The Druid's Garden

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

Foraging for Pigments from Local Rocks: Making Watercolors, Oils, and Egg Tempera Paint from the Land! May 12, 2019

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

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

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

 

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

Boney Dump iron oxide - my favorite pigment to date!

Boney Dump iron oxide – my favorite pigment to date!

 

Getting into Pigment Making

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

 

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

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

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

 

 

Sourcing Natural Pigments

 

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

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

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

 

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

 

 

So many potential pigment stones from one trip!

So many potential pigment stones from one trip!

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

 

 

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

 

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

 

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

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

Tools for Paint Making

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

 

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

 

Materials for Paint Making and How Paint Works

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

 

Paint Supplies: Watercolors

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

 

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

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

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

 

Paint Supplies: Oils

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

 

Paint Supplies: Egg Tempera

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

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

 

Preparing Your Pigments

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

 

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

Rock breaking.

Rock breaking.

 

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

Slate pigment at various stages

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

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

 

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

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

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

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

 

Making Your Paint

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

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

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

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

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

Mulling pigment.

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

What you are looking for is a very smooth grind.

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

 

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

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

 

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

 

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

 

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

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

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

 

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

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

 

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

 

Using Your Paint

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

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

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

 

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

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

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

 

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

 

The Druid’s Crane Bag April 21, 2019

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

 

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

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

Crane Bag History and Purpose

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

 

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

 

Planning Your Crane Bag: Crane Bag Purposes and Options

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

 

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

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

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

 

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

 

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

 

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

 

Creating or Finding Your Crane Bag

My Crane Bag

My First Crane Bag: Repurposed secondhand find!

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

 

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

 

 

Items for Your Bag

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

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

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

 

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

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

 

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

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

 

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

Potential power bag with objects

Potential power bag with objects

 

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

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

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

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

Another shot of the bag

Another shot of the bag

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

Ritual tools in the bag

Ritual tools in the bag

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

Elemental woodburned piece for remembering the directions!

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

More crane bag tools

More crane bag tools

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

Packaging helps!

Packaging helps!

 

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

Acorn is blessing the altar!

Acorn is blessing the altar!

 

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

 

Working Deeply with Water: Waters of the World Shrine and Sacred Waters April 7, 2019

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

Primal Water from the Plant Spirit Oracle

In the druid tradition, water represents the west, the place of emotions and intuition, the place of our ancestors and of the honored dead. Water is often connected with the salmon of wisdom, the salmon who dwells in a sacred pool, offering his wisdom to those who seek him. Water may serve as a gateway to other worlds and as a tool for scrying. Water can be used as a tool understand flows of all kinds. You can study flowing water through observation, fishing, boating or swimming and connected with in order to help us understand deep insights.  Snow and ice can likewise, be used as spiritual tools.  Water-based animals like turtles, fish, salamanders, dragonflies or water-based plants like cattail, calamus, or lotus are powerful allies for spiritual work. Working deeply with water is part of several druid teachings and courses, and thus, finding ways of doing that kind of work is important.   Today, I wanted to share some suggestions and ideas for working with the element of water.

 

Because I like to root our druidry in the here and now, I think its important to understand why, on the physical and spiritual level, water is a good element to be focusing on now.  Partially, I want to do this because in the last two months, I’ve been tackling a lot of difficult topics surrounding “Druidry for the 21st century“, and I hope that this post will help offer some soothing and healing. But tied to the issues that I’ve been recently discussing, we have a host of environmental challenges with water: global warming causing ocean acidification and coral bleaching; huge dead zones and polluted rivers; acid mine drainage issues; and issues with draining aquifers are all problems that the earth is facing.  We also have a host of social problems surrounding water, like major floods or droughts, issues of water ownership and issues of the drinkability of water (such as the ongoing water saga in Flint MI or the protests by the Water Protectors to protect the land and drinking water sources).

 

Further, It seems that right now, the emotional water energy of the world is out of balance: people only feel and focus on their emotional reaction rather than critically analyze (air), tensions are heated, and social unrest is present.  I do not believe that there is any coincidence that as the waters of the world are under pressure and threat that we see this unbalanced water energy in our social sphere. As a druid, I understand the relationship of these things.  Water is life. When we abuse that water, that abuse unbalances the waters of the world and we, thus, are unbalanced as well.  Given these larger problems, I think its good to cultivate a positive and meaningful connection with balanced water energy.  This helps us have a buffer between all that unbalanced watery and emotional energy that is plaguing us, for one.  But also, deep water work can open up worlds and new insights to us.

 

Collecting the Sacred Waters

My very special vial of Iona water

My very special vial of Iona water

Some years ago, at the OBOD’s East Coast Gathering, I was gifted with a very special vial of water. Thea Worthington, the OBOD modron at the time, offered me the water  that she had brought from Iona, the Isle of Druids. I had never been to Iona or the UK (and I still haven’t been) and this sacred water, coming from my the land of my ancestors–and spiritual ancestors–was a very cherished gift. When I brought the water home and placed it in a glass vial, it was literally humming with energy. I began using it in my spiritual work in various ways; taking a single drop of it and adding it to local water to ‘charge’ that water, bringing it into my rituals and the rituals of our grove, and so forth. Soon after, I began collecting waters from sacred places that I was visiting–waters of the many sacred springs, lakes, rivers, and oceans. After this experience, and through closely working with these waters. Each time I would gather the water, I put it in a small glass dram vial, and gave it a label. If others were going to visit places I may never go, I asked them to bring me water back with them.  Thus, over a period of 6 years, my “water collection” has grown quite considerably! Further, I found that physically working with the waters led to many spiritual experiences and insights — and you can build a whole spiritual practice surrounding collecting, honoring, and working with sacred waters.

 

You might consider starting your own water collection and working with waters deeply.  I’ve learned a few things that can help you if you want to do this kind of work, which is the basis of the rest of the ritual and spiritual work outlined in this post.

 

A local sacred spring for water honoring and collection

A local sacred spring for water honoring and collection

Bring a vessel. First, when you are out and about, always take some kind of collection vessel with you.  If you are out locally, you can also use your water bottle to bring back some water at the end of a hike or from some other outing. I try to keep a vial with me in my crane bag and foraging bag; that way, I will always have the opportunity to collect some water. I also keep a spare vial or bottle in my car for other adventures.  That way, when the opportunity to gather some water comes up, I am able to take advantage of it!

 

Now, when you travel on a plane, you need some planning and forethought.  I like to put my sacred water in a simple spray bottle labeled “hairspray.”  I have never had customs or TSA give me trouble with this, as long as it is packed away in my quart ziplock bag or in a checked bag.  Tincture bottles can also be used for this purpose.

 

Collect water with sacred intent. Second, I think its important to collect water with sacred intent. You want to make an offering to the water in exchange for the water you are taking. I like to do something sonic or energetic for this.  I may offer a stone from my land, chant, or play my flute. I like to do something that can resonate with the water in some meaningful way. I also, by the way, will clean up any garbage at the site where I am collecting if there is any to be found.

 

Frankfort Mineral Springs - A great place to collect some water

Frankfort Mineral Springs – A great place to collect some water

Knowing where to collect. I think that most places are good places to collect water.  I like to think about it this way: even if the source where I am collecting water from is polluted, it is good to represent that water source.  That river or lake or whatever still has a spirit, still has live that is trying to live there.  I treat polluted water sources differently in my ritual work though, and I’ll explain that below.  So if you are going to do this practice, collect widely.

 

Enlist help. If you have friends or family who are traveling somewhere that you may never go, ask them to bring you back a bit of water.  You can also involve other druids by doing a water exchange or using water in your rituals–ask everyone to bring some water (see combined waters – group ritual)  below.

 

Label and store carefully.  I purchase clear 1 dram vials with a lid, and use those for my waters, which works really well.  I used corked glass bottles for a while, but they tend to dry up after a year or two; the plastic lids never dry out.  Pour your water you collected into the vial, then, seal it up tightly.  Taking some colored paper and a pen, make yourself some kind of little label.  I tie these onto my bottles, but I could just as easily tape the label on there with packing tape.  The rest of the water, if safe, I offer my plants or the land.  If not safe (due to pollution), I will usually send it down the sink with a thanks.

 

At this point, once you have some waters you’ve collected, you can start to work with them in really amazing ways!

 

Creating Your Sacred Water Shrine and Ritual of Coming-Together Waters

Once you have started a water collection, you can build a shrine and welcome each of the waters into your collection with a ritual. I will offer you the basics of the ritual, with the understanding that you can frame it how you like, in any tradition you like.

 

Find a place where you can have your water shrine.  It should NOT be a place that cats or kids can easily get to.  In fact, in both of my homes, I kept my water shrine on a counter or near my tub.  That’s where it is located currently; my art studio and sacred space has an attached bathroom, and the whole bathroom is dedicated to the theme of water, flow, and Awen. I have an Awen shrine in the bathroom focusing on flow and honoring water, and opposite side, I have my sacred waters shrine.   IF this isn’t an option for you, consider getting a nice decorative  box for your waters to serve as your shrine.  That or a high shelf might be an option to you.

 

One you have a place, you’ll want to think about how you are going to arrange your water vials.  I got a nice cut wood round, sanded it a bit, and used that–and it works great.

 

Now you are ready for the ceremony. There are two options: You can do this in a regular ritual space you use, or you can do it in the bathtub. The bathtub has one advantage–you can, immediately during the ceremony, connect with your sacred waters much more deeply when you are in water yourself.  If you don’t want to or are not able to do it in the tub, you can do that part of the ceremony later (it is offered below).  Before you begin, you will need your water shrine area prepared, all of your vials present, and you will need dropper and one empty vial or bowl for the ceremony.  Before the ceremony begins, fill the bowl with rain water, spring water, or melted snow from your local area (some form of pure water).

 

The Ceremony

 

My sacred water shrine, which currently may be in need of expansion!

My sacred water shrine, which currently may be in need of expansion!

Open up a sacred space in your usual manner.

 

Begin with thanks for the water.  Say some words in gratitude, play music, drum, dance, whatever you feel led to do.  Allow the emotion to flow through you.

 

Arrange the vials of water in front of you, however many you have. Pick the first vial up, and through the glass, sense the energy of the water. Focus on the water for a time, simply feeling its energy and remembering how you gathered it–what the day was like, where you were, where the water comes from. Then, focus and see if there are any messages, insights, feelings. Once you are done with the vial, offer thanks and place your vial on the shrine. Continue this process till all of the vials are placed.

 

Now, take your bowl and dropper. Bless the bowl however you see fit and then pick up each water again. Using your intuition, sense the water and if it should be used for spiritual purposes. If you get an affirmative, take 3 drops of the water from the vial and place it in the bowl.  I do not recommend that you include any waters that are polluted to your sacred combined waters.  For example, my sister traveled to India and brought back water from the Ganga river.  When I did this ceremony and welcomed the Ganga waters to my shrine, I had the very clear message that I was not to open the bottle or work with that water in any way beyond sending that river healing energy (the Ganga is the 6th most polluted river in the world, with over 600 miles of dead zones).

 

At the end of this ceremony, if you are already bathing, do the full bathing ceremony below. If not, you can close out your space and when you have an opportunity, do a full bathing ceremony if that ceremony speaks to you.

 

Each time you have a new water, you can use the above ceremony to add that water to the shrine.  Or, if you are doing a lot of collection, you can wait till you have a few vials to add and do them all at once.

 

After your ritual concludes, you have created a very powerful bowl of sacred water with many different water energies, what I call the “coming together” water.  Add this water to a vial and label it.  If there is any remaining water in your bowl, water your plants with it, or pour it on the earth to offer your blessing.  If your vial gets low, you can always add more waters (and treat this like a “mother” essence, infinately able to be added to and used).

 

Setting the stage with a water-based altar

Setting the stage with a water-based altar

Healing and Blessing Bathing Ritual

You can do this ritual, as I said above, as part of your shrine building and coming together water ritual, otherwise, you can do this anytime you feel led.  I find this ritual is particularly powerful for when I am having a hard time emotionally and my emotions (and thus water) is out of balance.  I also find this ritual useful for healing of all kinds.  This ritual is useful to cultivate the flow of Awen in your life. This ritual is best done in a bathtub, but not all people have access to bathtubs.  Thus, I give a shower variant at the end.

 

Now, I want to talk a little bit about what to do at the end of the ritual (before I offer instructions).  In the tradition of hoodoo and more broadly, from many folk magic traditions, a bathing ritual is complete only after a person has drip dried–that is, towelling off after the ritual literally “wipes away” the magic.  I think that drip dry option adds an additional layer to the ceremony.

 

Prepare your bathroom for sacred work. I prefer to do this ritual at night, and I use at least four large tapers to light my bathroom. This provides ample light and sets the right ambience. Burn some incense and do whatever else you’d like to set the stage. You can play some soft instrumental music for this ritual. Additionally, make sure you have your vial of coming together waters and a dropper bottle.

 

Open up your sacred space, then fill and enter your tub.  Have your vial with you. Holding the vial in  your hand, speak your sacred intent to the water (healing, creative flow, balancing, flexibility, etc).  Then, open up your vial and use your dropper to drop 3 water droplets into your tub.  Close the vial and then swish the water around.  Now, simply relax.  Meditate, journey, breathe deeply, listen to music–just allow that sacred water to work on you in various ways.

 

When you have allowed the sacred waters to do the work, thank the waters for their gifts and healing. Then, pull your drain and leave the tub. If at all possible, do not use a towel and allow yourself to drip dry.  Close out your sacred space.

 

 

The same altar, but in the day. What a difference!

The same altar, but in the day. What a difference!

Shower variant: Place the sacred waters in a bucket of warm water.  Take the water into the shower and using a sponge, sponge yourself all over.  Do everything else the same as described above.

 

 

I hope this has been a useful way for you to think about how to work in a sacred way with water as part of your druid or nature-based spiritual path.  I still have a lot more to share about these water practices, but, since this post is getting quite long, I’ll finish up next week. Next week, stay tuned for by offering you some other ceremonies and ways to use your combined waters and also how to do a “coming together” waters ritual in a grove/group setting.

 

Spring Equinox Rituals: Rituals of Looking Back and Looking Forward March 17, 2019

Sometimes, when we are hiking on a trail, we are in a hurry to get somewhere–that far off vantage point, that mile marker on the map, or just seeing what is over the next horizon. I remember hiking with some friends who regularly backpacked; they were so intent on speeding through the woods to their goal and putting the miles behind them that they  left me behind at multiple points as I got off the trail to explore something. This “speeding towards a goal” is, perhaps, part of who we are as humans, and certainly, a product of Western Civilization, which is so growth and progress oriented.  Even with our spiritual practice, we can be so intent on focusing on a goal (that next grade or degree, for example) that we forget about the journey itself.  On this trail, the day I took this photo, my intuition told me to pause and turn around. I stopped, turned around, and there on the opposite side of the tree was a beautiful specimen of my favorite mushroom, Chicken of the Woods.  Had I kept on going in the direction, I never would have seen the mushroom, and I would have missed my dinner.  All it took was choosing to look behind me that allowed me to find it!

Trail through the woods

Trail through the woods

 

The Spring Equinox offers us one of two “balance” moments in the wheel of the year, where the light and dark are in balance, where we sit between the threshold of the dark half of the year (what is behind us) and the light half of the year (what is in front of us).  As a balance point, but also as a time of year that is “gaining” energy, I find that the Spring Equinox is my favorite time of the year for a pause, a chance to stop on our trail, and simply taking in where we’ve been and taking a chance to think about where we are heading next.  So in this post, I’m going to detail an activity (that you can ritualized, as I do) to take that moment of pause and reflect back on your spiritual journey, and what’s to come.

 

Reflection is when we consider, ponder, and look back upon things we previously experienced. Reflection helps us understand where we’ve come from, and helps us, to some extent, figure out where we are going next. Just like many of our sacred holidays in the druid tradition allow us to “pause” and experience the moment in time, so too does doing this kind of reflective work for our own spirituality  Reflection is a critical component of any spiritual practice; it helps us grow deeper and more intentionally.  Some reflective practices simply reviewing what has come before–while others encourage goal setting or envisioning the future to come.  Reflection can be done in a multitude of ways: through spiritual journaling, through mediation, through sharing stories with others.

 

All of the following activities are “ritualized” ways of reflection; that is, they are engaging in reflection as a sacred activity, part of ritual and certainly, part of spiritual life.

 

A Spring Equinox Ritual of Reflection and Growth (Solitary)

This first ritual is a way to reflect upon your journey–it is meant to be a solitary ritual.  I’ve done this ritual for a number of years (not every year, but usually every other year) and it is a very powerful experience.  Budget at least an hour or two for the ritual itself–it can sometimes take time to reflect.

 

Ritual Supplies and Preparation

Materials for Reflection and Your Journey. To do this ritual, you’ll need to gather up any spiritual journals or notes that you have.  If you belong to a druid order like OBOD or AODA, you might also want to get any end-of-coursework reflections that you wrote.  For the ritual, it will be helpful if you put these journals in chronological order (especially if you have a lot of them!  If you are starting out, you may only have one, and that’s fine too!)  Additionally, gather up items of spiritual significance to you.  You don’t need everything here, but think about highlights–these could be items that helped mark the start of your journey or helped you on the path.  They may be new or old.  Bring them into your ritual space.

 

Rosemary from the Plant Spirit Oracle

Rosemary from the Plant Spirit Oracle

Rosemary tea or springs of fresh rosemary. Rosemary is a powerful herb that helps us with remembrance; it is a very useful plant spirit ally to use in this ritual. I suggest preparing some rosemary tea (place about 1 tbsp of rosemary (dried or fresh) in 1-2 cups boiling water, let seep for 5 min, and then add honey or sugar).  Alternatively, you can use a rosemary incense or have fresh sprigs of rosemary nearby. You can easily obtain this even at a grocery store, and the ritual is much better with Rosemary as an ally!

 

Other Objects: Elements, etc. Prepare an altar with the elements and/or representations of any other energies or spirits/beings/deities that you work with.  You want anyone or anything that has been with you on this journey to join you for this work.

 

A Journal/Paper and a Pen: For writing as part of the ceremony.

 

Spiritual Cleansing:  I strongly suggest before doing the ritual itself, you do some kind of cleansing.  Smudging yourself with rosemary and sage smoke, taking a ritual bath, and so on, are all possibilities here.

 

The Ritual:

Part 1: Open up a sacred space:  Open up a sacred grove in your tradition (if you don’t know how, there is an overview in this post).  This typically involves cleansing the space, declaring your intent, declaring peace, drawing in the elements, and creating a protective circle or sphere.

 

Next, invite anyone (spirits, guides, plants, elements, etc) into the space that you would like to come with you on your journey.  Take all the time you need to do this; its important to have your spiritual support for this ritual.

 

At the end of the opening, sip your rosemary tea or crush a few rosemary needles in your fingers and smell them.  Call upon the sacred power of rosemary to assist you in this journey.  You can say anything that comes to you, or use this:

Rosemary, holder of the keys of memory
Rosemary, keeper of histories of time
Rosemary, holder of insight and reflection
Rosemary, sacred plant ally, help us remember.

Drink your rosemary tea and enjoy it throughout the rest of the ceremony.

 

Part 2: Creating your Physical Journey Map. Once you have your sacred space open, begin by arranging your objects and journals around you chronologically. Use a table, the floor, etc.  When I do this, I usually use the floor and surround myself with objects on all sides.  As you are arranging, think about when these things came into your life, and begin by creating a “roadmap” of where you’ve been, something you could physically see. Take all the time you need to do this (and it doesn’t have to be exact!)

 

Part 3: Reflecting on your Journey.  Now that you have everything arranged in chronological order, spend time reflecting on your journey.  You might read selected entries from your journal.  As you pick up each journal or object, hold it and speak of it or meditate upon it.  Work your way through the entire “map” you created.  Note anything “new” you realize or, just as importantly, insights you had forgotten about.   Reading previous journal entries, I find, is really useful and helpful in this process–it lets me clearly see where I was and where I’m going next!

 

Part 4: Deep insights. After your reflection, consider any major insights you have from the experience of creating your map and reflection. Write these down; these deep insights.  These are the key lessons from you previous experience, and that which can follow you into the future.

 

Part 5: The Journey to Come. Now, reflect on the next year to come. The Spring Equinox is a time of new beginnings and starting new things, so you might consider what you’d like to accomplish spiritually in this next year–get these down in writing and put them somewhere that you will see them often.

 

Close out the Space. Thank Rosemary, thank those who you called, and close out the space.  As an additional way to honor rosemary, you might consider growing a rosemary plant this year as a way of remembering the past journey and honoring the journey to come!

 

 

Storytelling Ritual of Looking Back and Foward (Group)

This second reflective ritual is a great ritual for 2 or more people, and would be appropriate for a grove or even getting a few friends together.  The amount of objects or journal entries shared largely depend on how many people you have in the group–obviously, 2-3 people can each share a lot more than 20 or 30 in a larger setting!  You can also change the theme of the ritual: today’s ritual focuses on reflecting on past spiritual journeys, but you could have them reflect on gifts others have given, ancestors, favorite plants, etc.

 

Ritual Preparation:

Memory/Storytelling Objects: Instruct each person who is coming to the ritual to bring objects or journal entries about key moments in their spiritual life.  These should be objects that hold some significance to the person.  Even in a larger group, if a person can’t share all that he/she/they brought, they can still have these objects with them–the selection process itself is sacred.

 

Prepare an Altar Space: Create a large altar space, something that everyone can add their objects to during the ritual.  A folding table with a nice tablecloth works great.

 

The Ritual:

Open up a sacred space:  Open up a sacred space in whatever tradition you use.

 

Honor Rosemary. Honor Rosemary and invite her spirit into the space. Bring rosemary physically into the space in some way:  you can asperge each participant with rosemary (take rosemary and dip her in water, and then lightly fling the water on each participant or lathe their forehead with it).  You can also offer rosemary tea or a rosemary smudge/incense (even rosemary needles burned on a charcoal block work great!)

As you conclude, all participants say:

Rosemary, holder of the keys of memory
Rosemary, keeper of histories of time
Rosemary, holder of insight and reflection
Rosemary, sacred plant ally, help us remember.

 

The Storytelling. Depending on the number of people, there are a few ways you can do this.  With a small group, you might go around the circle, and each person talking about their key object they brought and telling their own story, and then adding it to the altar.  With a much larger group, people could break into several groups, which would allow each person more time to tell their story.  After the groups reconvene, they add their objects to the altar.

 

Looking Forward: Each participant gets a sheet of paper and a pen, and then can write their spiritual goals for the coming year.  The goals can be shared aloud if participants choose or simply kept quiet.

 

Close out the space. Close out the space in your usual fashion.

 

Life Journey Ritual (Solo)

Life is a journey!

Life is a journey!

A final ritual you can do doesn’t use objects, but relies on the mind and memory itself.  For this ritual, prepare the rosemary as described above and open the sacred space.  Then, step back into the beginning of your spiritual journey–where you started in childhood, the different paths you took, and how, ultimately, you ended up here.  Spend time reflecting and remembering each major step you took–and then reflect on things to come.  This journey can take a lot of forms and end you up in really interesting places!

 

 

Final Thoughts

There are a lot of variations you could do with these rituals, but I think the core ideas are there: spend time journeying into your past, integrating the many experiences that you have had, and then moving forward into the present so that you can fully make use of the amazing spiritual insights and lessons that you have gained.  This technique is useful to you at *any stage* of your journey–and you get different things out of it.  I remember the first year I did it–as a new druid–and reading my journals after just a year was incredible.  Now, nearly 15 years in, its hard to believe how far I’ve come and exciting to think about where I’m heading next.  May the blessings of the spring equinox be upon you!

 

The Ancestors, the Descendants, and the Stones September 4, 2018

The Stone Circle at Four Quarters

The Stone Circle at Four Quarters

What would our descendants say about this time period? How would we, as a people, be written into their histories? What stories would they tell of us? Perhaps our ancestors would say that this was a time of recklessness, willful ignorance, of extravagance, and of excess. They might mourn the loss of ecological diversity and habitat that we did not protect, they would lament the loss of cultures and languages, the loss of so many things. Perhaps our descendants would say that we pillaged the land and many of its inhabitants by not knowing how to curb our own greed; that we were victims to our own quest for abundance; and that we filled the air with carbon simply because we wanted to move faster.

 

Or, perhaps, our descendants will tell a different story. Yes, they would say, the larger culture and government leaders didn’t want to make change and thereby created a more difficult, less ecologically stable, world. But there were others, their ancestors, who thought differently.  Their ancestors saw with open eyes the destruction surrounding materialist patterns of life, and they worked to change them physically and spiritually. Their ancestors paved the way for a new paradigm of thought and action: one of balance, respect, and nurturing for the living earth and all her inhabitants. And the reason that the descendants are here to record this history was because of their ancestors’ bravery, determination, and commitment to the sacredness of the land and the interconnected web of all life.

 

The stones await their newest additions

The stones await their newest additions

It was with these thoughts of future generations, and what legacy that we might leave them, that I journeyed to Four Quarters Interfaith Sanctuary for my second year at Stones Rising. As I wrote last year, as we engaged in the physical activity of raising a very large standing stone to add to the growing stone circle, we created something powerful. Stones rising is not just about us in the present moment, but rather, about building something that will last generations and cultivating a community that allows that work to continue to happen. And so, as I arrived at Four Quarters for Stones Rising, I was on the land once again, I was with my tribe once again, and we had sacred work to do.

 

As we gathered at the top of the mountain in the quickening darkness in preparation for pulling our first stone, we sensed the heaviness of that moment. Our ancestors were watching. Our descendants were watching. In the deepening darkness, by torchlight, we strained at the ropes to guide this new stone carefully, perilously, towards its new home. The magic is in the pull–the quiet on the lines, the breath of anticipation, the stone crew guiding the process. Fire and earth are in perfect synthesis as we complete our journey to the stone circle with the first of our two stones. Our ritual that evening invited us directly to engage with the past and the future.  We call forth and talked with our ancestors in front of the western “father stone” in the circle.  They are proud of the legacy that we are now living.  We then called forth and talked with our future descendants, in the east, near the “mother stone.” We listen to their voices, spanning through the ages, thanking us and urging us to continue our work now, so that they may come into being.

 

The next day, we prepare for the long pull. It is aptly named–we are pulling the second stone, the one we will also be raising this year–and it is a 5 ton stone, two tons heavier than what we pulled the night before and we have to pull it a much longer way. We once again assemble at the top of the mountain; our stone is strapped to a simple wooden sled, ready to join its brothers and sisters in the circle. We take three breaths and pull.

 

We pull for the ancestors, whose DNA floats in our veins and whose song we can hear on the breath of the wind.

 

We pull for the descendants, those young people among us, those in the womb, those yet to be conceived.

 

We pull for the land, our battered and beaten land, who, despite humanity’s treatment of her, still has skies that fill us with air, whose soils still produce our food, and whose rivers and storms still quench our thirst.

 

We pull for our community, strained as though it may be, knowing that this work is good work, and necessary work.

 

The stone does not move.  We strain at our ropes. Living in this time sometimes feels like the first long and desperate tug on that rope–when you keep pulling and pulling and nothing happens. When your feet slide in the grass and sweat drips from your brow and nothing happens.  When you feel your muscles straining to the point of collapse, and nothing happens. When everyone around you is likewise straining, giving it their all, and nothing happens. And then, when you know you can’t pull for another second, the stone finally moves a few inches, and then it moves faster, and you know no matter how hard it is to pull or how much time it takes, you will get there.

 

Pulling the stone during the long pull

Pulling the stone during the long pull

Hours later, we arrive with our stone in the stone circle. We break, and have more ceremony, feasting, and song.  The next day, the entire tribe gathers, first to be fed the delicious rolls of bread baked all night by the corn mothers. With nourishment in our bellies, we go as a community into the stone circle, making our commitments to the work, the land, and each other. We hold space as a community, and participate as we are able, to raise the stone into its place in the circle.  People sing, the drummers offer a steady beat, the crones offer a cup of tea, and the most delicious pickles can be found at the snack table. We sit among our tribe, celebrating this moment. Ropes are brought out and we move the stone into position.

 

Everything happens very slowly, ever so slowly, as only a stone can move. The stone raises up, inch by inch, with careful guidance and steady hands. The stone is a lot like the cultural and ecological challenges before us–the stone can only move an inch at a time.  It is a very heavy stone. We can’t expect change all at once. We need to endure, we need to understand that we are beginning the work of generations, and it will take us and our descendants to fully realize the dream of centering us, as humans, back in line with the living earth.

 

The stone is seated into place; a cheer goes up among the community. Now, we celebrate. Now, we feast. Now, through ceremony and song, we welcome the new stone into its home in the east. The East. The direction of the descendants; the direction of spring; the direction of new beginnings and new hopes. There in the east, our descendants stand watching, holding their breath, and dreaming of a tomorrow not yet here.

 

Our newest eastern stone, raised!

Our newest eastern stone, arisen!

The challenges we face as a world are so severe. Sometimes, I can’t fall asleep at night, my spirit heavy with the burden of the now, and even heavier with the burden of the future. When I look at little children, I think to myself, how will this world be for them when they grow up? What can I do now to ensure that they thrive? What about their children’s children?  When we welcome that new stone in the east, I felt my heart lighten. We are in incredibly difficult times, where change seems impossible, but like the slow raising of the standing stone, we–as a an earth-centered spiritual tribe, as a people dedicated to the land–are building a better paradigm for ourselves, our community, and our descendants. Each stone we move is a legacy for those yet unborn and for the stories they will tell, for the histories they will write.

 

We are in the process of becoming ancestors. Whatever our larger culture may offer future generations, we can leave a legacy that offers the seeds of hope, of re-connection to the living earth, and of living in balance. And, we can leave them the stones.

 

Walking Meditation Garden with Hugelkultur Beds June 24, 2018

As a practitioner of permaculture and as a druid, I am always looking for ways to work with the land to create sacred and ecologically healthy spaces.  That is, to create self-sustaining ecosystems that produce a varitey of yields: create habitat, offer nectar and pollen, systems that retain water and nutrients, offer medicine and food, create beauty and magic.  But conventional gardens, even sheet mulched gardens, can falter in water scarce conditions.  So building gardens long-term for resiliency and with a variety of climate challenges in mind is key.  At the same time, I am also looking to create sacred gardens, that is, not just places to grow food (which is simple enough) but to develop sacred relationships and deepen my connection with the living earth. Given all of this, I developed a design for a butterfly-shaped garden that would use hugelkultur raised beds and allow for a space for walking meditation and ritual.

 

Meditation Garden

Meditation Garden

When I came to the new homestead late last year, one thing was clear–any gardening was going to be rough going with the acidic, heavy clay soil full of rocks.  Digging down into the sunny part of the yard that was once excavated for a pool revealed virtually topsoil or humus content–basically, I was going to have to grow on clay subsoil.  A soil test revealed practically no phosphorous either.  Becuase I also have abundant wood on the property, digging down and creating some hugelkutur beds seemed like a great idea.

 

Hugelkutur beds were popularized by Sepp Holzer and discussed in his book Sepp Holzer’s Permaculture. They are used widely around the world as a way to create beds that are enormously productive due to their ability to create vibrant soil biology and hold copious amounts of water. The key to these beds is sinking a good amount of wood–large pieces–that slowly rots down over time. As the wood rots, it becomes a spongy mass ready to hold water.

 

The Hugelkultur beds certainly take some sweat equity, but they will pay out dividends in the long run. Each year that passes, more and more moisture will be held in the bed from the wood.  Microbial life will flourish in this wonderful, undisturbed system of nutrients and roots. Each year with the hugels is more abundant and productive than the last as the underlying soil structure grows more connected and diverse.

 

Choices for Hugels

One of the challenges with Hugelkultur is doing it without heavy equipment or fossil fuels. I’ve seen people make amazing hugels using a backhoe, tractor with an attachment, etc. They dig a big hole then use the machinery to pile up even more wood, making these enormous hugels. I don’t have knowledge of how to operate such machinery, so I was going to do mine on a smaller scale by hand. The question is–what can we do by hand, given these conditions?  Can we still make abundant and productive hugels on a smaller scale?

 

One of the key conditions for us was the heavy clay soil–when it rained, the water pooled in the space.  I thought that if we dug down, then the water would pool in there a bit, being able to be sucked up by the rotting wood.  After digging out the hugels (but before wood was added) this proved to be true–the water literally just laid in the heavy clay, forming pools that took days to dry out.  Yes!

 

Others, however, may find it more beneficial to go up rather than down–the key is to get the wood in it and get some layers of compost and such on top.  Your own conditions beyond that determine a lot of how you want to create your beds.  Here’s how I created mine!

 

Choices for Garden Design

In permaculture, one of the principles is “stacking functions.”  The idea behind this is that you should try to get as many different functions out of a single space as you can.  For example,  the greenhouse offers not only a great growing space for fall and spring crops, it offers shelter from frost for seedlings, and it offers a wonderful place to hang out when its 35 out and you want some sun.  Its multiple purposes, then, contribute to the overall goal of the greenhouse.  In the case of desginging a garden itself, this is also critical. The title of this blog is, after all, the “druid’s garden”–implying not only a garden but a sacred space.

 

The Lawn and Potential Space

The Lawn and Potential Space

And so, I think it is really important to consider the role of the sacredness and design in a garden space.  It’s not just a space to grow things in, to serve the pollenators and create ecosystems….but also a place of sacredness, where the act of gardening is sacred work and considered sacred practice. As is the act of being in the garden for non-gardening purposes, such as meditation and ritual.  To me, making garden spaces that can “stack functions” in this way is an important part not only of gardening, but of living a sacred life more generally and building connection and communion with nature.

 

So for this garden, I had a limited 2/3 circle space after putting in the greenhouse.  I toyed around with a large number of designs before settling on a tree of life theme.  As the garden developed, I realized I didn’t just want a set of “branches” but rather a space to do walking meditation like a labrynth, so the tree transformed more into a moth/butterfly design.

 

Building a Hugelkultur Walking Meditation Garden

Now that we’ve talked through both the mundane and sacred aspects of this particular garden design, let’s take a look at how to build one of these gardens!

 

Step 1: Observe, Interact, and Create a Design

I already had a good sense of the sunniest part of the land that was near the house and easy to access; this, was where the old owners had once had a pool.  It was here that I decided to place both the greenhouse and the walking meditation herb garden.  I observed this space in rain and sun, and also measured it out, thought about how I wanted to move among the garden, how big the beds should be, and so on.  To do this most effectively, you can get some garden stakes or sticks and then string–actually map out the location of your beds, see how it will be as you walk it, etc.  If you don’t have this, some old flour also works, just pour the flour down where you want the beds to be in lines, so that you are essentially “drawing” with flour.

Once I had a plan and was ready to proceed, I called out some friends to help get me started.

 

Step 2: Dig Down

I was blessed with some serious help from friends one weekend just after I moved in to help dig out the hugels.  First we had to remove a burn pit the previous owners left.  Then, we dug them down about a foot and a half–as far as we could go. The clay will be used for a cob wall project(more on that later in the year) that will go in the back of the greenhouse. This doesn’t look like much, but it was literally about 5 hours of work by six people!  Clay is heavy and doesn’t play nice.

Clay garden beds dug down

Clay garden beds dug down

 

 

Step 3: Add Wood

The next step is to add wood to your hugel bed. A lot of it.  As much as you can fit in it.  Here you can see me completing one half of one of the hugels. I used a lot of medium sized logs, some sticks, and also large huge logs along the bottom (not all of which you can see in the photo). The bigger logs will take much longer to break down, but that’s ok!

 

Most wood is fine to use with hugels, but you want to avoid a few kinds.  First, don’t use any woods that have chemicals that prevent the growing of other plants (black locust, walnut and alanthus come to mind). You also want to avoid rot resistant woods (cedar, black locust) as the point is to get it rotting down quickly. My beds primarily consisted of maple, cherry, and oak, as that was what was available.

Adding wood

Adding wood

Step 4: Add Additional Soil-Building Materials

The next stage is to cover the wood with anything else you can–any non-weedy garden waste, leaves, fresh or finished compost, manure, and so on. I threw some old pumpkins that were rotting in there, coffee grounds, a good pile of leaves, mulched grass, horse manure, and more.

 

In traditional hugel building, you would replace the topsoil upside down on top of the logs and keep adding more materials.  The issue I have with that is that I have 100% clay, and I don’t want to have any additional clay in my beds.  So I instead removed it for another project.

Adding leaves and materials

Adding leaves and materials

Step 5: Add Borders (optional)

A lot of people make hugel mounds and don’t add borders, but I find that the borders are really helpful to get them higher, especially with the design I was using (which consisted of fairly small beds.  Also, the borders give a clear demarkation line bewteen what your path is and what a bed is–and for good garden design, this is critical.  Paths determine garden space, after all.

 

After seeing my two friends who made a cool hugel garden with uprightlogs as borders, I thought I could do something similar.  In fact, this does not work:

I put the logs upright and then sunk them in the clay.  But…frost heaving in the winter knocked them all down.  I couldn’t dig down far enough to get them firmly in the soil without some kind of auger…. So I scrapped this idea and went to shorter beds with a rock linked edge.

This looks cool, but won't survive the winter!

This looks cool, but won’t survive the winter!

Since there is copious amounts of stone on the property (I just have to go digging and searching for it) and so I instead spent a lot of time hunting for stone on the property and moving stone for these beds.  It is empowering work!

Stone is quite heavy and moving it is a very good workout!

Moving stone is a very good workout!

 

Leaves and Stone

Leaves and Stone – I lined the beds with stone before adding the final layer. I packed the stone in with clay.

 

Step 6: Top with Finished Compost

The final step for the bed creation to top the bed with finished compost–I added about 5-6″ of compost over everything and then let it rain and settle, then added more.  This gives the plants you plant some room for growing. The beds, being so young, are otherwise difficult for the plants to take root.  Even so, the first year of the hugels as things are just starting to rot down can be not as abundant for plants.  You also want to suppliment with nitrogen–as carbon starts to break down (which is what most of your woody material is) it does suck the nitrogen out of the soil.  The most readily available form of nitrogen is, of course, liquid gold!

Adding finished compost to the bed

Adding finished compost to the bed

Step 7: Establish Paths

Becuase I wanted this to be a walking meditation garden, I needed to also think about the paths between the beds and creating them with something that would last.  I have done a lot of paths in the past at my old homestead with cardboard and wood chips; they are excellent choices, especially for a vegetable garden. Eventually, the wood chips and cardboard breaks down, and you end up with great soil you can move into your beds, then add another layer in.  However, these kinds of paths require regular yearly or at least every-other year maintenance and the paths quickly get lost.

 

But for this garden, which was more permanent and meant to also be a sacred space, I chose to use landscape fabric (which has a 20-25 year life and is breathable) and pea gravel from a local supplier. You could do a lot of things here for paths: brick work, stone work, other kinds of gravel, cardboard and wood chips, etc.  The key is to create something that you like and that fits the vibe of the garden.

 

So I laid the landscape fabric down and used steel pins to pin it in place. This fabric allows water to permeate but will not allow grass or other plants to grow.

 

Laying out the landscape fabric

Laying out the landscape fabric

Finally, I topped this with a 2-3″ layer of pea gravel (locally sourced) for walking paths.

Pea gravel going in

Pea gravel going in

 

Step 7: Plant!

The hugels can have both annual and perennial plants, trees, shrubs, etc.  I opted for this garden as a walking meditation garden filled with healing plants and some food plants.  There are three inlets and you can walk a figure eight or a loop in the garden and commune with the perennial plants.  The garden is planted with a variety of perennials and a few annuals: calendula, yarrow, horseradish, basil, thyme, new england aster, wood betony, garlic, chives, tomatoes, chamomile, rue, echninacea, St. John’s wort, and much more!

Butterfly-Shaped Meditation Garden Complete

Butterfly-Shaped Meditation Garden Complete

Another view of the garden

Another view of the garden

It is amazing to see how far this beautiful garden has come from the green, consumptive lawn.  It will now produce food, medicine, habitat, nectar, beauty, and a wonderful space for ritual and meditation work. This is just one variation–of countless others–to combine solid permaculture design techniques with sacred gardening.

 

2018 Mount Haemus Award Article – Channeling the Awen Within: An Exploration of Learning the Bardic Arts in the Modern Druid Tradition June 8, 2018

I am excited to annouce that my 2018 Mount Haemus Award article, titled “Channeling the Awen Within: An Exploration of Learning the Bardic Arts in the Druid Tradition” has been released on OBOD’s website (a better formatted PDF is at the bottom of the page; I suggest downloading and reading that). In 2020, I will travel to the UK to deliver a talk tied to the paper itself, as every four years, OBOD offers a Mount Haemus lecture for the four most recent scholars. Every eight years, OBOD publishes a volume, and the next volume will also include this paper. Given this incredible honor–and the fact that the project is now finally finished (whew!)–I wanted to take a bit of time today to talk about the project, what I learned, and how I hope it can help others.

 

What I Learned

Regeneration, card 79 from the 3rd edition of the Tarot of Trees

Regeneration, card 79 from the 3rd edition of the Tarot of Trees

This project was probably the most fun I have had as a learning researcher–I surveyed over 250 druids and conducted in-depth interviews with 15 druids from all around the world. I was able to connect with so many interesting people who adored the bardic arts, or who wanted to start a bardic practice, or who dabbled.  I got to know them, as people, as druids, as practitioners of the bardic arts. The project really took on a life of its own; I was able to delve deeply into the lived experiences of these druids and understand a lot more about how creativity and the bardic arts worked for them, but also how they discovered druidry, went deeper into their druid paths, and more.

 

I would say the most important thing I learned is that it takes a tremendous amount of courage to pick up a bardic art, especially if you haven’t done it before or grown up with it, and this is due to the presence of so much negative cultural baggage surrounding “talent” (which I discuss both in the Mount Haemus paper as well as in my bardic arts series on this blog). But that for those who were able to take that step forward, knowing they wouldn’t be good at it when they started–the rewards were incredible. I didn’t have the space to share the countless stories about just how important the bardic arts were for druids around the world. For some, they described it as their very breath, the thing that gets them up in the morning, the thing that helps them make sense of the world around them. People found deeply rich and meaningful spiritual rewards in their bardic practices–irrespective of how “good” or “talented” they felt they were. In fact, for many dedicated practitioners, it wasn’t about the product at all–it was about the act of creating. In the same way that doing a meditation isn’t about the act of meditation, it is about the spiritual benefits and calm one feels afterwards–the daily living benefits. The bardic arts were the same–it was less about producing something good, and more about simply creating/dancing/singing/knitting/playing music, or whatever else it was.  It didn’t matter what it was, but it was deeply spiritual and beneifical.

 

The second major finding  was the power of community. The Eisteddfodau, in particular, was deeply meaningful for those people who had access to them, even once a year at a major druid gathering.  I had attended these for years and had certainly enjoyed them, but for many they were positively transformational for many and helped the community, and individuals, overcome some of the challenges we face when taking up bardic arts.

 

After doing this research, I now understand how critically important the bardic arts are to the druid tradition.  So important, I would argue, that it should be of prime concern for us as a tradition to work to promote them, to reduce the negative language surrounding talent that disempowers people from taking them up or purusing them, and that we find ways of encouraging people to embrace the bardic arts. To make them as central to our tradition as they are to the individuals who practice them.

 

A final thing I discovered, which was outside of the scope of the paper, so I’ll just share it here, was the incredible and varied ways in which people stumbled upon or came into the druid tradition. Finding druidry was an act, for many, of coming home. Of finding a term to describe oneself, a term that had been lacking. In many cases, it was like they stumbled upon this great treasure, a spiritual path that fit them, and began walking it. The cycle of the year, the cycle of the seasons, the channeling of awen–these were deeply moving aspects for druids. It was amazing to hear so many “coming home” stories of people who were proud to call themselves druids, to learn that druidry was a thing, and to seek their spiritual solice and joy in the living earth.  What a wonderful and delightful tradition we belong to!

 

 

Indian Ghost Pipe - A painting from my ongoing Healing Plant Spirit Oracle project

Indian Ghost Pipe – A painting from my ongoing Healing Plant Spirit Oracle project

Why this topic?

Now that I’ve shared some of the major findings and things that excite me, I also wanted to take a few minutes to share some of what drew me to this topic. This project was born out of a few places. First, and foremost, druidry is quite unique in its celebration of the bardic arts as part of our spiritual practice.  This is foreign to folks, especially those coming out of Abrahamic religions.  I remember one person saying to me, “what, so you can paint and that’s spiritual work?” and I was like yes, I honor nature, and painting her is part of my spiritual work.  So for non-druids, wrapping one’s head around that is difficult.  But once you have wrapped your head around it, it becomes an extremely powerful experience–creativity as spirituality.  In my Mount Haemus piece, I shared stories from my participants about their deep spiritual relationship with their bardic arts.  I, too, had experienced a powerful spiritual practice in my artwork and in my flute playing, and I wanted to discover how more people may be able to have similar experiences.  Part of the impetus for doing this particular project was rooted in that joy that I discovered as I walked the druid path and brought together my love of nature and my love of creating things.  I wanted to know how the bardic arts functioned for others and the journeys that people took.

 

A second motivating factor for why I wanted to do the project was from my mentoring work with the AODA, people who are working on the AODA’s first, second, or third degrees have some choice. They can choose to pursue bardic arts (which are any of the creative or performative arts: music, dance, visual arts, fine crafts, etc); they can choose to pursue the ovate arts, through the study and exploration of nature; or they can choose to pursue the druid arts, which would involve magic, divniation, astrology, mysticism, and more.  When people make their choice, or talk to me about their choice, they often qualify reasons why they didn’t make another choice: “Oh, I’ll never be a good artist.”  Or “Oh, I can’t sing at all.”  It was sad to me, as someone who has dedicated so much of my life to the study of all three branches of druidry, to see people who had already believed they were going to fail before they even began. I knew that this came from a lot of sources, some of which I wrote about in terms of my participants for the Mount Haemus piece and some of which I wrote about on my blog in my “Taking up the path of the bard” series in terms of my own bardic practice.  But I wanted to explore this moe.

 

A third reason was in people’s reactions to my own artwork–after 13 years of dedicated painting and lots of mistakes, I have continued to be extremely frustrated when people attributed all that I had achieved as an artist to “talent.”  It happens literally anytime I posted a photo on social media–people coming in saying, with the best of intentions, meaning to be complimentary, “you are so talented, I could never do that.” And what frustrated me was that it wasn’t talent, its not like I picked up a paintbrush yesterday and created a masterpiece.  Rather, it was a ton of hard work and decication to my craft, expert feedback, study, and challenging myself in new directions. I wrote about this more specifically in my post on the bardic arts surrounding “practice makes perfect.”  That post was motivated entirely from that situation.  I was so pleased to learn in the study that for druids, it was about the process of creating something and the tie to spirituality, rather than the product that was to be something commodified.

 

Finally,  I did the project because I had professional expertise in the area of learning. In my mundane life, I’m a professor and learning researcher, and for over a decade, I have been studying in various forms how people learn to write (particularly in academic contexts) and how they develop as writers over time.  I already understood learning and developmental theories that might support the project,  I had used qualitative and quantiative research methods for years (and taught others how to use them at the doctoral level) and so it was already within my expertise as a scholar to work on a project in that regard.  And I thought there might be something interesting that my particular expertise could contribute to the broader druid tradition.  And certainly, I think there was!

Spirit of Blackberry/Bramble, 2016Spirit of Blackberry/Bramble, 2016

Spirit of Blackberry/Bramble, 2016

 

So this was a very exciting and fulfilling project for me, both as a druid, and as a scholar.  In truth, I am so proud of our community: proud of the tradition we continue to develop, proud of how we’ve overcome challenges to become bards, and so delighted to have gotten to know so many more druids in the course of this project.

 

Well, what are you still doing here?  Go over to the OBOD site and read the piece if you are interested!

 

PS: Next week I will return to my regularly scheduled blogging–thanks for your patience as I put in some gardens and did some travel!