ZP324_Africa - Mountain Valley Academy

Transcription

Africa
Fun Projects for World History
Jean Henrich, Writer
Bill Williams, Editor
Dr. Aaron Willis, Project Coordinator
Christina Trejo, Editorial Assistant
Shoshana Muhammad, Editorial Assistant
Social Studies School Service
10200 Jefferson Blvd., P.O. Box 802
Culver City, CA 90232
http://socialstudies.com
[email protected]
(800) 421-4246
© 2006 Social Studies School Service
10200 Jefferson Blvd., P.O. Box 802
Culver City, CA 90232
United States of America
(310) 839-2436
(800) 421-4246
Fax: (800) 944-5432
Fax: (310) 839-2249
http://socialstudies.com
[email protected]
Permission is granted to reproduce individual worksheets for classroom use only.
Printed in the United States of America.
ISBN: 1-56004-251-6
Product Code: ZP324
History, Language Arts, Art - Ancient Africa
TABLE OF CONTENTS
General Overview
African Kings in Focus
African Metalworkers in Focus
African Warriors in Focus
African Merchants in Focus
African Caravans in Focus
African Marketplaces in Focus
Great Zimbabwe in Focus
The African Kingdom of Aksum in Focus
African Mudcloth
General Material List
Extension Activities for Graphics
Character Development Statements
Additional Details for Characterization
Setting Development Statements
Additional Details for Settings
PAGE
1
2
12
26
42
50
61
72
82
98
113
114
118
122
125
127
Permission granted to reproduce for classroom use only. © 2006 Social Studies School Service. (310-839-2436) www.socialstudies.com
LEARN * DREAM * AWAKEN* DISCOVER * ENLIGHTEN * INVESTIGATE * QUESTION * EXPLORE
GENERAL OVERVIEW
This collection of nine enrichment activities was designed to complement existing
curricula and expand the understanding of ancient African civilizations. Studies have
confirmed that using our hands helps us retain information. So, if you are looking for
creative and simple, yet stimulating and exciting projects to spark learning, take the next
step toward a highly engaging encounter.
There is truly nothing more stimulating than combining a hands-on activity with a
subject being studied. Regardless of a learner’s age, learning by doing will help maintain
their interest, help them better retain information, and foster a desire to learn now and in
the future.
In this collection, there are a total of nine hands-on projects and writing activities.
To enhance the complete learning experience using this collection, character and setting
development statements as well as extensive vocabulary lists are provided. A general
materials list, detailed instructions, and extensive activity suggestions are provided for
the nine projects that focus on the collection theme.
As an educator with 18 plus years of teaching and product development experience,
it is my personal goal to encourage young people to be creative. Each of the activities
included in this collection are based on actual artifacts representative of ancient African
cultures. A conscious effort was made to develop activities that are made from readily
available materials, yet result in stunning end products. Although having a wonderful
end product is desirable, an essential part of learning is the process of creating something.
A young person will gain a greater appreciation for the skills required by the ancient Africans when they accomplish an activity.
It is my heartfelt desire that both teacher and student will find the nine activities in
this book a wonderful journey of creativity. Jean Henrich
1
A FRICAN
Kings in
Focus
History
African Kings
2
AFRICAN KINGS IN FOCUS
Africa has a long history of being led by tribal kings. The kings led their
people by maintaining traditions, overseeing religious rites, leading warriors
into battle, and maintaining vast empires.
The kings of Africa were considered living gods. Even today, the royal
households of Africa are viewed by their people as sources of stability and wisdom
since they carry on the traditions and practices rooted deep in the past. African
kings of the past were absolute rulers who maintained complete power over
their people. They were both the spiritual and political authorities.
THE KINGDOM OF KUSH
In ancient Africa, the kingdom of Kush which was located in the southern
part of Nubia was considered a well-established empire. Egypt was conquered
and ruled during the rule of King Piankhi and his brother King Shabaka who
succeeded him. What few people realize is that these kings of Kush founded the
25th ruling dynasty of ancient Egypt. Shebiku, Piankhi’s son, became an Egyptian
pharaoh.
African kings, like those of the western empires and far eastern empires,
were often surrounded by great wealth - ivory, gold, and elaborately carved
furniture filled their residences.
In the sixth-century AD as trade increased with Muslims traveling from
distant lands, the stories of the great wealth of African kings spread throughout
the known world. An Arab geographer by the name of al-Ya’kubi wrote that
Ghana’s powerful king (who ruled numerous smaller kings) had great wealth
due to Ghana’s gold mines.
3
THE KINGDOM OF AKSUM
Aksum was another African kingdom. During the third and fourth centuries
AD, the great rulers of Aksum encouraged a thriving trade with Egypt and the
Roman Empire. Archaeologists have discovered that such trade items as olive
oil, wine, glass, crystal, frankincense, myrrh, and various metals such as brass,
copper, silver, and gold were being imported and exported. Both the Greeks
and Romans sought frankincense and myrrh that was obtained from trees that
grew in the mountains around Aksum. Historic records indicate that Aksumite
kings actually issued gold coins to assist in the trade of goods. They encouraged
their people to develop their skills in ivory carving, ceramics, metalwork, and
glass making. They even had special stelae, or stone pillars, made to mark their
tombs.
ROYAL REGALIA
As with most royalty, kings would display their
power and influence in what they wore. Royal regalia
played a significant part in the roles played by
African kings. These items ranged from specially
woven materials with special symbols, as well as
masks, stools, staffs, crowns, drums, wooden pipes,
drinking cups, fly whisks, belts, hats, umbrellas, and
decorated boxes. Since African kings were regarded
as “gods,” everything that they came in contact with
took on special powers and significance.
4
The following are some of the different African regalia and their significance in
particular cultures:
Yorbua - The Yorbua king’s beaded crown was designed to hide and shield the
identity of the king. As a living god, the beaded crown also protected those to
whom the king might direct his view. The crown incorporated many symbols
including such elements as birds, which symbolized the mystical powers of
women; interlacing patterns that symbolized the interconnectedness of the rulers’
ancestors; and elephants that symbolized the power and longevity of the king.
Luba - Luba rulers had a special stool called a caryatid which was the most
important symbol of Lubian leadership. The stool was used to keep the feet of the
ruler from touching the ground, preventing him from becoming ill. It was believed
by the Lubians that if the king was well, then so too would be the Lubian people.
Asante - Asante kings wore beautifully woven items referred to as kente cloths.
During their reign, Asante kings would discuss with the royal weavers a new
kente cloth design that would symbolize their rule. The pattern that was created
would then be associated with that king’s reign.
Benin - The Benin king, or oba, would commission a stylized brass head and
other special objects from the previous ruler which were then placed on special
altars in the royal palace. It was believed that these objects would serve as a
means by which family members could ask the spirits for good health and wealth
for the Benin kingdom.
5
AFRICAN KING WRITING
RECIPE
DIRECTIONS: Follow the steps listed at the bottom of this page in order.
Use the words provided under the different categories to help you write
your paragraph. If you would like, add your own words to the categories.
If appropriate, you may use more than one word from each column.
Additional character development statements and details for
characterization can be found on pages 118 - 124.
CLOTHING
Dressed in silk
Covered in jewels
Cap speckled with
gold
Sandals
Leopard skin cape
Gold bracelet
DUTIES
Military chief
Religious leader
Chief of justice
Overseer of the empire
Listening to officials
DAILY ACTIVITIES
Making appointments
Settling disputes
Listening to reports
Collecting gold nuggets
Making treaties
Conducting ceremonies
LEADERSHIP TRAITS
Brave
Decisive
Sensitive
Courteous
Fearless
COLLECTIONS
Animal skins
Glass beads
Gold nuggets
Ivory
Precious stones
FAVORITE FOOD
Barley
Cocoyams
Hippopotamus
Melon
Pomegranate
STEPS
1. Indent and write one sentence introducing your character by name. (Use your own
words for this step.)
2. Write one or more sentences describing the king’s clothing
3. Write several sentences describing the king’s duties.
4. Write one or more sentences describing his daily activities.
5. Write one sentence describing his leadership traits.
6. Write one or more sentences describing his collections.
7. Write one sentence describing his favorite food.
6
Antique Benin Regalia Mask
It is estimated that there are approximately 100
African kings who still rule various ethnic groups
throughout the continent of Africa. One of these ethnic
groups is the Benin. The Benin still exist today in what is
known as south-central Nigeria. The oba, or kings, trace
their rule to a powerful and wealthy dynasty from 1300
AD. The casting of brass objects was an art that was under the exclusive control of the king. Anyone casting brass
without the expressed permission of the king faced being
executed. The following activity involves recreating a faux
metal mask using papier-mache and metallic paints.
MATERIALS NEEDED
*Scissors
*Paintbrush
*Sponge
*Papier-mache paste (See recipe on this page)
*Newspaper
*Large bowl for papier strips
*PLAID FolkArt Acrylic Paint - black and various
shades of gold and copper
*Sea sponge
*Gold dimensional paint
*Petroleum jelly
*Plastic mask
*Plasticine clay
*Ruler
*Wax paper
*Pencil or magic marker
AFRICAN MASKS
This mask is based on an antique brass
mask from Benin. It is part of the regalia of
the Atah of Idah on the Niger river. Masks
were often a symbol of royalty in Africa.
PAPIER-MACHE PASTE RECIPE
Ingredients:
1/2 cup rice flour
2 cups cold water
2 cups boiling water in a pot
3 tablespoons sugar
Directions: Mix the cold water and rice
flour in a large bowl. Add this mixture to
the pot of boiling water. Stir mixture
until it returns to a boil. Remove the pot
from the heat and add the sugar. Stir the
mixture again and set aside to cool.
7
1. PREPARE THE MASK AND PAPIER-MACHE INGREDIENTS
*WITH ADULT SUPERVISION, Make one batch of
the papier-mache paste recipe and set aside.
*Tear up pieces of newspaper and place in a large
bowl.
*Use the illustration on page 11 or another mask of
your choosing to help you create the mask details
by adding features to the plastic mask with the
plasticine clay.
*Spread the surface of the mask with petroleum jelly.
2. APPLY THE PAPIER-MACHE PIECES AND REMOVE THE MASK
*Dip the pieces of newspaper into the papier-mache paste and apply to the
surface of the mask.
*Continue to layer the mask until at least three layers have been applied to the
facial features and a 3”- 4” rim has been created around
the face.
*Set aside to dry.
*After the mask has completely dried, carefully pull
away the plastic mask from the back of the papiermache. Some clay may stick to the inside of the mask,
but this can be easily removed with a toothpick or your
fingers.
8
3. TRIM THE EXCESS PAPER, THEN PAINT AND EMBELLISH
*Use a ruler and mark around the outside of the mask 2” from where the face begins.
Carefully cut around the exterior to create an even outlined rim.
*Paint the mask completely with FolkArt
R
black acrylic paint and let dry.
9
4. TRIM THE EXCESS PAPER, THEN PAINT AND EMBELLISH (continued)
*Using a damp sea sponge, gently dab the FolkArt gold and copper acrylic paint
over the surface of the mask. Don’t cover the black background completely since this
will add an “antiqued” appearance to the mask. Set aside to dry.
*Use the gold dimensional paints to add the decorative detailing to the mask using the
illustration on page 11 for guidance, or decorate the mask using your own designs.
*Mount and frame as desired.
10
BENIN STYLED MASK ILLUSTRATION
11
AFRICAN
Metalworkers in
Focus
History
African Metalworkers
12
AFRICAN METALWORKERS IN FOCUS
African metalworkers were skilled in forming various metals into numerous
decorative and functional objects. Historians believe that for over 2000 years,
metal has played a significant role in African life. Metal was used for tools and
weapons, as a means to identify status, for religious purposes, as musical
instruments, and for jewelry.
The first use of iron appears to have begun as early as the first-century AD.
One of the earliest African peoples to work with iron seems to have been the
Bantu, who traveled into Southern Africa from the areas of present-day Cameroon
and Nigeria. Trade with the kingdom of Kush appears to have influenced the
development of iron work.
Although many African groups were primarily focused on hunting,
gathering, and farming, the skill of the Bantu with mining, smelting, and working
various metals influenced numerous African cultures. As trade increased
throughout the continent of Africa, many African people became highly skilled
with all aspects of metalwork including mining, smelting, and creating objects in
gold, copper, brass, iron, and tin.
One of the first groups to use smelt iron were the Nok. They observed
that by heating certain rocks, iron could be removed from the rock. Since iron is
a malleable metal, it became a primary source for making tools, weapons, and
cooking items.
13
KOTOKO (Chad)
The Kotoko are believed to be one of the oldest West African groups of iron
workers. They are well known for their stylized figures on horseback.
KUBA (Democratic Republic of Congo)
The skilled metalworkers of the Kuba people used metal to
make various types of weapons such as knives, spears, axes
and a specialized currency called “currency blades” or
“currency spears.”
ETHIOPIAN (Ethiopia)
The Ethiopians have been long credited for being highly skilled
in metalwork. Not only did they establish the ancient Kingdom
Kush, but they were leaders in mining, smelting, and creating
numerous objects from metal. They made items from as small
as tiny metal beads to large shields and even Ethiopian crosses
(or Coptic crosses). Ethiopia was one of the first nations to accept
Christianity. The Coptic crosses, often made from cast silver
alloy, can be divided into three major types: those worn as pendants, those carried
by hand in processions, and those designed to be mounted on staffs for display
on altars.
DOGON (Mali)
The Dogon people are also reknown metalworkers. They
worked in cast bronze and forged iron. The Dogon’s most
recognized metalworking items are riders on horseback. These
figures symbolized several things to the Dogon - power,
prestige, and status. Historians believe that metal riders on
horseback have been made in Mali for over 1000 years.
14
KIRDI (Cameroon)
The Kirdi people made iron currency. Many African tribes
developed currency based on stylized forms or everyday
objects.
BAMANA (Mali)
Forged in iron, the Mali metalworkers created exquisite figures
on horseback. They created the riders through a process of
smelting and hammering to form the figures.
YORUBA (Nigeria)
The Yoruba people made iron healing staffs called Osanyin staffs which
often featured birds on the top. They created these staffs in honor of Osanyin, a
god of herbal medicine. The Yoruba believed the staffs could assist in the healing
process and ward off evil. The healing staffs were placed into the ground next to
a sick person.
We have all heard the phrase, “If only money grew on trees.” In Nigeria,
the Yoruba people developed a wonderful way to display a set value of money the Moneytree. Made of metal, each money tree held a specific
number of coins. This unique form of currency originated during
the time of the British colonization of West Africa.
BENIN (Nigeria)
Benin bronze sculptures are well known throughout the world.
The Oba, or king, often commissioned special pieces to be made
by the metalworkers. Most pieces, such as bronze leopards, were
used to hold water from which the king would wash his hands
in special ceremonies. The bronze leopards were usually kept
on royal altars.
15
FON (Republic of Benin)
Fon royal staffs were made of brass or iron and were placed
in the ground before royal compounds. The top of the staff
featured sculptures called asen which were figures that honored
past rulers.
BAMILEKE (Cameroon)
The Bamileke of Cameroon used their metalworking skills
to make iron gongs. The gongs were the symbolic voice of
the Kwifoyn, the male authority group. The gongs were
both decorative and functional. A wooden stick would be
used to sound the sacred gong.
SANGO (Gabon)
The Sango people made metal reliquary
figures which were intended to be guardians.
These metal guardian figures were often
placed in baskets that held other important
items from clan ancestors. The reliquary
figures were usually covered in copper or
brass and featured an unusual diamond shape
below the head.
16
AFRICAN METALWORKERS
IN FOCUS
DIRECTIONS: Follow the steps listed at the bottom of this page
in order. Use the words provided under the different categories
to help you write your paragraph. If you would like, add your
own words to the categories. If appropriate, you may use more
than one word from each column. Additional character
development statements and details for characterization can be
found on pages 118 - 124.
LOCATION
Nigeria
Gabon
Cameroon
Chad
Mali
DISPOSITION
Awkward
Comfortable
Fidgety
Gruff
Relaxed
FACIAL TEXTURE
Oily
Rough
Scarred
Work-worn
Wrinkled
HAIR
Balding
Braided
Ragged
Short
Curly
Soft
EYES
Protruding
Small
Sunken
Round
Slanted
MATERIALS
Iron-bearing
minerals
Wood to fuel
furnaces
Pounding tools
Molds
Water
Copper
Brass
Gold
PRODUCTS
Weapons
Tools
Vessels
Bowls
Swords
Daggers
ITEMS MADE
Iron gongs
Royal staff
Healing staff
Iron currency
Horseback riders
Moneytrees
Reliquary figures
Shields
Metal beads
Coptic crosses
STEPS
1. Indent and write one sentence introducing your character by name. (Use your own words for
this step.)
2. Write one or more sentences describing the location of the metalworker lives.
3. Write several sentences describing his facial texture and hair.
4. Write one sentence describing his eyes.
5. Write one or more sentences describing his disposition.
6. Write several sentences describing the different materials he used to create the metal items.
7. Write several sentences describing the different items made by the metalworker.
7. Write one or more sentences describing the different products he trades for in exchange for
his metalwork.
17
Antique Metal Horseback Rider
Many African tribes/clans were very skilled at
making metal objects. Dogon and Bamana people, both of
Mali, and the Kotoko people of Chad created stylized figures on horseback. This activity will give you an opportunity to create your own stylized “antique” rider.
MATERIALS NEEDED
*Scissors
*X-acto knife - ADULT SUPERVISION
REQUIRED
Hot glue gun and glue - ADULT SUPERVISION
REQUIRED
*Paintbrush
*Pencil or pen
*Corrugated cardboard
*PLAID FolkArt Acrylic Paint -black
*Sophisticated Finishes by Triangle Coatings Metallic Surfacers for Iron and Copper and
Antiquing Solutions for Rust and Patina Blue or
Green - (Available in craft stores in the paint or
faux finishing section) - ADULT SUPERVISION
REQUIRED
*Copy machine
*Glue stick
*Copper sheet, pennies, etc.
*White vinegar
*Ammonia (ADULT SUPERVISION
REQUIRED)
*Non-iodized salt
*Lemon juice
*Gloves
*Glass or plastic container
*Wax paper
*Labels
*Mask
AFRICAN METALWORK
African metalworkers used many different metals and techniques to create their
works of art. Over time, all metals will
show age. Age can be in the form of tarnish, rust, or patina. On pages 23 - 25 we
provide you two formulas for creating a
copper patina.
18
1. PREPARE THE CARDBOARD PIECES
*Make a copy of the “Rider on Horseback Template”
on page 22.
*Attach each pattern to corrugated cardboard with a
glue stick.
*WITH ADULT SUPERVISION, use an X-Acto
knife to cut out the main shape of the horse’s body
and the main shape of the rider from the cardboard.
R
*Cut out the remaining shapes from corrugated
cardboard.
2. GLUE THE PIECES TOGETHER
*WITH ADULT SUPERVISION, use the hot glue gun to assemble the horse and
rider as illustrated below:
Position each of the four
legs as illustrated.
Make sure they are
angled equally. If you
spread them slightly
apart, the horse will be
able to stand up.
Glue the eyes and ears
on both sides of the
head.
Glue a small circle at the
top of each leg. Add
glue over the surface of
the legs and body to add
a molten metal look to
the surface of the figure.
19
2. GLUE THE PIECES TOGETHER (continued)
*One leg will be placed on each side
of the horse.
*Glue the body of the “human” figure onto the cardboard. Position the
legs so they go down the lower part
of the human figure and along the
middle of the horse.
*Add an arm to each side of the
rider. The figure should now look
like the example to the right.
SUGGESTION: If you would like,
you can also use foam core board for
different parts of the figure. We used
both foam core board and cardboard
for our example.
20
3. PAINT THE FIGURE
R
*Paint the entire surface of the horseman in FolkArt
black acrylic paint. Let dry.
*WITH ADULT SUPERVISION, apply the Sophisticated Finishes R Iron or Copper Metallic surfacers. MAKE SURE YOU READ THE INSTRUCTIONS FOR SAFETY AND CORRECT USE.
*WITH ADULT SUPERVISION, apply the Sophisticated Finishes R Antiquing Rust Solution or Patina Solution to either the Iron Surfacer or Copper
Surfacer paints. MAKE SURE YOU READ THE
INSTRUCTIONS FOR SAFETY AND CORRECT USE.
21
Rider on Horseback Templates
LEGS
ARMS
RIDER’S
BODY
HORSE BODY
HORSE LEGS
Cut out 4
CIRCLE ON HORSE
LEGS AND EYES
Cut out 6
22
Make a Copper Patina Solution
Patina is actually the product of copper corrosion when exposed to the weather.
Chemicals in the atmosphere produce patinas in a process that develops over years through
the weathering process. The beautiful blue-green color that most people associate with
copper begins with the surface of the copper turning a uniform brown over a period of
weeks.
As oxidation continues on the copper, it is actually creating a protective coating or
patina that will protect the copper from corrosion. The amount and the speed of patina
forming on copper is dependent on its exposure to salt, moisture, and pollutants in the
atmosphere, such as sulfur.
In drier climates, copper will get a brown to black patina, whereas copper in coastal
or moist areas will be more grayish-bluish-green. In most cases, copper will reach a consistent
patina between 10 to 30 years.
MATERIALS
Copper sheet, pennies, etc.
2 parts white vinegar
1 1/2 parts non-detergent ammonia (ADULT SUPERVISION REQUIRED)
1/2 part non-iodized salt
1/4 cup lemon juice
1/4 cup table salt
Gloves
Glass or plastic container
Wax paper
Labels
Mask
SAFETY FIRST:
Please realize that ammonia should be handled with care. It has a strong odor
that should not be breathed. You should wear a mask and gloves, and label all
containers and keep them away from young children.
23
COPPER PATINA FORMULA 1
This patina will result in a greenish-gray appearance to the copper.
1/2 cup white vinegar
6 tablespoons non-detergent ammonia - ADULT SUPERVISION REQUIRED
1/4 cup sea salt
DIRECTIONS
1. Clean the copper item to remove all oil and dirt. Dishwashing detergent and a Brillo pad work well.
Rinse well and dry.
2. WITH ADULT SUPERVISION and while wearing gloves, mix up a batch of the patina solution in a
plastic or glass container. Do not use a metal container - it will oxidize.
3. Brush the patina solution onto the object and place it inside a plastic bag to dry.
4. Continue to reapply the solution until a bright greenish-gray patina occurs.
5. Avoid rubbing the surface of the object to prevent the patina from coming off.
Shown below is the change that occurred during two applications of the solution over a
period of approximately two hours.
24
COPPER PATINA FORMULA 2
This patina will result in a greenish appearance to the copper.
¼ cup lemon juice
¼ cup sea salt
¼ cup non-detergent ammonia - ADULT SUPERVISION REQUIRED
¼ cup vinegar
DIRECTIONS
1. Clean the copper item to remove all oil and dirt. Dishwashing detergent and a Brillo pad work well. Rinse
well and dry.
2. WITH ADULT SUPERVISION and while wearing gloves, mix up a batch of the patina solution in a
plastic or glass container. Do not use a metal container - it will oxidize.
3. Brush the patina solution onto the object and place it inside a plastic bag to dry.
4. Continue to reapply the solution until a bright greenish patina occurs.
5. Avoid rubbing the surface of the object to prevent the patina from coming off.
Shown below is the change that occurred during two applications of the solution over a
period of approximately two hours.
25
AFRICAN
Warriors in Focus
History
African Warriors
26
AFRICAN WARRIORS IN FOCUS
The great kingdoms of ancient Africa - Ghana, Kush, Aksum and others had very powerful fighters. To get an example of how these kingdoms were set
up, the Mali empire ruler, Mansa Musa, made a pilgrimage to Mecca in 1324. It
is recorded that on this journey, he had over 100 camels each carrying upwards
of 300 pounds in gold, approximately 500 slaves and maids to serve his wife,
and thousands of attendants, officials, and soldiers. In this section, we will focus
our attention on the Moor, Masai, and Zulu warriors.
THE MOORS
The Moors came from the Mauri tribe and the ancient kingdom of
Mauretania. During the reign of Caesar Augustus, Mauretania became a Roman
province. Later, the Muslim Moors lived in the region that is present-day Morocco and Western Algeria. In 711 AD, the Moors proceeded to conquer Iberia.
They established control over Spain.
Based on historic records, Moorish soldiers were actively recruited by the
Romans. They served throughout the Roman Empire in such countries as Britain, Switzerland, Austria, and many others. When the Carthaginians were seeking their independence and control over the western Mediterranean, Moorish
soldiers fought against the Romans. Hannibal also used Moors to help fight his
battles.
27
By 709 AD, Muslim armies had control of Northern Africa. They next directed their energies toward Spain. During this era, Muslim armies were known as the Saracens or
Moors. During their control of Spain, they improved many
things. They introduced crops such as pomegranates, saffron, sugar cane, oranges, lemons, peaches, apricots, figs,
cotton, silk, and rice. During their rule, there were constant
battles with the Christian populations.
THE MASAI
The Masai are a nomadic tribe who herd sheep, goats, donkeys, and cattle.
They live on the open plains of Eastern Africa, in the region of present-day Kenya
and the Tanzania border.
The Masai live with their cattle which are highly valued. The Masai’s
close involvement with cattle is essential to understanding their priorities. Their
cattle provide them with food (milk and blood); hides for clothing, accessories,
and bedding; dung for plastering the walls of their homes; and urine for cleaning and medicine. The importance of cattle in their lives is further evident in the
fact that they have over 100 words to describe them. The need to find fertile land
for their cattle has been the cause for many of their wars. It is their belief that
their god Ngai gave all cattle to the Masai for safekeeping, and this entitles them
to steal cattle from others.
28
The Masai are a tall people and have long been
known as fierce warriors. There are three divisions among
Masai men: boys, warriors, and elders. Some time between
the ages of 8 and 12, a young
boy will go to live with other
boys to train to become
warriors. During this time,
they are called morani and live
in a munyatta (homestead),
isolated from the rest of the tribe, for up to 12 years.
During this time they are instructed in the customs
and desired traits of a Masai warrior. Their diet is
limited; it includes a mixture of milk and the blood
from the zebu cattle.
When a Morani is ready to prove his
manhood, he would be expected to kill a lion using
only a spear. As a warrior,
he is expected to protect his village from other tribes,
seek good pastures for the cattle, and make raids on
other villages. After going through the Eunoto ceremony
(warrior initiation), warriors are allowed to have several
wives, acquire cattle, and have children.
The warriors cover their bodies with an ochrecolored paint and usually carry a spear. The men will
braid their hair and coat it with a fatty ochre-colored
paste. They wear special headdresses that are made
from a lion’s mane or eagle or ostrich feathers.
29
THE ZULU
Another group of African warriors, the Zulu, are
known for their legendary skills. Zulu warriors live in
the region of southern Kenya. The Zulu organize their
warriors into regimental groups called Amabutho based
on men of similar ages. They carry a stabbing spear and
shield. To help distinguish each regimental group, they
wear their own special jewelry or headdresses. Their large
cowhide shields feature colorcoded beads. Young regiments
have black shields while the more
mature regiments have more
white showing on their shields.
The Zulu king owns the shields
which are given to his warriors
only during time of battle. The
Zulus’ broad stabbing spears feature a blade that is approximately 2 inches wide and 18 inches long.
One of the formations that made the Zulus a formidable opponent was called the “fighting Buffalo formation” or “Beasts’ Horns.” This formation featured a central group of warriors called the “chest” that was supported by two other groups or “horns” that were faster
and could outflank and surround an enemy quickly. The
“Beasts’ Horns” formation is credited to one of the Zulu’s
legendary kings, Shaka, who united the Zulus in southern Africa.
Zulu men between the ages of 19 to 40 are required to
serve during times of war and join the military. At the
age of 40, they are allowed to be married and are placed
on the military reserve list.
30
AFRICAN WARRIORS
IN FOCUS
DIRECTIONS: Follow the steps listed at the bottom of this page in
order. Use the words provided under the different categories to help
you write your paragraph. If you would like, add your own words to
the categories. If appropriate, you may use more than one word from
each column. Additional character development statements and details
for characterization can be found on pages 118 - 124.
REPUTATION
Dangerous
Brave
Cowardly
Cautious
BUILD
Slight
Muscular
Tall
Slender
VOICE
Rough
Clear
Quick
Loud
Snarl
EYES
Large
Bright
Dull
Blue-green
Brown
Fearless
Wild
PERSONAL
ITEMS
Breastplate
Bronze anklet
Razor
Calabashes
Clay pipe
Dagger
CLOTHING
Leopard skins
Money-hair
headdress
Sandals
Silk sash
Frontal apron
Goatskin apron
LOCATION
Nubia
Kingdom of
Kush
Aksum
Ethiopia
Nigeria
Sudan
DISPOSITION
Relaxed
Uptight
Tense
Proud
Jovial
INTERESTS
Hunting
Art
Sports
Literature
MOUTH
Fat lips
Thin lips
Raised in a
sneer
Confident
smile
Rotted teeth
STEPS
Indent and write one sentence introducing your character by name (your choice) and reputation.
2. Write one or more sentences describing the location where your character lives.
3. Write one or more sentences describing his eyes.
4. Write one or more sentences describing his voice.
5. Write one or more sentences describing his mouth.
6. Write one or more sentences describing his build.
7. Write one or more sentences describing his clothing.
8. Write one sentence describing his disposition.
9. Write one sentence describing the personal items your character carries.
10. Write one or more sentences describing his interests.
31
African Warrior’s Shield
A shield represented authority and power for a
warrior. Both the Masai and Zulu shields are made of
hide, usually cowhide. The number of shields a tribe owned
symbolized the wealth of a tribe. Shields were selected from
cattle hides that had certain colors or patterns. In the Zulu
military, warriors with the greatest experience and maturity had shields that featured more white color. Less skilled
or younger warriors had primarily black shields. Shields
were approximately 25” long with the main body being
approximately 9” to 18” wide.
MATERIALS NEEDED
*Cardboard or foam core board
*Scissors
*PLAID FolkArt Acrylic Paint - black, rust, cream,
forest green
*All-purpose glue, Mod Podge decoupage
medium, or papier-mache paste recipe (below)
*Glaze medium
*Brown kraft paper or old paper bags
*Brown and black shoe polish
*Paper towels
*Hot glue gun and glue - ADULT
SUPERVISION REQUIRED
*X-Acto knife - ADULT SUPERVISION
REQUIRED
*Paintbrushes - various sizes
*Raffia
*Darning needle
*Awl - ADULT SUPERVISION REQUIRED
African Shields
African warrior shields were used not only
for warfare, but they also indicated the
position a warrior held, which tribe he
belonged to, and his skill as a warrior.
Shields were usually made from cattle skin,
but could also be made from other animal
hides. Other embellishments included
painted details and metalwork
Ingredients:
1/2 cup rice flour
2 cups cold water
3 tablespoons sugar
32
1. CREATE THE “SKIN COVERING” FOR THE SHIELD
The following technique is a way to create faux leather using
brown paper bags.
*Cut off the bottom of several brown paper lunch bags.
*Cut down the sides and open each of the bags up so they
lay flat.
*Dampen and then crumple the sheets.
*Unfold, but keep crumpled.
*Take apart several other brown paper bags, lay them
flat, and glue the edges together to form a large sheet
that will be at least 5” larger than your finished shield.
*Apply decoupage medium, one part all-purpose glue
to one part water, or the papier-mache paste to
small sections of the larger sheet of brown paper
bag using a large paintbrush.
*If the brown paper pieces
have dried too much,
lightly dampen them and
tear it into pieces. Overlap
the pieces of the smaller
brown paper bags to the surface of the larger brown paper
bag using decoupage medium or glue mixture.
*Continue to apply and layer the surface of the larger
brown paper bag until the larger sheet has been
completely covered. Let dry.
33
2. PAINT THE FAUX LEATHER SKIN
*Mix together some of the FolkArt R yellow ochre
acrylic paint and glaze medium to create the desired
color for the first glaze layer. Brush on the yellowochre glaze and let it seep into the cracks and crevices
of the brown paper bag surface. Rub off the excess
glaze to highlight sections on the interior and exterior
of the paper. Let it dry.
R
*Mix together the FolkArt burnt umber and glaze
medium to create a tint for the second glaze layer.
Brush this over the surface and let it seep into the cracks and crevices of the brown
paper bag surface. Rub off the excess with a clean dry paper towel.
R
*Mix together a small amount of FolkArt
black paint and glaze and repeat the
process of brushing on and removing the excess paint. Let dry.
3. HIGHLIGHT WITH SHOE POLISH
*Rub a clean, dry paper towel into brown shoe polish and rub over the surface of
the faux leather. As you rub the surface, you will notice that the cracks and
crevices of the brown paper bag will be highlighted. Rub and buff the surface to
remove any excess shoe polish.
34
4. DECORATE THE SHIELD
*Select one of the designs on pages 37 - 41 and freehand draw the design onto the
surface of your shield. Paint the shield using the FolkArt R “earth-color” acrylic
paints.
*After the paint has dried, cut fringe around the exterior of the shield.
5. ADD THE BACKGROUND SUPPORT
R
*WITH ADULT SUPERVISION, use an X-Acto
knife to cut out a large shield from a sheet of cardboard
to a size that you desire.
HELPFUL HINT: Large warehouse food stores
often have large sheets of cardboard that are used
to separate pallets. These sheets are free for the
asking and provide a large flat surface to work
with.
*With a very strong tacky glue, attach the faux leather
shield to the cardboard.
35
6. ADD THE RAFFIA BORDER
*WITH ADULT SUPERVISION, use the awl
to make holes around the edge of the shield that
are spaced approximately 1/2” apart.
*Thread the darning needle with raffia and
stitch the edge until it has been covered with
the raffia.
*Secure loose ends of the raffia with some
hot glue.
PLEASE NOTE - This shield does not
have a handle in the back since it was
designed to be an “artistic” example of
an actual warrior shield. If you would
like, you can easily attach a handle using
cording or a cardboard strip attached to
either side of the shield on the back.
36
AFRICAN SHIELD
37
AFRICAN SHIELD
38
AFRICAN SHIELD
39
AFRICAN SHIELD
40
AFRICAN SHIELD
41
A FRICAN
Merchants in
Focus
History
African Merchants
42
AFRICAN MERCHANTS IN FOCUS
Trade became a major part of ancient African civilizations.
Throughout North Africa, caravans crossed the Sahara
Desert to distant locations such as Aksum Carthage and
Timbuktu to trade numerous items. Both gold and salt were
prized items and different African groups used their access
to these resources to gain great wealth for their people.
Historians note that as early as 300 AD, camel caravans
traveled to the Sahara Desert to obtain salt to bring to the
major trading centers located along the Niger River. One of
the greatest of all African trade regions was controlled by
Ghana, West Africa’s first kingdom. Since it controlled most of the major trade
routes and commercial centers, Ghana became very powerful and wealthy.
Two of the major trade items - salt and gold - were sought after by most
people. The West African groups would exchange their gold for salt. The
expression, “Worth its weight in gold,” played out in the major trade centers.
One of the first African merchant groups were the Berbers of North Africa.
They helped spread their faith, Islam, across North Africa during the seventh
century. Their involvement in the trans-Saharan
trade market helped establish many trade centers
throughout Africa.
As the trade centers grew, so did the variety
of items that could be purchased from different
locations. West and East African kingdoms traded
with Arabian, Chinese, and Ceylon merchants.
Special items such as Chinese silk, lacquerware,
porcelain, spices, ivory, exotic woods and gems, as
well as medicines were available for purchase or
barter.
43
AKSUM
The ancient kingdom of Aksum, present-day
Ethiopia, became one of the earliest and strongest
trade locations. Located next to the Red Sea, which
opens up to the Indian Ocean, it gave Arab merchants
a location to acquire and exchange goods. The
merchants of Aksum gained great profit by serving as middlemen with trade
coming from other parts of Africa, Europe, Asia, and Arabia. There is evidence
that items such as gold, silks, spices, emeralds, shells, slaves, and live animals
were exchanged.
GHANA
Another major trade center was the Kingdom of Ghana. Ghana profited
greatly by charging taxes on the various items that passed through the kingdom.
It became common for merchants to establish a system of bartering for what they
needed.
MALI
Timbuktu, located in Mali, became not only a major trade center, but a
meeting place for those seeking knowledge. Scholars, writers, and artists gathered
to exchange ideas as well as items.
44
GREAT ZIMBABWE
One of the first great African empires, Great Zimbabwe,
was a center for many products. Small-scale iron smelting,
fabrics, copper, and gold were traded with Swahili and Arab
merchants. Items such as ivory, ebony, sandalwood, and gold
were traded to travelers from India, Arabia, and Portugal.
The Portuguese took control of much of the African trade
routes, and the Swahili centers for trade all but evaporated.
The Portuguese wanted complete control of trade and began
a steady process of conquering the Islamic east coast commerce centers.
A SIDE NOTE
Although there are some written records of the trade
routes and events of ancient Africa, much information has
been obtained through griots. As a historic storyteller and
an integral part of West African tradition, griots memorize
the stories of their village. The oral history tradition has
opened new avenues for discovery about trade in ancient
Africa.
According to the Wikipedia free encylopedia,
http://en.wikipedia.org/wiki/Griot
Freely available under the GFDL
“A griot (pronounced “gree-oh”) is a West African poet, praise singer, and wandering musician,
considered a repository of oral tradition. Griots today live in many parts of West Africa, including
Mali, Gambia, Guinea, and Senegal, and are present among the Mande peoples, Fulbe, Tukulóor,
Wolof, Serer, and Mauritanian Arabs. The word may derive from the French transliteration
“guiriot” of the Portuguese word “criado,” which in turn means “servant.” In African languages,
griots are referred to by a number of names: jeli in northern Mande areas, jali in southern Mande
areas, géwal in Wolof, gawlo in Pulaar (Fula), and igiiw in Hassaniyya Arabic. Griots form an
endogamous caste, meaning that most of them only marry other griots, and that those who are
not griots do not normally perform the same functions that they perform.”
45
AFRICAN MERCHANTS
WRITING RECIPE
DIRECTIONS: Follow the steps listed at the bottom of this page
in order. Use the words provided under the different categories to
help you write your paragraph. If you would like, add your own
words to the categories. If appropriate, you may use more than
one word from each column. Additional character development
statements and details for characterization can be found on pages
118 - 124.
PERSONALITY
Aloof
Courteous
Forceful
Hostile
Proud
Rude
Solitary
MOUTH
Fat lips
Large
Perfectly formed
Slightly raised
REPUTATION
Unpredictable
Trustworthy
Adventurous
Dangerous
Shifty
TRADE ITEMS
Animal skins
Glass beads
Gold nuggets
Ivory
Precious stones
Salt
Live animals
Exotic spices
Silk
INTELLIGENCE
Able to solve
problems
Average
Brilliant
Good imagination
Resourceful
Poor memory
TRANSPORTATION
Slaves as porters
Camels
Walking
Donkeys
EYES
Protruding
Slightly slanted
Small
Large
Bright
Sunken
HOPES &
DREAMS
Become wealthy
Find an attractive
mate
Capture many
slaves
Avoid disaster
Have a family
STEPS
1. Indent and write one sentence introducing your character by name. (Use your own words for
this step.)
2. Write one or more sentences describing his/her personality.
3. Write one or more sentences describing his/her reputation.
4. Write one or more sentences describing his/her intelligence.
5. Write one sentence describing your character’s eyes.
6. Write one or more sentences describing his/her mouth.
7. Write one or more sentences describing the different trade items he/she offers.
8. Write one or more sentences describing how he/she transports the items.
9. Write several sentences describing his/her fondest hopes and dreams.
46
African Hair Adornment
Throughout Africa, elaborate hair
ornaments were used by both men and women.
Exotic goods included desired items as well as items
of necessity. In this activity, you will recreate an
metal hair ornament based on those created by
various tribes.
MATERIALS NEEDED
*Skewer
*Polymer clay - Original Sculpey
*Miniature chocolate molds
*Seed beads
*Feathers
*Embroidery floss
*PLAID FolkArt Acrylic Paint - black,
rust red, gold, silver, copper, bronze,
royal blue, white
*Gilding foil
*Gilding adhesive
AFRICAN ADORNMENT
Both men and women in Africa adorned
themselves with beautifully made jewelry from metal, beads, and wood. Men
and women both spent a great deal of
time decorating their hair. Hair pins
were often used to help maintain the
style and for decoration.
47
1. FORM THE HAIR ADORNMENT
*Use miniature chocolate molds, design a shape of your choice, or make a shape
based on an African animal or metalwork design of your choice from Original
Sculpey polymer clay.
*Insert the unpointed end of the skewer into the clay shape.
*Add details to the basic shape such as toothpick drawn
lines, coils, and eyes.
*Bake the clay according to the manufacturer’s directions.
48
2. ANTIQUE THE HAIR ADORNMENT
*Paint the entire hair adornment with a FolkArt R metallic acrylic paint color of
your choice such as silver, gold, bronze, or copper. Let dry.
HELPFUL HINT: Gold and bronze become even more stunning when applied
over a base that has been first painted in black paint and then with a rust red paint.
Copper and silver look best when painted with either white or royal blue.
49
African Caravans
in Focus
History
African Caravans
50
AFRICAN CARAVANS IN FOCUS
Located on the southern edge of the great Sahara
Desert, Mali became a trade route for camel caravans
carrying the valuable commodity - salt - to other
countries. Mali is the site of the city of stories,
Timbuktu. Laden with exotic spices and woods,
ivory, silks, gold, salt, and slaves, the caravans
brought desired goods from Europe, Asia, and the
Middle East to the rest of Africa.
Originally, caravans were referred to as safaris. Safaris is an Arab verb
that means “to make a journey.” It was also associated with adventure and has
its roots in the word safariya which means voyage or expedition. The Swahilispeaking traders took the term to its greatest possibilities as they traveled the
lands of Africa.
Trans-Saharan travel was difficult. Although horses and donkeys were used
to carry items, it was the use of camels that allowed merchants to go to distant
places. The camels’ ability to go without food or water for several days and
survive under the harshest conditions gave merchants a means to reach all areas
of Africa.
It was not uncommon for several merchants to travle together. Sometimes
several hundred camels in a long caravan traversed the land at once. Not only
did the caravans face the hardships of the climate and location, but they also had
to withstand the attacks of bandits. Since they carried both supplies and precious
items, they had to be wary and guard against many dangers.
51
Muslim merchants and the Swahilis traded with
countries in the African interior, the Middle East, and
Asia. Items that were of great value during this time
period were all types of metal (copper, gold, silver, brass,
and iron), spices, fabric, slaves, and ivory. From as far
away as India and China, merchants would seek out the
items being sought by customers, including slaves.
Slave traders became wealthy on human misery.
Slaves came from a variety of people and situations such
as prisoners of war, criminals, raids, and even political
upheaval. An interesting mix of nationalities blended
together in the trade of slaves. During the last part of the 19th century, Arabs,
Swahili traders, African chiefs, and money lenders from India all worked together
to support the slave trade.
The Muslim traders not only brought exotic goods and supplies, but they
also brought their faith. The Muslim religion encouraged the learning of Islam.
In order for the people of Africa to learn about the Muslim faith, centers of learning
were established in the major trade centers. Timbuktu in Mali was one such
center. Under Mali rule, Timbuktu became a center of learning and commerce
where reading and writing was taught. In order to learn about the faith, Africans
were taught in Arabic. As a result many of the ancient African kingdoms became
united through a common language - Arabic.
52
Thanks to the writings of a Muslim traveler by the
name of Ibn Battuta (IHB-uhn Bat-TOO-tah), much
information about what it was like during this era has
been learned. During his travels, Ibn Battuta
recorded information about Morocco, northern Africa,
the Middle East, India, China, and Spain. His
writings detail his observations in Mali and its ruler,
who was called a sultan. To learn more about what
Ibn Battuta experienced on his travels, please
go to the following Web site:
http://www.fordham.edu/halsall/source/
1354-ibnbattuta.html
Historians credit the Berbers for
establishing much of the trade between North
and West Africa. By the end of the first
millennium, Ghana became a great West African
kingdom. It established control of the trade
routes. It is not known for sure how many
caravans made the trek back and forth across Africa, but historians believe it is
probably in the thousands.
53
Use the words provided under the different categories to help you write
your paragraph. If you would like, add your own words to the categories.
If appropriate, you may use more than one word from each column.
Additional setting development statements and details for settings can be
found on pages 125 - 130.
TRADING
CENTER
Sijilmasa
(southeastern
Morocco)
Awdaghust
Takedda, (eastern
trans-Saharan)
Timbuktu (Mali)
TRADE ITEMS
Salt
Slaves
Kola nuts
Gold
Wine
Oil
Horses
DESTINATION
SCENERY
PURPOSE OF
Carthage
Camels laden with items
SLAVES
Egypt
Palm trees
Mining and cutting
Meroe
Tents
salt
Across the Sahara Porters to transport
Huts of wood & reed
Large caravans
goods
TRANSPORTATION
Sand dunes
Mine gold
Camels
Small herds of animals
Soldiers in raiding
Donkeys
Oasis
parties
Canoes
Ships
DANGERS
Horses
Sandstorms
Lack of food &
water
PEOPLE
Raids
by bandits
People carrying items on their heads
Extremes in
Slaves kept together in groups
temperature
People chewing kola nuts
Wild
animals
People bartering
STEPS
1. Indent and write one or more sentences describing the trading centers the caravan has stopped
at along its route.
2. Write one sentence indicating the destination of the caravan.
3. Write one or more sentences describing the people with the caravan.
4. Write one or more sentences describing the purpose of the slaves.
5. Write one sentence describing the transportation used by those in the caravan.
6. Write several sentences describing the trade items being carried in the caravan.
7. Write one or more sentences describing the scenery along the route.
8. Write one or more sentences describing the dangers that can be encountered.
54
Spice Mosaic
One of the trade items brought by the caravans
were exotic spices. In this activity you will use beans,
seeds, and spices to recreate a mosaic image using traditional African motifs.
MATERIALS NEEDED
*Foam Core or mat board
*Strong tacky glue
*Transfer paper
*Copy machine
*PLAID FolkArt Acrylic Paint - black, brown, gold
*Paintbrush
*All-purpose sealer (optional)
*Selection of beans, seeds, and spices from the list
below. Many of these items may be obtained at a local
health food store:
Cardamom
Mace
Nutmeg
Allspice
Cinnamon
Cloves
Ginger
Caraway seeds
Orris root
Tumeric
Lentils
Rice
Wheat
Millet
Paprika
Lima beans
Black peppercorns
Fenugreek seeds
Black beans
Coriander seeds
BEANS, SEEDS, AND SPICES
African foods around the Arabian Gulf
are frequently seasoned with a variety of
spices. Chilies and mild peppers are
common ingredients. Throughout Africa,
beans, rice, and various grains are used
as main food sources. These staples are
flavored with rich blends of herbs and
spices.
55
1. PREPARING THE BACKGROUND
*Select one or more of the African motifs on pages 58 - 60 to use for your mosaic.
Enlarge or reduce these images to fit the size of your finished mosaic. We highly
recommend you select a total of three designs. Too many will take a very long
time to complete. These images will be the primary images on the mosaic.
*HELPFUL HINT: The larger the design the more likely it will stand out when
the mosaic is finished. Avoid reproducing all of designs. The details of small
designs tend to get lost when filled-in with the different mosaic items.
*Divide your background surface into sections. Determine where you want each
main image to be on the grid.
*Sponge on a combination of FolkArt black, gold, and brown acrylic paint over
the surface of the foam core board. Let dry.
*Place the copies of the African motifs you have selected on top of a sheet of
transfer paper and go over the lines of the image until it has transferred onto the
background surface.
56
2. CREATE THE MOSAIC
*Select the seeds, spices, and beans that are
of the greatest contrast for each image.
*Use a very strong tacky glue to fill in the
interior of one design. Add the mosaic item
you had selected to fill the image. Repeat this
step with the remaining images.
*In the spaces between each main motif, fill in
around the designs with other beans, seeds,
or spices that will give an interesting texture
and color contrast to the main designs.
*Seal with an all-purpose sealer if desired.
57
SPICE MOSAIC DESIGNS
58
59
60
African
Marketplaces
in Focus
History
African Marketplaces
61
AFRICAN MARKETPLACES IN FOCUS
Animals and people mingled as exotic goods
from many distant lands were exchanged in an openair market place. From as early as 300 AD, trade
was an important part in the development of the
economy of Africa. Camel caravans carried gold and
salt from mines in the Sahara Desert to the primary
trading centers located in present-day Mali.
As the faith of Islam traveled across Africa with
the Arab merchants, the trans-Saharan trade centers
and markets grew to great power and wealth. One
of the most valued commodities that was exchanged
in the markets was salt. According to Herodous, salt
was mined in several locations in the Sahara. Large solid blocks were cut from
underground mines located at Taoudenni in Mali. Camel caravans would then
carry the salt to the trade centers such as Timbuktu. The salt was usually traded
for gold. In the forests around Guinea, which is near the Niger River, gold was
transported in dugout canoes to trade centers in
Ghana. Ghana became so wealthy from its trade that
it became known as the “Land of Gold.”
Camels played an essential role in the
development of trade in Africa. Their ability to travel
great distances gave the traders a form of transport
that was reliable and steadfast. Camels are able to
carry heavy loads for long distances. Their feet are
especially suited to traveling on sand. In some cases,
hundreds of camels were joined together to transport
goods to the trade centers located in Ghana, Songhay,
Mali, and Carthage.
62
The ancient marketplaces in Africa also served in the exchange of slaves.
Slavery had existed in West Africa for hundreds of years. Slaves were made up
of criminals, prisoners of war, and political prisoners. Slaves were sold by Arab,
African, and later European slave traders in the marketplaces of Timbuktu,
Jenne (Jenne-jeno Djenne-jeno, site of the oldest known city of sub-Saharan Africa),
and Gao (Niger city-state).
As the slave trade grew, Arab traders began to travel further into the interior
of Africa in search of this human commodity. Along the slave route, ivory also
was collected.
The African marketplace was set up for success. Buyers and sellers worked
together, bargaining on goods to achieve the best price for the item. African
markets thrived in the process of haggling, when traders would argue over the
price of an item. The price could be currency or a quantity of specific goods.
Although gold, slaves, and salt were the most valued items that were
exchanged, African marketplaces were also locations for local farmers to sell
their goods, such as live animals and animal skins, exotic fabrics, spices, ivory,
and ceramics, as well as the exchange of ideas and techniques. It was a thriving
place full of sights, sounds, and scents. As trade routes continued to grow and the
desire for other unique items increased, products such as exotic fruits and
vegetables, melons, peppers, and oranges were also provided in the marketplaces.
63
In order to determine the value of an item,
measures and weights of different types were
employed. The Asante used brass weights
embellished with numerous symbols. Money as we
know it (coins or paper) was less common than
actual items. For example, cowrie shells or different
types of metal objects were used as currency.
Eventually, the need to establish standard weights
and measures for fair trade was established. For a
currency to be effective it has to have certain
features:
* It is nonperishable
* It is portable
* It is lightweight
* It is durable
* It can’t be altered - counterfeited, made heavier or lighter
* It is made from readily available materials
Items could be sold either by their size, weight, quality, or value. The people
of Ghana such as the Asante used gold dust as their currency. They created brass
weights that met the above requirements. The weights were not only used for the
exchange of goods, but were also works of art that incorporated numerous proverbs
and symbols. These proverbs and symbols were intended to communicate to
others the values held by the Asante people.
African marketplaces became the scene for much more than just trade. They
were sources of parties, weddings, exchanging of ideas, and learning. They also
were places for buyers to exhibit their status. The wealthier an individual was,
the more they were expected to pay. Paying less was considered disgraceful.
Often prices for goods became controlled by the ruling king or sultan. Merchants
from distant lands were often treated as honored visitors and would be treated
to extravagant pleasures.
64
AFRICAN MARKETPLACES
WRITING RECIPE
you write your paragraph. If you would like, add your own words to
the categories. If appropriate, you may use more than one word from
each column. Additional setting development statements and details
for settings can be found on pages 125 - 130.
PEOPLE
Vendors
Priests
Soldiers
Slaves
Travelers
Weavers
Women with veils
STALLS
Leaf canopies
Palm leaves woven
together
Striped tents
Tassels
Mats to display
items
COLORS
Orange
Olive green
Copper
Ebony
Tan
Red
White
Gold
MOVEMENT
Striding
Strutting
Parading
Hands waving
Meandering
animals
SCENERY
People carrying
items on their
heads
Slaves kept
together in groups
People chewing
kola nuts
People bartering
ITEMS BEING
SOLD & TRADED
Copper bars
Bronze and brass
vessels
Slaves
Leopard skins
Ivory
Salt
SOUNDS
Goats bleating
Donkeys braying
Laughing
Singing
Talking
Murmurs
Loud bartering
LOCATION
Meroe
Aksum
Carthage
Village
Kush
STEPS
1. Indent and write one or more sentences describing the location of the marketplace.
2. Write several sentences describing the people at the market.
3. Write one or more sentences describing the construction of the stalls.
4. Write several sentences describing the scenery around the marketplace.
5. Write one or more sentences describing some of the items being sold or traded.
6. Write several sentences describing the different colors, sounds, and movements you notice
at the market.
65
Currency of Ancient Africa
Currency took many forms in ancient Africa. It
included blocks of salt, metal objects in interesting shapes,
spear heads, spirals, and coins. In this activity, you will
recreate several different types of African-inspired currencies including salt blocks and metal objects.
MATERIALS NEEDED
*Water
*Coarse Kosher salt
*Wax paper
*Oven
*Raffia or hemp cording
*Aluminum foil
*Toothpicks
*PLAID FolkArt Acrylic Paint - black
*Papier-Mache Paste Recipe (See this page)
*Hot glue gun and glue - ADULT SUPERVISION
REQUIRED
*Sophisticated Finishes by Triangle Coatings Metallic Surfacers for Iron and Copper and
Antiquing Solutions for Rust and Patina (available in craft stores in the paint or faux
finishing section) - ADULT SUPERVISION
REQUIRED
Ingredients:
1/2 cup rice flour
2 cups cold water
3 tablespoons sugar
66
SALT BLOCK CURRENCY
1. PREPARE THE SALT BLOCK MIXTURE
*Mix up a batch of the papier-mache paste recipe. In a
large bowl, add 1/4 cup coarse Kosher salt, 1/4 cup
flour, and 1/4 cup papier-mache paste. Mix the
ingredients together until it forms into a clay-like
mixture. Your hands will be sticky.
*Pour some of the Kosher salt onto a sheet of wax paper.
Form the papier-mache mixture into three rectangular/tube shapes and roll in
the salt until they are well coated.
2. BAKE AND FINISH SALT BLOCKS
WITH ADULT SUPERVISION, place the salt blocks into the oven and bake at
300 degrees F until completely dry. This will take approximately 30 minutes.
Remove from the oven and let cool. If you don’t want to dry the salt blocks in the
oven, set them in a dry, sunny location. It will take several days for the salt to
dry, depending on climate conditions.
67
KIRDI CURRENCY
The Kirdi people of Cameroon made iron currency.
Many African tribes developed currency based on
stylized forms or everyday objects. We will make our
Kirdi-inspired currency using polymer clay.
1. FORM AND BAKE THE CLAY
*Roll out a long thick tube of Original Sculpey
polymer clay.
*Fold the tube in half to form a loop.
*Roll each end of the tube toward the center
loop as illustrated.
*Create texture on the surface of the clay using
sand paper or metal objects, or experiment to
come up with a texture you like.
*Bake the clay according to the manufacturer’s
directions. Remove from the oven and let cool.
68
KIRDI CURRENCY (continued)
2. PAINT THE CURRENCY
*Paint the entire surface of the clay currency in black acrylic paint. Let dry.
R
*WITH ADULT SUPERVISION, apply the Sophisticated Finishes
Iron Metallic Surfacer. MAKE SURE YOU READ THE INSTRUCTIONS FOR SAFETY
AND CORRECT USE.
R
*WITH ADULT SUPERVISION, apply the Sophisticated Finishes
Rust
Antiquing Solution. MAKE SURE YOU READ THE INSTRUCTIONS FOR
SAFETY AND CORRECT USE.
*Mount as desired.
69
KATANGA CROSS CURRENCY
Katanga cross currency was created by the Kasai
and Lomami (central Congo - formerly Zaïre) people
and used as trade currency, an ingot for casting
bracelet money, and as an accounting unit. Katanga
cross currency was used throughout the 14th - 19th
centuries. They were made of copper and iron.
1. FORM AND BAKE THE CLAY
*Roll out two 6” long thick tubes of Original
Sculpey polymer clay.
*Create a cross with each tube.
*Flatten the cross shape and create a
textured design on the surface with a
toothpick and a crumpled piece of
aluminum foil.
*Bake the polymer clay according to
manufacturer’s directions.
70
KATANGA CROSS CURRENCY (continued)
2. PAINT THE CLAY
*Paint the cross with black FolkArt acrylic paint and
let dry.
*WITH ADULT SUPERVISION, apply the Sophisticated Finishes Iron or Copper Metallic Surfacers to
the clay cross. MAKE SURE YOU READ THE INSTRUCTIONS FOR SAFETY AND CORRECT
USE.
*WITH ADULT SUPERVISION, follow the
directions on the Sophisticated Finishes Rust or
Patina Solutions and paint the surface of the
cross. MAKE SURE YOU READ THE
INSTRUCTIONS FOR SAFETY AND
CORRECT USE.
*Mount as desired.
71
Great Zimbabwe
in Focus
History
Great Zimbabwe
72
GREAT ZIMBABWE IN FOCUS
Great Zimbabwe is believed to have been established by the Shona tribe, one
of the many ethnic groups of Bantus people, that traveled from Madagascar to
central Africa. They established Great Zimbabwe, or the Monomotapa empire,
near the Limpopo River sometime around the time of the Middle Ages.
Zimbabwe is translated to “house of stone.” This great empire’s influence
is estimated to have reached 500 miles, with the Zambezi River and present-day
South Africa being its outermost boundaries. During its peak as an empire
somewhere between 1250 and 1450 AD, Great Zimbabwe was equal in wealth
to some of the great European rulers.
Great Zimbabwe is recognized by three main stone wall enclosures or
monuments. The first section called the “Hill Complex” or “Acropolis” was
located on a steep granite hill and was the center for religion in Great Zimbabwe.
The second main area was called the “Valley Enclosure” and was located in the
land below the Hill Complex. The third area was called the “Great Enclosure,”
which is considered the largest structure still in existence in the southern part of
the Sahara. The Great Enclosure featured two higher walls with a very narrow
passageway between them that extended 60 meters directly to the “Conical
Tower.”
73
Massive stone walls that measured approximately 20 feet thick and ranged
up to 40 feet high were constructed of granite stone blocks that did not require
mortar since they were cut and assembled with precision. This type of architecture
is called “Cyclopean Architecture.”
The Shona were noted stone sculptors. Not only were they able to construct
the granite walls that surrounded the two main stone wall enclosures, but they
also carved soapstone birds and bowls. Horned cattle, baboons, and zebras often
were carved into the sides of the bowls. Tall monoliths featured gigantic, stylized
birds on their tops. These monoliths were placed around the walls and could be
seen from great distances by travelers.
Great Zimbabwe became one of the largest trading centers in central Africa
below the Sahara desert. The thriving Shona farmed, herded, and mined gold.
The great wealth that the Shona obtained from mining gold gave them the ability
to trade with distant lands. There is archaeological evidence that the Shona traded
with China and India as well as several Islamic countries. Even though gold was
the most important export from the region, copper also was traded for such goods
as ceramics, cloth, and glass items.
74
The massive granite walls and stone birds were in ruins
when they were discovered by explorers during the 1800s.
The Portuguese were among the first outside European
groups to discover the ruins. Explorers continued to make
note of the ruins for many years.
The following is a description of Great Zimbabwe.
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Great_Zimbabwe
Freely available under the GFDL
In 1531, Viçente Pegado, Captain of the Portuguese Garrison of Sofala, described
Zimbabwe thus:
“Among the gold mines of the inland plains between the Limpopo and Zambezi rivers there
is a fortress built of stones of marvelous size, and there appears to be no mortar joining
them.... This edifice is almost surrounded by hills, upon which are others resembling it in the
fashioning of stone and the absence of mortar, and one of them is a tower more than 12
fathoms [22 m] high. The natives of the country call these edifices Symbaoe, which according
to their language signifies court.”
As was the case during the earliest days of discovery, the origin of Great
Zimbabwe led to much speculation. Some believed that the site of the ruins was
where the Queen of Sheba was believed to have once lived. Others thought that
the gold mines were once those of King Solomon. Others believed it was once
built by the ancient Phonecians. From 1905 to 1929, the English archaeologists
David-Randal-MacIver and his associate Gertrude Caton-Thompson came to the
conclusion that the ruins were actually those of ancient Africans.
Today, the stone birds that once topped the monoliths around Great
Zimbabwe have became a national symbol. They are now part of the
Zimbabwean flag and are featured on currency.
75
you write your paragraph. If you would like, add your own words
to the categories. If appropriate, you may use more than one word
from each column. Additional setting development statements and
details for settings can be found on pages 125 - 130.
LOCATION & PURPOSE
Central Africa
Near the Limpopo River
East of the Kalahari Desert
Between the Zambezi and
Limpopo Rivers
Built for protection,
ceremonies and shelter
ARCHITECTURE
Made of granite blocks
Three main stone wall
enclosures: Hill Complex
or Acropolis,
Valley Enclosures/Ruins,
Great Enclosure
Cyclopean Architecture
Stylized birds
SPECULATED ORIGINS
Where the Queen of Sheba
was believed to have once
lived
Gold mines were once
those of King Solomon
Phonecians constructed the
site.
SCENERY
Great stone walls
Sculptures of animals
Rolling hills
Livestock grazing
Tall pillars
Gold mines
Caravans
Traders
Huge open plains
Ruined stone walls
Great granite boulders
TRADE GOODS
Gold
Animal skins
Glazed ceramic ware
Ivory
Textiles
ACTIVITIES
Merchants conducting
trade
Raising livestock
Cultivating lands for food
Conducting religious
ceremonies
Quarrying granite
Carving stone pillars
STEPS
1. Indent and write one or more sentences describing the location of Great Zimbabwe.
2. Write several sentences describing the architecture in Great Zimbabwe.
3. Write one or more sentences describing the scenery.
4. Write several sentences describing the trade goods that were imported and exported.
5. Write one or more sentences describing some of the activities that took place.
6. Write several sentences describing what were the speculated origins of Great Zimbabwe.
76
African Stone Bird
One of the most recognized symbols of the Great
Zimbabwe civilization are the beautiful soapstone birds
that have been discovered at the ruins. The eight birds
that have been discovered were once located at the very
top of tall monoliths. Each bird was approximately 16
inches in height. Archaeologists are not sure what
significance the birds represented in this ancient society,
but both birds and alligators have symbolic meaning even
today in Zimbabwe.
MATERIALS NEEDED
*Tracing paper
*Rasps - ADULT SUPERVISION REQUIRED
*Pencil or pen
*Scissors
*PLAID FolkArt “stone colored” acrylic paints
*Paintbrush
*Glue stick
1 1/2” thick piece of polystyrene foam
*Rubbing alcohol
*Mini-iron - (available at fabric stores)
*Play sand
*Gesso
AFRICAN STONE BIRDS
*Sandpaper
Memorials in stone can be found
throughout Africa. The stone bird for this
project is based on only one of eight that
have been found. It was most likely
positioned on top of outer walls or set in
groups on the ground around a settlement.
The stone birds are believed to be made in
the images of the Chapungu or Bateleur
Eagle.
77
1. TRANSFER THE STONE DESIGN
*WITH ADULT SUPERVISION, cut a 1 1/2” thick piece of
into a 2 3/4” wide X 11” long section.
*Make a copy of the stone bird pattern on page 81.
*Cut out the stone bird and place it upside down onto the
sheet of foam.
*WITH ADULT SUPERVISION AND IN A WELLVENTILATED AREA, saturate a paper towel with
rubbing alcohol and go over the back side of the pattern.
While the pattern is still damp, use a small mini iron to
transfer the design onto the foam. DO NOT PRESS
THE MINI IRON IN ONE PLACE TOO LONG OR
THE FOAM WILL MELT.
*Carefully peel back the paper from the foam to reveal
the image .
ANOTHER OPTION - If you don’t want to use the
rubbing alcohol and mini iron technique to transfer the
image, you can carefully trace over the image of the
bird with an old pen or pencil. The image should
transfer to the foam.
78
2. CARVE THE POLYSTYRENE
*WITH ADULT SUPERVISION, carefully
remove the portions of the foam from the dark
areas indicated on the design using the rasps.
Remove small pieces at a time. Remember, once
a piece has been removed, you can’t put it back.
We suggest that you start removing the stone a
little at a time and away from the actual image.
*As you carve the stone bird, turn it so you can
view all sides.
*Use various grades of sandpaper to smooth out
the surface of the carving.
*After the carving is finished, use a large dry brush to remove any excess dust or
pieces.
79
3. TEXTURIZE AND PAINT THE SURFACE
*Paint the entire surface of the foam bird with gesso paint. To add texture to the
gesso, mix in a small amount of play sand.
*While the paint is still wet, dab the surface with a combination of stone-colored
acrylic paints. We used a combination of light and dark brown and a small
amount of black.
4. MOUNT AS DESIRED
*There are numerous ways you can mount your
finished Stone Bird.” The following are two options:
*Glue to a piece of wood, slate, or tile.
*Insert a dowel into the bottom and use as a plant
stake.
80
81
The African
Kingdom of
Aksum in Focus
History
The African Kingdom of
Aksum
82
AKSUM IN FOCUS
One of the most outstanding ancient African
kingdoms was that of the Axumites. Historians
believe the kingdom was established sometime
between 200 and 100 BC. Some also believe this
is where the Queen of Sheba once ruled.
The Axumites were a blending of ethnic
groups. Historians believe that the Axumites were
a combination of Kushitic people living in
Ethiopia and Semetic people that originated in
southern Arabia, but settled in the land across the Red Sea sometime around 500
BC. The Axumites made their home near the Red Sea and in the Ethiopian
highlands. It was here that they established a mighty empire that gave them
control over important trade routes that traversed between Yemen and the ancient
cities of Nubia.
Ships from distant countries such as India, Egypt, and other eastern locations
traded with the Axumites. Trade goods such as exotic spices, animal furs,
frankincense, myrrh, gold, ivory and live animals were exchanged. Since the
Axumites controlled one of the best trade locations of
ancient times, its major cities Adulis, Matara and
Aksum became very rich, but also became centers for
the exchange of ideas. It was here that traders from
Egypt, the Sudan, the Middle East, and India merged
cultures. Aksumite cities were also diverse in religious
beliefs since Nubian, Christian, Buddhist, and Jewish
faiths were represented by the different ethnic groups
that moved in and out of the cities.
83
AKSUM IN FOCUS
As a result of the great influence and importance of trade,
gold, silver, and bronze currency was created by Aksumite
kings, but featured Greek inscriptions. King Ezana
converted to Christianity and issued coinage that featured
the cross as a means of spreading the word about the faith.
Christian symbols and phrases were added to coins by
Aksum rulers into the fourth and fifth centuries. When the
Islamic Persians gained control over significant areas around
the Red Sea and the trade routes, these images were
eliminated.
The Axumites maintained their empire for centuries until Islam became a
dominant influence. During this time, many great empires fell to the Muslims,
but because the Axumites had once protected the early followers of Muhammad,
they were never conquered and were able to establish and maintain favorable
trade with Muslim countries. Although other cities converted to Islam, Aksum
remained Christian. The Ethiopian Church, also known as the Abyssinian church,
is still Christian.
Many Ethiopians believe they are directly related to the Hebrews because
of their historic relationship with early Semetic groups. As early Christians, they
also believe they inherited the covenants that Yahweh gave to the early Hebrews.
There is great speculation that the Ethiopian Church actually safeguards the “Ark
of the Covenant” somewhere in Ethiopia.
Although, the ancient Aksumite cities are all but destroyed, some of the
most notable features that remain are the obelisks. Considered to be the world’s
tallest obelisks, the ones found at Aksum feature carved rectangular shapes.
Another beautiful tradition are Ethiopian prayer scrolls. These scrolls incorporate
scripture, pictures, and prayers that are designed to protect the individual. Books
have always held a special place in ancient societies. Many believe that books
disclose important information from heaven. Ethiopian prayer scrolls incorporate
this belief through the words and designs that are created on the scrolls.
84
AKSUM IN FOCUS
Many religious groups including the Copts (an
Egyptian Christian group) and the Ethiopians would
embellish their manuscripts, whether books or scrolls,
with numerous symbolic images. Geometric designs,
crosses, small miniatures featuring themes from the
Bible, and eyes and faces representing angels and
divinity would be added to a long length of vellum.
The vellum scrolls were narrow ranging from 3 1/2”
to 6”, but were usually made to the height of the
individual. Most were decorated with black and red inks, but blue and yellow
were also used to decorate the images. Written words in Ge’ez (the Ethiopian
language) were added in columns. The words could be prayers, names of saints,
God, or scripture.
The purpose of the scrolls was to protect and offer healing. Sometimes the
text included specific prayers for healing for specific illnesses. Artists often included
crosses that were interlaced with circles, angels holding swords, large eyes, and
animal-like creatures. For example, eyes symbolized how God sees everything
while a triangle might represent the Trinity. Most scrolls were created on vellum,
a specially treated animal skin with natural vegetable dyes.
The scrolls, like most parchment-based
artwork, began with the selection of an animal,
usually a lamb or kid goat. After the animal was
sacrificed, the skin would be exposed to lime which
would help remove the hair and remains of the
animal. The skin was then scraped clean with a knife
and rubbed completely smooth with a pumice or
other rough stone until the surface was soft and
smooth. Sections of the skin would be lightly scored with a pen to assist with
placement of the pictures and text. General text would be written with black ink,
while important holy names or titles were written in red. The scrolls were kept
in a circular leather pouch that was worn as a pendent or around the waist.
85
AKSUM IN FOCUS
Use the words provided under the different categories to help you write your
paragraph. If you would like, add your own words to the categories. If
appropriate, you may use more than one word from each column. Additional
setting development statements and details for settings can be found on pages
125 - 130.
LOCATION
On a plateau near the Red
Sea
Roads built like flights of
steps carved into the rock
SCENERY
Great obelisks
Sculptures of animals
Colossal statues in front of
buildings
Small temples with a royal
throne covered with a
thatched roof
Rolling hills with
vineyards
Livestock grazing
Tall steles
BUILDINGS
Made of wood, stone, and mud
Square homes with 4 rooms,
one in each corner
Rooms connected by corridors
Built of basalt & sandstone
Blocks cemented with mud
Small windows
Round huts
RELIGIOUS FIGURES
god - the moon
goddess - the sun
goddess of earth - Meder
spirits of the waters, seas,
& trees
Cult of the vulture & snake
Worshipped the morning
star
PALACE
Magnificently decorated
Built of large square stones
Solid, white marble throne
decorated with images of
gods
IMPORTS
Glass from Arabia
Olive oil from Italy
Grains and fabric from
Egypt
Sugar cane, rice, and
sesame oil from India
EXPORTS
Bronze coins
Precious metals
Elephants Fabrics
Spices, turtle shells, ivory
& incense
STEPS
1. Indent and write one or more sentences describing the location of Aksum.
2. Write several sentences describing the buildings in Aksum.
3. Write one or more sentences describing the palace.
4. Write several sentences describing the scenery around Aksum.
5. Write one or more sentences describing some of the religious figures.
6. Write several sentences describing the imports and exports of Aksum.
86
Ethiopian Prayer Scroll
One of the most stunning works of art from Ethiopia are prayer
scrolls. These scrolls were designed to offer protection and healing for the
wearer. Each scroll was made for a particular individual with their special
needs being addressed by the artists. Usually the scroll was made according to the requirements of the dabtara, or religious leader. He would select
a particular animal, usually a kid goat or lamb, that would be sacrificed
and its skin prepared and made into a scroll. Prayers were written in the
classical Ethiopian language of Ge’ez, which is an ancient language no
longer spoken in present-day Ethiopia. The written language of Ge’ez is
still written and used for religious purposes by the Ethiopian Orthodox
Church.
MATERIALS NEEDED
*Two large brown paper grocery bags
*Glue
*Instant coffee
*Cooking oil
*Water
*Iron - ADULT SUPERVISION REQUIRED
*PLAID FolkArt R Acrylic Paints - earth tone shades of red, blue,
green, white, gold, and yellow ochre
*Ruler
*Magic marker
*Graphite paper
*Copy machine
*3 film canisters
*Duct tape
*Black or brown craft foam
* Scissors
*Skewer
*Hot glue gun and glue- ADULT SUPERVISION REQUIRED
87
1. CUT AND DISTRESS THE BROWN
PAPER BAGS
*Cut two brown paper bags into two long strips
measuring 6” wide and 3’ long. Use an allpurpose glue to attach the two ends together to
form a scroll measuring approximately 5 to 6
feet long and 5” wide.
*Crumple the strips and dampen with water.
Carefully squeeze and press the strip to create
crinkles in the surface.
*While the strips are still crumpled, spray or pour
on some vegetable oil. Make sure it covers
different parts of the surface you will be
decorating.
*Unfold the strip and use a damp (not wet) brush
loaded with some white acrylic paint to highlight
the surface of the paper.
*WITH ADULT SUPERVISION, press the
paper bag scroll using a hot iron after the
white paint has dried.
88
2. LAYOUT AND TRANSFER THE SCROLLS DESIGN
*Select as many of the Ethiopian designs on pages 92 - 97 as you wish to decorate
the surface of your scroll. You will want a variety of images, yet plenty of room
for writing your “prayers.”
*Make a photocopy of the images you have selected, cut them out, and place
them on top of a piece of graphite paper that is placed onto the brown paper
scroll. Trace over the image to transfer the design onto the surface of the scroll.
*Use a permanent black magic marker to go over and
highlight each line on the transferred image.
89
3. PAINT IMAGES AND ADD TEXT
*Use a thin tipped paintbrush to paint each of the designs as you desire with the
FolkArt R acrylic paints. Use earth tone colors such as rust red and yellow ochre.
To help the images stand out even more, highlight them with white paint. Add
gold details and highlights.
*For our scroll, we added random hand-painted
Ge’ez letters in white and gold
as a background for our
prayer. Examples of Ge’ez
lettering are available on the
Internet. If you don’t want to
write a prayer, you can select
a poem, proverb, or other
words that you want to write.
Consider selecting one or more of
the prayers presented on this Web
site for your prayer scroll:
http://www.earthcultureroots.com/
ethiopian_prayers.html
90
4. MAKE THE SCROLL HOLDER
*Cut out the bottoms of three film canister containers and tape together.
*Measure two pieces of craft foam: one that is 6” X 6” and will cover the three
film canisters, and one that is 6” X 2” which will be rolled into a tube as illustrated
below.
*Glue a 7” skewer to one end of the decorated scroll and roll up the scroll into a
tight roll as illustrated and insert into the craft foam-covered film canister.
*Glue the tightly rolled craft foam tube to the larger
tube.
*Decorate the outside of the craft foam if desired
with dimensional paint. Insert a cord or string
through the smaller tube and display on a
decorative hook.
91
Ethiopian Prayer Scroll Designs
92
93
94
95
96
97
A FRICAN
Mudcloth
History & Art
African Mudcloth
98
Mudcloth Designs
A brief history
Bogolanfini (“Bo-ho-lahn-FEE-nee”), which means
“mud cloth,” is a traditional artistic tradition of the
Bamana, an African group that reside to the northeast
of the Bamako region in Mali. This beautiful handmade
cloth incorporates both symbol and artistic tradition.
DID YOU
KNOW?
The Mali
are a West
African
people that
are
talented in
many arts.
The
mudcloth
is one of
their most
recognized
artistic
traditions.
Baman women traditionally create mudcloths to
incorporate elements of everyday life such as birth,
marriage, death, or special ceremonies. The motifs used
in a mudcloth frequently incorporated both symbols
and proverbs that were passed down through each
generation of women.
Bogolanfini was decorated with powerful symbols
to assist the men during hunts.
The mudcloth designs also
indicated the position an
individual held in Baman society,
his or her occupation, and
personality traits. In addition, the
Mali mudcloth is closely related to
national pride.
Go to the Web site listed here and click on the title:
West African strip-
cloth weaving: slideshow by Louise Meyer to view a very fine presentation
http://www.africancraft.com/
articles.php?sid=50302978888718928096697113944918
99
Most mudcloth is made
for use in Mali villages where
the men weave the cotton
fabric. It is then decorated by
the women using a variety of
symbolic
designs
that
incorporate history, proverbs,
or traditional stories.
DID YOU
KNOW?
Mali men
take the
cotton
grown on
their land
and handspin and
weave it
into strips
of cloth
that are
approximately
3” to 8”
wide.
These
strips are
then sewn
together
into a
larger
piece of
fabric.
The process of making
mudcloth is done completely by hand, from the
spinning and weaving of the fabric to the preparation
of the earthen dyes to the painting and cleaning.
Mudcloth dyes are called bogolan dyes and are made
from (often secret family recipes) bark, leaves, and iron
oxide to paint Malian history and symbols.
PREPARATION
The cotton that is used to make the mudcloth is
grown and harvested from local fields. It is then
processed to remove impurities, spun, and prepared
for weaving on a loom. The village men use small singleor double-heddle looms to weave the cotton into long
strips, called finimugu. The 5 to 9 strips are then sewn
into large panels that range in size from 32” to 45”
wide and are upwards of 72” long.
After the strips are sewn into a large length of
fabric, the women wash the fabric in boiling water to
shrink it to its final size and lay it out to dry. After the
fabric is dry, they place the fabric in a special tea bath
made from the pounded leaves of the Bogolon tree or
the Cengura tree to create a yellowish tint to the fabric.
This also helps the fabric retain the mud dye that will
be applied.
100
The women artists then
create the designs on the fabric
using a special iron-rich mud dye
collected from area ponds that has
been allowed to ferment for up to
a year until it becomes black and
concentrated.
DID YOU
KNOW?
Staining
concrete,
for
example, is
a common
use of iron
oxide
powders.
During
firing, all
irons
decompose
and
produce
similar
colors in
glazes and
clay
bodies.
The women then apply this
mud to the woven cloth using a variety of tools including
small bamboo sticks, feathers, and brushes made from
palm fibers. Each design is outlined using the mud.
The space around each design is filled in with the mud,
highlighting the outlined design.
After the designs are painted on the cloth, it is set
aside to dry. If the woman wants to accentuate the
design even more, she will apply an additional coat of
mud.
The fabric is then washed clean and used for
numerous items such as clothing, home goods, and
more.
DIVERSITY, YET ONE
Mali has several ethnic groups that make up its
population. One of the largest ethnic groups in Mali is
that of the Bambara. The name Bambara translates to
“those who refuse to be ruled.” The Bambara people are
considered one of the highest ranking ethnic groups in
Mali and are predominantly Muslim. The Bambara also
practice “Folk Islam,” which is the melding of ancient
worship practices such as fetish worship, spirit worship,
and sorcery.
101
THE COLOR OF IRON OXIDE
The striking iron-rich mud that is used to make
the mudcloth designs has been used as a coloring
pigment for hundreds of years.
DID YOU
KNOW???
Mali mud
paint is
rich in iron
oxide. The
iron oxide
changes
into a
tannic acid
in the
ground
leaf
solutions
and forms
an iron
tannate
dye.
Iron oxides can include shades of yellow (yellow
iron oxide), red (colcothar iron oxide), and black (black
iron oxide). The color from the iron oxides comes from
where the oxide was formed, the concentration of the
oxide particles, and the temperature when it was
formed.
Paints that have high iron oxide content include
red ochre, red oxide, burnt sienna, and Spanish red.
Most clays have iron as their primary contaminant.
102
Mali Mudcloth Fabric Design
We have provided two activities for you to try using Mali motifs. The first is making a Mali painted design, and the second is coloring a larger Mali-inspired artistic design.
MATERIALS:
*Terracotta clay
*Various sizes of paintbrushes
*PLAID FolkArt R black and red sienna acrylic paint
*Plastic bottle
*Plaid Tip-Pen Essentials R metal paint tips (optional, but very helpful)
*Tea bags
*Cotton fabric
*Scissors
*Copy machine
*Watercolor paper - (Select a watercolor paper that can handle water and light rubbing)
*Black tempera or watercolor paint
*White or yellow crayon
*Oil pastel crayons (optional, but nice for the crayon resist project)
103
1. DESIGN A LAYOUT PATTERN
OPTION A: Web site design
The easiest and most inspiring method for creating a
Mali mud design for this activity is going to the Web
site below. Not only will you have a visual and
auditory presentation, but you can design and then
print out your own mudcloth design to use as
inspiration for this project. View the total presentation
and then go to the section titled “Make your own Bogolanfini,” and follow the
steps.
http://www.mnh.si.edu/africanvoices/mudcloth/index_flash.html
*OPTION B: Crayon resist
1. Divide a large sheet of watercolor paper into the following sections. (Make
sure the paper can withstand water and rubbing.)
104
2. Use either a white or yellow crayon to draw one
or more of the Mali motifs from page 110 - 111 into
the various sections. Make sure the crayon designs
are bold enough to stand out against the watercolor
paint wash.
3. After you are pleased with the design, use a wide
paintbrush to cover the
surface with black
watercolor or tempera
paint.
4. Let the paint dry and then use a damp paper
towel to gently remove any paint that may still
remain over the surface of the crayon images.
105
*OPTION C: Crayon resist contemporary
design
1. As an extension activity, create crayon
resist drawings of one or more mudcloth
designs on pages 110 - 111. Use a variety of
bright or pastel crayons and outline and fill
in the different sections on each black-andwhite illustration with colors of your choice.
Remember, any area not colored will
become black when painted. (Make sure the
paper can withstand water and rubbing.)
2. When you are pleased with the overall design, use
a wide paintbrush to cover the surface with black
watercolor or tempera paint.
3. Let the paint dry and
then use a damp paper towel to gently remove any paint
that may still remain over the surface of the crayon image.
106
2. DYE THE FABRIC AND LAYOUT THE
DESIGN
*Take a prewashed piece of cotton fabric or muslin
and soak it in a tea bath for several hours. Rinse
in clean water and spread out to dry.
*With the designs you previously selected, use a
pencil and ruler to create a grid on the fabric based
on the instruction on page 104.
3. MIX UP THE MUD PAINT AND PAINT
THE DESIGN
*Mix terracotta clay and FolkArt black and
burnt sienna acrylic paint together until all
ingredients are completely mixed together
and you have a thick, but paintable mixture.
*On a test strip, practice painting some of the
mudcloth designs you have selected.
107
4. DESIGN OPTIONS
*There are two ways to make a design. The first is painting your design so the
mud paint becomes the primary image. It will be a dark design on a light
background. The second method is to outline the shapes you want to remain
light and fill in the background with the mud paint. The following are examples
of both methods of painting.
108
5. FINAL CLEANING
*After the paint has completely dried, rinse the fabric with clean water. It may
be necessary to use an old toothbrush or scrub brush to help you remove the
remaining mud paint.
*Mount and frame your mud painting, or use the fabric to make something for
your personal use such as a book cover or pillow cover, or carefully tear the top
and bottom to create a fringe which is a traditional treatment for large pieces of
fabric.
To add fringe to your project, use scissors
to cut strips along the bottom edge.
109
BACK OF A SICKLE
BLADE
BAMBOO OR MILLET
LEAVES
“SUPERIORITY OF FIRST
WIFE”
BLACKSMITH
BRAVE AND FEARLESS
DANKUN (CROSSING
PATHS) Symbol of
sacrificial love
SHACKLES FOR
ANIMALS - Symbolizes
inability to change events
FLOWER OF THE
CALABASH
GROUNDNUT Symbolizes a tasty treat
WARA WOLO - hobbies
and interests, WARA
KALAN WOLO - panther
skin
110
BACK OF A SICKLE
BLADE
111
BAMBOO OR MILLET
LEAVES
112
GENERAL MATERIALS LIST
The following lists are a collection of the different craft materials that will be used for the
numerous projects presented in this collection. Each activity has a specific materials list. The
following list can be used if you wish to make all the activities in this collection.
*All-purpose glue, decoupage medium, or
papier-mache paste recipe
*Aluminum foil
*Aluminum foil cookie pan
*Ammonia (ADULT SUPERVISION
REQUIRED)
*Awl - ADULT SUPERVISION REQUIRED
*Brown kraft paper or old paper bags
*Carving tools and rasps- ADULT SUPERVISION REQUIRED
*Coarse Kosher salt
*Cooking oil
*Copy machine
*Copper sheet, pennies, etc
*Corrugated cardboard
*Cotton fabric
*Craft foam
*Darning needle
*Duct tape
*Eye protection and dust mask
*Embroidery floss
*Gluestick
*Feathers
*3 Film canisters
*Non-iodized salt
*Foam core board
*Gesso
*Glaze medium
*Gilding foil
*Gilding adhesive
*Gloves
*Gold dimensional paint
*Graphite paper
*Instant coffee
*Labels
*Large bowl for paper strips
*Lemon juice
*Mini iron - (available at fabric stores) ADULT SUPERVISION REQUIRED
*Mask
*Miniature chocolate molds
*Measuring cups
*Sophisticated Finishes R Metallic Surfacers for
Iron and Copper and Antiquing Solutions for
Rust and Patina Blue or Green - (available in
craft stores in the paint or faux finishing section)
- ADULT SUPERVISION REQUIRED
*Mixing bowl
*Newspaper
*Oven - ADULT SUPERVISION REQUIRED
*Oil pastel crayons
*Old rag or paper towels
*Pencil or magic marker
*Petroleum jelly
R
*PLAID FolkArt Acrylic Paints
*PLAID Tippen Essentials R
*Plastic bottle
*Plastic mask
*Plasticine clay
*Play sand
R
*Paintbrush
*Raffia or hemp cording
*Ruler
*Rubbing alcohol
*Scissors
*Skewer
*Seed beads
*Sea sponge
*Tea bags
*Terracotta clay
*Tracing paper
*Toothpicks
*Water
*Wax paper
*White or yellow crayon
*White artist paper
*White vinegar
*Wooden mixing spoon
*X-acto R knife - ADULT SUPERVISION
REQUIRED
*Hot glue gun and glue - ADULT
SUPERVISION REQUIRED
R
* STYROFOAM
Brand Foam
113
EXTENSION ACTIVITIES FOR GRAPHICS
1. DESCRIPTIVE VOCABULARY
Trace around the shape leaving the inside space empty. Write words inside the empty space
about the culture or time period being studied.
2. STAMPS
Make stamps using smaller copies of the motif using “craft foam.” (Craft foam is a thin
dense foam that can be purchased at most craft or fabric stores. It is easily cut and
glued.) Glue the selected shapes onto pieces of foam core board or pieces of wood. Use as
you would any type rubber stamp.
3. RUBBINGS
Make a copy of the design. Glue onto a sheet of tag board or posterboard. Cut out the
shape and glue onto another sheet of tag or posterboard. Use dimensional paint to outline
the edges of the designs and let dry. Place a piece of paper over the slightly raised design
and make a rubbing of the design.
4. COLLAGE
Enlarge the design if necessary and use a variety of collage materials to decorate the interior of
each design. Utilize decoupage medium to layer different papers, threads, and lightweight
fabric to the design. Embellish with dimensional paint.
5. STENCILS
R
Copy the designs onto cardstock paper. Use an X-Acto knife to carefully cut out the
interior of each design. (Don’t try to cut out the details on the inside of each motif - just
the outside of the design). Use stencil paint to stencil the shape onto other surfaces. Embellish
with dimensional paint if desired.
6. ”STAINED GLASS” PICTURES
Make a transparency copy of the design. Outline the design with PLAID Gallery Glass
Leading and let dry. Fill in the spaces inside the leading using PLAID Gallery Glass R Window
Color. Tape the finished design onto a window for a “stained glass” effect.
R
114
7. TOOLING FOIL
There are a variety of different colored “tooling foils” that are available at craft and fabric
stores. The foil is thicker than aluminium foil but easy to “tool” with simple tools such as
a pencil or pen. Make a copy of the design. Tape the design onto the foil. Trace over the
design to transfer it onto the metal surface. For a unique look, use PLAID Gallery Glass
Window Color on the metal. It will give the metal an enameled appearance. Mount as
desired.
R
8. FABRIC DESIGNS
Transfer the designs onto muslin fabric using either fabric transfer paper, pens or a
technique of your choice. Use embroidery thread, yarn, fabric paint, and/or iron-on
fabrics to decorate the motifs.
9. SANDPAPER DESIGNS
Make a copy of the design. Place a piece of carbon paper underneath the copy and place
onto a sheet of sandpaper. Trace over the design until the design is transferred onto the
sandpaper. Use chalk, colored pencils, or other media to decorate the motifs.
10. HANDMADE PAPER
There are many different books available on how to make handmade paper. It is an easy
and fun activity that requires basic supplies and offers a wonderful textured finish when
completed. Use handmade papers as a background surface or collage materials for the
designs.
11. BOTANICAL COLLAGES
Make a copy onto a heavier cardstock paper. Select a variety of grains such as rice, beans,
pasta, etc. to glue on the inside of each shape.
12. HIGHLIGHTING WITH METALLIC PAINT
PLAID also offers a product called Tip-Pen Essentials. This is a craft tip set for use with
PLAID FolkArt acrylic paints which allows for fine lines, beads, and lettering. This set
is easy and fun to use. After the design has been decorated as desired, consider using
acrylic paints with the Tip-Pens to add details.
115
13. “PLASTER CARVINGS” AND CLAY TILES
This activity requires more supervision, but can offer two activities in one.
a. Use a small cardboard box measuring approximately 8 1/2" X 11". Line the interior with
aluminum foil. Mix a sufficient quantity of plaster of Paris and pour into the interior of the
box. Allow to harden and dry. Remove the dried plaster from the box.
b. Place a copy of the design onto the surface of the plaster and trace over the design until
it is transferred onto the plaster below. Remove the copy and use linoleum tools to
carefully go over the design to further accentuate the motifs.
c. To make the tiles, use Original Sculpey R polymer clay that has been rolled to an
even thickness and is the size of one plaster form. Place the clay on top of the side of the
plaster that has the design and press the clay evenly and firmly onto the carved design.
Remove the clay and bake as recommended on the package.
d. Decorate the tile as desired using Plaid FolkArt R Acrylic Paints.
14. PIERCE-PATTERN PAPER
Piercing the motif with a needle will add interesting dimension and texture to the design.
Use a heavy cardstock paper for this project. Tape or glue a copy of the selected motif onto one
side of the cardstock paper. Place the paper onto a piece of cardboard. Use a darning
needle or nail or experiment with different “piercing” tools such as tacks, needles,
toothpicks, etc. that create different sizes of holes. Vary the pattern of the holes being made
by changing the direction - go in circles, on the diagonal, vertically, or horizontally.
Create shapes such as stars, circles, etc. within shapes.
15. HEAT TRANSFER TO WOOD CUP TRIVET
Make a reduced-size photocopy of a selected design the size of the trivet you wish to make.
Place the reduced design so it faces downward onto a smooth piece of wood that fits the size of
the paper. Use a very hot iron to “transfer” the copy onto the wood. Use acrylic paints to
decorate the transfer. Seal the design with clear acrylic sealer to protect the design.
116
16. COPY MACHINE FABRIC TRANSFER
Create your own fabric transfer on a copy machine. This is very easy and effective. All
you need is an iron, freezer paper, muslin, and tape. Place a 8 1/2" X 11" piece of
prewashed and ironed muslin onto a slightly larger piece of freezer paper (place the
muslin on the “shiny” side of the freezer paper.) Iron the freezer paper until it adheres
completely to the muslin. Cut around the edge of the muslin so the freezer paper is the
same size as the muslin. Tape the edges around all sides of the muslin and freezer paper.
This will help prevent peeling while the design is being printed. Select a design and
place onto a copy machine and hand feed the muslin into a copy machine. The design
will transfer onto the muslin. Use fabric, acrylic, and dimensional paints to decorate the
design. After the paint has completely dried, remove the freezer paper and mount as
desired.
17. COPY MACHINE TRANSFER TO POLYMER CLAY
This is a fun and easy way to make jewelry using Original Sculpey polymer clay and
a photocopy of a motif. Reduce a design to the size you desire or use one provided on the
page. Roll out a piece of polymer clay that is approximately 1/8" thick and the size of the
photocopy. Place the photocopy face down onto the polymer clay. Use a clean paintbrush
to apply rubbing alcohol to the back side of the photocopy. Keep applying the alcohol
until the paper is saturated. Let sit for at least five minutes to allow the alcohol time to
dissolve the ink. Apply more alcohol and very gently begin rubbing away the back of the
paper until only the ink remains transferred onto the clay. Bake the clay according to
package directions and mount onto a piece of jewelry or use as part of a collage. DON’T
FORGET TO REVERSE THE COPY SO IT WON’T BE PRINTED
BACKWARDS.
117
CHARACTER DEVELOPMENT
STATEMENTS
Sometimes it is just plain difficult to start writing. The following collection of
statements can be mixed and matched to develop a writing recipe. When you
are ready, follow the directions below to develop your own special description.
DIRECTIONS
Pick any ten statements from the following list to create a paragraph about a
character of your choice. Use the Additional Details for Characterization to
help you write about your character.
INTRODUCING YOUR CHARACTER
1. Write one or more sentences introducing your character’s name and occupation.
2. Write one or more sentences describing your character’s home or dwelling.
DESCRIPTION OF A CHARACTER’S FACE
3. Write one or more sentences describing your character’s head shape.
4. Write one or more sentences describing your character’s eyes. Include color,
shape, and eyebrows.
5. Write one or more sentences describing your character’s nose. Include size
and shape.
6. Write one or more sentences describing your character’s ears. Include size
and shape.
7. Write one or more sentences describing your character’s mouth. Include size,
shape, and color.
8. Write one or more sentences describing your character’s hair. Include color,
cleanliness, length, and any facial hair such as a beard or moustache.
9. Write one or more sentences describing your character’s teeth.
10. Write one or more sentences describing your character’s skin. Include color
and texture.
118
STATEMENTS
DESCRIPTION OF A CHARACTER’S CLOTHING
11. Write one or more sentences describing your character’s
tunic or skirt. Include size, color, and texture.
shirt or blouse. Include size, color, and texture.
head covering. Include size, shape, and color.
accessories. Include jewelry, hair ornaments, buckles, etc.
DESCRIPTION OF A CHARACTER’S PHYSICAL APPEARANCE
15. Write one or more sentences describing your character’s posture. Include
when sitting and walking.
16. Write one or more sentences describing your character’s voice.
17. Write one or more sentences describing your character’s weight and height.
18. Write one or more sentences describing your character’s physical build.
19. Write one or more sentences describing what you notice first about your
character.
20. Write one sentence stating your character’s age.
119
STATEMENTS
DESCRIPTION OF A CHARACTER’S TRAITS
21. Write one or more sentences describing your character’s special
skills or knowledge.
special magical abilities.
popularity.
reputation.
25. Write one or more sentences describing the things your
character likes and dislikes.
26. Write one or more sentences describing your character’s feelings at night.
27. Write one or more sentences describing your character’s favorite saying.
28. Write one or more sentences describing your character’s disposition.
29. Write one or more sentences describing your character’s worst deed ever
committed.
30. Write one or more sentences describing your character’s verbal expressions.
Include when happy, sad, scared, lonely, or surprised.
120
STATEMENTS
DESCRIPTION OF A CHARACTER’S DESIRES
31. Write one or more sentences describing your character’s greatest success.
32. Write one or more sentences describing your character’s fondest hopes and
dreams.
33. Write one or more sentences describing your character’s favorite foods and
drinks.
34. Write one or more sentences describing your character’s favorite type of
music.
35. Write one or more sentences describing the qualities your character expects
in a best friend.
36. Write one or more sentences describing how your character feels about
children, animals, the elderly, etc.
DESCRIPTION
37. Write one or
38. Write one or
39. Write one or
OF A CHARACTER’S INTEREST
more sentences describing your character’s collections.
more sentences describing your character’s interests.
more sentences describing your character’s artistic talents.
121
ADDITIONAL DETAILS FOR
CHARACTERIZATION
OCCUPATION
BLACKSMITH
CANDACE (queen)
FARMER
GOLDSMITH
KING
MERCHANT
METALWORKER
NOMAD
SHEPHERD
SILVERSMITH
SLAVE
SOLDIER
SUFET (judge)
TANNER
WARRIOR
WOODCARVER
PERSONALITY TYPE
ALOOF
COURTEOUS
FORCEFUL
FRIENDLY
HOSTILE
INSENSITIVE
MODEST
PROUD
RASH
RUDE
EYES (COLOR)
BLACK
BLUE
BLUE-GREEN
BROWN
GREEN
ORANGE
RED
YELLOW
HAIR
BALDING
BLACK
BEADED ON THE
FRINGES
BRAIDED
DARK BLACK
GRAY
GREASED
PIGTAILS
PLEATED
RAGGED
SMOOTH
SOFT
TEASED-OUT STRANDS
TOP-KNOTTING
(Used clay, grass, string,
palm and cloth, combs,
sticks, and rods to form
domes and tiaras)
EYES (SHAPE)
PROTRUDING
ROUND
SLANT DOWNWARD
SLANT UPWARD
SMALL
SUNKEN
NOSE
BONY
BUMPY
HAWKLIKE
LARGE AND FLAT
MISSHAPEN
PUG
STRAIGHT AND THIN
MOUTH
FAT LIPS
LARGE
MEDIUM
PERFECTLY FORMED
SLIGHTLY RAISED AT
THE SIDES
SLIGHTLY TURNED
DOWN
SMALL
THIN LIPS
SIZE & SHAPE OF HEAD
HEART-SHAPED
LARGE
MEDIUM
OVAL
ROUND
SMALL
SQUARE
TRIANGULAR
ARTISTIC TALENTS
CARVING
CHARCOAL DRAWING
DANCING
JEWELRY MAKING
FEATHER WORKER
POTTERY
SCULPTURE
WEAVING
122
CHARACTERIZATION
FACIAL TEXTURE
BLISTERED
CLEAN-SHAVEN
DELICATE
DRY
FRECKLED
GNARLED
GROOMED
HAIRY (WHISKERS)
OILY
ROUGH
SATINY
SCARRED
WORK-WORN
WRINKLED
EARS
HIDDEN BENEATH HAIR
LARGE
LONG
MEDIUM
MISSHAPEN
MISSING ONE
NICELY SHAPED
POINTED
PROTRUDING
SMALL
VERY OBVIOUS
CLOTHING
BREASTPLATE
CAFTAN CAPES
CEREMONIAL MASK
CLOAK
COTTON AND SILK
WRAPS
DASHIKI (type of blouse)
EMBROIDERED
SANDALS
FRONTAL APRON
GANDURAH (long robe)
GIRDLES OF CORD
GOATSKIN APRON
HEADCLOTHS
LIONMANE HEADDRESS
LOINCLOTH
OSTRICH PLUMED
HEADDRESS
LEOPARD SKINS
MONKEY-HAIR
HEADDRESS
SANDALS
SEAT - MATS
SILK SASHES WITH
TASSELS
TAGILMUST (veil)
TURBAN
WAISTBANDS
WRAPAROUNDS
JEWELRY
ANKLET
BANGLES
BEADED MEDALLIONS
BIRD BEAKS NECKLACE
COWRIE SHELLS
EARRINGS
EGGSHELL BEADS
LEG DECORATIONS
LAZULI (semiprecious
stone)
MALACHITE BEADS
SHELL NECKLACE
PERSONAL
ITEMS
BANGLES
BREASTPLATE
BRONZE ANKLET
BRONZE RAZOR
CALABASHES (gourds)
CLAY PIPE
DAGGER
EDAN (brass figures set
on a staff or bell,
representing a man
or woman, used to
prepare powerful
medicine)
GERBAS (sewn goat skins
for water)
GLASS BEADS
GOBLET AND FLASK OF
GLASS
GOLD EARRINGS
HEADDRESS
IRON WEAPONS
KUDUO (a type of vessel
used in purification
rituals)
LANCE
RATTLE
SABRE
SADDLEBAG
SCABBARD
SKIN BAG
SPEAR
SPOON CHAINS
STAFF
OSTRICH SHELL BEADS
SILVER RING
STONE BRACELET
WOODEN EAR PLUGS
GOLD BEADS
123
CHARACTERIZATION
INTELLIGENCE
ABLE TO SOLVE
PROBLEMS
AVERAGE
BRILLIANT
GOOD IMAGINATION
GOOD MEMORY
MECHANICAL SKILLS
POOR MEMORY
RESOURCEFUL
SCATTERBRAINED
SLOW
APPEARANCE
DANGEROUS
DIRTY
FOPPISH
GENTLE
HEALTHY
ILL
KINDLY
POOR
ROUGH
RUGGED
TOUGH
INTERESTS
ANIMALS
ART
DANCING
FISHING
HISTORY
HUNTING
MUSIC
POLITICS
RELIGION
SCIENCES
CUSTOMS
BURIAL
CARE OF CHILDREN
COMING OF AGE
MARRIAGE
SELECTION OF A
LEADER
SACRIFICE
VIRTUES
BRAVE
CAUTIOUS
COWARDLY
CURIOUS
FEARLESS
FORGIVING
LIAR
PERCEPTIVE
TOOLS
GRINDING TOOLS
HARPOONS
HARVESTING TOOLS
WEIGHTED DIGGING
STICKS
HEAVY SCRAPERS
MEASURES FOR
WEIGHING
PESTLES
POLISHED ADZES
SPOKESHAVES OF
STONE
AGE
BABY
CHILD
ELDERLY
MIDDLE AGED
TEENAGER
YOUNG ADULT
YOUTH
DISPOSITION
AWKWARD
CAREFREE
COMFORTABLE
EVEN-TEMPERED
FIDGETY
GRUFF
HARSH
NERVOUS
RELAXED
TENSE
UPTIGHT
COLLECTIONS
ANIMAL SKINS
COWRIE SHELLS
GLASS BEADS
GOLD NUGGETS
IVORY
PRECIOUS STONES
SALT
ARROWS
AWLS OF BONE
BURINS (used for metal
work)
DRIFT (tool for shaping
holes)
GRATERS
124
SETTING DEVELOPMENT
STATEMENTS
Sometimes it is just plain difficult to start writing.
The following collection of statements can be
mixed and matched to develop a writing recipe.
These can be used to enhance the writing
exercises for the previous setting activities. When
you are ready follow the directions below to
develop your own special description.
DIRECTIONS
Pick any ten statements from the following list
to create a paragraph on a setting of your choice.
Use the Additional Details for Settings to help
you write about your setting.
INTRODUCING A SETTING
1. Write one or more sentences of introduction explaining the location and the
setting you will be writing about.
2. Write one or more sentences describing the time period in history you will be
describing.
3. Write one or more sentences describing the first impressions you get when seeing
your setting for the first time.
DESCRIPTIONS OF A SETTING THROUGHOUT A 24-HOUR DAY
4. Write one or more sentences describing your setting in the morning.
5. Write one or more sentences describing your setting in the afternoon.
6. Write one or more sentences describing your setting in the evening.
7. Write one or more sentences describing your setting at sunrise.
8. Write one or more sentences describing your setting at sunset.
9. Write one or more sentences describing your setting during a storm.
10. Write one or more sentences describing your setting after it rains.
125
SETTING DEVELOPMENT
STATEMENTS
SETTING DEVELOPMENT
STATEMENTS
DESCRIPTION OF A SETTING’S APPEARANCE
11. Write one or more sentences describing your setting’s colors when close to it.
12. Write one or more sentences describing your setting’s colors when faraway.
13. Write one or more sentences describing your setting’s general appearance.
14. Write one or more sentences describing your setting’s reputation.
15. Write one or more sentences describing your setting’s size and shape.
16. Write one or more sentences describing your setting’s state of repair.
17. Write one or more sentences describing the interior and exterior of your setting.
18. Write one or more sentences describing the building materials that make up
your setting.
19. Write one or more sentences describing how busy the setting is with visitors.
SENSORY DESCRIPTION OF A SETTING
20. Write one or more sentences describing any sound you may hear in your setting.
21. Write one or more sentences describing your setting’s odors.
22. Write one or more sentences describing your setting’s climate/weather.
23. Write one or more sentences describing your setting’s animals.
24. Write one or more sentences describing the season of the year that your setting
is currently experiencing.
25. Write one or more sentences describing the movement of your setting. (Use
this statement for settings describing bodies of water such as rivers, lakes, waterfalls,
etc.)
126
ADDITIONAL DETAILS
FOR SETTINGS
INTERIOR AND
EXTERIOR
ANIMAL SHAPED PESTLES
BASKET WARE
CANDLES
CERAMIC VASES
CLAY DISHES & CUPS
EARTHENWARE LAMPS
FOROWA (ceremonial pot made
of beaten brass and used for
storing butter)
LEATHER WORK
PILLOWS
STONE BOWLS
MUSICAL
INSTRUMENTS
DRUMS MADE WITH
LEATHER AND BELLS
FLUTES
TRANSPORTATION
BALSA RAFT
CANOES
COURIER RUNNERS
DONKEYS
HORSES
FLAT-BOTTOMED REED RAFTS
LITTER
FOOD AND
DRINK
BARLEY
BREAD
BUFFALO
CHICKEN
COCONUTS
ELEPHANT
FISH
HIPPOPOTAMUS
HONEY
KOLA NUTS
PALM WINE
MELONS
MILLET
MOLLUSKS
MUTTON
NUTS
RAISINS
RICE
SNAILS
SORGUHUM (tall succulent)
TEFF (a native grass)
TURTLE
WHEAT
WHITE YAMS
YAMS
LANDSCAPE
BADLANDS
BOG
COASTAL
DESERT
FOREST
HILLS
MARSH
MEADOW
MOUNTAINS
PLAINS
SWAMP
VALLEY
CLIMATE
COLD
HOT
HUMID
MOIST
ANIMALS
BUFFALO
CAMELS
ELEPHANTS
EXOTIC BIRDS
FROGS
HIPPOPOTAMUS
HYENAS
LEOPARDS
LIONS
GIRAFFES
MONKEYS
OSTRICH
PANGOLINS
SNAKES
127
ADDITIONAL DETAILS
FOR SETTINGS
KINDS OF
STRUCTURES
CATTLE PEN
GRAIN SILO
HUT
OBELISK (monument)
PYRAMID
SHADUF (watering device)
STABLE
TEMPLE
THRONE
WELL
COMMUNITY
OR DWELLING
CITY
COTTAGE
HOUSE
PYRAMID
RUIN
TEMPLE
TOMB
TOWN
VILLAGE
APPEARANCE
OF THINGS
BUBBLING
CLEAR
CLOUDY
GLOWING
RIBBONED
LUMINOUS
OILY
SMOKY
TRANSPARENT
VAPOROUS
WATERY
LAND
BORDERLAND
DELTA
DOMINION
DUST
EARTH
EXPANSE
FIELD
GROUND
ISLAND
LANDSCAPE
LOWLAND
MUCK
PATCH
FLAVORS
BUTTERY
GARLIC
HOT
LEMON
ONIONS
PEPPERY
SALTY
SOUR
SPICY
SWEET
TANGY
TART
ODORS
ACIDIC
DANK
EARTHY
METALLIC
MOLDY
NOXIOUS
ROTTING
SALTY
SICKLY SWEET
SMOKY
STALE
SULFUROUS
SWEATY
BEADWORK ITEMS
(Used metal, ivory, bone,
shell, nut, seed, and glass
beads)
ANKLETS
APRONS
ARMBANDS
BLANKET PINS
COLLAR
CROWNS
DRUMS
MASKS
NECKLACES
THRONES
CEREMONIES
BIRTH
DEATH
FERTILITY RITES
FISHING
HARVEST
HUNTING
INITIATION RITES
INSTALLATION OF CHIEFS
MARRIAGE
PUBERTY
128
ADDITIONAL DETAILS
FOR SETTINGS
VEGETATION
AROMATIC
BLOOMING
BRIGHTLY COLORED
CAMOUFLAGED
CANOPY
COLORFUL
DANGLING TENDRILS
DENSE UNDERBRUSH
DIVERSIFIED
EXOTIC
FERN COVERED
FLOURISHING
FORESTED
FRAGRANT ORCHIDS
FRUIT LADEN
GRASSY
HARDWOOD
PATTERNS
(These items were
integrated into various
African patterns)
ANIMAL MOTIFS
ARM RING
CRESCENT
FRUIT
MILLET
SPEAR SHAFT
WOVEN ITEMS
BASKETS
CUSHIONS
HATS
SHIELDS
WALL HANGINGS
WINNOWING TRAYS
TOOLS
ARROWS
AWLS OF BONE
BURINS (used for metal
work)
DRIFT (tool for shaping
holes)
GRATERS
GRINDING TOOLS
HARPOONS
HARVESTING TOOLS
HEAVY SCRAPERS
PESTLES
POLISHED ADZES
SPOKESHAVES OF
STONE
(planing tool)
WEIGHTED DIGGING
STICKS
SOUNDS
BARK
BAY
BELLOW
BLAST
BLEAT
BRAY
BUBBLING RIVER
BUZZ
CACKLE
CAW
CHATTERING MONKEY
DRUM BEAT
GRUNTING FARMER
HISSING SNAKE
WATER
BUBBLING
DRIPPING
FOAMING
FROTHING
GLASSY
HOTHOUSE
SMOOTH
MISTY WATERFALLS
MURKY
PLUNGING
RAGING
STEAMY
TEMPESTUOUS
THUNDERING
TRICKLING
TURBULENT
WHIRLING
WHITE-CAPPED
129
ADDITIONAL DETAILS
FOR SETTINGS
PATTERNS &
TEXTURES
BANDED
BRINDLED
CHECKED
CHECKERED
DAPPLED
FLECKED
FRECKLED
HAIRLESS
MARBLED
MOSAIC
SILKY
SOFT
SLIPPERY
SMOOTH
SPINY
SPOTTED
STICKY
TRANSPARENT
UNEVEN
VELVETY
WAXY
MOTTLED
PATCHED
PATCHWORK
SPECKLED
SPRINKLED
BUMPY
CREAMY
GREASY
GROOVED
RAINBOW
SATIN
MOVEMENT
AMBLE
CANTER
CHARGE
CLATTER
CLUMP
COAST
CRUISE
DANCE
HASTEN
HIKE
HUSTLE
LIMP
LOAF
LUMBER
MEANDER
NAVIGATE
PACE
RACE
RAMBLE
RANGE
ROAM
ROLL
ROVE
SAUNTER
SCAMPER
STALK
STAMPEDE
STRAGGLE
STRIDE
STROLL
STRUT
SWERVE
TODDLE
TRAIPSE
DESERTS
SPARSE VEGETATION
SOLITARY ANIMALS SEEKING FOOD
AND WATER
SWARMS OF LOCUSTS
HARSH CONDITIONS
ANIMALS BLENDING WITH SURROUNDINGS
POISONOUS INSECTS
ACACIA TREES
SUCCULENT PLANTS
NOCTURNAL
UNDERGROUND BURROWS
VENOMOUS SNAKES
FLASH FLOODS
POTTERY ITEMS
(Used for the following purposes)
BURNING SWEETSMELLING HERBS
COOKING FOOD
GRAIN STORAGE
OIL LAMPS
POTS FOR DYEING FABRIC
POTS FOR FOOD STORAGE
WATER VESSELS
130

ZP324_Africa - Mountain Valley Academy

Transcription

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