Kemetic History of Afrika * Blue Lotus*: KEMETIC COSMIC VIEW

Saturday, January 15, 2011

KEMETIC COSMIC VIEW - THE BOOK OF NUT

This book itself is pictured in nature, and resembles to some degree the Book of the Heavenly Cow. There are brief captions that seems to overwhelmed by the huge image of the sky.

We have a few examples of the Book of Nut. There are exanples in the cenotaph of Seti I at Abydos and the tomb of Ramheesses IV, through the latter is abbrieviated.

The only other evidence of this book is a commentary written in the Roman Period, and an incomplete version in the tomb of Mutirdis (TT410) dating from the 26 Dynasty. The longer appended text that accompanies the captions was reproduced in the Papyrus Carlsberg in Demotic script.

It was Jean-Francois Champollion and Hippolito Rosellini who published the earliest drawing of the representation of the sky goddess.
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These, and some investigations that followed, were all from the versibauer on found in the tomb (KV2) of Ramesses IV, for the Osireion in Abydos, for it had not been discovered at that point.

The commentary from the Roman Period was published by H.O. Lange and Otto Neugebauer in 1940.
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Nut is shown as a woman supported by God Shu who holds her body aloft. Interesting, in the tomb of Seti I, she is oriented correctly for the swallowing and birth of the sun, but not in tomb of Ramesses IV.

Other motifs within the scene includes several sun disks, a winged scarab in front of the knees of the goddess, a vulture atop the heraldic plant (lotus flower)of Upper Egypt behind her legs, and nest of migratory birds next to her arms. The captions on the scenes are also accompanied by a longer appended text.

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The book itself is intended to provide both a topography of the sky and greater understanding of the sun's daily course. The brief captions augment this understanding and are distributed over the entire scene, describing its detail as well as the actions of the sun god, the decans and other divine beings.

O. Neugebaum set out and coded the various captions within the depiction. For example; Text L provides a definition of the "Far regions of the sky", that are in the primeval darkness and waters, not touched by the sun.

They have no bounaries or cardinal directions. A list of decans that may orginate in the Middle Kingdom are provided in Text S through X. These captions tells us the decans work and their periodic invisibilitey, including thier transit through the meridian.

The text labeled Dd through FFf explains migratory birds and their nests.

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In the cenotaph of Seti I at Abydos, we find a text reporting a quarrel between Geb and Nut because she is swallowing their children, the stars.

The dispute is settled by their father, Shu who advises that Nut gives birth to the stars each time so they might live.

Hotep*

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Sesen (The Lotus) Symbol of The Sun, Creation, Purity and Rebirth

Lotus Flower, the radiant yellow center of the Egyptian blue lotus (nymphaea cerulae) resembles the Sun emanating from the primeval waters as told in the myth of creation. At night the flower closes and sinks underwater, at dawn it rises and opens again. - According to Egyptian creation myth, it was a giant lotus which first rose out of the watery chaos at the beginning of time. From this giant lotus the sun itself rose on the first day. Both the blue and white varieties were used in medicinal preparations. In mathematics, the lotus hieroglyph symbolized the number one-thousand. It is also symbolic of Upper Egypt and represents the resurrection of Isis.

IMHOTEP

MULTI - GENIUS - PRIEST, SCRIBE, HEAD PHYSICIAN, ARCHITECT, SAGE, MAGICIAN, VIZER TO KING DJOSER - HIS NAME MEANS - "ONE WHO COMES IN PEACE" - HE WAS THE WORLD'S FIRST ARCHITECT WHO BUILT EGYPT FIRST PYRAMID. HE WAS AN ASTROLOGER, HE WAS CHIEF MINISTER TO DJOSER AROUND (2630-2611 BC) THE SECOND KING OF THE THIRD DYNASTY. HE IS KNOWN FOR BUILDING THE STEP PYRAMID. IMHOTEP BEST WRITINGS WERE "MEDICAL" HE IS BELIEVED TO BE THE AUTHOR OF THE SMITH PAPYRUS IN WHICH OVER 90 ANATOMICAL TERMS AND 48 INJURIES ARE DESCRIBED. IT HAS BEEN STATED THAT IMHOTEP TREATED; TUBERCULOSIS, GALLSTONES, APENDICITIS, GOUT, ARTHRITIS, HE ALSO PROFORMED SURGERY AND SOME DENTISTRY, HE ALSO KNEW POSITION OF VITAL ORGANS AND CIRCULATION OF THE BLOOD SYSTEM. HIS PRESTIGE INCREASED WITH LAPSES OF CENTURIES. HIS TEMPLES IN GREEK TIMES WERE THE CENTERS FOR MEDICAL TEACHING.

Proto-historic figure of Tera-neter, nobleman of the Anu race the first inhabitants of KMT

The "Tera-neter" tile is predynastic being found by British Egyptologist W.M. Flinders Petrie (1853-1942) in the early temple at Abydos underneath the dynastic temple. The figure is on a green glazed faience. Petrie, famously known as "The Father of Pre-history". Petrie, excavations at Nagada and Ballas in Upper Egypt nearly 100 years ago unearth nearly 2200 ancient graves. The Aunu People. Besides these types, belonging to the north and east, There is the aboriginal race of the Anu, or Aunu, people (written with three pillars), who became a part of the historic inhabitants. The subject ramifies too doubtfully if we include all single-pillar names, but looking for the Aunu, written with the three pillars, we find that they occupied Southern Egypt and Nubia, and the name is also applied in Sinai and Libya. "These Anu were agricultural people, raising cattle on a large scale along the Nile, shutting themselves up in walled cities for defensive purposes. To this people we can attribute, without fear of error, the most ancient Egyptian books, The Book of the Dead and the Texts of the Pyramids, consequently, all the myths or religious teachings. I would add almost all the philosophical systems then known and still called Egyptian. They evidently knew the crafts necessary for any civilization and were familiar with the tools those trades required. They knew how to use metals, at least elementary metals. They made the earliest attempts at writing, for the whole Egyptian tradition attributes this art to Thoth, the great Hermes an Anu like Osiris, who is called Onian in Chapter XV of The Book of the Dead and in the Texts of the Pyramids. "Dynasty II, Tombs. The IInd dynasty came to terms with the earlier Aunu people, and the first king took the name Hetep-sekhemui, "peace of the two powers." By the middle of the dynasty, the Aunu people began to control the rule, and Set appears on the royal name instead of Horus. By the end of the dynasty, the two scepters were "united in peace" by Kho-sekhemui". "Some of the most obvious public works of the Ist dynasty were the carrying on of earlier undertakings. The great historical maces, and the irrigation works, had been developed under the Scorpion king of the Aunu, and both may have originated much earlier. Many vases and bowls (HR, xii, xvii, xix, xxxiv) bear his name."

Professor Cheikh Anta Diop (1923-1986)

In His Lab , At the University of Dakar. An outstanding Historian,Egyptologist, Philosopher, and Chemist, - ---“In this chapter I hope to demonstrate that the origin of the civilization of Egypt (khem) was black African, specifically Ethiopian or Anu . . . The history of Black will remain suspended in air and cannot be written correctly until African historians dare connect it with the history of Egypt. In reviewing Egypt’s beginnings, we find an advanced civilization already intact from the earliest Dynasty. This fact has perplexed historians down through the ages. Common sense dictates that if Egypt began fully mature, then its civilization must have originated elsewhere . . . . [Herodotus] The ‘Father of History’ was told that the first man to rule Egypt was Min, who lived so long ago that Egypt was still under water: ‘in (Min’s) time the whole country, except the district around Thebes, was marsh, none of the land below Lake Moeris, was then showing above water. To this place from the sea [Nowe] is seven days passage up the river . . . . Cheik Anta Diop, The African Origin of Civilization: Myth or Reality (originally published Nations Negres et Culture) 1955 - (Published in English in 1974)

QUEEN TIYE

Born in Nubia, Queen Tiye was the Great Royal Wife of Amenhotep III, mother of Amenhotep IV (later known as Akenhaton), and mother-in-law of Nefertiti. Highly prestigious during the reign of both her husband and son, she exerted her influence as queen consort and queen mother of Egypt over a fifty-year period. In addition, she shaped Egyptian fashion and altered the prevailing view regarding royal women. Married at an early age, her husband fiercely admired her and displayed his love lavishly by building temples and massive statues where she sits by him as an equal, a feat unparalleled in that time; dedicated a number of shrines to her; and even created a monumental artificial lake for her. She was glorified by her husband as "... The most praised, the lady of grace, sweet in her love, who fills the palace with her beauty, the Regent of the North and South, the Great Wife of the King, the lady of both lands..." Wielding her power and taking charge at this juncture in the nation's history, she used her political influence and astute decisions to maintain Egypt's authority. She averted key national crises by becoming Secretary of State when her husband's physical and mental powers deteriorated with age; and redirected political decisions to her attention when her son Akenhaton neglected his political duties while preoccupied with his religious innovation (named the Heretic King, Akenhaton was the first ruler in recorded history to believe in monotheism).

Alkebulan-Centric Kemetic Sciences

The Master Keys to the Study of Ancient Kemet~ 1. Cultural Antiquity and Continuity Starts in Pre-Dynastic Times and Go to 640 A.D. We must remember this when reading or listening to presentations about Kemet. Even those who eventually conquered Kemet adopted its culture. 2. Older is Better. The older architecture is superior to the later works. It's as if the art and discipline was forgotten with time. 3. The Entire Orientation of the Ancient Kamites is Southern. Word for face and South, right and West, left and East, North and back of head are respectively the same. 4. The Origin of the Kamites is Southern. 5. Leadership is Southern. The main leadership that ruled ancient Kemet always came from the South 6. All Invasions Were Destructive. No one donated culture to ancient Kemet. 7. Arabic Migration Mixes with Nubian People in the Kemetic Valley at and After the Time of Muhammad. Arabic people come in from Syria and Assyria in large numbers for the first time as the first large population of settlers after Muhammad. And with Islam, you have the first change in the fundamental culture of Kemet. 8. Science Generated Religion. The ancient Kemetic people got religion by studying aspects of nature. Nature, when viewed systematically, represents "God" anywhere you look. If you keep seeing the same patterns and rules repeated over and over again in nature, you suddenly realize that there is something bigger that you can't grasp that is behind all this. Therefore, you study yourself into religion. The religion that the Kemetic people developed through study is the same religion that others borrowed from the ancient Kamites without study. Science generated religion, it generated philosophy, and it generated general culture (religion was not Sunday). 9. There is No Dualism in Kemetic Culture. Dualism in interpretation philosophically or culturally is a western phenomenon. (Example, Kierkegaard: It's got to be either this or that). The priest was a scientist. No split between a person searching truth through one means and a person seeking it through another. No split between science and religion, the sacred and the secular. ~ (From a lecture given by Dr. Asa G. Hilliard, III, a.k.a. Nana Baffour Amankwatia

KMT'S OLDEST KNOWN BOAT - ABYDOS SHIPS

In 1991 in the desert near the temple of Khentyamentiu, archaeologists uncovered the remains of 14 ships dating back to the early first dynasty (2950-2775 BC), possibly associated with King Aha, the first ruler of that dynasty. These 75 foot long ships are buried side by side and have wooden hulls, rough stone boulders which were used as anchors, and "sewn" wooden planks. Also found within their desert graves were remains of the woven straps that joined the planks, as well as reed bundles that were used to seal seams between planks. The Abydos ships have the honor of being the world’s oldest planked boats. The ancient Egyptians were creating ships with technological skills far beyond their time, well before the invention of the wheel. Egyptologists suspect that simple light rafts made from bundled papyrus reeds may have been made by hunter-gatherers who moved to the Nile Valley during the Upper Paleolithic period; of course, no specimens remain today. However, there is evidence of the presence of boats in the Naqada II culture, which immediately preceded the dynastic period. Archaeologists have unearthed red painted pottery with designs that include boat motifs as important symbols, and some interpretations stress the boats were used in a religious or ritual capacity. Further evidence for the early use of boats lies in tomb reliefs (ship building scenes were among the most popular motifs in tombs), paintings, and model boats dating from predynastic times through the New Kingdom.

Egyptian Eclipse Disc

The Sun god Atum is the eclipsed Sun passing the second contact of a total eclipse Ra/ Re is the eclipsed Sun shining past the third contact as the Diamond Ring effect. The Scarab Khepri was a representation of the dark New Moon. The Hawk Horakhty, Horus - is the Sun through totality. The Great Sphinx was the Egyptian 'Lord of Solar Eclipses'. Hathor was the Egyptian goddess of solar eclipses. The God Aten of the Amarna Revolution is the shadow bands phenomenon. Inundation of the Nile Month of Thoth.

GREAT AFRICAN KINGS

THUTMOSE III - SMITING ASIATIC CAPTIVES - KARNAK SEVENTH PYLON - FROM THE 4 CORNERS OF AFRICA. Thutmose III - Pharaoh of Egypt (1504-1450 BC) Thutmose III was a member of one of the greatest families in the history of African royalty. A Family which laid the basis for the 18th Dynasty of ancient Egypt. Shaka - King of the Zulus (1818-1828) With cunning and confidence as his tools, Shaka built a small Zulu tribe into a powerful nation of more than one million people, and united all tribes in South Africa against Colonial rule. Moshoeshoe-King of Basutoland (1815-1868) For half a century, the Basotho people were ruled by the founder of their nation. Moshoeshoe was a wise and just king who was as brilliant in diplomacy as he was in battle. He united many diverse groups, uprooted by war, into a stable society where law and order prevailed. Tenkamein - King of Ghana (1037-1075 A.D.) The country of Ghana reached the height of its greatness during the reign of Tenkamenin. His principles of democratic monarchy and religious tolerance made Tenkamenin's reign one of the greatest models of African rule. Khama III The Good King of Bechuanaland (1837-1923) Khama distinguished his reign by being highly regarded as a peace-loving ruler with the desire and ability to extract tecnological innovations from Europeans while resisting their attempts to colonize his country. Menelek II - King of Kings of Abyssinia (1844-1913) Menelek was an overshadowing figure of his time in Africa. He converted a group of independent kingdoms into the strong, stable empire known as the United States of Abyssinia (Ethiopia). Affonso I - King of the Kongo (1506-1540) Affonso I, was a visionary, a man who saw his country not as a group of separate cultures, but as a unified Christian nation fully equipped with advanced knowledge and tecnology. Affonso I, was the first ruler to modernize Africa on a grand scale. Taharqa - King of Nubia (710 - 664 B.C.) At the age of sixteen, this great Nubian king led his armies against the invading Assyrians in defense of his ally, Israel. During his 25-year reign, Taharqa controlled the largest empire in ancient Africa. ! We will expound throughout time to make you very much more aware of the who we are and what we are. Peace

SPIRIT OF SANKOFA *

Sankofa is an Akran word that means, "We must go back and reclaim our past so we can move forward; so we can understand why and how we came to be who we are today." The Asante of Ghana use an Adinkra symbol to represent this same idea and one version of it is similar to the eastern symbol of a heart, and another version is that of a bird with its head turned backwards taking an egg off its back. It symbolizes one taking from the past what is good and bringing it into the present in order to make "Positive Progress Through the Benevolent Use of Knowledge. Adinkra symbols are used by the Asante to express proverbs and other philosophical ideas. These ideas are numerous and are used throughout the world because of their aesthetic and spiritual beauty. Sankofa has since been adopted by other cultural groups in the area and around the world. In the Toni Morrison novel Song of Solomon the reoccurring motif of flight as a way to escape is indicative of sankofa. The protagonist Milkman returns and recovers his past, and by doing so he is able to fly. Sankofa is also the name of the step dance team at Williams College.

QUEEN NEFERTITI--Egyptian or Prussian woman?

I was once asked by someone, who was aware of my view that African art objects in European museums should in principle be returned to Africa, which of the African queens in European museums, Nefertiti or Ida was the most beautiful. My answer, not surprising for him, was that I could only really appreciate the full beauty of the ladies now kept in European captivity when they are released and freely return to their home countries; that for me beauty was more than the physical appearance. I need to see these persons in their social and cultural environment and to appreciate the respect and the veneration their people bring to them. Surely, their charisma can only be understood when they are with people who regard them as part of themselves and their history. I need to hear the songs of praise that the existence and the activities of these persons have generated. I know this is perhaps difficult for many Europeans who attach great importance to physical appearance and have no use for the spiritual attributes of such persons. Europeans are very likely to measure the nose and other parts of the body as they do with prisoners. The ethnologists, especially the Germans were famous for that. African art objects are not simply objects to be admired but objects with a function and raison d’être. We are what we are not because of the length of our noses and the size of our heads but because of the circumstances of our birth, our function in society and our own achievements. But the famous African queens are not the only African cultural objects illegally held in European collections. There are all the Benin bronzes, Akan gold, Nok terra cotta, various kotas from Central Africa, stools, statutes and various sculptures from the Akan, Baule, Chokwe, Dan, Dogon, Fang, Guro, Hamba, Senufu, various religious and other cultural objects, including precious artistic manuscripts from Magdala, Ethiopia. The Louvre, Quai Branly Museum, the Ethnology Museum, Berlin, the British Museum, the Ethnology Museum, Vienna and a whole lot of museums in the USA, Germany, Britain, France, Portugal, Holland and Spain have stolen African objects in their inventories. But how did these objects come all the way to Europe and why have they not been returned? I. HOW DID THESE OBJECTS COME TO EUROPE? Most of the African art objects now in European and American museums came there as a result of some illegality or some dubious means during slavery, the colonialism and our present neo-colonial times. Most of them have been seized either through the use of massive force or threat of use of force, bribery and intimidation or stealth. DECEIT EGYPTSo much cultural objects have been stolen or illegally transported from Egypt that one cannot hope to do justice to the issue here. We have chosen to consider very briefly the best known case of unjust possession by European museums of cultural objects from Africa: Nefertiti, the Egyptian Queen, whose famous bust is everywhere presented and for some, the very essence of beauty. The Germans, who have been illegally detaining the African queen in the Altes Museum, Berlin for almost hundred years, now claim that she is a German, a “Berlinerin.” But how did this Egyptian queen end up in a German museum? On 6 December 1912, when Egypt was still under Turkish domination (1) a group of German archaeologists and Egyptian assistants, under the leadership of the German archaeologist, Professor Ludwig Borchardt, dug out what turned out to be the bust of the Egyptian queen, Nefertiti. The practice at that time was that when such findings were made, they were presented to a committee that decided what part was to remain Egypt and what part would go to the country of the archaeologist who made the discovery. The committee at this time was always presided over by a European; in this case a Frenchman and many of the members were Europeans. In this particular case, Borchardt, was also a member of the committee. According to Gert v. Pacezensky and Herbert Ganslmayr, Nofretete will nach Hause; Europa - Schatzhaus der “Dritten Welt”, (2)Borchardt covered the find with a layer of grime, in such a way that the member of the committee who made the evaluation of the found did not see properly the whole lot and thus was not aware of the importance of the find. It was decided to leave the socle on which the bust stood in Egypt and let Borchardt have the bust. From documents later available, it was clear that the professor realized how important the found was and was planning to take it to German. When the bust came to Germany in August 1913 it was kept secret for some ten years and not exhibited so as to avoid the Egyptians getting to know about it. Finally, in 1923, after a decade, the bust of Nefertiti was shown in a book by Borchardt “Porträts der Königin Nofretete”. After this publication, the Egyptians started demanding that the bust be sent back. But the Germans have refused to return the bust.

Malcolm X at Mecca

Malcolm realized that going back to where life begain was the way to understand the present and lead a clear way to the future. Education is the passport to the future, for tomorrow belongs to those who prepare for it today. I'm for truth, no matter who tells it. I'm for justice, no matter who it's for or against. Without education, you are not going anywhere in this world. You don't have to be a man to fight for freedom. All you have to do is to be an intelligent human being. Education is the passport to the future, for tomorrow belongs to those who prepare for it today.

ALGERIAN ANCIENT ROCK ART

Algeria, a treasure house of prehistoric Saharan art, has discovered more neolithic rock etchings in the desert from around 8,000 years ago showing cattle herds, a government newspaper reported Monday. El Moudjahid daily said local tour guide Hadj Brahim found about 40 images near the town of Bechar, about 800 km (500 miles) southwest of the capital Algiers. Prehistoric paintings are found in many parts of the Sahara, often portraying a garden-like environment of hunting and dancing in bright greens, yellows and reds at a time before desertification, which happened around 4,000 years ago. Algeria's best known drawings are in the southeast in the Tassili N'Ajjer mountains. The site of 15,000 images has been named world's finest prehistoric open-air art museum by UNESCO. Despite a rich Saharan inheritance, Algeria remains off the beaten track for most tourists because of its politically unstable history and an undeveloped tourist sector.

DOGON-- "HOUSE OF WORDS"

Sounds Beats & Poetic Vibes

SHALL WE AWAKE* Why does it seem like we are walking in a "Mental Haze" Through Timeless years, whips and chains. Staggering and Intoxicated by the thief of life's best game. Through smoke screens of lies told from old, the Truth still rings for Justice Code. Only to be shot down by bureaucracy! If we could keep our focus visualize the real ..open our eyes.. then we would see! It's like being confused but saying one understands. Was confusion the enemy special plan? Somewhat like wanting change but refusing to do , what it takes to get the job done. We talk a great game, but when it's crunch time, we are long gone. Only to give the excuses of why we can't seem to make it. Is this statement real or could we just fake it. Knowledge given is knowledge applied! For this reason alone so many of our ancestor's died! If we could Awake, and change the state of our minds, to talk of missions and interpret our time. To listen to the message the drum portrays. A code that was meant only for the tribes to display, they took our lands and left us bare. All I want to do is to share. Still some can't seem to face the painful memory, of our lives recorded tragedy. "Awake Sunbaked Nation"....Your Beauty lies in your dedication. Knowledge is your gift, of a strong and Vibrant Nation. Let's give Tribute to those who blood, sweat and tear's build a connection. Bowing continually in humble adoration. Empowering the Earth Rise Sunbaked Beauties a New , to a song of a Heroic, Determined Fine Few. ~ Feel Your Intellect Rising , feel your Sprirt Soar. For what was stolen is now returned unto you once more. Seek out our knowledge at all cost. This is the only way for us to put our lives and spirit back to where the Creator desired and ordained it so to be. Marching into a New Millenia strong intellectual and free ~ © 4/15/06* Peace*

Echoes of Legend Drums by Chidi Okoye

ECHOES OF LEGEND DRUMS ~ Like the magnetic current of the Lightning . is drawn to reflective objects on earth: Like the endless bond between gas and fire. We have bonded with sounds of legend drums. The covenant of souls and spirits of music, like the bond of moon and stars, will never be broken. It is a legend bond of eternity that tickles minds and bodies. Unlike covenant of man to man, it is an agreement of total submission of self. Like the helpless flies of the night drawn to beams of light, so we are drawn to the echoes of our legend drums. Rhythm of our land, rhythm of unstoppable forces of nature. He who refuses to lift up his legs in dance shall nod in respect. Echoes of our land, a call to obey. Echoes of our drums, a garnished and spicy food of souls. Echoes of our legend drums, a legend therapy of troubled souls. Echoes of our drums, a priceless heritageto be preserved. Like forces of great wind of hurricanes in a love dance with a trash can, we have given in to the powers of music in legend dance of life.

Zulu Medicine Man

Zulu traditional medicines (or umuthi) have changed very little over the ages. The administrators of these traditions have various roles in the Zulu society. They are the inyanga or herbalist who is concerned with medicines made form plant and animals, the isangoma or witchdoctor who makes contact with the ancestral spirits and prescribes medicine according to their dictates and the isanusi who is a diviner capable of "smelling out" sorcerers and other evil-doers. Both the inyanga and isangoma must acquire their knowledge through a long apprenticeship, the isangoma however, must have been sacredly called to their profession, and have little choice when called. In modern society the status of these medicine men or woman has been translated into wealth. Most izinyanga (plural of inyanga) in urban areas have shops in which they have consulting rooms and from which they sell their medicines. ~ DIAGNOSIS~ MAGICAL PLANT MEDICINES Tribal doctors use three main methods of diagnosis: 1.Throwing of Bones Amathambo or the throwing of bones is the ability to consciously interpret though images or symbols produced by the arrangement or the bones that have been thrown, and apply them to the health of the patient. There is no direct perception from the consultant to the doctor. 2. Transmental Diagnosis In this method, the Sangoma goes into a trance to determine what is ailing the patient. This is simply an altered state of consciousness brought about by drugs, plants or in many cases self induced, as with autohypnosis. 3. Perceptive Diagnosis This form of diagnosis implies the ability to see or feel and interpret the various vibrations emitted by the patient (almost like an aura). The doctor sits a few feet away from the patient and, without having to exchange words, he or she will physically perceive the pain actually experienced by the patient. All tribal doctors have developed their unique methods of diagnosis and act intuitively. They seldom touch their patients to find the troubled part. To explain the phenomenon of those who have perceptive power is beyond rational understanding. It is an inborn gift which many Sangomas have inherited. These powers are called imimoya nayambibi.

ORION AND THE PYRAMIDS

Belt Stars of Orion and the Great Pyramid ~ The Middle Kingdom based their calendar on the heliacal rising of Sirius, which occurred just before the annual flooding of the Nile and the summer solstice. The Dogon describe this 'star' specifically as having a circle of reddish rays around it, and this circle of rays is 'like a spot spreading' but remaining the same size. The Dogon are a West African tribe who have known about, and worshipped, Sirius A and its twin the invisible star Sirius B, for the past 5,000 years. They are have also been aware of the planets circle the sun in elliptical orbits, the four moons of Jupiter and the rings of Saturn. They say that Sirius B is immensely heavy, invisible, very small, yet extremely powerful. Their understanding of the two stars' orbits coincides exactly with modern astronomical findings, yet was arrived at thousands of years before it was scientifically proven. They also claim that a third star Emme Ya - Sorghum Female - exists in the Sirius system. Larger and lighter than Sirius B, this star revolves around Sirius A as well. The Dogon also believe that approximately 5,000 years ago, Amphibious Gods, called Nommo, came to Earth in three legged space ships from the Sirius Star System. They have described perfectly the DNA pattern made by this elliptical orbit created by the two stars as they rotate make around each other. They believe Sirius to be the axis of the universe, and from it all matter and all souls are produced in a great spiral motion.

The walls are decorated with human figures next to bulb-like objects reminiscent.

of oversized light bulbs. Inside these "bulbs" there are snakes in wavy lines. The snakes' pointed tails issue from a lotus flower, which, without much imagination, can be interpreted as the socket of the bulb. Something similar to a wire leads to asmall box on which the air god is kneeling. Adjacent to it stands a two-armed djed pillar as a symbol of power, which is connected to the snake. Also remarkable is the baboon-like demon holding two knives in his hands, which are interpreted as a protective and defensive power. In his book The Eyes of the Sphinx, Erich Von Däniken writes that the relief is found in "a secret crypt" that "can be accessed only through a small opening. The room has a low ceiling. The room is not so secret, however, as many tourists visit and photograph the room every year. Von Daniken sees the snake as a filament, the djed pillar as an insulator, and claims "themonkey with the sharpened knives symbolizes the danger that awaits those who do not understand the device." This "device" is, the reader is assured, an ancient electric light bulb.

Kemetic History of Afrika * Blue Lotus*

KEMETIC SCIENCE

Saturday, January 15, 2011

KEMETIC COSMIC VIEW - THE BOOK OF NUT

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KEMETIC KNOWLEDGE

WHAT ARE WE WAITING FOR?