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Re: Great Mother Dragon -- Sun -- Songlines ...

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  • Millennium Twain
    ... ellen, the book is one of the most awakening we have shared. it is Voices Of The First Day: Awakening in the Aboriginal dreamtime . The author is Robert
    Message 1 of 1 , Apr 16, 2007
      --- In LeagueOfTheLastDays, "Millennium Twain" wrote:


      the book is one of the 'most awakening' we
      have shared. it is "Voices Of The First Day:
      Awakening in the Aboriginal dreamtime". The
      author is Robert Lawlor.

      millennium & megumi

      --- "rasheedaas" <rasheedaas@> wrote:

      Could you tell me the first name of Lawlor,
      so I could look up his/her book?

      thank you,

      --- "Millennium Twain" <yonibluestar@> wrote:

      Songlines in the culture of Indigenous Australians

      Songlines are also called Dreaming tracks by Indigenous Australians.

      Australian's indigenous peoples conceive of all things beginning with
      the Dreaming or (in some Indigenous languages) Altjeringa (also called
      the Dreamtime), a 'once upon a time' time out of time where archetypal
      ancestral totemic spirit-beings formed the World. These shapeshifting
      spirits embodied forms of animals, plants, people, natural phenomena
      and/or inanimate objects and their existence is revealed by their
      formative journeying and the signs they deposited through the
      landscape. Their dreaming and journeying trails are the songlines (or
      "Yiri" in the Walpiri language). The signs of the Spirit Beings may be
      of spiritual essence, physical remains such as petrosomatoglyphs of
      body impressions or footprints, amongst natural and elemental
      simulacrae. To cite an example, the Yarralin people of the Victoria
      River Valley venerate the spirit Walujapi as the Dreaming Spirit of
      the black-headed python. Walujapi carved a snakelike track along a
      cliff-face and deposited an impression of her buttocks when she sat
      establishing camp. Both these dreaming signs are currently discernable.

      Another example is that the Rainbow Serpent followed a path across
      Northern Australia, creating rivers and mountains as she went, and
      stopping at especially sacred places such as Ubirr. A song, created by
      her, is still sung by Indigenous Australians, and describes her
      journey, and the features along it. These songs may also be used for
      navigation, as they describe where, for example, waterholes may be
      found in the desert.

      Another example is the Native Cat Dreaming Spirits who are said to
      have commenced their journey at the sea and to have moved north into
      the Simpson Desert, traversing as they did so the lands of the Aranda,
      Kaititja, Ngalia, Kukatja, Unmatjera and Ilpara. Each peoples sing the
      part of the Native Cat Dreaming relating to the songlines for which
      they are bound in a territorial relationship of reciprocity.

      Songlines are an ancient cultural concept, meme and motif
      perpetuatedthrough oral lore and singing and other storytelling
      modalites such as dance and painting. Songlines are an intricate
      series of song cycles that identify landmarks and subtle tracking
      mechanisms for navigation. These songs often evoke how the features of
      the land were created and named during the Dreaming. The Dreaming
      Spirits as they travelled across the Earth, created and named trees,
      rocks, waterholes, animals and other natural phenomena. Molyneaux &
      Vitebsky (2000, p.30) augment further: the Dreaming Spirits "...also
      deposited the spirits of unborn children and determined the forms of
      human society." Therefore, establishing tribal law and totemic paradigms.

      By singing the songs in the appropriate sequence, indigenous peoples
      could navigate vast distances (often travelling through the deserts of
      Australia's interiority). The continent of Australia is a
      system-reticulum of songlines, some of which are of a few kilometres,
      whilst others traverse hundreds of kilometres through disparate
      terrain and lands of many different indigenous peoples ~ peoples who
      may speak markedly different languages and champion significantly
      different cultural traditions.

      An interesting feature of the paths is that, as they span the lands of
      several different language groups, different parts of the song are
      said to be in those different languages. Thus the whole song can only
      be fully understood by a person speaking all the relevant languages.

      In the Sydney region, because of the soft Sydney sandstone, valleys
      often end in a canyon or cliff, and so travelling along the ridge
      lines was much easier than travelling in the valleys. Thus the
      songliness tend to follow the ridge lines, and this is also where much
      the sacred art, such as the Sydney Rock Engravings, are located. In
      contrast, in many other parts of Australia, the songlines tend to
      follow valleys, where water may be more easily found.

      To indigenous peoples, songlines also confer a title and deed to the
      holder or the keeper of the particular song (or Dreaming) and entails
      an inherent obligation and reciprocity with the land.

      In his 1987 book, The Songlines British novelist and travel writer,
      Bruce Chatwin describes the songlines as:

      "...the labyrinth of invisible pathways which meander all over
      Australia and are known to Europeans as 'Dreaming-tracks' or
      'Songlines'; to the Aboriginals as the 'Footprints of the Ancestors'
      or the 'Way of the Law'.

      Aboriginal Creation myths tell of the legendary totemic being who
      wandered over the continent in the Dreamtime, singing out the name of
      everything that crossed their path- birds, animals, plants, rocks,
      waterholes- and so singing the world into existence."''

      Songlines have been linked to aboriginal art sites in the Wollemi
      National Park in New South Wales[1].

      New Age Interpretation

      Some New Age writers identify songlines with similar lines or paths
      elsewhere in the world. For example, Molyneaux & Vitebsky (2000) state
      that a particular totemic ancestral spirit being is often associated
      with a number of sites, "each of which serves as a landmark to denote
      the course of its travels". The routes of these spirits are the
      dreaming trails or songlines and to indigenous peoples, chart the
      energetic currents of the earth . Therefore, in this view, songlines
      may be understood as the Earth's subtle energy currents: ley lines in
      the United Kingdom, naga or snake lines in India, dragon lines (dragon
      current, or lung-mei) in China.

      Lawlor (1991: p.104) states that for many indigenous peoples:

      ...the blood of the gods, the subtle magnetic, celestial flow,
      circulates in the veins of the earth. This concerpt underlies the
      extensive occult science known as geomancy, the study of ley lines,
      for which John Michell is the most eloquent commentator. (NB: original
      text not-meta-enhanced.)

      Lawlor (1991: p.104-105) states

      A number of anthropologists and scientists have found that the
      Aborigines possess an acute sensitivity to magnetic and vital force
      flows emanating form the earth, which they refer to as songlines.
      Perhaps the oldest geomancy tradition, songlines are fundamental to
      Aboriginal initiatic knowledge and religion. Songlines are so named
      because they are maps written in songs, depicting mythic events at
      successive sites along a walking trail that winds through a region.

      Some inidgenous Australians applied red ochre and/or blood, both
      substances are considered maban, to their bodies to heighten their
      sensitivities to the Dreamtime and their geodesy prior to ritual
      dance. Archaeogeodesy is a growing discipline.

      Lawlor (1991: p.105) quotes the biophysicists F. A. Brown and F. H.
      Barnwell who have conducted research on the biological effects of the
      Earth's magnetic field (and particularly how it relates with
      directionality and wayfinding):

      There remains no reasonable doubt that living systems are
      extraordinarily sensitive to magnetic fields. By extremely simple
      experiments it is shown that highly diverse plants and animals may
      have their orientation modified by artificial fields of the order of
      strength of the geo-magnetic field...The nature of the response
      properties suggest that the organism is normally integrated with its
      geo-magnetic environment to a striking degree. [2]

      Lawlor then builds on this with citing research conducted on homing
      pigeons which has pinpointed a tiny crystal in their brain. This
      crystal which is supersensitive to the earth's magnetic fields or
      geomagnetic currents, works in tandem with the birds other wayfinding
      propensities. As Mathrani (2002) states:

      Many animals have the ability to sense the geomagnetic field and
      utilize it as a source of directional (compass) information. Studies
      have shown that salamanders and frogs use magnetic fields for
      orientation when they have to find a way to escape from danger, such
      as from predators. Other animals that have been known to migrate via
      the detection of the Earth's magnetic field include sparrows, pigeons,
      bobolinks, yellow fin tuna fish, honeybees, and bacteria. Magnetite
      has been found in the tissues of all these organisms.

      Crystals of magnetite have been found in some bacteria (e.g.,
      Magnetospirillum magnetotacticum) and in the brains of bees, of
      termites, of some birds (e.g., the pigeon), and of humans. These
      crystals are thought to be involved in magnetoreception, the ability
      to sense the polarity or the inclination of the earth's magnetic
      field, and to be involved in navigation. The study of biomagnetism
      began with the discoveries of Caltech paleoecologist Heinz Lowenstam
      in the 1960s.
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