| WORLD BOOKS AND RECORDS |
| KENYA'S RECENT HISTORY |
The Maasai have come to represent Africa at its most
primal, a fiercely independent tribe of legendary courage
who sternly shun the modern world in favour of
traditional rites and customs. The Maasai are
undoubtedly one of the most famous traditional cultures
on earth.
In recent years, the distinctive Maasai beading and
decorative jewellrey have become a fashion item in the
West, and remain one of the most popular items taken
home by visitors to Kenya. So popular has Maasai
beading become that many modern functional items,
including watchstraps, belts, handbags and even mobile
phone covers are being produced in Maasai designs.
The Maasai are indeed a truly independent and proud
with a culture more complex and interesting than popular
imagination would suggest. They once ranged widely
across much of Southern and Central Kenya, extending
north to Laikipia, and South across the border into
Tanzania. Today most of the Maasai population lives
throughout the South West of the country.
The Maasai have ancestral ties to the Samburu and the
Njemps with whom they share a language Maa, from
which the name Maasai comes. The Maasai are
completely nomadic cattle herders, and it is only very
recently that any move towards agriculture has become
evident.
Cattle are very important to the Maasai, and are the
subject of mystical beliefs and reverence. Maasai
mythology tells of a time when the earth and sky were
joined together, until they were suddenly torn apart, with
only the wild fig trees left as bridges between the two.
As a gift to the Maasai, God - called Enkai sent herds of
cattle down through these trees to earth.
To the Maasai cattle are sacred and a direct gift from the
heavens. Grass is also considered a blessing and sacred.
When passing a fig tree, it is customary for the Maasai to
push handfuls of grass between the roots, as homage to
the source of their herds. One of the more common
Maasai greetings is "I hope your cattle are well".
Wildlife is also considered sacred, especially the herds of
wildebeest that regenerate the precious grasslands. Lions
are considered a threat to cattle, which are enclosed in
protective bomas of thorn at night. While Lions were
traditionally respected, cattle raiding individuals were
also hunted. Lion hunts (Olomayio) have always been an
integral part of Maasai life. These were large ceremonial
events which represented a chance for young Morani
(warriors) to prove their courage. Lion hunting parties
were traditionally made up of a group of moran, armed
with spears and buffalo hide shields.
Bells stuffed with grass were worn on the legs of each
moran. The moran would stalk silently up to a lion resting
in thick cover, then remove the grass and begin a
noisome charge into the bush. The Lion would inevitably
charge and face the hunters.
Victory in a lion hunt was always great cause for
celebration, and the returning hunters would perform a
spectacular dance called the Engilakinoto. This dance is
based a deep rhythmic chant accompanied by a
exaggerated thrust of the chest. As the dance
progresses, moran display their strength with a series of
powerful vertical leaps. This dance is a remarkable sight,
with gifted moran having been known to leap up to four
feet clear of the earth. Similar dances such as the Eoko (
a dance to bless cattle) and the Eoko oo'njorin(a war
dance) are cause for the same exuberant displays of
strength.
There is a definite prominence given to the skills of
warriorhood in Maasai culture, explaining their expansion
and dominance of a wide range of lands throughout
Kenya. They have a highly developed system of
initiation, and age-sets. The first initiation for boys and
their age mates comes with circumcision, a time of great
celebration. This is followed by a period of
convalescence, during which the boys wear black and
decorate their faces with white powder.
The young men are then considered Junior moran.
Moran distend their earlobes (as do women) and grow
their hair into long braids, usually decorated with red
ochre, which is also used to slather their upper bodies.
Red is considered a sacred colour, and is always the
basic color of the Maasai shukka or blanket worn
around the shoulders by both men and women.
The beading worn by the Maasai is also highly symbolic.
There are around 40 varieties of beadwork, traditionally
made by women to be worn by both women and men.
As a rule, the two most common colours used are red,
blue and green.Red is the colour of the Maasai, Blue
beads are regarded as Godly, directly reflecting the
colour of the sky, while green is the colour of God’s
greatest blessing, fresh grass after rainfall.
One of the most popular necklaces worn by Maasai
women is a large flat disc that surrounds the neck, which
are made up of rows of beads threaded onto wire,
secured and spaced with cow hide strips.
Unmarried girls wear these necklaces when dancing,
using the movement of the disc to emphasize their lithe
movements. One of the most common dances for
women is the Olamal, which women perform to attract
blessings from community leaders.
Before marriage, a girl may decorate only the upper ear,
and not the lobes. The upper ear is pierced with a large
hole, and beading fastened to the ear. As a girl grows
older, her ears are increasingly decorated . At
adulthood, her lobes are pierced, and gradually distend
with the weight of the beads.
On her wedding day, an extremely elaborate, knee
length necklace is worn throughout the ceremony. A
wedding is cause for a girl to display all of her finery, and
so many beaded necklaces and ornaments are worn that
it can be difficult for the bride to walk.
Married women wear the Nborro - long blue bead
necklaces, and also decorate their earlobes with long
beaded flaps. A married woman will also often carry a
snuff container threaded onto her necklaces.
When a mother sends her son to be initiated, she
presents him with pendants known as surutia to wear
throughout his initiation. He will later return these to her,
to be worn proudly as a sign of her son’s status. A
mother will wear these surutia all of her life, and they are
only removed in the event of a sons' death.
Initiated Moran will mostly wander freely through
Maasailand, visiting various communities along the way.
They return for the Eunoto ceremony when their heads
are ceremonially shaved by their mother. This marks
their passage to Senior Moran, at which time they are
considered to have reached marriageable age.
After marriage, the passage is made to Junior Elder, and
then age dictates the passage to Senior elder. The
wisdom of elders is highly regarded, and elders will
always carry a large stick or rungu to symbolize their
position in the community.
The most revered of all elders were the laibons -
traditional prophets, healers and seers. The role of the
laibon was of paramount importance in traditional
Maasai society.
Throughout Maasai life almost every rite of passage,
from birth up to (though not including) death are greeted
with celebrations and ceremony. These ceremonies are
always elaborate and there are many recurring customs.
Milk is also considered sacred, and either milk itself, or
representative white dust, are used to bestow blessings.
Many ceremonies involve the ritual slaughter of cattle or
goats, with meat being distributed among the community
according to social rank. At other times, live cattle are
bled by opening a vein on the neck or flank with the
point of an arrow. The blood is collected in a gourd, and
the wound closed with ashes. The blood is either drunk
immediately while fresh or mixed with milk. Even at
slaughter, blood is collected and mixed with milk to be
drunk later. Sour milk is also considered a delicacy.
Maasai villages, or Manyattas are usually a circular
encampment of long, low, rounded houses, created by
daubing cattle dung over a framework of sticks.
Visiting a manyatta is a good way to learn more about
Maasai culture and everyday life. There are many
manyattas (often called cultural manyattas) in this area
that can be visited by tourists. It is worth arranging this
through a reputable guide, and a guided visit will
probably be much more informative.
The best way to experience and learn about the Maasai
life is to take a foot safari or organized trek with an
experienced Maasai guide. This is a good chance to get
to know the area and to spend time among Maasai
communities. It is also a great way to experience the
bush and the wildlife from a completely different
perspective to your own.
primal, a fiercely independent tribe of legendary courage
who sternly shun the modern world in favour of
traditional rites and customs. The Maasai are
undoubtedly one of the most famous traditional cultures
on earth.
In recent years, the distinctive Maasai beading and
decorative jewellrey have become a fashion item in the
West, and remain one of the most popular items taken
home by visitors to Kenya. So popular has Maasai
beading become that many modern functional items,
including watchstraps, belts, handbags and even mobile
phone covers are being produced in Maasai designs.
The Maasai are indeed a truly independent and proud
with a culture more complex and interesting than popular
imagination would suggest. They once ranged widely
across much of Southern and Central Kenya, extending
north to Laikipia, and South across the border into
Tanzania. Today most of the Maasai population lives
throughout the South West of the country.
The Maasai have ancestral ties to the Samburu and the
Njemps with whom they share a language Maa, from
which the name Maasai comes. The Maasai are
completely nomadic cattle herders, and it is only very
recently that any move towards agriculture has become
evident.
Cattle are very important to the Maasai, and are the
subject of mystical beliefs and reverence. Maasai
mythology tells of a time when the earth and sky were
joined together, until they were suddenly torn apart, with
only the wild fig trees left as bridges between the two.
As a gift to the Maasai, God - called Enkai sent herds of
cattle down through these trees to earth.
To the Maasai cattle are sacred and a direct gift from the
heavens. Grass is also considered a blessing and sacred.
When passing a fig tree, it is customary for the Maasai to
push handfuls of grass between the roots, as homage to
the source of their herds. One of the more common
Maasai greetings is "I hope your cattle are well".
Wildlife is also considered sacred, especially the herds of
wildebeest that regenerate the precious grasslands. Lions
are considered a threat to cattle, which are enclosed in
protective bomas of thorn at night. While Lions were
traditionally respected, cattle raiding individuals were
also hunted. Lion hunts (Olomayio) have always been an
integral part of Maasai life. These were large ceremonial
events which represented a chance for young Morani
(warriors) to prove their courage. Lion hunting parties
were traditionally made up of a group of moran, armed
with spears and buffalo hide shields.
Bells stuffed with grass were worn on the legs of each
moran. The moran would stalk silently up to a lion resting
in thick cover, then remove the grass and begin a
noisome charge into the bush. The Lion would inevitably
charge and face the hunters.
Victory in a lion hunt was always great cause for
celebration, and the returning hunters would perform a
spectacular dance called the Engilakinoto. This dance is
based a deep rhythmic chant accompanied by a
exaggerated thrust of the chest. As the dance
progresses, moran display their strength with a series of
powerful vertical leaps. This dance is a remarkable sight,
with gifted moran having been known to leap up to four
feet clear of the earth. Similar dances such as the Eoko (
a dance to bless cattle) and the Eoko oo'njorin(a war
dance) are cause for the same exuberant displays of
strength.
There is a definite prominence given to the skills of
warriorhood in Maasai culture, explaining their expansion
and dominance of a wide range of lands throughout
Kenya. They have a highly developed system of
initiation, and age-sets. The first initiation for boys and
their age mates comes with circumcision, a time of great
celebration. This is followed by a period of
convalescence, during which the boys wear black and
decorate their faces with white powder.
The young men are then considered Junior moran.
Moran distend their earlobes (as do women) and grow
their hair into long braids, usually decorated with red
ochre, which is also used to slather their upper bodies.
Red is considered a sacred colour, and is always the
basic color of the Maasai shukka or blanket worn
around the shoulders by both men and women.
The beading worn by the Maasai is also highly symbolic.
There are around 40 varieties of beadwork, traditionally
made by women to be worn by both women and men.
As a rule, the two most common colours used are red,
blue and green.Red is the colour of the Maasai, Blue
beads are regarded as Godly, directly reflecting the
colour of the sky, while green is the colour of God’s
greatest blessing, fresh grass after rainfall.
One of the most popular necklaces worn by Maasai
women is a large flat disc that surrounds the neck, which
are made up of rows of beads threaded onto wire,
secured and spaced with cow hide strips.
Unmarried girls wear these necklaces when dancing,
using the movement of the disc to emphasize their lithe
movements. One of the most common dances for
women is the Olamal, which women perform to attract
blessings from community leaders.
Before marriage, a girl may decorate only the upper ear,
and not the lobes. The upper ear is pierced with a large
hole, and beading fastened to the ear. As a girl grows
older, her ears are increasingly decorated . At
adulthood, her lobes are pierced, and gradually distend
with the weight of the beads.
On her wedding day, an extremely elaborate, knee
length necklace is worn throughout the ceremony. A
wedding is cause for a girl to display all of her finery, and
so many beaded necklaces and ornaments are worn that
it can be difficult for the bride to walk.
Married women wear the Nborro - long blue bead
necklaces, and also decorate their earlobes with long
beaded flaps. A married woman will also often carry a
snuff container threaded onto her necklaces.
When a mother sends her son to be initiated, she
presents him with pendants known as surutia to wear
throughout his initiation. He will later return these to her,
to be worn proudly as a sign of her son’s status. A
mother will wear these surutia all of her life, and they are
only removed in the event of a sons' death.
Initiated Moran will mostly wander freely through
Maasailand, visiting various communities along the way.
They return for the Eunoto ceremony when their heads
are ceremonially shaved by their mother. This marks
their passage to Senior Moran, at which time they are
considered to have reached marriageable age.
After marriage, the passage is made to Junior Elder, and
then age dictates the passage to Senior elder. The
wisdom of elders is highly regarded, and elders will
always carry a large stick or rungu to symbolize their
position in the community.
The most revered of all elders were the laibons -
traditional prophets, healers and seers. The role of the
laibon was of paramount importance in traditional
Maasai society.
Throughout Maasai life almost every rite of passage,
from birth up to (though not including) death are greeted
with celebrations and ceremony. These ceremonies are
always elaborate and there are many recurring customs.
Milk is also considered sacred, and either milk itself, or
representative white dust, are used to bestow blessings.
Many ceremonies involve the ritual slaughter of cattle or
goats, with meat being distributed among the community
according to social rank. At other times, live cattle are
bled by opening a vein on the neck or flank with the
point of an arrow. The blood is collected in a gourd, and
the wound closed with ashes. The blood is either drunk
immediately while fresh or mixed with milk. Even at
slaughter, blood is collected and mixed with milk to be
drunk later. Sour milk is also considered a delicacy.
Maasai villages, or Manyattas are usually a circular
encampment of long, low, rounded houses, created by
daubing cattle dung over a framework of sticks.
Visiting a manyatta is a good way to learn more about
Maasai culture and everyday life. There are many
manyattas (often called cultural manyattas) in this area
that can be visited by tourists. It is worth arranging this
through a reputable guide, and a guided visit will
probably be much more informative.
The best way to experience and learn about the Maasai
life is to take a foot safari or organized trek with an
experienced Maasai guide. This is a good chance to get
to know the area and to spend time among Maasai
communities. It is also a great way to experience the
bush and the wildlife from a completely different
perspective to your own.
| MAASAI CULTURE |
| STATE OF EMERGENCY IN KENYA Kikuyu and Mau Mau Insurection How much of Kenya's history do you actually know? In this section of World Books of Records, we bring you publications before, during and after the state of emergency. Consider this quote in Times of London, October 9th, 1952: "It is unhappily true that the Kikuyu are suffering from too large a dose of civilization and its freedoms administered too suddenly. They are encouraged by the attitude of people and organizations outside Africa who, for reasons sometimes honest but sometimes evil, want to see political power trans- ferred rapidly to Africans because they are Africans, and who undermine the security and prestige of British settlements in the process. Thus a first ossential in Kenya to-day is the restoration of respect for law and order, There must then be fuller studv of social problems and needs, and an effort to strengthen the best elements in the African community. If stabilitv is to be maintained, there must be more attention to the development of economic resources and the creation of a new and better social order. There must also be less loose talk about politics to people so manifestly immature in such affairs. " Times of London, October 9th, 1952 Extraction from Times of London Report by Rogers D. Hughes. Major, US Marine Corps, April 2, 1984 |
| KIKUYU BIBLE PULPIT EDITION |
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