The Druid's Garden

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

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

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

 

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

 

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

 

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

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

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

 

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

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

 

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

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

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

 

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

 

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

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

 

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

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

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

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

 

The AODA's Sphere of Protection in a Tree

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

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

 

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

 

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

 

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

 

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

Developing a Community and Culture of Bardic Arts

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

For Aspiring Bards

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

 

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

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

 

Where is there a community with whom you can connect?

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

 

The Flow of Awen

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

 

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

 

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

 

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

 

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

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

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

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

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

 

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

 

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

 

What are the bardic arts?

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

 

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

 

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

 

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

           

Challenging Social Structures and Creative Expression

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

 

Growing Up and the Langauge of Disempowerment

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

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

 

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

 

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

 

Cultural Sources of Creative Disempowerment

Playing music from the 1750's

Playing music from the 1750’s

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

Breaking Away from Cultural Challenges: Local Bardic Communities

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

 

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

 

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

 

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

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On Keeping a Spiritual Journal April 30, 2017

Stack of some of my journals....

Stack of some of my journals….

Recently, I took some time to go back through the many spiritual journals I have kept on my journey deeper into the mysteries of the druid tradition and my relationship with nature. These journals spanned over a decade. They included a bit of everything: garden interactions, meditations, nature observations, events in my life of deep spiritual significance, recipes, notes from gatherings and visits, stories, experiences with rituals, and much more. I am so grateful to have kept these journals and re-reading them allowed me to rediscover so many pieces about that journey. They allowed me to see not only my own growth over time, but reminded me of important events and encouraged me further on my path.

 

Journaling and writing down one’s journey doesn’t come easy for many, and I, too, have to work at it!  Further, in working with those new to the druid path through my work as an Archdruid with the AODA, I’ve come to realize that many folks don’t know how to keep a spiritual journal nor what it can be used for or why they should do it. In my professional work as a writing professor, I know how difficult it is for some people to write anything because they lack the tools, motivation, or inspiration to do so. So, given this, I thought I’d take the time today to write about spiritual journals, why we keep them, and tips and strategies for keeping them (and keeping them well).

 

Why keep a spiritual journal?

When you are engaging in a spiritual practice of any kind, it is really helpful to document that practice. So let’s start by exploring the reasons why you would want to keep a spiritual journal.

 

The difference between sacred spaces and mundane spaces. One of the aspects of spiritual practices is that we are in a different head space for the duration of those practices than we are in the regular world. This is true not only of meditation and rituals but also of visits to natural places. We may gain deep insights or have moments of clarity and awakening and retaining those insights are critical for our development. If we don’t write them down, we are very apt to lose them.

 

I have found that in order to “not lose anything,” I have to write down my experiences in ritual or meditation immediately after they happen (often, I will write in my journal before I even close a sacred grove in ritual or before I leave the forest). This allows me to write about these experiences while they are fresh and in the forefront of my head. If I put off writing down my experiences, the longer that time goes by, the less I will remember and remember accurately–especially because visits to wild places and rituals alter our consciousness.

 

Inaccuracy of memory. Our memories are imperfect instruments and we can forget many things. If we write our experiences and understandings down (or use one of the other methods I share here), we offer our future selves a record of those experiences, which is a powerful spiritual tool. Trying to keep everything in our heads is a sure way to lose some of the critically important details or insights we gain as part of our spiritual practices.

 

Some journals that are mixed media/collage with spiritual themes...

Some journals that are mixed media/collage with spiritual themes…

To illustrate this, I’ll share a story here. I was out foraging for the day by myself, and I ended up in a really brushy area that required me to slog my way through about a two-acre bramble and brush patch. During this experience, I was in a deep meditative space. I had a critical number of keen insights about nature–all in a row (it must have been the stars aligning). The problem is, I had too many at once! (One of those keen insights about nature became my earlier discussion of weedtending, weedwalking, and weedcrafting while a second became my discussion of first-aid responder plants). I had recently lost my small journal I usually carried in my crane bag (to a river–it carried it away!), so I didn’t have anything to write down my insights on that particular day. And so, lacking any other means, I tried to commit as many as I could to memory. When I finally got back later that evening, all had escaped except the insights on the two posts I included above. Try and meditate as I might, I could not find the other insights anywhere in my brain–they were left in the bramble patch!

 

Keeping a Record. Documenting your practices and experiences through journals offers your future self a record about what you are feeling, experiencing, and the things you are engaging with at that particular point in time. This is a wonderful tool for tracking and understanding your own spiritual development. I love going back and reading my old journals and seeing just how far I have come! It’s also helpful to look at the journals and get a sense of what I was struggling with then, what I’m still struggling with, and what new things have come up.

 

Focusing, Expanding, and Reflection on Your Thoughts.  Journaling is not just a process of writing down exactly what happened or what the insights were, but it’s also a powerful tool and opportunity to ponder or sit with those experiences further.  And so, we gain a double benefit from this work. Reflecting on experiences that just happened allows you another way, which I see as another form of meditation, into those experiences. First, I have found often that after I finish a physical journey, spiritual journey, meditation, ritual, or whatever, writing down what has happened and my thoughts and insights about what has happened allows me to further shape and expand those thoughts (and actually, this is why I got into blogging!)  Part of it is that you are not just getting the initial insight, but taking the time to think about it deeper and focus on it through the journaling experience. This helps the insights and experiences come into sharper focus. Second, reflection also allows us to slow down and think about what we experienced, synth sizing our experiences and our own understandings. We can pick things apart, turn them around, wonder about them, and really gain the ability to see them from multiple angles there in our journal.  It might be that this kind of work needs to happen over a longer period of time than one entry, and that is perfectly acceptable as well.  I’ll also mention here that research in writing studies strongly supports both of the above–we learn through writing and we gain much from reflection!

 

Content of the Journals: What to Write

The question of what should go into a journal is obviously a very personal one.  Here are some possibilities for you to consider:

 

Documenting regular practices. In many of the esoteric traditions, keeping a “magical journal” is a required practice. It’s very helpful to document regular practices and their effects, especially over time. For example, each day I do the AODA’s Sphere of Protection ritual. In the years I was really learning it, I wrote down daily what happened. Now that my practice has stabilized, I no longer find it necessary to write down each day’s sphere unless something out of the ordinary happens during the sphere; but I still find myself writing about it regularly. I do write about my regular meditations, and that’s part of my habitual journal practice.

 

Some more spiritually-themed journals with colorful watercolor pages...

Some more spiritually-themed journals with colorful watercolor pages…

Salient, important things. I once spoke with a woman who told me she was spending more time writing in her journals than in her spiritual practices and was frustrated with the length of time it took to journal. I inquired further and discovered that she was writing down literally everything she was doing. While this certainly is an approach that you can take to spiritual journaling, I’m not sure its one I’d advocate. You’d spend more time, as she did, writing than actually engaging in your spiritual practices! Instead, what I advocate is writing down things of meaning, of salience, and of significance. In other words, I don’t write down every little thing (“I drove to the park”) but I do generally document what I did, what happened, and what I thought about it (“in my walk in the woods, this struck me because of…”).

 

Ideas, Plans, and Goals. I have found it useful to write about goals, ideas, and plans. If you write goals, check in on them regularly and see how you are progressing with them (a simple goal might be to develop a regular daily protective practice, or to spend more time in nature, or to observe the full and new moons in some way).

 

Nature observations. I have found it particularly helpful to document my observations and interactions with nature, given that I’m on a path of nature-based spirituality. For this reason, I almost always take a journal when I’m going out and about (even a small one I can carry with me, although I have a propensity for small journals getting eaten by bodies of water!)

 

Some nice leather journals (both filled!)

Some nice leather journals (both filled!)

Reflections over time. At the end of the journal, when I have only 10-20 or so pages left, I find it really useful to go back through the journal and record any patterns in my thinking, any changes, anything that sticks out of significance to me. It may take me a year or more to fill a journal, but is a very good practice and then helps me “launch” the next journal with a vision and goals in mind.

 

Photos, drawings, plant matter, and memorabilia. You don’t have to be limited to words alone–consider adding drawings, photos, plant matter, and other memorabilia.

 

The Look and Feel of Your Journal

Especially when you are starting out, the finding or making the right journal is really important. There’s something about opening up a fine journal, one that you are attracted to, and writing in it. It’s nice to see it sitting on our shelf, nice to hold and cherish. Your journal might be something you make or something you buy. (I can write a post on bookbinding and spiritual journal making if there is interest. Let me know!) You may also find that you may develop certain preferences (thickness of paper, lined or unlined, etc).

 

I think that there is something special about keeping a physical journal and I would strongly recommend you keep your journal physically. For one, if you are taking it into nature and into sacred spaces with you, the last thing you want is an electronic device in those spaces. The screens have a way of pulling you away and into them rather into the space. If the purpose of the journal is to record words, I would suggest using old-fashioned methods.

 

On the outside: If you are going to go with a purchased journal, You want a journal that lays flat, that is enjoyable to write in, and that is well constructed.  One place to look is on Etsy and similar places and seeing if you can purchase a nice journal that was handmade with care and love.  You’ll support an artist and also have a wonderful journal.   Some journal makers (especially those working in leather) can make a journal cover that you can then replace the insides. This means that you could buy one journal + cover, and then when you are done, put the cover on a new journal and keep going, placing the old journal on your shelf. This is a nice option and represents a limited investment.

 

On the Inside: One of my very early spiritual journals was a simple affair, but homemade. I began by purchasing some hot press, low quality watercolor paper and folding them in half, making signatures. I bound the journal using a Coptic stitch technique with two boards. Then, in each of the pages, I did a simple watercolor wash. The watercolor pages dried and then, when I opened the journal, I had a variety of colorful surfaces on which to write.

My first dedicated spiritual journal (made when I joined the AODA)

My first dedicated spiritual journal (made when I joined the AODA)

You can do the same thing with cheap watercolors and any journal designed for multiple media or mixed media (these are readily available in arts and craft stores). These kinds of journals will be thicker and contain less pages, but will be sturdy and wonderful for colorful washes and bold printing.

 

Mixed media is anothe option.  Mixed media refers to any two media that are not traditionally put together (so photographs and drawing), and this is a wonderful way of expressing more than just words. For example, perhaps you want to sketch, find an image, imprint a leaf, take a photo, and so on. Any of these can be readily incorporated into your journal. Sometimes, a picture helps capture the event or experience in ways that words cannot.

 

Keeping Different Journals

One thing that I have found works well for me as a more avid journaler is to keep different journals for different activities. For example, I have a journal that I use to record important dreams. That’s a separate journal from my everyday/meditation journal, and also separate from my nature journal. At other points in my life, I have found too many journals burdensome and only kept one that held everything within it.  Here are some of the different kinds of journals you might keep:

  1.  Meditation journal. For regular meditation practices (especially if you are using discursive meditation and/or spirit journeying as meditation).
  2.  Nature journal. For experiences in observing outdoors (taken when you go outdoors, do nature observations, hike, etc). This journal can be small (a small Moleskine (SP)) journal works well for this purpose. You might want to keep it in a small plastic bag to protect it from the elements.
  3.  Gardening journal. Keep track of your gardening adventures!
  4.  Seasonal celebration journal. A journal that documents your seasonal celebrations and merriment.
  5.  Work with spirits journal. A journal that documents inner journeys and connections to the spirit realm.

Or you might keep just one journal and use it for everything! There is no right or wrong way to journal.

 

The inside of my "Garden Journal" that detailed both knowledge about gardening and farming I was learning as well as my early attempts at homesteading

The inside of my “Garden Journal” that detailed both knowledge about gardening and farming I was learning as well as my early attempts at homesteading

Getting in the Habit of Journaling

One of the most tricky things for people starting out is to get in the habit of journaling. Here are a few tips and suggestions.

 

Perfectionism doesn’t matter. You do not need to have proper grammar, full sentences, correct punctuation, or even really legible handwriting in your journal. This journal is for you and you alone, so as long as you can read it, that is what matters.

 

Stream of consciousness writing can work. Many people write journals in long paragraphs or entries that are in the style of “stream of consciousness”; that is, they write what immediately comes up in their minds. You might see this similar to how some forms of meditation work—thinking about an idea and seeing where it goes. In the case of your journal, I think the most important thing is to get the information down that you want to get down, and it doesn’t have to be a literary masterpiece.

 

If writing doesn’t work, audio record (and transcribe).  Some people find that when they sit down to write they have difficulty putting any words down on paper. They stare at blank page. If you fall into this category, one suggestion I have is to use a small recorder and record your thoughts in audio format (like you are talking to a friend or to yourself) and then, later, transcribe those words into your journal. This adds a step, but it might be good to help you get going.

 

Keeping a journal is about habituating practice. One of the other challenging things to do for new journal keepers is just to get in the habit of regular writing. Above, I suggested writing as soon as you are finished with a practice or experience that you want to document. I also would suggest that if you aren’t doing anything else, setting aside a time to journal once a week is a good way to start. Once you have gotten in the habit of journaling, it will become easier to do.  Start taking your journal with you anywhere you go–on a trip, out into the woods, into your sacred space–and then work to use it!

 

Concluding Thoughts

I hope this post was helpful to those who are interested in starting a spiritual journal or in kicking their own journaling into a higher gear.  After a period of years, I can say with certainty that this practice has really helped me deepen my own awareness, my focus, and helped me progress along my spiritual path.

 

As an aside, I will be taking a few weeks off from blogging while I do some travel and get our big garden in for the year! I’ll return in late May with additional posts on my permaculture for druids series, information on the bardic arts, and so much more!  Blessings on this Beltaine!

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Finding and Working with Ancestral Traditions March 26, 2017

Grandpa's field

Grandpa’s field

When I was a child, my grandfather took my cousins and I to a wild area we later called “Grandpa’s field.” It was a field on the edge of the forest below our houses, the edges rich with crab apples, hawthorns, beeches, and maples. Grandpa had a rusty red tractor, and we’d go into the forest riding on his lap. When we got to his field, we would park the tractor and look for wild mushrooms, wild ginseng, and other wild edibles.  He would point out plants and animal tracks and teach us about the forest.  After that, we would lay in the field and watch butterflies. When I was only 8 years old, Grandpa died after a hard life in the steel mills. In time, these memories faded and I didn’t remember where Grandpa’s field was. Later in my 20’s, some of my cousins came to visit and we began searching for the field–and we found it, overjoyed to be reuinted with a place so sacred to our Grandfather. Here were the old wooden fence posts that grandpa had brought down with his tractor. Here was the old crab apple tree. Here was everything that we remembered.

 

And yet, memories like this are few and far between. In truth, I have maybe 20 or 30 total “fragments” of my own heritage from beyond my parents’ generation–in small stories and tidbits just like this. As part of my own honoring of the ancestors, I’ve worked to bring back any of these traditions, however fragmentary, and I often weave these into the posts on this blog, such as my recent one last week on ethical sourcing of medicinal plants and American Ginseng. Many of us, I’m sure, have stories like the one I’ve shared above–small bits and fragments of those who came before. And yet, for many of us, these memories are fragmentary, so many traditions lost to history, to the passing away of ancestors, or even to our own memories. As I work to begin to live more like them, I am always struck by the little that I know of them.

 

I think it is easy to see the lack of ancestral knowledge as a deficit: how much we have lost, how much we don’t know, how we wish we could just sit and talk with someone who has passed on. I find myself sometimes falling into this trap sometimes, lamenting what has lost and not knowing the extent of what I’ll never know. But recently, a positive shift has occurred for me in rethinking my relationship with the fragmentary knowledge of ancestral tradition (I think this shift had a lot to do with returning to the land where I was born). So I’d like to spend some time today exploring ancestral traditions and the fragments we have left of them, and talk about how these can be used as “seeds” of rebuilding and reconnection within a nature-spiritual path.

 

Fragments of Traditions

The term “tradition” is defined as “the transmission of customs or beliefs from generation to generation, or the fact of being passed on in this way.” And so when we think of ancestral traditions, they are those bits of language, behaviors, rituals, and culture that our ancestors have passed to us. The challenge I think that many of us face is that we are working with minor fragments of traditions, tiny bits and pieces that somehow survived and made it into the 21st century, into our hands. I choose the term survive very intentionally: in the last several centuries, with the rise of westernization, industrialization, and globalization, we’ve seen many cultural traditions, languages, and species disappear at an alarming rate. In fact, at present, over half of the 7000 languages in the world are “moribund”, that is, the remaining speakers are a few elders and the language hasn’t been passed on. These moribund languages hold incredible insights into how a particular culture thinks, sees the world, understands the human condition, interacts with nature, and more. And what these languages and cultural traditions have been replaced with is part of the predicament we are contending with in the present age.

 

Here in the US, immigrant families often worked to eliminate their own cultural differences to assimilate; this, combined with the loss of traditional ways and rise of consumerism has left many of these traditions no longer seen as “useful” to pass on. Native blooded peoples, of course, had their culture and language systematically stripped from them for the better part of three centuries. In other places, people may have been forced to relocate, famililes were split, or other kinds of severing occurred–leaving us with few traditions. My own more recent ancestors were part of the cogs of the enormous working class whose blood, sweat, and tears funded industrialization, expansion, and “progress.” My grandfathers were steel mill workers, other family members cut lumber or worked in coal mines in other working class industries here in Western PA–and that’s about the extent of what I know. And by the time someone (like me) is ready to learn them, those that could pass them on have long since returned to the Summerlands.

 

Ancestral Fragments as “Seeds” of Future Traditions

Seeds for new traditions!

Seeds for new traditions!

For my entire life, I’ve really found only “fragments” of my family’s traditions: these traditions are fragments of what was once a completely different way of life. I have come to see the fragments in two different metaphorical senses: the jar metaphor and the seed metaphor.

 

First, I have the metaphor of the jar, which is the metaphor that reaches back into the past. These fragments are like tiny br0ken pieces of what was once a set of large and beautiful jars, bottles, and vases of various colors and styles (because my heritage doesn’t link back to just one culture, but to many).  Perhaps I find part of a flower or some blue pattern and I wonder what the whole jar used to look like, who held it, the kinds of things that were stored inside.  And so, I pick up the fragments, look at them, and work to piece together what might have been.

 

The second metaphor I use for these fragments is that they are the “seeds” of future traditions.  So if I’m working with a small fragment of ancestral knowledge, that fragment is like a seed of unknown potential. I maybe need to hold onto it for a while but eventually, cultivate some soil and plant it, to see what grows. I need to tend the soil, to work with it, to water it carefully.  Maybe that means doing some research, maybe that means trying something out–but the point here is to “tend” to it and see where it may lead. This seed metaphor is important because I have to acknowledge that I don’t live in the same cultural context that they did, I likely don’t believe what they did, I don’t live like they did, and so, some of their traditions would make no sense in the present age. I need traditions for this age–ways of working through this age, and things to do to respond to the present circumstances and build a future tradition.

 

Family Traditions

Family traditions are often the most salient and meaningful as they weave into our own upbringing and experience and tie directly to ancestors of the blood. And yet, I think there are a few challenges with these traditions. First, our ancestors didn’t always leave much for us to work with. Gather up what you can, as often as you can, and keep it close to you. Write it down–that and stories you remember. Talk to anyone who is still alive about those traditions. I’ve actually found it important to talk with each person more than once, in different settings, as conversations can lead in multiple directions. Ask if anyone has “stuff” that you can look like (old journals, books, etc). This can also help you piece together things.  And sometimes, it can be a puzzle worth solving!

 

Here’s a good example of this kind of work: my same grandfather that I shared about above often visited a spring and drank spring water after a long day at the steel mill. My mother mentioned it a few times in passing as I was growing up, and one day when I was driving to visit my parents, I came across a roadside spring not so far from those very steel mills. I shared the story of that spring last year on this blog. I began drinking the water from that spring and visiting it as did other members of my family. Then, a few months after we had reconnected with the spring, we came across some old reel videos my grandfather had taken of the family when my mother was quite young. As we were watching the black and white videos (with no sound) projected onto the wall, there was the spring, with the whole family drinking from it.  My cousin and I jumped up excitedly because we had confirmation that we had found the “ancestral” spring. This is a seed of something that has become much greater for me–I now visit that spring at least once a month and take water from that spring to other sacred locations.  All of my drinking water comes from the spring and I honor that spring each time that I am there. The ancestral spring has become one of the focal points of my spiritual practice, and I’m cultivating my own relationship with it–all the more meaningful because of the generations who came before me.

 

Sacred Spring

Here’s a second example. A friend recently learned that his grandfather had been known across the county as a person who knew a lot about apple orchards and was an orcharder.  After learning this, he looked with new eyes at the few remnants of his grandfather’s trees that still remained in his grandmother’s yard. He now has plans to gather scion wood from those trees and graft them onto other apples.  If he begins to tend those trees with the grafts, he has–literally–brought part of his grandfather’s work with him and the varieties that his grandfather cultivated. And of course, from there, there is no end to the kinds of activities one can engage in surround this apple tree (like pressing cider or Wassail!)

 

Of course, we have many such family traditions to draw upon: music, food, songs, places that hold significance, clothing, items passed on, land, trees ancestors planted, things they did–all of these hold potential for planting seeds for new traditions that will carry us into the future.

 

Family Religious Traditions

Of course, one of the challenges for those on the druid path is that we’ve likely deviated away from our own recent ancestors’ religious traditions–and those traditions may be the bulk of what family traditions are left to us.  If that’s the case, we need to also think about what traditions would work best for us, and if any traditions can be adapted and honored, but perhaps in the context of our own druidry. This isn’t always easy for you to figure out, but is worth spending some time sorting through, and I’ll give you two such examples:

 

I have a good druid friend who comes from a Catholic tradition but has left that tradition behind her. Most of her ancestral traditions handed down in the family are Catholic in origin, and she’s working through what to do with those.  Of course, some of those rituals have meaning and significance to her, even though she is no longer a Catholic. One of the ways she has worked this into her druidry is to call upon the four archangels as part of her daily Sphere of Protection (the daily protective ritual in the AODA).

 

I have a personal example here to share as well. My family has done pysanky eggs since I was a small child–something I shared on this blog last year. Each year, we would bring out the small packets of dye in their white envelopes, the small tools, the eggs, and the candles and work to design beautiful and magical eggs.  The traditional eggs, of course, use a lot of Christian symbolism.  I’ve kept what I felt was appropriate and also added new druid symbolism into the eggs.  And so, in this case, I’ve kept up with the tradition but have changed a bit of the symbolism and designs that I draw upon.

 

A druid's egg of the modern variety

A druid’s egg of the modern variety

I think it is up to each of us to figure out how we want to weave those previous religious traditions with our present work–and you might find that you are able to do so with more comfort and certainty as your own path continues.

 

Cultural Traditions

Another angle you can take is the broader cultural tradition that your family’s ancestors were part of.  These traditions aren’t necessarily directly descended and passed on by blood relatives, but they are often easier to find and learn about than the fragments left to us through family lines.  Cultural traditions are often well documented in books: look for songs, stories/myths, customs, food, dress, holidays, and more. Of course, with these, you’ll want to develop your own take on these cultural traditions–what works for you? What doesn’t?

 

I have two potential resources here for you on broader cultural traditions. The OBOD‘s course does a nice job in introducing people to some of the cultural customs tied to the ancient druids, particularly of Wales, and how those can weave into modern druid practice. The Grand Archdruid of the AODA, Gordon Cooper wrote a brilliant piece on “Wildcrafting Your Own Druidry.”  In this, he offers an example of a wildcrafted druid cosmology where the druid drew upon her own heritage as well as a focus on the land around her.

 

You also might look to more “local” cultural traditions or those that are around your region.  For example, here, in about a three-county area, there is some tradition surrounding magical barn signs (and they are distinctly different than the Eastern PA “hex” signs).  I’m still researching this tradition, but seeing these beautiful cut out barn signs everywhere has really encouraged me to do more research, to take photos, and to weave these symbols into my own artwork and druid practice.

 

Traditions tied to the Land

The final piece that we might draw upon with regards to ancestral traditions are those tied to the land itself–those that allow us to reconnect with the heritage and uses of the land prior to our current culture.   This, often, is tied to wildcrafting, foraging, and the kinds of plants and animals you have.  Bushcraft classes in your local area is one such way you might learn about these traditions, as are, again, old books, old maps, and old timers.

 

One such tradition that I’ve been attending to in recent times is the art of acorn harvesting and acorn eating. Many native tribes in the US ate acorns and used acorns as their staple crops.  Reconnecting with the acorn in this way, making it a part of my fall rituals, and enjoying it as a meal or flour has really opened up possibilities. And so, I’m learning how to crack acorns effectively, how to dry them, how to grind them into meal and preserve them. Acorns as a dietary staple are easy to find and abundant here, and rebuilding this knowledge can help me connect with the land in powerful ways as well as teach others! I’m finding that acorn preparation is a lot of work, but it is fun work, and it is helping me reconnect with an extremely important local food source that has been used by people inhabiting this land for thousands of years.

 

Other ways you might find some of these traditions is looking at place names: the name “spring” or “mill” gives some sense of what your town or road may have once been used for. Historical societies and historical markers also can help you see some of the broader histories in the region–often directly tied to the land and how people sustained themselves upon it.

 

Concluding Thoughts

I hope that this post has given you some food for thought on your own ancestral traditions as they tie to your family, your broader cultural heritage(s), and the traditions of the land around you.  Thinking through and planting seeds of new traditions is extremely meaningful work to do, and can be wonderfully rewarding.  In the comments, I’d love to hear from anyone who has made family traditions part of their own druid path.

 

PS: I’m seeing an increasing number of people directly copying and pasting my blog posts into their other blogs (different than reblogging). These blog posts represent my own thinking, meditations, life energy, and sacred work. I ask if you want to share them, please use the “reblog” feature so that you share a small portion of the post and then the post links back to this site (and thank you to those of you using this feature!) I freely share my insights and experiences here, and I ask that you respect that sharing. Thank you and blessings!

 

Ode to the Rooster January 29, 2017

The Chinese New Year is now being celebrated, and it is once again the Year of the Rooster. I see this as a tremendously positive and powerful sign–a message of light and hope in this time of darkness. In honor of the rooster, I offer two stories that demonstrate how powerful and protective the rooster is–and how the rooster’s energy this year can lend us power and strength to drive back the dark. So now, pull up a chair by the fire, and hear two stories of roosters and their magic.

Painting of Anasazi Rooster

Painting of Anasazi Rooster

As I mentioned a few blog posts ago, a group of us held an all night vigil for the winter solstice.  This is not an easy ritual–it is about 15 hours of darkness, in the cold months of the year. Our ritual started well enough: we had a glorious sunset, a lovely ceremony, a great feast that put warm food in the belling, and music, storytelling and conversation by the fire. That got us from about 5pm till about 11pm, and folks started going home to their warm beds, until only a core group of five of us were still present for the long haul till sunrise at 7:30am. We sat in the hours and hours of darkness with nothing but the fire to keep us company while the Yule Log burned away into coals. The moon continued to come across the sky, ever-so-slowly.

 

In those deep and dark hours, as you are holding vigil, a number of things happen within and without. For one, the time can be altered–the night is much longer than it seems, as if you had been sitting in darkness for days or weeks, not mere hours. You get lost in the darkness of your own thoughts. You wonder, in those deep, dark hours, if the sun will ever return.  The circle grows quiet, and each person battles with his or her own darkness. The darkness seems all encompassing. More than once we asked, silently or to each other, will the sun ever return? Will this long night ever end?  For it is in this darkness that we face our fears, our sadness, and our sorrow. And it is this darkness that can hold so much power over us. This vigil experience parallels, to a large extent, what so many are facing now as darkness seems to be descending upon us culturally.

 

And then, suddenly, close to 4AM, as we were still wrapped in the swirling darkness of the night, a call came out, ringing across the fields. A call that brought us back into our own bodies, back to the presence of our loved ones and the fire–a call that promised the return of the sun. That was the call of the rooster: cock-a-doodle-doo! One of the farm’s roosters, before the sun was anywhere near ready to rise, let us know that everything was going to be alright–for he was here to work his magic and to raise the sun. We heard him, and the inner darkness began to recede. He continued his calls every 15 or 20 or so minutes, letting us know the sun would rise again and he was seeing to it personally. The second rooster on the farm, a tiny fellow with the cutest little high-pitched crow, began his own crowing as we grew closer to the morning rays of light. The two of them, in unison, called up the sun.  All we could do was wait for them to finish their work.

 

As the gray turned to blue and the blue to yellow, the little rooster came down from his tree where he roosts at night and stood on the fence behind us, looking at us with his orange rooster eye, and he crowed and crowed until that sun came up above the mountains. If roosters weren’t there to pull up the sun in the depths of that solstice morning, I am not sure it would be able to rise at all. I thought then, about the millions of roosters across the land bringing up the sun in an ever-moving circle.

Rooster who crows up the sun!

Rooster who crows up the sun!

This experience resonated so powerfully with me partially because these were not the first magical roosters that I had encountered. Although I had raised chickens as a child, and grew up with them as friends at my parent’s homestead, we never had roosters, for fear of what they neighbors would think and their crowing. So we kept hens, and I loved those hens, each and every one of them.  When I came to my new homestead in Michigan seven years ago, I did as we had done before–purchased some day-old peeps, all hens, so that I could have a new chicken flock for companionship, eggs, garden assistance, and most of all, joy.  Roosters hadn’t yet crossed my path, or my mind!

 

My little hens stayed at first in my art studio in a warm large box with straw and a heat lamp. Since it was already summer, they got to go into the garden each day and search for bugs, bathe in the beds, and bask in the summer sun. After two weeks, they grew too large for their box and were moved to a larger area in my garage. Each day, they would get to go outside and enjoy the sun. We continued this pattern as they grew feathers on their wings and tails, and then on their bodies, as their little combs and wattles started to grow red.  Soon, they were like little miniature chickens, running around, enjoying bugs and scratching at the dirt.

The girls when they were young, before the rooster came

The girls when they were young, before the rooster came

It was soon after they moved into their permanent coop at 12 weeks old, that the rooster first came. I spotted him from a distance–a beautiful rooster with large cockle spurs, a gold/orange head, his body giving way to black with bold green and blue highlights and gray feet. He had a magnificent comb and bright orange-yellow eyes. And he saw me, and my little hens, and let out a crow. I had no idea who this rooster was; I had no experiences with roosters. I sat and watched him, and he stood and watched me. The hens crowded behind me, afraid. And in their fear, I realized he must be a scoundrel, not a gentleman.  I told him,”my hens are too young for you! Stay back!” And he listened, but watched them intently.

Beautiful Rooster!

Beautiful Rooster!

Each day as summer turned to fall, the rooster would mysteriously show up.  He never came too close to me, or to the hens, but he stayed at a distance and every so often, let out a glorious crow. With each visit, he inched a little closer to the hens.  But each night, just as mysteriously as he arrived, he vanished down the road, disappearing quite quickly.  Like clockwork, each morning I was awakened with his crowing–there he proudly stood on top of the coop, asking me to let the ladies out. I did so, and watched as they came near him, looking at me with questions in their eyes. I continued to wonder, as before, if he was a gentleman or a scoundrel.

 

I called up my neighbor who had a farm, with many roosters and hens.  He lived in the same direction where the rooster mysteriously disappeared each night.  My neighbor told me, “Yeah, he was mine all right. But he was too gentle and the other roosters kicked him out of the flock in the fall.  Now, he lives in the tree near my house. I can’t believe he’s alive–he spent the whole winter in the tree by himself!” I responded, “Do you want him any longer?” And he said, “If you can catch him, you can keep him. But best of luck catching him–nobody can get close to him, even to feed him! That rooster’s something else.”

 

And so, I knew what my task was to be–wooing this beautiful rooster into the homestead as a permanent addition–after all, he had already made himself at home here on my land, and now I just had to find a way to keep him here. I figured that the way to a man’s heart is through his stomach, so I began to offer tasty morsels of food when he showed up for his daily visit. Eventually, trust grew between us, and he allowed me to get within 10 or 15 feet of him. Trust grew between he and my hens as well, and they began foraging closer together, and they grew to understand that he was going to protect them. But every night, as before, he disappeared down the road. Perhaps this story would be better if he disappeared at the stroke of midnight or turned into a pumpkin or something, but that was not the way of things.

Where is that roo?

Where is that handsome roo?

Eventually, he began coming to me for food, and then I knew I had him. I threw some food into the run of the coop, and in went the rooster and the hens. I quietly closed the gate to the run while they were busy enjoying the food, and then tossed more into the coop itself.  He refused to go in.  I waited. The sun began to set, and he looked at me, knowing if it grew too dark, he couldn’t return to his tree 1/4 mile away.  But then, the hens went into their coop.  He followed them and I locked them all in. The hens piled all into one of the nest boxes and looked at me with a look that said, “You really just locked HIM in here with US?” and I smiled at them and wished them all a good rest.

 

I kept them all in the run for the next few days so that the new roo would see this as home, and after the third day, I let them back out to free range. The real test would be to see how they were getting along and if he ended up back in his tree. He did not, but instead, crowed around the coop four times, once in every direction. A good rooster, indeed.

Coming out of the coop together!

Coming out of the coop together!

I had named each of my chickens different names of beans, in honor of “bean” who was one of my most beloved chickens as a child (she knew her name and came when you called; she once got attacked by the neighbor’s dog and the vet had to put 37 stitches in her and she lived another 4 years!).  Each of the chickens then, was a bean or pulse: Lima, Adzuki, Pinto, and Lentil. And, in honor of a beautiful bean I was growing in the garden that I just harvested for the winter months, I named the rooster Anasazi.

 

The next years of my life were good ones. I quickly began realizing how many hawks we had in MI (never a problem in PA), and Anasazi repeatedly demonstrated his worth.  He would let out a shrill call and the hens would run.  He was, in fact, a gentleman, finding food and calling the hens to him to share it–saving for them always the most tasty grubs and best morsels.  He was not rough with the hens, as some roosters are apt to be.  He danced around them contentedly and put on a show before mating. Once, a neighbor’s dog came for the flock and he threw himself at the dog and then led it far away to keep the hens safe. I started wondering how I ever had got on without a rooster–and the truth is, I would have lost my whole flock that first summer to predators without him.

Dust bath

Dust bath

Anasazi worked magic on the land. When I would go out in the morning to do my daily ritual, Anasazi was there, crowing at each of the four quarters, and once each for above, below, and within. Each time he crowed, he helped protect the land and the homestead, and we were all safer with him there. He helped herd and guide the hens. He would lead the hens into the sacred stone circle, they would forage once around in a circle, and then exit at the appropriate gate. I began to understand the importance of his early morning crows to raise the sun–Anasazi had tremendous power in the sun, but no power in the darkness. He was a being of protection and of the solar current.

 

I grew quite unhappy in Michigan and was contemplating whether to stay or to consider applying for a job in Western PA, the land of my blood and birth. One night, not long after I began considering this, a badger broke into the coop in the darkest hours.  The coop was far enough away from the house that I did not hear what happened and remained sound asleep. But in the morning, I found the door literally ripped off of its hinges.  Inside, intact but frightened, were all of the hens–and not a trace left of Anasazi. In his life and in his death he protected his flock above all else. His death was a powerful sign for me–a sign that I had to move on, from my beloved homestead, returning to the mountains of my birth. For I realized that I could not run my homestead without Anasazi; he was such an integral part that it was not the same without him. My dear hens found good homes with a friend, and I packed up my things and headed East towards the rising sun, back to the mountains where I belong.

 

It has taken me three years to write about Anasazi’s tale, because, until I experienced the rooster calls this past Winter Solstice, I still did not fully understand all that happened and all of the rooster’s power and magic. However, I know this for certain: I am thankful that the rooster is guiding us this year, of all years, for I would rather be under no other being’s protection. I know that those of us, in the US and in many other places in the world, are facing times of tremendous darkness. I point to the roosters in my first story, those who brought us holding vigil out of darkness and who crowed up the sun, as a sign of hope and light in these dark times. I also point to Anasazi, who protected his flock against any harm, and know that we, too, can be under the protection of the rooster this year.

 

Sacred Tree Profile: Hawthorn (Lore, medicine, magic, and mystery) October 30, 2015

Hawthorn branches and leaves

Hawthorn branches and leaves

In honor of Samhuinn, a festival of beginnings and endings, today we’ll explore the most sacred of trees–the hawthorn. This is the 6th post in my “Sacred Trees in the Americas” series where I examine abundant trees in the Eastern and Midwestern parts of the USA, exploring their many qualities: physical, magical, herbal, mythological, and so on.  Previous posts have include Eastern Hemlock, American Beech, Sugar Maple, Eastern White Cedar, and Hickory.  Each of these posts takes 20-30 hours to research and write, not to mention the countless hours I spend with the trees to understand them and share their stories as best I can.  And now friends, let’s enter the forest and visit the hawthorn.

 

There are few trees quite so enigmatic in either western herbalism practice or contemporary druidry as the sacred hawthorn—and this is the first of the sacred trees of the Americas series that is included in the traditional Ogham, although I want to add to our knowledge of this tree.  With its small, tart berries, its lovely white or pink flowers, and its thorny, protective trunk, this is a tree that has woven its way into the hearts and tales in many parts of the world.  And certainly, its  a tree that has much power during this sacred time.

 

I remember when I was a child, running through the hawthorn grove behind my house. Hawthorns here in Pennsylvania, as in many forests, function as under-story trees, so they would grow in the second layer of the forest—and the forest in parts was thick with them. We would gather apples from the crab-apple on the hill, and place them in the thorns of the hawthorns as “offerings” to the trees so that they could let us pass into the forest, which we believe was another realm. We would gather the thorns and stick them into the mud or in the sand in our sandbox to create mini groves of thorny trees, a wonderland of its own. It’s amazing to me now, in studying the ancient lore of the hawthorn tree, how our instincts and intuition as children are often right.

 

As an adult, I would be thrilled to come across a hawthorn in full fruit, ready and waiting for a harvest.  Just as I was a child, I would first leave an offering in that tree’s thorns (an apple, a piece of bread, a song on my flute) and then pick the haws (fruit) from the tree or the ground—they are ready when they give freely, and they drop when you pick them. Many trees, when you work with them, bestow some of their gifts just from being near them, from harvesting from them, from breathing them in or sitting next to them. Hawthorn has always had this effect on me—when I was heartbroken, harvesting flowers and then preparing them simply soothed my aching heart. Come with me now, into the grove of the Hawthorn tree!

Hawthorn tree in early summer

Hawthorn tree in early summer

 

About Hawthorn (Physical)

Hawthorns (Crataegus spp) have many folk names including thorn, thornapple, may-tree, whitethorn, quickthorn, mayblossom, hagthorn, hedgethorn, quickset, hawberry, halve, bread and cheese tree, Huath, lady’s meat, may bush, tree of chastity.  According to Grieve’s herbal, “quick” terms come from its ability to quickly grow; the “hedgethorn” name comes from its ability to produce effective hedges (more below), and whitethorn from its light coloring. The Latin word for the tree, crataegus, comes from the Greek kratos hardness (of the wood) and akis sharp, suggesting these trees have sharp, strong thorns. Hawthorn trees are a whole range of sub-species that usually have slightly different bloom and berry ripening times; nearly all are used interchangeably in herbalism and magical practice.  Its range spans most of North America and is likewise found in Asia and throughout Europe.  Not all varieties are trees—some are rather large shrubs—the ones that make good hedges.  All of the, however, have their enigmatic thorns—the secret to both the medicine and magic of the hawthorn tree.

 

Hawthorn trees are an important part of the ecosystem, being a nectary for insects in the spring and providing food and shelter for many birds and mammals.  Because the haws are a very late-dropping fruit and some may remain on the trees even into the winter, thrushes and cedar waxwings will eat them and spread the berries through their droppings.  Certain moths and butterflies feed exclusively on the nectar and leaves of the hawthorn tree.

 

Hawthorn has long been a hedge plant; the German word for Hawthorn is Hagedorn; haw is also an older word for hedge. Hawthorn, especially in the UK, was planted heavily in hedges for boundaries to fields; while it was used throughout the ages for this purpose, in the 18th and 19th century with new fencing laws, the hedges grew even more prominent. It was from these hedges, full of medicinal and magical plants, that the “hedge witch” term derives. In terms of human uses of hawthorn, it has a very hard and rot resistant wood, and so in the US, it was used frequently for fence posts and handles, even in some cases for wood engravings and carvings.  M. Grieve reports that hawthorn root wood also has a fine grain and finishes well—so the root wood is used for decorative boxes and combs. Charcoal of hawthorn is so fine that it was apparently used in pig iron furnaces for the creation of “coke” for making steel—although given the strong prohibitions against cutting or burning it, I’m surprised that anyone would use it for charcoal!

 

Example of hawthorn rust

Example of hawthorn rust

One of the physical problems that hawthorns have in the USA (especially those where I lived in Michigan) had was Rust (cedar/apple rust blight).  This rust was carried by Eastern Red Cedar (juniper) trees and was transmitted to any apples or hawthorns in the area, sometimes being fatal.  I haven’t seen rust impacting the hawthorns here, but I noticed many of them dying off in the immediate area—older hawthorns of a dwarf variety all dead in one season—so I’m not sure what is going on.  It is worrisome.

 

A final use of a hawthorn tree is that of a rootstock or graft for other related cultivars—primarily for quince, pear, or medlar. From a permaculture design standpoint, this is wonderful to know, because you could end up with a hawthorn tree that also has pear, medlar, and quice grafts—what an abundant opportunity!

 

Harvesting Hawthorn

For medicine making, the flowers and leaves can harvested, along with the berries.  Of course, if you harvest the flowers, there won’t be berries, so there is always a choice to make! You can use a pair of scissors or just your hands to harvest leaves and flowers. Do realize that many hawthorns, especially in their flower stage, are home to a variety of insect life.  Shake the branches and check the flowers and leaves carefully before drying them, tincturing them, etc.  Let the life that lives on the flowers stay outside to gain the hawthorn’s blessing!

 

Later in the season, the hawthorn berries  ripen—depending on the cutivar, either rin September or October (if there are many hawthorn trees around, you’ll be able to harvest for 1-2 months straight from different trees!) Hawthorns, like apples, give of their haws (fruit) when they are ready—when you lightly tug on the haw and it is ripe, it will come easily from the tree, and likely others with it. If you tug on the haw and you get resistance, come back later, and the fruit will be ready. Or it may be all on the ground, which is a fine place also to gather it up. When they are perfectly ripe, they start dropping to the ground in quantity. When harvesting haws, there are all shapes and sizes – larger ones almost crab apple sized and tiny ones no bigger than the tip of your pinky finger.  Hawthorns can come in red (most common),  yellow and black (least common) varieties.

 

A hawthorn loaded for harvesting! (This one was very friendly!)

A hawthorn loaded for harvesting! (This one was very friendly!)

In terms of harvesting, some hawthorn trees are more “friendly” than others, meaning they have less thorns on the branches.  I’ve met trees who simply aren’t interested in being harvested by humans—they have lots of thorns on the branches and stick you with them when you reach in.  Better to find a nicer hawthorn tree—many are quite personable if you give them an apple or something as an offering!

 

After harvesting, check your hawthorn berries for worms. Hawthorn berries often have small worms in them (again depends on the tree), so I find its easiest to use a masher (like a sauerkraut masher, a solid wooden one) on a wooden cutting board.  I smash open the berry with a gentle tap, see if there are worms inside, remove the seeds ,and then dry it or tincture it or whatever.  If there are wormy bits, I simply remove them and use the rest of the seed.  You do want to remove the seed of the berry for sure—the seeds, like the seeds of apples and cherries, contain cyanide.

 

Grieve reports that the fruits have names other than “haws” – she lists “pixie pears,” “cuckoo’s beads,” and “chucky cheeses” (who would have known that the pizza joint was named after the hawthorn tree? The things you learn studying herbalism and magical plants!)

 

Hawthorn in Herbalism

Culpepper notes that hawthorn is a tree of Mars. He also suggests that a distilled water of the flowers “stays the lax” (translation = keeps leprosy away) and will draw out thorns or splinters.   If the seeds are bruised and boiled in wine, its good for “inward pains” (pretty self-explanatory).  Gotta love Culpepper!

 

Physcial heart healing: More modern knowledge of western herbalism recognizes that Hawthorn is one of the greatest herbs anywhere on the planet for use in healing the heart—both physically and emotionally. Hawthorn functions as a troporestorative, that is, it has long-term restorative benefits to the heart and circulatory system when taken over time—it heals the heart and helps it function better.  Unlike many traditional remedies, hawthorn has a wide variety of study from aleopathic (modern) medicine, so the uses are backed up by scientific study. It is used for high blood pressure, where it relaxes tension and helps dilate the blood vessels to allow blood to flow more freely.  It strengthens the heartbeat and aids in smoothing out the rhythm of the heart. The berries are anti-inflammatory and anti-oxidant.

 

Medicine making with hawthorn - here's my masher!

Medicine making with hawthorn – here’s my masher!

Sore Throats and inflammation: Flowers and berries are astringent, according to M. Grieve, and therefor useful in a decoction for sore throats (especially the wet, goopy, inflamed ones, given hawthorn’s anti-inflammatory powers).

 

Soothing Hot Excesses: Hawthorn has a potent nervine effect of calming the heart and soothing hot excesses. Herbalist David Winston uses hawthorn for ADHD clients to help calm down a bit as he illustrates that hawthorn calms the spirit. Herbalist Sean Donohue uses it for stress induced asthma.  In each of these cases, we see hawthorn having a calming effect on the nerves and the heart.  Overall, Hawthorn is a mood brightener and mood lifter.  In his Cherokee Herbal, Garret reports that the Cherokee likewise used hawthorn as a relaxant.

 

Emotional heart healing: On the emotional and spiritual side, hawthorn is a great herb for heart healing. Herbalist Jim McDonald also uses it to help people establish their own emotional space. As Jim McDonald has discussed, about anytime that you’ve had heartbreak—you can literally feel your heart hurt, and wounded, and as part of this to prevent further hurt, you close up/constrict yourself and are unwilling to open yourself again. Hawthorn helps us heal from this kind of emotional damage—we can see this in the tree itself, who offers its medicine freely but also creates a protective space with its thorns.  Hawthorn, therefore, provides an energetic/etheric protection to the heart and helps us establish our own space.

 

Hawthorn is a wonderful tree to help with heart guarding or heart healing.  You can use this energetically or physically. According to Jim McDonald, it can be as simple as carrying a bag of haws with you or rubbing tincture on your heart.  It can be a daily ritual or affirmation and can help you connect with your intentions.  You can use it for emotional issues, emotional body army, emotional overprotection. David Winston says that Hawthorn calms the heart and spirit, especially calming the spirit when the spirit is easily affected by what is around a person (because of this, he uses it to treat ADHD/ADD).

 

In terms of making medicine from hawthorn, the most complete medicine is a combination of flowers, leaves, and berries in a tincture; you can also make decoctions of berries; tea with leaves; tincture; herbal vinegar; glycerate; elixir; hydrosol (flowers); syrup; and food (conserves, jellies, jams).

 

  • Teas: To create teas (infusions and decoctions) from the hawthorn, use the leaves and flowers or de-seeded berries.  For a strong medicine, pour boiling water over the leaves and flowers, seep for 10-20 min, and drink (with honey, if you’d like!).  For the berries, bring water to a boil, add berries, and boil covered for at least 20 min (depending on if they are whole or smashed prior to drying).
  • Syrups: Chop of hawthorn and cover with 1 quart of water. Boil this for an hour or so, then strain the berries.  Boil it down to 1 cup, then add your choice of sweetener (honey, maple syrup).
  • Elixirs: Tincture in brandy with honey or maple syrup; Elixirs as concentrated as a typical tincture
  • Paste: Hawthorn berry powder can be made into paste or pastilles with a bit of honey.  Spread it, ball it up and eat it, however you’d like!
  • Hawthorn Schnapps: Tincture of fresh berries in lower-proof vodka (80proof) for an enjoyable beverage!
  • A pregnancy infusion for preeclampsia: hawthorn, nettle, raspberry leaf, and oat straw: this functions as a troporestorative for the liver and can be used as early as the 1st trimester.

 

Hawthorn and New England Aster and Cauliflower Mushroom all harvested on the same day

Hawthorn and New England Aster and Cauliflower Mushroom all harvested on the same day

Hawthorn in Legend and Lore

Native American Lore

In this series, one of my main goals was to examine how trees, like hawthorn, work in the North American context.  Unfortunately, there isn’t much to be found in the Native American literature on the hawthorn (which is surprising, given how prominent this plant is in most other parts of the world where it grows.)  One of the few stories I could find was a Chippewa legend, “Why Porcupine has Quills” where porcupine is being hunted by bear, and he needs some defenses. He takes hawthorn branches and places them on his back, and when Bear came to eat him, Bear was pricked by the thorns and went along his way. Nanabozho, a trickster god, witnessed what happened and was impressed with Porcupine’s tricking of Bear. He took hawthorn branches and thorns and peeled them so they were white, then put some clay on Porcupine’s back and added the thorns. Ever after, Porcupine was protected from those that would eat him, like Wolf or Bear. In another tale, a Senaca legend, a bird (personified as a woman) is in search of her mate. She sings to men along a riverbank, and eventually settles on seeds to eat. In this story, Hawthorn is what is eaten by the bear, her second suitor.

 

The only theme I gather from these stories is the “protective” role that hawthorn plays, which we certainly see physically as well as medicinally in the plant. When we examine the lore in other parts of the world, particularly the British Isles, a more elaborate picture emerges.

 

Hawthorn in Celtic Lore

Hawthorn as a Gateway to the OtherworldIn the lore of many tales specific to the Celtic Isles, hawthorn is a gateway tree; that which holds a doorway between our realm and the fairy realm. This is clearly discussed throughout the lore and literature. One such example (of many) comes from Sir Samuel Ferguson’s “The Fairy Tree,” where a group of maidens sneak out to dance on a hill with the hawthorn (the fairy tree), ashes, and rowans. They slow down and quickly fall asleep and are enchanted, “For, from the air above, the grassy ground beneath, and from the mountain-ashes and the old Whitehorn between, a Power of faint enchantment doth through their beings breathe, and they sink down together on the green.” The fairies come to visit them (and I’m not talking about Walt Disney fairies here), and one of their number, Anna Grace, is taken away and never seen again.

 

Ancient, wise hawthorn tree

Ancient, wise hawthorn tree

The Magic of Sleep: As the above story describes, Hawthorn has the power to put people to sleep.  This is explicated in another story, The King of Ireland’s Son by Padric Colum from 1916.  In this story, the King of Ireland’s son is in love with a woman, Fedelma.  At one point in the story after her love, the King of Ireland’s son falls asleep and will not awaken, she asks the King of the Land of Mist to pluck a hawthorn branch and put her to sleep as well—she does this, and for part of the story, she stays asleep as long as the hawthorn branch is with her.

 

The Gateways of the Seasons: Hawthorn, along with another very sacred tree, Rowan or Mountain Ash, flowers traditionally somewhere around May 1st (or a bit later, for those that live in colder climates) and its berries ripen and fall sometime in mid to late October.   This puts the power of the hawthorn tree near two critical Celtic festivals: Beltane, the festival of fertility in the Spring and Samhuinn, the festival of the final harvest, the new year, when its berries fall.   Normal Lockyer (1909) makes note of the connection of these trees to Beltane and Samhuinn in Stonehenge and Other British Stone Monuments Astronomically Considered. In the story of Thomas the Rhymer (as told by Donald Alexander Mackenzie in 1917 in Wonder Tales from Scottish Myth and Legend), the Fairy Queen comes when the “milk white hawthorn is in bloom, anointing the air with its sweet odour.”

 

A Fairy Tree and the Cutting of the Thorn.  As the stories above suggest, the Hawthorn is strongly associated with the fairy, and is said to be their tree.  Plucking one, or cutting one, is very liable to garner their wrath—not a good idea in the slightest. In the story  In the poem “The Fairy Well of Laganay” bu Samuel Ferguson, the speaker is in deep mourning and says, “I’ll go awawy to Sleamish hill, I’ll pluck the fairy hawthorn-tree, and let the spirits work their will, so they but lay the memory, which all my heart is haunting still!”

 

In a connected tale, in Ancient Legends, Mystic Charms, and Superstitions of Ireland by Lady Francesca Speranza Wilde (1887) Wilde tells a tale called “The Fairies’ Revenge” where a wealthy farmer buys some land and builds his house on a fairy hill; he cuts the hawthorn tree on that hill and incurs the fairies wrath.  The fairies begin to harass their only son, and eventually, he dies and the farmer is ruined.  The house slowly returns to the land, and the fairies dance there once more.  In a second story, Lady Fancesca discusses the hawthorn again, “Their favorite camp and resting-place is under a hawthorn tree, and a peasant would die sooner than cut down one of the ancient hawthorns sacred to the fairies, and which generally stands at the center of a fairy ring.”

 

A Tree of The Heart: Lady Francesca Speranza Wilde also  describes a traditional Irish Wedding.  In that Wedding, the bride and groom meet with guests in a field under a large hawthorn tree covered in colored fabric and with rush candles in the branches.  This heart connection can be seen woven all through the medicine and magic of the hawthorn tree.

Hawthorns form a gateway

Hawthorns form a gateway

Revival Druidry & Magical Alphabets: Coelbren and Ogham

I would be remiss if I didn’t look to the Hawthorn Tree in the druid tradition. In Iolo Morganwg’s Barddas (1862), Iolo presents a magical alphabet called the Coelbren of the Bards, derived from Welsh and a wooden frame called a pillwydd which the letters can be carved into.  One of the trees Iolo suggests is Hawthorn.  (For more information on the Coelbren of the Bards, see John Michael Greer’s article in Trilithon: The Journal of the Ancient Order of Druids in America, Volume II).

 

Hawthorn, or Huath, represents the letter H in the traditional Celtic Ogham.  Numberous interpretations of the hawthorn exist—let’s take a look at two of them.  In the Druidry Handbook, John Michael Greer describes the hawthorn.  His upright meaning for it includes, “Patience, reserve, retreat.  A time of waiting and planning rather than action.  Obstacles that can be overcome.  Success after a delay. Temporary obstacles.”  Reversed, it’s the opposite, “Inappropriate action, rushing ahead when patience and planning are called for.  A risk of failure.  You need to stop and reconsider” (p. 82).  In both of these cases, we see hawthorn being connection to either the right timing, overcoming obstacles, or taking the action at the wrong time.  The Greek concept of “kairos” which is summed up “right time, right place” comes to mind here.  Hawthorn gives us messages of the heart, and if we can listen to our hearts, we know when the right (or wrong) time to act is.

 

In a second book, Celtic Tree Mysteries, Steve Blamires also describes the hawthorn in detail.  His discussion of the ancient lore on the Ogham from the Book of Ballymore links the hawthorn (whitethorn) to a pack of “meet of hounds” that is “formidable owing to its thorns” (44).  Blamires also notes that the letter H in Galeic grammar is neither consonant or vowel, but functions to strengthen other letters. Cuchulain, the great hero of the Ulester Cycle, provides his own list, indicating that hawthorn is “difficult night” (47) and a whitening of the face.  Blamires, in his own interpretation, suggests that Hawthorn not be invoked during magical work, but rather that it be used as a “warning to the magician to prepare for something about to happen” which might be backlash for some kind of action(111). His interpretations stem from the idea that the thorns of the hawthorn, along with the old terminology, suggest that the hawthorn is hostile but can also be defensive in its thorns.  He concludes be suggesting that hawthorn may bring about disruption, but this disruption is temporary and can be put to positive use (113).

 

Numerology

The hawthorn, with its protective thorns, has flowers with five petals (in which a shape of a pentagram can be drawn); the leaves are typically divided into either three or five segments.

 

Abundance

Abundance

My Experiences: In Search of the Hawthorn

My own experiences with hawthorn are a bit…whimsical.  I have found that hawthorn trees generally like to be seen when they are ready.  Northeast of the sacred circle on my former homestead in Michigan is a line of trees; within that line, a hawthorn. I had lived there and worked to establish and maintain the circle for years….only three years after I moved in did I see the hawthorn tree.  Once I saw her, she beams at me radiantly.  I found another hawthorn just across the property line in my neighbor’s yard; it had also been there for some time, but I was only ready to see her when I was ready.

 

For several years, every hawthorn I had visited in my immediate area in Michigan was not blooming and was not bearing fruit due to a rust that was harming the trees.  I had hoped to gather flowers in May to make a tincture and glycerite, but never managed it.  Then, just when I needed it, the hawthorn was there. I remember a fine spring day, not very long ago, when I was making the transition from Michigan to Pennsylvania. Less than 12 hours before I was to leave Michigan, I had received some news that really broke my heart, and I cried on my drive most of the way home (I was visiting my parents before moving into my new home). The morning when I awoke in the home of my childhood, I walked down into the woods, and saw that the hawthorns were in full bloom–huge hawthorns, bigger than any I had ever seen, all covered in their beautiful white flowers. I had been so sad since I had arrived home because of the news. I gathered the flowers later in the day, and that evening, I simply sat with the fresh flowers, picking out the little green bugs and inch worms that had made them their home.  As I sat, I could feel the energy of the hawthorn flowing over me, calming me, and soothing my heart.  It was a transformation–even in the process of making the tinctures, I was amazed in the healing power of those flowers.  Needless to say, I partook of the hawthorn each day after that–it is truly a plant connected to the healing of the heart and also the mystery and magic of the land.

 

My Interpretations

My entry on this tree is longer than some of my others, because it seems that we have two, potentially contradictory aspects of hawthorn showing up in the literature. My experience with individual hawthorn trees is that each unique hawthorn tree has a range of mannerisms—from those that freely give of their haws when you come near to those who stick you repeatedly just from walking by.  The trees with opposite mannerisms might be growing next to each other—I find that when I am out looking for flowers or haws for medicine, the individual temperaments of the trees vary widely.

 

On one side, we have this super-protective, heart healing plant, that is some of the best medicine that we know of for the heart and a plant that, in the Native American lore, also demonstrates protection. On the other hand, we see that it bodes of warnings and things not to be trifled with—the “whitening of the face” and “pack of hounds.” I think both of these are equally true of the hawthorn, and perhaps, represent light and dark sides of this tree, like two sides to a coin.  Hawthorn responds differently depending on how you approach it.  If you ram yourself into a hawthorn, its going to hurt and you aren’t going to get anywhere—and you may wish you never came upon it.  But, if you are mindful, you can can carefully work with it and reap rewards.  If you are true of heart and kind go the land, the hawthorn is likely to be your ally. It’s a tree of mystery and magic, as much as it is a tree that opens the heart. Its defensiveness can be aggressive when warranted, but nurturing when it wants to be.

 

 

Special Thanks:  I want to specifically thank Jim McDonald for sharing his knowledge of this amazing tree.

 

Spiritual Lessons from the Land: On the Vines that Catch and Snag September 4, 2015

Nature is abundant with stories and metaphors that allow us to reflect upon our own lives and draw deep meaning, as I’ve written about many times on this blog. It is in these simple lessons that we find the most profound truths–ways of re-seeing our own lives, stories that allow us to spiritually grow, and methods of better living and interacting with our lands. I believe that everything we need to understand to heal ourselves, our lands, and our communities can be found within nature–if only we listen. Today, I’d like to share two stories about vines and the spiritual teachings that they provide.

 

In the weeks following my move to Western PA this summer, I made it a point to visit as many wild places as possible. The closest one was a park to the north, visible from my window of my rented house in town, that’s about 270 acres. As I was walking through this park on my very first visit, a friend and I came across some Common Buckthorn vines on a grove of Sassafras. One of the Sassafras had been strangled to death by the largest vine and was standing dead.

 

Buckthorn killed the Sassafrass

Buckthorn killed the Sassafrass

Three more Sassafras trees had vines crawling up them, but the vines were smaller and had not yet choked out the tree. We found where the vine met the ground, and decided to cut it to save the other trees. The problem was that we lacked the right tool—we had a Hori Hori that has a small saw on it that’s not that effective, but that will work in a pinch (described in this post).  Unfortunately, we didn’t have my portable fold-up saw that I usually carry (which would have made short work of the vine and is much more effective for that kind of job). So cutting the vine and liberating the sassafras trees was slow going, with each of us taking turns, cutting through this vine that was about 2.5” round. That Buckthorn vine was not interested in being cut in the slightest and was quite tough, and the job was quite taxing and difficult. We took turns, and still ended up cutting for a good 30 or 40 minutes in the high heat and humidity before we were finally through the vine. The trees thanked us, and we continued on our hike.

 

In a second story, I recently visited some friends who have been long-time gardeners (their entire backyard is converted to a vegetable garden). A series of stressful events have left them less time to work on the garden this year than in previous years, so the weeds have taken over. I decided to put a few hours into weeding while I was there, and found myself weeding two vines—some kind of morning glory vine and a lot of honeysuckle vine. Its been very, very wet year and the vines have used that, and the fertile soil of the garden, to really take off. The honeysuckle vine was easy enough to clip at the ground to temporarily cut it back, but the stuff was just everywhere. The smaller vine, the morning glory vine, proved exceedingly difficult. In what I thought was just a pile of vine I found garlic and onions, some strangled to death by the vine, all brought to the ground. One vine could send off up to 10 different tendrils. The beans fared a bit better, but even they were likewise pulled down by these vines. It was very slow going, and I opted in some cases for pulling out the root and leaving some of the vine on, cause the damage to the plant to try to remove it would be worse. By the end of my weeding session, I had saved a good deal of the garlic and beans and the vines were already beginning to wilt in the sun–but not all could be saved.

 

A set of powerful lessons lie in these two stories, and I’m sure you can see even more lessons within than I discuss here.  These lesson resonate on multiple levels: ecologically, spiritually, and personally.

 

Ecologically, Common Buckthorn and Japanese Honeysuckle are both some of the more problematic species that are not native to the USA, and there’s been a lot of concern what to do about them (and no, I do not advocate the use of spraying chemicals, nor do I like to use the term invasive species). They are concerns because they are plants that did not evolve here, but arrived here somewhere in the 1880’s as ornamental plants and are now very widespread. Due to their vining nature,  they can cause serious unbalances in the ecosystem in the shorter term, before nature adapts. Honeysuckle can create huge mats where nothing else can grow and pull down other plant vegetation. Buckthorn can quickly dominate and pull down whole trees in a matter of a few short years as it is a much thicker and tougher vine. I think plants like these teach us a powerful ecological lesson–we brought this plant here without knowledge of what it would do, and now we are seeing the effects of that long-term. We have many such lessons at present, of course, but its a good reminder that we harm nature by not understanding her or what introducing unknown elements can do to her.  Furthermore, Its likely that a very small number of these plants were brought here–but now they are all throughout our lands and changing the ecosystems here.  I beleive, in enough time, the land will adapt to these newcomers and all will be well–but that’s on a larger evolutionary scale.  The current situation teaches us the lesson of impact–we never know what small actions (either good or bad) can lead to long-term change.

 

On a spiritual level, lessons that Buckthorn and Honeysuckle are good reminders of what we want to cultivate in our spiritual lives. I think both of these plants teach us lessons of restriction and what can happen to us spiritually if we allow too many things to pile up and entwine around us. Just as we can see these plants at work in the outer world, in the inner world, we can have problematic issues that prevent rich spiritual life from developing.  These include the constant drains on our time, the things that cloud our inner vision (television, politics and media are particularly bad about this, at least for me), living too closely to the destructive patterns of consumerism and industrialization, and more. I see these constant drains preventing us from a richer spiritual life like vines around our inner sacred grove of trees, attempting to bring them down. If we are not careful, the trees of our inner sacred grove are strangled and simply die, as in the case of the sassafras.

 

The vines teach a similar lesson on a personal and interpersonal level. Sometimes we get into situations or have people in our lives that begin wrapping themselves around us—they have that uncontrolled vine energy. At first, it might not be a big deal, because they are just a small vine, but if they are there long enough, they can hurt us possibly beyond repair. Sometimes, it takes a third party to come in, cut the vine at its source, and help you recover. But this work is never easy—and it can be really draining and difficult. We also need to be aware of the kinds of energy that may be trying to pull us down and strangling us. Even if we are able to get out of that kind of situation, it might leave its mark. The Sassafrass trees forever bear the scars of where the vine had twisted itself around their bark–but they will live!

 

In the gardens of our lives, we have cultivated the soil and have planted various kinds of seeds we have planted that we want to manifest (like creative projects, starting a family, finding meaningful work, etc). These seeds need light, moisture, and good soil—but they also need to be free of competition. The vine energy of other pressing matters often puts those things we most want to bear fruit on the back burner. The garlic and beans, much more delicate plants, would have not have produced at all because the vines were not only strangling them but shading them out. It required the full removal of the vines for those plants to have any chance at producing this season–and that was delicate and difficult work indeed.  If we want tender things growing in the soil, we must be ready to keep them free and able to grow without restriction.

 

Not all vines do what these two vines do–and that too, is an important lesson from nature. I’ll draw your attention to poison ivy vine, which is a plant that has evolved in this part of the world (read = native), and a plant which lives in perfect harmony with healthy trees that it climbs.  Poison ivy climbs up a tree in order to reach sunlight, not to choke and strangle, and the trees rarely suffer ill effects of having a vine. I’ve seen trees and poison ivy vines growing together for very long periods of time, the ivy sometimes blending into the leaves of the tree.  Now while most humans may not like poison ivy (I have some on my foot right now and I’m trying to not think about scratching it), the trees have a different relationship with it.  I see this vine as awareness medicine, a plant that tells us to pay attention and be mindful. Many times, I have found poison ivy to be a great defender of the forest–keeping the people out and protecting sacred spaces.  People leave the trees, or forests, alone when it is near.  And for that reason, I have always seen poison ivy as an ally.

 

So this is to say that not not all vine energy is necessarily bad energy in or ecosystem, physical or spiritual lives, and its up to us to recognize the various species of vines (metaphorically and literally) and whether or not they are doing harm. We must meditate on what the vines attempt to teach us and listen and observe their role in the ecosystem.  With this deep observation and meditation, we can understand the lessons of the vines.