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Von Calavi nach Ganvié. GANVIÉ ist ein grosses Pfahlbautendorf in Benin. Vor langer Zeit flüchteten die Tofinu-Leute vor den Sklavenhändlern aufs Wasser, das die Fon Krieger scheuten. Heute leben etwa 40‘000 Menschen in Ganvié und den umliegenden Dörfern auf dem Wasser.
Benin is like the spiritual home of Voodoo. I visited a village which had several interesting Voodoo icons (or temples) there, this is just one of them...
Read more about Voodoo here: www.bbc.com/news/world-africa-15792001
16th century. The two figures closest to the camera represent European soldiers.
From 'A History of the World in 100 Objects' at the National Museum of Australia in Canberra.
Unterwegs in Benin, in Bohicon bei Abomey, zeigt mir ein handgemaltes Schild den Weg zum Atelier von Mr Antoine, dem Chronisten der Stadt, und zu seiner Familie. Merçi beaucoup pour l‘hospitalité❣️
The Benin plaques in the British Museum were made by the Edo people of Benin, Nigeria. The generally accepted date for their provenance is between 1550 and 1650. They come from the palace of the King (Oba) and constitute a pictorial record of daily life in the palace. They are like photographs from a pre-photographic age. There is an excellent book by Nigel Barley, The Art of Benin, published by the British Museum. If you are interested in anthropology, his The Innocent Anthropologist: Notes from a Mud Hut is a very readable book about some of the issues facing a modern anthropologist.
Life as an albino can be tough in Africa since there is a wide belief that body parts of albinos have magical power.
In Africa many people are affected by albinism characterized by the lack of pigmentation. In addition to sight problems and cancer risks that come with the condition, albinos are subject to persistent beliefs in Africa. In spite of educational campaigns, human sacrifices still occur on the continent. It is not that unusual to find the murder of an albino in the columns of an African newspaper.
Photo is taken in Ganvie in Bénin, West Africa
The Benin plaques in the British Museum were made by the Edo people of Benin, Nigeria. The generally accepted date for their provenance is between 1550 and 1650. They come from the palace of the King (Oba) and constitute a pictorial record of daily life in the palace. They are like photographs from a pre-photographic age. There is an excellent book by Nigel Barley, The Art of Benin, published by the British Museum. If you are interested in anthropology, his The Innocent Anthropologist: Notes from a Mud Hut is a very readable book about some of the issues facing a modern anthropologist.
The Benin plaques in the British Museum were made by the Edo people of Benin, Nigeria. The generally accepted date for their provenance is between 1550 and 1650. They come from the palace of the King (Oba) and constitute a pictorial record of daily life in the palace. They are like photographs from a pre-photographic age. There is an excellent book by Nigel Barley, The Art of Benin, published by the British Museum. If you are interested in anthropology, his The Innocent Anthropologist: Notes from a Mud Hut is a very readable book about some of the issues facing a modern anthropologist.