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ramnath@nerdpol.ch
ramnath

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#Ashlesha #Nakshatra is 9th among 27 #Nakshatras in #VedicAstrology.

What is Ashlesha Nakshatra?
This is a first ‘ #Gandant’ Nakshatra (‘Gand’ means a knot and ‘Ant’ means the end, spiritual end) where both Nakshatra, as well as the house, comes to an end. Ashlesha names from its #shakti (creative faculty), which is the ‘Vish Ashleshan Shakti’ Vish means poison and Ashleshan mean burning. Therefore, the name implies the burning of the poison.

Ashlesha nakshatra is also about the #awakening of the #kundalini Shakti which resides around the spine.

This Nakshatra can create poison to destroy its victim. There is a poison element of all of the Zodiac associated with the Nakshatra.

Any planet which sits in this Nakshatra, the Karakatwas of it could be poisoned. e.g., If 4th lord in the fourth house, then the mental peace can be missing.

Ashlesha Nakshatra- The Nakshatra of Transformation

This Nakshatra is also related to transformation. When the snake shed their skin, it hibernates as their eyes become cloggy. Ashlesha Nakshatra can have pitiful eye sights or have poor insight into this. But Sexuality, arouse ability, and sensuality is quite high in this Nakshatra. But their eyes can be hypnotic.

The natives of this Nakshatra can victimize people. Mars in Ashlesha Nakshatra is debilitated, which acts with its negative energy and can harm even without being hurt.

Ashlesha Nakshatra- The Teekshana Nakshatra

Just like Ardra, Jyestha, and Moola, Ashlesha Nakshatra is a ‘ #Teekshana Nakshatra,’ which means dreadful Nakshatra. It has a good command upon #healing. But this healing is not the healthy healing but the negative healing i.e., the healing seen in #chemotherapy wherein the good cells have to be killed through #poison. So, this to start these kinds of healings, Ashlesha Nakshatra is the right choice.

Characterstics of Ashlesha Nakshtra
Ashlesha Nakshatra is an ‘Adhomukha’ or a Nakshatra, which is facing downwards. All underground activities like the underworld and murky people are under this Nakshatra. These people are trick manipulators.
The deity associated with Ashlesha Nakshatra is ‘ #Nagas’. Nagas control the ‘Pataal Loka.’ This is one of the longest Nakshatra in the Zodiac. These Nakshatra can surprise people because of the suddenness associated with it. These natives are also accident-prone.
These people feel discriminated against or victimized in their lives.
Mythology of Ashlesha Nakshatra
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This is the story of Sri #Krishna and Kalinga, the multiheaded serpent who was creating havoc on to the natives of Vrindavana. Sri Krishna controlled him by capturing him and then #dancing over his head.

How to use this mythology:

These Ashlesha Nakshatra are highly egoist, and these natives get a Krishna in their lifetime who pulls them up and remove the poison that they spit.

Second Mythology

The cosmic churning of the sea (Samudra -Manthan)was done using the Vasuki serpent as the rope. The demon took the head of Vasuki (Rahu). The tail was taken by Gods (Ketu). While churning took place, Vasuki, the serpent, started to spit the poison (Halahal), which brought problems to the process of churning. It was Shiva, who drank the Halahal to let the churning process go without any problem.

How to use this Mythology: –

#Shiva had the ability to drink all the Halahal of the world. Shiva can cure the negativity that Ashlesha Nakshatra has. Themes of disguise come from Ashlesha.

The third Mythology

Kashyap Muni had thirteen wives. Kadru and Vinaka were two wives who desired kids. Kadru wanted many kids, so she gave birth a thousand snakes. Whereas Vinaka wanted few but intelligent ones, so she gave birth to two. One of Vinaka’s kind became Aruna, the lame charioteer of Sun God. Whereas, the other became the Garuda. Once there was a bet between Kadru and Vinaka. They had to identify the color of the tail of a galloping Horse. The loser would lose her independence and would have to be the slave of the other. Kadru sent her serpent sons to color the white tail of the horse black. Resultingly, Vinaka misjudged the color and lost the bet. She, along with her sons, was enslaved by Kadru, which was sheer cheating. Garuda eventually came to know about it, and since then, the Garuda and serpents never get along.

Themes emerging out of this Mythology for the Ashlesha Nakshatra natives: That they resort to:

Manipulation

Cheating

Selfish

Crafty

Secrecy

Themes, traits of Ashlesha Nakshatra natives:
The basic traits , themes of persons of Ashlesha Nakshatra are little difficult to understand. This is because most of their traits or habits are in disguise. These people are very difficult to read on the face of them. Themes emerging out of this Mythology for the Ashlesha Nakshatra natives is that they resort to:

Manipulation
Cheating
Selfish
Crafty
Secrecy.
Because of these basic invisible habits, these persons are difficult to read. These natives have further traits , themes as given below:

Sensual
Seductive and hypnotic eyes
Numerous secrets
Underworld connections
High Ego
Mysticism
Disguise
Deception and Manipulation
Falsehood and impersonation.
Remorseless
Cold natured.
Some famous personalities born in Ashlesha Nakshatra
Many persons born in this Nakshatra have become famous in the world in their respective fields. To name few of them are: Queen Elizabeth, Jawahar Lal Nehru, Jane Fonda, Dr Manmohan Singh, Dhyan Chand ( Indian hockey legend), Sachin Dev Burman ( the great Indian Musician of Yesteryears).

Activation of Ashlesha Nakshatra as per Nadis
Ashlesha Nakshatra activates itself three times in the lifetime of native and those three times are:

In the 17th year, when the planets sitting in this Nakshatra activates.
During the 30th year also the planets sitting in this Nakshatra activate and start giving results.
In the 41st year, this Ashlesha Nakshatra activates and gives specific results of the houses of which these planets are lords.
This is the jest of Ashlesha Nakshatra which has to be judiciously used while reading the charts. However, these are the general guidelines as per Vedic Astrology. Therefore, it is always better to consult a good astrologer for understanding specific results on a native.

Nakshatras play a very significant role in naming a business and naming a child as per Vedic astrology.

https://www.vinaybajrangi.com/nakshatras/ashlesha-nakshatra.php

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libramoon@diaspora.glasswings.com
libramoon

https://hyperallergic.com/865503/the-black-choreographers-dancing-toward-justice/

The Black #Choreographers #Dancing Toward #Justice
Hannah J. Davies January 10, 2024

..."Since it began over a decade ago, the Black Lives Matter (BLM) movement has celebrated the literal movements of its participants. People protesting killings of Black people have not only marched in the streets; they have krumped, twerked, vogued, and resurrected the electric slide of the ’70s and ’80s in often impromptu responses to the emotions underpinning their demonstrations. Black choreographers, in turn, have woven the grief, anger, and sadness of the BLM movement into formal concert dance: Choreographer Kyle Abraham presented “Absent Matter” in 2015, just two years after the acquittal of Trayvon Martin’s killer, George Zimmerman, ignited BLM and one year after the police killing of Michael Brown in Ferguson, Missouri. A work of fluid and athletic gestures, Abraham’s performance took its cues from hip-hop, ballet, and politically minded anthems like Kendrick Lamar’s “Alright.” In 2016, David Roussève’s “Enough?” — with an accelerating choreographic phrase danced to a soundtrack of Aretha Franklin — asked whether dance can be a sufficient medium for considering the brutality often inflicted on Black people.

Now, eight years later, that question is being answered in the affirmative on major dance stages around the United States. Choreographer Jamar Roberts’s “Ode,” a somber and sensuous dance first performed in 2019 as a response to gun violence, was restaged for the Alvin Ailey American Dance Theater’s 65th anniversary in December. Last May, Chanel DaSilva’s “Tabernacle” premiered at the Dallas Black Dance Theatre, fusing Afrofuturism, hip hop, and African dance in a direct response to BLM. And last fall, as part of the French Institute Alliance Française’s (FIAF) Crossing the Line festival, the French-Malian choreographer Smaïl Kanouté’s “Never Twenty One” made its New York debut, its title borrowed from a BLM slogan. A trio of dancers whose bare arms and torsos were emblazoned with words like “death,” “negro,” and “PTSD” engage in movements akin to mortal combat onstage, punctuated by moments of kinship, in homage to people of color killed through gun violence in the US, South Africa, and Brazil before they had reached their 21st birthdays.
...
Dr. Shamell Bell, a dancer, Harvard lecturer, and one of the founding members of the Black Lives Matter movement in Los Angeles, explained to Hyperallergic the importance of rooting such pieces in lived experience and “[reaching] out to the people that you’re supposedly wanting to bring attention to.” Having begun her career dancing on the streets as a youth activist, Dr. Bell now works on performance pieces that, like “Never Twenty One,” play with the conventions and traditions of vernacular Black dance genres to shine a light on difficult topics.
...
“Dance is a healing modality,” Dr. Bell added. “And we need to heal ourselves in order to heal this world.”
...
In the same way that popular dance can offer a sense of hope and resistance at protests, there is a cathartic quality to Kanouté’s work. Despite the frequent choreographed clashes among the three men on stage, “Never 21” was infused with a sense of truly owning and embracing Blackness and Black joy in its many forms. Kanouté explained that he draws particular inspiration from Black communities living in cities like Johannesburg and Rio de Janeiro, whose joy often exists side by side with danger and precarity.

“They have to create their own identity, their own music, their own dance, because they don’t know if tomorrow they will still be there,” Kanouté said. “In that kind of atmosphere, you create powerful things.”...

The Black Choreographers Dancing Toward Justice

“Dance is a healing modality,” choreographer Dr. Shamell Bell said. “And we need to heal ourselves in order to heal this world.”

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