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"Tempsiabo"

"Tempsiabo" Sonia Megías empsiabo” is not merely a musical piece but rather a ritual of invo- cation to the female energy: a call to the Goddess. It came to me in “Ta dream in 2006 in a language that I couldn’t understand. I saw an orange temple with columns and a priestess wearing a beige cloth, her arms raised. She chanted this song over and over. Over the years since then, I keep on fi nding women all around the world who heard my song and remembered that we shared that life in that temple, thousands of years ago, in a land that disappeared: Lemuria. A friend who understands Sanskrit and other dead languages helped me to reveal the meaning of a text that I transcribed as it sounded to me phonetically: “Tempsiabo khene lu, pots bos acrabat, kart ku klemmensus, bot klimistacules, no.” He called me with urgency once he had translated it: “Come! I have it! It’s amaz- ing! You have to sing it with your chorus!” So I came, and I sat, and he revealed to me the important mission that the song had: “Between darkness and light will grow, O Goddess, your sacred illumination, and even http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Women and Music: A Journal of Gender and Culture University of Nebraska Press

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 the International Alliance for Women in Music.
ISSN
1553-0612

Abstract

Sonia Megías empsiabo” is not merely a musical piece but rather a ritual of invo- cation to the female energy: a call to the Goddess. It came to me in “Ta dream in 2006 in a language that I couldn’t understand. I saw an orange temple with columns and a priestess wearing a beige cloth, her arms raised. She chanted this song over and over. Over the years since then, I keep on fi nding women all around the world who heard my song and remembered that we shared that life in that temple, thousands of years ago, in a land that disappeared: Lemuria. A friend who understands Sanskrit and other dead languages helped me to reveal the meaning of a text that I transcribed as it sounded to me phonetically: “Tempsiabo khene lu, pots bos acrabat, kart ku klemmensus, bot klimistacules, no.” He called me with urgency once he had translated it: “Come! I have it! It’s amaz- ing! You have to sing it with your chorus!” So I came, and I sat, and he revealed to me the important mission that the song had: “Between darkness and light will grow, O Goddess, your sacred illumination, and even

Journal

Women and Music: A Journal of Gender and CultureUniversity of Nebraska Press

Published: Oct 17, 2018

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