THE most beautiful art in Africa is the art of struggle.
Struggle is survival. Survival is an art. Even before paper and ink man wrote the most beautiful poetry with his sweat on the ground, says Sembene Ousmane. He created beautiful implements for use in producing food.
He created houses for his habitat, protection and safety.
He created songs and dances and stories to celebrate and express view of life and the world in which he lives.
He created symbols, monuments and artefacts for the enlightenment and education of generations to come.
He created all these beautifully as symbols or images of his reflections of his trials and triumphs in his struggles for life and survival. And they were all good and sacred. Europeans and Arabs called them fetishes or myths and demanded that we throw them away and adopt theirs.
The conflicts between Africans today are mainly between those who have adopted European myths, symbols and songs as their religions and cultures and those who have adopted Arab myths, symbols and songs and folklore as their religion and cultures.  
Those who have adopted Arab myths as their religion and culture say to those who have adopted European religions and cultures “Boko Haram!” which means, “Down with Western education and culture!”
Africans who have adopted European religions and cultures say to their brethren who have adopted Arab religions and cultures “Down with ISIS!” which they call Moslem fundamentalism! Africa is reduced to a battleground for these two alien cultures. Africans and their resources are the price these two alien cultures are fighting for. And we foolishly comply.
Africans who have adopted European cultures in Sudan fight with Africans who have adopted Arab cultures. Their war is called a war between Christians and Moslems.
Europeans call it the war of Islam against Christianity and give arms to Christians to fight Islam in Africa. The Arabs do the same. They supply African Muslims with weapons to fight Christianity in Africa.
Africans who reject European culture and Arab cultures are labelled as animists. Africans who took up arms against domination and enslavement by both cultures were labelled as terrorists.  Africans who refused to adopt European cultures as international best practices and the rule of law are demonised in Zimbabwe today as violating international human rights and crucified with sanctions until they learn to repent like Sekuru Kaguvi and be baptised in the name of Western cultures and religions as Dismas. The majority are inspired by the example of Nehanda and the strength they draw from their own culture and continue to wage the most beautiful struggles of liberation against domination by foreign cultures.
When whites watch Africans dance and dances of their own cultures and sing the songs of their own cultures and recite the stories of the struggles of their African ancestors against domination by foreign religions and cultures, they tremble to the marrow of their bones with fear.
The polyrhythmic sounds of the African drum-beat, the contrapuntal incantations of African percussions and hand-clapping, the pounding frenzy of the steps of African feet on the ground, and the humming, yelling and singing of the voices calling-and-responding to each other in oneness of purpose, turn Africa into a sacred religious ground where whites fear to tread!
African culture becomes the only artistic expression and most formidable weapon in the African quest for absolute liberation and independence that Europe can never hope to successfully confront and defeat.  
As Malcolm X says, a race of people is like an individual man. Until it uses its own talent, takes pride in its own history, expresses its own culture, affirms its own selfhood, it can never fulfil itself. We must therefore recapture our culture, identity and heritage if we are ever to liberate ourselves from the bonds of white supremacy.