On the request of Song of all Songs, White Buffalo Calf Woman Sings for Haitians trapped in the rubble. Count my blessings, two and fro, don't you know that God does grow, my heart yearns to be with you, don' you know, it's the all the clues. My heart wishes upon the soul, don't you realize, we are here to grow. And when you are trapped, inside the dark, let my heart find yours tonight.
Realize wisdom grows, when you choose God, pray to the longing of a broken heart, and when you mend, the will to shame, then you will have an open gain. Some will live and some will die, how much can you stand to hide? I know you are waiting for me to come, and I am on the run.
Come to realize, the waves of time, where my heart looks out to the blind. And you will know the wisdom of God, when all the children ride the hides. Come and be with glory bee, the heart of those, who soar in need. And when you reach the plateau of time, I will be there, don't you hide.
Come my children, come be bold, come and hold, the hands foretold, and we can gift you the reasons why, but don't be worried, just be blind. For faith has a calling, and it's Gods true voice, those, who long, to be with choice, and when we ride the hands of time, we go to shelter, to be with thine, we go to shelters, to be with thine.
Lift your heartbeat and feel my soul, lift the glory ever told, and we are going to majesty, the magic of the supernatural tree, there we hold the hands of God, where are climb to the highest land, and when we see, from above the tree, there we have an open breeze, there we have an open breeze, there we can catch all to sea. The hands of glory, that would be, come to reach our hands to be. Come to hold me, forever please.
Sung by White Buffalo Calf Woman your Twin Deer Mother
Drumbeat by Holiness David Running Eagle Shooting Star
"Come and take the hand of God for it's the stream that knows how far you will journey along the bar (rivers edge) until you fear no more", sung by White Buffalo Calf Woman
To release the edge, of the waters edge (mirror of reflection to the soul), the bar, we must no have fear, to venture across the seas, where you seek strangers in a distant land, this will bring us brotherhood, the journey over, like it should, fearless is the brotherhood, the golden one, like "Swelling Mountain Calling, our Song of all Songs", the cosmic father, the golden person.
It is the star, that must be born, in the fertile action of union, from the rainbow, to the risen star, the golden one knows how far.
The sound resembling a breeze blowing through papyrus reeds. This shows where the green grass grows from within the blue seas (water gives blessings of newborns), here it is the river of life, that gives papyrus reeds, the green grass is our home world, and the breeze is the heavenly knowing of the waters, the wind. The sound of the sistrum is a song, that occurs along the journey of life, like the Song of Angels in the wind.
sis·trum (sstrm)
n. pl. sis·trums or sis·tra (-tr)
A percussion instrument of ancient Egypt, Sumeria, and Rome consisting of metal rods or loops attached to a metal frame. [Middle English, from Latin sstrum, from Greek seistron, from seiein, to shake.]
Sistrum (sesheshet)
Appearance: The sistrum was a musical instrument formed as a sticklike wooden or metal object, with a frame and small metal disks that rattled when the instrument was shaken by hand. The head of Hathor was often depicted on the handle. The horns of the cow were also commonly incorporated into the design. The instrument produced a soft jangling sound resembling a breeze blowing through papyrus reeds.Meaning: The sistrum was called shesheset by the ancient Egyptians and was a favored instrument in many religious ceremonies and rites, especially those associated with Hathor. The sistrum's basic shape resembled the ankh, the symbol of life and carried that hieroglyph's meaning. The Egyptian name of the sistrum, sesheshet probably derives from the sounds the instrument makes: a soft jangling sound resembling a breeze blowing through papyrus reeds. It was this sound that was supposed to placate the gods and goddesses. It is believed that the sistrum might have originated in the practice of shaking bundles of papyrus flowers (papyrus flowers were a symbol of Hathor).
Although the instrument eventually entered the cults of other deities (such as Amon, Bastet and Isis), it was with Hathor, her son Ihy and her attendants that the instrument is associated with in most representational contexts. The sistrum seems to have carried erotic or fertility connotations as well. This probably derives from the mythological character of Hathor.
The distinctive shape of the instrument is found in many contexts ranging from small mortuary objects to the columns of temples, such as those at the Temple of Hathor in Dendera.
Ankh (ankh)Appearance: The ankh is one of the most familiar of Egyptian hieroglyphs. It resembles the Christian cross, with a loop above the transverse bar. Theories on its origins are numerous and varied; ranging from sexual symbolism to the common sandal strap. Like the Knot of Isis, which it resembles, it is most likely depicts some kind of elaborate bow. Detailed representations of the ankh show that the lower section is actually comprised of two parts - the ends of the bow. Early examples of the ankh actually show the ends separated.
Originally, the ankh may have been a knot with some specific religious or mythical significance.
Meaning: While the origins of the ankh may be obscure, the meaning is certainly clear - "life". It is with this basic connotation that the sign is carried in the hands of many Egyptian deities.
The ankh may represent the life-giving elements of air and water. It was often shown being offered to the king's lips as a symbol of the "breath of life." Anthropomorphic pictures of the ankh sometimes show it holding an ostrich-feather fan behind the pharaoh in a variant form of this idea. Similarly, chains of ankhs were shown poured out of water vessels over the king as a symbol of the regenerating power of water. Libation vessels which held the water used in religious ceremonies were themselves sometimes produced in the shape of the ankh hieroglyph.
The popularity of the ankh is evident in the numerous and varied types of everyday objects which were shaped in the form of the ankh. In Tutankhamun's tomb, a gilded mirror case was found in the shape of the ankh (see above left). The artist clearly was enjoying a play on words, as the Egyptian word for "mirror" was also, "ankh." Other objects such as spoons and sistrums were constructed in this familiar shape.
The ankh was popular throughout Egyptian history and due to its cruciform shape remained so into the Coptic period. It entered Christian iconography as the crux ansata, the handled or "eyed" cross.
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