A brief review of recent findings at Qubbet El Hawa in Aswan, which was Ta-Seti in Kemetic times. The first nome was Ta-Seti.
New Evidence From Aswan Further Proves That Old Kingdom Kemet Was Black
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Category Archives: All about Egypt
Ethiopia and the African Origin of Kemet
Did Ethiopia lay the foundation for Ancient Egypt? 🌍 In this deep dive, Dr. Perry Kyles breaks down the crucial relationship between Ethiopia, the Nile River, and the rise of Kemet. From linguistic and genetic evidence to historical texts from Homer and Diodorus Siculus, we explore how Ethiopian civilization shaped the spiritual, intellectual, and cultural legacy of Ancient Egypt.
Rain Inside the Grand Egyptian Museum: Stewardship and the Question of Trust
The conversation delves into the significance of the Grand Egyptian Museum, its architectural design, and the implications of rainwater intrusion on public perception and artifact preservation. It highlights the importance of transparency and public confidence in Egypt’s stewardship of its cultural heritage, especially in the context of claims for the return of artifacts like the Rosetta Stone.
Egypt Wants The Rosetta Stone Returned
Perry Kyles, PhD discusses the ongoing debate surrounding the return of the Rosetta Stone to Egypt, emphasizing the importance of preservation and stewardship of cultural artifacts.
He explores the historical context of Kemet’s heritage, highlighting the destruction and alteration of monuments over time. Kyles argues that the true home of a monument is where it is cherished and protected, rather than where it was historically located. He concludes that the Rosetta Stone is currently safest in the British Museum, advocating for a commitment to preservation as the key to restoring true heritage.
#rosettastone #ancientegypt #artifacts #blackhistory #africa #kemet #colonialism #foundationalblackamerican
Kemet Lives Through Black America
Perry Kyles emphasizes the importance of celebrating Black identity and the historical legacy of Kemet.
He argues that Black Americans carry ancestral memory and should recognize their rightful place in history without needing validation through bloodlines or DNA tests. Kyles asserts that Blackness is a throne, a declaration of identity, and a continuity that transcends time and oppression. He encourages listeners to embrace their heritage unapologetically and to understand that they are not merely visitors in history but rightful heirs to a rich legacy.
Dr. Kyles @ The Hatshepsut Temple and the Mentuhotep ll Temple…THROWBACK THURSDAYS (Video
Dr. Kyles @ The Hatshepsut Temple and the Mentuhotep ll Temple…THROWBACK THURSDAYS
In this video, Dr. Perry Kyles discusses Hatshepsut’s successes and her appreciation for the Middle Kingdom king Mentuhotep ll. #kemet #newkingdom #middlekingdom #ancientegypt #foundationalblackamerican #egipt #blackhistory #women #blackwoman #hatshepsut
Amenahat’s Capstone To His Black Pyramid (Video)
Amenahat’s Capstone To His Black Pyramid
Amenemhat III—one of the greatest kings of the Middle Kingdom—left behind monuments that still challenge our understanding of engineering, aesthetics, and royal power. This brief video takes you inside the Cairo Museum for an up-close look at the capstone from his Hawara pyramid, a rare surviving piece of an ancient architectural masterpiece.
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What you’re looking at is more than stone. It’s a symbol of perfected mathematics, royal authority, and the quiet genius of Middle Kingdom Kemet.
Scenes From Hatshepsut’s Temple In Deir el-Bahari In Luxor, Egypt (Video)
Scenes From Hatshepsut’s Temple In Deir el-Bahari In Luxor, Egypt
Hatshepsut didn’t just build a temple — she carved an idea into the cliffs of Luxor. She rose to the throne of Kemet and declared her divine right to rule. This sacred terrace is her stage, her sanctuary, and her architectural masterpiece.
In this video, you’ll step inside her world with me. This isn’t just a tour clip — it’s a window into the mind of one of the greatest leaders to ever shape human history. Press play and feel the power of Hatshepsut for yourself.
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BLACKS & CHRISTIANS MAINTAINED THE LEGACY OF KEMET (Video)
BLACKS & CHRISTIANS MAINTAINED THE LEGACY OF KEMET
In the last decade, a new confidence has swept through some circles in modern Misr. You hear it online, in the streets, in the cafés, and especially in the comment sections: “We are the Pharaohs. We built the pyramids. Kemet is ours.” These declarations come with an air of certainty so intense that anyone who questions them is treated as an enemy, especially if that person is a Black descendant of the African civilizations that shaped the Nile Valley long before Arabic even existed.
But let us speak plainly: this is a retroactive claim, not a historical one. It is a nationalistic costume worn today, not a cultural inheritance preserved over the centuries. And the historical record — the actual documented behavior of the rulers and populations of Misr for over a thousand years — exposes the truth with clarity.
For most of their history under Arab rule, the people now claiming Kemet did not love it, did not protect it, and did not identify with it. The ancient temples, pyramids, statues, and sacred spaces that the world reveres today were, for centuries, treated not as cultural treasures but as pagan remains. The modern claims only became loud once Kemet became profitable — once tourists, scholars, and the global imagination elevated these relics to world significance.
To understand how deep the disconnect truly is, consider the most striking example: Al-Aziz Uthman, the son of Salah al-Din. In the 1190s, he ordered his men to destroy the pyramids, beginning with the Pyramid of Menkaure. This was not an accident. It was not neglect. It was a deliberate attempt to erase the civilization that many in Misr today suddenly insist they descend from. His workers tried for months, chiseling away at casing stones that ancient Africans had engineered far beyond the abilities of their medieval attackers. They failed, but the scars they left on the pyramid remain as a permanent record of their contempt.
This episode is not an isolated moment of fanaticism. It reflects exactly how ancient Egypt was viewed by the rulers of Misr for centuries. Pyramids were seen as monuments of disbelief. Temples were considered places of sorcery. Hieroglyphs were believed to be magical spells. The ancient Egyptian language was allowed to die without a single institution stepping forward to preserve it. The culture that modern Egypt markets to the world existed, for most of Arab Egypt’s history, in the shadows — unloved, unclaimed, and undefended.
And while this neglect was unfolding in Misr, there were three groups who kept the flame of Kemet alive.
First, the Coptic Egyptians, whose language is the last surviving form of ancient Egyptian, preserved in their church liturgy long after official institutions abandoned it. The Copts carried linguistic DNA that links directly back to the temple walls.
Second, the Nubians, whose kingdoms continued building pyramids and honoring Nile valley traditions long after Egypt had turned away from its own past. In many ways, Nubia preserved the spirit of Kemet more faithfully than Cairo did for centuries.
Third — and perhaps most ironically — Black people across the African diaspora, especially in the United States and the Caribbean, defended Kemet’s African identity when almost no one else cared. Frederick Douglass, Martin Delany, and later generations of Afrocentric scholars honored and studied Kemet at a time when many Egyptians were still afraid to walk inside a temple at night.
So when certain voices in modern Misr declare an intellectual war on Black people for acknowledging the African roots of Kemet, they are waging war on historical truth. They are attacking the very communities that preserved the memory they now attempt to monopolize. And they are claiming a heritage their own ancestors tried to bury, tear down, or ignore.
Modern Egyptians have every right to take pride in the monuments that stand on their soil. Pride is human. Nationalism is powerful. But pride does not rewrite history. Geography does not equal lineage. And shouting does not create a connection where centuries of cultural rejection left a void.
Kemet was never “lost.”
It was ignored — until the world reminded Misr what stood in its own backyard.
The people who now try to silence Black voices speaking on Kemet have inherited a land, not a tradition. Yet they direct their hostility not toward the erasure committed by medieval rulers, not toward the colonial powers who stole monuments and mummies, but toward the very descendants of the African world that gave Kemet birth.
If they insist on intellectual war, then the battlefield will be history itself — and history is not on their side
Kemet Emerged From Nubia: The Evidence
This presentation was inspired by the Sudanese people that I met while in Egypt. They know they that are the true descendants of the pharaohs, however the modern Egyptians are darn near ready to fight when the truth of Kemet’s African origins is mentioned. I’ll address their reasons for this is another presentation. Today, I’ll make it clear that the pharaonic culture came into Egypt from the place that the Arabs named Sudan, which in Arabic means “Land of the Blacks”. You might also want to see my video called “Ethiopia and The Gift of the Nile”. I’ll put the link in the description box.
There are a few important details that it would benefit you to know. Firstly, the Africans of Sudan fought off the Romans that ruled Egypt after the Greeks. Also, Sudan fought off the Arab hordes until the early 16th century – nearly 1000 years after Egypt gave way to the Arabs.
The second detail of extreme importance is that there is a hugely significant difference between the borders of Ancient Kemet with Ancient Nubia, and the border of modern Egypt with modern Sudan. Borders in Antiquity were not as rigid as they are today. Throughout most of Ancient History the border between these two lands was the 1st Cataract. In 1899 Arabic Egypt, along with their British overlords, moved the border 168 miles/270 kilometers south into Sudan. Consequently, land that had been Sudanic became modern Egyptian. From their the Arabs and their overlords shamelessly began to revise history.
THE EVIDENCE FROM QUSTUL
Qustul was an archeological site that was in Sudan before the border was moved in 1899. It is now within the border of modern Egypt. The early civilizations of Qustul had a great cultural influence on Kemet. One of these influences is the concept of divine kingship, which means that the Pharaoh was thought of as a divine representative of God – he is “Heru on Earth”. Kemet was an elaboration of the political entities that emerged in the lands south of the Ancient border like Qustul – not a culture that emerged from the Asia.
The representation of the king as a hawk also has a Nubian origin and the best evidence for this was found in a cemetery in Nubia in 1964 by Keith Seele. This cemetery is underwater today because of the building of the High Aswan Dam that was finished in 1970, however the evidence supports the conclusion of an “up south” origin of Kemetic civilization and Pharaonic rule.  An incense burner was found at Qustul that has several images that provide insight into the world of Pharaonic culture. It is generally accepted that the incense burner is about 800 years older than the accepted date of 3100 BC, which is commonly accepted as the date that the two lands of Kemet were united. From the left to the right, the incense burner possesses images of a serekh, which is a symbol for kingship that was later borrowed by Kemites. You can also see a bound captive. Next a man is wearing the crown that would later be used as the crown of Upper Egypt. The beard is apparent and so is a flail. Just in front of him is a hawk standing atop a castle is a symbol of kingship. If you are ever in Chicago, Illinois in the United States you should see the  Qustul incense burner for yourself at the Oriental Institute Museum.
THE GEBEL SHEIKH SULEIMAN RELIEF
There are other pieces of evidence that suggests a movement of pharaonic culture down the Nile from modern Sudan to what is today called Egypt. The Gebel Sheikh Suleiman relief that was found in Sudan about 49 kilometers/30 miles south of Qustul is one of the Sudanic monuments that provides valuable information. On the monument, from the left to the right, there is a hawk atop a castle, a bound captive who is bound with the symbol for Ta Seti “Land of the Bow”, and also there appears to be two birds atop what became the hieroglyphic determinative for “city” or “state”. The art features slain enemies, just as it would hundreds of years later in Kemet.
THE BULL PALATTE
Some of the same iconography is featured on the Bull Palette, like the serekh and the hawk. There appears to have been competition for rulership between centralized states throughout the region. These competing states appear to have used the same iconography for kingship, like the hawk and the bull. This indicates that there was an extremely long cultural history that emerged throughout the region, long before the artifacts that we have found. A clear example of this is the similarities between the Bull Palette, which is currently housed at the Louvre Museum in Paris, France and the Narmer Palette, which you will see when you visit the Cairo Museum in Cairo, Egypt. Both of these artifacts are thought to have been used as palettes to mix makeup.
The Bull Palette is thought to have been created in the centuries leading up to the 1st Dynasty, which began when Pharaoh Narmer united “The Two Lands”. The obverse side of the palette features a fortified city or state with a lion and a vessel, or vase, inside. I surmise that this indicates an area that is protected by a monarch, and also the presence of a settled community. On the front side at the bottom appears to be a fortified city with a bird within it. It is difficult to determine since the palette has been broken and the whole of it cannot be pieced together. Near the top on this side of the palette is a vivid image of a bull killing a man. This symbolizes a king destroying his enemies.
The reverse side depicts this same scene of the bull vanquishing his enemy. The only difference is that the head of the enemy can be seen. This appears to be a foreigner from outside Africa, as indicated by the enemy’s hair. The vanquished man has hair quite similar to the Asiatic captives featured at the entrance of Ramses ll temple at Abu Simbel. This same enemy is depicted towards the bottom in a vulnerable position. Towards the center of the reverse side there are five images all of which are connected to a rope by an arm and fist. The first two are two hippopotami, the third is an ibis bird, which was anthropomorphized as the deity Djehuty, who is most often referred to by the Greek variant Thoth. The fourth is the Heru/Horus falcon, and the fifth is thought to be a symbol for the deity Min. The Bull Palette was found at Nekhen, which is currently known by its Greek name Hierakonpolis.
THE NARMER PALETTE
The Narmer Palette was found in the same city as the Bull Palette; however, it relates to a time after the Bull Palette. On both sides of the Narmer Palette, towards the bottom, there is a bull ravaging his enemies. It is apparent that these men are the same enemies that are towards the bottom of the Bull Palette. There is a serekh at the top of both sides in the center. In this serekh is the hieroglyphic spelling of the name “Narmer”, with the catfish making the sound “nar” and the chisel making the sound “mer”. The center of the palette depicts a dramatic scene of Narmer holding an enemy by the hair with his left hand, while holding up a mace with his right hand. Here he is wearing the “hedjet”, which is the bulb-like white crown of Upper Kemet. On this side, there is also a picture of a hawk holding a tool that is forced into the nose of an enemy. This enemy is thought to be from a marshland, perhaps near the mouth of the Hapi, where it flows into the Mediterranean. On the reverse side of the palette, Narmer is presented with the “deshret”, which is the red crown of Lower Kemet. Before him are four standard bearers with an animal skin, a canine, and two hawks. Once again, there is a serekh with a hawk on it. What follows next is a slew of dead bodies, presented in a way that signifies bodies slain in war. You must see this palette for yourself at the Cairo Museum!
The artifacts reveal that even though there may have been rival kings that were competing for dominance, the hieroglyphs and concepts that were associated with Kemet existed long before Kemet came into existence – long before Narmer united the two lands. If you look just beyond the smoke screen that was created by western and Arabic Egyptologists it becomes apparent that the Nubians of Ta Seti and Sudan are the true descendants of Kemet. The absurd claim of a mixed-race oasis emerging out of nowhere in Africa is only anti-black propaganda.