Podcasts about earth spirit

This episode we are taking a quick break from our overall story of Uno no Sarara (aka Jito Tenno) and we are focusing on Ise Shrine and Amaterasu, the Sun Goddess. There is a lot, for a bit more, check out our podcast blogpost at:  https://sengokudaimyo.com/podcast/episode-153   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 153:  Ise and the Sun Goddess.   In the newly built hall of the Fujiwara Palace, the nobles of the court were gathered for a grand banquet.  Snow-white walls were off-set by bright crimson pillars and trim, highlighted by bright green windows.   The nobles themselves were a rainbow of colors, arranged as they were by rank.   At the head of it all, on a dais, sat the Queen herself, Uno no Sarara.  However, the attention was no longer on her.  Instead, it was on another figure, standing in front of the assembled audience.  A quiet spread throughout the hall, the court listening as Hieda no Are began to tell the story of the Sun Goddess in the Plain of High Heaven.  They listened to the story of her and Susano'o, and of the backward flayed horse.  They heard the tale of the Heavenly Rock Cave, and of all that came after, including the sending of the August Grandchild, Ninigi.  They listened to the story—the story of Yamato.   Last episode, we talked in more detail about Uno No Sarara—starting from her early years as the daughter of Naka no Ohoe, granddaughter of Soga no Kurayamada, and child-bride to her uncle, Ohoama.  I'll admit we didn't look too hard at that last bit, and I don't have enough information to confirm what exactly "marriage" entailed in that context, but it is still something that I find tremendously creepy and, unfortunately, anything but unique.  So I'm not going to dive too much further into it right now but… ew. We talked about how she gave birth to her son, Kusakabe, in Kyushu, during the war on the continent, and how she eventually left for Yoshino with her husband when he retired from court, presumably to outsmart his court rivals, who were positioning him to be taken out.  She also is said to have played a part in the planning and execution of the resulting Jinshin no Ran, later helping her husband govern the realm.  And now, she was on the throne, overseeing the completion of many of the projects started in the reign of her husband.  This included the completion of the Kiyomihara code, the Fujiwara palace, and the support given to the institution of Ise Grand Shrine. This episode, I want to dive into that last topic: the emphasis in Uno no Sarara's reign on  Ise Shrine and its focus, the Great God, Amaterasu no Ohokami.  Although the Chronicles talk about Amaterasu as one of the founding deities of the Yamato royal line, there is plenty of evidence that this story was grafted into the tales at a later date, and that worship of Amaterasu, at least as anything more than a minor deity, likely also started relatively late.  Some have even suggested that Ise Shrine itself wasn't even built until the late 7th century.  So, all of this focus on Ise and Amaterasu appears to be part of the larger effort to structure the physical, cultural, and spiritual landscape of the new Yamato state. Last episode we mentioned how, according to the Nihon Shoki,   Ohoama turned to worship towards Ise.  Well, specifically, he worshipped Amaterasu Ohokami.  So let's take a moment and talk about what we know of the history of this Great God of Heavenly Brightness. Unfortunately, most of that history is based on what we know of the kami from works like the Nihon Shoki, the Kojiki, and the Sendai Kuji Hongi, all of which came out in the 8th century or so.  As such, it can be hard to know what things were actually like, earlier on, as opposed to what was added or removed later. Much of what I'm going to be talking about, today, I'm going to be pulling from a book written in 2017 by Mark Teeuvwen [Tayvin?] and John Breen titled "A Social History of the Ise Shrines", as well as Michael Como's work "Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan", published in 2009, along with other sources.  In their book, Breen and Teeuwen point out that for those who do not take the events of the Nihon Shoki and Kojiki at face value, there are two primary theories for the origin of the worship of Amaterasu: an early theory and  a late theory.  The early theory places the development of the worship of Amaterasu in the 5th and 6th centuries, during the reigns of such figures as Wakatakeru no Ohokimi, aka Yuuryaku Tennou.  The Late Theory places the development in the 7th century, largely at the feet of such figures as Ohoama and Uno no Sarara herself.  We'll take a look at the evidence and see what it says. I would note that compared to the official history, both of these would be very late theories.  According to Ise Grand Shrine even today, Amaterasu arrived in Ise in the 26th year of Ikume Iribiko, aka Suinin Tennou, as stated in the Nihon Shoki, which corresponds to 4 BCE if you take the dating of the Nihon Shoki to be accurate. Of course, we've already spent plenty of time talking about the problems with the Nihon Shoki prior to the 6th century CE, as well as how the political nature of the text affected what it contained. So to kick things off, let's address the biggest question of all: why don't we believe that Amaterasu no Ohokami was always the primary deity of the pantheon of Yamato, at the very least, if not all of the Wa people of the archipelago?  After all, isn't she a sun goddess, and isn't sun worship fairly well documented among the ancient Japanese?  Just take a look at words like "Hiko" and "Hime", referring to rulers as sun man and sun woman.  Also note that early on, worship seems to have centered around places such as mountaintops, which focused worship towards the sky and the highest point.  In fact, as wet rice paddy agriculture became the dominant economic factor driving the engine of the archipelago in the Yayoi and early kofun period, early shrines were very likely about bringing the spirit of the mountain from the mountaintop and giving them a home amongst the rice fields.. And then we have the stories.  Don't the ancient stories all tell about Amaterasu as the ruler of Takama no Hara, the Heavenly Plain?  And isn't it her grandchild that then descends to the earth to pacify the Land of the Reed Plains—aka the Japanese archipelago? Well let's take a look at those same stories, which we've covered in earlier episodes of the podcast.  The first deities mentioned in the Chronicles are deities like Ama no Minaka Nushi, Lord of the August Middle of Heaven; Takami Musubi, High August Growth; and Kami Musubi, Divine August Growth.  There are other deities, like Kuni Toko Tachi, but they are barely mentioned again. Later we get Izanagi and Izanami, the masculine and feminine, who create the world and give birth to numerous deities from that point on.  Among the children of Izanagi are said to be Amaterasu, Tsukiyomi, and Susano'o.  Amaterasu, Heaven's Brightness, represents the sun while Tsukiyomi represents the dark of the moon.  Susano'o is then the god of the storms and seas, and was sent to the Nether Land, the Ne no Kuni. Right away we see that there are numerous different stories listed in the Nihon Shoki for just about everything.  Only the Kojiki gives everything as a single, coherent narrative, but surely the readers in the 8th century would have known some of these other stories, and thus the Nihon Shoki gives the alternates as well. Now the main narrative of the Kojiki and the Nihon Shoki tells us that Ama-terasu no Oho-kami was born to rule over everything.  In the Nihon Shoki, Izanagi and Izanami specifically mention that divine destiny in Amaterasu's creation—although actually, in that part of the text, the deity they are creating is named Oho-hiru-me no Muchi; the Great Sun Female Holder.  And in the next entry they call Amaterasu: Ama-terasu Oho-hiru-me.  Tsukiyomi, the deity of the moon, is made to be her consort, and they are supposedly sent to rule the plain of Heaven, Takama no Hara. The problem is that there are other entries that suggest that Takama no Hara already had a ruler:  Taka-mi-Musubi.  Reading the sections on Taka-mi-Musubi, we see a deity who is said to have produced 1500 children, himself—no mention of Izanagi and Izanami.  Some of his children are mentioned as Omohi-kane:  the Thought-Combining deity, and Sukuna-bikona: the Little-Prince-Named deity. Amatsu Hiko Hiko Ho Ninigi no Mikoto, the August Heavenly Prince, Prince Ho-ninigi, is not just a grandson of Amaterasu no Ohokami, but also a grandchild of Taka-mi Musubi.  In at least one story, Takami Musubi is the one who wants Ninigi no Mikoto to become the ruler of the Central Land of the Reed Plains.  Towards that end, he gathers the various kami and chooses someone to go down and prepare the way—Ama-ho-hi no Mikoto—who was to quote-unquote "expel and subdue" the evil gods of that land.  We covered this story in episode 21 and 22.  When that doesn't work, he gathers them again, sending others to try and do the same.  Eventually he sends Takemikazuchi and Futsunushi down.  All of this sounds like Taka-mi Musubi, whose name appears to refer to being the "high" deity, was the one in charge. In addition, we have the court ritual from sources like the Engi Shiki, which illustrates the deities that were invoked for the protection of the palace and the royal family.  These were:  Kami-musubi, Takami-musubi, Iku-musubi, Taru-musubi, Tamatsume-musubi, Oomiya-no-me, Oomiketsu-no-kami and Kotoshironushi.  One might notice a lot of the "musubi" names among the deities, and a distinct lack of appeal to Amaterasu.  If Amaterasu were the central deity and ancestral deity of the royal family, why is she not invoked in the rituals of the court itself? The thought, here, is that these rituals are likely much older than the worship of Amaterasu, and while Amaterasu would come to prominence in the stories that the court would tell, it was much more difficult for them to rearrange the traditional rituals to put her front and center.  Those rituals were maintained by ritualist families like the Nakatomi, and they weren't likely to change the rituals willy-nilly, even for a sovereign.  That was playing with supernatural fire, after all—if you changed the rituals, would they still even be effective?  Granted, rituals do change, so it isn't a perfect argument; perhaps it was just not considered to be important enough to make the change since it was not something that anyone except the court ritualists needed to worry themselves over.  Either way, it appears that we do have a list of deities that may have been the deities of the ruling elite prior to the rise of Amaterasu and Ise shrine more generally. We have a few other clues of what was going on in the narrative.  For instance, we see the story from the reign of Mimaki Iribiko, aka Sujin Tennou, also called the First Sovereign of Yamato, despite the legendary figures inserted prior to his reign.  It is in this chapter that we see a note that Ama-terasu no Oho-kami and Yamato no Oho-kuni-dama, which is to say the Spirit of the Country of Yamato, were both worshipped together in the hall—that is in the royal palace itself.  And yet apparently Mimaki Iribiko feared these deities residing with him in the palace, and he had their worship moved to locations outside of the palace.  Amaterasu's worship was given to Toyosuki-iri-bime, one of Mimaki Iribiko's daughters, and established in the district of Shiki, in Yamato.  Yamato no Ohokunidama, on the other hand, was given over to Nunaki-iri-bime no Mikoto, another daughter through a different wife. but we are told that she was lean, and her hair was falling out, and so she couldn't perform the rites.  Turning our attention back to Ama-terasu—in the reign of Ikume-Iribiko, aka Suinin Tennou, son and heir of Mimaki Iribiko, the worship of Ama-terasu would pass from Mimaki Iribiko's daughter, Nunaki Iri Bime to Ikume Iribiko's daughter, Yamato Hime.  She would move the worship site from Shiki to Uda, in the shadow of Mt. Miwa, and then proceed over to the upper banks, or Kawakami, of Isuzu, in the district of Watarai.  Here, in one of the alternate stories about this episode, we get the Great God of Yamato—Ohoyamato no Ohokami—speaking through a medium to warn the sovereign that he had better be careful.  Mimaki Iribiko had not been quite thorough enough in his worship, so he had not had a long life, and if Ikume Iribiko didn't do the same, he would suffer a similar fate. And so, in a record eerily similar to what we see in the previous reign, the worship of the "Great God of Yamato", the Oho-Yamato no Oho-kami, is given to Nunaki-waka-hime—as opposed to Nunaki-Iri-bime—who also fails in the task because of her emaciated body.  This also introduces Fukayu nushi, an ancestor of the Nakatomi, who was the one who divined what should be done. There is so much to unpack in these stories.  For one, the kami bring power, but also danger.  One can try to placate the kami, but it isn't like a ritual will always work, and the story is of the sovereign being actively afraid of what they might do, so they were removed from the palace.  Then there is the fact that we see two seemingly similar names—Ohoyamato no Ohokami and Yamato no Kunidama both seem like we are talking about the same spirit of Yamato, though some would point out that one is the spirit of the country and one is the great kami of the country, so, clearly different. Both are also being given to someone named "Nunaki—something-something—Hime", and in both cases Nunaki seems to fail in her task because she is apparently not hot enough for the kami.  She's described as too thin and emaciated or balding.  We aren't given the lineage of Nunaki Waka Hime, but Nunaki Iri Bime is connected with the land of Owari.  Nunaki Iri-bime is said to be the daughter of Mimaki Iribiko and Ohoama Hime, ancestor of the Owari no Muraji.  Owari was the land that supported Ohoama during the Jinshin no Ran. Finally, in both cases, we see the worship of the spirit of Yamato being given over to someone name "Nagochi", later identified as Nagochi no Sukune, ancestor of the Yamato no Atahe. One more note—closely on the heels of moving these two kami out of the palace, we see that the court brings in the worship of Oho-mono-nushi, the god of Mt. Miwa, under Ohotataneko, the ancestor of the Miwa clan. So the stories here account for Ama-terasu being moved to Watarai and why she isn't worshipped in the palace.  It also places Oho-mono-nushi at the center of worship in Yamato.  Oho-mono-nushi and Miwa continue to dominate the narrative from here on out, with a few notable exceptions, such as with Okinaga Tarashi Hime, aka Jingu Tennou and her mythical conquest of the Korean peninsula.  I'm sure that had no political implications at all given everything that had happened with Baekje, Silla, and the Tang dynasty in the latter half of the 7th century.  Other than scenes like that, however, the Miwa clan and worship of the Miwa deity appear frequently in the narrative.  It is clear that Mt. Miwa, and its deity, were important, and when Breen and Teeuwen hypothesize that when Naka no Ohoe, which is to say Tenji Tennou, took the drastic step of moving the capital up to Ohotsu, in the land of Afumi, he also brought the Miwa deity with him.  Those Afumi court rituals were conducted under the auspices of the Nakatomi, and particularly the auspices of Nakatomi no Kane, who would become one of the chief opponents of Ohoama during the Jinshin no Ran in 672.  After that conflict, Ohoama and his wife, Uno no Sarara, were building new traditions using Ise and constructing new legends.  Legends that would be under their control and influence and which would further bolster their rule from the city that they had designed to fit inside of this newly constructed cosmological framework. And yet this also brings up what seems like an obvious question.  If Ise Shrine and the worship of Amaterasu were so central to Ohoama and Uno's plans, then why would they put it so far away?  Proponents of the "early" theory of the development of Amaterasu and Ise Shrine suggest that the answer lies in the text of the Chronicles.  That there is some truth to the idea that there was worship in Yamato and that, for various reasons, it moved out to Watarai district early on and developed into Ise Shrine.  Those who hold to the "late" theory of development see all of those stories as later inserts meant to explain away why Ise Shrine was so far away—and perhaps why Amaterasu was not included in the cool-kami club of court ritual.   Teeuwen and Breen mention a few of the theories, from Naoki Koujiro stressing Ise as a strategic gateway between Yamato and Eastern Japan to Tanaka Takashi proposing that the movement of Amaterasu to Ise is actually a stand-in for one or more military campaigns to that area to bring it under Yamato control. And before we move too much further in the narrative, let's talk about how Ise is physically and geographically situated.  Ise is part of modern Mie prefecture, on the eastern edge of the Ki peninsula.  It is at the southern end of a series of adjoining alluvial plains that follow the coastline north to the modern prefectures of Aichi and Gifu—the ancient provinces of Owari and Mino.  The capital of Ise Province used to be in Suzuka, near the the two Tsubaki shrines which both lay claim to the title of Ise no Ichinomiya, the First shrine of the land of Ise, and the pass that served as one of three major routes from eastern Japan into the Home Provinces and beyond.  This puts Ise about as far away as you can get from the capital of the province without going over the mountains, themselves.  It also puts it a good deal south of most major travel routes.  If you are going to Ise shrine then it is pretty clear you were going to Ise shrine, as there isn't a lot of evidence for anything else in the area. The Shrine itself is actually made up of two primary shrine complexes.  There is the Naiku, the inner shrine, and the Geku, or outer shrine.  The Naiku, or inner shrine, is probably the area most people think about.  It is at the foot of the mountains where the Shimamichi River joins the Isuzu River and both flow out of the mountains.  The Naiku contains the shrine to Amaterasu no Ohokami, and is famous for its layout, where there are actually two shrine enclosures, one next to the other.  The main shrine is then rebuilt in the empty enclosure every 20 years, at which point the worship is moved to the new shrine, the old shrine is torn down, and the cycle is started once again. The Outer Shrine, or Geku, is further north, and probably not as well known to foreigners.  The Geku is said to enshrine the spirit of Toyouke-bime, a kami dedicated to food.  According to the traditions of the Geku itself, Toyouke-bime was enshrined in the Geku at the command of Wakatakiru no Ohokimi, aka Yuuryaku Tennou, based on a dream. Regarding the history of why the Shrines—both Inner and Outer—are located here, archaeological evidence doesn't give us a lot to suggest that these might be the case.  Despite the presence of the Miya River near Ise Shrine, we haven't found evidence of a large harbor or port, like we might expect if it was the jumping off point for crossing Ise Bay—or even the center of another large polity.  Instead, the areas to the north—around Fujikata and Matokata inlets, for instance—show much more evidence of occupation and, presumably, use.  Heck, the modern district of Fujikata is in the town of "Tsu", which literally means "port".  And the capital area of Suzuaka and the Ichinomiya of Tsubaki Grand Shrine is even farther north, still.  So who, if anybody, was living down in the area of Ise Shrine?  If we look at the progression of tomb mounds in the area in previous centuries, we see that they start in the Matokata region in the 5th century and work their way down towards the south, with late 5th century tombs found in the district of Taki, the district bordering on Watarai and modern Ise City to the northwest.  It is also where you can find the Saikuu, the site of the old purification palace for the Shrine Princesses.  Grave goods seem to show close ties with Yamato, in the Nara basin.  While the tombs expanded to the south through the 5th century, they appear to have stopped altogether in the 6th century—or at least we haven't found any.  This may indicate that the political situation had changed and there was no group in the area that could organize the labor for such an undertaking.  Whether that was because Yamato was taking it as corvee labor or just that population had dwindled due to war, famine, or something else, I don't know that we could say. Around the year 600, at the opening of the 7th century, we do see a large grave mound erected in the core area of what would later become Ise Shrine, on the east side of the Miya River, overlooking what would become the Geku, the Outer Shrine of the Ise complex.  For those who aren't aware, Ise Grand Shrine is a large complex of shrines, and it is divided into two main areas.  The "inner shrine", or Naiku, is where most people go, and it is the site of the famous shrine building that is supposed to be rebuilt every 20 years.  The Geku is the "outer shrine" complex, technically dedicated to Toyouke hime, a kami of agriculture.  The kofun overlooking the outer shrine is known as the Takakurayama kofun.  This is a round kofun, about 35 to 40 meters in diameter, with a horizontal stone chamber.  It is the largest in the Ise region.  It has been mentioned in records going back to at least the Kamakura era, and even though most of the grave goods are gone, there is evidence that it was richly appointed.  Given its shape and location, there were even those in later centuries who connected it with the Heavenly Rock Cave in which Amaterasu hid according to the ancient stories. The fact that there was nothing around this area and suddenly we see a giant tomb mound is pretty puzzling.  Why was it built here?  Is it connected to the founding of the Outer Shrine in some way, or is that just coincidental?  Teeuwen and Breen point out that it is pretty rare for a large tomb mound to be build in the precincts of an active shrine, which suggests that whatever was happening there, that area was not part of the shrine grounds.  That said, I have to wonder if the ritual worship at the kofun might not have later been transformed or coopted into something else.  There also is no other indication that the Outer Shrine area was used for ritual purposes any earlier than the kofun would have been built.  In contrast, around the Inner Shrine area, several kilometers away, there are caches of beads dated to the 5th, 6th, and 7th centuries in a small valley where a brook runs down from Mt. Asama, not too far from the current shrine complex.  Teeuwen and Breen suggest that this may relate to the "upper reaches of the Isuzu River", mentioned in the Chronicles, and that it may have had to do with rituals related to water supply—hence being found at the point where the water was coming down from the mountains.  And yet, despite these finds, there really aren't any large scale archaeological remains that have been discovered east of the Miya river, though there are modest signs of dwelling and habitation, and some minor burials mounds. Compare this to Tsubaki shrine, the home of Saruta Hiko no Kami, and the main shrine of Ise, situated in the ancient capital of Ise no Kuni.  Downstream from there are numerous tomb mounds and indications of habitation.  So this was probably the center for early sun worship in the region. Teeuwen and Breen conclude that all of this indicates that the region of Taki and areas east of the Miya river were probably more of an outpost—no major powerful chieftains or large polity had set up in the region.  In the late 6th century, some power had to move in to build Takakurayama kofun, but that was an outlier.  Maybe this area just largely fell under Yamato hegemony.  And perhaps that was the key.  Perhaps initially this wasn't a place to center power and authority, but rather it was more like a prison.  It was a place far away from the court, where a deity that was more of a threat could be kept away from the palace and the sovereign.  Perhaps Amaterasu, or whoever the kami was at the time, was placed out here because of the threat they posed, much as the Chronicle seems to suggest—just not necessarily at the time that is suggested. One of the aspects of the mythmaking that we see in the Chronicles appears to be the stress on the Amatsu kami and Kunitsu Kami—the Heavenly deities and the Earthly deities.  The Heavenly deities are those in Takama no Hara, and they are the progenitors of the royal line.  On the other hand are the earthly kami, the Kunitsu Kami, those dwelling on the earthly plane.  In the stories that were recorded in the Nihon Shoki, before the August Grandchild of Takami Musubi and Ama Terasu descended to take control of the Central Land of the Reed Plain, they sent down heavenly kami as warriors to subdue the earthly kami.  On the one hand, this may have been driven by some kind of deep memory of early conquests of the archipelago by various forces.  However, these legends also served another purpose, in that they set up the royal family's right to rule, and appear to establish a de facto hierarchy between those families descended from the Heavenly Kami and those descended from the earthly Kami. Another thing that Teeuwen and Breen point out and that is that Amaterasu is not necessarily a female deity, to start with.  In fact, Amaterasu was probably easily overlain atop the worship of Oho-mono-nushi of Mt. Miwa, at least early on.  To that point, they note stories where Oho-mono-nushi and other deities were commonly depicted as arrows, snakes, or similarly phallic imagery finding or even penetrating women who were thought to have a connection with them.   This suggests a context of these priestesses being married to the kami, and even fits in with early descriptions of individuals like the famous Queen Himiko being a spiritual leader as well as a political one.  If the original Amaterasu was conceived of as a male deity, then this could also explain the tradition of the Saigu, the consecrated shrine princess.  We only see a few royal princesses designated to the position up to this point in the narrative, and, beyond Tokosuki Iri bime and Yamato hime, we don't necessarily learn much more.  One wonders if there weren't other royal princesses likewise sent elsewhere to serve other deities.  We know about Nunaki Iri Hime, and presumably Nunaki Waka Hime.  There was also Yamato Totohi Momoso Hime, who was married to Oho-mono-nushi.  Presumably there were others who just never ended up in the stories that were passed down. The idea of a kami taking a "wife" and connecting that to the idea of women holding these priestly positions seems to fall in line with much of what we see, though, as I said, we only hear occasionally about the appointment of royal princesses to the position until the reign of Ohoama.  That's when we see specifics about appointments, the purification palace in Hase, and other arrangements.  It makes you wonder more than a little bit if Royal Princess Ohoku was, perhaps, the first royal princess to actually be appointed.  It would have been easy enough to add in previous "shrine princesses" into the lineage, especially far enough back that nobody could really fact check it.  We also see Royal Princess Taki journey to Ise with her companions, Princess Yamashiro no Hime and Lady Ishikawa. It is intriguing that this practice was temporarily interrupted during the reign of Uno no Sarara, as I mentioned last episode.  Could this have something to do with a female ruler on the throne and a corresponding lack of urgency about having a female representative at Ise? And in stories about Amaterasu, she is frequently shown with certain masculine qualities.  When she confronts her younger brother, Susano'wo, she is concerned that he might try to take her authority from her, so she meets him decked out in armor, her hair tied up in a typical male fashion, with a bow, ready for a fight.  It would be just as easy to imagine that Amaterasu and Susano'wo were brothers, contending over rulership.  Add to all of that the idea that kami were often personifications of various natural phenomena or ideas, and Japanese is not a naturally gendered language, and there are those that believe that the stories of Amaterasu were not necessarily about a female deity in the beginning, but a male deity, similar to Ohomono Nushi and others, who then took on a feminine persona.  On the other hand there are passages in the old stories recounted in the Chronicles that clearly make Amaterasu out to be a woman. To start with the activities she is associated with, such as weaving, are often associated with women as something they do in the home.  This is a tradition carried over from the continent, along with silk and the techniques to weave it.  In the lands where silk production started, there are silkworm goddesses and the gendered nature of silk production and weaving appears to have come over to Japan as well.  There is also the fact that Amaterasu is said to have another name:  Oho-hiru-me no muchi.  In this case, it would seem to mean something like Great Noontime Female Possessor.  And in the weaving hall it is sometimes Amaterasu that is weaving and sometimes Waka Hirume.  "Hirume" certainly feels like a feminine name. There is the distinct possibility that the stories of Amaterasu as recorded were actually about two or more different kami, so Amaterasu and Ohohirume could have been separate deities having to do with the sun that were rolled into a single kami.  As mentioned before, it is also possible that Amaterasu ended up with some stolen valor taken from the other Ise deity worshiped at Tsubaki, Saruta-hiko no Kami.   Teeuwen and Breen also note that the name "Amaterasu" is hardly unique, noting at least ten other shrines with a kami called "Amateru" or "Amaterasu", mostly in Yamato, but some as far away as Kyushu and Tsushima.  Nine of those shrines were dedicated to Ame no Hoakari, an ancestor deity of the Owari lineage who was also closely tied to metalworking.  It is worth remembering that it was Owari who helped support Ohoama during the Jinshin no Ran, and who may have even fostered Ohoama for a while when he was just a young prince.  All that to say there may have been several different traditions that were all contributing different elements to the story. And then there is the connection between Amaterasu and Uno no Sarara. Herman Ooms, in his book: "Imperial Politics and Sybmolics in Ancient Japan", notes the similarities between Amaterasu and Uno no Sarara, talking about the differences between the Kojiki and the Nihon Shoki, both of which had events that mirrored Uno no Sarara's own life.  According to Ooms, "The Kojiki's Amaterasu is a transparent double of the female tennou Jitou".  He points out that Uno no Sarara, besides her posthumous title of Jitou Tennou, also had a title making reference to Takamanohara:  Takama no Hara Hirono no Hime—the Princess High-Heaven-Plain.  But beyond that, we also see other linkages between the stories.  For instance, it isn't Amaterasu's son, Ame no Oshihomimi who is given the realm, but rather her grandchild, Ninigi.  This parallels the way that Uno no Sarara's son, Kusakabe, didn't ascend to the throne, but instead Uno no Sarara was holding the seat for his son, her grandson.  So one sees how Uno no Sarara could be seen as Amaterasu, and her grandson, Prince Karu, could be seen as Ninigi, the August grandchild.  Teeuwen and Breen also note that during this same time, we see the rise of a new institution: the Jingikan.  Again, we touched on this last episode, so just a quick recap:  The Jingikan was a government organization set up specifically to oversee the shrines, rituals, ceremonies, and other such things pertaining to the kami matters.  It does not appear in the initial stand-up of the new, bureaucratic government, wherein is created the bureaus, ministries, or departments, depending on your chosen vernacular, which make up the Dajokan, the Great Council of State.  Instead, the Jingikan is a separate organization, specifically organized around kami matters. The term "Jingi" is also a shorthand for "Ama-tsu-kami, Kuni-tsu-kami", or the kami of Heaven and the Kami of the earth.  "Ama-tsu-kami", meaning Kami of Heaven, was written with two characters meaning "Heaven" and "Kami", pronounced "Tenjin".  "Kuni-tsu-kami", or the Kami of the Earth, was written as "Earth" and "Earth Spirit", which was then pronounced "Chigi".  By taking the last character of each compound Tenjin-Chigi becomes just Jingi, for short.  Throughout the Chronicles, this term, "Jingi" is thrown around when they want to quickly note all the kami, together, though sometimes it is fully written out as "Tenjin Chigi", as well.  Interestingly, "Tenjin" or "Ama tsu Kami", sometimes appears alone, especially in the chapters on the Age of the Gods.  However, "Chigi" seems to only be used in the whole phrase.  There are a few instances, however, of "Chijin" being used, but they are few. That said, the term "Jingikan", also read as "Kami Tsukasa" or even "Kan Zukasa",  doesn't appear until 690, in the reign of Uno no Sarara.  This probably means that it was part of the reforms encompassed by the Kiyomihara codes.  The head of the Jingikan is known as the Jingihaku or "Kan-zukasa no Kami".  This term actually shows up well in advance of the Jingikan itself, initially referring to an unnamed official or officials in charge of kami worship at the court.  Nakatomi no Kamatari is said to have been offered the position in the first reign of Takara, aka Kougyoku Tennou, though the first confirmed individual appears to be Nakatomi no Ohoshima, during the reign of Uno no Sarara. This appears to be a distinctly Yamato invention in the bureaucratic system.  It leverages the language and structure of the Tang dynasty, but in its own way.  There was a Tang department of shrines, but it was described differently, as befits a different spiritual environment focused on ancestor worship and Confucian and Taoist ideas.  The Jingikan system  seems to have been a deliberate re-organization of the indigenous kami worship, incorporating what was probably traditional roles into the new bureaucratic system.  In so doing, however, it also gave the court greater control, and given that this was happening at the same time as the establishment of various stories and myths around Ise and the foundation more generally, it appears to be part of a concerted and deliberate effort to construct a new narrative. All of this points to them architecting much of what was going on, from the stories to the landscape.  Ohoama likely built the inner shrine as we know it.  If it really was an obscure, out-of-the-way shrine, perhaps that also meant that there weren't any other powerful court factions that were enhanced by it.  And then, over time, the Ise shrine and the deity there could be better incorporated into the overall myths and stories that surrounded the formation of Yamato.  A new Yamato, one that would soon enough be referring to itself as the origin of the Sun:  Nippon, a name often attributed to Ohoama and Uno no Sarara, though not found in the record of their reigns in the Chronicles. Another aspect to all of this, however, is what happened immediately after Uno no Sarara's reign, and into the 8th and early 9th centuries.  In the 8th century—the Nara period—Buddhism started to merge with a lot of the local practices.  This was not uncommon.  Buddhism had been born in a land with myriad deities and styles of worship, and it had the means to incorporate local deities into its cosmological worldview.  Kami were just other beings, stuck in the cycle of rebirth, who, as sentient beings, could equally benefit from the Buddha's teachings.  They became guardians of Buddhist institutions, and the lines between shrines and temples were often blurred.  At the same time, kami worship was also taking on various concepts from continental worship, such that even today we find a lot of what we might consider Taoist practices influencing Shinto worship. Had this continued, worship of the kami may have been completely subsumed into the Buddhist ritual practices, but there were areas where kami worship remained distinct.  One of these was at Ise. Early on, there was an attempt to build a temple at Ise, but it didn't last long.  The temple was eventually moved out of the shrine complex, and then eventually it was removed altogether.  Later writings from the Shrine would include certain Buddhist terms among the things that were taboo within the shrine grounds, considering Buddhism as something of a corrupting or polluting influence.  Shrine Princeses, during their tenure, had to devote themselves to the kami, and though they might retire as nuns, later in life, during their appointment they were to be free of any Buddhist influences.  In many ways this would make Ise a prime example of what would eventually be termed "Shinto", which gave it, and the worship of Amaterasu, a certain pride of place.  Of course, it didn't hurt that it was also intertwined with the State and the founding myths of the nation.  As such, Ise Shrine and its worship would become a template for many others to follow, helping to shape what we know as "Shinto" today. There are still a lot of questions.  We don't exactly know what Uno no Sarara did on her trip to Ise Shrine, and we don't know how things surrounding the worship at Ise and of Amaterasu herself changed in the intervening years between when these events happened and when, about two to three decades later, the Chronicles were finalized and published.  Certainly some of this seems tied to the Fujiwara capital, which was no longer populated at that point, the move to Heijo-kyo, in Nara, occurring between 708 and 710, two years before the Kojiki and a decade before the Nihon Shoki would come out.  And yet, the three sacred mountains that were incorporated into the plan of the Fujiwara Capital, Mt. Kagu, Mt. Miminashi, and Mt. Unebi, seem to continue to be important.  This is especially true of  Mt. Kagu, whose heavenly counterpart, Ame no Kaguyama—literally Heavenly Mt. Kagu— continues to play a major role in the stories surrounding Amaterasu and the Heavenly Rock Cave.  In addition,Mt. Unebi is closely tied to the story of Iware-biko, aka Jimmu, conquering and settling the land—perhaps to draw attention away from the stories about Mimaki and Ikume iribiko, aka Sujin and Suinin, who were both associated more with Mt. Mimoro, aka Mt. Miwa.  So even though the physical presence was moved, by that point we know that foundation of many of these stories were likely laid down around the time that the Fujiwara capital was in operation.  What does seem clear is that, just as there were clear efforts to set up the new State government, including the new capital, the court were also taking control of other levers of power and influence.  We previously talked about how they had created National Temples and included government positions to oversee Buddhist affairs more generally.  With Ise and the creation of the Jingikan, it appears as though that trend continued with the traditional kami worship. Many of the elite families still had connections to their own shrines, with their own kami.  Through the stories collected and written down—with a few editorial additions to help place them in an approved context—they were able to construct a narrative from separate or divergent traditions.  These traditions had already accreted to themselves various stories and culture-ways, some of them with clear links to the continent and others with overlapping portfolios.  The kami, and the ability to intercede with them for their blessings or to avert their wrath, were a form of power that was being structured for the purpose of supporting the new State.  A state now under the control of one Uno no Sarara. And we don't exactly have to wonder about this… the preface of the Kojiki all but says it.  They put the words in the mouth of Ohoama, or, as they call him, the Sovereign of the Kiyomihara Palace.  But the words are pretty clear: "I hear that the Imperial Records and Ancient Writing handed down by the various houses have come to differ from the truth and that many false hoods have been added to them. If these errors are not remedied at this time, their meaning will be lost before many years have passed. This is the framework of the state, the great foundation of the imperial influence. Therefore, recording the Imperial Records and examining the Old Writings, discarding the mistaken and establishing the true, I desire to hand them on to later generations." With that, 28 year old Hieda no Are was given the command to learn all the stories and presumably to recite them for the court.  And several decades later, Oho no Yasumaro was given the task to take Are's stories and write them down.  I imagine that Hieda no Are, or perhaps someone else who had learned the stories well enough, would be called into court or banquets to present some of the stories, or would be asked questions if there was any need for precedence.  Thus creating a single source for truth, according to the administration.  At the same time, the court had a problem.  They couldn't control all of the sources of written material, with all of the various contradictions, so we also would eventually get the more comprehensive—but also less narratively direct—Nihon Shoki as well.  After all, the game of propaganda was being played at many levels, and while the royal household had their motivations—primarily to support the legitimacy of their claim to power and the system within which that claim was validated— other families wanted to ensure that they were properly recorded as having connections to traditional nexuses of power—be that the ancient kami of Heaven or Earth, or their relationship to the royal family.  This is because precedence was important, even as new traditions were being created.  Like the way that the Mononobe and the Nakatomi played important roles in Uno no Sarara's ascension ceremony despite the actual individuals using new or different names, like Isonokami or Fujiwara.  See Episode 151 for the explanation, there.  And new traditions were much easier to justify if you could connect them with older traditions—whether those older traditions were truly ancient or newly made inventions. And all of this suggests that this was not an accident and it wasn't simply being imposed from the top down.  One could be charitable and suggest that those involved felt that this got them closest to what the truth actually was, given that they had now been inculcated in a new worldview and they were trying to view the ancient stories through the interpretive lens of that worldview.  On the other hand, they were ultimately doing it to structure power and authority that favored them and the government they had created.  A government that they hoped would outlast them, and be passed on to their descendants. Next episode, we will continue our discussion of Uno no Sarara's life and reign and the incredible steps she took to ensure that her line would continue to rule Yamato for decades. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

"Earth Spirit" by Frank Wedekind is a provocative play that explores the tumultuous life of Lulu, a woman whose very existence incites chaos and destruction in a society driven by lust and greed. As the first part of the 'Lulu' plays, it delves into themes of sexuality, power, and the consequences of desire, making it a timeless reflection on human nature. Lulu's character challenges societal norms, prompting discussions about misogyny and women's liberation that remain relevant today. This gripping portrayal of a woman who scandalizes her community and drives men to ruin offers listeners a chance to reflect on the complex interplay of desire and morality in their own lives.

When the women came to properly prepare Christ's body, they didn't find a corpse but an empty tomb. "Why do you seek the living among the dead?" the angels asked them, "He is not here, but has risen." As we celebrate our Lord's conquest of death on the final day of Holy Week, we contemplate the question, "Why do we seek the living among the dead?" Join us as we examine the central anchor of the Christian faith: the resurrection of Jesus of Nazareth and his call for us to walk with him in newness of life.

What composes the being of a human being? Are we just highly evolved animals? Are we spirits imprisoned for a time in material flesh? Are humans tripartite, bipartite, or unitary creatures? Do we have souls, spirits, both, or none? These questions are ancient and understanding Scripture's answers to them helps us more deeply appreciate the finished work of Christ and how he has empowered us to follow him. In Part 1, we take an extensive theological look at the Bible's use and view of the body and the flesh.

Faust has mastered all conventional knowledge and finds it worthless, so he turns to “forbidden knowledge,” a book of magic. He sees a vision of celestial harmony, the Macrocosm, but it is transcendent and beyond him. So he conjures the Earth Spirit, but is terrified. The Earth Spirit dismisses him with contempt. Faust is about to drink poison in despair, but is distracted by Easter celebrations outside his study. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

Sermon by Dr. Jay Cooper ft. Amber Andrews on The Third Sunday of Advent December 17, 2023Support the show

First, Celestia goes over her high points and low points of CSI Con 2023, then we move on to a few tidbits Ben came across. Sharon Hill joins us again, this time for a main segment on Gef the talking mongoose, a celebrity on the Isle of Man back in the 1930s. A new movie delves into (and somewhat mangles) the mystery, featuring Simon Pegg as Nandor Fodor and Christopher Lloyd as Harry Price. The "mystery" of Gef tapdances around so many facets of Forteana... a talking animal, "earth spirit," clairvoyance, poltergeists, psychic manifestations, and a clever young girl with time on her hands. With Sharon's help, we go over what the records say, what British libel law curtailed the records from saying, and what the movie tries to say today.

Mars: Superbug ravages the population. People goin nuts out there. Venus: One crew flies into it and explodes. Other lands on and proceeds to self-immolate. People goin nuts out there. Meanwhile, on Earth: Spirit of fossil fuel enacts revenge on the world via super storm that turns into super MEGA storm. People goin nuts out there, witchcraft. Spirit of fossil fuel becomes literal dragon, proceeds to immolate the whole planet. Featuring Leah Senior. Today we have on one of my favorite creator's of quality music memes, Johnny from @NicheMusicMemes!!! It's his first podcast interview and I'm really happy to have had it with him! Enjoy! Links: Niche Music Memes Insta : https://www.instagram.com/nichemusicmemes/ The "Gizzverse" Explained playlist: https://youtube.com/playlist?list=PLluo87o05TIGLPcsQ6ZZj-AZtSqEeHY0n&si=oeWOiqSoeiYlOyuk Elmo on Rove 2008: https://youtu.be/_A_9UWK9Duc?si=i6J5m_b4Cy0VZXEC OUR DISCORD: https://discord.gg/2stA2P7pTC Flyover State Hotline - 1 608 HIT-NERD (608-448-6373) https://www.youtube.com/flyoverstatepark EVERYTHING ELSE: https://linktr.ee/FlyoverStatePark --- Support this podcast: https://podcasters.spotify.com/pod/show/albumconcepthour/support

On this week's podcast Zac, Proud, and Ursi get analytical. Topics include: Natures Prophet, Warlock, Void Spirit, Orb of Corrosion, Pangolier, attack speed acquisition & math, class identity, role capability, the 10th Anniversary event, Naga Siren, Lion, Spectre, Armored Core 6, Earth Spirit, and much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much much!

Morning Mantra: “Air moves us. Fire transforms us. Water shapes us. Earth heals us. Spirit connects us."Remember that you are Air- Observe. Breathe. Focus. Decide.Remember that you are Fire- Burn. Tame. Adapt. Ignite.Remember that you are Water- Cry. Cleanse. Flow. Let go.Remember that you are Earth- Ground. Give. Build. Heal.Remember that you are Spirit- Connect. Listen. Know. Be still.#BeAwareOfTheElements #BeHappy #BeHorsey #BeHippie #HorseHippie #MorningMantra #inspirationalQuotes #MorningMotivation #Equestrian #HorseLover #QuotesToInspire #HorseHippieBrand #HorseHippieBoutique

What opens up for us in our midlife when we tune into our creativity, and connect in with earth and spirit? In this episode with Peneleapaí, a long established artist, singer-songwriter, teacher, and holistic therapist with a focus on sacred sexuality and tantra, we explore turn on, nude gardening, connecting with childlike innocence and the power of creative expression. Peneleapaí draws on her experience as teacher of sound, movement, stagecraft and the logos (scribing the word) to encourage us to consider: Our relationship with our bodies as we age The legacy of our sexuality Our ability to reinvent ourselves Being curious and questioning what is living The choices we make and getting out of the box Pleasure as a source of wisdom Our most precious currency The lessons in loss and suffering Sitting with fear and the parts of inner landscape that feel uncomfortable. Our focus on doing rather than being. The power of curiosity, intention and excitement. Investing in yourself. You can connect with Peneleapaí via her website: https://www.peneleapai.com/ Or via instagram at: instagram.com/being_she

How do we draw on sacred traditions and cultures to create a movement that builds our future? In this episode Amisha speaks with SleepyEye an indigenous wisdom keeper. He shares healings and teachings of the Americas and of the yogic tradition in ceremonies, ancient songs and ways to connect to the elements. He has dedicated his life to the pursuit of finding healing ways of being within all Nations of the Americas; ways of life that would not only benefit his Sisseton-Wapheton Dakota and Tonawanda Seneca people, but ways that can benefit all of life. Learning to live with sacred ancient teachings that were passed down since the beginning of time in a modern day world has been very challenging, but SleepyEye has been able to merge teachings of his elders with world wide teachings as well. SleepyEye shines a light on the earth spirit movement that is awakening consciousness in all human beings. He believes that by sharing the sacred teachings of native traditions and cultures we bring alive healing, reconnecting us with the spiritual essence of Mother nature and the divine feminine. He talks about the power of prayer, ceremony and the four elements; resourceful foundations that bring us into natural alignment and practice.  They speak about colonial legacies and the destruction of the teachings, traditions, ceremony and prayer of the Dakota people and beyond. They share their encounters with racism and white privilege, and how they have honed their gifts despite these challenges.  We learn that we must look towards the native people, indigenous wisdom keepers, the carriers of ancient ways that have survived evil and trauma and nonetheless are the living extensions of ancient sacred teachings. We must follow the smoke signals of change by teaming up to heal ourselves and our communities to make way for the ones coming behind us. Links from this episode and more at allthatweare.org

Untitled Queen is a queer Filipinx / Boricua artist based on the stolen land of LenapeHoking otherwise known as Brooklyn. She is a storyteller creating deeply emotional and visceral performances while exploring what it means to be a queer millennial working artist in New York. Through an interplay of drag, installation, and drawing her work explores the growing pains and joys of queer adolescence into adulthood, while challenging and dissolving colonial notions of culture and belonging.Untitled Queen is the recipient of the Brooklyn Nightlife Award for Drag Queen of the Year 2015. She is a resident performer for RuPaul's Drag Race Season 9 Winner Sasha Velour's NightGowns show. She has exhibited her artwork at such spaces as Kishka Gallery, The Elizabeth Foundation for the Arts, The University of Connecticut, The Kitchen, Boston Center for the Arts, and the Bureau of General Services-Queer Division.She is also the creator and editor of the Queer Creatives Community Directory: a free, open resource google sheet that features over 1400 Queer artists and freelancers from across the world. In 2020, she created and produced Untitled (America), the first digital drag show to feature 51 drag artists of color, each representing one state in the United States, as well as Untitled (World), the first global digital drag show featuring 47 drag artists each representing one country. Her monthly Untitled (Show) drag series can be seen at Brooklyn's queer bar and venue C'Mon Everybody, and her recently announced drag competition called Untitled (Art Star) will be happening there from June through October.On this episode, Untitled Queen discusses the power of embodying witch and shaman archetypes through her drag, art as a practice of decolonization, and the liberating magic of queer spaces. Pam also talks about magical beings with Asian roots, and answers a listener question about shifting into a new physical realm. Our sponsors for this episode are The Spacious Tarot, Midge Blitz, Earth Spirit, Theyfriend Candles, BetterHelp, and Black Phoenix Alchemy Lab We also have brand new print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here.And if you want more Witch Wave, please consider supporting us on Patreon to get access to bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Lewis Howes is a New York Times best-selling author, keynote speaker, and industry-leading show host. Howes is a two-sport All-American athlete, former professional football player, and member of the U.S.A. Men's National Handball Team. His show The School of Greatness is one of the top podcasts in the world with over 500 million downloads. He was recognized by President Obama as one of the top 100 entrepreneurs in the country under 30. On this Episode: Lewis Howes | @lewishowes Adam Jackson | @adam___jackson  SACRED SONS TRAININGS & EVENTS: THE 33 MASTER-HEART| 12-Months of Collaboration, Council, Community and Contribution  MAUI MANA | A return to the place of origin, the home within, born of the land MAUI (HAWAI'I) : MARCH 29 - APRIL 2, 2023 SACRED SONS EMX | 4-Day Embodied Masculine Experience SAN DIEGO (CA) : MARCH 16 - 19  COCHISE (AZ) : MARCH 23 - 26  TEPOZTLAN (MEX) : MARCH 30 - APRIL 2 SACRED SONS IMMERSION | 2-Day Community Event ROTTERDAM (NETHERLANDS) : MARCH 11 - 12 BOULDER (COLORADO) : MARCH 11 - 12 SAN DIEGO (CALIFORNIA) : APRIL 1 - 2  DUBLIN (IRELAND) : APRIL 29 - 30  CHICAGO (ILLINOIS) | APRIL 29 - 30 BRISTOL (ENGLAND) | MAY 20 - 2 HANOVER (GERMANY) | MAY 27 - 28   CONNECT: Shop | Sacred Sons Apparel & Cacao Website | sacredsons.com   YouTube | Sacred Sons   Instagram | @sacredsons   Events Calendar | All upcoming Sacred Sons Trainings and Experiences!  Music | Ancient Future Sponsor | Four Visions Market is a beyond-fair-trade initiative that offers a wide range of spiritual tools and plant medicines to support you on your path . They bridge ancestral wisdom with the modern world. Their apothecary of botanical remedies and plant medicines contain powerful ancient recipes safeguarded by ancestral traditions for thousands of years. This is ancient technology, and there is no better source than Four Visions Market. Every product on their site is 100% made in prayer sourced with the highest ethics and sustainability practices, always in right relationship with Earth & Spirit. Get 15% off your first order today using discount code SACREDSONS at checkout!

Diana Rose is a relational astrologer, tarot reader, writer, and facilitator currently living near the Angeles National Forest in southern California. Her practice aims to bring fellow humans into a more ferociously loving and compassionately honest relationship with themselves, the Earth, and the heavens. She has been a three-time invited speaker at the Northwest Astrology Conference, is a repeat guest on The Astrology Podcast, and has been a guest on many, many other podcasts including Jonathan Van Ness's Getting Curious. Diana also wrote a piece on responsible astrology for WIRED; created the guidebook for The Rosebud Tarot; and is the editor of Revelore Press's forthcoming Kalliope series. On this episode, Diana discusses her decolonized approach to the cosmos, the significance of knowing one's rising sign, and how astrology can help us live with more meaning and magic here on Earth.Pam also talks about how the media can do better when covering occult topics, and answers a listener question about witchcraft and academia.Our sponsors for this episode are VVITCH DIGITAL, Earth Spirit, BetterHelp, Black Phoenix Alchemy Lab, Bloom, and Mithras CandleWe also have brand new print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here.And if you want more Witch Wave, please consider supporting us on Patreon to get access to bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Grammy winning new age pianist Peter Kater and Paul Cardall, also an award winning pianist, discuss Peter's career and the history new age music. They talk about building successful and prosperous independent music careers in a genre often misunderstood and overlooked by the commercial market. ABOUT PETER KATERWebsite: http://www.peterkater.comFacebookTwitterYoutubeInstagram Listen to Peter KaterSpotifyApple MusicAmazon Music Peter Kater was born of German parents in the Bavarian City of Munich. At the age of seven, not long after moving to New Jersey, his mother insisted that he take classical piano lessons. At the age of 18 Peter left New Jersey with his backpack and his music books and hitch-hiked all around the continental US for over a year. He slept in parks and on beaches and roadsides across the country while stopping to play piano at restaurants and lounges for tips and meals. After logging in over 30,000 miles on the road Peter landed in Boulder, Colorado, finding comfort and inspiration in the Rocky Mountains which reminded him of his childhood upbringing in the Bavarian Alps. Shortly thereafter he started listening to the music of pianist Keith Jarrett; the avant jazz group, Oregon; and the Paul Winter Consort. This opened a whole new musical world and he began improvising 3-4 hours a night at clubs and lounges throughout the Boulder/Denver area sometimes 5 to 6 nights a week. After several years he tired of playing clubs and lounges and quit all his engagements and began renting out small churches and self-promoting small concerts through out Colorado. In 1983 Peter released his first album of solo piano compositions and improvisations entitled SPIRIT. His music was very well received and started charting in the Top 10 of National Contemporary Jazz Airplay charts and within a short couple of years Peter went from playing small churches to performing at 3,000 seat concert halls and at national jazz festivals at the age of 27. In 1985, Actor ROBERT REDFORD asked Peter to play at the then brand new Sundance Institute & Film Festival in Utah. Peter became the featured performer at many of Redford's “green” political fundraisers and events attended by many Hollywood A-list actors, directors and celebrities such as Alan Alda, Sidney Pollock, James Brooks, Dave Grusin, Laura Dern, Mathew Broderick and Ted Turner to name just a very few. In his concerts around Colorado, Peter started to share the stage with some of his favorite artists from his teen years such as DAN FOGELBERG and JOHN DENVER. John Denver asked Peter to coordinate the music for his ground breaking Choices for the Future Symposiums every summer in Aspen, Colorado and also invited him to perform at concerts in Japan and at World Forum events performing for dignitaries and celebrities such as Mikael Gorbachov and Shirley McLain. These collaborations with John Denver went on for almost 10 years until John's untimely death in 1997. Peter's music also caught the attention of New York City's legendary director and Circle Rep Theater co-founder, Marshall Mason and Pulitzer Prize winning playwright, Lanford Wilson. Peter's music became the score to their Tony-Award winning Broadway production of Burn This starring John Malkovich and Joan Allen which ran for over one year. As the newest member of their “A-team” in the following years Peter scored the music for 11 On- & Off-Broadway dramatic plays receiving widespread critical acclaim. As Peter's music spread across the world he scored more music for television and films and worked closely with his favorite environmental and humanitarian organizations such as Greenpeace, the National Wildlife Federation, the Nature Conservancy and ChildReach. In 1989 a close friend gave Peter a cassette called Earth Spirit by Native American flutist, R. CARLOS NAKAI. Peter was completely taken by the beauty and earthiness of the Native flute. Peter tracked down Nakai and asked him to collaborate with him on a recording. In the studio they felt as if they'd been playing together forever and their first album, Natives, was completed effortlessly in just a few hours. When recording with Nakai, Peter felt he was embarking on a little “personal” indulgence, temporarily diverging from his thriving mainstream contemporary jazz career. But to his surprise, while his recordings like Coming Home, Two Hearts, Gateway and Rooftops were charting in the Top 10 of National Jazz charts; the new recordings with R. Carlos Nakai quickly became immensely popular in the alternative market selling 100's of thousands of units each and generated a solid and much more personal fan base. Because of the deep satisfaction Peter felt in co-creating this beautiful music with Nakai, he quickly lost interest in the “jazz” genres and shifted his focus to music of a more intimate “healing” nature. Peter then recognized a need for music in support of the healing arts that could actually aid in deep personal healing and transformation. He recorded albums like Compassion and Essence that provided not only a loving supportive musical landscape but also an invitation to dive deeply and safely into one's essential emotional and spiritual nature. Many more CD's in support of the Healing Arts followed as did more recordings with R. Carlos Nakai, seven of which charted in the Top 20 of Billboard's New Age chart. Peter's love and appreciation for the earth and indigenous cultures inspired him to invite more indigenous musicians to record on various projects with him including Native American vocalists Joanne Shenandoah, Bill Miller and Rita Coolidge; Native American flutists Robert Mirabal, Joseph Firecrow, Mary Youngblood, Douglas Blue Feather, Kevin Locke; and South American flutists Jorge Alfano and Ara Tokatlian. Peter also composed two songs for the immensely popular Sacred Spirit recording which sold over 5 millions copies in Europe alone. Peter's music continued to grow and evolve and found it's way into the 2000 and 2004 World Olympics, the Kentucky Derby, the Wild World of Sports and countless television shows like Good Morning America, Entertainment Tonight, LifeStyles of the Rich & Famous and Bay Watch to name just few. He's scored the music for acclaimed television series like How The West Was Lost; Wild America; Civil War: The Untold Story; Eco-Challenge and Joseph Campbell's Mythos series and films like Sirius, The Legend of Secret Pass and 10 QUESTIONS FOR THE DALAI LAMA. He's given concerts throughout the USA, Europe, Japan and South Korea including performances at the Kennedy Center, Carnegie Hall, JFK Stadium in Washington DC, Red Rocks Amphitheater in Denver and the United Nations in NYC where he received the prestigious United Nations Environment Leadership Award. Possibly one of Peter's strongest attributes is his love for collaboration with other artists such as Singer/songwriter Kenny Loggins; Tibetan flutist, Nawang Khechog; Sting guitarist Dominic Miller; Sacred Chantress Snatam Kaur and of course his legendary collaboration with Native American flutist, R. Carlos Nakai. He's also enjoyed performing and recording with many other talented musicians such as virtuoso reedman Paul McCandless; Maverick Cellist David Darling; Peter Gabriel's legendary Bassist, Tony Levin; and renowned Brazilian cellist Jaques Morelenbaum. Peter has often been called prolific and is said to have the “gift of melody”. His love and enthusiasm for the creative process, self-exploration, the healing arts and the natural world continues to inspire a well-spring of composing and recording. In a thriving career spanning over 3 decades and going strong, Peter Kater has recorded over 60 albums resulting in the sales of millions of units; has scored the music for well over 100 television and film productions including 11 On- and Off-Broadway dramatic plays; ands the recipient of dozens of awards and honors including 14 Grammy® nominations and a Grammy Award win for his 2017 Dancing On Water recording and his 2019 Wings recording. But most importantly his music has uplifted, soothed, healed and inspired the lives of millions of people all around the world.  ABOUT THE HOST PAUL CARDALLhttp://www.paulcardall.comhttp://www.facebook.com/paulcardallmusichttp://www.youtube.com/cardallhttp://www.instagram.com/paulcardall LISTEN TO HIS MUSICAPPLE MUSIC - https://music.apple.com/us/artist/paul-cardall/4312819SPOTIFY - https://open.spotify.com/artist/7FQRbf8gbKw8KZQZAJWxH2AMAZON - Ask Alexa to play Peaceful Piano by Paul Cardall Paul Cardall is an artist who has given a new meaning to the phrase, a change of heart and how he used this radical change to take his music to an unexpected place.  Despite being born with a potentially life-threatening heart defect Paul Cardall has become a world recognized pianist. He is even endorsed by Steinway & Sons as one of the finest pianist of our time. A Dove award winner for his Christmas album, Paul's recordings have debuted on 11 No. 1 Billboard charts along with 46 other chart debuts. His music has 25 million monthly listeners with more than 3 billion lifetime streams and is often categorized as Classical, Christian, and Holiday. Although most of albums are instrumental, Paul has songs that feature Grammy winning gospel legend CeCe Winans, Matt Hammitt (Sanctus Real), Kristin Chenoweth, Country duo Thompson Square, David Archuleta, Tyler Glenn (Neon Trees), Audrey Assad, Steven Sharp Nelson (The Piano Guys), and more.    Paul has performed for audiences worldwide including the White House. Forbes, American Songwriter, Jesus Calling, Lifestyles Television, Mix Magazine, and countless other media outlets have share his remarkable journey of receiving a life changing heart transplant and using music as a tool to help God heal spiritual, mental, and emotional hearts.

What does it mean to be Two-Spirit? The film The Miseducation of Cameron Post likens it to being a "Native American David Bowie," but that's a far cry. What does it really mean? And what is the Two-Spirit tradition of the Lakota, the winkte? Episode theme music courtesy of the The Eagle and the Raven Band, featuring Ki' Earth Spirit. Don't forget to subscribe, rate, and review. Support the show on Patreon at www.patreon.com/btnewberg. Research, writing, editing, and production by B. T. Newberg. Logo Design by Rachel Westhoff. Additional credits, references, and more at www.historyofsexpod.com.

Banyen Books & Sound converses with Robert Yelton of the Squamish Nation and Yogacharini Maitreyi who comes from the tantric-yoga culture of South India on Art, Earth, Spirit: Nature & Spirituality in Indigenous & Yogic Culture. Yogacharini Maitreyi is an international master teacher, practical mystic and founder of Arkaya Awareness Centre and Arkaya Foundation. For the last 25 years she has been dedicated to sharing and teaching expansive life principles. She was born and raised in India where she was immersed in the yogic life for over four decades, through her grandfather and gurus. She studied in the Shivananda and then the Ananda ashram for many years. Through her guidance, you will experience lightness, restfulness and a deeper connection to self. She shares from her life experience and asks people to do the same - to start where they are. Since 1997 in India, Maitreyi has been given titles: Yoga Chemmal (expert), Yoga Shiromani (gem), and Yoga Acharini (guide). In 2007 she was one of the youngest to be invited to the Advisory Board of the World Yoga Council, in Europe. She has shared the deeper dimensions of yoga, self management and sattvic tantra worldwide. This includes seeing and shifting within ourselves, deep rooted conditioning that is divisive, exploitative, colonial or disrespectful. A compassionate holistic coach, her sessions include online energy assessments to guide one into one's own innate balance. Arkaya Coaching & Healing: https://www.arkaya.net/coaching-healingMaitreyi trains teachers in a two-year 500-hour online self-awareness program, mentoring them in the Culture of Yoga: https://www.arkaya.net/teacher-training Robert Yelton is a Squamish Nation carver and elder statesman. He carved the first and only Squamish Nation totem in Stanley Park which is on the traditional Squamish territory. He learned to mix paints for his grandmother when he was eight years old and carve when he was eleven years old. Through the many years of trials and tribulations and feeling like an outsider in his own land, it was his carving that became a tool for his spiritual awakening and ongoing connection. He is also a retired drug and alcohol counsellor and one of the founding members of NNADAP. He has supported many youth in moving through their trauma by showing them the way of integrity, kindness, and love. He has also given them a reality check by taking them to prisons to see where they could end up if they don't course correct at an early age. He is regularly called in as a guest speaker at various organizations, like UBC, to give talks on Indigenous culture, carving, and spirituality. He also speaks about the commonalities and the differences in culture and tradition between the variety of Indigenous nations throughout Turtle Island (North America). On Robert's totem in Stanley Park, his mother is represented at the base of the totem. The most important person is usually represented at the base of the totem.

Notes: Abigail Spinner McBride has one of those stories -- a choir director told her, "Don't sing, honey, because no one wants to hear your voice." This year she was chosen as Best Female Vocalist of the Year 2022 at the International Pagan Music Awards. I love me a story that says though we may have had voices like that in the past -- voices that shut us down either with dismissal or by sky-high expectations -- those voices have no way of knowing us or our potential. Our excitement can be to wake to our own voices, come out of a dream state and notice what is actually real, around us, right now. I love this song for its high energy of opening and possibility. Songwriter Info: Abigail Spinner McBride has been creating pagan chants in the Earth-Spirit community since the late 1980s and is deeply involved in transformation and transmutation work through drumming, chanting, fire circles, and magic. She is a High Priestess of the Family of Fire, a musician, dancer, and massage therapist, based in Las Vegas, Nevada. Links:  Fire of Creation album (with Awaken Me) on Apple Music (2007) ​Abigail's facebook page (you don't have to be a Facebook member to look at this) The Vegas Vortex: a website of the transformational fire work that Abigail offers Nuts & Bolts: 4:4; Mixolydian, 2 layer song with harmonies Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

19th-century writers called Lakota women virtually enslaved to their husbands, but were they? Or were they skilled artisans, valued by the community, and empowered within their marriages? It turns out the working woman of the modern West owes much to the skilled craftswoman of the Great Plains. Special thanks to Dr. Jon Cleland Host for help in the preparation of this episode. Episode theme music courtesy of the The Eagle and the Raven Band, featuring Ki' Earth Spirit. Don't forget to subscribe, rate, and review. Support the show on Patreon at www.patreon.com/btnewberg. Research, writing, editing, and production by B. T. Newberg. Logo Design by Rachel Westhoff. Additional credits, references, and more at www.historyofsexpod.com.

Pandora's Box by Frank Wedekind audiobook. Pandora's Box (1904) (Die Büchse der Pandora) is a play by the German dramatist Frank Wedekind. It forms the second part of his pairing of 'Lulu' plays (the first is Earth Spirit [1895]), both of which depict a society "riven by the demands of lust and greed". G. W. Pabst directed a silent film version (Pandora's Box), which was loosely based on the play, in 1929. Both plays together also formed the basis for the opera Lulu by Alban Berg in 1935 (premiered posthumously in 1937). In the original manuscript, dating from 1894, the 'Lulu' drama was in five acts and subtitled 'A Monster Tragedy'. Wedekind subsequently divided the work into two plays: Earth Spirit (German: Erdgeist, first printed in 1895) and Pandora's Box (German: Die Büchse der Pandora). It is now customary in theatre performances to run the two plays together, in abridged form, under the title Lulu. Wedekind is known to have taken his inspiration from at least two sources: the pantomime Lulu by Félicien Champsaur, which he saw in Paris in the early 1890s, and the sex murders of Jack the Ripper in London in 1888. The premiere of Pandora's Box, a restricted performance due to difficulties with the censor, took place in Nuremberg on 1 February 1904. The 1905 Viennese premiere, again restricted, was instigated by the satirist Karl Kraus. In Vienna Lulu was played by Tilly Newes, later to become Wedekind's wife, with the part of Jack the Ripper played by Wedekind himself.

Season 2 is upon us! Come and join us for a fun thought exercise as we ease into season 2 with which Jagged Earth characters we think are the best for beginners! Jagged Earth has certainly raised the stakes for this game and unlike the base game, there are no low complexity spirits! So who should you play as? Who should your friends play as for their first game? We talk about precisely just that in our Season 2 opener! Links for the Blitz Surveys! boardgamegeek.com/thread/2813587/a…9468178#39468178 KSP Season 2 Premiere : spiritisland (reddit.com) Visit our Patreon here! www.patreon.com/kindredspiritpodcast Get in touch with us down below in the comments section! Or check out our Facebook page here at www.facebook.com/The-Kindred-Spir…-102981524884534 Or visit us on our Instagram at www.instagram.com/theksp123/?fbcli…qjutWNLDBb24iWC4

Season 2 is upon us! Come and join us for a fun thought exercise as we ease into season 2 with which Jagged Earth characters we think are the best for beginners! Jagged Earth has certainly raised the stakes for this game and unlike the base game, there are no low complexity spirits! So who should you play as? Who should your friends play as for their first game? We talk about precisely just that in our Season 2 opener! Links for the Blitz Surveys! https://boardgamegeek.com/thread/2813587/article/39468178#39468178 https://www.reddit.com/r/spiritisland/comments/sqvzvi/ksp_season_2_premiere/?utm_source=share&utm_medium=ios_app&utm_name=iossmf Visit our Patreon here! www.patreon.com/kindredspiritpodcast Get in touch with us down below in the comments section! Or check out our Facebook page here at www.facebook.com/The-Kindred-Spir…-102981524884534 Or visit us on our Instagram at www.instagram.com/theksp123/?fbcli…qjutWNLDBb24iWC4

Wayapa Wuurrk aims to help people reconnect to Earth Spirit, and their true self. Jamie will guide you through a special meditation, taking you back into the ancient times on this land, as well as his own places of significance on country. You can listen to this meditation wherever you are.

Dharma Talk by Doshin Andrew Chaney. Andrew's dharma name is Doshin, Earth Spirit. He serves on the Board of Directors of HZC, and assists the head sewing teacher in the instruction of those who are preparing to receive the Bodhisattva Precepts.

STEVE ANDREWS – EARTH SPIRIT... with TRE´s Giles Brown

Yanbar Podcast interview/talk with Steve Andrews aka the Bard of Ely.Steve Andrews is a singer-songwriter and author from Cardiff, now based in Portugal. He's also known as the Bard of Ely. He's performed at the Green Man and Glastonbury Festivals and was an MC at both events. In 2017, he was a finalist in the Best Solo Act category of the Cardiff Music Awards, and was featured on the Britain's Got Talent TV show.Steve's book, "Saving Mother Ocean" part of the Earth Spirit series of books dedicated to eco-spirituality, called Saving Mother Earth, lays out in an easy to understand way, not just the plastic pollution problems, but all the other dangers facing our deep blue planet, including overfishing, acidification, coral bleaching, nuclear waste and climate change.“It's a big dream. However, saving the oceans is a very big task, one of the biggest I can think of! And it has to be done.”Steve will be on to talk about his book, song "Where Does All the Plastic Go" and his Ocean Aid idea.Until then... be sure to check out Steve's links and our previous Yanbar Podcast guests.Steve's websitehttps://steveandrews.info/Earth Spirit: Saving Mother Oceanhttps://www.johnhuntpublishing.com/moon-books/our-books/earth-spirit-saving-mother-oceanReverbnationhttps://www.reverbnation.com/bardofelyThe Portugal Newshttps://www.theportugalnews.com/.../poseidon.../62095...THE JARAWA MOVIEhttps://wearehumanity.uscreen.io/?fbclid=IwAR1gjjucZdmkzyKteZtZyJc7Y8KYRqatwNciiWaJT7NFEq73cHZPGtF-0XEDavid de Rothschild and The Plastikihttps://www.youtube.com/watch?v=9FB5qIWFboAFrom the Heart of the World The Elder Brothers' Warninghttps://www.sustainable.soltechdesigns.com/elder-brothers-warning.html

Yanbar Podcast interview/talk with Steve Andrews aka the Bard of Ely.Steve Andrews is a singer-songwriter and author from Cardiff, now based in Portugal. He's also known as the Bard of Ely. He's performed at the Green Man and Glastonbury Festivals and was an MC at both events. In 2017, he was a finalist in the Best Solo Act category of the Cardiff Music Awards, and was featured on the Britain's Got Talent TV show.Steve's book, "Saving Mother Ocean" part of the Earth Spirit series of books dedicated to eco-spirituality, called Saving Mother Earth, lays out in an easy to understand way, not just the plastic pollution problems, but all the other dangers facing our deep blue planet, including overfishing, acidification, coral bleaching, nuclear waste and climate change.“It's a big dream. However, saving the oceans is a very big task, one of the biggest I can think of! And it has to be done.”Steve will be on to talk about his book, song "Where Does All the Plastic Go" and his Ocean Aid idea.Until then... be sure to check out Steve's links and our previous Yanbar Podcast guests.Steve's websitehttps://steveandrews.info/Earth Spirit: Saving Mother Oceanhttps://www.johnhuntpublishing.com/moon-books/our-books/earth-spirit-saving-mother-oceanReverbnationhttps://www.reverbnation.com/bardofelyThe Portugal Newshttps://www.theportugalnews.com/.../poseidon.../62095...THE JARAWA MOVIEhttps://wearehumanity.uscreen.io/?fbclid=IwAR1gjjucZdmkzyKteZtZyJc7Y8KYRqatwNciiWaJT7NFEq73cHZPGtF-0XEDavid de Rothschild and The Plastikihttps://www.youtube.com/watch?v=9FB5qIWFboAFrom the Heart of the World The Elder Brothers' Warninghttps://www.sustainable.soltechdesigns.com/elder-brothers-warning.html

Ever see people dance around a pole with ribbons in the spring? The May Pole dance - A marker of the high holiday Beltane! Rainbow Soul celebrates and brings forth the wisdom of Beltane aka May Day - the celebration of Spring with a very LGBTQIA+ communities from Massachusetts. Even if you have to drive the Rites of Spring Celebration is worth every mile, especially if your looking for LGBTQIA+ community integrated into the entire diverse, supportive and long lived community. LGBTQIA+ people are celebrated and even have queer focused playshops, socials, and other fun festival playfulness. A community that integrates, celebrates and features LGBTQIA+ people, communities, and connections. Now this community is staying connected online with online events. Come and connect online with a community that celebrates you! https://earthspirit.rowantree.org/regular.php You can listen to Earth Spirit's Podcast: https://earthspiritvoices.wordpress.com/earthspirit-voices-podcast/ Earth Spirit has been holding a very large Spring Event for the past 43 years! That event is called 'Rites of Spring' -This year is their 43rd year and their 2nd year online! Join the community in heart, ritual, and diversity for a truly heart lifting experience this Beltane! Here's some information from their website. "EarthSpirit is a 501(c)3 non-profit organization founded in 1977, dedicated to the preservation and development of Earth-centered spirituality, culture and community; we particularly focus on the indigenous traditions of pre-Christian Europe, known collectively as paganism, which have survived in varying degrees to the present day. At the core of the pagan traditions is a sense that the Great Mystery (or the Sacred, as some would call it) manifests throughout the natural world; that we can experience it directly through communion with Nature; and that the Spirit of the Earth unites all beings in a vast and varied web of interdependent connections. The EarthSpirit Community provides services to a nationwide network of pagans and others following an Earth-centered spiritual path. Based in the Massachusetts area, our membership extends across the United States, and also to several other countries. EarthSpirit was founded with the goal of helping to create an active pagan community in New England. Once that was accomplished, EarthSpirit turned the primary focus of its work toward helping develop pagan concepts and attitudes for living in the present age, to encourage communication and understanding among people of different traditions and ideologies, to provide opportunities for shared spiritual experience, and to help educate the general public concerning Earth-centered spirituality. --- 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/rainbowsoul/message Support this podcast: https://anchor.fm/rainbowsoul/support

https://steveandrews.info/

In this episode, I speak with Dr. Elizabeth Meacham, author of "Earth Spirit Dreaming: Shamanic Ecotherapy Practices." Elizabeth discusses her practice of shamanic ecotherapy, the value of doing nothing in nature, the creation of thought-forms or what Jung called the spirit of our times, developing a relationship with nature beings, and the importance of relating to the earth through ritual and ceremony. We also discuss the struggle and frustration with language in identifying and describing a spiritual relationship with the earth. Elizabeth's Webpage https://shamanicecotherapy.com/ Earth Spirit Dreaming Inner Traditions https://www.innertraditions.com/books/earth-spirit-dreaming Bookshop.org https://bookshop.org/books/earth-spirit-dreaming-shamanic-ecotherapy-practices/9781620559871 Support Rebel Spirit Radio https://paypal.me/rebelspiritradio Connect with Rebel Spirit on Social Media Facebook: https://www.facebook.com/rebelspiritradio Twitter: @RebelSpiritRad Instagram: https://www.instagram.com/rebelspiritradio/ https://www.rebelspiritradio.com

If you've ever found yourself wondering how in the world the 2011 Lou Reed/Metallica album Lulu came into existence, here's your answer, fish-bulb! This isn't quite a full episode, so we'll call it a mini-sode and it's all about the roots of the aforementioned collaborative endeavor. Included in this discussion (or maybe it's more along the lines of a monologue) is information about the original author of the Lulu plays, Frank Wedekind, as well as Alban Berg, the composer of the operatic adaptation of the Lulu stories. Interspersed within the narrative are excerpts of ensemble readings from Wedekind's “Earth Spirit” and a sample of Berg's Lulu opera, featuring Evelyn Berg. For those who stick it through to the end of the episode, there's a special, once-in-a-lifetime contest featuring a prize for one lucky listener. All this is prologue for our next full-length episode in which we will be joined by the illustrious and insightful Arianne for a thorough discussion of the Lulu album itself! Watch for it! Related, recommended, and required resources for this episode: The works of Frank Wedekind at Librivox Lulu by Alban Berg at Internet Archive Alban Berg's Lulu and Adorno's commentary - RUINS

ashley river brant is a “multi-dimensional artist, writer, teacher and bridge between worlds.” she is a “spiritual alchemist with a vision of bringing more beauty to this planet […] a mystic sharing the teachings of the otherworlds, a channel for Mother Earth.”  her work is “about reconnecting you to your creative genius–the whole ecosystem of life swirling within you. guiding you home to your […] heart's longings, burning desires, powerful intuition, and truth.” she is the author of tending to the sacred: rituals to connect with earth, spirit and self. in this conversation we talk about the four pillars of ritual and how we use them to create our own lifebuilding courage to follow the inklings buried withinleaving what you know for what you most long to explorethe power of pleasure and the consequences of not prioritizing ithow to create your intention and get back into (or stay) living a creative lifeconnect with ashley river brant:ashleyriverbrant.com@ashleyriverbrant on instagramconnect with daphne cohn:{within} community for artists, makers & writersjoin my email list to know about upcoming events, workshops and podcast episodesread my writing tuesdays and fridays herefollow all things daphne and {within} on instagram: @within.community

"We are all artists. We are the artist of our life. Each life is a masterpiece." - Ashley River Brant In this episode of Moonwise, we speak with multidimensional artist, author and feminine wisdom teacher Ashley River Brant about bringing creative dreams to life. We talk about trust, creative courage and weaving ritual into daily routine. Ashley shares her practices and experience of creating structure for wild creativity to flourish. We also talk about: The process of birthing a book Shadow work as fuel for creation Overcoming the fear of being seen Balancing ease and effort, action and receptivity Rest and sacred timing Ashley River Brant is a multidimensional artist, author, Earth-Spirit medium, and teacher of feminine wisdom. Her creative work is a visual dedication to a path of liberation, pleasure, nurturance, and beauty. Through her art and teachings, her intention is to pave a path home to the sacred, assisting us all in returning to our creative nature, and remembering the innate wisdom, magic, and love that lives within ourselves, each other, and all around. Her first book, “Tending to the Sacred: Rituals to Connect with Earth, Spirit, and Self” (Sounds True) releases on June 8th, 2021. Links: AshleyRiverBrant.love Tending to the Sacred —> Leave us a written review on Apple Podcasts, and get a shout out on the show! --- Send in a voice message: https://anchor.fm/moonwise/message

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Pietre Roventi by Populous on Pietre Roventi - Single (La Tempesta Dischi) 5′12″ Schicht um Schicht by Cass. & Niklas Wandt on Esculturas Rupestres (candomblé) 12′20″ Mor Nritya by Aroma on Animals of the Earth Vol1 (Cosmovision Records) 16′55″ Mi Cuerpo (DJ Python Remix) by Pearson Sound & Clara! on Mi Cuerpo (Remixes) - Single (Pearson Sound) 20′14″ Adiós pueblito de Iruya (Klik & Frik Remix) by Barbara Silva & El Remolón on Adiós pueblito de Iruya (Klik & Frik Remix) - Single (Folcore Records) 25′06″ Zombis en la Lacandonia by Amantes Del Futuro on Fantasía Olmeca - Single (Hawaii Bonsaï) 30′10″ Te Quería (Chancha Vía Circuito Remix) by Lido Pimienta on Te Quería (Chancha Vía Circuito Remix) - Single (Anti) 34′08″ Mind Is Confused (feat. Shanti D) by Midnight Ravers on Le triomphe du chaos (Blanc Manioc) 38′45″ Sideral Cumbia by Lagartijeando on Sideral Cumbia - Single (Wonderwheel Recordings) 42′45″ Deelahli by Yeahman & Mina Shankha on Ostriconi (Wonderwheel Recordings) 47′10″ Yo También Quiero, Como Vos, Canchas de Fútbol Abandonadas en Donde Paste el Ganado, y Patrulleros Abandonados en la Playa, a Punto de Ser Integrados por la Arena y el Sol (Tribilin Sound Rem by San Ignacio & El Remolón on La Identidad Es una Trampa (Remixes) (Fértil Discos) 52′00″ Infans qui nascitur (Tornar és lluny) [with John Talabot] by Tarta Relena on Remixos (Associació Cultural Indian Runners / Urpa i Musell) 59′20″ Selva by Xanducero on Casa (Fertil Discos) 65′04″ Te Vez Buena by DJ Panik on Bersa Discos #3 - EP (Bersa Discos) 67′45″ Verde by VHOOR on Ritmo (VHOOR) 70′50″ Amores (feat. El Buho) by Akkan on Akkan (Foehn Records) 76′30″ Pacos (feat. Prisma) by Dengue Dengue Dengue on Zenit & Nadir (Enchufada) 79′55″ Salford Cumbia by El Búho & Joaquin Cornejo on Ramas (Wonderwheel Recordings) 83′40″ Earth Spirit by Ohxalá on Earthly Tapes 02 (Earthly Measures) 88′14″ El Zampullin by Chancha Vía Circuito on A Guide to the Birdsong of South America (Rhythm and Roots) 92′00″ Campo De Flores (Ft. Diana Leon) by QOSQI on Fungi (Global Hybrid Records) 95′50″ Água de Pena by Ragazza XXI on La Flor de Jimulco (Promesses) 98′15″ Essência by VHOOR on Ritmo (VHOOR) 100′08″ Cha by Escaflowne on Isometra (self released) 104′30″ 9 Days (feat. DJ Saxo Boy) by DJ Black Low on Uwami (Awesome Tapes From Africa Publishing) 110′03″ DADA (Nicola Cruz Remix) by Mamazu, Nicola Cruz on NEW LIGHT REMIX EP (HOLE AND HOLLAND) 116′00″ Sahel by Cyma on Port Amì (Asiko Sounds) Check out the full archives on the website.

In this episode, Jen interviews Amalia Camateros, author of “Spirit of the Stones” is a Shamanic Practitioner, Transformational Teacher, Ceremonialist, Wisdom Guide and Speaker, who started her career in Australia as a Naturopathic Doctor and has worked in the field of health and consciousness for over 30yrs. She was the private natural health practitioner for the famous Australian rock band INXS for over 6yrs attending to their wellbeing during the height of their career.  Jen and Amalia deep dive into what Shamanism is. Amalia also shares her journey into Shamanism and being called to Sedona. They also discussed what embodiment is and how embodiment is about feeling what you're feeling in the body.    Key Notes: What is Shamanism What is embodiment What is the glitch work What it is to be in Oneness   Show Notes: (01:05) Jen introduces this week's guest (05:00) Amalia shares her journey into Shamanism (11:45) How there's an emotional component to the healing (14:52) Amalia talks about how she was called to Sedona  (27:19) How Amalia allows Spirit to move through her when she works with other (30:27) What embodiment is really about (32:18) What a chakra is and the 7 energetic centers of chakra (33:45) How embodiment is like a seed that is planted into the Earth (35:35) What the glitch work is all about (44:10) The difference between emotions and feelings  (47:39) Amalia shares how co-creating with the the spirit of the Earth manifests for her  (56:40) Amalia and Jen talks about Amalia's course called “Stronger than Ever” (1:00:35) How it's all about the Oneness   Quotes: (12:57) The purpose of our life is to feel that flow of spirit through us  (25:43) The Shaman sees the light and the shadow in wholeness (28:59) The body never lies (29:23) It's obvious to other people what we're hiding within (33:57) We need to go into the soil of consciousness, allow ourselves to immerse into the matrix of the Earth (35:11) We are seeds of light (42:52) It is about changing the imprint (44:40) A feeling is a sensation. An emotion is a feeling with a judgement attached to it (59:45) The Namaste into the heart is where is the Oneness (1:02:37) One cannot exist without the other   Links Mentioned: Website: https://www.jenmons.com/    Connect with Amalia: Website: www.earthspiritwisdom.com  Facebook: https://www.facebook.com/amalia.camateros/  STRONGER THAN EVER course: earth-spirit-wisdom-healing.teachable.com/p/stronger-than-ever  Spirit Of The Stones: amzn.to/2Pe9wNG    PODCAST DISCLAIMER: This podcast is to educate, inside, and inform the listeners of various pathways to wholistic well being.  This information is not to replace the advise of your physician, specialist, medical doctor, therapist, nutritionist or dietician. Please refer to full Medical Disclaimer Here.

Amy Dempster helps in understanding the healing power of the earth. What began as openly sharing her spiritual journey on her popular blog Following Hawks, has become a resource for others wanting to learn how to communicate with nature and share their own unique healing gifts with the earth. https://selfdiscoverymedia.com/?p=93818

This is a story from Africa about a rabbit who wants to become big, but in the end realizes he was better off the way he was.Free activity sheet available at www.rituvaish.com/the-rabbits-wish.Send your artwork to rituvaish@gmail.com.TranscriptThis story is about the time when the rabbit along with her tiny body, short legs, had ears that were small and stumpy on top of her head.One of the rabbits always had a deep desire to be big like the enormous elephant or the tall like a giraffe or strong like a bull. She didn't like to be the teeny tiny animal that she was. So, one day, Rabbit got an idea and decided to go to the Earth Spirit — the creator of all the animals — to grant her a wish. She said, “Dear Earth spirit, please make me big. I am tired of being so little.” The earth spirit calmly explained, “ Rabbit! Why do you want to be big? You're wonderful just the way you are! I created each and every animal to be special in their own way.”The rabbit retorted, “Special? I am not special in any way!”The earth Spirit added, “Well, I specifically made you to be one of the swiftest animals around! I also made you one of the smartest.” The Rabbit shrugged, “ Whatever. So I've got speed, I've got brains. But seriously — what good are those things when I'm such a dwarf? Most everyone is bigger than me, and stronger too— not to mention how many other animals want to eat me!”The earth Spirit said, “Okay, Rabbit, I can make you bigger, but you have to earn it.”The Rabbit quivered with delight and jumping up and down said, “ I'll do anything you say! “The Earth Spirit went on, “ Alright. Here's what you need to do. You must bring me two things. First, a whisker from a Lion. Second, a feather from an Eagle.” Do you think it would be difficult for the rabbit to get the above two things?Well, let's listen ahead. When the earth spirit asked the rabbit to bring a whisker from a lion, and a feather from an Eagle. Rabbit's froze in fear. She started trembling so hard her whiskers were shaking.Rabbit's smile turned upside down she stammered, “Ummm, with due respect, Earth Spirit — Lion and Eagle are two of the big, scary animals who want to eat me for breakfast! And lunch and dinner and even as a midnight snack.” The Earth Spirit said, “Oh, I know! I didn't say the task would be easy. But then, you're a quick one, isn't it? both body and mind! I am sure you'll figure it out. Now, hop on to it!” The Rabbit dragged herself back to her burrow underground and thought to himself, “ Well, this is great. Just great. I ask Earth Spirit to make me bigger, and now she wants me to get Lion's whisker? And Eagle's feather!? All those two ever think about is their next meal. How could I possibly ever --…uuuu . Wait a minute. ‘Their next meal!' That's it!” A plan brewed in her smart mind. The next morning, the Rabbit scrambled out of her burrow to the forest where the Lion was creeping out of his den., and he was just about to start his morning hunt.The rabbit humbly said, “ Hey, Lion, good morning!” The lion stretching and yawing said, “Well, hello, Rabbit! Delivering me breakfast in bed?”The rabbit went a little closer, “Actually lion, your majesty if you play your cards right, I can deliver you two breakfasts.”The Lion raised his shaggy head, “What do you mean, ‘two breakfasts'?”The rabbit said, “ Well, Lion, I heard a top-secret way you can make two of me! You just pluck out your magic whisker, poke my fur two times, and then two Rabbits!The lion scoffed, “ I don't have a magic whisker!”But thinking about the prospect of two rabbits he added, “ But then I'm pretty hungry, and hey, what have I got to lose? Other than, you know, a whisker?”The Lion lifted his paw and yanked out a whisker. Then he poked Rabbit's fur with it, two times.Nothing happened.The lion roared, “ There's still just one of you! Don't fool me.” The rabbit scratching her snub ears said, “ Hmmm ... maybe you're not doing it right. Here, let me try.” The Rabbit snatched the whisker from Lion's paw. What do you think the rabbit would do now?Listen ahead. To find out The rabbit instead of poking herself with it grabbed it from him and began leaping away.The Lion growled and took off after the Rabbit.But the little creature was so fast, by the time Lion reached Rabbit's burrow, she'd already gone into the narrow hole, where the giant beast could never reach her.The lion snapped, “ I'll get you next time, Rabbit. You can't escape the king of the jungle for very long!” Inside the burrow, the Rabbit fell asleep feeling delighted that had met one of the two conditions of the Earth SpiritA few hours later, she woke up all refreshed, nibbled some turnips, then climbed out of her burrow and bounced over to the river.The sun was right above her head and it was lunchtime, and an Eagle was soaring in the sky, her sharp eyes fixed on the water below for some prey that would be his delicious lunch.Waving one of her paws, the rabbit said, “ Hey, Eagle! Eagle! Come Over here!”When Eagle saw Rabbit, the majestic bird swooped down, her pointy talons outstretched. He said, “ Good afternoon, Rabbit! You're just in time for lunch!”The rabbit gathered her courage and said, “ Just a minute, Eagle! If you play your cards right, I can make you two lunches!”Intrigued, the Eagle glided down to the ground, “Wait — what do you mean, “two lunches”?”The rabbit smiled, “ Well, eagle, I heard a top-secret way you can make two of me! You just pluck out one of your magical feathers, poke my fur two times, and then two Rabbits!”The Eagle scowled, “I don't have a magic feather! But no harm trying for I am famished!”The Eagle used one of her talons to pluck out a feather. Then, he poked the rabbit fur two times. , but nothing happened.The eagle screamed, “Wait, there's still only one of you!”Rabbit took the feather from Eagle's talon, “Hmmm. Maybe you're not doing it right. Hang on. Let me try”  Can you guess what she did next?That's right! The rabbit clutched that feather in her fuzzy little paw and began scampering away!Eagle flapped her wings and took off after Rabbit. But, as with Lion, by the time Eagle reached Rabbit's cozy burrow, Rabbit was safe and snug under the ground. The eagle was angry, but couldn't do anything He yelled out, “ Rabbit! I've got my eagle-eyes on you!”Rabbit waited until the coast was clear.  So children where do you think the rabbit will go now?That's correct  With Eagle's feather in one paw and Lion's whisker in the other, she scuttled out of her burrow and proudly showed her items to the Earth Spirit.The Earth Spirit said, “ Well, well, well! I am impressed Rabbit. You've succeeded in obtaining two objects from two animals who could easily swallow you in one gulp. And you've done it just as you are — with nothing but swift feet and a swift mind!”The rabbit ignoring the words of the Earth Spirit said, “It's time for my wish, you promised you'd grant my wish.”The Earth Spirit sighed, “ Alright, Rabbit; a promise is a promise.” There was a blinding flash of light, then Rabbit felt a tug on her front side. Next, she felt a tug on her backside.The rabbit was amazed by her growing size and exclaimed, “ Woah! Holy moly! Look at this!” Now, her entire body was stretching and growing, growing and stretching — until she was nearly as big as a goat!While the rabbit was still admiring her new, bigger self when she heard some familiar voices. Some familiar angry voices. Can you guess whose angry voices were those?Well, Listen ahead to find out. .. “There she is! The trickster who stole my whisker!” roared the lion.“And my feather!” added the eagle.They both rapidly rushed towards the rabbit. Do you think the rabbit would escape? Listen ahead The Rabbit's instinct was to scamper off like she'd always done before. But her new, bigger body felt heavy and it was difficult to run.Without thinking, Rabbit staggered to her burrow. But when she tried diving down the narrow hole, the bigger body got stuck!By now the Lion and Eagle were getting closer and closer. Rabbit fought back her tears and pleaded actually to the earth Spirit, “ Earth Spirit! I was wrong. I never should have asked to be a different size. I was fine before. No actually— I was awesome! Please! Can you turn me back to the way I was?”The earth spirit said, “ Well, I can't reverse a wish once I've granted. But there is one thing I can do.”There was another flash of light, and all at once, Rabbit felt herself shrinking and shrinking, until her body was small enough to slip through her burrow and escape the mighty paws of Lion.The lion hitting the ground with his paws in frustration said, “ She escapes yet again.” The Eagle soaring back in the sky thought to himself, “ These rabbits are swift and smart and very difficult to hunt.”  Now, Rabbit's body was back to its regular size. But her ears — her formerly stubby ears —were still big! The Earth Spirit had left Rabbit's ears long — as long as a corn cob! Not only that, but they could even tilt and turn in any direction, so that now when other, bigger animals wanted to get revenge for Rabbit's tricks she could hear them coming from a mile away!Probably, that how the rabbits' short and snubby ears became tall like the ones they have now.Bigger doesn't always mean better. Sometimes best things come in small sizes.

Marianne was 18 months old when she had her first remembrance of contact with star people, what some might term aliens. We talk about her many encounters with star people, and all the incredibly insightful information they passed on to her as well as delve into topics such as shadow people, black eyed kids, and the succubus & incubus. Marianne has an amazing podcast called Walking the Shadowlands. Please join us! OUR GUEST Marianne has always been a creative person. Whether that is with traditional art, or the performing arts, doing voice-over work for radio promotions in the USA or advertisements for radio – it is something that has always been a part of her life. Marianne is a published illustrator, and is also an author of a children's story that she is currently working on illustrating. She spent most of her early working career as a nurse, both in public and in private hospitals throughout New Zealand. Spiritually, she has always had an absolute fascination for all things that go bump in the night, or haunt your dreams. For the unknown, the unexplained, and the paranormal. This started from a very young age, when she had her first experiences with UFO's, Star People, and Earth Spirit, that are ongoing to this day. Marianne is a spiritual sensitive and has had many experiences with the unseen realms here on this planet. She is not shy about speaking out about her UFO & Star People encounters. So she considers herself very fortunate to be able to combine her love of doing voice work, with her experiences throughout her life in her podcast show Walking the Shadowlands. Instagram: https://www.instagram.com/walkingtheshadowlands/ Twitter: https://twitter.com/shadowlands10 FB: https://www.facebook.com/WTShadowlands CONTACT MELA Facebook & Instagram @bellebookcandlesc Youtube under Belle, Book & Candle Send me a voice message here: anchor.fm/bellebookcandle/message Become a patron www.patreon.com/bellebookcandle Or, if you'd rather, you can buy Mela a coffee! www.buymeacoffee.com/bellebookcandle CREDITS My dad wrote the lyrics to my theme song, and we sing it together at the beginning. Thanks to my husband for his contributions. Thank you to our guest, Marianne Coleman. Original Broadcast: 2.18.21 --- 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/bellebookcandle/message

In this episode I had a Guest Marianne Coleman who have had experiences on Sleep Paralysis. Marianne has always been a creative person. Whether that is with traditional art, or the performing arts, doing voice-over work for radio promotions in the USA or advertisements for radio – it is something that has always been a part of her life. As an artist she has worked in multiple media – from sculpting in clay to silver-smithing and creating artisan jewellery, to more traditional art. She has a great love of working with pastels and oils – but also dabbles in acrylics and watercolours. Her sculptures have found homes internationally. Marianne is a published illustrator, and is also an author of a children's story that she is currently working on illustrating. She spent most of her early working career as a nurse, both in public and in private hospitals throughout New Zealand. Her last area of nursing (and her favourite), was CardioThoracic and Vascular surgery. A work accident forced her retirement from a much loved career, so she returned to university and retrained herself, completing a degree in Computer Graphic Design. She especially enjoys designing & creating websites, illustrations and label design. Spiritually, she has always had an absolute fascination for all things that go bump in the night, or haunt your dreams. For the unknown, the unexplained, and the paranormal. This started from a very young age, when she had her first experiences with UFO's, Star People, and Earth Spirit, that are ongoing to this day. Marianne is a spiritual sensitive and has had many experiences with the unseen realms here on this planet. She is not shy about speaking out about her UFO & Star People encounters. So she considers herself very fortunate to be able to combine her love of doing voice work, with her experiences throughout her life in her podcast show Walking the Shadowlands. I bet you'll have garnered a lot of knowledge on this subject by the end of the episode.

Earth Spirit by Kris Vermeer Location: 1302 Commerce Ave.

During Biodiversity week I am inviting ideas for exploring and improving biodiversity in the landscapes we are keeper and stewards of. Suggestions of what to look for and what we may manage to attract more life. Included is .how we may be tuned into our local biodiversity through more tolerance, perhaps less order, and additional joy from small things we may not have noticed before. Small things that warm us into a big heart. --- Send in a voice message: https://anchor.fm/Carrowcrory/message

Delilah Sullivan has a gift. It is a gift that allows her to channel energy from both spirit and land. And the earth is absolutely calling her right now. "It’s about having a two way conversation with the energy, a deeper way of listening and communicating, it’s powerful. Delilah reveals how her past work was human led, whereas now it’s the bigger picture in nature. "It was sparked by the trees. The trees are in crisis. We risk reaching a tipping point where we lose all the trees because they’re all interconnected. So the fires on the other side of the planet will affect the trees in our back garden. They’re all one and they’re all linked.” Delilah believes it’s possible to reverse this by helping trees to grow and heal and appreciating them more. "Rather than planting 100,000 trees, it’s about getting 100,000 people to appreciate and wish to plant just one tree” she offers. Delilah emphasises that it's the energy behind something that is most important. It’s the intention which carries everything; "It’s how we approach the world and ourselves and how we communicate and our intention behind it” Delilah talks about creating a heart centred life and doing whatever you have to do to keep your heart open, as a way to shape your life; "Any answer that comes from the head is not the truth. It’s useful and needs to be incorporated, not dismissed but my work is encouraging us to become more heart-centered, more grounded. That’s a very different experience of the same reality” Delilah encourages and invites us to create our actions from within, to be in the body rather than the head, to feel and go with our instincts. I invite you to get connected and aware by tuning in to this powerful podcast. Smash The Box is a personal development business. Everything I do is with the aim of inspiring you to find your purpose so you can make your mark on the world. One way I do this is by sharing people’s stories. Inspiring stories that the world needs to hear. Stories of breakthroughs, of adversity overcome, of achievements, successes, of setbacks and turnarounds, of realisations and lightbulb moments. This audio experience is a natural and perfect complement to the existing services of Life Coaching, Leadership Coaching, Breakthrough Workshops and Inspirational Talks - all of which forms something quite unique and special. If you are looking to find your purpose in life, in work, or both, then don’t just think outside the box. It’s time to Smash The Box! Connect with us! www.smashthebox.me www.youtube.com/channel/UC7fEEvjX52qS928oyLGCtuQ www.facebook.com/SmashTheBoxMarkPitcher/ www.instagram.com/markpitcher_smashthebox/

Marianne has always had an absolute fascination for all things that go bump in the night, or haunt your dreams. For the unknown, the unexplained, and the paranormal. This started from a very young age, when she had her first experiences with UFO’s, Star People, and Earth Spirit, that are ongoing to this day. Marianne is a spiritual sensitive and has had many experiences with the unseen realms here on this planet. She is not shy about speaking out about her UFO & Star People encounters. So she considers herself very fortunate to be able to combine her love of doing voice work, with her experiences throughout her life in her podcast show Walking the Shadowlands.

Environmental philosopher, teacher, healer, and spiritual mentor, Elizabeth E. Meacham, PhD., discusses her new book, Earth Spirit Dreaming: Shamanic Ecotherapy Practices.  We'll delve into exactly what shamanic ecotherapy is and how it's connected to shamanic practice.  Meacham will mentor us in why we should embrace this practice in our life and how to do it.  We'll also hear her interesting journey of transitioning from professor to shamanic practitioner.

www.alchemillas.com --- Support this podcast: https://anchor.fm/amanda-dilday/support

***Warning: Contains explicit language*** Gigi and Casey discuss Earth and Spirit magicks and how to work with them in your everyday lives. They also talk about the current astrological climate and how it is affecting the populace at large. ----------------- Music by @shewhoinsavingdestroys @gigithebruja on Twitter @sacredandarcane on Twitter and Instagram @saintreverence on Twitter, Instagram, and the World Wide Web @n2dreamland on Twitter, Instagram, and the World Wide Web --- 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/gigi-the-bruja/message Support this podcast: https://anchor.fm/gigi-the-bruja/support

Bulk decabels ;-)

Autumn is a season of remembrance into our true nature. It is a time when we shed the many layers of our being, so that we can get back to our core. This can be a hard time of year - many illusions are revealed, and it is a time when everything in this world is asking you to go inward.  This episode is a guide to exploring this Autumn with integrity towards your deepest desires, and gives you some key themes to explore during this deep time of transmutation.  TOPICS DISCUSSED  - Ancestral Healing  - Remembrance of our purpose  - Heart centered communication - Root chakra healing - Chakras + Autumn - How to prosperous this season - Phases & cycles of life This podcast episode also includes a 20 minute guided meditation at the end which guides you within the earth to find your purpose for this season where the veil between Earth & Spirit become very thin.  Enjoy, tune in, and show reverence always,  Taraney Nicole    Earthney.com

As Paul returns to Jerusalem, we explore 5 realities of Paul's journey home.

Episode 82 - R. Carlos Nakai. Dan Sterenchuk and Tommy Estlund are honored to have as our guest, R. Carlos Nakai. Of Navajo-Ute heritage, R. Carlos Nakai is the world's premier performer of the Native American flute. He began his musical studies on the trumpet, but a car accident ruined his embouchure. His musical interests took a turn when he was given a traditional cedar flute as a gift and challenged to master it. As an artist, he is an adventurer and risk taker, always giving his musical imagination free rein. He is also an iconoclastic traditionalist who views his cultural heritage not only as a source and inspiration, but also a dynamic continuum of natural change, growth, and adaptation subject to the artist's expressive needs. His first album, Changes, was released by Canyon Records in 1983, and since then he has released forty albums with Canyon plus additional albums and guest appearances on other labels. In addition to his educational workshops and residencies, he has appeared as a soloist throughout the United States, Europe, and Japan, and has worked with guitarist/luthier William Eaton, composer James DeMars, pianist Peter Kater and “the late” Paul Horn among many others. The famed American choreographer Martha Graham used Nakai's second album, Cycles, in her last work Night Chant. R. Carlos contributed music to the major motion pictures New World (New Line) and Geronimo (Columbia). R. Carlos, while cognizant of the traditional use of the flute as a solo instrument, began finding new settings for it, especially in the genres of jazz and classical. He founded the ethnic jazz ensemble, the R. Carlos Nakai Quartet, to explore the intersection of ethnic and jazz idioms. He brought the flute into the concert hall, performing with over 30 symphony and chamber orchestras. He was a featured soloist on the Philip Glass composition, Piano Concerto No. 2: After Lewis & Clark, premiered by the Omaha Symphony. He also works with producer and arranger Billy Williams, a two-time Grammy® winner, in composing for and performing the traditional flute in orchestral works of a lighter vein. In a cross-cultural foray, he performed extensively with the Wind Travelin' Band, a traditional Japanese ensemble from Kyoto which resulted in an album, Island of Bows. Additional recordings with ethnic artists include In A Distant Place with Tibetan flutist and chanter Nawang Khechog, and Our Beloved Land with famed Hawaiian slack key guitarist and singer Keola Beamer. Recently, he released Voyagers with Philadelphia Orchestra cellist Udi Bar-David which blends Native American melodies with Jewish and Arabic songs. R. Carlos Nakai has received two gold records (500,000 units sold) for Canyon Trilogy and Earth Spirit which are the first (and only) Native American recordings to earn this recognition. In 2014, Canyon Trilogy reached Platinum (over 1 million units sold), the first ever for a Native American artist performing traditional solo flute music. He has sold over four million albums in the course of his career. A Navy veteran, he earned a Master's Degree in American Indian Studies from the University of Arizona. He was awarded the Arizona Governor's Arts Award in 1992, and an honorary doctorate from Northern Arizona University in 1994. In 2005, R. Carlos Nakai was inducted into the Arizona Music & Entertainment Hall of Fame. He has also authored a book with composer James DeMars, The Art of the Native American Flute, which is a guide to performing the traditional cedar flute. We encourage you to visit his website: http://rcarlosnakai.com and you can purchase music here: https://rcarlosnakai.com/category/discography/ All music used with permission of R. Carlos Nakai (rcarlosnakai.com)and Canyon Records (canyonrecords.com). Special thanks to R. Carlos Nakai, Pamela Hyde, and Kathy Norris. The Curiosity Hour Podcast is hosted and produced by Dan Sterenchuk and Tommy Estlund.

Paranormal. How to connect with the elemental beings. Alisdair shares how Perilandra gives us step by step tools to enable us to heal ourselves and our lives

It's a monster, and a fun activity!

Herbalists Robert Rogers and Laurie Szott-Rogers discuss their program at the Northern Star College of Mystical studies. Learn about plant medicine and bring this skill into your life. Courses such as herbology and aromatherapy provide a knowledge base of plant properties and techniques for using plants, therapeutically. Other courses in the stream give learners the opportunity to connect with the higher intelligence of both plants and clients, by integrating intuitive skills. There is a strong focus on regional plants. The Flower Essences modality focuses on personal growth, interviewing, deep personal transformations and working with clients. For more information please visit: https://northernstarcollege.com/program/programs/earth-spirit-medicine/ Thanks so much for listening! If you've enjoyed the HerbRally Podcast, please leave us a rating and review. We'd really appreciate it :) Here's a link to a lot of great herbal monographs: www.herbrally.com/monographs To find an herbalism event in your area: www.herbrally.com/events

Ursi is away so Proud gets to play...with Flubb!  This week's combo is Luna/Earth Spirit.  But it's really important to note the Luna with Aghs.  Aghs people!  Aghs!  Find out how they did on the latest episode of Theorycraft Thursdays, a Dota 2 podcast.

We are made of the same stuff from which the stars are made and we can learn to appreciate everything on Earth and more. Today on Soulful Living Dr. Steven Farmer, world-renowned author, Soul Healer, shamanic practitioner, and spiritual teacher joins Teri to chat about how we can all create deeper relationships with the earth, with spirit and ourselves! Mark you calendar for noon EST - tune in to Soulful Living at Empoweradio.com!

To listen to this episode, click on "POD" in the icon above. To download this episode, "right-click" on the mp3 file below and choose "Save."  A special one hour episode presenting an interview with Roy Mills, author of “The Soul's Remembrance.” Listen to Roy Mills talk about his pre-birth memories during the first half-hour. Then listen to Betty and her son Jeff discuss their thoughts, insights and feelings about this wonderful and reassuring book, “The Soul's Remembrance.”   Embracing Life with Betty J. Eadie, author of the New York Times #1 Best Seller,  At the age of 31, Betty had what has been called the most profound and detailed near-death experience ever. Visit her website at

"Pluk A Dub (remixed by M. Cornelisse)" by the Amsterdam Klezmer Band from Remixed; "Giddy Up" by Stromba from Tales from the Sitting Room; "Hanumantra" by Earthmonkey from Death's Last Life's Breath, a Beta Lactam Ring Records sampler; "Refreshing Beverage" by Odd Nosdam from Burner; "Oben Beg (MK2)" by Baikonour from For The Lonely Hearts of the Cosmos; "Mirror's" by Moolah from Woe Ye Demon Possessed; "Parler de la Pluie et du Beau Temps" by the Faunts from High Expectations Low Results; "Land of Sherry Wine and Spanish Horses" by Crime in Choir from Trumpery Metier; "Earth Spirit and Sky" by Lamp of the Universe from Earth Spirit and Sky; "We Will Carry you Over the Mountains" by Magyar Posse, an unreleased track from the sessions for the CD We Will Carry you Over the Mountains available as a download

"Pluk A Dub (remixed by M. Cornelisse)" by the Amsterdam Klezmer Band from Remixed; "Giddy Up" by Stromba from Tales from the Sitting Room; "Hanumantra" by Earthmonkey from Death's Last Life's Breath, a Beta Lactam Ring Records sampler; "Refreshing Beverage" by Odd Nosdam from Burner; "Oben Beg (MK2)" by Baikonour from For The Lonely Hearts of the Cosmos; "Mirror's" by Moolah from Woe Ye Demon Possessed; "Parler de la Pluie et du Beau Temps" by the Faunts from High Expectations Low Results; "Land of Sherry Wine and Spanish Horses" by Crime in Choir from Trumpery Metier; "Earth Spirit and Sky" by Lamp of the Universe from Earth Spirit and Sky; "We Will Carry you Over the Mountains" by Magyar Posse, an unreleased track from the sessions for the CD We Will Carry you Over the Mountains available as a download