Portal:Pan-Africanism

Black Power is a political slogan and a name for various associated ideologies aimed at achieving self-determination for people of African descent. It is used primarily, but not exclusively, by African Americans in the United States. The Black Power movement was prominent in the late 1960s and early 1970s, emphasizing racial pride and the creation of black political and cultural institutions to nurture and promote black collective interests and advance black values.

Pan-Africanism
Garvey in 1924
Born	Marcus Mosiah Garvey Jr. (1887-08-17)17 August 1887 Saint Ann's Bay, Jamaica
Died	10 June 1940(1940-06-10) (aged 52) West Kensington, London, England
Occupation(s)	Publisher, journalist
Known for	Activism, black nationalism, Pan-Africanism
Spouse(s)	Amy Ashwood ​ ​ (m. 1919; div. 1922)​ Amy Jacques ​ (m. 1922)​
Children	2
Parent(s)	Marcus Mosiah Garvey Sr. Sarah Anne Richards

Marcus Mosiah Garvey Jr. ONH (17 August 1887 – 10 June 1940) was a Jamaican-born political leader, publisher, journalist, entrepreneur, and orator. He was President-General of the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He also was President and one of the directors of the Black Star Line, a shipping and passenger line incorporated in Delaware. The Black Star Line went bankrupt and Garvey was imprisoned for mail fraud in the selling of its stock. His movement then rapidly collapsed.

Prior to the 20th century, leaders such as Prince Hall, Martin Delany, Edward Wilmot Blyden, and Henry Highland Garnet advocated the involvement of the African diaspora in African affairs. Garvey was unique in advancing a philosophy to inspire a global mass movement and economic empowerment focusing on Africa known as Garveyism. Garveyism would eventually inspire others, ranging from the Nation of Islam to the Rastafari movement (which proclaim Garvey as a prophet) and the Black Power Movement of the 1960s.

Battle of Isandlwana
Part of the Anglo–Zulu War
A depiction of Lt's Melvill and Coghill fleeing the Battle of Isandlwana with the Queen's Colour, taken from the Illustrated London News.
Date 22 January 1879 Location Isandlwana, South Africa 28°21′32″S 30°39′9″E / 28.35889°S 30.65250°E / -28.35889; 30.65250 Result Zulu victory
Belligerents
British Empire	Zulu Kingdom
Commanders and leaders
Overall commander: Maj. Gen. Lord Chelmsford Subordinate commanders: Bvt. Lt-Col. Henry Pulleine † Bvt. Col. Anthony Durnford †	Overall commander: Ntshingwayo kaMahole Khoza Subordinate commanders: Vumindaba kaNthati Mavumengwana kaNdlela Zibhebhu kaMapitha
Strength
No.2 Column: British: 14 Native + colonial: c. 511 No.3 Column: British: 734 Native + colonial: c. 578 1,837 men total. In addition to the troops above, an indeterminate number of civilians (wagon drivers, servants, etc.) were also present.	Zulu Impi: about 20,000 c. 10,000 to 15,000 engaged Reserve: 4,000 to 5,000 to Rorke's Drift
Casualties and losses
Over 1,300 killed: 52 officers 727 British regulars 471 others including: 133 European Colonial troops 2 artillery pieces captured	Approx. 1,000–2,500 killed 2,000 wounded.
class=notpageimage| Location of Isandlwana in present-day South Africa

The Battle of Isandlwana (alternative spelling: Isandhlwana) on 22 January 1879 was the first major encounter in the Anglo–Zulu War between the British Empire and the Zulu Kingdom. Eleven days after the British commenced their invasion of Zululand in South Africa, a Zulu force of some 20,000 warriors attacked a portion of the British main column consisting of about 1,800 British, colonial and native troops and perhaps 400 civilians. The Zulus were equipped mainly with the traditional assegai iron spears and cow-hide shields, but also had a number of muskets and old rifles. The British and colonial troops were armed with the modern Martini-Henry breech-loading rifle and two 7-pounder (3-inch, 76 mm) mountain guns deployed as field guns, as well as a Hale rocket battery. Despite a vast disadvantage in weapons technology, the Zulus defeated the British, killing over 1,300 troops, including all those out on the forward firing line.

The battle was a decisive victory for the Zulus and caused the defeat of the first British invasion of Zululand. The British Army had suffered its worst defeat against an indigenous foe with vastly inferior military technology.

African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the native African, African diasporas, such as African American, Caribbean and other American art. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

Masquerade, metalwork, sculpture, architecture, fiber art, and dance are important art forms across Africa and may be included in the study of African art. The term "African art" does not usually include the art of the North African areas along the Mediterranean coast, as such areas had long been part of different traditions. For more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is also different from that of most of Africa, where traditional African religion (with Islam in the north) was dominant until relatively recently. African art includes ancient art, Muslim art of North and West Africa, the Christian art of East Africa, and the ritualistic art of these and other regions. Most African sculpture was historically in wood and other natural materials that have not survived from earlier than, at most, a few centuries ago; older pottery figures can be found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art". Since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed.

African mask art has had an important influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.

West African cultures developed bronze casting for reliefs, like the famous Benin Bronzes, to decorate palaces and for highly naturalistic royal heads from around the Bini town of Benin City, Edo State, in terracotta as well as metal, from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900; some apparently represent proverbs, contributing a narrative element rare in African sculpture; and royal regalia included impressive gold sculptured elements. Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces from wood with broad, flat surfaces and arms and legs shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.