This article is about the region in Africa, for other uses see Nubia (disambiguation).

The Nubia region today

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Nubia is a region along the Nile river, which is located in northern Sudan and southern Egypt.

There were a number of small Nubian kingdoms throughout the Middle Ages, the last of which collapsed in 1504, when Nubia became divided between Egypt and the Sennar sultanate resulting in the Arabization of much of the Nubian population. Nubia was again united within Ottoman Egypt in the 19th century, and within Anglo-Egyptian Sudan from 1899 to 1956.

The name Nubia is derived from that of the Noba people, nomads who settled the area in the 4th century, with the collapse of the kingdom of Meroë. The Noba spoke a Nilo-Saharan language, ancestral to Old Nubian. Old Nubian was used in mostly religious texts dating from the 8th and 15th centuries AD. Before the 4th century, and throughout classical antiquity, Nubia was known as Kush, or, in Classical Greek usage, included under the name Ethiopia (Aithiopia).

Historically, the people of Nubia spoke at least two varieties of the Nubian language group, a subfamily which includes Nobiin (the descendant of Old Nubian), Kenuzi-Dongola, Midob and several related varieties in the northern part of the Nuba Mountains in South Kordofan. A variety (Birgid) was spoken (at least until 1970) north of Nyala in Darfur but is now extinct.

Geography[link]

^{[citation needed]}Throughout the world, Nubia is broken into three unique regions: “Lower Nubia”, "Upper Nubia", and "Southern Nubia." "Lower Nubia" was in modern southern Egypt, which lies between the first and second cataract. “Upper Nubia and Southern Nubia" were in modern-day northern Sudan, between the second cataract and sixth cataracts of the Nile river. Lower Nubia and Upper Nubia are so called because the Nile flows north, so Upper Nubia was further upstream and of higher elevation, even though it lies geographically south of Lower Nubia.

History[link]

Shell bracelet from a c.1800 BC Nubian mercenary grave

Prehistory[link]

Early settlements sprouted in both Upper and Lower Nubia: The Restricted flood plains of Lower Nubia. Egyptians referred to Nubia as "Ta-Seti." The Nubians were known to be expert archers and thus their land earned the appellation, "Ta-Seti", or land of the bow.^[1] Modern scholars typically refer to the people from this area as the “A-group” culture. Fertile farmland just south of the third cataract is known as the “Pre-Kerma” culture in Upper Nubia, as they are the ancestors Civilization originated in 5000 BC in Upper Nubia..

The Neolithic people in the Nile valley likely came from Sudan, as well as the Sahara, and there was shared culture with the two areas and with that of Egypt during this time period.^[2] By the 5th millennium BC, the people who inhabited what is now called Nubia participated in the Neolithic revolution. Saharan rock reliefs depict scenes that have been thought to be suggestive of a cattle cult, typical of those seen throughout parts of Eastern Africa and the Nile Valley even to this day.^[3] Megaliths discovered at Nabta Playa are early examples of what seems to be one of the world's first astronomical devices, predating Stonehenge by almost 2000 years.^[4] This complexity as observed at Nabta Playa, and as expressed by different levels of authority within the society there, likely formed the basis for the structure of both the Neolithic society at Nabta and the Old Kingdom of Egypt.^[5] Around 3800 BC, the second "Nubian" culture, termed the A-Group, arose. It was a contemporary of, and ethnically and culturally very similar to, the polities in predynastic Naqada of Upper Egypt.^[6][7] Around 3300 BC, there is evidence of a unified kingdom, as shown by the finds at Qustul, that maintained substantial interactions (both cultural and genetic) with the culture of Naqadan Upper Egypt. The Nubian culture may have even contributed to the unification of the Nile valley. Also, the Nubians very likely contributed some pharaonic iconography, such as the white crown and serekh, to the Northern Egyptian kings.^[8][9][10] Around the turn of the protodynastic period, Naqada, in its bid to conquer and unify the whole Nile valley, seems to have conquered Ta-Seti (the kingdom where Qustul was located) and harmonized it with the Egyptian state. Thus, Nubia became the first nome of Upper Egypt. At the time of the first dynasty, the A-Group area seems to have been entirely depopulated,^[1] most likely due to immigration to areas west and south.

This culture began to decline in the early 28th century BC. The succeeding culture is known as B-Group. Previously, the B-Group people were thought to have invaded from elsewhere. Today most historians believe that B-Group was merely A-Group but far poorer. The causes of this are uncertain, but it was perhaps caused by Egyptian invasions and pillaging that began at this time. Nubia is believed to have served as a trade corridor between Egypt and tropical Africa long before 3100 BC. Egyptian craftsmen of the period used ivory and ebony wood from tropical Africa which came through Nubia.

In 2300 BC, Nubia was first mentioned in Old Kingdom Egyptian accounts of trade missions. From Aswan, right above the First Cataract, southern limit of Egyptian control at the time, Egyptians imported gold, incense, ebony, ivory, and exotic animals from tropical Africa through Nubia. As trade between Egypt and Nubia increased so did wealth and stability. By the Egyptian 6th dynasty, Nubia was divided into a series of small kingdoms. There is debate over whether these C-Group peoples, who flourished from c. 2240 BC to c. 2150 BC, were another internal evolution or invaders. There are definite similarities between the pottery of A-Group and C-Group, so it may be a return of the ousted Group-As, or an internal revival of lost arts. At this time, the Sahara Desert was becoming too arid to support human beings, and it is possible that there was a sudden influx of Saharan nomads. C-Group pottery is characterized by all-over incised geometric lines with white infill and impressed imitations of basketry.

During the Egyptian Middle Kingdom (c. 2040–1640 BC), Egypt began expanding into Nubia to gain more control over the trade routes in Northern Nubia and direct access to trade with Southern Nubia. They erected a chain of forts down the Nile below the Second Cataract. These garrisons seemed to have peaceful relations with the local Nubian people but little interaction during the period. A contemporaneous but distinct culture from the C-Group was the Pan Grave culture, so called because of their shallow graves. The Pan Graves are associated with the East bank of the Nile, but the Pan Graves and C-Group definitely interacted. Their pottery is characterized by incised lines of a more limited character than those of the C-Group, generally having interspersed undecorated spaces within the geometric schemes.

Nubia and Ancient Egypt[link]

colspan="2" valign="top" style="background:Template:Portal:Ägyptologie/Farbe1;" | Nubia in hieroglyphs
[11] Ta-seti T3-stj Curved land[11]
[12] Setiu Stjw Curved land of the Nubians[12]
Nehset / Nehsyu / Nehsi Nḥst / Nḥsyw / Nḥsj Nubia / Nubians
colspan="2" style="text-align:center; font-size:smaller; vertical-align:top; background-color:Template:Portal:Ägyptologie/Farbe3;" | Nubia

Medjay temple relief

Ancient Egypt conquered Nubian territory in various eras, and incorporated parts of the area into its provinces. The Nubians in turn were to conquer Egypt under its 25th Dynasty.^[13]

Relations between the two peoples however also show peaceful cultural interchange and cooperation, including mixed marriages. The Medjay –from mDA,^[14] represents the name Ancient Egyptians gave to a region in northern Sudan–where an ancient people of Nubia inhabited. They became part of the Ancient Egyptian military as scouts and minor workers.

During the Middle Kingdom "Medjay" no longer referred to the district of Medja, but to a tribe or clan of people. It is not known what happened to the district, but, after the First Intermediate Period, it and other districts in Nubia were no longer mentioned in the written record.^[15] Written accounts detail the Medjay as nomadic desert people. Over time they were incorporated into the Egyptian army. In the army, the Medjay served as garrison troops in Egyptian fortifications in Nubia and patrolled the deserts as a kind of gendarmerie.^[16] This was done in the hopes of preventing their fellow Medjay tribespeople from further attacking Egyptian assets in the region.^[17] They were even later used during Kamose’s campaign against the Hyksos^[18] and became instrumental in making the Egyptian state into a military power.^[19] By the 18th Dynasty of the New Kingdom period the Medjay were an elite paramilitary police force.^[17] No longer did the term refer to an ethnic group and over time the new meaning became synonymous with the policing occupation in general. Being an elite police force, the Medjay were often used to protect valuable areas, especially royal and religious complexes. Though they are most notable for their protection of the royal palaces and tombs in Thebes and the surrounding areas, the Medjay were known to have been used throughout Upper and Lower Egypt.

Various pharaohs of Nubian origin are held by some Egyptologists to have played an important part towards the area in different eras of Egyptian history, particularly the 12th Dynasty. These rulers handled matters in typical Egyptian fashion, reflecting the close cultural influences between the two regions.

...the XIIth Dynasty (1991–1786 B.C.E.) originated from the Aswan region. As expected, strong Nubian features and dark coloring are seen in their sculpture and relief work. This dynasty ranks as among the greatest, whose fame far outlived its actual tenure on the throne. Especially interesting, it was a member of this dynasty that decreed that no Nehsy (riverine Nubian of the principality of Kush), except such as came for trade or diplomatic reasons, should pass by the Egyptian fortress and cops at the southern end of the Second Nile Cataract. Why would this royal family of Nubian ancestry ban other Nubians from coming into Egyptian territory? Because the Egyptian rulers of Nubian ancestry had become Egyptians culturally; as pharaohs, they exhibited typical Egyptian attitudes and adopted typical Egyptian policies. (Yurco 1989) ^[20]

In the New Kingdom, Nubians and Egyptians were often so closely related that some scholars consider them virtually indistinguishable, as the two cultures melded and mixed together.

It is an extremely difficult task to attempt to describe the Nubians during the course of Egypt's New Kingdom, because their presence appears to have virtually evaporated from the archaeological record. The result has been described as a wholesale Nubian assimilation into Egyptian society. This assimilation was so complete that it masked all Nubian ethnic identities insofar as archaeological remains are concerned beneath the impenetrable veneer of Egypt's material culture. In the Kushite Period, when Nubians ruled as Pharaohs in their own right, the material culture of Dynasty XXV (about 750–655 B.C.E.) was decidedly Egyptian in character. Nubia's entire landscape up to the region of the Third Cataract was dotted with temples indistinguishable in style and decoration from contemporary temples erected in Egypt. The same observation obtains for the smaller number of typically Egyptian tombs in which these elite Nubian princes were interred.^[21]

Kerma[link]

The Turin Papyrus Map

From the pre-Kerma culture, the first kingdom to unify much of the region arose. The Kingdom of Kerma, named for its presumed capital at Kerma, was one of the earliest urban centers in the Nile region. By 1750 BC, the kings of Kerma were powerful enough to organize the labor for monumental walls and structures of mud brick. They also had rich tombs with possessions for the afterlife and large human sacrifices. George Reisner excavated sites at Kerma and found large tombs and a palace-like structures. The structures, named (Deffufa), alluded to the early stability in the region. At one point, Kerma came very close to conquering Egypt. Egypt suffered a serious defeat at the hands of the Kushites.^[22][23] According to Davies, head of the joint British Museum and Egyptian archaeological team, the attack was so devastating that if the Kerma forces chose to stay and occupy Egypt, they might have eliminated it for good and brought the great nation to extinction. When Egyptian power revived under the New Kingdom (c. 1532–1070 BC) they began to expand further southwards. The Egyptians destroyed Kerma's kingdom and capitol and expanded the Egyptian empire to the Fourth Cataract. By the end of the reign of Thutmose I (1520 BC), all of northern Nubia had been annexed. The Egyptians built a new administrative center at Napata, and used the area to produce gold. The Nubian gold production made Egypt a prime source of the precious metal in the Middle East. The primitive working conditions for the slaves are recorded by Diodorus Siculus who saw some of the mines at a later time. One of the oldest maps known is of a gold mine in Nubia, the Turin Papyrus Map dating to about 1160 BC.

Kush[link]

Nubian Pharaohs

When the Egyptians pulled out of the Napata region, they left a lasting legacy that was merged with indigenous customs forming the kingdom of Kush. Archaeologists have found several burials in the area which seem to belong to local leaders. The Kushites were buried there soon after the Egyptians decolonized the Nubian frontier. Kush adopted many Egyptian practices, such as their religion. The Kingdom of Kush survived longer than that of Egypt, invaded Egypt (under the leadership of king Piye), and controlled Egypt during the 8th century, Kushite dynasty.^[24] The Kushites held sway over their northern neighbors for nearly 100 years, until they were eventually repelled by the invading Assyrians. The Assyrians forced them to move farther south, where they eventually established their capital at Meroë. Of the Nubian kings of this era, Taharqa is perhaps the best known. Taharqa, a son and the third successor of King Piye, was crowned king in Memphis in c.690.^[25] Taharqa ruled over both Nubia and Egypt, restored Egyptian temples at Karnak, built new temples and pyramids in Nubia, and repelled some Assyrian attacks.^{[26][27][28][29]}

Meroë[link]

Nubian pyramids at Meroë

Meroë (800 BC – c. AD 350) in southern Nubia lay on the east bank of the Nile about 6 km north-east of the Kabushiya station near Shendi, Sudan, ca. 200 km north-east of Khartoum. The people there preserved many ancient Egyptian customs but were unique in many respects. They developed their own form of writing, first utilizing Egyptian hieroglyphs, and later using an alphabetic script with 23 signs.^[30] Many pyramids were built in Meroë during this period and the kingdom consisted of an impressive standing military force. Strabo also describes a clash with the Romans in which the Romans were defeated by Nubian archers under the leadership of a "one-eyed" (blind in one eye) queen.^[31] During this time, the different parts of the region divided into smaller groups with individual leaders, or generals, each commanding small armies of mercenaries. They fought for control of what is now Nubia and its surrounding territories, leaving the entire region weak and vulnerable to attack. Meroë would eventually meet defeat by a new rising kingdom to their south, Aksum, under King Ezana.

The classification of the Meroitic language is uncertain, it was long assumed to have been of the Afro-Asiatic group, but is now considered to have likely been an Eastern Sudanic language.

At some point during the 4th century, the region was conquered by the Noba people, from which the name Nubia may derive (another possibility is that it comes from Nub, the Egyptian word for gold^[32]). From then on, the Romans referred to the area as the Nobatae.

Christian Nubia[link]

Around AD 350 the area was invaded by the Ethiopian kingdom of Aksum and the kingdom collapsed. Eventually three smaller kingdoms replaced it: northernmost was Nobatia between the first and second cataract of the Nile River, with its capital at Pachoras (modern day Faras); in the middle was Makuria, with its capital at Old Dongola; and southernmost was Alodia, with its capital at Soba (near Khartoum). King Silky of Nobatia crushed the Blemmyes, and recorded his victory in a Greek inscription carved in the wall of the temple of Talmis (modern Kalabsha) around AD 500.

While bishop Athanasius of Alexandria consecrated one Marcus as bishop of Philae before his death in 373, showing that Christianity had penetrated the region by the 4th century, John of Ephesus records that a Monophysite priest named Julian converted the king and his nobles of Nobatia around 545. John of Ephesus also writes that the kingdom of Alodia was converted around 569. However, John of Biclarum records that the kingdom of Makuria was converted to Catholicism the same year, suggesting that John of Ephesus might be mistaken. Further doubt is cast on John's testimony by an entry in the chronicle of the Greek Orthodox Patriarch of Alexandria Eutychius, which states that in 719 the church of Nubia transferred its allegiance from the Greek to the Coptic Church.

By the 7th century Makuria expanded becoming the dominant power in the region. It was strong enough to halt the southern expansion of Islam after the Arabs had taken Egypt. After several failed invasions the new rulers agreed to a treaty with Dongola allowing for peaceful coexistence and trade. This treaty held for six hundred years. Over time the influx of Arab traders introduced Islam to Nubia and it gradually supplanted Christianity. While there are records of a bishop at Qasr Ibrim in 1372, his see had come to include that located at Faras. It is also clear that the cathedral of Dongola had been converted to a mosque in 1317.^[33]

The influx of Arabs and Nubians to Egypt and Sudan had contributed to the suppression of the Nubian identity following the collapse of the last Nubian kingdom around 1504. A major part of the modern Nubian population became totally Arabized and some claimed to be Arabs (Jaa'leen – the majority of Northern Sudanese – and some Donglawes in Sudan).^[34] A vast majority of the Nubian population is currently Muslim, and the Arabic language is their main medium of communication in addition to their indigenous old Nubian language. The unique characteristic of Nubian is shown in their culture (dress, dances, traditions, and music).

Islamic Nubia[link]

Nubian woman circa 1900

In the 14th century the Dongolan government collapsed and the region became divided and dominated by Arabs. The next centuries would see several Arab invasions of the region, as well as the establishment of a number of smaller kingdoms. Northern Nubia was brought under Egyptian control while the south came under the control of the Kingdom of Sennar in the 16th century. The entire region would come under Egyptian control during the rule of Mehemet Ali in the early 19th century, and later became a joint Anglo-Egyptian condominium.

Contemporary issues[link]

With the end of colonialism and the establishment of the Republic of Egypt (1953), and the secession of the Republic of Sudan from unity with Egypt (1956), Nubia was divided between Egypt and Sudan.

In the 1970s, many Egyptian Nubians were forcibly resettled to make room for Lake Nasser after the construction of the dams at Aswan. Nubian villages can now be found north of Aswan on the west bank of the Nile and on Elephantine Island, and many Nubians today live in large cities such as Cairo.

See also[link]

• Twenty-fifth dynasty of Egypt
• Nubiology
• Nubian languages
• Pyramids of Nubia
• Nubian architecture
• Aida
• Nubian Desert
• Nubian Archaelogical Expeditions

Notes and references[link]

Notes[link]

References[link]

• Adam, William Y. (1977): Nubia: Corridor to Africa, London.
• "Black Pharaohs", National Geographic, Feb 2008
• Bonnet, Charles (2006): The Nubian Pharaohs. New York: The American University in Cairo Press.
• Bulliet et al. (2001): Nubia, The Earth and Its Peoples, pp. 70–71, Houghton Mifflin Company, Boston.
• Emberling, Geoff (2011): Nubia: Ancient Kingdoms of Africa. New York: Institute for the Study of the Ancient World.
• Hassan, Yusuf Fadl (1973): The Arabs and the Sudan, Khartum.
• Thelwall, Robin (1978): "Lexicostatistical relations between Nubian, Daju and Dinka", Études nubiennes: colloque de Chantilly, 2–6 juillet 1975, 265–286.
• Thelwall, Robin (1982) 'Linguistic Aspects of Greater Nubian History', in Ehret, C. & Posnansky, M. (eds.) The Archeological and Linguistic Reconstruction of African History. Berkeley/Los Angeles, 39–56.

External links[link]

• African Kingdoms
• Ancient Sudan Website
• Racism and the Rediscovery of Ancient Nubia
• Medieval Sai Project

Sun Ra
Sun Ra at the New England Conservatory of Music, February 27, 1992
Background information
Birth name	Herman Poole Blount
Also known as	Sun Ra, Le Sony'r Ra
Born	(1914-05-22)May 22, 1914
Origin	Birmingham, Alabama, United States
Died	May 30, 1993(1993-05-30) (aged 79)
Genres	Hard bop, swing, avant-garde jazz, free jazz, experimental music, Hip-Hop
Occupations	Bandleader, composer
Instruments	Hammond organ, piano, organ, keyboards, Minimoog, Celesta
Years active	1934–1993
Labels	El Saturn Records, Impulse!, MPS Records, ESP-Disk, Black Saint, A&M, Leo
Associated acts	Arkestra

Sun Ra (born Herman Poole Blount, legal name Le Sony'r Ra;^[1] May 22, 1914 – May 30, 1993) was a prolific jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his "cosmic philosophy," musical compositions and performances. He was born in Birmingham, Alabama. He is a 1979 inductee of the Alabama Jazz Hall of Fame.

"Of all the jazz musicians, Sun Ra was probably the most controversial," critic Scott Yanow said,^[2] because of Sun Ra's eclectic music and unorthodox lifestyle. Claiming that he was of the "Angel Race" and not from Earth, but from Saturn, Sun Ra developed a complex persona using "cosmic" philosophies and lyrical poetry that made him a pioneer of afrofuturism. He preached awareness and peace above all. He abandoned his birth name and took on the name and persona of Sun Ra (Ra being the Egyptian God of the Sun), and used several other names throughout his career, including Le Sonra and Sonny Lee.^[3] Sun Ra denied any connection with his birth name, saying "That's an imaginary person, never existed … Any name that I use other than Ra is a pseudonym."^[4]

From the mid-1950s to his death, Sun Ra led "The Arkestra" (a deliberate re-spelling of "orchestra"), an ensemble with an ever-changing lineup and name. It was by turns called "The Solar Myth Arkestra", "His Cosmo Discipline Arkestra", the "Blue Universe Arkestra", "The Jet Set Omniverse Arkestra", as well as many other permutations. Sun Ra asserted that the ever-changing name of his ensemble reflected the ever-changing nature of his music. His mainstream success was limited, but Sun Ra was a prolific recording artist and frequent live performer. His music ranged from keyboard solos to big bands of over 30 musicians and touched on virtually the entire history of jazz, from ragtime to swing music, from bebop to free jazz. He was also a pioneer of electronic music and space music.^[5] He also used free improvisation and was one of the first musicians, of any genre, to make extensive use of electronic keyboards.

Biography[link]

Early life[link]

For decades, very little was known about Sun Ra's early life, much of it being obscured by Sun Ra himself. He routinely gave evasive, contradictory or seemingly nonsensical answers to personal questions and even denied his birth name. His birthday for years remained unknown, his birth year being claimed as years ranging from 1910 to 1918. Only a few years before his death, the date of Sun Ra's birth remained a mystery. Jim Macnie's notes for Blue Delight (1989) could only state that Sun Ra was believed to be about 75 years old. However, Ra's biographer John F. Szwed was able to uncover a wealth of information about Ra's early life, including confirming a May 22, 1914 birth date. Named after the popular vaudeville stage magician Black Herman, who had deeply impressed his mother, Sun Ra would speculate, only half in jest, that he was distantly related to Elijah Poole, later famous as Elijah Muhammed, leader of the Nation of Islam. He was nicknamed "Sonny" from his childhood, had an older sister and half-brother, and was doted upon by his mother and grandmother.

Herman Blount was a skilled pianist as a child. By 11 or 12 years old he was writing original songs,^[6] and was able to sight read sheet music. Birmingham was an important stop for touring musicians, and he saw famous musicians like Fletcher Henderson, Duke Ellington, Fats Waller, along with less-famous performers who were often just as talented as their better-known peers, with Sun Ra once stating "the world let down a lot of good musicians".^[7] In his teenage years, Blount demonstrated prodigious musical talent: many times, according to acquaintances, he would see big band performances and produce full transcriptions of the bands' songs from memory. By his mid-teens Blount was performing semi-professionally as a solo pianist, or as a member of various ad hoc jazz and R&B groups. He attended Birmingham's Industrial High School (now known as Parker High School) where he studied under famed music teacher John T. "Fess" Whatley, a demanding disciplinarian who was widely respected and whose classes produced many professional musicians.

At ten years old Blount joined the Knights of Pythias, and remained a member until he graduated from high school. His family was deeply religious but was not formally associated with any Christian church or sect. Blount had few or no close friends in high school but was remembered as kind-natured and quiet, an honor roll student, and a voracious reader. The Black Masonic Lodge was one of the few places in Birmingham where African-Americans had essentially unlimited access to books, and the Lodge's many books on Freemasonry and other esoteric concepts made a large impression on him.

Also by his teens, Blount suffered from cryptorchidism,^[8] a chronic testicular hernia that left him with a nearly constant discomfort that sometimes flared into severe pain. Szwed suggests that the condition left Blount with a sense of shame and increased his sense of isolation.

Early professional career and college[link]

In 1934 Blount was offered his first full-time musical job when Industrial High School Biology teacher Ethel Harper organized a band and decided to pursue a career as a singer. Blount joined a musicians' trade union and Harper's group toured through the US southeast and Midwest. Harper left the group mid-tour to move to New York (she later was a member of the modestly successful singing group the Ginger Snaps), and Blount took over leadership of the group, renaming it the Sonny Blount Orchestra. They continued touring for several months before dissolving the unprofitable group. Though the first edition of the Sonny Blount Orchestra was not financially successful, they earned positive notice from fans and other musicians, and Blount afterwards found steady employment in Birmingham.

The clubs of Birmingham often featured exotic trappings such as vivid lighting and murals with tropical or oasis scenes that were believed to have influenced Sun Ra's later stage shows. The big bands also imparted a sense of pride and togetherness to black musicians: musicians were highly regarded in the black community, and were expected to be disciplined and presentable, and in the segregated south, black musicians arguably had the most acceptance in white society, often performing for white high society audiences (though they were typically forbidden from associating with the audiences).

In 1936 Whatley's intercession led to Blount being awarded a scholarship at Alabama Agricultural and Mechanical University. He was a music education major, studying composition, orchestration, and music theory, but after a year, he dropped out.

"Trip to Saturn"[link]

Finances and his increasing sense of isolation are believed to have been a factor in Sun Ra's leaving college, but perhaps more importantly, he claimed a visionary experience as a college student, a strange event that was to have a major long-term influence on the young pianist. In 1936 or 1937, in the midst of deep religious concentration, Sun Ra claimed that a bright light appeared around him, and, as he later stated,

… my whole body changed into something else. I could see through myself. And I went up … I wasn't in human form … I landed on a planet that I identified as Saturn … they teleported me and I was down on [a] stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop [attending college] because there was going to be great trouble in schools … the world was going into complete chaos … I would speak [through music], and the world would listen. That's what they told me.^[9]

Sun Ra said that this experience occurred in 1936 or 1937, but according to Swzed, even his closest associates cannot date the story any earlier than 1952 (Sun Ra also stated that it occurred when he was living in Chicago, a town he did not regularly inhabit until the late 1940s). With no substantial variations, Sun Ra discussed the vision to the end of his life. The trip to Saturn allegedly happened a full decade before flying saucers entered public consciousness with the 1947 encounter of Kenneth Arnold; about 15 years before the contactees and their stories of benevolent Space Brothers were publicized by the likes of George Adamski; and almost 20 years before sinister UFO abductions were a public concept with the 1961 case of Barney and Betty Hill. Szwed states that "even if this story is revisionist autobiography … Sonny was pulling together several strains of his life. He was both prophesizing his future and explaining his past with a single act of personal mythology."^[10]

New devotion to music (late 1930s)[link]

Even putting Blount's strange vision aside, after leaving college, he became known as perhaps the most singularly devoted musician in Birmingham. He rarely slept, citing Thomas Edison, Leonardo da Vinci, and Napoleon as fellow highly productive cat-nappers. He transformed the first floor of his family's home into a conservatory-workshop where he wrote songs, transcribed recordings, rehearsed with the many musicians who were nearly constantly drifting in and out, and discussed Biblical and esoteric concepts with whomever was interested.^[11]

Blount became a regular at Birmingham's Forbes Piano Company, a white-owned company which—astoundingly for a business in the Deep South^{[citation needed]}—simply ignored the strict Jim Crow laws of the racially segregated era. Blount visited the Forbes building almost daily to play music, swap ideas with staff and customers, or copy sheet music into his notebooks. He formed a new band, and, like his old teacher Whatley, insisted on rigorous daily rehearsals. The new Sonny Blount Orchestra earned a reputation as an impressive, disciplined band that could play in a wide variety of styles with equal skill.

Draft and wartime experiences[link]

In October 1942 Blount received a selective service notification that he had been drafted into the Military of the United States. He quickly declared himself a conscientious objector, citing religious objections to war and killing, his financial support of his great-aunt Ida, and his chronic hernia. His case was rejected by the local draft board, and in his appeal to the national draft board, Blount wrote that the lack of black men on the draft appeal board "smacks of Hitlerism".^[12] His family was deeply embarrassed by Sonny's refusal to join the military, and he was effectively ostracized by many of his relatives. Blount was eventually approved for alternate service at Civilian Public Service camp in Pennsylvania. However, Blount didn't appear at the camp as scheduled on December 8, 1942, and shortly thereafter, he was arrested in Alabama.

In court, Blount declared that even alternate service was unacceptable to him, and he debated the judge on points of law and Biblical interpretation. Though sympathetic to Blount, the judge also declared that he was clearly in violation of the law, and was risking forcible induction into the U.S. Military. Blount declared that if he were inducted, he would use his military weapons and training to kill the first high-ranking military officer he could. The judge sentenced Blount to jail (pending draft board and CPS rulings), and then declared "I've never seen a nigger like you before;" Blount replied, "No, and you never will again."^[13]

In January 1943 a desperate Blount wrote to the United States Marshals Service from the Walker County, Alabama jail in Jasper. He said he was facing a nervous breakdown from the stress of imprisonment, that he was suicidal, and that he was in constant fear of sexual assault. His conscientious objector status was eventually reaffirmed in February 1943 and Blount was escorted to Pennsylvania where he conducted forestry work in the day and was allowed to play piano at night. Psychiatrists there described him as "a psychopathic personality [and] sexually perverted" but also as "a well-educated colored intellectual".^[14]

In March 1943 Blount was classified as 4-F because of his hernia. He returned to Birmingham embittered and angered by his experiences. He formed a new band and quickly was playing professionally. After his beloved great-aunt Ida died in 1945, Blount felt no reason to stay in Birmingham. He dissolved the band, and moved to Chicago, part of the wave of southern African Americans who moved north during and after World War II.

Chicago years (1945–1961)[link]

In Chicago Blount quickly found work, notably with blues singer Wynonie Harris, with whom he made his recording debut on two 1946 singles, "Dig This Boogie/Lightning Struck the Poorhouse" and "My Baby's Barrelhouse"/"Drinking By Myself;" "Dig This Boogie" was also Blount's first recorded piano solo. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet City strip clubs.

In August 1946, Blount earned a lengthy engagement at the Club DeLisa under bandleader and composer Fletcher Henderson. Blount had long admired Henderson, but Henderson's fortunes were fading (his band was now made of up middling musicians rather than the stars of earlier years) in large part because of his instability, due to Fletcher's long term injuries from a car accident. Henderson hired Blount as pianist and arranger, replacing Marl Young. Ra's arrangements initially showed a degree of bebop influence, but the band members resisted the new music, despite Henderson's encouragement.

In 1948 Blount performed briefly in a trio with saxophonist Coleman Hawkins and violinist Stuff Smith, both preeminent swing-era musicians. There are no known recordings of this trio, but a home recording of a Blount-Smith duet from 1953 appears on Sound Sun Pleasure, and one of Sun Ra's final recordings was a rare sideman appearance on violinist Billy Bang's Tribute to Stuff Smith.

In addition to professional advancement, Chicago also changed Blount's personal outlook. The city was a center of African American political activism and fringe movements, with Black Muslims, Black Hebrews, and others proselytizing, debating, and printing leaflets or books. Blount absorbed it all and was fascinated with the city's many ancient Egyptian-styled buildings and monuments. He read books like George G.M. James's Stolen Legacy (which argued that classical Greek philosophy actually had its roots in ancient Egypt), which convinced Blount that the accomplishments and history of Africans had been systematically suppressed and denied by European cultures.

By 1952 Blount was leading the Space Trio with drummer Tommy "Bugs" Hunter and saxophonist Pat Patrick, two of the most accomplished musicians he had known. They performed regularly and Sun Ra began writing more advanced songs.

On October 20, 1952 Blount legally changed his name to Le Sony'r Ra. Sun Ra claimed^[15] to have always been uncomfortable with his birth name of Blount, seeing it as a slave name of a family that he was not really a member of. One observer has argued that this change was similar to the way "Malcolm X and Muhammad Ali … [dropped] their slave names in the process of attaining a new self-awareness and self-esteem".^[16]

Patrick left the group to move to Florida with his new wife; not long after, Patrick's friend John Gilmore (tenor sax) joined the group, and Marshall Allen (alto sax) soon joined the fold. Patrick was in and out of the group until the end of his life, but Allen and Gilmore—who would both earn critical praise for their talents—were the two most devoted members of the Arkestra. Saxophonist James Spaulding and trombonist Julian Priester also recorded with Sun Ra in Chicago, and both went on to notable careers of their own. The Chicago tenorist Von Freeman also did a short stint with the band of the early 1950s.^[17]

In Chicago, Blount met Alton Abraham, a precociously intelligent teenager and something of a kindred spirit who became the Arkestra's biggest booster and one of Sun Ra's closest friends. The men both felt like outsiders and shared an interest in fringe esoterica. Abraham's strengths balanced Ra's shortcomings: though he was a disciplined bandleader, Sun Ra was somewhat introverted and lacked business sense (a trait that would haunt his entire career); Abraham was outgoing, well-connected, and practical. Though still a teenager, Abraham eventually became Sun Ra's de facto business manager: he booked performances, suggested musicians for the Arkestra, and introduced several popular songs into the group's repertoire. Ra, Abraham and others formed a sort of book club to trade ideas and discuss the offbeat topics that so intrigued them. This group printed a number of pamphlets and broadsides explaining their conclusions and ideas; some of these were collected by critic John Corbett and Anthony Elms as The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets (2006).

Sun Ra and Abraham also formed an independent record label in the mid-1950s; it was generally known as El Saturn Records, though (as with the Arkestra) there were several variants of the name. Initially focused on 45 rpm singles by Sun Ra and artists related to him, Saturn Records did issue two full-length albums during the 1950s: Super-Sonic Jazz (1957) and Jazz In Silhouette (1959). Producer Tom Wilson was actually the first to release a Sun Ra album, through his independent label Transition Records in 1957, entitled Jazz by Sun Ra.^[18] During this era, Sun Ran recorded the first of dozens of singles as a band-for-hire backing a range of doo wop and R&B singers; several dozen of these were reissued in a two-CD set, The Singles, by Evidence Records.

It was during the late 1950s that Sun Ra and his band began wearing the outlandish, Egyptian-styled or science fiction-themed costumes and headdresses for which they would become known. These costumes had multiple purposes: they evidenced Sun Ra's abiding fascination with ancient Egypt and the space age; they provided a sort of distinctive, memorable uniform for the Arkestra; they were a way to take on a new identity, at least while onstage; and they provided comic relief (Sun Ra thought avant garde musicians typically took themselves far too seriously).

New York years (1961–1968)[link]

Sun Ra and some of his core musicians (Allen, Gilmore, and Boykins) left Chicago in July 1961, staying in Montreal through the end of September before settling in New York City. They initially had trouble finding performance venues and began living communally because of New York's higher cost of living. This frustration helped to fuel the drastic changes in the Arkestra's sound as Sun Ra's music underwent a free jazz-influenced experimental period.

In March 1966 the Arkestra scored a regular Monday night gig at Slug's Saloon. This proved to be a breakthrough to new audiences and recognition. Sun Ra's popularity reached an early peak during this period, as the beat generation and early followers of psychedelia embraced him. Regularly for the next year and a half (and intermittently for another half-decade afterwards), Sun Ra and company performed at Slug's for audiences that eventually came to include music critics and notable jazz musicians. Opinions of Sun Ra's music were divided (and hecklers were not uncommon), but high praise came from two of the architects of bebop: trumpeter Dizzy Gillespie offered encouragement, once stating, "Keep it up, Sonny, they tried to do the same shit to me",^[19] while pianist Thelonious Monk chided someone who said Sun Ra was "too far out" by responding, "Yeah, but it swings."^[20]

Philadelphia years (1968–1993)[link]

In 1968, when the New York building they were renting was put up for sale, Sun Ra and the Arkestra relocated to the Germantown section of Philadelphia, where his Morton Street house remained the Arkestra's base of operations until Sun Ra's death. Apart from occasional complaints about the noise of rehearsals, they were soon regarded as good neighbors because of their friendliness, drug-free living, and rapport with youngsters. Saxophonist Danny Thompson owned and operated the Pharaoh's Den, a convenience store in the neighborhood. When lightning struck a tree on their street, Sun Ra took it as a good omen and multireedist James Jacson fashioned the Cosmic Infinity Drum from the scorched tree trunk. They still commuted via railroad to New York for the Monday night gig at Slug's and for other engagements.

In late 1968 Sun Ra and the Arkestra undertook their first tour of the US West Coast. Reactions were mixed; even hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra, which included 20–30 musicians, dancers, singers, fire-eaters, and elaborate lighting. John Burks of Rolling Stone wrote a positive review of a San Jose State College concert that led to Sun Ra being featured on the April 19, 1969 cover of the magazine and introducing Sun Ra's inscrutable gaze to millions. This first West Coast tour also led to vibraphonist Damon Choice, then an art student at San Jose, joining the Arkestra.

Starting with concerts in France, Germany, and the United Kingdom in 1970, the Arkestra began to find opportunities for working outside the US, playing to audiences who had hitherto known his music only through records. Sun Ra continued playing in Europe to nearly the end of his life. Given Sun Ra's unorthodox financial management, saxophonist Danny Thompson became a de facto tour and business manager during this era, specializing in what he called "no bullshit C.O.D.",^[21] preferring to take cash before performing or delivering records.

In early 1971 Sun Ra was artist-in-residence at University of California, Berkeley, teaching a course called "The Black Man In the Cosmos". Rather few students enrolled but the classes were often full of curious persons from the surrounding community. One half-hour of each class was devoted to a lecture (complete with handouts and homework assignments), the other half-hour to an Arkestra performance or Sun Ra keyboard solo. Reading lists included the works of Madame Blavatsky and Henry Dumas, the Book of the Dead, Alexander Hislop's The Two Babylons, The Book of Oahspe and assorted volumes concerning Egyptian hieroglyphs, African American folklore, and other topics.

In 1971, Sun Ra traveled throughout Egypt with the Arkestra at the invitation of drummer Salah Ragab. He would travel to Egypt in again 1983 and 1984, when he would record with Ragab once more. Recordings made in Egypt have been released on Live in Egypt, Nidhamu, Sun Ra Meets Salah Ragab, Egypt Strut and Horizon.^[22][23][24]

In 1972 San Francisco public TV station KQED producer John Coney, producer Jim Newman, and screen writer Joshua Smith worked with Sun Ra to produce an 85-minute feature film, entitled Space Is the Place, with Sun Ra's Arkestra and an ensemble of actors assembled by the production team. It was filmed in Oakland and San Francisco. On May 20, 1978 Sun Ra and the Arkestra appeared on Saturday Night Live.

In the mid-1970s, the Arkestra would sometimes play free Saturday afternoon concerts in a Germantown park near their Philadelphia home. Sometimes at their mid 1970s shows in Philadelphia nightclubs, someone would stand at the back of the room, selling stacks of unmarked LPs in plain white sleeves, pressed from recordings of the band's live performances (including one Halloween show where the salesman was dressed as a golden alien, and the LPs included a cover arrangement of "Somewhere Over the Rainbow").

Back in New York City, in the fall of 1979, Sun Ra and the Arkestra were essentially the 'house band' at the notorious Squat Theater on 23rd St.-the performance home of the avant garde Hungarian theater troupe. Their young mastermind manager, Janos, transformed the theater into a riveting nightclub while the core of the troupe was away that season performing in Europe. Debbie Harry, 'The Velvet Underground's' John Cale and Nico (from Andy Warhol's factory days), John Lurie and 'The Lounge Lizards' and other pop and avant garde musicians were regulars. Sun Ra was a disciplined person who avoided drinking anything other than club soda at the gigs, but did not impose his strict code on his musicians, the majority of whom regarded his claim that he was a 'messenger' from Saturn with wry skepticism. Nevertheless it was clear they deeply respected his genius, discipline and authority. Soft spoken and charismatic, Sun Ra turned Squat Theater into a syncopated universe of big band 'space' jazz backed by a floor show of writhing, sexy, Jupiterettes—him directing and playing three synthesizers at the same time. In those days 'Space Is The Place' was the space at Squat.

The Arkestra continued their touring and recording through the 1980s and into the 1990s, and Sun Ra became a fixture in Philadelphia, appearing semi-regularly on WXPN radio, giving lectures to community groups, or haunting the city's libraries.

Even after a stroke in 1990, Sun Ra kept composing, performing, and leading the Arkestra. Late in his career, Sun Ra opened a few concerts for New York–based rock group Sonic Youth. Eventually, Sun Ra grew too ill to perform and tour, and he entrusted Gilmore with leading the Arkestra. (Gilmore himself was frail from emphysema, and when he died, Allen would take over leadership of the Arkestra.) Sun Ra went back to Birmingham and reconnected with his sister whom he had rarely seen for nearly 40 years. He contracted pneumonia, died in Birmingham on May 30, 1993, and was buried at the Elmwood Cemetery. According to the hospital, he had also been affected by circulatory system problems and numerous strokes shortly before his death.^[3] The small footstone read only "Sonny Blount (aka [sic] Le Son'y [sic] Ra)".^[25]

The Arkestra continues[link]

Following Sun Ra's death, the Arkestra was led by tenor saxophonist John Gilmore. Following Gilmore's death, the group has performed under the direction of alto saxophonist Marshall Allen, who celebrated his 80th birthday on stage during Arkestra performances at the Vox Populi gallery in Philadelphia and the Vision Festival in New York City. A 1999 album led by Allen, Song for the Sun, features Jimmy Hopps and Dick Griffin. In the summer of 2004 the Arkestra became the first American jazz band to perform in Tuva, playing five sets at the Ustuu-Huree Festival.^[26] As of May 2008, the Arkestra continues to tour and perform, with captain Marshall Allen celebrating his 84th birthday on stage at New York City's Sullivan Hall. In September 2008 they played for 7 days in a row at the ZXZW festival, every day emphasizing different aspects of the musical legacy of Sun Ra. The Arkestra celebrated Allen's 85th birthday on May 24, 2009 to a packed house at Johnny Brenda's in Philadelphia's Fishtown neighborhood. A month later, they performed at Philadelphia's Institute of Contemporary Art in conjunction with an exhibition that explored the intersection of the Arkestra's performative legacy and the practice of contemporary art.^[27] More recently they ventured to Australia for the first time for the 2011 Melbourne International Jazz Festival, still under the control of the sprightly 87-year-old Marshall Allen, playing to very enthusiastic sold-out crowds.

Music[link]

Sun Ra's piano technique touched on many styles: his youthful fascination with boogie woogie, stride piano and blues, a sometimes refined touch reminiscent of Count Basie or Ahmad Jamal, and angular phrases in the style of Thelonious Monk or brutal, percussive attacks like Cecil Taylor. Often overlooked is the range of influences from classical music—Sun Ra cited Chopin, Rachmaninoff, Schoenberg and Shostakovich as his favorite composers for the piano.^[28]

As a synthesizer and electric keyboard player, Sun Ra ranks among one of the earliest and most radical pioneers. By the mid-1950s, he used a variety of electric keyboards, and almost immediately, he exploited their potential perhaps more than anyone, sometimes modifying them himself to produce sounds rarely if ever heard before. His live albums from the late 1960s and early 1970s feature some of the noisiest, most bizarre keyboard work ever recorded. Sun Ra's music can be roughly divided into three phases, but his records and performances were full of surprises.

Chicago phase[link]

The first period occurred in the 1950s when Sun Ra's music evolved from big band swing into the outer-space-themed "cosmic jazz" for which he was best known. Music critics and jazz historians say some of his best work was recorded during this period and it is also some of his most accessible music. Sun Ra's music in this era was often tightly arranged and sometimes reminiscent of Duke Ellington's, Count Basie's, or other important swing music ensembles. However, there was a strong influence from post-swing styles like bebop, hard bop, and modal jazz, and touches of the exotic and hints of the experimentalism that would dominate his later music. Notable Sun Ra albums from the 1950s include Sun Ra Visits Planet Earth, Interstellar Low Ways, Super-Sonic Jazz, We Travel the Spaceways, The Nubians of Plutonia and Jazz In Silhouette.

Ronnie Boykins, Sun Ra's bassist, has been described as "the pivot around which much of Sun Ra's music revolved for eight years". This is especially pronounced on the key recordings from 1965 (The Magic City, The Heliocentric Worlds of Sun Ra, Volume One, and The Heliocentric Worlds of Sun Ra, Volume Two) where the intertwining lines of Boykins' bass and Ra's electronic keyboards provide cohesion.

New York phase[link]

After the move to New York, Sun Ra and company plunged headlong into the experimentalism that they had only hinted at in Chicago. The music was often extremely loud and the Arkestra grew to include multiple drummers and percussionists. Recordings of this era began to utilize new technological possibilities such as extensive use of tape delay systems to assemble spatial sound pieces which are far removed from earlier compositions such as "Saturn". Recordings and live performances often featured passages for unusual instrumental combinations and passages of collective playing which point towards free improvisation—in fact, it is often difficult to tell where the compositions end and the improvisations begin.

In this era Sun Ra began conducting using hand and body gestures. This system would inspire cornetist Butch Morris, who would later develop his own more highly refined way to conduct improvisers.

Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": "I have to make sure that every note, every nuance, is correct. … If you want to call it that, spell it p-h-r-e, because ph is a definite article and re is the name of the sun. So I play phre music—music of the sun."^[29]

Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments—predating world music by drawing on various ethnic musical forms—and most saxophonists became multireedists, adding instruments such as flutes, oboes, or clarinets to their arsenals. In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards; he was given a prototype Minimoog by its inventor, Robert Moog.

Notable titles from this period include The Magic City, Cosmic Tones for Mental Therapy, When Sun Comes Out, The Heliocentric Worlds of Sun Ra, Volume One, Atlantis, Secrets of the Sun and Other Planes of There.

Philadelphia phase[link]

During their third period, beginning in the 1970s and onward, Sun Ra and the Arkestra settled down into a relatively conventional sound, often incorporating swing standards, though their records and concerts were still highly eclectic and energetic, and typically included at least one lengthy, semi-improvised percussion jam. Sun Ra was explicitly asserting a continuity with the ignored jazz tradition: "They tried to fool you, now I got to school you, about jazz, all about jazz" he rapped, framing the inclusion of pieces by Fletcher Henderson and Jelly Roll Morton.

In the 1970s Sun Ra took a liking to the films of Walt Disney. He incorporated smatterings of Disney musical numbers into many of his performances from then on. In the late 1980s the Arkestra performed a concert at Walt Disney World. The Arkestra's version of "Pink Elephants on Parade" is available on Stay Awake, a tribute album of Disney tunes played by various artists and produced by Hal Willner. A number of Sun Ra's 1970s concerts are available on CD, but none have received a wide release in comparison to his earlier music. The album Atlantis can be considered the landmark that led into his 1970s era. In 1978-1980 performances, Sun Ra added a large electronic creation, the Outerspace Visual Communicator, which produced images rather than sounds; this was performed at a keyboard by its inventor, Bill Sebastian. During concerts, the OVC usually was positioned at center stage behind the Arkestra while Sebastian sat on stage with the musicians.

Musicians[link]

Certainly dozens of musicians—perhaps hundreds—passed through Sun Ra's bands over the years. Some stayed with him for decades, while others made only a few recordings or performances.

Sun Ra was personally responsible for the vast majority of the constant changes in the Arkestra's lineup. According to contrabassist Jiunie Booth, himself a member of the Arkestra, Sun Ra would not confront any musician whose performance he was unsatisfied with. Instead, Sun Ra would simply gather the entire Arkestra minus the offending musician, and skip town, leaving the fired musician stranded. After repeated instances of US jazz musicians becoming stranded in foreign countries, Sun Ra's unique method of dismissal became a diplomatic liability for the United States. The U.S. State Department was compelled to tell Sun Ra to bring any fired musicians stateside rather than leaving them stranded.^{[citation needed]}

The following is a partial list of musical collaborators and the eras in which they played with Sun Ra and/or the Arkestra:

Philosophy[link]

Sun Ra's world view was often described as a philosophy, but he rejected this term, describing his own manner as an "equation"—he claimed that while philosophy was based on theories and abstract reasoning, his method was based on logic and pragmatism. Many of the Arkestra cite Sun Ra's teachings as pivotal and for inspiring such long-term devotion to the music that they knew would never make them much money. His equation was rarely (if ever) explained as a whole; instead, it was related in bits and pieces over many years, leading some to think his world view was naïve or composed of nonsensical new-age platitudes. However, Martinelli argues that, when considered as a whole, one can discern a unified world view that draws upon many sources, but is also unique to Sun Ra, writing:

Sun Ra presents a unified conception, incorporating music, myth, and performance into his multi-leveled equations. Every aspect of the Sun Ra experience, from business practices like Saturn Records to published collections of poetry to his 35-year career in music, is a manifestation of his equations. Sun Ra seeks to elevate humanity beyond their current earthbound state, tied to outmoded conceptions of life and death when the potential future of immortality awaits them. As Hall has put it, 'In this era of 'practical' things men ridicule even the existence of God. They scoff at goodness while they ponder with befuddled minds the phantasmagoria of materiality. They have forgotten the path which leads beyond the stars.'^[16]

He drew on sources as diverse as the Kabbalah, Rosicrucianism, channeling, numerology, Freemasonry, and black nationalism. Sun Ra's system had distinct Gnostic leanings^[31] arguing that the god of most monotheistic religions was not the creator god, not the ultimate god, but a lesser, evil being. Sun Ra was wary of the Bible, knowing that it had been used to justify slavery. He would often re-arrange and re-word Biblical passages (along with re-working many other words, names or phrases) in an attempt to uncover "hidden" meanings. The most obvious evidence of this system was Ra's practice of renaming many of the musicians who played with him.

Bassoonist/multireedist James Jacson had studied Zen Buddhism before joining Sun Ra and identified strong similarities between Zen teachings and practices (particularly Zen koans) and Ra's use of non sequiturs and seemingly absurd replies to questions.^[32] Drummer Art Jenkins admitted that Sun Ra's "nonsense" sometimes troubled his thoughts for days until inspiring a sort of paradigm shift, or profound change in outlook.^[33] Drummer Andrew Cyrille said Sun Ra's comments were "very interesting stuff … whether you believed it or not. And a lot of times it was humorous, and a lot of times it was ridiculous, and a lot of times it was right on the money."^[34]

Some of Sun Ra's songs with words featured lyrics that although simple, were inspirational and philosophical. The most famous example was "Space is the Place!". Another example was the song that went, "You made a mistake. You did something wrong. Make another mistake, and do something right!". Sometimes (typically at the end of a set) the entire Arkestra would snake out through the audience, playing and chanting something like this. Sun Ra even came up once, behind a frightened young audience member, grabbed him in a bear hug, and whispered this in his ear, while the whole band chanted and played along, in a circle around his table, with the rest of the audience watching on in amusement. (1978, in a performance in a small short-lived nightclub on City Line Avenue in Philadelphia)^{[citation needed]}

Sun Ra and black culture[link]

According to Szwed^[35] Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time. Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks. But by the heyday of black power radicalism in the 1960s, Sun Ra was expressing disillusionment with these aims, and he denied feeling closely connected to any race. In 1970 he said:

I couldn't approach black people with the truth because they like lies. They live lies … At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them … Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up."^[36]

Influence and legacy[link]

Many of Sun Ra's innovations remain important and groundbreaking. Ra was one of the first jazz leaders to use two basses, to employ the electric bass, to play electronic keyboards, to use extensive percussion and polyrhythms, to explore modal music and to pioneer solo and group freeform improvisations. In addition, he made his mark in the wider cultural context: he proclaimed the African origins of jazz, reaffirmed pride in black history and reasserted the spiritual and mystical dimensions of music, all important factors in the black cultural/political renaissance of the 1960s.

George Clinton of P-funk fame drew inspiration from Sun Ra; see P-Funk mythology. He once declared in an interview, "Yeah, Sun Ra's out to lunch... same place I eat at!"^[37]

Detroit's MC5 played a handful of shows with Sun Ra and were influenced by his works immensely. One of their songs from their premiere album Kick Out the Jams featured a track called "Starship" , which was based upon a poem by Ra .

He was inducted into the Alabama Jazz Hall of Fame in 1979. His interment was located in Elmwood Cemetery.

Filmography[link]

Sun Ra and his Arkestra were the subject of a few documentary films, notably Robert Mugge's A Joyful Noise (1980), which interspersed performances and rehearsals with Sun Ra's commentary on various subjects ranging from today's youth to his own place in the cosmos. There is also a feature film entitled Space Is the Place from 1974 which stars Sun Ra and his band who play themselves. The soundtrack, also by Sun Ra, is available on CD.

In 1995 his influence was a significant factor in the foundation of the Association of Autonomous Astronauts.

More recently (2005) Don Letts' Sun Ra—Brother from Another Planet reuses some of Mugge's material and includes some additional interviews.

In 2009, Points On A Space Age, a documentary by Ephrahaim Asili was released.^[38] "It's a 60-minute doc along the lines of the talking-head-intercut-with performance clips style. It works because of the interesting and passionate nature of the images of the band as well as of the audio, as the band attempts to articulate what Ra meant to them, and why they are keeping the flame alive. He “left the earth” for his next mission in 1993. The remnants of the band include Marshall Allen, Ra’s greatest discliple as well as current bandleader and keeper of the flame. Now 86, Allen also serves as recruiter for new members, and potential converts of Sun Ra’s philosophy, once based on space travel and music as a tool for evolution into a new consciousness and tuning into holy vibrations."^[39]

Bibliography[link]

Sun Ra wrote an enormous number of songs and material regarding his spiritual beliefs and music. A magazine titled Sun Ra Research was published irregularly for many years, providing extensive documentation of Sun Ra's perspectives on many issues. Sun Ra's collected poetry and prose is available as a book, published May 2005, entitled Sun Ra, The Immeasurable Equation. Another book of over 260 of Sun Ra's poems, Sun Ra: Collected Works Vol. 1: Immeasurable Equation was published by Phaelos Books in November 2005. The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets, was published in book form in 2005, by WhiteWalls. A collection of Sun Ra's poetry, This Planet Is Doomed, was published by Kicks Books in 2011.

Discography[link]

Notes[link]

References[link]

• Szwed, John F. (August 21, 1998). Space Is the Place: The Lives and Times of Sun Ra. Da Capo Press. ISBN 978-0-306-80855-5. 
• Ra, Sun; Wolf, James L.; Geerken, Hartmut (September 1, 2006). Sun Ra: The Immeasurable Equation: The Collected Poetry and Prose. Waitawhile. ISBN 978-3-8334-2659-9. 
• Ra, Sun (August 1, 2006). Elms, Anthony; Corbett, John. ed. The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets. Chicago, Illinois: WhiteWalls. ISBN 978-0-945323-07-5. 

External links[link]

• Official site of the Sun Ra Arkestra under the direction of Marshall Allen
• Sun Ra Arkestra under the direction of Marshall Allen perform at the Philadelphia ICA (July, 2009)
• Space is the Place film
• 1988 interview with Sun Ra
• Sun Ra at Find a Grave

Les Nubians is an R&B Grammy-nominated^[1][2] duo composed of sisters Hélène and Célia Faussart from Paris, France. In 1985 the sisters moved with their parents to Chad. Seven years later, they returned to Bordeaux, France, and began singing a cappella, producing poetry slams in Bordeaux and Paris, and singing background vocals for various artists worldwide. The duo's debut album Princesses Nubiennes was released by Virgin Records, France, in 1998.

They have become one of the most successful French-language musical groups in the U.S., best known for their Billboard R&B Single "Makeda"^[3] from their Grammy nominated album Princesses Nubiennes.^[1] Les Nubians were the 1999 Soul Train Lady of Soul Awards winners for Best New Artist, Group or Duo and received two NAACP Image Awards nominations in 2000.^[1]

The duo executive-produced Echos, Chapter One in 2005 on their label Nubiatik; a joint venture with Triloka Records. The project features artists from France, and the U.S. performing poetry and music from the urban edge. Echos, Chapter One: Nubian Voyager was released in 2006 as a book accompaniment to the CD.

Discography[link]

Albums[link]

• Princesses Nubiennes (1998) Virgin Records
• One Step Forward (2003) Virgin Records, Higher Octave
• Echos, Chapter One (2005) Nubiatik
• Nü Revolution (2011) Nubiatik, Shanachie

Soundtracks[link]

• 2011: "Beat The World"

References[link]

External links[link]

• Official Site

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Doorway of Thutmose III

Located with the large Precinct of Amun-Re at Karnak, in Luxor, Egypt, the small Temple of Ptah lies to the north of the main Amun temple, just within the boundary wall. The building was erected by Thutmose III, on the site of an earlier Middle Kingdom temple. The building was later enlarged by the Ptolemies.

The building consists of 6 small gateways, built close together. The first (to the west) was erected by the Ptolemies. The subsequent gates date from the Eighteenth Dynasty, the first by Hatshepsut, the rest by Thutmose III.

External links[link]

• Excavation programm of the temple of Ptah and the southern structures by the Cfeetk (en)
• Report 2009 on the excavation programm of the temple of Ptah and the southern structures by the Cfeetk (en)
• Report 2010 on the excavation programm of the temple of Ptah and the southern structures by the Cfeetk (en)

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There are many people in history who are commonly appended with the phrase "the Great", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as e Bozorg and e azam in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.^[1]

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus)^[2] assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "the Great".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers[link]

• Abbas I of Persia (1571–1629), Shah of Iran
• Akbar (1542–1605), ruler of the Mughal Empire of South Asia, mainly India
• Alain I of Albret (1440–1522), French aristocrat
• Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia
• Alexander I of Georgia (1386–1446), King of Georgia
• Alfonso III of León (c. 848-910), King of León, Galicia and Asturias
• Alfred the Great (848/849-899), King of Wessex
• Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire
• Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty
• Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),
• Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire
• Bhumibol Adulyadej (born 1927), King of Thailand
• Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)
• Buddha Yodfa Chulaloke (1736–1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)
• Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden
• Casimir III the Great (1310–1370), King of Poland
• Catherine the Great (1729–1796), Empress of Russia
• Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India
• Charlemagne (died 814), King of the Franks and Emperor of the Romans
• Chulalongkorn (1853–1910), King of Siam (now Thailand)
• Chlothar II (584-629), King of Neustria and King of the Franks
• Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen
• Constantine I (c. 272-337), Roman emperor
• Cyaxares the Great (c. 625-585 BC), third king of Media
• Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire
• Darius the Great (550 – 486 BC), third ruler of the Persian Empire
• Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent
• Dionysius I, Greek tyrant of Syracuse^[3]
• Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile
• Frederick the Great (1712–1786), King of Prussia
• Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire
• Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe
• Gustavus Adolphus of Sweden (1594–1632), King of Sweden, founder of the Swedish Empire, and noted military leader
• Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea^[4][5]
• Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC
• Henry I, Duke of Burgundy (946–1002)
• Henry IV of France (1553–1610), King of France and King of Navarre
• Herod the Great (73/74 BC-4 BC), King of Judea
• Hugh the Great (898-956), Duke of the Franks and Count of Paris
• Hugh Magnus of France (1007–1025), co-King of France
• Hugh I, Count of Vermandois (1057–1101)
• Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat
• Ivan III of Russia (1440–1505), Tsar of Russia
• John I of Portugal (1358–1433), King of Portugal and the Algarve
• John II of Aragon (1398–1479), King of Aragon and, through his wife, King of Navarre
• Justinian I (483-565), Byzantine Emperor
• Kamehameha I (c. 1758-1819), first King of Hawai'i
• Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India
• Kvirike III of Kakheti (1010–1029), King of Kakheti in eastern Georgia
• Kublai Khan (1215–1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty
• Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales
• Louis I of Hungary (1326–1382), King of Hungary, Croatia and Poland
• Mangrai the Great (1238–1317), Lanna, northern Thailand
• Emperor Meiji (1852–1912), Emperor of Japan
• Mircea I of Wallachia (1355–1418)
• Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)
• Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom
• Mstislav I of Kiev (1076–1132), Grand Prince of Kievan Rus
• Naresuan (1555–1605), King of Ayutthaya
• Narai (1633–1688), King of Ayutthaya (in what is now modern Thailand)
• Odo the Great (died c. 735), Duke of Aquitaine
• Otto I, Holy Roman Emperor (912-973)
• K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque
• Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka
• Peter Krešimir IV of Croatia (died 1075), King of Croatia
• Peter the Great (1672–1725), Tsar of Russia
• Peter III of Aragon (1239–1285), King of Aragon and King of Sicily
• Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar
• Radama I (1793–1828), first king of greater Madagascar
• Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.^[6][7][8]
• Rajendra Chola I (reigned 1014–1044), Tamil King of India
• Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt
• Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)
• Ramon Berenguer III, Count of Barcelona (1082–1131), also Count of Provence and various other counties
• Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)
• Roman the Great (after 1160-1205), Grand Prince of Kiev
• Saladin (c. 1138-1193), Kurdish Sultan of Egypt and Syria, founder of the Ayyubid dynasty, and victor over the Crusaders
• Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent
• Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre
• Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire
• Sejong the Great (1397–1450), Korean king^[9]
• Shapur II (309-379), king of the Sassanid Empire, Persia
• Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire
• Stephen III of Moldavia (1433–1504), Prince of Moldavia (Romania)
• Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks
• Taksin (1734–1782), King of the Thonburi Kingdom (Thailand)
• Tamar (1160-1123), Queen of the Georgian Empire
• Timur (1336–1405), better known as Tamerlane, founder of the Timurid Dynasty
• Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie
• Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire
• Theodosius I (347-395), Roman emperor
• Tigranes the Great (140-55 BC), Emperor of Armenia
• Tiridates III of Armenia (285-339), King of Armenia
• Umar (c. 586 to 590–644), second caliph of the Muslim Empire
• Valdemar I of Denmark (1131–1182), King of Denmark
• Valentinian I (364-375), Roman Emperor
• Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus
• Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy
• William I, Count of Burgundy (1020–1087), Count of Burgandy and Mâcon
• William V, Duke of Aquitaine (969-1030), also Count of Poitou
• Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)
• Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures[link]

• Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East
• Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia
• Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian
• Anthony the Great (c. 251–356), early Christian saint of Egypt
• Babai the Great (c. 551–628), Assyrian church leader
• Basil of Caesarea (330-379), Greek bishop and theologian
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)
• Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint
• Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint
• Pope Gregory I (c. 540-604)
• Hiyya the Great, 3rd-century rabbi, Palestine
• Pope John Paul II (1920–2005)
• Pope Leo I (c. 391 or 400-461)
• Macarius of Egypt (c. 300-391), Egyptian hermit
• Pope Nicholas I (c. 800-867)
• Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople
• William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other[link]

• Beli Mawr, a figure in medieval Welsh literature and genealogies
• Emmy the Great, folk singer
• Matteo Rosso the Great, Roman politician and father of Pope Nicholas III
• Prokop the Great, Hussite general in Bohemia

See also[link]

• Epithet
• List of monarchs by nickname
• List of nicknames of European Royalty and Nobility: G-I
• James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus
• Ajax (mythology), called Ajax the Greater
• Mohandas Karamchand Gandhi, whose common honorific "Mahatma" means "Great Soul"

Notes[link]