The Druid's Garden

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

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.”

 

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!

 

A Druid’s Meditation Primer February 11, 2018

In this time as the light is coming back into the world, the time surrounding Imbolc, I find myself often going deeply inward for healing and strength and turning towards meditation as a guide for spiritual balance.  This deep winter period is, of course, coming on the heels of the frenzied holiday season where many of us get burned out by the amount of hustle and bustle.  Further, many of the demands of modern living, particularly for those working wage-earning jobs, require us to move faster, be always “connected” and present with new technology, and have an increasingly fast stream of information pouring in and out of our heads. This can lead to long-term drain on the spirit. In this quiet time of the year, amidst the snows and frozen earth, various meditation techniques allow for rest, centering, and rejuvenation.

 

The quiet that nature provides...

The quiet that nature provides…

Meditation offers us a quiet moment away from the hustle and bustle of normal life—a sacred moment, a moment that gives us peace and allows us to be only within our own minds. And yet,  I think that “meditation” for a lot of people raises up images of sitting cross legged ohm-ing or doing deep breathwork (the kind of meditation you might see on TV or find in a Yoga class). These forms of meditation are certainly effective, but represent only a small number of possibilities, and may not be as useful or practical to those who are on a druid path and seeking to connect deeply with nature. Particularly for those walking a nature-based spiritual path, other meditative forms might be more effective and connecting.  I would like to explore some of those today.

 

Three Outcomes of Meditation

Its always interesting to talk with a spiritual practitioner of another path. I have several good friends who have deep Yoga, Zen, and mindfulness practices, and when we talk about daily spiritual life, we find a lot of similarity–but also a lot of difference. In conversations with these friends, I have realized how important it is not to assume the word “meditation’ carries the same meaning, and to talk instead about the specific practices that we do. I have come to understand that  meditation is not a single technique but a wide range of techniques that work on the relationship between mind, body, and spirit and that offer spiritual benefit. These goals of meditation can manifest in at least three ways:

 

Clearing Meditation: Some forms of meditation encourage us to disconnect from the troubles and everyday grit of living–to facilitate peace, calm, tranquility. In eastern meditation, we might have “empty mind” kinds of meditation, where the goal is simply to clear one’s mind for a period of time or practice 30 or 45 minutes of quietude a few times a day. In druid and western meditation techniques, this might be when we practice a “fourfold breath” technique at the beginning of a meditation session to simply clear out what was there. Other forms may connect us to universal energies or our higher self. These goals are very “up and out” kinds of goals, and can certainly be useful and spiritually enriching. I also think these kinds of goals are really useful for distressing and finding ourselves again after busy life circumstances–the kinds of meditation that offer us real health benefits and stability.

 

Connection Meditation. Other kinds of meditation practices ask us to work to be fully present with the moment. I see mindfulness practices from Eastern tradition as a great example of this as well as the practices of nature observation, walking meditation, and other goals that connect us deeply with nature. In this broader goal then, the point of the meditation seems opposite of the first–it isn’t to help us clear and get us out of a present reality, but rather, put is in touch with one.

 

Focus Meditation. A final goal for some types of meditation is the goal of focus. I see this goal really clearly in the use of discursive meditation, where the goal of discursive meditation is to help direct thoughts and lead to deep insight. A second meditation where this happens is shamanic trance and journey work, where inner journeys are facilitated by a particular receptive–and yet focused–state of mind.

 

Reconnecting with the land

Reconnecting with the land

Breaking meditation into these three categories has helped me with my own meditation practice, and it has certainly also helped me teach these techniques to others and explain the benefits.  If you simply want to “meditate every day” as many druid and esoteric traditions suggest, you have to figure out what you’d like to get out of the meditation so that you can use appropriate techniques. If you use only one form of meditation always, you are getting a particular benefit but may not be getting the full range of benefits that different styles of meditation provides. You can also combine meditation styles (starting with a clearing meditation and moving into a focus meditation, for example) for maximum benefit.  So now that we have some sense of the goals of meditation, I’m going to share some meditative techniques that can be helpful for us to achieve them, specifically from a druid-based framework.

 

Preliminaries: Posture and Breathwork

Before you begin any kind of meditation, priming the body and mind for the meditation is necessary. This priming includes posture and breathwork.

Posture: Many meditation techniques suggest a particular posture (sitting in a straight-backed chair with the spine upright, sitting cross legged on the ground on a small pillow to elevate the spine, standing comfortably, laying flat on a hardwood floor with a yoga mat underneath, and so on). I have two thoughts on this subject.  First, because different meditation techniques have different outcomes, the position of the body may need to be different for these.  For deep journey work, for example, my preferred posture is laying on the ground on a yoga mat.  For a simple 10 minute clearing meditation, I’d prefer to sit cross legged outside on a stump or on the ground in front of a candle. So as you think about the roles and goals of your meditation, different postures may be helpful.

 

Another consideration is that some bodies do not do well with certain postures.  For example, some people are very comfortable sitting in straight-backed chairs or standing for long periods of time, while other bodies may hurt after only a few minutes of this practice.  While there is a body element to meditation, in that you can train your body, just as you train your mind, you can also be aware of what your body’s limits are.  Early on, for me, trying to maintain a rigid pose when my body doesn’t want to do that led me to frustration and shorter meditations.  When is tarted laying down and using a yoga mat, I was able to gain tremendous benefits without body sensitivity.

 

Breathwork is used in nearly all meditation styles, and styles of meditation connected with druidry is no exception.

  • Three Deep Breaths: Three deep breaths is a technique taught by OBOD and used at the start of many OBOD ceremonies.  It is a very simple clearing meditation technique where you take three deep breaths, typically tied to the elements of earth, sea, and sky.  So you can simply stand and take a deep breath with the sky above you, with the sea around you, and with the earth beneath you.  And those three deep breaths can be a very simple meditation technique in their own right or as a gateway to deeper work.
  • Four-fold breath. The four-fold breath is a breathing technique that helps you settle into a meditation and is used in many esoteric practices and traditions. I see it as being used for both focus and clearing purposes.  I was taught it through the work of John Michael Greer (Druidry Handbook and other works).  In this technique, you focus on counting to regulate your breath in four equal ways.  The way I do it is this: breathing in for the count of three, hold your breath (lightly) for a count of three, breath out for a count of three, and pause (again lightly) for a count of three.  JMG warns that if you close off your throat at either the inbreath or outbreath to severely, it can lead to long term health complications.   I like to see the fourfold breath almost like a pendulum or swing (breathing in to the moment of apex, where there is that pause and then outbreath, with another pause on the other end, except the time intervals are all equal).
  • Quiet Breath. JMG also describes “quiet breath” as another meditation technique–after doing a four-fold breath, for example, you might transition into quiet breath for the remainder of the meditation (this is the technique with discursive meditation, taught in the AODA’s tradition).  Quiet breath is a normal breathing pattern, where you are lightly breathing in and out in your normal rhythm.  The idea is transitioning away from breath being a central focus of your meditation and into other work.

 

Three Nature Meditations for Druids

Now that we have some of the preliminaries covered, I thought I’d share three meditation techniques that can work well for those practicing a druid path, framed within the three paths or perspectives of druidry: druid arts, ovate arts, and bardic arts.  I also want to indicate that I’m sharing new forms of meditation here–ones that are very connected to druid-based and nature spiritual purposes.

 

The flowing of awen and the river

The flowing of awen and the river

A Druid-Focused Meditation: The druid path asks us to connect deeply with spirit, thus, a simple “clearing” meditation is helpful for the druid path. To do this meditation, you should find a source of running water or falling water (so a rainstorm, stream, flowing spring, or seashore would be highly appropriate). Find a comfortable position near the body of water. Begin with three deep breaths followed by the fourfold breath where you work to simply be present and let go of anything you might be mentally carrying with you. You can switch at this point to quiet breath for the remainder of the meditation. As you enter quiet breath, close your eyes and allow the sound of the water to flow through you, within you, and over you. Simply be with the water, taking the sound into you, feeling the flow of it through you. Do this for a time until you find peace, tranquility, and presence.

 

Water is a very good element to start with for this meditation, but you can actually do it with any of the four elements for different effects. A windy day makes a nice air meditation, as does sitting by the fire, or digging one’s feet in sand or earth. This is a very sense-oriented meditation, but the overall goal is to work with that element to help clear and ground you.

 

I will also note that while I developed this meditation for the purposes of clearing, it also offers benefits for connecting and focus–in other words, it helps us meet all three goals of meditation.

 

An Ovate Mediation: The ovate path asks us to connect deeply with nature, so a walking meditation with a primary goal of “connecting” is a useful for this regard.  For this meditation, go to any natural area and be ready to walk.  Ideally, this should be a place where you are not going to run into a lot of other people, certainly, a place where you don’t have to interact or converse if possible. For this, I like to find a quiet and out of the way path at a state park (but you could go into any natural area that fits your . I begin by standing on the path and doing a simple earth-sea-sky breath and a quiet prayer to ask the spirits of nature to inspire me on this journey.

 

The idea of this meditation is a walking-based meditation, where you get into a state of focus on the world around you, and allow the spirits of nature to simply flow through you and be with you.  For this, the goal is to be in the present moment, experiencing whatever there is to experience, on whatever level there is to experience it.  Observing, interacting, and simply taking it all in and being part of the journey.  This practice leads to deep spiritual awakenings and insights–and each walk, even in the same natural area, can be completely different.

 

A Bardic Meditation: A bardic meditation is often a focus meditation, with the goal of the meditation to bring forth something into the world as part of a nature-enriched creative practice.  For this, it is best to find a place that you find inspiring–a place that sings to your soul.

 

For this meditation, you will want to go to that inspiring place and bring with you the tools of a bardic art you’d like to practice or already do practice. So you might bring an instrument, pen and paper, paints, and so on (I think it is ALWAYS a good idea to bring some kind of recording device as well).

 

Begin by opening up a sacred grove and using the fourfold breath and quiet breath to bring you to a receptive state. Transition into a series of Awen chants, and then simply take the place within you. Be like a sponge, pulling in the energy of that place, hearing that sacred place’s song, story, poem, painting–connecting deeply with spirit. The goal here is to be in a meditative and receptive state so if this place has something it would like you to bring forth, you are able to be ready to have a quiet and receptive mind to do so (the meditation part). The first few times you do this, you might not end up creating anything at all.  But with enough visits and practice, these techniques will put you into a receptive state where awen will flow when it is ready to do so.  

 

This technique, for me, has produced amazing paintings, songs, and words…many of which have ended up here on the Druid’s Garden blog!

 

Concluding Thoughts

There are so many other kinds of meditations that you can do that connect you with nature, your own spirit, and the bardic arts.  I think the important thing, with any of these, is making enough time for these connections to take place.  Not all spiritual work has to be planned–sometimes, the best experiences come from the unplanned things, the things that simply happen, or things for which we make space.

 

A Bardic Storytelling Ritual for Empowerment November 19, 2017

Everyone has a story to tell, and some stories are worth their weight in gold. How we retell past events, through the bardic art of storytelling, can help shape our present understanding.  Thinking about stories as acts of empowerment in this way is particularly important in an age where so many of us feel disempowered. One of the things I’ve noticed a lot lately is that people, of all ages, are really down, feeling defeated, and feeling burned out. They feel like they don’t have a lot of agency or power. And so, using ritual and spiritual practices to help us find our power, and better understand it, is an extremely useful practice.  Storytelling is a form of magic, in this case, through a bardic storytelling ritual, to help empower us and bring us hope.  So today’s post, in line with my larger series on the bardic arts, will look at a simple ritual that you can do with a friend or loved one to listen deeply and empower each other.

 

The Magician from the Tarot of Trees (one of the Archetypes used in the ritual)

The Magician from the Tarot of Trees (one of the Archetypes used in the ritual)

In The Power of Myth, Joseph Campbell in conversation with Bill Moyers (the book is based on a television show) retells old stories and shares his own stories in a compelling discussion that argues that myths, that is, the stories we tell, hold tremendous cultural power. Campbell argues, ultimately, that certain themes or stories are universal (like the hero on a journey) and that by telling these stories, we connect deeply with universal ways of understanding and inhabiting the world.  One of the arguments in the book, as recounted by the conversations between Moyers and Campbell is that western society, and the US in particular, don’t have enough effective stories, which alienate people, offer them less cultural identity and cause other kinds of problems. I’m really glossing over a lot with regards to The Power of Myth and similar kinds of works, but the point here is this–storytelling and connecting with archetypes present in the world is a very important part of human culture.

 

Even though storytelling and connecting to these broader myths is clearly important, a lot of us don’t tell many stories.  They seem largely absent in our lives.  We do have a lot of other people’s stories circulating, particularly, through movies and television, but these are not our own stories.

 

The druid community is a bit different.  If you are lucky enough to have a circle of druids nearby, you might have a chance to participate in an Eisteddfod (Bardic Circle), where we gather around the fire and share many bardic arts–including stories.  The bardic circle is the heartbeat of a druid gathering. But many of the stories shared at the Eisteddfod are not our own–about our own lives, about our own empowerment. What I present today is an alternative to a traditional bardic circle, another way that druids–and many others– might use storytelling in the druid tradition (and other contexts).

 

The Ritual

Archetypes

This ritual is performed by two people. In this ritual, we use the bardic art of storytelling to share stories that are themed through one of four Jungian archetypes (the hero, caregiver, magician, and bard). The goal of the ritual is to have each person tell a story from each of the four archetypes.

The following four archetypes can be used:

  • The Hero (a person who engages in courageous acts)
  • The Caregiver (a person who protects and cares for others)
  • The Bard (a person who realizes a creative vision)
  • The Magician (one who is able to work magic (with magic being broadly defined))

Other archetypes that you might want to include beyond the original four are these:

  • The Explorer (one who goes on a journey)
  • The Lover (one who expresses deep love for another)
  • The Sage (a person who seeks truth and deeper self awareness)
  • The Leader (one who helps lead others)*

(*The original Jungian archetype is “Ruler” but I think that doesn’t’ have the right connotation, so I changed it to “Leader”).

 

Strength from the Tarot of Trees, tied to the Hero Archetype

Strength from the Tarot of Trees, tied to the Hero Archetype

The Setting

The ritual can take place in a formal ritual setting or it can take place in a less formal setting, even over a period of days (like a weekend camping trip).  It is important, I believe, to acknowledge the opening part of the ritual and to close the ritual once the stories are complete.  How this done is up to the individuals, and may be more or less formal.

 

Preparation. Ideally, the two people doing the storytelling ritual have time to think about which story they want to tell, time to reflect upon the archetypes and consider which part of their own past experiences might best fit. You can do this prior to the actual ritual or at the beginning of the ritual (see below).

 

The Ritual

Sacred space. You may choose to open a sacred space in any manner that feels appropriate.  I’d highly suggest this step, as it helps set the “boundaries” for the ritual and creates a safe space for recounting stories.  Using a sacred grove for this is particularly useful (if you are in OBOD, opening a grove in the bardic grade would be quite appropriate).

 

Preparation. If you haven’t yet had the period of preparation, each person can go off for 15-30 min and think about the four archetypes and prepare to tell their stories.

 

Telling the story and Deep Listening.  In this ritual, person takes turns in the role the storyteller and in the role of the deep listener. The storyteller’s job is tell his or her own story accurately and deeply–to share what they want to share.

The deep listener’s job is to fully engage with the other person’s story–through eye contact, listening, and focusing on what is being said.

 

Qualities: At the end of each story, the deep listener shares their own reflection on the story, identifying what they hear and the qualities that the person shared. For example in a tale of the hero, the storyteller might tell a tale about jumping into cold water to save a drowning animal  The listener might hear that the speaker showed bravery, a quick wit, and a deep concern for the life of another. After the deep listener reflects, the storyteller should write down the qualities that deep listener shared.

 

Storytelling continues. Then the two individuals swap roles, and the next story is told. This is repeated until the stories are told for the four archetypes.

 

Reflection: At the end of the ritual, each person should have a list of qualities that they possess.  They should take time to share with each other, reflecting on what they learned about themselves, and the other, as part of the ritual.

 

Close the sacred space. Finally, the sacred space is closed and the ritual concludes.

 

Variants

You can also engage in this ritual with a number of variants.

The Empress from the Tarot of Trees, tied to the Caregiver

The Empress from the Tarot of Trees, tied to the Caregiver

Variant 1: One theme and a Larger Group. In a larger group (say, 4-6 people) you can choose one archetype and allow everyone to tell a story about it.  In a much larger group (say, 10-40 people), you can split people into groups of 4-6 and allow the stories to be shared in a more intimate way.  I haven’t done this with a very large group, but I have done it with a group of 5 people–we went through two rounds of storytelling by the fire and it was very powerful, especially with multiple “listeners” to all contribute to the qualities they heard.

 

Variant 2: Tarot Card Theme. One variant is to use tarot cards with all eight themes and let people draw the theme of the story they will tell.  Prepare a stack of tarot cards with the eight cards listed below. Each participant chooses 2 cards (make sure they put the cards back before the next person draws). This works either for a pair or a larger group (using variant 1).

Here are the Tarot Card associations:

  • The Hero (a person who engages in courageous acts) — Strength
  • The Caregiver (a person who protects and cares for others) — The Empress
  • The Bard (a person who realizes a creative vision) — The Star
  • The Magician (one who is able to work magic (with magic being broadly defined)) – The Magician
  • The Explorer (one who goes on a journey) – The Fool
  • The Lover (one who expresses deep love for another) – The Lovers
  • The Sage (a person who seeks truth and deeper self awareness) – The Hermit
  • The Leader (one who helps lead others) – The Emperor

Storytelling as Magic

I’ve done this ritual several times over the years, twice with one other person (both times very moving and deep experiences) and once with a larger group of 6 people (using the Tarot card variant, where each of us drew a card and told one story).  Both of these were very moving experiences and I learned a lot not only about myself but about my dear friends who did the ritual with me.

 

I believe a storytelling ritual like this offers us numerous benefits.  First, it gives us an opportunity to connect to some of those deep myths and archetypes that are present within human experience. Second, retelling a story allows us to reconnect to a moment, reflect on that moment, and in some cases, find deeper meaning in a moment of our past.  This allows us to find our strength, even in situations where not everyting was positive.  Third, this storytelling ritual allows your story to be heard deeply and fully by another.  In so many ways, we often aren’t able to be deeply heard by each other–attention spans are short, listening skills aren’t that great, and people are very distracted.  The power of deep listening is a gift that can be given–and it is moving to be really heard and understood.

 

Finally, the entire experience can be incredibly empowering. Retelling our own stories, experiencing them again–and most importantly, having them heard, can help empower us, aid in our own growth and promote our own deeper understanding of self.

 

Rituals and Activities to Enhance Creativity and Support the Bardic Arts August 6, 2017

This is my song, this is my voice,
These are my words, this is my choice.
Hear me now, take heed of my words.
Love me now, and your spirit will fly.

Hear me in the howling of the wolf,
My voice is the song of the Bards,
I am the power that helps the salmon leap,
I am the very first breath of a child.

From Damh the Bard’s Song of Awen.

 

It has been a long journey into considering the role of the bardic arts in the druid tradition and the role that creativity plays in spirituality. I realized that one final thing was missing from our discussion–a set of practical exercises and rituals that you can use to better work with the flow of awen and embrace the path of the bard. And so, to finish out my long series on the Bardic Arts in the Druid Tradition, we turn today to some practical rituals and practices that you can engage in to help cultivate your own bardic practice. If you haven’t read the other posts in this series, you might want to start there.  They are, in order: the cultivation and flow of awen, cultural challenges surrounding taking up the path of the bard, tips for how to cultivate the bardic arts, the fine art of creating functional things, and finally, the bardic arts as a path of spiritual development.  And so today, we look at five practices that can help you further cultivate the bardic creative arts in your life and in the lives of others: the bardic circle/Eisteddfod, a bardic storytelling ritual, a ritual for invoking the awen, setting up a magical creative working space, and a ritual for cultivating the bardic arts.  I hope that these suggestions offer you some practical tools as you continue on your own path of the bard and embrace the creative flow of awen in your life!

 

Hosting a Bardic Circle or Eisteddfod

In the modern druid tradition, an Eisteddfod is a circle of bards who come together to share tales, stories, dances, and more.  We use this term more loosely in the druid community than where it originated historically, and to frame this practice, understanding a bit about the Welsh Eisteddfod is necessary. Welsh Eisteddfods are traditional bardic arts competitions that have been has been held on a national level in Wales since the 18th century, but go back in various forms much further than that. One of the key early figures in the druid revival, Iolo Morganwg, took the Eisteddfod a bit further.  He developed a “Gorsedd,” which was an event within the Eisteddfod that offered various degrees, ritual and ceremony for the for the purpose of promoting excellence in the bardic arts, particularly poetry, music, and literature. To this day the Welsh Gorsedd has druids, bards, and ovates who wear various robes.  The ranks of the bards include individuals who sit for exams in a variety of bardic arts, Welsh language, and more. Ovates and druids are honored for their contributions to Welsh Culture. Both of these practices persist to this day in Wales, and they take on a particular flavor in the modern Druid communities that trace their roots to the druid revival.

 

In modern Druid communities, it is very common to experience an Eisteddfod, sometimes simply for sharing, and other times, for a bardic arts competition.  Most typically, the bardic circles happen around campfires and can last into the wee hours of the morning.  Sometimes, the Eisteddfod is setup as a formal competition with multiple rounds, winners of individual rounds get to compete at the final night of the gathering.  The winner gets a prize, or at least, serious community recognition. But also, just as often, there is no competition and instead, it is a chance simply to share something by the fire: a poem, a story, a song, . Sharing at an Eisteddfod does not come easily to many people due to a lifetime of cultural conditioning, however, sharing at an Eisteddfod  allows you to break the potential years of silence and thinking you aren’t good enough and again realize there you are, telling a tale and hearing a thunderous applause.

 

Starting an Eisteddfod: You can start an Eisteddfod with friends (including non-druid friends). Ideally, you need a circular space where people can gather and enough people to make it a good time. A campfire or fireplace to gather around is a plus, but not necessary. Consider having a potluck meal as part of your Eisteddfod.

 

Damh the Bard Concert at OBOD East Coast Gathering a few years back

Damh the Bard Concert at OBOD East Coast Gathering a few years back

A Simple Setup. For an Eisteddfod, you need a space where people can gather, enough people to share stories, songs, dances, and other creative expressions, and some libations and food. A fire is a bonus, but is by no means necessary. You also need a master of ceremonies of sorts to help keep things going.  If you are doing an actual competition, you need two additional things: a panel of judges who will be able to declare winners and prizes for the winners.

 

The best part about an Eisteddfod don’t need to invite “druids” over or people on a similar spiritual path. Everyday folks from a variety of different traditions and life paths might find the idea of the Eisteddfod appealing and join your circle of bards.  It is a good way for solitary druids to find community without other druids nearby and still engage in a core practice in the druid tradition.

 

A Bardic Storytelling Ritual of Empowerment

The stories of our own past and histories can help shape our present understanding. This ritual is performed by two people. It can be performed in a sacred space, around a fire, or over a period of days where two people are spending them together. In this ritual, we use the bardic art of storytelling to share stories that are themed through one of four Jungian archetypes (the hero, caregiver, magician, and bard). The two people take turns telling their stories, and while one is telling the tale, the other is deeply listening. At the end of the tale, the listener shares the deeper qualities that he/she heard. For example in a tale of the hero, the listener might hear that the speaker showed bravery, quick wittedness, and eloquence. The goal of this storytelling ritual is to allow both participants to recognize the other’s gifts, the things that are already within ourselves, and that we may want to further cultivate.  Write down the qualities that the listener tells you for each of the stories—they are qualities to remember, and draw upon, for our own healing and growth.

 

The following four archetypes can be used:

  • The Hero (a person who employs courageous acts)
  • The Caregiver (a person who protects and cares for others)
  • The Bard (a person who realizes a creative vision)
  • The Magician (one who is able to work magic)

 

Other possibilities that you might want to include beyond the original three.

  • The Explorer (one who goes on a journey)
  • The Lover (one who expresses deep love for another)
  • The Sage (a person who seeks truth and deeper self awareness)
  • The Ruler (one who helps lead others)

Ritual for Invoking Awen

This very simple ritual for invoking Awen connects us deeply with the waters and the flow of Nywfre. You can use it at the start of any creative endeavor.

 

Supplies: Sacred Water. Before you can do this ritual, you will need to gather some water from a place sacred to you. Natural springs or wells are particularly effective for this, as is rainwater. If you are home-bound, even getting a bottle of fresh spring water from a local source will be effective here. Once you have your water, you can “make more” sacred water for this ceremony by simply adding new water (of any kind) to it. This water can also be used in your elemental altar, below. Place the sacred water in a small glass bowl and have it available for the ritual.

 

Sacred Flows from a Local Spring

Sacred Flows from a Local Spring

The Ritual:  Begin by taking three or more deep breaths, settling yourself into your body and allowing your breath to center and calm you. When you are ready, close your eyes and ring out the “Awen” chant three times. Then, with the bowl of sacred water, lathe your brow and your hands, and say “May the Awen flow within me. May the muse inspire me.” Take a moment to visualize the flow of the Awen within you, flowing in from the land, sea, and sky.

 

Setting up a Magical Creative Working Space: A Bardic Altar

 

Setting up Your Altar

We can use the elemental systems present in the druid tradition to help cultivate the right kind of energy for our own creative workings. One very effective way of doing this is to draw upon the power of the elements to create a physical shrine dedicated to helping you with your creative bardic arts.

 

For the bardic arts, we might use a four-fold elemental system as follows:

  • Fire – Beginning projects, gathering steam, projects of passion and intensity, any body-based work
    • Materials for Altar: Candles, igneous rocks, plant material that likes to burn (like white birch, conifers), red altar cloth, images of fire/sun/light
  • Air – Projects that require deep and clear thinking, projects that are mind/language/communication/memory based, writing/poetry/songwriting projects, problem solving
    • Materials for Altar: Incense, white/light gray/light yellow altar cloth, feathers, wind chimes, bells, singing bowls, images of the sky and clouds
  • Water – Building positive emotions towards a project, overcoming challenges, allowing the Awen to simply flow through you, any painting-based work (watercolor), other work that requires flow and fluidity (like dance)
    • Materials: Bowl of water, collection of water from sacred places, shells, river stones, opals, blue altar cloth, images of water/rivers/lakes, lake plants, seaweed/lake weed
  • Earth – Continuing on with a longer project that you are growing weary of, stubbornness and determination, also any wood-based work or earth-based work (clay), any nature-themed work
    • Materials: Stones, roots, nuts, fruit, bowl of earth, brown or green altar cloth, bark, images of caves and mountains

You can create a small elemental altar near where you are working on your bardic arts to help bring in that elemental energy to the space. You can change the “focus” of the altar based on what elemental energy you might need at the moment for your work. An altar cloth and change of materials will allow you to always bring in the blessing of the element.

 

For example, I have a permanent elemental altar on a shelf in my art studio. While all of the elements are present, the major focus of the altar rotates based on the project I’m working on. If I am particularly deficient and having difficulty (for me, this is almost always in earth and maintaining my focus on a longer project over time) I will dedicate the entire altar space to the energies of the earth for that purpose. And so, I gather up things that are representative of the earth: leaves, acorns, roots, soil, and a potted plant and bring them into the altar.  I also include a small bowl of water, incense, and a candle to represent the other elements (as their presence is also needed for any project to come into manifestation).  Finally, I include an awen symbol on the altar to recognize and connect with the divine inspiration that drives the creative work.

 

In addition to the elements, you might want to put other pieces on the altar that are dedicated to your particular bardic arts.  For example, if you are working on writing, an old-style pen and inkwell might be appropriate, or a symbol fo Mercury, who governs communication.  If you are a dancer, an old pair of dance shoes and a photo of a dancer who inspires you would be appropriate, and so on.

 

Earth Altar in Kitchen for Magical Crafting and Magical Culinary Arts

Earth Altar in Kitchen for Magical Crafting and Magical Culinary Arts

Another option if you don’t have space for an altar or you don’t have a dedicated bardic arts space (or it isn’t appropriate due to living circumstances) is to hang an elemental representation (or set of representations) somewhere near where you practice your bardic art.  So if you practice your storytelling in front of the mirror in the bathroom, hang up a painting or photo of the element(s) or a natural place that is strongly aligned with that element that will aid you.  You could also use a simple awen drawing for this purpose.

Using Your Altar

You can use the altar in a variety of ways.  The presence of the altar itself will have a beneficial on the bardic work. Pausing before you begin the work to open up a sacred space (see below) using the altar as a focus is also a useful practice.  Tending the water regularly (changing the bowl of water, regular adding of new things, dusting, etc.) also connects you to that bardic practice.  Even if you don’t have time to engage in your bardic arts that day, visiting the altar and offering an awen chant will continue to encourage the flow of awen in your life.

 

Before you begin to do magical crafting or practice your bardic art, you can use the altar as a focus point to open up a sacred bardic grove, which I’ll now discuss.

 

 

Opening up a Sacred Bardic Arts Space

As the druid tradition recognizes that the bardic arts are inherently connected to spiritual practice, you can create a sacred space in which to engage in your bardic arts by using a simple sacred grove opening. This practice is particularly effective if you are working on a project that is new, challenging, or spiritual in nature.

 

This could be very simple:

  • Declaring that you are opening a space for working in your bardic art
  • Declaring peace in the quarters
  • Drawing upon the four elements for strength (see below)
  • Asking the Awen to flow within (see below)
  • Putting up a sphere of protection (AODA) or a simple protective circle (OBOD) for the duration of your crafting experience.

 

Here is some elemental invoking language you can use:

  • May the blessings of the Air inspire me and give me focus and clarity for my creative work.
  • May the blessings of Fire inspire me and give me passion and creativity for my creative work.
  • May the blessings of Water inspire me and allow the work to flow.
  • May the blessings of Earth inspire me and give me grounding and strength.

 

You can also get more specific with the language based on the bardic art.

 

To invoke Awen, yo might use a simple poem:

I call upon the Awen, the ancient source of divine inspiration,

I call upon the muses, the hallowed ones who guide my hand/voice/body
[as appropriate]

I call upon the living earth, the force of nature that inspires my craft.

I call upon my ancestors, whose creativity flows within me.

[Add any additional calls as is appropriate]

May the blessing of the awen flow within me this day and always. 

 

And with that, you can open your sacred space for creating the bardic arts, and leave it open as long as you plan on working that day.

 

Taking up the Path of the Bard, Part II June 25, 2017

Creativity is the singing of the soul.  When we create, we draw from the deepest parts of who we are and express ourselves to the world.  The act of creation, the drawing forth and connecting to our inner selves, is the joy involved in creativity.  Having something nice in the end, to me, seems like a bonus! I believe this act of channeling the awen is not only inherently spiritual, it is also part of what it means to be human.  But to allow our souls to really sing, we have to grow comfortable with what we create, we have to set aside our judgement, and and to grow our skills as bards.

 

Last week, I explored what the bardic arts are, the cultural challenges associated with the bardic arts, and some ways community groups circumvent said challenges.   We looked at the creative spirit of children, and how that spirit gets repressed by cultural challenges and the langauge of disempowerment.  We looked at the ways that we think about “talent” and “creativity” serve to severely disempower us from pursuing the joy that is the bardic arts. Now that we have some sense of what has prevented more people from engaging in their creative and human gifts, we can now turn towards answering the two questions I posed last week:

 

  • How can we make the bardic arts accessible to every person?
  • How can you begin to take up a bardic art yourself, regardless of skill level?

 

Last week, I also established four broad categories of bardic arts, which we’ll be returning to in this post:

  • Performing arts: including music, theater, dance, movement, storytelling, singing, acting, and so on.
  • Fine arts: including painting, sculpture, drawing, photography, printmaking, and so on.
  • Literary arts: including writing poetry, songwriting, writing prose, and any kind of writing that requires craft and skill
  • Fine crafts: including fiber arts, metalwork/smithing, pottery, glasswork, woodwork, bookbinding, papermaking, and so on.

And with that background, let’s begin to answer the two questions above and move into a place of empowerment, creativity, and the flowing of awen!

 

The Triad of Bardic Development: Exposure, Technique, and Practice

In the same way that the ancient bards were dedicated to their craft and in the same way that children devote countless hours to their own creative expressions, so, too, do we need to carefully cultivate our modern bardic arts if we are to grow our gifts. I’ll use myself as an example here of how we might cultivate the bardic arts.

 

Spirit of St. John's Wort (painting inspired by nature)

Spirit of St. John’s Wort (painting inspired by nature, part of my plant spirit series)

I have been a visual artist focusing on the theme of trees and whimsical nature art and have been seriously pursuing this work for over a decade. As part of my own development as an artist, I often go to the natural world for inspiration and observation: studying the patterns of leaves, sketching in the woods, taking photographs, and bringing that inspiration back into my art studio. I also regularly expose myself to the work of others who are using different artistic techniques (talking with them, viewing artwork, reading books on techniques).  I go to museums and study, in detail, various watercolor paintings.  I talk to watercolor artsits about their own style and process and inspiration.  We share work with each other and ask about techniques.  Regardless of how “good” I have become, I regularly take classes, read books, watch youtube tutorials, which helps me gain the theories and techniques of a visual artist.  Often, as part of these classes, I get expert feedback on how to improve my work. Finally, I practice my art as often as possible, several times a week (often for several hours), in a space dedicated for this purpose. Practice doesn’t just mean do the same artwork over and over, but rather, I regularly take on new challenging subjects and new media so that I can continue to grow as an artist.  This might mean that I don’t always succeed, but there is much value in the practice.

 

In fact, the way that I develop my skill as a visual artist is no different than the Jazz musician who practices his scales each day, or the aspiring poet who memorizes large chunks of others’ poetry, or woodworker who hones her skills. And this is important: there are things that you can do, regardless of what skill level you begin at, that will help you make good progress on whatever bardic art you choose to undertake.  Further, from my example above, we can see that there are at least three essential paths towards developing bardic skills:

 

The first path of the aspiring bard is immersing yourself  in the thing you wish to master. You have to expose yourself in the world of that particular bardic art and begin to understand how others are already working on that bardic art. How this path manifests depends on the broad genre of bardic arts:

  1. Visual: Visual artists cultivate keen observation skills (of the subject matter) and also expose themselves to others’ artwork.
  2. Literary: Literary artists read copious amounts of others’ work; for poets this may include memorization of others’ poetry and forms.
  3. Performance: A performer would attend many performances and observe other performers practicing their art.
  4. Craft: A craftsperson would study as much of the craft of others as possible.  For example, a leatherworker would study other people’s leather working techniques and finished products, and so on.

 

The second path of the aspiring bard is to learn and practice the techniques of your art/craft. Each bardic art has a set of theories and techniques that you need to understand in order to develop proficiency and eventual mastery. Studying these theories and techniques (on your own and/or through others’ instruction) can greatly assist you as an aspiring bard. Specific bardic arts have their own techniques and their own tools, some of which are listed here:

  1. Visual: Techniques using particular artistic tools, understanding perspective and distance, understanding light/shading, understanding color theory, understanding how paint blends on a page, etc.
  2. Literary: Understanding the structure of a story; studying rhyme, studying different forms of poetry, building vocabulary, studying syntax
  3. Performance: The technical aspects of dance (how to safely perform different moves), how to engage an audience, the technical aspects of acting, singing, vibrato, positioning, lighting a space, etc.
  4. Craft: Technical aspects of the craft, for example, in leatherworking it would be cutting leather, using leather tools, dying and staining leather, finishing, putting pieces together, designing patterns, knowing which kinds of leathers to use for which projects.  Each craft has its own techniques.

Some techniques may transfer from bardic art to bardic art, while others need to be learned anew. For example, drawing skill helps me not only as a painter, but also as a leatherworker when I’m designing and creating leather tooled pieces. But that drawing skill is not so helpful when I’m trying to tell stories around the fire!

Pracitcing the technqiues for some bardic arts also require the tools: for example, as a watercolor artist, I need, at minimum, high quality brushes of various sizes, watercolor paper of a good quality, and a nice set of watercolor paints. Working with sub-par tools leads to a sub-par experience. Having better tools offers me a better “starting point” and eliminates certain kinds of struggles.

 

The AODA's Sphere of Protection in a Tree

The AODA’s Sphere of Protection in a Tree (from the AODA New Candidate Guide)

The third path of the aspiring bard is dedication and regular practice. Each bardic art requires dedication and practice, at minimum, on weekly level. Remember that practice often includes many things that are never seen by an audience (sketches, practicing the tale in front of the mirror, practice scraps of leather discarded, scales upon scales on an instrument, etc.). And because these things are hidden, we forget that they are ever done. However, dedication and practice are the only way we can achieve any form of proficiency, much less mastery. We don’t get good at something by thinking about it–we get good at it through practice (people seem to understand this with musical instruments but with little else!)

 

A second critical aspect of practice is that different kinds of practices are necessary to achieve proficiency. Sometimes, practicing the same thing over and over gives you a lot of skill doing that particular thing, so that you achieve mastery. So, if you make 100 leather bags, your 100th one will be much better than your first. But at some point, there is a diminishing return to continuing to practice the same thing–you’ll get to a certain point and not be able to go any further. It is for this reason that we also need challenges and exposure to more difficult kinds of practice.

 

A challenging piece/performance requires you to gain new skills, to push your skills a bit beyond what you can handle, and encourages new growth. With challenge is the possibility of failure, but failure is not something to fear.  Failure is a regular and consistent part of the learning process, and all proficient people practicing any bardic art have had their share of failure.  How we handle failure here is key–letting failure be an opportunit to learn, rather than an opportunity to shut down, is critical to our own development (for more info, see Carol Dweck’s TED talk and research on mindsets.  Dweck’s work explores two mindsets for approaching failure–when we can learn and grow, we gain much.  But when we shut down and fear/avoid failure, developmentally, little growth happens). A common saying is that the master has failed more times than the novice has even tried, and this is a very true of the bardic arts.  In this view, as we cultivate our bardic art, we must also cultivate the understanding and openness that is required for long-term growth and success. Embrace failures as part of learning and for the value that they offer. Of course it is frustrating to make a mistake, but mistakes are a sign of growth because you are pushing yourself beyond your comfort zone.

 

My father and mother offered powerful lessons to me concerning mistakes and failure when I was a small child learning painting.  I remember working on a piece very hard, only to have a huge paint drip go into the middle of the sky.  I was ready to cry.  My father stopped what he was doing, and came over to me, and showed me how to turn that paint drip into a colorful cloud.  He told me that mistakes were an opportunity to try something unplanned, something different, and that some of his best work had been a result of such a mistake.  When this happened again, my mother reinforced the lesson several weeks later. As I continue to learn new things, I am always appriciative of that lesson and what it taught me.

 

And so, is through the triad of exposure, technique, and practice that we can develop proficiency, an eventual mastery, in the bardic arts. Notice that “talent” is not on this list. Anyone, given enough of the triad above, can develop at least a basic proficiency in a bardic art of their choice.  Talent might help speed things along, but it is is not necessary.  If the purpose of the bardic art is the process, the journey, the ability to connect with our hearts and spirits, then the end result seems but a secondary consideraiton.

Developing a Community and Culture of Bardic Arts

What may not be immediately obvious to the aspiring bard is that the triad above is embedded in a broader culture of bardic arts and also embedded in a specific community of practice. Bards need a community to share their work, talk to others about their work, to receive feedback, and to share their bardic gifts. Each community of bards has their specific techniques and tools, practices that are unique to that community. Further, a bard is often incomplete without an audience of some kind, whether that is the reader of a text, the audience of a performance, the viewer of an artistic creation, or the user/receiver of a craft.

 

In the same way that bards need communities in order to develop effectively, so, too do communities need bards. We cannot rebuild the bardic arts on an individual level without also rebuilding the communities in which these bardic arts are shared. Those engaged in the bardic arts need to feel needed; as though their work is important and it matters. Because it does. And so, we have to recognize that our communities are richer and better with our bards present and being bards. Imagine sitting around a fire at night with a dozen or so people—the more of those people engaging and sharing their bardic arts, the more interesting of an evening is shared by all. If nobody has a bardic art to share, the community suffers (and the evening is dull). This, too, is supported by learning research: we know that when people join communities of practice (see, for example, the work of Wegner and colleagues), those communities strongly support overall devleopment in a particular skill.

 

And so, the questions that remain to us now are: How do we build communities without inhibitions against the bardic arts? How do we nature and support people in those communities?

 

Children. As mentioned in last week’s post, children are natural bards, and the first thing we can do in terms of cultivating communities of bardic arts in the long term is to let children be children and to help them retain and cultivate their creative gifts. Children should be free to create, explore, make messes, make music, and collaborate with friends. As parents and loved ones, finding ways of supporting, reinforcing, and cultivating their creative gifts should be encouraged, especially to help provide a balance to mass education systems which discourage creative expression and creative thinking. As children grow up, they should be encouraged to continue to pursue whatever bardic arts inspire them.  They should also be encouraged to view mistakes as an opportunity for growth (which, according to some of the resaerch I included above, is a very teachable thing). These children, then, can grow up to help lead bardic communities of the future.

 

Adolescents and Adults. In terms of the adolescents and adults, some remediation likely needs to be in order, based on the cultural and educational disempowerment so prevalent today. The overall goal is to help adolescents and adults take down their barriers and inhibitions and reconnect to their creativity in the spirit of the freedom children have but tempered by the focus and ability of an older generation.

 

Many trees make a forest; many people make a community!

Many trees make a forest; many people make a community!

First, adults/adolsecents must have opportunities in their material and social contexts for practicing their bardic arts, in the same way that children have. For example, storytelling is a common thing that can be practiced daily. Children are constantly telling stories to each other and to their families. Adults could cultivate the same opportunity. For example, perhaps each member of the family around the dinner table tells the story of their day as part of that meal. This simple family ritual allows for the building of a storytelling culture within a family and gives each opportunity to learn to be a storyteller. The same can be true of many other bardic arts: creating social opportunities for bardic arts to be shared and practiced is an important part of cultivating them. Another option here is the Druid’s Eisteddfod, a circle of bardic arts around the fire.

 

The second thing, also tied to children and creativity, is the fostering of “play time”, that is, unstructured leisure time in which to explore and engage in the bardic arts. As with children’s play, at least some time should not be dedicated to accomplishing a particular task, but simply exploring materials, techniques, and enjoying the process of figuring things out. (This, of course, means we have to reconsider our own relationship with time and make time for these things, which ties directly to my earlier series on “Slowing down the Druid Way.”)

 

The third thing adults/adolsecents need are the tools to engage in the bardic art and access to expertise. Tools can be procured usually fairly directly (a materialist culture lends itself well to such a thing), but expertise might be much harder to come by. Given that, I encourage those interested in a particular art to seek out a local community, or, online community if no local one is present. These things can be learned on one’s own, but it is often more effective to learn from another.  Chances are, anyone who has developed mastery in a bardic art has had plenty of mishaps and mistakes along the way, and its useful to talk about those mistakes as much as it is to talk about the successes!

 

The fourth thing is to reframe our language within that community of practice.  Aspiring bards need both support as well as constructive feedback, and the challenge in a community is finding methods of doing both in ways that nutrure the overall development.  Some communities offer competitions or critique days that allow people to seek feedback to improve their work. These structured forms of critique and feedback are generally a safe space for those who want that kind of feedback.

For Aspiring Bards

And so, now we’ve come to it–how do I begin to take up the path of the bard?  Here are two questions to get you started:

 

Which of the many bardic arts (visual, performance, literary, or craft) seem interesting to you? 

Select something that appeals to you, that is interesting to you and that inspires you.  Find one that sings to your soul. Don’t worry about whether or not you can or can’t do this thing or if you know anyone else who does it—all bardic arts take dedication and work. Try it out for a bit making sure that you have given the practice enough time to get past the very beginning difficult beginner parts. I’d suggest spending a minimum of 20 hours on it over a period of time to see if it fits you well (this is the practice we use in the AODA curriculum and it works tremendously well).  Twenty hours is enough to know if you will enjoy it, it is enough time to have some small successes, and it is enough time to get past the 10 or so frustrating hours (or more) of learning where not much is accomplished. If this bardic art turns out not to be a good fit for you, try something else until you find your right fit. In this process of exploration, you might borrow the necessary tools/equipment for practicing the art rather than buy them to minimize financial investment until you are sure you will pursue this particular bardic art.

 

Where is there a community with whom you can connect?

Seek out a community that is engaging in the same bardic art that you have interest in.  Once you find that community, show up. I strongly advocate for finding a physical community of people who are engaged in your bardic art (or a range of bardic arts) that you can share with. This community should meet regularly (1/month, at minimum). If you can’t find a community, consider starting one (ask friends to come over once a week and play music or share stories by the fire, etc.). Online communities are a way to supplement local communities, but we encourage you to not stop at online communities. Online communities that have some physical component (e.g. art that is traded through the mail, performances that are given, in-person conferences that are present) are much more effective.

 

The Flow of Awen

The Ancient Druids understood that the flow of awen, the divine spark of creativity or inspiration, was a magical thing (and a topic I talked about in depth several weeks ago). And the Ancient Druids weren’t the only ones to recognize this sensation: many cultures recognize a muse or deity that is associated with creativity (the Greek Muses; Sarasvati, Hindu Goddess of the Arts; Hi’aika, Hawaiian Goddess of Dance/Chant; and so on).  Whether you see the awen as a kind of abstract power or something that comes from a diety, the idea is that this creativity flows through a person when he or she is engaged in her bardic art.  Perhaps you’ve experienced this yourself: it is a powerful sensation.

 

Personally, I see awen a lot like the flow of a river.  If you are opening up those channels for the first time, it is like water pouring into an area: the river will need to make work to flow effectively; there might be obstructions to work through, and so on.  But the longer the water flows in that spot, the more effectively it can flow and the more channels the water makes. Expressing creativity and channeling the flow of awen is a lot like using a muscle—it can atrophy if it is not used. And yet, any muscle can be brought back into health with enough practice; you might see this like a kind of “bardic therapy.”

 

This is where everything in this post comes in: we need tools, practice, and skill to allow the awen to flow through our lives and inspire us.  And when we are in a place with our own skills and abilities as a bard, the awen can flow strong and we can create incredible works.  We need the basic skills and approaches so that we can forget about the technical details and instead just let the awen flow.  It is once we’ve achieved a certain level that we can really let loose, let our subconsious and muscle memory take over, and just flow with the awen.  The things outlined in this post can help the awen flow into your life permancently and powerfully.

 

May the awen flow within you in your pursuit of the bardic path!

 

(PS: Thanks to David N. for long discussions on this topic and working out many of the details that appear in these two last posts!)
(PPS: I have this set to auto-post while I’m on some camping and hiking adventures in rural Maine.  Please comment, but know that I won’t be responding to comments for another week or so! )

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Taking up the Path of the Bard, Part I June 18, 2017

Bardic Artistic Expression through Clay, Sand, and Straw (cob)!

Bardic Artistic Expression through Clay, Sand, and Straw (cob)!  (This is part of a tree piece I collaborated on at Strawbale Studio in Michigan)

A group of people sharing stories and songs by the fire. A fine pair of leather shoes. A beautiful woven garment. A tale full of twists and mystery. Finely wrought iron doors. An amazing wood carving on a stump. A marble sculpture. A wildly painted mural on a wall. A cob structure with whimsical trees and forms. A song that reaches deep within you when you hear it.  A rousing speech. Each of these, and so many others, represent the natural creative expressions of humanity. Taking up the path of the bard is one of three paths in the druid tradition (along with the work of the Ovate and the Druid). Yet, many people aren’t sure how to take up the path of the bard because they don’t think they are “creative” or “talented” enough.  However, the bardic arts are part of our human heritage and birthright, and each of us has that possibility. I believe it is essential that we have an opportunity to cultivate them and to embrace the flow of awen in our lives. This post, part my longer series on the bardic arts, explores the nature of the bardic arts, how to take them up, and how to become proficient at them. The goal of this two-part post is to answer the two basic questions:

 

  • How can we make the bardic arts accessible to every person?
  • How can you begin to take up a bardic art yourself, regardless of skill level?

 

To explore our two questions, in this week’s post we’ll begin by examining some definitions of the bardic arts.  Then, we’ll explore common challenges people face with taking up the bardic path and the roots of some of these challenges.  Next week, we’ll discuss how, regardless of “talent” or starting point, you can become proficient at a bardic art and offer you tools to get started or continue that process.

 

What are the bardic arts?

For the druid path, the bardic arts, or a wide variety of creative expressions, are central to the practice of druidry.  The ancient bards invoked the “Awen”; the awen is  the inspiration, the muse of inspiration, or the spark of creativity that flows. Likewise, modern druids intone and invoke the Awen in our practices often and draw upon the flow of awen for creative works. I talked more about the awen in last week’s post and more about this centrality of connecting to the creative arts in my recent post on connection as the core philosophy of the druid tradition. 

 

By “bardic arts,” I refer to a wide variety of creative and skilled expressions that can fall into four broad categories:

 

  • Performing arts: including music, theater, dance, movement, storytelling, singing, acting, and so on.
  • Fine arts: including painting, sculpture, drawing, photography, printmaking, and so on.
  • Literary arts: including writing poetry, songwriting, writing prose, and any kind of writing that requires craft and skill
  • Fine crafts: including fiber arts, metalwork/smithing, pottery, glasswork, woodwork, bookbinding, papermaking, and so on.

 

I recognize that many of these categories overlap, and all are inherently performative in nature and allow a bard to engage in some form of self-expression.  One possibility to add to this list might also include “digital arts” of various kinds (film, 3d design and printing, etc) although I’m sticking here to comments on more traditional bardic arts. A second possibility might be culinary arts or other kinds of creations.

           

Challenging Social Structures and Creative Expression

So now that we have some idea of what the bardic arts are, we can begin to dig into the challenging social structures and cultural inhibitions against creating that prevent more people from taking up the path of the bard. Because it isn’t until we understand the problems we face in cultivating the bardic arts that we can find ways of addressing those issues.

 

Growing Up and the Langauge of Disempowerment

Children are the most natural bards of all. Young children do not have the cultural inhibitions against creating that many adolescents and adults later develop.  In fact, young children instead create constantly: a group of children with crayons and paper will quickly create numerous colorful drawings, sharing them with each other. Another day, children might create complex sandcastles or fingerpaint on the wall or draw pictures in the soil outside.  They are happy to sing, dance, and create anything. No one has to teach these children to be creative; they might need to be taught how to use the markers, but a healthy child will create, often to excess, without hesitation or judgment.  Further, children aren’t judgemental of their creative work: they create becuase it brings them joy, not necessarily, because they are creating masterpieces.

By the time that that bardic-arts loving child goes through mass education, however, his or her willingness to pick up a crayon again is often greatly diminished. By the time that child is a teenager, their creative spirit is often replaced with narratives of disempowerment.  They might now say, “I’m not creative” or, when experiencing another’s bardic expressions say, “I could never do that” or “I’m not talented* like you.” They say, “I could never be a [musician/artist/etc.].”

 

How many of you have heard statements like these or said them yourself?  I have heard hundreds of people over the years say these things. Our words have power,  and the kind of statements above is the language of disempowerment. This kind of language prevents us from taking up the path of the bard, and it stifles any chance of creativity. The more we say these things, the more we reinfoce the idea that we are not creative, not talented, and not capable of creative work.

 

(*The etymology of the term “talent” is also worth exploring here. The original term “talent” is a unit of Roman currency. The “Parable of the Talents” within the Christian tradition tells a story of a master who gives three servants different numbers of coins. Two of the servants invest their coins and gain additional talents. The third servant buries it in the earth to prevent losing it; this servant is punished by his master. The moral here is that if we invest in our talents, we gain.)

 

Cultural Sources of Creative Disempowerment

Playing music from the 1750's

Playing music from the 1750’s

What exactly happens in western culture to turn happy and creative children into disempowered teens and adults? I hold that it has at least six sources of disempowerment, each of which is worth considering to help us begin to remove the cultural blocks on the creative spirit and the flow of Awen.

 

Celebration of the Exceptional. Because western culture celebrates and elevates that which is exceptional, it makes average people believe that the bardic arts are only worth pursuing if they are highly “talented.”  Mass media constantly parades exceptional skill/talent in our screens and in our faces, making any of our own efforts appear less than satisfactory. For example, the culture of celebrity prevalent in Westernized media elevates professional entertainers, craftspeople, and artists. It is their work that we consume and their work fills our homes and our lives, stifling our own. The phenomenon of television shows celebrating exceptional “talent” (The Voice, America’s Got Talent, American Idol, etc.) is a telling example here. Tens of thousands of people come out to compete for a chance to win what is, essentially, a highly publicized talent show. Those who aren’t exceptional are literally mocked on national television, and as the show goes on, in the end one or two are elevated to celebrity status. Their music or other creative talents are consumed by millions across the land.

 

Active and Passive Entertainment. The above example directly leads us to the second cultural challenge: the everyday people are discouraged from actively providing their own entertainment. The proliferation of mass media being broadcast into every home ensures that one is so immersed in the creations of others that one has little time, or desire, to create for themselves. One of the things the modern druid movement does is bring back the Eisteddfod, the bardic circle, and celebrates the telling of stories, singing of songs, playing of music, and encourages each person (regardless of ability) to share, actively taking entertainment back into our own hands.

 

Deferring to the Experts. The culture of celebrity also encourages us to “defer” to the experts—those professional entertainers, artists, musicians, and so on who hold exceptional talent are the only ones who hold power. In the Unsettling of America, Wendell Berry cautions against trusting a “specialist” for everything: we have specialists who are in charge of our health, specialists who are in charge of growing our food, and specialists who are in charge of our entertainment (among many other things). An adult living in western society has, literally, decades of practice being conditioned to defer to experts for his/her basic needs, and unfortunately, the creative arts are no exception.  This is disempowering and doesn’t encourage one to take up the bardic arts.

 

Remote Creative Expressions. A fourth challenge present that the celebrity/expert culture puts creative expression in the hands of distant strangers rather than local people in the community. You don’t personally know the celebrities that are providing your entertainment or arts; they are remote, distanced strangers who aren’t accessible to you in any other way. This reduces the chance for you to learn, to ask questions, and to see that any person can cultivate a bardic art.

 

Belief in Innate Talent. Fifth, we have a powerful and prevailing cultural belief in innate talent. This has two sides. First, there is the belief that only those with innate or extraordinary talents should take up creative expressions (because those are the only people who could make money at doing it, see next challenge below). Schools–and individuals–work to elevate those rare individuals with “gifted” or extraordinary people while serving to disempower those who don’t immediately display such gifts. Secondly, there is the idea that a person must already be good at something in order to pursue it. Often, others seek to disempower you if you aren’t as good or are just learning–and this can be stifling.  There is no room for practice or someone who is just “good enough.” Over a lifetime, these beliefs severely disempower those who may have an interest in learning a new bardic art but aren’t immediately masters when they begin (and really, who is?). This leads to disempowerment and people not even trying a new bardic art becuase they aren’t immediatel good at it.

 

Creative Gifts tied to Material Wealth. A final source of disempowerment comes in the form of the expectation and assumption of financial gain. In a materialistic culture, every serious pursuit is expected to be of some financial benefit. This discourages both those who want to enjoy creative gifts for their own sake in a position of constantly explaining “I don’t sell my work” and those who are interested in taking up a bardic art in a disempowered position.  This also leads to the idea that if your work isn’t good enough to sell, you shouldn’t be doing it.  If it can’t be monitized, it has no real value and isn’t worth your time.  Obviously, this is false, but it is still pervasive.

 

Spirit of Poison Ivy, a recent painting I did with the help of the flow of Awen

Spirit of Poison Ivy, a recent painting I finished with the help of the flow of Awen

To demonstrate some of these cultural challenges, I’ll use myself as an example. I have a panflute, which I play occasionally. Although I have a good ear for music, I’m not that good at my panflute because I don’t practice enough. This is because I choose to devote most of my time to my writing and visual arts.  So when I play my panflute,  I usually mess up a bit – it is a challenging instrument to play. I don’t care if I make a few mistakes, and neither do the trees I am playing for. But people do–they expect flawless, expert performances. I have had people tell me, “don’t quit your day job” after hearing me play. My singing is even worse–I have not taken voice lessons nor do I have a very strong voice, but I like to sing anyways.  If I sing or play the flute and others hear me, it is not seen as a positive thing, but rather, I experience a lot of discouragement.

 

On the other hand, I am a highly skilled artist.  This is becuase I grew up in a house with two parents who were professional artists and because I have dedicated myself to my art and practice it at least several times a week for over decade.  If I share my work, I often will hear the “you are so talented, I could never do that” statements.  These statements both disempower the speaker and disregard the thousands of hours that I have put into my artwork to be able to get to the level where I am. I also hear, “you should sell your work” as if commercializing it is the ultimate compliment.  My art is part of my spiritual path and making money from it isn’t the point of it. But the only models we have, culturally, suggest to be successful as a bard is to be *really* good at it and to make a profit.

 

Breaking Away from Cultural Challenges: Local Bardic Communities

Despite the above cultural challenges, a good number of everyday people break out of these narratives and engage in the bardic arts, often developing local communities of bards. You see these endeavors through initiatives such as community theaters, community orchestras, local wood carving guilds, artist associations, local art shows, local singing groups, local craft guilds, and more. These groups not only support those engaged in the bardic arts in further developing their talents but offer places for everyday community members to be exposed to artists who are ordinary people and who are engaged in the creative works. In other words, these local community groups serve as counter-narratives to the above problems in at least four ways:

 

  1. They demonstrate that everyday people (neighbors, friends, family members) can engage in creative expressions
  2. They demonstrate active role in one’s own entertainment/creative expression rather than handing this over to specialists
  3. They accept the idea that being “good” at something is good enough*
  4. And, they demonstrate that bardic arts don’t have to be done only for profit, but simply, for pleasure

 

Here, I point to a scene in John Michael Greer’s Retrotopia, where the main character goes to see a theater performance and comments that the singing and acting were “good” and an enjoyable time was had by all. The point being made here is that entertainment doesn’t need to be done by only the exceptional—being “good enough” still leads to enjoyment.

 

Despite serious cultural challenges, the creative flow of awen hasn’t completely been lost from the common folk! So hopefully at this point, we can see the roots of some of these common cultural challenges and through this illustration, we can begin to break out of the challenges and embrace our creativity. Next week, we turn to a discussion of how to cultivate your creative gifts as a bard and cultivate and join communities of bards. In the meantime, perhaps this week, take some time for whatever bardic pursuit you enjoy (or are thinking about taking up!)

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