Vibrant Voices: Women, Myth, and the Arts

I'm very pleased to be included in a new publication by ASWM (I just attended their Conference in Las Vegas in March).   For all those interested in Women's Spirituality, Goddess studies, Women and Mythology, and the work of Marija Gimbutas and her Colleagues, this books will be greatly appreciated and insightful!  --------------------------------------------------------------------------------------------------------- We are proud to announce the publication of Volume 2 of our ASWM Proceedings. This beautiful full-color volume highlights the work of 33 artists, scholars, and poets.  Vibrant Voices:  Women, Myth, and the Arts. Carol Christ, author of Goddess and God in the World and A Serpentine Path," calls it: “A stunning testimony to the importance of the path-breaking, boundary-crossing work of the Association for the Study of Women and Mythology.” And Miranda Shaw, author of Passionate Enlightenment: Women in Tantric Buddhism and Buddhist Goddesses of India, says “Vibrant Voices is an essential guide and touchstone for all future work on women and mythology.” To celebrate, Vibrant Voices and Myths: Shattered and Restored are both 20% off until May 30th! Follow the links and use promo code ASWM at checkout, or give the folks at Goddess Ink a call and they can take the order over the phone! 505-225-2142. Save the Date! "Women Rising! New Visions for a Post-Patriarchal World" Women's Spirituality Conference, October 12-14, 2018. Sponsored by the Women's Spirituality Conference of California Institute for Integral Studies. Our thanks to all of you who attended our 2018 Association for the Study of Women and Mythology Conference. Your scholarship, enthusiasm, and support for one another created a welcoming community for all. We will be back in 2020.  Your ASWM Board of Directors

Copyright © 2018 Association for the Study of Women and Mythology, All rights reserved. Our mailing address is: Association for the Study of Women and Mythology P.O. Box 150018 Van Brunt Station Brooklyn, New York 11215

GEOSOPHY: An Overview of Earth Mysteries (1988) Part 2 and Continued

"Speak to the Earth, and it shall teach you"    .....Job 12:8

"Like all holy wells, Chalice Well is a feminine place, a place of receptivity to the Earth's spirit.  Here at Chalice Well you can strongly feel the feminine Mother force of the Earth." ....John Michell

Landscape Geomancy, which we are considering in this particular presentation, has to do with placing your structures,  your temples,  homes,  seats of government and healing centers on places on the surface of the earth where what the Chinese called Chi or or vital energy is up welling from the Earth through Geo-magnetic factors such as  water factors.  Animals recognize these places, they will sleep on them or give birth on them.  Ancient people built their sacred structures, like Stonehenge or Avebury, on these sites so as to enhance or amplify whatever rituals, healing concerns, or astronomical measurements were being made there.  Geomany is a way of reading the Earth's body language.  What is Gaia doing at this place?  Is this an energy sink, or an energy source?" .......John Steele

Part 2 and continued (I was not able to upload one of 4 parts of this film, my apologies. I will keep trying.) From GEOSOPHY - An Overview of Earth Mysteries, a 1988 Documentary by Vakasha Brenman. This hard to find video features Paul Devereux, John Steele, Martin Brennan, John Mitchell, Harry Oldfield, and other important researchers of Earth Mysteries and present day Geomancy. "This video takes us to ancient sites around Britain to explore sacred geometry. "Geosophy" literally means "Earth Wisdom" - derived from the name Gaia, Goddess of the Earth, and Sophia, the Greek word for wisdom."



https://youtu.be/jJ8w4mSohEg




https://youtu.be/iFictRS4LDc

GEOSOPHY: An Overview of Earth Mysteries (1988) Part 1.

 

"The Dragon Project was named after the symbol of the energy of the Dragon in traditional cultures like China or Wales.  The Dragon was always symbolic of the energy of the Earth, always symbolic of veins of "Chi" or vital life force which ran through the Earth and composed the underlying nature of a sacred landscape.  In China they actually called them "Dragon currents" or "Dragon lines".  (In the 70's) A bunch of us got together - scientists, chemists, physicists, psychologists, archaeologists, instrument makers, and people involved in ley hunting divining.  Ley hunting is based on the concept of Ley Lines, the straight alignment that you can draw between ancient (sacred or energized)  sites.  These are  dead straight alignments that you can accurately plot and see on a detailed survey map."

........John Steele

"Speak to the Earth, and it shall teach you"    .....Job 12:8

 A quote from the Bible tells us to speak to the Earth - but how do we do that?  How in the age of computers and industrialism, the age of global climate change and global society...do we reclaim this "conversation" our ancestors had?

  the first post of the video from 1987 GEOSOPHY:  AN OVERVIEW OF EARTH MYSTERIES.    It's a rare documentary that I was only able to locate in VHS, with some of the premier researchers of Earth Mysteries and Geomancy speaking about their discoveries and research, including magnetic fields associated with sacred places, animal and plant phenomena, and most fascinating to me, the way Sacred Places affect consciousness.  I feel this is so very important, this research,  investigation, and reclaiming of what has been mostly lost to contemporary human society.  

https://youtu.be/jHagk2zMxdo

Reflections on an Oasis, and Silence........

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On my way to and from  Los Angeles where I do a festival, in the very middle of the California desert between Blythe and Indio,  is a mostly abandoned town called Desert Center. A sad circle of dead palm trees on the side of the highway attest to better days.   Desert Center once hosted General Patton's army training corps during World War II.  

I'm old enough to remember when the old diner was still in operation, if very dilapidated.  I used to like to stop for some not very good soup so I could sit at the counter and imagine the  soldiers  sitting there on stools at the counter  in prosperous times, maybe big band music playing on a radio while cooks fried eggs and potatoes.  But now it's just boarded up, and has been for a decade, and dust blows through the remains of every structure there, except, surprisingly, the post office - which suggests the presence of life and commerce somewhere, hidden away in the seemingly barren  recesses of Desert Center,  California.


However, the ghostly town of Desert Center is not what I write about............actually, as I sit here in a coffee shop in Los Angeles, having traversed the desert, enduring now  the ubiquitous sound of pounding rock and roll in the background (why is silence  seemingly so terrifying to Americans, even at 6:30 in the morning?  Why does it seem that  people no longer seem  able to eat, drink, shop, walk, or even  talk with each other without a  pulsing backdrop of  guitars and drums or screaming singers proclaiming their lust?).........ah.  The vast cacophony of the 21st Century, in which Silence is rarely tolerated.

Yes.  Sitting here over coffee, what I  reflect on is actually a strange oasis some 15 miles from Desert Center's ruins called Lake Tamarisk. 

I first discovered it when I noticed, driving on the interstate at night, a circle of lights past Desert Center.  On a whim,  I decided to investigate.  What on earth is that, I wondered, in the middle of no where?  What I found was a lake reflecting the moon,  lawns with the tinkle of sprinklers, a wading white crane, and Silence surrounded by the dark mystery of the desert.  

So ever since I've stopped for an hour or two at Lake Tamarisk  as I've made that long trek to L.A.   Like the movie Pleasantville, it seems to me sometimes  that Lake Tamarisk is a kind of mirage, suspended in time.  That someday I'll look for it and it will have simply disappeared without a trace.

It seems to me as well that it's always about 1970 there, or maybe 1960,   when the little town was  built to house the Kaiser mine workers and their families.     I don't know if it has always been surrounded with lawns for golfing, but its little man-made lake reflects the colors of the desert, and birds float on its placid surface, and it derives its name from that.  

There is no store, no gas station, no restaurant there, and for such amenities  one must go some 50 miles.  But  there is a fire department and a community center and a little library.  They are always closed when I get there, the deck chairs stacked, the barbecues padlocked.  

I'm always there in late  spring or summer, when the winter people have left, and Silence is  what greets me in the empty parking lot beside the always closed community center.  Along with the occasional call of la Paloma, the desert  dove,  wind in palm trees, distant sprinklers and perhaps  a duck on the lake.  In all my rituals of visiting Lake Tamarisk,  I've never heard the sound of  a human voice, although clearly there are people who live there all year.  I've  walked around the lake,  never meeting a soul, and walking to the  edge of the grass or the paved walkway I  marvel at the way everything simply ENDS.  Take a step further, and you are in the vastness of empty desert.

There is a  swimming pool  that looks exactly like every swimming pool I remember from my Southern California childhood, complete with round metal tables and a  snack bar with rusty signs proclaiming Coca Cola! .........but it's usually empty, the gate locked.  I  have only seen it filled once, but no one was there..........still, it is not just a mirage, if it is sometimes full of water.  I always find myself standing at the gate to the pool, and I can almost hear the faint sounds of  people drinking cokes and eating hot dogs.  Men in swimming trunks, women with one piece bathing suits, kids splashing and  bouncing on inflated inner tubes.  Girls in polka dot bathing caps with hula hoops.   I always feel a bit sad at such moments, as if they will all appear after I leave, when the sun goes down maybe.   And I'm not invited any more, because somehow, I grew up.......

But what I do breath in, en route and returning, is the Silence I find at that strange little Oasis.   Silence to hear the sounds of the desert, the wind, the here and now of nature.  Silence to relax into, silence with room for gratitude, silence enough  to hear the sounds of sweet memory and the bittersweet voices of ghosts as well.  Silence out of time.  





"Poets live with silence: 
the silence before the poem; 
the silence whence the poem comes; 
the silence in between the words,
as you drink the words, 
watch them glide through your mind, 
feel them slide down your throat
towards your heart 

the silence which you share with the poet
when the poem ends, sitting side by side"

.....Michael Shepard

"The Circle Has No End" - video from 2001

"May this work we do in honor of our Great Mother
generate waves and waves of understanding, compassion,
 and pleasure through all the worlds.  So may it be!"

Macha Nightmare (2000)

I recently re-discovered and posted this video, created by Erin Stratte (Sacred Underground Productions) about the Masks of the Goddess communities I was privileged to co-create with, including Diane Darling, Macha Nightmare, Ann Waters, and many others.   Those were exciting and creative times, and I will always treasure the memories of the people I knew and worked with then.

Thank you to all, then, now and in the future, for bringing the Goddess back into the world! 

https://youtu.be/rGvuXLnhRlg

Sacred Places and "Talking with the Gods"

"Australian dream time seems strange to us because we distinguish stories from places.  For the aborigines places are stories:  song-lines.  To "settle" a wild place means to create not only houses and farms, but also the stories that make them a home.  For native Australians, their deserts are home because they are verdant with stories."

David Loy, The World is Made of Stories

I have acquired a rare video called GEOSOPHY - An Overview of Earth Mysteries, produced and directed by Vakasha Brenman (Mystic Fire Video) in 1988  which features interviews with John Steele and Paul Devereux, authors of EARTHMIND and co-creators of the Dragon Project, a decade long investigation into the phenomena associated with Neolithic sacred sites in Great Britain.  Earth Mysteries has always been my passion, and the sense of Gaia, the living Earth, always speaking to us beneath our feet and in our cells..........is the fundamental truth I am always seeking to speak of in my art.  Gaia.  Mother Earth.  So very much we have lost and forgotten.  I feel the work of these people is very important, and should not be lost.  So I intend to put excerpts from this documentary on this Blog (and hope I don't get in trouble for it), and to pursue the subject of "Talking with the Earth" in future posts.  In this time of political and ecological despair, this matters to me.  This is worth sharing!   

There are so many stories I could tell as I look back on how this subject informed my art, worldview, spirituality, and sense of purpose.   I often credit a  synchronistic encounter  with geomancer and spiritual dowser  Sig Lonegren, in 1982, that planted the seed of a whole new way of seeing life for me, as well as teaching me to dowse.  I had a studio in Putney, Vermont in 1982, and it was my habit to meander down to the Putney Inn for coffee on a Saturday morning.  But that particular morning in June there were people everywhere - tables with brochures set up, discussions going on, buses and vans out front.  Coffee in hand, I saw an interesting group of people sitting on the grass in a circle in front of the building, and for some reason I sat down and joined them.  Sig, who was leading this group to one of Putney's mysterious stone chambers on Putney mountain, ushered us all into a van, and invited me to come along as well.  So that's how I found myself before a stone cairn in the woods, roofed with a massive stone, and with an entrance that faced perfectly the rising of the sun on the Summer Solstice.  Sig put a pair of divining rods in my hands, and I was  amazed to learn, with the others, that two "leys", each about 6 feet wide, ran through and crossed at this chamber.  When I held one of the rods at the center of the "roof" it "helicoptered"......turned rapidly as if it was a windmill for earth energies! 

It was many years later that I had the privilege of visiting  Sig and his wife Karen at their home in Glastonbury, England.  Sig was one of the trustees of the Chalice Well, and had spent many years exploring the sacred sites of the British Isles. I celebrated Lammas with them at the Chalice Well, an event I shall always treasure.   Sig is  currently on the faculty of the Fellowship of the Spirit near Lilydale, N.Y., he has a fascinating website:  http://www.geomancy.org/       and now lives with his wife in the Netherlands.   One of Sig's books, Spiritual Dowsing, goes into the phenomena of dowsing for Earth energies. 

As a dowser myself, I've experienced shifts in energy - which means also shifts in  consciousness and perception -many times when visiting areas that are geomantically potent, be it the henge of Avebury,  or the labyrinth at Unity Church in Tucson. Sites are able to change consciousness (raise energy) because they are intrinsically geomantically potent, and  they also become potent because of human interaction with the innate intelligence of place, what the Greeks called "genus loci".  John Steele coined the term "Geomantic reciprocity" - as human beings bring intentionality, reverence and focus to a particular place, building sacred architecture, or engaging in ritual.  The conversation becomes more active as place accrues myth and story in the memory of the people, and the memory of the land.   Sacred places have both an innate and a developed capacity to transform consciousness.  And the power of myth is important if we wish to engage the numinous presence, to  "talk to the Goddess and petition the Gods".

"To the native Irish, the literal representation of the country was less important than its poetic dimension.  In traditional bardic culture, the terrain was studied, discussed, and referenced:  every place had its legend and its own identity....what endured was the mythic landscape."

R.F. Foster

Why would the ancient people who built Stonehenge spend generations hauling monstrous (and apparently specific) stones hundreds of miles to pose them in  circles, laid  in various alignments with the skies, seasons, and land?   

According to Sig, who references psychologistcontroversial book from the 80's  The Origin of Consciousness in the Breakdown of the Bicameral Mind, possibly because, as human culture and language became increasingly complex,  we began to lose mediumistic consciousness,  a daily, conversational Gnosis with "Spirit".  We became more individuated.  With the gradual ascendancy of left-brained reasoning he suggests the ancients developed a concern with how to continue contact with the gods, the ancestors, the numina of the land.  Stonehenge was a temple on a sacred landscape - according to Sig, it may also represent a "last ditch effort" to keep in touch with the spirit world, to enhance communal experience.   As the rift between personal gnosis and spiritual contact deepened, and especially with the later development of patriarchal institutions, gradually the tribal and individual Gnosis was replaced by complex religious institutions that removed individuals from the earlier tribal mind, and rendered spiritual authority to priests who were often viewed as  the sole representatives of  the  Gods or God.

Perhaps this capacity is returning to us, a new evolutionary balance. As crisis engulfs us, we need, once again, to re-member how to  "speak to the Earth". 

"I have been arguing for decades that these (sacred) spaces were special places that enhance the possibility of connection to the other side - to the One.  Please judge what follows in that context. You may well find that it challenges some of your paradigms you hold about the past.  It combines two separate lines of investigation that support the perception that these spaces really “did what’s on the box.”  The gods came to earth.  And us humans in great numbers communicated directly with them.  (I end with a counter argument just to keep things in balance.

Since the mid-seventies when I began work on my Masters’ degree on Sacred Space, one of the major themes I have chewed on has been the shift from the dominance of that more intuitive right brain in prehistory to the analytical left brain brought to us by (IMHO) the increase of influence of the Patriarchy.  The book that really turned me on initially was The Origin of Consciousness in the Breakdown of the Bicameral Mind by Julian Jaynes, first published in 1976 (see "Works Cited" at the bottom for all book references).  

 I must say that this has been one of the most stimulating and thought-provoking books I've ever read, and is a must in the development of consciousness studies.  I don’t agree with some of what he has to say, for example, his choice of a particular word to describe how our prehistoric ancestors received their right brain information - "hallucinations."  I don't think that's what they were, and later on, I'll go in to why I think so.  But on the whole, I found his thesis most useful in forming my perception of this shift in consciousness.

It began with the Neolithic Revolution - the increasing use of agriculture rather than hunter gathering.  It facilitated a shift in consciousness.  My understanding was that the driving factor in the construction of purpose-built sacred spaces in prehistoric times was the loss of the ability of more and more of humanity to connect on a conscious level with the world of spirit.  I felt, and still do, that the archaeoastronomy, sacred geometry and Earth Energies all enhanced the ability of this connection as we became more and more left-brain/rational.  I wrote about this at great length in my first book, Spiritual Dowsing, initially published in 1986."

Sig Lonegren
www.geomancy.org
www.sunnybankglastonbury.co.uk

--------------------------------------------------

Jaynes, Julian. 1976. The Origin of Consciousness in the Breakdown of the Bicameral Mind. Boston: Houghton Mifflin Company.

Lonegren, Sig. 2007. Spiritual Dowsing. Glastonbury, England: Gothic Image. History of the earth energies, healing and other uses of dowsing today. A book for the spiritual pilgrim. Initially published 1986. 

Remembering......."The World is Always Talking to us"

  

"I let my life be guided by a strange language that I call “signs”. I know that the world is talking to me, I need to listen to it, and if I do so I shall always be guided towards what is most intense, passionate and beautiful. Of course, it is not always easy.  If you trust life, life will trust you."

        Paolo Coelho

My life these days is so preoccupied with mundane matters that my visioning self cries to be heard and known again.  I find it difficult to write as well, so I look back in the midst of the rediculous multi-tracking laundry list that my life currently seems to be.  Yes, I need to change this, no argument.  Not so easy to do sometimes.......

One thing I so often find my heart moving back to are the summers I spent at Brushwood and at Lilydale  in western New York state, the summers spent living in the woods at that campground, in a little trailer, nights illuminated mostly by campfires, oil lamps, and the sounds of drums.  I always was renewed in a deep way there, and the prospect of not being able to go this summer........ah,  I wish I could.  It will be a summer of Tucson's heat, monsoons, and time to create some art, but my heart has always remained in the East.  Always.

So, although the frenetic pace of my committments right now make my day very flat and "tone deaf", never the less I do not forget that World is always speaking to us, if we can but listen.  Soon, soon, let the Conversation be renewed.

Sometimes the best, most profound  things can't be told, hence the origins of the word "mystery", which is from the Greek, a word identified with the Eleusinian Mysteries  meaning "that which cannot be spoken".  But this is a journal, so I'll try.....perhaps that inability to express what I experience as a "mythic"  universe has to do with the coming together at times of so many different dimensions, multiple levels of synchronicity, metaphor, and perception.   See?  How do you talk about it  except through poetry, art, or metaphor?  Here is journal entry from one of those Summers, I felt like sharing it again.

"There's a crack in everything - that's how the light gets in." ~~~ Leonard Cohen

Journal Entry  July 17, 2013 

Once I got on the road synchronicities and insights  have flooded into my daily life - that's what happens when you enter "liminal zones", those places, times, and activities that are transitional, that put us into the creative space of becoming.  Travel can do that, art process and meditation can do it, and critical times in our lives can do it as well.  My wise friend Wendy talks about the "shamanic initiation", those events in our lives that "crack" us open, times that challenge our beliefs and assumptions.  Painful as those times are, they are also times when doors open into new vistas of perception and possibility.

In Chautauqua county, my other life floods in, along with the rain and humidity I've missed in the desert.   Lilydale's and Brushwood's  energy is high, and there is  also such joyful elemental energy there, which you feel as soon as you arrive.  Joining a circle at Lilydale, I found my old sensitivity still present, if rusty, and was able to take several "messages"  as well as receiving significant information for myself from the facilitating medium, Stephanie.  She commented accurately on my bad ankle, saying that it was to make me "slow down"......and at a Sunday service, another medium singled me out (even though I was hiding in the back row) and told me I needed to "slow down" again. Hmm.......I need to think about that.

Stopped for several days to visit Wendy, a friend I met in 2003.  Wendy is a true Medium - her sensitivity began  at 4  when she suffered kidney failure and almost died.  She was also struck by lightning as a child.  She believes these two events brought about her sensitivity.  It  took her many years, and a painful childhood, to come to grips with those gifts.  Wendy amazes me, as she lives simultaneously in two or more worlds, all day long, every day - and it's difficult for people who aren't mediums themselves, or well educated in metaphysics and the "paranormal" to understand her.  She's a successful career woman, living in a town and profession where her gifts are completely unknown to her colleagues, and she's also a medium who sometimes chooses to do readings, helps with hauntings, is an artist, and for fun, goes ghost hunting with colleagues. 

I feel Wendy has helped me to understand my own perceptions  a great deal in the course of our conversations.  To work "inter-dimensionally", as mediums do, one must learn to think in,  as Wendy puts it, "Dream Time" terms, which includes thinking symbolically and without the construct of sequential time as we understand it "in the flesh".  For her, spirits are all around, familiar spirits come to help her or just to visit, people in need of help, people who want to contact someone (usually associated with someone close to her).  Sometimes she sages the room because she has energies she doesn't want there, or just doesn't have the time.

She has a "ghost hunter" machine, a little machine that makes white noise.  I sat for half an hour with her while she asked questions, and hear the machine produce scratchy, sometimes lucid, responses, from what sounded like different voices trying to talk through a very bad phone connection.  I clearly heard "hello", "Wendy", and other short phrases.  I also smelled pipe smoke, and Wendy's face lit up.  "That's my Dad" she said.

This past Solstice there was a tragedy at Brushwood - a young woman had heart failure and died suddenly.  I remember seeing this young woman several times before the event, and being unable to stop looking at her for two reasons - she looked  very much like a very young version of my own daughter, very vulnerable, and she also "glowed" - there was a luminosity about her and I couldn't stop staring at her.  When I told Wendy about this sad event, she said that people who are dying always have a "glow" to them.  She said when she sees that in people, she knows they are getting ready to leave, because time, in the spirit world, does not have the same meaning it does here.  When I went to the area she died in, I did prayers to the Mother for her - and was surprised in my meditation there to clearly see the image of a tall woman taking the hand of a young person, and a sense of peace.  What I take from this, having talked with Wendy, is that I also saw this young woman as looking like my daughter because, perhaps, that energy of Mother, her own and the divine Mother, was what was needed to help her spirit.  I am no expert on this highly subjective experience.........

Spending time with Wendy can be intense!  I hope someday, perhaps when she retires, she'll become interested in perhaps living and working at Lilydale, because she's a powerful healer on a multitude of levels, a true shaman.   She gave me a great gift, which it's going to take me time to unfold, although my friend said that in the spirit world, it's "already done", because all time is happening at once.

We had been talking about the very convincing  documentary on Animal Planet about mermaids washing up with whales after the navy's horrific sonar testing.  It's a hoax, of course, although tragically the death of so many whales is not.  We were sitting at the table drinking coffee and Wendy's eyes misted.  She said "Excuse me, but someone is here, and I think it's important".  She said that a very tall, thin, very black man in a flat, disc like mask that was black with a white band across the eye holes and a red spot on the "forehead" was standing right behind me.  He put his hands on my shoulders (as a blessing?).  He told her he was something like "samarai" but it was a difficult accent for her to understand, and that he wanted me to help in some way.  He said that I would help to "revive Yemeja". 

Then Wendy said she perceived a large number of people, his tribe.  They were showing her images of the ocean, and offerings to the ocean, fruit, baskets, fish, and small white shells.  Tears were running down her face (Wendy says that when the energy is very intense this happens) and she said that he was thanking me.  Then they were gone.  Wendy said this was "high voltage", and for a while she continued to have tears in her eyes.  For myself, not perceiving this, I said that I was grateful, I thanked him and them, and said that I would do what I could to the best of my abilities.

I think this will unfold in the future, its meanings.  But I reflect that Yemaja, Mother Ocean, is an Orisha* originating in West Africa among the Yoruba people and perhaps others, is often shown as a black mermaid.  The destruction of intelligent life in the ocean, the whales, the dolphins, by navy sonar testing, is very real.  We are, indeed, killing Yemeja as well as the whales.   I am among many artists, mythologists, and activists who are trying to change consciousness about our living earth, to revive the sanctity that our ancestors once had.  Before it's too late.

I looked on Google for flat disc masks such as a tribal shaman might wear, and found that there are indeed many such in Africa, although I have not found one such as Wendy described.  However, I did discover that there is an extensive group of people with a long cultural history called the "Songhai", which sounds quite similar to "Samarai", and some of their domain touched the western ocean on Africa's shores.

*Orisha are Spirits  of nature and are responsible for the rules which govern nature.  Orisha are anthropomorphized with human characteristics for the purpose of understanding their essence and being able to extrapolate psychological constructs.Orisha Worship came to the Americas with the African slave trade over a period of 400 years.   In addition the slaves blended their African practice with the Catholic religion to hide their overt practices from Europeans.  In this manner, the traditions of Lukumi and Santeria were born.