₦airaland Forum

Eri8: Ethiopian/eritrean (both eat injera)
Jamaican - jerk chicken is so good
African American- soul food
Dominican/Cuban/puerto rican
Nigerian

nice list, please post some info pictures/videos of Ethiopian/Eritrean dishes.

MsDarkSkin: @bolded: yeah it's delicious. it has that "smoked" taste.
nothing is better than the original...you'd love it that way trust me.

anyway, i respect any restaurant owner's hustle but it's disappointing to pay for food and leave unhappy with the taste. I understand everyone has their own method of cooking things but when it comes to food i don't play!! It's gotta be right.

I've had some good restaurant food like Golden Crust and this Jamo restaurant in another city in my state but it's like 3 hours away from my house so..i just cook my meals myself.

what about you? do you do a lot of cooking?

True, it is tough though to run and own a restaurant so it understandable, at times you just have to take what you can get; So Majority of the time I cook my own food.

MsDarkSkin: that is true.
the problem is because of the traffic they may get, they don't take the time to properly SEASON the food as in season the meat and let it marinate OVERNIGHT. Instead they will season it the same day and maybe let it marinate for a few hours/minutes.

That's not how our food is cooked traditionally. It's all about FLAVOR.
So I don't eat Jamo/Carib food in restaurants..i prefer home cooked.

Also Jerk chicken is supposed to be grilled or cooked in drum pans (home made grill made out of split oil drums). But some places don't have those available so they use ovens...thumbs down!!

drum pan:

https://www.joshuab.org/wp-content/uploads/2012/07/jerk-chicken-drum-pan-smoker.jpg



i understand!!
#grownwomanstatus

and no problem with the videos!!
there are more to come soon!!

oh I didn't know it was cooked that way, it makes sense thoug, some Nigerians restaurants in America are like that as well, they don't take the time to cook their food and it taste horrible as a result but you are right home cooked is always better then restaurant food

MsDarkSkin: same here sis!!
a huge fan!!

I have noticed some jamiacan restaurants make it better then others though, so not all make it good

MsDarkSkin: Anony!! what's up sis!! long time no talkie m'love!

I will update this thread soon.
thanks for bumping it!!

lol, just busy with work but no play, thanks for the videos

This will help people who want to cook these dishes

MsDarkSkin: history of jerk chicken

https://www.youtube.com/watch?v=O8FwLM55f9c

how to cook stew peas (w/tofu)

https://www.youtube.com/watch?v=Z4-4ztEe2SI

^^she used tofu but this is typically cooked with meat.

I'm a fan of jerk chicken

https://www.youtube.com/watch?v=bw9mYRMIUyg

PhysicsHD: The google books link preview page that you posted isn't showing up for me. It says "You have either reached a page that is unavailable for viewing or reached your viewing limit for this book" so clearly those pages are unavailable. However I did scroll down to p. 217 of the book, which is actually visible to me, and I started reading down from there. I read the claims put forward by the author about strong cultural similarities or connections between Africa and Indonesia and I was amused because they were all extremely superficial connections that do not in any way require direct contact for those cultural practices and aspects to arise in different and distant human populations. The author (Arthur Morris Jones) of that 'Africa and Indonesia' book was basically grasping desperately for the slightest similarities and using these to infer deeper cultural or historic connections than actually existed.

The article by Blench I've seen and read before and I have to point out that

a) Blench is primarily a linguist, and he is definitely not an expert on the issue of West African art and its origins, the casting techniques used in that art, or the relationship between West African art traditions and the cultures that they are found in. Not surprisingly therefore, he is only putting forward a theory of there being evidence for ancient contact between southeast Asia and West Africa, not claiming that the inspiration of the Ife art is by ancient Indonesian migrations into West Africa.

Now in the part of the paper where he talks about elephantiasis and the supposed depiction of elephantiasis in some of the Nok art (which assumes that the art is depicting a real disease, and is not just deliberate exaggeration for some other reason) as mentioned by Willett in his 1967 book, the mistake there is that Blench's claim is simply incorrect - it is not necessary for the disease to have been transmitted by people migrating into West Africa from Southeast Asia.

First, elephantiasis (swelling and thickening of the lower limbs) can be caused by podoconiosis, which is simply caused by irritant soils in an environment and occurs in other areas of Africa without any interaction with non-Africans and without parasites being involved. In light of this, if one assumes that the figures in the Nok art are real depictions of people with diseased limbs or geni.tals, who is to say that podoconiosis or a similar disease to podoconiosis might not have affected the population in the Nok area, resulting in the depictions of swollen body parts in some of the art?

Second, assuming that there was elephantiasis caused by filariasis (caused by parasites), rather than podoconiasis, in central Nigeria, this disease could simply have reached other parts of Africa (such as East Africa) in ancient times (after those areas had had contact with people from Southeast Asia) and the disease could have been transmitted by migrants or traders from other parts of Africa, not directly from Southeast Asian migrants. The assumption that because there is "no continuous zone of infection from East Africa to West Africa" today it would have to have been transmitted directly from Southeast Asia to West Africa ignores the possibility that there could have been a continuous zone of infection in the past, before later population movements occurred in central Africa, and also ignores the possibility of the spread of the disease by long distance traders or through migrations or back-migrations from Eastern Africa to Western Africa in the past.

And of course, as Blench admits in his paper, the dates of the Nok art are too early to suggest direct Indonesian - Nigerian contact, anyway. So assuming that it was depicted in the Nok art, direct contact is not a good explanation of the elephantiasis.

b) Apart from the "elephantiasis in central Nigeria (the area of the Nok culture)" claim there is nothing else in the rest of Blench's article that could really imply a possible connection of Ife to Indonesia, so it is not necessary to comment on the rest of the article.

c) As I said earlier, the people in the art are clearly black. They don't even look mixed. The only way one could think that they have Asian eyes or "Asian nasal bridges" is if one doesn't know what black people and Indonesians look like, or if one somehow doesn't think that black people can have thin almond shaped eyes. There is nothing about their noses that looks non-black and the eyes don't actually look Asian.

d) When the art of Ife was first "discovered" by Westerners, all sorts of theories were put forward linking the origin of the culture and the art to the ancient Mediterranean. These kinds of claims have long been discredited by later researchers. The new focus of African and non-African people who want to link the origin of the art to another area today is North Africa (which is close to the Mediterranean) and the Middle East, but they aren't having much success. These external origin theories don't really have much going for them.

e) Most importantly, Indonesian art is just nothing like this art (or the Nok art, for that matter). There are basically no similarities.

Thank you physics, to me some people try to link something to the ile ife bronze cast art sculptures because of their thinking of black africans in general, in their minds Black africans are not capable of accomplishing that. I never heard of the Indonesia and West Africa connection. That is a stretch to me, and wrong. any way I am just glad Nigerians are getting the respect and acknowledgement now on the art they did solely on their own, the only influence I can say they have when it comes to bronze casting is from the Nok.

check this video out:

https://www.youtube.com/watch?v=4OPLF_nZOJ4

[b]"This is something that comes up in conversations I have from time to time - whether casual conversations, or formal panel discussions on "the state of black cinema" in these United States, broadly speaking.

I was reminded of it earlier today, while having an online exchange with a filmmaker friend, and thought it was about time I said a few words on the subject.

What can black filmmakers in the USA learn from Nollywood, is a question I'm asked from occasionally. Or why can't black filmmakers in America adopt the Nollywood-style of film production - cheap, fast, films shot primarily on video, bypassing theaters and released directly to home video formats like DVD.

Whenever I'm asked that question, my response is often, well, black filmmakers in America HAVE indeed embraced that model of film production. Just take a stroll down dvd rental/sale aisles at your local movie rental store, whether brick & mortar or virtual, and you'll find your answer there.

On a weekly basis, there are over 100 new films released on DVD; the vast majority never receive theatrical releases - about 90% of them, if not more. And a percentage of those are films by black filmmakers, with all-black (or primarily black) casts. I don't have exact figures on what that percentage is, but there are enough of them, given the email press releases I get on a daily basis, alerting me to upcoming straight-to-video releases that I should be aware of, and that the senders believe would be appreciated by readers of this site.

These are films that, like Nollywood movies, are made relatively cheaply (certainly not Hollywood-size budgets, but I'd say range in costs from a few thousand to a few hundred thousand dollars; occasionally, there might be one or two with budgets of over $1 million, but those are very rare, especially where black cinema is concerned. Those tend to have *names* in them that can help justify those 7-figure budgets, and recoup costs).

They are also made quickly (it makes sense, when you're working with a low budget - you can't stretch filming over several weeks or months, like a Hollywood studio would).

And also, like Nollywood, these films are most often shot in some digital format. Not celluloid.

And lastly, as is the case in Nollywood, these films tend to bypass pricey theatrical releases, and head straight to DVD (VOD, digital download, etc).

There are far more of these black cinema titles released every week than there are black films opening in theaters on a weekly basis, and so you might consider digging through them for any potential gems, since, as is also Nollywood's *problem*, the films often aren't all that great, unfortunately; to me anyway (others will feel differently).

Also like Nollywood, there's clearly an audience for them. Someone is making money from all these films, otherwise there wouldn't be quite the volume that we've seen, and continue to see produced and released weekly.

One key difference between making films here in the USA versus Nigeria is that, here in the USA there's that dream factory known as Hollywood, where there seems to be an almost bottomless well of financing available, with production budgets soaring into the hundreds of millions of dollars on the high end. There's no such thing in Nigeria currently, although we're seeing more and more Nigerian filmmakers separate themselves from the internationally-known, and even mocked Nollywood brand.

We've covered a number of those filmmakers here in the past, and continue to do so.

And also, in an effort to improve the quality of cinema from Nigeria, in part so that it can compete in the international marketplace, the country’s president, Goodluck Jonathan, pledged, in 2010, to create a $200 million loan fund to help finance film projects. Tony Abulu's cross-continental drama Doctor Bello, was chosen to receive the fund’s first loan - $250,000.

So for black filmmakers (outside of Hollywood) in the USA, there's something *higher* to aim for - Hollywood. Some opt to go the cheap, fast, straight-to-dvd route; others choose to take the longer road, which often means years and lots of money spent trying to get one project made, usually with working within the Hollywood studio system being the end goal.

This week in the USA, as an example, while there'll only be 1 studio film with a black starring cast (and a story centered primarily around a black character) released in theaters across the country, there are several new black films that are being released straight to DVD this week, including 2 that are directed by Cora Anne (I'm not familiar) and executive produced by David Kane Garcia (not familiar with him either): Do You Know Where Your Man Is and Love & Foootball.

Heard of either of them? For most of you, the answer will probably be a "no."

But just take a look at Garcia's IMDB page, and you'll find that he has backed 11 films in the last 2 years alone - none of them released in theaters that I can immediately identify. And looking at the casts for some of them, you'll find names you'd recognize like Glenn Plummer, Robin Givens, Jackée Harry, Bobby V and many others. Not what we'd call, in industry parlance, A-listers, but, again, these are names that many of you would know, and for some, would be enough to encourage them to rent or buy these films, if only out of curiosity.

In a way, you could even call Tyler Perry a glorified Nollywood filmmaker, given that his films are relatively cheap (by Hollywood standards), and are often simplistic and message-driven (delivered heavy-handedly), with religion and morality driving the narratives - common themes in Nollywood cinema.

But I'd be remiss if I didn't say that Nollywood cinema isn't the grand total of Nigerian filmmaking. For example, filmmakers in northern Nigeria have really never claimed allegiance to Nollywood, which is in part why Kannywood exists. Also, you have prominent Yoruba filmmakers like Tunde Kelani, setting themselves and their works as being separate from Nollywood.

And, as I noted earlier, there is a growing number of Nigerian filmmakers who are making a concerted effort to change the face of Nigerian cinema on the international stage.

So the point is, Nollywood does not translate to the totality of filmmaking in Nigeria, even though Nollywood has come to represent Nigerian cinema on the global stage, just as Hollywood has come to represent American cinema all over the world, even though there are far more films being produced and released outside of Hollywood on any given week, than within the studio system. The problem is those films simply don't have the marketing budgets and market dominance to compete, and so many of you will likely never hear of, nor see these non-Hollywood films.

The overall point here is that, again, look to the home video market here in the USA for a deeper well of black films. You might find whatever you consider a *gem* in the deluge. For example, in addition to the two titles I mentioned above, also released on DVD this week is a documentary on African American jazz pianist Erroll Garner, best-known for his composition of the ballad Misty, which has become a jazz standard.

Directed by Atticus Brady, the new film uses archival materials interwoven with interviews with friends, family, and fellow musicians, and features commentary from Woody Allen; Ahmad Jamal; Tonight Show host Steve Allen; Erroll's sister, Ruth Garner Moore; pianist and arranger Dick Hyman; Columbia Records executive George Avakian; and others.

The film documents Erroll, from childhood to meteoric rise in popularity. He died in 1977 at 53.

Titled Erroll Garner: No One Can Hear You Read, it played several film festivals, and is now hitting the home video market, bypassing a theatrical release completely.

I ended up writing more than I initially planned to, but consider this the start of a much longer conversation to be had. So feel free to add to what I've written here if you'd like."[/b]
http://blogs.indiewire.com/shadowandact/the-why-cant-black-filmmakers-in-the-usa-adopt-the-nollywood-model-quesion

kedukc: see cross-examination.

I don't know what to say; a little suspicious though

onila: it was a baby mini skirt

trust me aint smiling. .I never reported to my parents till I was 18 I wish I did earlier

but I was just to embarrass to report like most victims

ok

onila: Common traits of pedophiles:

Usually an adult male

Often appears to be hard-working and family-oriented

Tends to be religious (on the surface) that the average person

Tends to be well-liked by parents

Ways that pedophiles generally target their victims and allay suspicion:
They usually accomplish molestation by gradual seduction, not sudden coercion

They find ways to be alone with children;

you seem to know much about men who molest.....

onila: maybe I did

I was just 8(eight) years old. I think I was in primary 3
I was in the kitchen washing plates

I was wearing some mini skirt maybe thats what turned him on

its a shame

even tho I was wearing mini skirt. that age I had no bo.obs or as..s . .so I wonder what he liked in me

you were wearing a mini skirt at age 8, is this the truth

I don't understand why you have a smiley face about this information you are saying though about this guy

onila: the poor in Nigeria are more ignorant abt the situation. .When I read the news most of the time abt molestation . .its usually the poor Nigerian men sexually assaulting girls

the educated Naija man has an ego. . . .embarrassment is on their mind when doing those dirty things. .since they are smarter, they might be more careful compared to a gate man

I understand that to a extent, but besides that child molestation has happened from educative Nigerian men, it may not be in high numbers but it exist

LilMizzGood: some rules in the Nigerian culture is stupid ,

1. The youngest should not get married before the oldest.

The thing i want to talk about is Nigerian mother in-law and I know not all of them are bad, why are they so heartless, why do they chose their children lovers and if their children don't agree to their rules and get marred to someone else they treat them bad.

ok whats up with having a son. Is it force for a family to have a boy child??

I never understood that rule of the youngest waiting for the oldest before they got married, nonsense

when it comes to having a boy child, well in Nigerian culture it is a big deal because of the family/surname fiasco

onila: Educated Nigerian men tend to be more careful and aware of consequences of child molestation. When caught it will be more embarrassing for them than some gate man

I said little girls shldnt play outside because I was approached by men while playing outside alone. .my neighbor visitor apporached me while I was playing under the tree once

Well when anybody is educative they are more knowledgeable and careful to a extent but some of the most educative people have molested children. The catholic church in America had priest who were majority educated and molested children to the core.
Some Educative Nigerian men do molest, it may be less then the uneducative but they do molest, when it comes to them be careful they are just more careful of not being caught, embarrassment is the last thing on their mind when doing those behaviors but I do agree the embarrassment would be more on the educative nigerian man then the nigerian gate man because people expect more from somebody who is educative then uneducative

onila: I was sexually harassed several times when I was younger. .from gate men to male neighbors to houseboys

*you shouldnt allow your female daughters to play outside by herself. .

*you should know what your little daughters are doing when hanging around with her friends in yr neighbours house


*dont allow yr daughters interact with men who are not her close relatives

*I realized most of the guys that molest kids in Nigeria are uneducated or usually from the lowest strata of society

S-exual harassment happens all over the world and some of what you listed, Nigerian mothers already know about these facts when it comes to taking care of their daughters. When it comes to daughters not to play outside by them-self that seems a little to extreme to me as far as I am concerned and impossible to be honest. I'm not saying a mother should allow her daughter to just play with strangers but almost everybody in this world who was a kid played outside their house alone at least one time in their life(I'm not talking about young daughters leaving their neighborhood without their mothers or fathers consent though).

Also I disagree with the view that molestation only happens with uneducated men, it happens with men and some women of all walks of life.

Imprida: Thank goodness nigeria is not included

True

FXKing2012: You see, Nigeria is not as bad as people paint it.

That's what came to mind to when I saw this article, maybe with this Nigerians will appreciate Nigeria more, while being critical about the country at the sametime.

[b]" For some travelers, getting off the beaten path is a point of pride, a way to see the parts of the world that don’t make it into glossy guidebooks.

But how many of those same adventurous travelers would be willing to visit, say, Somalia?

About 500, it turns out. At least, that’s how many tourists found their way to the war-torn east African nation last year.

That makes Somalia the second-least visited country in the world, after the tiny pacific island nation Nauru, according to a recent list compiled by travel writer Gunnar Garfors from UN statistics.

Little Nauru – 8.1 square miles in size, population 9,378 – got just 200 visitors last year, and it’s pretty clear why.

“There is almost nothing to see there,” writes Garfors, “as most of the island … is a large open phosphate mine.”
Indeed, most of the world’s least visited countries seem to fall in one of two categories. There are the Naurus, where you’ll puzzle over what to do, and the Somalias, where it’s simply too dangerous to do much of anything at all. (As Somalia’s Wikitravel page aptly notes, “the easiest method for staying safe in Somalia is not to go in the first place.”)
Most of the “nothing to do” countries are the crumbs that dust a map of the Pacific Ocean: the Federated States of Micronesia, the Solomon Islands, Kiribati, and Tuvalu. The latter shares with the Maldives the dubious distinction of having "highest elevation points" that are the lowest on earth – 15 feet above sea level. Visit while you can, as rising sea levels could make the island uninhabitable within a century.

As for the “too dangerous” countries, the list reads like a global primer in political conflict. For instance, despite its pristine national parks full of wild gorillas and elephants, the perpetually ungovernable Central African Republic (#23) is an unpopular destination for tourists. And its stock will likely continue to plummet – last week a rebel alliance seized the capital, Bangui, and the president fled to neighboring Cameroon.

Afghanistan (#10) also suffers from tourism-deflating instability, which keeps visitors away from its rugged peaks, ancient Buddhist monuments, and Islamic holy sites, including the 12th-century Minaret of Jam, a UNESCO World Heritage Site.

“The Taliban have a message for foreign tourists who come to Afghanistan, especially if they are from any of the 50 countries that are part of the NATO-led coalition supporting the government: Big mistake,” writes The New York Times.

Other countries on the list, like Guinea Bissau (#14), Libya (#15), and East Timor (#18), have seen their reputations – and infrastructure – hobbled by recent wars or uprisings.
But not every country on the list is too dangerous or boring to visit. A few are simply effectively sealed off to the outside world.

All foreign visitors to North Korea (#16) are limited to a state-curated itinerary and must have an official government “minder” by their side at all times. But for the few Western tourists who venture into the country, that’s part of the appeal. “You will rarely get to see propaganda done more explicitly,” Garfors writes.

Except, perhaps, in Turkmenistan (#7), where visitors who brave the onerous Soviet-esque visa application process are rewarded with sites like a 50-foot golden statue of former dictator Saparmurat Niyazov in the capital Ashgabat, which rotates throughout the day to face the sun. But the country’s most indisputably impressive site is a massive flaming crater deep in the Karakum Desert. Measuring 230 feet across and almost 70 feet deep, the so-called “Door to Hell” has been burning continuously since Soviet scientists lit it on fire in 1971.

Obscure? Yes. But that's part of the charm."[/b]
http://travel.yahoo.com/ideas/least-visited-countries-in-the-world-201146242.html

Tochex101: That's true,all the effort I'm putting in now is to ensure I get it right and arm myself properly for the future.I'll feel terrible if I don't educate my kids properly........

Thats a good attitude, however I do agree with the thread title parents are responsible, I was born and raised in America but my parents let me know of my tribe(yoruba), so I don't have the experience you have

My advise to you is take you future children to nigerian cultural events, parties, weddings, festivals. Go to a Nigerian church, take them to Nigeria alot, teach them the language and food, and etc. It helps

You will be fine though good luck

clue: Why una dey vex, is it your money?

true I don't care, its their money but CNN thinks its a big deal for them to do a article about it

ok guys no fighting