Ebele Jane Uche-Nwakile is an old soul who reincarnated in this lifetime as the granddaughter of the late Chief Peter Nwakile Nwanolude "Ichie Ezenwaka" of Eastern Nigeria. Born in the age of Disco, Afros and Bellbottoms, she grew up with the works of Achebe, Nwapa, Okigbo, Senghor, Brutus, Tagore, Shakespeare, Neruda, Yeats and Gibran. Her poems have been published in such books and magazines as The Rustling Leaves, A Celebration of Poets, Uhuru and Pigs 'n Poets. As she journeys through this life, eagerly anticipating the future and the publication of her collection of poems and short stories, she is a student at Kent State University, Ohio.

Dike Okoro, a poet and fiction writer, is a candidate for the M.F.A degree in creative writing at Chicago State University. He has taught English at colleges/universities in Michigan and Illinois. His work has appeared in Warpland, Washington Review, African Spectrum, Chicago Defender, and Firefly Magazine.

Barthosa Nkurumeh as an artist works in diverse media. He received his formal art training at the University of Nigeria, synonymous with the Uli style, an established school in contemporary Nigerian art. Thus, until recently, his visual compositions were ornately textured and balanced with patterns borrowed from Uli body decorations, traditional wall paintings, carved doors, domestic and ritual objects. Since the 1970's, he has worked in several media including metal-smithing, sculpture, graphic design, printmaking and painting. His poems, drawings and articles have appeared in numerous publications including Contemporary African Art, and St. James Guide to Black Artists. The art of Barthosa Nkurumeh has been features in more than seventy art exhibition in several countries. The artist has completed a number of artist-in-residence programs and several art workshops and lectures for American schools, and museums. From 1993-2000, Nkurumeh taught art at Cheyney University and Clarion University, Pennsylvania. He attended Teachers College-Columbia University, New York for doctoral studies and he is now completing work on a Ph D in art education at the University of North Texas, Denton.

Azuka Nzegwu graduated from Binghamton University in May 2001 with honors in Africana Studies. She is a recipient of the Chancellor's Award for Student Excellence, an Honorable Mention in the USA TODAY All-Academic College Team, Bill and Melinda Gates Millennium Scholar, Faculty-Student Scholar, Empire Minority Scholar, and a member of Who's Who Among Students in American Colleges and Universities. She presented a paper on telecommunication at the 24th Annual New York State Africana Studies Conference at SUNY Cortland in April 2000. She also served as the President of Golden Key International Honour Society and Vice-President of Phi Eta Sigma National Honor Society. Azuka has been invited on numerous occasions to perform her poems both in the University and in the community. Her poem has appeared in A Prism of Thoughts.

He has been working in development in Africa for the past 10 years. His writing is strongly influenced by observation of African politics, both throughout the cold war period and into the current era of pseudo-democracy in Africa. He is the author of Cyclones of the Human Heart and The Shadow of Rainbow.

By Leah Johnson

When I left the States I was angry.  Openly angry.  I was angry about the past, present, and future that America represents.  I was angry about the wicked façade and double standard that America labors to maintain.  The first time that I really came to understand the efficacy of this notion was after the first few months in West Africa.  It became astonishing clear that just as in all of her previous days, America has continued to perpetuate a war of words and images which are used to assault the common sense of all suspecting and non-suspecting individuals.  The world outside the States is many times given the impression that America’s race relations have dramatically improved with the evidence being that there are many “minorities” in public, prominent positions.  Now that America has supposedly “grown up”, she seems to feel that she is morally qualified to lead the rest of the world into a new era.

An interview with Professor Nkiru Nzegwu. The article was first published in Thisday on August 1999.

In the U.S. there is hardly any such thing called "Nigerian art." People talk about African art, and when they get specific they talk about "Yoruba art," "Mende art," "Akan art," and so on. The idea of African art that is predominant in the United States is traditional art. It is seen as the only true authentic art of Africa, all others are seen as adulterated. There is a psychological investment in portraying Africa, its art and culture as backward and still in the dark ages. The value of the portrayal is that it amplifies the advanced, technologically-developed nature of Western culture.

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