Joëlle Rolland PhD has organized a summer exhibition at Gallo-Roman Vesunna Museum in Perigueux, France that documents the archaeological trajectory of the Celtic seamless glass bracelet and the journey that discovered the Masaga glassmakers and their long history making seamless glass bracelets. The first exhibition held at MuséoParc Alésia, France incorporated the story of the Masaga glassmakers of Bida, Nigeria. See Bling Bling in Bida.
Temporary exhibition: “Bling-Bling, Gallic glass in complete transparency! ”
This event takes place from July 12, 2022 10:00 to August 31, 2022 10:00.
Gallic glass in complete transparency! ”
From Monday, July 12 to Sunday, October 30, 2022
No extra charge to the museum’s entrance fee
Bling-bling is not discreet: it must be known, it must be seen. In other words: it must shine, it must slam! For a Gaul, what better way to show her success, above all material, than a glass jewel? In the footsteps of glass workshops, Bling-bling takes you to discover an ancient civilization, finally close to us by its concerns, and questions our own relationship to adornment. Through the study of materials and techniques, with the collaborations of current craftsmen, this archaeological research reveals the production and use of bracelets and glass beads, from the banks of the Nile to the wrists of the Celts.
The Bling-Bling exhibition, Gallic glass in complete transparency! Is an adaptation, by the Gallo-Roman Museum Vesunna, of the Bling-Bling exhibition, Gallic glass is displayed! Designed by the MuséoParc Alésia in 2019, then taken over by the Archaeological Museum of Val d’Oise in 2020-2021.
Curator: Joëlle Rolland
Joëlle Rolland, curator of the exhibition, is a doctor of archaeology from the University of Paris 1 Panthéon-Sorbonne. To understand how an apparent seamless glass bracelet was made, she experimented with techniques with contemporary glass craftsmen and carried out work in ethno-archaeology presented in the exhibition. Now a post-doctoral student, associate researcher at UMR 8315 Trajectoire and UMR 7065 IRAMAT, she continues her research on Celtic glass workshops with excavations in the Czech Republic and continues to document glass ornament manufacturing techniques in Nepal, Sri Lanka and Bida in Nigeria.
The screening at the Glasgow (Unofficial) Film Festival a COP26 event coincidentally coincides with the two-year anniversary of filming The Lost Legacy of Bida Bikini in Bida, Nigeria.
VENUE: The Revelator, Barclay Curle, 739 South Street, Glasgow, G14 0BX 6-7th November
The Revelator will host a selection of old and new films from around the world during COP26 on 6-7th November. The films look at different visions and versions of sustainability: some feature those who have had to find inventive, sustainable ways of solving problems through necessity, while others show those who have found contentment and joy in life without succumbing to consumer traps. We will also be featuring works that highlight the dangers of wonderful traditional skills being lost in our modern world which comes at a price we cannot afford. Together these films highlight that creative thinking and a will to change can actually change the world.
Films will be screened FREE of charge (booking is essential through Eventbrite). Our aim is to allow the public to fully absorb all the potential of sustainability and hope this inspires change.
GLASGOW’S UNOFFICIAL FILM FESTIVAL OF COP26, NOV 6th – 7th, 2021
Real change can only come if the will of the people is behind it, pushing politicians from the ground up. Using Art as inspiration, this rare opportunity to view a collection of films from around the world, curated for the festival, show different versions and visions of sustainability; some offering inventive solutions, (Dance of Joy) some highlighting the high cost of progress, (Bait, The Raven’s Dance, Slow Glass, The Lost Legacy of Bida Bikini). Others feature those who have found contentment and their place in life without falling into the consumer trap, (Big Ware, Lambing, The Glory of the Garden).
All films are being shown free of charge thanks to the generosity of the film makers. Booking is essential and can be done through Eventbrite. Masks must be worn throughout.
Thanksgiving, in every culture from antiquity, is a time to take a breath and accept what one has. It may not be pretty or it may be fabulous but most likely, it is a moment in time to remember moments lived in joy, grief, and relief… and hopefully, there is space to celebrate thankfulness…
Thank you, Tango, for including Lebanon in your survey of worldwide indigenous music. Fairuz’s ionic voice of longing for what is gone… whether a people, a nation, or a love… is like an arrow to the heart. Thank you for this recognition and to all Lebanese,: we mourn, we commiserate, we want answers, and we want change. -nomad4now
I originally had a different song in mind to share today. However, recent events have led me to change my plan slightly. On August 4th, the people of Lebanon experienced a massive tragedy when explosions rocked the capital, Beirut.
As Lebanon grieves their losses and begins the process of picking up the pieces, I wanted to acknowledge their suffering in some small way. I don’t have specialized knowledge of Lebanon or their music, but with a bit of research, I discovered a rich tradition of songs of lament.
The name Fairuz came up as of critical importance. Her song “Li Beirut,” released in 1984, was an homage to a city which, at the time was being torn apart by civil war. Though the recent explosion was a different sort of tragedy, the emotions and imagery of the song make it seem a fitting tribute to a city in mourning.
If asked to pick a song that represents Afghanistan as a whole, I’d probably choose something by Ahmad Zahir or Farhad Darya. They are the biggest names, though I could list dozens of other outstanding singers. Maybe that’s a subject for a later post.
Today, rather than selecting something popular, I want to highlight a style of music that is not well-known, either in Afghanistan or abroad.
Nuristan is a remote, isolated, and mountainous province in the eastern part of Afghanistan, bordering Pakistan. The people of Nuristan have a unique culture, and even within the province, there are multiple languages and music traditions.
There are many theories about where the people of Nuristan originated. Some say they descended from the soldiers of Alexander the Great. Other scholars disagree. What is clear is that they are ethnically and culturally distinct from the rest of Afghanistan.
August 4, 2020, Beirut suffered the largest non-nuclear blast, behind Hiroshima and Nagasaki, that the world has seen in modern history. We are completely heartbroken and devastated to witness Lebanon and its people crippled further amidst a global pandemic and crushing economic crisis.
The Lebanese people are creative and resilient but in the face of such a massive tragedy, support from the global community is necessary. I would, thus, kindly invite you to donate to NGOs whatever small amount you can and to spread the message. Below are a few suggestions of reputable agencies.
As a graduate student in ethnomusicology, one of my assigned readings was Seize the Dance! by Michelle Kisliuk (1998).
Kisliuk conducted research among the BaAka people of Central African Republic from 1986-1995, documenting their song, dance, and way of life. I found Kisliuk’s ethnography to be a compelling read, and I deeply enjoyed the music that came with the book.
Frequently referred to as “pygmies” by outsiders, the BaAka have faced widespread persecution and forcible removal from their ancestral lands.
For further reading, here is an interesting article on the challenges these people face:
Today I am sharing an example of BaAka music. This polyphonic style of singing is known as “hocketing.” One singer begins a melody, then leaves a gap which other singers take up to complete the phrase.
As an ethnomusicologist, one of the great joys of my life is discovering new artists performing music in different styles.
I want to share some of that joy with our readers, so each day for the next ten days, I will be posting a link to a song from a different country.
Today’s song is from Pakistan, a country near and dear to my heart.
It is by the legendary Ustad Nusrat Fateh Ali Khan (13 October 1948 – 16 August 1997). Known for his extraordinary vocal range, Khan is remembered as the king of qawwali, a form of Sufi devotional music.
In his lifetime, Khan obtained fame both in Pakistan and worldwide.
5th of May is the day UNESCO announced in 2015 for people around the world to celebrate the culture and heritage of Africa.
To honour the diverse heritage of my Africa, I have chosen five photographs out of thousands from my Egypt and Nigeria collection and five photographs from other African countries. These photographs may not be the best but each represent an era, a civilisation or traditions of the African story. Many traditions are nearly extinct; each year monuments are destroyed, traditional crafts are discontinued, and culture changes. If not for documentation and archives, much of Africa’s heritage would be lost. Join me in preservation and documentation of cultures, traditions and heritage so that generations to come will have a glimpse into understanding this human journey.
Rock painting in Karkur Talh (Arcadia Valley), Uwaynat Mountains on Egypt/Sudan border. Painting survives under rock ledge from 8000BCE
City of the Past, Medinet Madi, an early settlement on the desert edge (30 kilometres beyond Fayoum Oasis) was founded by pharaoh Amenemhot III (1844-1797 BCE). Along the processional avenue are varied examples of lions from the Ptolemaic period: winged beast some with heads of Ptolemaic king.
Ain Umm el-Dabadib, Roman fort and settlement along ancient caravan route between Darb el-Arbain and Dakhlia Oasis.
Fanous: The Egyptian light of Ramadan. The origin of the word “Fanous” is Greek means light.
Fiteer, Egyptian pancake. Hagg Mahmoud pulls from beneath a pyramid of dough-shaped balls, one pastry roll. With quick wrist motions, he begins to flatten and flip it—twirl, stretch, fold—until the dough is paper-thin and translucent. Then fills it with sweet or savoury, it is delicious.
Zaria or the Zazzau is a city in northern Nigeria that can boast of the finest traditional uniforms, horsemanship, dancing groups with handcrafted musical instruments at the Durbar, an equestrian parade to celebrate Islamic and national events.
Bida, west-central Nigeria. The two crafts that Bida is most famous are Glassmakers and Brassworks. Each craft has a specific quarter of the city where the families are bound together in a strict guild.
Odogbolu Town in the south-west, Egun Olotun masquerade. Egun means masquerade; the name of the masquerades Olotun.
Traditional musicians from Calabar, south-eastern Nigeria.
Groundnut (peanut) farmer from Kano. Groundnut used to be one of Nigeria’s largest exports before the discovery of oil. The calabash (native gourd) has been repaired by stitching.
Village of Kpeta meaning ‘on top of a hill’ on Easter Sunday celebration
REPUBLIC OF BENIN
Near the city of Ouidah are statues called the Revenants that guard the monument. They represent Voodoo dancers who wait on the beach to welcome wandering slave souls back to Africa.
Conakry: weaving on narrow horizontal loom measuring 4 to 8 inches across in one continuous strip. Strip weaving that dates back to the 10th century in West Africa.The weaver frequently adds supplementary threads or embroidery.
The following three videos chronicle the official visit of HRH Ewuare II Oba of Benin with HRH Alhaji (Dr.) Yahaya Abubakar CFR, Etsu Nupe, Chairman of the Niger State Council of Traditional Rulers Read. This is a significant meeting between two powerful, traditional kingdoms of Nigeria. Take note of the Nupe traditional dance, the music particularly the flute and the durbar. This ceremony was held in Bida, Nigeria at the palace of the ETSU NUPE January 2020.
Above: The Oba of Benin arrives at the Palace of ETSU NUPE
Above: Kakaki trumpeters:
According to tradition the Atta of Igala, to whom the Nupe were subject inmid-fifteenth century, presented Tsoede, founder of the Nupe kingdom, with vari- ous royal insignia “including kakaki or the long royal trumpets” (Hogben & Kirk- Greene 1966:262). As this antedates their acquisition by both Songhai and Kano, which are considerably further north, while the Igala are to the south of the Nupe, one must choose between a southern origin, some form of instrumental leap-frog, or treat the story as legend. Since all evidence points to North Africa as the immed- iate source and simpler explanations are preferred to more contorted if they account for the facts, we are inclined to regard the story of Tsoede’s acquisition as later glorification of a past hero. There is, moreover, no evidence that the Igala ever had long trumpets; when the British 1841 expedition met the then Atta, his interest in the party’s bugle suggested unfamiliarity with both its “gold-like material” (Allen & Thomson 1848:303) and aerophones of longer dimensions. Recent research now dates the introduction of the Nupe kakaki from the reign of Etsu Majaya (1796- 1810)7, which accords with the hypothesis of a north-south diffusion, the trumpet entering Nigeria through Hausaland, whence it passed to the Nupe and so to the Yoruba. – Gourlay, K.A., Long Trumpets of Northern Nigeria — In History and Today)
S.F. Nadel’s account of kakaki trumpeters in Bida (heart of Nupeland) in 1930s: “On Thursday night and again on Friday afternoon the Etsu rides in great state to the mosque in the town, and on Friday at his return holds a reception in his house …”. During the procession, with the “king and courtiers on horseback, in their sumptuous gowns … drummers are beating their drums, three mounted trumpeters blow the huge bronze kakati in an incessant deaf- ening chorus.” (S.F Nadel, A Black Byzantium London Routledge and Kegan. 1942.)