Page 16 - Msingi Afrika Magazine Issue 18

Art & Culture

can communities, everything that
represents African crafts, not just
visuals, was highly valued. Artisans
had a special status in society, and
were respected members of the
community. Generally, African
crafts were vehicles for address-
ing the metaphysical needs of the
community. They could be designed
with figurative ghostly shapes and
manipulations or provide patterns,
and graffiti.
Africa is as rich in creativity as it is
rich in resources. African ancient
crafts can prove that. Pottery mak-
ing is one among the great examples
of the early African handicrafts. It
is a very ancient craft in Africa, as
some of the oldest pottery remains
known in the world were discov-
ered on this continent. Regardless
of its age, the craft is still blooming
in many parts of the continent as
an outstanding product. Pots were
not only for cooking, serving, and
storing food, but also an avenue of
artistic expression. African societies
created different kinds of pots as
part of their daily life, but all their
creations were meant to preserve
culture. What the Burkinabe from
the land of the upright man called icance. In every aspect of African West Africa, just as it is not far from
Nyonyosi-Yatenga matches the life, drums have a significant role to the Talking drum of Ghana, for
Azande pottery of Angola, what meet some physical, emotional and they all communicate the same thing
Nyakyusa people of Tanzania called spiritual needs. African hand drums to make African traditions glow.
Beer storage vessel is not differ- are played for communication, cel- In the African traditional con-
ent from Kwiri ceramic vessel of ebration, mourning and inspiration. text, drums and masks are as twin
Cameroon or the Matakam of Chad. They are played during peace and brothers. They all play the same role
This is to say, Africa is one. Tradi- war, between planting and harvest- to make dance funny and beautiful.
tions and culture are what connect ing, between birth and death. For Unfortunately, this is not the case
us in advance. Why are we taking on example, the Djembe drum of Mali today, many tribes have lost their
the divisive sentiments? Is it that we (carved from a single piece of Afri- cultural identity due to tribal disper-
have forgotten? can hardwood with a globet shaped sal and fragmentation, for a variety
body and topped with an animal of reasons, and many parts of Afri-
Drums are another prominent skin as a drumhead) was original- ca no longer have genuine masking
African handicraft. Several African ly created to be used in healing ceremonies. From ancient times,
musical instruments have been used ceremonies, warrior rituals, winter traditional African masks were worn
to celebrate every aspect of life. harvesting, and ancestral worship. at celebrations, dances, festivals and
Traditionally, drums have been the The West African djembe is the ceremonies to commemorate social
heartbeat of most African commu- same as the Zulu drum of South and religious events. They played a
nities. Drums have been a part of Africa, Nigeria’s Ashiko drum is not very important spiritual and func-
African life for centuries and have a different from the Djun Djun of tional role in the community, and
deep symbolic and historical signif-

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