There is often a topic of discussion amongst many an African today, on just how African, not only Abyssinia {Ethiopia, Kenya, Somalia} truly is (and as with speak of physical looks even that is), but truly in all again, this extending in many ways, to talk of just how African in all too really, Eastern Africa, truly is. All this said because, there is often a belief that only Central and Western Africa, are truly African in all, and that the Nubians and Egyptians of old, were actually more or less truly like them, and not like other Africans either that is {and as with these discussions in all too even, not knowing exactly what to do with North Africa as a whole (and as with they going as far even, as simply labeling North Africa in all, as Islam/Islamic, christian or Jewish too actually}.
In many ways truly, and as with speak too even of being African that is, and as with regards to Abyssinia too {Ethiopia, Kenya, Somalia}, it all in many ways, does come down to the very question of what truly does constitute in all again, genuine African 'Tribal Art' {and as with speak too even, of Ethnography that is}. A rather difficult question and due to the very fact that, when most do speak of African 'Tribal Art', they never do factor Egypt into the 'equation' in itself actually {and as with Egypt now, deemed a standalone Civilization in all, and somewhat even, similar to the Greeks, or even truly again, a part of the Middle East in many ways truly (and as with the Greeks too, having been highly civilized/adept at creating 'Tribal'/Ethnographic Art that is (and speak too even, of Trojans, Trajan, Sparta etc.))}.
In speaking on Abyssinia {Ethiopia, Kenya, Somalia}, and as with regards to all this, is to say that, descriptors in all again (and talk too really), of Abyssinia (or Kenya specifically even), being 'African' or 'European' in many ways truly, does come down to this very issue, of 'Tribal Art' actually {that in Kenya in all, there does exist Art that is somewhat 'African', and others (and as with speak too even of popular writings that is), more or less 'European' in nature actually (and as with stating that, 'African' writings and such as those of Wole Soyinka, do exist in all too really)}.
On further speak of what truly in all again, does constitute 'African' in Abyssinia {Ethiopia, Kenya, Somalia}, is to in all again speak of classifications within society in Abyssinia, that does classify 'African' as being Bantu, Nilotic, or finally Cushitic too actually. This kind of talk in all again, always actually does come down to 'Tribal/Ethnographic Art' {and as with that in Eastern Africa in all too really, more or less pertaining to 'Knowledge Networks' (and general problem solving too that is: and as with the case even, of Gikuyu music and by the likes of Joseph Kamaru for instance), while 'Tribal/Ethnographic Art' in Central/Western Africa, is highly Religious in nature actually, and with that seen in Southern Africa on the otherhand, speaking highly of Gender & Age classifications/issues and in many ways truly}. To make this even far more difficult is to say that, so called 'African Tribal/Ethnographic Art' in Eastern Africa {and as classified often as Bantu, Nilotic and Cushitic}, is actually in all again, a mishmash even, of 'Tribal Art' in all, coming in from the Middle East, Asia (and as with the music of Joseph Kamaru too for instance), Cushitic tribes in Abyssinia {Ethiopia, Kenya, Somalia}, Islamic Art {and via the Sudan, Eritrea or Djibouti too even}, and finally in all again, that from Central Africa actually {and as with alot even, of the gospel like singing heard in an 'African' Church or two in Abyssinia, more or less sounding like Central African singing}. As a result, and as with further speak even of physical looks that is, there is a troubling question in all again, of just how in all, to truly classify those within Eastern Africa {and as with regards truly, to what does truly signify Africa in all, and especially as with regards to 'Tribal/Ethnographic Art' that is}.
In many ways and in all too really, speaking on all this and psychologically that is, speaks of and in all too really, thinking of 'African' and 'European', and more or less from a Lingual Model of the Human being actually {and as with a Human that is, primarily said to constitute of a Long-term Memory, Working Memory, and a Preconscious Memory too actually}. In viewing a Human being as such, is to in all again speak of just how Human beings in all, do actually process Knowledge {and as with speak too even, of distilling Knowledge highly associated in all again, with Long-term Memory, Internalizing Knowledge and Working Memory, and memorizing Knowledge in all too really, and as with regards to Preconscious Memory that is}. To speak of a Human being as such, is to in all again say that, there are those {and as with speak too even of Abyssinia (Ethiopia, Kenya, Somalia) specifically that is}, who do in all again, process (distill, internalize, memorize) Knowledge in all too really, rather easily, and if Presented/Formatted in all, and in a rather 'European' fashion, and as compared to an 'African' fashion that is {and as with saying that, Asian 'Tribal/Ethnographic Art/Knowledge' in all, does somewhat mirror that of Africa, and as with regards, to presentation/formatting that is (and as with furtherly stating that, there is something in all again, and at the very least from the perspective of the 'Life Force' that is, that does differentiate Abyssinia in all, and from the rest of Africa too and in all ways too even)}.
In all, one does find that, there are those within Abyssinia, and who are in all, are rather 'European' {and as with speak too even, of processing/storing Knowledge that is}, and not truly 'African'/African either {and as with furtherly stating that, these 'European' populations in all, have always been the majority in Abyssinia (and especially Kenya), and not the 'African'/African populations either} {and as with expounding further on the fact that, there is a good reason why Kenya was formerly called the 'White Man's Country in many ways truly (and as with this speaking in all again, of presenting/formatting Knowledge in Kenya, and from a more or less 'European' fashion that is, and that in all again, African (and not 'African' either), and as with regards to formatting/presenting Knowledge in Abyssinia, has always meant Cushitic actually (and with Nubian/Sudanese on the otherhand, speaking specifically of African in all, and in a rather political manner that is)}.
http://www.youtube.com/watch?v=8SC8-UIO7bY
In many ways truly, all this perhaps does call for perceiving Africa/African, from a 'Life force' perspective actually {and not that of Rhythm, Soul and Spirit either}, and that in all again, one does find that the 'Life force' in Abyssinia {Ethiopia, Kenya, Somalia}, does differ from that in the rest of Africa {and as with furtherly saying that, Water bodies in Kenya, do possess a 'Life force' somewhat similar to that seen/found in Europe, and with that in Ethiopia on the otherhand, somewhat unique in its ways actually but highly different in all too even, from the rest of Africa that is (and as with it somewhat Indian, Russian and even Brazilian perhaps (but in all ways again, truly not)), and with that in Somalia again, very much similar in all, to that seen in Egypt actually (and as with Egypt too even, simply having a different 'Life force' in all, from that seen in the rest of Africa actually and minus Abyssinia too that is)} {and with Rhythm, Spirit and Soul in Abyssinia (Ethiopia, Kenya, Somalia), having been rather Eclectic in nature (and as with personal taste that is), and heavily even, Communal/Community based too that is (and never National or Historical too actually (and as with most of Africa too that is))} {and as with furtherly stating that, Kenya today, is far more 'European' in nature, than most believe it to be (and as with speak too even, of its utilizing European Knowledge Bodies in all and far more successfully, than other African Countries, and who in many ways, have to develop Native Knowledge Systems in order to be able to survive that is)}.
In having said all this is to furtherly say that, Abyssinia in all, does require a formalized kind of 'Tribal/Ethnographic Art', that in many ways and at the very least even, does present/format Knowledge in all, and in a rather "European' fashion too actually {and as with hints too even, of the African in it, mirroring the Egyptian that is} {and all this again speaking of the 'Life force' actually (and as with it the best way in all, to perceive Africa that is (and as with Botswana too even)), and not Rhythm, Spirit and Soul either (and with Africa in all again,often highly presented/misrepresented in all and such that, a rather erroneous picture of Africa in itself, is actually given out in all (and as with Africa too, highly diverse and as with regards to Rhythm, Spirit and Soul that is), and futhermore, there are those who do deny the obvious fact that, Egypt in all, is actually truly on the African Continent in itself actually (and as with speak too even of the 'Life force' that is))} {and with Egypt on the otherhand somewhat even, having borrowed Rhythm, Soul and Spirit in all again (and in some ways too that is), from Greece/'Aegyptus' too that is}.
In all ways again is to propose/recommend that what they do term 'Vocal Music' in all (and as with speak too even of 'Vocal Artists' that is), and speak furtherly of music and such as that of Bonnie Tyler, Jennifer Rush, Kim Wilde, Irene Cara, Chris de Burgh, Paul Young, Milli Vanilli, Glenn Medeiros, Peter Cetera and Foreigner too even, as 'Tribal/Ethnographic Art' highly suited for Abyssinia that is {and as with this music even, highly concentrating on 'Knowledge Networks' in all (and as with furtherly stating that, 'Tribal/Ethnographic Art" is not primarily simply based on presentation/formatting modes in all, but in all ways too even, on 'Life force' in itself actually (and not Rhythm, Spirit and Soul and as many today, often tend to falsely claim/believe that is))} {and as with also stating that, everyday natural sounds in all, have to do with the 'Life force' in all again, and not Rhythm, Spirit and Soul either (and as with the false belief that Africa does sound terrible in all too even, and when it does come to natural sounds that is (and as compared to old India or Europe too actually), and when in reality, it does sound rather wonderful in all (and as with any movie even, having Egyptian themes to it actually), but in all again truly saying that, it was Ancient Greece in all, that did truly sound the best of them all actually (and as with natural sounds in all again, what electronic digital/analog equipment in all too really, truly does refer to as Audio/Video Signaling in all too really (and as with real life too, highly capable in all, of very much looking like the movies do actually)} {in all again, 'Tribal/Ethnographic Art' in Abyssinia, should at the very least be similar to that of the Bantu peoples of Cameroon, and as with it even, more or less Egyptian like in its ways actually (and as with speak too even, of some of the better Nollywood movies that is)}.
http://www.youtube.com/watch?v=0dtz6BVysjQ
'the Moor'
