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First, there is the "seeing". This is when someone looks at a doorway and sees the spirit. They then tell someone and that person tells someone and so on. The leader of the ceremony greets the duppy (spirit) and then the night song begins. This is a song played for the duppy while he or she is told stories by the elders.
Through Agbadza, at the time known as Atrikpui, Ewe singers and poets sang about battles, life and death, heroism, cowardice, migration, conquest, imperialism, and a warrior ethos. [7] The move towards Agbadza was done due to a period of peace that was enjoyed by the Ewes around the 1920s, and so instead they decided to use some of their old ...
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. [1]
There were many different reasons to hold a potlatch in Athabaskan culture, including the birth of a child, a surplus of food, or a death in the clan. The most elaborate of Athabaskan potlatches was the mortuary or funeral potlatch. [2] This marked "the separation of the deceased from society and is the last public expression of grief." [4]
The death wail is a keening, mourning lament, generally performed in ritual fashion soon after the death of a member of a family or tribe.Examples of death wails have been found in numerous societies, including among the Celts of Europe; and various indigenous peoples of Asia, the Americas, Africa, New Zealand and Australia.
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During the ceremony, around 500 prisoners would be sacrificed. As many as 4,000 were reported killed in one of these ceremonies in 1727. [5] [6] [7] Most of the victims were sacrificed through decapitation, a tradition widely used by Dahomean kings, and the literal translation for the Fon name for the ceremony Xwetanu is "yearly head business". [8]
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