The Majority Of African Americans Are Descended From - Igbo/Yoruba Tribes

[IllmaticDelta]

Senegambia


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Afram


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^^In West Africa, I've mostly seen that combination of facial/head structure on Senegambians. Another example would be this guy from Mauritania


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Nigeria


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Afram


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[GrindtooFilthy]

The records and the culture

says who

in brazil, parts of the south like NO, and the caribbeans they still practice yoruba animism and they can still name all the yoruba gods and the original history, if igbos were the majority they would have carried more of our culture practices but they don't

 

[Bawon Samedi]

^^^But you have to take in account of genetics that says AA's do have good amount of Yoruba DNA, but it is NOT the majority...

 

[Meli]

says who

in brazil, parts of the south like NO, and the caribbeans they still practice yoruba animism and they can still name all the yoruba gods and the original history, if igbos were the majority they would have carried more of our culture practices but they don't

i understand were your coming from but he meant north american blacks.

 

[Bawon Samedi]

Culturally "early" African American culture has more in common with Islamic Sahelian African culture. See this thread.

http://www.thecoli.com/threads/refu...merican-music-culture-is-europeanized.280978/

 

[IllmaticDelta]

There are probably numerous reasons for it but for whatever reason, a Senegambian-Mende-Sahelian strand had the most influence in the USA.

 

[Meli]

I will be honest with myself, when it comes to north american blacks i really don't see cultural similarities to west africans. South americans and Caribbeans, yes.

 

[Meli]

I feel like the best thing that would be if north american blacks took dna tests, the majority.

 

[IllmaticDelta]

I will be honest with myself, when it comes to north american blacks i really don't see cultural similarities to west africans.

It's there but it's not in the stereotypical way people view African influences, which is usually some type of hand drumming and voodoo-like practices.

South americans

Their culture has more of the stereotypical things people associate with African culture

and Caribbeans, yes.

This region is a toss up.


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Check out these threads

Refuting the myth that Black American music/culture is "Europeanized".

http://www.thecoli.com/threads/refu...merican-music-culture-is-europeanized.280978/


No Beef: But Blacks in USA are so Far Away From Their African Roots Compared to Caribbean/South Ame

http://www.thecoli.com/threads/no-b...roots-compared-to-caribbean-south-ame.284190/

 

[IllmaticDelta]

Culturally "early" African American culture has more in common with Islamic Sahelian African culture. See this thread.

http://www.thecoli.com/threads/refu...merican-music-culture-is-europeanized.280978/

Exactly


Contributions of Enslaved African Muslims


Just as African Muslims brought their religion, technology and folk tales, they also brought their music. Jobson in the 17th century and Park in the 18th century remarked on the widespread presence of music in their travels among the Wolof, Mandingo and Fula. African instruments described by Jobson and Park included one-string fiddles, various types of lutes, flutes, harps, a xylophone (the bala), bowstrings (the string is blown on and struck with a stick—this is the American diddly bow), various drums and the clapping of hands, which appeared to constitute a necessary part of the chorus.[39] Virtually every village had a jilli (griot) who sang extempore songs in praise of chiefs and the ancestors as well as songs concerning important historical events. Other musicians were described as a class of devout Muslims who traveled throughout the land singing religious songs and performing religious ceremonies.[40] Some of these traveling musicians were actually Muslim traders who simply brought their music with them wherever they traveled.[41]

Senegambian/sahelian music like their counterpart in the Muslim world was a mixture of an old African tradition and a newly inherited Islamic-Arabic musical tradition, producing a new cultural manifestation that possessed elements of both. Influence went both ways because the Moors adopted many African elements as witnessed in the uniqueness of North African music, Southern Spanish music and traditional Portuguese music like the fado.

In trying to identify African influence in African American music, especially the blues, many scholars have come to agree with Paul Oliver’s early contention that “the blues was a product of acculturation, of the meeting of African (notably Senegambian) musical traditions with Euro-American (notably British) ones.”[42] (Oliver 125, see also Kubah, Coolen) By Senegambia, Oliver and others refer to the shared musical tradition of the Sahel crescent zone that stretches from Senegal/Gambia across Mali to Northern Nigerian and Hausa land.[43] The main elements of their argument that the main African influence on the blues stems from the Senegambia are as follows:

1. The ensemble of musical instrument in the Senegambia and the Sahel crescent, which consists of the long-neck lute, one-string fiddles and bones/rattles/tapping on a calabash, is remarkably similar to the fiddle, banjo and tambourines which dominated African American music from the 17th to 19th century. Various plucked lutes were prominent instruments among the Wolof, Mandingo, Fula, Soninke and Hausa. These instruments whether the five-strong halam of the Wolof, the three-string koonting of the Mandingo or the Hausa komo were most likely the grandfather of the banjo.[44] An early colonial slave song says that “Negro Sambo play fine banger, make his fingers go like handsaw.” (???) This Fula, Mandingo or Wolof Sambo was obviously an early master of the banjo.[45] (Kubah and Oliver, 57) A runaway slave notice mentions a Sambo who is an expert with the fiddle. (?) African fiddles whether the riti of the Wolof, the gogi or the Hausa or the gogeru of the Fula were common instruments in the Sahel crescent. The European fiddle was the most common instrument in the antebellum era and an African American who was familiar with the African fiddle would have been highly motivated in the acquisition of prestige and time-off to pick up the new European fiddle and master it.

The typical early black musical group of the Caribbean and South America included drums and gongs, scraps and voices which would correspond to an ensemble of the West African rain forest. “The early blues bands by contrast consisted very often of fiddle, guitars and sometimes homemade percussion, which would easily accommodate techniques learned in the savannah groups with their bowed goge, lutes and rattles.[46]

2. The blues tradition and much of other black musical forms which revolves around a solo performer accompanied by a plucked-string instrument does not have a parallel in the cultures of the West African rain forest and the Congo, but it does in the Sahel crescent. Griots and other traveling musicians of the Sahel performed like the blues men “in the midst of an active and noisy crowd that constantly comments on and dances to their music.”[47] “Musicologists generally agree that Africa’s black bluesmen have, in essence, reinstituted the high art of the African griot.” (?)

3. African American field hollers (a few melancholy, lonesome lines sung individually by a worker) and work songs are widely considered to be one of the predecessors of the blues. Hollers and work songs are rare among the people of the rain forest but plentiful in the Sahel crescent. A researcher found a match for a Mississippi prison holler performed by a man nick named Tangle Eye with a recording from Senegal. “When we intercut these two pieces on a tape, it sounded as if Tangle Eye and the Senegalese were answering each other, phase by phase. As one listens to this musical union, spawning thousands of miles and hundreds of years, the conviction grows that Tangle Eye’s forebears [sic] must have come from Senegal bringing this song style with them.”[48]

Scholars have found unique similarities between American work songs and work songs among the Hausa and cattle herding Fula,[49] so much so that some feel the field holler originated with African cattle herders.[50]



Senegambian peoples, many of whom were Muslims, were some of the first enslaved Africans brought to America. Many of these Senegambians were familiar with rice cultivation and as European settlers experimented with rice in the 17th century, these Senegambians passed on their knowledge, thus shaping the development of rice cultivation in America. Thereafter, planters in South Carolina, Georgia and Louisiana preferred enslaved Africans from Senegambia because of their experience in rice cultivation. This would explain in part why Americans imported a relatively large proportion of Senegambians. In French Louisiana, a captain was instructed "to try to purchase several blacks who know how to cultivate rice."


Distinct characteristics of Afromerican Blues music that are found in Senegambian/Sahel music that aren't found in Carribean/West Indian or Afro-Latino music.

"The absence of polyrhythm and asymmetric time-lines and the presence of emphasis instead of off-beats in blues and early jazz are also characteristic of Sahel music. On the other hand, the music of the rain forest and the Congo with its heavy emphasis on drumming is characterized by polyrhythms and asymmetric time-lines and its influence is reflected in the black music of the Caribbean and South America.[52] Arguments that the drum was prohibited in the U.S. and that enslaved Africans lived in closer proximity to whites are not persuasive because drums are not the only means to express polyrhythms and the cultural impulse for polyrhythm would not have been totally stifled by the influence of white culture. A more plausible answer is the influence of Sahel culture in the development of African American music"

Like the blues, Sahel music typically uses pentatonic scales that allows inflections and shadings of notes (the blues notes) as well as the use of a central tone reference, often a drone stroke which renders it "out of turn" around which the melody revolves.[54] The blues tonality is not found in rain forest and Congo music or in Latin American music"

"In 1968 he [the Mali musician Ali Farka Toure] heard a recording of John Lee Hooker and was entranced. Initially he thought Hooker was playing music derived from Mali. Several Malian song forms—including musical traditions of the Bambara, Songhay and Fulani ethnic groups—rely on minor pentatonics (five note) scales which are similar to the blues scales"

"The blues and jazz style of bending notes, melisma (ornamental phrasing of several notes in one syllable which is typical of the Muslim call to prayer), slurs, and raspy voices are all characteristics of music in the Sahel zone. These aspects of Sahel music are undoubtedly a direct influence of Arab/Islamic music. Billy Holiday was master of this style"

As sung by her [Billy Holiday] a note may (in the words of Glen Coutler) begin 'slightly under pitch, absolutely without vibrato, and gradually be forced up to dead center from where the vibrato shakes free, or it may trail off mournfully; or at final cadences, the note is a whole step above the written one and must be pressed slowly down to where it belongs.' Coincidence or not, all these features are found in Islamic African music and hardly at all in other styles





MANA - Muslim Alliance in North America


Mother and son in 1860s-1870's Georgia..the son is playing an African fiddle!

In West Africa

 

[Meli]

It's there but it's not in the stereotypical way people view African influences, which is usually some type of hand drumming and voodoo-like practices.

Hand drumming i don't know but the vodoo because even after the americans banned the slave trade, more slaves were smuggled into Louisiana, their like the closest african influence.

 

[IllmaticDelta]

Hand drumming i don't know but the vodoo because even after the americans banned the slave trade, more slaves were smuggled into Louisiana,

There are black americans throughout the South that do Hoodoo which is not the same as Voodoo.

Mojo Workin': The Old African American Hoodoo System

In this book, Katrina Hazzard-Donald explores African Americans' experience and practice of the herbal, healing folk belief tradition known as Hoodoo. Working against conventional scholarship, Hazzard-Donald argues that Hoodoo emerged first in three distinct regions she calls "regional Hoodoo clusters" and that after the turn of the nineteenth century, Hoodoo took on a national rather than regional profile. The first interdisciplinary examination to incorporate a full glossary of Hoodoo culture, Mojo Workin': The Old African American Hoodoo System lays out the movement of Hoodoo against a series of watershed changes in the American cultural landscape. Throughout, Hazzard-Donald distinguishes between "Old tradition Black Belt Hoodoo" and commercially marketed forms that have been controlled, modified, and often fabricated by outsiders; this study focuses on the hidden system operating almost exclusively among African Americans in the Black spiritual underground.

Mojo Workin'







Black Magic: Religion and the African American Conjuring Tradition

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If you listen to older Blues, they make many references to Hoodoo


John the Conqueror

John the Conqueror, also known as High John the Conqueror, John de Conquer, and many other folk variants, is a folk hero from African-American folklore. He is associated with a certain root, the John the Conqueror root, or John the Conqueroo, to which magical powers are ascribed in American folklore, especially among the hoodoo tradition of folk magic.



Black cat bone

A black cat bone is a type of lucky charm used in the African American magical tradition of hoodoo. It is thought to ensure a variety of positive effects, such as invisibility, good luck, protection from malevolent magic, rebirth after death, and romantic success.[1]

...Got a black cat bone
got a mojo too,
I got John the Conqueror root,
I'm gonna mess with you...

—"Hoochie Coochie Man," Muddy Waters
The bone, anointed with Van Van oil, may be carried as a component of a mojo bag; alternatively, without the coating of oil, it is held in the charm-user's mouth.[2]


Mojo (African-American culture)

Mojo /ˈmoʊdʒoʊ/, in the African-American folk belief called hoodoo, is an amulet consisting of a flannel bag containing one or more magical items. It is a "prayer in a bag", or a spell that can be carried with or on the host's body.

Alternative American names for the mojo bag include hand, mojo hand, conjure hand, lucky hand, conjure bag, trick bag, root bag, toby, jomo, and gris-gris bag.[1]


Goofer dust

Goofer dust is a traditional hexing material and practice of the African American tradition of hoodoo from the South Eastern Region of the United States of America.

their like the closest african influence

Low Country/Sea Island Aframs

 

[Ziploc]

Cool pics @IllmaticDelta...props



Do you know which area in Central Africa? I'm from CAR but from what I've heard (haven't really done the research tbh) not many slaves were taken from the current CAR...probably because part of the area was already under-populated (still is) because of the Arab razzias in the North...

From what i've heard Angola/Sudan but in smaller numbers.The portugese where also rumored to trade slaves with arabs when they first started shipping slaves out for the slave markets,the arabs had knowledge of tribes that dealt with them and captured and sold slaves to the arabs.
My father is of Senegambian/Ivory Coast descent and my mother is of Ghanian descent,but in Suriname it was common practice for the slave owners to not buy too much slaves from the same region for fear of uprising,they knew that a shared language,tribal past and religion would cause slaves to organise and that would be disastrous.

 

[Samori Toure]

I already said this






Aframs have regional, African stock, differences.

You hit it right on the head. African Americans are a really mixed group of Africans. Other groups that African Americans are mixed with included the Fulani, Hausa, Bakongo, Fang, Dogon, Bambara, Mandinkas, Yoruba, Kaba, Fon, Berbers and Akan (Asante, Brong and Baoule), Kru, Tikar (Bamoun and Bamileke) and a bunch of other African ethnic groups. So it is not just Igbo people that African Americans are mixed with.

The Igbo and other present day Nigerians were not even the largest group of people captured as slaves. The people of the Kingdom of the Congo (modern day Democratic Republic of the Congo, Angola and the Republic of the Congo) were the most captured group and many African Americans have Congo mixture as well; which is Bantu.

 

[IllmaticDelta]

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You hit it right on the head. African Americans are a really mixed group of Africans. Other groups that African Americans are mixed with included the Fulani, Hausa, Bakongo, Fang, Dogon, Bambara, Mandinkas, Yoruba, Kaba, Fon, Berbers and Akan (Asante, Brong and Baoule), Kru, Tikar (Bamoun and Bamileke) and a bunch of other African ethnic groups. So it is not just Igbo people that African Americans are mixed with.

The Igbo and other present day Nigerians were not even the largest group of people captured as slaves. The people of the Kingdom of the Congo (modern day Democratic Republic of the Congo, Angola and the Republic of the Congo) were the most captured group and many African Americans have Congo mixture as well.

Don't forget Malagasy