THE NPAM DANCE PARTY


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Black African Women Rock (BAWR).




About

2motivate & 2inspire .. BAWR was founded by Lindani Moyo -Masuku , BAWR is officially a registered company .BAWR is to empower,encourage and support women


Mission

The mission of BAWR ,is to encourage and motivate women to pursue their dreams. To encourage and promote advertising of their business on our page. Promoting independency and using their creative nurture to embrace and own their dreams to become successful . As I believe that women don't belong in the KITCHEN.


(Lindani Moyo -Masuku)

 
 
Company Overview
 
BAWR website is currently under construction ,will be up and running soon, its officially registered in the u.k , the foundation will also be running in African , the BAWR awards 14 , seminars and workshops will be up and running soon . The rest of the updates will be found on our website ..for any info or involvement please email.


Description

2motivate & 2inspire..... Black African Women Rock {BAWR} was founded by Lindani Moyo-masuku . BAWR is a self help development organisation , as a founder of this organisation , my dreams are to support, motivate, inspire women to follow their dreams , to encourage each other to think positive and use our creative skills to build our dreams. As women we are strong , beautiful and we blossom like a rose when well nurtured that's the symbol behind the creation of the BAWR logo. I believe when nurtured, the sky is the limit, lets love ourselves and build that self confidence and self esteem , lets all try and be supportive to each others dreams be small or big cause all our dreams are equal in this family of growth.....This is a platform of growth, support, motivation, inspiration and courage and most of all LOVE ..... ROSE is not only a symbol of love but also a symbol of courage and power...no going back ..a rose lasts a lifetime let your dreams be a lifetime...Nurture that dream and watch it BLOSSOM .... cause u all ROCK...
 
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Black German Heritage and Research Association (BGHRA)



BGHRA CONVENTION UPDATE

Dear friends and colleagues,


Thanks to all who have inquired about the dates and location for the 2014 Black German Convention. After three consecutive years of very successful conferences, we have decided to move this year to a semi-annual convention schedule. In keeping with this decision, we will not be hosting a convention in 2014 and will reconvene in August 2015. Like other conferences with similar meeting structures, we feel this is both the most efficient way of distributing the tremendous amount of work that our small group of organizers put into the conference, as well as a very effective way of sustaining our momentum for the future.

Our hope is that during the 'off years' of the conference, a space will be created for other types of less formal activities for the Black German community in the US, and we encourage those interested in such events to please be in touch with us via our email at bghrassn@gmail.com . We also welcome the interest of institutional partners who would be willing to host future conventions.

We appreciate the support each of you has given us over the past few years and we look forward to an equally vibrant conference in 2015.

More information:

Anita Afonu: Preserving Ghana's Cinematic Treasures

Ghanaian filmmaker Anita Afonu is passionate about the preservation of Ghana's cinematic history. With enthusiasm and hope, she talks about her film Perished Diamonds which relates the history of Ghanaian cinema, and the initiative to restore its hidden and lost legacy.
 
 
Anita Afonu at the 2nd African Women's Film Forum
 
Anita, you are a graduate of the Ghanaian film school NAFTI. Talk about how you came to cinema and a bit about the film school and its mission.
I attended the National Film and Television Institute (NAFTI) from 2006 to 2010 where I pursued a programme in Film Directing with an option in documentary filmmaking. I had always wanted to be a filmmaker because to me, having the ability to tell a story and have an audience watch your film meant that you wield a lot of power and therefore can change the perceptions and idiosyncrasies of people through film.
The National Film and Television Institute was established in 1978 to train people to produce films and other audiovisual material for the government of Ghana. The school offers a four-year bachelor degree programme in all aspects of filmmaking.
I was a privileged spectators at the screening of your film Perished Diamonds, a documentary about the history of Ghanaian cinema. I was touched by your in depth research and your tremendous will to get it made. What motivated you to make the film?
I was sorting out films at the Information Services Department for my friend Jennifer Blaylock, a cinema archivist who had come to do some research on Ghanaian cinema. While working with the films, I saw how dilapidated the Information Services Department was and how the film reels had been left to go bad. I also realized that I had not seen most of these films. I thought, "Here I am, a film school graduate calling myself a filmmaker". I thought that is was rather ironic, asking myself what had happened. Why had the film reels been left to go bad? And it broke my heart to personally discard some of the films because they had gone mouldy, in an almost soup-like state. I felt that if I could trace the origin of the problem and find a way to repair the damage, things could improve. I knew that if I made a film about these conditions people would wake up. And that’s what motivated me to make this film. Jennifer was very supportive and we put together a proposal to the Goethe Institute which funded the film.
You have also researched the history of Ghanaian cinema and cinema in Ghana that is related in the film. Give some background on Ghanaian cinema history and your process in learning about it.
Generally, cinema was used by the colonizers to instil in Africans, and Ghanaians in this case, an attitude of subservience. The films were mainly instructional materials about keeping homes clean, accepting Jesus Christ and embracing Christianity, and others along this line. The West African Film School was set up in 1948 to train people in film to essentially work as assistants to British filmmakers who were commissioned to come to Ghana to make propaganda films. When Dr. Nkrumah became president, he took a personal interest in film because he believed that the medium of film was very powerful; that it had the ability to change the mind-set of Ghanaians to accept and hold their own, and thus remove the colonial mentality that Ghanaians had held that white people were better than black people. After learning about this I spoke to veteran filmmakers and people who had worked closely with President Nkrumah, including his personal cameraman. I read a number of articles about Ghanaian cinema and watched some films that were made during that time period. However, most of the research was drawn from interviews, which are shown in the film.
I was delighted to learn that President Kwame Nkrumah was behind the creation of the Ghana Film Industry Corporation. What is the history behind this initiative?
Former President Nkrumah believed that the medium of film was a very important tool to change the mentality of the Ghanaian if he was going to make any changes as president. He believed that by showing films made by Ghanaians and shown to Ghanaians, that it would boost their self-esteem and encourage them to work for the better Ghana that he had set out. As president Dr. Nkrumah laid the groundwork for Ghanaian cinema; he brought new film equipment and an editing suite; he sent Ghanaians to London to train in filmmaking; and he established the Ghana Film Industry Corporation incorporating the Lebanese-built cinema into it. Another creation was the biggest sound stage in Africa at the time, which continues to hold this record today. Films were churned out often, increasing Ghanaians' appetite for film. President Nkrumah had a personal studio at Flagstaff House, his office, where he made recordings that were transmitted to the Ghanaian audience. He read every script that was written, and personally made corrections to them before they were shot; he even viewed the first cut of the films before they went into final cut. In fact, he took a personal interest in film. Every activity he undertook as president was filmed and screened for the public at cinema houses; a way to show the transparency of his government. The Ghana Film Industry Corporation became the hub of filmmaking in West Africa. Even people from Nigeria came to Ghana to train as filmmakers. Nkrumah looked at the development of the Ghanaian and the African in a holistic way. He believed that filmmaking formed a big part of a country’s culture and he was determined to move Ghana and Africa to the next level of development.
The story behind the destruction of the Ghanaian film industry was very unsettling to watch and hear about, your meticulous research provided a treasure of information as some of the witnesses to the demise gave first hand accounts. How did this destruction come about?
The destruction of Ghana films occurred when the Ghana Film Industry Corporation was divested for fifteen years to the Malaysian company, GAMA Media System for the sum of 1.23 million USD. GAMA Media System, obviously interested in television and not cinema, turned the location into a TV station, which provided content from both Malaysia and Ghana. Since they needed space for their TV equipment and other items, they got rid of the film equipment, including all of Ghana’s archives. Evidently not concerned about Ghanaian heritage, these treasures were dumped outside, left to the mercy of the weather.
What was your reaction when you first learned about the damage?
To say that I was shocked to see and hear about this is an understatement. I couldn’t eat properly for days. I was emotionally troubled about this. And I think that was what kept me going to make the film. There were certain times during the film production when I was burning out, but whenever the thought of those films came to my mind, it gave me more strength to keep pushing forward to complete the project.
Of course to imagine that Ghana’s cultural heritage was sold to another country, Malaysia, and partially destroyed is shocking. Your passion to restore these films and to document the story is truly heartfelt. Talk about the story behind this arrangement with Britain and what attempts are being made to have these “perished diamonds” returned.
Luckily for me, or better still for Ghanaian filmmakers and Ghana, a number of the films are being stored in laboratories in England. This occurred because at the time when these films were made, Ghana did not have a colour-editing machine so they had to be sent to England to be edited. The negatives were stored there and have remained there since. All of the black and white films have been destroyed. The government of Ghana pays a yearly rent to the labs to check and keep the films in pristine conditions. During the making of the film, I found it difficult to get archival material that I felt should be available to me to use as a filmmaker and researcher. I figured that if these films could be digitized and the digital copies brought here to Ghana, it would make it easy for people like me to be able to have access. I also felt that being a Ghanaian filmmaker that I had every right to access those films without any difficulties. However, because they are being stored in England, accessing them is almost impossible.  Since Ghana did not have the facilities to store the celluloid films, I thought it would be better if digital copies of these films were brought to Ghana so that researchers and fellow filmmakers could access them. Hence, I started an initiative to digitize these films. 
Yes, during the Action Plan Breakout Group Sessions at the 2nd African Women's Film Forum held in Accra in September 2013, you proposed an initiative to preserve and digitize the films produced during the Kwame Nkrumah era. What are your plans and the campaign in search of funding?
My intention is to have the colour materials sent to London to be digitized, and have those digital copies that are stored in London brought here to Ghana so that filmmakers and people doing research may access it. In addition, it is a revenue-making venture for the government since fees will be charged for those who want to use it. Moreover, I have been in talks with Rev. Dr. Hesse, the personal cameraman of Dr. Nkrumah, who went to London to identify over 200 films that were recently discovered in the Ghana High Commission vault. He shot the majority of the films and is familiar with all of them. For now, my goal is to be able to start with about fifty of the most important films that the Reverend can identify. Those films will be cleaned, catalogued and stored. With regards to funding, I will be meeting Prof. Ampofo, the director of the Institute of African Studies at the University of Ghana who will advise on funding.
And your future plans, films, scripts?
I am currently working on a short piece. At the moment I am still writing, I want to do a film on African teenage girls. I want to be an inspiration for other young girls who are coming up. I realize that a lot of girls or young women are confused about what they want out of life. The media is heavily influencing their choices. There is plenty of talk about women being empowered but I personally do not see it. All I see is a bunch of elite women who are angry and complain bitterly about the glass ceiling. A lot of young girls are not being encouraged and that is what I want to do. I run a small production house called Roaming Akuba Films. We make commissioned films, consult for foreign film crews and provide other general services with regards to filmmaking.
Unfortunately, my website was hacked some weeks ago and I am unable to retrieve all that I lost. Hence, I am currently working on creating a new website. 
Conversation with Anita Afonu and Beti Ellerson, November 2013
 
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The Grave of Sargon The Great. The ancient buried sumerian city of Akkad found has been found by Professor Catherine Acholonu.


The Sumerian civilization is the oldest civilization in the world. The mythology of the Sumerians recorded in cuneiform texts, have been translated, revealing that all the earliest mythologies of the world, including Biblical Genesis, were mythologies of the Sumerians. From the Sumerian Genesis period onto the end of its civilization, its sacred and political texts speak of Eden as the homeland of the Sumerians and of the Sumerian civilization. All Sumer’s kings even onto Babylonian, Mesopotamian and Assyrian times, spoke of themselves as Kings of Edin (Eden).

For 23 years, we have been on the trail of the ancient Sumerian civilization, studying its cuneiform records in translation. The cuneiform texts speak of the latter-day developments in the Middle Eastern Sumerian colonies of Mesopotamia, Assyria, Babylon. But they also speak of a mother-land called Shumer/Sumer, which according to Assyriologists, has never been found. Equally lost is the city of Akkad, homeland of the Akkadians, which was ruled first by Sargon the Great.
 


PRE-CUNEIFORM SUMERIAN INSCRIPTIONS REVEAL LINKS WITH AFRICA

To get a bearing on the study of this lost Sumerian Mother civilization, we switched to the study of Pre-Cuneiform Sumerian inscriptions, for as we found out, long before the invention of the cuneiform method of writing in the Middle East, Sumerians first wrote on stone and rock, pottery, copper, bronze and iron implements. These were all original Sumerian inventions. Sumerian Kings and Emperors also wrote their official kings-seals on hard wood like ebony. Some of these have been found in Egypt, Mesopotamia, Assyria, Babylon Mohenjo Daro and Harappan. Our study of the official seals of the kings of Sumer revealed that Sumer was a great world empire and its kings and emperors were Masters of the Seas and oceans. L.A. Waddell in Makers of Civilization in Race and History (London, 1921) noted that after Sumer was destroyed (2,023 B.C.)its civilization continued to thrive in its empires: Egypt, Mesopotamia, Babylon, Harappan, Mohenjo Daro. Zecharia Sitchen who spent his entire life translating and studying Sumerian cuneiform texts, observed that Sumer taught the world everything they know, and that it was refugees fleeing the destroyed cities of Sumer that seeded the first civilizations in China, India, Assyria, Babylon, Mesopotamia, and that Egypt was a direct offshoot of Sumer.
 
 
 

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More about Professor Catherine Acholonu:

The Discovery of the Egyptian Duat, Temple of the Sun, and lost city of Heliopolis in West Africa by Professor Catherine Acholonu


In December, 2012, under the resourceful organization of the Honourable Commissioner for Culture and Tourism, Enugu State, Barrister Joe Mmamel, a team of ten African American Tourists visited various parts of the Enugu State under the Ebo Landing Project. The project was designed by Professor Catherine Acholonu and Sidney Louis Davis of Catherine Acholonu Research Center, Abuja.

THE DISCOVERY in partnership with NAGAS International Consortium Inc., USA and Ebo Landing Incorporated, USA. The 2012 Ebo Landing tourism trip was facilitated by the Honorable Minister of Tourism, Culture and National Orientation, Chief Edem Duke who personally wrote letters to four State governors in the Federation urging them to play host to the Tourists. Ebo Landing was born out of the growing need by DNA tested African Americans, 85% of which are of Igbo extraction, to return ‘home’ to Igbo land and support the course of development in the home country.

The team visited various tourist sites in Enugu State including the Institute for African Studies, University of Nigeria, Nsukka (UNN), which led an excursion trip to the Prehistoric Iron smelting site in Lejja in Nsukka. The Lejja visit proved to be a most auspicious event, for it exposed the visitors to the world’s oldest iron smelting technology lying unknown and unsung in Enugu State, South-Eastern region of Nigeria. The Head of the UNN Institute of African Studies Professor S.M. Onuigbo informed the visitors that the Lejja prehistoric iron smelting site was recently dated 2,000 B.C. by the Oxford University laboratory in UK, and that this date confirms Lejja as the oldest iron smelting site in the world! The international visitors led by researchers Professor Catherine Acholonu and Sidney Louis Davis, initiators of the Ebo Landing project, therefore made a fervent plea to the Hon Commissioner for Culture and Tourism, that the government of Enugu State and the Federal Republic of Nigeria should quickly see to it that the Lejja iron smelting technology should be made known to the world, being the only physical proof that Africa was the origin of world civilization! They promised to join hands with the government and people of Enugu state in spreading the word worldwide, and by so doing initiate global tourism to Enugu state.

The Follow-Up Trip to Lejja:

Subsequently in January 2013, a combined team of international researchers from the Institute for African Studies UNN the Catherine Acholonu Research Center, Enugu South-Eastern zonal office visited the Lejja site for the second time to critically examine what is there.1 The research team who undertook this follow-up reconnaissance trip was made up of Professor S.M. Onuigbo, Head of the Institute of African Studies, UNN, Dr. Chukwuma Opata, Department of History and International Studies, UNN, Sidney Louis Davis, Fellow of the Catherine Acholonu Research Center (CARC), Professor Damian Opata, Department of English and Professor Catherine Acholonu, Head CARC. That visit opened the floodgates of knowledge, throwing up more than enough physical evidence that Prof Onuigbo, Head of the Institute of African Studies, who led the team; Professor Catherine Acholonu – Director, Catherine Acholonu Research Center, Abuja; Professor Damian Opata – Department of Literature, UNN; Dr. Sidney Louis Davis – Catherine Acholonu Research Center; Dr. Chukwuma Opata, Department of History, UNN.

(Professor Catherine Acholonu)
 

THE DISCOVERY

Lejja is housing the most ancient and most world-renowned Shrine of antiquity – a shrine known in all world mythologies as the Egyptian ‘Temple of the Sun’. Ancient Egyptian records say that the ‘Temple of the Sun’ is located in Heliopolis – ‘City of the Sun’ – a city lost in antiquity; which means that to find the Temple of the Sun is to find Egypt’s lost city of Heliopolis – the world’s most famous city of mythology – a city dedicated to the Olden God Amun/Atum-Ra, the Father of all Gods and Creator of men.
 
Lejja/Nsukka - The World’s Oldest Prehistoric Iron-smelting Technology Lejja is located in Old Nsukka division in Enugu State, in Igbo land, South-Eastern geopolitical zone of Nigeria in West Africa. It is one of the many communities in Old Nsukka that have evidence of Prehistoric iron smelting up to industrial proportions. Evidence abounds in these communities that a vast industry of iron smelting thrived in Old Nsukka involving entire populations of several communities. In these communities which include Orba, Opi, Umundu, Owerri-Elu, Eha, Agu, Isiakpu, Eguru, archaeologists have found evidence of prehistoric mining of iron ore as well as local furnaces used for smelting. Huge amounts of tuyere, charcoal and iron slag litter the villages, hills and streams, attesting that in the dim past, these villages and towns had developed a thriving iron smelting technology, and that Lejja, though the oldest by the current dating result, was not an isolated phenomenon in Enugu state.

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More about Catherine Acholonu: CLICK HERE

Nigerian Selected Among Africa’s Top 25 Emerging Women Leaders!

FOR IMMEDIATE RELEASE

Nigerian Selected Among Africa’s Top 25 Emerging Women Leaders!


(Obiocha Ikezogwo)


London, United Kingdom – May 29, 2013 – A Nigerian-born Briton, Obiocha Ikezogwo, has been recognised for her exemplary service leadership and social activism by the Moremi Initiative for Women’s Leadership in Africa. Beating over 2,000 candidates to win a place in the final 25, Obiocha’s nomination as a MILEAD Fellow sets the tone for this bright, young woman. She is the national representative for the UK, and is hopeful that this experience will enable her realise her vision for African womanhood, one in which “we are empowered at home, and respected abroad”.

With a First Class degree in Finance from the University of Manchester, Obiocha began her profession on the Graduate Leadership Programme at Centrica Plc. Her career flourished with high-profile assignments, including a position in Norway, where she developed strategic analysis of a $1.1 billion asset deal with Statoil. She returned to the UK to continue her career at Palantir Solutions, a leading provider of consulting and software services to the petroleum industry. As a Petroleum Economics Consultant, Obiocha values oil and gas projects from exploration to production, using her expertise in economic modelling, fiscal regimes, and portfolio optimisation to provide decision analysis that supports her clients’ investment decisions.

Having grown up in Nigeria amidst abject poverty, Obiocha champions the use of education to engender women’s economic and social independence. She has successfully mentored over 50 women and young people in positions of responsibility, and currently serves as a School Governor at the Harris Academy South Norwood, London.

Obiocha is a First Class graduate in Finance from the University of Manchester. Whilst at university, she dedicated her formative years to empowering her female peers, and in 2008, received the Manchester Leadership Award in recognition of her outstanding contribution to her wider community. She is now a mentor on the University’s Gold Mentoring Programme.

Citing herself as “an engineer of social justice”, Obiocha is dedicated to promoting the rights and causes of women in her community. Her passion for empowering African women led Obiocha to co-found ‘Yaaya’, a response to the social invisibility and negative stereotypes that shadow them in Europe. Established as a platform for women of African descent to share their achievements, stories, and ambitions, Yaaya aims to promote fairer and positive images of African women in European society. Her dream is for ‘Yaaya’ to inspire meaningful dialogue and action amongst organisations, governments, and civil society, on the issues of African women.

Looking ahead to the future, Obiocha hopes to complete her MBA at a prestigious European school. Post-MBA, she dreams of returning home to Nigeria, to serve her country in the efficient management of its natural resources. She is determined to “ensure that reserves are safely produced and piped back as cash resources into our economy, to alleviate poverty, elevate living standards, and at last, end our nation’s resource curse”

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Contact Obiocha on email: purityikezogwo@gmail.com
More on Moremi Initiative: http://www.moremiinitiative.org/milead-fellows/2013-milead-fellows

MAKE ME A DOORWAY



Three perspectives represented by the voice of one woman investigate the memory of a love lost while unerringly depicting the courage required to navigate a volatile gender gap.



Poet Alexzenia Davis explores perspective and intimacy during a rush of mixed media footage that visualizes the characteristics of time. The short film titled "Make me a Doorway" is an experimental collaboration with filmmaker Jesse RussellBrooks that investigates the memories of past relationships, what photography makes of love lost and how these reflections mysteriously transform us.




Jesse Russell Brooks

Jesse Russell Brooks was born in Accomack, Virginia and received a degree in English Literature from Virginia State University. As a professional, Jesse spent the immediate decade after graduating from school working in New York City as a Stage Manager and assistant director. His projects included Walt Disney’s The Lion King, Hedwig and the Angry Inch, The Who’s Tommy and multiple cultural events and large venue concerts. During a stay as a studio assistant for video artist Bill Viola Jesse began to develop and author work as a filmmaker and artist. Brooks now focuses primarily on creating experimental short film and video that includes documentary, video art and narrative.




Laila Petrone

Laila Petrone was born in London and is of Italian and Dominican decent. She is the daughter of famous actress Iris Peynado. Laila was a very busy child travelling often with her family between The UK and Rome, Italy. Her performances as an actress began very early. A notable appearance can be found within Luigi Magno’s historical masterpiece "State Buoni, Se Potete".

As a college undergrad Laila studied International Affairs & continued to engage the screen. She appeared as the damsel in distress for the popular Italian music video "Guantanamera" by Banda Bassotti. Laila has also appeared in the role of Pina for Spike Lee’s "Miracle at St' Anna" in 2007.

Laila Petrone holds a Master of Media and Communications from The University of Florence and presently is an assistant director and producer. 

Her credits now include the award winning short films “Elron”, “Mr. 7 Minutes” and most recently “Sweatshop Kid”. Laila has taken The 2nd Place Pitching Award at The Roma Fiction Festival and received The Black Reel Award 2012 for outstanding Independent on her short film “The Bluest Note”.







Film Credits

Edited & Directed by Jesse Russell Brooks
Written & Performed by Alexzenia Davis
Film & Videography: Len Mazzone
Sound Recordist: Paul Gonzales
This film is a compilation of three poems:
"Make Me," "My Silhouette," and "A Lady's Psyche"

Written by Alexzenia Davis
Models in order of appearance:
Woman #1 Erika Ewing
Woman #2 Alexzenia Davis
Woman #3 Laila Petrone
Film Festivals

Nova Cinema Brussels 2013
Cinethesia Feminist Film Festival 2013
New Voices in Black Cinema 2013
Post Alley Film Festival Seattle 2013
Visible Verse Poetry Festival Canada 2012
Black Women in Film festival 2012
Co-Kisser Poetry Festival 2012

Exhibitions
Galerie Chartier Connecticut 2013
The December Laboratory London 2013
The Cleveland Institute of Art 2012
Art Grease Buffalo New York 2012


MAKE ME A DOORWAY
ACTRESS & PRODUCER
LAILA PETRONE


For more information detailing the film “Make Me A Doorway”
Please contact:

AWE Awards 2013


 
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In most countries, women struggle for equal access to education, economic and political opportunities. Empowerment of women is one of the most effective drivers of human development.  African Women in Europe have had a share of challenges in foreign soil, but despite that, so many have been able to overcome challenges and realised their dreams.
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Many thanks to all those that have sent in their nominations or nominated a friend or colleague for this great award to acknowledge achievements and encourage one another.
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The closing date for AWE Awards 2013 nomination is the 31st of March. Looking at the list, we seem to have many nominees from UK.  AWE Team would like to encourage members from other parts of Europe to nominate African Women in Europe who are inspiring them, or deserve an award for the work they are doing for the community in their respective country of residence in Europe. Please follow the this link: http://africanwomenineuropeevents.wordpress.com/
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It is our desire to build a strong network of African women in the Diaspora to share experiences which will enable personal, professional, financial and spiritually growth. A workshop is organised from 1400hrs to 1700hrs entitled: Harnessing our Skills, Resources and Knowledge facilitated by Dr Wangui wa Goro who has a wide knowledge on issues affecting African Women in the Diaspora.
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Please continue nominating because all nominees will be listed down and because we believe in transparency, you will all know about this inspiring women!!
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We are also looking for sponsors and partners, if you would like to get involved with the event, please contact Wambui.Njau@africanwomenineurope.eu
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To book into the hotel, please email the hotel and quote the following Code: HR5 for the AWE hotel deal.
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Telephone:Jerusalem Necho | Special Events Co-ordinator
Holiday Inn London - Kensington Forum
97 Cromwell Road, London, SW7 4DN, United Kingdom
Direct: + 44 (0) 20 7341 3099
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TOGETHER WE ARE STRONG!
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Kind regards,
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AWE Team