The Druid's Garden

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

Rituals for Extinction and Honoring Extinct Species January 19, 2020

Death card from the Tarot of Trees

In the Anthropocene, many things are dying at a rate unprecedented to human history.  Currently, 75 % of the world’s life is endangered, and 50% of life in the world has disappeared since 1970 due to human activity.  I’m not sure why these statistics aren’t getting more attention.  But the unfortunate truth is, whether or not we are willing to see it, this is happening. Unfortunately, humanity’s actions continue to cause the death of so many species and so many individual lives, and given models and projections, the die-off of non-human life is expected to get much worse in the next decades.  While earth has experienced other extinction events, this one is caused by humans. This makes humans, collectively and individually, responsible.  As land healers and nature spirit workers, we might consider what happens to those spirits when they die and how we can help.

The two rituals here thus offer a way to “do something” about the tragic losses of life that are happening on a broader scale. I wrote about the fires in Australia two weeks ago and said that I’d be following up with a discussion of extinction.  That took some time to work through and led me to some unexpected places, so I’m offering it here this week rather than last week!

I see these rituals as having two purposes.  The first is to obviously help the spirits who are dying because of human activity pass on in love and acknowledgment. But the second is to acknowledge our collective responsibility as part of these tragedies, which I believe may lessen our own karmic debt for what is happening.

 

A Ritual for Honoring Species that Have Gone Extinct

This isn’t a “magical” ritual in the traditional sense.  This ritual was written for anyone, regardless of their background (e.g. it is not required for this ritual that you are practicing nature spirituality, magic, or neopaganism or have familiarity with these traditions.)  It’s something you could do with friends or family or a spiritual group to recognize and honor extinct species.  If you are performing this ritual solo, you can simply do both parts.

 

Participants gather in a circle, preferably in a natural place or indoors in candlelight.

 

Leader:  This is a moment we can share to honor those species who have gone extinct and our unfortunate role in that extinction <pause>.  Participants, do you wish to acknowledge any species?

 

Participants take turns sharing about one or more extinct species. (Alternatively, the leader can hand out slips of paper that have information about human-caused extinct species for each participant. A list of species is included after this ritual.)

 

Leader: Does anyone here wish to share their feelings at this moment?

 

Participants: Share as they choose.

 

Leader:  Let us now honor these species and all endangered species with a moment of silence.

(Optional: Leader sounds a singing bowl, chime, or bell at the start of the moment of silence.

 

<Moment of Silence>

 

Leader: Please say with me, “Species who have crossed the veil, I am sorry.”

 

Participants:  Repeats…

 

Leader: Species who have suffered, I am sorry.

 

Participants: Repeats…

 

Leader: Species who are forever gone, we honor and acknowledge you.

 

Participants: Repeats…

 

Leader: We acknowledge the role of our own species in your deaths.  And we are sorry. <Pauses>

 

Leader: What is one thing you can do, starting today, to help prevent the loss of more species?

 

Participants:  Offer their ideas and lifestyle changes.

 

Leader. Thank you to all of you who have participated.  It is through our own actions and raising the awareness of others that we can help save the species that still live in this world.

 

Ring the bell/bowl to mark the end of the ritual.

 

Extinct Species – List for Participants

  • The Unknown Species. Many extinctions are in places that are undocumented or unknown.  This accounts for insects, invertebrates, and many amphibians and reptiles.
  • The West African Black Rhino. This beautiful rhino went extinct in 2006, after being poached by hunters for its horn, which was in demand in Yemen and China for is aphrodisiac powers.
  • The Passenger Pigeon. The Passenger Pigeons were in the millions when Europeans began pillaging and colonizing the Americas. The Pigeon was hunted to the point of extinction in 1914.
  • The Pyrenean Ibex. The Pyrenean Ibex, a deer-like creature with beautifully curved horns, was hunted to extinction by the year 2000.
  • The Golden Toad. The Golden Toad, a bright orange toad living in the Costa Rican rainforest, was destroyed by global warming, pollution, and disease.  The last toad was seen in 1989 and it was declared extinct in 1994.
  • The Zanzibar Leopard. This leopard lived in Tanzania.  This animal was hunted and exterminated, both by individuals and the Tanzanian government due to the widespread belief that the Zanzibar Leopard was kept by witches as pets.
  • Po’ouli. This bird is a native of Maui, Hawaii, living on the southwestern slope of the Haleakala Volcano.  The species went extinct due to habitat loss and a decline in its food source—native tree snails. The species went extinct in 2004.
  • Maderian Large White Butterfly. This butterfly, with yellow and black markings, went extinct in the 2000’s due to loss of habitat due to human construction and pollution from agricultural fertilizers (for olives, figs, pineapples, bananas, and sunflowers).
  • Carolina Parakeet. Native to the Eastern US with unusual orange, yellow, and blue markings, the Carolina Parakeet went extinct in 1918. Deforestation and poaching were the main causes; millions of these birds were killed so that their feathers could adorn ladies’ hats.
  • Tecopa Pupfish. Once native to the hot springs of the Mojave Desert, this fish was destroyed by the destruction of their natural habitat by human construction.
  • Pinta Island Tortoise. This Tortoise was native to the Galapagos Islands and went extinct in 2015.  Humans introduced goats who destroyed their native habitats; humans introduced rats who prayed on their young; and humans killed tortoises for their meat.

 

A Fire Ritual to Honor Extinct Species

This ritual can be done individually or in a group setting. Before the ritual, gather up materials to build an effigy. Your effigy will represent one or more extinct species in the world. You can also tuck prayers (written on paper) and rolled up into your effigy. Construct your effigy only out of natural materials, things that can burn without harming the earth. Before the ritual, build yourself a fire that you can light. The ritual has no words, just actions, although you could certainly add words of your choosing.

 

Open up a sacred space.

 

After opening the space, take the time to carefully build your effigy and tuck your prayers inside.  As you build, feel the energy of the extinct species enter the effigy. Hold the effigy into the air and speak the name of the species.

 

Place your effigy on the top of your fire.

 

Light the fire.

 

Watch it burn. Drum while it burns. Do anything else that you feel led to do.

 

Feel the energy of the species growing calm as it burns.

 

Feel the energy of the sorrow and death being released.

 

As the fire dies down, sit with that fire as long as necessary, utill it is nothing but coals and ash.

 

Bid the species farewell and blessings.

 

Close the sacred space.

 

After this ritual, ground and center yourself and practice good self-care.  This is a powerful ritual and can connect you with the energies of death—thus, you should engage in life-focused activities for a few days after this ritual (e.g. gardening, sitting with plants, bringing in light and healing and blessing).

 

Sacred Dreaming at the Winter Solstice December 15, 2019

” When the body is awake the soul is its servant, and is never her own mistress. … But when the body is at rest, the soul, being set in motion and awake … has cognisance of all things-sees what is visible, hears what is audible, walks, touches, feels pain, ponders”- Hippocrates, Dreams

Entering the Dreaming (Hawthorn card from the Plant Spirit Oracle Deck)

Dreams are a critical part of what it means to be human–every night, we dream.  We may not remember our dreams.  Our dreams may be fun, terrifying, illuminating, or simply mundane.  There is magic in dreaming, and magic in our dreams. This magic of dreaming is particularly useful to consider at this time of year, at the Winter Solstice, when the darkness is all-consuming, the sun lays so low on the horizon, not even seeming to be able to bring power and light to the world.  This is the time of dreams and of the night. In today’s post, in honor of the coming winter solstice, I consider the role of dreaming and I share some dreaming techniques that you can use to deepen your relationship and attention to your dreams this time of year.

 

In the last few years, at the Winter Solstice, I’ve spent some time exploring the darkness, dreams, and the spaces of the night. Two years ago, I wrote about embracing the darkness and experiencing candlelight living. Last year, I explored how nature offers us suggestions for embracing the darkness through the quiet of the seeds and lessons of nature.  This year, we’ll explore the human realms and think about how the darkness may encourage our souls and spirits to dream and to travel beyond our physical bodies, gain messages, and gain a deeper connection with ourselves and spirit. The solstice, here in Western PA, gives us 14.5 hours of darkness–plenty of time for deep dreaming and dreamwork.  In the first part of this post, I’ll explore different ways that humanity has considered the role of dreams and dreamwork, and then in the second half of this post, I’ll share some techniques to help explore dreaming more fully.

 

Dreaming in the West: Subconscious and Psyche

In Western Culture, at least here in the US, dreams are not really given much importance, and certainly, they are considered free from mystical qualities. Modern psychologists, including those who study dreaming, see dreams only as a way for the subconscious to process our experiences. A good example of this kind of thinking is found in “Dreamtime and Dreamwork: Decoding the Language of the Night” by Stephen Krippner and colleagues from 1990. This work is a useful perspective on how psychologists view dreaming and how dreams interact with layers of the psyche. Going back further, Carl Jung recognized that humans have a psyche (a combination of the mind, the body, and feelings) and that dreams were one way in which the psyche communicated to us.  He writes:

 

“Dreams are impartial, spontaneous products of the unconscious psyche, outside the control of the will. They are pure nature; they show us the unvarnished, natural truth, and are therefore fitted, as nothing else is, to give us back an attitude that accords with our basic human nature when our consciousness has strayed too far from its foundations and run into an impasse.” –Carl Jung, Collected Works Volume 10, paragraph 317

 

Thus, within the realms of the west, dreams are mostly considered manifestations of our own psyche or subconscious.  We also have plenty of expressions to show how unimportant dreams seem to be with phrases like “only in your dreams”.  While there is certainly validity in the Western Perspective, it lacks any connection to spirit beyond us.  As a druid and an animist, I know there is much more going on than just my psyche speaking to me.

Ancient and Indigenous Understanding of Dreams

Plant material for a dreaming/journeying oil

Plant material for a dreaming/journeying oil

We might look to indigenous wisdom for an understanding of how non-industrialized cultures view dreaming.  In many native cultures, dreaming is a way to connect with spirit (ancestors, deity, etc) and hear messages and to travel in a different world, a world that is just as real as our own.  In the book Black Elk Speaks, much of the teachings that Black Elk conveys to his people were passed to him through his dreams. Dreaming was important to all of the Ogala Sioux people.  As Black Elk shares about Crazy Horse, ““Crazy Horse dreamed and went into the world where there is nothing but the spirits of all things. That is the real world that is behind this one, and everything we see here is something like a shadow from that one.”

 

The Aboriginal Austrailian Dreamtime is one of their most important concepts, the essence of who they are as people.  As described by Clanchy (1994), the Dreamtime dates back at least 65,000 years and part of it includes stories of how the universe was created, how humans were created and what their purpose was, but also that the dreamtime continues eternally and is both past, present, and future.  The Dreamtime is also the land that they inhabit, the spirit of the place. Dreams that individuals themselves have function within this culture in a variety of ways, including “dreams of passage” (den Boer, 2012) where individuals have powerful dreams surrounding various rites of passage (deaths, births, marriages, etc).

 

We can see dreams at work in various ways with the cultures that influenced modern Druidry, including the Welsh.  In the Mabinogion, The Dream of Rhonabwy, where Rhonabwy dreams for three days, visiting the time of King Arthur, engaging in battles, and playing chess.  The Irish believed and closely linked dreams and omen.  Ettlinger (1946), drawing upon a variety of ancient sources, notes that dreams to the Ancient Irish were considered divinatory, visionary, and healing.  She notes a number of different ancient Irish stories where prophetic dreams lead kings to avoid conflict or seek it out, and they often sought out advice to interpret their dreams.

 

The ancient Egyptians, and later, Romans, Greeks, and Jews created “sleep temples” where people would go, rest, be hypnotized, dream, and have their dreams analyzed.  These temples often helped people with more psychological ailments, recognizing the importance of dreams and sleeping to well being.

 

While I could present much more information here, what is presented is hopefully sufficient to demonstrate that for many pre-industrial and indigenous cultures, dreams have incredible power: they can offer us messages, connect us with our ancestors, connect us with spirits of the land or landscape, offer us augury or predict things to be, and help us connect deeply with ourselves.  While the psychic interpretation of the west is certainly *part of* dreaming, dreaming can also connect us to the metaphysical aspects of the world and spirit well beyond our own minds.

 

Dreaming the Winter Solstice: Some Dreaming Techniques

If you are going to start doing dreamwork, or pursue it at a more serious level, the Winter Solstice is the best time to begin this work–this is when night has the power, the darkness is in the landscape, and dreams have power. The deep darkness is a place of dreams, a place of spirit. Our conscious and controlling selves meld into a dream where we are simply along for the experience that is more than us and yet, intimate with us.  While we dream every night, there are a variety of tools to help us dream deeply, more powerfully, and with practice, more intentionally.  I’m going to outline a few of those practices now as a way to get started.

 

Herbal Allies for Dreaming

In what grows here in North America, Mugwort is the clear choice for dreaming.  Mugwort helps us dream powerfully and intensely, and can be useful for those who have difficulty remembering their dreams and also those who want to work on more intentional dreaming.  Mugwort, fresh or dried, can be made into a tea (don’t brew it too long or it will get very bitter), and is usually quite good when sweetened with some honey.  Mugwort can also be put in a smoking blend or smoked on its own.  You can make a dreaming oil with mugwort (and possibly other herbs like rosemary, borage, or lavender) and rub it on your temples and heart before bedtime. Finally, you can make wonderful mugwort smoke sticks (smudges) either with mugwort alone or with other herbs like sage, cedar, or rosemary.  Any kind of interaction with mugwort can put you in a place of intense dreaming–for that’s what she does–create intense dreams!

Other herbs that help with dreaming are those that calm the mind and body. Many use Valerian or Hops as aids to fall asleep more readily and stay asleep. These kinds of herbs can help put us in a ready state for sleep.

 

Mugwort gives us more access to dreams (Mugwort card from the Plant Spirit Oracle)

Grove Sleep (Temple Sleep)

A technique that I use often is derived from the Ancient Egyptian “Sleep temples” above. The goal of this is to create a sacred grove (ritual space) that allows me to experience dreaming in a more intentional and sacred way.  I recommend this practice when you can sleep in and you don’t have any pressing things on your agenda either before bed or when you wake up. The presence of a significant other can complicate this practice (or, if your significant other has a spiritual practice, you might do it together).

 

What I do is just before bed, brew up some mugwort tea and place my dream journal by my bedside. Then, I turn out the lights and leave a single candle burning.  I open up a sacred grove (using the AODA‘s solitary grove opening) in my bedroom. After I have the sacred grove open, I engage in some mind quieting and meditation techniques, lying in bed. These vary, depending on what I need and where my mind is. If my mind is racing, for example, I might engage in some empty mind meditation. If my mind is already calm, I might use some discursive meditation to help prime me for dreaming (both of these techniques are described here).  I attend to my breathing.  I fall asleep.  Usually, using this technique, the most memorable and potent dreams come in the few hours before I wake up, but this is not always the case.

 

When I wake, I write down anything of meaning in my dreams (including when I wake in the middle of the night).  Then I fall back asleep and keep dreaming.  In the morning, before I do anything else, I write down the remaining notes on my dreams and then close out the sacred grove and go about my day.

 

I don’t obviously do this every evening (that would be a lot!) but I do it often enough that it has become a regular spiritual practice of mine.  Attending to dreams in this intentional way has made my dreams not only more meaningful, but has given me more control over them as well as more chance of remembering them.  I started this practice some years ago, at the Winter Solstice, and it has become a welcome addition to my spiritual path.

 

Dream Journaling

A final dream technique I highly recommend is keeping a dream journal.  I have found that it is helpful to write down at least meaningful dreams, if not all dreams.  I kept a daily dream journal for a year, and since them, usually, write in my dream journal at least once a week.  I keep it by my bed so that I can wake up and immediately write.  If you think you will remember your dream later, I’m sure experience tells you that writing it down immediately after waking is the best way.  If you don’t have a dream journal handy and you have a powerful dream, just hit the record button on your phone or keep a little voice recorder (that is often easier than writing and turning on the light).  The important thing here is to help you remember your dreams and then, you can return to them as time passes.

 

Conclusion

Thus, at the Solstice, you can walk in the landscape of the dreamscape and see what comes. See who you meet, what spirit tells you, what your own subconscious tells you, and enjoy this dream journey! I would love to hear from my readers about your own experiences with sacred dreaming and the techniques you have developed!

 

PS: I will be taking several weeks of a hiatus from regular blogging for spending holiday time with my family, holiday travel, and rest.  I will return to blogging in early to mid-January.  Have a wonderful Winter Solstice / Alban Arthan / Holiday season, everyone!

 

References

Krippner, S. E. (1990). Dreamtime and dreamwork: Decoding the language of the night. Jeremy P. Tarcher, Inc.
Clanchy, J. (1994). Aboriginal Australia: An Introductory Reader in Aboriginal Studies.
den Boer, E. (2012). Spirit conception: Dreams in Aboriginal Australia. Dreaming, 22(3), 192–211. https://doi.org/10.1037/a0028402
Ettlinger, E. (1948). Precognitive Dreams in Celtic Legend. Folklore, 59(3), 97-117.
 

Sacred Tree Profile: Black Locust’s Medicine, Magic, Mythology and Meanings November 10, 2019

Black locust in bloom

Black Locust (Robinia pseudoacacia) is a spiny, scraggly tree that is found abundantly along the US East Coast. Very little is written about this tree from a magical or mythological perspective, although certainly, anyone who works wood or practices permaculture is aware of the more tangible benefits this tree provides. In today’s post, we explore this amazing tree and start building some more specific magical knowledge to incorporate this tree into local druidic or nature-spirituality practices.

 

My parents’ land in Western PA, land where I grew up, consisted primarily of old potato fields.  We had two sets of tree lines where the farmers had let the trees grow; these lines were full of huge cherry and maple trees grew.  In between those tree lines as the land sloped down the mountain were open areas populated with blackberry bushes, hawthorn, and black locusts–several acres of them. These locust trees, rising bare and spindly out of the earth, often looked like skeletons–they would usually wait to put their leaves on well after the rest of the trees had gone green in the spring.  They would also be the first to drop their leaves, sometimes as early as mid-September, while the rest of the trees would wait till near Samhain. It was if they didn’t enjoy the light half of the year and preferred the darkness of winter.  As younger trees, they have pretty amazing wicked thorns (thorns similar to blackberry or raspberry thorns, rather than hawthorn-style thorns).  These are thorns that catch, snag, and hold fast.

 

I’ve always known these trees to be powerful magical allies with a particularly strong energy–and yet, almost nothing is ever written about them.  Needless to say, growing up among the locusts has given me a unique perspective on these amazing trees and I recognize them for the magic they hold. This post is a part of my Sacred Trees in the Americas series, which is my long-running series where I focus on trees that are dominant along the Eastern US, including in Western PA, where I live.  Previous trees in this series have included: Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, and Oak.

 

Black Locust: Identification and Ecology

Black Locust in Winter

Black locust is a distinctive tree–it has compound leaves that are between 6-12″ long.  Each compound leaf has pairs of leaflets that are oval in shape.  The younger branches and stems often have two sharp thorns at the base as well as thorns going up the smaller branches.  Larger branches often jut out in odd directions and grow at odd angles, giving the tree its distinctive appearance.  As the trees mature, thick gray-brown bark with thick ridges grows.  The wood itself is a brown-gray with distinctive rings and it is very dense and heavy.

 

The black locusts growing at my parents’ land were growing, in part, because it is a tree that helps regenerate damaged ecosystems. My parents’ home was built on what was once old potato fields. After decades of growing potatoes, the soil was nutrient-poor and full of rocks and clay.  Not all trees thrive in such an ecosystem, and this is part of why the black locusts came.  Black locusts are trees that regenerate damaged soils–as they fix nitrogen, they often can be an early part of ecological succession to help repair damaged soils and serve as a pioneering species in that regard.

 

Black Locust is not tolerant of shade, and thus, prefers to grow in areas with plenty of sun including old fields, disturbed sites, and wastelands.  It prefers a limestone-rich soil but otherwise can adapt to many other soil conditions.  It is an early species–as other species grow up and as ecological succession continues, it dies back and makes way for other species.

 

Black locusts are native to part of the Appalachian mountains and parts of Iowa, stretching from Western PA to the top of Alabama, but has been widely planted beyond that smallish range.  Partially, it is planted because its wood is extremely useful as it is heavy, durable, strong, and rot-resistant.  But partially, it is planted because of its a great regenerator of poor soils.

 

Apparently now in places in the US, it is considered an “invasive” species.  But since many of you know my thoughts on that term, I find this label pretty unfortunate.  As the link in the first sentence suggests, Black locust is a first aid tree–it is adaptable, deals well with disruption and disrupted soil, has a tolerance for pollution and industrial waste–sounds like a pretty darn badass first aid responder tree to me!  It is unfortunate that so many responder plants get such a reputation.

 

Wood and Uses

A really nice history of the black locust tree at the Live Science website explains how Black Locust is the hardest of our timber woods here in North America, including describing evidence that the Native Americans living in the mountains may have exported black locust to the coastal areas and that black locust was thus a valuable trade item.  This is likely because Black Locust can resist rot for up to 100 years, making it an amazing building material!  Native Americans also made many of their bows from Black Locust due to its strength. As Eric Sloane discusses in a Reverence of wood, Black Locust was well known in colonial times.  Philadelphia, as a planned city, had an important street named after the Black Locust.  It was exported very early in colonialization, starting in 1640. In 1686, Captain William Fitzhugh of wrote that the locust as “as durable as most brick walls.”  (p. 57, Plants of Colonial Days by Raymond Taylor).  These early wood exports (like Black Locust and Sassafrass) were exported because of their usefulness and uniqueness–think about how much value a wood had to be loaded on a ship and sent back to the old world.  Black locust was one of the early exports, which really shows its value for a range of applications.

 

And today, Black Locus is still an extremely useful wood, finding a niche in any projects that call for strength, density, and rot resistance. Traditionally, it has been used for everything from houses to railroad ties and telephone poles to tool handles and mine props.  It is very useful to line garden beds because it almost never rots. Because it is rot-resistant, it is also used for fence posting and building projects. As Eric Sloane discusses, it was also a frequent material in living hedges and fencing material due to its thorns.

 

Black Locust tree with Crow Nest

Another historical fact shared from the Live Science article–it is likely that Black locust pins, holding the American Ships together, helped win the war of 1812. These pins, stronger than those oak pins of the British fleet, allowed the American ships to withstand more cannonball damage than the British ships, leading to victory.  In this way, the strength of the Black Locust was directly pitted against the strength of the oak–and the Black Locust was the victor.

 

Edible and Incredible Black Locust Flowers

For about two weeks a year, the black locust radically transforms from its usual spindly and scraggy self to a carpet of beautiful and fragrant blossoms.  These cascades of white flowers with little yellow centers–they look a lot like a pea (and locusts are related to the legume family, so this makes sense). These delightful sprigs of flowers can often be harvested with abandon, and you can harvest as much of them as you can reach!

 

Due to their abundance, I’ve made a lot of things from these flowers, but the best, by far is a black locust flower fritter. Pick flowers that are still yellow in the center (if they are going brown, it means they are past their prime). Make a simple fritter batter (1 cup flour, 1/2 cup milk, 1 tbsp sugar, 1 teaspoon baking powder, 2 eggs) and fry them for 3-4 minutes.  I prefer frying them in coconut oil, which really enhances their flavor.  The fritters are done when they are golden brown.  Sprinkle with some cinnamon and powdered sugar for even more tasty goodness.  I’ll also note that, in Nature’s Harvest, Sam Thayer writes that we don’t know how to treat flowers in a culinary sense since we don’t really have them widely used in our cooking in North America.  But locust flowers can be treated like any other vegetable.  He uses them in salads, vegetables in soups, green salads, fruit salads, stir-fries, and more.

 

I’ve also made pancakes from them (treating them like blueberries in pancakes) and also tried brewing them as a tea.  Given the fragrant nature of these flowers, you’d expect the tea to be good, but really, it just isn’t.  It has a bad taste, so I wouldn’t drink it. The pancakes are fun, however, and a nice seasonal treat!  You can also eat the flowers fresh from the tree.

 

The beans are also edible, but they are so tiny, you have to be really dedicated to getting any kind of meal from them.  I’ve tried and have collected a small handful of beans here and there, and when I throw them into a soup or something, they totally disappear.  So probably not the best wild food out there, but the flowers more than makeup for it.

 

Black Locust Blossom Close-Up

It’s important to note that beyond the flowers and the beans themselves, everything else on the black locust is toxic, including the bean pods and leaves.  A poisonous glycoside called “robitin” is contained within the bark, leaves, roots, and wood, which is toxic to us as well as animals.

 

Magic and Herbal Qualities from the Western Tradition

This is where things start getting quite thin. Most of my normal reference books for herbalism (Wood, Culpepper, Grieve, Gerard, Gladstar) and magic (Greer, Yronwoode, etc) say literally nothing about black locust.  It is a new world tree, and many of the older herbal books are based on old-world plants–new world plants and trees often get no notice (hence, my entire point of this series).

 

Books aside, a few herbalists list some information on their websites about Black Locust.  For example, the Plants for a Future entry seems to confuse the black locust with the honey locust, talking about edible pulp (which is not a feature of the black locust).  Henriette’s herbal suggests that the bark was used as a violent emetic (since it’s so toxic, yes, it would make you vomit violently!)  It also lists the flowers as potentially anti-spasmodic, but I haven’t found that information in any other source.

 

That is, as far as I can tell, there is virtually nothing on the magical qualities of the Black Locust from a western perspective.

 

Native American Herbalism and Lore

Since this was a tree growing in the native range of North America, many tribes did have interactions with it, and I found a small amount of lore and stories surrounding it. Unfortunately, a lot of the tribes that would have interacted with this tree were forcefully removed and/or slaughtered–and much of their knowledge of this tree likely died with them.  Here are two useful references:

 

From Sacred Formulas of the Cherokees (1891) by James Moody,  Moody translates a discussion and a commentary on a particular kind of occult disease (or curse, perhaps). One of the ways this curse can manifest is by a maleficent person putting a sharpened stick of black locust into someone’s skin; if it is not removed the person may die.

 

In a second Cherokee story, the black locust is used to help a deer sharpen his teeth so that they aren’t as blunt (referring, likely, to the strength of the black locust wood).

 

Magic of the Black Locust

My story that opened this piece shared what I consider to be three of black locust’s most important features:  some of the most strong, rot-resistant, and durable wood we have, regenerative qualities that help heal damaged ecosystems; and the skeletal nature of these trees’ growth cycle. To summarize my findings, I’d like to put forth the following magical and divination qualities for the black locust:

 

Black Locusts in Early Spring

Ultimate strength and endurance.  Black locust is beyond strong and endures beyond any other tree, particularly in death. It is rot-resistant, literally lasting 100 or more years, even when sunk into the earth.  That beats most chemically treated woods, making it a tree that is ultimately connected to endurance, strength, and power.

 

Death and Life. If we look at the contrast of this tree ecologically, it offers us a rich interpretation of the interconnection between life and death.  Here is a tree that looks like a skeleton, and spends more time being bare than covered in leaves.  And yet, it offers the landscape healing through nitrogen-fixing and regenerative qualities, working to quickly transform damaged landscapes.

 

Shadow and Underworld Work.  Moving from the second point, I think this tree may help the living connect with the dead, and hence, can be a bridge to shadow work, underworld work, and work with the dying/decay energies of this time of year. The Skeletal nature of this tree, combined with its poison, and its short blooming time, really speaks to me of an underworld connection.  This is a tree one can use to connect with the energies of the underworld, particularly at Samhain and the Winter Solstice, and use those energies for their own kind of shadow work.

 

What a tree indeed!  Readers, do you have any additional information or stories on Black Locust to share?

 

Awen, Bardic Arts, and the Ancestors November 3, 2019

The time between Samhain and Yule is always a time of deep reflection for me.  As a homesteader, this represents the end of the season– the first frost happened in the week I was drafting this post, making everything curl up and die. By the time late November comes around, any major outdoor projects are complete for the year. We anticipate, even embrace, the winter months when snow carpets the ground and all is frozen and still.  While in the light half of the year, I spend most of my spare time gardening, doing various permaculture projects, or just being outside in the summer. In the dark half of the year, this is when I turn to more inward-focused bardic arts, more intense practice of my magic and journeying,  and learning from books of all kinds.  So as we move into the dark half of the year, I’ll be spending some more time on my bardic arts and awen series of posts as that is where my mind is moving into.

 

Awen and the bee

Today’s post explores the ancestral connection to the bardic arts and considers how we might explore our ancient ancestors by working with their art forms and using their work as inspiration. This is part of my larger series on the bardic arts. For earlier posts, see, Taking Up the Path of the Bard, Part 1, Taking up the Path of the Bard Part II, Taking up the Path of the Bard, Part III – Practice makes Perfect, Cultivating the Awen, A bardic storytelling ritual for empowerment, rituals, and activities to enhance creativity, and the fine art of making things.  Finally, you might be interested in reading my 2018 Mount Hameus research piece, supported by the Order of Bards, Ovates, and Druids.

 

Bardic Arts and Our Ancient Ancestors

Many ancent human ancestors practiced the bardic arts. Every culture on the planet, in addition to having language, also has many forms of bardic arts: music, storytelling,  fine crafts, fine arts, drumming, singing, dance and bodily expression, and much more. Some of how we know this from archeology and the kinds of things we find in museums.  For every “functional” tool, we also see one decorated or objects that are purely decorated.  Our ancestors (and by this, I mean human ancestors of all kinds) painted on the walls of caves, shaped clay, wove, and used colors.  They sang and told stories and danced.  They practiced fine crafts and honed their skills in incredible ways–some ways which have been lost to us in the modern era.   But more than what can be found in the historical record–we know this.  We know this because we seem to have been evolved to create.

 

Some of the earliest records of art are 65,000-year-old cave paintings by Neanderthals, as reported by Nature Journal In 2018, scientists reported cave drawings by homo sapiens that were at least 75,000 years old. The cave paintings and drawings endured over time, even when likely many of their other art forms vanished.  But I’m certain that these images were not the only kinds of bardic arts that our ancient ancestors did.  The oldest known instruments are the Gudi flutes, which are a kind of crane bone flute.  I actually have a bamboo flute modeled in the style of the Gudi flute, made by Erik the Flutemaker. He doesn’t appear to make that one anymore, but he does make a similar ice age flute.  When I play my flute (in a pentatonic scale), I wonder how similar this music might be to the ancestors.  I could keep going with many other kinds of bardic arts:  dancing, storytelling, fiber arts, pottery, basketry–I think you get the idea.  If we look deeply into our own cultural history, and deeply back much further into prehistory, we can see that the bardic arts were clearly practiced by our ancient human ancestors.

Awen from the heavens

This leaves us with at least two exciting possibilities, both of which I’ll now explore.  The first is the ability to connect with our ancestors, modern and ancient, by practicing intentional bardic arts.  The second is to work with their awen and be inspired by their creations for your own.

 

Connecting to the Ancestral Bardic Arts

The first possibility is that we can connect to our ancestors by practicing some of the bardic arts they may practice. I’ll go back to my crane bone flute for a minute to share an example. If I’m playing my flute by myself, I close my eyes before I play it and take deep breaths. I feel my consciousness stretching back through time to reach those ancient human ancestors who may have played similar instruments. Once I reach that space, I begin to play, letting whatever notes come to me in any order. Sometimes, good things happen with the music when I do this. If I am playing my flute with others, I will begin by briefly sharing what the flute is, what it is modeled after, and ask them to close their eyes and connect with those ancient ancestors. And then I play a song. I think this is quite different than just playing the flute for people–of course, people are drawn to music and love to hear it, but understanding that this flute has a deeper ancestral connection gives us that deeper experience.

 

If you want to explore your own ancestors (or more broadly our common human ancestors), there are a few different approaches. The first is to research the history of the thing you already do and learn about it from an ancestral point of view.  For example, if you tell stories, see if you can find the oldest stories and information about how these stories were conveyed, who told them, and so forth.  If you play an instrument, learn about the history of that instrument, what older versions of the instrument exist, and maybe see if you can get one (like my little crane bone flute). If you like to write, learn about etymology (the history of words) and the history of writing (which is so fascinating!)  This approach is good for someone with an established bardic practice, someone who maybe wants to take their practice in a new and interesting direction.

 

You could also do the opposite–pick your ancestors, and then learn what you can about them and their bardic arts. Once you’ve done this, start practicing one or more bardic arts. You don’t have to go back to pre-history for this: any group of ancestors at any time are possible sources of inspiration. This, for example, is why I occasionally dabble in making hex signs.  My ancestors were Pennsylvania Dutch (German) and the hex signs can still be found on barns all over my region. Once I started doing family history, finding a family bible with small charms written in it (all in German, of course), and so on, the ancestral connection to this tradition grew within me and I wanted to build some of that into my bardic arts practice. This is also why I practice pysanky (and my motivation for having so many different egg-laying birds!) and play the panflute!

Awen and growth

Awen and growth

Ancestral Awen as Sources of Inspiration

I shall sing of the awen, which

I shall obtain from the abyss

Through the awen, though it were mute

I know of its great impulses

I know when it minishes;

I know when it wells up;

I know when it flows;

I know when it overflows.

–Taliesin, “The Festival” from the Book of Taliesin, 13th century

This is one of my favorite poem segments, from Taliesin, who is thought in the Celtic world to be the greatest bard who ever lived. Here, he’s speaking of his deep relationship with the awen, and how he understands it, and how he cultivates it. Although he cannot speak to it directly (“though it were mute”) we can see how he knows exactly how to work with it.  Taliesin is, as he says, a master of the awen.  When he wrote, he was bringing that spark of awen and transforming it into poems, stories, and songs.  So, too, were other practicing bards throughout the ages–some named,  many nameless. Even though we don’t know all of their names, the work that they have left us still stands–in museums, in our buildings and architecture, in our stories and songs.

 

Another ancestor-focused practice tied to the bardic arts, then, is focusing on using historical bardic works for inspiration.  Many masterful designers use this approach (I was taught a version of this approach in two different master classes teaching radically different skills–leatherwork and figure drawing).  We can look go previously created works, preferably historical, for inspiration.  To do this, I go to museums for inspiration.  Perhaps I see a pattern I really am drawn to; I take reference photos (if photographing is allowed, and if not, I get a copy somewhere). I take walks around, looking at patterns and beauty in old buildings, old iron gates, and so forth. I combine these photos with inspiration from the natural world. I do this for a while, gathering bits and pieces of ancestral inspiration.  I develop an ancestral library of sorts, which compliments my nature-based library of inspiration.  Then, the next time I sit down to design something, I use those photos as inspiration.

 

This kind of practice creates almost like a chain of awen. The awen was sparked by some ancient bard, somewhere in prehistory. That bard inspired others, and new works were created.  Some of those works remained available to me, as a modern bard, and I can draw upon their inspiration.  How many previous works inspired the one I’m looking at today?  How many ancestors am I touching, in finding inspiration in their own work? How many future bards may my work inspire?

 

 

 

Ancestral Herbalism and Samhain: Working Deeply with Rosemary October 27, 2019

Rosemary from the Plant Spirit Oracle

Rosemary Card from the Plant Spirit Oracle

As we quickly approach Samhain, it is a useful practice to spend some time with rosemary (Rosmarinus officinalis) and build her into your Samhain practices. In this post, we look into some of the magic and medicine of Rosemary, and I share a number of ancestor and Samhain-focused practices that you can use with Rosemary.

 

An Ancestral Ally of Humans: History, Medicine, Magic

Before we get into what you can make or do with rosemary, let’s spend some time exploring and understanding this ancient herb. Rosemary has been with humanity almost as long as we have written records. Native to the mediterranean region, rosemary was first found referenced on cuineform tablets from Ancient Egypt that are from 5000 BCE–thus, humanity has at least an 8000 year old relationship with this herb (but I suspect it is much longer than our written history!). It was spread to China as early as the 2nd century CE, and to Europe in the middle ages.  It came to North America and South America in the 1700s and now has global reach.

 

The “officinalis” in Rosemary’s latin name indicates that this was an herb used as of the materia medica in ancient Rome and beyond. While Linneaus in the 18th century came up with the Latin taxonomy of naming plants, and thus gave Rosemary her official “officinalis” designation, the uses of this plant go back quite further.  In fact, the term “rosemary” derives from Latin, ros marinus (“dew of the sea”).  Even the word itself has a wonderful history.

 

Rosemary has been considered by many cultures as a sacred herb tied to memory and remembrance, and love. This was certainly known in Ancient Greece and Rome as well as in much of the other cultures in the Mediterranean, where rosemary was used both for weddings (in the form of sprigs or wreaths) as well as for funerals to honor the dead.  It is burned as incense, used in cooking, used as medicine and used in funeral ceremonies–a tradition that continues to modern times in Australia and other nations. Thus, you might say that Rosemary is an ally to us both in life, and in death.

Rosemary in flower

Grieve speaks of the different rosemary customs in her entry in A Modern Herbal, particularily surrounding memory and rememberance. This is a common and well known use, such as represented in Ophelia’s line in Hamlet, “There’s rosemary, that’s for remembrance. Pray you, love, remember.”  Many herbalists recognize the usefulness of rosemary both for strengthening the memory, but also working with us a plant spirit ally in helping us remember. Memory can be a fickle thing this day and age, especially with phones rather than our minds and hearts doing the rememberance.  Rosemary, thus, is a potent ally for us, particularly at Samhain when reflecting back, honoring the past, and honoring those who came before us is central. 

 

Rosemary is also an incredible herbal ally. Pliny the Elder was one of the first to write of Rosemary and its many uses.  Modern herbalists recognize rosemary as useful both as an essential oil as well in its plant forms.  Every part of the plant can be used medicinally. Both the oil and the herb can be used as a carminitive, that is, offering beneficial and healing action on the digestive system and aiding in the reduction of gas and digestion of food (in fact, you will find that many culinary herbs aren’t just for taste, but have these same kinds of actions–which is probably why they were traditionally used in cooking!)   Rosemary, in tea or tincture form, can also be used to help calm the nerves.   Finally, rosemary is very useful in a hair wash to strengthen the hair and encourage new hair growth (I use a vinegar infused with rosemary often!)  Research has also shown that rosemary oil can be used to increase alertness and cognitive function, which is pretty cool!

 

There’s a lot more that could be said about rosemary’s virtues, but I think you get the idea–Rosemary is an amazing Samhain herb for so many reasons.  So let’s get to some of the stuff you can make and do with rosemary as a focal herb for this time of year.

 

 

Rosemary Smudges and Incense

Rosemary smudge for ancestor altar

Rosemary (on its own or combined with other herbs) make fantastic herbs for doing any kind of memory work or clearing work. Make sure you use fresh rosemary for your smudge stick making–dried rosemary is brittle and easily falls off the branch. I usually gather up rosemary in the weeks before hard frost (for me in Western Pennsylvania on the US East Coast, this is usually 1-2 weeks before Samhain arrives).  Some I save for culinary use, and the rest I use in smudge stick making. I have full details for how to make your own smudges and a list of recipes for smudges. For Samhain, and ancestor work, I like the following combinations:

  • Rosemary (alone) for deep ancestor work or memory work (such as working with the ancient art of memory mansions, etc)
  • Rosemary, Lavender, and Mugwort for deep dreaming work (which is best done between Samhain and Imbolc)
  • Rosemary, Sage, and Thyme for helping me shift my energies from the light half to the dark half of the year, and accept the frost and cold that is to come.

If you are growing rosemary itself, don’t overlook the roots as another useful part of the plant for incense and smudges–it has a more woody and deep aroma and is excellent!

Rosemary Oil for Visioning and Past Life Work

You can construct an herbal oil using rosemary leaf and rosemary essential oil that excellent.  I like to use a combination of rosemary and borage for this work, but you can use other plant combinations.  To make your oil, crush fresh or dried rosemary and borage and place in a small mason jar.  Cover the jar with fractionated coconut oil (prefered over olive oil for this recipe, but you could also use almond or olive oil–whatever you have around).  Wait 1 week (for fresh herbs) or one moon cycle (for dried herbs) and then strain.  For a bit of added punch, add rosemary essential oil (2% dilution, or about 10-15 drops per cup of oil).

Keep your rosemary oil in an oil roller or jar and rub on your temples and heart for any kind of visioning or past life work.  It also doubles as an excellent “memory” oil for wanting to jog the memory or wanting to hold something important in your memory and not lose it.

 

Rosemary Tea for Tea with the Ancestors

One of my very favorite Samhain traditions is to invite my ancestors to tea.  For this, I typically make a tea of three herbs: rosemary, lavender, and mugwort (small amount of mugwort because it can be bitter) and I sweeten it with honey.  To make the tea, boil water, add your herbs (about 1/2 tbsp of herbs per cup of tea), let seep for 5-10 min, and then strain and stir in your honey.

 

The ritual is simple and can be performed anytime around Samhain (I like to do this Samhain eve).  To set up the ritual, you will need a teapot and two teacups and candles.  I start by  then light a candle and leave it in my western window (also traditional).  I light candles around my space and place a blanket on the floor for me to sit on.  You should also have a large empty bowl.

Rosemary

To begin the ritual, I open up a sacred space (using AODA’s Solitary Grove ritual) and when opening the space, indicate that the sacred space is traversable by any ancestor who wishes to visit.  I then pour myself a cup of tea and wait. When an ancestor arrives, I likewise pour them tea and we sit and converse using spirit communication techniques (if you haven’t yet honed your skill in this area, a divination system like an oracle deck would work great).  After we are done conversing, the ancestor has taken their tea energetically.  I then pour it into the bowl and see if another ancestor wants to come and have tea.  I have met many fascinating ancestors this way–of land, tradition, blood, and bone.

 

Samhain Cooking with Rosemary

Samhain is one of my favorite times to really “cook” for a festival, particularly cakes, breads, and other doughy goodness.

If you are lucky enough to have chestnut flour available (which you can create yourself if you have access to some chestnuts), this is an amazing cake for Samhain that combines rosemary with the hopeful and strong chestnut.

For those who aren’t off hoarding and cracking chestnuts, I highly recommend this rosemary bread that you can make in a dutch oven.

 

Concluding Thoughts

Rosemary is such a powerful and potent plant ally for us, particularly at Samhain.  Dear readers, I would love to hear your thoughts and experiences with Rosemary.  Let me know if you try anything here!

 

A Journey through the Senses: Breathe Deeply October 21, 2019

An Ancient Black Oak

An Ancient Black Oak

Over the summer, I spent the weekend at a beautiful farm with my family for a family reunion. That land had gifted me, and all of us, much that weekend. I had found some stunning new stones for pigments, I had spent tranquil time on the lake, and I had talked with many of the trees there. So, as I was preparing to leave, I walked up to a giant oak on my way out. I gave it a big hug. It had rained the night before and the trunk was covered in lichen. I took a breath and the smell was that sweet and earthy smell of lichen. I remember the smell the first time I smelled such a lichen. It was down in Louisiana, and I had visited an ancient live oak with some druid friends. A branch had fallen on the ground. My friend picked it up and she handed it to me and she said, you really should smell it. And I did. It had this sweetness. The smell isn’t something that you can put into words. It’s simply smells amazing. Slightly sweet, slightly earthy, very serene.  It smells like nothing else in the world.  To this day, I feel like that lichen smell connects me to the wisdom of the ancient druids.

 

I am also reminded of this powerful connection right now, as the maple leaves are turning to fire and falling gently to the earth. Those leaves carry the scent of memories past, so many moments over time. Moments of jumping and burying myself in leaves, of chestnuts roasting, of raking leaves and preparing garden beds. The smell of the last of summer leaving as winter creeps ever closer.  The smell of the Fall Equinox making way to Samhain. It’s just a smell that is magic, connecting me deeply with one of my favorite times–and trees–upon the landscape.

 

When we’re thinking about connecting with nature with the senses, usually, our sight dominates. We’re looking for things. We’re observing. We are experiencing the world through its beauty and vision. I wrote about nature observation in a few ways earlier on this blog.  But, most of my previous posts have been focused on sight-based observation, and thus, perhaps the other senses are neglected. We spend a lot of time in our heads, almost in a disembodied state where our eyes put input directly to our brains (often from screens, etc).  When we breathe, we fill our lungs, which brings oxygen to our entire body.  We breathe into our heart spaces, allowing ourselves to be embodied and have more embodied experiences.  This allows us to experience the magic of nature, the enchantment of it, in a multitude of ways. Thus, the lichen and leaf experiences are powerful reminders about nature and the senses–and the importance of attending to our many senses if we want to fully connect and commune with nature.

 

Smell and the Gateway to Memory

 

Leaves - nutrients AND enjoyment!

Leaf jumping!

Smell is a gateway to memory. One of my earliest memories of any smell was spending time covered in leaves with my dad. My Dad and I would go out, we would rake up the beautiful sugar maple leaves, and after amassing a large pile, we would jump in them. Once we had finished jumping, we’d cover ourselves up in them, just laying there, laughing, and letting the smell of them permeate us.  Sugar maple leaves have a beautiful smell in the fall.  Again, I cannot put it into words, yet it is one of my favorite smells in the world. In the fall, each year I not only walk in the woods, but I rake up the leaves and jump in them because I want to experience that smell and that smell carries me back to an earlier time–a trigger for memory.

 

 

Three Deep Breaths

Smell is powerful; it is connected to our in-breath, into things coming into us, filling our lungs, engaging with our senses. Why does a forest smell so much better than a factory?  Its the smell of life, of earth, of nature.  When you go into the natural place, far from pollution and industrialization, you might begin by taking three deep breaths. We do this at the beginning of all OBOD rituals. Take three deep breaths together with the earth beneath us; together with the sky above us; together with the waters, lakes, and rivers around us. And as we take those three deep breaths, we are rooted in our sense of smell in that place.

 

Spirit of Yarrow

Spirit of Yarrow, Plant Spirit Oracle

As I was working on this post, I stuck my nose deep in a yarrow plant, blooming for the last time this season before the final frost kills it till next year. I know what Yarrow looks like. I know what Yarrow tastes like fresh, in tincture, and in tea. I know what her crushed leaves, often used for medicine, smell like. I know even what burning Yarrow smells like in a smudge stick.  But yesterday, I closed my eyes and inhaled deeply into the last yarrow bloom of the season. I was actually quite surprised: her flower is a bit dank and skunky.  I learned something new about yarrow and deepened my connection with her in a powerful way through that experience.

 

Smell and Nature Connection

All forests smell different in each season.  Breathe deeply. Spend time in silent communion with them as you breathe out the building blocks of their life–carbon dioxide–and you breathe in their gift of oxygen and sweetness.  Animals, too, have their own smells–and this is part of how we connect with them.

 

But so many other things can also benefit from this expanded sensory experience. What does the stone smell like? What does the water smell like? What does the dew in the grass smell like? These things are important, that they’re meaningful, they’re powerful. They give us a sense of rootedness and connectedness that comes through our very breath. The only thing I suggest you don’t sniff while out and about are white umbuled flowers, particularly, the poison or water hemlock. My herbalism teacher, Jim McDonald, used to have people engage fully with the poison hemlock: touching it, smelling it (not tasting it).  Its important to learn plants through the senses.  But he told us he no longer does that because even smelling such a poisonous plant made one of his students sick and very woozy. The other thing you might want to refrain from smelling is mushrooms, particularly if they are in the spore-producing stage.

 

Nature connection doesn’t have to just be outdoors–you can cultivate this within your indoor spaces as well. One of my favorite indoor potted plants is my lemon-scented geranium. She lives in my art studio, now taking up about 2/3 of the available window space, crawling up along the windowsills and up each window, expanding outward.  I saved her from a dumpster about 7 years ago, when I found her at the bottom of a bag of leaves.  I potted her and we’ve been friends since. Her permanent residence in my art studio.  She has her own smell that is entirely unique: sweet, lemony, relaxing.  I often take a leaf of hers with me when I go to campus, pulling it out of my pocket to breathe deeply for a moment. Sometimes, when I’m making little cakes, I put some of her leaves on the bottom and the smell infuses into every bite. Ours is a relationship built entirely on her incredible smell!

 

A Journey of the Senses

If you want to go on this journey of the senses, you might start by attending to your breath. Go to a wild and fragrant place.  Sit, close your eyes, and simply breathe. Our eyes dominate our senses when they are open, so its best to close them. Then, focus on your breath–what you smell, how the air feels as it enters your lungs, how it feels as it exits. Spend some time with this experience. I suggest going into mature wild spaces where you live (for me, those would be Oak-Hickory or Eastern Hemlock forests–all with their own smell). See if you can identify places not only by their look but by their smell.  The oak-hickory forest has a very different smell than a Hemlock forest.  Hemlock forest smells different in each season.

 

Fragrant blooms of summer

Another approach is to work with specific plants and take them in as a kind of aromatherapy. As a second smell exercise, when it was still high summer, I went to the blooming elder and I bent towards one of the stalks and I breathed in.  I did a four-fold breath pattern (where you breath in for four counts, hold lightly for four counts, breathe out for four counts, and pause for four counts).  I did this for a while.  Now, the energy of the elder is with me, she is my medicine, coming through my very lungs and into my being. And that that’s powerful and meaningful–something I have carried with me even into the dark half of the year.

 

I think that all of these kinds of things can really help us better experience the living earth. As we work to embed ourselves in the landscape, to connect and reconnect with nature, there is a wisdom that can only come from experience. It’s not the wisdom of, if not the wisdom of book knowledge, it’s not the wisdom of other people telling you things. Most of the most important profound wisdom is the wisdom that you yourself have and you gathered through your own senses.  It is the wisdom that comes from realizing the world is an enchanted place, a place for all of our senses.

 

Using an Oracle or Tarot Deck to Establish Sacred Space September 22, 2019

Plant Spirit Oracle

As some of you may know from my posts on Facebook and Instagram, in early 2020, I’ll be releasing the Plant Spirit Oracle as my second self-published divination deck (if you want to support the project, see link in the right sidebar with the Oak image). I described the Plant Spirit Oracle project a bit in an earlier post. For today’s post, I wanted to share a ritual space strategy that I developed as part of the PSO project–how to use a tarot or oracle deck to establish a sacred space.

 

The idea in a nutshell is that rather than calling in th elements or powers in a more static way, you can use an oracle deck to draw upon them in a more dynamic way. Thus, each time you create sacred space, you will be asking the cards to help you select the right energies for the space.  I’ve been using this in my own practices for about a year and it works beautifully. While the Plant Spirit Oracle is used and mentioned below, you can adapt this to be used with any oracle or tarot deck that you enjoy using–I have instructions at the end for how to do so.  Most sacred space openings use one set of energy (e.g. calling air, fire, water, earth, and spirit) and the energy is always the same for any sacred space. This approach allows for the divine/spirit/nature (through the use of the divination deck) to call forth specific energies for a specific need–thus, spirit helps you create the specific sacred space you need. Thus, each sacred space you create using this method is different and unique to your specific circumstances.

 

Tje following segment on how to use the approach is adapted from the fourth chapter of the Plant Spirit Oracle book. While the first three chapters of the book focus on how to use the PSO as a divination tool, the last two chapters offer deeper work.  The fourth chapter focuses on the ritual, magical, and spirit journeying approaches to working with plants in the PSO.  The 5th chapter focuses on herbalism practices–thus, working deeply with the sacred plants both on the outer and inner planes.  And without further delay, here is how to establish sacred space with an oracle deck!

 

Excerpt from the Plant Spirit Oracle Book: Establishing Sacred Space with the Plant Spirit Oracle

To do many of the deeper activities with the PSO as described in this chapter, you will want to establish a sacred space in which to work. You may even find it useful to establish a sacred space when using this oracle for meditation or divination purposes. Creating a sacred space can help you get into a more receptive mindset and clear away (and keep away) negative energies that may interfere in your work.  It also helps you create a mental shift, shifting you from “everyday time” to “sacred time.”

 

Preliminaries: Setting up a physical space is an important part of establishing sacred space. If you are indoors, you might set up a small altar with candles, incense, herbs, and so on. This is also a place to put your PSO deck for use during the ceremony. If you are outdoors, find a quiet space you are drawn to, and, if you feel led, make a small natural altar from stones, sticks, flowers, and such. Lay out a cloth and your PSO deck in the center of the space.

 

The Great Soil Web of Life

Opening a Sacred Space

 

Step 1: Clear yourself and the space. Begin by using a technique to clear yourself and the area around you. For example, you can use a smoke cleansing (smudge) stick of dried herbs. Clear yourself and smudge the space. If you don’t have a smoke clearing stick, you can burn some kitchen herbs (Sage or Rosemary) on a piece of charcoal. Alternatively, make a strong tea of herbs (Sage, Rosemary) and then asperge yourself and the area by flicking drops of the tea around with a branch or your fingers. If you are outside, you can use a branch with leaves or pine needles to asperge the space. You can also use music, like ringing a bell, sounding a drum, or using a singing bowl.

 

Step 2: Declare your intent for the ceremony. Indicate to the spirits why you are establishing this sacred space. Are you working with the oracle for divination? Finding your plant spirit ally? Journeying? Let the spirits know. Here is an example: “Sacred plant spirits, I call to you to assist me in doing a plant spirit journey to learn deeper wisdom from the Reishi.”

 

Step 3: Shuffle your PSO deck. As you shuffle, keep your sacred intent for the ceremony in mind.

 

Step 4: Call forth four plant spirit allies. Now walk to the east with the oracle cards in hand. Hold the deck up to the east and say, “Spirits of the East! Powers of the Air! I call to you to reveal my eastern guardian.” Draw a card from the PSO and speak the plant’s name. Then say, “I thank you [plant] for your protection and wisdom this day.” Set the card down in the east as you move to the south.

 

In the south, repeat the above: “Spirits of the South! Powers of Fire! . . .”

 

Move to the west and repeat the above: “Spirits of the West! Powers of Water! . . .”

 

Move to the north and repeat the above: “Spirits of the North! Powers of the Earth! . . .”

 

Move to the center of your space put your deck on the ground. Say, “Spirits of the land beneath me, spirits of the interconnected web of all life, I call to you to reveal my guardian spirit below. . . .”

 

Stay in the center and raise your deck to the sky above you. Say, “Spirits of the skies above, the celestial turning wheel of the stars. I call to you to reveal my guardian spirit above. . . .”

 

Hold the deck to your chest and say, “Spirits of the spark of life, of the hope of regeneration. I call to you to reveal my guardian spirit within. . . .”

 

As you do all of this, you are physically creating a circle of cards around you (leave them for the duration of the ceremony if you feel so moved).

 

Step 5: Envision a circle of plant protection. Stand in the middle of your space and visualize the energies from the seven cards creating a powerful protective sphere of plant matter around your space. When you have this firmly visualized, say, “I thank the powers of nature and the plant spirits for their protection and healing.” Gather up your cards (or leave them in place, if you are not doing divination or do not need the full deck). The sacred space is now open.

Closing a Sacred Space

Once you have completed whatever work you want to do with the PSO, you should close out your sacred space. Closing out the space helps you return to normal space.

 

Step 1: Make an offering. Make an offering to the plant spirits who have helped you hold your space.  If you do not have a physical offering, you can offer these words or your own:

 

“By bramble and by seed; by star and by thorn; by root and by bud, I honor you, great spirits of nature. Earth mother, plant spirits, thank you for your wisdom and guidance.”

 

Step 2: Thank the four directions and plant spirits. Now, move to the north and thank the plant spirit who protected the space, saying, “Spirits of the North, powers of Earth, and [plant spirit], thank you for your wisdom and protection this day.” Move to the west, south, and east, and repeat, phrasing appropriately.

 

Step 3. Return energy of the plant protection circle to the earth. Return to the center of your space and once again focus on the energy of the plant protection circle that you created. Envision any remaining energy moving out of the sphere and into the earth, for her healing and blessing.

 

Step 4: Close your space. Cross your arms and bow your head, saying, “I thank the plant spirits for their wisdom and blessings.”

 

 

Example Sacred Space Opening

Let’s say that you want to do a harvest ritual at the fall equinox to honor the many gifts you have been given, make offerings to spirit, and focus on the quiet of the winter that is to come.  You decide to open up your space using the PSO (or other divination deck). Before beginning your ritual, you clear your mind and focus on the intent. Then, you do the opening ritual as above and you get the following cards at each of the seven directions:

 

There is a clear energy being brought into this space from drawing these particular cards. In the East, we have Spruce, which focuses on openness, journeys, and travel. In the south, we have Catnip, which focuses on opposites, contrasts, or separation. This energy may be helping us overcome those things (depending on the working), or bringing in that energy.  In the west, we have Burdock, which is all about recovery, rest, and fallow periods. In the north is Comfrey, which is about resources, wealth, and personal action. The three center cards are Above/Oak: masculinity, strength, and wisdom; Below/Sweet flag: clarity, concentration, and insight; and bringing it all together is Within/Apple: abundance, comfort, and harvest. These energies, in their different positions, would lend you their strength–bringing in the openness, wisdom, and separation from the “always-on” mentality to allow you to rest; enjoying the resources that you were given; enjoying the abundance of the season. These cards would not only offer you a ritual space but some commentary on the nature of the ritual work you might want to do. They offer you a message on what to focus on as you proceed with your ritual.

Adapting this Practice for Other Oracle/Divination Decks

You can use this same sacred space opening and close with any other oracle deck.  With that said, I suggest you choose carefully.  An oracle deck with weird or dark energy will bring that same kind of energy into a working–which might be appropriate for your purposes or might not.  Each oracle or divination deck has a mind of its own, and may or may not be open to this kind of work.

 

Conclusion

Regardless of what deck you use, this is a very accessible, and yet, deep way to craft a magical space for whatever purposes you might need.  As I mentioned in the opening, the crowdfunding campaign was released this week to fund our print run.  If you are interested in supporting the PSO, please visit the Indigogo page.  We have original art, readings, and the chance to preorder book and deck sets!  As always, thank you for reading and for your support. I hope you find this helpful–and blessings upon your journey this harvest season!