blogger’s note: you probably already know this story, references to ancient Afrikan cultures are all over the net en the world….so here’s another one of them…of the gran (primeval) mama of us all  (emphasis on ‘the capital’ in the Q werd)

Adapted from http://www.ancientegyptonline.co.uk/hathor.html

Hathor is one of the most ancient Egyptian goddesses. She was known as “the Great One of Many Names” and her titles and attributes are so numerous that she was important in every area of the life and death of the ancient Egyptians. It is thought that her worship was widespread even in the Predynastic period because she appears on the Narmer palette. However, some scholars suggest that the cow-headed goddess depicted on the palette is in fact Bast (an ancient cow goddess who was largely absorbed by Hathor) or even Narmer himself. However, she was certainly popular by the Old Kingdom as she appears with Bast in the valley temple of Khafre at Giza. Hathor represents Upper Egypt and Bast represents Lower Egypt

She was originally a personification of the Milky Way, which was considered to be the milk that flowed from the udders of a heavenly cow (linking her with Nut, Bat and Mehet-Weret). As time passed she absorbed the attributes of many other goddesses but also became more closely associated with Isis, who to some degree usurped her position as the most popular and powerful goddess. Yet she remained popular throughout Egyptian history. More festivals were dedicated to her and more children were named after her than any other god or goddess. Her worship was not confined to Egypt and Nubia. She was worshipped throughout Semitic West Asia, Ethiopian, Somlia and Libya, but was particularly venerated in the city of Byblos.

She was a sky goddess, known as “Lady of Stars” and “Sovereign of Stars” and linked to Sirius (and so the goddesses Sopdet and Isis). Her birthday was celebrated on the day that Sirius first rose in the sky (heralding the coming innundation). By the Ptolemaic period, she was known as the goddess of Hethara, the third month of the Egyptian calendar.

Hathor was also the goddess of beauty and patron of the cosmetic arts. Her traditional votive offering was two mirrors and she was often depicted on mirrors and cosmetic palettes. Yet she was not considered to be vain or shallow, rather she was assured of her own beauty and goodness and loved beautiful and good things. She was known as “the mistress of life” and was seen as the embodiment of joy, love, romance, perfume, dance, music and alcohol.

Hathor was especially connected with the fragrance of myrrh incense, which was considered to be very precious and to embody all of the finer qualities of the female sex. Hathor was associated with turquoise, malachite, gold and copper. As “the Mistress of Turquoise” and the “lady of Malachite” she was the patron of miners and the goddess of the Sinai Peninsula (the location of the famous mines). The Egyptians used eye makeup made from ground malachite which had a protective function (in fighting eye infections) which was attributed to Hathor.

As the “lady of the west” and the “lady of the southern sycamore” she protected and assisted the dead on their final journey. Trees were not commonplace in ancient Egypt, and their shade was welcomed by the living and the dead alike. She was sometimes depicted as handing out water to the deceased from a sycamore tree (a role formerly associated with Amentet who was often described as the daughter of Hathor) and according to myth, she (or Isis) used the milk from the Sycamore tree to restore sight to Horus who had been blinded by Set. Because of her role in helping the dead, she often appears on sarcophagi with Nut (the former on top of the lid, the later under the lid).

She occasionally took the form of the “Seven Hathors” who were associated with fate and fortune telling. It was thought that the “Seven Hathors” knew the length of every childs life from the day it was born and questioned the dead souls as they travelled to the land of the dead. Her priests could read the fortune of a newborn child, and act as oracles to explain the dreams of the people. People would travel for miles to beseech the goddess for protection, assistance and inspiration. The “Seven Hathors” were worshiped in seven cities: Waset (Thebes), Iunu (On, Heliopolis), Aphroditopolis, Sinai, Momemphis, Herakleopolis, and Keset. They may have been linked to the constellations Pleiades.

However, she was also a goddess of destruction in her role as the Eye of Ra – defender of the sun god. According to legend, people started to criticise Ra when he ruled as Pharaoh. Ra decided to send his “eye” against them (in the form of Sekhmet). She began to slaughter people by the hundred. When Ra relented and asked her to stop she refused as she was in a blood lust. The only way to stop the slaughter was to colour beer red (to resemble blood) and pour the mixture over the killing fields. When she drank the beer, she became drunk and drowsy, and slept for three days. When she awoke with a hangover she had no taste for human flesh and mankind was saved. Ra renamed her Hathor and she became a goddess of love and happiness. As a result, soldiers also prayed to Hathor/Sekhmet to give them her strength and focus in battle.

Of course, Thoth already had a wife, Seshat (the goddess of reading, writing, architecture and arithmetic), so Hathor absorbed her role including acting as a witness at the judgement of the dead. Her role in welcoming the dead gained her a further husband – Nehebkau (the guardian of the entrance of the underworld). Then when Ra and Amun merged, Hathor became seen as the wife of Sobek who was considered to be an aspect of Amen-Ra. Yet Sobek was also associated with Seth, the enemy of Horus!

She took the form of a woman, goose, cat, lion, malachite, sycamore fig, to name but a few. However, Hathor’s most famous manifestation is as a cow and even when she appears as a woman she has either the ears of a cow, or a pair of elegant horns. When she is depicted as entirely a cow, she always has beautifully painted eyes. She was often depicted in red (the color of passion) though her sacred color is turquoise.

It is also interesting to note that only she and the dwarf god Bes (who also had a role in childbirth) were ever depicted in portrait (rather than in profile). Isis borrowed many of her functions and adapted her iconography to the extent that it is often difficult to be sure which of the two goddesses is depicted. However, the two deities were not the same. Isis was in many ways a more complex deity who suffered the death of her husband and had to fight to protect her infant son, so she understood the trials and tribulations of the people and could relate to them. Hathor, on the other hand, was the embodiment of power and success and did not experience doubts.

While Isis was merciful, Hathor was single minded in pursuit of her goals.

When she took the form of Sekhmet, she did not take pity on the people and even refused to stop killing when ordered to do so.

to be continued……

blogger’s note: facts. the falasha documentary was released in 1983, en directed by simcha jacobovici.

fiction. these are (some of) the stories of the Q werd. a (video) diary of….

house of israel

exile

what do you mean by political?

remember us…?

the open secret

mazel tov

 The truth according to makmende is……

blogger’s note: this is a spoof of a spoof of very serious matters. It is definitely not to be taken as the gospel truth of afrikan liberation, then again what is the truth of our freedom?…..FUN.damentalism na hadithi that affirm OUR power….

the beauty about stories is that WE re/tell them, en we change/d them, en we can re/vision almost  any parts  we want.

 The crux is (in) manifest.ing the truth en re/build.ing with others, much easier said than practised.

Like, all jokes aside, I love where Makmende comes from ( and if at this point you’re still wondering who makmende is, then this post isn’t for you), I love that he’s one of our own, a uniquely urban Kenyan (Afrikan) meme, en a super hero by most accounts.

But, seriously, what would makmende really do to the ‘bad guys’? and just who are the ‘bad guys’? and if Hitler’s having a near makmende experience, then shouldn’t Bush, Raila, Kibaki, Pattni, Kiplagat, en many many ‘others’ jus go hang themselves with tissue paper?

Because we sho’ as hell working hard on exploiting en breaking so many more of US down in private en in public, much more it would seem than figuring out this whole damu ni mzito kuliko maji thing….a concept that’s rendered alien when we deny kin/dred…..

what’s funny, sad, en much deeper than we can imagine are the connecshuns we share through our relationship to Afrikan/ness…..in the end, just a band, for all your hating on the ‘queers’ among us, you’re jus as bad as my ‘girlfriend’, a new Afrikan, (Goddess knows I love, respekt en admire her but she also has this divisive notion that she was taught) like many others  who insist that what they REALLY  are is African AMERICAN……to each their own, but  the question remains, what to do bout our own ?

is it really just enough to rewrite the script of white supremacist ideologues  with hateful/misguided beliefs of another flavour?

If you haven’t figured it out yet, these are the responses of an angry  Afrikan woman……one who’s laughed at en being inspired by the makmende videos, but who is definitely NOT  satisfied with the caricatures drawn of me en my sistas………I am NOT  Abscondita, Britannia Zimeisha, or one of Godfrey’s Laydayz, so technically I really don’t have no place passing judgement on their representations, I would love to hear THEIR  stories…..and I am definitely not (bigger than) makmende, so I submit to the power of the people speaking through griots, messengers, teachers en  facebook & youtube ratings.

All I have is a request, dear just a band, hadithi? Hadithi? Kitendawili? Would you tell me another story?

Like the true true legends of…..

Coz I love where you’re going with this, I been on this path many times before, so I suspect where we’re liable to get lost in the forest of black  nationalism & neo colonialist regimes. Do you think we may be missing the mark on the heart of the matter? If it’s love for our cultures, then is it really manifest? Do we even have to go across the oceans en use foreign scripts for our own purposes, are we not rich enough with our own?

From one (urban) Afrikan to another, do you think that (all jokes aside) WE are the problem?

I know there are so many more stories that we have, we know that we’ve denied many of them, even our sheng, the very language you use to re/tell makmende’s story, is divided along class/tribe lines, we all  KNOW the markers, but are we really manifest.ing our true true powers? is the current version of makmende really the best we can do?

If there’s many more pieces that I’m missing to the story about makmende’s  return, then please tell me me those bits, boss,  coz you got me hooked, but there really is plenty of fish in the ocean, so I’m prepared to swim with dolphins, en even on the back of a whale, anywhere to get to paradise….en I would prefer ogun or shango’s story any day to your (version of) makmende

a warrior by any other name

As many props as I give to the kings (en queens?) of just a band, I am still that ‘angry’ Afrikan woman who is NOT satisfied with the ‘latest’ picture, en is willing to work with my bredrin en sistren to change it, all the betta for us to build solidarity with……..

by any means necessary

so dear just a band, do you think you could change the script, to start just remove the ‘ushoga’  is the cause of our downfall parts……it’s a strategically homophobic en sinister connection that you’re drawing between sexuality and  the destruction of the ‘oppressors’, one that divides even comrades en families.

I am not Makmende’s enemy, yet in your video you try to make me one, and in your pieces, the enemy was supposed to be white supremacist ideologies, or was that just a matter of false advertising? Askyua mutha black militants en black sahara are really a big big joke, na tena, ka wahenga, nauliza je, hii ni ungwana? Again, is makmende really jus a spoof? will the ‘real’ revolutionary please stand up?

you see, Makmende is real because (s)he comes from the people, en dear just a band, not one person or group can  have  a copyright on makmende….so, I may not be able to take all your jokes, I may be taking this whole makmende goes after hitler thing too personally, and  too seriously, I may need to chillax with the whole defending queer rights thing…..but if I don’t name my anger then who will? En if you don’t take it seriously then who will?

Why even waste our time repeating the oppressor’s lies? Kitendawili? Mavi ya kuku ni….? and it don’t matter how much honey you pile on IT en laughter that you produce from IT…..what’s not true is…..new, en ushoga is as old as mama afrika herself…so why not just focus on what we need to re/member (about the ways of our ancestors) to move forward, en share some of OUR true true stories……

like the kinda shit that you just don’t have to make up

Dear just a band, we have much more in common than many would assume…….the beauty of makmende, is like the purloined letter, it’s an open secret that only a ‘nairobian’ can truly appreciate, en that all Afrikans should be able to translate…. makmende IS  bigger than just a band, congratulations!  You have achieved what you wanted en worked for…revived a legend through the creative use of media………now what?

makmende oh

What will makmende do next?