Earth Wind & Fire (EWF) is undoubtedly one of the greatest bands of all time, as their claim to three of the four natural elements suggest they should be! Hits like In the Stone provide EWF fans an Afrofuturistic portal through which to access and interpret some of the Mysteries of ancient Egypt, the “gift of the Nile.” Djehuti – god of communication/writing, magic and wisdom – recognized Africa as god’s chosen land where the northward flow of the Nile gave rise to sacred Mysteries, mythologies and the architectures that arose along its river-banks. He referred to this psycho-geographic mirror of heaven-on-earth (known locally as Maziwa Mkuu – “the Great Milk” or Milky Way) as the Temple of the World. At Uaset on the river’s east bank, Ipet Resyt – the “southern sanctuary” of god/dess consorts Amun-Mut – was constructed to resemble the human form. It was at such temples where ancient Mysteries were housed as sacred knowledge for chosen initiates. Inscribed within the stone walls of this temple’s ‘throat area’ is the pre-Christian Annunciation [1350BCE] from Amun to his beloved about the divine child and savior-figure she would bear.
Well-versed in such ancient Theogony, some of which he himself is said to have authored, Djehuti understood EWF as base elements that separately defined each of humanity’s precursors to the current Age of the Bearer of Water – the 4th element which is swayed by the moon and, like Earth is organically associated with the Divine Feminine [Mut]. The current Age of Aquarius is defined by this being the constellation the sun moved into on the spring equinox in its 26,000-year journey through all 12 zodiac houses. Each successive grand age (approximately 2 millennia per sign) is heavily influenced by the sign’s element:
EARTH is the element which defined the Age of Taurus between c4400-2200 BCE, a time period traversing the Bronze Age which followed the previous Age of Gemini and supported the evolution of material culture around the world. Characterized by some as humanity’s Age of Growth, this was the grand age when the Sun was in the fixed sign of Taurus [Ausar – The Bull of Eternity]. Ancient Egypt’s Early Dynastic Period [c3150-2613 BCE] began with the Unification of Upper (south) & Lower (north) Egypt under Pharaoh Menes aka Narmer in 3100BCE. Called Sema Tawy, this unification was symbolized as a human trachea rising from the lungs entwined with the papyrus (north) & lotus (south). Narmer‘s was the first of 30 successive dynasties which ruled and maintained civil order through a centralized government from the capital of Memphis. Ptah – god of craftsmen and sculptors who was venerated during this period – was heralded by Apis, the sacred bull-deity of ancient Egypt who was also the symbol of the Pharaohs of these times. By 2400BCE the basic formulation of the myth regarding Ausar-Auset, and their posthumously-conceived son Heru’s further contendings against Set (murderous throne-usurping god of foreigners, plague and chaos) was in place – a universal archetypal narrative which has survived from the Pyramid Texts to this day in derivative religious forms and “good-versus-evil” scripts and schemes that have been executed for better or worse around the world. Technological advances during this Age of Growth included the invention of hieroglyphs [Djehuti] & manufacturing of papyrus/paper which helped facilitate record-keeping, communication, etc. Furthermore, the Old Kingdom Period [c2613-2181BCE] saw two of the greatest architectural Wonders and Mysteries ever erected – the Giza Pyramids and the Great Sphinx which connect earth organically to heavenly powers. Seen another way, EARTH is the English language anagram for HEART… an ages-old Mystery mapped out from humanity’s womb and written in African stone… which “Set” violated.
FIRE is the element which defined the years that led from c2200 BCE [following a chaotic transition between Egypt’s Old & Middle Kingdoms] to the beginning of the Common Era. This was the period when the Sun relocated from Taurus in its ongoing precession to arise in Aries [Amun The Ram] – leader of the Zodiac, and the cardinal sign which begins the Spring season in the northern hemisphere. Uaset [Thebes/Luxor] had superseded Memphis as the ancient Egyptian capital by 2240BCE. Amun, now the venerated deity, was worshipped in two main temples where the Gemini bonds formalized during the Age of Taurus continued to be upheld and ritualized at Amun-Mut‘s Ipet Isut [northern sanctuary – Karnak] and Ipet Resyt [southern sanctuary – Luxor]. Ipet-Resyt is where eternal truths (including those held in the ‘throat area’) are written in the stone, such as The Kingdom of Heaven is within you… Know Thy Self. The Age of Aries is thus characterized by some as the Age of Law because this is when humanity’s first codes of justice and moral instruction were recorded. Notable also were the Negative Confessions upon which Judeo-Christianity’s Ten Commandments were later formulated from the Papyrus of Ani source, recorded c1275-1250BCE during the prosperous New Kingdom era. Also known as the Declarations of Innocence, this recitation in the Halls of Judgment of 42 uncommitted sins facilitated the transition of the soul between their earthly incarnation and the afterlife. The soul was weighed in the scales against the feather of Ma’at, goddess of Truth, Balance, Divine Order, Reciprocity & Justice [Libra]. The Age of Aries additionally saw the rise of Akhenaten, whose reputation became that of ‘the heretic king’ after his unwelcome cultural reforms, including the self-centered monotheistic cult of Aten-worship he instituted & oversaw from Amarna [1353-1336BCE]. Aten’s successor, his son who renamed himself from Tut’Ankh’Aten (‘living image of Aten’) to Tut’Ankh’Amun (‘living image of Amun’) restored ancient Egypt’s cultural traditions around Amun & returned its worship center to Uaset before his death at age 19 in 1324BCE.
WATER is the element which has defined the Common Era (Gregorian calendar) years to date during which the Sun transitioned to arise in Aries’ neighboring constellation of Pisces, and usher in what some have defined as the Age of Faith. The evolution of transportation empowered the global reach and agendas of major patriarchal religions: Judeo-Christianity, Islam, Buddhism… Though core tenets of their holy books were in agreement with each other – often representing derivative text from ancient Egyptian sources – several interfaith and intra-faith wars broke out during this period, due in part to extremist cult elements that developed. Africa’s experience during the Piscean Age of Faith – which began with the Greco-Roman construction of a Gregorian timeline around the life of Jesus (savior-figure of Judeo-Christianity) – has been a major revelation of the enduring myth written in ancient Egypt during the Age of Taurus. Ausar-Auset-Heru were the original holy trinity whose very being was tested by Set – god of foreign invaders, plague and chaos. Jealous of their Heaven-on-Earth glory in ancient Egypt, Set murdered King Ausar, and scattered his 14 mutilated body parts into a wilderness where Queen Auset was forced to conduct her search-and-recovery mission as Set illegitimately assumed the Egyptian throne. The “wilderness” is allegorical to Africa’s experience of chattel slavery [1619-]; the colonial rape and reconstruction of Africa [1884-]; apartheid [1948-] etc. All at the hands of foreign invaders [“Set”] who justified such acts and their accompanying atrocities in the name of the god(s) of their “faith.” In the ancient mythology, Auset mummified the 13 pieces she was able to recover of her husband, and relied on divine intervention to posthumously conceive their son Heru, despite Ausar’s missing 14th piece, symbolized as the tkhn. Christianity translated this episode into its account of the “Immaculate Conception,” replacing Heru with “Jesus” as the avenging son and savior (crucifixion notwithstanding) who restores Heaven-on-Earth’s rightful rule. “White Man’s Burden… Manifest Destiny… American Exceptionalism… Trumpism…” – samples of the Age of Faith’s cult-like justifications and controlling narratives that continue to be extolled by certain factions.
AIR is the element which will define the next 2,000+ years as humanity decides what the narrative and legacy of this new Age of Aquarius should be(come) during the sun’s rising and sojourn prior to travelling from the Aquarius constellation to the next – presumably Capricorn. What’s fascinating to me is that the sun’s own path of enlightenment is a reverse journey through the western zodiac which is sequenced as Aries ruling the 1st house… Taurus the 2nd, Gemini the 3rd etc. through to the 12th and final house of Pisces. As Sankofa from the ancient African wisdom of the Akan suggests, perhaps there was something forgotten, lost, or stolen from a previous era which is absolutely necessary for humanity’s holistic forward movement? 2019 – Africa’s “Year of Return” – marked the end of 400 prophetic “wilderness” years [via Set] in the northern hemisphere. One might view this as an initiation period in which the south-north bonds [UbuNtu] that were avowed in ancient Egypt during the aforementioned Ages of Ausar [Taurus] & Amun [Aries] following Egypt’s pre-Dynastic Age of Gemini are once again affirmed. Some have referred to 2019 as the “Year of the Divine Feminine” and 2020 as the “Year of the Divine Masculine,” while envisioning 2021 as the reunification “Year of Divine Twins” [Gemini]. Aquarius, the fixed air sign in western astrology, is symbolized as the water-bearer of the zodiac. Divine Twins who’ve spent lifetimes journeying towards reunification through self-reflection now offer their enriched cups to each other & say to the emotional water element within, “Be still, and know that I ❤ AM GOD” [Psalm 46]. Air, the element Gemini & Aquarius both represent, is the communicative energy which reveals itself in Kemet’s south-north/lotus-papyrus unification symbol as well as the annunciation in the ‘throat area’ of Ipet Resyt [southern sanctuary – Luxor]. Perhaps this Age of Aqua/New Earth will be a revelation of the ancient Mystery of True.Love.Written.In.The.Stone [EWF] Blessed Be ❤ ❤ ❤
Following 2019 – the “Year of Return” marking the 400th anniversary since enslaved Africans first set foot in the Americas at Jamestown, VA in 1619 – 2020 has evolved as an iconoclastic year, following the horrific murder-by-police of George Floyd in the Twin City of Minneapolis, MN on African Liberation Day (May 25th). Ironic. Altars to the Confederacy, Christopher Columbus, and other self-congratulatory symbols of Euro-patriarchal oppression continue to be torn down in public spaces as the human collective grapples with repairing from the adverse impact of twin pandemics in 2020, both of which have claimed significant numbers of lives. Ironic? Yes, in that the most recent of these pandemics is identified by a term – “Corona” – which otherwise refers astronomically to the glow emitting from the sun and other stars, or anatomically to a person’s crown. The other pandemic – racism – has acted historically and virally through predatory patterns of invasion, exploitation, and control of the land and resources (human, spiritual, cultural…) of indigenous sovereigns in service to an elite-run matrix and its self-serving narratives.
You Want a Confederate Monument? My Body Is a Confederate Monument, Caroline Randall Williams wrote powerfully from the embodied perspective and sovereignty of her “rape-colored skin.” Sovereignty resides in diverse bodies and experiences despite centuries-old aggressive parasitic Euro-patriarchal agendas to consolidate the “shine” or sovereignty of others around its hegemonic presence, as Ezra Aharone exposes in a list of historic examples:
The European world of nationhood is seemingly based on democracy, but it was not built in democracy… Consider their motives and psychology behind the likes of the Magna Carta of 1215; the Westphalian Sovereignty Accord of 1648; Chattel Slavery; American Exceptionalism; the Treaty of Paris 1783; Manifest Destiny; the Berlin Colonial Congress of 1884; the White Man’s Burden; and Globalism of today… (The Sovereign Psyche, 2016).
Manifest Destiny – a core justification for white territorial expansion in north America between the War of 1812 and the Civil War of the 1860’s – was later rebranded American Exceptionalism as US-style democracy was promoted abroad. Its three basic programs hold that: (1) White people and their institutions have special virtues; (2) The United States has a mission to redeem and remake the world in its own image; and (3) Accomplishing this goal is America’s duty to god – hence its Manifest Destiny… euphemistically referred to as the White Man’s Burden. In contrast:
UbuNtu – a core guiding tenet of Bantu who comprised 40% of the enslaved African population in America (mainly from Congo and Angola) – is a unity-conscious philosophy evident in cultural retention and expression throughout the African Diaspora which Desmond Tutu describes thus: Africans believe in something that is difficult to render in English. We call it ubuntu… It means the essence of being human. You know when it is there and when it is absent. It speaks about humaneness, gentleness, hospitality, putting yourself out on behalf of others, being vulnerable. It embraces compassion and toughness. It recognizes that my humanity is bound up in yours, for we can only be human together.
Divine Twins – a term that’s come into popular use by those who look towards a prophetic Age of Aquarius to emerge from the outgoing Piscean Age – refers to the notion of advanced souls which have been split into two embodiments (masculine-feminine) in order for God/Love to experience separate and sovereign His-and-Her earthly incarnations before their journey back to each other. This Divine Twin Journey is said to be what fuels the ascension of unity-consciousness [UbuNtu] in humanity and Mama Earth at large, thus overriding institutionalized, homo-social white-man’s-burden dogmas of the Piscean Age such as salvation-at-the-cross. Lack of authentic sovereign agency has led most of humankind into profound states of disorientation and alienation from Source & Self, particularly when experienced systemically as racism, slavery, apartheid, colonialism, pedophilia, misogyny, etc. in the soulless false matrix.
It may come as a surprise to some active proponents of the concept of Divine Twins to learn that theirs is a journey back-to-the-future… for humanity’s sake. Sankofa is a reminder to Africans from the Akan of Ghana, meaning: In order to move forward, you must reach back to reclaim that which may have been lost, forgotten, or stolen. In other words, unity-consciousness (the overriding purpose of the Divine Twin Journey) would return us to the baseline of UbuNtu – that which a hegemonic elite, in fulfilling their “burden,” targeted for erasure from Africans specifically and humanity by extension, by imposing matrix agendas through division, conquest, trauma, (re)programming of timelines, and inventing of controlling narratives – which then required enforcement by policed-states throughout his predatory/parasitic system.
It’s interesting to me that proponents of the New Age who argue against the ‘matrix’ nevertheless do not acknowledge the targeting of black sovereignty that is at the karmic core of the system’s structure. Age of Aquarius advocates instead tend to speak from a westernized perspective rather than a familiarity with African culture and symbology, particularly as practiced in ancient Egypt [Kmt] from where Mysteries of the S/Hero’s Journey are said to have been originally formulated as a universal paradigm. Colonization of these Mysteries – e.g. Greco-Roman calendars & planetary nomenclatures – are used by most tarot readers in tandem with western astrology’s forecasting of daily-weekly-monthly planetary shifts and their ‘political’ alignments, hence ‘impacts’ in human affairs, such as the rare conjunction of December 21st [winter solstice northern hemisphere] between Jupiter & Saturn [Amun & Heru in Kmt], nicknamed the “Bethlehem/Christmas Star.” An occasional eavesdropper, I take from westernized narratives only what resonates with my understanding of more ancient sovereign advice: Popular beliefs on essential matters must be examined in order to discover the original thought [Ipet Resyt proverb]. The tarot is such an example:
In the tarot deck, the most impactful of the 78-cards are the 22 Major Arcana aka Trump cards – for better or worse. (The remaining 56 Minor Arcana cards cover ups-&-downs in daily life on the human plane: #1 – #10 corresponding to identically-numbered cards in the Major Arcana plane.) The Major Arcana cards range from #0 or The Fool card representing the vulnerable, untested truth-seeker at the start of their journey into The World (#21 card) – representing completion of the S/Hero’s Journey in which the truth-seeker has successfully overcome obstacles & challenges, often by adversarial forces. Between these two cards lies the hidden prophecy of the Divine Twins, who show up as:
The Magician – #1 card (Djehuti in Kmt) – representing the Divine Masculine, is armed with tools and his electrifying energy which initiates change through manifestation from the ether into beingness. Tools of The Magician include symbols for each of the 4 elemental archetypes symbolized by their Suits, namely: Pentacles – aka Earth – representing the archetype of King [Ausar]; Swords – aka Air/Wind …the Warrior [Heru] archetype; Wands – aka Fire …the Magician; and Cups – aka Water …the Lover [Amun]. In Kemetic Mysteries, each archetype has a Divine Feminine counterpart [Ref: Khmunu – Ogdoad of Hermopolis], as well as a shadow side [Set] that must be overcome during the Divine Masculine’s Hero Journey. The fully-integrated Lover (‘The Hidden One’ who also embodies the other archetypes as Emperor – #4 card) is the “water-bearer” partner/usher of the Age of Aquarius/New Earth. And it is the union of The Lovers [#6 card] against which The Devil [#15 card: 1+5 = ‘#6’] acts as adversary, to prevent New Earth/The World [#21 card] from becoming, because The Lovers/Divine Twins ultimate union would mean Babylon.Has.Fallen… New.Earth.Is.Risen.
The High Priestess – #2 card (Seshat in Kmt – aka ‘the veiled Auset’) – representing the Divine Feminine Twin counterpart – plays a mirroring role to The Magician [As Above, so Below… As Within, so Without…]. If he’s in his shadow-energy as trickster, for instance, The High Priestess – in her truth [Ma’at] and unique role and being as Twin – mirrors that back to him in a way that acts to transmute his energy to a higher free-quency. Conversely, the Divine Masculine does the same for her. The Divine Feminine also anchors a complementary magnetic energy field which physically draws the Divine Counterparts towards each other and simultaneously towards their higher electro-magnetic, unity-conscious free-quency [UbuNtu] of New Earth. As their mission of Love aligns and advances, the Magnum Opus which their conjoined soul is co-creating as Divine Twins is literally the biblical Song of Songs in which the Shulamite’s soul presents throughout as seeking for and calling to her Divine Masculine & God of Revelation…
CALL: Make haste, my beloved, and be thou like to a roe or to a young hart upon the mountains of spices [SoS 8:14] RESPONSE: Behold, I come quickly; hold that fast which thou hast, that no man take thy crown [Rev 3:11]
As proverbs written ‘in the stone’ of Ipet Resyt state: “If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of heaven is within you. Whosoever shall know Herself shall find it.”
Beyond The Devil [#15] and The Tower [#16], the Heavenly Realm is presented in the last 5 cards of the Major Arcana as: #17 – The Star; #18 – The Moon; #19 – The Sun; #20 – Judgement; & #21 – The World. During the Underground Railroad period, enslaved Africans in the south knew to follow the North Star [#17] via ‘the Drinking Gourd’ …exit the matrix …and advance towards the entry-portal to New Earth. What will follow from this iconoclastic year of review and judgement? #The World… ❤ #UbuNtu… ❤ #Age of the Water-Bearer… ❤ Amun…
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…
A song of adulation, love and fear
No one loved him better, no one better sacrificed
She gave her angels that summer night
Destiny and love don’t always go hand in hand (Hand in hand)
As the world lay waiting like an embryo in a womb
She gave her angels that night in June (She gave her angels)
To watch over him till she returned – her man, her lover, her son
Her father for all these things he meant to her, she felt it right
She gave her angels that summer night [Repeat: 2X]
- Songwriter/Artist: Prince Rogers Nelson (as )
- First Released: 29 January 1998 – Crystal Ball album
- Fan Music Video by VDJ Vivacity …“This is a beautiful Prince song and definitely deserved a full music video beyond the snippet performed on Muppets Tonight.“ (LINK added by me 🙂 …SEE ‘She Gave Her Angels’ Muppets footage @ 17:42)
In no other place on earth were deities so closely associated with their trees as in ancient Egyptian mythology and eschatology, Trees of Life upon which an external god later attached “forbidden fruit” as his rationale for humanity’s exile from Eden. Trees in ancient Egypt were revered as sacred, and regarded as the organic dominion of ancient female sky deities whose role included facilitating the passage of the soul [ba] into the afterlife. The sycamore [nehet] became perhaps the most important of Egyptian sacred trees which include the date palm; acacia; and persea or ished tree. Although male deities were mythically connected to sacred trees and the wooden coffins that transported them to the afterlife, they were never identified with the trees themselves. Often planted near tombs, the sycamore represented the womb to which the departed were returned, sometimes in coffins made from the wood of this Mother Tree. Goddess Hathor and Nut in particular – as anthropomorphic Mother Trees – were depicted connecting the worlds: heaven/underworld… above/below… within/without… now/hereafter… Read More
April 21st marks the anniversary of a day, four years ago, when Majesty and Divinity fell uncharacteristically silent. I learned about this after hearing their voices on a hauntingly beautiful music track that I’ve only recently discovered. I’d been drawn by the title of the track as I waxed nostalgic about the teenage version of me who’d walk several miles between my family home in Spring Valley to Kenya High during holidays just to play one of my school’s pianos for an hour or so. Granted that was less time than it had taken me to get there on foot, but I had the return trip to consider. Along the way, I’d pass by the Chiromo campus of the University of Nairobi where I’d always feel rejuvenated by the lush greens and natural habitation of the adjacent arboretum…
Arboretum, the moving piano piece in question that Prince recorded in his atrium at Paisley Park, is the 10th and final track on his 25th studio album entitled One Nite Alone… Released by NPG Records on May 14th 2002, Prince thoughtfully noted, “Ambient singing: the doves – Divinity and Majesty” in his Album Credits. Prince’s beloved pets are heard and warmly felt, presumably from their cage on the balcony overlooking Paisley Park’s sky-lit atrium as the artist performed & recorded his composition. At the end of Arboretum, the sound of heeled footsteps on an uncarpeted floor come through, painting an image on my mental screen of the artist walking away from his piano, perhaps retreating to a more personal recess of his creative complex that has now become a museum in suburban Minneapolis…
Chanhassen (said Minneapolis suburb) is a First Nation name in the Sioux language of the Dakota, meaning the tree with sweet sap – or sugar maple tree. Arboretum (trans: ‘botanical garden devoted to trees’), may well have been Prince’s musical alignment with & nod to the Minnesota city of his residence. Inspired by this thought, my memories meander between Nairobi Arboretum & western Kenya’s Kakamega Forest where I wasn’t an unfamiliar presence. I remember rhythmic singing suddenly breaking out from the perches of Red-eyed Doves (Columba semitorquata), which made me want to celebrate in dance each time. [Ref. Dove #2 in Lynette Rudman’s video below: #1: Tambourine Dove; #2: Red-eyed Dove; #3: Ring-necked Dove; #4: Mourning collared Dove; #5: Laughing Dove; #6: Emerald-spotted Wood Dove; #7: Namaqua Dove].
I’d like to imagine that my late father, a zoologist who specialized in the study of bats, would indulge my efforts to do due diligence to scientific inquiry [*ahem!]… albeit in service to these belated musings on the environs of Paisley Park and its mysterious, dove-loving nester. Speaking of which, in his first hit from Purple Rain – the 6th studio album that was released on June 25th, 1984 – Prince may creatively have been going for the ambience of Zenaida macroura [*cough!] – aka Mourning Doves. Now every time I hear the haunting and sad cooing sound for which this ubiquitous species is named, I think When Doves Cry…
Majesty and Divinity simply “stopped talking” after Prince crossed over, according to his sister Tyka in a 2016 Today show interview. Upon realizing this, Tyka instructed the Paisley Park staff to “play some Prince music” for his pet doves in order to help bring them out of their mournful silence. Just wow! Mother Nature’s collective consciousness is a font of endless fascination, particularly for me as a somewhat quirky expression from humanity’s African source. From his space in the diaspora, Prince was tapped into this same source on levels I’m only now beginning to appreciate. Beyond his music, there’s coded mystery in the architectural choices of the artist’s Paisley Park nesting and creative space that awaken my own epic memory. There are the pyramid skylights on the main building… the separate yet connected ‘Egg building’… and even the address itself…
…7801 Audubon Road is Paisley Park‘s street address which for me recalls renowned ornithologist John James Audubon. Born in Haiti in 1785, Audubon was noted for his paintings of birds, over 1,000 of which were documented in his book, Birds of America. The National Audubon Society was founded in his memory in 1886 to focus on the preservation and study of birds.
But beyond their zoological details, birds are profoundly symbolic as winged messengers who navigate the skies and/or heavenly realms. Doves in particular symbolize love, hope, peace, gentleness, inner initiation, the Holy Spirit, eternal life… In the biblical Song of Songs there are several dove references in the communication between the Shulamite and her Beloved’s conjoined Spirit. One of the references that I visit time and again is: “His eyes are as the eyes of doves by the rivers of waters, washed with milk and fitly set” [SoS 5:12]. In the pre-biblical Auset-Ausar-Heru mythology of Kemet, Goddess Hathor – “Lady of the Southern Sycamore” – used milk from Her sacred tree to restore sight to Heru after one of his epic battles against Set (usurper of Ausar’s heaven-on-earth throne). Heru – a precursor savior-figure and defender of his father Ausar’s throne (depicted as Auset’s crown) – is himself portrayed as a falcon-headed god. *******
“ARBORETUM”… The messages that a gently-played piano and a well-placed mic cause my quirky African ears to hear in 5D+… The ambient coo-ing of Majesty and Divinity, who raise homing frequencies into realms that cloak ascended masters from far too many robotic eyes & ears… “Don’t get lost in the forest,” Mother Tree entreats, long after his retreating footsteps have become silent… He ventures forth with the sweet sap of other trees which cause 3rd-eyes to open & soulful consciousness to reign like Purple… “Yo Twenny/Twenny, W’sup!? DJs R droppin’ beats like mad Grand Mixers @ homie’s joint. We jumpin’ time-lines… 2012 Party Override!”
If I could be the Red-eyed Dove’s lyricist during these roller-coaster times, my words to its rhythmic song would be: “I. Am! B’Cuz? …We. Rrrr!” Nothing fancy. Just a cultural mantra that takes me back to Mother Nature’s embrace & the free-quency of the great “I AM.” Throw some dance-floor swag up in that Song of Songs, like back in the day 😉 Old-School-style...UbuNtu, the guiding narrative of our 5D+ uni-verse: “I Am because We are!” In order to move forward on our S/Hero Journey, Sankofa adds that: we must first recover & reclaim that which was forgotten, lost or stolen. ❤ ❤ ❤ So Keep Your Vibrations High, Dearly Beloved ❤ Don’t let ‘the elevator bring us down’ ❤ Know that U R Majestic and Divine ❤ Let no one take Thy Crown [Rev. 3:11] ❤ ❤ ❤
Of the countless artifacts stolen from Africa, France takes special pride in displaying the Dendera Zodiac at the Louvre Museum in Paris – a legacy of the Napoleon Bonaparte era. Using gunpowder and explosives, engineer Jean Lelorrain dislodged the zodiac from the ceiling of Goddess Hathor’s temple on the west bank of the Nile River at Dendera. He took it to France in 1821 where the country’s best scientists, astronomers and mathematicians struggled to decipher the dates of the celestial events within the constellations depicted on the artifact. Many began to believe the Dendera Zodiac to be thousands of years older than the biblical Creation date, which troubled the church until Jean-François Champollion (France’s famous Egyptologist) reassured them otherwise.
The Dendera Zodiac – representing the heavens from its ceiling location – was the only circular portrayal of ancient Egyptian astronomy available. Its circular frame depicts Divine Feminine space while simultaneously reflecting the curvilinear path of the sun’s orbit. Employing a metric that western astrologers continue to use to this day, the zodiac depicts the Egyptian year [360 days +] divided evenly between 12 signs or constellations which are arranged within the circle. [Days beyond 360 were regarded as a 13th month on the ancestral annual timeline.] Each constellation was as unique as the particular deity which ruled that calendrical season. In the later western zodiac, ancient Egypt’s ram-headed deity Amun became the sign of Aries; Ausar – ‘the Bull of Eternity’ – became Taurus; Khnum… Capricorn; Atum… Leo; Auset… Virgo; scales of Ma’at… Libra; Khepra… Cancer; etc.
Concerning the grand scheme of ancient Egypt, god Djehuti proclaimed: “Art thou not aware that Egypt is the image of heaven, or rather, that it is the projection below of the order of things above? If the truth must be told, this land is indeed the temple of the world…” The ancient Nile Valley is where monomyths and the god/dess archetypes embedded within our collective psyche took their original form. They’ve since journeyed through life’s theater, or the ‘WOMB OF TIME’ – as Goddess Hathor’s Dendera Temple was known. Her stolen artifact in France’s Louvre Museum depicts the movement of Sopdet – Hathor’s Nile Star whose rising presaged the sacred river’s annual inundation which began each New Year in ancient Egypt. When the ‘Milky Way’ on earth poured forth her annual bounty of gifts into Egypt’s desert lands, it became a celebratory period of reunion and renewal between the heavens, nature, and humanity within the Temple of the World. This organic Nile Valley heaven-on-earth relationship, hijacked by Set (according to mythology), is the dream which our current ‘matrix’-oppressed psyche projects hopefully into the future as the ‘Age of Aquarius’…
Set (ancient Egypt’s notorious antagonist) and Yurugu (the Pale Fox in Dogon mythology) both represent adversarial forces against the sacred and sovereign Divine Womb and Milky Way – of which Africa’s Goddess Hathor was the quintessential archetype. Yurugu violated Goddess Amma’s sacred womb in his impatience to be born, thereafter sealing his fate to always be alone, incomplete, eternally in revolt, ever wandering the earth as the Pale Fox in search of his female soul. Set – god of chaos, violence, the desert, perversion and foreign oppression – violated the communal womb out of jealousy when he usurped heaven-on-earth’s throne after murdering and mutilating his brother Ausar, King of ancient Egypt. Furthermore, the historical rape of Mother Africa’s womb and misappropriation of Her spiritual, cultural, natural, and human resources towards western imperialist ventures has led most of humanity into a profound sense of isolation, alienation, disconnection, and disorientation…
HATHOR ~ DIVINE WOMB
Hwt-hr – the Kemetic version of Hathor – means ‘Mansion [Womb] of Heru.‘ The goddess is the fertility aspect of Auset, whose posthumous conception of Heru via the mummified remains of her husband Ausar was translated into biblical text as the ‘immaculate conception’ of Christ. Hathor was worshipped at Dendera (her sacred site for over 10,000 years) as goddess of music, dance, beauty, fertility, children, birth, women and foreign lands who personifies feminine love, joy, and sensuality in Her conjoined roles as consort, mother, and lover. Facing the direction of the Nile-Star Sopdet’s rising, Dendera Temple itself was a nourishing space for healing, learning, and birthing. It housed a sanatorium with magic bathing waters and a sacred well; labs where ceremonial perfumes were concocted; a papyrus library; a birthing place; and chapels devoted to the mythologies of Auset/Ausar/Heru…
Hathor’s priestesses and priests were musicians and dancers whose rituals of worship were entrancing and entertaining as they filled the sanctuary with the sounds of song, drumming, and various other instruments such as lyres, pan-pipes and sistrums – rattles that reportedly sounded like “the cackling of geese or the rustle of papyrus flowers.” Sacred to Hathor as ‘Lady of the House of Jubilation’ and ‘The One Who Fills the Sanctuary with Joy,’ the sistrum’s rattle helped create a sonic shield of protection against wrathful deities.
Music is recognized as a profound oral-aesthetic phenomenon in the symbols at Hathor’s Dendera Temple. Sound/Word/Nommo, in Africa’s oral traditions, is understood to fundamentally act as the Divine Masculine seed. Rising from the earth/floor and holding aloft the heavens/ceiling, Hathor’s temple pillars represent the shaft of Her sistrum. At the top of each pillar is Hathor’s face, portrayed symbolically as the womb/uterus – co-creative organ of the Divine Feminine – its fallopian tubes depicted as elongated ears through which she receives sound… word… seed… nommo. Heru – goddess Hathor‘s Divine Masculine consort who helps frame & uphold the heavens [see Dendera Zodiac above] – likely plays the role of master-musician in some of the deeper Mysteries of Goddess Hathor’s Temple. Though Heru’s temple is in Edfu, as Divine Twin deities [‘Gemini’] they are highly attuned to each other’s oral-aesthetic freequency, resurrection modalities, and co-manifestation of humanity’s current grand progression as the Age of Pisces transitions into Aquarius… the Golden Age […UbuNtu]
As ‘Madonna and Child,’ Hathor was often depicted as the heavenly cow; her belly filled with stars of the Milky Way which on earth is represented by the Nile River aka Maziwa Mkuu (meaning ‘The Great Milk’ in Kiswahili)… the true Ma’atrix – or ‘Temple of the World,’ according to Djehuti. Alternatively, Hathor was portrayed as the goose that laid the golden egg with a lotus plant wrapped around Her neck. The lotus plant symbolizes the sacred Nile’s southern source or womb – located in the sentient heart of Africa – whose gifts, transported on the sacred river’s northward flow, facilitated the flowering of ancient Egypt and its Mysteries that were taught in the temples. Located on 3 stones of the interior walls of Hathor’s temple, the Dendera Light artifact’s depiction of one of these sacred Mysteries has given rise to a few controversial interpretations…
A Norwegian electrical engineer was the first to interpret the depiction as an electrical lamp, encasing as it does a snake-shaped filament with a cable at the end. The lamp is held upwards by a priest and a few smaller figures. Peter Krassa and Rainer Habeck published a book entitled Lights of the Pharaohs based on their similar interpretation of the relief. Later, a working model of the Dendera Light was constructed by Zeichnung Garn-Birne [click for video]. These interpretations may be oddly prophetic of Ethiopia’s hydro-electric dam on the Blue Nile outflow from Lake Tana which, given Africa’s scrambled post-colonial landscape, has generated concern in Egypt – the Nile’s most ecologically-vulnerable African country, yet ‘Temple of the World‘…
Mythologically interpreted, the Dendera Light artifact depicts the Hermopolis theology of creation via the Ogdoad (8 primordial male-female twin deities) and the Cosmic Egg from/into which all life is born. Pictured around Hathor-as-goose’s neck and again at the base of the Dendera Light in her temple, the lotus flower from the primordial sea of Nun (Nile womb) gave birth to the sun god, Atum-Ra in a stage known as the first occasion. The encasing bulb of the Dendera light relief represents the field of the universe or Cosmic “Golden Egg” within which the grand progression of creation… birth… enlightenment… resurrection occur; and – like the symbolic journey of the Nile’s climax in Egypt – kundalini awakens and Mysteries become known. Hence ‘Temple of the World‘…
This mythological interpretation reinforces the significance of Hathor and Her temple as HwtHr – ‘Mansion [Womb] of Heru – and as the Seven Hathors [Pleiades in later Greek myth] who purportedly appear at a child’s birth to announce its destiny. Representing several aspects in the Ausar-Auset story, Heru – as Hathor’s Divine Masculine consort – is the quintessential protagonist embedded within humanity’s collective psyche of our destined S/Hero’s Journey. He largely champions the warrior archetype of the Divine Masculine. As “Lady of the Southern Sycamore,” Hathor used the milk from Her tree to restore sight to Heru after one of his bruising battles against antagonist Set (usurper of Ausar’s heaven-on-earth throne). “His eyes are as the eyes of doves by the rivers of waters, washed with milk and fitly set.” [Song of Songs 5:12]… The 7 Hathors are said to question and assist the soul’s journey which, in death, is accompanied by the sky-bull [Ausar/Taurus] who has joined the Hathors in their cow form. Hathor, “Lady of the West” (where the sun sets/’dies’), appears on sarcophagi as their Protector.
Heru also represents spiritual revelation – the light of the 3rd-eye which opens during the True Seeker’s journey through time… “The kingdom of Heaven is already within you; if you understand yourself you will find it” [proverb:- Ipet-Resyt]. ❤ Amun ❤ àṣẹ ❤ Let ❤ There ❤ Be ❤ Light ❤
African Goddess Seshat was referred to as Sefket-Abwy – meaning “she of seven points” – by Pharaoh Tuthmosis III (1479-1425 BCE). She wears a signature seven-pointed crown which has led to speculation about the hidden Africa-centered significance of the crown which adorns Lady Liberty’s head and her symbolism as a whole. Standing tall with words of welcome on Manhattan’s Liberty Island in New York, the statue itself was brought as a gift from France in 1886 to strengthen democracy and bilateral alliances following US Civil War gains and the end of slavery. The initiative was launched by abolitionist and Chair of the French Anti-Slavery Society, Édouard de Laboulaye. Frédéric Auguste Bartholdi was the sculptor.
A proverb from Ipet Resyt (“the southern sanctuary” built for God/dess consorts Amun/Mut) says: “Lacking images, people invent idols… Better to found images on realities that lead the true seeker to the source.”
Seshat is the African goddess who represents the consciousness of an order likely superior to the 3D matrix of knowledge that was installed and is currently governed by a patriarchal elite. Represented in Kemetic mythology by Set [god of the desert, storms, disorder, violence, chaos, & foreign oppressors] who destroyed Heavenly order when he usurped Kemet’s throne after murdering and dismembering King Ausar – this trauma-based matrix is now said to be in its death-spiral. Humanity has experienced this matrix as slavery, colonialism, racism, apartheid, misogyny, pedophilia, thievery, rape, & the false controlling narratives of white patriarchy. Alternatively, Set represents the dysfunctional shadow poles of the Masculine versus a potential, fully incarnate Divine King, Warrior, Magician, & Lover. Seshat’s crown is one of several potent African symbols of Divine Feminine power which speak to how, when, and where She, as Ma’at, enters to help re-pair, anchor, & balance Divine Order from her own sovereign, fully incarnate truth – complementary to that of the Divine Masculine.
Seshat ~ Point #1… “SCRIVENER” is the meaning of Seshat’s name. Sesh, meaning ‘writing’ was a communication technique using hieroglyphs (Greek, meaning ‘holy writing’) which, according to Kemetic legend, were created by god Djehuti. Djehuti passed the skill on to select scribes (typically men) to aid, he believed, in the development of wisdom. The god Amun-Re disagreed with this premise, saying that written documents would weaken people’s memories and ancestral wisdom that was organically passed down through generations, nature and oral tradition. As a proverb from IpetResyt advises: ‘Images are nearer reality than cold definitions.’ Hieroglyphs, the oldest and more pictographic form of writing, over time evolved into Hieratic and then Demotic scripts as scribes worked to simplify the writing process itself. Each efficiency-upgrade in writing as a communication technology meant an increased abstraction (hence “alienation”) from the organic world, as Re might have feared. This trend has continued up to the highly abstract western alphabet of the present-day, which has been characterized as ‘aggressive’ by communication scholars such as Marshall McLuhan. Goddess Seshat stands at the crossroads of this communication debate vis-à-vis Divine Order…
Seshat ~ Point #2… “RECKONER OF TIME/YEARS” – God Djehuti, whom Goddess Seshat appears to mirror in her attributes, is credited with creating the ancient Egyptian calendar which forms the basis of the ancestral 13-month calendar used in the Horn of Africa where the current year is “2012.” The Gregorian calendar (after Pope Gregory XIII) – a reformed Julian calendar (after Julius Caesar) – forms the basis of the main western calendar where the current year is “2020.” Seshat’s lunar-based time-reckoning and recording skills were used in service to royal and religious leadership and concerns such as life-spans, length of reign, appropriate scheduling of ceremonies and rituals… some of which she and Djehuti would record on the sacred ished – the Tree of Life at Heliopolis – which was said to hold eternal knowledge of the Divine Plan. Goddess Seshat stands at the crossroads of competing space-time frequencies and a Divine Age of Aquaria schedule…
Seshat ~ Point #3… “MISTRESS OF THE HOUSE OF BOOKS” – Among Seshat’s duties was her role in the temple Library of the Gods which housed the works of Khemet’s foremost scribe and alkhemist, Djehuti. She was Djehuti’s personal librarian and keeper of his spells (called hekau) and writings. Djehuti’s canon of writings includes the Emerald Tablets and 42 Books of Knowledge on all matters connecting the heavens and the earthly realm, with a forewarning about the fall of Khemet to outsiders – represented in mythology by Ausar’s murderer Set. After pieces of Ausar’s body were retrieved, reassembled and mummified by his widow Auset, it’s said that Seshat helped cast Djehuti’s resurrection spell for Ausar’s missing 14th piece which enabled the posthumous conception of Heru. This event was appropriated and translated in later biblical accounts as the Immaculate Conception of Jesus. The ‘t(kh)n’ hieroglyph for obelisk – architectural symbol of Ausar’s resurrection – is the identical word and spelling for ‘to beat a drum’ or ‘musician,’ which connects organically to African oral traditions… our collective Akashic Record or Book of Life.
Seshat ~ Point #4… “FOREMOST OF THE PER-ANKH” was the prestigious title bestowed upon Seshat and god Khnum – ram-headed potter and guardian of the Nile River source. ‘Per-Ankh’ were ‘houses of life’ attached to temples where libraries were housed and where knowledge, considered sacred, was attained. Given her proximity to Djehuti, of whom it was said that without his words the gods themselves would not exist, Seshat’s footprints can be traced through those of the ‘Shulamite’ in the biblical Song of Songs. (Shul, Yiddish for “school/synagogue” is related to shule/scuola in German; schola in Latin; and skholḗ in Greek – all meaning “school”). The term ‘Shulamite’ as emphasized in this particular book suggests that the “black and comely” female protagonist is highly educated. How different biblical Revelation would be with Seshat as the ascended True Seeker & Genesis recalibrated to the Song of Songs!
Seshat ~ Point #5… “GODDESS OF ARCHITECTS & BUILDERS” – Though there were no temples built for the worship of goddess Seshat, she is paid homage for her prominent role in the foundation of major Khemetic temples in Heliopolis, Edfu, Abydos, Dendera and elsewhere. The temple of Horus in Edfu (c.237BC) has the inscription: “I take the measuring cord in the company of Seshat. I observe the progressive movement of the stars. My eye is now fixed upon Meskhetiu. The god of time-keeping stands by me, in front of the merkhet. Then, I have established the four corners of the temple.” Meshketiu, the ‘Big Dipper/Plough’ of the constellation Ursa Major, was known as ‘the Drinking Gourd’ by Africans who followed the North Star to escape slavery on the Underground Railroad. The merkhet was the instrument that oriented the harmonious alignment of temple foundations with the heavens, according to principles of sacred geometry…
“Art thou not aware that Egypt is the image of heaven, or rather, that it is the projection below of the order of things above? If the truth must be told, this land is indeed the temple of the world.” [Djehuti aka ‘Thoth’]
Seshat ~ Point #6… “PANTHER GODDESS” – Besides her signature 7-pointed crown, Seshat’s dress is made of panther skin which can denote royalty status within the Nile Valley reflection on earth of the Milky Way, particularly at the source of the sacred African river in the BaNtu kingdoms of Buganda, Ankole, Busoga, Toro, Bunyoro, etc. There’s a sacred totemic relationship each of these Kings has with the panther, who is known in Buganda as Mayanja. Karamojong and Acholi warriors also wear panther skins as part of their regalia. In Khemet – “the gift of the Nile” – sem priests wore leopard skin garments in similar fashion to priests in Zimbabwe, southern Africa. King Tut’Ankh’Amun – the last of his royal family to rule during the end of Khemet’s 18th dynasty (c.1334 – 1325 BCE) – is famously depicted traveling through the afterlife on the back of a black panther.
Seshat ~ Point #7… “OPENER OF HEAVEN’S DOOR” – The mystery of Seshat is bound up with Africa and within the cultural codes of her 7-pointed crown… panther totems… sacred architecture… t(kh)n-ology… proverbial wisdom… the Nile Valley as ‘Temple of the World’… Ancestral vs. Gregorian timelines… ‘entry’- vs. ‘exit’-portals…
The mystery of Seshat is key to how we navigate the spaces between worlds in our ascension journey… decode the Song of Songs through Her dance… ‘Follow the Drinking Gourd’ via Her merkhet… exit Set’s 3D matrix of the elite’s false controlling-narratives through Akashic self-revelation… collapse slavery & colonialism’s karmic cycles… and enter sentient Mother Earth’s true Ma’atrix to the Age of Aquaria / Age of Miracles / Golden Age / Heaven / Zion… return to UbuNtu…
As proverbs from Ipet Resyt state: “If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of heaven is within you. Whosoever shall know Herself shall find it.” ❤ ❤ ❤
2019 marks a historic realignment and opens the door to healing in Africa’s collective soul and consciousness. Slavery’s cruel time-portal, symbolized by the “door of no return” on the western shores of the continent, has in 2019 become an entryway for reconciliation and ascension in this Year of Return after several centuries of forced separation and exploitation. President Nana Addo Dankwa Akufo-Addo of Ghana has been a powerful champion of formalizing this return, exemplifying ancestral wisdom through hindsight, foresight and example.
Sankofa ~ an Akan word which contends that: “In order to move forward, you must return to reclaim that which may have been lost, forgotten, or stolen” ~ is symbolized alternatively in two adinkra…
Africa’s children are star-seeds within a time-space continuum that has been lost, forgotten, stolen, hijacked through slavery, colonialism, apartheid… and the subsequent self-entitled narratives of her antagonists. Indeed “2019” is a Gregorian year, based on Vatican manipulations (via Pope Gregory XIII in 1582) of time, space and human consciousness. Sophisticated understandings of time, and linkages with nature, the divine feminine, and the cosmos existed in ancient Egypt prior to the Greco-Roman worlds re-ordering of it.
The main western calendar is a reformation of the Julian calendar – after Julius Caesar, whose name remains on the Gregorian calendar as the month of “July”… followed by August, named after Roman Emperor Augustus. Weekdays of the western calendar similarly invoke Roman gods and their planetary associations: Sun day (Sunday); Moon day: Fr. Lundi / Sp. Lunes (Monday); Mars day: Fr. Mardi / Sp. Martes (Tuesday); Mercury day: Fr. Mercredi / Sp. Miércoles (Wednesday); Jupiter day: Fr. Jeudi / Sp. Jueves (Thursday); Venus day: Fr. Vendredi / Sp. Viernes (Friday); and Saturn day (Saturday).
In other words, humanity has been living in the colonized space-time frequency of elite western patriarchs. African life in particular has suffered under the shackles of this homosocial and false matrix. The Year of Return in 2019 has felt like the authentic beginnings of a dismantling of this Eurocentric order and the resurgence and ascension of a pan-African consciousness. This is conveyed through Nsoromma (“children / stars of the Heavens”) and Fawohodie (“freedom, independence, emancipation”), the adinkra chosen to symbolize spiritual consciousness during this momentous Year in Ghana. Translated as “what is lost in the sea is returned by the waves,” the symbolically-colored waves in the Year of Return logo additionally encompass Sankofa…
December 21st, 2012 – exactly seven years ago on the Gregorian calendar – was a date predicted by some to mark the dawning of the Age of the Water Bearer, called Aquarius and depicted in the west as a Euro-patriarchal harbinger of New Age consciousness. So… more of the same in terms of who colonizes and controls the human narrative [*sigh*]!?! In Africa, the Water Bearer has always been a divine feminine representation for various reasons connected organically to nature and divine order. An alternative depiction of the feminine dominion over the waters is Mami Wata, revered by several million spiritual followers from Ghana all the way to the Congo. Often depicted in the form of a mermaid, Mami Wata almost always holds a looking glass.
The looking glass is an intriguing puzzle piece when it comes to understanding African concepts of mirroring in the theater of oral-aesthetic or ancestral timelines. For example, December 21st, 2012 hasn’t yet occurred in the Horn of Africa, where today [December 22nd, 2019 on the Gregorian calendar] is April 12th, 2012 on the 13-month Ethiopian calendar which traces back to the ancient Egyptian calendar. There’s a seven/eight-year lag between the 12-month Gregorian and this African timeline, owing to alternate determinations of the date of the annunciation of the Messiah’s birth. (This lag would also push the “December 21st, 2012” Age of Aquaria launch to August 27th, 2020 Gregorian time. See Calendar Conversion link)
Upon the inner walls of Ipet Resyt – “the southern sanctuary” built for God/dess consorts Amun-Mut known today as the Luxor Temple in Egypt – lies the 1350 BCE blueprint of this “Annunciation.” According to John Anthony West [click picture for video: link @ 1:17:20], surrounding transcriptions of the communication depicted taking place between Amun and his consort, goddess Mut indicate that, in this conversation, Amun is informing his beloved that she will give birth to a divine son/savior. Roman-Catholic appropriations of this depiction in biblical accounts are presented as the angel (“Gabriel”) announcing that a virgin (“Mary”) will conceive and become the mother of a divine savior (“Jesus”) who is the son of God. Furthermore, the propagandized image of the Vatican’s “Jesus” is said to be modeled on Cesare Borgia, son of Pope Alexander VI. “Lacking images, men invent idols…. Better to found images on realities that lead the true seeker to the source” [proverb from Ipet Resyt].
Enkutatash (“gift of jewels”) – the Amharic word for the Ethiopian New Year – occurs on September 11th of the Gregorian calendar, except for leap years when it occurs on September 12th. The Eritrean Orthodox Tewahedo Church uses a calendar identical to the Ethiopian for its liturgical year. On the Eritrean Ge’ez calendar, New Year is called Ri’se Awde Amet (“Head Anniversary”). The Ethiopian Enkutatash tradition comes from a time when the Queen of the South was showered with gifts of jewels (enku) upon her return from Jerusalem where she’s said to have made her legendary visit with King Solomon. This visit began the Solomonic line from whence hails Emperor Haile Selassie [July 12th, 1892 – August 27th, 1975 Gregorian]… the Messianic Lion of the Tribe of Judah in Rastafari spiritual consciousness.
In hindsight and with some authentic insight, perhaps the Year of Return is calling all of us (rather than a single “savior”) to an ascended re-membering of and return to UbuNtu …our Africa-centered unity-consciousness that has always said “I am because we are…”
“The kingdom of Heaven is already within you; if you understand yourself you will find it…” [proverb from Ipet Resyt]. Hindsight, Insight, and/or Foresight… It’s my wish that 2020 [Gregorian] or 2012-13 [Ethiopian] will lead to greater self-clarity and humanity’s Higher Ascension… Happy Sankofa! ❤ ❤ ❤
“Only the black woman can say ‘when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole …race enters with me.’” [Anna J. Cooper, 1892] Dr. Anna Julia Cooper was born into slavery on August 10th, 1858 [d. 2/27/1964]. An activist during her life, Cooper triumphed over race and gender barriers to become a prominent scholar, educator, author, sociologist, and speaker. She received her education at St. Augustine’s University (NC), Oberlin College (OH), Columbia University (NY), and the University of Paris (Sorbonne) where, in 1924, Cooper became the 4th African-American woman to earn a doctorate with her Ph.D. in history. Author of the 1892 book A Voice from the South, which became a classic black feminist text, Cooper is often referred to as the Mother… or Matriarch of Black Womanism. Read More