Culture of Madagascar

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Hiragasy musicians wearing coordinating lambas Hira gasy musicians 2008.jpg
Hiragasy musicians wearing coordinating lambas

The culture of Madagascar reflects the origins of the Malagasy people in Southeast Asia, East Africa and Oceania. The influence of Arabs, Indians, British, French and Chinese settlers is also evident.

Contents

The most emblematic musical instrument of Madagascar, the valiha , is a bamboo tube zither carried to the island by early settlers from southern Borneo, and is very similar in form to those found in Indonesia and the Philippines today. [1] Traditional houses in Madagascar are likewise similar to those of southern Borneo in terms of symbolism and construction, featuring a rectangular layout with a peaked roof and central support pillar. [2] Reflecting a widespread veneration of the ancestors, tombs are culturally significant in many regions and tend to be built of more durable material, typically stone, and display more elaborate decoration than the houses of the living. [3]

The production and weaving of silk can be traced back to the island's earliest settlers, and Madagascar's national dress, the woven lamba , has evolved into a varied and refined art. [4] The Southeast Asian cultural influence is also evident in Malagasy cuisine, in which rice is consumed at every meal, typically accompanied by one of a variety of flavorful vegetable or meat dishes. [5]

African influence is reflected in the sacred importance of zebu cattle and their embodiment of their owner's wealth, traditions originating on the African mainland. Cattle rustling, originally a rite of passage for young men in the plains areas of Madagascar where the largest herds of cattle are kept, has become a dangerous and sometimes deadly criminal enterprise as herdsmen in the southwest attempt to defend their cattle with traditional spears against increasingly armed professional rustlers. [6]

Worldview and religions

Religion in Madagascar (2020) according to the Pew Research Center [7]

   Christian (85.4%)
   Folk religions (4.6%)
   Muslim (3%)
  Unaffiliated/Other (7%)

Traditional worldview

Mahafaly tomb with traditional painted decoration Mahafaly tomb painted carved south Madagascar.jpg
Mahafaly tomb with traditional painted decoration

4.6% of the Island's population is solely adherent to the traditional religion of Fomba-gasy, [8] which tends to emphasize links between the living and the razana (ancestors). The veneration of ancestors has led to the widespread tradition of tomb building, as well as the highlands practice of the famadihana , whereby a deceased family member's remains may be exhumed to be periodically re-wrapped in fresh silk shrouds before being replaced in the tomb. The famadihana is an occasion to celebrate the beloved ancestor's memory, reunite with family and community, and enjoy a festive atmosphere. [9] Across the island, many Malagasy make offerings out of respect to the ancestors, such as by pouring the first cap-full of each newly opened bottle of rum into the northeastern corner of the room. [10]

Consideration for ancestors is also demonstrated through adherence to fady , taboos that are respected during and after the lifetime of the person who establishes them. It is widely believed that by showing respect for ancestors in these ways, they may intervene on behalf of the living. Conversely, misfortunes are often attributed to ancestors whose memory or wishes have been neglected. The sacrifice of zebu is a traditional method used to appease or honor the ancestors. In addition, the Malagasy traditionally believe in a creator god, called Zanahary or Andriamanitra. [11]

Social structure and values

Each of the many ethnic sub-groups in Madagascar adhere to their own set of beliefs, practices and ways of life that have historically contributed to their unique identities. However, there are a number of core cultural features that are common throughout the island, creating a strongly unified Malagasy cultural identity. In addition to a common language and shared traditional religious beliefs around a creator god and veneration of the ancestors, the traditional Malagasy worldview is shaped by values that emphasize fihavanana (solidarity), vintana (destiny), tody (karma), and hasina , a sacred life force that traditional communities believe imbues and thereby legitimates authority figures within the community or family. Other cultural elements commonly found throughout the island include the practice of male circumcision; strong kinship ties; a widespread belief in the power of magic, diviners, astrology and witch doctors; and a traditional division of social classes into nobles, commoners, and slaves. [11] [12]

Although social castes are no longer legally recognized, ancestral caste affiliation often continues to affect social status, economic opportunity and roles within the community. [13] Malagasy people traditionally consult Mpanandro ("Makers of the Days") to identify the most auspicious days for important events such as weddings or famadihana, according to a traditional astrological system introduced by Arabs. Similarly, the nobles of many Malagasy communities in the pre-colonial period would commonly employ advisers known as the ombiasy (from olona-be-hasina, "man of much virtue") of the southeastern Antemoro ethnic group, who trace their ancestry back to early Somali settlers. [14]

Introduced religions

Majority of the Malagasy population adheres to Christianity, with practitioners of Protestantism slightly outnumbering adherents to Roman Catholicism. [15] Today, most Malagasy Christians integrate their religious beliefs with traditional ones related to honoring their ancestors. For instance, they may bless their dead at church before proceeding with traditional burial rites or invite a Christian minister to consecrate a famadihana reburial. [9] Many Malagasy believe they are descended from ancient Israelites and refer to a Malagasy Jewish diaspora (Diaspora Jiosy Gasy), with asserted signs such as dietary, menstrual, and life-cycle practices. In 2011, a normative Jewish movement was started and soon recognized by the government. [16] Islam is practiced by around 7% of the population, with practitioners largely concentrated in the northwestern provinces of Mahajanga and Antsiranana. The vast majority of Muslims are Sunni and are divided between those of Malagasy ethnicity, Indians, Pakistanis and Comorians. More recently, Hinduism was introduced to Madagascar through Gujarati people immigrating from the Saurashtra region of India in the late 19th century. [17]

Perception of time

The Malagasy people of Madagascar see time in a cyclical manner. They imagine the future as flowing into the back of their heads, or passing them from behind, then becoming the past as it stretches out in front of them. The past is in front of their eyes because it is visible, known and influential. They can look at it, enjoy it, learn from it, even “play” with it. [18]

In his 1915 book A naturalist in Madagascar, naturalist James Sibree published the following table of Malagasy terms used to refer to times of day and night: [19]

Malagasy termEnglish translationTime of day (approximate)
Mamaton’ alinaCentre of night12:00 AM; midnight
Misasaka alinaHalving of night
Maenno sahonaFrog croaking2:00 AM
Maneno akahoCock-crowing3:00 AM
Maraina alina koaMorning also night4:00 AM
Maneno goaikaCrow croaking5:00 AM
Manga vodilanitraBright horizon5:15 AM
Mangoan’ atsinananaReddish East
Mangiran-dratsyGlimmer of day
Ahitan-tsoratr’ ombyColors of cattle can be seen5:30 AM
Mazava ratsyDusk
Mifoha lo-maozotoDiligent people awake
Maraina koaEarly morning
Vaky masoandroSunrise6:00 AM
Vaky androDaybreak
Piakandro
Antoandro be nanaharyBroad daylight
Efa bana ny andro
Mihintsana andoDew-falls6:15 AM
Mivoaka ombyCattle go out (to pasture)
Maim-bohon-dravinaLeaves are dry (from dew)6:30 AM
Afa-dranom-panalaHoar-frost disappears6:45 AM
Manara vava nya ndroThe day chills the mouth
Misandratra androAdvance of the day8:00 AM
Mitatao haratraOver (at a right angle with) the purlin9:00 AM
Mitatao vovonanaOver the ridge of the roof12:00 PM; noon
Mitsidika androPeeping-in of the day1:00 PM
Latsaka iray dia ny androDay less one step
Solafak’ androSlipping of the day1:00 PM – 2:00 PM
2:00 PM
Tafalatsaka ny androDecline of the day
Mihilana ny andro
Am-pitotoam-baryAt the rice-pounding place
Mby amin’ ny andry ny androAt the house post
Am-pamatoran-janak’ ombyAt the place of tying the calf3:00 PM
Mby am-pisoko ny androAt the sheep or poultry pen4:00 PM
Mody omby tera-baoThe cow newly calved comes home4:30
Tafapaka ny androSun touching (i.e. the eastern wall)5:00
Mody ombyCattle come home5:30
Mena masoandroSunset flush5:45
Maty masoandroSunset (lit. “Sun dead”)6:00
Miditra akohoFowls come in6:15
SomambisambyDusk; twilight6:30
Maizim-bava-vilanyEdge of rice-cooking pan obscure6:45
Manokom-bary olonaPeople begin to cook rice7:00
Homan-bary olonaPeople eat rice8:00
Tapi-mihinanaFinished eating8:30
Mandry olonaPeople go to sleep9:00
Tapi-mandry olonaEveryone in bed9:30
Mipoa-tafondroGun-fire10:00

Language

The Malagasy language is of Malayo-Polynesian origin and is generally spoken throughout the island. The numerous dialects of Malagasy, which are generally mutually intelligible, [20] can be clustered under one of two sub-groups: eastern Malagasy, spoken along the eastern forests and highlands including the Merina dialect of Antananarivo; and western Malagasy, spoken across the western coastal plains. French became the official language during the colonial period, when Madagascar came under the authority of France. In the first national Constitution of 1958, Malagasy and French were named the official languages of the Malagasy Republic. Madagascar is a francophone country, and French is mostly spoken as a second language among the educated population and used for international communication. [12]

Art

Visual arts

Malagasy girl in Nosy Be wearing masonjoany, an endemic decorative and protective paste made from ground wood Malagasy girl in Nosy Be wearing masonjoany 2011.jpg
Malagasy girl in Nosy Be wearing masonjoany, an endemic decorative and protective paste made from ground wood

Traditional arts are based on the creative use of local and natural materials. The tradition of silk weaving and lamba production exemplifies this form of art. The weaving of raffia and other local plant materials has been used to create a wide array of practical items such as floor mats, baskets, purses and hats. [21] Wood carving is a highly developed art form, with distinct regional styles evident in the decoration of balcony railings and other architectural elements. Sculptors create a variety of furniture and household goods, aloalo funerary posts, and wooden sculptures, many of which are produced for the tourist market. [22] The decorative and functional woodworking traditions of the Zafimaniry people of the central highlands was inscribed on UNESCO's list of Intangible Cultural Heritage in 2008. [23]

Among the Antaimoro people, the production of paper embedded with flowers and other decorative natural materials is a long-established tradition that the community has begun to market to eco-tourists. [22] Embroidery and drawn thread work are done by hand to produce clothing, as well as tablecloths and other home textiles for sale in local crafts markets. [21] A small but growing number of fine art galleries in Antananarivo, and several other urban areas, offer paintings by local artists, and annual art events, such as the Hosotra open-air exhibition in the capital, contribute to the continuing development of fine arts in Madagascar. [24]

Performing arts

Theater and dance are strong traditions on the island. A traditional form of theater emerged in the form of the hiragasy , a day-long spectacle of music, song, dance and oration performed by a troupe (typically related by blood or marriage and of rural origin) or as a competition between two troupes. The tradition in its contemporary form began in the late 18th century when Merina prince Andrianampoinimerina first used musicians to draw a crowd for his political speeches. These troupes became independent, and began to incorporate political commentary and critique in their performances. The audience plays an active role at hiragasy events, expressing their satisfaction with the talent of the troupe members and the message they proclaim through applause, cheers or sounds of disapproval. [25] The troupe Tarika Ramilison Fenoarivo led by Ramilison Besigara is considered the most popular and influential hira gasy troupe of the last four decades. [26] Western theater was introduced with French colonization in 1896, producing a new form of Malagasy theater that incorporated a series of short musical and dance performances set to songs accompanied by piano or guitar played in the style of traditional valiha culture songs. The compositions of this period by pianist theatrical composers like Andrianary Ratianarivo (1895–1949) and Naka Rabemananatsoa (1892–1952) form part of the canon of classical Malagasy music and feature in the repertoire of Malagasy students of piano. [27]

The dances accompanying theatrical performances represent only a fraction of the myriad diverse dance styles found across the island. Dance remains a living art and new styles are continually emerging. Many have lent their name to the style of music to which they are danced. In the 19th century royal court, the quadrille was danced to Malagasy-influenced piano tunes; the last of these Malagasy quadrilles, called the Afindrafindrao, was composed shortly before colonization and accompanies a specific partner dance. The tune and the dance were revived upon national independence as a distinctly Malagasy tradition now commonly performed to commence festivities such as weddings and concerts.

A wide range of performance traditions have developed in Madagascar. One of the island's foremost artistic traditions is its oratory, as expressed in the forms of hainteny (poetry), kabary (public discourse) and ohabolana (proverbs). [28] [29] An epic poem exemplifying these traditions, the Ibonia , has been handed down over the centuries in several different forms across the island, and offers insight into the diverse mythologies and beliefs of traditional Malagasy communities. [30]

Elements of oral history and traditional oratory were documented by British and French visitors to the island. The first Malagasy historian was Raombana (1809–1855), one of the first pupils of the London Missionary Society school at the Rova of Antananarivo, who documented early 19th century Merina history in English and Malagasy. The Tantara ny Andriana eto Madagasikara , a compilation of the oral history of the Merina sovereigns, forms another major source of knowledge about traditional highland society and was collected and published in the late 19th century by a Catholic priest residing in the highlands. Western literary arts developed in the early 20th century under French colonization.

Literary arts

Antandroy dancers Antandroy traditional dancing.jpg
Antandroy dancers

The first African modern poet, a Merina named Jean-Joseph Rabearivelo (1901 or 1903–1937), gained celebrity for blending surrealist, romantic and modernist poetic forms with elements of traditional Malagasy oratory, as well as for his suicide by cyanide in 1937. Rabearivelo was also among the first in Madagascar to publish historical novels and wrote Madagascar's only Western-style opera. [31] This blending of Western and traditional influence in the literary arts was carried on by such artists as Elie Rajaonarison, an exemplar of the new wave of Malagasy poetry. [32] Other notable poets include Jacques Rabemananjara, Pierre Randrianarisoa, Georges Andriamanantena (Rado), Jean Verdi Salomon Razakandraina (Dox) and others. Leading authors include Jean-Luc Raharimanana, Michèle Rakotoson, Clarisse Ratsifandrihamanana, David Jaomanoro, Solofo Randrianja, Emilson Daniel Andriamalala and Celestin Andriamanantena. A number of comic books have also been created by Malagasy authors such as Anselme Razafindrainibe (1956–2011).

Music

Valiha orchestra at the Paris World Exposition of 1931 Orchestre Hova1.jpg
Valiha orchestra at the Paris World Exposition of 1931

Madagascar has also developed a rich musical heritage, embodied in dozens of regional musical genres such as the coastal salegy or highland hiragasy that enliven village gatherings, local dance floors and national airwaves. [33] Malagasy music has been shaped by the musical traditions of Southeast Asia, Africa, Oceania, Arabia, England, France and the United States as successive waves of settlers have made the island their home. [34] Traditional instruments reflect these widespread origins: the mandoliny and kabosy owe their existence to the introduction of the guitar by early Arab or European seafarers, the ubiquitous djembe originated in mainland Africa and the valiha —the bamboo tube zither considered the national instrument of Madagascar—directly evolved from an earlier form of zither carried with the first Austronesian settlers on their outrigger canoes. [1]

Malagasy music can be roughly divided into three categories: traditional, contemporary and popular music. Traditional musical styles vary by region and reflect local ethnographic history. For instance, in the Highlands, the valiha and more subdued vocal styles are emblematic of the Merina, the predominantly Austronesian ethnic group that has inhabited the area since at least the 15th century, whereas among the southern Bara people, who trace their ancestry back to the African mainland, their a cappella vocal traditions bear close resemblance to the polyharmonic singing style common to South Africa. [35] Foreign instruments such as the acoustic guitar and piano have been adapted locally to create uniquely Malagasy forms of music. Contemporary Malagasy musical styles such as the salegy or tsapika have evolved from traditional styles modernized by the incorporation of electric guitar, bass, drums and synthesizer. Many Western styles of popular music, including rock, gospel, jazz, reggae, hip-hop and folk rock, have also gained in popularity in Madagascar over the later half of the 20th century.

Cuisine and food

A street vendor selling fresh potato chips and traditional kaka pizon snacks Kakapizon and chips food vendor in Antananarivo Madagascar.jpg
A street vendor selling fresh potato chips and traditional kaka pizon snacks

Rice (vary) is the cornerstone of the Malagasy diet and is typically consumed at every meal. The accompaniment served with rice is called laoka in the highlands dialect, [36] the official version of the Malagasy language. Laoka are most often served in some kind of sauce: in the highlands, this sauce is generally tomato-based, while in coastal areas coconut milk is often added during cooking. [5] In the arid southern and western interior where herding zebu is traditional, fresh or curdled zebu milk is often incorporated into vegetable dishes. [37] Laoka are diverse and may include such ingredients as Bambara groundnuts with pork, beef or fish; trondro gasy (freshwater fish); Ravitoto (shredded cassava leaves) with peanuts, beef or pork; henan'omby (beef) or akoho (chicken) sauteed with ginger and garlic or simmered in its own juices (a preparation called ritra); various types of seafood, which are more readily available along the coasts or in large urban centers; and many more. [38] [39] A variety of local greens such as anamamy (Morelle greens), anamafaitra (Martin greens) and particularly anamalao (paracress)—distinguished by the mildly analgesic effect the boiled leaves and flowers produce—are commonly sold alongside anandrano (watercress) and anatsonga (bok choy). [40] In the arid south and west, such as among the Bara or Tandroy peoples, staples include sweet potato, yams, taro root and especially cassava, millet and maize, generally boiled in water and occasionally served in whole milk or flavored with crushed peanuts. [41] Ro (broth) may be served as the main laoka or in addition to it to flavor and moisten the rice. [42]

Garlic, onions, ginger, tomatoes, mild curry, and salt are the most common ingredients used to flavor dishes, and in coastal areas other ingredients such as coconut milk, vanilla, cloves or turmeric may also be used. [43] A variety of condiments are served on the side and mixed into the rice or laoka according to each individual's taste rather than mixing them in as the food is being cooked. [44] The most common and basic condiment, sakay, is a spicy condiment made from red or green chili pepper. [45] Indian-style condiments made of pickled mango, lemon, and other fruits (known as achards or lasary ), are a coastal specialty; [46] in the highlands, lasary often refers to a salad of green beans, cabbage, carrots and onion in a vinaigrette sauce, popular as a side dish or as the filling of a baguette sandwich. [47]

Architecture

The architecture of Madagascar is unique in Africa, bearing strong resemblance to the architecture of southern Borneo from which the earliest inhabitants of Madagascar are believed to have emigrated. [48] Traditional construction in this part of Borneo, also known as South Kalimantan, is distinguished by rectangular houses raised on piles. The roof, which is supported by a central pillar, is steeply sloped; the gable beams cross to form roof horns that may be decoratively carved. [49] The central Highlands of Madagascar are populated by the Merina, peoples who bear strong physiological and cultural resemblance to their Kalimantan ancestors; here, the traditional wooden houses of the aristocracy feature a central pillar (andry) supporting a steeply sloped roof decorated with roof horns (tandro-trano). [50] In the southeast of Madagascar, actual zebu horns were traditionally affixed to the gable peak. [51] Throughout Madagascar, houses are rectangular with a gabled roof as in Kalimantan, central pillars are widespread, and in all but a handful of regions, traditional homes are built on piles in a manner handed down from generation to generation, regardless of whether the feature is suited to local conditions. [52]

Certain cosmological and symbolic elements are common across Indonesian and Malagasy architecture as well. [50] [53] The central house pillar is sacred in Kalimantan and Madagascar alike, and in both places, upon constructing a new house this pillar was often traditionally anointed with blood. [49] [50] The features of the building or its dimensions (length, size, and particularly the height) are often symbolically indicative of the status of its occupants or the importance of its purpose on both islands. [50] [51] Likewise, both Madagascar and Borneo have a tradition of partially above-ground tomb construction [50] and the inhabitants of both islands practice the carving of decorative wooden funerary posts, called aloalo in western Madagascar and klirieng in the Kajang dialect of Borneo. [49]

Recreation and sports

Moraingy is a traditional martial art of Madagascar. Moraingy fighting Madagascar sport.jpg
Moraingy is a traditional martial art of Madagascar.

A number of traditional pastimes have emerged in Madagascar. Moraingy , a type of hand-to-hand combat, is a popular spectator sport in coastal regions. It is traditionally practiced by men, but women have recently begun to participate. [54] The wrestling of zebu cattle ( tolon-omby ) is also practiced in many regions. [55] In addition to sports, a wide variety of games are played. Among the most emblematic is fanorona , a board game widespread throughout the Highland regions. According to folk legend, the succession of King Andrianjaka after his father Ralambo was partially due to the obsession that Andrianjaka's older brother may have had with playing fanorona to the detriment of his other responsibilities. [56]

Western recreational activities were introduced to Madagascar over the past two centuries. Rugby is considered the national sport of Madagascar. [57] Football (soccer) is also popular. Madagascar has produced a world champion in pétanque, a French game similar to lawn bowling, which is widely played in urban areas and throughout the Highlands. [58] School athletics programs typically include soccer, track and field, judo, boxing, women's basketball and women's tennis. Madagascar sent its first competitors to the Olympic Games in 1964 and has also competed in the African Games. [59] Scouting is represented in Madagascar by its own local federation of three scouting clubs. Membership in 2011 was estimated at 14,905. [60]

Cinema

Rex and Riz cinemas in Antananarivo, Madagascar. Cinemas in Antananarivo Madagascar.JPG
Rex and Riz cinemas in Antananarivo, Madagascar.

In 1975, the Malagasy government nationalized the movie theatres and established the Office du Cinema Malgache. [61] The national film industry, although very much in its infancy, is influenced by Nollywood (Nigerian cinema) and French cinema. [62] [63] The most notable director is Raymond Rajaonarivelo, director of movies such as Quand Les Etoiles Rencontrent La Mer (When the Stars Meet the Sea) and Tabataba (The Spreading of Rumors). [63] The Zebu d'or (Golden Zebu) of the annual film festival Rencontres du Film Court Madagascar is an award given to honor the best films and artists in the industry.

There are two cinemas in Antananarivo and one in Mahajanga, all dating from the colonial era, but none show standard international releases or operate on a regular schedule. These venues instead occasionally screen Malagasy films or are used for private events and religious services. Hollywood blockbuster films and some international films, particularly including martial arts, horror and action releases, are typically broadcast on television and purchased as bootleg DVDs or digital media files in major urban areas. Bruce Lee has historically been very popular in Madagascar. [64] In smaller towns, films are often shown at improvised movie houses typically consisting of benches in a room fitted with a television and video player. [65] Most films are dubbed into French. [64]

Notes

  1. 1 2 Blench, Roger (1982). "Evidence for the Indonesian origins of certain elements of African culture". African Music. 6 (2): 81–93. doi:10.21504/amj.v6i2.1118. JSTOR   30249759.
  2. Kus, Susan; Raharijaona, Victor (2000). "House to Palace, Village to State: Scaling up Architecture and Ideology". American Anthropologist. New Series. 1 (102): 98–113. doi:10.1525/aa.2000.102.1.98.
  3. Acquier (1997), pp. 143–175
  4. Kusimba, Odland & Bronson (2004), p. 12
  5. 1 2 Bradt (2011), p. 312
  6. Campbell, Gwyn (1993). "The Structure of Trade in Madagascar, 1750–1810". The International Journal of African Historical Studies. 26 (1): 111–148. doi:10.2307/219188. JSTOR   219188.
  7. "Religions in Madagascar | PEW-GRF". Archived from the original on 2021-05-14. Retrieved 2023-08-15.
  8. "The Possessed and the Dispossessed". publishing.cdlib.org. Retrieved 2023-07-06.
  9. 1 2 Bearak, Barry (5 September 2010). "Dead Join the Living in a Family Celebration". New York Times. p. A7. Archived from the original on 27 January 2012. Retrieved 13 January 2012.
  10. Nativel & Rajaonah (2009), p. 165
  11. 1 2 Bradt (2011), pp. 13–20
  12. 1 2 Metz, Helen Chapin (1994). "Library of Congress Country Studies: Madagascar". Archived from the original on 9 November 2005. Retrieved 1 February 2011.
  13. Middleton (1999), pp. 259–262, 272, 309
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  15. Bureau of African Affairs (3 May 2011). "Background Note: Madagascar". U.S. Department of State. Retrieved 24 August 2011.
  16. Devir, Natan. "Origins and Motivations of Madagascar's Normative Jewish Movement." Becoming Jewish (2016): 49–63.
  17. "Report of the High Level Committee on the Indian Diaspora" (PDF). Ministry of External Affairs, India. 2004. Archived from the original (PDF) on 29 June 2003. Retrieved 22 January 2012.
  18. "How Different Cultures Understand Time". Business Insider .
  19. Sibree, James (1915). A naturalist in Madagascar: a record of observation, experiences, and impressions made during a period of over fifty years' intimate association with the natives and study of the animal & vegetable life of the island. London: Seeley, Service & Co., Limited. pp. 93–94.
  20. Rajaonarimanana (2001), p. 8
  21. 1 2 Ashamu, Charlotte; Gomez-Pickering, Diego; Luke, Amanda; Morrison, Paul; Pedersen, Mark; Symes, Mara; Weyandt, Marthe (2005). "Made in Madagascar: Exporting Handicrafts to the U.S. Market: Final Report" (PDF). United Nations Public-Private Alliance for Rural Development. Archived from the original (PDF) on 20 March 2012. Retrieved 10 July 2011.
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  23. "Woodcrafting Knowledge of the Zafimaniry". UNESCO. Archived from the original on 23 October 2012. Retrieved 24 August 2012.
  24. "Des nouveaux talents mis en relief". L'Express de Madagascar (in French). l'expressmada.com. 7 August 2009. Archived from the original on 9 May 2013. Retrieved 24 August 2012.
  25. Mauro (2001), p.
  26. "Madagascar: Ramilison Besigara – Une vie pour le Hira Gasy". L'Express de Madagascar (in French). 6 November 2007. Retrieved 18 July 2013.
  27. Rubin, Don (1997). The World Encyclopedia of Contemporary Theater: Africa. Taylor and Francis. ISBN   978-0-415-05931-2 . Retrieved November 16, 2010.
  28. Fox (1990), p. 39
  29. Ravalitera, P. "Origine Confuse des Vazimba du Betsiriry". Journal Express (in French). Madatana.com. Archived from the original on 14 July 2011. Retrieved 11 November 2010.
  30. Unknown. "Ibonia: the text in 17 sections". University of Virginia. Archived from the original on 5 June 2011. Retrieved 15 November 2010.
  31. Rabearivelo (2007), p. x
  32. Auzias & Labourdette (2007), p. 142
  33. Randrianary (2001), pp. 109–137
  34. Nidel (2005), p.
  35. Anderson (2000), pp. 523–532
  36. Sibree (1915), p. 106
  37. Faublée, Jacques (1942). "L'alimentation des Bara (Sud de Madagascar)". Journal de la Société des Africanistes (in French). 12 (12): 157–202. doi:10.3406/jafr.1942.2534. Archived from the original on April 25, 2011. Retrieved January 7, 2011.
  38. Espagne-Ravo (1997)
  39. Savoir Cuisiner (2004)
  40. Savoir Cuisiner (2004), p. 7
  41. Faublée (1942), pp. 192, 194–196
  42. Boissard (1997), p. 32
  43. Ashkenazi & Michael (2006), pp. 128–133
  44. Chan Tat Chuen (2010), pp. 37–38
  45. Chan Tat Chuen (2010), p. 42
  46. Espagne-Ravo (1997), pp. 79–83
  47. Chan Tat Chuen (2010), p. 39
  48. Wake, C. Staniland (1882). "Notes on the origins of the Malagasy". The Antananarivo Annual and Madagascar Magazine. 6: 21–33. Retrieved December 1, 2010.
  49. 1 2 3 Winzeler (2004), p.
  50. 1 2 3 4 5 Kus, Susan; Raharijaona, Victor (2000). "House to Palace, Village to State: Scaling up Architecture and Ideology". American Anthropologist. New Series. 1 (102): 98–113. doi:10.1525/aa.2000.102.1.98.
  51. 1 2 Thomas, Philip (September 1998). "Conspicuous Construction: Houses, Consumption and 'Relocalization' in Manambondro, Southeast Madagascar". The Journal of the Royal Anthropological Institute. 4 (3): 425–446. doi:10.2307/3034155. JSTOR   3034155.
  52. Acquier (1997), p.
  53. Kent (1993), p. 198
  54. Ratsimbazafy (2010), pp. 14–18
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Related Research Articles

<span class="mw-page-title-main">Madagascar</span> Island country in the Indian Ocean

Madagascar, officially the Republic of Madagascar, is an island country comprising the island of Madagascar and numerous smaller peripheral islands. Lying off the southeastern coast of Africa, it is the world's fourth largest island, the second-largest island country and the 44th largest country in the world. Its capital and largest city is Antananarivo.

<span class="mw-page-title-main">Antananarivo</span> Capital and largest city of Madagascar

Antananarivo, also known by its colonial shorthand form Tana, is the capital and largest city of Madagascar. The administrative area of the city, known as Antananarivo-Renivohitra, is the capital of Analamanga region. The city sits at 1,280 m (4,199 ft) above sea level in the center of the island, the highest national capital by elevation among the island countries. It has been the country's largest population center since at least the 18th century. The presidency, National Assembly, Senate and Supreme Court are located there, as are 21 diplomatic missions and the headquarters of many national and international businesses and NGOs. It has more universities, nightclubs, art venues, and medical services than any city on the island. Several national and local sports teams, including the championship-winning national rugby team, the Makis, are based here.

<span class="mw-page-title-main">Music of Madagascar</span> Music and musical traditions of Madagascar

The highly diverse and distinctive music of Madagascar has been shaped by the musical traditions of Southeast Asia, Africa, Oceania, Arabia, England, France and the United States over time as indigenous people, immigrants, and colonists have made the island their home. Traditional instruments reflect these widespread origins: the mandoliny and kabosy owe their existence to the introduction of the guitar by early Arab or European seafarers, the ubiquitous djembe originated in mainland Africa and the valiha—the bamboo tube zither considered the national instrument of Madagascar—directly evolved from an earlier form of zither carried with the first Austronesian settlers on their outrigger canoes.

<span class="mw-page-title-main">Merina people</span> Largest ethnic group in Madagascar

The Merina people are the largest ethnic group in Madagascar. They are the "highlander" Malagasy ethnic group of the African island and one of the country's eighteen official ethnic groups. Their origins are mixed, predominantly with Austronesians arriving before the 5th century AD, then many centuries later with mostly Bantu Africans, but also some other ethnic groups. They speak the Merina dialect of the official Malagasy language of Madagascar.

<span class="mw-page-title-main">Malagasy cuisine</span> Culinary traditions of Madagascar

Malagasy cuisine encompasses the many diverse culinary traditions of the Indian Ocean island of Madagascar. Foods eaten in Madagascar reflect the influence of Southeast Asian, African, Oceanian, Indian, Chinese and European migrants that have settled on the island since it was first populated by seafarers from Borneo between 100 CE and 500 CE. Rice, the cornerstone of the Malagasy diet, was cultivated alongside tubers and other Southeast Asian and Oceanian staples by these earliest settlers. Their diet was supplemented by foraging and hunting wild game, which contributed to the extinction of the island's bird and mammal megafauna. These food sources were later complemented by beef in the form of zebu introduced into Madagascar by East African migrants arriving around 1,000 CE.

<span class="mw-page-title-main">Hiragasy</span> Musical tradition in Madagascar

Hiragasy or hira gasy is a musical tradition in Madagascar, particularly among the Merina ethnic group of the Highland regions around the capital of Antananarivo. It is a day-long spectacle of music, dance, and kabary oratory performed by a troupe or as a competition between two troupes.

Hainteny is a traditional form of Malagasy oral literature and poetry, involving heavy use of metaphor. It is associated primarily with the Merina people of Madagascar. In its use of metaphor and allusion it resembles another type of poetry, the Malay pantun, and Fox suggests "it seems likely the Merina brought with them a Malayo-Polynesian poetic tradition" to Madagascar. The Ibonia, an epic poem related for centuries in different versions across Madagascar, reflects the value placed on the linguistic skills celebrated in the hainteny tradition, and offers insight into the diverse mythologies and beliefs of traditional Malagasy communities.

<span class="mw-page-title-main">Merina Kingdom</span> 1540–1897 kingdom in Madagascar

The Merina Kingdom, or Kingdom of Madagascar, officially the Kingdom of Imerina, was a pre-colonial state off the coast of Southeast Africa that, by the 18th century, dominated most of what is now Madagascar. It spread outward from Imerina, the Central Highlands region primarily inhabited by the Merina ethnic group with a spiritual capital at Ambohimanga and a political capital 24 km (15 mi) west at Antananarivo, currently the seat of government for the modern state of Madagascar. The Merina kings and queens who ruled over greater Madagascar in the 19th century were the descendants of a long line of hereditary Merina royalty originating with Andriamanelo, who is traditionally credited with founding Imerina in 1540.

<span class="mw-page-title-main">Betsimisaraka people</span> Ethnic group in Madagascar

The Betsimisaraka are the second largest ethnic group in Madagascar after the Merina and make up approximately fifteen percent of the Malagasy people. They occupy a large stretch of the eastern coastal region of Madagascar, from Mananjary in the south to Antalaha in the north. The Betsimisaraka have a long history of extensive interaction with European seafarers, pirates and bourgeois traders, which produced a significant subset with mixed European-Malagasy origins, termed the zana-malata. European influence is evident in the local valse (waltz) and basesa musical genres, which are typically performed on the accordion. Tromba ceremonies feature strongly in Betsimisaraka culture.

<span class="mw-page-title-main">Architecture of Madagascar</span> Buildings of Madagascar

The architecture of Madagascar is unique in Africa, bearing strong resemblance to the construction norms and methods of Southern Borneo from which the earliest inhabitants of Madagascar are believed to have immigrated. Throughout Madagascar, the Kalimantan region of Borneo and Oceania, most traditional houses follow a rectangular rather than round form, and feature a steeply sloped, peaked roof supported by a central pillar.

<span class="mw-page-title-main">Bara people</span> Malagasy ethnic group

The Bara people are a Malagasy ethnic group living in the southern part of the central plateaus of Madagascar, in the Toliara Province, concentrated around their historic capital at Ihosy. The Bara are the largest of the island's zebu-herding peoples and have historically lived a semi-nomadic lifestyle, although an increasing proportion are practicing agriculture. Bara society is highly patriarchal and endogamy and polygamy are practiced among some Bara tribes. Young men practice cattle rustling to prove their manhood before marriage, and the kilalaky musical and dance tradition associated with cattle rustlers has gained popularity across the island.

The Tandroy are a traditionally nomadic ethnic group of Madagascar inhabiting the arid southern part of the island called Androy, tracing their origins back to the East Africa mainland. In the 17th century however, the Tandroy emerged as a confederation of two groups ruled by the Zafimanara dynasty until flooding caused the kingdom to disband around 1790. The difficult terrain and climate of Tandroy protected and isolated the population, sparing them from subjugation by the Kingdom of Imerina in the 19th century; later, the French colonial authority also struggled to exert its influence over this population. Since independence the Tandroy have suffered prejudice and economic marginalization, prompting widespread migration and intermarriage with other ethnic groups, and leading them to play a key role in protests that sparked the end of President Philibert Tsiranana's administration in 1972.

<span class="mw-page-title-main">Bezanozano</span> Malagasy ethnic group

The Bezanozano are believed to be one of the earliest Malagasy ethnic groups to establish themselves in Madagascar, where they inhabit an inland area between the Betsimisaraka lowlands and the Merina highlands. They are associated with the vazimba, the earliest inhabitants of Madagascar, and the many vazimba tombs throughout Bezanozano territory are sites of pilgrimage, ritual and sacrifice, although the Bezanozano believe the descendants among them of these most ancient of ancestors cannot be identified or known. Their name means "those of many small plaits" in reference to their traditional hairstyle, and like the Merina they practice the famadihana reburial ceremony. There were around 100,000 Bezanozano living in Madagascar in 2013.

<span class="mw-page-title-main">Sihanaka</span> Malagasy ethnic group

The Sihanaka are a Malagasy ethnic group concentrated around Lake Alaotra and the town of Ambatondrazaka in central northeastern Madagascar. Their name means the "people of the swamps" in reference to the marshlands around Lake Alaotra that they inhabit. While rice has long been the principal crop of the region, by the 17th century, the Sihanaka had also become wealthy traders in slaves and other goods, capitalizing on their position on the main trade route between the capital of the neighboring Kingdom of Imerina at Antananarivo and the eastern port of Toamasina. At the turn of the 19th century they came under the control of the Boina Kingdom before submitting to Imerina, which went on to rule over the majority of Madagascar. Today the Sihanaka practice intensive agriculture and rice yields are higher in this region than elsewhere, placing strain on the many unique plant and animal species that depend on the Lake Alaotra ecosystem for survival.

The Fandroana, termed the Royal Bath by 19th century European historians, is the annual New Year's festival of the Merina people inhabiting the highlands of central Madagascar. The origins of the festival are preserved through oral history. According to folk legend, the wild zebu cattle that roamed the Highlands were first domesticated for food in Imerina under the reign of Ralambo. Different legends attribute the discovery that zebu were edible to the king's servant or to Ralambo himself. Ralambo is credited with founding the traditional ceremony of the fandroana to celebrate this discovery, although others have suggested he merely added certain practices to the celebration of a long-standing ritual.

<span class="mw-page-title-main">Rakoto Frah</span> Flautist and composer from Madagascar (1923–2001)

Philibert Rabezoza, better known by the name Rakoto Frah, was a flautist and composer of traditional music of the central highlands of Madagascar. Born in 1923 near the capital city of Antananarivo to a poor rural family, Rakoto Frah surmounted the challenges posed by his underprivileged origins to become the most acclaimed 20th century performer of the sodina flute, one of the oldest traditional instruments on the island. Through frequent international concerts and music festival performances, he promoted the music of the highlands of Madagascar and became one of the most famous Malagasy artists, both within Madagascar and on the world music scene.

<span class="mw-page-title-main">Rossy (musician)</span> Musical artist

Paul Bert Rahasimanana, better known as Rossy, is a Malagasy singer and songwriter, generally considered the most popular Malagasy artist of the 1990s. Beginning his musical career as an accordionist and singer within a traditional hira gasy musical troupe, Rossy innovated a fusion of hira gasy instrumentation and vocal style with contemporary rock, funk and folk sounds to create a uniquely Malagasy genre of contemporary popular music. Rossy actively promoted former president Didier Ratsiraka through concert performances throughout his presidency and served within the Ministry of Culture to promote artists' rights and copyright law. When Ratsiraka fell into disfavor following the contentious 2001 Malagasy presidential elections, Rossy went into self-imposed exile in France. He returned to the island to give concerts beginning in 2008 and enjoyed enormous popularity despite six years of absence, setting an unbroken record of 35,000 tickets sold for a performance given that year. His compositions and style are frequently associated with the Ratsiraka socialist period and commonly evoke a sense of nostalgia among Malagasy fans.

Andrianary Ratianarivo (1895-1949) was a pianist and composer of kalon'ny fahiny,vakondrazana and ba-gasy music from the central highlands of Madagascar. He was a major composer for the Malagasy theatrical genre that reached its peak between 1920 and 1940 at the Theatre d'Isotry in Antananarivo. Ratianarivo was born in the year of Madagascar's colonization to a musician of the royal palace. His pieces were typically written for piano, often with solo, duet or choral vocal accompaniment sung in the Malagasy language. He was classically trained as a conductor and composed over 500 songs and scores for theater, including an opera penned by Jean-Joseph Rabearivelo entitled Imaitsoanala (1935), which remains the only Malagasy opera. In 1929 he formed "Troupe Jeanette" in Antananarivo with musicians Rakaramanga and Jeanette; this group, with new artists, continues to perform at the Theatre d'Isotry to the present. His songs form part of the canon of classical Malagasy piano music. A street in downtown Antananarivo is named after him.

<span class="mw-page-title-main">Christianity in Madagascar</span> Christianity in Madagascar

Christianity in Madagascar is practiced by 85.3% of Madagascar's population according to the Pew Research Center in 2020. However, other surveys put the figure at 58%. Malagasy Christianity is generally practised in syncretic form with traditional religious practices.

<i>Savika</i> Betsileo (Madagascar) ox-wrestling ritual sport

Savika, also savik'omby or savika omby, is a traditional zebu-wrestling sport of Madagascar's Betsileo people, in which fighters, called mpisavika, attempt to bring a zebu ox to the ground by its horns or hump. Though the practice can be found throughout Madagascar's Central Highlands, it is most common in the Ambositra region, outside of which it is called tolon'omby. The tradition, which accompanies many festivities and rituals for the Betsileo, is particularly important as a courtship practice for young men to impress potential brides and their families. Preparation for savika begins in childhood, with boys engaging in various imaginative zebu games known as kiombiomby before training with real bulls.

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