Африка мәдениетінің алуан түрлілігі

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The Culture of Africa is varied and manifold, consisting of a mixture of countries with various tribes depicting their unique characteristic and trait from the continent of Africa. It is a product of the diverse populations that inhabit the continent of Africa and the African diaspora. Generally, Culture can be defined as a collective mass of distinctive qualities belonging to a certain group of people. These qualities include laws, morals, beliefs, knowledge, art, customs, and any other attributes belonging to a member of that society. Culture is the way of life of a group of people. Africa has numerous ethnic nationalities all with varying qualities such as language, dishes, greetings, dressing and dances. However, each of the regions of Africa share a series of dominant cultural traits which distinguish various African regional cultures from each other and the rest of the world. For example, social values, religion, morals, political values, economics, and aesthetic values all contribute to various African cultures. Expressions of culture are abundant within Africa, with large amounts of cultural diversity being found not only across different countries but also within single countries. Even though within various regions, the cultures are widely diverse, they are also, when closely studied, seen to have many similarities; for example, the morals they uphold, their love and respect for their culture, as well as the strong respect they hold for the aged and the important, i. e. kings and chiefs. Africa has influenced and been influenced by other continents. This can be portrayed in the willingness to adapt to the ever changing modern world rather than staying rooted in their static culture. The Westernized few, persuaded by American culture and Christianity, first denied African traditional culture, but with the increase of African nationalism, a cultural recovery occurred. The governments of most African nations encourage national dance and music groups, museums, and to a lower degree, artists and writers. 90 to 95% of Africa's cultural heritage is held outside of Africa by large museums. It is also important to note in a quote from BBC (British Broadcasting Corporation) on African culture, “a recent study by Foresight Factory on defining factors of identity, 50 60% of British black African/Caribbean respondents, agreed that ethnicity played a key role, the largest of any group. The singular viewpoint of ‘black’ as an ‘identifier’ or an ‘ethnicity’ not only denies cultural differences between the population, it also denies the nuance within a vastly diverse community When we attempt to define African culture and identity, we have to be mindful that we are viewing a broad ethnicity comprising different sub communities that are resistant to having their heritage and culture boxed in simplistic labels.”

African cultures, which originated on the continent of Africa, have several distinct differences than that of Black culture, which originated by African Americans in the United States after they were stripped of most of their own African cultures during enslavement. Some differences are that African cultures retain tribal affairs to only be worn during specific events, hand carvings, tribal masks and dances whereas Black culture is ethnic to African Americans such as hip hop, jazz, hamboning and soul food. Though some Africanisms were retained in Black culture of the United States, most of Black American culture and history was created by Black Americans. The same retained Africanisms and also created cultural differences and can be noticed and noted in Caribbean cultures from the descendants of the enslaved as well as in black South American cultures, such as culturally different expressions, foods, styles and languages due to the centuries separation and enslavement away from the African continent, being formed uniquely in places like Bahia, Brazil.

Africa is divided into a great number of ethnic cultures. The continent's cultural regeneration has also been an integral aspect of post independence nation building on the continent, with a recognition of the need to harness the cultural resources of Africa to enrich the process of education, requiring the creation of an enabling environment in several ways. In recent times, the call for a much greater emphasis on the cultural dimension in all aspects of development has become increasingly vocal. During the Roman colonization of North Africa (parts of Algeria, Libya, Egypt, and the whole of Tunisia), provinces such as Tripolitania became major producers of food for the republic and the empire. This generated much wealth in these places for their 400 years of occupation. During colonialism in Africa, Europeans possessed attitudes of superiority and a sense of mission. The French accepted an African as French if that person gave up their African culture and adopted French ways. Knowledge of the Portuguese language and culture and abandonment of traditional African ways defined one as civilized. Kenyan social commentator Mwiti Mugambi argues that the future of Africa can only be forged from accepting and mending the sociocultural present. For Mugambi, colonial cultural hangovers, pervasive Western cultural inundation, and aid giving arm twisting donors are, he argues, here to stay and no amount of looking into Africa's past will make them go away. However, Maulana Karenga states:

Africa has a rich tradition of arts and crafts. African arts and crafts find expression in a variety of woodcarvings, brass and leather artworks. African arts and crafts also include sculpture, paintings, pottery, ceremonial and religious headgear and dress. Maulana Karenga states that in African art, the object was not as important as the soul force behind the creation of the object. He also states that All art must be revolutionary, and in being revolutionary, it must be collective, committing, and functional. The meaning behind what he said can simply be interpreted as black art serving an actual purpose in the direction of a revolutionary change. Black art should not be done simply for “arts sake” but should rather be a means by which artists make a vast change through a medium that awakens, strengthens, and provides inspiration for a massive change within the black community. Certain African cultures have always emphasized personal appearance, and jewelry has remained an important personal accessory. Many pieces of such jewelry are made of cowry shells and similar materials. Similarly, masks are made with elaborate designs and are an important part of some cultures in Africa. Masks are used in various ceremonies depicting ancestors and spirits, mythological characters, and deities. In many traditional arts and craft traditions in Africa, certain themes significant to those particular cultures recur, including a couple, a woman with a child, a male with a weapon or animal, and an outsider or a stranger. Couples may represent ancestors, community founders, married couples, or twins. The couple theme rarely exhibits the intimacy of men and women. The mother with the child or children reveals the intense desire of the women to have children. The theme is also representative of mother mars and the people as her children. The man with the weapon or animal theme symbolizes honor and power. A stranger may be from some other tribe or someone from a different country, and a more distorted portrayal of the stranger indicates a proportionately greater gap from the stranger. These are all popular interpretations of African craft and art.

Like all human cultures, African folklore and religion represents a variety of social facets of the various cultures in Africa. Like almost all civilizations and cultures, flood myths have been circulating in different parts of Africa. Culture and religion share space and are deeply intertwined in African cultures. In Ethiopia, Christianity and Islam form the core aspects of Ethiopian culture and inform dietary customs and rituals and rites. According to a myth among Central African foragers, Chameleon, hearing a strange noise in a tree, cut open its trunk, and water came out in a great flood that spread all over the land. Folktales also play an important role in many African cultures. Stories reflect a group's cultural identity, and preserving the stories of Africa will help preserve an entire culture. Storytelling affirms pride and identity in a culture. In Africa, stories are created by and for the ethnic group telling them. Different ethnic groups in Africa have different rituals or ceremonies for storytelling, which creates a sense of belonging to a cultural group. To outsiders hearing an ethnic group's stories, it provides an introspection and insight into the beliefs, views, and customs of the community. For people within the community, it allows them to encompass their group's uniqueness. They show the human desires and fears of a group, such as love, marriage, and death. Folktales are also seen as a tool for education and entertainment. Folklore provides the wisdom to understand certain moments from different perspectives and it also showcases that all of our problems and successes happen in every culture and throughout different periods of history. They provide a way for children to understand the material and social environment. Every story has a moral to teach people, such as goodwill prevail over evil. For entertainment, stories are set in fantastic, non human worlds. Often, the main character of the story would be a talking animal, or something unnatural would happen to a human character. Even though folktales are for entertainment, they bring a sense of belonging and pride to communities in Africa. There are different types of African stories: animal tales and day to day tales. Animal tales are more oriented towards entertainment but still have morals and lessons to them. Animal tales are normally divided into trickster tales and ogre tales. In animal tales, a certain animal would always have the same character or role in each story, so the audience does not have to worry about characterization. The popular roles for some animals are as follows; The Hare was always the trickster, clever and cunning, while the Hyena was always tricked by the Hare. Ogres are always cruel, greedy monsters. The messengers in all the stories were the Birds. Day to Day tales are the most serious tales, never including humor, that explained the everyday life and struggles of an African community. These tales take on famine, escape from death, courtship, and family matters, using a song form when the climax of the story was being told. African stories all have a certain structure to them. Villagers would gather around a common meeting place at the end of the day to listen and tell their stories. Storytellers had certain commands to start and end the stories, "Ugai Itha" to get the audience's attention and begin the story, and "Rukirika" to signal the end of a tale. Each scene of a story is depicted with two characters at a time, so the audience does not get overwhelmed. In each story, victims can overcome their predators and take justice out on the culprit. Certain tools were used in African folktales. For example, idiophones, such as drums, were used to make the sounds of different animals. Repetition and call back techniques in prose or poem were also used to get the audience involved in the stories.

Women's traditional clothes in Ethiopia are made from cloth called schema and are used to make habesha kemis. This all white outfit can be said to be the national costume for the Ethiopian as a result of it being commonly accepted and it's wild spread use but there exists much more variations to this outfit for example the Oromo people of Bale wear more of a leather garment and the Afaris wear brightly colored wraps made of cotton. The latter garment (habesha kemis) is basically cotton cloth, about 90 cm wide, woven in long strips which are then sewn together. Sometimes shiny threads are woven into the fabric for an elegant effect. Men wear pants and a knee length shirt with a white collar, and perhaps a sweater. Men often wear knee high socks, while women might not wear socks at all. Men, as well as women, wear shawls, the netela. Zulus wear a variety of attire, both traditional for ceremonial or culturally celebratory occasions. Traditional male clothing is usually light, consisting of a two part apron (similar to a loincloth) used to cover the genitals and buttocks. The front piece is called the umutsha (pronounced ) and is usually made of springbok or other animal hide twisted into different bands which cover the genitals. The rear piece, called the Ibheshu , is made of a single piece of springbok or cattle hide, and its length is usually used as an indicator of age and social position; longer amabheshu (plural of ibheshu) are worn by older men. Married men will usually also wear a headband, called the umqhele , which is usually also made of springbok hide, or leopard hide by men of higher social status, such as chiefs. Zulu men will also wear cow tails as bracelets and anklets called imishokobezi during ceremonies and rituals, such as weddings or dances. In the Muslim parts of Africa, daily attire also often reflects Islamic tradition. The traditional attire for the Muslim men usually covers a minimum of the head and the range between the waist of the man and the knees, while the dress code for the islamic women is made to conceal and cover the hair and the body from the neck down to the ankles. There are some Muslim women who also conceal their face. Nevertheless, there are some Muslims that believe that the Quran does not command that women should wear a hijab or a burqa.

Traditional Sub Saharan African music is as diverse as the region's various populations. The common perception of Sub Saharan African music is that it is rhythmic music centered on the drums, and indeed, a large part of Sub Saharan music, mainly among speakers of Niger–Congo and Nilo Saharan languages, is rhythmic and centered on the drum. Sub Saharan music is polyrhythmic, usually consisting of multiple rhythms in one composition such as the Serer of Senegambia's ultra religious njuup tradition (the progenitor of mbalax). Dance involves moving multiple body parts. These aspects of Sub Saharan music were transferred to the new world by enslaved West Africans and can be seen in its influence on music forms as Samba, Jazz, Rhythm and Blues, Rock & Roll, Salsa, and Rap music. Other African musical traditions also involve strings, horns, and very few poly rhythms. Music from the eastern Sahel and along the Nile, among the Nilo Saharan, made extensive use of strings and horns in ancient times. Dancing involves swaying body movements and footwork. Among the Khoisans extensive use of string instruments with emphasis on footwork. Modern Sub Saharan African music has been influenced by music from the New World (Jazz, Salsa, Rhythm and Blues etc.). Popular styles include Mbalax in Senegal and Gambia, Highlife in Ghana, Zoblazo in Côte d'Ivoire, Makossa in Cameroon, Soukous in the Democratic Republic of Congo, Kizomba in Angola, and Xhosa music in South Africa. New World styles like Salsa, R&B/Rap, Reggae, and Zouk also have widespread popularity. Like the musical genres of the Nile Valley and the Horn of Africa, North African music has close ties with Middle Eastern music and utilizes similar melodic modes (maqamat). It has a considerable range, from the music of ancient Egypt to the Berber and the Tuareg music of the desert nomads. The region's art music has for centuries followed the outline of Arabic and Andalusian classical music. Its popular contemporary genres include the Algerian Raï. Somali music is typically pentatonic, using five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qenet, such as tizita, a song of reminiscence. anywhere between 1000 and 2000 languages. The main ethnolinguistic divisions in Africa are Afro Asiatic (approximately 200 languages) covering nearly Northern Africa (including the horn of Africa, Central Sahara et the top Nile), Niger–Congo with approximately 1,350 1,650 languages is the largest of the four; it is also the largest language family in the world. The Niger Congo languages inhabit Western, Central, Eastern and Southern Africa Nilo Saharan gathers approximately 140 languages with some eleven million speakers scattered in Central and Eastern Africa.