Asar Imhotep

Asar Imhotep is a dynamic and passionate speaker who has mastered the art of translating inspiration into experience. Asar is the founder of the MOCHA-Versity Institute of Philosophy and Research based in (Houston, TX) which is a virtual network of scholars who uses the pedagogical framework entitled “Putting on your Thinking CAAP” (Creative Application of African Philosophy) to develop fresh and creative solutions to problems facing the African-American community. He is available to speak for conferences, Black Historical programs, spiritual gatherings, middle & high school classrooms, leadership retreats and just about any gathering where people are looking for new and creative solutions to modern problems, while being historically grounded. Below are a few of the major lecture topics currently being discussed by Asar Imhotep. However, new lectures can be produced that caters to your specific event theme.

Ancestrally, 

Asar Imhotep
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210.429.3823

CAAP

Current Lectures:

The Philosophy of Hip Hop Culture and the Utilization of African Languages in the reshaping of African-American Identity: The Case of the Bakala of North America

Abstract:This paper demonstrates how Hip Hop Culture and African languages were utilized in the construction of a new African-American (AA) identity. It is the author’s contention that AAs are in a cultural and identity crisis and it is these crises that prevent AAs from maximizing their creative, economic and political potential. Prominent researchers in the fields of Sociology and Psychology, such as Dr. Cheikh Anta Diop and Dr. Amos Wilson, realized this predicament in their early writings and both called for the “reconstruction of a new Afro-American identity” as a base solution for the issues that plague AAs. This calling, along with other events of history, inspired the author to create the African-American Cultural Development Project (AACDP) which seeks to restore/replace (aaluja) those elements of agency that were forcefully purged from African people during the Trans-Atlantic Slave Holocaust. One of those elements of agency was a meaningful identity-label created by the people themselves. Inspiration and models of excellence were found in the early Hip Hop movement which informed the methods used in this reconstruction process. This paper essentially argues that Hip Hop is a sovereignty movement and it is this movement which created space for a more critical nation-wide discourse on African-American identity and agency. It was decided early on that the new identity-label had to be a term that was firmly grounded in a shared African ontological framework and chosen from the languages formally spoken by the enslaved Africans on the continent. As a result, hundreds of African languages were surveyed and the name selected was Bakala and/or Nkal(a,e). During this process, the name was matched against an inventory of AA personality traits, values and themes collected by Dr. Wade Nobels and the author. From here we explore the social dynamics of such an identity and its potential impact on African-American ethnic solidarity, cultural expressiveness, economic and political development and its subsequent power relations..

Egyptian Hieroglyphics: A Catalyst for an African-American Scientific & Cultural Aaluja (restoration)

Abstract:

This paper will demonstrate how the study of Egyptian Hieroglyphs can stimulate creativity, fuel innovation and facilitate the continued discovery of processes found in nature that can be utilized to revitalize the African-American economic and political industries through science. Contrary to popular belief, hieroglyphs (mdw ntr) is more than a writing script, it is a pedagogical tool and method which teaches one how to be inspired by nature and how to imitate its functional genius in order to solve human problems more sustainably. In modern science this paradigm is called Biomimicry (coined by Janine Benyus). Many studies have demonstrated that the success of a people is intimately connected to culture. It is this presenter’s contention that the vitalization of African-American industry and agency will happen as a result of the (re)adoption of Mdw Ntr (Biomimicry) as a scientific and cultural value system, paradigm and practice. The objective of teaching Mdw Ntr is to attract more African-Americans into the "hard" sciences by appealing to their heritage. This is an open textured and open-ended project of recovery, reconstruction and effective application.

Method: 
This paper will utilize the comparative method used in historical comparative linguistics to get to the heart of the meaning of mdw ntr. A philological approach will be employed to verify the historical usage of mdw ntr as a scientific system in the ancient Egyptian and Greek records. This will be followed by living examples of how this methodology is employed in modern times with Fortune 500 businesses with suggestions of how African-Americans can utilize these techniques in all spheres life. 

Our Lineage: Egypt, Ifa, the Bible and the African-American
Linguistic and Cultural Links that Bind Us All

AbstractThis lecture will demonstrate—using evidence from the fields of anthropology, archeology, comparative religion and linguistics—that the people who created the spiritual systems of ancient Egypt, Judaism/Christianity and the Yoruba system of Ifa, in ancient times, belonged to the same cultural and linguistic community. These cultures shared the same religious iconography, deities, rituals and spiritual concepts. We will argue that due to differences in economic modes of production, and political and religious ideology, that the respective communities splintered to create their own autonomous groups which gave rise to the traditions under discussion. We will also demonstrate how African-American's (and many others in the Diaspora) share a genealogical relationship with all of the above mentioned groups by tracing the migration and trade routes of some of these ethnic groups and priests throughout Africa which lead them to the exact areas African-Americans were extracted from during the Trans-Atlantic enslavement period. A large part of our focus will also be on teaching the lay community some of the basic tools of analysis to enhance their personal studies so they can begin make connections for themselves.

Objective: To construct a singular cohesive narrative of the events that began at the start of the drying of the Sahara which initiated Pharaonic civilization, to the splintering of various ethnic and linguistic groups, to the religious and political motives which created the conditions for the trans-Atlantic slave trade. Clues to the piecing together of this fragmented story is codified in the rituals and mythologies of the cultures under examination.

Method: Our primary methods for analysis will be historical comparative linguistics, archeology, cultural anthropology and comparative religion. The field of linguistics helps us to penetrate into the depths of ancient mythology to discover what aspects of the myths are historical, and what aspects are created to provide simple explanations for world phenomena. Archeology provides the physical evidence to demonstrate the cultural continuum and migrations of African communities in ancient and modern times. Cultural anthropology and comparative religion will provide us the tools in which to interpret the cultural expressions, rituals and motifs that will allow us to get a better understanding of the similarities and differences between the various systems under examination.

Primary Sources: Ancient Roman, Biblical, Greek and Egyptian records; archeological findings by the likes of Dr. Felix Chami and others; Odu Ifa corpus; language dictionaries; literature written by African priests concerning their spiritual systems and oral traditions.

Khepera in Nigeria: The Presence of Egyptian Scientific and Religious Continuities in Odu Ifá

Abstract: Using primarily linguistic evidence, comparative religious data, as well as symbolic meanings of various signs and symbols, this paper seeks to highlight the conceptual, ritual and symbolic continuities between the Ancient Egyptian deity ḫpr/ ḫprw   (Tshiluba kapepu, kapepwela, ci-pepe-la) and the modern Yoruba spiritual system and deity known as Ifá/òpẹ̀lẹ̀ (Arabic ‘aaf, Minafa).  A detailed linguistic analysis reveals that Ifá is cognate with Egyptian ḫpr (with loss of - prefix and final r). Ḫpr (Kheper, Khepri, Khepera) is the ancient Egyptian personification of transformation, change, coming into being and existence. It is this aspect of coming into being that will be explored and compared in the Yoruba system of Ifá: a divinatory art which includes a literary corpus known as the Odú Ifá (Egyptian mdw ḫpr/ntr). Ifá is an oracle system that informs the client of what is to come (Egyptian ḫpr, Tshiluba ciVwa/ciVwaVwa “become/future ahead”) and what steps are needed to ensure favorable outcomes. 

Ifá (f-#) is a frame of thought that is practiced all over Africa (Dogon po pilu, Amazulu umThetho weMvwelo, Bakongo mFinda, mVunde) which I argue was personified in ancient Egypt as ḫprr (kh-p-r-r) and even in ancient Greece as the god Apollo (#-p-l-l) “the god of prophecy.” What we find is a consistency in thought and practice among many ancient African traditions and it is the modern forms that add symmetry and understanding to the Ancient Egyptian spiritual system I argue should be known as simply as ḫpr (Ifá). 

This paper also argues that ḫpr/ifá is the first human articulation of the theory of evolution in recorded history before Charles Darwin (1859). It is this scientific notion of evolution, transformation and change that is fully articulated in the Bakongo notion of the “Bantu V” as noted by Dr. Kimbwandende Bunseki Fu-Kiau in his seminal work African Cosmology of the Bantu-Kongo (2001). With this conceptual grounding we can no longer discuss Ancient Egyptian gods solely in terms of religious phenomena, but in terms of empirical scientific observation and taxonomy: ḫpr’s focus on astrophysical and biological evolutionary theory.

It is possible from this overview of the data to conclude that Khepera is the oldest and most wide-spread religion in Africa and in the Diaspora as a result of the Trans-Atlantic Slave Holocaust. Linguistic evidence suggests that the urheimat of this ancient practice and world-view is in the Sahara in Pre-Dynastic times. It is the result of the desertification of the once lush North Africa that caused a massive displacement of Africans to all corners of the continent (including the “Middle East” and Mediterranean)—carrying in the trunks of their minds and traditions the elements known today simply as Ifá. Studying the modern system of Ifá among the Yoruba may provide valuable insight into how to properly interpret Ancient Egyptian phenomena; especially ideas related to ḫpr

 

 

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Yafet Tewelde

Yafet Tewelde

Baba

Baba

Priest/Actor/Artist
Night Out

Night Out

My date's leftover plate
Mojo

Mojo

Musician/Singer
Love On

Love On

Soul Singer
Crossroads

Crossroads

Asar Imhotep
Kalia

Kalia

Behind the veil
The Light

The Light

Kalia Illuminated
Bobby

Bobby

Model
Those Eyes

Those Eyes

Bobby Mesmerizes
Dog pose

Dog pose

My friend's dog posing
Sister Bond

Sister Bond

What love looks like
Wine

Wine

Beauty

Beauty

Marco

Marco

Hip Hop & The Academy
Boss Lady

Boss Lady

Reincarnation

Reincarnation

Asar Imhotep
Nuff said

Nuff said

Tiff

Tiff

Dreamy Eyes
Dj Teon

Dj Teon

On the 1's & 2's
Cuteness

Cuteness

Pearls

Pearls

Nahad

Nahad

The Dr. is in
Essence

Essence

Ra

Ra

I'm a B-Boy
Sis Ray. . .

Sis Ray. . .

On loc down

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BANTU ORIGINS OF TYPHON OF GREECE

The Greek god Typhon ((/ˈtaɪfən/; Ancient Greek: Τυφῶν, Tuphōn, [typʰɔ̂ːn]), also Typhoeus (Τυφωεύς, Tuphōeus), Typhaon (Τυφάων, Tuphaōn) or Typhos (Τυφώς, Tuphōs) was the most deadly monster of Greek mythology. Wiki describes him as follows; 

Zeus battling the giant Typhon | Greek vase, Chalcidian black figure hydria

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SIMULACRUM & SIMULATION: A PHOTOGRAPHIC INTERPRETATION

intro

As many of my readers already know, within the past two years I have taken up the art of photography. I have been learning a lot and I think I am at the point now where I can start to combine my love for imagery with my love of philosophy. I am inspired by ancient African art, not only for its aesthetics, but for the symbolism for which each piece conveys.

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AFRICAN ORIGIN OF THE WORD "NIKE" -REVISED

The following paper is a preliminary examination of the Greek word Nike, which is more known to us in modern times as the name of the sports apparel conglomerate, but was historically known as the goddess of victory. I suggest in this essay that the word Nike “victory” is of Egyptian origin and that it can also be found in West Africa among the Yoruba as the god Ogun.

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KONGO AND ANCIENT EGYPTIAN CONNECTIONS: NDOKI

In our continuing discourse concerning ancient Egyptian ontological, philosophical and theological conceptualizations and correspondences with cultures found in modern Kongo, I’d like to take a brief moment to add to this ever expanding corpus of associations. Our concern in this brief note is with the Kikongo concept and lexeme ndoki.

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PER ANKH AND THE KONGO

In my 2011 book, _Passion of the Christ or Passion of Osiris: The Kongo Origins of the Jesus Myth_, I first introduced  the suggestion that the word /anx/ “Ankh” in ancient Egyptian was probably pronounced something like /nganga/ found in common Bantu (Niger-Congo) languages. This was based on linguistics in part, but more so based on a comparative cultural analysis. My recent discovery in November of 2012 that the hieroglyph, transliterated as /a/ in modern Egyptological discourses, was actually a /k/ sound, allows me now to reexamine some of my earlier analyses with fresh insights.I can say that my 2011 (2010) hypothesis is on more solid grounds and has major implications for the world of Kemetology.

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NOTES ON EGYPTIAN KA "SOUL"

EGYPTOLOGY NOTES #34: Those of us in the African school of the study of ciKam (Egypt) look to other African languages to help expand our knowledge of ancient Egyptian religious and cultural concepts that are not explicitly defined in Egyptian texts. One of those obscure concepts is known as the kA “soul” in ancient Egypt. As most of you know who follow my work, the grapheme transliterated as <A> in Egyptological literature, is actually an /l/ sound as in “Larry.” It can also double as a /r/. Thus, “ka” is more than likely not how you pronounce the term. The consonant cluster is /k-l/. By going into the inner African languages, we get a better understanding of the term.

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LINGUISTIC NOTES ON THE EGYPTIAN BA "SOUL"

EGYTOLOGY NOTES #35: On yesterday I spoke about the ciKam (Egyptian) concept of the /kA/ (k-l), which we have defined as “soul, will, self” based on comparative evidence from related languages. Today the same approach will be taken to help us understand another word for “soul” in Egyptian known as the bA. As noted previously, the grapheme transliterated as <A> (or 3) is actually an /l/ or /r/ sound. Therefore, “ba” is more than likely not how you pronounce the term; it would have a b-l consonant root (the Egyptians didn’t write their vowels). So here is the comparative data:

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THE ETYMOLOGY OF THE NAME YEMOJA AMONG THE YORUBA AND THE IFA TRADTION

To prevent a phenomenon called ‘folk-etymology’ in linguistic analyses, we do what we call a cross language comparison of terms to get at the core of their meanings that may be forgotten in one language or another. When it comes to names of deities, often a culture will forget the original meaning of the name, or they ‘forget’ because it never was a name that originated in their language. In other words, it is a borrowing. As a result of not knowing the true meaning of a term, a speech community will often try to analyze the name from within their language by trying to break the term down using words from their language that make sense to them. We in the Black community do this a lot, especially with the word “history” by trying to break it down into “His-Story.” This is an example of folk-etymology (etymology done by the common people with no knowledge of historical comparative linguistic methods for ascertaining the meaning of words).

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SOCIAL CONDITION OF WOMEN IN THE KINGDOM OF KUBA

Social Condition of Women in the Kingdom of Kuba 
(E. Torday and T.A. Joyce, 1910)

 

 

“The social position of Bushongo women is remarkable. The first personality in the kingdom is a woman, the queen-mother. Among the important people in the kingdom, women have two representatives and in the council of elders, there are several women.

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THE POWER OF GREETING

Women greeting each other in Mogadishu.
 

It’s interesting the West African philosophy of “greeting” someone in comparison to how we engage it, typically, in the U.S. In ancient Egypt, the God component of man, that spark of energy directly connected to the Greater Spirit, is called {kA} (Twi /okra/; Ga /kla/; Teke /nkira/) “soul.” In Coptic this is pronounced {ki} (in Jaba /kyu/). The front vowel caused a palatalization effect in other African languages. In Igbo it is pronounced {chi} and may be ultimately connected to the concept of “chi” in Chinese.

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THE AFRICAN CONNECTION BETWEEN LOVE AND FRIENDSHIP: LINGUISTICALLY.

In my eBook titled Where is the Love? How Language Can Reorient Us Back to Love’s Purpose (2013b), I sought to define love from an African and historical comparative linguistic standpoint. I came to the conclusion that love, ultimately, derives from a root that means “to extend one’s hand, to help, to aid”; thus making love a “verb.” There was another aspect of the overall conversation that centered on how indigenous African people conceptualized the human being, their attitude towards the person and how one’s significant other was to be viewed within the grand cosmological scheme of things. It is on the latter aspect of that discussion that I would like to elaborate on briefly here given the big upcoming “holiday” of Valentine’s Day, which is a good time for reflecting on intimate human relationships.

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A LINGUISTIC BREAKDOWN OF THE NETER SHU OF ANCIENT EGYPT

The following is a brief linguistic assessment of the signification of the neter (divinity) Šw (conventionally pronounced as [shu]) of ancient ciKam (km.t). However, before we turn to the Nile, we will start off in West Africa to provide a little clarity and context.

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ADAM AND EVE: DEMOTED EGYPTIAN GODS.

 

As I discussed in my 2013 work titled _Aaluja…_, in the ancient world, life was poetically considered the derivative of the union of a “sky-father” and “earth-mother” (with the exception of Kemet, which reversed the gender roles). A case in point is the Yoruba deity Obàtálá “the exalted king” or “The father on high,” who is a “sky” deity, and the “earth” goddess by the name of Odùduwà, from  Odù-ó da ùwà “Oracular utterances created existence.” Among the Fon, Ewe and Egun ethnic groups, the “sky” deity is Segbo (cf. Hebrew sagab “be inaccessibly high”; Yoruba òṣùgbó “exalted elders”) and the earth goddess is Sakpata (cf. Ga šikpón “earth”).

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A LINGUISTIC LOOK AT THE NOAH STORY

With the upcoming release of the film NOAH (2014) starring Russell Crowe (see trailer here:http://www.youtube.com/watch?v=_OSaJE2rqxU) , I felt it necessary to discuss one of the main themes of the film through the lens of comparative linguistics and religion. This brief note focuses on the ark built by Noah, and what the Hebrew name of the ark ultimately informs us about the storyline that might get missed by those who do not understand Hebrew.

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IS YOUR SPOUSE HOLDING YOU BACK FROM SUCCESS?

Research shows that behind every successful person, there is a strong supportive spouse. The correlation between business success and choosing the right spouse is so strong that people like Patti Novak suggests that choosing the right mate can make or break your success. Success means different things to different people. In this discussion, we will focus on business success as it relates to entrepreneurship and to see if there is a correlation between success in business and choosing the right mate.

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POSTURE AND MEANING: INTERPRETING EGYPTIAN ART THROUGH A KONGO CULTURAL LENS

I have been engaged in some recent debates concerning the possible relationship between ancient Egyptians and modern West African cultures. In the midst of the discussion I presented some images for comparison of West African art sculptures that resemble the Bes figure of ancient Egypt. In the midst of this debate I noticed something about the figures that may make an even stronger case for cross continental and cultural influence. If it wasn’t for the debate I probably wouldn’t have noticed this.

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EGYPTIAN A BANTU NATION, LITERALLY: RMT = LUNTU, SOME NOTES

These are just some notes to expand our understanding of the Ancient Egyptian word given as RMT(j), meaning ‘people’. This is clearly a Niger-Congo word and is rendered in Tshiluba as LUNTU. I will go with the convention of calling KMT ciKam espoused by the likes of Oscar Pfouma and Mubabinge Bilolo. It is becoming apparent that the terminating feminine -t suffix is actually a prefix with the sound value of TSTSH which in the Luba language becomes Ci, Tshi; and the letter D is read as Dye / Dje.

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THE AFRICAN-AMERICAN ADINKRA PROJECT

hug

The aim of the African-American Cultural Development Project (AACDP) is to develop a paradigm and framework for a shared African-American culture across the United States. For our purposes, culture stands on these four pillars: history, creative-motifcos-mythology and ethos. In this brief discussion we will focus on one aspect ofcreative-motif and that is symbolism. The purpose of this essay is to introduce one aspect of the cultural development project and that is the creation of our own African-American signs and symbols that function, in many ways, like the Adinkra symbols among the Akan of Ghana.

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Instrumental track for beat contest. I think this is Phunktacular! All Rights Reserved.
Cosmic Soul Musak
One of my House tracks. Still trying to perfect house.
Here is a good mix I did. A little house soul with dancehall riddims.

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Asar Imhotep is a computer programmer, Cultural Theorist and Africana researcher from Houston, TX whose research focus is the cultural, linguistic and philosophical links between the Ancient Egyptian civilizations and modern BaNtu cultures of central and South Africa.

He is the founder of the MOCHA-Versity Institute of Philosophy and Research and the Madu-Ndela Institute for the Advancement of Science and Culture. He is also the author of The Bakala of North America, the Living Suns of Vitality: In Search for a Meaningful Name for African-Americans, Passion of the Christ or Passion of Osiris: The Kongo Origins of the Jesus Myth, Where is the Love? How language can reorient us back to love's purpose, and Aaluja: Rescue, Reinterpretation and the Restoration of Major Ancient Egyptian Themes, Vol. 

Asar is a noted speaker and philosopher and is currently organizing efforts in a nation-wide venture titled The African-American Cultural Development Project—a national project aimed at creating a framework for an African-American culture which will help vitally stimulate the economic, political, scientific and cultural spheres of African-American life in the United States.

Asar has presented and submitted papers to such conferences as: 

•    National Council for Black Studies
•    National Association of Black Psychologists
•    NBUF National Conference
•    National Association of African American Studies
•    Free Minds, Free People National Conference
•    African-American Student Leadership Conference – Texas A&M
•    Women, Children, War and Violence Symposium – Texas Southern University
•    MAAFA featured speaker – New Orleans
•    African American Studies Research Symposium – University of Houston
•    ASCAC

 

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