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@chutuxitin: Mẫu mới Thu Đông 2026 🔥 #xuhuong #tikhub #aokhoac #aokhoacgio #aokhoacnamnu

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Thursday 10 September 2026 10:02:29 GMT
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LAGOS, Nigeria, January 1977: Nigeria's Head of State, Lieutenant General Olusegun Obasanjo, welcomed a distinguished assembly of African leaders, monarchs and government representatives to Lagos for the opening of the Second World Black and African Festival of Arts and Culture, popularly known as FESTAC '77. Among the dignitaries received at Lagos Airport was President Manuel Pinto da Costa of São Tomé and Príncipe. Other leaders who had already arrived in the Nigerian capital included King Moshoeshoe II of Lesotho, President Félix Houphouët-Boigny of Côte d'Ivoire, President Sir Dawda Jawara of The Gambia, President Omar Bongo of Gabon, President Siaka Stevens of Sierra Leone, General Félix Malloum of Chad, and President Kenneth Kaunda of Zambia. Additional delegations representing Benin, Ghana, Liberia, Swaziland, and Uganda also took part in the historic gathering. The festival, which ran from January 15 to February 12, 1977, was conceived as a celebration of Black and African culture and identity. It brought together thousands of artists, scholars, musicians, writers, and performers from across Africa and the African diaspora in what was then the largest cultural event ever staged on the continent. Through exhibitions, performances, conferences, and artistic showcases, FESTAC sought to promote cultural unity among people of African descent while highlighting Africa's contribution to world civilization. The event also reflected Nigeria's growing influence in African affairs. Buoyed by oil revenues and an increasingly assertive foreign policy, the country had positioned itself as a leading advocate of Pan-African cooperation and anti-colonial struggles throughout the continent. Despite the broad participation, Senegal became the only African nation to boycott the festival. President Léopold Sédar Senghor, one of Africa's most respected intellectuals and statesmen, accused Nigeria of attempting to dominate the cultural and political direction of the Black world through its economic power. His criticism exposed underlying tensions within the Pan-African movement regarding leadership and representation. Festival organizers firmly rejected the allegations. Navy Commander O. P. Fingesi, President of FESTAC '77, stated that Nigeria had no intention of imposing its views on other African nations and emphasized that the festival's purpose was to foster solidarity and cultural exchange among peoples of African heritage. A separate controversy emerged over Nigeria's efforts to secure the temporary return of the famed sixteenth-century Benin ivory mask of Queen Mother Idia. The artifact, taken during the British punitive expedition against the Kingdom of Benin in 1897 and housed in the British Museum, had been selected as the official symbol of FESTAC '77. Nigerian authorities requested that the mask be loaned for exhibition during the festival, but the request was declined. The refusal generated criticism from Nigerian officials and cultural advocates, who viewed it as a reminder of the broader debate surrounding African cultural treasures held in Western museums. The dispute also foreshadowed later international campaigns for the repatriation of African artifacts removed during the colonial era. Although overshadowed at times by political disagreements and cultural disputes, FESTAC '77 ultimately succeeded in placing Lagos at the center of the global Black cultural renaissance. The festival strengthened ties between African nations and the diaspora while leaving a lasting legacy through institutions and infrastructure developed to host the event. It remains one of the most ambitious cultural projects ever undertaken in post-colonial Africa. #History #nigeria #congolaise🇨🇩 #africa #surualifupi
LAGOS, Nigeria, January 1977: Nigeria's Head of State, Lieutenant General Olusegun Obasanjo, welcomed a distinguished assembly of African leaders, monarchs and government representatives to Lagos for the opening of the Second World Black and African Festival of Arts and Culture, popularly known as FESTAC '77. Among the dignitaries received at Lagos Airport was President Manuel Pinto da Costa of São Tomé and Príncipe. Other leaders who had already arrived in the Nigerian capital included King Moshoeshoe II of Lesotho, President Félix Houphouët-Boigny of Côte d'Ivoire, President Sir Dawda Jawara of The Gambia, President Omar Bongo of Gabon, President Siaka Stevens of Sierra Leone, General Félix Malloum of Chad, and President Kenneth Kaunda of Zambia. Additional delegations representing Benin, Ghana, Liberia, Swaziland, and Uganda also took part in the historic gathering. The festival, which ran from January 15 to February 12, 1977, was conceived as a celebration of Black and African culture and identity. It brought together thousands of artists, scholars, musicians, writers, and performers from across Africa and the African diaspora in what was then the largest cultural event ever staged on the continent. Through exhibitions, performances, conferences, and artistic showcases, FESTAC sought to promote cultural unity among people of African descent while highlighting Africa's contribution to world civilization. The event also reflected Nigeria's growing influence in African affairs. Buoyed by oil revenues and an increasingly assertive foreign policy, the country had positioned itself as a leading advocate of Pan-African cooperation and anti-colonial struggles throughout the continent. Despite the broad participation, Senegal became the only African nation to boycott the festival. President Léopold Sédar Senghor, one of Africa's most respected intellectuals and statesmen, accused Nigeria of attempting to dominate the cultural and political direction of the Black world through its economic power. His criticism exposed underlying tensions within the Pan-African movement regarding leadership and representation. Festival organizers firmly rejected the allegations. Navy Commander O. P. Fingesi, President of FESTAC '77, stated that Nigeria had no intention of imposing its views on other African nations and emphasized that the festival's purpose was to foster solidarity and cultural exchange among peoples of African heritage. A separate controversy emerged over Nigeria's efforts to secure the temporary return of the famed sixteenth-century Benin ivory mask of Queen Mother Idia. The artifact, taken during the British punitive expedition against the Kingdom of Benin in 1897 and housed in the British Museum, had been selected as the official symbol of FESTAC '77. Nigerian authorities requested that the mask be loaned for exhibition during the festival, but the request was declined. The refusal generated criticism from Nigerian officials and cultural advocates, who viewed it as a reminder of the broader debate surrounding African cultural treasures held in Western museums. The dispute also foreshadowed later international campaigns for the repatriation of African artifacts removed during the colonial era. Although overshadowed at times by political disagreements and cultural disputes, FESTAC '77 ultimately succeeded in placing Lagos at the center of the global Black cultural renaissance. The festival strengthened ties between African nations and the diaspora while leaving a lasting legacy through institutions and infrastructure developed to host the event. It remains one of the most ambitious cultural projects ever undertaken in post-colonial Africa. #History #nigeria #congolaise🇨🇩 #africa #surualifupi
🫀سید عباس جانؑ کا نام صرف ایک نام نہیں، دلوں کے سکون کا وسیلہ ہے۔ جس دل میں ان کی محبت بس جائے، وہاں امید کا چراغ کبھی نہیں بجھتا۔ ان کی یاد روح کو سکون، دل کو روشنی اور زندگی کو صبر عطا کرتی ہے۔ بس یہی محبت ہے جو انسان کو حق کی راہ سے جوڑے رکھتی ہے۔ یا سید عباس جانؑ، ہماری دعاؤں میں ہمیشہ اپنی محبت کا چراغ روشن رکھنا۔ 🤍🖤
🫀سید عباس جانؑ کا نام صرف ایک نام نہیں، دلوں کے سکون کا وسیلہ ہے۔ جس دل میں ان کی محبت بس جائے، وہاں امید کا چراغ کبھی نہیں بجھتا۔ ان کی یاد روح کو سکون، دل کو روشنی اور زندگی کو صبر عطا کرتی ہے۔ بس یہی محبت ہے جو انسان کو حق کی راہ سے جوڑے رکھتی ہے۔ یا سید عباس جانؑ، ہماری دعاؤں میں ہمیشہ اپنی محبت کا چراغ روشن رکھنا۔ 🤍🖤
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