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⁣SFS #4: A Discussion on "Quiet Warrior" The Blacknificent Legacy of Nana Kamau Kambon

⁣⁣Mhenga Malcolm X
Debate with James Baldwin
5 September 1963

⁣Hyena cub Neville is always last in the dinner queue, until he finds a dead antelope. Zebra foal Theo is threatened by a leopard. Teenage rhinoceros Vumbi seeks a mate.

JEAN JACQUES DESSALINES FREEDOM FIGHTER, HAITI FOUNDING FATHER, HERO OF INDEPENDENCE

Dr. T'Shaka will explain a key part of Self-Knowledge: Knowing and Being an essential dimension of God Within Us, the dimension of our Ka or our Destiny. This dimension of being human, is our life purpose, that brings joy and meaning to our lives and to the lives of others.

HAPI Special Edition - Black Excellence - Celebrate Mfundishi Jhutyms' Earth Day!

"Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis.

Sarah's accompanied by Kirk Stuart (piano), Charles "Buster" Williams (bass), and Georges Hughes (drums). Recorded in Sweden, 1964. (Mercury Records)

Look at me,
I'm as helpless as a kitten up a tree
Feel like I'm clinging to a cloud
I can't understand,
I get misty just holding your hand.

Walk my way,
And a thousand violins begin to play
Might be the sound of your hello
That music I hear,
I get misty the moment you're near

And you can see that you're leading me on
And it's just, and it's just what I want you to do
Don't you notice how hopelessly I'm lost
That's why I'm following you.

On my own,
Would I wander through this wonderland alone
Never knowing my right foot from my left,
My hat from my glove,
I'm too misty, and too much in love.


And you can see that you're leading me on
And it's just, and it's just what I want you to do
Don't you notice how hopelessly I'm lost
That's why I'm following you.

On my own,
Would I wander through this wonderland alone
Never knowing my right foot from my left,
My hat from my glove,
I'm too misty, and too much in love
I get too misty, and too much in love

https://www.sankofajourney.com

⁣Nana Yaw's first day really walking

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AbibitumiKasa Discussion series welcomes Dr. Chukwunyere Kamalu as he discusses his book Person, Divinity & Nature: A Modern View of the Person & Cosmos in African Thought

Part 6

01. I Faram Gami I Faram
02. Mascaram Setaba
03. Shagu
04. One For Buzayhew
05. Alone In The Crowd
06. Almaz
07. Mulatu’s Hideaway
08. Askum
09. A Kiss Before Dawn
10. Playboy Cha Cha
11. The Panther (Boogaloo)
12. Konjit (Pretty)
13. Soul Power
14. Lover’s Mambo
15. Love Mood For Two
16. Jijiger
17. Girl From Addis Ababa
18. Karayu
19. Raina

Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the rest experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the rst recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ – the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

http://www.strut-records.com

⁣Akosua & Afia - Agorɔ - Twi Terms in Nature

African Spirituality

Marcus Garvey / Garvey's Ghost 1976

The racial and geographical origins of the ancient Egyptians have been a mystery since Champollion deciphered the hieroglyphs in 1822. The prevailing consensus is that the ancient Egyptian civilisation was home-grown on the Nile Valley. But new discoveries in the Egyptian Sahara will challenge this consensus, and show that the origins of the pharaohs hark back several thousands of years before the foundation of the dynastic period (c.3000 BC) and, furthermore, that the first 'Egyptians' were from a black Sub-Saharan race coming from the Tibesti mountains in northern Chad some 12,500 years ago. The oldest known 'astronomical' megaliths in the world,those of of Nabta Playa are examined in this presentation.Born in Egypt in 1948, Robert Bauval, bestselling author of The Orion Mystery (1994), Keeper of Genesis (1996) and three books with best-selling author Graham Hancock (The Message of the Sphinx, Talisman, and The Mars Mystery), presents evidence published in the book, Black Genesis, (co-authored with US physicist Thomas Brophy). http://www.robertbauval.co.ukFilmed at WCCSG Conference, August 2011, Wiltshire by Hugh Newman & Jonathan Adams.Copyright Megalithomania/Pentos TV 2011. All Rights Reserved.PAL & NTSC format. Box-Sets & Previous Years DVDs available athttp://www.megalithomania.co.ukProduced by Hugh Newman - http://www.hughnewman.co.ukDirected by Jonathan Adams - http://www.pentos.tv

⁣The Royal Drummers of Burundi, commonly known in recordings as The Drummers of Burundi, is a percussion ensemble originally from Burundi. Their performances are a part of ceremonies such as births, funerals, and coronations of Mwami (Kings). Drums (called Karyenda) are sacred in Burundi, and represent the Mwami, fertility and regeneration. The Royal Drummers use drums made from hollowed tree trunks covered with animal skins. In addition to the central drum, called Inkiranya, there are Amashako drums which provide a continuous beat, and Ibishikiso drums, which follow the rhythm established by the Inkiranya.
The performance of the Royal Drummers has been the same for centuries, and their techniques and traditions are passed down from father to son. The members of the ensemble take turns playing the Inkiranya, dancing, resting, and playing the other drums, rotating throughout the show without interruptions. At the start of their performance, the drummers enter balancing the heavy drums on their heads and singing and playing. There are some extra members who carry ornamental spears and shields and lead the procession with their dance. They then perform a series of rhythms, some accompanied by song, and exit the stage the same way, carrying the drums on their heads and playing.

Wongel Zelalem reports on Burkina Faso aiming to increase gold autonomy by replacing foreign miners with local ones, Burkina Faso intends to revoke mining permits of several foreign miners.

THE BLACK SECRET Join the finest Black History Course Online Learn the true histories of Africa's Great Civilisations With world renowned historian Robin Walker - author of When We Ruled

JOIN THE BLACK SECRET - https://www.theblacksecret.co.....uk/a/2147508849/yKro

GET YOUR FREE BOOK - 100 Black History Facts - https://www.theblacksecret.co.....uk/a/2147626266/yKro

We present you K•U•S•H• Communiversity - Bringing Scholarship to the Streets.

K•U•S•H• Communiversity is a unique platform for Scholars, Activists and Professionals operating in all fields of human activity within the Black Community to share their work.

Robin Walker is todays most prolific Black Historian and author of the Classic "When We Ruled" - the worlds most comprehensive text on Pre-Colonial Africa.

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