The Pan-African flag—also known as the UNIA flag, Afro-American flag, Black Liberation flag and various other names—is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The Universal Negro Improvement Association and African Communities League (UNIA-ACL) formally adopted it on August 13, 1920 in Article 39 of the Declaration of the Rights of the Negro Peoples of the World, during its month-long convention at Madison Square Garden in New York City. Variations of the flag can and have been used in various countries and territories in the Americas to represent Garveyist ideologies.

Frances Cress Welsing
Welsing receives Community Award at National Black LUV Festival on September 21, 2008
Born	Frances Luella Cress (1935-03-18)March 18, 1935 Chicago, Illinois, U.S.
Died	January 2, 2016(2016-01-02) (aged 80) Washington, D.C., U.S.
Alma mater	Antioch College (B.S.), Howard University (M.D.)
Occupation	Physician
Known for	The Isis Papers: The Keys to the Colors (1991)

Frances Cress Welsing (née Cress; March 18, 1935 – January 2, 2016) was an American Afrocentrist and psychiatrist. Her 1970 essay, The Cress Theory of Color-Confrontation and Racism (White Supremacy), offered her interpretation on the origins of what she described as white supremacy culture.

She was the author of The Isis Papers: The Keys to the Colors (1991). Welsing caused controversy after she said that homosexuality among African-Americans was a ploy by white males to decrease the black population.

Battle of Isandlwana
Part of the Anglo–Zulu War
A depiction of Lt's Melvill and Coghill fleeing the Battle of Isandlwana with the Queen's Colour, taken from the Illustrated London News.
Date 22 January 1879 Location Isandlwana, South Africa 28°21′32″S 30°39′9″E / 28.35889°S 30.65250°E / -28.35889; 30.65250 Result Zulu victory
Belligerents
British Empire	Zulu Kingdom
Commanders and leaders
Overall commander: Maj. Gen. Lord Chelmsford Subordinate commanders: Bvt. Lt-Col. Henry Pulleine † Bvt. Col. Anthony Durnford †	Overall commander: Ntshingwayo kaMahole Khoza Subordinate commanders: Vumindaba kaNthati Mavumengwana kaNdlela Zibhebhu kaMapitha
Strength
No.2 Column: British: 14 Native + colonial: c. 511 No.3 Column: British: 734 Native + colonial: c. 578 1,837 men total. In addition to the troops above, an indeterminate number of civilians (wagon drivers, servants, etc.) were also present.	Zulu Impi: about 20,000 c. 10,000 to 15,000 engaged Reserve: 4,000 to 5,000 to Rorke's Drift
Casualties and losses
Over 1,300 killed: 52 officers 727 British regulars 471 others including: 133 European Colonial troops 2 artillery pieces captured	Approx. 1,000–2,500 killed 2,000 wounded.

The Battle of Isandlwana (alternative spelling: Isandhlwana) on 22 January 1879 was the first major encounter in the Anglo–Zulu War between the British Empire and the Zulu Kingdom. Eleven days after the British commenced their invasion of Zululand in South Africa, a Zulu force of some 20,000 warriors attacked a portion of the British main column consisting of about 1,800 British, colonial and native troops and perhaps 400 civilians. The Zulus were equipped mainly with the traditional assegai iron spears and cow-hide shields, but also had a number of muskets and old rifles. The British and colonial troops were armed with the modern Martini-Henry breech-loading rifle and two 7-pounder (3-inch, 76 mm) mountain guns deployed as field guns, as well as a Hale rocket battery. Despite a vast disadvantage in weapons technology, the Zulus defeated the British, killing over 1,300 troops, including all those out on the forward firing line.

The battle was a decisive victory for the Zulus and caused the defeat of the first British invasion of Zululand. The British Army had suffered its worst defeat against an indigenous foe with vastly inferior military technology.

African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the native African, African diasporas, such as African American, Caribbean and other American art. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

Masquerade, metalwork, sculpture, architecture, fiber art, and dance are important art forms across Africa and may be included in the study of African art. The term "African art" does not usually include the art of the North African areas along the Mediterranean coast, as such areas had long been part of different traditions. For more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is also different from that of most of Africa, where traditional African religion (with Islam in the north) was dominant until relatively recently. African art includes ancient art, Muslim art of North and West Africa, the Christian art of East Africa, and the ritualistic art of these and other regions. Most African sculpture was historically in wood and other natural materials that have not survived from earlier than, at most, a few centuries ago; older pottery figures can be found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art". Since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed.

African mask art has had an important influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.

West African cultures developed bronze casting for reliefs, like the famous Benin Bronzes, to decorate palaces and for highly naturalistic royal heads from around the Bini town of Benin City, Edo State, in terracotta as well as metal, from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900; some apparently represent proverbs, contributing a narrative element rare in African sculpture; and royal regalia included impressive gold sculptured elements. Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces from wood with broad, flat surfaces and arms and legs shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.