Category Archives: Foraging

Sacred Trees in the Americas – Spruce (Picea glauca, Picea pungens, Picea spp.)

The beautiful blue spruce looking across the landscape

The beautiful blue spruce looking across the landscape on a mountain in Western PA

When I lived in a walkable small town, what drew me every day was a line of beautiful blue spruce trees. Right around the corner from my house, they were on my daily walking commute to work.  We used to say hello and do an energy exchange each day. One day that following summer, I watched as the city landscaping people came through and ruthlessly cut them back away from the power lines (they were not growing even close to the lines) and I held space for the trees. Over the next few months, those trees began to heal, and they produced copious amounts of amazing tree resin as a first line of defense.  In the years that followed, eventually, the resin grew hard and the trees invited me to harvest small amounts that could be harvested without any damage to the tree.  That resin was powerful stuff–it had a very pine and musk smell and allowed for all sorts of powerful herbal and magical preparations.  I was honored by their gift and made good use of it–and I still have some, even years later.

Spruce is an important tree woven into the fabric of North America.  Common varieties include blue spruce, white spruce, black spruce, and Norway spruce. For the purposes of this post, we’ll talk about spruces of a few varieties, but focus my energies on Blue Spruce and Norway Spruce, both common trees throughout most of North America and both frequently found in the North-Eastern US planted as an ornamental and naturalized.  While neither of these two spruces is native to the Eastern seaboard, they are naturalized here and are so frequently found that they are one of the most common conifers in many parts of the US.  In fact, at the computer where I write all of my posts, just outside the window are two friendly Norway Spruce trees, always ready to say hello!

This post is part of my Sacred Trees in the Americas series. In this series, I explore the magic, mythology, herbal, cultural, and divination uses, with the goal of eventually producing a larger work that explores many of our unique trees located on the US East Coast. For the methods for how I research these posts, see this page. Other trees in this series include SpicebushRhododendron, American Hazel, Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, and Oak. For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, and helping tree spirits pass.  This material will all be part of my forthcoming Tree Alchemy oracle project!

Spruce Ecology

Close up of blue spruce in late winter

Close up of blue spruce in late winter

Spruce is a common tree found in many of the temperate regions of North America–there are about 35 different species of spruce globally.  Blue spruces can grow up to 75 feet in the wild but often aren’t found more than 45 high in parks or yards. Norway Spruces are a much faster growing and larger tree and can get up to 150 feet high. All spruces are conifers and evergreen; they are extremely easy to find in the winter months when the deciduous trees have all lost their leaves.

All spruces have characteristics that make them very identifiable–for one, they usually have shorter, stiffer needles and all their needles have four sides. All spruces also have cones that are covered with thin scales that eventually open when the cone is ready to share its nuts/seeds on a warm day.  If you compare these needles and seeds to another common conifer, the pine family, you’ll see that the pines have much longer and flexible needles and much harder and more rigid cones. John Eastman in Field and Roadside notes that spruces also have needles that are spirally arranged on the twig (tying of course to the sacred geometry and sacred patterns that are present in all life). Most spruce needles, when crushed, have a strong smell–some are quite nice (Blue Spruce, Norway Spruce) while other spruces may smell piney and yet foul (White Spruce).  For all conifers, looking at the shape and distribution of the needles is usually the easiest way to tell the difference.

Blue spruces have a very “classic” holiday tree look, with a bluish tint and a very triangular shape. Other spruces may vary in shape–the many Norway spruces we have in our yard look like weeping trees more so than the classic triangle, but still, have that larger triangle shape.  Note that in urban areas, some spruces may be cut at the bottom so that people can sit underneath them–so you will want to look for indications that that has been the case, and then you can visualize the true shape of the tree.  This is also where you can often find copious amounts of sap–some tried or dripping off the tree that can be carefully and reverently harvested.

Blue spruce with sunlight!

Blue spruce with sunlight!

Most spruce trees, particularly those that grow in northern areas of North America (white spruce, blue spruce) are slow-growing (growing only 6″ – 12″ a year).  Some spruce varieties, like Norway Spruce, grow much faster–up to 3′ a year, which is why Norway Spruce is often a tree selected for landscaping.  This is part of why Norway spruce has been so widely planted–it grows quickly and tall, and thus can provide effective privacy, shade, and so on.   In fact, Old Tjikko, a Norway Spruce located in Sweden, is one of the oldest trees in the world at 9,950 years old.  Norway Spruces are clonal trees, meaning that Old Tjikko has regenerated new roots, bark, and branches over a period of millennia from a single genetic ancestor.  It is amazing to think about a tree that has regenerated itself over the millennia

In terms of Spruce’s role in the ecosystem, while wildlife uses these trees extensively for shelter during the harsh winter months, Spruce needles provide little nourishment to white-tailed deer, elk, moose, and other large herbivores and so these animals are not likely to feed on them.  As John Eastman in Field and Roadside notes, however, they were a favorite of the now-extinct Mastadon!  Finally, some spruces, including Norway Spruce, may develop galls from the Eastern Spruce Gall Aphid; these galls appear like a pineapple-shaped Gall on the new shoots.  If they are abundant they can cause damage to the health of the tree.

Human Uses: Wood and Tools

Spruce wood is considered a softwood tree, but it is harder and more durable than many varieties of pine.  Thus, spruce wood is commercially used and is fine-grained, light, and tough.  Primarily it is used as a wood for pulping for paper–many paper mills use Spruce for the production of paper throughout Europe and North America. Norway Spruce is a particularly good tree for this purpose due to its quick growth habit. John Eastman notes that Spruce wood is sometimes used for piano sounding boards, instruments, and boat building.  It is also used as an interior construction wood–it does not withstand the elements well but is light and strong for interior construction applications (it is sold as “whitewood” or “SPF” (spruce, pine, and fir) wood).

Norway spruce wreath as a yule decoration at the Druid's Garden homestead

Norway spruce wreath as a yule decoration at the Druid’s Garden homestead

Another common use for Spruce today is in holiday decorations. Both Norway Spruce and Blue Spruce, when young, have the classic “Christmas Tree” look, and thus, both are regularly grown to be used as holiday trees.  Unlike Eastern Hemlock (which drops needles within a week or so of cutting), spruce trees hold onto the needles for longer, allowing them to stay through a holiday season.  Each year, we have spruce trees that can use some trimming.  Thus, we make beautiful wreaths that will last for months indoors to bring some of the evergreen energy into our home at the darkest time of year.

Erichsen-Brown’s Medicinal and Other Uses of North American Plants: A Historical Survey with Special Reference to the Eastern Indian Tribes offers extensive coverage of the Red, White, and Black spruces indicate that North American Native American tribes and early colonists to North America used Spruce trees extensively for a variety of purposes.  This includes extensive use in treating scurvy, especially in colonial America (see more below on medicinal uses).  Erichsen-Brown mentions that many tribes called spruce the Annedda tree and would strip the bark and needles off of the tree, boil it in water, and drink it to cure a variety of ailments. The roots of the spruce were used as lashing for canoes, baskets, and other weaving projects in many Eastern tribes.  The divided roots of spruce would be woven into very fine baskets that could hold water (these baskets were often used as boil baskets where hot stones were dropped into the liquid to heat up the water). The resin was also used to make pitch to seal canoes. Spruce wood was also steamed and bent to use for the inside of canoes.  Finally, the wood was used for the creation of various kinds of handles.

Here on the Druid’s Garden homestead, we just finished up a round of maple sap boiling with our new boiler system.  Since we have a lot of Norway spruce, I went through our tree stands and cut a number of the lower dead branches at the bottom of several spruce trees.  They burned hot and bright–perfect for keeping the sap boiling as the day went on. Of course, they have too much pitch to burn in indoor fires, but if you needed a hot outdoor fire with high flames, spruce is an excellent choice.

Human Uses: Herbalism and Edible Qualities

Spruce offers a range of wonderful range of medicinal qualities and can be used in a variety of herbal preparations. Be aware that most spruces are pretty pointy and can be hard to handle with bare hands–especially blue spruce. Thus, when harvesting needles or tips, it is wise to wear a pair of gloves or avoid getting sore fingers!  One of the most common ways of harvesting spruce is harvesting the young spruce tips.  The tips, here in PA, usually come into season in late April and into mid-May and can be harvested while they are still young and supple for a variety of herbal or edible concoctions.  In terms of the ethics of harvesting, what I usually do is first ask permission from the tree to harvest.  Second, I make an offering (such as using this blend).  Third, I take only 1-2 tips per branch so that I’m not causing damaging the tree, and spread my harvest across trees.  If I know that we have to do any pruning, I will obviously harvest all of the tips from that branch.

Spruce oozing from a cut wound - I woudl harvest the bottom drip only or what is on the bark, not from the wound itself (since that protects the tree)

Spruce oozing from a cut wound – I would harvest the bottom drip only or what is on the bark, not from the wound itself (since that protects the tree)

All spruces are high in Vitamin C, which allows you to make a tea that supports the immune system or brew up a spruce tip beer, which was originally a Native American creation (Ericsen-Brown) but later was widely adapted by colonial America. Also be aware that different varieties of Spruces have different levels of “skunkyness” which may impact any of your herbal preparations.  In my experience, Blue Spruce has the sweetest smelling tips and resin, where White Spruce is downright skunky and a bit unpleasant.  Norway spruce definitely has a bit of musk but is still great to use for most things.

The tips have an incredible range of uses. Black spruce or blue spruce tips were commonly made into spruce beer (originally made, according to Rollins in Edible Wild Plants of North America, because many people had vitamin C deficiencies and spruce tips are high in Vitamin C). Herbal uses for spruce tips are wide-ranging include a spruce needle or spruce tip tea, which can be used to boost the immune system. A strong tea can also be used as a sore throat gargle (to address a range of sore throat conditions); a mouthwash (for handling open sores in the mouth or bleeding gums).   The Spruce tips themselves are quite tasty and can also be used in dressings (like an infused oil); this is one of my favorite uses (a similar approach can be used with other conifer tips, like Eastern hemlock tips, which I share here). I like to gather the tips in spring and then infuse them in oil for a salad dressing or other herbal treats.

Another traditional use of spruce was the resin the tree produces. If you want to use it for incense or other spiritual purposes, you can check out my post on tree incenses from North America for details about how to use tree resin as incense.  Both blue spruce and Norway spruce make a very nice incense! Old-timers in the Northern Appalachian mountains (like my grandfather did) check “spruce gum.” Folks would look for mostly dried spruce resin and chew it just like chewing gum. I enjoy it from time to time, and it’s pretty good but certainly different than modern chewing gum. The resin is highly medicinal and can be used to make spruce salves for a range of skin conditions (it has anti-microbial uses).  Here’s a great recipe for a spruce and pine tip salve and chest rub and here is a video of making a bushcraft spruce salve for wound healing. If you are out in the field and have a sting or other skin issue, you can use the fresh gum right from the tree to cover a wound and draw out any toxins/stingers, etc–cover it with a leaf of plantain and be on your way.  Even deep puncture wounds can be aided by a bit of spruce resin in the field.

Finally, the inner bark of a spruce tree has been used for centuries as nourishing emergency food.  I haven’t had to opportunity to try this, thankfully, but I certainly will if we end up having spruce come down in a storm!

Western Magical Traditions and Spruce

Like many of the trees I explore in this ongoing series, Spruce does not get a lot of activity in the Western Magical tradition. In the typical sources, I consult for this series including a range of magical herbal books, hoodoo plant magic books, and western occult books.  However, I wasn’t able to find much mention of spruce.  Thus, it does not appear that spruce has any traditional uses that I can find in the Western Magical traditions–but I would love to hear from readers if they know of some sources that I do not!  Please share :).

Erichsen Brown does give an early reference (1475) to Islandic peoples using spruce both as a food and as an incense.  The cones were roasted coals and then people would dig out the kernels and eat the seeds. The resin used for incense.  Erichsen-Brown also notes that tribes throughout North America likewise used spruce for incense, but specific purposes or uses were not recorded.

Native American Traditions and Spruce

Spruce branches

Most of the traditional Native American uses already described, but I wanted to share some of the myths that are present.  These are largely in line with the curative and potent healing properties of the spruce tree.

Tying to the medicinal uses above, the Micmac believed that Glooscap, who was the first human created, gifted their people with extremely powerful medicine that could cure the ills of the world.  The ingredients included spruce along with ground hemlock (which may be Canadian Yew), willow, and black cherry.  In another legend on the same theme, In an Iroquois legend, Ahneah The Rose Flower, Ohsweda the Sprit of the spruce tree guards sacred spring in the forest. He shares the guardian duties with Ochdoah, the bat. Oshweda guards the spring from sunrise until noon, and while he guards it, everyone who drank of the clear waters of the spring had their illnesses cured and were filled with joy. but Ochdoah the Bat turned the spring water to poison on his watch.  In a third legend, this one Cherokee, “How the World Was Made” Spruce was listed among other medicines who are “always green” and always green medicines are the greatest of medicines

Spruce is tied in some tribes to a link to creation itself. It is often one of the first trees named (in relationship above to potent medicines) in creation stories or the first tree created. Another theme of these legends is the use of Spruce to build fires. In “When the Animals and Birds were Created” by the Makah. In this legend, two brothers of the sun and moon come to earth and start to create life there. As part of this legend, spruce is called an “old creature” whose “heart is dry” and therefore, will always be good for dry fires when the trees get older.  In “The Wolf Dance” which is a Salish legend, a spruce seed is linked to creation itself. So we can see some themes emerging from these different legends that honor the spruce tree a creative, healing force upon the land and for her peoples.

Divination Uses

As with other trees in this series, I’d like to propose three themes for magical practice and divination, given all of the variety of material above.  Here are three possibilities for the sacred spruce tree:

Endurance. One of the key features of spruces globally is their ability to endure.  We have the example of Old Tjikko, a Norway spruce that is literally one of the oldest trees in the world.   We see this same quality in many conifers who grow slow–the enduring nature of these ancient trees, who stand green through bitter cold and dry summers—the spruce endures on.  It is a powerful lesson to us, as people, to find the will and strength to endure.  This is why we see so many spruces in otherwise inhospitable parts of North America–these trees can endure very little light, long and cold winters, and continue to thrive.

Longevity.  Another key feature of the spruce tree that is clear from this material is the spruce’s tied to longevity.  It’s hard to imagine Old Tjikko, and other ancient spruces, seeing more than the whole of human recorded history.  When I encounter a spruce tree out in remote forests, I wonder how old they must be, knowing that they have the ability to regenerate their roots, branches, needles, and even their trunk.  This longevity is tied to this tree’s ability to remake itself in the face of challenges.

Supportive Healing. Nearly all of the trees in North America have specific ways in which they might heal–our physical bodies, our spirits.  Spruce’s healing powers, I believe, are tied to the well-loved tips and resins, both of which offer the base materials (Vitamin C, nutrients) that we can use to heal ourselves.  Thus, it’s not that spruce directly heals the body, but rather, facilitates the conditions and nutrients for the body to stay resilent.  That’s a very different kind of healing than something like hawthorn, which works directly on the body’s circulatory system and heart.  So spruce strengthens our bodies and gives us the capacity to heal.  That’s a realy beautiful thing.

I hope you’ve enjoyed this deep dive into the world of spruce–the medicine, uses, mystery, and mythology.  This is a tree that was hard to research because there isn’t a lot about its mystical uses that I could find.  I’m very interested in hearing from you about your own stories and experiences with the incredible spruce tree!  Blessings.

Sacred Trees in the Americas: Spicebush (Lindera Benzoin) Magic, Ecology, and Sacred Uses

Spicebush leaf and berry in August in Western Pennsylvania

As I continue to explore some of the most important understory trees in the US East Coast and Midwest region, we turn our attention today to the amazing Spicebush (Lindera Benzoin).  Historically, Spicebush was an incredibly important plant, medicine, and spice both to Native Americans and early white settlers in the US and yet today has largely been forgotten in history. Spicebush is a native understory tree with a large range in North America, spanning from Maine to Florida and all the way across the south and Midwest to Texas and up to Ontario. While I’ve taught this plant routinely on my plant walks, and what amazes me is that nobody can even identify it, much less recognize how it might be used. Spicebush has an incredible flavor, medicinal value, and offers much in the way of magic and mystery. It certainly deserves a place in our consciousness and in our traditions.

This post is part of my Sacred Trees in the Americas series. In this series, I explore the magic, mythology, herbal, cultural, and divination uses, with the goal of eventually producing a larger work that explores many of our unique trees located on the US East Coast (which I hope to have completed by early 2022). For my methods, you can see this post. Other trees in this series include Rhododendron, Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, and Oak. For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, and helping tree spirits pass.

Ecology

Widely distributed across North America, Spicebush is an understory tree that prefers damp soil and can grow in full shade, part shade, or full sun. Spicebush can grow up to 6-12 feet tall.  Spicebush reproduces by colonizing, thus, when you find it, it often grows in large patches in the forest understory. Here in the Appalachian mountains, you will find it growing in deciduous forests on damp hillsides, in wet areas where there are ephemeral springs, or along river bottoms.  When you see spicebush, it is often indicative of rich and fertile soil; it also prefers to grow in areas rich in limestone. Here on the Druid’s Garden Homestead land, we have it throughout our property as an understory tree with Oak-Hickory-Sugar Maple-Black cherry overstory.

Spicebush tree with berries

One of the key features of Spicebush is that it has an extremely early bloom time with fragrant flowers reminiscent of lemon. The clustered bright yellow blooms appear earlier than almost any other tree in our ecosystem. In Western Pennsylvania, it is typically blooming in early March, which is about the same time you start to see the Skunk Cabbage and Crocuses pop up and usually when the maple sap is running! You can often see this blooming sometimes while the snow is still on the ground (making it a very interesting counterpart to Witch Hazel who blooms in very late fall, from a bloom perspective). In the case of Spicebush, it blooms early so it can set its fruit early, well before the overstory trees bloom out and shade out the Spicebush. This is so characteristic of many of the other understory trees and bushes–all of them adapt themselves to be at peak in colder or darker times when light reaches the forest floor.

Spicebush is an important food source for wildlife. Larger mammals like whitetail deer, opossum, and eastern cottontail rabbit feed on the leaves, twigs, and berries. Many species of birds, both game birds, and songbirds, also feed on the berries, particularly in the winter months.  Spicebush is host to two butterflies–the spicebush swallowtail (Papilio Troilus) and the Promethea silkmoth (Callosamia Promethea).  The spicebush swallowtail lays eggs on Spicebush and then the larvae curls up the leaves to create a cocoon.

Foraging and Cooking with Spicebush

Spicebush is also known as Wild Allspice, Appalacian Allspice, Spicewood, Feverbush, Snap-bush, Snapwood, and Benjamin-Bush.  Many of these names are tied to the fragrant and amazing spice this bush produces for culinary arts. In fact, Spicebush has been seeing something of a renaissance within the foraging community in the last decade or so.  Even so, its more widespread use as a spice and food has not so far seemed to permeate beyond wild food foraging at present and into regional cuisine, which is honestly a shame.  In fact, Marie Viljoen who wrote the 2018 book Forage, Harvest, Feast makes the bold statement that if Spicebush were better known, it could form a cornerstone of regional Appalachian cuisine, demonstrating the power of this plant for cooking and culinary use.

Spicebush twigs and leaves can be made into a fragrant, slightly spicy tea that is reminiscent of a chai.  The tea is slightly spicy, slightly sweet, and quite pleasant to drink.  This is actually one of my favorite wild teas when I’m camping or foraging–just pick a few leaves and brew them up.  There are places I camp every year that are rich in spicebush and I always look forward to this warming tea on a gentle summer night.

The second way you can make tea when there are not leaves is by harvesting fresh twigs. To make a tea from the twigs, just brew them up with a lid on for 20-30 min (using low heat or even a crockpot to preserve the flavor).  The tea is similar to leaf tea: spicy, warming, and slightly sweet.

The real magic of the Spicebush from a culinary and wild food perspective is in the spicebush berry.  The green berry (unripe) and red berry (ripe) offer two different culinary experiences. The green berries are very sharp, lemony, and peppery and can be harvested anytime before they go red. The green berries are most intense when they are smaller and less plump. They can be used as a pepper substitute due to their very strong taste.

The berries go red in the early fall (you can see this from my images; the leaves start to yellow just as the berries go red). As they go red, you can begin to harvest them.  They will actually stay on the bush for 2 months or more, so you have a very long window for harvest. A good spicebush harvest can offer you several years of spice, which is pretty incredible.

I have found that the easiest way to preserve either red or green berries is to dehydrate them and then place them in the freezer. This prolongs their shelf life and intensifies the flavor. It is important to note that fresh spicebush berries can have a very numbing sensation on the tongue. By drying the berries, all the good spice is left with none of the numbing presents in the fresh berries. Once dry, you will taste that wonderful spice, very much its own flavor but with hints of allspice, nutmeg, cinnamon, grains of paradise, citrus, and pepper, but you will also have your tongue go numb.  You can also use them fresh in curries and the like; cooking also can remove the numbness.

Marie Viljoen offers over 50 recipes in her Forage, Harvest, Feast that uses spicebush including combining it with citrus for refreshing drinks, using it as a seasoning in many diverse dishes, and using it as a dry rub on meats.  Here are a few recipes online to get you started:  foraged spicebush macaroons, acorn baklava with spicebush berry, a foraged dry rub (I’ve made a version of this and it is divine), a wild curry mix, and making a spicebush ice cream!

Traditionally, as Danie Moerman describes in Native American Food Plants, Native American uses of Spicebush were similar to what I have described above: spicebush was used by the Cherokee and Chippewa to make a beverage, including the stems to make tea.  The spice berries themselves were used to flavor opossum or groundhog. The Chippewa specifically used the berries to help mask or change meats with a strong or gamey flavor (p. 141).

Spicebush in Herbalism

Spicebush is infrequently Traditional Western Herbalism today, but historically, it was frequently used to treat a range of conditions. One of its names, fever bush, offers key insight into the nature of this plant.  King’s American Dispensatory and Cook’s Physiomedical Dispensary describes Spicebush bark and berries being used for medicine here in the Americas.  Spicebush is an aromatic herb being used primarily to treat fever (hence its name fever bush). A decoction (strong tea) was one of the treatments used as a diaphoretic (to support a healthy fever response and regulate body temperature).  It was used to treat all fevers including auge, typhoid, and rheumatic fevers. The berries were used primarily as a stimulant being used for a range of applications including supporting a healthy digestive system (carminative) particularly for alleviating excess gas. The berries can be distilled to create an essential oil of spicebush that is particularly useful for topical applications like bruises and rheumatism.

Spicebush in Magic, and Myth

Spicebush in the Magical and Occult Traditions. Like many of my other understory plants, powerful yet unnoticed and unremarked upon, Spicebush has no mention that I can find in this lore.  This includes within the Hoodoo tradition and within the broader Western Occult traditions. However, the Latin name offers us some insight. The reason that the Latin name of Spicebush is Lindera Benzoin is that the oil found in all parts of the plant (part of what makes it tasty, see below) contain benzoic acid, which is the same chemical compound as Styrax Benzoin (for anyone who has used Benzoin incense). Burning the leaves, stems, or berries can give you a benzoin-like aroma, making it a great local incense source (for more on creating incenses generally, see this post on the general practice and this one on local tree incenses). I believe this plant has the potential for a local replacement for anyone who is using Benzoin or other incenses.

Spicebush berries in hand

Native American Traditions. Beyond food uses, I was unable to find anything about mythology, herbal, or other uses by Native Americans for spicebush.  While Native Americans also used this plant for medicine and food, (see the Ethnobotany of the Indiana Dunes National Lakeshore) the specific uses are not specified.  One note in this entry is that Spicebush growing is a sign of a healthy and rich forest.

Spicebush: Magical and Divination Uses

Based on all of my research as well as my own experiences, I want to share three possible divination and magical uses for spicebush.

Masking or illusion. Spicebush’s strong aromatic quality has been used in culinary traditions for a variety of enhancements, alterations, and masking of strong flavors.  As suggested by the doctrine of signatures, this kind of quality can not only apply to the use of this tree as a culinary herb but also, as a magical one.

Enhancement. Spicebush’s strong aromatic quality also lends itself well to any workings where something needs to be elevated or enhanced in some way.  The spice of the berries literally take ordinary foods and turn them into something unique and extraordinary–and the same can be said of other ways in which you might bring this unique and wonderful tree into your life.

Acting Swiftly and being Early.  Another meaning of the Spicebush is the power in doing things early, swiftly, and ahead of time.  The Spicebush takes advantage of the late winter sun when the overstory is still bare to set fruit and prepare for the season.  Thus, she offers us a powerful lesson with regards to action and focusing on being prepared in advance.

Sacred Trees in the Americas: American Hazel (Corylus americana) Magic, Ecology, and Sacred Uses

American Hazelnuts in a cluster getting ready to ripen

For three years, I have had my eye on our American hazel bushes here at the homestead. When we first moved to the property, much of the understory was damaged with the logging the previous owners did and it took time for the hazels to recover.  Thus, for the last few years, I’ve watched the hazels grow taller and larger each year and kept looking excitedly for any signs of nuts setting. This past fall, I was delighted to find handfuls of delicious wild American hazelnuts and connect with the incredible wisdom that they offer.

While Hazel is a critically important tree in the mythology and magical tradition of Druidry and in Europe more broadly, The Hazel is one of the sacred trees identified by the druids as a tree tied to wisdom and the flow of Awen, and it is one of the sacred trees found in the Ogham.  But here in North America, despite having our own native hazels (American Hazelnut and Beaked Hazelnut), we often turn our eyes towards Europe’s mythology and understandings. Thus, in this post, I’d like to share more about the American Hazelnut, and the ecology, uses, herbalism, magic, and myths of this most sacred tree.

This post is part of my Sacred Trees in the Americas series. In this series, I explore the magic, mythology, herbal, cultural, and divination uses, with the goal of eventually producing a larger work that explores many of our unique trees located on the US East Coast. Other trees in this series include Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, and Oak. For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, and helping tree spirits pass.

Ecology

The American Hazel is an understory tree that is native to the eastern half of the United States and into the Eastern half of Canada. The second native Hazel we have is the Beaked Hazel (Corylus cornuta), which has an even wider range in North America–both have fairly similar growth habits.

As a deciduous tree, the American Haze produces brownish-yellow foliage in the fall and is in the birch (Betulae) family. It can tolerate a wide range of soil and light conditions, including acidic or alkali soil and full sun to part shade.  I’ve primarily seen it in the Allegheny mountain region of Western PA either as a full shade understory tree or along part-shade edges of damp deciduous forests.  It has simple, alternate leaves that are shaped like a heart or oblong (which have some variation from region to region) and tiny little hairs running up the branches.  The leaves are toothed and soft to the touch.

Hollie and Ivy Goose help me with this year’s hazelnut harvest!

The Hazel only reaches a height of about 12-15 feet at maturity and spreads in a thick cluster where many smaller hazel trunks will grow out of a single root structure and span 10 feet or more.  Thus, when you find one American Hazel tree cluster, you will often find many more  Hazel grows quickly once planted; it can grow 12-24″ in a single season.  Within seven years (planting from seed), it can produce its first crop of hazelnuts and most of these trees can produce nuts for over 40 years.

While hazels will produce both male catkins and female flowers on the same plant, they are not self-fertile, and thus, require several in order to properly reproduce.  Thus, if you are planning on planting some, keep this in mind.  The male catkins are visible all winter.  In early spring, like spicebush, tiny red clusters (the female flowers) burst forth.  After pollination, the male catkins dry and drop off leaving the female flowers to transition into nut pods that feature two large green bracts (one of the characteristic looks of the hazel).  When the nuts are ripe in the fall (here, this is sometime in September), the green bracts start to go yellow and then brown. An easy way to spot these in the fall as just as the leaves are beginning to come down, you can

Not only are the nuts delicious for humans, they are also highly sought by wildlife including squirrels, deer, turkey, woodpeckers, grouse, pheasants, beavers, fox, quail, and even blue jays.  The male catkins, which stay on the trees all winter, are foraged by ruffed grouse during the lean winter months.  Of course, like all other nuts in the region, nut weevils may be present (in this case, hazelnut weevils, curculio neocorylus).  When you harvest hazels, its a good idea to let them sit for about 7-12 days and let the weevils come out.  I return those to the land and enjoy the rest!

Food Uses

Most obviously, American Hazel produces delicious nuts and they are well worth seeking out if you do any foraging.  Here is a great blog post on foraging for either variety of hazelnut that grows wild in the Americas: beaked hazel or American hazel.   It is important to realize that the wild American Hazelnut is going to be smaller and more flavor intensive than the domestic counterpart; this is because most commercial hazelnuts sold are either European Hazels (about twice the size of American Hazel) or are hybrids.  This is a very common thing among wild foods: the domestic varieties have been bred for size or hybridized, but often at the expense of flavor.  A wild hazelnut will be so rich and flavorful compared to what you will find in the store (also true of wild strawberry, wild raspberry, etc).

Hollie and Ivy can’t wait to try the hazelnuts!

Hazelnuts are able to be enjoyed directly from the tree.  When you harvest them, simply peel off the catkins and you will be left with a nut surrounded by a thin (and easy to crack) shell.  This is for American hazel specifically; the beaked hazels are much harder to shell and you usually have to rot the catkins away (Sam Thayer discusses this technique more in his  You can eat them like this and store the nuts for up to 18 months in a cool place.  If you want to take it a step further, you can  I prefer to roast them slightly in the oven.  To do this, you can crack the nuts and then roast them at 275 for 15 or so minutes–you want them slightly brown but not scorched.  Or, if you have a wood-burning stove, you can just put your nuts on the top of the stove for 10 -15 minutes in their cracked shell and roast that way.  If you have enough, you can grind up your roasted nuts and make incredible nut butter. Beyond roasting, you can use American Hazelnuts in any recipe that would call for commercial hazelnut:  cookies, ice cream, sprinkled over salads, etc.

In Edible Plants of Eastern North America (1943), Fernald and Kinsey note that American Hazels were harvested extensively in the country and ground into a meal, which was then baked into a cake-like bread.

John Eastman in Forest and Thicket notes that the hazelnut oil, when pressed, can be used for perfumes and that the wood has traditionally been made into charcoals for drawing.

Other Uses

Within the permaculture community, Hazelnuts are an important crop for food forests and to support perennial agriculture.  The entire idea behind perennial agriculture is that we can plant trees or other crops once and then gain many harvests, and cultivate a food forest rather than an annual vegetable garden.  This has made nut crops, like chestnut and hazelnut, important symbols in that movement.

Beautiful Hazels

American Hazel, like all other hazels, has the ability to be coppiced.  This means that once established, you can cut the tree back to the roots and harvest the thin trunks. There are coppiced hazels in parts of Europe that have been a continual source of raw material for centuries; this is a very sustainable and regenerative practice. Within a few years, the hazel will send up new wood and regrow.

Because Hazels are understory trees without thick trunks, most of the wood applications in Hazel have to do with their ability to produce lots of small, flexible branches and be coppiced. Hazelwood has been traditionally used for building small structures like fences, in wattle and daub natural construction, in building the traditional coracle boat, or for creating supports in a garden.

Native American Uses

American Hazel in Winter with large Catkins

Erichsen-Brown notes in Medicinal and other uses of North American Plants: A Historical Survey with Special Reference to Eastern Indian Tribes the extensive uses of Hazelnut among Native Americans in North America. Archeological evidence demonstrates Hazelnuts at an Iroquan site and in caves in what is now Ohio in Pennsylvania; this evidence dates from 800-1400 AD that large amounts of nuts were consumed by the tribes living here.  Hazelnuts were dried, ground up, made into meals and gravies, and used to create mush.  The oil was also used for hair and mixed with bear grease by the Iroquis.  

Medicinally, the Hurons used a bark poultice of the hazelnut tree for ulcers and tumors.  The Chippewa used hazel and white oak roots combined with the inner bark of chokecherry and the heart of ironwood for hemorrhages or serious lung conditions.  Similarly, the Ojibwa used the bark poultice on cuts.

The inner bark was used by the Chippewa (along with butternut or inner bark of white oak) as a dye for blankets, rushes, and more.  A recipe given in Erichson-brown is to use the hulls from the nuts to set the black dye of butternut when boiled with tannic acid.  The Chippewa and the Ojibwe also made drumsticks of hazel along with brooms and twig baskets.  The bark was also used to expel worms, in a similar fashion to walnut.

Hazel does not appear to feature much in the legends that I have read of Native American traditions. Since so much was lost due to the cultural and physical genocide of many tribes, however, it is hard to say what magic the Hazel may have had to these amazing peoples.

Hazel in the Western Magical Traditions

Simple Hazel wand

In Celtic mythology, Hazel was an extremely important tree and tied directly to the mythology of the druid tradition. In Irish mythology in the Finnean cycle, it is written that the Hazel tree is the very first tree to come into creation and that all of the knowledge of the world was contained in the Hazel tree.  The Salmon of Wisdom (An Bradán Feasa) lived in the Well of Wisdom (Tobar Segais) which was surrounded by nine sacred Hazel trees with their wisdom-containing nuts. The nuts of the trees dropped into the water and eaten by the Salmon. The first person to catch and eat the Salmon would gain this knowledge.  While many tried and failed, Finnegas spent seven years fishing and finally caught it. Finnegas sets his apprentice, the young Deimne Maol, to prepare the fish but not to eat it.  Deimne sets the fish upon a spit and begins to cook it. In the process of cooking when the fish is nearly prepared, Deimne burns his thumb and puts his thumb in his mouth to ease the pain–and, of course, acquires all of the knowledge from the Salmon of Wisdom. Deimne becomes Fionn mac Cumhaill (Fin McCool), the leader of the fabled Fianna and hero of many Irish tales. Those students of Welsh druidry will note the similarities between this story and the one describing how Gwion became Taliesin.  In modern revival Druidry, the wisdom of the hazel and the Salmon of Wisdom in the sacred pool remains very important symbols of our tradition.

Greer notes in the Encyclopedia of Natural Magic that Hazel has been used by magicians extensively throughout the West.  Hazel is best used for wands and various kinds of divination rods and sticks (including dowsing).  Cut the hazel with a single stroke with a consecrated knife at sunrise on a Wednesday for the best effect.  Hazelwood makes an excellent wand and transmits energy effectively. Greer also notes that the nuts are excellent for communing with Mercury or connecting with Mercurial energies.   One area that I disagree with Greer about, however, is that he says that Witch Hazel (Hamamelis Virginiana) and American Hazel are interchangeable. In my own experience, while witch hazel became the traditional wood for dowsing rods, I do not believe these woods serve similar functions on the landscape, and thus, I have found them to have different magical qualities.

In Celtic Tree Mysteries, Steve Blamires notes that the wood was used for dowsers extensively in the British Isles.  In the Ogham, hazel is noted as the “fairest of the trees” and is tied to the flow of Awen, divine inspiration, particularly for the crafting of poetry.  The other thing Blamires notes, which I have not been able to find an original source for, is that there is a ritual by the druids called “Diechetel Do Chenaid” where chewing hazelnuts were used for inspiration or to learn of something lost.  I’m not sure if this ritual comes from myth or is speculation, so if anyone knows more about it, I would appreciate them sharing!  Finally, Hazel wands (probably due to their Mercurial connections) were used as a symbol for a herald.

Hazelnut does not appear to have any uses within other folk traditions in the Americas, such as Hoodoo.

The Divination and Magic of the Hazel

American Hazel Harvest

Given everything above: the ecology, food uses, and mythology surrounding hazel, I’d like to propose the following three divination and magical uses for American Hazel.

Wisdom.  While the mythology surrounding wisdom and creative inspiration comes from the British Isles, I think that mythology is strong for those of us practicing druidry in the US today.  Thus, the American hazel is associated with Wisdom and knowledge, just as the British counterpart.

Creative Inspiration and the flow of Awen. Flowing inspiration of all kinds comes from working with the Hazel tree.  Be inspired by the joy and connection this tree offers.  Eat of the hazelnuts and find your inspiration!  Bring hazel into your life through the crafting of wands, amulets, and more to encourage that flow.

Renewable tools.  Hazel offers many tools and gifts for those seeking a sustainable lifestyle and to transition to more sustainable practices.  Thus, Hazel offers the knowledge and uses of its many tools and the idea of sharing these practices widely.  Hazel offers much hope for us to think about how to transition from mono-crop agriculture that is destroying the land to instead, work with the energy of the hazel, a tree that can be infinitely renewable and incredibly generous.

Friends, readers, I would love to hear your experiences with the Hazels where you live!  What have you experienced or discovered about them?

Sacred Tree Profile: Wild Grape (Vitis Labrusca) Mythology, Medicine, and Meanings

Wild Grapes

Wild Grapes

I remember when I first spotted to Wild Grape patch from the dirt road. “Is that all wild grape?” I said to my friend in an excited voice. We pulled the car over, and sure enough, there were thousands of grape bunches on a patch of vines that stretched hundreds of feet, almost ripe. A week later, we came back to the spot with a larger group of friends–there were more than enough wild grapes to go around.  After giving thanks for the abundance and promising to return to the spot for some wassailing in the winter, I harvested almost 5 gallons of wild grape that day. We worked to press all of the wild grapes with a friend’s with a small fruit press, and converting those grapes into the most amazing jelly you ever tasted!

Wild Grapevines, most commonly on the US East Coast the Fox Grape (Vitis Labrusca) variety, are truly a wonderful vine to get to know. They offer a variety of wonderful fruits with medicinal and culinary uses, a whimsical and sacred presence in our forests, and important spiritual lessons to learn. Like apples, pears, and other stonefruits, humans have an extremely longstanding and healthy relationship with grapes.  This is, in no small part, the role of wine and other fermented beverages in human history.  Before we had modern medicine, the wine was not considered simply an alcoholic beverage but also an important medicine. Grapes, their fruit and leaves, are also an important food source.In today’s post, we will explore the incredible grapevine!  While I’m focusing my comments on the most common grapevine along the US east coast, Vitis Labrusca, the fox grape, or wild grape, you can apply the content of this post to all grapevines.

This post is part of my Sacred Trees in the Americas series. In this series, I explore the magic, mythology, herbal, cultural, and divination uses, with the goal of eventually producing a larger work that explores many of our unique trees located on the US East Coast. Other trees in this series include Devils Walking Stick, Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, and Oak. For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, and helping tree spirits pass.

Grapevine Ecology and Growth Habits

Ecoprint of the Wild Grape Leaf

Fox Grape is widespread along the US Eastern seaboard, from Nova Scotia to Georgia, and its range stretches through most of the eastern half of North America to the Mississippi.  Because of this, it is quite easy to find Fox Grape in foraging adventures, and when found, it is often abundant (although not always easy to reach if it is growing high up in the trees).  Fox grape, like other grapevines, is not a freestanding tree. Rather, it depends upon the support of other trees, most often in a symbiotic relationship, where the grapevines are growing with other living trees.  However, over time, the vines can strangle the trees, eventually pulling them down. You might see places like this in the forest–it often appears as a U-shaped bowl where thousands of grapevines are growing up the trees–and the center is a mass of grapevines that have pulled down smaller trees and continue growing outward.  Several other growth habits I’ve witnessed include wild grape taking over an abandoned pile of wood (imagine a very large brush pile covered in wild grape) or a huge amount of wild grape on the edge of a field/forest, taking up much of the edge space. Most commonly though, you will find a grapevine here or there, often climbing up into the host trees.

The woody vine of the wild grape is usually 10-40′ long with a base of several inches and up to 12″ in diameter for the oldest vines.  It uses forked tendrils (also edible) to slowly climb up adjacent trees where it uses its tendrils to anchor itself to branches and continue its ascent.  The bark is medium brown and usually appears shredded, with some of it flaking off over time as the vine grows in girth.  At regular intervals, the vine will have nodes where stems come out to produce leaves. The leaves are alternate and heart shape with three palmate lobes.  In the late spring or early summer, the wild grape will produce greenish-yellow bunches of flowers–they aren’t very showy, and it Is usually easy to miss them. The flowers slowly develop into green grape clusters and then, in the late summer or fall, the 1/2″ – 3/4″ grapes ripen to dark purple or bluish-black. Of course, this is the time to go foraging for wild grapes!

Wild grapes grow in a variety of soils and tolerate a range of conditions, but they prefer wetter conditions and have some flood tolerance.  They usually thrive in part sun conditions, and as they climb, they bring themselves into more sunlight, sometimes blocking out the light of their host tree.

Wild Grape History

An abundant harvest of wild grape!

The Fox grape has an interesting history. It is likely that in the 11th century when Leif Erikson and the Vikings were exploring coastal North America, they named the land they saw as “Vineland” because of the numbers of grapevines present.  Fox grapevines along with other Vitis species were later exported to Europe during the 19th century.  However, all North American grapevines carry the phylloxera louse that devastated many of the Vitis vinifera  (European) varieties of grapes but that the American varieties are immune to.  Europeans eventually overcame the phylloxera by interbreeding Fox grape with native European grapes to build resistance.  Thus, most of the grapevines in the world have a bit of Fox Grape in them.   The Concord grape was also bred from the Fox Grape in the 19th century in Concord, MA and after that other varieties such as the Niagara and Deleware were developed.

Wild Grape as Food

The Fox Grape is a very potent red grape variety, which has a skin that can be easily slipped off, offering easy access to the grape flesh and 4-5 small seeds in the center. According to Winker, Cook, Kliere, and Lider from General Viticulture (1974), the fox grape is known as “fox” because it has a strong, musky aroma that is earthy, sweet, and quite unique. These features make it highly sought out as a wild food.

In Native American Food Plants: An Ethnobotanical Dictionary, Daniel Moerman describes the widespread uses of wild grapes by a variety of Native American tribes for food.  This included eating the fruit raw, using the fruit to make juice and dumplings, drying the fruit into raisins, and more.

Pressing wild grapes using a small fruit press

Today, as traditionally, wild grapes are used as a food source in a number of ways.  First, the small forked tendrils coming out of the vines are good for a trailside nibble–they are tart and fresh tasting (you could never gather many of these without harming the vine, so enjoy a few as you hike but don’t consider this a major food source!)

The leaves are a culinary delight: they can be steamed or marinated in oil and then used to make dolmas, casseroles, or other dishes calling for grape leaves.  You can preserve them in oil or even parboil and freeze them if you want a ready supply of grape leaves into the winter months.

Of course, the prime food source from the grape is the fruit itself.  In the late summer or early fall, keep an eye out for wild grapes that are ripe. Confirm that they are wild grapes (both poison ivy and Virginia creeper can produce a look-alike, identify the difference between the leaves and the size of the fruit). Usually, wild grapes stay on the vine a number of weeks if the wildlife doesn’t get to them first, giving you a long harvest window. As Sam Thayer in the Foragers Harvest notes–and this is important–when you are harvesting, you either need to process your grapes right away or ensure that you do not crush them. The grapes will immediately begin to ferment if crushed (as grapes do!). When you crush them, crush them gently because the seeds can be bitter and that bitterness can be transferred into the grape juice if the seeds are crushed.  Thayer notes that a small fruit press or jelly bag is good for this work–I’ve also found you can step on them in a clean bucket with clean feet!  Return any seeds or unwanted materials to the living earth.

One of the most important things to know about harvesting wild grapes, at least the Fox Grape variety, is that they contain a compound known as tartrate (a salt/esterate of tartaric acid, found in all grapes but high in wild grape). Different vines have it in larger or smaller amounts, in my experience.  After crushing, make sure you wash your hands thoroughly or the Tartrate can start to make your hands burn after about 45 min to 60 min.  After you have your juice, put it in the fridge or a cool porch for 24 hours in a large jar.  You will see a gray-brown sludge form at the bottom (usually about 1/4 to 1/3 of the total volume).. Pour off everything that isn’t the sludge and discard the sludge in your compost or outside (it is important to return any “waste” to nature.  If you don’t pour off the Tartrate, it will provide an “off” taste to your finished juice (or any fermented products you make with it).

Some wild grape juice needing to rest–more to process as you can see!

What is left is an amazing, very potent, and delicious grape juice.  You can mix it with other juices (it goes well with apple or pear), ferment it, make a jelly, drink it fresh, or anything else. At this point, you can use any recipes you want for those calling for Concord or Niagra grapes.  My favorite thing to do with it, since I don’t drink alcohol at all, is to turn it into the most incredible jelly you will ever taste!  A fruit leather (fruit roll-up) is another excellent use, especially when combined with another fruit like ripe pureed apple.

Wild Grape as Medicine

It’s important to remember that before modern medicine, wine (particularly red wine) was considered as much a medicinal substance as it was a culinary one. Due to the reservitol, which supports healthy heart function, wine has long been used as a medicinal drink and health tonic in many cultures.  As Matthew Wood describes in his Earthwise Herbal: Old World Herbs, herbs were often macerated (soaked) in wine, and then it was diluted with honey and water for medicinal use.  As Wood notes, in the late Middle Ages, distillation techniques invented which allowed wine to be turned into spirits, creating an even more potent medium for tincturing herbs. Wood notes several other historical uses of grapes including liquid drops from living grapevines being used on the eyes to help heal eye issues and the grape leaves (which are astringent) were used to address a variety of wet or damp stomach conditions.

Wild Grape in the Western Magical Tradition: Europe and the Americas

Vine or Muin is associated most commonly with grapevine, although grapevines are not native to Ireland, where the ogham associated.  Still, many contemporary uses of Muin tie it to the wild grapevine (I use it in the Allegheny Mountain Ogham as well). In Celtic Tree Mysteries, Steve Blamires notes that the word Muin is tied to the “highest beauty and strongest effort” in the ancient texts, suggesting that vine grows from tree to tree, connecting the forest, which offers one key interpretation of vine through the ogham (p. 147).

In the American Hoodoo tradition as described by Cat Yronwoode in Hoodoo Root and Herb Magic, the grape is used for revealing adultery revealing spells and also for a very specific kind of curse lifting. If a man has difficulty urinating due to a curse, a rootworker cuts a grapevine to the height of his crotch and then bends it in a glass jar and lets it sit overnight. This will produce a liquid.  He should wash his privates with this liquid, which will cure him of the curse.

In The Encyclopedia of Natural Magic, John Michael Greer notes that grapes have been considered magical substances by humans since before we had recorded history.  The ancient Greeks called the grapevine the “blood of the earth” representing their critical importance.  JMG notes that grapes are tied to the Sun in Pisces and are airy and warm in the 1st degree, moist in the 2nd degree. While grapes were used traditionally in love magic of all kinds, JMG notes that grapes are excellent at carrying the energies of other herbs or substances, which is part of why wine can be the base for many potions, baths, and washes (p. 115).

 Wild Grape in Native American Mythology

The Chickasaw Legend describes the Raccoon Clan, a clan of bright and well-adapted people, hanging large bunches of wild grapes up to dry for the winter months. In the History and Traditional Lands of the Huron-Iroquois Nations, the tale describes a large bridge constructed by the Iroquois over the Ohio river which broke after several explorers attempted to cross it. In a similar Senaca legend, the Lazy Man makes a grapevine swing and hangs out in his swing all day rather than doing anything productive like hunting. In The Origin of the Iroquois Nation, the spirits of the sky came down and gave each of the five Iroquois nations a gift. To the Onondaga were given grapes, squashes, and tobacco.  In a final Senaca legend, the Adventures of Yellowbird, at one point Yellowbird, who is a shapeshifter, is summoned by a neighboring chief.  In animal form, he runs to meet her but is stopped repeatedly by an invisible tangle of grapevines.  He knows these vines were put in his way by the chief.

The Magical and Divination Meanings of Wild Grape

Beautiful grapes!

Binding and Holding Fast. The first meaning of the wild grape is due to the very nature of grapevine–as vines grow, they grow around other trees and plants, in some cases, strangling them and pulling them down over time.  even the small tendrils can cause great difficulty to living plants.  This meaning is clear, both in the ecology of the plant as well as in some of the legends surrounding the plant.

Transmission of energy. Just as the grapevines connect multiple trees and the wine can be used to transmit the qualities of herbs, the grapevine as a whole offers a transmission of energy and is a worthy vessel for any sacred sacrament – herbs, magic, and more.  Wine is a carrier, it can help carry sacred energies of ritual and more.  You might consider how vine can be used as such a transmission source in your own practice–through the wood, through the leaves, or through food and drink that you create.

Dear readers, what are some of your experiences with the wild grape? I would love to hear your insights and thoughts!

Ode to the Oak: Acorn Harvesting, Preparation, Acorn Breads, and More!

Honoring the oak

With the cooler temperatures of September and October, the abundance of the Oaks come forth.  In my area, we have abundant oaks of a variety of species: white oak, chestnut oak, eastern red oak, swamp oak, and much more.  Each of these oaks, every 2-3 years, produces an amazing crop of nuts that simply drop at your feet. Acorn was once a staple food crop of many different peoples around the world–and in some places, it still is.  Here in North America, acorns and chestnuts were primary food sources for native American people. Cultures subsided–and thrived–on annual acorn harvests and the bread, cakes, grits, and other foods that can be made with processed acorns.  I really enjoy processing acorns and using them as ritual foods for both the fall equinox and Samhain.

Thus, in this post, we’ll explore the magic of the acorn, how to process acorns (through several methods), and a few recipes that you can use to create special foods from acorn flour. Because a small amount of acorn flour takes quite a bit of time and effort, I see it as a “special” food that can be integrated into feasts, celebrations, and more. I prefer to create enough acorn meal to enjoy for a ritual meal for both the Fall Equinox and Samhain.

Healing Harvests and the Sacredness of the Oak

Almost anywhere you live in the world, you are likely to be able to find one or more species of oak tree. Most areas of the world have some oak (Quercus) species, here in North America, we have over 50 varieties that vary quite considerably across bio-regions. The sacredness of the oak has been known across cultures and peoples–for more on the magic and medicine of the oak tree, you can see this post.  ALike most other hardwood nut trees (hickory, walnut, butternut), oaks are relatively slow-growing and long-lived; white oaks (Quercus alba) can live 600 years or more. Given the beauty and majesty of oaks, it is certainly not surprising that the ancient druids revered the oak, and the term druid literally means “oak knowledge.” Within the druid traditions, oaks are tied to wisdom, knowledge, strength, power, and grounding.  By harvesting the oak and learning to work with the acorns, you can deepen both your connection to this wonderful tree, rediscover a fantastic food source, and honor the ancestral traditions of many cultures and peoples.

Rich finished acorn flour!

A single well-established oak tree can drop 500-2000 lbs of acorns in a single year (according to the delightful Acorn and EatEm book from the 1970s), depending on the size of the tree, the size of the acorn, and the variety.  It happens to be a mast year here and a single 300+-year-old Eastern Red Oak here on our property is dropping many more acorns than I–or any squirrel population–can harvest and eat. The oak has dropped acorns for the last month, and they are covering the ground so much that you can’t even walk without crunching them under your feet (even after I’ve harvested about 40 lbs to process).  It’s incredible to see how much bounty can come from just one tree that produces year after year and offer. And as a perennial, you don’t have to maintain a field or garden bed, plant seeds, or tend crops. All you have to do is harvest and process the acorns (which still takes some work) and you have a wonderful and magical food source.

Mast Years and Abundance

Harvesting Acorns with Goose Helper

One of the important things to understand about acorns and harvests is understanding that oaks do not produce equal numbers of acorns each year.  Every 3 years, oaks have a very large harvest, called a “mast” year.  This is an evolutionary adaptation–if oaks produced huge harvests of acorns each year, the rodent population would get out of control and all of the acorns would be eaten.  By having a mast year every 3 years, squirrels and chipmunks will harvest many, bury and forget many, and eat quite a bit.  Typically, all of the nut-bearing trees (oaks, chestnuts, hickories, butternuts, walnuts) will produce mast in the same year in a local area, so it is likely you will have years of plenty and years where there aren’t that many to collect.

On Slow Time and Cracking Nuts

Before we get into the process of actually harvesting and preparing acorns, I want to provide an overview of this process and a discussion of time.  Acorn processing is not fast. You should not be rushed or in a hurry. This is a deep practice where you invest a lot of time and energy to learn more about the oak and cultivate a relationship with the oak. This is slow food and this is slow time.  This is honoring and deepening our practice, learning the oak in a deep way, and taking time to simply be part of the experience.

The basic process is this: gather acorns, crack the acorns and shell them, loosely chop them up, remove the tannins from them, grind them into flour (or keep them as grits) and cook.  From start to finish, you are looking at anywhere from 1/2 a day to several weeks, depending on the leaching method you used.

Beautiful nutmeats shelled and ready to process

I did some calculations on one of my recent harvests to help share the time it takes so you can be prepared.  I am working primarily with Eastern Red Oak acorns, which are medium-sized acorns with a high fat and tannin content (which means longer shelling time and longer leaching time).  It took me 2 hours to gather 2.5 gallons of acorns, doing minimal checking, and sorting.  It took 30 minutes to sort bad nuts which left me with 2 gallons of acorns. Cracking and shelling represents the largest expenditure of time: 4 hours for 2 gallons of nuts, using a nutcracker (I would budget 5-6 hours for this if you did not have a nutcracker).  Cracking my nuts with the Davebilt Nut Cracker took only 20 minutes (which included setting up the nutcracker, wiping it down, cracking the acorns, and putting the nutcracker away). Investing in a nutcracker like this, even with some friends, is a really good idea if you are going to be doing this every year or processing more than a gallon of acorns.  Shelling is by far the most tedious process, this took me 2 hours to shell two gallons.  Leaching can go anywhere from several hours to several weeks, but a lot of that is waiting time, but I’ll budget 15 minutes a day to cold leeching methods.  Grinding your acorns will depend on your method.  I am using a small hand grinder (a Victorio VKP1024 hand crank grain mill), which takes about 10 minutes per cup to process (I grind them as I use them to preserve freshness).

So, all in all, the actual work time to gather and process 2 gallons of acorns is about 7-9 hours.  Two gallons of acorns resulted in 7 cups of dried flour (which is a sizable amount to work with). This represents the actual physical expenditure of time, spread across however long you are leeching the acorns.  If I was working with larger acorns with less tannin, the time would be less.

While this may seem like a lot of time,  remember that the acorns are abundant, a gift from the land, and creating acorn flour is a kind of extended conversation and communion with the oaks. Through this process, you are not only learning more about the acorns, but you are developing a deeper relationship with the oak and bringing that oak energy into your life.  Acorns are a gift from the land; you only have to gather them and process them.  You don’t have to sow them, till the soil, water, or anything else.  So while the processing time at the end of the season is considerable, it is all at once, and you are getting as many acorns as you want for free.

Gathering and Sorting: Weevils and Bad Nuts

Sorting nuts with Holly bird helping!

Harvest Timing. The best time to harvest is when you see green acorns covering the ground and when they are dropping from trees. Usually, for where I live (Western Pennsylvania, USA) this is the month or so around the Fall Equinox.  You can harvest them later in the season, even well into winter.  The nutmeats often dry out at that point but they are still good and are easy to crack.

Weevils and bad nuts. When you go to gather, it is important to know the difference between a good acorn and one that may contain a weevil or be rotten. Thus, before you put the acorns in your lovely forest basket, do a quick check for signs that a weevil might be present.  You’ll see this either as a large exit hole (the acorn weevil already left) or as a mark on the acorn that appears someone went into it earlier (usually a small black dot, looking like someone marked it with a black pen).  Leave any acorns with a weevil in the forest.  You can also look for other signs that the acorn may not be healthy–if it doesn’t have a whole shell, mold or discoloration, etc.  Acorns usually drop from the tree green and then turn brown, so you may see acorns in different phases of green and brown, and that is natural.

After you come back home, I recommend letting the acorns sit for 7-10 days.  This will make them easier to shell and allow any weevils you missed to come out.  I try to set up my acorns so the weevils can crawl and enter the ground on their own. If you have acorns in a box lid, the weevils won’t be able to get to the ground and die.  In that case, I feed them to my chickens.

You don’t have to wait–you can crack them and use them fresh. Expect to see some weevils still in the acorns as you work.

Sorting your acorns.  After you’ve let them rest (or not), you can do one final sort of your acorns.  I like to just lay the acorns out on a blanket and look at each one.  If its too light, discolored, or has a clear weevil hole, I return those to the land, and the rest I crack and shell.  For another method,  you can also use water to help you sort. Fill a bucket with water and put your acorns in the bucket.  Good nuts will sink (indicating that they have a good nutmeat) while bad nuts will float to the top.  You can also lay them out on a blanket and let your goose helpers sort for you.  An alternative to all of this is just to lay out your acorns somewhere and wait for the weevils to come out–they usually emerge within 3-7 days of an acorn dropping to the ground.

Cracking and Shelling Your Acorns

Processing acorns is mindful work–it requires patience and, preferably, some friends to sit around and do it while you all talk.  Most natural food preparation is similar–we have to invest the time to get the rewards of unique and wonderful foods. An evening cracking and shelling acorns will be richly rewarding, indeed!

Shelling 2 gallons of cracked nuts, oh my!

Cracking and shelling acorns is an art form.  You will find that different acorns may require different methods–some are very easy to crack and shell, while others can be tricky.  For my Northern Red Oak acorns, I prefer to let them dry in the sun for about two weeks (allowing any weevils I missed to emerge) and then sort them once more before cracking.  If they have dried for 2 weeks, they are more likely to shell more easily than if they are fresh from the tree.  What I suggest is try shelling some of your acorns green and others a little later and see what works for your specific variety.

Hand cracking.  For a long time, I used a method described by Sam Thayer in his Forager’s Harvest book. This involved lining acorns up on a hard surface and using a wooden round post to crack them in a line.  It worked quite well.  If your acorns are very fresh and the skins aren’t too thick, you can also cut them open with a knife.  I am way too much of a klutz to use this “cutting” method but it may work for you.  A mallet also can work (I prefer a wooden

What good dried or partially dried nutmeats look like – good color, no holes or discoloration

mallet to a metal hammer)  For Northern Red Oak, you can stand them up on the end and then use a light tap with a wooden mallet to crack them open.   As I mentioned above, my current cracking method of choice is a Davebilt nutcracker.  It is a fabulous tool and cuts several hours out of cracking.  I would only invest in something like this after you’ve committed to a yearly acorn practice and planned on doing larger amounts of acorns.

Once your acorns are cracked, it is time to shell them.  If you have a nutpick, this is ideal.  Any metal tool that can help you dig into the shell and pull out the nutmeat is useful here.  I strongly recommend you use a dull tool or you will invariably stab yourself.  As you shell your acorns, pay attention to how the nutmeats look–you want nutmeats that are white or cream-colored (when fresh) and intact and light brown (when dried).  If you see nutmeats that are wormy, black or dark gray in color–those aren’t good and you want to return those to the land.

Leaching the Tannins

Oaks and acorns have something called “tannic acid”; this is what makes the acorns bitter and makes your mouth pucker when you eat them. Obviously, to make acorn treats, you’ll have to remove the tannic acid or they won’t be palatable. Native Americans would place them in a stream with running water. Today, most of us simply leech them using water and jars or on the stove.  I’ll share several methods here that have worked for me.

If you are working with fresh acorns, you can proceed right to chopping them up.  If you are working with dried acorns or even those that are partially dried, I suggest soaking them overnight before proceeding.

Soaking overnight

After pulling out the nutmeats, I sent them through my food processor to get a rough chop.  You can also do this by hand but it would take a while (i’d probably do it dried in a mortar and pestle if I was doing it by hand).  To use the food processor, put a handful of nuts in your processor and then add water.  Process till they are finely chopped.  You’ll notice that the water is quite milky.  This is a good thing: that’s the acorn starch (which can also be saved).

Milky acorn mash in the food processor

Pour off the acorn starch and put it in your fridge.  In a few hours, it will settle in the jars.  You will leach this just like the rest of your acorns.  Acorn starch is a thickener and can be used just like cornstarch.  What you are left with are chopped up “acorn grits” which then you work to leach to create a palatable and delicious food.

Acorn starch ready to put in the fridge

Acorn starch after 4 hours of sitting in the fridge. Notice the dark color of the water? That’s the high tannins!

Chopping up the acorns to make acorn grits is important.  If you try to leach your acorns whole, they will take a really, really long time.  The grits are large enough not to go through a strainer but small enough that they have maximum surface area to be exposed to the water.

Now you have a choice of how to leach: cold water leeching, warm water leaching, or hot water leaching. Cold water leaching is the longest (7-14 days) but lets you have the lightest colored flour and also preserves more of the flavor of the acorn. Hot water leaching boils off a lot of the fat and taste and the acorns turn very dark but it can be accomplished in only a few hours.  Warm water leaching is a middle ground, also resulting in darker colored acorns but with more flavor than a hot leach.

For cold water leaching, you will pour off your starch and then add nutmeats to large jars and/or buckets.  They will need to be kept cool.  If you have a basement or cool porch, that will be fine, but if not, you will need to keep them in the fridge.  Twice a day, you want to pour off the water and add fresh water.  As you do this, the water will slowly leach the tannins from the acorns.  For high tannin acorns, this can take 7-10 days.  (The tannic water from early batches can be saved and used on sunburns or for tanning hides!).

A tip I want to share here is this–when you strain, you want to use some kind of fine mesh strainer so you don’t lose any of your acorn grits.  A real time saver for the acorn grits is to use large sprouting jars that have a built-in metal strainer.  You can also get cheap sprouting lids to go on a regular mason jar. This will allow you to easily drain the tannin water and add fresh without hassle.  For leaching acorn starch, you just have to carefully pour and not stir it up between water changes.  Your starch will leech much faster than your grits; you will know either is done by taste as well as the water staying clear.  The darker the water, the more tannins are present still.

Cold water leaching of starch and acorn grits–this is day 1 of the leaching process, so the colors are dark after being in the fridge for 12 hours

For warm water leaching, pour off your starch and save it.  Add nutmeats to a good pan that will not singe (I used my cast iron dutch oven).  Put it on warm on your stove.  Pour off the water twice a day.  My acorns took about 5 days with this method.  You could also use a crockpot on a low setting or even do these on a woodburning stove.

For hot water leaching.  Pour off your starch and save it.  Add nutmeats to a pan and then bring to a light boil.  Boil for 30 min, then pour off the water into a very fine strainer and keep boiling.  Do this for a few hours, changing the water every 30 min, until the acorns taste good. My Northern Red Oak acorns take about 3 hours with this method.

Dried acorn grits with tannins leeched!

Toilet tank method. A final method that you can use is the toilet tank method.  I was very excited about this method till I learned that the tannic acid can seriously degrade the inner parts of your toilet if you do it too often.  The basic process is to pour off the starch, then add acorn grits to a nut milk bag and then let them sit in the clean tank of your toilet.  Each time you flush, you flush the tannins away and add fresh water.  It’s similar in timing to a cold leech method. Try it and see if it works for you!

As you are doing any leaching method, keep tasting your nutmeats.  Eventually, they will taste good and not bitter, and that’s when you know they are done.  You want all of the bitterness to be removed–even a little bitter can make recipes less satisfying.

White oaks have the least amount of tannins and are almost edible right off the tree.  Red oaks (of many varieties, with the points on the leaves) typically have more tannins and take longer.  In my bioregion, Chestnut Oaks are ideal, as the nuts are really large and require less work to get more acorn meal.

Making Acorn Flour

You now have good tasting “acorn grits” which can be used immediately or dried for later use.  If you want to create flour, you will need to do another step.  For milling your flour, you want dried grits.  I put mine in the dehydrator for an evening on a piece of parchment and by morning, they are dry.  The grits can then be frozen for later use or ground up.  I prefer to do my grinding just before I use the flour, as it preserves the taste better.

Milling flour prior to making pancakes on the equinox morning

Using a small grain mill, send your dried grits through.  You can also use a mortar and pestle at this stage to grind them up into flour.

Acorn Recipes

And so, after all this preparation, you have an *incredibly* sacred food that you can enjoy!   Here are two great recipes you can use that start with 1 cup of acorn flour.  You can use only acorn flour in these recipes, however, since its so rare and hard to produce, I find its better to cut it with regular flour–the delicious color and flavor of the acorns will still come through!

Acorn bread

Acorn bread

Sacred Acorn Bread

  • 1 cup acorn flour
  • 1 cup flour (white, wheat, or GF- I use organic bread flour)
  • 1/2 teaspoon salt
  • 1.5 tablespoons of  baking powder
  • 1 eggs (I use duck eggs)
  • 1 cups milk (you can use rice or soy if you prefer)
  • 3 tablespoons  sweetener (I use maple syrup, you can also use sugar or honey)
  • 3 tablespoons oil or butter

This recipe makes one loaf (you can double it to make two!)

Preheat your oven to 400 degrees. Grease a loaf/bread pan.  Mix your dry ingredients and wet ingredients separately, then mix them together, just enough to integrate. The batter will be thick and a bit lumpy–that’s ok.  Pour your batter into the pan and place in the oven.  Bake for 30-40 minutes, till a knife or toothpick inserted into the center comes out clean.  Pull out of the oven, remove from the bread pan, and then let cool for 10-15 minutes before eating.  The bread will keep for a week in the fridge or can be frozen.

Making acorn cakes

Acorn Pancakes

  • 1 cup acorn flour
  • 1 cup flour (white, wheat, or GF)
  • 1 teaspoon salt
  • 2 teaspoons baking powder
  • 2 eggs (I use duck eggs)
  • 1/4 cup of oil or better
  • 2 cups milk
  • 1/3 cup sweetener (I use maple syrup, you can also use sugar or honey)

This recipe makes about 12 pancakes.

Combine all dry ingredients then add wet ingredients slowly and stir till mixed. The batter should be smooth and pour well into the griddle.  If it’s too thick, add more milk. If it’s too runny, add a little more flour.  Prepare a griddle, allowing it to heat up.  Check your heat by putting a tiny bit of batter on the griddle and seeing how it does and then adjust your heat accordingly.  Lightly oil your griddle (butter, olive oil, bacon grease) and then pour out pancakes using a 1/2 cup measuring cup.  Cook on one side for 2-3 minutes, until you see bubbles rising through.  Flip and cook another 1-2 minutes.  Serve hot with fresh jam, maple syrup, and butter.  You can freeze the leftovers.

Delicious and slightly purple pancakes!

Gratitude and reciprocation

Part of the reason that I believe that the nut-bearing trees, including the mighty oak, have had

Thank you, sacred oak!

such a sacred place in human history has to do with this beautiful relationship between the near un-ending abundance they provide and the gratitude that people offered in return. As part of my fall equinox celebration, I make sure to take some time not only to eat of the fruit of the oak tree (through cakes and breads) but also, to offer something back.  I go to the base of the large oak and offer an acorn cake, build a shrine, and play some music.  And during the year, I visit frequently with the oak tree, spending time, communing, engaged in tree for a year work.  These kinds of reciprocal practices are as important as the technical skill of learning how to make food from acorns–they are the practices that allow you to deepen your relationship with all aspects of the living earth and engage in reciprocity.

Wild Food Profile – Eastern Hemlock Buds: Fresh Eating, Tea, and Eastern Hemlock Bud Dressing

Eastern Hemlock is one of my very favorite trees.  The tall, regal personal, the needles and branches that offer a bluish light beneath them as the sun shines, the cathedral-like quality of the ancient ones. This time of year, you can see the bright green buds on the Eastern Hemlock that represent the growth of the tree for this season.  As the buds grow older, they darken to the beautiful viridian green that is characteristic of the Eastern Hemlock tree. But, for the short window of time when the trees are budding–right now–Eastern Hemlock buds are a delicious treat.

Harvesting Eastern Hemlock buds

We happen to have many of these trees on our property, and some of the branches are starting to grow into our paths and have to be trimmed back. There are thousands of beautiful tiny green buds on each of the branches to be trimmed, which offered a good opportunity to create some new delicacies and experiment with a larger-than-usual volume of Eastern Hemlock buds.  In this post, I’ll share three ways to enjoy the buds as well as some harvest instructions.  If you want to learn more about the Eastern Hemlock’s magical and medicinal qualities, you can check out my earlier post.

Harvest

If you are going to eat these delicious treats, you need to first know how to harvest buds.  You will want to get the buds as they are emerging–you have usually a 1-2 week window each year, and the exact timing will depend on the warmth or coolness of your spring (for us here in USDA Zone 6 in Western PA, that’s usually sometime in May).

The buds will first emerge in little casings; wait until they have fully emerged, like in my photo below. I recommend the buds when they are fully spread out but still bright green.  They are prime when they have emerged and spread out a bit but haven’t gotten to the darker green color yet or too large.

Buds at perfect harvest time

You will want to be very careful about how much you harvest, as each bud is potential new growth for the tree.  If you are trimming a tree branch I am, then obviously you would harvest all of the buds on the branch that will be cut.  But if you are harvesting from a tree without any trimming, you want to make sure you aren’t compromising the growth of that tree.  I would suggest never harvesting the buds on the ends of the branch (this will prohibit future growth) but rather, harvest a bud or two per branch from further down the branch.  I would also recommend harvesting from mature trees, not small trees (who need all of their growth). Finally, please be aware that the hemlocks are under serious threat from the Hemlock Wooly Adelgid, which may or may not be present in your area (do not harvest from any tree that is fighting this terrible pestilence–these hemlocks need all the help they can get! Instead, how about some ritual for them? )

Of course, like any other harvest from the land, harvest with gratitude.  Offer something in return.

Flavor

Buds ready for eating!

In my opinion, the Eastern Hemlock has the best tasting “tips” in my bioregion. The tips have a strong lemony taste with a hint of pine and a slightly bitter aftertaste.  They are really delicious for fresh eating or in recipes.

They can delicious and quite strongly flavored in bulk, so they are really useful as a marinade or dressing, where the flavor can really have an impact.

Eastern Hemlock buds, like most other conifers, are high in Vitamin C.

Recipe 1: Fresh Eats, Salad, and Garnish

The first recipe is not really a recipe at all–you can simply nibble on the hemlock buds as a trailside treat.  You can add them to fresh salads or as a garnish. They are amazing when sprinkled on top of meats or roasted veggies.  Harvest them fresh and add whole buds to the salad.  Harvest them fresh and chop them up as a spice. I really like them as a garnish for a baked or pan-fried fish!

Recipe 2:  Tea (Hot or Cold)

Hemlock buds make an amazing, light, and refreshing tea.  You can dry them or use them fresh (you can also use the mature needles, which have a stronger flavor that is also amazingly delicious).  Pour 1 cup boiling water over 1 TBSP fresh buds or 1/2 TBSP dried buds/needles.  Cover and let seep for 5 minutes.  Add fresh honey to taste and enjoy!

Recipe 3: Eastern Hemlock Bud Dressing / Spread / Marinade

This is a recipe that my sister and I created this season and experimented with to find just the right combination.

The base is:

  • 1/2 cup of Eastern Hemlock buds
  • 1/2 cup of good quality olive oil
  • 1/4 cup fire cider vinegar (or regular apple cider vinegar)

I would strongly suggest adding:

  • 1/4 cup tahini
  • 3 TBSP maple syrup or honey (to taste)

Start by adding your olive oil and Eastern hemlock buds to a food processor (if you don’t have a food processor, you can chop finely and stir everything by hand).  Process them until they are fairly chopped up.  Add your apple cider vinegar and maple syrup and pulse a few times. If you are going with the base dressing, then you are done and it is delicious!

After some processing, this is your base dressing

If you want to make a spread or thicker dressing, add your tahini. If you pulse this a lot, you will end up with a thick spread, almost the consistency of mayo (good for spreading on a sandwich). If you stir it by hand or pulse it only a little, you will end up with a lovely dressing for salads, marinades, and more.

If you process it for a minute or more with tahini, you get this great spread

We had a nice salad and then a lunch of sauteed veggies (asparagus, celery, summer squash, broccoli, and kale) with the delicious dressing as a marinade and drizzle over some rice. I hope you enjoy this delightful wild-foraged treat and spend time communing with the beautiful and majestic Eastern Hemlock, my favorite of the trees.

Delicious as a marinade and sauce for veggies

Have it on a fresh salad!

Making Acorn Ink – Instructions and Recipes

Acorn Ink! (Great color!)

Acorn ink, derived from the mighty oak tree, can be a wonderful addition to your druid practice or art studio.  Inks can be used for all manner of useful things, from drawing and artwork to the creation of sigils, writing in a druid’s journal, or engaging in other magical work.  In this post, I’ll share a method for making an acorn ink as well as a rust garden (that you can use to strengthen the color of this and other natural inks, like walnut).  I’m posting this now because I have found that acorns are best gathered for this not right after they drop, but after they’ve sat on the ground for some time (such as over the winter months).  This is a way for you to use acorns pretty much year-round, connect deeply to the energy of the oak tree, and localize your practice.

Ink making was once a common practice before the advent of commercial inks.  It was a sacred practice, for the arts of literacy and materials for drawing, writing, and painting were rare and hard to produce.  Toady, with the over-abundance of everything at the expense of nature, it’s wise to practice some of these older ways and reattune with the balance, wisdom, and joy of our ancestors. Ink making is actually quite simple and very rewarding and you will get colors that you can’t purchase commercially.  If you are interested in this topic, you might also want to check out my earlier post on berry inks.

The Magic of the Oak

Oak trees are special, particularly to those in the druid tradition.  The ancient druids did their rituals in groves of oaks. The ancient Irish considered the oak one of the seven sacred trees.  Many cultures around the world venerated oaks, which we can see from the use in military symbols and coats of arms throughout the world. The oak is a symbol of strength, persistence, courage, wisdom, and honor.

Acorns from the Tree of Life

Acorns in the fall months

According to John Michael Greer’s Natural Magic Encyclopedia, Oak is “the preeminent tree of power in ancient symbolism” being of particular use to those who channel high levels of energy, for weather magic, and for earth magic.  Acorns themselves are symbols of fertility in ancient times to the present. In the Ogham, Oak is represented by the word “duir”.  In ancient Sanskrit, duir literally means “door”.  Oaks, then, are not just symbols of strength but doorways to many other things (the inner worlds, worlds of spirit, new journeys, etc). It is tied with the time of midsummer.  The oak has very strong wood and was often employed as the Yule Log (where the oak’s power would allow the light to return to the earth once again!) In the Hoodoo traditions, oaks is used to remove hexes or jinxes, usually through a wash.  Oak galls (which you can also make ink with, also using iron) are specifically used in the hoodoo tradition to lend power to any other working.  So you can see how having some oak ink might be a useful tool!  What better opportunity to honor the sacred oak than by making some high-quality ink that can be used for drawing purposes, spiritual journaling, or magical uses.

Making your Ink

Making acorn ink is simple and requires a few basic ingredients and tools

  • Acorns, older are better
  • Something to crush your acorns with (mortar and pestle, hammer and plastic bag, etc)
  • Vinegar (preferably rust garden vinegar, see below)
  • Water to cover acorns
  • Strainer

Gathering Acorns. I like to make acorn ink early in the spring.  The reasoning here is simple–you can easily find last fall’s acorns, and whatever is left, wasn’t a viable food source nor will sprout. So you are using the true “castaways” from the oak–probably acorns that had a few worms, etc.  I also find the ink is stronger if you are using older acorns.  As always, ask permission to gather and make sure to leave an offering in thanks.  To make about a cup of ink, you can gather 2 cups acorns (a cup of ink is a LOT of ink, just FYI!)

Gather up some old acorns

Crushing Acorns. After you’ve harvested your acorns, you will need to crush them.  If you have a large mortar and pestle, this works great.  You can also crush them easily by getting a thick plastic bag (like an old used feed bag) and using a hammer.  Or just crush them up on a large stone.  Make sure you save the small bits.  The more that you crush, the more effective extraction you will get.

Crush up acorns and add them to a small pot with water

Cover acorns with water. Barely cover your acorns with water, just enough to fully cover them in a small pan.  The more water you add, the less of an extraction you will have.  So go for a small pot and barely cover them.

Soak overnight.  Soak your acorns overnight if possible.  While you don’t have to soak overnight, the ink is stronger and more potent if you do.

Simmer. You will want to simmer your acorn mixture for a few hours.  It’s better to go long and slow than fast and quick.  As you boil, keep a good eye on the water level.  Early in my boiling, I might add a little water, but later on, especially in the last hour, I let the water boil off.  The more it boils off, the more high-quality ink you will have.

Simmering acorns

Strain.  Next, using a fine-mesh strainer or cheesecloth, strain your ink.

Acorn ink is finished boiling and ready to strain

Add Rust garden vinegar or regular vinegar.  If you take the time to make a rust garden (highly recommended, see next section), you can add a few tablespoons of rust garden vinegar (about 3 tbsp per cup of ink) to your mixture.  This darkens the color and helps preserve it.  If you aren’t going to make a rust garden, you still will want to add a tablespoon or two of vinegar to help preserve your ink.

Adding rust garden vinegar to the ink

Storage. You can store it in a mason jar with a lid.  I recommend keeping it in the fridge as it will last longer. You can keep it in the fridge for quite a while (several years).  It is likely that over time, it will develop some bluish mold.  Just get a strainer or a fork and remove the mold–the ink is still good.

Mold is a common occurrence with natural inks–just strain and keep using!

 

Optional: Making a Rust Garden

Making a rust garden is a way to improve the quality and color of your acorn ink (it also allows you to make oak gall ink and walnut ink; I’ll cover oak gall ink in an upcoming post). All that you need to start your rust garden are some rusty objects (like iron nails) and some vinegar (any kind will do).  Gather up your rusty objects and cover them in vinegar.  If you want to help speed it along, you can actually remove the objects, let them be exposed to oxygen for 24 hours, and then put them back in the vinegar vat.  I find this to be a little tedious, so instead, I just shake up my rust garden every once in a while and let time do the work. You can start your rust garden in a mason jar. As the items continue to rust, the rusty bits get suspended in vinegar, eventually creating a beautiful dark brown shade.  In a few months, you’ll have a very rusty, brown-black vinegar and it will be awesome for making natural inks!

Finding some rusty objects with Pythagoras the Rooster’s help!

Adding objects to vinegar in a jar

The completed rust garden! Look at all that rust!

However, this practice takes some time – at least 3-5 months–so keep that in mind.  You can always make the ink, then store it in the fridge while your rust garden “grows” and then return to it later (that’s what I did in creating the ink shared in this post).  Or you can start your rust garden now, and it will be ready for when this year’s batch of acorns drop in the fall.  Be aware here that over time, the jar lid itself will actually rust away–you can see that already happening to my jar here.  Thus, I recommend putting either a plastic lid on the jar or else a piece of plastic in between the lid and the jar can help preserve it over time (it will take a few years for the lid to rust away due to the corrosion of the vinegar).  Not that I have ANY experience with this happening, haha!

If you use some of your rust garden, you can just add more vinegar and keep letting it rust further.  Keep it on a shelf and then anytime you want to make natural inks like acorn, oak gall, or walnut, it will be ready for you!

Using your ink

Once you have your ink, it is ready to use!  Here are just a few possibilities for using your ink:

Acorn ink dyed leather pieces in progress…these will be bag flaps for leather pouches.

  • Pen and ink:  An old fashioned dip pen works great with this kind of ink, provided it is well strained.  You can use your ink on journals, magical sigils, drawings, and so much more.
  • Sigils and other magical work.  Consider saving this ink for a special purpose such as writing in your spiritual journal or making sigils.
  • Natural arts.  You can do a lot of interesting things with such high-quality ink: ink drawings, ink washes, and more.
  • Leather and Wood dye.  This ink will also dye a lot of surfaces (if you want to use it in this fashion, you’ll have to make large batches, which isn’t unreasonable in mast years when you can harvest abundant acorns).  I’m experimenting now with it as a leather stain and its been great!

I hope this post inspires you to try to make some of your own acorn ink!  I feel like acorn ink making is a great practice for the aspiring bard or druid!

 

PS: I hope you like the new look of the Druids Garden Blog!  I’ve been using the same theme for so long, I thought a change was necessary.  Blessings!

Sacred Tree Profile: Cherry (Prunus Serotina)’s Magic, Mythology, Medicine and Meaning

Butterfly on choke cherry

When most people think of cherry trees, they think about plump, juicy, red or purple cherries from cultivated cherry trees.  However, here in the USA, we have a variety of wild cherries that are an interwoven and rich part of our landscape. An enigmatic tree found throughout the eastern part of North America and South America is prunus serotina, the wild cherry, black cherry, mountain black cherry, or rum cherry tree. Most people interact with this tree not in its living form, but through the beautiful reddish-brown heartwood that this tree produces, and that can be frequently found in their furniture and flooring.  And yet, this tree has so much more to offer than just beautiful wood! While I’m targeting my comments today about the black cherry, many of the material found here can be about *any* cherry tree local to you, including domesticated cherries.  Many other kinds of wild cherries may also be found along the US East Coast region: prunus avium (the wild sweet cherry) and prunus virginiana (choke cherry). Black cherry and other wild cherries of the prunus species are truly American trees and hence, should be considered as part of our magical landscape here in the USA.

 

This post is part of my Sacred Trees in the Americas series, where I explore sacred trees within a specifically American context, drawing upon folklore, herbalism, magic, and more. I think it’s particularly important that US druids and those following other nature-based paths in North America understand how the trees here might be different and just as magical as traditional European trees. Thus, this series provides research and insight on the many trees here in the US East Coast.  Previous trees in this series include Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, and Oak.  And now, let’s learn more about the Black Cherry!

 

Black Cherry Growth and Ecology

Black cherry is a medium-sized tree, often found on the edges of forests. When it is young, it can be shade tolerant, but older cherries prefer to have more sunlight, and thus, you can often find them along the edges of forests, pushing the forest into new areas. Cherries are prone to being blown over by strong winds because they primarily have lateral/fibrous (spreading) root systems rather than a deep tap root. Cherries can live between 150 and 200 years.  They are commonly found in the ‘dry’ or ‘mesic’ forest habitats more broadly. Here in Western PA, they are a very common tree, often growing in mixed oak/beech hardwood forests or hickory/oak forests, but also found on the edges of hemlock forests.

Identification of the tree depends on its age. Leaves are typically about 2-5 inches in length with fine tooth and an ovate-lacerate shape (elongated oval with points). Young cherry trees have a dark, smooth bark which is banded with lighter brown lines that are horizontal.  Older cherry trees have very dark gray/dark brown or almost black bark that is highly textured, but you can still see the bands (see photos).  A strong almond scent (very unique to cherries) can be smelled when leaves are crushed or branches are broken–more on this later in the post).

Younger and older black cherry trees

Birds, butterflies, and moths feed and grow on black cherry, including the eastern tiger swallowtail butterfly, who lays eggs individually on the black cherry leaves.  Other caterpillars who depend on the trees include the red-spotted purple caterpillar and the coral haristreak caterpillar. Unfortunately, it is also a favorite of the destructive eastern tent caterpillar, which can make large nests in the tree and strip trees of leaves. Usually, the cherries can bounce back the following year after a serious Eastern Tent Caterpillar issue. When the cherry is in bloom, it is a nectar source for many insects including bees, wasps, and butterflies. When the cherry is in fruit, it is a food source for many animals and birds including raccoon, rabbits, chipmunks, squirrels, bears, and more.

 

Wood and Other Uses

The wood of the cherry is well known, as it is a common wood used for interiors, furniture, tools, flooring, and more. Cherry is a beautiful, reddish brown wood with a straight grain. It is a favorite of woodworkers as it is delightful to work with and beautiful when polished.  It is not as hard as oak, near as soft of maple, making it a wood that is firm yet beautiful to work with.

The berries, when using methods I’ve described before on the blog, can be made into a great ink or dye; it offers a purple/blue color. It doesn’t have a good light fastness (like most other natural berry dyes) but in my experience, if you use alum as a mordant, it can improve the light fastness. The berries are almost always in abundance, but they can be difficult to reach on high up trees.

The cherry pits (seeds) are also often harvested and eaten by wild critters. If you visit the base of an older wild cherry tree, you will often see the little half-cups of the seeds, dried and brown. If you are interested in natural crafts, these can make nice beads (with a tiny hole bored or drilled into them).

Cherry Leaves and Cyanide

Cherry is an interesting tree because while the fruit is edible and medicinal, and the inner bark is also medicinal, most of the rest of the tree is extremely toxic. Cherry foliage and pits contain hydrocyanic acid. You can smell this when you crush a leaf or cut a part of a cherry tree–it has that distinct bitter almond smell. The leaves have the highest concentration of hydrocyanic acid, and as the leaves wilt, they produce cyanide. This makes the leaves extremely toxic to humans and many livestock animals, such as goats or sheep.  In fact, we had planned on getting goats for our homestead here for fiber, milk, and for clearing brush, but after we learned about the toxicity of the cherry leaves (which we have everywhere on the property) we decided not to do so and went a different route with our animals.  This is because one handful of wilted cherry leaves is enough to kill a full size goat!  Needless to say, Cherry’s toxicity is not to be trifled with.

Foraging for Cherries

Thick bark of an older black cherry tree

At the same time that cherry’s leaves have such poison, black cherries are delightful and abundant to eat, high in antioxidants and nutrients, and an excellent wild food. Sam Thayer notes in the Forager’s Harvest that you should harvest the berries only when they are overripe, that is, a deep purple color.  I will also note that in my experience, different trees may produce slightly different tasting berries, some more or less bitter than the others.  If you are going to forage for them and you have some choice, I suggest tasting various trees! The variety in different trees can be quite distinct, with some tasting almost like a commercial cherry and others being nearly inedible and very bitter. So, once you find a tree that you can eat raw, you have found a good tree to turn the fruit into jelly or other tasty treats.  Even if a cherry tree has a little bit of bitterness, you can usually use sweetness to counteract it and allow for an enjoyable tasty tree.

Like many other fruits in the rose family (including apples and peaches), cherry pits also do contain hydrocyanic acid, and those, should be removed during or before preparation.  You can cook them slightly, mash them down, and strain out the pits, which is probably the easiest method of removing them.

This bitterness of any wild cherry can be reduced with the use of sugar, but any jams or jellies that you produce from it will still have some bitterness if your fruit started off bitter.  I have found that the bitterness is pretty tasty combined with meats or fish and add dimension and complexity (and bitter foods are healthy for our digestion). A simple recipe, offered by Euell Gibbons in Stalking the Wild Asparagus book is a cherry jelly.  He suggests adding apple juice to the jelly to improve the flavor.  Take any number of quarts of black cherry and add 1 cup of water.  Take unripe apples and slice them and add them (or add some pectin as per package instructions).  Simmer this for 30 min then strain.  Take 2 cups of cherry juice and 2 cups of apple juice, and add 4 cups sugar (you could also add less sugar by using Pamona’s pectin; I prefer to can with honey using this approach).  Boil till it jells and then hot water bath can using standard fruit approaches (10 min for half pints, 15 min for pints, etc).

In Using Wayside Plants, Nelson Coon notes the difference between serotina (wild cherry) and virginiana (choke cherry) are as follows: chokecherry has more pointed leaves, bitter/acidic fruit, and shorter fruit clusters  He notes that while both can be made into tasty jellies, the choke cherry produce more bitter fruit.  I have also found this to be the case, and often, the serotina and virginana are growing right next to each other!  Sam Thayer recommends another approach to working with black cherry. After harvesting them, he puts them in the fridge for two days.  This reduces the astringency and bitterness, and then you can make jellies or fruit leather.

Cherry as Medicine

In Matthew Wood’s Earth Wise Herbal: New World Herbs, Wood notes that in the 19th century, wild cherry was considered an “indispensable” medicine by both pioneers and Native Americans; he suggests that it was likely one of the most commonly used herbs native to the US during that time period.  Wood notes that wild cherry works as a sedative, particularly for the circulatory system.  It is particularly useful for coughs due to irritation, coughs that linger on after an infection has passed, and those that have fluid or mucus in the lungs, such as through bronchitis, pleurisy, etc. He recommends collecting root bark if at all possible, and preferably in the spring when the cyanogens are lowest. He notes that while the bark does contain trace amounts amounts of cyanide, it is not enough to cause any health issues, particularly when it is used medicinally and for short term issues.

Prussic acid in found in wild cherry trees are particularly useful for coughs and many herbalists use it as a their go-to cough syrup remedy.  For this, you want the inner bark from any wild cherry. This is to be used for acute conditions short term only, but it is very effective. A simple cough syrup is to boil down 1/2 cup of the chopped inner bark of wild cherry for 30 min in 1 pint water.  Then, strain it and let it cool. Add raw honey at this point to taste.  Usually, I will freeze this in ice cub trays, then you can keep using it as needed and keep it till you need it.  Alternatively, you can simply make a strong tea of the wild cherry bark that you dry.  If you have a wild cherry nearby though, no need to dry it in advance–just harvest it fresh and prepare it as needed!  I have used this recipe many times myself, and it is just as effective as over-the-counter medicines.

Euell Gibbons gives another recipe for wild cherry cough syrup in his Stalking the Wild Asparagus book that I really like: 1 cup red clover blossoms, 1 cup white pine needles (preferably new growth), 1 cup mullein leaves, and 1/2 cup inner bark from the wild cherry.  Boil all of this in a quart of water covered for 20 min.  Strain and add 1 pint honey, then can it.  (I like this recipe, but I’d omit the honey and can it without, then add the honey later.  Raw honey is amazing, but heat removes much of the medicinal virtues).

 

Magic of the Cherry Tree in Global Traditions

Cherry does not seem to have much of a place in the traditional western magical traditions, particularly those deriving from Europe–which makes sense, as cherry is a North American Tree.

Leaves of cherry tree

In the European traditions, when it shows up, it does not often show up as a tree of power.  For example, in Celtic Myth and Legend by Charles Squire, the book describe the Battle of Godeu (or the Battle of the Trees) and in this battle with Hades, while many trees fought valiantly (oak, hawthorn, heather, holly) many others, including the poor cherry tree did not fare so well and was broken during the battle. This battle is told in the Book of Taliesin as well.

What information there is about the cherry’s power suggests that cherry is tied to love, emotions, and romance, something that is consistent both from Europe as well as from folk magic here in the US.  Culpepper notes in his Herbal that cherry is a tree governed by Venus. In the American hoodoo traditions, according to Cat Yronwood’s Hoodoo Root and Herb Magic, cherry is used primarily in love-drawing spells for drawing love, romance, or enticing someone. Thus, in American Hoodoo, it is frequently used in love-drawing mojo bags, oils, dressed candles. We see this same association in an old book, Grimories, who talks about using the “essences of the cherry tree” when when desires another. Interestingly enough, Native American talking sticks can also be made of cherry, and when they are, they are also tied to expression, emotion, and love. Yet, Cherry trees do not feature prominently in the stories that I have been searching (and that I usually share as part of these posts). Occasionally, someone eats a cherry in a story, or, someone notes that cherry is not good for making bows. But the tree has no distinct magical connection in the mythology of the Americas that I can ascertain.

In another American classic grimore, The Long Lost Friend by John George Hoffman (1820), which is one of the premier books in PA Dutch Braucherei, the cherry tree is used to help cure the “poll-evil” in horses. The Poll Evil is an inflamed back of the head which can burst (today, this is treated with antibiotics). The full charm involves breaking off three twigs from a cherry tree, one in the morning, one in the evening, and one at midnight.  You wrap these in pieces of your shirt, then clean the poll-evil with it.  Then you have to poop on the twigs while the twigs are facing north. Then you stir the wound again with the dirtied twigs a day or two later.  Yep, good stuff :P.

One of the places that cherry tree is very dominant is in Japan, and Cherry has different meanings in eastern societies.  Japanese cherries, or “sakura” symbolize the concept of “mono no aware,” or the understanding that life and things are transient, impermanent, and that a small amount of sadness or wistfulness can be had at their passing.  Cherry blossoms, which bloom en masse in Japan are thus symbolic of “mono no aware” and encourage people to reflect on the transience of all things.  We also see the tie to love from myths like “the Holy Cherry Tree of Musubi-no-Kami Temple” where a magnificent old cherry tree encouraged people to build a shrine dedicated to the “God of Love”.

Meanings and Magic for North America

So to summarize all of the above, we can see three distinct meanings for the Cherry tree, based on its ecology, medicine, uses, and mythology:

Cherry tree as a drawing love and romance.  The American traditions are strongly consistent in this, showing that cherry here in the US has the power for love: to bring it, to help it last, and to foster romance.

A small grove of cherries on the edge of the homestead

Cherry tree emphasizes the fragility, impermanence, and ephemeral nature of life.  The Japanese tradition is strong here, but so is, frankly, the fact that cherry can produce such a noxious poison.  The leaves of the cherry tree wilt and cause livestock (or people) to die who consume them.  That ecology sends, to me, a very strong emphasis on the idea that life is fragile!

Cherry, likewise, sends the message that the same aspects of nature can be both healing and destructive. Cherry is a tree of extremes: both one of the best natural medicines we have native to the Americas while also being one of the most destructive poisons we have.  Much of nature is like this, and this is a powerful natural lesson. The ocean is a very good example of this: the ocean can provide food and medicine, but also tidal waves and tsunamis.  I think every part of nature is truly like this: and cherry so beautifully emphasizes this lesson.  Nature is.  It is not good, it is not evil, it simply is.  I can be harnessed as a powerful tool, or it can harm or kill you.  Part of that depends on your own knowledge, and part, on the conditions at hand.

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

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

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

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

 

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

Boney Dump iron oxide - my favorite pigment to date!

Boney Dump iron oxide – my favorite pigment to date!

 

Getting into Pigment Making

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

 

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

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

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

 

 

Sourcing Natural Pigments

 

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

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

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

 

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

 

 

So many potential pigment stones from one trip!

So many potential pigment stones from one trip!

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

 

 

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

 

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

 

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

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

Tools for Paint Making

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

 

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

 

Materials for Paint Making and How Paint Works

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

 

Paint Supplies: Watercolors

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

 

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

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

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

 

Paint Supplies: Oils

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

 

Paint Supplies: Egg Tempera

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

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

 

Preparing Your Pigments

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

 

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

Rock breaking.

Rock breaking.

 

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

Slate pigment at various stages

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

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

 

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

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

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

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

 

Making Your Paint

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

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

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

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

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

Mulling pigment.

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

What you are looking for is a very smooth grind.

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

 

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

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

 

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

 

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

 

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

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

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

 

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

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

 

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

 

Using Your Paint

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

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

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

 

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

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

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

 

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

The Druid’s Crane Bag

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

 

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

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

Crane Bag History and Purpose

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

 

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

 

Planning Your Crane Bag: Crane Bag Purposes and Options

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

 

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

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

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

 

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

 

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

 

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

 

Creating or Finding Your Crane Bag

My Crane Bag

My First Crane Bag: Repurposed secondhand find!

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

 

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

 

 

Items for Your Bag

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

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

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

 

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

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

 

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

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

 

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

Potential power bag with objects

Potential power bag with objects

 

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

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

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

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

Another shot of the bag

Another shot of the bag

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

Ritual tools in the bag

Ritual tools in the bag

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

Elemental woodburned piece for remembering the directions!

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

More crane bag tools

More crane bag tools

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

Packaging helps!

Packaging helps!

 

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

Acorn is blessing the altar!

Acorn is blessing the altar!

 

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