domingo, 20 de octubre de 2013

Wandjina Rock art, Kimberley Australia - the contacts with Alien Gods

Wandjina Rock art, Kimberley Australia - the contacts with Alien Gods

In 2000, when watching Sydney Summer Olympics Opening ceremony, I was mesmerized by one scene. The ceremony contained traditional dances and songs by Australian Aboriginal people. And in the segment "Awakening" there was a presentation of the thousand-year-old mark, the Wandjina, displaying a floating mouthless figure from the north Australia.
[go to approximately 9:45 to see the scene] 

I did not remember the name properly back then, and wasnt successful in researching anything further about it, until about a week ago I finally, after 11 years, stumbled upon it!
I will tell you what I have found about it so far.


 - Just look and compare these pictures! Similarities are striking!

-- Legend --

Wandjina (or Wondjina) are the Spirits (or gods) of Creation in Aboriginal mythology.

-- Origins --

There are many myths recalling the activities of the Wandjina and their creation of the world.

In Aboriginal mythology, the wandjina are said to have lived during the creation period. The Aborigines believe that the world originated in what they call Lalai the Dreaming — a primordial state which is not confined to the past but stands outside time.

After the Wandjinas were created, they descended to earth out of the sky in the Dreamtime, and journeyed across the country, wandering over the area.

According to Mowanjum artist Mabel King, during Lai Lai (the creation time or Dreaming), Wallungunder, the "big boss" Wandjina, came from the Milky Way to create the Earth and all its inhabitants.

Generally the Wandjina figures that have been found are connected with the sky by most ndigenous tribes.

The Australian Aborigines believe that long, long ago the earth was soft and had no form. The features of the landscape were created as the result of the acts of ancestral spirits. It was they who made the rain and dug out the rivers and water holes, who built the mountains and levelled the plains. At a time when the stones were still ‘soft’, they built themselves ‘houses’ of stone.

There was a time when he (Wandjina) made Earth and Sea and everything. He made people.

These first people were the Gyorn Gyorn. The Gyorn Gyorn had no laws or kinship and wandered around lost.

Wallungunder, the enterprising Big Chief of the Wandjina gods, saw that he could do good with these people, so he went back to the Milky Way and brought many other Wandjinas to help him bring laws and kinship to the Gyorn Gyorn people.

On the whole, the activities of Wandjina are believed to set the prototypes for each district's religion, law, customs, rites, songs and dances.

Dreamtime mythology has it that the Wandjina emerged from the clouds, and returned in that same manner.

Walaganda, one of the Wondjina, became the Milky Way.

In a similar vein, certain tribesmen say the Wandjina have returned to the sky, and can now be seen at night as lights moving high above the earth.

With the completion of their earthly tasks, they disappeared into the rocks and sacred water holes in different parts of the country. As they disappeared they left pictures of themselves on the rocks.

Each Wandjina wandered until he reached the place where he was to die.

Although the paintings are said to represen the bodies of the dead Wandjinas, the spirits of the Wandjinas live on in much the same way as the Aborigines believe the spirits of human beings continue to exist after their death.

When they died, they lay down on the soft rocks and left the imprint of their bodies on the surface; these marks are the rock paintings which can be seen today.

At the exact spot where they left their ‘shadow’, the Wandjinas descended into the earth; since then, they have lived on at the bottom of the water source associated with each of the paintings. There, they continually produce new ‘child-seeds’, which are regarded as the source of all human life.

Aboriginal people, in the Kimberley believed that even after they disappeared, the Wandjina continued to control everything that happens on the land and in the sky and sea.

He gave Man to live in this Earth, this World, this Tribal Country. He put the Wandjina in the cave for him to remember this Wandjina, to follow his laws, to go about the right ways ...

-- Wandjina Rock Art --

The Worora, Ngarinyin and Wunumbul people are the three Wandjina tribes – these tribal groups are the custodians of the oldest known figurative art in north-western Australia. In the culture of these tribes Wandjina is the supreme spirit being. They see the Wandjinas as the true creators of the land.

Objects found on geographical sites may suggest that this area had been inhabited as long ago as 174,000 B.C. The Wandjina Spiritual Sanctuary is a vast area of about 200,000 square kilometres of lands, waters, sea and islands with continuous culture dating back beyond 60,000 years. Here traditional law and culture are active and alive.

This is the world's oldest unbroken spiritual art tradition dating back to around 15,000 – 17,000 yrs,  possibly more (some suggest 50,000).


-- Kimberley – the Land of Wandjina --

Wandjina depictions are usually found as rock paintings in the remote Australian northwest Kimberley region. Though cave art of the same type sporadically occurs also outside of Kimberley. I.e. in the Victoria river area there was an image found of an antropomorphic creature with raised hands, white face, devoid of a mouth and large black eyes and a head surrounded by a halo.

-- Depiction --

The Wandjina paintings range from human figures complete with bodies, to those where the body is omitted and only the head and shoulders retained, to next where the shoulders are omitted leaving us just the halo surrounding the face, to finally simplified stylised representation of the eyes peering through a mass of concentric lines, clouds, or what some interpret as the eye of the storm.

These rock pictures show them as having large round heads with large powerful black eyes, and haloes around the heads, often with radiating lines projecting from them.

Their general human appearance is unmistakable, however, human model is not the only one the Aborigines use in interpreting the paintings. Another model for interpretation is the owl, the bird sacred to the wandjina.

The Wandjina are always pictured from a frontal aspect, the white faces and the large black eyes are emphasized, and never has a mouth, although a slit or beak-like nose is invariably present.

The body is filled-in with a dot or short-dash pattern, and body ornamentation is indicated by waist and arm bands.

A curious feature of each face is the absence of a mouth.

Sam Woolagoodja (dec), a distinguished and eminent Worora leader and law man, described the Wandjina image by saying 'their power is so great that they don't need to speak, so they have no mouth. Their eyes are powerful and black, like the eye of a cyclone'.

Traditionally Wandjina's black eyes are surrounded by red "eyelashes" – rays that radiate magic life power that lives inside them.

The radiating lines around a Wandjina's head can mean lots of things – clouds, rain, lightning. It is usually interpreted as the lightning, which the Wandjina controlled. Perhaps more succinctly, the Wandjina are thought of as beings in the clouds.

The wandjina are anthropomorphic in form but are usually larger than life size. Individual figures may be as large as six meters long.

In a conversation between Ju Ju Wilson, a member of the Mirriuwong/Gadgerong people, and Lily Karadada, one of the most accomplished of contemporary Wandjina artists from Kalumburu, Ju Ju says "You know, they are little people". Lily nods. Ju Ju's hand was horizontal and parallel with the floor and she was bending down, as describing a child. We had never thought of this before – but when one thinks about even the way Lily depicts a full length Wandjina figure, it is indeed "squat" in stature.
They appear alone or in groups, vertically or horizontally depending on the dimensions of the rock, and can be depicted with figures and objects like the Rainbow Serpent.

The Wandjina is always painted with other plant or animal life, because, according to Aboriginal law, we are ever alone, there is always another presence with us.

-- Communication --

Dream communication with the mythological beings played a significant role in Aboriginal religion. A specialist, or banman ("dreamer"), could communicate with the mythological beings.

Through the rituals performed at the caves, through the songs, and, especially, through the mechanism of dream-communication, Aborigines have traditionally sought to influence the wandjina and thus to gain for themselves some measure of control over the natural world.

-- Powers --

Wandjinas engender awe, might and hope.

The enormous powers of the Wandjina can be seen in the displays of thunder and lightning that precede the monsoon and in the rains themselves.

The Wandjina is the Rain Spirit, they bring clouds, rain and lightning, control the pattern of seasons, and the huge storms of the summer monsoon.

Should the Wandjinas be offended, the Aborigines believe that they will take their revenge by calling up the lightning to strike the offender dead, or the rain to flood the land and drown the people, or the cyclone with its gales which devastate the country.

-- Worship --
Wandjina artwork is painted today from stories which have been handed down from generation to generation.

Today, certain Aboriginal people of the Mowanjum tribes repaint the images to ensure the continuity of the Wondjina's presence.

Aborigines say that the original figures came into existence when the spirits transformed themselves into the paintings, and that the role of the Aborigines in the past has been restricted to maintenance.

Annual repainting in December or January also ensures the arrival of the monsoon rains, according to Mowanjum belief.
The wandjina are often referred to as "the rainmakers". Toward the end of the dry season, when the heat has intensified, Aboriginal men who have wandjina as their conception totems may sing songs and perform rituals which are intended to entice the wandjina to send rain and alleviate their condition. Kimberley receives monsoonal rains starting in late December. Their arrival is a dramatic event. In the weeks preceding the arrival of the "wet," there are local showers and spectacular displays of lightning. With the rain come the banks of cumulonimbus clouds, which change shape rapidly and appear to have a life of their own. In them, the Aborigines see the wandjina. The call to the spirits, made in the songs and rituals, has been answered.

Physical evidence implies that the Wandjina have been repainted many times. Some of the pigments are quite unstable in the presence of the high humidity that prevails during the wet season, and for this reason regular maintenance would always have been necessary. Repainting has occurred so often that at one site the paint is over 40 layers deep.

For at least fifty thousand years, the Aborigines have maintained the traditions of Dreamtime through stories, music, dance, art, and ceremony. And in the land around Kakadu, this tradition is honoured today.

The Wandjina has for centuries appeared on bark coolamons, ceremonial boomerangs and shields and a myriad of symbolic artefacts for use in ceremony or ritual and might have operated alongside Wandjina rock art.

The Wandjina is part of the lives of the tribes who have for many many years lived and hunted in the area.

The Wandjina is a philosophy, a spirituality and a symbol which evokes  intense energy and spirituality in whoever is in its space.

The wandjina are depicted in paintings on the walls of caves.
On approaching these shrines, Aborigines call out to the wandjina to announce the arrival of visitors. If this is not done by a person with the correct status, the spirits become upset and take revenge on the Aborigines. Sometimes Aborigines perform a ritual in which smoke from green branches is held beneath the paintings.

Such places are sites to which local Aborigines have a deeply spiritual attachment. Not everyone can go there. For those without the right to enter, they are very dangerous places.

-- 'Wandering Wandjina' – 

Since 2007, dozens of graffiti depictions of Wandjina started to appear in Perth, Western Australia, spray-painted on the urban environment of cafes and car parks. These 'wandering Wondjina' angered and upset Aboriginals.
The painting of Wandjina is a privilege enjoyed by a select number of Aboriginal people from the Kimberley region.

Following proper cultural protocol, only elders who went through the law are allowed to use Wandjinas. "Only a few Aboriginal artists ever win the right to depict Wandjina, and only then after years of initiations and ceremonies," says Adrian Newstead, owner of Coo-ee Aboriginal Art Gallery in Bondi, NSW.

David Mowaljarli wrote the following explanation after painting a Wandjina figure in 1984, in the Australian Museum in Sydney:
‘The Wandjina are spirit ancestors controlling law and nature. If offended or shown disrespect by the breaking of laws, they may punish the people through flood, lightning or cyclone".


-- The Legend of the Silver Bird --

Ufologists have pointed out that many of the puzzling shapes of the totemic designs are similar to modern day UFOs. The implications are that 15,000 years ago strange shapes were observed in the skies.

Aboriginal actor-historian Ben Blakenley tells of "The Legend of the Silver Bird":

".. Long long ago, far back in the Dream Time, a great red coloured egg (spaceship) came down from the skies. It tried to land safely on the ground but broke (crash landed). Out of it emerged white-skinned culture-heroes (gods) and their children."

"The children's elders soon died, either through their old age or because they could not accustom themselves to our atmosphere. The children however were young and able to adapt more easily to their new surroundings. They carved and painted the likenesses of their parents upon cave walls to perpetrate their memory. In time the great red colored egg rusted away until its remains had merged with the ground, thus creating the red soil of Central Australia. The children of the culture heroes who came from the sky grew in numbers until they eventually populated the whole land, their skins turning black due to the hot climate."

While some of the myths indicate that Wandjina behaved in socially disruprive ways in the creative era of the Dreaming, these stories enshrine elements of cause and effect; disruptive behaviour usually resulting in disaster or severe punishment.

-- The Story of Wodjin and the Wandjina --

".. Two children were playing with the bird, Tumbi, who they thought was a honeysucker. However, it was really an owl. They did not see the difference in the eyes and thought the bird was unimportant. The children maimed and blinded the bird. They mocked him by throwing him into the air and telling him to fly, but he could not and fell back to earth.

Tumbi was not just an ordinary bird, he was the owl, the son of a Wandjina. This is why he was able to disappear and go up to Inanunga, the Wandjina in the sky, to complain. The news flew to all the Wandjina who determined to punish the people. A Wandjina named Wodjin called all the Wandjina from throughout the country together, and the owl who had been maimed incited them to revenge.

However, they did not know where to find the people, and the lizards and animals which they sent to scout around for them refused to tell where the people were. The animals were sorry for the people, and tried to hide them, knowing that the Wandjina would kill them in revenge for the bad deeds.

But the Wandjina saw the people on a wide flat near the spring at Tunbai. They moved to the top of one of the hills which surround this flat and Wodjin, by stroking his beard, was able to bring heavy rain and floods.

The Wandjina divided into two parties and attacked in a pincer movement from the top of the hill. Meanwhile, the Brolgas (birds) had been dancing on the wet ground and had turned it into a bog. The Wandjina drove the people into the boggy water, where they drowned. The people tried to fight back, but they were unable to harm the Wandjina.

The boys who had injured the bird were very frightened by the fight, the rain and lightning, and escaped to a large boab tree with a split in it, where they decided to hide. But the tree was really a Wandjina and no sooner were the boys inside than it closed on them and crushed them. The Wandjina, having achieved their aim and revenged the injuries done to the owl, were now able to disperse around the country".

-- The Story of Fire and the Crocodile --

One such legend explains how the Wandjina helped the Aboriginals to save their fire-sticks, which had been stolen by a crocodile.

".. A big group of freshwater crocodiles representing all the language speakers of the north-west Kimberly were gathered at an open space near the Prince regent River. Fire, a commodity which had the potential to revolutionise their lives, had just been created.

Realising how powerful a weapon this could prove, a large Worora-speaking crocodile crept up to the precious firebrand and furtively made off with it tucked under his stomach. He was edging his way towards a deep pool in the Prince Regent River when the other crocodiles spotted him. A great uproar ensued as they tried to prevent him from extinguishing the fire in the water. The Wandjina saw the fight amongst the crocodiles and sent the Redwing parrot (Aprosmictus eryyhropterus) to save the coal, over which the quarrel had arisen. Whilst the battle was raging the bird swooped down and flew off with the precious firebrand tucked under his wing. To this day the colourful parrot has a red patch on its wing as a reminder of the day he saved the fire for all people.

During the battle, the Worora-speaking crocodile was speared in the guts, and his liver and kidneys fell out. These can be seen today, in the shape of red stones at the battleground, and is the reason why crocodiles have no kidneys. Further reminders of the red ember the selfish creature wanted to control for his own ends are the red marks on the crocodile's belly and its eyes which glow red in the dark".

And we have a piece of related info from Zetas:


Q: I'm not sure if this is a question for the Zeta but, are indigenous and aboriginal tribes more aware of planet X than most people and are they looking forward to a new dimension?

We have mentioned that every culture has their prophets and folklore, and this includes those groups that are termed indigenous or aboriginal - tribal in nature. Since tribal lore passes down through generations via word of mouth, rather than written text, if takes a different form. The story of past and future pole shifts to come is told as an analogy. Nevertheless, this information has guided the Hopi to understand that the time is now, and what to expect in a red sky, and that the "ant people" protected them in the past by taking them to underground chambers where they would be safe for the hour of the pole shift. It has guided the Aboriginal people of Australia to migrate at this time to land that will not be flooded during the coming pole shift. They are aware, and informed, and most are very much in contact with the spirit world by which they get updates and consultation.


[my reflections on the issue]

Previously Zetas have stated that real Australian history is little known and contains yet unknown artifacts left behind by the Annunaki.

Clearly, Wandjinas were creatures of flesh and bone, biological entities, that lived and died in the same manner as humans do, and who were incarnated with immortal spirits the same as humans do. They were associated with the sky, in that they "descended from above", and often manifested as "lights in the sky above".
But, in my opinion, the Wandjina presented here, is a collective image in the mind of Aboriginal people: that of Annunaki and 4 Density visiting extra-terrestrials (Zetas?).
The fact is that Wandjina myths and folklore make an impression to be describing two different sets of "gods", that have quite different temper.
In some instances, Wandjina stories undoubtedly describes the Annunaki groups and their escapades (namely one myth where a group of Wandjina "men" assaulted human females), in other instances it seems that beings of higher levels were involved.
The Annunaki features exhibited by Wandjina gods are that they interfered into human affair and almost "mingled" with humans, they brought laws to humans ("civilized" them), and they taught things to people; also that wandjinas exhibited "disruptive" behaviour and were revengeful, "angry gods", not unlike the Jahweh of Old Testament; people feared wandjina and observed ritual in approaching them – all features that couldn’t have been exhibited by STO 4th Density beings. [And one more curious detail – in one story the wandjina named Wodjin "strokes his beard" – doesn’t it remind Annunaki, the "bearded gods" from Sumerian clay tablets?]
On the other hand (and at the same time, in the lore of the Aboriginies), wandjinas are "small people", almost squat, and of course the striking appearance, that is so unmistakeable; the fact that they were associated with lightning and cloud and other sky appearances (the same line of metaphors used in modern UFO lore); the comparison with an Owl (how often do contactees say "I saw an owl staring at me through the window"?); in other instances very benevolent treatment of humans, performing justice and protecting them, and after all Wandjinas were treated by Aboriginies as the definite "good guys" – all artists living today speak of this, wandjinas were worshipped not only because they were feared, but because they were honoured, even loved as true benefactors of mankind.
So, in my opinion, what we have here is that these two different types of beings: the 3d Annunaki, that were peers of mankind, quarreling between themselves and revengeful, and 4d STO visitors became mixed together into one "conglomerate" image of Wandjina gods, that in the mind of the Aboriginies, posessed these qualities simultaneously.
The same thing happens when "foreigners" of any kind enter the realm of the previously isolated community, lacking contacts with the outsdie world, - the foreigners look all the same to these isolated societies (be it white Europeans in time of conquest,
, or immigrants from "third world" in the western countries). The very same thing happens in the minds of many with the visiting aliens today – some people do not discern between Annunaki and STO Zetas and STS ambassadors.

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Comment by Planet Twelve on September 24, 2011 at 4:26am
Andrew, how about this for a cave drawing:

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