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Kente Cloth – Made in China? You are here: Home Lifestyle African Fashion Kente Cloth – Made in… Dec 28 2016 African Fashion Featured Lifestyle The Problem With Fake Kente from China One of the most iconic African textiles known in Europe, Asia, and the Americas is a silent reminder of the greatness of the Ashanti Kingdom. Kente cloth and its colorful prints are traditionally associated with Western Africa; the various colors and weave patterns have spiritual and traditional connotations, and kente attire is typically regal in appearance. These days, the kente textile industry that blossomed during the days of the Ashanti Kingdom is mostly concentrated in the southern region of Ghana. West African markets that cater to locals and tourists alike will not be complete without a nice selection of handwoven kente prints created by talented local artisans. In recent years, however, kente garments sold in Ghana are likely to have been made in China. As is

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“Superstition Is The Offspring Of Ignorance” The Suppression Of African Spirituality In The British Caribbean, 1650-1834. Carlie H. Manners This thesis interrogates the suppression of the enslaved spiritual practice, Obeah, through African slavery in the British Caribbean from 1650-1834. Obeah is a syncretic spiritual practice derived from West African religious epistemologies. Practitioners of Obeah invoked the spiritual world for healing, divination, and protection. What is more, under the constant threat of colonial violence, they practiced Obeah for insurrectionary purposes. This thesis reveals and contextualizes the many ways in which Obeah faced cultural suppression at the hands of religious, colonial, and imperial authorities as a means to comply with and respond to sociopolitical conflicts occurring within the British Empire. British writers conceived of Obeah as ‘ignorant’ superstition and used this against Africans as justification for their subjugation by the Britis

"You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth</i Article  · April 2020    Hannah Kanninen Scholarship on witches and witchcraft within Shakespeare’s plays has been a popular subject for many scholars. But one of Shakespeare’s most famous characters has not yet been integrated into this scholarship: Cleopatra from Antony and Cleopatra. Although scholars have often noted her “witchiness,” none have argued for an interpretation of Cleopatra as a witch. This is because traditional definitions of witchcraft have not been able to include Cleopatra. In comparison, Lady Macbeth from Macbeth has often been cited as the fourth witch in the play. But this interpretation relies upon examining Lady Macbeth’s perceived masculinity, which subsequently also makes her the most reviled in the play. Both Lady Macbeth and Cleopatra are powerful female characters who have witch-like qualities. They are seductive and intimida

Music in West African churches Article  · January 1956 E.G. Parrinder It has been estimated that some twenty million Africans have become Christians; more than the total number of Christians in all the countries of Asia. This great movement towards Christianity is undoubtedly due largely to the breakdown of traditional African ways of life. In West Africa Islam also has profited by the change to extend its sway, especially in Northern Nigeria and parallel territories but hardly at all in Eastern Nigeria or the lower Gold Coast. The importance of music in African religious life is widely recognised, but this now needs to be considered in its modern forms and in the new religions which have largely replaced the old. It is curious that Islam, which bans all music in the mosque, should be so successful. But outside the mosque Muslims are notorious for their festivals and dances, and these have a great popular appeal. A full study of modern African Muslim music needs yet to be ma