Shared Culture
All three peoples share a similar culture. Their homeland is remote, located in desolate mountains, and traditional rivalries with their tribal neighbors such as the Nyangatom have become quite bloody as automatic firearms have become available from the parties in the Sudanese Civil War. The police allow foreigners to travel there only with a hired armed guard.
They have a fierce culture, with a liking for stick fighting called Donga or Saginay bringing great prestige to men — it is especially important when seeking a bride — and they are very competitive, at the risk of serious injury and occasional death. The males are often shaved bald, and frequently wear little or no clothes, even during stick fights.
At a young age, to beautify themselves for marriage, most women have their bottom teeth removed and their bottom lips pierced, then stretched, so as to allow insertion of a clay lip plate. Some women have stretched their lips so as to allow plates up to sixteen inches in diameter. Increasing with exposure to other cultures, however, a growing number of girls now refrain from this practice. Their children are sometimes painted with white clay paint, which may be dotted on the face or body.
Their villages normally range in size from 40 to 1,000 people, but a few may reach 2,500 people. Village life is largely communal, sharing the produce of the cattle (milk and blood, as do the Maasai). Though their chiefs (styled komaro) may wear the fur crown of a pagan priest-king, they are merely the most respected elder in a village and they can be removed. Few Surma are familiar with Amharic, the official language of Ethiopia, and their literacy level is very low.
Read more about this topic: Suri (Ethiopia)
Famous quotes containing the words shared and/or culture:
“But popular rage,
Hysterica passio dragged this quarry down.
None shared our guilt; nor did we play a part
Upon a painted stage when we devoured his heart.”
—William Butler Yeats (18651939)
“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
—Jacques Barzun (b. 1907)