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).

 

A Tree for Year Challenge January 12, 2020

Into the trees

One of the most common questions that people ask when they start down a druid or other nature-based spiritual path is: how do I connect deeply with nature?  Connecting to nature can happen in such a wide variety of ways.  It can happen through connecting with our heads, through learning, study, and engaging with books or classes.  It can happen through our hearts, where we emotionally connect with nature and places.  It can also happen through our bodies when we physically experience the natural world.  It can be through our spirits when we connect with the spirit of the tree.  But regardless of which of our selves and methods we use, it requires an investment of ourselves, our time, and building a relationship.

 

A while back, I wrote about the Druid’s Anchor Spot, which is a spot that you can use to regularly engage and observe nature–a spot that you return to, again, and again, and learn through observation, interaction, and quietude/meditation.  Drawing upon this concept, I’d like to issue a challenge to my readers for this year:  Spend a Year and a Day with a Tree.  The idea is simple: find a tree, commit to visiting it each day for a year (or taking a piece of it with you if you are going to travel) and learn from the experience.  Here’s how to go about this:

 

The Druid Tree Challenge:

Find your tree. Find a tree or plant that you connect with and that is willing to engage with you in this work. This should be a tree that you can have daily access, such as one living on your street or your land.  Choose any tree that you are drawn to.  This tree should be willing to work with you, and before you begin this, make sure this is so (for how to communicate with trees see my communication links below).

 

Establish your relationship. I would suggest starting with communication with your tree and ensuring that the tree is willing to do this deep work with you.  If you are still developing your plant spirit communication skills, here are some possible communication strategies:

As you do this work, ask the tree what you can do in exchange.  The tree may want regular offerings or you to plant some of its seeds/nuts.

 

Visit your tree every day this year.   Visit your tree, even for a few minutes, each day.  Visit your tree regardless of the weather (this is good as it gets you outside). At least once a week, spend at least a half-hour with your tree, including some time in meditation. If you travel, see if you can take a piece of the tree (a leaf, a nut, a stick, etc) so that you can still spend time with your tree, even at a distance.

 

A wonderful tree to get to know!

A wonderful tree to get to know!

Keep a journal of some kind. You don’t have to write in your journal every day, but do document your experiences with your tree regularly.

 

For some, what I’ve written above will be enough to take on the tree challenge.  For others, I have offered some additional suggestions by month so you can keep moving forward and learning and growing with your tree.

 

Tree activities by Month:

January: Offer your tree a blessing or wassail. This week — January 17th — is a traditional day for wassail ceremonies, and thus, anytime in late January is good for offering your tree a blessing. I have a post on two kinds of January tree blessings–I suggest you do one of these blessings for your tree before you move too much further into the year.  This is a very good way to start your year with the tree and ensures health and abundance for your tree.

 

February: Learn about the history and ecology of your tree. Start learning about your tree.  What kind of ecosystem does your tree grow in? What kind of life does it support?  How old might your tree be?  One of my favorite resources for this is John Eastman’s set of books–he shares not only information about trees and plants in terms of growth habits and botany but also, the web of life and key species that are connected to those trees and plants.  Observe.  Identify anything that you can around the tree, such as moss or lichens that may be growing.  If you live in North America, you can also look back through my list of trees that I’ve written about: Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Oak, Apple, and Black Locust.

 

March: Learn about the traditional uses of your tree.  How have people used this tree before? How do they still use it?  Books on edible wild plants are good places to start, as are books like Eric Sloane’s A Reverence of Wood that teaches much about the traditional uses of trees.

 

April: Practice deep listening.  Hear your tree’s story. Learn about its history on your landscape.  Simply listen to the tree for this month.  You can use my series on plant spirit communication for guidance: part I, part II.

 

May: Learn and practice the magic of your tree.  Each tree has its own magic.  Some of this you can uncover with books, stories, and legends (such as through my own “Sacred tree” series above) but I would suggest you look beyond the books.  Hopefully, by May you will be regularly communicating with your tree and your tree will be able to teach you some of its own magic.  Ask and see what happens.

A practice you can use if your tree doesn’t reveal one is tree energy work (adapted from John Michael Greer’s Celtic Golden Dawn work). If you are feeling stressed out and overwhelmed, put your back against the tree and exchange energy.  Your nervous system will connect with the tree and slow down, connecting to the tree’s rhythms.  Breathe deeply into the experience.  If you are feeling depleted, do the opposite, by hugging the tree.  Again, breathe deeply into the experience.  This is a useful practice to do often with your tree.

 

June: Engage in spirit journeying with your tree.  A step up from learning the magic of the tree is asking the tree to take you on a spirit journey.  See what happens and what you learn.

 

July: Focus on experiencing your tree with your senses. This month, use your senses to experience your tree. What does your tree smell like?  Feel like?  Look like? Sound like?  Engage in a sensory experience with your tree.

 

August:  Daydream. Plan unstructured time with your tree.  Simply sit with your tree and be this month.  Unstructured time can be one of the most creatively inspiring and engaging.

 

A wonderful tree to get to know!

A wonderful tree to get to know!

September: Create with your tree. See if your tree will offer you a bit of itself, or wait till a branch comes down in a storm.  Learn how to make something, even something small, from the tree.  You can learn an entirely different layer of your tree if you work with wood, nuts, leaves, etc.  Making something from your tree can encourage you to learn about it on another level.  If you can’t create something from your tree, or, in addition to this, ask your tree to teach you its song or offer you some other kind of inspiration. create a dance or painting, or any other bardic art that is inspired by your tree. Let the awen flow.

 

October: Align with the seasons. If you live in a temperate climate, this month will likely have many changes for your tree, physically and energetically.  Pay attention to those changes and work to align your energy with that of your tree as we move into the dark half of the year.  This is a powerful practice that will allow you to more effectively adapt to the changing season and the dark and cold times (if you live in the souther hemisphere, consider doing this in April intstead!)

 

November: Gratitude. Spend time this month in gratitude for your tree.  Again, ask if you can do anything for your tree.  Bring offerings.  Gather up its seeds/nuts/fruits if at all possible and plant them. Hug your tree. Here are some gratitude practices you can try.

 

December: Reflection. Reflect on this experience with your tree.  Look back through your journal, if you kept one, and think about how your journey has changed and this experience has changed.  Decide what the future holds for your relationship.

 

Closing Thoughts

My own plan for the year is working with a large oak on our property.  This is a black oak, the largest and oldest tree on the druid’s garden homestead property. In December, the tree reached out to me and we began these practices in early January, learning and growing from each other.  I’m excited to see what the year brings and how this work deepens my relationship with nature, this land, and of course, this wonderful oak.

 

As a more broad issue, as we move into further into the 21st century, and now into 2020, things are more than a bit uncertain and terrifying. The more obvious it becomes that humans have to radically change our behavior, the more those in power work to send us and this planet into a downward spiral of pain, death, and extremes. I think a lot of us need some grounding.  Tree magic roots us, grounds us, and gives us strength.  Choosing a particular tree to work with for this year will help you bring that tree’s wisdom, magic, and medicine into your life in a time when we all can use it!

 

Ritual for the Burning of the World January 5, 2020

As I write these words, fires are ravaging Australia. It’s a bleak situation, ecologically and politically. The firest at this point are about the combined size of the entire state of West Virginia and are all through the entire continent, particularly along the coasts. Ecologically, this is a disaster with severe and long-ranging consequences for Australia and the world. While billions of lives have been consumed in the fires (animal, insect, bird, fish, reptile, amphibian, plant and fungi), the Guardian reports that it is likely that numerous species will go extinct from the fires because sites that house critically endangered species are all burning—in some cases, all of the protected habitats of these species are on fire. The situation in Australia is being made worse by current Australian leadership, who, rather taking a firm stance on climate change and human causes, instead are digging in their heels and pandering to the oil industry. Unfortunately, we are seeing much of the same pattern from world leadership (such as the recent fires in Brazil). Regardless of how many ecological crises we see, leadership is more concerned with pandering to money and greed than actually doing something.

 

Fires burning

Fires burning

 A Collective Responsibility

This isn’t the first time that we’ve seen wildfires, floods, or other weather-related phenomena beyond what is considered normal. While fire is an integral part of many ecosystems—grow larger and more furious because of climate change. Humanity is responsible for many of these cataclysms. Often, humans prevent areas from burning in ecosystems that have evolved to have natural burning, and thus, when fires rage, they are much worse than usual. (as we often see in the case of California). On the broader scale, every one of us humans has caused large-scale changes to our climate patterns and an increase in the overall global temperature. It doesn’t matter if you live near the fires or not—we are each responsible for our part in global carbon emissions and climate change. Thus, I believe it is our responsibility to respond as we are able to these kinds of situations. We have both an energetic responsibility as well as a physical responsibility to reduce our carbon emissions as much as possible. In this post, I’ll offer three techniques drawn from different traditions that can be done to help assist the situation in Australia or in any other fire-ravaged place. In next week’s post, I’ll share some techniques we can use to help psychopomp the loss of life and species in this case.

 

Rituals and Sigils for Rain and Protection

What a fire-ravaged place needs are gentle rains and cooling temperatures to stop the fires. This is particularly true of Australia as they are only beginning to enter their regular fire and hot season and otherwise, these fires could burn for months. I’m sharing three techniques here that can be used—individually or combined—to help bring rains and stop the wildfires and such loss of life. I will also note that some may also ask to pray for wisdom in leaders and protection for those fighting the fires–all of these are potentially good approaches. I’ve focused on the fires themselves and protection in these three approaches.

 

Rain Visualization. Visualization is a powerful tool used in many traditions to help bring forth change. For this first technique, begin with some deep breathing. You might choose to open up a sacred grove/space for yourself from your tradition if you so choose. Find yourself in a place of quiet, of grounding, of connection to the land and world around you. Feel that peace within you. Now, visualize the continent of Australia and see the fires burning there. As you visualize, imagine gentle rains coming to calm the fires, putting them out. Imagine the animals, insects, and all life returning to these ravaged places.  Send peace, calm, and healing to those lands.

 

Object Focus Work. You can combine the above visualization with a simple physical representation. Gather something you can use to represent the land in Australia—a stone, a leaf, a stick, a slice of wood, or even a piece of paper with the shape of the continent drawn on it.  Now, take some pure water (rainwater or snowmelt ideally, or spring water from a good source like a healing spring) and as you visualize, flick some drops of water onto the object. You can do this daily to help send that energy forth.

 

A Rain and Protective Sigil. Drawing from the folk traditions of the Pennsylvania Dutch (German), which is part of my own heritage, we can use hex signs as another way to raise and direct energy. Throughout Pennsylvania, farmers paint various hex signs on their barns so that they can protect their crops, call the rain, protect livestock, and bring abundance and fertility to the land. These hex signs are colorful, always circular, and have embedded layers of meaning. Thus, we have many different kinds of signs in the tradition, including symbols for protection and for rain. A rain sign is typically  raindrops swirling around each other. A simple protective sign is a pentacle or pentagram, orate or simple—both of these kinds of signs are commonly found on barns.

 

I’ve combined these to create a unique hex sign that aims at offering both protection and rain.  Protection to those who are struggling to survive the fires or fight the fires.  And rains to cool and soothe the fires. You could use a symbol for rain from any other tradition if you have one instead—this is just one that I’ve worked with and works for this purpose. I’ve used this symbol as a meditative focus for these kinds of fires for some time, and it has power.

A Hex Sign for Rain and Protection

I share all of this with a caveat:  be very, very careful in your wording and intention of this kind of work. Weather magic is notoriously challenging and fickle—inadvertent weather magic can cause floods, hail, and more, shifting the balance from one extreme to another. As an example, some years ago, when I was less wise than I am today, we were in a pretty severe drought situation in Michigan. We were experiencing weeks of 100+ degree weather and everything was wilting and dying. I decided to do some planetary sigil magic (working with one of the talismans of the moon I had created) to help bring rains. The first time I activated the talisman, within 30 minutes we had a horrific thunderstorm with wind and hail, damaging local crops, cars, greenhouses, and more. From Eastern PA and PA Dutch country, there is a story of a man who created a barn rain hex sign and prominently displayed it in his yard, upturned to the skies. For the next three weeks, rains came down so hard that it caused flooding and four million dollars in damage and flooding. Finally, his neighbors forced him to remove it. The point is that we are seeking balance with any kind of weather visualization, object work, or sigil work—we aren’t seeking to move to another extreme (like a monsoon).  What we are seeking is a balance between two extremes.

 

I would certainly welcome any other ideas and suggestions from readers on how we might help with this situation and others like it  More and more often, we are experiencing these kinds of situations globally, and they are having a global impact. It is useful to build a body of knowledge that we could use together to do what we can.

 

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.
 

A Bardic Sigil Technique December 8, 2019

Sigil creation in progress!

I open up a sacred grove with intention.  After opening the grove, I sit for a few moments, breathing deeply and centering myself.  When ready, I pick up the chalk pastel and I allow the chalk pastel to move across the page, closing my eyes at points, emphasizing lines at points, and letting me be in the flow of the moment.  I keep refining the design, moving pieces of it to new areas of the paper.  I don’t focus too much, paying attention instead to my overall intention: a specific land healing sigil, a sigil that will link different sacred sites I’m working on and work with ley line energy on the landscape. After a number of versions, the sigil seems complete, and I work to transfer it to a wooden round–the process of transfer allowing it to undergo yet another, final, revision.  In today’s post, I’ll share this technique I’ve developed and will discuss how you might use these kinds of sigils for a range of purposes, particularly for gratitude practices and land healing.

 

What is a sigil?

The concept of a sigil, a magical symbol imbued with intention, has been a longstanding part of many esoteric traditions. All through the history of hermetic magic and western occultism, sigils have been used for a variety of purposes (such at those found in the Three Books of Solomon, including the most famous Lesser Key of Solomon).  The term “sigil” derives from Latin, meaning a “sign, mark, or seal”.  It comes from the earlier terms sigillum and sigilla (statuettes, little images, seal).  What was a seal, after all, but a sign of power and authority? Sigils have a wide range of uses within various magical traditions and there are lots of possibilities for creating them, empowering them, and employing them.

 

Part of our ground sigil at MAGUS 2018

Druids don’t seem to use sigils much as part of our tradition, but occasionally they surface. For example, one of the big rituals we put together for MAGUS 2018, a land healing ley line ritual, used a giant sigil on the earth to help focus our intentions and movement. I have been incorporating sigils for a long time in my own spiritual practices, especially for land healing work and gratitude practices on the land.

 

One of the ways I like to think about sigils within the framework of Druidry is that they are a synthesis of all three of the druidic expressions: we use the bardic arts to bring them to life, but use druid and ovate wisdom in order to help create the spaces and intentions for their work. It is through this synthesis that the sigil itself can emerge–born of our bodies, minds, and spirits. I think there is a lot of potential for sigil work, both within the bardic arts (integrating specific sigils into your visual arts) and also as part of a larger nature spiritual practice.

 

In the rest of this post, I’ll share one sigil making technique, adapted and expanded from Jan Fries’ Visual Magic.  Early in his book, Fries describes part of this process–what I’ve done is add my own take to it, expend it, and make it fit within a more druid framework.

 

Preliminaries

My chalk pastels (garage sale find!)

Supplies. In order to make sigils, you don’t need much. You need something to draw with and you need some paper.  I prefer to do sigil making on large paper rolls of recycled paper (you can get brown recycled paper rolls easily).  The larger roll allows for more free expression while the sigil is being created. The second thing you will need is some kind of media for drawing: I am using chalk pastels (which show up beautifully on the dark background).  You could use a box of crayons (which would work great on white paper), colored pencils, oil pastels, etc.  I think you would get a different effect if you used wet media vs. dry (the dry media allow you to pay less attention to the needs of the media, like mixing paint colors or using water).  But by all means, experiment!

 

After I complete the sigil on paper, I like to make it more permanent in some way (particularly for the kinds of uses that my land healing sigils are for). For this, you might create a sigil in clay, in wood, or painted on a stone.  In my example above, I am using round wood slices with a wood burner.

 

Setting intention. The other thing you will need is an intention. Setting your intention in advance is a useful practice and can be done through a simple meditation technique.  I used discursive meditation (described in the link the last sentence) to help me set my intentions for my sigil work.  I think its important to spend some time with your intentions (the whole idea of being careful what you wish for!) I think it’s useful to consider carefully what intentions you might want to put into a sigil and out in the world: that your intentions are good and with sacred intent.

 

For today’s walkthrough, I am working on a series of land healing sigils.  I used to carry around just one sigil that I’d leave everywhere; like a general blessing sigil.  I crafted it many years ago and have been painting it with walnut ink on stones and on the insides of hickory shells and acorn caps.  I would take these in a little bag with me wherever I would go.  But recently, when I was at a site where they were doing mountaintop removal, I didn’t want to leave one.  The general “blessing” energy wasn’t right for that site–it needed a “sleep” and “soothing” kind of energy, and my sigil energy wasn’t working for that purpose.  So I decided to create a whole set of new land healing sigils (which I will share in an upcoming post so others can use them too).  My intention for the sigil in today’s post is a “linking” sigil for land healing work.  I have meditated on this concept and have been working with it for many years and felt it was the right time to put this intention into a visual form.

 

Sigil Making Walkthrough

Start by opening up a sacred grove or sacred space as your own tradition may offer. If you don’t have a sacred grove/space opening, something simple like calling in the four quarters, purifying the space with the elements, and offering a prayer or two (like the druid’s peace prayer) can work. You can then imagine a grove of trees around you, protecting the space and giving you the sacred time in which to work.

 

Once your space is set, return to your intention (or spend some time in meditation).  Feel through and think through your intention before starting the sigil and make sure it is aligned with your overall journey and goals.  Take all the time you need to do this work.

 

Now, take out your supplies and give yourself a lot of paper to work on.  Keep your intention in your mind, and start moving the pastel across the page.  Don’t worry about what it looks like or where you are going.  Just keep drawing.  As you draw, you might switch colors when one particular part of the drawing catches your eye.  I do this several times, working my way through my own intentions and allowing the drawing to unfold with different colors.   As I work, the sigil itself takes shape (if you see my first photo in this post, that’s after doing a single sigil for quite a while!)

Starting the ley sigil

Continuing to work on the ley sigil

First drawing is done

At some point, you may feel the first drawing is done, but the sigil isn’t complete.  Take a piece of that drawing, whatever piece speaks to you, and re-create it next to the first drawing on your paper.  Now keep going with the same technique as before.  Here, we can see part of that first drawing coming into the second one.

Second drawing underway

I did this a third time and worked with the final sigil a bit more.

Third drawing begins

Final sigil drawing on paper

Now, consider making it more permanent by transferring it to a more permanent media like wood, stone, thicker board, or ceramic.  I want to transfer my paper based sigil to some other surface, something that will actually seal the intention and magic into the sigil.  To do this, after meditating on the final sigil on paper, I switch it to a more permanent media (painted stone, woodburning, etc).  So for this, I took a cedar wood round and then allowed the wood to work with the sigil, which changed it a bit more.  Again, I don’t try to exactly replicate the paper sigil, but allow the wood to speak to the sigil and the final sigil to emerge.  Usually, the sigil may be further simplified during this final process.

The final sigil in wood

 

TAfter making your sigil, you will want to do additional ritual to empower it.  I prefer a “raising energy” approach, particularly as you used a more contemplative and inner approach to set your intention.  So, in a sacred space, drum around your sigil, raise your voice in song, dance, bring the power of the elements and the powers of nature and spirit that you work with, and ask them for aid in empowering this sigil.  There is no right or wrong way; feel your way into this work and do what feels right.

 

After that, you set it to work helping you with whatever intention that might be.  For this specific sigil above, I will create these and put them in a pouch that I carry with me, being one building block of my larger land healing and blessing work. That’s how these particular sigils are best put to use.  But other sigils may be put to use in other ways, depending on your intention.  If you are seeking a peaceful home, you might create a piece of art with that sigil and hang it on the wall in your house.  If you were working on a sigil for healing for a sick friend, you might create it (with their permission of course) and then give it to them to put by their bedside.  While there is no wrong way to use a sigil–the energy of it does need to get out into the world in some specific way.

 

Variants

Here are two variants you can try.  A more traditional sigil making technique starts not with random drawings, but with quickly written letters from the intention one on top of each other.  You write the letters quickly and stylistically, not even caring if they are legible.  Then you work with the layer of letters, in the same way I did above. If you are a very word-based person, you might appreciate this way to start your work.

A second variant is an ovate variant where you work with nature to create a sigil for a natural purpose.  Take portable media and materials out to a place that you want to work with.  Do everything as above, but rather than YOU setting the intention, put it out to nature to set the intention.  You are simply, then, the instrument that creates the sigil.  This technique is also very powerful for land healing, and I’ll also write about it in more detail in an upcoming post.  You can do this with snow sigils among other things!

 

I hope you find this technique useful and helpful!  I’d love to hear your thoughts about how you create sigils, how you use them, and how they might work within nature-spirituality based practices.

 

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?