The “KING TUT: Treasures of the Golden Pharaoh” tour ends its world premiere today [January 13th, 2019] before moving on to Europe and eventually back to Africa where the exhibition will remain permanently at the Grand Egyptian Museum in Cairo. Since March 24th, 2018, the California Science Center has been hosting the only scheduled US exhibition of over 150 personal belongings from 18th Dynasty King Tutankhamun’s 3,300 year-old burial site that were among those removed after the 1922 European discovery and raid of his tomb in Africa’s Valley of the Kings, west of the Nile River. Each of King Tutankhamun’s burial artifacts are presented in the exhibition as narrative pieces of the pharaoh’s quest for immortality as he journeyed through the underworld after his death at the young age of 19 to find his place in the afterlife.

Of the several culturally-significant pieces in the exhibition, two are particularly striking:

1. King Tutankhamun’s gilded ankh-shaped mirror case ~ One of the best-known ancient symbols that is often depicted in the firm grip of a Khemetic deity’s hand is the ankh. With its feminine oval and masculine crucifix, the ankh represents what the ancients regarded as the key of life. When used in hieroglyphic writing, the ankh may mean “mirror,” “floral bouquet,” and/or “life.” Several ankh-shaped mirrors were created in ancient times and, like the one now missing from King Tut’s belongings, were thought by many to reflect eternity. Mirrors were believed to possess magical properties which would respond to the user’s intent, ranging from superficial vanity [Old-School ‘selfies’?] to revelations of the light/shadow afterlife from the reflected physical prism…

Click to hear “Be My Mirror” by Prince [unreleased track]

The Khemetic mirror thus potentially became an imaginative portal to the multi-dimensional realms expressed in the words “as above, so below… as within, so without” – words which are also reflected in proverbs from Amun~Mut’s temple: “All is within yourself. Know your most inward self and look for what corresponds with it in nature… Men need images. Lacking them they invent idols. Better then to found the images on realities that lead the true seeker to the source… The key to all problems is the problem of consciousness… The Kingdom of Heaven is within you…” The Festival of Lanterns honoring Goddess Neith involved the burning of oil lamps through the night to create a reflection of heaven on earth… a scene depicting a feminine portal opening, or a parting of the veil between mirrored worlds. Similarly, Goddess Seshat – dressed in her signature panther-skin dress – is known in her own right as the “opener of Heaven’s door.” Thus the key of life [‘ankh’] in essence infers the creative interplay between multidimensional and complementary creative forces – within/without… above/below – which in turn confer special standing upon rulers in the earthly realm such as King Tutankhamun.

Tut’ankh’amun was originally named Tut’ankh’aten [“living image of Aten”] after his father Akhenaten, the controversial King who upended Khemet’s centuries-old religious system in Uaset [Gr. ‘Thebes’], to the worship of the singular sun disc Aten from a new religious center in Amarna. Following Akhenaten’s death and a brief intervening period of rule by two pharaohs, aided by powerful advisers, the 9-year-old prince ascended the throne his father had held. During his own 10-year reign, the young pharaoh reversed his father King Akhenaten’s legacy by restoring Khemet’s long-standing god Amun to supremacy and its religious capital to Uaset. He then reaffirmed this allegiance by formally renaming himself Tut’ankh’amun – the name we’re most accustomed to, meaning “living image of Amun.” Thus, the king chose the image ‘above’ and ‘within’ that he wanted to mirror and/or to become as…

2. The King’s mode of underworld/afterlife transportation ~ The black panther depicted in this artifact from Tutankhamun’s tomb acts as a fascinating spiritual and cultural “mirror” between past and present. The biggest movie of 2018, Black Panther, was released in the month just prior to the “KING TUT: Treasures of the Golden Pharaoh” exhibition opening at the California Science Center. As I wrote in a previous post, the scene in the movie in which a presumed-dead King T’Challa journeys through the plane of his Wakanda ancestors… mirrors this specific rendering of King Tutankhamun whose other, signature golden image is itself a “death mask” – perhaps implying that his physical death was an illusion.

The fictional name ‘Wakanda’ in turn reflects the names of real-life kingdoms such as Buganda through which the source of the great Nile River flows, and from where powerful panther kings – entitled Kabaka – still hold sway. As the earthly mirror of the Milky Way in heaven [called Maziwa Mkuu in Kiswahili, meaning ‘great milk’] this sacred River is the true, nature-based Ma’atrix that gave rise to the spiritual-consciousness of ancient Nile Valley civilizations  such as Khemet and Buganda. Black panthers are a melanistic variant of the African leopard whose skin features significantly in the regalia of Kabakas and royalty of surrounding kingdoms in present-day Uganda, as well as in the dress of Khemetic deity Seshat – the above-mentioned “opener of Heaven’s door.” Conferring high status on the wearer, this skin [which may also lie beneath a royal leader’s feet] represents the musambwa or territorial spirit in the Uganda region who appears in the form of a panther/leopard and acts as a supernatural guide and protector of the kingdom…

The Baganda have a saying about their royals: A Kabaka does not die, but gets lost in the forest.” It alludes to their immortality and the possibility of return for those chosen ones who are able to find their way through the forest. Depending on how one examines the mirror/ankh, this ‘forest’ could metaphorically reflect the prophesied 400-year wilderness period [Genesis 15: 13-14] since enslaved Africans first set foot in America. The timing of Black Panther‘s release, T’Challa’s mirrored visual of King Tutankhamun’s crossed crook and flail which are symbols of the biblically-mirrored Great Shepherd – reflects this larger, multi-layered Savior narrative… A true visionary, Ryan Coogler re-links the cultural elements while critiquing the European world’s appropriations, e.g. through Eric Killmonger’s retort to the British Museum director: “How do you think your ancestors got these? Do you think they paid a fair price? Or did they take it… like they took everything else?” 

Now, as the “KING TUT: Treasures of the Golden Pharaoh” exhibition moves on from America for the last time, I can’t help wondering what happened to the King’s priceless mirror…?

May this Year of Return  reawaken humanity to its best reflection and most magnificent Heaven-on-Earth manifestations…

Woyaya – the catchy title song of the second album by Osibisa, a London-based Ghanaian and Caribbean Afro-pop band led by Teddy Osei – was released in 1971 and would frequently be heard in various settings throughout 1970-80’s Africa. By the time it was reissued in 2004 along with the self-titled first album [Osibisa], the song had been covered by musicians such as The 5th Dimension and Art Garfunkel [click on pics for music]. For many Osibisa fans, the uplifting expression “woyaya” has since come to literally mean “we are going…”

Woyaya [lyrics] ~ by Osibisa

We are going,
Heaven knows where we are going,
[But] we know within…
We will get there,
Heaven knows how we will get there,
[But] we know we will…
It will be hard, we know,
And the road will be muddy and rough,
But we’ll get there,
Heaven knows how we will get there,
[But] we know we will…
Woyaya… woyaye… woyaya… woyaye…!

The name “Osibisa” derives from osibisaba – the Fante word for a proto-highlife African rhythm. Interpreted in album notes and interviews as “criss-cross rhythms that explode with happiness,” Osibisa’s blend of African roots, Caribbean influences and foreign pop made them Africa’s best-known band and inspiration to struggling musicians for several years. However, music industry changes [punk, disco…] and Sunny Ade’s rise with his undiluted Nigerian juju music began to eclipse Osibisa in the 1980s.

The artistry which nevertheless helped Osibisa captivate the popular imagination and retain their global renown over the years is in the band’s logo and album cover art, thanks in part to English artist Roger Dean whose professional training included architecture. His art on Osibisa’s earliest albums became a signature style for the band [see gallery below] and a career breakthrough for him… a design Dean described as “credible African fairytale imagery” which features “flying elephants and not architecture.”

Though it’s not clear to me what the elephant may represent in Dean’s architecturally-trained artistic imagination, during my subsequent online research on this majestic animal I grew up as a neighbor to, I was astounded by my own new lesson… the elephant-as-artist. How completely ironic!

I grew up knowing my elephant-neighbor as a revered symbol of maternal strength, power, longevity, stamina, loyalty, cooperative spirit, wisdom, moderation, patience, happiness, clarity, dignity, status, and royalty. Elephants have been used in wars such as the one led by Hannibal, a General from Carthage, against Rome in 218 BCE. Legendary in Africa for their excellent memory, there’s a saying that goes “women and elephants never forget an injury.” As reported in the Scientific American, this adage has a basis in the fact that remarkable power of recall is critical to the survival of elephants. Studies conducted at Amboseli National Park in Kenya have demonstrated that elephant matriarchs in particular maintain and use their store of social knowledge for their family/community welfare. As a species, elephants are endangered because of the destruction of their environment, and the killing of them for their tusks which are traded on the illegal $$$billion ivory-market.

The emotional-awareness of elephants is highly advanced relative to other animals due to the superior development of their hippocampus from where they register and emote humor, compassion, and grief. They gather in groups to grieve the loss of a loved one who may even be of another species, exemplifying the unity-consciousness Africans refer to as UbuNtu… meaning “I am because we are.” When “elephant whisperer” Lawrence Anthony died in March 2012, for instance, two herds of elephants traveled over several hours through the South African bush to his house to mourn him. Things that make me go “Hmmm…”

…I can’t help wondering now how real elephants might react to the artistic fairytale depictions of themselves on Osibisa‘s album covers? The green reptilian in this apocalyptic composition looks like he’s about to get schooled on what time it really is by a winged pachyderm… an avenging savior-figure delivering a refresher course on Divine Feminine energy which, like elephants, are said to “never forget an injury.” Woyaya! Heaven knows…

Abundant blessings in 2019 and beyond ❤ UbuNtu

GALLERY OF SELECT OSIBISA ALBUM COVERS [1972 – 2009] :

 

 

“Nakumbuka” ~ The MA’ATrix Re-membered

kidnapping

“The Middle Passage” ~ Tom Feelings

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.Middle Passage MonumentHistorically, 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, Lest-We-Forget-Remembrance-Day-Facebook-Cover-Picturealthough 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.”november-11

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 [1957], 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-] maat

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-western 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. 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…” luxor

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 symbolPer-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.” aquariusResembling 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-matrix 3D system 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 waterhave not spoken scornfully; I have not behaved with arrogance…”  [Papyrus of Ani – c.1250BCE]prince symbol 

“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 – the parasitic system’s 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… ❤

“Every strand of American music comes directly from Congo Square,” musician and trumpeter, Wynton Marsalis once said of this national treasure – the historic birthplace of jazz and Rhythm-‘n’-Blues. Situated in what is now the Louis Armstrong Park in Tremé, the oldest African-American neighborhood in the tricentennial city of New Orleans – at 2.35 acres, today Congo Square measures approximately half of what it was in its heralded 19th century years.

New Orleans, Louisiana [NOLA] is a major US port whose strategic location facilitates the trafficking of commercial goods between the Gulf of Mexico and the Mississippi River system, which historically included trans-Atlantic cargoes of enslaved Africans. Congo Square was a gathering place Read More

Hymns to Amun

~ HYMN TO THE GOD AMON-RA ~ 
from the Boulaq Papyrus (XVIII Dynasty, 1552-1295 BCE)

“Praise to Amon-Ra
The Bull of On-Heliopolis, Prince of all the Gods,
The Good and Perfect God, the Beloved One, Read More

Ascension ~ “Black Orchid”

“…She has touched the farthest star
Her beauty speaks of what we are
And her freedom makes us free
Her now is in eternity, infinite to all that see
And her dreams have been achieved
Now there is a sound of laughter
Nature sings out her name
For the world to know her fame… 
~ Black Orchid ~” [Stevie Wonder – from ‘Journey Through the Secret Life of Plants’]

During the months of July and August, 2018 Mother Earth is responding to an amazing shift in the Harmonics of the Spheres. The Sun’s gravitational pull has aligned to one side of itself all of the planets in the solar system, each with their own unique frequencies. Read More

UbuNtu ~ On Owning Your Masters


“If you don’t own your masters, your masters own you.” On his B’Earth’Day [June 7th] in 1993, Prince changed his name to the unpronounceable Love Symbolof his recently released 14th studio album following disagreements with Warner Brothers [WB], the label which originally signed him in 1977. It was a public act of rebellion against WB’s restrictions over him and his prolific creativity. Likening their contractual relationship to one of indentured servitude or slavery, Prince explained: Read More

Mazisi Kunene ~ Creative Power

Mazisi Kunene – freedom fighter, literary icon, Africa’s poet laureate, and South Africa’s first poet laureate – was born in Durban, in the modern-day province of KwaZulu-Natal on May 12th, 1930. Kunene championed African oral traditions, conveying their inherent value in his writings which were originally in Zulu before being translated into other languages. Read More

Water Bearers & New Age Libations

“When the moon is in the 7th House… And Jupiter aligns with Mars… Then peace will guide the planets… And love will steer the stars… This is the dawning of the Age of Aquarius…” [Lyrics from “Age of Aquarius” by the 5th Dimension, 1969].

Humanity is said to be currently moving to its new astrological Age – an event which happens roughly every 2,000-plus years. We’re living through a transitional period Read More

Panther Kings, Barkcloth & Milk

From ancient times to the present day, Africa’s collective imagination has to one degree or another been influenced by the leopard as a symbol of its cultural and spiritual potency. The black panther is the melanistic color variant of leopards in Africa, so perhaps the phenomenal success of the movie of the same name can be used as a current barometer of that potency. North, south, east, west, and diaspora – the leopard is a powerful symbol of African warriors, sages, magicians, priests, gods, goddesses, queens, and kings. In West Africa, sculptures from Ife and Benin portray the leopard as a symbol of wisdom. This statue from ancient North Africa depicting King Tutankhamun riding through the underworld on the back Read More