The Fattening Room is a example of how are femininity and beauty is defined differently around the world!💜
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The Fattening Room is a example of how are femininity and beauty is defined differently around the world!💜
🚺🇳🇬🚺
My Nephew hipped me to this interesting connection recently .
The link between the Kalabari culture and Jamaica, and Calabar school a now prestigious high School in Jamaica , some family members attended this school.
Kalabari tribe
The Kalabari are a sub-group of the Ijaw people living in the eastern Niger Delta region of Nigeria. Originally, they were known as the Awesome. The name Kalabari was derived from their ancestor Perebo Kalabari who was a son of Mein Owei. Their original settlement was spelt as Calabar by the Portuguese which was pronounced Kalabari. This settlement was abandoned as the people moved to other fishing settlements. Portuguese settlers continued to maintain the name Calabari which became surrounded by the Efik people of Duke town. When the British came the word Calabari was pronounced as Calabar instead of Kalabari. At this time the original Ijoid Kalabaris had moved to a new location which became the new Calabar territory since the old Calabar is occupied by different people. Old Calabar became an Efik town with time which has the name Calabar. The Kalabari are a sub-group of the Ijaw people living in the eastern Niger Delta region of Nigeria. Originally, they were known as the Awome. The name Kalabari was derived from their ancestor Perebo Kalabari who was a son of Mein Owei. Their original settlement was spelt as Calabar by the Portuguese which was pronounced Kalabari.
The Kalabari are a sub-group of the Ijaw people living in the eastern Niger Delta region of Nigeria.
Calabar High School is an all-malesecondary school in Kingston, Jamaica. It was established by the Jamaica Baptist Union in 1912 for the children of Baptist ministers and poor blacks, and was named after the former slave port Calabar, in present-day Nigeria. It has produced at least five Rhodes Scholars, and is respected for its outstanding performance in track and field.[1]
Figure Screen (Duein Fubara), Kalabari, 1900, Art Institute of Chicago: Arts of Africa
Figure screens were made by the Kalabari to honor, memorialize, and communicate with deceased leaders of their trading or canoe houses. One would have formed part of an altar in a side room of a meetinghouse. Originating in the 19th century, when European commerce flourished in the Niger Delta, these screens may have been inspired by early portrait photographs. Here, the central figure representing the house leader wears a British top hat. Joanne M. and Clarence E. Spanjer Fund; restricted gift of Cynthia and Terry E. Perucca, Marshall Field V, and Lynn and Allen Turner funds; Mr. and Mrs. David B. Ross Endowment; Alsdorf Foundation Size: 101.6 × 69.9 × 20.3 cm (40 × 27 1/2 × 8 in.) Medium: Wood, pigment, and fiber
https://www.artic.edu/artworks/185162/
The Kalabri live on close islands in Rivers State, Nigeria, in the Niger Delta. The Owu Aru Sun festival is played every few decades and features masks representing water spirits in honour of transitioned patriarchs and heroes of Kalabari towns. The festival is run by the King of the Kalabari and the Ekine Sekiapu who are the custodians of the masquerades and Kalabari tradition. The legend is that the dances of the water spirits were introduced by a woman named Ekineba to whom the dances were taught in the water-spirit world. [read more+]
Ekineba and the Water People
Ekineba was a mythic being, a mortal who visited the land of the gods.
Ekineba was so beautiful that even the Water People, changing themselves into humans, courted her. The son of the chief priest of Ojoma took a dowry and went to her. Her spirit told her this was the man she would marry. They married, and he took her away in his canoe. Some Water People were upset, and caused a storm to capsize the canoe. Ekineba was taken to the town of the Water People. The mother of the Water People was angry that the canoe had been capsized. When the Water People came home from work, the mother expressed her anger, and they said that they would return her to the land of humans. The chief priest of Ojoma had died, but the son was angry with the gods for not helping him when his wife died. The Water People, before they took Ekineba home, danced for her and told her to beat their drum, the first human to do so. They warned her that at every party she must be the first to beat the drum, to purify the drums. Then they returned her to her home, telling her not to allow her husband to embrace her before he had purified her. He did that, and they embraced. Later, Ekineba told her husband how the Water People had wanted to marry her but she had refused. That is why two of them had taken her away. Then she showed her husband how to make drums, what people should do when she beat them. But some were annoyed that she was always the first to play the drums, and one drummer kept playing before she did. She knew that the Water People were encouraging him, and she did not long to stay in the world of men. She told the people she would be leaving, and she sat and wrapped a cloth around her face. It was evening, and a storm came up: the Water People were coming. She told the people to beat their drums, night fell, a thick cloud descended, and the Water People took Ekineba away.
— Harold Scheub (2000). A Dictionary of African Mythology. [Oxford Index+]
Otobo (hippopotamus) masks of the Kalabari people, Nigeria. Now in the British Museum.
Figure Screen (Duein Fubara), Kalabari, 1900, Art Institute of Chicago: Arts of Africa
Figure screens were made by the Kalabari to honor, memorialize, and communicate with deceased leaders of their trading or canoe houses. One would have formed part of an altar in a side room of a meetinghouse. Originating in the 19th century, when European commerce flourished in the Niger Delta, these screens may have been inspired by early portrait photographs. Here, the central figure representing the house leader wears a British top hat. Joanne M. and Clarence E. Spanjer Fund; restricted gift of Cynthia and Terry E. Perucca, Marshall Field V, and Lynn and Allen Turner funds; Mr. and Mrs. David B. Ross Endowment; Alsdorf Foundation Size: 101.6 × 69.9 × 20.3 cm (40 × 27 1/2 × 8 in.) Medium: Wood, pigment, and fiber
https://www.artic.edu/artworks/185162/
Figure Screen (Duein Fubara), Kalabari, 1900, Art Institute of Chicago: Arts of Africa
Figure screens were made by the Kalabari to honor, memorialize, and communicate with deceased leaders of their trading or canoe houses. One would have formed part of an altar in a side room of a meetinghouse. Originating in the 19th century, when European commerce flourished in the Niger Delta, these screens may have been inspired by early portrait photographs. Here, the central figure representing the house leader wears a British top hat. Joanne M. and Clarence E. Spanjer Fund; restricted gift of Cynthia and Terry E. Perucca, Marshall Field V, and Lynn and Allen Turner funds; Mr. and Mrs. David B. Ross Endowment; Alsdorf Foundation Size: 101.6 × 69.9 × 20.3 cm (40 × 27 1/2 × 8 in.) Medium: Wood, pigment, and fiber
https://www.artic.edu/artworks/185162/
Figure Screen (Duein Fubara), Kalabari, 1900, Art Institute of Chicago: Arts of Africa
Figure screens were made by the Kalabari to honor, memorialize, and communicate with deceased leaders of their trading or canoe houses. One would have formed part of an altar in a side room of a meetinghouse. Originating in the 19th century, when European commerce flourished in the Niger Delta, these screens may have been inspired by early portrait photographs. Here, the central figure representing the house leader wears a British top hat. Joanne M. and Clarence E. Spanjer Fund; restricted gift of Cynthia and Terry E. Perucca, Marshall Field V, and Lynn and Allen Turner funds; Mr. and Mrs. David B. Ross Endowment; Alsdorf Foundation Size: 101.6 × 69.9 × 20.3 cm (40 × 27 1/2 × 8 in.) Medium: Wood, pigment, and fiber
https://www.artic.edu/artworks/185162/