The Druid's Garden

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

Diary of a Land Healer: February February 18, 2018

A tranquil February morning

A tranquil February morning

February is here, and it is is all about flow. With the accellerating pace of climate change, February becoming is the new March–the most dynamic, engaging, extreme of the months of the year. February is a month of transition. Its a month where the ebb and flow of water, snow, rain and ice are ever present and ever changing. It is a month where the weather apologizes to no one: it is simply raw, powerful, unchecked. Just this past week here in Western Pennsylvania, we had a 60 degree day where the maple sap was flowing, then we had two days of solid rain that caused major floods in the region, and then yesterday it was a very cold day with 3” of snow overnight with a low of 15 degrees. In fact, late winter often has this kind of dynamism rarely found in other times of year. Each day in late winter is a radically different: a different mood, a different temperature, different visuals, different water levels, a complete different experience. The message is simple: adaptability, change, growth, and flow are required of us now. And with this message comes the challenge of managing our own adaptability, emotions, and the change that swirls around us.

 

This post is part of my “Diary of a land healer” series; once-a-month documentation of the healing process of the land here, where I live, for 2018. I offer photos, thoughts, and lessons from this landscape as it heals and regenerates as well as insights I have  as I watch this process unfold. You can read my first entry in this series from January here, and a large number of earlier posts on land healing here.

 

Flowing of the Land

These freezing and thawing cycles have encouraged many different kinds of flows upon the land. One such pattern of flow is from the trees themselves.  Everyone knows of the famous sugar maple with her flowing sap that can be transformed into delicious syrup. However, Maple trees aren’t the only trees to have sap running in their inner cambium this time of year–most trees have flowing of sap, but only certain trees have a high enough sugar content to make tapping them for producing syrup worthwhile. We think this time of year, everything is still under the snow, but a single warm day enocurages the rise of sap up from the roots and into the branches.  These trees well up with pure telluric energy–the sap comes up from the roots, deep within the earth, and into the branches and trunk. The water that flows from many trees–Sycamore, Maple, Birch, Hickory, Walnut, Butternut–is delicious to drink and offers a vitalizing quality that I have only found in fresh spring water right from the mountainside.

 

Flowing of the sap...

Flowing of the sap…

At Imbolc, I made offerings, spoke with the trees, and tapped six of them who gave me permission.  Since that time, each day the weather is warm enough and the sap is running, I have visited the maples and have drank right from the tree, bringing in the vitalizing nywfre (a druid’s term for life force/vitalizing energy) into my body as a  rejuvenating practice. It is incredible–fresh, cold, pure, and putting a spring in my step that is hard to otherwise describe.

 

This same powerful life force, this Nwyfre, will eventually will spark the new beginnings of all of the life upon this landscape.  Nywfre is the spark of life, the magic present in the land that allows healing to take place–the trees just start that process when the rest of the plants and roots are still waiting for the sun to return.

 

Of course, the excess sap will be put to good use as my friends and I boil it down to make syrup, a fine activity on a warm February day!

 

Flowing of the Stream

Penn Run in stillness

Penn Run in stillness

Flow is happening in so many other ways on this beautiful landscape. Given the dynamic nature of the flows of Feburary, I have been paying attention to the stream, Penn Run, which flows behind my house at the bottom of my property. The ebb and flow of the waters come anew with each new day. Its amazing how a single day of rain, ice, or snow transforms the whole landscape and the whole edge of the creek. Just two days before, as is my regular custom, I put on my muck boots and waded across the tranquil stream, enjoying the peace that it offered. But as the flood waters raged and the stream was several feet above its normal height, I stood respectfully from the shore and honored the power of flowing water on this brisk February day.

 

The floods this week were potent and powerful. If we had this precipitation even 10 or 20 years ago, we would have had 2 or more feet of snow, but because it has been so much warmer in February in the last few years, the snow has become rain, sleet, and ice. This is a change I am sad to have to adapt to, for it warns me of further changes to come.

 

Earlier this week,  the nearby town of Indiana, PA, where a number of my local friends live, so many have been sharing photos and stories of flooded basements and posting messages alterting people to the height and flood status of Mill Run, the stream frequently floods and that runs through heart of the town. I am thankful right now that my house is at the top of a hill and the Penn Run creek is at the bottom. This is an important lesson: planting ourselves carefully in relationship to nature. If we haven’t done that—these floods bring terror and sleeplessness.

 

In our quest as humans to do whatever we want, to dominate nature, to tame her, we forget that in the end, when nature wants something, she takes it. As I stood earlier this week looking at the swollen and flooded stream,  and heard stories of flooded and frozen basements, I’m glad to know that I’ve chosen to live somewhere where the path of an angry stream does not impact whether or not I have a home the next day.

 

Flooded Penn Run, two days later!

Flooded Penn Run, two days later!

Its amazing how much of our lives and lands depend on cycles of things that are somewhat unpredictable. Like this weather.  We know that floods will come, but we don’t know when.  In less than 12 hours, the stream went from a children’s wading pool to the point where a whitewater kayaker would have a very good time. We think about the time between Imbolc and the Spring Equinox as a time of renewal and healing. Yet healing is characterized by this stream, the turbulence and raw force of it.

 

The Flowing of Emotion

The powerful transition of the stream from tranquil to flooded resonates deeply with me on an emotional level, and asks me to recognize the power of currents of deep emotion. We often go through our lives like that tranquil stream, peaceful, quite, serene, going to work and coming home, being in the regular rhythm of our lives. And suddenly, out of nowhere, something intense happens: a terrible loss, a tragedy, or an unexpected event that rattles us to the core. And that one thing sets us off on on this raging journey of turbulent emotion.

 

 

Part of that time of healing and renewal is not denying what is inside, but embracing it and saying “I’m going to deal with this right now. I am going to let these emotions flow. I am going to let all of this wash away.”  Water breaks away all that is false, all that is damaged, all that says to us “I can’t…”  A good friend of mine, on the same day this creek was flooding, talked to me about a relationship that she cared deeply about and that was sadly ending. She spoke to me of all of these emotions that were inside of her and shew as afraid to experience. I told her she needed to be like this river, to let it flood, and let it flow.  She did so, and the healing, the release, was powerful.

 

Flowing spring upon the land...

Flowing spring upon the land…

Yet, in the same way that physical floods can bring terror to those who have planted themselves on flood plains, so too, can these deep emotions bring terror. It is scary to watch the rage of incredible emotions flowing through you–or another–like this frothing creek. It’ss particularly terrifying to experience these kinds of emotions if you don’t know how to navigate such a strong current. The current threatens to take you down, pull you under.  And sometimes it can. But, if you have learned how to kayak and you have a worthy vessel or some other way of navigating it, it can be a tremendously beneficial experience for your life.

 

Because when the stream returns to normal, the banks are different. Everything is clear. Debris and detrius is gone, washed away, or buried under sand and silt to become fertile ground.  These floods are exactly nature’s process for renewing the landscape and bringing in fertility. Just as the physical stream has to flood, we too have to be in that flooded, turbulent space for a time if we are going to be renewed. And if we can do this, can gain the benefits of the rich soil, the healing, and the joy that comes in those later summer months as the flood waters recede and land is born anew.

 

But what I worry about, both for the land and humans, is when we dam them up. We know what dams do to ecosystem. And similarly, we know what daming up emotions do to our souls.

 

 

Renewal, in nature’s way, is not a clean process. It is not an easy process. It’s a process of thawing and releasing, of ice and slosh, its rain and ice and snow.  It is a process of unexpected floods rebuilding nutrients along the shore. It’ss hard work. And the land here, in this beautiful February time, reminds us of this powerful lesson.

 

Flowing Anticipation

A common scene this February near the spring! It is almost time!

A common scene this February near the spring! It is almost time!

All across this land, I can see the buds on the trees singing, saying “we are almost ready.”

I can see the maples flowing and drink the sap water every day to rejuvenate myself.  The maples wave their branches, getting redy to bud, and say “it is nearly time.”

I can see the land starting to green again, even the ferns left on the forest floor start to wake up and say “it is almost here.”

 

Before we can look to the promise of spring, we have to deal with late winter’s flows of intensity upon the land. These floods are the floods of renewal. We can’t stop them. We just simply have to learn to adapt and do the hard work of renewal.

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A Druid’s Meditation Primer February 11, 2018

In this time as the light is coming back into the world, the time surrounding Imbolc, I find myself often going deeply inward for healing and strength and turning towards meditation as a guide for spiritual balance.  This deep winter period is, of course, coming on the heels of the frenzied holiday season where many of us get burned out by the amount of hustle and bustle.  Further, many of the demands of modern living, particularly for those working wage-earning jobs, require us to move faster, be always “connected” and present with new technology, and have an increasingly fast stream of information pouring in and out of our heads. This can lead to long-term drain on the spirit. In this quiet time of the year, amidst the snows and frozen earth, various meditation techniques allow for rest, centering, and rejuvenation.

 

The quiet that nature provides...

The quiet that nature provides…

Meditation offers us a quiet moment away from the hustle and bustle of normal life—a sacred moment, a moment that gives us peace and allows us to be only within our own minds. And yet,  I think that “meditation” for a lot of people raises up images of sitting cross legged ohm-ing or doing deep breathwork (the kind of meditation you might see on TV or find in a Yoga class). These forms of meditation are certainly effective, but represent only a small number of possibilities, and may not be as useful or practical to those who are on a druid path and seeking to connect deeply with nature. Particularly for those walking a nature-based spiritual path, other meditative forms might be more effective and connecting.  I would like to explore some of those today.

 

Three Outcomes of Meditation

Its always interesting to talk with a spiritual practitioner of another path. I have several good friends who have deep Yoga, Zen, and mindfulness practices, and when we talk about daily spiritual life, we find a lot of similarity–but also a lot of difference. In conversations with these friends, I have realized how important it is not to assume the word “meditation’ carries the same meaning, and to talk instead about the specific practices that we do. I have come to understand that  meditation is not a single technique but a wide range of techniques that work on the relationship between mind, body, and spirit and that offer spiritual benefit. These goals of meditation can manifest in at least three ways:

 

Clearing Meditation: Some forms of meditation encourage us to disconnect from the troubles and everyday grit of living–to facilitate peace, calm, tranquility. In eastern meditation, we might have “empty mind” kinds of meditation, where the goal is simply to clear one’s mind for a period of time or practice 30 or 45 minutes of quietude a few times a day. In druid and western meditation techniques, this might be when we practice a “fourfold breath” technique at the beginning of a meditation session to simply clear out what was there. Other forms may connect us to universal energies or our higher self. These goals are very “up and out” kinds of goals, and can certainly be useful and spiritually enriching. I also think these kinds of goals are really useful for distressing and finding ourselves again after busy life circumstances–the kinds of meditation that offer us real health benefits and stability.

 

Connection Meditation. Other kinds of meditation practices ask us to work to be fully present with the moment. I see mindfulness practices from Eastern tradition as a great example of this as well as the practices of nature observation, walking meditation, and other goals that connect us deeply with nature. In this broader goal then, the point of the meditation seems opposite of the first–it isn’t to help us clear and get us out of a present reality, but rather, put is in touch with one.

 

Focus Meditation. A final goal for some types of meditation is the goal of focus. I see this goal really clearly in the use of discursive meditation, where the goal of discursive meditation is to help direct thoughts and lead to deep insight. A second meditation where this happens is shamanic trance and journey work, where inner journeys are facilitated by a particular receptive–and yet focused–state of mind.

 

Reconnecting with the land

Reconnecting with the land

Breaking meditation into these three categories has helped me with my own meditation practice, and it has certainly also helped me teach these techniques to others and explain the benefits.  If you simply want to “meditate every day” as many druid and esoteric traditions suggest, you have to figure out what you’d like to get out of the meditation so that you can use appropriate techniques. If you use only one form of meditation always, you are getting a particular benefit but may not be getting the full range of benefits that different styles of meditation provides. You can also combine meditation styles (starting with a clearing meditation and moving into a focus meditation, for example) for maximum benefit.  So now that we have some sense of the goals of meditation, I’m going to share some meditative techniques that can be helpful for us to achieve them, specifically from a druid-based framework.

 

Preliminaries: Posture and Breathwork

Before you begin any kind of meditation, priming the body and mind for the meditation is necessary. This priming includes posture and breathwork.

Posture: Many meditation techniques suggest a particular posture (sitting in a straight-backed chair with the spine upright, sitting cross legged on the ground on a small pillow to elevate the spine, standing comfortably, laying flat on a hardwood floor with a yoga mat underneath, and so on). I have two thoughts on this subject.  First, because different meditation techniques have different outcomes, the position of the body may need to be different for these.  For deep journey work, for example, my preferred posture is laying on the ground on a yoga mat.  For a simple 10 minute clearing meditation, I’d prefer to sit cross legged outside on a stump or on the ground in front of a candle. So as you think about the roles and goals of your meditation, different postures may be helpful.

 

Another consideration is that some bodies do not do well with certain postures.  For example, some people are very comfortable sitting in straight-backed chairs or standing for long periods of time, while other bodies may hurt after only a few minutes of this practice.  While there is a body element to meditation, in that you can train your body, just as you train your mind, you can also be aware of what your body’s limits are.  Early on, for me, trying to maintain a rigid pose when my body doesn’t want to do that led me to frustration and shorter meditations.  When is tarted laying down and using a yoga mat, I was able to gain tremendous benefits without body sensitivity.

 

Breathwork is used in nearly all meditation styles, and styles of meditation connected with druidry is no exception.

  • Three Deep Breaths: Three deep breaths is a technique taught by OBOD and used at the start of many OBOD ceremonies.  It is a very simple clearing meditation technique where you take three deep breaths, typically tied to the elements of earth, sea, and sky.  So you can simply stand and take a deep breath with the sky above you, with the sea around you, and with the earth beneath you.  And those three deep breaths can be a very simple meditation technique in their own right or as a gateway to deeper work.
  • Four-fold breath. The four-fold breath is a breathing technique that helps you settle into a meditation and is used in many esoteric practices and traditions. I see it as being used for both focus and clearing purposes.  I was taught it through the work of John Michael Greer (Druidry Handbook and other works).  In this technique, you focus on counting to regulate your breath in four equal ways.  The way I do it is this: breathing in for the count of three, hold your breath (lightly) for a count of three, breath out for a count of three, and pause (again lightly) for a count of three.  JMG warns that if you close off your throat at either the inbreath or outbreath to severely, it can lead to long term health complications.   I like to see the fourfold breath almost like a pendulum or swing (breathing in to the moment of apex, where there is that pause and then outbreath, with another pause on the other end, except the time intervals are all equal).
  • Quiet Breath. JMG also describes “quiet breath” as another meditation technique–after doing a four-fold breath, for example, you might transition into quiet breath for the remainder of the meditation (this is the technique with discursive meditation, taught in the AODA’s tradition).  Quiet breath is a normal breathing pattern, where you are lightly breathing in and out in your normal rhythm.  The idea is transitioning away from breath being a central focus of your meditation and into other work.

 

Three Nature Meditations for Druids

Now that we have some of the preliminaries covered, I thought I’d share three meditation techniques that can work well for those practicing a druid path, framed within the three paths or perspectives of druidry: druid arts, ovate arts, and bardic arts.  I also want to indicate that I’m sharing new forms of meditation here–ones that are very connected to druid-based and nature spiritual purposes.

 

The flowing of awen and the river

The flowing of awen and the river

A Druid-Focused Meditation: The druid path asks us to connect deeply with spirit, thus, a simple “clearing” meditation is helpful for the druid path. To do this meditation, you should find a source of running water or falling water (so a rainstorm, stream, flowing spring, or seashore would be highly appropriate). Find a comfortable position near the body of water. Begin with three deep breaths followed by the fourfold breath where you work to simply be present and let go of anything you might be mentally carrying with you. You can switch at this point to quiet breath for the remainder of the meditation. As you enter quiet breath, close your eyes and allow the sound of the water to flow through you, within you, and over you. Simply be with the water, taking the sound into you, feeling the flow of it through you. Do this for a time until you find peace, tranquility, and presence.

 

Water is a very good element to start with for this meditation, but you can actually do it with any of the four elements for different effects. A windy day makes a nice air meditation, as does sitting by the fire, or digging one’s feet in sand or earth. This is a very sense-oriented meditation, but the overall goal is to work with that element to help clear and ground you.

 

I will also note that while I developed this meditation for the purposes of clearing, it also offers benefits for connecting and focus–in other words, it helps us meet all three goals of meditation.

 

An Ovate Mediation: The ovate path asks us to connect deeply with nature, so a walking meditation with a primary goal of “connecting” is a useful for this regard.  For this meditation, go to any natural area and be ready to walk.  Ideally, this should be a place where you are not going to run into a lot of other people, certainly, a place where you don’t have to interact or converse if possible. For this, I like to find a quiet and out of the way path at a state park (but you could go into any natural area that fits your . I begin by standing on the path and doing a simple earth-sea-sky breath and a quiet prayer to ask the spirits of nature to inspire me on this journey.

 

The idea of this meditation is a walking-based meditation, where you get into a state of focus on the world around you, and allow the spirits of nature to simply flow through you and be with you.  For this, the goal is to be in the present moment, experiencing whatever there is to experience, on whatever level there is to experience it.  Observing, interacting, and simply taking it all in and being part of the journey.  This practice leads to deep spiritual awakenings and insights–and each walk, even in the same natural area, can be completely different.

 

A Bardic Meditation: A bardic meditation is often a focus meditation, with the goal of the meditation to bring forth something into the world as part of a nature-enriched creative practice.  For this, it is best to find a place that you find inspiring–a place that sings to your soul.

 

For this meditation, you will want to go to that inspiring place and bring with you the tools of a bardic art you’d like to practice or already do practice. So you might bring an instrument, pen and paper, paints, and so on (I think it is ALWAYS a good idea to bring some kind of recording device as well).

 

Begin by opening up a sacred grove and using the fourfold breath and quiet breath to bring you to a receptive state. Transition into a series of Awen chants, and then simply take the place within you. Be like a sponge, pulling in the energy of that place, hearing that sacred place’s song, story, poem, painting–connecting deeply with spirit. The goal here is to be in a meditative and receptive state so if this place has something it would like you to bring forth, you are able to be ready to have a quiet and receptive mind to do so (the meditation part). The first few times you do this, you might not end up creating anything at all.  But with enough visits and practice, these techniques will put you into a receptive state where awen will flow when it is ready to do so.  

 

This technique, for me, has produced amazing paintings, songs, and words…many of which have ended up here on the Druid’s Garden blog!

 

Concluding Thoughts

There are so many other kinds of meditations that you can do that connect you with nature, your own spirit, and the bardic arts.  I think the important thing, with any of these, is making enough time for these connections to take place.  Not all spiritual work has to be planned–sometimes, the best experiences come from the unplanned things, the things that simply happen, or things for which we make space.

 

Stones Rising: A Reflection on Raising a Standing Stone September 10, 2017

We gather to the outstretched rope lines, ready to move the 22 foot long stone weighing thousands of pounds by hand. Our goal is about a half a mile away, through hilly terrain. This stone destined for the a place in the ever expanding Stone Circle at Four Quarters Interfaith Sanctuary. All have gathered for one purpose: to move this massive stone using our hands and hearts, and to give it a home in the honored northern quarter of the circle.

Part of the stone circle that has been raised in previous years

Part of the stone circle that has been raised in previous years

So much preparation has gone into this moment; building this sacred space from the ground up, the years and years of work. Countless hours of developing expertise on how to move stones.  More recent preparations, from the “stone peoples intensive” volunteers arriving a week early to prepare the site, building and securing the moving equipment, developing the rituals, preparing the grounds.  And there are the stone movers– the huge group of people who have gathered from far and wide. The evening before, we held ritual around the flame stone and called in our ancestors to bless our sacred work.  The next day, we volunteered on one or more of the many paths of service necessary to help the event take shape.  Anticipation built, especially for those of us who had never done the work before.

Calling in our Ancestors

Calling in our Ancestors

And so, here we stood, on the day of the “long pull.” Our hearts, minds, bodies, and spirits ready for the work ahead. Everyone is quiet on the lines except those who are directing the activity. We stood in silent communion with the stone.  The order is given–pull slow and steady.  The stone people work closely with the stone, shouting orders, watching to see how it moves along the path, putting logs underneath so that it can roll along smoothly. The logs are particularly important for rises in elevation and flat areas (as the road we pull the stone down is full of many dips, hills, and turns). The leaders call out commands–we stop, we move left with our ropes, we pull.  We stop, shift again to the right, and pull.  We gather together to shorten the ropes and pull.  We move apart on the longer stretches and pull.  We breathe.  We pull.

A view from the back of the rope lines

A view from the back of the rope lines, the signal to stop.

We are many tribes within tribes gathered here to pull this stone.  And yet, on these ropes, there are no differences among us. Regardless of race, class, vocation, identity, skill, physical appearance, gender, sexuality, political orientation, or ability, we gather as a single tribe with our one purpose–to pull. We have three lines coming from the stone–I was in the middle line, with my small community of druids surrounding me. These druids are dear friends, people with whom I have long shared sacred space, with whom I’ve conducted the work of initiation, with whom I’ve spent many an evening at the bardic fire, sharing mead, stories, and songs. If I fall, I know they will catch me.  But I realize in that moment, looking to the broader tribe of people around me…so would any other person here today.  Whatever differences or divisions there were before this stone pull, they fade away, and with that, our small druid tribe flows seamlessly into the greater tribe, all working as one.

 

Doing the work of raising this stone requires an incredible amount of trust. It requires that we put aside our differences, our disagreements, our pain, whatever we carry with us, and simply trust the other people who are there beside us. You can’t have barriers between you for this work, because you can’t be anywhere but present in the moment. Anything else has no place. I can understand now, in ways that were unfathomable to me before, why the ancients built big things. They built things to build community. They built things to build bonds of friendship and trust that transcend any other boundaries. They built things to bring people together. You couldn’t hold a grudge against your friend or neighbor because the next day, that person you are angry at might be holding the wooden lever that is keeping 2000 pounds of stone from crushing down on you. The ancient monuments that still stand are symbols of that community and trust.

Moving the stone using rollers up a rise

Moving the stone using rollers up a rise

In fact, working in a community to accomplish so many tasks used to be a skill that every human had. Communities worked together to accomplish incredible feats, like building stone circles that stand for 10,000 years.  It is no wonder we need our ancestors here to support us–we reach deep within our own blood and reconnect with their wisdom to guide our hands, hearts, and spirits.  We are not a separate people, but one.  Pull, wait, move.  Breathe.  Pull. Pull, Pull!

 

As much as you depend upon your community during the moving of the stone, your community depends upon you. The stone is so heavy; every person is needed. You have to pull your own weight in the most literal way. At one point, we were pulling the stone up a really long hill, and it was really intense. If we stopped, we might not get going again, so we just kept pulling. Our muscles were burning, everyone was sweating, groaning, giving it our all. There’s a temptation at that point to ease up just a little, to not pull quite so hard, to catch your breath. But you don’t. You pull with all of your might because if you don’t, someone else in your community will have to do so, and that might be too much for them as they are already giving their all. This is another form of trust.

 

If there is one thing that can be said it is that anything worth doing takes time. And stones in particular, move slowly. To move a stone quickly would risk serious injury to either us or the stone. The stone forces us to slow down, to be in the moment, to simply be present, and listen, and attend to exactly what is happening right now. I had to be present in each moment to hear what was coming next. For four hours while we moved that stone, I was in an extended movement meditation where my entire existence was focused on listening for those instructions and doing it exactly as asked. We get into a rhythm. The pauses allow us to reflect on the moment, on the beauty of it. I look to my brothers and sisters of the tribe of the standing people, noting the hickories and white pines who send us their blessings as we slowly pass. As we wait, as we pull, as we move left on our rope lines, as we drink the water that other community members provide, we are simply in that moment.

Some of us on the lines--and there I am in blue, pulling on that rope!

Some of us on the lines–and there I am in blue, pulling on that rope!

 

Our bodies grow sore, but the journey has not yet ended.  For some of us, we spend most of our waking hours in our minds, disembodied, our minds focused on screens of information.  Our bodies come to life in the moment where we pull, our bodies are fully, and sometimes painfully present, to let us know that we are still alive.  Our sore muscles remind us that we are here now, and that we are making this living monument that will last for generations.

 

As our sled that the stone rested on broke, as our log rollers broke, as everything seemed to break and we moved the stone up the last rise by sheer determination, we continued to pull. Finally, we reach our destination. The stone is once again celebrated and we come together as a tribe. That evening, the warriors, the veterans among us and others who choose to join, hold vigil over the stone.  We let the stone know that the community is here, this day, and always.  That evening, we released our fears, doubts, pain, and sorrow and came together as a tribe for the great work, the rising of the stone, to begin.

 

Celebrating the end of the long pull

Celebrating the end of the long pull

The next morning, it is time for the stone to rise to its sacred place in the north. We gather in the morning. All night long, while the warriors held vigil, the corn mother tribe baked us bread. They offer it to us to break our fast. It is delicious, slathered with honey butter. This warm gift fills our bellies and hearts. We pull, pull, pull and the stone is in place. We watch as the stone people slowly use leverage to lift it up, inches at a time, building sturdy wooden foundations to hold it. We wait, we watch, we listen. Finally, it is time for the stone to rise.

Slowly raising the stone using levers and wood stands

Slowly raising the stone using levers and wood stands

Two ropes are laid out, and those of us who are at Stones Rising for the first time are given the place of honor at the front of the ropes so we can watch the stone rise into place. The drummers beat their steady rhythm, while the entire stone circle is decked out in beautiful colors; an outdoor sanctuary to the living earth.  We pull on the ropes, hand over hand, but this is easy work, as we are also using some block and tackle (ropes and pulleys).

The stone rising up!

The stone rising up!

Orren Whiddon, whose vision has created Four Quarters, is leading us in raising the stone.  He tells us that reason we are using block and tackle is because we don’t have the experience of working in a community together. We don’t have enough control.  We would get too excited, and we pull to fast, and so, the block and tackle slow us down. When we are 75% of the way, an additional tool is needed, and it takes time for someone to fetch it from the farmhouse. We hold the ropes. We wait. We breathe. It is not hard work with all of us here; we trust that the community will hold. Then, we are pulling again, hand over hand, as the stone raises up. With a final thump, the stone fits into its hole in the circle. We cheer and hug each other. The great work is done. Children are blessed, the community spends time in celebration, and later, feasting.

 

The main ritual that evening welcomes to the stone to the circle, it is powerful and moving and magic. I catch my breath and look around at my tribe, their faces shining in the dim firelight. I think about so many things there, as we stand in the firelight as a tribe honoring the new stone. Modern humans almost never have the opportunity to experience something like this. We have grown so dependent on fossil fuels and machines that do this kind of work that we have forgotten the most important lessons of trust, forgiveness, community, slow time, and craft. As Wendel Berry writes about in the Unsettling of America, the point isn’t to do something quickly.  It is to do it well. This is especially and poignantly true of building sacred spaces. Fossil fueled powered heavy machinery could never, ever compare to what we experienced here as a tribe. We might gain in efficiency in using fossil fuels, but efficiency comes at an extraordinarily high cost. In the case of building a stone circle or other sacred space, it may come at the cost of the heart and soul of a community. Fossil fuels have made life easier, quicker, but certainly not any more full.  Fossil fuels have stripped us of an extremely important gift–the ability to work together. Raising this stone has given us the briefest glimpse into the power of what that once looked like. And I want more.

 

This experience also has a tremendous amount of value to those of us here in the United States practicing nature-based spirituality. As any druid practicing here knows, we are in a bit of a pickle. We are practicing a nature-based spiritual tradition that originated with the Celts–their land isn’t our land. Some, but not all of us, can trace ancestry back to the British Isles in some form or another. That doesn’t really matter much when we don’t live on that soil. The truth is, here in the USA, we live on someone else’s sacred land. That unavoidable fact puts us in a serious bind–the most compassionate, respectful, and meaningful solution is to build our own sacred spaces. I’ve long advocated before the necessity of creating our own sacred spaces (and have offered some suggestions for how to do so), and this experience radically affirms and extends this idea. Building small spaces with a few friends, or very magnificent spaces, like the stone circle at Four Quarters, is part of our own flavor of what it means to be an American earth-centered spiritual person, an American Druid, an American anything else.

The "Flame Stone", the northern most stone of the circle

The “Flame Stone”, the northern most stone of the circle

The truth is, I’ve been attempting to capture in words an experience so sacred, words can never fully describe its power. But for those who do not have such an opportunity to raise a stone, I hope that my attempt to give the experience voice has given you pause for reflection.  To understand the work of the stones, you must do the work of the stones.  To understand a sacred place, at least the kind we are trying to create here in the USA, you have to take part in the creation of it.  Before I raised a stone, I really had no idea what the circle of stones there at Four Quarters meant, what their power was. I couldn’t hear the singing of the stones. But now, I understand that place. I am connected to it.  It is part of me, and I am forever part of it.

 

And, perhaps, I will pull stone with you next year, on Labor Day Weekend, for Stones Rising 2018! (And for those of you attending the OBOD’s East Coast Gathering this upcoming weekend, I hope to see you there!)

 

PS: I am indebted to Patricia Robin Woodruff, who took most of the photos in this blog post.  You can learn more about her and her amazing artwork here.

 

The Moon’s Sunbeams, or, Reflections on the Solar Eclipse August 21, 2017

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

Forest eclipse pattern

Forest eclipse pattern

The Solar Current’s Power

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

 

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

A Simple Eclipse Ritual

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

Amazing forest floor sunbeams!

Amazing forest floor sunbeams!

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

Walking in an Eclipse

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

 

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

Eclipse at full strength

Eclipse at full strength

 

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

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

 

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

 

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

Crescent Sunbeams, courtesy of the Moon

Crescent Sunbeams, courtesy of the Moon

 

 

Rituals and Activities to Enhance Creativity and Support the Bardic Arts August 6, 2017

This is my song, this is my voice,
These are my words, this is my choice.
Hear me now, take heed of my words.
Love me now, and your spirit will fly.

Hear me in the howling of the wolf,
My voice is the song of the Bards,
I am the power that helps the salmon leap,
I am the very first breath of a child.

From Damh the Bard’s Song of Awen.

 

It has been a long journey into considering the role of the bardic arts in the druid tradition and the role that creativity plays in spirituality. I realized that one final thing was missing from our discussion–a set of practical exercises and rituals that you can use to better work with the flow of awen and embrace the path of the bard. And so, to finish out my long series on the Bardic Arts in the Druid Tradition, we turn today to some practical rituals and practices that you can engage in to help cultivate your own bardic practice. If you haven’t read the other posts in this series, you might want to start there.  They are, in order: the cultivation and flow of awen, cultural challenges surrounding taking up the path of the bard, tips for how to cultivate the bardic arts, the fine art of creating functional things, and finally, the bardic arts as a path of spiritual development.  And so today, we look at five practices that can help you further cultivate the bardic creative arts in your life and in the lives of others: the bardic circle/Eisteddfod, a bardic storytelling ritual, a ritual for invoking the awen, setting up a magical creative working space, and a ritual for cultivating the bardic arts.  I hope that these suggestions offer you some practical tools as you continue on your own path of the bard and embrace the creative flow of awen in your life!

 

Hosting a Bardic Circle or Eisteddfod

In the modern druid tradition, an Eisteddfod is a circle of bards who come together to share tales, stories, dances, and more.  We use this term more loosely in the druid community than where it originated historically, and to frame this practice, understanding a bit about the Welsh Eisteddfod is necessary. Welsh Eisteddfods are traditional bardic arts competitions that have been has been held on a national level in Wales since the 18th century, but go back in various forms much further than that. One of the key early figures in the druid revival, Iolo Morganwg, took the Eisteddfod a bit further.  He developed a “Gorsedd,” which was an event within the Eisteddfod that offered various degrees, ritual and ceremony for the for the purpose of promoting excellence in the bardic arts, particularly poetry, music, and literature. To this day the Welsh Gorsedd has druids, bards, and ovates who wear various robes.  The ranks of the bards include individuals who sit for exams in a variety of bardic arts, Welsh language, and more. Ovates and druids are honored for their contributions to Welsh Culture. Both of these practices persist to this day in Wales, and they take on a particular flavor in the modern Druid communities that trace their roots to the druid revival.

 

In modern Druid communities, it is very common to experience an Eisteddfod, sometimes simply for sharing, and other times, for a bardic arts competition.  Most typically, the bardic circles happen around campfires and can last into the wee hours of the morning.  Sometimes, the Eisteddfod is setup as a formal competition with multiple rounds, winners of individual rounds get to compete at the final night of the gathering.  The winner gets a prize, or at least, serious community recognition. But also, just as often, there is no competition and instead, it is a chance simply to share something by the fire: a poem, a story, a song, . Sharing at an Eisteddfod does not come easily to many people due to a lifetime of cultural conditioning, however, sharing at an Eisteddfod  allows you to break the potential years of silence and thinking you aren’t good enough and again realize there you are, telling a tale and hearing a thunderous applause.

 

Starting an Eisteddfod: You can start an Eisteddfod with friends (including non-druid friends). Ideally, you need a circular space where people can gather and enough people to make it a good time. A campfire or fireplace to gather around is a plus, but not necessary. Consider having a potluck meal as part of your Eisteddfod.

 

Damh the Bard Concert at OBOD East Coast Gathering a few years back

Damh the Bard Concert at OBOD East Coast Gathering a few years back

A Simple Setup. For an Eisteddfod, you need a space where people can gather, enough people to share stories, songs, dances, and other creative expressions, and some libations and food. A fire is a bonus, but is by no means necessary. You also need a master of ceremonies of sorts to help keep things going.  If you are doing an actual competition, you need two additional things: a panel of judges who will be able to declare winners and prizes for the winners.

 

The best part about an Eisteddfod don’t need to invite “druids” over or people on a similar spiritual path. Everyday folks from a variety of different traditions and life paths might find the idea of the Eisteddfod appealing and join your circle of bards.  It is a good way for solitary druids to find community without other druids nearby and still engage in a core practice in the druid tradition.

 

A Bardic Storytelling Ritual of Empowerment

The stories of our own past and histories can help shape our present understanding. This ritual is performed by two people. It can be performed in a sacred space, around a fire, or over a period of days where two people are spending them together. In this ritual, we use the bardic art of storytelling to share stories that are themed through one of four Jungian archetypes (the hero, caregiver, magician, and bard). The two people take turns telling their stories, and while one is telling the tale, the other is deeply listening. At the end of the tale, the listener shares the deeper qualities that he/she heard. For example in a tale of the hero, the listener might hear that the speaker showed bravery, quick wittedness, and eloquence. The goal of this storytelling ritual is to allow both participants to recognize the other’s gifts, the things that are already within ourselves, and that we may want to further cultivate.  Write down the qualities that the listener tells you for each of the stories—they are qualities to remember, and draw upon, for our own healing and growth.

 

The following four archetypes can be used:

  • The Hero (a person who employs courageous acts)
  • The Caregiver (a person who protects and cares for others)
  • The Bard (a person who realizes a creative vision)
  • The Magician (one who is able to work magic)

 

Other possibilities that you might want to include beyond the original three.

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

Ritual for Invoking Awen

This very simple ritual for invoking Awen connects us deeply with the waters and the flow of Nywfre. You can use it at the start of any creative endeavor.

 

Supplies: Sacred Water. Before you can do this ritual, you will need to gather some water from a place sacred to you. Natural springs or wells are particularly effective for this, as is rainwater. If you are home-bound, even getting a bottle of fresh spring water from a local source will be effective here. Once you have your water, you can “make more” sacred water for this ceremony by simply adding new water (of any kind) to it. This water can also be used in your elemental altar, below. Place the sacred water in a small glass bowl and have it available for the ritual.

 

Sacred Flows from a Local Spring

Sacred Flows from a Local Spring

The Ritual:  Begin by taking three or more deep breaths, settling yourself into your body and allowing your breath to center and calm you. When you are ready, close your eyes and ring out the “Awen” chant three times. Then, with the bowl of sacred water, lathe your brow and your hands, and say “May the Awen flow within me. May the muse inspire me.” Take a moment to visualize the flow of the Awen within you, flowing in from the land, sea, and sky.

 

Setting up a Magical Creative Working Space: A Bardic Altar

 

Setting up Your Altar

We can use the elemental systems present in the druid tradition to help cultivate the right kind of energy for our own creative workings. One very effective way of doing this is to draw upon the power of the elements to create a physical shrine dedicated to helping you with your creative bardic arts.

 

For the bardic arts, we might use a four-fold elemental system as follows:

  • Fire – Beginning projects, gathering steam, projects of passion and intensity, any body-based work
    • Materials for Altar: Candles, igneous rocks, plant material that likes to burn (like white birch, conifers), red altar cloth, images of fire/sun/light
  • Air – Projects that require deep and clear thinking, projects that are mind/language/communication/memory based, writing/poetry/songwriting projects, problem solving
    • Materials for Altar: Incense, white/light gray/light yellow altar cloth, feathers, wind chimes, bells, singing bowls, images of the sky and clouds
  • Water – Building positive emotions towards a project, overcoming challenges, allowing the Awen to simply flow through you, any painting-based work (watercolor), other work that requires flow and fluidity (like dance)
    • Materials: Bowl of water, collection of water from sacred places, shells, river stones, opals, blue altar cloth, images of water/rivers/lakes, lake plants, seaweed/lake weed
  • Earth – Continuing on with a longer project that you are growing weary of, stubbornness and determination, also any wood-based work or earth-based work (clay), any nature-themed work
    • Materials: Stones, roots, nuts, fruit, bowl of earth, brown or green altar cloth, bark, images of caves and mountains

You can create a small elemental altar near where you are working on your bardic arts to help bring in that elemental energy to the space. You can change the “focus” of the altar based on what elemental energy you might need at the moment for your work. An altar cloth and change of materials will allow you to always bring in the blessing of the element.

 

For example, I have a permanent elemental altar on a shelf in my art studio. While all of the elements are present, the major focus of the altar rotates based on the project I’m working on. If I am particularly deficient and having difficulty (for me, this is almost always in earth and maintaining my focus on a longer project over time) I will dedicate the entire altar space to the energies of the earth for that purpose. And so, I gather up things that are representative of the earth: leaves, acorns, roots, soil, and a potted plant and bring them into the altar.  I also include a small bowl of water, incense, and a candle to represent the other elements (as their presence is also needed for any project to come into manifestation).  Finally, I include an awen symbol on the altar to recognize and connect with the divine inspiration that drives the creative work.

 

In addition to the elements, you might want to put other pieces on the altar that are dedicated to your particular bardic arts.  For example, if you are working on writing, an old-style pen and inkwell might be appropriate, or a symbol fo Mercury, who governs communication.  If you are a dancer, an old pair of dance shoes and a photo of a dancer who inspires you would be appropriate, and so on.

 

Earth Altar in Kitchen for Magical Crafting and Magical Culinary Arts

Earth Altar in Kitchen for Magical Crafting and Magical Culinary Arts

Another option if you don’t have space for an altar or you don’t have a dedicated bardic arts space (or it isn’t appropriate due to living circumstances) is to hang an elemental representation (or set of representations) somewhere near where you practice your bardic art.  So if you practice your storytelling in front of the mirror in the bathroom, hang up a painting or photo of the element(s) or a natural place that is strongly aligned with that element that will aid you.  You could also use a simple awen drawing for this purpose.

Using Your Altar

You can use the altar in a variety of ways.  The presence of the altar itself will have a beneficial on the bardic work. Pausing before you begin the work to open up a sacred space (see below) using the altar as a focus is also a useful practice.  Tending the water regularly (changing the bowl of water, regular adding of new things, dusting, etc.) also connects you to that bardic practice.  Even if you don’t have time to engage in your bardic arts that day, visiting the altar and offering an awen chant will continue to encourage the flow of awen in your life.

 

Before you begin to do magical crafting or practice your bardic art, you can use the altar as a focus point to open up a sacred bardic grove, which I’ll now discuss.

 

 

Opening up a Sacred Bardic Arts Space

As the druid tradition recognizes that the bardic arts are inherently connected to spiritual practice, you can create a sacred space in which to engage in your bardic arts by using a simple sacred grove opening. This practice is particularly effective if you are working on a project that is new, challenging, or spiritual in nature.

 

This could be very simple:

  • Declaring that you are opening a space for working in your bardic art
  • Declaring peace in the quarters
  • Drawing upon the four elements for strength (see below)
  • Asking the Awen to flow within (see below)
  • Putting up a sphere of protection (AODA) or a simple protective circle (OBOD) for the duration of your crafting experience.

 

Here is some elemental invoking language you can use:

  • May the blessings of the Air inspire me and give me focus and clarity for my creative work.
  • May the blessings of Fire inspire me and give me passion and creativity for my creative work.
  • May the blessings of Water inspire me and allow the work to flow.
  • May the blessings of Earth inspire me and give me grounding and strength.

 

You can also get more specific with the language based on the bardic art.

 

To invoke Awen, yo might use a simple poem:

I call upon the Awen, the ancient source of divine inspiration,

I call upon the muses, the hallowed ones who guide my hand/voice/body
[as appropriate]

I call upon the living earth, the force of nature that inspires my craft.

I call upon my ancestors, whose creativity flows within me.

[Add any additional calls as is appropriate]

May the blessing of the awen flow within me this day and always. 

 

And with that, you can open your sacred space for creating the bardic arts, and leave it open as long as you plan on working that day.

 

Lessons of the River: Nature Connection, Health, and Healing April 23, 2017

Sometimes, natural places call out to us, and we heed their call and journey within these wild places–often gaining profound insights along the way. For some time, I have been called to a particular creek. I would drive over a bridge as I was leaving town to visit my parents, and I watched the creek flow–its gentle water lapping at the shores, ducks swimming, stones and water babbling. I didn’t know the name of the creek, but I knew I wanted to connect with it. Then, one day after a storm last year, I saw some people kayaking on it when it was higher and a bit muddy.  Having just purchased my own kayak, I grew very excited and began asking people about the creek. Eventually, I learned where I might put my kayak in and where I might take it out, resulting in about a six mile paddling trip.

 

A beautiful and warm spring day on a clean river!

A beautiful and warm spring day on a clean river!

Truthfully, the whole journey was a bit of a leap of faith–I had talked to others who had been out on the creek sometime before, but it had been in prior years, and I knew conditions often change. I have a very good kayak that can handle just about anything and have taken some lessons and training to address emergencies, and this was known as a calm and quiet river. I packed some supplies and did a small ritual to protect the boat and off I went. This particular trip offered me several deep insights–but one I’d like to explore today is humans connecting to nature and land/river health (and I think this is a very appropriate post following up from last week exploring Connection as the Core Spiritual Philosophy in the Druid Tradition).

 

The start of my journey was absolutely incredible–the water was pure, the scenery was beautiful. I could see evidence of many people’s interaction with the creek: in a quiet forest you could see benches lining the river, I saw several fishermen was fishing for trout, I saw bikers by the river taking a short break to enjoy the water, and even at one point, I passed a lovingly built small cabin the creek. I could tell from these signs that the river was well loved and appreciated by many in the area, even in some of its more hard-to-reach and secret places.

 

Miles passed in this serene way. I enjoyed my journey immensely and it allowed me to see so much life.  As I came closer to Homer City, which was the town where I had parked my car and was traveling to my “pull out” place, I turned a bend and saw this waterfall rushing into the creek. From a distance, it looked beautiful–I was excited to get up close. But as I started to get closer, something about that waterfall appeared very, very wrong. As I arrived near it, I realized that the waterfall was full of acid mine drainage (AMD), and it had bright yellows, oranges, and metallic spots all over the rocks and was pouring extremely acidic water (probably about a PH 2.5) into that creek.  Later investigation revealed that this particular stream–quite small–is coming out of a series of abandoned mines some 3 or so miles north with no AMD remediation.

 

AMD Waterfall - note the color of water change

AMD Waterfall – note the color of water change

Where the waterfall fell into the creek, the hue of the river changed–it grew cloudy and sickly pale yellow.  The waterfall left this cloudy trail in the water, a very distinct change from before. At first, only the edge of the river where the waterfall was running in was polluted, but as I went down the last mile of the creek, soon, it all took on that color.  Truthfully, as soon as I saw the waterfall and what was happening, I didn’t want to be on that river any longer–I racked my brain to see if I had a place I could pull out of the river early and call a friend to pick me up instead of paddling back to my car. But I decided to go ahead and finish my journey because there was clearly a lesson to see in all of this.

 

In fact, not so many years ago, this entire creek had once been filled with AMD. Acid mine drainage is a very serious issue anywhere where we’ve had coal mines. The earth’s blood and bones are torn up, and in the process, she bleeds, and that pain spills into our rivers. In this area, we have thousands and thousands of abandoned coal mines.  Most of these mines were put in prior to the laws of 1970 that required that mines clean themselves up, prevent runoff into streams, and replant the land. So we have a lot of problem mines that are from pre-1970 that are continually polluting the streams (in fact, this problem can go on for 1000’s of years–some mine runoff in Europe spans back to the time of the Romans!) Around here, due to the high acid content , AMD kills all of the life in and around streams.  The stream has a characteristic orange color, with all of the stones also turned orange and the water itself orange, cloudy, and toxic. In Pennsylvania alone, we have over 3000 miles of AMD-polluted creeks.  They are so prevalent in my area that when I was child, we had so many creeks and streams like that I thought that’s just how all waterways looked.

 

A typical AMD stream with no life

A typical AMD stream with no life

What I didn’t know was that all of Two Lick Creek that I was paddling had similar problems at one time. However, local conservation efforts by several groups have made good headway in the northern part of the river. One a group called the Evergreen Conservancy has been working to clean up one site nearby–and their efforts show!  The other (where I put my kayak in) is the Waterworks Park, that offers an AMD remediation site and wetland. Without the signage indicating that AMD remediation was happening at the Waterworks Park, I would never have known that the northern part Two Lick Creek had ever had an AMD problem.  The creek banks were beautiful, the creek itself full of life and vibrant.  This speaks, among other things, to the power of humans to heal.

 

And so, I simply observed what the AMD waterfall was doing to Two Lick Creek.  The environmental effects were clear.  As I continued to float downstream, the rocks grew tainted and orange, the river grew cloudy and I could no longer see the bottom.  As the river flowed, the tainted water slowly worked its way into the creek–and entire water grew cloudy and the rocks took on an orangish hue.  It wasn’t a serious case of AMD (like my photo above, another creek that nobody interacts with).  Still, nobody was fishing here, that’s for sure.

 

However, the environmental effect wasn’t the most surprising thing on the river that day, instead it was the shift in human-nature interactions. As I floated past the AMD waterfall, I witnessed an invisible “line.”  North of the AMD waterfall, people interacted with the river. They had chairs out behind their houses by it, they had benches, they had little docks, they were out fishing and enjoying the river, and so on. However, after the AMD waterfall, people no longer wanted to be near the river, and they worked to distance themselves from it.  The difference was very striking. People put up fences and walls, dumped their garbage and burn piles near the river, and simply didn’t not go near it.  It became a neglected thing. Despite the same kinds of houses and people and access to the river upstream and downstream, after the river had AMD, it was no longer wanted or desirable. I realized that it wasn’t just that the waterfall tainted the physical water in the river–it also tainted people’s interactions with it.  Pollution literally disconnected humans from nature.

 

In other words, even a small amount of pollution turned the river from something people cared about to something people didn’t.  It turned the river into a site of enjoyment and connection with nature to something to avoid looking at or interacting with.

Upstream: clear, pure, and human connected

Upstream: clear, pure, and human connected (and you can see clear to the bottom–and avoid the rocks!)

 

AMD water...

Downstream: Cloudy, Irony, and human disconnected…(and it’s hard to see to the bottom, and thus, you hit the rocks)

I wonder how often this happens. As lands are polluted or damaged, people no longer want to interact with them.  When people stop caring, stop interacting, even more pollution is allowed to occur.  The pollution itself disconnects us from the land and the more polluted things get, the less we want to interact. Even I, as a druid and land healer, a person who has long faced these things with open eyes and an open heart, had a first reaction of wanting out of that river as soon as I saw what had happened to it.

 

You can see how we have come to the point, in this time of so much pollution and damage, to where people aren’t in nature at all. Why would you want to spend time next to (or on) a polluted river? In a logged forest? Hiking among fracking wells?  (Only crazy druid healers do such things, that that’s spiritual work, not leisure!)  If that’s the only options you have, it is no wonder so many humans are so disconnected.

 

I am left with two profound insights from this experience. First, the work of land healing has an additional dimension that I had previously not realized.  Just like in the permaculture ethical triad of earth care, people care, and fair share: we see these things all entirely linked with the others.  If we can restore nature to a state of health and allow her to thrive, we can help heal not only the land, but the human-land connections (and in doing so, the humans themselves). This allows more interaction with the land, more connection with the land, and helps us grow more “places that people care about.” To me, care and nurturing is an essential quality of helping us, as a species, return to being in a positive and mutually beneficial relationship with nature.  And so, if we heal nature, we can start to heal those connections.

 

But secondly, if we see ourselves and our work as a metaphor for a river, we can gain insights. In journeying down the river, you get to see the growth of the river over time. As each spring or stream flowed into the river, the river’s power and size grew. The creek began, at the start of my journey, about 15 feet across, and by the time I pulled my kayak out of the water 6 miles later, it was spanning 30 or 40 feet. The small “creek” had grown into a river with power, carving out rock faces as it went.  And so, I see the tributaries as people, and all of us, combined as one, could accomplish much more than a single spring or trickle. There is power in these combined currents, just as there is power in numbers of people working together. This is something that I’ve been learning firsthand since taking the first steps to establishing our intentional community here–but also something that I’ve long seen the value of in various kinds of sustainable living (like permablitzes, barn raising or community groups).

 

As much as we, collectively, are the river, we also need to look for the sources of pollution–those things or people that will cloud us and prevent us from being our true and whole selves.  Otherwise, our entire river can become tainted, just like the AMD tainted this river–and that changes everything.  Tainted waterways can be remediated, of course, and perhaps, there are more lessons in this as well.

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Embracing the Bucket: A Colorful Compost Toilet for Small Space Living January 1, 2017

The Druid's Garden beautiful composting toilet! :)

My beautiful composting toilet! 🙂

A few months ago, I posted on humanure and liquid gold as ecological resources. Many are once again realizing that our own waste is a precious resource, not something deserving of a flush. As a quick review, humanure refers to human feces that has been composted down (usually over a two-year period). Liquid gold refers to human urine which can be used immediately (diluted to 10%) as a nitrogen-rich fertilizer.  This waste-cycling practice allows us to reconnect our own elimination cycle with the cycles of nature and bring nutrients back into our landscape rather into toxic municipal septic systems.  Working with our own waste is a very powerful practice for rejoining the cycles of nutrients and flows in the living landscape.

 

And so, as a follow-up to that post, I’d like to share the creation of a compost toilet for my small rental house (as part of my own experiments in rental house permaculture practice).  This post will cover overcoming challenges, basic plans for construction, decoration, and use. I also think this is a wonderful post for the civil new year, and the phrase “out with the old, in with the new” very much comes to mind!

 

Overcoming Mental, Collecting, and Composting Challenges

The idea of collecting and composting humanure includes several challenges we have to overcome: mental challenge and the physical challenge of collecting and composting your waste. I’ll explore each of these first before getting to the specific compost toilet construction and design.

 

When I mentioned that I was thinking about building a compost toilet to my family and certain friends, a number of them expressed a great deal skepticism and doubt, refusing to use it even before it was in place. Elimination is a very taboo topic. The idea of handling a bucket of your own waste, and doing anything with it, beyond flushing it “away” is mentally challenging.  For one, we have to overcome years and years of social conditioning about what “appropriate bathroom behavior” is–and that social conditioning suggests that the best thing we can do is to quietly do our business, to flush it, and move about your day.  There’s also the assumption that it will smell bad or be gross to do anything else.

 

Even if we can wrap our intellectual minds around embracing the bucket (as it makes a lot of sense, as I detailed in my earlier post), we still have to emotionally accept it and overcome that conditioning. After visiting various ecovillages, homesteads, and sustainable living centers, I had already had first-hand experience in using composting toilets, and with that experience, I decided they were pretty cool and worth pursuing.  But more than that, I knew that getting a handle on my own waste streams would allow me to deepen my own nature-based spiritual practice and directly work to regenerate the land by returning nutrients rather than discarding them. So the compost toilet was in line not only with my desire to honor and regenerate the land, but in line with my spiritual ethics.  So these things, along with some positive direct experience helped me to overcome some of the mental barriers, especially emotional ones.

 

Yep, that's a bit hard to avoid....

Yep, that’s a bit hard to avoid….

But what about the emotional and intellectual barriers folks coming to my house who have never used one before?  How could I get them to embrace the bucket? The truth is, based on where I was putting it, even if they didn’t use it, they were going to come face to face with it in my bathroom (see photo). Perhaps pooping in a “fun” toilet would make the difference. I decided that I would create the most beautiful, inviting, whimsical and incredible toilet they had ever seen.  I wanted to create something that people would be excited and overjoyed to poop in.  Heck, I wanted to create something that I wanted to be excited and overjoyed to use! In other words, I would create an artful toilet that was inviting and fun to use, not a plain old seat with a bucket!

 

With the mental challenges considered, there is, of course, the physical reality. Most of us hopefully don’t have a problem with the elimination of waste, but rather the collection of waste and the composting of the waste. The collection is, for a renter, the much more simple of the two. Simple compost toilet boxes, which are a wooden box, lid, and bucket with cover material, are really quite elegant to use. In fact, in my bathroom,  I had a tiny bit of room for a simple compost toilet collection bucket (inspired by the “lovable loo” and the Humanure Handbook).

 

My friend's composting facility (compost delivery was in the dark, so sorry about the poor photo)

My friend’s composting facility (compost delivery was in the dark, so sorry about the poor photo)

The composting itself was my final main hurdle. I live in a small house with a tiny yard that is rented; I can’t be composting my own humanure on land I don’t own (especially less than 10 feet from my neighbors). And so, I don’t have the option of storing it outside.  And I certainly don’t want to store it in my scary and often-flooded basement.  I seemed stuck–how to proceed? Then, a friend of mine told me she was building a humanure composting system just outside of town on a small piece of land she is working. She invited me to make contributions, both because more nutrients is a good thing and because she was having difficulty getting her pile up to the desired temperature. This is community building and teamwork at its best. Since her location is only a few miles outside of town and I got that way often to visit the woods or my family, I realized that it was time to embrace the bucket!

 

Constructing the Toilet (Collection)

The compost toilet is simply a box with a collection bucket!

The compost toilet is simply a box with a collection bucket!

My very first attempt at a composting toilet was going to be very simple: a bucket with an attachable lid designed for 5 gallon buckets. The fact that I had a tiny bathroom contributed to this early choice–there wasn’t really anywhere for the compost toilet to go if it were bulky (as the photo above shows). Some time ago, I had ordered a small lid/seat that would fit a five gallon bucket and was excited to try it out. My excitement immediately dwindled upon attaching it to the bucket.  Sitting on it reinforced my dread: it was small, uncomfortable, and not user-friendly.  Nobody would want to poop on that little seat; heck, even I didn’t want to poop using that little seat. So with this plan scrapped, it became obvious that building a more functional composting toilet was in order.

 

It turns out, building a more functional and comfortable basic compost toilet is a really simple thing: it usually has some kind of outer box that holds the bucket in place, offers a lid, and has a regular toilet seat that is reasonable to sit on to use. Lucky for me, a wonderful man, who I’ll call the Philosopher, has recently come into my life and he has some impressive construction skills (skills that I am sorely lacking).  Witnessing my concerns about the bucket seat I had purchased, the Philosopher offered to build the compost toilet.  The following few paragraphs include his instructions and measurements (although note that this toilet was built specifically for my small bathroom, so you might want to change the measurements).

 

Here is a list of the supplies:

  • 1/2 sheet of plywood (if you are painting it, you can get a sheet that is finished nicely on one side and not as nice on the other); if you are staining it and you want the grain all the same you’ll need more than 1/2 a sheet.
  • 3 five-gallon buckets (assuming off-site storage).  Two of these are collection buckets (so you have a spare) and one is for storing your cover material. Sometimes, Asian restaurants may have these available for free as they often purchase soy sauce in 5 gallon buckets.
  • Toilet seat (the one pictured was less than $10; you can also get this used)
  • Two hinges, wood screws, wood glue, clamps, and basic tools (hammer, screwdriver, table saw)

The following is the cut sheet for the compost toilet based on the height of the bucket and the space I had available in the bathroom.  This assumes one standard half-sheet of plywood.

Cut Sheet for Composting Toilet (one half sheet plywood)

Cut Sheet for Composting Toilet (one half sheet plywood)

The box was constructed by having the four sides rest on the floor and adding the bottom of the box inside the four sides. This is to prevent screws from digging into the floor.  The top of the seat, since it has to lift off and bear weight, sits on all four sides.

Box and bucket before painting

Box and bucket before painting

To get the hole for the bucket, the Philosopher simply traced the outside of the bucket onto the lid and cut it open with a jigsaw. He assembled it all and brought it back to my house for cat inspection. The felines approved.

Cat inspection of the box

Cat inspection of the box

Cat inspection of painting process

Cat inspection of painting process

Painting the Toilet

After the basic construction of the toilet was complete, it was time to paint–I knew these artistic skills would come in handy! Part of it was that I wanted it fun, colorful and inviting. The second part of it was that I wanted the toilet to be educational–so when you used it, you understood the nature of what your contributions.  After working on some sketches, I was ready to begin.

Starting sketches and using a plate to trace my outer image

Starting sketches and using a plate to trace my outer image

The toilet seat I decorated was a wooden one the Philosopher purchased at the hardware store for less than $10. It had a seal coating on it that I had to sand off (do this work outside with good ventilation and use a mask). Once I had the toilet seat sanded, I began painting the seat, the box, and the rest!  I wanted messages that were inspirational but not overtly intense, so I wove them into the box throughout, making it fun, whimsical, and inviting.

Painting Process

Painting Process

I used regular acrylic paints to paint the seat. I knew that a good seal was critically important for protection and cleaning, so I used three coats of clear acrylic sealer (which also needs to be done outside). This would allow me to clean the seat and protect my paint.

 

I wanted whimsical designs and messaging, things that allowed people to understand more the cycle of waste and nutrients as well as invite them to try it out.

Finished lid and seat!

Finished lid and seat!

After painting and sealing, we put the toilet together and admired our work. What began as a simple idea in our minds turned into a masterpiece both of us could be proud of!

Waste Not (front of Compost Toilet)

Waste Not (front of Compost Toilet)

Close up of lid and seat!

Close up of lid and seat!

Close-up of nutrient cycle painting on inside lid

Close-up of nutrient cycle painting on inside lid

Top of toilet inviting you inside....

Top of toilet inviting you inside….

 

The toilet was now ready to use–but first, I’m going to cover a few considerations for compost toilets as I generally understand them.

 

Preparing to Use the Toilet: Some Considerations

You’ll need to gather a few materials and make a few considerations for your compost toilet, specifically, how much of your business you are going to be doing in the compost toilet and what your cover material will be.  These are two related considerations: cover materials vary in absorbancy, and that will determine how much urine you can add to your toilet.

 

The first is finding a carbon-based cover material. Currently, I am using sawdust from the Philosopher’s father’s woodshop (free resource, and he doesn’t use treated wood) as well as partially composted wood chips from my parents’ house (free resource from local tree work).  In the future I’d also like to experiment with shredded fall leaves.

 

Now, absorbency is also important.  From a good friend who was living in a camper and moving around the country, and using her compost toilet full time, I learned the following: sawdust, woodchips, and the like aren’t very absorbent.  If you are going to be doing all of your business in your compost toilet, something more absorbent is necessary.  Peat moss or sphagnum moss was her choice, although she acknowledged that that’s the best she could get on the road consistently, and she didn’t prefer it for environmental reasons but didn’t always have access to anything better.  She said if you only use sawdust, you are likely to end up with a bucket of soup, especially if you aren’t able to dump it very often.  (I’m interested in hearing from other readers if they have experiences using other more sustainable-yet-absorbent possibilities–I’m also going to try shredded newspapers/office paper combined with some other available materials and see what that does).

 

Cover material for the toilet

Cover material for the toilet

I am currently solving this absorbancy problem but collecting urine separately and using it for plants and offerings back to the land (as I described earlier in my first post on the subject).  I have also seen this design: a separate urinal (for liquid gold) and toilet (for humanure) in many of the more elaborate compost toilet setups (like at Sirius Ecolvillage where I did my Permaculture Design Certificate). These two human wastes have very different uses and necessary treatments.

 

Further, if you are changing your bucket out at least once a week, the solid droppings don’t stink once covered up at all–its really quite amazing. However, urine will go to ammonia the longer it sits, exposed to air, if its not properly absorbed.  So I have found that using my compost toilet with the sawdust mainly for solid deposits (allowing for some liquid during making a solid deposit) doesn’t’ lead to any smell and the sawdust works well.

 

Another consideration is what happens to the toilet paper.  From a report from friends, toilet paper takes a lot longer to break down than humanure and you are sometimes left with only bits of TP with otherwise well composted material. Given this, many people don’t include theirs in the bucket.  But to me, this makes more waste, and helps with the absorbancy issue. Also, its possible to get recycled and undyed toilet paper, and that makes even little bit better. Volume here also matters: I am living alone with occasional visitors, and having a family of four would require much more buckets and volume (but also faster turnaround time as the buckets fill up).

 

In the end, a number of factors will impact how you use your compost toilet.  I’m in some ways making it out to be rather complicated, and it really isn’t.  What it ultimately comes down to is this: have some cover material, do your business, cover it up, and go about your day!

 

The edge of the bucket goes right up against the wood to prevent accidents!

The edge of the bucket goes right up against the wood to prevent accidents!

Using the Compost Toilet

Using the toilet is really easy.  You’ll need to do the following:

  1. Start with a layer of cover material on the very bottom of the bucket. I add about 1″ of sawdust to mine when starting a new bucket.
  2. Do your business. 
  3. Add a layer of cover material, covering your deposit. Fully covering the deposit ensures that you can reduce odor. But not all the TP needs covered; people often use way too much cover material, so keep this in mind.
  4. When the bucket is full, transport to the compost facility (backyard, friend’s land, wherever). Make your deposit at the compost pile (see below) and then clean your bucket.
  5. Repeat the above steps!

Composting and Storage

Here are some good instructions for how to build a composting facility for your humanure (this comes from the Humanure Handbook folks, which I would highly recommend for more details and information).

 

For my friend’s facility, the process is really simple. She built two potential piles that are both enclosed (to avoid having vermin or her pet goats in the pile). One pile is “active” meaning we are adding to it, and one pile is “composting” meaning that we are waiting while it composts down. She is using a piece of wire square of fencing (rigid) to keep critters out that covers the pile, then a thick one foot layer of hay to help keep the pile insulated during the cold winter months.  She also is using a thermometer to check the internal temperature of the pile.

 

To add deposits, we simply remove the wire square of fencing and then remove hay/insulating material from the pile, add the bucket to the pile, cover the pile back up with hay. Then we rinse the bucket with Castile soap (Dr. Bronner’s works well) and use a small toilet brush–adding all the liquid back into the pile. In the summer months, she has a water barrel there for that purpose, but in the winter months, we bring a gallon of warm water with us from home to rinse.  Then, the bucket simply goes back to your compost toilet to collect another 5 gallons of resources!  The Humanure will be very occasionally turned, and then added to perennial trees, bushes, and shrubs after composting down for two years.

 

I hope this post was inspirational and informative, and I believe it is a great way to start this new civil year. I know that 2016 was a hard year for many people, but I think its important to focus on what we are able to do, here and now, and find our way forward in harmony with the land. The problems we face ask us to creatively engage with our world, to embrace it with consideration and care, and I know that all of us, in our own ways, will continue to do that into the future.