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⁣⁣Lee Kuan Yew, Former Prime Minister of Singapore, ⁣and
widely recognised as the founding father of the modern
Singaporean state, and for his leadership in transforming
Singapore it into a highly developed country during his
tenure.
In this video, let’s explore Lee Kuan Yew's journey of cultural identity and his message on the importance of why Asians and the Asian diaspora should reject Western media,
influence & culture - and the reasons why Asians need to
learn their mother tongues and embrace their ethnic roots & culture in an increasingly fast-paced and globalized world.
Timestamps:
0:00 - Intro
0:58 - Discrimination in the West
1:53 - Singapore is becoming too influenced by the West
3:47 - LKY's personal experiences & his Chinese roots
7:24 - Why Singaporeans need to be Bilingual
8:31 - Why learning Chinese is necessary
10:25 - Dangers of Western Media & Influence
11:13 - On Asians that move to the West

THE ELDERS SPEAK

⁣Ɔbenfo (Professor) Ọbádélé Kambon Discusses Self-Identity and Adversaries

New Kantanka 2025 Onantefo

Here is the step by step video of our baling process, a process that any farmer can bring on with few local materials and usual manpower!

Step 1- Prepare the ropes in the right position in our wooden box ;
Step 2- Filling the wooden box with our hay and step on it to press it well;
Step 3- Tightening the ropes edges as we are "packing" the bale;
Step 4- Pull out of the box our well tighten bale and store it!

With this method, our bales of brachiaria grass can be stored for 3 years and more, ready to be used when we will need to feed our cows!

Part 3 of a four part documentary on the results of the "back door U.S. invasion" of Afrika called AFRICOM

SONIC ACTS FESTIVAL 2019 – HEREAFTER
Filipa César, Jin Mustafa – Meteorisations: Reading Amílcar Cabral's Agro-Poetics of Liberation
24 February – De Brakke Grond, Amsterdam, The Netherlands

A reading of Amílcar Cabral’s agronomic writings exposes substrata of a syntax for liberation later performed in guerrilla language and the struggle against Portuguese colonialism in Guinea-Bissau and Cape Verde. This visual and sonic reading explores the definitions of soil and erosion that Cabral developed as an agronomist, as well as his reports on colonial land exploitation and analysis of the trade economy, to unearth his double agency as a state soil scientist and as a ‘seeder’ of African liberation. Cabral understood agronomy not merely as a discipline combining geology, soil science, agriculture, biology and economics but as a means to gain materialist and situated knowledge about peoples’ lived conditions under colonialism. The scientific data he generated during his work as an agronomist, along with his poetry, were critical to his theoretical arguments in which he denounced the injustices perpetrated on colonised land, and it later informed his warfare strategies.
Cabral used his role as an agronomist for the Portuguese colonial government subversively to further anti-colonial struggle. Cabral’s process of decolonisation was understood as a project of soil reclamation and national reconstruction in the postcolony. His agency as an agronaut ventures through soil cosmologies, mesologies, meteorisations, ‘atmos-lithos’ conflict zones, celluloid compost, violence of imperial consumption — the sugar question. Humble derives from Humus.

Performative lecture by Filipa César with sound by Jin Mustafa and images from Sana na N’Hada and Flora Gomes, 1974, Cape Verde.

This iteration of the lecture has been commissioned by Sonic Acts as a part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union.

Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Characterised by rigorous structural and lyrical elements, her multiform meditations often focus on Portuguese colonialism and the liberation of Guinea-Bissau in the 1960s and 1970s. This research developed into the collective project Luta ca caba inda (The Struggle Is Not Yet Over). She gained an MA Art in Context at the University of Arts, Berlin. Selected exhibitions and screenings include at the São Paulo Biennial, Manifesta 8, Cartagena, and the Contour 8 Biennial in Mechelen, Belgium, and Gasworks, London. Festival screenings include the Kurzfilmtage Oberhausen, Curtas Vila do Conde, Forum Expanded at the Berlinale and the International Film Festival Rotterdam.

Jin Mustafa is a Stockholm-based visual artist, DJ and electronic music producer. Her work shifts between media, often taking the form of moving images, objects, sound and music. She is interested in the relationship between technology, imaginary spaces and questions of personal and collective memory. Recent exhibitions include I’m fine, on my way home now at Mossutställningar, Stockholm (2017); Ripple at Alta Art Space in collaboration with Signal, Malmö; If she wanted I would have been there once, twice or again at Zeller Van Almsick Gallery, Vienna; and a collaborative work with Natália Rebelo for Chart Emerging at Kunsthal Charlottenborg, Copenhagen (2018).

In a time where the Caribbean was terrorized by two category 5 hurricanes, we stand strong. Caribbean people are some of the most resilient on the planet. Despite the tragedy we still fete and party till we drop! With the ability to be free, we make sure we feel good, sip wine, drink rum, and tuhn up every party! With a wide Caribbean variety from Trinidad, Antigua, Jamaica, and St. Croix, you have the ultimate statement. “Unity and One Caribbean”. 2017 was rough but 2018 will be greater with the Liberty Riddim.

Produced by: Kevre’ L. Hendricks (Maestro)
Mixed and Mastered by: Andrew Denny
Artwork by: Cliff Smith

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Obadele "Africano" Kambon and Kwabena "Jahwi" Danso
An exercise called Jogo-de-dentro or "inside game." Playing in a very tight space encircled...errr...or ensquared...by 4 berimbaus. Any movements are allowed but we focus on au and role...and you have to stay in the square...errrr...unless you have to put your knee on someone's chest, then you're allowed to go outside just for dramatic effect...