Lets Explore Various African and African Diaspora History/culture VOL.1
- Thread starter cole phelps
- Start date
cole phelps
Superstar
Zenith and fall
Colonization and expansion of the kingdom of Nri was achieved by sending mbùríchi, or converts, to other settlements. Allegiance to the eze Nri was obtained not by military force but through ritual oath. Religious authority was vested in the local king, and ties were maintained by traveling mbùríchi. By the 14th century, Nri influence extended well beyond the nuclear northern Igbo region to Igbo settlements on the west bank of the Niger and communities affected by the Benin Empire.[6] There is strong evidence to indicate Nri influence well beyond the Igbo region to Benin and Southern Igala areas like Idah. At its height, the kingdom of Nri had influence over roughly most of Igboland and beyond. It reached its furthest extent between 1100 and 1400.[3]
Nri's hegemony over much of Igboland lasted from the reigns of the fourth eze Nri to that of the ninth. After that, patterns of conflict emerged that existed from the tenth to the fourteenth reigns, which probably reflected the monetary importance of the slave trade.[7] Outside-world influence was not going to be halted by native religious doctrine in the face of the slave trade's economic opportunities. Nri hegemony declined after the start of the 18th century.[10] Still, it survived in a much-reduced, and weakened form until 1911. In 1911, British troops forced the reigning eze Nri to renounce the ritual power of the religion known as the ìkénga, ending the kingdom of Nri as a political power.[10]
Government
A tender palm frond was a symbol of Nri
Nearly all communities in Igboland were organized according to a title system. Igbo west of the Niger River and on its east bank developed kingship, governing states such as Aboh, Onitsha and Oguta, their title Obi.[11][N 1] The Igbo of Nri, on the other hand, developed a state system sustained by ritual power.[6]
The Kingdom of Nri was a religio-polity, a sort of theocratic state, that developed in the central heartland of the Igbo region.[7] The Nri had a taboo symbolic code with six types. These included human (such as twins), animal, object, temporal, behavioral, speech and place taboos. The rules regarding these taboos were used to educate and govern Nri's subjects. This meant that, while certain Igbo may have lived under different formal administration, all followers of the Igbo religion had to abide by the rules of the faith and obey its representative on earth, the eze Nri.[12]
An important symbol among the Nri religion was the omu, a tender palm frond, used to sacralize and restrain. It was used as protection for traveling delegations or safeguarding certain objects; a person or object carrying an omu twig was considered protected.[12] The influence of these symbols and institutions extended well beyond Nri, and this unique Igbo socio-political system proved capable of controlling areas wider than villages or towns.[11]
For many centuries, the people within the Nri hegemony were committed to peace. This religious pacifism was rooted in a belief that violence was an abomination which polluted the earth.[3] Instead, the eze Nri could declare a form of excommunication from the odinani Nri against those who violated specific taboos. Members of the Ikénga could isolate entire communities via this form of ritual siege.[10]
Colonization and expansion of the kingdom of Nri was achieved by sending mbùríchi, or converts, to other settlements. Allegiance to the eze Nri was obtained not by military force but through ritual oath. Religious authority was vested in the local king, and ties were maintained by traveling mbùríchi. By the 14th century, Nri influence extended well beyond the nuclear northern Igbo region to Igbo settlements on the west bank of the Niger and communities affected by the Benin Empire.[6] There is strong evidence to indicate Nri influence well beyond the Igbo region to Benin and Southern Igala areas like Idah. At its height, the kingdom of Nri had influence over roughly most of Igboland and beyond. It reached its furthest extent between 1100 and 1400.[3]
Nri's hegemony over much of Igboland lasted from the reigns of the fourth eze Nri to that of the ninth. After that, patterns of conflict emerged that existed from the tenth to the fourteenth reigns, which probably reflected the monetary importance of the slave trade.[7] Outside-world influence was not going to be halted by native religious doctrine in the face of the slave trade's economic opportunities. Nri hegemony declined after the start of the 18th century.[10] Still, it survived in a much-reduced, and weakened form until 1911. In 1911, British troops forced the reigning eze Nri to renounce the ritual power of the religion known as the ìkénga, ending the kingdom of Nri as a political power.[10]
Government
A tender palm frond was a symbol of Nri
Nearly all communities in Igboland were organized according to a title system. Igbo west of the Niger River and on its east bank developed kingship, governing states such as Aboh, Onitsha and Oguta, their title Obi.[11][N 1] The Igbo of Nri, on the other hand, developed a state system sustained by ritual power.[6]
The Kingdom of Nri was a religio-polity, a sort of theocratic state, that developed in the central heartland of the Igbo region.[7] The Nri had a taboo symbolic code with six types. These included human (such as twins), animal, object, temporal, behavioral, speech and place taboos. The rules regarding these taboos were used to educate and govern Nri's subjects. This meant that, while certain Igbo may have lived under different formal administration, all followers of the Igbo religion had to abide by the rules of the faith and obey its representative on earth, the eze Nri.[12]
An important symbol among the Nri religion was the omu, a tender palm frond, used to sacralize and restrain. It was used as protection for traveling delegations or safeguarding certain objects; a person or object carrying an omu twig was considered protected.[12] The influence of these symbols and institutions extended well beyond Nri, and this unique Igbo socio-political system proved capable of controlling areas wider than villages or towns.[11]
For many centuries, the people within the Nri hegemony were committed to peace. This religious pacifism was rooted in a belief that violence was an abomination which polluted the earth.[3] Instead, the eze Nri could declare a form of excommunication from the odinani Nri against those who violated specific taboos. Members of the Ikénga could isolate entire communities via this form of ritual siege.[10]
cole phelps
Superstar
Marvel
Psalm 149:5-9
Nok culture is very exciting. The sad thing about it is that most of these artifacts are on display in Europe and have never been on display in Nigeria. They were smuggled out of the country by the German archaeologists hired to assist with the excavations. Whats funny is when Nigerian archaeologists asked some of the German archaeologists why they had taken the artifacts out of the country,they replied that they had done so to repair damages on the artifacts.
As a Nigerian It really angers me with the way the Nigerian government and her citizens don't show any pride towards our own history. All they seem to care about is religion, politics and money. It is no wonder that many Nigerians seem to exhibit c00n like behavior.
The British and all these other cacs have stuff in their National Museums or personal collections where they keep other great African artifacts. By taking away your history, they were able re-write our past as well.
cole phelps
Superstar
this
cole phelps
Superstar
cole phelps
Superstar
Rock and roll (often written as rock & roll or rock 'n' roll) is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s,[1][2] primarily from a combination of African-American genres such as blues, jump blues, jazz, and gospel music,[3] together with Western swing and country music.[4] Though elements of rock and roll can be heard in blues records from the 1920s[5] and in country records of the 1930s,[4] the genre did not acquire its name until the 1950s.[6][7]
The term "rock and roll" now has at least two different meanings, both in common usage: referring to the first wave of music that originated in the US in the 1950s and would later develop into the more encompassing international style known as "rock music", and as a term simply synonymous with the rock music and culture in the broad sense.[8] For the purpose of differentiation, this article deals with the first definition.
In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s.[9] The beat is essentially a blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum.[10] Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit.[9] Beyond simply a musical style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes, and language. It went on to spawn various sub-genres, often without the initially characteristic backbeat, that are now more commonly called simply "rock music" or "rock".
cole phelps
Superstar
Terminology
The term "rock and roll" now has at least two different meanings, both in common usage. The American Heritage Dictionary[11] and the Merriam-Webster Dictionary[12] both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and later developed "into the more encompassing international style known as rock music".[13]
The phrase "rocking and rolling" originally described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals[14] and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience.[14]
In 1934, the song "Rock and Roll" by The Boswell Sisters had been in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe.[15] By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue.[16] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it.[17]
The term "rock and roll" now has at least two different meanings, both in common usage. The American Heritage Dictionary[11] and the Merriam-Webster Dictionary[12] both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and later developed "into the more encompassing international style known as rock music".[13]
The phrase "rocking and rolling" originally described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals[14] and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience.[14]
In 1934, the song "Rock and Roll" by The Boswell Sisters had been in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe.[15] By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue.[16] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it.[17]
cole phelps
Superstar
Origins
The origins of rock and roll have been fiercely debated by commentators and historians of music.[18] There is general agreement that it arose in the Southern United States – a region which would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.[19] The migration of many former slaves and their descendants to major urban centers like Memphis and north to New York City, Detroit, Chicago, Cleveland and Buffalo (See: Second Great Migration (African American)) meant that black and white residents were living in close proximity in larger numbers than ever before, and as a result heard each other's music and even began to emulate each other's fashions.[20][21] Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, and African American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision".[22]
The immediate roots of rock and roll lay in the rhythm and blues, then called "race music", and country music of the 1940s and 1950s.[18] Particularly significant influences were jazz, blues, gospel, country, and folk.[18] Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African American rhythm and blues for a white market, or a new hybrid of black and white forms.[23][24][25]
In the 1930s jazz, and particularly swing, both in urban based dance bands and blues-influenced country swing, was among the first music to present African American sounds for a predominantly white audience.[24][26] The 1940s saw the increased use of blaring horns (including saxophones), shouted lyrics and boogie woogie beats in jazz based music. During and immediately after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars, bass and drums.[18][27] In the same period, particularly on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many later developments.[18] In the documentary film Hail! Hail! Rock 'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll, by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creating what is instantly recognizable as rock guitar. Similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll.[
The origins of rock and roll have been fiercely debated by commentators and historians of music.[18] There is general agreement that it arose in the Southern United States – a region which would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.[19] The migration of many former slaves and their descendants to major urban centers like Memphis and north to New York City, Detroit, Chicago, Cleveland and Buffalo (See: Second Great Migration (African American)) meant that black and white residents were living in close proximity in larger numbers than ever before, and as a result heard each other's music and even began to emulate each other's fashions.[20][21] Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, and African American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision".[22]
The immediate roots of rock and roll lay in the rhythm and blues, then called "race music", and country music of the 1940s and 1950s.[18] Particularly significant influences were jazz, blues, gospel, country, and folk.[18] Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African American rhythm and blues for a white market, or a new hybrid of black and white forms.[23][24][25]
In the 1930s jazz, and particularly swing, both in urban based dance bands and blues-influenced country swing, was among the first music to present African American sounds for a predominantly white audience.[24][26] The 1940s saw the increased use of blaring horns (including saxophones), shouted lyrics and boogie woogie beats in jazz based music. During and immediately after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars, bass and drums.[18][27] In the same period, particularly on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many later developments.[18] In the documentary film Hail! Hail! Rock 'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll, by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creating what is instantly recognizable as rock guitar. Similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll.[
↓R↑LYB
I trained Sheng Long and Shonuff
@cole phelps sohh you just gonna swagger jack my thread breh 
http://www.thecoli.com/threads/the-official-african-history-thread.79221/#post-2900812
Can it be that it was all so simple then :brehwow:
http://www.thecoli.com/threads/the-official-african-history-thread.79221/#post-2900812
Can it be that it was all so simple then :brehwow:
cole phelps
Superstar
never posted on sohh my bad breh didn't know@cole phelps sohh you just gonna swagger jack my thread breh
http://www.thecoli.com/threads/the-official-african-history-thread.79221/#post-2900812
↓R↑LYB
I trained Sheng Long and Shonuff
This was posted on thecoli though
It's all good breh. Anything that highlights our glorious history is more than welcome
cole phelps
Superstar
....@cole phelps sohh you just gonna swagger jack my thread breh
http://www.thecoli.com/threads/the-official-african-history-thread.79221/#post-2900812
Can it be that it was all so simple then :brehwow:
cole phelps
Superstar
sorry read your post wrong but thanks brehThis was posted on thecoli though
It's all good breh. Anything that highlights our glorious history is more than welcome
↓R↑LYB
I trained Sheng Long and Shonuff
Sohh you just skipped right over the first sentence in that OP huh
And all this time I thought we were breh's
