The New/Golden Era is dawning! According to Age of Aquarius holdouts, this New/Golden Era will usher in a high-frequency, holistic unity-consciousness between human beings, & nurture an optimal co-dependent relationship with  the organic environment as disclosed in the 1969 song by The 5^th Dimension. Jumping onto this bandwagon, seasoned New Age scholars, Astrologers, Alchemists & other well-meaning hopefuls go further to suggest that this anticipated disclosure/salvation has & will come from some outer-space resource. Some have even gone so far as to promote the widely published Galactic Codex of the Confederation of Light (so-called) whose purported “legal basis” and stated aim is to liberate our “hostage” planet Earth from its resident evil “dark forces.” From an Africa-centered perspective, all of this revisionist Savior-interventionist posturing continues to ignore indigenous wisdoms that were encoded way before the particularly egregious latter-day unleashing of Eurocentric enactments of slavery, colonialism, and apartheid campaigns which have time & again provided existential proof of the inherently toxic flaws/evils/hypocrisies of their antithetical alien intentions.

UbuNtu [“I am, because we are…”] is an Africa-centered unity-conscious term that long preexisted this latter-day “New Age”/Golden Era/5D-Age of Aquarius anti-3D-matrix trend. Coded, expressed, and manifested through indigenous cultural expressions common in Africa’s orally based traditions, UbuNtu survived the pillaging ‘matrix’ forces of darkness, chaos, & alienation that inadvertently became its testing ground. Sangoma is a BaNtu term from the Zulu nation for a Diviner & Healer, often derogatively referred to as a “witch doctor” with all the stake-burning undertones of English oppression. In Zulu, the prefix ‘Sa-‘ (meaning ‘of’) + ‘Ngoma’ (meaning ‘drum/dance/song performance’) incorporates music/dance/drama into manifestations of Divination & Healing. The meaning of ‘Ngoma’ is extended in BaNtu traditions further north on the African continent to highlight the ‘drum’ aspects. For instance, the BaKongo use of the term centers the role of their ‘drum’ around which percussive rhythms, specific dances, socialization, and enlightenment evolve. In Swahili, Ngoma is used to describe drums, other instruments, music, dance… as well as their interactive call-response, communicational, & storytelling roles within what is a communal cultural event. Throughout Africa’s Great Lakes region, Ngoma is the individual & communal ‘heartbeat’ most organically represented in the role of the drum. The Baganda are fondly referred to as the children of Ngoma… an instrument whose status is held in such high regard by them and their Banyankore neighbors that coronations cannot take place without royal drums headed by a special class of drummers.

The legend of Queen Nyabingi – one for whom the term SaNgoma remains an appropriate fit – began with the theft of her sacred drum around the time European colonization of Africa began. By the time of Welsh American journalist & explorer Henry Morton Stanley’s search for the source of Africa’s sacred Nile River in the late 1800s on the heels of British explorer David Livingstone’s efforts, Nyabingi had earned a reputation in the colonial imagination as a “great sorceress.” Bagirwa – Nyabingi’s healer-priestesses exercised considerable political power in the colonially-gerrymandered Uganda-Rwanda borderlands. In 1911, rebel priestess Muhumusa formed a spiritually based military resistance against colonizers in the name of Nyabingi. So effective was this resistance that the British fought back by passing their 1912 Witchcraft Act, threatening to burn the accused at the stake. Muhumusa’s eventual capture in 1913 led to her detention which ended with her death in 1945. Other Nyabingi-inspired revolts such as the 1928 Rebellion arose from what a colonial described as “armed witchcraft dances,” resulting in the killing of colonial-puppet chiefs. “These fanatical women are a curse to the country!” a colonial commissioner was led to declare as resistance leaders successfully fought and evaded capture. These warrior-queen-led uprisings were gradually suppressed through colonial efforts involving missionaries who would impose Christian baptism onto Africans as an alternative “option” to them facing stricter punishments as subversives of the Nyabingi resistance.

Eventually, the healing aspects of Bagirwa’s cultural role regained precedence over the resistance which, by the 1930s, was effectively subdued in East Africa. However, like the passing of a baton in the Communal relay race, the Nyabingi resistance against “Babylon” had caught fire in Jamaica’s Rastafari movement. The oldest of the Rastafarian subgroups is known as Nyabingi – a name which to them means ‘Death to all Oppressors,’ thus connecting their ancestry, faith, & cultural expression with SaNgoma’s powerful spirit of liberation. The Rastafari chant ‘Bingi’ through prayer, music, dance, & biblical reasonings, calling on nature and the universe of her mystical powers to destroy the tyrannical reign of “Babylon” – as they believe Jah alone has the right to do – and establish their New Jerusalem/Zion in Africa. In Jamaica, Nyabingi’s heartbeat is played by men on a trinity of Ngoma: Thunder (bass drum AKA the “Pope Smasher”/“Vatican Basher”); Funde (middle drum which maintains the dominant heartbeat & has the least improvisational role); & Akete or Repeater (smallest, highest pitched drum that plays the most improvisational role as carrier of spirit). The respect for each drum as having its own individual voice and function descends from ancestral SaNgoma traditions featuring family members with such names/heartbeats/voices as Bakisimba… Empuunya… Nankasa… Engalabi. Similarly, the Djembe from the West African Mali tradition carries the communal meaning: “everyone gather together in peace.” The unity-conscious integrity & healing mission under UbuNtu is thus deeply encoded in oral-aesthetic cultural modalities throughout African space-time.

Her geographic makeup and placement at the actual genesis of human affairs has endowed Mother Africa itself with a moral imperative to use Her organic endowments wisely. She is the Great SaNgoma upon whom the Sun shines as the Lamp above Her Equatorial Golden Door in the global South entrance to Earth’s Medicine Wheel. Honoring the circular pattern of our cosmos, the Medicine Wheel has been used in indigenous cultures for eons to represent the cycles of life/nature within the womb of time – thus honoring Divine Feminine Mysteries and their organic potential. South is the entry point… the “Genesis” on this Medicine Wheel… the first of four cardinal directions and steps one takes to obtain “Revelation” as a SaNgoma whose mission is to bring harmony and well-being to the human community. Initiated by the instruction of Her Water Diviners below the Earth’s East-West Equatorial divide, Her path follows the four cardinal points in a clockwise direction:– South [Genesis/Birth/Innocence/Eden/Divine Mother] ⇒ West [Sunset/Her Introspection upon Enslaver/Colonialist/Imperialist Dreams-Fantasies-Visions] ⇒ North [Challenges & Testing – against Her ‘True North’ – of the Knowledge-Industry & other Industry Products Manufactured & Curated by the West] ⇒ East [Sunrise/Her Self-Integrity/Sovereignty/Elixir/Revelation!]

Who/what informs the clockwise imperative encoded in SaNgoma’s path? SaNgoma has studied the annual migration-cycles of her native gnu/wildebeest, themselves divining Living Waters and greener pastures within the ecosystem of earth’s Southern hemisphere below the Equator as they “Follow the Drinking Gourd.” SaNgoma has studied the Northward flow of Her sacred Nile River – referred to in her native BaNtu tongue as Maziwa Mkuu – meaning Great Milk/Milky Way – on Earth as in the Heavens… The Mountains of the Moon at Humanity’s Southern cradle/womb share the primordial Truth of SaNgoma’s enlightened Eastrogen body as her waters break North towards the Mediterranean through the Nile Valley, & West towards the Atlantic to the beat of water drums through the Congo Basin… “A garden enclosed is my sister, my spouse; A spring shut up, a fountain sealed…” [Ngoma of Ngomas/Song of Songs, 4:12]. Humanity’s envied Eden & Nile Valley was colonized by autocratic Northerners who simultaneously reset Earth’s organic Prime Meridian from its sanctified “Temple of the World” [per God Djehuti] to an “official” Greenwitch Mean Time [GMT] which slices southward from the British monarch’s family throne in London thru France, Spain, & 5 West African countries (Algeria, Mali, Burkina Faso, Ghana, & Togo) to yet another historic European crime scene… Atlantic site of the Middle Passage & Triangular Trade [15-19th centuries]. With “Europe’s Grandmother“ Victoria carrying on her shadowy family traditions during Africa’s colonization, it’s no wonder that subsequent self-centered Western histories and knowledge systems have lacked integrity when it comes to the informed well-being of Humanity as a whole…

The first European to reach the Southernmost source of Africa’s sacred Nile River at humanity’s womb was British explorer John Speke in 1858, who then named it after Victoria [British Queen, 1837-1901]. Twenty years later, in 1878, one of the original Tkhns of 18^th Dynasty Pharaoh Tuthmosis III [1504-1450 BCE] was transported from Alexandria, Egypt (at the Northern reaches of the Nile River) and installed at Victoria’s Embankment (built 1870), where to this day it is referred to as “Cleopatra’s Needle” – twin to the Tkhn installed 1881 in New York’s Central Park. Then, in 1884, the wholesale European takeover of the African continent was rubberstamped at the Berlin Conference in Germany. Apparently, this takeover included the expropriation of Gods, Goddesses, and mythologies that remain organic to Africa. England’s River Thames became alternatively known as “The Isis.“ Their subsequent spin on this is that the name from Europe’s “Middle Ages” for the Thames is a calculus of “Thame + Isis = Tamesis.” River Thames – where Pharaoh Tuthmosis III’s Tkhn remains staged as “Cleopatra’s Needle” at Victoria’s Embankment – flows through the city of Oxford along the Prime Meridian fabricated at the October 1884 International Meridian Conference in Washington, D.C. As with the Berlin Conference [November 15, 1884 – February 26, 1885], there was zero African presence during either of these profoundly consequential deliberations. Colonization of African geographies, space-time, Gods & Goddesses during Grandmother of Europe, Victoria’s 1807-1901 reign continued relentlessly through the 1888 founding of the Isis-Urania Temple in London… the Osiris Temple in Weston-super-Mare… & the Horus Temple in Bradford. The Amen-Ra Temple was founded in Edinburgh in 1893 – the same year that the AHathoor Temple was founded in Paris, France‘s capital where the Louvre Museum already housed several priceless artifacts plundered from Egypt by Napoleon Bonaparte, including the Dendera Zodiac from Goddess Hathor’s Temple in 1821. Amongst others, these were appropriated under the co-auspices of the Hermetic Order Of The Golden Dawn – founded 1887 in London.

It is within these trial-&-tribulation contexts that specific Khmt-sourced biblical words of wisdom shed a discerning light regarding SaNgoma’s progress on the Healing Path of Humanity’s Medicine Wheel: “The Queen of the South will rise up in the Judgment with this generation and condemn it, for she came from the ends of the earth to hear the wisdom of Solomon; and indeed, a greater than Solomon is here.” [Matt. 12:42] “Awake, O North wind; and come, thou South; blow upon my garden, that the spices thereof may flow out. Let my beloved come into his garden and eat his pleasant fruits.” [Ngoma of Ngomas/Song of Songs 4:16] “The Kingdom of Heaven is within you, [Luke 17: 21] & whosoever shall know herself shall find it”…  Let.No.One.Take.Thy.Crown. [Revelation 3:11]     ∞∞∞∞🪘🪘🪘SA’NGOMA ❤ ❤ ❤ IS ❤ ❤ ❤ AWAKE🪘🪘🪘∞∞∞∞