"EDEN IN SUMER ON THE NIGER" provides archeological, linguistic, genetic, and inscribed evidence of the West African origin of mankind, language, religion and civilization. It provides multidisciplinary evidence of the actual geographical location in West Africa of the Garden of Eden, Atlantis and the original homeland of the Sumerian people before their migration to the "Middle East". By translating hitherto unknown pre-cuneiform inscriptions of the Sumerians, Catherine Acholonu and Sidney Davis have uncovered thousands of years of Africa's lost pre-history and evidences of the West African origins of the earliest Pharaohs and Kings of Egypt and Sumer such as Menes and Sargon the Great. This book provides answers to all lingering questions about the African Cavemen (Igbos/Esh/Adamas/Adites) original guardians of the human races, Who gave their genes for the creation of Homo Sapiens (Adam) and were the teachers in the First Age of the world.

'Eden in Sumer on the Niger' is the last of the African Renaissance Series, following the bestseller 'They Lived Before Adam.' Here, Acholonu, painstakingly, provides consistent and conclusive evidence that Sumer was a civilization which grew out of the Edenic beginnings of the mother-pot of human civilization; from the same environment that put forth the 'Out of Africa' Migrations, that have consistently populated the world and given to fledgling mankind culture, language, the rubrics of a writing system developed originally on stone and in caves, basic technology, religion and astronomy. Through this book, Acholonu demonstrates that the story of Evolution is the story of the African continent, a story that has to be told, and told by African themselves.

With vivid illustrations and abrasive insight, Chinazor Onianwah gathers strewn skeletal remains of Africa’s history, fleshes it out and breadths air into it in typical griot style; this is the Africa that comes alive in this narrative, "It Takes A Village to Name a Child, Celebrating the bestowment of Ancestry, Faith, Identity and Legacy of African roots of Biblical Hebrews." In this narrative, which intertwines history, archeological data and mythology, he compels his readers to re-evaluate stereotypes and what it means to be African. Not only would any reader – African or non-African – be amazed at what they never knew that they never knew of Africa; they may find it endearing to be African. After all, it was barely 60,000 years ago that we all came out of Africa. Painstakingly, Chinazor employs his wealth of experience as a news reporter/researcher to connect dots of historical events since the beginning of time through Biblical "Genesis" to the present day to render a befitting portraiture of Africa. And in so doing, answered frequently asked questions: Why a naming ceremony is essential for an African child Why the African is the forbearer of Biblical Hebrews. How the Ashkenazim (European Jews) usurped Hebraism and the Holy Land Are blacks less intelligent than whites? What is in a name like Barack Hussein Obama? Why Africa is so rich yet so poor Excerpt: On October 14, 2007, a few months after Barack Obama announced his candidacy in the US Democratic presidential race, a biographical article appeared in Britain’s Sunday Times Magazine about Dr. James Watson, the American molecular biologist, who is best known as the co-discoverer of the structure of DNA. It said he was "inherently gloomy about the prospect of Africa as all our social policies are based on the fact that their intelligence is the same as ours — whereas all the testing says not really." In what appears to be a response to racists who hold similar views as Dr. James Watson, in a paper titled "Did they or didn’t they invent it? Iron in Sub-Saharan Africa," Stanley B. Alpern wrote, "The idea that sub-Saharan Africans independently invented iron is more than a century old. It goes back at least to a German scholar, Ludwig Beck, who published a five-volume history of iron between 1884 and 1903. In the first volume he wrote, "We see everywhere an original art of producing iron among the numerous native tribes of Africa, which is in its entire essence not imported but original and . . . must be very old." Around the same time some Egyptologists, notably the Frenchman Gaston Maspéro, concluded that ancient Egypt had learned its iron working from black Africans to the south. The German Felix von Luschan, better known among Africanists for his writings on the art of old Benin, also thought sub-Saharan Africans originated iron technology, as did the British metallurgist William Gowland..." The night Barack Obama stood to address the world on his victory as the first African American to win the US Presidency; he was standing against the backdrop of hundreds of years of a racist belief that blacks are inferior to whites. This notion of blacks as inferior to their white counterpart reached its apogee when European governments led by Great Britain embarked on a vigorous campaign to promote the virtues of colonialism by denigrating the natives of the colonies and claiming that the savages needed to be civilized by the ‘white man’. Public displays of indigenous people were held for scientific and leisure purposes. Between 1877 and 1912, approximately thirty “ethnological exhibitions” were presented at the Jardin zoologique d’acclimatation. “Negro villages” were major draws in the Paris’ 1878 and 1879 World’s Fair; the 1900 World’s Fair presented the famous diorama “living” in Madagascar. At the same time, the Colonial Exhibitions in Marseilles (1906 and 1922) and in Paris (1907 and 1931) displayed Africans in cages, often in stark nudity.

Ígálá language, which is spoken in parts of Kògí, Énúgu, Ánámbra, Delta and Bénúé States of Nigeria, is one of the world’s increasingly endangered languages. Unless something changes soon, it will be lost forever. John Idakwoji spent more than thirty years researching the language so that he could share with the world its oceanic depth and the sacred, unique but under-exploited culture that it nurtures even in its seldom written, rarely described and sparsely documented state of being. The book takes the bull by the horns, as it equips Igala teachers and students with the tools they need to engage in practical learning and instruction. You’ll find: insights on the properties and characteristics of the language, including its alphabet, tones, grammar, parts of speech, dialects, loan-words, and more. features of the lexicon and how readers can recognize and use vocabulary. over five thousand head-words presented in alphabetical order and bearing diacritical marks, phonetic symbols, and tone marks to enable interested non-Igalas to read the book. Research-based information on Igala’s prehistoric origins and the three successive dynasties that have ruled the land bring a personal touch to the lexicon. There is a desperate need and a vociferous call for Ígáláà to be preserved, and An Ígálá-English Lexicon answers that clarion call with an impressive trove of data, analysis, and documentation.

Over a period of centuries the Ancient Ones of the American Southwest constructed a pattern of sandstone villages that precisely matches key constellations in the sky. This book plunges you into the mysteries of these unified star correlations. Other fascinating topics include: Orion’s global stargate shrines, Arizona earth chakras, crypto-creatures and star ancestors; the lost empire of Aztlán; evidence of transoceanic migrations to the Southwest in early epochs; the purpose of massive pyramids and canals made by those who once lived on the site of modern-day Phoenix; the subterranean origin of the Anasazi; the cave conundrum of Grand Canyon; the Hopi Mystery Egg; and prophecies of the Fifth World. Chapters include: Stellar Arizona; OZ (Orion Zone) Rising; Arizona Earth Chakras; Grand Canyon Cave Enigma and the Hopi Underworld; Pyramids and Canals of the Phoenix Basin Hohokam; The Hopi Mystery Egg and Prophecies of the Fifth World; All Roads Lead to... Chaco; Pole Star to the Underworld-Anasazi Ruins of Northwestern New Mexico; Mimbres-A Pre-Columbian Counter Culture In Southwestern New Mexico; Mummies, a Meteorite, and the Macaw Constellation-Casas Grandes, Mexico; The Lost Empire of Aztlán; The ABC of Orion: Ants, Bulls, and Copper; Crab Nebula Notes-Shifting To the Age of Taurus, 4,000 BC; Epic Seas Voyages of the Desert People; Genetic Evidence For Pre-Columbian Travel To the American Southwest; Global Orion Shrines-A Celestial Plan; more.

A heartbreaking story about a Nigerian poultry farmer who sacrifices everything to win the woman he loves, by Man Booker Finalist and author of The Fishermen, Chigozie Obioma. "It is more than a superb and tragic novel; it's a historical treasure."-Boston Globe Set on the outskirts of Umuahia, Nigeria and narrated by a chi, or guardian spirit, An Orchestra of Minorities tells the story of Chinonso, a young poultry farmer whose soul is ignited when he sees a woman attempting to jump from a highway bridge. Horrified by her recklessness, Chinonso joins her on the roadside and hurls two of his prized chickens into the water below to express the severity of such a fall. The woman, Ndali, is stopped her in her tracks. Bonded by this night on the bridge, Chinonso and Ndali fall in love. But Ndali is from a wealthy family and struggles to imagine a future near a chicken coop. When her family objects to the union because he is uneducated, Chinonso sells most of his possessions to attend a college in Cyprus. But when he arrives he discovers there is no place at the school for him, and that he has been utterly duped by the young Nigerian who has made the arrangements... Penniless, homeless, and furious at a world which continues to relegate him to the sidelines, Chinonso gets further away from his dream, from Ndali and the farm he called home. Spanning continents, traversing the earth and cosmic spaces, and told by a narrator who has lived for hundreds of years, the novel is a contemporary twist of Homer's Odyssey. Written in the mythic style of the Igbo literary tradition, Chigozie Obioma weaves a heart-wrenching epic about destiny and determination.

The aim of the rebirth of the sacred arts of Igbo African spirituality by Sirius Ugo Art is to restore the glory of African methodology, and unveil the hidden African intelligence in our spiritual systems. As we are the ones witnessing the beginning of Uga Anwu, the age of enlightenment, it is our duty to lay the foundations of Anwu for the next generation. All the arts in this book were shot and digitally created by Sirius Ugo Art. They were all based on the fashion, designs, and decorations of the ancient Igbo people. Spirits are not human beings, however, spirits are manifested in human form because humans are spiritual beings experiencing materialism. The colors of the deities are also well-known in ancient Igbo. When a spirit is pure white, it represents purity, or the moon and sun. When a spirit is green, it represents life, health and Fertility. When a spirit is red, it represents blood, war, and power. When a spirit is dark in color, it represents dark energy. When a spirit is blue, it represents water, and air. All the deities work with one or two of the four elements. For example, Agunkwo works with Eke, while Nneono Oshimiri works with Orie. There are over seven hundred thousand Igbo deities. It would be impossible to create the arts of all Igbo deities, because that would be one claiming to understand all the energy forces in the universe, which is impossible. However, all the energy forces (Umu agbara nine) of the universe are different manifestations of Chukwu na Nnechukwu. Igbo people do not believe that humans created umu agbara. Igbo enlightens us that Umu Agbara (Energy forces) existed before humans. And that humans came to recognize them and work with them to become Agbara as well. A human being becomes Agbara through self Illumination.