The Druid's Garden

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

Working with and Honoring the Sun at the Solstice June 16, 2019

Sacred rays of the sun

Sacred rays of the sun

The sun’s rays come over the horizon, on the solstice, the most sacred of days. The solstice goes my many names, the day of high light, midsummer, Alban Hefin. Across the globe and through time, it has been celebrated since before recorded history. In the light of the sun, we have strength, warmth, growth, energy, abundance, healing, and wisdom. The sun has been shining down upon our beautiful planet has been shining for at least four billion years and we can expect it to remain unchanged for another five billion years. The sun is also enormous–it accounts for 99.86% of the mass of our solar system.  It is such an incredible thing that it’s hard to image in the scope of the sun as it compares to of human lives or human history.  You might say that the sun is one of the most constant things we’ve had–since before humans were humans, since we can trace our ancestry back to some fish crawling up out of the ocean, the sun has been offering its light and warmth to us in its steady and powerful way. The same sun that shines upon you today has shined upon your every ancestor before you. You can see why ancient cultures all over the world celebrated the time of the greatest light and honored the sun as a deity–for without the sun, we would not exist.

 

Thus, on this sacred day, many choose to honor the sun in some way.  In the last few years, I’ve shared some sunrise rituals and a sunrise journey ritual. These sunrise rituals certainly offer us a glimpse of that first ray of the light, the power of the sun as it shines forth–and are excellent for people who want to rise early and see the dawn’s first light.  Today’s post is for those who are looking for additional ways to honor and celebrate the solstice through a variety of “small rituals” and “solstice activities” that you can do to celebrate this most sacred of days.

 

Honoring the Sunrise, Noon, and Sunset

Sunrise ritual

Sunrise ritual

A simple way to mark the Solstice (either one, actually) is to honor the rising, high point, and setting of the sun.  You can do this as elaborately or as simply as you want. A very simple way is to use a drum or singing bowl, and simply allow the sound to come forth.  You can also do this with a simple ritual (chanting “Awens”, saying the druid’s prayer, doing the AODA’s Sphere of Protection, saying the OBOD’s Druid’s Prayer for Peace, etc).  Or, you can do this with movement or anything else that you like.  Choose something meaningful to you, and allow the energy to flow.

 

Make a Sundial and Attune with the Sun

You can honor the sun by creating a permanent or temporary sundial.  Sundials are some of the oldest forms of time pieces, and they are a wonderful way to connect with the movement of the sun across time.  There are two ways to make a sundial: working with the sun or working with sacred geometry.

 

To work directly with the sun, you simply need a timer or clock that can go off on the hour (or on the half hour, if you prefer).  You will want whatever you are using for your sundial and place it in the full sun.  You can do this with simple materials, like a pencil and a paper plate.  Or, you can get more elaborate and plan on carving into or painting a wood round or stone as a final product.  Put your dial into an area that gets full sun. On each hour, mark it.  I do this in pencil, and then later, if I’m doing a more permanent dial, I can come back to it and mark it more permanently after I have the marks.  After the hours of the day, you will have a sundial–but that sundial isn’t yet complete. The sun’s position in the sky changes, so to really do this perfectly, you would do this again at the winter solstice.  Draw a line between the marks for summer and winter, and those are your times for the dial.  While it takes you a full season to complete the sundial doing this method, it is a wonderful way to work with the sun directly.  If you want to get *really* fancy, do this at the equinox (either one) and then you can also have a mid point for the equinox.  What is wonderful about this approach is that you have done this by observing and marking the path of the sun at three sacred points of the year–and honoring the energies of each of those points.  This, truly, is a sacred sundial.

 

The alternative is to use human knowledge and sacred geometry–so you make the dial in advance, and then place it out on the solstice, marking it. To make one for your latitude, you will need to use a calculator, like the ones on this page.  Many of the instructions online work from the premise that you want to create a sundial and use it to tell time–so you start with the latitude, which gives you angles, and you create the points.  It is a fairly easy thing to do once you know where to put the marks and there are plenty of tools out there for you to try.

 

Sunbathing Energy Ritual

Find a quiet place in nature where you won’t be disturbed and where you can lay in the full sunlight.  You can lay on the earth or on a blanket if you prefer. This is best done at noon, as that is the time of highest energy, but anytime the sun is shining down on the solstice (or the day before or after) the ritual will work. This ritual is best with minimal or no clothing so your body can best absorb vitamin D from the sun, but use your best judgement.

 

Begin by honoring the sun however you see fit. Singing bowl, sphere of protection or grove opening, calling to the power of the solar current and the fire, etc.  Once you have honored the sun, lay down and simply absorb the sun’s rays. Feel the sun soaking into your skin, the heat and light of the sun warming you. Flip over and again, simply lay and absorb the sun.

 

I will note that some people can do this longer than others.  I happen to have rather fair Irish skin, so I do this ritual only for about 5-10 minutes per side.  Its enough to get the energy and enough to not get a sunburn.

 

After you have concluded sunbathing, thank the sun for his light, saying anything that you would like (let the words flow through you).

 

Hemlocks in the Path of the Sun

Hemlocks in the Path of the Sun

Energizing Liquids and Objects

For those of you who’d prefer not to lay in the full sun, you can get the effects of the above ritual (and save those effects for a later time) by using the sun to empower and bless a liquid.  For this, I like to get a bottle of my Dandelion wine or other alcoholic beverage.  I place it in the noontime sun for 30 or so minutes, allowing the sun’s rays to fully permeate the bottle (yes, I know that too long, and the rays will damage the contents.  But this is an energetic blessing!)  After the blessing, thank the sun.  Now you have a bit of bottled sunshine, and you can open it and drink it anytime you like.

 

A variant of this is to create a solstice tea.  Combine any number of sacred herbs, particularly herbs that are in their full power during the summer solstice (chamomile, mint, elderflower, rose petals, a small amount of yarrow, etc).  By this I mean herbs that are in bloom during the solstice.  Get a large mason jar, and fill it with pure water.  Add the herbs and let it sit out in the sun.  For this particular blend, I will actually allow it to sit out all day–from the moment the sun is visible to the moment it sets.  Then, as darkness sets in, I will drink the tea.  (You can also freeze this tea to use at a later point, say, for ritual at the Winter Solstice).

 

The same kind of “energizing” can be done with simple ritual tools, stones, anything that you’d like to put a burst of energy into.  The nice thing about working with the sun is that it has so much energy that it radiates and it gives that energy constantly.  You placing that energy into an object will never be a problem for the sun!

 

A Solstice Frolick

Another fun thing to do at the solstice is to go for a frolick.  A frolick is different than a walk or hike–the point of the frolick isn’t to go anywhere.  It is simply to experience the simple joy of being outside on a beautiful day with the sun shining down.  Maybe even get a bit lost for a while. For the frolick, go somewhere you love or somewhere new, somewhere where nature has power and strength.  Spend time wandering without any real goal; take whatever trail you fancy, or maybe take no trail at all.  Allow yourself to experience the wonder and awe of the living earth.  Wear ridiculous clothes.  Play panpipes.  Pay close attention to how the sun’s rays shine down through the leaves, or on the surfaces.  Explore every nook and cranny.  Note the movement of the sun.

 

Standing stone

Standing stone

Set a Solstice Standing Stone

The druids of old understood that standing stones have power. Setting a standing stone at the solstice is a particularly powerful act. A stone, buried 1/3 of the way in the earth, channels the powerful and healing solar current into the earth, intermingling with the telluric current. It allows the healing rays of the sun to shine forth, powerfully and meaningfully. You can set the stone as a sacred act, with as much ritual and fanfare as you like. When I set stones, I usually determine in advance where the stone should be placed using inner listening and spirit communication. open up a sacred grove, sit with the stone and the earth for a time, and then set the stone. I bless the stone with the four elements, sing to it, and then spend time in meditation. When the work is done, I close out the sacred grove. Stones can be set anywhere for blessing, energizing, or healing: in a sacred garden, a sacred grove, a field, a refugia garden, a place in need of land healing.

 

I hope these solstice activities offer you some ideas and suggestions.  Readers, I’d love to hear more about how you celebrate the solstice!

 

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 Fire and Smoke Ritual for Land Healing and Blessing May 5, 2019

A few years ago, I led a smoke cleansing (smudge) stick making workshop at the OBOD’s East Coast Gathering event. As that event often has upwards of 100 attendees, I spent months growing and harvesting materials for the event so that everyone could make 1-2 sticks.  Sure enough, everyone got to make some smudge sticks and the workshop went great.  After the workshop, one of my friends and event fire tenders, Derek, came up to me and asked me about the leftover materials.  I had been placing them in a paper bag, and had planned on taking them home to make more sticks or return to the land. He said, “I want to make a smudge bomb and send healing smoke to this entire land.”  I said, “Yes, what a great idea!” So we tightly bundled up the remainder of the material, which filled at least 1/3 of the paper grocery bag, and wrapped it with the same cloth string.  The next day, as the Ovates were meeting around the fire circle in preparation for ritual, he brought out the smudge bomb.  The previous night’s fire had been a particularly large one, and in the morning, it still contained the embers from the fire the night before. Derek carefully placed the smudge bomb into the glowing embers.  It worked just as we hoped: it smoldered and sent up a healing and blessing smoke into the surrounding land. And it lasted quiet a long time!  Ever since that experience, I’ve been working with fire in different ways to think about how we might use fire and smoke to bless and heal large spaces, and how we can also make offerings in thanks to fire, humanity’s oldest friend and companion.  Today’s post compiles some of those ideas, big and small and is a follow-up to my ancestral Beltane fire post from last week.

 

Altar with various bundles, getting ready to burn

Land Healing through Fire and Smoke: A Fire and Smoke Ritual  in Three Parts

Using the “smudge bomb” experience for inspiration, I developed a larger technique for using fire and smoke for land healing and blessing, creating specific ritual objects that are created in a sacred manner and then burned to send that energy, by way of smoke and wind, to far off places.  As I described in my earlier series on land healing, land healing comes in many forms.  Energetic healing or palleative care can be useful in situations where the land is actively under duress (which unfortunately describes many places on earth currently), where physical land healing (through permaculture, seed scattering, etc) is not an option. One of the challentes with land healing, particularly on a larger scale, is that you don’t always have physical access to the land you want to heal.  I do think that doing ritual directly on the lands you want to heal is most effective–but doing something else at a distance can be equally as effective if you have some good way of transmitting that energy.  Thus, this ritual technique is very useful for spaces, far and wide, that are otherwise inaccessible: around here that would be large swaths of logging, strip mines, polluted waterways, etc.  It is also very useful for healing more distant concerns: the plight of polar bears in the Arctic or deforestation in the Amazon, the oceans, or some other “far away” issue.  Or maybe you want to do land healing working for the entire globe. Thus, this technique is one that you can use to send healing and blessing energy to the lands nearby–or quite distant, using air and smoke as a carrier.

 

Smoke is often seen in today’s culture very negatively primarily because of our challenged relationship with tobacco: we have secondhand smoke, smoking as a harmful and life-threatening, smoke from wildfires causing issues, and  much more. And yet, smoke cleansing and blessing practices have been used throughout human history and in many cultures as a blessing and purifying agent (this link has a nice overview; this link is a study to over 250 plants used in smoke healing around the world).  In the druid tradition and in other pagan traditions, we use these practices quite a bit: through smoke cleansing (smudge) sticks, incense, using tree resins– smoke helps us call in and establish air in ceremonies and connect deeply with that element.  We often use smoke clearing, incense and similar such things on a smaller scale–but why not consider it on a large-scale for land healing or blessing?

 

Thus this technique has three parts.  Each of these three parts has both a physical component and an energetic component. The parts are:

1. Creating a bundle or object that will turn to smoke and bring that energy, through the currents of the air, to other places.

2. Creating a fire in a sacred manner and opening a sacred space.

3. Burning and releasing the bundle and directing energy.

(And then, of course, closing out your space and giving thanks. )

 

Part 1: Making Your Healing Bundle / Healing Object

Now, I’ll walk through some potential options for how to create your own healing bundle.  I am giving you options below to spark your own creativity, s.  Before we get into the bundles, I want to offer a few general principles:

 

  • *Everything* in these bundles should be all natural, coming directly from nature. This is because you are burning the objects, so obviously, you don’t want to burn something that pollutes the air.  So for example, if you are using string, it should be cotton, hemp or jute (string can be plastic), wax (use soy wax or beeswax).  Because non-natural materials can release harmful chemicals into the air, thereby rendering any particular healing work you want to do ineffective.
  • Like most magical workings, I think its less important the physical form it takes and more the intentions you bring with it.  Work with what you have and don’t worry about replicating what I have here–rather, create things from your local environment that speak to you.
  • Look for opportunities: a fallen conifer branch, a neighbor trimming a hedge of rosemary or hemlock, a huge number of pinecones, abundant material on your own land, etc.
  • At the same time, a larger size bundle certainly does give a good ritual effect, which is something you might want to consider.  Small ones work great too, but large ones burn longer, giving you more time to focus healing energies in a particular direction.

Three sample bundles: pine cone/herb bundle, wood burned oak slab, and bundle of sticks wrapped with prayers and sealed with wax.

There are two kinds of bundles you can make: things that are meant to smolder and things that are meant to burn. Things that smolder  are more traditionally used like incense on coals, and are designed to be added to existing coals or a slow burning fire.  Things that burn, on the other hand, are designed to burn when a fire is hot (and usually are wooden in some way).

 

Some Possibilities for Things that Smolder:

 

The Herbal Healing Bundle: This technique uses a bundle of aromatic dried healing herbs, very similar to the “smudge bomb” I described in my opening–a mix of carefully chosen herbs for their healing effects.  You can design a specific bundle for a specific healing purpose based on the herbs that you choose (see my list here).  I like to create these at the end of the season, when I’m clearing out my garden, and I have to cut plants back anyways.  This is also a great use of the stalks of plants; so if I’m harvesting sage, rosemary, wormwood, tobacco, and other plants, after I harvest the leaves, I am often left with a lot of stalk matter that I don’t know what to do with–and it goes in the bundle.  Any material (other than poison ivy) would work fine for such a bundle, but I think it’s particularly good with aromatic healing herbs that burn well–rosemary, sage, thyme, mint, scented geranium, wormwood, mugwort, etc.   For this technique, if you are using dried herbs, I suggest using a paper bag (which you can write your intentions on and then place the herbs inside) and wrap it tight with cotton string.  Depending on the nature of the herbs, you might be able to make your bundle without the bag, especially if you have a lot of long plant stalks, etc.  If you are using green/fresh herbs, you probably want to just bundle them without the bag using cotton string so that they will have a chance to dry out.  If you don’t grow your own herbs and/or don’t do wild foraging, this options probably isn’t as good for you as it requires a good amount of herbs and obtaining them may be more cost prohibative.  Never fear, there are many other options!

 

The Resin and Herb Bundle:  Conifer resins are a great addition to the herbal healing bundle; they smolder and produce a very good deal of smoke and last for a long time.  You can add conifer resins to a standard herbal healing bundle or use them on their own.  You don’t want to throw these directly in a fire; they are better off smoldering on coals.  You can also add conifer needles and branches, which will sometimes crackle and pop.

 

Pine cone bundle – this was for blessing the conifers of the land

Pine cone / Herb Bundle: Pine cones make great smoldering options, as they often contain a lot of resin in them.  I like to sprinkle my pine cones with herbs and then bind them together.

 

Shapes, Rings, and Effigies: Rather than putting your materials in a bag, you might instsead choose to shape some form–a wreath, for example, offers additional symbolism. Certain kinds of herbs and plants are obviously better for this than others.  An easy way to do this is to get a wooden ring started (see my instructions here for how I did this for a different project) and then from there, you can use cotton string to wrap dried or fresh herbs around the ring, layering until you have somehing you are happy with.

 

Things that Burn:

The Conifer Bundle: Conifer trees love to burn, and many of them have needles that are flamable, even when they are green and not dried out.  Eastern white cedar and other cedars, in particular, goes up well.  You can create a bundle of fresh or dried conifer boughs (or create a wreath or other shape).  This would be a good way to use up material from your Yule tree or else if you or a neighbor were trimming hedges of confiers, etc.   Bundle them up with cotton string and watch the sparks fly!

 

The Wax and Herb Bundle: An alternative to the large bundle described above uses beeswax candles wraped in herbs.  Beeswax will burn very brightly and leave off powerful light, and thus, is particularly good when you want to be bringing energy into a situation.  Take 1-2 beeswax candles (or a small brick of beeswax) and then layer the outside with herbs.  Or, you can heat wax up till its just soft, and then, roll herbs into the candle.  When you throw this into the fire, it will burn brightly and send energy outward quickly.

 

The Wooden Message Bundle: A final option is to use wood itself to fashion something–a bundle of sticks, wrapped with messages or healing words.  A wooden round with wood burning or natural ink messages, a wooden object bound together with string; a vine wreath with tucked in messages, and so on.  The sky is really the limit here.

Burning a Land Healing and Blessing Slab at Beltane

This first photo is for a simple healing for my own land; working with a wooden slab that I created and later burned ritually.  My own land was damaged through logging the year before I bought it, and I’ve been doing a lot of healing work here.  Burning this in a central fire helped send that blessing energy out to the land (and after burning it, to help further the intention, I did some cleaning up of a burn pile left by the previous owners that I had found a few weeks earlier).

Prayers for the world bundle

The second was a more in-depth bundle I created for holding space for species in decline and in danger of extinction and for ecosystems under direct threat. Each of the sticks in the bundle was a message that I wrote and tied to each stick; each stick became part of the larger bundle, which I sealed with wax. Each of these prayers were global in nature, thus, the smoke would carry the energy where it needed to go.

 

Part 2: A Sacred Fire

The bundles can be made anytime in advance of your fire ritual.  You can also make them together, as a grove or group of people.  To do your ritual itself, you can choose an aspicious day for your ritual (a full moon, a new moon, one of the wheel of the year holidays, etc).  I used Beltane for my most recent bundles–which are what the photos are of in this post.

 

If you can, I suggest building the fire intentionally and using traditional techniques (or in the least, not starting your fire with fossil fuels like lighter fluid–this is a healing ceremony, and using fossil fuels which are causing so much ecological damage sends the wrong signal and energetically, has issues).

 

Fire ready to accept healing bundles

Fire ready to accept healing bundles

Prior to starting your fire, I suggest that you open up a sacred space using whatever method you typically use (for druids, this might include delcaring peace in the quarters, calling in the four elements, saying the druid’s prayer, and casting a circle or protective sphere around the space). Once you’ve setup your sacred space, light your fire and tend it till you have what you need: good coals you can rake into an open area (for the smoldering bundles) or a blaze (for the burnables).

 

Part 3: Burning Your Bundle and Sending Energy Out

Once you are ready, place your bundle before you.  I like to do an elemental blessing of my bundle at the fire, blessing it with the four elements: earth, air, fire, and water, inviting those elements into the bundle to help with the healing work.  You could do other things here, for example, if you are a reiki practitioner, you could send some reiki energy into the bundle, etc.  You might also raise energy in the bundle in other ways; drumming a steady beat into the bundle also works great.

 

Burning the healing bundle–I let the fire go almost out, then I put it on there and it smoldered for a long time.

State your intentions for the bundle, and offer it to the fire.  Observe as it burns, watching it and seeing if you see any messages within the fire.  As it burns, you want to envision that energy going to where you want it to–that the winds take that energy to the places you wish it to travel.  This may take some time, and my suggestion is to hold space for the duration of the bundle burning and smoldering.  You might also do other things to help the energy get there: drum, dance, sing, etc.

 

Once you are done, close out the space, and if at all possible, allow the fire to burn out naturally.

 

Embracing Ancestral Fires and Fire-starting at Beltane April 28, 2019

An awen-shaped sacred fire, created from my flint and steel

An awen-shaped sacred fire, created from my flint and steel

The tiny sparks from my flint and steel shower down on my char cloth.  This flint and steel set was a gift from a fellow druid from almost a decade ago, a gift that has long offered me a connection with my ancestors.  It takes me a few moments to remember the technique he taught me, striking the steel against the flint in a particular way with a particulary angle to my body.  Starting a fire in an ancestral way isn’t just a mental act; its an emboded one.  I breathe deeply and remember, and the tiny sparks fly from my tools to the char cloth. After a few more attempts, a single spark lands on the cloth and starts to glow orange. I carefully pick up the char cloth and blow on it to increase the ember size, then place it in a specially prepared “nest” of bark, pine pitch, and soft cattail and milkweed fibers.  I blow some more on the nest.  At first, nothing happens, and I fear the spark is lost.  But then it starts smoking, more and more, and suddenly, the whole nest is aflame.  I lay this nest carefully down and begin layering thin plant stalks and dried materials that I had prepared in advance, slowly building the fire from that tiny ember.  In 30 minutes, the fire is blazing and warm, and I feel intimately connected with it because I was able to start it on my own with basic tools.

 

We call Beltane a “fire festival” in the neopagan traditions because fire plays a central role. Modern Beltane festivities are derived from the ancient tradition in Scotland, Ireland, and the Isle of Man where people lit fires and drove cattle through them as a blessing as they went out to pasture for the summer months. People seeking blessings also lept over the fires.  For a nice description of the history of this practice, see this site.  Fire was such an important part of Beltane because fire represents the sun, and by May 1st, people are eager to welcome back the sun, to enjoy the sun of the long summer months, and to have sunlight to kiss our crops that they may be fertile and abundant for the long winter ahead.  Today, in honor of the fires of Beltane, I want to talk about fire as an ancestral practice and encourage exploration and experimentation with fire and fire starting in more traditional–and ancestral–ways.

 

Fire and the Ancestors

Fire is one of humanity’s oldest friends, tools, and teachers.  New research from the Wonderwerk cave in South Africa suggests that homo erectus–our pre-human ancestors–had been cultivating and working with fire at least one million years ago, possibly 1.5 million or more years ago.  It is likely that when we evolved from homo erectus into homo sapien, fire was with us.  That is, when we birthed from the ancestral womb into the species we are today, fire was with us.  When our ancestors transitioned from hunter-gatherer societies and developed agriculure at the start of the Holocene 8000 years ago, fire was with us.  When our ancestors needed to stay warm in harsh winter weather, fire was with us. When our ancestors needed to keep back the predators in the dark, fire was with us. Fire is with us even now, as we heat our homes, move our vehicles, cook our food, and journey far and wide.

 

Perhaps the most interesting facts about fire is that it is one of the two things that distinguish us from other species (the other being language, although that fact is currently under debate).  Fire scares and drives away animals and insects, while it invites humans in closer.  If you are camping in the woods, its instinctive to want to have a fire, get close to it, and burn it brightly.  Some of my most frightening times in nature have been when I was alone in the dark woods without the warmth and comfort a fire offers. This, too, was ancestral.  Because my ancestors have been enjoying the warmth, light, and protection of fire for literally millions of years–it is no wonder that the primal part of my brain felt it lacking, especially when I heard critters afoot in the cold and dark night.

 

Today, people gather around fires, indoor or out, just as our ancient ancestors did. At any outdoor event or camping trip, there is a fire to be found. And where there is fire, there are people gathered, laughing, cooking food, telling stories, drumming, sharing songs, or more. Indoors, the fire has much of the same function. The hearth in traditional times was the center of the home. The fire burning, food cooking, the sharing of skills and traditions across generations. The hearth offers us a place to join with each other, teach each other, and nourish our own spirits.

 

 

Fires burn

Fires burn

Fire also has also contributed significantly to human evolution; Charles Darwin said that humans were distinguished evolutionarly by two things: langauge and fire. We can see this is true from both the evolution of the human brain and the evolution of human societies. First, fire has the unique ability to render food more digestable: we see that the application of fire to meats, vegetables, and fungus creates it more nutrient rich and dense. Some scientsts suggest that this has had a strong evolutionary function, in that more nutrient rich foods, honed by fire, allowed for a larger brain to develop (as typically, about 1/5 of our total calore intake goes towards our brains). Fire also was a driving force in moving humans further up the technological ladder: fire is what allowed us to create and refine copper, bronze, iron, steel and today, many, many advanced technologies still rely on basic principles of fire. Thus, each successive civilization has learned new and powerful ways to harness fire–and sometimes, to destroy with it.

 

 

Fire has had spiritual connotations throughout human history, and across human cultures. The worship or deification of fire, known as pyrodulia, pyrolatry, or pryolatria, was common, particularly in pre-industrial societies. The ancient alchemists and hermeticists, too, understood the importance and power of fire.  Alchemists divided fire into four types including the “secret fire” upon which all inner alchemy (spiritual alchemy) was based.  Likewise, in the Golden Dawn tradition, fire is considered the first element, and everything descends from fire.  Ancient societies, including Greek, Roman, Indian, and Chinese, venerated fire and worked with it elementally and ceremonially.

 

In every way, fire reconnects us to our roots, to those ancient ancestors who gave us such an important gift.  When I look at the fire from this perspective, I realize that fire is my most important ancestral gift, and thus, one of the best ways to honor my ancestors is to learn and understand fire, to work with fire as they might have, to learn to start and build fires, and to honor them through this practice.

 

Beltane Fire Traditions, the Ancestral Way

So perhaps this Beltane, considerworking deeply with fire in a new way.   I offer three suchs suggestions for how to honor the ancestors and work deeply with fire at beltane: traditional fire starting, tending, and honoring the fire.  These are three of many, many you can consider!

 

Fire Starting and Honoring the Ancestors

For most of us, fire starting requires a match or lighter, something that makes a quick flame.  We often build a big stack, put wads of paper in it, light it with some fossil-fuel derived source, and hope for the best.  However,  learning to make fire in other ways, slower ways, ancestral ways, creates what I can only describe as a different quality fire.  For one, you have a different investment in the fire, both from a physical and mental perspective. On the mental side, we use ancestral knowledge, knowing what materials to use, knowing the techniques, learning and failing and growing from the experience.  On the physical side, as I mentioned in my opening, fire starting is an emboded practice.  These practices take a lot more physical effort, particularly when you are learning.  But that physical and mental effort leads us to amazing outcomes:  fire we have truely kindled and lit with our ancestors beside us. But also, by starting a fire in a more traditional way, you invite your ancient ancestors to your side, and thus, the fire seems to have a different quality.  Finally, the fire has more meaning becuase you have done it the slow, old way, and that has power.

 

Another naturally created sacred fire

Another naturally created sacred fire in a special firepit

The “Fire Triangle” I learned at the North American Bushcraft School offers some practical suggestions for ancestral fire starting. This triangle suggests that we need Fuel (something that will easily burn); Oxygen; and Ignition (a heat source, a spark).  Traditional firestarting methods are focused on all three, with a specific emphasis on generating the spark, ember, or heat and transfering that into a fuel source that will allow you to produce a flame and using your breath to help bring oxygen into the fold.

 

The traditional method that I know best, using flint, steel, and char cloth, was detailed above in the opening and requires a minimal investment (a good kit is usually less than $20, you can also make your own charcloth from scrap cotton fiber).  There are other primitive fire starting methods that you might try.  Here are a few with detailed videos. I prefer videos for this, so I’m going to link you to some good ones)

  • Flint and Steel demonstration and method.
  • Hand Drill: method overview and instructions (probably the hardest to learn at first, but also potentially the most satsifying).  Local materials for me to use include mullein, yucca, or goldenrod stalks and soft pine or cedar boards).
  • Bow and Drill methods.

Starting a fire with one of these methods takes practice!  I’ve had some basic instruction in the hand drill, and one of my goals for this Beltane is to learning it in more detail this Beltane. After Beltane, I will continue to develop my knowledge of local woods and materials for this beautiful firemaking technique.

 

I believe that fire building and fire starting can be treated as a sacred practice, a ritual in and of itself.  With each step, we can set our intentions from preparing to start the fire in a sacred manner, lighting the fire, and honoring the fire.

 

Honoring the Fires

Honoring the fire begins with creating it in a sacred manner, and continues with how we tend it and what we do with it.  I think that each of us can create our own unique fire traditions, but here area  few that I particularly like:

 

A fire offering.  As we make offerings to the land, spirits, or other divine entities, we might also honor our fires.

–Creative offerings. I like to paint things or create things that are specifically for the fire.  This may be a woodburned piece, a small painting, other natural creations.  In particular, for these, I like to gather things from the land itself and use only natural materials (such as my natural inks or dyes, watercolors, etc) so that anything I offer to the fire is not going to have chemicals or other byproducts.  So my fire offering this Beltane is a woodburned piece honoring the fire, created for the fire with intent.

–Fire blend of Herbs.  You could also create a fire blend of herbs that you can offer; I especially like to include resins or other pine substances in these so that they burn brightly.  Cedar or pine boughs are also great choices for this, as they crackle and pop when they burn. A ball of beeswax mixed with herbs is truely a sight to behold in the fire!  I might do a whole post on fire offerings in the future.

–Music or Drumming.  Play a drum, flute, sing, or make some other kind of music for the fire.  Anyone can pick up a drum and offer a heartbeat rhythm and connect with the fire.

–Dance.  Dance around your fire, letting your body flow and move (if this isn’t usual to you, just do this when nobody else is around!  Even for someone who is not a dancer, you can connect with the fire in this way).

 

Treating the fire respectfully. Another thing I recently learned at the North American School of Bushcraft that some native traditions say that you should never throw anything on a fire, but rather, place it gently.  This is becuase Fire is seen as an elder, worthy of respect.  As druids, we might develop our own respectful fire traditions, so for you personally, you might think about what treating a fire with respect means.  If you have a regular fire pit or a ceremonial pit, you can develop a layered set of expectations and actions that guide your fire interaction.  Remember that the fire is a place for us to gather with our ancestors, and thus, it is always a sacred place.

 

 

I hope that this post has been inspirational to you and that you have a blessed Beltane!  May the fires burn brightly and may spring once again return.

 

Acknowledgement: I am indebted to the fire teachings of Jason Drevenak at the North American School of Bushcraft as inspiration for this post.

 

The Druid’s Crane Bag April 21, 2019

A druid’s crane bag is a special bag, a magical bag, that many druids carry with them. Often full of shells, rocks, magical objects, feathers, stones, Ogham staves, representations of the elements, ritual tools, and much more, a crane bag is wonderfully unique to each druid! A few years ago, I shared a post about how to create a crane bag and a description of my bag at the time; today’s post revisits and deepens the treatment of this topic.  In this post, we’ll look at the concept of the crane bag and where it came from, four potential purposes for bags, and some tips and tricks for how to put them together and what they might include.  This is a wonderful part of the druid tradition that anyone, including those walking other paths, can enjoy!

 

My "ritual in a bag" crane bag, designed and created by me!

My “ritual in a bag” crane bag, which I recently completed. 

Crane Bag History and Purpose

The term “Crane bag” comes from Irish mythology.  In this mythos, Manannán mac Lir is a major sea god who is also the guardian of the otherworld.  One of his many treasures is a magical bag, known as a crane bag. As they myths go, he originally crafted the bag from the skin of a crane, hence the name. This wonderful, bottomless bag was full of many treasures: his knife and shirt, the shears of the King of Scotland, the helmet of the King of Lochlainn, the bones of Assal’s swine, a girdle of a great white whale’s back, birds, hounds, and other things.  His bag also contained human language, a powerful tool.  Some versions of the myths also suggest that the Ogham, the Celtic tree alphabet that is still in modern use, was also within the bag. In the myths, the bag’s treasures can be seen in the sea at high tide, but they disappear during low tide. In certain myths, the bag comes into the possession of Irish heroes such as Lug Lámfhota, Liath Luachra, and Fionn mac Cumhaill.

 

In the modern druid tradition, we are inspired by this mythology, and druids often create magical bags of their own.  A crane bag is not a singular thing, but as unique as each druid themselves: thus, the size, shape, and materials contained within the bag are up to an individual druid.  In the remainder of this post, I’ll show you various options for bags, styles, and purposes to help you develop your own crane bag.

 

Planning Your Crane Bag: Crane Bag Purposes and Options

Just as each druid’s path is unique, your crane bag should be an expression of you and your druid path. I think the most important consideration for your crane bag, even before we get into size, composition, or what goes into the bag is your purpose.  In talking with druids, particularly in the OBOD and AODA communities on the East Coast of the US, there seems to be three general purposes for crane bags: the ritual-in-a-bag approach, the power object bag approach, the field approach, or a combination of all three.

 

Some of the many things that can go in your crane bag

Some of the many things that can go in your crane bag

The Ritual-in-a-Bag.  The first approach to a druid’s crane bag is that it is a special bag that can hold all of your ritual tools. These tools, then, come with you wherever you go. For example, one druid I met at a gathering had a larger leather bag.  In this bag, she had her elemental representations, wand, a small sickle, and a small notebook. She indicated that anywhere she went, her tools could go with her, and she could easily break into “spontaneous” ritual with her tools at hand.  She also enjoyed carrying the bag to larger druid gatherings, thus, her tools went with her and also benefited from the energy raised at such gatherings. I have used this approach myself, and offer an example later in this article.

 

The Power Object Bag.  A second approach that seems common is to have a much smaller crane bag, one that is carried on your person frequently, or at all times.  Often, these will be bags small enough to fit in your pocket, around your neck under your clothing, or attached to a belt.  Contained within the bag are objects of spiritual significance to you–sacred stones, shells, sticks, herbs, teeth, bones, or whatever else is personally significant and powerful to you.  Those druids who I have spoken to who use this approach believe that you grow a stronger connection to the objects and bag the more the bag is physically with you. The objects, also, are able to lend you their strength, power, and protection throughout the day as you carry your bag.  A good friend of mine uses this approach; his is a small but ornate belt pouch that is always attached to his belt, and so each day, without fail, his crane bag goes with him.  It is with him when he works, hikes, drives, or whatever else he is doing.

 

The Field Bag. The third approach is creating a crane bag that will aid one out in nature–for this, you usually get not only objects of spiritual significance but also practical significance: land offerings, knives, folding saws, hori hori (an all purpose japanese gardening tool that is great for foraging and herbalism), bags, flint and steel or other fire-starting equipment, paracord, and more.  The philosophy behind this crane bag is that if you are going out in nature, it is useful to be prepared, particularly if you are interested in doing some wild food or medicine foraging, camp out for the evening, bushcraft, or other kinds of wildcrafting.  Thus, when a druid takes this bag with them, they are prepared for anything!

 

The Anything Goes/Combination Bag. The final approach uses a combination of all of the above–perhaps some items of personal significance along with a few ritual tools and a few tools to be out in the field.  My first crane bag, described in detail in my earlier post, uses this method (see all of the contents here). The benefit of this approach is that you end up with a multi-purpose bag that can serve a variety of needs.

 

Creating or Finding Your Crane Bag

My Crane Bag

My First Crane Bag: Repurposed secondhand find!

Today’s crane bags need not be made of crane leather, but can be made of any durable material: leather, hide, skin, linen, wool, cloth, denim, and so on. You can make your bag yourself, you can purchase it secondhand, or you can have someone make it for you. I do believe, in my conversations with many druids about their crane bags, that many prefer to make them, as it lends their own personal energy into the bag.  If you don’t make it yourself, find a special way of personalizing your bag.  For example, my first crane bag, pictured here, was a small denim bag with zippers and pockets that I found at a thrift store.  I personalized it by painting it with acrylics, and I am happy and delighted that the paint has held up for many, many years!

 

The bag can be large or small; however, you will want it large enough that it will fit your purpose and to carry what you would like it to carry (and think also about the future–what you might want to add to your bag at a later date). Depending on the size of your bag, it can be held or connected to a belt, cord, or slung across the shoulders and carried more like a traditional bag, depending on the size.  Most druids carry their crane bags into ritual (and around gatherings, if they attend), many may also carry them into the woods or other natural places, so it should also be something comfortable to take with you, particularly on long journeys or when you travel.

 

 

Items for Your Bag

Any item of spiritual or practical significance can go in your bag.  I encourage you to think about local ingredients, local materials, or those repurposed in other ways.  Many of the things in my bag are gifts from others or things that I found or made. Here’s a list of what I might consider essentials; these go in every crane bag that I have made or carry:

  • A small journal (Moleskine or other small journals work great for this). I never want to be out in the woods or anywhere else without my journal–this allows me to record my thoughts at any time. I especially appreciate this “old technology” as opposed to a cell phone for recording as I don’t think there is anything as disruptive of a sacred experience as pulling out one’s phone.
  • A few handy tools: I like to always take with me a lighter/matches, a knife, and a plastic or cloth bag or two to carry anything I find.  Even in my more “ritual tools” style crane bag, I make sure to have these with me.
  • Offerings.  I don’t go anywhere without offerings. I recently shared how to make a wildcrafted herbal blessing oil and  sacred herbal blend for offerings.  A blessed magic seed ball also makes a great offering. Anything you want to carry with you that you can offer is approrpriate.
  • Elements. As someone working within the context of both OBOD and AODA druidry, I find being able to work with the elements in physical form really helpful.  So I always have, in any bag, representations of each of these. They don’t have to be physical representations (fire, etc) but could be four small stones, woodburned images, and so on.  The sky is the limit!
Once I pull stuff out of my ritual-in-a-bag, I can make a beautiful altar setup for outdoor ritual work.

Once I pull stuff out of my ritual-in-a-bag, I can make a beautiful altar setup for outdoor ritual work.

 

Here is a much larger list that you might consider for including in your crane bag:

  • Rocks and minerals
  • Shells, corals, or sand (in a small bottle)
  • Plants, leaves, twigs, roots or pieces of bark
  • Herbs, oils, infusions, concoctions, tinctures, teas or healing brews
  • Seeds of all kinds
  • Feathers
  • Fur, nails, bones, claws, teeth or other animal parts (only those that are legal to have, of course)
  • Animal, plant, or spirit totems of any kind (for example, the small carved soapstone animals are a nice addition to a crane bag)
  • Divination tools, such as Ogham, runes, or tarot decks
  • Small musical instruments (like an ocarina, small flute, etc)
  • Jewelry or necklaces of significance
  • Tiny journals or books
  • A small altar cloth
  • Bags, jars, and other vessels for holding things (like collecting sacred waters, etc)
  • Ritual tools such as a small candle (a battery-powered candle is convenient when traveling), small sickle, knife, candle, etc.
  • Any other items with a spiritual purpose
  • Quarter stones (four or eight stones you can place at the circle to help hold the space)

 

Example Crane Bags: Druid’s Power Bag and Ritual in a Bag

I have three primary crane bags, one that fits each of the possibilities above.  My earlier post offered an example of an all purpose crane bag, so again, check that post out for photos.  I also have a regular backpack that I dedicate to foraging, but that has some sacred tools (the essentials) that will go with me on longer hikes.   I didn’t take photos of that one, as its not very pretty looking but is rather very functional.  But I did want to share examples of the other two: the druid’s power bag and the Ritual in the Bag crane bag.

 

The first bag is the Druid’s Power bag.  This is a small leather bag I made, and in the photograph, are some *examples* of what you could put in a bag.  I believe that the bag itself and the actual contents of a power bag should never be photographed, or really, even talked about.  This is a bag of sacred objects to you, and if you talk too much about it, you can talk the magic out of it.  So I am not showing you my actual contents, but I think this gives you a good example of what could contain and look like: natural items, small clay and stone statuary, beads, stones, jewelry, etc.  So in this photo we have some things people have given me, stones, stone animals, a bracelet, a ceramic bear, a painted pendant, nuts and seeds, and more.

Potential power bag with objects

Potential power bag with objects

 

The other bag I want to show today is the “ritual in a bag” crane bag. I have been working on this bag for six months, and I’m delighted to have completed it to share with you.  The goal of this bag was simple: I do a lot of ritual work outside, right on my land or in a nearby state park. What was happening is that when I needed tools, I’d put them in a basket from my altar, but the tools were quite heavy and bringing them back up the mountain on my land was a problem, and carrying them into the woods at the state park was even more of a problem (it isn’t fun to carry four large ceramic altar bowls!)  Further, when I have friends that visit, we often go into the woods with sacred intent, and I wanted a bag that I could literally just ‘grab and go’ that offered me everything I needed to do a nice ritual with the bells and whistles. I’ve also been working hard to improve my leather working skills, so this bag was also a challenge to me as a bardic practitioner. Finally, I wanted my sacred plant allies to be with me with the energy of the bag.  I wanted it small enough that I could put it in my foraging bag and still had room for other tools.

Hawthorn and elder each are on a pocket on the front of the bag, behind the flap

Hawthorn and elder each are on a pocket on the front of the bag, behind the flap

The leather bag itself I designed and put together.  I used leather tooling and then a leather acrylic and acrylic sealer on the bag itself, which I hope will last over time (we will see!)  This brought beauty into the bag and helped imbue my own energy with it.  On the bag, I have some of my most sacred plant allies: wild yam (on the edge of the strap), ghost pipe, hawthorn, and elder.  These are all plants I regularly work with and who are local to my ecosystem.

Another shot of the bag

Another shot of the bag

Inside the bag, I have everything that I need for a ritual.  This includes five copper bowls (I purchased these on Etsy from a regional craftsperson; they are great because they are super durable and light).  Four of these are for the elements and the fifth is for offerings or other purposes.  When I’m out in the woods, I usually fill the air bowl with sand or soil, then stick an incense block or cone in it.  The fire bowl gets a little candle (with jar, otherwise it will go out), the water bowl gets some local water, and the earth bowl can be filled with soil, rocks, nuts, sticks, whatever is around.  In the photo, you can also see two little incense containers and also a smoke clearing stick (smudge stick), it has its own little package.  You can also see the small altar cloth (this particular cloth was a gift from a dear friend and mentor, and is a very cherished part of my ritual gear), which rolls up nicely and fits in the bottom of the bag.

Ritual tools in the bag

Ritual tools in the bag

Finally, I have an elemental woodburning with an awen; when I place this on my altar, it reminds me of the four directions (extremely useful for someone like me with dyslexia).

Elemental woodburned piece for remembering the directions!

Here are some other things that show up in my ritual-in-a-bag: my favorite ritual flute, a small knife (used mostly for ritual, but also for herb harvesting), a vial for water (I like to save water from my rituals or from places where I do ritual and add it to a water altar), a lighter, and a journal.

More crane bag tools

More crane bag tools

One of the keys I think to keeping a small crane bag is careful packaging.  I have used a lot of special packaging to keep things together: sewing little bags for the elemental bowls, having a wrap for my tarot deck, having a wrap for my my smoke clearing stick so that it doesn’t flake off everywhere in the bag, and so forth.  One of the bags below contains all of my land offerings.

Packaging helps!

Packaging helps!

 

Even with all of these great tools, which you can carry everywhere, what doesn’t fit in the bag is Acorn!

Acorn is blessing the altar!

Acorn is blessing the altar!

 

I hope that this post helps de-mystify the druid’s crane bag and offers you a number of ideas that you might use in your own druid based, OBOD, AODA, or nature spirituality practice. In the words of John Gilbert, former AODA Archdruid of Air, “Your Druid Crane Bag is the badge of a Druid. Wear it with pride and with honor to yourself and the Druid Craft.”

 

Working Deeply with Water: A River Healing Ritual April 14, 2019

A healthy stream

A healthy stream

One of the incredible things about the hydrologic (water) cycle on our great planet is how connected these cycles are and how a single drop of water may continually travel the globe over a period of time. The waters that rain down upon me here in Western PA likely came after being evaporated from the Pacific Ocean and making their way in gas form across the North American continent.  From the clouds, they solidfy and rain down, slowly moving down our mountain property to the stream that sits at the bottom of our property: Penn Run.  Penn Run leads into Two Lick Creek, which runs into Blacklick creek, which runs into the Conemaugh River.  The Conemaugh becomes the Kiskiminetas, which runs into the Allegheny, which meets the Monongahela in Pittsburgh and becomes the Ohio. After passing cities such as Cincinnati and Louisville, it merges with the Mississippi on the border of Kentucky and Missouri.  From there, the Mississippi makes its way south to New Orleans and into the Gulf of Mexico. There, the water joins the Atlantic, likely evaporating again and raining somewhere on Europe or Asia and eventually making its way back to the Pacific Ocean.  And thus, the cycle continues–from the single drop of rain that lands on my land here, the waters of the world are endlessly such cycled.  Thus, any water you interact with has no specific “home” but rather, continues to travel the globe, maybe being locked up in ice for a few millenia or being in an aquifer for a while, but eventually beginning the travels once more.

It’s a useful exercise to map out what I just did above, so that you understand where water that you interact with locally is part of this great cycle.  The rivers are like veins, the earth the body, and these veins provide life to our great earth mother, literally, bringing her life.  aters throughout the world are challenged: pollution, plastics and microplastics, draining of aquifers, damming of rivers, and other major issues can be found thrhought the world: rather than being pure and offering life, sometimes our waters are so sick and damaged that marine life cannot live in our waterways and it is unhealthful to those who live near them. Where I live here in Western PA, a local legacy of mining has made many waters very polluted through Acid Mine Drainage and other historical problems (tanning, logging) and current agricultural runoff. While some rivers, like the Clarion River, have been radically brought back to health thanks to local conservation efforts so many of our small streams and rivers are still very polluted.

 

Given the status of the waters worldwide, I found it important to do rituals and healing water work to let these rivers know that I stood in witness and honor them.  This is good work that any druid or nature-based spiritual practitoner can do.  Regular water work in this way can help us “give back” to this incredible, magical cycle of water that sustains us and offers us life.  In last week’s post, I offered suggestions for how to work deeply with water, to with and build a water shrine full of sacred waters and water gathering experiences. This post offers the perspective of “giving back” and doing deep water healing work. For these experiences, you can use the “coming together” waters as I described last week, or, if you prefer, you can use any water you feel is sacred (rainwater, water from a special sacred spring, and so on).  While you can do this ritual at any time of the year, I find that Spring, when the waters are flowing, is a particularly good time to bring this kind of healing energy back to the land.

 

 

A Water Healing Ritual for Rivers, Lakes, Streams, Springs Oceans, Bays and any other Natural Water Source

This ritual can be done with any water source and is designed to provide energetic healing for the waters.  This ritual draws upon two concepts: the first is that the rivers and bodies of water are just like the blood that flows in our bodies, and hence, it uses a heartbeat metaphor to connect with that life power.  Second, it uses the energetic principle of homeoapthy, the idea that a tiny amount of a healing agent can bring life and vitality to a whole body (in this case, a whole body of water).  This ritual plants the “seed” of that healing through sacred waters.

A healed and restored river (the Clarion!)

A healed and restored river (the Clarion!)

Materials: Sacred Water.  This ritual uses a specially prepared “sacred water” blend;  you have two options for this.  Regardless of what water you use, make sure you boil your water prior to use (you are introducing this sacred water into a new environment, and you don’t want to introduce any pathogens, etc).

  • Option 1: This ritual can use the “coming together waters” from my last post. Otherwise, you will want to get any clean, pure and natural source of water (a local spring, rainwater or snowmelt, etc).  Usually, what I will do is get a bowl of rainwater, add three drops of my “coming together” waters and then boil the whole thing. Then when it cools, I can add this to a vial and to my crane bag for travel to the location.
  • Option 2: Again, take a fresh water source, boil it, and add in healing and blessing herbs.  Any medicinal herbs that fit your purpose can work here, but I especially like home-grown herbs like mint, oregano, thyme, monarda–things that help fight human illness, and thus, metaphorically, offer healing.  A small amount of this is all you need, again, I add this to a vial and to my crane bag.

You can also combine both approaches, or use another of your choosing.  Regardless, you should have this water prepared prior to your ceremony.

 

Other supplies: A drum or shaker is very useful , but if you don’t have one, you can simply use your hands or rocks. You can choose to setup an altar for this ritual on the side of the body of water; if so, you will want representations of the elements and anything else you deem approrpiate.

 

Research: If necessary, write down the flow of the water that you are healing (similar to what I did in the opening of this blog post).  You will be speaking these words as you do your ritual (and if you are blessing the ocean, you might choose to instead explore the currents of the ocean and the places that the water may visit).

 

Choosing Your Location: If you are working with a body of water that flows, I suggest physically journeying to the headwaters of that water source as much as you can.  Rivers flow, and the closer to the source of the river you go, the more of the waterway you can affect.  I also realize that in many cases this is not possible.  If you are going to a source that doesn’t flow (like the ocean) then any sacred spot is appropriate.

 

The Ritual

Altar for water healing

Altar for water healing

Setup. Find a quiet spot along the body of water where you will do your ritual. Setup an atlar from things you brought as well as from things you find; I like to leave a small stone cairn there after the ritual, so I will usually setup an altar in a way where most of it can be left after the ritual concludes.  Place your vial of healing water on the altar.

 

Open a Sacred Space: Open up a sacred space in any manner that you use (I use OBOD or AODA’s grove opening, for example, but you can use anything else.  A typical opening calls in the quarters, declares peace in the quarters, and casts some kind of protective sphere or circle around you for the purpose of the ritual).

 

The Heartbeat. Begin by doing drumming, using a shaker, or, if you don’t have these materials, using two rocks and knocking one against the other.  The idea here is that you want to create a heartbeat.  This is the heartbeat that beats within you, and the one that beats metaphorically within the land itself.  Spend some time connecting with this heartbeat.  It is helping to attune you, as a healing agent, to the water.

 

Adding Healing Waters: Now, take your vial and pour the vial into the waterway.  As you pour, speak words of healing if you feel so led.  Speak also of the journey that this water will take, and all of the different bodes of water that it will reach.

 

Connecting with the Waters: Place your hand in the water after you are done pouring and simply feel the water flowing away from you.  In your mind’s eye, follow that water as it begins healing and bringing vitality into each waterway. Imagine the journey your waters will take and as they reach each new water source, imagine the healing energy infusing in each waterway and the vitality that coems with healing.  Imagine healthy ecosystems, fish, plant life, insect life, and all the things that healthy waterways bring.  Take all the time you need to do this.

 

The Heartbeat.  Again, return to your drum or stones and once again, connect with the heartbeat of the land. Note any changes you feel in the heartbeat of the land and the waters that connect it.

 

Close your space. Close out your sacred space and thank the spirits for their blessings.

 

Group Variant 1: A Ritual in Two Parts

This ritual can be done in two parts, perhaps at two different grove events, or at a weekend ceremony.  First, ask everyone to bring water from a sacred place to the ceremony.  Do a “combining waters” ceremony with the group, similar to what I described in my last post.  For this ceremony, setup a central bowl. Each participant in the group will step forward and speak the name of their sacred water, and offer their sacred water to the bowl.  They can share anything they like about that water.  Once all of the waters have been added, the group can place their hands over the water and bless it, chanting “Awens”, drumming, or doing any kind of energizing blessing.  After the ceremony, the waters can then be put in small glass vials and each participant can take their own “coming together” vial. One of these vials can be saved for water healing work.  See Variant 2 for instructions about how to do this ritual with a group.

Sacred Waters being infused with life

Sacred Waters being infused with life

Group Variant 2: Healing Water Ritual

In this variant, one person prepares the sacred waters, but the group does the blessing.  You can have multiple people doing the “heartbeat” and keep that heartbeat going throughout the ceremony, while others add the water and speak the journey that the waters will take.  You can also add a water blessing for each person who is part of the ritual as a final step.

 

I hope that these rituals will serve you well in your water healing/land healing needs.  I’ve been doing some form of this ritual for many years, and while I can’t stop all of the Acid Mine Drainage (although I certainly lend my efforts and funds in that regard), I do feel that this is something I can do, and the spirits of the waters certainly appriciate it.