Tags

, , ,

champollions-lies-awakened_child-LOOK-dev-fixed

WHAT ARE (THE) MOTIVES (OF THE WHITE MAN’S HISTORIC MISREPRESNTATION OF ANCIENT KEMET)? After examining a vast body of artifacts, it seems evident that the ultimate motives of these groups of conspirators from the 19th century to the present is to eliminate the Black images from the ancient Egyptian historical record. This motivation is consistent with the racist views of many of the 19th and early 20th century Egyptologists who made many ridiculous assertions about Black people having champollion-faceliftinglittle to no role in ancient Egypt, and that this was a civilization founded by white or Semitic people from the North. These baseless claims were widespread within the ranks of Egyptologists, and they helped inspire both H. M. Herget’s 1941 National Geographic Magazine paintings of pale-skinned Egyptians and the imaginary white images created by Hollywood, which together have deceived the public for the past half century.[3] This nonsense was exposed in the 1950s by the late Senegalese scholar, Dr. Cheikh Anta Diop. Diop assembled an awesome body of evidence to document the Black foundation of ancient Egypt and to expose the dishonest discourse of Western Egyptologists who were, as he put it, “performing intellectual acrobatics” to avoid dealing with concrete evidence to support their contentions about the Northern origins of ancient Egyptian civilization.[4] The mainstream Egyptologist Bruce Trigger in The American Discovery of Ancient Egypt (1995) discusses Diop’s impact and that it is because of his work that ancient Egypt is now seen by mainstream scholars as an African nation. Trigger also comments that “the white racist rhetoric that permeated most early twentieth-century writings about the development of Egyptian civilization has long been abandoned, [but] ideas formulated at the time have continued to influence thinking about the origins and nature of Egyptian civilization.”[5] The “white racist rhetoric” that Trigger describes as permeating early twentieth century writings is simply a continuation of the same racist views held in the 19th century, and it is within this climate that the behind the scenes handlers had both the motives and the opportunity to deface images, alter facial features, and create racist forgeries. (Source)