Red Galactic Dragon/ Red Crystal Skywalker - Galactic Hawk Moon of Integrity, Day 21

8 Imix

Red Galactic Dragon

Red Dragon

Red Road

Red River

Red Earth

Giver of Birth

Death

And Re-birth

Universal Water 
Flows into

High Dimension

Initiate – Perfect – Ascend

Now comprehend

The Language of the Gods –

Hieroglyph!

©Kleomichele Leeds

"Community" by Roxanne Swentzall; photo courtesy of Roxanne Swentzell.

Roxanne Swentzell loved art from an early age. As a child, Swentzell struggled with a speech impediment that prevented her from communicating. Unable to articulate her emotions through words she began to make miniature figures in clay to convey her feelings. The sculptures she created as a means to express herself to others continues to be her primary artistic medium to date.

While still in high school, Swentzell attended the Institute of American Indian Arts in Santa Fe, New Mexico. In 1979, the young artist left home for the Portland Museum Art School because of its emphasis on the human figure. At the Portland Museum Art School she progressively grew unhappy. After one year in Portland, the homesick Swentzell returned to Santa Clara Pueblo. Back in her native soil she began to build her family and home while her creativity flourished.

Swentzell’s clay sculptures have moved and delighted audiences around the world. Her artistic endeavors have won Swentzell numerous awards since her early twenties.

Swentzell's first public exhibit was at the annual Santa Fe Indian Market in 1984; two years later she won a total of eight awards for her sculpture and pottery at the same event. In 1994, Swentzell also won the Market’s Creative Excellence in Sculpture award. Swentzell’s work combines personal and society commentary and reflects a deep respect for the earth, family, and cultural heritage. Her sculptures have shown at the White House in Washington, DC, and in galleries and museums worldwide. Some of her permanent installations are at the Smithsonian’s National Museum of the American Indian, Cartier in Paris, the Santa Fe Convention Center, and the Museum of Wellington in New Zealand.

Roxanne Swentzell was born on December 9, 1962 in Taos, New Mexico, a Pueblo located in a tributary valley off the Rio Grande. Her parents Ralph and Rina Swentzell nurtured and facilitated Swentzell’s interest in art early on in her life. Her German-American father was a philosophy professor at St. John’s College. Her mother, Rina Swentzell, was a distinguished activist, scholar, and architect who came from a Santa Clara Pueblo family of artists. Roxanne’s uncle, Tito Naranjo, was a scholar and artist. Michael Naranjo, another uncle, is a well-recognized sculptor who was blinded in the Vietnam War. Two of Swentzell’s aunts, Jody Folwell and Nora Naranjo-Morse, are admired potters in the art community.

As a young child Swentzell began to experiment with clay, creating tiny figures to convey her feelings. Roxanne found it exceedingly difficult to communicate through speech because of a speech impediment. The desperate need to express her feelings provoked her to collect scraps of clay from her mother, a potter, to create figures to illustrate her feelings. When she was in first grade, Swentzell molded a small clay school desk with sad, weeping little girl slouched in it. The sculpture was meant to explain her unhappiness at school to her mother. Sculpting became Swentzell’s primary means of communication: an emotional outlet and safe haven to express her feelings. Swentzell’s teachers were amazed by her clay figures and took a special interest in developing her talents as a young sculptor.

The descendant of a long line of the talented potters of the Santa Clara Pueblo, Swentzell grew up with customary methods of Pueblo pottery making. She grew up watching her mother harvesting clay then hand-coiling and pit-firing pots. She learned from an early age how to dig, mix and process her own clay.

Education

The initial difficulties that Swentzell encountered in grade school continued throughout her formal education. Discontented, Swentzell exhausted every art opportunity at her high school. In 1978, Swentzell’s parents enrolled her in the Institute of American Indian Arts (IAIA) in Santa Fe. It was here that Swentzell gave her first art show in the school’s museum. Following her two years at IAIA, Swentzell attended Portland’s Museum Art School in 1980. However, Swentzell soon grew homesick after one year of study. Swentzell’s homesickness stemmed from her growing dissatisfaction and disillusionment with Portland’s art scene. She found that artists in Portland separated art from their everyday lives and their art did not  reflect what surrounded them. This was especially disheartening to Swentzell, as her art had always been inspired by her own life experiences.

While Swentzell’s formal education ended with her departure from The Portland Museum Art School, Swentzell does not consider that the end of her education. Swentzell has said that “Everyday is an amazing new book, a test in every discipline, a chance to advance myself, and great times on the playground.” This philosophy is reflected in her decision to home school her two children. Of this experience, Swentzell has commented that raising and home schooling her children was an education for her as well.

Personal life

Swentzell’s ability to balance her family obligations and art has resulted in a dual prosperity for her family and her artistic endeavors. Swentzell's daughter Rose Bean Simpson followed in the family practice of making art. Simpson is a graduate of the Rhode Island School of Design and is a sculptor. Porter Swentzell is a processor at IAIA, a dancer, and singer. Swentzell home-schooled her children, the children of several neighbors, and her grandchildren. Remembering how much trouble she had in school, Swentzell provided a nurturing education for her own children and others.

Furthermore, Swentzell's deep relationship with nature has given birth to an oasis of trees and gardens in the high desert landscape of Santa Clara Pueblo that she calls home. Swentzell lives in a solar-powered adobe house that she built herself. Here, she partakes in the pueblos ceremonial dances and feasts.

In addition to her art, Swentzell farms her own land to provide self-sustenance. Swentzell is the Co-Founder and President of the nonprofit Flowering Tree Permaculture Institute created in 1987 at the Santa Clara Pueblo. Flowering Tree is an organization that is based on the theory of ecological design which seeks to build sustainable human living and agriculture. The Institute provides lessons on different techniques and methods for healthy living. Some classes taught at the Flowering Tree Permaculture Institute include: how to farm, how to farm in a high desert climate with low water use, how to take care of animals, adobe construction, and solar energy. Swentzell’s work with Flowering Tree Permaculture Institute reflects her dedication to nurturing the Earth and sustaining its resources. To further her work with the Institute, and to her own personal philosophy, Swentzell looks to her Native American ancestors as examples of preservers and protectors of the earth. Her concerns extend not only to preserving the earth but to preserving the indigenous knowledge of conservation. She initiated the Pueblo Food Experience, in which participants only ate foods available to pre-contact Tewa people.

Artwork

Swentzell demonstrates her remarkable and versatile talent in her diverse collection of work. Her sculptures are emotional portrayals of her own personal experiences. Though deeply personal, her art is also intensely rooted in her Santa Clara Pueblo culture. The subjects of her work are predominantly female and focus on issues such as gender roles, identity, politics, family, and the past.

Like in classic Pueblo pottery, Swentzell crafts her clay figures from coils of clay. Swentzell, however, differs from other Pueblo potters who dig, sift, clean, and process their own clay by choosing to use store bought clay. Swentzell has stated that she is not overly concerned that her clay is store bought, as clay, no matter how it is packaged, comes from the earth.

Once Swentzell has her clay, she squeezes the clay into thick coils and then joins the coils together to build the walls of her figure. During the two- to four-day process of coiling, Swentzell keeps the clay moist. and uses a knife or stone to smooth over the ridges of the coils. While Swentzell’s figures are hollow, the toes and fingers of each figure are solid. Swentzell leaves vacant space at the core of her figures in order to reduce the chance the figure will explode in the burner while baking. The final figure Swentzell produces is often painted and can include details of eyes, hair or clothing on the figure.

Swentzell’s Santa Clara heritage can especially be seen in her Clown series. A clown, or koshare in the Pueblo belief, is a sacred being that often teaches through its actions. Swenztell’s Despairing Clown figure is a commentary on the loss of identity. The sculpture itself is a clown who looks down sadly as he peels off his stripes and seeks to convey the struggle of finding oneself again. Emergence of the Clowns (1989), symbolizes the surfacing of the Pueblo people into this world. Three of the figures in Emergence are partial human forms which progressively lead to a final figure who is complete. Each partial form is meant to capture emotions of amazement, knowledge, and awe. The stages of ascendancy in Emergence, shown in each figure’s development, further accentuate the Pueblo’s collective journey upward.

Pinup (2000) and In Crisis (1999) address what Swentzell’s believes to be the unrealistic physical expectations placed by popular culture on young women and the resulting struggle by women with self-image and identity. In Pinup, the Native American woman’s unemotional face is painted white. The figure covers her nude form behind a headless poster of a thin, bikini-wearing model (similar to the graphic posters of Playboy pin-ups from the late 1970's by Patrick Nagel). The figure struggles to fit into society’s preconceived image for her, hiding behind the mask of an unobtainable image, both in color and shape. The burden of the “perfect” body and face weighs heavily on the figure; the figure is reduced to a slouched, defeated posture; the figure's fingers and toes are unadorned by make-up and the poster, and expose the figure’s genuine beautiful nature.

Swentzell's In Crisis, seeks to explore the media's influence on beauty and identity. The figure in this piece is conscious of the effect the media and pop culture is having on her. The figure struggles to fight off these projected ideals of beauty and identity by clawing her own hand. Yet, the figure’s own brightly painted red fingernails symbolize the danger the media poses to her.

Swentzell likens her artwork to a personal journal that is shared with all who are interested. She continues to sculpt her story as it unfolds and her art represents the path that Swentzell has crafted for herself: one that is led by her emotions, experiences, and creation of art.*

*https://en.wikipedia.org/wiki/Roxanne_Swentzell

IMIX

Kin 21: Red Galactic Dragon

I harmonize in order to nurture

Modeling being

I seal the input of birth

With the galactic tone of integrity

I am guided by the power of life force.

Infinity is the mind of God, or the instant  of all-encompassing inter-dimensional space full of the telepathically structured programs of existence.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

www.lawoftime.org

www.tzolkincosmology.com

www.13moon.com

www.mayanmajix.com

The Sacred Tzolk'in

Anahata Chakra (Silio Plasma)

Yellow Resonant Sun/ Yellow Spectral Human - Galactic Hawk Moon of Integrity, Day 20

7 Ahau

Yellow Resonant Sun

If Time is Art

Then Sun – Thou art

Perfection’s Star

Shining Elegance

 Light’s Anchor

Wisdom’s Author

 Beauty manifest –

Spirit’s descent

Into Matter Thou art -

Animating Cosmos

North – South – East – West –

Center.

©Kleomichele Leeds

Madonna Swan

Madonna Mary Swan-Abdalla (September 12, 1928 – 1993) was an American Indian woman Lakota. Born on the Cheyenne River Sioux Reservation in South Dakota, Madonna Swan prevailed over extreme difficulties including the Native American tuberculosis epidemic of the 20th century to lead a fulfilled life. She overcame the terrible conditions of socio-economic deprivation, restricted education, poor health care, and confinement to the Indian tuberculosis sanatorium and the reservation, to attend college, become a Head Start teacher, marry, raise a child, and be named Native American Woman of the Year. Madonna Swan become an inspiration to both Indian and non-Indian women.

In the autobiographical narrative Madonna Swan: A Lakota Woman’s Story as told through the author Mark St. Pierre, Madonna Swan relates the stories of her life.

Early life

Swan was born on the Cheyenne River Reservation to Western Sioux parents in 1928. She was the fifth child of ten, of which only five survived to adulthood. Makoka Winge’ Win (Goes Around The World Woman) was her Indian name given by her father. Her parents, James Hart Swan and Lucy Josephine High Pine-Swan were born around the turn of the 20th century. Madonna’s father James completed education at both Chilocco Indian Agricultural School, an Indian school in Oklahoma, where he would have been taught a skilled trade geared toward agriculture, and two years at Haskell Indian College, which was the equivalent of a junior college. For the first five years of her life the Swan family lived with Madonna’s paternal great-uncle, known as Grandpa Puts On His Shoes, or Grandpa Puts for short. American Indian elders of Grandpa Puts' age (born before 1900) were alive during the nomadic days before the Indian victory and defeat of Custer at Little Big Horn and the subsequent final Indian confinement on reservations. Madonna Swan’s childhood was filled with beliefs and customs of the traditional Indian lifestyle. She relates a story of being cured of warts by rubbing a raw potato on them.

Boarding school and disease

Madonna attended Immaculate Conception, a Catholic boarding school in Stephan, South Dakota. She expressed great pleasure in attending school and joined the basketball team. It was at this school in the fall of 1943 where Madonna first learned that some of her classmates had tuberculosis. She became aware of the disease as did the school staff after several girls developed coughs and chest pain, weight loss, and hemorrhaging. Several girls died from what was termed "quick consumption. "Madonna herself manifested the symptoms of TB.

Tuberculosis and life at the Indian sanatorium

Her brother Kermit, who had introduced Madonna to the man whom she would later marry, was wounded in World War II and had also contracted malaria. Kermit died in the spring of 1944. Misfortune followed Madonna as she returned to Immaculate Conception in the fall of 1944 and received the official diagnosis of tuberculosis (chanhu sica – bad lung in the Lakota language). TB was a huge stigma in this time period. The Indians considered TB akin to a social disease. Indian homes that had a person with TB living in them were quarantined, and a red tag was attached to them. The tag was removed when the person with TB died or went to the sanatorium.

The treatment for tuberculosis during this time was isolation (hence the sanatoria) and artificial pneumothorax or lung compression. In December 1944 Madonna Swan was taken to the Sioux Sanatorium in Rapid City, SD. During her many years at the San, as it was referred to, Madonna was treated for her TB by the placement of bean bags on her chest while lying flat on the back for hours on end. In this way  pneumothorax or lung compression was accomplished. The theory behind this treatment was that the collapsing of the lung would kill the mycobacterium tuberculosis by eliminating the air which the bacterium needed to grow, an idea supported by the Italian physician Carlo Forlanini. This treatment, however, did not provide a cure for Madonna Swan.

Another important part of the treatment regime for TB was enforced rest, together with a proper diet and a well-regulated hospital life. Unfortunately these were not available to those at Indian sanatoria. The living conditions at Indian sanatoria were not favorable to recovery. The food was unvaried and substandard, infested with rodents and their droppings according to Madonna Swan.

Even though the drug streptomycin had been developed and shown to kill mycobacterium tuberculosis, this medicine was not available to Indians who were patients at Indian sanatoria, at the time of Madonna Swan’s confinement. Due to discrimination, both the poor living conditions and the lack of medicine were common.

In the sixth year of her confinement in the sanatorium Madonna’s younger brother Orby, who also had tuberculosis, died. He had begged his sister to have their parents take him home from the sanatorium so that he could die at home. He was taken home and died later the same day. After being denied the opportunity to attend her brother’s funeral, and the thought of dying in the sanatorium added to Madonna’s desire to leave, which she did without permission and returned to her family home. Facing the threat of quarantine her father refused to return Madonna to the Indian sanatorium. Instead he wrote to an old school friend, Henry Standing Bear, who advised them to see a doctor in Pierre and gain admittance to the “white” TB sanatorium, Sanator at Custer, SD. This was not simple, again due to discrimination because they were Indians the authorities denied her admittance to Sanator, telling them that they had to go back to the Sioux San. Madonna’s father James Hart Swan would not accept this denial and he gained an audience with the governor of South Dakota, Judge Sigurd Anderson. James Swam explained their situation and the governor, who considered himself somewhat of a pioneer for human rights, understood that American Indians were not treated fairly, arranged for Madonna to be admitted to Sanator.

Sanator

Madonna was admitted to Sanator in September 1950. She found this hospital very different from the Indian San. The grounds around the building were landscaped with trees and flowers, and patients were allowed to wear their own clothing and walk around the grounds. Her doctor, Dr. W. L. Meyers vowed to Madonna’s parents that he would do everything in his power to help their daughter. The initial treatment was to pump air into the abdomen, and after that proved to be unsuccessful, they tried pumping air into her back to collapse the bad lung, which also failed. They next tried an operation called a phrenic which would permanently collapse her infected lung; again it failed to kill the TB.

After attending a conference on tuberculosis, Dr. Meyers learned of a procedure that was new in the United States. This operation required the removal of ribs and the upper lobe of her more infected lung, followed by another operation to remove the rest of the lung. Madonna Swan was one of the first patients to undergo this new procedure and much was learned about the treatment of TB from her experiences. Following the successful removal of lung and ribs, they were able to treat her remaining lung with an antibiotic designed to kill the TB bacteria (INH, Isoniazid).

With the removal of all of her ribs on one side, Madonna was paralyzed from her neck through her left arm and was unable to sit up. Battling depression, fitted with a brace to provide support, Madonna made a long and arduous recovery, gradually regaining sensation. While recovering she learned from reading and practice in the Sanator classroom how to repair jewelry. She received certification in horology (watch/clock repair).

Life after tuberculosis

In 1953 after ten years from first onset of symptoms of TB, Madonna was finally cured. She worked at Sanator as a receptionist and later left to take a job repairing jewelry, watches, and clocks. Madonna’s father died in 1953.

In 1956 Madonna married Jay Abdalla, who was an army friend of her brother Kermit. Together Madonna and Jay raised Austin Paul, the son of her sister. Madonna became an aide in the Head Start program and later a teacher. Madonna earned her Graduate Equivalency Diploma (General Educational Development - GED) in 1967. Although she completed 136 credit hours at the college level, Madonna was never able to earn her undergraduate degree due to her frail health. She took great pride in the accomplishments of her “son” Austin Paul, who graduated from college in 1979.

Madonna Swan-Abdalla was selected as the North American Indian Woman of the Year by her tribal sisters at Cheyenne River in 1983.

Legacy

Madonna Swan is known through her story as she related it to the author Mark St. Pierre. She serves as a symbol of courage, perseverance, and strength to all her read her story.*

*https://en.wikipedia.org/wiki/Madonna_Swan

AHAU

Kin 20: Yellow Resonant Sun

I channel in order to enlighten

Inspiring life

I seal the matrix of universal fire

With the resonant tone of attunement

I am guided by the power of free will

I am a galactic activation portal

Enter me.

The fifth-dimensional being is the pure electronic level of the superior higher self, or I.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

www.lawoftime.org

www.tzolkincosmology.com

www.13moon.com

www.mayanmajix.com

The Sacred Tzolk'in 

Manipura Chakra (Limi Plasma)

Blue Rhythmic Storm/ Blue Planetary Monkey - Galactic Hawk Moon of Integrity, Day 19

6 Cauac

Blue Rhythmic Storm

Lightning is Consciousness

Thunder is Mind -

Storm awakens 

Re-minding Soul

Disturbing Turbulent

Turbine of Clouds

Connects and Combines

 Heaven and Earth

Catalyzing Coruscation –

Thundering Rumble

Organizes Ions

Generates Rebirth

Electromagnetic Attraction

Distracts Attention

In the Mundane caught

Then falls the Rain –

Sweet 

Baptismal Afterthought.

©Kleomichele Leeds

Anita Louise Suazo Pottery.

Anita Louise Suazo (born May 13, 1937) is a Native American potter from Santa Clara Pueblo, New Mexico, United States.

Background

She is the daughter of Ernesto Tapia and noted potter Belen Tafoya Tapia (1914–1999). Anita’s mother Belen was one of the innovators of finely crafted polychrome redwares. She was a first cousin to Margaret Tafoya. Growing up in a family of traditional potters, Anita began learning Santa Clara pottery techniques as a child from her mother.

Artwork

She works with her husband Joseph who helps her dig clay from the soil near Santa Clara. Her pots are made using the traditional, free hand coiling technique, polishing stones and native clay.

Anita makes carved redware and blackware, polychrome redware, black melon pots and carved two-tone black on black pottery. She carves or decorates her pots with water serpents, rain clouds, kiva steps, feathers and other prehistoric stylized designs.

Awards and honors

Anita is recognized as a master potter. Since 1979, she has consistently won awards at the Santa Fe Indian Market and the Eight Northern Pueblos Indian Arts and Crafts Shows. In 1985, she participated in the Sid Deustch Gallery show in New York with Margaret Tafoya and 42 other Santa Clara potters. In 1986 she received the Jack Hoover Memorial Award for excellence in Santa Clara pottery. She has taught workshops and given demonstrations on traditional Native American pottery techniques at the University of New Mexico and the University of California at Davis. Her pottery can be found in collections of the Heard Museum in Phoenix, the Smithsonian Institution, the Millicent Rogers Museum in Taos, the Museum of New Mexico in Santa Fe, and in collections around the world.

Further reading

Hayes, Allan and John Blom. Southwestern Pottery: Anasazi to Zuni. 1996.

LaFree, Betty. Santa Clara Pottery Today. 1975.

Schaaf, Gregory. Pueblo Indian Pottery: 750 Artist Biographies. 2000.*

*https://en.wikipedia.org/wiki/Anita_Louise_Suazo

CAUAC

Kin 19: Blue Rhythmic Storm

I organize in order to catalyze

Balancing energy

I seal  the matrix of self-generation

With the rhythmic tone of equality

I am guided by my own power doubled.

Everyone and everything is illusion; there is no "me" and/or they are all "me" and none of them is "me".*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

www.lawoftime.org

www.tzolkincosmology.com

www.13moon.com

www.mayanmajix.com

The Sacred Tzolk'in

Visshudha Chakra (Alpha Plasma)

White Overtone Mirror/ White Solar Dog - Galactic Hawk Moon of Integrity, Day 18

5 Etznab

White Overtone Mirror

The glass Heart shatters

In Time’s Mirror-Hall

One Shard – one Fragment

 Reflecting All

Each Hologram

Soul’s Echo –

Dimension of the Overtone –

    Intuition’s home

 Metaphor this Earth-life –

Every Scene Projection –

 Keen Desire’s fire

  Always Karma bound  

Empowerment lives

 In Forgiveness compassionate

In Behavior kind –

Find true Peace of Mind

Behind Ego’s Flight.

  

©Kleomichele Leeds

"Peaceful Interlude" by Virginia Stroud.

Virginia Alice Stroud (born 1951) is a Cherokee-Muscogee Creek painter from Oklahoma. She is an enrolled member of the United Keetoowah Band of Cherokee Indians.

Early life

Virginia Stroud was born on 13 March 1951 in Madera, California. Her mother died when she was eleven, so Stroud moved to Muskogee, Oklahoma to live with her sister. She sold her first painting at the age of 13.

Stroud graduated from Muskogee High School in 1968. From 1968 to 1970, she attended Bacone College and studied art under Cheyenne painter Dick West, who made her his studio assistant. She then attended the University of Oklahoma.

In her late 20's, Stroud was adopted, following Kiowa tradition, as a daughter of Evelyn Tahome and Jacob Ahtone, a Kiowa couple.

Pageants and the Tear Dress

In 1969, Stroud served as Miss Cherokee Tribal Princess. She went on to win the title Miss National Congress of American Indians in 1970, and in 1971, she was crowned Miss Indian America XVII. When Stroud competed for the title of princess in 1969, Cherokee women wanted her to represent the tribe in a "traditional" Cherokee outfit, which was problematic since Cherokee women wore contemporary mainstream fashions for at least two centuries and wore very little clothing before that. A committee of Cherokee women, appointed by Chief W. W. Keeler designed a dress based on a hundred-year-old Cherokee dress owned by a Cherokee lady, Wynona Day, and from surrounding Southeast tribes' formal regalia, and they created the "Tear Dress."

Art career

Stroud paints with tempera and gouache and is a fine art print maker. She also has written and illustrated several children's books. She draws inspirations from ancient pictographs and historical ledger art. Over her career, Stroud developed a narrative style with minimal facial details in her people and lavish floral backgrounds. She also paints kinetic wooden sculptures and fine art furniture.

Her work is in such public collections as the Gilcrease Museum, Millicent Rogers Museum, Philbrook Museum of Art, Fred Jones Jr. Museum of Art, Cherokee Heritage Center, and Cherokee Nation Entertainment.

Of her work, Stroud says, "I paint for my people. Art is a way for our culture to survive... perhaps the only way."

Honors

In 1970, Stroud became the youngest Native artists to win first place in the Woodlands division of the Philbrook Museum's annual juried art show. In 1982, the Indian Arts and Crafts Association honored Stroud as Artist of the Year. The Five Civilized Tribes Museum declared Stroud a Master Artist in 1986. In 2000, she was given the Cherokee Medal of Honor.

Published works

Doesn't Fall off His Horse: A Cherokee Tale. Dial, 1994. ISBN 978-0-8037-1635-3.

A Walk to the Great Mystery: A Cherokee Tale. Dial, 1995. ISBN 978-0-8037-1636-0.

The Path of the Quiet Elk: A Native American Alphabet Book. Dial, 1996. ISBN 978-0-8037-1718-3.*

*https://en.wikipedia.org/wiki/Virginia_Stroud

ETZNAB

Kin 18: White Overtone Mirror

I empower in order to reflect

Commanding order

I seal the matrix of endlessness

With the overtone tone of radiance

I am guided by the power of death.

Only a few brave souls dare to into the unknown; they become the super shamans and mediums of the masses.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

www.lawoftime.org

www.tzolkincosmology.com

www.13moon.com

www.mayanmajix.com

The Sacred Tzolk'in 

Svadhistana Chakra (Kali Plasma)

Red Self-Existing Earth/ Red Galactic Moon - Galactic Hawk Moon of Integrity, Day 17

4 Caban

Red Self-Existing Earth

Blushing Earth

 Turns coyly  

From Sun’s fierce Eye

At dusk –

 Through the Night

She spins –

Navigating Evolution’s

Synchronicity

Her sapphire

Sphere nurtures us –

Her Children –

Under a shy white Moon.

©Kleomichele Leeds

Minnie Spotted Wolf

Private Minnie Spotted-Wolf (1923–1988) was the first Native American woman to enlist in the United States Marine Corps.

BIOGRAPHY

Minnie Spotted-Wolf enlisted in the Marine Corps Women's Reserve in July 1943.

Spotted-Wolf, from Heart Butte, Montana, was a member of the Blackfoot tribe. Prior to joining the Marines, she had worked on her father's ranch doing such chores as cutting fence posts, driving a two-ton truck, and breaking horses. Known for her skill for breaking horses, she described Marine boot camp as: "hard but not too hard."

She served on military bases in California and Hawaii. She was a heavy equipment operator, and as a driver for general officers.

Press coverage of her wartime service included headlines like Minnie, Pride of the Marines, Is Bronc-Busting Indian Queen. According to her daughter, "she could outride guys into her early 50's."

After her military service, she earned a degree in Elementary Education, and spent 29 years as a teacher.*

*https://en.wikipedia.org/wiki/Minnie_Spotted-Wolf

CABAN

Kin 17: Red Self-Existing Earth

I define in order to evolve

Measuring synchronicity

I seal the matrix of navigation

With the self-existing tone of form

I am guided by the power of space.

The more the machine world proliferates, the more we lose coherent contact with the deepest symbolic side of our brain.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

www.lawoftime.org

www.tzolkincosmology.com

www.13moon.com

www.mayanmajix.com

 The Sacred Tzolk'in

Ajna Chakra (Gamma Plasma)