Sacred Site Activism Around the World
Activating Sacred Sites Through Acoustical Physics by J.J. and Desiree Hurtak The Academy for Future Science, P.O. Box FE, Los Gatos, California, 95031
Our ancestors created sacred sites on Earth as portals to the stars, marked by stones and aligned through large monuments, whereby everyone can enter into sacredness. In returning to these sites, we have chosen to add, with respect, ancient sacred words and vibratory sounds, which reflect the culture and religious background of the area. Since the late 1970s, our worldwide teamwork has focused on re-activating the sacred sites around the world using musical linguistics and acoustical resonance. We believe that the initiate, in ancient times, would activate the sacred sites by the use of music and sacred sounds. In this process of using acoustical physics, the initiate could say, “I am this endless sacred space carried into eternity.” In this review, we examine two locations in different parts of the world to confirm whether acoustics and music could be part of the mysteries behind these cultural historical sites where spirituality, acoustical physics, and structure might fuse together to establish a mind-reach to the living cosmos. Our larger studies comprise a synthesis of findings from anthropologists, remote sensing engineers, musicians, and members of the Academy for Future Science (which is an international NGO) all working across the spectrum of sound to understand a common science of acoustics and music as a singularity for the activation of the sacred temples. Our methodology derives from knowledge of ancient cultures, their languages, and their spiritual philosophies, as well as an understanding of how the human body is a “temple of Spirit” that has counterparts in these temple designs. With the understanding of sacred sounds and the movement of the stars that some call archo-astronomy, these temples can be activated and synchronized. Observing the movements of the human bio-geometry as a correlation between the Earth and the heavens, we can understand how the human body is a part of the common acoustical portal or “acupuncture points,” which can be activated for higher states of consciousness through the power of sound. Site One: Tikal, Guatemala. One of the major sacred areas within the world grid is the area we call the Yucatan-Guatemala Triangle, which has at its center the historic “city of sound” or the “place of the voices,” popularly called Tikal by the Itza Mayans (The Keys of Enoch®, Key 215). We chose it as our first place for testing special sounds because it is known that when someone stands at the center of the main plaza and speaks normally, his/her voice can easily be heard at the very top of several pyramids surrounding the plaza. At Tikal’s historic site, with help from the Henry Belk and the William H. Belk Foundation in Charlotte, North Carolina, we began musical tests which were later analyzed by sound engineers, including the famous Romanian conductor and musicologist, Sergiu Celibidache, noted for his skills in both classical and experimental music. We were testing the acoustical resonances of the space, including any unusual recorded sounds.[1] At that time, politically-motivated guerrillas had surrounded the famous archaeological site and broken into the national museum on the property. J.J. Hurtak (one of the authors) began at night to intone powerfully ancient holy names while sitting on top of the pyramid Temple #1. A recording was made using equipment at the foot of the pyramidal temple. During the recording, a series of lightning flashes began to strike the top of pyramid Temple # 2. The mantric patterns rebounded off the walls of the surrounding temples and activated a series of acoustical tones and overtones revealing unique vibratory acoustics. But most important was that, in the midst of it and easily heard by all, was an unknown female voice resonating from the top of the temples. It was not Dr. Desiree’s voice, as she was not singing. The female voice was producing unusual harmonies with Dr. J.J. Hurtak’s voice, while not completely in unison. 55