PanAfricanArts
Buyers are raving!
This shop got multiple 5-star reviews in the past 7 days.
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
All Items
Reviews
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Raven on Apr 10, 2021
5 out of 5 starsbeautiful. I have been looking for a shaker just like this since my Aunt always brought hers to church. I love it thank you!
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Holly on Mar 25, 2021
5 out of 5 starsabsolutely beautiful. i can feel the intentional passion when you were making the piece. i love it.
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Steven on Mar 19, 2021
5 out of 5 starsI simply love it, it’s perfect! Like you said, in my AfroCuban culture, we pray to and celebrate the Orisha with it! Even though this one is strong, sounds perfect and is made to play, I’m using it for a look, don’t touch, decorative theme at home since I have others that I can play. The craftsmanship and quality of this piece is excellent! Thank you very much and I look forward to buying more of your instruments!
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ERROL on Mar 17, 2021
5 out of 5 starsI have again received exceptional customer service from this seller. The product is exactly as shown and the transit time was unbelievably swift. I would recommend this seller to any and everyone.
Dr Errol Samuels -
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Oroboros on Mar 10, 2021
5 out of 5 starsNot only is this instrument expertly crafted and producing an amazing sound, PanAfricanArts (Eddie particularly) were incredibly courteous, professional and helpful. This is an artist that deserves your support. Salam Alaikum to all beings.
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Edalio on Feb 2, 2021
5 out of 5 starsOutstanding workmanship!!! The best I've seen in a long time. The gourds as a result have beautiful skirt's (beading) and resonance, or rather voices, also known as notes. The Women Of The Calabash would be very proud!!! Thank You Baba Eddie!!!
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Rukiya on Jan 29, 2021
5 out of 5 starsStellar customer service and willing to accommodate shipping requests. High quality merchandise!!
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
Shop policies
Shipping
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: