Earth Day Black Queen Mother Goddess

The Amen Par Ankh in Kansas City is celebrating Earth Days beginning Saturday, April 19th, at 9:00am, until the end of the month of April. We will have an internet Podcast presentation with workshops on Envisioning, make and take gifts, of $5-  Mandela Healing circles, Dream Catchers, Smudge sticks, and Vision boards.

Earth day is held after the season of Lent, Passover and Easter or "Resurrection day" and is an annual celebration usually recognized, April 22. Many special events are held worldwide to demonstrate support for Ecology and environmental protection and stewardship. Mother Earth is a nurturing life giving. She responds to the season and elemental powers of the son and atmosphere.

 

The First Council of Nicaea (325ad) established the date of Easter as the first Sunday after the full moon (the Paschal Full Moon) following the March equinox. Ecclesiastically, the equinox is reckoned to be on 21 March (although the astronomical equinox occurs on 20 March in most years), and the "Full Moon" is not necessarily on the astronomically correct date. The date of Easter therefore varies from 22nd of March to 25th of April.

The name "Easter" is merely the slightly changed English spelling of the name of the ancient Assyrian goddess Ishtar, pronounced by the Assyrians exactly as we pronounce "Easter." The Babylonian name of this goddess was Astarte, consort of Baal, the Sun-god. The Teutonic Goddess Eostra was known as the Goddess of Spring and fertility... Under Constantine in the 4th century AD, the Christians assimilated this festival and called it the Resurrection. So the name Easter is derived from the Goddess Oestare, Ostern, Ishtar,Astarte, Eostra or Eostre, depending upon which cultural literature you read.

The female hormone oestrogen (estrogen) can claim its Latin language roots to this Goddess. The fertility aspect of Ostara is symbolized by the egg. It is believed that eggs and another symbol of fertility - the rabbit - surrounded the Spring Goddess, Eostra. Hot cross buns were another stolen aspect of Ostara by Christians... At the feast of Oestre, an ox was sacrificed.. The ox horns symbolized the feast and were carved into ritual bread . The symmetrical cross has been continued to decorate the buns, that are now commonly called hot cross buns.. So you see it was stolen from the Pagans, Life, Death, Rebirth, it represents to us. The Christians stole it to represent the Resurrection.

Lent was observed in Egypt (Wilkinson's Egyptians). This Kemetic (Egyptian) Lent of forty days was held expressly in commemoration of Asar (Osiris,) symbolic of all things green and growing. (The Two Babylons, by Hislop, pages 104 and 105, and Sabean Researches, by Landseer, p. 112).

 

Many figurines of what appear to be a black amply endowed and pregnant human female, have been unearthed during archaeological excavations. This Icon of the Great Queen Mother Goddess Nut, is symbolized to help us to embrace our planet and reconnect with life and all nature.

One of the most famous of these figurines, is the Venus of Willendorf. She is believed to have been carved somewhere between 24,000 to 22,000 BCE, in the Upper Paleolithic or late Stone Age. It is widely believed that these figurines represent the mother goddess of fertility.

These most ancient depictions of a mother goddess further suggest a more sophisticated and global view of a creator goddess or Earth Mother. This “Earth as Mother” motif is found in many mythologies around the planet. The goddess figure embodies or personifies a fertile earth. She is seen as the creative force, often giving birth to a myriad of other deities, or to the universe itself.

In Sumerian mythology, the earth goddess Ki (cuneiform ki is the sign for earth) as the consort of Anu, an earth god. It is Anu and Ki who give birth to the Anunnaki, recently made popular by proponents of Ancient Astronaut Theory. The notion of an earth mother and father Nut is the ancient Kemetic (Egyptian) mother goddess. Nut was known as the “primal mother of all who was born of the sun.” As a creator deity, Nut was revered as the mother from whom the cosmos emerged. She is associated with the waters of Amen, from which everything was born through parthenogenesis, a form of asexual reproduction in which the development of embryos occur without fertilization- Immaculate Conception… (shades of the virgin birth mythos?)

Kemetic deities evolved over time. As the old kingdom gave way to the middle kingdom, Nut was transformed into Het-Heru (Hathor), and ultimately Auset (Isis). Auset was the wife of Ausar And the virgin Mother of Heru. Auset is the goddess of the earth. We also describe her in her capacity as Mother Nature, the goddess progenitor of animals, and the inventors of new plant life. Ancient Greeks identified Auset with the goddess Aphrodite (foam-arisen) and the Romans as Venus. Both Aphrodite and Venus were considered goddesses of love, beauty, sex, fertility, prosperity and, through association as Earth Mother.
Just as Aphrodite is portrayed as emerging from the sea upon a scallop shell, so is the ancient title for the Blessed Virgin Mary the Star (Polaris or the North Star) of the Sea. With Mother Mary, the virgin birth motif is carried into Christian mythology. Although modern Christianity does not necessarily view Mother Mary as an Earth or Mother Goddess, early Christian sects, circa 300AD did. 

Modern western culture has multiple representations of Earth Goddess. Most widespread is the Mother Nature motif. Another popular and more recent representation of Earth Goddess is Earth as Gaia. The ancient Greek earth goddess Gaia has in modern times become the name for Gaia philosophy, where it is postulated that organisms interact with their inorganic surroundings on Earth to form a self-regulating, complex system that contributes to maintaining the conditions for life on the planet.

An intriguing psychedelic and shamanic mythology for Mother Nature is personified in the South American Mother Ayahuasca motif. Mother Ayahuasca is a benevolent and loving entity encountered by shamans.
In our modern world of climate change and renewed pressures placed upon our precious natural resources, a deeper understanding of “Goddess” or Queen Mother earth based philosophy is vitally important. Let us not forget that our shared Mother Earth is but a tiny speck in the vastness of space.

Ankh the Womb of life and the Queen Mother Goddess of the Natural Kingdom

The Queen Mother Goddess is the Earth

Ankh: The Kemetic Womb of Mankind and Symbol of Eternal Life

The Ankh is pure Feminine Energy.  She represents the Universe as Queen Mother Goddess. These are signs and symbols of our ancient Ancestry, dating back to the beginning of humanity.

MA Ancient Mother Goddess

The adoration of "MA", the Queen Mother/Goddess can be recorded as far back in time as the hunter Gatherer Gnome societies. Her name was uttered as MA. This is a monosyllabic tone that resonated as a sound of power or an energy vibration. The Queen mother was supreme. She held all of the wealth and knowledge of the cosmology of the Gnome. She was Griot- the Melanin Memory bank of creation.

The Willendorf Goddess represents Gaia, Mother Earth in all her raw and fertile beauty. Her proud stance and her great- nurturing breasts, are one of the earliest spiritual images of meditation, tranc, and spiritual consciousness. The Mother Goddess was the All-Universe. This is a powerful reminder that there is an older standard for feminine beauty.

Venus of Wellendorf

The Queen Mothers were thought to have conceived their children from the sun! 

The sun was considered the “Savior of the World,” as it rose and brought light and life to the planet. It was revered for causing seeds to burst and thus giving its life for plants to grow; hence, it was seen to sacrifice itself in order to provide fertility and vegetation. The sun is the “tutelary genius of universal vegetation,” as well as the god of cultivation and the benefactor of humankind. When the sun “dies” in winter, so does the vegetation, to be “resurrected” in the spring. 

Many have heard of the Amazon Warriors. In 1861 Bachofen published his radical thesis that the Amazons were not a myth but a fact. In his view, humanity started out under the rule of womankind matriarchy, and only switched to patriarchy at the dawn of civilization

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The Amazon were select Women who provided security and protection for the Queen Mother. There was a time when women procreated alone. - without a male partner. There were no men born. Inherently, men were created as a choice. So men were a choice that womankind promoted through parthenogenesis and selective birth. Initially, men only served as drones around the Queen. The original relationship was of a Mother and Sun. The firstborn Son was titled Nsdbity (Sun of the Black Bee- Bee King) 

This reminds me of a passage from Sojourner truth’s Recitation of “Aint I a woman?” which states, “Where did your Christ come from? From God and a woman! A Man had nothing to do with Him.” 

Ptah holding the trinity of the Djed and Was Scepters along with the Ankh

The Nsdbty would be selected by a council to be matched with a young queen to be her visor and consort. All of the storehouses of wealth and knowledge would be passed down from queen to queen. So the daughter would inherit the Land, Animals, and all Personal Property, of which, she would pass on to her daughter or Granddaughter. She deferred to her king divine law and the protection of her estate.

Although the Ankh is a feminine symbol of the womb of life and eternity, many are still unwilling to embrace the full power and force of this symbol of pure feminine energy. Many are still spreading a false western European patriarchal notion of the phallus/ Trinity, to tie our ancient ancestral system to blind and calcified sociopolitical systems, and to dilute and diminish the essence of the Ankh and her representation of Ma/eternal energy. There are masculine symbols of the Djed, Was and the wdjet eyes that have been used historically to tie to the Indigo families of creation. 


Kandaki Ma Nuta Adenike AmenRa El
We hope you enjoyed our presentation. Amen Par Ankh is our KMT KRST Spiritual Ministry.

(c) All rights reserved. No part of this Blog may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the author; Nuta Beqsu Adenike AmenRa

I am available for Lectures, Libations, Griot Spoken Word Presentations, KMT Wedding, Birth and Ascension officiant, Salutations and Blessings for new beginnings, Home and Businesses, Afrikan Storytelling, Conferences and Workshops, along with a curriculum for youth homschooling, Workshops, and sleepovers, Contact: amen.parankh@gmail.com or amen.ankh@live.com 
Phone: 816-281-7704

The information on this website has been put together for general information, education, reference, Spirituality Current Events and entertainment purposes only and is not intended to provide medical advice. This information has not been evaluated by the Food and Drug Administration and is not intended to diagnose, treat, cure or prevent any specific condition. Ask your doctor for his professional advice before making radical changes in your diet and lifestyle.

Afrikan Dance

In Afrika, dance is the worship of the Divine with the body. Our bodies are the temple of the most high. Our bodies are wonderfully made. Dance is much more than physical movement- it is a direct way to celebrate life and create healing for the dancer and the audience. Afrikan Dance is a healing tradition of expressive movements that are unique to Afrikans and their Cultural heritages found all over the diaspora of the planet. From the movements of nature and everyday life, Indigo people of Afrikan descent developed specific dances to summon the energy of the world around them into their bodies - the Temple of Life- for connection, communication, Cultural expression, and healing. We dance in a roundabout, where everyone is a participant. We thank the drummers for the tempo, polyrhythm, and vibrational energy.  Through dance, we become the Griots telling the stories of the hàunt, the harvest birds, the water, the wind, the fire, the plants and the giant creatures. 

These inceptions align with our chakra energy sites, glandular stimulation zones, and Circulatory system...

Dance is a proverb expressing the Elemental principals and Powers, The character, strength, and energy of a majestic animal, as well as the nurturing, meditative, relaxing, and transformative and organic nature of our environment.  Afrikan Dance is the recognition of our body's own inherent wisdom. Dance is a healing and spiritual endeavor and has become a creative force for transformation. Dancing told the stories of daily news and events as well as the histories of families and communities.

African Dance incorporates an understanding and value of culture deeply rooted in a community. Everyone respects each other, listens, is intuitively aware of space, and pays attention to breathing. We are connected to culture through dances, drumming, and songs that relate our rich Afrikan history. Dances from all of the Afrikan Diaspora are celebrated- From the Motherland of West Afrika: Guinea, Senegal, Mali, Ivory Coast, Ghana, Nigeria, and other Sub-Saharan countries as well as Arabic, Indian, Haitian, Caribbean, and the Americas. 

 Experiencing our own natural movements, spirit, and sense of humor through improvisation is also cultivated. Jazz, Rhythm and Blues, and Hip Hop have their own origins in the global Afrikan dance Diaspora.

Afro-Hip-Hop Dance

My vision is to garner the expression and energy of our community’s youth, with Amen Ankh Akademy and represent Kansas City metro in local, state and national competitions. I would like to create a variety of artistic expressions that will go on from adolescence into adulthood. Ultimately, I would like to foster a positive climate for Amen Ankh Akademy to become a Mecca that draws the interest, not only to create a sustainable community but a nation. https://amen-ankh.blogspot.com 

Dance Squads are team sport activities that use organized routines made from elements of dance, jumps and stunts to direct spectators to events and to cheer on sports teams at games and matches. The athletes involved are called dancers or a Dance Team. Currently, there are a variety of opportunities for a team to compete at Local, State, and National competitions.

“Dance Squads” first appeared in the form of traditional customs and rituals of indigenous cultures for ceremonial rites, (Hunting and fishing parties, funerals, weddings etc.) as a display of respect for the community elders and rulers, and to encourage the hunters or warriors, as they embarked on their missions. This was important, as the Hunter/Warrior represented the very survival of the community. In many cases, drum, dance and oral culture have played a more central role than written communication particularly in the communication of history, tradition and culture between generations.

Placing great value on improvisation, Afrikan American vernacular dances are characterized by ongoing change and development. Because they exist in social spaces and their main 'purpose' is self-expression, they are continually changing to reflect the needs, interests and personalities of their participants. They are also often characterized by their 'stealing' or 'borrowing' from other dance traditions and any particular Afrikan American vernacular dance shows clear evidence of its relationship to other, earlier dances.

Afrikan and American Laborers, incarcerated, and Military, expressed their anguish and pain through work chants and dances.

The phrase 'Afrikan American vernacular dance' is commonly used to refer to those dances which have developed within the Afrikan American communities of the United States from the 1600s. Afrikan people who were captured, enslaved and brought to American and European diaspora, from the  were representative of a wide range of ethnic groups, and their dances and cultural lives were similarly diverse. To speak of an 'African American vernacular dance' without qualification is to ignore the vast range of dance practices and traditions which developed from these African roots in communities across the United States. Afro-American dance in the earliest days was a response to the conditions of Colonialism and the capitalization of everything in the perview of European colonizers. Cultural life for Afrikan enslaved in America was controlled by land owners and varied between individual enslavers, local communities and the work in which laborers were employed. In general terms, though, we can say that much of the rich cultural and social life of Afrikan slaves in America was forbidden  (for a range of reasons, including social, religious, spite, misunderstanding or simple cruelty), compromised by strict rules, replaced by the culture and climate of the enslavers, or combined with this culture of the enslavers, to produce new hybrid forms. New and different cultural traditions developed not only in different cities across America, but on the properties of different slave owners. There were distinct regional variations in dance in Afrikan American communities, developing as a combination of traditions from different Afrikan ethnic groups, the religious and social predicates of enslavers, and other groups within the immediate society, as responses to the musical and social lives of individuals in that community, and in response to different experiences under slavery.

The idea of dividing performance, competitive and social dance, in Afrikan American vernacular dance, is largely an imposition of Western-European class and cultural values. Now, competition plays an important role in social dance in Afrikan and Afrikan American communities. From the cake walk and lindy hop to 'battles' of hip hop, performances have also been integrated into everyday dance life. Here are contemporary examples; Harlem Shake, Krumping, Hyphy, Snap dance, Cha Cha Slide, Line Dance (Booty Call), Lean wit It, Rock wit It, Walk It Out, footworkin, Chicken Noodle Soup, Crip Walk, Gangsta Walk, Tootsee Roll, The Roosevelt, Getting Lite Poole Palace, Butterfly Dance, Jocin, Tone Wop, Crank Dat Soulja Boy, and A-Town Stomp, and Twerk. Many of these moves can be traced directly to Afrika, South America, and the Caribbean. Like Lin-gin and ka ki Lamba

Initially, percussionists established the rhythm background for our performances. Music is always a preference. Acoustic music is a preference, due to the availability of electricity and audio systems.