Amidst speculation in certain quarters about a great Return and global re-set around that event, I find myself longing for the organic frequency I imagine existed before the last great patriarchal re-set around the ‘matrix’ of a Mediterranean world. In Gregorian year 2022, a rogue virus and its variants continues to familiarize the entire world with the Greek alpha-bet in a way that tragically incarnates population control (eugenics?) wishes eerily expressed by the late Duke of Edinburgh, who’d originally been born into Greek & Danish royalty. And beyond the ‘cradle’ of 5th-century-BC-Athens, USA is currently in an existential struggle to assert its clout as the matured-version/standard-bearer of Democracy, despite its own unresolved foundational flaws. These transitional times in which everyone bears the karmic brunt of whichever forces agitate against humanity’s ascension out of the waning Euro-patriarchal Age of Pisces, adds a poignant weight to the meaning of UbuNtu – the BaNtu unity-conscious state of being that says “I am, because we are.” Furthermore, there is a larger understanding within this Africa-centered philosophy of the organic frequency Earth itself needs, to reclaim her most pristine alignment between the heavens, nature, humanity’s womb, and Temple of the World, as God Djehuti referred to Africa’s Nile Valley.

Foreseeing Set [god of chaos, the wilderness, storms, plague, violence and foreign oppressors] come into his archetypal role as humanity’s predatory antagonist, Djehuti went on to lament a time when the Temple of the World would become widowed of the gods. According to ancient Kemetic Mystery & mythology, Set usurped heaven-on-earth in his jealousy-fueled murder and mutilation of Khmt’s beloved King Ausar. Ausar’s bereaved widow Auset, who represents humanity’s sacred Matriarch, is forced to search throughout the wilderness/diaspora to recover pieces of Ausar which Set’s enterprises of slavery, colonialism, apartheid & empire had plundered and scattered. Auset’s search is seen in the account of the Shulamite protagonist of the biblical Song of Songs, who is critical of the excesses of Set as ‘King Solomon’. In this interpretation, humanity’s sacred Matriarch is caught between two camps – the more predatory one having profaned and imbalanced the drum circle – Her ‘dance’-floor… Life itself. A garden enclosed is my sister, my spouse… A spring shut up. A fountain sealed [SoS 4:12] her beloved speaks, encouraging her tireless search through Set’s wilderness to re-member him. Mythology tells us that Auset recovers only 13 of her husband’s mutilated body parts. The final 14th piece remains the unsolved Mystery symbolized by the ancient tkhn. 

The word T(kh)n would have been spelled in the identical hieroglyphic way as ‘musician with instrument’ or ‘to beat a drum’ by Djehuti, Creator-God of writing. It stands to reason then that the remaining Mystery regarding Ausar’s 14th piece might be decoded via the non-synthetic time-lines of African drum traditions. Ausar had a great passion for music & dance through which he reportedly taught the legendary Nile Valley arts of cultivation during travels through Asia & Europe. A proverb from Ipet Resyt advises:  Images are nearer reality than cold definitions. Hieroglyphs (Greek for ‘holy writing’) were the oldest and more pictographic form of writing. Djehuti passed the skill on to select scribes to aid, he believed, in developing wisdom. God Amun-Re  disagreed with this premise, saying that written documents would weaken people’s memories, ancestral wisdom, and social conscientiousness that was organically passed down through generations, nature & the alkhemy/co-creational agency of African orality. Over time hieroglyphs evolved into Hieratic & then Demotic scripts as scribes worked to simplify the writing process itself. Each efficiency-upgrade in writing as a communication technology became an increased abstraction, hence alienation from the organic/true world. Today’s highly abstract western alphabet is characterized as ‘aggressive’ by communication scholars such as Marshall McLuhan.

Nyabingi – a formidable drum tradition of the African Matriarch – is one of the organic world’s great humanizing & civilizing communication forces, yet earned a reputation in Set’s earliest colonial imagination as great sorcery. Following in the wake of the European “discovery” of the source of the sacred Nile River, British and German colonizers waged war against followers of Nyabingi, punishing them for “witchcraft” and other racist/sexist laws they wrote into effect. Since the late-19th-century beginnings of recorded sound, Germans capturing music from ‘their’ African colonies argued in their Eurocentric academic settings that the lack of written transcription in African musical traditions provided scientific evidence of their inferiority to European ‘standards.’ So wedded to their abstract communication technologies had the Eurocentric mind become that racism evolved systemically through rationales that were invented & formalized at the highest intellectual levels, often to justify Set’s predatory enterprises of slavery, colonialism, apartheid, and the genocide of native Americans & indigenous people the world over.

What such scholars failed to understand among other things was the Africa-centered oral-aesthetic perspective that “music” (enhanced speech) is organically understood and kinetically transcribed through “dance,” thus manifesting different conversational flows, human consciousness & connection. This explains in part why Nyabingi’s drum tradition has “walked her talk” under the radar of industrialized entertainment in the Caribbean Crucible, and closed the loop in the Bronx [NY] via Congo Square [NOLA]. As Wynton Marsalis explained, The bloodlines of all important modern American music can be traced to Congo Square – a place named after the origins of the mostly BaNtu enslaved population whose musical conversations evolved into such genres as R&B and Jazz. UbuNtu is the message of Marley‘s “One Love” from Africa’s Caribbean theater where Nyabingi was central to Rastafari spiritual observances. Her heartbeat enlivened musical practices that came to the Bronx via DJs such as Kool Herc to birth hip-hop, which then superseded Motown’s Sound of Young America to become Black America’s Drum or “…CNN” as Public Enemy’s Chuck D described it. 2022’s Superbowl halftime show reminded me of how long the community drum circle & narrative has been in a holding pattern… 

Return, return, O Shulamite; Return, return, that we may look upon Thee! What would you see in the Shulamite, as it were the dance of the two camps? [SoS 6:13 NKJV] This prayerful space feels appropriate for humanity to hold as would-be galactic dance partners pull up to Mother Earth’s communal drum circle. Changing of the Godsa 10-part docuseries that began airing on 2/22/22 – examines how the relationship-drama between Pluto & Uranus disrupts human affairs during their transits. Amongst the consequential evidence of Pluto-Uranus conjunctions upon Mother Earth, early episodes present footage of Abolitionist, women’s suffrage, anti-colonial/apartheid, Civil Rights, #BLM, #MeToo, George Floyd [etc.] uprisings. Viewed through a Black, Indigenous, &/or Divine Mother-Child lens, this footage creates its own independent subversive narrative, suggesting to me that Pluto & Uranus (stars/gods of the docuseries) act like a Trojan Horse pre-programmed to catalyze karmic cycles of trauma-bonding into Mama Earth-as-a-perpetual-Europatriarchal-colony/industrial prison-camp.

As a conscious co-creator encamped in the Africa-centered Temple of the World, I’m guided to beware of Greeks bearing giftsspecially Plato, the oft-quoted philosophical darling of experts in western astrology, some interviewed in the docuseries. It’s been argued elsewhere that today’s scientific racism is based on Plato & Aristotle’s “master-race vs. barbarian” philosophies. American astronomer & cosmologist Carl Sagan described their world as one in which “the permanence of the stars was questioned. The justice of slavery was not.” Buck-breaking, a brutal practice during chattel slavery that would establish trauma-bonds of dominance-submission, was openly engaged in western civilization’s “cradle” where penetrator-penetrated determined their master-slave fraternal relationship dynamic. In ‘Symposium,’ Plato himself writes: “homosexual love…alone is capable of satisfying a man’s highest & noblest aspirations, & the love of man & woman, when it is mentioned at all, is spoken of as altogether inferior, a purely physical impulse whose sole object is the procreation of children” – the eromenos in this pathological philosopher-god’s breeding-farm-worldview & “mentoring” paradigm ⇔⇔⇔ Trillions…Rise!Watch how a king dances” [African saying]

Timeless proverbs from Khmt instruct: A house has the character of the man who lives in it …If the master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement …A woman’s heart is her own Ntr …If you search for the laws of harmony, you will find knowledge …Knowledge is consciousness of reality. Reality is the sum of the laws that govern nature/Ntr and of the causes from which they flow.

LET THE CIRCLE BE UNBROKEN🦋 SemaTawy 🦋🦋 UbuNtu 🦋🦋🦋RETURN🦋🦋🦋 Blessed Be 🦋🦋 Amun 🦋

8 Comments on “RETURN…

  1. This post touches me deeply – – It is amazing how people show us just how powerful we are! Before social media, I used to point out cultural ignorance. Now shedding my naivete’, I know it’s fear of our innate spiritual power. Speaking of inherent spiritual power. In my novel, “Sleeping with a D-Man,” I provided a back story for my antagonist by highlighting her storied past of surviving enslavement in West Africa’s Gold Coast. I shared how her family kept intact her tribe’s traditions to bring to the present for practice in both Jamaica, West Indies, and Jamaica Queens, NY. I gave her a rite of passage to ascend to the Obeah Priestess, with women playing Djembe drums during the ceremony to call on the spirit of the woman known as Nyabinghi. I’m not sure how accurate I was in my storytelling. Still, I felt moved to include this elaborate and very sensuous ceremony in my story. Thank you for keeping alive our spiritual antiquities and mythology.

    • Thank you💜Sleeping with a D-Man sounds intriguing as a title alone, Sis! Where can I get a copy of your novel? Nyabinghi is fascinating to me precisely because she is an African goddess archetype who connects the common struggle against racist/sexist aggression on the continent, the Caribbean, & the US through the complex of cultural expression that makes her the warrior Obeah Priestess of your story. Sounds like you’re on track in keeping her memory alive.✊🏾Cheers!🤗M

      • A Warrior Obeah Priestess she is! I fell in love with the character I created – she became the antiheroine of the story, and now looking back – I see that she is every woman! – I retired the novel, but I do have a few copies left -I’d be happy to send you a copy. I see how raw and undisciplined I was as a novice novelist. BUT I would not change one sentence!

      • That’s awesome… I commend you for publishing a novel in the first place, Sis. I’m still mustering up the courage to follow in your footsteps on that front. I know what you mean about falling in love with a character. I wonder if we aren’t tapping into our higher selves when we take the creative license of novel-writing to go explore beyond our inhibited daily lives?

      • The concept of writing to tap into the higher Self is intriguing, especially since the Priestess character is undoubtedly powerful. She was almost at her apex before her initiation. However, she seeks more power for power’s sake, not necessarily to help others. Your insight gives me pause – because maybe that also is a message from Self to Self. Even illuminating the transition from the God of Abraham to Jesus the Christ mythology. Sis, great observation! By the way, your dissertation proves you can do the heavy lifting and stand before a committee of strangers to defend it. So maybe you only need to give yourself permission to stand before the committee of Self – to share your gift of storytelling and insight commercially. 💓💓💓

      • Thanks for your great advice, Sis! Even after winning a writing award based on a segment of my novel followed by tons of subsequent rewrites of the whole, “the committee of Self” was not ready to commercially expose the vulnerabilities my characters & storyline led me to explore. Perhaps, like your Warrior Obeah Priestess I’m left-brain dominant – in my case, from serving time in the trenches of academia – outwardly projecting power, control, etc. out of a fear of having vulnerabilities misjudged & exploited? It’s intended preemptively – figuring out “Nyabinghi’s” organic terms of engagement versus those trauma-bonds/rape-encounters with the synthetic shadow-Self (“D-Man”?) she fought against during slavery, colonialism, apartheid, etc… The blog-journey’s been helpful, and your company much appreciated Sis🤗💜M

  2. Pingback: REVIEW ’22: Our Father’s House… Nakumbuka | Malaika Mutere

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