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he wasn't even looking at me and he found me
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@africanbeats
What’s up Johannesburg?
What happens to a dream deferred?
Does it dry up like a raisin in the sun? Or fester like a sore— And then run? Does it stink like rotten meat? Or crust and sugar over— like a syrupy sweet?
Maybe it just sags like a heavy load.
Or does it explode?
Harlem - by Langston Hughes
What kind of fuck shit
“Jumping the Broom,” is celebrated on this date. This is an African American phrase and custom for marriage.
The significance of the broom to African-Americans heritage and history originates in the West African country of Ghana. During the Trans-Atlantic Slave Trade, most of Ghana in the 18th century was ruled by the Asante of Ashanti Confederacy. The Asante’s urban areas and roads were kept conspicuously clean according to visiting British and Dutch traders with the use of locally made brooms. These same brooms were used by wives or servants to clean the courtyards of palaces or homes. The broom in Asante and other Akan cultures also held spiritual value and symbolized sweeping away past wrongs or removing evil spirits.
This is where the broom comes into play regarding marriage. Brooms were waved over the heads of marrying couples to ward off spirits. The couple would often but not always jump over the broom at the end of the ceremony. Jumping over the broom symbolized the wife’s commitment or willingness to clean the courtyard of the new home she had joined. Furthermore, it expressed her overall commitment to the house. It also represented the determination of who ran the household. Whoever jumped highest over the broom was the decision maker of the household (usually the man). The jumping of the broom does not add up to taking a “leap of faith.”
The irony is that practice of jumping the broom was largely discarded after Emancipation in America which was consistent with the eventual fall of the Ashanti Confederacy in Ghana in 1897 and the coming of British customs. Jumping the Broom did survive in the Americas, especially in the United States, among slaves brought from the Asante area. This particular Akan practice of jumping the broom was picked up by other African ethnic groups in the Americas and used to strengthen marriages during slavery among their communities.
Jumping the broom was not a custom of slavery, but is a part of African culture that survived American slavery like the Voodoo religion of the Fon and Ewe ethnic groups or the ring shout ceremony of the BaKongo and Mbundu ethnic groups. With slavery over and superficial hints of racial integration allowed, African-Americans could now have European-style marriages.
Jumping the broom had nothing to do with Whites.
Once Blacks could have weddings with rings that were recognizable by anyone as a symbol of marriage, the broom ceremony wasn’t required. During this time, jumping the broom fell out of practice from the stigma it carried, and in some cases still carries, among African Americans who wanted nothing to do with anything associated with that era. The practice survived, and made a resurgence after publication of Alex Haley’s book “Roots.”
Currently, many African and African American couples include jumping the broom at the end of their wedding ceremonies as a tribute to tradition. And even couples who do not actually jump a broom when they get married, often refer to, or at least recognize, the phrase to be synonymous with getting married in the same way most Americans associate “tying the knot” with getting married.
Broom jumping is also practiced by non-Black groups and in different religions around the world with some variation. Wiccans and Gypsies are among some of the groups who developed their own broom-jumping tradition.
Reference: Slavery and African Ethnicities in the Americas Gwendolyn Midlo Hall
The fall of the Asante Empire: The Hundred-Year War for Africa’s Gold Coast Robert B. Edgerton
Part 2
In some African-American communities, marrying couples will end their ceremony by jumping over a broomstick, either together or separately. This practice is well attested for as a marriage ceremony for slaves in the Southern United States in the 1840s and 1850s who were often not permitted to wed legally. Its revival in 20th century African American culture is due to the novel and miniseries Roots (1976, 1977).[24]
Dundes (1996) notes the unusual development of how “a custom which slaves were forced to observe by their white masters has been revived a century later by African Americans as a treasured tradition”.[25]
There have been occasional speculations to the effect that the custom may have origins in West Africa, but there is no direct evidence for this, although Dundes points to a custom of Ghana where brooms were waved above the heads of newlyweds and their parents.[26] Among southern Africans, who were largely not a part of the Atlantic slave trade, it represented the wife’s commitment or willingness to clean the courtyard of the new home she had joined.[26]
Slave-owners were faced with a :dilemma" regarding committed relationships between slaves. While some family stability might be desirable as helping to keep slaves tractable and pacified, anything approaching a legal marriage was not. Marriage gave a couple rights over each other which conflicted with the slave-owners’ claims.[27] Most marriages between enslaved blacks were not legally recognized during American slavery,[28] as in law marriage was held to be a civil contract, and civil contracts required the consent of free persons.[29] In the absence of any legal recognition, the slave community developed its own methods of distinguishing between committed and casual unions.[30] The ceremonial jumping of the broom served as an open declaration of settling down in a marriage relationship. Jumping the broom was always done before witnesses as a public ceremonial announcement that a couple chose to become as close to married as was then allowed.[31]
Jumping the broom fell out of practice when blacks were free to marry legally.[32] The practice did survive in some communities, however, and made a resurgence after the publication of Alex Haley’s Roots[24] Danita Rountree Green describes the African American custom as it stood in the early 1990s in her book Broom Jumping: A Celebration of Love (1992).
Part 3
Slave Marriages
Slave marriages had neither legal standing nor protection from the abuses and restrictions imposed on them by slave-owners. Slave husbands and wives, without legal recourse, could be separated or sold at their master’s will. Couples who resided on different plantations were allowed to visit only with the consent of their owners. Slaves often married without the benefit of clergy, and as historian John Blassingame states, “the marriage ceremony in most cases consisted of the slaves simply getting the master’s permission and moving into a cabin together.”
Benjamin and Sarah Manson’s marriage, however, had been graced with a formal ceremony. Benjamin, who was brought to Tennessee from Virginia as a young boy by his then-owner, Nancy Manson, later described the event in a pension application he filed as the dependent of his deceased son John: “We were married on Dr. L. W. White’s farm 5 miles from Lebanon [Tennessee]… . Rev Ben White [a black preacher] said the marriage ceremony.” The “wedding ceremony,” he continued, “took place on the porch of the owner of Sarah [Dr. White]… . It was with the knowledge and consent of my master [Mr. Joseph L. Manson, son of Nancy Manson] and Sarah’s master that we were married.” Shortly after their marriage, Sarah’s owner purchased Benjamin. “He [Dr. White] had me for a number of years,” Benjamin explained, “then Mr. Manson bought me back and owned me till I was emancipated.”
Wedding Picture from the archives of “Antebellum Illustrations”
owners would have a white minister or a black plantation preacher perform the ceremony, and a large feast and dance in the “quarters” would follow honoring the slave couple. The ceremony could include the slave marriage ritual of “jumping the broom,” which required slave couples to jump over a broomstick. The custom of jumping the broom could vary from plantation to plantation. On some farms, the slave bride and groom would place separate brooms on the floor in front of each other. The couple would then step across the brooms at the same time joining hands to signal that they were truly married. On other farms, each slave partner was required to jump backward over a broom held a foot from the ground. If either partner failed to clear the broom successfully, the other partner would be declared the one who would rule or boss the household. If both partners cleared the broom without touching it, then there would be no “bossin.”
While historians and scholars differ on the origin, exact meaning, and the frequency of the “irregular” marriage ritual, most agree that the act of “jumping the broom” was a “binding force” in the slave couple’s relationship and made them feel “more married.”
Source
Source
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Somebody stop them
*News flash* Ladies (and you gentleman as well), is anyone else addicted to the show ” An African City?!” Well it’s your answer to Sex and the City for the modern African woman and deals with so many issues we face back home after being educated in the Western world such as finding employment, adapting to the climate, how people perceive natural hair and men, yes, lots of dating and men!!! Haha! I’m personally obsessed with the fashion!!!!! Wellll guess which character I just interviewed from the show?!? I’m so excited and can’t wait to put it up! 😄😄😃😀P.S. all episodes are on YouTube! #anafricancity #fashion #africans #style #beautiful #inspiration #bgki #love
Ahhhh really need there to be a season 3
It makes me uneasy when American blacks wear traditionally African clothing from a region they are not from/aren’t raised in culturally. I see American blacks wearing dashikis and Kenyan tribal face paint/design and it just isn’t right to me because they are not from the region. Just because you’re black and genetically have recent roots in Africa doesn’t mean you have the right to appropriate culture from a region of Africa of your choosing. I know that American blacks were stripped of their choice to identify with the country that their ancestors were taken from, and it’s awful, but their roots are in America now, not “the motherland” or whatever some of yall call Africa. You’re American now, as much as it sucks; and it’s not your fault. As a Somali-American woman, seeing a white woman wearing a dirac or a bati or henna is just as offensive as seeing a black American woman wearing it.
If your interested, please read Americanah by Chimamanda Ngozi Adichie about the point of view of Americanized African Blacks on American Blacks.
Do you feel equally as uncomfortable when Africans speak using slang and language created by Black Americans? Do you feel the same when you see Nigerians, Ethiopians and others wearing fashion and styles that were created by Black Americans? Or listening to Hip-Hop and rap? Should Black Americans feel equally as uncomfortable when an African does these things, as we do when white, Asian, etc people do it?
Not being combative, I have been trying to develop my opinion on this for a a few months now, so when I come across an African person who feels this way, I always try to start a dialogue
I am very invested in these types of conversation and hope this conversation grows.
I think it’s a very conflicting because… I’d hope some Africans aren’t genuinely, like, mad that Black Americans are trying to reestablish some kind of connection with Africa. Black American, Caribbean, and Afro Latinx culture have pretty clear ties to (West) Africa, so it makes sense that we’d turn to Africa for soul or root-searching. There’s a right way and a wrong way to do it, some folks do it wrong, but just trying? I mean, you can help them if it seems genuine, read ‘em if it seems like outright disregard, or mind your business and laugh about it with your friends.
i’m probably going to get my ass kicked for saying this, but re: what blackaudacity brought up, i sincerely think most people don’t even consider black american culture a real culture. sure, we’ll all have fun dragging people like iggy for being a wannabe in general, but even still, to black africans at large, the culture that we americans built in america is not considered as sacred and pure as their own. we are still fully expected to share, because that’s just how things have always been, but we are NOT in any way worthy of the same protection from cultural appropriation because our culture is simply not legitimate to them.
this is why i honestly think nobody but american, descended-from-enslaved-peoples, plain ol’ blacks will understand what our condition is like: “I know that American blacks were stripped of their choice to identify with the country that their ancestors were taken from, and it’s awful, but their roots are in America now, not “the motherland” or whatever some of yall call Africa.”
like, i want people to reeaaaally read that and tell me honestly what they expect of black americans. our “roots” are in america now, a country founded on the bones of natives, toiled and built with the blood, sweat, and tears of our own. and they think we should just be happy here? don’t get me wrong, i’m nothing more than proud of how black americans were able to build something out of nothing and make history during our short time here, but it’s disturbing to me to read that, through no fault of our own, we are apparently expected to be completely satisfied with our dubious cultural ties to america as a country which is in itself a monument to not only our own oppression but also the oppression of countless other peoples. like, from the very beginning of our education we are taught that our history began with slavery. think of how that shapes our sense of self, or our sense of community. and once we realize that hey, maybe there was something there BEFORE the trans atlantic, our eagerness to belong to something bigger than a culture born out of constant oppression shows.
in a perfect world, yes, every black american trying to get back to their “roots” will be perfectly educated regarding different ethnic groups in africa, but the fact of the matter is, most of us aren’t and that’s not by accident. in our passionate grasping for any sense of history beyond slavery, we are messy, and i don’t doubt we end up stepping on a few toes. but i think to hold us, a people whose cultures were purposefully erased and diluted, in the same regard as any given white american who just likes to get henna tattoos for funsies is a great misunderstanding of the dynamic in which the black american exists. and to deny us our yearning for something we lost long ago is yet another way in which to deny us our humanity. it is the continued lack of empathy for the black american condition - the condition which will spawn cultural trends that everyone is able to partake in and commercialize at will even when they recoil in disgust at the the thought of uneducated american blacks getting their hands on anything of theirs.
Black American culture is always up for grabs to every and for everyone. The second any black americans begin to try to grasp at anything that involves black culture outside of america we’re reminded real quick that we are the step cousins that only get claimed at family reunions when it’s time to do the nay nay.
^^^^^^^^^
How can my roots be in America when America is only a couple hundred years old??? Roots mean the beginning. Roots mean the start. Roots mean the alpha. Yeah, my branches might be in America, but my roots are not.
^^^Beat me to it. Thank you
All through this post I was still trying to comprehend why they would use “American Blacks”. Like for why?
I think the problem Africans have with African Americans wearing things like Dashikis is that it can come off as them only wanting to learn about the glamorous and stylish side to African culture. That is always the main issue with cultural appropriation.The appropriators only really care about the glamorous side to a culture. They don’t really care about the cultural practices, the traditions, and the cultural beliefs. It’s ironic that when African Americans want to “get in touch with their roots” they do this by wearing dashikis. Dashikis are such a miniscule part of African culture. And let’s just stop there and talk about how diverse the African culture and people are. Contrary to western beliefs, Africa is a continent, and Nigeria and Ethiopia are not the only countries in Africa. Africa is home to thousands of different cultural groups and peoples. Please do not discuss Africa as if it is a single country because it is not. “Getting in touch with your roots” is a sincere and believable reason as to why you suddenly feel inclined to wear a dashiki but if you truly wanted to learn about Africa you’d do this by doing research, asking Africans themselves, and dare I say it VISITING AFRICA and experiencing it for yourself. This is why Africans are just sort of annoyed when African Americans wear dashikis because honestly, what else do you know about African culture?
tfw casual classism
tfw dashikis were popularized in the west by actual scholars of west african cultures and worn to symbolize racial solidarity during political turmoil in the 60s but yall still think black americans just started wearing them for fun out of nowhere
tfw you complain about us not knowing history but you obviously don’t know any of ours and still talk like you have some authority on it
tfw people think pan-africanist thought or the concept of getting back to our roots is a recent phenomenon and not something that’s been a pervasive part of the black western experience since we got here
like its so funny to me how the majority of rebuttals to this post would’ve had good points if they didn’t also reveal such a fundamental (and continued) misunderstand of black culture in the west, including the caribbean. a lot of cultural retention and exchange happens between black people on the mainland and on the islands but people will still try to say we’re stealing from the continentals even when we develop something of our own that’s been a part of our culture since we landed lol there’s literally no winning apparently. you wanna get mad at us for wearing our headwraps wrong next because that seems to be another popular complaint~
Yo…. honestly this hurts me to very core…. like we’re already trying to unify and get past things like colorism and every form of racism that hits us from not just white people but other poc’s. But I sit here and read this shit from my own people? Our fucking cousins from across the ocean??? Like that’s the most foul… earth shattering….. and just out right DISGUSTING thing to tell us. That’s like growing up an orphan and going through life not knowing any of your family, finally coming in contact with them, trying to communicate and create bonds with them, and they tell you to go back to where you came from!! Like… Nigga!!!! I was born and raised in america, but all of my family immigrated from jamaica, I learned Jamaican patios and the culture from them, you mean to say I’m not Jamaican now??? You mean to just shit on Jamaican culture? Black American culture? Shoot, every Black culture that was developed after European colonization and assimilation???!! Unnu chat to much FUCKERY!!! Before you kindly reach out and help us to say, here are some different things from each culture in each country or what have you, you tell us to go nyam shit??? You too Bumboclaat Bright!! xalanay
I got my dashiki from my grandmother. As well as my nefertiti necklace. Her and others in my family were pro black and part of several civil rights actions and cultural exchange events in pgh. Like…Y'all actually shitting on generations of black folks outside of Africa by coming for us.
Just an observation: West Africans have an easier time accepting black people from the Carribean, South America, and countries where majority is POC. I notice my family members and friends being more forgiving of their misconceptions and being more patient when it comes to explaining aspects of their culture. It's a true exchange where they'll treat each other like equals and family. I haven't really seen that type of respect and brother/sisterhood when it comes to interactions between Africans and black people who grew up in countries like the United States or Britain. I'm really trying to understand where the disconnect is coming from. I suspect it has to do with the anti-black sentiments in these countries and a lack of empathy when it comes to the effects of racism in the United States. When African immigrants arrive in US, they find it easier to find jobs, and attend school (even with the high cost of attending a university). I think this is because Africans are treated differently by White people, they're seen as a better type of black than African-Americans. This kind of treatment makes it very easy to buy into the idea that African-Americans are lazy, criminal, self-destructive, basically any negative tag that white people have engrained in this society. I used to think that maybe it's because Africans aren't aware that the effects of slavery still persist today, but while people wreaked just as much havoc on the African continent as they did to black people who were enslaved across the world. I could go on about what Belgium did in Congo or how brutal the British were in stealing and exploiting Africans. Main point is, Africans know exactly what we as black people have gone through, so why is it that Africans can sit with a Jamaican or a Haitian and talk freely about racism and and finding ways to connect with each other but not with African-Americans? Here an article I found useful: https://www.library.yale.edu/~fboateng/akata.htm
South African Shangaan Electro Artist DJ Mahinya-hinya Releases Debut Album ‘Ekaya Giyani’.
Recently chronicled in Spoek Mathambo’s documentary Future Sound of Mzansi, and made popular by pioneering artist and producer Nozinja, the fast emerging electronic sounds of South African genre Shangaan Electro might not have penetrated the mainstream in the way that South African house has, but it’s not going anywhere any time soon.
Adding to the list of artists that are waving the Shangaan Electro flag high is Limpopo-based producer DJ Mahinya-hinya whose 14-track album Ekaya Giyani just dropped on Monday, the title of which is a nod to his hometown of Giyani.
Though the 36-year-old producer and artist has been in the music game for over a decade, Ekaya Giyani, is DJ Mahinya-hinya’s first solo album. Released both digitally and on limited edition baby pink cassettes with professionally printed labels and a full colour J-card insert, limited to 50 copies, DJ Mahinya-hinya, real name Vusi Lawrence Chauke, adds a different dimension to the genre with his use of autotuned vocals, catchy hooks and melodies, and references to his home town and province, without compromising on that essential 180bpm sound that makes Shangaan Electro what it is.
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Ashanti funeral in Kumasi by Anthony Pappone
I attended the Ashanti funeral in kumasi, is been a unique opportunity to understand the culture traditional Akan people. The Ashantis are well known for their strict observance and cooperation during funeralare celebrated to commemorate the deceased and are a unique event that takes place after the burial. It celebrates the transition of the soul of the deceased, into the ancestral world where it becomes a protective spirit for the clan, therefore highly venerated. The Ashanti funerals In Asante Culture the death of a person is seen as a blow to the entire community and everybody shares the grief. Family, friends and acquaintances, sometimes in their hundreds, take part in the celebrations. The participants dress in accordance with tradition, the dress worn by relatives is in red while the others wear black cloth and every piece of gold jewelry their bodies can support. There are many rituals: giving offerings to the spirits of the ancestors, food, drinks, traditional dances accompany him in the world of the ancestors in a flurry of drumming and wild dancing The Ashanti chiefs attending the funeral in the shade of large red and black colorful umbrellas surrounded by their court.
Eva Alordiah - War Coming Ft Sir Dauda
I am so excited about this video. Why? Eva is a Nigeria rapper whose video deaf blew my mind and i love her style, her flow and her attitude. I am here for this video. Video shoot in Nigeria, the whole concept and her overall attitude is just perfect. I am here for amazing female Nigerian rappers. I am here for this!
R2bees “Lobi” produced by KillBeatz
Making me homesick. Lovely video from R2bees :-) Nothing better than watching music videos from the continent that stay true to the beauty of our land and our people.
AFROBEATS (Ghana Non Stop) Mix 2014 There are few pauses between some of the songs, which is a little annoying. But the songs in this playlist are pretty good, so give it listen.
Xhosa Names & Meanings: The “ABC’s of Xhosa Names” by Thandiwe Tshabalala.
South African Illustrator and incredibly talented young creative Thandiwe Tshabalala recently sent me these awesome gifs highlighting and celebrating beautiful names in her mother tongue of Xhosa.
Here’s what she had to say about her series:
"Way back, when apartheid was taking place in South Africa, parents used to give their kids English names so that white people wouldn’t have to struggle pronouncing African names. Most people born during the times of apartheid were given names like: Knowledge, Margaret, Mavis (which has negative connotations), Innocentia, Innocent, Jeffrey, Gloria…eek..Let me just stop there. However, when black folks got their ‘freedom’ back, they went back to naming their children African/South African names."
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All Africa, All the time.
How Africa Would Look Like if its Borders Were Defined By Ethnicity and Language. By George Peter Murdock,1959
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the things they don’t want you to know. but there’s equality though right.
Cape Hottentot = Cape Gibberish.
Voting Open for 2014 Channel O Africa Music Video Awards.
The Channel O Music Awards don’t take place until November 29th this year but voting is currently open.
This year, Nigerian singer Davido, South African rappers K.O. and Cassper Nyovest lead the pack with a total of five nominations each. All three are up for ‘Most Gifted Male’ title as well as the ‘Most Gifted Video Of the Year’ award - two of the top of the awards of the night. For both K.O. and Nyovest, this marks the first time the two have been nominated for a Channel O Music Award. Davido has been nominated three times winning once for ‘Best Newcomer’ in 2012.
A total of 14 categories with artists from all over the continent, with the exception of North Africa, the competition is as stiff as ever. Voting makes all the difference so be sure to cast yours here before midnight CAT November 23rd.
Here is the full list of nominees:
Most gifted male Cassper Nyovest - Doc Shebeleza Davido - Aye Riky Rick featuring Okmalumkoolkat - Amantombazane K.O featuring Kid X - Caracara Sarkodie - Illuminati
Most gifted female Thembi Seete - Thuntsha Lerole Bucie featuring Heavy K - Easy To Love Lizha James featuring Uhuru - Quem Ti Mandou Tiwa Savage featuring Don Jazzy - Eminado Seyi Shay - Irawo
Most gifted newcomer Dream Team featuring Tamarsha, AKA and Big Nuz - Tsekede Cassper Nyovest - Doc Shebeleza Emmy Gee featuring AB Crazy and DJ Dimplez - Rands and Nairas Diamond - Number One Patoranking - Girlie O (Remix)
Most gifted duo/group or featuring artist Uhuru featuring Oskido and Professor - Y-Tjukutja DJ Clock featuring Beatenberg - Pluto (I Remember) R2Bees featuring Wizkid - Slow Down K.O featuring Kid X - Caracara KCee featuring Wizkid - Pull Over
Most gifted dance Uhuru featuring Oskido and Professor - Y-Tjukutja Davido - Skelewu DJ Clock featuring Beatenberg - Pluto (I Remember) P-Square - Personally Busiswa featuring various artists - Ngoku
Most gifted ragga dancehall Buffalo Souljah - Basawine Orezi - Rihanna Jesse Jaggz featuring Wizkid - Bad Girl Patoranking - Girlie O (Remix) Shatta Wale - Everybody Likes My Ting
Most gifted Afro pop Davido - Aye Mafikizolo featuring May D - Happiness Diamond - Number One Flavour - Ada Ada Iyanya - Jombolo
Most gifted kwaito Uhuru featuring Oskido and Professor - Y-Tjukutja Character featuring Mono T and Oskido - Inxeba Lendoda Big Nuz featuring Khaya Mthethwa - Incwadi Yothando DJ Vetkuk VS Mahoota - Khaba Lenja DJ Cndo - Yamnandi Into
Most gifted R&B 2Face featuring T-Pain - Rainbow Jimmy Nevis featuring Kwesta - Balloon GB Collective featuring Brian Temba and Reason - Chocolate Vanilla Donald - Crazy But Amazing Niyola - Toh Bad
Most gifted hip-hop Cassper Nyovest - Doc Shebeleza Khuli Chana featuring DA L.E.S and Magesh - Hape Le Hape 2.1 Phyno - Alobam K.O featuring Kid X - Caracara AKA - Congratulate
Most gifted Southern artist DJ Clock featuring Beatenberg - Pluto (I Remember) Cassper Nyovest - Doc Shebeleza AKA - Congratulate Zeus - Psych K.O featuring Kid X - Caracara
Most gifted West artist R2Bees featuring Wizkid - Slow Down Davido - Aye Burna Boy featuring D’Banj - Won Da Mo Olamide - Turn Up Dr Sid featuring Don Jazzy - Surulere
Most gifted East artist Sauti Sol - Nshike Diamond - Number One Navio - No Holding Back Eddy Kenzo - Sitya Loss Elani - Kookoo
Most gifted video of the year Emmy Gee featuring AB Crazy and DJ Dimplez - Rands and Nairas Davido - Aye K.O featuring Kid X - Caracara Burna Boy - Run My Race Tiwa Savage featuring Don Jazzy - Eminado Dr Sid featuring Don Jazzy - Surulere Riky Rick featuring Okmalumkoolkat - Amantombazane Cassper Nyovest - Doc Shebeleza Sarkodie - Illuminati DJ Clock featuring Beatenberg - Pluto (I Remember) AKA - Congratulate Diamond - Number One
afro beat!!
Helele!! The #WeeklyTongue is Sesotho, a language spoken in the Kingdom of Lesotho as well as throughout the Republic of South Africa. It is also spoken in the vicinity of Pretoria and Brits. Smaller language communities also exist in Namibia and Zambia.
Language varieties of this language include Sekwena, Sephuthi, Setlokwa and Setaung in the central region; Sekgolokwe in the north eastern region as well as Serotse (Selozi).
Sesotho is used by 3,555,186 speakers as a home language in South Africa (2001 census) which is 7.9% of the whole population. According to the 1996 census this number was 3,104,197.
If you want to read more about this interesting language, visit Sesotho Online, a great resource to learn the language and get some information about it.
In today’s video we bring you Tibouho, a Basotho shepherd in the highest mountains in Lesotho met during the Afropeaks pan african mountain expedition. Go check their YouTube channel.
SOME USEFUL PHRASES IN SESOTHO
Good day Dumela
Good morning Mmoro
Hello Helele
Peace Kgotso
Good evening Fonane
How are you? O kae? or O phela jwang?
I’m fine, and you ? Ke teng, wena o kae ? or Ke phela hantle, wena o phela jwang?
Goodbye Sala hantle or Tsamaya hantle.
…more than 90 percent of white South Africans go through a lifetime without seeing firsthand the inhuman conditions under which blacks have to survive. Yet the white man of South Africa claims to the rest of the world that he knows what is good for black people and what it takes for a black child to grow up to adulthood. He vaunts aloud that “his blacks” in South Africa are well fed and materially better off under the chains of apartheid than their liberated brothers and sisters in the rest of Africa. But, in truth, these claims and boasts are hollow. The white man of South Africa certainly does not know me. He certainly does not know the conditions under which I was born and had to live for eighteen years. (1.2-4).
Mathabane, Mark; Kaffir Boy, 1986.
Look at these arguments made, replace black with Arab/Palestinian, and White with Israeli. Switch out Africa with “Arab world/countries” and you literally have the mentality of Zionism.
How many times have Zionists gone around telling us how much better off Arabs in Israel are than anywhere else? How often do they claim that they live free and happy? How out of touch are Zionists from the people they oppress?
It’s no wonder that Apartheid South Africa and Israel were best buddies for the longest time. Their fate will be the same.
(via pax-arabica)
Owing to this concept of Braai Day, I am forced to have this honest and somewhat uncomfortable conversation with you. I had hoped that since you have grown white people, they would teach you better…but they have not.
Let’s start at the beginning……my dear white people, you are not descendants...
