tag:blogger.com,1999:blog-25898328521786812062024-02-20T19:21:07.624+02:00SEEING MAKISHIThis blog is the internet publication of the research and 1987 MA thesis about makishi in Zambia by Gijsbert Witkamp.Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-2589832852178681206.post-40717967128746269042012-02-08T10:40:00.000+02:002012-02-08T10:41:33.052+02:00SM 6: Introduction<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><u>SM Issue 6:</u> <em>Dedication and Introduction, pages v and 1-3</em></span></span><br />
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<br />Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0tag:blogger.com,1999:blog-2589832852178681206.post-68392540950668104182012-02-07T15:19:00.002+02:002012-02-07T17:27:36.604+02:00SM 5: Lists of Tables, Diagrams, Illustrations, Maps, Drawings, Photographs<br />
<span style="font-family: Verdana, sans-serif;"><u>SM 5:</u> <em>pages ii - iv of manuscript</em></span><br />
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</div>Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.comtag:blogger.com,1999:blog-2589832852178681206.post-45490910636920444592012-02-07T10:59:00.000+02:002012-02-07T12:38:42.419+02:00Photo 2: Mwali - Initiation for Girls<div class="separator" style="clear: both; text-align: justify;">
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<u><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Photo
2: Mwali:</span></u><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"> <em>Initiate girl coming out.</em></span><span lang="EN-US" style="font-family: "Verdana","sans-serif"; font-size: 10pt; line-height: 150%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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</span><span lang="EN-US" style="font-family: "Verdana","sans-serif"; line-height: 150%; mso-ansi-language: EN-US;">Boys and girls, in what Vansina calls the Lunda
cultural region (1966:22), go through initiation. In Zambia the Chokwe, Luchazi, Lunda,
Luvale, Mbunda and Ndembu people belong to this cultural complex. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Verdana","sans-serif"; line-height: 150%; mso-ansi-language: EN-US;">Mukanda</span></i><span lang="EN-US" style="font-family: "Verdana","sans-serif"; line-height: 150%; mso-ansi-language: EN-US;"> is the initiation for boys, <i style="mso-bidi-font-style: normal;">Mwali</i> is the initiation for girls. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Initiate dancing at the coming out phase of <em>Mwali</em>. Lusaka, Kaunda Square stage II, 1985. Photo by author.</span><br />
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><span style="font-size: small;">The
initiate during <em>mwali</em> is confined to a hut where she is taught what women, especially
as wives, should know. The coming out ceremony is a festive affair, at least
for the community, in which the initiate shows her dancing skills and is
presented as a nubile woman. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: small;"><span style="font-family: Calibri;">After
the dancing the girl is now presented to the community. Seated at her right is
her attendant/guardian, seated at her left is her “husband,” at least for the
occasion. 1985. Photo by author.</span></span></span></div>
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<span style="font-family: Verdana;"><em>Mukanda</em> and <em>mwali</em> are in many ways opposite ceremonies. The boys are initiated as a group, the girls individually. The boys are initiated in a secretly located camp outside the village in the bush; the girls remain in, or at the fringe of, the village. Generally the boys are considerably younger than the girls. In <em>mwali</em> the girls are prepared for marriage, which in the past would follow directly or soon after the initiation ritual. The boy initiates are much too young to take on adult roles.</span></div>Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0tag:blogger.com,1999:blog-2589832852178681206.post-80519464478093778992012-02-06T09:56:00.000+02:002012-02-07T13:02:13.546+02:00Photo 1: Chileya<span style="font-family: Verdana, sans-serif;"><u>Makishi Photographs 1:</u> <em>Chileya, the entertainer.</em></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3p8Ly50ushLhk5DJaHjuMkxJD_mM_W2DBKjxjnVrZaG_igu1m42kNZ60vnoUvE6GBkjgidsjOp8YYxIbfNwq_VmmXHPwQNAg_ulYbG9l2eQsZSj2zlCu10HiPj0IYyr6CLYjbLN7OfjaH/s1600/Chileya-85.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3p8Ly50ushLhk5DJaHjuMkxJD_mM_W2DBKjxjnVrZaG_igu1m42kNZ60vnoUvE6GBkjgidsjOp8YYxIbfNwq_VmmXHPwQNAg_ulYbG9l2eQsZSj2zlCu10HiPj0IYyr6CLYjbLN7OfjaH/s1600/Chileya-85.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Chileya performing close to Zambezi D.C. in NW Province of Zambia. 1985, photo by author.</span><br />
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<span style="font-family: Verdana, sans-serif;">Chileya belongs to the group of makishi entertainers. He may perform independent of <em>mukanda</em>, the initiation ritual for boys. Many of his acts are about sex or have sexual connotations. Women like to dance with him - hoping to enhance their fertility or sexuality. Note the skyward orientation of the face - evoking the sense of spirituality that entertaining makishi also have.</span></div>
<br />Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0tag:blogger.com,1999:blog-2589832852178681206.post-47980364152352434952012-02-03T15:00:00.000+02:002012-02-03T15:00:34.476+02:00SM 4: Contents<span style="font-family: Verdana, sans-serif;">Issue 4: Content</span><br />
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<u><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Seeing
Makishi. Issue 1:</span></u><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"> <i style="mso-bidi-font-style: normal;">What is </i><b style="mso-bidi-font-weight: normal;">Seeing Makishi</b> <i style="mso-bidi-font-style: normal;">and what lead to its publication on the Internet?</i><o:p></o:p></span></div>
<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Version:
3 February 2012<o:p></o:p></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "Verdana","sans-serif"; font-size: 10pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Chizaluke at a village just down Zambezi, NW
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Way of Preface<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Yesterday
surfing the web I ran into a photograph of Mwana Pwevo. The accompanying text
was supposed to be a quote out of my work on makishi, or perhaps a rephrasing,
of my description of what kind of beings makishi are. The text was muddled up
and prompted me to look into the voluminous manuscript of 1987 titled <i style="mso-bidi-font-style: normal;">Seeing Makishi.</i> <i style="mso-bidi-font-style: normal;">Seeing Makishi</i> is about the way makishi are constructed.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Seeing Makishi</span></i><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"> combined
two major units of the M.A. in cultural anthropology at the Rijksuniversiteit
Leiden (RUL, the State University of Leiden); the M.A. thesis and the field research.
I took my time for these things and put much more work into them than the
obligatory requirements. One reason was that I hoped to reduce the time needed
for the Ph.D., which I intended to do following the M.A., and which was to be
on the same subject - now carried a step further.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">That
was not to be. The universities, at the time, were in turmoil including my
beloved RUL. The government had engaged itself in a massive “restructuring” of
the universities and university education. This affected the availability and
accessibility of Ph. D. positions. On top of it professor Adam Kuper, the main
professor for my study, had left Leiden to go to Brunel. I did not get a grant
for the Ph.D. place despite the cum laude qualifying my M.A. The
“restructuring” was working!<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Instead
I became involved in that strange thing called international development
cooperation. I was engaged from 1988 to 2008 by several international
development organizations to do management and consultancy work in Zambia. My
main work during the period was the establishment and subsequent support for a
combined museum and craft project now called the Choma Museum and Crafts Centre
Trust Ltd. It was established with Netherlands technical support and financial
support. I had little time for academic pursuits.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">In
1988 I deposited copies of the manuscript at the University of Leiden, the
Library of the University of Zambia (special collections), the Institute of
Social and Economic Studies (formerly Institute of African Studies) of the
University of Zambia, and the Library of the Evelyn Hone College at Lusaka. A
number of people actually read the manuscript including professional
anthropologists, Ph D students (!) and museologists. I was advised, for example
by Professor Elisabeth Colson, to publish the manuscript. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">*<span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span>*<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">The
manuscript was typed from 1986 to 1987 using an Apple IIa laptop; stationed in
the “computer room” of the faculty. It was the second (or was it still first?)
generation of laptops - portable computers. Indeed it was a small thing. It
operated with floppy disks, the truly floppy ones. To get the machine going you
first had to load the word processing programme and following that there was a
bit of memory left for your actual text. It worked and was great. It had 125 Kb
memory and no internal drive. The computer room, by the time I finished writing,
had been equipped with a few IBM desk tops having the spectacular memory of about
600 Kb. Technology was moving fast!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Editorial notes<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">The
text is entirely my own as my coaches had given me complete freedom to go about
the study the way I wanted to. I handed in a “finished” product without prior
discussion or modification due to directives by coaches. For the sake of “publication”
I shall do <i style="mso-bidi-font-style: normal;">some</i> editing of the
cosmetic kind. I shall not mark these. In places where content has been
adjusted, updated, commented upon or added I shall indicate such clearly.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Why publish on the net?<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Makishi
are an interesting subject, both from the ethnographic and artistic point of
view. The study, I believe, still offers a unique approach to the study of
makishi. First, by relating sets of makishi to sets of people. Second, by
taking the idea that makishi are “visual descriptions” further than the common
acknowledgement of the validity of that statement in the anthropology of art by
extensive iconographic documentation and classification. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Weaknesses
in the study pertain in the first place to lack of field data and
insufficiently verified ethnographic information. For example, my interpretation
of the role of Chizaluke, as a “shared” makishi for all the boys going through <i style="mso-bidi-font-style: normal;">mukanda</i> (initiation) is not confirmed by
any other publication.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">I
do believe that the text and imagery of the manuscript is of interest to
artists and students of the anthropology of art. I like the idea of publishing
on the net as I can do it right from my current location and it makes in principle
the information accessible to any interested party.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Finally,
IT publication also offers a unique (fast and affordable) way of discussion. I<i style="mso-bidi-font-style: normal;"> </i>do appreciate your reactions and
comments, be these private or meant to be public.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Choma,
February 3<sup><span style="font-size: x-small;">rd</span></sup>, 2012<o:p></o:p></span></div>Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0tag:blogger.com,1999:blog-2589832852178681206.post-39961559858589611802012-02-02T16:39:00.000+02:002012-02-02T16:39:07.737+02:00SM 3: Front Page<span style="font-family: Verdana, sans-serif;">Seeing Makishi issue 3: Reproduction of front page.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkwj9hI6Be9zRkHj-Ood2wV_LesnwwSt-uKZrHNoCJjfqQAA9DFO0OdU8X6Bl9Y9Nwem7s7SOtKVbCd_tZqrzlz-F-Xxn6Sq2GEsXsugK-MPKpD_56VulBFmqHL-gH356nmRLp9ozPsQy/s1600/SMfrontpage-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkwj9hI6Be9zRkHj-Ood2wV_LesnwwSt-uKZrHNoCJjfqQAA9DFO0OdU8X6Bl9Y9Nwem7s7SOtKVbCd_tZqrzlz-F-Xxn6Sq2GEsXsugK-MPKpD_56VulBFmqHL-gH356nmRLp9ozPsQy/s640/SMfrontpage-2.jpg" width="358" /></a></div>
<br />Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0tag:blogger.com,1999:blog-2589832852178681206.post-28537958106419368812012-02-02T12:29:00.000+02:002012-02-02T14:30:51.517+02:00SM 2: Front Cover Manuscript<span style="font-family: Verdana, sans-serif;"><u>Seeing Makishi issue 2:</u> <em>Front cover of manuscript</em></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPNvH-z7AT9BHCKCccYCMv1XR1nqxHgeyi2XU5hYcmyDnX8A9xzCmMJjyRJnZY-Hk19DOp88ycivNYcqUdAsBqURLxVqNBJS1hGq0YkxnLbcdKaokrI9dtC6q-UkNCjDwwIF9b4n4M3lV/s1600/SMfrontcover-72-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPNvH-z7AT9BHCKCccYCMv1XR1nqxHgeyi2XU5hYcmyDnX8A9xzCmMJjyRJnZY-Hk19DOp88ycivNYcqUdAsBqURLxVqNBJS1hGq0YkxnLbcdKaokrI9dtC6q-UkNCjDwwIF9b4n4M3lV/s1600/SMfrontcover-72-2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">The image is a lino cut of 15 x 21 cm designed by the author in 1987. The title of the linocut, as of the manuscript, is "Seeing Makishi." The likishi is of an imaginary type having some resemblance to Chizaluka.</span></td></tr>
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<br />Z-factorhttp://www.blogger.com/profile/14770559522377659631noreply@blogger.com0