African art and history

I notice when I share post about ancient Kmt some people tell me West Africans have no connection? The only people that say that are to lazy to actually research the people of West Africa because if they did they would learn about people like Itsekiri…Jay Pre Ginuwa History of Itsekiri "Historically Itsekiri are said to have migrated from Egypt to their present day location in Nigeria. According to Jackson Omasanjuwa Ireyefoju and Florence Ejuogharanmakelesan Ireyefoju in their seminal work “Ife Oracle in Itsekiri Social System of Nigeria,” Itsekiri people came from Egypt after the battle of Actium in 31 B.C. They arrived and settled in the present Warri Kingdom in about 28 B.C in Gborodo, Ureju and Ode Itsekiri. The leaders of the teams were Iset, Iweret and Ipi. This part of Itsekiri history is one that can’t be dismissed so easily as there are more similarly in Itsekiri language and custom with those of the ancient Egyptians than any that of Itsekiri and any other civilisation ...

  African artist wearing traditional Adinkra Cloth, standing in front of his work. Ghana, West Africa. Adinkra (ah-DEEN-krah) cloth is a hand-printed fabric made in Ghana. Developed by the Ashanti people, Adinkra cloths were traditionally made for royalty to wear at religious ceremonies. Through the years, people have also decorated the cloths to tell a story or to express their thoughts or feelings. ADINKRA The Asante peoples of Ghana use adinkra to express the connection between the verbal and the visual in Akan culture. Adinkra symbols appear on wooden prestige objects, jewelry, brass weights and, most prominently, as two-dimensional stamped designs ornamenting cloth. Historically, adinkra was reserved for Asante kings. Over the years, however, its use has expanded to the general Akan population who wear adinkra cloth on significant occasions, the most important of which are funerals. Of the hundreds of adinkra signs and meanings that have been documented, the older symbols are ...

  The signet ring was a "small seal used for formal or official purposes", that is, a substitute for a signature for official documents at a time when few people knew how to write. The history of the signet ring is very old. Its first use, according to archaeologists, dates back to ancient Egypt, more than 4,000 years ago. Many of these signet rings were discovered in the tombs of the pharaohs and from the graves of some high officials. It gives the impression that these rings were used as meanings of authority and as seals to certify business transactions. Each stamp was unique and recognizable by all. The designs consisted of symbols dedicated to nature and the ancient gods

  CONTINUED: BEK OUTSIDE Jumps over to the NEXT WINDOW, opening into a HALLWAY. He speaks furtively with Zaya as she leaves Urshu’s office... BEK this is the last day you’ll be forced to serve him. (beat) I’m buying you from that bastard. ZAYA with what? BEK At the festival, there’ll be tons of tribute for the king. The idea is beyond comprehension to her. ZAYA You plan to rob a god? In his palace? Set can kill you with a touch. BEK He also has a lot of money. ZAYA you’ve never tried anything like that before. BEK You doesn’t know what I’ve tried. ZAYA (grips her Horus figurine) Have faith. Bek dismissively waves away the wishful thinking. BEK Even if Horus comes and puts a spear through Set’s skull -- then what? In Egypt you’re either rich, poor... (off the slaves outside) ...or nothing. Zaya doesn’t have a response. It’s the hard truth. BEK I choose rich. Bek gives Zaya a last kiss and LEAPS OFF THE WINDOW LEDGE. BACK IN URSHU’S OFFICE As the Overseers summarizes the day’s p...

  OVER BLACK: We hear the voice of THOTH. A voice that knows all things: THOTH’S VOICE Listen, if thou wouldst be wise. Weigh my words and hear their truth -- though I’ve ceased being surprised by the inability of some to listen when wisdom speaks. The RISING SUN crests the PEAK OF A PYRAMID. Not an ancient ruin. It’s BRAND NEW, smooth as glass. THOTH’S VOICE Egypt was not always as you know it now, dry and unforgiving. PULL BACK to reveal towering FORESTS that stretch to the horizon. The air is lush with the breath of life. This Egypt is Edenic, primordial -- with no sand to be seen. THOTH’S VOICE Before history began, Egypt was a paradise worthy of the gods who created it. So the gods decided to live there themselves amongst their other, lesser creation... Men. The Pyramid is just a small part of a glittering PALACE COMPLEX. THOTH’S VOICE Egypt was divided between two mighty brothers... EXT. GREAT PALACE ON THE NILE - DAY what looks like a handsome MAN walks along the shore of ...

 On the evening of the 16th March 2010 an intense fire swept through the royal enclosure at Kasubi Hill. As the flames spread across straw thatching and engulfed the immense grass hut structures housing the tombs of four of the Kingdom of Buganda's recent kings and their descendants, news of the loss of the UNESCO world heritage site filtered across the Ugandan capital, Kampala. Carried on radio airwaves and in the reports of mobile Boda-Boda drivers initial information was confused. By the time news reached a fellow researcher and myself around four miles from the scene, rumours had already begun to circulate as to the origins of the fire. There were suggestions of arson and even intimations as to the involvement of the national government of President Yoweri Museveni.1 On the morning of the 1 i h huge crowds of Ganda gathered at the location of the tombs to express their grief and anger over the loss of one of Buganda's key spiritual sites described by Buganda minister, Medar...

  In the pages which follow, the traditions surrounding the first eight (of a total of thirty-five) kings of Buganda's traditional history will be investigated from a perspective that has not been utilized before. I hope to demonstrate that these traditions—beginning with the establishment of the first king, Kintu, in Buganda proper and ending with the death of the eighth king, Nakibinge, at the hands of the Banyoro—form an interrelated set which can be analyzed structurally as myth. While so doing, I do not wish to imply that the traditions in question demand this type of analysis and no other; different perspectives have been and will be useful for understanding early Buganda and its traditions. But I do want to show that such a structure can be discerned in the traditions and that the existence of this structure should be taken into account regardless of the type of analysis to be undertaken. One task which will further these ends will be a discussion of the reasons for setting ...