By Steven & Evan Strong
Of recent times whenever we report on any sacred rocks the ‘arm-chair’ critics are strident and outraged in their condemnation, so before going any further there is a need to clear some very muddy waters. In advance we do apologise for those who have read something similar in earlier articles, but we have no choice. For the non-critics and those who are fine with our short and long term plans and goals for these sacred rocks, we suggest you skip the next sub-heading and move on to what follows.
Rules of Engagement
Neither Evan or I have ever picked up and removed from country any rock, to do so would lead to dire consequences and punishment.
All rocks were either given to us by others or bought on the open market, by Ros Mulder, and nearly all of the details provided do not include the names of any tribal estate. There are a few that nominate a state, and one case is a touch more specific in nominating a direction (south-east Queensland).
As for the rocks given to us, many were found some time ago and most people can recollect the specific details of finding the rock, not so the location. It needs to be remembered that they did not recognise it as being Original in make, simply because it was very clear sophisticated technology that was used in its manufacture or marking. They saw it as a curiosity first and foremost, and until reading our articles, had no inkling or remote suspicion it was Original.
And it is that clear evidence of sophisticated technology, well beyond the embrace of any stick, bone and stone tool kit, that is paramount in this collection. If we are given rocks that are created by the more recent basic technology, we either refuse to accept or do so with the understanding that we will contact the appropriate Elders/custodians and return it to them post-haste. The rocks we have come from times before Atlantis was destroyed and soon after most of Lemuria submerged.
And during these ancient, advanced times Ramindjeri Elder, Karno W., made it clear there were three tribal confederations in Australia and the movement of people, resources and sacred objects spread all the way across each confederation. The Southern Law area, are of which Karno spoke on behalf of, spanned southwards towards the Kimberleys and to northern extremes at Cape York running inland 300 miles. And because of that geography all our archaeology has taken place solely within those boundaries.
It needs to be understood that the location of where each rock was found, which is rarely known, is actually irrelevant if trying to pin down its origin. Ros Rock 1, our most important rock, was found by Ros and was originally buried over a metre beneath the surface at Kariong. The reality is that this area is Darkinyooong country, and the geology is exclusively sandstone, but the rock is clearly not sandstone. So, the only incontestable truth is that it was not made in this country, or by any neighbouring tribe, as for some distance in every direction all the country is sandstone only.
It was Karno alone who gave us the Dreaming Story associated with Ros Rock 1, that it was from these earlier times, and it was his suggestion that the rocks be placed in sacred formation on Ramindjeri country for people to admire and sit inside doing a private ceremony. Both myself and Ros not only gave our word to do so, we also signed a contract. That absolute fact is really where all the strident demands and vitriol should end. They will not be placed in a room or glass cabinet; they must be resting on the ground and be in ceremony for others to share.
For those who insist we put these rocks on country, we neither have any idea of where the country is or was, and in one very rare case where we actually did, the Elders made it clear they would not accept it and insisted that rock remain with us. Trevor Wie, a Senior Park Ranger, took photographs of one rock that we knew came from Arnhem Land. They said it was from there but from way, way back and none knew the ceremonies or songs associated, and felt the rock was better served sitting in formation with hundreds of other rocks of the same disposition and antiquity.
More importantly, the rocks want to be co-joined in a sacred formation and invite anyone, regardless of colour, gender or religious preference, to sit inside and involve themselves in their Seed Dreaming ceremony. That is their wish, and that alone is sufficient and the final word. If it wasn’t or if I should not be their custodian, believe me they would make it clear I should not have them. They would harm or kill me within a second if they deemed me unworthy. That seems to be a point our critics have never considered, the rocks are alive and functioning and they call the shots. They can heal and kill at their leisure and do not tolerate fools or upstarts. They made the decision to come to us, our only role is to do as they ask.
The rocks are not ours, they belong to a committee made up of Ramindjeri Elders and non-Original people of high standing. We meet weekly online and any and every decision regarding these rocks is made as a collective. Our critics need to appreciate it is not me, but us. I can do nothing without their approval. From the time Ros and I formally agreed to put the rocks on Ramindjeri land we became a collective/rock tribe.
Back to new Rock Business
With the objections dealt with it is now time to introduce a collection of sacred rocks stolen in 1959, of which four come from recent times constructed from a stone, bone and stick tool kit, while the other two are more sophisticated and precise in presentation and require no less than a metal blade and more than likely something further up the technological ladder like laser. It is enough to say they come from a sacred location, and with the four made in more recent times they are being returned to Elders versed in Old Way protocol and ceremonies, while the other two are brilliant examples of very advanced technology underpinned by an esoteric contribution.
The first of the two is the only rock that has a ‘clean sheet.’ Outside a heavily pecked edge the rest of the rock is perfectly smooth and exceptionally round and circular. Aunty Trudy Roberts has held this rock, and it is clearly non-utilitarian in usage and she feels it was used in levitation rituals where the rock floated in the air. Of course, we have no empirical proof, but her observations when it comes to cultural matters is very solid and should be given serious consideration.
What cannot be questioned is that the very fine consistency in width and angled edge has no percussion bulbs which is part and parcel of any rock-on-rock technology, nor is there any cutting residual marks. Again, nothing less than a very hard metal blade could be responsible. It is almost perfect geometry in that diameter throughout measures between 13 cms and 13.4cms, the coat is polished and still shines. We have no doubt the heavily pecked section (10 cms x 5cms) is there to facilitate a deeper contact and interaction between rock and human host when held.
The second rock (21 cms x 11 cms) is in many respects the direct opposite of the circular rock, there no pecks or circles but literally hundreds of lines, and the principal shape is not a circle but sixteen spirals and no two are of the same in width. What is utterly remarkable is that every curved line is uniformly of the same depth and width, and that each curved line is also spaced the same distance apart. No line kinks or strays from the path it was set upon, never before have we seen such precision in execution. A sharp edge of any rock, even obsidian, could not create these patterns, and what only adds to the intrigue is that on both sides of this rock there is a residual covering of the customary dark coat of melted silicon with a grass tree resin.
Whether straight, diagonal or curved, lines of this precision and geometry are only ever part of an ‘as on top’ narrative. That one side has seven stars depicted seems to be a portrayal of the Seven Sisters of Pleiades, which is without doubt the most important Dreaming Story in Original Australia. The second side has nine stars, and as yet, we have no definitive constellation to nominate, but do have strong suspicions. This off-world destination is confirmed by use of fifty-four emu footprints on both sides, they are always used in the depiction of the night sky and the stars above. Beneath these markings this spherical tablet is between two to three centimetres thick, never before have we seen any rock so uniformly slender, and clearly is not a natural formation but again the result of a tool or process unknown since the earth shook and everything changed.
Both rocks were not made in recent times and must be dated at no less than 12,000 years, when the sea levels rose dramatically and around 95% of the human population was wiped out by a yet unknown cataclysm if relying on the mainstream narrative. Of course, if including the destruction of Atlantis in this ancient equation most of the questions and unknowns are resolved.
The Four Younger Rocks
The other four rocks (19 cms x 11 cms) show no evidence of such sophistication in manufacture or marking, but nevertheless they are very sacred and deserve to be repatriated back onto the tribal estate from which they were stolen. Fortunately, this one of the rare occasions when we do have a general location, and because of this we have made contact with the appropriate people in making sure the Elders they are to be given to will use these rocks in ritual and ceremony.
The first of the four rocks do display similarities to the rock with sixteen spirals/stars, in that it is engraved on a smaller spherical stone tablet of the same thin width. It also has traces of the same dark coat, but there the similarities end. The lines of the three spirals are erratic, of varying spacing and far from connected. Many lines stop and resume with gaps between, the depth and width vary greatly. As to how these less precise and rougher lines were created, the fourth rock of this ensemble is round and circular (5 cms x 4.5 cms), it is very hard and the edge is extremely sharp certainly not smooth but jagged, which would explain why the curved lines on this rock plate are inconsistent and incomplete.
There are no emu prints, instead U shapes, which represent people, are used. They are clustered around the edges of the three spirals and seem to represent people gathering around a ceremony. This prospect seems confirmed by the side that has a very large circle that is joined to a much smaller circle. As the smaller circle has the largest number of people clustered around it seems reasonable to assume this is a bora ring, which has a large ring for all, and a smaller ring where the final secret ceremony was conducted. This is all about ‘so below’ business and created at a time when the more advanced technology of the first two rocks no longer existed in this continent.
The next rock does have one circular motif, but this time it is actually a circle, not a spiral (20 cms x 6 cms). On the side with a series of seven circles inside each other there are also eight sets of straight lines, the two above and below have five lines and the rest four. None are precise or straight and some lines kink or slope away. Once again it is an impressive pattern but not of the order of the more precise and nuanced sphere. On the other side there are also eight sets of lines, but none join up with the those on the top side. The round tool with sharpened edges could be able to be responsible for the designs on this brown rock. And that colouration is not a veneer attached later, but the natural colour of the base rock.
At first glance the fourth rock (28.5 cms x 9.5 cms) is the largest and most probably the least impressive in presentation. Both sides have a central circle from which four sets of lines radiate outwards. The lines are the least precise and defined. But where it gets a touch intriguing is that the upper coat or surface is a mottled light grey and each line is a light red colour at its base. That colour combination is wrong if due to any natural process, it could be that reddish brown ochre was added, which means this rock has an important ceremonial purpose. Where it does get even more spiritual is that at the top and bottom of both sides are three rows of emu tracks.
Even though all markings are loose and worn and both circles are not near the mid-point, the actual rock palette is the most geometric and symmetrical.
What Lies Within?
Without delving into specific details, what can be stated is that there were once two other rocks depicting a Frog Dreaming story that was originally there, then sold. From the point of transaction, the person who is responsible for this sale of these two rocks fell gravely ill. No diagnosis helped and soon after the same person died a very painful death. There is more to this story, but it is sufficient for now in at least establishing that some or all of these rocks found in Australia have an esoteric presence and awareness of those around them. But what does need to be included and carefully considered is that these rocks are not unique to one continent, but as they chronicle a global language such rocks can be found all over globe, and in particular America. It is a location we have raised before and will do so again.
New Jersey is the location where a stunning rock was recently found, that is very much in keeping with what has been found in Australia. Margaret and her daughter had spent some time contacting the so-called relevant authorities plus quite a few Indigenous organisations in regard to some rocks they had found and got absolutely nowhere. After exhausting all American outlets, she made contact with us, we knew of another American source who had done exactly the same so it was no surprise, but even so one rock was so dramatic and sensational we would have expected at least a slight spark of interest.
This rock is heavily marked with lines of a variety of widths and lengths, many intersection points and curves in what is clearly a narrative of extreme importance. Equally it is clear this too involves technology beyond the scope of any stick, stone and bone toolkit. What was yet another commonality was that Margaret’s daughter is drawn towards rocks and asks permission from each rock before removal, which was given to her with this rock. It is difficult to add more details as all we have is two photographs. What can be stated with absolute certainty is that this rock is yet another piece of global evidence that in much earlier times there were civilisations throughout the globe that were well beyond the stereotype of dribbling, grunting ‘cave-men and women.’
Plato, Pliny the Elder, Homer and many others left details and a general historical setting of Atlantis, yet to this day it is still considered to a wholly incorrect fictional or metaphorical account invented by people who were either mischievous or making up lies. We believe the ‘shoe’ sits on the other foot, and these rocks discussed are factual, genuine articles that deserve to be acknowledged. This rock-solid evidence completely rewrites humanities past and should reposition our immediate future, but if mainstream has its way, like all such truths it will simply be ignored, yet again!