Why would you want to associate with this bogus holiday when it was created by a far left black power activist named Maulana Karenga (real name is Ronnie Everet) who is a really bad criminal.

In 1971, Karenga was sentenced to ten years in prison on counts of felony assault and false imprisonment. One of the victims gave testimony of how Karenga and other men tortured her and another woman. The woman described having been stripped and beaten with an electrical cord. Karenga's estranged wife, Brenda Lorraine Karenga, testified that she sat on the other woman's stomach while another man forced water into her mouth through a hose.

A May 14, 1971, article in the Los Angeles Times described the testimony of one of the women:

Deborah Jones, who once was given the Swahili title of an African queen, said she and Gail Davis were whipped with an electrical cord and beaten with a karate baton after being ordered to remove their clothes. She testified that a hot soldering iron was placed in Miss Davis' mouth and placed against Miss Davis' face and that one of her own big toes was tightened in a vise. Karenga, also put detergent and running hoses in their mouths, she said. They also were hit on the heads with toasters.

Karenga has declined to discuss the convictions with reporters and does not mention them in biographical materials.

Please wake up and stop supporting this crap. You're making a mokery of the Black movement.

Now we all Loved 500 Years Later. And this film coming from the producer has again sustained the quality necessary for African American documentary cinema. You know this film has the quality and sincerity of African people. It presents Africans in a positive light, just like 500 years later. And it is a shame that we had to wait so long for a film about Kwanzaa -- come on people. So between Asante and Shahadah they seem to be making up for lost films.

In one hand, most Africans claim to recognize the plethora of negative images, which for centuries have been perpetuated by Europe, in books, films, news, universities, against Africa. It is voiced that Africa must do for self and African people must be agents of their own stories and controllers of their own images, like everyone else. If all of these things are true then what is the global African responsibility in actually building these tangible things so that they inhabit reality?

Cant wait to see Motherland. I hope films like these keep coming and African documentary cinema continues to push new aesthetic boundaries