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 & apartheid’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.” ❤ ❤ ❤
On May 25th (“5/25”) 2020, two recorded events made headlines in Africa’s northern Diaspora. Both were horrific in the degree to which they were racially-charged and played out from the standpoint of white privilege and callousness against black lives. One was a blatant attempt to provoke a potentially dangerous police-confrontation against an innocent bird-watcher (Christian Cooper) in New York’s Central Park; and the other which demonstrated that very potential when George Floyd lived his final 8m:46s under the knee of a Minneapolis police officer. Unfortunately, such horrific occurrences as these are not uncommon, and the long list of African victims goes back to the era of slavery whose evils live on and play out in toxic ways from that unexorcised and overly-policed space which nonetheless claims to be the land and home of the free and brave. Officially commemorated as Memorial Day, May 25th (in 2020) – the date of these occurrences and America’s unofficial start of summer – is, perhaps ironically, also observed as African Liberation Day… Read More
Amidst speculation in certain quarters about a great Return and global re-set around that event, I find myself longing for the organic frequency I imagine existed before the last great patriarchal re-set around a ‘matrix’ in the Mediterranean world. In Gregorian year 2022, a rogue virus and its variants continues to familiarize the entire world with the Greek alpha-bet in a way that tragically incarnates population control (eugenics?) wishes eerily expressed by the late Duke of Edinburgh, who’d originally been born into Greek & Danish royalty. And beyond the ‘cradle’ of 5th-century-BC-Athens, USA is currently in an existential struggle to assert its clout as the matured-version/standard-bearer of Democracy, despite its own unresolved foundational flaws. These transitional times in which everyone bears the karmic brunt of whichever forces agitate against humanity’s ascension out of the waning Euro-patriarchal Age of Pisces, adds a poignant weight to the meaning of UbuNtu – the BaNtu unity-conscious state of being that says “I am, because we are.” Furthermore, there is a larger understanding within this Africa-centered philosophy of the organic frequency Earth itself needs, to reclaim her most pristine alignment between the heavens, nature, humanity’s womb, and Temple of the World, as God Djehuti referred to Africa’s Nile Valley.
Tekhenu/Tkhn originated in ancient Africa as tall monoliths that were architecturally structured to rise from a square base, all four sides tapering upwards towards the pyramidion at the very top. The first tkhn reportedly came into being during Kemet’s Old Kingdom Period [c2613-2181BCE],1 a time when two of the greatest architectural Wonders and Mysteries ever – the Giza Pyramids and the Great Sphinx – were also erected. All were deliberately designed and installed to connect earth organically to heavenly powers, with associated mythologies, proverbs, etc. that would guide true seekers/initiates into ascending degrees of revelation about the Great Mysteries of the Universe such as death, resurrection, eternal life, & good versus evil. Read More
July 4th, 1776 – a day when America declared its Independence from British colonial rule under King George III – is celebrated annually as America’s official birthday. Astrologers have been mulling over this date in much the same way as they would over an individual client’s birth chart, in anticipation of the planetary return of Pluto in 2022. Often described as God of Death and Rebirth, Pluto is regarded in western astrology as Lord of the Underworld. Located at the edge of our solar system, Pluto will return for the first time – on February 22nd, 2022 – to the exact same position it was in during America’s “birth” in 1776, following completion of the planet’s full 246-year cycle. To astrologers, this Pluto Return has profound implications in terms of its attitude and behavior towards America’s realizing of promises. It’s an anticipated Judgment Day of sorts. Read More
In its eternal dance with Mother Earth, the Sun‘s southernmost reach at the Tropic of Capricorn causes a Summer Solstice within lands around and below the Equator. At this same moment, the Sun is at its greatest distance from the Tropic of Cancer, causing people in Earth‘s Northern Hemisphere to experience their shortest day and longest night of the year. Certain birds have flown South as the cold-shouldered Winter Solstice arrives in the North. In Latin, the term Solstice comes from the words sol – Sun, and sistere – to stand still. While southern climes begin to enjoy their longer days, to Northerners the Sun appears to have stood still as their days noticeably shorten and their lands fall into a deep wintry sleep.
This death-of-sorts is a 3-day transitional/mourning period which ends on December 25th. Northern Hemisphere traditions were created to then RELEASE and celebrate the “Resurrection or Birth of the Sun” on this post-Winter Solstice date that marked the shift in Earth’s seasons. According to scholars, Christianity personified this annual solar activity by creating a Euro-patriarchal savior-figure whose “official” birth-date was then configured to correspond to the climax of this 3-day drama [see “CAESAR’S MESSIAH:…” link @43:00].
Cycles of the sun have naturally been important in the planting and harvesting calendars of agricultural communities on both sides of the Equator. The inverse (longer days and shorter nights) occurs in the Northern Hemisphere with the Summer Solstice in June, when the Sun reaches its northernmost point from the Equator at the Tropic of Cancer. And then in between the Winter & Summer Solstices at the Spring & Fall Equinoxes (March & September), when day and night become approximately equal in length. The Eternal Dance is cosmically-calibrated.
The Equator, & both Tropics of Capricorn and Cancer are key ley lines which demarcate and help choreograph the S-N energies of Earth‘s seasons throughout the year/world. All run latitudinally [E-W] across the African continent versus the longitudinal [N-S] Prime Meridian which demarcates east from west, and sets the world’s official time-zones [Greenwich Mean Time – GMT] from England (one of 3 European Prime Meridian countries) even though longitude-zero also runs through the African countries of Togo, Ghana, Burkina Faso, Mali and Algeria. Rather than Eurocentric/colonial/imperialist reference points, the Nile Valley, which is characterized by God Djehuti as the “Temple of the World,” may provide better understanding of what the more optimal/holistic navigational settings may be for humanity/Mother Earth vis-à-vis Her related Heavenly bodies and observances. Which is why the two televised pageants that took place in Egypt (one of Africa’s Tropic of Cancer countries) that ran at strategic moments during this Gregorian calendar year of 2021 should be of note to all:
#NOMORE is the recent global African cry for RELEASE from the continued plundering of the Motherland’s spiritual, natural, human, and cultural treasures by enslavers, colonizers, architects of apartheid, and western propaganda machines with their neo-colonial pretenses of promoting “salvation” and “democracy.” It’s classic Set – god of chaos, the desert, storms, disease, violence and foreign oppressors – archetypal antagonist in Kemetic mythology. “#NOMORE!” – the rallying cry of Heru (archetypal protagonist & s/hero) was spurred against current western alliances with terrorists who are fighting against democracy etc. in Ethiopia. It’s ironic, given America’s own anti-democracy events of January 6th, 2021. As Africa’s oldest independent nation, Ethiopia has managed to repatriate some of its stolen artifacts from Europe, including (in 2005) one of her giant tkhn/obelisks that had been installed in Rome, capital of the country that failed to colonize her following the racist 1884 Berlin Conference.
Roman Emperors were fascinated by these symbols of African Divinity, and Rome currently harbors the most tkhns (13) in the world. Most were stolen from ancient Egypt, including the 320-ton “Vaticano Obelisk” (stolen from Alexandria by Caligula in 37AD) which now sits in St. Peter’s Square; and the 330-ton “Lateran Obelisk” – the largest tkhn in the world that was stolen by Constantine II from Ipet-Sut (“The Most Select of Places” – Temple of Amun at Karnak) – which now sits in Vatican City, Rome. So, does the emperor [Set] have clothes? We will see even clearer in 2022, Gregorian time…
Was “The Path of God” diverted? Was there some kind of terrible misreading of Kmt’s ancient Mysteries and symbols? Is the current ‘custodianship’ of African treasures part of the ‘mystery’ humanity needs to discover itself within? A proverb from Ipet-Resyt (“The Southern Sanctuary” – now Luxor Temple) advises: A phenomenon always arises from the interaction of complementarity. If you want something look for the complement that will elicit it. Set causes Heru. Heru redeems Set. Another proverb from the same temple advises: When the governing class isn’t chosen for quality it is chosen for material wealth: this always means decadence, the lowest stage a society can reach.
RELEASE… ❤ RELEASE… ❤ ❤ RELEASE… ❤ ❤ ❤
#NoMore #KnowMore #KnowThySelf #OneAfrica #UbuNtu #Ma’at #Asé ❤ Amun ❤ ❤ ❤
‘Nakumbuka‘ means ‘I remember’ in Kiswahili. November 11th has been recognized as ‘Nakumbuka Day’ by the Pan-African Associations of America since 1994 when the first ceremony was held at San Diego State University in California. It was set aside as a day to remember the African victims of the European enslavers, colonizers and agents of genocide whose horrendous acts created a bloody trail of devastation and left families on the continent unable to lay their grief to rest after several hundred years. It has been estimated that the Middle Passage claimed upwards of 60 million African lives, not counting the huge losses on plantations in Europe, the Caribbean, North-, Central-, and South-America. In seeking free labor to build its empires, European and American Capitalism’s emergence crippled a continent and its descendants socially, culturally and economically during the timelines of African slavery, colonialism, and now neo-colonialism.Historically, 11/11 marks the end of 20th-century hostilities during World War 1 between two main Western blocks: the Central Powers [Germany, Austria-Hungary, Bulgaria, Turkey…] vs. the Allied Powers [Britain, France, Russia, Italy, the United States…]. Their truce, an Armistice with Germany, formally went into effect on 11/11/11: the 11th hour of the 11th day of the 11th month of 1918 [100+ years ago]. In 1954, Armistice Day was renamed Veterans Day in the US, although 11/11 is observed in Commonwealth of Nations member states as Remembrance Day – aka Poppy Day – honoring veterans who died [8 million+] in this so-called War to End All Wars. WW2 followed in 1939 after “Germany, angry over war reparations imposed by rivals and eager for revenge, eventually turned to Adolf Hitler.”
Symbolically, the number 11 holds the dual vibration of Twins [Gemini], whose relationship acts as a barometer on the scales of Truth, Justice, & Balance [Libra] within this New Age we are said to have entered of Aquarius – the 11th House of the Zodiac. Helena Blavatsky and her disciple, Alice Bailey are credited with founding the so-called ‘New World Religion’ which, since its unofficial start on 11/11/11, has gained many New Age adherents. In The Externalisation of the Hierarchy , Bailey prefaced her New Age spiritual advocacy with an extensive critique of the [Europatriarchal] World Wars: “Intense nationalism… [a] separative outlook… [and] selfish interests have controlled the reasons for which every nation has entered this war…” [p. 373-]
Spiritually, 11/11 allows a sacred moment for grief over the harsh realities of war… lives lost which are formally given global remembrance from western stages. We ritually observe these post-war programs …our hearts made gentle through words, tears, bouquets, wreaths and lapel poppies, many worn in solidarity by non-European officials. Lest we forget, 40,000 African American troops of the 92nd and 93rd divisions saw battle during WW1 under French command. This distinction tends to be under-acknowledged in the self-indulgent discourse-of-power and narrative of a human community made ‘global’ through Europe’s wars, takeovers, and controlling narratives. Hopes for equal recognition in combat are marginalized alongside cries from slavery’s descendants for Reparations from the neo-colonial ‘matrix,’ as the intensely Eurocentric Poppy-Day program runs its annual sequel. Meanwhile, the spiritual free-quency of MA’AT-consciousness – Truth, Divine Order, Harmony, Balance, Justice, Reciprocity, UbuNtu… – will only be detained for so long as another casualty of war. At some point Africa’s cultural immune system has to recover from the induced state of sleep paralysis to reclaim its own narrative and sovereignty…
“MA’AT, who links universal to terrestrial, the divine with the human is incomprehensible to the cerebral intelligence… Peace is the fruit of activity, not of sleep… The key to all problems is the problem of consciousness… If you search for the laws of harmony, you will find knowledge… The best and shortest road toward knowledge of truth is nature… If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of Heaven is already within you; if you understand yourself you will find it… The body is the house of the God/dess. That is why it is said, ‘Wo/Man know thyself’… By knowing one reaches belief. By doing one gains conviction. When you know, dare… You will free yourself when you learn to be neutral and follow the instructions of your heart without letting things perturb you. This is the way of MA’AT…”
This selection of proverbs are from God/dess Amun/Mut’s Luxor Temple [pictured right], located on the east bank of Africa’s Nile River in Uaset. It is known as Ipet-Resyt, meaning “The Southern Sanctuary” which is connected via an Avenue of Sphinxes to the Ipet-Sut – “The Most Selected of Places” in Karnak, both dedicated to the worship of Amun-Re and His Godhood with Divine Feminine Consort, Mut. Per-ankh – “Houses of Life” were designated as spaces for education in such Khemetic temples because knowledge was considered sacred… a divine mystery of the balance between masculine and feminine co-creatives/Twins. Bound to nature and the cosmos for all time, these proverbial teachings are written in the stone [EWF] of Luxor Temple’s walls. “People need images. Lacking them they invent idols. Better then to found the images on realities that lead the true seeker to the source.” Resembling the human form in repose, the Luxor Temple’s unique design itself appears symbolically dedicated to resurrection and reparation of the sovereignty of truth, life & unity-consciousness… an architectural ‘body’ on Mother Africa’s Earth, poised as if to awaken and rise to Her Heavenly Twin.
In pop culture, this awakening is thematic to The Fifth Dimension’s 1969 ‘Age of Aquarius’ – prophetic anthem of a New Age which many believe dawned 42 years later, on November 11th, 2011 [11/11/11]. ‘42‘ is a number that is sacred to MA’AT, Goddess who serves to protect the world from chaos. [In today’s world this ‘chaos’ has occurred within the policed-state of an elite cabal’s Victorian/neo-colonial/false 3D matrix of control and mass-manipulation.] The Principles of Ma’at predate the ’10 Commandments’ as humanity’s oldest written sources of moral & spiritual instruction. Recorded in the Khemetic funerary Book of Going Forth by Day AKA Book of the Dead, these were based on 42 declarations made by Ani in the Hall of Judgment of his having lived in accordance with MA’AT’s principles, such as: “I have not done iniquity; I have not stolen; I have not made any to suffer pain; I have done no murder nor bid anyone to slay on my behalf; I have not spoken lies; I have not caused the shedding of tears; I have not dealt deceitfully; I have not lusted nor defiled the wife of any man; I have not caused terror; I have not done that which is abominable; I have not stopped my ears against the words of Right and Truth; I have not stirred up strife; I have not wronged the people; I have done no harm nor have I done evil; I have not worked treason; I have never fouled the water; I have not spoken scornfully; I have not behaved with arrogance…” [Papyrus of Ani – c.1250BCE]
“We’re in the feminine aspect now… That’s where society is… Men have gone as far as they can, right? …I learn from women a lot quicker than I do from men. …At a certain point, you’re supposed to know what it means to be a man, but now what do you know about what it means to be a woman? Do you know how to listen? Most men don’t know how to listen.” [Prince, 2014]
MA’AT‘s consort is DJEHUTI, the Magician archetype of the Divine masculine with whom the Goddess creates the Balance & Harmony needed to prevent the universe from falling into chaos and disorder. Symbolized by her hallmark feather, the Truth MA’AT has found in her aspect as AUSET [proverbial ‘True Seeker’ and wife of Khemet’s beloved King AUSAR who was mutilated when SET – god of chaos and disorder – usurped his throne] is key to humanity’s awakening and ascension to Heaven-on-Earth. During her seeking, AUSET hears the cries of the downtrodden, children, her beloved [now god of the afterlife]… and responds with compassion and wisdom as she awakens, ascends, dances, re-members… #11/11… #UbuNtu… #Auset/Ausar… #Hathor/Heru… #Ma’at/Djehuti… #Mut/Amun [#Uaset/Sah]… #Nakumbuka… ❤
Just.Beautiful. 💜 💜 💜 On a day when, as a daughter and sister, I give thanks for the precious and undying family bonds which continue to guide and sustain me from the infinite Beyond of our spiritual Being and Becoming… Thank you so much for sharing the message of “End of The Road” in your 6/7/17 commemoration and upload of this exquisite song, which continues to gift our ears and hearts with your warmly familiar and welcome Nelson Freequency, Tyka. 💜🕊️☮️
During America’s Underground Railroad era (1800-1865), Africans escaping slavery in the south knew through ‘map-songs’ that in order to Steal Away to Jesus, they’d have to Wade in the Water (to throw hunting dogs off their scent) and Follow the Drinking Gourd to freedom (“Jesus”). The Drinking Gourd was an African reference to one of the most ancient navigational settings between heaven and earth – the ‘Big Dipper’ constellation that pointed to the North Star and direction of their escape. Though there is considerable irony in African ancestral memory being masqueraded as Christian worship songs and the like, such survival tactics through traditional oral-aesthetic strategies had become necessary since the horrific Atlantic crossing when enslavers disabled the capacity of the captives’ communication infrastructure by destroying their musical instruments.
‘A LUTA CONTINUA’ (in English: the struggle continues) was the rallying cry of Africans fighting against Portuguese colonial rule in Mozambique. It originated during the armed struggle led by Dr. Eduardo Chivambo Mondlane, first president of the FRELIMO Liberation Front in the war for independence, who said, “We fight together, and together we rebuild and we recreate our country, producing a new reality – a New Mozambique, United and Freed. The struggle continues!” Following Mondlane’s assassination in 1969, Africans continued to rally around this slogan under the successive leadership of Samora Machel who went on to become the first president of an independent Mozambique in 1975. A luta continua is the unofficial national motto of Mozambique where the colonial language of Portuguese remains official.
A Luta Continua is the title of a song popularized by South African singer and activist, Zenzile Miriam Makeba – who is fondly referred to as Mama Africa. The song was written for Makeba by her daughter Bongi – from “Sibongile” (meaning “we are grateful”) – after she attended Mozambique’s 1975 independence ceremony.
By the late 1950s Makeba had achieved musical fame in South Africa, and her appearance in the 1959 documentary film Come Back, Africa attracted the interest of Harry Belafonte and others in America. Her singing and recording career reached new levels of success in the United States, where she introduced Xhosa and Zulu songs to Western audiences. Makeba’s activism included support of Kenya’s independence from British colonial rule, whereafter she and Belafonte became VIP performers at the Independence Day celebrations at the invitation of President Jomo Kenyatta.
Makeba was the only performer at the meeting in Addis Ababa that led to the formation of the Organization for African Unity. She also testified before the United Nations Special Committee against Apartheid, asking for economic sanctions and an arms embargo against South Africa’s National Party government. This activity, along with the increasingly political content of her music caused the apartheid government in South Africa to revoke Makeba’s passport and ban her music, whereafter she lived in exile for 3 decades. In 1964 she married trumpeter Hugh Masekela, a fellow South African in exile and protégé of Harry Belafonte. Masekela wrote the protest song Makeba performed entitled Soweto Blues about the 1976 uprising in Soweto.
The 1960s saw Makeba’s involvement with Civil Rights, anti-apartheid, Black Consciousness, and Black Power movements grow. She married Black nationalist Stokely Carmichael [Kwame Toure] in 1968 (divorced 1979) who relocated with her to Guinea in West Africa. Encouraged by Nelson Mandela who had just been released from his 27-year imprisonment by South Africa’s apartheid regime, Mama Africa returned and performed in her home country for the first time since her exile in 1991.
Known fondly as “Aunty Dorothy,” Dorothy Masuka is often credited with composing one of Miriam Makeba’s most well-renowned songs entitled Pata Pata. The two songstresses were contemporaries, Masuka being born in neighboring Zimbabwe [then Rhodesia] in 1935, about three years later than Makeba, before emigrating to South Africa at the age of 12. Masuka spoke of the spiritual sources of her musical inspiration that often came in dreams from an early age, one of whom was her maternal grandmother, a sangoma [a respected traditional healer]. From the start of her career, Masuka endeared herself to a wide audience but the political content of her compositions such as Lumumba (of Congo) and Dr. Malan (an anti-apartheid song) led to her exile following the apartheid government’s ban over her recordings. Masuka continued to campaign through song for African liberation during her exile in Malawi and Tanzania, inspiring many including Makeba. Her work entitled Mzilikazi paid tribute to one of Emperor Shaka Zulu‘s greatest warriors who founded the Ndebele people of Zimbabwe and South Africa.
❤ Mamas, Aunties & Sista-Queens who hold up half the sky… Thank You… Sibongile ❤
“Our Father which art in Heaven…” So begins the Lord’s Prayer [Matthew 6:9-13 KJV], depicted here in hieroglyphs from the middle-Egyptian era [-2100 BCE]. “…Amen” – the ending of the prayer which means “so be it” – further invokes the ancient deity Amun who was worshipped in two major temples located in Uaset on the east bank of Africa’s northward-flowing Nile River. God Amun, Goddess Mut, and Montu (son of the Annunciation) have the historical distinction of being the highly popular Triad of Thebes [‘Thebes’ being the Greek term for Uaset]. Ipet Isut – meaning “the most selected of places” – nowadays referred to as the Karnak Temple, is the Triad’s Northern sanctuary. Ipet Resyt – meaning “the Southern sanctuary” – nowadays referred to as the Luxor Temple, is the site of the Annunciation from Amun to Mut regarding Montu, the Divine Son She is destined to bear [click picture on the left for link @ 1:17:20].
“A house has the character of the man who lives in it” ~ This proverb from Ipet Resyt provides insight into religions which were later derived from such ancient Mysteries to the extent that latter-day belief systems did indeed assume the egoic character, cultural biases, and imperialistic agendas of Africa’s foreign patriarchal conquerors. As such, this prophetic proverb understates what would inevitably become Africa’s subsequent experiencing of the “religiously-justified” Euro-patriarchal ravaging of Her spiritual, natural, human, and cultural resources through slavery [1619-], colonialism [1884-] and apartheid [1948-]; desecrating the Nile Valley Temple of the World (per God Djehuti) and beyond, while deploying derivative religious texts to usurp God Amun‘s spiritual standing as Founding Father. His standing lives on in the emancipatory leadership of Africa’s latter-day fathers who have refused to be contained within the characteristically deceptive dictates of a predatory, yet parasitic, alien house. The false matrix. Below are words representing the resistance, wisdom & sovereign character of some of these African patriarchs: