It’s been well over two thousand, three hundred years since an actual Egyptian sat on the throne of the Nile Valley’s greatest civilisation. Since then, only foreigners have controlled Kemet, the true name for Egypt. And yet control over Kemet remains a fierce battle to this day.
On the one side are Eurocentrists who, to build their racial self-esteem, and to justify the massive crime of imperialism against Africa, have spent the last three hundred years Whitewashing the civilisation into something that their own Greek and Roman ancestors never claimed.
On the other side is everyone who embraces the historical record, physical anthropology, comparative linguistics and culture, and, of course, DNA. They recognise what most of Hollywood, Arabs in Egypt, and the Western academic establishment refuse to: that Kemet was an African civilisation from its farmers to its pharaohs.
Previously on MF Galaxy I’ve had a range of guests discussing African Egypt, including Molefi Kete Asante, Martin Bernal, Richard Poe, and Runoko Rashidi. Today I’m delighted to add a new authority to the roster: Deidra Ramsey McIntyre. She’s a programmer, tech-writer, journalist, entrepreneur, and teacher. She’s been a cross-disciplinary writer on Kemet for years, bridging genetics, culture, and ancient documents to demonstrate the Africanity of the Nile Valley civilisation.
McIntyre is also the administrator of the Facebook group Africa: Ancient Kemet & Nubia connection group. She creates succinct infographics about Kemet’s Africanity, and writes at length about Kemet on Quora.
McIntyre spoke with me by Skype from her home on February 22, 2018. We discussed:
Along the way, we discussed a range of topics, some of which don’t get explained in our conversation. So, a few notes:
Many Canadians, Indigenous and settler alike, were furious to learn the back-to-back verdicts in two murder cases. Juries declared Gerald Stanley not guilty of killing 22-year-old Colten Boushie, and Raymond Courmier not guilty of killing 14-year-old Tina Fontaine. The cases exposed how our colonial justice system makes it easy to exclude Indigenous citizens from juries and how rarely families can expect those who kill their loved ones to go to prison.
Some people protested in the streets. Some people protested with their art. Some people wept for the dead and for the future of their children. And some people did all three.
One such man is Rex Smallboy, the former leader of War Party, one of the country’s most successful hip hop bands ever. The motivational speaker and award-winning artist from Alberta’s Maskwacis Cree reserve released the song “Hey They Killing Us” immediately after the jury freed Tina Fontaine’s killer. You’ll hear it later in this show in which Smallboy discusses:
Rex Smallboy spoke with me by Skype on March 6, 2018. During our discussion he referred to Hobbema, the former settler name for the Maskwacis Cree reserve 70 km south of Edmonton.
Marvel’s Black Panther is a global sensation. As of Saturday, March 3, 2018, only two weeks and two days into its release, the Ryan Coogler/Joe Robert Cole film has grossed $US898 million worldwide. Within its first week it had outgrossed what DC’s Justice League took three months to earn, and the entire US runs of Ant-Man, Doctor Strange, The Incredible Hulk, the first Captain America, and the first two Thor films. It had the fifth-highest opening of all time and the third-highest four-day opening ever.
Of course, money isn’t everything, but the astonishing success of a film that is 100% obviously Africentric, starring African characters played by African actors, written by two African writers and directed by an African director, is game-changing. It negates in sky-writing every Hollywood executive who ever claimed that US-made movies about and by Africans could not make money outside the US.
And this is within the same 12-month period in which the African-made, Africentric film Get Out, shot on a budget of a paltry $4.5 million, earned a quarter of a billion dollars globally.
We’ve all seen the photos of African-Americans and African-Canadians wearing gorgeous African clothing to watch the premiere of the movie, and it’s clear that the film is inspiring generations of young and older global Africans the way that Star Wars inspired filmmakers and fans worldwide.
There are countless articles and podcasts and interviews about Black Panther, and some people have posted Wakanda curricula online—in fact, mine will be online at ministerfaust.com next week. And obviously the film has its detractors, too.
To discuss the film I asked a wide range of global African writers, filmmakers, academics, and political organisers to tell me their own experience of the film, its characters, its social significance, and its likely impact on Africentric filmmaking. On today’s episode of MF GALAXY, you’ll hear:
And for today’s episode, like last week’s show, I’m offering the bonus content for free. Find part 2 of today’s episode right now at patreon.com/mfgalaxy.
A reminder that this show is 100% spoilers.