Podcasts about ancestral memory

Settle in for a soft and deep conversation weaving ancestral healing, feminine sensual power and sexual healing within the maternal lineage - also known as the Motherline. Rachel interviews Nuria Reed - a certified sex coach, anthropologist, animist practitioner, and professional in transformation and liberation. Nuria's approach is trauma-informed somatic-based coaching specifically for sexuality, spiritual awakening, and ancestral healing and her philosophy is planted in the reclaimed animist traditions of her ancestors and the Tantra of her yogic lineage. With 10,000 hours of teaching and training experience and two decades of transformative personal work, Nuria lives, breathes, and embodies liberation through pleasure. In this episode we talk about: - The threads that combine ancestral connection and sexual healing - The memory of the Motherline & how ancestral stories play out physically, emotionally and energetically. - Why the wombspace holds energy - My own personal experience of sexual healing and thawing constriction within my own body - Powerful suggestions and somatic practices to begin this work of sensual and ancestral healing EPISODE RESOURCES: The Great Cosmic Mother by Monica Sjoo & Mor CONNECT WITH NURIA On Instagram @embodied_ancestral_awakening Free resources, courses & offerings CONNECT WITH RACHEL On Instagram @therachelhodgens Get my FREE Womb Clearing Guide Join the Soul Weavers Membership Dive into self-paced courses

Alaya A. Dannu, MA (aka Diya Dannu) is completing her doctoral degree in Education at Fielding University. Her topic of inquiry explores the transmission of ancestral memory across generations experienced through dreams, focusing on a re-emergent Matriarchal wisdom tradition of her foremothers. She has written several essays on the subject matter, contributing to ezines and specialized platforms such as the blog for Feminism and Religion, Magoism, and DreamTime Magazine. Her three-year, three-month, and three-week ancestral pilgrimage, which was crafted and revealed to her by her ancestors in her dreams, has served to reinforce the importance of knowing and honoring one's origins, true identity, and purpose in life. She is a spiritual guide, creative artist, and sacred dancer. Her engagement with the creative arts is directly related to the images and teachings experienced in her dreams. SUPPORT: Work with Diya one-on-one or register for the Divine Birth Mystery School at curanderabirthkeeper.org/offerings FOLLOW: You can find Diya online at her website https://curanderabirthkeeper.org/, on Instagram @sacredvisions.divineart and Substack LISTEN:  Listen to Diya's podcast, The Cosmogenia --- Send in a voice message: https://podcasters.spotify.com/pod/show/thegirlfriendgod/message

Join Aingeal Rose & Ahonu as they explore the mystical origins and roles of mermaids, confront the fears rooted in past lives, and challenge the matrix with Source's wisdom. We share heartening tales of energetic bonds with pets, examine the prophetic resilience of the human spirit, and embrace love's boundless essence. Embrace your journey towards spiritual oneness, free from the shackles of ancestral trauma, as we question the norms and unlock the secrets to living light. Tune in to transcend the physical and discover the unlimited consciousness within this group Akashic Records World of Empowerment Podcast.

Tara sits down with producer and advocate for representation of Indigenous storytellers in film and television, Bird Runningwater, to discuss decolonization, ancestral memory and a return to ancient wisdom. They also discuss the erasure of Native peoples and the reintroduction of Indigenous culture to American television and film.Follow Bird Runningwater on Social Media:Instagram: https://www.instagram.com/birdrunningh2o/Twitter: https://twitter.com/BirdRunningH2O/LinkedIn: https://www.linkedin.com/in/bird-runningwater-92a9b313a-----Visit Bird Runningwater's Website: https://www.birdrunningwater.com/-----Follow Dr. Tara on Social Media:Instagram: https://www.instagram.com/drtaraswartTwitter: https://twitter.com/TaraSwartLinkedIn: https://www.linkedin.com/in/taraswartTikTok: https://www.tiktok.com/@drtaraswart

Bridget shares an inspiring story and insightful transmission from 'the ancestors' from her recent trip to Ireland. She retells her miraculous reunion and reveals how your ancestors are seeking to support and nourish you, so you can open to the majestic mystery of your unique genetic lineage and soul inheritance! ➤ Ancestral Healing & Connection Course: https://www.bridgetnielsen.com/ancestralcourse/    Bridget's Other Info // ➤ Playlist on Ancestral Healing, Ancestral Plane, Awakening Your DNA, Ancestral Memory, Morphogenetic Field, & Morphic Resonance Playlist: https://youtube.com/playlist?list=PLGYPYTeA0lAMa6qU3yTwWeLlSTanSnGek ➤ FREE Ancestral Plane Meditation mp3: http://www.connectwithmyancestors.com/ ➤ Website: https://www.bridgetnielsen.com/ ➤ Youtube Channel: https://www.youtube.com/bridgetnielsen ➤ Join My Telegram Channel - https://t.me/bridgetnielsen ➤ Bridget's Email List: https://www.bridgetnielsen.com/free-soul-meditation/

Greg Olear talks to the novelist Ronlyn Domingue, author of “The Mercy of Thin Air” and the “Keeper of Tales” trilogy, about growing up and living in Louisiana, ancestral memory, reconciling the national sin of slavery, A.I., alternative societies, the creative process, and the role of the novelist in a post-Trump world. Plus: a new fragrance. Buy Ronlyn's books:https://www.ronlyndomingue.com/booksetcRonlyn's website:https://www.ronlyndomingue.com/The “Crone Energy” Substack:https://ronlyndomingue.substack.com/Thanks, HelloFresh! Go to HelloFresh.com/50prevail and use code 50prevail for 50% off plus 15% off the next 2 months!Subscribe to the PREVAIL newsletter:https://gregolear.substack.com/aboutWould you like to tell us more about you? http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=short. *

In this episode, Bridget dives deep into understanding the ancestral plane which was brilliantly depicted in the Black Panther movie series. She shares how YOU can journey to this realm to connect with your ancestors for empowerment and healing. She talks about the universality of this indigenous practice, which has been passed on to us through shamanism. Bridget also shares about her experience with the 'Black Panther ancestors' and how they guided her to her lineages ancestral plane for healing.   ➤ FREE Ancestral Plane Meditation mp3: http://www.connectwithmyancestors.com/ ➤ Ancestral Healing & Connection Course: https://www.bridgetnielsen.com/ancestralcourse/    Bridget's Other Info //   ➤ Playlist on Ancestral Healing, Ancestral Plane, Awakening Your DNA, Ancestral Memory, Morphogenetic Field, & Morphic Resonance Playlist: https://youtube.com/playlist?list=PLGYPYTeA0lAMa6qU3yTwWeLlSTanSnGek ➤ Website: https://www.bridgetnielsen.com/ ➤ Youtube Channel: https://www.youtube.com/bridgetnielsen ➤ Join My Telegram Channel - https://t.me/bridgetnielsen ➤ Bridget's Email List: https://www.bridgetnielsen.com/free-soul-meditation/

Paul Farber:You are listening to Monument Lab Future Memory where we discuss the future of monuments and the state of public memory in the US and across the globe. You can support the work of Monument Lab by visiting monumentlab.com, following us on social @Monument_Lab, or subscribing to this podcast anywhere you listen to podcasts. Li Sumpter:Our guest today on Future Memory is artist, scholar, and composer, Nathan Young. Young is a member of the Delaware Tribe of Indians and a direct descendant of the Pawnee Nation and Kiowa Tribe, currently living in Tahlequah, Oklahoma. His work incorporates sound, video, documentary, animation, installation, socially-engaged art, and experimental and improvised music. Young is also a founding member of the artist collective, Postcommodity. He holds an MFA in Music/Sound from Bard College's Milton Avery School of the Arts and is currently pursuing a PhD in the University of Oklahoma's innovative Native American art history doctoral program. His scholarship focuses on Indigenous Sonic Agency. Today we discuss his art and practice and a recently opened public art project at Historic site Pennsbury Manor entitled nkwiluntàmën, funded by the Pew Center for Arts & Heritage and curated by Ryan Strand Greenberg and Theo Loftis. Let's listen.Welcome to another episode of Future Memory. I'm your co-host, Li Sumpter. Today my guest is Nathan Young. Welcome, Nathan.Nathan Young:Hello. Thank you. It's nice to be here with you today. Li:Future Memory is the name of Monument Lab's podcast. In the context of your own work, when you hear the words "future memory," what does that mean to you? Do any images or sounds come to mind? Nathan:They really do. There's one. It was a website of a sound artist, a writer, an educator, Jace Clayton, DJ/Rupture, had a mixed CD called "Gold Teeth Thief". I remember it was kind of a game changer in the late '90s. I got that mixed CD from a website called History of the Future. Li:That's very close. It was very close.Nathan:It's always stuck with me. I'm fortunate enough to be able to grapple with a lot of these kind of ideas. I'm not really quite sure how I feel about some of the history of the future because in some ways I work within many different archives so I am dealing with people's future or thinking about or reimagining or just imagining their future.But future monuments are something that I grapple with and deeply consider in my artwork. I think it's one of the more challenging subjects today in art. I think we see that with the taking down of monuments that were so controversial or are so controversial. But I find it fascinating the idea of finding new forms to make monuments to remember and the idea of working with different communities of memory. It's key to my work. It's just a lot of listening and a lot of pondering. Actually, it's a very productive space for me because it's a place to think about form. Also, it opens doors for me just to think about the future. I will say this, that one problem that often arises as a Lenape Delaware Pawnee Kiowa person is we're often talking about the past, and I really like to talk about the future and to work with organizations that are thinking about the future. Li:I can relate to that. Nathan:I think it's a misunderstanding. We always really are talking about the future. I've had the great fortune to be around some people. Actually, I grew up in the capital of the Cherokee Nation, Oklahoma. A lot of people know that Oklahoma is the home to 39 federally recognized tribes. I was fortunate enough to grow up in Tahlequah, which is the capital of the Cherokee Nation, and was able to be around a well-known and respected medicine man named Crosslin Smith, also an author. I remember being a part of an interview with Crosslin. I grew up, he was a family friend.He said, "I'm often asked about the old or ancient ways and the new ways." What Crosland said was, and I'll try my best to articulate this idea, is that there is no difference between the ancient ways and today. These things still exist. It might be an illusion or we might not be able to comprehend or understand it, but there is no difference between the ancient, when we're thinking of things in the sense of the sublime, I think. There is no understanding the ancient and what is contemporary. That was really an important moment for me as an adult. To hear him articulate that was really important. So I think about that. I'm not really sure about a lot of things, but I really like to think about that when I'm working. Li:It kind of runs through your mind as you're working and creating. It's a deep thought, that's for sure, connecting those things. Even thinking back on your own personal history with sound, when did you first connect your relationship to place and homeland to sound and music? Nathan:Well, my earliest remembrances of music, honestly, are my dad driving me around in his truck, picking me up after school, and singing peyote songs, Native American Church songs, peyote songs. The members of the Native American Church call that medicine. My father was an active member of a chapter of the Native American Church at that time. I was fortunate enough to receive my Lenape Delaware name in a peyote meeting. But the first things I remember are the music he played in the car, but really the singing in the car, the singing in the truck that he would do of those peyote songs. Even after he quit going to meetings or he wasn't active in the Native American Church anymore, he still would sing these peyote songs, and I would ask him about the peyote songs, because they're different for every tribe. The forms, they still have their kind of conventions, but they're very tribally specific.Everything in what we call legally Indian Country here in the United States is super hyper local. So just down the road, that's really the beautiful thing about living in Oklahoma, is you have people whose ancestors are from northeast, southeast, southwest. There's only one tribe here from California. So it's a really rich place for sound and song. Both of my parents are Indigenous American Indian. My mother is Pawnee and Kiowa. My father is Lenape Delaware. I also grew up around the Big Drum, what we call the Big Drum at powwows. I never became a powwow singer or anything like that. Never learned anything around the Big Drum. But I did eventually learn Pawnee songs, Native American Church Pawnee songs.But really, I was just a kid in a small town in Oklahoma. When skateboarding hit and you become kind of an adolescent, you start to discover punk rock and things like that. Those to me were the way that the culture was imported to me. I didn't realize that I was already surrounded by all this beautiful culture, all of the tribes and my parents' tribes and my grandparents'. But then it was like a transmitter. Even these tapes were just transmitters to me. So those were really important also. I have a lot of thoughts about sound. Other thing I remember is my father often would get onto us or make fun of us for being so loud and saying we would be horrible scouts or hunters.Li:Making too much noise. Nathan:The Native Americans, yeah, yeah. We weren't stealth. You'd hear us coming a mile away. So he would always say, "You wouldn't be a very good one," just to try to get us quiet down.Li:No one wants to be a bad hunter, right? Can you break down the concept of Indigenous Sonic Agency? is this based on ancestral traditions, your artistic practice, academic scholarship, or a bit of all the above? Nathan:Well, Indigenous Sonic Agency is really one piece of a larger subject sonic agency, which I encountered in a book titled Sonic Agency by Brandon LaBelle. I was a former member of this collective, Postcommodity, and I'm reading this book. When we were first starting the collective, we had the opportunity to work with this Czech poet named Magor, Ivan Jirous Magor. It means blockhead, I believe. It's a nickname. He was kind of described as the Andy Warhol of the Plastic People of the Universe. He was an art historian. He spent most of his life in prison just for being an artist, an art historian. He was an actual musician. He didn't play with the Plastic People of the Universe, to my knowledge, but he did to write the lyrics, to my knowledge. We had the opportunity to record with Magor. So I'm reading this book about sonic agency, and here I find somebody that I'd actually had an experience with sonic agency with in my early days and as a young man and an artist.But ultimately Indigenous Sonic Agency is, in some sense, similar but different to tribal sovereignty. So when you think of agency or sovereignty, it's something that they sometimes get mixed up. I'm really trying to parse the differences between this, what we understand so well as political sovereignty as federally recognized tribes and what agency means, say, as an artist. But in my research, in the subject of sonic agency and Indigenous Sonic Agency, it encompasses pretty much everything. That's what I love about sound. Everything has a sound, whether we can hear it or not. Everything is in vibration. There are sounds that are inaudible to us, that are too high or too low. Then there's what we hear in the world and the importance of silence with John Cage. I think that they're just super productive.I was introduced really to sound studies through this book called Sonic Warfare by Steve Goodman. It was really about how the study of sound was, in a sense, still emerging because it had mostly been used for military purposes and for proprietary purposes such as commercials and things like that. As I stated earlier, I felt like music was my connection to a larger world that I couldn't access living in a small town. So even everything that came with it, the album covers, all that, they really made an impression on me as a young person, and it continues to this day, and I've been focusing deeply on it.My studies in sonic agency -- Indigenous Sonic Agency -- encompass everything from social song, sacred song, voice, just political speech and language, political language. There's so much work to be done in the emerging sound studies field. I felt that Indigenous Sonic Agency, there was a gap there in writing and knowledge on it. Now though, I acknowledge that there has been great study on the subject such as Dylan Robinson's book, Hungry Listening. I am fortunate enough to be around a lot of other Indigenous experimental artists who work in all the sonic fields. So it's an all-encompassing thing. I think about the sacred, I think about the political, I think about the nature of how we use it to organize things and how language works. Silence is a part of it. Also, listening is very important. It's something that I was taught at a very young age. You always have to continue to hone that practice to become a better and better listener. Li:That's the truth. Nathan:My grandmother was very quiet, but whenever she did talk, everybody loved it. Li:That's right. That's right. Let's talk about the Pennsbury Manor project. Can you share how you, Ryan Strand Greenberg, and Theo Loftis met and how nkwiluntàmën came to be? Nathan:Well, to my recollection, I try to keep busy around here, and oftentimes it means traveling to some of the other towns in the area such as Pawnee or Bartlesville or Dewey or Tahlequah. I wasn't able to do a studio visit with Ryan, but I wanted to see his artist talk that he was giving at the Tulsa Artist Fellowship, which I was a fellow at at that time. I remember seeing these large public art projects that were being imagined by Ryan. We had worked on some other projects that, for one reason or another, we weren't unable to get off the ground. Eventually, Pennsbury Manor was willing to be this space where we could all work together. I remember rushing back and being able to catch Ryan's artist talk. Then right before he left town, we had a studio visit and found out how much we had in common concerning the legacy of the Lenape in the Philadelphia area, what we used to call Lenapehoking. So it was a really a moment of good fortune, I believe. Li:Monument Lab defines monument as a statement of power and presence in public. The nkwiluntàmën project guide describes Pennsbury Manor as a space to attune public memory. It goes on to say that sites like these are not endpoints in history, but touchstones between generations. I really love that statement. Do you think Pennsbury Manor and the land it stands on, do you consider it a monument in your eyes? Why or, maybe even, why not? Nathan:Well, yeah, I would definitely consider Pennsbury Manor, in a sense, a monument. I think that we could make an argument for that. If we were talking about the nature of it being William Penn's home and it being reconstructed in the 20th century, you could make a very strong argument that it is a monument to William Penn and also as William Penn as this ideal friend to the Indian. Some people don't like that word. Here in Oklahoma, some of us use it. Technically, it was Indian Country legally. But I use all terms: Native American, Indigenous, Indian. But I'd mostly like to just be called a Lenape Delaware Pawnee Kiowa.I definitely would say that you could make an argument that is a monument to William Penn especially as part of that, as this ideal colonist who could be set as a standard as for how he worked with the Lenape and then other tribes in the area at the time. I think that's kind of the narrative that I run into mostly in my research, literally. However, I would not say that it was established or had been any type of monument to my Lenape legacy. I did not feel that... I mean, there was always mention of that. It was, like I said, as this ideal figure of how to cooperate with the tribes in the area. But I would definitely say it's not a monument to the Lenape or the Delaware or Munsee.Li:Can you share a bit more about the project itself in terms of nkwiluntàmën and what exactly you did there at Pennsbury Manor to shift and really inform that history from a different perspective? Nathan:Well, first of all, at Pennsbury Manor, I was given a lot of agency. I was given a lot of freedom to what I needed to as an artist. I was really fortunate to be able to work with Doug and Ryan and Theo in that manner where I could really think about these things and think deeply about them. I started to consider these living history sites. My understanding is that they're anachronisms. There's a lot of labor put into creating a kind of façade or an appearance of the past, and specifically this time, this four years that William Penn was on this continent. So this idea that nothing is here that is not supposed to be here became really important to me. What I mean by that is, say, if you threw in a television set, it kind of throws everything off. Everybody's walking around in clothing that reflects that era and that time. If you throw some strange electronics in the space, it kind of is disruptive. I didn't feel the need to do anything like that.I felt that one of the great things about working in sound and one of the most powerful things about sound is that sound can also be stealth. You can't see sound. We can sonify things or we can visualize it or quantify it in different ways. But to me, this challenge of letting the place be, but using sound as this kind of stealth element where I could express this very, very difficult subject and something that really nobody has any answers to or is sure about... I was trained as an art historian, and I know that we're only making guesses and approximations just like any doctors. We are just trying to do these things.But sound gave me the ability at Pennsbury Manor and nkwiluntàmën to work stealthy and quiet, to not disturb the space too much because there's important work that's done there, and I want to respect people's labor. As a member of the Delaware tribe of Indians of Lenape, I felt that it was a great opportunity to be the person who's able to talk about this very difficult subject, and that is not lost on me. That's a very, very heavy, very serious task. Li:Yeah, big responsibility. Nathan:Yes. It is not lost on me at all how serious it is, and I feel very fortunate. I think without such a great support system in place, it wouldn't have been possible. nkwiluntàmën means lonesome, such as the sound of a drum. We have a thing called the Lenape Talking Dictionary,  Li:I've seen it. I've seen it. Nathan:I'm often listening. I'm listening to Nora Dean Thompson who gave me my Delaware name, my Lenape name, Unami Lenape name in a peyote ceremony. So I often go there to access Delaware thought and ideas and to hear Delaware voices and Delaware language being spoken. I know that some people have different views on it, but let's say, I think artists and people have used the Unami Lenape before and art exhibitions as a lost or an endangered languages. I know that in the entire state that I live in, and in most of Indian country, there's a great language revitalization movement that I was fortunate to be a part of and contribute to.Really, that's where I discovered that that's really where through language, there's nothing more Lenape, there's nothing more Delaware, Unami Lenape than to be able to talk and express yourself in that manner or, say, as a Pawnee or a Kiowa to be able to talk and express. Embedded in those words are much more than just how we think of language. They're really the key to our worldviews. Our languages are the keys to our worldview and really our thought patterns and how we see the world and how we should treat each other or how we choose to live in the world or our ancestors did. So I'm fascinated by the language. I was fortunate enough to be around many, many different native languages growing up. But ours was one because of the nature of us being a northeastern tribe that was very much in danger of being lost. Some would say that at one point it was a very, very, very endangered language to the point to where nobody was being born in what we call a first language household, where everybody could speak conversationally in Unami Lenape.So these things, we all think about this, by the way, all of my community, the Delaware Tribe of Indians. I was fortunate enough to serve on the Tribal Council as an elected member for four years. We think about these things definitely all the time, and people do hard work to try to revitalize the language. I know at this time that the Delaware Tribe of Indians is actively working to revitalize our language. Li:That's a part of that preservation and remembrance because your work, really does explore this idea of ancestral remembrance and is rooted in that. Then again, you're also engaging with these historic sites, like Pennsbury Manor, that tap into public memory. So in your thoughts, how are ancestral remembrance and public memory connected? Are there any similar ways that they resonate? Nathan:Well, I think of different communities of remembrance. Within this idea of memory there are just different communities. I don't want to want to create a dichotomy, but it's easily understood by those who focus on the legacy of William Penn and those who focus on the legacy of the Lenape or the Pawnee. But ancestral memory is key to my culture, I believe, and I really don't know any way to express it other than explaining it in a contemporary sense. If you're deeply involved in your tribal nation, one of the one things that people will ask you is they'll say, "Who are your folks?" Literally, people will say, "Who are your folks?" Li:Who are your peoples? Nathan:"What family do you come from?" I didn't start to realize this until I was an adult, of course. It's not something you think you would ever think of as a child or anything. It started to become really apparent to me that we're families that make up communities that have stayed together in our case for hundreds of years across thousands of miles. It's a point to where we got down to very small numbers. We still stuck together. Then there was also a diaspora of Lenape that went to Canada, the Munsee and the Stockbridge. There was the Delaware Nation who has actually lived more near the Kiowa. My grandmother was Kiowa. But we still had the same family names. For instance, there are people and members of the Delaware Nation that are actually blood related to the Delaware Tribe. So that is really our connection to each other is our ancestors. That's purely what binds us to together is that our ancestors were together, and we just continue that bond. Li:Thank you. A part of Monument Lab's mission is to illuminate how symbols are connected to systems of power and public memory. What are the recurring or even the most vital symbols illuminated in your work? Nathan:Oh, that's a really tough question because my work is all over the place. I work across a lot of different mediums, although I've trained as an art historian, so I came into this as a visual artist. I just happened to be a musician and then discovered installation art and how sound works in art. But for me, the story I feel that I'm trying to tell cannot be held by any number of symbols or signs. I want to give myself the freedom and agency to use whatever is needed, actually, whatever is needed to get across the idea that is important to me. So going back to nkwiluntàmën, lonesome, such as the sounds, these colors, we use these white post-Colonial benches, and there's four large ones, placed across the grounds of Pennsbury Manor. You'll see that, if one were to visit, they would see a black bench, a yellow bench, a white bench, and a red bench. Nathan:If you're from my community, a Delaware Tribe of Indian member and you know that you're a Lenape, you understand that those colors have meaning to our tribe, and you'll know that those colors have sacred meaning. So in some sense, I will use whatever I think is the most appropriate way to use it also. I want to give myself the freedom to use any type of symbolism. I loved growing up with my mother and my grandmother being able to go to powwows. My mom would say, "Well, here comes the Shawnee women. Here comes the Delaware women. They dress like this. Here comes..." Li:You can recognize from their dress. Nathan:My mother and my grandmother taught me that iconography of our clothing, what we now call regalia. Li:I was curious if perhaps the drum or even the idea of homeland show up in your work? Nathan:Oh, they definitely show up in my work when appropriate. But rather than a drum, I would say sound or song or music. We do have these iconographies and symbols that are deeply meaningful to us, and I often use those in my artwork. But really the question for me is how to use them appropriately and, also at the same time, expand the use of these things appropriately. It's just being accountable to your legacy and your community in a sense and not crossing these boundaries, but still at the same time pushing form, pushing the edge.I'm a contemporary person. We're all contemporary people. We want to add something. We want to contribute. We want to be useful. So I'm searching for symbols and forms all the time, different ones. Whether it be a mound, whether it'd be a swimming pool inside an art gallery or a singing park bench or a post-Colonial bench in Pennsbury Manor, in some ways you could say I would be indigenizing and musicalizing those benches. But I consciously work to have a very broad palette. I want my work to be expansive and be able to encompass any subject or idea, because that's why I got into art is because you can talk about anything.Li:Yeah, it's boundless. It's boundless. Then also thinking about the connections and the symbols that you mentioned, the colors that you mentioned, the iconography, what systems of power might they be connected to? Nathan:Well, ultimately, I think that most of the power that is embedded in these symbols comes from the sublime, that come from the sacred. It's complicated. The sacred means to not be touched. That's my understanding, it's to not be touched. However, it's been the source of inspiration for artists of any continent of any time is, if you want to call it, a spiritual, sublime, religious connection, inspiration, whatever, but ultimately, that is my understanding. From my research, even as a young person studying Pawnee mythologies at the University of Oklahoma and special collection and learning stories, our origin stories and what color meant and how the world was seen by my ancestors from other tribes as well as Lenape stories, it's something that's hard to grasp and to hold onto, but that's how we've come to identify each other. It's as simple as we have car tags here that represent our tribes. We have a compact with the state. So everybody's looking around at all these different car tags.Li:Wow. Nathan:You see a regular Oklahoma one, and then you'll see... A very common one is a Cherokee because they're one of the biggest tribes. You'll see a blue one, it's Pawnee. Now you'll see a red one, and it's Delaware or Lenape. It says Unami Lenape on it, and it has our seal. So we play this kind of game all of us. I mean, it's not a game, but we're always looking at license plates to see... It might be your mom's car you're driving that has, say, a Kickapoo license plate or something, and it's a Cherokee driving it or a non-Indian or something, a relative, say. It's not for me to say where these came from. It's something that I actually just really explore and that fascinates me. It's very rich growing up and being a member of my tribal communities. I learn something new almost daily. Li:I can imagine like you said, the learning experience that you have as a child growing up in your community. You mentioned mythologies earlier. I study mythology. One of the purposes I've come to understand is education, educating through these stories. I recently interviewed Jesse Hagopian from the Zinn Education Project and the movement for anti-racist education. The struggles for education reform and reckoning with Eurocentric understandings of history seem to be deeply connected efforts. So on nkwiluntàmën, I understand an educational curriculum has been developed for younger audiences. What do you hope that people take away from this project that they might not find in a textbook or a classroom? Nathan:Well, I would hope that when people visit the large-scale sound installation and visual elements of it that they would understand... my greatest hope that people would learn what I learned while creating the work was that I really don't know what it felt like. I just came across, I was looking for the words in the Delaware Talking Dictionary for feelings, and I found a sentence or a way of saying feeling that said, "It did not penetrate me. I did not feel it." It made me realize that I don't know. I've never had this happen to me. The history of the Delaware Lenape is of constant removal, of constant pushing. Most people know the Cherokee Nation and the Trail of Tears. Actually, there were many movements of the Cherokee. It's very complex. All tribes are very complex. You always have to qualify. But the Trail of Tears is what most people know about. It was this very long, two-year complex journey. It was fraught. Li:That's one of the stories that we learned in school, if at all. Nathan:So our story is of nine of those and, to my understanding and research, was about once every 30 years. So it seemed to me that most Lenape, who came to be known as the Delaware Tribe, who I grew up with as, had ancestors that had experienced a removal. It's something that we still live and deal with today. We came to Oklahoma from what is now Lawrence, Kansas, when this was called Indian Territory. We had been living before that north of Kansas and had adapted our way of life as we changed across this territory and through time to survive.So as we moved into the Plains, we started to hunt buffalo, and then we get kind of crosswise with some other tribes. I think when the federal government was constituting Indian Country, they were concerned with the relationships between other tribes and how they felt. My understanding is we had upset some... By Buffalo hunting and adopting that way of survival and life, there was some trepidation about us. They wanted our reservation. The railroad wanted our reservation, and Lawrence, Kansas, to run directly through our reservation. They were forcing us to move off that reservation, and they couldn't find a place. That was kind of my understanding of the situation. So we ended up in the northernmost part of the Cherokee Nation. This made us a landless tribe for a very, very long time. Technically, we didn't have a reservation. We were living in the Cherokee's reservation because we had this very ancient but kind of tangential connection to the Cherokees. So that's a very long and complicated story as well. Li:That's actually a beautiful setup for one of my last questions actually. This idea of documentation and stewardship are key for Indigenous communities, as you just mentioned, that continue to contend with stolen land, forest displacements, cultural erasure, and lost languages. Monument Lab thinks a lot about the future archives that can hold the dynamic nature of public memory in all its forms. What would a future archive of ancestral memory look, feel, or even sound like for you? Nathan Young:I love that question because we do work with future archives of our ancestors, all of us do today. So I think it's really a question of form. I've encountered this in my studies of Sonic Agency and Indigenous Sonic Agency. The invention of the phonograph and the wax cylinder are very important. It didn't look like anything. It looked like sound or that archive. I think that unknowingly, we're all living in an archive. We're archiving moments now as things speed up constantly. Paul Virilio, the theorist, was very, very important to my thinking because he theorized about speed and the speed of, say, how a camera shutter and a gun are very similar in their repeatingness. I think about repetition a lot. But today, we live in this hyper surveillance society that any moment could be archived, any moment could be filmed, and also these things will be lost. So that is a fascinating thought to think about what may survive and become the archive and what may not, even with all of this effort to constantly surveil and document everything.But it's my hope that archives are important just because they give us a deeper understanding of a connection to something we will never be able to experience. So I think that a future archive is something that we cannot imagine. We don't know what it's going to look like, and it's up to us to find out and to explore form and explore possibilities so that we're not stuck in this mindset that has to be in steel and monumentalized as a figure or a person or something like that. So in my mind, it's just to be revealed to us. We'll know later, but I would hope that were to make...I know this is what people still do today that make monuments. They want to make something beautiful, but that means something different to Lenape or a Pawnee or Kiowa, so that seems very different to us. And so we do that. We do memorialize things in different ways. But I think that we think of them as more ethereal, whether we think of them as things that we know that aren't going to really last forever. I feel that way, at least. I don't speak for all of my culture. But I know that some of us are trying to find new forms to really memorialize our past and unite our community of memory and our tribes, our experiences.Li:Like you said, time, everything's moving so fast and everything's evolving. Everything's constantly changing. So who knows what the forms will take. This has been such a wonderful conversation. I really appreciate your time. I just wanted to see if you had any final words or even gems of ancestral wisdom you might want to leave with us before we finish. Nathan:No, I can't share any ancestral wisdom, not knowingly or very well. I just appreciate the opportunity to create the piece. I appreciate the opportunity to expand upon the piece by talking with you about this because I'm just trying to figure this out. I don't have all the answers. Li:Right, that is part of  being a life learner and walking this path. Everyone's on their journey. We are constantly learning at every turn. I'm with you, Nathan. I often admit that I do not have all the answers. That is for sure. I really enjoyed learning about your work and your practice. I definitely plan on getting down to Pennsbury Manor and look forward to the curriculum for the youth when it comes out. Nathan:Well, thank you. I hope you enjoy it. I hope that it's a meaningful experience for you. I'm a very fortunate person to be able to work on such a project and very grateful to the entire team and everybody that supported the process. Li:Thank you, and thank you again to Ryan Strand Greenberg, who is also the producer of this podcast and worked with you on the project for nkwiluntàmën. Thank you to Nathan Young, our guest today on Future Memory. This is another one for the Future Memory archives.Monument Lab Future Memory is produced by Monument Lab Studio, Paul Farber, Li Sumpter, Ryan Strand Greenberg, Aubree Penney, and Nico Rodriguez. Our producing partner for Future Memory is RADIOKISMET, with special thanks to Justin Berger and the Christopher Plant. This season was supported with generous funding by the Stuart Weitzman School of Design and the University of Pennsylvania.

More From Jehan https://podcasts.apple.com/us/podcast/boundless-authenticity/id1623964079 https://www.instagram.com/jehansattaur/ https://anchor.fm/boundlessauthenticity https://www.youtube.com/@boundlessauthenticity/videos Links For The Spiritual Gangsters  https://linktr.ee/thespiritualgangsterspodcast  Links For Occult Rejects & Friends, The NY Patriot Show, and Our Element Server  https://linktr.ee/occultrejectsandfriends

In this episode, Dan shares HOW to use your empathic sensitivity to heal and let your inspiration guide WHAT needs healing. He shares the science and intuitive wisdom about how to bring harmony to ourselves, and each other, for spiritual growth and expansion. This is our 4th conversation about the powerful healings I've been having, connected to my ancestors and my native homeland.   // Dan's Info // Youtube: @DanWinterFractalField   Website: https://www.fractalfield.com/fusionintheblood/ Referenced Art Images: https://bridgetnielsen.com/ancestral-images/   // Bridget's Retreat Lineup 2023 // ➤ Glastonbury Retreat  June 8th-11th, 2023: https://bridgetnielsen.com/glastonbury-retreat/ ➤ Ireland Retreat  June 15-18th, 2023: https://bridgetnielsen.com/ireland-retreat/...Bridget's Other Info //   Bridget's Other Info // ➤ Website: https://www.bridgetnielsen.com/ ➤ Youtube Channel: https://www.youtube.com/bridgetnielsen ➤ Stay Connected & Get FREE Soul Blueprint MP3 Meditation: https://www.bridgetnielsen.com/free-soul-meditation/ ➤ Join My Telegram Channel - https://t.me/bridgetnielsen  

This episode is part three of The Soul of Music—Overheard's four-part series focusing on music, exploration, and Black history. Our guest this week is Grammy-nominated trumpeter Chief Xian aTunde Adjuah, formerly known as Christian Scott. Chief Xian sits down with National Geographic Explorer and archaeologist Justin Dunnavant to discuss Xian's childhood in New Orleans, how he created a new instrument, and what he calls stretch music. For more information on this episode, visit natgeo.com/overheard. Want more? Learn more about Chief Xian at his website https://www.chiefadjuah.com/. And you can follow him on Instagram @christianscottofficial.  You can also download his stretch music app, an interactive music player, in the Google Play store or Apple App store.  Also, be sure to follow Justin online to stay updated with his latest adventures: www.justindunnavant.com or on social media @archfieldnotes.  Also explore:  Interested in learning more about global Black history and heritage? Follow Justin Dunnavant as he explores Loíza, the ancestral heart and soul of the Afro-Puerto Rican community, in Hulu's Your Attention Please: Initiative 29. Listen to episode 3 of the Into the Depths podcast which includes Justin as a guest. Want to travel to New Orleans? Check out Nat Geo's travel guide for tips on how to make the most of your trip.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on If You Have Ghosts You Have Everything..... Happy Dia De Los Muertos! Today we a joined by our good friend The Hood Sommoelier, Jack Beguedou, for a deep dive into his personal spiritual experiences! This is one of my favorite episodes thus far and we saved the best for last! We wanted to also thank you for all of your support this season and encourage you to please like, subscribe, and share our show as it helps us out tremendously. We will be back for Season two the weekend after Thanksgiving! Love you all! If you are not familiar with the Hood Sommelier then be sure to check his channel out including Mondays Suck over on youtube: (1) Hood Sommelier By Jack Beguedou - YouTube Also check out his podcast: The Truth Is Barrel Proof on Spotify Also, if your able to make it out don't forget to check out the Murder and Mayhem tour of the Salem Square featuring Jeremy Elliot on the 14'th and 15'th of October! Be sure to check out our store at thealchemistcabinet.com/thewarehouse1 where we are adding new merchandise weekly! Grab a sticker for now and look out for apparel soon as well as a new Oracle deck of 13 unique cards and a unique system of Divination that Kim and I are working on now coming soon! We recently met a new friend who will be the "music director" of If You Have Ghosts You Have Everything and you will be hearing a lot of original pieces and sound effects on the show in coming episodes. Once he discovers the name he wants to use for the artwork and gets his artwork in a place where it may be available to other podcasters, we will reveal all! He provided some of the music for this episode while the rest was purchased from Artlist. Until then, enjoy the show. Be sure to check out the Salem Speedway at salemspeedway.com maybe make plans to join the candlelight ghost walk of the track in October as we intend to be there to do some field recording ourselves. Please subscribe and share our show with friends and on social media. If you enjoy, please consider subscribing and sharing and be sure to check out our new Facebook page for daily updates! If you have a story relating to the supernatural, paranormal, or Forteana, please consider contacting us at bishopshomegrown@gmail.com Be sure to check out all of our other content or leave us a tip in the tip jar or don't forget you can support our show with a donation by clicking the support button on the Anchor website on our Anchor page! Don't forget you can support our show with a donation by clicking the support button on the Anchor website on our Anchor page or leave us a tip at: https://linktr.ee/onepieceatatimeenterprises #ifyouhaveghostyouhaveeverything #paranormal # #ghost #tulpa #ufo #occult #esoteric #fortean #mystery #disclosure #distillerswife #Alchemy #westafrica #vodoo #hodo #poltergeist #alanbishopdistiller #alchemistoftheblackforest #washingtoncountyhistoricalsociety #hoodsommelier #hauntedhouse #mondayssuck --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/alan-bishop3/support

Asar Imhotep discusses ‘Linguistics as a tool for Ancestral Memory Recovery Intellectual Warfare'; One Africa: Power In Unity Conference taking place in Detroit April 30th - May 1st, 2022.; Patrick Lyoya: Independent autopsy confirms he was shot in back of head by Grand Rapids police. – TheAHNShow with Michael Imhotep 4-19-22   Support The African History Network through Cash App @ https://www.cash.app/$TheAHNShow or PayPal @ TheAHNShow@gmail.com or http://www.PayPal.me/TheAHNShow or visit http://www.AfricanHistoryNetwork.com .   REGISTER NOW: Class #1 Starts Saturday, 4-23-22, 2pm EST:  WATCH  NOW!!! ‘Ancient Kemet (Egypt), The Moors & The Maafa: Understanding The Trans-Atlantic Slave Trade' REGISTER HERE: https://theahn.learnworlds.com/course/ancient-kemet-moors-maafa-trans-atlantic-slave-trade-april-2022

In this episode, we are joined by Jodi's daughter, Kenna. We discuss authentic and uncurated conversations and are surprised by an uninvited yet well-timed guest, who sends us into a moment of hilarious chaos. We talk about quantum shifts/leaps, the Mandela Effect, plasmic consciousness, fractality versus fractionality, the cosmic ecosystem, and, of course, timelines and ancestral memory. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/quantumshitshow/message Support this podcast: https://anchor.fm/quantumshitshow/support

Jovan Sage is a farmer, chef, community organizer, entrepreneur, herbalist, doula, and wellness coach. Drawing on the knowledge of her West African and Indigenous ancestors, she is deeply engaged in healing on many levels--the soil, the body, communities caught up in the global pandemic, race relations--through deeply reciprocal relationships with the land and one another. Find out more about her work at Alchemist Jovan and Sage's Larder.

In this episode, Hilary Giovale, shares her experiences with ancestral apology, decolonization, and finding our indigenous heart-ways.Apology is a catalyst for healing and forgiveness which helps to build our capacity for wholeness and restoration. When we ask for forgiveness, we engage in authentic relationship and open the possibility of healing for all peoples, the Earth, and all beings (seen and unseen). What does it mean to live as a settler on Indigenous lands? How can settlers honor our ancestors to rekindle memory of the rich, diverse, Earth-connected cultural lineages from which we are all descended? How can we build heart-centered relationships with Indigenous communities and Earth, to create pathways toward healing the harm inflicted by colonialism?Hilary Giovale is a ninth-generation American settler of Scottish, Irish, and Scandinavian descent. She lives at the foot of a sacred mountain, a being of kinship, that stands within the traditional homelands of Diné, Hopi, Havasupai, Hualapai, Yavapai, and Paiute Peoples, as well as several Pueblos. Her relationships with this land and with Indigenous peoples inform her life as a mother, dancer, community organizer, writer, and philanthropist. In 2015, Hilary became aware of her ancestors’ longstanding presence as American settlers. Since then, she has been living a process of decolonization including ancestral repair, solidarity with Indigenous-led movements, reconnection with Earth, apology, forgiveness, and restoration. She is the author of a forthcoming book that shares about this healing process. To read more about her work, please visit www.goodrelative.com.Support the show (https://www.natureevolutionaries.com/donations)

Shannon Craigo-Snell joins Robert to explore Christianity, theatremaking, and the great American project through the lenses of performance, practice, and doubleness. Shannon Craigo-Snell is a theologian and a faculty member at Louisville Presbyterian Theological Seminary. She previously taught at Yale University and is an ordained Teaching Elder in the Presbyterian Church, and she’s the author of The Empty Church: Theater, Theology and Bodily Hope.

At this pivotal time in human consciousness evolution, the most important understanding we can offer to our humanity is neither physical/emotional, nor financial. It is the selfless practice of bringing awareness to negative responses that are being pushed by ancestral memory. Our ancestral memories - both negative and positive- are woven into every cell and memory of our being, when we respond from these memory imprints that push us, that are being dug up from the deep, we are being given an opportunity to bring awareness by staying present with impoverished, memories which may be surfacing.  In so doing, we evict inured memories that do not serve our well-being or growth. We heal the long ignored rift with the spirit world, and unburden our ancestors.  I invite you to connect to the powerful guidance of ancestors.Support the show (http://paypal.me/wiseearth)

Sat today with the LionMan, Maximilian Gordon. We talked about so many diffferent things from wild plants to getting back to the old ways of doing things. He has some great classes going right now. https://plant-foraging-101.teachery.co/wild-plant-foraging-101 The price is great. Only 5 bucks. There is so much great information in here that is so useful. You will love it. His website is https://www.lionmanrewilding.com/ His Facebook Page is https://www.facebook.com/lionmanrewilding1995 And to reach him by email manuandmax123@gmail.com As Always, Share, Subscribe and sit back and enjoy. I know I did. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Over the past week, from Jakarta to New York, Global Strike reported that 7.6 million people mobilized to strike for climate action, a more just world, and an end to fossil fuels, one of the main contributors of climate change. Cecilia Lim discusses the environmental issues in Queens, New York, growing up in the diaspora, global capitalism's effect on climate change, organizing in Queens and her most recent project, Remember Y(our) Connection / Tandaan Ang Ating Ugnayan: Filipino Wisdom in the Face of Climate Change. GUESTS: Cecilia Lim, Queens, NY based (Lenape territory) community artist and organizer

Episode 2 – Ireland, Ancestral Memory and Thin Places.Leave your wands and magic potions at the door, Kitty is here to talk about the real Faeries: The Good People, The Wee Folk or the Sidhe. Faerie of traditional Irish Faerie Folklore are old, clever and can be beautiful. They are all around us and watching, always watching.But what are they thinking? Are they impressed by our cyber-modernity or are they quietly simmering with irritation? Should we fear them? In this episode, Kitty brushes away the glitter-dust and bins the stigma to take a fresh, open-minded look at Faerie and asks:What is so special about Ireland that Faerie have made it their home?Are descendants of Irish emigration more likely to encounter a Faerie?Are Thin Places for real? Kitty shares the story of an Ulster teenager who stumbled upon Faerie and lived to tell the tale.We celebrate Ireland in song and poem and as always, Kitty explains why it’s okay to believe in Faeries.To read more stories of encounters with the Good People, share your own story of an encounter, perhaps one handed down through your family, or just an unusual experience on a visit to Ireland at:www.encounterswiththegoodpeople.comglassonionstories@gmail.comwww.facebook.com/encounterswiththegoodpeople*Credits:‘This Land is Your Land’ song by The Waterboys. Fisherman’s Blues – 1988‘The Song of Wandering Aengus’ poem by WB Yeats. Read by Michael Gambon.‘Thousands are Sailing’ song by Phil Chevron (The Pogues) from ‘Bringing it all Back Home’ – 1991.Theme Music, ‘Irish Coffee’ by Giorgio Di Campo.

On SYS episode 10, I’m sharing a conversation with Licia Berry about The Black Madonna. Licia’s an artist, mentor, speaker, and author of the International #1 bestseller I Am Her Daughter — which we’ll talk about on the show — along with the story of how Licia took a solo pilgrimage to southern France to photograph the elusive Black Madonnas, only to find that in France the Black Madonna is not so elusive after all, and contributed to several mystical experiences that changed her life. MENTIONED IN THE SHOW: On this show we also talk about vision quests, the Holy Grail, Lourdes, shamanism, ancestral memory, Dia de los Muertos, White Buffalo Calf Woman, the many faces of the Goddess — Sibyle, Isis, Amaterasu, Brigid, and Great Mother, the archetypal mothering intelligence in the universe. The Secret Life of Bees by Sue Monk Kidd Labyrinth by Kate Mosse Camino de Santiago the famous pilgrimage route through France and Spain Lourdes Please see the corresponding post on my blog sladeroberson.com for photographs and artwork Licia promised to share: Our Lady in Stone - Lourdes Sighting, photograph © Licia Berry 2016 Mary White Buffalo Calf Woman, mixed media © Licia Berry 2016 Prints available at http://juicysacredliving.com/fine-art GUEST LINKS - Licia Berry liciaberry.com I Am Her Daughter book http://juicysacredliving.com/current-project/ HOST LINKS - SLADE ROBERSON Slade's Books & Courses Get an intuitive reading with Slade Automatic Intuition Patreon.com Support this Show

#1 in Professional Expert Psychic Readings and Divination – Earth Odyssey, 306 Chartres Street, French Quarter, New Orleans! Pan African Spiritualist Practitioner and Advisor NOON US CST 347/215-8967 www.BlogTalkRadio.com/The-Divine-Prince LIVE Listen In and Call In Number is 1 (347) 215-8967 NOON US CST Hoodoo New Orleans Voodoo Secrets and Recipes with The Divine Prince Ty Emmecca Pan African Spiritualist Practitioner and Advisor. Elegun Oloye Hoodoo New Orleans Voodoo Obeah Bokor. Two-Spirit Conjuror World Renown in Readings and Divination. Psychic Reader at Earth Odyssey, 306 Chartres Street, French Quarter, New Orleans 70130 - Rock, Fossil, Crystal, Mineral and Gem Store. 504/581-1348 http://www.earthodysseynola.com/readingswithdivineprince.html The creation of sacred Space is critical to all that we do, all we say, who we are and where we be; where we be is not our stuff our things our environment as much as it is where we are at any given time – within. House of the Divine Prince is a Universal Life Church Ministry of Hoodoo, New Orleans Voodoo and Pan African Spiritualist Traditions. #TheWitchDoctorMedicineManBlackHawkVoodooChiefDivinePrince #RespectTheVoodoo My schedule is overwhelming at this time. I will be back shortly. Please ALWAYS enjoy me in archive, any time at your leisure and convenience. All is a Blessing! #RespectTheVoodoo xxx ??   http://www.blogtalkradio.com/The-Divine-Prince

If New Books in East Asian Studies were an All-Powerful Force of Good In The Universe and if one of the perks that came along with being an All-Powerful Force of Good In The Universe were to ensure that certain books got major awards, then we would exercise that perk... Learn more about your ad choices. Visit megaphone.fm/adchoices

If New Books in East Asian Studies were an All-Powerful Force of Good In The Universe and if one of the perks that came along with being an All-Powerful Force of Good In The Universe were to ensure that certain books got major awards, then we would exercise that perk... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

If New Books in East Asian Studies were an All-Powerful Force of Good In The Universe and if one of the perks that came along with being an All-Powerful Force of Good In The Universe were to ensure that certain books got major awards, then we would exercise that perk in the case of Ken Brashier‘s Ancestral Memory in Early China (Harvard University Asia Center, 2011). Brashier’s book is a meticulously-researched, clearly organized, and compelling account of the ancestral cult of early China. Brashier focuses his arguments on the “cognitive aspects” of the cult, and in this respect the book offers a way to think about metaphor, remembrance, and forgetting in time that potentially extends well beyond the context of early China. After an introduction that lays out the arguments of the book and introduces the structural metaphors of lineage, tree, and watershed that will recur throughout the study, Part I introduces the basic ritual prescriptions of ancestral remembrance through the lens of performance theory. From prescriptions, the book then proceeds to descriptions of actual practice in Part II, focusing on case studies of exemplary moments in the practice and adaptation of ritual throughout early China. Part III then shifts from the sacrificers to the ancestral spirits themselves, proposing a spectrum with which to think about the range of ideas about the agency of ancestral spirits and the degree to which their existence was dependent on the memory of the living. The final two Parts of the book return to the themes of performative thinking and tie the entire book together in a study of the symbolic language and practice of ancestral memory in ancient China in terms of ritual and altar, time and space. It is an astoundingly powerful and erudite study that also makes for an enjoyable reading experience. I ad a wonderful and inspiring time talking with Ken Brashier about this book and his future projects. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

If New Books in East Asian Studies were an All-Powerful Force of Good In The Universe and if one of the perks that came along with being an All-Powerful Force of Good In The Universe were to ensure that certain books got major awards, then we would exercise that perk... Learn more about your ad choices. Visit megaphone.fm/adchoices

If New Books in East Asian Studies were an All-Powerful Force of Good In The Universe and if one of the perks that came along with being an All-Powerful Force of Good In The Universe were to ensure that certain books got major awards, then we would exercise that perk in the case of Ken Brashier‘s Ancestral Memory in Early China (Harvard University Asia Center, 2011). Brashier’s book is a meticulously-researched, clearly organized, and compelling account of the ancestral cult of early China. Brashier focuses his arguments on the “cognitive aspects” of the cult, and in this respect the book offers a way to think about metaphor, remembrance, and forgetting in time that potentially extends well beyond the context of early China. After an introduction that lays out the arguments of the book and introduces the structural metaphors of lineage, tree, and watershed that will recur throughout the study, Part I introduces the basic ritual prescriptions of ancestral remembrance through the lens of performance theory. From prescriptions, the book then proceeds to descriptions of actual practice in Part II, focusing on case studies of exemplary moments in the practice and adaptation of ritual throughout early China. Part III then shifts from the sacrificers to the ancestral spirits themselves, proposing a spectrum with which to think about the range of ideas about the agency of ancestral spirits and the degree to which their existence was dependent on the memory of the living. The final two Parts of the book return to the themes of performative thinking and tie the entire book together in a study of the symbolic language and practice of ancestral memory in ancient China in terms of ritual and altar, time and space. It is an astoundingly powerful and erudite study that also makes for an enjoyable reading experience. I ad a wonderful and inspiring time talking with Ken Brashier about this book and his future projects. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Julie Raymond, author of We the Trees, a series of Goddess Fiction about ancient priestesses in Cappadocia, Turkey poses the questions: What if our genetic code contains a lot more information than eye color or tendencies toward disease? What if we have a genetic memory? Let's unearth our ancestral memories and begin the greatest excavation of all time! How our ancestral memory helps us in creative ways as we rethink, reclaim and remember past lives, courageous women, maternal ancestry and ancient times - and we can share that knowledge through Goddess Fiction. AT THE BOTTOM OF THE HOUR is the provocative and insightful David Hillman, PhD and author of The Chemical Muse, returning to the show once again to discuss 1) The pope, church fathers, Jesus and naked boys, 2) The Most Powerful Goddesses: The Fates, Aisa and Eileithuia and 3) Women & Dionysus....Women Who Kindle the Flame!