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amefricana.bsky.social
Ananda Sandes
@amefricana.bsky.social
37 followers 110 following 1 posts
Filha do Ewúléèjìbò 🕊⚔️🛡
Cientista da voz, viciada em práticas.
Educadora e mestranda em História Social (UFBA)
Salvador- BA 🌈
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Reposted by Ananda Sandes
aicafricanart.bsky.social
Mask for Egungun (Ere Egungun) https://www.artic.edu/artworks/51194/
This mask would have been worn during the annual or biannual Egungun festival, performances and celebrations to honor lineage ancestors. In addition to their deployment during the annual festivals, Egungun masks can also be brought out at funerals for important lineage members or in times of crisis, when the guidance of the ancestors is sought. This mask depicts a figure wearing a pith helmet, a potent symbol of colonialism in Nigeria, even when worn by a non-European. The helmet is surmounted by several birds—one on the crest and five smaller ones encircling the rim—that symbolize the supernatural powers of women, sometimes understood as witchcraft. The lines incised across the cheeks, forehead, and outer corner of the eyelids represent scarification or identification marks, linking the mask to a specific lineage—perhaps that of the mask’s owner. The series of holes around the edge of the mask, through which a thin cord is interlaced, would have allowed the mask to be connected to the fabric costume worn during the ceremonies. An Egungun festival includes a great many masks, each with a unique form and style. While there are many identifiable types of Egungun masks and costumes, there is also a great deal of creativity exercised in their making. Such individuality is also expressed by the personalized name that each mask is given by its owner. The Yoruba word egungun can be translated as “powers concealed” and refers to any masked performer or masquerade. In this sense, the word elucidates a critical function of Yoruba masquerade, which is to cloak and contain otherworldly forces and to help make possible the vital interaction between humans, ancestors, and gods. Egungun is also the proper name of a masking tradition staged to honor ancestors and the newly deceased, those “Dwellers in Heaven” or “Beings from Beyond” that continue to influence the lives of their kin from orun, the otherworld. The Egungun masquerade originated within the Yoruba kingdom of Oyo, perhaps as early as the 17th century, and spread to other corners of the Yoruba region over time. Today, many Yoruba communities have an Egungun society—made up of adult men and women who represent the community’s lineages—that plans the appearances of Egungun masqueraders at funerals, special family occasions, and yearly or biennial Egungun festivals. During these events costumed men move through the town embodying the presence of their ancestors while songs are sung in their praise and invocations are offered to them. Through rituals lasting several weeks, the masqueraders visit lineage compounds to bless or punish their descendants; even royalty must seek their favors in order to have a prosperous year. Though women and children participate by singing, dancing, and watching, they are kept at a safe distance from the masqueraders, whose actions are unpredictable. Egungun masquerade costumes are commissioned and owned by men. The making of a costume involves close consultation with a tailor and sometimes a sculptor if a wooden mask or headdress is required. It also requires the assistance of a diviner, who can communicate with the spirit world; an herbalist, who makes packets of protective medicines that are attached to the costume; and the leader of the Egungun society, who performs rituals to sanctify the costume and selects the young man who will wear it while performing. Taking on the responsibility of owning a masquerade costume is demanding, but it also brings personal prestige and demonstrates a man’s commitment to his extended family, a commitment that is held in great esteem by the Yoruba. –Permanent Collection Object Description Tillie C. Cohn Endowment Fund
September 10, 2024 at 3:10 PM
Reposted by Ananda Sandes
efronsaur.bsky.social
eu e os de verdade que irão ficar aqui no bluesky
September 18, 2024 at 11:23 AM
Reposted by Ananda Sandes
doblues.bsky.social
“As nossas religiões de matrizes africanas nunca queimaram ninguém em fogueiras e, no entanto, é a elas que se atribui a fama de servir ao diabo.”

— Abdias do Nascimento.
September 2, 2024 at 3:22 PM
Reposted by Ananda Sandes
amandaaudi.bsky.social
This represents Brazil more than soccer and samba
September 16, 2024 at 1:15 PM
Reposted by Ananda Sandes
carolinaricardo.bsky.social
Excelente matéria da @jeniffermendonca.bsky.social sobre guardas municipais no BR. Estamos perdendo a oportunidade de investir em uma força de segurança comunitária, preventiva e mais eficiente, para fortalecer a lógica militarizada, em seu aspecto mais brutal ineficiente. ponte.org/o-guarda-vir....
O guarda virou caveira: como a GCM se militarizou para ser polícia
Criada após o fim da ditadura para proteger o patrimônio, corporação se torna cada vez menos civil, imitando o pior das polícias militares.
ponte.org
September 13, 2024 at 1:08 PM
Reposted by Ananda Sandes
savagefiction.bsky.social
O Brasil precisa de um impulso cultural maior. A literatura que mais vende é a dos coach, os influenciadores mais seguidos são os do tigrinho e já começaram ocupar espaços de artistas no cinema e tv.

Fico conectando isso ao ódio que a extrema direita tem da arte, eles só crescem nesse vácuo.
September 13, 2024 at 12:18 PM
Reposted by Ananda Sandes
cmaafrican.bsky.social
Prestige Chair https://clevelandart.org/art/1983.33
The Babanki, one of the chiefdoms that comprise the Cameroon Grassfields, value elaborately carved chairs or thrones. They serve as memorials or visual records that have helped to mark kingships through the ages in the wider Cameroon Grassfields. As prestige objects and a high art form, thrones convey authority and royalty; a new king commissions a royal throne to commemorate his ascension. This example is considered by scholars as one of the finest in the United States. It is unusual because it features male and female figures mounted on stylized leopards, revered as the embodiment of stately power and sacredness. Other notable examples have only male equestrian figures. Five additional leopards frame the openwork back rest. The lower part of the throne is covered by three undulating rings bearing 24 heads<br>carved in the typical Babanki style.
September 4, 2024 at 12:59 PM