The Druid's Garden

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

Web of Life Ritual for Interconnectivity and Awareness July 14, 2019

Last week, we delved deeply into a critical aspect of land healing with two related concepts; thinking about the world in terms of (eco) systems and the interconnectivity of those ecosystems for all life. Last week was practical, full of discussions, definitions, and how you might design land regeneration projects with ecosystems and interconnectivity in mind.  And these things are critical on a physical level: all life depends on other life, all life is connected to other life, and all things great and small are interconnected. Thus, if we want to regenerate the land and engage in physical land healing, understanding and working with these concepts are critical. In addition to last week’s physical work, however, I think it’s really useful to develop ways of exploring these concepts spiritually and ritually. So today’s post takes us a step further and encourages us to explore these connections through ritual and journey-based meditation.

 

Building connections with nature

Building connections with nature

One of the reasons I believe that we should explore these concepts ritually is that human beings, in the 21st century, are living in some of the most disconnected times.  It is this disconnection and lack of awareness of the impact activities can make on broader ecosystems that have driven us into the ecological crisis of this age.  Ritual, meditation, and other spiritual practices help us better understand possibilities with different kinds of awareness: ritual and meditation practices help us feel through things, not just think about them in an abstract way.  They help ground us in them, spark energy with them–in essence, bring the elements together to create deeper awareness. We as humans have many ways of knowing.  Even if we understand these concepts intellectually, it’s important to build wisdom that can only come from experience.

 

Meditation on Interconnectivity

This first practice is a simple one, and uses a tool called discursive meditation to help you explore interconnectivity.  You can use the preliminaries for meditation discussed in this post if you are new to meditation. Go into a natural area, somewhere where nature is fully present.  First, begin by observing the world around you, paying attention to how things connect.  Where does the plant life grow? How does it connect to the water, the sun, the soil, the light?  Spend time simply observing and pondering these connections.  Once you have done this, close your eyes and envision yourself on this landscape.  In what ways are you connected to this place?  Explore those connections.  For example, you are breathing the oxygen that the trees are releasing. You are sitting on the soil where roots grow deep, and so on.  Now, envision yourself in the broader web of all life.  Recognize that you are, in some way, connected with every living thing.  Take time to explore this concept.  Finally, to conclude your meditation, visualize the connections between yourself and the broader world as lines of light–see the lines of light between you and the nearest tree, you and the waters, you and the sun, and so forth.  Feel those connections strongly present.  When you are finished, make an offering to the land.

 

Web of Life Ritual (Group and Solo)

This original ritual is designed simply as a awareness ritual: helping you as a human living in a very disconnected time to acknowledge, know, and honor the interconnected web of life.   I’m offering both solo versions and group versions; you can also feel free to adapt this as needed.

For this ritual, you will need nine strands of different colored ribbon, yarn, or string.  Ideally, these will be made from natural materials like cotton, wool, or help.  The nine strands represent the following:

  • The soil web of life
  • The waters of the world
  • The animal kingdom
  • The plant kingdom
  • The fungus and lichen kingdoms
  • The fishes, reptiles, and amphibians
  • The insect life
  • The celestial heavens (sun, moon, stars, comets, asteroids, etc)
  • Humanity (save this for last).

You can create as elaborate or as simple of a setup as you want for this ritual.  You might setup an altar with materials, etc.

 

Begin the ritual by opening up a sacred space in whatever means you typically do so (which may involve calling the quarters, establishing a circle or sphere of protection, calling in the elements, and so on).

 

Next, pick up your bundle of strands and choose the first strand and hold it in your hand. As you hold the strand, speak of the strand, calling those energies into the strand.  This should be spontaneous and from the heart.  Call forth the local representative for that group, or call on the group globally.  After you call them, spend time with that energy.  Think about your experiences with it, now it has touched you or you’ve interacted with it.

 

Soil web

Soil web

Here’s an example for the first strand, the soil web of life: Oh soil web of all life.  The millions of organisms who breathe life into every handful of soil. Fungal hyphae, nematodes, earth worms, bacteria, protozoa, all of the life that creates the building block of life.  Soil is sacred.  Soil is life reborn. The soil feeds us, supports us, and when we die, we return to the soil. I honor you, sacred soil web.

 

Now, envision energy coming into the strand from that which you had called.  Once you feel this is complete, move to the next strand, working your way

Save humanity for last, recognizing that despite the fact that we act and treat the world as distinct, we are not distinct or separate from it.  We are one.  Speak for humanity as interconnected and aware, bringing that energy powerfully into the strand.

 

Once you have done this with all nine strands, gather up your strands and tie them in a knot at the bottom.  As you tie, say, “We are all united in a sacredness of life, tied to this sacred planet and dependent on each other. We are interconnected.”

 

Now, attach the knot to something that will hold it while you braid it, taking three strands together and braiding them as one.  As you braid, say, “Weaving the web of life, weaving the web of spirit. All lives are connected, we are one.”  As you braid, envision the ecological web of life, the strands connecting each living thing and each living process.

 

After you are done, sit with the energies of the ritual for a time, allowing them to settle into you.  When you are ready, close out the space.  Hang your braid somewhere prominent or sacred to continue to remind you of the connection with all living things.

 

Web of Life Ritual: Group Variant

This ritual can be done in a group setting. Each person in the group can be assigned one or more strands to speak about.  If there are more than 9 people, you can also add more strands to represent other natural features (the winds, the mineral kingdom, the molten core of the earth, etc). Make the strands long enough that after they are braided, each participant can leave with their own segment of the stranded (tied off and knotted individually). During the braiding, you can take turns weaving the strands or you can assign one braider as their part in the ritual. At the end, anywhere you want to cut a part of the strand, tie it off and then cut it so that each person gets a piece of the strand to take home with them.

 

Healing the Web of Life Ritual

Once you have your braided strand, you can use it as a as the key focus for various kinds of land healing.  Here is a simple ritual using this approach (and feel free to experiment!).  You can use this ritual in conjunction with the one above or do this at a different time, as you feel led.

 

Materials: you will need your strand (previously created) and an herbal blessing oil (recipe for oil here) or incense (something to offer a blessing).

 

Open up a sacred space in your usual way.  As part of your opening, make sure you call forth the power of the elements to assist you in your work; you will need energies other than your own for this ritual.

 

Pick up your strand, connect with the energies represented in the strand.

 

After you have connected with the energies in the strand, bless your strand with the herbal oil or incense.  Speak to each of the energies, as you feel led.  For example, for the soil web of life, you might  say, “Soil web of life.  I know you are under duress as we lose inches of topsoil every year, and as soil webs are destroyed by chemicals, stripping, and more.  I send you healing and light.”

 

Go through each of the nine strands: the soil web of life; the waters of the world; the animal kingdom; the plant kingdom; the fungus and lichen kingdoms; the fishes, reptiles and amphibians; the insect kingdom; the celestial heavens; and humanity.

 

After blessing each strand individually, focus on radiating those energies outward to the greater world.  Spend as much time as you need to visualize this firmly.

 

Finally, spend a few minutes in meditation and quietude, seeing if any insights or messages arise.  Alternatively, use a divination system at this time to see what additional healing work should be done.

 

Close out your space.

 

A Druid’s Primer on Land Healing: Ecosystems, Interconnectivity, and Planting Guilds July 7, 2019

I had a recent conversation with a friend who lives in the town where I work (and where I used to rent a house). I had commented on how “nice” her lawn looked, as it was growing tall full of clover, dandelions, all heal, and so many other blooming plants; it was wild and beautiful.  She laughed and said that she wished her neighbor felt the same way!  She said that her lawn would have to be mowed that very day, and if she didn’t do so, her neighbor had already threatened her with calling the township due to the 6″ grass ordinance. Even though my friend isn’t a druid, this prompted a deep conversation about nature, ecology, and ecosystems. We started talking about the broader ecosystem, and the connectivity of all life–how she wanted to support insect life, bees, and larger life in her small patch of land.  How the town had serious stormwater issues, and more vegetation could help slow the water from entering the stream as quickly. But how her neighbor, and the borough, refused to allow any deviance from the 6″ high law, and wouldn’t listen to any reason.  Yet, she was doing her best to not only heal this small patch of land, but do good for the larger ecosystems in our county.  In other words, my friend wasn’t just thinking about her small patch of land, but how that patch of land might be interconnected with other ecosystems and cycles more broadly–and how decisions she made there had impact beyond her.

 

The web of life

The web of life

The earth, on the largest level, is an interconnected system and web of life.  As we move further into climate change and ecological destruction, we are starting to see how true this really is: what people do in New York City can have a strong effect on the melting of glaciers in the North Pole and Greenland. What acid mine drainage pollution goes into a river in Western Pennsylvania makes its way to the Chesapeake River and the Gulf of Mexico. Indingenous peoples in the Pacific are being driven from their homes due to rising oceans from glacier meltwater on the poles. This concept—that earth is a whole and interconnected system—is critical for understanding land healing both locally but more globally as well. Today I want to talk about ecosystems and interconnectivity as critical concepts in relationship to land healing. Thinking in terms of systems, and ecosystems, is more challenging for us because these are often large scale and not localized. And yet, for doing good land healing work, its important to reflect upon these larger levels and understand the broader systems present.

 

This is a new post in my land healing series, which is now sprawling several years with many posts!  For other posts in the series, you can see A Druid’s Primer on Land healing I, II, III, IV, V, VI, VII, VIII, IX, as well as rituals and more rituals, and finally, refugia and permaculture as physical land healing practices.  Last week’s post explored creating a healing grove for long-term land healing work. Those aren’t required reading for this post, but certainly offer many different perspectives on land healing.

 

In today’s post, we’ll explore two interrelated ideas critical for land healing: ecosystems (and systems in general) and interconnectivity.  After exploring these concepts, I’ll share some things to consider from a physical land healing perspective.  Next week’s post will look at ecosystms and land healing from a ritualistic and awareness building perspective.

 

Ecosystems and Land Healing

On the broadest scale, Earth is made up of many smaller ecosystems.  An ecosystem is a biological community of organisms that are interconnected and depend on each other for life; ecosystems include both the biological community as well as the physical environment. Many different ecosystems exist; with several major types: forests, grasslands, desert, tundra, freshwater, and marine. These can be broken down into much more specific ecosystems based on the latitude, geology, soil composition, water composition, altitude, topography, and larger climate patterns.  Regardless of where you live on earth, you will live in one—or on the border of more than one–ecosystem. It’s useful to learn what your dominant ecosystem is where you live, so that you know what a healthy ecosystem looks like.

 

For example, here in Western Pennsylvania, we live in a forest-dominant ecosystem that has several different types.  In my region, it is either considered a “Northern Hardwood” forest, made up of Beech, Birch, Sugar Maple, Cherry, Eastern Hemlock, and White Pine). Or, it is an “Oak-Hickory Forest” made up of Oak, Hickory, Tulip, Red Maple, and prior to the 20th century, American Chestnut.  Each of these ecosystems are carefully evolved: the species of plants, animals, reptiles, amphibians, birds, and insects live in careful balance with each other and all are necessary for the broader functioning of an ecosystem.  If we remove just one species, particularly a keystone species (say, Eastern Hemlock through logging or American Eagle through pollution), its not just that species that suffers, but every other species in that ecosystem. (This information was freely available through my state extension office.  Anyone living in the US will have a state extension office, and they will offer many free publications and materials on these topics. Other countires often have similar offices focused on conservation and public education on natural resources. Field guides and other books on natural ecology may also be useful here.)

 

An Ancient Black Oak

An Ancient Black Oak

This interdependency is critical for understanding land healing: all life depends on other life for survival.  In many cases, that life has very specific needs.  A well known example is the monarch butterfly that needs various species of milkweed in order to survive: it has adapted to an abundance of milkweed, and now that milkweed is in short supply, its numbers are radically declining. Just like the monarch, all life has these needs.  Part of the reason “invasives” can be damaging (such as the Hemlock Wooly Adelgid) is that they aren’t part of the ecosystem, and they do not have the check and balances that native species have to live in harmony with each other.  Thus, all life depends on other life, and healing one part of life (even energetically) can help heal other parts of life.

 

Understanding Interconnectivity

Ecosystems teach us a powerful lesson about interconnectivity. Interconnectivity is everywhere, but the enormity of how it functions ecologically is hard to wrap one’s head around.  I like to think of it in a few different ways to make it manageable. One is through the hydrologic cycle:  as I write this, I have a glass of spring water (from the spring on our property, which is our primary water source) that I am drinking.  Where did this glass of water come from?  From the ground and land surrounding my home.  But where was it before that?  Perhaps this water soaked in through the last few spring rains, and those had melted from a glacier and moved from the artic across the land.  In otherwords, these same molecules of water that I am drinking right now have been cycling through the earth for potentially billions of years.  Thus, how we heal–or harm–water in one place will cycle in many other places.  This is part of why I like to focus on water as a land healing practice: unlike earth, which remains stationary across the course of our lives, water moves and the water we heal or bless in one case can make a major impact across the globe.

 

Another managable way to think about this interconnectivity is within our own bodies, each a complex, interconnected system. If we engage in unhealthy behaviors (smoking cigarettes, eating poor food, being sedintary), our bodies as a system can handle that for a while.  At some point though, these poor choices will have done enough damage to our body’s system that they will be disasterous.  You don’t see the effects from one bacon cheeseburger and one lazy day on the couch.  But 30 years of bacon cheeseburgers and lazy days on the couch significantly harms the body’s whole system.

 

Using Interconnectivity and Systems for Land Healing

From an ecosystems and ecology perspective, humanity has been metaphorically eating bacon cheeseburgers for three meals a day and sitting on the couch for 30 years, and that long line of bad choices is coming due. The whole earth, as a whole system, is starting to break down. The need for healing is everywhere, it is so extreme, it is overwhelming at times.  We certainly can’t physically heal that whole ecosystem on our own, but we can understand it, and we can use the principle of interconnectivity for great effect.

 

As with all land healing, there are energetic ways of healing and there are physical ways of healing.  In the remainder of this post, I’m discussing physical land healing using these concepts.  In next week’s post, we’ll consider some ritual work and spiritual ways of working with these concepts.

 

St Johns Wort

St Johns Wort: nectar and medicine

On the most basic level, when we think about physical land healing, thinking in a ecosystems approach is really helfpul  Thus, its not about individual plants but rather how to support an interconnected web of life.  One of the ways that I find helpful when I’m doing this kind of thinking is to use some terminology and categorization from permaculture design:

 

  • Dynamic accumulators: plants that enrich soil, by deep tap roots that bring nutrients up from the ground, possibly also from the air
  • Nitrogen fixers: plants that “fix” nitrogen in the soil by pulling it out of the air.
    • Some examples: Most legumes and clovers.  More info on these can be found here.
  • Nectary plants: plants that provide nectar or pollen for bees, butterflies, hummingbirds, etc.
    • Some examples: St. John’s wort, goldenrod, apple trees.  Here is a more complete list.
  • Habitat and forage plants: those that provide other kinds of habitat (such as the milkweed for the monarch) or forage for wildlife.

When we are replanting a space, like a lawn, its useful to think about how these plants may work in conjunction with each other to form an interconnected web of life.  Not just that we are planting plants that may look good, but plants that can help serve different functions and work together.  This is how we start thinking on a larger (eco)systems level and considering the role of interconnectivity.  In addition to this, of course, there are many other considerations to supporting a healthy ecosystem: clean rainfall, removing pollution, supporting a healthy soil web of life, building soil fertility, and much more.  But these concepts, at least, help us start to think about the ecosystem as a system, rather than plants as individuals! In permaculture, we call these “guilds” where the goal isn’t just to, say, plant an apple tree, but plant a whole ecosystem that helps support that tree and all the life around it.

 

And you might be saying, but what about the animals, insects, amphibians, birds, and so on?  I would respond: if you plant it, they will come.  The whole idea of focusing on plants is that we are building habitat, food, shelter, and places for wildlife–and its that life that bring the other pieces of a more complete ecosystem.

 

Someday, my trees will be abundant like this!

Someday, my trees will be abundant like this!

As a simple example of how this can work in practice, we recently planted two apples and two pears in the back of our garden (on the northern side).  The garden is on a bit of a slope, so part of the role of these trees is to establish good root systems to help hold in the soil in addition to our swales.  But the other idea, here, is that we want to create an ecosystem as part of our garden and support the trees for us and for wildlife.  So rather than just planting apple trees, we did (or are planning to do) the following:

  • Wood chip inoculated mulch around base of the trees
  • Comfrey plants so we can “chop and drop” for extra nutrients; comfrey also functions as nectary plants for bees
  • A variety of nectary plants to support insect life and that are also medicinal in nature: St. johns wort, wood betony, lupine, red clover
  • Nitrogen fixing plants: red clover and lupine

Now, rather than having just some apple trees for good eats, we have a whole mini-ecosystem that supports us with food and medicine, brings good insect life to the garden, and supports life.

 

Concluding Thoughts

In the end, the major take aways are these: earth as a whole is a single interconnected system, and as land healers, we can work with any part of that system energetically or physically and help offer healing.  We will always be working at a local level, within one or more ecosystems, but through doing so, because earth is all interconnected, we benefit all of the earth through our efforts.

 

Wine Cap Mushroom Cultivation: Wood Chips, Garden Beds, Recipes, and More June 9, 2019

How many times have you seen your neighbors getting tree work done or had tree work done yourself? The landscape company often comes with the big wood chipper and truck and then, after cutting up the wood, hauls that beautiful pile of chips off to some unknown location. Last year, our electric company came through and was doing tree work along our driveway and road to prune and cut trees too close to the power lines. We asked them to dump the wood chips on our property, and they were happy to do so. A lot of times, companies have to pay or go far out of their way to dump wood chips, and they see them as a “waste”; they will almost always dump them for free if you ask!  But a pile of wood chips are harldy a waste–they can offer you multiple yields over a period of years.  In today’s post, we’ll look at mushrooms from a permaculture and druidic perspective and see one way we can use them to both understand nature’s alchemy as well as cultivate home-grown food, focusing on using fresh wood chip piles.

 

Wine cap mushrooms on wood chips

Wine cap mushrooms on wood chips

About Mushrooms

Mushrooms are amazing: they are in a kingdom by themselves (fungi) and are in a kingdom all to themselves.  They do not contain chlorophyll, so they are unlike plants. They are saprophytes, breaking down organic matter (usually wood) and feeding on the nutrients contained within. In this way, they work as part of nature’s system of decomposition, breaking down the old so that the new can begin again. Their “bodies” consist of fungal hyphae (which are white or tan lines or threads that run through soil, wood, etc). The threads are also called mycelium. They also consist of the fruit, which is what we call a mushroom. The fruit of the mushroom is actually its reproductive system, which is what the mushroom itself sends up to reproduce (via spores, in most species).

 

I think we can learn a lot from the mushroom  kingdom, both from a permaculture perspective as well as a spiritual/druidic perspective.  On the permaculture side, the mushrooms remind us that nothing is waste: they can break down not only wood but also many of our own human wastes: cardboard, newspaper, office paper, and coffee grounds.  Amazingly, they can also be used to pull toxins and do “mycoremediation” to help damaged sites heal.  this includes pulling toxins and pollution from soil as well as pulling toxins and oils in water contaimination.  Mushrooms are truely amazing!  On the spiritual side, the mushroom is one of the great alchemists of nature: taking waste (dross) and turning it into soil which can then can nourish plants–soil is what the entire ecosystem is based upon!

 

The mushroom we are talking about today is the Wine Cap mushroom, also known as King Stropharia (stropharia rugoso-annulata), sometimes also called “Composter mushrooms” or “Garden giants.” You can purchase these online from a variety of mushroom companies; my spawn came from Tradd Cotter’s Mushroom Mountain. I’ve had the pleasure of taking multiple workshops from Tradd at our local Mother Earth News Fair, and I like his company and ethics a lot!  The nice thing about these mushrooms in particuar is that they are versitile and easy to keep cultivating. Once you have some mycelium, its possible to keep spreading these mushrooms as long as they have something to eat.  So if you have your own chipper, a ready supply of leaves or other compost waste, these mushrooms will keep on going!  So let’s talk about a few ways you can work with Wine caps.

 

Wine cap mushroom

Wine cap mushroom

Wood Chips

The techniques that I am sharing today only work on a fresh woodchip pile (less than a few weeks old). If you try this with an older wood chip pile, or in a pile that has been dead wood recently chipped, it is likely that other species of mushrooms have already colonized your pile.  What this means, then, is that when you try to colonize your pile with your own mushroom spawn, there may be considerable competititon and you may not get the mushrooms you hope to get (You also need to be *very* careful about ID in this case).

 

As I mentioned in the introduction, wood chips are fairly easy to obtain in many parts of the US, at least.  You might be able to get them from local muncipalities, and certainly, from local private tree services.  Most of them are all too happy to drop off piles of mulch to you so they don’t have to drive far to dump them and/or pay to have them dumped.  You may also be doing some of your own brush clearing; again, any fresh woodchips will do for this process.

 

Seeding Your Pile

 

To seed your pile, simply break up your mushroom spawn into smaller pieces, dig holes in your pile (a foot or less down) and add the spawn.  After the pile was dumped, in early August, a few of my druid friends and I seeded our pile in about 15 minutes.

Layers of mycelium with mushrooms growing out the top. I was removing mulch for other areas and got this amazing photo!

In addition to moisture and food, mushrooms need oxygen.  If your pile is too tightly compacted, you may only get mycelium growing on the top of the pile.  Never fear–once you remove some of the mulch for other purposes (see below), the mycelium can colonize further into the pile.

 

Fruiting

At some point, typically for Wine Caps, when the temperatures hit above 60 degrees, your pile will start to fruit.  Our pile started fruiting in April, and is still fruiting at the beginning of June.  Thus far, we’ve harvested at least 20 lbs of mushrooms from the pile.  As exciting as the huge wine cap mushrooms are, they often get buggy and full of worms.  Thus, it is best to harvest the smaller mushrooms to eat and leave the larger ones in the pile to spore and to produce food for others.

 

Spreading the Mushroom Love: Mushrooms in the Garden and More

Once you have an innoculated pile, you can use your wood chips all through your garden and as mulch.  Anywhere you do this, you are likely to get mushrooms popping up, which is an amazing food production source!  Here are some of many possibilities:

  • Mulched Mushroom Garden Paths: Add several layers of cardboard to your garden paths and then mulch with a thick layer of innoculated wood chips.  Your paths will last at least 2 years, and probably at some point, they will fruit with mushrooms.
  • Mulched Mushroom Garden Beds: All garden beds benefit from mulching. If you look at a forest, you will never see bare soil on the forest floor: it is always mulched with a rich pile of leaves, etc. This helps the forest prevent erosion and retain  nutrients. Many gardeners leave their soil bare, which allows the sunlight to quickly strip it of moisture. By adding a thick layer of mulch (straw, leaf rot, or wood mulch) you can prevent the loss of mosture, and likely, never have to water your garden again.  That’s my method: layers of mulch equals never needing to water, unless we have some kind of severe drought!  Adding your mushroom-innoculated mulch to your beds benefits the whole garden.  This page offers a lot more details on this practice, debunks myths about wood chips in the garden, and offers information on why it works.  Keep your wood chip mulch to 2-3″ deep at the most and you will have no probmes–and you will get more mushrooms. In fact, every place that we have spread this mulch has fruited at least once this spring!
  • Mulched Tree Areas: Your trees, likely, can also benefit from some innoculated mulch. I put this around my fruit trees, being careful not to mulch the trunks too closely.  This does the same thing for the trees that it does for the garden!
  • Mulched Paths: You can mulch any other paths with this approach, including forest trails and so on.  I am working on some forest trails through our wooded areas, and these mushroom mulched paths are a wonderful addition. Again, I use thick layers of newspaper or cardboard (when necessary) or simply mulch (if the forest floor is largely bare, as mature forests sometimes are).  You can further get fancy and line your mulched paths with stones. Part of why I do this is that our tick issues in Western PA have grown extremely intense; it is better for us to mulch and keep nice wide paths than to be covered in ticks (we also have guinea fowl and chickens for tick patrol, and they do a great job!)
  • Mulched Planters: You can also mulch container garden pots and planters with a light layer of this mushroom mulch.  You may not get any fruiting mushrooms (I haven’t seen any on ours yet) but you certainly will get the benefit of the water retention!

 

Wine caps growing in wood chips

Wine caps growing in wood chips

Wine Cap Cuisine

Wine caps are a mild and delicious mushroom, with a growth habit similar to a portabella.  They do not have a strong flavor, and when they cook, they produce a lot of liquid, which needs to be accounted for in any recipe.  For the best way to taste the mushroom flavor itself, you can simply fry these in some olive oil or put them on the grill brushed with olive oil.  You can also stuff them (I like to stuff them with rice, veggies and cheese) or make a simple cream of mushroom soup.  Essentially, any recipe that calls for a portabella mushroom can be instead used with a wine cap.  Here’s one such recipe I made this week

Wine Cap Mushroom Soup

  • 1 lb of wine cap mushrooms, washed and sliced
  • 1/2 cup marsala wine
  • 2 tbsp olive oil
  • fresh thyme, chives, and parsley
  • 1 onion
  • 2 garlic cloves, crushed
  • 1 cup sliced kale
  • 1 quart vegetable or chicken broth
  • 1 cup heavy cream
  • salt and pepper to taste

Sautee the mushrooms in olive oil until they start to soften (about 5 min).  Add the wine, onions, and garlic, and simmer for an additional five minutes.  Add the broth, herbs, and salt/pepper and put a lid on your soup, allowing it to cook for 15 more minutes, until the mushrooms and onions are tender.  Remove from heat.  Add kale and heavy cream, and let the flavors meld on the stove for 10-15 min before serving.  Serve with some fresh chives on the top.

 

Examples of older wine caps, not as good for cuisine due to the worms. Cut the small ones instead.

Radical Mushrooms: Kitty Litter and Other Decomposition Projects

I didn’t stop with the wood chip pile with regards to how to keep working with the Wine Cap mushrooms.  I wanted to use mushrooms t help break down other “waste” products at the house.  have three cats, and they have long been using natural plant-based cat litters, usually a pine base or a wheat based litter.  I saw instructions like these, knowing that people use kitty litter (fresh) for mushroom cultivation for eating.  While I had no intention of eating mushrooms grown in used kitty litter, In this case, I was wondering if the mushrooms would work in this litter to help break it down (and thus not put it in a landfill, but return those nutrients to nature).  I first started with a regular compost pile, putting a few palattes together, which in about 1.5 years, was full of cat litter.  I put some mushroom spawn in the pile in the fall, at the same time I seeded the much larger mulch pile, but nothing happened.  I think it had too much ammonia and not enough oxygen.  I took the palatte composter apart, and instead, spread the kitty litter in a thinner area, only about 6″ deep.  I again seeded it with mushroom spawn: and this time, it worked.  I now have a kitty litter composting area.  I add litter only to one side, and allow the mushrooms to slowly break down the litter that has sat longer.  This simply stays on the edge of the woods, effectively eliminating the landfill and returning those nutrients to the earth.  I call this a mushroom win!   I will also note that I do *not* pick or eat the mushrooms in this pile, but other wildlife seems to enjoy them.

 

I hope this brief look into how to tranfsorm “waste” into resources for the druid’s garden is helpful and inspirational to you!

 

Foraging for Pigments from Local Rocks: Making Watercolors, Oils, and Egg Tempera Paint from the Land! May 12, 2019

Local Iron Oxide taken from a mineral spring, crushed, ground, sifted and made into paint!

Local Iron Oxide taken from a mineral spring, crushed, ground, sifted and made into paint!

When I walk along the landscape here, I am greeted with the deep oranges and yellow oxides of our soils laden with heavy amounts of clay and iron.  These colors are reflected each time I dig into the subsoil, and as I drive through the countryside where mountains were cut through for roads. In other places, I might be greeted with reds, blues, or greens, all reflected in the geology of the land. Each region carries its own colors, and you can find the palate of the land in every stream bed.  Even an hour drive in any direction puts one in a new geological region–and this changes the colors of the stones and the soil.   You might think about these colors like a language–each landscape has its own language that you can learn to read and speak. Each landscape has its own unique set of colors, found in every stream bed. Today, we can think about expressing that language in visual form.

 

In today’s post, I’ll talk about how to forage for local pigments and learn how to grind them and prepare them as paint. That’s right, you can make your own paint from locally foraged rocks!  What is amazing about this process is that each landscape is unique: your own land’s palate will depend on the local geology.  As you forage for pigments and then turn them into your own paint, you know exactly what goes into the paint, where it came from, and you know that any paint water or other materials can return to the land. You might discover things only you, in your unique ecosystem, can discover!

Boney Dump iron oxide - my favorite pigment to date!

Boney Dump iron oxide – my favorite pigment to date!

 

Getting into Pigment Making

Everything is derived from nature, but in the 21st century, consumerism practices and “distributed by” labels often mask manufacturing processes which almost never tell us how something was made, where the raw goods came from, who produced it and under what conditions, or, what it even contains.  Art supplies are notoriously bad; labels tell us almost nothing about the pigments, and art supply companies are very tight lipped about how they produce their paints. You don’t know what chemicals are in your paint, unless they are *really* bad and carry a CL warning or other kind of warning label. These kinds of warning labels mean they are toxic to you and should be used with care: but no labels tell you about the toxicity of your products for the planet.  This means, in my art studio and in studios all over the world, people often have no idea what they are using to produce art with or what the environmental cost of those materials may be.  And for something like paint, paint water and paint byproducts often get dumped down the drain, making their way into local water systems. When I use commercial paint, I literally have no idea what I’m putting down my drain–and by way of my septic drain field–out into the land and local waterways.  Since our spetic field sits about 40 feet above a local (clean) stream, this is of serious concern to me.

 

Two finished paints: soot from my fireplace and iron from a local Acid Mine Drainage remediation site

Two finished paints: soot from my fireplace and iron from a local Acid Mine Drainage remediation site

Given these realities, as a serious practitioner of the bardic arts, I am always looking for better ways to practice my visual art that does not require me to consume, pollute, or create demand on fragile ecosystems. Before, I had played around with various natural arts, including making my own berry inks and dyes.  The berry inks and dyes are not usually lightfast, though, and can’t be taken with me in my watercolor palate. But most of the time, my artistic medium of choice is watercolor, so I wanted to learn more. After my favorite watercolor paint supplier no longer offered watercolors in the US late last year, I started researching alternatives.  One of the things I came across were tiny watercolor companies that sourced natural ingredients and charged quite high prices for their paint.  I was intrigued, and figured that if they could do it, so could I.  I wanted paints that were more sustainable and less questionable in terms of ingredients.  So this post will share some of my successes and ideas for how you can do this yourself!

 

 

Sourcing Natural Pigments

 

A stream bank behind the homestead where I have been gathering pigment stones. Acorn is clearly hard at work finding pigments....

A stream bank behind our homestead where I have been gathering pigment stones. Acorn is clearly hard at work finding pigments….after each flood, new stones wash up on the bank!

Natural pigments literally everywhere, and if you travel, you can find a wide variety of colors.  Most of these are colors of the earth; colors of soil and of sand and of stone.  Deep greens and oranges and the colors of sunrise and mountains.  Deep reds and browns, blacks, and grays. You can also get into other kinds of pigments (lapis lazuli has long produced blue pigment; malachite has long been used for green), but for our purposes here, I’m assuming that you are working to source things locally and are going to find stones in your ecosystem.

 

You can find pigments in a lot of places, but some places are particularly good.  Pigments can often be found in exposed edges of streams, rivers and lakes; the water will expose clay banks and stones, making it easy to find pigments. Around here, fabulous places to look are what we call boney dumps; these are old piles of rocks and other mine waste that have lots of different rocks on the surface. You can find some pretty neat colors in these places  (finally, a sustainable use for a boney dump!).  The boney dumps are particularly useful for pigments becuase they would set the mines on fire and somehow use fire to process certain ore; so you also get stones changed by fire (and fire can certainly change pigment colors).  You might not have these (and be thankful you don’t), but looking for other sites where earth and stone have been dug up or exposed is good (the exposed bank that was cut in for new construction, for example).  Anywhere that a lot of rocks are exposed is potentially a good site to pick up some pigment stones.

 

 

So many potential pigment stones from one trip!

So many potential pigment stones from one trip!

Because you want pigments that are easy to process, especially when you are starting out, good pigment stones are fairly soft.  You can sometimes tell a good pigment stone by rubbing it against a harder rock.  If it produces something that looks like paint or clay on the other rock’s surface, it is likely a very good choice.  You can see immediately what your pigment may look like. You want the consistency of the pigment to get quite fine.  Grainy rocks like sandstone can also be processed, but the processing is a lot more work and some you can’t get down that finely by hand.  Harder stones may be worth processing, especially if they have unique colors. Clays can make good pigments, but not always; you can dig them out, then let them dry, and then grind them up, removing any large or hard rocks. You have to really see which pigments work and which do not–some clays I’ve used have been wonderful, and others haven’t had much pigment at all and create a sloppy mess.  Each geology and ecosystem has something different to offer you, and it requires a lot of experimentation.

 

 

Other pigment opportunities also exist. Both soot and charcoal make great pigments, so keep this in mind if you are having fires indoors or out. Soot produces more of a warm black, while charcoal produces more of a cool black.  I harvested both from our indoor fireplaces. You can also make a “bone black” from burned bones, turned into charcoal.

 

A few years ago,  I visited a mineral spring and found loads and gobs of pigment flaking off the walls from the spring –I dried this and saved it in a tin for later use.  Recently, also, and what started me on this adventure, I was given a container of iron oxide from the Tanoma Acid Mine Drainage (AMD) Remediation site.  This iron oxide is what makes many of our streams, creeks, and rivers too acidic; a site like Tanoma creates pools and uses a process called tromping to help precipitate out the suspended particles, clearing the water before it goes back into the stream.  After the iron precipitates, it settles to the bottom of the pools; this can eventually be collected and used by local artists! And it requires very little processing.

 

Foraging for rocks at a local boney dump (where mine refuse is from 50 or more years ago)

Foraging for rocks at a local boney dump (where mine refuse is from 50 or more years ago)

Tools for Paint Making

You will need to gather some basic supplies for making your own paints from foraged materials.  While you can make a primitive paint literally by crushing the pigment between two rocks and adding some water or oil, the following supplies will help you create a more refined pigment that would be suitable for paintings. Tools for creating paints:

 

  1. A mortar and pestle, dedicated to this use. You don’t want to use a mortal and pestle that you use for grinding herbs or food; get a separate one for this.  Or you can use something else; two hard rocks from the land can also work great.
  2. A glass muller or other grinding agent  Again, this is not necessary, but most fine pigments need a final ground, and this works well.  if you don’t have a muller, other glass tools may work like the edge of a small round jar. The key is you want a wide, flat surface on the bottom of whatever you use as it grabs the pigment and binder and mixes it well.  This is the most pricey of the materials ($50-$90).
  3. A palate knife, cake decorating knife, or old credit card.  You need something to be able to scoop up the pigment.
  4. A slab of glass or granite.  You need something to spread your pigment out and mix the paints carefully.  Right now, I’m using a smaller granite slab that I’ve had in my studio for various purposes, but I want to use a piece of glass instead, and will get one when I can find something recycled.
  5. A very fine mesh sifter for sifting out larger particles.  This is really useful if you are grinding your own stones.  get the finest mesh you can find. I found a strainer with 0.2mm holes, and this produces a usable paint but for certain stones, may still be gritty. A strainer with 0.1 mm (called a 100 strainer) is even better.  Look for these with sides from a scientific supply.  It is possible to refine your pigment and separate out particles without a strainer through a water suspension method, but the strainer really helps.
  6. Containers for your paint and pigments (shells or containers for paints; jars for extra pigments).
  7. Googles, gloves, and a breathing mask.  Paint pigments are not good for your lungs, and you need to take serious precautions!

 

Materials for Paint Making and How Paint Works

In order to know how to turn pigment into paint, its helpful to know how paint works.  Paint consists the pigment (color), a binder, and usually things to extend the life of the paint or improve viscosity and flow.  A binder is what “binds” the pigment to the surface; if you used only water and pigment, the pigment would flake back off the page after it dried, and your paint wouldn’t last.  In other words, a binder helps keep the paint on the page.  Gum Arabic or Linseed or walnut oil, and egg yolk are common binders.  A lot of modern paints use chemical binders, so we want to stay away from that stuff.

 

Paint Supplies: Watercolors

Watercolors are made with a combination of gum arabic and honey; glycerine can be added as well to prevent cracking.  Gum Arabic is the most common binder; that which helps the pigment stay on the page.  Since its water soluble, Gum Arabic is a great choice for watercolors. Honey helps improve the viscosity and flow of your pigment, and glycerine helps prevent the pigment from drying out or cracking.  I am currently using honey and gum arabic in all of my homemade watercolors.  You can purchase 1 lb bags of gum arabic in powder form, which you can just mix up and store in the freezer.  This is really economical, compared to buying it already prepared from an art store.

 

Watercolors made from local slate gathered on a hike on Ghosttown Trail (a local rail to trail)

Watercolors made from local slate gathered on a hike on Ghosttown Trail (a local rail to trail)

I’m currently researching a more local ingredient than gum arabic.  I’ve read some old books that say you can use wild cherry sap, ground and dried, which makes sense as it is also water soluble.  Pine resins would not be an appropriate choice for this as they are not water soluable (but they have other uses). I’ll report back on the cherry sap once I’ve experimented with it, which will be over the summer once I am able to harvest and dry some.

 

Paint Supplies: Oils

For oil paints you’ll need linseed oil and melted beeswax along with your prepared dry pigment.  Walnut oil may be a more local choice for you, and it will work almost as well as linseed oil.

 

Paint Supplies: Egg Tempera

For this you’ll need an egg yolk, water, alcohol, and your dry pigment.

I want to note that you can also make your own acrylics, but acrylics are plastics, polymers, and those go right back into the ecosystem when you are done. The materials above are more naturally sourced and based and represent more traditional sources.

 

Preparing Your Pigments

To prepare your pigments, you will need to get them ground finely while not breathing in any dust. Connect with the energies of the earth during this process and embrace the time it takes to do this. I use the following approach:

 

1. Break up rocks into smaller pieces.   First you need to break up your rocks into pieces that can be finely ground down with a mortar and pestle.  I usually use a hammer for this and a plastic bag.  Break the rocks up as fine as you can using this method.   In my case, I am using a thicker bag that is non-recyclable (this is a bag that chicken and guinea fowl treats come in). This process gives this bag a bit more life!  Put the rocks in the bag and start the breaking down process. You should do this outside and if it isn’t windy, consider a breathing mask.  If the stones are particularly strong, you might want several layers of bag (or a thicker feed bag, old tarp, etc).

Rock breaking.

Rock breaking.

 

2. Grind the pieces down in a mortar and pestle as finely as you can.  After you get the pieces much smaller with the hammer, you can start to get them finely ground. I have a granite mortar and pestle of a fairly large size for this purpose.  I grind down the pieces, working in very small batches.  You can see this reflected in the photo below–I work with smaller and smaller batches as I work the stones down into a fine pigment.  Again, use a breathing mask and do this outside if you can.  Here I am grinding down the local slate stones a friend and I found on a hike.  You might notice that the color has changed from the stone to the pigment–that often happens!  Everything is a surprise.

Slate pigment at various stages

Slate pigment at various stages.  The pigments often are a slightly different shade than the rocks themselves.

3.  Sift.  Sifting is probably the most critical part of the paint–if you don’t have a fine enough strainer, your particles will be too big and your paint will be gritty.  The goal is to get the finest particles possible–below I am using a .02 mm x .02 mm sifter.   I will take whatever won’t go through the strainer back into the mortar and pestle for a while. You can sift multiple times to get a fine grind.

 

In this case, whatever isn’t sifted is put back in the mortar and pestle for more grinding.  You can also store the extras in a jar for the next time you want to make paint. I’ve been talking to other natural paint makers, and the grinding and sifting is really an art form in and of itself–some are easy to do, and some are quite difficult–depending on the stone. It all takes patience and can be a very meditative practice.

Sifting process with pigment. The larger pieces go back into the mortar/pestle for more grinding. The hardest part of this is not getting little bits over the sides of the sifter (I might add some simple "walls" to it at some point!)

Sifting process with pigment. The larger pieces go back into the mortar and pestle for more grinding. The hardest part of this is not getting little bits over the sides of the sifter.  Since taking these photos, I purchased two additional sifters that are even better than this one!

Another option if you can’t get your particles fine enough is to do the long route using water.  If you grind up a lot of pigment, you can put it in a glass jar with a lid (I use a 1/4 pint or 1/2 pint jar for this).  Shake the pigment up well, and then quickly pour off everything but the very heavy particles that sink to the bottom.  The lighter particles are suspended in the liquid; they will likely precipitate out to the bottom.  (If they don’t, some paintmakers use a bit of alum to help them drop out).  Otherwise, if you have a small amount of water, put it in a greenhouse, dehydrator, or other sunny location and it will dehydrate.  What you are left with is a *very* fine pigment, fine enough to be a high artist quality grade paint.  The heavy particles can be dried as well and further ground up.

 

Making Your Paint

For watercolor: Place your pigment in the center of your glass plate.  Add about 1 part Gum Arabic for every 2 parts pigment, and then about 1/8 part honey. Some paintmakers are also adding a drop or two of clove essential oil for preservation, but I don’t have any so I’m not using it at present.  You can pretty much eyeball this.  If the pigment is too dry, add more gum arabic.  If its too wet, keep working it and the air will dry it out in a few minutes.

Some tools for paint making: board, cake knife/palate knife, gum arabic, and honey from my hives

Some tools for paint making: board, cake knife/palate knife, gum arabic, and honey from my hives

Next, move to a muller or other tool that you can use to spread out and grind the pigment further. If you don’t have a muller, try something that can help grind the glass–like a flat glass bottomed jar. The muller is completely flat, and you can easily rub it over the surface to mix the pigment.  After you spread it out, use a palate knife to scrape up the pigment and use the muller again (see second photo, below).

Mulling pigment. This one doesn't have a fine enough ground, which is why you can still see some of the particles inside.

Mulling pigment.

This first photo doesn’t have a fine enough ground, which is why you can still see some of the particles inside.  If your pigment looks like this, it needs a finer grind and will be very gritty when complete.  You might need a finer sifter or to separate it with water.

What you are looking for is a very smooth grind.

The difference between these the above photo and this one is striking–and so are the results.  The second pigment here (iron oxide) has a very, very fine ground!

 

Here's the slate pigment--it turned into a pretty nice paint!

Here’s the slate pigment–it turned into a pretty nice paint because I was able to get a very fine grind and sift.  It still had a little bit of graininess to it, but works great.  A water separation or a finer sifter would have helped get the particles even smaller.

 

You may have to mull it for quite a while to get all of the pigment and binder together.  Usually 5-10 min. Once you see it as completely consistent, you can scrape it all up with a paint knife and put it in small containers to dry.

 

I have been using sea shells that I’ve had sitting around to put my paint in, but anything that has a lid (like an old Altoids can or lip balm can) would work just fine. I also had some empty plastic half pans I picked up at a yard sale, and I have also been using them.  If you want a full container of pigment, you usually have to make paint several times and add layers to the pans (as the pigment dries, it shrinks and cracks).

 

When you want to use your paint, rewet it and use it like any other watercolor.

A glass muller and grinding board with finished paint, scraped into containers board

A glass muller and grinding board with finished paint, scraped into containers board.  This is a fireplace soot paint.

 

For Egg Tempera, you will want a small jar.  Start by removing the egg yolk from the white.  Egg yolks have a sack that holds the inner yolk; break the yolk and remove the sack.  This is accomplished by either puncturing the yolk and letting it drip in, or simply fishing out the sack after you’ve gotten the yolk punctured.  Add a small amount of water (1 tbsp) and put a lid on the jar, shaking your paint until everything is mixed.  Now, place your pigment in the center of your glass plate or other non-porous surface.  Add small amounts of alcohol to your pigment, and grind it or use your knife or muller (see photos above).  Finally, add enough yolk water to you get to the consistency you want and grind it some more.

Egg tempera is best used within a week; without preservatives it will go bad fairly quickly.  I will keep mine in the fridge between uses.  I don’t make these very often, but they are nice for certain applications (like traditional folk painting).

 

For Oil Paint, The process for making oil paints is the same as above, only instead of gum arabic and honey, you are adding linseed oil and a small amount of melted beeswax.  If exposed to the air, oils will eventually dry out within a week or two (just like commercial oil paints).  A lot of people will purchase metal tubes so you can keep your paint in a metal tube, just like commercial producers do ,when making oil paints – as it would be hard to mix up a whole palate anytime you wanted it!

 

Using Your Paint

Once you have your paint made, you can use it on anything!  I like the watercolors best for this process because they don’t require special storage–you just dry them out into cakes, and then they can be used and rewet as needed.  If you get a fine grind, you can make watercolors and other paints even *better* than what you can find in the store: rich, inviting, and completely made by you!

Primal Water from the Plant Spirit Oracle; tan paint is from Tanoma Iron Oxide!

The Water Card from the Plant Spirit Oracle; The tan paint in the roots is from my own handmade watercolors: the AMD Iron Oxide–the first paint I made using this method!

 

watercolor swirl painting--all of the browns were from foraged paint!

Watercolor swirl painting–all of the browns were from foraged paint!

I hope this has been inspirational and informative. Now that spring is here, I am excited to see what pigments my landscape offers and do some western PA specific paints with this local and eco-friendly palate of colors!

 

PS: I will be taking several weeks off from blogging as I am in the final preparation for releasing my Plant Spirit Oracle deck, plantng out our gardens on the homestead, and attending the MAGUS druid gathering and doing some camping.  I’ll resume posting in early June!

 

A Seed Starting Ritual for Nourishment, Connection, and Relationship February 10, 2019

All of the potential and possibility of the world is present in a single seed.  That seed has the ability to grow, to flourish, to produce fruit and flowers, to offer nutrition, magic, and strength.  Seed starting offers us a chance to connect deeply with the seeds we plant, and to , from the very beginning, establish and maintain sacred relationships with our plant allies. Seed starting is a truely magical druidic practice, and in today’s post, I want to talk a bit about the magic of seed staring and share a simple ritual that you can do to bless your seeds as you plant them. Some of my earlier posts on seed starting can be found here (a general philosophy of seeds from a druidic perspective) and here (recycled materials for seed starting).

 

Seeds coming up!

Seeds coming up!

One of the most important parts of a druid practice, in my opinion, is integrating sacred activities into everyday life. I think working to live our regular lives in a sacred manner is one of the ways we can stay balanced, happy, and connected in an otherwise unbalanced world.  But I also think that this is part of what living druidry is all about–finding sacred moments, sharing them, understanding that each moment can have its own kind of sacredness. This is important in each aspect of our lives, but certainly, in activities that tie us directly to other kinds of life and allow us to interact with other cycles of life.  To me, there is nothing more sacred than starting seeds. And while this may be considered a “mundane” activity to some, to me, it is an incredibly sacred one. Because the seeds we will start are such a blessing to so many, and are part of the sacred cycle of nature, I think its critical to honor them and support them on the journey that they will take from seed to harvest.

 

Connection, Nourishment, and Relationships: What Seeds Offer

This is the time of year for starting seeds. Right now, we are just over 14 weeks out from our last frost date, and the first of our seeds are being started this upcoming week on the full moon, these include our greenhouse seeds (kale, lettuce, spinach, arugula), our alliums, and some slow-growing herbs (rosemary, lavender, white sage). These seeds will feed us, nourish us, and in the case of the white sage, rosemary, and lavender, also be used for sacred offering blends, smudge stick making, rituals here on our land, and other sacred activities surrounding our druid practices.

 

Last year, the white sage and lavender we grew from seed ended up being shared with members of the grove and other friends, mostly in the form of incenses and smudges.  It continues to be offered in our rituals, both individual and grove.  Last year, the vegetables we grew ended up with over 10 families, as well as in our bellies and the bellies of our animals here on the land. So part of the magic of starting these particular seeds is the magic of community, togetherness, and sharing.  I think that happens a lot when we grow things–we end up sharing the abundance.  The plants give and give to us, and it is only right that we give back to them.  One of the ways we can give back is do rituals that offer them the same thing they offer us: physical nourishment and metaphysical energy.

 

Alium going to seed, Summer 2013

Allium going to seed, Summer 2013

 

But there’s another piece of this too–seed starting is about relationships: establishing relationship with new lines of seeds, or, maintaining relationships with saved seed over a period of time.  Some of these seeds we are starting this week are brand new to me and have entered my life for the first time.  That is, we purchased them from organic seed companies or small sellers. These seeds should be welcomed and honored as friends.  But some of these seeds have been with me for a long time.  One of the alliums I am planing, a Long Red Florence onion, has been with me quite a while.  In fact, if you are a long-term reader of this blog, this isn’t the first time I’ve shown the photo to the right.  I began planting this seed in 2012, and I am planting the seeds of this particular onion’s offspring today.  A seed planting ritual, then, should also connect you deeply with the plants–both those who are brand new, and those who you have cultivated relationships with over time.  And so, a good seed starting ritual should be about establishing and maintaining relationships.

 

Relationships with perennials and annuals are a bit different, and I want to talk about that difference briefly here, as it has very direct relevance on the rituals I’ll share today.  Annuals, in a lot of cases, particularly in cultivated varieties that are not native or naturalized to your region, depend on you for continuing to grow.  It is rare for a lot of plants to come back (or they will come back at the wrong time, like a rotted tomato that dropped to the ground and then starts sending up babies from the sprouts 2 weeks before frost!)  These plants, due to their long cultivation by humans, need us.  Perennials need us too, but in that case, its more to visit, to honor them, to continue to make sure they have what they need to grow.  In either case though, we are talking about interdependency.

 

So from the above, we have four key pieces to a good seed starting ritual: physical nourishment, energy, relationship, and interdependency.  Let’s now take a look at some options for how you can build this into an existing seed starting practice.

 

Seed Starting Rituals

With most rituals, particularly in the druid context (where we don’t have hardly any ancient traditions to go back to), the intentions are what matter most.  You can do a lot of different things to get at the four points above, and you can do different things that go from very simple to fairly elaborate in terms of ritual.  I’m going to offer a few options, but these are by no means the only options you have before you!  But I think the key thing is to think about the principles above:  nourishment, relationship, energy, and interdependency.  Here’s what I like to do:

 

Soil....the beginning of life and abundance

Soil….the beginning of life and abundance

Assemble all of your supplies. Before you start, assemble your supplies: potting soil, pots, seeds, a work area, and so on. Put your potting soil or any other nutrients (like coffee grounds, great for seed starting) in your work area.  Have a bucket or potting tray ready to mix.  Also have labels available and anything else you will need, like a small hand shovel, etc.

 

The Elemental Seed Starting Ritual.  

For this ritual, you’ll need something to offer the seeds from each of the five core elements: earth, fire, water, air, and spirit.

  • For earth, you can offer a good potting mix rich with nutrients, the most obvious thing for planting seeds.  If you can, grab a little bit of the soil that last year’s plants were grown in. As part of the ritual, you will mix the soil with nutrients and your own energy, so don’t fill up your pots in advance.
  • For Air, you have your own breath, which is better than anything else.  You can have incense, feathers, or other air-focused elements to supplement, of course.
  • For water, you can offer standard pure water, or, if you are particularly ambitious and want to build tremendous relationship and interdependency, offer a 90% water and 10% of your own urine in a mix.  I know this sounds crazy, but read my blog post here.  Its pretty simple–your urine is very high in nitrogen, which is one of the core building blocks for all plant life. Your waste product is their life–just as their waste product, oxygen, is yours.  Using your own urine puts you in a direct interdependent relationship that frankly, few other things, can do.  I usually have a pot of pure water for mixing and then the urine/water dilution for watering afterward.
  • For fire, you may use any representation of fire; if the sun is shining, I like to bring the seeds into the sun. If not, I like to have candles available.
  • For spirit, I prefer to use an herbal offering that I grew or some other spiritual offering. Anything you’d typically use as an offering will do.

 

A few notes before I describe the ritual:  You can start your seeds all at once, or you can start each different seed type one at a time, using the appropriate elements as needed.  What I’ve offered is just a suggestion of what you can do for the seeds; please feel free to adjust and add your own creativity into this ritual!

 

Establish a Sacred Grove or Sacred Space.   Many druid traditions, including OBOD and AODA, offer clear instructions for how to establish a sacred grove.  (I described one version of a sacred grove in a recent post on herbalism).  I like to start my seeds in a sacred grove, as a sacred grove in my tradition sets intentions for sacred work.  This helps with both energy and relationship. And so, before beginning to plant, I will establish a sacred grove.  While you don’t have to do this, I recommend it.

 

The Work of Earth: Mix your potting soil.  Begin by putting your potting soil, nutrients, coffee grounds, peat moss, whatever you are using as your typical seed starting mix in a potting tray or bucket.  Even if you are using a completely store bought mix, go ahead and put it in the bucket.  Begin mixing the materials together, and as you do, envision some of your own energy going into the soil.

 

As you mix, you might want to chant or sing.  I prefer to chant the ogham for Oak (strength, stability): Duir (doo-er).  So I will mix and chant.  It is  much easier to seed start with wet soil, so after I chant, I will add some pure water to my mix and mix it all well before putting my soil in the trays.

 

Put your soil in the trays.  As you do so, continue to chant.

 

Establishing and Maintaining Relationship through Planting Your Seeds. Hold your seeds in your hand for a moment, and connect with the spirit of the seed.  Welcome any new seeds.  For those who you already have a relationship with, tell them you are glad to see them.  Pause for a moment to see if the seeds have anything to share with you.  Then, plant each one.  As you plant, sing or chant.  I like to chant the Ogham for birch here (Beith) for new beginnings.  Once you are finished, say “My energy supports you, as you will support me. May the great soil web of life bring you strength.”

 

The Work of Air.  Label your seeds.  As you label, continue to chant Beith or offer other air blessings.  When you are done labeling, blow softly over each of the pots of seeds.  Say, “My outbreath is your inbreath, your breath is my life. May the blessings of the air sustain you.”

 

The Work of Water.  Take your pure water or urine dilution, and sing or chant as you water each plant.  I like to chant the ogham Willow here (Sallie) while I am watering.  After watering say, “My nutrients feed you, as you will feed me.  May the power of the water nourish you.”

 

The Work of Fire.  Sing or chant the ogham for Fir/Pine (Alim) (Aye-lim) and hold up the pots to the sunlight.  Alternatively, move a candle around the pots.  Say, “May the fire of the sun let you grow.”

 

The Work of Spirit.  Sing or chant the ogham for Apple (Quert) (or another ogham as you choose).  As you do this, sprinkle an offering lightly over the pots.  When you are finished say, “My offering today, for your offering tomorrow. May the Nwyfre flow through you.”

 

Additions: Singing and Drumming.  At this point, feel free to do anything else you like.  I like to drum or play my panflute a little for the seeds in a welcome and to raise good energy for them.

 

Close the space. When you are finished, thank the spirits and close out your sacred grove.

 

Trays of small plants from seed!

Trays of small plants from seed!

Final Thoughts

While it seems like a lot above, the ritual is actually quite simple.  I’ve used the energy of the Ogham, of sacred trees, and of sacred chanting to do the work of connecting to each of the elements.  But you could connect with them in any way you want, or replace what I’ve done with other sources of power that you work with (such as deity, etc).

 

If you have any other ideas for sacred seed starting, or if you have things you’ve done in the past, I’d love to hear about them in the comments!  Thank you for reading and blessings of the seeds!

 

The Lessons of Nature at the Winter Solstice December 16, 2018

In the fall, I always feel like I’m fighting against the coming dark at the time of the winter solstice, and each year, I have to learn the lesson anew.  This year proved particularly challenging for a few reasons. After the time changes at Daylight Savings time, and the sun starts setting at 3:30pm.  It is down by 4:30 and completely dark by 5:15pm. As a homesteader, in preparation for spring planting and the winter to come, there always seems to be so much to do.  Bringing in the harveset, preparing the greenhouse, preparing and clearing garden beds, stacking wood, cleaning gutters, shoring up the hen house, and doing all of the necessary multitude of other preparations for the coming winter.  As the fall deepens, each day, the light continues to wane, and there is less light each day to work with. On many days when I go to work, I rise before the sun rises, I am on campus all day in a windowless office, and I leave campus after the sun has set–literally never seeing the sun, sometimes for days on end. These “lack of sun” issues were certainly heightened this year, by our region having the rainiest season on record.  Many of us in Western PA felt like summer never happened; an extremely rainy and cold July and August meant that the warmth never had a chance to seep into our bones. These climate changes are the new norm, but they certainly make it difficult to adapt! Finally, and perhaps most salient, I think the cultural darkness has also left its mark on many of us in 2018; it was a hard, dark year.  No wonder as the light wanes, I found myself really mentally fighting the coming darkness of the winter solstice.

 

Snowfall at our homestead

Snowfall at our homestead

But whether or not we want to face the darkness, it is now upon us, as it will be each year of our lives.  Earlier, I wrote about embracing the darkness at the winter solstice on this blog.  I’ve also written about enacting a winter solstice vigil during the darkest night of the year and about sustainable and magical activities for the winter solstice.  In re-reading these, I remind myself that the lessons of this year are powerful, and perhaps, each year, we must learn to embrace the darkness anew. So today, I offer three additional insights for the lessons of the winter solstice and thinking about embracing the darkness during this time.

 

Lessons of Darkness, Again and Again

The irony is that in my earlier posts about the winter solstice, they seemed so certain, so firm, as if I had found the answer that helped me embrace the dark.  The truth is, for this druid at least, there is no “one” answer to addressing the coming of the darkness.  I am in a different place as the wheel turns again, and the darkness of each year finds me in a different mindset, different life circumstances, different present time.  Such that, particularly for this holiday, learning how to work with the Winter Solstice must be learned and deepened each year anew.  Each holiday on the Druid’s Wheel of the Year offers us this same lesson–a chance to deepen our experiences with the magic of that sacred time.  For Alban Arthan, the darkness requires a different kind of interaction and engagement with the world–a time of quietude, slowness, of otherness.  And we must simply let ourselves be present in it and embrace it.  And for some of us, we have to teach ourselves this lesson again each year.

 

Perhaps, saying that we have to learn a lesson is not the right way of thinking about it.  It is almost like we have to come to a place of acceptance of this time, this dark, this cold.  There is something so joyful about the light of summer, and that light is so far away. As the light wanes to nothingness, those of us who are stuck indoors at jobs may notice that all of our “light hours” are gone during the working week.  Further, the cold and dreary days set in, and some days, it hardly feels like the sun is there behind the clouds at all.  Darkness requires us to step away from “business as usual” and re-orient ourselves to this time.  Culturally, this re-orientation is extremely difficult because the hustle and bustle of the holiday season is in full effect. If anything, our lives are the most busy this time of year, yet nature is telling us hey, you’ve got to slow down.  I think this is part of why there is so much depression around the holidays: we are fighting our natural instincts. And perhaps that’s why each year,  it seems of all of the wheel of the year holidays, I find this one to be the most difficult to adapt to, to embrace, and to accept.

 

Indeed, my first lesson is that the darkness may always be difficult for many of us.  In the same way that nobody wants to have bad things happen in their life, experience pain or loss.  But like the dark, these things are inevitable, just as the darkness of the winter solstice is inevitable.

 

The Lesson of the Seed

Spirit of Black Cohosh (from my in progress plant spirit oracle deck)

Spirit of Black Cohosh (from my in progress plant spirit oracle deck)

In the last week, two seed catalogs arrived, reminding me that while it may be dark, planning for the coming season offers hope.  As I browse the seeds, thinking about their magic and life, I realize that we can learn a lot about embracing the darkness from starting seeds.  I think about all of the seeds of the self-seeding annuals, perennials, and nuts that the squirrels buried this past fall season: those seeds are there, covered in dark soil, awaiting the spring. Awaiting warmth, moisture, and a chance to grow. The darkness holds these seeds, preserves them, allows them to be in  a time of stasis before they spring forth.

 

In fact, many of the seeds of some of the most rare and medicinal plants require “cold stratification.”  The seed packets tell you to put the seeds in your refridgerator for a period of time, usually some weeks or months, for without this period of cold, the seeds will not grow. Black cohosh, a critically endagnered forest medicinal plant, is one such plant that requires cold stratification.  For years, I attempted to do just as the seed packets asked–putting them in the fridge in a damp paper towel for three months, as requeted, then planting them indoors with my other seeds and hoping they would grow.  For years, no sprouts happened. The seeds simply would not grow.  Last year, I stuck the seeds right in the ground in the fall, after clearing away and marking little areas.  Sure enough, in the spring this year, the seeds came forth and now I have several beautiful black cohosh plants growing on the property in addition to some live plants I had purhcased and planted.

 

I wonder: how many of our most sacred and magical ideas are just like that Black Cohosh, requiring that darkness and incubation period? There are seeds we plant that must have their own time of darkness and cold before they can spring forth into the light of day. We need the darkness, just as the seeds need the darkness.  We need the quiet, the slowness, the time for reflection and introspection, before the seeds of our ideas can sprout in the spring.

 

The Lesson of the Roots

Another aspect of nature reminds me of another important lesson about darkness. Roots on trees and plants are extremely sensitive and require darkness to live. If roots are exposed to air and light, they will almost immediately be damaged.  Enough exposure will kill the roots, thereby killing the plant. I remember the first time I was planting trees as a new druid.  I had no idea how sensitive roots were, and I had left a number of trees’ roots exposed to light and air while I dug holes.  These little planted seedlings struggled mightily, I hadn’t realized that I had damaged their roots by exposing them as such.  They eventually did live, but only after a tremendous amount of care: water, singing, sunlight, and sitting with them. This was certainly a powerful lesson for a new druid!

 

Roots go deep

Roots go deep

Even many root crops, like potatoes and Jerusalem Artichokes, prefer to stay in the darkness and space within the soil.  When exposed to too much light, these crops go “green”; this greening produces Solanine.  Solanine is actually slightly toxic to humans, creating symptoms of nausea and upset stomach when consumed. How ironic that that which we want to embrace–the light–is so detrimental to the root crops.

 

But there is a deep lesson here about darkness and why we need this winter solstice time. Our own roots–that of our spirits, that of our creative practices, that of the core of our beings–are in need of the same kind of darkness.  Our roots are our grounding, the place of spirit and of the soul.   If the dark offers us a time for quiet contemplation, for rest, for rejuvenation: all of this is necessary if we are to bring any fruit into the world.  Fruit will not happen without strong roots, and strong roots do not happen without darkness.  Otherwise, we are just producing Solanine.

 

Concluding Thoughts

The seed needs dark soil to spring forth.  The roots cannot be exposed to light without damaging or killing the whole plant.  Potatoes go green in the light.  Maybe we are the same. The roots of our being are found only in the times of darkness: within ourselves, in our dreams, in the promise of a new beginning, in the quietude that can only be found in rest and open time.  We need the darkness as we need the air to breathe.  Blessings to you on the upcoming long night–may your spirit soar.

 

PS:  I’ll be taking a few weeks off of blogging for some travel and deep spiritual work over this period of darkness.  I will resume blogging again in mid January!  Blessings of the snowy white pine and sheltering Eastern hemlock upon you!

 

PPS: Larisa White, who is a fellow AODA druid and fellow OBOD Mount Haemus scholar, is working on a World Druidries Survey for her 2020 OBOD Mount Hameus lecture. If you haven’t already taken it, please consider spending time taking her survey!  Here is a link.

 

Walking Meditation Garden with Hugelkultur Beds June 24, 2018

As a practitioner of permaculture and as a druid, I am always looking for ways to work with the land to create sacred and ecologically healthy spaces.  That is, to create self-sustaining ecosystems that produce a varitey of yields: create habitat, offer nectar and pollen, systems that retain water and nutrients, offer medicine and food, create beauty and magic.  But conventional gardens, even sheet mulched gardens, can falter in water scarce conditions.  So building gardens long-term for resiliency and with a variety of climate challenges in mind is key.  At the same time, I am also looking to create sacred gardens, that is, not just places to grow food (which is simple enough) but to develop sacred relationships and deepen my connection with the living earth. Given all of this, I developed a design for a butterfly-shaped garden that would use hugelkultur raised beds and allow for a space for walking meditation and ritual.

 

Meditation Garden

Meditation Garden

When I came to the new homestead late last year, one thing was clear–any gardening was going to be rough going with the acidic, heavy clay soil full of rocks.  Digging down into the sunny part of the yard that was once excavated for a pool revealed virtually topsoil or humus content–basically, I was going to have to grow on clay subsoil.  A soil test revealed practically no phosphorous either.  Becuase I also have abundant wood on the property, digging down and creating some hugelkutur beds seemed like a great idea.

 

Hugelkutur beds were popularized by Sepp Holzer and discussed in his book Sepp Holzer’s Permaculture. They are used widely around the world as a way to create beds that are enormously productive due to their ability to create vibrant soil biology and hold copious amounts of water. The key to these beds is sinking a good amount of wood–large pieces–that slowly rots down over time. As the wood rots, it becomes a spongy mass ready to hold water.

 

The Hugelkultur beds certainly take some sweat equity, but they will pay out dividends in the long run. Each year that passes, more and more moisture will be held in the bed from the wood.  Microbial life will flourish in this wonderful, undisturbed system of nutrients and roots. Each year with the hugels is more abundant and productive than the last as the underlying soil structure grows more connected and diverse.

 

Choices for Hugels

One of the challenges with Hugelkultur is doing it without heavy equipment or fossil fuels. I’ve seen people make amazing hugels using a backhoe, tractor with an attachment, etc. They dig a big hole then use the machinery to pile up even more wood, making these enormous hugels. I don’t have knowledge of how to operate such machinery, so I was going to do mine on a smaller scale by hand. The question is–what can we do by hand, given these conditions?  Can we still make abundant and productive hugels on a smaller scale?

 

One of the key conditions for us was the heavy clay soil–when it rained, the water pooled in the space.  I thought that if we dug down, then the water would pool in there a bit, being able to be sucked up by the rotting wood.  After digging out the hugels (but before wood was added) this proved to be true–the water literally just laid in the heavy clay, forming pools that took days to dry out.  Yes!

 

Others, however, may find it more beneficial to go up rather than down–the key is to get the wood in it and get some layers of compost and such on top.  Your own conditions beyond that determine a lot of how you want to create your beds.  Here’s how I created mine!

 

Choices for Garden Design

In permaculture, one of the principles is “stacking functions.”  The idea behind this is that you should try to get as many different functions out of a single space as you can.  For example,  the greenhouse offers not only a great growing space for fall and spring crops, it offers shelter from frost for seedlings, and it offers a wonderful place to hang out when its 35 out and you want some sun.  Its multiple purposes, then, contribute to the overall goal of the greenhouse.  In the case of desginging a garden itself, this is also critical. The title of this blog is, after all, the “druid’s garden”–implying not only a garden but a sacred space.

 

The Lawn and Potential Space

The Lawn and Potential Space

And so, I think it is really important to consider the role of the sacredness and design in a garden space.  It’s not just a space to grow things in, to serve the pollenators and create ecosystems….but also a place of sacredness, where the act of gardening is sacred work and considered sacred practice. As is the act of being in the garden for non-gardening purposes, such as meditation and ritual.  To me, making garden spaces that can “stack functions” in this way is an important part not only of gardening, but of living a sacred life more generally and building connection and communion with nature.

 

So for this garden, I had a limited 2/3 circle space after putting in the greenhouse.  I toyed around with a large number of designs before settling on a tree of life theme.  As the garden developed, I realized I didn’t just want a set of “branches” but rather a space to do walking meditation like a labrynth, so the tree transformed more into a moth/butterfly design.

 

Building a Hugelkultur Walking Meditation Garden

Now that we’ve talked through both the mundane and sacred aspects of this particular garden design, let’s take a look at how to build one of these gardens!

 

Step 1: Observe, Interact, and Create a Design

I already had a good sense of the sunniest part of the land that was near the house and easy to access; this, was where the old owners had once had a pool.  It was here that I decided to place both the greenhouse and the walking meditation herb garden.  I observed this space in rain and sun, and also measured it out, thought about how I wanted to move among the garden, how big the beds should be, and so on.  To do this most effectively, you can get some garden stakes or sticks and then string–actually map out the location of your beds, see how it will be as you walk it, etc.  If you don’t have this, some old flour also works, just pour the flour down where you want the beds to be in lines, so that you are essentially “drawing” with flour.

Once I had a plan and was ready to proceed, I called out some friends to help get me started.

 

Step 2: Dig Down

I was blessed with some serious help from friends one weekend just after I moved in to help dig out the hugels.  First we had to remove a burn pit the previous owners left.  Then, we dug them down about a foot and a half–as far as we could go. The clay will be used for a cob wall project(more on that later in the year) that will go in the back of the greenhouse. This doesn’t look like much, but it was literally about 5 hours of work by six people!  Clay is heavy and doesn’t play nice.

Clay garden beds dug down

Clay garden beds dug down

 

 

Step 3: Add Wood

The next step is to add wood to your hugel bed. A lot of it.  As much as you can fit in it.  Here you can see me completing one half of one of the hugels. I used a lot of medium sized logs, some sticks, and also large huge logs along the bottom (not all of which you can see in the photo). The bigger logs will take much longer to break down, but that’s ok!

 

Most wood is fine to use with hugels, but you want to avoid a few kinds.  First, don’t use any woods that have chemicals that prevent the growing of other plants (black locust, walnut and alanthus come to mind). You also want to avoid rot resistant woods (cedar, black locust) as the point is to get it rotting down quickly. My beds primarily consisted of maple, cherry, and oak, as that was what was available.

Adding wood

Adding wood

Step 4: Add Additional Soil-Building Materials

The next stage is to cover the wood with anything else you can–any non-weedy garden waste, leaves, fresh or finished compost, manure, and so on. I threw some old pumpkins that were rotting in there, coffee grounds, a good pile of leaves, mulched grass, horse manure, and more.

 

In traditional hugel building, you would replace the topsoil upside down on top of the logs and keep adding more materials.  The issue I have with that is that I have 100% clay, and I don’t want to have any additional clay in my beds.  So I instead removed it for another project.

Adding leaves and materials

Adding leaves and materials

Step 5: Add Borders (optional)

A lot of people make hugel mounds and don’t add borders, but I find that the borders are really helpful to get them higher, especially with the design I was using (which consisted of fairly small beds.  Also, the borders give a clear demarkation line bewteen what your path is and what a bed is–and for good garden design, this is critical.  Paths determine garden space, after all.

 

After seeing my two friends who made a cool hugel garden with uprightlogs as borders, I thought I could do something similar.  In fact, this does not work:

I put the logs upright and then sunk them in the clay.  But…frost heaving in the winter knocked them all down.  I couldn’t dig down far enough to get them firmly in the soil without some kind of auger…. So I scrapped this idea and went to shorter beds with a rock linked edge.

This looks cool, but won't survive the winter!

This looks cool, but won’t survive the winter!

Since there is copious amounts of stone on the property (I just have to go digging and searching for it) and so I instead spent a lot of time hunting for stone on the property and moving stone for these beds.  It is empowering work!

Stone is quite heavy and moving it is a very good workout!

Moving stone is a very good workout!

 

Leaves and Stone

Leaves and Stone – I lined the beds with stone before adding the final layer. I packed the stone in with clay.

 

Step 6: Top with Finished Compost

The final step for the bed creation to top the bed with finished compost–I added about 5-6″ of compost over everything and then let it rain and settle, then added more.  This gives the plants you plant some room for growing. The beds, being so young, are otherwise difficult for the plants to take root.  Even so, the first year of the hugels as things are just starting to rot down can be not as abundant for plants.  You also want to suppliment with nitrogen–as carbon starts to break down (which is what most of your woody material is) it does suck the nitrogen out of the soil.  The most readily available form of nitrogen is, of course, liquid gold!

Adding finished compost to the bed

Adding finished compost to the bed

Step 7: Establish Paths

Becuase I wanted this to be a walking meditation garden, I needed to also think about the paths between the beds and creating them with something that would last.  I have done a lot of paths in the past at my old homestead with cardboard and wood chips; they are excellent choices, especially for a vegetable garden. Eventually, the wood chips and cardboard breaks down, and you end up with great soil you can move into your beds, then add another layer in.  However, these kinds of paths require regular yearly or at least every-other year maintenance and the paths quickly get lost.

 

But for this garden, which was more permanent and meant to also be a sacred space, I chose to use landscape fabric (which has a 20-25 year life and is breathable) and pea gravel from a local supplier. You could do a lot of things here for paths: brick work, stone work, other kinds of gravel, cardboard and wood chips, etc.  The key is to create something that you like and that fits the vibe of the garden.

 

So I laid the landscape fabric down and used steel pins to pin it in place. This fabric allows water to permeate but will not allow grass or other plants to grow.

 

Laying out the landscape fabric

Laying out the landscape fabric

Finally, I topped this with a 2-3″ layer of pea gravel (locally sourced) for walking paths.

Pea gravel going in

Pea gravel going in

 

Step 7: Plant!

The hugels can have both annual and perennial plants, trees, shrubs, etc.  I opted for this garden as a walking meditation garden filled with healing plants and some food plants.  There are three inlets and you can walk a figure eight or a loop in the garden and commune with the perennial plants.  The garden is planted with a variety of perennials and a few annuals: calendula, yarrow, horseradish, basil, thyme, new england aster, wood betony, garlic, chives, tomatoes, chamomile, rue, echninacea, St. John’s wort, and much more!

Butterfly-Shaped Meditation Garden Complete

Butterfly-Shaped Meditation Garden Complete

Another view of the garden

Another view of the garden

It is amazing to see how far this beautiful garden has come from the green, consumptive lawn.  It will now produce food, medicine, habitat, nectar, beauty, and a wonderful space for ritual and meditation work. This is just one variation–of countless others–to combine solid permaculture design techniques with sacred gardening.