pacha mama ,
Dreamwalker, skinwalker,shapeshifter,shape changer( I'm electric Aquaryausca )I am air ,air to breath ,I flow the water off consciousness ,

born 1974 I'm god's child 
 

Human beings are channels of light. Through water, the light of consciousness flows. As we have seen in the Earth society, humans can get clogged up with toxins. When there is junk in the bio-system, light cannot channel clearly, and happiness becomes a rare fantasy 

The pure distilled waters clean the body, mind, and spirit, allowing every human being to become beacons of light once again. This is how we are restoring peace and prosperity on planet Earth, echoing throughout the galaxies.

Thank you for being part of this great Now moment. Be who you came to be. Let’s light up the world together (Aquaryausca)is a natural and intuitive all around spiritual healer; through energy, touch, prayer, rising others out of depression, comma or near death experience.﻿the starlight  that leads you out of the darkness

medicine plant 

There are infinite good reasons why every religion on the planet, and every true Shaman today says that the only way to the light, is by having the love, courage, and action to go into your deepest darkness within you and to face everything you're afraid of facing about yourself. Which is exactly what sacred divine plants like Ayahuasca allows us to do, this deep inner work within us as these plants take us millions of times deeper within where the blind ego-thinking mind is terrified of going. Deep inner work that cannot be done by the lies of logic and cannot be done by the everyday rational thinking mind, as all thought is in past or future, and time in and of itself is total illusion. Therefore, the thinking ego-mind is totally useless.

Only by facing all your darkness and ALL your shadows can light ever be revealed, and it is a perfect Universal law of Nature and Spirit of infinite intelligent design.

As your darkness is your greatest teacher in the Universe. And your darkness will be there lifetime through lifetime through lifetime through all your incarnations until you have the love, courage, and action to go deep into your darkness. Because your darkness is there to teach you. That's what it's there for.

So instead of projecting your own darkness unto others with the silly blame-game and labeling others in all your illusions and delusions by your silly beliefs and false projections (as all you are doing is admitting all your own pain inside you in your total blindness  that you are afraid to go deep into and face), go deep into your darkness. 2 + 2 = 5

   But of course no church ever teaches these things, even though it is blatantly stated in the scriptures, because churches are total liars as reaching for the light is what creates all the darkness within. As Truth IS Always Paradoxical.
mapacho,ayausca, dietas, medicine and many more expect the unexpected let the magic happen

I walk the medicine road to heal and illuminate the world so the future generations wil know the magic Aho ! I started to work with medicine plant  at the age off 13 years young  in the 90's and I practice it stil and learn everyday more about new way's to grow Aho! music medicine, plant medicine , meditation vipassana ,love and light (Aquaryausca)mitakuye oyassin! I am  working for many years with the shipibo tradition 13 years ago 2006 i started to assist with the shibibo's in resulting as a helping hand  sitting next to the shaman during ceremonies  ( medicine )The plants never replace our body but the plants can help our body to be its own medicine again

https://soundcloud.com/user-809786068

(“What is your friend: the things you know, or the things you don't know. First of all, there's a lot more things you don't know. ... So if you make the things you don't know your friend, rather than the things you know, well then you're always on a quest in a sense.everybody that comes in pushy or whit force wil be removed Kindly,

Guitarist, singer and songwriter Omara “Bombino” Moctar is indeed a nomad, the word he has chosen as the title for his Dan Auerbach–produced Nonesuch debut, recorded during 10 days of sessions at Auerbach’s Easy Eye Sound in Nashville, Tennessee. A native of Agadez, Niger, he is a member of the Tuareg people, who have, for centuries, tended cattle and wandered the Saharan desert regions of West Africa. But rising star Bombino—buzzed about in music circles since the independent release of his 2011 album Agadez—has adopted the farther-reaching role of itinerant musician, intrepidly bringing a plugged-in version of his mesmerizing native sound to audiences around the world.

Fatoumata Diawara (a.k.a. Fatou) was born of Malian parents in the Ivory Coast in 1982. As a child she became a member of her father’s dance troupe and was a popular performer of the wildly flailing didadi dance from Wassoulou, her ancestral home in western Mali. She was an energetic and headstrong girl and at the age of 12 her refusal to go to school prompted her parents to send her to live and be disciplined by an aunt in Bamako. She was not to see her parents again for more than a decade. 

Her aunt was an actress, and a few years after arriving, Diawara found herself on a film set looking after her aunt’s infant child. The film’s director was captivated by Diawara’s adolescent beauty and she was given a one-line part in the final scene of the film Taafe Fangan (The Power of Women). This led to a lead role in a film by the celebrated director Cheick Omar Sissoko: 1999’s La Genèse (Genesis). 

At the age of 18 Diawara travelled to Paris to perform the classical Greek role of Antigone on stage. After touring with the production she returned to Mali where she was given the lead in Dani Kouyaté’s popular 2001 film Sia, The Dream of the Python. The film tells the story of a West African legend called Sia, a young girl who defies tradition. To many in Mali, Guinea, Senegal, and Burkina Faso, Diawara is Sia thanks to the film’s enormous success throughout the region.

Offers for further acting roles poured in but Diawara’s family wanted her to settle down and marry and forced her to announce, live on Malian television, that she was abandoning her career as an actress. 

In 2002 Jean-Louis Courcoult, the director of the renowned French theatre company, Royale de Luxe, travelled to Bamako to offer Diawara a part in his new production. An unmarried woman is considered a minor in Malian society so her family’s permission was required. They refused. After much soul-searching Diawara took the daring decision to run away and at the Bamako airport she managed to board a plane for Paris, narrowly escaping the pursuit of the police who had been alerted to the girl’s “kidnapping.” 

With Royal de Luxe, Diawara performed a variety of roles around the world including tours in Vietnam and Mexico and throughout Europe. During rehearsals and quiet moments she took to singing backstage for her own amusement. She was overheard by the director and was soon singing solo during the company’s performances. Encouraged by the reception from audiences she began to sing in Parisian clubs and cafes during breaks from touring. Here she met Cheikh Tidiane Seck the celebrated Malian musician and producer who invited her to travel with him back to Mali to work on two projects as chorus vocalist; Seya, the Grammy–nominated album by Malian singer Oumou Sangaré, and Red Earth, the Grammy–winning Malian project by American jazz singer Dee Dee Bridgewater. When the albums were released Diawara toured worldwide as singer and dancer with both artists. 

“Any goal must have a reason,
Any success is based on a reason, 
Any failure is based on a goal without a reason.”

These are the opening words, feverishly sung in Bambara, of the song “Kènia” on Rokia Traoré’s sixth album, Né So (Home). They are also the best way to encapsulate the Mali-born singer’s strength throughout her nearly 20-year musical journey. The decision to take up music is sometimes guided by a career plan, or a burning urge, or an attempt to gain some recognition, or even the desire to pass on a legacy. But Rokia Traoré’s path is of a different kind, rooted as it has been since she released her first record, Mouneïssa, in the force of will and the movements of her heart.

The fundamental question of choices and responsibilities has always been Traoré’s center of gravity. Before initiating any new project, she asks herself, “Why keep playing music, and how?” This time, she did so with unprecedented urgency. At the time, she found herself in private and public worlds colliding in quite a hazardous manner. 

Traoré had always been a traveler, but in 2009, she decided to move back to Mali. Three years later, she bore witness as her country’s civil war gained terrible momentum. “Experiencing life in a war-torn country was traumatic. I became aware of how naïve I had been without even knowing it,” she confesses. 

While she had left Bamako for a while and moved to Europe with her young son, she also experienced personal issues that threatened her status and legitimacy as a musician. “To make a long story short, being a female artist, especially an African living in Africa, makes you sound not credible as a mother,” she says. Besides, the music industry was facing a crisis, which only added to her distressing doubts, to the point of almost calling it quits, artistically speaking.

The art of picking yourself up and moving on is an implicit theme of Né So. “Everything was falling apart,” she says. “It’s never easy to go through tough times, but it is also what makes you grow, and understand why you cling to certain things and give up on some others. At some point, I realized that I was either going to make it, or just add my name to the long list of female artists who ended badly,” Traoré says. “When people write their biographies, they talk less about their music or talent than their personal rifts. I asked myself, ‘Do I want to end up in that kind of book? Or should I take a chance and get on with it?’ I really had to make some tough decisions. I did, and I’m glad I made the right ones.”


Mbye Ebrima is a djéli: kora player, singer, composer and historian.

He was born in 1988 in The Gambia, where he lived most of his life.

He comes from the family of djélis, both on the part of his mother, as his father. His father, Alagi Mbye, is currently one of the best kora players in The Gambia. He is also the oral historian who tells the history in a weekly national radio program. His father’s elder brothers also plays kora, and his paternal grandfather is a great kora master. But the kora players are also in the family of his mother: her father, grandfather and brother also play kora. His mother, Jabou Susso, is djélimuso and she dedicated herself to singing. Mbye has music in his blood but he also has the gift that allowed him to develop quickly the art of playing kora, although he has started to learn relatively late.

Mbye Ebrima lived his childhood and adolescence with his mother and her brother, Solo Susso (djéli kora master) in Brikama. During this period he dedicated himself completely to his studies and did not give too much attention to the kora of his uncle. 

At 16 he went to visit his father in Surkunda and he decided to move there, to spend some time with him. It was there that one day he decided to try to play kora and asked one of his father's students to teach him one song. From then on he has never stopped. He was spending whole days practicing, rapidly evolving and surprising his family and friends.
A few months later he began to accompany his stepmother, a djélimusso, at her singing actuations. He began to be known and considered a good player. Sometimes he did duets with his father or even trios with his father and his brother.
At 22 he began to teach. When his father was traveling, he used to give lessons to his father's students.

At the same time, along with his friends, he created the group called Mama Africa. They played afro-Mandingue music with a very specific groove, which attracted the audience, not only in The Gambia. The group - composed of kora, balafon, drums, percussion, keyboard and saxophone - acted in several places in The Gambia and also in Senegal. 

He was also a part of the Kora Symphony group, created by the Gambian President, which consisted of 30 kora players. He was one of the six fixed group members and several times he was the soloist of the group. The Kora Symphoy acted in various official ceremonies.

At 25 he decided to meet other cultures and countries and left for Senegal. After a few weeks in the neighboring country, he went to Zimbabwe and then to Tanzania, where he spent about 8 months, teaching the kora music at the Dhow Countries Music Academy  (DCMA) in Zanzibar. He has participated in music festivals in Tanzania, recorded a program for South African television, and tried to play taabar – the local music – on his kora.

In Tanzania he met the director of the German company Mama Africa. The person, after listing to his kora interpretations, invited him to be part of this group. After two weeks, with the signed contract, Mbye Ebrima landed in Europe. With Mama Africa Company he made several concert tours in Germany, Austria and Switzerland.

In February 2015 he visited Lisbon and he liked this multicultural and open city, and the people who wanted to listen to his kora and to his history. He decided to settle here for a few months. In addition to acting solo, he created and makes part of several projects. He has already performed in several stages of the Portuguese capital and he also gave the concerts in Porto, Algarve, Ponta Delgada and soon he is going play in other portuguese cities. He was invited to perform in the program “Conversas ao Sul” of RTPÁfrica and to the programme "Música sem espinhas" de Nuno Sardinha on RDPÁfrica. His last concert at B.Leza (13th Jan 2016) was recorded by RTP and it will be emited on television very soon.


mk-u is following