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African Folklore: An Encyclopedia - Marshalls University

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<strong>African</strong> Americans 205<br />

Curley, R. 1983. Dreams of Power: Social Process in a West <strong>African</strong> Religious Movement. Africa<br />

53, no. 3:20–38.<br />

Evans-Pritchard, E.E. 1958 (1937). Witchcraft, Oracles and Magic Among the Azande. London:<br />

Oxford <strong>University</strong> Press.<br />

Holy, L. 1992. Berti Dream Interpretation. In Dreaming, Religion and Society in Africa, eds.<br />

M.C.Jedrej and Rosalind Shaw. Leiden: E.J.Brill,<br />

Jedrej, M.C., and Rosalind Shaw eds. 1992. Dreaming, Religion and Society in Africa. Leiden:<br />

E.J.Brill,<br />

Lee, S.G. 1958. Social Influence in Zulu Dreaming. Journal of Social Psychology 47:265–83.<br />

Tylor, Edward Burnett. 1958 (1871). Primitive Culture. Vol. 2. The Origin of Religion. New York:<br />

Harper Torchbooks.<br />

ISAK NIEHAUS<br />

See also Divination; Gender; Religion<br />

DRESS<br />

<strong>African</strong> dress, a system of nonverbal communication, aids in personal and sociocultural<br />

identification of <strong>African</strong> people in their daily lives. Dress involves both modifying and<br />

supplementing the body with the involvement of all five senses. The visual aspects of<br />

dress (such as shape, silhouette, and color) appear primary, but the other senses are also<br />

involved, such as touching skin, textiles, or leather, smelling scents applied to or<br />

associated with body or fabric, hearing the rustle of textiles or jangle of jewelry, and<br />

tasting pomades or lipstick.<br />

“Dress” is a more comprehensive concept than either clothing or fashion. Dress<br />

encompasses more than clothing, for it includes covering and modifying the body. In<br />

addition, although ritual and ceremonial dress may change, they are usually not<br />

fashionable, for their rate of change ordinarily occurs more slowly than the concept of<br />

fashion implies. Regalia of chiefs and rulers, such as those of the kings of Benin and<br />

Yoruba people and the Asantehene of the Asante are one example.<br />

Common patterns of dress differentiate groups and individuals from one another in<br />

Africa, but idiosyncratic and personal styles are also frequent. Urban <strong>African</strong>s in cities<br />

like Dakar, Abidjan, Lagos, Johannesburg, and Nairobi wear styles in ap-parel, hairstyles,<br />

and accessories current in the fashion centers of Paris, London, New York, and Tokyo,<br />

because television, cinema, newspapers, and magazines, along with travel or study<br />

abroad, influence them. However, <strong>African</strong>s also display coiffure, body painting, clothing,<br />

and jewelry that are identified not only as <strong>African</strong> but often as a marker of a specific<br />

ethnic group. Such examples stem from community traditions that demonstrate a<br />

continuity with the past, even when undergoing change. Many <strong>African</strong> men and women<br />

wear cosmopolitan fashions daily, but choose ritual and ceremonial ensembles from their<br />

ethnic heritage for special occasions and events like puberty rituals, funerals, and<br />

marriage ceremonies.<br />

A common <strong>African</strong> tradition of dress involves variations of wrapping cloth around the<br />

body, fully or partially covering the torso. The toga-style associated with the political<br />

figure in Ghana of the late Kwame Nkrumah and the Asante people exemplifies fully

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