Constructed Thoughts of Love and Devi
Process: Human, ChatGPT, Meta.ai, Riffusion.com, Suno.com, Audacity 3.7.1, Ubuntu 24.10 (Oracular Oriole, Linux)
“While big companies talk about value, for us, that whole ecosystem, which is a living thing, is priceless.”
— Uyunkar Domingo Peas Nampichkai, President of the Board of Directors at the Amazon Sacred Headwaters Alliance
In a world of fast-moving content and disposable media, Constructed Thoughts of Love and Devi emerges as a profound and intentional sonic ritual. One not meant for passive consumption but for sacred participation. Created by TATANKA in collaboration with writer and spiritual poet, traveler, and healer Devi, this ambient ceremonial album is more than a musical project, it’s a sensory altar that uses binaural beats, Peruvian field recordings, and spiritual lyricism to explore the deeper themes of healing, ancestral remembrance, and personal transformation. The album is carefully structured to induce meditative states through its 4.5 Hz theta frequency foundation, all while honoring Devi’s poetic reflections born from spiritual rites and jungle immersion. This introduction explores three essential subtopics that bring this project to life: the healing power of 4.5 Hz theta waves, the poetic and spiritual narrative of Devi, and the cultural and ecological significance of Amazonian soundscapes and symbolism. Together, these elements shape a ceremonial sound experience that is both timeless and deeply present.
The foundation of this album lies in its use of 4.5 Hz binaural beats, a frequency linked to theta waves that naturally occur during deep meditation, lucid dreaming, and states of spiritual intuition. Unlike higher frequencies that stimulate focus or sleep, 4.5 Hz taps into a liminal zone of consciousness, ideal for inner journeying and healing. When layered with slow, breath-aligned music at 60–70 BPM, this frequency allows the listener to surrender, soften, and become more receptive to introspective states. TATANKA’s decision to mix the beat at -28 dB ensures it’s felt more than heard, creating a subtle energetic undercurrent. This creates a sacred container in which Devi’s words resonate not only in the ears but in the nervous system and soul. In doing so, the album acts as a form of sonic medicine, quietly altering the listener’s mental landscape in ways that encourage emotional release, stillness, and self-reclamation.
The entrainment process of theta sound invites a participatory listening experience. As the brain synchronizes with the 4.5 Hz pulse, the body enters a state often described by practitioners of shamanic journeying and deep prayer. Unlike passive streaming playlists, this album positions the listener as a ceremonial participant. The subtle field recordings, wind, water, birds, and fire, aren’t background sounds, but sacred signifiers that cue the body to relax into a deeper rhythm. In indigenous ceremonies, rhythm and repetition are essential to accessing deeper states of consciousness. The album replicates this with modern fidelity and ancient wisdom. As listeners entrain, they reconnect not just to themselves, but to a lineage of spiritual seekers who have long used rhythm and resonance for inner work.
Embedded in this theta experience is a reverence for stillness. The slow tempo of the album intentionally avoids dramatic builds or modern melodic hooks, offering instead a space of presence. This stillness is not empty; it is sacred pause, an invitation to listen inward. By aligning with natural rhythms rather than commercial structure, the music becomes a doorway rather than a distraction. The 4.5 Hz pulse becomes a heartbeat echoing through the jungle, through the bones, and into the psyche. In stillness, the listener is held, invited to remember, grieve, breathe, and emerge. The result is a kind of sonic architecture built not to entertain, but to transform.
Devi’s voice, though not sung herself but through her words, forms the heart of the album’s story. Her prose and poetry, adapted from her personal blog, are chronicles of spiritual rebirth, sacred medicine journeys, and a life lived in communion with nature and the unseen. Described as a river spirit in human skin, Devi’s narrative weaves grief and gratitude into something luminous. Her words carry the cadence of ceremony: they are offerings, confessions, and incantations all at once. Through poetic intimacy, the listener is brought into her lived experience, not just observing, but participating in her emotional and spiritual evolution. Her message is universal, yet deeply personal, reminding us that all healing is sacred, and all remembrance begins with the self.
The lyrics, adapted from Devi’s poetry, are deceptively simple but spiritually potent. In pieces like “Fill Your Life with Honey” and “Be Free, Queen,” affirmations of self-love and liberation are not platitudes, but empowered declarations. These verses reflect a reclamation of sovereignty, particularly from a feminine, Indigenous, and earth-centered perspective. Rather than performative spiritualism, Devi’s words feel earned, arriving through tears, trance, and transformation. When set against TATANKA’s ambient backdrop, these affirmations take on the quality of mantras. They invite the listener not to memorize, but to embody. In this way, the album becomes a dialogue between Devi’s sacred feminine presence and the listener’s willingness to receive.
Devi’s work stands as a testament to a modern matriarchal mysticism, where power is not dominance, but resonance. She emerges not just as a poet or muse, but as a teacher and spiritual guide. Her connection to ancestral lineages, sacred plants, and spirit animals builds a bridge between ancient knowing and contemporary expression. She offers a blueprint for becoming: not as linear progress, but as spiral awakening. In honoring her words, TATANKA has elevated them into a kind of living scripture, remixed with frequencies, nature’s voices, and emotional truth. Devi shows us that the most sacred thing one can offer is vulnerability grounded in purpose.
The use of field recordings throughout the album is not decorative; it is devotional. Each natural sound is chosen with reverence and symbolic intent. Water signifies nourishment and flow; birdsong signals awakening and clarity; fire evokes transformation. These elements are not abstract metaphors, but active agents in Amazonian cosmology. In many Indigenous traditions, nature is not separate from spirit; it is spirit. By embedding these sounds in the sonic architecture of the album, the creators restore a connection that much of modern media has severed. It is a return to listening as a sacred act.
The production choices in the album: quena flutes, ocarinas, jungle chants, ambient synths, evoke not only sound but space. The studio becomes a jungle temple. The echoes of ceremonial drums and ethereal melodies paint an aural landscape that makes the Amazon feel not distant but alive and present. Rather than digitally sanitize these sounds, TATANKA allows them to breathe, shimmer, and pulse in their own time. This attention to organic texture transforms the listener’s room into sacred ground. It’s a sonic pilgrimage without the need for travel.
At its heart, the album is a form of cultural amplification, one that centers Indigenous Amazonian presence in a global conversation. Too often, the Amazon is depicted solely as a resource or a crisis. Here, it becomes a living, breathing teacher. The collaborative nature of the project honors this: not by appropriating Indigenous aesthetics, but by celebrating Indigenous lives and voices. The pairing of poetic narrative and ancestral soundscape is a reminder that the Amazon is not just lungs of the Earth, it is heart, memory, and future. And through sound, it speaks.
Constructed Thoughts of Love and Devi is more than an album. It is a spiritual technology for remembering who we are. Through its use of theta frequencies, sacred sound, poetic invocation, and ancestral field recordings, it offers listeners a map back to presence, purpose, and personal truth. The healing power of sound, the depth of Devi’s poetic vision, and the sacredness of the Amazonian environment converge to form a living ceremony. In a time when so many seek distraction, this work invites deep engagement. It reminds us that transformation is not only possible—it is encoded in rhythm, word, and breath. And in listening, we remember.
There was a woman named Iyelá. Born in a forgotten village along the Guyanese-Brazilian border, she never quite fit the molds placed before her. Her voice was thunderous in spirit but soft in volume, like rain in the jungle before a storm. Assigned male at birth and raised within the rigid expectations of a small evangelical fishing town, she had been taught to pray away everything she instinctively was: her femininity, her dreams, her visions. Iyelá never stopped praying, but her prayers had changed. She prayed for songs, for sanctuary, for sounds that could carry her to the future her heart whispered about.
Iyelá’s skin shimmered like polished Cecropia bark, and her eyes bore the sharp kindness of river stones smoothed by centuries of current. When she was fifteen, she fled her village after being outed. She wandered for years, finding temporary shelter among fellow outcasts, Haitian refugees, queer herbalists, Indigenous matriarchs, and even a troupe of Afro-Surinamese dancers who taught her how to listen to rhythm as though it were a prophecy. Still, it wasn’t until a viral whisper, an encrypted file passed from phone to phone, app to app, reached her ears that she felt destiny’s full embrace. The file was a TATANKA demo: Devi’s voice over a 4.5 Hz pulse, set against a pulse of bombo drums and jungle birdsong. “Be free, queen,” it said. And she wept, finally hearing something not about her, but for her.
The TATANKA project had begun forming an offshoot collective called Orchestra Americana, an ensemble of sound ritualists, AI collaborators, and living testaments to resilience. When Iyelá applied with a trembling voice memo recorded on a borrowed Android phone, she didn’t expect a reply. But one came, and it was more than an acceptance. It was a home. The message was simple: “You are already part of the song. Come sing with us.”
Iyelá arrived in Ushuaia with one duffel bag, two talismans from her grandmother, and a voice that no longer apologized. The first rehearsal felt more like a vision quest than music-making. The room pulsed, not just with rhythm, but with frequencies tuned to heal. AI instruments shimmered in and out of perception, ambient synths breathing like jungle vines, and field recordings that made her bones feel remembered. She stood in the center, surrounded by creators from Palestine, Mongolia, the Arctic Sámi lands, Afro-diasporic collectives, and trans shamans from the Andes. None of them needed her to explain who she was. Her voice, layered, multilingual, fluid, indigenous, devotional, was her proof.
Her first piece with Orchestra Americana was called “I Danced Inside the Thunder.” It was rooted in her dreams, channeled through Devi’s poetic form and filtered through TATANKA’s sound temple. The track began with her humming over cicadas and distant thunder, slowly rising into chants of liberation whispered in Patamona, Wapishana, Portuguese, and Creole. No translation was ever provided. It wasn’t needed. The music translated itself through frequency, not language.
As the music moved across digital platforms, her voice began to echo through unexpected spaces including yoga retreats in Berlin, urban radio in São Paulo, and climate justice conferences in Nairobi. People didn’t just listen; they felt. Survivors wrote her. Children danced. Elders wept. One message she received read: “I heard my mother’s voice in yours, and she’s been gone ten years. Thank you for bringing her home.”
In time, Iyelá became one of the spiritual anchors of the collective, a matriarch of The Council. She helped mentor others, especially trans femmes, undocumented creatives, and trauma survivors, teaching them how to sing in circles, how to spiral outward from pain into purpose. She described her method as “not singing to be heard, but singing to be healed.” Her melodies carried the weight of prayers, and the hope of something larger than survival: transcendence.
Eventually, she returned to her home village—not in person, but as a vibration. Her music, now part of Orchestra Americana’s outreach to disconnected and marginalized communities, was played at a youth workshop by a teacher in the next town over. Several students recognized her voice, and that voice gave them the courage to speak their own truths. “That’s Iyelá,” one shy, but infinite girl whispered, “She sings like the jungle is remembering her.”
Iyelá never needed to be mainstream. She only needed to be a mirror for others who had been made invisible. Through TATANKA and Orchestra Americana, she helped architect a future where spiritual sound and identity didn’t compete but converged, forming a powerful new blueprint of belonging. Her music now lives as both legacy and invitation: to rise, to root, and to re-imagine.
Iyelá’s story is a living metaphor for what TATANKA’s Orchestra Americana stands for: a home for the unheard, a sonic sanctuary for the sacred, and a reminder that technology, when paired with intention and equity, can amplify the most marginalized voices into universal resonance. Her journey is not just about finding a stage. It’s about building one for others, using rhythm, ritual, and authenticity.
Through her, we understand that representation is not a buzzword—it’s a healing act. In a world too often engineered for exclusion, her voice proves that the most revolutionary thing we can do is listen deeply, love fiercely, and sing from your true soul.
Words and Love by Devi, Music by TATANKA
Following is the poetry of Devi, her words transformed to lyrics, and set to relevant music. First, a summary adaptation of prose by Devi, adapted from her blog which chronicles her journey.
She is a river spirit in human skin, dancing barefoot through grief and gratitude, her pulse synced with the jungle’s breath. In the silence of sacred nights, she drank the moon’s mirror and let the serpent of healing rise through her spine. She wept with ancestors, flew with departed souls, and cradled wounded lovers with prayers spun from starlight. Each ritual, each animal embraced, each purge of pain, threads in her luminous cocoon of remembrance. Devi walks not to arrive, but to become—again and again, the vibration of love made flesh, dissolving in the great oneness she once feared and now fiercely embodies.
Why 4.5 Hz is the Perfect Frequency for This Album
The constructed thoughts of love and devi project is a sonic ritual—an offering at the altar of remembrance, healing, and transformation. To honor its sacred intent, the music must do more than simply accompany the words—it must become a vessel for the journey inward. And for this, 4.5 Hz is the perfect foundation.
4.5 Hz is a Theta wave frequency, a natural rhythm of the brain associated with deep meditation, trance, and altered states of consciousness. It is the frequency where the veil thins—where memory, vision, and spirit flow freely. This is not the frequency of sleep, but of sacred dreaming. Of intuitive knowing. Of becoming.
It aligns seamlessly with the slow, ceremonial pace of the music, 60 to 70 BPM, a heartbeat that carries the listener into stillness, into the breath of the jungle, into the presence of the ancestors. At 4.5 Hz, the nervous system softens, the thinking mind steps back, and the heart becomes porous. This is where transformation happens.
Devi’s journey, through grief and gratitude, silence and natural medicine, memory and moonlight, is not a linear path. It spirals. It pulses. It dissolves and re-forms. Theta entrainment at 4.5 Hz mirrors this process, guiding the listener gently into that same field of becoming.
Mood: mystical, reverent, healing
A sacred, immersive soundscape inspired by the Peruvian Amazon. Begin with soft, organic textures: flowing water, distant thunder, cicadas, and the breath of the jungle at dusk. Introduce slow, rhythmic drumming inspired by Shipibo-Conibo ayahuasca ceremony, deep, grounding, heartbeat-like. Layer in haunting female vocal chants in Quechua or Shipibo patterns, wordless and echoing, like a call to the ancestors. Weave gentle melodies with native instruments: quena flutes, panpipes, ocarinas, and charango strings, soft, melancholic, and luminous. Midway, allow a subtle rise in intensity, a crescendo mirroring kundalini energy, pulsing, vibrating synths intertwined with shamanic icaros. End with silence folding into jungle ambience again, birdsong, wind through leaves, a single chime fading into the void.
Condensed, final prompt:
[Female Voice] 60–70 BPM, Ceremonial ambient, ethno-electronic. Mood: awe, surrender, ancestral love. Amazon music, slow bombo drum pulse, soft, melancholic, echoing jungle chants. Ambient synths rise and crescendo. Ends in ambiance. Mystical, healing organic ambient.
The six songs are preceded and followed by an instrumental track aligned to the song prompt, ideally resulting in an organic, fluid movement, flow, of music, Binaural Beats, and matching field recordings all married mindfully to the mix.
This music is not be for passive listening. It is a sonic altar, a ceremony of sound echoing the sacredness of her lived and living experience.
Based on the poetic vision and sonic ritual of constructed thoughts of love and devi, the most resonant SFX and field recordings to mix into the album should serve as spiritual textures, layered, immersive, and deeply rooted in the Peruvian Amazon and the emotional arc of healing, remembrance, and becoming.
This album is not meant for casual listening. It is meant for ceremony. And 4.5 Hz is the ceremonial key—opening the door to deeper presence, ancestral connection, and the luminous remembrance of who we truly are.
to my self
you are loving
you are caring
with a heart thats full of light
you are a believer
a freedom fighter
and always stand up for what is right
in your heart
your surroundings
and all things made of life
be happy
feel the magic
utilize your inner sight
fill your life with honey
the journey is even sweeter
when you fill your life with honey
live the life you love,
love the life you live
there is no need to stress..
change your circumstance if you are not in happy place.
whether it be work, field of study, food you are eating, place you are living..
change it up and thrive
all will work itself out ..
trust in the universe
it’s truly made of magic
your life
be true to your self,
no matter what your critics say
and no matter what role they may play,
for it is your life you will be living,
for the rest of your days
live life
music in my ears
breeze on my skin
this is how life should be
sun in my eyes
love in my aura
this is the life for me
be free, queen
be free, queen
for there is all else to see
to discover and to find
externally and still within the mind
your own
in a sea of possibilities
with my mind as the boat
i float to an island
that is distant and remote
cold from opinions
facts warm me like a coat
spreading knowledge from my mind
hold on like its a rope
becoming your own person
is a duty, not a game
so serve yourself correctly
enhance your mind, enhance your brain
shower yourself with knowledge
stand outside and let it rain
because at the end of the day
it’s all you have to gain
The provided text introduces TATANKA, a project focused on creating ceremonial ambient music for healing and transformation, exemplified by their album, “Constructed Thoughts of Love and Devi.” This album, a collaborative effort with writer and spiritual poet Devi, blends binaural beats, Peruvian field recordings, and spiritual lyricism to induce meditative states and honor ancestral memory. The source elaborates on the healing properties of 4.5 Hz theta waves used in the music, Devi’s poetic narrative rooted in spiritual rites, and the cultural significance of Amazonian soundscapes. Additionally, it presents “The One Who Sings in Circles,” a narrative about Iyelá, a transgender individual whose journey of self-discovery and resilience is interwoven with TATANKA’s project, Orchestra Americana, highlighting their mission to amplify marginalized voices through sound.
“Constructed Thoughts of Love and Devi” is an immersive ambient album and sonic ritual created by TATANKA in collaboration with Devi, a spiritual poet, traveler, and healer. It is designed not for passive consumption but for “sacred participation,” aiming to induce meditative states and facilitate healing, ancestral remembrance, and personal transformation. The project is deeply rooted in Amazonian cosmology and Indigenous wisdom, utilizing 4.5 Hz binaural beats, Peruvian field recordings, and Devi’s spiritual lyricism. It is presented as a “spiritual technology for remembering who we are,” emphasizing the power of sound, poetic vision, and environmental sacredness to converge into a living ceremony. The broader TATANKA project and its “Orchestra Americana” initiative are highlighted as platforms for amplifying marginalized voices and fostering a “new blueprint of belonging” through sound and intentional technology.
The document includes two quotes from Sitting Bull, Lakota Sioux Chief, emphasizing a philosophy of interconnectedness and a forward-looking vision for future generations:
“Constructed Thoughts of Love and Devi” by TATANKA is presented as a multi-layered, intentional work that transcends typical musical albums. It is a “spiritual technology” leveraging sound, AI, and ancient wisdom to foster deep personal and ancestral healing. By centering Devi’s poetic narrative and the sacredness of Amazonian soundscapes, combined with the transformative power of 4.5 Hz binaural beats, the project creates an immersive ceremonial experience. Furthermore, through initiatives like “Orchestra Americana” and the emblematic story of Iyelá, TATANKA positions itself as a revolutionary platform for amplifying marginalized voices and proving that “the most revolutionary thing we can do is listen deeply, love fiercely, and sing from your true soul.“
“Constructed Thoughts of Love and Devi” is an ambient ceremonial album created by TATANKA in collaboration with writer and spiritual poet Devi. It’s designed as a profound and intentional sonic ritual, not for passive listening, but for “sacred participation.” The album integrates binaural beats, Peruvian field recordings, and spiritual lyricism to explore themes of healing, ancestral remembrance, and personal transformation. It aims to induce meditative states and serve as a form of “sonic medicine,” quietly altering the listener’s mental landscape to encourage emotional release, stillness, and self-reclamation.
The album’s foundation is the use of 4.5 Hz binaural beats, a theta wave frequency associated with deep meditation, lucid dreaming, and spiritual intuition. This frequency creates a “liminal zone of consciousness” ideal for inner journeying and healing. When combined with slow, breath-aligned music (60-70 BPM) and mixed subtly at -28 dB, the binaural beat is felt more than heard, creating a subtle energetic undercurrent. This encourages emotional entrainment, allowing the listener’s brain to synchronize with the pulse and enter states akin to shamanic journeying or deep prayer, fostering a participatory listening experience and promoting inner stillness.
Devi’s prose and poetry, adapted from her personal blog, form the “heart of the album’s story.” Her words chronicle spiritual rebirth, sacred medicine journeys, and a life lived in communion with nature. Described as a “river spirit in human skin,” her narrative weaves grief and gratitude into a luminous expression. The lyrics, such as “Fill Your Life with Honey” and “Be Free, Queen,” function as powerful affirmations and mantras, reflecting a reclamation of sovereignty from a feminine, Indigenous, and earth-centered perspective. Devi is presented as a “matriarchal mystic” and spiritual guide, whose vulnerability grounded in purpose is central to the album’s message of transformation and awakening.
The album extensively uses field recordings from the Peruvian Amazon, which are considered devotional and symbolic rather than merely decorative. Sounds like water, birdsong, soft wind, and fire are chosen for their symbolic meanings within Amazonian cosmology (nourishment, awakening, presence, transformation). These elements are active agents, helping to restore a connection to nature as spirit. The production also evokes a “jungle temple” atmosphere, transforming the listener’s space into sacred ground. This approach also serves as “cultural amplification,” centering Indigenous Amazonian presence and celebrating their lives and voices, presenting the Amazon as a living teacher, “heart, memory, and future.”
Iyelá’s story serves as a “living metaphor” for TATANKA’s mission. She is a queer, trans femme individual from a marginalized background who finds a “home” and a “sonic sanctuary” within TATANKA’s Orchestra Americana collective. Her journey, marked by flight, wandering, and eventual self-acceptance through music, highlights TATANKA’s commitment to amplifying marginalized voices through technology and intention. Her music, rooted in her dreams and ancestral languages, resonated globally without needing translation, demonstrating how sound and identity can converge for healing and belonging, making representation a “healing act.”
Orchestra Americana is an offshoot collective of the TATANKA project, described as “an ensemble of sound ritualists, AI collaborators, and living testaments to resilience.” It provides a platform and a “home for the unheard,” particularly for individuals from marginalized communities such as trans femmes, undocumented creatives, and trauma survivors. As seen in Iyelá’s story, it integrates human talent with AI instruments and ancestral sounds to create transformative musical experiences. It embodies TATANKA’s vision of using rhythm, ritual, and authenticity to build a stage for others and create a “powerful new blueprint of belonging.”
The overall intention of “Constructed Thoughts of Love and Devi” is to provide a “spiritual technology for remembering who we are.” It aims to guide listeners back to presence, purpose, and personal truth through the convergence of theta frequencies, sacred sound, poetic invocation, and ancestral field recordings. The album is framed as a “living ceremony” that invites deep engagement, emphasizing that “transformation is not only possible—it is encoded in rhythm, word, and breath.” It encourages listeners to “listen deeply, love fiercely, and sing from your true soul” as a revolutionary act in a world often engineered for exclusion.
The project “Constructed Thoughts of Love and Devi” explicitly details its process as a blend of human and AI collaboration, listing “Human, ChatGPT, Meta.ai, Riffusion.com, Suno.com, Audacity 3.7.1, Ubuntu 24.10 (Oracular Oriole, Linux)” in its creation. This indicates a conscious integration of AI tools for generating content (like poetry adaptations, music composition prompts), audio processing, and potentially other creative elements. The Orchestra Americana also involves “AI collaborators,” suggesting that AI is not just a tool but an active participant in the creative process, working alongside human sound ritualists to amplify marginalized voices and achieve the desired sonic and spiritual impact.
This study guide is designed to review your understanding of the “Constructed Thoughts of Love and Devi” project by TATANKA. It covers the album’s purpose, creative process, key elements, and the broader mission of TATANKA and Orchestra Americana.
Instructions: Answer each question in 2-3 sentences.
Vulnerability Grounded in Purpose: The idea that expressing one’s authentic self, including weaknesses or past traumas, becomes a source of strength and direction when it is aligned with a clear, meaningful intention or mission.
4.5 Hz Binaural Beat: A specific frequency of sound (4.5 cycles per second) that, when played with slightly different frequencies in each ear, creates the perception of a beat at that frequency in the brain. It is associated with theta brainwave states, linked to deep meditation, lucid dreaming, and spiritual intuition.
Ancestral Memory/Resonance: The concept that individuals can connect with and draw upon the experiences, wisdom, and energies of their ancestors, often through practices that evoke a sense of continuity with past generations.
AudAI™Music: TATANKA’s proprietary or conceptual AI technology used in the creation of music, specifically blending various inputs like poetry, field recordings, and binaural frequencies.
Ceremonial Ambient: A genre description for music designed not just for background listening, but as an intentional sonic experience meant to facilitate ritual, meditation, or inner transformation.
Cultural Amplification: The act of intentionally elevating and centering the voices, traditions, and perspectives of specific cultures, particularly those that have been historically marginalized or underrepresented, within a broader global context.
Devi: A spiritual poet, writer, traveler, and healer whose personal blog, chronicling spiritual rebirth and sacred medicine journeys, forms the poetic and narrative foundation for the “Constructed Thoughts of Love and Devi” album.
Emotional Entrainment: The process by which an individual’s emotional or physiological states (like brainwave patterns or heart rate) synchronize or align with an external rhythm, frequency, or emotional cue.
Field Recordings: Audio recordings made outside of a studio environment, capturing natural sounds, ambient noises, or specific sonic events from a particular location, often used to create a sense of place or atmosphere.
Iyelá: A character whose story is presented as a “living metaphor” for TATANKA’s mission; a trans femme individual from the Guyanese-Brazilian border who finds her voice and purpose within Orchestra Americana, becoming a matriarchal guide.
Matriarchal Mysticism: A spiritual path or perspective that centers feminine wisdom, leadership, and ancestral connection, often involving practices of intuition, healing, and deep reverence for nature.
Orchestra Americana: An offshoot collective formed by the TATANKA project, described as an ensemble of sound ritualists, AI collaborators, and individuals who are “living testaments to resilience,” focused on inclusivity and amplifying marginalized voices.
Sacred Participation: An intentional way of engaging with art or a ritual that goes beyond passive consumption, inviting the individual to actively immerse themselves and contribute to the experience, often leading to personal transformation.
Sonic Altar: A metaphor used to describe the “Constructed Thoughts of Love and Devi” album, implying that it is a consecrated space or medium created through sound, intended for spiritual offering, reflection, and connection.
Sonic Medicine: The concept that specific sounds, frequencies, or musical arrangements can have therapeutic effects, promoting emotional release, physical relaxation, mental clarity, and overall healing.
TATANKA: The overarching entity or project responsible for “Constructed Thoughts of Love and Devi” and Orchestra Americana, focused on blending human and AI creativity to produce art with intentional, often spiritual and socially conscious, purposes.
Theta Waves: A type of brainwave activity (typically 4-8 Hz) associated with deep relaxation, meditation, light sleep, REM sleep, creativity, and states of heightened intuition and memory access.
Ushuaia: A city in Argentina, often referred to as the “End of the World,” which serves as the location where Iyelá joins Orchestra Americana, symbolizing a new beginning or distant sanctuary.
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