Tuesday, September 29, 2009

African Gifts

















We have many smaller gift items: beautiful scented candels, napkin holders,incense gift sets, picture frames and much more.
We will wrap your gift beautifully for that special person in your life.

Fine dining whenever you want to eat out in Senegambia.

A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022
gaya@qanet.gm
gayagambia@gmail.com
www.gayaartcafe.com/

Sunday, September 27, 2009

Gambia Artist Momodou Ceesay


Momodou describes his artwork as an exploration of images that inculcate a system of values that are consistent with his culture and heritage. His objective is to take the viewer on a spiritrual odyssey that suggests unseen dimensions.

ON MY KNEES BEFORE THESE MIGHTY HEAVENS
It is seldom in the world of words, and in the world of visual art that the two distinct expressions of creativity are combined to put forth a powerful and moving story; a story of an African man's spiritual journey, a poetic odyssey called "On My Knees Before These Mighty Heavens"

In 1990 Momodou spent some time in New York creating designs for a greeting card company called Heritage Collections. During this period he worked with the homeless and visited the Bowery Mission often. He was inspired from this experience to write this epic poem.

 The work uses excerpts from Hebrew Scripture and the Koran to describe the searching of a better life for African and African American people. Momodou Ceesay adds to the virtual reality of the story line by delineating the poem with 36 of his original paintings. Some of these paintings for the book were executed during his stay as an artist-in-residence at the Center for the Arts and Religion, Wesley Theological Seminary in Washington, DC.


In this book, the protagonist, Issa Kujabi, in righteous indignation, seeks an audience with God, in order to lament about the condition of his people. The book speaks of social injustice, the coldheartedness of the ruling elite in Africa; the phenomena of Africa's current demise, all done with poetry and art.


 "Through a dialogue, the poem begins with the particular destruction, genocide and suffering of African people and of their descendants in the diaspora. The scope is then widened to include the negative forces that seem to grip the planet as a whole. It moves from despair to vision as the dialogue progresses, endingg with a revelation giving reasons for suffering, and what the future holds for Africa and the world as a whole"


Fine dining whenever you want to eat out in Senegambia.  
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022

Thursday, September 24, 2009

Superkanja



Cooking Ingredients:
1. 2lbs of lean beef
2. 1lb smoked fish
3. 2 cups palm oil
4. 2lbs cut okra
5. 1/4tsp of baking powder
6. 2 large onions chopped
7. 8 cups water
8. Salt and pepper to taste

  Cooking Method:
1. Wash and cut meat into bite size pieces.
      
2. In a large pan, boil fish and meat in water for 15 minutes, then remove the fish.
      
3. Add onions, salt, pepper and okras.
      
4. Simmer for 15 minutes and then add palm oil.
      
5. Reduce heat and simmer for 20 minutes stirring occasionally.
      
6. Add fish and continue simmering in low heat for 10 minutes. Serve with plain boiled rice or Fufu.

Fine dining whenever you want to eat out in Senegambia.  
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!

Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022

gaya@qanet.gm
gayagambia@gmail.com
www.gayaartcafe.com/

Friday, September 18, 2009

Gambian Artist Njogu Touray


 In Trace of Old one is confronted with the monumentality of the ruins of the palace of Timbuktu. In the foreground the boulders are symbols of silent witness; the sky and sun testament to the unforgiving heat of the desert.


Seeing Beyond relates to the magnificence of the grand baobab tree also bearing silent witness but harboring a diviner at its core. This revered sage is symbolized by the all seeing eye, an important talisman in the Moslem faith, and cowry shells. Not only are cowries symbols of economic value, but they are used by the healer to read the future and divine the path a follower should take. In both paintings one feels the harshness of the terrain through Njogu’s use of natural colors. Touray lives and works in Banjul, The Gambia.

Fine dining whenever you want to eat out in Senegambia.
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022

Monday, September 14, 2009

Gambia Artist Buba Drammeh

Buba Drammeh is a talented batik artist from The Gambia. His batiks have been incorporated in the design for the CD "Mansalou", featuring the kora playing and singing of Jali Sherrifo Konteh.

Batik is a way of decorating cloth by covering part of it with a coat of wax and then dyeing the cloth. This process is usually repeated several times, using different dyes, until the final effect is achieved. The waxed area keeps its original colour and when the wax is removed the contrast between the dyed and undyed areas makes the pattern. During the dyeing the brittle nature of the dried wax will cause it to crack, allowing small quantities of dye to penetrate to the cloth. The resulting spider-web pattern adds an unplanned and interesting effect to any design and is a special characteristic of most batik work.

Buba normally buys his cloth, which is usually white or a very light colour, from the town of Serrakunda. He buys whatever amount of cloth he can afford, together with the dyes, salt, caustic soda and wax crayons.



Then he cuts the cloth according to the size of the pattern he has decided to draw. He spreads the cloth flat and draws straight onto the cloth (which is always 100% cotton) using a crayon which is not the same colour as the first dye. If the same colour were to be used the pattern would not been seen when it came out of the dye


He then melts the candle wax and uses a small stick with wire wrapped round it, called a tjanting, to dip in the wax. The wire will hold the wax and will permeate and seal the parts of the cloth it covers so that the dye cannot penetrate. He paints the melted wax onto the parts of the cloth he wants to remain white.

Next he prepares the dye-bath, mixing the salt and caustic soda with the dye powder, using gloves to protect his hands from the caustic soda. The soda and salt helps to fix the colour to the cloth. The first colour will be the lightest colour he wants to use. He then puts the material to dry but has to take care not to leave it in the hot sun for too long as it could melt the wax!


When the cloth is dry the wax is melted again and those areas that are to retain the colour just dyed are covered with wax, and the material is dipped into a dye of a colour darker in tone than the first. This process continues until the darkest shade (black) has been reached. There are usually five or six colours in the final batik, including the original white of the material and the final black. Since the colours are superimposed in the dyeing process, a particular colour-scale must be planned. For example, if the first colour was blue, then yellow could be used for the second dye and that would make green, or red to make brown.

Finally Buba buys firewood and builds a small fire to boil water, soap and salt together in a big container and the boiling water will take the wax out of the cloth. Then it is washed and ironed. The ironing will remove any final small particles of wax from the material. He has no electricity so the iron is a flat iron that holds heated charcoal in the top.



Buba syeas he gets the ideas for his designs from he said that he likes to promote the traditional African way of life. Things that his forefathers would also have done, such as hunting, fishing and pounding (rice and other grains), and also scenes of life in a compound or traditional musicians such as a kora , balafon or djembe player. He has also heard stories from his mother and grandmother, perhaps about an animal, and he will draw that, so, as he says, "Children can come and say, oh, look these animals are existing in The Gambia." He also gets ideas and colour schemes just by "looking at what is around me". This of course, includes the Baobab tree, which can live for hundreds of years, and is a very important tree in The Gambia. People depend on it for food and for cures and many believe it has magical properties.

Buba Drammeh was born at Nuimi Nemakunku village, in the Upper Nuimi district on North Bank. His father's name was Saikou Ba Drammeh, who was a hunter. He died very early but Buba has been told that he was a hunter of crocodiles and other creatures. His mother's name is Jankang Nass, now married again and living in Nuimi Lamin where Buba now lives with his wife, three children, adopted nephew, parents, sisters and other friends. There is a large and very productive vegetable garden which is run as a co-operative by all the hard-working women.


Fine dining whenever you want to eat out in Senegambia.  
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022

Friday, September 11, 2009

Gambia Artist Papa Alassane Gueye

I call myself a visual plastic artist, painting with oil and canvas. I have a good imagination, creating interpretations of contemporary Africa as my living. This Papa Alassane Gueye surrealist is a thought outside of the real life.

 
 
 
 
 
Fine dining whenever you want to eat out in Senegambia.  
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022
gaya@qanet.gm
gayagambia@gmail.com
http://www.gayaartcafe.com/

Wednesday, September 9, 2009

African Mystery of the Olmecs


More than 1,500 years before the Maya flourished in Central America, 25 centuries before the Aztecs conquered large swaths of Mexico, the mysterious Olmec people were building the first great culture of Mesoamerica. Starting in 1200 B.C. in the steamy jungles of Mexico's southern Gulf Coast, the Olmec's influence spread as far as modern Guatemala, Honduras, Belize, Costa Rica and El Salvador.


They built large settlements, established elaborate trade routes and developed religious iconography and rituals, including ceremonial ball games, blood-letting and human sacrifice, that were adapted by all the Mesoamerican civilizations to follow.


The Olmecs were the first Mesoamerican people to fathom the concept of zero, maintain a calendar, and use a hieroglyphic writing system based on the Manding system of West Africa. These intellectual achievements, as well as Olmec myths and rituals, were influential in the subsequent Maya, Zapotec, and Aztec cultures.


Studies done by researchers such as Ivan Van Sertima (They Came Before Columbus), Alexander Von Wuthenau (Unexpected Faces in Ancient America), Runoko Rashidi and others have presented evidence that clearly show that the Olmecs were Africans from the Mende regions of West Africa .


Studies done by Clyde Winters show that the Olmecs used the Mende script, a writing system used among the Mandinkas and other Africans in West Africa . When the writings on Olmec monuments were translated, it was found that the language spoken by the Olmecs was Mende.


The Olmecs practiced a religion and astronomical sciences identical to those practiced by Africans in the Mali region and Nigeria today. The Olmecs studied the Venus Complex in astronomy. Today, the Ono and Bambara who are famous sea and river travelers have studied that same complex for thousands of years. In fact, another group the Dogon is well known for their tracking and mapping of the Sirius star system and their accurate results.


The Olmecs also had a religious practice of Thunder worship where the ax was a prominent feature. In West Africa , the ax is also a prominent feature in connection with the Shango or Thunder God worship. Both the Olmecs and the Shango worshippers in West Africa placed an emphasis on the religious significance of children in their religious practices.


The earliest trade and commercial activities between prehistoric and ancient Africa and the Americas may have occurred from West Africa and may have included shipping and travel across the Atlantic. The history of West Africa has never been properly researched. Yet, there is ample evidence to show that West Africa of 1500 B.C. was at a level of civilization approaching that of ancient Egypt and Nubia-Kush.


The Olmecs used an African practice that is very common in Africa and to some extent in Melanesia . That practice is body scarification and specifically facial scarification as practiced in West Africa . Many of the facial scars seen on the Olmec terracotta faces, such as "dot" keloids and "lined" patterns are identical to Africans such as the Dinka of Sudan and the Yoruba and others of West Africa .


The flowering of the Olmec Civilization occurred between 1500 B.C. to 1000 B.C., when over twenty-two collosal heads of basalt were carved representing the West African Negritic racial type. This flowering continued with the appearance of "Magicians," or Shamanistic Africans who observed and charted the Venus planetary complex.
These "Magicians," are said to have entered Mexico from West Africa between 800 B.C. to 600 B.C. and were speakers of the Mende language as well as writers of the Mende script or the Bambara script, both which are still used in parts of West Africa and the Sahara.


Journeys by ship along the coast of West Africa toward the North, through the Pillars of Heracles, eastward on the Mediterran to Ports such as Byblos in Lebanon, Tyre or Sydon would have been two to three times as lengthy as taking a ship from Cape Verde, sailing it across the Atlantic and landing in North-Eastern Brazil fifteen hundred miles away, or Meso America about 2400 miles away. The distance in itself is not what makes the trip easy. It is the fact that currents which are similar to gigantic rivers in the ocean, carry ships and other vessels from West Africa to the Americas with relative ease.


The Olmec homeland is characterized by swampy lowlands punctuated by low hill ridges and volcanoes. The Olmec response to this environment was the construction of permanent city-temple complexes. The best-known Olmec centers are at San Lorenzo Tenochtitlán, La Venta, Tres Zapotes, Chalcatzingo, and La Mojarra. The Olmec were the first Mesoamericans to develop a hieroglyphic script for their language, the earliest known example dating from 650 BC.


The Olmec practiced shamanism. They believed each individual has an animal spirit. Olmec religion centered around the Shaman. "The feared and revered shaman would conduct rituals and heal the sick." Some believe that the sun was a part of their worshipping along with the jaguar.


The jaguar was a very important figure to the Olmec. "To the ancient Indians the jaguar was a symbol of supernatural forces-not a simple animal, but an ancestor and a god." It was referred to as a nahual, which is an animal that is so closely related to a certain man, that if the animal dies, the man will also die.






The Olmec were brought up believing the Great Serpent was a divine power that was believed to have brought prosperity and growth. When the Olmec first settled around the volcanoes, they noticed the dried up lava that there were resemblances to their Great Serpent, the Olmec farmers took these large basalt boulders and carved them into monuments, for example the colossal heads, and placed them in their maize fields.


Although no remains have been found of any person of the Olmec civilization, researchers have learned how they were laid to rest. After the master dies, he was laid to rest in a special burial mound in the middle of the ceremonial court. He was placed in there adorned with earrings, beads , and necklaces made of jade. Over the body, a layer of thick cinnabar red putty in the shape of an oval was spread over him with thirty-seven serpentine and jade celts. This site was then decorated on top with jewels and other decor.





However, only traces of human remains have been found. "The authors posit that the Olmecs believed that the human body, itself, and espescially that of the ruler, divided itself and represented the three cosmic levels: the celestial or heavenly, the terrestrial, the earth’s surface and the watery underworld, reachable through caves and sacred accesses."


Fine dining whenever you want to eat out in Senegambia.
A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022

gaya@qanet.gm  
gayagambia@gmail.com
www.gayaartcafe.com/


Sunday, September 6, 2009

The Sacred Forest Baobab Forest

Makasutu a 500-hectare piece of bush in the Kombo central district of the republic of The Gambia is deemed by some to be a devil's home. They say he is there in the form of a ninkinanko or dragon, and protects the hidden crown and clothes of King Jatta from Busumbala who was killed 200 years ago by the Muslim king Kombo Silla on his way east to take over the country. Jatta's men took the crown and clothes and placed them for safekeeping in the area of Makasutu, now known as the Big Forest.

This skyline of ancient baobab and strangler trees looms over the eastern end of Makasutu and is now under the self-imposed guardianship of Echin, a Jola tribesman.The devil is not the only presence there to ward off encroaching. Along with him are jinns and giants -- spectral creatures that straddle animism and Islam.


They help watch over an Edenesque orchard, which is thought to appear to those with a purity of heart trekking across the land. Mandingo tribesmen tell you in ominous undertones that you can eat the fruit of the orchard while you are in the forest but can never leave with it.
When the Islamic wave came down through the Sahara in the 12th century it gave Makasutu its name, and greater protection from the men who wanted to ravage the bush of timber and wildlife. It became a place of prayer, and so a Mecca (Maka) in the forest (sutu).
It was strictly protected by local kings and marabouts who said that no tree could be felled or animal hunted in the sacred grounds. The land until the turn of the century was used only for godly communion.

Men prayed and boys recently circumcised in the name of Allah were brought to bathe in Mandina Bilon -- a tributary of the main Gambia river that lies five kilometres to the north.
The Bilon brings fish to Makasutu as the tide swells; from its sandy banks grow thick lines of mangroves, and from their grey tentacles the Koran women collect oysters.


As the 20th century moved in Makasutu with its untouched supply of wood and wildlife became a new mecca for the people of Kembujeh and neighbouring villages.  It was on the verge of being stripped bare, when in 1992 Lawrence Williams,an architect, and James English, an engineer, came across the land and decided it would make a perfect location for a retreat and oasis for overlanders coming down off the Sahara.
They bought the land from the Sanni family who had ancient ownership rights, and after eight years of fencing and planting thousands of trees the land once again has found a protectorate.Makasutu has become a model for ecotourism in Africa.
Local women continue to grow crops on the western portion, and oyster women come and collect as ever, but now the birds are returning in droves to the trees and baboons stop at the safe haven on their migration route.
Momadou Jeeba, a Jola tribesman, has been manager at Makasutu for the past seven years and revealed that long before Williams and English arrived he and others had dreams that two whites would come by river and settle at Makasutu and keep it from harm -- a myth that has now turned into reality.


Fine dining whenever you want to eat out in Senegambia.

A unique Gambia restaurant for both Gambian and global cuisine.
Come and enjoy our restaurant in The Gambia!
Directions Bertil Harding Highway, next to Senegambia Craft Market
220 4464022
220 6664022
gaya@qanet.gm
gayagambia@gmail.com
www.gayaartcafe.com