local chiefs were still granted authority over their respective domains as long as they did not undermine Songhai policy

Tax was imposed onto peripheral chiefdoms and provinces to ensure the dominance of Songhai, and in return these provinces were given almost complete autonomy. Songhai rulers only intervened in the affairs of these neighboring states when a situation became volatile; usually an isolated incident. Each town was represented by government officials, holding positions and responsibilities similar to today’s central bureaucrats.

Under Askia Muhammad, the Empire saw increased centralization. He encouraged learning in Timbuktu by rewarding its professors with larger pensions as an incentive. He also established an order of precedence and protocol and was noted as a noble man who gave back generously to the poor. Under his policies, Muhammad brought much stability to Songhai and great attestations of this noted organization are still preserved in the works of Maghrebin writers such as Leo Africanus, among others

Sources/ Read more: 1| 2| 3

(If you want to know where I got all the images from ask)

image

King Askia Muhammad aka Askia the Great

image

King Sunni Ali Ber 

Aug 26 '14
Aug 26 '14

ga5im:

Chale Wote 2014. My first Chale Wote ever. Only did one day, wish i had attended the first one. Jamestown was bumping, the crowds were having fun, i was a-clicking… Run into folks i knew, tried new things, and left for Dinner after a while. Next year, I must not miss a single day of the Festival! THIS ROCKS!

Aug 22 '14

ghanailoveyou:

Documentary: The Art of Ama Ata Aidoo

Ama Ata Aidoo was the first African woman playwright, publishing The Dilemma of a Ghost (1965) at the age of 25. She is a poet, a novelist and a feminist.

The documentary follows Aidoo over a course of a year during which she travels to her ancestral village in the Central Region of Ghana.

Aidoo’s writing is rich in historical and cultural context, dealing with slavery, drawing inspiration from colonial Ghana and the post-independence period to present day Africa where support for women’s creative talent remains lacking.

Award-winning director Yaba Badoe (The Witches of Gambaga, 2010) and her producer Amina Mama, a leading feminist scholar, are crowd-funding $45,000 on Indiegogo to cover post-production costs. One-third of the project budget is being covered by donors such as the African Women’s Development Fund and the Global Fund for Women but you can be a donor too.

"When I was growing up, I definitely remember my mother told us folktales. Once I became aware of myself, I occurred to me that I should add to life’s stories."

"Ghanaians have always been nervous about the presence of people of diaspora here. And I think that was in part, due to the fact that they remind us of what we don’t want to deal with. And if fact, in the wake of the slave trade, we were colonized, conquered and again, we have not really dealt with the implications of colonization. What is colonization?

So the relationship between us and the African diaspora is charged”

Aug 19 '14

THE FOURTH CHAPTER: CHALE WOTE 2014

accradotalt:

THE FOURTH CHAPTER: CHALE WOTE 2014

Strolling Goats in Accra with Chale Wote 2014.

Strolling Goats in Accra with Chale Wote 2014.

Chale Wote 2014 will open with a heady rush of sights, sounds and vibrant creations by Ghanaian and international artists in James Town. This weekend over 200 artists will transform old Accra into a live museum with a long trail of multi-disciplinary art. Festival producers, ACCRA [dot] ALT, are collaborating with REDD Kat Pictures, Foundation for…

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Aug 11 '14
beautiesofafrique:


Ghanaian traditional attire

Kente also worn by people in the Ivory coast, Akans to be specific (Although Kente, as we know it was developed in the 17th Century A.D. by the Ashanti people, it has it roots in a long tradition of weaving in Africa dating back to about 3000 B.C. The origin of Kente is explained with both a legend and historical accounts. A legend has it that a man named Ota Karaban and his friend Kwaku Ameyaw from the town of Bonwire (now the leading Kente weaving center in Ashanti), learned the art of weaving by observing a spider weaving its web. Taking a cue from the spider, they wove a strip of raffia fabric and later improved upon their skill. They reported their discovery to their chief Nana Bobie, who in turn reported it to the Asantehene (The Ashanti Chief) at that time. The Asantehene adopted it as a royal cloth and encouraged its development as a cloth of prestige reserved for special occasions.read more)

beautiesofafrique:

Ghanaian traditional attire

Kente also worn by people in the Ivory coast, Akans to be specific (Although Kente, as we know it was developed in the 17th Century A.D. by the Ashanti people, it has it roots in a long tradition of weaving in Africa dating back to about 3000 B.C. The origin of Kente is explained with both a legend and historical accounts. A legend has it that a man named Ota Karaban and his friend Kwaku Ameyaw from the town of Bonwire (now the leading Kente weaving center in Ashanti), learned the art of weaving by observing a spider weaving its web. Taking a cue from the spider, they wove a strip of raffia fabric and later improved upon their skill. They reported their discovery to their chief Nana Bobie, who in turn reported it to the Asantehene (The Ashanti Chief) at that time. The Asantehene adopted it as a royal cloth and encouraged its development as a cloth of prestige reserved for special occasions.read more)

(Source: fckyeahprettyafricans)