The Black Agenda 3rd Citizenship Town Hall Meeting - GHOne News Story
https://www.decadeofourrepatriation.com
https://www.r2gh.com
https://www.abibitumi.com

Written by jazz singer, composer, pianist and arranger Eunice Waymon (aka Nina Simone), released on the 1966 album ''Wild Is the Wind''.

My skin is black.
My arms are long
my hair is woolly
my back is strong
strong enough to take the pain
inflicted again and again
what do they call me
My name is Aunt Sarah
My name is Aunt Sarah
Aunt Sarah.

My skin is yellow.
My hair is long
between two worlds
I do belong
my father was rich and white
he forced my mother late one night
what do they call me
my name is Saffronia
my name is Saffronia.

My skin is tan.
My hair is fine
my hips invite you
my mouth like wine
whose little girl am I?
anyone who has money to buy
what do they call me
my name is Sweet Thing
my name is Sweet Thing.

My skin is brown.
My manner is tough.
I'll kill the first mother' I see.
My life has been rough.
I'm awfully bitter these days
because my parents were slaves.
What do they call me
My name is
PEACHES!

Black people do not have the power to sanction White, Asia or Arab leaders. We do not have the military power, We dont have control over our own markets...Black people who talk about this mythological Black Capitalism are people who want Black people to remain poor so they can make money off Black helpelessness.

Samora - Suriname Gyal (Official Music Video)

Download/Stream: https://Hapilos.lnk.to/Samora-SurinameGyal

#samora #staudenmann #surinamegyal written by Samora Staudenmann, Ludovic Hoarau & Res Staudenmann

Mixed by Ludovic Hoarau

Mastered by Oli Bösch

Cover Picture by Res Staudenmann

Cover Artwork by Res Staudenmann

Label: Staudenmann

Distributed by 21st Hapilos Digital Distribution

Video directed by Res Staudenmann

Video edited by Kalouk Juste

Resisting the tide of repression that threatens the teaching of Black history, we should look to that past to understand the ongoing processes that have shaped our world. Our current predicament, marked by extreme inequalities, everyday violence, militarism, and political strife derives in part from the history of colonial conquest, slavery, and imperial warfare. Our struggles for freedom and dignity emerge from that history, too. By understanding it, we might discern the scope, force, direction, and likelihood of the changes ahead—and be guided by the example and the wisdom of our ancestors. Audience Q&A and a reception will follow.

Vincent Brown is the Charles Warren Professor of American History and Professor of African and African American Studies at Harvard University. He has published two prize-winning books about the history of slavery: The Reaper’s Garden: Death and Power in the World of Atlantic Slavery (2008) and Tacky’s Revolt: The Story of an Atlantic Slave War (2020). The author of numerous articles and reviews in scholarly journals, he is also Principal Investigator and Curator for the animated thematic map Slave Revolt in Jamaica, 1760-1761: A Cartographic Narrative (2013), he was Producer and Director of Research for the award-winning television documentary Herskovits at the Heart of Blackness (2009), broadcast nationally on the PBS series Independent Lens, he was the executive producer and host for The Bigger Picture (2022), co-produced with WNET for PBS Digital Studios, and he was executive producer, writer, and host for How Do You Remember the Days of Slavery? (2024). He is co-founder of Timestamp Media, which explores the history that connects people and places across the world.

https://www.ihc.ucsb.edu/event..../black-historys-warn

Cosponsored by the IHC’s Key Passages series and Harry Girvetz Memorial Endowment

To support our work: https://www.patreon.com/EmpireWatch
In episode 68 of Global Majority for Peace, Nigerian investigative journalist David Hundeyin, founder of West Africa Weekly and The Spearhead @spearhead_af joins Ileana Chan to discuss his journey from award-winning journalism to political exile and the brutal reality of U.S. imperialism in Africa.

David traces his political awakening to his father's preventable death, which launched him into a confrontation with the Nigerian establishment and a career of full-contact investigative journalism. He details his explosive exposé of Nigeria's current president as a convicted U.S. drug dealer and CIA asset, the subsequent lawsuit against the CIA, FBI, and DEA, and how he was placed on a no-fly list after the 2020 Lekki massacre before fleeing into exile.

Together, Ileana and David explore what it truly means to be a politically conscious journalist in an age of empire, the revolutionary potential of the Alliance of Sahel States, and whether the multipolar world offers the Global South a genuine path out of dependency.
#nigeria #usimperialism #allianceofsahelstates #multipolarworld david Hundeyin is a Nigerian investigative journalist, author, and founder of West Africa Weekly and The Spearhead. He won the People Journalism Prize for Africa in 2020, and he was named one of the 100 Most Influential Africans of 2022 by New African Magazine. His sophomore nonfiction book titled ‘Breaking Point’ won the 2025 ANA Prize for Nonfiction. Hundeyin currently lives under political asylum protection in Ghana where he is working on his third book.

For more from David:
https://www.davidhundeyin.com/

0:00 - Introduction: David Hundeyin, Investigative Journalist in Exile
2:51 - Political Awakening, Lekki Massacre & Escape from Nigeria
6:42 - Exposing Nigeria's President as a CIA Asset & the FOIA Lawsuit
13:22 - The Realization: Marxists Were Right & Journalism Cannot Be Neutral
18:37 - The "Christian Genocide" Hoax & US Military Base in Nigeria
26:28 - David's Unknowing Role in a Western-Funded Propaganda Project
32:20 - Alliance of Sahel States (AES): Data Sovereignty & State-Led Development
45:08 - Challenging Neoliberalism: Government Has Business in Business
53:59 - Contradictions: The US Health Deal & Why Anti-Imperialism Cannot Be Half-Assed
1:02:39 - China's Zero-Tariff Policy & The Multipolar World

Follow Ileana Chan: Instagram/X/TikTok: @ileanacforpeace

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The Global Majority for Peace podcast brings you in-depth interviews every TUESDAY to discuss our mission to challenge US imperialism and build a multipolar world.

Si di tuori "Di Fat Gyal An Di Manggo" ya. Wa unu tingk?

Here's the classic tale, "The Fat Girl and the Mango" Enjoy!

For access to the PDF of this story and others, check out our Free Resources folder on Google Drive -

https://drive.google.com/drive..../folders/1B3nUMSiAZb

Follow us on social media for more:

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Purchase past classes here: https://www.abibitumi.com/prod....uct-category/product

⁣When a teenage orphan girl, Iyanu, unknowingly triggers her Divine Powers, she escapes Elu, the last standing city in the known world, and embarks on a journey to discover the truth about the evil lurking in the realm of Yorubaland.

⁣The importance of reclaiming Our Ubuntu (African) culture and languages. We CANNOT liberate ourselves through the languages and cultures of those who brought maafa upon generations of WanaUbuntu (Africans).

⁣https://www.abibitumi.com/shop

Las Caras Lindas is a famous song by the ⁣renown Black Boricua singer, Ismael Rivera. It is a song that gave us Abibifo⁣ɔ from the spanish-terrorized regions of the world much pride in our Blackness. The Beautiful Faces of My Black People!

Lyrics translated to english:



A la le, a la le, a
la lee, la la le le

The beautiful faces
of my Black people
Are a parade of
blossoming molasses
That when it passes
in front of me, my heart rejoices
In their Blackness

The beautiful faces
of my dark-skinned race
Hold tears, sorrow,
and pain
They are the truths
that life challenges
But they carry much
love within

We are the molasses
that laughs
The molasses that
cries
We are the molasses
that loves
And in every kiss,
it is moving

That's why I live
proud of their color
We are kind,
dark-skinned people, with clear poetry
They have their
rhythm, they have melody
The beautiful faces
of my Black people

The beautiful faces
(how beautiful, but), the beautiful faces (but look how beautiful
they are)
The beautiful faces
of my Black people
They have, they
have, they have, they have tears, much melody, I tell you
They have beauty and
they also have very beautiful poetry

The beautiful faces,
the beautiful faces
The beautiful faces
of my Black people
Beautiful faces of
Black people, of which I have many in my calm moments
The beautiful faces
of my Black people are a blast

The beautiful faces,
the beautiful faces (how beautiful they are)
The beautiful faces
of my Black people
We are, I tell you,
the molasses that laughs, ha, ha, ha, ha, ha, that sings and that
cries
And in every kiss,
very moving and captivating

The beautiful faces
(beautiful, beautiful), the beautiful faces (beautiful, beautiful,
beautiful, how beautiful they are)
The beautiful faces
of my Black people
I tell you that in
Portobelo, Panama, I saw the most beautiful and pure face
And that's why my
heart rejoices in its Blackness, that one is truly beautiful

The beautiful faces,
the beautiful faces
The beautiful faces
of my Black people (it sounds)

How beau-, how
beau-, how beautiful they are
Pure Blackness
How beau-, how
beau-, how beautiful they are

The beautiful faces,
the beautiful faces (but how beautiful they are)
The beautiful faces
of my Black people

Listen to me, but
how They are beautiful
They are pretty,
they are lovely
They are beautiful,
how pretty they are
Pretty as you'll
see, that's how they are
Pretty faces like
that one that tells you with a playful tease
A sweet, playful
tease with your sweet, melon-like heart

For the pretty faces
of Llorens Torres
Tell them, Mario

How pretty, how
pretty, how pretty, how pretty, how lovely they are
How beautiful they
are, very beautiful, how lovely they are, how pretty they are
Pretty faces,
pretty, pretty they are, take me!

How pretty they are,
they are pretty
But how pretty they
are, but how pretty they are
How pretty they are,
they are pretty

Many pretty faces
But how pretty, how
pretty, how pretty they are, here they come!

For all the pretty
faces of latin america

But how pretty, but
look how pretty the pretty faces are
Of my Black people,
there are so many
The pretty faces,
the pretty faces
The pretty faces of
my Black people

A parade of
Blackness, of the pure kind that comes from down there
The pretty faces of
my Black people, they are a playful tease
The pretty faces,
the pretty faces
The pretty faces of
my Black people

Molasses that
laughs, molasses that laughs, ha, ha, ha, ha, ha, ha
Oh, that sings and
that cries
And in every kiss,
so moving
But how pretty


Original content info:
Provided to YouTube by Universal Music GroupLas Caras Lindas · Ismael RiveraEsto Si Es Lo Mío℗ 1978 Craft Recordings.Released on: 1978-01-01Producer, Vocalist: Ismael RiveraProducer: Javier VázquezRecording Engineer: Irv GreenbaumChorus: Rubén BladesChorus: Adalberto SantiagoChorus: Nestor SanchezChorus: Héctor LavoeComposer Lyricist: Tite Curet AlonsoAuto-generated by YouTube.

Museums have long been unwelcoming or intimidating spaces for many, particularly ordinary Africans. In this powerful talk, Kwame Akoto Bamfo reimagines the museum experience through the lens of African heritage and community engagement. By embracing change as a constant force, Kwame demonstrates how interactive art and inclusive spaces can serve as healing, dialogue, and transformation mediums.

Through his work, he challenges traditional perceptions of museums and invites communities to reconnect with their identity and heritage. This talk is a compelling exploration of how art can celebrate cultural freedom and inspire others to embrace their role in shaping change narratives. Kwame Akoto-Bamfo is a Ghanaian sculptor, educator, and activist renowned for his dedication to preserving African history and promoting restorative justice through art. He earned his Bachelor of Fine Arts (BFA) and Master of Fine Arts (MFA) in painting and sculpture from the Kwame Nkrumah University of Science and Technology.

His seminal work, the Nkyinkyim Installation, is an evolving art project comprising over 1,500 portraits of Africans in the diaspora. This installation pays homage to the victims of the Transatlantic slave trade and is prominently featured at the National Memorial for Peace and Justice in Montgomery, Alabama.

In 2017, Akoto-Bamfo gained international attention with his "Faux-Reedom" exhibition, which featured 1,200 sculpted heads representing Ghana's enslaved ancestors. This powerful display questioned Ghana's independence and highlighted neo-colonial legacies.

Beyond his installations, Akoto-Bamfo actively participates in public speaking, research, and lectures, focusing on archiving and promoting African history and cultural heritage. His work has been featured in various documentaries and miniseries, including "Enslaved" (2020) and "The Art of Healing" (2022).

His contributions to art and activism have earned him several accolades, such as the GUBA Influential Artist of the Year in 2019 and the inaugural Kuenyehia Prize for Contemporary Art.

Through his art, Kwame Akoto-Bamfo continues challenging historical narratives, fostering healing, and inspiring restorative justice across the African diaspora. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at https://www.ted.com/tedx

⁣Kemet vs. Ancient Egypt: What Drives this Name Game Among Experts? - Ɔbenfo ⁣Ọbádélé Kambon Pt.3

Ɔbenfo ⁣Ọbádélé Kambon is a world-renowned master linguist, scholar, and architect of Abibitumi, the oldest and largest Black social education network on the planet.

In pt.3 of this reasoning, Ɔbenfo ⁣Ọbádélé Kambon explains why many Egyptologist use the name Ancient Egypt instead of Kemet.

Please click link below to learn more about Ɔbenfo ⁣Ọbádélé Kambon and his work:
https://www.repatriatetoghana.com/
https://www.sankofajourney.com/
https://www.abibitumi.com/shop
https://www.abibitumi.com/quietwarrior

Join the #wearereading family at elywananda.substack.com to get full access to all live stream archives and to help support this African Centred Education project. This is a preview of the full live stream which is available for patrons only.

African Cosmology of the Bantu-Kongo (Fu-Kiau) Chps 3 #wearereading African Philosophy. Bunseki Fu-Kiau, Ph.D. is one of the great scholars of the African religion, and the leading authority on the Bantu-Kongo civilization. He is also a genuine practitioner of the Kongo spiritual tradition. He is initiated into the three "secret societies" Lemba, Khimba and Kimpasi. Lemba is the foundation for several African based religious practices including Palo Mayombe (Cuba), Vodou Petro (Haiti) and Candomble Angola (Brasil). African cosmology of the Bantu-Kongo explores the Bantu-Kongo religious and philosophical teachings, as well as concepts of law and crime. It connects the reader with one of the most ancient and powerful spiritual traditions-explore "seven-direction walk" of our origin and links to society, nature and the universe.

Check the playlist for all episodes of the book: https://www.youtube.com/playli....st?list=PLb1pL6id3Sn

#wearereading live every weekend reading African Philosophy books. Check my channel playlists tab: https://www.youtube.com/@elywananda/playlists to see our previous in-depth studies covering the likes of Amos Wilson, Marimba Ani and Oyeronke Oyewumi. Upcoming authors include Frantz Fanon and Kwame Nkrumah.

It's been said that Black people don't read. Well, I am building a comprehensive African-centred education library called #wearereading of in-depth and interactive studies into African Philosophy, African Culture and African History.

If you like what you see, please subscribe and join us live next time, leave lots of comments and like and share widely. After each live stream finishes, the full session is archived for patrons. To become a patron and help support this mission, please go here: https://www.patreon.com/ElyWananda 🙏🏿. See you soon!

#africanphilosophy #africanculture

bob marley very explicit about the connection between his biogenetic composition and his divided loyalities -- mi no de pahn nobadi said 'mi no deh pon nobody side'. Illuminates the general problem of biogenetic mulattoes

(14 Jan 2019) LEADIN:
Rammed earth is a construction method that has been around for millennia, but it's attracting renewed interest in countries like the USA and Australia.
In Ghana a construction company is returning to the technique of rammed earth building, promoting its eco-friendly and economical technique.
STORYLINE:
This construction worker is part of a team building an eco-friendly house near Ghana's capital city, Accra.
He is compressing a mixture of raw materials mostly sourced from within two kilometres.
When the temporary structure is later removed it will reveal a solid wall – the beginning of a house.
The technique is called rammed earth, as co-founder of Hive Earth Kwame de Heer explains.
"Rammed earth is a really old technique. Here in Ghana we have always built houses using mud, but here we have modernised it. We use a mixture of laterite which contains sand, a bit of silt, clay and some stones. We pour this into a temporary structure after being mixed. After pouring in eight inches we compress it to about four inches. We are mimicking a sedimentary rock, but speeding up the process. It's man-made stone."
About five percent of the raw materials used in this method requires imported cement, which is necessary as a stabiliser.
As well as being more eco-friendly, Hive Earth says it costs a third less than building with sandcrete blocks, commonly used in Ghana.
Foster Osae-Akonnor heads up Ghana's Green Building Council:
"Once you can get materials from the locality that you are working, then it helps to reduce the carbon footprint. In addition, comparing rammed earth to concrete, you save all the embodied energy that will be required in the manufacturing of cement."
Compared to other building materials, a very high amount of energy is consumed to produce cement. In addition cement is imported into Ghana.
Another of Hive Earth's rammed earth projects, in Accra, reveals its interesting aesthetic, which is the result of the ramming process.
The technique is well suited to the hot climate of Ghana as it keeps the room temperature cool, says co-owner of Hive Earth, British-Ghanaian entrepreneur Joelle Eyeson.
"Rammed earth is sound proof, it's termite proof, it's thermally insulative – so it regulates the internal room temperature. Because the walls are so thick it takes a while for the heat to penetrate through to the internal room. Our walls can be anything from 12 to 15 inches thick. It's earthquake resistant as well, due to the monolithic nature of the walls as compared to sandcrete blocks, because the walls are monolithic. With sandcrete blocks you have the mortar joints so it's easier for the wall to shake and become disinbursed, whereas with rammed earth it's just one straight monolithic wall. It's as strong as concrete as well – it can last for hundreds of years."
A long-standing example of rammed earth is the Great Wall of China.
Williams Nimailo from the Ghana Bureau of Standards helped draw up the country's new building code.
Allowance is made for rammed earth under both traditional and green building construction methods. Provision is made for modern materials such as clay-fired bricks or cement blocks.
Akosua Obeng is an architect who contracted Hive Earth to build the external walls of a luxury complex in Accra.
Obeng believes using rammed earth techniques in a high-end development will help to change perceptions about how earth materials can enhance design and architecture.
Hive Earth have produced eight rammed earth projects since starting up in 2016, and have many more projects planned in Ghana and regionally.

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A man and his stick movie

In 1973, Okomfohemaa Nana Akua Oparebea, head priestess of the Nana Abena Akonnedi Shrine and spiritual advisor to Kwame Nkrumah, journeyed to Washington, DC, strengthening the bridge between Africa and the Diaspora by planting the roots of Akom in America.


On September 27, 2025, Garveyite Productions brought the community together for a powerful virtual viewing of that historic visit. This video features rare archival footage of Nana Oparebea during her time in DC, along with reflections and testimonies from esteemed elders who witnessed her presence and continue to carry her legacy forward. Hear from Okomfohemma Nana Enyo Takyiampon, Okomfopanyin Nana Serwaa, and Nana Kwaku Walker as they share firsthand memories, spiritual insights, and the lasting impact of Okomfohemaa’s work in establishing Akan shrines in the United States.


Watch, learn, and enjoy!


One Ra, One Aim, One Destiny!

Album : Vincy Mas
Arranged By Frankie McIntosh. 1986