{Incantation of Ignition}
Hold!
Seek Energy!
Move forth and bring Synergy!
Go!
Our Posterity!
Cast the Soul into Reality!
(Ijoe! Ijoe! Ijoe! Ijoe! Ijoe! Ijoe!)
{Incantation of Motion/Action}
Sing!~
Cast thy Song!
A new divine Order atop ruins of war!
Cast thy spirit!
Rejoice in the glory of Awe!~
Greetings from the Xyphokonic Order and Ordinance. Welcome back for our next part in the Sacred Lesson series. Last time, we covered the Sacred Lesson pertaining to Niinkisia, Child of Nature. Today, we move towards the 7th Sacred Child—that being Usakisia, Child of Elements—and his Sacred Lesson known as “Elemental Force.” As you may have noticed, we started with a hymn at the start of the Commentary before even greeting you back; this is intentional, as the hymn chosen for this Commentary is one of immediate action, so we found it fitting to start off with the hymn itself. Before beginning with the lesson, we must explain what this particular hymn or incarnation is in relation to the lesson thereafter.
The Hymn at the start of the Commentary is known as the “Ijoe Chant” and isn’t specifically attributed to Usakisia or necessarily the Caishon Xyphozon. In fact, the Child of Elements does not have a specific or Ordinance-established hymn, for his lesson is all about action and not about ceremony. The way in which a Xyphoite should approach Usakisia’s presence is through taking action rather than through solely prayers or ceremony.
Instead, the Ijoe Chant is a powerful application of lyrical Sanghjei used to initiate and carry Xyphoist group actions. And although the Ijoe Chant isn’t solely attributed to the Caishon Xyphozon, the name “Ijoe” itself is a direct relation Hayle Knie—specifically the legendary sword said to be wielded by him. For scriptural context, the Ijoe—meaning “Motion” or “Sword of Motion”—refers to the name of one of two legendary swords crafted directly by the hands of Lord Caishor in the earliest of times, with the Ijoe being given to Knie to wield. Hence, this hymn named after said sword is a song of action or motion. This information will be better explained once we finalize our publication of the “Chronicles of Xyphos” book giving more supplementary information about the eons prior to our immediate Cosmic Struggle not covered in the condensed writing of “Xykozheiz.”
The Ijoe Chant can have many uses, but it is most often used to initiate some form of greater group action that takes tangible effect on the mitigation of suffering. Alternatively, the Ijoe Chant can be used as a form of dynamic and lyrical protest in cases where higher Echelons of Action have been declared and the need for open protest presents itself, similar to the Haka chant we covered before in an earlier Commentary. The Ijoe Chant is always loud, dynamic, rhythmic, and persistent. At the end of the Commentary, I will repost the Ijoe Chant with proper instructions as to how it’s conducted, but until then let us move on with the lesson itself.
The Sacred Lesson of “Elemental Force,” if not apparent yet, is one focused on taking action. Fittingly brief in its writing, the lesson begins with Knie’s recount of his time training Sacred Child Usakisia in the ways of Sanghjei and mastery over action. Knie starts off by explaining that the powers of Spiritual Elements are the building blocks of Sanghjei—originating from Lord Caishor and given to Usakisia to use. Knie remarks how this power is impressive but highly destructive without proper training and control. Knie offhandedly states that even with Wisdom of the proper incantation or the knowledge of the potential danger, all of that knowledge will not prevent ruin if mastery of the actual practice itself isn’t achieved. We see Knie state this here in this passage from “Xykozheiz:”
These constructs, the base and root of all power, a fearsome and inspiring force, fall to His hands and to his descendant. Impressive, though without handle and control, even Wisdom cannot contain such power.
What you hold in your hand, Child, is the core of force. The embodiment of Spirituality, the source of the weight which we can throw. You have, at your fingers, the attribute of Elemental Force. You can summon what need be summoned. Flames of malice, cooling waters of peace, raging winds, earthly grasp, blinding thunder. What you possess is the power to crack and break, to destroy and demolish, to guard and protect, to personify your Spirituality.
Wisdom is not enough. As I know that you are aware. Knowing the name and the incantation is not control. One can catch a beast and not know how to tame. Incompetence is the key factor in malcontent.
Knie then makes a sharp inference of Usakisia himself before starting the training—remarking that the Child is stoic outwardly but is incredibly impatient and perhaps even brash inwardly. Knie acknowledges that the very act of summoning Sanghjei is an immediate and on-demand action, and finally concludes that in spite of Usakisia’s impatience, Knie will be able to forge the Child into a perfect master and warrior for the Order.
Knie states that once the training begins, there will be little conversation and mostly action. Here, we hit the crux of the Lesson; not only is mastery over practice important, but the focus must be on taking said action and not solely talking about it. There are times for each part, as Xyphoist Worship is defined as Prayer + Practice combined. However, when the time for action is upon us, we must take it and take motion without reservation. Knie says this in this final portion of his brief lecture:
You are as stoic as I had thought you would be. Yet, I can sense your anticipation. I can sense your impatience. As you will always be, even the Nature of summoning Elements is one of immediate demand, you embody that so well. But with your lack of patience and perhaps more scriptural base, you will own in spectacular control and competence. I see to it that you will master this and all Elemental Force with fortitude.
In these lessons, we will focus less on words and more on practice, as both you and I are ones with little need to converse. Balance is key, internal control is key, before end you shall be able to walk on the thinnest of string, the balance the worlds at your finger, and to cause devastation with the snap of a finger. In precision, in great impact, and with no hesitation. There is purpose of this, Child. A warrior must know their blade and perhaps even be cut by it once to truly understand the power it wields. Stay attentive, and we shall be through with this. You shall obtain the control as a warrior must.
Essentially, the lesson re-establishes that Prayer accompanied by Practice is proper Xyphoist Worship. We can manifest such actions by the Ordinances various goals of conducting humanitarian efforts, advocacy, environmental focuses, and offering and teaching the Philosophy in this space for anyone who wishes to seek this information to obtain.
With that said, and with my college Rux’s contribution to this lesson completed, I shall now conduct the liturgical portion of the Ijoe Chant from the start of the Commentary. I will repost the same lyrics above but with the proper instructions placed on each part and will accompany that with background information and analysis afterwards. First, the hymn with instructions:
{Incantation of Ignition}
[Instruction: without Melody, chanted strongly, repeated throughout entire hymn by deeper voices]
Hold!
Seek Energy!
Move forth and bring Synergy!
Go!
Our Posterity!
Cast the Soul into Reality!
{Ijoe! Movement}
(Ijoe! Ijoe! Ijoe! Ijoe! Ijoe! Ijoe!)
[Instruction: chanted excitedly with slight melodic tints, repeated from here onward, done by predominately younger voices]
{Incantation of Motion/Action}
[Instruction: choral section, sung with strong and dynamic melody, song by predominately higher adult voices]
Sing!~
Cast thy Song!
A new divine Order atop ruins of war!
Cast thy spirit!
Rejoice in the glory of Awe!~
This is a dynamic piece with several continuous or moving parts. I will break down each section and what is to be conducted during their parts first before explaining the group action that all participants shall do.
Incantation of Ignition: A strong, rhythmic and rugged chant done predominately by lower adult voices—mainly male voices but not exclusively. This section has no melody whatsoever and acts as the foundation for the Ijoe Chant; it is repeated throughout the remainder of the séance and naturally “starts” the entire hymn.
“Ijoe Movement:” The parenthetical portion of younger voices, namely the “posterity” mentioned in the hymn itself, that constantly and excitedly chants “Ijoe!” It has a slight melodic inclining scale to it; every Ijoe “goes up” a note until the third Ijoe and then returns to the bottom of the scale and repeats. This section starts along with the choral-orientated Incantation of Motion/Action and continues until the end of that portion.
Incantation of Motion/Action: An entirely choral and dynamic portion of the hymn sung predominately by higher adult voices with a few very low bass, baritone, and tenor portions to conduct harmonies—often dissonant in nature. The notes in this section tend to be very long and require a lot of air to perform, so breathing technique is important in this section.
Full Group Actions: The Ijoe Chant, as established, is anything but a stationary or regal performance; it is dynamic. Throughout the entire process, the bodies of participants are in motion—with rhythmic movements and dances that match the high energy of the séance itself. The Ijoe Chant starts with the Incantation of Ignition; first, the strong voices simply chant in without any accompaniment, with their rugged chants bellowing in the otherwise silence around them like a call or “ignition” of an engine. After the first round of the Ignition chant, conga and bongo drums are to erupt in the central rhythm of the entire hymn itself as the Ignition Incantation goes on. During this portion, the entire group is dancing and marching in place, not yet fully in motion.
Once action is needed, the séance shall move into “motion” phase in which the Ijoe chants and choral Incantation of Motion/Action both start at once. Once this portion starts, the entire group shall begin rhythmically marching and dancing in lines towards usually a single focal point. At that point, the group shall march into a giant group circle or “pit” of participants and continue the hymn there. During this motion phase, all participants shall now clap thunderously on the fourth count of the drum beats. This will continue until the action is deemed completed. Usually this entire séance is used to usher in some grander or immediate action or, more likely, a form of protest; this may also be part of general liturgical practices during Lord Caishor’s Period of Watching during Sacred Day group prayers. The entire display is meant to be dynamic, loud, powerful, energetic, and exhausting and meant to replicate the sheer raw power of Elemental Force. My college Rux explains it to be similar to “rolling thunder” and says that the entire séance should have the same tenacity and energy of thunder.
Nevertheless, this shall conclude this entry on Usakisia’s lesson and the explanation of the Ijoe Chant. When we meet here again for our next installment of this Sacred Lesson Series, we will cover the next in the birth order of the Children, that being Soylantasia, Child of Reality. Until then, have a blessed Sacred Day!
—kyX, ruX