The Druid's Garden

Spiritual Journeys in Tending the Land, Permaculture, Wildcrafting, and Regenerative Living

Embracing the Bardic Arts: A History of Making Fine Things July 23, 2017

One of the changes that humans have experienced with the rise of industrialization, and more recently, consumerism, is a shift away from creating our own lovingly crafted objects, objects created with precision, skill, high-quality materials, and care and into using things that instead are made by far away people and machines. I wrote a little bit about this before in a post on wood. In speaking of the 17th century, Eric Sloane writes in the Reverence of Wood:

“In 1765, everything a man owned was made more valuable by the fact that he had made it himself or knew exactly where it had come. This is not so remarkable as it sounds; it is less strange that the eighteenth-century man should have a richer and keener enjoyment of life through knowledge than that the twentieth-century man should lead an arid and empty existence in the midst of wealth and extraordinary material benefits” (pg 72).

I know that a number of us on the fringes (and growing increasingly towards the center) are picking up these old skills through the process of reskilling and supporting craftspeople in their trades. The craft brewing movement, wood carving movement, and fiber arts movements are several such examples.

 

Making some loafers out of scraps of leather and old leather couches!

Making some loafers out of scraps of leather and old leather couches!

Recently, I’ve been learning a few new skills including making candles from the beeswax from my beehives, learning how to make my own leather shoes, and learning basic woodcarving techniques (some of which I’ll write about at some point). But what has struck me in the process of trying to learn these things is the lack of specialized, accessible knowledge on the subject, especially in my local area. What I’d ideally love to do is to sit with a master and learn the process from him or her here in my local community–but there are no masters to be found locally. Youtube, old books, and an occasional class where I drive a long way to learn is the most common way of gaining this knowledge these days.

 

And so, I wanted to step back a bit from the specific crafts, and today, spend some time reflecting upon the idea of making things as both a functional handicraft and as a bardic art that cultivates the flow of awen. I think this is important for a few reasons. For one, as someone on the druid path, supporting the bardic arts, which includes various functional crafts, is an important part of that path: finding one’s own creativity and being able to do something with that creativity is central. But second, that learning how to make my own things that will last, from local materials, helps us minimize our footprint on the living earth. Third, making our own things helps me slow down and reconnect with the earth and her gifts. Plus, there is simply a lot of fun to be had in making your own shoes, paper, jams, spoons, or whatever else! (Of course, all of this requires time, which is a challenge I also wrote about earlier this year).

 

The Skilled Trades and Home Economy

At one time, humans in communities provided nearly all of their own needs: there were coopers, cobblers, tanners, barm brewers, blacksmiths, wainwrights, apothecaries, tailors, as well as bustling home economies that produced many other things that a family needed. A list from Colonial America offers a description of some of these jobs here.  What strikes me about this list is the amazing number of specialized professions there were for making everyday objects and tools for human use, everything from brewers’ yeast to barrels, from medicines to wagon wheels. In other words, humans in a community used to make things for that community–the expertise was centered in and around that community. My example of making shoes, or the art of cobbling, falls into this category: every community had a local cobbler to make and repair shoes–this required specialized knowledge, tools, and practice.

 

The second kind of economy in these times was, of course, the home economy. Homesteads were places of constantly bustling activity: bread baking, cheese making, tool making, farming, candle making or rush light making–providing so many of a family’s own needs.  My candlemaking experiences, here, certainly fall into this category.  I’m not going to talk too much about the home economy today (although I likely will at an upcoming point).

 

The system I outline above was no perfect system, but it was a system that employed highly skilled people working with more local materials in their local communities, making things for the use of that community; combined with highly adaptable home economies that produced the bulk of a household’s needs. This system allowed people to monitor how supplies in the local ecosystem would last and to understand their direct ecological impact when they made new things. Further, this general system has worked for most non-industrial agrarian cultures around the globe for millennia. Its especially interesting to note, too, that this system actually seemed to be less work intensive than current systems; one such presentation of this is through Juliet Schor’s The Overworked American: The Unexpected Decline of Leisure and in Tom Hodgkinson’s The Freedom Manifesto.  Both of these books explore the issue of work, showing how many of our ancestors had plenty of time for 12-day feasts and much revelry and worked fewer hours than we did (a topic I explored earlier this year).

 

Candlemaking for the first time!

Candlemaking for the first time!

Tucked into quiet places, you still may find the remnants of these locally-based, highly skilled trades: odd tailor who makes his or her own suits, the local wood turner, and so on. Today, we see the remnants of these older ways of life in antique shops and other nooks and crannies: hand-hewn and worked wooden objects, iron tools clearly forged by an expert blacksmith, homemade buckets, spinning wheels with various small repairs, handmade clothing and quilts, and so on. In fact, my town still has a cobbler who fixes shoes (but doesn’t’ make them; he tells me his grandfather from who he learned the trade from did). At a thrift store visit last year, a dear friend of mine found an incredible green suit made by a tailor right here in town (and obviously, no longer in business).

 

But with the rise of consumerism and industralization, we left behind many of these skilled trades and we left behind our home economies to buy things. We also, unfortunately, left behind even the idea that craft was something to take seriously and that a high-quality product was worth paying more for or to spend a tremendous amount of time to make.

 

The Decline of the Skilled Trades

As someone who grew up in the 1980’s and 1990’s in the rust belt/flyover zone, I have always lived in a time of declining small businesses and large corporations. Each year of my life, I’ve watched more family businesses and local shops close up for good and be replaced by large corporations on the edge of town reachable only by car (rather than in town, reachable by foot). In fact, I lived this firsthand, watched my parents’ own graphic design home business steadily lose their local customer base as one business after another closed their doors, or relocated, or were bought out by a bigger corporation who were headquartered in a far off state and not interested in offering work to local graphic designers. The first Walmart came to my area while I was still in middle school, driving many local establishments out of business within only a few years’ time.

 

At this point, exploring the landscape of most places in the US shows the most boring monotony of the same businesses selling the exact same things (an issue I took up last year). I had, of course, read in various places about the engineering of American society to be consumerist in the times following WWI. This general pattern was well underway long before I was born, and in fact, was several centuries in the making. To understand this phenomenon better, I spoke to some older family members to try to understand their firsthand experiences. My older family members attribute a large number of factors to the loss of our small trade businesses and creation of handicrafts locally, but I’m going to hone in on three that seemed to arise with the different conversations: 1) the rise of large corporations (which is the fairly obvious one), 2) the lack of new apprentices to carry on the family businesses; 3) the loss of the blue laws and 4) the cultural disregard for handmade things.

 

Obviously, when large corporations like Walmarts and Targets come to town, economics has a lot to do with the issue. For one, because they buy and ship in such bulk, they can undersell local businesses on the same products. But they also sell cheap products in snazzy packaging with fancy words masquerading as good products. This has been talked about a lot in other places and is fairly well known, so I won’t belabor the point here.  This decreases the demand for these locally-produced crafts and trades.

 

The second reason was the lack of young people wanting to go into these traditional crafts and trades–which has a lot to do with economics, but also with interest. When my parents attended the closing of our local shoe store in Johnstown (called Yankee Shoe Repair), they spoke with the owners, who said that there was nobody who wanted to carry on their business and that was one of the reasons they were closing. They purchased a good deal of leatherworking supplies for me, and that’s how I got my start in leatherworking.

 

Third is my mother’s “blue law” theory. Blue Laws, which used to protect family time, also contributed to the downfall of the trades here in our region. The Blue Laws governed, among other things, when businesses had to stay closed to ensure adequate time for families and religious services. After the blue laws were removed, family businesses often kept with those traditions (and still do, in limited places) while big corporations remained open for longer and longer hours, making it more convenient for customers. Today, we are seeing the real effects of these pushes with the loss of Thanksgiving day and the push for being open on Christmas day. The limited hours made shopping at these stores (and their associated value systems) less convenient and, in an age of convenience, folks less likely to visit the family owned business.

 

Finally, the idea of something being handmade (rather than store-bought) after World War II took on a negative connotation for many Americans. Handmade objects were looked down upon and seen as less desirable. My mother shared with me stories of wearing “hand me downs” or “handmade” clothes rather than purchased ones and how she was teased as a child. Even in my own childhood, I experienced this. My paternal grandmother was a maker, going to church sales, picking up huge bags of old clothing and drapes, and repurposing them into toys, skirts, doll clothes, and more. When I went to school with my handmade clothing lovingly crafted by my grandmother, I was mocked (which, to the other children, suggested poverty). Today, “handmade” still has some negative connotations (especially if it’s done in a less-than-sleek manner).

 

Problems with the Shift to Consumer Economies

So now that we have some understanding of what happened to the skilled crafts and trades, I want to briefly explore a few problems that this has created. These are key problems for both individuals, communities, and our broader lands.

 

A handcrafted leather book with ecoprinted pages

A handcrafted leather book with ecoprinted pages

The Loss of Highly Skilled Workers and Educational Opportunities. First is that the highly skilled labor required to produce these objects has shifted to mechanized low-skilled labor. This means that these highly skilled trades employing people in every community that offered a good living have now vanished. These skilled trades had offered young people educational opportunities and career opportunities through apprenticeships. Now, these positions are largely relegated to lower-skilled or unskilled factory workers in a single community (likely these days, overseas). We’ve taken 100,000+ cobblers located all over and have replaced them with 10 factories each employing 300 low-paid, unskilled employees in far off locations. Pressing a button on the shoe cutting machine is a lot different than the custom measuring, cutting, and fitting of a pair of  shoes for a specific person in terms of the skill, care, and precision necessary for the work.  Not to mention that you end up with a much better product if the shoe is made for your feet. Finally, a pair of shoes made in a factory vs. one made by skilled hands fundamentally changes the nature of the work we do, and I believe, makes it a lot less meaningful. 

 

I have firsthand experience of this factory work: when I was in high school, I worked for a summer in a bra and underwear factory; we didn’t produce bras or underwear (they were made in sweatshops overseas), but we hung them, packaged them, and shipped them off to various big box stores all over the country. It was the most wretched four months of my life. At the factory, anyone could do the work; it could be learned with minimal training, usually less than a few hours. There was no craft, no care in the work–and how could there be? People worked in rough conditions, for minimal pay, and there was no need to be skilled or invest time in the quality of our work done well. This isn’t to say that people at the factory were lazy–they worked hard, but the nature of that work was much different than our skilled shoemaker fitting a person for a custom pair of shoes.

 

Environmental Health and Health of Ecosystems. One of the things about goods being made right in your local community is that you know what goes into those goods and where those goods come from. The local tanner and hunters have some idea of the level of the deer population; the local woodworker knows about the health of the forest; the local farmer can speak about the quality and health of the soil. When the creation of goods is removed from our vision or done on the largest industralized scale, we no longer can assess the health of those places where raw goods are coming from nor the impact of those goods on the land.  Sure, we may hear stories, but it is a “far away” problem that we pay no mind. Further, those producing goods as a family profession are going to care about the health of the land from which those goods come (and continue to come) as their livelihood depends on it. Not so with the large-scale production factory, who can often just find a new source of raw materials to exploit (this, also hidden from view from the end consumer).

 

The truth is, I have no idea where my goods really come from when I’m purchasing something at the store; they are hidden behind various “distributed by” labels on packaging and even writing a company often does not lead to any deep understanding. This means I can’t really assess their real costs to myself or to any community that may be involved in the extraction of resources nor production. And I certainly have no idea what the environmental costs of those goods are (and I suspect they are generally quite high).

 

Product Quality and Comfort. On the consumer end, the quality of the products has declined with the loss of our skilled trades and crafts; in many cases, options in many cases is to choose between low-priced junk and high-priced slightly better junk. While factories can certainly produce these objects more “efficiently”, they certainly can’t do it better or of a higher quality. Shoes are a great example here. A pair of shoes fitted to an “ideal” foot is not a pair of shoes fitted to my foot, and my feet nearly always hurt because they are different than the factory-produced ideal. I have never liked shoe shopping and it usually takes me many tries to find a decent pair of shoes that are comfortable. The factory standardizes human feet in a way they shouldn’t be standardized, and my limited experiences with cobbling have already taught me that human feet don’t come in simple digit sizes. Tracing my own and others’ feet on paper as part of learning to make shoes has taught me that feet are as unique as we are, and shoes, therefore, also need to be. Goods designed in a specific local context or body in mind are simply better than those that are not!

 

Variety and Weirdness. The standardization of goods also comes with the loss of diversity (and anyone who has studied evolution knows how important diversity is to any system!) A local shoemaker in one town might produce a very different kind of shoe than one three towns over depending on his/her skills, training, and creative approaches. With a factory pumping out 10,000 shoes a day that are identical, we now have much less choice, less quirkiness, and less all around creativity.

 

Suffering, Joy, and the Energy of Goods. As I’ve stated on this blog before, the things that are near to us, including physical goods, bring their own energy and that energy impacts us. A shoe produced in a sweatshop invariably brings some of that suffering into your own life–it carries the energy with it from how it was extracted and made. I highly suspect that the cobbler enjoyed his or her work much more than, say, the under-paid and chemically-exposed factory worker. Whose shoe would I want to wear?

 

The “Real” Costs. I think the real lure here is the idea of a cheap good and its overall value. Cheap products are not better ones, ones that are of quality and that last.  It’s true that Walmart and Payless Shoes other bargain stores can sell a cheap pair of shoes for $25, while the local shoemaker sells a much better and high-quality pair of leather shoes for $150. This doesn’t seem very competitive on the surface to the average consumer. However, given that the whole purpose of consumerism is to consume as quickly as possible, and so, the $25 pair of shoes you wear every day have barely a year shelf life.  You’ll have to replace those cheap, uncomfortable shoes 10 times in a decade.  This ends up costing far more than the $150 pair of shoes that last a decade with minimal maintenance and repairs.

Where do we go from here?

Industrialization isn’t going to go away tomorrow (and it would be very bad if it did for those of us who still depend on it).  And yet, I think there are a lot of things we can do to cultivate the bardic arts, both within ourselves (as my earlier posts in this series suggested) and to cultivate a culture in which the bardic arts are valued and profitable.  Let’s look at a few of those things now!

Master class on shoemaking!

Video master class on shoemaking!

 

Supporting Skilled Trades

I think the very first thing all of us can work to do is to support those folks who are still around, still engaged in their skilled trades.  My town has a cobbler–he doesn’t make shoes (unfortunately, I’d love to learn from him!) but he does repair them, and I’ve been glad to visit him every few months with small shoe repairs. I honestly know enough about shoemaking at this point that I could manage some of the repairs–but I want to give him business (and his repairs will be nicer than mine!)  There’s a local wood turner who I’ve been buying wooden bowls and plates from, and so on. The more we can seek these folks out and help them thrive, the better. On the more fine arts side, the same thing applies: finding local artists, local theaters, local musicians, and supporting their work as much as possible. Each town and community has its own quirky, unique scene of great people creating great things, and supporting that work is so critical to returning to a bardic-arts enriched culture.

 

Reskilling, Time, and Community

We just don’t have time like we used to have to engage in these functional crafts; our ancestors who were making these things in pre-industralized cultures had a lot more time to do so.  (Pre-industralized cultures worked a lot less and played a lot more than people do now). The time and “productivity” suck we are all facing means that we simply don’t have the life energy to really invest in these skills and get good at doing them. I feel this really harshly because I have lots of things I want to do–a wide variety of skills to learn and master–and more often than not, I’m exhausted with my work (and paying off those darn student loans) and don’t have the energy or time to do many of them. This is a cultural problem that faces anyone who is trying to earn a living within our current system.

 

I think that this time crunch we are all facing means that we don’t necessarily have the energy to figure things out or to fail in order to learn.  The way we learn as humans, even when there is someone teaching us, is by trying, testing things out, failing and re-trying, and fiddling with things till we get it right.  Its like a slow spiral, working ever inward and deeper.  We need a lot of time to hone our crafts, to take them from beginner attempts into things that are functional that we can be proud of.  This means we have to invest a lot of time in them–the one thing that we don’t currently have.  Without investing the time, we can’t get good at them and turn them into an art.

 

Still, these skills are worth doing and worth preserving, and finding ways of doing so (living arrangements, working arrangements, defending vacation time, etc) are important things we all need to figure out how to accomplish.

 

My solution at present to this is twofold.  For me personally, it is a matter of making the time and keeping with it. I’m working to make the most of the small amounts of time that I might have available (e.g. stitching up a hand-bound book while talking with friends or waiting for my car to be repaired, similar to what knitters do).  But also, setting aside sacred days and times to do that work.

 

The second is community–I’m working hard to find friends to learn these skills with and working on building a network of folks who have different skills.  Like the mini-villages of old, finding people who can teach and who are willing to trade is a great way to keep these old skills alive and vibrant.  And so I have a friend who carves spoons, and we trade for artwork, another friend makes really great jams, and so on.

 

The third is to pick a craft and really hone it.  I’ve been such a dabbler for a lot of my life, and I really want to start making a few things and doing those well.  I’ve suck with my painting and writing longer than anything else, and the results of those efforts show.  I’m really getting into leatherworking and some primitive woodworking, and I know those skills will both take me years of time to develop and master.  These seem like enough: both in term of the time investment, but also in terms of the materials/tools investment (which is considerable).  But picking one, or two, and really working at it is important.

Reskilling and Preserving Living Knowledge

As I’m involving myself deeper in my own reskilling, I’m also seeing the serious cracks and edges of this movement from a knowledge perspective. While knowledge of how to do many things used to be widespread, local knowledge about many of these more complex skills  seems to be absent almost entirely. Skilled knowledge about these things may be out there in the world, but it is often contained in small pockets, or inaccessible in faraway places, or offered only at considerable cost (I could travel to a master shoemaker and learn, but it would cost me over $1000 to do so). Or, knowledge is contained in good books, many of which are out of print.

 

Another issue with this is that many of us no longer have this knowledge or access of where to find it, and we are learning a little bit and bumbling about in that learning and sharing what we learn.  But the truth is, you can’t just replace a master craftsperson with a short online tutorial and expect the product to come out the same way.  I am learning this the hard way with shoemaking–I tried what looked like it was a decent online tutorial, but my shoes didn’t really come out and the key aspects of the tutorial I needed were lacking. I invested in a kickstarter campaign to learn from a master craftsperson and his course is incredible and deatiled–and I’m putting the finishing touches on my first pair of custom shoes!

 

And so, in terms of reskilling movement for more specialized skills, we need to continue to build first-hand knowledge. I think it would behoove us to seek out the teachers of these kinds of skills, learn from them, and work hard to pass it on and to keep those traditions alive.  I can’t stress this enough–seek these folks out, learn from them, document that knowledge, share it, and preserve it.  The internet is great for this!  Share, share, and share!

 

Localizing Resources

Another strategy that you might try to start bringing more handcrafted functional things into your life is looking at what resources already exist in your community or local ecosystem.  Here, there are always places being logged, and those loggers leave behind so much good wood.  Straight branches, curved interesting pieces, green or drying out.  This is part of what prompted my interest in woodworking: the materials are so abundant and easy to find here that it seems that all I need is to put some time and hone the skill of doing it.

 

I have a friend who makes these incredible pieces of art from buckthorn vines in Michigan.  Buckthorn is everywhere in Michigan, and townships often have clean up days where they pull them out and burn them.  She takes them home and turns them into baskets, picture frames, and more. My other friend, Deanne at Strawbale Studio, uses the clay, sand, and silt in her soil combined with phragmites reeds to make houses and natural structures.  Again, she is capitalizing on resources that are already present there in the landscape. Yet another friend has cultivated abundance by growing bamboo for flutes and whistles!

 

So rather than picking a hobby that requires you to bring resources in, perhaps look at what resources are there and use them, if you can. This is the best synthesis of nature-oriented spiritual practice and the bardic arts and crafts.

 

I think that the edges are starting to wear thin for a lot of us concerning the lure of consumerism with its flashy gizmos and cheap gadgets. It’s exciting to see the rise of the reskilling and maker movements, where people are realizing the potential of their own creative gifts and working again to create functional and lovingly made crafts. I think that many of these movements are not yet mainstream (perhaps craft brewing and the tech/maker movement being the most mainstream at this point), but I do see them as gaining momentum, at least among the fringe groups focusing on sustainable living, permaculture, transition towns, and the like.  While this post explored some history and problems, our next post will continue to get us deeper into the relationship of the self with the idea of craft and the bardic arts–and how we can embrace this work as part of our own spiritual and sustainable path.

Save

Save

Save

Save

Save

 

Coming Home July 16, 2017

Rocky shore of Maine at sunrise

Rocky shore of Maine at sunrise

My heart sings as I look out upon rocky shores where the clean waters meet the rising sun. I watch as the waves crash upon the bladderwrack-encrusted stones. Further inland, the land is vibrant, wild, and beautiful. The rivers and brooks rejoice as they cascade down from the mountains. The stones covered with lichen and mosses dripping with the recent rain. The lakes are so clear you can see 40 feet down. Visiting such pristine places are like a balm for my weary and tired druid heart. And yet, these wild places are not my home. The rocky coast of Maine is not the land of my blood and birth. Despite the singing in my soul, the healing and energy pouring into me from this beautiful landscape, I know I’m not home.

 

On my train trip back to Western Pennsylvania, my spirit grows heavy. I know that an invisible line exists between the states further north and my own state. In large parts Pennsylvania, including where I live, the land is far from pristine. Due to its richness in natural resources and lax environmental policy, it has been polluted, fracked, sprayed, and poisoned. This is an all-too familiar story for many such resource-rich places around the globe.

 

I know that once, that the Allegheny mountains sang in a way that the land still sings in the more remote and wild places I had just visited. Many centuries from now, it is likely that the Allegheny mountains will sing again after nature and humanity have done the necessary healing work. I have witnessed the potential of such healing in secret places, hidden places, places like an old growth Hemlock Grove that somehow was spared the destruction that ravaged these lands in the name of progress. I have also witnessed it in the regrowth of logged forests closer and dear to my heart.

 

However, knowing that nature can heal from widespread ecological destruction at a future point doesn’t change what I feel now, heavy. My heart is torn in two directions: both excited to be welcomed home by my beloved mountains and saddened to once again take up the burden of witnessing and living in these times. As the train rounds the famous Horseshoe curve outside of Altoona, I see new strip mines and logged areas appear since the last time I took the train several months ago. As the train nears my final destination of Johnstown, I feel the weight of the ongoing ecological destruction of my own home lands returning in full force. I am at ground zero: the extraction zone. This term that was told to me by residents of my area, friends who were working in envornmental activism for many years. It is, unfortunately, a fitting one. This is a place where the sacredness of nature is so far from the human mind, in part, due to the economic harsh realities.

 

Solastalgia is a term coined by Albreight et. al. that refers to the psychological distress caused by environmental damage. And the term fits well: there is a general distress (that is, depression, melancholia, powerlessness, hopelessness) that people sense when they see the environment around them being damaged, when they lose their sense of “home” because the “home” they knew is no longer there. The environment has been altered and damaged so much that it seems like an entirely different place, or the home site itself is gone due to mountaintop removal, strip mining or other tragedy. For someone who follows a path of nature spirituality and views the land as sacred, solastalgia isn’t just a psychological thing; it is a spiritual dilemma. One cannot only physically see the suffering of the land to experience solistalgia, but one can experience this energetically. It would be akin, perhaps, to someone burning down one’s church or mosque—an utter disregard for the sacredness and sanctity of life. A number of fellow druids who have visited me from other parts of the country have remarked on the “deadness” that is present here in what we call the telluric currents, that is, in the patterns of energy that run deeply within the land. This land’s deadness, from the many extraction activities, is particularly hard to those sensitive to such patterns. But I think, maybe on a semi-conscious level, the land is also hard on those who don’t have such sensitivities. There is a general “run-down” nature of folks around here, and it stems from many things, but I think this is one of them.

 

I grieve what has happened to these lands, but I don’t blame the people here who have sold their mineral rights or timber rights to prospectors in order to feed their families. Most who grew up in this region share a similar cultural ancestry—people who settled here did so because work was plentiful in an expanding industrialized economy that demanded timber, coal, and steel. I drive past the abandoned Bethlehem Steel Mills where my grandfathers worked. I drive past the old mines in the Alleghney ridges where my great grandfathers mined coal. They stripped the local forests bare to create support beams to keep the mine from caving in so they could go home to their families safely each day. This is where the old growth forests went. A century later, these minds, long abandoned, still pour acidic water into the streams, polluting them for hundreds of miles. The stripping and pillaging of this land, too, is part of my own ancestral heritage.

 

A typical AMD stream with no life

A typical AMD stream with no life

On my drive back from the train station, I lose count of how many conventional and deep injection/fracking wells I see. They dot the countryside, showing up in nearly every field and forest along the way. These wells are not only on private lands, but also on public lands, and so even a hike on a public trail puts you in close contact with them–there really is no escaping it. With a heavy heart, I think about the plans I and some friends have been making to possibly start an intentional community. It is devastating to be looking for land for a new home and see property after property with fracking wells, stinking of gas and toxins, pipes from each well under the skin of the earth. No mineral rights, they say. No timber rights, they say. The rights to these things long ago sold separate from the land, so land here is only for the surface and sometimes, even that has been sold as timber rights. After looking at everything available for the last few months, I’m not sure such a clean “refuge” exists. But maybe I will yet be surprised.

 

I say to myself: how could I live here and not be drained? How could I live here and not feel weary? How could I live here and not need a refuge? The solastalgia is certainly present, and acknowledging that and engaging in good self-care is certainly necessary.

 

But other questions, arise, as well. How could I live anywhere else when this is my home? How could I abandon this land when it has never abandoned me?  How could I leave when my own ancestors contributed to what is happening at present? I am not a powerless victim here. None of us are. We fight the hopelessness and despair with tools, knowledge, and spirituality. My path of druidry offers me tools to energetically heal the land and support my own self care. My knowledge as a permaculture designer gives me the tools to engage in physical healing and regeneration of the land.  I have everything I need to care for myself and for this land.

 

And so, as I round the last bend and come into the valley where Indiana, PA rests, I feel a growing sense of clarity, purpose, and vision. I might not be here forever, but I am here now, and I will continue to learn how to best respond and heal the land. I drive past the farm where I and some friends have been putting in a garden rooted in permaculture principles and hosting events. I drive past the community garden, a source of much light and activity in this community. I see a sign for an upcoming natural health fair. I think about our permaculture guild meeting this month, and the plant walks I’ll be hosting that will be full of people wanting to reconnect with nature. And my heart gets lighter.

 

And so, I must grow where I’m planted. Not wishing to be somewhere else, some distant rocky shore where the land is pristine and beautiful, not allowing the solistalgia to creep within my bones and lodge deeply in my heart. The pristine lands I visited were well loved, and that land has no need of someone with my knowledge and skills. But rather, I must be rooted in my own own heritage, be rooted in the lands where I live, be connected with my people who have done what was necessary to survive.

 

Hope

Hope

I can feel the blood of my ancestors flowing within me. They, too, know that it is time for this land to heal. They, too, knew the sadness of the crash of the ancient hemlocks, hickories, and pines. They, too, saw the tears of the river flowing as pollution made it too acidic to fish.  They planted apple trees and hoped for a better tomorrow. They too, wanted a better life for their children, and their children’s children, where black lung didn’t take them early and where they didn’t die of poisioning from the mills. Their spirits are here, in these lands, looking to set things right.

 

To those who are saddened by the deadness of the telluric currents and the raw destruction of the land present in this place and in so many other places, I say “go deeper.” To myself, in my tired and weary state, I say, “go deeper.” The magic of nature is still here, even if it is more hidden, more quiet, more still.  It waits. It has all the time in the world to wait. It is like the lichen, who can survive 100% desiccation. Lichen can literally survive the vacuum of space, being buried in a crypt for 500 years, living in the harshest and coldest places on earth, and yet still thrive when exposed to water and light. The lichen teach a powerful lesson of hope, of patience, and of nature’s incredible ability to heal all.

 

I, and others here, are finding ways to live, in the words of Wendell Berry, in this ruined place, renewing it, and enriching it. So that someday, the rivers will run clear as we will never know them, and someday, families will be singing in the fields while healthy forests once again stand. So that someday, this place will be sacred to all of those who live here again. The words of Wendell Berry resonate like an anthem deep within me. I realize there is still more work to do. The blood of my ancestors flowing within me, the land of my birth around me, the hope of a brighter future in front of me, I ready myself for the journey ahead.

Save

Save

Save

Save

Save

Save

 

Poison Ivy Remedy: Jewelweed Infused Witch Hazel July 11, 2017

Jewelweed and Poison Ivy Like Each Other A Lot

Jewelweed and Poison Ivy Like Each Other A Lot

As I spend copious time in the outdoors, I often end up covered with poison ivy at least once or twice in the summer.I happen to like poison ivy as a plant a lot–she is beautiful, she is powerful, and she teaches us awareness (more on her soon).    But the contact dermatitis that I get from her on a regular basis kind of sucks.  Given that, I have a simple recipe that I make and keep on my shelf that seeks the healing power of two other plants: witch hazel and jewelweed.  This jewelweed infused witch hazel is a great remedy for poison ivy and clears it up very quickly.

 

If you can’t find jewelweed, I believe this recipe would be fairly effective with plantain or chickweed.  But Jewelweed is really the best.

 

Harvesting Jewelweed

Jewelweed (Impatiens capensis) is also known as spotted touch-me-not, orange touch me not, and orange balasm.  It is an annual plant that self seeds readily, so once you know where it grows, you can easily find it in the same spot year after year.  It prefers damp, shady, forested enviornments, although I’ve also found it in wetter part sun or mostly sun environments.  The key is that it likes a moist forest floor.

The characteristic hollow stem of jewelweed (these leaves have a bit of insect damage)

The characteristic hollow stem of jewelweed (these leaves have a bit of insect damage)

On a recent plant walk, one of my attendees told me that jewelweed was named this way because if you put it under water in a flowing stream, it looks like a beautiful jewel!  So try it and see if you agree.

 

This plant’s primary use in herbal medicine is as a poison ivy remedy.  You can use it in two ways:

  • Fresh jewelweed can be applied to a location that was just exposed to poison ivy.  For this, simply pick a plant (especially getting the lower stem area and the places where the leaves join the stem that are very juicy), crush it, and rub it on the affected area.  This may take off the oils from poison ivy and prevent you from getting contact dermatits also known as poison ivy.
  • You can pick it and tincture it in witch hazel (or vinegar, in a pinch) and use this to dry out and soothe the poison ivy.
A patch of jewelweed along a damp forest path

A patch of jewelweed along a damp forest path

If you are making the remedy, you will need enough jewelweed (chopped up and crushed) to loosely fill a mason jar of whatever size you want to make.  Unless you are in poison ivy all the time, probably a pint or half pint jar is all anyone needs for a while.  It does keep indefinately, so it doesn’t hurt to make more.

 

I also like to leave an offering (a pinch of home-grown tobacco) for the jewelweed for the harvest, of course, to honor the plant and the land.

 

Making Your Poison Ivy Remedy

Poison Ivy on the skin is caused by the oils in the plant reacting with the skin.  This makes the skin blister up and get very itchy.  The more you scratch, you the more spread the poison ivy (by spreading the oils) all over your skin.  What this remedy does is help heal and take out the itch (jewelweed) and dry out the afflicted areas (witch hazel).  It works wonderfully.

 

Ingredients and Materials:

Scissors or a knife

1 bottle of witch hazel (you can make your own from the witch hazel plant by distilling the branches in the early spring or you can go to the drug store and pick some up)

5-10 jewelweed plants (depending on how much you want to make)

1 mason jar

Ingredients and materials (I was doing a plant walk and demo, so I have a lot more witch hazel than I needed for one jar!))

Ingredients and materials (I was doing a plant walk and demo, so I have a lot more witch hazel than I needed for one jar!))

 

Step 1: Crush up your jewelweed.

To make your preparation, you will want to get as much juice from the jewelweed as possible into your preparation.  To do this, I like to first crush the jewelweed with my hands or a blunt object. I don’t crush it too much, but enough that it will expose more surface area to the witch hazel.  Pay attention to the thicker areas where the leaves attach to the stem–these are very juice filled (and the juice is the medicine).

Crushing up the jewelweed

Crushing up the jewelweed

Step 2: Chop up jewelweed finely into the jar.

Chop up (or tear up) the jewelweed and add it to the mason jar. A good pair of kitchen scissors will help this process quite a bit–I find that better than any knife for this work.  You don’t want to over-fill the jar, but do fill it up loosely.

Chopping up Jewelweed

Chopping up Jewelweed

 

Step 3: Crush it some more in the jar.

At this point, I continue to crush the jewelweed.  Here, I used my fingers, but I oculd easily use a pestle (the round thing used to grind herbs in a mortar) or some such similar tool.  Get as much juice out as you can at this stage.

Crushing further

Crushing further

 

Step 4: Add witch hazel.

Now, pour in your witch hazel, ensuring that it covers the Jewelweed fully.  If the jewelweed is too firmly packed, you’ll end up with less (after you remove the plant material in a few weeks).

Add witch hazel

Add witch hazel

 

Step 5:  Lit sit (macerate) 2-3 weeks and then strain.

Let your preparation sit for a few weeks in a cool, dark place.  Then, you can strain out the jewelweed (you can do this by hand, or with a hand held potato ricer or tincture press).  Place the liquid back in the jar, ensuring that you don’t have any extra plant material.

 

Using your Jewelweed Infused Witch Hazel

You can use the jewelweed infused witch hazel when you have an active outbreak of poison ivy dermitis. Use a Q-tip or cotton ball and liberally apply the preparation to the affected area. Repeat this several times a day (or more, I usually do it 5-6 times a day or any time I enter the bathroom).  It will clear up the poison ivy very quickly!

 

I hope this small remedy helps many a forest wanderer this summer!

Save

 

Druid’s Garden Celebration: 300 Posts! July 9, 2017

Filed under: Triumphs — Dana @ 6:33 am
Tags: , , ,

The path through the forest is full of twists and turns, and also unexpected treasures and joys.  Sometimes, its tough to keep going up when the path winds ever upward or the rocks block your way.  But still, the journey continues for each of us.  Part of my own journey and that of you, my readers, is shared here on this blog, and I am so delighted you’ve found me and have been reading!

 

I began the Druid’s Garden Blog in October of 2010, almost seven years ago.  Today’s post marks post 300 and about 6.5 years of weekly blogging!  The blog is subscribed to via email by over 2000 people, followed on WordPress by 1000 people, and on Facebook by over 5000 people–I am truely honored and overwhelmed with graditude that my little corner of the digital world is paid such high respect!  Today, I’d like to share a bit about this blog and some of the themes that have emerged in the last two years and forecast some of where we are heading next.

 

The mountains I call home

The mountains I call home

Some History

I was born and raised in the Laurel Highlands region of Pennsylvania, and lived in a few different states for varying lengths of time (New York, Indiana, and Michigan) before returning back to Western PA two years ago.  I began this blog while I was in Michigan as a way to document my own process of learning and transformation to a more sustainable lifestyle and my explorations of permaculture in druidry.  This blog was my way of showcasing that, more for myself, and for the process of my Druid Adept degree with the AODA (which I completed in 2013).  At the time I started this blog, I was living on a 3 acre plot of land that I wanted to turn into a homestead and learn how to do that using perennial systems.  Two years ago, I sold it and shifted to a rental situation while I worked to figure out next steps.  I’m still very much in the process of doing that work at the moment!

 

The themes of this blog are the relationship between druidry as a nature-based spiritual practice and how that manifests through physical practice using permaculture and broader sustainable living strategies. Into this mix I throw in some other things I’m interested in and that directly connect to this theme, including wild food foraging, wild tending, and herbalism. Since stepping into leadership and becoming AODA’s four archdruids in 2015 (I currently serve as Archdruid of Water), I’ve also taken on a number of topics on druidry itself that I see people in AODA and elsewhere struggling with (my ongoing Bardic Arts series being one such example).  In other words, I focus on nature, relationship, and connection.

 

Land Healing and the Extraction Zone

During my special post for 200 in 2015, I showcased some of my favorite posts from my first five years blogging.  I’m going to do the same today focusing on the last two years of posting.  In fact, I think most of my best writing has occurred during the last two years on this blog for a simple reason: returning to Western Pennsylvania and seeing what had happened while I was gone really hit home, and a lot of that processing and spiritual work has made its way into this blog. As times of struggle and turmoil often offer us rich rewards if we embrace it, most of my best writing came from these events, and that work is ongoing.  I feel like I’ve been brought back to my home region not only to bring some of these tools into this region, but to a larger audience through this blog.

 

For one, I had to face, directly, the reality of what has been happening with fracking upon my landscape.  This meant seeing firsthand disrupted telluric currents, fracking wells, and recognize that I was living in one of the most intensely extracted and polluted areas in North America.  I was living in a place where coal power plants filled the skies with toxins (three around my town alone), where mountains were removed and land stripped, where logging was commonplace, where our streams were polluted from acid mine runoff, and where fracking wells were so abundant it is difficult to go on a hike without running into them.  Of course, the circumstances here are heartbreaking for someone who loves the land (and the idea of solistalgia, which I also talked about in the land healing series, is present and pervasive).  However, it also lead to some of my best insights to date, partcularly on land healing and posts in what we can and can’t do in these circumstances (this last link offers the final post in the series, which links to all of the others).  These posts, and my ongoing work with land healing, is a direct response to the circumstances.  In permaculture design, we say that the problem is the solution.  One of the things this has required me to do is to think deeply and engage a good deal of my own spiritual practice with figuring out the best way to respond.  Here are all of the land healing posts, which I highly recommend if you haven’t yet read them: Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, and Part IX. And here’s a Galdr Ritual I co-wrote and led for the healing of the Eastern Helmock Trees–another kind of energetic land healing work.

 

A painting of the "hermit" I did a few years ago

A painting of the “hermit” I did a few years ag

The Problem is the Solution

Right as I was making my transition back to Western PA, I finally finished my Permauclture Design Certificate course, which was one of the most empowering things I have ever done.  I had been praciticing permaculture for a number of years on my homestead, but getting the actual PDC was a way to synthesize all I had been doing and practicing–I loved the way in which we looked at so many problems and though of the opportunities that existed.  Given the challenges that my own region faces with fracking, logging, and pollution, thinking about the solutions inherent in this problem was one of the ways I had of moving forward and not becoming distraught.

 

There are two running themes in this series of posts: one is exploring how we might tend to the wilds and become a force of good.  In this series of posts, I have showcased the work of my father, who has been diligently planting hardwood nut trees and cultivating rare forest medicinals to replant the landscape. I’ve also talked about seed balls, building refugia gardens, and actively working to replant the land.  Part of this also means making friends with existing plants and engaging in weedtending and recognizing their inherent worth.

 

The other running theme in this series is my ongoing discussion of permaculture, especially my work in translating the permaculture principles into a magical/druidic framework through the five elements.  These posts offered empowering ways that druids and those new to permaculture might see and use this as a tool for addressing the predicaments we face.  Tied to this, we can also look at how permaculture principles manifest on the inner planes and how they might be used for spiritual practice. Different design principles offer us specific tools for going deeper into this work of regeneration and both on the inner and outer planes.  A revision of this framework appeared in the AODA’s Trilithon that was released in June 2017 (you can order it here).

 

Self Care and Healing

Becuase of the circumstances of my immediate living, another theme that has emerged on the blog in the last two years focuses inward on self care, healing, and personal growth.  I have focused on these issues in various ways, from examining permaculture’s ethic of self care as a spiritual practice, to considering how we might live our authentic selves both openly and in hidden ways, and also how we can find balance and healing despite these turbulent times.  One other post worth mentioning was looking at how we can cultivate polycultures to address the predicament we, as a species, face.  I have realized, more and more, that self care is the foundation upon which any other healing or land regeneration work is done.

 

Nature Spirituality

Of course, nature spirituality and working with trees as been a long-term focus of mine in this blog, and the sacred trees posts and druid tree workings posts are nice examples of this work.  So far, I have covered a varity of trees local to the mid-Atlantic, North East, and/or Midwest temperate forests including: Ash, Hickory, Eastern Hemlock, Eastern White Cedar, Maple, Hawthorn, Beech, and Walnut.  I’ve also written a number of posts on druid tree workings, some of which fairly recently and some in the more distant past (the post here links above to all of those writings).  These kinds of posts, to me, represent some of the core spiritual practices of my own druidry, and I will continue to share them as I feel led to do so. These are the working tools of reconnecting with the sacred trees and forests (which are so abundant here where I live).   I’ve also been working a lot with rivers, which has come through in several posts, including one on thinking about the relationship of land health and connection.

 

The druid and a sacred garden

The druid and a sacred garden

Sacred Gardening and Sacred Living

Of course, the ongoing work of earth-centered living, through sacred gardening and through ongoing sacred action and sacred living, has been the most longstanding theme on this blog, and I have continued that over the last 100 or so posts. Of particular fun to me was my post on compost toilets (which will include an update fairly soon), descriptions of some new gardening projects (like making paper seed pots and recycled watering systems), and resources for folks living in rental situations.

 

Where is the Druid’s Garden heading next?

All of this land healing work and living here in such a place of extremes has really had me thinking about the core of what druidry is and what it offers the world.  I’m trying to tackle this broader question this year and into the coming year (and will likely be doing so, with many others, for a lifetime!)  But in terms of writing, this work will continue to spiral from my post on connection as the core philosophy in the druid tradition. I’m starting to realize that I have a very distinct “flavor” of druidry based on some of these experiences, and I’d like to get some of that out there in a more accessible format.  So my recent series on the bardic arts represents a move in that direction, and I’ll continue to explore the other core druid practices from this “connection” perspective.

 

I’m also working to continue my research on the sacred trees in the Americas. I have about a dozen or so trees that I’ve done at least some of the resaerch and meditations on, and I’d like to wrap up this series before post 400! :). And of course, there will be a smattering of posts about permaculture, gardening, wild foods, wild medicine, natural building, and more.

 

A lot of people have asked me if I’m planning on writing books.  At this point, after seven years of blogging, I certainly have more than one book in here.  In fact, I’ve finished my first manuscript and am shopping for a publisher and am actively working on a second manuscript at the moment.  I’ll share more once I have something worth sharing! 🙂

 

Thank you so much for joining me on this journey and for being a reader of the Druid’s Garden Blog.  I am truely honored that you spend time here and find my work of value.   If there’s anything you like me to cover, please let me know and I will do my best to cover it as the awen flows :).

Save

Save

Save

 

Druid Tree Workings: Establishing Deep Connections with Trees July 2, 2017

Imagine walking into a forest where you are greeted by many old tree friends, each members of different families that form a community.  You know their common names, their less common names, and the secret names that have taught you.  You know their medicine, how they can be used, even some of their stories and songs. They rustle their leaves in joy as you continue to walk.  The movement of their branches is music in your ears, the sound of the leaves a song, playing in your mind.  Their medicine and magic is open before you.  And yet, you realize how much more you have to learn, to know, and realize that this process –the process of reconnecting to the medicine and magic of the trees–will take more than one lifetime to complete.  This is the power of establishing deep connections with the trees.

 

Oak at Samhuinn

Oak at Samhuinn

Over the last two years, I’ve offered a series of posts on what I call “druid tree workings.”  A lot of people who get interested in nature spirituality want to work with trees, and there isn’t always a lot of detailed information out there about it.  Since the trees have sung to me since I was a small child, I have been trying to compile this information on some of the strategies that I used in order to learn their teachings and work with them.  Today, I’m going to explore another strategy that takes some of my earlier posts a bit further.  If you haven’t read my earlier work in the druid tree workings, I suggest you start there becuase this post (and one I have planned in the next week or so), draws upon those initial principles. Earlier posts in this series include: finding the face of the tree, druid tree workings on the outer planes, druid tree workings on the inner planes, helping tree spirits pass, winter tree blessings, and a seasonal approach and the breath of the earth. Today, I’m delving into a few other strategies for establishing deeper relationships with trees through finding a focal tree and working with it in various ways.

 

Relationship Building

I’ve mentioned this before on my blog, and I’ll mention it again here.  Reconnecting with nature, and doing any kind of nature-based spiritual practice, is just like building any other kind of relationship.  It takes time.  It takes both giving and taking.  It takes good listening skills and communication.  To establish relationships with plants, trees, nature spirits or anything else, this is the very beginning of where we start.  Nature isn’t there just to give, and give, and give (and when she is forced to do so, ecosystems eventually break down and we are left with the predicament we are currently facing).  Instead, we are meant to be in recriprocation.  Think about it this way: all of the “waste” products from your body (carbon from your lungs, nitrogen from your urine, and the nutrients in feces that breaks down into rich soil) are required by trees and plants for survival. And in turn, we need them for oxygen, food, shelter, shade,  and much more.  If we work with relationship as our basic premise, we can develop deep relationships.

 

Finding Your Tree

A simple way to begin to connect deeply with trees and prepare for deeper initiatic work (which I will discuss in my next post in this series) is to begin by finding a species, and an individual tree, that call to you. Different tree species work with different human energy patterns, and what works for someone else may not work for you. For example, one of my strongest tree allies is hawthorn, which is certainly not a species that is friendly to all! But over a period of time, hawthorn and I have developed a very deep bond and love each other well.  And so, it might be that as you are reading this, you already have a specific tree in mind. Or it might be that as you are reading this, you need a way to find one that will work with you. So let’s first explore how to find your tree.  Picking a single tree to begin this work is really important. You might think about this like the “central” or “keystone” tree in your larger sacred grove.  Your sacred grove, that is, the many tree species that will work with you, are added after you begin your work with this one tree.  Once you have developed a deep relationship with one tree, it is easier to communicate with others of that same species, and easier to connect to many other trees of different species.  The work spirals out from there.

 

There are two ways to go about finding your tree.

 

The Deductive Method: Having a tree (or tree species) in mind.  Do you have a specific tree speces or have a relationship that began with a tree species at an earlier point in your life?  This might be a tree species you’d like to seek out to establish a relationship with.  For example, when I was a child, I spent a lot of time climbing several trees–an old apple, an old maple, and an old cherry.  As I grew older and found druidry, these were the trees that first called me back and allowed me to reconnect.

 

The Inductive Method: Picking your spot and find your tree. The other way of going about this (and the one I’d suggest for a lot of folks) is to simply pick your spot and then pick your tree.  Before finding your specific tree, you need to scope out your general location. This is a very important consideration; you should be able to visit the tree regularly and do so with minimal disruption (e.g. a tree next to a busy highway might not be the best choice). So you’ll want to find a tree that you have very easy access to but also one where you can be undisturbed by passerby and other human behaviors. A lot of good trees can be found in local parks, forests, even your yard. Make sure your tree is somewhere that you can visit, at minimum, once or twice a week and that it is fairly easy for you to do so. If your tree is difficult to get to, you will be less likely to visit (especially if you are tired or busy).  Now, spread out in the area that you have selected. Use your intuition as well as your physical senses. Is there one particular tree that is calling to you? It doesn’t matter at first if you can identify it or not; the important thing is to feel a strong connection. Once you’ve found the tree, ask permission to sit with it for a time. Listen for inner and outer messages and simply be present with it.

 

Beautiful Walnut tree at Summer Solstice

Beautiful Walnut tree at Summer Solstice

Initial Tree Work

Now that you’ve got a tree, great!  The next thing is start to work with it on the inner and outer planes.  Here are some, of many, options (see other options in my earlier post):

 

Find the Face of the tree. I have a whole post detailing how to find the face of a tree as a way to begin to connect with it. I would strongly suggest that you do this work the first time you meet the tree. How many faces does the tree have? What do they look like? What do they tell you?

 

Communicate with the tree. See what the tree has to say, using strategies on the inner and outer planes. Spend time learning how this tree communicates and developing your own intuitive skills.

 

Tree Research. After you’ve picked the tree, learn a bit about it (which requires you to identify it). Tree identification books are common (and now, there are a whole series of apps, like Leafsnap, which help you identify trees based on their leaves). If you aren’t sure, either take a small bit of leaf/branch with you and/or take good photographs so that you can refer to them. Make sure to get photos or examples of the leaves (both sides), the bark, and how the leaves attach to the stem. Also get photos or examples of any buds/fruit/nuts on the tree. If it is winter, you will need to get a winter tree identification guide (there are good guides on winter botany and on tree bark for example).

 

After you’ve identified your tree, learn as much as you can about about the tree. What role does this tree play in your local ecosystem? (My favorite books for answering these questions in the Midwest/Northeast are the Book of Forest and Thicket, Book of Swamp and Bog, etc, by John Eastman). How was this tree used by humans in the past? Is it still used by humans in the present? What are the features of its wood? Is it under threat? How widespread is this species? Is it native, naturalized, or considered invasive? Does this tree have any medicinal properties? Knowing the answers to these questions can really help you understand how past humans have worked with these trees (or taken from them).

 

Another important question to ask is: What is the mythology and magic of this tree? (You might find that it was a tree that I covered in one of my sacred trees posts; if not, look for both mundane and magical information).   You might need to look to different cultural sources and references to understand the tree. Some trees (like apple) are present in both the old and new world and so you can study the mythology of both. Some trees, like sycamore, are actually different trees and different species in the old and new world, so be careful that you are learning about the right mythology. In the mythology, look at the role of the tree—is it magical? Helpful to humans? Active in the story? Passive? All of these will give you clues into the nature of the tree.

 

Identification: Work to identify the tree in its various seasons. Look at its buds/flowers, its leaves, the bark, the overall profile.  Look how its branches grow and what their growth habit is. Learn this tree, well, as much as you are able. When you have the chance, work to identify and visit other individuals of that spaces. Get so that you can identify the tree in multiple seasons and both close up and at a distance.

 

Roots of the Beech at the Winter Solstice

Roots of the Beech at the Winter Solstice

Visits over time.  Beyond the tree research, begin this deep tree work simply with one individual tree, whom you visit frequently. We have to rebuild relationships with these trees, and those relationships take time to establish (just like human relationships do).  Visiting the tree regularly over a period of a year is the best way to *really* know a tree, but that’s likely not possible unless the tree is very close to where you live.  But the more you can visit the better!

 

Tree Offerings

Regardless of the kinds of work you are doing with the tree, you should make an offering to the tree you are working with regularly—consider it like a gift you would give friends. As in any other relationship, we give and we take, and tree workings are no difference.  I would suggest that you make offerings before you take anything.  Nature is being used and abused by so many humans (direct and indireclty) at present.  You want to establish a different pattern, a relationship, not just a taking one.  So start here before doing anything else in terms of the rest of the post.

 

Here are some offerings that work well (and I use all of these, often in combination or at different times of the year):

 

  • One kind of very effective exchange is one where the tree gives of its body and so do you.  Humans and plants form a symbiotic relationship; we depend upon each other for survival. Trees take in our waste (carbon that we breathe and nitrogen that we pee) as some of their primary sources of nourishment and strength. Peeing at the base of a tree is a wonderful offering of available nitrogen to the tree (don’t pee directly on leaves, as they can’t handle such a strong dose of nitrogen). I am very serious here—this works and trees are thankful. Just ask them!
  • Music. If you can sing or play an instrument at all (even if its not very well), I would suggest singing or playing for the tree. It is often very well received (and the tree may have a song to give you in return!)
  • Spreading Seeds/Nuts: Trees need to propagate, and another meaningful offering is one where you are able to harvest the seeds/nuts from the tree and plant them elsewhere. This is especially important for hardwood nut trees, who often are slower to propagate (but don’t spread trees that are already spreading themselves too much, like those listed on noxious invasive species lists—do another kind of offering). Helping the tree establish its young is one of the absolute best things you can do.
  • Growing or making offerings. The one other thing I will mention is that I personally grow sacred tobacco for offerings, especially for wildharvesting. My tobacco is grown in my own garden from saved seeds. I harvest and dry it myself. I blend it with lavender flowers and rose petals. I was told by my own spirit guides to do so, and if you feel led, this might be another part of what you can offer.
  • A special offering.  Certain trees might like other kinds of offerings, and once you learn to communicate, you might get a sense of what these offerings are. They might sound strange or outlandish, but I’d suggest you try them.

 

You’ll notice above that none of my suggestions include buying something and offering it to the tree or burying coins at the roots, etc. Everything that we buy requires resources from nature (often at high cost); and nearly all of it today requires fossil fuel inputs which are severely threatening all life. Buying anything is not appropriate here, or is it with most nature magic—instead, offer something of value that doesn’t cost fossil fuels.

 

 

Carrying the Tree With You and Leaving a Part of You with It

The promise of connection

The promise of connection

In addition to taking the tree within, you can carry a small part of the tree with you and leave part of yourself with the tree. Usually, trees are happy to offer a dead branch or small piece of bark. In exchange, I like to offer them with one of my own hairs. That way, the tree has a piece of me, and I have a piece of it, and each day as I carry that with me, even if I can’t visit, that tree’s energy is present in my life. I usually will use simple carving and sanding tools to shape the piece of tree into a necklace pendant and then I can wear it on a string around my neck near my heart.   That’s just a personal preference—I’m a bit absent minded and have sent one to many nut or small piece of stick that I had in my pocket through the washing machine!

 

These strategies can help you continue to develop deeper relationships with trees. We’ll continue exploring deep tree workings in my next post, where we’ll look at tree initiations.

 

(PS: Please note that I am *still* camping and hiking in the wilds, and while this post is set to auto-post on July 2, I won’t be back till later this week to respond to comments.  I look forward to reading them!)

Save

 

Taking up the Path of the Bard, Part II June 25, 2017

Creativity is the singing of the soul.  When we create, we draw from the deepest parts of who we are and express ourselves to the world.  The act of creation, the drawing forth and connecting to our inner selves, is the joy involved in creativity.  Having something nice in the end, to me, seems like a bonus! I believe this act of channeling the awen is not only inherently spiritual, it is also part of what it means to be human.  But to allow our souls to really sing, we have to grow comfortable with what we create, we have to set aside our judgement, and and to grow our skills as bards.

 

Last week, I explored what the bardic arts are, the cultural challenges associated with the bardic arts, and some ways community groups circumvent said challenges.   We looked at the creative spirit of children, and how that spirit gets repressed by cultural challenges and the langauge of disempowerment.  We looked at the ways that we think about “talent” and “creativity” serve to severely disempower us from pursuing the joy that is the bardic arts. Now that we have some sense of what has prevented more people from engaging in their creative and human gifts, we can now turn towards answering the two questions I posed last week:

 

  • How can we make the bardic arts accessible to every person?
  • How can you begin to take up a bardic art yourself, regardless of skill level?

 

Last week, I also established four broad categories of bardic arts, which we’ll be returning to in this post:

  • Performing arts: including music, theater, dance, movement, storytelling, singing, acting, and so on.
  • Fine arts: including painting, sculpture, drawing, photography, printmaking, and so on.
  • Literary arts: including writing poetry, songwriting, writing prose, and any kind of writing that requires craft and skill
  • Fine crafts: including fiber arts, metalwork/smithing, pottery, glasswork, woodwork, bookbinding, papermaking, and so on.

And with that background, let’s begin to answer the two questions above and move into a place of empowerment, creativity, and the flowing of awen!

 

The Triad of Bardic Development: Exposure, Technique, and Practice

In the same way that the ancient bards were dedicated to their craft and in the same way that children devote countless hours to their own creative expressions, so, too, do we need to carefully cultivate our modern bardic arts if we are to grow our gifts. I’ll use myself as an example here of how we might cultivate the bardic arts.

 

Spirit of St. John's Wort (painting inspired by nature)

Spirit of St. John’s Wort (painting inspired by nature, part of my plant spirit series)

I have been a visual artist focusing on the theme of trees and whimsical nature art and have been seriously pursuing this work for over a decade. As part of my own development as an artist, I often go to the natural world for inspiration and observation: studying the patterns of leaves, sketching in the woods, taking photographs, and bringing that inspiration back into my art studio. I also regularly expose myself to the work of others who are using different artistic techniques (talking with them, viewing artwork, reading books on techniques).  I go to museums and study, in detail, various watercolor paintings.  I talk to watercolor artsits about their own style and process and inspiration.  We share work with each other and ask about techniques.  Regardless of how “good” I have become, I regularly take classes, read books, watch youtube tutorials, which helps me gain the theories and techniques of a visual artist.  Often, as part of these classes, I get expert feedback on how to improve my work. Finally, I practice my art as often as possible, several times a week (often for several hours), in a space dedicated for this purpose. Practice doesn’t just mean do the same artwork over and over, but rather, I regularly take on new challenging subjects and new media so that I can continue to grow as an artist.  This might mean that I don’t always succeed, but there is much value in the practice.

 

In fact, the way that I develop my skill as a visual artist is no different than the Jazz musician who practices his scales each day, or the aspiring poet who memorizes large chunks of others’ poetry, or woodworker who hones her skills. And this is important: there are things that you can do, regardless of what skill level you begin at, that will help you make good progress on whatever bardic art you choose to undertake.  Further, from my example above, we can see that there are at least three essential paths towards developing bardic skills:

 

The first path of the aspiring bard is immersing yourself  in the thing you wish to master. You have to expose yourself in the world of that particular bardic art and begin to understand how others are already working on that bardic art. How this path manifests depends on the broad genre of bardic arts:

  1. Visual: Visual artists cultivate keen observation skills (of the subject matter) and also expose themselves to others’ artwork.
  2. Literary: Literary artists read copious amounts of others’ work; for poets this may include memorization of others’ poetry and forms.
  3. Performance: A performer would attend many performances and observe other performers practicing their art.
  4. Craft: A craftsperson would study as much of the craft of others as possible.  For example, a leatherworker would study other people’s leather working techniques and finished products, and so on.

 

The second path of the aspiring bard is to learn and practice the techniques of your art/craft. Each bardic art has a set of theories and techniques that you need to understand in order to develop proficiency and eventual mastery. Studying these theories and techniques (on your own and/or through others’ instruction) can greatly assist you as an aspiring bard. Specific bardic arts have their own techniques and their own tools, some of which are listed here:

  1. Visual: Techniques using particular artistic tools, understanding perspective and distance, understanding light/shading, understanding color theory, understanding how paint blends on a page, etc.
  2. Literary: Understanding the structure of a story; studying rhyme, studying different forms of poetry, building vocabulary, studying syntax
  3. Performance: The technical aspects of dance (how to safely perform different moves), how to engage an audience, the technical aspects of acting, singing, vibrato, positioning, lighting a space, etc.
  4. Craft: Technical aspects of the craft, for example, in leatherworking it would be cutting leather, using leather tools, dying and staining leather, finishing, putting pieces together, designing patterns, knowing which kinds of leathers to use for which projects.  Each craft has its own techniques.

Some techniques may transfer from bardic art to bardic art, while others need to be learned anew. For example, drawing skill helps me not only as a painter, but also as a leatherworker when I’m designing and creating leather tooled pieces. But that drawing skill is not so helpful when I’m trying to tell stories around the fire!

Pracitcing the technqiues for some bardic arts also require the tools: for example, as a watercolor artist, I need, at minimum, high quality brushes of various sizes, watercolor paper of a good quality, and a nice set of watercolor paints. Working with sub-par tools leads to a sub-par experience. Having better tools offers me a better “starting point” and eliminates certain kinds of struggles.

 

The AODA's Sphere of Protection in a Tree

The AODA’s Sphere of Protection in a Tree (from the AODA New Candidate Guide)

The third path of the aspiring bard is dedication and regular practice. Each bardic art requires dedication and practice, at minimum, on weekly level. Remember that practice often includes many things that are never seen by an audience (sketches, practicing the tale in front of the mirror, practice scraps of leather discarded, scales upon scales on an instrument, etc.). And because these things are hidden, we forget that they are ever done. However, dedication and practice are the only way we can achieve any form of proficiency, much less mastery. We don’t get good at something by thinking about it–we get good at it through practice (people seem to understand this with musical instruments but with little else!)

 

A second critical aspect of practice is that different kinds of practices are necessary to achieve proficiency. Sometimes, practicing the same thing over and over gives you a lot of skill doing that particular thing, so that you achieve mastery. So, if you make 100 leather bags, your 100th one will be much better than your first. But at some point, there is a diminishing return to continuing to practice the same thing–you’ll get to a certain point and not be able to go any further. It is for this reason that we also need challenges and exposure to more difficult kinds of practice.

 

A challenging piece/performance requires you to gain new skills, to push your skills a bit beyond what you can handle, and encourages new growth. With challenge is the possibility of failure, but failure is not something to fear.  Failure is a regular and consistent part of the learning process, and all proficient people practicing any bardic art have had their share of failure.  How we handle failure here is key–letting failure be an opportunit to learn, rather than an opportunity to shut down, is critical to our own development (for more info, see Carol Dweck’s TED talk and research on mindsets.  Dweck’s work explores two mindsets for approaching failure–when we can learn and grow, we gain much.  But when we shut down and fear/avoid failure, developmentally, little growth happens). A common saying is that the master has failed more times than the novice has even tried, and this is a very true of the bardic arts.  In this view, as we cultivate our bardic art, we must also cultivate the understanding and openness that is required for long-term growth and success. Embrace failures as part of learning and for the value that they offer. Of course it is frustrating to make a mistake, but mistakes are a sign of growth because you are pushing yourself beyond your comfort zone.

 

My father and mother offered powerful lessons to me concerning mistakes and failure when I was a small child learning painting.  I remember working on a piece very hard, only to have a huge paint drip go into the middle of the sky.  I was ready to cry.  My father stopped what he was doing, and came over to me, and showed me how to turn that paint drip into a colorful cloud.  He told me that mistakes were an opportunity to try something unplanned, something different, and that some of his best work had been a result of such a mistake.  When this happened again, my mother reinforced the lesson several weeks later. As I continue to learn new things, I am always appriciative of that lesson and what it taught me.

 

And so, is through the triad of exposure, technique, and practice that we can develop proficiency, an eventual mastery, in the bardic arts. Notice that “talent” is not on this list. Anyone, given enough of the triad above, can develop at least a basic proficiency in a bardic art of their choice.  Talent might help speed things along, but it is is not necessary.  If the purpose of the bardic art is the process, the journey, the ability to connect with our hearts and spirits, then the end result seems but a secondary consideraiton.

Developing a Community and Culture of Bardic Arts

What may not be immediately obvious to the aspiring bard is that the triad above is embedded in a broader culture of bardic arts and also embedded in a specific community of practice. Bards need a community to share their work, talk to others about their work, to receive feedback, and to share their bardic gifts. Each community of bards has their specific techniques and tools, practices that are unique to that community. Further, a bard is often incomplete without an audience of some kind, whether that is the reader of a text, the audience of a performance, the viewer of an artistic creation, or the user/receiver of a craft.

 

In the same way that bards need communities in order to develop effectively, so, too do communities need bards. We cannot rebuild the bardic arts on an individual level without also rebuilding the communities in which these bardic arts are shared. Those engaged in the bardic arts need to feel needed; as though their work is important and it matters. Because it does. And so, we have to recognize that our communities are richer and better with our bards present and being bards. Imagine sitting around a fire at night with a dozen or so people—the more of those people engaging and sharing their bardic arts, the more interesting of an evening is shared by all. If nobody has a bardic art to share, the community suffers (and the evening is dull). This, too, is supported by learning research: we know that when people join communities of practice (see, for example, the work of Wegner and colleagues), those communities strongly support overall devleopment in a particular skill.

 

And so, the questions that remain to us now are: How do we build communities without inhibitions against the bardic arts? How do we nature and support people in those communities?

 

Children. As mentioned in last week’s post, children are natural bards, and the first thing we can do in terms of cultivating communities of bardic arts in the long term is to let children be children and to help them retain and cultivate their creative gifts. Children should be free to create, explore, make messes, make music, and collaborate with friends. As parents and loved ones, finding ways of supporting, reinforcing, and cultivating their creative gifts should be encouraged, especially to help provide a balance to mass education systems which discourage creative expression and creative thinking. As children grow up, they should be encouraged to continue to pursue whatever bardic arts inspire them.  They should also be encouraged to view mistakes as an opportunity for growth (which, according to some of the resaerch I included above, is a very teachable thing). These children, then, can grow up to help lead bardic communities of the future.

 

Adolescents and Adults. In terms of the adolescents and adults, some remediation likely needs to be in order, based on the cultural and educational disempowerment so prevalent today. The overall goal is to help adolescents and adults take down their barriers and inhibitions and reconnect to their creativity in the spirit of the freedom children have but tempered by the focus and ability of an older generation.

 

Many trees make a forest; many people make a community!

Many trees make a forest; many people make a community!

First, adults/adolsecents must have opportunities in their material and social contexts for practicing their bardic arts, in the same way that children have. For example, storytelling is a common thing that can be practiced daily. Children are constantly telling stories to each other and to their families. Adults could cultivate the same opportunity. For example, perhaps each member of the family around the dinner table tells the story of their day as part of that meal. This simple family ritual allows for the building of a storytelling culture within a family and gives each opportunity to learn to be a storyteller. The same can be true of many other bardic arts: creating social opportunities for bardic arts to be shared and practiced is an important part of cultivating them. Another option here is the Druid’s Eisteddfod, a circle of bardic arts around the fire.

 

The second thing, also tied to children and creativity, is the fostering of “play time”, that is, unstructured leisure time in which to explore and engage in the bardic arts. As with children’s play, at least some time should not be dedicated to accomplishing a particular task, but simply exploring materials, techniques, and enjoying the process of figuring things out. (This, of course, means we have to reconsider our own relationship with time and make time for these things, which ties directly to my earlier series on “Slowing down the Druid Way.”)

 

The third thing adults/adolsecents need are the tools to engage in the bardic art and access to expertise. Tools can be procured usually fairly directly (a materialist culture lends itself well to such a thing), but expertise might be much harder to come by. Given that, I encourage those interested in a particular art to seek out a local community, or, online community if no local one is present. These things can be learned on one’s own, but it is often more effective to learn from another.  Chances are, anyone who has developed mastery in a bardic art has had plenty of mishaps and mistakes along the way, and its useful to talk about those mistakes as much as it is to talk about the successes!

 

The fourth thing is to reframe our language within that community of practice.  Aspiring bards need both support as well as constructive feedback, and the challenge in a community is finding methods of doing both in ways that nutrure the overall development.  Some communities offer competitions or critique days that allow people to seek feedback to improve their work. These structured forms of critique and feedback are generally a safe space for those who want that kind of feedback.

For Aspiring Bards

And so, now we’ve come to it–how do I begin to take up the path of the bard?  Here are two questions to get you started:

 

Which of the many bardic arts (visual, performance, literary, or craft) seem interesting to you? 

Select something that appeals to you, that is interesting to you and that inspires you.  Find one that sings to your soul. Don’t worry about whether or not you can or can’t do this thing or if you know anyone else who does it—all bardic arts take dedication and work. Try it out for a bit making sure that you have given the practice enough time to get past the very beginning difficult beginner parts. I’d suggest spending a minimum of 20 hours on it over a period of time to see if it fits you well (this is the practice we use in the AODA curriculum and it works tremendously well).  Twenty hours is enough to know if you will enjoy it, it is enough time to have some small successes, and it is enough time to get past the 10 or so frustrating hours (or more) of learning where not much is accomplished. If this bardic art turns out not to be a good fit for you, try something else until you find your right fit. In this process of exploration, you might borrow the necessary tools/equipment for practicing the art rather than buy them to minimize financial investment until you are sure you will pursue this particular bardic art.

 

Where is there a community with whom you can connect?

Seek out a community that is engaging in the same bardic art that you have interest in.  Once you find that community, show up. I strongly advocate for finding a physical community of people who are engaged in your bardic art (or a range of bardic arts) that you can share with. This community should meet regularly (1/month, at minimum). If you can’t find a community, consider starting one (ask friends to come over once a week and play music or share stories by the fire, etc.). Online communities are a way to supplement local communities, but we encourage you to not stop at online communities. Online communities that have some physical component (e.g. art that is traded through the mail, performances that are given, in-person conferences that are present) are much more effective.

 

The Flow of Awen

The Ancient Druids understood that the flow of awen, the divine spark of creativity or inspiration, was a magical thing (and a topic I talked about in depth several weeks ago). And the Ancient Druids weren’t the only ones to recognize this sensation: many cultures recognize a muse or deity that is associated with creativity (the Greek Muses; Sarasvati, Hindu Goddess of the Arts; Hi’aika, Hawaiian Goddess of Dance/Chant; and so on).  Whether you see the awen as a kind of abstract power or something that comes from a diety, the idea is that this creativity flows through a person when he or she is engaged in her bardic art.  Perhaps you’ve experienced this yourself: it is a powerful sensation.

 

Personally, I see awen a lot like the flow of a river.  If you are opening up those channels for the first time, it is like water pouring into an area: the river will need to make work to flow effectively; there might be obstructions to work through, and so on.  But the longer the water flows in that spot, the more effectively it can flow and the more channels the water makes. Expressing creativity and channeling the flow of awen is a lot like using a muscle—it can atrophy if it is not used. And yet, any muscle can be brought back into health with enough practice; you might see this like a kind of “bardic therapy.”

 

This is where everything in this post comes in: we need tools, practice, and skill to allow the awen to flow through our lives and inspire us.  And when we are in a place with our own skills and abilities as a bard, the awen can flow strong and we can create incredible works.  We need the basic skills and approaches so that we can forget about the technical details and instead just let the awen flow.  It is once we’ve achieved a certain level that we can really let loose, let our subconsious and muscle memory take over, and just flow with the awen.  The things outlined in this post can help the awen flow into your life permancently and powerfully.

 

May the awen flow within you in your pursuit of the bardic path!

 

(PS: Thanks to David N. for long discussions on this topic and working out many of the details that appear in these two last posts!)
(PPS: I have this set to auto-post while I’m on some camping and hiking adventures in rural Maine.  Please comment, but know that I won’t be responding to comments for another week or so! )

Save

Save

 

Taking up the Path of the Bard, Part I June 18, 2017

Bardic Artistic Expression through Clay, Sand, and Straw (cob)!

Bardic Artistic Expression through Clay, Sand, and Straw (cob)!  (This is part of a tree piece I collaborated on at Strawbale Studio in Michigan)

A group of people sharing stories and songs by the fire. A fine pair of leather shoes. A beautiful woven garment. A tale full of twists and mystery. Finely wrought iron doors. An amazing wood carving on a stump. A marble sculpture. A wildly painted mural on a wall. A cob structure with whimsical trees and forms. A song that reaches deep within you when you hear it.  A rousing speech. Each of these, and so many others, represent the natural creative expressions of humanity. Taking up the path of the bard is one of three paths in the druid tradition (along with the work of the Ovate and the Druid). Yet, many people aren’t sure how to take up the path of the bard because they don’t think they are “creative” or “talented” enough.  However, the bardic arts are part of our human heritage and birthright, and each of us has that possibility. I believe it is essential that we have an opportunity to cultivate them and to embrace the flow of awen in our lives. This post, part my longer series on the bardic arts, explores the nature of the bardic arts, how to take them up, and how to become proficient at them. The goal of this two-part post is to answer the two basic questions:

 

  • How can we make the bardic arts accessible to every person?
  • How can you begin to take up a bardic art yourself, regardless of skill level?

 

To explore our two questions, in this week’s post we’ll begin by examining some definitions of the bardic arts.  Then, we’ll explore common challenges people face with taking up the bardic path and the roots of some of these challenges.  Next week, we’ll discuss how, regardless of “talent” or starting point, you can become proficient at a bardic art and offer you tools to get started or continue that process.

 

What are the bardic arts?

For the druid path, the bardic arts, or a wide variety of creative expressions, are central to the practice of druidry.  The ancient bards invoked the “Awen”; the awen is  the inspiration, the muse of inspiration, or the spark of creativity that flows. Likewise, modern druids intone and invoke the Awen in our practices often and draw upon the flow of awen for creative works. I talked more about the awen in last week’s post and more about this centrality of connecting to the creative arts in my recent post on connection as the core philosophy of the druid tradition. 

 

By “bardic arts,” I refer to a wide variety of creative and skilled expressions that can fall into four broad categories:

 

  • Performing arts: including music, theater, dance, movement, storytelling, singing, acting, and so on.
  • Fine arts: including painting, sculpture, drawing, photography, printmaking, and so on.
  • Literary arts: including writing poetry, songwriting, writing prose, and any kind of writing that requires craft and skill
  • Fine crafts: including fiber arts, metalwork/smithing, pottery, glasswork, woodwork, bookbinding, papermaking, and so on.

 

I recognize that many of these categories overlap, and all are inherently performative in nature and allow a bard to engage in some form of self-expression.  One possibility to add to this list might also include “digital arts” of various kinds (film, 3d design and printing, etc) although I’m sticking here to comments on more traditional bardic arts. A second possibility might be culinary arts or other kinds of creations.

           

Challenging Social Structures and Creative Expression

So now that we have some idea of what the bardic arts are, we can begin to dig into the challenging social structures and cultural inhibitions against creating that prevent more people from taking up the path of the bard. Because it isn’t until we understand the problems we face in cultivating the bardic arts that we can find ways of addressing those issues.

 

Growing Up and the Langauge of Disempowerment

Children are the most natural bards of all. Young children do not have the cultural inhibitions against creating that many adolescents and adults later develop.  In fact, young children instead create constantly: a group of children with crayons and paper will quickly create numerous colorful drawings, sharing them with each other. Another day, children might create complex sandcastles or fingerpaint on the wall or draw pictures in the soil outside.  They are happy to sing, dance, and create anything. No one has to teach these children to be creative; they might need to be taught how to use the markers, but a healthy child will create, often to excess, without hesitation or judgment.  Further, children aren’t judgemental of their creative work: they create becuase it brings them joy, not necessarily, because they are creating masterpieces.

By the time that that bardic-arts loving child goes through mass education, however, his or her willingness to pick up a crayon again is often greatly diminished. By the time that child is a teenager, their creative spirit is often replaced with narratives of disempowerment.  They might now say, “I’m not creative” or, when experiencing another’s bardic expressions say, “I could never do that” or “I’m not talented* like you.” They say, “I could never be a [musician/artist/etc.].”

 

How many of you have heard statements like these or said them yourself?  I have heard hundreds of people over the years say these things. Our words have power,  and the kind of statements above is the language of disempowerment. This kind of language prevents us from taking up the path of the bard, and it stifles any chance of creativity. The more we say these things, the more we reinfoce the idea that we are not creative, not talented, and not capable of creative work.

 

(*The etymology of the term “talent” is also worth exploring here. The original term “talent” is a unit of Roman currency. The “Parable of the Talents” within the Christian tradition tells a story of a master who gives three servants different numbers of coins. Two of the servants invest their coins and gain additional talents. The third servant buries it in the earth to prevent losing it; this servant is punished by his master. The moral here is that if we invest in our talents, we gain.)

 

Cultural Sources of Creative Disempowerment

Playing music from the 1750's

Playing music from the 1750’s

What exactly happens in western culture to turn happy and creative children into disempowered teens and adults? I hold that it has at least six sources of disempowerment, each of which is worth considering to help us begin to remove the cultural blocks on the creative spirit and the flow of Awen.

 

Celebration of the Exceptional. Because western culture celebrates and elevates that which is exceptional, it makes average people believe that the bardic arts are only worth pursuing if they are highly “talented.”  Mass media constantly parades exceptional skill/talent in our screens and in our faces, making any of our own efforts appear less than satisfactory. For example, the culture of celebrity prevalent in Westernized media elevates professional entertainers, craftspeople, and artists. It is their work that we consume and their work fills our homes and our lives, stifling our own. The phenomenon of television shows celebrating exceptional “talent” (The Voice, America’s Got Talent, American Idol, etc.) is a telling example here. Tens of thousands of people come out to compete for a chance to win what is, essentially, a highly publicized talent show. Those who aren’t exceptional are literally mocked on national television, and as the show goes on, in the end one or two are elevated to celebrity status. Their music or other creative talents are consumed by millions across the land.

 

Active and Passive Entertainment. The above example directly leads us to the second cultural challenge: the everyday people are discouraged from actively providing their own entertainment. The proliferation of mass media being broadcast into every home ensures that one is so immersed in the creations of others that one has little time, or desire, to create for themselves. One of the things the modern druid movement does is bring back the Eisteddfod, the bardic circle, and celebrates the telling of stories, singing of songs, playing of music, and encourages each person (regardless of ability) to share, actively taking entertainment back into our own hands.

 

Deferring to the Experts. The culture of celebrity also encourages us to “defer” to the experts—those professional entertainers, artists, musicians, and so on who hold exceptional talent are the only ones who hold power. In the Unsettling of America, Wendell Berry cautions against trusting a “specialist” for everything: we have specialists who are in charge of our health, specialists who are in charge of growing our food, and specialists who are in charge of our entertainment (among many other things). An adult living in western society has, literally, decades of practice being conditioned to defer to experts for his/her basic needs, and unfortunately, the creative arts are no exception.  This is disempowering and doesn’t encourage one to take up the bardic arts.

 

Remote Creative Expressions. A fourth challenge present that the celebrity/expert culture puts creative expression in the hands of distant strangers rather than local people in the community. You don’t personally know the celebrities that are providing your entertainment or arts; they are remote, distanced strangers who aren’t accessible to you in any other way. This reduces the chance for you to learn, to ask questions, and to see that any person can cultivate a bardic art.

 

Belief in Innate Talent. Fifth, we have a powerful and prevailing cultural belief in innate talent. This has two sides. First, there is the belief that only those with innate or extraordinary talents should take up creative expressions (because those are the only people who could make money at doing it, see next challenge below). Schools–and individuals–work to elevate those rare individuals with “gifted” or extraordinary people while serving to disempower those who don’t immediately display such gifts. Secondly, there is the idea that a person must already be good at something in order to pursue it. Often, others seek to disempower you if you aren’t as good or are just learning–and this can be stifling.  There is no room for practice or someone who is just “good enough.” Over a lifetime, these beliefs severely disempower those who may have an interest in learning a new bardic art but aren’t immediately masters when they begin (and really, who is?). This leads to disempowerment and people not even trying a new bardic art becuase they aren’t immediatel good at it.

 

Creative Gifts tied to Material Wealth. A final source of disempowerment comes in the form of the expectation and assumption of financial gain. In a materialistic culture, every serious pursuit is expected to be of some financial benefit. This discourages both those who want to enjoy creative gifts for their own sake in a position of constantly explaining “I don’t sell my work” and those who are interested in taking up a bardic art in a disempowered position.  This also leads to the idea that if your work isn’t good enough to sell, you shouldn’t be doing it.  If it can’t be monitized, it has no real value and isn’t worth your time.  Obviously, this is false, but it is still pervasive.

 

Spirit of Poison Ivy, a recent painting I did with the help of the flow of Awen

Spirit of Poison Ivy, a recent painting I finished with the help of the flow of Awen

To demonstrate some of these cultural challenges, I’ll use myself as an example. I have a panflute, which I play occasionally. Although I have a good ear for music, I’m not that good at my panflute because I don’t practice enough. This is because I choose to devote most of my time to my writing and visual arts.  So when I play my panflute,  I usually mess up a bit – it is a challenging instrument to play. I don’t care if I make a few mistakes, and neither do the trees I am playing for. But people do–they expect flawless, expert performances. I have had people tell me, “don’t quit your day job” after hearing me play. My singing is even worse–I have not taken voice lessons nor do I have a very strong voice, but I like to sing anyways.  If I sing or play the flute and others hear me, it is not seen as a positive thing, but rather, I experience a lot of discouragement.

 

On the other hand, I am a highly skilled artist.  This is becuase I grew up in a house with two parents who were professional artists and because I have dedicated myself to my art and practice it at least several times a week for over decade.  If I share my work, I often will hear the “you are so talented, I could never do that” statements.  These statements both disempower the speaker and disregard the thousands of hours that I have put into my artwork to be able to get to the level where I am. I also hear, “you should sell your work” as if commercializing it is the ultimate compliment.  My art is part of my spiritual path and making money from it isn’t the point of it. But the only models we have, culturally, suggest to be successful as a bard is to be *really* good at it and to make a profit.

 

Breaking Away from Cultural Challenges: Local Bardic Communities

Despite the above cultural challenges, a good number of everyday people break out of these narratives and engage in the bardic arts, often developing local communities of bards. You see these endeavors through initiatives such as community theaters, community orchestras, local wood carving guilds, artist associations, local art shows, local singing groups, local craft guilds, and more. These groups not only support those engaged in the bardic arts in further developing their talents but offer places for everyday community members to be exposed to artists who are ordinary people and who are engaged in the creative works. In other words, these local community groups serve as counter-narratives to the above problems in at least four ways:

 

  1. They demonstrate that everyday people (neighbors, friends, family members) can engage in creative expressions
  2. They demonstrate active role in one’s own entertainment/creative expression rather than handing this over to specialists
  3. They accept the idea that being “good” at something is good enough*
  4. And, they demonstrate that bardic arts don’t have to be done only for profit, but simply, for pleasure

 

Here, I point to a scene in John Michael Greer’s Retrotopia, where the main character goes to see a theater performance and comments that the singing and acting were “good” and an enjoyable time was had by all. The point being made here is that entertainment doesn’t need to be done by only the exceptional—being “good enough” still leads to enjoyment.

 

Despite serious cultural challenges, the creative flow of awen hasn’t completely been lost from the common folk! So hopefully at this point, we can see the roots of some of these common cultural challenges and through this illustration, we can begin to break out of the challenges and embrace our creativity. Next week, we turn to a discussion of how to cultivate your creative gifts as a bard and cultivate and join communities of bards. In the meantime, perhaps this week, take some time for whatever bardic pursuit you enjoy (or are thinking about taking up!)

Save

Save

Save

Save