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African Roots III – Rhythm

 

“Africa is at once the most romantic and the most tragic of continents. Its very names reveal its mystery and wide-reaching influence. It is the ‘Ethiopia’ of the Greek, the ‘Kush’ and ‘Punt’ of the Egyptian, and the Arabian ‘Land of the Blacks.’ To modern Europe it is the ‘Dark Continent’ and ‘land of Contrasts’; in literature it is the seat of the Sphinx, gnomes, and pixies, and the refuge of the gods; in commerce it is the slave mart and the source of ivory, ebony, rubber, gold, and diamonds. What other continent can rival in interest this Ancient of Days? There are those, nevertheless, who would write universal history and leave out Africa”

W.E.B du Bois in Music: Black, White and Blue by Ortiz M.Walton

Whatever people are trying to hide of the African Roots of so many cultural expressions in America, it will be the hardest to do that with the influence of African music. African music did have an immense influence on the musical scene everywhere where the African slaves were transported. Music as a tool most African were able to transport with them, as a tool for cultural expression and as a tool for communication that was heavily suppressed by the slave masters. Today a lot of people would not believe how strong the influence of African music is on contemporary music all over the world. I will just give a short list of music styles with African roots (or developed by African Americans):

Afoxé, Bachata, Bambuco, Bluegrass, Blues, Bomba, Cajun music, Calypso, Candombe, Cueca, Dancehall, Disco, Doo-wop, Dub, Festejo, Funk, Go Go, Gospel, Haitian music, Hip Hop Music, Jazz, Landó, Lovers rock, Maracatu, Mento, Merengue, Neo Soul, Plena, Ragga, Reggae, Rocksteady, Ragtime, Rhythm and blues, Rock and roll, Samba, Samba-reggae, Ska, Son, Soul Music, Spirituals, Swing, Zydeco… and so on.

So, if I wanted to go into detail, I’d have to write a book. Thus, I will try to concentrate on only few aspects of the African influence on the music in the Americas. I will concentrate first on traditional African music and its concepts, and in the second part I will focus on the musical bow, its beginnings and its branching throughout the world, starting in Africa, and somewhere landing as Berimbau in Brazil. For all those people who will now say that the Berimbau was not always part of Capoeira. You are all right. The Berimbau seems to be involved only in the late 19th century. But concepts of traditional African music seemed to be present long before, like responsive singing and the usage of drums. And since the Berimbau is now the accepted number one instrument of Capoeira and even more, since the use of the Berimbau spreads all over the world through Capoeiristas playing it, it is important and interesting to know where it comes from, right?

The Soul of African Music

First of all: Africa is big. Really big. With an area of over 30 million square kilometers and more than 900 million inhabitants it is 3 times bigger than Europe and has about 25% more inhabitants (and it is still 20% bigger than North America and has 80% more inhabitants). And much more than the latter two continents Africa is highly diverse in terms of languages and cultures. The exact numbers are not known, but there are well over thousand languages and cultures on the continent. All of them have different rituals, arts, social systems and believes. So talking about “African music” is about as sloppy as talking about “European music” and intermixing Irish stepdance with Bavarian Schuhplattler and the Bulgarian Paidushko horo. So every statement being made here is to be seen in this light. I try to be as general as possible and not to specify on a specific music. And I will concentrate on those facets of “African music” which did have an effect on American music.

The most important thing about African music is its usage as tool for communication. This communication is either with the gods, with spirits, between different villages/tribes/nations or between certain individuals of one group. Words are a means of communication, yes, but by combining it with rhythm and performance multiple layers of communication are achieved, only obvious for those who understand all of them. This came as an advantage of the practice of African music in the diaspora.

There were many different types of music, each having a function in traditional social life. The emphasis is on community and involvement of different partners, not on watching a solo artist show her talent (although, yes, there is also  solo music in traditional African societies). And there was different music for about every phase of life and every kind of happening, if it’s the birth of a person, marriage songs, hunting songs, partying songs.

African music was most of the time sacred and secular at the same time. It was not depending on the music, but on the person receiving or participating in the music. Some people were just enjoying the music, the dance and the rhythms, while others saw the spiritual aspects. And most did both! There was no separation of music, spiritual dimensions and the world in traditional African music. Instruments were like persons, they had spirits and were to be taken care of – by specialists sometimes who were the only ones allowed to play it. We have the same in Capoeira, where the Berimbau is treated as “the mestre of the roda” and the Viola “cries” (Chora Viola) and where the falling of a calabash feels to us like a kick into one’s groins.

Musicology

Traditional African music is often described as rich and colourful. That is, because to Western ears African music does sound complex, polyrhythmic and polyphonic. This is achieved by the use of a large number of diverse instruments and the happening of multiple events within the music. Farspread is the establishement of a relationship between a leader and the chorus. The two parts respond to each other in a rhythmic call-response pattern, with short phrases and a high degree of spontaneity and variation. Together with these elements the element of dance is usually part of African music and adds to the colourful image.

Participation is an important aspect in traditional African music, as they were usually social events. The audience is not bound to only listen, but does take an active role in providing “energy” to the performance.

These attributes of traditional African music did come with the slaves when they were brought to the Americas and they helped the slaves build up codes and the spreading of information and ideas among slaves of the same and of different farms.

An Old instrument

There are thousands of instruments all over the world and also in Africa. And each of them does have a fascinating history – on the other side: there is no way one post could explain the roots of all African instruments which made an impact in American culture. But I will do so with one: The musical bow.

The musical bow is old, reaaaally old. The concept of using a bow to produce sounds is as “instinctive” as using anything hard and resonating as a drum. The history of the musical bow goes back as much as 17 000 years. Cave paintings in southern France do show the use of bows both for hunting and for “fun”. The music bow seems to have originated in Africa, because today the musical bow does have its highest variability and distribution there (there are only few examples of musical bows outside of Africa). In Africa they have thousands of names, like Samuius at the Zulu, Gom-Gom at the Hottentots, Bobre in Mozambique, Zedzi lava in Madagascar, and Hunga or N’ Kungo in Angola. Interesting is that the Hunga does look much like the Brazilian Berimbau, a “bow with a gourd resonator open like a bell tied to its back. The tunes are varied by the amount of opening between the player’s body and the gourd and by moving it over different parts of the stomach. The string is held between the finger and the thumb and beaten with a slender cane.” The Madagassy Zedzi lava is similar, the player has in his “right hand…a small rattle of plam leaf; also a slender stalk of split cane, with which he strikes the string, its note blending with the sound of the rattle.” (both quotes from Geographical Distribution of the musical bow, Otis T. Mason)

On new paths

From Africa the musical bow did start to spread all over the world, most recently through the journeys of Capoeiristas who took the Berimbau with them. Before it was slaves who might not have taken their instruments with them when they were enslaved, but who did know how to build them. And so they did.

All of you (especially those people who know about Capoeira) know that I will come down to the Berimbau at the end of this post. But the Berimbau is not the only contemporary musical bow of the African Diaspora. And the Americas are not the only continent who has experienced a massive influx of Africans and their culture (although the Americas had the strongest influx). Asia was another place where Africans went, via trade, but also sold as slaves.

A side note: slavery always existed in a certain form or another. The Old Egyptians had slaves, the Romans had slaves and there were slaves in the Middle Ages, both in Europe and Asia. Also the Arabians were heavily engaged in the slave trade. And yes, there was slavery in between African nations, too. The difference between slavery in the Colonial era and slavery in the pre-Colonial era were the vast amounts of slaves being transported to the Americas and the the way slaves were treated like animals. In all eras before there were at least several examples of slaves who achieved higher ranks, who could buy themselves free and who became kings or at least high-order functionals of the state.

Anyway, so African slaves, but also African sailors and tradesmen arrived in Asia long before Marco Polo arrived in China. Of course that is first because Africa and Asia are so close together meeting in the Middle East, where there was always intercultural mixing and contact (e.g. between Babylon and the Pharaos, between the Hethits and the Pharaos, between Ethiopians and the Arabs). But Africans did also go as far as India, where commercial contacts were established as early as 1100. Settlers moved from Ethiopia to India and became known as the Siddi, an Afro-Asian population still existent today (although slowly diminishing because of intermarriage). The Siddi are descendants of Bantu speaking nations from East Africa and Ethiopia, but also from South Africa, like Angola. Those came especially in the 17th century, when the Portuguese started to trade in slaves, too.

And of course they also brought their culture and – in this case – also their music bows with them. Here it is called Malunga and is a Berimbau-like bow played with the gourd to the belly and with a rattle enriching the sound of the musical bow. For a sample of the Malunga sound, click here. The Malunga is used in rituals today, e.g. in Ramadan when a responsible person wakes up the people before dawn to eat he walks around the streets calling and playing the Malunga.

An Old Instrument in the “New World”

And finally we come back to the Americas, where, due to the excessive slave trades of four centuries, the African Diaspora is everywhere, in the streets, in the language, in the culture, in the music. And so is the music bow. It is not only present in the Berimbau of Brazil, it is also represented in the Appalachian mouthbow, the gualambau of the Guarani Amerindians in Paraguay and in the burumbumba of Cuba.

And so we come down to the Berimbau, which has become the Capoeiristas instrument since the 19th century. The Berimbau, also called Berimbau-de-Barriga, came to Brazil with the Angolan slaves who called it mbulumbumba (Ngumbi and Handa of Southwestern Angola), humbo (in Luanda), nhungo (Mbunda) or Rucumbo (Congo people). There were a dozen other African musical bows preceeding the Berimbau, the Berimbau itself did evolve into its recent form in Brazil (though the only thing which changed is that it is louder and bigger than most of the African instruments, the concept and details are all African inventions). The African predecessors were also existent in Brazil and only got pushed aside in the 19th century. And in the 19th century Jean Baptiste Depret did paint ‘The Blind Singer’ a picture showing a Berimbau and a Lamellaphone player, that is the picture shown in the beginning of this post. It is either used as a single instrument or in Batuque and/or (who knows how exact the observants were witht their assumptions in the 19th century) Candomblé rituals before, but the usage of the Berimbau in Capoeira though is not mentioned before 1888.

And today? Well, most people who know the Berimbau do automatically connect it with Capoeira. There is also some popular music using the Berimbau (like Max Cavalera) and through Capoeira the Berimbau does spread to places where it was never seen before. And even today people are not used to the sight of the Berimbau in Europe and North America, thinking that it is a kind of alternative proto-instrument, too primitive to be taken serious. Let’s prove otherwise!

……………………………………………

Ok, so much for the influence of African music on the Americas, the World and Capoeira 🙂 I definitely know that there is much more to tell, but as usual I tried to keep it streamlined and I hope I managed.

Some Sources:

Geographical Distribution of the Musical Bow, Otis T. Mason, American Anthropologist, Vol. 10, No. 11 (Nov., 1897), pp. 377-380

Music: Black, White and Blue, Ortiz M.Walton

Traditional African Music, Karlton E. Hester (editor in chief)

Rhythms of Resistance, African Musical Heritage in Brazil, Peter Fryer

The Natural History of the Musical Bow, Henry Balfour in American Anthropologist, Vol.2, No.1 (Jan. 1900) pp. 164-166

The Drum and its Role in Yoruba Religion, Ademola Adegbite, Journal of Religion in Africa, Vol.18, No.1, 1988, pp. 15-26

 Picture sources:

Wikipedia

http://www.kamat.com/kalranga/people/1097.htm

 

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African Roots I – Ancestors

(Jean Baptiste Debret, 1835)

More than 3 million Africans were enslaved in Brazil before the abolition in 1888. The Portuguese did, for economical and political reasons, have only access to certain African people, which is the reason why most of the ancestral nations of today’s Afrobrazilians are known.

In this first post of the African Roots series I want to begin with the uttermost basis of Capoeira. That is: the people who were brought to Brazil. The people which did not just bring their bodies with them, but also their beliefs and their knowledge.

The Portuguese had two major sources of slaves, the Sudan people and the Bantu people. The Sudan people were native to West and Central Africa. Sudan people being a summarizing word for different nations, like the Asante/Ashanti, Mandinka, Yoruba, Igbo, Fon and Adangbe. The Bantu people were natives of South-West Africa, living in the areas which are present Angola, Mozambique and Congo. All of these cultures and nations did add to the diasporic culture evolving in Brazil, the other South American states, the Carribean and North America. Usually because of sheer numbers there are nations which had a bigger influence on diasporic African culture than others. I will now concentrate on them rather than digging up information about every nation which “contributed” slaves to the Americas. The most influental nations were the Mandinka and Yoruba people from West Africa and the Congo and the Mbundu people from the old Southwest African Empires.

As I already posted some information about the Mandinka, I will first start with the Yoruba.

The Yoruba

The Yoruba are a common word for different tribes which are loosely linked by geography, language, history, and religion. In Nigeria, Benin and Togo the number of Yoruba people is about 15 million.

History

As far as history can say the Yoruba were always there. There is some archaeological evidence that the area where the Yoruba live is occupied since prehistoric times. Other theories say that the primary ancestors, the Odudua, came from Egypt. These are based on the fact that there are similarities between early Egyptian and Yoruban sculptures (though this can also be just an effect of trade or intercultural cross-talk). According to Yorubas myths, the founders of the Yoruba states were the sons of Odudua. The Yoruba still refer to themselves as “the children of Odudua.”  Although they had a common origin, a common language and common believes the Yoruba never had one single political organization. They were more organized into up to 25 different nations with urban centers as the center of political, economical and cultural life. The Yoruba were the most urbanized Africans in precolonial times. Of the urban centers, Ile-Ife is universally recognized as the oldest and ritually most important Yoruba city. The founding of Ife is believed to date to about 850 AD. Its biggest rival, the Oyo kingdom just to the northwest of Ife, was founded about 1350 AD. The Oni of Ife and the Alafin of Oyo are still the most highly respected Yoruba kings in Nigeria. Other major kingdoms were Ijesha, Ekiti, Shabe, Ketu, Egbado, Ijebu, Awori, Ondo, Owo, and Itsekiri. By the 18th century a lot of wars between Yoruba states did add to the slave trade and on the other side, were also affected by the political, economical and demographical challenges of the slave trade. Slaves of Yoruba descent were resettled in Cuba and Brazil, where elements of Yoruba culture and language can still be found.

Religion

I will only shortly describe the religion of the Yoruba. Not for the reason that there is not much to tell, but for the reason that a lot of Yoruba will come up in the later posts (actually in the following post) and that I dont want to state here things which would be better in the next post. Important to know is that the Yoruba had a very strong influence on belief systems in South-America and the Carribeans.

In the religion of the Yoruba there are important beings like kings, ancestors and deities. The number and the interrelationship of the vast numbers of gods the Yoruba have (according to the Yoruba it is 401 gods) remindes me of the Ancient Greek with their rich mythology and immense number of stories. These deities, known as Orishas, are also known to Carribean and South-African religions like Candomblé (and yes, the next post will be about Candomblé and other belief systems of the African diaspora).

Art

The Yorubas are famous for their art and craftwork, especially for their wood sculptures, which are important even in modern times. Carved doors, drums, and ritual masks are important articles of Yoruba art. The doors are often covered with carved panels of scenes of everyday life, history, or mythology. The masks are more facial carvings that represent different types of Yoruban religious entities like the trader, the servant, and the seducer.
Other than wood carvings the Yoruba also have beautiful sculpture work in brass, terracotta, and steel.

The Congo

The Congo (“hunter”) people, or Besinkongo or Bakongo, as they refer to themselves, are part of the loosely connected ethnic groups known as the Bantu. There is about 10 million Congolese people living today mostly on the African Atlantic coast between Brazzaville and Luanda.

History

The word Bantu does refer to over 400 ethnic group in Sub-Saharan Africa and a language diversity similar to the diversity of the Indo-European languages. The Bantu seem to be descendants of a “proto-tribe” which went through a huge expansion phase in the last 5000 years (we have to keep in mind that this expansion was mostly not an active war on neighbouring tribes, but a kind of diffusion of the culture and the language companying the one or other occasional movement of people from one place to the other). Around the year 500 BC the Congo people did arrive at the area of the Congo River. They arrived as settlers and did engage in iron work and agriculture since then. During the 2000 years of pre-Colonial Congo there were a number of kingdoms built up by the Congo people, including the Kingdom of Kongo, Ngoyo, and the Loango kingdom. The Kingdom of Kongo does play a very important role in young Congo history. It was presumably founded around the year 1100, the first recordings being around the end of the 15th century.

First contacts after the Portuguese “discovered” (right, as if the Congo people were lost or did’t know where they are…) the Congo Empire in the year 1482 were respectful (in comparison to later times, not in terms of common decency…) with Congolese nobles visiting European courts (or being presented there). On the other side there were attempts to Christianize the kings of Congo, which seemed to have worked with “Nzinga a Nkuwu” who was baptized as Joao I. in 1491.

When the Kongo people had to defend themselves against the Yaka in the mid of the 16th century, they asked the Portuguese for help, who came and stayed. Congo was officially colonized by 1885. Before then the Congo kingdom did lose his power in long years of bad governing and civil war. During these times a lot of Congo people were sold as slaves to the Portuguese. The starting point for most Congolese slaves was Luanda, which is a place still sung about in Capoeira songs. Luanda was founded by the Portuguese explorer  Paulo Dias de Novais in 1575. Since its foundation till 1836 it was the administrative center of the Portuguese slave trade.

Religion

One important subject of Congo religion are the existence of “spirits”, which can be ancestors, but also other spirits, which can inhibit objects. These objects, the minkisi (singular: nkisi) can act as chantments, protecting the person who wears them. Nkisi do also come up in Candomble. Most of the Congolese traditions in African Diaspora can be found in the Quimbanda (Macumba), an Afro-Brazilian religion. Yes, I’ll come to that in the next post 🙂

Arts

Congolese art is predominantly focussing on human beings and animals with a lot of sculpture work. Most of the Congo art is wood carvings, thought they ere also doing pottery arts.

The Mbundu

The southern neighbours of the Congo people were another ethnic group with a high importance for Portuguese slave trade, the Mbdundu. The Mbundu count nowadays something like 10 million people and share common traditions and their common language Kimbundu. Like the Congo people the Mbundu also have a disctinct history which changed drastically upon the arrival of the Portuguese. And like the Congo also a lot of Mbundu people were sold into slavery to Brazil and other Southamerican states.

History

 The oral tradition of the Mbundu does tell us that the founder of the Mbundu kingdom was a person called Ngola Kiluanje, who emigrated from the Congo and founded the kingdom of Ndongo. The kings of the Ndongo were called N’Gola, thus the modern name of the state of Angola. First records of Ndongo are from the 16th century when missonaries and adventurers did write down oral traditions of the Mbundu. In those times the Ndongo was a tribute state of the Congo Kingdom, although in later times the Ndongo did gain power with the help of the Portuguese (for all little Macchiavellists here, there is a classical example of divide et impera). The rest of the history of this kingdom does read like a classical story of the time of Colonialism with the exception of Queen Nzinga. Queen Nzinga was born 1582 to the Ngola Kiluanji. Special about this woman was that, once she succeeded in getting into power she managed to build up a coalition against the Portuguese attempts to gain power in the region. This woman was able to hold back the Portuguese in a time when those were thirsty for new land and new slaves to be sold to the growing agricultural economy in Brazil. This woman, who led the armies against the Portuguese personally, did manage to have a Peace treaty with the Portuguese by 1657 and died peacefully in the year 1663.

She is still one of the most important figures in Angola history and there is a statue of her in the center of the capital Luanda. Sadly soon after her death the Portuguese submitted the Mbundu in the year of 1671 and suffered under the slave trade and under Colonialism till the 20th century. Important about Queen Nzinga might be her role as a woman in Mbundu society. Mbundu society is strongly matrilineal and did have a lot of important female figures in its history.

Religion

The belief systems of the Mbundu are based on the interactions, praise and communication with ancestral spirits and nature spirits. Problems and difficulties in life are referred to as problems in the communication with these spirits. To solve these problems there was the Kimbanda, the diviner, who has the ability to communicate with the spirits. These diviners are still referred to when Angolans do have problems, although Christianity did enter the Mbundu society beginning with the very first contacts with the Portuguese.

Arts

Seated Woman - example of Mbundu Arts

Seated Woman - example of Mbundu Arts

 Mbundu arts are, when you find sources about them, usually intermixed witht the arts of neighbouring nations, as well as the arts of the Congo. As the Congo nations the Mbundu do have a lot of artwork with carvings. One speciality seems to be the Mbundu masks worn in rituals.

 

Well, that was the first part of the African roots series. Finally! And it was a lot of work! But I hope with this you have a basic knowledge regarding the question who came to Brazil?. this knowledge is needed to fully comprehend Capoeiras roots, because everything in Capoeiras history and present is somehow related to these people who came to Brazil (with the exceptions of some modern inventions, like cordas). In the next post I will refer about Candomblé, Macumba and – in general – religious believes of the African Diaspora outside and inside of Capoeira. Hope that you people will continue reading this series. If there is anything to comment on, or some information you want to see here, just post it under the comments. And if you are interested in more information, check out the links given at the bottom. They and others were the main sources for this post.

picture source: 

http://www.bibvirt.futuro.usp.br/index.php

http://www.kunstbuchhandlung.de/images/cover/1121972.jpg

http://upload.wikimedia.org/wikipedia/commons/e/ee/Jean_Roy_de_Congo.jpg

http://www.metmuseum.org/toah/images/h2/h2_1978.412.424.jpg

http://www.traveltonamibia.com/mbunduinfo.htm

Sources about the Yoruba (though this is not a complete list, but most of these sites have links to very good other sites!):

http://hearstmuseum.berkeley.edu/outreach/pdfs/yoruba_teaching_kit.pdf

http://www.postcolonialweb.org/nigeria/yorubaov.html

http://www.uiowa.edu/~africart/toc/people/yoruba.html

http://www.learnyoruba.com/

Sources about the Congo:

http://www.uiowa.edu/~africart/toc/countries/Angola.html

http://en.wikipedia.org/wiki/Bakongo

http://www.congo-pages.org/congoartnet/congo_art.htm

http://www.britannica.com/EBchecked/topic/757032/African-art/57147/Congo-Kinshasa-and-Congo-Brazzaville#tab=active~checked%2Citems~checked&title=African%20art%20%3A%3A%20Congo%20(Kinshasa)%20and%20Congo%20(Brazzaville)%20–%20Britannica%20Online%20Encyclopedia

Sources about the Mbundu:

http://countrystudies.us/angola/

http://www.bjornthegreat.com/angola/index.php

http://nzinghaofangola.tripod.com/

http://www.mnsu.edu/emuseum/cultural/oldworld/africa/kimbundu.html

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African Roots – series on Angoleiro’s Blog

Ié!                                                    Ié!

Capoeira é uma arte,                       Capoeira is an art,

Capoeira é uma arte,                       Capoeira is an art,

Que o negrou inventou.                   which the negro invented.

Foi na briga de duas zebras              In the brawl between two zebras

que N’Golo se criou.                         the N’Golo did evolve.

Chegando aqui no Brasil                  As it arrived here in Brazil

Capoeira se chamou.                       it was called Capoeira.

Ginga e danca que era arte              The Ginga and the dance, which were an art,

em arme se transformou                 did transform into a weapon

Para libertar o negro                        to liberate the negro

da senzala do senhor.                      from the Senzala of the lord (slave owner).

Hoje aprendo essa cultura               Today I learn this culture

para me conscientizar.                     to increase my awareness

Agracedo ao Pai Ogum,                    Praise to Father Ogum,

A forca dos Orixás,                          the power of the Orixás,

Camará!                                           Comrade!

(Ladainha from Grupo Capoeira Angola Pelourinho*)

 

Starting aound 1550 the Portuguese started to import millions of Africans into Brazil. Over three hundred years, Black men and women were robbed and bought in Africa, treated like animals, transported over the Atlantic under unhuman conditions and had to work hard for essentially nothing. They were slaves.

Regarding those slaves who were imported there is one quote I read somewhere (I really dont know anymore where) and that is: “Those slaves might have come empty handed, but they did not come empty headed.” What came with them is their complete belief systems, music, rituals, world view, traditions, knowledge, language, arts, willpower and so on. And one thing which came with them is a form of dance/fight combining different concepts like beauty and strength, acrobatics and music, dance and violence.

Today’s Capoeira Angola does have a lot to do with awareness. Being aware of Capoeira’s roots, being aware that the African element in this art is of utterly high importance. Without it’s Africanity, Capoeira would degenerate into a fancy but soulless martial art. Capoeira, and especially Capoeira Angola, does live from its rituals, it game, its music and its history. In a discussion** I read and participated in on the Blog Mandingueira I realized that this awareness has to be maintained and increased in the present Capoeira Community.

But: Writing about Africanity in Capoeira is a mammoth task. Actually you could write a book about it and still would not have described everything there is to describe. 400 years of Capoeira practice mainly by Africans and Afrobrazilians did lead to the situation that every facette of Capoeira does have major African influences (admittedly there are European influences, too, since Portuguese lower class and sailors did start playing Capoeira in the 19th century and since Mestre Bimba started teaching white students). This is the reason why I will start the first cohesive series of posts on this Blog: African Roots. I hope that I will at least be able to give an overview about Africanity in Capoeira and I hope that there are people out there willing to add to the upcoming posts their knowledge about this topic, thus making these posts a richer source for people who make their first steps in exploring the roots of Capoeira.

Have an eye on this blog in the next few days. Cause then the first posts of the African Roots series will be published.

 

*if there are mistakes in the translation it is because of my lack of Portuguese. Corrections are welcome!

**special thanks to Kimbandeira for starting that discussion on Mandingueira

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A small lesson in History: Mandinga

The other day I read a comment of a person called Kimbandeira on the Mandingueira blog. One question she asked in there was: “Do you actually know what Mandinga means?” When I saw this I thought “well, I do have an idea about it” and then I remembered that I actually had gathered some information of the word Mandinga but never put it together for a blog post.

So, now you think “oh, again some lessons in the meaning of the word Mandinga!”. No. I think the word Mandinga is quite well explained. If you dont know yet what it means, just check this post and the links in it. What I want to show you people is where it comes from!

The Mandinka

Mandinga is a word of African origin. In its form “Mandinka” or “Mandingo” it is the name of a huge ethnic group in West Africa(Mandinkas are one part of the Mandè ethnicity).  They have a common language, which is called Mandinka, and common traditions and history. Today there are about 11 million Mandinka scattered in the nations of Sierra leone, Guinea, Mali, Senegal, Gambia and more states of West Africa. Most of them are of Islamic belief though they kept a huge amount of their old traditions.

Mandinka history

Mandinka history as it s known begins in the Middle Ages. It is the story of the Manding Empire, or better known as the Mali empire. The empire existed from the 13th century till the beginning of the 17th century, where it collapsed under the power plays which happen in every kingdom at a certain time. It was founded by the magician Sundjata who belonged to one of the noble Islamic families who existed in West Africa. During its time the empire had a huge influence on culture and traditions in West Africa. It had a high standard of civilization and was one of the most urbanized areas in the world! One of its famous personalities is its king Mansa Musa (about 1300 to 1330), who was so rich that the value of gold dropped during the time he and his caravan visited Cairo (on his journey to Mecca, the Hajj).  

After its collapse different tribes among the Mandinka did engage in war with each other. During this war there was a lot of people driven to the Atlantic coast. Some willingly, a lot of them were caught and were made slaves. And just during those times the trans-Atlantic slave trade started to flourish. Today, a lot of the Afroamericans in North America are descendants of the Mandinka. But the slaves were transported not only to North America, but also to South America (especially Brazil).

The Malè Revolution

In Brazil Mandinkas and Mandés were known as Malé (which comes from a Yoruba word for “from Mali”). What was known about them was, they were Muslim and they were able to read and write, although it was ‘just’ Arabian script, but that was actually much more than most African slaves were able to. The theory says that this was a reason for the Malé being highly respected by other slaves. The Malé did in fact build up something like credibility in Brazil and were having an effect. Especially on one day: On January 24th 1835 a group of a couple of hundred muslim slaves and ex-slaves did several attempts to get hold of key positions in Salvador. Although this “revolt” was only one day and did end in the revolt being devastated and the number of the slaves decimated (and 9 Portuguese soldiers being dead) the revolt became a symbol for resistance of slaves in Brazil. It is not the first and not the only revolt in the New World and also not the most important example in Brazil, but it has its value in modern history. This is because it was just the endpoint of a long years resistance of Male slaves against their owners (the troubles happened during the years between 1807 and 1835). And it lead to a ban on import of Male slaves – they were just too dangerous. And during those times, when Malé slaves did cause trouble in the slave-driven society of colonial Brazil, the word Mandinga comes up, meaning much more than just “people of the Mandinka”, but meaning something like magician, priest or scholar.

To get a more detailed view of the history of the Mandinka and the Malé, just check these sources I have put together (and used for this post). The first two resources are highly recommended (and sometimes a bit hard to read, especially the second one). Anyway, enjoy!

Sources:

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