For Your Fire, Pipe, Blessing Ceremony

The Blessing of the Nine Directions
To the East and the West. To the north and the south. To the up and the down, to the sacred all around. To the heartbeat and Breath, I gift all my sacredness. I receive all my life for thee. I shall be forever in the breeze.
peacefulYour Heart Song
I shall sing. I shall sing upon Mountain Tops. I shall be. Glory for thee. And I shall be the loving breeze.

Sacred Dew

Four Sacred Directions In Thee!

Relatives, "Ask for your colors you can believe all the rainbow you can receive, the sacred garment of lights that lead, the spreading sheets of leaves. Here the way is clear to be, the loving and sacred tree. Take to your heart all that you believe and come and fly with me! In other words, ask and you shall receive your four sacred colors." says, White Buffalo Calf Woman who Sings for you, your Twin Deer Mother and additional Sacred Song Blessings and We Bless You

Come receive your Sacred Song Blessings, ask for your blessings and receive, the greatest treasure you could conceive, the soul that needs to be true, when one is validated in you. The treasure is you!

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Saturday, June 8, 2013

Ghost Walking the Sacred Sight, Developing Inner Light

image: eagle represents holy and sacred behavior

Ghost Walking the Sacred Sight (listening to feelings, tools of the sonar wave), developing inner light is where we are when we are bright. Inside out, my soul expires, to let the smoke out to become holy knows (cat meows, the magnetic path that lasts), the smile upon my face, as I let my heart bow, to the excitement that it knows. Holy is my toes, I am dancing to grow, to live another whoe (hey girl, heavenly figure, the blue fields of light that emerges). 

We are shedding our light from within, the place where song is longing to be without sin. (drum begins) There is a song in me, that wants to flow. I need to get up and dance and make it all in a row. Around the circle of life, the tree will follow me. I will set free, a SUN DANCER inside of me.  Let my soul out and we can shine. There is a holy place that is divine. I whisper to you, to let it out. Butt (sitting) today, I have to get up from my shout. I am a holy ghost inside of me. I want to sing and dance and let my hair fly free. I want to feel the wind I create that flows.  I want to share my heart and make it really glow. 

Every breath I take, I take with you. Every step I take, I can hear the clues. And when you are gone away from me I can hear your call. It's time to make it a window and sing through after all. The winds on top of the tree, flying free with me. I am a spirit that dancing in the halls of divinity. We are all together in the shining light, the making of the merri-cold/marigold delight (cold splash on a hot day, refreshing my soul, let me drink from this ray). I say to you (rolling hills, waves) LOVE is the View. Come and hold my hand today, whether it's good or bad display to make it all together in a sacred wave.

We are making a holy ghost in you. We are making a call out, a shout out for the blue. And every soul that dances inside of your heart, sings hallelujah, we did our part. There is much to learn inside of every single child you see/sea, each a hand in the land of our destiny. I bless the shores, the open windows, the dreams that fly free from me to yee/you, all over the trees. We are ghost dancing in the breeze. We are holy spirits, a grandeous of a need (to cultivate love in the fields, the rainbow colored wheel). We are sent from heaven to shine down from this arc. We are sent to gift the glory of all we need to part, the waves of time. The waves of time, to share the window, the holy smoke knows, it's ghost walking that sacred sight today. It's a ghost walking, developing in all we say. I let my hair down. I send my frown. I let my tears go. And then I am holy smoke (breath of life). I forgive this world, to make it/'s fear all go away. I sing my heart in praise,  I sing for you, today. I know the glory of the waves that sing, to say it's love again. I take this breath for you, to know the sacred true, the waking of this ghost, the holiest the most. I am the true blue after you. I send my love out to every single clue. It's a mystery. A mystery,  a painting, a story come true. I send my love out to you ..... (Holiness David Running Eagle says, "but wait there is more!")

.... even with all the sharks (no match against dolphins), I know you are the dolphin that parks (along the ships sailing in lanes), singing joy and gratitude. Can I share my dance with you. I will flow over the waves, to sing hallelujah and praise. It's time to sing we are the wings, we fly over the waves (jumping out of the water/blue and back in) a...gain.

White Buffalo Calf Woman sings and Holiness David Running Eagle Shooting Star drums for all our Relatives of the Holy Ghost Walk. We bow to the sacred nine streams and four holy beams, the directions of our lives, where smoke of the spirit saves and chides, moving us forwards into the light, inner light come forth, share the world at it's most, the soul within wants to climb, to share the sight of sacred light.

Event: Ghost Walk (New Moon Dance, monthly three day gathering with the family and friends, relatives in the winds)
Official Title: Katchee Tope wha: “the Clouds that Dance Ceremony”  The ghost walk or ghost dance, the holy spirit within that soars, free as a bird in song and dance. Holy is the sound, praise for the world to help heal all the world to get along. Each new moon join us around the world, to birth in light from within the darkness, with Rainbow Warriors of Prophecy in the k/night.

Gifted by, Rainbow Warriors of Prophecy, Angel Services Around the World

Dance when heat and cold (mist/smoke of the ghost) find each other bold, binding to bring in the new, the ghost dance comes to infuse, the soul has risen, awaken and driven, the heavenly soul does reign. Renegades put on your shelter (warriors uniform, buffalo armor, rainbow colors purified), because it's turning to helter skelter (confusion and frenzy, bubbling up the soul does reign).  White Buffalo Calf Woman sings

thing theory (2008) anth g6085
the ghost dance garments
megan osborn (columbia university)

A Barracks Ballad by Private W.H. Prather, member of the 9th Cavalry at the Battle of Wounded Knee, 1890

The Red Skins left their Agency, the Soldiers left their Post,
All on the strength of an Indian tale about Messiah's ghost
Got up by savage chieftains to lead their tribes astray;
But Uncle Sam wouldn't have it so, for he ain't built that way.
They swore that this Messiah came to them in visions sleep,
And promised to restore their game and Buffalos a heap,
So they must start a big ghost dance, then all would join their land,
And may be so we lead the way into the great Bad Land.

They claimed the shirt Messiah gave, no bullet could go through,
But when the Soldiers fired at them they saw this was not true.
The Medicine man supplied them with their great Messiah's grace,
And he, too, pulled his freight and swore the 7th hard to face.

Bjornar Olsen questioned “why has the physical and ‘thingly’ component of our past and present being become forgotten or ignored to such an extent in contemporary social research?” (Olsen 2003: 87). In historical examinations of events, the material “stuff” often takes a back seat or is completely left out of the discussion of a particular event. To fully understand the significance of the Battle of Wounded Knee, one needs to look at the garments the Native Americans wore as they participated in the Ghost Dance and then fled for their lives on that December day in 1890.

The great underlying principle of the Ghost Dance Doctrine is that the time will come when the whole Indian race, living and dead, will be reunited upon a regenerated earth, to live in aboriginal happiness, forever free from death, disease and misery. The white race, being alien and secondary and hardly real will be left behind . . . And cease entirely to exist. (Mooney 1896: 139)

This paper is an analysis of the costumes associated with the Ghost Dance religion, prophesized by the Native American medicine man Wovoka, and practiced by the Lakota Sioux. The garments worn during the Ghost Dance religion’s ritual dances were imbued with the supernatural to protect the dancers. The Ghost Dance Doctrine preached that Native Americans needed to live peacefully with the white settlers and practice the Ghost Dance until a time of reunification with their ancestors in a natural world abundant with wildlife and without the presence of the white settlers and soldiers. The buffalo were a central part of Lakota society as they served to fill their social, religious and material needs. With the arrival of the white settlers and westward expansion, the buffalo were hunted for sport and killed off in great numbers and the Lakota lifestyle was greatly changed.

Dances were assembled throughout the plains with thousands of participants dancing and singing for hours on end. The Ghost Dance became a powerful symbol for Native Americans as well as the U.S. government / settlers. While Native Americans were dancing in hopes of a peaceful coming of a new world; the whites believed they were preparing for a final standoff. This tension came to a head with the dancing of the Lakota Sioux. Settlers complained to the government that they feared the Lakota were going to attack their homesteads and requested military intervention.

Their costumes were of white cotton cloth. The women's dress was cut like their ordinary dress, a loose robe with wide, flowing sleeves, painted blue in the neck, in the shape of a three-cornered handkerchief, with moon, stars, birds, etc., interspersed with real feathers, painted on the waists, letting them fall to within 3 inches of the ground, the fringe at the bottom. In the hair, near the crown, a feather was tied.

I noticed an absence of any manner of head ornaments, and, as I knew their vanity and fondness for them, wondered why it was. Upon making inquiries I found they discarded everything they could which was made by white men.

The ghost shirt for the men was made of the same material-shirts and leggings painted in red. Some of the leggings were painted in stripes running up and down, others running around. The shirt was painted blue around the neck, and the whole garment was fantastically sprinkled with figures of birds, bows and arrows, sun, moon, and stars, and everything they saw in nature. Down the outside of the sleeve were rows of feathers tied by the quill ends and left to fly in the breeze, and also a row around the neck and up and down the outside of the leggings. I noticed that a number had stuffed birds, squirrel heads, etc., tied in their long hair. The faces of all were painted red with a black half-moon on the forehead or on one cheek.

-Mrs. Z. A. Parker, description of a Ghost Dance observed on White Clay creek at Pine Ridge reservation, Dakota Territory, June 20, 1890.

The Lakota were emboldened in their dance rituals by the addition of a garment that promised invincibility to the wearer. While many tribes wore similar costumes during the Ghost Dance; the Lakota Sioux were one of the only tribes to believe the costumes could physically protect them (Jenson 1991: 10). The Ghost Dance costumes, with their designs and materials pulled from the natural world, were a rejection of white settlers’ material culture. In an effort to return to the natural state that had existed before the westward expansion of white settlers, the costumes were designed with images of stars and animals.

Each garment was an individual expression. The person wearing the garment would have chosen and painted the symbols onto the cloth or hide themselves. Often, the images painted on the garments were ones seen in visions by the individual. Symmetrical designs on either side of the body were often components of the overall style. The symbols painted on the garments represented specific things. Dots represented harmful hail and by painting these onto the garment one was protected from harmful projectiles. Eagles and other birds of prey were seen as strong and brave figures; the crow was seen as the messenger of the spirit world and could help the wearer escape death. Other important themes include dragon flies which rendered the person wearing the motif invisible and butterflies which made one light and agile in battle.

Painting the symbols, seen during “visions”, was a visual pact with the supernatural. By drawing these, it was believed the supernatural would protect and assist in whatever goal the individual sought to meet. For Ghost Dancers, this was physical protection and a return to ancestral times. The pact with the supernatural placed magical properties on these shirts and bullets or any sort of weapons could not go through them. The dancers, by wearing these shirts, believing that if a white settler or soldier tried to stop them, they would be safe. A closer examination of the reliance and relationship with the supernatural and the protection of the garments lead us to consider the garment as religious fetish (Ellen 1988: 219). While the garments were not objects made in the likeness of humans, the garment can be regarded as an active agent. Indeed, there seems to be an uncertainty with these objects as to whether the garments themselves effect changes or if it is the supernatural that does so (Ellen 1988: 215). Since the individual wearing the garment designed it as a visual pact with the supernatural, the shirts were the physically impenetrable object and the supernatural was beholden to the garment’s images to protect the individual wearing them. Thus, the Ghost Dance shirts and dresses had their own agency and controlled the actions of those wearing them. The shirts became active agents in the Ghost Dance religion as the Lakota Sioux were dependent on them for their magical protection should the need arise. As military altercations with the U.S. troops had failed, the Lakota Sioux were reliant on the assumed power of the shirts.

Indeed, the Ghost Dance garments provided a protective skin for the dance participants (Gell 1993: 3). By wrapping the body in images of nature, the garment provided another layer of skin for those wearing them. The images of nature as seen in visions referenced the return to ancestral times when animals were abundant. The garments thus offered protection from the dangers and uncertainty of the current time. The clothing itself influenced the intentions and actions of the dancers. Wearing the Ghost Dance shirts and dresses visually altered the body and the way the individual perceived themselves and their social interactions and allowed for the empowerment of the community as a whole. The garments gave the individual and the community a sense of purpose and protection to effect change. In ways, the Ghost Dance costumes were examples of layering and an extension of the human wearing them (Knappett 2006). The costumes were often paired with face and body painting as additional layers of protection. As a Lakota Sioux leader, Short Bull, told concerned Ghost Dance participants:

If soldiers surround you four deep, three of you, on whom I have put holy shirts, will sing a song, which I have taught you, around them, when some of them will drop dead. Then the rest will start to run, but their horses will sink into the earth. (Mooney 1896: 151)

The garments created a boundary between the body and the world beyond and also functioned as support for the expression of social relations (Gell 1993: 24). The images on the Ghost Dance garments indexed the causal factors that produced them, namely the turn towards nature after the altercations and change of lifestyle due to the U.S. government. Thus the garments became a symbolic indicator of the events, relationships and obligations on the individual (Gell 1993: 36-7). The shirts created social order by providing a framework in which the Lakota Sioux could work towards the coming of the ancestors and nature.

Furthermore, the garments provided a new “things-centered form of sociality” (Preda 1999: 349). In a time of turmoil within the community, the garments, through their own social power, provided stability and new avenues for furthering a social order focused on the natural world. The westward expansion of the white settlers had led to the dwindling of buffalo herds in the region. The forced settlement on reservations also changed a once nomadic form of life. For the Lakota, these were central to the tribe’s social relations. Hunting, arts and materials associated with this lifestyle were socially significant and lost when the buffalo disappeared and they were forced onto the reservations. The garments gave direction and were a way to try to restore a past order and return to traditions lost.

In December of 1890, after being pursued by the United States military throughout the region, close to three thousand Lakota Sioux gathered at Wounded Knee. The soldiers proceeded to enter all the tents at the camp and collect what weapons the group had. Many Lakota were distressed by this invasion and one began to rally the group against this interference. He began “telling them that the soldiers would become weak and powerless and that the bullets would be unavailing against the sacred ghost shirts” (Mooney 1896: 231). Some began singing Ghost Dance songs and one stooped to pick up some dirt to throw in the air as a signal of the start of the dance. The military interpreted this as a signal to begin fighting and seconds later a gun was fired and the massacre had begun (Jenson 1991: 18). Many died within the first few minutes of the fighting. Realizing that their shirts were not protecting them and that the Ghost Dance songs were not effective against the U.S. military; some Lakota fought with what weapons they could find while others ran for their lives; many died.

It is important also to explore the relationship between the garments and the U.S. troops. Despite the removal of the weapons, the soldiers were still fearful that the dance and the invisibility provided by the costumes promised impending war. As Webb Keane argues, “the fetish remains a temptation even to those whose knowledge would deny the existence of that which they desire . . . it may have to do with the way in which other people’s illusions threaten the very autonomy of the subject” (Keane 1998: 14). While it may be argued that the Lakota view the garments as fetishes with great power, this identification also influences the U.S. troops interactions with the supernatural power of the costumes. The patterned garments drew the troops’ gaze where a plain garment may not have done so (Gell 1993: 36). In this way, the garments mediated the relationship between the two opposing groups. The U.S. troops came with background assumptions on what the clothing and its images meant and how they functioned within the Native American context (Keane 2005: 191). The elaborately designed garments, rumored to protect the dancers from any harm and the dancers’ sudden movements were interpreted by the U.S. troops as a sign that the Lakota Sioux were going to fight. The garments, unique to the Lakota, presented the possibility for the unknown for the American troops. The clothing determined the expectations and consequent actions of the U.S. troops because it determined how the Lakota Sioux were going to act (Miller 2005: 5). Therefore, the Ghost Dance garments influenced the actions of both the Lakota Sioux and the U.S. troops.

Despite being stripped of their weapons, the Lakota began to perform the dance designed to rid the land of the white settlers and troops. At the time, it was the only recourse they had to the invasion of their land. The shirts emboldened them to dance and, thus, influenced their behavior. The troops felt the significance of hundreds; even thousands of participants dancing wearing these garments presenting a massive, unified performance. The dancers, influenced by the garments and their protection, fully engaged in the dance. Thus began the fighting that would involve the deaths of many Lakota.

An examination of the Battle of Wounded Knee would not be complete without an examination of the garments and the relationships they created between the opposing parties. Each group’s understandings and preoccupations with the garments influenced their behaviors and contributed to the sequence of events. It is notable that the violent encounter of Wounded Knee was not replicated throughout all the tribes that practiced the Ghost Dance. Something impacted this encounter and it was the garments the dancers wore.

works cited
Ellen, R, 1988. “Fetishism” Man 23: 2, 213-235.
Gell, Alfred, 1993. Wrapping in Images. Oxford: Clarendon Press.
Jenson, Richard, R. Eli Paul, and John E. Carter, 1991. Eyewitness at Wounded Knee. Lincoln: University of Nebraska Press.
Keane, Webb, 1998. “Calvin in the Tropics: Objects and Subjects at the Religious Frontier" Border Fetishisms: Material Objects in Unstable Spaces. New York and London: Routledge.
Keane, Webb, 2005. “Signs are Not the Garb of Meaning: on the Social Analysis of Material Things.” Materiality. Durham: Duke University Press.
Knappett, Carl, 2006. “Beyond Skin: Layering and Networking in Art and Archaeology.”Cambridge Archaeological Journal 16:2, 239-51.
Miller, Daniel, 2005. “Introduction.” Materiality. Durham: Duke University Press.
Mooney, James, 1896. The Ghost Dance Religion and Wounded Knee. New York: Dover Publications Inc.
Olsen, Bjornar, 2003. “Material Culture after Text: Re-Membering Things.” Norwegian Archaeological Review, 36: 2, 87-104.
Preda, Alex, 1999. “The Turn to Things: Arguments for a Sociological Theory of Things.” The Sociological Quarterly, 40: 2, 347-366.
PBS 2007, “Archives of the West, 1887-1914.”

Ghost Walk  (Sing, Dance, Gather) with us (where you are) each New Moon. 
From the darkness we arise a heavenly child. 
(2014, solar and lunar calender align, January 1, a cycle of renewal) 

Image: Dolphin jumps the waves, like the cow/buffalo (four directions in rainbow colors) jumps the waves with the spirits. Waves of the blue is heavenly, sound. Waves of the red is earthly, color. The Ghost Walk/Dance teaches one to validate and express the soul within, to soar with the spirit to gain inner light. Here/hear the heart learns about joy and happiness, to release the pain of suffering and to unburden our souls, to release the GREAT SPIRIT WITHIN.

Sing a song, and get along, to have joy in life, full of tears, because you know, the sacred flow is all we have to get us home! Dance all day, and learn to play, with all you do and think and say, because we need love to please, to open hearts and doors to be! Welcome all your relatives, into the heart of all your sin and say, "I love you this very day" and "I won't let you get away!". I will fight for love this day, I will fight to show the way, because I am here to love you dear, my heart that sheds so many tears. And when we hope to comfort folks, then we will be prepared to say, "Come pray with me, learn joy to speak, and song and dance will keep us in relief". Whisper song and let a breeze come home to know your knees, where prayer is your living sacred breeze!

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White Buffalo Calf Woman Interprets White Willows Visions The Great Migration!

Rainbow Warriors of Prophecy Hoop 4


THE LAW IS LOVE, not one over other, but ALL the CIRCLE. This is called the Hoops or the Elliptical Path of the Universe. There are four roads or waves that intersect; red road full of colors, blue road full of song, yellow road full of dreams and white road all together now, let us bow.

Relatives, that's the law and if you break the law over one child of the rainbow, no matter what age, you break the law. That the LAW, and it's LOVE. Love thy neighbor as thy brother. This is a commandment of God's ONENESS.

We are Married forever and ever, the ring (hoop) is forever. There is "No way out", "only a Way In" .... this is the sacred circle of our collective dreams. We are learning to walk towards!

White Buffalo Calf Woman your Twin Deer Mother, elder crystal child, iyeshka (interpreter) and akicita (law bringer), crystal (christal/pearl/diamond/red-red), yellow, green, gray (red-green).

Holy buffalo hide (prayer cloth or holy temple called you) reveals the four sacred directions that heal.

Thank you for all your Thrills. Shout out to hit the Nails. We are building a house where all are welcome on the rolling hills. White Buffalo Calf Woman Sings »

White Buffalo Calf Woman (Ptse San Wi Yan), your Twin Deer Mother, has come home to your hearts. It's time to walk the evolution's path. We all are part of the Rainbow Clan, my relatives each and everyone. Receive the treasures that your iyes(h)ka (interpreter) gifts to you, the sacred song blessings, that always are true (soul and voice of the song). And inside of you, the soul that comes alive, the prayers that live, and shout, "I am and I thrive!"

Life is a Roller Coaster and Now I'm on a ride, over rolling hills again, and back to the place where I collide (dark and light). Heaven (dark) and Earth (light) come home to me and we will be getting along, where the sunset returns again, the place I call my home. Star is born, the light does shine, every single morn, and I have to open my heart, so I can get along. There is a kingdom out there, the place of paradise, and we are going home right now, if we can only collide (dark and light). Be my heart and walk with me, be the rising sun (Morning Star), have the place of wonder in the wishing land. Singing to your heart, White Buffalo Calf Woman is finally home at last! Ask for blessings, come receive the greatest you have known, there is promise everywhere, just you look and sea, the heart of wisdom knows the place, the heart that can conceive.

White Buffalo Calf Woman Sings

Sing a song, and get along, to have joy in life, full of tears, because you know, the sacred flow is all we have to get us home! Dance all day, and learn to play, with all you do and think and say, because we need love to please, to open hearts and doors to be! Welcome all your relatives, into the heart of all your sin and say, "I love you this very day" and "I won't let you get away!". I will fight for love this day, I will fight to show the way, because I am here to love you dear, my heart that sheds so many tears. And when we hope to comfort folks, then we will be prepared to say, "Come pray with me, learn joy to speak, and song and dance will keep us in relief". Whisper song and let a breeze come home to know your knees, where prayer is your living sacred breeze! White Buffalo Calf Woman Sings

About Jeff (meaning peace) [He is the Singular (mission) father (leading) that goes around town (evolution's call to the circle of life). We call him the Golden Light of Sound, he is the chosen one, to view the world, but he needs to come home to call. There he will find a home where all will know his knives (sharing and dividing). Without a place to trumpet, he does not have a home. He longs to find a home where all can find a lid (roof, sanctuary, green grass home). Jeff Golden Light of Sound is the House of Cones (light reflection in evolution), the blossom, that reigns forth. Don't be alarmed, he should go away. But be sure his heart will stay. He is the bishop to your pawn (blessing you). You can rise up to his call. Blow billows of sunshine in the air. He will be standing in the streams so fair.]

Jeff Golden Light of Sound said, "I dreamed of the White Buffalo Calf Woman, she pointed to her heart and Buffaloes of all colors formed a circle, the White Buffalo went to the heart and all other Buffaloes followed."

White Buffalo Calf Woman Interprets: The heart is the path into heaven, where our souls do hide. We all belong to the Circle of Oneness, the Rainbow Clan. For we are all related and of God. A Buffalo represents the tools of light, in four rainbow colors, to assist your heavenly mission (heavenly name). This is our holy temple, our flesh, the Buffalo Home. White Buffaloes are like the stars, those who shine, united four roads, the blue, red, yellow, then white, the star. Grandfather light (white person, in their tools of light, rainbow directions) naturally shines like this, the white light of unity, who is humble, and bows like the Rainbow to receive blessings. The rest of us, must learn to walk this humble path, to shine like stars. These are the Rainbow Warriors of Prophecy who unite! A White Buffalo is the Star of Heaven, who shines upon Earth, walking and talking (wakan tankan, the Great Spirit Within) the united four roads. These are the White Buffaloes who are able to walk through the door of heaven, the crystalline heart of White Buffalo Calf Woman, to greet thyself (mirror to the soul, the heart of the crystal person), the soul seeking a way out, to illuminate and shout, to be validated, for who I am! The Rainbow Warriors of Prophecy, learning to become the White Buffaloes (stars of heaven, that shine), begin the Great Migration home. We enter the Third Phase of Evolution, the yellow rolling hill in time (dawning of brotherhood), where dreams do come true. Heaven and Earth, Welcome Home!

White Buffalo Calf Woman Sings: When pointing to the heart, the direction that imparts, the wisdom of the path of the inner light. Here we are many rainbow colors, all part of the same vision of the sacred circle of life. We are relatives, who need to come home twice. Once in the flesh (red road), and once in the soul (blue road), then we know, that we have binded (bound) our whole. When we follow the path of the heart and the soul, all other buffaloes will flow, for rainbows of latter (ancestors), the buffalo homes that have been shattered (separated and divided), will carry us home, to a brand new day, when we look for the heart that leads the day (to flow together, as one shining river).

The tools of light, do shine, like the holy temple of the mind, the flesh that does hold a soul inside. We call the tools of light, the buffalo home. For it's four sacred directions, that gift to us eight directions, the four colors then reflection, to gift our lights. Then we are the Rainbow Colors, the clan that does show reason, when we understand, that we belong to each others, by demand. For it's God's children, we hold the upper hand, for it's sacred in here, where the buffalo steer, the trembling of the hooves who do gallop away. We are here to lead the great migration day.

The circle of buffalo were the sacred rainbow colors, parts each of us, to be whole again, when we join together, in the wind. And as we join together, we follow the fortunate weather, it's inward, the heavenly route, the soul that flies, all inside. And heaven is what leads us, where all buffalo do feed us, to go home again. To feel the wind again. We are going home. To be under the sun.

And it's time for us to gather, to listen to our hearts talk. To walk the path of righteousness in the wind. And when it's all over, we will journey together, the path of love, the holy days, of eternity. Oh blessed bee, let us dream together and be free. Rejoice, Rejoice, the Green Grass Grows!


THE LAW IS LOVE, not one over other, but ALL the CIRCLE. This is called the Hoops or the Elliptical Path of the Universe. There are four roads or waves that intersect; red road full of colors, blue road full of song, yellow road full of dreams and white road all together now, let us bow.

Relatives, that's the law and if you break the law over one child of the rainbow, no matter what age, you break the law. That the LAW, and it's LOVE. Love thy neighbor as thy brother. This is a commandment of God's ONENESS.

Married forever and ever, the ring (hoop) is forever.
No way out, only a way in .... this is the sacred circle.

White Buffalo Calf Woman your Twin Deer Mother
elder crystal child (crystal/christal/pearl/diamond)
crystal, yellow, green, gray (holy buffalo hide reveals)

White Buffalo Calf Woman public figure (Facebook)