Really Haunted – Aug 4, 2022

Interested in aliens? check out our new channel Strange Files youtube.com/c/StrangeFiles1.

Regular uploads scheduled from 1st June 2022. Instagram – https://www.instagram.com/reallyhaunted/ Winning comes at a cost, the more we take away from this thing the angrier i gets. Stacey was dragged out of bed again. She is fine thankfully however she has decided to stay in the caravan.

##### Like all ghost hunting shows this footage should be treated as for entertainment purposes only.  These are our personal experiences living in a haunted house and haven’t been validated by any scientific institutions. ##### #Paranormal#Demon

Checkout Lee’s Youtube Channel: Really Haunted

SourceSouth Australian Gov Criminal Organisation


Really Haunted – Aug 4, 2022

Interested in aliens? check out our new channel Strange Files youtube.com/c/StrangeFiles1.

Regular uploads scheduled from 1st June 2022. Instagram – https://www.instagram.com/reallyhaunted/ Winning comes at a cost, the more we take away from this thing the angrier i gets. Stacey was dragged out of bed again. She is fine thankfully however she has decided to stay in the caravan.

##### Like all ghost hunting shows this footage should be treated as for entertainment purposes only.  These are our personal experiences living in a haunted house and haven’t been validated by any scientific institutions. ##### #Paranormal#Demon

Checkout Lee’s Youtube Channel: Really Haunted

SourceSouth Australian Gov Criminal Organisation

HG Wells Things To Come – The Documentary | It’s The End Of The World As We Know It!

HG Wells Things To Come – The Documentary | It’s The End Of The World As We Know It!

“Taco Tuesday” is a popular Jesuit & Skull & Bones(322) code apparently. What a bizzaro world. So much Predictive Programming has been thrown in our faces over the years and only now are those few of us who have eyes to see are starting to notice just how saturated film and television are with these prophetic messages and warnings.

HG Wells Things To Come – The Documentary (VIDEO)

More Recommended Content: https://shakingmyheadproductions.com/… https://shakingmyheadproductions.com/… https://shakingmyheadproductions.com/…

You can find all of my videos from my old channel and this channel at these to links: https://odysee.com/@shakingmyheadprod… (Original) https://odysee.com/@ShakingMyHead2:8 (Old Backup)

I am posting new content here al the time: https://www.bitchute.com/channel/shak… – Bitchute https://rumble.com/user/shakingmyhead… – Rumble ………………………..

https://www.facebook.com/smh.prod.52 – Facebook

https://twitter.com/shakingmyheadpr – Twitter


New Extraterrestrial Figures Were Found in Guanajuato – Mexico | Steve Quayle Excavation in Mexico – Proof of Fallen Angel Civilization of Genetic Mutants

New Extraterrestrial Figures Were Found in Guanajuato – Mexico | Steve Quayle Excavation in Mexico – Proof of Fallen Angel Civilization of Genetic Mutants

This video is a preview of Steve Quayle’s mind blowing excavation of Artifacts from Mexico. His full Webinar will occur on July 30th. Be sure not to miss it. This video includes his trailer and a video in which he discusses more in depth some of the things that will be addressed in his Webinar. Then I include some excerpts from a recent interview Steve did with Paul Begley. Link to the Webinar sign up on Doug Hagmann’s site: https://www.hagmannreport.com/product… Link to Steve’s interview with Pastor Paul Begley: https://www.youtube.com/watch?v=za02k… One of the things I found very intriguing about Steve’s information was that the artifacts he found were fluorescent, and he points out that reptiles can see ultra-violet light. This immediately made me wonder about the use of Luciferase in medical products in recent years and the implementation of ultra-violet street lights in many places. Another very important thing Steve brings out is that there has been a recent discovery by Scientists after extensive DNA analysis of mummies, that Pharaoh Ehanton Amenhotep IV was a human alien hybrid. (See Space article May 9, 2021). https://earth-chronicles.com/ufo/new-…

The Klaus Dona collection has very similar artifacts depicting the classic elongated skull, oval-shaped eye, Grey Alien humanoid creatures that we all know. I think that these creatures traveled here from another crater dome on our giant oblate spheroidal realm.

I’ve done several posts on this topic in the past. You can see these guys depicted on their little platforms and aircraft outfitted with what appear to be technological breathing apparatuses and other highly advanced pieces of machinery.

The Rhodope Skull: Evidence For The Existence Of Aliens On Earth? Or Just Another Bizzare Ancient Race of “Humans” Like the Maya?

Finds like these lend more and more credence to the theory. These things did NOT come from outer space. There is no such thing as outer space.

Alien Artifacts: Mexican Locals in Awe After Finding Alien Jade Stones in Remote Cave (PHOTOS BELOW)

The Alien Artifacts of Ojuelos de Jalisco

Source: https://alien-star.org/new-extraterrestrial-figures-were-found-in-guanajuato-mexico-21279/

Alien-Star | June 30, 2022

According to a local, a collection of stones with extraterrestrial figures engraved on them is the ultimate proof of human-alien cohabitation. These remarkable results were presented in a video by Manuel Huza on the YouTube channel OVNIS CURRENT.

These sculptures were discovered in a lake in the Mexican state of Guanajuato, along with some skeletons with unusually long skulls.

One of the items weighs between 40 and 45 kg and is made of rare stones such as jade.

Alberto and Manuel Huza made the discovery and publicly disseminated the photographs and videos.

If you want to learn more about this incredible finding, watch the video below, which includes an interview with Manuel Huza, but it is only in Spanish.



HOOVER DAM TRANSFORMER EXPLODES = MEGATRON TRANCE-FORMER | Hoover Dam, Alcyoneus and the Hypercube Tuning Fork Angels | Hoover Damned | Hoover Dam Masonic & Occult Imagery

HOOVER DAM TRANSFORMER EXPLODES = MEGATRON TRANCE-FORMER | Hoover Dam, Alcyoneus and the Hypercube Tuning Fork Angels | Hoover Damned | Hoover Dam Masonic & Occult Imagery

The Hoover damn(misspelled on purpose) seems to be some kind of a portal or gateway leading to the/a Saturn Cube Quantum Supercomputer. It’s got all sorts of Fallen Angel symbology affixed to it and was used in one of the Transformers movies as the home of a gigantic Saturn cube(the Allspark Cube) and was even just recently featured in the season 4 premiere of Westworld as a private Mexican Cartel-owned facility that houses a giant hydroelectric-powered Quantum supercomputer which holds all of the world’s data, including all of the biometric data recorded from all the guests of the park. The trailer for season 4 of Westworld insinuates the dam is another portal to “the sublime”, or an artificial world created for the synthetic hosts. They plaster the truth right in our face per the usual protocol. The soft disclosure message in both the Transformers movie and in Westworld is pretty darn consistent.

SEE: The Ice Cube as the AllSpark of Transformers PLUS

SEE: Hoover Dam, Alcyoneus and the Hypercube Tuning Fork Angels

SEE: A Stargate is Born

RogerinKC had a badass video on the Hoover Dam where he showcased a bunch of crazy looking entities that he found embedded within the structure itself and the rocks surrounding it. He coined it the “Hoover Damned“.

The Hoover Dam is clearly a very important place to both the EL-ites and the various interdimensional entities that they serve and they don’t appear to be shy about hiding this from the public.

I should also note that there have been a lot of prophetic theories relating to the Hoover Dam bursting or failing and creating some kind of natural disaster. Reptoid YT deceiver Jonathan Klek used to talk about this a lot.

Hoover Dam Fallen Angels: https://t.me/endilluminati/17469



E.B.E. = Extraterrestrial Biological Entity = N.B.E. = Nonterrestrial Biological Entity | Terrestrial = From this crater/dome(Earth). Nonterrestrial = From another crater/dome on one of Saturn’s moon.

Nomad = The Space Man = Satan = The White Rabbit = Donnie Darko = The Purple Reignman = The Progenitor of the Demiurge

Satan is trying to assimilate you with A.I. via the Quantum computer. The Saturn Cube is one of these computers.

The Signal = The frequency = The Saturn Cube

Hoover Dam, Alcyoneus and the Hypercube Tuning Fork Angels


A film from 2014 that has been removed from YouTube. I wonder why? Source: MediaGiant. More videos you may like:

Source: http://theopenscroll.blogspot.com/2012/03/part-49-rango-hoover-dam-alcyoneus-and.html?m=1

The Open Scroll Blog: Part 49 – Rango | theopenscroll.blogspot.com

In Black Canyon, spanning the border of Nevada and Arizona, sits the enigmatic Hoover Dam. I drove over it once, during a kind of surreal excursion back around 1998.

It may be that there’s a hypercube containment cell associated with the Dam. It’s not Rango material in a most direct sense but it does fit closely enough in the thread for me to want to include it in the series.

If you want some pretty good reference links, I recommend reading these: Hoover Dam History – Artwork and 2012: Oskar Hansen’s Precession Design of Mayan Star Map – Hoover Dam Part I and Part II

As noted in the previous post, the dialogue from Transformers (2007) identifies the AllSpark cosmic cube as having been hidden inside the Dam in 1935.

I asked if there might something special going on in the vicinity of Hoover Dam and Lake Mead that relates the Transformers cube and stated that some features of the Dam suggest there is. What I like to refer to as “tuning fork angels” in the Dam’s dedication area, plus a few other intriguing elements are features that compare to ancient monuments and “sacred sites” elsewhere. These appear to bear witness to Nephilim that may be buried and bound nearby in a hyperdimensional containment system. Let’s pick up that thread I started with the Transformers dialog.

Tom Banachek: The First Seven came upon the Cube. We knew it was extraterrestrial because the symbols on its surface matched those on NBE-1. The Dam was built around it in 1935 to mask its signal. Four walls of concrete, as thick as four football fields, enable the Cube to avoid being detected by any humans, or any aliens from outside… 

Transformers (2007) – IMDB

The AllSpark falling to earth alludes to Revelation 9 (which is referenced also in Rango, Part 22).

1 Then the fifth angel sounded, and I saw a star from heaven which had fallen to the earth; and the key of the bottomless pit was given to him. 2 He opened the bottomless pit, and smoke went up out of the pit, like the smoke of a great furnace; and the sun and the air were darkened by the smoke of the pit. 3 Then out of the smoke came locusts upon the earth, and power was given them, as the scorpions of the earth have power.

Revelation 9:1-3

I’m not saying the AllSpark refers to that very star from heaven (an angel) and that it’s dimensionally bound inside the structure of that Dam. I’m not saying it’s not, either, but let’s keep our eyes open and attend to what the Lord may reveal. There’s plenty more to consider. The place is Dammed and it may well be damned.

The Greek words for “bottomless pit” are abyssos phrear. Abyssos also means “unbounded.” A well, cistern or pit can only be bottomless or unbounded if you allow for a higher dimension into which a space opens. In the language of geometry, the most basic of such constructs is the hypercube. The place of the locusts is located beyond our familiar 3-space plus time.

You may recall how the presence of buried Nephilim was signaled in other scenes in Rango, in connection with adobe cliff dwellings during zombie apocalypse scenes (Parts 28, 29). Back in Part 44, I wrote: “The technological bridging construct through which the ancient gods are reintroduced into our domain seems to have two primary facets. One is the means of reentry for those bound in the earth at the time of the flood of Noah’s day, who received a sentence for a set season, seventy generations, and whose containment involves an implicit time lock.”

11) And the Lord said to Michael: “Go, inform Semyaza, and the others with him, who have associated with the women to corrupt themselves with them in all their uncleanness.
12) When all their sons kill each other, and when they see the destruction of their loved ones, bind them for seventy generations, under the hills of the earth, until the day of their judgment and of their consummation, until the judgment, which is for all eternity, is accomplished.

1 Enoch 10:11-12

I see evidence that suggests a global network of hypercubes that are containment cells, within or by means of which the agents held responsible for the flood of Noah’s day are bound.

The time lock mechanism was set for release after the passing of 70 generations. Although it’s not the only witness to this, allusion does appear to be made by the movie Cube 2: Hypercube, with its imprisoning cube’s duration set for 6:06:59.

Aaron Hermann and I see pretty convincing evidence that the Adversary is bent upon springing the time lock on this containment grid for an early release, and we believe he’s going to be granted success. At this development, the sovereign Lord will neither be surprised nor unprepared. The means of jailbreak will come via a combination of magick ritual (sex, blood, torture, animal and human sacrifice, chimeric merging of species) and the exploitation of physics, most particularly involving phased and tuned non-EM and EMR wave energy. I believe what’s being sought through CERN’s LHC project is to the end of engaging this army according to Revelation 19:19.

In light of that potential, the government branding appended to the monument is rather ominous. Department of the Interior – Bureau of Reclamation. Are they all about reclaiming something from the interior? The occult pyramid/inverted pyramid Hermetic Maxim logo suggests they are. The Venetian blinds effect signals the requisite obfuscation of intent, as the controlled filtering of light. There’s a concealed letter “M” signaling the Beast number 13 and the pyramid inside the elliptical eye of Horus, inverting the familiar Federal eye inside the pyramid cap.

The Lord has been granting insight into these things I’m expressing recently and I’m not the only one learning and bearing witness. I’ve just started reading The Cosmic Chess Match by L. A. Marzulli. In it, I’m finding what you may consider as another witness to what the Lord has been showing me. He writes in “Chapter 5: Nimrod & the Tower of Babel” about the builders (page 37): “I believe that these people were engaged in occult activities in order to open the portals so that the fallen ones could come back on the earth.” What I’ve been writing in the last few posts suggests this may have been among their ways and means.

The feature of the Dam that first grabbed my attention was the winged guardians. These link the Dam to the many ancient “sacred sites,” temples and monuments where giant and sometimes chimeric guardians are found. I’ll share how the the Lord directed my attention to these angelic figures, which is relevant, but first I want to present some excerpts from Tom Horn’s studies. Note how doorways were guarded with figures that were the subject of magick ritual, even winged figures. Note how a box called the kiste was used in connection with binding magick, which is perhaps an emblem of the hypercube.

“To close the doorway to evil spirits in Babylon and Assyria, colossal enchanted creatures built under elaborate ceremonies and blessed by names of good omens flanked the palace entries and towering gates of cities while extra precaution was provided through winged figures holding magic devices cleverly concealed beneath the entryway floors. It was also important in ancient times to defend ones personal property and private residence against fiendish undesirables, therefore apotropaic (an adjective meaning “to ward off evil”) devices were placed in home doorways, windows, fireplaces and chimneys, while charms, bracelets, and talismans were worn upon the body to protect the individual themselves.”

“The Hebrew prophet Ezekiel made an interesting statement about such “magic bracelets” (kesatot), which were worn upon the body and somehow bound spirits. We read, “Wherefore thus saith the Lord God; Behold I am against your pillows [kesatot, “magic bands”] wherewith ye there hunt the souls to make them fly, and I will tear them from your arms and will let the souls go, even the souls that ye hunt to make them fly” (Ezekiel 13:20). The kesatot was a magic arm band used in connection with a container called the kiste. Wherever the kiste is inscribed on sarcophagi, it is depicted as a vessel with a snake peering through an open lid. How the magic worked and in what way a spirit was bound or loosed is a mystery, but a noteworthy verification of the magical properties represented by these utilities is discussed in the scholarly work Scripture and Other Artifacts by Phillip King and Michael David:”

“In the closing verses of Ezekiel 13 the prophet turns his attention to magic practices whose details remain obscure. Two key terms are kesatot and mispabot…The kesatot are “sewn” on the arms, while the mispabot are made “on the head of every height” (?), which has been understood to mean “on the heads of persons of every height”…”


In the following, Tom had been following the above very closely, and he elaborates.

The text in Ezekiel is believed to specifically refer to Dionysian or Bacchanalian magic, which is important in the context of this blog series when combined with a related two-part “binding” and “loosing” question from God in Job 38:31: “Canst thou bind the sweet influences of Pleiades, or loose the bands of Orion?” The first part of God’s challenge to Job here involves the star cluster Pleiades, which in mythology represented the Seven Sisters or teachers of the infant Dionysus, the very priestesses of whom used the kesatot and kiste to magically “bind” those souls that Ezekiel said God would “loose.” The second part of God’s proposition to Job is equally meaningful, “Can you… loose the bands of Orion?” Studies in recent years have made intriguing findings that suggest the Giza Plateau—which according to Zahi Hawass (current Secretary General of Egypt’s Supreme Council of Antiquities), was known to ancient Egyptians as the “House of Osiris, Lord of the Underground Tunnels”—was designed to reflect the constellation Orion. The three pyramids of Giza do appear to be laid out in a pattern reflecting the three stars of Orion, which is none other than the heavenly representation of Osiris.


While many assign belief in magical guardians and supernatural bindings to the merely superstitious, a reading of Ezekiel 13:17-23 confronts Bible believers with convincing testimony that magical binding of spirit is real and that it involves rituals and physical elements in our 3-space plus time. Hoover Dam compares to ancient sites, with winged guardians and even reference to the Pleiades in a detailed star map!

I was led to discover the winged figures at the Dam during some directed research into the role of acoustics in dimensional boundary manipulation. When I first laid eyes on these figures I immediately identified them as “tuning fork angels.” These 30 foot high “Winged Figures of the Republic” were each cast in bronze in a continuous molten stream, not unlike how bells are cast. The 142-foot flagpole between them resembles an antenna, relative to the tuning fork angels. It calls to mind a Theremin (Thanks David C), a musical instrument with an antenna that works on electomagnetic wave principles, varying frequency and amplitude using proximity sensors that detect the player’s hands. I’ll expand on the role of these elements shortly.

These three elements may be considered as antennas for broadcasting or receiving.

The ongoing TV series Fringe plays heavily on the use of technology to bridge dimensions. The image you see here shows a demonstration that was set up to illustrate the principle being used to open the portals through which objects and beings were passing into our universe. Three tuning forks were used to resonate a region containing the migrating object. I see the Winged Figures of the Republic as tuning forks.

The tuning fork angels are seated upon black stones that exhibit the style of cubism. These cubes are angel thrones of black stone. The Dam itself is in Black Canyon. A canyon is defined as a narrow chasm with steep cliff walls, cut into the earth by running water. The walls are stone. Black Canyon; a Black Stone Chasm through which water flows in a control gated mechanism. There can be no dispute that there is an enormous amount of energy represented at that location, which must be considered a power node. File this away, as I still intend to feature the meaning of the rising black stones in the scene where Rango falls to earth, Lord willing!

The Dam’s dedication area features a star map, which you can read about here, 2012: Oskar Hansen’s Precession Design of Mayan Star Map – Hoover Dam Part II. Like many ancient sites, and those not so ancient magickal sites as may be found scattered across the globe, there’s a reason why the Dam is where it is and why the terrestrially anchored elements are aligned, linked and thus bound to the celestial lights.The terrestrial and celestial grids are bound together in time. It’s in the record of Genesis, the subject of the 4th day of creation. Biblical astronomy derives from this reality and the occult arts of astrology have exploited and continue to exploit and will further exploit the reality of this grid to grid link.

You see in this image of a star map at the Dam, the prominent name, Alcyone. Alcyone is the name of a star in the Pleiades, referenced above in Job 38 in the context of binding. The star is a metaphor for an angel, and there is a legendary giant named Alcyoneus, a star child, hybrid angel human, Nephilim. Legend has it he was created to destroy the gods. Is Alcyone, the named star of the star map at the Dam, indicating that Alcyoneus is the subject of magickal binding at the facility?

At Theoi.com, it is suggested that Alcyoneus “may be the same as Eurymedon, the king of the Gigantes mentioned in the Odyssey.” Earlier in this post I wrote that the AllSpark falling to earth in Transformers alludes to Revelation 9, where we learn a star that fell to earth was given the key to the bottomless pit. This star was later in that chapter identified as Apollyon or Abaddon.

They have as king over them, the angel of the abyss; his name in Hebrew is Abaddon, and in the Greek he has the name Apollyon.

Revelation 9:11

Perhaps Alcyone is that star and Alcyoneus is that angel, alias Apollo and Horus.

If the name Alcyoneus seems familiar it may be through the popular work of fiction titled Longwalkers by Steve Quayle and Duncan Long. Steve says many of the elements of the book are factual, based upon what he’s learned from research over many years. They present this Nephilim giant in the same way Revelation 9:11 speaks of the angel of the abyss, as the king over the Nephilim. In the book, Alcyoneus was found and released from binding in what is now Turkey inside Nemrut Dagi, Mount Nimrod, the Throne of the Gods. That place is considered by many to be the burial place of Antiochus Epiphanes, desecrator of Jerusalem’s Temple, who forced worship of Zeus and remains to this day one of the most widely recognized types of Antichrist.

The Grand Canyon, located not that far from Hoover Dam is another area identified in Longwalkers as a holding facility for Nephilim.

Whether there is a Nephilim king named Alcyoneus and whether he might be inside either Hoover Dam or Mount Nimrod, we shall see.

While there’s plenty I don’t know, the following items highlight the Black Canyon gateway work as a place of notable interest.

The design of Hoover Dam resembles that of the Altar of Zeus, which is famously referenced in Revelation 2:13 as “Satan’s seat” and “where Satan dwelleth.” The Dam compares to other models like the Zeppelintribüne, built for Nazi rallies in Nuremberg, the stage set for Obama’s 2008 presidential nomination in Denver, CO and Cecil Rhodes’ Memorial on Devil’s Peak, Cape Town, SA. The Dam is very thick at the base, so that volume compares to the quad inside the Altar of Zeus.

From observers at the Dam, the new bypass “rainbow bridge” forms a bow in the clouds, like the contents of Rango’s umbrella drink as he “traveled the Bifröst,” falling to earth.

The eagle spread before the acoustic array features a cloud bow, through which portal the starry heavens appear. The identity of the eagle may be Alcyoneus and company, suggested perhaps by Oskar Hansen’s explanation of the winged figures.

The building of Hoover Dam belongs to the sagas of the daring. The winged bronzes which guard the flag, therefore, wear the look of eagles. To them also was given the vital upward thrust of an aspirational gesture; to symbolize the readiness for defense of our institutions and keeping of our spiritual eagles ever ready to be on the wing.

Hoover Dam History – Artwork

There were 112 deaths associated with the construction of the dam. Included in that total was J. G. Tierney, a surveyor who drowned on December 20, 1922, while looking for an ideal spot for the dam. He is generally counted as the first man to die in the construction of Hoover Dam. His son, Patrick W. Tierney, was the last man to die working on the dam’s construction, 13 years to the day later.

Hoover Dam – Wikipedia – Construction Deaths

Who is sovereign over such things as life and death? My God is. The first and last men claimed to die in the project were father and son, sharing the most basic DNA connection and linked in life and death. The time span of exactly 13 years to the day stamps the Black Canyon work with the number 13, which is the number most strongly identified with the Beast and related times of revealing. See The Number Thirteen (The Sign for the Bride – Part 3) where I provide documentation of this feature, where the extent to which this point can be made is almost stunning.

The number also means, “rebellion,” and “Lord.” The sign derives the time signal of 13 from two men named Tierney. The meaning of ‘Tierney’ is “Lord, Master.” That’s the meaning of Ba’al. On one hand, this sign testifies to me that the sovereign Lord God oversees this work and every aspect of it. On another hand, it speaks of the times of revealing (Marian/Isis apparitions) and the Beast, and Ba’al – and Alcyoneus? The worship of a Ba’al is to the demon god of a locale, a region, a principality. At the Dam, would this be Alcyoneus?

Compare AllSpark ~ Alcyoneus

Is the Hoover Dam built around the “AllSpark” Alcyoneus?

According to the line from Transformers: “The Dam was built around it in 1935 to mask its signal.

1935: 1+9+3+5 = 18 = 6+6+6

Is this reference to the building of the Dam around the cube in 1935 an instance of signaling the cube number 6*6*6, comparing to what I’ve presented about the movies Pi and Cube 2? I think so! Those reference a cubic name key, possibly to abyssos phrear, the bottomless pit of Revelation 9, which may be for the release of those bound in the earth adjacent to our time and space.

It was in 1935 that J. Edgar Hoover started the FBI. Although the controversial naming of Hoover Dam officially involves the 31st president, Herbert Hoover, I’m not the only one to think rather that this was a tribute to the esoteric and famous Freemason and homosexual J. Edgar Hoover. The Dam was a Masonic work of massive scale. It was in 1935 that the Great Seal was incorporated into the design of the Federal Reserve’s one dollar bill under Freemasons FDR and Henry Wallace (with associate Nicholas Roerich), an act that has had an enormous impact upon the world.

I was just told by a journalist that there are Satanic rituals performed there nightly, at 3:30 am, and that the place is called the Womb.

The man responsible to design and build something fitting for the dedication area obviously knew things. He had been changed by a near-death experience. He was commissioned by the Masonic government for the monumental work.

Oskar J. W. Hansen was a very unique and special man. Besides his military service in the US where he rose from a Private to Major of the US Army, he was esoteric, almost dealing with the occult, but very spiritual and his ‘near-death experience’ changed his philosophy of life.

From one of his speeches in 1928 that reminds me of the Maya language development, he expressed, “Man has always sought to express and preserve the magnitude of his exploits in symbols. The written words are symbols arranged so as to preserve in objectified form the thought of man and to record his variant states, both mental and physical. All other arts are similar as to their symbolic significance. They take their place among the category of human endeavor simply as the interpreter of life to itself. They serve as an outer object typifying the inner process. They form the connecting link between the spiritual and the material world. They are the shadows cast by the realities of the soul.”

2012: Oskar Hansen’s Precession Design of Mayan Star Map – Hoover Dam Part II

If you read the links I posted for reference at the beginning of this post, which I strongly recommend, you’ll have a better sense of the esoteric language Oskar employed to describe this work.

There has been lots of documented seismic activity at the site and substantial controversy over the integrity of the public record. The page here Are Earthquake Swarms At Hoover Dam Being Covered Up? Startling Evidence! was copied from the apparent original article here, http://pprnnews.com/2011/10/14/why-lake-mead-earthquakes-should-give-you-nightmares/, which had pictures but is no longer available. Note, at the bottom of this one, the reason for deleting some of the seismic events is given as being that those were attributed to magma movement instead of earthquakes. What truth there is to any of that, I have no clue. What is actually happening inside the earth at this location will be known, as all things hidden will be known at some point in the future, according to the Lord’s faithful promise.

Some claim the new $50 bill pictures water spilling over the Hoover Dam when folded a certain way, an ominous portent when considering the Twin Towers and Pentagon events of 9/11 pictured on the folded $20.

From the Lake Mead side of the Dam you not only see the rainbow bridge, you also see an 11 / 11 presented in the towers, numbers that testify of division, the cutting of the flesh and judgment.

In closing this lengthy post I want to present some excerpts from an interview I feel should be taken seriously, with the Lord’s own “insight filter.”

“This self-proclaimed illuminati Insider appeared on the “Above Top Secret” forum in October 2008, giving away information about the Illuminati Agenda and their goals. The reason for this, he says, is because time is right for us to know some of what is going on behind the scenes. And when he explains WHY he needs to reveal it now, it’s very convincing. In this article I will post the dialogue between the “Above Top Secret Forum” members and “Hidden Hand” in its entirety.”

“The Maya use an astrological cycle called the “Precession of the Equinoxes”. This is a 26,000 year cycle in which Earth transits through each of the 12 signs of the zodiac for about 2,152 years each. Each of these astrological ages represents one month of the grand Cosmic Year. This “Mayan” cycle also corresponds to a 26,000 year relationship of the Sun (Solar Logos) orbiting Alcyone, the central star of our Seven Sisters Pleiades constellation.”

“The End of this Cycle, heralds literally, a New World Age, and a New Creation. “A new Heaven, and a new Earth”, and is the time of the Great Harvest.”

“ATS: You mention Alcyone … it’s interesting there’s a celestial map of it at Hoover Dam. There’s also a compass, framed by signs of the zodiac.”

“HH: Indeed. Just like in Hollywood productions. We hide the Truth right out in the wide open. What humanity is offered as “Science Fiction”, more often than not, is actually Science Fact.”

“ATS: What do the winged statues, commissioned by the U.S govt, guarding the entrance at the dam really represent? Is any of this collection of celestial symbolism found there connected to your luciferian/alien/equinox/transformation agenda?”

HH: That is actually very simple. You’ll note that the feet point directly downward to the earth, and the hands and wingtips point directly up to the sky. The Life-Force Energy flows into the human mind/body/soul complex from the earth up through the feet. The Intelligent Energy from the Infinite Creator flows down from above and in through the crown chakra. The wings represent our (Lucifer’s) inherent Divinity. You’ll also note that the figure is seated. “The seat of our (Lucifer’s) Power connects Heaven and Earth, and all things must pass through us”.”

Dialogue Between Above Top Secret[ATS] and “HIDDEN HAND,” Self-proclaimed Illuminati Insider

Rango’s ice cube in the umbrella drink. Hoover Dam. Hmmmmmm. Lots to think about.


Uvalde Shooter – CHECK HIM OUT. Joker Jester “Grinning Man” Clown Possession in Clownworld | Uvalde Shooting Full Video: Graphic Video Shows Gunman

Uvalde Shooter – CHECK HIM OUT. Joker Jester “Grinning Man” Clown Possession in Clownworld | Uvalde Shooting Full Video: Graphic Video Shows Gunman

Oh my. More veil malfunctions? Possessed by the Joker Jester Nephilim Clown himself? I mean, we do live in Clownworld and that guy/entity is the god of this world and I literally just did a post on “The Grinning Man” who is obviously one of the personality avatars used by the Progenitor(the devil).

The Nephilim Looked Like Clowns 4: Grinning Man | The Liquid Crystal Holographic Clownworld of Court Jesters, Machine Elves and Grey Aliens

On a side note, I love how the mainstream media has been absolutely humiliating the pigs of late over this. It’s the only useful thing I’ve ever seen them do. Of course it’s all for the wrong reasons and in reality they are probably just upset with the Uvalde pigs because of how incompetent they were at making this latest False Flag seem even remotely genuine. You’d think they would have learned from all the other blunders during their past theatrical school shooting performances like at the Sandy Hook and Orlando nightclub “massacres”, but they still appear to be employing the same low quality super dummy Crisis Actors who sloppily follow what appears to have been very hastily thrown together script that’s mediated in real time by the news anchors on scene who’s job it is to babysit these dumb dumbs and keep them on script.

REDDIT: https://www.reddit.com/r/conspiracy/comments/vxvlik/uvalde_shooter_check_him_out/

Source: https://heavy.com/news/uvalde-shooting-full-graphic-video/

  • Updated Jul 12, 2022 at 7:03pm

The full video of the Uvalde, Texas, mass shooting scene, including footage inside the school, has been released. You can watch the video below, but be aware that it is graphic and disturbing.

A lot of the video, which is more than an hour long, shows numerous law enforcement officers waiting in a hallway. Law enforcement officers have been strongly criticized for not immediately going into the classroom where accused shooter Salvador Ramos was holed up with children.

KVUE-TV shared the video on YouTube, explaining,

KVUE and the Austin American-Statesman’s Tony Plohetski obtained hallway footage from the Uvalde school shooting. In this footage, you can see the school shooter crash his truck, a student who witnesses the shooter walking through the hallways, and multiple law enforcement officers taking fire. KVUE and the Statesman are releasing footage to help bring clarity to the community. Parts of the video have been edited and censored out of respect for the families. Viewer discretion is advised.

Here’s what you need to know:

The Video Shows a Young Boy Who Spotted the Gunman

Graphic Content Warning: Hallway footage obtained in Uvalde school shooting | KVUEKVUE and the Austin American-Statesman’s Tony Plohetski obtained hallway footage from the Uvalde school shooting. In this footage, you can see the school shooter crash his truck, a student who witnesses the shooter walking through the hallways, and multiple law enforcement officers taking fire. KVUE and the Statesman are releasing footage to help bring clarity…2022-07-12T21:21:15Z

The video starts outside Robb Elementary School and shows Ramos walked to the school before entering it and walking down a hallway, armed. A young boy, who is not identified, ran away from the gunman, but it doesn’t seem like Ramos saw him.

The Austin American-Statesman, which also obtained the video, wrote, “The gunman enters one of the classrooms. Children scream. The gunfire continues, stops, then starts again. Stops, then starts again. And again. And again.” The newspaper noted that officers were clustered in the hallway doing everything from talking to texting without immediately entering the classrooms.

Screams erupt when the shooter started firing toward a classroom and then walked inside it. The video also shows officers being shot at. They then back up and stand in the hallway.

According to KVUE-TV, officers did not enter a classroom for more than 70 minutes.

Some Family Members Are Very Upset Over the Video Leak

Javier Cazares, whose daughter was among the victims, expressed outrage over the video’s leak, according to CNN.

“We were supposed to get some footage shown to us on Sunday of the filming inside the hallway and then we got a call, another parent got a call saying that someone got a hold of it. It got released and got leaked. They didn’t have our permission from us to do so,” Cazares said, according to CNN.

A State Representative Had Vowed to Release the Video

State Representative Dustin Burrows, who is chairing the House committee looking into the Uvalde shooting, tweeted, “It is my intention to show the hallway video to the people of Uvalde, regardless of any agreement. I will not release it to the public until the people of Uvalde have seen it for themselves.”

The Statesman reported that the classroom was unlocked, even though authorities initially said they were waiting for keys.

According to the Statesman, the video is “part of the investigative file” and “includes security video footage from a nearby funeral home showing the gunman arrive at the school by wrecking a pickup in a ditch, and includes audio of 911 calls and officers speaking in the hallway, as well as the sound of gunfire.”

READ NEXT: Video Shows the Moment Former Japanese Prime Minister Shinzo Abe Was Shot



Really Haunted – Jul 6, 2022

This is another crazy night of paranormal activity. After trying to ignore this demon for close to 2 weeks i have changed direction. I feel the demon/poltergeist sees my submissiveness as weakness, that’s why its been able to take over a few times. Last time i constantly challenged the demon/poltergeist , that’s how its going to be from now. Lots and lots of noise going on around the house this night, some of the worst we’ve heard. When i eventually go to sleep a black mist forms near the box and appears to lift it up then throws it.

Instagram – https://www.instagram.com/reallyhaunted/

##### Like all ghost hunting shows this footage should be treated as for entertainment purposes only.  These are our personal experiences living in a haunted house and haven’t been validated by any scientific institutions. #####

Checkout Lee’s Youtube Channel: Really Haunted

SourceSouth Australian Gov Criminal Organisation

Ancient Giants Documentary – Malta | The Sleeping Lady | Gozo | Were the “Sleeping Fat Ladies” of Gozo/Malta & Pharoh Akenahten of Egypt Suffering From the Same “Gravitational Compression” of Their Gigantic Bodies During a Previous Reset?

Ancient Giants Documentary – Malta | The Sleeping Lady | Gozo | Were the “Sleeping Fat Ladies” of Gozo/Malta & Pharoh Akenahten of Egypt Suffering From the Same “Gravitational Compression” of Their Gigantic Bodies During a Previous Reset?

The way the lower bodies of these “sleeping fat ladies” of Gozo & Malta are depicted in figurines and sculptures show a striking resemblance to the physique of Pharoah Akenahten as depicted in his famous full body sculptures with his bowed-out and fat lower body and very feminine mid section(he was an androgynous god-king). I suspect that much like the fat ladies, Akenahten was also a giant and may very well have lived during the same time period as the sleeping fat ladies of Gozo and Malta, as they both seemed to be suffering from the same deformity that may have been triggered by a sudden shift in their gravitational environment. Causing their bodies to shrink and blow-out horizontally, and eventually forcing them to sleep on their sides as the gravitational force became too stressful for their internal organs. This obese female motif is not even unique to Malta & Gozo. You can find depictions of this same obese mother goddess all across the Neolithic world.

Akenahten: The Sickly King?

The reason all these fat ladies were suddenly depicted laying down on their sides was because that was the only way they could survive in this new higher gravity environment. The stress on their internal organs being too great to allow them to stand up straight any longer.

We can see more of these goddess motifs in figurines and statues found all over the world and not just on the small Mediterranean islands that were purported to be inhabited by giants.


Sardinia also has evidence of these “gravitationally impaired” giants and the figurines and statutes found across the island portray an array of several other very distinctly non human types of humanoid that look more like obese robots. Very very bizarre. That whole little cluster of islands has some of the most enigmatic and baffling ruins on the planet. The famous Nuraghes of the Nuraghic culture are gigantic castle-like stone buildings that can be found scattered across the island of Sardinia and number in the tens of thousands with many thousands more still undiscovered and many large pyramidal structures still being covered-up by the authorities.

The Giants Of Mont’e Prama: Extraterrestrial Robots Thousands Of Years Ago?

“The Holocaust of Giants” chapter of the “True Legends” documentary series with Alberino and Quayle has a whole section dedicated to Sardinia and Malta and is a must-watch for those who haven’t seen it.

TRUE LEGENDS: Holocaust of Giants | https://www.bitchute.com/video/s1PBgTcraCFR/

Pinterist: https://www.pinterest.com/massimilianoatz/nuraghe-the-castle-of-the-sardinia/

Source: https://culturemalta.org/the-xaghra-twins-by-alexis-martin-faaberg/

The Xaghra Twins: Remembering the Neolithic Past by Alexis Martin Faaberg, PhD student, CIIS


In my view, the Xagħra Twins figurine found on the Maltese island of Gozo epitomizes a belief system steeped in gender equality that fostered a harmony with nature to create a sustainable regenerative environment. The items left with the dead, including red ocher, some small stone objects, and figurines, as well as myths of corpulent women are some of the elements that scholars are using to interpret the past on Malta. The Xaghra Circle was in use between 4,100 and 2,800 BC and archaeologists estimate that it held over 800 burials.[1]

Careful study of the Xaghra Twins figurine, including its context, refutes the claims of some scholars who disregard the worship of the regenerative power of the female body as merely a depiction of a “fat lady.” These images provide a wealth of information Neolithic cultures are difficult to recreate due to the lack of written data; however, these sites often provide a wealth of artistic language that allows modern scholars to glimpse the past. Unfortunately, there is a tendency in academia to retrofit the symbols of the past to resemble our modern societies. Although the analysis of a single figurine may seem trivial, it is in fact crucial in terms of today’s concern over patriarchal attitudes towards women and the ecocide being waged against the very earth that sustains us. Ultimately, what is at stake within modern archeology is that if women, or their representations, are disregarded in our known history then modern women will be disregarded as well.

The archaeologist Caroline Malone claims that very few of the figurines from Malta can be designated as female because “no systematic study has ever been undertaken where the material has been examined in detail” and has concluded that “the traditional ‘Fat Lady’ or goddess figurine, that is, the classic image of prehistoric Malta, is in fact no more female than it is male.”[2] There is a major problem with the current academic circles denying goddess images based on their own inward prejudices or lack of knowledge. Archaeologist Marija Gimbutas has done extensive work on identifying the language of goddess figurines, which clearly identifies gender in prehistoric art.

Analysis of the Xagħra Twins Figurine

The Xagħra Circle (sometimes referred to as the Broctorff Circle) is the most recently excavated site in Malta. Unfortunately, the site was poorly excavated and many archaeologists have called into question the validity of the finds there due to their haphazard discovery.[3] Later more systematic digging resulted in much more informative data.[4] The most famous find is the Xagħra Twins statue, which depicts two skirted human figures. There is currently a debate about whether this image is male or female. The many fleshy female figurines found in Malta have led many to believe that the people worshipped a fertility goddess, which they connect to the culture’s lack of weapons for war. Some scholars have seized on the lack of a clear male deity to try to disregard theories of a Goddess cult on the islands by naming the faith of the prehistoric people as one of folly. In the article “The Death Cults of Prehistoric Malta” the authors suggest that the worship of fertility may well have been a component of the prehistoric religion. But the recent findings argue that it would be a mistake to concentrate exclusively on any one facet or historical period: the prehistoric religion of Malta was not only an infatuation of fat females[5]

These authors overlook what I consider an important point about the Neolithic religion: that when viewed as a whole, the Xaghra Twins point to more than a gendered female deity, but also to entirely different concepts of gender equality and fertility which consequently led to a sustainable egalitarian society.

Caroline Malone, and others, disagree with “some archaeologists [who] have hypothesized that Maltese society may have been a powerful matriarchy dominated by priestesses, female leaders and mother goddesses,” because they believe this is some sort of overzealous feminism.[6] The scholars who believe that many of the figurines from Malta are female also recognise many phallic images from the island as well. It is ironic that archaeologists like Malone only question the validity of the female images, leading some to the conclusion that there is an unspoken gender bias within academia to only discover male artefacts. The artefacts, on the other hand, are unbiased. At Tarxien there is an abundance of female, phallus, plant, and animal imagery. Sharon Sultana, author of the Malta Insight Heritage Guides, states that some statues are considered to be “earth mothers” and acknowledges that there are male counterparts as well. She asserts, “There is the possibility that both sexes were venerated contemporarily.”[7] This gender variety indicates a holistic worldview where all people were represented.

The symbolism imprinted on the Xagħra Twins figurine points to a society that was invested in the regenerative powers of the land and the female body. The figurine was found among the collective burial of the dead. The early Maltese were deliberate in their care of the deceased and appeared to show great reverence to death as a process. British archaeologist David H. Trump states, “early depositions were pushed back or ejected to make room for later [bodies]. This seems to indicate the widely-held view that personality remained with the bodies only so long as they were clothed in flesh.”[8] The bodies were kept in rounded tombs and were built near above ground temples. Once the flesh decayed from the body and all of its nutrients had seeped into the soil the body was believed to have given life back to the earth through decomposition. Interestingly, this structure is mirrored in the shape design of both the tombs and the temples, indicating that their purpose was related. Trump seems to follow this claim by highlighting the value of red ochre, which the Maltese would have had to import. He says, “Hinting at strong religious beliefs, the bones were freely sprinkled with red ochre. This was used almost world-wide symbolically for blood, and so life.”[9] The combination of the value placed on the decomposition as a way to nurture life and the use of red ochre to sprinkle new life onto the bodies of the dead points to a belief system focused on the preservation of the entire life cycle: birth, death and regeneration. The early Maltese seem to have believed that they could intensify the process through their death rituals and, thus, enhance the presence of life above ground.

Marija Gimbutas asserts the Maltese temples were used for specific religious functions, particularly for rituals of death and regeneration. Maltese temples intriguingly occur in pairs […] representing death and regeneration, maturity and youth, or winter and spring.[10]

Gimbutas references many reasons for these beliefs, but the most striking is that the bodies were often buried in a foetal position, as if being put back into the womb of the earth to be reborn.[11] The Xagħra Twins may be reflecting the above ground temple structures and may possess similar religious significance. Ġgantija, a large Neolithic Maltese temple, is situated near the Xagħra Circle where the twin figurine was found and has the same double goddess structure. Gimbutas explains the double goddess temple structure:

The alignment here is significant and we may suppose the larger temple to be the mother and the smaller the daughter of the divine family, or we may see them as a pair of sisters […] Still another possibility is that the representation is of two different aspects of the same Goddess, symbolizing youth and maturity, or death and regeneration[12]

Gimbutas asserts that these figurines are extremely complex and cannot be classified as merely fertility figures or Venuses. The egg-shaped apses of the temple resemble the egg-shaped rounded burial tombs below ground. The temples and burial tombs likely worked in conjunction to enact the regenerative properties of the Maltese religious system to promote regenerative life.

Gimbutas also comments on the Xagħra Twins directly, saying that it “quite likely symbolises reemerging new life.”[13] Archaeology is evolving to incorporate the language of Neolithic art and understand the religion of the past without a modern overlay. In the introduction to her revolutionary work Language of the Goddess, Gimbutas asserts these ancient cultures “can best be understood on their own planes of reference, grouped according to their inner coherence. They constitute a complex system in which every unit is interlocked with every other.”[14] The particular language of the Xagħra Twins, and the surrounding archaeological finds, point to a belief system that is steeped in a co-creative process emphasising regenerative life. The following paragraphs will illuminate the artistic language of the statue and its implications of the larger culture.

The Symbolism of the Xagħra Twin Figurine

In my view, the symbolic language of the Xagħra Twin figurine is an invocation for fertility and abundance. The most striking element of the statue is that there are two individuals, linked together by a pleated skirt. Gimbutas asserts that doubles equal intensification, which denotes potency or abundance.[15] The doubling of the figures indicates that the symbolism of the figurine must have been of great importance to the culture that created it.

The second most striking symbol is the steaopygia, which is a further intensification symbol, but of fertility. Thus, the imagery of the statue can be viewed as a physical prayer to bring forth fertility and abundance. However, some scholars have argued that the Malta figurines are not purely steatopygous because their fat is distributed throughout their bodies.[16] I concede that the larger statues are rounded throughout their bodies; however, the majority of the weight is situated around the buttocks and, therefore, should be acknowledged as having steaopygia.

Trump has stated that red ochre is a symbol for blood and life. The calves, feet and top front of the bed or couch that the twins are sitting upon is coated in red ochre.[17] Caroline Malone noted, “feet may have represented the means for the spirit to be transported to the next life.”[18] There has been some dispute over whether the Xaghra Twins are male or female. Because Trump, and other scholars, do not account for this ochre to have meaning attached to the physical bodies of the statue; they have not been able to state conclusively that these statues are female. The figures do not have prominent breasts to identify them as female, but the red ochre, as a symbol of blood and life, does identify the sex. Based on the location of the red ochre it is obvious that it is representative of menstrual blood. The pleated skirt is slightly shorter on the front side of the figurines, exposing the red below. This intentional exposure is likely to emphasise not only painted red feet, but to make this area of the figurine the focal point. As women biologically menstruate once a month in the body’s effort to create life it is likely that the early Maltese recognised this ability and were showcasing the life-giving powers of menstrual blood through the ochre. A similar skirted figurine was discovered at Tarxien which had a number of small human represented placed below the skirt above the feet.[19] Such symbolic language makes it unnecessary for the genitalia of a figurine to be exposed for the gender to be apparent. As men do not experience this biological change it is unlikely that the artist would have created them to be so, especially when phallic images are present within the culture. Scholars who take a reductionist viewpoint to their studies are unable to see the language of such artwork in totality as Gimbutas and others have done.

The vine-like spirals that swirl beneath the Xaghra Twins goes further to accentuate that the ocher represents life, but in this case plant life. The spiral design is often described as volutes; however, their design is much more wild and natural. Gimbutas describes the spiral as “The energy inherent in the continually moving forms [that] awakens dormant life power and moves it forward.”[20] In essence, the spiral functions in the same way as the ocher. Both imbue the object with life. Archeologist Anthony Pace analyzes the spiral patterns in the Hypogeum.[21] He describes these spirals as a departure from the highly structured development of the temples and states that they are “organic” in design.[22] This root-like spiral design is also present above ground at Tarxien. David H. Trump appears to disagree with Pace. He says, “It is possible, though unlikely in view of its probable derivation from the volutes decorating local pottery that vegetative symbolism was intended for these spirals, and they could be simply abstract motifs.”[23] My own view is that what Trump insists is an abstract motif is in fact filled with natural symbolism of life’s cycles. This is based on artistic representations at Tarxien and the other temple sites, which are filled with spiral, animal, and human designs. While, the above-ground temple spirals are very structured, the tomb spirals of the hypogeum and the Xagħra Twins do not follow a linear path. Though viewers can only speculate on the meaning of these spirals it is plausible that they might indicate root patterns. This would be consistent with their presence below ground and by the presence of ochre to bring them to life. In the Hypogeum this root system could represent a pathway for the dead to be reborn to the living; whereas, the spiral root design beneath the feet of the Xagħra Twins could be the pathways of lifeblood flowing down from the figures to nurture the dead. These images together showcase the death and regenerative cycle that may have been part of the tomb worship of Neolithic Malta.

The largest section of the figurine is the egg-shaped buttocks beneath the pleated skirt.[24] Though none of the current articles address the pleat design, the evaluation of the skirt is vital to understand the overall meaning of the figurine. There are several deliberate detail changes, which appear to be unique to this particular statue. From the front side the pleats look identical; however, the back shows that the figure on the right, holding the cup, has a separate design.[25] The front and back of the left figure have oblong pleats with two long centerlines. Gimbutas asserts that the bi-line is likely another symbol for intensification.[26] The backside pleats on the right figure has four oblong one-ended pleats, but with a singular dividing line reaching from the center of the inner pleat to the floor. According to Gimbutas this image represents the vulva.[27] The vulva, according to Gimbutas, represents “the birth-giving aspect of the Goddess in the sense of her protecting, promoting, and aiding in the act of birth.”[28] The context of the figurine is important to our understanding of the significance of the overall statue. With the addition of this symbol we now have seen that the figurine includes symbols of the entire life cycle—birth, death, and regeneration. It is likely that these symbols of birth and intensification are tied to the re-birth of life given the context of the site. Unfortunately, it is not clear if the number four, the number of pleats, is significant, but it is possible that this represents that seasons. The two large side pleats are unique in that they contain four lines within one larger oblong one-ended pleat. I have speculated that the number four might be interpreted as a sign of the seasons and as such may indicate a belief that the year-long life cycles of seasons are intertwined with the rebirth of the human deceased. Regardless of any of these speculations it is clear that the artist deliberately made these selections and therefore it is worth our effort to try and decipher their meaning.

Above the pleated skirt both of the figures hold an object. The left figure holds a small headless figurine slightly away from her body. The head was likely broken off at some point due to the vulnerability of the neck. Malone describes this figure as a “tiny dressed person,” but does not compare it to the larger figurines.[29] While the pleated skirts of the Twins hug the contours of the body, the small figure’s diamond inscribed skirt flows outward in a full a-line pattern. Unfortunately, this pattern is not present elsewhere in early Maltese artwork nor is it common in Neolithic art. The hands of the small figure are clasped together. Given the context of regeneration throughout the overall statue it is likely that small figure represents a human rebirth, though likely symbolic. The small figure is being offered forward, leading to further speculation of the co-creative process. Without a stronger context for this design no successful guesswork can occur.

The right figure holds a cup or vessel in the right hand while the left hand is left loose near the belly area. The design and functional uses of the cup are essential for understanding the religious significance of the image. The design is a womb-shape and can be likened to a human female’s womb, which both fills with blood of life and empties. The round body of the cup can be viewed as a container for life and as a representation of fertility. While one hand grasps the cup the other hand is touching the womb of the figure with slightly splayed fingers. Since the red ocher exiting the bottom of the skirt has clearly defined these figures as female, it is possible that the hand is touching the empty or recently conceived womb-space. This assumption is based on the context of the female figurine. The breasts are flattened and there is not a protruding belly on either figure. Based on these details the hand likely represents the hope of new life.

While the loose ponytail hairstyle appears to offer little to understanding of the early Maltese it may allude to gender inclusivity so far unrealized by many scholars. Gimbutas contends that the Great Goddess of life, death, and regeneration is extremely complex and though she does not analyze the Xagħra Twins in as much detail as the work that she has done throughout the Aegean and Balkans it is clear from her expansive research that she believed that the symbolic language extended to the Maltese archipelago. According to Gimbutas, during the “sixth millennium the goddess becomes more vigorous and less obese with her shoulders, upper arms, and breasts accentuated” and while the heads of some goddess figures became “phallus-shaped suggesting their androgynous nature.”[30] It is my view that during this period the ancient peoples began to associate their female deity as containing the male aspect within her overall body. Malone, Trump and others seek to remove any identifying female aspect from figurines to make them male as if male gender were the default gender of the Neolithic peoples, as it seems to be in our modern societies. By looking at the Xaghra Twins from behind it is possible that the heads and long necks could be seen as phallic symbols and that the large bulging arms could represent the scrotum. Hamangian and Sesklo statues are described by Gimbutas as having male aspects though not to the detail that I am describing here. Both the Xaghra Twins and the Sesklo figurine were “long-haired.” The Hamangian sculptures are described as having “very strongly built bodies, muscular upper arms, huge abdomens and thighs, and folded arms.”[31] This analysis provides a view of images that have sexual properties of both genders, leading to the possibility that the figurines represent a being capable of containing all the necessary elements for fertility. However, the overall context of the Xaghra Twins is undoubtedly female.

The final section of the statue from Xagħra is the delicately inscribed base. The couch or bed is very similar to the one on which the famous “Sleeping Lady” figurine reclines. A shorter and thicker base supports the lower wide base, which are marked by three small lines grouped together. This tri-line is, according to Gimbutas, associated with “beginning.”[32] She further states that the tri-line is often connected to the uterus and snake spirals.[33] Although there are no snakes present, both the organic spirals and the uteri of the Xagħra Twins are just above the couch. If the tri-line is a symbol for beginning then this figurine is likely the beginning or conception of new life given the context of the burial mound it was found in. The larger cultural implication of this assumption is that the early Maltese clearly had faith in their belief system to believe that life would return and that they encouraged this process through their artwork. Clearly they must have also believed that they could co-create with their deity by creating this small figurine and placing it among the dead.

The ecological situation on the Maltese archipelago is tenuous at best. Malone and other scholars, including Trump, have claimed that Malta was “an island world under powerful economic and environmental stress, where the communities were struggling to maintain their former standards of living and to feed the population.”[34] These scholars base this on the lack of trade and the preference to expend energy building communal temple and burial structures instead of homes. This assumption of the downfall of the culture suggests an internal prejudice of the scholars against female-centred religious systems. Trump has shown that the islands have sporadic rainfall and the summer is often a period of drought.[35] Soil erosion and lack of timber are also a problem on the island. However, the early Maltese were able to adapt; Trump states that they had methods of water catchment and storage, and knowledge of local springs.[36] While I do not deny that the islands were less than ideal for human habitation I look at the long history of progressive human habitation on the islands as proof that these early peoples thrived. Famed Malta archeologist Sir Themistocles Zammit stated that at the Hypogeum there was a deep-water cistern that has been in use by the public since ancient times.[37] The ingenuity shown by the early peoples is evidence of their ability to survive over time by utilizing the natural resources they had. This is confirmed, although not purposely, by Malone who stated “Their health was apparently very good, with few dental problems or other detectable illness,” meaning that these people lived well in contrast to many in developing countries today.[38] Furthermore, “The same anthropological features are present from the earliest Zebbuġ people to the late Tarxien population, which evinces little or no change in the genetic makeup of the early Maltese community.”[39] This time period is from 4,100 B.C. to 2,500 B.C. For over 2,000 years these peoples maintained cultural independence and environmental health. By demonstrating the veracity of the local people, Malone and her colleges extend the findings of Marija Gimbutas, and others, who believe that the Neolithic people were an extremely sophisticated society who lived well within the parameters of their environment.

Interestingly, Peg Streep writes that the temples were built to show “gratitude and honor due a deity who presided over a land that, while fertile, did not yield its fruit easy.[40] But to what deity were they praying? Malone, Trump and other prominent scholars have neglected to dig up the oral histories of the islands that contain the seed of their cultures early beginnings. Feminist Veronica Veen has researched the mythology of the islands and found existing living traditions of giantess stories told by local women. Veen states that the stories represent a matrilineal legacy and are passed from mother to daughter.[41] These stories are also place-related, meaning that they are linked to a particular physical place.[42] The stories are rooted to the places where they stem from, rooting them in the minds of the local people. This is a tale that Veen collected from Xagħra: “That a Giantess used to carry those stones from over Sannat to Xagħra: carrying it on her back, while she used to carry her baby-child, her baby, at the back. And during the way she used to eat beans.”[43] This story somewhat resembles the Xagħra Twins figurine in that a large woman with a child is represented. The Xagħra Twins may be a smaller representation of Ġgantija. It is my view that such images lead to a larger cosmic worldview held by the Maltese in which female images hold power over life, death, and the continuation of both. Furthermore, the presence of the beans indicates that these few factors were important enough to pass on through the generations. This evidence shows that fertility and plant life were connected with the giantess. Though modern archaeologists refer to the corpulent figures as goddesses the folktales refer to them as giantesses, both possessing a supernatural width and whose primary concerns seem to be children and food.

Due to these somewhat harsh conditions the early peoples were adaptive and knowledgeable about their environment, including their food sources. Their connection to their deity and their food is apparent in the myths of the Giantess and her beans. Malone and Trump believe that environmental pressures caused the decline of the Neolithic Maltese, but their assumption is based on the lack of other data.[44] I agree with these authors that environmental pressure may have been a contributing factor, considering the evidence of soil erosion, but the health of the bodies do not point towards environmental destruction. Thus, the lack of other data should not be brought forth as the proof for the decline of the culture. Instead, allow the early Maltese disappearance to remain a mystery until more evidence can be uncovered.

What we do know of the Maltese we know through the megalithic structures they have left behind and their own bones. The latter provides the most succinct data about the life and social structure. The dead at Xagħra Circle were buried in collective graves. This points to an egalitarian social structure. In her analysis of the Maltese temples Caroline Malone believes that the temples were ceremonial structures and that the culture was highly socialised under a chiefdom.[45] This theory is problematic given Malone’s own admission that “the Maltese evidence is more difficult here since the collective nature of the burial practice […] fail[s] to identify differential status in individual burial, even though the whole group could be seen as ‘wealthy.’”[46] Without evidence of a hierarchical social structure scholars should not attempt to put our modern societies social structure upon the Neolithic.


The finds at Xagħra Circle, and throughout Malta, indicate a society that recognised both female and male qualities as beneficial for the continued prosperity of their collective group. If a hierarchical ruler had led the people their high status would likely have been apparent in their burial by separating their body from the masses and marking it with jewellry or other treasures. Malone’s conclusion that the presence of a matristric, goddess civilisation cannot be proven with the evidence available is interesting considering that she herself was unable to prove that a patrilineal clan structure existed. Instead the evidence points to an egalitarian society.

In their book “The Myth of the Goddess” Ann Baring and Jules Cashford discuss the findings on Malta,

The unity and coherence of the metaphysical ideas of these ancient peoples become more accessible if we are aware of the limitations of our own minds in approaching them. If earth and sky were more resacralised, it might be easier for us to rediscover the ‘language’ of the goddess […] The discovery of these centres of Neolithic civilisation […] must have implications for our conception of the evolution of consciousness.

Baring and Cashford bring to light an interesting facet of modern archaeology. Though it is likely an unconscious act, many scholars try to silence any artefact, myth, or object that does not confirm the current androcentric chiefdom society that we currently reside in. In an effort to better understand such wellsprings of knowledge as the Xagħra Twins figurine we must step back and question what prejudices we are bringing to the academic conversation. Marija Gimbutas has given academia the language to read the Neolithic world. Her gift should be utilised and critiqued so that a conversation that includes the female perspective is heard. Without these added voices the archaeological conversation is missing half of its voices and should this continue our megalithic past will ooze into silence. Though this paper investigates only on one small figurine from a small island, it is a small example of what is missing from the bigger academic picture.


[1] David H. Trump, Malta: Prehistory and Temples (Valetta: Midsea Books, 2002), 178.

[2] Caroline Malone, “Temple Art of Ancient Malta” in Ancient Goddesses, eds.Lucy Goodison, and Christine Morris (London: British Museum Press, 1998), 151.

[3] Trump, Malta, 176-181.

[4] Trump, Malta, 176.

[5] Caroline Malone, et. al., “The Death Cults of Prehistoric Malta,” Scientific American (1993): 116.

[6] Malone, “Death Cults,” 113.

[7] Sharon Sultana, The National Museum of Archeology: The Neolithic Period (Valetta: Heritage Malta, 2006), 28.

[8] Trump, Malta, 44

[9]Ibid., 45

[10] Marija Gimbutas, The Living Goddesses, Miriam Robbins Dexter, ed. (Berkeley and Los Angeles: University of California Press, 1999), 95.

[11] Marija Gimbutas, The Civilization of the Goddess: The World of Old Europe (San Francisco: Harper, 1991), 174.

[12] Gimbutas, Civilization of the Goddess, 174.

[13] Gimbutas, Living Goddesses,, 95.

[14] Marija Gimbutas, The Language of the Goddess. (San Francisco: Harper and Row, 1989), XV.

[15] Gimbutas, Language of the Goddess, 161-172.

[16]Isabelle Vella Gregory, The Human Form in Neolithic Malta (Valletta: Midsea Books, 2005.), 20.

[17] Gregory, Human Form in Neolithic Malta, 20.

[18] Caroline Malone, and Simon Stoddart, “Representations of Death – Discoveries at Xaghra Stone Circle, Gozo,” in Maltese Prehistoric Art: 5,000 – 2,500 BC, ed. Anthony Pace (Malta: Fondazzjoni Patrimonju Malti, 1996), 49.

[19] John Evans, “What Went On In a Maltese Megalithic ‘Temple’?,”in Maltese Prehistoric Art: 5000-25000 BC, ed. Anthony Pace (Malta: Fondazzjoi Patrimonju Malti, 2002), 42.

[20] Gimbutas, Language of the Goddess, 279.

[21] Anthony Pace, The Hal Saflieni Hypogeum, Paola. (Valletta: Heritage Books, 2004), 21. Note: the spirals in the Hypogeum indicate a strong religious connection between the main island of Malta and the smaller island of Gozo where the Xaghra Twins were discovered.

[22] Pace, Hal Saflieni Hypogeum, 21.

[23] Trump, Malta, 93.

[24] Elizabeth Wayland Barber, Women’s Work: The First 20,000 Years: Women, Cloth, and Society in Early Times, (New York: W.W. Norton & Company, 1994), 135-136.

Note: The oldest cloth artifact showing pleating is from 3,000 B.C. from Tarkhan, Egypt. Though it is not clear who invented the pleat design it is clear that the design was shared throughout the ancient world.

[25]Gregory, Human Form, 56-61.

[26] Gimbutas, Language of the Goddess, 167.

[27] Ibid., 100-107.

[28] Ibid., 104.

[29] Malone, “Death Cults,”116.

[30] Marija Gimbutas, The Gods and Goddesses of Old Europe (Berkeley & Los Angeles: University of Michigan Press, 1982),152.

[31] Gimbutas, Gods and Goddesses,153.

[32] Gimbutas,Language of the Goddess, 92.

[33] Ibid.

[34] Malone, “Death Cults,”117.

[35] Trump, Malta,19.

[36] Ibid.

[37] Sir Themistocles Zammit, Malta: Tarxien Temples and Saflieni Hypogeum (Malta: Interprint, 1994), 133.

[38] Malone, “Death Cults,” 115.

[39] Ibid.

[40] Peg Streep, Sanctuaries of the Goddess: The Sacred Landscapes and Objects (Boston: Little Brown, 1994), 83.

[41] Veronica Veen, Female Images of Malta: Goddess, Giantess, Farmeress (Haarlem: Inanna-Fia, 1994), 21.

[42] Ibid,

[43] Ibid., 27-8.

[44] Malone, “Death Cults,” 117.

[45]Malone, “Temple Art of Ancient Malta,” 163.

[46] Ibid.

[47] Ann Baring & Jules Cashford “The Neolithic Great Goddess of Sky, Earth and Waters” in The Myth of the Goddess: Evolution of an Image, (London: ARKANA, 1993), 104-5.


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