Huge deserted beaches surrounded by dunes, where boat masks have forgotten the company only the remains of unfortunate creatures are called skeletons Coast. This side of the Atlantic, east of Namibia, is the gateway to the Namib Desert, which follows the Kalahari. There we find groups Bushmen and Himba, atavistic residents of these arid regions. The Bushmen demonstrate their integration in the most hostile of friendly means by hunting and gathering techniques. (featured Image from Naankuse Lodge)
Joining them pursue their prey poisoned arrows wounds on an expedition lasting several days and observe the survival of an entire clan in the harsh dry season. The Himba us their nomadic life, in which everything revolves around the goats and cows grazing. Among its strongest features see the symbolism of their hair and body ornaments, his main artistic expression, know the rules that govern the formation of polygamous marriages and will attend the rituals “esuko” where women gain maturity within the tribe. (by New Atlantis Full Documentaries)
In Namibia, traditional music is mostly found in the villages and less practised and enjoyed in urban areas. Local and foreign contemporary music in its multiple forms is notorious in all the corners of the country. Traditional music in rural areas contributes to diverse functions linked to rituals at birth, death, marriage, healings, before and after hunting and fishing, circumcision, social evenings, stories telling, cattle exhibition naming of places, animals and babies, including many other activities. Music in rural areas is the reflection of all aspects of the life of the people where it is created, performed and even dies, contrary to the contemporary music in the urban areas which only cater for entertainment in clubs, bars, functions, shops and hotels. (featured Image Kuru San Dance Festival – Bushmen of the Kalahari by Afrika Calls)
Because of its isolation in the past with the rest of the world, Namibia under the South Africa rule has known only the music from that country. The censorship enforced at the time did not favour the hatching and blooming of the local music and dance. The music from other African countries, especially from the central, Eastern and Western Africa was linked with the word terrorism in Namibia. All those who listened to this music were called terrorists. This music was considered to be dangerous for Namibians to be exposed to, especially when the masters of the time could not understand the message in the songs. The American and British music was well established without any difficulty. That is why many artists from these two countries are well known in Namibia. Nineteen years after independence, Namibian artists did not come up with tangible Namibian contemporary music. They keep on being influenced most by the artists from the countries above mentioned and South Africa. Some attempts on the Namibian contemporary music creation took place before and after independence, but because of lack of support, those who were involved got discouraged. After independence, a lot of new genres of music have penetrated the Namibian arena.
Now, according to Francois H. Tsoubaloko Traditional Song and Dance here in Namibia is classified and should be understood under the following terms below:
+ Traditional dance
Traditional music and dance in Africa are most linked to rituals or social functions, as the immediate reference to human being, to a moral being, to a spirit, to conscience, to human traditional and rural life, transmitted from generation to generation. Dance is part of the culture, which is acquired and developed through informal education. All these performances are linked to the core of a specific world of ideas and beliefs. They also reveal a certain outlook of the world and life for certain human structure, the understanding of which brings it closer and makes it easier for us. It is a lineage of knowledge through practice, training and self-access. There exists a very good developed system of music and dance in place, most are on a special rhythmic system. The following given names of dances are the dominant ones in the country, but they might be some out there that are not yet discovered, linked to rituals, healings, social gatherings etc.
• Outjina and Omuhiva: Among the Herero community, outjina is danced by men and omuhiva by females. The two take place during celebrations and social evenings.
• Okunderera: This military marching type of dance takes place during celebrations, especially on the 26th of August, which is the National hero’s day and at the same time as Herero day. The Herero community celebrates this event at Okahandja seventy kilometre north of Windhoek. This day for the community serves to pay tribute to chief Maherero and the other Herero fallen heroes in the history of the liberation struggle.
• Oudano or Uudhano: Within the Owambo people, this dance is a very common one. It is danced in two versions: The first performed by adult women, using slow motion, men are welcomed if they wish so, the second performed by girls with fast motion.
• Omupembe: This dance among the Aangadjera people was forbidden in the past by the South African regime of occupation, for its nature that resembles military training practice. Young men during this dance jump over other people’s heads.
• Ondjongo: Among the Ovazemba and Ovahimba communities, this dance is performed at any social celebration. It involves both men and women, songs are also known as ondjongo.
• Okankula and Onkandeka: The first is play performed by elder people in a seated position, the second is also a fighting play performed by young people.
• Omutjopa: Accompanied by two traditional drums, omutjopa is also a dance performed by the Ovazemba community.
• Shipero: This dance involves also drums and danced during social recreation functions, in north-east Kavango.
• Epera: Three drums of different sizes are involved in this dance that takes place at the royal family’s functions, it is also being used during other rituals.
• Ukambe, Kambamba and Nondere: The first dance is known as rain season dance, second is a quick dance with feet and the last one last one as hand and neck dance, all from Kavango region.
• Kayote, Niakasanda, Liyala: In the Caprivi region, three names of dances take place during healing functions.
There are a bunch of various traditional Song and Dance performances available all throughout Namibia. Dates of performances may vary accordingly. However, for the individual who is interested in a traditional showcase (approx. 45 minutes), we highly recommend the “Showcase Namibia” which is performed daily from Monday to Friday at the Warehouse Theatre in Windhoek. What makes this Show ideal is the time which it is being performed. The show starts off at 15h30 CAT hence making it the ideal event for guest’s looking for some “afternoon entertainment” (for other afternoon entertainment please download our Adventure Collection .pdf). Even if you are returning home after a beautiful Namibian Vacation and are boarding an evening flight back home, gives this very original showcase a try if you have some time to spare. It will leave you refreshed, energized and in a positive mood before heading out to Hosea Kutako International Airport, guaranteed. My personal favourite throughout the Show is the drumming session and most definitely the kwaito dance session at the end. It definitely grabs hold of the viewer when embracing the entire theatrics behind this stunning show. Very impressive indeed!!!
• Details: Show Start at 15h30, Refreshments available at Theatre, daily performance from Monday to Friday, very fresh/new musical performance (since 2019), traditional and non-traditional musical Instruments, semi-traditional garments, nice “Skit” elaborating on some of the diverse cultures and languages present throughout Namibia. Rember to also check out the links shown on the flyer for more information!
• Entrance fee: N$170, oo (booking not mandatory)
+ Our second recommendation:
The Joes Beerhouse Drumming Circle also is a very favoured event which is very interactive. As the event states “Drumming Circle” they even encourage you to bring your own traditional drums. So should you own some Bongo’s (or similar), then take them along. Although an evening Event, still well worth it. “This weekly drum circle was recently declared as “one of the 25-MUST-HAVE-Experiences in Windhoek” by The Namibian’s columnist Martha Mukaiwa!”
• Details: Show Start at 18h00, Refreshments available at the Venue, Wednesday, 06.03.2019 (ends 18.12.2019), very interactive Showcase, traditional and non-traditional musical Instruments, semi-traditional garments, great for bigger groups. Rember to also check out the links shown on the flyer for more information!
Species: Hoodia gordonii Genus: Hoodia (14 Hoodia species within the genus) Family: Apocynaceae family (formerly under Asclepidaceae) Common names: Ghaap, Bitter ghaap, Xhoba, Hoodia, |goa.-l, |khoba.b, |khowa.b, |goai-l, |hoba, |khoba.b|s, |khobab, |goab, otjinove, !nawa#kharab
Hoodia is a genus of succulent plants within the family Apocynaceae that is basically used traditionally by the San people of southern Africa as an appetite suppressant, thirst quencher and as a cure for severe abdominal cramps, haemorrhoids, tuberculosis, indigestion, hypertension and diabetes. Various uses have been recorded among Anikhwe (Northern Botswana), Hai om (northern Namibia), Khomani (northwestern South Africa ), and the !Xun and Khwe (originally from Angola) communities. Less is known about the use of this group of plants by other indigenous people, but some records show a limited use of Hoodia parts as food items, albeit not as preferred food items. Hoodias are known to be used for cultural purposes in some areas (Hargreaves and Turner, 2002). Although relatively difficult to cultivate, Hoodia ‘ s are attractive plants and are also used for horticultural purposes.
Hoodia Gordonii is one of the most sought-after succulents due to its medicinal properties. It has been called one of the wonder plants of the twenty-first century. Trade in this plant is restricted.
Hoodia Gordonii has a very wide distribution. It occurs in the north-eastern part of the Western Cape, the north and north-western regions of the Northern Cape and southern Namibia. It is used to extreme heat (above 40°C), but it can survive in relatively low temperatures (-3°C).
The plant appears to have a wide tolerance of growing habitats, found in deep Kalahari sands, on dry stony slopes or flats and under the protection of xerophytic bushes. Hoodia gordonii can, under ideal conditions, live for 25 years in cultivation. In the wild they probably don’t live much longer than 15 years.
The indigenous people of Southern Africa, whose territory spans most areas of South Africa, Zimbabwe, Lesotho, Mozambique, Swaziland, Botswana, Namibia, and Angola, are variously referred to as Bushmen, San, Sho, Basarwa, Kung, or Khwe (see the name section for more details). The Bushmen are part of the Khoisan group. Though related to the traditionally pastoral Khoikhoi, they were traditionally hunter-gatherers. Starting in the 1950s, and lasting through the 1990s, they switched to farming as a result of government-mandated modernization programs as well as the increased risks of a hunting and gathering lifestyle in the face of technological development.
There is a significant linguistic difference between the northern Bushmen living between Okavango (Botswana) and Etosha (Namibia), extending into southern Angola on the one hand and the southern group in the central Kalahari towards the Molopo, who are the last remnant of the previously extensive indigenous San of South Africa.
The San have provided a wealth of information for the fields of anthropology and genetics, even as their lifestyles change. One broad study of African genetic diversity completed in 2009 found that the San people were among the five populations with the highest measured levels of genetic diversity among the 121 distinct African populations sampled. The San are one of fourteen known extant “ancestral population clusters” (from which all known modern humans descended).
The terms San, Khwe, Sho, Bushmen and Basarwa have all been used to refer to the hunter-gatherer peoples of southern Africa. Each of these terms has a problematic history, as they have been used by outsiders to refer to them, often with pejorative connotations. The individual groups identify by names such as Juǀʼhoansi and ǃKung (the punctuation characters representing different click consonants), and most call themselves by the term Bushmen when referring to themselves collectively.
The different San language groups of Namibia met in late 1996 and agreed to allow the general term San to designate them externally. This term was historically applied by their ethnic relatives and historic rivals, the Khoikhoi. This term means outsider in the Nama language, and was derogatory because it distinguished the Bushmen from what the Khoikhoi called themselves, namely, the First People. Western anthropologists adopted San extensively in the 1970s, where it remains preferred in academic circles. The term Bushmen is widely used, but opinions vary on whether it is appropriate because it is sometimes viewed as pejorative.
In South Africa, the term San has become favored in official contexts, and is included in the blazon of the new national coat-of-arms; Bushman is considered derogatory by many South Africans, regardless of their race. Angola does not have an official term for the San, but they are sometimes referred to as Bushmen, Kwankhala, or Bosquímanos (the Portuguese term for Bushmen). In Lesotho they’re referred to as Baroa, which is where the Sesotho name for south, Boroa, comes from. Neither Zambia nor Zimbabwe have official terms, although in the latter case the terms Amasili and Batwa are sometimes used. In Botswana, the officially used term is Basarwa, where it is partially acceptable to some Bushmen groups, although Basarwa, a Tswana label derived from Twa, also has negative connotations. The term is a class 2 noun (as indicated by the “ba-” class marker), while an older class 6 variant, Masarwa, is now almost universally considered offensive.