This chapter provides more details as to how the Afrikans influenced Europe. Moving in the other direction of Afrika's Western Diaspora, Europe is just a part of Afrika's Western Diaspora. Afrikans journeyed to Europe and to the rest of the Afrikan continent. They went to West Afrika, the Caribbean, and to South America, all of which is being called Afrika's Western Diaspora.

Europe at the point of its beginning in civilization began by imitating the Afrikans. They started out with Grimaldi first. The first Europeans were Afrikans.

The origin of Greece started out as being Afrikan. In fact, the ancient Egyptians who were in Greece earlier than 3000 B.C., named Greece N-G-R-E-E-C-I-A, (Negreecia).

Senusret (Senwosret) is credited as the one who founded the City of Athens, and contributed to the creation of Greek civilization which was Europe's classical civilization, and to the Kemetic enlightenment of the Greco-Roman conquerors.

Greek sources revealed that the Egyptian priests taught them that the Egyptians were in Greece for thousands of years before the Greeks came into existence. The Greeks also declared that "The Ethiopians taught us to hitch a horse to a chariot", and even admitted that they received their civilization from the Black skinned Ethiopians and Egyptians who had woolly hair and resembled the Negroid people living on the shores of the Black Sea near Russia. The Greeks described these Afrikans as "the most handsome people in the world, inventors of the arts, pomp, ceremony and laws". So when the Greeks later turned around and became the political power in Egypt, the Egyptians were the ones who had already enlightened them and not the other way around as is presently being erroneously taught.

The first white Greeks who migrated to the Peloponeses (Greek Isles) around 1700-1500 B.C. were barbarians known as Dorian Greeks.

The Romans had a cultural revolution that was initiated because of their contact with Egypt, but afterwards, there was a war in which the Europeans turned against Afrika in an effort to wipe out the entire Afrikan culture that had given birth to the very European culture. Later when Europe descended into the dark ages, it came out of it again mainly because of the Afrikans (Moors) who returned to Europe in 711 A.D and established universities in places like Spain and Portugal.

The Black Moors went to Europe by crossing the straits of Gibraltar, which was named after the Afrikan General Tarik al Gibral, and established dominance in Spain and Portugal before moving into other locations throughout Europe. These Afrikan Moors were later expelled in 1492 and thereafter a second European war was waged on Afrikan culture.

The Dark Ages in Afrika have been around for the last 2000 years because one conqueror or another took dominant control of Afrika, be it the Arabic conquerors, European conquerors or others. It has been difficult throughout the continent of Afrika for the last 2000 years for Afrikans to be independent except in certain places like Mali, Songhai, Ghana and a few others that flourished under tremendous difficulties.

It is known that the first Europeans were Afrikans. Refer to Dr. Cheikh Anta Diop's original explanation for the emergence of Homo sapiens sapiens in the Nile Valley which occurred as early as 150,000 years ago. But it was around 40,000 years B.C when the first time Homo sapiens sapiens appeared in Europe that resembled the figure similar to the Grimaldi statue on the left. At that point, the European population is clearly an Afrikan population in physical type and also in the bones that were excavated. The palaeontology's study of bones in Europe of Grimaldi showed them to be Afrikan in origin. The Grimaldi statue to the left is used for comparison with the Zulu woman on the right to show that they both have the same basic body type, especially with the heavy deposits of fat in the posterior, which is technically called steatopygia. That body type is most pronounced in pigmy and Zulu populations, but in this case it is also found in the Grimaldi inhabitants.

This was an Afrikan people which made up the earliest European population referencing the body type alone. This population then modified its genetic composition over successive generations into Cro-Magnon according to Professor Cheikh Anta Diop, which is as good a theory as any other argument. This occurred some 20,000 to 30,000 years ago as a result of the ice age, so the adaptation of Grimaldi to the cold climate in Northern Europe was responsible for the physical change in the Afrikan population, causing it to become what is now recognized as the European population.

It is absolutely essential for young Black students to research the Afrikan historians for direction, like Afrikan-American historian William Leo Hansberry for example.

There was no one other than William Leo Hansberry until recently who was interested in his topic, and just as indicated in the rules outlined at the beginning with regard to using source materials wherever possible, Hansberry too was interested in original sources, so he went to the classical writers. He read in Greek and Latin about what the ancients had to say about Afrika, who were overwhelmed by Afrika, a beautiful, intellectual, high tech country to the Greeks and Romans, and they were not ashamed or embarrassed to express these things.

There are many non-Afrikan scholars who have the technical ability to carry out historical research but the questions that Afrikans and Afrikan-Americans identify as priority questions are usually different types of questions. For example, one of William’s questions was, "what did the Greeks and Romans say in the classical writings about Afrika". No one else had done this except William Leo Hansberry, but in order to achieve this he tried to obtain a degree at Harvard, but he received a letter stating that no one else knew as much as he did about this topic, so there is no one there who could appraise him so he could get his doctorate, therefore he never received one.

The type of questions that Dr. Cheikh Anta Diop raised on the racial background of the Egyptians is another example. Very few people were interested completing this kind of detailed and painstaking research, the kind of work that was carried out by Professor Obenga, an Afrikan who researched the linguistic origins of Egyptian civilization.

So time after time, Afrikans and the Afrikan Diaspora will have specific questions and the historical expertise that will allow them to present something new by way of interpretation on historical issues.

It is therefore essential that Afrikan people seek out those people who have the questions they want answered as their primary focus of concern, but it does not mean that white scholars cannot do research in that area as well. In fact, many of the people who have done some of the best work on Afrikan origins and history have been some of the white scholars. So the colour of the person is not necessarily important but a matter of the priority and the confidence of that person.

Frank Snowden in his book "Blacks in Antiquity", looked at some of the literary evidences and the archaeological data on the evidence that Blacks were in Greece and Rome. What is being called the European and Afrikan Diaspora is done deliberately to emphasize the fact that we are now going to see major, and not just a casual cultural impact on Europe from Afrika. At the bedrock of European civilization is an Afrikan foundation which will be demonstrated.

For example, as early as anyone can find any records in Europe, one can find a record on the subject of Afrika and the artefacts that have been collected from the earliest of times that were found in Greece are really Afrikan relics. These artefacts will not primarily be about slaves, although occasionally that will be the case. But when Europeans display Afrikans in books that are written about Greece or Rome, they are usually shown only as slaves.

This image comes from a book by J.A. Roger's where images of a few of the royal as well as divinities who are Afrikans are shown in the centre at the top, like for example the goddess Melinus in Greece, who was an Afrikan goddess. At the bottom in the lower right is the mother of the oracle Adelphi. So the entire concept of oracles came from Egypt into Greece.

These are all artefacts that came from Greece. On the lower left is a statue of Agamemnon.

In Greece there was an Ethiopian General Memnon, who commanded the Ethiopian troops when the Greeks were fighting at Troy in the Trojan War.

However, in not one of the movies shown in the Trojan War were any Black people featured as major figures, although the Ethiopians, who were present, were led by this Ethiopian general during the Trojan War.

The Greeks recognized that Memnon was there, and moreover, that he had an Afrikan appearance.

This is the Russian Goddess Athena (right),from around 200 B.C, after whom Athens in Greece is named. This is the manner in which she was always pictured and globally proclaimed as a Black goddess.

It was only after that early period that other images began to emerge of her where she was no longer shown as a Black goddess but as a white goddess instead.

This is “The vision of Isaiah” (left) taken from a Greek manuscript at a period just before Christ, which was around the 5^th century showing the Prophet Isaiah (in the centre) as a Black man. This is in the National library of France.

Notice the Ethiopian priest of Isis on the right with his little rattle or sistrum, and on the left a Greek (white) woman. These are images that the Greeks drew during their time which shows a distinction between the Greek woman on the left, Isaiah the prophet in the middle and the Ethiopian priest at the end, both of whom are depicted as having the same racial type - Black.

Here is how the Afrikans depicted Isis and Horus as the Black Madonna and Child. This image had a profound impact on the European conquerors, especially the Greeks and Romans, and later on Europe itself.

This religion was in place at the time when the Christian church was established, when the Greeks and Romans became worshippers of Isis which was before the birth of Christ. They constructed temples to Isis all over Greece, Rome, Paris, Persia and so forth, and as she was a very powerful figure they were all devoted to this Black Madonna and Child, as portrayed here.

No formal Christian church was in existence until King Constantine established one. He convened the council of bishops but he had political reasons for wanting a national church. The people in his land were worshipping the goddess Isis which meant that they were under the theological control of an Afrikan priesthood, since the priests of Isis who possessed the authority were located in Egypt.

This would be similar to the Catholic Church having its headquarters in Rome, meaning that the ultimate authority for the Catholic Church would be located in Rome. Constantine therefore had a political problem, he had political unity but not religious unity, so to bring them all into one location he established the Christian church which was initiated at the Council of Nicea.

It should be of interest that in the first four hundred years of the Christian church there were no major problems with the virgin. Mary did not even figure into it, so in the meantime, the people continued to worship in the competing religion with Isis and the religion associated with her.

This picture shows one of the early Black Madonnas, which means that when Mary was finally adopted by the Christian church, almost all of the original Marys were Black like this one.

Below are other examples of the Black Mary. The first two images are of the Virgin of Kazan, the Black Madonna with her Child. Whenever the Polish Pope goes back to Poland he visits the Holiest Shrine in Poland which is the shrine of The Virgin of Czestochowa who is also portrayed as the Black Madonna with her Black Child as shown in the third and fourth images.

Below are the Virgins of Vladimir Switzerland (image 2), Notre Dame - France (images 3 and 4,) Budapest (image 5), which all show a Black Madonna with a Black child.

In 1836, a man named Godfrey Higgins wrote a book called “Anacalypsis” in which he identified all the European churches that had these images of a Black Madonna and Child. They were prevalent all over the place and it was not until much later that these images were replaced with images of a white Mary and Jesus.

There was also a book done by Ean Begg called "The Cult of the Black Virgin" (right), which is the best single source on the history of all these Black Madonnas.

This is one of the sources that has incredible bibliography attached to it that would clarify the evolution of the idea of the virgin as Black, and as an imitation of Isis.

Then later on with the help of people like Michelangelo and Leonardo Da Vinci, the Madonna and Child idea were transformed into Italians, in other words, they became white.

Bear in mind that Pope Julius at one point told Michelangelo to get up on his back in the Sistine chapel and paint some images that resembled them and do not come down until the images created were ones they could identify with.

Michelangelo began painting Caucasian images to replace the original Black icons so the Europeans would have something familiar to relate to. This is one of Michelangelo's renditions.

This image shows the transformation of Isis in America, who is no longer Black and Horus/Heru her son who is no longer a Falcon but a Crow. So now the original meaning of Isis has become lost.

This is Hollywood’s version of Isis who is now portrayed as a white woman, but nowhere in the models of Isis shown in Egypt did she look like this prior to the Greco-Roman period. Remember Isis was the virgin mother of Horus who is sometimes shown as a little boy or little person, but at times he is depicted as a Falcon. However, in this picture, Horus is no longer a falcon but has been changed into a crow, and Osiris is completely missing from the picture.

This is a very important picture within the Temple of Luxor, but a sketch of what is on the walls in the temple has to be used for better clarity as the temple image is not very clear.

In the far left is a man with a bird's head and a long beak. This is the angel Tehuti or Thoth, the god of wisdom who is visiting the chosen one that will become mother of God to announce that she will become pregnant. Later in the Christian faith this is known as The Annunciation. The virgin then becomes pregnant and delivers the baby which becomes the virgin birth. On the temple walls are found both the Annunciation and the virgin birth, and further on in the scene is The Adoration where all the wise people come around to pay homage to the new king.

The story of the virgin birth, a young saviour, the announcement ahead of time by the angel of the Lord, the wise people going to adore the new king already appeared in the temple of Luxor in the 18^th dynasty. In other words, this story appears in detail well over one thousand years (1,000) before the birth of Christ, but it does not only appear in the temple of Luxor, it also appears in some of the other temples that were shown earlier with pictures of The Immaculate Conception. So here is the source of some ideas that appeared later in the Christian religion that were already present in the Egyptian religion.

The bottom part of this picture shows the weighing of the heart on one of the murals in the Christian religion. It was already depicted in Egypt, and now here it is being imitated in the Christian religion.

What is being stressed is that our religion has always been more important to us than anything else, so when we find that the ideas which were expressed in religion in ancient times in Afrika have reappeared later in Hebrew times, in Christian times and in Islamic times, then it is a testimonial to the power of those ideas to influence populations in all parts of the world.

There is a publication that was done at the University of Missouri in 1935 called "The Reception of Egyptian Cults by the Greeks".

There is also another book done by the Harvard University Press called "Isis Among the Greeks and Romans", which indicates that a lot of scholarly work has been done on the connection between the religion of Isis and the development of the Christian religion.

Here is a map in one of the books that shows the spread from Egypt, the Black lands, all the way up into Asia Minor and to Thessalonia, Greece and so forth, where there were literally hundreds of churches that worshipped the Black Afrikan Virgin. This religion was already in place at the time of the birth of Christ and became one of the competing religions with the Christian faith. It was one of the religions that was stamped out afterwards following the formal establishment of the Christian faith by the bishops of Rome. The last place was stamped out in 591 A.D at Philae Island, so it was men who fought to give Christianity its pre-eminence.

This is another example of Michelangelo's work. It is part of the Sistine chapel painting, but notice now that God is looking totally different from the way He looked in Egypt. When the Egyptians portrayed God, He was always portrayed to look like them. Remember the images of Osiris, Ptah, and Amon?

Those images are completely different from the ones known before. Probably there should not be any images of God (as the Bible commands) since it could set up certain kinds of problems as it has for Black people who would sit down every Sunday staring at the face of a Caucasian whom they believe is God, where that God is a human being that comes from a different racial group. It sets up all sorts of confusion, and no healthy people should be doing this, yet, there are many people who in ignorance continue to use images of their deity where that deity does not resemble them. "If God made man in His own image, and Black Afrikans were the original human beings to grace the planet, then who would that God truly look like?"

“Newsweek” magazine once did a story on the images of Christ called "Searching for the Real Jesus". It contained numerous pictures inside its pages, some of which looked like the image on the left, which is the most popular portrayal that many people grew up with and carried around on their fans thinking; “oh that's what Christ must have looked like”, but they never stopped to ask the question, “who painted this picture and when was it painted?” In any case, it does not look anything like any of the pictures that were painted of Christ in the early days. Keep in mind that no one has a picture of Christ that was painted during the time of Christ. It would be almost 200 to 300 hundred years after Christ was dead that someone would come up with an image that still survives, but it did not look like any of these fictional ones. It should be your duty to ask who authorized that painting of Christ especially when there is still the oldest picture of Christ around. Below on the left is a fan with a picture of Jesus on it. This is commonly found in many homes and churches where everyone sits down on a Sunday believing it to be the image of Christ. But if we were to take the oldest picture of Christ that is found in the catacombs in Rome which dates back to the 4^th century A.D right, and take a very close look. One can clearly see that Christ, according to the early Christians, was a Black man with woolly hair.

So the question really should be, how did His image metamorphose or change from the one on the right to the one on the left, or even to that printed in the “Newsweek” magazine? “Was there a meeting held when it was decided to change the way Christians were to visualize Christ?”

Whoever painted all these pictures depicted them in such a way that they no longer represent what Jesus looked like, yet Black people fan themselves into ignorance every Saturday or Sunday morning by embracing the picture on those fans, almanacs and church walls, believing it to be that of Christ when in fact it is not.

Here is the way that Hollywood began to portray Christ, Moses and the other Biblical characters of the Bible who were Black. Remember that the pictures of Christ, the Egyptians, Isaiah and many others were all shown to be Black, but when you begin to see these biblical scenes through the eyes of Hollywood, Metro Goldwyn Meyer and so forth, notice the type of actors that are chosen to play the roles of these biblical figures: Victor Mature, Charlton Heston, Elizabeth Taylor, all white people.

This again represents another source of misinformation about what the Egyptian and Biblical characters looked like. We should say that we either know what they looked like and produce some kind of physical evidence to back it up, or that we do not know, but it would be erroneous to depict the historical figures of the Bible in any particular racial terms when we have no idea what they looked like.