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Telling Stories, Making Histories: Women, Words, and Islam in Nineteenth-Century Hausaland and the Sokoto Caliphate (Portsmouth, New Hampshire, Heinemann, 2007) (Social History of Africa). Being and becoming Hausa: interdisciplinary perspectives. African social studies series. Anne Haour, Benedetta Rossi (eds.). Leiden; Boston: Brill. 2010.
Amina was born in the middle of the sixteenth century CE to King Nikatau, the 22nd ruler of Zazzau, and Queen Bakwa Turunku (r. 1536–c. 1566). [4] She had a younger sister named Zaria for whom the modern city of Zaria (Kaduna State) was renamed by the British in the early twentieth century.
British and French colonialism, though, offered little space for women in the official hierarchies of indirect rule, and the formal roles, like the Bori, for women in governance largely disappeared by the mid 20th century. [10] In modern Muslim Hausaland, Bori ritual survives in some places assimilated into syncretic practices.
Occupying the Northern region of present day Nigeria. the Hausa Kingdom consisted of seven Hausa States, each state with distinctive cultural inclination on gender roles and fluidity prior to the Jihadist Movement which brought about the Islamization of the major Hausa states between the 11th and 12th century.
Baba was born to a Hausa Muslim family in the small African town of Karo. [4] Her birth took place in the 19th century, before Karo became part of the British Empire. [4] Karo was an agrestic town where harvesting and agriculture were important. [5] Before British rule, Hausa women could be found harvesting the fields. [5]
The Union des Femmes du Niger (UFN) was a women's organisation in Niger, which was active from 1959 to 1974 and was affiliated to the Nigerien Progressive Party. It advocated, with limited success, for increases in women's rights.
Queen Amina Statue is an equestrian statue in honour of Queen Amina, an Hausa Warrior Queen of Zazzau. [1] The sculpture was originally designed by Ben Ekanem in 1975 during the Second World Black and African Festival of Arts and Culture and was placed at the entrance of the National Arts Theatre in Lagos State. [2]
In 1973 she started performing at marriage and naming ceremonies. She gained "a reputation as a boisterous and uninhibited performer who 'said it like it was', since she addressed issues intimate to women, about life, wealth, husbands and survival." [1] Alhaji Aliyu died in 1991.