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More handpicked essays just for you.
Origin of mali empire an the rise and fall history
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After an empire has fallen, cultural elements are what keep the memories and practices of the empire thriving. In the epic Sundiata, translated by D. T. Niane, many cultural elements are outlined that are specific to old Mali. Throughout Sundiata’s travels many elements of Malian culture are thoroughly exemplified. During the thirteenth century Mali was starting to accept new ways of life and incorporate other cultural elements from around the world. Elements such as griots, music, and hospitality are trademarks of the Malian Empire and are what keep the history of Mali alive and separates Mali from other empires.
In old Mali, griots served as oral historians, advisors to kings, and public speakers. The Malian Empire is the only known empire to have griots making old Mali stand out from other empires. Griots are an important part of Mali’s history because of the lack of written records, so the griots were responsible for memorizing everything including “the history of [kings’] ancestors” (Niane 1). Griots are integral to Mali’s advanced culture because they kept the
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peoples way of life alive for centuries. Griots did not just recite history, but rather transformed history into songs, which they played for those listening. These songs are still played today by modern griots. Griots have become a part of Mali’s advanced culture because they remember the history of the Malian Empire, helping to keep the culture alive. Music was played by the griots along with age old songs in order to keep the history of the Malian Empire alive.
Whether there was a celebration or not, it was up to the griots to capture audiences with the beautiful sound of the ngoni or the kora, two of the most popular instruments used by griots. Although many other empires had music, the Malian Empire’s music was different because it served as a passage to the past. Music was a huge part of Sundiata’s travels, being played during battle and celebrations. Even today, music is a big part of Malian culture because it is a way to preserve history and everyone “has a weakness for music, for music is the griot’s soul” (39). Musicians loved to show their talents during celebrations, especially when people from other parts of the empire visited. The way in which music was performed separates Mali and has keep the culture alive for
centuries. Hospitality was and still is a cultural element that makes Mali so advanced. Both the wealthy and poor were welcomed in all parts of the empire. Visitors were sometimes welcomed with big celebrations filled with music and dancing. Then the king or ruler welcomed the guest saying “my court is your court and my palace is yours. Make yourself at home.” (34). Throughout Sundiata’s travels many regions welcomed him, such as Ghana and Do. Hospitality is another key element in the advancement of old Mali because it displays how willing the people are to make peace with any stranger. Although there are many other cultural elements that have kept the history of Mali alive griots, music, and hospitality are the most important. These elements also make Mali’s culture unique and shaped the Malian Empire. Griots make Mali more advanced than other empires of the time because they brought the history of Mali to life. Music was a way to preserve history and enhanced the mood of all people. Finally, hospitality gave the Malian Empire a good reputation and put the Malian Empire on the map.
In summary, Davidson successful traces Africa’s earliest origins and demonstrates that this is a civilization far from having no arts, technology, sophistication and unique culture. Culture and civilization as we know it today can be traced back to Africa, and modern science has verified the early perceptions of Europeans to be wrong. He provides more than adequate evidence of Africa having a history complete with vast and rich civilization, including archaeological finds and specialized interviews with distinguished scholars and philosophers. Despite the fact that society possesses a more positive attitude towards African civilization today in terms of recognition, equality, and acceptance than in the past, negative stereotypes are still acknowledged and modern day racism unfortunately exists. I believe that the existence of Davidson’s work and videos such as Different but Equal are crucial to challenging these stereotypes and discrimination in order to create a more accurate image of Africa and its history. Overall, Davidson proves that the continent of Africa is home to a history that is just as meaningful, comprehensive, and progressive as that of any other civilization in the
Moroccan traveler, Ibn Battuta, is well-known for being one of the greatest travelers of his time. Battuta’s descriptive account of his travels to East and West Africa in the fourteenth century provides important insight into African Islamic life at that point in time. Although Battuta and the peoples in black Africa shared the same religion, he comes to realize that sharing a religion is not enough to completely relate to a different group of people. The story of Ibn Battuta in Black Africa illustrates the difficulties he faced in relating to these peoples due to the non-traditional role of women, different religious customs, and frequent misinterpretation of situations.
The Portuguese arrived in Benin, in modern Nigeria, between 1472 and 1486 to find an established and ancient kingdom with remarkable social and ritual complexity, with art that was comparatively naturalistic, and with a political system that was, on the surface, recognizable to the Europeans: monarchy. Even more importantly, they found a land rich in pepper, cloth, ivory, and slaves, and immediately set out to establish trade (Ben-Amos 35-6). Though we often imagine "first contacts" between Europeans and Africans as clashes of epochal proportions, leaving Europeans free to manipulate and coerce the flabbergasted and paralyzed Africans, this misjudges the resilience and indeed, preparedness, of the Benin people. The Benin were able to draw on their cultural, political, and religious traditions to fit the European arrival in an understandable context. Indeed, as the great brass plaques of the Benin palace demonstrate, the arrival was in fact manipulated by the Benin to strengthen, not diminish, indigenous royal power.
Underneath the tale of Segu is the hushed and disloyal question few people tend to voice: how did they lose the rights to use the land and resources of an entire continent? This novel explains that it was not just Europe’s greed and Christianity pretense that led to the fall of Africa. It shows that Islam was a major force that endangered Segu as well. However, aside from the tragedy’s that were outlined, there lies a captivating story about culture, spirituality, and diversity.
In the novel Segu, Maryse Conde beautifully constructs personal and in depth images of African history through the use of four main characters that depict the struggles and importance of family in what is now present day Mali. These four characters and also brothers, by the names of Tiekoro, Siga, Naba, and Malobali are faced with a world changing around their beloved city of Bambara with new customs of the Islamic religion and the developing ideas of European commerce and slave trade. These new expansions in Africa become stepping stones for the Troare brothers to face head on and they have brought both victory and heartache for them and their family. These four characters are centralized throughout this novel because they provide the reader with an inside account of what life is like during a time where traditional Africa begins to change due to the forceful injection of conquering settlers and religions. This creates a split between family members, a mixing of cultures, and the loss of one’s traditions in the Bambara society which is a reflection of the (WHAT ARE SOME CHANGES) changes that occur in societies across the world.
This essay deals with the nature of a cross cultural encounter between the Benin people and Portuguese traders in the 15th and 16th centuries, which resulted in the depiction of Portuguese figures in Benin brass plaques. It will propose that this contact between people with different cultures was on the basis of 'mutual regard' (Woods, K. 2008, p. 16), and although the Portuguese had qualms about idolatry in Benin it will show that assumptions by Europeans up to the 20th century of the primitive nature of tribal African societies was inaccurate with regard to the Benin people, who had a society based on the succession of the King or 'Oba', a Royal Family and Nobility. The essay will finally suggest that Benin’s increase in wealth following the arrival of the Portuguese led to a resurgence in bronze sculptures and the introduction of a new form, the rectilinear plaque.
The griot, Djeli Mamadou Kouyaté briefly introduces his ancestors and tells that the Kouyatés have always served the Keita princes of Mali. He describes their duties as harboring old secrets, memorializing the names and deeds of great kings, and preserving "the memory of mankind."(pg xxiv The words of the Griot Mamadou Kouyate) The griot’s role in this book is to serve the king. Griots are very important to African culture; they are the keepers of tradition and are responsible for making sure things are done according to the customs of their ancestors. This is a very painstaking task because these customs are not written down; they are passed down by word of mouth. Their father teaches each griot, the knowledge griots possess is remembered through song and story, and is passed on with amazing accuracy. (pg xxiv)This system would not work well if it were...
Equiano’s cultural child-like innocence is further highlighted through the mistaking of everyday European items as being “magical”. Not because they are magical but rather because they were objects Equiano as well as most slaves had never encountered before, this became a large reason in the justification of slavery, as the idea was held that the West were merely attempting to humanize what they believed to be unhuman animals just because they were unfamiliar with objects such as these, yet when we examine the first part of Equiano’s narration, we see the opposite of “animals” but rather a different culture, thriving within Africa. Volume I opens with a description of Equiano's native African culture, including customs associated with clothing, food, and religious practices. He likens the inhabitants of Eboe to the early Jews, and offers a theory that dark African skin is a result of exposure to the hot, tropical
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin. Over time, concepts of ‘Race’, defined as a distinct group with a common lineage, and ‘Primitive’ which pertains to the beginning or origin,, have been inextricably linked with the perception of Africa. The confusion of the two in the minds of people at the end of the 19th century, and some of the 20th, caused a sense of superiority amongst the ‘White Races’ that affected every aspect of their interaction with ‘the Black’. The ‘Civilisation’ of Africa by conquest and force is justified by these views.
Sundiata developed into a great leader of Mali through hardships, religion, and core/tributary/periphery relationships of states. The djeli who transmitted this information to the translators, is also a manifestation of an institution important in Sundiata’s epic, because without djelis these stories would be lost forever. Sundiata learned about the formation, running and maintenance of African states through interactions with the communities he was introduced to.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Coffin, Judith, Joshua Cole, Robert Stacey, and Carol Symes. 2011. Western Civilizations. New York, London: W. W. Norton & Company.
Post-concert I researched this topic and found a few interesting things. Griots are the poets, historians and musicians of West Africa, their ancestors defined their culture. The people of West Africa believe that the distinguishing factor, kuma (in the Manding languages), between man and mammal is Word, or spoken language. The Power of the Word is revered as “magical, and mystical and that power in West Africa belongs to the griots,” (Griots, page1, para. 1). Therefore, the griot culture is crucial to Mali, without them they believe they are nothing more than mammals. In regards to the concert, the music Trio Da Kali sang were traditional and very meaningful to their culture. As musicians, it is important for them to maintain traditions but they probably put their own spin on the music, as any musician
Sundiata: An Epic of Old Mail was written in an attempt to show the historical richness of Africa’s oral history among the Mandingo people of the Mail Empire. This piece of literatures challenges western thought and ideology that oral narration and traditions have not historical foundation because it is not written. D.T. Niane thus defies the thought that Africa has not history because it was not recorded. D.T. Niane also attempts to preserve the oral history of Africa and its People by having it brought to light. In Sundiata: An Epic of Mali, D.T.Niane uses the oral myths and folklore
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...