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First edition. Yoruba Girl Dancing is the debut novel of Nigerian author Simi Bedford, which "tackles the weighty and painful issue of the extent to which Africans, even those who are members of the privileged classes, can gain social acceptance in 'the West.'" [1] Yoruba Girl Dancing was first published in Great Britain in 1991 (by William Heinemann Ltd) and then in the United States in 1992 ...
The 1st edition PDF is in the public domain. Coming of Age in Samoa: A Psychological Study of Primitive Youth for Western Civilisation is a 1928 book by American anthropologist Margaret Mead based upon her research and study of youth – primarily adolescent girls – on the island of Taʻū in American Samoa.
The girl is supposed to stay 7 Days in the Rondovel with her friends and practice songs for the ceremony. On the 7th day, the girls wake up early in the morning and go to the nearest river to bathe. When they come back, the girl is presented with a spear and she wears the fat from a cow's stomach (Umhlwehlwe) and they sing the traditional songs ...
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Learning also promotes the aggregation of knowledge of cultural practices and spirituality. For example, the Mazahua fifth- and sixth-grade students shifted their roles within the class by making a transformation between being a bystander and actually being considerate enough to contribute without being told to do so.
The ritual takes place after a girl has had her first period. [1] This ritual is symbolic of a girl's sexual maturity and ability to conceive . It is through this ritual that girls are taught about socially accepted behaviours of Xhosa women, [ 1 ] while also encouraging them not to have sex before marriage . [ 2 ]
Depending on different estimates, some say that the Ticuna primarily practice ethnic religion, while other estimates say that 30% [6] to 90% are Christian. The Ticuna practice a coming-of-age ceremony for girls when they reach puberty called a pelazon. After the girl's first menstruation, her whole body is painted black with the clan symbol ...
Ruth B. Bottigheimer catalogued this and other disparities between the 1810 and 1812 versions of the Grimms' fairy tale collections in her book, Grimms' Bad Girls And Bold Boys: The Moral And Social Vision of the Tales. Of the "Rumplestiltskin" switch, she wrote, "although the motifs remain the same, motivations reverse, and the tale no longer ...