lord of the Rings: Ital iman dissect the magic of bro sanchez(The Dogon flat earth debate)

The so called primitive symbols are after the dynastic period. for instance: first dynasty Egypt=

3100 BC, where as the information of the so-called Tellum Pygmy's we hear first about them in the fifteenth century, The 15th century was the century which spans the Julian years 1401 to 1500. In Europe, the 15th century is seen as the bridge between the Late Middle Ages, the Early Renaissance, and the Early modern period. we see that 15th century is 1401-1500 AD. pre and post dynasties are 4,199 years apart.  we invite you to listen to the magic (madness ) of Bro. Sanchez Below and learn how he has lead you the wrong way down the rabbit hole.when you have a sense of discernment,you will realize Bro.shanchez make no sense at all, you are witnessing the craft of a fast talking long winded sweet street talker,who is talking you out of your money, and possibly underwear as well.open your eyes and mind  and listen to him for the first time,here put on my shades that you really see the man you follow:

"we talking about predynastic   symbols that dominated the old world,from the time it was said that people were primitive on a flintstones  type level,of technology, and one of the biggest questions is:how were they all synchronized. how were they all on the same page.during the time when scientist said they were to primitive to even know how to develop boats. what we are finding out is that we can find very, very advanced societies going back to the beginning of human origins. and this truth has been hidden from us, behind theories of evolution and Darwinism, and the reason we want to talk about the dogon because they are one of the last tribes to still be passing down pre-dynastic spiritual beliefs and cosmological systems orally now that we understand how profound the teachings the dogon are question number one is: who taught the Dogon tribe

 Everything  they know: and who prevented each and every last one of us from knowing this very profound mystery about life and the cosmos: well there is a lot of deception we got to reveal. so lets start at question number one: who taught the Dogon every thing they know, well signs of other contacts and origins are evident in Dogon Art, and the Dogon people were not the first inhabitants of the cliffs of Bandiagara, influence from the Tellum"...

-Bro Sanchez

we will end the quote of our Bro.Sanchez here and reveal his source,which he did not do in his discourse,if you would listen close to his discourse you will know that this is his source by word:


Signs of other contacts and origins are evident in Dogon art. The Dogon people were not the first inhabitants of the cliffs of Bandiagara. Influence from Tellem art is evident in Dogon art because of its rectilinear designs (Laude, 24).  now for more from his mimic,then we will truly reveal his insainity: you can actually hear Bro Sanchez reading from wikipedia word for word as if it's his own wisdom and understanding:
Themes found throughout Dogon sculpture consist of figures with raised arms, superimposed bearded figures, horsemen, stools with caryatids, women with children, figures covering their faces, women grinding pearl millet, women bearing vessels on their heads, donkeys bearing cups, musicians, dogs, quadruped-shaped troughs or benches, figures bending from the waist, mirror-images, aproned figures, and standing figures (Laude, 46–52).

we can see from the above Quote from Brother Sanchez video that he is a very confused man.
this is something very difficult for students of the Occult (hidden wisdom) to detect. any learned person would know that the Tellum and Dogon as we know them from the 11th and 15th century is post Dynastic not predynastic,as Bro. Sanchez would like for his naive students to believe.all of this I bring out in the video below,where I also compare and dissect his words proving him wrong,so we can see in spots he is out right fabricating an illusion.he wants his students to think and believe that the pygmies the tellum were the originators of our wisdom on earth and that they taught the Dogon.and this leads into his main point of proving flat earth,it is as this obsession with flat earth has caused out that he become a mad man...study the above and the video below and know truth for yourself. Bro. Sanchez I believe is just like the rest, he is in it for the hits and the Money, can you see how he contradicts himself above, at once and at same time saying symbols pre and post dynasty,not realizing there is a unite of symbols because Anunakki,brought them here prehistory...he will tell his students any thing and they will believe it,this is truly traveling down the Rabbit hole.like sunday morning televanglist he delivers  truth on a golden plater of falsehood . but before you view the video of bro.Sanchez and Ital Iman Dissecting it I want you to know the truth about the Dogon and the symbol Bro.Sanchez claims represent The Mother Goddess:

                    Dogon Kanaga mask

1)   Amma is not perceived as mother godess by dogon.

         AMMA IS THE GOD AND NOMO IS HIS SON

             the god Amma and his son, Nommo,
Dogon traveled from Egypt: Amma and Amen same word...
same meaning.

two mask are used both pertaining to Sirius,Kanaga and Sirige

held by the teeth and touching the ground making a arc movment diptcing the movement of the sun… the arc of the sun it’s moved from side to side.

Dogon made it plain who taught them,where they get their wisdom from.

THE CALCULATION OF THE SIGUI CEREMONIES

When it is time for the Sigui, the elders gathered in the tana tono shelter at Yougo draw a symbol on the rock with red ochre , which represents a kanaga mask; this, in turn, represents the god Amma; a hole is made in the ground below it symbolizing the Sigui, and thus Amma in the egg of the world. In effect these two signs should be 'read' In the opposite order: Amma, in the shadow of the egg (the hole) reveals himself to men (the red design) in his creative posture (the mask depicts the god's final gesture, showing the universe.)

The hole is also interpreted as the hole which must be dug to put seeds in. From this viewpoint the holes are arranged in series of three, connoting three Siguis, placed respectively beneath the sign of three seeds, after which they are named. Thus the Sigui at (he beginning of this century was called emme sigi, the 'sorghum Sigui'; the next one will be called yu sigi, the 'millet Sigui'; and the one after nu sigi, the 'haricot Sigui'.

In theory, then, it would seem possible to record the Siguis using this simple method.

In practice, the holes become obliterated and the painting, more often than not, is touched up instead of being reproduced and thus forming part of a countable series. But there is another figure painted on the facade of the sanctuaries which reveals rather more specific data; it is called sigi lugu, 'calculation of the Sigui', and consists of a line of vertical chevrons, the notches of which are painted alternately black, red, and white; each colour corresponds to a seed, the first to millet, the second to the haricot and the third to sorghum

This line can be read in two ways: Either by using just one counting system  whereby each notch is the equivalent of twenty years; here, the notch upon which a Sigui actually falls is carried over to the following series: or, by taking the whole figure and counting twenty years for each notch, regardless of its positioning here, the notch upon which a Sigui falls is recounted.

  

In Dogon territory, the period between the death of a man and the end of the mourning ceremonies which close the funeral cycle is quite a
long one. If the deceased had held an important social or religious position, or had attended the Sigui sixtieth birthday ceremonies either in his
own village or in a neighboring region, then after the 'first funeral' the family will accumulate goods that can be exchanged to enable them to
organize a dance. This ritual preparation period for the 'departure of the deceased man's soul' is considered dangerous for the deceased's
own family and, by extension, the whole village. Numerous taboos are therefore enforced on them, while the homeless soul roams through the
village, haunting the various places he once frequented.

The function of the dama, apart from raising the taboos, is to master this secret force that emanates from the deceased and direct it through
the medium of masks to the sacred places where it will in some way or another be fixed. At the end of the dama the deceased will belong to the
ranks of ancestors. It is through them that the word of Amma, the Creator, will be transmitted again in all its vital force to mankind, fertilizing the
fields and making fecund the women and the cattle.

  

During the time spent by Griaule among the Dogon studying their complex belief system, he was initially told that the kanaga mask represents a bird with white wings and black forehead, but he later came to see this literal interpretation as characteristic of the first level of knowledge, that of the uninitiated. The deeper meaning of the kanaga mask apparently pertains both to God, the crossbars being his arms and legs, and to the arrangement of the universe, with the upper crossbar representing the sky and the lower one the earth. The disparity between these two interpretations illustrates the gaps in our understanding of Dogon art.

The Kanaga mask is surmounted by a vertical structure that represents a bird and also refers to the arms and legs of the creator God, Amma, and to the structure of the universe: the upper horizontal bar is the sky and the lower one the earth. All Dogon masks belong to a men’s masking association called Awa (Cosmos) and are used primarily in the funerary ceremony known as Dama. The purpose of Dama, in which more than seventy masks are known to have appeared at the same time, is to transport the soul and to honor the family of the deceased. Today, the Dogon also perform the Kanaga masquerade for tour groups in Mali.

  

Kananga masks form geometric patterns. These masks represent the first human beings and are normally made by carvers of the Awa society. The masks are worn during the Dama dancing ceremonies The Dogon believe that the Dama dance creates a bridge into the supernatural world. Without the Dama dance, the dead cannot cross over into peace.
Typical characteristic of this mask is the dual cross with short bars extending up across the top piece and down on the bottom piece. The top portion of the vertical bar sometimes bear an animal, human or abstract figure. The masks are normally painted white and black. Common features are the rectangular face, thin long nose and large eyeholes.
Every five years, Dama memorial ceremonies are held to accompany the dead into the ancestral realm and restore order to the universe. During the Dama celebration, Youdiou villagers circle around stilt dancers. The dance and costumes imitate a long-legged water bird. The dancers execute difficult steps while teetering high above the crowd. Through such rituals, the Dogon believe that the benevolent force of the ancestor is transmitted to them.

Their self-defense comes from their social solidarity, which is based on a complex combination of philosophic and religious dogmas, the fundamental law being the worship of ancestors. Ritual masks and corpses are used for ceremonies and are kept in caves. The Dogons are both Muslims and Animists.
source wikipedia