This album is inspired by Rod Cameron OSA's poem titled 'Eucharist at Uluru' included below:

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     'By a sacred cave in the shadow of Uluru

      we made our Eucharist in the blaze of day,

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      I whispered words into the desert wind

      and the Paschal Mystery reached the sacred rock.

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      I have journeyed through the dark of night 

      to see the Dreaming shine in Easter Light.'

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The songs with varying accompaniments can be used to enhance worship on a variety of occasions celebrating creation.

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Rod also writes:

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'Sacred ritual has many functions, but its most sublime function is to actualize the sacred events of the past. It is through ritual that events of the sacred past are transformed into modes of being in the present. The eternal (Tjukurrpa or its equivalent) is thus directly encountered. There is a real presence of the Sacred in the Eternal Now.'

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Composer, Vocalist, Instrumentalist: Maria Rosa

Sound Engineer, Co-Producer: Brent Hodgkins

Sound Effects: Maria Rosa

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'Kyrie Eleison' is 'Lord Have Mercy' in Latin. It has been used in rituals over a number of centuries and thus is included here as an element of history.  Some older people of Indigenous descent in Australia learnt Latin songs as did some older other Australians. Vatican II - a gathering of many Catholics in the the early to mid 1960s - decided the vernacular would predominantly be used in their rituals. There has been pockets of resistance over the years to this development. However, in 2021, the Vatican addressed the divisiveness some have thus caused with a stronger directive. In the first song of this album, Latin and the vernacular are used together precisely to counteract resisting tendencies.

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While he was alive, Kevin McKelson SAC (also known locally as Japulu by the people of Bidyadanga in Western Australia) worked to translate similar responses into their vernacular.

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