The Druid's Garden

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

Finding Balance at the Spring Equinox: A Sun Ritual Using the Three Druid Elements March 18, 2020

The Spring Equinox, Alban Eiler, is the time when the light and the dark in the world are in balance. The timing of the Equinox is fortuitous–this time of balance–after such turmoil in the world. Here in the last two weeks here in the US, we’ve been on a whirlwind of change where nearly every person’s life has been radically disrupted and changed due to the global pandemic. Given the circumstances of where we are, today, I’d like to offer a balancing ritual for Spring Equinox that you can do personally to help bring balance into your life.  (I’m posting this a few days early from my usual weekly post so that you have it in time for the Equinox!)

 

Preliminaries

A representation of the 3 druid elements

A representation of the 3 druid elements

This ritual uses the three druid elements: Gywar, Calas, and Nyfre, drawn from the druid revival for the ritual. These three terms, deriving from old Welsh, represent three principles in the universe.  I think they are particularly useful for a spring equinox balancing ritual.

 

Nwyfre (NOO-iv-ruh) literally translates as “sky” or “heaven” and refers to the life force or vital energy that is in each of us.  Nywfre is the spark of life, that which separates an inanimate thing from an animate being.

 

Gwyar (GOO-yar) literally translates as “blood”, and refers to the concept of flow, flexibility, fluidity, motion, and general change. This is the element that acts like water, flowing around obstacles rather than hitting up against them.

 

Calas (CAH-lass) is tied to the old Welsh word “Caled” and literally translates as “hard”.  This is the element of solidity, stability, and grounding.

 

What’s interesting is that to truly have balance, we can’t just focus on Calas (grounding), which might be the first thing that would come to mind.  A situation as unstable as what is before us requires us to balance the three elements together: we do need Calas to help us be stable and rooted, but we also need a great deal of Gwyar, as the situation is evolving rapidly and nobody knows what is next.  Nwyfre is life itself–and embracing life during this challenging time focuses our energy not on the chaos and fear of death but on the energies of life, thus bringing us into greater harmony.

 

This ritual also uses three prayers (two from the druid tradition and one I wrote) and uses the chanting of another welsh term, Awen.  For more on Awen, see this post.

 

The following ritual would ideally be done in three parts: as the sun rises, at mid-day, and as the sun sets (this is the first version of the ritual I present). The second variant of the ritual still uses the energy of the sunrise, noonday, and sunset times of the sun, but in a metaphorical sense. Thus, I will offer two variants of the ritual.

 

The Ritual: Balancing of Gwyar, Calas, and Nyfre: A Three-Part Sunrise – Noonday and Sunset Ritual

The solar current rising at sunrise

Sunrise

Select a sacred place that you can return to at three points in the day: sunrise (or early morning), noon, and sunset.  Ideally, this should be a place that you can open up a sacred grove in, leave, and return to throughout the day and one where nobody else will disturb for the day (e.g. a spot outside or a spare bedroom). If you would like, you can set up an altar in this spot.

 

For this ritual, you should also have an offering for the land and her spirits. See this post for more on offerings. In terms of your offering, I think what you do, and how you offer, are very personal things. Offerings should be personal and tied to those spirits/deities/powers/lands/places you work with.

 

Sunrise:

Either in the early morning or just as the light is beginning to come into the world, go to your sacred space.

 

Open up a sacred grove in your tradition. For this, I suggest using whatever grove / sacred space opening you have in your tradition or using the AODA’s Solitary Grove Opening. If you do not have a dedicated spot for the three stages of ritual, I instead suggest doing the AODA’s Sphere of Protection ritual around yourself to start the ritual.

 

Make your offering in your own words. Leave your offering in your space.

 

As the sun is beginning to rise (or observing the rising sun), say, “Sunrise is a time when the sun rises from the earth.  The promise of the day is before us.  The balance between light and dark is here.  We enter the light half of the year, full of promise and possibility.”

 

Pause, continuing to observe the sun. Then say, “As the sun rises with possibility, I call upon this moment to provide me fluidity, flexibility, and the ability to adapt to a radically changing world. I now intone the ancient word for flow: “Gywar (GOO-yar), Gywar, Gwyar.” (Chant this as much as you feel led).

 

Stand facing the sun, and feel its rays upon your skin. Observe how the light continues to change as the sun rises. Feel the possibility of this moment. Pay attention to how the winds flow upon the land, and how the land awakens. Spend some time in mediation as the sun rises, drawing upon the fluidity and flexibility of this moment.

 

Say a Prayer of Flow (By Dana O’Driscoll):

Let me be like the waters,
Let me move like the sea,
Let me flow with the currents,
Let my spirit be free

Let me fly like an eagle
Let me buzz like a bee
Let me swim like an otter
Let my spirit be free

When the world is crushing
And I am unable to see
Let me flow like the river,
Let the awen flow in me!

 

When you are finished, leave the sacred space and go about your day until the mid-day sun.

 

Noon:

Enter your sacred space. Take a few moments to come back into your ritual mindset through deep breathing and quieting your mind.

 

Say, “Noon-day is when the power of the sun is at its zenith. This is when the sun’s rays offer life and vitality to all.  As the sun is at its height, I call upon this moment to provide me vitality, strength, and energy.  I now intone the ancient word for the lifeforce, “Nwyfre (NOO-iv-ruh), Nywfre, Nywfre.”

 

At this point, spend some moments in the light of the sun.  Soak in the sun’s vital rays, and observe the leaves and plant life upon the landscape and their interaction with the sun.  You might feel led to do some movement meditation, dance, or another vitalizing movement at this time.  when you feel the work is complete,  say the Druid’s Prayer:

 

Grant, O Spirits, your protection
And in protection, strength
And in strength, understanding
And in understanding, knowledge
And in knowledge, the knowledge of justice
And in the knowledge of justice, the love of it
And in the love of it, the love of all existences
And in the love of all existences, the love of earth our mother and all Goodness.

 

Chant three Awens (Ahh-oh-en) <As you chant the Awens, feel this vitalizing force settle deeply within you.>

 

Leave the sacred space until sunset.

 

Sunset: Arrive just as the sun is setting, where it is just beginning to touch the edge of the horizon.

 

Say, “Sunset is a time when the sun meets the earth.  As the sun enter’s the earth’s embrace, I call upon this moment to provide me grounding, stability, and peace.  I now intone the ancient word for grounding: Calas (CAY-lass), Calas, Calas.”(Chant this as much as you feel led).

 

At this point, if you can, lay or sit upon the ground.  Feel the solidity of the ground beneath your feet.  Feel the deepening darkness on the landscape.  Spend some time in meditation as the darkness comes.  As the darkness comes, feel the womb of the earth supporting you, grounding you, and providing you peace.

 

When you are finished with your meditation, say the Druid’s Peace Prayer (this is my own variant):

 

“Deep within the still center of my being may I find peace.” <Pause, feeling the peace within you>

“Quietly, within the circle of this grove, may I share peace.” <Pause, feeling the peace within this space>

“Gently within the circle of all life, may I radiate peace.” <Pause, feeling the peace emanating from you outward.”

 

Close your sacred space (using your own tradition or using the AODA’s solitary grove closing ritual).

Single Moment Variant

Sunset

The above ritual uses three moments in time to call upon the druid elements and uses druid prayer (mostly traditional, one new one) to help connect to those energies.  I suggest removing the first two druids prayers, finishing instead with just the Druid’s Peace Prayer, and using visualization techniques for each of the moments where you would otherwise be in the sun. I also suggest using a drum, bell or another instrument to shift between the three points of the sun’s path across the sky.

 

Here is the adapted ritual.

 

Open up your sacred space and make your offering.  For this, I suggest using whatever grove / sacred space opening you have in your tradition or using the AODA’s Solitary Grove Opening.

 

Make your offering in your own words.

 

Say: “Sunrise is a time when the sun rises from the earth.  The promise of the day is before us.  The balance between light and dark is here.  We enter the light half of the year, full of promise and possibility.”

 

“As the sun rises with possibility, I call upon this moment to provide me fluidity, flexibility, and the ability to adapt to a radically changing world.  I now intone the ancient word for flow: “Gywar (GOO-yar), Gywar, Gwyar.” (Chant this as much as you feel led).

 

Envision the most beautiful sunrise you have ever seen. Feel the possibility and anticipation of the sun at the start of the new day.  Bring this possibility, flow, and energy into your life.

 

Pause, play a few notes on your instrument, ring a bell or singing bowl.  When you are ready to proceed:

 

Say, “Noon-day is when the power of the sun is at its zenith. This is when the sun’s rays offer life and vitality to all.  As the sun is at its height, I call upon this moment to provide me vitality, strength, and energy.  I now intone the ancient word for the lifeforce, “Nwyfre (NOO-iv-ruh), Nywfre, Nywfre.”

 

At this point, envision the sun at its highest point on a warm summer day.  Envision yourself soaking in the sun’s vital rays. You might feel led to do some movement meditation, dance, or another vitalizing movement at this time.

 

Pause, play again a few notes on your instrument, ring a bell, or use a singing bowl.  When you are ready to proceed:

 

Say, “Sunset is a time when the sun meets the earth.  As the sun enter’s the earth’s embrace, I call upon this moment to provide me grounding, stability, and peace.  I now intone the ancient word for grounding: Calas (CAY-lass), Calas, Calas.”(Chant this as much as you feel led).

 

At this point, if you can, lay or sit upon the ground.  Feel the solidity of the ground beneath your feet.  Envision a beautiful sunset, the most beautiful sunset you have ever seen, in your mind’s eye.  Envision that sun setting, and feel the deepening darkness on the landscape.  Feel the womb of the earth supporting you, grounding you, and providing you peace.

 

When you are finished with your meditation, say the Druid’s Peace Prayer (this is my own variant):

 

“Deep within the still center of my being may I find peace.” <Pause, feeling the peace within you>

“Quietly, within the circle of this grove, may I share peace.” <Pause, feeling the peace within this space>

“Gently within the circle of all life, may I radiate peace.” <Pause, feeling the peace emanating from you outward.”

 

Close your sacred space (using your own tradition or using the AODA’s solitary grove closing ritual)

 

Land Blessing Ceremony using the Seven Element (AODA) Framework March 8, 2020

Loving the Land

Loving the Land (Earth Element card from the Plant Spirit Oracle!)

Last week, I provided an overview of the AODA’s seven-element system.  I have worked with this system as my primary magical and energetic practice for almost 15 years and have found it to be an extraordinarily flexible and engaging approach to working with the land, the spirits of nature, and providing blessing and healing to the land. Thus, today’s ritual is a land blessing ceremony, with both solitary practitioner and group variants.

 

Many traditional land blessing ceremonies include using some form of energy (in our case, the seven elements) to bless and protect a space. This ceremony draws upon the energy of the seven directions for blessing and healing.  This ceremony is ideally done walking the perimeter of a piece of land you want to protect.  If you aren’t able to walk a perimeter of the space due to size or other considerations, you can adapt it by simply calling in the elements. I would suggest before doing this ceremony, you do deep listening (chapter 2) with the land to make sure such a ceremony would be welcome (it almost always is!) This ceremony has individual and group variations.

 

Land Blessing Ceremony for a Solitary Practitioner

Materials: A bowl of lightly salted water and a smoke cleansing (smudge) stick (with a candle or lighter for relighting). A bowl of herbs, soil, or sand for marking the circle of spirit below. A wand, staff, sword, or knife for tracing the circle of spirit above. A bell, rattle, or drum for sounding spirit within. You can place all materials on a central altar and/or lay them on the ground.  Prior to the ritual, select a central stone, tree or other natural feature to be the anchor for the energy that you will be raising.

 

Declare intentions.  Start the ritual by declaring your intentions in your own words. For example: “The purpose of this ceremony is to bless and protect this landscape and allow for regeneration to happen.  I am here as a healer, friend, and fellow inhabitant of this land.  May peace abide in this working and throughout these lands.”

 

Make an offering.  See Chapter X for appropriate offerings. You can use your own words or say, “Spirits of place, spirits of this land, I make this offering to honor and acknowledge you. Guardians of this place, of matter or spirit, be with this place.”  Pause and wait for any messages or feelings before continuing.

 

Fire and Air.  Walk the perimeter of the land and/or in a large circle within the land for the next part. As you walk, you will begin by blessing the space with the four classical elements, air, fire, water, and earth. First, bless and clear the space using air and fire with your smoke purification stick. As you walk, visualize the elements of air and fire strongly in this place (you can envision them as a yellow and red light). As you walk in a Deosil (clockwise) pattern, chant:

Smoke of healing herbs and sacred fires that purify. Clear and bless this place.”

When you return to the place you began, pause as envision the energy of air and fire.

 

Earth and Water. Now, bless and clear the space with water and earth.  Again, envision the elements strongly in this space (you can envision them as a blue and green light). Take your bowl of water and flick it out with your fingers as you walk.

            “Waters of the sacred pool and salt of the earth.  Clear and bless this place.”

When you return to the place you began, pause as envision the energy of water and earth.

 

 

Spirit Below and Telluric Current. Move to the center of the space. Say, “I call upon the three aspects of spirit, those which connect the worlds. Let the spirit which flows within all living beings bless and protect this place today and always.”

 

Draw a circle on the ground in a desoil, as large as you would like. Alternatively, you can once again walk the perimeter of your space. Mark as you are drawing your circle, mark it with the herbs/flowers/sand. Move to the center of the circle and place your hands on the earth.  Pause and envision the currents of energy deep within the earth. Say, “I call to spirit below to bless and protect this land. Great telluric current that moves through this land, great soil web of all life, I ask that you fill this land with your energy and blessing.”

 

Pause and envision the currents deep within the heart of the earth as a green-gold, rising up from the core of the earth and blessing the land around you, bathing the land in a gold-green glow.

 

Spirit Above and Solar Current.  Using your hand or other tool (wand, staff, etc.) draw a circle in the air above you. Alternatively, if your space is small, you can walk the perimeter with your hand or tool in the air. Move to the center of your circle and raise your hands into the sky.  Pause and envision the energy of the sun and movement of the planets, all providing energy and influence. Say, ““I call to spirit above to bless and protect this land. Sun that shines above and the turning wheel of the stars that bathes this land in radiance, I ask that you fill this land with your energy and blessing.”

 

Pause and envision the sun radiating the solar current down to you a beautiful yellow golden light. Envision the stars and planets each contributing their own light. This light blesses the land around you, bathing the land in a golden glow.

 

Spirit Within and Lunar Current. Using the drum, noisemaker, or a simple chant, begin to reach out to the spirit within all things. The spark of life, the nywfre that flows within each thing, this is the power of spirit within. Place your hands on a living thing within the land, such as a central tree or stone, and sense the spirit within it.  Say, “I call to spirit within, the enduring spirit within all things. Spirit that connects us all, I ask that you fill this land with your energy and blessing.”

 

Pause and envision the spark of life and spirit of all things, rising up from within.  Envision the other six energies coming to the central point where you have your anchor stone/tree and see the energy pouring into that anchor point, only then to radiate outward to the surrounding land being protected.

 

Deep Listening and Divination.

Make space for the spirits of the land to communicate with you before finishing your ceremony. For this, I suggest either deep listening (if you have honed your skills) or using a divination system. Allow yourself to grow quiet and let the voices of the land speak to you.

 

Gratitude and Closing

Close the ceremony by thanking the seven directions.

Move to the east and say, “Spirits of the east, powers of air, thank you for your blessing this day.”

Move to the south and say, “Spirits of the south, powers of fire, thank you for your blessing this day.”

Move to the west and say, “Spirits of the west, powers of water, thank you for your blessing this day.”

Move to the north and say, “Spirits of the north, powers of earth, thank you for your blessing this day.”

Move to the center, and put your hands on the earth.  Say, “Spirits of the below, power of the telluric current, thank you for your blessing this day.”

Raise your hands to the heavens.  Say, “Spirits of the above, power of the solar current, thank you for your blessing this day.”

Cross your arms over your chest and close your eyes.  Say, “Spirit within all things, power of the lunar current, thank you for your blessing this day.”

 

Group Ceremony Variant

This ritual can be done in a group setting. If you have less than seven people, divide up the elements between you. You can also split up earth and water and air and fire into separate elements (see language below). If you have a larger group, multiple people can carry a representation of the element and/or some other energy raising object, such as bell, drum, or rattle.  Language for all four elements is as follows:

Air:      “Smoke of healing herbs and sacred fires that purify. Clear and bless this place.”

Fire:    “Sacred fires that purify.  Clear and bless this place.”

Water: “Waters of the sacred pool.  Clear and bless this place.”

Earth:  “Salt of the earth.  Clear and bless this place.”

 

 

Seven Elements as a Framework

The nice thing about the seven-element framework is that its quite adaptable.  Once you have it, you can do a lot of different things with it–this land blessing ceremony is but one of any number of options.  Blessings till next time!

 

 

 

The AODA’s Seven Element System: Above, Below, Within, Earth, Air, Fire, Water March 1, 2020

The AODA's Sphere of Protection in a Tree

The AODA’s Sphere of Protection in a Tree demonstrating the seven-element framework

 

Perhaps the first thing to think about in any system of spiritual or magical practice is the way in which a practice offers a framework to understand reality. These frameworks vary widely based on the spiritual tradition: some use a complex system of deities to map concepts to reality.  Deities often have domains and represent certain aspects of reality (e.g the Horned God Cernunnos of Celtic Mythology can represent fertility, abundance, the land itself, and so forth). Other systems may have songs, stories, and dances to help explain the world.  Other systems may recognize different kinds of energies and map them (such as the Jewish Kabbalah or Yggdrasil, the world tree, in Norse tradition, In AODA, our primary framework is a seven-element framework. The seven-element system is a highly adaptable and non-dogmatic framework that you can use for a variety of purposes, whether or not you belong to AODA. As an elemental framework, it works with a classification of energies present on the land to provide a framework for raising and drawing energy in particular ways, for rituals and more. Once you have an understanding of a system of representation like the seven elements, you can work with it in any myriad of ways to develop your own unique practices, adapt it to your local ecosystem, and so forth.

 

The seven elements include three aspects of spirit: spirit above, spirit below, and spirit within, as well as earth, air, fire, and water. Thus, in this post, I’ll explain the historical roots of this framework and some of its features. This post is really the precursor to next week’s post when I show how this kind of framework can be used to create any number of rituals and practices, including land healing and blessing.  (As a reminder, since I became Grand Archdruid of AODA, I’m dedicating one post a month to AODA-specific practices!)

 

Understanding the Elements as a System of Representation and as Symbols

The first part of the seven-element framework is the four classical elements. The classical elements of earth, air, fire, and water or some similar equivalent were part of many ancient cultures including those of Ancient Greece, Persia, Babylonia, Tibet, and China. In ancient Persia around 600 BCE, the ancient philosopher Zarathustra (Zoroaster) seems to have originated–or at least, first written down–the four-element theory and described the four elements as “sacred” and “essential for the survival of all living beings and therefore should be venerated and kept free from any contamination.”[3] The failure to keep these elements pure could anger the gods. If only the modern world had such wisdom!

 

As in the classic period, today, the elements can be seen both as physical things (e.g. the soil as earth, the fire as fire, water in a stream) as well as metaphysical. Thus, we can see the four elements represented in nature and in revival druid symbolism, but also emotionally and physically in the human body. For example, earth in the druid tradition is tied to the energy of the bear, trees, and stones on the physical landscape. We can see representations of the earth everywhere we look–in the mountains, the stones, the caves. Its also tied to the personality qualities of determination and perseverance, the physical bodily qualities of being strong or having a high constitution, and the metaphysical qualities of grounding and rootedness. If we were to trace the element of earth back to through traditional western herbalism, we’d also see earth connected to the melancholic temperament, which indicates a deeply reflective, introspective, and quiet individual. Thus, the element of earth as a concept gives us a system to help classify and categorize the worlds within and without. This kind of thing is quite useful when you want to call upon all of the above with a single word or symbol, as we do in the Sphere of Protection ritual and other such rituals in AODA.  What I mean here is this: if I want to bring these qualities into my life, a simple thing I could do is trace the symbol of earth in the air each day (in AODA, it is a circle with a line pointing to the earth), carry a stone in my pocket, or lay down upon the earth.

 

What any elemental (or other) framework does, including AODA’s 7 element system, the Hebrew Kabbalistic Tree of Life, the Chinese 5 element system, and so on, is offer a way to represent the world.  It offers a way to take the complexity of matter and spirit and put it into an accessible framework that can be worked, adapted, and understood. Elemental frameworks, such as the classic four elements work to create a more simple system to represent the complexities of reality. The elements are symbols. Symbols are simplified things (e.g. a word, an image) that stand-in for something else or represents it, usually a set of much more nuanced and complex concepts. Symbols help us interpret and understand the world, and offer us frameworks not only for meditation and ritual but also for daily life.

 

The reasons you might to want to master such a system are numerous. For me, it helps me design effective and on-the-spot rituals and practices, design effective meditations, understand the ways my life may be in balance or out of it, and allows me to have a system of understanding in which to work as a druid.

 

 

The Four Elements

And so we begin with the four elements in AODA’s system, drawn from the broader druid revival and western antiquity.  These are some of the classic meanings for each, but in AODA practice, we encourage individuals to adapt these meanings as they see fit.

 

Earth is the element tied to the north, to the dark moon, to the energy of winter and midnight.  We find the earth physically in mountains, stones, trees, all of what classical writers would call “the firmament.”  The energy of earth, manifesting metaphysically, offers grounding, stability, strength, and perseverance. Earth encourages us to be grounded and stable in our work.  In the druid revival tradition, earth is often associated with the great bear, both manifested in the heavens as Ursa Major, but also on earth as a physical bear, who represents many of earth’s qualities.

 

Air is the element tied to the east, to the waxing moon, to the energy of spring and dawn.  We find the air physically in the wind, the sky, the clouds, the rustle of the leaves as they blow in the breeze.  The energy of air, manifesting metaphysically, offers us clarity, knowledge, wisdom, focus, and objectivity. Air encourages us to temper our emotions with reason, evidence, and clear thinking.  In the druid revival tradition, air is associated with the hawk soaring in the air at dawn.

 

Fire is the element tied to the south, to the full moon, to the energy of summer and noon.  We find the fire physically as a fire itself (such as that at a campsite or in your fireplace) but also in the combustion materials to create heat and energy (in the modern world, oil or electricity). The energy of fire, manifesting metaphysically, has to do with our inspiration, transformation, creativity, passions, and will—how we direct our lives and what we want to bring into manifestation. In the classical texts, fire is often closest to the divine as it is a transformative agent. In the druid revival tradition, fire is associated with the stag, often depicted in a summer forest.

 

Water element from the Plant Spirit Oracle

Water is the element tied to the west, to the waning moon, the energy of fall and the dusk.  We find the water physically in rivers, lakes, oceans, springs, streams, storms, and even in our own bodies. The energy of water, manifesting metaphysically, offers us intuition, emotion, healing, wisdom, connection, particularly connection with nature and spirit, and flow. In the druid revival tradition, water is associated with the salmon of wisdom, originally coming from the Fenian cycle[4] of Irish mythology, where the salmon who lived in the well of wisdom ate nine hazelnuts and was later caught by Finn, who cooked the salmon and had the wisdom transferred to him.  We might then see the water as helping us have wisdom, which is the integration of the head/heart and subconscious/conscious mind.

 

What I’ve just shared are the meanings that are most common. But in AODA practice, we encourage druids to develop “wildcrafted” and ecoregional druidries. So a druid living in California might have a different interpretation of what these elements are on their landscape than one living in Pennsylvania.  In fact, my own elemental animal interpretations are different based on the dominant animals in my landscape and I tie each of my elements to sacred trees. Each druid can thus adapt these basic meanings and directions as they see fit for their own wildcrafted and ecoregional druidry.

The Three Aspects of Spirit and the Three Currents

Drawing upon the earlier writings of the Greek writer Empedocles who introduced the four elements to the Ancient Greek World, Aristotle added a 5th element, Aether (spirit) to the four classical elements. The original four elements were considered four states of matter with the fifth being a connection to the metaphysical (that which is beyond the physical).  In AODA, we recognize three aspects of spirit–above, below, and within.  This distinction is certainly present in the druid revival (for example, see Trilithon, volume 1 for a druid revival text on the telluric current).

 

Spirit Above: The Solar Current

The Solar current is the energy—physical and metaphysical—that comes from the sun, our ultimate source of life. The solar current is magically associated with things in the sky: the heavens and birds: hawks, eagles, and roosters. Additionally, I have found that certain plants also can draw and radiate solar energy quote effectively—Dandelion (dominant in the spring); St. John’s Wort (dominant in at midsummer), and goldenrod (dominant in the fall) are three such plants. For Land healing or other earth-based work, we can use these specific solar plants when we need to light up dark places (energetically) and focus the solar current’s healing light.

 

Solar energy, being directly tied to the sun, changes based on the position of the sun in the sky on a daily basis.  That is, solar energy is different at noon than it is at dusk, dawn, or midnight. It also changes based on where the sun is in the wheel of the year; the energy of the sun is different on June 21st, the summer solstice than it is on the Winter Solstice on Dec 21st.)

 

Connected to the sun are the other solar bodies in our solar system and more broadly in the celestial heavens. In the Druid Magic Handbook, John Michael Greer notes that other planets in the solar system directly reflect the energy of the sun, so astrological influences can help us understand the current manifestation of the solar current at various present moments.  This is all to say that solar energy is ever powerful, and ever-changing, in our lives.

 

Standing stone - bringing the solar into the telluric

Standing stone – bringing the solar into the telluric

We can see the solar current manifested differently in the world’s religions—Christianity, for example, is a very solar focused tradition.  When you look at pictures of saints or Jesus, they are often accompanied by rays of light from heaven, god’s light shining down, even the halo of light around the head of a saint or Jesus. Buddhism, likewise, focuses on achieving “higher levels” of consciousness and being—these are all solar in nature. Any time that you hear things about ascension, the light of the sun, and so on, that’s the solar energy being connected to and being drawn upon. Part of the allure of these traditions, in some cases, is the idea of escapism—since the material earth is problematic and imperfect, we can ascend and go to more perfect realms. The problem with some of this thinking is that it separates the living earth from all things sacred or holy—I firmly believe that part of the reason that such pillaging of the planet is happening is because of the emphasis in dominant world religions on solar aspects as divine and earthy aspects as not.  The earth, then, is seen only as a resource worth taking from.

 

Spirit Below: The Telluric Current

While the light of the sun comes down to earth, the Telluric current rises from the heat and energy of the earth itself. Ecologically, we have the molten core of the earth which drives the earth’s tectonic plates and thus, shapes the landmass on the surface. Tectonic plates and landmasses, along with the energy of the sun and the composition of the atmosphere, determine our climate[1]. The great soil web of life, which contains millions of organisms in a single teaspoon of rich soil[2], also supports all life. Thus, we can see the importance of the biological aspects of the earth in the larger patterns of life on this planet.

 

The telluric current’s name comes from “Tellus,” a name for the ancient Roman goddess of the earth. She was also known as “terra mater” or Mother earth; later, this was a word in Latin “telluric” meaning “land, territory or earth.” These ancient connections, then, are present in the name itself, where the earth and her energy were often personified and worshipped as divine.

 

This telluric energy starts at the center of the earth and rises up, through the layers of the stone and molten flows, through the groundwater and underwater aquifers, through the minerals and layers of fossils, and into the crust of the earth. It takes its shape from what is on the surface: plants, trees, roads, rivers, valleys, rivers, and so on. As Greer notes in the Druid Magic Handbook, it is powerfully affected by underground sources of water (aquifers); springs and wells that come up from the land have very strong concentrations of telluric energy. This helps explain both why sacred wells, throughout the ages, have been such an important part of spiritual traditions in many parts of the world–and why we can use spring water for healing and energizing purposes. This also explains why fracking, which taints the underground waters themselves, is so horrifically bad.

 

As RJ Stewart notes in Earthlight, it is from the currents of the earth that the nutrients flow from the living earth into our bodies, regenerating them. It is from the telluric that you can find the light of transformation and regeneration. The telluric represents the dark places in the world, the energy found in caves and deep in the depths of our souls. The telluric energy sometimes is about confronting the shadows within ourselves and realizing that those are part of us too. It is about lived experience—the act of being—rather than rationalizing and talking about. In Lines Upon the Landscape, Pennick and Devereux sum this up nicely when they write, “For us, the sense of traveling through a dark and elemental landscape, pregnant with magical and spiritual forces, is no longer experienced. We have separated ourselves from the land and live within our own abstractions” (246). Take a minute to think about the word “dark” – in modern Western culture, it is immediately associated with evil (showing our strong solar bias).  But darkness can be a place of rest, of quietude, of inner learning and knowing.

 

There are fewer traditions that work primarily with the telluric currents—the Underworld tradition (see R. J. Stewart’s line of books as an example) is one such tradition. Many forms of shamanism, where the practitioner is going down into the depths of the earth or their own consciousness to seek allies and assistance is also telluric in nature. These traditions are frequently concerned with transforming the here and now, and seeing the earth as sacred, understanding the sacred soil upon which life depends.  It’s also unfortunate because, throughout history, many telluric-based religions that were indigenous and earth-based were essentially wiped out by solar ones.

Elemental Wheel - Animals in the Druid Tradition (Artwork by yours truly, Dana O'Driscoll)

Elemental Wheel – Traditional Elemental Animals in the Druid Tradition (Artwork by yours truly, Dana O’Driscoll)

Spirit Within: Awakening the Lunar Current

A third current—the lunar current–can be created by consciously bringing the solar current and the telluric current together in union. As Greer writes in the Druid Magic Handbook “When the lunar current awakens in an individual, it awakens the inner sense and unfolds into enlightenment. When it awakens in the land, it brings healing, fertility, and plenty” (p. 30).

 

We can see ancient humans’ deep knowledge of the three currents and their interaction reflected in the ancient ley lines upon the landscape—for example in Cuzco, Peru, which means “navel of the earth” had at its center, the Inca Temple of the Sun. It was here in the Inca temple that the Coricancha (the emperor) sat at the heart of the temple; radiating the light of the sun outward from this temple like a sunburst was a large web of straight lines reaching into the countryside (Lines upon the Landscape, Pennick and Devereux, 251). On the other side of the world, we see the same principles at play in China, where the Chinese emperor sat on his throne in the center of the Imperial Palace (the “Purple Forbidden City”), centered on the imperial road and with gates leading outward to the four directions (Pennick and Devereux, 251). In these, and in other ancient civilizations, the rulers, associated with the sun or considering themselves as “sun gods” or “sons of heaven” radiated via these “transmission lines” to bring the solar energy down and radiate it outward to bless the manifestation of the telluric. In both cases, the ruler was the personal awakening that third current and sending it out for the bounty and health of the land.

 

The lunar current also helps us resolve the binary created by the telluric and solar currents—it shows us that unification is possible and art of awakening the lunar current can be part of our healing arts in magical practice. To return to our opening discussion of “energy”; the Nwyfre flows from the awakening of this third current, through the alchemical synthesis and transformation of the other two into the third.  We can see this unification present also in the works of Jung–the unconscious (represented by the telluric) and the conscious (represented by the solar) come into unison to create a more complete and whole person when unified (a process Jung calls individuation).

 

Adapting the Seven Element Framework to Your Practice

If you are drawn to this framework or are a member of AODA, you might find it helpful to start mapping out your own understanding of these elements in your life and in your local landscape and building a seven-element mandala of ideas, experiences, and themes.  You can do this in many ways and, over time, you can layer many different meanings and understandings into your elemental mandalas.  This practice can take time to understand and requires some interaction and observation with the earth around you.  You can use the attached graphic to the left (click on the graphic for a full-size version) to help you map out the different relationships if you’d like.

 

Seven Element Framework Graphical Representation

Here are some of the many ways you can think about building your own:

  • What local animals to you represent each of the seven elements?
  • What local herbs to you represent each of the seven elements?
  • What local trees to you represent each of the seven elements?
  • See if you can identify local features that mark the elements and directions where you live: a mountain to the north, a river to the west, and so on (this practice may also have you switching directions–e.g. if you live on the east coast, the largest body of water is to the east, not
  • the west!)
  • What emotions tie to each of these elements?
  • Can you develop a movement for each of these elements?
  • If you practice bardic arts, you might consider developing a poem, painting, carving, photograph, or any other practice
  • Can you make a physical representation of this framework on an altar or in your landscape?

 

As an example of how this might work, in the photos earlier in this article, I shared one such bardic/artistic representation of my own. Earlier this year, I was asked to create a set of large elemental banners for the upcoming MAGUS 2020 gathering, which is primarily an OBOD gathering, so they were looking for elemental four-quarter banners.  I was asked to do them with an herbal/plant theme. Thus, I spent some time sketching and meditating on what local herbs would be appropriate (and put them into the seven elemental framework, even though I was only painting the first four for the gathering!)  I came up with the following list of herbs based on my own understanding, observation, and attunement with the local region and made several shifts and revisions during the development process.  Here’s my list:

  • Air/East/Spring Equinox: Dandelion (Taraxacum officinale).  Dandelion is excellent for east because she grows in the spring, she has a yellow flower, she is a dominant plant upon the landscape offering food and medicine, and when she goes into seed, she “takes to the air”.
  • Fire/South/Summer Solstice: Monarda / Bee Balm (Monarda didyma) Monarda here in this region blooms a firey red, bright pink, or light purple in the heat of the summer, usually throughout July.  This medicinal herb is also a very spicy plant–if you eat a leaf, you will have a spicy sensation.  It also helps fight illness and is a native plant here.  I could think of no better plant for fire/south because of both when monarda blooms and monarda’s firey physical nature.
  • Water/West/Fall Equinox: Cattail (Typha latifolia).  Cattail is another native plant here in our bioregion, and a very important one from an ecological perspective, as it helps cleanse and keep our waterways clear.  Like the other plants here, Cattail is a perennial plant, but it is most dominant in the fall as it grows its seed head (which is where it gets the name “cattail”.  Cattail is a water cleansing and water-loving plant often found on the edges of lakes and swamps.  It was perfect for the west!
  • Earth/North/Winter Solstice: Wintergreen (Gaultheria procumbens).  Wintergreen is another native perennial plant here, and while it has its green, waxy, and minty-tasting leaves year-round, by the winter solstice it is producing bright red berries that are flavorful and delicious.  Wintergreen stays green through the winter months.
  • Spirit Above:  Milkweed (Asclepias syriaca).  Milkweed offers such abundance, including four separate harvests for food, during the year, that I think it’s an excellent plant for spirit above.  Part of this is that it has a “spirit” quality as it slowly opens its pods as the season progresses and releases the delightful seed fluffs to the wind.  On a beautiful fall day here, you will see thousands of them in the air, offering a very ethereal quality. It has an enduring nature–there is some form of milkweed always on our landscape, whether it be the beautiful golden pods in the deep winter months to the shoots in the spring.
  • Spirit Below. Ghost pipe (monotropa uniflora).  Another plant imbued with spirit, ghost pipe is a parasitic plant that feeds on dead plant matter (and thus, does not have chlorophyll, giving it a “ghostly” appearance).  Part of why I selected this plant for spirit below is that has tremendous medicinal virtues associated with grounding–this plant is often used for people who need to come back from a bad experience (mental, alcohol/drug-induced or otherwise) and it helps them bring their way back to a place of stability–in a way that no other plant does.  It also has an enduring nature; even through all seasons
  • Spirit within. Sage (Salvia officinalis).  The uses of sage for spiritual purposes can be found in many cultures worldwide (it truly may be a “global” herb as far as spiritual practices are concerned).  Sages are found throughout the world, and certainly, here in my own ecosystem, where they are perennial, easy to grow, and abundant.  Sage has a long history of spiritual use in the druid tradition, and certainly, it burns beautifully, connecting matter with spirit, and serving as a connecting herb.  It has the quality of bringing mind, body, and spirit into the same place.

This is only one set of interpretations of the seven-element system, but I hope this example shows you how you might adapt this system to your own local ecosystem and understanding.  Next week, we’ll continue with the adaptations and work with the seven-element system, as I’ll further illustrate these concepts and how they can work together for land blessing and other kinds of rituals!

 

[1] Ruddiman, William F., ed. Tectonic uplift and climate change. Springer Science & Business Media, 2013.

[2] ch, Jeff, and Wayne Lewis. Teaming with microbes. Workman Publishing Company, 2010.

[3] Habashi, Fathi. “Zoroaster and the theory of four elements.” Bulletin for the History of Chemistry 25, no. 2 (2000): 109-115.

[4] Nagy, Joseph Falaky. “Fenian Cycle.” The Encyclopedia of Medieval Literature in Britain (2017): 1-5.

 

Earthen Nature Spirit Statues with Cob September 15, 2019

An earth spirit statue in my greenhouse, freshly made with sticks and an oak gall

A lifetime ago, myself and a dear friend dug some clay out of a hillside.  We each took half of it.  My half of the clay was used to form an earthen statue, a guardian statue, for that same friend who was struggling with terminal cancer while still in his early 20’s. It had a wooden tree knot head, stones for its belly, a stick staff, and an earthen body.  My friend accepted it reverently, and it went with him everywhere, even till the end. As he struggled with his battle with cancer, it grew nicked and chipped.  The wooden head fell off, just as my friend’s brain cancer grew more serious. When he passed on, the earthen statue passed on with him, returning to the earth. This statue was an impermanent being; fashioned of unfired clay. It was brittle, yet, in its own way, full of strength. It was ephemeral, and yet perfect in its lack of permanence.  It was a spirit statue, channeled from nature, with a bit of spirit within it, there to help my friend on his journey.

 

I had forgotten about this small statue until quite recently.  I’ve been cobbing several times a week, working to get my back greenhouse cobblestone/cob heatsink wall done.  One day, I had just a little cob left over. Not enough to set more stones on the wall, but enough to play with.  I started to shape it and felt the power of the Awen and of spirit flowing through me.  I saw a vision of all of these earthen statues, shaped, with sticks, shells formed and strong. I saw them left, to break down quietly in the elements and return to the earth with her blessing. And then, I remembered that earthen statue that I made all those years ago to try to provide healing and strength for my friend. And so, I’ve been experimenting working with such earth spirit statues. After sharing a few of my photos with friends, several suggested that I write about how I make these and how I use them ceremonially.  So today’s post, part of my cob building series, looks at the process of making earthen nature spirit statues all from simple materials found in your local landscape.  This is something that ANYONE can do, regardless of artistic skill.  So let’s get muddy!

 

Ephemeral Sacred Objects

In earlier posts on this blog, I worked with the idea of building nature shrines and sacred spaces of all kinds.  One of the things I often stressed as part of that work was not bringing things into those spaces that might be harmful or damaging to the land.  So I suggested natural things, things like shells, stones, wood, bones–things that you gather yourself, from the land, and allow to return to the land.  Or I suggested things that would easily return to the land, like wood burned object, hand-dyed natural fibers, etc. These will break down quickly due to the elements, but that’s exactly the point.

 

Many earth spirit statues

As I have talked about over the last few weeks, Cob is a natural building material made of clay, sand, and straw.  When you make something from Cob, it’s not fired.  It will not hold up to water. It will break down in the snow, wind, rain, and ice. Why, then, would you make statues out of cob if you know they will break down? First, because there is a magic in impermanence, magic in the making.  When you know something is only going to be a certain way only for a short period of time, it holds additional value.  For example, when my strawberry patch starts to produce the best-tasting strawberries, I know there is a short window, maybe 2 weeks, where I get to enjoy them fresh from the plant.  The rest of the year, I might enjoy preserves, but never that fresh succulent strawberry right from the vine.  Sacred objects can be like that too–an object you carefully construct, with the full knowledge that it will be broken down, creates a different kind of relationship. A sacred relationship based on the immediate moment. Creating these statues asks you to be in a place for this moment in time, to simply be present, making these, working with the cob between your hands. Letting the natural objects find their own shape and in their own time.  And not rushing it.   For there is much magic in the making.

 

There is magic in the making, and there is magic in the placing. An earthen spirit statue’s goal is to return gracefully to the land.  If you want, you can work slow magic with these, on nature’s time and at nature’s pace, as part of this work.  Almost all of my earthen spirit statues are used for the purposes of land healing.  As I shape them, I speak my healing words into them, I work healing energies through my fingertips. I sing, I chant, I smile, I laugh. I put the energy of life and light into my statues. And maybe when they are done, I put some more into them ritually, adding the powers of the elements and the sacred animals of the druid tradition.  Then, they become like little healing shrines all to themselves.  Carefully wrap one and put it in your backpack while you are on a hike, leaving it in the nook of a tree.  Place one on a stone in a stream, knowing the floods will carry it away.  Bury one in a snowdrift in a logged forest to offer peace to the survivors.  Offer one to your local lady of the lake.  Place one in your garden to nurture your plants to grow, letting it become soil you will plant in.

Gathering Materials and Decorations

There are two parts to an earthen spirit statue.  Natural items, such as feathers, leaves, sticks, stones, nuts, roots, seeds, and more are one of those parts. Take a small basket into the woods, beach, bog, desert or whatever is near you.  Walk intentionally and slowly, letting small bits of nature speak to you.  If they call out, pick them up, and leave an offering in thanks.  Once you have a good selection to work with, its time to make your cob!

 

Making Cob

And so, let us put our feet and hands into the earth and make our cob! For an introduction to our delightful material, you should look at the introduction to cob construction here, and how to make cob here. I will also offer basic instructions here, as they differ slightly from the instructions on my introduction to cob page. In a nutshell, cob is a combination of clay, sand, and straw.  This combination, in the right amount (1 part clay/silt to 2 parts sand) makes a perfect material for building earthen spirit statues.

To make your cob:

  • Dig down to the subsoil (see here for more details).  Fill up part of a wheelbarrow (1/2 or so).  Screen it, removing any rocks, sticks, or other debris.  The goal is to have just clay, sand, and straw.
  • Put your material on a tarp.  Make a well in the center of the soil, and then, add water.  Mix with your feet, putting your prayers, energy, and love into that material.  Dance with the spirits as you dance on your cob.  Take a side of your tarp and flip the cob, adding more water to make a good firm dough consistency.
  • If you want extra strength, you can add a bit of fine straw.  To add straw, take your scissors and carefully cut the straw up into 1/2 in pieces or less.  then sprinkle it through, working it in with your feet.
  • Pick up some of your cob.  It should hold its shape well and you should be able to work it.  Add more soil if its too wet and more water if it’s too dry and crumbly.
  • The goal is a nice firm but doughy texture that will hold its shape and that you can form.

 

Goose blessing of my cob

Make Your Statues

Make your statues however you see fit.  the easiest way is to create a cylinder by rolling the cob in your hands or on a solid surface. Then, find the natural objects you want to include.  Press them into the cob, shaping it as you go.  Stick some sticks coming out of it, shells, or dried turkey tail mushrooms (or similar small polypore mushroom). Let the objects speak to you, and let the clay speak to you. Make no thought if it is “good” or “right”; refrain from any value judgments. Your goal is to channel the spirits of nature, and they are not concerned with the physical vessel you are creating.  Don’t fuss over it.  Let it be complete, and make another.  And another, and another, until you feel you are done.  As you make, laugh. Get muddy. Sing to the statues, drum.  Call for the sacred powers of nature who might aid you.  Put happy, healing, and light energy into your work.  Let go.

 

Bless your statues

If you feel the need, you can do an additional blessing for your statues.  Draw upon the power of earth, air, fire, and water, and give a blessing to them–smudge them with incense, drip some beeswax on them or hold them to the flame.  Give them some water drips, smear them with soil.

 

More earth spirit statues!

Place your statues

Find a home for your statues in the nooks and crannies of the landscape.  They want to travel, go somewhere, send their healing energy out as they begin to break down. Put them in unconventional places.  Put the in places in need of light and healing.  Put them on nature shrines.  Put them in your druid’s anchor spot. Visit them and watch them break down, or leave them never to return. You can put one on your altar for a while, but make an agreement between the two of you how long it will be there so that you can return it at the right time (these energies are meant to move between you and the land freely). There is no right or wrong path, just you, the spirits of nature, and how spirit moves through you.

 

The Ways of our Ancestors: Review of the Mountaincraft and Music Gathering September 11, 2019

Here, in the center of our camp, the sacred fire burns. This fire is tended for the four days we are together, never being allowed to go out. This is an ancestral fire, and all of us at the Mountaincraft gathering have the responsibility of feeding it. This is where we remember that learning primitive and earth skills is the work of our ancestors. This is where we gather for a quiet moment to commune with those ancestors, and will our bodies and hearts to remember. This is where, each morning, we gather as a group to hear about the day’s classes, call to the directions, hear a word of intention, and recieve a water blessing from Nancy Basket, a tribe elder. This is where, at each meal, some of us may find ourselves, talking with each other or engaging in quiet communion with the flame. This is where, each night, we gather to drum, dance, and connect with all in this community. This is where many classes are taught, using fire as a tool for cooking, dye, carving, and more. The ancestor fire at the heart of the Mountaincraft gathering is the heart of the gathering itself–and it represents much of what we’ve come here to do.

Dye pots in the sacred fire

 

As I’ve already begun to do, in this post, I’m reviewing my recent experience at the Mountaincraft gathering. I’ll offer a full review, and also share at the end of the review how you might find a similar earth / primitive skills gathering, and why, if you are interested in nature spiritualiy and druidry, you might really want to do so!  And so, let’s get back to honoring the ancestors.

 

While I had been at the North American School of Bushcraft a few times before, this was my first time at their annual  Mountaincraft and Music Gathering–and in fact, my first earth skills gathering ever. This gathering focuses on the wide variety of earth skills and primitive skills that our ancestors once knew, and that many of us are now trying to re-learn and preserve. Held yearly in early September in Hedgesville, WV at the North American Bushcraft School, this gathering is a wonderful time for people to gather together to learn, teach, share, and grow. I have been looking forward to this gathering for quite some time, and I invited two druid friends to go with me.  And what a time we had.

 

A typical day at Mountaincraft looks like this: breakfast starts at 7am and ends at 8:30. At 9:30, we have morning circle around the fire. Morning circle is as I described above: part annoucements, part community building, and part ceremony.  We hear about the day’s classes from each of the many instructors–they introduce themselves, what they will be teaching and where. We get a word of intention for the day, which helps us focus our energy in a useful direction.  We gain a water blessing (and sometimes a song) from Nancy Basket, who uses cedar to flick each of us with pure water. Then, we go off to one of many classes offered.  Usually about 7-10 classes are being held at any one time. Morning class runs from 10am till 12:30. Lunch is till 1:30 and classes begin again at 2 and run till 5:30. The gathering provides breakfast and lunch, so then everyone goes off to cook or pays for a delicious purchased meal. Signups for classes start at dinner the day before, so around dinner, so everyone visits the board and sees what the next day’s offerings are and sign up. Many find it diffiuclt to choose as so many good options are available. As it gets dark, everyone gathers for drumming and connection. There might be trading activities (trade blanket, or trading/sales of items) or some other activity. The final evening of the gathering, Saturday evening, they had two fantastic Bluegrass bands (I’m not even a fan of Bluegrass but these were quite fun and enjoyable!) Then you go to your tent and enjoy your rest. While it sounds like you stay quite busy, the schedule is quite relaxed and things happen at their own pace. Earth skills are not “fast” skills, rather, they work on slow time. The gathering’s pace reflects this powerful lesson.

Afternoon Classes – so many!

 

Each day at the gathering offered new classes and exciting opportunities to learn. It was often quite hard to pick between the many classes. Here are just some of the many classes that were offered this year: Wilderness survival 101, map and compass, navigation without maps, bow drill firemaking (make your own kit and learn to use it), friction fires of the world, 40 minute forks, spoon carving, blacksmithing 101, make your own atlatl, primitive pottery, zen and the art of woodchopping, tool maintenance, make handles for tools from trees, make a milking stool from a log, flintknapping, tomahawk throwing and course, bow course, cordage, basketry (many, many different types–pine needles, kudzu, vine, etc) combined with storytelling, fingerweaving, natural dyes, bark baskets, parkour, campfire cooking, indigo and shibori dye, leatherwork: moccasins, make your own leather pants or skirt, process a deer and use all parts, cattail reed mat making, herbalism 101, salve making, naturalist classes, nature awareness, weed walks and plant walks, eating bugs and mushrooms, tree identification, drumming, learning guitar and banjo (and other music), nature identification, and so many more I can’t remember and didn’t write down! There was also a full 3.5 day kids program, where kids did many different earth skills along with plenty of play time, swimming, and nature hikes. This allowed the kids autonomy and also allowed parents to go to their own classes knowing that their kids were in good hands. There were also daily sweat lodges that you could sign up for–I did not do a lodge but one of my druid friends did and had an amazing experience.

 

40 Minute Forks

On my first day, I spent the morning learning “40 minute forks” from Fuz, a long-time earth skills instructor from North Carolina. This was a great class to help me build confidence with my knife skills, whittling skills and create some simple forks. Fuz was a strong presence throughout the gathering, not only teaching a wide range of primitive skills (carving, wood chopping, drumming) but he was also very active in the drum circles at night, helping us feel welcome and leading some great beats.

 

The afternoon class was primitive pottery with Keith. We made our way down to the creek bed, dug clay from the bank, and learned how to hand wedge it. Covered in mud, we came back to the primitive pottery area, where we shaped the clay into bowls and other objects. On saturday late afternoon, after drying the pottery by the fire, the kiln was built on top of hot ashes and all of our pots went inside. Then, we built a bonfire on top of it and watched it burn  I remember standing there with our pots, at about 11pm on Saturday night. Bluegrass band playing in the background, heat of the fire before me, and just thinking what an amazing experience this was–to use fire as such a powerful tool. Evening came and my friends and I shared a meal and some downtime at our campsite. We then went down to the ancestral fire, where we participated in the best drum circle jam I have ever been enjoyed!

 

Prefiring pots

The second day cordage in the morning with Jeff Gottleib.  I loved everything about Jeff’s teaching style: practical, knowledgable, friendly, and encouraging. Jeff was a professional earth skills instructors and naturalist and it really showed. He walked us through the intracies of creating cordage from various plants and trees, and had tons of examples to look at.  We made dogbane cordage and then some hemp cordage. He even had a book on the topic for more info, which I was lucky enough to purchase for reference.  (He has a site and Youtube channel you can check out here).

 

After a great lunch, I went to my afternoon class, which was dyeing with indigo and traditional shibori techniques with Stephanie Davis. I have been longing to learn these techniques for years!  Stephanie’s workshop was amazing. Stephanie brought out examples, pictures, and had her own indigo dyed clothing and tapestries everywhere for examples.  She offered us a box of clothing and we took what would fit.  I ended up with a great cotton sleeveless shirt and an long runner I will use as an altar cloth. Stephanie’s instruction in indigo was magical. Each of us finished our prepartion (with various stitches, string, rubber bands, and more) and then made our way to the dye vat. Stephanie worked with each of us, slowly and purposefully, to dye our work and remove it quickly so that we did not add oxygen to the vat. Her gentle guidance added *so much* to the learning process–I felt like she taught us how to commune with the dye, how to work with the Indigo plant behind it. My two pieces came out beautifully. Many of us stayed to watch the last of the items get unwrapped like precious gifts. I left that class with my heart so full.

 

Amazing dyed fabrics!

Friday night offered a traditional trade blanket. Each of us who participated brought multiple kinds of trades.  We took turns, going around the blanket and offering trades. Or doing side trades, which are ok. I ended up trading for a bag of spicebush seeds (yay for replanting my land), a small leather bag, beads, dried hen of the woods mushrooms, a self-published coloring book, and a wonderful wool shawl with arm holes. I gave iron oxide pigment, guinea and goose feathers, a handmade leather journal, small gourds, and a small gourd drum. This was a  very fun time and a good way to get to know people at the event. For an overview of what this is, you can see this page.

 

Saturday is the “big day” of the gathering. Lots of new folks rolled in and there were at least 10-15 classes running at all times–and again so many choices! I decided to do a natural dyes and ecoprinting class in the morning. My natural dye class was great–we foraged for materials, learned about dyes and prepartion, and prepared and used three different dyes: a pokeberry dye, a walnut dye, and a goldenrod dye. The best thing about this class is that we did these dyes over our ancetral fire, just like our ancestors would have.  We gathered the plants and stained our fingers and faces with pokeberries.

 

My kit, with a fire I started at home a few days after the gathering.

My saturday afternoon class was my last class of the gathering, since I had to return early on Sunday. But I consider this class my greatest success–it was certainly the most physically demanding and challenging but also rewarding. I had class with Jeff again. This time, he was teaching us how to make bow drill kits for friction fire building. We started with a good chunk of dried basswood he harvested. He showed us how to quarter the log and get boards from them, each student making their own board. He then took the rest and offered us smaller shards to carve down into our round drill. After a good deal of carving, we were ready to make the bow. We harvested our drill wood itself and then added lines or did a 3-ply cordage technique with leather.  By this time, we had been making our kits for several hours. Many of the other classes had finished for the day, but we were determined to start fires with our kits!  It took me about 15 minutes of practice to get the hang of it, but then, I HAD AN EMBER!  And then, a minute or so later, I had made fire.  I felt so alive, so proud, so accomplished. From my own hands, I took pieces of split wood and turned them into a friction fire kit that really worked.  I spent most of the evening riding my bow drill fire high, thankful to have learned this skill and feeling damn accomplished. Since returning home, I’ve made three embers and one successful fire with my bow drill–and it tremendously deepened my relationship to fire!

 

That evening was awesome.  We had the trader setup, where you could sell or trade for items from a wide variety of folks who had stuff at the gathering. There were soaps, jams and jellies, herbal medicine, knives, feathers and bones, old school lanterns, various tools, and so many more interesting things. As that winded down, the party began, and we enjoyed homebrew and two amazing bluegrass bands.  I ended that evening at the primitive fire pit watching my pots turn to molten orange.Sunday at the gathering is a half day, but unfortunately, I had to leave early due to having to go to work later on Sunday. I said goodbye and drove away with my heart so full and my mind active, the awen strongly flowing through me!

 

I want to conclude with a few general thoughts and encourage you to go to Mountaincraft or another Earth Skills gathering:

 

Firing the pots!

First, this community is really, really welcoming. I can’t stress that enough. I live in a rural and very conserative area, and that often translates that there are things women do and things men do, and men don’t always want to teach women “men’s” skills. Woodworking and treework, in particular, have been really hard for me to get any decent lessons in. Here at Mountaincraft, Jason and Sera, who run the North American Bushcraft School, are diligent about their land being an accessible and welcoming place. I felt completely respected and believed in, at all times, during the gathering. I had strong women and respectful men leading awesome classes. But its not just gender diversity that is respected: all people are. The elders are respected in this community and given places of honor. The children are likewise respected, and many of them are teachers themselves. I have never been in such an open and welcoming community that honors the diversity of age, race, gender, and path so much.

 

Second, this community has a lot to offer people who put in the time. Besides the incredible list of skills I mentioned, there is a lot of personal work you get to do in building skills. Its a meaningful and powerful method of personal empowerment, where each new skill you learn allows you to gain confidence, gain power, and gain wisdom.  One of my druid friends, also a woman, spent the weekend learning blacksmithing, making weapons, and throwing them.  Her body was sore but her heart was full. She took the warrior’s path, much different than my own bardic journey, and yet, both were fulfilling and enriching for us.  Starting my fire with the bow drill changed something within me; it connected me deeply with my ancestors but also seemed to unlock some as of yet unknown potential within me. All I can say is that I left that gathering a different person than I came, and what that means will likely take some time to sort out through more fire building and bow drill practice.

 

Third, this gathering teaches deep nature knowledge and nature awareness. Nature has so many facets to learn: identification, edible/medicinal virtues, and many other uses–each of these offers a different “face” of a plant. There is such a difference between being able to ID a tree and learning how to make something from its fallen trunk, knowing just the right wood and part of the wood to choose. Before this gathering, basswood was simply a nice tree that I could identify and whose flowers made a demulcent tea. By learning how to make a bow drill of basswood, I learned much more about the qualities of this tree–how the wood behaves, how soft it is, how it smells when it burns, how it carves. Thus, I learned a bit of the tree’s magic: what wisdom and resources that it can offer. Nature knowledge comes in many forms, and the path of earth skills is abundant in such knowledge.

 

Finally, I think earth skills gatherings offeres a wonderful “earth path” suppliment to my many readers who are practicing some kind of earth-based spirituality (such as AODA druidry, which we literally call “earth path” skills).  These are the practical skills, folks.  These are the skills that help you stay rooted and present and build nature knowledge.  It is an incredible opportunity.

 

If you want to find a gathering near you, visit the Earth Skills Gatherings website.

 

Building with Cob, Part II: Soil Tests and Mixing Cob September 8, 2019

Happy feet mixing cob!

In a meadow under the summer sun, a group of dancers laugh and fling mud.  Beneath their feet, clay, sand, and water become mixed together, creating a sticky earthen blend that sticks to their feet, their legs, and, after some play, faces and fingers! This is a cob mixing party, one of the best times you can have with good friends. After the cob is mixed, it is added by others to the bench and more soil is added and the dance continues.  In last week’s post we explored some reasons to consider exploring natural building as a potential way to build sustainable structures and be more attuned with the energies of earth.  In this week’s post, we will get into how to test your soil and how to make some cob!

 

One thing I want to share about cob–you don’t have to build big things, like houses or ovens, with cob.  You can also build really small things–candleholders, paperweights, primitive statuary, and so on.  You can do an earth plaster on a wall in your home, or build a small cob bench overlooking the woods. I think the underlying practice with cob is simply to work with the earth in this very earth-honoring and embodied practice.  This post explores how to test your soil and make cob, which you can then use to shape your world!

Preliminaries for Cob: Testing Your Soil and Quality of Cob

Soil Horizons and Your Subsoil

Soil horizonsMaking cob requires you to understand a bit about soil horizons and how soil lays on the earth.  If you dig a hole in the earth straight down, you’ll see that soil show up in layers (horizons).  The first layer, the O layer, is an organic layer–where dead and rotting organic matter can be found.  This is the layer that is created when leaves fall and rot, creating dark, rich, humus.  This is what we want to grow plants in, NOT what we want for natural building.

 

The second layer, the  A Horizon, is the surface layer.  It is usually less dark, but still contains nutrients and organic matter. It usually appears lighter in color. Again, this is for plants, not for cob.

 

The third layer, the B Horizon, represents the sub-soil.  It is here where we find clay, sand, and silt; our basic building blocks for cob construction.  You’ll notice another break in your soil as you go down–in my region, the soil gets quite orange, representing the high iron content that we have here.

 

The fourth layer is the C Horizon, or sub-stratum, where you get quite rocky before hitting the final layer: the R layer, bedrock.  We don’t really want that for cob either.  Depending on where you live, the bedrock may be very close to the surface or dozens of feet down, so you may never see it.  Here in Pennsylvania, however, you can get a good look at the C horizon less than a foot down!

 

The amount of O and A Horizons you have is based on your own soil ecology as well as the long-term land use and land history. Parts of the world were stripped to bedrock by glaciers.  Other parts have a 15 foot A Horizon due to long-term patterns of beneficial animal herd grazing.  The same is true of the B, C, and R layers–the depth of these layers is based on a lot of land history factors spanning back tens or hundreds of thousands of years.

 

The good news is that in many parts of the world, clay and sand are fairly abundant and easy to get to with only a shovel!  You can learn more about soil horizons in your area by looking at recently dug up areas–a fallen tree that has taken the roots with it as it fell offers one such opportunity; new construction into a hillside offers another.  Or, you can simply get out a shovel and start digging–the secrets of the soil horizons will be revealed to you with a bit of sweat equity.

 

The Soil Jar Test

To find out how much sand, clay, and silt you are working with in your subsoil, you can perform a simple soil jar test.  Dig down into the subsoil and get yourself a good cupful of subsoil.  Break it up well if it is compacted as much as you can (this might mean letting it dry out for a few days in the sun and then breaking it up that way). Place this in a quart mason jar and fill with water to the top, leaving about an inch or so to shake it.  If you have animal helpers, this is a good time to enlist their help. Shake it very well.

Soil jar after shaking well.

 

Goose inspection of the jar. All is well.

Now, let your jar sit somewhere undisturbed or 24 hours.

  • The sand (a large grain particle) will immediately sink to the bottom, within a few minutes.  Mark this with tape or a marker if you can, or mentally note where it is.
  • A layer of silt (a medium particle) will settle on top of the sand in about 30 min.  You should .again mentally note where that ends.
  • Over the next 24 hours or so, the clay (a vey fine-grained particle) will settle out of the water.
  • You will also see any organic matter floating at the top of the jar.

24 hour later, all has settled.

You can look at these ratios as a way to determine if you will need to source some off-site materials to make an effective cob blend (2 parts sand, 1 part silt/clay).  As you can see from above, I am blessed in that I have an excellent ration of sand to clay/silt, and the cob from my land is almost perfect without any additions.

Any organic matter will settle on top (or float) but if you are using subsoil and you dug below the A horizon, you shouldn’t have much of that. (As an aside, you can use this same test for garden soil on the surface and it will tell you how much organic matter is in your soil, which is a very good thing!)

 

Clay Ribbon Test

Another good thing to do to test your clay in your subsoil is to do a ribbon test.  This gives you a simple test that lets you know how pure your clay is and how it will hold up over time.  A good example of how to do this is here. You mix up your cob as usual and work to create one of those clay snakes (like you may have done as a kid). When you have it mixed, you see how well it can be worked (bending) without breaking.  The higher the clay content, the more bendy it is.

 

Making cob at my PDC in 2015!

Soft and Sharp Sand

Not all sand is created equal and it is very good to know what kind of sand you have in your subsoil. Some sand has very soft edges; you can think of beach sand here. The waves and water over a long period of time have softened the sand to the point where it is smooth. It is possible that the sand in your subsoil is like this–it is very soft because at one time, it was on a beach somewhere! Sharper sand contributes to a stronger cob. If you are doing major load-bearing building projects, you might consider adding some “builders sand” (which is a sharp, coarse sand) to your mix.

How to Make Cob!

Without further delay, let’s mix up some cob!

To make your own cob, you will need the following tools:

  • A shovel to dig out subsoil, wheelbarrow
  • Subsoil
  • Straw (chopped up), aged manure, or other grassy things (this adds strength)
  • A mixing tarp (any tarp will do, at least 6′ across  so you can move the cob around on it
  • A water source (hose, bucket, etc.)
  • Some happy feet for cob dancing (you know you want to!)
  • A large wooden screen sizes (use 1/2 or 1/4″ screen; see “tools” below)
  • A rock or small board to help sift subsoil

 

Tools

Probably the only tool you will need to make is your screen sifter. For general cob applications, you will want a 1/2″ screen for coarse/building cob. For finer cob applications (finish plasters, earthen candleholders or statuary, etc) you will want a 1/4″ screen. I made my screen by making a simple wooden frame out of scrap 2×4″ board. Then, I used a good amount of staples to staple my hardware cloth (1/2″) to the frame. The process took about 30 minutes, which mostly involved cutting and stapling the hardware cloth.

Screen with soil

It is necessary that you screen your cob in most locations–you don’t want those happy dancing feet to step on sharp rocks, sticks, or other stuff.  If you are taking your cob down to the 1/4″ level and have really rocky and uneven subsoil, I suggest starting to screen it at 1/2″ and then rescreen it down to 1/4″.

Making Cob

Dig your soil. The first thing to do is to dig out a good amount of subsoil.  I usually mix two medium wheelbarrows full at a time.  If you mix too much at once, it becomes unwieldy, particularly if you are mixing it yourself.  You can see how rocky our subsoil is!

Wheelbarrow full of subsoil

Screen your cob. Now, screen your cob. To do this, break up the hard chunks as much as you can with a shovel.  Wet soil will not screen.  Really dry soil (as in, you haven’t had rain for quite a while) may get hard to screen as well, so there really is a sweet spot for soil moisture (experiment, you will see what I mean). Put a few shovel fulls of cob in your screen and then start moving it around. After you break up the big stuff, you can use a rock or small piece of board to really push the soil through the screen. Once you’ve screened all of the cob, place the stones and other debris in a bucket, and continue with more subsoil.

Using a stone to work out the last bits of subsoil/clay chunks from stone

Make your cob. Once your subsoil is all screened, you can dump it into the mixing tarp. Make a well in the center of the subsoil, and just like you’d do making a dough, place water in the well in the center.  Don’t overdo it, just fill up that well.

The well with water

Now, start mixing the cob together with your feet. As you mix, grab an edge of the tarp and pull part of the soil over on itself. Add more water. Mix with your feet again, and continue the process–flipping over the cob, adding water, etc, until all the cob is firm yet pliable. How wet you want your cob depends on the application. If you are using cob as a mortar for a stone wall or brick rocket stove, you will want it much wetter. If you want to make bricks and build with it (like an earth oven), you will want it more firm.

Work it!  Mixing in the straw.  Sprinkle lightly to prevent clumps.

Optional: Add straw. At this stage, if you want your cob to have extra strength, you can mix in some straw or other grassy matter. This addition is excellent for building cob ovens, walls, and so on. The straw will suck up some of the moisture in your mix, so you may have to add a bit more water till you get a perfect consistency!  For fine applications, a lot of cobbers actually use dried out horse or cow manure–the cellulose stays in the plant matter as it moves through the animal, giving a really nice soft strengthener.

 

In my photo here, I am using this cob as a mortar for my greenhouse back wall, so I have added straw to help strengthen it.

A good mix!

Create anything with your cob! Now, you have a wonderful building material that you can do anything with!  If you don’t have anything to build yet, consider not adding the straw and instead, making some primitive statuary, cob candleholders, paperweights, and so on.  I love the way that some cob statuary and candleholders look on an altar!

Ready to use!

Cob and cobblestone wall ongoing in the greenhouse!

 

The photos in this blog post show two different locations–at my permaculture design certificate program, where the soil was more brown/gray and then here in PA, where we have beautiful yellow-orange iron-rich soil.  One of the other delightful things about cob is that it reflects the land where it comes from–we can truly see the colors of the land through this practice.

I hope this post was inspirational to you and you consider experimenting with this amazing building source!

 

Building with Cob, Part I: Project ideas and Honoring Earth September 1, 2019

Making some cob!

Connecting with the earth can mean a lot of things–and today, I want to talk through how to create a simple building material that can be used for a wide variety of purposes: cob.  Cob is an ancient building material that is a combination of sand, clay, and straw (or other strengthening materials) mixed with water. Cob, the synthesis of water and earth, becomes the passive forms through which we shape anything from a small earth oven to a whole living space.  In this post, I’ll introduce cob and offer some different kinds of projects that you can do with it. This post compliments last week’s post, where I shared how to make ecobricks from waste plastic materials.  Cob is certainly one of the more sustainable and local construction materials to use in conjunction with ecobricks, so I thought it would be a nice time to introduce this as well.  I’m also going to be doing a variety of cob projects on the homestead in the next few years that I will share about, and thus, it is useful to have this introduction first!

 

For many years, when I was studying natural building and various kinds of sustainable living at Strawbale Studio in Michigan, I offered a series of posts on natural building topics and rocket stoves. This post continues that series, and I am delighted to revisit some of these construction techniques. This post will serve as a basic introduction to natural building with cob–for more resources, there are books and classes (I’d highly suggest one of the internships at Strawbale Studio for a hands on experience!) Today’s post covers the preliminaries for cob building – what cob is, the kinds of projects you can make with cob, and the spiritual implications of learning to work with this amazing material. Next week’s post will show you how to test your soil and make cob.  Once I finish it in a month or so, I will also show the cob/cobblestone build a simple passive solar greenhouse heatsink wall.

 

Connecting to the Earth

Cob is the combination of sand, clay, and straw that has been used as a building material throughout the ages.  It is a most ancient building material, an ancestral building material.  It is always a local resource that reflects the different qualities of the earth in that location. It has been created by humans for thousands of years (if not longer), and is used in a number of building techniques, including adobe construction, waddle and daub construction, strawbale construction, and much more. In fact, nearly every temperate or tropical non-industrial culture has created their own version of cob in some capacity. This is a building material that is right from the land, created with our bodies in perfect harmony with the living earth.

 

In modern industrialized cultures, we often live in and build structures in opposition to the land. These structures almost always ignore basic things like sunlight, wind, or other weather patterns that would make heating and cooling them more effective and instead, rely on unsustainable fossil fuel burning to make them comfortable.  We live in houses full of toxic substances: the materials were toxic to the land and her peoples (human or otherwise) during extraction, toxic during their production, and they will be toxic when they are destroyed and put in a landfill. Our homes, structures, and building materials are thus in a constant state of disconnection from the living earth.  I think its hard to live that way, even subconsciously, and not experience some disconnection as well.

 

Cob offers us one path, of many, back to more nature connection.  Learning some cobbing and other natural building skills can help us connect with the earth, honor the earth, and learn some of the deeper mysteries of the land.  We can reconnect with the wisdom of our ancestors, who built shelters and homes right from the land aroudn them.  Learning to make cob, even through small things like making cob candleholders, allows for that deep, ancestral connection.  There is nothing as satisfying as communing with the earth, digging up some of her subsoil, sifting it, and stomping it with your bare feet to mix it into something that you can use to create virtually anything!   The mud between your toes, the weight of the earth, the shape of it in your hands–it is empowering, it is connective, and it is soul-filled.

 

Making cob and building with cob (also known as “cobbing”) also offers powerfully to the druid elements (which are explained here): particularly, the synthesis of gwyar and calas. You can also think of cob through the classical elements: the passive elements of water and earth are combined to build structures which heat, shelter, and allow us to cook meals, and so on.  It is an incredible and beautiful way to learn to live more in harmony with nature.

 

In the 21st century and the age of the Anthropocene, I think we need multiple pathways to find our way back to the cradle of the earth.  To a place of connection, or re-connection. Of learning that the earth, right under our feet, and the living things around us can truly provide all of our basic necessities for life.  This is a lesson that humanity has forgotten in the century+ past industrialization, but it is time that we begin to learn this lesson anew.  And for some of us, this lesson comes in the form of learning to build as our ancestors did–of using materials right from our land.

 

What are the benefits of working with Cob?

The Strawbale Studio - Cob/Strawbale with Thatched Roof

The Strawbale Studio – Cob/Strawbale with Thatched Roof

Local and sustainable sourcing, ethical building material. Because cob is locally sourced, it is an extremely sustainable building material. If you have the right kind of sub-soil, you can literally dig it out of your land and make it right there. Some sub-soil may require off-site amendments, depending on the nature of your soil (see soil tests, next week’s post). Cob comes right from the earth, and can return right to the earth, with minimal to no ecological impact. For example, in digging my hugelkultur beds, I replaced hard packed clay with large amounts of wood, plant matter, and compost–and the clay that was removed from those beds was piled up nearby, ready to be turned into cob.  Now I have a giant pile of subsoil that I am slowly using for new cob projects.

 

By comparison, modern construction materials are just awful from an environmental perspective. For example, the production of concrete is the *third largest* producer of C02 in the world! The link in the last sentence shows at how many different stages the production of concrete is linked to C02. Yes, concrete is more permanent than cob, but it comes with serious disadvantages.

 

Endless possibilities for construction. The possibilities of building with cob are endless! You can build earth ovens, chicken coops, candleholders, and even whole living structures. About 10 years ago, strawbale/cob construction was listed in the International Building Code, which makes it easier to secure the necessary permits in places that require them. Most of the “finished” photos in this post are from the Strawbale Studio, built by my natural building mentor, Deanne Bednar.  In addition, unlike many conventional building materials that require squares and rectangles, cob also allows for amazing amounts of versatility and creativity.  Unlike regular structures built with straight lines, cob allows for flowing curves, circles, spirals, and many unique features. Thus, many natural building projects are flowing, curvy, and fun.

 

Accessible to everyone. If you didn’t grow up “handy” or had someone to teach you, traditional construction may be inaccessible–both because it requires a lot of specialized knowledge and also because it requires multiple kinds of expensive tools and supplies. By comparison, cob construction can be taught to anyone, including children. In fact, cob allows us to build things right from the land, on the land, with minimal hand tools and no fossil fuel demands. It is perfect for group settings, schools, and other places where people want to join together to do something fun.

 

The inside of Strawbale studio with curves and beautiful features

The inside of Strawbale studio with curves and beautiful feature

Building with cob is “slow” and “meditative.”  Taking fossil fuels out of the equation requires a different kind of time commitment. Fossil fuels allow us to radically increase the speed at which things are done, but not the quality by which they are done.  Cobbing allows us to slow down, to re-attune with earth’s rhythms, and to have fun making something magical with our own hands and feet!  This is “earth time” and requires us to simply embrace the experience. Creating and working with cob is not done on “fast time” but represents a very slow and meditative process.  I list this as a benefit because I truly believe it to be so–by attuning with the earth and her building materials, we are forced to slow down, breathe, and be a participant in the process.

 

Can be combined with other sustainable practices. Cob is but one of many different techniques that can be used to build material. Timber framing, ecobricks, thatching, passive solar, rocket stoves/energy efficient heating, and shingle making from wood are just some of the strategies that align with these approaches. A rich universe of knowledge awaits you down this path!

 

Example Cob Projects: Rocket Stoves, Ovens, and Structures

One of the first considerations when thinking about a cob building project is matching the cob project to your climate. In arid climates where there is little rain, cob can be out in the sun and elements unprotected with minimal damage. In temperate climate with lots of rain, sleet, hail, and snow, special considerations are needed to protect the cob from the elements. In particular, cob designs need to have a “good hat” and “good feet.” That is cob projects are required to have some kind of protective structure that prevents the cob from getting wet–even with a finish plaster, it cannot stand up to the regular elements for extended periods.  A good footer,  usually made of stone, is what you rest cob on (so that it can’t wash away). This is one of the big differences between concrete and cob. Concrete is designed to stand up to the elements for years–but it also means that it will not return easily to the earth. Cob requires more TLC with regards to the elements, but is perfectly fine when designed correctly. As you see some of the examples of cob projects, you will see the use of the good hat/good foot design!  With this in mind, let’s explore some of the wonderful projects you can do with Cob!

 

Cob Ovens for Pizza and Baking. A staple in the cob world and a project that can be complete over several weekends is a cob baking oven for pizzas.  This is a good beginner project for cob, and there are lots of designs and resources online and in print.  I’ve built a few of these and have also had the pleasure in cooking in them!  The pizza that comes forth from them is amazing.

A cov oven at Sirius Ecovillage

This first photo is of the cob oven at Sirius Ecovillage (where I was blessed enough to do my permaculture design certificate in 2015!).  I love this oven because it has a well-designed structure that lets light in, it has beautiful artistry of the oven outside, and it produces quite tasty food!

 

Cob oven with fresh mushroom pizza

Earth Oven at Strawbale

This second oven is located at Strawbale studio.  While this oven was built before my time there, I was able to help repair cracks in this oven and bake in it on several occasions.  This oven did not have the optional stove pipe (like the first one did) but it still worked great.  In this case, the venting of the heat and smoke just come out the front. Notice the “hat” and ‘feet” of this design. The first photo shows some handmade pizzas with fresh foraged mushrooms we made and enjoyed as part of a workshop!

 

A Cob Rocket Stove or Rocket Mass Heater: Cob is excellent at transmitting heat (or cold) and because of that, it makes an excellent material for a rocket stove or rocket mass heater. There are lots of different designs for these; some years ago I detailed one rocket stove using a cob mortar here that I built with a group of others at Strawbale Studio. Other designs include indoor ones that are designed to heat larger spaces, like this other indoor heater at Strawbale.  This cob bench works on the principle of heating bodies, not spaces, so it radiates heat out.  It takes a long time to heat up (about 4 hours, as the cob is 4″ thick in most places) but even after the fire dies out, it will stay warm for many hours.

Indoor rocket mass heater

Indoor rocket mass heater at Strawbale Studio

Rocket stove with cob mortar

Rocket stove with cob mortar

Larger Structures: Buildings, Walls, and More: Cob projects can become any size you are willing to work on–up to full size houses, saunas, chicken coops, and more. Strawbale Studio has a lot of such examples of these kinds of structures. One of the keys to thinking about larger structures is that cob transmits heat or cold really well–this means that a stove will move heat outward. However, uninsulated cob walls will quickly turn into a freezer in winter–this is why cob is often combined wtih strawbale construction for strawbale’s insulation properties in temperate climates.  Cob on its own has no insulation and will move heat or cold through it.

Hobbit Sauna

Hobbit Sauna tree (this is a tree I designed and created for the sauna with help from my friends!  Here, the tree is drying after working on it for two days. This was done during my last visit to Strawbale Studio in 2017!)

 

In Greenhouses and as Heat Sinks.  My current in-progress cob project (which I should finish by the end of Fall 2019) is a cob/stone wall for the back of my greenhouse.  I am doing this project in my small repurposed carport greenhouse. All greenhouses have three sides that allow for light and heat to enter (east, south, and west).  The other side of the greenhouse, north, never has direct light or heat coming through it, and thus, it is better to insulate it than to treat it like the other three walls. Because cob is an excellent conductor of heat, I am using the wall as a heatsink. This will be useful for any sunny day in fall, winter, or spring where the sun heats the greenhouse up considerably but the temperature drops a lot in the night (in summer, sinking heat isn’t a problem!).  I’ll share this design in a future post.

 

Cob benches and smaller structures. Cob is also used for a variety of smaller structures, such as cob benches. These can be done indoors or out. I haven’t yet worked on one of these projects, but you can see nice examples here.

 

That’s it for today–in my next post, we’ll look how to test your soil for an appropriate mix of clay and sand, mixing cob, and doing some basic construction (in this case, my cob greenhouse wall). May your hands ever be in the earth, may your heart ever be full, and may your spirit ever be inspired!