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Brada-Anansi
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A mummy's skin disorder reveals signs that the woman regularly bleached her skin.
Evidence that the ancient Egyptians plastered on killer cosmetics to whiten their skin has been found in a 3,500-year-old mummy head.

Belonging to an anonymous woman age 20-25, the head shows tiny nodules under the cheeks and at the back of the neck that point to a possible skin disorder called exogenous ochronosis.

"Such dermatosis is caused by the extensive use of skin bleaching cosmetics," ‎Despina Moissidou, an anthropologist at Nation Kapodistrian University of Athens, Greece, told Discovery News.

History suggests that a lightened tone of the skin might have made the difference in Egyptian society.

Read more: http://egyptsearchreloaded.proboards.com/thread/2275/mummy-shows-ancient-egyptians-bleached#ixzz4CSjFAHQz

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the lioness,
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same topic in AE

http://www.egyptsearch.com/forums/ultimatebb.cgi?ubb=get_topic;f=8;t=009461

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Brada-Anansi
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Oh didn't saw that, go ahead and delete this one.
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the lioness,
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It's still ok for some different posters here in Egyptology forum so I'll leave it
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Brada-Anansi
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K
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Ase
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you mean those statues of light skinned women could've been ladies that bleached?
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xyyman
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Don't believe it. speculation by the author. The disorder can occur NATURALLY. Stop being gullible people. Again projecting our modern socio-politic into the past. I understand the AEians looked negatively at white skin. Why would they want to be white?

quote:"Ochronosis is the bluish black discoloration of certain tissues, such as the ear cartilage and the ocular tissue, seen with alkaptonuria, a METABOLIC disorder"

"Alkaptonuria is an inherited condition that causes urine to turn black when exposed to air. The three major features of alkaptonuria are the presence of dark urine, ochronosis, a buildup of dark pigment in connective tissues such as cartilage and skin,"

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the lioness,
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quote:
Originally posted by xyyman:
I understand the AEians looked negatively at white skin.

you made that up
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Ish Geber
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quote:
Originally posted by Oshun:
you mean those statues of light skinned women could've been ladies that bleached?

That makes sense.
Posts: 22234 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010  |  IP: Logged | Report this post to a Moderator
xyyman
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I remain to be corrected. Isn't white = death?

quote:
Originally posted by the lioness,:
quote:
Originally posted by xyyman:
I understand the AEians looked negatively at white skin.

you made that up

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the lioness,
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quote:
Originally posted by xyyman:
I remain to be corrected. Isn't white = death?

quote:
Originally posted by the lioness,:
quote:
Originally posted by xyyman:
I understand the AEians looked negatively at white skin.

you made that up

No, do the knowlege inseatd of the oaky doke

COLORS OF ANCIENT EGYPT

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Color (Ancient Egyptian name 'iwen') was considered an integral part of an item's or person's nature in Ancient Egypt, and the term could interchangeably mean color, appearance, character, being, or nature. Items with similar color were believed to have similar properties.

Colors were often paired: silver and gold were considered complementary colors (i.e. they formed a duality of opposites just like the sun and moon). Red complemented white (think of the double crown Ancient Egypt), and green and black represented different aspects of the process of regeneration. Where a procession of figures is depicted, the skin tones alternate between light and dark ochre.

Purity of colour was important to Ancient Egyptians and the artist would usually complete everything in one color before moving on to the next. Paintings would be finished off with fine brushwork to outline the work and add limited interior detail.

The degree to which Ancient Egyptian artists and craftsmen mixed colors varies according to dynasty. But even at its most creative, color mixing was not widely spread. Unlike today's pigments which give consistent results, several of those available to Ancient Egyptian artists could react chemically with each other, for example lead white when mixed with orpiment (yellow) actually produces black.

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Black (Ancient Egyptian name 'kem') was the color of the life-giving silt left by the Nile inundation, which gave rise to the Ancient Egyptian name for the country: 'kemet' – the black land. Black symbolized fertility, new life, and resurrection as seen through the yearly agricultural cycle. It was also the color of Osiris ('the black one'), the resurrected god of the dead, and was considered the color of the underworld where the sun was said to regenerate every night. Black was often used on statues and coffins to invoke the process of regeneration ascribed to the god Osiris. Black was also used as a standard color for hair and to represent the skin colour of people from the south – Nubians and Kushites.

White (Ancient Egyptian name 'hedj') was the color of purity, sacredness, cleanliness, and simplicity. Tools, sacred objects, and even priest's sandals were white for this reason. Sacred animals were also depicted as white. Clothing, which was often just undyed linen, was usually depicted as white.

Silver (also known by the name 'hedj', but written with the determinative for precious metal) represented the color of the sun at dawn, and the moon, and stars. Silver was a rarer metal than gold in Ancient Egypt and held a greater value.

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Blue (Ancient Egyptian name 'irtyu') was the color of the heavens, the dominion of the gods, as well as the color of water, the yearly inundation, and the primeval flood. Although Ancient Egyptians favored semi-precious stones such as azurite (Ancient Egyptian name 'tefer') and lapis lazuli (Ancient Egyptian name 'khesbedj', imported at great cost across the Sinai Desert) for jewelery and inlay, technology was advanced enough to produce the world's first synthetic pigment, known since medieval times as Egyptian blue. Depending on the degree to which the pigment Egyptian blue was ground, the color could vary from a rich, dark blue (coarse) to a pale, ethereal blue (very fine).

Blue was used for the hair of gods (specifically lapis lazuli, or the darkest of Egyptian blues) and for the face of the god Amun – a practice which was extended to those Pharaohs associated with him.


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Green (Ancient Egyptian name 'wahdj') was the color of fresh growth, vegetation, new life, and resurrection (the latter along with the color black). The hieroglyph for green is a papyrus stem and frond.

Green was the color of the 'Eye of Horus', or 'Wedjat', which had healing and protective powers, and so the color also represented well-being. To do 'green things' was to do behave in a positive, life affirming manner.

When written with the determinative for minerals (three grains of sand) 'wahdj' becomes the word for malachite, a color which represented joy.

As with blue, the Ancient Egyptians could also manufacture a green pigment – verdigris (Ancient Egyptian name 'hes-byah' – which actually means copper or bronze dross (rust). Unfortunately, verdigris reacts with sulphides, such as the yellow pigment orpiment, and turns black. (Mediaeval artists would use a special glaze over the top of verdigris to protect it.)

Turquoise (Ancient Egyptian name 'mefkhat'), a particularly valued green-blue stone from the Sinai, also represented joy, as well as the color of the sun's rays at dawn. Through the deity Hathor, the Lady of Turquoise, who controlled the destiny of new-born babies, it can be considered a color of promise and foretelling.

 -

Yellow (Ancient Egyptian name 'khenet') was the color of women's skin, as well as the skin of people who lived near the Mediterranean - Libyans, Bedouin, Syrians, and Hittites. Yellow was also the color of the sun and, along with gold, could represent perfection. As with blue and green, the Ancient Egyptians produced a synthetic yellow – lead antimonite – its Ancient Egyptian name, however, is unknown.

 -

Red (Ancient Egyptian name 'deshr') was primarily the color of chaos and disorder – the color of the desert (Ancient Egyptian name 'deshret', the red land) which was considered the opposite of the fertile black land ('kemet'). One of the principal red pigments, red ochre, was obtained from the desert. (The hieroglyph for red is the hermit ibis, a bird which, unlike the other ibis of Egypt, lives in dry areas and eats insects and small creatures.)

Red was also the color of destructive fire and fury, and was used to represent something dangerous.

Through its relation to the desert, red became the color of the god Seth, the traditional god of chaos, and was associated with death – the desert was a place where people were exiled or sent to work in mines. The desert was also regarded as the entrance to the underworld where the sun disappeared each night.

As chaos, red was considered the opposite to the color white. In terms of death it was the opposite of green and black.

However, this most potent of all colors in Ancient Egypt, was also a color of life and protection – derived from the color of blood and the life-supporting power of fire. It was therefore commonly used for protective amulets.

_____________________________


http://www.crvp.org/seminar/05-seminar/Andrew%20Ifeanyi%20Isiguzo.htm

SYMBOLISM IN AFRICAN CULTURE



African world view is replete with symbols. African symbols are “sources of insights into African orientations to life" (N.K. Dzobo "African Symbols and Proverbs as Sources of Knowledge" in Person and Community: Ghanaian Philosophical Studies, I. eds. Kwasi Wiredu and Kwame Gyekye, CRVP.Series II. Africa, VOL.1, 85. Dzobo distinguished signs and symbols in relation to the degree of qualitative information that is conveyed through them. "While signs provide simple information, symbols are used to communicate complex knowledge."(ibid.86-87) Given the diversity of the continent and the attendant whimsical changes in the cultures of the people of Africa, it becomes so difficult to have a uniform classification of symbols symbol systems in the country. However, I will take few examples from one two countries to illustrate my point here. In Ghana, there are six major groups of symbols, said Dzobo. These six groups are adinkra symbols, stool symbols, linguistic staff symbols, religious symbols and oral literary symbols. Each of the symbolic group have information to convey concerning the way of life of the people at every situation they are presented or the history of the society it represents; Adinkra, for example, is a Twi word and derived from one of the popular national cloths of Ghana called adinkra, which means "to say goodbye". The cloth is adorned with black colour background and many artistic such as Owu atwedee, "the ladder of death, everybody will climb it one day to go to God". It is a traditional mourning cloth won in many communities in Ghana at funerals and memorial services to commensurate with the bereaved family and equal send forth the dead person to the land of ancestors.(Ibid. 89-94)

Colour has symbolic meaning in African culture and each colour conveys peculiar information when won or displaced at significant places or situations. The black colour is a symbolic colour for funerals in almost all parts of Africa. It is the official mourning cloth at funerals especially the one that involves a person who died at unripe age-not the death of an old member. The white colour is a symbol of purity and joy, which usually won at funerals especially the type that involves a dead old member. The differences in colours of cloth at funeral services convey different messages albeit they are similar situation, but not taken as the same culturally. One, the death of the young member, is always painful because it is believed that the one has not accomplished his task in the land of the living to give him easy passage to the land of the ancestors. It is in fact taken as a double tragedy on the deceased and the bereaved. The former is going to suffer land of the land of the spirits, which may cause the spirit appear to the relations in form of ghost in the land of the living No bother want to see the ghost of his dead one because of the unpleasant sight that comes with it. The dead of the aged member, on the other hand is a well come death, and the living make merriment to commemorate the decease and perform rituals to herald his easy passage to the land of the ancestors. Often times, where the dead lived a good life and loved by many, the members also wish one not only easy passage to the ancestral world, but show readiness to welcome him into this world again-this informs the African belief in reincarnation. (I.Onyewuenyi, African Belief in Reincarnation) The red colour is a spiritual colour and has a very powerful religious significance. It is the colour of the cloth used to adorn the table in the shrine. For example, in Igbo land, my own ethnic group, the Benins and Yorubas in Nigeria, the red colour is worn is worn by chief priest of the local shrine whenever he is at the shrine perfuming his duty or at the King's palace or any public place where he is called up to perform rituals or sacrifices to the gods for one purpose or the other. This colour is significantly marked out for the Eze muo or Dibia, "the spiritual king or the native doctor" respectively.

____

Andrew Ifeanyi Isiguzo

__________________________________________


http://www.livingartsoriginals.com/infocolorsymbolism.htm

Deep blues and reds are the most popular colors for intricate designs in South Africa, with outlines created in black and white. Red is usually reserved for ceremonies and worn by chiefs in Nigeria. Different shades of red denote different tribes. In East Africa, blue beads are thought to enhance fertility.

The complexity of tribes across Africa makes color associations a more local phenomena.
In many countries and areas, however, black implies age and wisdom; gold indicates long life; earth tones have positive associations with the grassy savanna; and yellow is reserved for those of high rank.

________________________________________


http://www.globalization-group.com/edge/resources/color-meanings-by-culture/


RED

DeathNigeria : Wealth, Vitality, Aggression1

Some Areas: Good Luck

Côte d’Ivoire & South Africa: Mourning

_______________________________________


WHITE

Ethiopia: Illness, Purity1 Nigeria: Good Luck, Peace1

South Africa (Zulu): Goodness1

Zambia: Goodness, Cleanliness, Good Luck

___________


BLACK

Ethiopia: Impure, Unpleasant

Nigeria: Ominous


_______________________________________________________________________________

http://kente.midwesttradegroup.com/history.html#anchor983860


History of Ashanti Kente Cloth- --More than a Piece of Fabric

A Part of Culture

Symbolic Meanings of Colors

YELLOW in all its variations is associated with the yoke of the egg, ripe and edible fruits and vegetables and also with the mineral gold. In some spiritual purification rituals mashed yarn is rendered yellow with oil palm and served with eggs. It symbolizes sanctity, preciousness, royalty, wealth, spirituality, vitality and fertility.

PINK is associated with the female essence of life. It is viewed as red rendered mild and gentle, and therefore associated with tenderness, calmness, pleasantness, and sweetness. According to Akan social thought, these attributes are generally considered as essential aspects of the female essence.

RED is associated with blood, sacrificial rites and the shedding of blood. Red-eyed mood means a sense of seriousness, readiness for a serious spiritual or political encounter. Red is therefore used as a symbol of heightened spiritual and political mood, sacrifice and struggle.

BLUE is associated with the blue sky, the abode of the Supreme Creator. it is therefore used in a variety of ways to symbolize spiritual sanctity, good fortune, peacefulness, harmony and love related ideas.

GREEN is associated with vegetation, planting, harvesting and herbal medicine. Tender green leaves are usually used to sprinkle water during purification rituals. It symbolizes growth, vitality, fertility, prosperity, fruitfulness, abundant health and spiritual rejuvenation.

PURPLE is viewed in the same way as maroon. It is considered as earth associated with color used in rituals and healing purposes. It is also associated color used in rituals and healing purposes. It is also associated with feminine aspects of life. Purple cloths are mostly worn by females.

MAROON has a close resemblance to red-brown which is associated with the color of Mother Earth. Red-brown is usually obtained from clay and is therefore associated with healing and the power to repel malevolent spirits.

WHITE derives its symbolism from the white part of the egg and from white clay used in spiritual purification, healing, sanctification rites and festive occasions. In some situations it symbolizes contact with ancestral spirits, deities and other unknown spiritual entities such as ghosts. it is used in combination with black, green or yellow to express notion, spirituality, vitality and balance.

GREY derives its symbolism from ash. Ash is used for healing and spiritual cleansing rituals to re-create spiritual balance when spiritual blemish has occurred. It is also used in rituals for protection against malevolent spirits. Grey is therefore associated with spiritual blemish but also with spiritual cleansing.

SILVER is associated with the moon which represents the female essence of life. Silver ornaments are usually worn by women and are used in the context of spiritual purification, naming ceremonies, marriage ceremonies and other community festivals. it symbolizes serenity, purity and joy.

GOLD derives its significance from the commercial value and social prestige associated with the precious mineral. Gold dust and gold nuggets were used as medium of exchange and for making valuable royal ornaments. It symbolizes royalty, wealth, elegance, high status, supreme quality, glory and spiritual purity.

BLACK derives its significance from the notion that new things get darker as they mature; and physical aging comes with spiritual maturity. The Akans blacken most of their ritual objects to increase their spiritual potency. Black symbolizes an intensified spiritual energy, communion with the ancestral spirits, antiquity, spiritual maturity and spiritual potency.

;Kwaku Ofori-Ansa, 120033.
___________________________________________

http://www.mamiwata.com/ogun.html


"Gu" (Ogun): The God of Iron

The mystery of Ogun becomes finding the place that will open the portal for that truth. You must bring the divine nature of Ogun to the ritual process of making ebo. In Ajala there is an important connection to the idea of color symbolism. In Africa Ogun's color is pure red. Then we have Sango whose colors are red and white. The color for Obatala is white. We can see a pattern emerging here. Red represents virility, vitality, ggression. Red and white represents balance between aggression and compassion. White represents the incarnation of mystical unity.

Awo Fa'lokun Fatunmbi

___________________________________________

http://ezinearticles.com/?Symbols-and-Color-in-African-Clothing&id=2710905

Symbols and Color in African Clothing
By Shayla Williams

In each region of Africa, the style and colors of garments are a reflection of whom you are and where you are from. For instance, in certain parts of Nigeria, red is seen as a threatening color which can only be worn by chiefs. The color is believed to keep evil away. In other regions, red is the color of achievement or success. Adinkra cloth is worn typically at funerals and farewells. Dark colored adinkra cloth in brick red, brown or black symbolizes death. Alternately, bright colored adinkra cloth in white, yellow or blue is worn for festive or happy occasions. Adinkra cloth is still very popular in Ghana today.

Kente cloth made by the Fante of Ghana has many different designs and colors with various meanings. Red is the symbol of bloodshed and is frequently worn for political meetings and rallies. Green represents fertility and you can see it worn often during a young girl's adolescence. White symbolizes purity or victory. Yellow represents maturity or glory and chiefs frequently wear this color. Blue symbolizes love, and black represents aging.

Knowing the symbolic meanings of color and design in African clothing helps one to have a greater sense of the culture and the rich history of the African styles that one can find today. Whatever your ethnic heritage may be, you can find an African style that reflects your identity and your good taste too. There are a lot of choices, but the variety and the quality are there for you, so enjoy.

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the lioness,
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 -
 -


___________________________________________________Skin bleach ???


.

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Ish Geber
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quote:
Originally posted by xyyman:
I remain to be corrected. Isn't white = death?

quote:
Originally posted by the lioness,:
quote:
Originally posted by xyyman:
I understand the AEians looked negatively at white skin.

you made that up

Old thread.

Color Symbolism in African Culture.

http://www.egyptsearch.com/forums/ultimatebb.cgi?ubb=get_topic;f=8;t=007334

No color is negative, the symbolism is what it is, an expression. In dead there is revival and transition to another stage. This is why many ethnic groups in Africa celebrate this transition (passage), while in western tradition folks mourn.


Book of the Dead: Scroll down and learn how to die like an Ancient Egyptian

 -


https://www.theguardian.com/science/2010/oct/24/book-of-the-dead-egypt-exhibition


quote:
Also worth noting: it’s not always black that signifies death, as it does in the West — white, purple, grey, green and yellow also mark the passage of life. Check out this visualization from David McCandless (TED Talk: The beauty of data visualization) to see which color is used where: row 16 shows the color associated with death and row 59 reveals the varied colors associated with mourning.
http://ideas.ted.com/11-fascinating-funeral-traditions-from-around-the-globe/


quote:
He then paints the mask with pigments such as charcoal (to give a black colour), powders made from vegetable matter or trees (for ochre/earth tones) or mineral powders like clay (to give a white colour).


African peoples often symbolize death by the colour white rather than black; at the same time, many African cultures see white as the colour that links them to their ancestors, and it can therefore have a positive meaning.

http://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art/african-art-collection-masks.htm
Posts: 22234 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010  |  IP: Logged | Report this post to a Moderator
xyyman
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TA! you saved my azz. [Big Grin]
I knew I read it someplace. So white symbolizes death but not necessarily evil or bad.

So by bleaching their skin they wanted to look like a corpse? [Roll Eyes]

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Ish Geber
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quote:
Originally posted by xyyman:
I remain to be corrected. Isn't white = death?

quote:
Originally posted by the lioness,:
quote:
Originally posted by xyyman:
I understand the AEians looked negatively at white skin.

you made that up

N'T'R means NaTuRe. Like in spiritual connection with the death.

English is a bastard language, however it's mainly rooted in the Germanic linguistic phylum. In other words it's a branch of Germanic, which was influenced by Latin due to many invasions by Romans into the Northern parts of Europe. And the word Necro eventual made its way over to Negra in Latin.


Latin is rooted in Greek. In Greek the spelling of the letter "G" is "C". Greeks confirmed seeing ancient Egyptians doing rituals to connect with those who passed away.

Hence:

nerco-
before vowels, necr-, word-forming element meaning "death, corpse, dead tissue," from comb. form of Greek nekros "dead body, corpse, dead person," from PIE *nek- "death, natural death" (cf. Sanskrit nasyati "disappears, perishes," Avestan nasyeiti "disappears," nasu- "corpse," Old Persian vi-nathayatiy "he injures;" Latin nex, genitive necis "violent death, murder" (as opposed to mors), nocere "to harm, hurt," noxius "harmful;" Greek nekus "dead" (adj.), nekros "dead body, corpse;" Old Irish ec, Breton ankou, Welsh angeu "death").

http://www.etymonline.com/index.php?term=necro-&allowed_in_frame=0


alatalized version is a voiced palatal fricative.)

10 Kappa

[k], as in “pack”. Notice that in English [k] is aspirated if it is at the beginning of a word; Greek makes no such distinction. When followed by the vowel [e] it is pronounced nearly as in “kettle”, while when followed by [i] it is pronounced nearly as in “kill”. For the exact pronunciation in the last two cases, please check the page on palatalization. Phonetically, it is a voiceless velar plosive.(Its palatalized version is a voiceless palatal plosive.)

22 Chi

“Spanish:“Jorge”
[ch], a sound that does not exist in English (but exists in Scottish, as in “loch”; German:“Bach”; Spanish:“Jorge”). When followed by vowels [e] or [i] it is pronounced nearly as in German “ich”. For the exact pronunciation in this case, please check the page on palatalization. Phonetically, it is a voiceless velar fricative.(Its palatalized version is a voiceless palatal fricative.)

http://www.foundalis.com/lan/grkalpha.htm

*Gamma

 -


"Gamma" is the same word as "camel", in Semitic "gimel". The letter actually does look like a camel's head. This letter passed into the Latin alphabet in this position in a curved form as our "C". The Etruscans did not distinguish between the "g" and "k" sounds, so Greek gamma came to have the "k" sound in Latin. The Romans needed another letter for the "g" sound, so they added a bar to the "C" to get "G".

http://www.pathguy.com/alphabet.htm

And you favorite online course website,

List of necropoleis / cemeteries.

http://en.wikipedia.org/wiki/List_of_necropoleis

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Ish Geber
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quote:
Originally posted by xyyman:
TA! you saved my azz. [Big Grin]
I knew I read it someplace. So white symbolizes death but not necessarily evil or bad.

So by bleaching their skin they wanted to look like a corpse? [Roll Eyes]

In cases there are "Voodoo" rituals. Where white powder is put on the faces of those in trance, to make contact with the spiritual world. (Those who passed away/ died.) Typical colonial mentality everything in Africa is primitive and negative.


"Voodoo means negative force/ spirit ." It's a western designation of this word, for what is unknown to them. So they call everything "Vudu" as soon as they see a ritual, whether positive or negative.


quote:
voodoo (n.) Look up voodoo at Dictionary.com
religious witchcraft of Haiti and Southern U.S., ultimately of African origin, 1850, from Louisiana French voudou, from a West African language (such as Ewe and Fon vodu "spirit, demon, deity," also Vandoo, supposedly the name of an African deity, from a language of Dahomey). Compare vodun "fetish connected with snake worship in Dahomey," said to be from vo "to be afraid," or vo "harmful." The verb is attested from 1880.

http://www.etymonline.com/index.php?term=voodoo

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http://www.pbase.com/neuenhofer/image/113530644


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Here you can read how they attached the word to "just everything and everybody",

http://www.ancient-origins.net/history-ancient-traditions/origins-voodoo-misunderstood-religion-002933

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the lioness,
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quote:
Originally posted by xyyman:
TA! you saved my azz. [Big Grin]
I knew I read it someplace. So white symbolizes death but not necessarily evil or bad.

So by bleaching their skin they wanted to look like a corpse? [Roll Eyes]

You are not saved from anything. You are ignorant and haven't tred tha material. Color symbolism varies greatly in meaning across Africa. Try looking up color symbolism in Egypt in particular from any reputable source, you are a fool and a racist looking for an excuse.The holy city of Memphis was originally known as "Ineb hedj" which is generally translated as " White Walls", and white was the heraldic colour of Upper Egypt.
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quote:
Originally posted by Ish Gebor:


Book of the Dead: Scroll down and learn how to die like an Ancient Egyptian

 -


https://www.theguardian.com/science/2010/oct/24/book-of-the-dead-egypt-exhibition



Please explain why you posted this. What is it supposed to show? It has nothing to do with the subject
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 -

^Notable afrocentric author Molefe Asante. So called "white" people are not literally white and the white symbolism here predates Europeans and has nothing to do with them.

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xyyman
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Will stop call me racist

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quote:
Originally posted by the lioness,:
quote:
Originally posted by Ish Gebor:


Book of the Dead: Scroll down and learn how to die like an Ancient Egyptian

 -


https://www.theguardian.com/science/2010/oct/24/book-of-the-dead-egypt-exhibition



Please explain why you posted this. What is it supposed to show? It has nothing to do with the subject
Don't worry about it, I posted to xyyMan. To explain symbolism to HIM. You had your turn. And you have received a few beatdowns already within recent days.


ERROR 404 - PAGE NOT FOUND

http://www.crvp.org/seminar/05-seminar/Andrew%20Ifeanyi%20Isiguzo.htm

The page cannot be found

http://kente.midwesttradegroup.com/history.html#anchor983860


[Roll Eyes]

 -


Next....

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quote:
Originally posted by xyyman:
Will stop call me racist

LOL The racist is calling other people racist. That's laughable.
Why you even worry? That troll posted a title called" encyclopedia of African religion".

Enjoy,

"Encyclopedia Of African Religion"


quote:
Is Egypt Part of Africa?

There has been a tendency for Westerners to speak
of Egyptian religion and African religion as if these
were two separate entities. What this creates is a
false dichotomy on the African continent, where
Egypt is divorced from the rest of Africa or, to put
it another way, Kemet is divorced from Nubia, as
if there is neither contiguity nor continuity.

What is clear from many of the authors who
wrote entries for this Encyclopedia is that ancient
Egyptian religion was African religion; one cannot
isolate Egypt from Africa any more than one can
isolate a Christian Rome from a Christian Britain.
Two different nations that practice the same reli-
gion with different accents and inclinations can be
found on every continent. Egypt, or Kemet as it
was called in the ancient times, is an African
nation in the sense that the continental memory
and cultural products are similar to those found
throughout the continent.

quote:

White


Colors, in general, can have a profound effect on
human emotion, state of mind, and spirit because
they are visual energy radiating from spectrums of


light. Volumes of complex scientific research have
been carried out for years on the subject of colors
to support the fact that humans feel and react to
various spectrums of light wavelengths that regis-
ter on the human eye and brain's light photore-
ceptors. For example, reflect on the emotional
effect of viewing a large arching rainbow across a
brilliant blue sky after a rainstorm, gazing at a
botanical garden overflowing with exotic multi-
colored flowers, and looking out at a gathering of
people of African descent dressed in bright-
colored dashikis, robes, and dresses. The science
of chromatics often attempts to find answers to
the questions surrounding humans' color percep-
tion and reactions. Scientifically, the color white is
the fusion of all the colors of the visible light spec-
trum. Technically, white is not a true color,
but achromatic like black because it has no hue.
However, in the art and spirituality of color inter-
pretations, uses, and myths — white has positively
affected and elevated people of African descent
and humans, in general, spiritualitly, emotionally,
and socially for thousands of years. But white can
be a controversial color in some Western cultures,
as can the colors red and black. For example, red
is associated with uncontrollable anger, aggressive
sexual energy, senseless violence, and "Native
American" people. Black is aligned with bad, low-
est level, ugly, and African descendants. White is
linked with good, purity, beauty, and European
descendants. Colors, like other aspects and ele-
ments of a society, can be politically and culturally
defined or infused with a belief system.

One extremely controversial aspect of the color
white is that it has been infused with a Eurocentric
cultural and political belief that the group of
people with pale to olive white skin have superior
intelligence, culture, and religion. The politicizing
of the white human body as superior to black,
brown, red, or yellow skin tones has caused
untold suffering of millions of people of color.
Two helocausts (worst of holocausts) occurred on
the soil of the Western Hemisphere; they were ini-
tiated and sustained by the malicious political,
cultural, and economic thrust of white supremacy:
"Native American" genocide and West African
enslavement. White skin does not make a person
superior, nor is the color white superior. In the
final analysis, it is a person's or people's consistent
deeds toward people and nature that reflect their


714 White


state of humanity — not their physical color. (Some
scholars of African descent have contested that
people should not be judged or named by their
skin color, but by their geographical, cultural, or
religion's location and conduct.) All colors have
their places in nature and advantages at a particu-
lar times. However, in a significant number of
African cultures and societies, the color white has
a unique political place, and cultural center — and
spiritual space. For example, Kemet (ancient
Egypt) utilized the symbolism in the white crown
and pyramid; people of Central Africa used white
chalk in societal and cultural rituals; and people
wear white garments and cowrie shell jewelry
in traditional West African diaspora religions
and wear white clothing in Black Holiness-
Pentecostal churches in America during sacred
church rituals.

The white crown (Hedjet) adorned the heads of
the pharaohs of Upper Kemet (ancient Egypt) dur-
ing high ceremonial moments in the kingdom. The
choice of the white crown and its style dates back
in time to the Northern Nubia civilization and
possibly including the predynastic period, approx-
imately 5500 to 3100 BC. During this early period
in the history of Kemet, there were advancements
in constructing permanent agriculture and farm
settlements, which allowed the people's diet to
consist of nutrients from domesticated animals and
grains. Also, stone and metal tools were in use, and
the construction of baskets, pottery, and weaving
and the tanning of animal skins developed. As
well, burial customs shifted to locating the Dead a
distance from the area of the living, and the spiri-
tual belief in life after death emerged. An inno-
cence and new human era ushered in the continuing
forward progress of humanity. The Pharaoh's
white crown was one visual symbol to reflect a
new state and era for humans — a unique and spir-
itual nation had materialized. The white crown on
the head of the Pharaoh encapsulated and symbol-
ized its innocence, its unique spiritual state, and
the rising power of the nation that, in time, would
have its history inscribed in thousands of books in
libraries worldwide, placed in permanent and trav-
eling world-class museum exhibits, and recorded
in the memory of humanity globally.

The zenith of Kemet's spiritual ascension and
human enlightenment was reflected greatly in
the white monolithic structure that rose from the


Earth and could be seen for miles across the
desert as white-hot sun beamed on it like no other
man-made edifice on the Earth for thousands of
years. In approximately 2550 BC, the masons
and artisans of Kemet encased the most enduring
human-made spiritual structure with brilliantly
polished white granite rock. The newly con-
structed white Pyramid Giza reflected the ascension
of a nation's engineering and spiritual develop-
ment. The massive white structure for Pharaoh
Khufu consisted of approximately 20 years of
spiritual inspiration, extraordinary engineering
and construction, exceptional artistic creativity,
and a dedicated labor force. The material for the
great white Pyramid Giza for the departed
pharaoh consisted of approximately 2,400,000
large cut granite rocks that ascended 480 feet
and weighed 6,000,000 tons. Still today, human-
ity is in awe of the engineering, size, and spiritu-
ality of the Great Pyramid Giza even stripped of
its brilliant white polished stone casing. When
the Great Pyramid Giza was adorned spiritual
white, Kemet was at a spiritual apex. We can
only dream of the humble, uplifting, and spiri-
tual feeling in our hearts and souls if we could
have stood 700 feet in front of the Great White
Pyramid Giza as it was lit up by the white-hot
sun — 7 days after its completion.

A few thousand years from the pinnacle period
in Kemet history (2550 BC) to the traditional
people of central Africa (Lower Congo/Democratic
Republic of the Congo), the color white was used
as a symbolic color language, but in a different
methodology and for different reasons. For exam-
ple, the use of white chalk, clay or powder, and white
cloth and clothing in their rituals and ceremonies
act as social and spiritual catalysts to represent
justice and secret societies initiation, reflect knowl-
edge, invoke healing, and represent symbols of
health, marital harmony, hunting, good luck, war,
and death. White pigment powder was daubed or
poured on people's black bodies to denote inno-
cence in profane judicial disputes, altercations, and
divorce processes. The whitening of bodies after the
settling of internal disagreements, acts of aggres-
sion, and marriage turmoil implied not guilty after
disputes, being correct after altercations, and cause
no injury after terminated marriages. Also, the chief
judge during judicial processes is marked with
white chalk to reflect his ability to reason and issue


White 715


justice. White clay is smeared on the novices after
they have completed some pretasks to prepare for
their initiation into the secret society. After the rit-
ual death and resurrection in the secret society, a
meal of chalk is given to the new members for con-
sumption; once all of the chalk is digested, their
shaven heads are covered with chalk. New names
are bestowed during a special ceremony that is pub-
lic after the long training. After passing an exami-
nation, they are painted white again and finally
seen as members in the nkisi inner circle (secret
society). As the new members acquire secret, sacred,
and spiritual insights, more daubs of white chalk
are placed on their bodies as symbolic expressions
that they have attained white knowledge.

Additionally, the traditional people of central
Africa associate white chalk with health and mari-
tal harmony. White chalk adorns the body while
healing songs are chanted to activate their belief
system. For large numbers of traditional people of
Central Africa, their time-tested experiences have
taught them that there is a greater chance that
healing the body, mind, and spirit can occur when
layered with good medicine, needed rest, and a
dynamic spiritual belief in recovery. The use of
white chalk in marital harmony is just as para-
mount because health and healing have a direct
connection to the survival of society. Often the out-
comes of marital harmony are babies, and their
superb health, survival, and longevity are impera-
tive to the nation's continual development and exis-
tence. White clay is ground up to chalk and mixed
with other herbs and administered to women to
facilitate childbirth and to treat infant illnesses. As
well, they believe that a less quarrelsome marriage
is a foundation stone in attaining marital harmony
that prevents negative consequences to the mother,
children, and relationship. White-colored chalk is
included in a medicinal herbs mixture, which is lit
afire and placed on the ground to the sounds of
drumming, singing, and bells ringing. During the
ritual, the overly unlucky hunters place some of
the white chalk mixture in their mouths and spit it
on the Earth to change their hunting outcomes.
The hunters' ritual with white chalk acts as a cat-
alyst to enhance their belief that animals will be
found and captured for food.

The last two white color ritual symbolisms asso-
ciated with the peoples of Central Africa (Lower
Congo/Democratic Republic of the Congo) are


war and death. The use of secret white chalk med-
icine placed in a sculpture while singing infuses
the confidence of invisibility and invulnerability
during war. White is believed to be a significant
attribute of the inner body. The soul is white, invis-
ible, and invulnerable. Therefore, the belief in the
protection by white chalk medicine allows a
Central African warrior to have assurance in his
immortality. When death comes, as it always does
(a transition, no end), the people of Central Africa
smear their black bodies in white chalk, symboliz-
ing mourning for the dead. White cloth mourning
bands are worn on their heads to represent that
no physical or spiritual wrong was done to the
deceased person, and all of the appropriate obliga-
tions were done when she or he walked in this
realm of existence. A white shroud is placed on the
corpse, and white chalk-smeared sculptures are
placed on the gravesite of the deceased. The people
of Central Africa believe profoundly that the use of
the white shroud and chalks in the death ritual
reveals that the deceased was a good person and is
spiritually white in the afterlife. The world of the
Dead consists of brilliant white.

The spiritual worldview of the Yorubas in
Nigeria and traditional African religion in the dias-
pora is that the Archorisha, Obatala, always
dresses in white garments to reflect his status in the
pantheon of the Orisha. Obatala is the wise com-
passionate elder and he is spiritually white. His
name is said to imply that he is a King who wears
White Cloth. Obatala's white robe symbolically
represents his spiritual purity, moral energy, and
higher consciousness. In the mythology of Yoruba-
based and Yoruba-inspired spiritual paths and reli-
gions in the Black world, Obatala is appeased and
honored with sincerity and respect. The Creator
in Yoruba cosmogony, Olodumare, bestowed on
Obatala the honor to create the other Orishas and
humanity for devotion and service to each other.
People of African descent walk into West African-
based ceremonies in Haiti (Vodou), Brazil
(Candomble, Umbanda, and Quimbanda), Cuba
(Lucumi), Puerto Rico (Santeria), Jamaica (Obeah),
Trinidad (Spiritual Baptist), the United States
(Vodou, Yoruba, Akan, Candomble, Umbanda,
Santeria, Spiritual Baptist, and Hoodoo), and so
on wearing white in the same manner as Obatala
walks the road in a white robe — peacefully and
spiritually. During ceremonies in traditional West


716 White


African religions in the diaspora, the sacred space
is charged by polyrhythmic drumming, call-and-
response singing, praising of the Orishas (or
Lwas), and spirit transcending with many of the
participants dressed in white outfits and wearing
white cowrie shells. White candles and white
flowers (also with other colors) are positioned on
and around the Altar to enhance the aesthetics.
Spiritually chosen people can experience flashes of
white light (or blackouts) when the Spirits arrive
during the gathering to occupy their heads and
souls. It is in that spiritualized space that the devo-
tees of traditional West African religions in the
diaspora believe that readings of the future can
occur, physical healings can happen, and spiritual-
ized trances can take hold.

African American Holiness-Pentecostal and
Spirited Baptist Christians can mistakenly be
viewed as not being connected with traditional
West African religions. However, in essence, their
spiritual passion (long and high-energy church ser-
vices, call-and-response sermons), worship
methodology (sweat singing, polyrhythmic hand
clapping, and playing of percussion instruments),
daily devotion (a serious attempt to live a funda-
mentally good and righteous life every day), spirit
elevation (swept up by the Holy Ghost Spirit, spirit
dancing, speaking in tongues, and faith healing),
and wearing white garments during sacred reli-
gious events actually mirror similar activities of
Black people on the other side of the Atlantic
Ocean and various locations in the African dias-
pora. Inside the deepest places in their hearts and
souls, they are actually cloaking West African
Vodou, Yoruba, and Akan deep spiritual elements,
although they outwardly believe and live the tenets
of Western American Christianity (of course, they
would fervently disagree; however, objective
research would prove the position). For example,
there are three religious rituals to which many
African American Holiness-Pentecostal and
Spirited Baptist Christians wear white clothing,
and they are sacred bedrocks and cornerstones of
their religious belief: Baptismal, Communion
Sunday, and Washing of Feet. Baptismal is a ritual-
ized reenactment of an event described in the Bible,
when John the Baptist baptized Jesus in the River
Jordan. Every year, millions of African American
Holiness-Pentecostal and Spirited Baptist Christians
are baptized in white clothing to symbolize rebirth


and purity. On Communion Sunday, they perform
rituals of the last supper of Jesus on Mount Zion
by eating white bread or crackers (symbolizing
Jesus' body) and drinking dark grape juice or wine
(symbolizing Jesus' blood) while dressed in white
clothing as they recite the departure words that
they believe wholeheartedly were spoken approxi-
mately 2,000 years ago. Generally, after the
Communion Sunday ritual, members of the church
wash one another's feet with a white towel while
wearing white garments as a symbol of humility
(Jesus washed the feet of his disciples). During
Baptismal, Communion Sunday, and Washing of
Feet rituals, there is a group of primarily women
wearing white dresses who usher participants to
the proper location in church services and rituals.
African traditional religious experiences appear
similar to these behaviors.

From the most early times in Kemetic history
(4000 BC) and up to the current times in the
African diaspora (AD 2008), black people have
chosen the color white to be placed on their spiri-
tual and cultural buildings, and they use white
chalk in their sacred social and political moments.
As well, we wear white clothing and cowrie shells,
and we use white cloth, candles, and flowers dur-
ing spiritual ceremonies and religious rituals.
Black people ascend to a higher state of a psycho-
logical, emotional, and spiritual being when they
worship in white structures, adorn their bodies
with white chalk, and wear white clothing during
West African traditional spiritual ceremonies.
Descendants of West Africans transcend to a spir-
itually white state of mind and soul while dressed
in white clothing (at times combined with blue,
gold, red, purple, and green) during the passionate
participation in highly charged cultural, sacred,
and religious ritual space.

--Molefi Kete Asante Ama Mazama

Temple University Temple University

https://archive.org/stream/EncyclopediaOfAfricanReligion/Encyclopedia%20of%20African%20religion_djvu.txt

Posts: 22234 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010  |  IP: Logged | Report this post to a Moderator
the lioness,
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^ Thanks for posting more from my reference maybe now xyyman can get educated on this topic
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quote:
Originally posted by the lioness,:
^ Thanks for posting more from my reference maybe now xyyman can get educated on this topic

Each one teach one. And at least I didn't post the exact same thing over and over.
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^
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I really can't believe folks here are so gullible..Modern skin bleaching agents like the one used on this mummy was not invented untill the late 19th century and early 20th century.

There is absolutely no evidence of skin bleaching using cosmetic chemicals like the one used in this mummy pre-19th century..The earliest known lightening cream ever used in an attempt to lighten the skin are;
1) Venetian Ceruse (white lead powder)
First used in China then exported to Europe during Elizabethan periods via silk trade.During the European 'reinessance' periods.But this cream could later be washed off.It wasn't permanent.
2)Sublimate of mercury (mercuric chloride/mercury(II) chloride)..which is a permanent skin bleaching agent..Probably discovered in Asia,used by Chinese for thousands of years.. There is evidence of its use also in Greece,Egypt e.t.c. There is no evidence ancient Egyptians used mercury to bleach their skin..This could cause discoloration which can signify vitiligo which was considered a curse by the gods by Egyptians and all Africans.

It is most likely this mummy was bleached as recent as the 20th. century.. Body alteration paints commonly used by Africans including ancient Egyptians were Red ocre,Yellow rock paint,henna,white chalk e.t.c..

I hate the fact that this article tries to imply ancient Egyptians considered White skin colour as a social status..This is historically incorrect.All Egyptian deities were either dark brown or Jet black with the exception of MAAT which was always depicted yellow..Because as well as representing the Egyptian concept of truth, balance,order, harmony, law, morality, and justice,she also represented FIRE as symbolised by the Ostrich feather,which holds similar meanings even today by Africa.The colour of Fire is yellow.Which was considered her totem as well as her temperament.

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xyyman
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Each one teach one. Thanks for the education Ledama

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quote:
Originally posted by LEDAMA:
[QB] I really can't believe folks here are so gullible..Modern skin bleaching agents like the one used on this mummy was not invented untill the late 19th century and early 20th century.

There is absolutely no evidence of skin bleaching using cosmetic chemicals like the one used in this mummy pre-19th century..

Ancient Greeks made up their faces with a cosmetic foundation called fucus, made from powdered chalk and white lead.


 -

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^ Stick to the topic! Stop posting irrelevant trash.
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the lioness,
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quote:
Originally posted by Ish Gebor:
^ Stick to the topic! Stop posting irrelevant trash.

Be quiet, I'm talking to LEDAMA.
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quote:
Originally posted by the lioness,:
quote:
Originally posted by Ish Gebor:
^ Stick to the topic! Stop posting irrelevant trash.

Be quiet, I'm talking to LEDAMA.
Be quiet? LOL

Stop posting ****! LEDAMA or not, you trailer trash.

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