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Ashanti to ulu
AFRICAN TRADITIONS
• MARGARET MUSGROVE •
PICTURES BY LEO AND DIANE DILLON
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From A to Z, an authentic portrait of twenty-six African
tribes, stunningly illustrated by winners of the 1976 and
1977 Caldecott Medal.
ASHANTI TO ZULU
African Traditions
by Margaret Musgrove
pictures by Leo and Diane Dillon
Caldecott Medal, 1977; ALA Notable, 1976; ALA Children's
Books of International Interest, 1976; The New York Times Best
Illustrated Books of 1976; The New York Times Outstanding
Books of 1976; Kirkus Choice, 1976; The Boston Globe/Horn
Book Award Runner-Up, 1977; Horn Book Fanfare Honor List,
1977; AIGA Book Show, 1976; Society of Illustrators Hamilton
King Award, 1977.
'The illustrations of twenty-six African tribes are stunning.
... A magnificent book that will not soon be forgotten."
—Children's Book Review Service
"The magnificently composed pictures are warm with the
tones of the earth and rich with authentic details of African
life.... An unusually beautiful and brightly informative
book which thoroughly deserves its award."
—St. Louis Post-Dispatch
"Another virtuoso performance.... thechild's eye will be
rewarded many times over."—Booklist, starred review
"The artwork [is] as beautifully designed as the famous
Ashanti kente cloth; its stylized elegance manages to
capture both the variety and Vitality of African tribal life."
—Library Journal, starred review
"The Dillons' paintings are breathtaking recreations of
tribal life, authentic in detail and spirit as well. The tribes
are arranged alphabetically, making this an advanced ABC
book as well. . .. Carefully researched and skillfully
executed."—Chicago Sun-Times
"The Dillons have done their usual magnificent work.. . .
The research done by both author and illustrators is
obvious throughout and makes this an outstanding
introduction to the African world. ... Truly a book for all
ages."—Wilson Library Bulletin
Hardcover edition available from
Dial Books for Young Readers
375 Hudson Street
New York, New York 10014
beb/edere TJBURON UBRARY
PICTURES BY LEO AND DIANE DILLON
A PUFFIN PIED PIPER
i \SHANTI TO
ULU
AFRICAN TRADITIONS
• MARGARET MUSGROVE •
To George and Gramma Holden
This book has been prepared with great concern for accuracy and detail.
The author has lived and studied in Ghana and has done extensive research
there, at the University of Massachusetts, and at Yale in order to write this book.
In preparing their illustrations, the artists have done considerable further
research, consulting numerous publications, The Schomburg Center for
Research in Black Culture, the New York Public Library Picture Collection,
the United Nations Library and Information Office, and the American Museum
of Natural History. In order to show as much as possible about each different
people, in most paintings they have included a man, a woman, a child, their
living quarters, an artifact, and a local animal, though in some cases these
different elements would not ordinarily be seen together. Every detail has
been studied and rendered accurately, then interpretively drawn together
with remarkable artistic insight.
The art for this book was prepared in pastels, watercolors, and acrylics.
The frames that surround each picture were done in watercolor and black
ink. The interwoven design at the corners of each frame is based on the Kano
Knot, which symbolizes endless searching—a design originally used in the
then-flourishing city of Kano in northern Nigeria during the sixteenth and
seventeenth centuries.
Text copyright © 1976 by Margaret Musgrove
Pictures copyright © by Leo and Diane Dillon
All rights reserved
Library of Congress Catalog Card Number: 76-6610
Typography by Atha Tehon
First Pied Piper Printing 1980
Printed in the U.S.A.
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14 16 18 20 19 17 15
While a Rung boy searches for water under the desert sand and a
Lozi girl settles into a boat to leave her flooded home, a Dogon farmer
is carving his fields into a mountainside, and a Jie herder is grazing
his cattle on flat green grasslands. As a Ouadai market woman bargains
from beneath the shelter of woven leaves that protects her from the
hot sun, a Xhosa woman wraps up in a blanket to keep warm.
This is Africa, an enormous and varied continent inhabited by hun¬
dreds of different peoples whose array of customs and traditions are as
diverse as the land itself. In this collection of vignettes I have tried to
introduce the reader to twenty-six African peoples by depicting a custom
important to each. Some of the customs are unique and relate only to a
particular people. Others are shared by many peoples, but all reflect
African values or philosophies.
In spite of the fact that modern technology is bringing new ways
and directions to African life, the traditions that have been passed
from generation to generation are still respected and practiced. I
hope that this collection will give the reader not only a feeling for the
vastness of the African continent and the variety of her peoples but
for the place that tradition holds at the very heart of African life.
In many African languages prefixes are added to denote the plural.
For example, when more than one Ndaka person is referred to, the
word BaNdaka is used. For the sake of simplicity I have used only
the root words throughout.
MARGARET MUSGROVE
New Haven, Connecticut
1976
_
l\/ Ashanti (uh-shahnt-ee) weavers make a beautiful cloth called
kente. They weave it in bright silk threads and give each different de¬
sign a name. One, which is mostly yellow, is called “Gold Dust.” Another,
called “When the Queen Comes to Accra,” is a favorite of many Ashanti
women. “One Man Cannot Rule a Country” was designed especially
for Ghana’s first president. The Ashanti king drapes himself in a special
kente that only he may wear.
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B/To the Baule (bah'-oo-lay) a crocodile holding a big fish in its
mouth is a sacred symbol. A Baule legend tells of a war with the Ashanti.
The Ashanti had chased the Baule to a deep river. There was no bridge,
so the Baule asked the crocodiles to help them across. The crocodiles
agreed, but in return they demanded the most precious thing the Baule
people had. Tearfully the queen gave them her only son. Then the
crocodiles lined up side by side in the water, and the Baule walked
across their backs to safety.
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Chagga(chah'guh) children grow up in groups with other children
of the same age and sex. Often a group takes a name that sounds brave
or proud. The children work, play, and go to school together. In a
special initiation ceremony they all become adults at the same time.
Chagga priests perform this ceremony in traditional costumes, and
sometimes the children’s faces are painted. After a big celebration
the children are considered adults.
The Dogon (daw-gawn) people are farmers. They live in Mali,
where they carve their fields into the rugged mountains like wide flat
stairsteps. Then they build stone walls to keep the steps from being
washed away by rain or blown away by the wind.
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«L^/ Ewe (ehway) drummers “talk” with drums. A long time ago Ewe
drums sent news to people miles and miles away. Today there are
telephones and telegraphs in Africa, but the drums still “talk.” On
special occasions the Ewe drum and dance together. The “talking”
drums tell everyone what the dance is about and what steps to do.
These drums have strings stretched from top to bottom all around them.
By squeezing the strings against their bodies as they hit the drums, the
drummers can make the “voices” higher or lower.
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JL / The Fanti (fahmtee) offer their guests white bubbly palm wine that
has a clean fresh smell. The wine comes from tree trunks, and the Fanti
chop down or tap palm trees to get it. People sip it from gourds called
calabashes. Before drinking, a person pours a little wine on the ground
and says, “Come drink with us.” This is called “pouring libation,” and
it is done to honor the ancestors.
I
Ga (gah) women make foufou by pounding boiled white yams
with long thick sticks. This makes the hot yams smooth and pasty.
Before eating it the family members roll the steamy foufou between
their fingers and dip it into a stew. The whole family eats the foufou
from the same bowl. It is Ga tradition to use only the right hand to
touch food.
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M. a./Hausa (how'suh) men are called to prayer five times each day.
A strong voice rings out like a song, chanting “Allah is great” from the
tower of a mosque. Allah is their god, and Islam is their religion. The
mosque is their church. When they hear the call, Hausa men bow low
in prayer.
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I / The Ikoma (ik-oh'muh) gather honey to eat and sell. There is a
tiny bird in their land which loves honey but cannot get into the beehives.
When this bird sees a person, it becomes excited and flies to him. Flutter¬
ing and chattering, it leads the way through the bush to a hive. The Ikoma
always reward the bird with a gift of honeycomb —otherwise, they say,
it may never help them find honey again.
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CJ/ The Jie (jee'yuh) are herders in the lovely green land of Uganda.
The men spend most of their time roaming the land with their cattle
while the women do the farming. Jie men love their animals so much
that they name themselves after them. The animals are named for the
colors and markings on their skins, and the men take these same names.
Am, / The short wiry Kung (koohng) people know where to find water
under the desert sand and how to get it. They carry reeds in their skin
bags. When they find a place where there is water, they push the reeds
into the sand and slowly suck up the water. They store it in huge ostrich
eggshells.
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JL#/ The Lozi (low-zee) live by the Zambezi River. Every winter when it
floods their land, they get into their boats and move to higher ground.
First comes a black-and-white striped barge called the Nalikwanda. On
it is a white cabin in which the Paramount Chief and the royal family
ride. Boats of all sizes and shapes follow the chiefs barge. Filled with
people, stoves, and even cows, they move through the treetops and
stilt houses to higher ground.
ITMl / Masai (mah-siglT) men groom their long thick hair with red clay
and cow grease. Dozens of tiny neat braids flow over their strong lean
shoulders. Pulled and looped into fancy styles, the braids flop heavily
when they run or jump. It is Masai custom for the women to shave their
heads and wear pounds and pounds of jewelry made of beaded iron
and copper wire. They soothe the skin under the heavy wires with
special leaves and grease.
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1^1/ Ndaka (n-dah'kuh) people wrap a bride in so much cloth that
no one knows how big she is. They circle her head with yards and
yards of colorful material and make her a veil of sparkling clinking
beads. Ndaka men lift her to their shoulders on a platform of young
trees covered with flowers. A cloth stretched above her seat protects
her from the hot sun. Flute players and singers dance gaily beside her
as she rides to the groom’s village.
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V^// A Ouadai (wah-dyO market is held under leaf canopies. The sun
is very hot, so palm leaves are woven together and stretched over sticks.
Market women sit under these shelters and sell dates, meat, cloth, and
other things. Their shrill voices call out as their hands and eyes beckon.
Customers must bargain with them for fair prices. People shake their
heads and walk away, but they come back. Bargaining is serious busi¬
ness, but it’s a lot of fun too.
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K / Pondo (pahmdoe) boys love to spar with sticks. Each boy uses
two sticks. He holds one in the middle and uses it to protect himself.
He holds the other by the end and tries to hit his opponent with it.
Moving rhythmically, the boys dodge and dart, trying to fool each other
about where they will strike next. There is only one rule: A boy cannot
hit his opponent’s knuckles. The winner’s prize is often the heart or
liver of a freshly killed animal.
Quimbande (keem-bahn'deh) children can have as many as
twenty-five brothers and sisters if their father can afford them. A wealthy
Quimbande man can have many wives. Each wife lives with her children
in a separate house in his compound. In the middle of the compound
is a small yard where the women cook meals and the children play. The
man visits the houses of his different wives on different nights.
Am./The nomadic Rendille (rehn-deehlay) live in movable houses.
The women load their houses and belongings onto donkeys when
they move from place to place. These houses are made of branches bent
into round shapes and look a little like igloos. The Rendille can take
their huts apart whenever they need to move. It is easy for them to
put the huts back together again.
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V^/ When a Sotho (soo'too) girl marries, she does not carry a bouquet
of flowers. She holds a magic beaded doll. The doll has no arms or
legs, but it does have earrings. Its body is a bright beaded cone. It is
Sotho custom for the bride to name the doll. Later, when she has
her first baby, she gives this same name to her child.
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A beautiful Tuareg (twahf-reg) singer sits in front of a tent playing
a musical instrument with one string. As the sun sets in the desert
sky, she sings in a high voice while Tuareg men sit on the ground and
pass around a bowl of milk. They lift their veils to sip. This is ahaI,
a Tuareg party. The Tuaregs are called “the people of the veil,” but
only the men wear veils. When ahal breaks into small groups, the
women will do most of the talking. The men will peer over their veils,
listening with great respect to the poetry and stories of the women.
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\*J/ Uge (oo'gay) people collect kola nuts. The nuts are small and
hard with pink shells. The Uge chew pieces of them like gum to keep
from getting thirsty. After many years of chewing, their teeth become
black. Kola nuts are offered to visitors as a sign of friendship and wel¬
come, and priests use them in many important ceremonies.
V / The Vai (vy) people of Liberia carry almost everything on their
heads. Men, women, and children hold their backs straight and their
heads high to balance their loads. Some things that they carry are light,
like cloth or small bowls. Other loads are so heavy and wide that a
man needs help to get them on his head! Even women with babies on
their backs balance heavy trays of food and huge basins of water on
their heads. They move gracefully under these loads and almost never
drop anything.
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VV/ Wagenia (wuh-gehmee-uh) fishermen move carefully on catwalks above the dangerous rapids of the Congo River. Over a thousand
different kinds of fish fill the river, some of them weighing three hundred
pounds. The fishermen check to see if there are any fish in their giant
handwoven bamboo traps. Some of the traps are ten feet wide at the
mouth and fifteen feet long. It is the job of young Wagenia boys to
clean and repair them.
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A/ The Xhosa (koe'suh) people in South Africa wear blankets to
keep warm. The blankets are an orangy copper color, but they were
white at first. The Xhosa rub a red earth called ochre into the white
blankets to get the coppery color. Xhosa men and women are a striking
sight wrapped in their copper blankets smoking their long pipes.
1/Yoruba (yawr-uh-buh) artists carve beautiful statues to honor
mothers and children. One statue, called an Ibeji, celebrates the birth
of twins. If one dies, the Ibeji takes his place and keeps the twins “to¬
gether.” Everything that is done to the living twin is done to the Ibeji.
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L*i Leaping, bending, twisting Zulu (zocMoo) dancers salute their
new chief. The earth trembles with the thunder of the drums as the
dancers thrust their cowhide shields forward and wave their clubs.
Their beaded headbands catch the sun. The furry white goatskin
bands on their legs and arms move together, as if all the dancers were
one person. The Zulus have beautiful and complicated dances for
all occasions.
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N0140b4b049
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