Saki Mafundikwa: Ingenuity and elegance in ancient African alphabets

111,960 views ใƒป 2013-08-07

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Michael Coslovsky ืžื‘ืงืจ: Ido Dekkers
00:12
I moved back home 15 years ago
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ื—ื–ืจืชื™ ื”ื‘ื™ืชื” ืœืคื ื™ 15 ืฉื ื™ื
00:16
after a 20-year stay in the United States,
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ืœืื—ืจ ืฉื”ื™ื™ื” ืฉืœ 20 ืฉื ื™ื ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช,
00:19
and Africa called me back.
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ื•ืืคืจื™ืงื” ืงืจืื” ืœื™ ื—ื–ืจื”.
00:21
And I founded my country's first
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ื•ืื ื™ ื™ื™ืกื“ืชื™ ืืช ื”ืžื›ืœืœื” ื”ืจืืฉื•ื ื”
00:25
graphic design and new media college.
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ืœืขื™ืฆื•ื‘ ื’ืจืคื™ ื•ืžื“ื™ื” ื—ื“ืฉื” ื‘ืžื“ื™ื ื” ืฉืœื™.
00:27
And I called it the Zimbabwe Institute of Vigital Arts.
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ื•ืงืจืืชื™ ืœื” ื”ืžื›ื•ืŸ ืœืื•ืžื ื•ืช ื•ื•ื™ื’'ื™ื˜ืœื™ืช ืฉืœ ื–ื™ืžื‘ื‘ื•ืื”.
00:32
The idea, the dream, was really for a sort of Bauhaus
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ื”ืจืขื™ื•ืŸ, ื”ื—ืœื•ื, ื›ื™ื•ื•ืŸ ืœืžืขืฉื” ืœืื™ื–ื”ืฉื”ื• ื‘ื™ืช ืกืคืจ
00:36
sort of school where new ideas were interrogated
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ื‘ืื•ื”ืื•ืก ื‘ื• ืจืขื™ื•ื ื•ืช ื—ื“ืฉื™ื ื™ื™ื—ืงืจื•
00:41
and investigated,
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ื•ื™ื™ื‘ื—ื ื•,
00:44
the creation of a new visual language
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ืœื™ืฆื•ืจ ืฉืคื” ื•ื•ื™ื–ื•ืืœื™ืช ื—ื“ืฉื”
00:47
based on the African creative heritage.
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ืฉืชื”ื™ื” ืžื‘ื•ืกืกืช ืขืœ ื”ืžืกื•ืจืช ื”ื™ืฆื™ืจืชื™ืช ื”ืืคืจื™ืงืื™ืช.
00:52
We offer a two-year diploma
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ืื ื—ื ื• ืžืฆื™ืขื™ื ืชืขื•ื“ื” ื“ื•-ืฉื ืชื™ืช
00:55
to talented students who have successfully completed
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ืœืกื˜ื•ื“ื ื˜ื™ื ืžื•ื›ืฉืจื™ื ืืฉืจ ืกื™ื™ืžื• ื‘ื”ืฆืœื—ื”
00:59
their high school education.
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ืืช ื‘ื™ืช ื”ืกืคืจ ื”ืชื™ื›ื•ืŸ.
01:01
And typography's a very important part of the curriculum
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ื•ื˜ื™ืคื•ื’ืจืคื™ื” (ืกื™ื“ื•ืจ ื•ืขื™ืฆื•ื‘ ื˜ืงืกื˜) ื”ื™ื ื—ืœืง ื—ืฉื•ื‘ ื‘ื™ื•ืชืจ ืžืชื•ื›ื ื™ืช ื”ืœื™ืžื•ื“ื™ื
01:04
and we encourage our students to look inward for influence.
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ื•ืื ื• ืžืขื•ื“ื“ื™ื ืืช ื”ืกื˜ื•ื“ื ื˜ื™ื ืฉืœื ื• ืœื”ื‘ื™ื˜ ืคื ื™ืžื” ืข"ืž ืœืงื‘ืœ ื”ืฉืคืขื”.
01:09
Here's a poster designed by one of the students
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ื–ื”ื• ืคื•ืกื˜ืจ ืฉืขื•ืฆื‘ ืขืœ ื™ื“ื™ ืื—ื“ ื”ืกื˜ื•ื“ื ื˜ื™ื
01:11
under the theme "Education is a right."
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ืชื—ืช ื”ื ื•ืฉื "ื—ื™ื ื•ืš ื”ื•ื ื–ื›ื•ืช".
01:16
Some logos designed by my students.
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ื›ืžื” ืœื•ื’ื•ืื™ื ืฉืขื•ืฆื‘ื• ืขืœ ื™ื“ื™ ื”ืกื˜ื•ื“ื ื˜ื™ื ืฉืœื™.
01:20
Africa has had a long tradition of writing,
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ืœืืคืจื™ืงื” ื”ื™ืชื” ืžืกื•ืจืช ืืจื•ื›ื” ืฉืœ ื›ืชื™ื‘ื”,
01:24
but this is not such a well-known fact,
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ืื‘ืœ ื–ื• ืื™ื ื” ืขื•ื‘ื“ื” ืžื•ื›ืจืช ืžืื“,
01:26
and I wrote the book "Afrikan Alphabets" to address that.
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ื•ืื ื™ ื›ืชื‘ืชื™ ืืช ื”ืกืคืจ "ื›ืชื‘ื™ื ืืคืจื™ืงืื™ื" ืขืœ ื”ื ื•ืฉื.
01:30
The different types of writing in Africa,
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ื”ืกื•ื’ื™ื ื”ืฉื•ื ื™ื ืฉืœ ื›ืชื™ื‘ื” ื‘ืืคืจื™ืงื”,
01:34
first was proto-writing,
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ืงื•ื“ื ื”ื™ื” ืคืจื•ื˜ื•-ื›ืชื‘,
01:36
as illustrated by Nsibidi,
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ืฉืžื™ื•ืฆื’ ืขืœ ื™ื“ื™ ื ืกื™ื‘ื™ื“ื™,
01:38
which is the writing system of a secret society
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ืฉื”ื•ื ื”ื›ืชื‘ ืฉืœ ืื’ื•ื“ื” ืกื•ื“ื™ืช
01:41
of the Ejagham people in southern Nigeria.
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ืฉืœ ืื ืฉื™ ื”ืื’'ืื’-ื”ืื ื‘ื“ืจื•ื ื ื™ื’ืจื™ื”.
01:45
So it's a special-interest writing system.
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ืื– ื–ื”ื• ื›ืชื‘ ื‘ืขืœ ืื™ื ื˜ืจืก ืžื™ื•ื—ื“.
01:49
The Akan of people of Ghana and [Cote d'Ivoire]
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ืื ืฉื™ ื”ืืงืืŸ ืžื’ืื ื” ื•ืกื™ื™ืจื” ืœื™ืื•ืŸ
01:52
developed Adinkra symbols some 400 years ago,
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ืคื™ืชื—ื• ืกืžืœื™ ืื“ื™ื ืงืจื ืœืคื ื™ ื›-400 ืฉื ื”,
01:56
and these are proverbs, historical sayings,
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ื•ืืœื• ื”ื ืคืชื’ืžื™ื, ืืžื™ืจื•ืช ื”ื™ืกื˜ื•ืจื™ื•ืช,
02:00
objects, animals, plants,
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ืขืฆืžื™ื, ื‘ืขืœื™ ื—ื™ื™ื, ืฆืžื—ื™ื,
02:03
and my favorite Adinkra system
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ื•ืžืขืจื›ืช ื”ืื“ื™ื ืงืจื ื”ืื”ื•ื‘ื” ืขืœื™
02:05
is the first one at the top on the left.
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ื”ื™ื ื”ืจืืฉื•ื ื” ืœืžืขืœื” ื‘ืฆื“ ืฉืžืืœ.
02:07
It's called Sankofa.
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ืงื•ืจืื™ื ืœื” ืกืื ืงื•ืคื”.
02:08
It means, "Return and get it." Learn from the past.
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ื–ื” ืื•ืžืจ, "ื—ื–ื•ืจ ื•ืชื‘ื™ืŸ ืืช ื–ื”". ืœืžื“ ืžื”ืขื‘ืจ.
02:14
This pictograph by the Jokwe people of Angola
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ื”ืคื™ืงื˜ื•ื’ืจืฃ ื”ื–ื” ืฉืœ ืื ืฉื™ ื”ื’'ื•ืงื•ื•ื” ืžืื ื’ื•ืœื”
02:17
tells the story of the creation of the world.
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ืžืกืคืจ ืืช ืกื™ืคื•ืจ ื‘ืจื™ืืช ื”ืขื•ืœื.
02:21
At the top is God, at the bottom is man, mankind,
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ืœืžืขืœื” ืืœื•ื”ื™ื, ืœืžื˜ื” ื ืžืฆื ืื“ื, ื”ืื ื•ืฉื•ืช,
02:26
and on the left is the sun, on the right is the moon.
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ืžืฆื“ ืฉืžืืœ ื”ืฉืžืฉ, ื•ืžื™ืžื™ืŸ ื ืžืฆื ื”ื™ืจื—.
02:31
All the paths lead to and from God.
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ื›ืœ ื”ื“ืจื›ื™ื ืžื•ื‘ื™ืœื•ืช ืืœ ื•ืžื”ืืœื•ื”ื™ื.
02:35
These secret societies of the Yoruba, Kongo
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ื”ืชืจื‘ื•ื™ื•ืช ื”ืกื•ื“ื™ื•ืช ืฉืœ ื“ืชื•ืช ื”ื™ื•ืจื•ื‘ื”, ื”ืงื•ื ื’ื•
02:40
and Palo religions
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ื•ื”ืคืืœื•
02:42
in Nigeria, Congo and Angola respectively,
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ื‘ื ื™ื’ืจื™ื”, ืงื•ื ื’ื• ื•ืื ื’ื•ืœื” ื‘ื”ืชืืžื”,
02:46
developed this intricate writing system
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ืคื™ืชื—ื• ืืช ืžืขืจื›ืช ื”ื›ืชื‘ ื”ืžื•ืจื›ื‘ืช ื”ื–ื•
02:49
which is alive and well today in the New World
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ืฉื”ื™ื ื—ื™ื” ื•ื‘ื•ืขื˜ืช ื”ื™ื•ื ื‘ืขื•ืœื ื”ื—ื“ืฉ
02:53
in Cuba, Brazil and Trinidad and Haiti.
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ื‘ืงื•ื‘ื”, ื‘ืจื–ื™ืœ, ื˜ืจื™ื ื™ื“ื“ ื•ื”ืื™ื˜ื™.
02:59
In the rainforests of the Democratic Republic of Congo,
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ื‘ื™ืขืจื•ืช ื”ื’ืฉื ืฉืœ ื”ืจืคื•ื‘ืœื™ืงื” ื”ื“ืžื•ืงืจื˜ื™ืช ืฉืœ ืงื•ื ื’ื•,
03:03
in the Ituri society,
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ื‘ืชืจื‘ื•ืช ื”ืื™ื˜ื•ืจื™,
03:06
the men pound out a cloth out of a special tree,
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ื”ื’ื‘ืจื™ื ืžื™ื™ืฆืจื™ื ื‘ื“ ืžืกื•ื™ื ืชื•ืš ื—ื‘ื˜ื•ืช ื‘ืขืฅ ืžื™ื•ื—ื“,
03:09
and the women, who are also the praise singers,
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ื•ื”ื ืฉื™ื, ืฉื”ืŸ ื’ื ื–ืžืจื•ืช ื”ื”ืœืœ,
03:12
paint interweaving patterns
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ืžืฆื™ื™ืจื•ืช ื“ื•ื’ืžืื•ืช ืžืคื•ืชืœื•ืช
03:15
that are the same in structure
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ืฉื”ืŸ ื–ื”ื•ืช ื‘ืžื‘ื ื” ืฉืœื”ืŸ
03:18
as the polyphonic structures that they use in their singing --
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ืœืžื‘ื ื™ื ื”ืคื•ืœื™ืคื•ื ื™ื ื‘ื”ื ื”ืŸ ืžืฉืชืžืฉื•ืช ื‘ืฉื™ืจืชืŸ -
03:23
a sort of a musical score, if you may.
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ืžืขื™ืŸ ื“ืฃ ืชื•ื•ื™ื ืžื•ืกื™ืงืœื™ื™ื, ืื ืชืจืฆื•.
03:27
In South Africa, Ndebele women
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ื‘ื“ืจื•ื ืืคืจื™ืงื”, ื ืฉื•ืช ื”ื 'ื“ื‘ืœื”
03:29
use these symbols and other geometric patterns
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ืžืฉืชืžืฉื•ืช ื‘ืกืžืœื™ื ื”ืืœื” ื•ื‘ื“ื’ืžื™ื ื’ื™ืื•ืžื˜ืจื™ื™ื ื ื•ืกืคื™ื
03:33
to paint their homes in bright colors,
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ื‘ื›ื“ื™ ืœืฆื‘ื•ืข ืืช ื‘ืชื™ื”ืŸ ื‘ืฆื‘ืขื™ื ื‘ื”ื™ืจื™ื,
03:36
and the Zulu women use the symbols
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ื•ื ืฉื•ืช ื”ื–ื•ืœื• ืžืฉืชืžืฉื•ืช ื‘ืกืžืœื™ื
03:39
in the beads that they weave
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ื‘ื—ืจื•ื–ื™ื ืฉื”ืŸ ืฉื•ื–ืจื•ืช
03:41
into bracelets and necklaces.
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ืœื›ื“ื™ ืฆืžื™ื“ื™ื ื•ืฉืจืฉืจืื•ืช.
03:44
Ethiopia has had the longest tradition of writing,
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ืœืืชื™ื•ืคื™ื” ื”ื™ืชื” ื”ืžืกื•ืจืช ื”ืขืชื™ืงื” ื‘ื™ื•ืชืจ ืฉืœ ื›ืชื™ื‘ื”,
03:48
with the Ethiopic script that was developed
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ืขื ื”ื›ืชื‘ ื”ืืชื™ื•ืคื™ ืฉืคื•ืชื—
03:50
in the fourth century A.D.
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ื‘ืžืื” ื”ืจื‘ื™ืขื™ืช ืœืกืคื™ืจื”
03:52
and is used to write Amharic,
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ื•ื‘ื• ืžืฉืชืžืฉื™ื ื‘ืฉื‘ื™ืœ ืœื›ืชื•ื‘ ื‘ืืžื”ืจื™ืช,
03:55
which is spoken by over 24 million people.
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ื‘ื” ืžื“ื‘ืจื™ื ื™ื•ืชืจ ืž-24 ืžื™ืœื™ื•ื ื™ ื‘ื ื™-ืื“ื.
03:58
King Ibrahim Njoya of the Bamum Kingdom of Cameroon
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ื”ืžืœืš ืื™ื‘ืจื”ื™ื ื 'ื’'ื•ื™ื” ืฉืœ ืžืžืœื›ืช ื‘ืืžื•ื ืžืงืžืจื•ืŸ
04:03
developed Shรผ-mom at the age of 25.
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ืคื™ืชื— ืืช ื”ืฉื•-ืžื•ื ื‘ื’ื™ืœ 25.
04:06
Shรผ-mom is a writing system.
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ืฉื•-ืžื•ื ื”ื™ื ืžืขืจื›ืช ื›ืชื‘.
04:08
It's a syllabary. It's not exactly an alphabet.
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ื–ื• ืžืขืจื›ืช ื”ื‘ืจื•ืช. ื–ื” ืœื ื‘ื“ื™ื•ืง ืืœืฃ-ื‘ื™ืช.
04:11
And here we see three stages of development
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ื•ื›ืืŸ ืื ื—ื ื• ืจื•ืื™ื ืฉืœื•ืฉื” ืฉืœื‘ื™ ื”ืชืคืชื—ื•ืช
04:15
that it went through in 30 years.
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ืฉื”ื™ื ืขื‘ืจื” ืชื•ืš 30 ืฉื ื™ื.
04:19
The Vai people of Liberia had a long tradition of literacy
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ืœืื ืฉื™ ื”-ื•ื•ืื™ ืฉืœ ืœื™ื‘ืจื™ื” ื”ื™ืชื” ืžืกื•ืจืช ืืจื•ื›ื” ืฉืœ ื™ื“ื™ืขืช ืงืจื•ื ื•ื›ืชื•ื‘
04:25
before their first contact with Europeans in the 1800s.
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ืœืคื ื™ ื”ืžื’ืข ื”ืจืืฉื•ืŸ ืฉืœื”ื ืขื ืื™ืจื•ืคืื™ื ื‘ืžืื” ื”-19.
04:29
It's a syllabary and reads from left to right.
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ื–ื• ืžืขืจื›ืช ื”ื‘ืจื•ืช ื•ืงื•ืจืื™ื ืื•ืชื” ืžืฉืžืืœ ืœื™ืžื™ืŸ.
04:33
Next door, in Sierra Leone, the Mende
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ืžืžืฉ ืœื™ื“, ื‘ืกื™ื™ืจื” ืœื™ืื•ืŸ, ืื ืฉื™ ื”-ืžื ื“ื™
04:37
also developed a syllabary,
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ื’ื ืคื™ืชื—ื• ืžืขืจื›ืช ื”ื‘ืจื•ืช,
04:39
but theirs reads from right to left.
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ืื‘ืœ ืืช ืฉืœื”ื ืงื•ืจืื™ื ืžื™ืžื™ืŸ ืœืฉืžืืœ.
04:43
Africa has had a long tradition of design,
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ืœืืคืจื™ืงื” ื”ื™ืชื” ืžืกื•ืจืช ืืจื•ื›ื” ืฉืœ ืขื™ืฆื•ื‘,
04:46
a well-defined design sensibility,
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ืจื’ื™ืฉื•ืช ืขื™ืฆื•ื‘ื™ืช ืžื•ื’ื“ืจืช ื”ื™ื˜ื‘,
04:50
but the problem in Africa has been that,
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ืืš ื”ื‘ืขื™ื” ื‘ืืคืจื™ืงื” ื”ื™ืชื”,
04:52
especially today, designers in Africa
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ื•ื‘ืขื™ืงืจ ื›ื™ื•ื, ืžืขืฆื‘ื™ื ื‘ืืคืจื™ืงื”
04:55
struggle with all forms of design
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ื ืื‘ืงื™ื ื‘ื›ืœ ืกื•ื’ื™ ื”ืขื™ืฆื•ื‘
04:57
because they are more apt to look outward
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ื›ื™ื•ื•ืŸ ืฉื”ื ื ื•ื˜ื™ื ื™ื•ืชืจ ืœื”ืกืชื›ืœ ื”ื—ื•ืฆื”
05:02
for influence and inspiration.
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ืขื‘ื•ืจ ื”ืฉืคืขื” ื•ื”ืฉืจืื”.
05:04
The creative spirit in Africa, the creative tradition,
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ื”ืจื•ื— ื”ื™ืฆื™ืจืชื™ืช ื‘ืืคืจื™ืงื”, ื”ืžืกื•ืจืช ื”ื™ืฆื™ืจืชื™ืช,
05:08
is as potent as it has always been,
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ื”ื™ื ื—ื–ืงื” ื›ืคื™ ืฉืชืžื™ื“ ื”ื™ืชื”,
05:11
if only designers could look within.
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ืœื• ืจืง ืžืขืฆื‘ื™ื ื™ื›ื•ืœื™ื ื”ื™ื• ืœื”ืกืชื›ืœ ืคื ื™ืžื”.
05:15
This Ethiopic cross illustrates
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ื”ืฆืœื‘ ื”ืืชื™ื•ืคื™ ื”ื–ื” ืžื“ื’ื™ื
05:18
what Dr. Ron Eglash has established:
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ืืช ืžื” ืฉื“"ืจ ืจื•ืŸ ืื’ืœืฉ ื‘ื™ืกืก:
05:21
that Africa has a lot to contribute to computing
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ืฉืœืืคืจื™ืงื” ื™ืฉ ื”ืจื‘ื” ืžื” ืœืชืจื•ื ืœืžื—ืฉื•ื‘
05:25
and mathematics through their intuitive grasp of fractals.
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ื•ืœืžืชืžื˜ื™ืงื” ื“ืจืš ื”ืชืคื™ืกื” ื”ืื™ื ื•ืื™ื˜ื™ื‘ื™ืช ืฉืœื”ื ืฉืœ ืคืจืงื˜ืœื™ื.
05:30
Africans of antiquity created civilization,
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ื”ืืคืจื™ืงืื™ื ื”ืงื“ื•ืžื™ื ื™ืฆืจื• ืฆื™ื‘ื™ืœื™ื–ืฆื™ื”,
05:34
and their monuments, which still stand today,
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ื•ื”ืžืฆื‘ื•ืช ืฉืœื”ื, ืฉืขื“ื™ื™ืŸ ืขื•ืžื“ื•ืช ื›ื™ื•ื,
05:38
are a true testimony of their greatness.
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ื”ืŸ ืขื“ื•ืช ืืžื™ืชื™ืช ืœื’ื“ื•ืœืชืŸ.
05:41
Most probably, one of humanity's greatest achievements
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ืกื‘ื™ืจ ืœื”ื ื™ื— ืฉืื—ื“ ื”ื”ื™ืฉื’ื™ื ื”ื’ื“ื•ืœื™ื ื‘ื™ื•ืชืจ
05:45
is the invention of the alphabet,
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ืฉืœ ื”ืื ื•ืฉื•ืช ื”ื•ื ื”ืžืฆืืช ื”ื›ืชื‘,
05:48
and that has been attributed to Mesopotamia
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ื•ืืช ื–ื” ืžื™ื™ื—ืกื™ื ืœืžืกื•ืคื•ื˜ืžื™ื”
05:51
with their invention of cuneiform in 1600 BC,
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ืขื ื”ืžืฆืืชื ืืช ื›ืชื‘ ื”ื™ืชื“ื•ืช 1600 ืฉื ื™ื ืœืคื ื™ ื”ืกืคื™ืจื”,
05:57
followed by hieroglyphics in Egypt,
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ืฉืื—ืจื™ื• ื”ื’ื™ืข ื›ืชื‘ ื”ื—ืจื˜ื•ืžื™ื ื”ืžืฆืจื™,
06:01
and that story has been cast in stone as historical fact.
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ื•ื”ืกื™ืคื•ืจ ื”ื–ื” ืงื‘ื•ืข ื‘ืื‘ืŸ ื›ืขื•ื‘ื“ื” ื”ื™ืกื˜ื•ืจื™ืช.
06:06
That is, until 1998,
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ื–ืืช ืื•ืžืจืช, ืขื“ 1998,
06:09
when one Yale professor John Coleman Darnell
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ื›ืืฉืจ ืคืจื•ืคืกื•ืจ ืžืกื•ื™ื ืžื™ื™ืœ, ื’'ื•ืŸ ืงื•ืœืžืŸ ื“ืืจื ืœ
06:14
discovered these inscriptions in the Thebes desert
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ื’ื™ืœื” ืืช ื”ืจื™ืฉื•ืžื™ื ื”ืœืœื• ื‘ืžื“ื‘ืจ ืชื‘ืื™
06:17
on the limestone cliffs in western Egypt,
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ืขืœ ืฆื•ืงื™ ื”ื’ื™ืจ ื‘ืžืขืจื‘ ืžืฆืจื™ื™ื,
06:21
and these have been dated at between 1800 and 1900 B.C.,
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ื•ืืœื” ืชื•ืืจื›ื• ืœืกื‘ื™ื‘ื•ืช 1800 ืขื“ 1900 ืœืคื ื”"ืก,
06:27
centuries before Mesopotamia.
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ืžืื•ืช ืฉื ื™ื ืœืคื ื™ ืžืกื•ืคื•ื˜ืžื™ื”.
06:30
Called Wadi el-Hol
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ื™ื“ื•ืขื™ื ื‘ืฉื ื•ื•ืื“ื™ ืืœ-ื”ื•ืœ
06:33
because of the place that they were discovered,
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ืขืœ ืฉื ื”ืžืงื•ื ื‘ื• ื ืชื’ืœื•,
06:36
these inscriptions -- research is still going on,
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ืจื™ืฉื•ืžื™ื ืืœื• - ื”ืžื—ืงืจ ืขื“ื™ื™ืŸ ืžืžืฉื™ืš,
06:39
a few of them have been deciphered,
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ื—ืœืงื ืคื•ืขื ื—ื•,
06:42
but there is consensus among scholars
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ืื‘ืœ ื™ืฉ ืชืžื™ืžื•ืช ื“ืขื™ื ืืฆืœ ื”ื—ื•ืงืจื™ื
06:45
that this is really humanity's first alphabet.
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ืฉื–ื”ื• ืื›ืŸ ื”ืืœืฃ-ื‘ื™ืช ื”ืจืืฉื•ืŸ ืฉืœ ื”ืื ื•ืฉื•ืช.
06:50
Over here, you see a paleographic chart
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ื›ืืŸ ืืชื ืจื•ืื™ื ืชืจืฉื™ื ืคืœื™ืื•ื’ืจืคื™
06:53
that shows what has been deciphered so far,
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ื”ืžืจืื” ืืช ืžื” ืฉื›ื‘ืจ ืคื•ืขื ื—,
06:56
starting with the letter A, "ฤlep," at the top,
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ื”ื—ืœ ื‘ืื•ืช ื', ืœืžืขืœื”,
06:59
and "bรชt," in the middle, and so forth.
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ื•-ื‘', ื‘ืืžืฆืข, ื•ื›ืŸ ื”ืœืื”.
07:03
It is time that students of design in Africa
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ื”ื’ื™ืข ื”ื–ืžืŸ ืฉืกื˜ื•ื“ื ื˜ื™ื ืœืขื™ืฆื•ื‘ ื‘ืืคืจื™ืงื”
07:07
read the works of titans like Cheikh Anta Diop,
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ื™ืงืจืื• ืืช ื”ืขื‘ื•ื“ื•ืช ืฉืœ ื”ืขื ืงื™ื ื›ืžื• ืฆ'ื™ื™ืš ืื ื˜ื” ื“ื™ื•ืค,
07:11
Senegal's Cheikh Anta Diop,
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ืฆ'ื™ื™ืš ืื ื˜ื” ื“ื™ื•ืค ืžืกื ื’ืœ,
07:13
whose seminal work on Egypt is vindicated
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ืฉืขื‘ื•ื“ืชื• ื‘ืขืœืช ื”ื”ืฉืคืขื” ืขืœ ืžืฆืจื™ื™ื ืžื•ืฆื“ืงืช
07:16
by this discovery.
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ืขืœ ื™ื“ื™ ื’ื™ืœื•ื™ ื–ื”.
07:19
The last word goes to the great Jamaican leader
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ื”ืžื™ืœื” ื”ืื—ืจื•ื ื” ืžื’ื™ืขื” ืœืžื ื”ื™ื’ ื”ื’'ืžืื™ืงื ื™ ื”ื“ื’ื•ืœ
07:22
Marcus Mosiah Garvey
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ืžืจืงื•ืก ืžื•ืกื™ื™ืข ื’ืืจื•ื•ื™
07:24
and the Akan people of Ghana
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ื•ืื ืฉื™ ื”ืืงืืŸ ืžื’ืื ื”
07:28
with their Adinkra symbol Sankofa,
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ืขื ืกืžืœ ื”ืื“ื™ื ืงืจื” ืฉืœื”ื, ื”ืกื ืงื•ืคื”,
07:30
which encourages us to go to the past
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ืฉืžืขื•ื“ื“ ืื•ืชื ื• ืœืคื ื•ืช ืœืขื‘ืจ
07:32
so as to inform our present
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ื‘ื›ื“ื™ ืœื™ื™ื“ืข ืืช ื”ื”ื•ื•ื” ืฉืœื ื•
07:34
and build on a future for us and our children.
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ื•ื‘ื›ื“ื™ ืœืกืžื•ืš ืขืœ ืขืชื™ื“ ืœื ื• ื•ืœื™ืœื“ื™ื ื•.
07:39
It is also time that designers in Africa
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ื–ื”ื• ื’ื ื”ื–ืžืŸ ืฉืžืขืฆื‘ื™ื ื‘ืืคืจื™ืงื”
07:43
stop looking outside.
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ื™ืคืกื™ืงื• ืœื”ืกืชื›ืœ ื”ื—ื•ืฆื”.
07:46
They've been looking outward for a long time,
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ื”ื ื”ืกืชื›ืœื• ื”ื—ื•ืฆื” ื‘ืžืฉืš ื–ืžืŸ ืจื‘,
07:48
yet what they were looking for
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ืืš ืžื” ืฉื”ื ื—ื™ืคืฉื•
07:51
has been right there within grasp, right within them.
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ื”ื™ื” ื‘ื“ื™ื•ืง ืฉื ื‘ื˜ื•ื•ื— ื™ื“ื™ื”ื, ืžืžืฉ ื‘ืชื•ื›ื.
07:55
Thank you very much.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื.
07:57
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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