She Who Watches
Visionary and aural medicine: How the hidden can become obvious if we learn to see & listen.
Tsagaglalal, or "She Who Watches," is a stunning Native American petroglyph etched onto a rock perched high up on a cliff deep in the Columbia Gorge on ancestral Chinook land. The petroglyph is believed to be around 300 years old. According to Wasco-Wishram mythology, She Who Watches tells the powerful legend of a female chief who continues to care, protect, and watch over her people's future long after her time has passed.
In 2008, I had the pleasure of meeting Ed Edmo, a well-known Native storyteller, poet, tribal consultant, and artist. I invited Ed as a guest teacher to my high school art room, where he shared traditional stories using puppets, animated hand movements, and expressive voice modulation. He then taught a fun, Native inspired mask-making lesson to my students.
There are various versions of the story of She Who Watches, this is the one that Ed shared with us.
Before people inhabited the region, Coyote, who in Native mythology is a trickster, traveled up the Columbia River and brought with it many changes. Eventually, Coyote arrived at his location and inquired about the well-being of the residents. They directed him to their chief, who lived high up in the rocks, overseeing the village from above.
Coyote climbed high to the house perched on the rocks and inquired, "How do you treat your people? Are you kind to them or are you evil?"
"I am guiding them to live a good life and to build sturdy houses," she replied.
When she shared her wish to continue doing this indefinitely, he remarked, "The world will soon change, and women will no longer be chiefs."
Being the mischievous trickster that he was, Coyote transformed her into a rock, commanding, “You shall stay here forever watching over your people and the river, protecting them from harm.”
For many years I have wanted to hike the trail in Columbia River Gorge to see the spiritually important Native petroglyph, She Who Watches. As it is on sacred ceremonial ground, the hike is not open to the general public, you have to book a Native guide who takes a small party of 10-15 people on Friday and Saturday mornings only between April and October. I have made numerous attempts over the years to secure a reservation, yet the availability for the hike fills up rapidly.
I was extremely grateful that this past Saturday, I was able to reserve a spot for my wife and myself.
As I trekked through the revered hills and rocks of southeastern Washington state, gazing towards the Columbia River towards Oregon, the hauntingly beautiful 'Raga Kafi' by Alan Wilson echoed through my mind and body.
Alan Wilson, also known as the "Blind Owl," was the guitarist and harmonica player in the boogie blues band, Canned Heat. Wilson, by all accounts, was a gentle soul who had a profound love for trees and nature. Pollution and urban sprawl had a significant effect on his mental well-being, and it deeply saddened him. Tragically, he peacefully passed away at the age of 27 while sleeping on the hillside of Topanga Canyon.
Alan Wilson is perhaps best known for his high tenor voice in Canned Heat’s two most popular songs, ‘Going Up the Country’ and ‘On The Road Again.’ The former was later adopted as the unofficial anthem of Woodstock. However, buried deep in the grooves of the 20-minute, nine-part soundscape called ‘Parthenogenesis’ featured on their 1969 album, Living The Blues, lays Wilson’s ‘Raga Kafi,’ a sublime two-and-a-half-minute chromatic harmonica solo.
In the classical music of India, Bangladesh, and Pakistan, a raga serves as a melodic framework for improvisation and composition. Ragas are structured around a specific scale, a unique sequence of notes, and distinct musical patterns. In the past, ragas were linked to particular times of day and seasons and believed to possess mystical powers like summoning rain or igniting flames.
Kafi has celestial and positive qualities. It has multiple definitions depending on where and how it is being used. It can translate to “Sufficient,” “Enough,” and “Rhyme” in Hindu. In Arabic, it can mean “That which is hidden.” Meaning, that it isn’t obvious and one must become a Seeker to find its truth or meaning.
Kafi is a traditional Sufi music and poetry style and most often a late-night raga centered on the dialogue between the soul and the creator. It emerged from the vibrant cultural heritage of the Sindh and Punjab regions in South Asia.
In Islam, the “khafi” is the sacred essence concealed within the consciousness. It represents our deepest secret of awareness. Its purpose is to be awakened and realized, unlocking a profound connection with the Divine.
Wilson recorded various ragas and chromatic harmonica solos, including one uncredited piece featured on John Fahey's 1992 album Old Girlfriends and Other Horrible Memories, titled 'Fear & Loathing at 4th & Butternut.'
Despite ‘Raga Kafi’ being a late-night raga, I am engulfed by a sea of warm light every time I listen to this song. I see colors in its aural beauty. The vibrant harmonica emits dazzling beams of yellow in all hues. The droning hum of an Indian tanpura creates a hypnotic and meditative chant that lulls me into a trance. Closing my eyes and letting the sublime beauty of the song wash over me almost becomes a floating out-of-body experience or state of astral projection. Ironically, given that Wilson was nicknamed “Blind Owl,” this exquisite and blissful moment truly encapsulates the essence of visionary music emerging from within one’s consciousness and soul.
Losing two friends and approaching the anniversary of my sister's passing, I couldn't help but feel that my hike to She Who Watches held a deeper significance than just exploring ancient petroglyphs, pictographs, and archeology.
My heart skipped a beat as I climbed and turned the corner. There she was, right before me. No photo can prepare you for how breathtaking the petroglyph is. Standing in the presence of her massive owl-like eyes, amongst fresh offerings recently placed in her honor, the hidden had become obvious as her ever-present steady gaze looked down upon us, watching over all with a careful eye. At that moment, I became a Seeker, yearning for solace and meaning.
As I stood, I looked upon the tranquil golden hills of southern Washington and northern Oregon, I closed my eyes and felt the sun's life-giving light on my skin. I was comforted by her ever-present, steady gaze and watchful eyes. My grief-ridden soul resonated with the haunting melodies of Alan Wilson's majestic ‘Raga Kafi.’
In that peaceful moment, I became one with myself, the land, and the sun.
She, the celestial observer, watches over all with divine grace.
‘Raga Kafi’ by Alan Wilson (1969)
(note: the song abruptly ends as on the original album, it jarringly transitions into a louder, electric blues jam.
Medicine Belt illustrations by Sandra Storm & Shield illustrations by Karen Harris from ‘Seven Arrows’ by Hyemeyohsts Storm, 1972.
Photos of She Who Watches by Michael K. Fell taken on May 11, 2024.
A beautiful piece of writing and sharing. Those owl-like eyes as you say are mesmerizing. So is the music you shared, although the jarring way it ended threw me. I wish it had a softer landing. I know what you mean about an out-of-body experience when listening to music like that. The first time I head Bill Evan's Peace Piece did that to me. I still feel a little floaty when I remember how it sounded.
Wow, this was a beautiful to share.