The Nyongo society is the name of a supposed group of witches believed to exist in Cameroon and Nigeria. The legends were first written about in the 1950s by British social anthropologist, Edwin Ardener, while describing what he called the Nyongo Terror the present-day Southwest Province in Cameroon. Today the belief in this society can be found from the coast of Cameroon to the Bakossi and Beti peoples in the interior of the country. It is even found amongst the northern parts of the country with the Bamileke and Bamenda peoples.
The star Yoonir, symbol of the Universe in Serer religion and Cosmogony. The peak of the star (top point) represents the Supreme Deity (Roog). The other four points represent the cardinal points of the Universe. The crossing of the lines ("bottom left" and "top right", and "top left" and "bottom right") pinpoints the axis of the Universe that all energies pass. The top point is "the point of departure and conclusion, the origin and the end". Among the Serers who cannot read or write the Latin alphabet, it is very common for them to sign official documents with the star of Yoonir, as the star also represents "good fortune and destiny". Yoonir also represents the Serer people and the Serer precolonial Kingdom of Sine.
Serer religion : Daqaar mboob — Diouck — Gamo - Jobai — Khanghere - Mindisse - Mbosseh (or mboosé) — Mboudaye — Ndut — Randou Rande — Raan (held at Tukar, see also Saltigue) — Sam Southieh — The consultation at Ngalagne — The massacre of Cadde - The royal struggle - The session struggle at Ndiaye-Ndiaye — The session struggle Jiloor (Jijaak) — Tobaski — Tourou Peithie — Xoy (main Xoy held at Fatick)
It was the spirit . . . not merely African but universal, which was truly captured by modern Cubist artists. The fact that they collected African sculptures meant that these moderns lived with them sufficiently to absorb the sculptures’ radiance, and not merely to “borrow” forms. They did not divide the form from the content, any more than the human body can be separated from the mind. It was an “influence,” if one wishes to use this word; but an influence of the content which was fi rst digested in its essence by the artists, and then recreated by them.
On the influence of African religion on art, Aloysius M. Lugira (2009), quoting Ladislas Segy (1975),
Source: African Traditional Religion, Third Edition, 2009 by Aloysius M. Lugira, quoting Ladislas Segy, "African Sculpture Speak",Da Capo Press (1975), p. 118, ISBN9780306800184