Cultural Exchange through UK-US co-productions, and US film studios, do utilize distinctive stories, cultural visions, and filmmaking aesthetics, which sustain American filmmaking. Tariffs could end this exchange. And potentially wipe out US Diversity, Equity and Inclusion (DEI) audio-visual industrial output.

British films tend to experiment with genres and topics unlike those of more conventional Hollywood films. They might include refined dramas, comedies, and social commentaries that appeal to global audiences.  Tariffs will undermine, perhaps even eradicate these co-production benefits. There are numerous other ways in which Trump’s tariffs could damage US Film industry, as follows:

• Market Expansion:  Partnerships with UK filmmakers allow US companies to penetrate global markets more successfully and expand further by leveraging the established UK distribution channels, to market films throughout Europe and beyond. These opportunities will be reduced or discontinued especially for DEI films.
• Audience Appeal: American distributors usually take advantage of the British film’s popularity to draw audiences familiar with British culture and narratives, which potentially enhances box office revenues.  This will end for low budget productions.
• Co-production distributes production costs and risk among parties, so that US companies can usually afford potentially profitable ventures without absorbing all the costs.  Loss of this resource will most certainly adversely affect US DEI productions.
• Tax Incentives: The UK has several schemes of tax relief for film production, making co-productions appealing on a financial basis for US studios aiming at optimizing budgets. Tariffs will reduced access will adversely affect production of DEI films.
• Talent Pool and Collaboration:  Co-production with the UK facilitates U.S. film and television companies’ ability to work with a qualified body of actors, writers, directors, and crew, several of whom are critically acclaimed in their respective categories. New DEI talent could be excluded to make way for established talents.
• Innovative Partnerships: Collaborations are an opportunity for creative approaches and innovative methods of telling stories, which are mutually advantageous for U.S. and UK partners. DEI access will be squeezed out.
• Enhancing Industrial Connections:  Building relationships with UK filmmakers and production units builds stronger networks and collaboration, increasing U.S. studio international presence. This will not encourage greater, if any DEI input.
• Co-Production Treaties: The U.S. and UK share treaties that enable co-productions, simplify funding and minimize legal hurdles, making co-operation on co-productions more straightforward for companies.  There is already limited DEI access in this framework as there are few successful small production companies. The likelihood that this will improve, or change take up, is very slim.
• Prestige and Credibility: Producing films that receive critical praise or are recognized at major film festivals helps build reputation for US Studios by demonstrating a focus on quality and global narratives. Progress by DEI productions, will likely come to a halt.
• Award potential: UK films tend to do well at international awards, and association with such productions will increase the global exposure of US studios. Few DEI productions ever make this list. Tariff means even fewer or none will.
• Investment made by American studios into medium and low-budget films helps them diversify beyond the risky blockbusters, distributing their investment over different films that can generate decent returns with lower investment. There will now be more reliance on risqué blockbusters to make it. Big pressure!
• By creating and distributing a range of films, US studios can appeal to multiple audiences, which strengthens total marketplace flexibility. Tariff means not anymore.

The imposition of US tariffs on UK, implies that net benefits flow only one way—from USA to UK film industry. In fact, it’s a two-way flow.  To be totally honest, USA is the bigger net beneficiary of this co-pro relationship. Not only does such collaboration allow for creative expression and cross-cultural exchange, but it also provides for increased market standing and fiscal sustainability for American-based studios within a global industry, that is becoming increasingly more competitive. Tariffs will turn the clock back, by wiping out this progress.

HOW TARIFF WILL AFFECT THE UK FILM INDUSTRY

Many film makers think that UK film industry sold its soul, (authenticity, independence and viability), to Hollywood a long time ago. This means that UK film industry, has been a by-product of Hollywood, with no real identify of its own, for the last 50-60 years. Yet US tariff on UK film industry could absorb, or destroy (same difference) the little that’s left of UK industry, in much worse ways as follows:

• Tariffs are hardly likely to bother big budget franchises, such as:  James Bond franchise, Mission Impossible, Harry Potter films, and the various superhero movies. But they raise serious questions about sources of alternative production resources for medium-sized and low budget movies, which provide ‘entry’ into the industry for young film making talents, particularly women, Black and global majorities etc.
• The popularity of US films often shapes consumer tastes and expectations in the UK, leading to a preference for blockbuster productions associated with Hollywood franchises. Tariffs will result in fewer low budget films being made; perhaps with lower production values; and may price these less competitive productions out of mainstream access. In other words, consumers may only be able to view these films at remote, less comfy venues, at unsociable hours, and for extortionate fares, over a shorter timeframe.
• UK film studios benefit from investment from Hollywood studios, and production companies looking to shoot films in the UK, due to favourable tax incentives and high-quality production facilities. This source of revenue could dry up; or be reduced, with devastating implications for employment.
• Many American studios utilize UK-based post-production services, benefiting from the high-quality expertise available in the UK, which can influence workflow and practices in the UK film sector. This source of revenue, growth and development will be adversely affected.
• Many UK films rely on US distribution networks for wider international reach. Success in the US market can significantly enhance the visibility and profitability of a UK film. However, tariffs will make distributing niche films unprofitable; subsequently debasing this service and reducing or eradicating the revenue it generates.
• Many prestigious film awards, such as the Oscars, highlight films, often impacting which films gain attention and funding in the UK.  Success in the US can lead to increased interest and prestige for UK films. Tariffs will exclude low and medium budget films.
• The growth of streaming services like Netflix, Amazon Prime Video, and Disney+ has changed the landscape of film production and distribution. These platforms have invested heavily in UK content and often feature films that appeal to both UK and US audiences, thus reshaping industry dynamics. However, tariffs could end opportunities, and reverse these dynamics, to status quo ante, which is not good.
• Streaming services also allow UK films to find audiences globally, leveraging Hollywood’s marketing strategies to reach wider audiences. Tariffs will make this costlier for the client, resulting in reduced access, revenue, and opportunities for low budget (DEI) film makers.

ELEPHANT IN THE ROOM

Beijing and Shanghai in particular, could be licking their lips at the prospect of doing lucrative co-production deals, with UK Film and TV industries—as alternative to Trump’s damaging tariffs. But what if Starmer’s government makes anti-China deals, in exchange for questionable US trade advantages? Or allows Trump to sideline EU—another source of film finance—for questionable trade advantages? Bah humbug!

Therefore, PACT and BECTU should persuade the government to negotiate upcoming US trade deals in an ethical way. And to focus their objectives on protecting the entertainment industry from tariffs, as they will most likely do on digital trade, and securing vital intellectual property rights. All of which can be leveraged by the UK preferencing US technology.

For centuries, generations of Black musicians have fought racism and its debilitating impact upon life; William Chapman-Nyaho is no different. He’s just one of the freshest virtuosos, perhaps destined to become piano doyen. Already he exhibits the ability to articulate Blackness with Nina Simonesque musical flair and texture. His virtuosity simply transcends melodies.

Yes, indeed Nyaho is a throw-back!

He captures the essence of music originating from countries such as: Nigeria, Ghana, South Africa, Jamaica, United Kingdom and the USA. The keys are his voice, and the black struggle, his muse. A potpourri of blues best defines his blend.

This is hardly surprising, since Nyaho is a bit of a potpourri himself. He is an American mixture of concert pianist, art teacher and scholar, who specialises in compositions by pianists of African descent. He currently serves as Vice President at the Music Teachers National Association.

Nyaho is well-rounded. He earned degrees from: St. Peter’s College, Oxford University, the Eastman School of Music and the University of Texas at Austin. In addition to which, he studied at the Conservatoire de Musique de Genève, Switzerland. His experiences include being a Visiting Artist and Associate Professor of Music at the University of Louisiana at Lafayette, where he held the Heymann Endowed Professorship. He was the recipient of the Distinguished Professor Award. His music journey clearly complements his academic and artistic endeavours; the piano is his means of expressing resilience and strength when the going gets tough.

Some members of his audience had a lot to say about his performance. For example, Ijeoma Okpokiri said: “To hear pieces from so many different cultures including my own for the first time, was so beautiful, so moving. The experience felt magical…. executed with such grace!”

Nyaho’s performance opened with Nigerian Professor Joshua Uzoigwe’s Ukom, ‘Talking Drums’. Uzoigwe was a Nigerian composer and ethnomusicologist from Umuahia, Nigeria. His music encapsulated Nigerian traditional music. Nyaho then explored various theories of composition, such as: ‘African Pianism’, ‘intercultural musicology’ and ‘creative musicology.’ The fusion of these three theories made way for Uzoigwe’s piano playing craft to emerge as a transformative music genius that conveys narratives of triumph over adversity.

The term ‘African Pianism’ was coined by Akin Euba and emerged in the 20th century. It was a new fusion of Western forms of multi-voiced African accents. A style of piano music that expressed certain features of African traditional music, where each keystroke represents resilience and defiance against injustices faced by Global African Communities today. Nyaho’s genius conveys an understanding of the globality of Black classical music idioms, and spotlights idiomatic strength, beauty and passion of the Black struggle.

The pianist virtuoso also played Four Studies, from “24 Studies in African Rhythm”, composed by Fred Onovwerosuoke, an American born in Ghana from Nigerian parents. These four studies were: No. 3 ‘Udje’, No.1 ‘Okoye’, No.6 ‘Iroro’ and No.12 ‘Agbadza’. ‘Udje’ is a unique type of Urhobo dance or dance songs sung when Udje is being performed with a flute or piano. Okoye is a fusion of a cultural commonality between Uganda and Nigeria. Iroro, draws from the ‘trance- like’ dances of the ‘River Goddess’—spiritual environment protection cults, observed across the West African coast. They are part of The Orishas–Yoruba deities condemned and violated by British colonialism.

Nyaho then interpreted Agbadza — an Ewe music and dance evolving over time, from times of war (Atrikpui), into recreational dance performed by the Ewe people of the Volta Region of Ghana. Onovwerosuoke spent time in over thirty African countries researching and analysing some of Africa’s rich music traditions.

He said: “I see hidden across Africa a gold-mine of unlimited musical scales and modes, melodic and harmonic traditions.”

These African Rhythms are used to harness and nurture African spiritual sensibilities. Each piece is perfectly put together to create stories which take audiences through time with each beat.

Fred Onovwerosuoke travelled the Caribbean and South America for comparative research in what he likes to call ‘traceable musical Africanisms’, such as revolts against enslavement in Haiti and Jamaica. Onovwerosuoke’s works have been featured in audio recordings, films, documentaries and radio, including Robert De Niro’s film, ‘The Good Shepherd.’

Africa is home to more than 3000 ethnic groups, each with their own language, culture and music. Music is an organic and central part of everyday lives. It exists at the core of beliefs and traditions. Nyaho, channels this through Bongani Ndodana-Breen’s, ‘Flowers in Sand’, more specifically the songs: ‘After the Rains and Colours in the Dunes’. Bongani is a South African-born composer, musician, academic and cultural activist whose music contains highly lyrical melodies, which uses complex rhythms accompanied by traditional instruments – expressing people’s joys, sorrows and celebrations. New York Times described his work as, “delicately made music – airy, spacious, terribly complex but never convoluted – has a lot to teach the Western wizards of metric modulation and layered rhythms, about grace and balance.”

Like Nyaho, Bongani’s ability to channel Black struggle (in his case, specifically South Africa’s Anti-apartheid, or more contemporary anti racist struggle) through the piano, sets him apart as a musical activist. He uses his art to spark conversations and inspire change. For example, he composed ‘Winnie’, an Opera based on the life of Winnie Mandela, South-African anti-apartheid activist aka ‘The Mother of Nation’ according to South Africans. To others, Winnie was the strong, brave, long suffering, second wife of Nelson Mandela. Bongani holds a PhD in Composition from Rhodes University. He was awarded the Standard Bank Young Artist Award in 1998 and was one of the Mail & Guardian 200 Young South Africans of 2011.

Nyaho also performed the ‘January Dance’ by Ghanaian composer, Robert Mahuena Kwami. The ‘January Dance’ for solo piano (1973), is rich in Ghanaian idiomatic traits. It captured great posthumous success for this distinguished composer. Kwami was widely known as Professor in Music at the University of Pretoria in South Africa, previously taught in schools, colleges or universities across Ghana, Nigeria and Britain. He pioneered injecting non-western music education into mainstream British schools. Alas, it’s only since his death, at 49 years old, that his works and compositions received acclaim.

Indubitably, Nyaho’s performance transcended mere ‘aesthetic wokeness’ and entertainment. His piano bridged the African divide. His brilliant musicology broke down barriers and erected edifices for empathy and solidarity. His concert was a delicious immersive experience that gladdens the heart of Black activists. Each composition was a reminder that, despite the challenges, there is strength in unity in the shared stories that bind us all.

Nyaho paid powerful musical tribute to Samuel Coleridge-Taylor’s ‘Andante’ from Three-Fours Valse Suite, Op. 71; Deep River from 24 Negro Melodies Op.59, written over a century ago. Coleridge-Taylor’s unfortunate death at the young of 37, in South London, touched him visibly. This was evident to the audience. Nyaho demonstrated that no Black musician can fail to appreciate the qualities of Samuel Coleridge-Taylor’s genius.

Coleridge-Taylor enjoyed unparalleled success in the early 1900s. He was one of the first African descendants to be honoured by an American President at the White House. His Cantata trilogy Hiawatha enjoyed unimaginable transatlantic success. ‘Andante’ and ‘Deep River’–two Coleridge-Taylor compositions, reveal the depth of his notable creativity. ‘Deep River’ was used thirty years after composition, as the final chorus of Michael Tippett’s great war-time pacifist oratorio, ‘A Child of Our Time’ (1941).

Nyaho paid tribute to the versatile Jamaican composer, Oswald Russell’s, ‘Three Jamaican Dances’. The first dance was replete with strong rhythmic gestures based on typical Jamaica rhythms. It was fused with alternating major and minor harmonies and sudden tonal shifts. The second dance was, according to Russell, a product of his improvisation on the 1964 folk song by Eric Morris ‘Sammy Dead’. The final dance was based on ‘Rukumbine’– a ‘marketplace’ song – utilised in a chiaroscuro fashion before the amusing ‘wrong note’ ending. Nyaho’s works have become highly influential within Jamaican art music.

Hale Smith, the American composer of ‘Breaking Bread with Egbert’ was also featured. Smith was the first African American to win the Cleveland Art Prize in Music. Breaking Bread with Egbert was composed in 1997. Its messianic style is widely considered to have eventually united 20th- century European classical music with Americana.

Hale Smith was charmed by Jazz. He spent much time arranging jazz compositions and performing as a jazz pianist. Nyaho’s interpretation of his music demonstrated the wide and profound art of his music. Its contemplative yet natural pulse drew the listener into a world both rare and deeply moving.

Nyaho climaxed his performance with a rendition of the most widely admired American Pianist of the 20th Century, Margaret Bonds–clearly, and shockingly female. With a triumphant grin on his exhausted face, he played Bond’s ‘Spiritual Suite: No.1 The Valley of Bones, No.2 The Bells and No.3 Troubled Water.’

Sadly, Margaret Bond had to wait until the beginning of the 21st Century to earn the respect and recognition her work deserved. She was heavily influenced by Florence Price–another unheralded female musician.

Florence Price was a pianist and composer– first black woman to have her work premiered by the US Orchestra (1933). Her work was deeply inspired by the African American Church, which she incorporated into her music. Price composed over 300 pieces, including: four symphonies, four concertos, as well as choral works and art songs. Examples are Symphony no.3, ‘The Mississippi River’, Memory Mist and ‘Song to the Dark Virgin’. Bonds was indisputably influenced by Florence Price, who taught her to play the piano, and composition, at a very early age. Price believed in the power of black unity and ensuring that black women would be respected in an environment overwhelmed with the dominant race.

Bond’s ‘Spiritual Suite’ was an allegory of the heritage of spirituals for its melodic inspiration, with deep emotional implications, demonstrating her compositional power and originality alongside her command of the instrument.

Bonds was the first African American pianist to appear as soloist with the Chicago Symphony Orchestra in 1933. Among her pupils was Ned Rorem. The song, ‘Spiritual Suite’ was first published in full in 2021. It reveals a masterly original composition; based on the settings of traditional spirituals. This includes: ‘Dry Bones’, ‘Peter, Go Ring Dem Bells’ and ‘Wade in the Water’. The finale, ‘Trouble Water’ was the only movement to be published during her lifetime.

William Chapman-Nyaho, carries the weight of the history of Blackness. He proves that the piano is more than an instrument. It can be a medium for storytelling, where the keys become his voice, and the black struggle, his muse.

Within the UK, the MOBO Awards stands out as a leading light of celebration in the effulgent tapestry of the music industry. MOBO stands for ‘Music of Black Origin’. It began in 1996, showcasing genres from Hip-Hop, RnB to Reggae and Jazz; whilst echoing empowerment and recognition for all Black artists. It is an annual event dedicated to honouring the incredible achievements of artists from the Black Diaspora. The significance of the MOBO Awards brings together a community filled with black-minds who want to explore how this platform contributes to broader cultural knowledge, acknowledgement, and celebration of Black British musical talents. 

Aged eighteen, MOBO 2024 was my first time attending the event, or anything similar held in my university town, Sheffield. A plethora of black faces stood out, some of whom I recognised as journalists. I was impressed. It was a heady affair, especially seated within touching distance of so many stars. Black artistes have often been underrepresented and overlooked in mainstream award ceremonies. MOBO took that leap to provide a dedicated space, where Black musicians can showcase their talents and shine; thus fostering a sense of pride and validation within the community. MOBO’s achievement filled me with great pride. Moreso, as my ‘journalist idol’, Charlene White was in attendance. It felt really good to see a Black woman, widely recognised amongst the Black British Entertainment Industry, welcoming Dame Jessica Ennis-Hill DBE OLY to the stage, promoting Black Female Excellence.

Representation goes beyond a simple acknowledgment. It sends a message to aspiring artistes that their voices, stories and God-given talents will not only be recognised within small spaces but also celebrated on a world stage to inspire others. MOBO is a canon event that is crucial for breaking down barriers and inspiring the next generation of Black artistes to pursue their goals with unwavering determination. With me at the MOBOs was my friend, Breanna Osbee, who remarked:

“It was great to see a lot of my favourite music artists that I grew up listening to receive the attention and recognition that they deserve. For example, Flo, Bugzy Malone, Ghetts etc. A few celebrities had waved at us too which was lovely to see that even though they had achieved so much, they were still able to hold humility and grace towards their fans. I would love to go again.”

Diversity is a melting pot:

Black music is a melting pot of sounds that define the music, as there is no singular narrative, but rather a kaleidoscope of expressions that will resonate with people from various backgrounds. In order to reach those backgrounds they must showcase music that has originated from Black culture, that has now fused within British Culture. MOBO reclaims that originality and amplifies it on a grand scale; for example: British RnB group, Soul II Soul. Their inventiveness influenced; some might even say spawned Grime and Garage artists such as Craig David, Roy Davis Jr. and Sweet Female Attitude..

Co-host Babatunde Aleshe had interviewed the Musical Legend Jazzy B from Soul II Soul about what his favourite part of his career was and why? He replied:

“My favourite part of my career would be watching the next generation come through and utilise all of the skills that were there before, to create new innovative music.”

These venerable trail blazers paid tribute to 30 years of Garage, and it felt joyous looking around, and seeing these beaming Black faces reliving their younger years. And pridefully realising that Black music is one of the universal languages of Global Blackness. 

MOBO Redefines Success:

Artistes of African descent have used their craft and flair, to address social issues and challenge systemic injustices, by telling stories about race, identity and equality. Not only does this spread awareness of our struggles; but MOBO fosters a sense of unity and solidarity among diverse audiences. A good example of this is Indiyah Polack from Love Island Season 8 2022, who has Jamaican ancestry.  

Indiyah is a prime example of breaking stereotypes. Historically, the popular TV Show, ‘Love Island’ is known for mistreating their Black contestants as a Black couple has never won the series. Many people think she was robbed by being unfairly placed third. But Indiyah has since managed to turn third place into first class success. She now has  brand deals with Pretty Little Thing and Boots. She hosted MOBO 2024, and set an example to Black women in the UK, that having dark-skin should not have to keep Black women down.  We can break through barriers, and defeat our detractors.

The MOBO Awards already plays an important role in breaking down stereotypes affecting Black artistes. MOBO proves that success in the music industry cannot  be restricted or confined to a specific race, image or genre. MOBO gives Black artistes the opportunity to redefine ‘success’ and inspire others to embrace their authentic selves, and shape the narrative of Black Excellence. 

Neanderthal foreign policies are failing to stop the Israeli-Hamas war. So ‘Trilateral Humanism’, led by South Africa, has stepped up. South Africa has channeled international rage into litigation at the International Court of Justice (ICJ) against Israel; for ‘allegedly’ perpetrating Gazagenocide. “Allegedly” because—what Israel is doing to Palestinians in Gaza, has not been declared ‘genocide’ by a court of law. Unless and until it does, any written description of the Israel-Gaza war, should presumably be libel-wary.

Some Global Africans feel both consternation and pride, that Black Africa has finally stepped up in this very high profile way. On one hand, there’s consternation that:— ’cockroach no bizniz inna fowl fight’— ancestral wisdom meaning that— a cockroach should not interfere in a fight between cockerels, as they’ll be eaten. Justification for this  mindset is two-fold: Firstly, some Palestinians or Arabs are reputedly very racist against peoples of African descent. Several ‘horror stories’ have emerged from Gaza, that African Palestinians are generally mistreated there. Secondly, for the last fifteen centuries, Africans have been genocided by Arabs. And most Palestinians like so many of their Arab kinfolk, reputedly have no love for Africans. The case against Arab mistreatment of Africans, is based on the following historical behaviour:

• Several Arab countries have been collaborating with white supremacy to perpetrate genocidal terrorism in Africa, carried out by ISIS, Boko Haram, Janja Weed; sometimes all three combined; as is the case of Fulani terrorism against Igbo people. With the principal aim of driving indigenous Africans from rich ancestral lands; and /or replacing radical or progressive leaders. These genocidal conflicts include recent wars in Congo, South Sudan, Mozambique, Sahel Region, Somalia and Burkina Faso.

• Recently, Tunisia kicked indigenous Black Africans from their ancestral Tunisian homeland, claiming that indigenous Africans are seeking to ‘replace them’ by illegal migration, immigration and over-breeding.

• Arab Libyans have been evicting, cleansing and enslaving African Libyans, since NATO destroyed Gaddafi’s regime and replaced it with an Arab cabal—an act in which Arab Libyans were complicit.

• In some cases, whole villages in Congo, South Sudan and Mozambique— have been destroyed, because their lands contain valuable gems and minerals such as: oil, cobalt, platinum, rare earth uranium, titanium, gold, rubies, diamonds and then some.

• Mauritania treats Africans women as domestic and sex slaves.

Indeed, it is an established fact that most light-skinned Arabs, including some Palestinians, have absolutely no respect for Black Africans—whom they consider to be economically surplus to requirements, and therefore expendable. Ironically, this is exactly what the Israelis think of Palestinians.

Morocco and Algeria are examples of how some light-skinned Arabs disparage indigenous Africans. Knowing all this, Africans still feel great pride that Black Africa has taken this laudable and unified decision to defend Palestinian lives, by calling Israel to legal account.

Notwithstanding the fact that cynical expressions such as: “Eh—Eh!” And “Chewps!” greeted this extraordinary news all over the Black World.

Apart from human decency, the most justifiable reason for South Africa’s ICJ initiative, is that under the late Yasser Arafat, Palestine Liberation Organisation (PLO) supported indigenous South Africans and their ANC leadership, in the bitter struggle against Twentieth Century Apartheid. Whilst Israel supported the Afrikaner Apartheid system. Supplying it with nuclear weapons, presumably for use against Black Africa.

Another reason that South Africa may have stepped up, is that Palestinians themselves are being treated horribly by Arab League members. Most of whom are too busy forging questionable deals with Israel and the West. On the face of it, Palestinians do not seem to have many Arab friends. But they (Palestinians) have their own sphere of influence in the Arab world; and this influence gives them access to para-military clout with some of the Arab militias, who terrorise Africans, and generally treat them contemptuously.

Which begs the question— where’s South Africa and their Black Africa cohorts going with this? Is there a permanent, or durable role for them to play in the future conduct of ‘top level’ international affairs of this kind?

The smart thing for South Africa to have done at the start of their admirable ICJ crusade, was to set terms for specific outcomes. In other words, South Africa and their BRICS cohorts (Brazil, Russia, India, China, South Africa), should have nailed down a package of measures for whatever happens if, or when the case is won. Hopefully, they did.

Among such preconditions should be that future Palestinian governments enact laws guaranteeing fair and respectful treatment of African Palestinians; particularly laws and/or bye-laws guaranteeing non racist, non sexist treatment and equal opportunities. Secondly, they should have insisted that South Africa be included in brokering the Israeli-Hamas peace. Much the same way they should by now have secured a role in brokering the Russia-Ukraine peace deal.

This ‘new’ Black Africa thrust, should not be at all deterred by racism, of the type meted out to President Cyril Ramaphosa’s delegation, during South Africa’s 2023 peace mission to Ukraine-Russia via Poland. When Poland’s neanderthal border guard agency mistreated the delegation’s security personnel, by strip-searching them, including a woman; illegally confiscated their firearms and detained them in ways that humiliated, and made them feel threatened.

The hapless South Africans subsequently allowed what was a well meaning, justifiable peace mission, to be misrepresented and disparaged by Ukraine and their Polish allies; who labelled it a “begging mission”. This kind of ‘disrespect’ should not be allowed to recur. Au contraire, Black Africa should be emboldened and inspired by this; and use it as a cautionary tale, for setting terms and conditions, whenever intervening, or conducting speculative diplomatic missions with hostile, borderline or downright racist countries.

Steps should now be taken to ensure that these now “very grateful Palestinians”, do not repay momentous African solidarity, with future mistreatment of African Palestinians; or with duplicitous support for persistent predatory, neo-colonial Arab attacks upon Africans—which ‘allegedly’ are associated with some Arab League member countries.

Trilateral Game Theory Test Run

The implications of this opening gambit on: “Trilateral game theory foreign affairs”,  are that in future, USA and Western Europe could find themselves in litigation for egregious foreign policy misdeeds.

Similar cases, as have been brought by South Africa against Israel, can or should be brought against Arab League countries for genocide—based on terrorism and destabilisation of Black Africa. Similar cases against the likes of Saudi Arabia, North African countries, and Emirates, should include fifteen centuries of reparations for genocidal slavery, colonialism and terrorism. They should reflect similar cases that should be brought against Western Europe, America and Australia. Bringing these cases should transform foreign policy methodologies to new scientific levels; and secure Trilateralism as a viable replacement for neanderthal diplomatic hypocrisy; and other Henry Kissinger-esque unethical, immoral and duplicitous practices in high international affairs.

NB

Henry Kissinger was the late USA diplomat, who raised the practice of duplicitous at times psychotic foreign affairs practices to an art form, in the Twentieth Century. His heinous legacy is only surpassed by USA 19th Century pathological treatment of native Americans.

Let’s hope that South Africa’s case against Israel succeeds. If it does, not only would international affairs be transformed by Trilateralism; but it could precipitate Black Africa into world leadership.

For Further Information:

• International Legal Affairs and Africa: Visit the International Court of Justice (ICJ) to explore cases involving African nations.
• Academic Perspective: Find research on African diplomacy at Google Scholar.
• Pan-African Policies: The African Union provides insights into continental initiatives and development.

The Indian Cave in Cuba is a multifaceted wonder that intertwines the natural world with sacred history. In recent years, its enthralling story has gained global attention. This natural wonder, nestled on the outskirts of Viñales Valley, has not only garnered interest for its stunning geological formations but has also become a popular canvas used by media outlets to depict the rich cultural tapestry it represents. However, as with any media portrayal, it is fraught with liberty-taking. For while this captivating site is preserved with the help of UNESCO, it has become gravely important to consider the nuances and complexities of protecting this world heritage.

The Indian Cave: A Natural Marvel

The Indian Cave, also known as “Cueva del Indio Viñales“ in Spanish, is a limestone cave system situated in the picturesque Viñales Valley of Cuba. Its allure lies in intricate rock formations, underground river, and the history it holds within its ancient walls. The cave’s enigmatic beauty and natural persona has made it a popular tourist destination, drawing explorers and adventure enthusiasts from all corners of the globe. Adding to its allure, may be the fact that the cave served as a refuge for local indigenous people from Spanish colonisation. It was discovered in 1920 by a peasant named Juan Diaz.

Drawings on the cave wall are refreshed annually due to withering weather conditions. It rains 65 out of 300 days. Cave paintings play a vital role in preserving Indigenous history, dating back to thousands of years. This ‘expressionistic’ art found throughout Cuba, preserves primarily Taino history.

Media Narratives and Cultural Significance

Media portrayal has made the Cave a symbol of the complex history and cultural diversity of Cuba. It highlights and celebrates the presence of indigenous peoples who once inhabited the island. The name “Indian Cave” pays homage to specific Taino communities, by providing opportunities to discuss their legacy and impact of colonisation on their way of life. Media portrait also delves into the historical significance of the site, paying tribute to Fidel Castro’s mid-Twentieth Century revolution that shaped modern Cuba.

Cueva del Indio covers approximately 5 miles of chambers, and about three miles of long tunnels. Within these limestone chambers the echoes of history reverberate and the smell of moisture creates an unforgettable ambiance for all local or international visitors.

Cultural Insensitivity

While media coverage has undoubtedly helped bring attention to Cueva del Indio natural beauty and historical relevance, its accompanied by much insensitivity. The importance of treading carefully when navigating the fine line between marketing, promotion, and cultural sensitivity, has been indelibly blurred. While its exploration is a thrilling adventure, it’s crucial to emphasise the importance of preserving the site’s ecological integrity. Unfortunately, some tourists leave waste, e.g., cans, snack wrappers etc, that could do damage. Cave workers are frequently angered by those who treat nooks and crevices as trash holders.

On the Far Side of the Headlines

Media portrayal has played a significant role in highlighting the cave’s beauty and cultural significance, but it has become vital to engage with this narrative critically and respectfully. The story of Cueva del Indio is not only a tale of geological formations but a poignant reminder of the interplay between history, nature, culture, and the stories embedded in the earth. As visitors gasp and marvel at its stunning formations, few reflect on the layers of history and intricate tapestry that define this alluring site. Nevertheless, explosion of social media allows those who visit Cueva del Indio, to share its beauty and wonder with the world. And that’s a good thing.