Category Archives: Spirit

Druid Tree Workings: Principles for Establishing Deep Relationships with the Trees, Part I

Trees provide an abundant amount of resources…shelter, food, fire, friendship–but they also as this blog has shown, can work various forms of magic through their energetics, through their lore, through their divinatory meanings.  They are some of the most kind, giving, and accessible beings on the landscape, and certainly a place to not only begin a nature spiritual practice but deepen it over time. As I’ve written on this blog, working with the trees must be a matter of exchange–honoring them, treating them as elders, listening to their stories and songs–and if you want to work tree magic, this magic requires us to be in a sacred relationship with the trees.  I’ll be doing a short series on how to establish, maintain, and grow relationships with plants and trees.

Powerful Chestnut Tree bearing nuts!

In this first post of this new series, we are going to focus on the concept of establishing a relationship with trees.  I start here, with the concept of relationship, as the cultural traditions of the Western World, especially for those here in the US, come out of a cultural tradition of colonialization and exploitation.  In the US at present, for example, there is no concept of the inherent sanctity of life, nor the idea of having any kind of inner life, but rather, the basic assumption is that trees–and all of nature–exist as a resource to extract and use as humans see fit.  In a rural area where I live in the US, it is very upsetting to see how people interact with nature: the assumptions surrounding the rights of people to do what they want to private land, the assumptions surrounding how best to manage land, and the lack of respect for all life.  Even for those of us walking a druid path, if we grew up in the West, we probably have a host of subconscious assumptions that will take years to recognize, interrogate, and eventually move past.  I’ve written about this before, so I’ll not belabor the point, but this challenge is why everything must be rooted in relationship and respect and why any conversations about tree magic or working with trees begin here.

I also will mention to new readers that I’ve written a lot on trees on this blog!  Other trees in this series including my entire Sacred Trees of the East Coast Series, which explores the magic, mythology, and uses of a variety of trees: Witch Hazel, Staghorn Sumac, Chestnut, Cherry, Juniper, Birch, Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Black Locust, Oak, Devil’s Walking Stick, Rhododendron, Ironwood, and Wild Grape.  For information on how to work with trees spiritually, you can see my Druid Tree Working series including finding the face of the tree, communicating on the outer planes, communicating on the inner planes, establishing deep connections with trees, working with urban treestree energy,  seasonal workings, helping tree spirits pass,  and the magic of the understory.

Four Foundational Principles for Tree Relationships

So let us begin by thinking about what we know about relationships already. We can see that the best relationships are built on a foundation of four principles: reciprocity, gratitude, care, and right action.

Offering gratitude to the oak with an offering

Offering gratitude to the oak with an offering

Reciprocity. Relationships that work are mutually beneficial to both parties, in that both parties gain something from the exchange.  Relationships with trees should be no less so.  In cultivating a relationship with the trees, it’s important to recognize that nature is not there to serve you, at your own whim, or when you want it.  Both parties can enter into a mutually, reciprocal beneficial relationship. Trees are often friendly; they want to talk and interact, but they also can be wary, particularly in regions of the world that have seen them exploited over the centuries.  Part of mutuality is recognizing and respecting the agency of a tree. Always ask permission, recognizing the agency of trees.  Trees have a right to say “no” just as people do.  Respect them with your words and your actions. Mutuality must form the foundation of any relationship with the trees.

Gratitude. A final core practice to working with trees is always working from a place of gratitude.  Be thankful and offer gratitude for every interaction.  I have a lot written on gratitude practices that I see as central to any nature spirituality work, and these practices likely can be central to your work with trees.  You might leave physical offerings (a small pinch of herbs that you prepared, a small cake, or a little homebrew) or you might do something directly benefiting the tree (like picking up garbage, offering your own liquid gold, bringing some compost for the roots, etc).  You can also offer your thanks, and send thanks from the heart, during each encounter you have with the trees.  Gratitude should always be a part of your practice.

Care. Care is a fundamental part of any nature-centered practice, and I truly believe that an ethic of care is at the heart of transforming our world. IIn his preface to Sacred Plant Medicine, Stephen Harrod Bhuhner describes new research on heart EM fields that demonstrate that our hearts project a measurable field–and this field can be sensed by others.  This means we project as much from our hearts as we do from minds and mouths.  Trees are unsurprisingly good at picking up our emotions–we project these just as loudly as words.  Further, on a broader scale, it is the lack of care (and the maximization of greed) that has gotten us into the Anthropocene, and I believe it is coming back to a place of deep care that can get us beyond it into a better balance with nature.

Right actions.  Actions in the world matter. There are two aspects to this: both our immediate actions and our broader lives in the world.  On the immediate action side, it is important to always act in a way that is reverent and respectful of nature–and in particular, the trees you are working with. As the saying goes, actions speak louder than words.  On the issue of broader actions, cultivating relationships with nature also are rooted in how we live, how much we take from the earth, and how we interact with all life creates an energetic resonance that can be read by the nature spirits.  Remember that it is not just when we walk in the woods or engage in ritual–this resonance happens all the time. For my personal path, I have found that it wasn’t enough for me to seek the trees–I also had to shift myself and my life to more sustainable practices.  But the shifts weren’t forced–as I went deeper into my spiritual work with trees, the things in my culture that energetically bound me grew less and less important.  While these shifts took work, each one brought me closer to my true self, further along, the path of sustainable living, and also cultivated a deeper relationship with the natural world and the trees.

A glorious oak tree in fall colors!

A glorious oak tree in fall colors!

All four of these principles are obviously connected, with the goal of them being to help you cultivate a relationship that is respectful and honors the tree that you want to grow a deeper relationship with. These four principles also help you take further steps in moving away from issues of exploitation, colonization, and destruction of the natural world that so many humans are now engaged in.

Meditating on the Four Principles: So now that we’ve covered the four key principles to keep in mind, I would suggest spending some time thinking about these principles and meditating on them.  Consider each of them in turn with your current spiritual work with nature and the future work with trees you are hoping to engage in.  Consider what reciprocity, gratitude, care, and right action mean for you in general, and in cultivating a relationship with trees.  This foundational work will help you quite a bit and will provide you with ethics to guide your path as you move forward.

Key Aspects about Tree Relationships

In this second part of the post, I wanted to share some additional information on cultivating tree relationships.  These are things to keep in mind as you start and/or deepen your work.

All relationships are different.  Each person is going to have a different relationship with trees.  You can think about this in parallel to your relationships with humans: you have those of close friends who are equals, those of various kinds of mentorship, those between parents and children.  I have found that the same is often true of trees.  One kind is based on mutual respect and equality, such as when I meet a mature tree in the forest.  One is based on care–such as when I’m establishing new trees.  Yet another is based on mentorship–when I am seeking guidance from a wisened elder tree, one who has seen many more years than I have. A good mindset to approach such a situation is simply to be open to learning, to give, to receive, and to see how the relationship develops.

You might think about relationships you have with a few close friends. It is likely that each of them knows you in a slightly different way based on how long you’ve known each other and what you might have in common.  Given this, it’s possible that you will learn a certain side of a tree, and someone else might have a very different relationship.  This is why regardless of how many books or materials you read about others’ interpretations of trees (including stuff I post here on this blog!) it is critical to developing your own relationship.  Trust what you experience firsthand, realizing that the same oak tree might work with you much differently than me :).

Branching patterns in walnut trees

Branching patterns in walnut trees

As you grow in sensitivity and awareness, your work with trees will deepen.  If you are new to this path, give yourself time and space to learn and cultivate the sensitivity, awareness, and inner senses necessary to learn how to communicate with trees.  There is a whole set of skills that you have to cultivate in order to hear what a tree may want to communicate to you.  These include learning to listen with your inner senses, learning to focus, learning to clear your mind of your own thoughts, and learning to trust yourself that what you are experiencing is legitimate and not “all in your head.”  All of these skills take time and almost no one is good at them when they start.  For example, for me, it was almost a year before I had quieted my mind enough through meditation to let the voices of any spirits come through.  After 15 years, I can talk to pretty much any plant or tree just like I was having a conversation with a person.  But that didn’t come overnight–it was a skill to cultivate.  I shared some basic information on how to start this process here.

Relationships require time and will change over time. Just like with any other relationship, the more that you put in, the more that you will gain from a relationship.  I have found that most trees are always excited and willing to work with you.  Try to spend time with them frequently, and maintain your relationship, just as you would any other.  Further, as you continue to work with them, you will find that your relationships with trees will deepen particularly over time (just as your relationship will with any human).  More shared experiences, more conversations = more connections.  If you think about the relationships you have with old friends or people with whom you shared a tremendous experience–those relationships are different.  They are different because you share a history, a built-up trust over time.  Trees are very much the same way– you must build trust, you must put in the work of the relationship…you must do what you say you are going to do.  With this, incredibly deep relationships can be built.

Many trees have differing energy levels based on the season. Most areas have multiple seasons, and those seasons will determine how “active” trees may be and if they are able to talk.  Here in Western PA, we have four seasons, with the bulk of our deciduous trees going into hibernation for the winter.  I have found that when it is winter and the trees are bare, you aren’t going to get a lot from them–if anything.  Maybe you can wake one up, but I think that would be pretty rude.  Trees that are evergreen (like conifers) usually are always awake and you can work with them.  In our area, I have also found that the trees get very active in late winter once it starts to warm up and the sap begins to flow.  I have written more about considering the role of the seasons here.

In all of these things, it is easiest to think about extending what you know about cultivating any kind of relationship to that of trees and other aspects of nature.

I think that’s enough for this post!  In the next post, I’ll move away from thinking and into action, and we’ll start to cover a range of specific activities that you can do to deepen your relationship with the trees.  Blessings!

A Spring Equinox Meditation: The Mysteries of the Dandelion and the Three Currents

Fields of dandelion

Fields of dandelion

One of the hallmarks of spring is the blooming of the vibrant and colorful dandelion. Emerging as soon as the coldest of the temperatures ease, the blooming of the dandelions affirm that the long, dark winter is indeed over and summer is just around the corner. In today’s post, and in honor of the Spring Equinox and the incredible dandelion, I offer a spring tonic and meditative journey to celebrate the Spring Equinox and learn more about the mysteries of the dandelion. This is one of my monthly AODA-themed posts, so I hope you enjoy it and have a blessed spring equinox!

About the Dandelion

The blooming of the dandelions is a special time of year. For us here in Western PA, dandelions bloom just as the final frosts are easing, and are a sign that we can start planting some of our more tending crops in the coming weeks.  Then it is dandelion blooming week, where every dandelion growing in an area will bloom.  You will see the most amazing fields of dandelion blooms–and then the next week, they will all turn to beautiful seed puffs and scatter to the wind. If you want to make dandelion wine or dandelion jelly, you have a short window in which to collect copious amounts of dandelion flowers before they all turn to seed and scatter.

Widdershins the Gander enjoys a dandelion!

Dandelion is one of the most widespread plants in the world; it was native to Europe and Asia and is now naturalized throughout the globe. Dandelion was spread far and wide by peoples migrating from Europe and Asia for the simple fact that it is an incredibly rich source of nutrients as a healing food and also it is fantastic medicine. Dandelion is very rich in antioxidants, dietary fiber, and low in calories, making it a very good green to integrate into your diet regularly. They are particularly high in Vitamin K and A, and also contain good amounts of Calcium, Iron, and Vitamin C. It also has a range of medicinal benefits–it is known as a bitter herb, diuretic, and supports the detoxification of the body.  In many parts of Appalachia, including here in Northern Appalachia in Western PA, people would brew up a spring tonic to help “thin the blood.” What these tonics actually did was help support the liver (Sassafras) and Kidneys (Dandelion, Nettle), flush these organs of toxins, and promote more healthy elimination.  Thus, this is another reason that Dandelion is a great springtime healing herb.

Dandelion Meditative Journey

 

Yard full of dandelions!

Yard full of dandelions!

The following meditation can be used as part of a solo or small group ritual for celebrating the Spring Equinox or any other time.  This meditation focuses on exploring the dandelion’s mysteries and connecting you to the great energies of the universe.

Optional Interaction: Plant meditations work best when you have interacted with the plant in the physical world in some way prior to starting your journey.  This puts you in touch with both the.  This could be greeting a plant outside, eating some dandelion greens, or drinking a dandelion root spring tonic tea prior to the start of the ceremony.  I’ve offered two dandelion tea recipes at the bottom of this post.

The Meditative Journey

Begin with opening up a sacred grove, doing smoke cleansing, or anything else that will help prepare and protect you for the journey to come.

Slow your breathing down and do the four-fold breath:  breath in for four counts, hold for four counts, breathe out for four counts, and hold for four counts.  As you breathe, feel yourself relaxing into this time and space.

As you continue to do the four-fold breath, imagine the deep green of the dandelion leaves in the air around you.  As you breathe, breathe in that green energy, allowing it to sink within you.

You are standing before a field.  As far as your eye can see, the field is covered in blooming dandelions.  The warm spring sun is high in the sky, warming the earth. A smiling man with dandelion gold hair walks toward you.  He greets you and says, “I and my tribe welcome the sun back to the earth after a long and cold winter. The sun’s rays, full of solar energy, bless the land and energize it for the season that is to come. It seems that you, too, have experienced the darkness and cold of winter.  Come now, and lay in the field, and allow the solar current to infuse you with the joy and light of the sun. The sun’s rays will prepare you for the journey ahead.”

As the field is so inviting, you lay for a time, and bask in the sun.  You feel the sun’s rays come down upon you, nourishing you, vitalizing you, and filling you with vitality and energy for the coming season. Take a moment to Listen for any other messages or feelings you might have as the solar energy imbues you with light.

When you are finished, you stand and your guide greets you once again.  He says, “The Dandelion is unique that it is one of the few plants that offer true balance–the flowers of the dandelion, which I represent, are solar in nature and welcome back the sun.  Dandelion flowers can aid you in times of darkness by bringing back the light.  However, the dandelion also basks in the light of the moon.  Let us now meet another spirit of the dandelion and continue our journey.”

As you walk closer, you see that one cluster of dandelions grows larger and larger, until it is taller than the tallest tree.  Next to the stem cluster, you see a young woman.  She is silver-haired with brown skin and has fine features. She smiles and greets you, “I and my tribe welcome you to journey deep within the mysteries of the dandelion.  The roots of the dandelion go deep into the fertile earth, drawing up the rays of earth energy that runs through the land.  The telluric current offers strength, grounding, and purpose and allows us to shed that which no longer serves you.  Will you enter and experience the blessing of the telluric current? ”

She steps back and lifts a small green leaf to reveal a door into the center of the dandelion stalk and down into the root. The two of you enter. As you journey into the root of the dandelion, you see a green-gold pool full of telluric energy welling up from the roots of the dandelion tree.  She smiles and says, “Now that you have been energized and blessed with the solar current, you are ready to shed your weary burdens. The long and dark months of the recent past have added to your burdens.  Shed that which you no longer want to carry. Take only what you want to take forward.  When you are ready,  we will be waiting for you.”

As you shed your burdens and stay within the dark roots of the dandelion for a time, feel the energy of the Telluric current welling around you.  When time has passed and you are free of your burdens, you return to the door to be greeted by both the solar and lunar avatars of the dandelion.

Use many resources already on the homestead!

Use many resources already on the homestead!

As you exit the door, you see that night has fallen. The moon reflects in the starry night sky, and you look upon the great field full of dandelions.  All of the dandelions have gone to seed and the field appears as though thousands of full moons are there upon the earth.

Both guides come to stand together, holding hands.  “You have received the blessing of the solar current, from the sun and the turning wheel of the stars above you.  The solar current has revitalized you from the weariness of the dark half of the year. You have received the blessing of the telluric current of the spirit that resides below, of the nurturing heart of the earth, cast your burdens.  Now, we send you off on your journey to seed the future what is to come.”

You see a glowing child who is frolicking with a seed pod in their hands, far off in the field.  They laugh and begin running towards you, with dandelion seeds spiraling up into the warm sprint air.  The child says, “We children know that when you blow on a dandelion, you make wishes.  If the seeds fly far enough, wishes come true.”

After you answer, they hand you a seed pod. “Put your intentions into this pod.  Think about what you would most like to bring into being this coming season.”  As you meditate on this intention, you see the green-gold energy of the telluric current welling up below you, and the golden energy of the solar current coming down from above. The lunar energies swirl into your seed pod, adding energy to your intention for the coming season.  The child nods and blows their own seed head, and beckons for you to do the same.

As you blow, the child says, “Watch the seeds as they blow in the wind and see what messages they have.”  You do so, pausing for as long as necessary.

The child smiles and says, “The seeds are off on their journey, but they will need your help to bring your intention into reality. Think about what you might do as the next sun rises to help you on your new journey.”

The three aspects of the spirit of the dandelion come together to stand with you and the four of you watch as the full moon sets and as the sun rises with a brilliant splendor.  As the sun rises, the dandelion seeds continue to spiral around you, and you are filled with joy and purpose.

Your guides leave you with parting words, “By bringing together the energies of the earth with energies of the sun, we come into a place of balance and the lunar current is born.  And it is in this sacred connection that offers us the spark of Nywfre, the life energy that allows all things to come into being. Through the power of the sun and the moon, through the power of the heavens and earth, the dandelion will aid you on your journey to come.”

You can close your grove in the usual manner.  Finish the journey by having a cup of dandelion and other herbal tea.

About the Symbolism in the Meditative Journey

In my work with the dandelion over the years, I have always been fascinated by how this incredible plant can hold such potent solar and lunar energies.  Through these meditations and work, this journey was born. The symbolism in this journey uses the Druid Revival concepts of the solar current, the telluric current, and the lunar current, or the three aspects of spirit in a seven-element system.  In the Druid Revival, it is the synthesis of the solar current, the light coming down from the sun and heavens, with the telluric current, the light rising from the earth, that allows the spark of life, Nywfre, and the lunar current to be born.  For more on these concepts, consider checking out this post!  This system is used by the Aas our core energetic system.

Dandelion Spring Tonic Tea

If you’d like to supplement this guided journey, you can make either of these delightful teas:

Roasted Dandelion Root “Coffee”

Dandelion root tea is a very rich and warming tea that helps support the body’s natural cleansing with a specific alterative action (which supports the liver’s healthy functioning). Roots are best gathered in the fall and early spring before the dandelions have started into flowers.  Dig your dandelion roots and put them in a bucket of water.  Let them soak for a bit, and then swish them around, and repeat a few times.  This will get most of the dirt off of them–the rest can be scrubbed off.  Dandelion roots can be finely chopped and roasted for about 30 min in a 350-degree oven.  They are done when they brown nicely.  Then, you would make this like any other root tea–boil for 10 minutes with the lid on, add honey if you’d like, and enjoy.

Dandelion Flower and Leaf Tea.  Dandelion leaf also helps cleanse the body, with specific support for the kidneys, with diuretic action. Pick fresh dandelion flowers and leaves and simply pour over boiling water, let steep for 5 min, and then enjoy.  Dried leaves actually make a better tea (dried herbs have the plant cell walls ruptured, so they are easier to extract the medicine).  Be aware that dandelion leaf is a diuretic (makes you pee).

Enjoy a cup of either tea as a spring tonic and a way to begin or end your meditative journey with the dandelion.

Beyond the Anthropocene: Druidry into the Future

Druidry into the future

Druidry today has both ancient and modern roots, and there have been several distinct “phases” of druid practice historically. While it’s not critical that the practitioner of the modern druid traditions know what I share, it is helpful to have a sense of where the tradition comes from and the forces that shaped it–particularly so that we can think about where we are going.  I want to talk today about both the past of druidry in order that we might talk about its future.  How do we shape our tradition today so that we become the honored ancestors of tomorrow? What is the work that we might consider doing now, as druids, to create a tradition that endures?

Modern druidry is inspired by the Ancient Druids, a group of wise sages who kept history, traditions, and guided the spiritual life of their people. The Ancient Druids lived in areas of Britain and Gaul (modern-day France) as well as in other parts of Europe; the earliest records of the Ancient Druids start around 300 BCE and go about the second century CE, when they were wiped out by the Romans. The ancient Druids had three branches of study: the bard (a keeper of history, stories, and songs), the ovate (a sage of nature or shaman), and the druid (the keeper of the traditions, leader of spiritual practices, and keeper of the law). Much of what we know about the Ancient Druids today comes through their surviving legends, stories, mythology, and the writings of Roman authors. The druids themselves had a prohibition against writing anything down that was sacred, and so, we have only fragments of what their tradition looked like. But fragments cannot be a full spiritual tradition.

Centuries later, at a time when industrialization began to rise in the in the British Isles in 18th century, a new group of people in the British Isles became interested in the Ancient Druids. Modern Druidry’s spiritual ancestors watched as the wheels of industrialization radically and irrevocably changed the landscape: the land stripped of her resources for industrialization and progress; the growing emphasis on produced goods over communities; deforestation and pollution becoming commonplace; and the relegating of humans, animals, and the land to that of a machine. Modern druidry’s spiritual ancestors began to shape a new druid tradition, inspired by the ancient druids, and beginning with the fragments that had been left behind by the ancients: texts and stone circles alike. The Druid Revivalists reached deeply and creatively into history to return to an earlier time where humans and nature were connected. The Druid Revival movement, therefore, sought to reconnect with nature through ancient and ancestral roots in a time where the broader wheels of industrialization was pushing humans into a very different kind—and ultimately destructive—relationship with nature. It is for this same reason that people today are drawn to the modern druid tradition–there is “something” missing for them and what is missing is often rooted in that lack of connection with the living earth. (Note: This discussion of the rise of modern druidry is heavily influenced by the work of John Michael Greer in the Druidry Handbook.

It is in this perpetual seeking of reconnection that we can see how druidry is a very human response to the larger wheels of industrialization that have been thrust upon most of us in the Western world. Despite the early promise of industrialization and, later, consumerism, we are now living in a world on the brink of ecological collapse. Many of us recognize that we must make a different way forward, and druidry offers one such way. For over 300 years, the ancient druids have offered modern people sources of inspiration and reconnection. The ecological crisis is a spiritual crisis as much as it is a crisis of culture. Druidry, then, is helping us find our way “home.”

A stone circle at Sirius Ecovillage--rebuilding sacred landscape features

Stone Circles – Honoring the ways of our ancestors and creating the sacred spaces for the future

Sharing historically where the druid tradition came from helps us get to what I see as the core of druidry today: focusing on what an ecologically-centered, wildcrafted, localized and living druidry today can look like, how it can help us reconnect, and how it offers us spiritual and practical tools for responding—and taking care of ourselves and the living earth—during the ecological crisis of our age. 

Descending in spirit from the Ancient Druids and descending in principle from the druid revival several centuries ago, the Druid tradition in the 21st century is shaping up to be a vibrant one that focuses both on drawing deeply from the past but also creating a living tradition, and evolving tradition, that meets the needs of both druids and the earth today. I really want to push us to deepen and extend druid practices and the druid tradition—not by eliminating or removing pieces from the existing tradition, but building upon it.

Druidry, as a tradition in its current form (that is, as a path of nature spirituality) has been around less than two centuries. Many druids are scattered around the world, being in small groups or always as solo practitioners. Communities of druids are formalizing, expanding, and establishing their own traditions and paths, rooted in the frameworks of the druid revival tradition.

Druidry is a language that we are starting—only now—to learn how to speak. The metaphor of how a new language is formed is a helpful metaphor in terms of the druid tradition. New languages often form from what is known as a “contact zone.” This is when two established languages come into contact (say, through trade, resettlement, or colonialization) and speakers of each language intermingle and have to figure out how to communicate. What initially forms is what linguists call a “pidgin” language, a language with limited vocabulary from both languages, simplified grammar (usually borrowed from one of the languages, often the dominant one), and limited ways of communicating. This is not anyone’s native language, but something created out of a basic need to communicate. In time, typically a generation or two, the pidgin language becomes a creole language. This happens when children are born hearing the language and acquire it as native speakers. These new native speakers help shape the pidgin language beyond its initial simplified form with more elaborate grammatical structures that can allow for more complex meaning, a richer vocabulary, and so on. Eventually, given enough time, the creole language becomes its own language that is distinct and fully independent from either the parent languages.

Learning how to speak a new language of connection

Many of us are speaking druidry as a pidgin language—we began to walk this path within a contact zone of other dominant religions and childhood religions that have shaped our thinking, reactions, and beliefs. And the basic forms of druidry, like those published in many pioneering books and early curricula from this tradition, helped us get the job done as we developed our unique nature spirituality.  These included basic practices like connecting with nature, celebrating the seasons, practicing the bardic arts, working with spirit. But as we grow into our own druidry, both as individuals and as communities, the kinds of material and practices becoming part of this tradition are expanding considerably.

I believe that druidry as a community is in the place of transitioning from a pidgin to a creole language. As more and more people find our tradition and practice it seriously, and as children begin to be born into and grow up in this tradition, as we are increasingly surrounded by groves and communities, we are able to fully develop and expand various parts of the druid tradition to fit these expanded needs. I’ve witnessed this here in the United States on the East Coast, for example, with tremendous growth not only in the number of druid gatherings per year and number of people wanting to attend, but also the kinds of activities we now do at gatherings: community building, coming of age ceremonies, bardic competitions, croning, and saging rituals, the development of permanent sacred spaces and the creation of widespread energetic networks, and more. Our language of druidry is expanding, and each new voice and perspective has much to offer.

So then, how might we “expand” the language of druidry?  I think every single person on this path, from those new to those who have been walking it for a long time has the opportunity to do so.  Here are some of the ways we might engage in this practice:

1. Develop and Share Wildcrafted and Localized Druidries. While druidry originated in the British Isles, there are more people who practice druidry worldwide and here in North America than ever before.  While I think we should see the British Isles as part of the wisdom and background, it is part of that original contact zone language for those of us who are not in the British Isles.  We will certainly be inspired by the mythology, sacred sites, and spiritual practices–but we must embrace the idea of creating something new that is specifically adapted to where we are rooted today.  For those who don’t live in the British Isles, it is very important to develop locally-based and wildcrafted practices.  The Ancient Order of Druids in America is very committed to a wildcrafted druidry path and has an entire curriculum built around wildcrafted druidry as a core principle. Through learning about ecology, planting trees, spending time in nature, and exploring nature through the bardic, ovate, and druid arts, druids get a deeper sense of place and are able to thus, create a wildcrafted druidry that fits their own immediate ecosystem.

Once you have developed these approaches to druidry, I really want to encourage you to share them.  Put that information out there in the world so that others who live in similar bioregions can learn localized practices.  If you’ve read my blog for a while, you know that’s a lot of what I’m doing here–my Sacred Trees in the Americas series, the Allegheny Ogham, how to make Tree Incenses, Acorn Flour, Tree Wassailing, so many more pieces–these are all pieces of localized druidry that I have developed while living in both the US Midwest and the US Mid-Atlantic regions.  If these pieces help others, the tradition becomes richer and more robust. 

2. Put tired debates of authenticity behind us and instead focus on today and tomorrow. Perhaps this is my revival druid path bias showing, but I am growing very tired of talking about authenticity. I don’t think it moves our tradition forward in any meaningful way, and I think it is disrespectful to our direct spiritual ancestors. Yes, a lot of the early druid revival works and authors have been discredited for taking liberties and creating texts; I find these attempts to discredit them problematic for several reasons, particularly for those who practice druidry.  First, they were working within the bounds of acceptable practice within their own age, not ours. This was an age where forgery and plagiarism of texts were common. Second, the practices of the druid revival tradition work—as attested by tens of thousands of druids worldwide.  If it works, obviously, it was inspired. Third, at this point, some druid revival texts, such as Iolo Morganwg’s Barddas, have considerably shaped our tradition for several centuries. And finally, regardless of some of their practices, the Druid Revivalists as a group had an enormous impact in a wide range of fields including modern archeology, poetry, culture, and certainly, nature spirituality.  We have fragments from the ancients, and we have a rich history from the revival–both of those shape who we are today.  But it is modern practitioners–you and I–shape who we are tomorrow. So I suggest we set aside these discussions, acknowledge that the practices work, and think about what we are doing today–and how we can move into a better tomorrow.

Refugia Garden Design

Refugia Garden Design

4.  Focus on being a good ancestor. It strikes me that in the age of the present predicament we face, one of the most important things we can do is live today in a way that makes us good ancestors. What can we do today–spiritually, physically, socially, creatively–to create a better world than the one we live in? That preserves the diversity of life on this planet? That helps humans reconnect with the living earth?  These are the kinds of questions that I find really important now, both for my own practice and in the mentoring and support that I offer those in the AODA and broader druid community.  Druidry offers an alternative perspective to the dominant narratives that are currently killing our planet.  It is important that concepts like nature spirituality are rooted firmly now so that these ideas may flourish beyond our own lives. 

5. Create refugia and regenerate ecosystems. As I’ve discussed before on this blog, there are physical and metaphysical practices we can do now, given the challenges we face as a world.  One of the most powerful we can do is preserve small pockets of life and foster ecosystems in any way we can.  Refugia are how so many species–including humans–survived the last ice age.  Small pockets of abundant life not only support the many species on this planet (birds, insects, mammals, reptiles, amphibians, etc) but also offer humans places to deepen their connection to nature.  You can learn more about how to create a refugia or one example of a refugia here.  Another method that is extremely empowering is learning and practicing permaculture design.  These approaches allow us to do more than honor nature or work with it metaphysically, but be a force of good right now, today, and a champion of all life.

6.  Practice resilience.  If events of the last year have taught us anything, it is that the concept of resilience is going to be a critical skill in the years and decades to come.  Resilience is a term I first learned as a permaculture practitioner–resilient ecosystems were those that are able to withstand hardship, recover quickly when faced with difficulty, and had a capacity to endure.  This same concept, I believe, is central to any spiritual work we do.  We need to become both physically and spiritually resilient so that we can continue to face the difficulties that will only grow in seriousness as we live our lives and continue to walk our spiritual paths.

But resilience isn’t easy–it is a process.  I would argue that it requires both inner and outer work. On the inner side, resilience requires us to adapt, be flexible, and be brave. Practicing resilience requires us to privilege our own self-care, put things in perspective, and continue to work through our own feelings. It requires us to understand our own fears, weaknesses, and shadow selves.  Resilence in our physical lives is something that, thankfully, many more people are attending to now than they were a year ago.  It means being better prepared for things that may occur that are unprecedented (like global pandemics or food shortages).  Physical resilience is about having your basic hierarchy of needs met, even in a time of disruption. It is a good time to start growing some of your own food, look into food storage options like a root cellar and pantry, and make sure that you have a monthm at a minimum, of stores to meet your needs. Physical resilience is also about being flexible and opportunistic, almost like the understory trees I wrote about several weeks ago–learning how to be resourceful and adaptable.  I would argue that resilience is a mindset that you can learn.  Resilience is the great challenge of our age, and will allow us to face any other challenges with strength, wisdom, and peace.  It will certainly help facilitate our work in other areas, and will allow us to thrive even in difficult conditions.

I think these are only some of the things we might do now to help us shape a better future for tomorrow.  But I like to think along these lines, in a positive way, because that allows all of us to do good in the world and keep moving in peace, joy, and hope.

Wildcrafted Druidry: Using the Doctrine of Signatures, Ecology and Mythology to Cultivate Sacred Relationships with Trees

A stream in winter

Nature spirituality is most obviously tied to one’s local nature–the trees, plants, animals, landforms, and other features of what makes your own landscape unique. One of the formidable challenges before those of us practicing nature-based spiritualities in the United States and other “colonized” regions is that not only do we not have the right/access to native traditions on local uses of plants, we also have systems that are inherited from other places and may not properly fit. Ogham is a good example of this: if you use the traditional ogham in the US, it is kind of like wearing a pair of ill-fitting shoes: you can get by, but the system isn’t working with what is outside your door.

With that said, I have always been fascinated by the idea of a language of trees, a system that we can use for magical and divination purposes. But as I’ve shared before, Ogham presents challenges for several reasons: First: I’ve never met a good number of ogham trees. I have no idea how to work with an abstract concept, like Heather or Blackthorn, without actually experiencing the tree itself. Second, feel a need to work closely with dominant trees that are present in my ecosystem (Sugar Maple, Hickory, Eastern Hemlock, Wild Cherry, Rhodendron, etc) who have no ogham equivalent and whom are overlooked by many magical systems. Finally, the situation of some of the trees in North America is very different than where the Ogham originated. I point to Ash as the most prime example of this; when you read my write-up of Ash, I significantly altered the meaning of this tree due to the presence of the Emerald Ash borer which is decimating tens of millions of mature ash trees. This is all to say that the situation with Ogham can be pretty complicated, even for those of us who are pretty adept at tree lore, ecology, foraging, and occult practices.  The clear choice is either to adapt your own ogham or create your own tree divination system.

In this post, what I wanted to do was create a bit of a road map for sharing how you might create your own local ogham and/or other divination/magic system tied to local plants or trees.  You could use this roadmap either for adapting an Ogham to your local region (see my example of the Allegheny Mountain Ogham).  You could also use this roadmap to create a much larger and more robust divination/magical tree system of your own. 

The Path of Mountain Laurel! So beautiful!

Before I go any further, I also want to share a few thoughts on why this work is so important.  As I’ve argued many times on this blog and elsewhere, nature spirituality, including druidry, is all about connection.  Connection with the living earth outside your door, creating relationships with plants, trees, rivers, mountains, any natural features.  Your relationship must be yours, alone, to cultivate.  You can build your own unique nature spirituality through building relationships, connections, knowledge and experience. Nobody in a book, workshop, or anything else can do that work for you.  If you are located outside of the British Isles, it also behooves you to do this work because, quite simply, it needs to be done.  All of us, in a variety of ecosystems, need more wildcrafted approaches to our druidry or nature spirituality.

Background

As I’ve started to share recently, my 3rd oracle project is going to be what I’m tentatively titling the “Tree Alchemy Deck”. I’ve actually been working on and off on this project for close to 10 years, but am closing in on finishing it in 2021!  This will be an eco-printed project tied to dominant and magical plants and trees on the US East Coast and Midwest regions. This project is actually proving to be the most challenging of any I have tackled thus far. I wanted to draw upon a wide range of sources: my own experience in working with these trees as a bard, ovate and druid; information on ecology, growth habits, and human uses for the tree (herbal, functional, etc); herbalism; and lore from a variety of places. That idea worked for many of the trees I researched that were dominant in the ecosystem and had long and rich histories and lore: oak, maple, hickory, cherry, sassafras, and so on. But this idea only took me so far with the second set of trees: less dominant trees, often understory trees, who are not part of the traditional western magical traditions (because they are located only in the US) and who don’t have any surviving native uses or lore.  A lot of the recent trees I’ve been researching are in this situation: Rhododendron, Devil’s Walking Stick, Spicebush, Witch Hazel, and Mountain Laurel.  These trees all really important understory trees and are almost entirely overlooked in any accounts and yet have important spiritual lessons to teach.

This is to say that some trees when you start to research this have quite a bit of information and some have practically no information and some have a wealth of knowledge. Over time, I’ve been developing a method for exploring and understanding these less well-documented trees in the hopes of being able to eventually finish this project.  I wanted to share my methods today and maybe they’ll help you too!

Developing Personal Tree Lore

The information that follows are the many different places that you might get lore and information in developing your own unique understandings of trees, plants, and any other natural features in the world around you. You can use any combination of the methods below.  Some of the local natural features/plants/trees may have a lot of information across many categories, while others may be very sparse and require you to do a lot more with your own insight.  There is no right or wrong way to develop these ideas. Most of these methods below can be understood as a combination of personal experience, direct observation, and learning from others (through books, videos, or other accounts).  In other words, use your own observations of local ecology along with reading ecological information on the tree.

Insight, Experience, and UPG

The most important aspect of any understanding of a sacred tree or plant is your own experience.  Your experience can span a lot of different areas. I’m going to specifically talk about spiritual experiences and memories here, and save direct observation and interaction of nature for other areas below.  The first area within this is memories or experiences you may directly have with the tree.  What sticks out to you here?  What relationship with the tree do you already have?

The second has to do with a variety of personal or spiritual insights that come to you. What messages have you received from this tree? At what points has this tree in your own experience connected with you, and in what way? Spiritual insights or flashes of inspiration, plant spirit communication, and so on may all be involved here.  These could be things from ‘feelings’ you get with certain trees to deep spiritual journey work involving trees or other spiritual practices.

All of these are ultimately about you and your relationship and connection to the tree.  Magic and divination work best if it is personal and relevant.  A lot of this kind of thing is called “Unsubstantiated Personal Gnosis” or UPG in the broader pagan community. There’s nothing wrong with UPG and in fact, all of us build our spiritual lives around personal and spiritual experiences that are unique to us.  Where UPG gets a bad wrap is when someone tries to pass off their own UPG as a “fact”  or something that applies to everyone.  As long as you are aware of this and, if you choose to share, are open about where your information comes from, it is no problem.  For example, at the beginning of the Plant Spirit Oracle project, I make it clear that the entire project comes from my own experiences and insights, combined with knowledge from the herbalism community.  That way, anyone who picks up this project knows what they are getting–and part of it is my own UPG.

The other reason that personal insight and experience matter is that nature spirituality is all about relationships. Trees are complex with multiple sides and aspects. Your relationship with a tree may be very different from another person, and so what you are seeing in your experience may not match up with another source.  In all cases, you should trust your experience and insight over another source because your relationship with that tree may be unique.  I’ll give you a nice example of this: in the Plant Spirit Oracle, the Elder (Sambucus Nigra) has two cards.  I painted the “light” elk version of the Elder first; this was the one I met in my inner vision and that I have worked with for years.  And then, as part of some ritual writing work for a gathering, a friend of mine was tasked by the spirit of Elder with making me an Elder mask that showed me a much more terrifying side of Elder.  In working with this mask after the event and returning to the Elder trees, this face of Elder ended up wanting to be present in the Plant Spirit Oracle as well.  Given the rich history and traditions of Elder throughout the world, I suspect Elder has many, many such faces.  And the face she chooses to show to you may be different than the face she chooses to show to me.

The Doctrine of Signatures

Mullein has lessons to teach!

Mullein has lessons to teach!

The Doctrine of Signatures is a concept in Herbalism that suggests that the plant itself (the shape, color, growth habit, etc) reflects that which it treats or supports. For example, the Mullein leaf has the same shape as the lungs, with the veins in the leaf and fuzzy hairs literally looking like the alveoli in the lungs.  The Hawthorn tree produces red, heart-like berries that medically support the heart.

The Doctrine of Signatures as a formal concept was developed in the Western World, first described by Pliny the Elder, and popularized in the Middle Ages in Europe. This idea is also present in many traditional cultures and has likely been with humanity for much, much longer.  Paracelsus was a Renaissance man who was a physician, occultist, alchemist, and philosopher, among many other things. In his Astronomica magna he wrote, “The expert must know how to recognize the virtue of all things thanks to the signs, be it an herb, a tree, a living being, or an inanimate object.” He further writes, “As you see, every herb has been brought into the shape that is akin to its inner nature.” Today, this concept is still very important in the practice of Traditional Western Herbalism and was one I was formally taught as part of my training as both a practical and sacred part of our practice.

This concept is extremely useful for you as you are working with local trees, plants, or other features that may not have any lore or other associated uses. By simply observing the plant and thinking about what it relates to, reminds you of, or is akin to, you can develop a very rich series of relations.  Look at everything about the plant–the way it branches off, the way the roots or leaves spread out, the veining patterns, the flowers, the fruit, etc.  This will help you develop these insights, guided by the doctrine of signatures.

Ecology and Place in the Ecosystem

You can use a combination of direct observations of your tree combined with well-written and documented information. For this, I suggest doing direct observations of the tree and where it grows, in what conditions.  Consider direct observations of the tree over time, including over a course of a season, and in different weather. These growing conditions can vary quite a bit even across the range of a tree and so it is helpful to know.  For example, further south Eastern Hemlock is found in damp forest bottom areas and in ravines because it likes it cool and damp.  Northern parts of its range, however, it is much more widely distributed because it is colder and damper there because of the climate.

You should also be able to find some great sources on local trees that discuss not only the basic features of the tree (size, shape, age, qualities of bark and leaves) but also those that discuss the wildlife that it supports and its role in the ecosystem.  John Eastman’s books have been invaluable to me in this regard, but I’ve also found excellent information in a variety of more detailed field guides or materials put out by our local state extension office (in the US).  My suggestion is to pick up some cheap guides at a used book store–the more local the better.  And then read across the guides, comparing what the different information says.  A good guide is one that presents a wider range of detailed information, including ecological niches, pests, diseases, etc.

The more that you can learn from your tree through reading and direct observation, the better!

Folk Naming Practices

Naming is another area that you can really gain a lot of insight. The Latin name of the tree will allow you to know what other trees or plants it may be related to  However, the traditional folk names for the plant often offer rich insight, particularly in the absence of other information from this list.

Here’s a good example: Ironwood (Ostrya virginiana) is a dominant understory tree in the Beech family.  Its folk names include leverwood, Indian cedar, black hazel, deer wood, hardtack, and Hop Hornbeam.  You can get quite a lot from this list: human uses may include how to make levers; it was obviously used by Native Americans in some way resembling cedar (possibly for construction or ritual uses), it has some connection to hazel, deer like to browse it, it is extremely hard, and may also have a hop-like plant.  You get the idea.

Human Uses: Wood, Tools, Functions

Delightful eating bowls and spoons!

The human uses of wood

Learn about the human uses of the wood, both contemporary but especially traditionally.  What is this wood used for? What does the wood look like?  Is it good for fires, instruments, woodturning, house construction, handles, or other things?  Books like Eric Sloanes On Reverence of Wood and Erichsen-Brown’s Medicinal and Other uses of North American Plants are excellent introductions to what different trees and woods were used for. Further, you can learn a lot of valuable information on harder to find woods in the bushcraft, permaculture, and wood carving communities.  Just search in these communities in the forums and all kinds of information will come forth on many more obscure trees and woods.  For example, Tulip Poplar has a wide range of bushcraft uses (cordage, bark baskets, fire-starting nest building) that is not present in any books I was referencing, but when I went to a bushcraft event, I learned all about it!

I also suggest you gain as much direct experience as you are able with the wood and other parts of the tree. If you are working with local trees, it should be no hardship to gather some wood and see what happens. Working with the wood is another way to work with the spirit of the tree–and it is a very important direct experience for you.  You can also purchase well made wooden things of the woods you are working with from local artists to learn more about their qualities.

Human Uses: Food

Does the tree offer any opportunities for food? This can be anything: eating fruits, nuts, leaves, brewing tea from branches, needles, or roots, and so on.  Many wild foods are well documented in the work of people like Euell Gibbons and Samuel Thayer as well as in websites online.  You can learn a lot by again, learning when to harvest, how to ethically harvest and honor, and how to prepare.  I did this with Oak and Acorns for the last few years and nothing taught me more about the Oak tree than processing and eating acorns!

Human Uses: Herbalism

Many trees and plants also offer herbal uses. This is, of course, tied to the Doctrine of Signatures above. Look at the herbal uses of the plant and consider those uses in relationship to everything else you are learning.  Again, if you can use the plant itself and make some of the medicine, even better. You will learn a great deal from using and working with the tree in this way. You can use the free M. Grieve’s Modern Herbal online as a good place to get started.

Concerns: Ecological Challenges, Toxicity, Invasiveness, etc

Small ash tree

Small ash tree

As you are learning, you should also learn about the tree itself: is it threatened in any way?  Is it a threat to humans or others through ingestion, touching, etc?  This information is very important as you are working to ascertain divination or magical uses.

First, pay close attention to any ecological challenges that are known and documented in your region concerning the trees.  These may be more survivable things like fungus or leaf spot, or they can be more damaging threats like the Hemlock Wooly Adelgid or the Emerald Ash Borer.  A tree that is fighting for its life, like Ash, is not going to be able to hold the same energy as it would if it were not at risk.  Ecological risks can be invasive species but also human activity: logging, mining, climate change, and more are all putting many species at risk.  Do your research here because it matters.

Second, some trees may be toxic or have other concerns.  As you are researching, please make sure you research any of these issues.  Just because a plant or tree is toxic to humans doesn’t mean it can’t be a good spiritual teacher (Poison Ivy is one of my favorite plants and a tremendous plant teacher, but obviously I’m not going to eat her or even touch her). Also understand that some traditional folk uses you might find several hundred years ago are now questionable (such as large amounts of internal consumption of Safrole, from Sassafras roots).

Finally, it is useful to learn if the tree is naturalized, native, or opportunistic (I reject the idea of “invasive” for a number of reasons). Do not let this label immediately color your perspective of the tree. “Invasive” trees may still have much to offer, and frankly, they are in your ecosystem and are now part of it. It is best to learn how to make peace with all life that is present, and that includes those trees and plants that are more opportunistic members of the ecosystem. Much of the “native plants” movement is supported by chemical companies who see it as an opportunity to sell more weed killers and pesticides.

Magical Lore in the Western or Folk American Traditions

This is often where people start, but as you can see, it is pretty far down my list.  This is because I believe that the experiential aspects of learning about trees are much more important than what someone else’s experience indicates in a book.  Even so, it is useful to study the history, lore, and magical uses of the tree.  Some, like Oaks or Hazels, have books and tomes of lore and you can draw upon this effectively.  Others may have little to none, and that’s why the other ways to learn are here.  When I’m doing research, I usually look both at the broader Western lore (mostly from Europe and the UK) as well as the Folk American Traditional lore (a great book for this is Cat Yronwode’s Hoodoo Root and Herb Magic).  Some traditional American magical tomes also offer lore, like Long Lost Friend, but you have to read carefully–these don’t really have indexes for the kinds of herbs used, etc. You can certainly also use more contemporary books on sacred trees as well; usually, these are rooted in the Western Occult traditions of some kind or another.

Cluster of elderberry

Cluster of elderberry

Do be aware that some of the lore may not apply as well when moving across related species.  I’ll return to Elder here for a minute–the Elder that grows in Europe was used for ancient woodwind instruments (called a Sambucca, after the Latin name).  While I have been questing for some time to create a Sambucca out of Black or Red Elder here in the US, I was recently told by a friend who had lived in both the UK and US that our elder here is much more woody and less pithy (especially when older) and it would be much harder to make such an instrument out of our varieties.  Good to know, even if I’m still attempting it!

Traditional Native American Uses and Lore

Another place you could consider going is to explore the Native American uses and lore.  If you are non-native, I think there is a fine line here between respecting someone else’s culture through reading and study vs. trying to appropriate or recreate another tradition.  I’ve written my thoughts on this subject here in some depth.  In a nutshell, my own take on this as a white person situated in the United States (a country with a horrific history of appropriation and genocide towards native peoples) is that  I do think it is appropriate to read about how the ancestors of the land used these plants.  At the same time, I am absolutely under no circumstances going to try to recreate anything they did (like the maple syrup ceremonies) or share their stories as my own.  So I see these as sources for inspiration and wisdom, to learn about one aspect of the tree’s history.

Bringing it All Together

The above is quite a lot–it can take months to research and understand even one local tree.  But once you have done some of these things (certainly, you don’t have to do everything) you can start bringing it together.  From everything that you found and learned, what resonates the most to you?  How might you want to work with this tree? How might you want to use this knowledge as part of your spiritual or magical practice?  How might you choose to share this with others in your ecosystem, if at all?  And most importantly, how does this knowledge deepen your understanding and work with a tree?

It might be that one tree would take you some time to go on a journey in this way.  That’s certainly been my experience–I’ve actually been working to study sacred trees in my ecosystem for over a decade, and this work will invariably continue as my own spiritual practices deepen.

The Magic of the Understory

A path of evergreen mountain laurel at Laurel Hill State Park. Amazing to hike through in the winter, when the understory sings!

As you may have noticed, in the last month or so I’ve been working diligently on my “Sacred Trees in the Americas” series.  The truth is, I’ve worked through most of the trees that are well known and form the overstory of most of the forests in the US East Coast.  Trees like White Pine, Oak, Hickory, Sugar Maple, Ash, Beech, and Birch are dominant trees.  And when you do research on these trees, you find a rich tradition and lore from both the Americas and the Old World.  Recently, I’ve moved my attention to lesser-known trees like Ironwood and Devil’s Walking Stick, and have covered others like Witch Hazel (distinct and different from American Hazel) and Spicebush. There is a striking difference between the first group and the second:  the absence of magical lore or even herbal lore on these trees.  One of the things that strike me is that many of these trees form the understory, the less majestic but not less magical counterparts.

In mid-November of 2020, I was blessed with good enough weather to do a final overnight camping trip and two-day hike before the snows came. I really like hiking during the late fall and winter months; I feel you can really learn a lot about nature that is obscured in the summer.  The landscape is just as vibrant and dynamic but so different. During this hike, the major theme that came to the surface for me during this time was examining the vibrancy and life of the understory.  In my travels, I was walking primarily through Oak-Hickory mature forests (primarily 2nd growth trees at least 100 or more years old).  These trees were bare and yet the understory flourished.  The moss was an electric green color, dazzling in its intensity.  The moss waits all year beneath the full shade of the overstory and then when the leaves come down, it thrives.  Likewise, the three trees that really stood out to me were all understory trees. Witch Hazel in her winter bloom phase, with bright yellow flowers that look like little fireworks–that were literally lighting up the forest.  Rhododendron with her showy, deep green, waxy leaves and beautifully twisted trunks, looking more tropical than ever. And Mountain Laurel, much more subdued than Rhodadendron with smaller leaves and growing much less tall–but no less majestic. The Ironwoods bent over the streams and reached up into the skies, ready to burst forth when spring arrives again.

Electric green moss soaking in the winter sun

It struck me how the understory was thriving in the winter months with the absence of the overstory and how these plants had evolved to take advantage of the winter light.  The evergreen trees, the blooming witch hazel, the early-blooming spicebush, and the mosses and lichens were thriving in times of darkness and cold when everything else was cold and bare.

The metaphor of the overstory and understory weighed upon me as I hiked.  Everyone pays attention to the overstory, the majestic trees is where all the awe is, and certainly, where all the logging dollars come from.  We as druids are drawn to the oaks, the hickories, the ashes, the beeches.  These are impressive trees, standing tall, forming groves, offering us shelter and strength.  But yet, winter comes and these trees go dormant, they grow quiet, and they grow still.

And while the entire overstory was dormant, it is the understory trees that are bringing life and vitality in the winter months.  The understory trees are seen as less valuable and important both in terms of magical traditions and in terms of human uses.  But standing there in that forest, I realized how wrong that perception was.

Rhodadendron overlooking the stream

These understory trees are often overlooked in our lore and in our practices.  But they should not be.  They teach us the lessons that we desperately need in a world that is growing ever more dark and cold.  I–and many others–are under no illusion that our culture is far from a place of high summer or growth.  The cost of three centuries of industrialization and stripping the land of resources is coming due.  Samhain is upon us as a culture, and we are entering into a time that will be quite dark and cold for humanity.  I don’t expect that this will change for the rest of my life, but rather, things will likely continue on this downward trajectory (don’t take my word for it, pick up John Michael Greer’s Not the Future We Ordered or any other peak-oil/industrial decline book and read for yourself).

My own path of druidry has, in a large part, been figuring out how to inhabit the world as it is, accepting what I can and can’t change, and helping bring forth a vision of a better world for the future descendants. The questions I often ask myself are: How do I live in a world that is in decline, that is continuing to put all life at risk, and still stay sane?  How can I thrive in this time and bring hope and peace?  As I walked through this powerful, vibrant understory–I realized that nature had already provided such a powerful lesson in this regard: learn to take advantage of times of darkness.  Be opportunistic.  Bloom when everything else is dying and the heavy frosts set in.  Be flexible. Learn to become evergreen.

So to me, embracing these understory trees that manage to thrive–even blossom–in such a dark and cold time gives me hope.  Let’s consider a few of their specific lessons:

Witch Hazel in Flower, late October

Witch Hazel that blooms in the winter. I’ve written before of my thoughts on Witch Hazel and how this tree offers the critically important lesson of becoming a good ancestor, and the work of preparing the way for our descendants (physical, spiritual, or otherwise).  Witch Hazel offers hope.

Ironwood, a symbol of strength and endurance. The lesson of the Ironwood I just shared–this is literally the strongest tree in the forest with the absolute densest wood.  A wood that literally turns an axe aside when it is struck.  If that isn’t a testament to the endurance and strength needed as we move forward in this age, I don’t know what is!  And finally,

Mountain Laurel and Rhododendron, with evergreen leaves and brighten the dark. I haven’t yet gotten to share my research on Mountain Laurel or Rhododendron yet–but it is coming soon.  These two understory trees add not only greenery and beauty to the forest, but they also brighten up dark places and bring light and hope back in.

Spicebush, blooming early and strong. Our spring entrant into the understory trees and plants category is Spicebush.  Spicebush has one of the earliest bloom times of any plant in this part of North America, often blooming while the snow is still on the ground and with other early entrants like Skunk Cabbage.  Spicebush flowers begin to set fruit just as the first leaves come onto the plant, allowing it to make the most of the late winter and early spring sun.  Rise and shine!

Electric Green Moss, teaching us to make the most of opportunity. One of the most wonderful books I’ve ever read is Gathering Moss by Robin Wall Kimmerer. In this book, she shares the many stories of the moss, and some human interactions–good, bad, and otherwise–within.  As I look at the beautiful electric green moss, which takes advantage of the opening up of the canopy to grow and thrive, I can’t help but think about the permaculture design principle: the problem is the solution.  Facing a problem allows us to consider inherent solutions that might yet be present.  The moss takes advantage of the winter to grow and thrive when everything else is dormant and dead.  That’s a lesson worth experiencing.

The understory might be overlooked in mythology and in the druid tradition, but if offers rich rewards for those who seek its wisdom.  I want to spend more intensive time considering, studying, the rich lessons that the understory has to offer.  I hope this has offered some insight to you!  What are your own experiences with the understory?  How does the understory change where you live?

The Butzemann (Magical Scarecrow) Tradition at Imbolc and through the Light Half of the Year

Last year’s butzemann, dressed in her finery (Technically, she was a Butzefrau!)

For the last three years, I’ve spent part of my Imbolc celebration making a Butzemann for our land.  The Butzemann is a really interesting tradition from PA Dutch (German) culture called the Butzemann (literally, Boogieman).  In a nutshell, the Butzemann is a magical scarecrow that protects the land for a season.  He is created at Imbolc from natural materials and given clothes and a heart. At the Spring Equinox, the Butzemann is shown the property and the breath of life is breathed into the Butzemann, naming him/her for the season.  Then the Butzemann is displayed prominently throughout the season to protect the and.  Before or on Samhain, the Butzemann is burned and the protective spirit is released and then at Imbolc, a new tradition begins. Today I thought I’d share this tradition with my readers, in case they also wanted to build this tradition into their celebrations.  The time is right to start thinking about creating your Butzeman for the coming season!

As I mentioned, this tradition comes to me from a few sources: the Pennsylvania Dutch heritage that is part of my ancestry, talking with local people about how they construct scarecrows in my region, and also some of the fabulous research of the Urglaawe community, who have been working tirelessly to develop a PA Dutch heathenry and who have done much research on the folk traditions surviving in Pennsylvania.

Pennsylvania is a very magical land. With the founding of Pennsylvania, William Penn offered more religious tolerance than could be found in most parts of Europe during the colonial era.  Thus, we had large groups of Germans (PA Dutch or PA Deutsch) among other radicals like Quakers and Shakers settle in Pennsylvania. As you drive through Pennsylvania, it is not uncommon to see pentacles and pentagrams protecting houses or hex signs on barns.  Even as you drive through the countryside, you can often see the scarecrows (Butzemann) in the fields, homemade and protecting the crops. And of course, we have the most famous weather prognosticator in the land: Punxatawney Phil, the magical groundhog!  These traditions were passed on in small ways through my grandmother to me, and I’m proud to continue them as part of my own spiritual path.

When the Butzemann tradition was taking root in Pennsylvania and being adapted from the old world, most of the people living here were farmers or depended in part on raising their own animals and growing their own food to feed themselves.  Having a blight strike the crops, having animals sicken and die, or having a drought could be the difference between thriving and starvation during the long winter months.  Given this, doing magical work to protect the home, the land, the crops, and the animals was central.  Even if you don’t have crops or farm animals to protect, you can certainly create a Butzemann to protect your home or place of dwelling.  As a homesteader with many bird flocks and gardens, this tradition is an extremely important one to my own practice and something I do every year.

In my own research, I have found that the Butzemann tradition has many different varieties here in Pennsylvania. In speaking with several of my German friends from Germany, I have also been told that this tradition has a number of approaches in Germany.  One of my German friends told me that I could certainly make a “Butzefrau” (a female Butz) if I preferred!

Imbolc: Constructing your Butzemann

The Back of the Garden Butzemann!

The first step is to construct your Butzemann at Imbolc. I like to go through the woods and our fields and glean dried grasses, corn cobs, gourds, and so forth to make my Butzemann. Sometimes, I gather these in the period between Samhain and the Winter solstice if I feel led, or sometimes I just gather them in the week or so leading up to Imbolc. This includes anything leftover from the garden, straw, etc. You can also create a lifesize Butzemann by sewing old clothing shut and then stuffing your entire Butzemann with straw.  This kind of Butzemann looks great watching over a garden!  Really, there is no right or wrong way to construct your Butzemann except you want to explicitly use materials from the land where the Butzemann will be protected if at all possible and everything should be natural so that it can burn.

Here are some of the features of a traditional Butzemann as you are constructing yours at Imbolc:

  • The Butzemann is constructed or filled with herbs, leaves, straw, sticks, and other natural materials from the land over which he will protect.  This is very important–he must be physically connected and constructed from the and.
  • The Butzemann is given clothing (regular size or smaller that you sew) out of natural materials that can burn.  You can also give him a hat.  Remember that all of the clothes on the Butzemann are burned at Samhain, so keep this in mind. The clothing is the first “gift” to the spirit who will reside in the Butzemann.
  • The Butzemann is given a heart  (I like to use a dried nut or acorn for this) to help bring the Butzemann to life.  You can put additional symbols, sigils, or words on the heart to assist the Butzemann.
  • If you want, you can put other things in the Butzemann (runes, ogham, prayers, slips of paper, and so forth) to help with protective magic and enchantment
  • The Butzemann should have some representation of eyes, ears, a nose, and a mouth.  This helps him have all of his senses, which is necessary for protecting the flocks, home, or land that he is placed on to guard.

As you are creating your Butzemann, a name may come to you.  Or, it may come later as we approach the Spring Equinox.  At this point, the Butzemann is not yet a magical creation–it is just the shell.

Spring Equinox: The Breath of Life and Protecting the Land

So much harvest thanks to the protection of the Butzemann!

The Spring Equinox is the time where the breath of life is breathed into the Butzemann and where he goes from being a simple shell to a house for a protective spirit that will guard your land for the coming season.

The first thing that is done is that the Butzemann is ritually named and a good, protective spirit is welcomed in.  You can create your own ritual for this or you can use this one from the Urglaawe community.  The steps of the ritual are:

  • Open up a sacred space (being aware you will be moving through your property)
  • Breathe life into the Butzemann (literally breathe or blow on the Butzemann); this invites a good spirit to enter and stay for the season
  • Give the Butzemann a name (see naming, below)
  • Close the space.

As the second part of your ritual, you should walk your Butzemann around the property he is to guard.  Then, place him somewhere prominently so that he can see the area he is to guard clearly.  It is good to make regular offerings to your Butzemann, speak to him by name, and visit him as the season progresses.  This helps establish reciprocation between you and the guardian spirit of the Butzemann.

Naming conventions: The Butzemann tradition has some very specific naming conventions.  Each generation of Butzemann you create takes not only his own name, but the names of his predecessors.  The naming conventions are a bit tricky, so I suggest looking at this link  for more detailed information.  In a nutshell, the first generation will have a name with “der Nei” indicating the first. Everything after the first generation (each year you create a Butzemann) will have additional names and the first generation name with “san” (the family name).  Example:

  • Year 1: Gerania der Nei
  • Year 2: Thyme Gerania Geraniasan
  • Year 3: Sage Thyme Gerania Geraniasan
  • Year 4: Parsley Thyme Gerania Geraniasan

Samhain: The Burning

Burn Butzeman, burn!

Burn Butzeman, burn!

At or before Samhain, your Butzemann must be burned.  At Samhain, the Butzemann’s spirit will leave and if you do not burn it, a bad spirit may take up residence.  Thus, you should burn your Butzemann before the end of Astrological Samhain.  I like to build a sacred fire as part of my Samhain festivities.  When it is time to burn the Butzemann, I begin by scattering some of the season’s herbs into the fire as an offering, also sharing my gratitude and thanks.  I carefully place the Butzemann on the fire and watch the Butzemann burn.  I put the ashes in the garden, and wait for Imbolc to return.

The Cycle Begins Again

After Samhain, we reach the full cycle of the Butzmann tradition.  The flocks are snug in their coops while the snows fall, and the land once again falls asleep.  But as soon as the sugar maples start running, the Butzmann tradition can be born.  Since we started doing a Butzemann here on our homestead, we have noticed a difference: less challenges with predators, abundant harvests even through a drought, and a general presence on the land that supports everything we do.  I think this is a wonderful tradition to start and continue, and I hope some of you will consider it!

Another Butzefrau! This is a design I like a lot 🙂

Visioning the Future through the Bardic Arts: Creating Vision, Creating Hope

Reishi mushroom from the Plant Spirit Oracle offers a vision of healing, growth, and regeneration

I used to be a big fan of reading dystopian fiction when I was younger. It seemed like a distant world, a reality far from our own. But perhaps now, those books resonate too close to reality. As someone who practices magic, I have to wonder, would the concepts present 1984 be as present if the book hadn’t been so well-read? Did George Orwell manifest these concepts as a magical act, or were these already present and he simply channeled what was already coming into focus? The same can be true of many such influential works: The Handmaid’s Tale, Brave New World, Bladerunner, and more. We also have things like robots, invented by Issac Asimov as science fiction in the 1940s and 60 years or more later, became a reality.  One might argue that despite the fantastical nature of these works, works like these have had an influence on present human culture.  Perhaps, it is a sign of the times that most of what has been produced from a mass media standpoint in the 20th-21st century is rather dystopian and chilling, with some notable exceptions. As we have recently seen here in the US, words have power.  Words can shape reality and incite people to action. Is this the world we want to create?

As someone who practices magic, I certainly accept that our intentions and the directing of our will can help shape our realities. I also accept that for many things, we have to have a spark or vision before we can see it come to reality.  It is hard to bring something to life if we first can’t envision that it could exist. If we accept this to be true, then, in turn, we can consciously harness intentions and that bring visions to life that help create a better future. I think that one of the powerful things that art of all forms can do is help envision the future.

 

Poison Ivy from the Plant Spirit Oracle – teaching new ways of interacting with nature.

At this point, we are facing both ecological disaster and many human challenges that grow more serious by the year as our society continues the “slow crash”.  This era of human civilization will decline and end–but the question is–what comes after?   How can we be good ancestors for the future?  Thus, I am always looking for ways to do more. I want to take responsibility for my own behaviors physically and metaphysically. Physically, this might include being careful with my purchases, working to heal and regenerate landscapes, and engaging in other kinds of sacred action. Metaphysically, it can be bringing forth visions of a better future–we can create the visions now so that they can enter circulation and become something that helps seed a brighter world.

I also share the rest of this post with a caveat. People create art for a lot of different reasons, both external and internal. You might consider visioning arts as one of many reasons to create, a bonus reason, a reason that offers your art additional purpose.  Not all art has to have this kind of vision either, but some art forms and works may be very well suited to it.

Creating a Sacred Vision

If you buy into this idea and you practice the bardic arts of any kind (poetry, music, dance, writing, visual art, fine crafts, etc) you might want to give this idea some thought.  What vision are you putting into the world? What is the world you want to create?  Towards that end, I have a few suggestions for helping you hone and refine some ideas.  The most important thing you can do is spend some time in meditation and reflection about what vision of the world, what ideas and concepts, you want to bring forth.   So here are a few things to consider:

  1. Start by thinking about the specific kind of art (bardic work) you produce and what kinds of messages you can share. Certain art forms are easier to convey messages than others.  When you convey messages in your work, can the work stand on its own, or, do you want to share some information about the work in addition to the work itself?
  2. Consider presenting general philosophy about your work.  Messaging can come in a lot of forms: these sometimes come in the form of “artist statements” that talks about what you do and why you do it.  This is especially helpful for work that can be interpreted in many ways, or whose interpretation is not immediately clear upon examination (e.g. woodcarving).  You can share these messages on social media, on your website, even with the physical art that someone receives.
  3. Consider your specific messages or themes you want to convey.   Perhaps you have a very specific message or a general one. Think about the thing you most would like to see in the world–write it down, and keep it in mind when you create.
  4. Consider the symbols you use. Symbols, whether they are intentional magical sigils or just broader symbols, also carry tremendous power. If you have specific symbols or symbolism you want to use in your work, this should also be considered!

Now, I’ll present three core visioning goals for my own work as an artist–I  am sharing them both to demonstrate an example of the kinds of visions you can create but also to spark your own creativity about how your bardic arts of all kinds (poetry, visual art, music, dance, fine crafts, writing) might support your own unique vision.

Messaging and Visioning: An Example

As a visual artist and a writer, I am always thinking about how I can bring this aspect of magical visioning into my work. It is one of the reasons I create, but certainly, not the only one! These are my three goals.

Presenting an alternative perspective and value of nature.

One of the first ways I see us using art, writing, poetry, music, and other bardic arts is to present alternatives or ways of reseeing our present reality.  We can show a different perspective on something, offer a new angle, or provide new insight through our work.  I think you can do this with anything, but as a druid who has her heart set on preserving the natural world, my focus s on nature and on providing alternative messaging and visions.

The art show!

I’ll give you a good example of this. As I’ve shared before on this blog, I live in a region of the USA that is an extraction zone: we have fracking wells, 1000’s of miles of streams full of acid and iron from mine runoff, mountaintop removal, boney dumps, logging, and coal-fired power plants–to name just a few.  Around here, most people view nature as something to extract; a resource to be profited from, and a way to keep jobs in the region. Hunting and fishing are also big around our rural area; while I’ve met some hunters who have reverence, unfortunately, many shoot animals, birds, and rodents for sport.  Thus, there is very little respect or love for nature and in my art, I work to offer a different message. 

A few years ago, I was invited to hang some work through our local art association at the regional hospital. It was a nice opportunity to have my work seen by a lot of people.  I thought really carefully about the content of my art and decided to work to present an alternative view of resource extraction.  I painted trees with hearts in the ground, I painted the telluric currents of earth energy flowing, I painted regenerated landscapes.  It’s hard to say how these pieces of art touched those who saw them, but I hope they did some good. The more these kinds of alternative messages and perspectives can get into circulation, the more “normalized” they become and the more power they hold.

Staghorn Sumac ornaments from reclaimed wood

Another way of thinking about this is in the tools and materials I use–there’s a message about valuing nature inherent in this work.  For example, my neighbor plowed over a beautiful stand of staghorn sumac last summer without even knowing what it was or how it could be used.  This beautiful stand was one I got to know well and I was really distraught at how it happened.  This really saddened me, but he did allow me to come in and harvest as much as I wanted of the wood and roots.  I did so, and at the holidays, I made him an ornament from the beautiful root wood and put a note on there that it was from the wood he let me harvest.  Perhaps this beautiful wood will have him think twice about cutting down the trees and seeing some inherent value in them.

Re-enchanting the world

After someone is willing to see nature, to value it more, to understand it in a new light, then I can shift to the more magical and potent part of the message–the message of the world being an enchanted place helping re-enchant humanity’s perspective of the living earth. If a new vision is step 1, then re-enchantment is step 2.  In other posts, I’ve written about what I see as the disenchantment of the world, the philosophical and literal stripping of all magic and wonder from the world, which I believe has paved the way for some of the more egregious abuses of nature in the 18th- 21st centuries. 

Ultimately, if we see nature as sacred, enchanted, and having a spirit of its own, it is much more likely that humans of all kinds will behave in ways of reverence and respect. I think a lot of authors and artists have done a great job in showing that the world has an enchanted side. 

Japanese Knotweed as Guardian of the Waterways

I think one of my own projects that most closely aligns with this goal is the Plant Spirit Oracle.  The goal of this deck was to take common medicinal plants and offer them in an enchanted and personified way.  I also paid special attention to plants that were maligned like Poison Ivy and Japanese Knotweed as part of this work. Thus, Japanese Knotweed, which is widely hated and maligned, is shown in an enchanted light as a guardian of the waterways; the catnip in your garden is shown to have spirit, poison ivy teaching awareness, and so on.  These plants have forms that can be viewed, interacted with, and offer guidance and wisdom. . 

Offering new visions of the future and personal empowerment

Wendell Berry’s Poem as a Woodburning–I made this at Samhain and in the spring, I will leave it as an offering in the forest, a reminder of the vision we can bring forth

A final aspect, and one that has a lot of potency for me right now, is thinking about how works of art of all kinds can shape the future. I’m sick of reading and thinking about things from a dystopian perspective and I’m sick of watching our world go further and further into those dystopian vision.  I’ve firmly committed to creating works of hope.  This was a clear vision for me for the Tarot of Trees– a response to deforestation. I wanted people who used the deck to value trees more, and I wanted a vision of a healed world to come forth. But there’s also a lot of future vision in these works: witch hazel, one of my favorite paintings in the PSO, is all about a pathway towards the future; about becoming a good ancestor. Comfey is about having the tools to bring positive change, while Rosemary reminds us of the powerful cycles and generations that we have to consider.  The messaging is there for those who look!

In another example, this one by one of my favorite writers, Wendell Berry, his poem, Work Song, Part II: A Vision is a prime example of a message that holds a vision of the future. When I first read this poem, I cried from the beauty of it, the vision Wendell Berry offered and thought about what we might need to get there.

Visioning a Brighter, Nature-centered Future

Providing alternative perspectives, enchantment, and visioning for the future is certainly a magical act and one that many people who practice the bardic arts might build into their work.  When you create something and put it out in the world, you have an opportunity to create so much more than just a piece of art–you have a chance to help build a vision of the world to come.  While simple visioning work is only part of the task before us, however, as Wendell Berry’s poem notes, it is an important part and something that each of us can do. 

Dear readers, I am very interested in hearing from you on this topic: Have you built visionary principles into your art? If so, please share.  If you haven’t yet but would like to, I’d love to hear from you as well!

 

Herbs for Visionary Work at the Winter Solstice

Plants are our medicine, our teachers, our friends, and help us connect deeply to spirit in a wide variety of ways including through spiritual work. Long before recorded history, our ancient ancestors used plants of all kinds. Ötzi, the ancient ancestor who was preserved in ice and who lived between 3400 and 3100 BCE, was found with multiple kinds of plants and mushrooms, including birch polypore (a medicinal mushroom) and the tinder fungus, a mushroom often used for transporting coals starting fires.  I love plants, and I love the ancestral connections and assistance that they can provide. In more recent history, we can look to a variety of cultures that use plants in ways that help alter or expand consciousness.

What better time to do some deep visionary work than at the winter solstice, when the world is plunged in darkness? It is in these dark times that we can look deeply within, work with the spirits that guide us, and have insights that help us more deeply understand the world and our place in it.  It is in this darkness that we can go for visionary walks (including in the long and dark nights), do spirit journeying, and engage in other forms of divination or communion with the living earth.

What are visionary herbs?

Visionary herbs are those that can help us with deep spirit journeying, deep meditations, and the kinds of self-expression that lead to deeper awareness. There are at least two categories of visionary herbs.  One category is what are traditionally called the teacher plants, the ones that cause radical shifts in consciousness and awareness.  These are the plants with the strongest effects and include a variety of psychedelic substances including strong herbs and mushrooms. While these plants were once quite illegal (at least here in the states), laws in the last few years have really become laxer and allowed these plants to be more accessible. I’m not writing about this group of plants today, but there are certainly books and resources out there about them if you want to learn more.

The visionary herbs I’m talking about today are milder, legal herbs that can help us shift our consciousness and vision, but that are less potent. To me, the difference between the two is that the teacher plants will take you on a journey whether or not you want it and requires pretty much nothing on your part–once you take teacher plants, you are on the journey of whatever kind it is for the duration. The visionary herbs I’m discussing today are milder and are more like aids or companions. Many of these visionary herbs have spiritual and mental effects that may make you more open, aware, or attuned at the moment, and are tied to helping bring the subconscious and intuitive sides forward.

The herbs I will share about today come from both teachings given to me as well as from my own experiences and connections with nature. Some of these herbs require you to build a relationship with them, while others will simply open the doors for you regardless of how long you have been acquainted. All herbs for any spiritual purpose work better when you have a relationship with that herb. Think about it like this–you meet someone, and you have a great conversation over a cup of tea. You think to yourself, wow, this person could be a great friend to me! That initial experience is wonderful. Ten years later,  you are sitting with your long-term friend and have that same cup of tea. The nuance and interaction is much richer–you can give each other just a look, or say a single word, and there is much more meaning. You’ve created a shared history together, and that history connects you on a much deeper level. This is why we build relationships with these visionary plants over time–the longer you have a relationship with a plant species (or even more ideally, the same lineage of plant or same plant), the depth of what you can do together grows.  When I say the same lineage of plant, what I mean by that is either the same plant from season to season (perennial plants) or the daughter and grandaughter plants born from the seed of your first plant.  These don’t have to just be plants you grow, but can be plants that you visit regularly.  Building plant relationships takes time, but it is time well spent.

Visionary Herbs for Awareness, True Sight, Memory, and Relaxation

So many different plants can go on this list, but for our purposes today, I’m going to share two plants from four different categories that I find are useful for visionary work.  You can agree or disagree, and in the comments, I’d love to hear your suggestions for plants that you have used.  I will also say that there are a lot of plants that *could* go on this list, but I’m only offering those that I have direct experience with over a period of years.

Herbs that Open up Awareness: Mugwort and Ghost Pipe

Our first set of herbs are those that open up our awareness and give us new perspectives and vision. Perhaps we need to see things from a new angle, rethink patterns of behavior and belief that have caused us difficulty, or do shadow work within ourselves. My favorite two herbs in this category are mugwort and Indian ghost pipe.

Mugwort: Artemesia vulgaris

Mugwort from the Plant Spirit Oracle (www.plantspiritoracle.com)

Long used as a dreaming herb and smoke cleansing herb, mugwort helps with any kind of meditative or subconscious work.  Within both psychology and the occult traditions, there is an acknowledgment of the multiple selves within us.  One interpretation is that we have a rational self, that self that is “in our heads” and that typically we are projecting when we are out and about in the world.  This is the thinker, the doubter, the one that can hold a career or do math. The second self we have is our intuitive self, the self beneath the layers of rationality (and there are many of those layers), perhaps the one that comes out during meditation, spiritual work, and other deep practices.  This is the self that is where our intuition resides and is a bridge to the many subconscious and unconscious realms within us. The third self is the spirit self, the piece of us that transcends death and that reincarnates, the self that is connected to everything else. Connecting with this self and other spiritual powers is one of the goals of most spiritual traditions and practices. I believe that channeling the awen through bardic arts or doing journey work are ways to help the intuitive self bridge to the spirit.  This long explanation is to say that mugwort is very, very good at helping us with this kind of work. Mugwort not only helps us have more vivid, intense, and lucid dreaming but also connects with those deeper selves, which leads to a more fruitful understanding of ourselves, our world, and our connections to all living things.

Indian Ghost Pipe: Monotropa uniflora

Ghost Pipe from the Plant Spirit Oracle

While mugwort helps bridge to the deeper selves, Ghost Pipe is particularly good for working with the rational self. The rational self is the product of a lot of outside influences: people’s external pressures about how we should behave, what we should do, what we should say, etc.  Sometimes, we end up living to the expectations of others rather than following our true path. Ghost pipe is very good at helping us slog through those layers and get to the heart of the issues at hand. Thus, ghost pipe offers us distance, perspective, and new understandings.  The best way I can describe this is with a metaphor of the forest and the trees. We live our lives on the ground, in the middle of the forest. Some of us might be walking a clear path in that forest, and others might be wandering (by choice or not). Ghost pipe helps temporarily lift us out of the forest and let’s us see the broader picture–it helps us expand our perspective.  I will note that due to overharvesting, Indian Ghost Pipe should be used *ONLY* as a floral essence.

Herbs that Aid with Seeing Clearly: Eyebright and Blue Vervain

Another thing that we need to do is see clearly.  Perhaps our own past experiences cloud our judgment.  Perhaps our past traumas and experiences prevent us from being able to clearly see what is before us.  Perhaps ongoing things in the world have put us in an emotional place and we need to break free.

Eyebright. Euphraise Officinale, Euphrasia spp.

Sometimes, the magic is in the name of the plant itself, and that is certainly the case with Eyebright.  On the physical level, eyebright helps strengthen the sight and the eyes, and many people take it as a healing herb for this reason.  But this same medicinal action happens on the level of our spirit, where work with eyebright helps us to see true.  We can see to the heart of things, to the heart of issues, and that true sight offers us new ways of being, healing, and inhabiting the world.

Blue Vervain. Verbena Hastada

Blue Vervain from the Plant Spirit Oracle

Blue vervain is a visionary herb that does essentially two things.  The first thing it does is allow us to let go of those things we cling to too tightly (e.g. things have to be a certain way, maybe a bit of OCD we are harboring) and instead, it allows us to go with the flow.  It thus connects us with that deeper, intuitive self by giving the rational self a bit of ease and relaxation.  Blue vervain works over time, so it’s particularly good to start taking it in some form and keep taking it for a while to get it to work for you in this way.  Once we are able to let go of the things we cling to, we are offered new visions and ways forward.  The second way Blue Vervain works is by putting us more in touch with our emotional side.  Blue vervain always lives by water–it understands how to help us navigate our difficult emotions and offers vision beyond them.

Herbs that Sharpen the Mind and bring Focus: Lavender and Rosemary

Sharpening our mind and our focus is something that we can all benefit from.  These herbs seem even more critical after nearly a year of long-term trauma from the global pandemic when many are now suffering the effects of overload, burnout, and more.

Lavender. Lavendula Spp.

Lavender is a herb that helps bring focus and clarity. It has a very gentle action that promotes the body to relax while the mind focuses.  This is an excellent combination for meditation and spirit journeying–bringing the mind into a place where it’s not going to wander while you are attempting your visioning work, while also bringing the body into a place of calm and tranquility.  Other herbs do this well too  (Lemon balm is another solid choice), but I think lavender is particularly good at bridging that mind-body connection that is necessary for powerful spirit work to take place.

Rosemary. Rosmarinus Officinalis.

Rosemary from the Plant Spirit Oracle

Rosemary from the Plant Spirit Oracle

Rosemary has long been associated with memory and remembrance.  If you are doing memory work of any kind, Rosemary is an excellent ally (including ancestor work, as linked above). Rosemary strengthens our memory and encourages us to use our memories in new ways, shaping them, and storing them.  Rosemary is particularly good for memory mansion work, using method of loci techniques that have been handed down by masters from the ages.  If there is a memory you want strongly to retain or a memory you want to bring back, rosemary is your guide.

Herbs that relax the Body and Release Tension: Kava Kava and Passionflower

Our final set of herbs can help foster a deeper sense of relaxation and allow us to go more deeply into sacred dreaming, meditation, or simply relax more fully.

Kava Kava: Piper methysticum.

Kava Kava is the only herb on my list that doesn’t grow in the US East coast, but I wanted to include it because there is nothing else like it–and because you can ethically source it from small farms effectively in Hawaii, thus supporting sustainable farming practices.  Kava Kava is a deeply relaxing herb, working on both the mind and the body. When you take kava in either tincture or tea form, it somewhat numbs the lips briefly. That same effect is later passed onto the body–not so much numbing, but taking away pains, deeply relaxing the muscles, and putting you into a relaxed state.  I like to use Kava Kava as part of my spiritual practice when I’ve had a long day and that day has really gotten into my body–I am carrying the worries of my day or my life in my physical body.  This means that I get literal aches and heaviness, and that makes it difficult to do spiritual work.  Kava helps me relax into myself and allows the spiritual work to flow.  (If you take a lot of kava, you will be impaired at driving, so please keep this in mind).

Passionflower: Passiflora incarnata

Passionflower is an outstanding nervine plant that helps our nervous system relax and thus, our bodies relax.  Passionflower is one of many nervines, but I find it particularly good for relaxation when the goal is spiritual work.  Part of it, perhaps, is that it is such an otherwordly flower–looking like the full moon on an enchanted evening.  But also, each different nervine has their own unique qualities–and passionflower helps one get into that place of calm so that the world of spirit can flow.  In a temperate climate, you can grow it yourself by keeping it as a vine in your home during the winter and then letting it grow wildly during the summer, offering it trellising.  Cut it back when the frost comes and bring it in for the winter months.  After a few years, your vine will produce many flowers and later fruits each year–which are an absolute delight!

Obtaining visionary herbs

Obviously, if you are going to use any of these herbs, you have to figure out the best way to obtain them. If you can grow them or harvest them yourself, this is probably the best thing you can do because it helps establish a deep relationship. I would pick one or two herbs that you really want to work with and cultivate them–even a pot on a windowsill can produce a beautiful rosemary or lavender plant! The alternative is to try to get them from an ethical, organic grower.  You don’t want conventional (read – chemically sprayed) herbs for any of your visionary work. The chemicals themselves can harm the spirit of the plant.  These plants are used to working with humans as friends and guides, and the spraying of poison on them really damages that relationship. So please, please be careful about ethical sourcing and chemical-free plants when you are sourcing herbs.  I would also be very careful of the “wild harvest” label, particularly for at-risk plants like kava or ghost pipe.  Wildharvested is often not sustainably harvested, so you want to be careful.  Places that are good for sourcing herbs are small farms like Black Locust Gardens or larger, ethical companies like Mountain Rose Herbs.

Taking visionary Herbs

You have a number of options for working with and taking visionary herbs. I’ll list the options, and which herbs might be best for each option.  All of the herbs I’ve listed are safe and non-toxic, so you can do a lot with them.

Rosemary smudge

Smudges and smoking blends: Mugwort is commonly used in smoking blends and smoke clearing sticks (smudge sticks).  Lavender and rosemary also work great in smudge sticks or incense blends.  Here, the idea is that you burn the plants and inhale the smoke–either in the air around you (with incense/smudges) or by smoking it in a sacred way.  For smoking, a little bit goes a long way!

Teas. Many of the plants on this list make excellent teas: mugwort (brewed briefly, too long and it gets bitter), rosemary, lavender, kava kava, and passionflower are all good choices.  Blue vervain is a very bitter herb, so I suggest using it as a tincture instead.

Infused oils. Any of these herbs are great as an infused oil, which you can then rub on your body or temples for spiritual work.  See my instructions for how to create an infused oil here.

Tinctures. Any of the herbs can be made into a tincture with a long shelf life. Alcohol, vinegar, or glycerine make good menstrua for making a spiritual tincture.  Alcohol and vinegar have an indefinite shelf life while glycerin lasts about a year. The tincture is easy to make and I have instructions here.

Flower Essence. This is the only way I recommend using Indian Ghost pipe because of serious challenges with overharvesting this plant in recent years.  To make a flower essence, you’ll have to seek out the plant when it is in bloom (in my region, that’s usually late June to late August) and do a simple flower essence.  Here are instructions.

Conclusion

I hope this post has offered you some new tools for working–and embracing–the darkness during the period of weeks before and after the Winter Solstice.  There is something extremely magical about this time that allows us to dig in deeply with ourselves and do important work.  Blessings of the Winter Solstice!

Honoring the Ancestors of the Bardic Arts: Tools, Techniques, and Legacies

Shoemaking Hammer with Spirit

Browsing an antique store a year ago, I found a wonderful shoemaking hammer.  It was an interesting shape, and when I held the tool, I could literally feel the connection this tool had had with its previous owner. Whoever had owned this tool had used it well–the handle was worn, a piece of old, soft velcro partially worn off where someone had placed it for a firmer grip. I could sense the resonance of craft and skill in this hammer. I held the unique hammer in my hand, and turned it a few times, knowing that this tool would find a wonderful home in my art studio.  But more than that, this tool had a bardic ancestral connection to one of the primary bardic arts  I have been pursuing for some time: leatherwork.

In Druidry and broader neopaganism, we often focus on the ancestors in three different directions.  The first is ancestors of our blood, which is the most common idea of “ancestor” in modern culture, and represents a connection with the DNA and lineage that we have coursing through our blood and bone. We often also recognize ancestors of the lands where we live (which is critically important for those of us who live on lands that were stolen through colonialization).  And we also recognize ancestors of our tradition or spiritual path, for example, in Druidry, the ancient druids and those of the druid revival period are honored as ancestors.  I’d like to suggest that for those of us engaged in the creation of bardic arts, we might consider a fourth kind of ancestor: ancestors of our craft.  By bardic arts, I mean any creative arts that you practice, which can include literary, musical, movement, art and craft, or others that are less easier to categorize. These are things you create with your hands, your mind, your body, and your heart that allow you to experience the flow of awen (creativity) and create.  In my earlier post on this topic, I offered a philosophy of ancestors of the bardic arts in two ways: the first was in considering taking up bardic arts that are tied to your own blood ancestors: what they created, how they created it, and so forth. Thus, you can draw upon ancestral in the choice of a new art form or carry on a family ancestral legacy. The second way I shared was through connecting to previous through previous bardic creations and using those as inspiration. For a clothing maker, this might be being inspired by previous century’s fashions, for a musician, sets of notes created in another time period, or by poets, through the words written in days of old.  These flows of inspiration can support the creation of new works today. In today’s post, I want to expand this idea of bardic ancestry and also consider the role of tools and teachings as a third area that we might consider to be part of a “bardic ancestry.”

Tools and Connections

Some of the leather and tools gifted to me

To get back to my shoemaker’s hammer, part of the reason that I was so excited to find this hammer is that this isn’t the first set of old and well-loved tools that I’ve encountered.  In fact, the first set of tools set me on the path of leatherwork six years ago. The journey into leatherwork was an unexpected one, one that almost fell in my lap.  It started with Yankee Shoe Repair, which was an icon in my hometown for over 100 years.  I remember going into this bright, wonderful store when I was a child with my grandmother and looking at all of the patent leather shoes that they made there.  In late 2013, the proprietor, Carmel Coco, had passed away and nobody in his family decided to continue his legacy.  According to the article linked above,  Carmel had given up other opportunities, including going to the conservatory for music, so that he could dedicate his life to leathercraft and continue his family’s business.  In early 2014, Yankee Shoe Repair went up for auction.  My parents, who are artists themselves, went to the auction and ended up purchasing leatherwork tools and much of the remaining leather for me as a birthday gift.

I was delighted with the gift and began to learn in earnest. Leatherwork drew me in deeply because it required a tremendous amount of technical skill to master (which is a welcome challenge) but also, in part, because I did feel like I was in my small way continuing a local ancestral legacy.  The tools that I held in my hands and worked with, such as punches, a beautiful bakelite hammer, and a lovingly crafted handmade awl, weren’t just any tools, they were special tools that came from a special place and that needed to be honored.

Leather case I made for my sickle

After spending time with these tools, learning how they work (mostly through books and youtube videos), I have developed my own relationship with them.  These tools of my craft have a spirit of their own.  They have presence.  I can feel the weight of the years of use in them, guiding my hand.

I think, given time, my newer tools that I purchased to supplement the ones that my parents bought will take on their own energy and spirit.  But that will come only after years of use and relationship building.

I suspect that many of us may have an opportunity to connect with old tools of a bardic art, or even have those tools come to us in unexpected ways.  My suggestion is this: If you are going to start a new bardic art, see if you can find some older, well-loved, and well-made tools.  Perhaps this is an older instrument, set of songbooks, old wooden palate, and so forth.  connecting with the tools of previous masters of the craft offers you what I can only describe as an energetic connection into your craft.  You still have to put in the work, practice, and cultivate your technical skills.  But using those tools gives you something that is simply not present, and I can only describe it as a bardic ancestral connection.

Teachings and Techniques

The other way in which I see this ancestral bardic connection flowing is through a different kind of legacy–a legacy of teaching and learning.  Techniques and teachings are refined, passed on, and shared with students.  This might be from a physical teacher to student (and certainly, this was the only way it was done in days of old), or, it might be through preserved books, teachings, and recorded lectures.  I see this as another ancestor of bardic craft connection: if someone has decided to pass what they know on, you are carrying that legacy of instruction with you each time you use those techniques and skills taught.

Leather burned piece above altar

It is not easy to find local leatherworkers willing to teach you or local leatherwork classes. I have only had the opportunity of taking one in-person class in leatherwork (at the North American Bushcraft School) and one more via purchased video (the DVD from Jason Hovatter on Scandanavian Turnshoes).  Those were both fairly recent in the last few years–and before and since then, I’ve been mostly on my own.  The thing about leatherwork is that it does require huge amounts of technical skill, and no amount of “messing around” with the tools will teach you certain things you need to know.  You need to use the established techniques to be successful.  For me, filling in the in-person gaps was the books and teaching legacy of Al Stohlman. Al Stohlman and his wife Ann revolutionized leatherwork, producing over 30 incredible books that are literally illustrated in leather.  These books teach you everything you need to know about techniques, construction, how to use and care for your tools, and more.  The impact of these books on my technical skill and how much they have taught me (and how much I still have to learn from them) is incredible. Thus, the other clear bardic ancestors I honor in leathercraft is Al and Ann Stohlman.

I suspect that many of us who are interested in taking up a particularly technical art form may eventually find those kinds of sources–teachers, either direct or indirect–which help us radically shape our craft and build technique.  Those kinds of inspirational figures are worthy of honor and respect.

Honoring the Ancestors of the Bardic Arts

Leather bag with a wolf theme

Now I’ve offered four ways–two in the last post, and two in this post–to think about bardic ancestors and honoring those ancestors.  But what might this look like in practice?  I’ll share a few ideas, although I suspect that different bardic art forms may require their own kinds of adaptations).

  1. Honoring the tools of the craft.  Because I am working with tools that carry a legacy, I take a moment at the start of a new project or when I pick up my tools for a creative session to honor them.  I have a moment of silence where I simply feel the tools, hold them, and express gratitude for them.  It’s not any kind of big ritual, but simply acknowledgment and gratitude.  Even if you aren’t working with legacy tools, I think it’s a good practice to take a moment to honor the tools–the raw materials they were created from and their support of your work.
  2. Honoring your hands and body as a tool of creation. If you are a dancer or singer or use your body in some way to create, you might also think about the ancestral legacy flowing through your veins–that voice came from some genetic combination, the hands that were shaped from the genetic material of previous ancestors, etc.
  3. Ancestor Shrine in your place of creation.  As with other ancestors, you might create a small altar or shrine to honor your ancestors of the craft.  This could be set up in a place where you create.  It doesn’t have to be anything fancy or elaborate, but a simple acknowledgment of the lineages and crafting traditions that you follow.
  4. Ancestor work at Samhain. For any of the ancestor work that you do at Samhain or other parts of the year, consider including the ancestors of your bardic crafts.  For example, I usually do an ancestor altar, dumb supper, and ancestor ritual of some kind as a way to honor my ancestors (sometimes this is with a grove, and sometimes solo).  Consider adding these ancestors in and revering them in the same way you would other ancestors in your spiritual practice.
  5. Improve your skill and dedicate yourself to your craft. I think that another way that you can honor the ancestors of the bardic arts is by dedicating yourself to developing technical skill and eventual mastery.  If you are using their tools, techniques, and approaches, applying these well is a form of honor.
  6. Naming and honoring. You might name a piece after an ancestor or create something that honors the ancestors of your bardic arts in a specific way.

    A larger awen bag

A week ago, my new leather sewing machine arrived. The machine represents a huge step forward in me deepening my craft of leatherwork. It allows me to move in new some exciting new directions.  I named the machine “Coco” in honor of my ancestors.  I hope that this post has inspired you in some new directions.  I am happy to continue to share deep thoughts on the bardic arts–sometimes they seem a bit “left out” in our spiritual discussions in Druidry, but I think they are so critical to our paths.  Blessings to all.

PS: I will be taking several weeks off from blogging and will resume blogging on the Winter Solstice.  Starting in 2021, I’m also planning on starting to release a quarterly email newsletter.  This will feature some of my favorite writing, new artwork, and other news about my work (such as my upcoming Sacred Actions book being released by Shiffer Publishing in 2021!)   If you are interested in signing up, please visit:  https://www.druidsgardenart.com/mailing-list/

Nature Mandalas for Inner Work, Rituals, and Blessings

A woman comes to a clearing in the recently burned forest with a basket of stones, sticks, nuts, and flowers.  She begins to sing, laugh, and dance as she creates a beautiful circle with the materials. As she weaves her healing magic, the design of the circle grows more complex, spiraling inward and outward.  She finishes her work and sits with it quietly for a time, before leaving it in place to do its own work.  A healing mandala has been made on that spot, to help the forest recover after a fire.

Nature mandalas can be used for a variety of inner work, healings, blessings and rituals and are a wonderful addition to a druid or natural spiritual practice. Nature mandalas are an intuitive magical and bardic arts practice that works with the connection of your own subconscious to the living earth.  You use materials that are local to you, in season, to create beautiful patterns with sacred intent.

On writing about mandalas, C. F. Jung, the esoteric psychologist, spoke of the benefits of creating mandalas as a way of seeing deeply into the psyche and allow for the cyclical process of self-development. Mandalas have been used in a variety of traditions, as he describes, primarily for inner spirit work—as the mandala is constructed, understanding, enlightenment, or healing may come. A mandala can be done in combination with other practices (ritual work, meditation, land healing and/or blessing) or they can be done on its own. Mandalas can also be done by anyone at any point in their practice, regardless of their ability to raise energy, visualize, or engage in any other advanced ritual techniques.

Creating a Nature Mandala

Space Selection. To create a mandala, select a flat space where you are able to lay out a pattern: a flat river bank or shore, a sandbar, a bare spot in the forest, a space in the lawn in your backyard, a dirt patch, a large stone, etc. Mandalas can be large or small and can be done in places where water can wash them away (a beach at low tied, the edge of a stream that will eventually flood, etc.), in the snow that will melt, etc.

Ephemeral nature. In fact, I would argue that their very ephemeral nature is part of that magic of the nature mandala: the mandala is created in the moment for a sacred purpose using materials local to the land.  After creation, it is left in the natural world, and nature’s processes will claim it again tomorrow.  As that claiming takes place, the mandala’s magic unfolds.

Massive ground mandala for ritual work at MAGUS 2018 (yellow and white cornmeal)

Massive ground mandala for ritual work at MAGUS 2018 (yellow and white cornmeal)

Design and Creation. In terms of the design of the mandala, many options are possible, some intentional and some intuitive.  There is no right or wrong way to create a mandala. You can create intuitive designs, setting your intention, putting yourself in a meditative place, and letting your subconscious guide you to create the mandala. If you are going to do this approach, I suggest before you begin, spending time communing with the land. Walking with the land, hearing the voices of the spirits in the wind, in your inner mind, feeling the energies present. Attune with those, and when you feel connected and centered with this place, create. This approach allows you to connect with the land and bring forth a design that is unique to the land, to your interaction, and to the place. This can lead to some really amazing designs and experiences.  I really like creating intuitive mandalas. They don’t have to be circular, they can weave around existing material in the landscape. They can be full of nature’s patterns: spirals, leaves, waves, circles, and more.  You can make mandalas to fit a landscape and space of any size or composition. Go in without a plan.  Connect to the world around you.  Just start laying things in a pattern. See what unfolds.  Smile, dance, and be happy.  Breathe.

On the intentional side,  Jung noted that many mandalas in other cultures unfolded in a circular four-fold pattern, tying to the four elements and other four-fold patterns in the universe. While we see a four-fold pattern in nature (in the flowers of a dogwood tree or in the small flowers in the arugula plant), this is only one possible pattern nature provides. The flowers of apples and hawthorns show us a five-fold pattern, the shell of a snail shows us a spiral pattern, and the flower of a trillium shows us a three-fold pattern. These and many other patterns can be used for inspiration. For more on nature’s patterns, see this post.

The alternative is to plan it out. I would suggest planning only if you are doing it with a group as part of a larger ritual or practice and/or if you are creating mandalas that will be of a more permanent nature. Planning your mandala can include sketching it in advance, planning out and gathering your materials, and preparing the space. The photo here is of a magical mandala that we created for a ley line ritual at the MAGUS Gathering in 2018. This was obviously intentionally planned in advance so that we could have it at the start of our ritual.

Mandalas and other Spiritual Work.  The act of mandala creation is a ritual in and of itself–but you also might want to use it in combination with other practices.  For example, you can use it as an anchor point for other ritual activity in this chapter, creating a mandala around a sacred space that you can sit in, meditate in, do other kinds of ritual in, or even, leave magical tools for further empowerment in.  I like to create mandalas as part of rituals; I use the mandala creation as a way of beginning my ritual work before moving into a formal ritual.  Or, you can simply be present with it for a time, spend a quiet moment in meditation, and then let it be, knowing that work continues on nature’s time.

Possibilities for Nature Mandalas

There are so many possibilities for working with Nature Mandalas.  I offer some suggestions for different ways you can create mandalas.

Nature Mandala with sticks, shells, stones, and other things. Begin gathering the materials for the mandala, using your intuition. A basket here also helps! As you gather, be careful not to disrupt the ecosystem (e.g. use fallen sticks, leaves, small stones, leave big stones where they are). When you have gathered your materials, begin to organize them in some circular or spiral fashion. There is no right or wrong way, just flow with the spirits of the land.  With each piece of the mandala, you can set intentions for the healing of the land (e.g. “this leaf represents the new growth of spring. This stone represents the health of the insect life” and so forth).

Fall Leaf Mandala. A very beautiful mandala can be created using fall leaves.  Just as they fall, gather them, and weave them into patterns to celebrate the autumn and the sacredness of this time.

Snow mandala in a sacred grove

Snow mandala in a sacred grove

Nature mandala with snow. If you are in an area with snowfall and laying snow, the better approach is to weave your mandala into the snow itself. To do this, simply close your eyes and visualize the shape you want your mandala to take—or just start walking. You can use a big open area or you can use a wooded area where you work the trees, stones, and other natural features into your design. Walk your mandala each day the snow is present, if possible, to leave lasting healing on the landscape.

Nature mandala with sand or soil. Another option for a nature mandala is in the sand or bare soil. You might use a stick to trace patterns, adding stones or shells. You might use your feet to trace to walk a larger path of the mandala. Mandalas on the shore, placed at the low tide line, will be taken by the sea, and thus, can be used as a blessing for the oceans. Mandalas placed higher on the shore can bless the land around them. Mandalas on the edges of river banks can be done in a similar manner, as rivers flood.

Hickory, Maple, Aster, Hawthorn, and Poke mandala on moss

Flour or Cornmeal Mandala. You can create a mandala by using flour or cornmeal (and cornmeal comes in several colors). To do this, you will want some kind of vessel that makes it easy to pour a little bit out at once–a commercial dressing container with a larger opening, a gallon jug (use a funnel to get it in there) or even a water pitcher can all work as a basic tool. For this kind of mandala, it is best to have a sand or dirt surface. I often make these in our sacred grove; in the fall months, I rake up the leaves and then work with the bare surface to weave patterns of cornmeal, leaves, and patterns. As fall turns to winter and the snows come, I work with the snow in the grove instead, continuing to layer energies in that sacred space.

Stone mandala. A more permanent option is to create a mandala with stones, leaving it somewhere to simply “be”. I would suggest this only at sites that have already had major disruption, as you do not want to disrupt the ecosystem itself by moving stones.

One last point about the different kinds of mandalas—make sure that in your mandala creating, you don’t disrupt the natural world.  Stones of any size are often home to insects and other life and removing them can disrupt the ecosystem. Don’t remove large stones or remove them from rivers, etc. Pick up and use things that are already ephemeral: small stones that are moved by the river or waves, nuts, sticks, leaves.

Some examples

I’ll offer a few examples of the different ways I’ve used mandalas in my practice recently.  These examples are meant to help spark your own creativity and ideas!

Acorn Mandala to Honor the Oak

Acorn Mandala to Honor the Oak

The first example is an offering mandala. I made this mandala after creating acorn pancakes on the fall equinox from the acorns being dropped from our ancient oak tree. It is this tree that  I have been working with my Tree for a Year practice, and it’s this tree that I’ve made acorn ink from, and now, the acorn pancakes. As part of an offering practice, I wanted to offer gratitude to this oak.

Grove Mandala

Grove Mandala

The second example was another recent mandala, this one with the purpose of preparing a magical space.  I have been drawn to a particular section of our sacred grove for a while (a Norway spruce tree with a large stone underneath, and a hickory nearby) and had a vision of some visionary and magical work to do there in the coming months.  As part of this, I raked and cleared a small section and made a flour and leaf mandala as saying “hello” to the space and honoring it.  I decided on a flour mandala because I had found some flour infested by flour moths, so I wanted to make good use of it but get it out of the kitchen! Plus, flour mandalas look great against bare earth! The purpose of this mandala was honoring this sacred space and beginning to lay energetic patterns for future ritual work.

Grimalkin cat walks through the leaf mandala!

The final example is one I did simply to bring peace and calm. As the leaves were falling, I simply went out and worked with them, making patterns, and working to provide calm and healing.  And it worked!

I hope that this post has offered you some inspiration.  I would love to see any mandalas that you create!  Please consider sharing them here and/or tagging me on Instagram (@druidsgardenart).  Blessings upon your journey!