Newspaper Page Text
February 20. 1995
The Panther P9
Ndugu/Nzinga Gives AUC
Students Rites Of Passage
By Jimmie Ophelia Woods Jr.
Asst. Editorial Editor
Unmet needs often manifest them
selves in the most natural ways. The
necessity of self-mastery supple
menting community service is no dif
ferent.
The Ndugu/Nzinga organization
was created by Dr. Daniel Black for
all the Atlanta University Center stu
dents and members of the local area
to discover the fruits of spirituality.
“Nzinga nor Ndugu, conflict with
religious, economic, or political
beliefs,” Black said, relating a need
for cultural progress.
The organization is made of two
parts—Ndugu and Nzinga. They
were both instituted by Black, an
English professor, on Clark Atlanta
University’s campus.
Black used the knowledge he
acquired as a student of African-
American studies at Temple
University, as the foundation for this
organization that fosters self-empow
erment.
Ndugu, a Swahili word, roughly
conveys the journey from boyhood to
manhood. Nzinga, the feminine
aspect, was established to balance
traditional African culture. It was
named in honor of an extraordi
nary African queen who embod
ied wisdom, intelligence, strength
and beauty.
Black said the organization is
unchartered because he wished it
to be free of bureaucracy and
approval.
Black is affectionately known
within the group as “Baba,”
meaning master teacher.
One-year member Ato Adebayo
said he joined the organization
because he desired spiritual
growth that wasn’t being offered
in the traditional setting.
“Self-mastery is a life-long goal
that is never fully attained, this
serves to put me on the path,” he
said.
Assitou Cross, who will be
inducted at the end of the semes
ter, said sisterhood is needed
because of the numerous
women’s struggles that have been
undermined by the black power
struggle.
“Its difficult to be free when
women are still secondary to
males,” she said.
The concepts and ideas that adorn
this organization are drawn from the
entire continent, highlighting Egypt
and West Africa.
Inducted annually, about 15 stu
dents participate in these “rites of
passage” that mark societies from
which we came.
According to Black, self-mastery
is achieved through four primary
principles: wisdom, humility, for
giveness and spirituality.
“Weekly rituals are held whereby
these principles are exhibited,” he
said.
One of the first ceremonies
involved renaming the members of a
“line.” They receive first names
based on personal characteristics.
The collective receive a last name
that identifies their union upon com
pletion of the induction.
The need for assertive and creative
peer groups cannot be overstated.
The service that can be achieved
through groups like Ndugu/Nzinga
must not go unnoticed.
The traditions—materialism and
complacency must die.
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Backstage
Pass 'Tttk
W
by
Nikki Roberts
As I saunter through the wood-paneled corridors
of LaFace Records, a reverential ambiance prevails.
Lining the walls are dozens of gold and platinum
records—attributed to the production magic of
Kenneth “Babyface” Edmonds and L.A. Reid.
Viewing the glossy photos of Toni Braxton and
Paula Abdul, one wonders how this label (known to
many for its R&B success) could sign two home-
boys from East Point and still strike gold.
Walking to the conference room, I anticipate my
interview with Atlanta’s hottest hip-hop duo,
Outkast. And after a few minutes of reviewing
notes and criticizing videos, the “southern players”
arrive.
Decked out in designer gear (FILA, Tommy
Hilfiger, Guess, etc), Andre Benjamin (Dre; 19)
and Antwan Patton (Big Boi; 20) rest in the folds of
the plush chairs. Their street-boy demeanor con
trasts with the extravagant atmosphere, but their
chart-burning talent is right at home.
“Man, my momma needs a box of tapes for some
children at her church,” mumbles Dre in a thick-as-
smoke southern drawl. His boyish smile and
teenage looks make it hard to conceive him as a
“southernplayalistic pimp.”
Big Boi runs a small hand over the braided lines
covering his scalp and jokingly requests “a gallon
of Evian water” from Publicity Manager Lorraine
Sanabria. Not missing the opportunity to join in the
fun, Dre grins and said: “Yeah, get me a big ‘ole
thing of Snapple. Extra cold.”
Laughing, 1 feel at ease with the informality of it
all; the posh environment fades into the comforts of
a living room as I dig deep into the Outkast psyche.
With an array of influences that run a gamut from
Curtis Mayfield to Erick B. and Rakim, the duo
began their career rapping in the cafeteria of East
Point’s Tri-Cities High-school. One thing led to a
bigger thing, and the duo hooked up with TLC pro
ducers, Organized Noize. Rubbing his chin, Big Boi
reflects on how the concept of their gold single,
“Player's Ball” came about.
“L.A. (Reid) wanted us to do a song for their
(Laface) Christmas album. We were like: ‘Man, all
of this and we gonna come out on a Christmas
album?’ We don’t really celebrate Christmas so we
just rapped about everyday life and things that hap
pen around us.”
So what’s next for these southern boys? “We’ll be
on ‘Martin’ Thursday. We’re also doing a track
called “Benz or Beemer” for the upcoming Spike
Lee film New Jersey Drive, ” said Big Boi.
“And we did a track on the ‘Higher Learning'
soundtrack called ‘Phobia, ’ and we’re coming out
with another album in July,” said Dre.
Just before I can close my notebook and wrap
everything up, a bit of 19-year-old disdain blurts
out of Dre, “Oh yeah, let everybody know that
Freaknic is still on!” His youthful excitement
quickly halts as Big Boi reminds him that the group
will be performing in Germany during that time
(the end of April).
As their laughter echoes through the star-studded
corridors, I chuckle as T-Boz walks by and shakes
her head.