Earth Wind & Fire (EWF) is undoubtedly one of the greatest bands of all time, as their claim to three of the four natural elements suggest they should be! Hits like In the Stone provide EWF fans an Afrofuturistic portal through which to access and interpret some of the Mysteries of ancient Egypt, the “gift of the Nile.” Djehuti – god of communication/writing, magic and wisdom – recognized Africa as god’s chosen land where the northward flow of the Nile gave rise to sacred Mysteries, mythologies and the architectures that arose along its river-banks. He referred to this psycho-geographic mirror of heaven-on-earth (known locally as Maziwa Mkuu – “the Great Milk” or Milky Way) as the Temple of the World. At Uaset on the river’s east bank, Ipet Resyt – the “southern sanctuary” of god/dess consorts Amun-Mut – was constructed to resemble the human form. It was at such temples where ancient Mysteries were housed as sacred knowledge for chosen initiates. Inscribed within the stone walls of this temple’s ‘throat area’ is the pre-Christian Annunciation [1350BCE] from Amun to his beloved about the divine child and savior-figure she would bear.
Well-versed in such ancient Theogony, some of which he himself is said to have authored, Djehuti understood EWF as base elements that separately defined each of humanity’s precursors to the current Age of the Bearer of Water – the 4th element which is swayed by the moon and, like Earth is organically associated with the Divine Feminine [Mut]. The current Age of Aquarius is defined by this being the constellation the sun moved into on the spring equinox in its 26,000-year journey through all 12 zodiac houses. Each successive grand age (approximately 2 millennia per sign) is heavily influenced by the sign’s element:
EARTH is the element which defined the Age of Taurus between c4400-2200 BCE, a time period traversing the Bronze Age which followed the previous Age of Gemini and supported the evolution of material culture around the world. Characterized by some as humanity’s Age of Growth, this was the grand age when the Sun was in the fixed sign of Taurus [Ausar – The Bull of Eternity]. Ancient Egypt’s Early Dynastic Period [c3150-2613 BCE] began with the Unification of Upper (south) & Lower (north) Egypt under Pharaoh Menes aka Narmer in 3100BCE. Called Sema Tawy, this unification was symbolized as a human trachea rising from the lungs entwined with the papyrus (north) & lotus (south). Narmer‘s was the first of 30 successive dynasties which ruled and maintained civil order through a centralized government from the capital of Memphis. Ptah – god of craftsmen and sculptors who was venerated during this period – was heralded by Apis, the sacred bull-deity of ancient Egypt who was also the symbol of the Pharaohs of these times. By 2400BCE the basic formulation of the myth regarding Ausar-Auset, and their posthumously-conceived son Heru’s further contendings against Set (murderous throne-usurping god of foreigners, plague and chaos) was in place – a universal archetypal narrative which has survived from the Pyramid Texts to this day in derivative religious forms and “good-versus-evil” scripts and schemes that have been executed for better or worse around the world. Technological advances during this Age of Growth included the invention of hieroglyphs [Djehuti] & manufacturing of papyrus/paper which helped facilitate record-keeping, communication, etc. Furthermore, the Old Kingdom Period [c2613-2181BCE] saw two of the greatest architectural Wonders and Mysteries ever erected – the Giza Pyramids and the Great Sphinx which connect earth organically to heavenly powers. Seen another way, EARTH is the English language anagram for HEART… an ages-old Mystery mapped out from humanity’s womb and written in African stone… which “Set” violated.
FIRE is the element which defined the years that led from c2200 BCE [following a chaotic transition between Egypt’s Old & Middle Kingdoms] to the beginning of the Common Era. This was the period when the Sun relocated from Taurus in its ongoing precession to arise in Aries [Amun The Ram] – leader of the Zodiac, and the cardinal sign which begins the Spring season in the northern hemisphere. Uaset [Thebes/Luxor] had superseded Memphis as the ancient Egyptian capital by 2240BCE. Amun, now the venerated deity, was worshipped in two main temples where the Gemini bonds formalized during the Age of Taurus continued to be upheld and ritualized at Amun-Mut‘s Ipet Isut [northern sanctuary – Karnak] and Ipet Resyt [southern sanctuary – Luxor]. Ipet-Resyt is where eternal truths (including those held in the ‘throat area’) are written in the stone, such as The Kingdom of Heaven is within you… Know Thy Self. The Age of Aries is thus characterized by some as the Age of Law because this is when humanity’s first codes of justice and moral instruction were recorded. Notable also were the Negative Confessions upon which Judeo-Christianity’s Ten Commandments were later formulated from the Papyrus of Ani source, recorded c1275-1250BCE during the prosperous New Kingdom era. Also known as the Declarations of Innocence, this recitation in the Halls of Judgment of 42 uncommitted sins facilitated the transition of the soul between their earthly incarnation and the afterlife. The soul was weighed in the scales against the feather of Ma’at, goddess of Truth, Balance, Divine Order, Reciprocity & Justice [Libra]. The Age of Aries additionally saw the rise of Akhenaten, whose reputation became that of ‘the heretic king’ after his unwelcome cultural reforms, including the self-centered monotheistic cult of Aten-worship he instituted & oversaw from Amarna [1353-1336BCE]. Aten’s successor, his son who renamed himself from Tut’Ankh’Aten (‘living image of Aten’) to Tut’Ankh’Amun (‘living image of Amun’) restored ancient Egypt’s cultural traditions around Amun & returned its worship center to Uaset before his death at age 19 in 1324BCE.
WATER is the element which has defined the Common Era (Gregorian calendar) years to date during which the Sun transitioned to arise in Aries’ neighboring constellation of Pisces, and usher in what some have defined as the Age of Faith. The evolution of transportation empowered the global reach and agendas of major patriarchal religions: Judeo-Christianity, Islam, Buddhism… Though core tenets of their holy books were in agreement with each other – often representing derivative text from ancient Egyptian sources – several interfaith and intra-faith wars broke out during this period, due in part to extremist cult elements that developed. Africa’s experience during the Piscean Age of Faith – which began with the Greco-Roman construction of a Gregorian timeline around the life of Jesus (savior-figure of Judeo-Christianity) – has been a major revelation of the enduring myth written in ancient Egypt during the Age of Taurus. Ausar-Auset-Heru were the original holy trinity whose very being was tested by Set – god of foreign invaders, plague and chaos. Jealous of their Heaven-on-Earth glory in ancient Egypt, Set murdered King Ausar, and scattered his 14 mutilated body parts into a wilderness where Queen Auset was forced to conduct her search-and-recovery mission as Set illegitimately assumed the Egyptian throne. The “wilderness” is allegorical to Africa’s experience of chattel slavery [1619-]; the colonial rape and reconstruction of Africa [1884-]; apartheid [1948-] etc. All at the hands of foreign invaders [“Set”] who justified such acts and their accompanying atrocities in the name of the god(s) of their “faith.” In the ancient mythology, Auset mummified the 13 pieces she was able to recover of her husband, and relied on divine intervention to posthumously conceive their son Heru, despite Ausar’s missing 14th piece, symbolized as the tkhn. Christianity translated this episode into its account of the “Immaculate Conception,” replacing Heru with “Jesus” as the avenging son and savior (crucifixion notwithstanding) who restores Heaven-on-Earth’s rightful rule. “White Man’s Burden… Manifest Destiny… American Exceptionalism… Trumpism…” – samples of the Age of Faith’s cult-like justifications and controlling narratives that continue to be extolled by certain factions.
AIR is the element which will define the next 2,000+ years as humanity decides what the narrative and legacy of this new Age of Aquarius should be(come) during the sun’s rising and sojourn prior to travelling from the Aquarius constellation to the next – presumably Capricorn. What’s fascinating to me is that the sun’s own path of enlightenment is a reverse journey through the western zodiac which is sequenced as Aries ruling the 1st house… Taurus the 2nd, Gemini the 3rd etc. through to the 12th and final house of Pisces. As Sankofa from the ancient African wisdom of the Akan suggests, perhaps there was something forgotten, lost, or stolen from a previous era which is absolutely necessary for humanity’s holistic forward movement? 2019 – Africa’s “Year of Return” – marked the end of 400 prophetic “wilderness” years [via Set] in the northern hemisphere. One might view this as an initiation period in which the south-north bonds [UbuNtu] that were avowed in ancient Egypt during the aforementioned Ages of Ausar [Taurus] & Amun [Aries] following Egypt’s pre-Dynastic Age of Gemini are once again affirmed. Some have referred to 2019 as the “Year of the Divine Feminine” and 2020 as the “Year of the Divine Masculine,” while envisioning 2021 as the reunification “Year of Divine Twins” [Gemini]. Aquarius, the fixed air sign in western astrology, is symbolized as the water-bearer of the zodiac. Divine Twins who’ve spent lifetimes journeying towards reunification through self-reflection now offer their enriched cups to each other & say to the emotional water element within, “Be still, and know that I ❤ AM GOD” [Psalm 46]. Air, the element Gemini & Aquarius both represent, is the communicative energy which reveals itself in Kemet’s south-north/lotus-papyrus unification symbol as well as the annunciation in the ‘throat area’ of Ipet Resyt [southern sanctuary – Luxor]. Perhaps this Age of Aqua/New Earth will be a revelation of the ancient Mystery of True.Love.Written.In.The.Stone [EWF] Blessed Be ❤ ❤ ❤
Following 2019 – the “Year of Return” marking the 400th anniversary since enslaved Africans first set foot in the Americas at Jamestown, VA in 1619 – 2020 has evolved as an iconoclastic year, following the horrific murder-by-police of George Floyd in the Twin City of Minneapolis, MN on African Liberation Day (May 25th). Ironic. Altars to the Confederacy, Christopher Columbus, and other self-congratulatory symbols of Euro-patriarchal oppression continue to be torn down in public spaces as the human collective grapples with repairing from the adverse impact of twin pandemics in 2020, both of which have claimed significant numbers of lives. Ironic? Yes, in that the most recent of these pandemics is identified by a term – “Corona” – which otherwise refers astronomically to the glow emitting from the sun and other stars, or anatomically to a person’s crown. The other pandemic – racism – has acted historically and virally through predatory patterns of invasion, exploitation, and control of the land and resources (human, spiritual, cultural…) of indigenous sovereigns in service to an elite-run matrix and its self-serving narratives.
You Want a Confederate Monument? My Body Is a Confederate Monument, Caroline Randall Williams wrote powerfully from the embodied perspective and sovereignty of her “rape-colored skin.” Sovereignty resides in diverse bodies and experiences despite centuries-old aggressive parasitic Euro-patriarchal agendas to consolidate the “shine” or sovereignty of others around its hegemonic presence, as Ezra Aharone exposes in a list of historic examples:
The European world of nationhood is seemingly based on democracy, but it was not built in democracy… Consider their motives and psychology behind the likes of the Magna Carta of 1215; the Westphalian Sovereignty Accord of 1648; Chattel Slavery; American Exceptionalism; the Treaty of Paris 1783; Manifest Destiny; the Berlin Colonial Congress of 1884; the White Man’s Burden; and Globalism of today… (The Sovereign Psyche, 2016).
Manifest Destiny – a core justification for white territorial expansion in north America between the War of 1812 and the Civil War of the 1860’s – was later rebranded American Exceptionalism as US-style democracy was promoted abroad. Its three basic programs hold that: (1) White people and their institutions have special virtues; (2) The United States has a mission to redeem and remake the world in its own image; and (3) Accomplishing this goal is America’s duty to god – hence its Manifest Destiny… euphemistically referred to as the White Man’s Burden. In contrast:
UbuNtu – a core guiding tenet of Bantu who comprised 40% of the enslaved African population in America (mainly from Congo and Angola) – is a unity-conscious philosophy evident in cultural retention and expression throughout the African Diaspora which Desmond Tutu describes thus: Africans believe in something that is difficult to render in English. We call it ubuntu… It means the essence of being human. You know when it is there and when it is absent. It speaks about humaneness, gentleness, hospitality, putting yourself out on behalf of others, being vulnerable. It embraces compassion and toughness. It recognizes that my humanity is bound up in yours, for we can only be human together.
Divine Twins – a term that’s come into popular use by those who look towards a prophetic Age of Aquarius to emerge from the outgoing Piscean Age – refers to the notion of advanced souls which have been split into two embodiments (masculine-feminine) in order for God/Love to experience separate and sovereign His-and-Her earthly incarnations before their journey back to each other. This Divine Twin Journey is said to be what fuels the ascension of unity-consciousness [UbuNtu] in humanity and Mama Earth at large, thus overriding institutionalized, homo-social white-man’s-burden dogmas of the Piscean Age such as salvation-at-the-cross. Lack of authentic sovereign agency has led most of humankind into profound states of disorientation and alienation from Source & Self, particularly when experienced systemically as racism, slavery, apartheid, colonialism, pedophilia, misogyny, etc. in the soulless false matrix.
It may come as a surprise to some active proponents of the concept of Divine Twins to learn that theirs is a journey back-to-the-future… for humanity’s sake. Sankofa is a reminder to Africans from the Akan of Ghana, meaning: In order to move forward, you must reach back to reclaim that which may have been lost, forgotten, or stolen. In other words, unity-consciousness (the overriding purpose of the Divine Twin Journey) would return us to the baseline of UbuNtu – that which a hegemonic elite, in fulfilling their “burden,” targeted for erasure from Africans specifically and humanity by extension, by imposing matrix agendas through division, conquest, trauma, (re)programming of timelines, and inventing of controlling narratives – which then required enforcement by policed-states throughout his predatory/parasitic system.
It’s interesting to me that proponents of the New Age who argue against the ‘matrix’ nevertheless do not acknowledge the targeting of black sovereignty that is at the karmic core of the system’s structure. Age of Aquarius advocates instead tend to speak from a westernized perspective rather than a familiarity with African culture and symbology, particularly as practiced in ancient Egypt [Kmt] from where Mysteries of the S/Hero’s Journey are said to have been originally formulated as a universal paradigm. Colonization of these Mysteries – e.g. Greco-Roman calendars & planetary nomenclatures – are used by most tarot readers in tandem with western astrology’s forecasting of daily-weekly-monthly planetary shifts and their ‘political’ alignments, hence ‘impacts’ in human affairs, such as the rare conjunction of December 21st [winter solstice northern hemisphere] between Jupiter & Saturn [Amun & Heru in Kmt], nicknamed the “Bethlehem/Christmas Star.” An occasional eavesdropper, I take from westernized narratives only what resonates with my understanding of more ancient sovereign advice: Popular beliefs on essential matters must be examined in order to discover the original thought [Ipet Resyt proverb]. The tarot is such an example:
In the tarot deck, the most impactful of the 78-cards are the 22 Major Arcana aka Trump cards – for better or worse. (The remaining 56 Minor Arcana cards cover ups-&-downs in daily life on the human plane: #1 – #10 corresponding to identically-numbered cards in the Major Arcana plane.) The Major Arcana cards range from #0 or The Fool card representing the vulnerable, untested truth-seeker at the start of their journey into The World (#21 card) – representing completion of the S/Hero’s Journey in which the truth-seeker has successfully overcome obstacles & challenges, often by adversarial forces. Between these two cards lies the hidden prophecy of the Divine Twins, who show up as:
The Magician – #1 card (Djehuti in Kmt) – representing the Divine Masculine, is armed with tools and his electrifying energy which initiates change through manifestation from the ether into beingness. Tools of The Magician include symbols for each of the 4 elemental archetypes symbolized by their Suits, namely: Pentacles – aka Earth – representing the archetype of King [Ausar]; Swords – aka Air/Wind …the Warrior [Heru] archetype; Wands – aka Fire …the Magician; and Cups – aka Water …the Lover [Amun]. In Kemetic Mysteries, each archetype has a Divine Feminine counterpart [Ref: Khmunu – Ogdoad of Hermopolis], as well as a shadow side [Set] that must be overcome during the Divine Masculine’s Hero Journey. The fully-integrated Lover (‘The Hidden One’ who also embodies the other archetypes as Emperor – #4 card) is the “water-bearer” partner/usher of the Age of Aquarius/New Earth. And it is the union of The Lovers [#6 card] against which The Devil [#15 card: 1+5 = ‘#6’] acts as adversary, to prevent New Earth/The World [#21 card] from becoming, because The Lovers/Divine Twins ultimate union would mean Babylon.Has.Fallen… New.Earth.Is.Risen.
The High Priestess – #2 card (Seshat in Kmt – aka ‘the veiled Auset’) – representing the Divine Feminine Twin counterpart – plays a mirroring role to The Magician [As Above, so Below… As Within, so Without…]. If he’s in his shadow-energy as trickster, for instance, The High Priestess – in her truth [Ma’at] and unique role and being as Twin – mirrors that back to him in a way that acts to transmute his energy to a higher free-quency. Conversely, the Divine Masculine does the same for her. The Divine Feminine also anchors a complementary magnetic energy field which physically draws the Divine Counterparts towards each other and simultaneously towards their higher electro-magnetic, unity-conscious free-quency [UbuNtu] of New Earth. As their mission of Love aligns and advances, the Magnum Opus which their conjoined soul is co-creating as Divine Twins is literally the biblical Song of Songs in which the Shulamite’s soul presents throughout as seeking for and calling to her Divine Masculine & God of Revelation…
CALL: Make haste, my beloved, and be thou like to a roe or to a young hart upon the mountains of spices [SoS 8:14] RESPONSE: Behold, I come quickly; hold that fast which thou hast, that no man take thy crown [Rev 3:11]
As proverbs written ‘in the stone’ of 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.”
Beyond The Devil [#15] and The Tower [#16], the Heavenly Realm is presented in the last 5 cards of the Major Arcana as: #17 – The Star; #18 – The Moon; #19 – The Sun; #20 – Judgement; & #21 – The World. During the Underground Railroad period, enslaved Africans in the south knew to follow the North Star [#17] via ‘the Drinking Gourd’ …exit the matrix …and advance towards the entry-portal to New Earth. What will follow from this iconoclastic year of review and judgement? #The World… ❤ #UbuNtu… ❤ #Age of the Water-Bearer… ❤ Amun…
Thabo Mvuyelwa Mbeki, the second president of South Africa [June 1999 – September 2008], delivered this self-penned speech entitled “I Am an African” on May 8th, 1996. During this time Mbeki was serving as Vice President of South Africa under Nelson Mandela’s post-Apartheid Presidency. The occasion was the passing of the new Constitution of South Africa. VP Mbeki’s speech, delivered on behalf of the African National Congress, captured the political mood of the moment in South Africa:
I am an African.
I owe my being to the hills and the valleys, the mountains and the glades, the rivers, the deserts, the trees, the flowers, the seas and the ever-changing seasons that define the face of our native land.
My body has frozen in our frosts and in our latter-day snows. It has thawed in the warmth of our sunshine and melted in the heat of the midday sun. The crack and the rumble of the summer thunders, lashed by startling lightning, have been a cause both of trembling and of hope.
The fragrances of nature have been as pleasant to us as the sight of the wild blooms of the citizens of the veld.
The dramatic shapes of the Drakensberg, the soil-coloured waters of the Lekoa, iGqili noThukela, and the sands of the Kgalagadi, have all been panels of the set on the natural stage on which we act out the foolish deeds of the theatre of the day.
At times, and in fear, I have wondered whether I should concede equal citizenship of our country to the leopard and the lion, the elephant and the springbok, the hyena, the black mamba and the pestilential mosquito.
A human presence among all of these, a feature on the face of our native land thus defined, I know that none dare challenge me when I say – I am an African!
I owe my being to the Khoi and the San whose desolate souls haunt the great expanses of the beautiful Cape – they who fell victim to the most merciless genocide our native land has ever seen, they who were the first to lose their lives in the struggle to defend our freedom and independence and they who, as a people, perished in the result.
Today, as a country, we keep an inaudible and audible silence about these ancestors of the generations that live, fearful to admit the horror of a former deed, seeking to obliterate from our memories a cruel occurrence which, in its remembering, should teach us not and never to be inhuman again.
I am formed of the migrants who left Europe to find a new home on our native land. Whatever their own actions, they remain still part of me.
In my veins courses the blood of the Malay slaves who came from the East. Their proud dignity informs my bearing, their culture a part of my essence. The stripes they bore on their bodies from the lash of the slave master are a reminder embossed on my consciousness of what should not be done.
I am the grandchild of the warrior men and women that Hintsa and Sekhukhune led, the patriots that Cetshwayo and Mphephu took to battle, the soldiers Moshoeshoe and Ngungunyane taught never to dishonour the cause of freedom.
My mind and my knowledge of myself is formed by the victories that are the jewels in our African crown, the victories we earned from Isandhlwana to Khartoum, as Ethiopians and as Ashanti of Ghana, as Berbers of the desert.
I am the grandchild who lays fresh flowers on the Boer graves at St Helena, The Bahamas, and the Vrouemonument, who sees in the mind’s eye and suffers the suffering of a simple peasant folk, death, concentration camps, destroyed homesteads, a dream in ruins.
I am the child of Nongqawuse. I am he who made it possible to trade in the world markets in diamonds, in gold, in the same food for which our stomachs yearn.
I come of those who were transported from India and China, whose being resided in the fact, solely, that they were able to provide physical labour, who taught me that we could both be at home and be foreign, who taught me that human existence itself demanded that freedom was a necessary condition for that human existence.
Being part of all of these people, and in the knowledge that none dares contest that assertion, I shall claim that – I am an African.
I have seen our country torn asunder as these, all of whom are my people, engaged one another in a titanic battle, the one to redress a wrong that had been caused by one to another and the other, to defend the indefensible.
I have seen what happens when one person has superiority of force over another, when the stronger appropriate to themselves the prerogative even to annul the injunction that God created all men and women in His image.
I know what it signifies when race and colour are used to determine who is human and who, sub-human.
I have seen the destruction of all sense of self-esteem, the consequent striving to be what one is not, simply to acquire some of the benefits which those who had imposed themselves as masters had ensured that they enjoy.
I have experience of the situation in which race and colour is used to enrich some and impoverish the rest.
I have seen the corruption of minds and souls as a result of the pursuit of an ignoble effort to perpetrate a veritable crime against humanity.
I have seen concrete expression of the denial of the dignity of a human being emanating from the conscious, systemic and systematic oppressive and repressive activities of other human beings.
There the victims parade with no mask to hide the brutish reality – the beggars, the prostitutes, the street children, those who seek solace in substance abuse, those who have to steal to assuage hunger, those who have to lose their sanity because to be sane is to invite pain.
Perhaps the worst among these, who are my people, are those who have learnt to kill for a wage. To these the extent of death is directly proportional to their personal welfare.
And so, like pawns in the service of demented souls, they kill in furtherance of the political violence in KwaZulu-Natal. They murder the innocent in the taxi wars.
They kill slowly or quickly in order to make profits from the illegal trade in narcotics. They are available for hire when husband wants to murder wife and wife, husband.
Among us prowl the products of our immoral and amoral past – killers who have no sense of the worth of human life, rapists who have absolute disdain for the women of our country, animals who would seek to benefit from the vulnerability of the children, the disabled, and the old, the rapacious who brook no obstacle in their quest for self-enrichment.
All this I know and know to be true because I am an African!
Because of that, I am also able to state this fundamental truth that I am born of a people who are heroes and heroines.
I am born of a people who would not tolerate oppression.
I am of a nation that would not allow that fear of death, of torture, of imprisonment, of exile or persecution should result in the perpetuation of injustice.
The great masses who are our mother and father will not permit that the behaviour of the few results in the description of our country and people as barbaric.
Patient because history is on their side, these masses do not despair because today the weather is bad. Nor do they turn triumphalist when, tomorrow, the sun shines.
Whatever the circumstances they have lived through and because of that experience, they are determined to define for themselves who they are and who they should be.
We are assembled here today to mark their victory in acquiring and exercising their right to formulate their own definition of what it means to be African.
The Constitution whose adoption we celebrate constitutes an unequivocal statement that we refuse to accept that our African-ness shall be defined by our race, our colour, our gender or our historical origins.
It is a firm assertion made by ourselves that South Africa belongs to all who live in it, Black and White.
It gives concrete expression to the sentiment we share as Africans, and will defend to the death, that the people shall govern.
It recognises the fact that the dignity of the individual is both an objective which society must pursue, and is a goal which cannot be separated from the material well-being of that individual.
It seeks to create the situation in which all our people shall be free from fear, including the fear of the oppression of one national group by another, the fear of the disempowerment of one social echelon by another, the fear of the use of state power to deny anybody their fundamental human rights and the fear of tyranny.
It aims to open the doors so that those who were disadvantaged can assume their place in society as equals with their fellow human beings without regards to colour, to race, to gender, to age or to geographic dispersal.
It provides the opportunity to enable each one and all to state their views, to promote them, to strive for their implementation in the process of governance without fear that a contrary view will be met with repression.
It creates a law-governed society which shall be inimical to arbitrary rule.
It enables the resolution of conflicts by peaceful means rather than resort to force.
It rejoices in the diversity of our people and creates the space for all of us voluntarily to define ourselves as one people.
As an African, this is an achievement of which I am proud, proud without reservation and proud without any feeling of conceit.
Our sense of elevation at this moment also derives from the fact that this magnificent product is the unique creation of African hands and African minds.
But it also constitutes a tribute to our loss of vanity that we could, despite the temptation to treat ourselves as an exceptional fragment of humanity, draw on the accumulated experience and wisdom of all humankind, to define for ourselves what we want to be.
Together with the best in the world, we too are prone to pettiness, to petulance, selfishness and short-sightedness.
But it seems to have happened that we looked at ourselves and said the time had come that we make a super-human effort to be other than human, to respond to the call to create for ourselves a glorious future, to remind ourselves of the Latin saying: Gloria est consequenda – Glory must be sought after.
Today it feels good to be an African.
It feels good that I can stand here as a South African and as a foot soldier of a titanic African army, the African National Congress, to say to all the parties represented here, to the millions who made an input into the processes we are concluding, to our outstanding compatriots who have presided over the birth of our founding document, to the negotiators who pitted their wits one against the other, to the unseen stars who shone unseen as the management and administration of the Constitutional Assembly, the advisers, the experts and the publicists, to the mass communication media, to our friends across the globe – congratulations and well done!
I am an African.
I am born of the peoples of the continent of Africa.
The pain of the violent conflict that the peoples of Liberia, and of Somalia, of the Sudan, of Burundi and Algeria is a pain I also bear.
The dismal shame of poverty, suffering and human degradation of my continent is a blight that we share.
The blight on our happiness that derives from this and from our drift to the periphery of the ordering of human affairs leaves us in a persistent shadow of despair.
This is a savage road to which nobody should be condemned. The evolution of humanity says that Africa reaffirms that she is continuing her rise from the ashes.
Whatever the setbacks of the moment, nothing can stop us now! Whatever the difficulties, Africa shall be at peace!
Thank you very much.
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…
August 8th, known as the Lions Gate, has been revered for several thousand years as the date that marks the peak of an influx of high-frequency energy onto planet Earth from the star Sirius, which is in its closest proximity to earth from July 26th through August 12th – the full period of the Lions Gate opening or Galactic New Year. Second in brightness only to the sun, to Ancient Egyptians this star was revered as their “Spiritual Sun” and referred to as Auset’s star Sopdet – Spdt, meaning “she who is sharp.”
The Lions Gate is the annual season when Spdt comes into her most pristine alignment with Re [the Sun], Geb [the Earth], and Sah – the Hunter constellation identified with ancient Egypt’s King Ausar – called Orion in Greek. During this cosmic portal, Sopdet – the spiritual Sun – emits an ancient activating energy so powerful as to cause the annual inundation which has sustained Nile River Valley communities over several millennia, whilst spurring the collective ascension of human consciousness throughout earth – the land or house of Geb/Keb. The August 8th peak of the Lions Gate is when Sopdet is said to perfectly align with the shaft from Queen Auset’s Chamber within the Great Pyramid of Giza, in concert with that from King Ausar’s Chamber aligning with Alnitak, one of the three stars of the Hunter constellation’s belt. Known as the “3 Wise Men” or the “3 Sisters,” these three stars form the cosmic blueprint from which the complex known as the Pyramids of Giza were built.
“As above, so below… As within, so without” are codes which remain key to Kemet’s ancient Mystery System. Thus, the Nile River represents the Milky Way (called Maziwa Mkuu in Kiswahili, meaning ‘great milk’) on earth ‘below’ as in heaven ‘above’. Two lions are said to hold open this magnificent time-space portal, one of which is represented by the Great Sphinx whose figure is an earthly representation of the constellation of Leo and a key piece of the puzzle of relationships within the Milky Way galaxy ‘above & below’. Lying on the west bank of the Nile river, the Great Sphinx is poised with its tail to the west [where the sun exits] as it faces directly east towards the sun’s reentry. The Lions Gate [7/26 – 8/12] opens within the astrological season of Leo, adding to the influx of regal energy from the alignment between Earth and the Universe’s Galactic Center, which reaches its peak on 8/8 over African soil. It is a powerful reminder of Heaven-on-Earth’s potency, symbolized ‘within & without’ through the quintessential Divine Love that exists between cosmic Hunter Ausar and his earthly Gatherer, Throne Queen, and Spiritual Sun – Auset.
According to the mythology of Ausar-Auset, in a jealous bid to usurp their Heaven-on-Earth throne, Set murders King Ausar, dismembering his body into 14 parts and scattering them in the wilderness [African Diaspora] so as to prevent his resurrection and return. Set the antagonist is god of chaos, foreign oppressors, violence, perversion, illness, and the desert who caused Egypt to be widowed of the gods and humanity to be trapped in his false predatory matrix. After widow Auset searches the wilderness and manages to retrieve and mummify only 13 of her husband’s mutilated body parts, it is up to Heru, her posthumously/immaculately-conceived son with King Ausar, to become the Warrior who avenges his father’s fate and restores divine order to the kingdom by defeating Set…
Pyramid texts speak of Heru as the Great Lion: “Horus who comes forth from the acacia to whom it was commanded: ‘Beware of the lion’. May he come forth to whom it was commanded: ‘Beware of the lion’.” [Pyramid Text 436a-b]
Africa’s Acacia tree, which is sacred to goddess Auset, has long been associated with ancient mysteries including the secrets to life, death, healing, sustenance, and resurrection – hence their organic ties to matriarchal goddesses. Linked to the Akashic Records, the astral ancestral library where everything that has or will ever occur is recorded, the Acacia trees in Heliopolis were thought to have been the birthplace of the very first deities. Heliopolis (called On in Lower Egypt), was the ancient worship center of sun-god Re whose celestial boat was made of Acacia wood in its hind parts (palm wood in its fore-parts). The mythologies of Ausar-Auset are Heliopolitan in their derivation and orientation, e.g. the reference to Ausar as ‘the one in the tree… the solitary one in the acacia.’ This saying was based on the version of their story in which Auset releases her husband’s body from a pillar in Byblos that had been fashioned out of the tree which enclosed the coffin King Ausar had been tricked into entering as Set’s ploy to usurp Egypt’s throne. Symbolizing the immortality of the soul in Freemasonry, the thorny acacia tree otherwise represents Ausar’s backbone, depicted as the Djed Pillar in this particular mythological account.
Trees act as resurrection portals and/or gateways between worlds in ancient Egyptian Mysteries, such as the Sycamores (associated with goddesses Nut & Hathor) through which Re rises as the Sun each day from the east: “I know the two sycamores of turquoise between which Re comes forth, when he passes over the supports of Shu to the gate of the lord of the east from which Re comes forth” [Book of the Dead: Ch. 109]. Auset & Nepthys were regarded similarly as “the two Acacias.” Thus, these Mother Trees act as do the two lions which hold open the portal for the “Spiritual Sun” Sopdet to rise as the consort of Sah during the Lions Gate season, in order to usher forth the blessings of the Galactic New Year with the annual inundation of the Nile River. Their child, hawk god Heru-Sopdu is referred to as “Lord of the East,” thus presaging mythologies surrounding the Ausar-Auset-Heru trinity as key personifications of spiritual motifs that connect us organically to our higher selves… “As above, so below.”
“As within, so without” is a principle that plays out in the eternal relationship that exists between Ausar-Auset, their love representing a Heaven-on-Earth divine order, which is interrupted by the chaos that Set’s predatory rule brings, i.e. until Heru is able to successfully accomplish his Hero’s Journey and restore Ma’at/UbuNtu… unity-consciousness. For Africa, the earthly source and staging of these love-as-salvation narratives, Set is representative of a false matrix built on slavery, colonialism, apartheid & neo-colonialism which has in-formed the external elite-run global systems and misled most of humanity into a profound sense of isolation, alienation, disconnection, & disorientation. Heru – “[the Lion] who comes forth from the acacia…” [Pyramid Text 436a-b] – thus has his work cut out for him.
Again, in this case the acacia reference represents a fascinating organic matriarchal portal between worlds for Heru as the prototype of humanity’s savior-figure [translated into Christian scripture as the savior “Jesus”]… one that does not entertain predatory or parasitic relationships of dysfunctional dependency [read “slavery… apartheid… neo-colonialism…”]. Deep inside Africa – home to the regal lion – the acacia tree itself has a characteristic dome-shaped canopy due to the way indigenous giraffes graze, which they have to do carefully because the acacia senses this feeding activity and releases tannin, a defensive poison that can kill from the overgrazing of its leaves. The acacia then emits ethylene on the wind, a chemical that alerts other acacia trees to preemptively defend themselves against “predators” by producing tannin also. DMT, a hallucinogen associated with spiritual experiences, is present in various species of the tree such as the Acacia Nilotica.
The Lions Gate represents so much to so many, especially during this dramatic period of humanity’s ascension in 2020 (Gregorian timeline). Feline power, highly revered in Kemet, is front and center as the astrological symbol for Leo and also as the identity of an ancient Egyptian annointed as “Opener of Heaven’s Door.” Among her other titles, Goddess Seshat – “Foremost of the per-Ankh” – is also known as the “Panther Goddess” and “She of Seven Points” in reference to her highly emblematic dress and crown, respectively. Her 7-pointed crown, not unlike that of America’s Lady Liberty, is actually symbolic of the overthrow of 3D systemic oppression. Her panther-skin dress returns our consciousness to humanity’s African source and the need to descramble and purge predatory Victorian-era matrix codes that have morphed into parasitic neo-colonial arrangements which have imprisoned the human spirit and its potential. These and other ancient unity-conscious codes [UbuNtu] are key to human ascension & Heaven-on-Earth reparations... “Return, return, O Shulamite; return, return, that we may look upon thee…” [SoS 6:13] “Behold, I come quickly: hold that fast which thou hast, that no man take thy crown.” [Rev. 3:11] Blessed Be… ❤ ❤ ❤ ❤
Did you ever want to see that collab between Prince & MJ?! YouTuber Raphael Tavares delivers this mix of Pince’s “Shut This Down”  as a soundtrack to MJ’s provocative moves in “Black or White” . Besides this mix being reminiscent of the “Bad” [’87] collab that didn’t happen between the two for reasons Prince gives in his 1997 Chris Rock interview with a wink-&-nod, Tavares’ posthumous rendering conveys a prophetic reading of the black panther‘s Africa-centered totemic symbolism & role …a whole nutha-level cultural narrative that’s resonant with current events, alongside Sopdet‘s journey in her zodiac today. [+++ Check out P covering MJ/J5 below… Yaasss 2 the Sista-power!!! ❤]
Posted in honor of African-American Music Appreciation Month – observed in the United States during the month of June since 1979 under the presidency of Jimmy Carter. The first and last years of Barack Obama’s presidency saw the transitioning of the two African-American musical giants: Michael Joseph Jackson [6/25/09] & Prince Rogers Nelson [4/21/16]. RIP… Don’t get lost in the forest…
❤ ❤ ❤
AFRICAN-AMERICAN MUSIC APPRECIATION MONTH, 2016
BY THE PRESIDENT OF THE UNITED STATES OF AMERICA
A vital part of our Nation’s proud heritage, African-American music exemplifies the creative spirit at the heart of American identity and is among the most innovative and powerful art the world has ever known. It accompanies us in our daily lives, and it has rung out at turning points in our history and demonstrated how our achievements as a culture go hand-in-hand with our progress as a Nation. During African-American Music Appreciation Month, we honor the artists who, through this music, bring us together, show us a true reflection of ourselves, and inspire us to reach for the harmony that lies beyond our toughest struggles.
Songs by African-American musicians span the breadth of the human experience and resonate in every corner of our Nation — animating our bodies, stimulating our imaginations, and nourishing our souls. In the ways they transform real stories about real people into art, these artists speak to universal human emotion and the restlessness that stirs within us all. African-American music helps us imagine a better world, and it offers hope that we will get there together.
This month, we celebrate the music that reminds us that our growth as a Nation and as people is reflected in our capacity to create great works of art. Let us recognize the performers behind this incredible music, which has compelled us to stand up — to dance, to express our faith through song, to march against injustice, and to defend our country’s enduring promise of freedom and opportunity for all.
NOW, THEREFORE, I, BARACK OBAMA, President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim June 2016 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and foster appreciation of music that is composed, arranged, or performed by African Americans.
IN WITNESS WHEREOF, I have hereunto set my hand this thirty-first day of May, in the year of our Lord two thousand sixteen, and of the Independence of the United States of America the two hundred and fortieth.
A song of adulation, love and fear
No one loved him better, no one better sacrificed
She gave her angels that summer night
Destiny and love don’t always go hand in hand (Hand in hand)
As the world lay waiting like an embryo in a womb
She gave her angels that night in June (She gave her angels)
To watch over him till she returned – her man, her lover, her son
Her father for all these things he meant to her, she felt it right
She gave her angels that summer night [Repeat: 2X]
- Songwriter/Artist: Prince Rogers Nelson (as )
- First Released: 29 January 1998 – Crystal Ball album
- Fan Music Video by VDJ Vivacity …“This is a beautiful Prince song and definitely deserved a full music video beyond the snippet performed on Muppets Tonight.“ (LINK added by me 🙂 …SEE ‘She Gave Her Angels’ Muppets footage @ 17:42)
On May 25th (“5/25”) 2020, two recorded events made headlines in the African Diaspora. Both were horrific in the degree to which they were racially-charged and played out from the standpoint of white privilege and callousness against black lives. One was a blatant attempt to provoke a potentially dangerous police-confrontation against an innocent bird-watcher (Christian Cooper) in New York’s Central Park; and the other which demonstrated that potential when George Floyd lived his final 8m:46s under the knee of a Minneapolis police officer. Unfortunately, such occurences as these are not uncommon, and the long list of African victims goes back to the era of slavery whose evils live on and play out in toxic ways from that unexorcised and overly-policed space which nonetheless claims to be the land and home of the free and brave. Officially commemorated as Memorial Day, May 25th – the date of these occurences and America’s unofficial start of summer – is, perhaps ironically, also observed as African Liberation Day… Read More
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
April 21st marks the anniversary of a day, four years ago, when Majesty and Divinity fell uncharacteristically silent. I learned about this after hearing their voices on a hauntingly beautiful music track that I’ve only recently discovered. I’d been drawn by the title of the track as I waxed nostalgic about the teenage version of me who’d walk several miles between my family home in Spring Valley to Kenya High during holidays just to play one of my school’s pianos for an hour or so. Granted that was less time than it had taken me to get there on foot, but I had the return trip to consider. Along the way, I’d pass by the Chiromo campus of the University of Nairobi where I’d always feel rejuvenated by the lush greens and natural habitation of the adjacent arboretum…
Arboretum, the moving piano piece in question that Prince recorded in his atrium at Paisley Park, is the 10th and final track on his 25th studio album entitled One Nite Alone… Released by NPG Records on May 14th 2002, Prince thoughtfully noted, “Ambient singing: the doves – Divinity and Majesty” in his Album Credits. Prince’s beloved pets are heard and warmly felt, presumably from their cage on the balcony overlooking Paisley Park’s sky-lit atrium as the artist performed & recorded his composition. At the end of Arboretum, the sound of heeled footsteps on an uncarpeted floor come through, painting an image on my mental screen of the artist walking away from his piano, perhaps retreating to a more personal recess of his creative complex that has now become a museum in suburban Minneapolis…
Chanhassen (said Minneapolis suburb) is a First Nation name in the Sioux language of the Dakota, meaning the tree with sweet sap – or sugar maple tree. Arboretum (trans: ‘botanical garden devoted to trees’), may well have been Prince’s musical alignment with & nod to the Minnesota city of his residence. Inspired by this thought, my memories meander between Nairobi Arboretum & western Kenya’s Kakamega Forest where I wasn’t an unfamiliar presence. I remember rhythmic singing suddenly breaking out from the perches of Red-eyed Doves (Columba semitorquata), which made me want to celebrate in dance each time. [Ref. Dove #2 in Lynette Rudman’s video below: #1: Tambourine Dove; #2: Red-eyed Dove; #3: Ring-necked Dove; #4: Mourning collared Dove; #5: Laughing Dove; #6: Emerald-spotted Wood Dove; #7: Namaqua Dove].
I’d like to imagine that my late father, a zoologist who specialized in the study of bats, would indulge my efforts to do due diligence to scientific inquiry [*ahem!]… albeit in service to these belated musings on the environs of Paisley Park and its mysterious, dove-loving nester. Speaking of which, in his first hit from Purple Rain – the 6th studio album that was released on June 25th, 1984 – Prince may creatively have been going for the ambience of Zenaida macroura [*cough!] – aka Mourning Doves. Now every time I hear the haunting and sad cooing sound for which this ubiquitous species is named, I think When Doves Cry…
Majesty and Divinity simply “stopped talking” after Prince crossed over, according to his sister Tyka in a 2016 Today show interview. Upon realizing this, Tyka instructed the Paisley Park staff to “play some Prince music” for his pet doves in order to help bring them out of their mournful silence. Just wow! Mother Nature’s collective consciousness is a font of endless fascination, particularly for me as a somewhat quirky expression from humanity’s African source. From his space in the diaspora, Prince was tapped into this same source on levels I’m only now beginning to appreciate. Beyond his music, there’s coded mystery in the architectural choices of the artist’s Paisley Park nesting and creative space that awaken my own epic memory. There are the pyramid skylights on the main building… the separate yet connected ‘Egg building’… and even the address itself…
…7801 Audubon Road is Paisley Park‘s street address which for me recalls renowned ornithologist John James Audubon. Born in Haiti in 1785, Audubon was noted for his paintings of birds, over 1,000 of which were documented in his book, Birds of America. The National Audubon Society was founded in his memory in 1886 to focus on the preservation and study of birds.
But beyond their zoological details, birds are profoundly symbolic as winged messengers who navigate the skies and/or heavenly realms. Doves in particular symbolize love, hope, peace, gentleness, inner initiation, the Holy Spirit, eternal life… In the biblical Song of Songs there are several dove references in the communication between the Shulamite and her Beloved’s conjoined Spirit. One of the references that I visit time and again is: “His eyes are as the eyes of doves by the rivers of waters, washed with milk and fitly set” [SoS 5:12]. In the pre-biblical Auset-Ausar-Heru mythology of Kemet, Goddess Hathor – “Lady of the Southern Sycamore” – used milk from Her sacred tree to restore sight to Heru after one of his epic battles against Set (usurper of Ausar’s heaven-on-earth throne). Heru – a precursor savior-figure and defender of his father Ausar’s throne (depicted as Auset’s crown) – is himself portrayed as a falcon-headed god. *******
“ARBORETUM”… The messages that a gently-played piano and a well-placed mic cause my quirky African ears to hear in 5D+… The ambient coo-ing of Majesty and Divinity, who raise homing frequencies into realms that cloak ascended masters from far too many robotic eyes & ears… “Don’t get lost in the forest,” Mother Tree entreats, long after his retreating footsteps have become silent… He ventures forth with the sweet sap of other trees which cause 3rd-eyes to open & soulful consciousness to reign like Purple… “Yo Twenny/Twenny, W’sup!? DJs R droppin’ beats like mad Grand Mixers @ homie’s joint. We jumpin’ time-lines… 2012 Party Override!”
If I could be the Red-eyed Dove’s lyricist during these roller-coaster times, my words to its rhythmic song would be: “I. Am! B’Cuz? …We. Rrrr!” Nothing fancy. Just a cultural mantra that takes me back to Mother Nature’s embrace & the free-quency of the great “I AM.” Throw some dance-floor swag up in that Song of Songs, like back in the day 😉 Old-School-style...UbuNtu, the guiding narrative of our 5D+ uni-verse: “I Am because We are!” In order to move forward on our S/Hero Journey, Sankofa adds that: we must first recover & reclaim that which was forgotten, lost or stolen. ❤ ❤ ❤ So Keep Your Vibrations High, Dearly Beloved ❤ Don’t let ‘the elevator bring us down’ ❤ Know that U R Majestic and Divine ❤ Let no one take Thy Crown [Rev. 3:11] ❤ ❤ ❤
Of the countless artifacts stolen from Africa, France takes special pride in displaying the Dendera Zodiac at the Louvre Museum in Paris – a legacy of the Napoleon Bonaparte era. Using gunpowder and explosives, engineer Jean Lelorrain dislodged the zodiac from the ceiling of Goddess Hathor’s temple on the west bank of the Nile River at Dendera. He took it to France in 1821 where the country’s best scientists, astronomers and mathematicians struggled to decipher the dates of the celestial events within the constellations depicted on the artifact. Many began to believe the Dendera Zodiac to be thousands of years older than the biblical Creation date, which troubled the church until Jean-François Champollion (France’s famous Egyptologist) reassured them otherwise.
The Dendera Zodiac – representing the heavens from its ceiling location – was the only circular portrayal of ancient Egyptian astronomy available. Its circular frame depicts Divine Feminine space while simultaneously reflecting the curvilinear path of the sun’s orbit. Employing a metric that western astrologers continue to use to this day, the zodiac depicts the Egyptian year [360 days +] divided evenly between 12 signs or constellations which are arranged within the circle. [Days beyond 360 were regarded as a 13th month on the ancestral annual timeline.] Each constellation was as unique as the particular deity which ruled that calendrical season. In the later western zodiac, ancient Egypt’s ram-headed deity Amun became the sign of Aries; Ausar – ‘the Bull of Eternity’ – became Taurus; Khnum… Capricorn; Atum… Leo; Auset… Virgo; scales of Ma’at… Libra; Khepra… Cancer; etc.
Concerning the grand scheme of ancient Egypt, god Djehuti proclaimed: “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…” The ancient Nile Valley is where monomyths and the god/dess archetypes embedded within our collective psyche took their original form. They’ve since journeyed through life’s theater, or the ‘WOMB OF TIME’ – as Goddess Hathor’s Dendera Temple was known. Her stolen artifact in France’s Louvre Museum depicts the movement of Sopdet – Hathor’s Nile Star whose rising presaged the sacred river’s annual inundation which began each New Year in ancient Egypt. When the ‘Milky Way’ on earth poured forth her annual bounty of gifts into Egypt’s desert lands, it became a celebratory period of reunion and renewal between the heavens, nature, and humanity within the Temple of the World. This organic Nile Valley heaven-on-earth relationship, hijacked by Set (according to mythology), is the dream which our current ‘matrix’-oppressed psyche projects hopefully into the future as the ‘Age of Aquarius’…
Set (ancient Egypt’s notorious antagonist) and Yurugu (the Pale Fox in Dogon mythology) both represent adversarial forces against the sacred and sovereign Divine Womb and Milky Way – of which Africa’s Goddess Hathor was the quintessential archetype. Yurugu violated Goddess Amma’s sacred womb in his impatience to be born, thereafter sealing his fate to always be alone, incomplete, eternally in revolt, ever wandering the earth as the Pale Fox in search of his female soul. Set – god of chaos, violence, the desert, perversion and foreign oppression – violated the communal womb out of jealousy when he usurped heaven-on-earth’s throne after murdering and mutilating his brother Ausar, King of ancient Egypt. Furthermore, the historical rape of Mother Africa’s womb and misappropriation of Her spiritual, cultural, natural, and human resources towards western imperialist ventures has led most of humanity into a profound sense of isolation, alienation, disconnection, and disorientation…
HATHOR ~ DIVINE WOMB
Hwt-hr – the Kemetic version of Hathor – means ‘Mansion [Womb] of Heru.‘ The goddess is the fertility aspect of Auset, whose posthumous conception of Heru via the mummified remains of her husband Ausar was translated into biblical text as the ‘immaculate conception’ of Christ. Hathor was worshipped at Dendera (her sacred site for over 10,000 years) as goddess of music, dance, beauty, fertility, children, birth, women and foreign lands who personifies feminine love, joy, and sensuality in Her conjoined roles as consort, mother, and lover. Facing the direction of the Nile-Star Sopdet’s rising, Dendera Temple itself was a nourishing space for healing, learning, and birthing. It housed a sanatorium with magic bathing waters and a sacred well; labs where ceremonial perfumes were concocted; a papyrus library; a birthing place; and chapels devoted to the mythologies of Auset/Ausar/Heru…
Hathor’s priestesses and priests were musicians and dancers whose rituals of worship were entrancing and entertaining as they filled the sanctuary with the sounds of song, drumming, and various other instruments such as lyres, pan-pipes and sistrums – rattles that reportedly sounded like “the cackling of geese or the rustle of papyrus flowers.” Sacred to Hathor as ‘Lady of the House of Jubilation’ and ‘The One Who Fills the Sanctuary with Joy,’ the sistrum’s rattle helped create a sonic shield of protection against wrathful deities.
Music is recognized as a profound oral-aesthetic phenomenon in the symbols at Hathor’s Dendera Temple. Sound/Word/Nommo, in Africa’s oral traditions, is understood to fundamentally act as the Divine Masculine seed. Rising from the earth/floor and holding aloft the heavens/ceiling, Hathor’s temple pillars represent the shaft of Her sistrum. At the top of each pillar is Hathor’s face, portrayed symbolically as the womb/uterus – co-creative organ of the Divine Feminine – its fallopian tubes depicted as elongated ears through which she receives sound… word… seed… nommo. Heru – goddess Hathor‘s Divine Masculine consort who helps frame & uphold the heavens [see Dendera Zodiac above] – likely plays the role of master-musician in some of the deeper Mysteries of Goddess Hathor’s Temple. Though Heru’s temple is in Edfu, as Divine Twin deities [‘Gemini’] they are highly attuned to each other’s oral-aesthetic freequency, resurrection modalities, and co-manifestation of humanity’s current grand progression as the Age of Pisces transitions into Aquarius… the Golden Age […UbuNtu]
As ‘Madonna and Child,’ Hathor was often depicted as the heavenly cow; her belly filled with stars of the Milky Way which on earth is represented by the Nile River aka Maziwa Mkuu (meaning ‘The Great Milk’ in Kiswahili)… the true Ma’atrix – or ‘Temple of the World,’ according to Djehuti. Alternatively, Hathor was portrayed as the goose that laid the golden egg with a lotus plant wrapped around Her neck. The lotus plant symbolizes the sacred Nile’s southern source or womb – located in the sentient heart of Africa – whose gifts, transported on the sacred river’s northward flow, facilitated the flowering of ancient Egypt and its Mysteries that were taught in the temples. Located on 3 stones of the interior walls of Hathor’s temple, the Dendera Light artifact’s depiction of one of these sacred Mysteries has given rise to a few controversial interpretations…
A Norwegian electrical engineer was the first to interpret the depiction as an electrical lamp, encasing as it does a snake-shaped filament with a cable at the end. The lamp is held upwards by a priest and a few smaller figures. Peter Krassa and Rainer Habeck published a book entitled Lights of the Pharaohs based on their similar interpretation of the relief. Later, a working model of the Dendera Light was constructed by Zeichnung Garn-Birne [click for video]. These interpretations may be oddly prophetic of Ethiopia’s hydro-electric dam on the Blue Nile outflow from Lake Tana which, given Africa’s scrambled post-colonial landscape, has generated concern in Egypt – the Nile’s most ecologically-vulnerable African country, yet ‘Temple of the World‘…
Mythologically interpreted, the Dendera Light artifact depicts the Hermopolis theology of creation via the Ogdoad (8 primordial male-female twin deities) and the Cosmic Egg from/into which all life is born. Pictured around Hathor-as-goose’s neck and again at the base of the Dendera Light in her temple, the lotus flower from the primordial sea of Nun (Nile womb) gave birth to the sun god, Atum-Ra in a stage known as the first occasion. The encasing bulb of the Dendera light relief represents the field of the universe or Cosmic “Golden Egg” within which the grand progression of creation… birth… enlightenment… resurrection occur; and – like the symbolic journey of the Nile’s climax in Egypt – kundalini awakens and Mysteries become known. Hence ‘Temple of the World‘…
This mythological interpretation reinforces the significance of Hathor and Her temple as HwtHr – ‘Mansion [Womb] of Heru – and as the Seven Hathors [Pleiades in later Greek myth] who purportedly appear at a child’s birth to announce its destiny. Representing several aspects in the Ausar-Auset story, Heru – as Hathor’s Divine Masculine consort – is the quintessential protagonist embedded within humanity’s collective psyche of our destined S/Hero’s Journey. He largely champions the warrior archetype of the Divine Masculine. As “Lady of the Southern Sycamore,” Hathor used the milk from Her tree to restore sight to Heru after one of his bruising battles against antagonist Set (usurper of Ausar’s heaven-on-earth throne). “His eyes are as the eyes of doves by the rivers of waters, washed with milk and fitly set.” [Song of Songs 5:12]… The 7 Hathors are said to question and assist the soul’s journey which, in death, is accompanied by the sky-bull [Ausar/Taurus] who has joined the Hathors in their cow form. Hathor, “Lady of the West” (where the sun sets/’dies’), appears on sarcophagi as their Protector.
Heru also represents spiritual revelation – the light of the 3rd-eye which opens during the True Seeker’s journey through time… “The kingdom of Heaven is already within you; if you understand yourself you will find it” [proverb:- Ipet-Resyt]. ❤ Amun ❤ àṣẹ ❤ Let ❤ There ❤ Be ❤ Light ❤
Andreas Woods aka Kwaw Imana, the mathematics-major Morehouse class of 2000 Valedictorian who would go on to get a Ph.D. in Egyptology, used this moment in the Morehouse spotlight to explain why he rejected the Cecil Rhodes Scholarship for himself. Morehouse is an all-male HBCU. Rhodes’ legacy is that of an avowed white supremacist, reported pedophile, architect of apartheid, & agent of other colonial chaos in Afrika [i.e. ‘Set’ of Kemetic mythology]. Rhodes remains buried in Zimbabwe [colonial ‘Rhodesia’] since his death in 1902, while Britain erected an altar to Rhodes in the form of his statue at Oxford University in 1934! Reciting a poem by George Tait entitled I Am A Black Man, Kwaw Andreas Woods Imana – like Heru [‘Horus/Hero’] in Kemetic mythology – aligns the struggle of Afrika-descended manhood within the knowledge industry against its complicity in codifying and perpetuating systemic racism. #RhodesMustFall Read More