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…
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.
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] ❤ ❤ ❤
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, and complementary truth.
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.” ❤ ❤ ❤
“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
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
“For a seed to achieve its greatest expression, it must come completely undone. The shell cracks, its insides come out and everything changes. To someone who doesn’t understand growth, it would look like complete destruction…”
While butterflies symbolize the transformation of life, they become as iconic of springtime in the west as rabbits which, due to their energetic breeding, represent fertility. Rabbits are designated as the token animal of Germanic goddess, Eostre [Eos in Greek]. Easter, for many is a season of blurred lines between the Christian celebration of the resurrection of a crucified patriarchal savior and the celebratory pagan ritual of bunnies delivering decorative and chocolatey eggs, all representing the bounty of new life springing forth throughout nature. The Easter Bunny joins a winning cast of rabbit characters we’ve grown up fondly with: Peter Cottontail… Roger… Bre’er… Thumper [from Bambi]… the Velveteen Rabbit… Alice in Wonderland’s White Rabbit… Bugs Bunny… We might even add the Duracell and Energizer Bunnies to this roster.
I’m one who’s loved Springtime all on its own, who hasn’t needed an extra excuse to indulge in unhealthy amounts of chocolate treats which [ahem!] I do year-round. The Easter Bunny was never a seasonal distraction for me. But looking through a #MeToo lens, it’s now not a big leap to see the dark side of EOStre‘s animal-spirit. From bedtime fairytales to movies to Easter, masses have been seduced & groomed through cute but de-natured props of patriarchal predation; a mostly male character lineup that’s won over hearts and minds. And somewhere there’s probably a Playboy Bunny tie-in…
Over the top? I ask, perturbed about how Easter has become such a distraction for me this year, and a dark one at that. As I scour the Internet for my own ‘easter eggs’/clues and disclaimers, a popular Mother Goose Rhyme plays like a riddle on a loop in my mind. Then the pictures below pop up as if to illustrate to me that various renowned architects have long been on this next-level trend of appropriating and translating EOStre‘s symbols. Is this their version of putting “Humpty together again”? My question seems to suddenly render Mother Goose mute…
Eostre‘s Greek counterpart – Eos “goddess of the dawn” – has been compared to Khemetic goddess Tefnut, in part because of the latter’s status as goddess of the morning dew. The dawn, like the vernal equinox announces a new day… awakening… new life/birth… springtime’s resurrection/rebirth of nature from the dark sleep of winter, etc. Figurines from the Neolithic period lay an ancient and abiding claim to the divine feminine as goddess of birth, regeneration and resurrection. Iconographies of a hybrid bird-serpent-goddess appear in ancient Khemet and Mesopotamia, which represent her co-creative powers as nurturer, transformer and deliverer of the resurrected seed from her divine masculine/god. [Left figure: Egyptian Predynastic Naganda “Bird Lady” IIa c. 3500-3400 BCE. Brooklyn Museum.] This ancient symbol has been adopted in recent times by a movement in the west whose focus on Goddess worship and femininity was precipitated by the imbalance created by homo-social male-dominated organized religions. The serpentine spiral represents kundalini energy – a life-force which both triggers the formation of the child in the female womb, and also holds the potential to uncoil from the spinal base to awaken consciousness or “3rd-eye” opening… as in Let There Be Light! [Genesis 1:3]
Hathor [Hwt-hr, meaning ‘Mansion of Heru’ ] was worshipped in Khemet as goddess of music, dance, beauty, fertility, childbirth, women, children and foreign lands. At the Temple of Dendera which was built for worship to the Goddess during the first Intermediate period of Khemet, Hathor‘s high priests were musicians and creative artists. The ancient personification of feminine love, joy, mother-hood, and nature – Hathor was the original Nile Goose that Laid the Golden Egg, which was the sun god. Women particularly aspired to embody this deeply loved goddess’s conjoined roles as wife, mother and lover which gained Hathor the titles: ‘Lady of the House of Jubilation,’ & ‘The One Who Fills the Sanctuary with Joy’. Known to assist the dead in their afterworld journeys, Hathor also used milk from her sacred sycamore tree to restore sight to Heru‘s lunar/left eye after his legendary bruising battle against Set – usurper of Khemet’s throne. “His eyes are as the eyes of doves by the rivers of waters, washed with milk and fitly set.” [SoS 5:12]
The relief on the left comes from Hathor‘s Temple of Dendera. Resembling a modern-day light bulb, the Dendera Light as it’s referred to is a depiction from the Hermopolis theology of creation. This theology presents the Ogdoad [8 primordial male-female twin deities] and the Cosmic Egg – from which all life is born. The lotus flower from the primordial sea of Nun gave birth to the sun god, Atum-Ra in a stage known as the first occasion (Dunand, 2004). This flower – pictured around the neck of the goose & at the base of the Dendera Light – is symbolic of Upper Khemet, from where the Nile River flows. The surrounding bulb in the Dendera light relief represents the field of the universe or Cosmic Egg/”Golden Egg” within which the process of creation… birth… enlightenment… springtime… resurrection occurs, and kundalini awakens – as depicted by the rising serpent within. Originally accessible only to high priest initiates, the accompanying texts at Dendera warn against abuse of such knowledge… seemingly in agreement with and reference to the West African mythology from Mali of the Dogon:
“In the beginning, Amma, alone, was in the shape of an egg: the four collar bones were fused, dividing the egg into air, earth, fire, and water, establishing also the four cardinal directions. Within this cosmic egg was the material and the structure of the universe, and the 266 signs that embraced the essence of all things. The first creation of the world by Amma was, however, a failure. The second creation began when Amma planted a seed within herself, a seed that resulted in the shape of man. But in the process of its gestation, there was a flaw, meaning that the universe would now have within it the possibilities for incompleteness. Now the egg became two placentas, each containing a set of twins, male and female. After sixty years, one of the males, Ogo, broke out of the placenta and attempted to create his own universe, in opposition to that being created by Amma. But he was unable to say the words that would bring such a universe into being. He then descended, as Amma transformed into the earth the fragment of placenta that went with Ogo into the void. Ogo interfered with the creative potential of the earth by having incestuous relations with it. His counterpart, Nommo, a participant in the revolt, was then killed by Amma, the parts of his body cast in all directions, bringing a sense of order to the world. When, five days later, Amma brought the pieces of Nommo‘s body together, restoring him to life, Nommo became ruler of the universe. He created four spirits, the ancestors of the Dogon people; Amma sent Nommo and the spirits to earth in an ark, and so the earth was restored. Along the way, Nommo uttered the words of Amma, and the sacred words that create were made available to humans. In the meantime, Ogo was transformed by Amma into Yurugu, the Pale Fox, who would always be alone, always be incomplete, eternally in revolt, ever wandering the earth seeking his female soul. “
In Genesis1:28: “God said to them, ‘Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over every living thing that moves upon the earth‘” (NRSV). As a well-intentioned environmental steward mansplains from biblcal text: “First the word “subdue”. In Hebrew this is kabash. You can’t get around it; it does mean… “enslave”, and even in the harshest instances “molest” or “rape”… Ummh, Yurugu/Set better stay in his lane!!! In my own well-intentioned effort to not throw the baby out with the bathwater, I’ll follow the lead of the Shulamite sistah who knows “love is strong as death” [Song of Songs 8:6]. She is the Southern Queen to whom the God of Revelation [3:11] says: “Behold, I come quickly: hold that fast which thou hast, that no man take thy crown.” May our circle 4ever B unbroken... ❤ ❤ ❤ 121
Dunand, Françoise, and Christiane Zivie-Coche. 2004. Gods and Men in Egypt: 3000 BCE to 395 CE. Ithaca: Cornell University Press.
“Every strand of American music comes directly from Congo Square,” musician and trumpeter, Wynton Marsalis once said of this national treasure – the historic birthplace of jazz and Rhythm-‘n’-Blues. Situated in what is now the Louis Armstrong Park in Tremé, the oldest African-American neighborhood in the tricentennial city of New Orleans – at 2.35 acres, today Congo Square measures approximately half of what it was in its heralded 19th century years.
New Orleans, Louisiana [NOLA] is a major US port whose strategic location facilitates the trafficking of commercial goods between the Gulf of Mexico and the Mississippi River system, which historically included trans-Atlantic cargoes of enslaved Africans. Congo Square was a gathering place 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: Read More
Mazisi Kunene – freedom fighter, literary icon, Africa’s poet laureate, and South Africa’s first poet laureate – was born in Durban, in the modern-day province of KwaZulu-Natal on May 12th, 1930. Kunene championed African oral traditions, conveying their inherent value in his writings which were originally in Zulu before being translated into other languages. Read More