Two Nigerian networking platforms for Nigerian music and Nigerian movies.

First, let’s introduce Nigeria Music Network.

Nigeria’s leading networking platform for Free Nigerian music and Nigerian music videos.

Founded in 2011, Nigeria Music Network is a remarkable music and video platform dedicated to showcasing the very best of Nigerian music (audio) and Nigerian music videos. The platform encourages music lovers to listen and constructively comment on Nigerian music they love or hate. Commentary and opinion arguably help improve the quality of music Nigerian musicians produce. The platform was founded and developed by Kevin Onuma, a webmaster with a keen interest on all things Africa.

Briefly speaking, Nigeria Music Network is a music video sharing site for Nigerian music, AfroBeat, African Soul, Highlife, Fuji, Naija Hip-Hop, R&B, Reggae; Igbo music, Yoruba music, Hausa music; including Nigerian Artists biography, interviews, dance videos, music blog, just to name a few. Anyone can openly suggest music MP3′s and music videos from 3rd Party sites such as YouTube to be showcased on the platform. Interested parties can register for a free account here: Join Nigeria Music Network!

Secondly, let’s introduce Nigeria Movie Network (NMN):

Nigeria’s leading platform for Free Nigerian movies online, Yoruba movies, Igbo movies, Bini movies, and Nollywood news.

Founded in 2010, Nigeria Movie Network is a video sharing network and movie platform for Nollywood fanatics across the globe. With thousands of entertaining Nigerian movies and Nollywood videos on the platform, NMN is a leading destination for the best of Nollywood films online; and as such have created a platform where the vast Nollywood audience come to share their views, opinion, or constructive criticism on Nollywood movies they watch. Interested parties can register for a free account here: Join Nigeria Movie Network! 

One of the benefits of Nigerian movie network platform is that it acts as a community where Nollywood film-makers submit their feature films and new movie trailers to reach a more targeted audience (which is Nollywood) to get feedback, and where Nollywood fans watch and share their views accordingly. The platform was also founded and developed by Kevin Onuma an African webmaster, blogger, and social media addict.

All Nigerian movies and Nigerian music videos on both networking platforms are in good faith shared from 3rd Party sites such as YouTube, Daily Motion, etc., which helps keep overhead low and prevents copyright infringement issues at the same time.

Both popular Nigerian networks does not only showcase Nigerian entertainment but also musical and movie related contents from other African countries; hence African music and African movies.

-Composed by InformAfrica Editorial team 

How can the German Federal Cultural Foundation believe that 2 million Euros will promote cultural relations with the whole continent of Africa (and not even involve the Africans in the process)?

The cultural foundation of the Federal Republic of Germany, the “Kulturstiftung des Bundes”, decided to initiate a new thematic focus in its sponsorship work. The programme is called “TURN” and – as explained in the introductory statement – it is supposed to deal with “Africa”. Although there are certainly good intentions behind this new initiative, the information published about this programme on the website of the “Kulturstiftung” and the funding guidelines which were recently released raise more questions than answers. I want to share some of my anger and disappointment with you as follows:

1. “TURN” is supposedly dedicated to foster “German-African cultural relations”. Without a doubt a cultural exchange is necessary to develop mutual understanding and communication. As opposed to Germany, Africa is not one country, but rather a whole continent consisting of more than 50 individual countries. The Kulturstiftung apparently considers all those countries to be culturally homogenous enough to be able to entertain coherent “cultural relations” with Germany. Could it be that the people at the Kulturstiftung are talking about 50 different relationships between Germany and the individual African countries? But then wouldn’t it seem a bit ambitious to have a jury of three people make decisions involving an entire continent, 50 countries and more than 2000 languages together with the cultures and customs connected to them? Are the three jury members familiar enough with all these countries to fully comprehend their different cultures and languages? And what do these three jury members know about the currently developing new arts and culture scenes on the huge African continent?

2. The budget the Kulturstiftung considers to be sufficient enough to achieve all those goals (see No. 1 above) is a modest 2 million EUR. This is not a joke. The exhibition “Who knows tomorrow” alone which took place in Berlin and showed the works of solely five (!) African artists had a budget of 900,000 EUR. It is ironic to call the provision of 2 million EUR for projects that are supposed to last until 2015 and cover a whole continent a “thematic focus”. Especially so if it is a focus of a foundation of the German federal government. Compared with the overall budget of the Federal Republic’s state secretary for culture of over 1 billion EUR per year which includes the budget of the German Federal Cultural Foundation, the money which is designated for the TURN – Africa project is nothing more than small change money. With such a tiny budget would it then not be more honest and realistic to focus the activities on a few African countries or a specific region of the continent?

3. The Kulturstiftung claims to support the new African initiatives in the area of contemporary and innovative art. But on the other hand:

a. Africans are not allowed to apply for the funds directly.

Africa in Perspective.

b. The African partners are only allowed to apply together with an institutional partner in Germany. The funding guidelines reveal the reason to this: “The German partner, as the project coordinator, has to assume responsibility for ensuring that all funds are expended as contractually agreed upon with the Federal Cultural Foundation.” In other, simpler, words: The Africans are not trustworthy. Basically the funding guidelines tell the other side of a prospective cultural exchange in a roundabout way what in blunt words would be: Sorry, but we cannot trust you, the German art and culture institutions have to first discover you, choose you and then they have to be the lead partner in the exchange, because with bookkeeping we have to rely on the German side.

c. There is no mechanism that guarantees an adequate representation of the different African points of view.

d. No information about the sponsorship scheme has been published in African countries. At least the funding guidelines have been recently made available in English. But French, Portuguese and Arabic translations have yet to appear and it is not that we are asking for Kiswahili, Yoruba, Chichewa, Ovambo, Hausa, Kinyarwanda and Shona, just to mention a few.

e. How exactly does the Kulturstiftung want to prevent the fact that essentially it yet again reflects the German point of view of what is artistically relevant in Africa? Because this is what happens when only German institutions are allowed to apply for funding and no African artist or art collective nor any creative community from Africa has been informed and enabled to apply for funds themselves? If only the German viewpoint counts, why does Kulturstiftung even mention the so-called “cultural exchange”? This approach reminds me very much of the paternalistic attitude which characterized the way Europeans dealt with Africans in former centuries. Do the African countries still want to be treated like this? The attitude transmitted by the funding guidelines and the structure of the TURN programme seems to be the consequence of profound prejudices and can only be considered by the African side as completely disrespectful.

f. What is the role and position of the “new developments and initiatives” in Africa which Kulturstiftung emphasizes, if solely the German institutions are allowed to decide whom they choose as their African cooperation partner? Basically, with this strategy Kulturstiftung cements the current dominance of Western/European art professionals being the decision-makers in regards to what is accepted as significant or important African art. If this is not an expression of a hegemonial approach in cultural affairs than what is?

g. When Kulturstiftung writes on its website that “the programme will primarily provide German institutions and artists incentives to enhance their profiles with new themes, working methods and perspectives”, it sounds as if fresh African ideas and innovations are exploited as new inspirations to rejuvenate the cultural scene in Germany instead of promoting equitable cultural cooperation between Germany and the different African countries. Why do those German institutions not just exhibit or present the best of what Africa has to offer in the same way as they would do it in their regular programmes in case of an artist from France or the U.S. without talking about profile-enhancement with new working methods?

h. It seems that the theme “Africa” has been misused to cast a favourable light on the work of the German Federal Cultural Foundation in its 10th anniversary year 2012 which was celebrated in June 2012 with Chancellor Angela Merkel joining the festivities. The Kulturstiftung’s TURN project – different from what they made it sound in their initial press and media campaign – is not so much about strengthening the institutions for artistic and cultural projects in African countries, but it is rather about fostering the German art and culture scene. This truth has been revealed when a TURN jury member conceded in a comment on Facebook: “They’ve also said that the fund is about the ‘German institutional art-and-culture-scene’ and not about ‘supporting African contemporary art institutions’, but I’ll leave them to clarify that.” What does this statement mean in the end? It proves that the marketing campaign which was centred upon a “new focus on Africa” was actually misleading to the German public, the taxpayers whose money the Kulturstiftung is using and the political decision-makers who decide about the Kulturstiftung’s budget.

What is exactly the misleading element? As a headline to the presentation the German Kulturstiftung states that their goal is to promote German-African relations in arts and culture. But from comments like the one above we now know that the intention of the program is rather to invigorate and vitalize the German institutional art-and-culture scene and less to strengthen African contemporary art institutions. But then the program should have been better called something like “Advancement of the internationalization of the German art and culture scene through cooperation with artists from African countries” instead of creating the impression of a big new policy focus of “German-African cooperation” in cultural affairs.

i. Out of the five institutions which Kulturstiftung mentions in its TURN concept as an example of new artistic developments in African countries two are managed, founded or directed by curators who indeed have an African origin, but were raised and/or professionally assimilated in the West. Of course, there is nothing bad about being educated abroad and obtaining a broader professional horizon. On the other hand, one has to be aware that these so-called diaspora curators are often criticized by artists who are still based and working on the African continent for exerting an undue influence on defining what is internationally accepted as relevant contemporary African art to the detriment of local art scenes and communities in Africa.

Local artists complain that those art spaces are usually not exhibiting art which is accepted and appreciated in their home countries and in the communities in the vicinity of these institutions. Instead they select artists whom they consider to be in line with the international trend in order to satisfy the expectations or requirements of their Western backers and sponsors or to become critically acclaimed in the West. Some artists claim that the activities of those art spaces and their exhibitions often demonstrate experimental and almost compulsively pretentious art which is not enrooted in the countries where those institutions are located. While there might be some envy and competitive resentment in such remarks and an objective judgment on the quality of art is an oxymoron, it is at least questionable to present experimental art like installations and video art as important African art in a cultural setting in which visually strong and historically acknowledged art forms like painting and sculpturing still have to overcome significant obstacles in order to be viable as a part of the cultural life. The problem is not whether contemporary art forms like video art and installations should or should not be part of an artistic programme, rather whether such art should be presented as the currently (only) representative and significant kind of contemporary African art in spite of the fact that in most of the African countries there are sophisticated art works of the last 10 to 20 years which are simply ignored by the international art establishment until now.

j. Whether the “new African institutions” actually work “outside the public funding system” as Kulturstiftung claims on its website seems dubious. Those institutions will hardly get funding from their home countries, but rather from Western and European sources, be it state-sponsored development aid or money from private foundations. Does this statement yet again highlight deficits in information about the state of art life and institutions in Africa?

k. Another aspect of this doubtful approach is the selection of the jury which seems to be totally miscast. The only African on the jury, Nana Oforiatta Ayim, according to information given by her, was born in Germany to Ghanaian parents, studied in England and Russia and is currently based and works in Germany, the United Kingdom and Ghana. Besides the fact that the internet reveals an awkward variety of birth dates and places for her, jumping between Africa and Europe back and forth according to project-related suitability (born in 1976 according to information of the African Film Festival of Milan, born in 1977 according to information of the Nigerian Invisible Borders Trans-African Photographic Initiative and born in 1980 in Accra according to information of OCA / The Office for Contemporary Art Norway, all in all a rather confusing and embarrassing biographical hotchpotch which puts her credibility as the “African representative” into question), she is at least due to her upbringing and education subconsciously as “Western” in her attitudes and points of views as the theatre-director Sandro Lunin from Switzerland and the Bavarian-based journalist and deejay Jay Rutledge. Why didn’t the German Federal Cultural Foundation choose at least one if not a handful of additional art and culture professionals who have spent most of their life living and working in Africa as jury members? Somebody who is not in one way or the other connected to the Western or (Eurocentric) “international” art scene and its somewhat specific understanding and particular taste of contemporary art? Why is there not at least one genuinely African artist or art professional to complement the jury who makes sure that the African perspective on art is taken into account and Africa’s artistic vision is positioned well?

4. The Kulturstiftung also sponsors research projects. In the presentation of TURN there is so much talk about cooperation and exchange between German art institutions and their counterparts from Africa that it was somewhat surprising to see that an additional programme is needed within the TURN fund to promote research projects. If this is a concession of the lack of knowledge about the African art scene and of cultural misunderstandings, then wouldn’t it be better to support more than 10 research projects with 9,000 EUR each? Actually, a much bigger share of the budget should have been made available for such fact-finding missions. The harsh reality that essentially more research is needed to enable a successful cultural exchange appears almost like a Freudian slip in the rhetoric about promoting German-African cultural relations.

In any case, these research missions actually might enable German institutions to thoroughly explore contemporary and emerging art and culture in African countries, as opposed to the blind following of the conventional wisdom of the established circle of Western-educated art professionals and curators.  This would be an opportunity to critically reflect on the dominance of the Western-influenced art scene and its particular agenda in the perception and global acceptance of African art. Curiously enough Kulturstiftung mentions the “cultural exchange” between the five African art institutions which it considers to be progressive and the “Afro-diaspora communities” worldwide. Mentioning this kind of an “exchange” might be a euphemism for a connection which – as mentioned above – is sometimes criticized for solidifying the influence of Western diaspora communities and artists on the international discourse in regards to what kind of art should be considered worthwhile and exhibited as relevant contemporary African art. An exchange which too often silences and drowns out the voices of the local artists and creative communities based in Africa. Why do we not let the African art communities decide for themselves which kind of art should be considered as the benchmark of contemporary art from Africa today? Would it not be a sign of mutual respect and intercultural understanding?

5. The final remark in the funding guidelines speaks for itself: The Kulturstiftung recommends to its applicants to regularly follow up on the travel warnings of the Auswärtiges Amt (Foreign Office) relating to African countries. Maybe it would have been wiser (and not only more appropriate with regard to the available funds) to focus the whole effort on a limited number of countries which would not actually be on the Auswärtiges Amt travellers’ “black list”.

All this leads to a question: Does “TURN” really “revolutionize” the hegemonial treatment of the value and quality of African traditions and idiosyncrasies by the European art establishment which we have observed for too long?  Will the time come when numerous diverse art scenes, creative communities and cultural circles on the African continent finally be taken seriously and treated as an equal, a partner that has an opinion – a voice that must be heard?

6. What does the Kulturstiftung, the German Federal Cultural Foundation, say about all this: Dr. Uta Schnell who runs the TURN programme claimed in a statement which she emailed to me that the Kulturstiftung “unfortunately is limited by statutory and administrative possibilities”, so that it could not “take into account all suggestions it might have desired”. I am wondering whether those statutory and administrative restrictions are a consequence of the same subtle prejudices and patronizing attitudes which characterize the whole structure of TURN and its funding requirements and which we believed to have been buried for long in the past of European-African interconnections. Maybe not without reason Uta Schnell did not answer me any more when I asked her what exactly those “statutory and administrative” obstacles were and what changes they prevented which the German Federal Cultural Foundation would have desired to make. It is a sad experience that a serious Western institution recognizes severe deficits in its programme, but then gives in to unclear administrative regulations instead of fighting for an immediate modification of the programme and a removal of its problematic parts.

A cultural exchange requires respect for your cooperation partners and dealing with them at eye level; these basic principles seem to be completely ignored by the structure and funding requirements of TURN although you would expect them to be observed first and foremost in an arts and culture related programme. If already the elite circles of the art world in Europe deal with an easy element of arts and culture policy like that, what does this reveal about the way the political decision-makers will act when it comes to shaping the really relevant policy actions for dealing with Africa in foreign policy, development aid and other questions of human survival?

This text was first published on October 1^st, 2012, and was last updated on April 1^st, 2013.

* Africa Is Not A Country – Blog: http://bit.ly/XzGTcn

* Africa Is Not A Country – Facebook page: http://on.fb.me/11cUk5B

* Twitter: https://twitter.com/ArtsSafia

Download the PDF copy of Africa is not a Country by Safia Dickersbach – 1st April 2013.

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Safia Dickersbach is an art market practitioner, born in Dar-es-Salaam, Tanzania, currently based in Berlin, Germany, and is the Public Relations Director of Artfacts.Net, a British company which is the leading online database for modern and contemporary art. 

Filed under: Africa Report

InformAfrica – Last Flight To Abuja Nigerian movie is now available on Distrify for rental streaming. The movie stars Omotola Jalade Ekeinde (Queen of Nollywood), Hakeem Kae-Kazim, Jim Iyke, Ali Nuhu, Jide Kosoko, Celine Loader, Olumide Bakare, among others.

Last Flight To Abuja Nollywood Movie Now Available for Rental Streaming on Distrify.

Last Flight To Abuja is based on true events. The movie was inspired by the series of plane crash tragedies that rocked the Nigerian aviation sector back in 2006.

Coincidentally, nearing the premiere of the movie last year; a passenger plane Dana Air flight, carrying more than 150 people crashed in Nigeria’s largest city-Lagos, killing all passengers on-board on June 3rd 2012. The crash is believed to have been caused by dual engine failure, subsequent forced landing, and lack of care for human lives by the flight management staff.

To show condolence, the director and producer of “Last Flight To Abuja“, Obi Emelonye, last year dedicated the movie to the victims of the ghastly plane crash(es). Here’s what his team had to say:

Last Flight To Abuja Nominations for 2013 African Movie Academy Awards.

‘‘It is quite unfortunate that the plane crash occurred before the premiere of the movie. The movie is dedicated to all who lost their lives in the two ill fated crashes that involved Allied Air and Dana Air in Accra and Lagos.’’

Emelonye believes his film is a way of mounting pressure on the relevant agencies to tackle the problem of flight irregularities and plane crashes in Nigeria, especially, given the fact that the issue of safety in African aviation sector has become a source of worry across the globe.

Last Flight To Abuja is the biggest West African box office hit of 2012, the longest running movie in Nigerian cinema history and the first of its kind Nigerian action thriller, set on a plane and featuring Africa’s biggest movie stars.

The movie stars A-list actors: Omotola Jalade Ekeinde (Queen of Nollywood), Hakeem Kae-Kazim, Jim Iyke, Ali Nuhu, Jide Kosoko, Anthony Monjaro, Uche Odoputa, Uru Eke, Jennifer Oguzie, Celine Loader, and Olumide Bakare.

Nollywood Trailer – Last Flight To Abuja

The movie Last Flight To Abuja is now available for (rental) streaming on Distrify. You can rent to watch here: http://distrify.com/films/5920-last-flight-to-abuja

Chimamanda Ngozi Adichie, author of “Half of a Yellow Sun”, a top seller.

Chimamanda Ngozi Adichie Curriculum vitae

1977: Born in Enugu, Nigeria. Her father, James Nwoye Adichie, was a maths professor and later vice-chancellor of the University of Nigeria. Her mother, Grace Ifeoma was its first female registrar. (D.O.B: September 15, 1977).

1995: Studies medicine and pharmacy at the same university.

1996: Leaves for America.

1997: Published Decisions, a poetry collection.

2001: Graduates from Eastern Connecticut State University in communications and political science.

2002: Shortlisted for the Caine Prize for “You in America”.

2003: Completed an MA in creative writing at Johns Hopkins University, Baltimore. Her first novel, Purple Hibiscus, was published. It won a Commonwealth Writers’ Prize.

2006: Her second novel, Half of a Yellow Sun, was released. The story about the Biafran war won the Orange Prize for Fiction.

2008: Received a MacArthur grant of $500,000 which allows her to write full time. Also completed an MA in African studies at Yale.

2009: A collection of short stories, The Things Around Your Neck, released.

2013: Publishes Americanah.

Are there any other Chimamanda Adichie’s achievements (CV) that you know of – not listed on this page? Inform Africans by sharing such information using the comment box below and we’ll add it after verification.

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Credit: Independent.co.uk

InformAfrica – I think one of Africa’s biggest problem back then and now; is over-spirituality. Otherwise, Africa and Africans will not be labeled today as the most religious people on the face of the Earth (which has resulted to nothing else but division, poverty, hatred, over-dependence, inferiority; just to name a few).

All this years of (over)spirituality or religiosity, what have the African people gained from it – realistically?

When the Europeans invaded Afrika several thousands of years ago, they did this totally in physicality; there was nothing spiritual about their decision and action to invade and conquer other nations.

Meanwhile, it seems like (many of) the African people were and have always being over-dependent on their spiritual being/gods/deities for protection and/or to fight off the oppression.

For instance, danger (oppressors/colonial thieves) cannot be coming your way and instead of thinking and doing something physically; you decide to do nothing but spiritually praying/wishing/hoping some god or deity will always be there to protect. You can’t expect things to work all the time. Things fail. Nothing and/or no one is perfect, not even a god or deity.

If the African people were never or have never being over-dependent on spirituality; the deception/slavery that comes with the foreign religions we practice fervently today, would have never worked on our people. I repeat….Never!

During the invasion of Afrika (slave trade), the europeans observed our (over-dependence on) spiritual (traditional religious) practices and the role it plays in our mentality, then created something (their own religion) that is intended to replace our own traditional religious practices to infect our spirituality and control our overall mentality.

This led to the creation of the “holy bible” for the African people, the only book Africans were allowed to read during and after slavery was slightly abolished; followed by the arabs copycat creation of holy quran. All these things the europeans/arabs did (and are still doing today) to the African people, was (and is being done) in physicality. The forcing of these two (christianity/islam) foreign religions on the African people were all done in physicality (hence slavery).

(Mind you, many of the stories and spirituality in the bible were originally that of Africans but was plagiarized, diluted, and re-branded as that of the europeans).

This brings me to the conclusion and widely accepted notion that too much of anything is bad. Therefore too much of spirituality is bad for not only the African people, but any other race on the face of the earth. We have to balance our living and doings in between this two powerful beings: Spiritual being (strength) & Physical being (strength). We can’t overpower our oppressors in spirituality, it has never worked and will never work. We need to apply both our spiritual and physical being to succeed in all our endeavors. You can’t do too much of the other.

This are my thoughts.

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-Kevin Onuma / Informing Africans 

You can watch Nigerian movies for free on Nigeria’s Movie Network.

Haven’t you heard of Nigeria Movie Network? According to the platform, you can watch Nigerian movies, Nollywood movies, Yoruba movies, Ghanaian movies, Nollywood trailers & African movies on NigeriaMovieNetwork.com. We noticed the website boasts thousands of full-length Nigerian movies on its platform and has become the preferred destination for Nollywood fans seeking to watch free Nigerian movies online.

The website is a video sharing platform, which means anyone (registered) can share movies and videos hosted from 3rd Party sites like YouTube, Daily Motion, etc., on the network for commentary and constructive criticism. Independent Nollywood film-makers also use the platform to showcase their audio-visual contents to get feedback from Nollywood fans and movie lovers. It’s all about movie networking – for Nigerians – for Africans.

But that’s not all; Nigeria Movie Network (fondly called NMN for short) also has an active community page on Facebook where all things Nollywood are constantly discussed. From new Nollywood movie releases to Nollywood news, Nollywood gist; and gossip; their Facebook page is no doubt one of the most popular in Nigeria, including in many other African countries; even in US and UK.

So when Nollywood fanatics have a question about their favorite Nollywood actors or movies; they often visit NMN Facebook page to get answers to their questions. One could also use the Contact form on their website to reach out to their staff members directly.

Nigerian movies are loved world wide especially in diaspora USA and UK; where Africans often boasts of having hundreds of Nigerian movies (DVD) in their collection. However, those that prefer to watch Nigerian movies online – can do so for free at NigeriaMovieNetwork.com. So now, you know which website you can watch free Nigerian movies!

If we may ask, which are your favorite Nigerian movies?

InformAfrica – I was once a “christian” till I realized christianity is slavery (mental slavery)! And what is slavery? Slavery is defined as “excessive dependence on or devotion to something”, now that’s typically what christianity, islam, and all other (foreign) religion is really about to the African people.

Christianity is slavery, inferiority, division, racism, ignorance, hatred, and whatnot. The negativity of christianity outweighs the positivity.

Christianity is nothing but slavery. I was once a ‘christian’, basically since it was the religion my parents shallowly practice; and this is the case with many African christian youths of today whom are still trapped in their parents biggest mistake – afraid to speak up and question all the religious myths, superstitions, and fairy tales they were taught to believe and confide in since a child. That nonsense ends in this generation!

Listen up African youths! Our parents taught us all from our adolescent ages to be ignorant and not question things that are superstitious or in other words, “sacred” according to foreign religions and their unrealistic holy books.

How many African parents of today or yesterday can truthfully boast they taught their children about their true Afrikan history, traditions, culture and also how the white men invaded our land, enslaved and tortured our people, etc? Rather, all they did was force unrealistic religious beliefs created by oppressors and colonial thieves upon their children as if that is the most important thing in life.

Ignorant parents create ignorant children, and those children will grow passionately in such ignorance to adult/parent stage and pass the ignorance to the next generation. Now, how can we be great with such ignorance blinding and hindering our vision?

What is wrong in challenging or exposing that which is unrealistic? What is wrong in refusing to accept, embrace, or worship someone who reportedly according to the fairy tale bible; murders and torture people who he ‘supposedly’ created himself (in his own likeness)?

[Ever wondered if some god reportedly created something/someone visible such as humans in his own likeness, then how come he himself or itself is invisible?]

Africans and slavery to christianity and their white messiahs.

The fairytale bible that many of you confide in – in the “Noah and the ark” story, told you how the evil foreign god you worship today reportedly murdered everyone on the face of earth with heavy flood except for noah, his family, and livestocks; is that not enough to help you reason that such imaginary god is evil, false, and the impossibility of such incident actually happening in real life?

If a real human being in this 21st century go on a killing spree murdering people state to state for any reason whatsoever; would you worship and praise such person? If not, then why worship an imaginary god who reportedly murdered an uncountable number of people according to the fairytale bible? Not to mention other atrocities such as endorsing slavery, rape, etc.

African youths are you capable or incapable of reasoning at all times without restrictions? Despite all the wars, deaths, hatred, division, and ongoing killings brought upon your people due to christianity and islam; you still continue to submit your souls to such destructive religions? Is that not stupidity (unintelligence, lack of reasoning, ignorance, foolishness)?

Like I said, such religious nonsense ends in this present generation. If you are yet to read the book “Religions Exposed – Exposing the bible, quran, christianity, islam, their holy-men & their gods“; you remain in dark ages.

InformAfrica – Today I’ll like to talk about African christians and their “thank god for waking me up” mentality. Can these people think independently? How hard is it to see that religion is mental slavery?

Here’s a photo of Black South Africans praying fervently to an imaginary foreign god in a tent with no electricity,while burning up in heat. Black South Africans, is this how low you have brought yourselves? They stole your land and gave you their foreign religion; yet you’re thanking their non-existing god for that?

I won’t be surprised birds are smarter than some human beings, especially those who have sold their souls and mentality to unrealistic mind enslaving religions.

Some of you African christians will wake up today (being Sunday) just to go and worship a dead jew in church and chip in 10% of your earnings to the pockets of your various deceptive clergies. But look at the birds of the trees and sky and how free they live their lives; are they not more intelligent than you humans?

It’s even ridiculous that many christians often wake up each day and thanking some god in the sky for waking them up.

“Thank god for waking me up!” They often shallowly proclaim on Facebook, Twitter, and their everyday social networks.

Were you sick the night you went to sleep? Were you at the point of death before laying on your bed overnight? If you are not dying, then why are you thanking an imaginary god for waking you up??

It’s really funny because it seems like the weak-minded people that say such things as “thank god for life” or “thank god for waking me up” – go to sleep at night with the thought that they may not make it to see the light of the next day.

Are such people not indirectly wishing themselves misfortune? African christians, are you able to think independently?

Here’s calling for freedom from religious mental slavery: Free Your Mind & Think For Once! 

-Kevin Onuma (see all posts by Kevin Onuma) 

Philmore AKHENATEN Carter dedicated his precious time to put together a powerful e-book to empower Africans while exposing all religions, their gods, and their clergies. To grab a copy or to learn more about the book, visit his website at ReligionsExposed.com

R.I.P: Albert Chinualumogu Achebe (1930-2013)

Information circulating the web are reporting Achebe died last night (March 21st) in a hospital in Boston, Massachusetts, United States.

A source close to the family confirmed to PremiumTimesNG the literary icon’s passing -  saying “the professor had been ill for a while and was hospitalized in an undisclosed hospital in Boston, Massachusetts, United States”. The source declined to be named because he was not authorized by the family to speak on the matter.

Mr. Achebe was the author of Things Fall Apart, published in 1958, and considered the most widely read book in modern African Literature. The book sold over 12 million copies and has been translated to over 50 languages worldwide.

Many of his other novels, including: No Longer at Ease, Anthills of the Savannah, The Flute (A Children’s Story) and A man of the People; were equally influential and widely read as well.

Until his death, the renowned author of Things Fall Apart was a Professor of Africana Studies at Brown University. The University described him as “known the world over for having played a seminal role in the founding and development of African literature.”

A Glimpse on Chinua Achebe’s Early Life

Chinua Achebe attended Government College Umuahia for his secondary school education. He was a pioneer student of the University College, now University of Ibadan in 1948. He was first admitted to study medicine but changed to English, history and theology after his first year.

While studying at Ibadan, Mr. Achebe began to become critical of European literature about Africa.  He eventually wrote his final papers in the University in 1953 and emerged with a second-class degree.

Prof Achebe taught for a while after graduation before joining the Nigeria Broadcasting Service in 1954 in Lagos.

While in Lagos with the Broadcasting Service, Mr. Achebe met Christie Okoli, who later became his wife; they got married in 1961. The couple had four children.

He also played a major role during the Nigeria Civil War where he joined the Biafran Government as an ambassador.

His latest book, There Was a Country, was an autobiography on his experiences and views of the civil war. The book was probably the most criticised of his writings especially by Nigerians, with many arguing that the professor did not write a balanced account and wrote more as a Biafran than as a Nigerian.

• Prof. Albert Chinualumogu Achebe (1930 – 2013). Rest in Peace. His works lives on.

Now, we are not talking about those that sold their souls to foreign religions; rather we are talking about those that stayed true to their original roots, culture, and traditions!

The following passage was composed by Philmore AKHENATEN Carter, author of “RELIGIONS EXPOSED: Exposing the Bible, Quran, Christianity, Islam, Their Holy-men & Their Gods.”

How can you say you ancestors are dead, when NATURE tells us that they live in our DNA/genes. When you look in the mirror you are actually looking at all your ancestor that lived millions of years ago. And your children will carry that tradition on until the end of time.

So if you want to honor your ancestor the best thing that you can do is stop worshiping a dead Jew as your god. There are plenty of mighty African’s DNA/genes that are flowing through your vein right now that deserves more respect than that Jew does.

Of course if you don’t know your history you will adapt the history of another race as your own

Any African that is living in the twenty-first century that knows more about Jewish history or the Arab history more the he does his own history such an African is a disgrace to himself his children and his race.

Any African who loves a dead Jew more that he love his mother deserves to be spanked with a dodo stick seven times a week and twice on Sundays.

- Philmore AKHENATEN Carter