If you do not understand racism (white supremacy) and how it works, everything else you understand will only confuse you. - Neely Fuller

We need something to clarify everything for us, because we get confused...but if we use the concept of Asili, we will understand that whatever it is they are doing, whatever terms they use, however they come at you, you need to be thinking about what? How is this going to facilitate their power and help them to dominate me? -Marimba Ani

Tuesday, July 14, 2015

Trinity Of Rhythm | Differences We Have In Common
Unity Consciousness #349

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Everything and everyone is changing, thus in motion. There must be a rhythm to motion if it is to maintain itself in an ongoing way. The ecosystem needs rhythm. Rhythm is a key to existence and life. By its nature, rhythm is composed of difference and commonality.

Rhythm plays itself out in many ways. One easily noticeable way is through the beat of the drum.

“In Vodu, the three Rada drums are called bula or petit, the smallest; seconde, the second or middle drum; and maman, which is the largest.
The trinity of drums also lives among the Rastafari. Collectively called the akete, the drums comprise the repeater, also called the kete, the funde, and the bass.
In Santería, the three batá drums also vary in size and sound, from the iya (iya in Yoruba means mother); the itotele, or the middle one; and the okonkolo (also okonkilo or orele), the smallest. In Yorubaland, these drums are respectively known as Iyá Ilú, Omele, and Kudi.
In other places such as Martinique, Guadeloupe, and Guyane, three drums are also ubiquitous, with each performing a different but complementary function in the ensemble, hence one drum to damme (to announce), another to refoule (to send the rhythm back), and the third to coupe (to cut).
In Guyana, this significance of the number 3 in drums is preserved in two variations. The terms rondel, tampalin, and sassi suzina represent Kongo influences, whereas a Central African influence is reported in the terms tuta, ja, and bass.” (1)

Rhythm and the drum. Rhythm through the drum. Both are part of the one and same process of reminding us of our interrelatedness and interconnectedness to the ecosystem's rhythm. Human beings must stay in motion according to their intended process of development in order to maintain this rhythm. This is the deeper reason why the playing of the drums was illegal during the enslavement because it is a connection to our inherent rhythm. It is one of many reminders of our inner rhythm's connection to the universal culture of rhythm.

Trinity Of Rhythm we have in common with the Creator who appears as Mother, Father and Child, within and without.

Trinity Of Rhythm we have in common with Atum who appears as Neutron, Proton and Electron ,within and without.

Trinity Of Rhythm we have in common with the tree whose life resonates through the drum and on and on through photosynthesis, respiration and transpiration to match our ingesting, digesting and outgesting.

There are many more trinities and rhythms. Many come out of One. Many beats, many rhythms, one harmony.

Having rhythm is essential to having civilization. We have rhythm because we need rhythm. Music soothes and its rhythm heals. We are rhythm. We are self-healing.

Through knowledge of self, all motions of marching to different drummers will naturally move back into the cosmic rhythm we have in common.

(1) Asante, Molefi Kete and Mazama, Ama Editors, "Encyclopedia Of African Religion," (2009) p. 663.