EP 12 Women Who Resisted I Women And Resistance 🌍

n this conversation, Aya Fubara Eneli Esq. and Adesoji Iginla delve into the lives and legacies of ten iconic women from the African continent and diaspora, exploring their resistance against various forms of oppression. 

Using the Africana Studies Framework's conceptual categories, the discussion highlights how these women navigated social structures, engaged in activism, and left lasting impacts on their communities. 

The conversation emphasises the importance of cultural identity, collective liberation, and the sacrifices made by these women in their quests for justice and equality.

Takeaways

*The lives of iconic women exemplify resistance to oppression.
*Social structures often view these women as problematic.
*Engagement with social structures can be a form of resistance.
*Pain and sacrifice are integral to the fight for justice.
*Cultural representation plays a crucial role in identity.
*Relationships can be complex in the context of activism.
*Ways of knowing are influenced by governance structures.
*Legacy and memory are vital in understanding resistance.
*Education is a powerful tool for empowerment.
*Collective liberation is essential for true freedom.

Chapters

00:00 Introduction to Women and Resistance
02:54 Exploring Iconic Women of Resistance
06:01 Social Structures and Their Impact
09:01 The Role of Personal Sacrifice in Resistance
12:09 Legacy and Collective Success
14:58 Ways of Knowing and Systems of Thought
18:05 The Complexity of Relationships
20:56 Science, Technology, and Legacy
34:54 The Connection to Nature and Science
38:10 Movement and Memory in Activism
40:39 The Role of Women in Historical Context
45:41 Cultural Meaning-Making and Identity
53:16 Lessons from Women of Resistance

Welcome  to Women and Resistance, a powerful podcast where we honour the courage, resilience, and revolutionary spirit of women across the globe. Hosted by Aya Fubara Eneli Esq and Adesoji Iginla...

You're listening to Women and Resistance with Aya Fubara Eneli Esq and Adesoji Iginla—where we honour the voices of women who have shaped history through courage and defiance...Now, back to the conversation.

That’s it for this episode of Women and Resistance. Thank you for joining us in amplifying the voices of women who challenge injustice and change the course of history. Be sure to subscribe, share, and continue the conversation. Together We Honour the past, act in the present, and shape the future. Until next time, stay inspired and stay in resistance!

Transcript

Adesoji Iginla (00:02.848)
Yes, welcome, welcome to Adesuji Speaks channel and your usual conversation here is women and resistance. This week's episode will take a slight turn, but all the same, it's just to further enhance what we have done so far. And by that, I mean we're going to have a deep

Afrocentric Conversation, highlighting 10 iconic women from the African continent and diaspora whose lives exemplify resistance to racial, colonial, patriarchal, and economic oppression. But this time, we're going to use a particular framework called the Africana Studies Framework. And looking at this woman's contribution through

what is known as the conceptual categories. This episode on it's how each woman's legacy answers the central guiding question, which is, how do it free us? And that quote comes from a poem by Sonia Sanchez. But before further ado, I'd to welcome my sister from another mother.

Adesoji Iginla (01:31.105)
Sister, I have a better NALS square. How are you doing sis?

Aya Fubara Eneli, Esq. (01:34.418)
You with this Esquire. I am doing great. It's been an incredible day. We're grateful to be here. It's also, I believe, Emancipation Day in DC. I think I saw earlier some events that were happening around along that moment in time when the United States government bought back

Adesoji Iginla (01:38.606)
Hey

Adesoji Iginla (01:58.367)
Mmm.

Aya Fubara Eneli, Esq. (02:03.725)
enslaved Africans to basically pay their white enslavers and then quote unquote set them free. So supposedly it was for a good cause, but it was really also to compensate these people. But anyway, I'm glad to be here and I'm really looking forward to this conversation.

Adesoji Iginla (02:22.094)
My pleasure, my pleasure. So again, we've decided to bring together all these women into a roundtable in order to understand what it is about them that contributes to our story and which has been one of resistance. just a quick rundown of the women we've looked at earlier. started with, and in no particular order, by the way.

So we looked at the lives and times of Billie Holiday, Maria Makeva, Satie McClark, Lauren Hansberry, Claudia Jones, Queen Nanny of the Maroons, Olufo Milaio Ransom Kuté, Maria Jean Lametier, Wangari Maffai, and Al Quentin. Now, the lives of these women stretch over the arc of time. So you're looking from apartheid.

Aya Fubara Eneli, Esq. (02:54.767)
Mm-hmm. Mm-hmm.

Adesoji Iginla (03:19.438)
from the hills of Jamaica, Jim Crow, and the transatlantic slave trade. So we have gathered over that period of 10 weeks that their lives have been some sort of instruction to us in terms of how we view ourselves in the grand scheme of things. So the first question would be,

Adesoji Iginla (03:46.092)
Looking true.

Adesoji Iginla (03:50.126)
the question of social structure and how do...

the larger societies view these women. What would be your take?

Aya Fubara Eneli, Esq. (04:04.515)
Wow, how did the largest, well certainly they were problematic. If I just go down the list, I don't think there was anyone that was beloved of the status quo, I call Tune from the early 1600s leading the Battle of Gwila.

Adesoji Iginla (04:09.08)
Mm-hmm.

Aya Fubara Eneli, Esq. (04:26.161)
fighting against the Portuguese. She was definitely considered a problem, which is why she was sold and treated as brutally as she was. But then of course, continued that fight. Nanny of the Maroons, same thing, definitely viewed as a thorn in the flesh of the British, of the oppressors. Mary Jean Lamontanera, know, probably thinking, okay, she could just be like a...

Adesoji Iginla (04:43.352)
correct.

Aya Fubara Eneli, Esq. (04:54.459)
Concubine femme fatale whatever and she was really fatal But again Probably viewed as something that could be used I think all of these women that we've mentioned so far, but who would not allow their wills to be broken Septima Clark was definitely viewed as a problem And and with her work at the Highland School which

Adesoji Iginla (05:00.021)
Yeah, very vital.

Adesoji Iginla (05:05.934)
Mm.

Aya Fubara Eneli, Esq. (05:24.055)
eventually was moved on to under.

under the civil rights.

you know, a civil rights organization in that sense, but she was definitely considered problematic. Fumilai Arantamkuti, know, was considered problematic. And then Billie Holiday was followed by the CIA and FBI and Claudia Jones and then deported. And Lauren Hansberry also had her folder, although she died before they could do anything about it. And Miriam Makeba. So yes, what you see in every single one of these 10 women, every single one of them,

Adesoji Iginla (05:40.226)
deeply problematic,

Aya Fubara Eneli, Esq. (06:01.071)
Wangari Mathai as well, imprisoned multiple times, is that women who resist.

are not beloved by the social structure and that social structure doesn't always have to mean quote unquote outsiders. That social structure can also be people who look like you come from where you are but who have imbibed a certain ideology where they feel like you are standing in the way of whatever power they are seeking to achieve or getting getting rid of you will and and

Will cost them to be to be more what would I say beloved by their oppressor? And so you you become a bargaining chip if you will so yeah, none of these women were Were embraced By social structure even when you look at lauren hansberry with all the awards that she won

Of course, we know she was under, yeah, she was still considered an outsider. She was under surveillance. And the question is how long that would have lasted if she didn't die. Because Paul Robeson at one point was beloved, but they can turn on you like that once you step out of line, so to speak. So, yeah.

Adesoji Iginla (07:04.354)
You are still considered an outsider.

Adesoji Iginla (07:13.89)
Mmm.

Adesoji Iginla (07:23.916)
OK, so now we're still looking at social structure. The question is, would

Would it be right to think these women sought some sort of respite within the social structure in that in order for us to know who they are, they had to come and interface with social structure. I'll give you an example. In the case of Maria Makeva, when she started singing,

Initially, wanted to, what's the word, exist. But exist within a structure that was not created by her people, but she sought acceptance in it. But it was only when she realized the power of the stage she was on that she decided, you know what, I'm going to use this to call certain things to question. So

Would you say some of them try to engage or from the onset it was resistant?

Aya Fubara Eneli, Esq. (08:43.457)
My read on, and we'll probably have to like take each person's not overgeneralizing, but my read would be that there's a book called Forced Into Glory. My read would be that many of us are forced into glory. Many of the warriors as we look in our history were forced into glory. That it wasn't like someone woke up and was just like, yeah.

Adesoji Iginla (08:48.493)
Mm-hmm.

Adesoji Iginla (09:01.326)
Mmm.

Adesoji Iginla (09:11.618)
going to be.

Aya Fubara Eneli, Esq. (09:11.869)
I want, because it comes at a great personal sacrifice. mean, some of them lost their lives. So don't think that most people have that sense of, know, I'm two years old. Yes, I want to throw myself at the feet of someone and fight for people who may even reject me. I don't think that that was the case. So if we look at Maryam Mekibah, since you brought her name.

you know, born in apartheid South Africa, watching just the hell that they were living through, but still.

Adesoji Iginla (09:40.92)
South Africa.

Aya Fubara Eneli, Esq. (09:51.004)
trying to use her voice really initially just to sing because she said she didn't even realize you could get paid to sing and then she when she realized they'll pay me to sing okay so don't think at that point she was thinking I'm gonna be you know I'm gonna be this exile I'm gonna be mama Africa I don't think she was dreaming along those lines at all but when that

Adesoji Iginla (10:09.909)
Yeah.

Adesoji Iginla (10:15.808)
opportunity present itself.

Aya Fubara Eneli, Esq. (10:15.875)
American came in, yes, and did the documentary and the opportunity presented itself for her to leave the country. And even then she wasn't thinking, I'm leaving and never coming back. She was just going for an opportunity and to spread her wings. And then she was planning to come back and then found out, I've been barred. can't ever come back under this regime anyway. So at that point, it's like, well, what do you do? Your back is up against the wall.

Adesoji Iginla (10:27.0)
Mm. Mm.

Aya Fubara Eneli, Esq. (10:44.751)
and these people do not understand peace. You don't win with peace with them. So you've got to fight. And then the question is then, what do I fight with? Because it's either I lay down and die or I fight to live. And I fight not just for my life, I fight for future generations. So, know, Wangari Matai was looking to make a career as a professor.

Adesoji Iginla (10:57.774)
Mm.

Aya Fubara Eneli, Esq. (11:12.259)
And then she starts noticing certain things and then she starts trying to be a problem solver in that realm. I don't think that she imagined that she would spend as many days as she did in jail, that she would become the face of resistance in the way that she did, or that she would lead a movement, the Green Belt Movement, planting over 50 million trees. So I think a lot of these women, and I think that's instructive for all of us,

You don't go pursuing, I'm a revolutionary, I'm revolutionary in my mind. Because it's almost like a suicide pact right there, right? Because the system is going to come for you. Nobody really, I think, just goes and seeks pain unnecessarily. I think you come to a point where you're like the pain of staying quiet and acquiescing to you and knowing you will still kill me.

Adesoji Iginla (11:43.022)
You

Adesoji Iginla (11:49.25)
Yeah, yeah, yeah.

Aya Fubara Eneli, Esq. (12:09.731)
is worse than the pain of me fighting and at least if I die, I die on my feet. And I think that's where many of those women came to. I mean, you think Billie Holiday initially thought she was trying to be any kind of civil rights whatever? No, she was dealing with a lot of crap. She hears a song, it resonates with her. She was in the South where...

She couldn't go in and eat with the people she was traveling with and all the indignities she suffered and all that. It's like, you know, I'm going to sing this song. F y'all.

Adesoji Iginla (12:37.314)
With,

Adesoji Iginla (12:43.342)
And the name of that song was? Strange Fruit. So speaking of

Aya Fubara Eneli, Esq. (12:47.057)
Strange fruit?

Adesoji Iginla (12:53.326)
the people you travel with. Which brings us obviously to the cocoon of what we would consider to be the government structure, our people.

How do you think we saw this set of women and possibly the next set of women we'll be looking at? But in generally, how do you think we saw them or we engage with them? Because they were not all engaged with in tandem.

Aya Fubara Eneli, Esq. (13:26.383)
When you say, when you say we, who are you referring to as we?

Adesoji Iginla (13:29.738)
I'm referring to the people they represented. So in the case of, say, in the case of Al-Qaeda now, that would be the people that she fought with. In the case of Maria Makaiba, it would be singing the problems of South Africa, putting that on the stage. With Septima Clark, it would be teaching people how to read. With Claudia Jones, it was organizing people on the basis of. So I'm just trying to build an idea of what's

Aya Fubara Eneli, Esq. (13:33.379)
Okay.

Adesoji Iginla (13:59.776)
Each of them represented to those people and the people they represented, did they engage with them? Yeah. Yeah. Mm-hmm.

Aya Fubara Eneli, Esq. (14:04.337)
who are they to the people that they represented? There were many different things and that's what's so complicated about life, right? So on the one hand, in the documentary with Maryam Makeba, there was a gentleman that she initially sang with or she sang background for their group or something. And when he saw her in Europe,

And she said, she was going on this tour and we thought for sure she would advocate for us to be her backup singers. But instead it was actually a group of white men who were her backup singers. And you could tell from his commentary that he felt like, wow, I can't believe you didn't fight for me. So I just give that as an example to say that when you're not in that person's role, it's difficult to understand all the different pressures and all the different

things that impact their decision making. And so when you ask, did we, who were they to us, then it depends on the vantage point of that person. So again, let me use.

Hmm. Let me use Miriam Makeba. She was obviously a daughter to her mother. She was a sibling. She was a mother to her child. When she left, she left her child with her mother. At that point, could her mother have been resentful? Could her daughter been resentful? Could some of the girls that she sang within her girl band been resentful and at the same time incredibly proud of her?

you know, incredibly like, my goodness, look at how far she's come, but still resentful that, wow, you left us behind or you didn't take us with it. So it's complicated. So I would say that in every instance, let's use Mary Jean as an example again. Clearly from all indications, she was absolutely stunning. So I can see with the issues between the Africans and the mulattoes at that point.

Aya Fubara Eneli, Esq. (16:13.859)
I can see some people feeling, who does she think she is and she's not one of us or whatever. And some other people saying, my God, I love her. Even though she has this elevated status because of her color, she still is humble and interacts with everybody. So some people would have loved her. Some people would have tried to prove that she's not who she's acting like she is. And those are all the complexities that you see. Wangari Matai, there were women who supported her.

Adesoji Iginla (16:36.014)
Mmm.

Aya Fubara Eneli, Esq. (16:42.065)
And there were other women who were like, you're fighting for what? Equal rights for what? You're a troublemaker and you're not going to spoil my family. You're not going to tarnish my image. And so she talked about people whom she knew walking on the other side so that they would not have to say hello to her. So who are we to each other? It's very complicated. We are beloved. We are protected because obviously there were people who fought with each of these women.

Adesoji Iginla (16:44.417)
is a trouble maker.

Adesoji Iginla (16:56.75)
Mm.

Aya Fubara Eneli, Esq. (17:12.003)
side by side, people who protected them, people who took care of them, people they took care of, but at the same time, they were also people who were, who do you think you are and let's take you down a notch or two. And so we see them showing up as warriors. Yeah, and showing up as warriors on multiple levels. So Billie Holiday didn't have a man she could trust. But then you can also say, you know, her mother,

Adesoji Iginla (17:26.862)
the case of Billie Holiday.

Aya Fubara Eneli, Esq. (17:38.448)
was so important to her, but her mother also let her down at a time when she wanted help. But then you can say maybe her mother was giving tough love. So I don't think there's one answer in terms of who are we to each other. And I think that that's instructive too for those of us who want to be in this area of pursuing justice is that you may think because you are fighting for your people.

that that automatically would make you a hero or heroine of your people, that might not be the case. You might have to die before anybody celebrates you. You know, when the civil rights movement was at its height, there were communities that would say to Martin Luther King, don't come here because you bring trouble. Definitely they didn't want Malcolm X there because, you know, so yeah, so you see it throughout history that you will be embraced by some.

Adesoji Iginla (18:13.516)
You

Adesoji Iginla (18:28.918)
Yeah.

Aya Fubara Eneli, Esq. (18:34.895)
You will be reviled and betrayed by others. And when you die, then we might embrace you if we remember you at all.

Adesoji Iginla (18:45.518)
Speaking of remembering, I'm going to go to a question which is prompted by the next category, is ways of knowing and system of thought. Using, I mean, you could use any of the experiences of the 10 women, anyone that comes to your mind, but I'm just going to cite this person.

Using Maria McKay but when she said, every time I sing, I'm singing the pain of my people.

Aya Fubara Eneli, Esq. (19:20.239)
Mmm.

Adesoji Iginla (19:22.13)
or September Clark who decides education is power.

Aya Fubara Eneli, Esq. (19:27.891)
Hmm.

Adesoji Iginla (19:29.4)
Would you say in their case, Marya Makeda the singing and Saptima Karak teaching people how to read, was reading the ending itself or was the means to preserving the stories of their people? And in the singing, was that just a means to an end or was it a way of preserving the memory of their people as a way of knowing that this is what we do?

And you could, know, songs of love, with September Clark, you know, it's come, let's teach you how to read so that you can go out to teach others.

Aya Fubara Eneli, Esq. (20:13.623)
So I think as we covered before, when we talk about ways of knowing with each of these women, they use the tools that were at their disposal. And I would say definitely something that you said earlier, you said something about a cocoon and I was thinking as you said that, that there's a certain cocoon in which warriors and resistors

Adesoji Iginla (20:18.573)
Mm.

Aya Fubara Eneli, Esq. (20:43.331)
at some point in their lives live. Otherwise, they can't be warriors and resistors. I think that that is a governance cocoon. I think it's a place where you learn about who you are on some level and you understand that you have agency. And so at that point, it's really tapping into the various lessons that you have learned.

Adesoji Iginla (20:45.901)
Mm.

Adesoji Iginla (20:56.76)
Mm-hmm.

Adesoji Iginla (21:07.436)
Mm.

Aya Fubara Eneli, Esq. (21:07.855)
to bring about the common goal of liberation, of self autonomy. I think that's what we always pursued. Whether we were using Marxism, or music, or writing a poem or whatever, it was about that self determination, that self autonomy.

And so when you look at Wangari Matai, it's these women can feed. The children are malnutritioned. They are working, but the soil is being swept away. They can't get access to clean water. The trees can solve all of this. The goal was liberation. It was getting back to a place where we were self-sustaining. If we look at

Adesoji Iginla (21:50.542)
Mm.

Aya Fubara Eneli, Esq. (21:54.14)
I'm trying to go through my head now. If we look at Claudia Jones, Claudia Jones' family came here looking for liberation, looking for a place where they could carve out a certain amount of autonomy. Had there not been the crash in their hometown, they probably would not have left their country to come to New York. Having come here...

They're looking for a way to make a life, to be liberated. They're wanting their children to go to school. The mother is working in these sweatshops with the heart condition and so on and so forth. But ultimately, everything Claudia did was to carve out a space of autonomy to have a voice for our liberation. She just used her writing and her speaking voice to try and make that happen.

Billie Holiday used her writing, because she wrote music as well, and she used her voice as well. Some people fought, but then we see all of these women, particularly the further back we go, using the earth, using lessons they had learned about plants, about observation, about how human beings, to be a warrior and to be able to strategize.

You had to have picked up a way of being a way of knowing at some point So people who grew up outside of a certain governance cocoon are probably most likely going to be your sellouts They're gonna they're gonna be the ones who are just looking out for themselves They're the ones who are imbibing individual power as opposed to collective power and so in terms of you know looking at ways of knowing and systems of thought

Adesoji Iginla (23:25.422)
Hmm.

Aya Fubara Eneli, Esq. (23:42.042)
I would think that these are the people who at some point in their development, it was imprinted on their minds, in their hearts, in their spirits, that we are not slaves. We might be enslaved, but it is up to us to change that condition. That we might be in a place of poverty, but it's up to us to change that condition and not just say, well, you know, this is how it is. So, you know, I'm just gonna...

Adesoji Iginla (23:59.074)
Yeah.

Aya Fubara Eneli, Esq. (24:11.461)
do whatever Massa says and just try to be the head Negro in charge. That's about as high as I can get. That would be my take on it. What's your take on it?

Adesoji Iginla (24:19.352)
Mmm.

So I wouldn't mind it to go along with what you're saying in terms of when Maria McKibba, I'll use the example of Maria McKibba for now, when she said, I seen the pains of my people, that's observing that pain and knowing that every time they want to either celebrate, reflect, it's

couch in song. And like you said earlier, I didn't know I could get paid to sing. Because for them, singing was a way of life. It was a practice. It was what they did. In the

Aya Fubara Eneli, Esq. (25:08.849)
So, so imperialists have a different kind of mindset. Everything is a commodity. Everything is for sale. Everything, yes, everything is despecialized. What I would say about ways of knowing for these, these warrior women is that somehow in their development, there was an understanding of a spirit that goes beyond this physical body. So you can beat this physical body.

Adesoji Iginla (25:13.301)
Mm-hmm, commodified, yeah.

Adesoji Iginla (25:17.806)
Mm.

Aya Fubara Eneli, Esq. (25:38.896)
You might even kill it, but I stand for something beyond whatever it is you think you can offer me. And that's the thing that propels me and allows me to fight. That's the thing that allows me to put my head on the proverbial chopping block because I know they're after me. I know I could have gone an easier route for what they would claim is an easier route, but it would have been a route that would have worried my spirit because I would not be living up to who I could be. So

Adesoji Iginla (26:04.096)
Hmm

Aya Fubara Eneli, Esq. (26:08.763)
There are definitely systems of thought, but again, like seeds, think they have to be planted and they have to be incubated or grown in the right soil. And that governance structure is that soil.

Adesoji Iginla (26:20.396)
Yeah.

Mm-hmm. I mean, you're talking about, you know, wanting to follow a different route, knowing fully well your spirits might be troubled, which reminds me of the case of Fumlai Aransopkuti. She was born into a well-to-do family, but decided this, the way the imperialists were moving around her, was not. And when the women who used to come to her for advice

confided in them that, do you know what? We would love to read. You want to do what? Read. Because I travel, make money, but yet I don't know what is going around me. So imagine somebody confiding with you that I want to do what the average person does. Well, not average at that time, but for women at that time. It was something of substance. I just want to read. She was part of a more cultured club.

decided that culture status was not for her and decided to follow another route. So it comes back to this idea that just because you're comfortable now doesn't mean that's the trajectory for you. It just means maybe your calling hasn't arrived yet. What do you think?

Aya Fubara Eneli, Esq. (27:51.57)
I wouldn't necessarily disagree with that as you were talking about Fumile Aransom Kuti. The signs were there. I mean to the extent that she had to have had a certain spirit about her to be the first girl.

to break the gender barrier for that school. If you had a child who was a little bit more, I don't wanna say weak, in terms of their personality, more timid, you probably would not have put her in that position. So she was given that opportunity because there was something about her that said she can make it. And of course she did. What I'm seeing,

Adesoji Iginla (28:12.32)
Go to a boys' school. Yeah.

Adesoji Iginla (28:22.638)
and us.

Aya Fubara Eneli, Esq. (28:40.049)
as a commonality between all of these women, is regardless of what level of comfort they initially had, because Al Quattun was a princess, it's understanding that...

It's not about your personal fortune or comfort. It is about what the masses of people around you are experiencing. Because Fumilai Arantamkutse could have lived a very comfortable life. Mari Mativep, as a matter of fact, could have as well. If she just came here and sang and looked beautiful and entertained and did the click song and all of that and didn't go and marry...

Adesoji Iginla (29:24.749)
to right.

Aya Fubara Eneli, Esq. (29:25.393)
or even sing the apathite songs that she sang that got her country upset. I mean, she could have sang songs that made them feel good and they would have been like, look at the exports from our country, just like some African-American artists were exports from the US to quote unquote ambassadors to other places. So I think each of these women at some point made a decision.

Adesoji Iginla (29:43.96)
Hmm. Yep. To the Congo.

Aya Fubara Eneli, Esq. (29:55.986)
that it was not about individual achievement, personal success, which is what we teach now in the Western world, I guess, which is what they've always taught. It's about collective success, collective liberation. And so they were willing to put their bodies on the line. Every single one of them, every single one of them could have made a different choice.

Claudia Jones could have made a different choice and still have stayed in the United States of America. Billie Holiday certainly could have stopped singing that song and just entertained and left it at that. Lauren Hansberry. Lauren Hansberry could have just stayed with her family's estate and made money off of all the rentals and stuff and had a very comfortable, soft life.

Adesoji Iginla (30:27.586)
Merry Holiday

Adesoji Iginla (30:36.398)
going to enhance very with raising in the Sun

Adesoji Iginla (30:51.683)
Mmm.

Aya Fubara Eneli, Esq. (30:52.163)
She decided to go off to New York and work hard and speak up in the ways that she did, including writing a play that kind of points a finger at her own family in terms of their choices. So in every instance, these are women who decided it's not just about me. And because they made that decision, their legacy lives on.

Adesoji Iginla (31:20.309)
Hmm.

So speaking of legacy, one thing that tends to prolong a legacy is science and technology. So the question would be, what would you consider ideas in most of these women that ended up being a way to develop not just themselves, but the people around them? And also, you know,

created what would then become their natural environment. I'll give you a case in point. What's her name? Wangari Maffai. Came back, haven't grown up in Kenya. Notice, you remember the story her mother told about the tree. Don't cut this tree, you cut this tree, you're gonna destroy the ecosystem. That formed the bedrock of the Green Belt Movement. That story, she got as a six-year-old.

formed the bedrock of a movement that ended up planting 50 million trees. The same can be said of Lauren Hansberry. She saw her immediate surrounding, decided, well, this doesn't look quite the way it should. Instead of just standing up against it, she wrote a play. That play ended up making her household name. Same with

Billie Holiday, singing that song, Strange Fruit, meant you and I are talking about her today. That's technology put to use, the sound, and we're effectively just saying, you know what? That's their legacy. So what would you say were the legacies of the others?

Aya Fubara Eneli, Esq. (33:16.197)
wow, well, we know that for better or for worse, the people who taught the Europeans how to fight camouflage wars were us, understanding our relationship with nature and how you can blend in with nature, how you can walk in nature and not disturb the other living things.

Adesoji Iginla (33:29.196)
Yeah, Nani of Maroons. Yeah.

Aya Fubara Eneli, Esq. (33:43.218)
You don't have to come in and bulldoze and knock down and kill off everything. How to nourish yourself from the ground. So, you know, she's also, it's also the story about the pumpkin seeds and how she was able to use the pumpkin seeds to then feed her people. But then also even the ingenuity of habanero peppers as nerve gas.

Adesoji Iginla (34:05.783)
Mmm.

Aya Fubara Eneli, Esq. (34:05.841)
You know or other plants that will cause you to feel like you're hallucinating that will cause you to be like disconcerted and not sure of where you are discovered late that if you will or whatever and so these this was all science and technology and ways of knowing that You know, I was thinking the other day because you know, I have chicken and If I let those chicken out

Adesoji Iginla (34:23.308)
Take it off. Yep.

Aya Fubara Eneli, Esq. (34:35.373)
at, you know, let's say midday, whatever, they will stay out the entire day. Now, when it gets hot, they will not instinctively go and find shady areas, right? They're chicken. Their brains are like this small, but they instinctively know, I need to find shelter. And when it gets dark, all of them find their way back to their coop without anybody calling them.

Adesoji Iginla (34:50.69)
Mm-hmm.

Adesoji Iginla (34:54.7)
Delta.

Adesoji Iginla (35:02.424)
Hmm.

Aya Fubara Eneli, Esq. (35:04.609)
no physical alarm that I know of. All of them just start, they come out from wherever they were taking shelter from the hot sun and they just make their way back in.

Aya Fubara Eneli, Esq. (35:17.731)
If chicken, if animals, if plants know to grow towards the sun.

Adesoji Iginla (35:23.884)
the sun.

Aya Fubara Eneli, Esq. (35:26.411)
if roots know to keep going until they find the sustenance they need. Of course when it comes to human beings and when it comes to Africans there is an inbuilt genetic knowledge of science, knowledge of your environment, knowledge of how to move within your environment. Where we have lost it is because of the times that it's been cut off.

where we no longer know what it feels like to walk on grass because we always have shoes.

Adesoji Iginla (36:02.392)
Cheers.

Aya Fubara Eneli, Esq. (36:05.041)
where we now have to take vitamin D in from a bottle because we forgot how to be out in the sun. Where you know we have forgotten the natural rhythms of the body that there's a time the body does go to sleep and there's a time it starts to wake up but with technology now and you can put lights and all kinds of stuff on 24 seven your body has actually even forgotten

the rhythm of what it needs to sustain itself. So when we talk about science and in the ways of knowing, if we get quiet, just like we saw during COVID, the world stopped for a while and the animals showed up, the birds showed up, the vegetation. I mean, we got quieter.

Adesoji Iginla (36:39.159)
Mmm.

Aya Fubara Eneli, Esq. (36:59.715)
Now, some of us now didn't know what to do with the quiet. And so then we, you know, other issues started to arise and all of that. But.

I guess what I'm saying with all of these women is that there was a spiritual connection to nature.

Adesoji Iginla (37:14.925)
Mmm.

Aya Fubara Eneli, Esq. (37:18.223)
to understanding how to live in harmony when we talk about science. Science for me is also, there's a spiritual component to all of that, or maybe there's a scientific component to spirituality. But it's knowing how to look up in the sky and understand what the movements are.

And then being quiet enough and humble enough to then heed what first quite enough to observe it. Then when you observe it, it's like you're able to process it and then you're humble enough to actually move with it. And one of these, one of the things these women were good at was helping to bring other people along in that way of being in that way of knowing and embracing that science that otherwise people might've felt this is crazy. What are you even doing?

Adesoji Iginla (37:55.032)
coding

Adesoji Iginla (38:04.343)
Hmm.

Adesoji Iginla (38:10.606)
No, no, no. mean, it feeds into it. It feeds into it and actually, which moves us forward. When it comes to the next category, is movement and memory.

Aya Fubara Eneli, Esq. (38:11.057)
I don't know if that answers your question, but as I look at all of them.

Adesoji Iginla (38:29.654)
You said the idea of us being quiet to understand, to study our environment, to be able to engage that we do certain things this way. I mean, the Eurobars have a saying, which is we do it the way the elders have always done it so that it turns out the way it should.

Adesoji Iginla (38:55.736)
There's a reason why the cockroach will wake up long before we even see the sun and we'll start crowing. But yes, we don't see the sun. Now, the question is, we as a people, and looking at the roles these women played in our lives, what is it about them that meant they were able to conserve

Aya Fubara Eneli, Esq. (39:06.513)
crawling.

Adesoji Iginla (39:25.634)
their memory, their movements and put that, their memories and put that into the movements going forward.

Aya Fubara Eneli, Esq. (39:38.353)
That's the question again. Yeah, clarify.

Adesoji Iginla (39:38.444)
Let me clarify. So what was it about the women we've studied so far? Claudia Jones, Maria Makeba, Akutene, Fumalaya Ransomkuti. That was part of their memory, which is, in the case of Fumalaya Ransomkuti, was organizing women. Akujo o laafin soyad, which is the coming together of the hand means you're able to do lots of things.

Aya Fubara Eneli, Esq. (40:00.306)
Mm-hmm.

Adesoji Iginla (40:10.038)
with our routine, was that I was a princess, I led before. So I'm leading again. With Maria Macabre, we used to sing, we sang our pain, we sang our joy, and now I'm singing again. So in the lives of the other women, what is it about them that formed the nucleus of their actions as we know them today? Lamartier.

Aya Fubara Eneli, Esq. (40:15.351)
Mm-hmm. Mm-hmm.

Adesoji Iginla (40:39.52)
wife of a general. She didn't just sit at home knitting jackets, she went on the field to fight.

Aya Fubara Eneli, Esq. (40:49.681)
So you're looking at what they did in the context of the memory that led to their movements, to their choices.

Adesoji Iginla (40:59.874)
Yes, yeah, because they didn't just come into doing what they did because it was impulsive. They lent it. Yeah, yeah.

Aya Fubara Eneli, Esq. (41:08.325)
Yeah, yeah, yeah, yeah, yeah. So when I look at Septima Clark, for instance, her life work came out of her experiences. Being the daughter of...

someone who had been enslaved and being the daughter of a mother who had learned to read in Haiti. And her mother being very bougie in the sense of, my children are going to be knowledgeable. You are not just going to be a field hand. Definitely impacted, influenced the education she received and the importance that she put on education.

Adesoji Iginla (41:25.87)
Mm-hmm.

Aya Fubara Eneli, Esq. (41:53.252)
So it just makes sense that within that context and then growing up, doing everything you were supposed to do and then finding out that you are not allowed to teach in your area because you are black. So those are the kind of experiences that first you were again, you were formed in a certain governance structure. So in her case, it's this very proud woman who was raised in Haiti.

who maybe kind of looked down on her husband because he was more rough around the edges. And then you are aspiring to this role that you can play and you do your part and then find out that there's this racial barrier that has been thrown in your way. So what do you do? Do you go and be a servant somewhere like her father who took...

the master's children on a horse to school every day and just sat outside and didn't do anything until they were done. I mean, when she tells those stories, there are very specific reasons why those are the stories that she remembers that were imprinted on her memory. And so you can see her say, no, like I'm going to teach, I'm going to do something with this education. So she leaves, but then she comes back and she starts this fight, if you will. And then

Adesoji Iginla (42:51.423)
such death.

Adesoji Iginla (43:03.448)
Hmm.

Aya Fubara Eneli, Esq. (43:17.371)
finding out about the Highland School and, wait a second, there is a place that believes differently and I can actually learn, interact, and then have some resources to help my people more. You can see how her activism based on what she had experienced was a natural progression. Now there were other people who may have gotten the education that she got, but because they did not have that same governance kind of structure,

Adesoji Iginla (43:22.456)
They stop.

Adesoji Iginla (43:37.72)
Mm-hmm.

Aya Fubara Eneli, Esq. (43:47.726)
sense of self They just you know, like she said when they said hey if you say you lit you are part of the NAACP We're going to ostracize you and all of that many of the other black educators Did not admit to being members of the NAACP, but she's like now I'm gonna stand up so many of us have these opportunities to step into greatness the yes

Adesoji Iginla (44:14.811)
purpose. Yeah.

Aya Fubara Eneli, Esq. (44:16.995)
The issue is that greatness is not what we think it is. You know, I'm wearing the nice suit or this or that. It really looks like service. I think it was Martin Luther King that said that, you know, some of us miss our greatness because it comes dressed up in overalls or something like that. And so we are afraid to step out. We're afraid to take a chance. We're afraid to take that risk and we lose our opportunity if that. And again, that's not even the mindset of these women.

Adesoji Iginla (44:37.592)
Mm.

Aya Fubara Eneli, Esq. (44:45.295)
to be great. They didn't set out to be great. They set out to fight for liberation. They were actually struggling to live and create avenues for others to live. So when we look at Septima Clark, if we look at Claudia Jones, Claudia Jones, she could have just kept quiet, stayed married to the Jewish man or whomever and tried to play it safe. Lauren Hansberry could have done that actually, because not only did she have the money from her family,

when her husband also came into money from selling the songs, she could have just been a pretty woman. She was very pretty, just entertained people and ended at that. Who else did we cover that I haven't mentioned really quickly here? So the long story short is when we talk about movement and memory, with each of these women, I see

the memory from their childhood and the, I see how that directs their movement in adolescence and beyond. So Alcantara, you see she was trained to lead. Nanny was trained to lead. She, as a spiritual leader, she had to have sat under somebody and been initiated and learned certain crafts. Marie Jean Lamantier,

Adesoji Iginla (45:43.715)
Mm-hmm.

Adesoji Iginla (45:48.066)
moments. Yeah.

Mmm.

Adesoji Iginla (45:55.873)
Yes.

Adesoji Iginla (45:59.938)
trained to lead.

Aya Fubara Eneli, Esq. (46:10.969)
was also trained, trained both from her white father and she got to experience and see certain things that quote unquote the darker skinned enslaved people didn't see, but also she was humble enough to learn what she needed to learn from her own people and everything in between. So she could use a musket as well as a man, you know, and she could also use her womanly wiles. And so every single one of these women

Adesoji Iginla (46:12.408)
trained.

Adesoji Iginla (46:34.574)
Mm-hmm. Mm-hmm. Mm-hmm.

Aya Fubara Eneli, Esq. (46:42.961)
Which is a lesson to all of us who are parents or who will be grandparents or who even have a chance to mentor or influence youth? Someone plants a seed. Someone protects that seed. And under the right circumstances and with enough courage, that seed goes out and produces in a way that allows us to talk about them today.

Maria Makiba, mother was a sangoma. Her mother singing those songs to her. There was a certain way of knowing that she was raised in. And so other people may have come out and not had the same influence because she was Maria Makiba. Who else am I missing that I haven't touched on as we just talk about that piece? I'm going off the top of my head for all of the women we've covered.

Adesoji Iginla (47:35.694)
We've done Septima Clark, we've done Lorraine Hansberry, we've Wangari Mafai.

Aya Fubara Eneli, Esq. (47:44.166)
Same thing with Wangari. You mentioned again, that story that her mother told her, you're collecting firewood, but leave that tree alone. That's where we find God, so to speak. Yeah, so we see that Fumilayo again, her parents nurturing something within her. Not only do you go to the school and break that gender barrier, now you are going overseas to study, which was the same thing with Wangari Matai as well.

Adesoji Iginla (47:53.901)
Mm-hmm.

Aya Fubara Eneli, Esq. (48:11.331)
You know her her brother saying now why is my sister not going to school? And then she goes and she excels so much and then it opens other doors for her. But in each case these were women who were propelled by the memories of what had been In-in-in-inculcated in them if you will so even when you think your children aren't listening I guess i'm saying this for myself to give myself hope

Adesoji Iginla (48:25.793)
Not yet.

Adesoji Iginla (48:37.614)
You

Aya Fubara Eneli, Esq. (48:37.667)
Even when you think your children aren't listening, just keep planting those seeds because you never know.

Adesoji Iginla (48:42.498)
So the first before the last then conceptually category would be cultural meaning making. I mean, we've talked about the song, we've talked about the dance, we've talked about the writing. What was it about this women in terms of their narrative that will endure?

Aya Fubara Eneli, Esq. (49:05.547)
she, everything, sense of style. Every single one of these women, even the ones that we're not sure, we're not quite sure what their pictures are, they showed up in a certain way. I mean, they had a presence about them. Whether you talk about Lorraine's, know, pixie cut and, know, the cigarette hanging from her lips.

Adesoji Iginla (49:27.438)
Mm-hmm. Mm-hmm. Mm-hmm. Mm-hmm.

Aya Fubara Eneli, Esq. (49:29.841)
or Claudia who was always impeccably dressed. Even when she was poverty stricken, they talked about how statuesque she was and how striking she was to Wangari Matai, you know, who also held her own. Now there was a period where she got into some kind of...

Adesoji Iginla (49:33.431)
Rest yet?

Aya Fubara Eneli, Esq. (49:53.484)
look that I didn't quite understand. for the most part, every, I'm not, except for when she was younger and when she was known as Mary Jo, I don't recall seeing her in anything that did not look like African inspired attire. And so even choosing that is a statement that is tied to cultural meaning making. The way they spoke, choosing their,

Adesoji Iginla (50:02.126)
You

Adesoji Iginla (50:09.271)
Yeah.

Adesoji Iginla (50:16.45)
Minimaking, yeah.

Aya Fubara Eneli, Esq. (50:24.239)
You know, we all know people who've traveled outside of their countries and then they take on these airs and take on these, you know, fake accents and all of that. And so at least for the women for whom we have, you know, recordings of their voices, you could tell they were black women. They were not so, you know, affected that, you know, they put on airs beyond. And I hope no one is hearing this wrong, but they found.

Adesoji Iginla (50:42.167)
Yeah.

Aya Fubara Eneli, Esq. (50:54.117)
their strength in who they were. They did not have to become someone else. And so when we talk about cultural meaning making, it showed up in every way. You look at Mary McKee, but even when she wore the European gowns, and then she would have a scarf over her bare shoulder, or what she did with her hair, or the fact that she would still sing in her language when she could have abandoned that and sang in English and French and everything else.

Adesoji Iginla (50:55.544)
They were, yeah.

Aya Fubara Eneli, Esq. (51:22.393)
And so every single one of these women was not afraid to embrace who they were in whatever that culture was and not to feel like they had to be absorbed. Yes, exactly. And we certainly see it with their hair for most of them. Yes, Claudia had a perm and so did...

Adesoji Iginla (51:30.914)
Mm.

Adesoji Iginla (51:37.134)
who has to do every aspect of it.

Aya Fubara Eneli, Esq. (51:48.39)
Lorraine, that was a time, but just in terms of how they presented, and of course what they wrote about was tied to their culture. Now Lorraine did eventually write some other things, know, but when you look at the music, the art, when you look at what still prevails in Haiti,

in terms of culture and what we've kept on, spiritually music, dress, food, all of these things show that in each of these women, they had that connection to culture. Again, that sense of self, and they were not afraid to step out into spaces that were otherwise...

unsafe and be themselves

Adesoji Iginla (52:50.958)
Okay, so we started off with the quote from Sonia Sanchez's poem, How Does It Free Us? So suppose that brings it to a head. The 10 women we've studied so far, what is it about them that we should take forward?

Adesoji Iginla (53:16.928)
in our quest for not just freedom, but also to thrive.

Adesoji Iginla (53:33.08)
could take them as a collective or could take them individually to say, OK.

Aya Fubara Eneli, Esq. (53:36.582)
Yes, I was thinking about it actually. The song that just came into mind was Shaka Khan and then Whitney Houston did another rendition of it, I'm Every Woman. These women were not afraid to be mothers. They were also not afraid to say, I don't want to be a biological mother. They were not afraid to.

Adesoji Iginla (54:00.472)
more than

Aya Fubara Eneli, Esq. (54:07.835)
take up room in places where they were probably been told to be quiet and stay behind. They were not afraid to speak up in ways that maybe that not maybe that even threatened the patriarchy.

Adesoji Iginla (54:12.931)
Mm-hmm.

Aya Fubara Eneli, Esq. (54:26.577)
And so they were fighting on multiple fronts, fighting the racism, fighting the poverty, fighting the classism, fighting the gender inequality as well, definitely the patriarchy, the misogyny within our community as well. So I would say that these women, and I think I've mentioned this before as we went through each of them,

is that they would have said lessons is that.

Aya Fubara Eneli, Esq. (55:03.833)
You've got to honor your own humanity. You cannot resign yourself to just being a creation of someone else's imagination. Whether that someone else is a white oppressor, whether that someone else is other women who think you're stepping beyond where you should, whether that other, whether that, that...

You know, that opposition is coming from a man that you pledge to love. you have to, I would say they would tell us you have to be in tune with yourself. You have to know yourself. You have to know yourself. You have to be able to, walk in the power of who you are regardless of

who applauds you and supports you and who doesn't. Because if you're waiting for applause, if you're waiting for a crowd to follow you, you may miss out on your purpose. And your purpose is tied to our liberation. So just do your part regardless. I think they would say that. I think they would tell us that.

Adesoji Iginla (56:05.257)
Mmm.

Aya Fubara Eneli, Esq. (56:28.143)
This liberation work is exhilarating, full of joy, and also laced with a lot of pain and loneliness. But that you have to be able to...

Aya Fubara Eneli, Esq. (56:49.999)
be so focused on the desired outcome that you deal with everything else as it comes. Like that you're not so paralyzed by, my God, is this going to happen? It's just like, we've got to fight. So when you, when I think of Mary Jean Leventier on that wall and she's getting the guys going and she's giving water and she's slitting a neck over here and she's shooting the musket and it's just like.

I'm a target here. I'm a target for any man who might say who the heck does she think she is. I'm a target for the oppressors out there who are like, who is that woman? Let's get her down. But it's like, I am called to do this, whatever the sacrifice. And so how many of us have that conviction? Septima Clark certainly had that conviction, even as she was dealing with men in the civil rights movement who were, you know, fighting her.

Adesoji Iginla (57:35.608)
Mm.

Aya Fubara Eneli, Esq. (57:48.856)
in fighting, trying to prevent her from being the thing that she had been trained to be and to provide and build up the movement in the way that she could. Yeah, so the question is.

Adesoji Iginla (57:54.414)
To be, yeah.

Aya Fubara Eneli, Esq. (58:07.985)
Can we have enough sense of self?

to be able to get beyond ourselves.

Adesoji Iginla (58:19.758)
Mmm.

Mm.

Well.

Aya Fubara Eneli, Esq. (58:25.49)
I think there's an ancestral connection that allows you to just say.

This is not for accolades. This is not for riches. This is not for fame. This is for my people. Yeah.

Adesoji Iginla (58:42.754)
Yeah, so I mean, we're doing our part here. Part of the movement of memory is recording their lives, looking at it through the lens of time and also coming up with a synthesis, which is what we've just done in this episode of looking at the collective lives of all these women. There is a common theme there and the common theme is resistance.

not just resistance for resistance sake but also through the use of movement and memory using what they've garnered over time to be the what's it called the fulcrum of what it is they're doing so as usual we'll tell our audience who we'll be looking at next week yes

Aya Fubara Eneli, Esq. (59:37.68)
You have the honors of that. And I am so excited because again, she used all the tools. So listen, women, men, use all the tools. Science and technology are ways of knowing all of that. shows up in so many, you need a machete, you grab it, you need some plants, you grab it. You need a pen, you grab it. You need an instrument, you grab it. Like you need prayer, you grab that, whatever it is.

Adesoji Iginla (59:41.793)
So...

Adesoji Iginla (59:47.246)
Technology. Yeah.

Adesoji Iginla (01:00:04.044)
Yeah.

Aya Fubara Eneli, Esq. (01:00:06.619)
Put your hands to work, yeah. Put your spirit to work, yeah.

Adesoji Iginla (01:00:07.726)
Yeah, exactly. So next week, so next week we'll be looking at a woman who was not afraid to be a woman. Yes, considered by the social structure to be Africa's most dangerous woman. Let us see, Africa's most dangerous woman. Not only is she a woman, but the most dangerous. And that's

Aya Fubara Eneli, Esq. (01:00:17.91)
No sir, she wasn't.

Adesoji Iginla (01:00:36.48)
woman is Madame Adria Bolin. So next week we'll be looking at the life and times of Adria Bolin, how she resisted and how she came to be known as Africa's most dangerous woman. So.

Aya Fubara Eneli, Esq. (01:00:54.225)
Yes, yes Well for everyone who's been watching I want to say thank you. I don't know about you I know I am very energized by these women and their sacrifices and the fact that

even though they couldn't see where this was going to lead in the moment, they stayed in the moment and they did what they needed to do in that moment. And that's how I'm being encouraged to live right now is to just make each moment count, make each day count, serve in the ways that I can right here, right now. And let what is to be be.

And maybe your role is that you birth the person who goes out and does more. Who knows? Yes, yes, you do, you do. And I think.

Adesoji Iginla (01:01:39.586)
does it. But you have to nurture that person.

Aya Fubara Eneli, Esq. (01:01:45.936)
Being in these spaces that we're in, we use the African ways of knowing which most of us have learned under the tutelage of Dr. Carr who created these conceptualizations and categories and stuff. All of this is helping us to be in a structure that allows certain things to grow that might otherwise have been killed under the social structure. Question is, how do we now do this for the next generation? Yeah.

Adesoji Iginla (01:02:12.088)
Yeah. And yeah, you can share this podcast for starters. And through this podcast, they can gain access to other resources. And speaking of resources, do you have any books that people can engage with?

Aya Fubara Eneli, Esq. (01:02:31.751)
my goodness, I did not pick out any books for today, but there is a book that I did not share when we did Septima Clark in watch a whole bunch of things come tumbling down. But this one, I dream a world and she's all the way in the back.

Adesoji Iginla (01:02:49.41)
and dream a world.

Aya Fubara Eneli, Esq. (01:02:56.273)
However, there are so many amazing women in this book. I actually went to the opening and they had it in Columbus when I lived in Columbus, Ohio. You have Althea Gibson, Norman Merrick-Skleric, Toni Morrison, Catherine Dunham, Bertha Gilkey, Eva Jessie. I mean, look at this.

Aya Fubara Eneli, Esq. (01:03:24.913)
So many women of resistance here. But yes, this is Septima Clark on the cover and I did not mention that when we covered her, but that's the only book besides, my gosh. Okay, hold on. I'll get a couple more. If I don't.

Adesoji Iginla (01:03:40.75)
And so while she's at it, Finding Lorraine, that's the book on Lorraine Hansberry.

I'm thinking off the top of my head. about yeah, about yeah. Magari, fi, my guy, fi, the challenge for Africa.

Aya Fubara Eneli, Esq. (01:03:58.288)
Yep, I'm about.

Aya Fubara Eneli, Esq. (01:04:07.043)
really great book actually just in terms of reading this book in tandem with Aikwem As, Remembering the Dismembered Continents. We got work to do.

Adesoji Iginla (01:04:08.802)
Yeah.

Adesoji Iginla (01:04:18.656)
Yeah, we got work to do. got work to do. And what's this one?

Aya Fubara Eneli, Esq. (01:04:24.847)
It's called Replenishing the Earth, Spiritual Values for Healing Ourselves and the World. So when we talk about ways of knowing, when we talk about movement and memory, cultural meaning making, science and technology like this book kind of gives a sense of where she comes from in all of these ways and the ways that we have allowed a certain understanding of religion to.

destroy the earth. Let's put it that way. Yeah.

Adesoji Iginla (01:04:55.246)
So yes, thank you everyone for coming through. again, I have to thank my sister from another mother, Sister Aya. And yes, next week, we'll be looking at the life and times of a woman considered, I mean, even that title alone is.

Aya Fubara Eneli, Esq. (01:05:08.293)
Yes, sir.

Adesoji Iginla (01:05:23.574)
makes her life interesting. And believe you me, it is interesting. So Life and Times of Andrea Bolin, considered Africa's most dangerous woman.

Aya Fubara Eneli, Esq. (01:05:35.811)
It'll be interesting to see what we did with her. All right, well, thank you, brother.

Adesoji Iginla (01:05:38.176)
Yeah. So yeah, thank you all for coming through and until next week, it's good night for now. Good night.