Mende Story Telling

The domei is a popular narrative art form among the Mende people of Sierra Leone. Although it is a traditional form, the narratives are not remembered or retold, but on each occasion the performers recreate out of a common stock of characters and plots domeisia, which are singular and sometimes brilliant expressions of a singular, and often brilliant, culture. In this book Donald Cosentino presents a large selection of these narratives, as he collected them in dramatic performance on the verandahs and around the cooking fires of a Mende village. The domei is told to please, and Dr Cosentino details the various elements that constitute the pleasure of an oral performance. But beneath the surface glitter of these ironic, horrifying, bawdy and haunting narrative performances, there is an intellectual hardness of argument and debate which shines through the domeisia included here. Dominating these performances, and emblematic of the entire artistic tradition, are the 'everywoman' figure of the Defiant Maid, Yombo, and the 'everyman' Stubborn Farmer, Kpana.

Mende Nazer lost her childhood at age twelve, when she was sold into slavery. It all began one horrific night in 1993, when Arab raiders swept through her Nuba village, murdering the adults and rounding up thirty-one children, including Mende. Mende was sold to a wealthy Arab family who lived in Sudan's capital city, Khartoum. So began her dark years of enslavement. Her Arab owners called her "Yebit," or "black slave." She called them "master." She was subjected to appalling physical, sexual, and mental abuse. She slept in a shed and ate the family leftovers like a dog. She had no rights, no freedom, and no life of her own. Normally, Mende's story never would have come to light. But seven years after she was seized and sold into slavery, she was sent to work for another master-a diplomat working in the United Kingdom. In London, she managed to make contact with other Sudanese, who took pity on her. In September 2000, she made a dramatic break for freedom. Slave is a story almost beyond belief. It depicts the strength and dignity of the Nuba tribe. It recounts the savage way in which the Nuba and their ancient culture are being destroyed by a secret modern-day trade in slaves. Most of all, it is a remarkable testimony to one young woman's unbreakable spirit and tremendous courage.

This book provides comprehensive information on the geography, history, governmental structure, economy, cultural diversity, peoples, religion, and culture of Sierra Leone. All books of the critically-acclaimed Cultures of the World(R) series ensure an immersive experience by offering vibrant photographs with descriptive nonfiction narratives, and interactive activities such as creating an authentic traditional dish from an easy-to-follow recipe. Copious maps and detailed timelines present the past and present of the country, while exploration of the art and architecture help your readers to understand why diversity is the spice of Life.

Newell compares the fundamental assumptions of five major worldviews of education and their implications for classroom practice, incorporating history and case studies and posing questions about the limits and benefits of employing each today.

This book provides students, instructors, and lay-readers with a cross-cultural understanding of storytelling as an art form that has existed for centuries, from the first spoken and sung stories to those that are drawn and performed today. This book serves as an indispensable resource for students and scholars interested in storytelling and in multicultural approaches to the arts. By taking an evolutionary approach, this book begins with a discussion of origin stories and continues through history to stories of the 21st century. The text not only engages the stories themselves, it also explains how individuals from all disciplines, from doctors and lawyers to priests and journalists, use stories to focus their readers' and listeners' attention and influence them. This text addresses stories and storytelling across both time (thousands of years) and geography, including in-depth descriptions of storytelling practices occurring in more than 40 different cultures around the world. Part I consists of thematic essays, exploring such topics as the history of storytelling, common elements across cultures, different media, lessons stories teach us, and storytelling today. Part II looks at more than 40 different cultures, with entries following the same outline: Overview, Storytellers: Who Tell the Stories, and When, Creation Mythologies, Teaching Tales and Values, and Cultural Preservation. Several tales/tale excerpts accompany each entry.

The Performance Arts in Africa is the first anthology of key writings on African performance from many parts of the continent. As well as play texts, off the cuff comedy routines and masquerades, this exciting collection encompasses community-based drama, tourist presentations, television soap operas, puppet theatre, dance, song, and ceremonial ritualised performances. Themes discussed are: * theory * performers and performing * voice, language and words * spectators, space and time. The book also includes an introduction which examines some of the crucial debates, past and present, surrounding African performance. The Performance Arts of Africa is an essential introduction for those new to the field and is an invaluable reference source for those already familiar with African performance.

Since time immemorial, human beings the world over have sought answers to the vexing questions of their origins, sickness, death and after death; the meaning of natural phenomena such as earthquakes, eclipses of the sun and moon, birth of twins etc. and how to protect themselves from such mysterious events. They invented God and gods and the occult sciences (witch craft, divination and soothsaying) in order to seek the protection of supernatural powers while individuals used them to gain power to dominate others and to accumulate wealth. Human sacrifice was one way in which they sought to expiate the gods for what they believed were punishments for their transgressions. One example, the Ghana Asante Kingdom's very origins are associated with human sacrifice. On the eve of war against Denkyira, individuals volunteered themselves to be sacrificed in order to guarantee victory. Later, human sacrifice in Asante was mainly politically motivated as kings and religious leaders offered human sacrifice in remembrance of their ancestral spirits and to seek their protection against their enemies. The Asante Kingdom is one of several examples included in this study of human sacrifice and ritual killing on the African continent. Case studies include practices in Sierra Leone, Tanzania (Mainland), Zanzibar, Uganda and Swaziland. Advertisements relating to the occult was a common feature of Drum magazine, the popular South African magazine in Southern, Eastern and Central Africa in late years of colonial and early years of postcolonial periods, indicating a wide belief in these practices among the people in these countries? Each case examined is introduced by an expose of folklore that puts in perspective beliefs in the supernatural and how folklore continues to perpetuate them. Through careful study of these select cases, this book highlights general features of human sacrifice which recur with striking uniformity in all parts of sub Saharan Africa, and why they persist until today. He draws upon extensive written sources to expose these practices in other cultures including those in Western societies.