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Influence of African religion on religion
Influence of African religion on religion
An essay on how Religion affect African Civilizations
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The symbol of the leopard was present in this plaque; a symbol that is explored in throughout the West Africa film, thus showing the importance of the symbol in the culture of the people of Benin. In the plaque, there is an Oba holding two leopards, which was an image that was explored in the film. In the film, the symbols were decoded for the culture of the Dogon people; In the Dogon context, the leopard represented the clan of one man, and if a leopard was harmed, it would translate to detriment upon his family. It could be probable that because the Dogon and the people of Benin had similar functions for the symbol of the snake, that the function of the leopard symbol in the culture of Benin could be parallel to that of the leopard symbol in the culture of Dogon. Even more importantly, in the West Africa film, the Oba was seen in the center of the city with a leopard by his side, thus reinforcing the idea that leopards were of importance in Benin’s culture. As explained by the descriptive caption, the leopard connects the Oba to the animal world, because it was known as the king of the wilderness. The mudfish is also seen in the plaque, connecting the Oba to the deity Olokun. …show more content…
This connection reflects on Benin’s animist beliefs and shows that the Oba was not only the king in Benin’s society but was also considered to be the king of their religion, thus reinforcing the importance of the Oba in Benin
Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was known about Benin and its culture apart from brief interaction with other Europeans in the sixteenth century. The perception of Africa was of a primitive, savage and uncivilised land, full of ‘abuses and fetishes and idolatries’, (Hodgkin, 1975, p33). Therefore, when the British invaded Benin they treated any artefacts they found as ‘war booty’ (Woods, 2008, p30) and sold anything of any value to pay for the expedition. They removed artefacts and artwork without recording any contextual evidence of form or function. These ideas are evident in the photographs in figures 1.10 on page 31, 2.2 on page 50 in Cultural Encounters (AA100, Book 3) and Plate 3.1.14 in the Illustration Book: Plates for Book 3 and 4 where artefacts are bundled into piles with centralised white figures suggesting only British triumph (Loftus, 2008). The ‘clever workmanship’ (Gallewey, 1893b, p37) and ‘delicacy of detail’ (Bacon, 1897, p39) attest to the quality of the artwork and the subsequent bidding by rival museums and galleries for the pieces did not prevent the perception that Africa, and thus Benin, as being barbaric and primitive.
Some common themes of 17th-19th century African social and political history span these three stories despite their distinct historical contexts and characteristics. In each society, warlords vied for control without being able to unify small disintegrating states, and political strife led to social mobility and fed the slave trade with war captives (Lovejoy, 68-70). The struggle between competing definitions of orthodoxy and orthopraxy became crucially important when religious causes were allied with political causes, especially seen in the cases of Beatriz and Uthman. Another common feature, best illustrated in Guimba’s story, is the tradition African belief that spiritual power, whatever its source, is good when used in the interests of the community, but bad when used for personal gain (Thornton, 43-44).
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.
By following and analyzing some of the key moments of faith in his life, this paper seeks to expose the extent to which the series of controversial dialectical incidents that happened throughout his early life, i.e., his cultural African religious traditions (thesis), and Christianity as taught by his slave masters (antithesis), had a direct influence in developing his own understanding of religion (synthesis). Furthermore, this paper will demonstrate that Olaudah Equiano's decision was based on the impact of both the influences of culture and slavery, and a personal experience based on his perspective of divine intervention. To begin, most Africans have come from societies with traditional African religious backgrounds unrelated to Islam or Christianity. As a whole, African religious traditions combine belief in a Supreme Being with the worship of other gods and ancestors and use ritual and magic to mediate between human beings, nature, and the gods. In many African languages, there is no word for God, because in their tradition, everything and place embodies God.
Chinua Achebe?s Things Fall Apart is a narrative story that follows the life of an African man called Okonkwo. The setting of the book is in eastern Nigeria, on the eve of British colonialism in Africa. The novel illustrates Okonkwo?s struggles, triumphs, and his eventual downfall, all of which basically coincide with the Igbo?s society?s struggle with the Christian religion and British government. In this essay I will give a biographical account of Okonwo, which will serve to help understand that social, political, and economic institutions of the Igbos.
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
The attitudes towards the display of Benin Art, adopted by European museums and galleries have dramatically changed over the 112 year period since their initial acquisition. This has been for a number of reasons including the societal transition from accepting colonialism to acknowledging cultural diversity, the gradual integration and cross-fertilisation across the academic fields of anthropology, ethnography and art history and the ongoing debate regarding provenance and repatriation.
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.
The prior history of Nigeria before the 1900’s is critical in exploring the effects of colonialism. During the pre-colonial era, Nigeria was mainly divided into three tribes: Igbo, Yoruba, and Hausa Fulani. A female’s role differed according to kinship structure of the tribe and the status of the woman in the economy. Neither new nor peculiar, women have long been regarded as the “subordinate” class in Nigerian culture. Nigerian women were able to achieve high statuses by lineage or marrying into ruling class families. Under customary laws, a woman’s purpose was to be fertile and able to bear children. Tribes expected their women to marry into Igbo, Yoruba, and Hausa Fulani patri-lineage and bear sons to guarantee the future of the tribe. A wife’s position improved as she gave birth to more children and gain approval from elder members. Women who could not were scorned just as Mama wa...
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 plaque under consideration, is of a forward facing man, with an aquiline nose, thin lips, neatly trimmed beard, wearing a sun hat with flaps and looking intently at the viewer. He is dressed in a typical 16th century Portuguese style, wearing a decorated tunic with padded shoulders and tight breeches with short boots.
In conclusion, it is clear that the coming of Christianity to Africa was not greeted with open arms. While it granted Africans the chance to acquire new teachings, it also insinuated itself within politics, family, and traditions, utterly destroying them from the inside out. Having been detailed within novels by Achebe, Oyono, and Thiong’o, it is easy to see how these “pacifying” roles eventually led to a total conquest for all of Africa.
The history of Nigeria before the 1900’s is critical in exploring the effects of colonialism. During the pre-colonial era, Nigeria was mainly divided into three tribes: Igbo, Yoruba, and Hausa Fulani. A female’s role differed according to kinship structure of the tribe and the status of the woman in the economy. Neither new nor peculiar, women have long been regarded as the “subordinate” class in Nigerian culture. However, Nigerian women were able to achieve high statuses by lineage or marrying into ruling class families. Under customary laws, a woman’s purpose was to be fertile and able to bear children. Tribes expected their women to marry into Igbo, Yoruba, and Hausa Fulani patrilineage and bear sons to guarantee the future of the tribe. A wife’s position improved as she gave birth to more children and gained approval from elder members. Women who could not were scorned just as M...
middle of paper ... ... ’s depictions of both traditional and modern beliefs in varying degrees illustrate the importance of both in contemporary Nigerian culture, as well as the greater Africa as a whole, and how both are intertwined and cannot exist without the other. In effect, she skillfully subverts stereotypes or single perceptions of Africa as backward and traditional, proving instead, the multifaceted culture of Africa. She further illustrates that neither traditional African nor western culture is necessarily detrimental. It is the stark contrast of the fundamental cultures that inevitably leads to clashes and disagreements.
While the outside world considered Nigeria to be a united and monolithic entity, even the British colonial administration was wary of the reality of Nigerian politics; the nation was not so much a “country” as it was more than three hundred different groups coalesced into one.4 5 These tribes were divided between three main spheres of influence: the Yoruba, the Igbo, and the Hausa. Historically, their interests were often opposed, and their cultures did not come into regular contact with one another until the British occupation. In spite of the differences British administration a...
Kaduna: Baraka Press, 2004. Magesa, Laurenti. A. African Religion: The Moral Tradition of Abundant Life. Nairobi: Pauline Pub., Africa, 1998. Mbiti, John S. Introduction to African Religion.