The Druid's Garden

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

An American Ley Line Network: A Ritual of Creation May 7, 2018

This past weekend, we had a delightful time at the 2nd OBOD Mid Atlantic Gathering of US(or MAGUS). It was a wonderful weekend full of positive energy, community, and celebration of the land. I was involved heavily in the ritual planning and work this year and was the gathering’s keynote speaker, and we once again did a Galdr ritual (a chanting ritual) using Ogham (sacred trees). This year’s theme was “Sacred Time, Sacred Space” and as part of this work, we decided to re-enchant the land by establishing a new ley line network. We are co-creating a new ley line network across the land.

 

Motherstone at Four Quarters Interfaith Sanctuary

Motherstone at Four Quarters Interfaith Sanctuary

The overall goal of this ritual was to re-enchanting our landscape, connecting sacred spaces and creating sacred spaces across the landscape, and connecting our broader druid community. The work involves empowering, connecting, and eventually, dispersing a set of stones to the broader landscape. I wanted to share parts of our ritual and work here as part of my “Sacred Landscapes” series. I say “share parts” because you can certainly talk the magic out of something, and I think that this is key for this particular ritual moreso than some others we have done in the past.  However, I will share enough that others interested in this work have a blueprint for building their own ritual and the foundation of their own energetic work.

 

Overview of the Work:

The most simple way of creating a sacred ley line/energetic network is to think about linking one or more places together.  These could be any number of things:

 

  • Sacred points you create along a landscape on a piece of property, say, between a sacred grove, spring, and shrine at  tree
  • Sacred points you create along a larger landscape: say, your sacred spot in a nearby forest and a nearby meditation spot you use regularly
  • Sacred points between two outdoor stone circles (shared between friends)
  • Sacred points connected between many groves and individuals (what we did at MAGUS) with a central “hub” (the Stone Circle at Four Quarters).

 

Even connecting two or more points is a good start to think about how the energies might flow between the two sites, enriching them and exploring the magic and energy that can flow between that connection. And this can be really simple: a standing stone you set up on a hill to bring down the solar current, connected to a sacred grove deep in the woods. Many ley lines of ancient times were only a few miles in length–in today’s age, without whole cultures behind us, doing smaller things is totally appropriate.

 

So if you’d like to try this out, let’s first go through two kinds of background information and then onto some specific things you might do.

 

Background: Ley Lines and the Telluric Currents

In order to prepare for setting up even a small ley line network, we need some background information.  I’ve shared this in my blog before at various points, but here is an overall summary:

 

Sacred Mandala as part of our MAGUS 2018 Ritual

Sacred Mandala as part of our MAGUS 2018 Ritual

Ley Lines and the Re-Enchantment of the World: As I’ve discussed in previous posts in this series, re-enchanting the land is, I believe, part of what we can do as druids, particularly druids in North America. The basic premise is this: at one time, humans across the globe recognized the sacredness and enchantment present in the land and worked, in collaboration with nature, to bring that sacredness into manifestation through various earth works, stones, and old straight tracks (ley lines). They did this both physically on the landscape throughout the world and energetically using various magical and ritual techniques. This was not done by a single group of human ancestors, but by many of them over a period of millenia. The specific ley lines, rituals, and beliefs obviously took on their own local flavor, but several key aspects were consistent across time and culture:

 

  • The sanctity of “straight lines” as a sacred feature on the landscape
  • The use of various kinds of sacred features and alignments across the landscape (sacred sites, stone circles, earthworks, connected by paths, marker stones, etc)
  • Usually, some kind of “central point” from which energy radiated outward
  • The relationship between energy flows/land healing/blessing and  physical markers on the landscape
  • The use of nature-based augury for conditions to set the lines and ensure right placement (birds, weather patterns, astrology)
  • The ability of people, over time and space, to shape these energy flows and enhance the magic of the land.

 

If we take these six premises, we have a roadmap that our ancient ancestors offer us for the kind of re-enchantment of the world and creating sacred landscapes for here and now.  There is so much we could do with this.

 

Telluric and Solar Currents: A third piece of our Galdr ritual this year is the interplay and work between the Telluric and Solar currents. I described these in much more detail in an earlier blog post, but will briefly talk about what they are and how we are working them there. Most peoples, save modern Western Civilization, have some concept of “energy” and how it flows across the land. The model I’m describing here is based in conceptualizations from the Druid Revival tradition, but you’ll find that other traditions offer similar or complimentary understandings. In this view, we have two main sources of energy: the solar and the telluric, and one that is created through a synthesis and harmonious combination of these (the lunar).

 

  • The Solar Current: Is the energy of the sun and the celestial heavens. The solar current comes down to the earth, and, as the ancient lore suggests, can be channeled and brought to/in/across the earth in various ways: through a properly set standing stone (see John Michael Greer’s Druid Magic Handbook), through a properly aligned temple or church (see John Michael Greer’s Secret of the Temple), or through a properly aligned ley network (see Pennick and Devereaux’s Lines On the Landscape, final chapter.). The solar current brings life, energy, vitalization, and power.
  • The Telluric Current: Is the deep energy of the earth, rising up from the earth’s core. The Telluric Current comes up from the earth, and, as the ancient lore suggests, can be purified and enhanced with the Solar current. The earth’s energies are disrupted now, particularly with so many destructive activities taking place below the earth’s surface, fracking being the absolute worst of these.

 

Most of the time in various cultures and in various ways, these energies were shaped and enhanced through human activity to bring healing, vitality, and abundance to the land. And that, too, is a primary goal with our Galdr ritual and Ley Line Network here we are creating through the MAGUS gathering.

 

Background, Part II: Raising Energy through Sacred Chanting and Tree Energy

There are countless ways you might raise energy for the purposes of creating even a small ley line or alignment on the landscape. Here are two kinds of energies that we’ve been working with at MAGUS for the last two years that have worked particularly well for this purpose:

 

Galdr / Sacred Chanting:. We again used the idea of “Galdr” (which is a Norse word for “chant” or “incantation”) using our voices, chanting in unison to raise energy to enact a specific purpose. For us as druids, chanting Ogham (sacred trees) is more appropriate  than the runes, so that is exactly what we used. I offered many more details on the Galdr and its origins in my first post from the 2017 MAGUS gathering, so I will direct your attention there. The Galdr chanting works well with a group of any size; with 70+ druids at this gathering, we used the Galdr chanting in four separate groups to raise a network of interrelated energies. If you had a smaller group, or individual, you might use a series of chants in succession. The point here is simple: you can use chanting (and we used sacred tree names) to raise up energy and direct it for the purposes of establishing a sacred network of sites, stones, or anything else.

 

Four Sacred Trees and Ogham: Our ritual again uses Ogham (the Celtic tree alphabet, adapted to North American trees) for raising and shaping the energy of the ritual. These trees, using their sacred names, are chanted to raise energy. The two ritual co-creators (myself and Cat at the Druid’s Well) sat for many months with sacred trees to see who would aid in our work.  Since that is part of the “magic” of the ceremony, I’m not going to reveal much more here–but those wanting to do something similar should find four dominant and powerful trees on their own landscape that can aid in this work. One should be a tree that invokes peace between humans and the land, one should have some deep connection to spirit/otherworld to help create the network, one should help support that work, and one should serve as a container/strengthener to help hold the space.

 

Ley Line Chants

For our gathering, Loam Ananda, an incredibly amazing composer, wrote a ley line chant, which I have permission to share here. This is part of how we raised energy and brought everyone together.

 

You can hear the full chant on Soundcloud here. Here is the melody to the chant (for one person or a small group).

Singing up the Ley Lines Chant

Singing up the Ley Lines Chant

If you have more than one person, this is the chant for a larger group, with four harmonious parts. We have our four sacred trees in the bass part, but you can replace that with any other energies you are working to raise energy and connect space. This chant was taught to everyone prior to our main ritual and used both when we placed our stones for blessing/connecting/empowering during the gathering and also when we removed them to take home.

Singing up the Ley Lines

Singing up the Ley Lines – Group Chant

 

Now that we have a framework and some ways of raising energy–one possible framework among countless others–we can look at two ways we can directly do some of this work. One would be in a larger group setting and one would be something individuals could do.

 

A Simple Approach: Connecting Sites and Energies

Individuals can certainly do this work of establishing ley lines and sacred landscape features on their own, thinking about the connection between two or more sacred sites.  The layers of complexity come in depending on how far you want to go, how many sites you want to build/connect, and the number of people you might get involved.

 

If you want to create a sacred alignment individually, you might start with these aspects:

  • Listening to the spirits. Follow your intuition and communicate with the spirits of the land about the work you’d like to do.  Get a sense of what, where, and how you might to about doing this work. This may be as simple as a gut intuition or signs from nature (remember that the Roman Augurs often looked to weather patterns, birds, and clouds to determine “right alignment”).
  • Once a site has been selected, spend time attending to the energies of the land. Before a sacred ley line can be created, you want to make sure the spirits of the land are in line with this purpose and that any land healing and energetic work that needs to be done in advance is done.
  • Using stones or other features to connect two points. Take a stone from one place and set it ceremoniously in another place, raising energy while doing so and envisioning the two points linked. (See above for how you might do this)–we used sacred trees and chanting, but you can use the four elements  blessings or any other magic you regularly practice.
  • Regularly attending to the new line. Ley lines are both physical and energetic, and so it is useful to think about how these lines might be attended to regularly with seasonal celebration and ritual. They grow with power as we, as individuals and groups, attend to them over a period of time.

 

Carving stones with ogham at our stonecarving workshop at MAGUS

Carving stones with ogham at our stonecarving workshop at MAGUS

A More Complex Approach: An American Ley Line Network – Celtic Galdr Ritual at MAGUS 2018

What we did for MAGUS this year was in the spirit of what I discussed above, but a bit “bigger” since we had six ritualists as planners as well as numberous interconnected workshops and ceremonies. But the principle is the same. I’ll walk you through some of the basics of what we did.

 

Part 1: Stone Selection and Attunement

When people came to the gathering, the ritual began almost immediately.  In an opening workshop, people a These are the activities that we did to move attendees into part I.

  • Finding a Stone, Making it Your Own: Upon coming to the gathering, each participant was asked to find a stone–a stone that they would work, as an individual and as a group, to empower and eventually take home and ceremonially place in a sacred manner somewhere on their landscape. This stone becomes one of many “nodes” of our sacred network.  In our case, since we were building something bigger, we thought it was important that the stones all come from the same place (Four Quarters Interfaith Sanctuary) as they will already be connected and our work would simply be to connect them further.
  • Attuning to Stones: At the gathering, participants did a variety of things to attune to their stones. We had a wonderful stone carving workshop led by Forest Green, and druid attendees were able to carve ogham into their stone. The druids were also able to spend time in the larger stone circle at Four Quarters and attune to the energy there. Druids learned about chanting through a great workshop from Tom Dannsarach and Loam Ananda. Druids learned about sacred mapping and sacred place names from Cat Hughes. Four quarters forms the central “node” in our network and so, it was critical that our stones–and participants–were aligned with this sacred space.
  • Attuning to the Four Sacred Trees: As part of our pre-ritual workshop, each attendee was able to draw an ogham to place them in their group and then spent some time, attuning to the sacred energy of the tree they were working. Each group also had an opportunity to learn more about their tree and the mythology, magic, and specific energy that tree was bringing to our ritual. Each group did this differently, as each group’s role was unique in the ritual–some sat with the tree in question, others journeyed inward to meet the sacred tree and receive a message, learning how to hold sacred space, and so on.
    •  We spent months selecting the trees and each of the “ritual leaders” spent more months researching their trees and being prepared to lead their group in raising the right energy for the ritual.
Ogham staves, attunement materials, and scrolls for our ritual

Ogham staves, attunement materials, and scrolls for our ritual

In sum, we worked to attune participants to their own stones and sacred trees, in order that we might begin to connect them and weave in the ancestral magic of the ley line.

 

Part II: The Galdr Ritual to Connect and Empower the Stones

Space Preparation: Sacred Fires and Sacred Circles

As part of the preparation for the ritual, eight fire tenders built and consecrated sacred fires (a central fire around whih we placed our stones) and four quarter fires. Further, a group of druids also created a cornmeal sacred circle using ogham prior to the ritual; this allowed us to again, place a physical manifestation on the landscape of the energy we were invoking.  The sacred circle had a number of conentric circles and lines featured both ogham as well as material from our sacred trees.

 

The Main Galdr Ritual

The Galdr ritual itself did not have a specific “script” of words, although we certainly had a script of actions and flow, unique to this gathering and space. We begain by honoring the trees, the stones, and the fire. Then, we did a similar thing to last year’s Galdr at MAGUS, where we had participants in four groups chanting, moving, and circling.  In this case, participants were circling a sacred fire and the stones that we were blessing. After raising this energy, we left the stones in that sacred space till the end of the gathering where once again chanting, each participant was able to take his or her stone and recieve instructions for how to place his or her stone.

 

Part III: Creating the Network: Setting Stones in Sacred Homes

Once the stones were empowered, at the end of the gathering, each participant came and gathered up their stone. Each particiapnt was also given a scroll with instructions on what to do next. Each participant was asked to find a sacred place for their stone of their choosing, to establish a sacred space (using OBOD’s grove opening or any other method of their choosing), to set their stone and chant all four sacred trees, and then to envision a line traveling from their stone back to the stone circle at Four quarters. As they envisioned this, they would once again use our “singing up the ley lines” chant.  We also asked participants to “map out” where their stones went on a Google Map, so we can literally see the lines being created after the gathering.

 

Final Thoughts

There’s a lot of information here to get you thinking. The thing that I like about this is that we are responding in a positive way, building anew, something that is ours, unique, magical and choosing to see the land as the enchanted, sacred place that it is.  I hope that other individuals and groups will find the above information inspiring and I encourage you to experment and see what you develop.

 

This idea and ritual is the creation of many minds and hearts! Contributors to this ritual include Cat McDonald (blog: A Druid’s Well); Loam Ananda (blog: Loamology.com); John and Elmdea Adams; Brom Hanks; David North and Nicole South; and Dana O’Driscoll here at the Druid’s Garden.

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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.

 

Resources to Learn the Inner and Outer Worlds of Herbalism: Plants, Books, Courses, Lore, and More April 4, 2015

drying herbs

drying herbs

I have been doing an ongoing series of posts about herbalism: herbalism as a druidic practice, my path into herbalism, and medicine making during sacred times of the year. Given the fact that its early spring, and the herbs are starting to emerge back into the world, I wanted to follow-up with another post about how one can go about learning to be an herbalist and some of the resources to get you started.

 

There are a lot of ways to become an herbalist, but I would start by saying that the study of herbs is no quick thing. Like anything worth doing, it requires dedication and practice. Traditional western herbalism contains an immense body of knowledge that requires not only good memory and study skills, but also intuition, observation, and reasoning. You will be challenged, fully, by studying the herbs, their medicine, and their work upon the body. It will take years to develop enough knowledge to be a deeply effective herbalist, but you will also learn things even on your first day of studying herbs that you can apply to better your health and address various ailments.

 

Taking a Local, Sustainable Approach. I want to start by emphasizing that traditional western herbalists, myself included, try as much as possible to take a local approach to plants. This means getting to know local plants that grow or that can be cultivated, gathering them or growing them yourself, and using them rather than those that perhaps are more widely commercially available, but are not locally grown. Many of the really popular plants that are commercially available, like Goldenseal, Osha, or Black Cohosh also suffer from serious overharvesting and and are threatened–this is not sustainable.  There are ways of getting these plants sustainably, specifically, from small herb farms who cultivate them and harvest without disrupting wild populations. But those farms’ products are likely not found in your typical heath food store and have to be sought out.

 

As a locally-based herbalist, using the local plants will allow you to monitor the health of the species and grow some yourself.  Even if you have no land, a trip into the nearest farmer’s field, your family’s front yard, or a nearby forest can greet you with a wealth of herbs (in fact, the first herbs that are easy to learn like dandelion, plantain, violet, strawberry and ground ivy can all be typically found in most lawns). But also, being able to grow and gather your own plants puts you in a relationship with that plant that you would not otherwise have. There’s a huge energetic difference between harvesting stinging nettles fresh vs. opening up a plastic bag that you’ve purchased–a difference from a sustainable perspective, but also a difference from an energetic perspective. Using plants that are more abundant, too (read= invasive) can also help control their populations. For example, purple loosestrife, much maligned throughout Michigan, makes one of the best remedies for conjunctivitis.

 

Taking a local approach to plants is especially important to note because so much of our culture (and our own behavior patterns) is designed to fuel consumptive behavior.  If we really want to break free of consumptive cycles, it means doing a lot more things ourselves, and gathering and growing our own herbs is one of them.  I know there are a lot of well-meaning herb companies, but they still ship their herbs using fossil fuels, they still bottle or bag up herbs in plastic…all of this can be avoided (or mostly avoided) by taking a local approach.

 

Dana's herb class - 2014

Dana’s herb class – 2014

In-Person Herbal Intensives. One of the best ways for finding information on locally available medicinal plants is by learning it in person from someone who practices herbalism locally or regionally, which brings me to in-person herbal courses. I strongly suggest that if you are serious about learning herbs, try to find an in-person herbal intensive. Better yet, if you can take classes from a few different herb teachers, do so. I had read herbals before taking my year-long herbal intensive class, but learning herb through plant walks, lectures, and discussions fit my mode of learning much better, and allowed me to ask questions and also learn from other students. Plus, my herb teacher is one of my favorite human beings–many herbalists are cool, quirky, weird people who are fun to learn from and get to know. Mountain Rose herbs maintains a list of herbal schools here. Some herbal schools are in-person only (like my class from Jim McDonald); others offer distance courses, such as Rosemary Gladstar’s Science and Art of Herbalism class.

 

Wilcrafting Plants: Plant Identification. If you want to be a locally-based herbalist and use plants in your area, you want to learn not only about the herbs yourself, but how to grow and/or wildcraft those plants. Wildcrafting medicines and growing one’s own is actually, in my opinion, not only encouraged by necessary for good herbal practice. We have this tendency in our culture to just be willing to purchase everything–and certainly, plenty of herbal supplements, tinctures, or dried plants are ready to be purchased (and for some without access to plants or with limited mobility, this may be the only option). But if you have the means, invest the time in learning the plants and how to use them. If this is your goal, you  will want to get out there and start finding things! I want to refer you to my two-part series on wildcrafting as a good start (these articles include information that is applicable for wildcrafting herbs for healing/medicine). I’ve mentioned a few books really good for plant identification before–one of my favorites is Oslund and Oslund’s What’s Doin’ the Bloomin? You can also get many different kinds of apps and other resources–these are plentiful and a library has much to offer! Look also, for older plant taxonomies and guides–there are some lovely books easy to find and usually quite cheap that can teach you about tree identification, flowers, etc. The Audobon Society puts out a series of compact field guides will full color photos.  You can also get apps, like the free Leaf Snap, that can be super helpful if you are into the smartphone thing (I’m not, lol).

 

Learning about the Body: Energetics and Actions. Picking up an herbal and saying “oh, such and such plant is good for X” is a good way to get yourself in a lot of trouble–and while this method may work for simple ailments (like a burn, which is always in a hot state) its not good herbal practice. Why? Because traditional western herbalism doesn’t work like alleopathic (mainstream) medicine. Traditional western herbalism recognizes that each person’s “energetic” state in their body is different and how illness manifests in the body likewise, may be different. This means, in order to treat something, you need to know enough about energetics (called “tissue states“; the link gives Matthew Wood’s take on it) to give the right herb that will compliment and address the person’s energetic state manifesting in response to a condition.

 

Here’s what I mean–if you have a cold, your cold might be manifesting as cold (meaning you have the chills) and stagnant (meaning nothing is moving, the snot is stuck in your head) or you might have a cold that is hot (you are running a fever) and damp (you have a damp, wheezy cough, your snot runs profusely, and so on). These all very different states that the body is in–and require different herbs.  I’d use warming and stimulating herbs to treat the first condition while I’d use cooling and drying herbs to treat the second; for both I’d use immune system aids to aid the body along. If I gave the hot/damp person hot herbs, that may aggravate the condition even if the herb also had some sort of immune system boost.

 

So, the solution to this is before you dive into the herbs themselves, you should learn about how energetics work.  For this, the best book I have found is Matthew Wood’s The Practice of Traditional Western Herbalism: Basic Doctrine, Energetics, and Classification. If you want to get started, my herb teacher, Jim, has a guide posted here. The second thing these books and resources will teach you is about herbal actions, or what effect the herb actually has on the body (e.g. plantain coat and soothe the mucus membranes with its mucilaginous quality).

 

Once you understand basic energetics, you can move on to using and understanding materia medicas (that is, herbal books)….

 

Making herbal tinctures from wildcrafted ingredients

Making herbal tinctures–in this case, from queen anne’s lace–from wildcrafted ingredients

Learning about herbs: Materia Medicas. Over the years, many different guides to specific herbs–Materia Medicas–have been written by skilled herbalists. There are several for free online, like Grieve’s Modern Herbal and Culpeppers Herbal. These are great resources and places to get started! My personal favorite herbals are Matthew Wood’s two Earthwise Herbals (Vol 1 and Vol 2). You will need to purchase both to have a full range of herbs. I also really like Adele Dawson’s Herbs: Partners in Life which as gifted to me about a year ago by two dear friends. Dawson doesn’t just talk about remedies, she also gives recipes and her innate knowledge of herbs. I think each herbalist will have his or her own favorite books–but the ones I’ve just listed are some good ones to consider.

 

Making Plant medicine. One of the areas I enjoy the most with herbalism is making various plant medicines. I’ve had a few posts over the years that detail some of my recipes, like Jewelweed Salve, Dandelion Bitters, Sore Muscle Rub, or Steam inhalations. The two books that are my go-to guides for these are complimentary and both excellent purchases: Richo Cech’s Making Plant Medicine and James Green’s The Herbal Medicine Maker’s Handbook. These two present you with all of the principles you need to make awesome goodies.  If you want specific recipes and suggestions, you can pick up one of many Rosemary Gladstar’s books.

 

Plants as Teachers and Allies. A critical part of learning how to be an herbalist is working with the plants themselves as teachers, allies, and guides. While different herbalists have various views on the inner worlds of plants and their teachings, one of my favorite teachers in this regard is Stephen Harrod Buhner. His Secret Teachings of Plants, Sacred Plant Medicine, and The Lost Language of Plants are great places to start.  Many of my writings on druid tree workings and other spiritual practices can also aid you in reaching the plant realm.  There is so much more to say on this topic, but I think my earlier druid tree working posts covers a good deal of the basics :).

 

Learning about the Body: Anatomy and Physiology. But wait, isn’t this about plantsWhen I dove into herbalism a two years ago, I was surprised at just how much I had to learn about the body and its functions…and wished I had taken an anatomy and physiology class while still in college!  Herbalism was just as much about plants as it is about their interaction with the body. The book I’ve used for this is Pip Waller’s Holistic Anatomy: An Intergrative Guide to the Human Body. There are really good Youtube videos on the subject as well.

 

Learning about food and nutrition. Good eating is the cornerstone to good health. Working to heal your body and keep it in prime health means that you not only need to understand about plants as medicine, but realize that everything that you eat also has the power to heal (or to harm). This was made very abundantly clear to me when I worked with a nutritionist and herbalist to heal my asthma.  In the case of my asthma, which was brought on by a gluten sensitivity, herbs would only take it so far (and would be treating the symptom). By changing my diet and adding herbs, I was able to address the root cause instead. This is all to say that its important to learn about nutrition and healing foods as much as it is to learn about healing plants. Jim Mcdonald has some good links on herbs and nutrition in his master index here (which is great to check out for many more reasons!)

Dried herbs and old kettles!

Dried herbs and old kettles!

 

Getting the right tools and equipment.  Starting out in herbalism doesn’t have to cost you much, if anything–the plants are freely available on the landscape. However, as you go on, you might find some tools and equipment helpful. Much of this you can repurpose or build yourself.

  • Dehydrator and/or drying rack – to dry herbs for later use, including teas. Teas are best made with dry, not fresh, herbs because the drying process breaks down cell walls.
  • Jars (I use mason jars, reusable and infinitely useful) – for storage of dried herbs, tinctures, infused oils, and more.
  • A double-boiler for making infused oils and salves (I found mine for $20 at a garage sale).
  • Tincture press. These are super expensive online, but I made my own for super cheap (instructions are here).
  • A few of the tools for harvesting and foraging: bags, basket, a pair of scissors, gloves (for nettles and prickly things), and a hori-hori knife (these and more listed in this blog post).

 

Herbalism Conferences are wonderful ways to learn from various teachers, attend plant walks, learn about energetics, and more. If you have the time and funds, an herbalism conference is well worth attending! Some conferences include the Herbfolk Gathering, the Midwest Women’s Herbal Conference, and the Great Lakes Herb Faire.

 

Growing Herbs. You can also learn a lot about herbalism just from simply growing a few herbs in your garden. For a full introduction to this, you can see Cech’s The Medicinal Herb Grower.

 

On the process of learning. I think I mentioned on this blog before that part of my research as a university professor is on how people learn. Since undertaking any new learning has its own set of challenges, I’ll conclude with some brief advice from the science of learning that can help you more successfully take your first steps into traditional western herbalism.

  • On setting yourself up for success. Recognize how you learn best, and make your learning conducive to that approach. Perhaps you are a visual learner: seeing the plants, looking at pictures, engaging in observation and study: these will help you learn best. Perhaps you need to learn the big picture first–learning about the big picture of energetics will help you before delving into the herbals. Perhaps you need to learn by doing: find some youtube videos and follow along yourself. The key is to figure out how you learn best and use that strategy to maximize your success.
  • Learning from someone else. Even if you aren’t able to take a class (or even if you are) you’d be surprised who has a bit of herbal knowledge around you. Ask around for people who make teas, use salves, and so on. Its really wonderful to find someone to learn from, even if its just a friend teaching you a few things.
  • Pair up and learn together. Its also wonderful to take a class with a friend or family member or to self-design a curriculum you can use to learn about herbs together. This will lead to rich conversations and keeping each other moving forward.
  • On challenges. If we continue to do the same thing over and over again, we don’t grow in the same way that if we are to challenge ourselves frequently to use–and learn new–knowledge. If you want to be a good herbalist, you have to find ways of challenging yourself to grow your herbal knowledge. Maybe tackle a big herbal project, like making a small family herbal medicine cabinet. Whatever it takes to have you grow each time you try something new.
  • On the nature of expertise. Any serious profession or subject requires considerable effort and practice to move from being a novice to to being an expert. Being an expert herbalist may not be your goal, of course.  But for many subjects, research has suggested somewhere between 5000-10,000 hours are necessary to have real “expertise.” Even if being an expert, practicing herbalist, isn’t your goal, realize that learning anything as complex as herbalism does require hours and hours of investment. So be patient and give yourself the space and time to learn.

 

I hope this post has illustrated some ways to learn about herbs and that you find it useful!  I would love to hear your ideas and experiences with herbs, dear readers!