The First Alphabet, or, Can You Read Kilts? ( Archived) (10)

Archeologists make many unsubstantiated claims, that we can all see aren't true.

They expect us to believe that rocks we can't move with our modern machines, were dragged many miles and lifted above our heads with ropes.

And the Sphinx is only a few thousand years old: when the rain that carved deep rivulets in it stopped coming down in the Sahara desert, long before the date they claim the Sphinx was made...

Another one is the alphabet-

They claim the first alphabet was created by Phoenicians in 1,000 bc.





However, there are only 32 symbols in caves and rock walls, found in all of Europe, used over and over again, in a 30,000 year period.

Only 32 symbols, used by people all over Europe, for 30,000 years!?!?

And some of the 32 symbols that Europeans used to communicate with long before Phoenicians existed, look exactly like the letters we use today...

hey @myking

Did you get the money...?

Another overlooked form of communication is in weaving.

Looms predate homo sapiens. Cro magnons were weavers.

Vedic temple garments were woven cloths that were never sewn!

Putting a seam in their clothes, would distort the messages they wove into their clothes.

Unsewn temple garments are still used by a large majority of people on earth, by religions as different as Hindu and Muslim.

When Spain invaded the Americas, they forced the natives to stop weaving, and wear European clothes; because they were afraid of secret messages being woven into their clothes.

The British outlawed tartan cloth when they conquered Scotland...

The 1 - 24 threads used in each color of tartan, corresponds to the amount of letters in the old futhark alphabet; and tartan cloth was found on the caucasian mummies that were found in China, dating back to 18,000 bc.

Can anybody here read tartan?

Almost all mythologies and beliefs of the world contain images and symbols of weaving. The Primordial Great Weaver is the creator of the universe, weaving on his Loom of Life the fates of all that exists. All the goddesses of Fortune and Time are spinners and weavers. The Weaver is also the Cosmic Spider, who weaves the thread of life from his own substance, attaching to himself via umbilical cord all the world's people and intertwining them into the web of the world's designs. Thus the thread of the Great Weaver is the umbilical cord that connects man with his Creator and his own fate, intertwining him into the design and fabric of Creation.

The warp represents a vertical view of Creation, connecting all levels of existence, the qualitative essence of things, the unchanging and the permanent, the male, the active and the straightforward, the light of the sun. The weft is horizontal; it is nature itself in time and space, the quantitative side, the accidental and the temporary, the ever-changing and the impermanent, the human condition, the material, the female and passive, the reflected light of the moon.

Myth has it that Our Grandmother the Moon, the goddess Ixchel, taught the first woman how to weave at the beginning of time. Since then, Maya mothers have taught their daughters, from generation to generation uninterruptedly for three thousand years, how to wrap themselves around the loom and produce exquisite cloth.

In addition to its important religious and social aspects, historically weaving has been central to indigenous women’s economic contribution to their households. In a traditional Maya context, when a girl is born the midwife presents her with the different instruments of weaving one by one and she says,

Well then, little girl,
This will be your hand
This will be your foot
Here is your work
With this, you’ll look for your food,
Don’t take the evil path,
Don’t steal
When you grow up
Only with these will you work
With your hand
With your foot

Cultural and Social Continuity

For five centuries, Mayan women have transmitted through weaving esoteric designs that encoded the Mayan vision of the world. In this manner, the work of weavers was essential for the survival of important elements of ancient culture. Hidden between the warp and weft, these escaped the fate of indigenous books that were burnt by Spanish priests and authorities. (For more information on the continuity of weaving designs see Walter Morris, Living Maya, 1988)

“Overshot is a weave structure and a draft is the weaver’s guide to creating patterns in cloth. Overshot name drafts assign the letters of a name or phrase to the shafts on a loom, creating a pattern that is unique. The one-of-a-kind patterns become a secret hidden message in the cloth and only those knowing the secret can break the code.”

Backstrap Weaving
My weaving , my indigenous teachers, my inspiration, tutorials and more……..

Article – Meaning in Cloth




On a recent visit to the National Museum of the American Indian in Washington DC, I stood and gazed at the textiles and costumes hanging behind their panes of plexiglass, read the information cards attached to each piece and listened to the drum beats, chants and flute music that were being piped through the galleries. As stunning as they were, as beautifully as they had been displayed and as hard as the museum had tried to capture the context in which these weavings existed or still exist, it was difficult to connect these flat lifeless pieces to the moving, flowing three-dimensional fabrics that are part of the living breathing textile museum in which I live.

I am talking about Bolivia, a country where an intricately patterned carrying cloth, slung from a woman’s shoulders, will suddenly wriggle and spring to life indicating that the baby nestled within has just awoken. A coca leaf bag here takes on an entirely different appearance when it is stuffed full of coca leaves and hung to swing from a man’s hip as he walks to market. The skirt of a festival dancer will move and swirl, each movement revealing another phrase of the woven story contained in its motifs. This story may be a collection of memories of her community’s past or a record of one of her own recent personal experiences.

Some of these designs and motifs are so old that their original meaning has apparently been lost. Representations of such things as people, animals, paw prints, plants, farming tools, buildings and geographical features adorn these textiles. When I ask about their specific designs, weavers often explain to me that they are the motifs that their mothers and grandmothers had woven, chosen and arranged in the way they found most pleasing at the time. For them the motifs and their arrangement does not carry any particular symbolic significance. Another weaver, after a long pause, looked me in the eye and simply said “This is what we weave” a statement which seemed to carry as much depth and pride as if she had said “This is who I am”. I am sure that in a lot of cases the language contained in a weaver’s cloth is so deeply personal and sacred to her community that it cannot be shared with an outsider such as me. I am also convinced that the concepts they convey may only be possible to describe effectively in the weaver’s native language in words that simply cannot be translated into Spanish.



According to Roberto Milán Bueno in Diseño Textil Nativo Boliviano the Spanish conquerors, suspecting that the woven designs contained hidden messages that could be transmitted between communities, forced the indigenous people to adopt the Spanish style of dress so that the woven vocabulary would be forgotten.

When I can plainly see many kinds of alphabets predating the Phoenicians, and the lengths TPTB have gone to, to eradicate them and our understanding of them, even continuing to deny their existence...

It seriously makes me want to understand what they say.

The messages transmitted by these message sticks included announcements of ceremonies, invitations to corroborees, notices, requests, disputes, warnings, meetings, marriage arrangements, notification of a family member passing, requests for objects, and trade negotiations. Remarkably, the message contained in these tools of communication could be understood by Aboriginals from many different regions of Australia, despite the fact that they had different languages and dialects. For instance, one of the message sticks in the Dandiiri Maiwar Exhibition at the Queensland Museum and Science centre is as follows: Bishop White of Carpentaria described how he delivered a message stick on behalf of an Aboriginal boy in Darwin to a boy in Daly Waters. Bishop White asked the boy from Darwin to explain the message. The boy read the message symbols which requested headbands and boomerangs from Daly Waters. The Bishop delivered the message stick and asked the recipient to tell him what the message was. The boy interpreted the message stick exactly as the boy from Darwin had explained it.