First Film
Part of the Series: !Kung Series Collection

First Film
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!Kung Bushmen Hunting Equipment
Part of the Series: !Kung Series Collection
This film shows in detail all the pieces in the Ju/'hoan hunting kit and how each piece is made and used, from the collection of the raw materials to the final fabrication, including the preparation of poison arrows. !Kung Bushmen Hunting Equipment was shot by John Marshall between 1951 and…
Resettlement
Part of the Series: !Kung Series Collection
In comparison to !Kung San: Traditional Life, this video shows some of the dramatic changes in life-style that Ju/'hoansi had experienced by 1986. No longer able to rely on hunting and gathering for subsistence, Ju/'hoansi collect mealie meal welfare, spend money earned from army jobs on alcohol and consumer goods,…
Traditional Life
Part of the Series: !Kung Series Collection
This video depicts traditional Ju/'hoan life by using vignettes from longer films in the !Kung San series. Footage selected shows tool-making technology, hunting and gathering, social life and children at play, and gives the viewer a feel for the vastness and beauty of the Nyae Nyae region of the Kalahari…
Pull Ourselves Up or Die Out
Part of the Series: !Kung Series Collection
This video, shot between 1980-1984, was an outgrowth of research conducted by John Marshall and Claire Ritchie during those years. Intended to raise awareness about issues facing Ju/'hoansi, Pull Ourselves Up or Die Out explores: problems and issues due to the shift from subsistence to a cash-based economy; the possible…
To Hold Our Ground: A Field Report
Part of the Series: !Kung Series Collection
For thousands of years Ju/'hoansi have lived in the Nyae Nyae region in northeastern Namibia. In the 1950s, most Ju/'hoansi had been exterminated or were dispossessed by white colonists and black farmers, but in Nyae Nyae Ju/'hoansi were still the only permanent inhabitants. Waterless approaches isolated their ancient communal land…
Mammy Water: In Search of the Water Spirits In Nigeria
Mammy Water is a pidgin English name for a local water goddess worshipped by the Ibibio, Ijaw, and Igbo speaking peoples of southeastern Nigeria. The water goddess traditionally gives wealth and children, compensates for hardships, and is sought in times of illness and need, especially by women. Her various cults…
Owu: Chidi Joins the Okoroshi Secret Society
Witness an uncompromising portrait of a young man's initiation into a men's secret society. It begins with the elder griot and praise singer talking about the origins of the "Owu" society. Two keepers of tradition, the griot and the town's oldest woman and female griot, Ezenwanyi (Leader of Women), narrate…
The Tree of Iron
This is one of the few films to document archaeological work on ancient civilizations in Africa. It also deals with an important subject, African iron smelting, and presents convincing evidence for early indigenous technologies far more complex than previously expected. The Tree of Iron is set in Tanzania, East Africa,…
Diary of a Maasai Village, Part 5: Nine Cows and an Ox
Part of the Series: Diary of a Maasai Village
This final segment of the Diary depicts the ceremony known as the "ox of ilbaa," from which Miisia emerges, acknowledged as a man. Filmmaker: Melissa Llelewyn-Davies
Diary of a Maasai Village, Part 4: Two Journeys
Part of the Series: Diary of a Maasai Village
Two Journeys contrasts the journey of Miisia's new wife back to his village with that of Tipaia's to sell cattle for Rerenko's legal fees. Filmmaker: Melissa Llelewyn-Davies
Diary of a Maasai Village, Part 3: Two Mothers
Part of the Series: Diary of a Maasai Village
Two Mothers focuses on gender relationships. The principal events for the women are a "coming out ox" ritual and the birth of a child; for the men, the birth of a calf is the central theme. Filmmaker: Melissa Llelewyn-Davies
Diary of a Maasai Village, Part 2: Two Ways of Justice
Part of the Series: Diary of a Maasai Village
Young men are ritually prohibited from eating grain. Several of them steal one of the Laibon's goats and then must make reparations. Filmmaker: Melissa Llelewyn-Davies