Blog Mantra and Music Videos

Song to Inanna by Lisa Thiel

Warrior goddess Inanna

The goddess Inanna and her lion, depicted in her warrior aspect. This image is from an ancient Akkadian cylindrical seal, circa 2154 – 2334 B.C. Public domain image found here.

“Song to Inanna” is a gentle, melodic, and meditative song by Lisa Thiel from her album Journey to the Goddess.

Inanna, to whom this song is dedicated, is a Mother Goddess figure from ancient Sumer. The song addresses her as an ancient “mother of the world” and as one who teaches to die, be reborn, and rise again — echoing the cyclical nature of creation and the way to enlightenment, as the Mother has power over life both physically and spiritually.

The full lyrics of the song are available here.

Note: if the video doesn’t work in your region, an alternate version of the song can be found here.

Similar songs can be found in the music gallery:

Thanks to David H. for sharing this song in the forums!

About the author

Jenny Belikov

Jenny Belikov is a researcher and practitioner of the ancient religion of the sun and the Managing Editor for The Spiritual Sun, where she also researches and writes about ancient sacred sites; spiritual texts and practices; the latest discoveries in archeology, archeoastronomy, and related sciences; as well as the exploration of various facets of the lost civilization of the sun.


  • Wow! what a find…!
    The lyrics in this song ring so so so true…they hit the core… It resonated with my heart…Thank you David H and Jenny for adding it to the collection…

  • I was wondering where the artist would have gotten the idea about death and rebirth in connection with Inanna. I did a bit of searching and read briefly (although it needs to be explored further) that Inanna features in some myths involving a descent to the underworld and then a rebirth. Features of the myth were also reminiscent of the Greek story of Persephone.

    I also find it fascinating how the iconography of Inanna is so similar to that of Durga/Kali in India.

    • Descent of Inanna is the most important myth of the goddess. It is her spiritual journey to the land of the dead where she has to discard all of her powers and in order to get there. In the end she stands naked in front of her sister, goddess of death Ereshkigal, who sentences her to death.
      Inanna, before her departure to the underworld, instructed her servant to beg other gods for help in case she would not return. The god of wisdom Enki helped her and saved Inanna, but she has to find someone instead of her. She found her husband, Dumuzi, seated on the throne in festive mood, not mourning his deceased wife and goddess. He is taken to the underworld instead of her. The whole story ends by Dumuzi’s sister Geshtinanna freeing him for a half of year from the underworld.

      Inanna’s journey to “The Great Below” can be interpreted in many ways. For example a soul searching journey of a complete womanhood as D. Wolkenstein interprets.

      But also as an anima (subconcious female part of male) receding to subconcious and resulting in male concious taking control. After her return, anima takes control back in rather violent way, but in the end it is appeased and the roles are equally divided.

      In my opinion mythology of Inanna serves as initiatory path for both female and male helping them to find a way to more complete and realized being.

  • Lovely song, like an invocation of and worship to the warrior goddess. It’s a beautiful blend of the gentleness and strength of the divine mother.

  • Interesting the artist chose these lyrics, very nice and fitting to the events of the spring equinox in my opinion.

    Inanna. It’s interesting to consider how names for mother goddesses of ancient cultures were probably used so much and for thousands of years by people. Yet those sacred names, or their use, has become lost as did the cultures that used them.

    But such a name can still have a lot of timeless power and meaning to it if we use it. Though the important thing of course is for us to individually tap into and connect to the force behind the sacred name.

    • Spring equinox would make sense. In ancient Babylonia there was a New Year festival during spring called Akitu festival during which statues of all mesopotamian gods were brought to Babylon and sacred marriage of god Marduk and goddess Sarpanitu was held.

      Sacred marriage is very important part of Sumerian culture, which preceded Babylonians. In Sumerian times (Roughly 3,500 – 1,800 BC) it was used to legitimize king’s rule by his marriage with goddess Inanna (represented by her priestess). It is often used as a motif of sumerian art such as Uruk Vase or Sumerian and Akkadian love poetry, for example hymns written by Iddin-Dagan (19th century BC).

      • What you say makes me consider, and to me this is wonderful!, how real divine principles and their events -which we can also see happening in nature- were incorporated into life events of the theocracy as well as people’s tradition by ancient people.
        Which would bring into manifestation, by ‘sympathetic magic’ (as some have called it), the higher forces into the things done ‘here on earth’, thereby giving those rituals and traditions strength. For example in some Slavic traditions, from what I understand, the midsummer/summer solstice in its deeper meaning represented a marriage between earth and the heavens, female and male, and at this time here (and in many other cultures in the world) people chose to have their actual marriages as well.

        I found it nice to hear a bit more about that sacred marriage of the Sumerian culture Jaroslav, thanks, I didn’t know about that.

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