Category Archives: Stories

Druid Tree Workings: Finding and Working with Grandmother Trees

The Ancient Maple - An Elder of the Land

The Ancient Maple – Grandmother Tree.  This grandmother lives in a middle of a rock pile.  the three branching trunks signify she may have been cut at one time and regrew. Grandmothers can be stubborn!

A grandmother is a really special person. I remember going to my grandmother’s house when I was a little girl–it was literally my favorite place to go. My grandmother and I would go to the thrift store and buy used clothing, then spend the morning sewing doll clothes and repurposing those old clothes for amazing new clothes for me–skirts that swirled out wide and colorfully printed tops.  We’d go out into the garden and pick herbs, and she’d cook up an incredible pot of mushroom soup.  She was full of generosity and love and always fostered my creativity and joy.  My other grandmother was quite different–she was a bit of a firecracker, sassy and short-tempered. A steel mill worker’s wife, she knew how to make do with nothing and taught us the importance of honoring what we had and taking time for family. She nurtured her grandchildren, bringing us plates of crackers with peanut butter and butter, sitting on the porch watching us play, and simply being present.  Perhaps you have your own fond memories of your grandmothers, or you have others who have served a similar role in your life.

I start with a discussion here about human grandmothers because in talking about developing deep tree relationships, associating tree work to things we already understand can be helpful.  Today, we are going to talk about finding and honoring the “grandmother” trees that you may have encountered, those ancient wise trees that nurture and support you in similar ways to a human grandmother.This post is part of my Sacred Trees in the Americas series. In this series, I explore the magic, mythology, herbal, cultural, and divination uses, with the goal of eventually producing a larger work that explores many of our unique trees located on the US East Coast. For the methods for how I research these posts, see this page. Other trees in this series include SpicebushRhododendron, American Hazel, Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, and Oak. For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, and helping tree spirits pass.  This material will all be part of my forthcoming Tree Alchemy oracle project!

What are “Grandmother” Trees?

Grandmother Beech

Grandmother Beech, a nurturing soul who offered me these teachings.

I first was introduced to the concept of “Grandmother” trees by a group of ancient beech trees I had found in the forest.  I had spent two days before doing some deep and pretty painful spiritual work as part of a spiritual retreat, and the grove of ancient beeches welcomed me in and invited me to stay and rest for a few hours. The photo here is of one of these amazing grandmother beech trees. I put my blanket down in the middle of the grove of ancient grandmothers, and they nurtured me.  I dozed off, and the grandmothers appeared more human in my dream, offering me visions and tending me with their gentle hands.  They gave me the message to recall other grandmother trees and share this concept.

Grandmother trees are special trees that function in many ways similar to a human grandmother. They nurture you and feed your spirit.  They are there, welcoming and wise. These trees are usually some of the oldest trees that you meet–kind, loving trees, full of the weight of wisdom. They have the weight of centuries upon them and in their old age, they have much to share. Like a human grandmother, these trees have their own personalities–some more nurturing, some sharper, some quieter–but they are always there to give and to experience the connection with you.

The nice thing about grandmother trees is that you can have as many of them in your life as you want. Some of these trees may become a long and stabilizing presence for you, and some may come or be in your life only a short while. Either way, they are a blessing and an excellent way to cultivate deeper relationships with trees and the living earth.

Finding Your Grandmother Trees

Now that I’ve shared the concept with you, you can take this idea in a number of different directions.  Here are some options:

Identifying Your grandmother trees. The first thing you could do is think about the really meaningful trees that you’ve had interaction with that might fit this category. Create a list of those “grandmother” trees, those trees that may hold a special place for you. If you don’t yet have any grandmother trees, then skip to some of the later steps.

Interaction in spirit for those that were lost. Some of your grandmother trees may be left only in your memory.  An ancient crab apple tree was my first grandmother tree.  She was, ironically, located behind my grandmother’s house on an adjacent property that was delightfully overgrown with weeds and that was an old cider apple orchard.  When I was small, my cousins and I spent a lot of time with this tree–she had amazing branches with different “rooms” that you could climb into and it was so enjoyable to play in this tree.  We would eat her sour apples and gather them up in quantity to take to our grandmother, who would turn them into pies.  Sadly, this incredible tree was cut when I was still a child, where a neighbor decided to turn this abandoned wild orchard into a lawn. Even though this grandmother tree is gone, her memory is with me, and I return to the spot where she once grew.  I remember her, and I honor her, and the nutrients that she shared with me I carry in my bones.  Thus, it is easy to do a spirit journey to reconnect with grandmother apple and still sit at her feet and hear her wisdom.

Seek out new grandmother trees.  A grandmother tree is usually easy to spot–she’s the largest and oldest tree.  If she’s in a park, you’ll often find people congregating around her simply because they seem to want to be near her.  Or you might find one of the more remote grandmother trees, those trees that are found hidden away in forests. Here where I live in Western PA, nearly all of our forests were logged repeatedly, and thus, the oldest grandmother trees are almost always found along what was abandoned fence rows or in the middle of a rock pile (which at one time, would have been a field).  It might be that your own landscape has its own ways of finding grandmother trees.  In truth, they are not hard to find, at least not in areas with natural wood cover–just go hiking or to a nearby park and you will find them.

Working with Your Grandmother Trees

Towering White Pine, Parker Dam State Park, PA

Another amazing grandmother tree I know–a white pine! She reaches to the sky and brightens everything around her.

Find the face of the grandmother tree. Many grandmother trees, being the oldest and wisest of trees, have faces (more on face of the tree here).  If you look, you can see their amazing faces. These faces may lend you insight into the personality of this particular grandmother.  Speak to the grandmother, looking at her faces and different expressions.  Look also at her bark patterns, root patterns, and how the branches in her crown branch out.  You can learn quite a bit about this grandmother tree from these simple observations.

Build a relationship.  Like all relationships with nature, you should focus first on reciprocation and gratitude.  See if the tree is willing to communicate (these trees nearly always are, and welcome communication).  Offer gratitude and offerings.  Sit beneath your tree and look at how she grows, how her branches come in different directions.  If she is willing, sit against your tree and exchange energy, allowing her energy to flow into you and yours into her.  Play music or sing for your tree, and listen to her own song in the wind.  As you cultivate this sacred relationship, your tree may have gifts for you–a branch, a leaf, or her nuts/seeds.  She may ask you to do things or bring her things.  She may have words of wisdom for you.

Not all grandmother trees are enormous--this ancient hawthorn may grow in the understory, but she has much to teach.

Not all grandmother trees are enormous–this ancient hawthorn may grow in the understory, but she has much to teach.

And like all things, consider how your relationship is reciprocalDon’t only come when you need something–come just to spend time.  When you do, consider bringing gifts for your tree–a song, a poem, a story.  These ancient trees may be so old that they once had other such friendships over time, and they will certainly value yours.

I can’t underestimate this kind of regular interaction. Every time that I visit one of my own grandmother trees, even if it has been years (say, from a place that I moved away), I feel that both the grandmother tree and I are enriched by the experience.  And even when I can’t visit them physically, I visit them in spirit!

Learn. The most important thing you can do with these grandmother trees is open yourself up to their wisdom. Some of the oldest grandmother trees remember times before, times before colocalization and cultural genocide destroyed the land’s native peoples; times before the land was stripped bare for greed and industrialization. In their quiet voices, they will teach you: of their medicine, of their magic, and of how to relearn how to be connected to the wisdom of the landscape and tend the land.  They have more to teach you than any human possibly could, just take the time to listen.

Closing Thoughts

While the grandmother tree idea seems like a simple thing, it is an amazing way to help you cultivate deeper relationships with trees all over your landscape.  I have several trees that I am as close to as my own human friends, that I visit often, and that we share much together.  I would love to hear from you and perhaps you can share some of your own experiences with these grandmother trees and the blessings they offer!

News – The New Druidry Handbook!

Druidry Handbook – Classic Edition

As a final note, I’m excited to announce that I’ve written the new forward to Weiser Classics edition of The Druidry Handbook by John Michael Greer.  I am honored to be asked to write the introduction and share how much The Druidry Handbook and Greer’s work have shaped my own druid practice.  It is now available so I hope that you’ll check it out!

Exciting News at the Druid’s Garden: Podcasts, Book, and More!

I wanted to do an extra post this month to share some of the exciting things that are happening here and give everyone some updates.  I want to start by expressing so much gratitude to all of you, my readers!  I started this blog a decade ago (yes! the Druid’s Garden just turned 10!) and it has been such a journey.  And the reason that I’m still going is that I have such wonderful people who support me and so many readers who encourage me to keep going. 

First, the BIG NEWS is that my first book is being released by Red Feather / Shiffer Publishing in early May. You can pre-order it on Amazon here in the US.   If you are in the UK or Europe, you can preorder it from the Amazon UK site here.  For those of you who are my long-term readers, this features a wealth of information to integrate nature-based spiritual practices with sustainable living and permaculture design. If you are looking for ways to honor that earth path, please check it out!  The book also features a forward by my long-term mentor and friend, John Michael Greer.

Here’s a description of the book: A challenge that many pagans and earth-based spiritual practitioners face is how to integrate sustainable living with our everyday lives. This book responds to the challenge by offering a vision of “sacred actions”, or the integration of sustainable living with earth-based spirituality. Foregrounded by three ethics: people care, earth care, and fair share, Sacred Actions offers a comprehensive introduction to sustainable living through the lens of paganism. Within you will find a wide variety of accessible sustainable living activities, rituals, stories, and tools framed through the Neopagan eight-fold wheel of the year. Each chapter, tied to one of the eight holidays, offers a specific theme that deepens sustainable living practice. Topics include the home and hearth, lawns and gardens, food and nourishment, sustainable ritual items and offerings, reducing waste and addressing materialism, and much more. Consider this your manual of personal empowerment through sustainability as a spiritual practice.

Appearances:

Plant Cunning PodcastI was honored to be featured recently on the Plant Cunning podcast.  It was amazing to talk about the inter-relatedness of druidry, plant medicine, and so much more.  Here’s a link to the podcast for a listen!

In the summer of last year, I was invited to be a featured Altarist on the Altar This site. The Altar This site is a really cool project where different people who use and construct altars are interviewed with photos of their altars. I’ve really enjoyed browsing the site to see everything that people do!  You can read about my altar setup here!

Tarot Decks and Oracles

I want to thank so many of you for the support you’ve shown for the Tarot of Trees and Plant Spirit Oracle over the years! A considerable portion of both of the sales of these decks go to support good organizations, like the United Plant Savers and, most recently, the fund to save a local forest, White’s Woods.  The Plant Spirit Oracle was released a year ago, and we are currently finalizing the 2nd print run since we have almost sold out!   The Tarot of Trees regular size edition has been out of stock but will be back in stock hopefully in March or April (the print run is done, so we are just waiting for the arrival of the new cards).  If you are interested in getting a regular Tarot of Trees, we are offering 10% off on preorders–you can include the code TOT fan on our Etsy site

Newsletter

The Tarot of Trees, 1st edition

The Tarot of Trees, 1st edition

I am planning on starting a regular newsletter (offered at the solstices and equinoxes) starting in Spring 2021.  I will feature art giveaways, featured blog posts, news, and sustainable living tips.  If you are interested, you can sign up here.

Ok! I think that’s all of the news and updates.  Thank you everyone for your ongoing support of my writing, oracles, and art–I very much appreciate all of you :).

Honoring the Ancestors of the Bardic Arts: Tools, Techniques, and Legacies

Shoemaking Hammer with Spirit

Browsing an antique store a year ago, I found a wonderful shoemaking hammer.  It was an interesting shape, and when I held the tool, I could literally feel the connection this tool had had with its previous owner. Whoever had owned this tool had used it well–the handle was worn, a piece of old, soft velcro partially worn off where someone had placed it for a firmer grip. I could sense the resonance of craft and skill in this hammer. I held the unique hammer in my hand, and turned it a few times, knowing that this tool would find a wonderful home in my art studio.  But more than that, this tool had a bardic ancestral connection to one of the primary bardic arts  I have been pursuing for some time: leatherwork.

In Druidry and broader neopaganism, we often focus on the ancestors in three different directions.  The first is ancestors of our blood, which is the most common idea of “ancestor” in modern culture, and represents a connection with the DNA and lineage that we have coursing through our blood and bone. We often also recognize ancestors of the lands where we live (which is critically important for those of us who live on lands that were stolen through colonialization).  And we also recognize ancestors of our tradition or spiritual path, for example, in Druidry, the ancient druids and those of the druid revival period are honored as ancestors.  I’d like to suggest that for those of us engaged in the creation of bardic arts, we might consider a fourth kind of ancestor: ancestors of our craft.  By bardic arts, I mean any creative arts that you practice, which can include literary, musical, movement, art and craft, or others that are less easier to categorize. These are things you create with your hands, your mind, your body, and your heart that allow you to experience the flow of awen (creativity) and create.  In my earlier post on this topic, I offered a philosophy of ancestors of the bardic arts in two ways: the first was in considering taking up bardic arts that are tied to your own blood ancestors: what they created, how they created it, and so forth. Thus, you can draw upon ancestral in the choice of a new art form or carry on a family ancestral legacy. The second way I shared was through connecting to previous through previous bardic creations and using those as inspiration. For a clothing maker, this might be being inspired by previous century’s fashions, for a musician, sets of notes created in another time period, or by poets, through the words written in days of old.  These flows of inspiration can support the creation of new works today. In today’s post, I want to expand this idea of bardic ancestry and also consider the role of tools and teachings as a third area that we might consider to be part of a “bardic ancestry.”

Tools and Connections

Some of the leather and tools gifted to me

To get back to my shoemaker’s hammer, part of the reason that I was so excited to find this hammer is that this isn’t the first set of old and well-loved tools that I’ve encountered.  In fact, the first set of tools set me on the path of leatherwork six years ago. The journey into leatherwork was an unexpected one, one that almost fell in my lap.  It started with Yankee Shoe Repair, which was an icon in my hometown for over 100 years.  I remember going into this bright, wonderful store when I was a child with my grandmother and looking at all of the patent leather shoes that they made there.  In late 2013, the proprietor, Carmel Coco, had passed away and nobody in his family decided to continue his legacy.  According to the article linked above,  Carmel had given up other opportunities, including going to the conservatory for music, so that he could dedicate his life to leathercraft and continue his family’s business.  In early 2014, Yankee Shoe Repair went up for auction.  My parents, who are artists themselves, went to the auction and ended up purchasing leatherwork tools and much of the remaining leather for me as a birthday gift.

I was delighted with the gift and began to learn in earnest. Leatherwork drew me in deeply because it required a tremendous amount of technical skill to master (which is a welcome challenge) but also, in part, because I did feel like I was in my small way continuing a local ancestral legacy.  The tools that I held in my hands and worked with, such as punches, a beautiful bakelite hammer, and a lovingly crafted handmade awl, weren’t just any tools, they were special tools that came from a special place and that needed to be honored.

Leather case I made for my sickle

After spending time with these tools, learning how they work (mostly through books and youtube videos), I have developed my own relationship with them.  These tools of my craft have a spirit of their own.  They have presence.  I can feel the weight of the years of use in them, guiding my hand.

I think, given time, my newer tools that I purchased to supplement the ones that my parents bought will take on their own energy and spirit.  But that will come only after years of use and relationship building.

I suspect that many of us may have an opportunity to connect with old tools of a bardic art, or even have those tools come to us in unexpected ways.  My suggestion is this: If you are going to start a new bardic art, see if you can find some older, well-loved, and well-made tools.  Perhaps this is an older instrument, set of songbooks, old wooden palate, and so forth.  connecting with the tools of previous masters of the craft offers you what I can only describe as an energetic connection into your craft.  You still have to put in the work, practice, and cultivate your technical skills.  But using those tools gives you something that is simply not present, and I can only describe it as a bardic ancestral connection.

Teachings and Techniques

The other way in which I see this ancestral bardic connection flowing is through a different kind of legacy–a legacy of teaching and learning.  Techniques and teachings are refined, passed on, and shared with students.  This might be from a physical teacher to student (and certainly, this was the only way it was done in days of old), or, it might be through preserved books, teachings, and recorded lectures.  I see this as another ancestor of bardic craft connection: if someone has decided to pass what they know on, you are carrying that legacy of instruction with you each time you use those techniques and skills taught.

Leather burned piece above altar

It is not easy to find local leatherworkers willing to teach you or local leatherwork classes. I have only had the opportunity of taking one in-person class in leatherwork (at the North American Bushcraft School) and one more via purchased video (the DVD from Jason Hovatter on Scandanavian Turnshoes).  Those were both fairly recent in the last few years–and before and since then, I’ve been mostly on my own.  The thing about leatherwork is that it does require huge amounts of technical skill, and no amount of “messing around” with the tools will teach you certain things you need to know.  You need to use the established techniques to be successful.  For me, filling in the in-person gaps was the books and teaching legacy of Al Stohlman. Al Stohlman and his wife Ann revolutionized leatherwork, producing over 30 incredible books that are literally illustrated in leather.  These books teach you everything you need to know about techniques, construction, how to use and care for your tools, and more.  The impact of these books on my technical skill and how much they have taught me (and how much I still have to learn from them) is incredible. Thus, the other clear bardic ancestors I honor in leathercraft is Al and Ann Stohlman.

I suspect that many of us who are interested in taking up a particularly technical art form may eventually find those kinds of sources–teachers, either direct or indirect–which help us radically shape our craft and build technique.  Those kinds of inspirational figures are worthy of honor and respect.

Honoring the Ancestors of the Bardic Arts

Leather bag with a wolf theme

Now I’ve offered four ways–two in the last post, and two in this post–to think about bardic ancestors and honoring those ancestors.  But what might this look like in practice?  I’ll share a few ideas, although I suspect that different bardic art forms may require their own kinds of adaptations).

  1. Honoring the tools of the craft.  Because I am working with tools that carry a legacy, I take a moment at the start of a new project or when I pick up my tools for a creative session to honor them.  I have a moment of silence where I simply feel the tools, hold them, and express gratitude for them.  It’s not any kind of big ritual, but simply acknowledgment and gratitude.  Even if you aren’t working with legacy tools, I think it’s a good practice to take a moment to honor the tools–the raw materials they were created from and their support of your work.
  2. Honoring your hands and body as a tool of creation. If you are a dancer or singer or use your body in some way to create, you might also think about the ancestral legacy flowing through your veins–that voice came from some genetic combination, the hands that were shaped from the genetic material of previous ancestors, etc.
  3. Ancestor Shrine in your place of creation.  As with other ancestors, you might create a small altar or shrine to honor your ancestors of the craft.  This could be set up in a place where you create.  It doesn’t have to be anything fancy or elaborate, but a simple acknowledgment of the lineages and crafting traditions that you follow.
  4. Ancestor work at Samhain. For any of the ancestor work that you do at Samhain or other parts of the year, consider including the ancestors of your bardic crafts.  For example, I usually do an ancestor altar, dumb supper, and ancestor ritual of some kind as a way to honor my ancestors (sometimes this is with a grove, and sometimes solo).  Consider adding these ancestors in and revering them in the same way you would other ancestors in your spiritual practice.
  5. Improve your skill and dedicate yourself to your craft. I think that another way that you can honor the ancestors of the bardic arts is by dedicating yourself to developing technical skill and eventual mastery.  If you are using their tools, techniques, and approaches, applying these well is a form of honor.
  6. Naming and honoring. You might name a piece after an ancestor or create something that honors the ancestors of your bardic arts in a specific way.

    A larger awen bag

A week ago, my new leather sewing machine arrived. The machine represents a huge step forward in me deepening my craft of leatherwork. It allows me to move in new some exciting new directions.  I named the machine “Coco” in honor of my ancestors.  I hope that this post has inspired you in some new directions.  I am happy to continue to share deep thoughts on the bardic arts–sometimes they seem a bit “left out” in our spiritual discussions in Druidry, but I think they are so critical to our paths.  Blessings to all.

PS: I will be taking several weeks off from blogging and will resume blogging on the Winter Solstice.  Starting in 2021, I’m also planning on starting to release a quarterly email newsletter.  This will feature some of my favorite writing, new artwork, and other news about my work (such as my upcoming Sacred Actions book being released by Shiffer Publishing in 2021!)   If you are interested in signing up, please visit:  https://www.druidsgardenart.com/mailing-list/

Awen, Bardic Arts, and the Ancestors

The time between Samhain and Yule is always a time of deep reflection for me.  As a homesteader, this represents the end of the season– the first frost happened in the week I was drafting this post, making everything curl up and die. By the time late November comes around, any major outdoor projects are complete for the year. We anticipate, even embrace, the winter months when snow carpets the ground and all is frozen and still.  While in the light half of the year, I spend most of my spare time gardening, doing various permaculture projects, or just being outside in the summer. In the dark half of the year, this is when I turn to more inward-focused bardic arts, more intense practice of my magic and journeying,  and learning from books of all kinds.  So as we move into the dark half of the year, I’ll be spending some more time on my bardic arts and awen series of posts as that is where my mind is moving into.

 

Awen and the bee

Today’s post explores the ancestral connection to the bardic arts and considers how we might explore our ancient ancestors by working with their art forms and using their work as inspiration. This is part of my larger series on the bardic arts. For earlier posts, see, Taking Up the Path of the Bard, Part 1, Taking up the Path of the Bard Part II, Taking up the Path of the Bard, Part III – Practice makes Perfect, Cultivating the Awen, A bardic storytelling ritual for empowerment, rituals, and activities to enhance creativity, and the fine art of making things.  Finally, you might be interested in reading my 2018 Mount Hameus research piece, supported by the Order of Bards, Ovates, and Druids.

 

Bardic Arts and Our Ancient Ancestors

Many ancent human ancestors practiced the bardic arts. Every culture on the planet, in addition to having language, also has many forms of bardic arts: music, storytelling,  fine crafts, fine arts, drumming, singing, dance and bodily expression, and much more. Some of how we know this from archeology and the kinds of things we find in museums.  For every “functional” tool, we also see one decorated or objects that are purely decorated.  Our ancestors (and by this, I mean human ancestors of all kinds) painted on the walls of caves, shaped clay, wove, and used colors.  They sang and told stories and danced.  They practiced fine crafts and honed their skills in incredible ways–some ways which have been lost to us in the modern era.   But more than what can be found in the historical record–we know this.  We know this because we seem to have been evolved to create.

 

Some of the earliest records of art are 65,000-year-old cave paintings by Neanderthals, as reported by Nature Journal In 2018, scientists reported cave drawings by homo sapiens that were at least 75,000 years old. The cave paintings and drawings endured over time, even when likely many of their other art forms vanished.  But I’m certain that these images were not the only kinds of bardic arts that our ancient ancestors did.  The oldest known instruments are the Gudi flutes, which are a kind of crane bone flute.  I actually have a bamboo flute modeled in the style of the Gudi flute, made by Erik the Flutemaker. He doesn’t appear to make that one anymore, but he does make a similar ice age flute.  When I play my flute (in a pentatonic scale), I wonder how similar this music might be to the ancestors.  I could keep going with many other kinds of bardic arts:  dancing, storytelling, fiber arts, pottery, basketry–I think you get the idea.  If we look deeply into our own cultural history, and deeply back much further into prehistory, we can see that the bardic arts were clearly practiced by our ancient human ancestors.

Awen from the heavens

This leaves us with at least two exciting possibilities, both of which I’ll now explore.  The first is the ability to connect with our ancestors, modern and ancient, by practicing intentional bardic arts.  The second is to work with their awen and be inspired by their creations for your own.

 

Connecting to the Ancestral Bardic Arts

The first possibility is that we can connect to our ancestors by practicing some of the bardic arts they may practice. I’ll go back to my crane bone flute for a minute to share an example. If I’m playing my flute by myself, I close my eyes before I play it and take deep breaths. I feel my consciousness stretching back through time to reach those ancient human ancestors who may have played similar instruments. Once I reach that space, I begin to play, letting whatever notes come to me in any order. Sometimes, good things happen with the music when I do this. If I am playing my flute with others, I will begin by briefly sharing what the flute is, what it is modeled after, and ask them to close their eyes and connect with those ancient ancestors. And then I play a song. I think this is quite different than just playing the flute for people–of course, people are drawn to music and love to hear it, but understanding that this flute has a deeper ancestral connection gives us that deeper experience.

 

If you want to explore your own ancestors (or more broadly our common human ancestors), there are a few different approaches. The first is to research the history of the thing you already do and learn about it from an ancestral point of view.  For example, if you tell stories, see if you can find the oldest stories and information about how these stories were conveyed, who told them, and so forth.  If you play an instrument, learn about the history of that instrument, what older versions of the instrument exist, and maybe see if you can get one (like my little crane bone flute). If you like to write, learn about etymology (the history of words) and the history of writing (which is so fascinating!)  This approach is good for someone with an established bardic practice, someone who maybe wants to take their practice in a new and interesting direction.

 

You could also do the opposite–pick your ancestors, and then learn what you can about them and their bardic arts. Once you’ve done this, start practicing one or more bardic arts. You don’t have to go back to pre-history for this: any group of ancestors at any time are possible sources of inspiration. This, for example, is why I occasionally dabble in making hex signs.  My ancestors were Pennsylvania Dutch (German) and the hex signs can still be found on barns all over my region. Once I started doing family history, finding a family bible with small charms written in it (all in German, of course), and so on, the ancestral connection to this tradition grew within me and I wanted to build some of that into my bardic arts practice. This is also why I practice pysanky (and my motivation for having so many different egg-laying birds!) and play the panflute!

Awen and growth

Awen and growth

Ancestral Awen as Sources of Inspiration

I shall sing of the awen, which

I shall obtain from the abyss

Through the awen, though it were mute

I know of its great impulses

I know when it minishes;

I know when it wells up;

I know when it flows;

I know when it overflows.

–Taliesin, “The Festival” from the Book of Taliesin, 13th century

This is one of my favorite poem segments, from Taliesin, who is thought in the Celtic world to be the greatest bard who ever lived. Here, he’s speaking of his deep relationship with the awen, and how he understands it, and how he cultivates it. Although he cannot speak to it directly (“though it were mute”) we can see how he knows exactly how to work with it.  Taliesin is, as he says, a master of the awen.  When he wrote, he was bringing that spark of awen and transforming it into poems, stories, and songs.  So, too, were other practicing bards throughout the ages–some named,  many nameless. Even though we don’t know all of their names, the work that they have left us still stands–in museums, in our buildings and architecture, in our stories and songs.

 

Another ancestor-focused practice tied to the bardic arts, then, is focusing on using historical bardic works for inspiration.  Many masterful designers use this approach (I was taught a version of this approach in two different master classes teaching radically different skills–leatherwork and figure drawing).  We can look go previously created works, preferably historical, for inspiration.  To do this, I go to museums for inspiration.  Perhaps I see a pattern I really am drawn to; I take reference photos (if photographing is allowed, and if not, I get a copy somewhere). I take walks around, looking at patterns and beauty in old buildings, old iron gates, and so forth. I combine these photos with inspiration from the natural world. I do this for a while, gathering bits and pieces of ancestral inspiration.  I develop an ancestral library of sorts, which compliments my nature-based library of inspiration.  Then, the next time I sit down to design something, I use those photos as inspiration.

 

This kind of practice creates almost like a chain of awen. The awen was sparked by some ancient bard, somewhere in prehistory. That bard inspired others, and new works were created.  Some of those works remained available to me, as a modern bard, and I can draw upon their inspiration.  How many previous works inspired the one I’m looking at today?  How many ancestors am I touching, in finding inspiration in their own work? How many future bards may my work inspire?

 

 

Sacred Tree Profile: Chestnut’s Magic, Medicine, Mythology and Meaning (Castanea dentata)

Basket of abundant chestnuts!

Just a few weeks ago, I went and checked the local chestnut trees that are in a field near where I live.  Ever since I moved to the new homestead, I have been eagerly visiting these trees.  Last year, they dropped plenty of husks but with only shriveled nuts inside. This year, I was extraordinarily pleased to find that both trees had produced a bumper crop of the delicious nuts–some almost 2″ across, but most smaller, almost all worm-free, and delicious. I eagerly filled my basket with the nuts, stepping carefully around the extremely prickly husks.  I sat with each of the trees and we conversed as I harvested the nuts. I took home 25 lbs of nuts that day, and these nuts will sustain myself, my geese (who love them), and my friends and family for many a Samhain, Thanksgiving, and Yule feast!  Chestnut trees have many lessons to teach us.  Even after the way they have been treated here in the US over the last few centuries, they are still kind, abundant, and wise.  So today, let’s explore the magic of the chestnut tree, trees who certainly come into their power this time of year (here, in the mid-to-late fall) as their protective husks suddenly open and their abundance comes forth.

 

This is a part of my Sacred Trees in the Americas series, which is my long-running series where I focus on trees that are dominant along the Eastern seaboard of the US, including in Western PA, where I live.  Previous trees in this series have included: Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, and Oak.  Today we are talking about the American chestnut, Castanea dentata.

 

History and Hope

Chestnut is a tree with a complex history in North America. One of the better sources–and delightful reading–about the history of chestnut comes from Eric Sloane’s On Reference of Wood. Prior to white colonization, chestnut was one of the most abundant trees (making up about 25% of the total tree cover, which is an enormous amount of tree cover for one species).  These abundant and giving trees reached up to the tops of the tree canopy, and I’m sure, were incredibly majestic to behold.  Native American peoples depending on them, and cultivated them, as a serious food crop.  Unlike acorns, which take a lot of processing (especially those we have here on the US east coast) chestnuts require practically no processing and are a rich source of nutrients and carbohydrates.

At the time of colonization, chestnut wood was put to use as a sturdy and rot-resistant building material; in fact, many of the old barns here that date before the 1900s have rafters and beams made of solid, strong chestnut. Like many other trees, with colonization came the cutting down of the largest of the chestnuts for wood purposes.  But the tragic history of Chestnut doesn’t end there.  In 1904, the Chestnut blight (Endothia parasitica) swept across North America.  Grimm described the decline of chestnuts as “the gaunt skeletons of great trees in our forests.”  Eric Sloane talks about this in a similar way–chestnuts were once a very dominant tree among our landscapes, with massive trunks and tall branches and crowns, reaching into the heavens.  After they died back, they left skeletons everywhere.

 

Here in Pennsylvania, something even worse happened. Here in PA, as a political move being claimed in the name of stopping the blight, the PA Forestry division ordered every last chestnut cut down.  So to stop the blight…you eradicate the species?  That’s right.  Rather than see if some trees could develop disease resistance, instead, they cut down to the very last tree.  If you look at this map, you will see how impactful that decision was on the number of chestnut trees. My own interpretation of this, giving when it happened, is that by this time, about 90% of the forest cover was lost in Pennsylvania already.  This was an easy excuse for even more logging to fuel growing industrialization and demands for wood.  By the 1940s, the American chestnut was all but extinct.  Thus, within less than forty years, between four and six billion American Chestnuts were gone.

 

Seeds of the future–and of hope

Fortunately, this is not where history ends.  In the late 20th and early 21st century, Chestnut is seeing a resurgence.  First, we have organations like the American Chestnut Foundation who conduct research and help people plant new American chestnut trees. The American Chestnut Foundation  Second, Chestnut is becoming an important staple of Permaculture designs, regenerative agriculture, and agroforestry.  Many chestnuts grown in this way are Chinese Chestnuts or, in some cases, hybridized chestnuts with much of the original American chestnut DNA. This work is certainly ongoing, but all is not lost.  Chestnut is currently listed by the IUCN as “critically endangered” but the USDA has declared them “functionally extinct.”

 

Original American chestnuts do still survive; the blight does not kill back their roots.  They usually send up shoots, up to 15 or 20 feet high, and then, after a time, the blight kills them back. Sloane talks about this with his book, where he describes the chestnut stump “still trying to grow” (pg. 101).  Some disease-resistant chestnuts have been found, and other selective breeding programs are also taking place, as these great hybrid chestnuts from Oikos tree crops. Other patches of American chestnuts have survived outside of their typical range, such as small patches in Canada and Michigan.

 

Chestnut Ecology and Uses

The American Chestnut can grow to 4-8 feet in diameter and a height of 100 feet or more high, although such trees are an extremely rare sight today!  The Chestnut wood is light, soft, and moderately strong, but very rot-resistant; it was used for posts and poles.  The bark was rich in tannic acid, being used for tanners.  Unlike oaks, hickory, walnut, or beech, Chestnuts produce quite a dependable crop of nuts each year.  For one, Chestnut blooms later in June or even here, in early July, which is well beyond the danger of frost (which can take out other nut trees).   Chestnuts themselves develop in extremely spiky burr balls; the nuts are impossible to get until the tree is ready to release them.  When the nuts are ready, the tree opens its burr ball and the burr and nuts fall to the ground, literally raining chestnuts all over the ground.  You still have to be careful to avoid the chestnut burr husks when picking (no bare feet under chestnut trees) but you can quickly gather boatloads of chestnuts in a short period of time.

 

Because of the richness of Chestnuts, they were traditionally used to fatten up animals for fall butchering (this is one of the old terms, “mast year” where “mast” is Old English for food on the ground.  I experienced this firsthand–after bringing home my incredibly 25 lb chestnut harvest, I started cracking the nuts and peeling them to get to the nutmeats to make flour (see below). But each nutmeat I cracked, a goose beak was there faster than you could imagine to scarf up those nuts.  The geese know that winter is coming!  They will be fat and happy indeed.

 

Today, Chestnut offers exciting possibilities for agroforestry and regenerative agriculture.  One book that really explores this is Mark Shepard’s Restoration Agriculture, where he took abused and battered farmlands and planted rows of chestnuts, berries, and much more.  I highly recommend his book, or this video, which explores his approach in mroe detail.  You will see a lot of examples of the use of Chestnut as part of larger regenerative systems–chestnut is a tree that is planted once and can literally produce for 100’s of years.  That is a good investment from a permaculture perspective!

 

Harvesting and Eating Chestnuts

From a processing standpoint, I think chestnuts are some of the very easiest nuts to process.  After the tree is ready to give up its nuts, they all come down within a few day windows.  Like all other wild foods, timing is everything! One good visit to a Chestnut tree the right time a year results in massive quantities of the delightful nuts. I picked nuts for about an hour and a half and returned with a brimming basket and 25 lbs of high-quality nuts.

 

Geese help sort chestnuts–they adore eating them!

To process your nuts, there are a few options. The easiest is to score an “X” in them, stick them on a baking tray, and bake them for about 30 min in an oven at 425 degrees. They will be done when the X peels back.  They will need to cool a bit, and then you can eat them fresh.

 

If you want to get fancier, you can make a nut flour.  I’m going to post a separate post about how to this in more detail (with photos in a few weeks).  In a nutshell, you shell your chestnuts, then chop them finely (a food processor works well for this).  Lay them out to dry for a few days till they get hard.  Then you run them through a small hand mill or some kind of electric mill (for milling flour).  Store it in the freezer for up to six months and enjoy it!

 

There are other chestnut recipes as well–they are tasty and really satisfying. Chestnut butters, chestnut milk, even chestnut crepes!  I find chestnuts to be a very grounding and healing food, rooting you in place and in time.

 

Chestnut Magic and Folklore

Chestnut is largely absent from the magical and herbalism literature, to me, somewhat surprisingly.  I found a few entries out there, which are as follows.

 

Chestnut and horse chestnut (buckeye) are interchangeable in the hoodoo tradition, according to Cat Yronwode’s Hoodoo Root and Herb Magic.  One old word for horse chestnut is “conker.” They are used for the enhancement of “male nature”, to protect from rheumatism, for gambling success and work-related issues in Hoodoo.  The interchangeability is probably because buckeyes look a lot like chestnuts.  Even so, I think they have their own magic.

 

One Iroquois legend explores the bringing of the abundance of the Chestnuts to all tribes.  In this legend, a young boy, Hoadenon, watches his uncle grow a pot with a small chestnut inside.  He enjoys the food, then shrinks his pot with the chestnut inside, saving more for another day.  This way his uncle can eat for years with just the one nut.  Hoadenon, wanting to please his uncle, makes too much food from the chestnut, using it up.  Hoadenon then goes on a quest to bring back more chestnuts, having to defeat many awful beings who protect them.  Eventually, he is able to do so, and chestnuts are now abundant and available to all.  In other related myths, mostly chestnut is associated with a source of sustenance.

Powerful Chestnut Tree bearing nuts!

 

Agrippa’s Philosophy of Natural magic discusses that horse chestnut is tied to Jupiter, and so, we might assume that chestnuts of others kinds are also under the dominion of Jupiter.

 

As you can see from these scarce entires, though, there is practically no magical or folklore tradition associated with Chestnut–so let’s make one.

 

Magic and Meanings of the Chestnut

I see Chestnut a lot like I see Ash – a tree with great potential and full of hope, but on the brink of collapse.

Chestnut, through the serious conservation efforts, is beginning to make a comeback.  The message of Chestnut is, perhaps, the message of our world.  Humans brought the blight to the chestnut trees, and then, helped in eradicating them by cutting them all down.  But now, thanks to humans with more wisdom, the chestnuts are returning, and with them, hope and abundance.

Chestnut is one of the most perfect of trees from the standpoint of providing human needs.  It produces good, sturdy, rot-resistant wood.  It produces yearly amazing crops of edible nuts that will sustain many (human and animal alike) through tough winters.  It grows beautifully and offers a stunning energy and presence on our landscape.  And most of all, it offers us the power of what we can do, as humans together.  We must remember our destructive past–the scorched earth policies that literally destroyed ecosystems, forests, and more.  We should remember that many of those policies and thinkings are still with us, here today.  But not everyone buys into the “use it up till its no more” policies concerning the earth.  We can look at the present, and the future, where reparations and regeneration are possible. We can work with the energy of chestnut, not cutting it down, but rejuvenating it.  Working with it as a friend and ally.  We can bring that kind of action in the world.  Chestnut is a symbol of all of this–and more.

 

The American chestnut is still a critically endangered tree.  But our whole world is in that same place–critically endangered.  And Chestnut, chestnut brings us hope.

 

 

 

Spring Equinox Rituals: Rituals of Looking Back and Looking Forward

Sometimes, when we are hiking on a trail, we are in a hurry to get somewhere–that far off vantage point, that mile marker on the map, or just seeing what is over the next horizon. I remember hiking with some friends who regularly backpacked; they were so intent on speeding through the woods to their goal and putting the miles behind them that they  left me behind at multiple points as I got off the trail to explore something. This “speeding towards a goal” is, perhaps, part of who we are as humans, and certainly, a product of Western Civilization, which is so growth and progress oriented.  Even with our spiritual practice, we can be so intent on focusing on a goal (that next grade or degree, for example) that we forget about the journey itself.  On this trail, the day I took this photo, my intuition told me to pause and turn around. I stopped, turned around, and there on the opposite side of the tree was a beautiful specimen of my favorite mushroom, Chicken of the Woods.  Had I kept on going in the direction, I never would have seen the mushroom, and I would have missed my dinner.  All it took was choosing to look behind me that allowed me to find it!

Trail through the woods

Trail through the woods

 

The Spring Equinox offers us one of two “balance” moments in the wheel of the year, where the light and dark are in balance, where we sit between the threshold of the dark half of the year (what is behind us) and the light half of the year (what is in front of us).  As a balance point, but also as a time of year that is “gaining” energy, I find that the Spring Equinox is my favorite time of the year for a pause, a chance to stop on our trail, and simply taking in where we’ve been and taking a chance to think about where we are heading next.  So in this post, I’m going to detail an activity (that you can ritualized, as I do) to take that moment of pause and reflect back on your spiritual journey, and what’s to come.

 

Reflection is when we consider, ponder, and look back upon things we previously experienced. Reflection helps us understand where we’ve come from, and helps us, to some extent, figure out where we are going next. Just like many of our sacred holidays in the druid tradition allow us to “pause” and experience the moment in time, so too does doing this kind of reflective work for our own spirituality  Reflection is a critical component of any spiritual practice; it helps us grow deeper and more intentionally.  Some reflective practices simply reviewing what has come before–while others encourage goal setting or envisioning the future to come.  Reflection can be done in a multitude of ways: through spiritual journaling, through mediation, through sharing stories with others.

 

All of the following activities are “ritualized” ways of reflection; that is, they are engaging in reflection as a sacred activity, part of ritual and certainly, part of spiritual life.

 

A Spring Equinox Ritual of Reflection and Growth (Solitary)

This first ritual is a way to reflect upon your journey–it is meant to be a solitary ritual.  I’ve done this ritual for a number of years (not every year, but usually every other year) and it is a very powerful experience.  Budget at least an hour or two for the ritual itself–it can sometimes take time to reflect.

 

Ritual Supplies and Preparation

Materials for Reflection and Your Journey. To do this ritual, you’ll need to gather up any spiritual journals or notes that you have.  If you belong to a druid order like OBOD or AODA, you might also want to get any end-of-coursework reflections that you wrote.  For the ritual, it will be helpful if you put these journals in chronological order (especially if you have a lot of them!  If you are starting out, you may only have one, and that’s fine too!)  Additionally, gather up items of spiritual significance to you.  You don’t need everything here, but think about highlights–these could be items that helped mark the start of your journey or helped you on the path.  They may be new or old.  Bring them into your ritual space.

 

Rosemary from the Plant Spirit Oracle

Rosemary from the Plant Spirit Oracle

Rosemary tea or springs of fresh rosemary. Rosemary is a powerful herb that helps us with remembrance; it is a very useful plant spirit ally to use in this ritual. I suggest preparing some rosemary tea (place about 1 tbsp of rosemary (dried or fresh) in 1-2 cups boiling water, let seep for 5 min, and then add honey or sugar).  Alternatively, you can use a rosemary incense or have fresh sprigs of rosemary nearby. You can easily obtain this even at a grocery store, and the ritual is much better with Rosemary as an ally!

 

Other Objects: Elements, etc. Prepare an altar with the elements and/or representations of any other energies or spirits/beings/deities that you work with.  You want anyone or anything that has been with you on this journey to join you for this work.

 

A Journal/Paper and a Pen: For writing as part of the ceremony.

 

Spiritual Cleansing:  I strongly suggest before doing the ritual itself, you do some kind of cleansing.  Smudging yourself with rosemary and sage smoke, taking a ritual bath, and so on, are all possibilities here.

 

The Ritual:

Part 1: Open up a sacred space:  Open up a sacred grove in your tradition (if you don’t know how, there is an overview in this post).  This typically involves cleansing the space, declaring your intent, declaring peace, drawing in the elements, and creating a protective circle or sphere.

 

Next, invite anyone (spirits, guides, plants, elements, etc) into the space that you would like to come with you on your journey.  Take all the time you need to do this; its important to have your spiritual support for this ritual.

 

At the end of the opening, sip your rosemary tea or crush a few rosemary needles in your fingers and smell them.  Call upon the sacred power of rosemary to assist you in this journey.  You can say anything that comes to you, or use this:

Rosemary, holder of the keys of memory
Rosemary, keeper of histories of time
Rosemary, holder of insight and reflection
Rosemary, sacred plant ally, help us remember.

Drink your rosemary tea and enjoy it throughout the rest of the ceremony.

 

Part 2: Creating your Physical Journey Map. Once you have your sacred space open, begin by arranging your objects and journals around you chronologically. Use a table, the floor, etc.  When I do this, I usually use the floor and surround myself with objects on all sides.  As you are arranging, think about when these things came into your life, and begin by creating a “roadmap” of where you’ve been, something you could physically see. Take all the time you need to do this (and it doesn’t have to be exact!)

 

Part 3: Reflecting on your Journey.  Now that you have everything arranged in chronological order, spend time reflecting on your journey.  You might read selected entries from your journal.  As you pick up each journal or object, hold it and speak of it or meditate upon it.  Work your way through the entire “map” you created.  Note anything “new” you realize or, just as importantly, insights you had forgotten about.   Reading previous journal entries, I find, is really useful and helpful in this process–it lets me clearly see where I was and where I’m going next!

 

Part 4: Deep insights. After your reflection, consider any major insights you have from the experience of creating your map and reflection. Write these down; these deep insights.  These are the key lessons from you previous experience, and that which can follow you into the future.

 

Part 5: The Journey to Come. Now, reflect on the next year to come. The Spring Equinox is a time of new beginnings and starting new things, so you might consider what you’d like to accomplish spiritually in this next year–get these down in writing and put them somewhere that you will see them often.

 

Close out the Space. Thank Rosemary, thank those who you called, and close out the space.  As an additional way to honor rosemary, you might consider growing a rosemary plant this year as a way of remembering the past journey and honoring the journey to come!

 

 

Storytelling Ritual of Looking Back and Foward (Group)

This second reflective ritual is a great ritual for 2 or more people, and would be appropriate for a grove or even getting a few friends together.  The amount of objects or journal entries shared largely depend on how many people you have in the group–obviously, 2-3 people can each share a lot more than 20 or 30 in a larger setting!  You can also change the theme of the ritual: today’s ritual focuses on reflecting on past spiritual journeys, but you could have them reflect on gifts others have given, ancestors, favorite plants, etc.

 

Ritual Preparation:

Memory/Storytelling Objects: Instruct each person who is coming to the ritual to bring objects or journal entries about key moments in their spiritual life.  These should be objects that hold some significance to the person.  Even in a larger group, if a person can’t share all that he/she/they brought, they can still have these objects with them–the selection process itself is sacred.

 

Prepare an Altar Space: Create a large altar space, something that everyone can add their objects to during the ritual.  A folding table with a nice tablecloth works great.

 

The Ritual:

Open up a sacred space:  Open up a sacred space in whatever tradition you use.

 

Honor Rosemary. Honor Rosemary and invite her spirit into the space. Bring rosemary physically into the space in some way:  you can asperge each participant with rosemary (take rosemary and dip her in water, and then lightly fling the water on each participant or lathe their forehead with it).  You can also offer rosemary tea or a rosemary smudge/incense (even rosemary needles burned on a charcoal block work great!)

As you conclude, all participants say:

Rosemary, holder of the keys of memory
Rosemary, keeper of histories of time
Rosemary, holder of insight and reflection
Rosemary, sacred plant ally, help us remember.

 

The Storytelling. Depending on the number of people, there are a few ways you can do this.  With a small group, you might go around the circle, and each person talking about their key object they brought and telling their own story, and then adding it to the altar.  With a much larger group, people could break into several groups, which would allow each person more time to tell their story.  After the groups reconvene, they add their objects to the altar.

 

Looking Forward: Each participant gets a sheet of paper and a pen, and then can write their spiritual goals for the coming year.  The goals can be shared aloud if participants choose or simply kept quiet.

 

Close out the space. Close out the space in your usual fashion.

 

Life Journey Ritual (Solo)

Life is a journey!

Life is a journey!

A final ritual you can do doesn’t use objects, but relies on the mind and memory itself.  For this ritual, prepare the rosemary as described above and open the sacred space.  Then, step back into the beginning of your spiritual journey–where you started in childhood, the different paths you took, and how, ultimately, you ended up here.  Spend time reflecting and remembering each major step you took–and then reflect on things to come.  This journey can take a lot of forms and end you up in really interesting places!

 

 

Final Thoughts

There are a lot of variations you could do with these rituals, but I think the core ideas are there: spend time journeying into your past, integrating the many experiences that you have had, and then moving forward into the present so that you can fully make use of the amazing spiritual insights and lessons that you have gained.  This technique is useful to you at *any stage* of your journey–and you get different things out of it.  I remember the first year I did it–as a new druid–and reading my journals after just a year was incredible.  Now, nearly 15 years in, its hard to believe how far I’ve come and exciting to think about where I’m heading next.  May the blessings of the spring equinox be upon you!

Building Deep Plant Relationships at Lughnassadh

Nicotiana Rustica Botanical Drawing

Nicotiana Rustica Botanical Drawing

Last weekend, some druid friends came over for a retreat with a focus on land healing. As part of the ritual we collaboratively developed, we wanted to make an offering to the spirits of the land. I went to my sacred tobacco patch and carefully gathered leaves drying at the bottoms of the plant and flowers for use in this offering, humming a song that the tobacco had taught me and making sure that none of the leaves hit the ground in the process. The ritual went beautifully well and the offering was well received by the spirits.  After the weekend, it struck me how long my relationship with these particular tobacco plants was–more than a decade at this point from seed to leaf to flower to seed.  And how I had something to share about cultivating this relationship over time.

 

So I thought I’d take a short–yet related–detour from my “connecting with nature series” to talk about plant spirit and plant relationship work, specifically tied to Lughnassadh, and building sacred relationships with plants over time, using the wheel of the year and wheel of the seasons.

 

Lughnassadh and Sacred Plants

My sacred plant ready for the Lughnassadh harvest

My sacred plant ready for the Lughnassadh harvest

Lughnassadh is an ancient Gaelic festival still celebrated in Ireland, Scotland, and the Isle of Man.  Of course, Lughnassadh is also a holiday celebrated by many druids and other neo-pagans today as part of the wheel of the year.  While traditions vary from region to region and group to group, it is largely agreed upon that Lughnassadh always was and is a “first harvest” festival.  In my neck of the woods, early August is just when some of the most important crops are coming into season: tomatoes, peppers, cucumbers, wild berries, elderberries, and more. I’ve come to see Lughnassadah as a festival dedicated to the plant kingdom, not only because of the abundance that the plants produce this time of year in temperate climates, but also become of my long-term work as an herbalist.

 

As I wrote about some years ago, Lughnassadh is a perfect time to make sacred plant medicine and harvest herbs. The power of the sun is energizing, the herbs are in full bloom and many are at the peak of their growing, and the weather is warm for wandering among the weeds. It is after that moment in early August that we start seeing die back and die off of many medicinal herbs as the fall grows nearer and nearer.

 

Today, though, we aren’t just talking about any herb harvesting–we are talking about cultivating deep relationships with one or more plants on a long-term, perhaps lifetime journey.  I first share my story of the sacred tobacco that I have been growing for over a decade, and then share ideas for you to start cultivating your own deep relationship with a special plant.

 

The Story of Sacred Tobacco

I remember tucking the small packet of seeds, a gift from a gardener, herbalist, and wise woman, into my bag ever-so-carefully.  A gift like this was meant to be cherished, and I couldn’t wait till the next spring when I would be able to start some of the seeds. Like little specs of dirt, the tobacco seeds called to me, “plant me, plant me, give me good soil” and I assured them that all of this would come to pass.

 

In the spring, after opening up a sacred grove for planting (something I do regularly with my spring seed starting) I scattered them on some growing trays, and covered them with the finest layer of soil. They sprung up almost immediately, with almost 100% of them germinating, their little fuzzy green leaves reaching toward the light. Within two weeks, I transplanted them, and they grew quickly, getting big succulent leaves and putting up stems.  I transplanted them again, and they grew even bigger.  By the time the last frost had come and gone, they were in large plastic cups straining to get in the ground. I created a special wheel of the year garden for them in a warm and sunny location and into the ground they went.

 

The continuity of the seed....

The continuity of the seed….tobacco pods ready to harvest.

Its fun when you are growing a new plant for the first time; all the photos or descriptions in the world never substitute for the plant itself and its glorious spirit.  This is especially true when you don’t even know what the plant exactly is! I hadn’t grown tobacco before.  My tobacco plants, the 15 or so that took root, were delighted with their new space.  They put on leaf, and then, grew masses of beautiful little flowers that looked like elongated yellow parasols.  As the flowers grew ready to fall off, the plant told me to harvest them and dry them, and I did.  The flowers turned into large seed pods, which eventually grew brown–along with the rest of the plant–and burst open, self seeding for the following spring.

 

At Lughnassadh that first season, I carefully harvested the leaves and lay them in the sun to dry–since my intention was an offering tobacco, something grown solely as an offering to the land and not smoked–I didn’t have to worry about the complexities surrounding the curing of tobacco. I later learned that I wouldn’t have wanted to either way, as this variety has an extremely high nicotine content (and I am not a smoker, ceremonially or otherwise). I let the leaves dry out and go brown and yellow, and then crumbled them up, added the flowers I had already saved, and stored it all in a jar.  I created a little leather pouch and filled the pouch with the tobacco, and went off to make some offerings. The land loved the offering and asked for more and more, so I carried the pouch with me and used it often. I saved the seeds and began sharing them with some people I felt drawn to give them to. I saved the stalks and used them in my smudge sticks. This is the same tobacco (and later, tobacco blend) that I recently talked about in my Beltane Offering Blend post–that blend is my current favorite for creating an offering.

 

Later, I learned that these seeds were nicotinia rustica seeds, also known as “wild tobacco”, “shamanic tobacco” or “Aztec tobacco.”  It is native to North America (and hardy to zone 8), but is no longer widely cultivated in the Americas because the more common tobacco, nicotinia tabacum, is what is now prized and grown. Nicotina Tabacum is much less harsh, with 1-3% nicotine content, which is what people smoke in cigarettes and pipes.  Rustica, on the other hand, has up to 9% nicotine; in some places in the Americas, it is used as an entheogen or as one of the ingredients in herbal blends that also contain Ayahuasca (likely, this is why it is called “shamanic tobacco”). It is believed by some South American Shamans that tobacco is a plant that gives you access to the spirit of many other plants; it is like a gateway plant to the deeper plant mysteries.  I have found this to be true, even though I only use it as the plant has directed–as an offering.

 

Each year I had a garden, I planted this plant, and gave it a privileged space. If I planted only a few things when I didn’t have a garden, my tobacco would always be planted first to be planted. And each year, I saved seeds. Each year, I kept my pouch with me and offered the tobacco regularly to the land–and it was always extremely well received.

 

Over time and over various harvests, the plant shared some of its deeper mysteries with me, a song for harvesting, for example.  Now, when I start new seeds in the early spring, the first sprouts are like an old friend, greeting me once more. I sing the songs, I sow the seeds.  Since I save the seeds, my relationship with these particular seeds, this particular plant continues and persists throughout my lifetime, and in the many cycles of this annual plant’s lifetime. As Lughnassadh is here this week, I will continue my annual tradition of harvesting the plants as they go to seed, laying the leaves in the sun, and continuing this cycle into the future years. I will once again mix my blend and fill up my jar for the year till the spring when I plant again.

 

My choice of tobacco originally wasn’t my own; they were gifts of seeds and I wanted to see them grow.  But in retrospect, I am delighted that this tobacco is now so firmly in my life. I really like the fact that my sacred tobacco has only one use to me–an offering–and that use is critical for my interaction with the broader land.  I also liked the idea of “reclaiming” tobacco from the ways that it has been abused (and grown in a toxic and unceremonial way) by my broader culture.  So part of this work was “reclaiming” a native sacred plant, and part of it was building a brand new relationship with that plant that was my own, not built on any previous culture’s use.

 

This isn’t my only plant relationship–each of the relationships is unique and its own.  But this is certainly one of my more potent ones, and therefore, is a good illustration of the larger technique I’m sharing today.

 

Plant Spirit Connections and Practices

Beautiful Nicotiana rusticas growing in the garden!

Beautiful Nicotiana rusticas growing in the garden!

So here’s a simple technique you might do, based on what I’ve written about above: choose a plant to cultivate a deeply sacred relationship with. Plan on this relationship spanning a period of time, years or decades, if possible. Rituals and sacred actions have meaning in part because we repeat them; the more repetition we have over the years, the deeper the connection and meaning.

 

I would recommend choosing a plant that has some sacred use to you and that you can grow, even if its in a pot or on a sunny windowsill.  For the method I offer above, I think the cultiavation of it is important.  If you aren’t cultivating the plant, I would suggest one you have regular access to, and that you can “tend” in some way (pruning, scattering seeds, etc).

 

In terms of sacred use, there are so many options:

  • an offering plant, one that you use to make offerings to the land, ancestors, spirits, diety, etc (this is where my tobacco mainly fits)
  • a smudge stick or incense plant, one that is used to help purify and cleanse a space (also can be an offering)
  • a culinary plant that you use for cooking special meals or creating sacred drinks at sacred times (see, for example, my elderflower recipe)
  • a visionary plant, one that helps you open new doorways
  • a brewing plant, one that can be used to create sacred alcoholic beverages (and you might check out Buhner’s Sacred and Healing Beers for some inspiration)
  • a plant for sacred decor, see for example my post on Yule decorations
  • a sacred crafting plant, a plant you can make something from (like cordage, plant dyes and inks, cattail paper, etc)

 

Spend some time selecting your plant–there is no rush.  The plant will be there when you are ready.  Your plant has lived hundreds of thousands of lifetimes, she will wait for you to be ready to begin this work.  In my case, I had no previous relationship with tobacco at all (and had avoided my culture’s use of it); but for other plants I work with in this way, I certainly have had previous relationships (sometimes spanning back to my childhood). By the time I do this work, they are already good friends :).

 

Begin simply by planting your plant or finding it in the wild, watching it grow.  If it doesn’t yet grow where you live, cultivate it. When you interact with your plant, especially for sowing and harvesting, try to do so in an open grove/sacred space.  This helps establish, from the beginning, the sacredness of your relationship with this plant.

 

Visit your plant often. Pay attention to how it grows, how it moves in the wind and how the rain washes over it. Learn your plant in the physical world: learn how it grows in each stage of its life cycle. If it is a perennial, watch it die back and be reborn in the spring. If it is an annual, carefully save its seed each year and plant again to bring your sacred relationship with you as the years go on. Learn what pests may eat it and how to prevent those pests.

 

Connect with the plant in spirit. Listen for the plant’s inner song (each plant has a song, and may reveal that song in time to you). Find out if the plant has a sacred name she wants you to use–and call her by that name.  Find out if you can use that name with others, or if she wants you to keep it to herself.

 

If you can consume part of the plant, do so, and see how it works within you. Do some meditation after consuming your plant; see how it feels and what it reveals. If you want to get even more radical, do a fast and consume only the plant (or tea from the plant) if it is edible; let it sustain you (again, Buhner’s work on fasting may be helpful to you here).

 

Ready to harvest!

Ready to harvest!

Find your sacred harvesting time–perhaps it is Lughnassadh, perhaps some other sacred day on the wheel of the year or a full moon.  Discover how the plant wants to be harvested and prepared; use your intuition and go with the flow of it. Use the plant respectfully, taking just enough to get you to the next harvest (perennial) or saving the seeds carefully (annual).

 

Let the years pass, and continue to build your relationship with the plant. Be slow to speak of this work, and speak of it only when directed by the plant (as tobacco has asked of me); this will keep the magic between you and the plant.  As the years pass, you will grow quite close–and your sacred plant will always be there, with you, offering her quiet presence. The plant will help show you the way to her magic, her stories, her songs. All that you need to do is begin with an open mind, patience and perseverance, and let her guide the way.  Blessings of the plant kingdom this first harvest season!

A Druid’s Guide to Connecting With Nature, Part III: Nature Engagement

Leading you in deeper!

Leading you in deeper!

I’ve heard a lot of conversation in the nature spirituality community, including the druid community, about not touching nature, leaving it alone, to simply “be”.  I remember one influential druid speaking at an event and saying, “The best thing you can do in nature is pick up the garbage and get out.”  From a certain standpoint, this perspective makes a lot of sense. It is the same perspective held by many conservationists trying to preserve pristine lands or lands that have been replanted and are healing; the best thing that can be done is figure out how to keep people from mucking them up, pick up garbage, and leave them undisturbed. Because people have a tendency to come in, move things about, pick things, disrupt ecosystems, and generally cause havoc.  Or worse, much, much worse. Further, in a world where most humans can’t identify even five trees or have any idea if the ecosystem they are looking at is healthy or not, it is a good perspective for nature to be on her own.  This is a perspective ultimately rooted in the desire to care for nature, to preserve nature, and to do good. I do think there are cases, for ecologically sensitive areas, during breeding season, and so on where this is still the best philosophy.  But I think in many more cases, it is not.

 

However, as I began my own journey to understand and connect with nature more deeply, I came to a different understanding.  Through deep study of permaculture, bushcraft, wildcrafting, and so on, and reading the works of many authors, including M. Kat Anderson’s Tending the Wild, Jon Young, and Wendell Berry, I came to a different understanding. The perspective of “pick up the garbage and get out” implies that we put nature on a pedestal; that we enshrine her and look at her from afar, that we leave her alone. She becomes like the object in the museum behind the glass wall with the lights shining on it; interesting to visit once in a while, but please don’t touch.

I see at least three problems with this perspective, as a general principle:

 

  • It fosters separation and disconnection from nature. The minimal interaction with nature maximizes separation.  But we are part of nature, we are not separate from her.
  • It fosters fear about nature or about our own interactions with nature. Particularly, the fear to do harm, the fear to do the wrong thing, makes us fear doing anything. And so then, we do nothing.
  • It fosters ignorance about nature. Last week, I talked about how nature wisdom had two parts: the book learning through nature knowledge and the  experiential interaction through nature understanding. Because we are separate from it, we have no opportunity to learn from experience.

 

An alternative perspective–which I’m advocating today through nature engagement and next week through nature reciprocity–is a very different one. It is a perspective rooted in connection, wisdom, and in a deep-rooted responsibility. Nature engagement is the opposite of “pick up the garbage and get out”–its the idea that we are part of nature, we can learn to use her, to work with her, help her grow, and tend her, and use her responsibly. (And for earlier posts in this series, please see the framework, nature wisdom, and nature engagement).

 

A place to explore...

A place to explore…

One of the concepts that really shaped my thinking on this was how M. Kat Anderson describes the indigenous peoples of California’s view on “wilderness”.  While in English, the concept of wilderness is a largely positive, in that it has been untouched by humans, it is pristine, it is wild, the concept of “wilderness” for the indigenous peoples of California is very negative: it meant that land was unloved, untended, and not under anyone’s care. For western people, humans touching nature is assumed to be bad/destructive, so wild places that are untouched are therefore good (as long as that wild place isn’t someone’s front lawn). But for the indigenous Californians, touching nature and interaction is good and nature that was left to go “wild” was a sad thing. Indigenous peoples all over the world and, going back far enough, everyone’s ancestors, understood and still understand this: if we are going to survive, and thrive, we do so in partnership with nature.

 

What I’m actually talking about is dependency. With the rise of industrialization, factories and mass production replaced home cottage industries; consumer goods and purchasing replaced hand-created, foraged, and grown goods; and humans in western civilization, in a few short generations, lost the ability to learn to live from nature. Today, for many people living in industrialized nations, we have lost nearly everything our ancestors knew about how to live abundantly from the land. This included everything from growing food to foraging, from fishing and hunting to natural crafts, to building things naturally or with wood (a topic I explored in my “way of wood” post some time ago). We need nature, we depend on her, her survival is our survival–even if systems present in consumerism and industrialization have separated many of us from this truth.

 

If we enshrine nature, if we put her on a pedestal and look at her from afar, we will never develop the sacred relationship and co-dependency that leads to deep love and knowledge.  If all we are willing to do is “pick up the garbage and get out” then that’s all we will ever be willing or allow ourselves to do. The connection stops there–with a distance of respect, and reverence, but without interaction or interactivity.  Part of why nature is so powerful to us is that she can–and does–provide all of our needs. You step on a lawn; there is an incredible abundance of healing food and medicine there. Each time you walk into a forest, there is so much there to offer you.  Looking at a beautiful plant is one thing; looking at a beautiful plant that can help heal your pain is quite another. Through interacting with nature, and instead, prefer to interact with nature, to learn how to use her, to learn how to heal her (which all go hand in hand).

 

And, with all of the above in mind, we come to the three ways of nature engagement:

To engage with nature we can:
use nature for healing, living, and sustenance
enjoy nature’s beauty and adventure
be creatively inspired by nature

Using Nature

Humans use nature every day–it is how we survive as a species. From the oxygen in the air to the clothes on our back, nature is with us.  Everything that clothes us, feeds us, heals us, and shelters us ultimately comes from the earth in some form.  We in the western world might be very disconnected from the original source of materials used to create the things we wear, sleep on, or eat every day, and see it as wholly human made–but in the end, it has a natural source, and it is important that we learn to reconnect with nature as provider.

 

Elderflower harvest

Elderflower harvest

Because of exploitation, because we have such damage in many ecosystems, we are hesitant to directly take anything from nature; hesitant to do harm, when the very materials we thrive upon and food we eat comes from the land.  But “using nature” in a druidic sense needs to account for more than what we take–for a nature-based spiritual experience, it is less about “what can I take” and more about relationship, both give and take. Previously, I’ve mentioned Wendell Berry’s concepts from the Unsettling of America: approaching the natural world from a perspective that exploits (which is only taking, taking without reservation, and taking in a way that degrades and destroys life) vs. a perspective that nurtures (taking only enough, paying attention to the health of the land and considering long-term issues). If we approach using nature in a place of nurturing, we are already in the place to develop a relationship with nature. To me, I see this issue as one of reciprocation. I know that with each meal, with each moment I spend in a warm and heated home, I am taking from nature.  So my goal, then, is to give back in every way that I can.  If I pick our native black raspberries to eat (like I did this morning–yum), I save some and scatter them into new areas where they will grow and I leave some ripe ones for the wildlife.

 

Here are a few, of many, ways that you can learn to more fully “use nature”:

  • Foraging and Wild Foods: This hobby is a wonderful way to learn how to use nature and enjoy some tasty treats. I always balance foraging activities with ways that I directly give back to the land: scattering rare woodland species seeds, helping the plants I am harvesting (when native) by spreading their seeds, and so on (more on this next week). Sometimes, foraging helps manage species that are too abundant (or what others might call “invasive”); thus helping keep that species in check. You can never harvest too much japanese knotweed, garlic mustard, kudzu or dandelion!  Two posts (here and here) introduce you to foraging activities and give ideas and suggestions.  Lots of websites and books are available–and I often post material on foragable treats (like Hostas and Milkweed, both of which I covered this year).
  • Bushcraft. Another take on the “using nature” is by learning bushcraft skills. These are various wilderness survival skills like shelter building, fire starting, making cordage from natural materials, and more. There are various bushcraft skills scattered throughout the country and they offer a rich variety of classes. One I have attended is the North American Bushcraft School in West Virginia, who offer a wide range of classes on a variety of topics.
  • Herbalism. Learning how to heal the body with plants is another amazing way to “use” nature and learn how to engage with her more fully. I have found the herbalism community in the US to be rich, and delightfully earth-affirming and earth-honoring.  It is a wonderful practice to learn with a lot of good people to learn from. I have a post here detailing some of the ways to get started in this practice. You can learn both how to grow your own herbs and also how to harvest from nature and tend to wild patches of herbs to help them better grow.
  • Natural building. One of my long-time favorite ways of learning to use nature is through building using materials right from the land–through timber framing, cob construction, and more. I’ve written on this topic a bit here and will have some upcoming posts on the topic later in the year!

 

I actually think that part of the great tragedy of the modern consumerist movement is that nature has lost much of her “value” to humans.  I watch people cutting down apple or walnut trees, cutting back big swaths of dandelions or burdock, cutting down whole forests–and there is so much “of value” in those spaces, but the value isn’t known any longer.  When I teach wild food foraging classes in the summer, what strikes me the most is how learning something even small about a plant completely changes a person’s perspective on it–it changes their relationship, changes the “value” the plant has, and ultimately, connects them more deeply not only with that plant but with the ecosystem in which it grows. I’ve had people come back to me several years later after attending a plant walk and saying how they stopped spraying their lawns because they didn’t know that you could make wine from dandelions and salve from plantains, etc.

 

And use of nature absolutely builds nature connection. What I’ve found as I’ve delved more deeply into the above practices (some moreso than others) is that the more that I learn to use nature, the more connected I am, and frankly, the more value something has.  As a druid, I approach every aspect of nature with reverence and respect. But, its amazing to come across a patch of wild dogbane in the summer and be so excited because in the early winter, I know I can come back and harvest the dried stalks for cordage.  That really adds something to my interaction with this incredible plant and the ecosystem in which she grows.

 

Nature Activity

Being on the water!

Being on the water!

Our second category under “nature engagement” is nature activity. This refers to the many nature-based activities that we can engage in and be out with and part of nature.  Hiking, kayaking, cross-country skiing, backpacking, camping, and much more are an assortment of things that can be done in nature. My general rule, as someone who is focusing on cultivating a nurturing relationship with nature, is to focus on activities that have minimal impact or no impact and use minimal to no fossil fuel.  So I am happy to kayak down a river paddling using my own human power and navigating the river’s current, but don’t want to take a big speedboat. There are so many ways we can engage in activity, exercise, and healing through “doing” nature. I also think that activity can be paired with wild food foraging and herbalism, which really enhances your experience with being part of nature and connected to nature!

 

Another thing I like to do is combine sacred activities in nature (nature reverence, which we will explore in more depth in two weeks) with getting out in nature.  So planning a kayaking trip that also has a ritual component; bringing along a healing blend of herbs to make offerings to the land and a bag of American Ginseng and Ramp seeds to scatter, and so on.

 

Creating With/Through Nature

In addition to providing all of our needs and offering us incredible experiences through exploration, nature offers us inspiration.  Many poets, artists, musicians, dancers, fine crafts people and other creative artists throughout the ages have found their inspiration in the living earth, in the flow of the waters, in the spark of first light in the heavens, in the bloom of a flower or the soaring of a hawk.  In the druid tradition, we cultivate and work with the Awen, the force of divine inspiration, that flows from nature and through a person seeking to create.  Here are some ways that we might create with/through nature:

Learning basket weaving from downed willow

Learning basket weaving from downed willow

  • Nature as a muse: nature can be an incredible muse for all different kinds of creative practice.  I am a visual artist, and I am often sketching and photographing what I see to bring into my paintings; a dancer might choose to interpret the pattern of the clouds through motion, where a musician might play the song he hears in the waterfall.  Being present with nature, being in nature, being observant in nature, learning to meditate in nature–all of these can bring you inspiration.  I also find that when I travel somewhere new, outside of my usual places and outside of my own bioregion, inspiration of new natural places often floods within me.
  • Nature and Artistic Media: Using nature as part of your creative process is another way to bring nature centrally into creative practice.  This might be doing woodcarving and using wood, creating berry inks, vine-based charcoals, hand papermaking, and more.
  • Wildcrafting: There are many kinds of artistic materials and craft projects that you can do. I love finding ways of working with nature directly in my artistic and bardic practices. Berry inks, handmade papers, homemade decorations, smudge sticks, herbal offering blends, and so much more can come right from the living earth. For these, I only take what is in abundance, what I grow myself, or what needs to be managed.

I’ve also seen artists who work with whatever is abundant–a wonderful basket artist who works with bittersweet vines; harvesting the vines helps keep them under control and produces lovely works.  Or a woodworker who collects deadfall from the side of the road and turns it into masterpieces.  Or a mosaic artist who works with stones and shells from the ocean. Part of this, I think, is finding the parts of nature that speak and resonate with you and that bring you inspiration.

 

Conclusion

This post has covered a lot of ground–so we’ll end for here, and next week, we’ll pick up and explore the other side of the coin to  “nature engagement” which is “nature reciprocation.”  Blessings as always!

 

A Bardic Storytelling Ritual for Empowerment

Everyone has a story to tell, and some stories are worth their weight in gold. How we retell past events, through the bardic art of storytelling, can help shape our present understanding.  Thinking about stories as acts of empowerment in this way is particularly important in an age where so many of us feel disempowered. One of the things I’ve noticed a lot lately is that people, of all ages, are really down, feeling defeated, and feeling burned out. They feel like they don’t have a lot of agency or power. And so, using ritual and spiritual practices to help us find our power, and better understand it, is an extremely useful practice.  Storytelling is a form of magic, in this case, through a bardic storytelling ritual, to help empower us and bring us hope.  So today’s post, in line with my larger series on the bardic arts, will look at a simple ritual that you can do with a friend or loved one to listen deeply and empower each other.

 

The Magician from the Tarot of Trees (one of the Archetypes used in the ritual)

The Magician from the Tarot of Trees (one of the Archetypes used in the ritual)

In The Power of Myth, Joseph Campbell in conversation with Bill Moyers (the book is based on a television show) retells old stories and shares his own stories in a compelling discussion that argues that myths, that is, the stories we tell, hold tremendous cultural power. Campbell argues, ultimately, that certain themes or stories are universal (like the hero on a journey) and that by telling these stories, we connect deeply with universal ways of understanding and inhabiting the world.  One of the arguments in the book, as recounted by the conversations between Moyers and Campbell is that western society, and the US in particular, don’t have enough effective stories, which alienate people, offer them less cultural identity and cause other kinds of problems. I’m really glossing over a lot with regards to The Power of Myth and similar kinds of works, but the point here is this–storytelling and connecting with archetypes present in the world is a very important part of human culture.

 

Even though storytelling and connecting to these broader myths is clearly important, a lot of us don’t tell many stories.  They seem largely absent in our lives.  We do have a lot of other people’s stories circulating, particularly, through movies and television, but these are not our own stories.

 

The druid community is a bit different.  If you are lucky enough to have a circle of druids nearby, you might have a chance to participate in an Eisteddfod (Bardic Circle), where we gather around the fire and share many bardic arts–including stories.  The bardic circle is the heartbeat of a druid gathering. But many of the stories shared at the Eisteddfod are not our own–about our own lives, about our own empowerment. What I present today is an alternative to a traditional bardic circle, another way that druids–and many others– might use storytelling in the druid tradition (and other contexts).

 

The Ritual

Archetypes

This ritual is performed by two people. In this ritual, we use the bardic art of storytelling to share stories that are themed through one of four Jungian archetypes (the hero, caregiver, magician, and bard). The goal of the ritual is to have each person tell a story from each of the four archetypes.

The following four archetypes can be used:

  • The Hero (a person who engages in courageous acts)
  • The Caregiver (a person who protects and cares for others)
  • The Bard (a person who realizes a creative vision)
  • The Magician (one who is able to work magic (with magic being broadly defined))

Other archetypes that you might want to include beyond the original four are these:

  • The Explorer (one who goes on a journey)
  • The Lover (one who expresses deep love for another)
  • The Sage (a person who seeks truth and deeper self awareness)
  • The Leader (one who helps lead others)*

(*The original Jungian archetype is “Ruler” but I think that doesn’t’ have the right connotation, so I changed it to “Leader”).

 

Strength from the Tarot of Trees, tied to the Hero Archetype

Strength from the Tarot of Trees, tied to the Hero Archetype

The Setting

The ritual can take place in a formal ritual setting or it can take place in a less formal setting, even over a period of days (like a weekend camping trip).  It is important, I believe, to acknowledge the opening part of the ritual and to close the ritual once the stories are complete.  How this done is up to the individuals, and may be more or less formal.

 

Preparation. Ideally, the two people doing the storytelling ritual have time to think about which story they want to tell, time to reflect upon the archetypes and consider which part of their own past experiences might best fit. You can do this prior to the actual ritual or at the beginning of the ritual (see below).

 

The Ritual

Sacred space. You may choose to open a sacred space in any manner that feels appropriate.  I’d highly suggest this step, as it helps set the “boundaries” for the ritual and creates a safe space for recounting stories.  Using a sacred grove for this is particularly useful (if you are in OBOD, opening a grove in the bardic grade would be quite appropriate).

 

Preparation. If you haven’t yet had the period of preparation, each person can go off for 15-30 min and think about the four archetypes and prepare to tell their stories.

 

Telling the story and Deep Listening.  In this ritual, person takes turns in the role the storyteller and in the role of the deep listener. The storyteller’s job is tell his or her own story accurately and deeply–to share what they want to share.

The deep listener’s job is to fully engage with the other person’s story–through eye contact, listening, and focusing on what is being said.

 

Qualities: At the end of each story, the deep listener shares their own reflection on the story, identifying what they hear and the qualities that the person shared. For example in a tale of the hero, the storyteller might tell a tale about jumping into cold water to save a drowning animal  The listener might hear that the speaker showed bravery, a quick wit, and a deep concern for the life of another. After the deep listener reflects, the storyteller should write down the qualities that deep listener shared.

 

Storytelling continues. Then the two individuals swap roles, and the next story is told. This is repeated until the stories are told for the four archetypes.

 

Reflection: At the end of the ritual, each person should have a list of qualities that they possess.  They should take time to share with each other, reflecting on what they learned about themselves, and the other, as part of the ritual.

 

Close the sacred space. Finally, the sacred space is closed and the ritual concludes.

 

Variants

You can also engage in this ritual with a number of variants.

The Empress from the Tarot of Trees, tied to the Caregiver

The Empress from the Tarot of Trees, tied to the Caregiver

Variant 1: One theme and a Larger Group. In a larger group (say, 4-6 people) you can choose one archetype and allow everyone to tell a story about it.  In a much larger group (say, 10-40 people), you can split people into groups of 4-6 and allow the stories to be shared in a more intimate way.  I haven’t done this with a very large group, but I have done it with a group of 5 people–we went through two rounds of storytelling by the fire and it was very powerful, especially with multiple “listeners” to all contribute to the qualities they heard.

 

Variant 2: Tarot Card Theme. One variant is to use tarot cards with all eight themes and let people draw the theme of the story they will tell.  Prepare a stack of tarot cards with the eight cards listed below. Each participant chooses 2 cards (make sure they put the cards back before the next person draws). This works either for a pair or a larger group (using variant 1).

Here are the Tarot Card associations:

  • The Hero (a person who engages in courageous acts) — Strength
  • The Caregiver (a person who protects and cares for others) — The Empress
  • The Bard (a person who realizes a creative vision) — The Star
  • The Magician (one who is able to work magic (with magic being broadly defined)) – The Magician
  • The Explorer (one who goes on a journey) – The Fool
  • The Lover (one who expresses deep love for another) – The Lovers
  • The Sage (a person who seeks truth and deeper self awareness) – The Hermit
  • The Leader (one who helps lead others) – The Emperor

Storytelling as Magic

I’ve done this ritual several times over the years, twice with one other person (both times very moving and deep experiences) and once with a larger group of 6 people (using the Tarot card variant, where each of us drew a card and told one story).  Both of these were very moving experiences and I learned a lot not only about myself but about my dear friends who did the ritual with me.

 

I believe a storytelling ritual like this offers us numerous benefits.  First, it gives us an opportunity to connect to some of those deep myths and archetypes that are present within human experience. Second, retelling a story allows us to reconnect to a moment, reflect on that moment, and in some cases, find deeper meaning in a moment of our past.  This allows us to find our strength, even in situations where not everyting was positive.  Third, this storytelling ritual allows your story to be heard deeply and fully by another.  In so many ways, we often aren’t able to be deeply heard by each other–attention spans are short, listening skills aren’t that great, and people are very distracted.  The power of deep listening is a gift that can be given–and it is moving to be really heard and understood.

 

Finally, the entire experience can be incredibly empowering. Retelling our own stories, experiencing them again–and most importantly, having them heard, can help empower us, aid in our own growth and promote our own deeper understanding of self.

The Moon’s Sunbeams, or, Reflections on the Solar Eclipse

In the druid tradition, we recognize that the solar currents, those currents of energy coming from the sun, are extremely powerful. And so, when the sun in the noon-day sky suddenly darkens, ancient peoples saw it as an incredibly bad omen. Dragons eating the sun, battles bewteen the gods, portents of other evil and pestilence across the land accompanied a solar eclipse. Given some of the extremely shocking and difficult events and the rise of hatred in the US of the months and weeks leading up to this eclipse, one could approach it with some trepidation. I wanted to share a bit of a druid’s perspective on the eclipse today.

Forest eclipse pattern

Forest eclipse pattern

The Solar Current’s Power

In his new book Secret of the Temple, John Michael Greer describes how temples were designed with particular features to channel the energy of the sun down and radiate it out across the land in blessing.  In AODA, for example, our main seasonal celebrations do this same work: bringing down the light of the sun to radiate it out upon the work.  While this is how AODA and the druid revival frame the solar and telluric currents, these ideas are certainly much older.

 

Given the worship and reverence to the sun in so many ancient people’s lives, it certainly is not surprising that if the sun suddenly blackened in the middle of the day, it would be an ill omen indeed.  What if the light didn’t return? People wouldn’t survive long in darkness.  For that brief moment, the utterly consistent sun appeared like it was being blackened from the sky.

A Simple Eclipse Ritual

Today, our grove met to do ritual during the eclipse.  at our grove deep within the state forest.  Our grove has an ancient Sugar Maple tree in the center and is an easy 15 minute hike in from the trail head.  When we met, we were in the sun by the lake, but decided to go into the grove and do the ritual while the eclipse was taking place.  Our ritual was simple: we did a simple grove opening.  I played the flute and my two friends worked to radiate light into the world, particularly focusing on our human world.  We did this for a time, and then paused to note the changes in the forest floor–the patterns became ripply at first, like waves in the ocean.

Amazing forest floor sunbeams!

Amazing forest floor sunbeams!

After that, we continued our ritual.  The second part of the ritual was also simple: we recognized the value of self care in these times, and we smudged each other.  Then we used a lavender hydrosol to bring clarity and focus for our journey ahead.  At this point, we closed out the grove and did an eclipse walk as the darkest point of the eclipse came into focus.

Walking in an Eclipse

The land stilled.  Everything grew quiet. Walking in the woods during the eclipse was incredible.  The sun’s rays of light behaved more like the moon.  It was if the sun and moon’s roles were reversed.  We didn’t have any fancy glasses or self-made boxes or welder’s masks.  We didn’t need any of that.  All that we needed were the trees and the light filtering through them.  We saw the eclipse much like our ancestors did–through the gentle light of the trees.  When the breeze blew, the little crescent moons turned into waves on the forest floor.  My friends and I danced in the sun’s moonbeams (or was it the moon’s sunbeams), frolicking along the forest path.

 

It was one of the most magical things I have ever seen.

Eclipse at full strength

Eclipse at full strength

 

The Moon’s Sunbeams (or Sun’s Moonbeams)

Experiencing the extremely magical eclipse in the forest taught me a valuable lesson–I had been feeling rather “doom and gloomy” about the world as well as about some other personal losses that happened in the last two weeks.  I felt like the eclipse was there to continue the pattern, to burn my retnas, to plunge my soul into darkness, to plunge the world into chaos, much like the Ancient peoples believed.  I had been reading too much online, letting some of the darkness of the recent events lodge within my soul.

 

And then, I went out to experience the actual eclipse.  And my heart was filled with joy as the moon’s sunbeams, or the sunny moonbeams, or whatever you want to call the flickering and wavering crescents of light, came down on that forest floor.  We might have went into that forest with heavy hearts and to do a ritual of light.  But the sun and forest surprised us with its own light.

 

It was a powerful experience, not just to see an incredible rare and glorious event of seeing the forest while an eclipse is going on.  But because it taught us, once again, about the healing power of nature.  Sun had no less power when she was behind the moon (or behind a cloud, for that matter).  She simply had different power, focused power, and it was a sight to behold!   So friends, keep your spirits high in these dark times.  Dance in the light of the sun and moon, and let your spirit soar.

Crescent Sunbeams, courtesy of the Moon

Crescent Sunbeams, courtesy of the Moon