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Why Didn't We Fight Back? - Introduction to Gullah & Black Seminole Wars by Baba Wekesa Madzimoyo of AYA Educational Institute https://www.ayaed.com
Protoje - 80's Wild (Official Music Video)"80's Wild" from The Jamaican Situation: Side A Soundtrack Listen here: https://ineffable.to/protojeth....ejamaicansituationIn Collective under exclusive license to Ineffable Records 2024Directed by SAMO Cinematographer: Fernando Hevia Production Company: Filmaica 1st AC: Dwight “Rocky” TaylorDIT/Cam PA: Meeks ThomasGrip: Jade Brown + Dave Hall Art: Lindsey Lodenquai Stylist: Ayana Rivere PA: Kash Burrell + Lemar GrantProtoje online:http://www.protoje.comhttps://....www.facebook.com/pro Mi nah watch nuh face, noNah watch nuh face, noNah watch nuh face againMi nah watch no faceNah watch no faceNo, no wayWhen me say Blood MoneyDem probably wah fi come fi meSuppose me tell you bout Seaga and the CIAAnd wah them use fi destabilize the economyAnd who did set the order, bring in guns a TivoliApril 22nd ,1978Jacob Miller, Bucky Marshall, Claudie pon a stageMarley call out Manley and Seaga, dem say peaceBut beg you pree dem face and then go check the dateNot even a year after inna ‘79Dem murder Claudia Massop, shot him 40 time1980’s wild, mi tell you inna MarchDem murder Bucky a New YorkJacob dead in a crashNo haffi tell youWha happen May 11From you bless so dem will kill youBut the message we no give up, mi sehNothing no shift upJust lip up, dem a lip upWith di tings weh dem a keep upIs a stick upI know dem nah go teach you this a school, noBut you done know a so Jamaica rule thoughAnd any time you try fi make a move yahIt comin’ like you have sumpin fi prove yahYou coulda graduate and set yuh futureAnd still haffi a look out fi di shootaIf you a woman, you a get abuse tooYou no see nothing no deh fi do, noHow much we owe the IMF, huh? Waa?And wah the benefit we get, huh? Waa?A who did say lock up all RastafariBring dem in dead or aliveAnd never want fi survive, huh?Now everything you hear, you can’t believeEven if the person that said it was meDo a likkle research fi yourself and seeOpen a book or watch a documentaryLife and debtWah the threatWalter Rodney say it bestOnce the masses educated then unstoppable we getSo you see, illiteracy is not an accidentIt’s precisely why we fight amongst we selfI know dem nah go teach you this a school, noBut you done know a so Jamaica rule thoughAnd any time you try fi make a move yahIt comin’ like you have sumpin fi prove yahYou coulda graduate and set yuh futureAnd still haffi a look out fi di shootaIf you a woman, you a get abuse tooYou no see nothing no deh fi do, noNah watch nuh face, no#protoje #indiggnation #ineffablerecords
From my KSM Interview
https://www.abibitumi.com/apps
Currulao is the main traditional genre of Abibifoɔ music out of the Southern Pacific Coast of 'colombia' and Northern Pacific Coast of 'ecuador'. This group is specifically from Timbiqui, Cauca, a Pacific Coastal town in the biogeographic Choco region. Timbiqui is also the name of the river where the community of Timbiqui is located. This song is about singing to the river asking for a safe passage, to let them go up the river, don't drown us (no me vayas a hogar), don't wet us (no me vayas a mojar), let me go up (dejame subi'). This is a continuation of evidence of our Kmtyu worldview regardless of location and colonial language. Reverence and respect for nature, the oceans, the rivers, and the source of life, water. This can be seen as a libation song for traveling up the Timbiqui river safely. The main instrument is the marimba, made from the palm trees in the Choco rainforest, and said to be a reconstructed descendant of the balafon made by Abibifoɔ in a new context. We carried Abibiman with us!
original video info:
Provided to YouTube by ONErpmRio Timbiqui · Canalón de TimbiquíDejame Subi℗ Canalon de TimbiquiReleased on: 2004-02-06Auto-generated by YouTube.
Bomba is a traditional Black music genre made by the Abibifoɔ on the island of Boriken (aka puerto rico).
Original title: Choco Orta & Chamir Bonano - De Bandazo "Especial Banco Popular de PR (2018), Más De Un Siglo"
Tema: De BandazoVoces: Choco Orta & Chamir BonanoProducción: Más De Un Siglo (BPPR 2018)Poducción (Visual): CinetrixDirector (Visual): Ari ManielProdución Musical: Pasillo Sonoro (Luis Amed Irizarry, Antonio Caraballo, Diego Centeno)Sigueme @https:www.instagram.com/chamirbonano..../https:www.facebook.
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Before Oxford, before Cambridge—there was Timbuktu.
A city where scholars debated mathematics, astronomy, and law. Where the librarians were Black, the professors were Black, and the pursuit of knowledge had no ceiling.
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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
Ghana just made $3 billion in only four months—without discovering a single new gold mine. So how did they pull it off? Here's a hint: Captain Ibrahim Traoré had something to do with it. But what’s the real story behind this unexpected windfall? Let’s dive in.
Sitting firmly in Africa's Golden Triangle with South Africa and Sudan, it was a top-tier producer. But in spite of this natural wealth, the nation hardly ever benefited from its hidden gems. Year after year, billions of dollars' worth of gold left Ghana, but only remnants returned to the country's economy.
Lack of ownership was the issue, not a shortage of gold. With everything but no control, this has been the silent tragedy of Ghana's mining industry. Foreign multinational corporations with headquarters in Canada, the UK, South Africa, and Australia were primarily in charge of running the nation's gold mines.
Under private contracts, these businesses extracted the gold, processed it abroad, and then sold it to customers throughout the world. The role of Ghana? Take a little cut, supply the dirt, and avoid the boardrooms where the real money is earned. The gold wasn't the only thing that remained.
It leaves behind data, pricing control, and profit transparency. Numerous mining companies underreported their profits, took use of legal loopholes, or just set up their operations in ways that allowed for tax evasion. The riches had already vanished abroad, concealed in offshore accounts and business spreadsheets, by the time government officials became involved.
Ghanaians pondered for years how we could have so many resources and yet face unemployment, debt, and a weak currency. So far, the response has been silence. Silence thereafter became the norm. Early in 2025, however, numbers—rather than a protest or a politician—broke that stillness.
Silent, emotionless figures. Ghana's gold earnings soared to $2.7 billion between January and April. That is more than three times what it made during the same time frame only two years prior.
Furthermore, in just four months, the quantity of gold exported virtually doubled, rising from about 7,500 kilograms in early 2023 to over 30,000 kilograms. These were neither estimations or optimistic forecasts. These were actual transactions that were documented in Ghana's central bank's books and monitored by the country's customs department.
Naturally, people wanted to know where all of this originated. Was there a fresh gold deposit discovered by Ghana? Did the output of mining suddenly increase overnight? The response was much more significant and fascinating. There was always gold. Ghana simply stopped allowing it to disappear.
It was not the mines that changed. Who was in charge of the exits changed. Ghana wasn't allowing private corporations to control what was left on the ground or where it went for the first time.
Now a gatekeeper was present. A fresh idea that wasn't from Accra was standing outside that fence. It originated in Ouagadougou, a nearby capital.
The Ghanaian government had not simply happened onto a fortunate quarter, you see. They were no longer content to be a passive participant in the mining industry after studying something and observing someone. Motivated by fresh leadership on the continent, they had taken a very conscious decision.
However, we must examine the impact that led to that change in order to comprehend how a silent policy decision generated billions of dollars in unexpected revenue. Not even the African Union, not the International Monetary Fund, and not a think tank. It came from Captain Ibrahim Traoré, a man in a green beret, a soldier rather than a scholar, a leader who had seized a nation that was in disarray and dared to defy the laws of international economics.
The new model was not created in Ghana. But they didn't hesitate when they saw it. They modified it.
