(Source: marianela-aka-starseed, via weareallstarstuff)
(Source: marianela-aka-starseed, via weareallstarstuff)
South Africa:
Young ladies train in Ballet in Soweto through The Joburg Ballet Development Programme
Photos by Madelene Cronje.
Brilliant
I love this so much.
(via dynastylnoire)
#TBTAfrica Dynamic Africa History Post - Inspiration: “African Gold”.
From the ancient Southern African civilization of Mapungubwe, to the region formally known as the Gold Coast, for many African societies - both past and present - gold has and continues to play an important role in various aspects of their quotidien lives.
From the jewelry worn by women in the Sahara, Sahel and Senegambia regions, such as the kwottenai kanye earrings of Fulani women, the elaborate headdresses of Songhaï women, the gold jewelry and currency of the Moors and the Imazighen of North Africa, to the numerous gold cast items of the Ashanti and Akan people of Ghana and Cote D’Ivoire, gold has been used to represent status and wealth, accent spiritual and healing objects, and as adornments for special occassions.
Further Reading:
“Love Pistol” by Queens D Light
Queens D Light is well-versed and well-rehearsed. You may remember this MC from our konversation “Oshun” or our My Art, My Culture review, and we’re glad to announce the music video for her warrior of love track “Love Pistol” off her upcoming album California Wildflower dropping March 20th.
Seriously, Queens’ music gives me hope. She eloquently embodies her world vision and honestly does not care who you want her to be. The video, directed by renown videographer and loving friend Brandon Tauszik (Antwon, RL Grime, Emmy award winning production company Sprinkle Lab), follows Queen’s on a love hunt and beautifully casts West Oakland as a sci fi set complete with dancing spirits in warehouse terrariums, blazing arrows in fields, and well-suited team huddles in alleyways. The mystical style of the video truly has me ready to figure out some sign language, wear matching separates, paint a gold dot by my left eye, and read a short fiction novel based on this video to get every detail of it’s world and Queens’ chase to take aim with her love pistol and all that it stands for - bang bang.
Give it a good watch, and hold on for the full album, California Wildflower, dropping this Spring.
"Ọya: Something Happened on the Way to West Africa!" -excerpt from seyi adebanjo on Vimeo.
“Ọya: Something Happened on the Way to West Africa!” -excerpt
this documentary is a work in progress. the is a personal and political story which addresses the effects of memory on a current Òrìṣà cosmology while exploring womyn’s leadership within indigenous Yorùbá spirituality.
visual language/treatment of film.
this documentary is non-linear in nature. it is utilizing ritual and performance against text/audio. there is a layering of images and audio which resonates with the multiple truths/levels of the practice/culture.check out and support this documentary by filmmaker seyi adebanjo
thank you
submitted by naijaboi
Madam Efunroye Tinubu, Iyalode of Egbaland (c.1805-1887).
Born in the Egba Land of the Yoruba people of West Africa at the beginning of the nineteenth century, Tinubu learned commerce from her grandmother, a successful trader. As a young woman Tinubu married a local man and bore him two sons, but she was widowed following the family’s migration to the town of Abeokuta in 1830. Shortly afterward she met Adele, a deposed king of Lagos, married him, and moved with her new husband and sons to the coastal town of Badagry, where Adele was temporarily recognized as ruler.
Tinubu arrived in Badagry at a time when the then illegal Atlantic slave trade was peaking on the eastern Slave Coast. Although her sons soon died, she used two slaves, allegedly a gift from her father, to trade between Abeokuta and the coast in slaves and other commodities. Never again blessed with children, she invested her growing income from trade in slaves and other retainers, beginning the process of amassing personal followers and expanding her commercial operations.
In 1835, Adele was invited back to Lagos to become king once again, and Tinubu accompanied him as a royal wife. Following her husband’s death two years later, she married Yesefu Bada (also known as Obadina), a successful Muslim warrior and favored retainer of the new king, Oluwole , ensuring Tinubu continued access to the commercial and other advantages associated with royal patronage.
In the bitter succession dispute between Akitoye and Kosoko that followed Oluwole’s death in 1841, Tinubu and Obadina actively supported Akitoye, who was initially crowned king but was defeated in 1845 and forced with his followers into exile at Badagry. Throughout these years of political turmoil, Tinubu seized opportunities to expand her trade and build a large and powerful household of slaves and other retainers. She also took a keen interest in Islam, which was spreading in Lagos.
When in 1851 the British, encouraged by Akitoye , bombarded Lagos, deposed Kosoko, and reinstated Akitoye as king in the name of ending the Atlantic slave trade and developing new kinds of commerce, Tinubu returned to the town. A fierce defender of African interests and autonomy, she soon ran afoul of the British, however, and was eventually driven by them out of Lagos and into exile at Abeokuta. There Tinubu reestablished a large household and used her slaves and retainers to produce and trade palm produce, a new export, and other commodities. She also began exercising considerable influence in politics in Abeokuta and was eventually recognized as the iyalode, or leading female chief, in the town.
Although the British represented Tinubu as an inveterate slave trader and fierce opponent of abolition, she was committed more to the success of her own political factions and to African autonomy than she was to a particular kind of foreign trade. Tinubu is significant historically both for her own activities and achievements and as an unusually well-documented example of a type of powerful precolonial West African woman, too often obscured from the historical record.
I, like many other black women in comedy, tuned into SNL and prayed that Sasheer Zamata didn’t bomb. Every pro-black bone in my body was praying for her safe deliverance to each commercial break. Knowing how unprepared the SNL writing room is to deal with people of color, bombing was a real…
(Source: dnacomedy-blog)
Thank you @Raratoulimen Blessed way to start the new year in my most cherished place. My first dance home. Where I first learned dance, community and love. #AliceArtsCentre #MalongaCasquelordCenterForTheArts
I’m still on high. The community was present everyone that I grew up dancing with. The vibe energy was high, the vodoun was present! I’m grateful to have such an amazing family both on the east and west coast.
I feel the love, the support. It gives me breath, i feel stronger for this community, I feel revitalized for my journey. Thank you!!! AYIBOBO!!!!
I jacked this photo from @soulNubian By the way ..
oh. the shade