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Good art esay on african art
Good art esay on african art
Good art esay on african art
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Traditional African art is devoted to dealings with a spirit world that is known to control success or failure in life. It is believed that spirits can live in fields that produce crops, the rivers that provide fish, the forests that are home, or the land that must be cleared to be able to build villages. Often times, families also believe that spirits may represent their ancestral spirits. Therefore, in order to communicate with them, specialists also known as diviners, are responsible for opening the lines of communication between the human world and the supernatural world. Some of the techniques used to open those lines are prayer, sacrifice, offerings, rituals, divination, and images that represents the visual identity and personality of such spirit. One of the most powerful and potent images of spiritual power is the nkisi. The Nkisi refers to the spiritual charm of the figure which were made by the Kongo and Songye peoples of the Democratic Republic of the Congo. Nkonde refers to the carved power figure itself. Nkondi originated from the verb konda which means …show more content…
By doing so, powers begin to operate and serve private or public functions. This can be used to end conflict and provide healing. For African Americans, this power figure is very important. They go to the extent of believing that spirits may have families, live in villages and possess personalities. In fact people in the Ivory Coast believed that each person lived in a spirit world prior to entering this world or be born. This believe suggest that people had a spirit spouse whom stayed behind when one entered this world. Therefore, if a men or women struggles in this world with gender-specific roles such as a man who is not married and a woman who can’t have a child; has a dream of his or her spouse, this man or women receives a prescription from a diviner to create an image of the spirit
In the rough and tropical island of Papua New Guinea, lived an exceptional aggregation of individuals called, The Gebusi. In the 1980's, The Gebusi tribe was anything besides up to date and acculturated. The Gebusi had their own particular singular and special customs and conventions that they rehearsed and accompanied. The Gebusi tribe took part in custom homosexuality, divination or witchcraft was exceedingly respected and polished, and they partook in particular sister-trade relational unions. By 1998-99, The Gebusi tribe had made another lifestyle. The Gebusi had gotten accustomed with new social convictions, modernization due to “western ways” that had changed their lives until the end of time especially changing their ways and view on gender roles and sexuality.
...s themselves, much like the Dineh. Through their art, the Walbiri communicate with their ancestors, and become united with the Dreamtime, much like the Dineh. When a tjurunga, the residences of the spirits, is touched, a physical connection is made with the supernatural. This contact causes the perpetuation of both humans and spirits (Anderson, 65). This example of contagion in the Walbiri culture illustrates the importance of the relationship between mortals and the holy spirits and art. The Walbiri philosophy that through art humans can transcend and come into direct contact with the Eternal Dreamtime and their ancestors is further exemplified by this act of contagion.
The second edition of “African American Religious History: A Documentary Witness,” covers the religious experiences of African Americans—from the late eighteenth century until the early 1980s. My paper is written in a chronological order to reflect on the progress blacks have made during the years—by expounding on the earliest religion of Africans to black religion of today. Race Relation and Religion plays a major role in today’s society—history is present in all that we do and it is to history that African-Americans have its identity and aspiration.
The influence of a supernatural god and the spirit world influenced every aspect of the Indigenous African community including health and healing, thus a holistic approach to health and healing was essential.
Often one will see a sense of resilience in African Americans today. When faced with adversity they often turn to faith and look at history for ways to solve it. Recently these three concepts have shown up in the news with police brutality and the recent presidential election. During today’s issues just like in the movie African Americans turned to history for answers but also display faith and courage when rebelling against the oppressive system. Sankofa shows that the use of history, faith, and courage have always been used to create stronger individuals in the African American community. African Americas are always taught to use their history to keep themselves safe from a young age. History is used as an example to prevent more turmoil in the African American community. It has also brought about more churches which have been used to instill more faith amongst their community giving them a sense of
Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
Oral history and native folklore is still alive and well in most tribes, and has been scholarly documented for generations. By tapping into the origins and lore surrounding Two-Spirit people I believe we will find a diverse set of stories that can illuminate the traditional Native perspective on Two-Spirit people. Furthermore, by comparing the similarities and differences in tribal legends, we may be able to further our understanding of tribal diffusion as well as better understand the perceptions of any spiritual resonance a Two-Spirit person may have.
Zahan, Dominique. The Religion, Spirituality, and Thought of Traditional Africa. Trans. Kate Ezra Martin and Lawrence M. Martin. Chicago: U of Chicago Press, 1979.
The terms voodoo, hoodoo, black magic and conjure arouse different ideas and interpretations such as fear, fascination, or repugnance. For some, the image of voodoo dolls, which are used to bring pain to the one’s enemy are associated with these words. Others might consider curses and spells used for evil intentions to be at the heart of voodoo. A more innocent notion of voodoo encompasses the idea that it is to be used for the communal good. All of these ideas came together and merged with Christian and Catholic beliefs after Africans were transported to the Americas and subjected to unimaginable horrors as slaves. Many historians define voodoo as “a syncretism between the African religion Vodu and Catholicism.” Voodoo is an entirely new creation, which was born as the African slaves were confronted with New World religions. These new ideas were “camouflaged as European saints, the Orisha divinities continued to be invoked, fed, and celebrated by their transplanted New World devotees, who in turn expected protection and assistance from their ancient spiritual guardian.” In some cases, slaves used the culturally accepted Catholic saints as a cover for their ancestral beliefs which were often seen as foolish and heretical by their masters. This new belief system “met new world needs that the settled and passive African modes could not match.” Voodoo held an important part in many slaves’ lives as remnants of their African beliefs evolved into a meaningful and powerful force. Voodoo was an essential element of survival for many slaves because it helped them cope psychologically with the physical torment they endured, it gave them a sense of power in impossibly difficult situations, and it served as a unifying force.
...sition of meanings shows both majority and minority readers that African-American spiritual experience, while touched by majority experience, does not have to be formed by it.
In Ashanti tribe, family and the mother’s side are most important to this particular group. This tribe believe that child often inherit their father’s soul while flesh and blood is received from the mother. “Instrument such as talking drums are used for learning the Ashanti language and spreading news and used in ceremonies. This instrument is very important to the Ashanti and there are very important rituals involved in them”. (Vollbrecht, Judith A., 1979).
Winsbro, BC 1993, Supernatural Forces : Belief, Difference, And Power In Contemporary Works By Ethnic Women, Amherst, Mass: University of Massachusetts Press, eBook Collection (EBSCOhost), EBSCOhost, viewed 3 June 2014.
Vine Deloria, author of The World We Used to Live In, not only introduces his readers to indigenous Native American spirituality and traditional practices including ceremonies but also brings several important ideas of native spirituality to the forefront. He discusses the importance of having and maintaining a relationship with mother earth and all living beings; an interconnectedness with nature in all forms that is crucial to the understanding and practice of Native American spirituality. Dreams and visions were discussed as an important form of communication in indigenous spirituality. The important relationships with animal and plant spirits are discussed. The concept of power and what is considered power in Native Spirituality. Deloria talks about the importance of place in indigenous spirituality. It is believed that power and wisdom rests in places. The landscape holds memories of all that has ever happened. Through all the aspects Deloria discusses in his book, readers get a clear view and better understanding of Native American spirituality through various accounts of different tribal activities and interviews from both emic and etic perspectives of culture. By using a wide range of research, Deloria does a fairly good job of remaining unbiased which is a difficult thing for anyone to do.
A basic understanding of African religions will provide an awareness of African customs, the African view of death and life beyond death. In many cases the african religion is polytheistic on their day to day practices.However, they believe in The High God where is overriding beliefs that beyond gods, spirits one god exists. Despite the general belief in a Supreme Being, cults to the “High God” are notably absent from many African religions; prayers of petition or sacrificial offerings are directed toward secondary divinities, who are messengers and intermediaries between the human and sacred realms. In many countries in Africa people pray to different gods and goddess. In West Africa theirs a lot of animism, where they pray to the sky and the earth and the seas.
African mythology play a big part in passing down values and beliefs of the African culture. African myths “include supernatural beings who influence human life” (Mythencyclopedia) and usually drive the everyday lives of the people. Myths were a direct way of teaching younger generations about the higher beliefs and religion; in most cases they will include supreme god who the tribes won’t worship directly but through other gods lesser in status. The supreme gods and goddess are also referred to as deities, which are accompanied by spirits who are “are less grand, less powerful, and less like humans than the gods, who often have weaknesses and emotions”(Mythencyclopedia). Another characteristic found in a myth would be the asking of basic questions like who created the world. Who created man? Why does man have to die? This type of myth speaks of a world before the current one, it helps teach generations how the world took its form and acquired its customs. African myths were an essential part of African literary history and a big part in preserving the culture.