PanAfricanArts
Announcement
Welcome to Pan-African Arts! Take a look around; you just might see something that you like -- and which, in turn, likes you. If so, we hope you'll place an order. Otherwise, keep an eye out for us when we exhibit at a special event in or near your area.
ARTISTIC BACKGROUND AND TRAINING
My first exposure to folk musical instruments was during my childhood in Georgia, when I would watch my father and friends making and playing nail-keg drums, kazoos, and such (instruments which I later learned had African antecedents) at weekend gatherings.
Although I soon began making instruments myself, it wasn't until early adulthood that I began actively to craft traditional African instruments, the techniques having been learned through observation and informal study with crafters in the U.S. and abroad.
My handiwork is similar to that of other crafters in the U.S. in that they share the same broad outlines. Mine differs from that of most, however, in that I make every attempt to adhere to traditional dictates and avoid incorporating such modern innovations as to render the end product unrecognizable as a traditional instrument.
My handiwork has been featured in the following settings: (1) an exhibition in conjunction with the Greater Miami Chamber of Commerce symposium "Doing Business in Africa"; (2) "Florida Folklife: Traditional Arts in Contemporary Communities" (a five-city statewide exhibition curated by the Historical Museum of Southern Florida (Miami, FL); (3) an exhibit during a Kwanzaa celebration at the Broward County Main Library (Ft. Lauderdale, FL); (4) a three-month exhibition at Borders Books & Music (Ft. Lauderdale, FL); and (5) included in the permanent collection of the Geechee Kunda Living Museum & Cultural Center (Riceboro, GA). As well, my instruments have been used in live and recorded performances by a number of local and nationally known musicians. In 1997 I was one of six artists statewide selected to serve as "master artists" (mbira virtuoso Cleodis "Jomo" Faulks being my apprentice) in the Florida Department of State's Folklife/Folk Arts Apprenticeship Program. Additional honors include (1) a Certificate of Appreciation from the U.S. Customs Service (Miami, FL, 1999); (2) a Blue Ribbon award from the Georgia Gourd Society Show (Perry GA, 2009); and (3) an Award of Merit from the Fiesta in the Park Art & Craft Show (Orlando, FL, 2010).
As an African/African-American cultural presenter, I offer, through my Project Reclamation platform, lectures (e.g., "African Linguistic Survivals in U.S. English," "African-Derived Names in the U.S."); lecture-demonstrations of African-and African-derived musical instruments; and conduct musical instrument-making workshops throughout the southeastern United States and beyond. For details on these offerings, visit http://www.ancestralmemory.com.
Announcement
Welcome to Pan-African Arts! Take a look around; you just might see something that you like -- and which, in turn, likes you. If so, we hope you'll place an order. Otherwise, keep an eye out for us when we exhibit at a special event in or near your area.
ARTISTIC BACKGROUND AND TRAINING
My first exposure to folk musical instruments was during my childhood in Georgia, when I would watch my father and friends making and playing nail-keg drums, kazoos, and such (instruments which I later learned had African antecedents) at weekend gatherings.
Although I soon began making instruments myself, it wasn't until early adulthood that I began actively to craft traditional African instruments, the techniques having been learned through observation and informal study with crafters in the U.S. and abroad.
My handiwork is similar to that of other crafters in the U.S. in that they share the same broad outlines. Mine differs from that of most, however, in that I make every attempt to adhere to traditional dictates and avoid incorporating such modern innovations as to render the end product unrecognizable as a traditional instrument.
My handiwork has been featured in the following settings: (1) an exhibition in conjunction with the Greater Miami Chamber of Commerce symposium "Doing Business in Africa"; (2) "Florida Folklife: Traditional Arts in Contemporary Communities" (a five-city statewide exhibition curated by the Historical Museum of Southern Florida (Miami, FL); (3) an exhibit during a Kwanzaa celebration at the Broward County Main Library (Ft. Lauderdale, FL); (4) a three-month exhibition at Borders Books & Music (Ft. Lauderdale, FL); and (5) included in the permanent collection of the Geechee Kunda Living Museum & Cultural Center (Riceboro, GA). As well, my instruments have been used in live and recorded performances by a number of local and nationally known musicians. In 1997 I was one of six artists statewide selected to serve as "master artists" (mbira virtuoso Cleodis "Jomo" Faulks being my apprentice) in the Florida Department of State's Folklife/Folk Arts Apprenticeship Program. Additional honors include (1) a Certificate of Appreciation from the U.S. Customs Service (Miami, FL, 1999); (2) a Blue Ribbon award from the Georgia Gourd Society Show (Perry GA, 2009); and (3) an Award of Merit from the Fiesta in the Park Art & Craft Show (Orlando, FL, 2010).
As an African/African-American cultural presenter, I offer, through my Project Reclamation platform, lectures (e.g., "African Linguistic Survivals in U.S. English," "African-Derived Names in the U.S."); lecture-demonstrations of African-and African-derived musical instruments; and conduct musical instrument-making workshops throughout the southeastern United States and beyond. For details on these offerings, visit http://www.ancestralmemory.com.
Items
Featured items
All Items
Reviews
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jjone232 on Aug 8, 2022
5 out of 5 starsThis shop is amazing. I love this instrument and can feel the intention and love he put into it when it arrived. Shipping was super fast and he even has classes on how to make your own instruments. Highly recommend
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hdawnivy on Aug 7, 2022
5 out of 5 starsVery speedy filling of order and shipping! Excellent looking and sounding, though I possibly should have bought an adjustable version, since I have small hands and these hit different. But I probably just need practice. :)
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Hassan on Jun 11, 2022
5 out of 5 starsThe quality of my instruments, along with phenomenal customer service, speedy delivery and a sweet discount after my purchase... I had no choice but to purchase another shekere before posting this...
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arlenmel on Jun 11, 2022
5 out of 5 starsI just love my xylophone! The wood slats and rubber-headed mallets yield the authentic sound I remember from villages in DRC. Added plus - very easy to ‘play’ pleasing melodies
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Janet on May 15, 2022
5 out of 5 starsBeautiful! Nice bass and rattle. Shipped without issue and got here quickly. Thx!!!
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Priestess on May 15, 2022
5 out of 5 starsBeautiful and came exactly as described. Thank you so much!
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marissa on Apr 16, 2022
5 out of 5 starsThis bell has a great sound. The stick that it came with is the perfect density and size.
About PanAfricanArts
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Work-In-Peigresa: Ekonting, a likely progenitor of the banjo, being readied for the Black Banjo Reclamation Project. -
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Work-in-progress: Agbe (jumbo Yoruba-style netted gourd rattle) being strung with the traditional cowrie shell strikers -
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Work-in-progress: Yoruba-style netted gourd rattle (şèkèrè). Pending additional bead strikers. -
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Work-in-progress: şèkèrè (Yoruba-style netted gourd rattle) -
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Work-in-progress: frame for bala (Mande-style gourd-resonated xylophone). Pending attachment of wooden keys and gourds.
Pan-African Arts: Crafters of African and African-derived "musical happy machines"
ARTISTIC BACKGROUND AND TRAINING
My first exposure to folk musical instruments was during my childhood in Georgia, when I would watch my father and friends making and playing nail-keg drums, kazoos, and such (instruments which I later learned had African antecedents) at weekend gatherings.
Although I soon began making instruments myself, it wasn't until early adulthood that I began actively to craft traditional African instruments, the techniques having been learned through observation and informal study with crafters in the U.S. and abroad.
My handiwork is similar to that of other crafters in the U.S. in that they share the same broad outlines. Mine differs from that of most, however, in that I make every attempt to adhere to traditional dictates and avoid incorporating such modern innovations as to render the end product unrecognizable as a traditional instrument.
Shop members: Lobognon Ahipeaud, a native of the West African nation of Cote d'Ivoire; and Titos Sompa, a native of the Congo.
My handiwork has been featured in the following settings: (1) an exhibition in conjunction with the Greater Miami Chamber of Commerce symposium "Doing Business in Africa"; (2) "Florida Folklife: Traditional Arts in Contemporary Communities" (a five-city statewide exhibition curated by the Historical Museum of Southern Florida (Miami, FL); (3) an exhibit during a Kwanzaa celebration at the Broward County Main Library (Ft. Lauderdale, FL); (4) a three-month exhibition at Borders Books & Music (Ft. Lauderdale, FL); and (5) included in the permanent collection of the Geechee Kunda Living Museum & Cultural Center (Riceboro, GA). As well, my instruments have been used in live and recorded performances by a number of local and nationally known musicians. In 1997 I was one of six artists statewide selected to serve as "master artists" (mbira virtuoso Cleodis "Jomo" Faulks being my apprentice) in the Florida Department of State's Folklife/Folk Arts Apprenticeship Program. Additional honors include (1) a Certificate of Appreciation from the U.S. Customs Service (Miami, FL, 1999); (2) a Blue Ribbon award from the Georgia Gourd Society Show (Perry GA, 2009); and (3) an Award of Merit from the Fiesta in the Park Art & Craft Show (Orlando, FL, 2010).
As an African/African-American cultural presenter, I offer, through my Project Reclamation platform, lectures (e.g., "African Linguistic Survivals in U.S. English," "African-Derived Names in the U.S."); lecture-demonstrations of African-and African-derived musical instruments; and conduct musical instrument-making workshops throughout the southeastern United States and beyond. For details on these offerings, visit http://www.ancestralmemory.com.
Shop members
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Eddie Osborne
Owner
Production partners
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Liliane Nerette Louis
North Miami, FL
Author Liliane Nerette Louis is a Haitian culture bearer specializing in storytelling, cooking and traditional medicine
Shop policies
Shipping
Customs and import taxes
Payment options
Returns & exchanges
I gladly accept returns and exchanges
I don't accept cancellations
The following items can't be returned or exchanged
- Custom or personalized orders
- Perishable products (like food or flowers)
- Digital downloads
- Intimate items (for health/hygiene reasons)
- Items on sale
I accept returns I do not accept returns
I accept exchanges I do not accept exchanges
I accept cancellations I do not accept cancellations
Because of the nature of these items, unless they arrive damaged or defective, I can't accept returns for: