American   Aborigines

By Aboriginal Excellence, Mar 9 2016 11:24PM

Tupac's birth name was Lesane Parish Crooks. His mother was a Black nationalist and member of the Black Panther Party. She nationalized her son around the age of one, renaming him after an American aboriginal and Inca emperor TUPAC AMARU SHAKUR. Tupac and his parents fought their own revolution in the United States of America. Tupac himself was the National Chairman Of The New Afrikan Panthers and was dedicated to the liberation of Black Americans.

Click on pictures to enlarge.

Tupac's business card. via Complex.com
Tupac's business card. via Complex.com

c.1599 A first look of the Americans an Inca nobleman and his sons
c.1599 A first look of the Americans an Inca nobleman and his sons

By Aboriginal Excellence, Nov 4 2015 02:06PM

According to their own cosmology they were!

Among the indigenous tribes of the southeastern United States, living within a territory roughly defined by the borders of Georgia and South Carolina, was one, exhibiting a type of culture common to the inhabitants of the country bordering on the Gulf of Mexico east of the Mississippi river, whose members called themselves Tsoyahd, "Offspring of the Sun," otherwise known as the Yuchi.

The Yuchi, in accordance with their belief that they were the original occupants of eastern Georgia and South Carolina, have no migration legend. Their only myth of this class tells how a part of the tribe broke away from the main stock as the result of a dispute at a dance and departed westward, never to be heard of again.The following translation from the beginning of a myth, describing the way in which the tribes were distributed over the earth, shows the Yuchi concept regarding the origin of their neighbors : "Now the people had come upon the earth. The Shawnee came from above. The Creeks came from the ground. The Choctaw came from the water. The Yuchi came from the sun." In the cosmology of the Yuchi Indians of Tennessee, the Sun and the Moon were of the highest rank. Some people were consider to be above everyday Yuchi people because they were decended from the Sun himself. In his Ethnology of the Yuchi Indians, Frank Gouldsmith Speck notes:

"It should be mentioned here that at certain times since the origin there have been born individuals with a very dark shade of skin. These black- skinned Yuchi, as they are termed, are looked upon as being more closely related to Sun than the rest of the people. They are said to be his direct offspring, their mothers having become pregnant by Sun. As no particular rank is given them, however, their position is a sort of empty aristocracy. Several black- skinned Yuchi are said to be living today, but I have not been fortunate enough to see them."

Micco Lonzado Langley of the Savannah River Band of Euchee Indians (left)
Micco Lonzado Langley of the Savannah River Band of Euchee Indians (left)

By Aboriginal Excellence, Jun 9 2014 01:53AM

I am convinced that all indigenous cultures are connected as are all #aboriginals (children of the sun)

When I discovered the image of the birdman I new I had to share. Here are some basic facts regarding the culture and cosmology of the Aboriginal Americans. They should ring a few bells within your consciousness of cosmic memories.

Cahokia Mounds is located on the site of an ancient Native American city (c. 600–1400 CE) situated directly across the Mississippi River from modern St. Louis, Missouri. The aboriginals of America used the Mississippi River the same way the Nubians used the Nile River in Africa. We already know that the Egyptians were present in pre-columbian American cultures in places such as Arizona, New York and now Cahokia. Cahokia was the largest and most influential urban settlement in the Mississippian culture which developed advanced societies across much of what is now the Southeastern United States, beginning more than 500 years before European contact.Today, Cahokia Mounds is considered the largest and most complex archaeological site north of the great Pre-Columbian cities in Mexico(Maya & Aztec).The Mounds were later named after the Cahokia tribe, an historic Illiniwek people living in the area when the first French explorers arrived in the 17th century. As this was centuries after Cahokia was abandoned by its original inhabitants, the Cahokia tribe was not necessarily descendants of the original Mississippian-era people. Most likely multiple ethnic groups settled Cahokia

The falcon warrior or "birdman" (HERU) is a common motif in Mississippian culture. This burial clearly had powerful iconographic significance. The falcon is one of the most conspicuous symbols of the S.E.C.C. It was simultaneously an avatar of warriors and an object of supplication for a lengthy life, healthy family, and a long line of descendants. Its supernatural origin is placed in the Upper World with a pantheon including the Sun, Moon, and Four Stars.At Cahokia, the falcon imagery was elaborated in figural expression. It is associated with warfare, high stakes gaming, and possibly family dynastic ambitions, symbolized by arrow flights and the rising of the pre-dawn morning star as metaphors for the succession of descendants into the future.

Most S.E.C.C. imagery focuses on cosmology and the supernatural beings who inhabit the cosmos. The cosmological map encompassed real, knowable locations, whether in this world or the supernatural reality of the Otherworld. S.E.C.C. iconography portrayed the cosmos in three levels. The Above World or Overworld, was the home of the Thunderers, the Sun, Moon, and Morning Star or Red Horn / "He Who Wears Human Heads For Earrings" and represented Order and Stability. The Middle World was the Earth that humans live in. The Beneath World or Under World was a cold, dark place of Chaos that was home to the Underwater Panther and Corn Mother or "Old Woman Who Never Dies".

Online sources





Cahokia Mounds State Historic Site, Illinois", US World Heritage Sites, National Park Service, accessed 2012-05-03

Chappell, Sally A. Kitt (2002). Cahokia: Mirror of the Cosmos. Chicago: University of Chicago Press. ISBN 978-0-226-10136-1.

Townsend, Richard F., and Robert V. Sharp, eds. (2004). Hero, Hawk, and Open Hand. The Art Institute of Chicago and Yale University Press. ISBN 0-300-10601-7.