A recent social media initiative by the Women's History Museum of Zambia is spotlighting Sona, an ancient writing system, along with artifacts that reveal significant yet overlooked narratives of women's roles in pre-colonial Zambia.
Ancient Zambian Writing System Reclaims Women's Histories
Ancient Zambian Writing System Reclaims Women's Histories
Reviving forgotten heritage, Zambia highlights its ancient writing system Sona through a digital project.
The artifact collection includes a wooden toolbox intricately etched with the Sona script, sparking conversations about the rich cultural heritage of Zambia, which has largely been erased by colonial narratives. Samba Yonga, co-founder of the Museum, underscores the importance of reclaiming this lost knowledge, stating, "We've grown up being told that Africans didn't know how to read and write... but we had our own way of writing."
The online campaign features 50 artifacts, including a leather cloak not seen in over a century, showcasing the deep connection between Zambian women and cultural practices. Yonga emphasizes that despite colonial disruptions, there is a burgeoning need to connect with this heritage through various forms of art and scholarship. “We had our own language of love, of beauty,” she explains, reflecting a yearning for lost cultural narratives.
The social media project, titled Frame, presents each artifact within a digital outline to symbolize how colonialism has distorted local histories and knowledge systems. The initiative originated in 2019 when Yonga discovered a substantial collection of Zambian artifacts in Sweden, collected during colonial explorations. This collection includes various cultural objects, alongside historical photos that document the lives of women and their vital contributions to society.
Notably, Yonga highlights the unique Sona writing system, a geometric and sophisticated form of communication utilized by women of the Chokwe, Luchazi, and Luvale peoples. It involves patterns and symbols that encapsulate community knowledge, mathematical concepts, and environmental insights. Notably, some community elders still recall how Sona works, fostering a connection between past and present.
The Frame project aspires to enlighten audiences about these rich histories and reclaim narratives long overshadowed by colonialism. “What might look like just a grinding stone is in fact a symbol of women's power," notes Yonga, in reference to another artifact that has profound cultural significance. The Women's History Museum aims to create a treasure trove of Zambian cultural artifacts, while enhancing public consciousness about the women's contributions throughout history.
Ultimately, Yonga hopes the project will empower others to explore their own cultural heritage, affirming that understanding one’s historical context can transform community engagement and identity. As Zambia embraces its diverse and complex history, the revival of Sona and its artifacts promises to reshape perceptions of African women’s narratives and intellectual contributions.
The online campaign features 50 artifacts, including a leather cloak not seen in over a century, showcasing the deep connection between Zambian women and cultural practices. Yonga emphasizes that despite colonial disruptions, there is a burgeoning need to connect with this heritage through various forms of art and scholarship. “We had our own language of love, of beauty,” she explains, reflecting a yearning for lost cultural narratives.
The social media project, titled Frame, presents each artifact within a digital outline to symbolize how colonialism has distorted local histories and knowledge systems. The initiative originated in 2019 when Yonga discovered a substantial collection of Zambian artifacts in Sweden, collected during colonial explorations. This collection includes various cultural objects, alongside historical photos that document the lives of women and their vital contributions to society.
Notably, Yonga highlights the unique Sona writing system, a geometric and sophisticated form of communication utilized by women of the Chokwe, Luchazi, and Luvale peoples. It involves patterns and symbols that encapsulate community knowledge, mathematical concepts, and environmental insights. Notably, some community elders still recall how Sona works, fostering a connection between past and present.
The Frame project aspires to enlighten audiences about these rich histories and reclaim narratives long overshadowed by colonialism. “What might look like just a grinding stone is in fact a symbol of women's power," notes Yonga, in reference to another artifact that has profound cultural significance. The Women's History Museum aims to create a treasure trove of Zambian cultural artifacts, while enhancing public consciousness about the women's contributions throughout history.
Ultimately, Yonga hopes the project will empower others to explore their own cultural heritage, affirming that understanding one’s historical context can transform community engagement and identity. As Zambia embraces its diverse and complex history, the revival of Sona and its artifacts promises to reshape perceptions of African women’s narratives and intellectual contributions.
