The first offering, is a call to return to the source of Afrikan culture, defined by its own conceptual matrix and matrilineal wisdom. The ideal, motif and foundational principle of Ma'at, borne out of the Nile Valley Afrikan Cultural Complex, is reasoned, by both living and transitioned elders and ancestors, to reside at the very core and base of Afrikan human existence. After all, the truth is the daughter of the sun.

This first sonic offering draws on Ma'a Seba, or a tradition of wisdom teaching which carries the voices of Seba Herself, in various Afrikan wisdom-bearers from across the Afrikan world, who have shared their knowledge and enlightened generations of Afrikans to come.

It represents the beginning of the implementation of the Akan motif of Sankofa, and suggests that within the Afrikan archives are narratives of liberation, truth, justice and righteousness that can be found within the cultural unity of the Afrikan World across continents, time and space.

It is our entry into the cosmic and sonic Nile Valley journey that begins in the South ,in Ta-Khent, the first nome of the ‘Kmtyw’, which is also the first nome of Kush, in Ta-Seti, the ‘Land of the Bow’. In our meditation it returns us further back in time into the South of modern day Ethiopia and Northern Kenya (the Omo River Valley), where the early beginnings of matriarchal archives were forged.

At this time, the first instruments were fashioned to play the music of the ancestors which further centred the role of the musicians, singers and poetesses as the originator of the Divine word, as the figure of Seshat is considered to the be the founder of writing, measurement and mathematics to the priests and scribes of Kmt.

The sonic journey is one that conjures up the memory of beginnings related to the sacred womb of creation. It is thus a libation to the creative spirit residing in ordered, just and humane Afrikan existence founded upon Ma'at.


As we spatially commence our journey out of the Omo River Valley in Central East Afrika we emerge from the serene waters of Lake Tana. We also set forth out of the Sobat and Kagera Rivers whose waters we correlate to the both the confluence of the Blue and White Nile, but also to the Great Lakes Region and its strong unities and affinities with the Southernmost Cradle of Human life in Maropeng (return to your origins) which then takes us back to Central-Afrika from which the river valleys to the North, West, and East are united within the mesh of a Kongo-Niger-Kordofan connection.

From the generative forces of Ala, Simbi and Amma which birth creation, to Aset, to Mehit, to Seshat as the highest ideals of wisdom, to the philosophical and spiritual corpus of Ifa, the artistic traditions of Litema and Ndebele, the spirits of Nehanda and the institutions of the Mbari and Mbongi, the Afrikan woman stands as a central figure in the genesis of the cognitive, cultural, creative and historical archive in Afrika.

Material evidence for this is affirmed in Black prehistory or zep tepi by the Ishango and Lebombo bone, which calculated menstrual and lunar cycles in mathematical order and accuracy. The significance of the use of the baboon's bone centres on the bone being used for the purposes of Sebayt or teachings, following the baboon's later correlation to Tehuti (the Ibis or messenger of the cosmos and wisdoms’ principles itself), the sunrise, and sacred speech or Heka.

We must remember Tehuti’s consort and spiritual double is Seshat who is thus related to Ma'at given their interchangeable and shared aspects. So the mathematical signs found etched on the baboon bone shows that embedded in Afrikan cultural consciousness was its focus on Afrikan women. These Afrikan women like Dinknesh and other Ancestors in the first communities out of the Great Rift Valley began their endeavour to 'order', 'count' and 'reckon' the cycles of existence by mapping fresh and sea water with their connection to the endless array of celestial bodies, they 'found' the wisdom traditions and creative arts to follow.

The idea of order, balance, harmony, justice, wisdom and guidance is affirmed by a correlation between cosmic nature and the cosmic self. The functioning of metaphors and symbolic allusions to the Ostrich feather was present in the Kemetic consciousness since predynastic times, as representations of the ostrich on pottery abound. Furthermore, prototypical representations appear in the earthware of various Ancient cultures located in modern Sudan and Egypt of women with outstretched hands assuming the Ma'atian pose.

This suggests that Ma'at like ma'a (truth) which are concepts embedded into the communal values of the Maasai extends into a larger tapestry of Afrikan cultural consciousness where the affirmation of the community self was achieved through the recognition of the deep truths evident in the manifestation of humanity's correlation with nature, Ubuntu and Umoya. It should be no wonder that much of the ancient and pre-modern cultures who were in contact with Afrikans prior to their own ascension associated wisdom with the feminine principle such as Sophia or ‘wisdom’.

We learn that we are given connection to our land as Anthu, indigenous Afrikan persons, an esteemed and justified people, through our maternal and thus material connections, we are also given our names, spiritual force and vitality from our fathers. This shows that principles could not be singular, androcentric or dichotomous, but rather had to be complementary so as to either synthesise/harmonise differences or re-affirm the truth of oneness, in the Afrikan trinitarian family conception.

This oneness has always been rooted in Afrikan lived experience, creative expression, culture and spirituality.

In returning to culture, the principle of creation must be sought in the affirmation of life. This lends our ear to the union, not duality between the ‘natural world’ and ‘human world.’ Poly-rhythmically, we gain deep oversight into the cosmological synchronicities evident in the musical and tonal frequencies of Afrikan people rooted in collaboration and innovation.


In the end of our journey the name ‘Rasta’ is mentioned, we relate the entire manifestation of this movement as part of Wehem-Mesu and therefore affirm its existence as a liberatory and cultural movement that has appeared and reappeared over time from Kush to Cush, that is from the continent to the diaspora and vice versa. For the ancients Ra Stau was associated to the fountain of the Sun, located in I͗wnw, later Heliopolis or the ‘City of the Sun’, which was founded in Lower Kmt but retained sites in Upper Kmt.

Indeed Iwnw was the site of many spiritual concepts around the sun. Another correlation appears to the Nsude structures of Nigeria and given the continuities of sun ‘veneration’, it’s evident again that Kmt emerged from an ancient Afrikan world.

Today, Rasta is associated solely with the manifestation of H.I.M Emperor Halie Selassie I, who was previously a Ras or Prince, and thus known as Ras Tafari Makonnen. We thus correlate Rasta with H.I.M’s historical reign, but given the unity of Afrikan culture outside of Judeao-Christian frameworks, a deeper reading is required which centres Afrikan wisdom on the continent in order to understand the source of later illustrations of this ‘new name’. Thus, such a movement, predicated on Ntr, Seba, Heka, Khepri, and Ka, which have existed throughout time, affirm that between this Earth, the Earth of our Ancestors and the departed, (Aaru/Ta-Meri or the beloved land of those ancestors who have transcended), there are several gates and these gates are Rastau where the minor kinglets of Tchatcha who witness these spiritual journey through worldly tribulation and spiritual conflict.

Indeed following the Fifth Dynasty tradition, the ruler of the Nile Valley that was later known as a pharaoh was referred to as the son of Ra or Sa-ra/Sa-res which can be rendered as ‘Sela or Selas’. This is where the 1922 Ethiopian king list returns to an indigenous origin within the Dynastic regions of the Tribe of Ori, the Dynasty of Kam and the Ag'azyan Dynasty as the Black Afrikan founders of Imperial Ethiopia which include various mythical but importantly traceable historical figures like the viceroys of Kush and significant members of the priesthood of Amun. They are the cornerstone of the Orthodox institutions, and in our Heterodoxy we seek to return the ark of the covenant and the traditions back to their rightful home within the Afrikan context and Afrikan archive.

This is what is meant by the ‘opening of the seals’, since Kmt, Kush and Ethiopia will always be woven into a single history as it had always been since the beginning of antiquity, with the fountainhead in Kmt and the source of its black waters found deep in the South. We now see the relations between the Kushitic queen Makeda who was none other than Hatshepsut who was “Maatkare", the ‘perfect Ka of Ra’ which was the throne name of the great empress and women pharaoh Hatshepsut, who returned back to Punt, the Land of the Ancestors, as ordained by the Halls of Two Truths itself.

Therefore, it is the ‘Fountain of the Sun ’ or the wellspring of Ra, which is correlated to the renderings of Jah, Yah or Iah, which are but other spiritualistic names for the Moon, must return to its original form in oneness with the Sun and its zoomorphic type of the Lion as symbolised by Ra or Re. This must be done by those who hail out of Rastau, where the ‘Lord of the Earth’ Asar/Wsr dwells, sitting and reigning the Two Lands from within his chamber, in spite of the various forms of wickedness, denial and opposition which attempt to destroy the completion of their spiritual journey.

We thus see a representation of Emperor Halie Selassie and his Empress Menen I depicted together as equals in the tradition of the Nile Valley, alongside the colossus of Amenhotep III and his wife Queen Tiye, or the Kandake and their husbands, brothers and sons in Kush. They are reflected in the books in stone, the images refracted off the serene Nile River water and the frescoes now faded from memory. From the orthodox caves of Gondar and the Simean mountains, to the holy reaches of Jebel Barkal and then the temple site of Ipt Isut, we recall the spirit of Tehuti manifest in the Ethiopian memory of King Gannkam who built a palace of iron and bronze at the ‘foothills of the Mountain of the Moon’ and authored many books of wisdom.

It is then at the spiritual site of I͗wnw representative the fountainhead of the sun, where as Rmt, the descendants of the sun, or Afrikan-descended people, we must begin our departure. From Waset, Napata or Axum we take our leave. We find ourselves between broken sculpture, pottery and other fragments of our matrifocal memory. The sandstone archive that we press our ears to, now cuts our minds with memories of lives, realities and textures of history now forgotten. We thus ship out from our mooring post, at the port of Khufu, at the Port of Adulis, at the Port of Alexandria as we set sail for a journey, further back and forward into the vicissitudes of Afrikan time, under the protection of Nut.