“La Vie et après au Bénin”
( Fotomuseum Winterthur)

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“La Vie et après au Bénin”
( Fotomuseum Winterthur)
Traditional dance in the kingdom of Bafut, Cameroon by Ronnie Dankelman
In this ceremony, women dance and sing about their kingdom, men wear animal masks which contain the different metamorphosis of the king.
Usually they dance at funerals, festivals and homages.
(caption by R. Dankelman)
A Wodaabe man. Niger, 1997 by Dan Lundberg on Flickr
Photo from the series ‘The Double’ by Martina Bacigalupo
Wodaabe, Niger par la photographe américaine Rosemary Sheel
Alioune Bâ, malian photographer. His art focuses, in particular, on the hands and feet of his subjects.
‘Moorish boy clad in fustanella (pleated skirt), end XIXth century, Shkodër, Albania’
(Garçon Maure, vêtu de fustanelle (jupe plissée), fin 19e, Shkodër, Albanie)
Photo de Pietro Marubi connu surtout sous son nom albanisé Pjetër Marubi (1834-1903), était un photographe et peintre italien. A l’âge de 16 ans il fuit l’Italie pour des raisons politiques et trouve refuge en Albanie où il vécut et travailla le restant de ses jours.
(Photo Wikimedia)
‘Woodabe’ de la série ‘Nomads in Niger’ - © Terri Gold
'The Men' by Jamel Shabazz
My work is centered on documenting world history and culture for generations to see and learn from. The photo is called « The Men » and it was made in 1998. The photo was taken in Philadelphia, it was a wedding ceremony, all of the men in the image are African American who all embrace their African roots. Thank you once again for the opportunity to share my work and vision in « Down With This » ! Peace and respect… Jamel Shabazz
Mon travail est centré sur la documentation de l’histoire du monde et de la culture pour permettre aux générations de voir et apprendre. La photo s’intitule « The Men » et fut prise en 1998 à Philadelphie lors d’un mariage. Tous les hommes présents sur l’image sont des afro-américains qui embrassent leurs origines africaines. Merci encore pour l’opportunité de partager mon travail et ma vision dans Down With This ! Paix et respect… Jamel Shabazz
Toumani Diabaté and Mangala Camara 'Mali Sadio'
Toumani Diabaté is a is a Malian kora player and Mangala Camara (1960-2010), was a Malian musician and singer.
(YouTube)
BENIN, PORTO NOVO. Ceremony ending initiation to the god Loko by Jean Claude Coutausse.
Voodoo Ceremony, Benin by Henning Christoph
(Soul of Africa Museum)
Vodun (meaning spirit in the Fon and Ewe languages, pronounced [vodṹ] also spelled Vodon, Vodoun, Vodou, Voudou, Voodoo, etc.) is practised by the Ewe people of eastern and southern Ghana, and southern and central Togo; and the Kabye people, Mina people, and Fon people of southern and central Togo, southern and central Benin.
Vodun cosmology centers around the vodun spirits and other elements of divine essence that govern the Earth, a hierarchy that range in power from major deities governing the forces of nature and human society to the spirits of individual streams, trees, and rocks, as well as dozens of ethnic vodun, defenders of a certain clan, tribe, or nation. The vodun are the centre of religious life. All creation is considered divine and therefore contains the power of the divine.
About 17% of the population of Benin, some 1.6 million people, follow Vodun. (This does not count other traditional religions in Benin.) In addition, many of the 41.5% of the population that refer to themselves as Christian practice a syncretized religion, not dissimilar from Haitian Vodou or Brazilian Candomblé; indeed, many of them are descended from freed Brazilian slaves who settled on the coast near Ouidah.
European colonialism, followed by some of the totalitarian regimes in West Africa, have tried to suppress Vodun as well as other African indigenous religions. However, because the vodun deities are born to each clan, tribe, and nation, and their clergy are central to maintaining the moral, social and political order and ancestral foundation of its village, these efforts have not been successful. Recently there have been moves to restore the place of Vodun in national society, such as an annual International Vodun Conference held in the city of Ouidah in Benin that has been held since 1991.
(more on West African Vodun)
Edmond Albius, the man who invented the process of pollination of vanilla
Edmond Albius was born a slave, at the age of 12, he invented a technique for pollinating vanilla orchids quickly and profitably. Albius' technique revolutionized the cultivation of vanilla and made it possible to profitably grow vanilla beans away from their native Mexico.
Albius was born in St. Suzanne, Réunion. His mother, a slave, died during his birth, he never knew his father and he was adopted (?!) by his master, Féréol Bellier Beaumont.
French colonists brought vanilla beans to Réunion and nearby Mauritius in the 1820s with the hope of starting production there. However, the vines were sterile because no insect would pollinate them. In the 1830s, Charles Morren, a professor of botany at the University of Liège in Belgium, developed a method of hand-pollinating vanilla, but his technique was slow and required too much effort to make cultivating vanilla a moneymaking proposition.
In 1841, Albius discovered how to quickly pollinate the vanilla orchid with a thin stick or blade of grass and a simple thumb gesture. With the stick or grass blade, field hands lift the rostellum, the flap that separates the male anther from the female stigma, and then, with their thumbs, smear the sticky pollen from the anther over the stigma.
Albius’ manual pollination method is still used today, as nearly all vanilla is pollinated by hand. After Albius’s discovery, Réunion became for a time the world's largest supplier of vanilla. French colonists used Albius' technique in Madagascar to cultivate vanilla, and Madagascar remains the world's chief vanilla producer.
In 1848, France outlawed slavery in its colonies, and Albius left the plantation for St. Denis , where he worked as a kitchen servant. He was convicted of stealing jewellery and sentenced to ten years in prison, but the sentence was commuted after five years when the governor granted him clemency in light of his enormous contribution to vanilla production in Réunion.
Albius died in poverty in St. Suzanne in 1880.
Nollywood / The cinema of Nigeria
The cinema of Nigeria, often referred to as Nollywood, grew quickly in the 1990s and 2000s and became the second largest film industry in the world in number of annual film productions, placing it ahead of the United States and behind only India. In 2013, it was rated as the third most valuable film industry in the world.
The first Nigerian films were made by filmmakers such as Ola Balogun and Hubert Ogunde in the 1960s.
Nollywood exploded into a booming industry in the late '90s and pushed foreign media off the shelves. It is now an industry marketed all over Africa and the rest of the world. The use of english rather than the local languages expanded the market and aggressive marketing using posters, trailers, and television advertising also played a role in Nollywood's success.
One of the first Nigerian movies to reach international renown was the 2003 release Osuofia in London, starring Nkem Owoh, the Nigerian comedic actor.
Many Nollywood movies have themes that deal with the moral dilemmas facing modern Africans.
(Wikipedia)
Hair in African Art in Culture
Hair in African Art and Culture features artwork ranging from masks and figures, combs, hairpins, beads, headrests to contemporary African barbershop signs that illustrate the significance of hair among various African cultures as an indicator of social status and religious function, a symbol of age and authority, a traditional aesthetic element or a statement of contemporary style, a substance with supernatural power and spiritual import, and an object of beauty and adornment. The intricately carved hair styles in the artworks mirror the traditional styles worn by men and women in the archival field photographs throughout the book. It concludes with paintings, advertising boards, and photographs relating to contemporary African and African-American hair styles that explore cross-cultural influences and retentions.
Lobi men, Ivory Coast, 1940's by Jacques Soubrier
Photo from the book of Jacques Soubrier, Savanes et Forêts (savannahs and forests), J. Susse editions, Paris, 1944.
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The Lobi are an ethnic group that originated in what is today Ghana. Starting around 1770 many of the Lobi migrated into southern Burkina Faso and later into Côte d'Ivoire. Currently the group consists of around 160,000 people.
In June 1898, the French and the British made an agreement that the Lobi country would go under French jurisdiction. Attempts at controlling the peoples was difficult and the Lobi became known for their resistance using poisoned arrows in attempting to thwart the French colonial invasion. (Wikipedia)