The Galactic Codex

NOTE: The Galactic Codex (paraphrased and reprinted here from various Internet sources) purportedly represents the legal basis for all actions of The Confederation of Light, a collective body said to be made up of this [“Milky Way/Maziwa Mkuu…”] & other galaxies. The Confederation asserts that their Codex is not meant to be a rigid set of external laws but rather meant to represent a systemized code of inner ethics… one that all beings of Light accept with their free will to the extent that it reflects their “inner truth,” allowing a “hostage” planet Earth to finally become liberated from the “Dark Forces.” As with all information from unverifiable sources, use your true inner & highest discernment. [See my ***AFTERTHOUGHTS below & in comments]

Planet Earth is the last planet in this universe under the occupation of Dark Forces, the last relic of galactic wars that raged throughout the galaxy for millions of years. As the Galaxy was being liberated from the grip of Dark Forces, the Forces of Light have been evolving from a military force created in the urgent need to defend basic liberties of sentient beings towards a harmonious galactic and cosmic society. As beings within the Galactic Confederation have evolved spiritually and made their alignment and union with the Ascended Masters, they have discovered an inner codex that regulates all inter-relationships between beings of Light and their relation towards the Dark Forces and occupied planets.

We will now state the Galactic Codex in a form that is understandable to an average awakened being in a human society.

SECTION 1 ~ THE LAW OF DIVINE GRACE 

Each sentient being has an inalienable and unconditional right to positive life experience. To explain “section 1” we need to understand that suffering and pain have no value in the enlightened Galactic society liberated from the influence of Dark Forces and other aspects of cosmic anomaly. To value pain, suffering and sacrifice as a part of the growth experience was a part of the programming from the Dark Forces in order to enslave the population of the occupied planets more easily. 

Unconditional positive life experience of every sentient being in the liberated universe is guaranteed from the inner connection of every living being with the Source; and strengthened by the power of the Ascended Masters over matter which allows them to assist all living beings in their aspirations towards the Source and provide them with necessities of life. Life was never meant to be hard work and struggle but rather a journey of joy and creativity.  

Different subsections of ‘Section 1’ regulate all life in a liberated universe and all relationships between beings of Light so that conflicts never need to occur. Let us explain the subsections: 

Section 1: subsection 1 – Each sentient being has an inalienable and unconditional right to physical and spiritual abundance. This subsection guarantees a positive life experience for every being in the liberated universe. The Ascended Masters provide for all necessities of living and for physical and spiritual richness and beauty using the power they have over the redeemed matter of a liberated universe.  

Section I: 2 – Each sentient being has an inalienable and unconditional right to Ascension. This subsection explains how the Ascended Masters use their advanced understanding of spiritual technology of Ascension, and by utilizing the Electric Fire of redemption assist all beings that free-willingly choose Ascension. 

Section I: 3 – Each sentient being has an inalienable and unconditional right to merge with other beings in proportion with his/her position in the Soul Family mandela. This subsection is an instrument of regulation of all relationships inside a Soul Family. It guarantees the merging of beings of opposite polarity (twin souls, soulmates) and alignment of all other beings regardless of their state of development and outer conditions. 

Section I: 4 – Each sentient being has an inalienable and unconditional right to all information. This subsection is a guarantee that all beings receive all pieces of information they need to understand their role in the universe, greater perspective of evolution and all other pieces they need for their decisions, growth and wellbeing. All this data is provided by Ascended Masters or other beings that supervise the evolutions of various races and civilizations.  

Section I: 5 – Each sentient being has an inalienable and unconditional right to freedom. This subsection provides that every being has an unlimited potential of growth and life experiences. Since all beings in the liberated universe create only positivism, their freedom never opposes the freedom of other beings.  

SECTION 2 ~ THE LAW OF DIVIDING THE CONFLICTING PARTIES  

Each sentient being has an inalienable and unconditional right to be divided and protected from the negative actions of other sentient beings. This section regulates the conditions in those sections of the universe that have just been liberated from the influence of the Dark Forces but that have not yet been accepted in the Confederation. It requires that the Forces of Light always divide the parties in conflict to protect them from producing mutual harm to each other. Then the Light Forces mediate the conflict until it is resolved. This section is often used to end wars and other armed conflicts.  

SECTION 3 ~ THE LAW OF BALANCE 

Each sentient being that has chosen to live and act against the principles of the Galactic Codex and refuses to, or is not able to accept them now and balance the consequences of the past actions will be taken to the Central Sun, restructured into the basic elemental essence and begin a new cycle of evolution afresh. This section regulates the relations between the Forces of Light and the Forces of Darkness. When defeated, beings that belong to the Forces of Darkness are given the opportunity to accept the Galactic Codex, do the best they can to correct the mistakes they made and to live positively afterwards. If they accept, they are forgiven and join the Confederation. If they are unable or unwilling to accept, they are taken to the Central Sun, their personalities and soul essences are restructured with the Electric Fire and their divine spark begins a new cycle of evolution.  

SECTION 4 ~ THE LAW OF INTERVENTION 

The Galactic Confederation has an inalienable and unconditional right to intervention in all situations where the Galactic Codex is violated, regardless of the local laws. This section describes the policy of the Light Forces regarding occupied planets. The Confederation reserves the right to intervene in all areas, civilizations, planets or solar systems where the Galactic Codex is violated. It has the right to do so regardless of the position of the local civilizations about this intervention. It always has the right to use all peaceful means to education and regulation. If the critical mass of the Galactic Codex principles is violated, it has the right to use military force.  

Special cases are planets under direct occupation of the Dark Forces. The Dark Forces usually take the local population hostage to hinder the progress of the Forces of Light. On Earth they have threatened with nuclear war [**] if the Light Forces would intervene. This is the main reason why the Light Forces have not yet liberated this planet (and not the so called “we-will-not-intervene-because-we-respect-free-will… we-will-just-watch-as-the-suffering-goes-on” nonsense). As in any hostage situation, this requires a lot of skillful negotiation and tactical approach. This situation is now being resolved, and planet Earth will be liberated soon. 

Section 4: 1 – Each sentient being has an inalienable and unconditional right of calling upon the Galactic Confederation in need and the Galactic Confederation has the right to assist, regardless of local laws. This subsection gives a legal basis for intervention and assistance to all hostages of Dark Forces. The Forces of Light always do the best they can to assist and improve the living conditions of all sentient beings, even on Earth. The situation on planet Earth just indicates how much more power darkness has had over Light on this planet. Fortunately, this is changing now. 

Section 4: 2 – The Galactic Confederation has an inalienable and unconditional right to the implementation of the Galactic Codex and of conquering the areas of Galactic Codex violation with military force if necessary. This subsection gives a legal basis for the liberation of occupied planets with military force. The military forces of the Confederation remove or give assistance in removal of the representatives of the Dark Forces and set the hostages free. Then other Confederation forces guide the process of acceptance of the planet into the Confederation by instructing the local population.  

Perhaps some humans feel that the Confederation has no right to intervene and that humanity has the right to solve its problems by itself. This is simply not true. Many wars all over the planet and constant abuse of basic human rights have proven that humanity is not capable of handling its own situation. So, it is much better that it receives wise guardians to guide it. The Confederation will give assistance in replacing current masters of the puppets (Dark Forces) that humanity has invited long ago in Atlantis. Then the Galactic Codex will finally become the universal code of ethics throughout the universe and darkness will be no more.

***AFTERTHOUGHTS: 1492?…1619?…1884?… 1948?… Any other ‘SECTIONS’?… ** ‘Nuclear war’ threat = post-1930’s! Lest we forget: “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. Each instance puts their ‘Sovereign Psyche’ on display…” [Ezra Aharone, The Sovereign Psyche, 2016].

If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement” [Proverb from Ipet-Resyt/Southern Sanctuary of Amun~Mut]. #UbuNtu: I am, because we are…”  

Ancestral Timeline: 12/21/12

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 (in 2020) 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 Trinityand 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 Babylonin 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 HaileSelassie 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 12/21/12Amun May[a] we see further… 

“Shut This Down” ~ [P ft MJ]

Did you ever want to see that collab between Prince & MJ?! YouTuber Raphael Tavares delivers this mix of Pince’s “Shut This Down” [2015] as a soundtrack to MJ’s provocative moves in “Black or White” [1991]. Besides this mix being reminiscent of the “Bad” [’87] collab that didn’t happen between the two for reasons Prince gives in his 1997 Chris Rock interview with a wink-&-nod, Tavares’ posthumous rendering conveys a prophetic reading of the black panther‘s Africa-centered totemic symbolism & role …a whole nutha-level cultural narrative that’s resonant with current events, alongside Sopdet‘s journey in her zodiac today. [+++ Check out P covering MJ/J5 below… Yaasss 2 the Sista-power!!!]

Posted in honor of African-American Music Appreciation Month – observed in the United States during the month of June since 1979 under the presidency of Jimmy Carter. The first and last years of Barack Obama’s presidency saw the transitioning of the two African-American musical giants: Michael Joseph Jackson [6/25/09] & Prince Rogers Nelson [4/21/16]. RIP… Don’t get lost in the forest…
Presidential Proclamation — African-American Music Appreciation Month, 2016

AFRICAN-AMERICAN MUSIC APPRECIATION MONTH, 2016 

BY THE PRESIDENT OF THE UNITED STATES OF AMERICA 

A PROCLAMATION 

A vital part of our Nation’s proud heritage, African-American music exemplifies the creative spirit at the heart of American identity and is among the most innovative and powerful art the world has ever known. It accompanies us in our daily lives, and it has rung out at turning points in our history and demonstrated how our achievements as a culture go hand-in-hand with our progress as a Nation. During African-American Music Appreciation Month, we honor the artists who, through this music, bring us together, show us a true reflection of ourselves, and inspire us to reach for the harmony that lies beyond our toughest struggles. 

Songs by African-American musicians span the breadth of the human experience and resonate in every corner of our Nation — animating our bodies, stimulating our imaginations, and nourishing our souls. In the ways they transform real stories about real people into art, these artists speak to universal human emotion and the restlessness that stirs within us all. African-American music helps us imagine a better world, and it offers hope that we will get there together. 

This month, we celebrate the music that reminds us that our growth as a Nation and as people is reflected in our capacity to create great works of art. Let us recognize the performers behind this incredible music, which has compelled us to stand up — to dance, to express our faith through song, to march against injustice, and to defend our country’s enduring promise of freedom and opportunity for all. 

NOW, THEREFORE, I, BARACK OBAMA, President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim June 2016 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and foster appreciation of music that is composed, arranged, or performed by African Americans. 

IN WITNESS WHEREOF, I have hereunto set my hand this thirty-first day of May, in the year of our Lord two thousand sixteen, and of the Independence of the United States of America the two hundred and fortieth. 

BARACK OBAMA 

“She Gave Her Angels” ~ Prince

And now I’d like to turn your heart to a tale of sheer delight
A song of adulation, love and fear
No one loved him better, no one better sacrificed
She gave her angels that summer night
❤ ❤ ❤
Fate as she designed it took her from her man
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)
❤ ❤ ❤
She gave her angels to a man because her man had none
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)
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Mother Tree

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

When Doves Sing… Musings

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] ❤ ❤

The Womb of Time ~ Dendera

DENDERA ZODIAC

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; AtumLeo; Auset Virgo; scales of Ma’atLibra; KhepraCancer; 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 SopdetHathor’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 sistrumsrattles 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/uterusco-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 Aquariusthe Golden Age […UbuNtu]

DENDERA LIGHT

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  

Nile Guardians of The World Temple

The longest river on EARTH flows unlike any other ~ from south-to-north. Out of the sentient HEART of Africa and birthplace of humanity, the Nile River travels well over 4,000 miles through 11 African countries: Kenya; Tanzania; Uganda; Rwanda; Burundi; Democratic Republic of the Congo; Ethiopia; Eritrea; South Sudan; Sudan; and Egypt. A Kiswahili term for these countries is Nchi za Maziwa Mkuu – meaning ‘countries of the Great Milk’ or EARTH‘s ‘Milky Way’… Its 2 major tributaries, the White and the Blue Nile, meet in Khartoum, and then flow together as the Nile River confluence into the Mediterranean Sea.   

Once the earthly domain of Divinities, Africa’s land of temples and pyramids in the northern deserts is regarded as the Gift of the Nile. As one Divinity proclaims: “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 then laments a time when this heaven-on-earth Nile civilization will become “filled with strangers” & “widowed of the Gods” : “To thee I cry, O most sacred River, to thee I announce the coming doom!… Egypt, once the holy land beloved of the Gods and full of devotion for their worship, will become the instrument of perversion, the school of impiety…”

It’s not clear what point in time Djehuti’s fore-warnings were specifically targeting, or whether the impact of colonialism in Africa should be seen as an outcome of his Nile Valley prophecy. Ethiopia (then Abyssinia with current-day Eritrea), under Emperor Menelik II, successfully resisted colonization by Italy during Europe’s craven “Scramble for Africa” rubberstamped at the 1884 Berlin Conference. Britain played a significant role in exploring, exploiting and claiming sovereignty over humanity’s womb in the HEART of Africa, colonizing this sacred space through ‘divide-and-rule’ parasitic arrangements. Not only is the source of the White Nile still named after Africa’s Victorian-era adversary, but current Nile River conflicts about water-security are tangled up in old bilateral agreements with Egypt and Sudan, designed in Britain’s self-serving interests against the Eurocentrically-divided continent.

The Grand Ethiopian Renaissance Dam [GERD] – a hydroelectric powerplant in construction since 2011 on the Blue Nile (the reported source of 85% of Egypt’s water) – has become a flashpoint between the two countries. Egypt is a dry desert country with a growing population that has always been heavily reliant on the “gift(s) of the Nile” as its primary resource for water, electricity, agriculture, spiritual moorings, etc. Some Egyptologists have suggested that during Egypt’s era of Divine habitation, the ancients were familiar with this sacred river only as far south as Khartoum where the WhiteBlue Niles meet in present-day Sudan. Whether or not African Divinities possessed such limited knowledge about their land, Egypt’s current stance is that GERD violates treaties they and Sudan entered into with Britain in 1929 & 1959 respectively, which guaranteed Egypt a majority share of Nile waters.

For hundreds of years, Ethiopian rulers in the south knew of their powers to divert the waters of the Nile River. Egyptians argue that this will be the impact of the Ethiopian dam on their future, thus the reason why they should maintain veto powers and all other privileges of their bilateral treaty with Britain. Other former European colonies in the Nile region argue that they cannot be held to such treaties since they were not parties to them during Britain’s imperial rulership. Tanzania rejected the treaties at Independence in 1961, and Ethiopia has since argued against both treaties [1929 &1959] as being outdated, not to mention divisive and dismissive of Africa’s regional makeup, history and needs. [ARTICLE: ‘The AU Needs to Resolve Ethiopia’s Dam Dispute‘]

As the current US administration helps Egypt, Ethiopia, and Sudan broker a resolution, it is unclear whether Africa’s ancient Nile Guardians are at this same table…

KHNUM – one of the earliest deities from Egypt’s pre-Dynastic period [- 3150 BCE] – was known as God/Guardian of the Source of the Nile River. The Nile River was the sacred earthly font of the Egyptian Mysteries and of subsequent derivatives within the major religions of the world beyond. Life throughout the Nile Valley was regulated and sustained around the river’s annual flooding which also brought silt and clay with its waters. Khnum earned the titles “Divine Potter” and “Lord of Things Created from Himself” by molding the river’s clay into human figurines and other objects at his signature potter’s wheel.

Other theophoric names capturing his significance included Khnum-Khufwy (meaning ‘Khnum is my Protector’), the full name of Old Kingdom Pharaoh Khufu under whom the oldest of the Seven Wonders of the Ancient World the Great Pyramid of Giza  – was built [completed in 2560 BCE]. The Giza pyramid complex was deliberately constructed to be in precise astronomical alignment with the heavenly constellation belonging to Divine Hunter & Fertility God, King Ausar (and his Consort, Queen Auset) whose legendary heaven-on-earth reign was disrupted by Set god of chaos, violence, perversion & foreign oppression… 

A story told on the Famine Stele of the Ptolemaic Dynasty (332-30 BCE), illustrates the correlation between Nile God Khnum and the well-being of the Nile Valley peoples. During the reign of King Djoser (c. 2670 BCE) when Egypt was struck with famine, Khnum appeared in Djoser’s dream to register his displeasure at the fact that his shrine on the Nile River island of Elephantine had fallen into disrepair due to neglect. Djoser’s vizier, Imhotep, advised the king to travel to Elephantine to verify the dream and make any necessary amends. Satisfied with King Djoser’s follow-through, including subsequent renovations of his temple shrine, Khnum lifted the famine and fertility returned to Egypt.

Elephantine (in the River Nile’s 1st cataract & city of Aswan) and Esna (further north) are the two principal Nile River sites where temples were built for the worship of Khnum. In Edfu and Esna, hieroglyphic inscriptions refer to Khnum as ‘Foremost of the per-Ankh [House of Life].’ This high recognition was one he shared with Goddess Seshat who worked closely with Djehuti, God who decreed Nile Lands as “the Temple of the World” and prophesied Set‘s disruption of Divine Order… Heaven-On-Earth… the World Temple. The per-Ankh were learning centers attached to ancient Egyptian temples where knowledge, aligned with nature and the cosmos, was considered sacred and taught by Priests of ReInitiates of the ancient Mysteries

Elephantine – where Khnum’s southernmost worship center was located – demarcates the ancient boundary between Upper Egypt & the Kingdom of Kush which, according to historical records, took over Egypt from 760 to 656 BCE. However, this location is not the “source of the Nile River” as distinguished in the Papyrus of Hunefer (according to some scholars) – copied from the ancient Book of the Dead – which states… “We came from the beginning of the Nile where God Hapi dwells, at the foothills of The Mountains of the Moon”. Hunefer, owner of this papyrus/paper, was a steward of Pharaoh Seti 1 during the 19th Dynasty [c. 1300 BCE]

“We…” refers to Africans in the northern Nile Delta region

“…beginning of the Nile…” refers to the Great Lake estuary & African HEART… WOMB… [southern Nile region SOURCE]

“…Mountains of the Moon” are the Rwenzori Mountains bordering present-day Uganda & DR Congo.

“…Hapi” was a pre-dynastic Nile fertility God who depicts the North-South bonds of the region in the tying together of Nile Delta papyrus and Nile Source lotus plants. Like the Ankh [“Key of Life”] Hapi‘s hermaphroditic features by extension also represent the sacred union between divine masculine and feminine. The life-bringing inundation which has always sustained Nile Valley civilizations is EARTH‘s celebration of this renaissance” …an annual [re]union referred to as theArrival of Hapi.’  This event – always heralded by the return of Sopdet (celestial Nile Star of the African goddess) to the night skies – was ritualized annually between God/dess Amun/Mut within the sacred compounds of their Karnak‘ and ‘LuxorTemples in the legendary, communally-celebratedOpet Festival.’

Ipet-Resytthe ‘southern sanctuary’ of God/dess consorts Amun/Mut along the Nile banks – is a temple [‘Luxor‘] whose unique architecture was strategically designed to resemble a human figure in repose. One of several proverbs written on its interior walls states: “Routine and prejudice distort vision. Each man thinks his own horizon is the limit of the world.” Another proverb says: 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.” Humanity’s SOURCE/HEART should by now be awakening from impositions of Britain’s Victorian-era exploits of Africa’s material wealth as its own and, by extension, the prejudicial routines of predatory foreign interests… should be reclaiming its organic Ma’atrix & setting its own horizons with Heaven-centric &/or enlightened 2020 vision.

Sankofa an Akan saying from Ghana – contends that: “In order to move forward, you must reach back to reclaim that which may have been lost, forgotten, or stolen.” Visionary proponent of pan-Africanism, Osagyefo Kwame Nkrumah stated in 1960: “We face neither East nor West: we face Forward”…

Other proverbs from Ipet-Resyt (Amun/Mut’s Luxor Temple on continental Africa’s Nile Valley side) state: “Your body is the temple of knowledge… The Kingdom of Heaven is within you; and whosoever shall know themselves shall find it.

Amun àṣẹ Let There Be Light  

She of 7 Points

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 is said to have been 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 Europatriarchal 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 today, which has been characterized as ‘aggressive’ by communication scholars such as Marshall McLuhan. Compounding this concern was the Gutenberg Bible which began the age of printed books in the West, thereafter facilitating the mass-production and global reach of select Africa-sourced narratives told through propagandistic Euro patriarchal storying. 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 7-8 years in arrears of the upstart Europatriarchal calendar. The Gregorian calendar (after Pope Gregory XIII) – a reformed Julian calendar (after Julius Caesar) – forms the basis of the main western calendar. 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 Unity-conscious Age of UbuNtu/Ma’at/Aqua 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 SeekerGenesis 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? Truth 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 to 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 (Statue of “Liberty”) timelines… ‘entry’- vs. ‘exit’-portals… Mother Earth’s organic Prime MeridianThe mystery of Seshat is key to how we navigate the spaces between worlds in our Healing/Ascension Journey… decode the Song of Songs through Her Drum Circle 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 Aqua / Golden Age / Heaven / Zionreturn to UbuNtu/Ma’at…

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.” 

Sankofa ~ 2020 Foresight

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!

When & Where I Enter

“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