Friday, May 9, 2014

.......So now the fpf@project act nollywood is underway.

The DGN (directors guild) has also picked some of their members to attend a 2-3 month film production course in the US.

We are also made to understand that some of the attendees, were able to acess part of the N700M skills acquisition n skill enhancement fund, with more courses being organised here n more foriegn trips also being planned, to help the n ollywood film practitioners associations n guilds, to hone n perfect their crafts, ...aint it about time for our Nigerian movies to move up a notch ?

Remember to whom much is given, much is expected.

Full details of nollywood film funding project can be found here below

Shell to sell more assets in Nigeria, others

Shell to sell more assets in Nigeria, others This move mar boost interest in the marginal oil sector, n local investor's oportubity vieing for a stake in the Nigerian Energy sector. I predict we may see more IPO's in the Large n medium size markets in EU, UK, US n Canada.

Thursday, June 13, 2013


Dan brown for many, is an artist; he creates recondite images in his reader’s minds. Though he writes about fictional situations and characters, there are those who perceive a secret reality within his Iliadic narratives, as they siege our 21st century consciousness.

In Angels and Demons he depicts a lone character and only member of a defunct secret society, the illuminati, which, while they existed were enemies of the church in the story. But the twist this time was, … this lone member appeared to be a promising acolyte of the church.

Then he wrote Da Vinci code……………..

The lost symbol, tells a gripping story of a metamorphous character, who fancied himself as Moloch (Malachi or Maleck), an ancient priestly, daemonic and godly manifestation; a metaphor for Melchizedek (Melechi Zadeck) from occult lore and the book of Genesis, and who supposedly roamed the earth as a god or angel. In this character’s metamorphism, he tried to discover the lost symbol of Freemasonry.

Through this character we are able to explore a theoretical initiation into the secrets of masonry and the legendary masonic master plan of Washington DC. The journey leads us to the Washington monument, an Egyptian obelisk, reputed to posses certain masonic and alchemical secrets. Then to our surprise, the ‘lost symbol’ precipitates as ‘Al’ the chemical symbol of Aluminum, a metal placed at the tip of the obelisk with the Atomic number of 13, and an atomic weight of 26.97.

According to Chambers’s Encyclopedia, Aluminum was known to the Egyptian Greeks and Romans but was not isolated as a metal until the 19th century. It occurs as the most abundant metal and widely distributed in nature i.e. in silicate rocks, clays, slate and bauxite as the oxide or alumina. It is then extracted through electrolysis, and electrolytic reduction.

A silvery white metal, Aluminum as the description explains , remains  unchanged in air , it is ductile and malleable with the following unique combination of properties; high thermal and electrical conductivity, light weight, high reflectivity, resistance to corrosion by chemicals, foodstuff, industrial atmospheres. The values for high purity aluminum include, m.p.660 degree C; b.p. approx 1,800 degree C; density 2.70 b/mi; coefficient of thermal expansion,0.0000238 per degree C (20-100 degree C), 0.0000287 (20-600 degree C); Thermal conductivity 0.52 cal/cm/cm2 degree C; electrical resisitivity,2.67 mohm/cm at20 degree C, specific heat 0.222 at0  degree C.

It can be alloyed with copper, silicon, magnesium, iron, nickel, manganese and zinc and also tin. Also, very high strengths can be achieved of these alloys and developed by heat treatment and mechanical working. It is easily workable with other metals and elements because of its trivalency and can be brushed into an attractive shining appearance when finished.

It has been used in fabrication: castings, extrusions and high strength forgings. It may be riveted, brazed; welded by fusion, pressure or electrical resistance. It proved invaluable during the world wars and its used was increased during peacetime in transportation, (air land and water).

Its compounds include alumina also used in making synthetic artificial precious stones; Aluminum silicates used in the manufacture of glass and ceramics; Aluminum Acetate used in waterproofing fabrics; aluminum chloride used in the fuel industry as a catalyst for organic reactions; aluminum fluoride; Aluminum sulfate , used in fire extinguishing and for precipitation in sewage and trade effluents.

No wonder Dan Brown’s lost symbol identifies it as an important occult trivalent metallic element with hitherto unknown valencies. Its valency bond can assist in developing high strength materials and advanced technology.

Remembering the supposed military ‘hot air’ balloon crash of Roswell, which has now been admitted by papers from ‘Area 51’ to be an alien craft crash. Eye witnesses were able to retrieve foil like flexible material that appeared stronger than steel and other metals, but bendable and foldable like aluminum foil.

 What is the significance of these’ revelations’? What exactly did a homo-fictus from the ‘lost symbol’ mean when he opined that ‘apocalypse’ means ‘a revelation’?

What is to be expected of the future?

Since the movie 2012 pundits speculated that the world would end last year, and when it didn’t happen they shifted ‘end time’ to this year being 2013. Many have used mirror figures like 12:12:2012 or 12:12:12, 12:21:12, 1:3:13, 31:1:13, 3:1:13, 3:3:13, 31:3:13 to set the date for this, but till date, nothing has happened.

Or has it? Have we gradually slipped through a paradigm shift without realization? Is the world still the same in the wake of tsunamis, street protest and riots stemming from economic hardship, ‘Ozone’ depletion, hurricanes and ‘supper storms? In a new age where American citizens are spied upon by their own government through the internet? Where wars not only kill soldiers but also civilians, including women and children, while we watch from our living rooms?

The mystery for me is that Dan Browns book holds a revelation in numbers and symbolism not readily seen… Firstly Al, the symbol used for Aluminum is also the name of ‘The Most High God’. It is also pronounced in Hebrew as El. In Arabic and Islam it is pronounced as Alla or Allah. Spelt in Hebrew with the letters Aleph and lamed, with values of 1 and 30 respectively. These add up to 31, which is a mirror of 13, the atomic number for Aluminum. This may remind us of the drama in ‘Shaveh’ the King’s Valley where ‘Melchixedek’ broke bread with wine saying “…Blessed be Abram of God most high…….” Gen 14 v 17-20.

Then again in reducing the atomic weight of the metal with a secret kabalistic gematric method we get 8.16(2+6=8:9+7=16), further separation and division will give is 8.88(8+8=16).
When you move the decimal one space or figure to the left you get .888, if you move the decimal a space to the right you get 88.8, and to the extreme right 888. When you figuratively express these numbers together you get .8.8.8. Now regular masons can see the symbolism therein.

Also the atomic weight expressed as a whole number, is 27. A number well known to represent Plato’s solution to the problem presented by the oracle in Delphi, and the solution to doubling the cube with 156 ‘Squares’.

I wonder what Dante Alighieri’s opus has in store for us.

Friday, June 7, 2013

The Masonic town plan of Aba

                             THE ABA MASONIC TOWN PLAN

fig.not shown

On the grounds of St. Michael’s Anglican cathedral Aba is a marked and chained grave, with a lot of history. The man lying beneath is Charles, John D D..wa (1862-1936)who served as Bishop of the Niger from 1933to36, and one the  figures who must have been  behind the Masonic map plan of Aba. He was a regular mason and might have also been linked to many other arcane and esoteric organizations. History has it that he came to Aba in middle to end 1800’s and found Aba very conducive for development as the natives had at first welcomed them with open arms
                                                          fig. not shown
He was instrumental in the establishment of St. John’s parish Osusu which at the time was just a local church, used to convert natives and which was probably at the centre of land conscription in the area under the British Empire.

A second look at the plan reveals information that was not first noticed by our research team. From the new design one sees a more elaborate plan with deeper hidden mysteries which, we have tried to unravel. By adding imaginary lines using the rules of geometry a complete pyramid with a compass manifests under the hand previously thought to be pointing upwards. The compass seems to obey the laws of perspective with one point appearing shorter than the other as it points to the center of the square. The other point appears longer while seemingly touching the top point of the second pyramid.

To the east one sees a figure thus:
                                                        fig. not shown
 on top of a rectangular box like design which kind of slips under the one of the arm of the large square towards the old town cemetery.

We find it thus, a remarkable design depicting the burial of Hiram Abiff as well as the landscape of the great pyramid in Gizeh. The same pyramid historians have linked to Khufu, “the pyramid of Cheops”.

The other pyramids both linked to Khafre and Menkuare are not depicted.
In this interpretation the figure we had shown above represents the sphinx, the wise “lion man” of the desert. A chimera of four animals in the ancient Egyptian view i.e. man, lion, eagle, bull. The first two being used mostly to describe qualities, which according to ancient esoteric principles represent alchemical air and fire…….

The sphinx is facing “east”, and overlooks the “Nile”, here represented by the Aba River commonly known as ‘waterside’.

Historians who view Egypt as the cradle of stone masonry and as such the best example of the beginning of our “craft’ will be in agreement with this design as it shows the landscape of Egypt as archeologist believe it must have looked back on 4000bc or so. No wonder the Masonic year is said to have started right about the same period.

As at that time and beyond, Egypt was ruled by a series of Semi divine kings.  Writers such as Hancock and Bauval refer to them as the ‘”followers of Horus”; and who according to evidence instituted or possessed a secret king making ceremony, before 3150-3100BC. According to history, Menes was the first of a series of 8 rulers whom Manetho the Egyptian sage and historian, referred to as the rulers of the 1st dynasty in Ancient Egypt. So by the unification of both lands about 3150-3100BC, Menes symbolically signified Horus, who unified the upper kingdom and lower kingdoms of Egypt in what we term in modern times as ‘Egyptian mythology’.

Another significant fact is that at that time or probably during a later period, there existed two temple pillars in Upper and Lower Egypt.

The one in Lower Egypt was at Annu or Heliopolis also known as ‘On’ in the bible, which represented “Establishment”, perhaps erected when Menes had conquered and established himself as king over the lower land, and the other at the temple at Thebes to signify the might of Menes who had attacked from the upper kingdom.

This Temple was probably  where, during the later middle Kingdom period, when Memphis had been decimated and they were being ruled by the ‘Hyksos’, a desert tribe who invaded Egypt, the Egyptian priest hood put up a resistance against the invaders.

So Thebes was also later seen as the spiritual ‘stronghold’ of Egypt in religious matters, thus the pillar represented “Strength”.

In ancient Egyptian mythology, the ‘self -creating’  god Atum creates or gives birth to two children Shu and Tefnet; Shu and Tefnet gives birth to Geb and Nut or Nuit; Geb and Nut then gives birth to four children namely Osiris, Seth, Isis and Nephtys. These are the ‘ennead’ or group of nine deities.
Osiris is killed by his brother Seth and is decapitated into seven parts which Seth buries in seven different parts of Egypt. Isis, consort of Osiris, travels all over Egypt recovering all the seven parts, she puts them together and copulates with the dead Osiris to give birth to Horus.

Horus ruled over Lower Egypt while Seth ruled the upper kingdom. Then Horus becomes the crowned and conquering Lord of both kingdoms, by avenging his father’s death; in some versions he kills Seth to rule over Upper and Lower Egypt and in other versions, Geb overrules Seth and strips him of the upper kingdom, then hands it over to Horus.

The Templar connection:
According to legend(rites of Aebrmln) this tradition was brought by Moses who had grown up in the pharaohs household and trained as a prince from Egypt  to Canaan and it finally reached  Israel; and was later ‘instituted’ by the tribe of Judah whose symbol is also “the Lion”.
David’s son Solomon built the first temple and in front, were two pillars representing the same principles. After the destruction of the first temple, Zerubbabel on his return from exile in Babylon built a second temple. It was done with a sword in one hand and a trowel in the other.

Some historians claim that this second temple had gone through some dilapidation, when Herod decided to rebuild and his temple was finished sometime around 60-68AD, then it was destroyed in 69, 70 or 76 AD thereabout. It was claimed that  a spiritual sect had buried some of their wealth and knowledge under this temple before it was destroyed, and perhaps what was discovered in terms of ‘knowledge’ was used by nine knights (Hugues de Payen et al) to found The Knights Templar around 1118AD. It has also been suggested that Hugues de Payen was married to a Sinclair and the Roslyn chapel in Scotland has the same floor plan as the temple of Herod destroyed in 70 AD.

“Da Vinci” connection:
LEONARDO DA VINCI 1452-1519 AD ; 15th-16th Century, is described in Hamlyn’s Encyclopedic World Dictionary as: Italian painter, sculptor, architect, musician, engineer, mathematician, scientist.

  He is also known for two famous paintings, “La Gioconda” (The ‘Mona Lisa’) at the Louvre museum Paris, and the “Last supper”.  The latter was commissioned by the Monks of Santa Maria delle Grazie ‘to be painted on a wall of the refectory of the convent’, which he completed in 1498. It has been written that the moment chosen for the illustration is, when Christ pronounced the words “One of you shall betray me.”
Scholars have held that these two paintings together hold  keys to information some refer as a ‘code’ of sorts; more so elaborated upon by copies of the ‘last’  painting by other painters after Leonardo, who might have shared the same view.

 The first key to this code may be in the name of the artist himself, seen in certain quarters to represent the constellation of Leo, the zodiacal Lion and the fifth sign.  This is also reminiscent of the leonine features of the famous Sphinx of Egypt. This fact can be guessed, by reading both paintings in the right light. The information can also be divined from a meticulous search in comparison, through the elucidated writings of Hancock and Bauval, in their 1996 epochal volume “The message of the Sphinx”.
Leonardo was said to have shared the same views as the Templar’s, though by his time no known Templar organizations existed in the open, not after the burning on the stake of John Demolay, the grand master of the knights in the 1300’s
                             Fig not shown

In the ‘last supper’ painting ,it is said that Leonardo shared a view held by an ancient ‘sect’(Johaninne) and the ‘Merovingian knights’ that Jesus left a bloodline in secret, and the Magdalene was a receptacle(Grail) for this. He painted both Jesus and Mary Magdalene as a couple or a “mirror” of each other.
The ‘sect’, reputed to be a group which held John the Baptist in high esteem, and which, it was later claimed Jesus joined through baptism by John.

 The painting shows the figure of Jesus sits in the center of the table and reaches as if to pick a piece of bread, egg or stone like round object, with his right hand, while he seemly displays the third rock like object with his left. In between these is a second stony object.

Viewing the stones as representative of the three pyramids at Gizeh, the ‘Leo’ code mentioned above points Christ out as the Sphinx, a statue worshipped by a desert tribe from the Harran desert as Christ was worshipped by the Magi in his cradle. Coincidentally these ‘Chaldean priests’ were known to sojourn into the Harran desert to meditate and were perfect astrologers. So according to Davinci, Christ (the sphinx) seems more connected to Cheops (the Khufu) pyramid than the other two (Khafre and Menkuare). This may also allude to secret connection between the Kingdom in Jerusalem and the secret king making rituals of the followers of Horus.

In this light Christ becomes the crowned and conquering child Horus who unites both upper and lower kingdoms, heaven and earth. This might also lead us to read new meanings to the second Chapter of Mathew (the visit from the magi), with special attention on Vs 13 to 23 (ten verses in all). In v 15 is revealed what the Lord had said through the prophet “Out of Egypt I called my son.”
In viewing Christ, as the son of David, the ‘Lion’ of Judah and heir to the crown, the code opens up a portal to the searcher and observer. 

In the message from the Sphinx Hancock and Bauval reveals the Orion mystery. They show that the three pyramids represent the ‘belt of Orion’ in the Orion constellation in the Sky. They also showed how the horizon may have looked in the periods before Menes, and make a good argument for dating the pyramids later than 4000,5000 or 7000BC, in fact they seem to pinpoint 10500BC, while Davinci puts it at 11000BC through his code if well deciphered.
As at that time, with the other pyramids intact and the Nile flowing nearby the landscape looked this:

Figs not shown

This seems like a good representation of Orion on the ground according to Hancock and Bauval. The star is the sphinx; the three pyramids are Khufu, Khafre and Menkaure, with the Nile flowing besides and mirroring the Milky Way.

One gets the feeling that this if translated to Hebrew, which if you read it to be the heiro -script of priests of Egypt spells “JA”, Yod and Aleph, and shows the first two letters in “Jaweh” and in roman figures “IX” represents the number nine, the Egyptian Ennead. Hugues de Payen and his eight knights total 9.
From the heavens the opposite becomes the reality the Hebrew translation reads AJ, Aleph –Yod and the Roman numerals XI =11, the number of the sephiras in kabala if you include the sphere of ‘Daat,’ “knowledge”

So we take it the Bishop probably viewed Christ in the same way the Templars or Davinci did; perhaps the same way he is viewed in the AASR, York rite and probably other masonic rites which lean towards the ancient and primitive rites of Egypt.

Let’s consider the other masonic links of the town plan shall we;
In the figure representing the Sphinx we have “constitution” crescent on which is a notable street “Santa Maria”. Constitution is a word used in regular masonry to differentiate as we say customs and usages. And Santa Maria delle Gracie is the name of the monastery which commissioned Davinci’s “Last Supper” in the 15th century. After Howells crescent in the same neighborhood, you get “Scotland” crescent. The land of Templar’s and the country of the Sinclair’s and where Roslyn chapel is located. Taken with constitution crescent we have “Scottish Constitution” which founded, consecrated and built the first and only Masonic temple in Aba.

Close by is York street, “York” was a “craft” rite in England that is extant there,  but still remains a rite in masonry that offers up to 11 degrees in some versions and 33 degrees in others; it’s well steeped in templar rituals.

Ehi road can be translated to English as Cow road. C.O W. Corn, oil, and wine, gifts king Solomon gave to King Hiram.

East Street which leads to the waterside or East of the view of the Sphinx. Masters Stand ‘due’ east in craft masonry.

 The “cemetery”: The Masonic significance to Hiram having been mentioned, I would like to draw your attention once again to the cemetery area, where as we can see the designer seems to have included some perspective.

Looking at the end of the square that ends by cemetery market, one notices a ‘slant’. This is intended to depict in a sense, perspective. Like the end of the e square is slightly lifted on that side, while the end of the square starting at Calabar Street appears flat. If you notice the compass on top of the Pyramid, it does not seem to be in position on any degree.

So to correct this, imagine moving the compass slightly towards  45 degree angle NE. you will notice that the shorter point of the compass will land of top of the square at Calabar street while the longer end will slip under the raised end of cemetery where it will be buried and ready for ‘work’ on the right degree. This degree is also the portal for the higher degrees of Mark Master, Royal Arch, and Rosé Croix etc. And in order to proceed under the “Scottish Constitution”, you will have to reduce from 3 to 2; now there lies another mystery on the map, which I’ll leave for those with the keys to solve.

Viewing the compass and pyramid as a huge clock, the hand holding the compass while pointing is at tilling time 12noon the big hand is at 9 while the little hand of the clock is at 3. The time is 3:45 another key into the “Chapter”. Then you will also notice that these numbers have something in common. 3,9,12.
3+9=12 and 12 reduces to 3 etc. But they are also missing something; which is the number 6.
If you include the missing number you get the cardinal points represented thus 12, 3, 6 &9 or progressively 3, 6, 9, 12. These are progressions of threes. Any student of the “Goetia” will see that these are the lesser key of Solomon.

Besides if you cross multiply 12 by6 and 3 by 9 you will get a mirror number 72, 27 they both reduce to the number 9=7+2. Looking at it from another view point 22 is the number of parts on the tree of life and the number of the Hebrew alphabets.  It reduces to the number 4; also2x2=4. While 77 is a very mystical number in lamechian terms. 7x7 =49.I’ll live those versed in the Babylonian ‘evocation’ system to fill in the blanks.

Now by using the reduction system in qabalah, 49 reduces to 13 which relates to the base figure and dimensions of the great pyramid and also a full moon circle for a year.  13 also reduces to 4
72 is a number esoterically linked to ‘Shemhamphorash’ which in turn relates to the aforementioned key of Solomon. 27 and 72 both relate to the magic square number 108 ie72=36 by 2, while 36 by 3=108. In the same vein 27 by 4=108; now 3and 4 relate magically in a very mystical way in the way of the “Rose”

But that’s not all. If you follow the progression you will get to 15 thus 3, 6,9,12, and 15. Fifteen is a special number for fellows of craft it also the “lamechian” number of the chambers in the ark of Noah. Looking at these numbers one can readily see the number of Endeavour lodge under the rolls of the Grand Lodge of Scotland 1593; this achieved by jumping  backwards over two numbers one at a time; the two numbers are 6 and 12 the same numbers which total 72 when multiplied; the key of Solomon. The regalia of Lodge Endeavour has two crossed keys depicted on it as part the design.

Lastly for the cinch, we also think that the name ENDEAVOUR is a cipher for “EDEN” “OUR”“AV “; an allusion to Garden Avenue on top of   ‘St John’s Pyramid’. It also seem like it was chosen as an inspiration to ‘try’ to solve the mystery; to continue from the point where the previous masons stopped.
So therefore  by placing Lodge Endeavour under the second pyramid in 1963, the colonial masons bequeathed within it’s safe depository, the final keys to the Map.


MESSAGE OF THE SPHINX; Hancock and Bauval

HIRAM KEY; Christopher knight and Robert Lomas

THE ORION MYSTERY; Robert Bauval and Adrian Gilbert

GOETIA; Compiled and Translated by S.L. “MacGregor” Mathers; Editing and Additional Material by Aleister Crowley




THE HUNDRED BEST PICTURES; Arranged and Edited by C. Hubert Letts


LEONARDO DA VINCI 1452-1519 AD (15th-16th Cent.) “Magus” ©2012 by Frater: A.: A: Menkheru

AKHUNATEN’S WORD;   ©2012 by Fra :. Tau Ar-Mn-Kohene-Aten


THE CRAFT; Irish Constitution

GOOGLE EARTH; ©2010 Google

LAST SUPPER; Leonardo da Vinci


In ancient Igbo history one of the most feared deities is Amadioha. Some liken this deity to the Thunder gods of nature like Thor, Sango etc. Others refer the persona as the god of fire. But as some historians have noted, this demiurge has other qualities hitherto undisclosed and unexamined by classical theology.

The word Amadi means “the gods” a collective term also used to refer to land owners, akin to the Yoruba omo- onile. Also in Yoruba land, the word Oni refers to Ife Kings and Onile is now termed to mean God Almighty in some traditions. The fact the land is seen as the fore bearing aspect to determine “Lordship” is not only practiced Igbo land or Yoruba land but has been seen to apply in the British aisle, in ancient Babylonia, Egypt and European countries during the middle ages. A king who owns all land is referred to as a ‘Lord’, and his barons and counts to whom he consigns such lands, are seen as such.

So Amadi used in reference to land lords is not a practice different from cultures in other parts of the globe. What is more particular in the Igbo sense is that this word is also used as a collective for “the gods” of the land, worshipped in a religious sense; and the totality of these gods were summed up in one single deity, Amadioha.

Oha in Igbo means the people or the populace, so Amadioha extends and contracts as long and wide as the populace extends and contracts, akin to a “Sufflating supplex”.

The word “Grand Supplex” was coined during a meeting of the college of cardinals of the Roman Catholic Church sometime in 1997, before Pope John Paul II came up with the new catechism and ‘creation’ in “Statu vae”, to refer to the changing qualities of the “Grand Omega Dimension” which was once understood as immutable, but now also seen as flexible.  

So it can be readily seen that in certain aspects, ancient Igbo shared the same views on cosmogony and cosmology as the modern Roman church before and since its new catechism.
Again, some scholars have in the early 1990’s held that Amadioha in a deeper philosophical level shares certain attributes of the Hebrew Yaweh or Yahweh. In Hebrew” YHWH” is the spelling of the almighty deity who was the God of Abraham and also appeared to Moses in an ‘emanation’ he saw and heard as “EHIH”, both spelled with four letters.

In some cabalistic texts the word YHWH or YHVH is analyzed in four parts to represent the elemental kingdoms of fire, earth, water, and air.

Amadioha in Igbo theology also has four sons and their names mark the four market days that made up the ancient Igbo week. Some writers are currently doing work on this subject,  to show that the numbering of weeks in four and days in seven to make 28 days of a month was also used in Igbo land in the reverse i.e. days were numbered in four and weeks in seven by the Igbo Dibia, who also held the number 12 sacred.

The ‘collective’ analysis is not farfetched from the view held by the” Elohist”, i.e. pluralist of Hebrew writings who believe in God as “Hosts”; Elohim, ALHM or ALHYM (spelt with a Yod between the letters ‘He’ and ‘Mem’).

Their modern adherents are quick to point out that in the book of Genesis chapter 1 verse 26 it is written that God said “Let US make man in OUR image, in OUR likeness”

This attribution for Amadioha can also be interpreted in a pantheistic view; of a God, who in this cosmism has no other “gods” before it, as in terms they have all been swallowed up by its Cosmo-genesis; as such Amadioha can be defined as a deity who sufflates to encompass, and bends to accommodate.

Chukwuegu the artist created his first Gold gong winning sculpture “Edo”, the Goddess of Nnewi in 1970. This piece was his first major calling by ‘the gods’ and was presented by General Gowon the then Nigerian head of state as a Gift to Emperor Haile Selassie (Born 1890, Emperor of Ethiopia 1930-36).
The Gods edged him on from 1972 to 1974 when finally Amadioha manifested after sculpting on it during that period; and it also won a Gold gong in the same year.

His Amadioha stands 7ft tall, weighing 95kg and looms majestic, like Vincent Van Gogh’s ‘Hill of Montmartre’, or the “dark flames” in his ‘Road with Cypresses’. It ponders like ‘Dr.Gachet’ or his ‘self portrait’, in an atavistic chimerical stature, yet shines like the sun in his ‘Sower’, but with a Dali-esque posture. It is surrealistic and functions within posing rhythmic lines.

As Rudolf Arnheim puts it, “such application of a well organized pattern to a phenomenon of reality…must be viewed as a creative invention of the human mind that has little in common with mechanical imitation or description.”

Chukwuegu in his depiction transports us in perspective through a Surrealistic and kaleidoscopic version of the “Mbari”. He allows us to view this deity as children lost in imagination… introverting as Herbert Read describes, “…a procedure of highly intricate combinations building the whole on a hierarchy of detail….which reveals a careful observation (and contemplation) of the subject. Differentiated in a manner, and conceived at the highest levels like the masters of the ‘Linear style’ who move with unswerving precision along a contour that captures all subtleties….”

This piece follows nature, and through nature leads us to a place where all men must reach in order to contemplate what Delacroix meant when he noted…… “that the straight line, the regular serpentine, and the parallels, straight or curved, ‘never occur…; they exist only in the brain of man. Where men do employ them, the elements gnaw them away”

My first visual perception of this deity was also my first contact with Chukwuegu’s sculpture sometime in 1972 or 73, and also the first time I heard the name “Amadioha”. To my childish eyes this Gold gong award winning piece looked horrific;  I took flight as my heart sank not knowing where to take refuge; next, I tripped by the foot of the artist himself, who caught me as I fell, and placated me as I began to sob “you made it work” he told me quietly. Little did I know then, its predictive implications. This meeting by chance had changed my perspective, in relation to Amadioha and life; and the way I will interact with this deity for the rest of my adult years.

As Hebert Read elucidated Plato’s thesis: that art should be the bases of education and he summarizes “It is assumed then that the general purpose of education is to foster the growth of what is individual in each human….at the same time harmonizing the individuality thus educed with the organic unity of the social group to which the individual belongs…” So has this piece done the same for me and many others, in teaching the relationship between man, deity and the cosmos.

And I will not be so surprised if this sculpture which after winning the Gold Gong in 1974 was proudly exhibited by the Nigerian art councils & museums, inspired Susan Wenger’s later additions to the Osun deities in the grove.

Dr. Carl C. C. Ohiaeri,



Is Aba Masonic

IS ABA IN ABIA STATE A MASONIC TOWN?                                                                          ©2012

Aba is a south eastern town in Abia State Nigeria, built in the early 1900’s and boasts of industrial complexes and manufacturing companies from that time.

There’s new evidence to suggest that Aba, the commercial town of Abia state was founded and built by masons. The designs and planning of the roads leading to the town hall and its environs seems to depict deep knowledge into the secret symbols of the freemasonry and there functions.
Aba was built in the early 1900’s (1900-1920’s) and at that time there existed, no known Masonic body or Lodge within. Lodge Endeavour No. 1593 SC was founded under the rolls of the Grand Lodge of Scotland on the 3rd of May 1962 and consecrated on the 12th of June 1963. So this evidence might point at the existence of a secret Masonic body which operated in the town in the early 1900’s and which had Rosicrucian and Egyptian influences.

It might be that the inhabitants of the land before colonization by the British empire, had knowledge of the pyramids and their use in religious worship ( see The Calix Papers), and they may also have used elephants as transportation, a fact which probably led to the nick name of the town known in certain circles as “Enyimba”,  meaning the Elephant clan.

A theory suggests that they might have migrated from Congo, the land of pygmies, and the place where the Legendary King Solomon’s mines are reputed to be located. The pygmies were known to hunt elephants for food and domesticated them for transportation, which might explain how they were able to travel the far distance between the deep forest of the Congo and the delta region of Nigeria.

A common feature between the local inhabitants of Aba and the Pygmies is height. The Ngwa, the local inhabitants, are known to have many pygmiods (a mix between pygmies and Bantu) among their clansmen. Also one of the legends connected to Nri, the reputed first stop of Ibos, is that they had a pygmy race amongst them “Nwanshi”. This might also allude to the origin of the Nigerian pygmy goat and cattle, prevalent in Ibibio, Hmong, and Igbo lands. The later is now a rare find in Ibo, land but can still be found in lands between Ngwa-land and Akwa- Ibom State.

The main modern Masonic evidence is the visible “square” shaped connection of roads right smack in the middle of the town and leading the town hall (see diagram). The ancient are pyramids which depict a primordial form of tantric worship and an elephant shaped masquerade. Evidence suggest that the ancient worship entailed an elaborate interconnectivity of paths; which included spiritual currents flowing through “Omuma “  to certain  sites; which were conscripted by the British,  who erected churches on these sites.
In ‘The new Masonic plan’, the pyramids appear like they were employed to depict a Christian view. One of the pyramids tips at “Garden Avenue” an obvious allusion to “Eden”, which in certain Masonic legend represent a garden of roses in the center of a cross of four rivers. At the center of this pyramid is St John’s parish Osusu road.

According to sources close to historical figures in the Anglican community in Aba, this parish was supposed to have been the site of the Anglican cathedral in Aba, but the land struggle between the church and the inhabitants of the land now housing St Eugene’s Catholic Church thwarted this plan.
As a result, the Anglican Church moved its center to St. Michaels, inside the main town, while the natives sold off most of the land which had previously been conscripted for further development by the British, in that part of town.
The modern Masonic roots of Aba it may seem from the evidence, was spurred by the Colonists and early migrants from Sierra Leon, who might have been made up of masons from Portharcourt and Calabar. Okirika Lodge Portharcourt has names like Sankoh etc on their list of officers from the early 1920’s and Mc Donald Lodge Calabar also boasts of Sierra Leonean Masons from the early 1900’s. A name like “Boyle” was once a street name in Aba which may have been changed, while Tenant, George’s, still remain as a road and street. These were named after Sierra Leoneans who once lived in Aba.

In fact history has it that the rolls of Endeavour Lodge were filled with Sierra Leoneans in the sixties and seventies; the last of which were the late Barber’s. Many buildings in the Government Reserved Area of Aba was once virtually owned by Sierra Leoneans, and while some sold their properties to relocate elsewhere as a result of the 1966 civil war and its aftermath, there still remained a few families who and married Nigerians in the process of naturalizing as indigenes.

Studying the town plan, one gets the feeling that individuals responsible for the designs did not conclude all their planning before the handover date in 1960; but they completed the Masonic landmarks before lodge Endeavour in 1963, was strategically placed at the base, and right under the second pyramid with its apex in Ariaria market and environs.

The realization of the unfinished divine plan gives the impression that a higher architect was at work when the city planners were at there’s. I hope that sometime in the present or in the future other masons can have the time and resources to research more on these remote planners, the church which obviously influenced them and the masons who dwelt in the city in the early 1920’s to see if the plan would be completed.                                                                                                                                     ©2012
                                                  Wor. Bro. Chief (Dr.)C. C. Ohiaeri Past Master &
                                                           Secretary Aba Urban Lodge 908IC

Wednesday, June 5, 2013

Davinci code revisited

LEONARDO DA VINCI 1452-1519 AD (15th-16th Cent.) “Magus” ©2012

Is described in Hamlyn’s Encyclopedic World Dictionary as: Italian painter, sculptor, architect, musician, engineer, mathematician, scientist.  He is also known for two famous paintings, “La Gioconda” (The ‘Mona Lisa’) at the Louvre museum Paris, and the “Last supper”.  The latter was commissioned by the Monks of Santa Maria delle Grazie ‘to be painted on a wall of the refectory of the convent’, which he completed in 1498. It has been written that the moment chosen for the illustration is, when Christ pronounced the words “One of you shall betray me.”

Scholars have held that these two paintings together hold  keys to information some refer as a ‘code’ of sorts; more so elaborated upon by copies of the ‘last’  painting by other painters after Leonardo, who might have shared the same view.

 The first key to this code may be in the name of the artist himself, seen in certain quarters to represent the constellation of Leo, the zodiacal Lion and the fifth sign.  This is also reminiscent of the leonine features of the famous Sphinx of Egypt. This fact can be guessed, by reading both paintings in the right light. The information can also be divined from a meticulous search in comparison, through the elucidated writings of Hancock and Bauval, in their 1996 epochal volume “The message of the Sphinx”.

In viewing Christ, as the son of David, the ‘Lion’ of Judah and heir to the crown, the code opens up a portal to the searcher and observer.  It shows  that Leonardo pointed to a time beyond, which could hold the keys to the beginning of civilization on earth, and might also point scholars in the right direction of ‘the second coming’.  

So therefore, in my personal and dully considered opinion; these facts teleport Leonardo into a realm reserved for some of the most brilliant Mages in our history..

To quote Frater: A.: A.: Menkheru's Note:" brethren and sisters of Memphis and mizraim should note that the facts referred to above are very important to our rite. The unification of both rites in 1881 can be read as an allegorical unification of the land of Egypt by geb and the ennead mentioned in the legend; thus the ennead =9, which is an integral denominator in Nos. 18 &81: 9+9=18; 9X9 =81. AND THE 28 DEGREE POSITIONS Ne & se that marks the  sun during the summer and winter solstices can be read in several ways 28+28=56, the grade of Adeptus minor; 28, It may also be rendered as 2(8) i.e.88; which you can see in the middle of the number 1881. From 1996 the year of copyright of “message” to 2012 is sixteen years. 8+8=16.

Crunching more numbers, we see that according to code-88eq “epoch”=21 also expressed as the lamechian no. 777; the number associated with “the ever coming son” or shares the same meaning with the etymology of the word Jew “IU” in “anatomy of god” according to Frater achad.

Again “epochal” in code-naeq6=78, the number of the tarot, comprising of 14, 4 suit cards and 22 trump cards; 7+8=15. According to the lamechian rite of aebrmln, Noah’s ark comprised of 15 chambers; in the book of genesis ch.7 v 24, the waters flooded the earth for 150 years or 10x15years. And in ‘hiramic’ legend, 15 fellows originally conspired to get the word.

THOSE, WHO ARE ABLE TO SOLVE These Mysteries’ are warned to BE AWARE OF THE SPHINX AND POWERS ASCRIBED THUS; TO KNOW, TO WILL, TO DARE & KEEP SILENT. In other words, the adept should know ways with which to veil occult truths."