Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Posts tagged ‘Divine Mother’


Momo – The Mysterious Dark Skinned Girl From No/Everywhere

Momo Dark Divine Mother Daughter Goddess Kali

Rating: ‘West Germany 6’ I can’t find the pre-Fall of the Berlin Wall rating system but it relates to the current German ‘Green 12’ or ‘12’ corresponding to the UK’s ‘ PG’ or perhaps ‘U’.
Runtime: 101 min.

Momo (1986) is a film adaptation of the German novel by Michael Ende (author of The Never Ending Story), a book which had a few names including The Grey Gentlemen or The Men in Grey. The original film is in German but there is an English dubbed/audio version, and also an Italian cartoon and English language opera amongst other adaptations. Mum and I watched this on Friday (‘Honey’ Moon, Full Moon, on Fri 13th first time in 95 years) and were surprised at what we found. I’d passed over it a couple of times recently, interested but ‘not the right time’, then just decided to watch it on Friday, I didn’t know what it was about other than the girl going up against the ‘Greys’ which is interesting in and of itself.

Momo Dark Mother Daughter Goddess Divine

It’s currently available on Amazon.co.uk as an import (all regions) with English sub-titles for £19.89. The dubbed version can be watched on Youtube here:

It’s going to be hard to write this in cohesive form as there’s simply so much going on (yeah I know, an oxymoron) – the surface layer is one of friendship, devotion, community; the middle layer is about corruption of those, of ever-increasing change to modernity, losing what is valuable; and the huge, hidden (or not so hidden, hidden in plain sight) layer is all the symbolic power and meaning in the names, faces, characters, scenes and props. If you thought the Never Ending Story trilogy was packed with ancient metaphors and allegories then Momo is bursting at the seams yet unlike the aforementioned it’s not filmed in a glamorous, glossy, colourful, high-tech (for the time) way. It makes more sense because Momo is set in reality as we know it on Earth, but also because the author Michael Ende was unhappy with the portrayal of The Never Ending Story and lack of spirit from his book. Momo was written before TNES but made into a film afterwards and Ende had more of a say in the filming. That said, Momo switches back and forth between ‘reality’ and ‘other worldliness’ due to the nature of the non-human characters involved plus the use of colour and tempo of movement makes it somewhat strange and surreal.


It starts as a figurative journey, on a train, in a cabin with two passengers (reminds me of ‘Night on the Galactic Railroad’ in more ways than one, novel published in 1934). One passenger is the author Michael Ende in a cameo role and the other is the storyteller of the film and one of the main characters, Master Secundus Minutus Hora (Second, Minute, Hour) who appears in the cabin out of ‘Nowhere’. This is a point that isn’t noticeable or referred to in the film, but relates to a pivotal point in the later plot, emphasized as both men wear glasses and exchange them for a moment. What the passenger played by Ende sees shows the audience (in hindsight) where in the narrative the film begins and that Hora is asleep/dreaming/traveling out of body which is somewhat confirmed by his dialogue about time. ‘Master’ Hora goes on to tell the reluctant co-passenger the story of Momo.

In an unnamed Italian town on the outskirts of a city a street sweeper called Beppo Streetcleaner is doing his daily rounds when he ‘chances’ upon a girl sitting in a hole in a wall, the audience does not see her but hears her as she answers his questions, her name being Momo and her answer to why she is there “Home”. He leaves her to get her something to eat and whilst doing so describes to his friend a cafe owner that he’s found a Momo, a child, an “it”; the ‘it’ reference is continued until we see Momo come out of the hole (a practical reference to an unborn even if the sex is known because it is still a dependent on the Mother’s body and not viable or its own person or able yet – more on that later).

It turns out she is living in an amphitheatre, though the hole Beppo originally saw her in is different to one we and the local community are introduced to her in. It’s not one of the colossal amphitheatres we’re used to seeing in epic films; it’s a small town, a relatively poor one, in which the people don’t earn much having “an occupation that doesn’t bring in much money, but still manages to supply him (the women work too) with the free time for fun and fighting”. It seems that the people are generally happy or “a little mad perhaps, but likable”. To today’s standards the town would seem ‘merry’, ‘jovial’ and ‘welcoming’. After some cajoling Momo enters the light from the darkness and we see her for the first time. She is a young girl, homeless as we would see it, describes herself as much older than she is “100” and in the homogenously White community is dark skinned – a fact that is never mentioned. The people assume that she’s run away from an orphanage and cannot count, but akin to baby Annabel in the Mary Poppins books who says to the star-ling bird that she is everything, everywhere and comes from “darkness where all things have their beginning” Momo says the hole/cave is her home and “As far as I can remember… I’ve always been around.”

Momo Dark Mother Daughter Goddess Divine Cave

No one takes her in but they make her cave/inner room more habitable with furnishings and random items, she can now cook and is deemed a member of the townspeople, one that the people soon realize is a very valuable member indeed. Momo listens, really listens, to spoken, the unspoken, voices we perceive and the whispers of the wind, the rain, the air and her sincere listening calms, soothes and heals the troubles in others. People and animals feel better for having been around her.

So all seems ‘content’ in the town but not all is as it seems. Working against the healing tide of Momo are the ‘Men in Grey’ (not the Men in Black but probably a close association of 😉 ). A race of beings that look like human males, all bald, pale skinned, bald, clad in Grey suits with bowler hats, have numbers instead of names and addicted to cigars – they puff like there’s no tomorrow. They move around unseen unless they want to be, are not remembered afterward (except by Momo) and they are very, very organized.

“They made their presence felt in all part of the cities and seemed indefatigably occupied. They had plans for people’s time, wide scope and meticulously laid plans.”

They represent an institution/entity called the Timesavings Bank and can complete extensive calculations in a blink of an eye, in this confusing/mind boggling way of breaking down a person’s life into numbers they illustrate to people the flaws in their day to day lives, how much time they spend doing this and that with little time to themselves. They take advantage of that by getting people to save time doing things more efficiently or doing less and that ‘time is money not to be wasted‘. The people/’clients’ then start saving time seemingly under the allusion that they’ll get that time back perhaps like a retirement fund but instead it’s needed/used by the Greys as lifeforce and so the time saved is lost instead.

The Greys

The people don’t know that their efforts are in vain and drastically change, they become increasingly worried and agitated about saving time, cutting costs, thinking in terms of deadlines and overheads, having less time for each other and obsessing about how they spend time, surviving but not living.

(The above episode is from a show called ‘Tales of Tomorrow’ 1951-53 featuring the bank of time and what it does to people.)

Momo and her two friends Beppo and Gigi (Guido in the book, a ‘jack of all trades’) are very worried at this “epidemic” but as Momo has the ability to heal she does her best to overturn the damage.

“And so Momo got one friend after another back where they belonged. In the process she was thwarting the Grey gentlemen turn by turn and that was not something they were prepared to put up with for very long.”

They try to bribe her but she rejects them and tries to warn the town, so the Greys try to kidnap her. But there are others watching and so Momo meets Master Hora via a tortoise called Cassiopeia. They want to defeat the Greys and the Greys want to perform a coup d’état on him. This takes the film into scenes of further supernatural nature as well as institutional corruption and social degradation.

Having met Hora makes things more complicated for the Greys but also presents an opportunity, then plot her downfall by isolating her from those she cares about, distracting them, making life even more difficult and complex. Can they use her knowledge as stepping stone or can she stop them and regain stolen time or will time come to a dead end?


The film is and would probably seem dated to first time viewers, and the pace is a little slow to begin with. There aren’t any extra special or obvious CGI effects akin to modern movies but there are visual effects to separate the world of Hora, humans and the Greys. Effects to slow and speed up time in Hora’s domain and lot’s of smoke and Grey for well, the Greys. Light and dark contrasting is also used throughout the film to focus and hide at the same time e.g. a scene in a police station is characterized by appearing to be shaded in thick stripes, with the light coming through in hazy, horizontal lines alternating with the dark. The policeman is elevated and you can’t really see him whereas the civilian is highlighted. Dark is also used as a background to emphasize light such as when Momo leaves her cave or when the Greys drive in the dark and we can only really see their headlights whilst they walk in the shadows.

Speaking of which, the colour in the film is clear but not vivid or glossy – it’s not exactly drab/gritty like UK filming was known for but the atmosphere is always medium. For example the weather is clear and warm but the sky tends to be lacklustre and the architecture and ruins in the town tend to blend in with it.

The sound is clear and though it’s a dub the voiceovers are not that obvious, the voice actors were well cast and convincing in their parts. I’ve seen a dubs with voices I’d never have thought belonged to a character, or obviously and consistently out of step with the mouths but here all the voices are rich and soulful in their own way – except the Greys, who aren’t supposed to be soulful anyway. There are a few songs but they are short and I would not call this a musical.

The setting is very authentic looking, they picked interesting locations – everything stone or complimentary brick, well placed ruins interspersed with ‘modern’ dwellings. The only ‘strange’ part would be the widening of the roads motorway style in the latter part of the film, where the town is still small scale in comparison to a city but probably illustrates the modernization of the town trying to be city-like as well as Momo’s increasingly busy/difficult journey.



I would write about Momo first but it’s easier to explain Momo’s position/heritage this way.

The name ‘Hora’ refers to the Greek goddesses of the seasons and time, we’d translate it as ‘hour’. Hence, Hora would be one of the hours of time. These goddesses were based off the earlier Fibonacci goddesses morphed from the Mahavidyas, worker forms of the Daughter/Mother/Dark Mother (One being split into three mostly referred directly to in the old Gnosticism and pre-Vedic/diluvian/Dravidian Hinduism though found through the Mother of all Gods in every old world religion and whose roots can be found by going back through the etymology in modern religions e.g. the three Abrahamic ones). The Horae (plural) are made up of triads, following the again age old triad formation of the Daughter/Mother/Dark Mother, Bala/Lalita/Kali, Maid/Mother/Crone going through many, many incarnations gradually being brought down, made into consorts and then absorbed or switched altogether by male versions e.g. the Spinners/Werdes later to become the Fates/Norns/Wyrds (based on the Mahavidyas and so Horae are connected to), Al-Lat/Al-Uzza/Manat, Qudshu/Astarte/Anat, Isis, Hecate, Brigid, Morrigan all the way to modern day Son/Father/Holy Ghost whose ancient counterpart still in common knowledge is the Hindu Shiv/Brahma/Vishnu (Vishnu more commonly known as Ram or Krishna) and their consort, wannabe Mother Goddess triad Laksmi/Pavarti/Saraswati. So why Hora is written as a man is just… uh? A way to fit in the third male ‘close’ influence in Momo’s life (more on that later) as well as the usual patriarchal supplanting.

Hora can also be seen as ‘Father Time’ – where does the image of Father Time from? Well this actually ties into the character Momo herself. One of the oldest Goddesses we know is Kala the Black, aka Kali the Destroyer/Protector, the Dark Mother whose name means ‘Black’ and ‘Time’ and one the items she holds is a sickle. Kali is part of a triple Goddess who is really One split into three, Bala/Lalita/Kali as aforementioned the primordial Daughter/Mother/Dark Mother. In many accounts when the Goddess appeared to humans in a non aggressive form it was as a child, usually at two age ranges 9-10 and 15-16 (the 15-16 one is often referenced in Japanese manga/anime for girl characters with god-like power). The term ‘Mother Time’ and indeed ‘Grim/Black Reaper’ though can be connected to a later version, Rhea Kronia aka the later revised male Chronos/Kronus. She was the Dark Mother in that she destroyed/took back her offspring/deities who’d failed to look after their charges/rest of creation hence covered in blood and carried a sickle. Such images were switched and replaced down the line with the ‘bearded guy in the sky’ image hence Master Hora has a modern god look, aged old man with White beard in a White home (except his inner, private apartments), yet in a Black robe (reaper style and Momo asks him if he’s Death). He cannot beat the time thieves/Greys and they cannot overcome Momo, both need Momo to try and defeat each other.

Hora has special ‘all-seeing glasses’ (spectacles) that images focused by surrounding blurriness. When the audience is shown what is seen through the glasses the presented image is kind of hard to see without pausing the film. The perimeter/outer/rim of the lenses are not clear, sometimes they have patterns and what you need/can look at is the centre image – so basically the lenses are curved and the clarity is lacking unless you’re adept at looking through a crystal ball. Thankfully I used to be good at picking out the image in those 3D images on the back of magazines. One time the outer rim is spinning and as the lenses show you ‘real/live-time’ perhaps it’s an ode to time as we know it being made by spinning/turning/rotation, when you stop spinning time stops or effectively stops due to heaviness. That is linked to the way time works in Hora’s domain.

Momo 1986 All Seeing Glasses

His place of residence, ‘Nowhere House’ in ‘Never Alley’, is pure White and architecture curved like in a lens (remember his all-seeing-glasses), a great wind pushes visitors/intruders back – everything is reversed (like Father Time’s imagery itself) and writing upside down – so you have to walk backwards and slowly to go forwards at walking pace. (Stereotypically his place is reached by going upwards and the Grey’s by going downwards.) In keeping with reverse time and that time is heavier/slower the ‘lower down’/more physical a place/being is, 1 day in Hora’s place is 1 year and 1 day in ‘our’ reality.

To reach Hora you must follow a tortoise called Cassiopeia – who can see 30min into the future and communicates via writing that appears on her shell. (More about her later.)


Momo doesn’t look like the rest of the town, the book cover shows a South Asian looking girl by way of features and skin and the actress chosen was noticeable darker skinned than the others, she’s poor, homeless, and wearing old clothes/rags. Interestingly enough she wears an oversized men’s blazer, obviously for warmth/coverage but also perhaps symbolizing the she is wrapped in a form we as humans can see in our way of perception. She cannot read or write yet expresses a kind of universal language in her aura – when people are around her they feel at ease, comforted, and that they’re really being listened to and the effect the Greys have on them is undone. All the items she’s given are hand-me-downs and things that have been thrown away/found in the rubbish. It’s assumed she ran away from an orphanage but she doesn’t claim to have parents, or to have been in any human place beforehand nor thinks she has amnesia. Good and/or vulnerable divinity is usually poor or impoverished.

Momo Mother Daughter Dark Divine Goddess Poor

She’s found in a hole in the wall, this is representative of the cave analogy where the Daughter was sacrificed by/for creation that had fallen and resurrected from the cave much like the later stories of Ishtar/Inanna, later Persephone, other male versions and then the obvious predominant male version of this time period Jesus. The cave is symbolic of the vagina and birth.

An amphitheatre – a theatre of blood and war, rich and poor, beast and person, slaves for the entertainment of tyrants and watchers who’re glad it’s not them so visibly take part in the audience as raucously as they can. As if in reply to the cries for help there it becomes the home of the ‘saviour’ and ironically a playground for children. In one scene they symbolically play out a story from the imaginations pretending to be on a ship in a storm, they call out to Momo who appears to them from on high through an arch and then sings as a tribal goddess. The arch and pillars are representative too as an ancient vaginal symbol which is why many ancient temple designs incorporate pillars and arches at entrances/exits and the further back you go they are usually at the end of dark and/or narrow passages. Also bear in mind that the meaning of the name ‘Lalita’ – the Mother Goddess from which the Daughter (Bala) and Dark Mother (Kali) come from is ‘She Who Plays’ and ‘Red’.

Momo Daughter Mother Dark Divine Goddess

She has three main friends in the film, including Beppo and Gigi who both claim bonds with her that surpass what they obviously know about her in this reality/life. Beppo says to Momo that they knew each other in a past life and helped made the amphitheatre in the past. He said he knew that because of 5 stones that he found. I have heard of the usage of 5 stones before but it’s not that widespread/often – there are the Sankara magic stones in later Hinduism (twisted in the massively misconstrued Indiana Jones and the Temple of Doom), the five stones David used against Goliath and Graham Hancock’s only work of fiction ‘Entangled’ (2010) though based on his extensive research in ancient history and archaeology – in which one of the two female protagonists Ria is given 5 magic stones for protection (Ria is closely associated with the other female lead Leoni – both Goddess connections). Beppo is overheard in his claim and is implied to be crazy (further yet falsely implied via police corruption as he’s forced into a stretch at a mental ward) – in many of the Indian god films I’ve seen where the Mother Goddess is invoked and comes to live amongst the people who called to help them, it’s usually an outcast and/or ‘crazy’/mentally young or slow person who sees her for what she is.

Gigi’s claim is made in the book and not the film (but interestingly relates hence I’m referring to it) when he tells Momo a story of ‘fictional’ characters Prince Girolamo (his alter ego) and Princess Momo – a story in which her and he get married to ultimately become immortal. Therefore the three main ‘friends’/al-lies of Momo are three men who are all ‘older’ (would be wiser/more cunning since older in this reality) than her; one who acts like a father, one like an uncle/friend and one like a lover – this is a complete mirror of the Fall of the Daughter story, where She is tricked by creations/demi-urges and trapped in the mundane/profane ‘our’ world. They are not really her friends and She needs to be rescued.

Men in Grey

Part of what they represent is the breaking down of the old for the new, one paradigm/time era after another which is shown in the films by the ‘ancient’ ruins, the current/present that people live in which is old fashioned to our standards or part-rural/suburban/small town and the future i.e. cityscapes, full industrialization/capitalism and consumerism (with ‘kinder storage’ aka holding children like prisoners and brain washing them). The Greys are the breakdown of life from living/breathing/being to components. They know everything about the people they take time from. Interestingly enough they also have their own version of CCTV before CCTV was publicly implemented.

They bring physical coldness to the area around them as if sucking the heat out of the place – they are sucking the time out of the people and making them worry, stress, dis-eased making them lose track of themselves becoming more automaton than human. Hence taking away their warmth and the time people save is taken/used by the Greys so that they can exist. Their behaviour, structure and purpose well fits the stereotypical aliens people know as the Greys.

They Men in Grey wouldn’t be complete without their cigars. What are cigars? In the story each person’s individual’s time is represented by a flower from their heard so the cigars are an easy to consume, suitably distasteful (a perversion of beauty) container. Symbolically the heart’s flower is the heart chakra. Flowers when looked upon from a bird’s eye view show the Fibonacci sequence and are the basis of all yantras/mandalas/chakras – symbols (including swastikas) of the Goddess and building blocks of life/creation, all geometric/sacred geometric hence many yantras have what looks like flowers on them. Cigars are apt not only as a phallic symbol but as the smoke, the Greys live in the smoke/veil/shadows – and the smoke is Grey. Also has the mundane meaning that cigars/smoking is unhealthy – as the Grey men breathe in other people’s time, people become ill, the cigars poison the flower.

Momo: “Why are they all so grey in the face?”
Hora: “Because they feed on dead matter. They live in people’s time, as you know, but time dies – literally dies – once it has been wrested away from its rightful owners. All human beings have their own share of time, but it survives only for as long as it really belongs to them.”


The story signifies a travel, journeys and the ways in which transport are used. The film starts with a train, Gigi lives in a minivan/bus, cars are used to pursue, surround and harass – transport to weapons, another old world parallel where vehicles were used frequently by deities and aliens for the same purposes be it traversing the stars or fighting battles here on Earth. In Hinduism the ‘gods’ are depicted to travel on animals but are actually hi-tech ships called Vimanas. In contrast to the transport used by Hora and Men in Grey, the transport characters use to find Momo are always damaged, imaginary or metaphysical e.g. a ship and bicycle. The ship used by children fighting their way through a storm calling for Momo and a Beppo on a bike trying to find Momo but the bike is broken by the cars of the Greys.

Momo hunted by the Greys Divine Daughter Dark Mother Goddess

Momo tends to travel on foot though ultimately elevates to something different. In a metaphysical sense though her travels with Cassiopeia are interesting in their significance and the way they are shown to the audience. Cassiopeia is a tortoise and Momo has to follow her to get to Nowhere House at the end of Never Alley where Hora is. That implies that Momo follows the constellation Cassiopeia to get to the destination, and that would mean travelling through space and space is known as a ‘sea’ but Cassiopeia is a tortoise not a turtle. Yamuna/Kalindi from the Hindu pantheon, a later/changed version of Kali is known as a River goddess (a tributary of the Ganges/Ganga) and a death goddess (but in the patriarchal change was given a husband and made a consort), rides a tortoise not a turtle on the water and has Black/dark skin. This further intimates that Momo, Master Hora and Cassiopeia are actually based on Kali, direct part of the Mother of All Gods, Divine Mother. In the filming sense when Momo follows Cassiopeia she’s always walking on slopes, upwards or downwards it’s always on an incline.

Cassiopeia Tortoise Momo 1986 Daughter Mother Dark Divine Goddess


The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.


Italian city – remember that Italy, in particular Sicily, and Catholicism have the modern carryover of the Dark Mother, the Black Madonna though she is rarely seen nowadays and usually placed outside the doors of the churches who still acknowledge her. The Black Madonna is a morph of many of the dark Goddesses of the Mediterranean and Africa traced back past the Sumerians/Phoenicians, Egyptians through to the Canaanites and of course to tribal African goddesses (e.g. the morph and demonizing from old culture into Graeco-Roman Medusa) and others from all ancients peoples, distinct likenesses to the older Time, Death, Protector Goddess Kali Maa the Dark Mother.


Along with all the religious, supernatural and physical/mundane (the way society works/lives) representations in the film, philosophical questions are fitted in such as ‘Where does time come from?’ We are not told but shown the answer, or the symbols for it i.e. a ball/oval that opens to a lotus flower petal shapes, within which is a lily and turning hourglass, in addition to Momo seeing herself in a ‘reflection’ in water but not as she currently/physically looks, a self that is surrounded by flowers. Her time comes from within her heart, the lotus has always been representative of the Goddess upon which she sits whilst it floats and she holds a lily (amongst other things), flowers in general are symbols of life and creation.

Momo Heart Time Flower Chakra Yantra Mandala Sacred Geometry Goddess Universe Creation

I don’t really know what other films to compare this seemingly simple yet massively complex film to. I vaguely remember having seen one or two similar in filming style and perhaps in plot but don’t recall them enough to lookup the names. In nature something about it reminds me of Metropolis (1927) but mostly the closest cultural reference I can think of is Terry Pratchett’s Discworld series. Those are books but include a race of beings called the Auditors with distinct similarities to the Men in Grey. They work as a consensus, a collective mind with many bodies that analyse situations like a committee but without the endless arguing and getting little done. They calculate possibilities or know them just as ‘instantly’ as the Men in Grey and meticulously orchestrate events to suit their agenda. Interestingly enough Terry Pratchett, like Michael Ende also played a cameo role in the BBC adaptations of his own books ‘The Colour of Magic’ and ‘The Light Fantastic’ and ‘Earth’/Discworld in his series features a turtle swimming in the sea of space.

On a superficial level this film would probably appeal to those who like somewhat nostalgic films with a sense of working together and generally friendly community in a supernatural/sci-fi genre. The social commentary is light but poignant, the plot compelling and acting convincing. Probably for older children and above in order to understand the plot/dialogue.

On another level there’s a lot to see here but remember “The most dangerous thing in life is to have your dreams come true.” Especially when they’re nightmares or tricks disguised as desires. Or as Momo replies to Gigi when he tells her not to worry about the town not listening to their warning and that they’ll find a new game: “This was no game”.

Momo Daughter Mother Dark Goddess Divine Lalita Bala Kali Mahakali

(Above film screenshots credit to: http://screenshotworld.blogspot.co.uk/2007/07/momo-1986.html)


To the Galactic Core

Galactic Centre Center Core

My branches spread and reach to the sky,
The stars are not far, they hear my cry.

The rose in my heart hasn’t withered and died,
I saw it coming, the leaves and the flowers survived.

The birds and butterflies that helped me fly,
Another heart on my lips, I need not wonder why.

I called to the universe, She heard me sigh,
And said “to your troubles goodbye”.


My eyes shine bright and state beseechingly.
Lips say unspoken words, pleading repeatedly.
The head is at once held strong and high,
And in the next moment hung low in a *sigh*.


On and on the draining pattern continues,
Enemies get bolder and explore more avenues.
One watcher turns into another, one monster begets a brother,
On and on this draining pattern continues.


A group of enemies turns into a gang,
A gang into a town and community bang.
They love to manipulate, orchestrate and drain you of hate,
The one weapon you need, with which to succeed.

On and on until what? Too late?

They like to hurt, shame and humiliate,
Take all control and choices to invalidate,
And then say you wanted, asked, even begged for it.
But the truth is they forced you into a gladiator pit.

False smiles and words, they act like they’re doing you a favour.
Getting you to do things you’d never consider is what they savour.
Numbing the mind until you believe the lies they spin.
You go along with the picture presented within.

Pushing our buttons, pulling our strings
Like forced toys, we’re barely conscious,
Real choices stolen, like clipped wings,
A virtual nightmare, reality is fictitious.

We’re pained to see others, that looks like us,
Or those we thought we knew, turn up on cue,
Actors with our names, faces and ideas,
Pretending they are the original few.

The deceivers say and do, things we never would
Addicted to showing each other, and you that we could
They stop us from talking, thinking and feeling
Replace our words with lies, bar our flight with a ceiling.

Traitors, imposters in the face of others acting sweet,
Man next door, or famous stars to strangers that we meet,
Claiming friendship, allegiance but behind your back,
Plotting, planning, corrupted, colluding on the attack.

They want to portray us as the whore, to sully what is pure.
In respected positions they are all, bought and paid for.
Our lives a circus, dreams are video games and tape.
Our deaths are not real, we’re kept in a quasi shape.

But parasites can’t hide or deny their crime,
Their total annihilation has come to time,
This Earth is full of vampires and rapists,
There will be no escapists.



Ready or Not Friday the 13th – Invocation

Lalita MahaKali Rajarajeshvari Goddess

Mum – Rajarajeshvari

I was writing a review on Monday when I suddenly stopped and started to write a poem (in which I stopped to do some designing) but later on I heard that Friday is World Invocation Day. Invocations are a calling, they can be likened to prayers, spells, mantras – they often don’t sound like much to the casual reader but it’s the intention/feeling of those who need to read/hear it.

I was going to post this on Friday – heck how could I pass up Friday the 13th on a Full Moon? But I’ve decided to post two days in advance. A Full Moon is the point (usually summarized as a day/night) where the Moon is fullest from where those who are looking at it are. However the full range of a Full Moon is three days so I’m posting this in advance of the Full Moon totally. So there 😛

I’ll note that World Invocation Day is known to many as a day for Christ invocation. Many confuse Christ/Christ consciousness with the character Jesus A/The Christ. Christ is not a singular term for one person/creature, names and titles have gotten shortened or changed. He is a character known and changed through time from the Daughter all the way to the masculanized Krishna (though still noted for his feminine qualities aka a ganymede) and Horus e.g. note the distinct likeness in depictions of Isis (who herself was taken down from the top to a consort) and Horus to Mary and Jesus. Anyway, Christ simply refers to Crystal or Crystalline energy which anyone could of attained or started off with but with all the literature it’s something that decreased and become rare like with many abilities/attributes ascribed to beings on Earth previously. Crystalline energy is the Crown Chakra working, known as the seventh chakra above the head (though there’s more than seven chakras/major energy flow points). It’s known as Purple (or Violent according to rainbow understanding) but the shade does vary and it can also found along with or blended with Fuschia/Hot Pink. When people experience Crystal energy their front eyes can be open or closed but they generally experience what seems like warmth at the top of the head and White light coming down/taking the upper part of vision. It doesn’t tend to last long but those who exercise their pineal gland can see the Purple/Pink. It is that energy which is depicted as a/the halo in pictures of ‘divine’ beings and has been done so long before Jesus A/The Christ. So he is now known as Jesus Christ like how his other title Son of Man was changed to Son of God. Regime changes = belief system changes.


Special mention to http://www.crystalrivers.com/prayers/kali.html for this chant:

Hymn to Kali
Goddess of Life and Death

(strongly rhythmic – monotone chant
accompanied by a sudden sound
such as slashing or drumbeat)

Mother! Of all creation    Kali
Listen, and hear my call    Maha Kali

We call , upon your mercy    Kali
For the, great sins of all    Maha Kali

I name, your secret words    Kali
I intone, your name divine    Maha Kali

You are, the deepest cavern    Kali
From whence, the great light shines    Maha Kali

You are, the forest carpet    Kali
Dark yet, the source of life    Maha Kali

You are, heaven’s wrath    Kali
With great torch, and sacred knife    Maha Kali

You are, the depths of matter    Kali
Home of, the spiritual fire    Maha Kali

I am, encased in matter    Kali
I pray, to travel higher    Maha Kali

Save us, from the veiled snares    Kali
Give us, the truth you know    Maha Kali

Dance for us, with flute and drum    Kali
Make the land throb, with your feet    Maha Kali

Come down, o gentle mother    Kali
That we, may be complete    Maha Kali

Chase away, all fearful demons    Kali
With your fierce, and wrathful forms    Maha Kali

Give us love, and sweet protection    Kali
Shelter us, within your storms    Maha Kali

Raise your fists, and give us power    Kali
Show your heart, that we may rise    Maha Kali

Stand tall, upon a mountain    Kali
Spread your banners, through the skies    Maha Kali

We lay, our heads before you    Kali
Prostrate, o terrible one    Maha Kali

Shatter, destroy our bodies    Kali
Bring us, o bring us home
Maha Kali
Mother Kali
Maha Kali


Kali Maa Creator Destroyer Protector Mother Goddess Divine Lalita

Kali is part of the Daughter/Mother/Dark Mother (Bala/Lalita/Kali) triad, she is an ancient remnant which survived even the post-diluvian/Vedic Arayan wave (long before the most well known takeover in Afrika i.e. Graeco-Roman) which changed the early tribal gnosticism to the foundations of Hinduism leading to modern Hinduism and Gnosticism. Branches of those modern systems used for later monotheistic religions e.g. the Indian prince otherwise known as Buddha spreading a diluted and more friendly version of modern Hinduism i.e. no untouchables/low caste to widen the net of believers and for which many disillusioned/outcast could ‘safely’ be transfered to. It then conveniently became monotheistic and masculine but by then the Zoroastrian method was rampant and in no chronological order along came Judaism, Christianity; prophets and gurus were allowed divinity with Islam and Sikhism and of course worshiping oneself or focusing on the self with Jainism (not to be confused with the hedonistic and nihilistic ‘self’ promoted with the version of free will where the individual is ‘god/divine self’ – for the masses rather than religious/political/cultural founders that ideology is more 19th/20th century).

As with hi-story in general her path has been skewered over time and her position, ‘stories’/actions, abilities/role(s) have changed e.g. originally the Dark Mother from the Mother from the Void, she was later described as from Pavarti/Durga who is the wannabe Mother Goddess substitution when ancient Hinduism became ‘modern’ Hinduism and the male triad made up of created beings not original beings from source was substituted over the female source triad (Daughter/Mother/Dark Mother). The consorts or their queens were then used as replacements to keep the status quo of a female triad for the sake of the populace who couldn’t let go or fully forget (like Christian missionaries adorning statues of Mary in traditional Indian ceremonial garb and parading Hindu style or the Black Madonnas – usually left purposely outside of churches). This juxtaposed female triad was then placed under the male one and the male one was streamlined over time aka the father, son, holy spirit.

The following quote has summarized various cultural likenesses/versions of Kali, as aforementioned bear in mind the differences between the newer cultures to the older ones.


Some of the more striking similarities between Kali and Goddesses of other parts of the world are as follows:

We find Kali in Mexico as an ancient Aztec Goddess of enormous stature. Her name is Coatlicue, and her resemblance to the Hindu Kali is striking. The colossal Aztec statue of Coatlicue fuses in one image the dual functions of the earth, which both creates and destroys. In different aspects she represents Coatlicue, “Lady Of the Skirt of Serpents” or Goddess of the Serpent Petticoat”; Cihuacoatl, “the Serpent Woman”; Tlazolteotl, “Goddess of Filth”; and Tonantzin, “Our Mother,” who was later sanctified by the Catholic Church as the Virgin of Guadalupe, the dark-faced Madonna, La Virgen Morena, la Virgen Guadalupana, the patroness and protectress of New Spain; and who is still the patroness of all Indian Mexico. In the statue her head is severed from her body, and from the neck flow two streams of blood in the shape of two serpents. She wears a skirt of serpents girdled by another serpent as a belt. On her breast hangs a necklace of human hearts and hands bearing a human skull as a pendant. Her hands and feet are shaped like claws. From the bicephalous mass which takes the place of the head and which represents Omeyocan, the topmost heaven, to the world of the Dead extending below the feet, the statue embraces both life and death. Squat and massive, the monumental twelve-ton sculpture embodies pyramidal, cruciform, and human forms. As the art critic Justino Fernandez writes in his often-quoted description, it represents not a being but an idea, “the embodiment of the cosmic-dynamic power which bestows life and which thrives on death in the struggle of opposites.”

We find Kali in ancient Crete as Rhea, the Aegean Universal Mother or Great Goddess, who was worshipped in a vast area by many peoples. Rhea was not restricted to the Aegean area. Among ancient tribes of southern Russia she was Rha, the Red One, another version of Kali as Mother Time clothed in her garment of blood when she devoured all the gods, her offspring. The same Mother Time became the Celtic Goddess Rhiannon, who also devoured her own children one by one. This image of the cannibal mother was typical everywhere of the Goddess of Time, who consumes what she brings forth; or as Earth, who does the same. When Rhea was given a consort in Hellenic myth, he was called Kronus or Chronos, “Father Time,” who devoured his own children in imitation of Rhea’s earlier activity. He also castrated and killed his own father, the Heaven-God Uranus; and he in turn was threatened by his own son, Zeus. These myths reflect the primitive succession of sacred kings castrated and killed by their supplanters. It was originally Rhea Kronia, Mother Time, who wielded the castrating moon-sickle or scythe, a Scythian weapon, the instrument with which the Heavenly Father was “reaped.” Rhea herself was the Grim Reaper.

We find Kali in historic Europe. In Ireland, Kali appeared as Caillech or Cailleach, an old Celtic name for the Great Goddess in her Destroyer aspect. Like Kali, the Caillech was a black Mother who founded many races of people and outlived many husbands. She was also a Creatress. She made the world, building mountain ranges of stones that dropped from her apron.

Scotland was once called Caledonia: the land give by Kali, or Cale, or the Cailleach. “Scotland” came from Scotia, the same goddess, known to Romans as a “dark Aphrodite”; to Celts as Scatha or Scyth; and to Scandinavians as Skadi. Like the Hindus’ destroying Kalika, the Caillech was known as a spirit of disease. One manifestation of her was a famous idol of carved and painted wood, kept by an old family in Country Cork, and described as the Goddess of Smallpox. As diseased persons in India sacrificed to the appropriate incarnation of the Kalika, so in Ireland those afflicted by smallpox sacrificed sheep to this image. It can hardly be doubted that Kalika and Caillech were the same word. According to various interpretations, “caillech” meant either an old woman, or a hag, or a nun, or a “veiled one.” This last apparently referred to the Goddess’s most mysterious manifestation as the future, Fate, and Death–ever veiled from the sight of men, since no man could know the manner of his own death. In medieval legend the Caillech became the Black Queen who ruled a western paradise in the Indies, where men were used in Amazonian fashion for breeding purposes only, then slain.

Spaniards called her Califia, whose territory was rich in gold, silver, and gems. Spanish explorers later gave her name to the newly discovered paradise on the Pacific shore of North America, which is how the state of California came to be named after Kali. In the present century, Irish and Scottish descendants of the Celtic “creatress” still use the word “caillech” as a synonym for “old woman.”

The Black Goddess was known in Finland as Kalma (Kali Ma), a haunter of tombs and an eater of the dead. The Black Goddess worshipped by the gypsies was named Sara-Kali, “Queen Kali,” and to this present day, Sara is worshipped in the South of France at Ste-Marie-de-la-Mer during a yearly festival.

Some gypsies appeared in 10th-century Persia as tribes of itinerant dervishes calling themselves Kalenderees, “People of the Goddess Kali.” A common gypsy clan name is still Kaldera or Calderash, descended from past Kali-worshippers, like the Kele-De of Ireland. European gypsies relocated their Goddess in the ancient “Druid Grotto” underneath Chartres Cathedral, once the interior of a sacred mount known as the Womb of Gaul, when the area was occupied by the Carnutes, “Children of the Goddess Car.” Carnac, Kermario, Kerlescan, Kercado, Carmona in Spain, and Chartres itself were named after this Goddess, probably a Celtic version of Kore or Q’re traceable through eastern nations to Kauri, another name for Kali. The Druid Grotto used to be occupied by the image of a black Goddess giving birth, similar to certain images of Kali. Christians adopted this ancient idol and called her Virgo Paritura, “Virgin Giving Birth.” Gypsies called her Sara-Kali, “the mother, the woman, the sister, the queen, the Phuri Dai, the source of all Romany blood.” They said the black Virgin wore the dress of a gypsy dancer, and every gypsy should make a pilgrimage to her grotto at least once in his life. The grotto was described as “your mother’s womb.” A gypsy pilgrim was told: “Shut your eyes in front of Sara the Kali, and you will know the source of the spring of life which flows over the gypsy race. We find variations of Kali’s name throughout the ancient world.

The Greeks had a word Kalli, meaning “beautiful,” but applied to things that were not particularly beautiful such as the demonic centaurs called “kallikantzari,” relatives of Kali’s Asvins. Their city of Kallipolis, the modern Gallipoli, was lefted in Amazon country formerly ruled by Artemis Kalliste. The annual birth festival at Eleusis was Kalligeneia, translatable as “coming forth from the Beautiful One,” or “coming forth from Kali.”

Lunar priests of Sinai, formerly priestesses of the Moon-Goddess, called themselves “kalu.” Similar priestesses of prehistoric Ireland were “kelles,” origin of the name Kelly, which meant a hierophantic clan devoted to “the Goddess Kele.” This was cognate with the Saxon Kale, or Cale, whose lunar calendar or kalends included the spring month of Sproutkale, when Mother Earth (Kale) put forth new shoots. In antiquity the Phoenicians referred to the strait of Gibraltar as Calpe, because it was considered the passage to the western paradise of the Mother.

The Black Goddess was even carried into Christianity as a mother figure, and one can find all over the world images of Mother Mary, the mother of Jesus Christ, depicted as a black Madonna.

Grim Reaper


As times, usually when they are desperate or sucking up/worshiping so fixedly for a wish, the commonly known top level hierarchy aka the false male triad and their nearest and dearest will admit to the existence of  Mother Goddess. The following excerpt from the Devi Gita, one of their early works describing ancient times, shows Her importance in the detailed fervour and pretend admiration/respect they use to beg. More than unfortunately it also shows just how giving and humble She can be to lower Herself to talk to them in such a friendly tone on ‘their’ level, to see Her in a form that wouldn’t kill them by the sheer radiance and then – as all the cultures show – to separate a part of Herself to live amongst them. All beings are creations but to separate Herself is a distinction between creation/realities and her own separate/private sphere which is higher/purer. There is the created/children and those who look after them and design their homes. So to have a part of Herself amongst the children is a higher level being but not so high as to be unable to live there. Such a being is usually called a Daughter, or a Daughter of the Daughter aka a part of the original Daughter from the Daughter/Mother/Dark Mother triad who is all One Lalita anyway. Confusing but creation is a branch.

The Cosmic Form quote from the Devi Gita:


The Goddess displays her Cosmic Form

1-19. The Devî said:–“O Girirâja! This whole universe, moving and unmoving, is created by My Mâyâ S’aktî. This Mâyâ is conceived in Me. It is not, in reality, different or separate from Me. So I am the only Chit, Intelligence. There is no other intelligence than Me. Viewed practically, it is known variously as Mâyâ, Vidyâ; but viewed really from the point of Brahman, there is no such thing as Mâyâ; only one Brahman exists, I am that Brahma, of the nature of Intelligence

p. 711

I create this whole world on this Unchangeable Eternal (Mountain-like) Brahma, (composed of Avidyâ, Karma, and various Samskâras) and enter first as Prâna (vital breath) within it in the form of Chidâbhâsa. O Mountain! Unless I enter as Breath, how can this birth and death and leaving and retaking bodies after bodies be accounted for! As one great Âkâs’â is denominated variously Ghatâkâs’a (Âkâs’â in the air), Patâkâs’a (Âkâs’â in cloth or picture), so I too appear variously by acknowledging this Prâna in various places due to Avidyâ and various Antahkaranas. As the Sun’s rays are never defiled when they illumine various objects on earth, so I, too, am not defiled in entering thus into various high and low Antahkaranas (hearts). The ignorant people attach Buddhi and other things of activity on Me and say that Âtman is the Doer; the intelligent people do not say that. I remain as the Witness in the hearts of all men, not as the Doer. O Achalendra! There are many Jîvas and many Îs’varas due to the varieties in Avidyâ and Vidyâ. Really it is Mâyâ that differentiates into men, beasts and various other Jîvas; and it is Mâyâ that differentiates into Brahma, Visnu and other Îs’varas. As the one pervading sky (Âkâs’a) is called Mahâkâs’a Ghatâkas’a (being enclosed by jars), so the One All pervading Paramâtmâ is called Paramâtmâ, Jîvâtmâ (being enclosed within Jîvas). As the Jîvas are conceived many by Mâyâ, not in reality; so Îs’varas also are conceived many by Mâyâ; not in essence. O Mountain! This Avidyâ and nothing else, is the cause of the difference in Jîvas, by creating differences in their bodies, indriyas (organs) and minds. Again, due to the varieties in the three Gunas and their wants (due to the differences between Sâttvik, Râjasik and Tâmasik desires), Mâyâ also appears various. And their differences are the causes of different Îs’varas, Brahma, Visnu and others. O Mountain! This whole world is interwoven in Me; It is I that am the Îs’vara that resides in causal bodies; I am the “Sutrâtman, Hiranyagarbha that resides in subtle bodies and it is I that am the Virât, residing in the gross bodies. I am Brahmâ, Visnu, and Mahes’vara; I am the Brâhmâ, Vaisnavi and Raudrî S’aktis. I am the Sun, I am the Moon, I am the Stars; I am beast, birds, Chandâlas and I am the Thief, I am the cruel hunter; I am the virtuous high-souled persons and I am the female, male, and hermaphrodite. There is no doubt in this. O Mountain! Wherever there is anything, seen or heard, I alway exist there, within and without, There is nothing moving or unmoving, that can exist without Me. If there be such, that is like the son of a barren woman. Just as one rope is mistaken for a snake or a garland, so I am the One Brahma and appears as Îs’vara, etc. There, is no doubt in this. This world cannot appear without a substratum.

p. 712

And That Substratum is My Existence. There can be nothing else.

20. The Himâlayâs said:–“O Devî! If Thou art merciful on me, I desire, then, to see Thy Virât form in the Fourth Dimensional Space.

This sight is developed when the mind resides in the heart centre or in the cenlre of the eye-brows. A proper teacher is necessary.

21-41. Vyâsa said:–“O King! Hearing the words of Girirâja, Visnu and all the other Devas gladly seconded him. Then the Devî, the Goddess of the Universe, knowing the desires of the Devas, showed Her Own Form that fulfils the desires of the Bhaktas, that is auspicious and that is like the Kalpa Vriksa towards the Bhaktas. They saw Her Highest Virât Form. The Satyaloka is situated on the topmost part and is Her head; the Sun and Moon are Her eyes; the quarters, Her ears; the Vedas are Her words; the Universe is Her heart; the earth is Her loins; the Bhuvarloka is Her navel; the asterisms are Her Thighs; the Maharloka is Her neck; the Janarloka is Her Face; the Taparloka is Her head, situated below the S’atyaloka; Indra and the Devas and the Svarloka is Her arms; the sound is the organ of Her ears; the As’vin twins, Her nose; the smell is the organ of smell; the fire is within Her face; day and night are like Her two wings. The four-faced Brahmâ is Her eyebrows; water is Her palate; the juice thereof is Her organ of taste; Yama, the God of Death, is Her large teeth; the affection is Her small teeth; Mâyâ is Her smile; the creation of Universe is Her sidelooks; modesty is Her upper lip; covetousness is Her lower lip; unrighteousness is Her back. The Prajâpati is Her organ of generation; the oceans are Her bowels; the mountains are Her bones; the rivers are Her veins; and the trees are the hairs of Her body. O King! Youth, virginity, and old age are Her best gaits, positions or ways (courses) paths, the clouds are Her handsome hairs; the two twilights are Her clothings; the Moon is the mind of the Mother of the Universe; Hari is Her Vijnâna S’âkti (the knowledge power); and Rudra is Her all-destroying power. The horses and other animals are Her loins; the lower regions Atala, etc., are Her lower regions from Her hip to Her feet. The Devas began to behold Her this Cosmic (Virâta) appearance with eyes, wide awake, with wonder. Thousands of fiery rays emitted from Her form; She began to lick the whole universe with Her lips; the two rows of teeth began to make horrible sounds; fires came out from Her eyes; various weapons were seen in Her hands; and the Brâhmanas and Ksattriyas are become the food cf that Awful Deity. Thousands of heads, eyes and feet were seen in that form. Crores of Suns, crores of lightnings flashes, mingled there. Horrible, Awful, That appearance looked terrific to the eyes, heart and mind. The Devas thus beheld and began to utter cries of horror and consternation; their hearts trembled and they were

p. 713

caught with immoveable senselessness. “Here is the Devî, our Mother and Preserver.” this ides vanished away at once from their minds.

At this moment the Vedas that were on the four sides of the Devî, removed the swoon of the Devas and made them conscious. The Immortals got, then, the excellant Vedas; and, having patience, began to praise and chant hymns in words choked with feelings and with tears flowing flowing from their eyes.

42-53. The Devas said:–“O Mother! Forgive our faults. Protect us, the miserable, that are born of Thee. O Protectress of the Devas! Withhold Thy anger we are very much terrified at the sight of Thy this form. “O Devî! We are inferior immortals; what prayers can we offer to Thee! Thou Thyself canst not measure Thy powers; how then can we, who are born later, know of Thy greatness! Obeisance to Thee, the Lady of the Universe! Obeisance to Thee of the nature of the Pranava Om; Thou art the One that is proved in all the Vedântas. Obeisance to Thee, of the form of Hrîm! Obeisance to Thee, the Self of all, whence has originated the Fire, the Sun, and the Moon and whence have sprung all the medicinal plants. Obeisance to the Devî, the Cosmic Deity, the Self in all whence have sprung all the Devas, Sâdhyas, the beasts, birds, and men! We bow down again and again to the Great Form, Mâhâ Mâyâ, the Self of all, whence have-sprung the vital breath Prana, Apâna, grains and wheats, and Who is the source of asceticism, faith, truth, continence and the rules what to do and what not to do under the present circumstances. The seven Prânas, the seven Lokas, the seven Flames, the seven Samidhs, the seven Oblations to Fire, have sprung from Thee! Obeisance to Thee, the Great Self in all! Obeisance to the Universal form of the Deity of the Universe whence have sprung all the oceans, all the mountains, all the rivers, all the medicinal plants and all the Rasas (the tastes of all things). We bow down to that Virât Form, the Great Self, the Mahâ Mâyâ, whence have originated the sacrifices, the sacrifical post (to which the victim about to be immolated is bound) and Daksinâs (the sacrificial fees) and the Rik, the Yajus, and the Sâma Vedas. O Mother! O Mahâ Mâyâ! We bow down to Thy front, to Thy back, to Thy both the sides, to Thy top, to Thy bottom and on all sides of Thee. O Devî! Be kind enough to withhold this Extraordinary Terrific Form of Thine, and sbew us Thy Beautiful Lovely Form.

54-56. Vyâsa said:–“O King! The World Mother, the Ocean of mercy, seeing the Devas terrified, withheld Her Fearful Cosmic Form and showed Her very beautiful appearance, pleasing to the whole world. Her body became soft and gentle. In one hand She held the noose, and in another She held the goad. The two other hands made signs to dispel all their fears

p. 714

and ready to grant the boons. Her eyes emitted rays of kindness; Her face was adorned with beautiful smiles. The Devas became glad at this and bowed down to Her in a peaceful mind and then spoke with great joy.

Here ends the Thirhy-third Chapter of the Seventh Book on the Devî’s Virât Rûpa in the Mahâ Parânam, Sri Mad Devî Bhâgavatam, of 18,000 verses, by Maharsi Veda Vyâsa.


Happy New Year/Happy Goodbye

Songkran – The days allocated/celebrated as the first day of the year for many Asian countries. In places such as Thailand, Sri Lanka, Nepal, Cambodia, Lao and Burma Songkran (otherwise related to the Resurrection) is celebrated from 13-15th April, with some places starting on the 12th or ending on the 16th. It coincides with numerous ancient Asian calendars. (https://en.wikipedia.org/wiki/Songkran_(Thailand))

Easter significantly occurs after Songkran and to many old world systems (and most importantly Nature herself) the transcendence of darkness to light, or separation to wholeness or symbolically (but with more gravity than the word ‘symbolism’ usually attracts) the journey into the manifested creation or ‘cave’ begins and is hence prior to the exiting of the cave/the resurrection. Easter is another ancient marking of time that pre-dates Christianity (http://www.mother-god.com/easter.html) and what is now thought to mark a journey of three days is actually three weeks n’est pas? The Entrance, the Suffering and the End. (The Gnostic and pre-vedic early Hindu Creation scriptures are most commonly known through the later, and altered, Inanna/Ishtar and Demeter/Persephone ‘myths’ where the Daughter has to go through the netherworld to be reunited with the Mother and the Dark Mother is usually misconstrued or confused with the Traitor Goddess in an attempt to insert the Maiden/Mother/Crone triad.)

Asian countries such as China, Vietnam and Taiwan just had their tomb-sweeping festival (https://en.wikipedia.org/wiki/Qingming_Festival) where they tend to the graves of their ancestors who have ‘passed’, or transcended or in transition since ‘death’ in this world is now not really Death but a passage which is why we pray for the dead, give offerings that could be of help to them and hope for their souls to be handled properly as if they are not completely gone. Death is the cessation of existence but the Qingming Festival exemplifies that death here is an extension of existence, just different to how we think of/feel it and its position between Easter and Songkran is no coincidence. The ancient calendars are processional and even though people may look and sound different, fundamentally they are the same and the various Asian cultures are more obviously linked though on the World stage we are all linked by our roots.

Easter – the Entrance. Qingming – the ‘dying’/suffering and passing. Songkran – the End/Resurrection of the Daughter in unification with the Mother, also celebrated on May 1st/Maia 14th with the Feast of the Exaltation of the Queen of Heaven. To read about this beautiful festival, its history and meaning: “The Exaltation of the Queen of heaven“.

All About Easter

The Dawn of the World

Eastre, or Easter, is the Great Feast of the Death and Resurrection of God the Daughter.

People who are new to this often imagine that it is taken from Christianity. It certainly does sound very similar, doesn’t it?

Let us begin by looking at the word Eastre/Easter. What does it mean in relation to Christianity? Answer: absolutely nothing.

Easter comes from the name of the Teutonic goddess of Spring and Dawn, Eostre. The name is closely connected to Greek Eos, goddess of Spring and Dawn; Sanskrit Ushas, goddess of the Dawn; and Babylonian Ishtar, the goddess whose descent into the under-world is celebrated in Her spring festival.

The name, as associated with spring/dawn, is so deep-rooted in human language that it goes beyond the normal linguistic “families”. For example, we find the same syllables in the Japanese words asa (morning) and ashita (tomorrow – recall that in most languages, the concept of “tomorrow” is closely connected to that of “morning” – the new dawn, cf mañana, Morgen or the original English meaning of morrow).

So, when we say the word Eastre, or Easter, we are invoking the concepts of morning/dawn, of spring, and of the goddess who rules them. The word has no connection whatever with the Christian “Easter” mythos, except that it is connected with a goddess who dies and is resurrected, descends into the under-world and returns.

None of this should be very surprising. The mythos of the dying-and-rising god-savior is found again and again in ancient religion, and naturally this “god” began as Deity in Her original feminine form and was only “masculinized” by later patriarchal editing.

Why spring and dawn? Because spring and dawn are the equivalent points in the cycle of the day and in the cycle of the year. Spring is the dawn of the year. When cycles were more deeply understood, it was natural that the word for one should also be the word for the other. A very closely associated word is “east” – where the sun rises – and we may note that in the Wheel of the Year Easter comes at the eastern point of its “compass”.

However, the cycle runs deeper than that of mere this-worldly events. “As above, so below”. Things of the world are but reflections of those things that transcend, predate, and are the causes of all worldly being.

Thus the rebirth of the day, and of the year, are but shadows of the rebirth of the cosmos itself and of Deity Herself.

We are here dealing with something fundamental to being. Something that goes deeper than any merely physical science can into the very questions of what existence is and why there is any universe at all. We are entering into regions that are beyond our limited human understanding, but which have been explained to us from the beginning in terms of a mythos that we can understand and relate to.

We know that there is ultimately only one Reality, and that is the Absolute, the Divine, the Atma. We also know that there appears to be a universe and beings (such as ourselves) that exist separately from Her.

How can this be? How can there be a world apart from the Sole Reality? This is the Mystery of Manifestation. The Sole Reality manifests some of the infinite potentialities that lie within Her “outwardly” in the form of a universe. Thus, from our perspective, She is the Creatrix of the world.

However, in order to maintain a world in apparent separation from Herself, She must enact a paradox, since if anything were truly separate from Her, it would instantly cease to exist, because She is existence. Therefore She must come to the place-where-She-is-not.

This Mystery of the separation of the Absolute from the Absolute is enacted in the Nativity mythos.

The Mistress of All Things rose to Her feet. For She had conceived a Daughter that was not separate from Her, but one with Her, and the Child of Her Light.

The Daughter is the Lesser Light of the Mother. While the brightness of the Solar Mother is “too great for us [i.e. the manifest cosmos] to look upon” the Daughter’s Lunar light reflects upon, and sustains, manifest creation. [Naturally we are speaking of the supernal and universal Solar and Lunar principles here – not merely of the astronomical bodies that providentially reflect them for our particular world-system].

Thus the feminine Holy Trinity (or so-called “triple Goddess”) of Mother, Daughter and Dark Mother, are, like the Hindu Trimurti, respectively the Creatrix, the Sustainer, and the (ultimate) Destroyer of manifestation.

The Daughter protects manifestation by being present in every part of the manifest cosmos, even the very lowest: descending “into the nether regions, giving up the Divine light and going down into that place wherein is no light, but only the profoundest darkness”.

With the descent of the Daughter into the nether regions, the world is subjected to that cutting-off from the Divine Source of Being that would have happened if the Daughter had not existed. And when the Daughter is slain, the world’s source of existential sustenance is severed:

1. Now from the time when the Daughter of Heaven had passed through the first gate of Hell, a barrenness had fallen on the earth; and neither bird had sung nor any flower showed its beauty forth; nor was there joy in any heart. 2. But when the Maid was slain upon the pillar of the world, an awful darkness fell on all the earth. 3. And the rivers of the earth ceased to flow, but drained away into the salt sea, and the sea ceased to move, but stood still in awful stagnancy.

Note the imagery of the rivers ceasing to flow. The river is a symbol of the connectedness of all things to their Source. It is precisely this connection that is severed here.

This is the Divine Sacrifice upon which the existence of the cosmos is founded.

Within the Wheel of the Year, Eastre is the three-day event that marks the end and the re-beginning of the cycle. The three days are as follows:

Kala: Moura 28th (March 19th, or 18th on leap years). Kala is the last day of the year. It is also the last day of the fifth season and thirteenth month of Moura which leads up to the Kala event. On this day, Our Lady passes through the Seven Gates of Hell and is slain upon the Pillar of the World.

Hiatus: No date. This day does not “exist” in the Filianic Calendar (March 20th, or 19th and 20th on the two-day hiatus of a leap year). This is the Day that Has No Date – the Day that Is No Day. On this day Our Lady is dead and the cosmos is dying. All statues and pictures of Mother and Daughter are covered in dark veiling. On this day one should try to avoid referring to, or even thinking of, the future. One should act as if this were the Last Day. This is a hard discipline and almost never can it be done perfectly, but even the attempt gives a very profound sense of the Ending and enables one to experience the Resurrection and New Year at a surprisingly deep level.

A special chant used during the Hiatus may be found here.

“And Her Daughter rose again and was alive again.

And amid tears of joy, They embraced and were one.”

Resurrection/New Year: Culverine 1st (March 21st). This is the first day of the year, the day of the Resurrection of Our Lady and the Rebirth of the World:

20. And when they beheld Her, the children of the earth rejoiced, and the rivers flowed again, and the sea began to move.

21. And the children of the earth cried: lift up your voices in song and laughter, for the Princess of the World was dead and is alive again, was broken and is whole; and there is no place whereto Her joyous rule does not extend. 22. Give praise to the Mother of All Things and praise to Her Daughter.

23. Rejoice, for the world is renewed.

After the preparation of Moura, the sacrifice of Kala, and the strange non-time of the Hiatus, the sense of a complete world-renewal for believers is almost uncanny. Our alignment with the world’s most ancient ritual system, and with the fundamental mythos that underlies cosmic manifestation, is remarkably powerful, for we are participating in the world’s most ancient “magic” – the “magic” that is creation itself.

These dates are ‘continuous’ and cyclic only as we ‘know’ them in our existence, in our lives, hence the events they acknowledge seem to repeat but remember that they are only there to remind us of an event, not repetitive events, not a story that is re-told. Our lives are no longer in sync with the cosmic passage of events and what we remember seems like déjà vu because we are multi-dimensional non-linear beings that have been extremely condensed so people confuse past, present and future (e.g. when ‘new discoveries’ are made which are actually the uncovering of past memories). The real Entrance, Suffering and End is one event that we mark in our ‘years’ or timelines that have been set and assigned to us by ruling establishments and so it seems continuous as if we are living our lives and events over and over again through the years but really our lifetime is one unit, one passage of time and the events that we are marking are happening once and once only.

We are almost at Songkran and interestingly enough:

The traditional greeting is “สวัสดีปีใหม่” (sawatdi pi mai), basically “Happy New Year”. Sawatdi is also used for “hello” or “goodbye”. Pi and mai mean “year” and “new” respectively in Thai. Another greeting used is “สุขสันต์วันปีใหม่” (suk san wan pi mai), where suk san means “happy”.

There is also a Total Lunar Eclipse combined with the full moon on the 14/15th April making a Blood Red Moon, all in good time 🙂




OOTD In the Light of the Silvery Moon

So I decided to put a temp Silver rinse in my hair, and I think it turned out pretty well. I figured I’d been Copper/Orange, Gold/Yellow and Platinum/White for half my life but I hadn’t tried Silver/Grey – I’m a Yellow and Red at heart (or Blood and Gold as some people call it) and yet there was a type of Blonde I hadn’t tried so heck I decided it was about time!

I thought about decorating my eyes Ruby Gloom style but it’s not a very wearable style so I streamlined and my own furry sis Kitty was in the background of the pics (Ruby has a dark cat too called Doom Kitty, ours is named Kitty).

Silver Red 1

Silver Red 2

Silver Red 3

Silver Red 4

Today is Chinese (Year of the Horse – just read that which is funny given I recently watched Melody of Oblivion and was thinking about reviewing The Last Unicorn) and Vietnamese New Year – and so of course I am reminded of Quan Yin, the name for the ancient goddess who was later adopted into Buddhism, relegated to their version of a saint/prophet/great guru i.e. a bodhisattva and then masculinised. Much like the goddess Brighid, of Britain, who was later incorporated in the newer regime and demoted to saint Bridget (interestingly enough as I write this storm Brigid is over the UK at the second super moon & second new moon of this month – a rare occurrence). However rather than being one of many deities Quan Yin ties back to the Gnostic Mother-Daughter where the Mother is too powerful to be viewed and hence separates herself to become her own Daughter to look after creation on a more personal level. The Daughter does not create, she is also known as the priestess of the Mother and the representative. She was sacrificed by/for creation that had fallen and resurrected from the cave much like the later stories of Ishtar/Inanna, later Persephone, other male versions and then the obvious predominant male version of this time period. – Quan Yin who vowed to bring justice/help all creation to the very last blade of grass. No one is left behind and no one is forgotten and no one is forgiven.

According to the cute novelty calendar today is also Backwards Day and Inspire Your Heart with Art Day. I’d already decided to draw hands in prayer, clasped or supplication position for today since they are so difficult and wanted to try but then I read about the New Years today and remembered Quan Yin I thought perfect. So my art inspires my heart in an acknowledgement of the ancient yet young one, the younger of the elder, the direct child of God, the Daughter of the Mother, part of the Mother Herself. She who will remember everything and everyone. It being backwards is by remembering Her, going back through time reversing the cultural learning’s of his-story.

For example adam, from the feminine adamah, means ‘bloody clay’. The Adam story being present pre-biblical time from the belief that man was made from clay and moonblood. The moonblood signifying menstrual blood. Or where the koran says Allah made man out of flowing blood; but in pre-Islamic Arabia Allah was the goddess of creation Al-Lat. In Sanskrit root languages aka what has morphed into modern Indo-European languages the word man meant woman but later got swapped around, much like how hermaphrodite and androgyne were switched with hermaphrodite meaning the singular and androgyne the double, However in Hebrew the word dam means blood and still with the original link of from the mother or woman so some forward, or perhaps backward/non-amnesiac thinking scholars ask does A-dam mean woman or blood from a woman/mother?

In modern Hinduism the triad/triple god/power symbol is now male (father/son/holy ghost archetype) but there is a fourth known as the king of the deities, Indra. He stole/tricked the nectar of immortality (known as ambrosia to some) from the doting triple but one goddess Kali/Lalital/Bala (Dark Mother, Mother, Daughter) to get his title. Odin of the Norse peoples did the same thing. Thor reached enlightenment and so-called immortality by bathing in the menstrual blood of giantesses – giantesses in comparison to his own so-called pantheon, more primal and ancient than his people. Celtic kings received their so-called divine right of kingship by drinking the mead, specifically red mead (menstrual blood) of the fairy queen Mab shortened from the name Medhbh (like pharaohs drinking the blood of Isis). People really don’t realize why they worship and admire vampires. Everything has gotten twisted, backwards, names and faces have changed, meanings have conveniently moved, dates have changed – the scarlet woman was not based on a whore(s) (she is based on blood priestesses who did not worship a beast or depravity) and the girl who danced the seven veils was not a tart (the salome story is a morph of Ishtar/Inanna going through 7 levels of the underworld losing piece of clothing at each gate being desecrated/humiliated). Now it’s the blood takers and the created which are seen as divine whereas the source is hidden. The blood is the life to people worldwide, on all continents, through race and religion the menstrual blood has been referred to as the soul, the form, the source of man, that man was made from clay and blood. Blood that protects and is pure, associated with the lunar cycles and has the potential to create, but doesn’t have to. Within itself it holds the knowledge and immortality of that knowledge, reproducing dilutes it and drinking it doesn’t last, fusing/injecting it (yes there are stories) contaminates it – basically changing it in any way desecrates it which is probably why the Mother-Daughter creation is direct, a direct separation/split or self fertilization and why the Daughter is pure, neither has a male consort (Quan Yin is an old version, the later versions who were displayed through mixed pantheons were ascribed lovers) and lesser creation (people call it ‘life’) was known as through clay and menstrual blood. Yet the male ultimate gods and triplicates always have a female involved even if it’s a female child, something many people would balk at and refuse if it was their own pre/teen daughter impregnated by someone/thing claiming to be god, but hey, a huge proportion of the world believes it and seem to be ok with it. There’s still many parts of the world where as soon as a girl menstruates she’s ‘allowed’ to be married to an adult male, a few places up until recently allowed the men of the islands to have their way with all girls that turned 14 as the males right/privilege and up until a handful of years ago men were ‘allowed’ to rape their wives as property in the Western world (like people thinking they had the right own and do what they want with slaves, that didn’t end that long ago yet many have still gotten complacent and forgetful though slavery hasn’t officially ended for women internationally and still happens in communities in the West). Even in modern parts of Europe there’s lobbying to lower the age of consent to 12 – people forget that the age of consent is for older teens acting with teens close to their own age, not adults desperately looking for an excuse to call a teen an adult overnight and say it’s legal. Thousands of years of so-called civilisation and we’ve only just started (last 100 or so years) treating some of us in some parts of the world with any respect.

Back to the part of the world where New Year is being celebrated and why I remembered Quan Yin. The moon goddess Chang-O was said to control menstruation akin to controlling the tides. (Many stories worldwide talk of male gods/deities and wannabes immersing and fighting over sacred waters, or churning it – the congealing or solidifying of it being a metaphor for blood being made solid.) She lived away from the moon (very old religions tend to depict things as both physical as we know it and as personifications i.e. the profane and the divine – significant of how we as humans with our extremely limited audiovisual perception can barely sense anything around us in comparison to the spectrum) so that she could be with her husband. He was jealous and begrudging of her creative power to the point where she left him to go back to the moon (like Lilith left Adam to live at the Red Sea – Red water…) Another interesting moon ‘myth’ from South East Asia being that of the moon maiden who somehow ends up on Earth, thankfully she feels the calling of the moon and her people come for her. In the story she was found on Earth as a baby in a shining bamboo stalk (aka the proverbial stork). There are a few places in Asia that thought that people came from bamboo or that they can come from bamboo stem. Plants have always been an ancient symbol of the sacred geometry (yantra, mandala) of life. There is an Indian saying for a girl’s first menstruation ‘she has borne the flower’ and the meaning of flower being ‘that which flows’. Flowing life = menstruation blood – connected to the moon.

Moon clay is mentioned in various cultures worldwide as is moon blood. What is moon blood? What was the profane/man/creation as we know it made of? Menstruation blood and according to stories clay – we certainly go back to it when our bodies stop functioning. Ever wondered why the non-toxic period aid are called moon cups? What is the colour of ritual, celebration, royalty, blood? Red. From imperial colour to the VIP Red carpet – they walk on the blood, on the rolling tide, the sacred water. Who else walked on water and who walked through the Red sea water? Those two late examples (though one is backdated) being reincarnations of older stories. Who and what power were they able to do all this from – whose blood? Men don’t have menstrual blood. Reminds me of women who’ve self-fertilized and groups of animals where they had no women/females left, usually after having killed them and/or some managed to escape, the males left behind somehow turned back into females (I say back into because the XY is a mutation of the original XX chromosome, everyone starts out female). Interestingly enough in the Indian version of that story of the deity who stole the nectar/drink of life/blood from the MotherGoddess to become ‘king of the gods’, he has a curious feminine quality afterward – he gained knowledge/power and the ability to procreate. First ever male pregnancy eh or did he gain/regain (like the above non-human animal examples) a quality like that of one of his pals (Vishnu) from the male triplicate who has the ability to turn into a female in order to have incestuous relations with another part of the triplicate (Shiv) and reproduce in the profane way.

Oh heck with all this his-story a picture of hands in prayer, acknowledgement, supplication to truth, goodness and purity is needed. It’s not great since I don’t have time or practise or aesthetic (I don’t have pretty hands anymore and I based my pic on them) but it’ll do.

Where is there to look, how will we see – we can’t even look within with all this invasive frequency, many can’t trust their instincts and they don’t search through history, is there a way that we can truly be free? Oh Mother listen to me, I’ve been calling you forever, Earth is not as she used to be, we need you now more than ever, we’ve lost the key. Take us back to that from which we came, we cannot live like this any longer, it’s nothing but shame. I beg you on behalf of us all, return us to source, stop us from this fall. Make yourself complete again, make yourself whole. You’ve waited long enough, take back what’s missing from your soul. People fear what they do not know, they are scared of the connection, they hold on to what’s close to them mistaking it for protection. You and we are incomplete in this state of desecration, we have claimed to be you and perverted manifestation, fix it now and end this devastation. Oh Mother I beseech thee! Hear me! NOW!



This was the quickest drawing I ever did lol, earlier today I dug out the charcoal I’d decided to use for some reason (haven’t used chalk or charcoal to draw since school, which was umm 17 years ago (damn! I got old) I finished school early, wow though 17 years ago and I remember it like it was yesterday unfortunately. Anyway I got my coconut milk and just did the fastest self portrait I could (yes I wear a ton of clothing) which was another strange thing – I’d figured I’d just do the hands or get a picture of hands to use them as a model as I always avoided self portraits because I was no good at them, they were my least arty ability but I guess drawing at speed helped prevent any finicky ‘it doesn’t look right’ issues. Then I kept snapping charcoal as I’m not used to holding them anymore and smudging my lines, lines that I remembered whilst drawing don’t keep the same width as you draw them because the charcoal wears down. Ah well. It’s called ‘Supplication – Daughter’.

Then thisis one I drew later, it’s a picture I’ve been seeing in my mind for a year and half now but I have to be in the mood to draw and in the right mood for the right pic, so I left it until today when I was in the mood to draw these types of images. That said I didn’t have the time or practise for chalk and charcoal as I had imagined doing it so I did it digitally, something that I am used to though have a lousy time doing on the touchpad with my fingertip. Et Voila!



Sanskrit and the Goddess

This new pic highlights the use of the Sanskrit alphabet as homage to the Divine Mother. It has been changed over time but in general it’s an indicator to the origin of all consonants & vowels (known as ‘tatvas’ 36 consonants and 15 vowels) making up all sounds – most commonly heard in the West as the basis for mantras/chants in yoga as they produce the correct frequencies/vibrations necessary for the yoga movement/pose in addition to correct breaths and mudras. These combine the physical aspects coupled with the mental intention of yoga the body needs to get a metaphysical effect (usually experienced by the yoga practitioner through heightened sensory perception in the back of the head and an increased strength in the auric/magnetic energy field around the body).

Lalita Maha Kali Tatvas Nityas

The text is quoted from http://www.religiousworlds.com/mandalam/index.html


In the Space Race

Mum decided she was going to link ancient cultures with this one, touch of Africa, South and South East Asia from the boots to the headdress.

Lalitamahakali Kali Nibiru Wormwood Planet X Goddess Mother Divine