The Druid's Garden

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

Slowing Down the Druid Way, Part IV: Slow Movements and Slow Spirituality March 12, 2017

When I lived in Michigan, each Christmas, a local church just down the road from me put on a drive-by nativity scene. Cars full of people would line up for over half a mile and drive around this circular loop surrounding the church, where church members dressed up and enacted various kinds of nativity scenes.  I’m sure from the perspective of the church (who, clearly, invested a lot of time and resources, taking weeks to build the sets in the bitter cold in the time leading up to the event), it was a way to reach people who might otherwise not come through the church doors.  This same church also offered “speedy sermons” and other “quick” ways of getting busy people in the door. The idea behind these different initiatives was reaching out to people who were otherwise too busy to come to church–a reasonable and rather creative thing to do, given the time crunch everyone seems to be in these days. But for all that was gained (new members, new donations, etc) what was lost in the process of converting religion into a drive-through experience? Of course, just like the burger at McDonald’s vs. the burger you grill at home with time and care, there are likely some big differences not only in taste but also in presentation, nutrition, and energy.

 

In my last three posts in “Slowing Down the Druid Way”, we explored the history of time and our relationship to our working hours, and how we might begin to honor our time more fully.  This directly leads me to the topic of my final post on time and work: looking at the slow movements as a way of slowing down, making slowing down a conscious choice, and embracing leisure time.

 

The “Slow” Movements

The term “slow” has been increasingly used to describe many of the movements connected to sustainable living: you might have heard of slow food (as opposed to fast food or industrialized food) or slow money (in terms of investing, saving, and spending and in opposition to current derivatives/investment market).  We now also have slow schools, slow books, and even (in my own field) discussion of slow writing! The slow movement has, in fact, been around since the 1980’s; it was started by Carlo Petrini, who protested the opening of the “fast” food joint, McDonalds, in Rome, Italy. Since then, the movement has spread and deepened, connecting now to all aspects of life: travel, food, parenting, education, working, gardening, and more. Of course, you won’t see any discussion of this movement in mainstream culture–mainstream culture, here in the US, is focused on the idea that more and faster is better, and that kind of thinking takes some time to overcome.

 

A good slowing down spot!

A good slowing down spot!

The slow movements suggest that we are all the victims of “time poverty” and the slow movements are deliberate attempts by people to live at a reasonable pace (rather than a frantic one).  But these movements are more than just about slowing down–they recognize inherently that the faster we move, the fewer connections we make: with ourselves, with each other, with our creative gifts, and with the world as a whole.  So let’s now explore some of these slow movements and what they provide.

 

Nature Spirituality and Slow Spirituality

I’m going to start by introducing my own kind of “slow” movement: slow spirituality.  Cultivating a deeper relationship with time is certainly a principle that seems inherent in the druid traditions and in related nature-spiritual traditions. Anyone following the wheel of the year is certainly concerned a tremendous amount with time: the eight holidays on the wheel of the year are all about timing and the sun and it’s slow movement across the sky.  The phases of the moon reflect this on a monthly cycle. We focus on the interplay of light and dark, the slow changing of the seasons, the minute changes from day to day of weather patterns.  All of this takes observation and interaction with nature and a lot of time dedicated to understanding this larger cycle of the seasons.  Sure, there are ways of going about these practices that are “fast”, but moving fast means you miss most of the important pieces. In the AODA, for example, we ask that all members spend weekly time in nature, daily time in meditation, and time just observing and interacting with the world. This time is critical–and it is through these activities that deepest understandings are often cultivated.

 

In fact, I think part of the reason that so many people are drawn to meditation, ritual and other druid practices is that it offers a way to slow down and change pace. The more time you spend with these practices, the deeper they will go and the richer the rewards will be.  There is much room for exploration in linking the slow movements to the druid tradition and key practices within it.

 

Slow Travel

Another aspect of these slow movements is “slow travel.”  Slow travel refers to the idea, again, that efficiency is not always the best way to travel to new places and that we miss a lot if we don’t take opportunities to slow down. We are conditioned to work to get to a place as fast as possible: it’s how our GPS technology works and when we sit down to plan a trip, it is often getting from point A to B quickly.  But what about everything between point A and B?  Is that worth seeing?  What might be discovered there?

 

And so, here are a few simple ideas for slowing down: rather than taking the 70MPH highways for a whole trip, consider some 55MPH back country roads and see what there is to see.  This allows you some exploration time as well as gives you much better fuel efficiency!  Or, rather than default to taking flights everywhere, consider taking the train or a bus to get where you are going.  Train travel, in particular, is my favorite: you have ample room, you get to see a lot of the countryside, and you don’t have to deal with extremely intense security situations and screening and blaring televisions.  It also is a more earth-friendly way to travel. When you plan your trip, plan in a few “extra” stops that you aren’t planning. Give yourself some wiggle room so that you can explore and see what is out there.

 

The same applies to hiking and travel by foot–if you’ve ever been on any of the big trails, I’m sure you’ve seen the hikers with their poles, hiking like mad to get where they are going.  Most of them are so intent on their goal that they forget the journey itself!  I have the opposite approach; much to the frustration of some speedy folks with me, I like to take the time to wander, get lost, explore the woods, and more.

Things you see when you slow down!

Things you see when you slow down!

Even here in town, I budget a little extra time for my walk anywhere I am going so I can literally stop and smell the roses, visit the bramble bush each day to observe how it is changing and growing through the seasons, watch the flight of birds overhead, and so on.  Even that extra 5 minutes that I take on my walk to work or to the bank really gives me peace of mind.

 

I think in our travel, there are times we do really need to get somewhere, and there are times when we do not.  Finding a balance is one of the keys to this part of “slowing down.”

 

Slow Food

It is no surprise that the slow movement started as a resistance to fast food.  Fast food and industrialized food processes embrace the current ideas of efficiency and profit at the expense of all else, perhaps in some of the most egregious ways possible. But, as Wendell Berry points out in the Unsettling of America, industrialized farm systems’ emphasis on efficiency ends up exploiting the land for profit. Industrialized food treats nature, animals, plants, and humans all as machines, trying to get the most out of it in the fastest amount of time possible. In other words, if efficiency is the only metric by which we measure our food production and cheapness is the only metric that we use to measure its consumption, we lose much.

 

The slow food movement was born from a rejection of these industrialized food values: we should know where our food comes from, have relationships with our farmers or our own land, and grow food that is healthful and that is grown in a way that is healthful to the land. Wendell Berry writes that small family farmers aren’t concerned with efficiency as much as they are concerned with the long-term health of the land, the idea of doing things well, and building in nurturing practices. When we purchase their food at farmer’s markets, directly from them, or even in grocery stores (which are increasingly carrying more of these kinds of options), you are not only purchasing something better for you but also better for the land.

 

In addition to the rejection of fast food and other convenience foods, slow food focuses on cooking one’s own food from whole ingredients, growing food, knowing one’s farmers, and supporting businesses who are engaged in nurturing and healthful practices.  Those in this movement often have potlucks to break bread and share.

 

One of the things I like to do is a “slow food” metric and ask myself: how long would this take to produce at home? Can it be produced at home? That helps me stay away from too much processed stuff. Since I cook a lot from scratch, I’ve been learning how to make foods I like to eat from their base ingredients–this teaches me a lot about how processes something might be.  For example, I like to eat tortilla chips and hummus. Making my own tortilla chips was an incredibly gratifying, but intense, experience (I will be working on this again, hopefully, this year with better equipment!)  Even if I don’t want to make my own tortilla chips all the time, making them once has me much better appreciating what went into it.

 

Another aspect I see connected to slow food (although others might disagree) is fermentation of various kinds.  Most often, I make homemade sodas (using a ginger bug), dandelion wine, or saurkraut.  These foods simply take time and it is really exciting to see how they transform as they go through the stages of fermentation.  Slow food at its best!

 

A final aspect of slow food, in my opinion, is the act of eating itself. I have a number of friends who are mindfulness practitioners, and they have taught me much about enjoying a good meal. I think we are so accustomed to rushing through everything that meals aren’t an exception. Learning how to slow down, pay attention to the meal, chew your food well, and enjoy the company is a part of this slow food process–and a powerful one!

 

Slow Money

Slow money is a recent offshoot of the other slow movements–it is focused on slowing down the current derivative/investment banking and creating alternative systems of cash flow that are based on ecological and nature-honoring principles.  An organization tied to Slow Money is working to line up a variety of people to invest in ways that “bring funds back to earth.”  This movement is focused on investing locally, avoiding “too big to fail” banks and businesses, and investing in the health and fertility of our land (so you can see clear ties to the slow food movement above).  Groups connected to slow money are popping up all over the world! In fact, a whole range of alternative structures, particularly for financing, exist: land contracts arranged between buyers and sellers (so we don’t have to deal with big banks), micro-investments and loans, and so much more.  I’ve been happy to pursue some of these options in my own life and they have worked out really well!

 

Slow Living

A lot of the techniques I’ve shared on this blog over the years can be classified as slow living.  For example, living by candlelight naturally allows you to slow down and changes your life rhythms in subtle–yet powerful–ways. Using a compost toilet helps bring your own waste back into the cycle of life, as does various forms of composting. These are simple techniques, yet allow us to slow down and cycle nutrients.  Hiking and foraging, especially when you aren’t in a hurry and are willing to get lost in the woods, is a wonderful way just to slow down and take it easy.  There are so many options here–and each of us may find our way into slower living differently.  When we combine these physical things with the spiritual practices of meditation, regular ritual, honoring the seasons, and so forth–we can really bring our life more into a healthy balance.  One small step at a time helps you slow down and bring you more fully into the present moment.

 

Worm Castings (Vermicompost)

Worm Castings (Vermicompost)

A Slower Mindset

As I work to shift into “slower” ways of living and doing, the most important thing I’ve found to remember is that I need to shift my expectations. I can’t get a giant “to do” list done on my only day off from work. If I did that, I’d not have enough time to just sit in nature or spend time in my sacred garden. And so, a re-focusing of my own expectations helps me slow down and realize that there are things I just don’t have to do at this moment (and learn to put less of them on my plate to begin with). Once we begin to mentally adjust our schedules, plan not 100% of our waking hours but less of them, then we have an opportunity to slow down and enjoy what nature brings. Now, I schedule “open” weekends where I have nothing on my agenda, nowhere to go, and see what happens (usually, I end up in the woods and in the art studio–and these are amazing days!)

 
A second part of a slower mindset is recognizing the difference between doing something efficiently and doing something well.  Do we need to get all those things done, or can we just get one thing done well?  This is a question I am always asking myself: how can I do this one thing well?

 
A third part of a slower mindset has to do with cultivating patience. Impatience is widespread these days (try driving the speed limit around town, lol!)  One of the big shifts I’ve worked to make in the last few years is calm down and silence my inner “impatient” dialogue when I found myself waiting for people, waiting for things, etc.  It was a big issue for me, but I’m happy to say some progress has been made!

 

The Return of Creativity

I have a number of friends that practice “unschooling” with their children.  The stories they have shared with me all have many features in common.  Unschooling is self-directed learning–children decide what and how they want to learn and go about learning it. What my friends report happening in the transition to unschooling (especially out of public school, where children get no self-directed learning at all), is that the children, when given freedom, begin with a variety of electronic binging behaviors: excessive watching of TV, playing 12 and 14 hours of video games, and so on. But soon enough, usually within a few weeks, they get bored of playing video games and watching TV all day and their natural curiosity returns. Suddenly, they are inquisitive, questioning, and active in the world around them. Some of them begin to undertake considerable projects–building and launching weather balloons, understanding how to grow crystals, learning how to grow vegetables and learning about the biology of soil, making baskets, and so much more. I think this is a nice example here about the nature of unstructured leisure or play time, and how humans, when given the opportunity, naturally will find useful things in which to pursue if they have the time and energy to do so.

 

What unschooling does for children, leisure time can do for adults.  We once were those naturally curious and wonder-filled children, asking questions, being curious, being constantly at play, being able to move from playing music to making mud pies to building forts in the woods.  And then, modern life crushed our creativity with bells and demands and suddenly time wasn’t ours and our work consumed our lives and…yeah. The loss of our creative spirits and the loss of our creative selves happens as more and more demands are placed upon us. I believe this wonder-filled, creative, and curiosity-filled place to be one of our natural states of being.  One of the reasons retired people are often so interesting is that they find a hobby and pursue it with relentless passion–because they can.  I believe that slowing down and cultivating more unstructured/leisure time can allow us to get back to that place of creativity, curiosity, and wonder we had as children.

Here is just a small list of the things that leisure can get us:

  • A rest from daily stress (family, workplace, health-related, political, environmental); the ability to rebuild, nourish, support and heal the physical body
  • Time to think carefully and with a sound mind
  • Time to think about opposing ideas and carefully wrestle with the ideas they contain
  • Time to explore the wilds
  • Time to travel to other places
  • The ability to build and enjoy community and friends
  • Time to explore and experiment with options for sustainable living
  • Time to plant a garden (annual and perennial)
  • Time to gaze at the stars and clouds
  • Time to engage in spiritual practices of all sorts (meditation, outdoor activity)
  • Time to develop relationships and connections: with other humans, with plants/trees, with bodies of water, with the living earth
  • Time to get lost in the woods
  • Time to pick through trash to find treasures
  • Time to go foraging
  • Time to heal the land and scatter seeds
  • Time and energy to do all the things we say we “wish we had time” or “wish we had energy to do”
  • The time to engage in various bardic arts and learn new bardic arts / time to dedicate oneself to a craft or skill in seriousness
  • Time to read books and to ponder, meander, and think about them
  • Time to pick berries and can them
  • Time to do some home food preservation
  • Time to brew up some good ferments and good wine
  • Time to do all the things.  All the things.

 

I believe that we can fully embrace our human gifts if, and only if, we make the time and build in more unstructured time in our lives to do so.  This is about all I have to say at the moment on slowing down and thus, this concludes this post series at present.  Thank you to everyone who had such wonderful things to share as we worked through these issues–I gained much from reading your stories and from our conversations.

 

The Way of Wood January 22, 2017

Delightful eating bowls and spoons!

Delightful eating bowls and spoons!

Imagine sitting down to your holiday meal with loved ones and family. There is a feast before you–ham, turkey, potatoes, stuffing, corn, gravy, and various other family favorites. The table is decorated with colorful red tablecloths, the lights are low, the lights on the tree are twinkling….and you are given a Styrofoam plate! I’m sure this has happened to all of us over the years–and to me as well! What if, instead, you were given a beautiful hand-carved wooden bowl or plate to eat from? How would that change the experience of eating your meal? What if the meal was by candlelight, with engaging conversation, and took my time with the meal?  In fact, if you had lived in an earlier time, you likely would have had this experience, and it would have been the “norm.”

 

In fact, Eric Sloane describes the shifts in our relationship with lovingly crafted, wooden things in his On Reverence for Wood. In this passage, he describes America before the Civil War: “Wood was not accepted simply as the material for building a new nation—it was an inspiration. Gentle to the touch, exquisite to contemplate, tractable in creative hands, stronger by weight than iron, wood was, as William Penn had said, ‘A substance with a soul’. It spanned rivers for man, it built his home and heated it in the winter; man walked on wood, slept in it, sat on wooden chairs at wooden tables, drank and ate the fruits of trees from wooden cups and dishes. From cradle of wood to coffin of wood, the life of man was encircled by it.” (Pg. 72)  I think this quote beautifully expresses humans’ relationship with wood in previous generations, and to me, helps fill a gap that I didn’t know was missing.

 

A lot of things I talk about on this blog are what I might frame as “big” things: working on land regeneration, sustainable living and permaculture, growing food, natural building, beekeeping and more…these big things seem important and relevant. But there are also the more subtle ways of shifting living and communing with nature that may be less obvious, but no less profound. I think that there is value in exploring alternatives to the everyday objects that fill our lives and that we interact with. How many times, for example, do I encounter plates, bowls, cups, and silverware each day?  How many times do I put my feet in a pair of shoes, or put a pair of pants on, or put my head on a pillow in a typical week?  How many times do I sit down to enjoy a simple meal? How do those simple, daily patterns, unfold?  And so, today, I’m going to explore a rather simple concept, in honor of the many feasts most of us attended as part of the holiday season over the last few months. I call this concept the way of wood.

 

The Way of Wood

What I’m calling “the way of wood” refers to, in a literal sense, spending more time and contact with wood that has been lovingly shaped by careful hands.  Wood that has a soul.  The wood’s origins are important–ethical resourcing of the wood is critical. These wooden objects come into your life either by trading/purchasing/commissioning it from those who work with wood or by honing your own skill in carving/woodworking/turning, etc.  So far, I am in the first category, having found woodworkers whose talents I wish to support, although I hope to turn my artistic sights on this beautiful art form quite soon!

 

The way of wood, in a broader sense, asks us to consider the nature and origins of the objects that we engage with in everyday life–and bring those objects more carefully and consciously into our daily living experiences. This, again, means considering relationships between the object, how it was made, where it was sourced, as part of an energetic relationship.  The way of wood also encourages us to seek deeper connection with nature through the creation (and supporting the creation) of homemade items from local sources over industrial ones.  In other words, we are looking for items that have “soul” and that are, likely created outside of the industrial/consumption/stuff-making system.  Of course, this “way of wood” doesn’t happen overnight, but as things wear out, we might seek to replace them with things of a different nature, a careful nature, a slower nature.

 

The curved spoon and others...

The curved spoon and others…

Why does the way of wood matter? Some history here has really helped my thinking–I hope it helps you too.

 

The Loss of Reverence for Wood

At one time, wood was the most important thing we had: we made everything from it.  It was, as the quote above suggests, “a substance with a soul.” Eric Sloane’s masterpiece, Reverence for Wood, is well worth reading on this subject. I’m going to briefly summarize some of what he shares in that book here to help us understand historically, humans’ changing relationship with wood and its connection to industrialization here in the US–but I encourage anyone who has an interest in this topic to read his work.  Its a short book (about 100 pages) and filled with his incredible illustrations–a gem well worth your time.

 

Sloane’s book explores, century by century, in reverse chronological order, human’s changing relationship with wood. Of key importance to Sloane was the drastic shifts between the 18th century, when everything was made of wood (as described in the quote above), and the 19th century, with the rise of the age of iron and industrialization, where wood became used as the fuel of progress.  Much of this shift was firmly settled with outcome of Civil War in the United States, the war not only of slavery, but of an agrarian society vs. an industrial one. With the triumph of the Northern industrialized states, industry quickly transitioned the entire nation (as it was already doing in England and many other former colonies).

 

It was during this transition that wood, according to Sloane, ceased to have its value as something to be lovingly crafted for daily living rather than as a resource to fuel industry.  In fact, it is during this age that we see billions of acres of forests, cut to be “coaled off” to make charcoal for iron furnaces, cut to run locomotives, and cut to literally pave streets for higher volume traffic among many other things. This is certainly what happened to “Penn’s woods” in Pennsylvania, where, by the start of the century, less than 5% of the forests remained in many of the Western counties surrounding the big steel factories. Sloane reports that one English paper during this time wrote, “The English criticized us, saying that the Americans ‘seem to hate trees and cannot wait to cut them down” because the land was literally being stripped bare.

 

But the shift in consumer goods and industry weren’t the only shifts away from this primary wood-filled economy. In the late 1800s, American farmers had walled up their hearths and instead added an iron kitchen stove. Wood was added to this stove as Sloan writes “without ceremony,” shutting it up inside the iron box that didn’t need much tending. This, of course, eventually led to our modern furnaces and use of fossil fuels for warmth. Sloane gives many other examples as well–how the incredible array of objects once made from wood (pails and spiles for maple sugar, meat pounders, churns, knives, sleds, mallets, forks, shovels, spoons, and much more–were turned into iron instead and sold to folks). Wood became quite unfashionable and quaint, something for an older generation and day and iron was now on the rise.

 

To me, the shift from wood to iron represents a profound shift in humans’ relationships with nature as a whole and with trees specifically. In the earlier economical model, wood was a primary resource whereby humans interacted with trees, managed them carefully, cut trees and shaped them for their immediate needs (shelter, warmth, tools), and understood those trees as a resource upon which we clearly depended. Damage to the forest resource would result in direct damage to the ability of those humans to continue to provide warmth, shelter, and tools–and so, wood was deeply respected, coppiced, and managed. Also in this earlier economical model, wood was known deeply and intimately. In the 17th century, Sloane describes how a chair might be made out of as many as 15 different woods, each having their own unique characters and properties. People could tell what kind of tree was being cut by the sound the axe made in the wood.  Each wood has its own unique personality; likewise, people were often tied to tree personalities.

 

Beautiful bowls of a variety of styles (some are purchased from turners, others found at yard sales, etc!)

Beautiful bowls of a variety of styles (some are purchased from turners, others found at yard sales, etc!)

With the end of the Civil War and the rise of industrialization, wood became a secondary resource, cut and shipped “away” for use in some other location and the resulting goods coming back to humans in a new form (iron). Wood was no longer a resource upon which people primarily depended upon for survival–the invisible industrial processes and consumer economy masked its use.  If a forest is cut and shipped to an industry far away, it is of no real consequence to those who live nearby, for they have ceased depending on that forest for their needs. Rather, they depend upon, primarily, that far away industry. This is true of the many things for which wood was used: wood is purchased from a store (who get it from logging and a sawmill); heat is purchased from several sources (with a small amount of people still chopping wood); tools are purchased with handles, sometimes wood, from an unknown source; chairs are purchased of wood from a store, again, from an unknown source.  There is no reason to preserve and protect the local forest because all of your needs come from the store, who gets it from a factory, who gets the raw resources from all over (including that local forest).  This disconnection does much harm, in my opinion. And so, it was during this time of rising industrialization that humans’ rich understanding of wood and knowledge was lost and largely replaced by iron and industry.

 

Over 150 years now, we have a profound loss of understanding of the nature of wood and connection with that part of nature. Most people can’t identify more trees than they have fingers on one hand, much less understand intimately wood and its qualities.  I’ve seen this over and over again when I’m teaching herbalism or wild food foraging classes–identification skills are quite poor for most folks.  The bad news is that some of this knowledge may have been lost–but the good news is that the new movements in sustainable living, woodworking, permaculture, and bushcraft are encouraging folks to begin to learn the way of wood once more.

 

(I’ll mention here wonderful song by fellow OBOD Druid, Damh the Bard, from his 2015 album Sabbat. Its called “Iron from Stone” and it tells this same story of the changes in the landscape and the shift into iron (and the human cost of such a shift.))

Finding our Way back to Wood Again

 

For me, it started with a single, lovingly crafted wooden spoon, a spoon with soul.  A number of years ago, a druid friend of mine had gotten into carving and I decided to commission him to make me a magical serving spoon. This spoon was no ordinary spoon–it was harvested from cherry right off of his land only several miles from where I lived, carved with a spiral handle, and carved with an Awen in the center of the spoon. It was amazing, and after cooking with it, I came to the conclusion that I needed a lot more wooden things in my life.  This, of course, was many years before I had read Sloane’s work or really understood the historical aspects of the loss of knowledge of wood.

 

Instead, that first spoon offered an emotional connection, a soul connection: I loved the way the spoon felt, I loved the way my food tasted when I cooked with it, and I wanted more.  Soon after, he offered me a regular eating spoon for my birthday. After that, I found some really nice old carved bowls at a yard sale, carved by the woman’s grandfather. Then, I met a local wood turner at our farmer’s market with beautiful live edge bowls…over time, I replaced nearly all of my everyday eating bowls and such with beautiful wood–wood that requires care, love, and that brings connection.

 

I’ve watched friends’ delighted reactions as they come to my home and eat from my wooden bowls lovingly prepared food–it makes the meal so much more magical, meaningful, and connected.  Maybe, they, too, are connecting to the soul of the trees that are still very much alive within those bowls.

 

What I have come to fundamentally understand through this process is that the energy that goes into an object infuses that object. And it infuses us.  There’s just something different and sacred about the wooden objects that you don’t get from the standard stuff of unknown origin and manufacturing. Taking up the way of wood is a very simple thing to do–pickup some books on woodworking or take a class and start learning to carve or turn wood yourself.  Or, start keeping your eyes out for woodworkers and wooden objects as you go about life–farmer’s markets are a good place to find some of them!  If you want the wood in your life, the spirit of the wood will find you.

 

Caring for wood

An assortment of spoons and knives

An assortment of spoons and knives

Part of the reason I think that the wooden bowls are wonderful is that they require attention and care. The wood was once a living being, and the wooden spoons and bowls, in their own way, still have spirit within them. The more we interact with them, the more we can understand the wood and connect with that spirit.  The physical aspects of the wood and the spirit of the wood both need our interaction and care.

 

In terms of daily cleaning of wooden objects: you don’t just throw them in the dishwasher–the dishwasher would quickly ruin them. Instead, you wash them lovingly by hand, making sure water/liquid doesn’t sit in them for long and making sure that you dry them carefully once you are done washing them. It is no trouble to quickly wash your favorite wooden bowl after a nice meal!

 

Every three or so months, you’ll also want to re-seal them. I seal my wooden items with walnut oil or of a combination of warmed beeswax and walnut oil. I get a clean rag (that you can re-use) or paper towel (the paper towel can be used to start a fire after you are finished oiling your wood). Add a liberal helping of oil to all your wooden objects and let them sit for about 30 min. You’ll see which of them are thirsty and which are saturated. Give them a second liberal helping of oil.  If there is excess, it is no problem, as you’ll wipe it off. I usually let this sit a minimum of a few hours–even overnight. I check them again, and see who among the wooden things is still thirsty, adding a third layer. At this point, I let them sit, shine/buff them to take off the excess oil, and begin using them again.

 

I remember to tend my wood based on the solstices and equinoxes–as each grows near, I know it is time to lovingly oil my wooden items again.

 

I’ll also mention here that wood, over time, moves and shifts as the seasons change and as time passes (no wonder wood has “a soul”!)  Sloane talks about this as well–how old barns move (even if the stone foundations under them do not, meaning that over a period of years, the barn grows less stable).  The same thing happens to wooden bowls and other wooden objects.  For a bowl, for example, if you had wood with a grain facing East to West, the bowl would slowly shrink on the North-South axis making the bowl more oblong than round as time passed.  In the summer, wood absorbs moisture and may swell and in the winter, it will shrink. Understanding this is all part of the character, and care, of wood.

 

Closing Thoughts

I believe that the small details matter–building these small, sacred, and simple acts into our everyday living can help us engage in more sustainable, sacred actions throughout our lives and reconnect with ourselves and the land around us. I think this kind of thing is like momentum forward–each small thing adds to the whole experience and moves us from a kind of “average” living that is given to us by corporations and industrialization to living to sacred living. Even small shifts, like the shift from using conventional tableware to something handcrafted, creates an energetic shift that reverberates. And when you think about how many times you encounter these simple objects each day, and the energies and spirits of those objects, this small shift really has profound implications.

 

The Art of Getting Lost in the Woods, or Cultivating Receptivity December 4, 2016

I think we’ve all had periods of our lives where we feel like we are moving like a stack of dominoes; we have so many things piled on us that we have to keep going, going, and going. In fact, I had a hard conversation this past week with a loved one, someone who is close to me and sees the everyday patterns of my life.  As part of this conversation, I realized that I had been, since moving to a new job a year and a half ago, literally zipping about. Most of my days were just like those dominoes–falling one after another. As soon as I completed a task I would move onto the next one, hardly taking a breath in between. Since moving and taking the new job, I find myself still settling in, still finding my new rhythms, and trying to fit my usual things into less time and space.  He recognized this in me, and asked me to take a few minutes to reflect on it. I’ve written about this before; our culture demands and glorifies the busification of our lives, the constant moving, doing, and pressing ever forward. We see this not only in the workplace, but in our expectations of our daily lives. I think this is especially true as we grow closer to the Western holiday season, where everything seems to be moving much more quickly than usual. It seems that celebrations and time off would be the perfect time to slow down, but instead, it seems that everything speeds up.

 

Time to slow down...

Time to slow down…

 

So today, I’d like to spend time focusing on the opposite of the hustle and bustle: the importance of observation and interaction through meandering, pondering, and wondering and the benefits of doing this work for our own health and nature-based relationships.  This post continues my “Permaculture for Druids” series, and focuses on some additional work with the “observe and interactprinciple.

 

Projective and Receptive States of Being

One useful way of framing today’s topic of being too busy too often is through two common terms used in many western magical systems: projection and reception. We can frame these two principles like taking a hike in the woods.  The first way to hike is with a set goal in mind: a trail we want to walk, a particular landmark we want to see, mushrooms to find, or some other goal to achieve.  This is the projective way of hiking: we are going to take X trail for X hours and see X landmarks.  We are going out to X spots to find X mushrooms.  But remember: that trail has been crafted by someone else, there are lots of people surrounding that popular landmark and our own plans can be disappointing. Or perhaps, the mushrooms are just not in the spot you’d hope they would be!

 

The protective principle is that of the masculine, of the sun, of the elements of air and fire. Projection in the world means that we are out there, doing something, working our wills and using our energy to enact change.  When we are projective, we are often setting ourselves a dedicated path and following that path; it implies that we have an end goal or destination in mind. This is the place we are in often–making plans, enacting them, working to push things forward, engaging in our work in the world.  Projectivity implies a certain kind of control–we are the actors upon our own destiny.  A projective view suggests that we have the power, and we are using that power to achieve our own ends.  Projectivity is both an inner and outer state–focus, determination, drive, and mental stamina are all part of the inner projective place while our specific actions towards a goal help propel us forward.  While projectivity certainly has its place, it can be rather exhausting if that is all we are doing. (And, I’ll just note here, that I wonder how much of these busy schedules really control us?)

 

The alternative way to hike, of course, is to enter natural spaces with a different kind of intent: the intent of wandering with no set goal, no set time frame, and simply seeing what unfolds before us.  This means that we engage in many activities that don’t necessarily have a positive connotation in our culture (but really should): mulling about, being directionless, meandering, and simply taking our time to smell the roses.

 

In western magical systems, the receptive principle is connected to the feminine energy of the moon and the elements of water and earth. And like those principles, receptivity means being open to those things, especially unexpectedly, that come into our lives–allowing things to flow in, allowing us to offer ourselves up to the experience without a set expectation or outcome. Receptivity means taking time to wander and wonder about things we aren’t sure of, to give space and voice to those things before firmly deciding any course or action or solution.  The receptive principle is all about creating space enough, slowing down enough, and turning off our projective natures, long enough to allow nature to have a voice and to take us by the hand and show us some amazing things.

 

Sometimes receptivity also means sitting back and not engaging in the world or putting off driving forward with plans; other times it means doing what we can and having faith in things beyond our control.  Sometimes, it means that the time is not right and the best thing you can do is wait. A lot of us have great difficulty in surrendering our control and simply trusting forces outside of ourselves to bring things in or waiting for a more opportune moment.  Sometimes, the more we try to make something happen, the less likely that thing will be the thing we really want to experience or the less likely it will actually occur. Receptivity applies both in terms of our own minds (cultivating a curiosity, pondering, wondering, and openness) and as well as in our outer experiences.

 

Trail into the woods....

Trails into the woods….

Since most of us have difficulty in particular with the receptive principle, I’m going to spend the remainder of this post talking through some specific activities with regards to interacting in nature that I think can help us cultivate receptivity, to observe, and to simply interact without a specific goal or agenda in mind. Nature is the best teacher with regards to most things, cultivating receptivity being no exception.

 

The Outer Work: The Art of Getting Lost in the Woods

I remember a warm summer day several years ago when three druids went out into the woods for the sole purpose of exploration. We literally picked a “green area” on the map and said “we wonder what’s there?” We had no set goals, no set timeframe, and a few backpacks of supplies–and off we went. It turned out that we had stumbled upon a recreation area/park that was no longer quite maintained by the township, and we had the place to ourselves.  The road we wanted was labeled “closed” but we went down it anyways and parked along the edge. We found a number of paths that were not exactly clear to walk on, as debris and fallen trees had come down in places.  The wildness of the place really added to the adventure. We found morel mushrooms growing up among the paths (which later made a delightful dinner). We found a downed sassafrass tree and used a small hand saw to harvest the roots; we also found a huge patch of stoneroot for medicine.  The further in we went the further in we wanted to go. And, best of all, we druids literally found a small stone circle there, tucked away in the forest along one of the abandoned path. We spent time in the circle, amazed at finding such a treasure.  This day, and the magic of it, remains firmly tucked in my mind as one of the most memorable and pleasurable I had had while living in Michigan for the simple fact that it was an adventure and none of us had any idea what we might find next.

 

When I say the art of getting lost in the woods, I’m not necessarily talking about physically getting lost (although that may also happen) but rather, to allow ourselves to get lost in the wonder and joy that is the natural world.  Getting lost with no set direction and seeing where nature leads.

 

I believe one of the best activities cultivate an open, receptive state is to enter the woods (or other natural area) with no set plans, agenda, or time frame–just like my story above describes. That is, to simply let the paths and forest unfold before you, to lead you deeper in, and to allow you to simply be. To slow yourself down, to make no plans, and to enter with an open mind, heart, and spirit. The key to all of this is to cultivate a gentle openness that is not in a rush to get somewhere, not on a time frame, and certainly not out to find something specific. The more that you try to project, the more that your projection frames your experience rather than nature and her gifts.

 

This is especially a powerful practice if you are able to go somewhere entirely new. When we visit new places, our minds are opened up to new ways of thinking, new experiences, new patterns, and new ways of being.  Find somewhere new, even if its local, and explore that place.  Even better–go to an unfamiliar ecosystem and give yourself a few days to explore it.  For example, if you a mountain-and-forest person (like I am), the rocky shore, lowland swamp, or sandy desert would be wonderful new spaces that could help you cultivate receptivity, observation, and peace.

 

If you are going more local, my favorite thing to do is pick a “green spot” on the map, show up there, find a trail, and begin walking (if its a very secluded area where getting lost might mean I don’t get found for a long time, I might get a park map, but often, I find a map itself is too constraining and instead focus on trail marking).  Sometimes I will go out wandering by myself, and other times, with friends.  A compass or finding your way techniques (like those discussed in Gatty’s Finding Your Way Without a Compass or Map) are necessary.  Just use your intuition and go where you feel led to go.  Bring along a hammock and tree straps if its a warm day–you’ll be glad you did!

 

I have also discovered the usefulness of “river trails” for this kind of activity.  This is where a river will decide where it wants to take you and how fast you will go.  For one, if you are used to being on the land, the river or lake offers a very new and delightful perspective.  For two, the river has a path of its own, and you are simply along for the journey of where it plans to go.  A long weekend with a few nights camping on the shore can be a wonderful way to allow nature to lead you in new directions and to new experiences.  The last river trail I did (which was a half day excursion on the Conemaugh river) allowed me to see three bald eagles–the first I had ever seen!  A gift indeed!

 

Unexpected mushrooms!

Unexpected mushrooms!

I’ll also note that winter is a really lovely time to do some of this work.  Put on your wool socks and warm clothes and just go.  If there is snow, you never have to worry about getting lost anywhere as you can simply follow your own trail home (and see the entire journey from a new perspective).  Winter and snow offers its own unique insights and lessons.

 

Sometimes, perfectly good trips are ruined by my strong desire to find some tasty mushrooms (and I have my mushroom eyes on, rather than just cultivating an openness of spirit and excitement for the journey).  Then, all that I do is look for mushrooms and feel disappointed when I don’t find them, rather than just enjoying my trip into the woods with no set purpose in mind.  The best times are when I go into the woods not to find mushrooms but simply to enjoy the journey (and then really unexpectedly come across a boatload of mushrooms).

 

Nature always has things to teach when we open spaces for her to do so, when we take time to get lost in the woods.  It makes it easier if we cultivate this through relinquishing our own control and simply taking the time to experience and explore new spaces with an open mind.

 

The Inner Work: Cultivating Openness and Curiosity

The inner landscape, too, greatly benefits from this same kind of “open space” that is free of both our own self-directed activities as well as other people’s words and ideas. Obviously, the material above on getting lost in the woods is of deep benefit to our inner landscapes as well.  But also of benefit is the simple act of inner pondering, wondering, and rumination.

 

Cultivating openness

Cultivating openness

I think the key here is cultivating openness. And I stress the word cultivation here, because, culturally and educationally, we are quick to make up our minds and stick to it and be in a perpetual protective state.  There is real value in withholding judgement, staying open, and gathering in more information that we initially think we need.  Continuing to ask “what if?” is a good way to start this process along.

 

There’s a lot of value in rumination, in simply thinking through things, wondering, and not settling on any one thing too quickly. Open and boundless spaces allow for creativity and awen (divine inspiration) to flow. Pondering is useful, in that it allows us to spend time asking “what if” over and over again until we reach an idea that we are satisfied.  One of my best teachers, Deanne Bednar of Strawbale Studio used this technique a lot as she taught natural building–she would take time to simply ask the students questions, come up with possible solutions, and ask for more until the class had exhausted many possibilities–only then would we move forward with a particular design decision or solution to the building problem we were facing.

 

Journaling and free association activities can be a great way to engage in pondering, as can discursive meditation on an open topic or theme.   Even conversations with the right kind of person, an open minded person who asks good questions and questions assumptions, can help you cultivate openness and receptivity. I use all of these often.

 

In permaculture design, this openness and receptivity is a very important part of the process. We are encouraged to spend a full year observing and interacting with our surroundings before completing a design and modifying any space–and it is really good advice.  Making plans to quickly leads to half-thought out designs. It is through the gentle time spent in nature, observing and pondering, and through focused meditation on key topics, that we might have the ability to craft and create designs that help change the course of our own lives, and our communities, for the better while regenerating our ecosystems around us.  While I think we are all pressed to act, acting too quickly can be worse than acting at all.

 

Finally, I want to mention briefly about screens, since they have become so pervasive and all-encompassing. Screens have a way of bringing in everyone else’s projections–and they literally project them into you.  Cultivating openness and curiosity means, for a lot of folks, seriously limiting screen time (try it with an open mind!)

 

Balancing Receptivity and Projectivity

The key to getting lost in the woods and finding your way back again is finding a healthy balance between receptivity and projectivity and understanding when we need to take control and when we need to surrender it.  I think when people think about doing the work of regeneration, of permaculture practice, of sacred gardening and the many other things I discuss here on this blog, they think about their own actions and plans. However, I have found that sacred healing work in the world, through permaculture practice or anything else is about the interplay between projectivity and receptivity, that is, between ourselves and nature. That is, while we are often those who make plans and initiate changes within a system (a garden, an ecosystem, a home, a community, etc) but also that we observe, creatively respond, and reflect upon what happens beyond us. We have to work both with enacting some changes, and also sitting back and simply observing what happens.  We have to be willing to receive nature’s messages and intentions before setting any of our own.

 

Observe, Interact, and Intuit: The Personal Niche Analysis October 23, 2016

In my last two posts in this series, we explored permaculture design principles from the perspective of our outer and inner landscapes. We now move into a series of posts exploring different aspects of these specific principles.  Today, we start with the inner work of the principle observe, interact, and intuit (I will also note my post from last year on “Mushroom eyes” which is part of the outer work of this principle and explores nature observation).   Today’s post explores the personal niche analysis.  The Niche Analysis also connects with many other principles, such as layered purposes and can be useful both for designing spaces as well as inner work.

 

The Niche Analysis

A niche analysis is a tool that we use as permaculture designers to understand the many aspects and connections of a single element has within a larger system. We are using “niche” in the ecological sense here, which is defined “a position or role taken by a kind of organism within its community.”  (I’ll also note that the word “niche” comes into English by way of French, originating in Latin (nidus or “nest”; this etymology also teaches us a deeper meaning of the word).  In permaculture design, we see each element having its own “niche” in an ecosystem, a number of things that element does well.  We design intentionally, placing elements in the system that fill the multiple roles.

 

A typical niche analyses can include yields, needs, and behaviors.  I also add predators and allies to my niche analysis (see below for more details on each of these things).

 

Let’s take a look at my rooster, Anasazi, who lived at my homestead in Michigan.  I considered Anasazi one of the critical components of my land there.  Here’s Anasazi’s niche analysis:

Anasazi the Roo Niche Analysis

Anasazi the Roo Niche Analysis

What this does is help me understand how Anasazi functions in the system–what he offers, what he needs to be protected from, and who his allies are. I see his behaviors, and I’m able to use them for the greatest good and see his role. This is a really useful way to think about any element. (As an aside, if you want to know about specific trees and plants and how they function in the broader system, and you live anywhere in the Midwest or East Coast of the USA  you can check out John Eastman’s books, Book of Forest and Thicket; Book of Field and Stream; Book of Swamp and Bog.  They are delightful books and really describe these “niche” relationships quite well!)

 

The Personal Niche Analysis

We often learn to do a personal niche analysis as part of a permaculture design course, and I think its a useful activity for everyone to consider as a part of our own growth and inner work. In this context, I present it as part of the “knowing ourselves” piece of observe, interact, and intuit: the work of understanding our own role (that we determine), what we need, and what we offer.

 

The standard niche analysis asks you to start with your name in the center of the map, and then map three things: Yields, Needs, and Behaviors.  One I learned this summer offers two more choices: Predators and Allies.  I’ll cover each of these below and then show you a sample map that I created as part of my recent Permaculture Teacher Training course.

Yields: That which you produce. Remember that, just like in an ecosystem or garden, each element often has many different kinds of yields.  Yields for a human being can certainly be physical things like producing food or earning an income, but they can also be much less tangible, like offering love and support or bringing joy.

 

Articulating our yields is a critical part of self care and self empowerment. I think that many of us, especially those who are nurturers and healers, do not own our gifts and don’t have self-acknowledgement of the good work we do in the world.  Further, because our culture generally does not hold gratitude as a value, we often spend our time doing important work that is often under or unacknowledged or thanked. Describing our yields, then, allows us to be empowered–to realize what it is that we can and do produce in the world that is of benefit to life: whether that is a dedication to picking up trash in the forest, to being friendly to people at your job, or to simply being a person others can talk to in times of need.  These yields don’t have to be something that is “measurable” by society’s standards, but rather, something that you feel you bring.

 

Needs: This is what you need in order to be stable, functioning, and happy.  Again, these can be physical things but also emotional or spiritual things. Again, articulating our actual needs is something that we often don’t do, and there are at least two challenges and reasons for this work.  The first is cultural: commercials and advertising work very hard to make us believes we have needs that we don’t–needs of products and services–rather than needs that help support and fulfill us.  Many of us, as part of our own spiritual paths, are shedding the layers of consumerism, and re-articulating what are actual needs in our own lives, rather than manufactured needs, is an important part of this process. The second is the intersection of personal and cultural reasons: many of us have a hard time voicing our needs in our immediate relationships (work, family, friend, intimate) or even to ourselves. Part of spiritual growth is recognizing that we have needs, and those needs are valuable.  This involves acknowledgment of the need of others in our lives but also the acknowledgment of our own ability to provide for our needs.

 

Behaviors: Behaviors are those things that you engage in in order to produce your yields.  You should write these as verbsWhat I like about adding behaviors to a personal niche analysis is that it allows us to think about our actions out in the world and what are meaningful to us.  Ultimately, behaviors lead to yields, and if we aren’t engaging in the behaviors we want to be engaging in (or we have behaviors that are detrimental to our goals) we end up not being able to produce the yields.

 

Allies (Optional): You can add two additional categories to your niche analysis (which I think really helps create a fuller niche analysis).  Allies are those things that help you produce yields and facilitate the behaviors that you want to engage in. These, again can be anything from free time to supportive partners, to, in my case, rivers and chickens. Think about your support system external to you: these are your allies.  Those that help you move forward with whatever it is you want to accomplish. We often draw strength by surrounding us with allies, and they are critical to acknowledge and to honor.

 

Predators (Optional): Finally, we come to predators.  In this niche analysis, they are defined as they things that harm or otherwise take away your ability to produce the yields you want to produce in the world.  Predators again can be anything at all: from problematic thinking to certain people to things happening in the world that drain you.  These are “predators” in the pejorative sense, not in the nature-oriented sense (which I discussed in a blog post earlier this year).  Identifying predators in our lives helps us better avoid them or find ways of managing them.

Creating your Personal Niche Analysis

You can create your personal niche analysis any way you like. I will give you some suggestions here that I have found are useful and helpful in creating it.

 

Get a large sheet of paper and markers. I find it is useful to do it on a large sheet of paper with colored markers, each color can represent a different element of the Personal Niche Analysis.  A large sheet of paper gives you more space to be thorough and really explore those different aspects of yourself. You can embrace the inner bard within to get visually creative with markers, paints, etc.   I’ve seen other nice niche analyses that people have done digitally, but that’s not quite my thing!

 

Open up a sacred space. The personal niche analysis is a wonderful spiritual activity: open up a sacred space/grove, say a small prayer, clear your mind with some meditation or color breathing, and then allow the niche analysis to flow from you.

 

Create Time for reflection.  As our first permaculture principle suggests, the personal niche analysis requires time for us just to interact, observe, and intuit our own gifts. Spend time really considering the different things that you bring.

 

Repeat this practice. We are always growing and evolving as people and the niche analysis can help us see that.  You can do a new personal niche analysis every year or few years to see how things have changed (revising the predators and allies, for example, is a really useful activity).

 

Use it to spur change and growth in your life!  Use the Personal Niche analysis as a reflective tool that will help you understand where you are now.  You can use goal setting, journaling, and other kinds of meditative work to help you move closer to your personal, spiritual, physical, social, family, or other goals.

 

Here is my sample personal niche analysis from my permaculture teacher training course this summer:

Dana's Personal Niche Analysis

Dana’s Personal Niche Analysis

In terms of how I used this niche analysis; after doing it, I spent some time meditating on it and thinking about it.  Are there needs I’m not currently having fulfilled?  Are there behaviors that are negative (that I chose not to represent?)  How often am I producing the yields I want to be producing?  This niche analysis can help us engage in deep reflection on ourselves and create a richer understanding of who and what we are!

 

I’d love to hear how this works for you as a spiritual exercise–please share if you end up using this as part of your spiritual work. This doesn’t have to take long, and it is a really useful first step for the inner work of permaculture. In the next post on this series, we’ll explore the same principle from the outer world.

 

Balance at the Equinox: Magical Crafting a Balancing Mobile September 18, 2016

When I was a new druid, many moons ago, I celebrated my first holiday with another person at the Fall Equinox. During that celebration, my friend had the idea that we could do a holiday craft, what we ended up calling a “balance mobile.”  In the weeks leading up to the Equinox, we gathered up materials representing the four elements and then, at the Equinox, crafted them carefully into small mobiles. We took these mobiles to a river shore, where we did a ritual to bless and empower them.

 

A beautiful balance mobile!

A beautiful balance mobile!

In the years since, I have often made these little balance mobiles as gifts for druid friends as ways for us to remember to work to balance our lives.  The mobile offers both a reminder for the need to balance our lives, a physical representation, and also a “gauge” for the ways we might be unbalanced. I think its a nice follow-up to my article last month about finding equilibrium in these difficult times.

 

So, as an equinox activity, I wanted to show you today how to make such a little mobile and share with you the simple ritual for empowering it.  This is a wonderful equinox activity to do with friends, loved ones, or just by yourself to celebrate this powerful day.  It doesn’t require artistic talent, and it can be done with really simple things, like printed out images or photographs.  In fact, the mobile I started to design for this post will be finished with some friends next week as part of our own ceremony for a new group!

 

Three Versions of a Balance Mobile

The first decision you have to make is to the nature of what the mobile represents.  It can represent either a balancing of the inner and outer realms (version 1) or a personally focused/inner work focused mobile that emphasizes the relationships between mind, body, spirit, and the creative arts (version 2).  Or you can just work with the elements themselves! Choose one you like, or use these as a basis for your own interpretation.

 

Version 1: Balance of the Inner and Outer Realms

  • East – Air – Balance of the Mind
  • South – Fire – Balance in Work/Outside life/outside obligations
  • West – Water – Balance in the Heart
  • North – Earth – Balance in the Home and Hearth
  • Center – Spirit – For centering and balance

In this version of the mobile, you are working to balance both external aspects (your work and/or community life and outside obligations; your home life/family) as well as your own inner mind and heart. This version works well for people who are feeling pulled in many directions, with little time for themselves and their own inner work.  The energy of this particular mobile can help you balance all the many things going on in life.

 

Version 2: The Inner Work Mobile

The second version of this mobile is fully inner focused, with different representations at each of the directions/quarters.

  • East – Air – The Mind, knowledge seeking and learning
  • South – Fire – The Creative and bardic arts; expressing and exploring one’s gifts and purpose
  • Water – West – The Heart, Intuition, and spiritual life; exploring the inner realms
  • Earth – North – The Body, working on the physical vitality, rejuvenation, replenishment, and restoration of your physical home while on this plane
  • Spirit – Center – The center of all things; connection to the divine

This second version is particularly good for people who are currently doing a lot of inner work or work on themselves in some way; its good for those who are inward focused, whether that is on working on themselves physically, mentally, or spiritually.

 

Version 3: The Elemental Mobile

If you want, you can keep it more abstract and just work with the elements themselves, allowing them to flow in your life. Here’s some simple correspondences, colors, and animals from the druid tradition for this version.

  • East – Air -Yellow – Spring Equinox –  The Hawk
  • South – Fire -Red  – Summer Solstice –  The Stag
  • Water – West – Blue  – Fall Equinox – The Salmon
  • Earth – North – Green – Winter Solstice – The Bear
  • Spirit – Center – White/Silver – Time of No Time – (Interpretations vary, I use the soil web of all life for this)

 

Materials Gathering

Now that we have a sense of the mobiles themselves and what they represent.  The next step is gathering up your supplies to create the mobile.  I want to share what you’ll need:

  • Representations of each of the five elements
  • String, wire, ribbon, yarn to hang the five elements
  • Sticks or strong wire (coat hanger, etc) to hold the mobile together
  • Beads, feathers, and other embellishments for decoration

 

My elemental representations

My elemental representations

Representations of each of the five elements:
The entire mobile is based on the representations you will have at the for corners of the mobile, and if you choose, also at its center.  You want some small objects, of about the same weight, that represent each of the elements as they are manifesting in your mobile (version 1, 2, 3 or some other version you create for yourself).  For my original mobile, I created paintings, and then wrapped them around some air dry clay.  I then sealed the whole thing. My friend created small sewn items that she hung.  Other friends have shaped things of air dry clay, or painted images, or used small rounds of wood and printed out images–it doesn’t matter what you do, as long as they are clearly representative of the element and meaningful to you.

 

You can, for example, gather four smooth stones, paint them, wire them, and affix them to your mobile.  You could paint and hang four used canning jar lids! You can print out images you really like and glue them to some cardboard.  It doesn’t matter–what matters is that you have something that resonates with you and that is of equal weight. (If they are not equal weight, hanging extra beads to balance them out is also ok!).

 

For finding your items, I would really recommend repurposed items or found items for these as we all work to tread lightly on the earth.

 

String, wire, ribbon, yarn, etc.  The look of your mobile is very much up to you.  Some funyky and fun ribbon or yarn can add a lot to your mobile. But even simple string or wire will do!  You can find ribbon, wire, yarn, etc most of these kinds of things at yard sales/thrift shops really cheaply (if you don’t already have a stash).

 

Sticks for the mobile itself.  For my mobile, I created a hanging apparatus out of river sticks–I had gathered many of them along a river, and fashioned them into a small box-structure, and then my mobile pieces hung from the four corners (see photos).  River sticks work well for this, as do any other fallen sticks or found sticks.  Even Popsicle sticks are fine!  An easy way to do this (which I demonstrate below in the photos) is to find two sticks of about equal length, and drill holes right through the center.  Then you can add a simple string and a knot, and you are in business!

Start with two nice sticks (in my case, two pieces of bark gathered near a waterfall)

Drill a hole right through the center of both sticks. The more centered you are, the more it will hang centered (which matters!)

Drill a hole right through the center of both sticks. The more centered you are, the more it will hang centered (which matters!)

Put a string through both and let them hang. You can now drill more holes for the four edges. You can also put a knot below it, and then let the string hang down for something in the center!

Put a string through both and let them hang. You can now drill more holes for the four edges. You can also put a knot below it, and then let the string hang down for something in the center!

 

If you want a more elaborate setup, you can construct a little stick box, like pictured below.  I made this one with river sticks and wire.  Apparently, I like to use sticks and things found by rivers in my mobiles!

Elaborate mobile top!

Elaborate mobile top constructed with wire!

Or, you can even use a circular item, like a coat hanger, or a wooden or plastic plate, or anything else.  The key is to have something to hang all of your elemental representations on.

 

Embellishments.  Beads, feathers, glitter, whatever it is you want to make your mobile a little more pretty. This is highly personal and is part of the fun.  You can use things here that are personally meaningful to you, that you’ve gathered over the years, etc.

 

Putting your Mobile Together

I like to create a magical crafting space in which to work before I begin.  Before I setup the space, I setup an elemental altar and make sure I have all of the supplies that I need at hand before I start the ritual.

 

Setting up a magical crafting space is easy–you can just use whatever typical sacred space opening you like (I use the AODA’s Solitary Grove opening, which includes the Sphere of Protection as my go-to magical crafting ritual).

 

I talked about creating such a space in this post a few years ago. In a nutshell, set the intention of setting aside a space in which to do spiritual work, in this case, crafting your mobile. At minimum, ground and clear your own energy, set your intentions for the space (creating and blessing a mobile), call in the elements that you will be working with, create some kind of protective barrier or shield energetically (or physically, with stones or candles).

 

Once you’ve created your sacred space, focus on the work at hand. As you put it together with string, glue, yarn, wire, and so on, think about the balance in your life. Consider, as each piece goes on, how that element/aspect manifests in your life, and envision balance in that area.

 

I find for this, some low key music is also nice. Magical crafting, at least for me, is very much a meditative activity and the music helps set the mood and tone.

 

If you are doing this with a group of people, you want to set some expectations and ground rules before you begin.  Is this to be a solemn activity, in quietude, or a fun one?  Talk through it and make sure everyone is on the same page.

 

Blessing your mobile

After you’ve completed your mobile, you can do a simple blessing.  You don’t need a script, just representations of the four elements (in four small bowls: incense/feather; candle; water; and a bowl of salt and/or earth.  Take the mobile to each of the elements (or bring them to the mobile) and speak about your own life.  Talk through what is currently balanced in that domain, and what is unbalanced, and then empower each of the aspects of the mobile with that energy (you might, for example, move the representation of the element around the mobile 3x in a clockwise direction and envision the energy of that element going into the mobile).  You can conclude your ritual with setting some goals for balance and a short period of meditation.  Again, there is no right or wrong way to do this, but the importance of making it a ceremony, and taking the space to do that, is important.

 

Once you have your mobile made, you can work with it at the two equinoxes.  Each year, at the fall equinox, I re-empower it at the Fall Equinox and think through the progress I have made.  It has become an old friend, journeying with me through the wheel of the year, hanging there and reminding me of the lesson of balance in my life.

 

Hanging your mobile

The nice thing about this as an Equinox activity is that it gives you something to remember and something to keep with you as you move through the year.  In this case, the magic very much “keeps on going” :).

 

One of the things you might notice, over time, is that the mobile can shift. Take note if it shifts–that might be a sign that one area of your life is particularly dominant (or needs attention) at the moment.  I learned to “read” my mobile over the years and it has always helped me know where I might be a bit out of balance.  For me, if the element is high, it means that element might be dominant in my life–too high and it is out of balance.  If one goes high, one of the other three go low, and then I can see what is suffering.  It has become an excellent little gauge as to how things are going.

 

Concluding Thoughts

I hope this Fall Equinox activity brings you joy this season! Blessings upon you during this upcoming fall equinox! Next week, we’ll return to the longer series on permaculture (maybe with a post on foraging as well!).

 

A Spring Ritual: Trash-to-Treasure Fairy May 21, 2016

A typical "trash" pile full of perfectly good stuff

A typical “trash” pile full of perfectly good stuff from the move out day ritual.  Working fans, mattresses, bags of unused clothing, shoes, organization units, dishes, etc.

At the end of the semester in my quaint college town, a spring ritual of sorts takes place. (I know, I know. Spring rituals in college towns are rarely a good thing!) It is a holiday dedicated to the gods of consumption and waste, called “Move out day.” This day takes place the same day as graduation, and after graduation ceremonies, students and their families eagerly pack their cars and whisk themselves off to unknown destinations. Unfortunately, not everything that they brought, or bought here, goes with them. In fact, the primary activity of the move out day ritual is making one’s sizable offering of new and lightly used goods on the sidewalk or in a series of dumpsters and then to drive off into the sunset.

 

As you walk up and down the streets in the aftermath of this ritual, the carnage and enormity it can be overwhelming. To give you a sense of it, I’ll post two lists from friends and the “haul” they got from move-out day:

 

“End of the semester means move out day! This year’s haul includes a Weber grill, a metal bathroom shelf, an IKEA shelf unit, brand new Tefal fry pans, new cutting boards, a six month supply of laundry soap and fabric softener, clothes, a fan, a folding chair, and two bikes.”

 

“I got two boxes full of dishes, a leather rolling chair, two brand new garbage cans, a sound system, two digital voice recorders, an Xbox with 5 games and controllers, a almost new scanner/printer unit, a vintage metal chair, a whole bag of clothing with the tags still on, three pairs of jeans, towels, crystal plates and cups, a box full of plates and cups, two small throw rugs, a wooden jewelry box…and probably some things I forgot.”

 

I think these two lists help you get the picture–this is not ordinary garbage, but a ton of perfectly good stuff, or brand new stuff, that for whatever reason, students no longer want in their lives.

 

Each of these items have a cost: an environmental cost, a social cost, a financial cost. So many resources–directly from the living earth–natural materials, fossil fuels and the associated environmental tolls, environmental pollution from extraction sites, factory waste and runoff. Further, the social cost is also often extreme: workers and their families, near-slave labor in factories, chemical poisoning of workers, birth defects, poverty, and more. When we think about these costs, and the cycle of purchasing and disposal, it is very hard to see mounds and mounds of stuff going completely unused go to the dump. At the dump, it has a final environmental cost as it slowly decays, especially with all of those electronics leeching heavy metals. I don’t think that students participating in their spring ritual really think about what I’ve outlined here–it is the simplest action just to leave stuff on the curb on your way home.

 

I’m not going to go into there reasons this happens (see my earlier post on “disposing of the disposable mindset“) but instead, with the inspiration of permaculture ethics, I’m going to share the inspirational story of the Trash-to-Treasure fairy.

 

Clothes wtih the tags on in the trash

Clothes wtih the tags on in the trash

The typical response to those on the sidelines of this spring ritual are: 1) ignore it is going on and go about your business; 2) shake your head and move along; or, 3) take advantage of it to see what stuff you can salvage, use, and take off the streets. I have found myself most often in the 3rd category, and I never considered taking it a step further. In fact, there are a lot of people out and about during the move out day ritual, participating in a counter-ritual of sorts, sorting through the piles and  looking for stuff they can use (hence the lists above). Others are scrappers, looking to see what metal they can salvage to scrap for bit of cash.  In fact, I have a lot of nice new dishes here, including an awesome enamel saucepan, from this year’s haul. I was personally not going out much, because, shamefully, I didn’t want to be seen as the professor digging through students’ garbage. And then, I saw what the Trash-to-Treasure fairy did, and in the upcoming years, I have decided that I am going to put that sentiment behind me in the future and take his lead.  And maybe solicit the help of some others in furthering the cause.

 

The trash-to-treasure fairy, summoned by the spring move out ritual, decided that none of the three typical responses above were sufficient–and they aren’t. The first responses two allow a problem to happen,and don’t do anything about it other than have a non-response or levy judgement. The third response is much better in that some of what would otherwise wasted goes to use, but its also a very personal response problem, in that the larger problem still remains. But still, 95% of what is thrown away is still going to thrown away, going to the landfill to spend 2000 years or more decomposing.

 

The fourth option, which the Trash-to-treasure fairy enacted, was using a different set of ethics: the permaculture ethics of earth care, fair share, as well as the design principles of “produce no waste” and “the problem is the solution.” In simple terms–because everything that is on the curb came from the earth, and the fairy honors the earth, he decided he wasn’t going to let it go back so easily. And so, he began working his magic. The fairy spent a number of hours filling his car with anything he found that was perfectly good and made runs to one of the local thrift stores.  He selected his store very carefully, avoiding one of the national chains, but a local place with more sound ethics, who directly put on the floor what is donated, and who directly feed the needy with the sales.  The thrift store manager was thrilled to see carloads of perfectly fine dishes, brand new clothing with the tags on, video game consoles, fans, and more–and often of a higher quality than the typical used donations. The fairy’s blessing extends to the shoppers, of all walks of life, that visit that particular store.  This simple solution was able to do car-loads more good than bringing it to your house or turning away from the problem.

 

Lots here that can be used again!

Lots here that can be used again!

I’m also inspired in another sense to take the Trash-to-Treasure fairy’s actions a few steps further.  For one, it seems that in the future, perhaps we can encourage the thrift stores to be there, in person, with donation trucks and make it really convenient for students to make a donation to their store instead of the curb. (We are in a small town, all of the stores are within 2 miles of where this is happening…but still, a lot of people can’t be bothered to drop stuff off on the edges of town). I’m also wondering if more education and a push by the university could help move more of this so-called “waste” into the hands of people who need it. I think there are lots of possibilities here, and I am thankful to have been so inspired by the Trash-to-Treasure fairy and to share this with all of you.

 

The Trash-to-Treasure fairy wasn’t content to take only what he needed, and instead, took it a step further. He stopped thinking about himself and his own needs, and instead, thought about the good of the earth and the community. I am inspired to continue and extend this tradition and help reduce the waste produced by my own campus community. The following week, a very similar spring ritual of my hometown, where my parents live, was taking place: “spring clean up” and I went with the trash-to-treaure fairy to see what we could salvage and give away. So many of us have an opportunity each day to do these little, yet powerful things. May the inspiration of the trash-to-treasure fairy be ever-present in your life!

 

A Beltane Blessing: The Magical Art of Pysanky Batik Eggs April 30, 2016

Bowl of Magical Eggs

Bowl of Magical Eggs

When I was a child, my family and I would spend hours carefully drawing melted beeswax onto eggs and dyeing them, the rounds of successive colors growing darker and darker. Once an egg had been fully dyed and covered in wax, it was time to unveil the magical colors, the revelation of incredible, magical works of art.  Pysanky, or Ukrainian Eggs, is an old tradition still in practice here in Western PA; it was brought over from Ukrainian peoples and others of Eastern European decent and spread throughout the area (it was later suppressed in the old world by the Communists, who claimed it was a “religious practice” for a number reasons, some of which we’ll explore in this post).  I’m not sure how my family originally found our way into this practice, but every year, we would make our delicate and beautiful works of art and display them on a bowl in our living room. This year, my mother put a bowl of them out for Easter, and I wanted to get back into this lovely art form, this time with a bit of a magical twist! And so, today, we will dive into the art of crafting magical eggs using batik techniques!  This is an absolutely perfect magical art form to practice at Beltane–hence the timing of this post.

 

This Beltane-themed post has two parts–first, I wanted to explore some of the traditions and mythology surrounding these magical eggs. And in the second half of the post, I’ll show how to make your own psyanky eggs.

What is Pysanky?

Pysanky is a permanent art form where the artist uses a wax resist method to preserve colors during a dye process. The egg has all of its contents removed (yolk, white) and is washed out so that the shell is all that you are working on–this creates a permanent art form. Essentially, you add wax to the color you want to remain that color, and then dye the egg a darker color. Everything that isn’t covered by wax will take that new color. For example, if you want white, you start with a white egg and add wax to all areas you want to stay white, then dye the egg to your next lightest shade (usually yellow), then add beeswax to all the yellow areas. Then you dye it your next shade (green or orange) and add wax to all of the green/orange areas, and so on, until you end with some dark color, often black, dark blue, or purple. The beeswax is removed, and the brilliant colors are revealed. The choice of colors and symbolism adds various magical properties to the egg–this is not just me saying this, but this is part of the tradition. The egg is ready to display for a blessing of prosperity, health, or more!

A brightly colored egg!

A brightly colored egg!

Pysanky Lore and History

In Eastern Europe, and eventually the USA, the tradition of egg dying and egg marking is quite old. Its not just Ukrainian, but nearly all Eastern European peoples have traditions of drawing on eggs with beeswax and adding dyes. Scholars are pretty sure that this tradition dates back to pre-Christian times (so perhaps even the times the druids were hanging around in Gaul!) due to the nature-based symbolism and enormous amount of magic and folk legends surrounding the eggs.

 

One of the oldest traditions on the magic of Pysanky is from the Hutsul people, who believed that a evil serpent is bound to a mountain cliff, with heavy iron chains.  The monster has many envoys, who he sends to pay attention to people in villages–if he hears news that the people are ill, suffering, angry, or at war, he laughs and shakes the mountains, loosening his chains.  If this were to go on long enough, he would be let loose upon the world with his chains falling away and cause evil and destruction.  If his envoys tell him that people are happy and in high spirits, he grows angry and the chains grow tighter.  If people are making psyanky, that they are still making them and carrying the tradition forward, he gets very angry and thrashes about, which makes his chains grow even tighter!  His head beats against the cliff (thunder), his chains grow tighter, and sparks (lightening) begin to fly!  So this folk method suggests that the pysanky literally keep the world safe (more legends can be found here).

A druid's egg of the modern variety

A druid’s egg of the modern variety

 

There are a few other bits of information I’d like to share.  Many of these come out of really books and papers on Pysanky that are in my personal collection on the subject:

  • “The Egg, as the embodiment of the life principle, has been associated with mythical and religious ceremonies since the earliest pagan times…each province, each village, each family has its own special ritual, its own symbols, meanings, and secret formulas for dying eggs.  These heritages are preserved faithfully and passed down from mother to daughter through the generations.” (From Ukranian Easter Eggs by Yaroslava Surmach, 1957)
  • “The custom of decorating pysanky is observed with greatest care, and a pysanka, after receiving the Easter blessing, is held to contain great powers as a talisman.  A bowl of pysanky was invariably kept in every home, serving not only as a colorful display but also as protection against lighting and fire.” (From Ukranian Easter Eggs by Yaroslava Surmach, 1957)
  • “Peasants placed krashanka shells [krashanka are the solid, dyed eggs] in the thatched roofs of their homes and under hay mounds to turn away high winds.  Beekeepers put them under hives for a good supply of honey. On St. George’s Day, a krashanka was rolled in green oats and buried in the ground so that the harvest would be full and not harmed by rain or wind. The Krashanka was also credited with healing powers. A krashanka, blessed on Easter eve, was suspended on a string from the neck of a seriously ill person, or touched to infected areas on persons suffering from blood poisoning to effect a cure.” (From Ukranian Easter Eggs by Yaroslava Surmach, 1957)

I’ll get into more detail on the symbols themselves used in the eggs later, when I talk about how to make the eggs.  And so, what we see here is a lasting, magical tradition surrounding the creation of these eggs.

 

A Synthesis of Traditions: A Modern “Druid’s Egg”

So on the other side of Europe, we have the occurrence of the “Druid’s Egg” that is discussed in connection with the Ancient Druids.  I am not, in any way, saying that these traditions are connected or the same thing.  But I do want to consider some parallels.  Of the Druid’s egg,  Pliny writes in his Historia Naturalis of the ancient druids: “The magical practices of the druids, their knowledge of botany and the sciences.  They wore a distinguishing badge, a “serpent’s egg” worn on the bosom and regarded as a potent talisman.” Other writings, also from Pliny, show that these “druid eggs” were created naturally, in a snake pit, and that the eggs were very magical, protective, and held in high esteem by the ancient druids who wore them as protective talismans. People used these eggs to win court cases and gain “favorable reputation” with princes. And people were even killed if they had them in their possession due to their potent magical effectiveness. Obviously, in modern Druid Revival orders, we don’t take the idea of the druid’s egg quite so literally (after all, even historians aren’t sure what the druid’s eggs actually were), although the idea of the “druid’s egg” certainly is woven into some of our lore and practices.  I think this bit of history gives ways for new interpretations of the “druid’s egg” and how we can manifest it today, through the bardic arts.

 

There are some parallels between the traditions that are interesting to note. If we study the artwork of many of these pysanky, there is an “entwining” feature that naturally occurs due to the nature of the egg.  We can, in making these eggs, create entwining patterns that make a nod back to the original producers of druid eggs, serpents. Druid eggs were said to be highly magical and rare.  And the same can be said of pysanky: not many people do pysanky today either.  I’ll also note the importance of serpents in both sets traditions; in both they are dangerous, and the egg is somehow connected to them and their power. Finally, the magical powers of eggs in both traditions, especially for protection, blessing and power.

 

Given some of these parallels, I’d like to propose that one modern “druid egg” can be the pysanky, and its something we can embrace and practice as a magical art form.  So let’s get onto the best part: how to make these delightful eggs!

 

One of my favorite new eggs!

One of my favorite new eggs!

Materials Needed

Dyes for Eggs

Commercial, very bold and beautiful dyes for psyanky are readily available.  I’ve found that these dyes can be put in a wide mouth pint canning jar with a lid and used effectively for 2-3 weeks (after that they lose their dye capacity, and even reboiling them doesn’t allow for them to stick.  I’m still trying to figure that out).  A good source for dyes is at this Etsy Shop (Ukrainian Egg Supplies).

 

But the other option, and the more traditional choice, is to make your own natural dyes.  Kozolowski (1977, Easter Eggs…Polish Style) offers some ingredients traditionally used for egg dyes but doesn’t give details on how to make the dye.  In my experience, you can boil these down for a long period of time, add salt, alum or vinegar (or boil them in straight white vinegar) and strain them.  Its similar to how you’d make any other natural dye.  The list below is dervied from Kozolowsi with my own addition of other plant matter and berries that I often use for dyes:

  • Yellow: Onion skin, straw, saffron, dandelion flowers, goldenrod
  • Orange: Crocus petals, goldenrod
  • Red: Red beets, plums
  • Green: Spinach, grass, moss, buckthorn berry
  • Blue: Sunflower seeds, logwood, Huckleberry
  • Purple: Blackberries, elderberry
  • Brown: Alder cones, coffee, walnut husks
  • Black: Walnut shells, alder bark
  • Pink: Pokeberry

Of course, the problem is that not all of these dyes show up at the same time of the year.  I have had good luck in making the dye and then freezing it till the right time.  I’ve also experimented with drying the berries and trying to make dye later, but that has been less successful.

 

Tools and Materials

  • Kitska: You will need some tools to draw designs on your eggs. These tools are called Kistka (kistky; plural), for your eggs.  You can get them at the supplier listed above or readily online.  They are very simple tools–I like the ones with the little reservoir and the plastic handles.  You can also make your own.
  • Wax: You will need some beeswax in either little granules or a block.
  • Candles: You will need 1 candle per person to melt the wax.
  • Workspace Protection: You will want to lay down a plastic bag or newspaper around your workspace, especially the area you are dyeing the eggs.  The dyes can really stain a countertop!  You may also want to have some paper down around the areas where you are adding the wax.
  • Egg blower: You will want to invest in this little $12 tool–its an egg blower, and it allows you to easily blow eggs out prior to starting your dyeing.  When I was a kid, we used to blow them out by creating two holes, one at each end, and just blowing and blowing till all the insides came out.  For one, its a lot of work.  But for two, its now dangerous to do so due to the high level of salmonella in eggs today. The egg blower is amazing–you can blow out about a dozen eggs in 45 min or less!  Here’s where you can get a nice egg blower.

    Tulip egg my mother made

    Tulip egg my mother made

The Eggs

The eggs themselves should be carefully selected for the following qualities:

  • Eggs need to be whole (not cracked at all).
  • They need to have minimal bumps, and instead be smooth.
  • They need to have a pleasing shape (symmetrical) and of a shape you like.

You can start with white eggs or, if you prefer, you can start with a light brown, cream, or even blue chicken egg as the base color for your design.  I have found that getting an assortment of nice eggs at a local farm gives me a wide variety to work with.  The shells of these eggs are also usually thicker and better than those factory farmed eggs in the store.  You can also use duck eggs–but beware that some duck eggs have a film that you may want to scrub off.  I am really enjoying working with duck eggs!

 

The Process

So now I’m going to walk you through the full process of making your own beautiful pysanky!  As I said before, this is a great activity do do around Beltane.  I’ve taken to starting my Pysanky making at the Spring Equinox and wrapping it up around Beltane, so I have a full 8 weeks making these amazing eggs.  And without further delay, here’s how you make the eggs!

 

1.  Prepare your workspace and lay out your dyes. You will need to make your dyes according to the package instructions or according to natural dye making strategies.  Make sure you add vinegar to either kind of dye–it helps the dye take better on the eggs.  It is wise to place your dyes in a separate area (on a kitchen counter is good) and protect that area well.  I also like to get a bit of paper and dip a small piece into each dye and then put them in front of the jar so that you can see what the color looks like.  Here’s a dye setup (I’m using commercial dyes):

Dyes on the counter

Dyes on the counter

And here’s a setup for drawing the wax on the eggs.  The egg carton holds extra eggs, there are books for reference and a sketchbook for drawing out potential designs.  We have a roll of paper towels to keep fingerprints off of the eggs.  And of course, we have our candles and tools.  We have found that adding a little cardboard box below the candle catches drips and keeps them off the table.

Workspace for egg wax drawing

Workspace for egg wax drawing

2.  Select your eggs.  Select eggs that are free of cracks and that are smooth and well-shaped (see above).  Have some extras available, cause you will likely break a few in the drilling and blowing process (or even drop them at other points–try not to!)

A nice example of an egg.

A nice example of an egg. This one is setup to drill (see step 3).

3. Blow out your eggs. We use a Dremel drill to drill a small hole on the bottom of the egg.  I will sit the egg in a small cup, place a paper towel between the cup and the egg, and then drill the egg carefully. I usually drill about a dozen eggs at a time if several people are making pysanky. The second step is to use the egg blower to blow out the inside of your eggs (I blow them into a bowl, so that you can make a nice quiche later in the day!)  The third step is to add some water to rinse out the inside of the egg. and make sure the last of the egg is out (I don’t add this to my egg bowl).  Finally, you can let it dry out by placing it hole down in an egg carton or placing a little bit of paper towel up in the hole for 10 or so min.

Blowing out eggs

Blowing out eggs

3. Decide on a pattern or design.  This is my favorite part of the process–its here where you decide what your design will look like.  I like to use a pencil and very lightly draw my design (or design lines/guides) on the egg (the pencil will come off later in the process).  You can also use a string to wrap around the egg so that you get straight lines.

 

At this stage, you also need to get in your head how the dye process works and do some planning for the different colors you might use.  One of the biggest beginner mistakes is not to have enough contrast between colors–remember that its contrast that makes the different colors stand out.  If you end up with three light colors next to each other, the egg won’t be as beautiful.  But if you use light and dark colors next to each other, it makes the designs stand out more.

 

You also want to do your first few eggs simply. Maybe do a white pattern, a light blue pattern, and then dye it dark blue and that’s your first egg.  That will allow you to see how it works without getting too complicated for your first egg.

 

There are many options for designs and colors, as you’ll see under “symbols in pysanky” below–and all of these symbols and designs have meaning.  In addition to the traditional ones I’ve listed, we have an assortment of other kinds of symbols you can draw upon with meaning: spirals, celtic knots, awens, and more

 

Lines on an egg before I begin

Lines on an egg before I begin laying out my design

Symbols in Pysanky

The designs in traditional Pysanky all have meaning.  I have worked to compile the list of symbol meanings from various sources from my book collection on pysanky: Ukranian Easter Eggs by Yaroslava Surmach, 1957; Easter Eggs….Polish Style by Lawrence G. Kozlowski (1977); Ukranian Easter Eggs by Linda Gruber,  a handout by Martha Winchorek titled “Ukranian Pysanky (Easter Eggs) Designs) that is undated; and a handout titled “How to Make Ukrainian Pysanky (Easter Eggs) by the Pysanky Committee, Ukranian graduates of Detroit and Windsor (undated).  The traditional symbols and magical meanings are as follows:

  • Dots may represent stars or may be used in conjunction with lines to form a division on the egg
  • Ribbons, lines, or belts, those that encircle the egg, represent eternity (since they are continuous lines)
  • Lines in a pattern that would make a net are one of the most ancient designs, and are associated with the Hutzul people’s myth of the snake
  • Triangles are symbolic of the trinity, also the elements of air, fire, and water
  • A comb/rake is symbolic of the harvest
  • Flowers – symbolic of love and charity; happiness
  • Stars – An 8 pointed star has particular pagan connotations (it is connected to the pagan Sun god, Atar; connotes sunshine); stars are usually placed on the broad side of the egg and are very common
  • Pine tree or fir tree – symbolic of youth and health
  • Poppy or Sun – good fortune
  • Crosses – usually occur in the Greek style, with four similar arms; they can be symbolic of Christianity, but there are surviving designs and motifs that show this symbol is much older
  • Reindeer, Deer, or Horse– symbolic of wealth or prosperity
  • Rooster – Symbolic of fertility or the fulfillment of wishes
  • Birds – symbolic of happiness
  • Butterfly – symbolic of nature and resurrection/transformation
  • Horns, Spirals, Bends, Maidens: Combinations of spiral lines; these appear in several books but no meaning is given
  • Zig-Zag or Double-Zig Zag Pattern: (Called a wave or saw).  When this occurs in two parallel lines, it denotes death and was used for funeral palls.  So its RARELY used in Pysanki for that reason (the eggs are symbols of life and light!)
  • A spiral: Also used, connected to nature
  • A circle with a dot in the middle: represents something bright and noble; represents the sun and good fortune
  • A circle with a cross inside reaching the edges: represents the sun; good fortune

In Ukranian Easter Eggs Gruber writes, “Every mark that is placed on an egg has a meaning.  People with expertise in Pysanky can distinguish between eggs decorated in different sections of Ukraine and even between villages.  In the villages, certain families have come to be known for their distinct patterns” (3).   I find the symbolism here, pulled from old books, utterly fascinating.  Some of this same symbolism shows up, unsurprisingly, in the old esoteric lore! You can also use any other symbolism from within other spiritual or magical practices (such as some of the symbols I included here in an earlier post).
Ok, so at this point, you have your dyes made, your eggs drilled and blown, and a good design in your mind (and maybe drawn on your egg) complete with magical symbolism.  Now comes the fun part!

 

4.  Add your first wax layer.  Your first wax layer will be of your LIGHTEST color–that is typically white, but it might also be a very lightly dyed first color. You add the wax by heating up your tool, then scraping or dropping some wax into the tool, and wiping off the excess before drawing the tool across the egg.

 

Adding wax to an egg

Adding wax to an egg

5. Add your first dye layer.  Before adding your egg to the dye, you will need to seal up the drill hole with wax before you put it in the dye bath.  A little gob of wax does the trick here.  So, you can now dye your egg with the lightest color that you want to use in your design. Typically, this is yellow. The longer you leave your egg in the dye, the darker the dye will become on the egg.

 

Since your egg is hollow, you will need to weigh it down the egg so that it is fully dyed.  We found that a 1/2 pint jar works perfectly for this! I forgot to photograph this, unfortunately (so no photo here).  But basically you can use an empty 1/2 pint canning jar; it fit in a 1 pint widemouth jar that you are using for dye, and it will weigh the egg down.   Wait a few minutes, and pull your egg out often to check on the dye and see how you like the color.  Then when you are happy with the intensity of the color, pull it out of the dye and let it sit till it is dry again.  Its for this reason that we usually work on 2-3 eggs at a time–some are dyeing, some are drying, and one we are actively working on!  If you want a REALLY deep color, you can even put your egg in for several hours (or overnight) and you will get very intense colors.

 

6. Add successive wax and dye layers. You need to think about how the different colors already on the egg will interact with any colors you later put on the egg and plan accordingly.  This means you need to play for the dye path you will take.  So a few typical paths that you can use to dye include:

  • White–> yellow -> orange –> red  –> purple –> black
  • White –> Yellow –> light green –> blue –> purple –> black
  • White –> green –> blue –> Red (which makes purple) –> black

And so on.  Each layer gets darker, and its hard to go between complimentary colors on the color wheel (e.g. green to red makes a brown; yellow to purple makes a brown; blue to orange makes a brown).  As you work with the dyes, you can also experiment with different color combinations.

 

Here is an example of the successive layers of dyes that I used for my tree egg.

Second layer of dye and wax on my tree egg

Second layer of dye and wax on my tree egg; this was a sunflower yellow

 

Third layer of dye and wax

Third layer of dye and wax (egg is in the front left); its now a light green, which is going to be all of the leaves on my tree.

 

Fourth layer of dye and wax

Fourth layer of dye and wax.  I’ve taken it to red, which interacted with the green and gave me a nice dark red.  This is going to be the ground areas and trunk.

 

7.  Allow the egg to fully dry after the last layer of dye. I would recommend at least an hour total for the drying time before you proceed with removing your wax (although it is hard to wait!).  You melt the wax off by  holding the egg carefully to the candle for brief amounts of time and wiping the wax off with a clean tissue or paper towel (a tissue works better).

An egg that is ready to have the wax removed

An egg that is ready to have the wax removed

 

Removing wax from an egg

Removing wax from an egg

8. Finish the egg and display!  You can leave a thin layer of beeswax and wipe it all over the egg to preserve it. A lot of people choose to use varnish on their eggs to help seal in the colors, but I haven’t done that and they last just fine. But at the end of this process, you have an incredible work of art! Here’s the finished egg from my earlier photographs:

Here's my completed tree egg!

Here’s my completed tree egg!

I hope that you’ve found this post to be an inspiration to you on your path deeper into the bardic arts!  I have found making of these eggs to be a wonderful, relaxing pastime.  They are unique gifts, full of magic and beauty!  Not to mention, they look great on your altar :).

Altar with eggs

Altar with eggs