August 28, 2023 • 65 mins
Somos Semillas, We Are Seeds: A Podcast about Indigenous Sovereignty & Collective Storytelling
This creative collaboration with indigenous poet & scholar Erika Murcia invites us to explore inquiries about living with greater purpose, presence & rootedness.
EP 5: Sacred Rainbows, Weaving Our Crossroads
In this bonus episode Cat, Erika, & nicky gather round on Nahuatl, Ohlone & Chinook lands to reflect on the making of Somos Semillas, how their ancestors guide their creative processes, and they share a little preview of their next offering... coming this autumn! As always, there are laughter and tears along the way.
Stay tuned for Autumn launch by the equinox!
LINKS
Episode transcript: https://docs.google.com/document/d/1EJgvzyqOU1EjHrnbyL54Wsw7ACIpemeSXUVVWhy8884/edit?usp=sharing
Our theme song of this podcast series is Sumergirse by @La.Clave.de.Sol
Connect with us atweriseproduction[at]protonmail[dot]me, and follow us on Facebook & Instagram at weriseproduction, & on twitter at WeRise Producers.
Connect with Erika Murcia at https://linktr.ee/Mujeryselva
Podcast Art by @NicoleGervacio
This creative collaboration with indigenous poet & scholar Erika Murcia invites us to explore inquiries about living with greater purpose, presence & rootedness.
EP 5: Sacred Rainbows, Weaving Our Crossroads
In this bonus episode Cat, Erika, & nicky gather round on Nahuatl, Ohlone & Chinook lands to reflect on the making of Somos Semillas, how their ancestors guide their creative processes, and they share a little preview of their next offering... coming this autumn! As always, there are laughter and tears along the way.
Stay tuned for Autumn launch by the equinox!
LINKS
Episode transcript: https://docs.google.com/document/d/1EJgvzyqOU1EjHrnbyL54Wsw7ACIpemeSXUVVWhy8884/edit?usp=sharing
Our theme song of this podcast series is Sumergirse by @La.Clave.de.Sol
Connect with us atweriseproduction[at]protonmail[dot]me, and follow us on Facebook & Instagram at weriseproduction, & on twitter at WeRise Producers.
Connect with Erika Murcia at https://linktr.ee/Mujeryselva
Podcast Art by @NicoleGervacio
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:13):
What does it mean to walk ourjourneys on Earth Mother with more depth?
Why does it matter spiritually to weaveour walk with rooted purpose? Are we
capable of synchronizing our heart with theheart of Earth Mother and the heart of
(00:36):
the Cosmos. We invite you tonavigate together in Somo Semias. We are
Seeds, a podcast about indigenous sovereigntyand collective storytelling. My name is Erica
Murcia. I am a poet walkingmy talk in Messo America and whatever Earth
Mother calls me. My name isNicol Drovasia and artist who moves, dreams
(01:00):
and creates with ancestors and future generations. My name is kat Petru. I
am a dancer and pollinator, rememberingmy roots to show up grounded in our
movements for collective liberation. Together,we have been weaving stories that gather and
(01:21):
recall our ancestral memories. We haveinvited voices of sacred, feminine and two
spirit leadership from various communities of thediaspora. In this five episode series will
deconstruct the ways we connect to eachsacred element, water, fire, wind,
(01:42):
earth, and ether. We'll learnabout the journeys of our guest storytellers,
including astrologer Karina Falcone, doctor UzoNonkpa and healer Steward and guardian Amber
Phoenix. Welcome. This podcast isto uplift your souls stories Paula. Hi
(02:28):
everyone, We're back here in therecording space. My name is Erica Murcia
and I am accompanied by Nikki,Nicole Jr. Vasha and Katherine Pedro or
mostly known as Kat. And herewe are bringing this bonus episode to all
(02:51):
of you. Thank you for accompanyingus energetically today and by listening all the
episodes of Its Almost Yes, weare seat and we can share where we
are joining from today and introduce herselfagain. Hi everyone, Nikki here she
hear they them. I am speakingfrom alone e Land called to Chune.
(03:16):
I just learned that the pronunciation ismore aligned with the way that the ALONEI
pronounce it, and I'm practicing.And it's a sunny day in the bay.
It's still got that cool air underneath. That's where I'm coming from.
Sun is beautiful, Sun is shiningout there. Hi everybody, Thank you
(03:38):
Rika for the greeting. This isKat Catherine and I'm back on Chinnakmultnoma Clackamas,
Calipuya tribal lands, unseated lands alongthe will Lamit and Columbia Rivers in
this gorgeous gorge which is currently fullof smoke. It is the beginning of
(04:00):
fire season. So I'm in avery warm, air tight room for now,
feeling a little sleepy and very veryhappy to be here with you all.
Thank you both for the invitation torecord this bonus episode. I am
joining from now at land mostly knownas San Salvador, and today is a
(04:26):
very hot day. It's hotter,and yesterday we had a quake, so
it is a reminder that Earth Motheris a living being and sometimes even though
scary, it is that type ofshakiness that reminds us also of how to
(04:53):
live every day with purpose. Soto get into that, we have some
questions to guide our conversation today,but also many other threads have come up
already for us after recording and releasingall of the episodes for somos some years.
(05:16):
So who would like to start withbringing these questions to the center of
our fire offering today? I justhad this feeling to remind us of the
journey we've been on, so Ican share that we've changed, you know,
the process of visioning and then recordingand then editing and then transcribing.
(05:41):
Each episode has been incredibly transformative andwe're really curious how it's landed for you
all listening, and we will havemore to come we can share at the
end of the episode. But justlike a little recap of the journey we've
been on. So we started withepisode zero with astrologer Katina Falcon and we
(06:08):
got into returning to sacred Ether,and then we journeyed into the realm of
sacred waters and returning to our naturalflow. Returning to our natural flow.
Yeah, and from there we waitedout of the water onto land, into
(06:31):
our body, sovereignty and the elementof Earth. And those two episodes were
just the three of us without aguest. And then with fire, we
brought in our guest, Ember Phoenix, returning to sacred sexuality, and then
finally expanded into winds diasporic seeds withdoctor Uzaoangpa and returning to the power of
(07:00):
shedding. And so that's just alittle recap of where we've been. But
I know we wanted to reflect alittle bit on where we were when we
started and where we are now andhow we even moved in the making of
this first season of Someone Semas.I am really grateful for all the people
(07:25):
that have participated in the co creation. It became way expansive than I you
know, I thought it would beat the beginning, and it was a
crucial season for me when I metyou both virtually these very powerful calling in
my heart to walk my talk andwhat that meant right the question of how
(07:47):
also, and when we began meetingand talking about what this could look like,
it rooted me. It was thesense of my body saying, yes,
we will lock our talk, butwe do it in community. We're
doing in trival, We're doing incollective, and that's how we grow.
(08:07):
So for me, it was recognizingthat I needed to be in circle and
that that this wasn't just about oneperson but the collective. So I really
am grateful for you both for respondingto that knock on your door and then
(08:28):
all of us knocking on other people'sdoor, and then what other doors,
what other kids will be guiding thisco creation and the other part of where
I was. For me, itwas really this sense of needing being in
relationship with the mess American ecosystems andhow I carried them within me, but
(08:56):
I needed to touch the dust tosee the vulcan, to see things that
the elements right that we danced withon this other side of the borders,
and how that could really allow mespaciousness for poetry, for writing. And
so I want to thank you bothfor being a companionist in my reclaiming connection
(09:22):
to writing poetry as a daily practis. I think I just wanted to share
on that note because we spent somuch time just figuring out how we work
together and how we can meet eachother and this creative collaboration and this creative
journey. We spend so much timein listening to each other and our bodies
(09:45):
and how we felt in what wewere going to create that I do feel
like this podcast series is the mostaligned with how I talk in every day
or the most unapologetically poetic and candidway that I talk with loved ones like
you both. And you know thatdoesn't always come up on a podcast or
(10:07):
in conversations with people. Just dependson what energy other people are sharing or
like connecting on. And so Iknow that I'm kind of jumping around,
but like listening to the series afterrecording and just being like, Wow,
I said this thing that I've thoughtfor so long and maybe I've said to
some people, but to have iton something shared so publicly and widespread,
(10:31):
it could easily feel really vulnerable andlike scary, but because it's so aligned
with my truth, it was justaffirming. And it of course feels so
affirming when it's like Uzo giggling backand being like yes, or Edica giggling
back and be like, we cansay these things like this is what I'm
(10:52):
feeling too, And I've always noticedthis, And so just the amount of
affirmations that came through by speaking inthe way that we want to speak and
in languages that are not our mothertongues, or allowing ourselves to use these
words the way that we want toto describe what's happening or how we perceive
the world was just such a beautifulpart of this process. In that spirit,
(11:18):
our bodies and the land we're onwe're also co conspirators. I want
to be like obvious there, ourbodies, they're not separate, but we're
also not separate from the land.Right Like in sort of mainstream podcast culture
or media culture, there's some sensethat it's like more rigorous, more intellectually
(11:43):
sound or something to have things reallylinearly laid out right. But some of
the potency and healing of this cocreation is that we're recognizing the earth,
the elements, our bodies as alwaysalready part of the creative process. Like
(12:07):
literally, it's all connected. That'show it happens. And it's challenged me
to similarly as Nikki like, itdoes feel vulnerable, but it also feels
I don't know, powerful, andthere's so much listening back. I'm like,
I feel so much stronger in myselfthan when we started, like more
(12:31):
ground and more rooted. And there'smore I can say on that, but
yeah, yeah, I wanted toask or reflect back to you because for
those who don't know, Kat isthe person who is listening really closely and
editing us together. And I don'tknow if it's clear, but we're recording
(12:52):
this from I mean, it isclear. We introduce ourselves from different parts
of this continent and across you knowthe way. But Kat has to peace
together multiple recordings of us like apuzzle piece, and so I am really
curious on what that experience was like, because it's not you know, from
early beginnings of We Rise, it'slike we all used to be in a
(13:13):
nice studio together on one recording,and it's a very different experience than like
we all have our own recorders.We all are making sounds on our own
and somehow you're larrying us in andyeah, I'm just curious what that was
like for you. Thank you forthe question. It's awesome. It's such
a reminder of our interconnectivity. Onething that Edica and I have been riffing
(13:39):
off of less on the series andmore in our meetings and calls and conversation
is home. What does it meanto be home? Where is home?
How do we find it? Andyou know, so much of this series
has been about diaspora being seeds beingdisplaced, both the choice and the violence
(14:01):
that can be part of those processes. And we've all been living through pandemic,
climate catastrophe, immense state violence inall sorts of ways, and we
can feel so isolated and untethered,disconnected, And while of course it's not
(14:24):
the same as being physically in person, there is something really deeply nourishing to
spend so much time with your voicesin my ears, knowing that those vibrations
are traveling thousands of miles, andI am genuinely curious what it's like for
(14:46):
people to listen. You know,there's also like an element of pleasure that
being so embodied and so present invitesin our recording, and so then also
to get to like drop into thatas I editing. A lot of the
editing too, I've done like onairplanes, right, Like I have the
audiophiles, and I've been back andforth from here to hu Chune or other
(15:11):
places. And I feel like thisseries in particular, because it's been over
the course of a year or soof even just the editing, let alone
the whole process, it's traveled withme a lot. And yeah, it's
just fun to be like on theplane, like with my giant headphones,
like sipping whatever beverage, and belike, no one knows how magical the
(15:33):
voices in my head are right now. And then, of course, I
think one of the reasons it isso transformative is because I have the reps
of listening so much, and soI'm I'm not only listening to the content
of what we say, but I'mlistening to how we say it, and
editing for like the story I'm editingto honor the integrity of everyone's words,
(15:58):
the cadence, the rhythm, theinternality. It is one of the realms
in my life that I am quiteattuned to detail. Sometimes it's fun to
just be really wide and spacious,but it's a really fascinating journey to get
really focused on how we say,what we say, how we listen,
(16:19):
how we respond, and when we'resaying something we really mean versus when we're
like trying to find the words.And there's legitimacy to both those expressions and
so much of learning, right,the work we do is in serve us
of learning, and so it's notgoing to sound necessarily polished and like that's
(16:42):
also could potentially be a salve forfolks listening maybe h thank you Kat for
(17:48):
sharing about your journey. I knowthat it has been a lot of work,
a lot of creative labor, andalso sometimes we had to be very
flexible for all the many things thatwere happening to all of us right,
some of us losing our voices,also our bodies telling us when we needed
to stop or to take more space. So I appreciate that flexibility, but
(18:12):
also the tenderness with which you wouldhonestly tell us about needing more space to
release an episode. So I wantto thank you both for that too,
forgiving us within power of the birthing, as I call it, the actual
releasing the five episodes that centered thefive elements which we are made of and
(18:36):
everything else is made of. It'sreally giving us that nonlinearity or us and
I will bring a question to you, UNICKI later. It's like the visual
of it, right, the visualhow did that came into birthing? How
that actually speaks to the depth ofall what we are bringing into each one
(18:57):
of the episodes. For me,I gave myself permission the first time to
simply be a listener for every episodeonce released and feel joy to be part
of it, of the co creationfrom that place of like, you know,
playfulness, like being a kid andbeing like wow, like we did
(19:22):
this together, we built this together, we co created this together, but
just joy the play Like if wewould be sculpting with clay, you know,
as kids, and suddenly we wouldbe together and say like, oh,
look at the castle I built,and you would be like, look
at the home, look at theroad, look at the trees. That's
how I took it, and fromthat sense, I could actually notice something
(19:48):
very deep or something profound in myvoice and the way I was storytelling,
which for many years I haven't feltthat capacity to to listen with more presence,
but also how I am telling thisstory with more presence. And so
one thing I noticed specifically was mylaughter. There is only one more place
(20:14):
in my walk on earth that Iclearly remember how it was affirm and celebrated,
of course, at my mom's youknow, at my family, because
my laughter is very similar to mymom's, Marcella. And so it was
in prison. During grad school,I went to do some theater workshops in
(20:36):
a prison facility in Michigan, onlywith men of color, but I would
say black men. And I waswith other two students and we were taking
a theater and incarceration class. Itwas outside of social work. But the
point is that and I am gettingvery wary in my chest to remember,
(20:59):
I get very tender because and youmentioned this cat what home really is in
our hearts for diasporic children, andfeeling that my laughter is a firm in
this space, you know, recordingtogether but storytelling together reminded me of that
(21:23):
feeling to be physically present in acircle with people who were behind the bars,
which I don't like that were butthey didn't have freedom, and so
we were not allowed to hug thembecause it was kind of like a strict
rule. But I do remember thatwhen we ended the whole semester and we
(21:45):
had these showcase to everybody and weall laugh and we felt this sense of
closure hugging each other but also laughingand remembering how much the laughter of one
person can actually mirror others into bringingtheir own laughter out with no reservations,
(22:07):
with nobody, no energetic control.And so that's how I have felt that
in every episode I laughed, evenif I am telling a story that has
to do with an experience of traumain my childhood or transgenerational trauma, and
laughter is part of these trickster reminderthat opposites dense together, and that we
(22:37):
choose how we tell our stories,but also how we come closer to the
depth of that vibration that is ourvoice, beyond words, beyond verbalization.
And so I guess I am feelingtender because it's hard for me. Endings
are hard, and we are nowin this postpartum and I remember how I
(23:02):
felt living that prison facility the lasttime too. It felt like I can't
believe I felt at home here withthese people, with the community we co
created. It was one of thehardest moments for me to like end.
And so what I'm saying is Ifeel deep gratitude, and these tears have
(23:25):
to do with feeling at home inthis space with you all, feeling this
sense of homecoming through the way we'rechoosing to tell our stories and allow each
other to tell our stories, butalso we've our own stories with one another,
and now we feel like we're partof this colorful tapestry. So thank
(23:48):
you. Thank you for your tears, Edica, and for that story.
(24:41):
Dad. Did you want to saysomething I saw you. I know I
was in and out because I hada question like burst through and I don't
know if it's related to these tears, but I also really moved. I'm
so curious about how our ancestors camethrough and as we did this work,
(25:04):
either one of you, if youfeel cold to jump in. When you
asked that, I just immediately thoughtof the water episode and when you were
talking about how you had to whenyou're editing and you're like, oh,
I actually wasn't the first one tocry, and then it was it was
me. It was me crying becausewe were talking about the ocean or water.
(25:25):
I think we're talking about water,and I just immediately thought of the
ocean and it just made me wantto cry. It's so interesting. I
don't know if I said this inthis series, but I can feel my
heart racing when my ancestors want meto talk when it's something I'm like,
I'm nervous, but I need tosay this thing. And when Kad and
I used to be like regular participantsin libration Spring, is when I realized
(25:48):
that's what it was, you know. And like some people could write that
off as like, oh, you'rejust nervous, or like, you know,
I don't know what this is.Like I hate this feeling because it
can be intimidating, but when youknow what it is, it's kind of
fun. You're like, oh,they want me to say something, and
it's kind of My ancestors are likefeisty and like fierce, So I do
recall having that feeling sometimes where we'dbe talking and in conversation and I could
(26:12):
feel my heart just start to likethump a little harder. Oh my god,
I'm getting like it's funny because theydon't talk about it that often,
but it's just like I feel somethingdeep inside of myself that's like happy and
excited about it. But it's sofunny too, because that episode on water.
I speaking of listening and remembering,I just remember my voice sounded.
(26:34):
I can't remember exactly what was happeningat the time, but I was really
sad, and so I'm sure listenerscan tell that the tones of our voices
are different depending on the time ofyear it was, or like what we're
talking about. And then like Ilove that there's laughter just sprinkled throughout because
of course, but I just remembermy voice feeling like less energy and kind
(26:56):
of sad. And I don't fullyremember what was happening at the time,
but I remember that invitation to thinkabout water. It just opened up my
soul and I think, like,you know, grief and like pain and
beauty and all the feelings of likethe immensity of a being like that,
a being that we come from.Also, can I just say that's not
(27:17):
the first time just thinking about theocean made me cry. I've definitely was
driving no work one day or Ithink I was. Yeah, I was
driving to go teach a dance class, and I thought about that movie Mowanna,
and like, just because there's thispart where she finds the boats and
then her ancestors are singing, andthen it's like this world of her seeing
what her ancestors where she comes from. And I just sorted sobbing so hard,
(27:42):
and my partner was like, areyou okay? And then like just
thinking about that driving to work mademe cry, and then I was like
letting people know my dance class.I'm a little telate right now. I'm
thinking about the ocean and it makesme want to cry, and so I'm
like laugh tearing up right now thinkingabout it because it's kind of funny.
She just moves me to tears.I love your response, Niki, and
(28:03):
I know that feeling and similarly feellike I started to feel into that during
our time in Libration Spring, inpart because of an invitation from our teacher
there and Julie not through Padia,who was like, notice that I would
speak up a lot. She's like, how about also trying to like listen
(28:26):
more, and she gave me likea specific invitation around it, and then
it was interesting to feel like almostthe like just reactive. I want to
say something because I'm excited, versuslike I've been really letting everyone else's words
sink in more and now there's somethingeven more like robust that wants to come
(28:47):
out Gemini rising Marcy. I don'twant to tell you all my astrological information,
actually, but now you know alittle, I can say the first
thing that was coming through, andthen if there's more that wants to Chimen,
I can share. But you know, one of the perks of being
the one doing the editing is ifI don't like what I said, I
(29:08):
get to cut it out. AndI didn't take it anything of like great,
you know, I didn't change thestory or anything like that, but
I just got some things wrong.When I was talking about Jewish significant dates
or practices in one episode, Ithink it was the Winds recording and I,
(29:33):
oh, there's something that's been reallybeautiful and also really painful, becoming
more immersed in Jewish community because whenI'm distant, it's easy to make up
what's in the gaps of what Iknow, and I can fill it with
(29:56):
like what I want it to beand then when I get closer, it's
messy. It's an old, oldculture we're in. You know, we've
been around a long time, andwe're really diverse, and it's complicated because
like what even what does it evenmean to be Jewish? I don't know.
I know that I am, andso I think, you know,
(30:19):
as that's been an ancestral line thathas been with me in this series,
in this co creative process, it'slike unraveling. And I think right now
it's interesting. In the last monthor so, I have felt palpably closer
to guides from both my lines,and I don't know names, I don't
(30:41):
know details, and that's phenomenal inand of itself, and I lost it.
Do either of you know where wasI going? Could you ask the
question again, how have our ancestorscome through in the making of this podcast?
So you were answering that question andyou were telling us about the messiness.
(31:04):
Oh yeah, yeah. So asI get closer in, I feel
more surrendered to how much I don'tknow and to the mystery of this journey
of remembering. And as I likesoften that, I feel actually more closeness
(31:26):
to ancestors. And this series hasevolved at the same time as I was
invited to start Invited Slash invited myselfto start teaching dance at a community center
here, and the class is calledDance to Remember. And it's clear that
a lot of my storytelling and myhealing and my authentic connection and knowingness comes
(31:55):
through dance. And that's fortifying,and it supports my embodied roundedness, which
supports storytelling, which supports being onthe mic and speaking truthfully and not just
performing or presenting some like this ishow I'm supposed to talk because this is
how I'm socialized because I want tobe a good white person or whatever.
(32:16):
The thing is. Yeah, it'smessy, and it's such a gift to
be invited in like this, andit's so intimate, and yeah, as
I'm talking, I'm like, ohgod, this is going to be shared
again. M hmmmm h. Firstof all, thank you for asking the
(33:52):
question. I had it in myheart at the beginning before we started recording,
I thought, oh, we needto include that because again, right
we're telling the stories under the storieslike deeper, So thank you for that.
So the two threads that I amgoing to weave or braid from what
you both share is coming from thisquestion of how our ancestors or how my
(34:15):
ancestors show up in this co creationis one Nikki, I share that bodily
sensation racing right here in my heartat the heart center and then coming to
the garganta to the throat in away that feels like I don't know if
you have ever experienced a panic attack, but something that needs to be let
(34:39):
out. And in the past,of course I didn't know how to respond.
So now I know why it isand also how to be like I
hear you, Familia, I hearyou. And actually that's how the seed
for writing my manuscript, the bookthat I'm going to publish, came to
me. It came as that racingsensation right here in these two power wheels
(35:04):
or energetic wheels in my body.And then I wanted to connect with this
journey similar to you cat with reclaimingconnection with my indigenous roots, but not
having a specific how do I sayit, like line to share, like
(35:25):
to be like I am part ofthis you know, group or collective,
and it's really like really doing thework, like the journey in and it's
messy and it's joyful, but Alsoit's asking me to embody maturity. Can
I say that to be more maturein the walking my talk? As I
(35:45):
said, right, and so beforeto continue, I wanted to offer you
this poem that is a very crucialpoem for my experience border crossing, but
also come from an ancestor who youknow doesn't necessarily is part of my direct
(36:05):
bloodline. But I wanted to shareit because it speaks a lot to what
you both have shared, but especiallycut to feeling that we want to be
in but needing to be out sothat we can make sense of all the
pieces of the puzzles. So thisis from the book Borderlands from Gloria and
(36:29):
Saldua, and this poem is calledto Live in the Borderlands. I'm going
just to read a few lines ofa few paragraphs to live in the Borderlands
by Gloria and Saldua. To livein the Borderlands means you're neither Ispana,
(36:49):
India, Negra, Espanola, niaaa, mestisa, mulatta, have bread cut
in the crossfire between camps while carryingall five races on your back, not
knowing which side to turn to runfrom Gando people walk through you, the
(37:10):
wind steals your boys. You areabura boy scapegoat, forerunner of a new
race, half and half both womanand man, neither a new gender.
To survive the borderlands, you mustleave simfronteras be a crossroads. So wow,
(37:39):
I just needed to share this,you know how this poem and this
book from Gloria Salda has shaped me. But also reclaim her boys and her
poetry as part of this ancestral storytellingthat we have been co creating and co
(38:00):
weaving here, that was amazing.I love her. I'm so thankful for
her writing and especially the anthology ofthis bridge called My Back, which I
feel like is a text that reallyinforms how we show up to together.
I'm curious because you ended with sucha such a mischievous look on your face
(38:24):
saying the crossroads, because it comesback to the artwork and the symbology and
the visuals. Yes, Nikki,and so now this this is a two
part question for both of you,because I know we want to hear a
little bit more from Nikki about makingthe beautiful, beautiful artwork. And I'm
(38:46):
curious also, Edica, if youwould want to talk a little bit about
the Mayan cross the cross mayon Cross. So first of all, that face
was the trickster in me. Theirreverence again goes back to the laughter too.
(39:07):
After at least seven generations noticing theresilience, but not exotifying the resilience
anymore, but rather saying, Okay, I don't want to just talk about
my resilience. I want to talkabout my sovereignty, our sovereignty. And
I'm pointing back as a bridge becauseeven in the worst situations or experiences,
(39:32):
there has been a way of showingup our sovereignty. Right, And so
this poem and the work that wehave been co creating that now all of
our listeners can experience as Summos andme as we are. SIS mini series
is how do we and literally howthe three of us have walked towards the
(40:00):
enter of the medicine will or reada medicinal and have chosen to breach across
differences and instead of creating pyramids oflike who has suffered more, which ancestors
we're perpetrators, whatever it's like,we have chosen to tell our stories from
(40:20):
a different place, humanizing our journeysand that of our ancestors, whoever they
were, and that is part ofintegrating and crossroads. It's about integration,
It's about the medicine will that showcasethe five elements in the beautiful vibron art
that Nikki created speaks to all ofthe layers of what is the labor,
(40:49):
the creative labor of storytelling that weand our ancestors have been inviting us or
pushing us gently like the when howhow? Who's all set like or snapping
us like child do the work?That sense of understanding that we are here
(41:15):
and we're not supposed to do italone, that we are meant to be
doing this unwitting ondoing to repattern againcollectively. And so I am a geek,
and I love understanding the power ofthese spirits that are company all of
(41:35):
us, or at least that arecompany me and in this case are birthing
our baby, which is almost amas we are seeds. And so I
I wanted to know what spirits accompanysolmos amias and deleting at the heart of
the medicine will or the sacred MayanCross. Beyond this is this doesn't have
(41:59):
to do anything with dome our religion, okay, As in any indigenous cultures
there always have been this connection tothe Four Directions, the Sacred Directions,
and so these ancient tools allow usto kind of makes sense of our work
on Earth, but also to knowthat we always can, as Karina said
(42:22):
in the episode Zero Rain, bentourselves. So someone saimas at the heart
center, the spirit that accompany itis seed, which I'm not going to
go into the depth of what thatmeans, but for me and for us,
you know, as birding people,as co creators, it is a
(42:45):
huge deal. It was meant toto be done this way, and it's
also calling us again individually and collectivelyto mature our offerings, our work and
how our work on Earth has moredepth than superficial ways of walking. Did
(43:07):
I answer your question? Yeah?Okay, And now Nikki, could you
share more about your experience. Iknow that at some point it felt like
the face of the baby was notready, but you know, it came
through and it came so clear.So I'm curious to hear about you know,
(43:30):
how it felt for you in yourcorner. I don't know how it
is your space for like doing paintingand growing, So if you could be
very specific for this child that lovesgraphic images and movement. Yes, how
should I start? Should I startby describing it? Should I talk us
(43:51):
through? Because visually, if someonehasn't seen the podcasts, are I could
walk through what's the right? Soto give an overall sense, there's a
rainbow galaxy. There's a rainbow galaxyin the background with stars. So it
goes from red all the way throughthe rainbow all the way down to blue
(44:14):
at the bottom. And in thecenter is a medicine wheel influenced by the
conversations that we had. And startingin the center is a cacao seed with
these orange roots coming out below intothe southern quadrant, and in the southern
quadrant are two hands holding the roots, and to the left is the west.
(44:40):
The roots from the seedling is alsogoing into these ocean waters. They're
kind of teal. And in thatdirection there's a crescent moon just outside of
the medicine wheel. And then asyou go north, above the seed lean
(45:00):
is a single leaf coming out ofthe seed and above that is a hummingbird
that is in flight. And thehumming bird is flying east and to the
east and like put my arms outlike I'm flying for the people I can't
see. I mean it's an audiorecording. I'm throwing my arms back.
(45:22):
I'm the humming bird right now,but the hummingbirds flying in the direction of
the sun, which is in theeast. And it's a really warm quadrant
with a giant, glossoming pink lotusand it's opening up towards that big sun.
And surrounding this medicine wheel is arainbow, so like a really delicate
(45:45):
rainbow all encompassing the four quadrants.And around that rainbow is a cosmic purple
serpent that is wrapped around the rainbow, and it is turning back to its
tail. Its tongue is wrapped aroundat the tip of its tail and it's
eating its tail. And then thelast detail is from below. The illustration
(46:09):
is kind of a mountain that cutsinto the southern quadrant behind the hands,
and it's the colors of the Transliberationflag in this kind of mountain shape.
So there's a black stripe, there'sa brown stripe, and then a blue,
and then a pink and a whitestripe, so it's a mountain coming
upwards. So yeah, each quadrantwas very focused. I just spent a
(46:35):
lot of time remembering what came upin conversation and also what I've learned from
the conversation with Karina about the fourdirections, or what I've learned from you
Edica, who learned from Karina.And I wanted to make sure that I
captured little bits of the feeling thatwe have from each episode, and there
(46:58):
were moments of like distinct symbols.There are so many ways that this could
have gone, because there's such richnessto think about with wind and air,
waters, fire, and earth.But I just wanted to capture a feeling
for each one. And also itkind of zooms back in and out from
(47:19):
being like here on this earth,and then also you know, we are
in this cosmic, beautiful universe,like we are of the stars and sun
and moon as well, like thisis all of us encompassing internally into ourselves,
into our bodies, to the earththat we're in, and then of
course the greater where we come from, where we live, our greater home,
(47:42):
the universe. So I think it'sso hard to describe the process because
it was so embodied and all thedrawing that came from it, It all
just kind of like flowed into place, and it was nice that we had
recorded everything and we were starting towork on the audio, so I feel
(48:06):
like it was very in the heartof the process and the visuals that I
was guided by Edica a lot aboutrainbow being integrated or the Transliberation flag being
integrated, and queerness and expansiveness andspectrums. I wanted to try and find
a way to integrate all of thosethings. And also, this is the
(48:28):
most colorful piece I've ever I mean, i've I'd like to say i've ever
created. I don't know. YoungNikki may have gone off and like painted
some really colorful things I can't remember, but as an adult, you know,
I always joked that I went toart school and I had to detox
for a long time. I justoften struggled to create anything colorful. And
this just came so easily, andit also just brought so much delight to
(48:52):
paint it, to draw it.So yeah, and if you have any
questions, please ask. It's sohard to put into words something that was
like because I am a visual persontoo, so it's so easy for my
brain to be like, yeah,this makes sense. You might hear me
pause a lot when we're talking orlike sharing stories. Sometimes I see something
(49:15):
in my head and I'm like,how do I explain that into words when
we're talking? You know, Nikki, I remember you posted a few photos
(50:23):
of the process on Instagram and Iwas just amazed by the tiny desk or
whatever it is, you know,like because I am like that too,
Like I am a minimalist and youknow, realizing how much art we can
make in very small spaces, whichis about the imagination when you say the
(50:45):
environment more than the space in whichwe are. So could you speak more
about that or a little bit aboutthe dancing with the animal of that space?
Hmm. Yeah. It's interesting becauseearlier Cat was talking about how some
of the editing happened on airplanes,and actually part of this illustration was me
(51:07):
traveling as well, and we oftentalk about traveling, especially as diasporic people.
So this piece traveled with me,which is really beautiful to be like
it was made on my desk,surrounded by my creative mess and all of
my things, and literally I feellike my desk is like an altar.
Some people might think it is amess, and it is, it's my
(51:30):
creative mess, but there's a lotof things that are placed just to I
don't know, it just feels right, if that makes sense. And I
think the experience of being with lovedones and traveling and making this art for
sure, are integrated into this piece. Spending time with water, for sure,
(51:51):
spending time with sun, watching clouds. We're part of making this piece.
Shedding, just like when we talkedabout out with Uzo, the winds
and skin shedding being part of beachesand the ocean was part of making this
piece. And oh, I couldshare two with mediums. They are I
(52:12):
used pencil to sketch it out,and then some of it is kind of
like this watercolor pen and then there'sa lot of watercolor, so that the
watercolor pen just to be more focusedand get the rich colors, the defining
lines where there are defining lines,and then watercolor. I love watercolor because
(52:32):
you could just add layers and layersof tints and tones together. I think
the most nervous part for me makingthis piece was first of all, making
sure that it felt like respectful andhonored the immensity of our conversations and honored
the influences of where it came from, you know, because this is me
(52:57):
as an illustrator, as trained tobe an illustrator is to receive direction and
to create right, like to interpretwith the direction or the influence or the
inspiration is and so wanting to beas respectful as possible when I created it.
And then also I love snakes andI just wanted to do justice to
(53:20):
this snake. And I think that'sthe part too. I was like,
I know, for Edica and I, snakes are such important creatures for their
symbolism, for like meanings, forthe ways that we feel like we embody
aspects of what it is to bea serpent. I was intimidated to paint
this snake that I could imagine,you know, that translation from your mind
(53:45):
into the hands into a physical thingas a whole journey in itself. And
so I overcame some challenges of like, you know, not feeling capable of
bringing this snake to life, andjust the way it's glowing with the crescent
moon and the glowing sun. Ifelt like I was like laughing when that
happened, and I was like,oh, the lighting is incredible on this
(54:06):
snake. It's just glowing, andit's purple. That's my favorite color.
So thank you for describing that.Nikki. We can have a miniseries about
that piece. So we're just reallytrying to bring into this space, into
this bonus episode, a little bitof the pieces of what each one of
(54:29):
us has been kind of like focusingalso on I guess for me is the
energy, right they telling you,like, so this is the vision.
So there is no much about howI can bring the internalization of my ability
to read energy. But I wantedto name it because the most visual thing
(54:52):
for me was translating the episode zerofrom English to Spanish and like the transcript
and and I remember, you know, reading the transcript in English and then
translating it and then creating it andthen being like, thang it. We
need to do our souls at meas in the Spanish, you know,
(55:13):
with boks, like just recordings inthe Spanish. And so I'm bringing this
because there is so much juiciness thathas come from this cor creation, but
also how we have had the opportunityto showcase our own strength. So Cat,
what would you want to add?No, thank you for saying that,
(55:34):
I was gonna say. Also,I love hearing you describe the process
of the visual creation. And yeah, thank you for bringing back the fact
that you not only did we transcribeinto English because we're speaking mostly in English
and these episodes, but then youtranslated that first one to Spanish, and
hopefully there's more where that came from. And I just had an impulse to
(55:58):
again thank everybody who's supported this projectfinancially, who funded it, because it's
not only going to the time andlabor of Nikki painting that at that time,
and labor of all the editing,the time and labor of storting the
storytelling along and transcribing. Yeah,it's going to all of that, and
to Yoma who helped us initially transcribe, and then to ourselves as we continue
(56:22):
to transcribe. And huge shout outto Sarah Sara Blanco who's been also supporting
us with transcriptions all the time andlabor of pulling quotes and sharing out on
social media, just making sure thatfolks see and know that this is available
as a resource as an offering.So thank you, because it really helps
(56:45):
us be resourced to be able totend to all of this labor and this
care. Do you want to addany thanks before I pivot? Yeah?
Ah to Soul, Yes, kiddo, I gotta save im men. Samantha
mascon E porso Musica, Sir hasbeen such a huge accompanionte in how these
(57:12):
stories are kind of like release orheard. So thank you, thank you
Soul for allowing us to have accessto your music so that we could added
and give that I don't know thatsense of rudeness too, because that's music.
It's allowing us a sense of transitioning, but also feeling that things sink
in more these stories with music.So thank you, thank you see muchisimascrasia
(57:38):
Soul. I love this. It'sa nine minute song, y'all, and
it's been so juicy to get tolisten to and find which part of the
music to lift up different parts ofthe storytelling. Thank you. So I
know Erica you had some waters comeup. We're feeling emotional about working together
(58:05):
and this being the end, butit's really just the end of this first
season of So Simeus, and we'vealready been visioning an offering for everybody for
the autumn, and we wanted tojust share a little bit about that and
let you know there will be moreinformation forthcoming. Nikki, would you be
down to speak a little to whatwe'll be offering. Yes, I'm so
(58:27):
excited because I feel like this issuch a beautiful cross pollination new seedling between
all of the work that we've beendoing and with some work that Kat and
I had been doing through we Risepreviously. So we would like to share
that coming around the equinox through Autumn, our collaboration will evolve into Somosimias,
(58:51):
Consciousness, rootine and storytelling circles wherefolks can join us for coming together virtually
you reflect and share their experience listeningto Somosumus. The guests are all excited
to be joining us at some pointalong in the season, and there's a
(59:13):
lot more brewing underground, but keepus on your radar. We'll be sharing
more as we plan out this seasonahead. Yeah and the guests meaning Karina,
Ember and Uzo so Yes, staytuned for more information about so Sumus
Consciousness, Reading and Storytelling circle.And if you do have questions for us
(59:35):
or want to reach out in themeantime, you can email us at we
Rise producers at gmail dot com.But also if you have things that you
want to share about the ways youhave been connected with the episodes, please
do. We want to know.We want to hear your feedback and continue
the conversation so that this community,the Amo me As we are see it's
(01:00:00):
community, continue to grow because that'swhat we want to become. Right trees,
very rooted trees. I would liketo honor our ancestors for snapping us
(01:00:29):
or joyfully inviting us into doing this. I know that our bodies are just
the instruments, and so I wantto honor that without that call, we
wouldn't have been doing this. Sothank you for showing up in the various
ways that you have showed up,and please continue accompanying us as we continue
(01:00:52):
to growth, and as almost andme As continues to lead us different places,
different paths, radipath So thank you, m M. What type of
(01:01:47):
seed do we long to be inour journey on Earth? Mother literally and
mythologically speaking, get people as samasand a lamus terms. Thank you for
(01:02:07):
listening to Somo Semis. We aresets a podcast about indigenous sovereignty and collective
storytelling. Our theme music is Sumerhirsby La Clavel. You can find a
link to their beautiful music in ourshow. Note. This is a we
(01:02:29):
Rise production and we'd love to hearfrom you. Connect with us at we
Rise production at PM dot m Eon the socials and at we rise production
dot com. You can continue tosupport this collaboration and others by subscribing to
and rating this podcast and making anoffering on our Patreon or PayPal pages.
(01:02:53):
Links to give can be found atwe rise production dot com. Thank you
all, take care, We lookforward to stay connected. We want to
(01:04:00):
know what you think of podcasts.We want to know how is the landing?
D us an email, We're Tierro. When you need her, I
know, send us a nut jobas a line. We're asking you for
(01:04:21):
your sweet, sweet feedback. Andremember we so so Hanniston, and remember
all we are. We have heardI like that cat was trying to say
(01:04:42):
we it was confused. Okay,Let's do it again. Let's do it
okay, And remember we are somuch. We are seeing are chiming as
so we are up on sea?Should we stop now? See the chaos
(01:05:06):
girls too. One can love you. Bye
What does it mean to walk ourjourneys on Earth Mother with more depth?
Why does it matter spiritually to weaveour walk with rooted purpose? Are we
capable of synchronizing our heart with theheart of Earth Mother and the heart of
(00:36):
the Cosmos. We invite you tonavigate together in Somo Semias. We are
Seeds, a podcast about indigenous sovereigntyand collective storytelling. My name is Erica
Murcia. I am a poet walkingmy talk in Messo America and whatever Earth
Mother calls me. My name isNicol Drovasia and artist who moves, dreams
(01:00):
and creates with ancestors and future generations. My name is kat Petru. I
am a dancer and pollinator, rememberingmy roots to show up grounded in our
movements for collective liberation. Together,we have been weaving stories that gather and
(01:21):
recall our ancestral memories. We haveinvited voices of sacred, feminine and two
spirit leadership from various communities of thediaspora. In this five episode series will
deconstruct the ways we connect to eachsacred element, water, fire, wind,
(01:42):
earth, and ether. We'll learnabout the journeys of our guest storytellers,
including astrologer Karina Falcone, doctor UzoNonkpa and healer Steward and guardian Amber
Phoenix. Welcome. This podcast isto uplift your souls stories Paula. Hi
(02:28):
everyone, We're back here in therecording space. My name is Erica Murcia
and I am accompanied by Nikki,Nicole Jr. Vasha and Katherine Pedro or
mostly known as Kat. And herewe are bringing this bonus episode to all
(02:51):
of you. Thank you for accompanyingus energetically today and by listening all the
episodes of Its Almost Yes, weare seat and we can share where we
are joining from today and introduce herselfagain. Hi everyone, Nikki here she
hear they them. I am speakingfrom alone e Land called to Chune.
(03:16):
I just learned that the pronunciation ismore aligned with the way that the ALONEI
pronounce it, and I'm practicing.And it's a sunny day in the bay.
It's still got that cool air underneath. That's where I'm coming from.
Sun is beautiful, Sun is shiningout there. Hi everybody, Thank you
(03:38):
Rika for the greeting. This isKat Catherine and I'm back on Chinnakmultnoma Clackamas,
Calipuya tribal lands, unseated lands alongthe will Lamit and Columbia Rivers in
this gorgeous gorge which is currently fullof smoke. It is the beginning of
(04:00):
fire season. So I'm in avery warm, air tight room for now,
feeling a little sleepy and very veryhappy to be here with you all.
Thank you both for the invitation torecord this bonus episode. I am
joining from now at land mostly knownas San Salvador, and today is a
(04:26):
very hot day. It's hotter,and yesterday we had a quake, so
it is a reminder that Earth Motheris a living being and sometimes even though
scary, it is that type ofshakiness that reminds us also of how to
(04:53):
live every day with purpose. Soto get into that, we have some
questions to guide our conversation today,but also many other threads have come up
already for us after recording and releasingall of the episodes for somos some years.
(05:16):
So who would like to start withbringing these questions to the center of
our fire offering today? I justhad this feeling to remind us of the
journey we've been on, so Ican share that we've changed, you know,
the process of visioning and then recordingand then editing and then transcribing.
(05:41):
Each episode has been incredibly transformative andwe're really curious how it's landed for you
all listening, and we will havemore to come we can share at the
end of the episode. But justlike a little recap of the journey we've
been on. So we started withepisode zero with astrologer Katina Falcon and we
(06:08):
got into returning to sacred Ether,and then we journeyed into the realm of
sacred waters and returning to our naturalflow. Returning to our natural flow.
Yeah, and from there we waitedout of the water onto land, into
(06:31):
our body, sovereignty and the elementof Earth. And those two episodes were
just the three of us without aguest. And then with fire, we
brought in our guest, Ember Phoenix, returning to sacred sexuality, and then
finally expanded into winds diasporic seeds withdoctor Uzaoangpa and returning to the power of
(07:00):
shedding. And so that's just alittle recap of where we've been. But
I know we wanted to reflect alittle bit on where we were when we
started and where we are now andhow we even moved in the making of
this first season of Someone Semas.I am really grateful for all the people
(07:25):
that have participated in the co creation. It became way expansive than I you
know, I thought it would beat the beginning, and it was a
crucial season for me when I metyou both virtually these very powerful calling in
my heart to walk my talk andwhat that meant right the question of how
(07:47):
also, and when we began meetingand talking about what this could look like,
it rooted me. It was thesense of my body saying, yes,
we will lock our talk, butwe do it in community. We're
doing in trival, We're doing incollective, and that's how we grow.
(08:07):
So for me, it was recognizingthat I needed to be in circle and
that that this wasn't just about oneperson but the collective. So I really
am grateful for you both for respondingto that knock on your door and then
(08:28):
all of us knocking on other people'sdoor, and then what other doors,
what other kids will be guiding thisco creation and the other part of where
I was. For me, itwas really this sense of needing being in
relationship with the mess American ecosystems andhow I carried them within me, but
(08:56):
I needed to touch the dust tosee the vulcan, to see things that
the elements right that we danced withon this other side of the borders,
and how that could really allow mespaciousness for poetry, for writing. And
so I want to thank you bothfor being a companionist in my reclaiming connection
(09:22):
to writing poetry as a daily practis. I think I just wanted to share
on that note because we spent somuch time just figuring out how we work
together and how we can meet eachother and this creative collaboration and this creative
journey. We spend so much timein listening to each other and our bodies
(09:45):
and how we felt in what wewere going to create that I do feel
like this podcast series is the mostaligned with how I talk in every day
or the most unapologetically poetic and candidway that I talk with loved ones like
you both. And you know thatdoesn't always come up on a podcast or
(10:07):
in conversations with people. Just dependson what energy other people are sharing or
like connecting on. And so Iknow that I'm kind of jumping around,
but like listening to the series afterrecording and just being like, Wow,
I said this thing that I've thoughtfor so long and maybe I've said to
some people, but to have iton something shared so publicly and widespread,
(10:31):
it could easily feel really vulnerable andlike scary, but because it's so aligned
with my truth, it was justaffirming. And it of course feels so
affirming when it's like Uzo giggling backand being like yes, or Edica giggling
back and be like, we cansay these things like this is what I'm
(10:52):
feeling too, And I've always noticedthis, And so just the amount of
affirmations that came through by speaking inthe way that we want to speak and
in languages that are not our mothertongues, or allowing ourselves to use these
words the way that we want toto describe what's happening or how we perceive
the world was just such a beautifulpart of this process. In that spirit,
(11:18):
our bodies and the land we're onwe're also co conspirators. I want
to be like obvious there, ourbodies, they're not separate, but we're
also not separate from the land.Right Like in sort of mainstream podcast culture
or media culture, there's some sensethat it's like more rigorous, more intellectually
(11:43):
sound or something to have things reallylinearly laid out right. But some of
the potency and healing of this cocreation is that we're recognizing the earth,
the elements, our bodies as alwaysalready part of the creative process. Like
(12:07):
literally, it's all connected. That'show it happens. And it's challenged me
to similarly as Nikki like, itdoes feel vulnerable, but it also feels
I don't know, powerful, andthere's so much listening back. I'm like,
I feel so much stronger in myselfthan when we started, like more
(12:31):
ground and more rooted. And there'smore I can say on that, but
yeah, yeah, I wanted toask or reflect back to you because for
those who don't know, Kat isthe person who is listening really closely and
editing us together. And I don'tknow if it's clear, but we're recording
(12:52):
this from I mean, it isclear. We introduce ourselves from different parts
of this continent and across you knowthe way. But Kat has to peace
together multiple recordings of us like apuzzle piece, and so I am really
curious on what that experience was like, because it's not you know, from
early beginnings of We Rise, it'slike we all used to be in a
(13:13):
nice studio together on one recording,and it's a very different experience than like
we all have our own recorders.We all are making sounds on our own
and somehow you're larrying us in andyeah, I'm just curious what that was
like for you. Thank you forthe question. It's awesome. It's such
a reminder of our interconnectivity. Onething that Edica and I have been riffing
(13:39):
off of less on the series andmore in our meetings and calls and conversation
is home. What does it meanto be home? Where is home?
How do we find it? Andyou know, so much of this series
has been about diaspora being seeds beingdisplaced, both the choice and the violence
(14:01):
that can be part of those processes. And we've all been living through pandemic,
climate catastrophe, immense state violence inall sorts of ways, and we
can feel so isolated and untethered,disconnected, And while of course it's not
(14:24):
the same as being physically in person, there is something really deeply nourishing to
spend so much time with your voicesin my ears, knowing that those vibrations
are traveling thousands of miles, andI am genuinely curious what it's like for
(14:46):
people to listen. You know,there's also like an element of pleasure that
being so embodied and so present invitesin our recording, and so then also
to get to like drop into thatas I editing. A lot of the
editing too, I've done like onairplanes, right, Like I have the
audiophiles, and I've been back andforth from here to hu Chune or other
(15:11):
places. And I feel like thisseries in particular, because it's been over
the course of a year or soof even just the editing, let alone
the whole process, it's traveled withme a lot. And yeah, it's
just fun to be like on theplane, like with my giant headphones,
like sipping whatever beverage, and belike, no one knows how magical the
(15:33):
voices in my head are right now. And then, of course, I
think one of the reasons it isso transformative is because I have the reps
of listening so much, and soI'm I'm not only listening to the content
of what we say, but I'mlistening to how we say it, and
editing for like the story I'm editingto honor the integrity of everyone's words,
(15:58):
the cadence, the rhythm, theinternality. It is one of the realms
in my life that I am quiteattuned to detail. Sometimes it's fun to
just be really wide and spacious,but it's a really fascinating journey to get
really focused on how we say,what we say, how we listen,
(16:19):
how we respond, and when we'resaying something we really mean versus when we're
like trying to find the words.And there's legitimacy to both those expressions and
so much of learning, right,the work we do is in serve us
of learning, and so it's notgoing to sound necessarily polished and like that's
(16:42):
also could potentially be a salve forfolks listening maybe h thank you Kat for
(17:48):
sharing about your journey. I knowthat it has been a lot of work,
a lot of creative labor, andalso sometimes we had to be very
flexible for all the many things thatwere happening to all of us right,
some of us losing our voices,also our bodies telling us when we needed
to stop or to take more space. So I appreciate that flexibility, but
(18:12):
also the tenderness with which you wouldhonestly tell us about needing more space to
release an episode. So I wantto thank you both for that too,
forgiving us within power of the birthing, as I call it, the actual
releasing the five episodes that centered thefive elements which we are made of and
(18:36):
everything else is made of. It'sreally giving us that nonlinearity or us and
I will bring a question to you, UNICKI later. It's like the visual
of it, right, the visualhow did that came into birthing? How
that actually speaks to the depth ofall what we are bringing into each one
(18:57):
of the episodes. For me,I gave myself permission the first time to
simply be a listener for every episodeonce released and feel joy to be part
of it, of the co creationfrom that place of like, you know,
playfulness, like being a kid andbeing like wow, like we did
(19:22):
this together, we built this together, we co created this together, but
just joy the play Like if wewould be sculpting with clay, you know,
as kids, and suddenly we wouldbe together and say like, oh,
look at the castle I built,and you would be like, look
at the home, look at theroad, look at the trees. That's
how I took it, and fromthat sense, I could actually notice something
(19:48):
very deep or something profound in myvoice and the way I was storytelling,
which for many years I haven't feltthat capacity to to listen with more presence,
but also how I am telling thisstory with more presence. And so
one thing I noticed specifically was mylaughter. There is only one more place
(20:14):
in my walk on earth that Iclearly remember how it was affirm and celebrated,
of course, at my mom's youknow, at my family, because
my laughter is very similar to mymom's, Marcella. And so it was
in prison. During grad school,I went to do some theater workshops in
(20:36):
a prison facility in Michigan, onlywith men of color, but I would
say black men. And I waswith other two students and we were taking
a theater and incarceration class. Itwas outside of social work. But the
point is that and I am gettingvery wary in my chest to remember,
(20:59):
I get very tender because and youmentioned this cat what home really is in
our hearts for diasporic children, andfeeling that my laughter is a firm in
this space, you know, recordingtogether but storytelling together reminded me of that
(21:23):
feeling to be physically present in acircle with people who were behind the bars,
which I don't like that were butthey didn't have freedom, and so
we were not allowed to hug thembecause it was kind of like a strict
rule. But I do remember thatwhen we ended the whole semester and we
(21:45):
had these showcase to everybody and weall laugh and we felt this sense of
closure hugging each other but also laughingand remembering how much the laughter of one
person can actually mirror others into bringingtheir own laughter out with no reservations,
(22:07):
with nobody, no energetic control.And so that's how I have felt that
in every episode I laughed, evenif I am telling a story that has
to do with an experience of traumain my childhood or transgenerational trauma, and
laughter is part of these trickster reminderthat opposites dense together, and that we
(22:37):
choose how we tell our stories,but also how we come closer to the
depth of that vibration that is ourvoice, beyond words, beyond verbalization.
And so I guess I am feelingtender because it's hard for me. Endings
are hard, and we are nowin this postpartum and I remember how I
(23:02):
felt living that prison facility the lasttime too. It felt like I can't
believe I felt at home here withthese people, with the community we co
created. It was one of thehardest moments for me to like end.
And so what I'm saying is Ifeel deep gratitude, and these tears have
(23:25):
to do with feeling at home inthis space with you all, feeling this
sense of homecoming through the way we'rechoosing to tell our stories and allow each
other to tell our stories, butalso we've our own stories with one another,
and now we feel like we're partof this colorful tapestry. So thank
(23:48):
you. Thank you for your tears, Edica, and for that story.
(24:41):
Dad. Did you want to saysomething I saw you. I know I
was in and out because I hada question like burst through and I don't
know if it's related to these tears, but I also really moved. I'm
so curious about how our ancestors camethrough and as we did this work,
(25:04):
either one of you, if youfeel cold to jump in. When you
asked that, I just immediately thoughtof the water episode and when you were
talking about how you had to whenyou're editing and you're like, oh,
I actually wasn't the first one tocry, and then it was it was
me. It was me crying becausewe were talking about the ocean or water.
(25:25):
I think we're talking about water,and I just immediately thought of the
ocean and it just made me wantto cry. It's so interesting. I
don't know if I said this inthis series, but I can feel my
heart racing when my ancestors want meto talk when it's something I'm like,
I'm nervous, but I need tosay this thing. And when Kad and
I used to be like regular participantsin libration Spring, is when I realized
(25:48):
that's what it was, you know. And like some people could write that
off as like, oh, you'rejust nervous, or like, you know,
I don't know what this is.Like I hate this feeling because it
can be intimidating, but when youknow what it is, it's kind of
fun. You're like, oh,they want me to say something, and
it's kind of My ancestors are likefeisty and like fierce, So I do
recall having that feeling sometimes where we'dbe talking and in conversation and I could
(26:12):
feel my heart just start to likethump a little harder. Oh my god,
I'm getting like it's funny because theydon't talk about it that often,
but it's just like I feel somethingdeep inside of myself that's like happy and
excited about it. But it's sofunny too, because that episode on water.
I speaking of listening and remembering,I just remember my voice sounded.
(26:34):
I can't remember exactly what was happeningat the time, but I was really
sad, and so I'm sure listenerscan tell that the tones of our voices
are different depending on the time ofyear it was, or like what we're
talking about. And then like Ilove that there's laughter just sprinkled throughout because
of course, but I just remembermy voice feeling like less energy and kind
(26:56):
of sad. And I don't fullyremember what was happening at the time,
but I remember that invitation to thinkabout water. It just opened up my
soul and I think, like,you know, grief and like pain and
beauty and all the feelings of likethe immensity of a being like that,
a being that we come from.Also, can I just say that's not
(27:17):
the first time just thinking about theocean made me cry. I've definitely was
driving no work one day or Ithink I was. Yeah, I was
driving to go teach a dance class, and I thought about that movie Mowanna,
and like, just because there's thispart where she finds the boats and
then her ancestors are singing, andthen it's like this world of her seeing
what her ancestors where she comes from. And I just sorted sobbing so hard,
(27:42):
and my partner was like, areyou okay? And then like just
thinking about that driving to work mademe cry, and then I was like
letting people know my dance class.I'm a little telate right now. I'm
thinking about the ocean and it makesme want to cry, and so I'm
like laugh tearing up right now thinkingabout it because it's kind of funny.
She just moves me to tears.I love your response, Niki, and
(28:03):
I know that feeling and similarly feellike I started to feel into that during
our time in Libration Spring, inpart because of an invitation from our teacher
there and Julie not through Padia,who was like, notice that I would
speak up a lot. She's like, how about also trying to like listen
(28:26):
more, and she gave me likea specific invitation around it, and then
it was interesting to feel like almostthe like just reactive. I want to
say something because I'm excited, versuslike I've been really letting everyone else's words
sink in more and now there's somethingeven more like robust that wants to come
(28:47):
out Gemini rising Marcy. I don'twant to tell you all my astrological information,
actually, but now you know alittle, I can say the first
thing that was coming through, andthen if there's more that wants to Chimen,
I can share. But you know, one of the perks of being
the one doing the editing is ifI don't like what I said, I
(29:08):
get to cut it out. AndI didn't take it anything of like great,
you know, I didn't change thestory or anything like that, but
I just got some things wrong.When I was talking about Jewish significant dates
or practices in one episode, Ithink it was the Winds recording and I,
(29:33):
oh, there's something that's been reallybeautiful and also really painful, becoming
more immersed in Jewish community because whenI'm distant, it's easy to make up
what's in the gaps of what Iknow, and I can fill it with
(29:56):
like what I want it to beand then when I get closer, it's
messy. It's an old, oldculture we're in. You know, we've
been around a long time, andwe're really diverse, and it's complicated because
like what even what does it evenmean to be Jewish? I don't know.
I know that I am, andso I think, you know,
(30:19):
as that's been an ancestral line thathas been with me in this series,
in this co creative process, it'slike unraveling. And I think right now
it's interesting. In the last monthor so, I have felt palpably closer
to guides from both my lines,and I don't know names, I don't
(30:41):
know details, and that's phenomenal inand of itself, and I lost it.
Do either of you know where wasI going? Could you ask the
question again, how have our ancestorscome through in the making of this podcast?
So you were answering that question andyou were telling us about the messiness.
(31:04):
Oh yeah, yeah. So asI get closer in, I feel
more surrendered to how much I don'tknow and to the mystery of this journey
of remembering. And as I likesoften that, I feel actually more closeness
(31:26):
to ancestors. And this series hasevolved at the same time as I was
invited to start Invited Slash invited myselfto start teaching dance at a community center
here, and the class is calledDance to Remember. And it's clear that
a lot of my storytelling and myhealing and my authentic connection and knowingness comes
(31:55):
through dance. And that's fortifying,and it supports my embodied roundedness, which
supports storytelling, which supports being onthe mic and speaking truthfully and not just
performing or presenting some like this ishow I'm supposed to talk because this is
how I'm socialized because I want tobe a good white person or whatever.
(32:16):
The thing is. Yeah, it'smessy, and it's such a gift to
be invited in like this, andit's so intimate, and yeah, as
I'm talking, I'm like, ohgod, this is going to be shared
again. M hmmmm h. Firstof all, thank you for asking the
(33:52):
question. I had it in myheart at the beginning before we started recording,
I thought, oh, we needto include that because again, right
we're telling the stories under the storieslike deeper, So thank you for that.
So the two threads that I amgoing to weave or braid from what
you both share is coming from thisquestion of how our ancestors or how my
(34:15):
ancestors show up in this co creationis one Nikki, I share that bodily
sensation racing right here in my heartat the heart center and then coming to
the garganta to the throat in away that feels like I don't know if
you have ever experienced a panic attack, but something that needs to be let
(34:39):
out. And in the past,of course I didn't know how to respond.
So now I know why it isand also how to be like I
hear you, Familia, I hearyou. And actually that's how the seed
for writing my manuscript, the bookthat I'm going to publish, came to
me. It came as that racingsensation right here in these two power wheels
(35:04):
or energetic wheels in my body.And then I wanted to connect with this
journey similar to you cat with reclaimingconnection with my indigenous roots, but not
having a specific how do I sayit, like line to share, like
(35:25):
to be like I am part ofthis you know, group or collective,
and it's really like really doing thework, like the journey in and it's
messy and it's joyful, but Alsoit's asking me to embody maturity. Can
I say that to be more maturein the walking my talk? As I
(35:45):
said, right, and so beforeto continue, I wanted to offer you
this poem that is a very crucialpoem for my experience border crossing, but
also come from an ancestor who youknow doesn't necessarily is part of my direct
(36:05):
bloodline. But I wanted to shareit because it speaks a lot to what
you both have shared, but especiallycut to feeling that we want to be
in but needing to be out sothat we can make sense of all the
pieces of the puzzles. So thisis from the book Borderlands from Gloria and
(36:29):
Saldua, and this poem is calledto Live in the Borderlands. I'm going
just to read a few lines ofa few paragraphs to live in the Borderlands
by Gloria and Saldua. To livein the Borderlands means you're neither Ispana,
(36:49):
India, Negra, Espanola, niaaa, mestisa, mulatta, have bread cut
in the crossfire between camps while carryingall five races on your back, not
knowing which side to turn to runfrom Gando people walk through you, the
(37:10):
wind steals your boys. You areabura boy scapegoat, forerunner of a new
race, half and half both womanand man, neither a new gender.
To survive the borderlands, you mustleave simfronteras be a crossroads. So wow,
(37:39):
I just needed to share this,you know how this poem and this
book from Gloria Salda has shaped me. But also reclaim her boys and her
poetry as part of this ancestral storytellingthat we have been co creating and co
(38:00):
weaving here, that was amazing.I love her. I'm so thankful for
her writing and especially the anthology ofthis bridge called My Back, which I
feel like is a text that reallyinforms how we show up to together.
I'm curious because you ended with sucha such a mischievous look on your face
(38:24):
saying the crossroads, because it comesback to the artwork and the symbology and
the visuals. Yes, Nikki,and so now this this is a two
part question for both of you,because I know we want to hear a
little bit more from Nikki about makingthe beautiful, beautiful artwork. And I'm
(38:46):
curious also, Edica, if youwould want to talk a little bit about
the Mayan cross the cross mayon Cross. So first of all, that face
was the trickster in me. Theirreverence again goes back to the laughter too.
(39:07):
After at least seven generations noticing theresilience, but not exotifying the resilience
anymore, but rather saying, Okay, I don't want to just talk about
my resilience. I want to talkabout my sovereignty, our sovereignty. And
I'm pointing back as a bridge becauseeven in the worst situations or experiences,
(39:32):
there has been a way of showingup our sovereignty. Right, And so
this poem and the work that wehave been co creating that now all of
our listeners can experience as Summos andme as we are. SIS mini series
is how do we and literally howthe three of us have walked towards the
(40:00):
enter of the medicine will or reada medicinal and have chosen to breach across
differences and instead of creating pyramids oflike who has suffered more, which ancestors
we're perpetrators, whatever it's like,we have chosen to tell our stories from
(40:20):
a different place, humanizing our journeysand that of our ancestors, whoever they
were, and that is part ofintegrating and crossroads. It's about integration,
It's about the medicine will that showcasethe five elements in the beautiful vibron art
that Nikki created speaks to all ofthe layers of what is the labor,
(40:49):
the creative labor of storytelling that weand our ancestors have been inviting us or
pushing us gently like the when howhow? Who's all set like or snapping
us like child do the work?That sense of understanding that we are here
(41:15):
and we're not supposed to do italone, that we are meant to be
doing this unwitting ondoing to repattern againcollectively. And so I am a geek,
and I love understanding the power ofthese spirits that are company all of
(41:35):
us, or at least that arecompany me and in this case are birthing
our baby, which is almost amas we are seeds. And so I
I wanted to know what spirits accompanysolmos amias and deleting at the heart of
the medicine will or the sacred MayanCross. Beyond this is this doesn't have
(41:59):
to do anything with dome our religion, okay, As in any indigenous cultures
there always have been this connection tothe Four Directions, the Sacred Directions,
and so these ancient tools allow usto kind of makes sense of our work
on Earth, but also to knowthat we always can, as Karina said
(42:22):
in the episode Zero Rain, bentourselves. So someone saimas at the heart
center, the spirit that accompany itis seed, which I'm not going to
go into the depth of what thatmeans, but for me and for us,
you know, as birding people,as co creators, it is a
(42:45):
huge deal. It was meant toto be done this way, and it's
also calling us again individually and collectivelyto mature our offerings, our work and
how our work on Earth has moredepth than superficial ways of walking. Did
(43:07):
I answer your question? Yeah?Okay, And now Nikki, could you
share more about your experience. Iknow that at some point it felt like
the face of the baby was notready, but you know, it came
through and it came so clear.So I'm curious to hear about you know,
(43:30):
how it felt for you in yourcorner. I don't know how it
is your space for like doing paintingand growing, So if you could be
very specific for this child that lovesgraphic images and movement. Yes, how
should I start? Should I startby describing it? Should I talk us
(43:51):
through? Because visually, if someonehasn't seen the podcasts, are I could
walk through what's the right? Soto give an overall sense, there's a
rainbow galaxy. There's a rainbow galaxyin the background with stars. So it
goes from red all the way throughthe rainbow all the way down to blue
(44:14):
at the bottom. And in thecenter is a medicine wheel influenced by the
conversations that we had. And startingin the center is a cacao seed with
these orange roots coming out below intothe southern quadrant, and in the southern
quadrant are two hands holding the roots, and to the left is the west.
(44:40):
The roots from the seedling is alsogoing into these ocean waters. They're
kind of teal. And in thatdirection there's a crescent moon just outside of
the medicine wheel. And then asyou go north, above the seed lean
(45:00):
is a single leaf coming out ofthe seed and above that is a hummingbird
that is in flight. And thehumming bird is flying east and to the
east and like put my arms outlike I'm flying for the people I can't
see. I mean it's an audiorecording. I'm throwing my arms back.
(45:22):
I'm the humming bird right now,but the hummingbirds flying in the direction of
the sun, which is in theeast. And it's a really warm quadrant
with a giant, glossoming pink lotusand it's opening up towards that big sun.
And surrounding this medicine wheel is arainbow, so like a really delicate
(45:45):
rainbow all encompassing the four quadrants.And around that rainbow is a cosmic purple
serpent that is wrapped around the rainbow, and it is turning back to its
tail. Its tongue is wrapped aroundat the tip of its tail and it's
eating its tail. And then thelast detail is from below. The illustration
(46:09):
is kind of a mountain that cutsinto the southern quadrant behind the hands,
and it's the colors of the Transliberationflag in this kind of mountain shape.
So there's a black stripe, there'sa brown stripe, and then a blue,
and then a pink and a whitestripe, so it's a mountain coming
upwards. So yeah, each quadrantwas very focused. I just spent a
(46:35):
lot of time remembering what came upin conversation and also what I've learned from
the conversation with Karina about the fourdirections, or what I've learned from you
Edica, who learned from Karina.And I wanted to make sure that I
captured little bits of the feeling thatwe have from each episode, and there
(46:58):
were moments of like distinct symbols.There are so many ways that this could
have gone, because there's such richnessto think about with wind and air,
waters, fire, and earth.But I just wanted to capture a feeling
for each one. And also itkind of zooms back in and out from
(47:19):
being like here on this earth,and then also you know, we are
in this cosmic, beautiful universe,like we are of the stars and sun
and moon as well, like thisis all of us encompassing internally into ourselves,
into our bodies, to the earththat we're in, and then of
course the greater where we come from, where we live, our greater home,
(47:42):
the universe. So I think it'sso hard to describe the process because
it was so embodied and all thedrawing that came from it, It all
just kind of like flowed into place, and it was nice that we had
recorded everything and we were starting towork on the audio, so I feel
(48:06):
like it was very in the heartof the process and the visuals that I
was guided by Edica a lot aboutrainbow being integrated or the Transliberation flag being
integrated, and queerness and expansiveness andspectrums. I wanted to try and find
a way to integrate all of thosethings. And also, this is the
(48:28):
most colorful piece I've ever I mean, i've I'd like to say i've ever
created. I don't know. YoungNikki may have gone off and like painted
some really colorful things I can't remember, but as an adult, you know,
I always joked that I went toart school and I had to detox
for a long time. I justoften struggled to create anything colorful. And
this just came so easily, andit also just brought so much delight to
(48:52):
paint it, to draw it.So yeah, and if you have any
questions, please ask. It's sohard to put into words something that was
like because I am a visual persontoo, so it's so easy for my
brain to be like, yeah,this makes sense. You might hear me
pause a lot when we're talking orlike sharing stories. Sometimes I see something
(49:15):
in my head and I'm like,how do I explain that into words when
we're talking? You know, Nikki, I remember you posted a few photos
(50:23):
of the process on Instagram and Iwas just amazed by the tiny desk or
whatever it is, you know,like because I am like that too,
Like I am a minimalist and youknow, realizing how much art we can
make in very small spaces, whichis about the imagination when you say the
(50:45):
environment more than the space in whichwe are. So could you speak more
about that or a little bit aboutthe dancing with the animal of that space?
Hmm. Yeah. It's interesting becauseearlier Cat was talking about how some
of the editing happened on airplanes,and actually part of this illustration was me
(51:07):
traveling as well, and we oftentalk about traveling, especially as diasporic people.
So this piece traveled with me,which is really beautiful to be like
it was made on my desk,surrounded by my creative mess and all of
my things, and literally I feellike my desk is like an altar.
Some people might think it is amess, and it is, it's my
(51:30):
creative mess, but there's a lotof things that are placed just to I
don't know, it just feels right, if that makes sense. And I
think the experience of being with lovedones and traveling and making this art for
sure, are integrated into this piece. Spending time with water, for sure,
(51:51):
spending time with sun, watching clouds. We're part of making this piece.
Shedding, just like when we talkedabout out with Uzo, the winds
and skin shedding being part of beachesand the ocean was part of making this
piece. And oh, I couldshare two with mediums. They are I
(52:12):
used pencil to sketch it out,and then some of it is kind of
like this watercolor pen and then there'sa lot of watercolor, so that the
watercolor pen just to be more focusedand get the rich colors, the defining
lines where there are defining lines,and then watercolor. I love watercolor because
(52:32):
you could just add layers and layersof tints and tones together. I think
the most nervous part for me makingthis piece was first of all, making
sure that it felt like respectful andhonored the immensity of our conversations and honored
the influences of where it came from, you know, because this is me
(52:57):
as an illustrator, as trained tobe an illustrator is to receive direction and
to create right, like to interpretwith the direction or the influence or the
inspiration is and so wanting to beas respectful as possible when I created it.
And then also I love snakes andI just wanted to do justice to
(53:20):
this snake. And I think that'sthe part too. I was like,
I know, for Edica and I, snakes are such important creatures for their
symbolism, for like meanings, forthe ways that we feel like we embody
aspects of what it is to bea serpent. I was intimidated to paint
this snake that I could imagine,you know, that translation from your mind
(53:45):
into the hands into a physical thingas a whole journey in itself. And
so I overcame some challenges of like, you know, not feeling capable of
bringing this snake to life, andjust the way it's glowing with the crescent
moon and the glowing sun. Ifelt like I was like laughing when that
happened, and I was like,oh, the lighting is incredible on this
(54:06):
snake. It's just glowing, andit's purple. That's my favorite color.
So thank you for describing that.Nikki. We can have a miniseries about
that piece. So we're just reallytrying to bring into this space, into
this bonus episode, a little bitof the pieces of what each one of
(54:29):
us has been kind of like focusingalso on I guess for me is the
energy, right they telling you,like, so this is the vision.
So there is no much about howI can bring the internalization of my ability
to read energy. But I wantedto name it because the most visual thing
(54:52):
for me was translating the episode zerofrom English to Spanish and like the transcript
and and I remember, you know, reading the transcript in English and then
translating it and then creating it andthen being like, thang it. We
need to do our souls at meas in the Spanish, you know,
(55:13):
with boks, like just recordings inthe Spanish. And so I'm bringing this
because there is so much juiciness thathas come from this cor creation, but
also how we have had the opportunityto showcase our own strength. So Cat,
what would you want to add?No, thank you for saying that,
(55:34):
I was gonna say. Also,I love hearing you describe the process
of the visual creation. And yeah, thank you for bringing back the fact
that you not only did we transcribeinto English because we're speaking mostly in English
and these episodes, but then youtranslated that first one to Spanish, and
hopefully there's more where that came from. And I just had an impulse to
(55:58):
again thank everybody who's supported this projectfinancially, who funded it, because it's
not only going to the time andlabor of Nikki painting that at that time,
and labor of all the editing,the time and labor of storting the
storytelling along and transcribing. Yeah,it's going to all of that, and
to Yoma who helped us initially transcribe, and then to ourselves as we continue
(56:22):
to transcribe. And huge shout outto Sarah Sara Blanco who's been also supporting
us with transcriptions all the time andlabor of pulling quotes and sharing out on
social media, just making sure thatfolks see and know that this is available
as a resource as an offering.So thank you, because it really helps
(56:45):
us be resourced to be able totend to all of this labor and this
care. Do you want to addany thanks before I pivot? Yeah?
Ah to Soul, Yes, kiddo, I gotta save im men. Samantha
mascon E porso Musica, Sir hasbeen such a huge accompanionte in how these
(57:12):
stories are kind of like release orheard. So thank you, thank you
Soul for allowing us to have accessto your music so that we could added
and give that I don't know thatsense of rudeness too, because that's music.
It's allowing us a sense of transitioning, but also feeling that things sink
in more these stories with music.So thank you, thank you see muchisimascrasia
(57:38):
Soul. I love this. It'sa nine minute song, y'all, and
it's been so juicy to get tolisten to and find which part of the
music to lift up different parts ofthe storytelling. Thank you. So I
know Erica you had some waters comeup. We're feeling emotional about working together
(58:05):
and this being the end, butit's really just the end of this first
season of So Simeus, and we'vealready been visioning an offering for everybody for
the autumn, and we wanted tojust share a little bit about that and
let you know there will be moreinformation forthcoming. Nikki, would you be
down to speak a little to whatwe'll be offering. Yes, I'm so
(58:27):
excited because I feel like this issuch a beautiful cross pollination new seedling between
all of the work that we've beendoing and with some work that Kat and
I had been doing through we Risepreviously. So we would like to share
that coming around the equinox through Autumn, our collaboration will evolve into Somosimias,
(58:51):
Consciousness, rootine and storytelling circles wherefolks can join us for coming together virtually
you reflect and share their experience listeningto Somosumus. The guests are all excited
to be joining us at some pointalong in the season, and there's a
(59:13):
lot more brewing underground, but keepus on your radar. We'll be sharing
more as we plan out this seasonahead. Yeah and the guests meaning Karina,
Ember and Uzo so Yes, staytuned for more information about so Sumus
Consciousness, Reading and Storytelling circle.And if you do have questions for us
(59:35):
or want to reach out in themeantime, you can email us at we
Rise producers at gmail dot com.But also if you have things that you
want to share about the ways youhave been connected with the episodes, please
do. We want to know.We want to hear your feedback and continue
the conversation so that this community,the Amo me As we are see it's
(01:00:00):
community, continue to grow because that'swhat we want to become. Right trees,
very rooted trees. I would liketo honor our ancestors for snapping us
(01:00:29):
or joyfully inviting us into doing this. I know that our bodies are just
the instruments, and so I wantto honor that without that call, we
wouldn't have been doing this. Sothank you for showing up in the various
ways that you have showed up,and please continue accompanying us as we continue
(01:00:52):
to growth, and as almost andme As continues to lead us different places,
different paths, radipath So thank you, m M. What type of
(01:01:47):
seed do we long to be inour journey on Earth? Mother literally and
mythologically speaking, get people as samasand a lamus terms. Thank you for
(01:02:07):
listening to Somo Semis. We aresets a podcast about indigenous sovereignty and collective
storytelling. Our theme music is Sumerhirsby La Clavel. You can find a
link to their beautiful music in ourshow. Note. This is a we
(01:02:29):
Rise production and we'd love to hearfrom you. Connect with us at we
Rise production at PM dot m Eon the socials and at we rise production
dot com. You can continue tosupport this collaboration and others by subscribing to
and rating this podcast and making anoffering on our Patreon or PayPal pages.
(01:02:53):
Links to give can be found atwe rise production dot com. Thank you
all, take care, We lookforward to stay connected. We want to
(01:04:00):
know what you think of podcasts.We want to know how is the landing?
D us an email, We're Tierro. When you need her, I
know, send us a nut jobas a line. We're asking you for
(01:04:21):
your sweet, sweet feedback. Andremember we so so Hanniston, and remember
all we are. We have heardI like that cat was trying to say
(01:04:42):
we it was confused. Okay,Let's do it again. Let's do it
okay, And remember we are somuch. We are seeing are chiming as
so we are up on sea?Should we stop now? See the chaos
(01:05:06):
girls too. One can love you. Bye
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