Megalithic Marvels - Ancient Andean Cosmology / Timothy Alberino

Episode Date: November 9, 2023

For this interview I am joined by researcher, film-maker and author Timothy Alberino to discuss ancient Andean cosmology. Timothy, fresh off of an expedition to Peru, shares his experiences inside a strange megalithic cave that was know by the Inca to be a portal. Timothy shares his new theories concerning this mysterious site and how it connects to Tiwanaku in Bolivia. SHOW NOTES ⁠Get Timothy's book & subscribe to his newsletter⁠

who guarded the gateway, and there's probably a mummy placed inside of that, what's considered a, what's considered to be a, you know, the doorway, the gateway. Right. I believe there was probably a mummy there, marking this as a sacred area that required special access, and so that area was guarded, and that's why you see a little, basically, what amounts to a guardhouse. Ancient Expedition I think we're looking again at a lost technology. And it was this ancient apocalypse 12,800 years ago that wiped that from the human memory backs.

Why were these ancient elongated, skull peoples or humanoids of Malta living underground? Now I believe we're talking prior to 9,700 BC for the original construction of the sphinx. And they were what some people have called giants. probably no more than seven to eight feet tall. And those giants have been pulled out of American mouths. Whether it's the colossal statue heads that have been on earth, to all the strange artifacts you've been showing in the museums, to some of the strange features they seem to possess,

the more I learn about the Omet culture, really the more fascinated I become. Well, it's great to have author, explore, a filmmaker, Timothy Albarino back for another episode. and if you don't have Timothy's book, Birthright, Get It. You can get it on Amazon or his website, Timothy alberino.com. I want to ask you, because you just got back from an epic trip to Peru with the blurry creature guys. Was there any new revelations or any just new insights from the trip,

anything that blew your mind that we just got to know about? I did have a lot of fun with Luke and Nate from Blury Creatures, and with all of the other wonderful people who came on this trip, We had just such a phenomenal group of people. A lot of fun. We spent a lot of time hanging out, and I got to know these individuals and just such a great group of people. This time, I've been to Peru many, many times, as most people are aware, I lived there for a decade. I've been to Machu Picchu probably seven or eight times by now, filming most of the time.

And all of these other locations as well, Jontaitambo, Saxiwaman, and all over the Amazon. But I had not yet been to Nialpa Iglesia, which I know is a site that you've featured in videos and talked about at the Bluricom. And I found that site to be very intriguing. As you know, it's very low-key. It's not sort of an official archaeological site in the Kusko region. It's en route to Ojante Tambo. It's just literally up the side of a mountain. And so that was the new experience for me.

And I did glean some information while I was at Nianpa Iglesia. Obviously, as you well know, it's regarded as a portal, not just by new age types, but also by the indigenous people. They regard it as a portal. and what portal means, portal means something different to everybody you talk to. Some people look at as a metaphoric portal or a spiritual portal that sort of allows you to connect with something on the other side.

And then there's people who think of it as a literal portal. You can somehow activate it and go through it and end up elsewhere, let's say, on the earth or not on the earth. So it's very, mysterious location, again, as you well know. But while I was there, I was able to make some observations regarding Yalpa Iglesia with my colleague Andres Adasme and with a gentleman that was accompanying us named Nilo, who is one of the experts in the region.

He was a certified guide at Machu Picchu for many years and he has archaeological training and And so while at Niap Iglesia, we were seeing some very clear connections to Tijuana in Bolivia, namely to the gate, to the gate of the sun in Tijuanau, and to some of the iconographic symbolism on those ruins in Bolivia. and we were able to recognize that there is a particular motif that you find on the gate of the sun at Tijuana. And of course, within the complex of Tijuanau is Puma Punku. It's part of the complex. And Puma Punku means gate of the Puma. And so there's very interesting motifs.

Let's call them gate motifs all over Tijuana. And you literally have these gates. People can look it up online, look up the gate of the sun at Tijuanaaku or Tijuanaakou. By the way, Tijuana is the town. Tijuana is the Aymada or Ketsua, probably IMATA word describing the actual ruins, the ancient location, Tijuanaaku. And you'll see the gate of the sun, if you look it up online, and you'll see some of the gate motifs. And so it was very interesting to find those same gate motifs at Nialpa Iglesia.

When I say gate, I literally mean a gate, a gateway, a doorway, because that's what the gate of the sun is. It's a door that goes nowhere. Now, of course, the gate of the sun probably went somewhere at some time, but because the site had been heavily abused, partly by the oblivion army, by the way. way he would use it as target practice for their cannons. And then, of course, the villagers came and disassembled it for, to repurpose the stone for their, for their fences in their homes and these kinds of things. The doorways, the gates at Tijuanaaku are just lying on the ground. But obviously, at one time, they were erected and probably associated with edifices,

one might imagine. So, but nevertheless, have always been considered since time memorial. immemorial as gates. To where is anyone's guess? Symbolic, metaphoric, who knows? But over it in Yalpa Iglesia, you have the same motifs. You have the, the Andian cross. You have the, the Andian cross, when you cut it in half, it sort of forms a platform. And those platforms represent the three levels of Andean cosmology. You have the Hanampacha, which is the, which is, let's call it the heavens, right? Then you have the, oh my God, I just drew a blank on the, on the earth, the Kaipacha,

which is our realm, the earth, let's say. And then you have the Ukupaccha, which is the underworld. And with the Ukupaccha, there's symbolism associated with each one of these terrorist levels of reality, Andean cosmology. The Hananpacha is represented by the khanar. The Kaipacha is represented by the Puma. And the Ukupaccha is represented by the serpent. And so all over the Andes, you see these three symbols everywhere. You see the condor, the puma, and the serpent.

Sometimes you see them together. Now, archaeologists will tell you that this is all just very symbolic, and it's representative of this three-tiered Andean cosmology, and it's all very spiritual and amorphous. But I have a feeling that, at least as it pertains to the Ukupaccha, that what we're looking at in the symbolism is a designation not just of some spiritual concept, like the underworld. Rather, we're actually looking at a landmark,

a marker that designates the entry into a system of tunnels under the Andes. You see what I mean? So rather than it just being a spiritual concept, it's actually marking a physical location that gives entry, a gateway, a doorway into the literal underworld beneath the Andes. And I'm not talking about Hades or hell. I'm actually describing, as I said before, a system of natural tunnels and caverns and much of it artificial as well. In the Andes, there's a legend called the legend of the chinkana.

And the chinkana gets complicated because they use that term for different things. There's the particular chinkana, what they call the chenana Grande, in Cusco, which just references a particular tunnel that runs from the Cori Kancha, which was the supreme temple of the Inca, up to up to Saxai Waman, rather beneath Saxai Waman, into the galleries beneath Saxai Waman, the underground galleries beneath that megalithic complex. And so that's called the Shinkana Grande in Peru. But then there's this other legend of the Shinkana. Let's call it the general Shinkana.

And what the Shinkana means to the Andean people is, the Ukupacca, the underworld beneath the Andes. And they believe, and their legends tell, that there are these massive tunnels that are running beneath the Andes for thousands of miles that one, for example, could enter the tunnel, this tunnel system, the shinkana, in Tijuanaakum, Bolivia, and pop out in Kusco,

and stay underground through the whole route. or even start from Tijuana Okusco and end up in the Amazon in the north. So we're talking about extensive system of tunnels, again, incorporating both naturally occurring, caverns, tunnels, galleries, but also artificially devised. So tunnels that were somehow drilled into the earth, bored into the earth to create this network, this underground network. And so you're always going to find this three-tier cosmology all over the endings. The Yuku Pacha, the Kaipacha, and the Khananpacha. The underworld, the world that we inhabit on the surface of the earth, and what might be described as the heavens. Okay, returning to Niaapai Iglesia.

In Nialpa Iglesa, we saw the Andean cross, which again represents these three levels, especially when it's cut in half and you only see half of it, right? And you probably notice that in front of the gate, not really in front of the gate at Nialpa Iglesia. the alleged portal, to the front and to the left, there's this, this, what's described as an altar. Right. And they would say that the priest would kneel down at this altar and press their head up against the indentation or whatever. But it appears to me that the altar was purposely destroyed, probably by the Spaniards in an effort to extirpate idolatry in the region. In other words, whatever objects that were being used ceremonially, especially,

if they were idols or altars, the Spaniards would intentionally destroy them. They would deface the gods that were carved in stone. And so on this little altar at Yompe Iglesa, you can see that there was once a face. There was something there that was intentionally broken up with a hammer, it appears, or with a large stone or something. It has been defaced. I think that the icon that was once carved into the stone there was Bidakocha. It was the god Bidacocha, just like on the gate of the sun in Tijuana.

Oh, that same face. That same, the iconographic portrait of Bidacocha. And I believe that what Niaopa Iglesia represents is not a spiritual portrait. portal or even a literal portal, like in other words, you walk through it and you and you're in some other dimension or some other part of the earth or the universe. Rather, I think what it represents is the practical, let's call it, entrance into the Ukupaccha, into the, into the tunnel system, the shinkana beneath the Andes. So I think it's literally a gateway into the literal underworld beneath the Andes.

And it was guarded by a priest class. There was priests there who guarded the gateway. And there's probably a mummy placed inside of that, what's considered a, what's considered to be a, you know, the doorway, the gateway. Right. I believe there was probably a mummy there marking this as a sacred area that, that required special access. And so that area was guarded.

And that's why you see a little basically what amounts to a guardhouse. up there, a living quarters, let's say, for somebody. Certainly the Andean priests would be there, but also probably some warriors might be posted there as well. What are they guarding?

They're guarding entry into this literal realm beneath the Andes. That's what I walked away with. I apologize for being long-winded, but that was a that was my conclusion having studied Niapa Iglesia on site,

looking at the motifs that are present, comparing them with those of Tijuana and understanding the language of that three-tiered cosmology of the Andes, I drew the conclusion that this is literally an access point into that shinkana underworld beneath the Andes. And again, I apologize for being long-winded. But this is the first time I've actually tried to explain that to anybody since I've thought about it up there. No, I'm glad you shared that.

Timothy, thanks so much for your time. Is there anything you want people to know? How can they follow you, connect with you, keep up to date with everything you're doing? People can follow me on YouTube. My YouTube channel, Timothy Albrino, my Twitter account and Instagram account, same thing. Handles always the same. Timothy Albrino, no spaces or dots. Just Timothy Elbrino.

my YouTube, my web page, which I'll be updating shortly, but you can subscribe to my mailing list on my web page. That's probably the best way to track with me. And I would say that's pretty much it. Timothy, thanks again, and we'll do this again in the future. Well, thank you so much, Derek. It's always a pleasure.