quote: ADMIXTURE Analysis. To further explore the genetic ancestry of the STMs, we used the maximum-likelihood–based clustering algorithm ADMIXTURE (19). When assuming three ancestral populations (K = 3), the clusters in the reference panel mirror the grouping of individuals in the space defined by PC1 and PC2: a cluster predominating in Bantu-speaking populations, a cluster for non-Bantu West African populations, and a third restricted mostly to Kaba, Mada, and Bulala (Fig. 1D). The distribution of these components in our samples indicates that STM1 has a higher proportion of Bantu-specific ancestry, whereas STM2 and STM3 carry higher proportions of the component prevalent among the non-Bantu–speaking Yoruba, Brong, and Igbo. Notably, STM2 also shows a slightly higher proportion of the component prevalent among the Kaba, Mada, and Bulala, perhaps suggesting closer affinity with Chadic or Sudanic speakers (Fig. 1D).
— Hannes Schroeder, Carlos D. Bustamante et al mentioned the Mada in (Fig. 1D).
Posts: 22235 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010
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Also, as we can see from maps posted by Ish Gebor many of the people claimed to be Sahelians by some posters weren't. They were from the savanna below the Sahel.
Ish often loses track of what his own data is saying
Posts: 42935 | From: , | Registered: Jan 2010
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quote:Originally posted by the lioness,: The Americans most in debt to African musical instruments are the white hillbilly banjo players if the Appalachias
"This is a very rare video of the late Scott Didlake, 1948-1994, pioneer gourd banjo builder and the lost origin of the banjo researcher. He his talking at a Gourd banjo workshop during the Tennessee Banjo Institute event 1992 together with Mike Seeger and Clark Buehling."
The banjo's sound is synonymous with country, folk, and bluegrass—music as "white" as it gets. For many, it's the quintessential American instrument. Its origin, though, lies in Africa, in various instruments featuring skin drum heads and gourd bodies. Slaves fashioned them into the modern version in the colonial Caribbean, from where it traveled, via 19th-century minstrel shows, into the very heart of American popular culture. Duke University historian Laurent Dubois, one of the world's foremost experts on the Caribbean, traces the banjo's extraordinary trajectory and the part it has played in the very concept of America.
This program is presented in partnership with the John Hope Franklin Humanities Institute at Duke University.
quote: The African influence in the blues is undeniable. The poetic structure of many of the verses is similar to the Western African tradition of AAB poetry. The story like verses carries on the oral tradition of African cultures. As DjeDje points out in her article, many of the cultures of Africa made, and performed on instruments similar to what would be found in the Americas. Instruments like the balafon (xylophone), lute, drums, aerophones and fiddle like instruments would make the assimilation of this new music more transitional. Other performance practices are undeniably African as well. The earliest ‘blues’ music can be heard in the call and response type music known as field hollers. Slaves would communicate and ease the doldrums of their labor through improvised call and response songs. As these songs were sung during work they were often unaccompanied and completely original in their content. “On Southern plantations, the roots of gospel and blues were introduced in work songs and "field hollers" based on the musical forms and rhythms of Africa. Through singing, call and response, and hollering, slaves coordinated their labor, communicated with one another across adjacent fields, bolstered weary spirits, and commented on the oppressiveness of their masters.”[1] Scoops and bent notes are reminiscent of the quarter tone scale common in African music. The refusal to center fully on a pitch is common in blues music, as the performer instead begins above or below the note. This refusal or uncertainty about tonal center can be seen as a refusal of African musicians to fully conform to the European tradition they were forced into in the new America. The lowered pitches of the blues scale are also closely related to the African quarter tone scale. The flatted 3rd and 7th are uncommon in the European tradition and add an element that is completely unique to the music. Other performance practices, like playing the guitar with a knife blade or playing the banjo with a bottleneck would likely produce sounds similar to those produced from African instruments.
However, the blues are not solely defined by African customs and traditions. The melding of cultures together makes it impossible to ignore some common musical practices of the European tradition. The blues is centered around a strong harmonic progression, that comes directly from traditional European counterpoint. The use of the I (tonic), IV (subdominant) and V (dominant) is directly related to the fact that African musicians would have been exposed to these new sounds. The masters often expected the musicians to perform at ceremonies and gatherings for the white cultures, and playing in the European tradition wasn’t just expected it was demanded. The ability to learn this new style of music, only demonstrates how capable these new musicians really were. Also, the reliance on form is not just a European tradition, but one that is certainly stressed in the European study of music. The strict and simple time meter is a musical element that was taken from this new style of music as well.
The Mississippi tradition of the blues is characterized by embellished and bent notes. “Black men and women sang about themselves, played guitar with a knife blade, or blurred, embellished or bent notes when singing.”[2] The blues are believed to have begun in Mississippi, perhaps in a levee camp or logging camp or more likely on a plantation between 1870 and 1890. The tradition that would become the blues would go on to influence several other sub-genres of the blues as well as jazz and rock n roll. Another element of the blues that solidified during the early years in the Mississippi Delta is the 12 bar form that would define this genre of music. From something as atrocious as slavery, a musical genre as beautiful and diverse as blues was born.
The dual influences of cultures and traditions can easily be heard in many songs. For example the piece by Bessie Smith, “Black Mountain Blues,” the vocal smears and the poetic structure of the verse is reminiscent of African elements that were discussed earlier. The repeated vocal line AA followed by the third line B, is holding to the poetic tradition of Western Africa. The ensemble and harmonies are traditions borrowed not only from African tradition, but European tradition as well. The verses of this piece are a story being told, carrying on the tradition of the musician to pass on history orally. Another great example of African musical elements being transformed into a style of music is Robert Johnson’s “Walkin’ Blues.” The “holler” that Johnson uses throughout, the bent notes, scoops and style of playing the guitar are all examples of past traditions being used to form a new genre of music.
Also, as we can see from maps posted by Ish Gebor many of the people claimed to be Sahelians by some posters weren't. They were from the savanna below the Sahel.
Ish often loses track of what his own data is saying
YOU ARE A DUMB BOX OF ROCKS, WHITE SUPREMACIST. COMPLETELY IRRELEVANT.
quote:Originally posted by africurious: Also, as we can see from maps posted by Ish Gebor many of the people claimed to be Sahelians by some posters weren't. They were from the savanna below the Sahel. There doesn't seem to be agreement on terms in this thread on what we refer to when we say "Sahelian" so there prob is some unnecessary confusion and argumentation. Example of one of the maps i'm referring to.
Perhaps you are not familiar with movements / travel and ethnography.
HAUSE DO NOT LIVE AT THE SAVANA NOR DO BULALA !!!!!!
NORTH OF NIGERIA IS SAHEL, NORTH OF SENEAL IS SAHEL!!!!
You need to expand you "curiosity on Africa", because you're lacking severely.
Posts: 22235 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010
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quote:Originally posted by Andromeda2025: I am busy casting out demons
Are you on a religious mission?
What are you one, a white supremacist mission?
quote:Songhai empire, also spelled Songhay, great trading state of West Africa (fl. 15th–16th century), centred on the middle reaches of the Niger River in what is now central Mali and eventually extending west to the Atlantic coast and east into Niger and Nigeria.
quote:Originally posted by africurious: Below are slave trade shipping data for the US, Brazil, and composite caribbean/spanish colonies
US
Brazil
Composite Caribbean/Spanish mainland (not the entire caribbean)
From the data above, these are the %s of upper W Af going to each region (i.e. excluding central/SE/"other" Af): US – 67.6% Braz – 31.8% Composite Caribbean/Spanish mainland – 61.9%
So as can be seen from the data, having majority origin in upper W Af wasn't just an american feature but happened in some places in the caribbean and Spanish mainland also. Brazil not surprisingly is dominantly Kongola. The US only received 6% more upper W Afs than the caribbean/spanish mainland composite. Look at Jamaica's stats--it's 78.6% upper W Af, 11% higher than the US. Senegambians is where the US stands out at 19.7%. No other region comes close to that. So from the data, it's not a upper W Af vs W central Af thing between the US and other americas. It's a Senegambian vs non-Senegambian thing. Any alleged Sahelians outside senegambia would've come thru the same ports and from same source populations that serviced the Americas outside the US. So for example if it's claimed that many Hausa came to the US (via bight of benin, gold coast) then these Hausa would've been in huge #s in other areas of the americas that were predominantly upper W Af too.
Also, as we can see from maps posted by Ish Gebor many of the people claimed to be Sahelians by some posters weren't. They were from the savanna below the Sahel. There doesn't seem to be agreement on terms in this thread on what we refer to when we say "Sahelian" so there prob is some unnecessary confusion and argumentation. Example of one of the maps i'm referring to.
Can you comprehend the meaning of the word "embark"?
quote:Originally posted by the lioness,: The Americans most in debt to African musical instruments are the white hillbilly banjo players if the Appalachias
God dang
Silly rabbit tricks are for kids! This is why you should quit gate keeping and go study your own history, if you are indeed European? The real question is how African is European culture. If you had watched the video on the Talensi Fiddle is a precursor to violin, https://i.ytimg.com/vi/VzqDq2R7KT0/maxresdefault.jpg
IMG resized
The African Harp is inner African before it is Egyptian.
quote:Originally posted by BlessedbyHorus: @Snakepit1
WOW!
Where the heck did the Horner come from??
The British controlled the West African Slave Trade. As a result, The American slave traders took slaves from Mozambique and along the East African coast all the way to India.
.
I'm from South-West Africa though, it was the Portuguese who trafficked Africans from Luanda & Benguela though. I don't know how I got "horner" ancestry. Maybe some from easter-africa got "dropped" off in south-west africa.
Posts: 117 | From: Earth | Registered: Feb 2014
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quote:Originally posted by the lioness,: To exaggerate inner African input into the Transatlantic Slave Trade is to exaggerate African complicity because Europeans did not often venture into the interior
Let's continue:
quote:Slave ships were designed to give the crew vantage points to bring their weaponry to play against the Africans. Other ships, and men of shore, rallied to the fight against rebellious Africans, and gory defeat was commonplace. Once defeated, African rebels were subjected to a ritual of grisly punishments and execution, all designed to illustrate to survivors (and to Africans watching on neighboring ships) the inevitable fate of defeated rebels.
[…]
Crews Prepared for Resistance
Faced with the permanent threat of African resistance, the crew had to be permanently alert. A piece of wood, a tool, or any physical object carelessly left within a slave’s reach, could become a weapon. Even African children were distrusted by the crew, as they could pass dangerous objects to the men chained below the deck to facilitate escape and revolt.
posted
Daughters of the Trade. (From the 01.20 minute onwards she discusses the people who where taken from the inland, and taken to the coast, though it is being addressed earlier on as well.
posted
Genome-wide admixture patterns in Afro- Caribbean populations from the Lesser Antilles MARIA A. NIEVES-COLON1,2, ANNE C. STONE1,3 and JADA BENN-TORRES4 1School of Human Evolution and Social Change, Arizona State University, Tempe, AZ, 2laboratoryo de Genomica para la Biodiversidad, Unidad de Genomica Avanzada CINVESTAV, Irapuato, Guanajuato, MX, 3Center for Evolution and Medicine, Arizona State University, Tempe, AZ, 4Department of Anthropology, Vanderbilt University
quote: Afro-Caribbean populations remain underrepre- sented in anthropological genetics research. This sampling gap precludes understanding of how the African diaspora has shaped the genomic and cultural variation of Caribbean islanders. Here we address this gap by examining high-density nuclear SNP genotypes from 55 self-identified Afro-Caribbean communities across five Lesser Antilles: St. Kitts, St. Lucia, St. Vincent, Grenada, and Trinidad. Our findings indicate that ALL islanders have large components of African ancestry and low proportions of Native American ancestry; a significantly different pattern from that observed among admixed Latinos from the Greater Antilles. We further found variation in admixture patterns between island commu- nities. Trinidadian Afro-Caribbeans for instance, carry large components of East and South Asian ancestry which were likely contributed by Indian and Chinese migrants during the colonial indentureship period. In addition, comparisons of autosomal versus X-chromosome ancestry revealed a significant difference in African, European and South Asian ancestry proportions across the two genetic systems. This indicates that sex-biased mating patterns, where mostly European males reproduced with African, Native American and South Asian females, played a large role in shaping the genetic diversity of Afro-Caribbean communities in the Lesser Antilles. Overall, our findings underscore the large impact of post-colonial demographic processes in shaping the genomes of afro-de- scendant islanders. This work also increases the representation of admixed and diverse popula- tions in available genomic datasets and has the potential to inform future functional and clin- ical genetics research with admixed Caribbean peoples.