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THE ANCIENT EGYPTIANS WERE BLACK

The genealogical chart in Genesis 10 lists Ham (Khem/ Khawm/Kam/Cham) as the paternal
father of the Black Afrikans and from these Afrikans originated Egypt, Babylon, Persia,
Kushites/Nubians. Ham had four sons: Cush (Ethiopia/Nubia), Mizraim (Egypt), Phut
(Libya/East Afrika), and Canaan (Palestine) (Genesis 10:6). The ancient Egyptians are identified
in the Bible as Hamites/Khemites (Psalm 106:21-22; 78:51; 105:27), and were descended
through the line of Mizraim which is the name given for Egypt in the Hebrew Old Testament.
"Kemet" is an ethnic term derived from the word Khem (Khawm/Cham/Ham) which means
burnt or Black. Ham, one of the three sons of Noah and the direct ancestor of the Egyptians, was
Black; moreover, the Bible repeatedly refers to Egypt as the Land of Khawm /Ham, and equates
Ham with Egypt. (Psalm. 78:51; 105: 23, 27; 106:21, 22). In other words, the Bible is calling
Egypt the Land of Black people.

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The ancient Egyptians called themselves KM or Kam-Au which means Black people or Black
God-people, and their country Kemet (Kamit /Khemit), which means land of the Black people
and the Black Land. The foreign word Egypt is derived from the Greek word Aigyptos /
Aegyptos which also means Black. However, Western historians, Egyptologists, and professors
disseminate the misinformation that the word Kemet only refers to the colour of the land which it
can, and not to the colour of its people which it does. These Egyptologists, scholars and
historians have deliberately manufactured this deception based partly on a section of Herodotus'
statement which says that Egypt is a land of Black soil; completely ignoring the fact that he also
said that the Egyptian people were Black.
Examine this sample of kings from the 1-5th dynasties of the early Egyptian period which many
historians suggest was dominated by white rulers.

(1) - 1st dynasty (3890 - 2686 BC). Narmer (Aha/Menes) was the first unifier of Upper and
Lower
Egypt.
(2) - 2nd dynasty (3890 - 2686 BC). Hotepsekhemwy. (3) - 3rd dynasty (2650 - 2575 BC).
Sanakhte was the first pharaoh of the third dynasty of ancient Egypt.
(4) - 4th dynasty (2575 - 2467 BC). Pharaoh Khufu was the second king of dynasty 4 of the
Old
Kingdom.
(5) - 5th dynasty (2465 - 2345 BC). Userkaf was the founder of the 5th Dynasty.
These professors and Egyptologists sought to deceive the world by painting the picture that
Egyptian civilization was created by the people who originally came from Asia, yet no Asian

parent can be found anywhere. There are no buildings, writings, or cultural material to provide
the evidence that anything came from Asia that could have produced what was found in Egypt,
but on the other hand, there is plenty of evidence which clearly point to the fact that the reverse
was true, including these words from the Egyptians themselves. "We came from the source of
the Nile, the foothills of the mountains of the moon" . A map will show that they either
came from Ethiopia or Uganda, so taking the Egyptians own words as to where they came from,
that would be the hinterlands of Afrika, up river, up the Nile, near either Mount Ruwenzori or
Mount Kilimanjaro, which would take them either into Ethiopia or the Uganda, Kenya, Tanzania
areas.
The Egyptians used only one term to describe themselves - KM(T) - which literally means
Black men. The term represents a collective noun which describes the whole people of Pharaonic
Egypt as a Black people, and this is the strongest term existing in the Pharaonic language that
indicates Blackness.
Note the carving on the hieroglyph below where on the left centre there is a symbol that looks
like a little stair step which is the hieroglyphic emblem or Medu Netjer symbol for KM. The
symbol that looks like half a ball is the hieroglyph for T, and from these you get KMT (Kemet)
and terms like chemistry, chemical, Kham. The symbol is enlarged and shown again separately
on the right for clarity.

So KMT is the strongest word in the Egyptian language for Black, but in addition, note that there
are also two little people sitting beside this symbol which indicates that it is referring to Black
People, that is, the Black people of the Black land. So the Egyptians have given us a physical
description as well as the term they used to call themselves, in their own words - KMT Black people.
Note that the Egyptians made no distinction between themselves and the Nubians in the temple
or in the tomb of Rameses III. The one on the left is Nubian; the one in the middle between the
Semite and the Asian is Egyptian. This clearly shows that the Nubian and the Egyptian are
identical to each other in physical type, which is the reason they are portrayed as BLACK.

The original people of Kemet never depicted themselves as Asian or European types, and are
never shown with white or pale skin on any of the authentic artefacts until the foreign period.
So there is more than enough Biblical proof supporting the Black origin of Egypt, but even in
modern times there was an extensive range of techniques utilized by Dr. Cheik Anta Diop in the
course of his Black-Egyptian efforts which included: accurate bone structure measurements and
meticulous studies in the many related areas of anatomy and physical anthropology; examination
of the epidermis of the mummies of Egyptian kings to verify their melanin content; comparing
modern Egyptian and West Afrikan blood-types; detailed Black-Egyptian linguistic studies, the
authentication of clear Black-Egyptian cultural traits; the writings of early Greek and Roman
travellers as well as other scholars who described the physical characteristics of the ancient
Egyptians as pure unmixed Blacks.

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When the original Egyptians were at the pinnacle of their glory they were not a mixed group by
any stretch of the imagination. This mixing occurred during the middle dynasties in particular,
when foreign people migrated to this great land and started intermarrying, and this may have
triggered the downfall of this great Black Civilization.
Of course White supremacists, professors, scholars, historians and so on want you to believe that
it was the other way around, that Egypt was originally a white nation until Blacks arrived and
intermixed especially during the final dynasties like the 18th, resulting in the destruction of
Egypt and causing Egypt to become a decadent and degenerate society because of this heavy
infiltration of Black blood. They have even created a rule of thumb which states that any
civilized white country will revert to a lower level of culture once the population becomes
excessively mixed with alien genes. Portugal is sited as an example, but of course they will not
point out that when practically all of Europe was living in the dark ages, the Black Moors
returned to uplift and bring them out of their barbaric state and back into the light again,
restoring some semblance of civility, just as they had done before.
Naturally modern Egypt would have changed considerably as a result of the waves of invasions
by the Arabs and other foreign people, and this would have impacted heavily on the colour
variations of the present region, but white Egyptologists only focus on the most recent world of
the white and mixed people of the Greco-Roman period, erroneously teaching that the ancient
Egyptians had always looked that way physically. This is like trying to prove that ancient
America has always looked like the present day white population.

In fact, when white people visit Egypt today, the locals immediately recognize them as
Khawaaga which means foreigners, but when Afrikan Americans visit they are often mistaken
for native Egyptians and referred to as Masri or Egyptians. This is because. Egypt is, and always
has been a Black Afrikan nation.
Since the Cairo Symposium of 1974, the Caucasoid origins of Egypt along with the western
Asiatic theory have gradually been abandoned in most scholarly writings, which have been
replaced by a new mixed race perspective without offering any significant evidence to
support this new hypothesis, yet these far-fetched ideas continue to flourish in the popular media
like television, modern paintings, cartoons, comic books and museum exhibits, which focus only
on the foreign period of Greco-Roman occupation that signalled the fall of the great Black
Egyptian empire.

For decades, the National Geographic Magazine has played a key function in the
misrepresentation of ancient Egyptian images. It started with a "so called" authoritative scholarly
article issued in October 1941 which contained over 20 paintings by H. Herget, showing wild
fantasy drawings of pale-skinned ancient Egyptians, and short Afrikans called "Deng" in
Egyptian but "Pygmy" by modern Westerners, as an obscene caricature with a leash around the
ankle, Black skin, ridiculously large red lips resembling an ape-like creature. The supporting text
was prepared by William Hayes from the Metropolitan Museum of Art in New York. This most
vile and absurd anti-Black painting from that 1941 series shows that the editors of the National
Geographic, which has set the standard and continues to be a leader in publicizing make-believe
Caucasian images of ancient Egyptians, including modern day publishers who still use these
images, are completely shameless in their racist representations of Black people.
Euro-American scholars continue to use these ridiculously outrageous images today as
illustrations in their publications to enhance their scholastic writings. Clearly this ongoing fraud
and deliberate misrepresentation of ancient images demonstrate the persistent attempt to continue
denigrating Black people.
Edomites represent a group of whites which descended from an albino named Esau who was
born ruddy (red) and hairy according to the Bible. (Gen. 25:25) The Bible also refers to white
skin as a condition of leprosy (Num. 12:10-12, Lev. 13) and states that a race of people, (the
Gahazites), was born white due to being cursed! (II Kings 5:27). In fact it was covetousness on
the part of Gehazi that caused him to become cursed and converted to white for lying to Elisha
after he had taken money and gifts from Naaman, the captain of the Syrian Army. "Therefore
the leprosy of Na'aman shall cling to you and to your descendants forever. Then Gehazi
went from Elisha's presence and he was as white as snow."
The Bible shows the true origins of the white race, where greed and covetousness, proved to be
responsible for the conversion of Gehazi and all his offspring from Black to white forever.
The ancient Egyptians recorded the Tamahu which means created white people, and early
Egyptian writings generally refer to whites as Typhonians (white devils). There was a migration
of Afrikan Albinos northward to what is present day Europe, but remember that during Biblical

times Europe was a part of Afrika until the Europeans designated and divided Afrika into the
regions of Europe and the Middle East.
After these white devils were first released into the Black community in the Near East some
6000 years ago, they caused severe strife, so they were rounded up by the Afrikans, stripped of
everything, and exiled to the caves and hills of the Caucasus Mountains.
So being totally cut off from civilization, these whites degenerated into uncivilized, nomadic
savages, staying that way until about 2000 B.C. when numerous hordes of white barbarians
suddenly left the Caucasus region and stormed all the Black centres of civilization throughout
Mesopotamia, the Near East, Afrika and India, destroying and usurping them.
In other words, the arrival of the white man signalled the destruction of these ancient
civilizations and the beginning of the white man's rise to power. The word Caucasian may have
been derived from Caucasus, the mountain region where these people were held.
In depicting themselves through their art, the ancient Egyptians used brown paint to indicate
Black skin, as illustrated in this painting. Black signifies Sacred, holy, powerful, reborn or
resurrection.
Yellow skin is the traditional colour used to paint women, as it indicates a physical weakness in

comparison with the man, as depicted in the painting on the right.


Politically speaking this was not the case with Egyptian women, since they were regarded as
equals. Note the man with a brown skin complexion while the woman has a yellow skin.
However, after the revolution of Akhenaten, social equality was rendered by painting both the
male and the female in the same brown hue as seen in the image on the right.
Black paint indicates authority or power as illustrated in this example featuring Amhose
Nefertari on the left, who is portrayed with black skin.

In the painting on the right, the God Ptah is rendered in blue which indicates that
he is a god of creation and regeneration, while Tutankhamen, who is being
reborn, is shown changing from brown to black which represents the colour of
transformation
and
resurrection.
The
white
skin
colour
in

Egyptian art represents a recently deceased person as illustrated in the painting on the left.
The flesh tone of the gods is represented by a gold colour as shown in this rendition of the
goddess
Hathor
on
the
right.
On this statuette, note the golden colour of the Goddess Isis and the
brown/black colour of Horus her son which is found in the Cairo Museum.
Original Black Afrikan images on the ancient Egyptian temple walls are
generally removed and hidden from the view of visitors, since the average
tourist does not explore beyond the fixed tourist route where the Black Afrikan
images are located, so tour guides, who are typically Arabs, tend to steer the
visitors along the same temple routes, pointing out only the carefully selected
images. Tourists do not get to see all the sections of the vast Karnak Temple
complex, which also includes an open-air museum, statues, wall carvings,
shrines, smaller temples and halls.
The underlying objective of these groups of conspirators is to erase all memory of a Black
Afrikan Egypt by attempting to eliminate as many Negroid images from the ancient Egyptian
historical records as possible. This is in harmony with the views of the racist Egyptologists from
the 19th and early 20th century who concocted the ridiculous arguments that Black people did
not have any place in ancient Egypt, while trying to convince a gullible world that Egypt was
established by a white or Semitic race.
These speculative arguments were rampant among Egyptologists and became the inspiration for
H. M. Hergets 1941 National Geographic Magazine paintings of pale-skinned Egyptians, as
well as the invented white images of Egyptians created by Hollywood, that still continue to
mislead the public 50 years later.
The range of techniques used to change or deface the Negroid images include skilfully altering
the structure of the noses on statues by using some sort of sanding machine; adding false noses;
remaking or destroying the faces on tomb and temple walls; lightening the colour of the face and
body paint on statues and paintings; completely removing the paint on statues and paintings to
make them look white; destruction of the lower facial structure like the chin and jaw areas;
inserting false bluish inlaid eyes; plastering white cement on top of temple images during
conservation work; and producing outright forgeries.

Clearly these acts involve more than simply knocking off


the noses of statues, as they entail a more widespread
assault on ancient Black images.
Note the facial damage done to these statuettes from the
Valley of the Kings tomb, a usual pattern used in the
intensive effort to destroy Black images.
This
original
wall
surface on the right was totally
destroyed and then plastered over with
white
cement.
On the left a modern Egyptian
government worker is posing in front of
the
extensive wall damage just created.
Take a look at the evidence of this
destructive action such as the scaffolding, piles of wall material, tools, mixing water,
and a bag of white cement used to paste over the wall surface after the images and
inscriptions are broken away.
In the 1st image below, the face of Rameses II has been completely obliterated, while in the 2nd
image a line was intentionally chiselled through the face of Rameses II in an effort to alter the
shape of his nose. Now compare the war helmet of Rameses II to the head of a native Black
Afrikan Tutsi.

This
granite
statuette
inscribed
with the name of the famous Queen
Tetisheri was one of the forgeries of
the 19th century, with its European facial features.

This used to be exhibited around the world until it was suspected to be a forgery around 1984,
but not before it had fooled the experts and duped the world for a century. This world renowned
statuette is now accepted to be a modern fake.
Here, the administrators of an Italian museum gave Thutmosis III (right) a
new nose job in a extreme attempt to modify his racial appearance.

The Rahotep and Nofret statues on the left are seated in chairs with Medu
Neter inscriptions near the heads. These statues are now believed to be among
the greatest forgeries in the history of ancient
Afrikan archaeology.
This statue on the right from the Tomb of
Ikhetneb has lost practically all of its original
paint on the faces and upper body, though enough
of the original paint is still apparent on the legs and feet. Clearly, the
dark paint was intentionally removed from the face and
upper body areas to give the images the illusion of a whiteskin appearance.
Remember that museum artefacts are generally handled,
restored, worked on and repaired behind the scenes prior to being displayed in public,
and the period between the initial excavation of an artefact and the time it is displayed
can last for several years, during which time countless changes are deliberately made to
the statues and paintings. Most can be detected through a careful inspection of the
ancient Egyptian artefacts with racial images in any collection or museum, where the
majority of items will be recognized as having been tampered with, re-worked to
modify or conceal the racial identity, thoroughly de-Afrikanized or transformed from
Afrikan to European or some other mixed group type.
A diverse but extensive group which performs the behind-the-scenes work, in addition
to conspiring to carry out these vicious acts of destruction, alteration and invention,
involves archaeologists, Egyptologists, government workers, (who dig up, record, and
decide the fate of the artefacts); restoration and conservation workers, (who restore and
piece together the broken artefacts); museum workers and officials (who comprise the
final group that handles the artefacts before they are displayed publicly); European travellers and
adventurers, (who consist of looters, treasure hunters and plunderers). During the 19th century, a
considerable number of ancient Egyptian artefacts were excavated but not adequately
documented with on-site photos and detailed descriptions, which have now become the accepted
practice within the archaeological arena.
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John Moore - Barbados, W.I. (Updated January 2006) . All rights reserved.

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