Get Our Free Newsletter

Sunday, April 8, 2018

Atlanta - Area Bookstores Carrying Cries of Redemption

As an independently published author, it can be a challenge getting your book placed in a bookstore, especially chain bookstores like Barnes & Noble, etc. But then you find Brothers and Sisters who are willing to give a first-time author a place on their bookshelves, in their small businesses, their bookstores and Afrikan culture shops. This is truly the spirit of Marcus Garvey in us, pan-Africanism in its purest, socio-economic form. 
Black Dot Cultural Center & Bookstore

Now to tell you de truth, is not like they just take the book and throw it up on their shelf, ehn-ehn. Each one of them reviewed the book, in some way, time or form. (And I still have five more stores reviewing Cries of Redemption right now) So my writing pass over their test-bar; and when they read it and loved it, we (me and me book) get right up in these stores. I'm giving thanks for taking a chance on a Brother. If you find yourself in the Atlanta area, drop in and support them, nuh. Hand wash hand and the two together wash face clean. 
And ask your bookstores for Cries of Redemption by  Kaya Omodele.
Bless up.

Nubian Bookstore
1540 Southlake Pkwy, Ste 7A
Morrow, GA 30260
Phone: 678-422-6120

Black Dot Cultural Center & Bookstore  
6984 Main St,
Lithonia, GA 30058
Phone: (404) 519-8107

Axum Culture
1065 Ralph D Abernathy Blvd
Atlanta, GA
Phone: 470-225-7235

Saturday, April 7, 2018

#AllBlackWithADoek Salutes Mama Winnie Mandela

#allblackwithadoek Twitter Salutes Mama Winnie Madikizela Mandela

zikhona @igqiyazana "Doing it for intomb' endala! This is for you mama."

Thursday, March 15, 2018

Now on Smashwords

Greetings, Jah World. I know everybody don't have Amazon and Kindle, so now you can get Cries of Redemption as an ebook (ePub) through Smashwords, Barnes and Noble, Apple, Kobo, et al. Click the Link to go through Smashwords and find out more. And, I give thanks for all the love and support I have been getting. Blessed Love, Kaya @TheAbeng

Thursday, March 8, 2018

Abeng Interviews Clairmont Mali Chung from Roots and Culture Media (Part 2):The Cuffy Project

A documentary on slave revolutionary leader Cuffy is Roots and Culture Media's next project

Kaya @TheAbeng: So Clairmont, what new projects you got going on?

Clairmont Mali Chung: The new work is, I'm working on a documentary on Cuffy. As I said before, you cannot understand that history, or it's of less value, if you are not able to put in into the present; not just the information, the story, but the feeling, the ethos of revolution should be taken from the past and be placed into  present context. This is my belief. And this is what I tried to do with W.A.R.. Stories, the documentary of Walter Rodney, and this is what I'm trying to do with Cuffy. Because you cannot understand Walter without understanding the history from which Walter came - the personality, the ideas.
The idea of self emancipation didn't begin with Walter Rodney, it started a long, long, long time ago. He contextualized it and made it present; but Cuffy, when he stood up and said, "I'll never be your slave again!" to the governor, the Dutch governor at the time of Berbice, that's what he was talking about- self emancipation.
And so, doing a documentary on Cuffy is an attempt to bring that ethos into the present, but also to introduce Cuffy, not just as a figure in Guyana, as Guyana's national hero, governor of Berbice as he declared himself, but to introduce him as a world figure, someone who understand the way the world was working and  he needed to revolt and to lead a revolt. Because often times these figures are just seen in the context of their time, and never, we never extrapolate their feelings and place it amongst the present.
And so it's important for me to show the world that Cuffy was not just an enslaved African fighting for freedom, it was much more than that. Secondly, when Europeans write about enslaved men that revolt, they often contextualize it as though it were some kind of revolt or complaint about the series and the kinds of punishment that were being meted out to them. For example, in the trials that followed the Berbice revolt, many of the enslaved who testified, testified to the violence of the punishment that they received and European writers wrote about this violence as though it was something the Africans were revolting against; when in fact, it wasn't the violence, but the system that they were against. And so when, it makes sense that when Cuffy says, "I will not be your slave!" he was not talking about treatment he was receiving, it wasn't as though he was saying, "OK. I'll be your slave, just don't beat me as much." It was a much larger view, a world view.
And when you see the documentary, I hope that is the sense I am able to convey, that this was a world figure, operating in a context thirty years before Toussaint L'Ouverture, before the French Revolution and before the American Revolution - those are important points.

Kaya +The Abeng World-wide: 1763. I would always refer the whole thing as more than a revolt...more classify it as a revolution...that it wasn't something so much reactionary, it was something revolutionary.
CMC: Well, without a doubt, in my mind and in my view, after reading his letters that he dictated and  reading the journals of the sailors who visited both with captive cargo and as part of the hierarchy, it is clear to me that Cuffy and his lieutenants were much larger figures and much more informed.
" was a revolution because the government, the local government, the Dutch representatives, were forced to flee their seat of government. Whenever that happens anywhere in the world that's called a revolution. Why wouldn't it be a revolution simply because it was Africans who had been captive?" ~ Clairmont Mali Chung
It was a revolution was a revolution because the government, the local government, the Dutch representatives, were forced to flee their seat of government. Whenever that happens anywhere in the world that's called a revolution. Why wouldn't it be a revolution simply because it was Africans who had been captive? See if the government, if you're forced to flee the seat of government, you're no longer in control.You see.  If you were to remain in control and were able to quell the revolt then you can call it a rebellion. But this was not just a rebellion, this was for control of the government of Berbice because Berbice was a separate colony. It was not attached then to Demerara or Essequibo which now makes up the Guyana border. Berbice was a separate Dutch colony, separate administration. So when they fled the seat of government, politically and otherwise, this was a revolution. The fact that they were able to come back and recapture it years later, a year later, does not change what happened. I often compare it to a heavyweight boxing match: you can beat me next week but if  I beat you today, and you're the champion and I beat you, I am the champion. You may come back two days later or a week later and regain your crown. But for the time that I was, remained unbeaten, I was the champion and so I am the government, I am the King, I am the Governor of Berbice.
And this is what Cuffy said, that he is the Governor. And so yeah, you couldn't be the governor of Berbice unless you were successful in a revolt, in a revolution.

Kaya Omodele interviews Clairmont Chung from rootsculturemedia on Vimeo.

Sunday, February 18, 2018

Mutabaruka Speaks on Black History on Cutting Edge 1-31-2018

I was listening to Mutabaruka's Cutting Edge radio show on January the 31st, previewing Black History Month which would begin the next day. The Bredren reasoned in depth about the brainwashing that plagues African people and how we get caught in European interpretations and philosophy. Basically, how as black people we just accept European culture, embrace it and defend it as we own. I think its because many of us are lost, especially when it comes to history and culture. Many of us accept European culture, religion and mannerisms without even understanding how these things developed and how they became ingrained in our day to day lives as black people. 

Mutabaruka said:
"Issa mad thing. Is mad we get mad. All a we get caught in it; all a we, there's no exception to the
rule.... Valentine's day a come, most people get caught inna that. Easter a come, it bigger get caught inna because that is the most auspicious 

Add caption
time of the Christian calendar. That nuh have nothing to do with Africa; that nuh have nothing to do with blackness. All when you hear a man talk bout him a read Bible and a try switch the characters in it to black, him thinking is white. Is not the color of the characters, is the mindset that drives the characters in the Bible. So you could a paint Moses black little more, and Jesus Christ black little more, it don't make no difference if what is there yet still wallow inna the same thinking that in the first place tell you they white. We need fi search fi a new understanding, 'cause Planno did say a new faculty of interpretation. Even Rasta get caught inna it. We get caught inna it to the point where now that we all Jews, heh-heh, and we love say it too, and 'we are Christian soldiers, onward Christian soldiers marching on.' Our reference is always in the context of European understanding. So we define and we use logic that is determined and decided by western thinkers, western philosophers, and we don't know how to decipher what is ours and what is not ours..."

Now I can guess that many readers are thinking, So what? Jamaica (or any other Caribbean country) is a Christian society. 
Yeah, but how did it get so? And, if we know that it was forced upon our forefathers, then why black people so quick and ready to defend it? And worse, if you tell some of we that Shango is we thing, is our culture, some of us going to get vex and tell you that you working obeah. 
Now, get this straight: I am not a follower or practitioner of any form of obeah or voodoo. But those things are our own African thing and I acknowledge them as such. I even embrace the knowledge, knowing full well that just because Europe says that these things are inequity and idolatry, doesn't make them less important or less-than anything for that matter. Black history and culture is our story, its rich and we need to learn to embrace our African selves.

Mutabaruka stated:
"African sensibility don't prevail inna the Jamaican society. We celebrate almost 360-odd days of white history and tomorrow is the first day of February, which is Black History Month. But most people will not, and I'll repeat, most people will not even think of commemorating Black History Month. As one, young politician say, 'Black History Month is irrelevant to Jamaica. It was started in America because of the need, and because of how white people was treating black people in America so that was the necessary in America but here it don't necessary.'
But it more necessary yahso. Because the slave master left all of him thinking here and it embedded and pinned down inna we. That all when him no deh yah (when he's not here) we are living out the slave masters ideas and philosophies. And we even implement it and institutionalize it inna we politics, inna we religion, inna we social order..."

Another point I thoroughly agree with. We uphold Christmas, which is a lie, and turn our noses at Kwanzaa? And give all kind of reasons why we won't support it; bout how that is an American thing.
But Ethiopian Orthodox (one of the oldest Christian churches) doesn't celebrate the 25th as Christ's birthday. You know who instituted the 25th as Christmas? Rome. So, in fact we following the Romans. So, we following Rome, but can't see the goodness in a Pan-African concept like Kwanzaa? Or, Black History Month?
Because these are American holidays that have nothing to do with us. But we celebrating Halloween!? Stop the madness.

Friday, February 16, 2018

The Cries of Redemption Meet and Greet Party

Cries of Redemption Meet and Greet Party at Blush Couture 

The Cries of Redemption Release Sunday, the 11th, grew into a beautiful day even though the skies were gray. Made some wonderful new sistren and some old bredren and family came through. The day began a lil hectic, and just true I strive for perfection, as 3 o'clock approached, I worried cause things were running late. 
But I must admit, Andrea and Theresa and Lia and her crew had everything under control; so, 'Baby don't worry about a thing 'cause every likkle thing is gonna be all right.'

So thanks to those who came out, all in thru clouds and thru rain. I really had a ball with you all.
Bless up. See you next time.
Kaya Omodele


 Purchase Cries of Redemption and support Kaya and The Abeng and My Conscious Pen, an independent author and publisher.

Tuesday, February 6, 2018

Abeng Update: Kaya Omodele's Debut Cries of Redemption

Greetings Abeng and My Conscious Pen readers!
As you may done know already, Cries of Redemption is available in paper back on Amazon and ebook on Kindle. I have been getting great reviews but more importantly, readers genuinely love the positive vibes in this, my debut. As I stated before Cries of Redemption is wonderful combination of riveting short stories, heart-felt poetry, and informative and thought-provoking commentary. It is strapped with culture and history and positive reasoning, and rich in dialect and philosophy.

You can order or read a free preview here (Click Book Image)

Cries of Redemption will also soon be offered on other platforms like Smashwords and Book Baby.

Saturday, January 27, 2018

Abeng Interviews Clairmont Mali Chung from Roots Culture Media (Part 1)

Greetings. This is an exclusive Abeng interview with the CEO of Roots and Culture Media, Clairomont Mali Chung, who is a film maker, which is only one of his creative talents. Roots and Culture Media is the producer of the documentary Walter Anthony Rodney Stories (or W.A.R. Stories). This is Part 1 of  2

Kaya @TheAbeng +The Abeng World-wide: Bro. Clairmont, how you doing, Man?
Clairmont Mali Chung: I'm doing good, Kaya. How are you doing?

@TheAbeng: Beautiful, Man, Beautiful. Its good to talk to you. It's good to finally have you here with The Abeng. Been a long time in planning. Could you first tell the readers whats the concept behind Roots and Culture Media?
CMC: Well, it started out really as a gallery that had began in Guyana by a group of artists back in the early Eighties. And ah, many of them had migrated and the group that had sort of loosely arranged and I suggested that we have an extension of it in North America. And...when I set all of that up I realized that the medium, we needed more access to a wider range of audience, And so, I began to think of producing other kinds of media and writing also.
So Roots and Culture Media is really an attempt, then, to consolidate all aspects of the arts and provide a forum that people can express themselves.

@TheAbeng: Can you tell us who some of those artists were?
CMC: Well you have people like Dudley Charles, people like Gary Thomas; one of the benefactors was Camo Williams- a pan player; Omowale, Lumumba, and bout four or five others... Winston Strick was an important figure in that, Ras Ita, but those were the core of it.

@TheAbeng: How did you get into film making?
CMC: Well it, its not exactly clear, its more by default 'cause I'm not really trained. I did do a course in college on film and another course on television. And then many, many years later, almost twenty years later, I had helped produce a local TV program for the public channels. And I realized the power of it, or it reinforced the power of the media; and then I decided to do the Rodney project which had been languishing for thirty years and no one seemed to either be inclined to do it and so I decided that would be one of my first.

"Money can't save us..." ~ Clairmont Mali Chung

#TheAbeng: What was one of the biggest challenges you faced?
CMC: I think most people you ask that question to, including myself, people would say the money...right... 'cause the money answers a lot of questions. But at the same time, if money is the thing keeping you back, then you'll never get it done, because you'll never get the money; you'll never have enough, even if you get money. So, yes the biggest problem is the money, but if the money is gonna stop you then perhaps this is not the thing for you.
Artists on the whole, and I don't really consider myself an artist even though, you know, I'm in the arts, they don't produce work because of the money, they produce because they have to, and they can't exist any other way...
@TheAbeng: They have to get their voice out.
CMC:..Right, they have to produce or they'd just wither and die. And so, right, ordinary people are concerned with money, people who are serious are not concerned with money.

@TheAbeng: That's a very true statement, Man, that's a very true statement, especially for us writers...
CMC: Money can't save us is the final analysis. And it wouldn't save the arts, the arts exist in our genetic, historical memory and make up. And that cannot be purchased. People try to buy it but it defies a valuation, you know, we just loan our creations to the society because nobody could really pay for what people create.

@TheAbeng: So let's talk about one of my favorite documentaries of all time, which is W.A.R. Stories, aahm, Walter Anthony Rodney Story. When did you first decide on that project?
 CMC: Well it was around...well thank you first of all for the compliment... sometime around 2006 I was still producing the local television show and I was toying around with the idea of what to do with this new tool. And being, you know, a little familiar with what had happened to Walter Rodney, the importance of Walter Rodney to Guyana, to the Caribbean, to the Africa, to the World, it seemed like a project that would be important to the entire planet.

 "Since the government itself has taken over so many facets of economic life, has nationalised the bauxite, has nationalised sugar, has nationalised a number of private firms, justifiably so, it has taken up a position as the principle, far and away the largest, single employer in the country. Consequently, the ground is really set for utilization of this device of the party card, of political control by means of denying the right to work." ~ Dr. Walter Rodney (see at 5:55 of this video clip W.A.R. Stories)

Saturday, January 20, 2018

Op-Ed: My Why by Carla Thomson

My Why

By Carla Thompson

In November 2016 Trump won the presidential election to become the next president of the United States; who would have thought? For years we have watched him lie, deceive, and cheat. Then America voted for him.
Trump being elected president wouldn’t have bothered me if the man’s character held any positive value- if he had used his wealth for the betterment of the world, like say Bill Gates. But enough of that; the only reason Trump matters in my story is he caused me to open my eyes.

I was born in Guyana and immigrated with my parents to the United States around eight years old. I was teased in school by Black kids and sixth and seventh grade sucked. Those years made me wish I was lighter, prettier, and didn’t speak with an accent. I desired to become better, which to me at the time meant lighter. I separated myself from my blackness.
I didn’t listen to hip hop or rap, I choose soft rock and easy listening. I didn’t speak slang and I got upset with family members who did. I even wanted to marry a white man, so my kids wouldn’t be as dark as me. I had issues, bullying issues.
And this leads me back to Trump.

During the months leading up to the election a dog whistle was blown: “Make America great again”. I believe what was heard was “I will make America as it was in the 1950’s and before”. I wasn’t a frequent visitor to Facebook until February 2017, A.D., which is "after Donald" took office. It amazed me how people of color are hated because we have a complexion that had nothing to do with a decision we made, nor an intrinsic choice. It was just hurtful.

The big lie America told those of us who don’t know our history, is that we are equal in her eyes. The issue isn’t black or white, America says, its rich or poor. Anyone can be rich if they work hard, and keep their nose to the grind stone. Work hard and things will change. Never mind Jim Crow laws, all that ended in the 1960s and is irrelevant in 2017.

My insight to being black changed in those days A.D. Although I had been taught as a child to hate who I was because of the color of my skin, I had grown to learn that bullying is not just a black thing, it's a human thing. My accent, complexion, hair, and face were things that were different to them.

The awakening caused me to read about true history, not the fairy tales that were taught in school. I didn’t know about Liberia, red lining, Brown v. Board of Education and so many more decisions made for people of color. Before, I was one who thought my vote didn’t count so I only voted in the  presidential-election years; then, I complained my vote didn’t count and how old Caucasians made decisions for me. I went out like millions of others who had to figured out that the midterms elections mean something.

Midterms are when members of state and federal congress  are elected; and yes, they do matter! I want to get involved in the decision making. I want to get involved in activism. I want people of color to know that voting matters. How can you complain in a household if you don’t know what is happening?

President Lyndon B. Johnson once said, "If you can convince the lowest white man he's better than the best colored man, he won't notice you're picking his pocket. Hell, give him somebody to look down on, and he'll empty his pockets for you." And he appointed the first black to HUD agency.
I'm just saying!

Carla Thompson

Thursday, November 9, 2017

Canto das Tr锚s Ra莽as (The Chanting of the Three Races) by Clara Nunes ~ Translated by Cecilia Beatriz Silveira-Marroquin

Canto das Tr锚s Ra莽as – by Clara Nunes
(The Chanting of the Three Races – by Clara Nunes)
Composed by: Mauro Duarte e Paulo C茅sar Pinheiro

Song Video (Click here to listen to Clara Nunes' The Chanting of the Three Races)

Ningu茅m ouviu
Um solu莽ar de dor
No canto do Brasil
Um lamento triste
Sempre ecoou
Desde que o 脥ndio guerreiro
Foi pro cativeiro
E de l谩 cantou

Negro entoou
Um canto de revolta pelos ares
No Quilombo dos Palmares
Onde se refugiou
Fora a luta dos Inconfidentes
Pela quebra das correntes
Nada adiantou
E de guerra em paz
De paz em guerra
Todo o Povo dessa terra
Quando pode cantar
Canta de dor
么, 么, 么, 么, 么, 么 么, 么, 么, 么, 么,
E ecoa noite e dia
脡 ensurdecedor
Ai, mas que agonia
O canto do trabalhador
Esse canto que devia
Ser um canto de alegria
Soa apenas
Como um solu莽ar de dor ...

Nobody heard
The sobbing of pain
In Brazil’s chanting
A sad cry
Always echoed
Since the Indian warrior
Went in captivity
And from there, he sang
The Black echoed
A revolt chanting through the air
In the Palmares Kilombo
Where he took refuge
Besides the fight of the Inconfidentes
By the breaking of the chains
Nothing else worked
And from war to peace
From peace to war
All the People of this land
When they can sing
Sing in pain
o o o o o o o o o o o o o o o o o o o o o
And it echoes night and day
It is deafening
Oh, what an agony
The worker’s chanting
This song that should have been
A song of joy
It just sounds
Like a sobbing of pain ...

Translated by Cecilia Beatriz

Abeng and My Conscious Pen readers, for starts I decided to translate this song for you, not only because it is one of my very favorite Brazilian songs of all times and because it is sung by this amazing singer, Clara Nunes who is no longer amongst us, but because it is about the Palmares Kilombo. I urge you to listen to it, following the translation.
What is interesting about it, is that it shows how the collaboration of the three races was important for the survival of the Kilombos. For some reason, it is almost never mentioned that the Indigenous Natives and the Inconfidentes (Whites who were actively working against African slavery in Brazil) were fundamental for the success of the Kilombos.
This singer, Clara Nunes, was very outspoken about the cultural mix in Brasil and the richness that it brought us, especially from our African roots. Most of her songs are about that. She was an amazing musician and human being…. her premature death due to medical error during a minor surgery, left a hole in the hearts of Brazilians of all heritages.
~ Love,

Cecilia Beatriz Silveira-Marroquin was born and raised in Brasil but
lived most of her life in the San Francisco Bay Area, California where she mostly worked in the legal field. Cecilia has a degree in Paralegal Studies
and Criminology. Now back in Brazil, after 37 years, she makes a living
by teaching English and is a published writer. Her book Real Dreams and Daydreams: Sonhos Reais e Devaneios 
can be purchased on Amazon.

Monday, November 6, 2017

Abeng Op-Ed: Are Many African-Americans Still Disconnected From Africa? by Joshua Chikudo

 Many Young African Americans Are Still  Disconnected From Their African Roots

                   By Joshua Chikudo August, 2017

"You Africans look like some of us African Americans" a young man accompanied by his girlfriend said to me as we waited for our beverages at a starbucks in South Florida. The statement caught me by surprise, how could somebody know I was African in a community full of so many  Caribbean immigrants. I had been mistaken for a Jamaican or Haitian in the past, but rarely called African American. I then remembered I had just finished telephone conversation with one of my African brothers before I placed the order. 

Now, the first thing that came into my mind was this African saying: "A father does not look like the son; it is the son that looks like the father". Since I have always enjoyed sharing the culture, politics and business knowledge of our African people and I have always assumed that African history or heritage is not taught in-depth at most American elementary schools, I was extremely eager to answer any questions the young couple had regarding Africa, our people and culture. I invited them to an empty table. My father always said there were no stupid questions in life, so I answered every question as best as I could.

One of the questions the young man posed was why so many different cultures existed amongst black people. Since the majority of African-Americans descended from the West African region, we can clearly see African culture in those parts of the United States where African Americans reside. And also, though African cultures vary, many share similar fundamental beliefs. But the slave era interrupted the continuity of culture when Africans were brought to America.

Though Europeans primarily orchestrated the slave trade, corrupt chiefs also played a significant role. Our communities were too welcoming which led to the success of the slave trade. The traders took advantages of our hospitality; our people were overpowered by better weapons and many of our strong men and women were forced into captivity in foreign lands

It is in these lands where their culture was altered to fit their masters' desires. The slave system ensured that our people lost contact with Africa. So much of African-American culture has European influence; however, if one looks deeper one can see some semblance of African culture within African America.

I was astonished when the young couple asked me why Africans believe in voodoo and if we believed in God. Many Westerners and Americans view African spirituality as evil. In Southern Africa many of us have always believed in the Higher power, The Almighty( Uthixo in Ndebele/Zulu, Mwari in Shona). Communities communicated with the higher power differently depending on the  specific culture.
Our ceremonies have been portrayed as voodoo by those who do not understand our practices. In many ceremonies we invite the spirits of our departed( Amadlozi in Ndebele/ Zulu, Vadzimu in Shona); we ask them for continual spiritual  guidance while relaying our prayer requests to The Most High.
Some people believe that African spirits can harm others by relaying bad energy to a targeted individual.(Ubuloyi in Ndebele/ Zulu, Kuroya in shona)

The first Europeans settlers that came to Africa did not approve of our worship. They introduced the Bible, their version of Christianity: God The Father was white, God's son Jesus was white, The Holy Ghost, too, was white. In their eyes everything had to be white to be pure.
These same people brought the idea that the devil Lucifer and our African beliefs were black and satanic. These views helped shape the African-American misconception of African cultures. Today Africa practices a variety religious beliefs; Islam, Christianity, Buddhism, Hinduism, Rastafarian and traditional African animism contrary to Western media portrays.

Our conversation had gone on for an hour before the young couple asked me a very complex question: Why Africa was so poor, undeveloped, backwards and full of diseases? Most African Americans I have met are taught to glorify white-American and European culture. Images have been implanted in their minds that Africa is back-wards and primitive. Media outlets fail to share the growth and progression taking place across the continent. 
Many subscribe to the propaganda that broadly paints African governments as corrupt dictatorships. While there are still a few corrupt and undemocratic regimes, the vast majority of Africa is now stable.

Africa has a young population that seeks the same peace, financial stability and security that younger generations in the West seek. African Millennials, like Millennials all over the world, are spearheading technological advances that are helping to diversify and globalize African economies.
Some of these young African inventors and innovators are helping to change people's lives in many positive ways. I recommend those who like to learn about some of the progressive innovations that the continent has taken to read Ashish Thakkar's " The Lion Awakes" which highlights some of the many advances occurring in the motherland. 

Africa has been responding successfully to disease outbreaks. Since the 2014 and 2016 Ebola Deadly virus in the West Africa which left 11300 people dead( Wall street Journal; July, 2017). With the help of the World Health Organization and other NGOs, western doctors and African personnel, Africa managed to contain the disease. Even when it resurfaced in Congo ( Kinshasa) Africans contained the disease. Diseases like Malaria, Tuberculosis are now controllable. When it comes to AIDS, people are more educated about safe sex, avoiding infection and and adhering to available medication.

I concluded our conversation reiterating that Africa has evolved and continues to better its communities. I let the young couple know that having members of their generation connecting with their heritage will indeed be a great asset to the continent.
If we can get some of these educated, professional Africans in the Diaspora to come home to empower communities with productive wisdom and technological knowledge, we can catch up with the developed world faster and be better sales people for the continent.

Mr Joshua Chikudo

Wednesday, November 1, 2017

The Abeng Presents: Cries of Redemption

Cries of Redemption: Songs of Life
.@The Abeng #abeng #literature

:the act, process, or an instance of redeeming

transitive verb
2: to free from what distresses or harms: such as
  a: to free from captivity by payment of ransom
  b : to extricate from or help to
Cries of
overcome something detrimental
  c: to release from blame or debt :clear
  d :to free from the consequences of sin

3: to change for the better : reform
4: repair, restore

My Little Sister commanded this book be created. She damn near demanded I compile Cries of Redemption from some of my writings she'd read. She's always twirling me 'round her little finger, so you know she got her way - as a big brother, ain't too much I denying my Baby Sis.

So, even though Cries of Redemption wasn't supposed to be my debut, here it comes. It's a variety book: story and rhyme (prose and poetry), joy and pain, sensible and little bit schupidy (jokey or playful).
But I'm sharing my reflections on them pages. Even when the stories are not about me, they're my perceptions, still. I'm a writer because I want my voice, no I need my voice to be heard. This is why I write. And like Steve Biko, I Write What I Like!
Jah Bless
K. Omodele
Cries of Redemption, coming November, on Amazon.

UPDATE: Cries of Redemption is Now Available on Amazon

Abeng Feature

#AllBlackWithADoek Salutes Mama Winnie Mandela

Amandla! #allblackwithadoek Twitter Salutes Mama Winnie Madikizela Mandela zikhona @igqiyazana "Doing it for intomb' endala!...