Cunga-Mali (kuŋɢaʔmali)
The dominant people of Zazamanc , those who call themselves Cunga-Mali are practically the empire's identity. Tribal lineage is their pride, as many of the other ethnic groups, but now the vast majority of them live in the cities that dot the banks of the rivers. Generally associated with the upper class, the Cunga-Mali are the peoples of Kadagard think of when they picture a citizen of Zazamanc.
The Cunga-Mali have a look that is distinctive, even among the other ethnicities of the Nbundo River Basin. They are dark-skinned, ranging from chocolate to brown/blue-black, broad-shouldered and broad-chested, with women's breast tending to be round, and they tend to have long arms, with the forearm slightly longer than the thigh. Their hair ranges from raven to blue-black in color and their eyes are various dark shades of brown. Cunga-Mali facial structure most commonly features small ears, a steep, low forehead, small, rounded, but straight nose with a high, narrow root, big, close-set eyes, and thick lips.
Culture
Major language groups and dialects
The language of the Cunga-Mali is known as Zacundu.
Culture and cultural heritage
According to their mythology, the Cunga-Mali are descended from two separate ethnicities: the Kunga and the Mali. In ancient times, these two peoples came to inhabit the delta at the mouth of the Lingala but originated from different sides of the river: the Kunga came from the east and were pastoralists and the Mali horticulturalists that came from the west. These two ethnics fought in a bloody conflict over the right to live in the delta, until, according to the myths, the hero Feirefiz taught both groups that they can share the land and benefit each other with the skills the others don't have: in addition to domestic animals, the Kunga were great warriors and master weapon crafters, and the Mali, along with agriculture, were expert weavers and knew art, such as pottery. While the involvement of a great hero is debatable, it is likely that both of these ethnic groups did exist at this time, as they appear in ancient stories from other ethnicities. The idea that there was violence between the two groups is not unlikely as the land occupied is comparatively small.
It is unclear why these people migrated from their original homelands, but the stories say that it was due to pressure from aggressive peoples. It is, therefore, reasonable to assume that they continued to face attacks from aggressive tribes, even that they may have escalated since both groups together had more to take from than a single tribe. The outside pressure from these raids was likely enough to bring the two people together and eventually, their descendants identified themselves as a single people, the Cunga-Mali.
At some point, this new ethnicity built their first city, Ngiama-Tinga. Outside of the legends, the city's origin is largely shrouded in mystery: none of the ethnicities native to the Nbundo prior had built such a settlement, living either in villages or small nomadic bands, then suddenly there is a fully fledged city on the coast. It is likely, however, that the Cunga-Mali's story is the correct one, at least somewhat: the story goes that Feirefiz, sailed across the sea and studied under light-skinned people to the north. These people, as seen from artifacts of these cultures found in the graves of ancient Cunga-Mali rulers, nobles, and merchants, were the ancient Archianthians of the city of Arkados, which is mentioned by name in the legend. It is obvious that Feirefiz's studies symbolize hundreds of years of cultural diffusion between the Cunga-Mali and the Arkadonic Archianthians, from whom the Cunga-Mali learned how to build cities and walls. Further attesting to this are written accounts from ancient Archianthian traders of trade with dark-skinned people across the sea.
Aspects of Archianthian culture survive among the Cunga-Mali to this day and have even influenced some of their defining characteristics.
It is unclear why these people migrated from their original homelands, but the stories say that it was due to pressure from aggressive peoples. It is, therefore, reasonable to assume that they continued to face attacks from aggressive tribes, even that they may have escalated since both groups together had more to take from than a single tribe. The outside pressure from these raids was likely enough to bring the two people together and eventually, their descendants identified themselves as a single people, the Cunga-Mali.
At some point, this new ethnicity built their first city, Ngiama-Tinga. Outside of the legends, the city's origin is largely shrouded in mystery: none of the ethnicities native to the Nbundo prior had built such a settlement, living either in villages or small nomadic bands, then suddenly there is a fully fledged city on the coast. It is likely, however, that the Cunga-Mali's story is the correct one, at least somewhat: the story goes that Feirefiz, sailed across the sea and studied under light-skinned people to the north. These people, as seen from artifacts of these cultures found in the graves of ancient Cunga-Mali rulers, nobles, and merchants, were the ancient Archianthians of the city of Arkados, which is mentioned by name in the legend. It is obvious that Feirefiz's studies symbolize hundreds of years of cultural diffusion between the Cunga-Mali and the Arkadonic Archianthians, from whom the Cunga-Mali learned how to build cities and walls. Further attesting to this are written accounts from ancient Archianthian traders of trade with dark-skinned people across the sea.
Aspects of Archianthian culture survive among the Cunga-Mali to this day and have even influenced some of their defining characteristics.
Average technological level
One of the greatest advantages of the Cunga-Mali over their neighbors is their mastery of metalworking: specifically their use of steel. Metalworking is not uncommon to the tribes of the Nbundo, and in fact, is quite common. But all the rest use iron, whereas the Cunga-Mali have managed techniques to carbolize iron into steel, making their weapons superior to all the other cultures of the Nbundo.
Common Etiquette rules
Among the Cunga-Mali, it is considered proper to greet close kin and good friends with a wide smile, a hug, and a kiss on each cheek. It is improper, however, for friends or kin to lock lips, as such intimacy is reserved for lovers.
Common Dress code
When looking at the Cunga-Mali dress, one thing stands out above all others: colors. Cunga-Mali clothing is bright with interact patterns of zig-zags, most often colored blue, yellow, red, purple, and many different hues of them. The material of choice for their clothing is known as Sebu: it is highly regarded for its incredible softness and ability to retain dyed colors for a long time. Other common materials are wool and linen, and leather is popular for sandals.
Average men's attire consists of a garment similar to a chiton, fastened over one shoulder by a small pin (typically made of bone, horn, or ivory), with a simple loincloth for the undergarment. For men of higher classes, the garment is more like a toga, with a showy cloak drawn over a single shoulder signifying their place within higher society: e.g. a man's cloak may bare an insignia tying him to a certain family or their brand should he be a merchant.
Women's apparel consists of a dress similar to a knee-length peplos, with slits that expose the thighs. In addition to the loincloth worn as an undergarment, a high-class woman will wear an ankle-length loincloth on their waists over the outer dress, and most often decorate it with gold and jewels ornaments. Upper women also have excess fabric over the torso, similar to kolpos, and decorate their arms, and ankles, with primarily gold jewelry, from the wrists all the way up the upper arm.
Average men's attire consists of a garment similar to a chiton, fastened over one shoulder by a small pin (typically made of bone, horn, or ivory), with a simple loincloth for the undergarment. For men of higher classes, the garment is more like a toga, with a showy cloak drawn over a single shoulder signifying their place within higher society: e.g. a man's cloak may bare an insignia tying him to a certain family or their brand should he be a merchant.
Women's apparel consists of a dress similar to a knee-length peplos, with slits that expose the thighs. In addition to the loincloth worn as an undergarment, a high-class woman will wear an ankle-length loincloth on their waists over the outer dress, and most often decorate it with gold and jewels ornaments. Upper women also have excess fabric over the torso, similar to kolpos, and decorate their arms, and ankles, with primarily gold jewelry, from the wrists all the way up the upper arm.
Art & Architecture
Among the Cunga-Mali, the ability to produce works of art is a highly valued skill, especially among the upper class. Their art style is a defining aspect of their culture and artistry is used as a form of competition to further one's skill, an avenue to teach patience and hone one's eye, and a fun game and means of expression. These are true of both men and women, although there are some forms of artwork each sex is expected to traditionally pursue. (e.g. metalworking is traditionally a masculine pursuit, while weaving is a feminine pursuit)
Due to the brittleness of mudbrick, Cunga-Mali architecture features little colonnades and instead takes advantage of mudbrick's compressive strength, prominently using arches. Buildings often feature domed or pyramidal rooves, which while not often very tall can still be quite large. To seal the brick and reflect sunlight, buildings are commonly whitewashed, and it is common to see elaborate murals on the inner walls, usually depicting the mythology or the history of the house or family.
As stated above, there are forms of art that are traditionally seen as masculine art forms traditionally seen as feminine. Masculine art forms include metalworking, stonemasonry, tanning, and architecture. Feminine art forms include weaving, singing, sewing, and wood carving. It is not impossible that someone of one gender could master an art traditionally viewed as for the other, but it is not common.
Having said that though, there are plenty of art forms that are gender neutral, most notably pottery, painting, poetry, and clay sculpting. These are among the most commonly practiced forms of art in Cunga-Mali society and are often taught to children from a young age. However, out of all the arts, what is often considered to be the most important is calligraphy: one's hand writing is important.
Architecture
Cunga-Mali architecture takes heavy inspiration from that of the Archathians, although it is altered to work with the different resources available in the Nbundo. Those of noble birth have been known to import Archathian marble for use in larger constructions, but early Cunga-Mali managed to construct the entire city of Ngiama-Tinga using almost entirely clay and mudbrick.Due to the brittleness of mudbrick, Cunga-Mali architecture features little colonnades and instead takes advantage of mudbrick's compressive strength, prominently using arches. Buildings often feature domed or pyramidal rooves, which while not often very tall can still be quite large. To seal the brick and reflect sunlight, buildings are commonly whitewashed, and it is common to see elaborate murals on the inner walls, usually depicting the mythology or the history of the house or family.
Art
Cunga-Mali culture places a strong emphasis on art and the pursuit of art for art's sake. Cunga-mali art comes in many forms and there are many different pursuits of art that an individual can pursue. Art is seen by many as something that defines a person: one's artistic ability and the tiny differences that they put into their art style is one of the core aspects of their character and soul.As stated above, there are forms of art that are traditionally seen as masculine art forms traditionally seen as feminine. Masculine art forms include metalworking, stonemasonry, tanning, and architecture. Feminine art forms include weaving, singing, sewing, and wood carving. It is not impossible that someone of one gender could master an art traditionally viewed as for the other, but it is not common.
Having said that though, there are plenty of art forms that are gender neutral, most notably pottery, painting, poetry, and clay sculpting. These are among the most commonly practiced forms of art in Cunga-Mali society and are often taught to children from a young age. However, out of all the arts, what is often considered to be the most important is calligraphy: one's hand writing is important.
Foods & Cuisine
While it is often said of the Cunga-Mali that they find pigs unclean and thus find their meat disgusting, the truth is that this is only common among nobility, merchants, and other higher class individuals. Pork is in fact the most common meat consumed among the lower class, with many villages keeping communal heaps of pigs that are slaughtered and whose meat is distributed amongst the populace appropriately.
A stapple of the Cunga-Mali diet is rice and dishes made using rice. Specifically papuga, the zazzamanci rice. This is the defining crop of the Cunga-Mali and is used in just about everything from plain rice bowls to alchol.
One of the most common beverages drank among the Cunga-Mali is Lapapu, a sort of rice wine often mixed with twinges of other fruits such as grape juice.
A stapple of the Cunga-Mali diet is rice and dishes made using rice. Specifically papuga, the zazzamanci rice. This is the defining crop of the Cunga-Mali and is used in just about everything from plain rice bowls to alchol.
One of the most common beverages drank among the Cunga-Mali is Lapapu, a sort of rice wine often mixed with twinges of other fruits such as grape juice.
Common Taboos
To speak ill of or condemn the dead openly is a grave taboo among the Cunga-Mali, who believe that the spirits of their ancestors are around them and tied to their households and families. Those who have passed on must be treated with the highest degree of respect possible, even if in life they may not have been well liked or thought of as traditionally a good person. This is closely tied to their religion and their views of how the actions of the living effect those in the afterlife: if a person is disrespectful to their ancestors, they may become bitter, capricious, and even malevolent, bringing misfortune to them wherever they go. Along the same vein, grave robbing is a heinous offense that is absolutely unforgivable that will cause one to become a pariah, taken by a mob of their neighbors and branded on their face so the entire world knows their crime. If this is done by a noble, then this punishment is enacted by the state, usually the church, as this is a heinous act of herasy.
Common Myths and Legends
Ideals
Beauty Ideals
Both sexes are expected to keep themselves in shape and have a toned physique. As such, skill in physical competitions is seen as attractive, respective to each sex. Black eyes are seen as the most beautiful color possible, as those are the color of Feirefiz’s eyes and symbolize power.
Major organizations
Long since its formation, the Kunga-Mali have been the ruling class of the Empire of Zazamanc. They are effectively the empire's identity and to say it would not exist without them is not entirely incorrect.
Related Myths
Languages spoken
Related Locations
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