The Druid's Garden

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

Cultivating the Flow of Awen in our Lives June 11, 2017

I shall sing of the awen, which

I shall obtain from the abyss

Through the awen, though it were mute

I know of its great impulses

I know when it minishes;

I know when it wells up;

I know when it flows;

I know when it overflows.

–Taliesin, “The Festival” from the Book of Taliesin, 13th century

 

What the poet Taliesin writes of is the “Awen”, a central principle in the druid tradition meaning “flowing inspiration” or “divine inspiration.”   In ancient times, bards embraced the flow of Awen to be masters of memory, sound, and expression. The bardic path was a lifelong pursuit and vocation; bards would spending many years (by one Scottish account, 7 years[1]) learning the bardic arts which included the arts of memory, diction, rhyming, and composition.

 

The flowing of Awen isn’t just an experience, it is a magical and meditative process. Perhaps you’ve experienced it yourself–when you have a moment of inspiration and then begin to create, losing all track of time, all sense of where you are or what is going on around you–the thing you are creating is the only thing that matters, and you flow with your media.  Hours or days later, you emerge with something incredible.

 

A simple awen painting

A simple awen painting

Today, bringing the flow of awen into one’s life and connecting with one’s creative expression is one of the core aspects of the path of druidry. The druid path is one that embraces creativity, especially, the creativity inspired by nature.  How does the awen flow? How can we invoke it, channel it, and bring it into our lives? And what is the benefit for doing so? This post represents my first in a longer series on the Bardic Arts, that is, a series of posts that explore the relationship between nature, creativity, and druidry. We begin this series with a discussion of awen, for it is from the Awen that all things flow.

 

What is Awen?

Poets like Taliesin, known as the “Chief of Bards” in the 6th century and reported author of The Book of Taliesin,  spoke of the Awen not only as an abstract thing (as the poem above suggests) but also as a muse who works through the poet to bring forth great works. In the translation of the Book of Taliesin, “Awen” is frequently translated into “muse” but also as “flow” or “inspiration” depending on the poem. In some poems in the Book of Taliesin, the awen is personified (“the muse’s prophecy is…”) while in other poems, the awen is a more abstract thing “The muse flows…”). In the British Library Harleian manuscripts of the Historia Brittonium, Talhearn, a poet, is described as “tat aguen” (aguen = awen) translated as the “father of inspiration.”  Other cultures, of course, have also personified the flow of creativity in the form of a muse who are deities or spirits that help the creativity flow (such as the Greek muses).

 

William Owen-Pughe, who was a contemporary of Iolo Morganwg (from whose manuscripts helped start the modern Druid revival), offered a definition of Awen tied to “aw” (flow) and “en” (spirit).  So we have “flowing of spirit” or “flowing of inspiration” as a common definition used today within the druid communities. Other terms I’ve heard used for awen in the druid community include “divine inspiration” or “creative inspiration” or simply “inspiration.” All this is to say that Awen is a force of energy that flows within us, helping us bring forth and express our creative spirits.

 

Awen History and Origins

A  dig into the history of the word and concept of “Awen” can help us understand the awen deeper level. The Awen, like many other things in the modern druid revival tradition, was brought through the work of Iolo Morganwg in Barddas. Iolo drew upon existing Welsh traditions from much older manuscripts that he incorporated into Barddas.  Modern druid scholars have worked to trace the Awen to much older roots. Two full (and fascinating) reports of their work can be found here and here.

 

Of note, Angela Grant explains the research she did at the British Library to attempt to dig into the history and origins of the Awen. She reports on a manuscript she found in the Bodleian Library in Oxford, England which, she writes, “describes how the historian Nennius, on being challenged by an English scholar that the Welsh had no alphabet of their own, produced for his challenger an alphabet that bears a considerable resemblance to Coelbren, though more complex. It also contains an awen symbol (joined at the top) as one of its letters. This does not represent an individual letter but the Latin word ‘ego’ is ascribed to it : ‘I am that I am …”   Grant also traced Awen back to a “proto-Brittonic root for “breath” and “breathing” that ties to the English word “inspiration.”  From her research, we see that inspiration is connected to life itself–to breathing and to the ego/self.  To create is to exist, to breathe, to be.  So, by extension, one way we might think about the awen is that it can represent the fulfilled creative self.

 

The awen's light shining down on my sacred grove

The awen’s light shining down on my sacred grove

One of the stories that feature the Awen in the druid tradition (and is used extensively in OBOD’s teachings) is in the Mabinogion.  It is the story of how Taliesin became the greatest bard of the land. In a nutshell, Taliesin was once Gwion, a boy who is given the task of stirring Ceridwen’s cauldron while she brewed up a magical spell that bestows the Awen.  The blessing of the Awen was intended for Ceridwen’s son who was hideously ugly; she thought if she brewed up the Awen as a blessing, her son could at least be wise. Gwion accidentally gains the power of the Awen after having three drops from the cauldron splash on his thumb; the drops burn him so he instinctively sticks his thumb in his mouth to cool and inadvertently gains the Awen. Ceridwen is furious and begins to chase him. As part of the chase, the two transform into many animals, with Gwion barely escaping with each transformation. Gwion finally turns into a grain of wheat and jumps into pile of wheat in a barn. Ceridwen transforms into a “high crested” black hen who devours all of the wheat, including the grain that is Gwion. Inadvertently, she becomes impregnated with Gwion.  She plans on killing him when he is born, but instead, abandons him on the sea, tying him in a leather bag.  There, he is rescued by either a prince or fisherman, depending on the version of the story. The newborn child grows up to be Taliesin, the greatest bard of all time.  (For a really delightful musical version of this tale, I’d recommend Damh the Bard’s Ceridwen and Taliesin).

 

This tale offers a tremendous amount of insight into the Awen (and is well worth meditating upon).  Some of its lessons include that awen it is something that can be bestowed–and not always when we expect it.  Some of us may be struck with the Awen out of nowhere, just like Gwion when he was scalded by the three drops of Awen. The power of Awen is also a kind of initiation–the flow of awen into our lives open up great possibility. Awen is transformative.

 

Awen and Nature

Taliesin himself says: “pren onhyt yw vy awen” one translation being as “my muse[awen] is wooden!” Or perhaps, for druids, a more fitting translation would be, “my muse is nature!” And certainly, the relationship between nature and creativity are well worth considering. This statement can be interpreted in many ways: the trees themselves are Taliesin’s muses, or perhaps, he is inspired often by the living earth. Still another interpretation might be that he is nature’s instrument for expression. All of these can be simultaneously true, and I believe, represent some of the key connections between creativity, the bard, and nature.

 

How can we let nature be our muse?  Spending time there, observing nature, paying attention to her sounds, her movements, her colors, her patterns, her flows–all of these things offer us great inspiration for stories, songs, dances, artwork, and writing.  Model nature in our own creative works, and allow nature’s patterns, teachings, and inspiration to flow through us.  Many artists, for example, get great joy out of “plein air” painting, where you paint outside and in the presence of that which is inspiring.

 

Looking to the teachings of the river also provides druids with a deeper understanding of the role of Awen–and how we might use it. From both contemporary practice and ancient texts, we have a keen sense that Awen “flows.” Like a stream in the spring, it might gush forth from a person or be a small but steady trickle. Regardless, Awen, like the water, flows where it wants and goes where it wants. As it flows, it pours into a person, allowing them to be inspired and allow the creativity to flow back out.  The more that water is allowed to flow, the more easy that flow becomes, just like well worn, smooth stones and channels along the river.

 

The flowing of awen and the river

The flowing of awen and the river

Connecting to water, and recognizing that creativity has its own path that we must learn to flow with, is a critical part of the bardic arts and cultivating them in our own lives. Spending a year observing a river will show times where much of it dries up, times where much of it floods and leaves its banks into nearby fields and forest, times where it lazily moves along. In my experience, the flow of Awen is just like this. We aren’t always heavily inspired and overflowing our banks, and we aren’t always dried up and without inspiration. Recognizing the natural “ebb and flow” of awen, I believe, is part of it. But also, recognizing that we have some power over that flow as we invoke the awen and work to bring it into our lives.

 

Connecting to water, and recognizing that creativity must be allowed to flow where it wills, just like water. Sometimes, trying to impose your own human will too much on a bardic project or performance can impede it (it is like you divert the water or put in a large obstruction that the water has to flow around). And if you are working with a personification of Awen, through a muse, he or she might not take too kindly to you imposing your own will too strongly. As we see from the tale of Ceridwen and Taliesin, Awen is not only inspiration, but a magical or divine inspiration, and thus, the more that we work with it, the more we cultivate it, the more we are able to work with the flows.  My experience kayaking helps here–on a powerful river, you can expertly navigate the currents if you are experienced!  Then, you can do quite a bit, but still only react and flow with the river, rarely paddling against it.

 

 

Cultivating the Flow of Awen in Our Lives

I believe that the flow of Awen is a union, a synthesis, of human, nature and the creative flows and energy of the of the universe/divine. This means that there are things that we can do as a human being to cultivate Awen and there are things outside of our control.  Let’s take a look at what we can do to start cultivating Awen in our lives:

 

Invoking Awen. One of the most simple things to do is to invoke Awen regularly as part of your practice. Druids are good at this, and if you are a druid, chances are, you know how to chant “Awen.” For everyone else, the chant is simple.  You open up your chest and let all the air in, and then you ring out, strongly and surely, three syllables: “Ah – Oh – En.”  And you repeat that as long as you’ d like.  You can sing it, you can dance with it. And as you chant that sacred word, imagine yourself opening up to that flow of inspiration.  You can chant it anywhere you like.  You can get a group and chant together, or “cascade” it by having each person chant Awen at a slightly different time.  And then once you’ve invoked it–do something with it!

 

Visual representations. Visual representations of Awen (the three rays of light) are powerful ways of bringing awen into your life.  You might have a drawing, or another kind of image, to help bring the awen into your life which you regularly see.  Druids are often spotted with Awen necklaces–I like to keep an awen symbol on my person as much as possible, preferably, close to my heart.  I also have an awen in a window that was a gift of a friend–the sun shines through it, literally, letting the three rays of light of the awen come into my space.  Talk about powerful magic!

Awen bringing in the light

Awen bringing in the light

 

Letting the awen flow. The key to cultivating awen, at least for me, seems to be about allowing it to flow regularly, not damming it up.  Perhaps you’ve met people, or youv’ve been one yourself, who stop the flow of awen or who only allow a small tricke to flow forth. They say things like, “I’m not creative” or “I don’t have time for my [bardic art of choice]” or “I could never do that” (we will explore these issues in more depth next week).  Words have power, words are magic.  And saying this is like putting the flow of awen behind a dam. Maybe, if you are lucky, it will collect there, welling up, and one day, explode outwards like the dam bursting forth (this happened to me in my mid-20’s, and it was a really liberating experience!)  But maybe, it will dry up and go stagnant there, and your Awen will become like a dry and parched river bed.

 

The other piece to letting the awen flow is cultivating the right environment.  For some, that means a quiet place free of distractions where they can allow their awen to flow forth and setting aside enough uninterrupted time to “get into the work” and let something beautiful emerge.  For others it might mean bringing together a community to practice their bardic art, or surrounding oneself with other people who are creative.  It also means enough rest and self care to be one’s best to allow this work to happen (I, for one, can’t create when I’m exhausted).

 

Relinquishing control. And then there are people who want the awen to flow, but try to maintain all control and send it off in directions. You can’t always force it, you have to work with it and respond to it, just like that expert kayaker navigating a flow of water. As an artist, writer, and occasional musician, for me this means setting aside regular time to create, but allowing most of that to be unstructured time.  So I know I will create and have time set aside to do it, but until that day, I’m not sure what I will create: will I paint? What will I paint?  Will I play my flute?  Will I write?  And when I begin, I let the flow go as long as I can.  I don’t try to impose my will on it too strongly, but rather, let the awen guide me.  Its almost like there’s a second hand on my paintbrush, and if we both work together, it will work well, but if we don’t, it will be trouble.

 

The Many Forms of Creativity.  I’ve been talking in my examples about traditional bardic arts: writing, painting, music, storytelling, dance, and so on. But Awen can flow through us and be directed towards all kinds of things, not all of which would be considered “bardic arts” in the traditional sense. For example, I allow Awen to flow when I’m planning my lessons for my university teaching through creative activities and creative planning.  I know friends who do lots of building and allow the awen to flow with their design work,  their creative use of old materials and curbside treasures, and their finishing techniques. Others are culinary wizards in the kitchen and make amazing and beautiful meals.  Still others are master gardeners who create a palate with plants.  Once we realize that awen can be applied to more than just the traditional bardic arts, but we can, essentially, lead inspired lives–then the real magic begins!

 

May the flow of awen, of creative inspiration, come into your life!  Next week’s post will delve more deeply into the Bardic arts and how to take up the path of the bard.

 

[1] lrick de Burgh, Earl of Clanricarde (1604–1657), Memoirs of the Right Honourable the Marquis of Clanricarde … containing several original papers and letters of King Charles II, queen mother, the Duke of York … &c. relating to the treaty between the Duke of Lorrain and the Irish commissioners, from February 1650 to August 1653. Publish’d from his lordship’s original mss. To which is prefix’d, a dissertation … containing several curious observations concerning the antiquities of Ireland. London, Printed for J. Woodman, 1722.

Save

Save

Save

 

Awaiting the Sunrise: Holding an Outdoor Winter Solstice Vigil December 17, 2016

Winter Solstice Fire Vigil

Winter Solstice Fire Vigil

A group of people make music and merriment near a roaring fire during the longest night of the year. Their mission: to await the sunrise and hold vigil through the darkness with feasting, celebration, and the burning of the sacred yule log. The winter solstice vigil–lasting upwards of 15 hours in the darkness can be one of the most intensive, challenging, and rewarding experiences.  I’ve succeeded at one all-night vigil and failed at one all-night vigil (due to underpreparedness, see later in the post) and yet both have been moving experiences.  This year, on the 21st, a group of us is going to attempt an outdoor all night vigil.  At this point, the weather looks good (not dipping below 30 degrees and clear) which is about the best Winter Solstice Vigil weather you can ask for!

 

In preparation for next week’s vigil, I thought I’d take the opportunity today to reflect on the art of preparing for vigil, doing the vigil, and offering some contextualization for this kind of initiatory work. For one, I’m going to do vigil with some folks who haven’t done it before (and I started writing this for them and realized how useful it would be for others). Its a good idea to know what you are really in for with the Winter Solstice Vigil! But for two, I think its good information for anyone wanting to attempt such a vigil. I’ll cover the history of such a vigil, how to prepare physically and spiritually, what to do during your vigil, and offer simple rituals for both the setting and rising sun.  While this post is primarily focused on outdoor vigils, I’ll also include some tidbits about alterations if you aren’t able to be outside for the all night vigil.

 

Understanding and Defining “Vigil”

The term “vigil” itself gives us some understanding of the nature of this work.  The term vigil derives from Latin vigilia, which means “wakefulness.” When we look at a few dictionary definitions of “vigil” we get the following kinds of phrases: “a devotional watching, or keeping awake, during the customary hours of sleep“; “a purposeful wakefulness”; or “a period of keeping awake during the time usually spent asleep, especially to keep watch or pray.” All of these definitions offer us useful understanding and insight into the nature of a vigil and why one would take it on.  The Winter Solstice vigil is certainly a vigil–not usually so much of a solemn one, but one of wakefulness, watching, and sacredness where we work to tend our fires and eventually, welcome the sun back over the land.

 

The Winter Solstice: A Bit of History

Ceremony at the Winter Solstice reaches back, in some parts of the world, to pre-history.  The basic premise is simple: before the days of modern electric lighting, humans lived more closely with the seasons.  The days of darkness, where the earth seemed to stand still, needed humans’ help to bring the light back into the world.  And so, much of the celebrations and feasting at the time was focused on light and life.

 

Fires that burn against the darkness...

Fires that burn against the darkness…

For example, Sí an Bhrú (New Grange), is a neolithic monument in Ireland that is at least 5,000 years old.  New Grange is a large, circular earth chamber with a long stone entrance that is illuminated with the rays of the sunrise on the Winter Solstice. In other parts of the world, especially throughout Europe, the Winter Solstice was often celebrated with feasting and bonfires.  Saturnalia, an ancient Roman festival of feasting, gift giving, and revelry in honor of Saturn, was originally on Dec 17th, but later expanded to Dec 17th – Dec 23rd.  Many Celtic peoples celebrated the “birth of the sun” or the “return of the sun” around the Solstice  (and it is no surprise that evergreen boughs were used to celebrate these events, given evergreen’s connection to life and longevity). A yule log was burned, sometimes with feasting lasting days or weeks.

 

With the rise of Christianity in the 4th century, the Catholic Church proclaimed that the “Birth of Christ” was on Dec 25th to tie to older feasting and merriment traditions.  So even today’s modern celebrations of “Christmas” hearken back to much older Winter Solstice traditions. Even today, we have houses lit up with lights, evergreen trees surrounded with lights and colorfully wrapped packages–all magical ways of raising up the sun.

 

All of this background is useful when thinking about the framing of a druid winter solstice ritual and vigil.  The mood is not solemn here, although solemn work and initiatory work can certainly happen. Rather, this is a patient wait–through celebration and feasting–for the rising of the Solstice sun.  Let’s now turn to some practical considerations before undertaking such a vigil.

 

Inner and Outer Preparation for the Solstice Vigil

Preparing for a winter solstice vigil requires both inner and outer preparation, which I’ll now describe.  Without both considerations, an all-night vigil can be dangerous and/or unsuccessful.  Such was the result of my first attempt at a winter solstice vigil. This was very early in my druid path, and I had really no idea what I was doing. I went to my sacred circle with my hat, gloves, and coat; a big pile of wood; a blanket; a tarp; and a thermos of hot tea; thinking that I would last the night and wait for the rising of the sun. For one, I had no idea how long this night was, nor how hard it was to hold vigil on my own. I quickly ran out of tea and wood, and a dwindling fire was not enough to keep the darkness and cold at bay.  Sometime deep in the quiet night, I grew too cold and the fire grew too dim and I and went back inside to my warm bed.  Better physical preparation could have substantially made this first attempt at a vigil more comfortable!

 

The general rule of thumb for these kinds of vigils is to over-prepare. That is, bring more warm clothes than you need, more food than you need, and more of any other supplies (like wood) than you think you’ll need.

 

Outer preparation: Common sense. The weather can be very variable in December and I ask that you please use common sense.  A night when it is 35 and the sky is dumping freezing rain down on you is a good way to get hypothermia, not enjoy a winter solstice vigil.  Tend to the weather carefully and only attempt this if you are sure you will be safe, warm, and dry.  This is my take on it–some years are not good for vigil.  I’ll still celebrate, but maybe I’ll light a candle in my window, or hold vigil in my house by the fire.  There are other ways of celebrating this–and what I offer here is one of many approaches.

 

Outer Preparation: Clothing. If you have never spent a cold night outside before, you may not realize how difficult it is to stay in a single place and hold vigil when it is less than 30 degrees Fahrenheit (which is fairly common for the places I’ve lived).  What this means, for you, realistically are several things: first, you need a lot of warm clothing, preferably of natural fibers like wool or fur. Second, you need to make sure you stay covered throughout the night, including the part of you that is not going to be near the fire (read, extra wool blankets).  Bring more than you think you will need, including a warm sleeping bag.  All of these things can help you get through the cold night.  Having another warm body (a dog, a snuggle partner) is also very helpful.

Friend Building a simple fireplace to reflect heat

Friend Building a simple fireplace to reflect heat

 

Outer Preparation: A Good Fire.  There are a lot of ways of making fire, and making a blazing bonfire is not, actually, a good way to stay warm throughout the night.  Big fires require a lot of wood, and a 14 or more hour fire will consume huge amounts of it, blasting heat in all directions.  If there are enough folks to go the whole way around the fire, this is OK.  But more commonly, there aren’t that many people willing to stay up all night in the darkness!  If there are only a few of you, the better approach is to use bricks or stones and build up a reflective surface, then building the fire against that surface (see photo above).  The photo shows is a simple fire setup that is small but that will reflect much more heat due to the fire bricks piled up behind.  This would also stay lit in the rain and snow for much longer.  If I had had this kind of setup during my first  vigil, I likely would have made it longer into the night!

 

Outer Preparation: Hot Rocks: One of the strategies I learned about holding vigil has to do with hot rocks or hot bricks.  The strategy is simple: have some old towels and stones or bricks available.  I especially like a large flat stone that I can sit on. Putting the bricks/stones close to the fire to warm them, then wrapping them with a towel and sitting with them, really helps keep the cold at bay.  A largish one makes an amazing seat at 2am in the cold!

 

Outer Preparation: Hot food and Drinks:Warm food and feasting are a necessary part of a Winter Solstice vigil, in the tradition of so many millennia of feasting and celebration around this time of year.  I have a smallish iron cauldron to hang over the fire and a 12 quart dutch oven for the fire that I will be bringing to our ceremony to keep the hot liquids and foods flowing all evening for participants. Warm drinks of the alcoholic and non-alcoholic variety are necessary for a vigil. I don’t drink, I prefer warming herbal teas or cider mulled with cinnamon, nutmeg, cloves, and orange peels.

 

Outer Preparation: First Aid. Its not a bad idea to have some general first aid materials available, especially if you are going to be doing your Winter Solstice vigil somewhere far away from civilization.  Preferably, also it is a good idea to have someone along who knows how to administer basic first aid.

 

Outer Preparation: Seating.  If you are using a chair sitting up, you will need to somehow wrap or protect your body against the chilly air from behind.  Sitting on blankets or wrapping yourself in a sleeping bag can work well for this, especially for the back parts of you away from the fire. I prefer to sit on the ground, but that presents its own unique challenges as the ground obviously gets frozen and really cold this time of year.  To sit on the ground for a period of hours successfully requires you to protect from cold and damp.  I use a tarp as my base layer to protect from the damp.  Then, I usually start with a sheep skin (which I have used for many ceremonies) and a few layers of blankets on top.

 

Inner/Outer Preparation: A Yule Log: The Yule Log tradition has many variations, but I like to use one for the Winter Solstice Fire Vigil.  A Yule log should ideally come from someone’s property or be found, never bought.  It is usually a tree or part of a tree, like a large stump.  The large stump will burn through the night, and that’s part of the tradition.  Usually, the log is somehow specially prepared and magically prepared; one older tradition has it wrapped in evergreen and doused in cider.  In my grove events, we’ve painted it with natural dyes, wood burned the log, added springs of cedar, and have done many other things to honor the log before it is added to the Winter Solstice fire.  The ashes of this log, and fire, are distributed to participants and are excellent for land blessings and tree planting ceremonies, among other things.

 

Inner Preparation: The Mindset:  In advance, it is a good idea to set some mental limits to the event and understand when you shouldn’t or should end the vigil: if you can’t feel your fingers and toes, maybe its time to end the vigil.  If you fall asleep, is that ok?  What about if everyone else wants to go home and off to sleep? Give some thought to what you will or will not do, given certain circumstances, in advance, to help your preparation.

 

Inner Preparation: Facing the Darkness. The other part of this ceremony, as with fasting and many other kinds of initiatory work, is that you really do push your body and spirits in ways to its limits.   Physically, the body may not be used to staying up all night, nor used to being in the cold for so long, or sitting by the fire for that many hours.  Understanding, going into this, that this is a sacred ceremony is important.  Also, you will be in the darkness for a long time.  You may, deep in the night, have to face your own darkness.  The darkness is darkest, and scariest, just before dawn.  I will never forget the end of a vigil evening I spent in the woods by myself–I had never been so happy to see the sun rise, and I was so proud that I stuck it out till that moment.  My own preparation for this kind of deep work involves sitting in darkness for some time for 30 min or so in the days leading up to the ceremony and doing other things to embrace the darkness this time of the year (you might look at my post from last Winter Solstice on embracing the darkness for many suggestions).

 

Opening the Vigil: A Ceremony

Serenading the setting sun....

Serenading the setting sun….

So if you are still reading, then we are ready for the Solstice eve to come and for the ceremony to begin! I have found that the vigil evening is essentially composed of three pieces: the vigil opening ceremony (which may be attended by more folks than those who are doing the all night vigil), the vigil itself, which involves feasting, merriment, as well as quiet times, and the vigil closing ceremony, which honors the rising sun.  I’ll take these each in turn, starting with the opening ceremony.

 

We will do our vigil opening ceremony just as the sun is setting, which for us, is about 5pm on the night of the Solstice.  Because we will have a larger group for this and for the first part of the vigil, but only some staying for the entire vigil, we keep this in mind as part of the ceremony. Note that we do not yet have our fire lit at the beginning of the ceremony (it is lit during the ceremony itself); this is so that we can spend some time in the darkness and the setting sun.

  1.  Opening up a sacred space: As the darkness settles, we open a sacred space.  In the druid tradition, this includes proclaiming the intent of the ceremony, declaring peace in the quarters, cleansing the space with the elements, making an offering to the spirits of the land, and casting the circle around the entire space where we will be.
  2. The Vigil Opening Ceremony.  There are lots of things that you can do for this–here is what we are planning:
    1. We will begin by speaking of the Winter Solstice and, the history of how humans have celebrated this time with light and fire, and of the darkness and wheel of the year.
    2. We will all sit for a time in meditation, in the growing darkness, honoring silently the setting sun and preparing for the vigil of the evening.
    3. We will light our fire, honoring the light of this season and welcoming the sun to return after his long sleep.
    4. Once the fire is going, we ceremoniously add the yule log.
    5. In the spirit of the AODA tradition, we invoke the three currents (solar, telluric, and lunar) radiating a blessing out to the land.
    6. We begin the vigil, which starts with a feast and merriment.

It is sometimes the case that folks will want to join you for the opening (or for sunset and sunrise) but do not want to join you for the entire vigil for any number of reasons.  These choices should be honored.  Those who wish to stay will stay, and still, be supported by those who will not stay for the whole night.  There should never be any pressure to stay, or not to stay, during such an intensive ceremony.  A magical space (circle) should be prepared in such a way as people can pass in and out of it with ease, if this is to be the case.  This will certainly be the case for our group this upcoming week.

 

The Vigil: Continued Ceremony

In my experience, there  are really two ways you can go about your vigil: the time-honored tradition of fesating and merriment, using food, song, dance, and celebration to push back the cold and dark.  The second is a time for powerful initiation into the deeper mysteries of the winter months, the darkness, and the time of cold and rest.  I have found that both of these often happen in the same night during a winter solstice vigil. At some point, the feasting and merriment subsides and the darkness sets in, visions and waking dreams begin. Both are useful and powerful, and like the ebb and flow of the tide, both often happen in the course of the ewvening.  Recognizing this, and honoring this, is part of the process.

 

Here are a few suggestions for how to keep awake and the vigil going:

 

Ritual feast: Holding a feast as part of the ritual is a wonderful way to keep everyone warm and happy.  Ask folks to bring food that can either be heated up or that is kept warm.  Our site doesn’t have electricity, so people will use blankets and such to keep food warm. 

 

Eisteddfod festival: Holding a bardic Eisteddfod is a wonderful way to pass some of the night.  The Eisteddfod includes any of the bardic arts: storytelling, music, dancing, and song.  People take turns and, if you have enough people, a bardic competition can also take place.

 

Sharing your Life Story: Because you have 14+ hours, you have an opportunity for the deepest kinds of meaningful conversations with others around the fire. During my successful past vigil, one of the ways we managed the time was having each of us take an hour or so to tell the important parts of our life stories, the things that shaped us as human beings and put us on our spiritual paths.  As the sun rose, after hearing the stories of everyone around the fire, and sharing my own story, I felt an extremely close connection to those.

 

Darkness walks. One of the other things I really like to do, especially if there is some moonlight, is to take a break from the fire and to simply walk the land, seeing what things look like in the darkness, and feeling its power fully.

 

Sleeping area. The alternative to flat out leaving the area is to have a “sleeping area” (for us, a hayloft with warm sleeping bags) for those who need a few hours of sleep.  One variant on the vigil tradition is that its more like a watch: as long as someone is holding the space and tending the fire, that practice can be rotated.  So some people may go off to sleep for a few hours and then spell off others.  This is another good way to get through the evening and the vigil becomes a group effort.

 

The Ceremony of Welcoming Back the Sun

Sunrise - bliss!

Sunrise – bliss!

After the longest night, it is a blessing beyond all blessings to see the light rising again into the world.  There are so many ways to welcome back the sun, and I will share a few of those here.

  1. A Norse tradition that I rather like for welcoming back the sun is ringing bells right as the sun rises over the hills/land.  They ring clearly and brightly, welcoming the sun back.
  2. Drumming up the sun or playing music (if neighbors aren’t too close by)
  3. Letting the fire burn down as the sun rises–the fire was holding space for the sun, and as the sun rises, letting the sun regain that fire is a good way of ending the ceremony.
  4. Silent observation, observing the ever-changing landscape as the sun returns.  Once the sun is up, you can then do any other ceremonial work.
  5. Honoring the sun with singing, dancing, and merriment – if you have anything left in you, this is also a wonderful idea.
  6. Making offerings to the sun and to bless the land.  I have bottles of dandelion wine that I made for several years and like to offer the sun, the giver of life, some of this wine.

Now, you don’t have to do the whole vigil to wake up and honor the sun. There is nothing that says you can’t do the ritual at night, still get a decent night sleep, and then wake up before the sun to welcome it back to the land.  So these can work regardless of whether or not you are doing the vigil.

 

Once you’ve honored the sun and observed its rising, you can thank the elements and close the sacred space.  Likely, then, it is a good idea to go and get some sleep. Many solstice blessings to my readers–and may your dark nights be filled with merriment, inspiration, and joy!