DOCSLIB.ORG

Escultura Del Zaire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Escultura Del Zaire UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA TESIS DOCTORAL Escultura del Zaire MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR María Clara Reguero Palacios DIRECTOR: Jesús, 1924-1997 Hernández Perera Madrid, 2015 © María Clara Reguero Palacios, 1982 TP Illlllllllll • 5309865848* UNIVERSIDAD COMPLUTENSE Marfa Clara Reguero Palacios ESCUÎ.TURA DEL ZAIRE Departamento de Historia del Arte Facultad de Geograffa e Historia Universidad Complutense de Madrid 1984 Coleccion Tesis Doctorales. NS 89/84 Marjfa Clara Regiiero Palacios Edita e imprime la Editorial de la Universidad Complutense de Madrid. Servicio de Reprografia Noviciado, 3 Madrid-8 Madrid, I984 Xerox 9200 XB 48O Deposito Legal: M-I7636-I984 TLiOTECA Autora: MARIA CLARA REGUERO PALACIOS ESCULTURA DEL ZAIRE Director; Dr. D. JESUS HERNANDEZ PERERA Catedrâtico de Historia del Arte UNIVERSIDAD COMPLUTENSE DE MADRID Facultad de Geograffa e Historia Departamento de Historia del Arte Ano 1982 INDICE ESQUEMATICO Pàg. Indice analltlco ............. III Preâmbulo y Agradeciraientos .... XI INTRODUCCION ................ 1 I. Geografla del Zaire ....... 3 II. Historia del Zaire ...... 41 III. Pensaraiento y Sociedad ... 106 ESTUDIO ARTISTICO ............ 120 I. El raarco artlstico ........ 121 II. Estudio de las obras ..... 172 III. La nueva escultura del Zaire 446 SINTESIS Y CONCLUSIONES ...... 454 BIBLIOGRAPIA ............ 504 - Ill - INDICE ANALITICO Pëg. Preâmbulo y agradecimientos ......... XI INTRODUCCION ........................ 1 I. Geografla del Zaire ............... 3 1. Geograffa ffsica ................ 4 1.1. Situacidn .................... 4 1.2. Relieve ...................... 6 1.3. Hidrograffa .................. 8 1.4. Lagos ........................ 11 1.5. Clima ......................... 13 Mapa 1. 1.6. La flora, la vegetaciân ...... 14 Mapa 2. 1.6.1, La selva .................... 14 1.6.2. La sabana ,,,*.,........ 16 1.7. La fauna ........ 18 2. Geograffa econdraica .......... 22 2.1, La agricultura ................ 22 2.1.1, Cultivos de subsistencia ,,., 23 2.1.2, Cultivos industriales y de plan- tacidn ...................... 25 2.2, La ganaderfa .................. 28 2.3, La industrie ,,,,............. 29 2,3,1* Puentes de energfa ......... 29 2,3,2. Minerfa .................... 30 2,3,3* Industrie de base .......... 31 2.3*4* Industrie de transformacidn ... 32 2.4, Transportes y comunioaciones .... 34 2.5, KL comercio ................... 36 2.5.1, El comercio interior .... 36 2.5.2, El comercio exterior ....... 36 2.6, La demogreffa ................ 37 NOTAS ................................. 40 -IV- II. Historia del Zaire ................. 41 1. Prehistoria del Zaire ........... 42 1.1. Vestigios humanos ............. 43 1.2. La edad de los metales y las pri­ meras migraciones bantus ...... 47 2. Etapa precolonial: los antiguos rei- nos del Zaire .................... 51 2.1. El reino Kongo ................ 53 2.1.1. Orlgenes ..................... 53 2.1.2. El reino Kongo antes de la lle- gada de los portugueses ..... 54 2.1.3. El reinado de Alfonso I (1506- 1543) 58 2.1.4. Los sucesores de Alfonso I .... 61 2.2. El reino Kuba ................. 64 2.2.1. El reino de Chamba Bolongongo (s. XVII) .................... 65 2.2.2. Los sucesores de Chamba Bolon­ gongo ........................ 66 2.2.3. La organizacidn del reino .... 66 2.3. El reino Luba ................. 68 2.3.1. Kongolo y el primer reino Luba . 68 2.3.2. El segundo reino Luba ........ 69 2.3.3. La descomposicidn del reino Luba 70 2.4. El imperio I,unda 2.4.1 . Origenes ..................... 71 2.4.2. La reina Lueji ......... 72 2.4.3. El reinado del primer Mwata Yam- vo (1660—1675) ............... 73 2.4.4. Desarrollo comercial en cl sig- lo XVIII ..................... 73 2.4.5. El reino Lund a en el siglo XIX 74 2.5. El reino M ’Siri ............... 75 2.6. Los reinos del Uele: Azondc y Mang- betu ........................... 77 2.6.1. Los Azonde .................. 77 2.6.2. Los Mangbetu ................ 79 - V - Pâg. 3. Exploraciones del Zaire en el siglo XIX ..................... 81 3.1. Por el Geste ......... 83 3.2. Por el Este ................. 85 3 .3. Leopolds y el Estado indepen- diente del Congo ..... 87 3.4. El medio siglo belga (15 nov. I908- 30 jun. I960) 91 4. Hacia la independencia .... 92 5. De la Repiiblica democrâtica del Congo a la Repûblica del Zaire .. 97 Mapa 3 . NOTAS ................................ 102 III. Pensamiento y Sociedad ......... 106 1. Pensamiento .................. 108 2. Sociedad .............. 113 2.1. El parente SCO ............. 113 2.1.1. "Clan", "linaje" y "tribu" 113 211.2. El parenteSCO clasificatorio 114 2 .1 .3. La exogamia ............. 114 2.1.4. El principio jerârquico .... 114 2.1 .5. La solidaridad ......... 115 2.1.6. La agrupacidn doméstica .... 115 2.2. Otro tipo de relaciones .... 116 2.2.1. La divisidn sexual del tra- bajo ..................... 116 2.2.2. La divisidn hereditaria del trabajo .................. 116 2.2.3. Las clases de edad.... ....... 117 2.2.4. La relacidn de dominacidn 117 2.2.5. El rango ................ 118 NOTAS ................................ 119 VI - ESTUDIO ARTISTICO ................. 120 I. El marco artlstico ................ 121 1. Criterios de anâlisis y valoraci6n de las obras ................... 122 2. Las fuentes y los documentos ... 127 3. El problema de la datacidn de las obras .................... 135 4. El sentimionto estético ...... 140 5. Escultores, técnicas, materiales, herraniientas ................. 149 6. Perlodos en la escultura del Zaire 161 7. Hacia una clasificacidn estilistica 16 3 Mapa 4. 8. Division del estudio artlstico 169 NOTAS 170 II. Estudio de las obraf 172 I. Estatuillas humanas exentas o de bulto redondo ......... 173 1. Area Sur-Oeste ...... 174 îïîapa 5. 1.1. Regidn del Bajo-Zaire 175 1.1.1. Estilo Kongo ..... 175 1.1.1.1 . Estatuas de piedra "Ntadi" 176 1.1.1.2. Figuras de antepasados 182 1.1.1.3. Fetiches ........ 187 1.1.1.4. La influencia del cri tianismo ......... 196 1.1.2. Estilo Teke ....... 197 1.1.2.1. Figuras de antepasados y fetiches ...... 198 1.1.2.2. Escultur.a de métal 201 1.2. Regidn del Kv;ango-Kwilu 202 1.2.1. Estilo Yaka ....... 202 1.2.1.1. Figuras de antepasado 203 1.2.1.2. Fetiches ........ 204 - VII - %. 1.2.2. Estilo Nkanu ......... 209 1.2.3. Estilo Sxiku .......... 209 1.2.4. Estilo Himgana ....... 211 1.2.5. Estilo Mbala ......... 212 1.2.5.1. Figuras de antepasados ..... 213 1.2.5.2. Figuras de radsicos ........ 214 1.2.6. Estilo Holo ................ 215 1.2.6.1. Figuras de antepasados .... 216 1.2.6.2. Fetiches ................. 216 1.2.7. Estilo Pende ............... 217 1.2.7.1. Figuras de antepasados .... 218 1.2.7.2. Fetiches ............... 219 NOTAS ................................. 221 2. Area Centro-Sur ........... 224 Mapa 6. 2.1. Region de los Kuba .......... 225 2.1.1. Estilo Kuba ................ 225 2.1.1.11 Figuras de antepasados .... 226 2.1.1.2. Fetiches .................. 233 2.1.2. Estilo Lulua ............... 234 2.1.2.1 Figuras de antepasados .... 235 2.1.2.2. Fetiches ................. 237 2.1.3. Estilos Kete y Biombo ...... 241 2.1.4. Estilos Mbagani (o Babinchi) y Ndengese ................ 241 2.1.5. Estilo Lwalwa .............. 241 2.1.6. Estilo Salampasu ........... 242 2.2. Regidn de los Chokwe ......... 243 2.2.1. Estilo Chokwe ........ 243 2.2.1.1. Figuras de antepasados .... 245 2.2.1.2. Fetiches ........ 247 2.2.2. Estilo Lunda ......... 248 NOTAS ................................. 251 - VIII - Eâiî 3. Area Sur-Este ................... 253 Mapa 7. 3.1. Regi6n de los Luba ........... 254 3.1.1. Estilo Luba ............. 254 3.1.1.1. Figuras de antepasados .... 25b 3.1.1.2. Fetiches ................. 267 3.1.1.3. Piguras-cariâtide ........ 268 3.1.1.4. Otras figuras ............ 2fa9 3.1.2. Estilo Kanyok ............... 271 3.1.3. Estilo Boyo ................. 273 3.1.4. Estilo Bombe ................ 274 3.1.4.1. Figuras de antepasados .... 274 3.1.4.2. Fetiches ...... «......... 277 3.2. Régi6n de los Songye ......... 278 3.2.1. Estilo Songye ............... 278 3.2.1.1. Fi.guras de antepasados .... 280 3.2.1.2. Fetiches ................. 282 3.3. Region de los Lega ........... 291 3.3.1. Estilo Lega ................. 291 3.3.2. Estilo Lengola .............. 318 3.3.3. Estilo Mbole ....... 319 3.3.4. Estilo Yela ................. 321 NOTAS ................................. 323 4. Area Norte ...................... 327 Mapa 8. 4.1. Regiôn del Uele ............... 328 4.1.1. Estilo Mangbetu ............. 328 4.1.2. Estilo Zande ................ 334 4.2. Regidn del Uban,gui ........... 342 4.2.1. Estilo Ngbaka ............... 342 4.2.2. Estilo Ngbnndi .............. 345 NOTAS ................................. 346 IX - Pââi II. Mâacaras .......... 348 1. Introducclân .................. 349 1.1. Puncidn de la mâscara ......... 350 1.2. Tipo g de mâscara .............. 359 NOTAS .................................. 366 2. Estudio y claaificaciân por esti­ los tribales ...... 367 il Area Sur-Oeste ........... 368 izil Regidn del Bajo Zaire ..... 369 Y 1.1.1. Estilo Kongo ........... 369 1.1.2. Estilo Teke ............ 371 1.2. Région del Kwango-Kwilu .... 372 1.2.1. Estilo Yaka ............ 372 1.2.2. Estilo Nkanu ........... 381 1.2.3. Estilo Suku ............ 381 1.2.4. Estilo Hungana ......... 385 1.2.5. Estilo Mbala ........... 386 1.2.6. Estilo Holo ............ 386 1.2.7. Estilo Pende ........... 386 NOTAS .................................. 394 2. Area Centro-Sur... ........... 396 2.1. Regiân de los Kuba
Load more

Recommended publications
  • Unctad Annual Report 2013 United Nations One Goal Prosperity for All
    UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT UNITED NATIONS UNCTAD UNCTAD ANNUAL REPORT UNCTAD UNCTAD ANNUAL REPORT 2013 UNITED NATIONS ONE GOAL PROSPERITY FOR ALL UNCTAD ANNUAL REPORT 2013 | 1 UNCTAD AT A GLANCE 3 pillars of work: Consensus building, research and analysis, technical cooperation 5 main programmes of work: Globalization and development strategies; investment and enterprise development; international trade in goods and services, and commodities; technology and logistics; Africa, the least developed countries (LDCs) and special programmes 50 years of promoting the development-friendly integration of developing countries into the world economy 194 member States 476 staff members from 106 countries Secretary-General: Mr. Mukhisa Kituyi (Kenya), since September 2013 Deputy Secretary-General: Mr. Petko Draganov (Bulgaria), since May 2009 Headquarters: Geneva, Switzerland $70m total regular budget for 2013 $31m extrabudgetary funds for technical cooperation with contributions from developing countries accounting for almost 41 per cent of total contributions to trust funds (see annex C for further information) . To find out more about UNCTAD, please visit http://unctad.org. 2 | UNCTAD ANNUAL REPORT 2013 CONTENTS UNCTAD at a glance ............................................................................................2 Foreword by Mr. Mukhisa Kituyi, Secretary-General of UNCTAD ........................4 1. About UNCTAD ......................................................................... 7 2. Informing decision-making
    [Show full text]
  • Cape Verde Business Mission Fact Sheets
    Cape Verde Business Mission Fact Sheets: 1 Table of contents: Opportunities in Cape Verde .......................................................................................................... 4 General Introduction ....................................................................................................................... 4 Country Facts .................................................................................................................................. 5 Economic Facts: .............................................................................................................................. 5 Economic Facts ............................................................................................................................... 6 GDP Growth, annual percentage change (IMF).......................................................................... 7 Economic Situation ......................................................................................................................... 7 Foreign Aid ..................................................................................................................................... 8 Foreign Investment ......................................................................................................................... 9 Trade ............................................................................................................................................. 10 Foreign Relations: ....................................................................................................................
    [Show full text]
  • A Walk Through the Gallery 5
    A WALK THROUGH THE GALLERY MARGARET PLASS The new African Gallery has been designed to exhibit, simply and honestly, a selection of sculptures from our permanent collections. Proudly we present them as works of art; where possible they are arranged in tribal groups for convenience and comparative study. They are labeled briefly and clearly. Here are the materials from which our visitors may form a just view of the special characteristics and merits of Negro art. For more than half a century our Museum has been enriched by acces- sions of African sculpture, mainly by purchase and partly by gifts, to the end that our permanent collections are the largest and most varied in style in America. The following descriptive notes are not to be construed as an attempt at a catalogue of the exhibition; the serious student may have access to fully documented formal catalogues should he apply to the Museum staff. In Dr. Coon's introduction he has given us the anthropological and ethno- grapbical background of the people who produced this art, working within the framework of their tribal traditions. Here in this book, with their photographs, are small synopses of what we know of these sculptures, and what we guess. We all have conscious, and sometimes unconscious, difficulty in understanding such works of art; the philosophical barrier that lies in the way of full appreciation is almost too difficult to hurdle. Many writers have tried to explain the magico-religious significance, the strength and directness of African art; few have succeeded. Perhaps these notes are mere hints and suggestions, but we hope that they may sometimes be stimulating as well as factual.
    [Show full text]
  • Annual Report Cape Verde 2011 One Un Programme Annual Report
    2011 One UN Programme 1 Annual Report Cape Verde 2011 One Un Programme Annual Report Cape Verde 2011 One UN Programme Annual Report MMaannyy SSttrreennggtthhss OOnnee MMiissssiioonn 2 Cape Verde 2011 One Un Programme Annual Report Table of Contents 1 Introduction/Foreword ................................................................................................... 4 2 Main achievements..................................................................................................................7 2.1 Good Governance..............................................................................................................9 2.1.1 Economic graduation and integration in the global economy. ............................... 9 2.1.2. Strengthening of security ........................................................................................ 11 2.1.3 Consolidation of Democracy ................................................................................... 15 2.2 Promotion of Growth and Economic Opportunities......................................................19 2.2 Environment, Energy, Disasters Prevention and Response...........................................26 2.3 Human Capital and Social Protection............................................................................. 34 2.3.1 Quality of the Education System. ........................................................................... 34 2.3.2 Participation of Youth. ............................................................................................ 41
    [Show full text]
  • History in Complexartworks Could Be, How They Were Both Intellectualand Visceral, Dramaticand Subtle
    tA7 - PHOTO: THE UNIVERSITYOF IOWAMUSEUM OF ART I was an early Arnold student, the result of his three non-Westernsurvey courses. As an undergraduate Is There senior I had taken classes in Easternand all sorts of Westernart, but I had never thought about or really even lookedat the arts of Africa, the Americas,or Oceania. Arnold was electrifying.For me he showed how History in complexartworks could be, how they were both intellectualand visceral, dramaticand subtle. He made art's importanceevident, and I appreciatedthat Horizontalimmensely. By then I had takenseveral studio courses, and I was nearly committedto graduate school in design. Arnold convertedme. As a first-year graduate student with him, I Masks? rememberour lively and provocativeseminars, and all the special speakershe broughtfor us to experience.But I also rememberafternoons and weekends,going with A Preliminary him to used-bookstores and a gun shop where wonderfulAfrican iron workshad ended up for sale. We went to a giant warehouseof old booksin Long Beach.I Response grew up in L.A. but had never gone to the place. He on the other hand had arrivedfrom the Midwest and made a beelinefor it, and so could takehis graduate students to the Dilemma directly to the spot where some six copies of The Secret Museum of Mankind sat patiently. These sorts of things, combinedwith my time with Arnold on campus, of Form madebeing his student especiallymemorable. PATRICKR. McNAUGHTON 40 The contemplation of forms has elements in their social realities, this of the horizontal mask into the northern inspired this essay, causing me to unity prompts a question worthy of fur- savanna of Central Africa.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Nancy Cunard: Collector, Cosmopolitan by Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature University of Sussex February 2015 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signed ....................................................... 3 Nancy Cunard: Collector, Cosmopolitan Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature, University of Sussex, February 2015 Summary of Thesis Part One of my thesis reads Nancy Cunard (1896-1965) as a modernist collector, situating her material and literary collections in relation to the vogue nègre of the 1920s and 30s, when European fascination with black expressive culture reached unprecedented heights. It also looks at how Cunard’s collecting practices translate into an ‘aesthetic of assemblage’ in her work as an anthologist, and shows how the African sculpture section of her Negro anthology (1934) reflects the collecting cultures of early twentieth-century Europe.
    [Show full text]
  • A Curriculum on Cape Verde
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1994 A curriculum on Cape Verde. Amelia Ambrose Rebeiro University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Ambrose Rebeiro, Amelia, "A curriculum on Cape Verde." (1994). Doctoral Dissertations 1896 - February 2014. 5109. https://scholarworks.umass.edu/dissertations_1/5109 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A CURRICULUM ON CAPE VERDE A Dissertation Presented by AMELIA AMBROSE REBEIRO Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillments of the requirements for the degree of DOCTOR OF EDUCATION MAY 1994 SCHOOL OF EDUCATION ©Amelia Ambrose Rebeiro 1994 All Rights Reserved A CURRICULUM ON CAPE VERDE A Dissertation Presented by AMELIA AMBROSE-REBEIRO Bailey W. Jackson, Dean School of Education) DEDICATION I want to dedicate my dissertation to my mother, Amelia Pires Rebeiro, who shares my joy of accomplishment. My mother's constant prayers, encouragement, and love throughout my growing up and her attitude that one should not give up, helped me complete this dissertation; also my sons Jamie and Derrick, my eight brothers and three sisters. Finally to my grandchildren Brooke Nicole, Derrick Michael II, Diandra Rae, Taj Azel, and Denzel Keith who inspired me to develop a curriculum to enhance and strengthen their knowledge of the Cape Verdean culture.
    [Show full text]
  • Gender in the Arts Le Genre Dans Les Arts
    DOCUMENTATION AND INFORMATION CENTRE CENTRE DE DOCUMENTATION ET D’INFORMATION Gender in the Arts Le genre dans les arts Bibliography - Bibliographie CODICE June/Juin, 2006 Gender in the Arts – Le genre dans les arts Introduction Introduction The topic of the 2006 session of the Gender La session 2006 de l’institut du genre porte sur Institute is “Gender in the arts”. The arts have « le Genre dans les arts ». been defined according to the Larousse dictionary Les arts, définis d’après le Larousse comme étant as being “All specific human activities, based on « l’ensemble des activités humaines spécifiques, sensory, aesthetic and intellectual faculties”. In faisant appel à certaines facultés sensorielles, other words, arts relate to: music, painting, esthétiques et intellectuelles ». En d’autres theatre, dance, cinematography, literature, termes, les arts se confondent à tout ce qui se orature, fashion, advertisement etc. rapporte à : la musique, la peinture, le théâtre, la danse, le cinéma, la littérature, l’oralité, la mode, This bibliography produced by the CODESRIA la publicité etc. Documentation and Information Centre (CODICE) within the framework of this institute lists Cette bibliographie produite par le Centre de documents covering all the concepts on arts. It is documentation et d’information du CODESRIA divided into four parts: (CODICE) dans le cadre de cet institut recense - References compiled from CODICE Bibliographic des documents en prenant en considération tous data base; les concepts liés aux arts. Elle est divisée en - New documents ordered for this institute; quatre parties : - Specialized journals on the topic of gender and - Les références tirées de la base de arts; données du CODICE.
    [Show full text]
  • ELIOT ELISOFON: BRINGING AFRICAN ART to LIFE By
    ELIOT ELISOFON: BRINGING AFRICAN ART TO LIFE by KATHERINE E. FLACH Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Catherine B. Scallen Dr. Constantine Petridis, Co-Advisor Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2015 2 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Katherine E. Flach ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Constantine Petridis ________________________________________________ Henry Adams ________________________________________________ Jonathan Sadowsky ________________________________________________ DATE OF DEFENSE March 4, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. 3 This dissertation is dedicated to my family John, Linda, Liz and Sam 4 Table of Contents Acknowledgements ......................................................................................................... 11 Abstract ............................................................................................................................ 12 Eliot Elisofon and African Art: An Introduction ........................................................ 14 Elisofon and LIFE ......................................................................................................
    [Show full text]
  • Mapping Second Generation Cape Verdean Youth Identity in the Greater Boston Area
    “WE EAT CACHUPA, NOT CLAM CHOWDER:” MAPPING SECOND GENERATION CAPE VERDEAN YOUTH IDENTITY IN THE GREATER BOSTON AREA A dissertation presented by Paul Khalil Saucier Submitted to The Department of Sociology and Anthropology in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of Sociology Northeastern University Boston, Massachusetts September, 2008 1 “WE EAT CACHUPA, NOT CLAM CHOWDER:” MAPPING SECOND GENERATION CAPE VERDEAN YOUTH IDENTITY IN THE GREATER BOSTON AREA by Paul Khalil Saucier ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate School Arts and Sciences of Northeastern University, September 2008 2 ABSTRACT On the basis of fieldwork conducted in the Greater Boston area from May 2007 to May 2008, this dissertation explores the ways in which second-generation Cape Verdean youth in the Greater Boston area negotiate their identity as Cape Verdean and, by extension, as black through multiple articulations of diaspora. Using the ethnographic method this dissertation attempts to understand processes of racialization of “blackness.” My objective is to examine how racialization works to create black identities and to challenge the assumptions that black people do not actively participate in the discourses and practices of racial identity formation. I argue that Cape Verdean youth identities are constructed out of a process of negotiation and contestation, but the negotiation and contestation is stunted by the racial logic of the U.S.; a logic that configures blacks one- dimensionally. In doing so, I examine how North American ascriptions of blackness and forms of black popular culture inform processes of identity formation and negotiation among Cape Verdean youth.
    [Show full text]
  • Chiefdoms/Chiefs in Zambia
    CHIEFDOMS/CHIEFS IN ZAMBIA 1. CENTRAL PROVINCE A. Chibombo District Tribe 1 HRH Chief Chitanda Lenje People 2 HRH Chieftainess Mungule Lenje People 3 HRH Chief Liteta Lenje People B. Chisamba District 1 HRH Chief Chamuka Lenje People C. Kapiri Mposhi District 1 HRH Senior Chief Chipepo Lenje People 2 HRH Chief Mukonchi Swaka People 3 HRH Chief Nkole Swaka People D. Ngabwe District 1 HRH Chief Ngabwe Lima/Lenje People 2 HRH Chief Mukubwe Lima/Lenje People E. Mkushi District 1 HRHChief Chitina Swaka People 2 HRH Chief Shaibila Lala People 3 HRH Chief Mulungwe Lala People F. Luano District 1 HRH Senior Chief Mboroma Lala People 2 HRH Chief Chembe Lala People 3 HRH Chief Chikupili Swaka People 4 HRH Chief Kanyesha Lala People 5 HRHChief Kaundula Lala People 6 HRH Chief Mboshya Lala People G. Mumbwa District 1 HRH Chief Chibuluma Kaonde/Ila People 2 HRH Chieftainess Kabulwebulwe Nkoya People 3 HRH Chief Kaindu Kaonde People 4 HRH Chief Moono Ila People 5 HRH Chief Mulendema Ila People 6 HRH Chief Mumba Kaonde People H. Serenje District 1 HRH Senior Chief Muchinda Lala People 2 HRH Chief Kabamba Lala People 3 HRh Chief Chisomo Lala People 4 HRH Chief Mailo Lala People 5 HRH Chieftainess Serenje Lala People 6 HRH Chief Chibale Lala People I. Chitambo District 1 HRH Chief Chitambo Lala People 2 HRH Chief Muchinka Lala People J. Itezhi Tezhi District 1 HRH Chieftainess Muwezwa Ila People 2 HRH Chief Chilyabufu Ila People 3 HRH Chief Musungwa Ila People 4 HRH Chief Shezongo Ila People 5 HRH Chief Shimbizhi Ila People 6 HRH Chief Kaingu Ila People K.
    [Show full text]
  • Luba of Shaba, Luba-Katanga/Baluba/Kiluba (Luba Sh), Bantu (1A) Luba of Kasai, Luba-Kasai/Luba-Lulua (Luba Ks), Bantu (1B)
    1. Description 1.1 Name(s) of society, language, and language family: Luba of Shaba, Luba-Katanga/Baluba/Kiluba (Luba_Sh), Bantu (1a) Luba of Kasai, Luba-Kasai/Luba-Lulua (Luba_Ks), Bantu (1b) 1.2 ISO code (3 letter code from ethnologue.com): ISO 639-3: lub for Luba_Sh, ISO 639-3: lua for Luba_Ks 1.3 Location (latitude/longitude): For Luba_Sh: (-7.80 / 27.00) – of the “central” Luba region Katanga Province, Haut-Lomami District. “Luba country stretches from the River Lwembe to about 50 kilometers east of the Zaire River, between 6°30′ and 10°00′ S in north-central Shaba, in southern Zaire.” (2, Orientation) For Luba_Ks: (-6.50 / 23.50) – of the “western” Luba region 1.4 Brief history: “[…] the Luba Kingdom was founded in the eighteenth century or before, in the vicinity of the present town of Kabongo. It exerted a strong political influence on its neighbors and was the main reference point for many rulers' genealogies and many religious institutions of the Eastern Savanna peoples. Until 1870, the Luba king—the mulopwe (pl. balopwe )—had at his disposal a powerful army able to wage war hundreds of kilometers from the capital. But the kingdom did not rest on a firm centralized administrative apparatus: royal authority was mostly effective in the capital's region; beyond that center lay "chiefdoms," which had more autonomy the farther they were from the capital. Each was governed by a local rulers—also called a mulopwe—whose ritual life was similar to the king's. These chiefs had to bring tribute to the king as acknowledgment of his hierarchical seniority.
    [Show full text]