Philosophy of humanity revolves around the oneness of humanity. We come from the same ancestors; we all have one common humanity; we share our DNA and our heritage and our earthly home and our Creator. We know scientifically that all Human beings are cousins, related to one another through our common African ancestors.
The World will transcend the boundaries between nations, races and ethnicities and unite. Distinctions and barriers between people will fall. The old global divisions – east and west, north and south, occident and orient, first- and second- and third-world, developed and developing countries – will all disappear. We will live as one, as World citizens, as inhabitants of our beautiful, united planet.
This stage of maturation, the adulthood of our species, can only come about with a new Consciousness of the oneness of humanity. The time has come for all of us to embrace our commonality, to encourage the recognition of our unity and to make a commitment to act with Love and kindness toward the entire Human family.
If man sends another Voyager to the distant stars and it can carry only one film on board, that film might be Baraka.
Baraka is a non-narrative documentary film released September 24, 1992, with the theme of man’s diversity and his impact upon the environment. It has no story and no dialogue, yet transcends geography and language to provide a sensual and spiritual experience to look at the World in a totally different way.
You see things you never knew even existed, and glimpse patterns of interconnectedness and a sense of balance and proportion in the World you are barely aware of. Simply look into the people’s faces and have them look back at you, allowing you to connect with the universality of the Human spirit.
Locations featured include the Church of the Holy Sepulchre in Jerusalem, the Ryoan temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smouldering precipice of an active volcano, a busy subway terminal, tribal celebrations of the Maasai in Kenya, and chanting monks in the Dip Tse Chok Ling monastery.
The film features a number of long tracking shots through various settings, including Auschwitz and Tuol Sleng, over photos of the people involved, past skulls stacked in a room, to a spread of bones. It suggests a universal cultural perspective: a shot of an elaborate tattoo on a bathing Japanese yakuza precedes a view of tribal paint.