African Languages Wall by Olayami Dabls on Flickr
The graphics, done with paint, mirror pieces and found objects, illustrate the many languages of Africa. It is part of outdoor displays at the site of Dabl’s African Bead Museum. There are 24 examples of written scripts used in a selection of African languages.The rarest of the ancient languages displayed on “the African Language Wall” is over 5,000 years old.
Olayami Dabls refers to himself as a storyteller who uses mirrors, wood, paint, iron and glue, to speak in his unique style. His on-going research is discovering fascinating information about African people pre-occupation with communicating messages using all types of materials (i.e. drums, textile, sculptures pottery, metal items traditionally. ) Africa at one time had over 2,000 languages and hundreds of dialects and were identified by their languages, before Europeans divided the land into the present countries, in 1885.
Site > the African Language Wall
if you wish to understand the universe, think of energy, frequency & vibration.
…The writings of Egyptian, Babylonian, Mayan and Chinese cultures were an extension of the senses in that they gave pictorial expression to reality, and they demanded many signs to cover the wide range of data in their societies — unlike phonetic writing, which uses semantically meaningless letters to correspond to semantically meaningless sounds and is able, with only a handful of letters, to encompass all meanings and all languages. This achievement demanded the separation of both sights and sounds from their semantic and dramatic meanings in order to render visible the actual sound of speech, thus placing a barrier between men and objects and creating a dualism between sight and sound. It divorced the visual function from the interplay with the other senses and thus led to the rejection from consciousness of vital areas of our sensory experience and to the resultant atrophy of the unconscious. The balance of the sensorium — or Gestalt interplay of all the senses — and the psychic and social harmony it engendered was disrupted, and the visual function was overdeveloped. This was true of no other writing system.
Look at that ashtray!
W. Eugene Smith Thelonius Monk and his Town Hall Band in rehearsal (1959)
T.MONK’S ADVICE (1960)
JUST BECAUSE YOU’RE NOT A DRUMMER, DOESN’T MEAN YOU DON’T HAVE TO KEEP TIME.
PAT YOUR FOOT & SING THE MELODY IN YOUR HEAD, WHEN YOU PLAY.
STOP PLAYING ALL THOSE WEIRD NOTES (THAT BULLSHIT), PLAY THE MELODY!
MAKE THE DRUMMER SOUND GOOD.
DISCRIMINATION IS IMPORTANT.
YOU’VE GOT TO DIG IT TO DIG IT, YOU DIG?
ALWAYS KNOW… (MONK)
IT MUST BE ALWAYS NIGHT, OTHERWISE THEY WOULDN’T NEED THE LIGHTS.
LET’S LIFT THE BAND STAND!!
I WANT TO AVOID THE HECKLERS.
DON’T PLAY THE PIANO PART, I’M PLAYING THAT. DON’T LISTEN TO ME. I’M SUPPOSED TO BE ACCOMPANYING YOU!
THE INSIDE OF THE TUNE (THE BRIDGE) IS THE PART THAT MAKES THE OUTSIDE SOUND GOOD.
DON’T PLAY EVERYTHING (OR EVERY TIME); LET SOME THINGS GO BY. SOME MUSIC JUST IMAGINED. WHAT YOU DON’T PLAY CAN BE MORE IMPORTANT THAT WHAT YOU DO.
ALWAYS LEAVE THEM WANTING MORE.
A NOTE CAN BE SMALL AS A PIN OR AS BIG AS THE WORLD, IT DEPENDS ON YOUR IMAGINATION.
STAY IN SHAPE! SOMETIMES A MUSICIAN WAITS FOR A GIG, & WHEN IT COMES, HE’S OUT OF SHAPE & CAN’T MAKE IT.
WHEN YOU’RE SWINGING, SWING SOME MORE!
(WHAT SHOULD WE WEAR TONIGHT? SHARP AS POSSIBLE!)
DON’T SOUND ANYBODY FOR A GIG, JUST BE ON THE SCENE. THESE PIECES WERE WRITTEN SO AS TO HAVE SOMETHING TO PLAY, & TO GET CATS INTERESTED ENOUGH TO COME TO REHEARSAL.
YOU’VE GOT IT! IF YOU DON’T WANT TO PLAY, TELL A JOKE OR DANCE, BUT IN ANY CASE, YOU GOT IT! (TO A DRUMMER WHO DIDN’T WANT TO SOLO).
WHATEVER YOU THINK CAN’T BE DONE, SOMEBODY WILL COME ALONG & DO IT. A GENIUS IS THE ONE MOST LIKE HIMSELF.
THEY TRIED TO GET ME TO HATE WHITE PEOPLE, BUT SOMEONE WOULD ALWAYS COME ALONG & SPOIL IT.
(via Lists of Note)
Dawolu Jabari Anderson
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