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The Serer people of Senegal, Gambia, and Mauritania are bilineal, but matrilineality (tiim, in Serer) is very important in their culture, and is well preserved. [2] [3] There are a multitude of Serer maternal clans with their various history and origins.
Within the academic discipline of cultural anthropology, according to the OED, matriarchy is a "culture or community in which such a system prevails" [4] or a "family, society, organization, etc., dominated by a woman or women" without reference to laws that require women to dominate. [4]
Early theories explaining the determinants of postmarital residence (by, for example, Lewis Henry Morgan, Edward Tylor, and George Peter Murdock) connected it with the sexual division of labor. However, for many years cross-cultural tests of this hypothesis using worldwide samples failed to find any significant relationship between these two ...
Also, each such descent group might have its own family name or surname, as one possible cultural pattern. The following two example cultures each follow a different pattern, however: Example 1. Members of the (matrilineal) clan culture Minangkabau do not even have a surname or family name, see this culture's own section below.
In fact, it is not easy to categorize Mosuo culture within traditional anthropological categories. They have aspects of a matriarchal culture: women are often the head of the house, inheritance is through the female line, and women make business decisions. However, unlike a matriarchy, the political power tends to be in the hands of males. [5]
Peter referred to the concept, circulated among the online right, of the “longhouse”: a matriarchal culture where comfort and safety are prioritised above other considerations, and where non ...
A matriarchal religion is a religion that emphasizes a goddess or multiple goddesses as central figures of worship and spiritual authority. The term is most often used to refer to theories of prehistoric matriarchal religions that were proposed by scholars such as Johann Jakob Bachofen , Jane Ellen Harrison , and Marija Gimbutas , and later ...
The third gender role of nádleehi (meaning "one who is transformed" or "one who changes"), beyond contemporary Anglo-American definition limits of gender, is part of the Navajo Nation society, a "two-spirit" cultural role. The renowned 19th-century Navajo artist Hosteen Klah (1849–1896) is an example. [32] [33] [34]