The Chaldean National Flag & Emblem

 

The Chaldean National Flag

& Emblem

1985-Present

 

By

Amer Hanna Fatuhi, Ph.D.

 

 

The Chaldean National Flag

 

The 1985- Present Chaldean National Flag CNF created and designed by the established artist Amer H. Fatuhi is the only approved and recognized flag that represents and symbolizes the most ancient Chaldean Nation 5300 BC – Present, and their Mesopotamian land aka the Cradle of Civilization. The Chaldean National Flag serves to express the Chaldean identity and heritage. The Chaldean National Flag demonstrates a tradition of excellence and unique beauty that extends throughout history and into modern times whereby Chaldeans continue to lead and contribute to the goodness and the greatness of the world. The Chaldean National Flag is also recognized as the top legitimate national uniting symbol flown by All Chaldeans (Organizations and individuals) worldwide.

 

WHO ARE THE DIEHARD

CHALDEANS

5300 BC – Present 

As evidenced by historical documents and antiquities, Chaldeans, the indigenous Mesopotamians, are the descendants of the Proto-Kaldi who built the earliest cities in Mesopotamia around 5300 BC including, Eridu, Sippar during the Pre-Diluvian and later on Uruk (Kulabba & E anna) and Ur, as well as the earliest cities in central and northern Mesopotamia during the Post-Diluvian period, including Babylon, Kish, and Nineveh. 

Similarly, as indicated by tangible/historical discoveries and Biblical data, Chaldeans were the native inhabitants of the two major States in ancient Mesopotamia Babylonia (Sumer & Akkad) in the south and center, and Assyria in the north. To learn more about Chaldeans read www.ChaldeanLegacy.com

Who is the Creator and the Designer of the CNF 

Amer Hanna Fatuhi, Ph.D., is a scholar of ancient history and native Mesopotamians. He is also a professional writer, art critic, and an established visual artist, creator of the “Logogramism” art style, 1988-1992.

Fatuhi studied engineering, fine arts, and history. Throughout his extensive and solid creative career, Fatuhi received many International and National Awards and Honours including the International Association of Professional Artists iaa/UNESCO 1984.

Amer is famous for his many artworks including the ones looted from the Iraqi Modern Art Museum and for numerous artworks showcased in museums and art galleries worldwide, as well as for his exceptional, designs including the 1986 & 2008 Iraq National Flag and other local and international designs. He is also considered one of the ten worldwide Creative Artists/Writers ~ World Literature Today academic magazine, 2009.

 

CHALDEAN NATIONAL FLAG

Is For All CHALDEANS

An Open Letter From Amer Hanna Fatuhi

Anyone Can Use & Produce the Legitimate Chaldean National Flag

Even though artist Fatuhi has already written many times since 2004, that the official Chaldean National Flag (CNF), which he created and designed in 1985 / 7285 k, is a 100% gift to his beloved Chaldean Nation, he was approached a few times indicating that those letters were not clear about permission, to print, sell, and use the Chaldean National Flag, as well as why the design of the Chaldean National Flag was copyrighted. 

Therefore artist Fatuhi stated in his open letter published on his Blog and other social media pages, dated Sunday, May 26, 2019: "For the last time, I hereby, Amer Hanna Fatuhi the sole creator and designer of the Chaldean National Flag in 1985 / 7285K, with entire support from my family and friends, would like as a proud Chaldean to announce, that the Chaldean National Flag is my 100% gift to all, my beloved Chaldeans and friends all over the world."  

To read the Letter of Authorization (CHALDEAN NATIONAL FLAG IS For All CHALDEANS) visit www.amerfatuhi.blogspot.com or the link shown below:

https://amerfatuhi.blogspot.com/2019/05/chaldean-national-flag-is-for-all.html 

It is also worth noting that the digital EPS / PDF files can be obtained free from the Chaldean Educational Center of America: www.Chaldean4u.org | contact@chaldean4u.org

 

 

IS THE CHALDEAN NATIONAL FLAG COPYRIGHTED & WHY?

 

           The right question is: Can flag designs be copyrighted?

The simplest answer is Yes, we can trademark a flag according to the International Copyright Institute. However, one may still ask why the Chaldean National Flag was copyrighted in the first place. 

The Chaldean National Flag was registered for the first time in 1986 at the Ministry of Local Government in Baghdad, Iraq. According to iaa and the International Copyright Institute, any design or artwork is considered the intellectual property of the artist. The copyright registry can easily prevent others from altering or even claiming the artwork.

Furthermore, artist Fatuhi openly and publicly stated in 2004 that the official Chaldean National Flag design is his 100% gift to the beloved Chaldean Nation worldwide. See the link below:

 http://amerfatuhi.blogspot.com/2019/05/chaldean-national-flag-is-for-all.html

 Finally, the two International Chaldean Conventions (General Conferences) in 2011 and 2013 recognize the Chaldean National Flag as the only recognized National Chaldean symbol that unites the Chaldean Nation and it is artist Amer Hanna Fatuhi's gift to the Chaldean Nation worldwide.

Since day one, the Legitimate Chaldean National Flag has been in the public domain and used freely worldwide.

 

 

Chaldean National Flag & Deceased Chaldean Veterans

The tradition of covering a deceased veteran with the Chaldean National Flag originated in December 2015 when the prominent Chaldean activist and author Habeeb Yousif Tomi passed away. The Chaldean National Flag was placed on his closed casket to honor his long commitment and service to the Chaldean Nation and to leave for his family, friends, and the Chaldean Nation his renowned legacy.

 

Chaldean National Flag from A - Z 

In 1983, artist Amer submitted five designs to the National Contest to design Iraq’s provinces' Emblems. Four were selected by the art jury, which won the first National Award of the provinces (Babylon, Nineveh, UR [Nasiriyah], and Basrah). In 1984 the National Contest Committee requested designing Flags for the won emblems. Once again, Amer’s designs were highly appreciated and approved by the art committee. 

In 1985, an international contest to design Iraq's National Flag was announced. Despite the participation of thousands of artists, graphic designers, architects, and well-known international companies in the field of design from all over the world, Amer was able to outperform all competitors and win first place in 1986. He also won first place in the 2008 Second International Contest to design Iraq’s National Flag. 

In 1983, artist Fatuhi began thinking seriously about designing the flag of the Chaldean nation, and after in-depth study and hundreds of preliminary sketches, he was able to reach the conviction that it was about time to choose one of his best designs to be the chosen flag. 

The first chosen version of the Chaldean National flag aka The Legitimate Chaldean National Flag was designed in 1985. Since 1985, several well-known artists have reviewed the authenticity of the design and provided the artist with letters of commendation identifying its excellent quality and originality, including the pioneer Iraqi artist, Issa Hanna Dabish, the founder of the first modern art group in Iraq in 1940, and the draft-artist of the 1959 Iraq National Emblem designed and sketched by Jawad Salim. 

The 1985 Chaldean National Flag design was also registered in the (Patents & Copyright) Division of the Ministry of Local Government in mid-September 1986. In order not to be exposed to political persecution by the Arabist regime, the design was registered under the title (Historical Flag of the Ancient Chaldean-Babylonians).

For years, the flag design was known and appreciated among limited individuals and groups. However, it was officially recognized by the International Chaldean Visual Artists Association in 1997. Since its adoption, it proved to be a symbol of pride and unity among Chaldeans.

Due to the fact that its genuine symbols are derived from the Chaldeans' journey of over 7300 years. In other words, it represents the Chaldeans’ true national identity. 

Since April 2011, massive parades of Chaldeans worldwide celebrated the 7311AKITU festival (Chaldean Babylonian New Year). Chaldeans in Iraq and all over the world, young and old, proudly took to the streets in joy parades carrying the Chaldean National Flags of all sizes. 

In 2011 and 2013, the two Universal Chaldean Conventions (General Conferences) in San Diego, California, and Michigan, USA unanimously approved the flag as the only recognized legitimate Chaldean National Flag that represents our Chaldean Nation permanently and perpetually.

Description of the Chaldean Flag

The Chaldean Flag, which was designed by the Chaldean established artist Amer Hanna Fatuhi comprises two vertical lines in blue Pantone 300 C, and a Mesopotamian eight-fold star with two internal circles. The outer circle is Pantone yellow C, and the inner circle is blue Pantone 300 C. The two vertical lines are close to the outer edges of the flag in its traditional proportion (its length = one time and half its width). 

On the white square in between them, there is the Chaldean Babylonian eight-fold star from which blue rays radiate, Pantone 300 C. The beams of the eight-fold star contain two interlaced Pantone red 485 C triangles separated by an angle made up of two connected white lines.

The blue, red, and yellow colors are the primary colors that can not be made up out of other colors but they can be combined to create additional colors. The Chaldean National Flag's original colors refer to Mesopotamia (the cradle of civilization) as the foundation of all the later civilizations. 

 

Visual Elements of the Chaldean Flag

The two vertical lines represent the eternal rivers: Tigris and the Euphrates which spring from the north and flow into the south of the Mesopotamian land. They signify abundance and generosity, whereas the sides, the eight beams, and the yellow disc of the sun signify goodness, justice, equality, and civilization.

If we add the inner blue circle representing the moon, they would then signify the major celestial bodies according to the Chaldean Babylonian belief. The two circles implicitly signify the Chaldean cultural contributions in all areas of knowledge particularly ancient Chaldean math and astronomy, the cornerstone of modern ones.

Chaldean Flag Day

The Chaldean Flag Day is celebrated in honor of  King Nabopolassar, the founder of the last Imperial Chaldean Dynasty who is also hailed as the liberator of Babylon on May/Ayar 17^th, 4674 K  (K stands for Chaldean calendar). Six months later, on November 23, 626 BC, Nabopolassar officially assumed the Babylonian throne.

 

Chaldean National Anthem (Rise Up O Young Ones)

The Chaldean National Anthem (Qoumun Y Jawanqeh) was written in 1999 by the renowned Chaldean activist Ablahad Afram Sawa, the founder of the first Chaldean Political Party, the Chaldean Democratic Party.

https://www.youtube.com/watch?v=T5gWumQb8sA 

He also authored many books about the Chaldean history. The anthem was composed by the talented composer and famous lawyer Afram Fadil Al-Bahro. It was recorded for the first time in 1999 by the Chaldean Center for Culture and Arts in Dohuk and was officially approved and adopted during the first International Chaldean Convention in 2011, in California, U.S.

 

Chaldean National Emblem

The Chaldean National Emblem comprises two major visual elements:

The central element, the spouting vase represents the Chaldean homeland (The Land of Eden) and the two flowing streams of water represent the eternal Biblical rivers the Tigris and the Euphrates. The two rivers refer to fertility, renewal, and growth, which emanated from the ancient Proto-Kaldi term: The land between two rivers (Birit Narim aka Mesopotamia in Greek).

The second visual element is the eightfold Chaldean Babylonian sun which symbolizes civilization, goodness, justice, and freedom. The Blue, Red, and Yellow colors of the Emblem are the primary colors. They act as the origin or the base for all other colors.

Similarly, Mesopotamia the Proto-Kaldi homeland aka the Cradle of Civilization, was independently established and developed prior to other civilizations. Therefore, Chaldeans’ homeland is considered the foundation that influenced the entire ancient world.

To learn more about the Chaldean flag and emblem, visit: www.chaldeanflag.com

You can also read: The Untold Story of Native Iraqis – Mesopotamian Chaldeans 5300 BC - Present www.NativeIraqis-Story.com   

 

REFERENCES 

Fatuhi, Amer Hanna, The Jews of Babylon, Past & Present, U.S., 2024

Fatuhi, Amer Hanna, Chaldean Legacy, U.S., 2021

Fatuhi, Amer Hanna, The Untold Story of Native Iraqis, U.S., 2012

Chaldeans Since the Early Beginning of Time (In Arabic), U.S. 2004 / Iraq 2008

www.AmerFatuhiArt.com | www.NativeIraqis-Story.com | www.ChaldeanLegacy.com |

AKITU Festival “Chaldean Babylonian New Year” Past & Present

 

AKITU FESTIVAL

CHALDEAN-BABYLONIAN NEW YEAR

5300 BC-Present 

Celebrating Mesopotamian New Year on April 1^st is dateable to the Babylonian First Dynasty, early second millennium BC. This Babylonian dynasty is a descendant of proto-Kali. ^[1] In that era, religious economic, and social aspects of life were modified and transformed from their earlier inherited patterns to be in accordance with Babylonians' own culture and fundamental values. However, before that era, celebrating Akitu/Akiti (in the Sumerian language) marked one of the two major New Year festivals, Akitu (Akkadian) and Zagmuk^[2] (Sumerian), Festivals, which were celebrated by the mid-southerner Mesopotamians since the time of Proto-Kaldi in Eridu 5300 BC. 

Upon the growth in the supremacy of Ur of the Chaldeans, it took Eridu's place as the official ceremonial center until Babylon assumed control in the era of the Babylonian first dynasty. While there is no reference to the observance of Zagmuk and Akitu in the northern region before the (Sargonic dynasty 721-612 BC), those two events were known in the Babylonian region (Sumer and Akkad) since the Eridu era c. 5300 BC. This premise is demonstrated in the Sumerian/Babylonian mythologies of creation and the mythical journeys of the gods of ancient cities, which mentioned Eridu and its official god Ea/Enki, god Marduḫ’s father. Chaldeans follow the year 5300 BC as the starting date for celebrating the Chaldean Babylonian New Year’s Day because it is the date of founding Eridu (NUN-KI), their ancestors’ first capital. 

How about the question that remains to be answered: Was Akitu an innovation or even a common practice by the northern Chaldean people of the Assur region as some claim?

As evidenced, Assur State was founded as a small region in the era of the Babylonian king, Shamshi Adad I who did not use other than the Babylonian/Akkadian language and writing system; then the state of Assur vanished from the ancient Mesopotamian scene several centuries as the region fell under the hegemony of Mittanis and then Hittites until it reappeared in the reign of Ashur Uballit I c. 1363 BC. Up to that time, no physical evidence had reported the observance of Zagmuk and Akitu as festive events in the northern region because the Mittanis and Hittites invaders did not recognize the national events of the Babylonian region that were popular in the Akkadian period. 

These two festivals were of particular significance in Babylon (NUN-KI), Eridu (NUN-KI), Kish, Ur, and Uruk in the period before the Sumerian first culture supremacy c. 2900-2600 BC to the end of the Neo-Sumerian culture supremacy (Third Dynasty of Ur), 2112–2004 BC. The cities of Eridu of Ur and its Gods Enki/Ea (Marduk/Marduḫ’s father) and Nannar/Sin played a major role in those celebrations. 

Ancient mid-southerners Proto-Kaldi adopted the fall equinox, Zagmuk as the beginning of the New Year. It coincided with harvesting dates. They celebrated both spring and fall equinoxes with the same vigor and importance. Yet the beginning of the year (the literal translation of the Sumerian word Zagmuk) observed by the Sumerians centered on the ceremonies of the sanctity of the date palm, fertility, and renewal. Holy Matrimony/Hashadu in the Babylonian period stood for the marriage of Marduḫ, the national god, and his wife Sarpanitum. Every year, their marriage was reenacted by the Babylonian king and the high priestess of the temple, the divine Lady, Entum. The final standardization of the ceremonial rituals of Akitu dates back to the Babylonian First Dynasty when the two festivals were united and Zagmuk became part of the Akitu rituals; the Babylonian First Dynasty is also credited for adopting the first day of April as the first day of the year. 

In fact, the beginning of the second millennium BC was the decisive time for settling the choice between celebrating Akitu or Zagmuk events as the primary celebration. During the era of the first Babylonian dynasty, a semifinal systematization of daily life in Mesopotamia began in all aspects: religious, scientific, economic, literary, and social including the unification of the chronology. Thus, the Akitu Festival was chosen by Babylonians to mark the national New Year’s Day. No other cities’ celebrations were to take place from April 1^st to April 11^th, including the northern cities of Kalkhu, Assur, or Nineveh until the official and legitimate celebration in Babylon ended. It is also worth noting that those cities' celebrations were timewise shorter, inside the main temple of the city and on a very local level. 

Zagmuk and Akitu were originally derived from the idea of an agricultural root. Julye Julye Bidmead states in her book The Agricultural Background of Akitu Festival, p. 119, “The ancient viewed each as the onset of six-month equinox year.” The Akitu festival of the first month of Nissanu lasted at least from the first to the fifth of Nissanu as noted in a series of tablets dated from the reign of Ibbi-Sin of Ur while the Zagmug-Akitu festival of the fall, lasted for twelve days starting on September 15^th.” On the eighth day of the ceremony, Tammuz is liberated from the underworld, which coincides with the fall/autumn solstice on September 23^rd and the date of harvesting as well. “The season of dates harvesting starts in mid-September and ends in mid-October.” ~ Marguerite Rutten

The name Akitu is derived from a very ancient name a-ki-ti-she-gur₁₀-ku₅. It was the festival of sowing, harvesting, and wool shearing. It was celebrated in antiquity from March/Addaru to April/Nisannu as well as from mid-September/Elulu to October/Tishritu. To the public, it also meant the beginning of the New Year, especially in the pre-Sargonic I era, wherein Akitu was first celebrated as stated in the tablet obtained from Girsu, in the city of Ur of the Chaldeans, and after the official festivities end, it was celebrated in Nippur city. With the predominance of the first Babylonian Dynasty, Akitu started to be recognized as being the beginning of the year (Resh Shatti(m), ancient Babylonian). Hence, Akitu ended up being recognized as the official Babylonian New Year festival. 

The Babylonians alone celebrated Akitu on April 1^st of each year. While elsewhere in Mesopotamia, particularly the northern Shubaru region/Assur, it was less importantly celebrated on subsequent dates because the other cities' patron gods were visiting Babylon. Traditionally, celebrating Akitu was largely to acknowledge the supremacy of God Marduk/Marduḫ. However, when Babylon was plundered and the statue of Marduk/Marduḫ was captive in Nineveh by the king Sennacherib in 689 BC, the magnificent celebrations in Babylon came to an end for a few years as Sennacherib celebrated Akitu in his capital Nineveh, making Assur the focal point of the celebration. A disrespectful move that widely angered the public.   

When Sennacherib’s sons Arda-Mulissu and another brother, Nabû-šarru-uṣur turned against Sennacherib for the destruction he inflicted on Babylon, his other son Esarhaddon, who succeeded his father, immediately had Babylon rebuilt and reinstated the celebratory ceremonies of the supreme ancient Mesopotamian god Marduk/ Marduḫ. Cambyses II, son of the Persian king Cyrus II, was the last king who took part in the ceremonies of taking the hand of God Marduk/ Marduḫ in Babylon in 529 BC. Before the destruction of Babylon’s ziggurat and the E-sagila temple in 482 BC in the reign of Achaemenid king, Xerxes I/Ahasuerus. However, celebrating Akitu continued in the Babylonian region up to the second half of the first century BC as indicated in the tablets excavated in the city of Uruk. It is also worth noting that Alexander the Great celebrated Akitu. ^[3]

People waited eagerly for April 1^st since the Old Babylonian period. They flocked to Babylon the official capital of the land, the glory of kingdoms, and the beauty of the Chaldeans' pride, where lavish celebrations took place. These huge gatherings and pilgrims came from all over ancient Mesopotamia, including Ahwaz, and the sea strip stretching up to Qatra/Qatar and the high Euphrates area as far as Haran.

Akitu was celebrated in two stages and in two locations—in the temple of God Marduk/ Marduḫ, E-sagila, “the house that raises its head” situated in the Babylonian ziggurat at the Eridu sacred quarter, the loftiest part of the E-temen-an-ki tower, foundation house of heaven and earth. The other location was Bet Akitu temple located two hundred meters outside the northbound walls of the city. It is worth mentioning that since the early first millennium BC, God Marduk/ Marduḫ was usually called Bel, the Lord because his real name was considered too holy to be pronounced. Similar to the (Lord God) epithet used by the scribes of the Old Testament for Elohim/the Hebrew God. 

Akitu begins on April 1^st and lasts for eleven days (some scholars add a twelfth day as part of the official ceremony) although that day was marking the departure of visiting gids heading back to their cities. On the first day, the Urigallu priests would recite sad prayers in the E-sagila temple. In their sad prayers, the priests would ask for Marduk/ Marduḫ’s forgiveness. On the fourth day, a high priest, Sheshgallu, recites the creation epic Enuma Elish in praise of Marduk/ Marduḫ. As the Sheshgallu performs this essential function in the Nisannu/April ritual, he is customarily accompanied by musicians Kalu and Naru, actresses—Mummeltu, and actors—Mummelu, who would play the events of the epic. 

After reciting the epic, the king heads to the temple of the god of writing, Nabu, son of God Marduk/ Marduḫ to receive the sacred scepter from the high priest. Then he travels to Borsippa, which is seventeen kilometers downstream from Babylon. He spends his night at the temple of the patron god of the city, Nabu, revered by both Babylonians and Assyrians. Therein, the Sheshgallu recites the epic of creation at the house of the New Year, Beth Akitu. The implication of the king’s visit to the temple of God Nabu is to help him release Marduk/ Marduḫ from captivity inside a mountain in the underworld, Kur, the land of the netherworld people. 

On the fifth day, the king returns carrying the statue of Nabu, which he eventually leaves behind at the southwestern gate, Urash gate. Then he lays down his crown, scepter, and sword by the gate of E-sagila temple. After a series of ceremonies, he is given back his royal insignia after cleansing him and them with the holy water. Returning the crown to the king means his power was renewed by Marduk/ Marduḫ to be allowed to enter the temple to complete the celebratory ceremonies. The remaining part of the fifth day is dedicated to offerings and incantation rituals carried out by the Mashmashshu priest. He slaughters a ram and sweeps the walls of the temple with its blood and then throws its head into the river. As a kind of a scapegoat which casts out demonic powers. 

The king performs another ritual in the afternoon of the fifth day. He is accompanied by the Sheshgallu as well. That ritual mainly revolves around a white wild bull. Meanwhile, the crowds would be fully excited, especially after Marduk/ Marduḫ’s chariot passes in the streets without its driver, as a sign of dreading chaos that might be about to befall the land before Marduk/ Marduḫ sets the universe in order. On the seventh day, the statue of Marduk/ Marduḫ and the other gods are cleansed and clothed in new attires. Following that, Nabu visits the warrior god Ninurta in his temple.

Together they join forces in a ceremonial play in which the statues of Nabu and Ninurta defeat two symbolic golden statues from the netherworld.

Then the priests depart with the statues of Nabu and Ninurta to the E-sagila temple to join the statue of the Supreme God Marduk/ Marduḫ.

During the next two days, barges arrive in Babylon, carrying statues of gods from Ur, Sippar, Kutha, Kish, Uruk, Nippur, and other cities. Next, the barges are placed on horse-drawn chariots. On the eighth day, after the liberation of Marduk/ Marduḫ, the population’s outbursts of rejoicing intensified. The statues of gods are assembled in the Chamber of Destinies in the order of their ranks, essentially to confer their combined strength on the restored god for the conquest of hostile forces and to give him the right to determine the destinies, that is, to renew fruitfulness and life during the forthcoming year. This ritual is performed by the king who enters the great hall, grasping the hand of the great Lord Marduk/ Marduḫ, and he places him in the main courtyard of the E-Sagila, where all gods grant Marduk/ Marduḫ absolute authority and recite his fifty compound names. 

After that, the parliament representative announces the next year's policy, just like the state of the union, this policy always contains blessings, fortunes, and successes. At a later time, the king goes in procession from the E-sagila riding the chariot of Marduk/ Marduḫ glowing in gold and silver followed by the chariots of the other gods while aromatic herbs burn with fragrance. They would head toward the river along with the singers and musicians playing the flutes. The gods’ adoring devotees kneel in front of them. Finally, the procession would leave Babylon, heading toward the temple of Bit Akitu, and after a short tour alongside the Euphrates, it reaches Bit Akitu, which is decorated with green foliage. The king then carries the statue of Marduk/ Marduḫ and brings it inside Bit Akitu where ceremonial hymns are chanted, including the ones dedicated to Ishtar, goddess of sex and war, as well as the songs dedicated to God Ea, father of Marduk/ Marduḫ and protector of Eridu. The last song is an alternating hymn in which the gods are asked why they are not in their temples. They replied that they had to be with Marduk/ Marduḫ at that important event. 

Then more offering ceremonies are performed in addition to enacting the sacred marriage hashadu on the ninth and tenth days in a chamber called Gigunu/Gagum at the E-sagila. It is designated to the high priestess. On the eleventh day, at the E-sagila temple, once more prayers and good wishes are recited for the New Year in the presence of all gods that participated in the procession. Afterward, the celebrations are concluded with a lavish public banquet for all Babylonians and pilgrims from other cities while singers recite hymns and play musical instruments.

The performers who partake in these celebrations are Astalu, the musician; Huppu, the dervish or performer of religious dances; Assinnu, the designated boy; Qapistu, the characters’ caster; Quluu, the back chanters; Kur garru, the lamenter and he is also one of the religious servants; Mubabbilu, the funny jester; Mummelu and Mummeltu, the actor and actress; Mustapsu, the wrestler; and Zammeru, the flutists.

On the twelfth day, statues of the gods that promised to protect Babylon, consolidate its rule, and have leniency on its people are returned to Marduk/ Marduḫ’s temple. The first statue to depart Babylon is of God Nabu’s, followed by the statues of the other gods. Similarly, the priests return to their temples and daily life resumes in Babylon and the rest of the land.

 

               Akitu Festival “Chaldean Babylonian New Year” Past and Present

 

CHALDEANS & PRESENT DAY AKITU FESTIVAL 

        AKITU was and still is a Chaldean Babylonian New Year Festival. It has been scientifically proven that lunar and solar calendars were developed by proto-Kaldi, founders of Eridu 5300 BC. No other city in ancient Mesopotamia had the privilege to celebrate AKITU at the beginning of Nisanu/April, except in Babylonia. AKITU was the Babylonian Genesis, symbolizing the victory of goodness, law, and order over the defeat of evil and chaos. Our direct ancestors the proto-Kaldi, who started this celebration more than 7300 years ago, have handed out the torch to the modern Chaldeans the indigenous Mesopotamians of modern-day Iraq.

        AKITU is here, and with Akitu comes the hope and the commitment to rebuild our shattered world, heart to heart and hand in hand. Chaldeans the indigenous Mesopotamians will continue celebrating Akitu, the Chaldean Babylonian New Year Festival from April 1st to April 11th under their national symbol, the Chaldean National Flag in their homeland modern-day Iraq, and worldwide. HAPPY AKITU. 

Let us all make Akitu the New Year Festival a new beginning For all Chaldeans and friends worldwide.

 

Courtesy of Amer Hanna Fatuhi, Ph.D.

www.NativeIraqis-Story.com | www.ChaldeanLegacy.com

---

[1] Proto-Kaldi: In 1988, historian Amer Hanna Fatuhi named pre-Sumerian culture Proto-Kaldi. This term was first used in his study entitled “Ur of Chadeans … An Iraqi Perspective”. Subsequently, it became common among Iraqi scholars since 1990s and worldwide in 2004.

[2] Zagmuk (Sumerian: 𒍠𒈬, ZAG.MU, literally "beginning of the year" , which means 'New Year.'

[3] Collins, Andrew W., Alexander the Great and the Kingship of Babylon, P. 130

Do Muslims Wage and Engage in Wars during the month of Ramadan?

 

Ramadan

& The Four Canceled Peaceful Months in Islam

 

Historically, Ramadan was the ninth month of the Arabs' pre-Islamic calendar. It was adopted, practiced, and tweaked by the Islamic prophet Mohammed and his followers from 622 AD onwards.

Some unrealistic and ignorant Western powers (politicians, media outlets, and NGOs) are calling for a ceasefire in Gaza under the pretext of respecting the month of Ramadan because, according to those parties, it is the month of fasting for Muslims and it is forbidden to fight during the month of Ramadan.

This is questionable and far from the historical truth. This would mean abandoning the release of the kidnapped civilian Israeli captives held by the terrorist fanatic group Hamas and other inhumane Islamist terrorists. However, is the above-mentioned statement religiously accurate and is it really not permissible to fight during the month of Ramadan according to Islam?

It is well known that the peaceful months for Arabs and Muslims before the rise of Islam were four mentioned in Surat Al-Tawbah: 36. These four months are divided into three primary months: Dhul-Qa’dah, Dhul-Hijjah, and Muharram, as well as one secondary peaceful month, which is the month of Rajab.

These were the only four sacred peaceful months according to the Qur’an and the consensus of Muslim religious jurists. This fact also confirms that the month of Ramadan is not one of the old four peaceful sacred months.

Moreover, the four peaceful sacred months for Arabs pre-Islam were abolished by the Qur’an in Surat Al-Tawbah after the raid by proxy on Ibn Al-Hadrami, which occurred in the month of the supposedly peaceful month of Rajab in the year 624 AD.

However, Surat Al-Tawbah came to abolish the pre-Islam peaceful sacred months in which fighting was prohibited. Surat Al-Tawbah confirms that Muslims are allowed to raid and fight during all the pre-Islam peaceful sacred months.

The above concrete fact is supported by the following Islamic events:

Mohammed, the Islamic prophet, besieged the civilian people of Taif during the peaceful sacred month of Dhul-Qidah, as proven in the two Sahihs of Muslim and Al-Bukhari.

Umar ibn al-Khattab was the second Rashidun caliph, and the Commander of the Faithful as well as the son-in-law of the Islamic prophet. He was killed on the 26th of Dhul-Hijjah, which is supposedly one of the peaceful sacred months.

Uthman ibn Affan ibn Abi al-As was the third Rashidun caliph, Commander of the Faithful, and son-in-law of the Islamic prophet. He was killed on Friday, the 18th of the supposedly peaceful holy month of Dhul-Hijjah.

Also, Al-Hussein bin Ali, the grandson of Muhammed, the Islamic prophet, was killed on the tenth of Muharram, which is supposedly one of the peaceful sacred Islamic months before Surat Al-Tawbah, 624 AD.

It is also worth noting that the month of Ramadan is not actually one of the peaceful sacred months in the first place, which is confirmed by the following Islamic events:

The Battle of Badr took place on the 17th of Ramadan 2 AH / May 13th, 624 AD.

Also, Imam Ali ibn Abi Talib, the cousin and son-in-law of the Islamic prophet Muhammad, the fourth Rashidun caliph was assassinated during the morning prayer on January 28th, 661 (19 Ramadan 40 AH).

If the Qur’an abolished the peaceful sacred months in the year 624 AD and permitted fighting during these months and the month of Ramadan, then why should Israel honor what Muslims themselves and their Prophet do not honor?

For those who are pushing to seize fire in Gaza, I want to say: “That is fine”, however, there is only one option on the table of the so-called civilized world: Tell Hamas To Free All the Hostages and Unconditionally Surrender. Furthermore, every single drop of Gazan blood spilled is on HAMAS' hands and the anti-Semitic ignorants.

Amer H. Fatuhi, Ph.D.

References: The Qur’an (Surat Al-Tawbah) | Sahih Muslim and Al-Bukhari | Islamic Wars - Muslims Vs. Muslims / Surah Al-Hujurat | The Untold Story of Native Iraqis, PP. 483-485| Living by the Point of my Spear (The Life of Islamic prophet Muhammed), By Zaki Ameen | Is the Qur'an Infallible? by ‘Abdallah ‘Abdal-Fadi, PP 100/394

 

PS. Surah is an Islamic term that means Chapter.

ASSYRIOLOGY - Educational Video Press Release

 

THE TERM “ASSYRIOLOGY”  

The Documentary Video Also Reveals

Who Are the 20^th-Century Assyrians? 

Written by Amer Hanna Fatuhi, Ph.D.

 

Directed By

EDDIE ASMAR  

Troy, MI, U.S.

Amer Hanna Fatuhi, Ph.D., is a scholar of Mesopotamian History, Native Chaldeans, and Iraqi Minorities.  He is also a professional writer and visual artist. 

The documentary video “Assyriology” is the culmination of the author’s broad cultural and intellectual experience as a historian. It transparently discusses the academic meaning and the history of the term (Assyriology). The documentary video also presents the historical facts, which shed light on the 20^th-century made-up identity of the modern Assyrians.

This presentation is based on Dr. Amer Hanna Fatuhi’s history books listed in the References Section of the video. The English version was revised and edited by Prof. Roy Gessford. 

All genuine images are created or modified by (atelier a) Art & Graphics Studio. The artworks are also made possible by the Telecommunication & Media Expert, Engineer & Multimedia Expert, Nannar Amer. The music and supporting soundtracks are selected by Eddie Asmar. 

Production & distribution

Produced by Mesopotamian Knowledge Production in association with the Chaldean Educational Center of America, a Non-Profit Organization 501(c)(3)

Copyright © 2024

All rights reserved. No part of this presentation may be copied or used in any form without the Logo of the Mesopotamian Knowledge Production (MKP). You can share the video and post it without alteration on your YouTube channel for educational purposes. You can also obtain the original video without the MPK Logo by contacting eddie.asmar@yahoo.com.

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