Where are the diasporic en indigenus perspectives that honour Nana Buruku?

Kuna story najua, it’s about de earth en how it floats in space on de back of a kobe…en everytime someone tells de hadithi it changes, leo ni ya healing rituals kama ya kijiji yangu na ya Baba Malidoma Some na vijiji yake.

Hii hadithi imetoka The Healing Wisdom ya Africa…..

[Chapter 9] PREPARING FOR RITUAL
…One of de most striking tings that I have observed in conducting en participating in rituals with people in de West is de overwhelming baggage of assumptions that stand in de way of their involvement with ritual. Among these problems are de need for predictability en control en a fear of wot is actually going to happen. Reverence and trust that there is protecshun in de sacred space en an open mind willing to embrace all possibilities for healing are necessary before any ritual begins.

Almost everyone who has been involved in ritual with me agrees that ritual is like a journey. Before you begin, you own de journey; once de ritual begins, de journey owns you. My sense is that at de core of de problem for many Westerners is de desire to be in control, which is antithetical to ritual. To surrender de sense of control can be, for some, terrifying.

RITUAL FROM BELOW

…..Ever since Christianity unearthed de gods en goddesses’ en sent them far away above de clouds, many people in de West have been left standing on de ground feeling abandoned, staring longingly at de sky wondering when God will come. In contrast, indigenus people see de divine as arising from below. Indeed, de wahenga, who dwell under de earth en form a vast pool of energy, allow us to walk upon them. Thus de divine is right under our feet en directly connected to us through earth.

This perception calls for a significantly different attitude that encourages spontaneity en trust of one’s instincts, because it sees redemption en healing as rising like heat from de divine below. Ritual kwa hivyo follows an ascending principle, presuming that healing rises from under de earth en overtakes us.

In this context, spontaneity, improvisation, en even eccentricity are recognized as symptomatic of divine presence. No one can predict how an individual in whom Spirit has entered would behave, because no one really knows de behavioural psychology of Spirit. Kwa hivyo to expect attitudes en behaviour patterns similar to that which we are familiar is misleading….

Put simply, rituals are not, and cannot be, done mechanically. They require a level of involvement that is conscious en dynamic. It is de active participation of de people gathered that makes a ritual work. In part this means that one can’t approach ritual in an experimental or exploratory manner, for it may backfiya on you. It also means that it is betta not to do ritual at all than to do it badly. A bad ritual is one that resists the arrival of Spirit. It is one in which participants allow their own desires en preconceptions to compete with Spirit, particularly after inviting Spirits to come.

RITUALS AND SURRENDER

Participants need to understand that success in a ritual is proportional to de level of surrender that one can achieve. Because ritual is about change,  its success depends on how much change, en what change, if any, we are willing to invite. Modern culture is a culture of control. You are expected to be on top of tings, to take control en to show your command of IT. De result is often disastrous to de psyche. On de one hand, people show admirable dexterity in appearing cool. On de other hand, behind de sturdy look of a person perfectly in charge is often a soul adrift in a jungle of confusion en despair. A soul in despair is a soul denying access to de Spirit. A soul that dances with Spirit is a soul that has displaced ego en, in de interest of healing, has surrendered consciousness to Spirit.

Surrender is a difficult ting to achieve; it’s almost impossible to do it with words en discourse. The more de discussion about how to do ritual emphasizes surrender en letting go, de more conscious en unconscious resistance one generates. I have seen cases in which it took three days of painful en frustrating work to prepare people to truly attempt a ritual. This preparatory stage is most challenging because it opens potent issues of self-identity, integrity, protectiveness, en control.

As people begin to understand what ritual is, they realise their own ego has no place in it, that sacred space contains a tremendous amount of vulnerability. Then they begin to fear becoming lost in something that does not guarantee safety and security.


De latent mistrust of one another that exists among people does not help. In fact it makes people become more acutely aware of what de other may do to them if they lower their shield in de interest of healing en de other does not. In many ritual situations in de West, people have just met en have only had a few hours or days to get acquainted. De connecshun that develops in a few hours or a few days often does not go as deep as required to warrant de kind of trust that can carry people into a ritual space en promote healing.

But once inside a ritual, de ego is so vehemently challenged that it eventually collapses, leaving a person momentarily free to respond to Spirit spontaneously……Ase.

There’s a story I know bout Kwanzaa, en how it floats in history on the back of Maulana Karenga, standing on de shoulders of El Hajj Malik El Shabazz, Marcus Garvey, Sojourner Truth en their mamas. Na kuna hadithi nyingine najua kuhusu mama wa Kwanzaa, na leo hii tasfiri ni ya NIA.

Hadithi? Hadithi? Giza ya? (reposts from) The Healing Wisdom of Afrika

CREATION NA ELEMENTS TANO

For the Dagara, cosmology begins with de hadithi of creashun. In de beginning, there was no earth as we know it. In its place was a burning planet, a ball of fiya combusting at high speed. Kwa hivyo, moto is de first element of de Dagara wheel. Moto is present in everyting, en everyting needs moto. It was not until dis moving en burning sphere encountered a huge body of wota that tings began to change. Maji became de second element in de cosmological wheel. De shock resulting from de collision of moto na maji not only slowed de combustion process, but also chased moto into de underworld, leaving de surface as a hot steamy place, fertile for de breeding of all kinds of life forms. This surface, hospitable to life, is what is known as dunia/earth, which constitutes the third elemental principle of de Dagara cosmological wheel. The various hard components of de earth provide structure en connecshun en are known as mineral or mawe (stone), the fourth element in de cosmological wheel.

Meanwhile, a steam of great density formed de atmosphere around de dunia. (These images translate imperfectly into Western terms; think of them as poetic rather than scientific descriptions.) As de steam expanded, its pressure began to subside. The reduction of atmospheric pressure was conducive to de birth of maisha, en thus de fifth element, vegetative nature, came into being.

Maisha, as not only Dagara people but many others say, began underwota. Thus, every living form on de dunia got its maisha signature in de wotas en continues to live intimately with maji. It is as if de original encounter between moto na maji established de conditions for maisha by producing a nurturing environment.

Earth came to life as a result of de marriage between those two primal elements, en in turn Dunia brought forth mo maisha, which she continues to sustain.

[The idea that we all came from maji is important because it implies that maji ni maisha, a concept we will return to from Jan 20 -27 with students of Baba Malidoma Some na #To David With Love.]

As de pressure of de steam produced by de encounter of maji na moto continued to subside, beings that were conceived in maji looking like worms moved to dry land en continued to evolve. When de atmospheric pressure at last stabilised, de diversification of maisha slowed to an almost imperceptible state. Today, for instance, amphibious animals like crocodiles, sea lions, and seals are said to be beings that didn’t complete their journey out of maji. Their development was suspended when de atmospheric pressure stopped where it is today. On de other hand, beings who came out of de maji earlier evolved into higher-dimensional spheres, allowing them to move back en forth in time en space. They embody our future. Birds are considered among de most ancient animals because they moved kwanza from de maji to de land, then continued to evolve to flight. Some elders say that, if tings had continued to change, ndege

would have made it to other dimensions.

One might ask where this primal maji came from. De elders, from their spiritual understanding, would say that it came from de Other World en spilled into de dunia at a moment when de veil between de two worlds was thinned – the moment when de original Earth flew too close to de Other World. One might say that some kind of distortion occurred as de cool liquid Other World en de hot burning Dunia passed too closely by each other. De distorted space sucked maji out of de moist Other World en threw itself onto Dunia.

From this perspective, maji is de presence of de Other World on our planet. The element moto is the doorway to de wahenga, lakini maji is de doorway to de Other World, de kind of world that is referred to as de  world of de kontomble en de other nonancestral spirits.

This is why shamans can walk into de Other World through de waterways. Infact there are countless places in maji where these same veils still  remain active. These veils are umbilical cords, de gateways linking our world to others.

The connecshun to de ancestral world that is found in de element moto is different from de connecshun with other beings en other intelligences. De Spirits call de kontombli en de spirits of de wahenga do not live in de same place, they don’t share de same geography, yet they can communicate with each other……

One might wonder how other worlds to which our world is linked were created. Indeed, de Dagara cosmology does not limit itself to this earth world but touches on others. This is because our world belongs to a family of worlds without which it seems it cannot sustain itself. These Other Worlds were created in ways opposite to the way ours was created.

In de creashun hadithi, they came into being when their vast cool maji were hit by moto……….apparently, if de pressure of de atmosphere of our world had continued to evolve, it would have been easier for humans to journey into these worlds en back.

Therefore spirituality-our efforts to enhance en advance our contact with de world of Spirit – is seen from an indigenus perspective as de continuation of human evolushun……..

THE FIVE ELEMENTS AND RITUAL

Ritual is for de purpose of restoring balance, de essence of health, to individual en community. It serves no purpose to know de origin or functional meaning of these cosmological elements if de ultimate reason is unconnected to ritual. To de extent that ritual is born out of de understanding of de cosmological wheel, de elements are its molecular tools whose proportion to one another must be monitored en restored when needed. The procedure for dis is ritual.

Fiya rituals rekindle de connecshun to de ancestral moto en de moto within vision. Wota rituals cleanse en reconcile, restoring peace. Earth rituals ground en comfort, bringing a sense of nyumbani en belonging. Mineral rituals restore memory en light up a sense of knowing. Nature rituals restore de natural self en open us to de magic en wonder around us.

When a group of people gathers to conduct a ritual, in an indigenus context, people who embody each of de elements become de gatekeepers for dat particular element in de ritual en for de part of de ritual pertaining to that element.

As we’ve seen from posts of moons ago, a gatekeeper is a healer who by his or her nature is able to bridge this world of Spirit to be brought into de physical world. The gatekeepers of each element are those people whose genius, whose essential character, embodies de zawadis of that element. By virtue of de fact that you carry a certain zawadi, you are given a special relationship with de element from which that zawadi originated, en in this sense, you are a gatekeeper. You stand between de rest of community en that portion of the natural world that corresponds to your element en all that is represents symbolically…

Swagger

A person’s zawadis, when they emerge, make de carrier of de zawadi a servant to a particular gate, en because they are servant to that particular gate, we call them gatekeepers. Though every person embodies one element in particular, all elements must be present in each person.

Not only de Dagara people have developed this notion of gate keeping, of overseeing something vital to de healthy functioning of de community, in order to satisfy people’s innate desire to serve. By serving de gateway to an elemental aspect of de natural world, a person allows de qualities en resources that element represents to be brought to the community, giving de community wot it needs to blossom fully…….ase

There’s a hadithi I know. It’s about de earth en how it floats in space on the back of a kobe, na hapo zamani za kale pia watoto wa Gikuyu na Mumbi, walizaliwa kwenye Mukuru wa Nyagathanga. Hao dada tisa waliitwa Wanjiku, Wanjiru,

 Wanjeri, Wambui, Wangari, Wacera, Waithera, Nambi na Nyambura. Hadithi? Hadithi? Hadithi njoo…utamu kolea….

Leo hii epic ni ya nambi na Kintu as told by de Baganda as de hadithi of creashun.

According to this legend, Kintu was de first person on earth.

Kintu the Legend

Hapo zamani za kale, Kintu was de only person on earth. He lived alone with his cow, which

he tended lovingly. Ggulu the creator of all things lived up in heaven with his many children and other property. From time to time, Ggulu’s children would come down to earth to play. On one such occasion, Ggulu’s daughter Nambi and some of her brothers encountered Kintu who was with his cow in Buganda.

Nambi was very fascinated with Kintu and she felt pity for him because he was living alone. She resolved to marry him and stay with him despite the opposition from her brothers. But because of her brothers’ pleading, she decided to return to heaven with Kintu and ask for her father’s permission for the union.

Ggulu was not pleased that his daughter wanted to get married to a human being

and live with him on the earth. But Nambi pleaded with her father until she persuaded him to bless the union. After Ggulu decided to allow the marriage to proceed, he advised Kintu and Nambi to leave heaven secretly. He advised them to pack lightly and that on no condition were they to return to heaven even if they forgot anything. This admonition was so that Walumbe, one of Nambi’s brothers should not find out about the marriage until they had left, otherwise he would insist on going with them and bring them misery ( walumbe means that which causes sickness and death). Kintu was very pleased to have been given a wife and together they followed Ggulu’s instructions. Among the few things that Nambi packed, was her chicken. They set out for earth early the next morning.

But while they were descending, Nambi remembered that she had forgotten to bring the millet that her chicken would feed on. “I have left my chickens’ millet on the porch, let me return and fetch it,” she begged Kintu. But Kintu refused and said, “Don’t go back. If you do, you will meet Walumbe and he will surely insist on coming with you.” Nambi, however, did not listen to her husband, and leaving him on the way she returned to fetch the millet. When she reached the house, she took the millet from the porch, but on her way back, she suddenly met Walumbe who asked: “My sister, where are you going so early in the morning? Nambi did not know what to say. Filled with curiosity, Walumbe insisted on going with her. Therefore Kintu and Nambi were forced to go to earth together with Walumbe.

It did not take long for Kintu and Nambi to get children. One day, Walumbe went to Kintu’s home and asked his brother-in-law to give him a child to help him with the chores in his (Walumbe’s) house. But remembering Ggulu’s

warning, Kintu would not hear of it. Walumbe became very angry with Kintu for refusing him the simple favor he had asked. That very night, he went and killed Kintu’s son. Naturally, this caused a deep rift between them. Kintu went back to heaven to report Walumbe’s actions to Ggulu. Ggulu rebuked Kintu, reminding him of the original warning he had disregarded. Kintu blamed Nambi for returning to get the millet. Ggulu then sent another of his sons, Kayikuuzi, to go back to earth with Kintu and try to persuade Walumbe to return to heaven or if necessary return him by force.

On reaching earth, Kayikuuzi tried to persuade Walumbe to go back to heaven but Walumbe would not hear of it. “I like it here on earth and I am not coming back with you” he said. Kayikuuzi decided to capture Walumbe by force, and a great fight broke out between them. But as Walumbe was about to be

overpowered, he escaped and disappeared into the ground. Kayikuuzi went after him, digging huge holes in the ground to try and find his brother. When Kayikuuzi got to where he was hiding, Walumbe run back out to the earth. Further struggle between the brothers ensued but once again Walumbe escaped into the ground. The famous caves that are found today at Ttanda in Ssingo are said to be the ones that were dug by Kayikuuzi in the fight with his brother Walumbe. (Kayikuuzi means he who digs holes).

The struggle went on for several days and by now, Kayikuuzi was close to exhaustion. So he went and talked to Kintu and Nambi as follows: “I am going back into the ground one more time to get Walumbe. You and your children must stay indoors. You must strictly enjoin your children not to make a sound if they see Walumbe. I know he is also getting tired so when he comes out of the ground, I will come upon him secretly and grab him.” Kintu and Nambi went into their house, but some of the kids did not go in. Kayikuuzi once again went underground to find Walumbe.

After a struggle, Walumbe came back out to the surface with Kayikuuzi in pursuit. Kintu’s children who were outside at the time saw Walumbe coming and sreamed in terror. On hearing the screams, Walumbe went underground once again. Kayikuuzi was furious with Kintu and Nambi for not having followed his

instructions. He told them that if they did not care to do the simple thing he had asked of them, he was also giving up the fight. Kintu in his embarrassment had nothing more to say. So he told Kayikuuzi “You return to heaven. If Walumbe wants to kill my children, let him do so, I will keep having more. The more he kills, the more I will get and he will never be able to kill off all my children”. Ttanda, where the fight between Walumbe and Kayikuuzi allegedly took place is figuratively referred to as the place of death (i.e. Walumbe’s place).

So that is the legend of creation, and how sickness and death started. Nonetheless, Kintu’s descendants will always remain as Kintu said in his last words to Kayikuuzi. Hence the Kiganda saying “Abaana ba Kintu tebalifa kuggwaawo”. Which means that Kintu’s children (i.e. the Baganda), will never be wiped off the face of the earth.

More about Kintu @ http://www.buganda.com/kintu.htm

[Remixed excerpts from our open] source: http://www.africaresource.com/rasta/sesostris-the-great-the-egyptian-hercules/the-legend-of-kintu-bugandan-tradition/

Hadithi? Hadithi?

Nipe Mji?

dear toronto,

If this open letter to tdot is to stay true to its mission, it has to start with (re)acknowledging where we’re at, on turtle island & where we coming from, mama afrika. It’s also only natural that in speaking truth to power, we share that we are in our final stage/week of developing & organising for

  1. The Spaces Between [produced by the Peace camp],
  2. Peace is Possible Parade &
  3. summer workshops at Crescent Town Public School  with Full Circle, Regent Park Camp, Balmy Beach, Learning for Life, Seeds of Hope…..

The ‘official’ werd on the ground is

The Children’s Peace Theatre of Toronto will be holding its 10th annual Summer Peace Camp from July 5-24, 2010. Under the direction of Liz Pounsett and musical direction by award-winning jazz artist Brownman with the artistic direction of Karen Emerson.

A group of 60 children and youth will work alongside professional artists to create a theatrical collaboration called ‘The Space Between’.

This is bound to be the most provocative of Peace Camp productions as the children explore faith and reason and how these concepts affect our lives personally and globally. It confronts head on the issues associate with the interplay of faith and reason with the level of honesty, humor and energy only children and youth can impart. The Space Between is sure to be visually stunning, thought provoking and full of surprises].

http://www.peacetheatre.org/

We’re inviting Tdot, all our friends and visitors, to come with their pikney and friends, join us on Friday July 23rd and Saturday July July 24th in the PIP Parade and the gala performance of the Space Between.

So ofcourse we should first tell you the story about the source of this peace theatre.

Hapo (si) zamani (sana) ya kale

In 2000, the Hannon-Shields Centre for Leadership and Peace reclaimed parts of the Massey Goulding Estate and under the ‘official’ leadership of Robert Morgan, launched the Children’s Peace Theatre (PT)

As Robert has said: “We place children and youth centre stage, not because they are cute or candid, but because they display humanity’s capacity to evolve, even in the harsh conditions of the current times. Young people are demonstrating an instinctive desire to move away from the dominant culture of self-interestedness and aggression, and are moving instead towards building relationships and community due to an innate desire to seek stability, safety, and peace.

It is also evident that young people have the imagination and the energy that will be necessary to establish a new culture of peace. Watching young people from very different backgrounds cross paths, encounter conflict, and find creative ways of making the conflict evolve in positive directions, gives me the audacity to believe that peace is possible.”

http://books.google.ca/books?id=hfBaL4-ei2AC&lpg=PP1&ots=wjbLnY-b6-&dq=once%20upon%20a%20time%20there%20was%20a%20little%20girl%20healing%20power%20of%20fairy%20tales&pg=PA7#v=onepage&q&f=false

[10 years later, the ‘un-official’ werd on the ground on the opening ceremony  is: join us in a prayer circle on Friday July 23rd @ at 7:00am , in the heart of the peace forest.

The ‘official’ plan of the day is the Peace is Possible parade @ 11:00am, and the 2nd matinee of the spaces between which will begin @ 1.00pm, in the outdoor amphitheatre of the Peace Theatre @ 305 Dawes Road.]

[this subjective perspective on the process of manifesting justice, truth, reconciliation en peacemaking; is after many moons of ‘unofficially’ re/claiming the grounds of the peace forest,  since I came back from ‘home’ [aka. in another place, not here…], en in the years before, with osain as my colleague, en his home as my office. Close to eshu, obatala, ogun, oshun, oya en all the orishas.

I am deeply grateful for now ‘officially’ being part of that divine, growing team that is blessed, honoured and privileged to work here, [job soon dun, but it’s a contract with possible extensions of renewal nonetheless, and all the fertile spaces between metarmophoses, healing rituals & building solidarity with people of all faiths, all nations, with one prayer.

I give thanks for the artists, caregivers, comrades, elders en youth, peer educators, healers and peace makers, friends of PT, who contribute their energy, talent & time to rebuilding our communities, with our children, using arts for revolushunary social & spiritual change, sharing our healing stories with the 3c’s of PT]

I pray for health and prosperity, not only for myself but for others. I pray for humbleness, for myself and others. Please forgive my sins, those that I know about, and those that I don’t know about, those I am yet to commit, and those of others. Inspire those without hope, and strengthen those without faith. I give thanks for the cool wotas, the sun, moon, and stars, for the birds, and our trees. Bless all our living relatives.Onikpite]

I give thanks for our continued re/learning of faith in the true (true) ways of the ‘natives’ of port credit Mississauga, for our deepening connecuns with egun,

Bless taylor creek park en all our neighbours en visitors. Bless the ancestors betwixt en between, all around  crescent town, goodwood, thorncliffe, dentonia park, jane&finch, parkdale, regent park, in all our enclaves, trees, en living relatives, in these diverse hoods.

PIP song

I give thanks for the burning, metamorphoses en (for) the spaces between spreading big love en positivity in our communities.  I give thanks that the fiya this time feels like ‘the revolushun’ is with our breaking bread, making arts en crafts, playing, praying, reasoning and replenishing not only ourselves, but with our families and friends, en ‘others’.

Bless the motherless and fatherless, those sick in hospital. Bless the homeless, and those who ignore them. Ifa,  I pray that you continue to guide us in coming to our right/full destinites. I pray that the circle may be unbroken. Bless our wotas en granmama earth. Ase. Ase….

[blogger’s notes: It’s, only officially, been less than a moon that I’ve been working on programs at the peace theatre, there’s still many pieces of the past that I’m not familiar with, but I give thanks that this place, in another space, not home, is exactly where I need to be,….naushukuru that the blessings of yesterday, manifested today en I pray for them to carry forward to tomorrow…..

85 days 16[+72]hours 25 minutes – the caps finally contained the oil spill, and we are bound to pray for our continued healing en self recovery, to learn from our mis-steps, and continue changing the destructive path we’ve been on.

http://en.wikipedia.org/wiki/Taylor-Massey_Creek

Taylor-Massey Creek is 16 kilometres long. Its headwaters are near Sheppard and Victoria Park Avenues. It flowed diagonally through Wishing Well Park and under Highway 401 at Pharmacy Avenue. The original headwaters were diverted to Highland Creek when the highway was widened to 12 lanes, so the creek now starts at a stormwater outfall just south of the highway.

The creek starts in Terraview Willowfield Park, a restoration project, named after a nearby public school. It flows through two medium sized ponds with naturalized channels. From there it flows southeast through a series of concrete lined channels and drains. This section runs along an abandoned hydro right-of-way before entering a residential and industrial section that is closed to public access.

South of Eglinton Avenue East it enters a shallow ravine and flows south passing through Pine Hills Cemetery. It exits the cemetery travelling west and enters a small park on St. Clair Avenue East. At Warden Avenue it turns southwest, moving through a park called Warden Woods. West of Pharmacy Avenue it enters a city run golf course. At Victoria Park Avenue it enters Taylor Creek Park and continues uninterrupted to where it empties into the Don River East Branch, just north of the forks of the Don.

On Truth

 Osa Otura asks what is ‘truth’

 I ask what is truth?

Orunmila says truth is the Lord of Heaven who guides the world rightly.

Osa Otura asks what is ‘truth’

 I ask what is truth?

Orunmila says truth is the Unseen One guiding the world in the right way.

The wisdom that Olodumare uses, great wisdom, abundant wisdom.

Osa Otura asks what is ‘truth’

 I ask what is truth?

Orunmila says truth is the nature of Olodumare.

Truth is the word that cannot fall.

–Ese Ifa, Osa Otura

 

 

[blogger’s notes: Leo, hadithi ya kale ni ya egun en, the spaces between reclaiming, our knowledge of orishas]

 

Egun – our ancestors

Egun is the collective representation of the Ancestors.We often call our Ancestors by the name, Egun, which in Yoruba language means bones.

As we walk upon the Earth our feet press against the bones of the Ancestors on whose shoulders we stand. Like most indigenous cultures of the world, Afrikans believe that those who go before us make us what we are. When we walk on the Earth, we literally stand on the shoulders of those who bodies have been committed to the soil, the water, and the wind.

Our Ancestors influence our lives through heredity and human culture. However, there is an even deeper connection to the Ancestors as active spirits who continue to influence our lives. We humans honor them with altars, music and prayer. They in turn offer us guidance, protection and prosperity.

Read More

 

Eshu – divine messenger

Esu is the Divine Spirit of Communication, the well-spoken orator who speaks all languages. Esu translates messages between humans and Orisha. Without Esu our prayers would not be understood in heaven and we would be unable to understand the language of Orisha or our ancestors (Egun). Esu is the guardian of the crossroads, as such he opens and closes all doors and ceremonies.

Esu is the owner of ase, the dynamic power that pulses throughout the universe. He is one of the most tactile Orishas constantly stimulated by all he encounters. As such, Esu hates to be bored.As a force in nature Esu is absolutely masculine; however, Esu also has a nurturing side. Esu statues are sometimes sculpted with him having a large, erect penis and well-developed breasts. Esu’s primary colors are red and black.

  

Ochosi – the tracker/warrior

Ochosi is the Orisa associated with hunting and tracking. Ochosi is a nimble, strong, fast Orisha, a supreme marksman.  A “cool” Orisha, Ochoosi is called the “Left-handed Magician”, owing in part, to his ashe of stealth. Yoruba scholar, John Mason writes, that “Ochosi attacks like Ogun, sudden and deadly, yet the victim never sees the assailant or hears the report of the weapon, and that, “Ochosi only has to find a suitable perch and wait for his victims.”

Ochosi helps us to find the most efficacious path to what we aim to achieve. While Esu opens the door and Ogun clears the path, it is Ochoosi who, with bow and arrow aims and creates for us the path of least resistance.

 

Ogun – …of iron

Ogun is the Spirit of iron in Yoruba culture. Both a hunter and a warrior, Ogun uses an iron machete to cut through dense forest to procure food and medicinal herbs and to protect the lives of the community. Ogun helps us clear physical, psychological, or spiritual obstacles that block our ability to achieve our goals. Similarly, Ogun protects us from physical, psychological, or spiritual dangers.

 

Obatala…of the white cloth

Obatala, is the chief of the White Cloth, the Orisha who in Yoruba cosmology, first descended from heaven to earth with the tools for making the earth livable for humans. Obatala is considered the father of all orisa and is said to make the inner and outer heads of all humans.

Obatala is associated with purity, ethics and humility. Obatala is the Orisa of the elderly as well as the Orisa of those with physical disabilities. 

Aganju – the volcano

Aganju is the Orisa of the Uncultivated Earth, Lord of the Volcano, Lord of Caves, The Divine Ferryman.

Aganjú  is most often referred to as the Volcano. He is also the Orisa of untamed lands, from desert to mountains, the brother/husband of Yemoja. Like Olokun, is fabulously wealthy.  As Lord of Caves he owns all the mineral wealth of the earth. Aganju is also the navigator, knowing the safe passages and fjords across the river.  Followers of Santeria equate him with St. Christopher, for like St. Christopher, he will dance at a bembe with little children on his shoulders. Aganju is the bearer of burdens, (the shoulders and back belong to Aganju) the defender of the helpless, down trodden and enslaved. Aganju is a force of life that overcomes obstacles and does the impossible.

Aganyú is the symbol of all earth forces, particularly the core of the earth, the desert, and the volcano. He represents a brute and regenerative force that is responsible for all cataclysmic upheavals that change the face of earth. Volcanic lava is seen as his fiery breath and his power makes the earth gyrate upon its axis. Aganyú is depicted as the father of Shangó in some patakin, and a younger brother of Shangó in others.

 

Shango – “King of” King(s)

“Lightning reaches from the Realm of the Ancestors to Earth as a reminder of the humbling power that exists within Nature itself.”

In Ifa, Divine Justice is symbolized by lightning, one of the primal fires of the Earth in existence since the beginning of time.  Shango is the Orisha associated with the power of lightning and thunder, as well as the name of the Fourth Alafin (Chief) of Oyo. Oyo was a major Yoruba city and the name of a federation of city-states that existed during the 14th and 15th centuries in West Africa.

Oshun – the river

Oshun is the Orisa associated with fresh water. The name Oshun translates to mean “spring” or “source.” As the Orisa of fresh water, Oshun is the source of all life. She is the owner of the Osun river in Oshogbo, Nigeria. She is a powerful healer, especially as it concerns to issues of conception, women’s health and love relationships.

 

Oya – Mother of Nine

Oya is the complex Orisha who guides transformation and change in life.  As the Goddess of the Winds, she can come as a fierce tornado or hurricane or as a cool breeze on a hot summer day.  In her transformative mode she is always moving toward ideal justice for all. 

She wants the best for each of us, and sometimes that means taking away our illusions about the world regarding things and people.  Oya is also known as the keeper of the Ancestors.  In this capacity she serves as the guardian of Egun (Ancestors) at the outskirts of the cemetery, serving as mediator between the living and the sacred dead.  There is a Yoruba prayer for Oya that says, “ Ajalaiye, Ajalorun, fun mi ire,” translated as “the winds of Earth and Heaven bring me good fortune.”  She moves heaven (ancestors) and earth (living) to create communication between the realms.  Finally, as Patron of the Marketplace, Oya is a shrewd businesswoman who reigns over commerce and exchange.  Invoke her before you go shopping.  Take an offering to her and leave it at the opening to a flea market, and she will smile upon your bargaining.  She is also called Iyansan (The Mother of Nine), particularly in Brazil.  Her number is nine, and she loves eggplants and red wine.  Oya- Iyansan is a complex warrior deity who will go to battle for her children out of love and justice.

 

Yemoja – mother of fish

Yemoja is the “Mother of the Children of Fishes.” As such, she is the penultimate symbol of motherhood. Yemoja is the all encompassing mother; like the sea, her ability to nurture is vast. Though associated with the ocean in the African Diaspora, in Yorubaland, Yemoja is the Orisa of the Ogun river. Yemoja is associated with the top layers of the ocean-Olokun is considered the deep, deep realm of the Ocean. The Ocean is the largest environment for life on the earth, therefore Yemoja is viewed as the mother who gave birth to civilization and who continues to sustain us. 

Olokun – owner of the deep

Olokun is the Orisha of the ocean. In Yorubaland Olokun refers to the entire ocean, but in some areas of the New World, this Orisha refers only to the bottom of the sea, with Yemoja governing the top. In those references the ocean is seen as governed by Yemoja/Olokun.

Read more from the source @ http://www.ileorunmilaoshun.org/

 Open letter to Tdot;

On Friday July 23rd, children and their companions will proceed on a path of peace, before that, we’ll meet to pray for grandmother earth and all our relatives @ taylor creek park, and after we will break/fast together…..

The  ”peace-is-possible” parade plan is to converge @ the parking lot of Shopper’s World, 3003 Danforth at 10:00am,

The parade starts @ 11:00am, and we’ll parade west along the danforth to dawes road, and north to (a picnic lunch in) taylor creek park

@ 1:00pm – the matinee of ‘The Space Between’ by The Peace Camp @ the peace theatre

[blogger’s notes: one version of the peace is possible parade is something like]

Drum circle with the funketeers

6:30AM – Sunrise ceremony  – Yoruba house project

A/(c)/r/ti/vists & volunteers hub

8:00 – (community) breakfast  @ the peace theatre

9:30 – Yoga class – the people project

10:00 – Dance class – house of munro

11:00 – parade led by the samba kidz & the piper: Merril Matthews

11:30 – water stop @ Dentonia  Park United Church

11:45 – silent “B.O.P” march with LAL

 

NOON  – lunch @ taylor creek park – afghan women’s catering group

 

1300 – MATINEE: THE SPACE(S) BETWEEN – outdoor amphitheatre @ the (children’s) peace theatre

305 Dawes Road

1800 – outdoor film screening @ The peace theatre

 red lips [cages for black girls] & trailers of Walking in Victor’s shoes/Nekkyd en The q[‘t] werd series

 

2000 – tambor

Yoruba Creation Myth


In the beginning was only the sky above, water and marshland below. The chief god Olorun ruled the sky, and the god/dess Olokun ruled what was below.

Obatala, another god, reflected upon this situation, then went to Olorun for permission to create dry land for all kinds of living creatures to inhabit. He was given permission, so he sought advice from Orunmila, oldest son of Olorun and the god of prophecy.

He was told he would need a gold chain long enough to reach below, a snail’s shell filled with sand, a white hen, a black cat, and a palm nut, all of which he was to carry in a bag. All the gods contributed what gold they had, and Orunmila supplied the articles for the bag. When all was ready, Obatala hung the chain from a corner of the sky, placed the bag over his shoulder, and started the downward climb.

When he reached the end of the chain he saw he still had some distance to go. From above he heard Orunmila instruct him to pour the sand from the snail’s shell, and to immediately release the white hen. He did as he was told, whereupon the hen landing on the sand began scratching and scattering it about. Wherever the sand landed it formed dry land, the bigger piles becoming hills and the smaller piles valleys. Obatala jumped to a hill and named the place Ife. The dry land now extended as far as he could see.

He dug a hole, planted the palm nut, and saw it grow to maturity in a flash. The mature palm tree dropped more palm nuts on the ground, each of which grew immediately to maturity and repeated the process. Obatala settled down with the cat for company. Many months passed, and he grew bored with his routine. He decided to create beings like himself to keep him company. He dug into the sand and soon found clay with which to mold figures like himself and started on his task, but he soon grew tired and decided to take a break.

He made wine from a nearby palm tree, and drank bowl after bowl. Not realizing he was drunk, Obatala returned to his task of fashioning the new beings; because of his condition he fashioned many imperfect figures. Without realizing this, he called out to Olorun to breathe life into his creatures. The next day he realized what he had done and swore never to drink again, and to take care of those who were deformed, thus becoming Protector of the Deformed. The new people built huts as Obatala had done and soon Ife prospered and became a city. All the other gods were happy with what Obatala had done, and visited the land often, except for Olokun, the ruler of all below the sky. She had not been consulted by Obatala and grew angry that he had usurped so much of her kingdom.

When Obatala returned to his home in the sky for a visit, Olokun summoned the great waves of her vast oceans and sent them surging across the land. Wave after wave she unleashed, until much of the land was underwater and many of the people were drowned. Those that had fled to the highest land beseeched the god Eshu who had been visiting, to return to the sky and report what was happening to them. Eshu demanded sacrifice be made to Obatala and himself before he would deliver the message. The people sacrificed some goats, and Eshu returned to the sky.

When Orunmila heard the news he climbed down the golden chain to the earth, and cast many spells which caused the flood waters to retreat and the dry land reappear.

So ended the great flood. Ase. Ase……..


And other ‘native’ creashun story goes like…..

In the beginning the new world consisted only of vast oceans.  There was no land. Father Sky and his wife were admiring a beautiful tree – lush leaves and fruit, rich, dark bark.  Father Sky’s wife told him that she had a great vision which called for him to pull the tree up by its roots, leaving a large hole in the sky.

Father Sky was sad, for he thought the tree quite beautiful, but he also realized the power of his wife’s vision. He wrapped his arms around the tree, gave a might heave, and uprooted the tree.  Grasping hold of part of the tree, the woman looked through the hole, as she stretched a little further, she lost her footing and fell through.

The animals that were able to live in the water, turtle, beaver, whale and many others, looked up and saw the woman plummeting towards them.  “What will we do,” they cried. “If she lands, she will drown!” Two swans unfurled their beautiful white wings, flew up and caught the woman; they brought her down where they floated on the waves.  Everyone knew this could not go on for long, for the the swans would tire, and at some point the woman would need to sit down.

[Youtube=http://www.youtube.com/watch?v=cGI7sQjCMuY&feature=PlayList&p=C976375EFB94FCD0&playnext_from=PL&playnext=1&index=1]

One by one the animals swam to the bottom of the ocean to see if they could bring up a little earth.  The big whales tried, the otter tried, animals large and small, all tried.  Finally, everyone was floating on top of the water very tired from all their efforts.  Little Muskrat swam over and shyly said, “I think I can do it.”  The other animals were too exhausted to even laugh at the thought.  She took a deep breath and dove as far as she could.  It took several tries, but finally, totally exhausted she floated to the surface with a little earth in her paw. “What will I do with it now?” she gasped. Turtle swam over, “Put it on my back, I have a broad back,” he said.  Immediately the land began to grow until it was big enough for the swans to step on shore and let the woman down.  She let go from her hands some seeds that came from the sacred tree she had been holding onto when she fell through the hole.  The land grew and grew and along with it, forests, grasses, plants and vegetables.  it was a wondrous sight, and that is how North America came to be created, and subsequently to be called Turtle Island.

[so this q(ues)t of the (divine) werd on the ground goes, (something) like a Prayer to the Seven Directions]

Grandfathers and Grandmothers of the East, each day you bring us new light so that we may grow in wisdom.  We have been waiting for the time when your light would shine in the hearts of all people.  Then they would remember the Original Instructions that were written in our hearts since the beginning of all things. Now is the time.

Grandmothers and Grandfathers of the South, your warm winds have sent us your love and the abundance from Mother Earth.  We have always known that as we follow the Original Instructions we will walk in balance and harmony and all our needs will be met.  The power and wisdom of this path is not easily understood when the mind is taught inside boundaries and the heart is closed to sissagwaad, the soft wind of spirit.  Open the heart of those who follow the way of the mind.

Grandfathers and Grandmothers of the West, in the darkness of night you have sent us dreams to see deep inside our hearts, to learn how to walk the path of the spirit.  We see the beauty that hides behind each moment and discover the Great Mystery that is in us and all things.  Help the people of the mind see the power of their dreams.  Help them learn from their dreams so that they can remember the Original Instructions.

Grandmothers and Grandfathers of the North, you have brought the cold winds and snows each year to cleanse our Mother Earth.  Now the cleansing of the mind has begun.  The energies of the stars have shifted into a new focus to end domination and hierarchy.  No longer is it possible to live by the mind unless it is guided by the heart. Blow the fresh, clean wind of spirit to sweep away the belief systems that limit our brothers and sisters who are trapped in the way of the mind.

Kee-shay Giidzhii Manidou, you have sent visions and dreams to help us remember Who we are.  We have not forgotten the Original Instructions.  The stories have now been rediscovered and returned to the people.   You have shown that the path of reconciliation and peace is through the heart.  Send the light of inspiration to the Ogichidaag‘ who will show others a new way of being.

Gee-mama-nama-kee, you are our Mother, our Source of Life.  You have given us our food, our water, air, shelter, and so many beautiful beings who are our Brothers and Sisters.  We know we are connected to you and to all other beings in the Web of Life.  Many are those who do not know of their connection.  They see only with their eyes and their mind.  With a narrow focus they see parts of things instead of the energy of love and wholeness.  They have forgotten the Original Instructions.  As their Mother, you have been patient with them.  Extend that patience a little longer so the Ogichidaag‘ can show them a new way.

Great Mystery, we feel your presence in us and in all things.  You are the spiral energy of love that connects all, is all.  You are the circle of life, the circle way, the Original Instructions.  When we are living in our heart, we can soar with the White Eagle to see beyond horizons.

When the drum has been smudged you can beat on it and say this prayer, either in English or Anishinaabemowin, the language of the Anishinabeg:

Midewewewigun, nindo-wiyauh.
I seek the drum.

And then:

N’midewewewigun, manitouwiyauwiwih.
Upon my drum bestow the mystery.

And to Ishpiming, All That Is:

M’gwech, Giidji manidou
Thanks, Great Spirit

Finally, an acknowledgement of the gift:

Kikinowautchi-beegaudae
It is so.

Your drum has been opened as a carrier of your prayers and petitions to the Great Mystery.

Other songs can be found in Ojibway Ceremonies by Basil Johnston from Bison Books (1990).

How the drum was brought to the Anishinabeg is told by Edward Benton-Banai in the Mishomis Book: the Voice of the Ojibway (1988) by Indian Country Communications, Inc.  The original drum was the water drum, mi-tig-wa-tik’ day-way-gun, and contained water to represent the First Order of Being.

In our drum this is replaced by the stone set in the handgrip to avoid the humidity that would otherwise soften the drumhead.  Later, the Anishinabeg added stones to the exterior ties of their drum.  The hide of the deer, wawashkesh’shee, gave peace and gentleness to the drum, as well as speed and agility to the drumbeat.

One of the ceremonial uses of the Mother Earth Drum is healing.  The first time I used the drum in healing, I heard the sissagwad, the soft wind of spirit, whisper to me to hold the drum over each chakra and beat softly.  It worked.  The next time that I did a healing, I did some energy work to break up blockages as I had been instructed to do.  Then I noticed my drum sitting nearby and realized that I was supposed to use it…but not beating it.  I was to caress the drum to make the sound of the wind whipping up a storm.  The with my fingernails scraping across the drum, make the sound of thunder, and, drawing the fingers close together the thunder disappears into the distance.  With more wind and more thunder comes the rain, the tapping of fingers making the multitude of raindrops striking the ground.  More wind, more thunder, more rain…and then quieter, more distant thunder, a gentling wind, diminishing raindrops.  Silence…  The hurts and pains were washed away and all was fresh and clean. Another time, a friend in Denver asked me to help me with one of her horses who had a wound that wouldn’t heal.  I thought: OK, some sage ceremony, some drumming.

I heard the sissagwad whisper. “No drumming.  Use the rattle.”

“What?!” I questioned.

The sissagwad repeated, “No drumming.  Use the rattle.”

“Impossible!” I thought.  I remembered the cowboy movies I had seen as a boy.  The horse hears the rattlesnake and panics, rearing high in the air.   And I was going to be right there under the flailing front feet of the horse.  How about drumming instead! I begged.

“No drumming.  Use the rattle.”

I did the sage ceremony, smudging the entire paddock and the horse.  The horse just stood perfectly still as I swept the smoke over the leg and then its whole body.

Then it was time for the rattle.  I began to shake the rattle, watchful of any hint of a dangerous response.  None.  It worked.  Then the horse “whispered” to me that ‘it had tickled.’  “What?” I asked.  “It tickled,” the horse repeated.  When the bandage was taken off too soon, it still tickled so I scratched it.”  I told Diana to keep the wrap on longer and the problem was solved.  A few months later I heard about the movie, The Horse Whisperer, but I knew that it worked BOTH ways—the horse can whisper to the human, too.

[This is an excerpt from Stories Dream-Catchers Weave.]

So listen to the sissagwad in your heart. Don’t get locked into any rigid ritual.  That’s a head thing, a mind thing.  Don’t misunderstand: the mind is good, but the intuition, listening to the soft wind of spirit in the heart, is an awesome source of wisdom beyond anything of which the mind is capable.

Another way to use the drum is to create a buzzing sound with each beat.  Medicine men would often place inside the drum a stick with lots of smaller sticks pressing lightly against the back of the drumhead. The multiple tones and harmonics are supposed to elicit healing.  With the Mother Earth Drum you can place the fingernail of your forefinger against the backside of the drumhead so that as you drum you will create a buzz.  Unlike the medicine drum, you can withdraw your fingernail from the backside of the drumhead and use a normal beat.  You can also use the tip of your finger to create a stop to a beat.  Or you can use the fingernail of your forefinger to scratch on the backside of the drumhead. In using and combining all of these drumming techniques, you have a diverse “vocabulary” of sounds that can be used as needed.  If your fingers are long enough you might even be able to use both your thumb and forefinger giving you two variations on the backside of the drumhead as well as the multitude of variations with the beater on the front of the drumhead. Your virtuosity is not limited to a change of volume and rhythms.

You will also find it very dramatic and powerful to strike the drumhead hard with the beater and hold the beater firmly against the drumhead.  It’s almost like an explosion and reverberates with a rising, ringing overtone.  Used with a crescendo of volume and rhythm, you can punctuate the finale of a sequence or, followed with quieter drumming and nuanced rhythms, you can create a symphony in percussion.  The thin design of the Mother Earth Drum makes this all possible.

The drum can also be used for meditation and shamanic traveling.  A constant, steady beat of the drum can alter consciousness.

Recovered from copyright theft of an unprincipled white squaw.

White Eagle Soaring: Dream Dancer of the 7th Fire

http://www.real-dream-catchers.com/Art_of_the_Seventh_Fire/mother_earth_drum.htm

kesho [in the q/t werd]…..the truth about (our) stories….behind the masks