May 12, 2026
It is no longer news that many Nigerian artifacts are in Europe and America held by both public institutions such as Museums, Universities and Galleries as well as by private individuals, but what is new is the collaborative efforts being made by the Nigerian government and the countries where these artifacts are taken in the first place to repatriate them back to the country where they rightly belong.
One of these collaborative diplomatic efforts yielded a positive result yesterday when the French Embassy in Nigeria handed over five Nok Terracotta figures seized by the French Customs service in Paris. Nok arts came to light in 1928, when Co. J. Dent Young found a small terracotta head amongst the gravel from tin mining operations near the village of Nok in Jos Plateau of central Nigeria and since then these cultural materials were named after the village where the finds were made.
It is indeed unfortunate that so much Nok materials have been looted over time to supply the international art market which is supposed to be the exclusive cultural artifacts of the Nigerian people. So when the French Ambassador to Nigeria Jacques Champagne de Labriolle handed over 5 stolen artifacts of Nok origin to the National Commission for Museums and Monuments (NCCM) last Tuesday many stakeholders in the art sector landed the move, describing it as a right step in the right direction.
In 2005, Devin Robinson was threatened with a golf club by a store owner while shopping in the owner’s beauty supply store. Out of anger, two months later Robinson had his own store. Eighteen months later he had two additional locations.
In 2007, he self-published “Taking it Back: How to Become a Successful Beauty Supply Store Owner” and launched Taking it Back University to train others how to be successful in beauty supply ownership too. In 2008 he was featured in Ebony magazine and appeared in the documentary, “Black Hair.” In 2009 Devin Robinson led a national boycott against non-Black-owned beauty supply stores. Since then, he has rebranded Taking it Back University into Beauty Supply Institute.
Beauty Supply Institute staffs 11 people working in two divisions: Training Operations and Field Operations. The company is in its sixth year of business, in its fourth year of two annual conferences and recently partnered with Herzing University to offer a nine-month beauty supply ownership program. The company also has online courses, materials, on-site consulting and full store opening services.
By the end of 2012, the revenues of stores Beauty Supply Institute is responsible for opening topped $10 million. When asked about this accomplishment, Robinson said: “Putting these revenues back into the hands of Blacks and in urban communities is severely important to me. For the past six years when aspiring entrepreneurs ask how to open a beauty supply store or how to become a beauty supply store owner, I wanted us to have every single answer for them. I am very pleased with my team. In this industry, we have more answers now than any question a client can ask us. I view the problems in this industry as an economic hate crime against Blacks, thus making entrepreneurship the 21st century civil rights issue.”
“Our Roots” is an Illustrated educational and informative Comic art by TAYO Fatunla that documents various stages in the history of the black race featuring black achievers in the US, the UK, in Europe and in Africa.This Black History month in the US, “Our Roots” will highlight Black people, places and things that have helped shape the world history as we know it today. This inaugural feature for EURweb highlights African History. Nelson Mandela said “Education is the most powerful weapon which you can use to change the world.” “Our Roots” tries to do just that.
TAYO Fatunla is an award winning Nigerian Comic Artist and illustrator and Editorial cartoonist. He is a graduate of the prestigious U.S. Art school, The Kubert School, New Jersey. He has extensively drawn cartoons and illustrations in Africa, in Europe and the US through the years and has exhibited “Our Roots” at the Studio Museum in Harlem, New York. See his work at: www.tayofatunla.com
article via eurweb.com
NEW ORLEANS (AP) — Adrian Peterson called it a blessing in disguise. Strange way to describe career-threatening major knee surgery. The Minnesota Vikings’ star came back better than ever, just missing Eric Dickerson’s longstanding rushing record and closing out the season with two of the top NFL awards from The Associated Press: Most Valuable Player and Offensive Player of the Year.
As sort of an added bonus, he beat Peyton Manning for both of them Saturday night. “My career could have easily been over, just like that,” the sensational running back said. “Oh man. The things I’ve been through throughout my lifetime has made me mentally tough. ”I’m kind of speechless. This is amazing, ” he said in accepting his awards, along with five others at the “2nd Annual NFL Honors” show on CBS saluting the NFL’s best players, performances and plays from the 2012 season. The awards are based on balloting from a nationwide panel of 50 media members who regularly cover the NFL.
A flamboyant showman and guitar picker in the style of T-Bone Walker, Johnny “Guitar” Watson was born John Watson, Jr. in Houston, Texas on February 3, 1935. Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with disco and funk overtones, saw Watson have hits with “Ain’t That a Bitch”, “I Need It” and “Superman Lover.” His successful recording career spanned forty years, with his biggest hit being 1977’s “A Real Mother For Ya”. Watson was known for his virtuosic guitar playing and inspired musicians ranging from Bobby Womack to Frank Zappa.
To learn more about his life and music, click here, and enjoy “A Real Mother For Ya” below:
[youtube http://www.youtube.com/watch?v=5Jr0qPqK3vw&w=420&h=315]
article by Lori Lakin Hutcherson
PRINCETON, NJ – The Princeton University Art Museum presents Revealing the African Presence in Renaissance Europe, an exhibition exploring the presence of Africans and their descendants in Europe from the late 1400s to the early 1600s and the roles these individuals played in society as reflected in art. Africans living in or visiting Europe during this time included artists, aristocrats, saints, slaves, and diplomats. The exhibition of vivid portraits created from life—themselves a part of the wider Renaissance focus on the identity and perspective of the individual—encourages face-to-face encounters with these individuals and poses questions about the challenges of color, class, and stereotypes that a new diversity brought to Europe. Aspects of this material have long been studied by scholars, but this exhibition marks the first time the subject has been presented to a wider American public.
Revealing the African Presence in Renaissance Europe will be on view at the Princeton University Art Museum from February 16, 2013 to June 9, 2013, and will feature over 65 paintings, sculptures, prints, manuscripts, and printed books by great artists such as Dürer, Bronzino, Pontormo, Veronese, and Rubens. Organized by the Walters Art Museum, Baltimore in collaboration with the Princeton University Art Museum, the exhibition includes artworks drawn from major museums and private collections across Europe and the United States, including works from both Princeton and the Walters.
“The exhibition focuses new attention on an important but poorly understood aspect of Western history and the history of representation and thus continues our commitment to expanding the borders of scholarship and public understanding,” according to Princeton University Art Museum Director James Steward. “This exhibition affords an exceptional opportunity to discover great works of art and encourages us to reflect on our understanding of cultural identity both past and present.”
The presence of Africans and their descendants in Europe was partially a consequence of the drive for new markets beginning in the late 1400s. This included the importation of West Africans as slaves, supplanting the trade of slaves of Slavic origin. There was also increasing conflict with North African Muslims and heightened levels of diplomatic and trade initiatives by African monarchs.
Below is the complete text of journalist Dion Rabouin’s recent Huffington Post blog challenging this country to engage in a more comprehensive and far-reaching celebration of African and African-American achievements during Black History Month. GBN couldn’t agree more, and has added links to his blog for just that purpose. Enjoy!
Malcolm X was fond of saying, “Our history did not begin in chains.” Yet every year that’s where Black History Month lesson plans in schools across America begin. They begin telling the story of our history — black history — in chains. Young black school children don’t learn that our people mapped, calculated and erected some of the greatest monuments ever, like the pyramids, the sphinx and the obelisks (after which the Washington Monument is modeled) or that our people were literally the lifeblood of some of history’s greatest civilizations. They don’t learn that calculus, trigonometry and geometry all trace their origins back to African scholars.
Black History Month lessons never begin with Haile Selassi I, ruler of Ethiopia, who could trace his ancestry to King Solomon and the Queen of Sheba and beyond that to Cush in 6280 B.C. Never mind that Selassi actually has the most ancient lineage of any human being in history.
Black History Month lessons certainly never begin with one of the greatest conquerors the world has ever known, Hannibal, an African who conquered and extended the rule of the Carthaginian Empire into Italy, Rome and Spain. Most school children (and most adults, truth be told) don’t even know that Carthage, Hannibal’s homeland, is in Africa.