AFRICAN CARTOGRAPHY
A manuscript topographic map of the Bamun Kingdom in Cameroon made in 1920 on the orders of King Njoya. This map is the first to reflect the way the Bamum people themselves saw their land - a precious example of an African map made by African cartographers. 1/
Officially made for a better management of land disputes, this map also materializes the Bamun sovereignty of King Njoya in the face of a hostile colonial administration. This map runs West to East and it stands at the crossroads of two different perceptions of space. 2/
Land surveys were made in 1912 and again in 1920, by about 20 people led by the King himself. This team invented its own topographical standards to identify villages, marketplaces and boundaries. The titling is in the Bamum script, invented by King Njoya himself, throughout. 3/
This map replicates a quadrangular perception in shape of the inhabited territory, organized around the palace, located in the heart of an oversized capital. 4/
This map and a near identical one acquired in 2021 by the Library of Congress from the same original source (the heirs of the artist Suzanne Truitard, who lived in Foumban in the 1920s and early 1930s) are amongst the very few surviving maps of the Bamum Kingdom. 5/
To construct the map, Njoya organized a topographic survey led by 20 members of his entourage. It was organized into specialized groups: bush clearing crews, surveying teams who recorded their observations in notebooks, and servants who waited on the king and his surveyors. 6/
The king's twenty topographers supervised and checked the work of the survey crews. Dugast and Jeffreys interviewed the principal leader of the survey team, Nji Mama, who estimated that sixty individuals participated in the survey. 7/
Work began in early April 1912 and continued for close to two months. At each village in the kingdom, a guide would accompany a survey team to report the extent of village boundaries and rural domains, the names of local streams and mountains, and other pertinent information. 8/
Distances were calculated by using watches and noting the time it took to walk from one stop to the next. Njoya halted the survey at the beginning of the rainy season when travel became increasingly difficult. 9/
The expedition notebook kept by Nji Mama indicated that the topographers had made thirty stops over fifty-two days and had surveyed two-thirds of the kingdom. 10/
This Bamum map is notable for its east-west orientation, the exaggerated size of the royal capital (and its placement at its center). It shows rivers in purple, mountains in green, and two purple and red disks signifying the rising (bottom disk) and setting sun (top disk). 11/
Njoya aimed to consolidate his control over Bamum through careful collaboration with the colonial authorities. His map promoted this goal by creating a sense of unity or oneness, emphasized graphically by framing the kingdom within an extraordinarily symmetrical river system. 12/
Hundreds of place-names are found along the edge of the kingdom, suggesting that the king's topographers essentially delimited the territory of Bamum by walking its perimeter. 13/
The exaggerated scale of the capital Foumban - location of Njoya's palace - is an emphatic statement that draws the viewer's attention to the political heart of the kingdom. 14/
Njoya understood the power of maps, especially their value in diplomatic affairs. This map is the product of a political transition in which Njoya used his mapmaking skills to safeguard the territorial claims of Bamum, and to preserve his role as its traditional sovereign. 15/
I should add that this Twitter thread is the first time this Bamum map has been placed online, and as far as I know, the very similar copy purchased in 2021 by the @libraryofcon has not yet been digitized. 16/
Recommended further reading:
Thomas Bassett's chapter "Indigenous Mapmaking in Intertropical Africa" in the History of Cartography, Vol II, Book 3: press.uchicago.edu/books/HOC/HOC_…
and Alexandra Loumpet-Galitzine's "La Cartographie du Roi Njoya", available here: lecfc.fr/new/articles/2…
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The seven days of Sukkot start tomorrow. Sukkot is one of the three Jewish festivals on which the ancient Israelites were commanded to make a pilgrimage to the Temple in Jerusalem.
This beautiful folio-sized machzor (prayerbook) for Sukkot according to the Provençal rite of Avignon, was written by the scribe David Tsoref in 1721. 1/
After their expulsion from France in the 14th-century, a handful of Jews remained in the Provençal Papal territory of the Comtat Venaissin. Avignon was one of four Jewish communities tolerated by the Holy See: the other 3 were Carpentras, Cavaillon, & L'isle-sur-la-Sorgue. 2/
Because of their extreme isolation from the rest of the Jewish world (and even, within the Comtat Venaissin, from each other), all 4 communities developed their own unique minhag (liturgical rite).
Most of these were never printed, and survive only in manuscript form, as here. Provençal manuscripts like this are instantly recognizable by their beautifully distinctive Hebrew script. 3/
Today, August 2, Roma people around the world commemorate the genocide of the Roma with Samudaripen memorial day. It marks both the specific moment in 1944 when the Nazis murdered around 3,000 Roma at Auschwitz, and the wider Roma genocide during the Second World War. 1/
The number of Roma killed during the Samudaripen is still unclear - the US Holocaust Memorial Museum puts the figure of Roma dead at between a quarter of million and a half a million people. 2/
However, the advocacy group the International Romani Union believes that as a result of this genocide, approximately 2 million Roma were killed, which was about two-thirds of the total Roma population in Europe at the time. 3/
One of the masterpieces of ancient Egyptian art, the 'Seated Scribe' was discovered by the French archeologist Auguste Mariette at the Saqqara necropolis just south of Cairo in 1850, and dates to the period of the Old Kingdom, around 2500 BCE. It's now in the collections of @MuseeLouvre.
The eyes are especially amazing. I'll explain why. 🧵
The eyes of the scribe are sculpted from red-veined white magnesite, inlaid with pieces of polished rock crystal. The inner side of the crystal was painted with resin which gives a piercing blue colour to the iris and also holds them in place. 2/
Two copper clips hold each eye securely in place. The eyebrows are marked with fine lines of dark paint. The scribe stares calmly out to the viewer as though he is waiting for them to start speaking. 3/
This is the Rongorongo script of Easter Island. Rongorongo lacks an accepted decipherment but is generally presumed to encode an earlier stage of Rapa Nui, the contemporary Polynesian language of the island. It is possible that it represents an independent invention of writing. 1/
Hundreds of tablets written in Rongorongo existed as late as 1864 but most were lost or destroyed in that period and only 26 of undoubted authenticity remain today; almost all inscribed on wood. Each text has between two and over two thousand glyphs (some have what appear to be compound glyphs). 2/
The longest surviving text is that on the ‘Santiago Staff’: around 2,500 glyphs, depending upon how the characters are divided. The glyph-types are a mixture of geometric figures and standardized representations of living organisms; each glyph is around one centimetre in height. 3/
Oy. Forget about being a "rabbi", if you had even a kindergarten level knowledge of Hebrew (or Judaism for that matter) you'd know that this is not old, not Jewish, not an amulet, and nothing to do with kabbalah (which you grotesquely mischaracterize). It's a crude mishmash of… https://t.co/3IJjWrqnIp https://t.co/U7OBn124MNtwitter.com/i/web/status/1…
When looking at any purportedly ancient Jewish manuscript, bear in mind: 1. Jewish manuscripts are generally austerely plain and written in black ink only. Red ink is seen occasionally as a highlight color in for example Yemenite manuscripts, but gold ink is essentially never… twitter.com/i/web/status/1…
Oi u luzi chervona kalyna - Oh, the Red Guelder Rose in the Meadow - is the anthem of 🇺🇦 Ukrainian resistance to Russian oppression.
Written in 1875, it was adapted by Stepan Charnetsky in 1914 to honor the Sich Riflemen of the First World War. 1/ twitter.com/i/web/status/1…
The red guelder rose or viburnum of the song ('kalyna' in Ukrainian) - a shrub that grows four to five metres tall - is referenced throughout Ukrainian folklore. It is depicted in silhouette along the edges of the flag of the President of Ukraine. 2/
Due to the song's association with the Ukrainian people's aspiration for independence, singing of the song was banned during the period in which Ukraine was a Soviet Republic(1919-1991). Anyone caught singing it was jailed, beaten, and even exiled. 3/