Of the many 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 circlular 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 of 360 days divided evenly between 12 signs or constellations which are arranged within the circle. 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; and so on.
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. In our modern-day ‘matrix’-oppressed psyche – ruled in Egyptian mythology by Set – the organic Nile Valley heaven-on-earth relationship remains a distant dream some call 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… 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 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 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 ❤
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. 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 far superior to the 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 false trauma-based matrix is now said to be in its death-spiral. Humanity has experienced it as slavery, colonialism, racism, misogyny, pedophilia, thievery, rape, & other perversions. 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 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]
Seshat ~ Point #6… “PANTHER GODDESS” – Besides her signature 7-pointed crown, Seshat’s dress is made of panther skin which can denote royalty status within the Nile Valley reflection on earth of the Milky Way, particularly at the source of the sacred African river in the Bantu kingdoms of Buganda, Ankole, Busoga, Toro, Bunyoro, etc. There’s a sacred totemic relationship each of these Kings has with the panther, who is known in Buganda as Mayanja. Karamojong and Acholi warriors also wear panther skins as part of their regalia. In Khemet – “the gift of the Nile” – sem priests wore leopard skin garments in similar fashion to priests in Zimbabwe, southern Africa. King Tut’Ankh’Amun – the last of his royal family to rule during the end of Khemet’s 18th dynasty (c.1334 – 1325 BCE) – is famously depicted traveling through the afterlife on the back of a black panther.
Seshat ~ Point #7… “OPENER OF HEAVEN’S DOOR” – The mystery of Seshat is bound up with Africa and within the cultural codes of her 7-pointed crown… panther totems… sacred architecture… t(kh)n-ology… proverbial wisdom… the Nile Valley as ‘Temple of the World’… Ancestral vs. Gregorian timelines… ‘entry’- vs. ‘exit’-portals…
The mystery of Seshat is key to how we navigate the spaces between worlds in our ascension journey… decode the Song of Songs through Her dance… ‘Follow the Drinking Gourd’ via Her merkhet… exit Set’s 3D matrix of the elite’s false controlling-narratives through Akashic self-revelation… collapse slavery & colonialism’s karmic cycles… and enter sentient Mother Earth’s true Ma’atrix to the Age of Aquaria / Age of Miracles / Golden Age / Heaven / Zion… return to UbuNtu…
As proverbs from Ipet Resyt state: “If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of heaven is within you. Whosoever shall know Herself shall find it.” ❤ ❤ ❤
2019 marks a historic realignment and opens the door to healing in Africa’s collective soul and consciousness. Slavery’s cruel time-portal, symbolized by the “door of no return” on the western shores of the continent, has in 2019 become an entryway for reconciliation and ascension in this Year of Return after several centuries of forced separation and exploitation. President Nana Addo Dankwa Akufo-Addo of Ghana has been a powerful champion of formalizing this return, exemplifying ancestral wisdom through hindsight, foresight and example.
Sankofa ~ an Akan word which contends that: “In order to move forward, you must return to reclaim that which may have been lost, forgotten, or stolen” ~ is symbolized in one of two adinkra…
Africa’s children are star-seeds within a time-space continuum that has been lost, forgotten, stolen, hijacked through slavery, colonialism, and the subsequent self-entitled narratives of her antagonists. Indeed “2019” is a Gregorian year, based on Vatican manipulations (via Pope Gregory XIII in 1582) of time, space and human consciousness. Sophisticated understandings of time, and linkages with nature, the divine feminine, and the cosmos existed in ancient Egypt prior to the Greco-Roman worlds re-ordering of it.
The main western calendar is a reformation of the Julian calendar – after Julius Caesar, whose name remains on the Gregorian calendar as the month of “July”… followed by August, named after Roman Emperor Augustus. Weekdays of the western calendar similarly invoke Roman gods and their planetary associations: Sun day (Sunday); Moon day: Fr. Lundi / Sp. Lunes (Monday); Mars day: Fr. Mardi / Sp. Martes (Tuesday); Mercury day: Fr. Mercredi / Sp. Miércoles (Wednesday); Jupiter day: Fr. Jeudi / Sp. Jueves (Thursday); Venus day: Fr. Vendredi / Sp. Viernes (Friday); and Saturn day (Saturday).
In other words, humanity has been living in the colonized space-time frequency of elite western patriarchs. African life in particular has suffered under the shackles of this homosocial and false matrix. The Year of Return in 2019 has felt like the authentic beginnings of a dismantling of this Eurocentric order and the resurgence and ascension of a pan-African consciousness. This is conveyed through Nsoromma (“children / stars of the Heavens”) and Fawohodie (“freedom, independence, emancipation”), the adinkra chosen to symbolize spiritual consciousness during this momentous Year in Ghana. Translated as “what is lost in the sea is returned by the waves,” the symbolically-colored waves in the Year of Return logo additionally encompass Sankofa…
December 21st, 2012 – exactly seven years ago on the Gregorian calendar – was a date predicted by some to mark the dawning of the Age of the Water Bearer, called Aquarius and depicted in the west as a Euro-patriarchal harbinger of New Age consciousness. So… more of the same in terms of who colonizes and controls the human narrative [*sigh*]!?! In Africa, the Water Bearer has always been a divine feminine representation for various reasons connected organically to nature and divine order. An alternative depiction of the feminine dominion over the waters is Mami Wata, revered by several million spiritual followers from Ghana all the way to the Congo. Often depicted in the form of a mermaid, Mami Wata almost always holds a looking glass.
The looking glass is an intriguing puzzle piece when it comes to understanding African concepts of mirroring in the theater of oral-aesthetic or ancestral timelines. For example, December 21st, 2012 hasn’t yet occurred in the Horn of Africa, where today [December 22nd, 2019 on the Gregorian calendar] is April 12th, 2012 on the 13-month Ethiopian calendar which traces back to the ancient Egyptian calendar. There’s a seven/eight-year lag between the 12-month Gregorian and this African timeline, owing to alternate determinations of the date of the annunciation of the Messiah’s birth. (This lag would also push the “December 21st, 2012” Age of Aquaria launch to August 27th, 2020 Gregorian time. See Calendar Conversion link)
Upon the inner walls of Ipet Resyt – “the southern sanctuary” built for God/dess consorts Amun-Mut known today as the Luxor Temple in Egypt – lies the 1350 BCE blueprint of this “Annunciation.” According to John Anthony West (click picture for video: link @ 1:17:20), surrounding transcriptions of the communication depicted taking place between Amun and his consort, goddess Mut indicate that, in this conversation, Amun is informing his beloved that she will give birth to a divine son/savior. Roman-Catholic appropriations of this depiction in biblical accounts are presented as the angel (“Gabriel”) announcing that a virgin (“Mary”) will conceive and become the mother of a divine savior (“Jesus”) who is the son of God. Furthermore, the propagandized image of the Vatican’s “Jesus” is said to be modeled on Cesare Borgia, son of Pope Alexander VI. “Lacking images, men invent idols…. Better to found images on realities that lead the true seeker to the source” [proverb from Ipet Resyt].
Enkutatash (“gift of jewels”) – the Amharic word for the Ethiopian New Year – occurs on September 11th of the Gregorian calendar, except for leap years when it occurs on September 12th. The Eritrean Orthodox Tewahedo Church uses a calendar identical to the Ethiopian for its liturgical year. On the Eritrean Ge’ez calendar, New Year is called Ri’se Awde Amet (“Head Anniversary”). The Ethiopian Enkutatash tradition comes from a time when the Queen of the South was showered with gifts of jewels (enku) upon her return from Jerusalem where she’s said to have made her legendary visit with King Solomon. This visit began the Solomonic line from whence hails Emperor Haile Selassie [July 12th, 1892 – August 27th, 1975 Gregorian]… the Messianic Lion of the Tribe of Judah in Rastafari spiritual consciousness.
In hindsight and with some authentic insight, perhaps the Year of Return is calling all of us (rather than a single “savior”) to an ascended re-membering of and return to UbuNtu …our Africa-centered unity-consciousness that has always said “I am because we are…”
“The kingdom of Heaven is already within you; if you understand yourself you will find it…” [proverb from Ipet Resyt]. Hindsight, Insight, and/or Foresight… It’s my wish that 2020 [Gregorian] or 2012-13 [Ethiopian] will lead to greater self-clarity and humanity’s Higher Ascension… Happy Sankofa! ❤ ❤ ❤
“Only the black woman can say ‘when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole …race enters with me.’” [Anna J. Cooper, 1892] Dr. Anna Julia Cooper was born into slavery on August 10th, 1858 [d. 2/27/1964]. An activist during her life, Cooper triumphed over race and gender barriers to become a prominent scholar, educator, author, sociologist, and speaker. She received her education at St. Augustine’s University (NC), Oberlin College (OH), Columbia University (NY), and the University of Paris (Sorbonne) where, in 1924, Cooper became the 4th African-American woman to earn a doctorate with her Ph.D. in history. Author of the 1892 book A Voice from the South, which became a classic black feminist text, Cooper is often referred to as the Mother… or Matriarch of Black Feminism. 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.
“We came from the beginning of the Nile where God Hapi dwells, at the foothills of The Mountains of the Moon” ~ is a declaration in The Papyrus of Hunefer, which was a copy of the ancient Book of the Dead. Hunefer, owner of this papyrus, was “Scribe of Divine Offerings,” “Overseer of Royal Cattle,” and steward of Pharaoh Seti 1 during Khemet’s 19th Dynasty period [c. 1300 BCE]
“We…” refers to ancient Egyptians in the Delta region [papyrus symbol]
“…beginning of the Nile…” refers to the River Nile’s Great Lake estuary cradled in its East-Central African source [lotus symbol]. Nile comes from ‘Neilos’ – a Greek corruption of ‘nwy’ meaning ‘water’ in Khemet, though locals referred to it as ‘iterw’ meaning ‘the river.’
“…Mountains of the Moon” refers to the Rwenzori Mountains which border present-day Uganda and DR Congo. Some of the Nile waters flow from the peaks of these mountains.
Hapi [Hep/Hap/Hapy] – was a pre-dynastic name for the Nile deity of fertility who was also known as ‘Lord of the Fishes and Birds of the Marshes’ – provisions along with the annual inundation [known as the ‘Arrival of Hapi’] which have always sustained Nile Valley civilizations. So Hapi was often revered by citizens above other gods with chants, prayers, and sacrifices. Even Akhenaten [the so-called ‘heretic king’] could not banish Hapi as he had other gods during his reign. Instead, he tried to suggest that Hapi was an incarnation of Aten – the controversial solar disk god whom Akh’en’aten promoted himself as being the likeness of:
“I propitiate him who lives by truth,
The Lord of Diadems, Akhenaten,
Great in his lifetime.
O Hapi, by whose command
One is powerful
The food and nourishment of Egypt,
The vital ruler who forms me,
Makes me, fosters me…”
Hapi‘s blue or green skin denotes his status as a deity of fertility. God of both Upper and Lower Khemet, Hapi‘s portrayals included the lotus [symbolizing the life-giving/resurrecting source of the Nile’s Upper region] as well as the papyrus [which symbolized the Lower Nile Delta region where the river’s journey climaxed]. Depictions of twins ‘Hapi-Reset‘ [Upper Nile/lotus] and ‘Hapi-Meht‘ [Lower Nile/papyrus] tying together of these two plant symbols reflect the uniting of the “Two Lands.” Similarly, Hapi’s depiction as a hermaphrodite who was endowed with both feminine and masculine features [breasts and a penis], symbolized this same unity in human form, while the false beard of the pharaoh denotes Hapi‘s authority as Nile Valley god/dess. As a “key of life” principle, the co-creative unity and balance that must exist between divine feminine and masculine is a consistent and sacred African ideal, commonly portrayed as a ‘feminine’ oval surmounting a ‘masculine’ crucifix in the ancient ankh symbol.
To tarot deck readers, Hapi might be compared to the World card [#21 or XXI] – the final Major Arcana card which in some decks is depicted by an androgynous figure suspended between heaven/above and earth/below. The World card represents cosmic consciousness – the completion of a significant S/Hero’s journey cycle and a pause in life before the next big cycle begins once again with the Fool [usually the #0/“zero” card of the Major Arcana]. As such, the World amounts to our perfect union with the One uniting force of the universe [Ntu, in the Bantu world-view] which, seeded within the divine feminine womb, contains all the potentials for the next phase of our ascension journey.
The adinkra symbol of conjoined halves of a heart represents Sankofa – an African term that reminds us: “In order to move forward, you must reach back to reclaim that which may have been lost, forgotten, or stolen.” The process of truth-seeking in our respective journeys as divine feminine and masculine which provides the elixir that leads to our collective re-pair and ascension – is one of traversing the arcanum from “the fool” to “the world.” The elixir that is discovered in this process is ideally what ushers in humanity’s next-level, soul-restoring unity-consciousness which is referred to in Africa as Ubuntu, meaning “I am, because we are.”
The testimonial of the Papyrus of Hunefer thus presents a dilemma by drawing attention to the waters at the “…beginning of the Nile where God Hapi dwells” – a spiritual resource which was stolen through the violence of colonial assaults, nonsensical geographic constructs, and subsequently-falsified texts [biblical… historical… philosophical… geographical…]. In Kiswahili, these waters at the source of the Nile are referred to as ‘Maziwa Mkuu,’ meaning ‘great milk’ – a tacit African recognition of the Milky Way flowing as the nurturing heavenly river on earth which blossomed in ancient times as Khemet. “Victoria” – the river’s yet-to-be-reclaimed source – has, by her blatant presence, poisoned sacred waters, created a false matrix, and maintained a state of arrested development [the Fool] over a consequently colonized human consciousness [the World]… even as we stand today at the cusp of the emancipatory Age of Aquaria [card of the Star/Water Bearer].
Nut – Goddess of the Sky whose arms and legs create the four pillars between heaven and earth – is the primordial water-bearer, as depicted in her crown. (She is often synthesized with goddess Hathor – prototype of the Madonna-Child as Divine Womb and Celestial Nurse [milk-provider].) As I’ve posted previously, the water-bearer is epitomized by the African woman whose water vessel symbolizes humanity’s womb and portal into life. Culturally she is regarded as maternal in her element as the ocean, seas, and lakes – such as the veneration given to the Yoruba orisha [deity] Yemaya. On the other hand, as the river orisha Oshun, she is associated with sensuality, playfulness, fertility, love and beauty. Both are aspects of the same goddess archetype which, according to followers throughout the African world, unite in the figure of Mami Wata – a figure who is commonly depicted as a mermaid holding a mirror and/or a fan. All three orishas prefer the color gold, interchangeably with yellow.
For me, the confluence in Hapi’s S/Hero’s Journey through this Nile Valley Mystery becomes a ground-breaking revelation when the right pieces are understood within a non-linear [read: “non-Eurocentric”] playing field. The proposition: “We came from the beginning of the Nile where God Hapi dwells, at the foothills of The Mountains of the Moon” [from the Papyrus of Hunefer] signals the divinely-sanctioned return and reunion of the African God/dess. The unbreakable bonds of their sacred union [“Upper/Lower… North/South… above/below… within/without…”] are represented through Hapi‘s imagery and symbology, including the significance of the papyrus and the lily respectively, as well as within their sacred tethering. This revelation-through-symbol to me also connects with Tut’ankh’amun [pictured right. See posts here & here]. Corresponding biblical references abound, e.g.: “The queen of the south shall rise… behold, a greater than Solomon is here” [Matthew 12: 42]; “Make haste my beloved…” [SoS 8: 14]; “Behold, I come quickly: hold that fast which thou hast, that no man take thy crown” [Rev 3: 11]…
In Khemet, crowns represent an evolution of consciousness resulting from the respective journeys of the divine feminine in concert with her divine masculine who, as Tut’ankh’amun, travels through the after-world on his necessary mission. Their successful outcome and bond becomes the nucleus of a collective/communal levelling-up… Hotep ❤ M
“When the moon is in the 7th House… And Jupiter aligns with Mars… Then peace will guide the planets… And love will steer the stars… This is the dawning of the Age of Aquarius…” [Lyrics from “Age of Aquarius” by the 5th Dimension, 1969].
Humanity is said to be currently moving to its new astrological Age – an event which happens roughly every 2,000-plus years. We’re living through a transitional period Read More
From ancient times to the present day, Africa’s collective imagination has to one degree or another been influenced by the leopard as a symbol of its cultural and spiritual potency. The black panther is the melanistic color variant of leopards in Africa, so perhaps the phenomenal success of the movie of the same name can be used as a current barometer of that potency. North, south, east, west, and diaspora – the leopard is a powerful symbol of African warriors, sages, magicians, priests, gods, goddesses, queens, and kings. In West Africa, sculptures from Ife and Benin portray the leopard as a symbol of wisdom. This statue from ancient North Africa depicting King Tutankhamun riding through the underworld on the back Read More
Born in 1803 and orphaned at age 5, Maria W. Stewart was an American domestic servant who became a teacher, journalist, abolitionist, lecturer and women’s rights activist. She urged “daughters of Africa” to reject the negative images of Black womanhood that were/are so pervasive, but to instead possess the power of self-definition – in effect to seek, find, and anchor their Divinity as Goddess Auset. In an 1833 speech, Stewart said: “Like King Solomon, who put neither nail nor hammer to the temple, yet received the praise; so also have the white Americans gained themselves a name, like the names of the great men that are in the earth, whilst in reality we have been their principle foundation and support. We have pursued the shadow, they have obtained the substance; we have performed the labor, they have received the profits; we have planted the vines, they have eaten the fruits of them.”
The power of images [for good or ill] has been well-known since ancient times in Africa, as evident in the following proverb from the Luxor Temple of Amun-Mut-Montu/Khonsu: “People need images. Lacking them they invent idols. Better then to found the images on realities that lead the true seeker to the source.” The Gods of Khemet created a number of art-for-life’s-sake images that would, when properly looked upon, indeed lead the divine seeker to the source. Knowing the little strength of the angel of the church in Philadelphia, the God of Revelation encodes one of these key images in His instructions: “I know thy works: behold, I have set before thee an open door, and no man can shut it… hold that fast which thou hast, that no man take thy crown…” [Rev 3: 7-12 KJV]
The Divine Seeker or ‘true seeker’ – from a ‘daughters of Africa’ perspective – is represented in the archetype of Auset, Queen and wife of Khemet’s beloved King Ausar. According to their mythology, the respect Ausar was able to command on earth and in the nether-world as the bringer of civilization made his ‘younger brother’ – a god with pedophilic issues named Seth [Gr.] – so jealous that, in his bloody coup for the throne, Set[h] murdered and cut the king into 14 pieces which he scattered throughout the wilderness to prevent Ausar’s resurrection. In modern terms, Set [god of the wilderness, chaos, violence, foreign oppressors…] is understood to be the adversary who enslaved Africans and stole land and other treasures via colonialism. Thus the ‘wilderness’ is the diaspora where his predatory neo-colonial rule and campaign of chaos and extermination expanded. Auset must search this wilderness for the pieces of her beloved while holding fast to her crown of life which, imaged as the royal throne, represents her shero’s journey and consciousness of who she is.
Auset ~ Divine Seeker – shows up as the Shulamite in the Song of Songs, the biblical book attributed to King Solomon who, though featured in the song, is not the true ‘Majesty’ Auset seeks. Famed for wisdom, wealth, and possessing 700 wives and 300 concubines, Solomon represents the unease of one who is trapped in an excess of creature comforts, including his gross objectification of the divine feminine. It’s very clear that the Shulamite [Auset] is critical of the modalities of capitalist exploitation, including occupation and sharecropping which have created Solomon’s trappings of power and, in turn, required military guardians. She says: “Behold his bed, which is Solomon’s; threescore valiant men are about it… They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night.” [SoS 3:7-8 KJV] “Solomon had a vineyard at Baalhamon; he let out the vineyard unto keepers; every one for the fruit thereof was to bring a thousand pieces of silver. My vineyard, which is mine, is before me: thou O Solomon, must have a thousand, and those that keep the fruit thereof two hundred.” [SoS 8:11-12 KJV]
The Song of Songs represents Auset’s mourning as she communicates with and searches for the pieces of her Twin Flame in a ‘wilderness’ [diaspora] caused by the misdeeds of Set, including murder, mutilation, scattering, plunder and rape. Auset’s crown of life, denoting her consciousness, purpose and allegiance, is significantly different from those which are worn in the capitals of Europe – their opulent design and materials conspicuously symbolizing conquest of peoples and control of resources. Without this Africa-centered understanding which would acknowledge Auset’s presiding role in Ausar’s resurrection and return, biblical scholars and translators promote other interpretations even while struggling to explain her divinity and/or justify her existence in ‘their’ holy book. Introducing herself to an audience of the “daughters of Jerusalem,” the Shulamite [Auset] makes clear: “I am black… My beloved is mine, and I am his: he feedeth among the lilies.” [SoS 2:16 KJV] Local to Upper Khemet – southern source of the Nile River – the lily is also the symbol of resurrection in Khemetic imagery. “I am my beloved’s, and his desire is toward me.” [SoS 7:10 KJV]
Euro-patriarchal translations and commentaries surrounding the Shulamite’s introduction of herself have varied from “I am black and beautiful…” [New Revised Standard Version Catholic Ed] to more sinister/racist ethnic notions – specifically, as Maria W. Stewart pointed out, against Black womanhood:
- “I am black but beautiful…” [Douay-Rheims Bible]
- “I am black but lovely…” [New American Standard Bible 1977]
- “I am black, but comely…” [American KJV; American Std. V; Webster’s Bible Trans; JPS Tanakh 1917; Darby Bible Trans; English Rev. V]
- “I am very dark, but lovely…” [English Standard Version]
- “I am dark but beautiful…” [New Living Translation]
- “I am dark, but lovely…” [New KJV 2000; World English Bible; NET Bible; New Heart English Bible]
- “Dark am I, and comely…” [Young’s Literal Translation]
- “Daughters of Jerusalem, I am dark like the tents of Kedar, yet lovely like the curtains of Solomon…” [Holman Christian Standard Bible]
- “I am dark, O ye daughters of Jerusalem… desirable as the booths of Kedar, as the tents of Solomon…” [Jubilee Bible 2000]
- The word “black” does not necessarily mean that the skin is black, but rather sunburnt, dark brown… the livid or swarthy appearance of one who has suffered long from famine and wretchedness. There is certainly no reason to take the word as an argument for the bride being Pharaoh’s daughter… She has been living in the fields, and is browned with the ruddy health of a country life… The country maiden feels the greatness of the honor, that she is chosen of the king… [Pulpit Commentary]
- …she was “black” in herself through original sin and actual transgression; in her own eyes, through indwelling sin, and many infirmities, spots, and blemishes in life; and in the eyes of the world, through afflictions, persecutions, and reproaches…: “but comely” in the eyes of Christ, called by him his “fair one”, the “fairest among women”, and even “all fair” through his comeliness put upon her, the imputation of his righteousness to her; through the beauties of his holiness upon her; through the sanctifying influences of his Spirit… being in a church state, walking in Gospel order… “desirable”(y) to Christ, and to his people. [Gill’s Exposition of the Bible]
Certainly, if such white male interpretations of the black female principal in the Song of Songs prevail, then they should at the very least co-exist with culturally-centered interpretations of the African Queen. One version of the Song of Songs’ backstory – which has received extensive Jewish, Islamic, and Ethiopian elaborations – describes King Solomon being tested with hard questions during his visit from the “Queen of the South” AKA the Queen of Sheba. The Kebra Nagast [“Glory of the Kings”] tells the national saga of Ethiopian Emperors being descendants of King David as a direct outcome of their Queen’s visit with his son Solomon. Followers of the Rastafari movement believe Emperor Haile Selassie I – the last descendant of the Solomonic line to rule Ethiopia [from 1930 to 1974] – to be the Messiah and Lion of the Tribe of Judah. The African Queen’s storied visit is acknowledged in the bible thus: “The queen of the south shall rise up in the judgment with this generation, and shall condemn it: for she came from the uttermost parts of the earth to hear the wisdom of Solomon; and, behold, a greater than Solomon is here.” [Matthew 12:42 & Luke 11:31 KJV]
Told in highly symbolic language, the Song of Songs is itself a riddle worthy of the Queen of Sheba who purportedly used riddles to test Solomon’s wisdom, and to apparently expose the limitations of Euro-patriarchal translations and analyses [above]. Who knows what manner of ‘darkness’ lies in the tents of Kedar or curtains of Solomon to which the Shulamite is being compared by such biblical professionals?! She is not “original sin” in need of white male prescriptions for “salvation.” Nor does she seem particularly desirous of the kind of ‘majesty’ Solomon represents – at least not in my reading of the Song of Songs in which the Shulamite’s mission is that of the African Goddess Auset. As divine seeker who wears a distinct crown of life, it’s critical that Auset be able to distinguish between chaos/shadow/idol versus truth/substance/source as the above-mentioned proverb from the Luxor Temple states. Only in this way does she prove herself worthy of the crown and title bestowed on all true African Queens: “She Who Sees Set and Heru.”
Goddess Auset is… ❤
“Great, another broken white boy for us to fix!” One of several funny lines from Black Panther delivered by Shuri in reference to CIA Agent Everett Ross. “What the hail!” My line when I left the theater on President’s Day with mixed feelings about the movie, but mostly about the droplets of ice which had just begun falling from LA’s South Bay skies onto my African head-wrap. Was this a sign? Movie promos had gone hard with Gil Scott Heron’s classic The Revolution Will Not Be Televised, I mused while trying to extract pieces of the odd weather from my son’s fro for inspection. But why not build a strategic alliance between African cousins rather than having T’Challa, in true bourgeois liberal fashion, make a Wakanda charity-case out of Killmonger’s Oakland after the fact? Mom, it’s not your story… Huh?! Read More