The Druid's Garden

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

Urban Food Profile: Cornelian Cherry Harvest and Recipe for Soda Syrup, Jam, Pickles, and More September 14, 2017

I really enjoy foraging for foods in urban environments, you just never know what you are going to find.  In the spring, keep a good eye out for various kinds of flowering trees in an urban or suburban setting–any tree that is flowering is a tree that is worth looking at closely and identifying.  Most frequently, they are flowering crabapples (which are awesome for jellies and other things) or flowering cherries but sometimes you are rewarded with something extra special. Spotting flowering trees at a distance and identifying them is how I found a boatload of urban foragibles this year. Back in June, a few friends and I harvested upwards of 10 lbs of serviceberries from a urban spot in town, and I had spotted another grouping of trees I was excited to return to in the fall–Cornus Mas, or Cornelian Cherry.

Almost ripe Cornelian Cherries

Almost ripe Cornelian Cherries

These are in the dogwood family and have absolutely beautiful flowers in the spring. Cornelian cherries are not native to Pennsylvania or anywhere in the US, but like serviceberry, they are frequently planted as ornamentals so you can find them if you look around. In fact, the ones I found were planted right near the serviceberry; they are all “small” trees that don’t get too big. I found four cornus mas trees and have been patiently checking them all summer to see their fruits ripen. As we near the fall equinox, their fruits grow deep red and drop–and are a wonderful treat for those who seek them out. In terms of flavor, Cornelian cherries are fairly similar to a sour cherry flavor, but they have more floral undertones and a different level of complexity.  After they are cooked, they also can take on a kind of cranberry taste, but without any bitterness.  Truly, they are a fruit into and of themselves, and they are well worth trying for new and interesting tasting experiences!  This post, part of my foraging / wild foods series, will introduce you to harvesting and several recipes for these delightful treats!

 

Harvest

Harvesting Cornelian Cherry requires some patience.  The fruit, while still on the tree, are usually super tart with a good amount of tannins.  They take all summer to ripen.  They go from hard and green to lighter yellow/red to darker red, and finally almost to a deep red/purple. When they are ripe, they are soft to the touch and have a hint of sweetness and are deep red, almost purple.  You can harvest them less ripe if you cook them more or let them sit out on the counter for a few days, but you won’t get that really good floral undertone that is only present with a *very* ripe Cornelian cherry.

 

Every few days, I’ve been checking in on the trees, and they are finally ripening.  One tree dropped all of its cherries while I was at Stones Rising last weekend and the birds cleaned those up in a hurry, but this week, two friends and I harvested a very nice ripe tree, and there are two more than appear to be ripe next week.  They are two different cultivars, but individual trees seem to ripen at slightly different times.

Cornelian Cherries on the tree--the ones that are ready to fall off are ripe!

Cornelian Cherries on the tree–the ones that are ready to fall off are ripe!

You can harvest them from the ground, which will give you the ripest ones.  You can also harvest them from any tree ready to give its fruit.  In this way, it is like an apple–you know the fruit is ripe when the tree gives it to you with minimal effort.  If you are there taking stems and having to pull on it, it is not quite ripe.  You can harvest under-ripe ones, but you need to prepare them differently than ripe ones.

 

Recipes

Most of the recipes for this amazing fruit come from the lands where they grow natively–Turkey, Lebanon, Syria, and so on.  I have looked at a lot of recipes online for the fruit, and have made some adaptations based on safety and canning here in the US.  I have drawn a lot from Fig and Quince, but added my own touch.

Ready to be turned into tasty treats!

Ready to be turned into tasty treats!

Cornelian Cherry Persian Moraba and Sharbat (Aka. Cornelian Cherry Whole Cherry Jam + Simple Soda Syrup)

You get two kinds of products from one recipe–a whole cherry jam (that contains the pits) and a Sharbat/simple soda syrup that can be used for a variety of things.  I have adapted this for safety standards for canning so that you can get a long shelf life out of this delicious fruit!  Note that the flavors of Cornelian cherry are fairly muted and subtle–you can add other stuff (like coriander or mint, which is very traditional) but doing so loses some of the flavor of the cherries themselves.

For this recipe you will need: hot water bath canning equipment (jars, new lids, hot water bath canner, lid lifter, jar lifter, towel).

  • 6 cups of Cornelian Cherries, washed and drained
  • 6 cups of water
  • 6 cups of sugar
The Moraba (whole fruit jam).  Delicious!

The Moraba (whole fruit jam). Delicious!

Moraba / Cornelian Cherry Whole-Fruit in Syrup

Combine your cherries, water, and sugar and bring the mixture to a boil.  If you have very ripe cherries, you will want to just boil it and then immediately can it.  If you have a mix or some that are really not ripe, you will want to cook them longer; up to 10 minutes.  I have found that if you let them have their skins crack a little bit, you can get the sugar more deeply into the tart fruit, which helps. Canning will make that sugar go deeper and soften them up beautifully.  Of course, you have less firm fruit, but that’s ok.

Adding sugar and water

Adding sugar and water

Ready to can fruit and syrup

Ready to can fruit and syrup

While this is going, prepare your jars and lids for canning (heating them up to a boil to sterilize and keeping your boiling water going).  Fill your jars full of the cherries and then pour liquid over, giving 1/4″ head space for half pints and 1/2″ headspace for pints.  Leave a handful of berries floating in the remaining liquid for your Sharbat.  If you have a regular sized canner, you will need to hot water bath these for 10 minutes (15 for pints) before preparing the second recipe.

Getting Ready to Can

Getting Ready to Can

Removing jars from hot water bath

Removing jars from hot water bath

Sharbat / Cornelian Cherry Soda Syrup

The Cornelian Cherry sharbat is probably my favorite of the different preparations that I’ve tried. In Turkey, a Sharbat is a concentrated syrup beverage mixed into water. If you want, here in the US, we prepare something very similar but instead, we mix it into fizzy water/seltzer water and then enjoy it as a homemade soda. Either is a good option for this second recipe.  After you have pulled out almost all of the fruit, you should be left with a deep red liquid that has a really nice flavor–tart, slightly floral, slightly fruity, and sweet.  Make sure this is near boiling, and again, prepare your jars for canning.  Fill to 1/4″ headspace for half pints and 1/2″ headspace for pints and then can (hot water bath) these for 10 minutes for half pints and 15 minutes for pints.

The Sharbat (after removing most of the fruit)

The Sharbat (after removing most of the fruit)

Getting ready to can Sharbat

Getting ready to can Sharbat

To enjoy the Sharbat, you can add about 10-20% liquid to 80-90% cold water.  It is incredibly delicious and refreshing (and probably packed with good Vitamin C among other things!) You could also pour this into mixed drinks or over ice cream and so on.

3 tbsp of Sharbat in a mason jar of water = delicious!

3 tbsp of Sharbat in a mason jar of water = delicious!

You don’t have to can either of these–you can eat them fresh.  But this volume of material does give you enough to preserve for a long time.

 

Marinated Cornelian Cherry “olives”

In fact, Cornelian Cherries have pits like olives, so they can be made into them.  I also got this recipe from Fig and Quince, but I have some major revisions to make it tasty.  Remember that Cornelian Cherries are super tart until ripe–this recipe only works best with the ripest of ripe cherries.  Otherwise, you end up with these really tart vinegary balls that aren’t anything really like olives, they are just super sour.  If you use the most recipe cherries, however, you can end up with a really nice flavor.  The recipe is simple, you add in your very ripe cherries, then pour vinegar over them so that they are fully submerged.  You can add other things here as well if you’d like.  Keep them in the fridge (like a refrigerator pickle). A few combinations I’ve tried:

  • White vinegar / Cherries / Mint – Very good.
  • High quality balsamic / cherries – Very good.
  • Peach blush balsamic / Cherries – Awesome.
  • Apple Cider Vinegar / Cherries – Good and local.

I like the addition of the mint, but be careful you don’t add too much.  It can be very overpowering.

Making the cherries

Making the cherries

I haven’t yet tried a fruit leather, but I believe they would make a nice fruit leather as well.  This is a very versatile fruit and a little sweet added to it makes a complex and delicious flavor.  I hope that if you can find some Cornelian Cherries, these delightful recipes will help you enjoy them in the winter months!

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Sacred Tree Profile: Sassafras’ Medicine, Magic, Mythology and Meaning August 20, 2017

The fall months are coming and the leaves here are just beginning to turn.  Apples are starting to ripen, nuts are starting to fall. And with a quiet walk through the fall woods, you might be lucky enough to see a sassafras (sassafras albidum) in her fall splendor. She will be decked head to toe in yellow, orange, red, purple, and magenta; an old sassafras tree in full fall foliage is certainly a sight to behold. With her wavy trunk and twisted branches, Sassafras makes no apologies about her ability to stand from the crowd.  Her four variable leaf patterns (mittens (right or left), single leaves, double mittens) help show her flexibility and charm. While Sassafras is not present in the traditional Ogham or other Western Magical Traditions as she is distinctly an American magical tree, she is a powerful tree with much to offer us.

 

An ecoprint I made of the variety of sassafras leaves

An ecoprint I made of the variety of sassafras leaves\

Growth and Ecology

Sassafras has been called by many names and these names help teach us some of her power: auge tree, saxifrax, cinnamon wood, cinnamonwood, saloop, smelling stick, chewing stick, tea tree, winauk (Native American in Delaware and Virginia); Pauane (Timuca Indians); Kombu (Choctaw); and weyanoke (Algonquin).

 

Sassafras is typically a fairly small tree, growing 20-40 feet in height with a trunk 1-2 feet in diameter in the northern end of her range. In southern portions of its range, she can grow much larger, up to 100 feet high. Her wood is soft and light-colored with a faint aromatic Sassafras smell.  Her wood is brittle, coarse-grained, and rot-resistant although it is not very strong.  Typically, her wood has been commercially used for posts and lumber, but wood carvers also enjoy working with it.  Sassafras is dioecious, that is, the male and female flowers appear on separate trees. The females will eventually have fruits ripen (which occur around midsummer) whereas the male trees will not.

 

If you’ve ever met a mother sassafras in the forest, you will likely have seen her many babies surrounding her on the forest floor.  Sassafras reproduces through cloning through her lateral root system.   The mother tree, usually much larger, sends off rootlets that pop up new baby trees. The babies live by the nutrients of the mother tree and hope that the forest will open up enough to give them life and light to reach into the canopy. Sassafras is a sun-loving tree that needs at least part sun to thrive.  This is why you will often find her on the edges of forests, or in forest openings, but certainly not in dark forest spaces.

 

Sassafras and American History

Sassafras is a tree native to North America, and as such, played a critical role in the Western colonization of North America by the Europeans. Sassafras was the first “discovery” and export from North America back to the Old World, at a time when wood and wooden objects were central to everyday life.  In A Sampler of Wayside Herbs, Barbara Pond suggests that it was the hunt for Sassafras that actually inspired early Colonial exploration; for example, in 1602, Gosnold was very excited to discover  growing on Martha’s Vineyard Island.  In the 1600’s, massive amounts of ships called “Sassafras carriers” brought Sassafras wood and roots to the old world. In 1570, Thomas Hariot included in his report from Virginia, “Sassafras, called by the inhabitants Winauk, a kind of wood most pleasant and sweete smel, and of most rare vertues in physic for the cure of many diseases.” Eric Sloane in In Reverence of Wood writes about it as the “American Wonder Drug” and it grew in popularity such that it became known to cure any ailment or disease and as a genearl health tonic to keep one prime and to allow one to live a longer life. Even as early as 1577, a book by Dr. Monardus, a Spanish Physician, was translated into English titled, The Joyful News from the West Indies and it described the medicinal uses of Sassafras, which helped continue its prevalence of an import from the New World. In 1600, from a book by John Brereton, he reports sassafras selling for at least 3 shillings a pound; 1 ton was sold 336 british pounds (which was quite a lot in those days).

 

Because early Sassafras ships made it back to England without harm, Sassafras also quickly developed a reputation for being a “lucky wood” and a “protective wood”; Eric Sloane writes about how people soon were making many things of sassafras, such as spoons, cradle inlays, and bible boxes (to keep away evil spirits).  Sassafras wood was included in new ship designs to keep away evil spirits and prevent the ship from being wrecked.  Further, for over a century, it was considered to be able to extend life, cure all things, and drive away any sickness.  And so, from the time of early Western exploration in the new world, Sassafras was a highly regarded and sought commodity that offered healing and protection.

 

Safrole and Safety

Sassafras has a long history of use in traditional Native and Western medicine, but today, safrole, which is concentrated in the roots is considered “possibly carcinogenic” by the US Food and Drug Administration. Safrole is the primary aromatic ingredient in sassafras root bark; it was declared as a weak carcinogen on the liver by the FDA in 1976 and is still listed as such. Safrole is, notably, also present in lesser quantities in camphor, nutmeg, and mace.

 

In the herbal community at present, given this tree’s extremely long relationship with healing and humanity, a lot of folks sassafras occasionally without adverse effects.  A lot of folks in rural Appalachia also drink sassafras tea regularly, just as their ancestors drank sassafras tea in their spring tonics and root beers.  When I studied with Jim McDonald, he noted that Nutmeg contains almost as much Safrole as Sassafras and yet it wasn’t banned–he wondered if was banned because it can be made into ecstasy/MDMA in a lab.  He also noted that the studies took sassafras essential oil and injected it into rats–and no further research has ever been done (such as what happens to humans drinking tea as opposed to huge consumption of concentrated essential oil).

 

Matthew Wood in his New World Herbal notes, “Safrole is a neurotoxin and carcinogenic in isolation, but tests have shown that people who drink the tea for years actually have a reduced rate of cancer.  Still, the unadulterated sassafras root and root bark remain suspect” (315).  Further, in the Peterson Guide, it is noted that there is more carcinogenic substances in a can of beer than a can of traditional root beer with sassafras as the main ingredient.

 

Given the complexity of the issue, I would suggest that you read for yourself (looking at the original studies of which there were not many, and they were done on rats) and make up your own mind about whether or not you want to consume any tea on an occasional basis. I certainly enjoy it on a regular basis.

 

Note that the leaves of Sassafras, which are used in Creole cuisine as a thickener for soups, are perfectly safe and do not contain any safrole.

 

Harvesting Sassafras

Understanding Sassafras’ growth habit and reproduction through lateral roots is a great way to get copious amounts of root without damaging a large tree.  Sassafras seedlings can’t survive long in full shade, so they either need an edge or a forest disturbance (like a tree falling and making a clearing).  You can harvest some of the roots between a seedling tree and a mother easily.  I harvest roots of seedlings particularly in full shade areas–I know the seedlings won’t live long without a forest opening.

 

The other easy way to harvest sassafras roots is to wait for a storm to drop one–then you can simply saw them off and harvest all the roots.  The inner root bark is the most aromatic and medicinal, so even very large roots from a mother tree that has fallen would work very well.

 

The roots of small Sassafras trees can be used as is; the larger roots from a fallen tree have to have the tough, outer root bark peeled and removed prior to use.

 

Medicinal Uses of Sassafras

Sassafras Root Spring Tonic: As described above, the Sassafras was taken internally for a variety of healing purposes throughout the ages.  Traditional herbalism recognizes Sassafras as a “spring tonic” or “blood purifying”  or “blood thinning” herb and is used in the spring in quantity for this purpose.  In 1830, Constantine Rafinesque wrote, “The Indians use a strong decoction to purge and cleanse the body in the spring” (Quoted in Wood, 315, New World Herbs).   Wood notes that it “promotes clear thining in old age from good circulation to the brain, to improve the peripheral circulation to rid the joints of arthritic depositions, and to promote diuresis” (316).   Euell Gibbons in Hunting the Wild Asparagus notes that traditionally, Sassafras Root tea was made with maple sap water for spring tonic.  He noted that even in the 1950’s, when he wrote his book, that many folks still drink Sassafras tea “as a spring tonic, believing that it thins the blood and prepares the body to better stand the coming heat of summer.” Gibbons offers this medicinal tea: 3 tablespoons of honey, 3 tablespoons of vinegar (I would suggest a fire cider here) and 1 quart sassafras tea. Chill and serve as a spring tonic.

 

Blood and Circulatory System: Today, herbalists recognize sassafras root as a warming, spicy, and aromatic herb that functions as an alterative (tonic) for the liver with mild antiseptic qualities.  It has a specific action on the blood and circulatory system, stimulating blood flow and enhancing periphery circulation. It is also used to prevent heart attacks from thick, coagulated blood.  Jim McDonald notes that it has a specific action on the blood and circulatory system, stimulating blood flow and enhancing periphery circulation.  It can address circulatory congestion issues (such as cold fingers and toes, varicose veins, or pelvic circulatory issues).  Matthew Wood notes that could also be used to help increase circulation during a fever (along with boneset and elderflower).  It can function as an aphrodisiac if poor pelvic circulation is causing the reduction of the libido.  This is typically taken in tea form.  Because the aromatic qualities are the medicinal ones, Jim McDonald recommends a shorter boil (3-5 minutes) and then let the roots sit for a long time (like overnight) before consuming it.

 

Matthew Wood also notes a number of other Native American uses.  One such use as a fever remedy; they used the heartwood of sycamore, wild cherry bark, mountain mint, and Sassafras as fever remedies. Sassafras root bark was also Native American bruise remedy; they made an oil or powered the bark and added mullein for bruises, swollen faces, etc.  Native Americans also used the leaves to treat wounds by rubbing fresh leaves on an open wound.

 

Cooling and Demulcent Leaf: Sassafras leaf is cooling and demulcent and is traditionally used as a demulcent for coating and soothing scratchy and dry throats.  To do this, prepare boiling water and pour over dried leaves; let sit till it is cool and strain. Wood notes that, “The root bark is picked in the spring to thin the blood, the mucilage in the fall [leaves] to thicken it.”

 

Other Uses for Sassafras

The entire tree–wood, leaves, and roots–of Sassafras has offered humans a range of benefits.

 

Dyes: Sassafras root has been used as a nature plant dye. Typically, you get either a pink or a warm brown, depending on quantity.  The Pennsylvania Dutch used it often to dye linen or hemp that they grew. I haven’t used it much for this purpose as I’d rather make root beer and use other plants to obtain similar shades. Sassafras root is not always abundant to harvest and so when I do harvest it, I want to make the most use of it.

 

Flavoring: People have traditionally used Sassafras essential oi for flavoring gumdrops, drinks, and also for soaps. Today, you can purchase commercial preparations of Sassafras EO with the safrole removed that can still be used for this purpose.

 

Moth and Bug Protection:  Sassafras wood has been used to make boxes and chests for protection against bugs and moths (similar to Cedar). Traditionally, people even built henhouses out of it to keep insects out of the henhouse.  I’ve made my chickens’ perches out of sassafras and cedar with great results in this regard.  You can also us a bag of sassafras wood chips near your clothes to repel moths.

 

Culinary: Sassafras leaves (dried and powdered) are a wonderful thickener for soups and stews.  To harvest them, you can get them anytime they are mature throughout the summer.  Remove the stems and veins from the leaves, and then powder them up in a mortar or pestle.  You could also use a food processor, but I’d take it outside as it can produce a fine dust that you don’t want to breathe in in your house.  In Cajun cooking, file gumbo (file = Sassafrass) is a particular kind of gumbo that is thickened with the sassafras leaf.  The leaf offers a really nice flavor (when compared to flour or cornstarch) that is a bit sweet.  Here’s a link to a recipe I really like. 

 

Wild Food- Trailside Nibble and Salad: You can enjoy sassafras leaves fresh while on the trail.  They have a scent similar to fruit loops and a sweetness that is very nice and soothing.  You can also use the young leaves in salad.  Even in the winter and early spring, you can nibble on the winter buds.

 

Traditional Root Beer

The most traditional root beer here in the US uses sassafras as a primary ingredient along with black birch branches (or wintergreen).  Traditional Root Beer was not just used as a fine drink, but as a tonic–it was medicinal as well as enjoyable. Here’s a simple recipe I’ve used to make a great traditional root beer:

 

For this root beer, you make a simple syrup and then add seltzer/fizzy water to the end result. Simple syrup is made of equal parts of water and sugar (or another sweetener of your choice, like honey or maple syrup, both of which are more healthy).  You add ingredients to this and simmer them for a certain amount of time (depending on the nature of the ingredient).  Roots are typically simmered at least 20-30 minutes (with the lid on).

  1. In a saucepan, combine 2 cups water and 2 cups sugar/honey/maple syrup.
  2. Add 1/2 cup Sassafras roots and handful of black birch branches. I like to add juniper berries or star anise here as well (1 tablespoon each).
  3. Simmer the mixture, stirring often, for 20 minutes with the lid on. Be wary of boiling off too much water (and you can always add back a few tablespoons if necessary).
  4. Strain your mixture and pour into a mason jar. Let cool and store in the fridge (it will keep up to a month; you can also can it and/or freeze it).
  5. When you want to drink it, add about two tablespoons to seltzer water and enjoy.

 

Sassafras in the Native American Traditions

I couldn’t find a lot of information on the role of Sassafras in the Native American traditions.  I think it is likely due to the fact that the Eastern tribes were displaced early on, particularly in the areas that were the Native range of Sassafras.  Overall, it seems that Sassafras is considered a “cure all” for ailments, both physical and spiritual.  However, several good pieces of more detailed information are available:

 

Curse Removal. IN Sacred Medicines of the Cherokees, a book on Cherokee Shamanistic practices, Sassafras was part of a magical and medicinal treatment for children who were cursed by having the shadow of a bird fly over their mothers while they were still in the womb.  The medicine consists of a warm decoction of the bark of Sassafras, Flowering Dogwood, Service Berry, and Black Gum with the roots of two wild rose species.  The bark is always taken from the east side of the tree as are the roots (growing to the east).  The roots and barks are seeped in warm water for four days and then the child is bathed for four days and four nights with the decoction. At the end of each treatment, the Shaman then blows the decoction out of his mouth, showering the child, while the child keeps his/her hands out while a prayer is recited.  Then the child drinks a bit of the decoction.

 

Further, in Cherokee Plants, Hamel and Chiltoskey note that sassafras flowers were often combined with beans and then planted.  Its unclear why, but it might have been to protect them or help them grow in some way.

 

Safety. The Chocktaw Flood Myth, which shows up in various versions depending on the source, discusses how humans grew corrupted and the Great Spirit sent a flood to the land.  One man who as a prophet tried to get people to change their ways, but it was to no avail.  Eventually, the storms came and he was directed to build a raft of strong sassafras logs, which saved him and various others (the myth neatly parallels the Noah’s Arc myth).  Here, the Sassafras logs were the instrument of safety from the raging waters.

 

Sassafras, Taboos, and Fire. Tribes seem to have varying relationships with sassafras when it comes to fire. Sassafras is tabooed among burning.  For example, among the Cherokee, burning Sassafras is considered taboo (one white author reporting on the taboo notes it might be because sassafras pops when burned and could set things on fire). Another ethnographer notes that other tribes used it to start fires.

 

Sassafras in the Western Magical and Folk Traditions

Because Sassafras is a new world plant, the Western Magical tradition has very little to offer.  One exception to this is Hoodoo, which is a distinctly American magical tradition. In this tradition, Sassafras has a very specific use as being tied to wealth and money.  Cat Yronwode in Hoodoo Herb and Root Magic suggests that sassafras can be used to bringing in wealth, good fortune, and overall success in business.  She notes that people have used it to make money mojos (for holding onto money) to sidewalk scrubs and carpet sprinkles to bring money into a business. I strongly suspect that this use of sassafras is directly related to the relationship that Sassafras had to colonization, exporting, and its status as a highly sought commercial commodity in the 160o’s and beyond.

 

However, if we delve into other kinds of folk magic practices, also tied to the commercialization and belief that Sassafras could cure any ill, we see Sassafras having a number of different roles, again, mostly concerning its “curative” properties. In Travels into North America, from 1772, P. Kalm writes, “Swedes wash and scour the containers in which they intend to keep cider, beer or brandy with water in which sassafras root or its peel has been boiled; which they think renders all those liquors more wholesome.” Further, the Pennsylvania Dutch also added sSassafras root to their apple butter or applesauce to enhance flavor; they also added pieces of sassafras root to dried fruit to keep out worms and add flavor–and possibly for other reasons (which was hinted at in an old cookbook I have here on the shelf!).

 

Sassafras Magic and Meanings

So if we take everything from the above, in a modern American Ogham or tree divination system, Sassafras may offer us the following overall themes:

 

Wealth and Financial Gain: Sassafras is certainly tied to financial gain and “keeping” wealth or resources (or bringing it into one’s life).  This is clear not only from the plant’s 400+ year old history here in the US, but also from the preservation of this focus in the Hoodoo tradition.

 

Good Health: Sassafras has broad healing powers, particularly associated with longetivity and having overall good health and a good life.  We see this first in the Native American herbal uses and lore, and that knowledge was clearly transferred into Colonial America as well as back to Europe.  Part of this good health aspect seems directly tied to consuming the root in various ways (in Gumbo, teas, etc).

 

Protection and Safety: Both in Native and in Western/Colonial lore, it is clear that Sassafras wood has strong protective qualities.  When this wood is shaped and used in various applications, it offers protection, not only from bugs or mites (as in the case of chicken coops) but also from stormy seas, travel, and general woes and ills.  We also see this tied into the idea that she might be used to remove curses in various ways (through a brew of her bark).

 

Sassafras is a wonderful and powerful plant ally who is certainly worth getting to know better–may her magic and mystery unfold within your own life!

 

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

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

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

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

 

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

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

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

 

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

 

The Skilled Trades and Home Economy

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

 

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

 

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

 

Candlemaking for the first time!

Candlemaking for the first time!

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

 

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

 

The Decline of the Skilled Trades

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

 

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

 

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

 

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

 

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

 

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

 

Problems with the Shift to Consumer Economies

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

 

A handcrafted leather book with ecoprinted pages

A handcrafted leather book with ecoprinted pages

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Where do we go from here?

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

Master class on shoemaking!

Video master class on shoemaking!

 

Supporting Skilled Trades

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

 

Reskilling, Time, and Community

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

 

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

 

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

 

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

 

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

 

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

Reskilling and Preserving Living Knowledge

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

 

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

 

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

 

Localizing Resources

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

 

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

 

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

 

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

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

Jewelweed and Poison Ivy Like Each Other A Lot

Jewelweed and Poison Ivy Like Each Other A Lot

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

 

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

 

Harvesting Jewelweed

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

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

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

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

 

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

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

A patch of jewelweed along a damp forest path

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

 

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

 

Making Your Poison Ivy Remedy

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

 

Ingredients and Materials:

Scissors or a knife

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

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

1 mason jar

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

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

 

Step 1: Crush up your jewelweed.

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

Crushing up the jewelweed

Crushing up the jewelweed

Step 2: Chop up jewelweed finely into the jar.

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

Chopping up Jewelweed

Chopping up Jewelweed

 

Step 3: Crush it some more in the jar.

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

Crushing further

Crushing further

 

Step 4: Add witch hazel.

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

Add witch hazel

Add witch hazel

 

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

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

 

Using your Jewelweed Infused Witch Hazel

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

 

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

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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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Wild Food and Wild Medicine Profile: Wild Strawberry (Fragaria Vesca) June 7, 2017

The delicious and delightful wild strawberry just came into season here in Western PA, and I thought I’d share a bit about how to find this plant and why it is worth seeking out both as a wild food and a wild medicine. Wild strawberry is incredibly flavorful and delicious, and in my opinion, is a really high quality wild edible that is worth seeking out (which, thankfully, isn’t that difficult). Strawberry leaves also serve a medicinal purpose as a gentle astringent. This post will detail where wild strawberry typically grows, its overall growth habit, two look-alikes that should be avoided, and some information on how to harvest and enjoy wild strawberry.

Delicious Wild Strawberries!

Delicious Wild Strawberries!

The wild strawberry is also known as the woodland strawberry, alpine strawberry (although there are other cultivars also known as alpines that are clumping, fragaria vesca is a running variety), or european strawberry. It is abundant and diverse and grows in many temperate places in the US and beyond. It is a great beginner wild food and wild medicine!

 

Wild Strawberry Growth Patterns

At the right time of year, you can spot the little white wild strawberry flowers underneath or alongside the wild strawberry leaves. They are in the rosacacea family, and so, have five white petals with five bracts (little leaves in between the petals) and a number of small pollen pods that are yellow surrounding a yellow stamen. About a month later (in my region, at least) you can find the delicious red fruits.

Wild strawberries on rocky soil marching across the road...

Wild strawberries on rocky soil marching across the road…

Wild strawberry prefers to grow in full sun and is found in open fields or along edges of fields and brush/forests.  This is where you will find it fruiting. I have found it a lot in fields that were once farms and with low soil fertility, also on the edges of roadways, etc.  It seems to have no problem with poor or rocky soil or soils that are partially bare and hot. But I’ve also found it along lush edge spaces–interestingly enough, the poor soils seem to produce smaller, but more flavor rich fruit. Like other wild berries, if there is little rain, fruits will be more potent and delicious than if there was a lot of rain before ripening (like this year). Wild strawberry grows other places as well, like inside forests with a bit of light, but often these plants do not have enough light to fruit.

 

Strawberry is a plant that travels as it grows–strawberries slowly creep from one area to another.  A single strawberry patch will expand eventually into a ring, and then break off in different directions; the older plants send out new runners and slowly expand as they go (which is an awesome thing to see)!  I saw this firsthand at my homestead in Michigan-what started as a sizable single patch, later turned into a ring and into diverse new patches; the original patch was taken over by ground ivy and cinquefoil, primarily.

 

 

Wild Strawberry Look Alikes

Wild strawberries are very easy to find, but so are their look alikes (and sometimes, they are all growing in the same area). There are two plants that look like wild strawberry, false strawberry (Duchesnea indica) and Cinquefoil / Polentilla spp. I’m going to cover each so you know what the differences are. 

Creeping Cinquefoil  (typically, Potentilla Reptans) is found in the same places as wild strawberry, often growing alongside it. Cinquefoil has five leaves and yellow flowers that look similar to strawberry flowers. Cinquefoil never gets a berry, however, so its pretty easy to avoid. In the photo below, There are some cinquefoils right in the middle of this strawberry patch (there’s also some small goldenrod shoots on the right next to the Cinquefoil).

Here’s a closeup of the Cinquefoil leaf (bottom) and a strawberry leaf (top).  The strawberry leaf has three leaves (trifoliate) while the Cinquefoil has five radiating leaves (palmately compound).

Cinquefoil (bottom) and Wild Strawberry Leaf (top)

Cinquefoil (bottom) and Wild Strawberry Leaf (top)

Cinquefoil itself is medicinal, its roots are moderately antimicrobial when put in contact with infected tissue (so you can make a salve or wash with them).  But they aren’t tasty like strawberries!

 

The second look alike is known as “false strawberry”, “mock strawberry” or “indian strawberry.” It produces berry that looks a lot like strawberry, and it has leaves similar to a strawberry, but the berry is flavorless. You can eat it, but who would want to? It tastes like nothing. The berry also has seeds on the outside (not indented like the wild strawberry) and many seeds in a very orderly fashion (see below). It has a yellow flower (so if you can ID the flowers earlier in the year, you will know it is a false strawberry vs. the white flower of the wild strawberry). A simple rule of thumb is to not eat anything with yellow flowers, and stick only to the white flowers. Its been a while since I’ve seen one of these; they aren’t nearly as abundant around where I live as the Cinquefoil (which is as abundant as strawberry herself).

Here’s a photo of one (courtesy of Wikipedia, I forgot to take a photo!)

Mock Strawberry

Mock Strawberry

The false strawberries grow up, pointing towards the sky while the wild strawberries are usually hanging or growing on the ground.

 

Harvesting Strawberry Leaf and Strawberry

When doing any wild food foraging, you should make sure that you are harvesting in a safe environment, free of toxins and not too close to houses with lead paint, roads, and so forth (see my earlier post on foraging part 1 and part 2).

 

There are a few tricks to harvesting wild strawberries. Like garden strawberry varities, dense foilage can often cover the tasty berries. You can use your hand to gently move away the leaves to get at the berries. You’ll also want to work your way carefully through the patch, trying not to step on any as you work through.  Although they are small, they are often abundant, and if you gather for even 10 -15 minutes, you’ll have several handfuls for fresh eating.  Remember that there might be a ring, or a line, or several patches in the area–so look carefully!  Strawberries ripen over a period of a week or so, so you can come back every day or so for more fresh strawberries.

Wild strawberries on the ground

Wild strawberries on the ground, brush leaves aside to see even more.

Since wild strawberry is so small, I typically just eat them fresh.  If you had them in extreme abundance, they’d certainly make a nice jam.  I once combined about 2 cups of fresh wild strawberries with some I had grown that were much larger for a jam–that was great.  If you had them in a lot of abundance, you can also dry them and enjoy anytime or make a fruit leather (see my instructions here).

 

Finally, a note about balance. I think that it is important to give something in return to the plant itself if you are harvesting fruit or leaves.  This can take a number of forms: a bit of organically grown tobacco is a welcome gift to many plant spirits.   If you are willing to scatter some of the strawberries themselves (with their seeds) the strawberries will be very happy.  You might find other things to do as well, but these are two I have found are very effective.

 

Strawberry Leaf as Medicine

Strawberry leaf is packed full of vitamin C and can be enjoyed as a tea either fresh or dried.  The tea has a mild and slightly fruity flavor (and some substitue it for green tea when a person can’t have caffiene).  I like to harvest leaves (maybe one per plant) when they are first blossoming.  They get a bit stronger after the fruit come in (still fine to harvest for medicine). A lot of folks will use these gentle leaves as a nourinshing tea that is tonic on the body and soothes the digestive system, particularly for those who suffer from diarrhea or loose stools and/or could use immune system support (provided by Vitamin C).

 

Strawberry leaf is also a gentle astringent (with a high tannin content).  I like to use it as part of an eye wash for conjunctivitis/pink eye when the eyes are goopy and watery (in conjunction with plantain for healing).  It is also great for a daily rinse for the gums and teeth.   Herbalists have used this successfully in tooth powder recipes to help treat plagque and bleeding gums (typically with clay, baking soda, and so on).

 

You can also brew up a strong cup of strawberry leaf tea and use it as a treatment for sunburn, simply lathe the affected areas with a soft cloth or cotton ball.  If you combine this with calendula or plantain, it is even more effective.

 

Please know that wild strawberry leaf is much more medicinal than its domestic counterpart.  You can use domesticated strawberry, but I have found the medicinal qualities much higher in wild strawberry (this is similar to Yarrow–the more difficult growing conditions, the more medicinal and aromatic the plant!)

 

Concluding Thoughts

I love the gentle spirit of the wild strawberry.  She is giving, soothing, abundant, and magical!  I hope that you will enjoy some of the benefits of this amazing and easy to find plant!

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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!