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"...it is against God's master plan who created people in particular geographical environments but with diverse cultural heritage..." ~Ssaabasajja Kabaka, while addressing the delegate from UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳 Cc: @BugandaOfficial @Ashanti_Kingdom Charles Peter Mayiga Bunyoro-Kitara Kingdom #30KuNnamulondo

MUZZUKULU WEMBUGA OFFICIAL🇺🇬

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22,067 просмотров • 3 лет назад •via X (Twitter)

Искусство Образование Новости и политика #30KuNnamulondo

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Комментарии: 11

Фото профиля BIRIMUNDA STEPHEN@ KINGDOM CITIZEN

BIRIMUNDA STEPHEN@ KINGDOM CITIZEN2 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG Mbileesemu okuwuliriza noluzungu lwebugangayizi, naye ekigambo 'diverse effects' olowooza tekintwalide okukitegeela nti Omutanda kyayogela, after repeating audio a dozen times🤦😊

Фото профиля bullet music consult

bullet music consult3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Thanks @ UNESCO

Фото профиля MUZZUKULU WEMBUGA OFFICIAL🇺🇬

MUZZUKULU WEMBUGA OFFICIAL🇺🇬3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Indeed they have done much

Фото профиля kenneth ssonko

kenneth ssonko3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven That's my king!

Фото профиля BAGANDA ON ŤWÌTTER

BAGANDA ON ŤWÌTTER3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven #30KuNnamulondo

Фото профиля SHOE DOCTOR COLLECTION

SHOE DOCTOR COLLECTION3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Am very proud of my cultural heritage #30KuNnamulondo

Фото профиля HOSPITABLE AFRICA TOURS AND TRAVEL

HOSPITABLE AFRICA TOURS AND TRAVEL2 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven

Фото профиля MUZZUKULU WEMBUGA OFFICIAL🇺🇬

MUZZUKULU WEMBUGA OFFICIAL🇺🇬2 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Thanks very much

Фото профиля 𝐇𝐚𝐦𝐳𝐚𝐡 𝐒𝐬𝐞𝐛𝐮𝐧𝐲𝐚 𝐉𝐫 🇺🇬🇺🇸⚖

𝐇𝐚𝐦𝐳𝐚𝐡 𝐒𝐬𝐞𝐛𝐮𝐧𝐲𝐚 𝐉𝐫 🇺🇬🇺🇸⚖3 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven #30KuNnamulondo

Фото профиля NTUUYO ZANGE

NTUUYO ZANGE2 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Awangale Ayi Kisiikirize kya Katonda Ssaabasajja Kabaka

Фото профиля MUZZUKULU WEMBUGA OFFICIAL🇺🇬

MUZZUKULU WEMBUGA OFFICIAL🇺🇬2 лет назад

@UNESCO @BugandaOfficial @Ashanti_Kingdom @cpmayiga @Bunyoro_Kitara @BugandaYouthC @PatriqKanyomozi @_Huza01 @HamzahSsebunya @AidenKaliisa @BradleyCarl256 @keithnamu @nalugwa_lilian @TourBugandaUG @BirimundaSteven Aguundeguude Omuteerega

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Shadey is one of the Amhara’s great intangible heritages celebrated in the last weeks of August each year. The festivity has different names in different parts of Amhara: in Raya Amahra (Solel), waghimra Amhara (Shadey), lasta lalibela (Ashendiye) Very recently, as early as ten years, the tigray people have tried to adopt this colorful culture through the help of the anti-Amhara woyanie regime and its corrupt institutions. Anthropologists argued that a cultural identity theft is harmful to the owning community and is claimed to be a violation of the collective intellectual property rights of the originating culture. However, Woyanie is adopted the Ashenda culture in a colonial manner where elements of this culture are copied and being misused and reduced to an exotic street festival outside of the context and against the expressly stated wishes of the owners of the culture, the Amharas. This misappropriating of Shadey is a disrespectful to the Amhara culture and its values. Someone takes something from your culture and uses it for their own benefit without no consequences is inappropriate and unacceptable. What’s more, ridicules is you cannot ask the UNESCO to inscribe the imitated culture on its world heritage list as your own property while still we the originating people are alive. This is an outright theft of a cultural identity. Even though we can argue that culture could be adopted or borrowed, requesting for intellectual property as your own heritage is no less than a cultural genocide and/or colonization. The tigreans tried intentionally distorted the meaning of the culture and using it without considering the socio-historical and religious circumstances and significance of these cultural forms so as not perpetuate the already existing majority and widely celebrated shadey among the Amhara community. The famous cultural theorist George Lipisitz called this “strategic anti essentialism” to refer to the calculated use of a cultural form, outside of your own, to define yourself or your group. #Ashendiye_shadey_Solel_2023 #AshendiyeAmhara2024

Shadey is one of the Amhara’s great intangible heritages celebrated in the last weeks of August each year. The festivity has different names in different parts of Amhara: in Raya Amahra (Solel), waghimra Amhara (Shadey), lasta lalibela (Ashendiye) Very recently, as early as ten years, the tigray people have tried to adopt this colorful culture through the help of the anti-Amhara woyanie regime and its corrupt institutions. Anthropologists argued that a cultural identity theft is harmful to the owning community and is claimed to be a violation of the collective intellectual property rights of the originating culture. However, Woyanie is adopted the Ashenda culture in a colonial manner where elements of this culture are copied and being misused and reduced to an exotic street festival outside of the context and against the expressly stated wishes of the owners of the culture, the Amharas. This misappropriating of Shadey is a disrespectful to the Amhara culture and its values. Someone takes something from your culture and uses it for their own benefit without no consequences is inappropriate and unacceptable. What’s more, ridicules is you cannot ask the UNESCO to inscribe the imitated culture on its world heritage list as your own property while still we the originating people are alive. This is an outright theft of a cultural identity. Even though we can argue that culture could be adopted or borrowed, requesting for intellectual property as your own heritage is no less than a cultural genocide and/or colonization. The tigreans tried intentionally distorted the meaning of the culture and using it without considering the socio-historical and religious circumstances and significance of these cultural forms so as not perpetuate the already existing majority and widely celebrated shadey among the Amhara community. The famous cultural theorist George Lipisitz called this “strategic anti essentialism” to refer to the calculated use of a cultural form, outside of your own, to define yourself or your group. #Ashendiye_shadey_Solel_2023 #AshendiyeAmhara2024

Frita Samuel

24,492 просмотров • 1 год назад

We the people of #RepublicOfBalochistan appeal to #UNESCO to take immediate action to save 600 years old Baloch heritage Chaukundi, Karachi's Monument are the symbol of the Baloch Resistance (1500-1800 CE) UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳 The Chaukbandi Graveyard, located 29 kilometers east of Karachi near Landhi Town on the National Highway, is a historic necropolis that dates back to the 15th to 18th century CE. Spread over hundreds of acres, this cemetery is one of the most significant heritage sites of republic of Balochistan and is best known for its intricately carved sandstone tombs, representing the cultural, tribal, and martial legacy of the Baloch tribes of Karachi, particularly the Jokhio, Burfat, and allied Balochclans. Historical and Cultural Significance These graves were constructed during a time when the Balochtribes living here for centuries, from Karachi to Makran, Iranoccupied Balochistan and Afghanistan administered areas of Balochistan. Between 1500 and 1800 CE, this region witnessed growing resistance from local Baloch communities against the expanding Mughal Empire, which sought to assert political and military control over Sindh and the coastal routes While formal Mughal armies passed through and at times dortmanated parts of Karachi, the Baloch tribes often resisted taxation, recruitment, and imperial authority, operating under their own tribal codes and leadership. Karachi is historically Baloch teritory, its old name was Maai Kulaach after name of a Balochlady. The Chaukhandi graves many of which belong to warmors, tribal elders, and noble families, reflect this era of dignified resistance and cultural autonomy. Architectural Features The tombs are constructed with buff-colored sandstone and display extraordinary craftsmanship. They are laid out in family clusters, often raised on platforms, and are omamented with geometric patterns, floral designs, weapons (like swords and shields), camels, horses, and jewelry motifs, which signify the tribal identity, valor, and gender of the deceased Men's graves are typically marked with carvings of arms and symbols of bravery, while women's tombs are adomed with representations of bangles, necklaces, and mirrors. These engravings illustrate not just artistry, but the values and lifestyle of the Baloch communities, including their pride in martial traditions, clan loyalty, and honor culture. Link to Baloch Resistance According to oral traditions andregional folklore, several of the tombs belong to Baloch chieftains and warriors who resisted Mughal rule. The Jokhio tribe, one of the most prominent Baloch tribes in the region, is particularly associated with this graveyard. Their defiance against Mughal impernal demands whether military conscription or revenue extraction has become a part oflocal legend, and Chaukhandi stands to day as a symbol of their enduring legacy Present Condition and Recognition Chaukhand Graveyard was include din UNESCO's. Tentative World Heritage List in 1993 due to its unique artistic and cultural significance. However, it remains under threat fromurban encroachment, vandalism, erosion, lack of conservation efforts and now the Pakistan military and its franchise Bahria Town is demolishing these historic graveyards of the Baloch tribes UNESCO and other international organizations must intervene to save the Baloch heritage The Balochconmunity and heritage activists have repeatedly called for its restoration as a symbol of historical resistance and tribal identity The Chaukhandi graveyard is not just a cemetery; it is a stone chronicle of the Baloch people's struggle for sovereignty, identity, and freedom during the Mughalera. With its striking architecture and deep historical roots, it stands as a sacred testament to the courage and cultural richness of Karachi's Baloch heritage Preserving this site is not only a matter of archaeological importance, but also a tribute to a proud and resilient people. #BalochistanIsNotPakistan Hyrbyair Marri

We the people of #RepublicOfBalochistan appeal to #UNESCO to take immediate action to save 600 years old Baloch heritage Chaukundi, Karachi's Monument are the symbol of the Baloch Resistance (1500-1800 CE) UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳 The Chaukbandi Graveyard, located 29 kilometers east of Karachi near Landhi Town on the National Highway, is a historic necropolis that dates back to the 15th to 18th century CE. Spread over hundreds of acres, this cemetery is one of the most significant heritage sites of republic of Balochistan and is best known for its intricately carved sandstone tombs, representing the cultural, tribal, and martial legacy of the Baloch tribes of Karachi, particularly the Jokhio, Burfat, and allied Balochclans. Historical and Cultural Significance These graves were constructed during a time when the Balochtribes living here for centuries, from Karachi to Makran, Iranoccupied Balochistan and Afghanistan administered areas of Balochistan. Between 1500 and 1800 CE, this region witnessed growing resistance from local Baloch communities against the expanding Mughal Empire, which sought to assert political and military control over Sindh and the coastal routes While formal Mughal armies passed through and at times dortmanated parts of Karachi, the Baloch tribes often resisted taxation, recruitment, and imperial authority, operating under their own tribal codes and leadership. Karachi is historically Baloch teritory, its old name was Maai Kulaach after name of a Balochlady. The Chaukhandi graves many of which belong to warmors, tribal elders, and noble families, reflect this era of dignified resistance and cultural autonomy. Architectural Features The tombs are constructed with buff-colored sandstone and display extraordinary craftsmanship. They are laid out in family clusters, often raised on platforms, and are omamented with geometric patterns, floral designs, weapons (like swords and shields), camels, horses, and jewelry motifs, which signify the tribal identity, valor, and gender of the deceased Men's graves are typically marked with carvings of arms and symbols of bravery, while women's tombs are adomed with representations of bangles, necklaces, and mirrors. These engravings illustrate not just artistry, but the values and lifestyle of the Baloch communities, including their pride in martial traditions, clan loyalty, and honor culture. Link to Baloch Resistance According to oral traditions andregional folklore, several of the tombs belong to Baloch chieftains and warriors who resisted Mughal rule. The Jokhio tribe, one of the most prominent Baloch tribes in the region, is particularly associated with this graveyard. Their defiance against Mughal impernal demands whether military conscription or revenue extraction has become a part oflocal legend, and Chaukhandi stands to day as a symbol of their enduring legacy Present Condition and Recognition Chaukhand Graveyard was include din UNESCO's. Tentative World Heritage List in 1993 due to its unique artistic and cultural significance. However, it remains under threat fromurban encroachment, vandalism, erosion, lack of conservation efforts and now the Pakistan military and its franchise Bahria Town is demolishing these historic graveyards of the Baloch tribes UNESCO and other international organizations must intervene to save the Baloch heritage The Balochconmunity and heritage activists have repeatedly called for its restoration as a symbol of historical resistance and tribal identity The Chaukhandi graveyard is not just a cemetery; it is a stone chronicle of the Baloch people's struggle for sovereignty, identity, and freedom during the Mughalera. With its striking architecture and deep historical roots, it stands as a sacred testament to the courage and cultural richness of Karachi's Baloch heritage Preserving this site is not only a matter of archaeological importance, but also a tribute to a proud and resilient people. #BalochistanIsNotPakistan Hyrbyair Marri

Mir Yar Baloch

11,768 просмотров • 1 год назад

My national statement at the 221st Executive Board of UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳. - A time of transition globally and within UNESCO as we reach the upcoming election of a new Director-General - appreciate the notable efforts made by the Secretariat, across all the major programme areas. - acknowledge that governance of such a complex organization as UNESCO during these challenging times, has not always been an easy task. - appreciative of UNESCO’s efforts such as the implementation of the Gaza Emergency Fund and the work undertaken in Ukraine. —reiterate our concern regarding the continued absence of tangible action in addressing hatred against Islam, despite clear guidance and decisions previously adopted by the Executive Board. - Recent crises have shown us that UNESCO’s role extends beyond immediate interventions; it is also about long-term recovery and resilience- building. - we cannot and must not remain indifferent to the immense human suffering unfolding in Gaza. - The unprecedented level of aggression by Israel has resulted in the tragic loss of countless innocent lives, most of which are women and children and has caused immense devastation to civilian infrastructure. -As the first country to contribute to the Gaza Fund, Türkiye reaffirms its unwavering commitment to standing with the people of Gaza in their most difficult times. - precautionary measures are crucial. We must not adopt a reactive stance but instead embrace forward-thinking and anticipatory strategies to mitigate risks and ensure the sustainability of UNESCO’s actions - A well-prepared UNESCO is a resilient UNESCO—capable of upholding its mission even in the most challenging times. - the foundational principles must be reflected in ALL UNESCO’s programmes and initiatives. Any implementation or regulation that might hinder this approach should be carefully revised.

My national statement at the 221st Executive Board of UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳. - A time of transition globally and within UNESCO as we reach the upcoming election of a new Director-General - appreciate the notable efforts made by the Secretariat, across all the major programme areas. - acknowledge that governance of such a complex organization as UNESCO during these challenging times, has not always been an easy task. - appreciative of UNESCO’s efforts such as the implementation of the Gaza Emergency Fund and the work undertaken in Ukraine. —reiterate our concern regarding the continued absence of tangible action in addressing hatred against Islam, despite clear guidance and decisions previously adopted by the Executive Board. - Recent crises have shown us that UNESCO’s role extends beyond immediate interventions; it is also about long-term recovery and resilience- building. - we cannot and must not remain indifferent to the immense human suffering unfolding in Gaza. - The unprecedented level of aggression by Israel has resulted in the tragic loss of countless innocent lives, most of which are women and children and has caused immense devastation to civilian infrastructure. -As the first country to contribute to the Gaza Fund, Türkiye reaffirms its unwavering commitment to standing with the people of Gaza in their most difficult times. - precautionary measures are crucial. We must not adopt a reactive stance but instead embrace forward-thinking and anticipatory strategies to mitigate risks and ensure the sustainability of UNESCO’s actions - A well-prepared UNESCO is a resilient UNESCO—capable of upholding its mission even in the most challenging times. - the foundational principles must be reflected in ALL UNESCO’s programmes and initiatives. Any implementation or regulation that might hinder this approach should be carefully revised.

Gülnur Aybet

70,281 просмотров • 1 год назад

🤡 Putin After Talks With Trump: Russia Wants “Peace”… But Only With Russian Language and Church in Ukraine Let’s be clear: making Russian an official language in Ukraine is not about “rights.” After decades of Russification, executions for speaking Ukrainian, and systemic repression, it would mean the destruction of Ukrainian identity itself. Everyone has seen what happened to Belarus after such a step — the national culture was suffocated, its independence erased. Ukrainian culture cannot survive without the Ukrainian language. A Ukrainian who abandons the language, even while holding a passport, ceases to be part of Ukrainian tradition. They may call themselves Ukrainian, but in reality they adopt Russian culture instead — celebrating Russian holidays, replacing Christmas Eve with Soviet “New Year,” losing carols, nativity plays, spring rituals, all the foundations of our heritage. To demand Russian as an official language is for Putin to demand Ukraine’s erasure. And to insist on state recognition for the Moscow Patriarchate — the FSB’s Trojan horse — is to formalize Kremlin control from within. So let’s call it what it is: Putin’s “peace plan” is nothing but a demand for Ukraine’s cultural death. And any Western leader willing to entertain that is complicit. Go fu..k yourself in bunker, Putin and Trump!

🤡 Putin After Talks With Trump: Russia Wants “Peace”… But Only With Russian Language and Church in Ukraine Let’s be clear: making Russian an official language in Ukraine is not about “rights.” After decades of Russification, executions for speaking Ukrainian, and systemic repression, it would mean the destruction of Ukrainian identity itself. Everyone has seen what happened to Belarus after such a step — the national culture was suffocated, its independence erased. Ukrainian culture cannot survive without the Ukrainian language. A Ukrainian who abandons the language, even while holding a passport, ceases to be part of Ukrainian tradition. They may call themselves Ukrainian, but in reality they adopt Russian culture instead — celebrating Russian holidays, replacing Christmas Eve with Soviet “New Year,” losing carols, nativity plays, spring rituals, all the foundations of our heritage. To demand Russian as an official language is for Putin to demand Ukraine’s erasure. And to insist on state recognition for the Moscow Patriarchate — the FSB’s Trojan horse — is to formalize Kremlin control from within. So let’s call it what it is: Putin’s “peace plan” is nothing but a demand for Ukraine’s cultural death. And any Western leader willing to entertain that is complicit. Go fu..k yourself in bunker, Putin and Trump!

Devana 🇺🇦

31,320 просмотров • 1 год назад

Culture so goated that even people who hate you copy it 🔥 This is a scene from a Pakistani wedding, Now they're doing 'aarti' Pakistan was created through !slamic separation, explicitly rejecting Hindu civilizational identity, yet today there is a growing contradiction in how culture is claimed and presented. Practices rooted in Hindu culture rituals, aesthetics, music, clothing, jewellery, even ceremonies like aarti-are increasingly adopted, while the same voices insist that India and Pakistan are fundamentally different and deny India's historical continuity. When questioned, this borrowing is suddenly reframed as "South Asian" or "shared" culture, a label that conveniently erases Hindu origins while allowing ave selective use of what was once rejected, of innocent This hypocrisy becomes sharper when cultural appropriation coexists with online hostility toward India. On one hand, there is open amplification of anti-India rhetoric; on the other, a steady dependence on Hindu cultural symbols for visibility, relevance, and legitimacy. Calling it "South Asian" does not change its root. It only blurs accountability. You can not separate on thent basis of Islam, deny Hindu identity, and then freely absorb Hindu culture while dismissing its origin. Cultural honesty requires acknowledging roots, not rewriting them when convenient.

Culture so goated that even people who hate you copy it 🔥 This is a scene from a Pakistani wedding, Now they're doing 'aarti' Pakistan was created through !slamic separation, explicitly rejecting Hindu civilizational identity, yet today there is a growing contradiction in how culture is claimed and presented. Practices rooted in Hindu culture rituals, aesthetics, music, clothing, jewellery, even ceremonies like aarti-are increasingly adopted, while the same voices insist that India and Pakistan are fundamentally different and deny India's historical continuity. When questioned, this borrowing is suddenly reframed as "South Asian" or "shared" culture, a label that conveniently erases Hindu origins while allowing ave selective use of what was once rejected, of innocent This hypocrisy becomes sharper when cultural appropriation coexists with online hostility toward India. On one hand, there is open amplification of anti-India rhetoric; on the other, a steady dependence on Hindu cultural symbols for visibility, relevance, and legitimacy. Calling it "South Asian" does not change its root. It only blurs accountability. You can not separate on thent basis of Islam, deny Hindu identity, and then freely absorb Hindu culture while dismissing its origin. Cultural honesty requires acknowledging roots, not rewriting them when convenient.

Chota Don

104,726 просмотров • 6 месяцев назад

Who Are The Tajiks: Past & Present Australian Network Interview of Professor Richard Foltz - Tajiks are Iranians of the East. - 3 Million Tajiks registered officially in Russia. Millions more unregistered. - 16th Century Shia-Sunni schism divided the Iranian world, with Persians in contemporary Iran being Shia, and Persians in Afghanistan, Tajikistan and Uzbekistan being Sunni. - the Ethnic, Heritage and Cultural ties still bind east and west Iranians. - Nowruz is a worldwide Tajik/Persian cultural festival that's celebrated from Mongolia to Bosnia. - The largest group of Tajiks is in Khorasan (currently Talibanistan/Afghanistan), comprising of 40-50% of the people. - Economic and cultural capitals of Tajik civilization Samarqand, Bukhara and Ferghana were taken from Tajiks by the Bolsheviks and given to Turkic nomads. Similar to how Tajik majority Khorasan was given to Indic nomads by the British. - 30-50% of Uzbekistan is Tajik but the Uzbek government prevents a census to hide figures. (Similar to Afghan governments preventing a census to hide Tajik numbers.) - The most famous poet of the world today is a Tajik/Persian (Rumi). - Tajik/Persian/Iranian heritage goes back to over 3,000 years. - In the 10th century, Tajik Bukhara outpaced Baghdad as the major centre of Islamic learning. - Tajiks/Persians/Iranians were the custodians of Islamic civilization, institutions, culture and education. - Uzbeks were pastoral nomads that were slowly urbanized and Islamized by the Tajiks. - The Bolsheviks were on a mission to sabotage this historic past and displace it all. - The Uzbeks were a cultural and historic blank page that the Bolsheviks could write whatever they wanted on. 'Uzbek' became a national identity due to Soviet social engineering. - Land, heritage and culture belonging to Tajiks, was taken from Tajiks and given to Uzbeks. (Similar to what the British did with handing over Tajik Persianate civilization to nomadic Afghans from the Indian subcontinent).

Who Are The Tajiks: Past & Present Australian Network Interview of Professor Richard Foltz - Tajiks are Iranians of the East. - 3 Million Tajiks registered officially in Russia. Millions more unregistered. - 16th Century Shia-Sunni schism divided the Iranian world, with Persians in contemporary Iran being Shia, and Persians in Afghanistan, Tajikistan and Uzbekistan being Sunni. - the Ethnic, Heritage and Cultural ties still bind east and west Iranians. - Nowruz is a worldwide Tajik/Persian cultural festival that's celebrated from Mongolia to Bosnia. - The largest group of Tajiks is in Khorasan (currently Talibanistan/Afghanistan), comprising of 40-50% of the people. - Economic and cultural capitals of Tajik civilization Samarqand, Bukhara and Ferghana were taken from Tajiks by the Bolsheviks and given to Turkic nomads. Similar to how Tajik majority Khorasan was given to Indic nomads by the British. - 30-50% of Uzbekistan is Tajik but the Uzbek government prevents a census to hide figures. (Similar to Afghan governments preventing a census to hide Tajik numbers.) - The most famous poet of the world today is a Tajik/Persian (Rumi). - Tajik/Persian/Iranian heritage goes back to over 3,000 years. - In the 10th century, Tajik Bukhara outpaced Baghdad as the major centre of Islamic learning. - Tajiks/Persians/Iranians were the custodians of Islamic civilization, institutions, culture and education. - Uzbeks were pastoral nomads that were slowly urbanized and Islamized by the Tajiks. - The Bolsheviks were on a mission to sabotage this historic past and displace it all. - The Uzbeks were a cultural and historic blank page that the Bolsheviks could write whatever they wanted on. 'Uzbek' became a national identity due to Soviet social engineering. - Land, heritage and culture belonging to Tajiks, was taken from Tajiks and given to Uzbeks. (Similar to what the British did with handing over Tajik Persianate civilization to nomadic Afghans from the Indian subcontinent).

Hello, PhD

20,516 просмотров • 2 лет назад

BANNED FILM ON AFRICAN TREASURES In 1970, Ghanaian filmmaker Nii Kwate Owoo exposed the British Museum's hidden realities in "You Hide Me." He revealed not just history but a cover-up involving thousands of African artefacts; masks, bronzes, and sacred objects, stored in underground vaults, taken during colonial conquests from regions such as the Benin and Asante kingdoms. Catalogued and numbered for academic scrutiny, they have been extensively studied, yet remain hardly seen by the public. The film does more than document; it confronts and challenges the idea that these objects are being 'preserved' when, in reality, they remain far removed from the people who created them. Just a year after its release, the film was banned in Ghana, dismissed as 'anti-British'. But the attempt to suppress it only amplified its message, and what was meant to be buried instead echoed across borders. Control of the cultural narrative has always been a central weapon in the colonial arsenal. By stealing artefacts, ancient statues, artwork, and other material heritage, the defining characteristics of a people's past, colonial powers deliberately severed colonised peoples from the sense of national cohesion and groundedness that such heritage provides. While anti-colonial struggle must certainly address material needs, shedding the shackles of colonialism also requires confronting the immaterial: the restoration of dignity, memory, and identity. As Amílcar Cabral declared: "The liberation struggle is a cultural revolution. It is not only a struggle against the colonial regime, but also against the colonialist mentality that has been imposed on our people. We must decolonise our minds." More than five decades later, the question at the heart of Owoo’s film still stands—unresolved and urgent. Why are the cultural and spiritual inheritances of Africa still held behind glass or hidden underground in institutions built on empire? Venezuelanalysis VoxUmmah Qiao Collective Progressive International @blkagendareport Orinoco Tribune Kawsachun News

BANNED FILM ON AFRICAN TREASURES In 1970, Ghanaian filmmaker Nii Kwate Owoo exposed the British Museum's hidden realities in "You Hide Me." He revealed not just history but a cover-up involving thousands of African artefacts; masks, bronzes, and sacred objects, stored in underground vaults, taken during colonial conquests from regions such as the Benin and Asante kingdoms. Catalogued and numbered for academic scrutiny, they have been extensively studied, yet remain hardly seen by the public. The film does more than document; it confronts and challenges the idea that these objects are being 'preserved' when, in reality, they remain far removed from the people who created them. Just a year after its release, the film was banned in Ghana, dismissed as 'anti-British'. But the attempt to suppress it only amplified its message, and what was meant to be buried instead echoed across borders. Control of the cultural narrative has always been a central weapon in the colonial arsenal. By stealing artefacts, ancient statues, artwork, and other material heritage, the defining characteristics of a people's past, colonial powers deliberately severed colonised peoples from the sense of national cohesion and groundedness that such heritage provides. While anti-colonial struggle must certainly address material needs, shedding the shackles of colonialism also requires confronting the immaterial: the restoration of dignity, memory, and identity. As Amílcar Cabral declared: "The liberation struggle is a cultural revolution. It is not only a struggle against the colonial regime, but also against the colonialist mentality that has been imposed on our people. We must decolonise our minds." More than five decades later, the question at the heart of Owoo’s film still stands—unresolved and urgent. Why are the cultural and spiritual inheritances of Africa still held behind glass or hidden underground in institutions built on empire? Venezuelanalysis VoxUmmah Qiao Collective Progressive International @blkagendareport Orinoco Tribune Kawsachun News

Sovereign Media

12,924 просмотров • 4 месяцев назад

In a moment of immense pride for India, Assam’s Moidams have been inscribed as the 43rd UNESCO World Heritage Site. This historic recognition brings global attention to the unique 700-year-old mound burial system of the Ahom Kings at Charaideo, highlighting the rich cultural heritage of Assam and Bharat. The journey of Moidams towards this prestigious recognition was spearheaded by Hon’ble Prime Minister Shri Narendra Modi, who nominated these ancient structures as India’s official entry in 2023. This nomination underscores the cultural and historical significance of the Moidams, making them the first cultural heritage site and the third overall site from the North East to be inscribed on the World Heritage list. The Moidams at Charaideo, often referred to as the ‘Pyramids of India’, are a series of grand, earthen mounds that serve as the burial sites for the Ahom royalty. These structures date back to the 13th century and showcase the intricate funerary practices and cosmological beliefs of the Tai-Ahom people. The Moidams are characterized by their hemispherical shape, brick structures, and octagonal boundary walls with arched gateways. The vaults contain the remains of the royals along with grave goods, symbolizing their stature and reverence in society. The inclusion of Moidams in the UNESCO World Heritage List is a testament to their outstanding universal value. The International Council on Monuments and Sites (ICOMOS) highlighted the Moidams' exceptional testimony to a cultural tradition and their representation of significant stages in human history. This recognition underscores the efforts of the Archaeological Survey of India (ASI) and the Assam government in preserving these historic treasures. As we celebrate this achievement, it is essential to encourage visitors to explore the beauty and historical significance of the Moidams. Visiting Charaideo offers a glimpse into the region’s opulent history and the grandeur of the Ahom dynasty. Tourists can marvel at the architectural brilliance and the meticulous preservation efforts that have kept these structures intact. Additionally, it is crucial to promote the preservation of such monuments, which are abundant in India. The Moidams’ recognition as a UNESCO World Heritage Site serves as a reminder of the importance of conserving our cultural heritage for future generations. By visiting and supporting these sites, we contribute to their preservation and the broader narrative of India’s rich and diverse history. In celebrating the Moidams, we honour the past and look forward to a future where such legacies continue to inspire and educate. Let us cherish and preserve these invaluable treasures, ensuring they remain a source of pride and knowledge for generations to come. #MoidamsInUNESCO #AssamHeritage #AhomDynasty #IncredibleIndia #ExploreAssam #IndianHeritage #WorldHeritage #PreserveHistory #PrideOfAssam #PrideOfIndia #ExploreBharat #ExploreIndia

In a moment of immense pride for India, Assam’s Moidams have been inscribed as the 43rd UNESCO World Heritage Site. This historic recognition brings global attention to the unique 700-year-old mound burial system of the Ahom Kings at Charaideo, highlighting the rich cultural heritage of Assam and Bharat. The journey of Moidams towards this prestigious recognition was spearheaded by Hon’ble Prime Minister Shri Narendra Modi, who nominated these ancient structures as India’s official entry in 2023. This nomination underscores the cultural and historical significance of the Moidams, making them the first cultural heritage site and the third overall site from the North East to be inscribed on the World Heritage list. The Moidams at Charaideo, often referred to as the ‘Pyramids of India’, are a series of grand, earthen mounds that serve as the burial sites for the Ahom royalty. These structures date back to the 13th century and showcase the intricate funerary practices and cosmological beliefs of the Tai-Ahom people. The Moidams are characterized by their hemispherical shape, brick structures, and octagonal boundary walls with arched gateways. The vaults contain the remains of the royals along with grave goods, symbolizing their stature and reverence in society. The inclusion of Moidams in the UNESCO World Heritage List is a testament to their outstanding universal value. The International Council on Monuments and Sites (ICOMOS) highlighted the Moidams' exceptional testimony to a cultural tradition and their representation of significant stages in human history. This recognition underscores the efforts of the Archaeological Survey of India (ASI) and the Assam government in preserving these historic treasures. As we celebrate this achievement, it is essential to encourage visitors to explore the beauty and historical significance of the Moidams. Visiting Charaideo offers a glimpse into the region’s opulent history and the grandeur of the Ahom dynasty. Tourists can marvel at the architectural brilliance and the meticulous preservation efforts that have kept these structures intact. Additionally, it is crucial to promote the preservation of such monuments, which are abundant in India. The Moidams’ recognition as a UNESCO World Heritage Site serves as a reminder of the importance of conserving our cultural heritage for future generations. By visiting and supporting these sites, we contribute to their preservation and the broader narrative of India’s rich and diverse history. In celebrating the Moidams, we honour the past and look forward to a future where such legacies continue to inspire and educate. Let us cherish and preserve these invaluable treasures, ensuring they remain a source of pride and knowledge for generations to come. #MoidamsInUNESCO #AssamHeritage #AhomDynasty #IncredibleIndia #ExploreAssam #IndianHeritage #WorldHeritage #PreserveHistory #PrideOfAssam #PrideOfIndia #ExploreBharat #ExploreIndia

Gajendra Singh Shekhawat

23,751 просмотров • 2 лет назад