‘Nakumbuka‘ means ‘I remember’ in Kiswahili. November 11th has been recognized as ‘Nakumbuka Day’ by the Pan-African Associations of America since 1994 when the first ceremony was held at San Diego State University in California. It was set aside as a day to remember the African victims of the European enslavers, colonizers and agents of genocide whose horrendous acts created a bloody trail of devastation and left families on the continent unable to lay their grief to rest after several hundred years. It has been estimated that the Middle Passage claimed upwards of 60 million African lives, not counting the huge losses on plantations in Europe, the Caribbean, North-, Central-, and South-America. In seeking free labor to build its empires, European and American Capitalism’s emergence crippled a continent and its descendants socially, culturally and economically during the timelines of African slavery, colonialism, and now neo-colonialism.Historically, 11/11 marks the end of 20th-century hostilities during World War 1 between two main Western blocks: the Central Powers [Germany, Austria-Hungary, Bulgaria, Turkey…] vs. the Allied Powers [Britain, France, Russia, Italy, the United States…]. Their truce, an Armistice with Germany, formally went into effect on 11/11/11: the 11th hour of the 11th day of the 11th month of 1918 [100+ years ago]. In 1954, Armistice Day was renamed Veterans Day in the US, although 11/11 is observed in Commonwealth of Nations member states as Remembrance Day – aka Poppy Day – honoring veterans who died [8 million+] in this so-called War to End All Wars. WW2 followed in 1939 after “Germany, angry over war reparations imposed by rivals and eager for revenge, eventually turned to Adolf Hitler.”
Symbolically, the number 11 holds the dual vibration of Twins [Gemini], whose relationship acts as a barometer on the scales of Truth, Justice, & Balance [Libra] within this New Age we are said to have entered of Aquarius – the 11th House of the Zodiac. Helena Blavatsky and her disciple, Alice Bailey are credited with founding the so-called ‘New World Religion’ which, since its unofficial start on 11/11/11, has gained many New Age adherents. In The Externalisation of the Hierarchy , Bailey prefaced her New Age spiritual advocacy with an extensive critique of the [Europatriarchal] World Wars: “Intense nationalism… [a] separative outlook… [and] selfish interests have controlled the reasons for which every nation has entered this war…” [p. 373-]
Spiritually, 11/11 allows a sacred moment for grief over the harsh realities of war… lives lost which are formally given global remembrance from western stages. We ritually observe these post-war programs …our hearts made gentle through words, tears, bouquets, wreaths and lapel poppies, many worn in solidarity by non-European officials. Lest we forget, 40,000 African American troops of the 92nd and 93rd divisions saw battle during WW1 under French command. This distinction tends to be under-acknowledged in the self-indulgent discourse-of-power and narrative of a human community made ‘global’ through Europe’s wars, takeovers, and controlling narratives. Hopes for equal recognition in combat are marginalized alongside cries from slavery’s descendants for Reparations from the neo-colonial ‘matrix,’ as the intensely Eurocentric Poppy-Day program runs its annual sequel. Meanwhile, the spiritual free-quency of MA’AT-consciousness – Truth, Divine Order, Harmony, Balance, Justice, Reciprocity, UbuNtu… – will only be detained for so long as another casualty of war. At some point Africa’s cultural immune system has to recover from the induced state of sleep paralysis to reclaim its own narrative and sovereignty…
“MA’AT, who links universal to terrestrial, the divine with the human is incomprehensible to the cerebral intelligence… Peace is the fruit of activity, not of sleep… The key to all problems is the problem of consciousness… If you search for the laws of harmony, you will find knowledge… The best and shortest road toward knowledge of truth is nature… If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of Heaven is already within you; if you understand yourself you will find it… The body is the house of the God/dess. That is why it is said, ‘Wo/Man know thyself’… By knowing one reaches belief. By doing one gains conviction. When you know, dare… You will free yourself when you learn to be neutral and follow the instructions of your heart without letting things perturb you. This is the way of MA’AT…”
This selection of proverbs are from God/dess Amun/Mut’s Luxor Temple [pictured right], located on the east bank of Africa’s Nile River in Uaset. It is known as Ipet-Resyt, meaning “The Southern Sanctuary” which is connected via an Avenue of Sphinxes to the Ipet-Sut – “The Most Selected of Places” in Karnak, both dedicated to the worship of Amun-Re and His Godhood with Divine Feminine Consort, Mut. Per-ankh – “Houses of Life” were designated as spaces for education in such Khemetic temples because knowledge was considered sacred… a divine mystery of the balance between masculine and feminine co-creatives/Twins. Bound to nature and the cosmos for all time, these proverbial teachings are written in the stone [EWF] of Luxor Temple’s walls. “People need images. Lacking them they invent idols. Better then to found the images on realities that lead the true seeker to the source.” Resembling the human form in repose, the Luxor Temple’s unique design itself appears symbolically dedicated to resurrection and reparation of the sovereignty of truth, life & unity-consciousness… an architectural ‘body’ on Mother Africa’s Earth, poised as if to awaken and rise to Her Heavenly Twin.
In pop culture, this awakening is thematic to The Fifth Dimension’s 1969 ‘Age of Aquarius’ – prophetic anthem of a New Age which many believe dawned 42 years later, on November 11th, 2011 [11/11/11]. ‘42‘ is a number that is sacred to MA’AT, Goddess who serves to protect the world from chaos. [In today’s world this ‘chaos’ has occurred within the policed-state of an elite cabal’s Victorian/neo-colonial/false 3D matrix of control and mass-manipulation.] The Principles of Ma’at predate the ’10 Commandments’ as humanity’s oldest written sources of moral & spiritual instruction. Recorded in the Khemetic funerary Book of Going Forth by Day AKA Book of the Dead, these were based on 42 declarations made by Ani in the Hall of Judgment of his having lived in accordance with MA’AT’s principles, such as: “I have not done iniquity; I have not stolen; I have not made any to suffer pain; I have done no murder nor bid anyone to slay on my behalf; I have not spoken lies; I have not caused the shedding of tears; I have not dealt deceitfully; I have not lusted nor defiled the wife of any man; I have not caused terror; I have not done that which is abominable; I have not stopped my ears against the words of Right and Truth; I have not stirred up strife; I have not wronged the people; I have done no harm nor have I done evil; I have not worked treason; I have never fouled the water; I have not spoken scornfully; I have not behaved with arrogance…” [Papyrus of Ani – c.1250BCE]
“We’re in the feminine aspect now… That’s where society is… Men have gone as far as they can, right? …I learn from women a lot quicker than I do from men. …At a certain point, you’re supposed to know what it means to be a man, but now what do you know about what it means to be a woman? Do you know how to listen? Most men don’t know how to listen.” [Prince, 2014]
MA’AT‘s consort is DJEHUTI, the Magician archetype of the Divine masculine with whom the Goddess creates the Balance & Harmony needed to prevent the universe from falling into chaos and disorder. Symbolized by her hallmark feather, the Truth MA’AT has found in her aspect as AUSET [proverbial ‘True Seeker’ and wife of Khemet’s beloved King AUSAR who was mutilated when SET – god of chaos and disorder – usurped his throne] is key to humanity’s awakening and ascension to Heaven-on-Earth. During her seeking, AUSET hears the cries of the downtrodden, children, her beloved [now god of the afterlife]… and responds with compassion and wisdom as she awakens, ascends, dances, re-members… #11/11… #UbuNtu… #Auset/Ausar… #Hathor/Heru… #Ma’at/Djehuti… #Mut/Amun [#Uaset/Sah]… #Nakumbuka… ❤
The Beautyful Ones Are Not Yet Born, Ayi Kwei Armah’s debut novel (published in 1968), owes its title to the misspelled inscription on a bus in Ghana where the story is set. It opens during the final months in 1965 of President Kwame Nkrumah’s rule as Ghana’s first post-colonial president, and closes with the coup that ousted him on February 24th, 1966. This period in Ghana’s history is filled with rampant poverty; overdependence on foreign capital and goods; corruption & bribery as the order of business; and other ills that have plagued Africa’s countries which followed Ghana into independence – all without the needed systemic changes that would mitigate the stagnation and disillusionment of Africans who’d only become inevitably ensnared in parasitic neo-colonial arrangements. Immersing his characters in putrid filth, rottenness, dirt, and scatological imagery as he airs out Ghana’s post-independence laundry through story, Armah leads the reader to the judgment on the novel’s final page – the misspelled bus inscription that becomes its title.
The Beautyful Ones Are Not Yet Born was widely praised but also criticized, most notably by Nigerian novelist Chinua Achebe, who writes: Armah is clearly an alienated writer complete with all the symptoms. Unfortunately, Ghana is not a modern existentialist country. It is just a Western African state struggling to become a nation. So there is enormous distance between Armah and Ghana.… A man is never more defeated than when he is running away from himself.
AUSAR [Osiris] ~ The ‘Beautyful’ One
In his preface to a new edition of the novel published by Per Ankh, Ayi Kwei Armah himself makes note of the criticism his novel received: “Much of it focused on [my] perceived artistry. There was a tendency …to contrast this supposed authorial virtuosity with the novel’s subject matter, rather inaccurately summed up as the pervasive negativity of the human condition in Africa. This bias didn’t surprise me, and I assumed it would take little time for some careful scholar to balance it by zooming in on the conceptual content of the title, which I think expresses the meaning of the text as accurately as any title can. It is a matter of some bafflement to me, therefore, that to date, as far as I know, no critical assessment has actually gone to that thematic core: the provenance of the concept and image of the beautyful ones. The phrase ‘The Beautiful One’ is ancient, at least 5,000 years old. To professional Egyptologists, it is a praise name for a central figure in Ancient Egyptian culture, the dismembered and remembered Osiris, a sorrowful reminder of our human vulnerability to division, fragmentation and degeneration, and at the same time a symbol of our equally human capacity for unity, cooperative action, and creative regeneration…
By the time I wrote the novel my impressions of Osiris, though still relatively disorganized, had evolved to the point where I was ready to recognize the image as a powerful artistic icon. Here, in mythic form, was the essence of active, innovative human intelligence acting as a prime motive force for social management. I have yet to come across an earlier, or more attractive image for the urge to positive social change.”
NEFERTITI ~ ‘The Beautiful Woman Has Come’
For conceptual context, Armah could well have used another renowned ancient Egyptian figure whose name means “the beautiful woman has come.” Queen Nefertiti, alongside her husband Pharaoh Akhenaten, established the monotheistic cult of Aten-worship – a ‘new world order’ in 14th century BCE which Akhenaten led from his worship center of Amarna. Egyptian artwork during Aten’s Amarna Period was also radically different from its predecessors. The imposed reforms of traditional culture and spirituality resulted in Aten’s legacy becoming that of Egypt’s despised ‘heretic king.’ Aten’s son and eventual successor, Tut’Ankh’Amun (formerly Tut’Ankh’Aten – meaning “the living image of Aten”) restored ancient Egypt’s cultural traditions around Amun and returned its worship center to Uaset (Gr. ‘Thebes’) during his reign. Hence his name change to Tut’Ankh’Amun.
The Nefertiti Bust – believed to have been crafted in 1345 BCE by Thutmose because it was found in his workshop in Amarna by German Ludwig Borchardt’s archaeological team in 1912 – has become one of the most copied works and iconic symbols of feminine beauty, which most associate with Egypt. Kept at various German locations since its “discovery,” the Nefertiti Bust is currently on display at the original pre-WW2 display site of Neues Museum in Berlin. Germany, like most former colonial powers which have profited greatly off their stolen African artefacts, continues to resist Egyptian demands (since 1924) for the repatriation of Egypt’s Mona Lisa, as it were – the bust of Egypt’s ‘beautiful woman…’ Nefertiti.
In relation to Armah’s musings on Osiris/Ausar‘s symbolic relevance to Africa-writ-large, in ancient Egypt a true Queen [Auset] was said to be “She who sees Set and Heru.” Set – god of foreign oppression, chaos, violence, perversion, illness… – who usurped Egypt’s Heaven-on-Earth throne through murdering and dismembering Ausar, and then scattering his pieces [African diaspora] is evident from the predatory Eurocentric divide-&-conquer playbook which creates the parasitic matrix systems humanity experiences as slavery, (neo)colonialism, apartheid… through misappropriation & predatory control of Africa’s sovereign resources. Heru – Ausar & Auset’s posthumously-conceived son who avenges his father by defeating Set & restoring Heaven-on-Earth – is apparent in the post-Amarna role of regeneration Tut’Ankh’Amun played out of his allegiance to Amun, not Aten… #Sankofa.
FATHIA HALIM RITZK NKRUMAH ~ A ‘Beautyful’ First Lady of Ghana
The links between Egypt and Ghana go further than a background concept in Ayi Kwei Armah’s mythologically-based authorial imaginings. Fathia Halim Ritzk – a Coptic Egyptian who’d taught French prior to taking a job at a bank in Cairo – became First Lady of a newly independent Ghana when she married Kwame Nkrumah on New Year’s Eve 1957-58. According to published reports, Nkrumah – who succeeded Queen Elizabeth II on March 7, 1957 as ruler of Ghana – had set out to find himself a Christian wife from Egypt through his friend, Alhaji Saleh Said Sinare – one of the first Ghanaians to study in Egypt. Fathia was chosen out of five finalists. Despite her mother’s refusal to bless their union, Fathia’s marriage to Nkrumah took place at Christianborg Castle upon her arrival in Accra, Ghana. Unmoved by Nkrumah’s pan-African vision & bona-fides, Fathia’s mother – whose son had left Egypt with an English wife – had been reluctant to see another of her five children marrying a foreigner and leaving the country. Fathia returned to Cairo with their 3 children after the military coup d’état that ousted Nkrumah on February 24, 1966. Nkrumah died in 1972 in Bucharest, Romania. Fathia died in Cairo in 2007. Both husband and wife lie buried side by side at the Kwame Nkrumah Memorial Park in Ghana.
BRANFORD MARSALIS ~ ‘The Beautyful Ones Are Not Yet Born’
Titled after Ayi Kwei Armah’s book, The Beautyful Ones Are Not Yet Born is also a 1991 jazz album by Branford Marsalis (tenor and soprano sax player) who leads a trio with Jeff “Tain” Watts and Robert Hurst. The Beautyful Ones Are Not Yet Born is the 2nd track on the album which peaked at #3 on the Top Jazz Albums chart. Wynton Marsalis, Branford’s trumpet-playing brother, makes a guest appearance on the album’s 4th track, Cain and Abel. Hailing from New Orleans Louisiana, the Marsalis brothers are world-renowned members of their multi-generational ‘First Family of Jazz.’ Wynton is often quoted as saying: “Every strand of American music comes directly from Congo Square.”
Congo Square in New Orleans is a cultural and spiritual intersection which, like nearby Angola… was named after countries of origin of Louisiana’s predominant enslaved African population. Custodians of BaNtu oral-aesthetic traditions navigated this foreign space in ways that generated musical conversations (jazz, rhythm-&-blues, etc.). Guided by UbuNtu – the unity-conscious cultural philosophy which says “I am, because we are…” – African oral-aesthetic traditions became one of the greatest civilizing forces in America. BaNtu aesthetic quality or beauty – called KuNtu – is judged by how well cultural expression meets its art-for-life’s-sake cultural mandate towards the collective. In contrast to Manifest Destiny &/or American Exceptionalism which were used to justify the enterprises of slavery, colonialism, apartheid, etc. – the so-called “white man’s burden” – UbuNtu has endured as a counteractive Africa-centered guiding & humanizing force.
PRINCE ~ ‘The Beautiful Ones’
In a scene from his 1984 movie, Purple Rain, Prince delivered an unforgettable performance of a song titled The Beautiful Ones. Apparently the artist had already settled on the same as a title for his biography which he’d begun working on with writer and lifelong fan, Dan Piepenbring. Through the telling of Prince’s story, it seems the greater vision was for the co-written project to inspire and help cultivate a society of beautiful ones… be a “handbook for the brilliant community”… a how-to guide for black -musicians, -creatives, -collective ownership, -freedom… an authentic voice against racism, elitism, etc. & for positive social reform. An ancient proverb from Ipet-Sut (the “southern sanctuary” and temple of Amun~Mut) says: “When the governing class isn’t chosen for quality it is chosen for material wealth: this always means decadence, the lowest stage a society can reach.“ A fragmented version of Prince’s The Beautiful Ones was posthumously published and released exactly a year ago – on October 29th, 2019. So much has evolved on the community’s global streets since then…
Perhaps, as Ayi Kwei Armah suggests, a resurrected Ausar is rising out of the Babylonian ashes of a false ‘elite’ matrix through the collective ascension of a previously fragmented/degenerated human consciousness – and, like the proverbial phoenix of old… The Beautyful Ones Are Now Being Reborn… #Sankofa ❤ #UbuNtu
For years, many prophesied that December 21st, 2012 (12/21/12) on the western Gregorian calendar would usher in the biblically-forecast time of the Apocalypse (‘lifting of the veil’), because this date marked the end of the Mesoamerican Long Count calendar cycle of 5,126 years. New Age thinkers seized on this date as marking the end of the Age of Pisces (aka the Christian or Common Era – CE) and the beginning of the Aquarian Age (aka the Golden Era); the transition between the two characterized by an “End Times” season of cataclysm and transformation. Festivities commemorating the December 21st, 2012 event took place at Chichén Itzá in Mexico, Tikal in Guatemala, and other Maya civilization countries such as Honduras and El Salvador.
Today is 12/21/12 in the Horn of Africa [see calendar conversion link]. Comprising the countries of Ethiopia, Eritrea, Somalia, and Djibouti, the Horn of Africa is so named because the map of Africa’s easternmost extension resembles the profile of a rhinoceros horn. The name “Maya” in the Ethiopian Semitic language of Amharic means “a lens that helps to see further.” Given the tumultuous events that are unfolding in this Gregorian calendar year of 2020, perhaps the 12/21/12 Mayan calendar prophecy is that lens which would help to further our seeing of this same date when interpreted on an ancestral African timeline. Time-space agendas, frequencies and eschatological beliefs attached to calculations of “2012” on the Gregorian-calendar have created a competing Eurocentric timeline… mainly to uphold the matrix created with stolen knowledge from ancient Egypt/Kemet.
“Know the world in yourself. Never look for yourself in the world, for this would be to project your illusion” [proverb from Ipet-Resyt – the southern sanctuary of Amun-Mut of ancient Egypt]. In Hindu mythology, “Maya” means illusion. The western Gregorian calendar which currently regulates most of the world’s affairs was introduced in 1582 CE by Roman-Catholic Pope Gregory XIII; superseding the Julian calendar which had been implemented in Europe by Julius Caesar in 46 BCE. Both these and other calendars were revisions of and successors to the ancient Egyptian calendar as the Roman Empire gained in its control of space and time, constructing the threshold that brought humanity from “BC” to “AD” 2,020 years ago...
If hindsight is 20/20, perhaps the eschatological beliefs that failed to manifest the prophesied Apocalypse in 2012 was a revelation of “Maya” in the Hindu sense? After all, the Gregorian time-space narrative was constructed with Jesus in the starring role as humanity’s crucified savior whose return to earth was scripted as a triumphant and apocalyptic Second Coming. The image of Jesus – which was a central propaganda tool in this globally-proselytized Christian program – is said to have been modeled on Cesare Borgia, the “illegitimate” son of Pope Alexander VI. Jesus’ birth as God’s divine son was the purported fulfillment of Angel Gabriel’s announcement of Madonna Mary’s impending immaculate conception/virgin birth which justified pivoting the world from “BC” to “AD” on the Euro-patriarchal timeline. According to scholars of the Ethiopian timeline which is a sabbatical period “in arrears” of the upstart Gregorian one (saba in Kiswahili means “7”… also see sabbath) – though both trace back to ancient Egyptian calendrical calculations and ‘savior’ narratives, this Divine Birth-day creates the key point of divergence on the Africa-centered and matriarchal timeline…
Upon the inner walls of Ipet Resyt – “the southern sanctuary” built for God/dess consorts Amun’Re/Mut known today as the Luxor Temple in Egypt – lies the 1350 BCE origin of the biblical ‘Annunciation.’ According to John Anthony West [click picture for video: link @ 1:17:20], surrounding transcriptions of the communication depicted taking place between Amun’Re and his consort goddess Mut indicate that in this conversation Amun’Re is informing his beloved that she will give birth to a divine son/savior. Their conversation is furthermore linked to the ancient Mysteries of Ausar-Auset-Heru – aka the “Holy Trinity” – and their various challenges against the shadow, Set (predatory god of the wilderness, chaos, violence, foreign oppressors, illness, perversion…) aka biblical “Satan.”
The Eritrean Orthodox Tewahedo Church in the Horn of Africa uses a calendar identical to the Ethiopian one for its liturgical year. On the Eritrean Ge’ez calendar, New Year is referred to as Ri’se Awde Amet (“Head Anniversary”). Enkutatash (“gift of jewels”) – the Amharic word for the Ethiopian New Year – occurs on September 11th of the Gregorian calendar, except for leap years [e.g. 2020] when it occurs on September 12th. The Ethiopian Enkutatash tradition comes from a time when the Queen of the South (aka Makeda or Sheba) was showered with gifts of jewels (enku) upon her return from Jerusalem where, according to legend, she visited with King Solomon. This visit purportedly resulted in the Queen of Sheba’s pregnancy which began Africa’s Solomonic Dynasty.
In 1920, the Honorable Marcus Mosiah Garvey Jr. prophesied: “Look to Africa where a black king shall be crowned; he shall be your Redeemer.” Before declaring a man ‘King… Redeemer… Messiah… etc.,’ in African oral traditions, his would-be constituency will first “wait to see how he dances!” For the Rastafari community in Garvey’s native Jamaica, the 1930 coronation of Haile Selassie of the Solomonic Dynasty as Emperor of Ethiopia – the sole African country to have ‘danced with the devil’ (Set) & resisted outright European colonization – was seen as a fulfillment of Garvey’s prophecy. Selassie was born Tafari Makonnen Woldemikael – hence the Ras-Tafari designation and belief in him as the prophesied messiah, Jah Rastafari aka Lion of the Tribe of Judah.
2019 (Gregorian) closed out a historical 400-year period of slavery… a biblical period [Genesis 15:13] that was noted in legislation and celebrations as an “End Times” of sorts… Africa’s “Year of Return.” 2020 has been epic and Apocalyptic in its challenge for human consciousness to ascend and rise out from under the veil – the predatory, elite-run 3D-matrix of containment [slavery… apartheid… colonialism…] called “Babylon” in Rastafari biblical reasoning and parlance. Such “Revelation” in BaNtu thought would return humanity to unity-conscious living under the traditional philosophy of “UbuNtu ~ I am, because we are…” A proverb from Ipet-Resyt (‘the southern sanctuary’ of God/dess consorts Amun’Re/Mut) instructs: “The kingdom of Heaven is already within you; if you understand yourself you will find it… As within, so without.” Euro-patriarchal appropriations of such ancestral wisdom, & their systemically racist institutional applications are being rejected globally in this current 2020 Apocalyptic season of revelation, judgment, & return… UbuNtu ❤ ❤ ❤ ❤
Emperor/Empress Lion-energy furthermore signifies the mastery of one’s life-lessons – bringing ’20/20′ clarity of the world within, & thus ending karmic cycles in the world without through those who do the necessary shadow-work that neutralizes Set and restores Heaven-on-Earth. In this regard it is fascinating to note that Tafari Makonnen Woldemikael – aka Emperor Haile Selassie aka Jah Rastafari aka Lion of the Tribe of Judah – was born on July 12th, 1892 and transitioned exactly 45 years ago today… on August 27th, 1975. Both dates straddle the astronomical Lions Gate [July 26th through August 12th] when examined with the Gregorian calendar-as-placeholder. According to the Horn of Africa’s Ancestral timeline and ancient Nile Valley Mysteries, today – August 27th, 2020 Gregorian – is the actual 12/21/12… ❤ ❤ ❤ ❤ Amun… ❤ ❤ ❤ ❤ May[a] we see further…
In no other place on earth were deities so closely associated with their trees as in ancient Egyptian mythology and eschatology, Trees of Life upon which an external god later attached “forbidden fruit” as his rationale for humanity’s exile from Eden. Trees in ancient Egypt were revered as sacred, and regarded as the organic dominion of ancient female sky deities whose role included facilitating the passage of the soul [ba] into the afterlife. The sycamore [nehet] became perhaps the most important of Egyptian sacred trees which include the date palm; acacia; and persea or ished tree. Although male deities were mythically connected to sacred trees and the wooden coffins that transported them to the afterlife, they were never identified with the trees themselves. Often planted near tombs, the sycamore represented the womb to which the departed were returned, sometimes in coffins made from the wood of this Mother Tree. Goddess Hathor and Nut in particular – as anthropomorphic Mother Trees – were depicted connecting the worlds: heaven/underworld… above/below… within/without… now/hereafter… Read More
The longest river on EARTH flows unlike any other ~ from south-to-north. Out of the sentient HEART of Africa and birthplace of humanity, the Nile River travels well over 4,000 miles through 11 African countries: Kenya; Tanzania; Uganda; Rwanda; Burundi; Democratic Republic of the Congo; Ethiopia; Eritrea; South Sudan; Sudan; and Egypt. A Kiswahili term for these countries is Nchi za Maziwa Mkuu – meaning ‘countries of the Great Milk’ or EARTH‘s ‘Milky Way’… Its 2 major tributaries, the White and the Blue Nile, meet in Khartoum, and then flow together as the Nile River confluence into the Mediterranean Sea.
Once the earthly domain of Divinities, Africa’s land of temples and pyramids in the northern deserts is regarded as the Gift of the Nile. As one Divinity proclaims: “Art thou not aware that Egypt is the image of heaven, or rather, that it is the projection below of the order of things above? If the truth must be told, this land is indeed THE TEMPLE OF THE WORLD…” Djehuti then laments a time when this heaven-on-earth Nile civilization will become “filled with strangers” & “widowed of the Gods” : “To thee I cry, O most sacred River, to thee I announce the coming doom!… Egypt, once the holy land beloved of the Gods and full of devotion for their worship, will become the instrument of perversion, the school of impiety…”
It’s not clear what point in time Djehuti’s fore-warnings were specifically targeting, or whether the impact of colonialism in Africa should be seen as an outcome of his Nile Valley prophecy. Ethiopia (then Abyssinia with current-day Eritrea), under Emperor Menelik II, successfully resisted colonization by Italy during Europe’s craven “Scramble for Africa” rubberstamped at the 1884 Berlin Conference. Britain played a significant role in exploring, exploiting and claiming sovereignty over humanity’s womb in the HEART of Africa, colonizing this sacred space through ‘divide-and-rule’ parasitic arrangements. Not only is the source of the White Nile still named after Africa’s Victorian-era adversary, but current Nile River conflicts about water-security are tangled up in old bilateral agreements with Egypt and Sudan, designed in Britain’s self-serving interests against the Eurocentrically-divided continent.
The Grand Ethiopian Renaissance Dam [GERD] – a hydroelectric powerplant in construction since 2011 on the Blue Nile (the reported source of 85% of Egypt’s water) – has become a flashpoint between the two countries. Egypt is a dry desert country with a growing population that has always been heavily reliant on the “gift(s) of the Nile” as its primary resource for water, electricity, agriculture, spiritual moorings, etc. Some Egyptologists have suggested that during Egypt’s era of Divine habitation, the ancients were familiar with this sacred river only as far south as Khartoum where the White & Blue Niles meet in present-day Sudan. Whether or not African Divinities possessed such limited knowledge about their land, Egypt’s current stance is that GERD violates treaties they and Sudan entered into with Britain in 1929 & 1959 respectively, which guaranteed Egypt a majority share of Nile waters.
For hundreds of years, Ethiopian rulers in the south knew of their powers to divert the waters of the Nile River. Egyptians argue that this will be the impact of the Ethiopian dam on their future, thus the reason why they should maintain veto powers and all other privileges of their bilateral treaty with Britain. Other former European colonies in the Nile region argue that they cannot be held to such treaties since they were not parties to them during Britain’s imperial rulership. Tanzania rejected the treaties at Independence in 1961, and Ethiopia has since argued against both treaties [1929 &1959] as being outdated, not to mention divisive and dismissive of Africa’s regional makeup, history and needs. [ARTICLE: ‘The AU Needs to Resolve Ethiopia’s Dam Dispute‘]
As the current US administration helps Egypt, Ethiopia, and Sudan broker a resolution, it is unclear whether Africa’s ancient Nile Guardians are at this same table…
KHNUM – one of the earliest deities from Egypt’s pre-Dynastic period [- 3150 BCE] – was known as God/Guardian of the Source of the Nile River. The Nile River was the sacred earthly font of the Egyptian Mysteries and of subsequent derivatives within the major religions of the world beyond. Life throughout the Nile Valley was regulated and sustained around the river’s annual flooding which also brought silt and clay with its waters. Khnum earned the titles “Divine Potter” and “Lord of Things Created from Himself” by molding the river’s clay into human figurines and other objects at his signature potter’s wheel.
Other theophoric names capturing his significance included Khnum-Khufwy (meaning ‘Khnum is my Protector’), the full name of Old Kingdom Pharaoh Khufu under whom the oldest of the Seven Wonders of the Ancient World – the Great Pyramid of Giza – was built [completed in 2560 BCE]. The Giza pyramid complex was deliberately constructed to be in precise astronomical alignment with the heavenly constellation belonging to Divine Hunter & Fertility God, King Ausar (and his Consort, Queen Auset) whose legendary heaven-on-earth reign was disrupted by Set – god of chaos, violence, perversion & foreign oppression…
A story told on the Famine Stele of the Ptolemaic Dynasty (332-30 BCE), illustrates the correlation between Nile God Khnum and the well-being of the Nile Valley peoples. During the reign of King Djoser (c. 2670 BCE) when Egypt was struck with famine, Khnum appeared in Djoser’s dream to register his displeasure at the fact that his shrine on the Nile River island of Elephantine had fallen into disrepair due to neglect. Djoser’s vizier, Imhotep, advised the king to travel to Elephantine to verify the dream and make any necessary amends. Satisfied with King Djoser’s follow-through, including subsequent renovations of his temple shrine, Khnum lifted the famine and fertility returned to Egypt.
Elephantine (in the River Nile’s 1st cataract & city of Aswan) and Esna (further north) are the two principal Nile River sites where temples were built for the worship of Khnum. In Edfu and Esna, hieroglyphic inscriptions refer to Khnum as ‘Foremost of the per-Ankh [House of Life].’ This high recognition was one he shared with Goddess Seshat who worked closely with Djehuti, God who decreed Nile Lands as “the Temple of the World” and prophesied Set‘s disruption of Divine Order… Heaven-On-Earth… the World Temple. The per-Ankh were learning centers attached to ancient Egyptian temples where knowledge, aligned with nature and the cosmos, was considered sacred and taught by Priests of Re …Initiates of the ancient Mysteries.
Elephantine – where Khnum’s southernmost worship center was located – demarcates the ancient boundary between Upper Egypt & the Kingdom of Kush which, according to historical records, took over Egypt from 760 to 656 BCE. However, this location is not the “source of the Nile River” as distinguished in the Papyrus of Hunefer – copied from the ancient Book of the Dead – which states… “We came from the beginning of the Nile where God Hapi dwells, at the foothills of The Mountains of the Moon”. Hunefer, owner of this papyrus/paper, was a steward of Pharaoh Seti 1 during the 19th Dynasty [c. 1300 BCE]
“We…” refers to Africans in the northern Nile Delta region
“…beginning of the Nile…” refers to the Great Lake estuary & African HEART… WOMB… [southern Nile region SOURCE]
“…Mountains of the Moon” are the Rwenzori Mountains bordering present-day Uganda & DR Congo.
“…Hapi” was a pre-dynastic Nile fertility God who depicts the North-South bonds of the region in the tying together of Nile Delta papyrus and Nile Source lotus plants. Like the Ankh [“Key of Life”] Hapi‘s hermaphroditic features by extension also represent the sacred union between divine masculine and feminine. The life-bringing inundation which has always sustained Nile Valley civilizations is EARTH‘s celebration of this “renaissance” …an annual [re]union referred to as the ‘Arrival of Hapi.’ This event – always heralded by the return of Sopdet (celestial Nile Star of the African goddess) to the night skies – was ritualized annually between God/dess Amun/Mut within the sacred compounds of their ‘Karnak‘ and ‘Luxor‘ Temples in the legendary, communally-celebrated ‘Opet Festival.’
Ipet-Resyt – the ‘southern sanctuary’ of God/dess consorts Amun/Mut along the Nile banks – is a temple [‘Luxor‘] whose unique architecture was strategically designed to resemble a human figure in repose. One of several proverbs written on its interior walls states: “Routine and prejudice distort vision. Each man thinks his own horizon is the limit of the world.” Another proverb says: “When the governing class isn’t chosen for quality it is chosen for material wealth: this always means decadence, the lowest stage a society can reach.” Humanity’s SOURCE/HEART should by now be awakening from impositions of Britain’s Victorian-era exploits of Africa’s material wealth as its own and, by extension, the prejudicial routines of predatory foreign interests… should be reclaiming its organic Ma’atrix & setting its own horizons with Heaven-centric &/or enlightened 2020 vision.
Sankofa – an Akan saying from Ghana – contends that: “In order to move forward, you must reach back to reclaim that which may have been lost, forgotten, or stolen.” Visionary Father of pan-Africanism, Osagyefo Kwame Nkrumah stated in 1960: “We face neither East nor West: we face Forward”…
Other proverbs from Ipet-Resyt (Amun/Mut’s ‘Luxor‘ Temple on continental Africa’s Nile Valley side) state: “Your body is the temple of knowledge… The Kingdom of Heaven is within you; and whosoever shall know themselves shall find it.”
❤ Amun ❤ àṣẹ ❤ Let ❤ There ❤ Be ❤ Light ❤
African Goddess Seshat was referred to as Sefket-Abwy – meaning “she of seven points” – by Pharaoh Tuthmosis III (1479-1425 BCE). She wears a signature seven-pointed crown which has led to speculation about the hidden Africa-centered significance of the crown which adorns Lady Liberty’s head and her symbolism as a whole. Standing tall with words of welcome on Manhattan’s Liberty Island in New York, the statue itself was brought as a gift from France in 1886 to strengthen democracy and bilateral alliances following US Civil War gains and the end of slavery. The initiative was launched by abolitionist and Chair of the French Anti-Slavery Society, Édouard de Laboulaye. Frédéric Auguste Bartholdi was the sculptor.
A proverb from Ipet Resyt (“the southern sanctuary” built for God/dess consorts Amun/Mut) says: “Lacking images, people invent idols… Better to found images on realities that lead the true seeker to the source.”
Seshat is the African goddess who represents the consciousness of an order likely superior to the 3D matrix of knowledge that was installed and is currently governed by a patriarchal elite. Represented in Kemetic mythology by Set [god of the desert, storms, disorder, violence, chaos, & foreign oppressors] who destroyed Heavenly order when he usurped Kemet’s throne after murdering and dismembering King Ausar – this trauma-based matrix is now said to be in its death-spiral. Humanity has experienced this matrix as slavery, colonialism, racism, apartheid, misogyny, pedophilia, thievery, rape, & the false controlling narratives of white patriarchy. Alternatively, Set represents the dysfunctional shadow poles of the Masculine versus a potential, fully incarnate Divine King, Warrior, Magician, & Lover. Seshat’s crown is one of several potent African symbols of Divine Feminine power which speak to how, when, and where She, as Ma’at, enters to help re-pair, anchor, & balance Divine Order from her own sovereign, fully incarnate truth – complementary to that of the Divine Masculine.
Seshat ~ Point #1… “SCRIVENER” is the meaning of Seshat’s name. Sesh, meaning ‘writing’ was a communication technique using hieroglyphs (Greek, meaning ‘holy writing’) which, according to Kemetic legend, were created by god Djehuti. Djehuti passed the skill on to select scribes (typically men) to aid, he believed, in the development of wisdom. The god Re disagreed with this premise, saying that written documents would weaken people’s memories and ancestral wisdom that was organically passed down through generations, nature and oral tradition. As a proverb from IpetResyt advises: ‘Images are nearer reality than cold definitions.’ Hieroglyphs, the oldest and more pictographic form of writing, over time evolved into Hieratic and then Demotic scripts as scribes worked to simplify the writing process itself. Each efficiency-upgrade in writing as a communication technology meant an increased abstraction (hence “alienation”) from the organic world, as Re might have feared. This trend has continued up to the highly abstract western alphabet of the present-day, which has been characterized as ‘aggressive’ by communication scholars such as Marshall McLuhan. Goddess Seshat stands at the crossroads of this communication debate vis-à-vis Divine Order…
Seshat ~ Point #2… “RECKONER OF TIME/YEARS” – God Djehuti, whom Goddess Seshat appears to mirror in her attributes, is credited with creating the ancient Egyptian calendar which forms the basis of the ancestral 13-month calendar used in the Horn of Africa where the current year is “2012.” The Gregorian calendar (after Pope Gregory XIII) – a reformed Julian calendar (after Julius Caesar) – forms the basis of the main western calendar where the current year is “2020.” Seshat’s lunar-based time-reckoning and recording skills were used in service to royal and religious leadership and concerns such as life-spans, length of reign, appropriate scheduling of ceremonies and rituals… some of which she and Djehuti would record on the sacred ished – the Tree of Life at Heliopolis – which was said to hold eternal knowledge of the Divine Plan. Goddess Seshat stands at the crossroads of competing space-time frequencies and a Divine Age of Aquaria schedule…
Seshat ~ Point #3… “MISTRESS OF THE HOUSE OF BOOKS” – Among Seshat’s duties was her role in the temple Library of the Gods which housed the works of Khemet’s foremost scribe and alkhemist, Djehuti. She was Djehuti’s personal librarian and keeper of his spells (called hekau) and writings. Djehuti’s canon of writings includes the Emerald Tablets and 42 Books of Knowledge on all matters connecting the heavens and the earthly realm, with a forewarning about the fall of Khemet to outsiders – represented in mythology by Ausar’s murderer Set. After pieces of Ausar’s body were retrieved, reassembled and mummified by his widow Auset, it’s said that Seshat helped cast Djehuti’s resurrection spell for Ausar’s missing 14th piece which enabled the posthumous conception of Heru. This event was appropriated and translated in later biblical accounts as the Immaculate Conception of Jesus. The ‘t(kh)n’ hieroglyph for obelisk – architectural symbol of Ausar’s resurrection – is the identical word and spelling for ‘to beat a drum’ or ‘musician,’ which connects organically to African oral traditions… our collective Akashic Record or Book of Life.
Seshat ~ Point #4… “FOREMOST OF THE PER-ANKH” was the prestigious title bestowed upon Seshat and god Khnum – ram-headed potter and guardian of the Nile River source. ‘Per-Ankh’ were ‘houses of life’ attached to temples where libraries were housed and where knowledge, considered sacred, was attained. Given her proximity to Djehuti, of whom it was said that without his words the gods themselves would not exist, Seshat’s footprints can be traced through those of the ‘Shulamite’ in the biblical Song of Songs. (Shul, Yiddish for “school/synagogue” is related to shule/scuola in German; schola in Latin; and skholḗ in Greek – all meaning “school”). The term ‘Shulamite’ as emphasized in this particular book suggests that the “black and comely” female protagonist is highly educated. How different biblical Revelation would be with Seshat as the ascended True Seeker & Genesis recalibrated to the Song of Songs!
Seshat ~ Point #5… “GODDESS OF ARCHITECTS & BUILDERS” – Though there were no temples built for the worship of goddess Seshat, she is paid homage for her prominent role in the foundation of major Khemetic temples in Heliopolis, Edfu, Abydos, Dendera and elsewhere. The temple of Horus in Edfu (c.237BC) has the inscription: “I take the measuring cord in the company of Seshat. I observe the progressive movement of the stars. My eye is now fixed upon Meskhetiu. The god of time-keeping stands by me, in front of the merkhet. Then, I have established the four corners of the temple.” Meshketiu, the ‘Big Dipper/Plough’ of the constellation Ursa Major, was known as ‘the Drinking Gourd’ by Africans who followed the North Star to escape slavery on the Underground Railroad. The merkhet was the instrument that oriented the harmonious alignment of temple foundations with the heavens, according to principles of sacred geometry…
“Art thou not aware that Egypt is the image of heaven, or rather, that it is the projection below of the order of things above? If the truth must be told, this land is indeed the temple of the world.” [Djehuti aka ‘Thoth’]
Seshat ~ Point #6… “PANTHER GODDESS” – Besides her signature 7-pointed crown, Seshat’s dress is made of panther skin which can denote royalty status within the Nile Valley reflection on earth of the Milky Way, particularly at the source of the sacred African river in the BaNtu kingdoms of Buganda, Ankole, Busoga, Toro, Bunyoro, etc. There’s a sacred totemic relationship each of these Kings has with the panther, who is known in Buganda as Mayanja. Karamojong and Acholi warriors also wear panther skins as part of their regalia. In Khemet – “the gift of the Nile” – sem priests wore leopard skin garments in similar fashion to priests in Zimbabwe, southern Africa. King Tut’Ankh’Amun – the last of his royal family to rule during the end of Khemet’s 18th dynasty (c.1334 – 1325 BCE) – is famously depicted traveling through the afterlife on the back of a black panther.
Seshat ~ Point #7… “OPENER OF HEAVEN’S DOOR” – The mystery of Seshat is bound up with Africa and within the cultural codes of her 7-pointed crown… panther totems… sacred architecture… t(kh)n-ology… proverbial wisdom… the Nile Valley as ‘Temple of the World’… Ancestral vs. Gregorian timelines… ‘entry’- vs. ‘exit’-portals…
The mystery of Seshat is key to how we navigate the spaces between worlds in our ascension journey… decode the Song of Songs through Her dance… ‘Follow the Drinking Gourd’ via Her merkhet… exit Set’s 3D matrix of the elite’s false controlling-narratives through Akashic self-revelation… collapse slavery & colonialism’s karmic cycles… and enter sentient Mother Earth’s true Ma’atrix to the Age of Aquaria / Age of Miracles / Golden Age / Heaven / Zion… return to UbuNtu…
As proverbs from Ipet Resyt state: “If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of heaven is within you. Whosoever shall know Herself shall find it.” ❤ ❤ ❤
2019 marks a historic realignment and opens the door to healing in Africa’s collective soul and consciousness. Slavery’s cruel time-portal, symbolized by the “door of no return” on the western shores of the continent, has in 2019 become an entryway for reconciliation and ascension in this Year of Return after several centuries of forced separation and exploitation. President Nana Addo Dankwa Akufo-Addo of Ghana has been a powerful champion of formalizing this return, exemplifying ancestral wisdom through hindsight, foresight and example.
Sankofa ~ an Akan word which contends that: “In order to move forward, you must return to reclaim that which may have been lost, forgotten, or stolen” ~ is symbolized alternatively in two adinkra…
Africa’s children are star-seeds within a time-space continuum that has been lost, forgotten, stolen, hijacked through slavery, colonialism, apartheid… and the subsequent self-entitled narratives of her antagonists. Indeed “2019” is a Gregorian year, based on Vatican manipulations (via Pope Gregory XIII in 1582) of time, space and human consciousness. Sophisticated understandings of time, and linkages with nature, the divine feminine, and the cosmos existed in ancient Egypt prior to the Greco-Roman worlds re-ordering of it.
The main western calendar is a reformation of the Julian calendar – after Julius Caesar, whose name remains on the Gregorian calendar as the month of “July”… followed by August, named after Roman Emperor Augustus. Weekdays of the western calendar similarly invoke Roman gods and their planetary associations: Sun day (Sunday); Moon day: Fr. Lundi / Sp. Lunes (Monday); Mars day: Fr. Mardi / Sp. Martes (Tuesday); Mercury day: Fr. Mercredi / Sp. Miércoles (Wednesday); Jupiter day: Fr. Jeudi / Sp. Jueves (Thursday); Venus day: Fr. Vendredi / Sp. Viernes (Friday); and Saturn day (Saturday).
In other words, humanity has been living in the colonized space-time frequency of elite western patriarchs. African life in particular has suffered under the shackles of this homosocial and false matrix. The Year of Return in 2019 has felt like the authentic beginnings of a dismantling of this Eurocentric order and the resurgence and ascension of a pan-African consciousness. This is conveyed through Nsoromma (“children / stars of the Heavens”) and Fawohodie (“freedom, independence, emancipation”), the adinkra chosen to symbolize spiritual consciousness during this momentous Year in Ghana. Translated as “what is lost in the sea is returned by the waves,” the symbolically-colored waves in the Year of Return logo additionally encompass Sankofa…
December 21st, 2012 – exactly seven years ago on the Gregorian calendar – was a date predicted by some to mark the dawning of the Age of the Water Bearer, called Aquarius and depicted in the west as a Euro-patriarchal harbinger of New Age consciousness. So… more of the same in terms of who colonizes and controls the human narrative [*sigh*]!?! In Africa, the Water Bearer has always been a divine feminine representation for various reasons connected organically to nature and divine order. An alternative depiction of the feminine dominion over the waters is Mami Wata, revered by several million spiritual followers from Ghana all the way to the Congo. Often depicted in the form of a mermaid, Mami Wata almost always holds a looking glass.
The looking glass is an intriguing puzzle piece when it comes to understanding African concepts of mirroring in the theater of oral-aesthetic or ancestral timelines. For example, December 21st, 2012 hasn’t yet occurred in the Horn of Africa, where today [December 22nd, 2019 on the Gregorian calendar] is April 12th, 2012 on the 13-month Ethiopian calendar which traces back to the ancient Egyptian calendar. There’s a seven/eight-year lag between the 12-month Gregorian and this African timeline, owing to alternate determinations of the date of the annunciation of the Messiah’s birth. (This lag would also push the “December 21st, 2012” Age of Aquaria launch to August 27th, 2020 Gregorian time. See Calendar Conversion link)
Upon the inner walls of Ipet Resyt – “the southern sanctuary” built for God/dess consorts Amun-Mut known today as the Luxor Temple in Egypt – lies the 1350 BCE blueprint of this “Annunciation.” According to John Anthony West [click picture for video: link @ 1:17:20], surrounding transcriptions of the communication depicted taking place between Amun and his consort, goddess Mut indicate that, in this conversation, Amun is informing his beloved that she will give birth to a divine son/savior. Roman-Catholic appropriations of this depiction in biblical accounts are presented as the angel (“Gabriel”) announcing that a virgin (“Mary”) will conceive and become the mother of a divine savior (“Jesus”) who is the son of God. Furthermore, the propagandized image of the Vatican’s “Jesus” is said to be modeled on Cesare Borgia, son of Pope Alexander VI. “Lacking images, men invent idols…. Better to found images on realities that lead the true seeker to the source” [proverb from Ipet Resyt].
Enkutatash (“gift of jewels”) – the Amharic word for the Ethiopian New Year – occurs on September 11th of the Gregorian calendar, except for leap years when it occurs on September 12th. The Eritrean Orthodox Tewahedo Church uses a calendar identical to the Ethiopian for its liturgical year. On the Eritrean Ge’ez calendar, New Year is called Ri’se Awde Amet (“Head Anniversary”). The Ethiopian Enkutatash tradition comes from a time when the Queen of the South was showered with gifts of jewels (enku) upon her return from Jerusalem where she’s said to have made her legendary visit with King Solomon. This visit began the Solomonic line from whence hails Emperor Haile Selassie [July 12th, 1892 – August 27th, 1975 Gregorian]… the Messianic Lion of the Tribe of Judah in Rastafari spiritual consciousness.
In hindsight and with some authentic insight, perhaps the Year of Return is calling all of us (rather than a single “savior”) to an ascended re-membering of and return to UbuNtu …our Africa-centered unity-consciousness that has always said “I am because we are…”
“The kingdom of Heaven is already within you; if you understand yourself you will find it…” [proverb from Ipet Resyt]. Hindsight, Insight, and/or Foresight… It’s my wish that 2020 [Gregorian] or 2012-13 [Ethiopian] will lead to greater self-clarity and humanity’s Higher Ascension… Happy Sankofa! ❤ ❤ ❤
“Only the black woman can say ‘when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole …race enters with me.’” [Anna J. Cooper, 1892] Dr. Anna Julia Cooper was born into slavery on August 10th, 1858 [d. 2/27/1964]. An activist during her life, Cooper triumphed over race and gender barriers to become a prominent scholar, educator, author, sociologist, and speaker. She received her education at St. Augustine’s University (NC), Oberlin College (OH), Columbia University (NY), and the University of Paris (Sorbonne) where, in 1924, Cooper became the 4th African-American woman to earn a doctorate with her Ph.D. in history. Author of the 1892 book A Voice from the South, which became a classic black feminist text, Cooper is often referred to as the Mother… or Matriarch of Black Womanism. Read More
“If you don’t own your masters, your masters own you.” On his B’Earth’Day [June 7th] in 1993, Prince changed his name to the unpronounceable ‘Love Symbol’ of his recently released 14th studio album following disagreements with Warner Brothers [WB], the label which originally signed him in 1977. It was a public act of rebellion against WB’s restrictions over him and his prolific creativity. Likening their contractual relationship to one of indentured servitude or slavery, Prince explained:
“When the moon is in the 7th House… And Jupiter aligns with Mars… Then peace will guide the planets… And love will steer the stars… This is the dawning of the Age of Aquarius…” [Lyrics from “Age of Aquarius” by the 5th Dimension, 1969].
Humanity is said to be currently moving to its new astrological Age – an event which happens roughly every 2,000-plus years. We’re living through a transitional period Read More
Born in 1803 and orphaned at age 5, Maria W. Stewart was an American domestic servant who became a teacher, journalist, abolitionist, lecturer and women’s rights activist. She urged “daughters of Africa” to reject the negative images of Black womanhood that were/are so pervasive, but to instead possess the power of self-definition – in effect to seek, find, and anchor their Divinity as Goddess Auset. In an 1833 speech, Stewart said: “Like King Solomon, who put neither nail nor hammer to the temple, yet received the praise; so also have the white Americans gained themselves a name, like the names of the great men that are in the earth, whilst in reality we have been their principle foundation and support. We have pursued the shadow, they have obtained the substance; we have performed the labor, they have received the profits; we have planted the vines, they have eaten the fruits of them.”
The power of images [for good or ill] has been well-known since ancient times in Africa, as evident in the following proverb from the Luxor Temple of Amun-Mut-Montu/Khonsu: “People need images. Lacking them they invent idols. Better then to found the images on realities that lead the true seeker to the source.” The Gods of Khemet created a number of art-for-life’s-sake images that would, when properly looked upon, indeed lead the divine seeker to the source. Knowing the little strength of the angel of the church in Philadelphia, the God of Revelation encodes one of these key images in His instructions: “I know thy works: behold, I have set before thee an open door, and no man can shut it… hold that fast which thou hast, that no man take thy crown…” [Rev 3: 7-12 KJV]
The Divine Seeker or ‘true seeker’ – from a ‘daughters of Africa’ perspective – is represented in the archetype of Auset, Queen and wife of Khemet’s beloved King Ausar. According to their mythology, the respect Ausar was able to command on earth and in the nether-world as the bringer of civilization made his ‘younger brother’ – a god with pedophilic issues named Seth [Gr.] – so jealous that, in his bloody coup for the throne, Set[h] murdered and cut the king into 14 pieces which he scattered throughout the wilderness to prevent Ausar’s resurrection. In modern terms, Set [god of the wilderness, chaos, violence, foreign oppressors…] is understood to be the adversary who enslaved Africans and stole land and other treasures via colonialism. Thus the ‘wilderness’ is the diaspora where his predatory neo-colonial rule and campaign of chaos and extermination expanded. Auset must search this wilderness for the pieces of her beloved while holding fast to her crown of life which, imaged as the royal throne, represents her shero’s journey and consciousness of who she is.
Auset ~ Divine Seeker – shows up as the Shulamite in the Song of Songs, the biblical book attributed to King Solomon who, though featured in the song, is not the true ‘Majesty’ Auset seeks. Famed for wisdom, wealth, and possessing 700 wives and 300 concubines, Solomon represents the unease of one who is trapped in an excess of creature comforts, including his gross objectification of the divine feminine. It’s very clear that the Shulamite [Auset] is critical of the modalities of capitalist exploitation, including occupation and sharecropping which have created Solomon’s trappings of power and, in turn, required military guardians. She says: “Behold his bed, which is Solomon’s; threescore valiant men are about it… They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night.” [SoS 3:7-8 KJV] “Solomon had a vineyard at Baalhamon; he let out the vineyard unto keepers; every one for the fruit thereof was to bring a thousand pieces of silver. My vineyard, which is mine, is before me: thou O Solomon, must have a thousand, and those that keep the fruit thereof two hundred.” [SoS 8:11-12 KJV]
The Song of Songs represents Auset’s mourning as she communicates with and searches for the pieces of her Twin Flame in a ‘wilderness’ [diaspora] caused by the misdeeds of Set, including murder, mutilation, scattering, plunder and rape. Auset’s crown of life, denoting her consciousness, purpose and allegiance, is significantly different from those which are worn in the capitals of Europe – their opulent design and materials conspicuously symbolizing conquest of peoples and control of resources. Without this Africa-centered understanding which would acknowledge Auset’s presiding role in Ausar’s resurrection and return, biblical scholars and translators promote other interpretations even while struggling to explain her divinity and/or justify her existence in ‘their’ holy book. Introducing herself to an audience of the “daughters of Jerusalem,” the Shulamite [Auset] makes clear: “I am black… My beloved is mine, and I am his: he feedeth among the lilies.” [SoS 2:16 KJV] Local to Upper Khemet – southern source of the Nile River – the lily is also the symbol of resurrection in Khemetic imagery. “I am my beloved’s, and his desire is toward me.” [SoS 7:10 KJV]
Euro-patriarchal translations and commentaries surrounding the Shulamite’s introduction of herself have varied from “I am black and beautiful…” [New Revised Standard Version Catholic Ed] to more sinister/racist ethnic notions – specifically, as Maria W. Stewart pointed out, against Black womanhood:
- “I am black but beautiful…” [Douay-Rheims Bible]
- “I am black but lovely…” [New American Standard Bible 1977]
- “I am black, but comely…” [American KJV; American Std. V; Webster’s Bible Trans; JPS Tanakh 1917; Darby Bible Trans; English Rev. V]
- “I am very dark, but lovely…” [English Standard Version]
- “I am dark but beautiful…” [New Living Translation]
- “I am dark, but lovely…” [New KJV 2000; World English Bible; NET Bible; New Heart English Bible]
- “Dark am I, and comely…” [Young’s Literal Translation]
- “Daughters of Jerusalem, I am dark like the tents of Kedar, yet lovely like the curtains of Solomon…” [Holman Christian Standard Bible]
- “I am dark, O ye daughters of Jerusalem… desirable as the booths of Kedar, as the tents of Solomon…” [Jubilee Bible 2000]
- The word “black” does not necessarily mean that the skin is black, but rather sunburnt, dark brown… the livid or swarthy appearance of one who has suffered long from famine and wretchedness. There is certainly no reason to take the word as an argument for the bride being Pharaoh’s daughter… She has been living in the fields, and is browned with the ruddy health of a country life… The country maiden feels the greatness of the honor, that she is chosen of the king… [Pulpit Commentary]
- …she was “black” in herself through original sin and actual transgression; in her own eyes, through indwelling sin, and many infirmities, spots, and blemishes in life; and in the eyes of the world, through afflictions, persecutions, and reproaches…: “but comely” in the eyes of Christ, called by him his “fair one”, the “fairest among women”, and even “all fair” through his comeliness put upon her, the imputation of his righteousness to her; through the beauties of his holiness upon her; through the sanctifying influences of his Spirit… being in a church state, walking in Gospel order… “desirable”(y) to Christ, and to his people. [Gill’s Exposition of the Bible]
Certainly, if such white male interpretations of the black female principal in the Song of Songs prevail, then they should at the very least co-exist with culturally-centered interpretations of the African Queen. One version of the Song of Songs’ backstory – which has received extensive Jewish, Islamic, and Ethiopian elaborations – describes King Solomon being tested with hard questions during his visit from the “Queen of the South” AKA the Queen of Sheba. The Kebra Nagast [“Glory of the Kings”] tells the national saga of Ethiopian Emperors being descendants of King David as a direct outcome of their Queen’s visit with his son Solomon. Followers of the Rastafari movement believe Emperor Haile Selassie I – the last descendant of the Solomonic line to rule Ethiopia [from 1930 to 1974] – to be the Messiah and Lion of the Tribe of Judah. The African Queen’s storied visit is acknowledged in the bible thus: “The queen of the south shall rise up in the judgment with this generation, and shall condemn it: for she came from the uttermost parts of the earth to hear the wisdom of Solomon; and, behold, a greater than Solomon is here.” [Matthew 12:42 & Luke 11:31 KJV]
Told in highly symbolic language, the Song of Songs is itself a riddle worthy of the Queen of Sheba who purportedly used riddles to test Solomon’s wisdom, and to apparently expose the limitations of Euro-patriarchal translations and analyses [above]. Who knows what manner of ‘darkness’ lies in the tents of Kedar or curtains of Solomon to which the Shulamite is being compared by such biblical professionals?! She is not “original sin” in need of white male prescriptions for “salvation.” Nor does she seem particularly desirous of the kind of ‘majesty’ Solomon represents – at least not in my reading of the Song of Songs in which the Shulamite’s mission is that of the African Goddess Auset. As divine seeker who wears a distinct crown of life, it’s critical that Auset be able to distinguish between chaos/shadow/idol versus truth/substance/source as the above-mentioned proverb from the Luxor Temple states. Only in this way does she prove herself worthy of the crown and title bestowed on all true African Queens: “She Who Sees Set and Heru.”
Goddess Auset is… ❤