Tag Archives: Wildcrafting

Wildcrafting Druidry: Getting Started in Your Ecosystem

One of the strengths of AODA druidry is our emphasis on developing what Gordon Cooper calls “wildcrafted druidries“–these are druid practices that are localized to our place, rooted in our ecosystems, and designed in conjunction with the world and landscapes immediately around us. Wildcrafted druidries are in line with the recently released seven principles of AODA, principles that include rooting nature at the center of our practice, practicing nature reverence, working with cycles and seasons, and wildcrafting druidry.  But taking the first steps into wildcrafting your practice can be a bit overwhelming, and can be complicated by a number of other factors. What if you are a new druid and don’t know much about your ecosystem? What if you are a druid who is traveling a lot or is transient? What if you are a druid who just moved to a new ecosystem after establishing yourself firmly somewhere else? This post will help you get started in building your own wildcrafted druid practice and will cover including using nature as inspiration, localized wheels of the year, pattern literacy, nature and relationship, and finding the uniqueness in the landscape.

 

AODA Principles

Prior to this post, I’ve shared some of my earlier ideas for how you might develop a localized wheel of the year, consider the role of local symbolism, and develop different rituals, observances, and practices in earlier blog posts.  The three linked posts come from my own experiences living as a druid in three states: Indiana, Michigan, and now Western Pennsylvania. For today’s post, I am indebted to members of AODA for a recent community call (which we do quarterly along with other online events).  In our 1.5 hour discussion, we covered many of the topics that are present in this post–so in this case, I am presenting the ideas of many AODA druids that flowed from our rich conversation. For more on upcoming AODA events that are open to AODA members and friends of the AODA, you can see this announcement.

 

Nature as Inspiration and for Connection

While the principle of wildcrafting seems fairly universal, in that all druids find some need to wildcraft to varying degrees, there is no set method for beginning to engage in these practices or what they specifically draw upon in their local landscape. The details vary widely based on the ecosystem and the individual druid’s experiences, history, culture, and more. What an individual druid chooses to follow is rooted in both the dominant features of that landscape, what they choose to focus on in the ecosystem, and how they choose to interpret and build a relationship with their landscape. Here are some of the many interpretations:

  • Following the path of the sun and light coming in or out of the world (a classic interpretation) and looking for what changes in the landscape may be present at the solstices and equinoxes
  • Following clear markers of the season based in plant life: tree blooming, sap flowing, colors changing, tree harvests, dormancy, and more
  • Following clear markers of migrating birds and/or the emergence or stages of life for insects (monarchs, robins)
  • Following animal patterns and activity (nesting behavior, etc)
  • Following weather patterns (e.g. time of fog, monsoon seasons, rainy season, dry season, winter, summer, etc)
  • Following patterns of people or other natural shifts in urban settings (e.g. when the tourists leave, patterns of life in your city)
  • Recognizing that some places do not have four seasons and working to discover what landscape and weather markers mark your specific seasons
  • Drawing upon not only ecological features but also cultural or familial ones (family stories, local myths, local culture)

Transient druids or druids who travel a lot may have a combination of the above, either from different ecosystems that they visited or from a “home base” ecosystem, where they grew up or live for part of the year. There is obviously no one right or wrong way to create your wheel.

 

Another important issue discussed in our call tied to using nature as inspiration is viewing nature through a lens of connection rather than objectification.  When we look at a tree, what do we see? Do we see the tree as an object in the world? Perhaps we see it as lumber for building or as a producer of fruit for eating. But what if, instead, we thought about the interconnected web of relationships that that tree is part of? What is our relationship with that tree?  Thus, seeing nature from a position of relationships/connections and not just seeing nature as objects is a useful practice that helped druids build these kinds of deep connections with nature.

One interpretation of the wheel of the year

One of my own interpretations of the wheel of the year

Wheel(s) of the Year: Localizing and Adapting

The concept of the wheel of the year is central to druidry. Druids find it useful to mark certain changes in their own ecosystems and celebrate the passage of one season to the next–practices which we’d define in terms of a wheel of the year. But to druids who wildcraft, the wheel of the year should be a reflection of nature’s cycles and seasons, things that are local and representative of the ecosystems that they inhabit.  While many traditional wheels of the year assume either a fourfold or eightfold pattern and are based entirely on agricultural holidays in the British Isles and the path of the sun, this system does not map neatly–or at all–onto many other places of the world. The further that one gets from anything resembling UK-like temperate ecosystems, the less useful the traditional wheel of the year is. The disconnection and divergence encourage druids to build their own wheels of the year.

 

Druids describe widely divergent wheels of the year in different parts of North and South America. Some reported having only two seasons (rainy and dry) while others reported having up to 7 different distinct seasons in their wheel. Wheels of the year might be marked by some of the kinds of events described in the bullet points above:  the return of a particular insect to the ecosystem, the migration of birds, the blooming of a flower, first hard frost, the coming of the rains, and so forth. I shared my own take on the wheel of the year here, and also wrote about my adaptation of Imbolc to my local ecosystem and local culture–these are two examples that might be useful to you.  Even if you live in an ecosystem that isn’t that divergent from the classical wheel of the year, you still may find that you want to adapt parts of it to your specific experiences, practices, and connections.

 

From my earlier article on the wheel of the year, here are some practices that you might do to start building your own wheel:

  • Nature observations: You might start by observing nature in your area for a full year and then noting: what is changing? What is different? How important are those changes to you?
  • Interview the Old Timers and Wise Folks: Talk with the old farmers, wise women, grannies, and grandpaps in the area who have an innate knowledge. Ask them how they know spring has arrived, or that fall is coming, or what they understand to be the seasons. You might be surprised at the level of detail you get!
  • Look to local farms and agriculture. Most traditional agricultural customs and products are directly dependent on the local ecosystems. You can learn a lot about important things that happen in your local ecosystem by paying attention to the agricultural wheel of the year and what is done when.  If you have the opportunity to do a little planting and harvesting (in a garden or on your balcony) you’ll also attune yourself to these changes.
  • Look to local customs and traditions. You might pay attention to regional or local fairs and festivals and/or look at regional calendars to see what the important dates are.  Some of these may be contemporary customs from much older traditions (like Groundhog Day) or customs that used to take place but no longer do (like Wassailing in January).  Reading about the history of your region, particularly, feasts, celebrations, and traditional activities might give you more insight.
  • Consider family observances. Some families develop their own traditions, and some of those might be worth considering.  For others, family traditions are often religious and may belong to a religion that you no longer want to associate with, and that’s ok too.
  • Consider where the “energy” is. What is this season about? Where is the energy and power in the land at present? What is changing?  Observation and interaction will help.
  • Speak with the nature spirits.  Perhaps the most powerful thing you can do is to connect with the nature spirits or spirits of the land and see what wisdom they have for you (using any number of inner communication or divination methods).

 

Pattern Literacy: Nature’s Archetypes

All druids seeking to wildcraft and connect deeply with the world around them would benefit from understanding what permaculturist Toby Hemingway called “Pattern literacy”.  Patterns are nature’s archetypes;  they are the ways that nature repeats itself over and over through broader designs, traits, configurations, features, or events.  Each unique thing on this planet is often representing one or larger patterns. Learning pattern literacy is useful for all druids as a way of starting to engage with and develop wildcrafted druidries.

Rosaceae – Patterns from Botany in a Day book

 

Let’s look at an example of pattern literacy from the plant kingdom to see how this works. The rose (Rosaceae) family is a very large family of plants and includes almost 5000 different species globally–including blackberries, apples, hawthorns, plums, rowans, and much more.  Members of the rose family are found on nearly every continent in the world. Rose family plants have a number of common features, including five petals, five sepals, numerous stamens, serrated leaves (often arranged in a spiral pattern).  If you know this pattern, then even if you don’t know specific species in the ecosystem you are in, you can still do some broad identification–you can recognize a plant as being in the rose family, even if you don’t’ know the specific species.  This information–along with lots more like it, comes from a book called Botany in a Day, which I highly recommend to anyone interested in learning plant patterns.

 

For those of you who are transient, traveling, or looking to connect to a new ecosystem, pattern literacy offers you a powerful way to form immediate connections in an unfamiliar ecosystem.  Connections are formed through relationships, experiences, and knowledge–you can have a relationship with one species and transfer at least part of that connection to similar species in a new area. With pattern literacy, you an learn the broad patterns of nature and then apply them in specific ways to new areas where you are at. Once you can identify the larger patterns, you are not “lost” any longer, you are simply seeing how that familiar archetype manifests specifically in the place you are at.  These kinds of immediate connections in an unfamiliar place can give you some “anchoring” in new places.

 

The best way to discover patterns is to get out in nature, observe, and interact.  Reading books and learning more about nature’s common patterns can also help.  In addition to Botany in a Day which I mentioned above, you might be interested in looking at Philip Ball’s series from Oxford University Press: Nature’s Patterns: A Tapestry in Three Parts. The three patterns that he covers are: Branches, Shapes, and Flow. Mushroom and plant books also often offer “keys” or key features that repeat over many plant families (e.g. shelf mushrooms, gilled mushrooms, boletes, agarics, etc).  These kinds of books are other good sources of information.  Learning nature is learning patterns–and pattern literacy is a critical tool for druids.

 

Recognizing the Uniqueness in the Landscape

Another useful way of wildcrafting your druidry is thinking about what is unique and special about your landscape.  These can be natural features, beauty, diversity, insect life–and these unique features can be a land’s journey through history and restoration from adversity, the story of that land.  Finding and connecting to these unique features may give you a way of seeing how your land is unique in a very local way.  Some landscapes have old-growth trees, others huge cacti, others endless fields of flowers, and still others huge barren mountains with beautiful pigments.  Each place is different, special, and unique.

 

For transient druids, traveling druids, or druids who are new to an ecosystem, recognizing the uniqueness in the landscape has added benefit. It allows you to focus on what is special and best about the landscape you are in rather than focusing on a landscape that you miss (e.g. being able to appreciate the prairie for what it is rather than focusing on the fact that there are few to no trees).  Thus, this offers a way of orienting yourself in an unfamiliar environment.

Ready, Set, Wildcraft!

Hopefully, this post combined with my previous writings on this topic can help you develop a connection with your landscape, and thus, find new ways of deepening your wildcrafting practice.  Find the cycles, find the patterns, discover what is unique, and discover what changes–all of these suggestions can help you better understand the world around you.  If you have any strategies or ideas that weren’t shared here that have helped you wildcraft your druidry and connect with your local landscape, please feel free to share!

Recipe: Wildcrafted Herbal Blessing Oil

A herbal blessing oil is a simple magical tool that you can make that directly comes from the living earth. The herbal blessing oil can be used to bless tools, seed balls, trees, yourself, other people, or anything else you like. You can include it as part of your Druid’s Crane Bag. Your own unique blend of herbs and wildcrafted ingredients will make it an amazing and potent tool for your practice.  While druidry doesn’t use oils extensively, other traditions, like the American folk magic and Hoodoo, use oils a lot to dress candles and do other kinds of energetic work.

 

Choosing Plant Material

You can harvest material from one plant or from a variety of plants and combine them. Here are some possibilities for you:

  • Lavender, Sage, Rosemary, Thyme, Lemon Balm, Majoram, – Garden herbs that offer healing and protection.  Add one or more of these as a blend.
  • Mugwort, Yarrow, St. Johns Wort, Goldenrod, Aster – Field herbs that offer protection, vision, and inspiration.  Mugwort is particularly good for dreaming.
  • Needles from White pine, eastern hemlock, and/or blue spruce – Tree herbs that offer strength, consistency, and vitality

You might also look at my series on sacred trees ( Elder, Walnut, Eastern White Cedar, Hemlock, Sugar Maple, Hawthorn, Hickory, Beech, Ash, White Pine, Oak, and Birch) to create a specific tree oil that will be useful to you and the work you are currently doing.  You can also refer to my longer list on smudge stick making for details about many plants and their uses.  You can also refer to any good magical herbal, like John Michael Greer’s Encyclopedia of Natural Magic or Beryl’s Master Book of Herbalism.

The oil in my photos is a journeying oil for dreaming and deep journeying work.  It contains mostly plants I grew and dried myself, but also some wildcrafted ingredients.  The recipe is: mugwort, bay leaves, rosemary, tobacco, lavender, borage, and heather.  Given that its winter here, these materials have been preserved from earlier in the year.

Plant material for a dreaming/journeying oil

Plant material for a dreaming/journeying oil

Gathering Materials

You want to gather fresh or dried plant material.  Fresh material can be obviously gathered in season; you can purchase or dry your own plant material otherwise.

Gathering Material. At a time of power (full moon, one of the eight holidays, another day of significance) go out and gather aromatic plant material. Aromatic plant material is that which has a high concentration of volatile oils (which is what essential oil is made from). When you crush the leaves of a plant or needles of a conifer and you can smell that wonderful smell, this is an aromatic plant. Even if its winter, you can gather conifers to make a potent oil.

You can gather your plant material from a variety of places a cultivated garden, an abandoned lot, an edge space, a field, or a forest. Before you gather your material, ask for permission from the plant and use inner listening skills to see if you can gather–I do not advocate taking any plant material without permission and an offering (see this herbal blend as a potential offering). If you are given permission, make an offering  and then harvest a small bit of the plant.

Purchased material. If you purchase your material, make sure it is organic and ethically sourced.  You don’t want any chemicals in your blend, and certainly, no suffering of the land.  Even though you purchased it, I suggest still making an offering to the land in thanks for the herbs before proceeding.

Dried material.  You can also use home-grown and dried materials from your garden or wildcrafted.

 

Making Your Oil

Fresh plant material. Once you’ve gathered your plant material or have obtained dried material, chop up the plant material into small pieces (1” or so in length). Spread the plant material out on a baking tray or similar surface. Allow the plant material to wilt on the counter indoors for a day so that some of the water is removed from it (wilting it in the sun will strip it of the aromatic oils). Wait till it dries out at least partially to reduce and/or eliminate the water in your sacred oil–water makes the oil go rancid.  It shows up like small bubbles at the bottom of the oil.

 

Open Up a Sacred Grove. Open up a sacred grove for magical crafting; as I described in my hawthorn post. You don’t have to do this, but I think if you are making an oil for magical purposes, its good to do so with intention and the right energy.

Making your Oil. Get a pint jar or other glass jar.  Using a pair of scissors or a mortar and pestle, break up the large plant material/grind up the plant material.  You can do this while changing, loosely pack the plant material into the jar. Now, take a good quality olive oil or other shelf stable oil (fractionated coconut oil or almond oil are other good choices) and pour the oil over the plant matter until it is completely covered.

Pair of herbal scissors with multiple blades easily cuts up dried plant matter!

Pair of herbal scissors with multiple blades easily cuts up dried plant matter!

Infusing your oil. Let the plant matter infuse in view of the sun and moon (like in a windowsill) for at least seven days.  If the plant matter is wet, you want to infuse it no longer than 7 days.  For dried matter, you can infuse it longer, up to a single lunar cycle.

Coconut oil is being used for this recipe

Coconut oil is being used for this recipe

On the seventh day, get a fine strainer and strain the plant matter out. If you don’t have a strainer, 1 ply of a paper towel can work, but it takes a while to drip through. Sometimes, a cheesecloth or thin paper towel (one layer) can be used to get final bits of plant matter out. Getting out as much plant matter is critical because plant matter will make the oil go rancid much faster.

 

Finishing Your oil: At this point, if you want, you can add a few drops of your favorite essential oil. You can get a small portable bottle and take the oil with you. Store your oil in a cool, dark place.  It will stay good 1-2 years.  Make sure you label it carefully and write your recipe down so if you want to make more, you will remember how to do so!

 

Using Your Oil

Here are just some of many uses for this kind of oil:

  • Put it in your crane bag or in a bottle necklace and take it with you to bless trees, rocks, or any other aspects of nature on your journeys.
  • Consider using it to support meditations and dreams; you can dab a bit on your temples before meditation, dreaming, ritual work, journey work, and more
  • Dress candles with it, using traditional folk methods.  Dressing a candle means putting oil on your finger and holding the candle in front of you.  If you bring your finger from the bottom of the candle and up, toward you, you are “bringing in”.  If you do the opposite, and move your finger away from you and down the candle, you are “removing”.  You can do this and then burn the candle (I like the little 4″ chime candles for this purpose).  Use this for healing, meditation, and more.

I hope this is helpful to you as yet another druid tool for your crane bag!  Readers, can you share any additional tips for how you’ve used magical and sacred oils in your practice?

A Druid’s Guide to Connecting With Nature, Part III: Nature Engagement

Leading you in deeper!

Leading you in deeper!

I’ve heard a lot of conversation in the nature spirituality community, including the druid community, about not touching nature, leaving it alone, to simply “be”.  I remember one influential druid speaking at an event and saying, “The best thing you can do in nature is pick up the garbage and get out.”  From a certain standpoint, this perspective makes a lot of sense. It is the same perspective held by many conservationists trying to preserve pristine lands or lands that have been replanted and are healing; the best thing that can be done is figure out how to keep people from mucking them up, pick up garbage, and leave them undisturbed. Because people have a tendency to come in, move things about, pick things, disrupt ecosystems, and generally cause havoc.  Or worse, much, much worse. Further, in a world where most humans can’t identify even five trees or have any idea if the ecosystem they are looking at is healthy or not, it is a good perspective for nature to be on her own.  This is a perspective ultimately rooted in the desire to care for nature, to preserve nature, and to do good. I do think there are cases, for ecologically sensitive areas, during breeding season, and so on where this is still the best philosophy.  But I think in many more cases, it is not.

 

However, as I began my own journey to understand and connect with nature more deeply, I came to a different understanding.  Through deep study of permaculture, bushcraft, wildcrafting, and so on, and reading the works of many authors, including M. Kat Anderson’s Tending the Wild, Jon Young, and Wendell Berry, I came to a different understanding. The perspective of “pick up the garbage and get out” implies that we put nature on a pedestal; that we enshrine her and look at her from afar, that we leave her alone. She becomes like the object in the museum behind the glass wall with the lights shining on it; interesting to visit once in a while, but please don’t touch.

I see at least three problems with this perspective, as a general principle:

 

  • It fosters separation and disconnection from nature. The minimal interaction with nature maximizes separation.  But we are part of nature, we are not separate from her.
  • It fosters fear about nature or about our own interactions with nature. Particularly, the fear to do harm, the fear to do the wrong thing, makes us fear doing anything. And so then, we do nothing.
  • It fosters ignorance about nature. Last week, I talked about how nature wisdom had two parts: the book learning through nature knowledge and the  experiential interaction through nature understanding. Because we are separate from it, we have no opportunity to learn from experience.

 

An alternative perspective–which I’m advocating today through nature engagement and next week through nature reciprocity–is a very different one. It is a perspective rooted in connection, wisdom, and in a deep-rooted responsibility. Nature engagement is the opposite of “pick up the garbage and get out”–its the idea that we are part of nature, we can learn to use her, to work with her, help her grow, and tend her, and use her responsibly. (And for earlier posts in this series, please see the framework, nature wisdom, and nature engagement).

 

A place to explore...

A place to explore…

One of the concepts that really shaped my thinking on this was how M. Kat Anderson describes the indigenous peoples of California’s view on “wilderness”.  While in English, the concept of wilderness is a largely positive, in that it has been untouched by humans, it is pristine, it is wild, the concept of “wilderness” for the indigenous peoples of California is very negative: it meant that land was unloved, untended, and not under anyone’s care. For western people, humans touching nature is assumed to be bad/destructive, so wild places that are untouched are therefore good (as long as that wild place isn’t someone’s front lawn). But for the indigenous Californians, touching nature and interaction is good and nature that was left to go “wild” was a sad thing. Indigenous peoples all over the world and, going back far enough, everyone’s ancestors, understood and still understand this: if we are going to survive, and thrive, we do so in partnership with nature.

 

What I’m actually talking about is dependency. With the rise of industrialization, factories and mass production replaced home cottage industries; consumer goods and purchasing replaced hand-created, foraged, and grown goods; and humans in western civilization, in a few short generations, lost the ability to learn to live from nature. Today, for many people living in industrialized nations, we have lost nearly everything our ancestors knew about how to live abundantly from the land. This included everything from growing food to foraging, from fishing and hunting to natural crafts, to building things naturally or with wood (a topic I explored in my “way of wood” post some time ago). We need nature, we depend on her, her survival is our survival–even if systems present in consumerism and industrialization have separated many of us from this truth.

 

If we enshrine nature, if we put her on a pedestal and look at her from afar, we will never develop the sacred relationship and co-dependency that leads to deep love and knowledge.  If all we are willing to do is “pick up the garbage and get out” then that’s all we will ever be willing or allow ourselves to do. The connection stops there–with a distance of respect, and reverence, but without interaction or interactivity.  Part of why nature is so powerful to us is that she can–and does–provide all of our needs. You step on a lawn; there is an incredible abundance of healing food and medicine there. Each time you walk into a forest, there is so much there to offer you.  Looking at a beautiful plant is one thing; looking at a beautiful plant that can help heal your pain is quite another. Through interacting with nature, and instead, prefer to interact with nature, to learn how to use her, to learn how to heal her (which all go hand in hand).

 

And, with all of the above in mind, we come to the three ways of nature engagement:

To engage with nature we can:
use nature for healing, living, and sustenance
enjoy nature’s beauty and adventure
be creatively inspired by nature

Using Nature

Humans use nature every day–it is how we survive as a species. From the oxygen in the air to the clothes on our back, nature is with us.  Everything that clothes us, feeds us, heals us, and shelters us ultimately comes from the earth in some form.  We in the western world might be very disconnected from the original source of materials used to create the things we wear, sleep on, or eat every day, and see it as wholly human made–but in the end, it has a natural source, and it is important that we learn to reconnect with nature as provider.

 

Elderflower harvest

Elderflower harvest

Because of exploitation, because we have such damage in many ecosystems, we are hesitant to directly take anything from nature; hesitant to do harm, when the very materials we thrive upon and food we eat comes from the land.  But “using nature” in a druidic sense needs to account for more than what we take–for a nature-based spiritual experience, it is less about “what can I take” and more about relationship, both give and take. Previously, I’ve mentioned Wendell Berry’s concepts from the Unsettling of America: approaching the natural world from a perspective that exploits (which is only taking, taking without reservation, and taking in a way that degrades and destroys life) vs. a perspective that nurtures (taking only enough, paying attention to the health of the land and considering long-term issues). If we approach using nature in a place of nurturing, we are already in the place to develop a relationship with nature. To me, I see this issue as one of reciprocation. I know that with each meal, with each moment I spend in a warm and heated home, I am taking from nature.  So my goal, then, is to give back in every way that I can.  If I pick our native black raspberries to eat (like I did this morning–yum), I save some and scatter them into new areas where they will grow and I leave some ripe ones for the wildlife.

 

Here are a few, of many, ways that you can learn to more fully “use nature”:

  • Foraging and Wild Foods: This hobby is a wonderful way to learn how to use nature and enjoy some tasty treats. I always balance foraging activities with ways that I directly give back to the land: scattering rare woodland species seeds, helping the plants I am harvesting (when native) by spreading their seeds, and so on (more on this next week). Sometimes, foraging helps manage species that are too abundant (or what others might call “invasive”); thus helping keep that species in check. You can never harvest too much japanese knotweed, garlic mustard, kudzu or dandelion!  Two posts (here and here) introduce you to foraging activities and give ideas and suggestions.  Lots of websites and books are available–and I often post material on foragable treats (like Hostas and Milkweed, both of which I covered this year).
  • Bushcraft. Another take on the “using nature” is by learning bushcraft skills. These are various wilderness survival skills like shelter building, fire starting, making cordage from natural materials, and more. There are various bushcraft skills scattered throughout the country and they offer a rich variety of classes. One I have attended is the North American Bushcraft School in West Virginia, who offer a wide range of classes on a variety of topics.
  • Herbalism. Learning how to heal the body with plants is another amazing way to “use” nature and learn how to engage with her more fully. I have found the herbalism community in the US to be rich, and delightfully earth-affirming and earth-honoring.  It is a wonderful practice to learn with a lot of good people to learn from. I have a post here detailing some of the ways to get started in this practice. You can learn both how to grow your own herbs and also how to harvest from nature and tend to wild patches of herbs to help them better grow.
  • Natural building. One of my long-time favorite ways of learning to use nature is through building using materials right from the land–through timber framing, cob construction, and more. I’ve written on this topic a bit here and will have some upcoming posts on the topic later in the year!

 

I actually think that part of the great tragedy of the modern consumerist movement is that nature has lost much of her “value” to humans.  I watch people cutting down apple or walnut trees, cutting back big swaths of dandelions or burdock, cutting down whole forests–and there is so much “of value” in those spaces, but the value isn’t known any longer.  When I teach wild food foraging classes in the summer, what strikes me the most is how learning something even small about a plant completely changes a person’s perspective on it–it changes their relationship, changes the “value” the plant has, and ultimately, connects them more deeply not only with that plant but with the ecosystem in which it grows. I’ve had people come back to me several years later after attending a plant walk and saying how they stopped spraying their lawns because they didn’t know that you could make wine from dandelions and salve from plantains, etc.

 

And use of nature absolutely builds nature connection. What I’ve found as I’ve delved more deeply into the above practices (some moreso than others) is that the more that I learn to use nature, the more connected I am, and frankly, the more value something has.  As a druid, I approach every aspect of nature with reverence and respect. But, its amazing to come across a patch of wild dogbane in the summer and be so excited because in the early winter, I know I can come back and harvest the dried stalks for cordage.  That really adds something to my interaction with this incredible plant and the ecosystem in which she grows.

 

Nature Activity

Being on the water!

Being on the water!

Our second category under “nature engagement” is nature activity. This refers to the many nature-based activities that we can engage in and be out with and part of nature.  Hiking, kayaking, cross-country skiing, backpacking, camping, and much more are an assortment of things that can be done in nature. My general rule, as someone who is focusing on cultivating a nurturing relationship with nature, is to focus on activities that have minimal impact or no impact and use minimal to no fossil fuel.  So I am happy to kayak down a river paddling using my own human power and navigating the river’s current, but don’t want to take a big speedboat. There are so many ways we can engage in activity, exercise, and healing through “doing” nature. I also think that activity can be paired with wild food foraging and herbalism, which really enhances your experience with being part of nature and connected to nature!

 

Another thing I like to do is combine sacred activities in nature (nature reverence, which we will explore in more depth in two weeks) with getting out in nature.  So planning a kayaking trip that also has a ritual component; bringing along a healing blend of herbs to make offerings to the land and a bag of American Ginseng and Ramp seeds to scatter, and so on.

 

Creating With/Through Nature

In addition to providing all of our needs and offering us incredible experiences through exploration, nature offers us inspiration.  Many poets, artists, musicians, dancers, fine crafts people and other creative artists throughout the ages have found their inspiration in the living earth, in the flow of the waters, in the spark of first light in the heavens, in the bloom of a flower or the soaring of a hawk.  In the druid tradition, we cultivate and work with the Awen, the force of divine inspiration, that flows from nature and through a person seeking to create.  Here are some ways that we might create with/through nature:

Learning basket weaving from downed willow

Learning basket weaving from downed willow

  • Nature as a muse: nature can be an incredible muse for all different kinds of creative practice.  I am a visual artist, and I am often sketching and photographing what I see to bring into my paintings; a dancer might choose to interpret the pattern of the clouds through motion, where a musician might play the song he hears in the waterfall.  Being present with nature, being in nature, being observant in nature, learning to meditate in nature–all of these can bring you inspiration.  I also find that when I travel somewhere new, outside of my usual places and outside of my own bioregion, inspiration of new natural places often floods within me.
  • Nature and Artistic Media: Using nature as part of your creative process is another way to bring nature centrally into creative practice.  This might be doing woodcarving and using wood, creating berry inks, vine-based charcoals, hand papermaking, and more.
  • Wildcrafting: There are many kinds of artistic materials and craft projects that you can do. I love finding ways of working with nature directly in my artistic and bardic practices. Berry inks, handmade papers, homemade decorations, smudge sticks, herbal offering blends, and so much more can come right from the living earth. For these, I only take what is in abundance, what I grow myself, or what needs to be managed.

I’ve also seen artists who work with whatever is abundant–a wonderful basket artist who works with bittersweet vines; harvesting the vines helps keep them under control and produces lovely works.  Or a woodworker who collects deadfall from the side of the road and turns it into masterpieces.  Or a mosaic artist who works with stones and shells from the ocean. Part of this, I think, is finding the parts of nature that speak and resonate with you and that bring you inspiration.

 

Conclusion

This post has covered a lot of ground–so we’ll end for here, and next week, we’ll pick up and explore the other side of the coin to  “nature engagement” which is “nature reciprocation.”  Blessings as always!

 

A Druid’s Guide to Connecting with Nature, Part I: A Framework

A lot of people find druidry because they want to “connect” with nature.  They want to attune to nature, feel part of it, gain knowledge and wisdom about it. But what does “connecting” to nature look like in practice?  Going out in the woods and feeling good?  Knowing the name of trees?  Walking with sacred intent in a natural place?  Spending time in nature?  All above the above? And so, over the next few posts, I want to spend more time with the concept of “connecting to nature” and share some strategies for what people can do to connect with nature in a multitude of ways.

As I’ve written about earlier, part of what I see as the core of druidry as a spiritual tradition is the work of “connection.” In that post, I talked about connecting to nature, connecting to the spirit, and connecting to the creative practices as three ways in which connection is manifest in this tradition. And, I believe, it is this search for connection that underlies so much of the interest in nature-based spiritual paths like druidry and the growing amount of druids worldwide.

Connecting to nature at the rocky shore

Connecting to nature at the rocky shore

 

A Framework for “Nature Connection”

I find that older books on nature can really offer perspectives that we’ve sometimes forgotten about. For example, The Field Book of Nature Activities and Conservation (1961) by Wiliam Hillcourt, five nature-oriented actions are outlined in the opening chapter. He suggests that we can know nature, probe nature, use nature, do nature, and conserve nature. I think this offers a beginning of a useful framework for thinking about this topic.

 

Drawing upon his five categories, and adding in my own definitions and additional areas that are pertinent to druids gives us a nature connection framework with four major areas with three specific activities for each area.

Nature Wisdom

The basis of much of nature connection is rooted in building an understanding and knowledge of the living earth. This first category, which I call “nature wisdom” helps us do just that.

  • Knowing nature – Knowing nature includes two aspects: knowledge, that is, learning about nature and being able to identify aspects of nature, ecosystems, ecology, botany, and much more.  This knowledge is typically gained from books, classes, and teachers.  It is knowledge that is passed on to us as part of human wisdom.  While knowing about nature used to be something that every human had, and was part of the formal or informal knowledge that was passed to each generation, for many of us living in western contexts, this often needs to be learned anew.  From my perspective, if I am going to honor nature, I better know something about her as well, and that “knowing nature” helps me begin to do that.
  • Understanding nature – As the druid’s prayer suggests, there is a distinction between knowledge and understanding. Knowing is having a piece of information in your head (e.g. wild yam is a forest-dwelling vine that has heart-shaped leaves). Understanding is the kind of knowing that can only be gained through direct experience in nature.  (Wild yam grows up this tree in this particular pattern and has these variations in the leaves. And it has a good energy about it.) Direct experience leads to understanding. I truly believe that both knowledge and understanding are necessary for building “nature wisdom.”
  • Probing nature – Probing nature is not something that everyone does, but it is something that everyone could do.  This can mean anything from scientific observations and interactions where we build knowledge about nature to well as building your own understanding of nature through systematic nature journaling, observation, and so forth. This is what the great naturalists did as they built systematic knowledge of nature; this what every citizen scientist does as she logs the first blooms through Project Budburst. This is also what any organic gardener does as he carefully tracks yields of vegetables based on different soil amendments. Asking questions and seeking answers about nature is what “probing nature” is all about.

Abundance of harvest

Abundance of harvest

Nature Engagement

Nature Activity is the second broad category that helps us establish a connection with nature by engaging with and through nature. This category includes how we use nature, interact with nature, and do things in nature.

 

  • Using Nature – That humans can–and need to–use nature is a key part of not only our connection with nature, but also for our survival. Using nature is twofold: on one hand, it is about learning how to use the natural world for meeting our needs; on the other, it is about the reciprocation activities that must be present in that use so that it is sustainable over a period of time. So using nature includes learning the uses of many plants, animals, and other aspects of nature and would include foraging, natural building, hunting, and bushcraft skills.  This is about how to work with nature to bring productive abundance to our gardens and lands, how to make dyes or spin cloth from plants we grow, and so many more ways that we can turn a part of nature into something that we can eat, wear, or make.  And, it is also understanding local plant or animal populations, understanding the carrying capacity of the land, and learning how to give back.  That is,  engaging in sustainable (minimally) or regenerative use where we give as much as we get (through tending the wilds, scattering seeds, and doing other regenerative activities, see next section).
  • Nature Activity – These are the various activities that you can engage in  while in nature, such as kayaking, camping, backpacking, skiing, and so on. These activities help us get into new parts of nature and let us have fun and relaxation while doing so. Nature, then, becomes a canvas for some of the ways we engage in healthful activities and learn more about the living world.
  • Creating with/through nature – A third way that nature activity happens is through the flow of awen, through creative inspiration.  This might include finding aspects of nature as a muse for creative acts (poetry, song, dance, music, artwork, etc) or else directly working with nature in terms of creating artistic media (wooden drums, berry inks, vine-based charcoals, hand papermaking, etc.). This category is essentially the synthesis of the bardic arts and the living earth–and there is much to explore here!

 

Nature Reciprocity

Inherent in the use of nature and our dependency on nature is reciprocation. Inherent in the term “sustainability” is the idea that what we take from the land still allows that land to be abundant and healthful, that the resources used will be able to replenish themselves (with or without human help).  But, like many permaculture designers, I find that the term “sustainability” lacks the power of good–the recognition that humans have took too much (at least here in the US) for over three centuries.  It isn’t enough to sustain, but we must learn to nurture and regenerate. This helps us achieve long-term health and balance of the land while also attending to our own needs.  This reciprocity has at least three areas.

  • Conserving nature – Working to protect nature and conserve existing ecosystems; such as those that are pristine or those that are actively healthy or healing. This includes a range of “conservation” activities that may include protecting new areas, protecting endangered species, encouraging native plant and pollinator populations, river cleanups, building new trail systems, political action, and so on. Conserving nature can also include exploring our own ways of reducing our impact on the planet as a whole, engaging in actions that help us preserve and protect existing resources from further degradation and exploitation.
  • Regenerating and Healing Nature – Working with the land to help heal damaged ecosystems and bring ecosystems back into health, we might use both ritual means (land healing ceremonies) and physical means (such as permaculture design techniques). In this case, we recognize that a great deal of land has been degraded and we can work actively to help be a force of good and bring these lands to a healthier state ecologically.  For example: turning a lawn into a butterfly sanctuary or a food forest is a good example of this practice.
  • Offerings to Nature: Throughout time, humans have recognized that rituals and ceremonies designed to offer something back, physically or metaphysically, was also part of reciprocity.  Offerings in this case are symbolic representations of our understanding of the give and take relationship we have with the earth that provides abundance. A wassail ceremony, for example, is an excellent example of the kind of ceremony I am talking about, as are simple blessings and offerings of food, drink, etc.

 

Nature Reverence

A nature based shrine

A nature based shrine

Everything that I’ve been writing about is a form of honoring nature.  When you develop nature wisdom, you honor nature.  When you learn how nature can offer you so much–and what you can offer in return–you are honoring nature.  But there are also specific activities that are more distinct, more intentional, that put honoring nature as central.

  • Respecting Nature – I believe that honoring nature begins, first and foremost, with a mindset. Most people in Western society are socialized to think of themselves first–what can I do that best benefits me, etc.  Through respect of nature, we can add “what can I do that best benefits the land” as an additional (or primary) category in our minds.  Recognizing and engaging in thought, word, and deed that recognizes the sanctity of life and the living earth  is the first step in honoring nature.  This internal mindset, then, will manifest as outward action in a variety of ways.
  • Honoring nature – Honoring nature also involves offering respect and reverence for the natural world and recognizing the sanctity of all life through ritual and intentional action.  This can be through engaging in various kinds of ritual for benefit of life on the planet and the living earth–such as through seasonal celebration or land healing rituals. Another way we might honor nature is through creating physical spaces in our homes and out on the broader landscape. This may include creating physical shrines upon the landscape, home altars, and more.
  • Communing with nature – Nature can often facilitate deeply spiritual experiences for us, experiences that help us understand the land and our place in it in greater depth.  Many traditions facilitate these experiences surrounding rites of passage or coming of age rituals, but these experiences are open to anyone. Having deeply intense and spiritual experiences with nature; experiences that may fundamentally alter your understanding of yourself, your spiritual practice, and the living earth.  May include things like a druid retreat, vision questing, journeys, long-term work on a single site (like a druid’s anchor spot), and more.

 

Looking at this list above, there are clearly a lot of ways that “connection’ with nature can happen. There are likely ways I’m missing,  but I do think that this list is a good start for someone who wants to connect but isn’t sure how to do so beyond the “go into the woods and feel good” kind of thing!  Since each of these four topics can be a post in itself, that’s exactly what I’ll do next–delve into activities for each of these and how we might engage deeply with them.  Blessings as you connect with the living earth!

Tree Resins from Eastern North America: Harvesting, Crafting, and Incense Making

Jack Pine Resin - Abundant and Amazing smelling!

Jack Pine Resin – Abundant and Amazing smelling!  I harvested this locally.

Burning incenses, particularly the burning of tree resins, has been known throughout the millennia as a sacred activity. Incenses are offered to the spirits, the land, the gods, the ancestors as a way of seeking communion and blessing. Today, most people who are interested in “natural” incenses gravitate towards resin incenses for their lasting effect, delightful smells, and natural origins. Resin incenses are typically the dried sap from trees: trees may be scored or drip naturally and the sap hardens, creating the resin (like Frankincense, Myrrh, Benzoin, Copal).  Others might be dried liquid from trees or fruit (like Dragon’s blood). When you burn the resin on a charcoal block, you get billows of incredible, sweet smelling smoke. Tree resins have an extensive history certain parts of the world, and are often highly revered by the cultures that produce them. For example, when I was in Oman in April (for a professional/work trip), I was amazed to see the frankincense trees and experience the fresh frankincense firsthand. The Omani people see frankincense as a symbol of their culture–it is burned in many public places; ground up and drank in water, and much more!I’ve already listed some of the most common incenses you can purchase–and, like most things, they come from considerable distances and far away places.

 

It is sad, I think, that we don’t do more to honor or local trees that produce incredible resin incenses here in North America, particularly in the Eastern part of the US.  While it is little known, we actually have a large variety of fantastic ingredients for incense making! They are not commercially available or discussed, but they are present and available in the landscape. It is possible that this knowledge has been lost because the native peoples of these lands, those who had the knowledge, were driven off to other lands and/or killed as part of this colonization. I believe that we can relearn and integrate ourselves into our lands more fully–and part of that is the sacred tree knowledge that we hold.

 

Given this, for a good number of years, I have been working to develop local incense sources and locally-based spiritual supplies (see my post on making your own smudge sticks, for example).  And so, in today’s post, I’m going to explore tree resins local to the Eastern USA, particularly the midwest/north-east/mid-atlantic regions, and sharing how to find these resins, how to harvest them, what they smell like, and how to craft basic incenses.

 

What is resin and what tree resins work best?

Tree resins are the sticky and dried sap of trees. In my area, this primarily refers to the sticky and dried sap balls and drips you find on conifers. Conifer resins are not hard to find and are often abundant. Pines, in particular, produce really nice amounts of resin (especially if they have a limb removed/broken and/or are damaged in some way) and most of their resins have a piney/lemony smell.  Spruces also produce nice resins that are typically easy to harvest; the spruce resins are more musky than the pine resins. If you can find it (and this is by no means an easy task), Eastern Hemlock produces the most amazing resin (however, in my visits to thousands of hemlock trees, I’ve only really been able to collect or find resin from two of them). I haven’t yet had a chance to collect resin from the Larch/Tamarak (there are few in this area) so I can’t speak to that specific tree.

 

There are a few non-confier trees that also produce a resin.  Black Cherry produces a resin that hardens and appears a possible candidate  However, I have tried burning this and it doesn’t burn and doesn’t really smell good. But I suspect that some other trees or plants may produce a nice-smelling and nice-burning resin. If any readers know of other plants that produce a nice resin you can harvest–please share and I can update my list.

When and where do you harvest resin?

Spruce oozing from a cut wound - I woudl harvest the bottom drip only or what is on the bark, not from the wound itself (since that protects the tree)

Spruce oozing from a cut wound – I would harvest the bottom drip only or what is on the bark, not from the wound itself (since that protects the tree)

You can harvest conifer resin anytime of the year.  Tree sap flows most abundantly in the spring, and it will often be dried a bit by the fall. I actually like to do a lot of my resin harvesting in the late fall months when I’m starting to look for Chaga mushrooms–whatever resin flows happened that year, they are likely dried out a bit by then and the cold can sometimes make it easier to break off the resin. Although when everything freezes, its hard to harvest the incense in many cases. But most months of the year you can look for it and harvest it.

 

In terms of finding conifers to harvest from, you don’t need to go into the deep woods.  In fact, some trees that are at local parks or along the street produce really good resin because they are often trimmed or damaged.  These damaged trees will ooze from a wound.  The spruce in the photo to the right is along my street and I go past it on my walk to work–that’s how easy it can be to find.  You can also find large patches of conifers in local parks or in forests, and those are well worth your look.  Really, if you just keep your eyes open as you are out and about, you will find abundant supplies of resin.  Just be prepared to harvest it!

 

How do you harvest resin?

Tree resins start out in a fresh form–they are extremely sticky, gooey, and delightful.  Whatever you get them on, they will stay on (so if you harvest with a knife, that knife will likely have resin on it forever).  You can use the resin either in its fresh form, or you can wait for it to dry and crystallize.  I have harvested both and both have their uses (see recipes, below).

 

I typically have a special knife (ok, it is an old butter knife) I use to harvest resin and usually harvest it into plastic cups, small glass jars, or plastic bags.  The knife is pretty much used just for resin–resin is really hard to get off and clean of anything else (requires alcohol, not water). The plastic bags or jars keep it from sticking. If you end up having to clean your tools, you will need to use a high proof alcohol to do so (even rubbing alcohol can work); conifer resins do not clean up or extract in water.  If you are harvesting fresh resin, and put it in a plastic bag, it will never evaporate and turn crystallized; so if you want the crystal stuff, let it crystallize on a tree and/or harvest it into a cup and let it sit somewhere in the sun for a long time.

 

I put white pine sap in this nice ceramic bowl five years ago. It hardened fully about two years ago, and I am slowly scraping it out of here....not sure I will ever get the bowl back!

I put white pine sap in this nice ceramic bowl five years ago after finding it in abundance on a white pine that was cut down. It hardened fully about two years ago, and I am slowly scraping it out of here….not sure I will ever get the bowl fully clean!

You will need to be patient for the dried form of resin–if you see a tree freshly oozing, its probably necessary to come back in six months, a year, or more, and check it to see if it’s dry (how long it takes depends on the kind of tree). Usually, finding other trees around will allow you to harvest a bountiful amount of incense.

 

When harvesting, remember that tree resin is created when the tree is damaged: the resin essentially “seals” the wound of the tree.  Because of this, when you harvest resin, you want to only harvest from around and/or below the wound of the tree, not the wound itself.  For example, if a tree has had a limb removed, some trees (pines especially) will produce a mountain of resin to seal off the wound. I would not remove this resin, as it is protecting the inner part of the tree.  However, the tree could have produced so much resin that there is excess dripping down the side of the tree.  This is what I would harvest in abundance, as that is not actively sealing off a wound on the tree.  I hope this makes sense: we harvest carefully, and delicately, to ensure our tree brethren are not damaged in the process.

 

Some trees will also drip resin to the forest floor, which you can then scrape off of roots, lift off of the pine needles on the floor, or even pick up crystallized chunks.

 

Trees Producing Abundant Resin – List and Scent Descriptions

Here are some of the tree resins that I have harvested and my description of their smell. All of these trees are easy to find and abundant throughout the Eastern US and parts of Canada:

 

  • White Pine – White pine, the chief of standing people, produces the most amazing incense.  It can be found typically whenever the tree has been cut or broken (like limbs removed). It is a very sticky resin till it dries–and it can take a very long time to dry out (I have some that I have been drying out for 4 years now…it is still partially gooey).  The smell itself when burning is really divine: light, piney, with a hint of vanilla scent; when it burns it almost reminds me of how some whipped cream frosting smells.  I think this is one of my favorite of all conifer incenses and is well worth your time to harvest.

    Some of my many harvests of tree resin for incense making

    Some of my many harvests of tree resin for incense making

  • Jack Pine – Jack pine resin is a light colored, quickly crystallizing, extremely abundant resin (I have a photo of it at the opening of this article).  I had a spot in Michigan where tons of little jack pines were growing and I could easily collect a pint of it in about a half hour–it just crystallized all over the tree very quickly, was rarely sticky, and quite easy to harvest. In terms of smell, it has a very light aroma, piney with hints of lemon orange, very clean and excellent burning.
  • Red pine – Red Pine produces a lot less incense than some other trees, but it is well worth gathering.  Most of the time, I find small chunks of it on the trunk of certain trees because a little bug has burrowed in deep and the tree has responded by producing a chunk of incense (some of which can be removed or will remove itself by flaking and some of which should stay to protect the tree). The incense itself burns with a piney smell that includes almost an orange/cherry undertone. It is very light and refreshing.
  • Blue Spruce – Blue spruce resin can be harder to find, but it is well worth the effort.  It is usually found on the places where the tree is damaged (from being cut or trimmed, etc).  And when it is found, it is found in abundance.  It is an intense incense–it has a very skunky/musky, almost animalistic smell. Some people really like it and others do not–but I’d say, find some, harvest it and see what you think!
  • Norway  Spruce – Norway Spruce is another tree that produces a good amount of incense.  I have found that not all Norway Spruces smell the same.  They all have a  skunky/musky smell, which can be pleasant but very different than the pines, and slightly different than the Blue Spruce.  They often also have an undertone of slightly citrus, slightly floral.  Different trees produce different amounts of the “musky” quality, which can get quite strong in some trees.

Trees that Produce Little Resin

The above trees are my staples for tree resin incense, but I also want to share a few additional trees. These are trees that only produce a tiny amount of resin, but it is worth keeping your eyes open for:

 

  • Eastern Hemlock Resin – As my blog readers know, I very much adore and love the Eastern Hemlock Tree.  Of the thousands of hemlocks I have visited, I have found harvestable resin on only two of the trees. One had a huge gash from logging and had produced some dried resin that I could harvest without damaging; the other had a gash from debris along a riverbed. The broken branches do not produce any resin, nor do cut stumps.  So, if you can find it, it is well worth your time, but it it is incredibly elusive!  The incense itself is extremely light and refreshing with a hint of lemon; it has a very clean smell and smells awesome.  It is comparable to white pine resin, but with more of a lemon/cirtus smell.
  • Eastern White Cedar: Thuja Occidentalis does not like producing much resin at all, but if you can find it, it is really nice.  I have found tiny little beads of resin sometimes on older trees’ trunks and larger branches. The beads burn well and smell very cedar-like, which you would expect.  Because of the lack of abundance of resin, I often burn the needles of this tree (which pop and crackle for quite some time).
  • Juniper / Eastern Red Cedar: thus far, I have not found a juniper tree with any amount of incense to harvest (although I am keeping my eye out!).  However, I burn the berries of this (they smell really wonderful, a strong piney/floral scent) and they also smoulder nicely.  So they have some resinous qualities themselves.

 

Burning a small amount of red pine resin on a charcoal block in a censer

Burning a small amount of red pine resin on a charcoal block in a censer

Resins Not Recommended

I want to mention one other tree that produces resin, but that you don’t want to use–and that is Wild/Black Cherry.  Cherries do produce a resin that crystallizes and dries.  However, it doesn’t burn like a typical conifer resin (which smoulders nicely, producing billows of smoke as it boils and burns on the charcoal block); rather, it crackles and pops, it doesn’t want to burn, and when it burns, it kind of just smells like something is burning (dark, earthy smell).  You might be able to grind it up and use it with some other tree incenses, but I’m not sure I’d use it on it’s my own.  I’m still experimenting with it.

 

Making Incense from Fresh Resin: Incense Balls

You can make a really nice incense from fresh resin in the form of incense balls. Note that if you harvest resin sticky, and then you put it in a bag, it will remain sticky pretty much indefinitely because it is not exposed to air. If you don’t want it sticky, best to let it dry out on the tree for some months and/or years. Trust me.

 

But if you harvest it sticky, and you have a nice clump of it, you can make some great incense balls. Collect the fresh resin itself (I usually do this in an old bowl). Then, I add any other ingredients I would like that are dried and/or finely powdered to the resin: sage, rosemary, mugwort, and so on (you can see a list of my common ingredients that are local and useful in my smudge stick post for some ideas). Eventually, you will work enough plant matter in that the incense takes form. You can test out small amounts until you get a good smell (my favorite is fresh white pine resin with rosemary and sage powder). Form your balls (with your hands or gloves; your hands will need a very good cleaning afterwards–use alcohol). Then, give them a final “roll” in some kind of powder to avoid stickiness.  You can also wrap them up individually in a bit of wax paper.  But what I like to do, is let them sit out for a while (a month or so) and then the outsides will eventually dry out.

 

To use them, simply burn them on a charcoal block.  Different mixes obviously will make different blends–try testing out a few different combinations and seeing which ones you like the smell of best!

 

Making Incense from Dried/Crystallized Resin

The other way to work with the tree resins as incense is to harvest it after it has dried out.  Sometimes, you can find really nice dried piece of resin.  Most dried resins flake easily off of the tree and into your bag/jar.  I like to keep these incenses in a jar somewhere handy–they are beautiful and easy to use.  You might find that before burning them, you want to take a hammer and put them in a bag and mash them up a bit–otherwise, the chunks may be too large to be serviceable.

 

The easiest way to use this resin is simply to burn small chunks of it on a charcoal block in whatever amount you’d like.  Test a small amount first to see how much smoke you get.

 

The other way you can use it is to grind it up into a powder and add other ingredients (tree powders, powdered or finely chopped dried herbs, and the like).  You can see my incense on incense making for more information.  Any of the dried resins can be used in place of more traditional resin ingredients (frankincense, myrrh, etc).  As with all resins, they are not self-combustible, so you would be making again an incense to burn on a charcoal block.  If you used a LOT of woody matter and plant matter, and a tiny bit of resin, you might manage to make a combustible (self-burning) incense, but that’s a bit hard to get the balance right.  Some incense books (like Cunningham’s) use Saltpeter to get things to burn on their own–it is carcinogenic.  Use the charcoal block (non-self lighting).

 

Incense Papers

If you have access to really high proof alcohol (and by this I mean 95%/ 190 proof) another fun thing you can do is to extract the resin in the alcohol and make incense papers, which can be burned.  Essentially only alcohol will extract resins.

Grind up your resin (dried) or add your fresh (I find dried works better for this).  Cover it with your 190 proof alcohol (or as close to that as you can get).  Shake it every day or so, and let it sit at least two months.

The alcohol will extract the components of the resin and produce a resin tincture.

Then, you can drop a bit of this onto a sheet of paper (like Japanese rice paper or standard copy paper) and let the alcohol evaporate.  Then, burn the paper to get some of the scent! I am only starting to experiment with this, but the results are promising (I will probably post more on this in a future post, but wanted to share some initial thoughts here).

 

Energy and Tree Incense

One question you might have is: what spiritual or energetic qualities do these incenses hold?  For this, you need to go back and look at the specific tree.  Here’s a basic list:

  • Pines: Considered a “tree of peace” by some Native American tribes, it also represents longevity, life, immortality.  It can be burned for purification, healing work, and divination.  I see it as our “frankincense” and use it in pretty much the same way.
  • Spruces:  Considered a versatility tree that survives well in northern, cold environments; it can represent constancy, versatility, and determination.  I like to burn spruce for getting things going and keeping them going.
  • I have already covered Eastern Hemlock and Eastern White Cedar extensively already (and some of the other trees in this post will get the same extensive treatment).

Conclusion

I hope that you’ve found this post on making tree incenses helpful! I am also working on a post on local, natural incenses, but I suspect it will be some more time until I can present that to you!  I would love to hear from you about trees to add to this list. We don’t have many wild firs growing around here–would love to know what they smell like as well!  Blessings on this Lughanssadh weekend!

Making Seed Balls and Scattering Seeds for Wildtending

Dried seed balls ready for tossing!

Dried seed balls ready for tossing!

This is the last post (for a while) in my series on wildtending. In the last month, we’ve explored the philosophy of wildtending as a sacred action, explored the refugia garden principle, I shared my own refugia garden preparation and design, and finally, we are ready to start scattering the seeds!  Perhaps these seeds were gathered from the wilds, given as a gift from a friend, or perhaps, they were gathered from a refugia garden.  Wherever you get them, now is the time to begin to scatter these amazing little balls packed with life, love, and magic.

 

Seed balls were invented by Fukuokoa and described in the permaculture classic, One Straw Revolution.  They have a number of benefits over other methods for scattering seeds.  First, and foremost, they are easy to throw and toss into spaces you can’t reach.  A lot guerilla gardeners  use them in urban spaces as part of rewilding activities.  Similarly, I have found it so much easier to have a bag of seed balls with me and begin tossing them, seeing where they land and if they can grow.  I also like them because you can imbue them with some magic (even using some of the earlier energy methods I described with minor modification). They also give the seeds a bit of nutrition to help grow, and the ball itself creates a little platform for growth of the seed as the clay and compost spreads out and as the ball breaks down. There are two downsides–first, roots and larger nuts need separate treatment (obviously; I usually plant these directly by hand), and second, the seed balls can be a bit heavier than tiny bags of just seeds. But I have found them to be extremely useful to have in my foraging bag or crane bag when I’m out and about in the world!  So here we go–Let’s roll up our sleeves, find a few friends, and make some seed balls!

 

Designing Seed Balls

There are three pieces to seed balls: seeds, clay, and compost as well as some simple tools to work with.  We’ll talk about each of these in turn.  A bit part of making seed balls is ethical sourcing–if done right, you shouldn’t have to buy anything (or much of anything).

 

Get Some Seeds

The first step is to get some seeds. Deciding what to put into a seed ball depends on what you have access to (like in my case, see below) but also what you want to spread–see my first post in this series for suggestions of endangered and at-risk medicinal plants, for starters. You can spread whatever seeds your ecosystem needs–I’m focusing my energies right now on medicinal plants and tree seeds. You can gather these in the wild when they are in abundance or you can start growing the key plants in a “refugia garden” as I described in a recent post. Or you can find them in…other ways. Since my garden is still in process, I was in the search for seeds this summer. In my last post, I gave some lists of potential plants for different ecosystems–check out this list for more ideas about seeds to spread, but I would strongly suggest studying up on your ecosystem and thinking about where you might share these balls.  Searching out seeds is a longer-term process, something to keep in your mind for the upcoming season!

 

Aster seeds drying!

Aster seeds drying!

Despite the fact that I didn’t find hardly any New England Aster or a few other key plants, like Blue Vervain and Echinacea upon my return to the northern Appalachians, I stumbled across a native plant garden at a local park. And, even more delightfully, they had just trimmed the garden back for the fall, and there was a pile of plants there just going to seed in a pile waiting to be carted off…and so…well, I helped myself. This gave me a wonderful set of seeds–here are a bunch of the aster seeds drying. I also found an abundance of milkweed, boneset, and swamp milkweed to round out my stash.  Perfect!

 

I decided, given my delightful treasure trove of full-sun seeds, to make a set of seedballs geared toward medicinal, hard to find perennial plants that grow in full sun.

 

Finding Your Clay

Now in his book, Fukuokoa used a local clay, “red clay” and there’s been some discussion in various permie forums on whether or not “red clay” is necessary.  No, it is not–any LOCAL clay will do. Please, please, please don’t go buy clay unless you have none in your local ecosystem (and chances are, you do). In most places on the planet, clay will be part of your natural subsoil and its just a matter of finding some.  Look when people are digging holes into the subsoil, look at eroding banks of rivers after flooding, look at new construction–you will see it.  Its heavy, retains water, and is sticky. The reason I say don’t buy any clay is because its very fossil fuel intensive to ship due to its weight. In PA and in Michigan, when you dig down, you can easily find clay. I prefer to dig mine out of banks by streams or the side of the road. I knew of a wonderful bank by a forest stream, so I went on a hike to get some.

Clay bank in stream

Clay bank in stream

I used my hori hori to dig my clay; the hori hori is a Japanese garden tool and is my favorite foraging tool. To dig your clay, literally any little trowel or shovel will do. Since I’m digging it from a soft bank, I primarily took clay  from the bottom of the bank where it already had spilled over to prevent further erosion. I used a doubled plastic shopping bag to put the clay in. After digging, I put it in my bag and lugged it 1/2 mile back up the mountain :).  Of course, not a week later, I saw a bunch of clay deposits on the side of a back country road, having been dug up from last year’s plowing.  Ah well!

Digging the clay

Digging the clay

I pretty much got as much clay as I could carry up the mountain all that way, or about 25 lbs. The recipe I’m going to give you is based on simle ratios, so however much you get is fine.

 

Other Supplies You’ll Need

Before you set about making your seed balls, you will need some other supplies.  I should also mention that seed ball making is VERY MESSY and should, at all possible, be done outside or in like a dusty garage or something.

Compost: In addition to clay and seeds, you’ll need some sifted and finished compost or top soil (something seed free). Chicken-created compost, as is any home compost or worm castings. Any rich soil will do. If you think you have unwanted seeds in the soil that you don’t want to spread, you can bake the compost at 350 degrees for 10 minutes (but this may kill off other microbial life, so be warned).

A large plastic bucket is necessary for mixing. A 5 gallon bucket works well.

A bucket of water for cleaning your hands and adding water to the mix. If its cold outside, make it warm water!

An old towel is also a good idea for cleaning your hands.

A small tarp or large garbage bag.  This will be for sorting out your clay, adding your seeds, and so on.

A few friends. Good friends make seed ball making fun!

 

The Process

The process is simple enough, and I took photographs of each step to help you along. The first thing you want to do is to make sure your compost and your clay is free of debris, woody material, leaves, or stones. Since my clay was wild clay, we had some sorting to do. It was a little wet, but that was fine. It could have been a little dry as well. If your clay is super wet, you might want to lay it out for a few days to dry out a bit before starting. The key is finding that “just right” texture that is more on the dry side than the soupy side.  Most clay you dig right out of the earth will be the perfect consistency.

Sorting the clay

Sorting the clay

We took out the big lumps, sticks, and rocks.

 

Next, you’ll want to measure your clay. You want to use a ratio of about 2 parts clay to 1 part compost–enough to form nice balls. Part of this will depend on the kind of clay you have (and if it is pure or has anything else in it, like a little bit of sand). We used a flowerpot to measure out or clay (2 parts clay).

Measuring clay

Measuring clay into the bucket

We added our finished compost (1 part) and mixed the clay carefully.

Mixing the clay and compost

Mixing the clay and compost – good to get your hands in the soil!

After mixing, we tested the seed balls to see if they stuck together.  Sometimes, you might need to add a bit of water, depending on how moist the clay was. We added about 1 cup of water to our bucket and then checked to see if it formed a ball. If it forms a nice ball, its ready to go.

Testing the seed ball

Testing the seed ball

 

Paul and Sandra checking the mixture

Paul and Sandra checking the mixture

At this point, we found that its helpful to spread the material out on the tarp/plastic bag so that you can get an even amount of seeds in each ball.  After spreading out our mixture,  we have begun to add aster seeds.  You pretty much add as much seed as you like–the balls that we’ve made this time and in the past generally had a lot of seeds!

Spreading out material and beginning to add seeds

Spreading out material and beginning to add seeds

We added a lot of seeds–in this batch, it was what I could find: blue vervain, pleurisy root/swamp milkweed, blue vervain, milkweed, and some stinging nettle.

Our lovely seeds spread out!

Our lovely seeds spread out! The milkweed puffs don’t seem to matter (and in fact, seem to give the balls strength).  Neither do bits of dried plant matter, etc.

Once the seeds were spread out, we mixed everything together and began forming our seed balls.

 

There are a few strategies to make the balls–one that Paul showed us was to roll out a long “worm” (ok, it totally looks like a turd) and then break off smaller bits, forming them into balls.

Forming balls

Forming balls

We made a good number of balls–probably 120+ with the mixture we had made.

Making seed balls together!

Making seed balls together!

Drying your balls

Since its winter here and the weather is generally quite chilly in January, I ended up laying my balls on my seed starting rack that I just put up. It is near a heat register, which allowed them to dry quite quickly. I put them down on some paper bags I had cut up.

Seed balls drying out!

Seed balls drying out!

Blessing your seed balls

Of course, no magic seed ball would be complete without a blessing.  So many things you can do for this, and I think any blessing you give will help set your intentions for the seeds to grow. A few ideas:

  1. A nice blessing oil that you can use to touch each seed ball saying a small prayer
  2. An elemental blessing (four elements) or three druid elements blessing
  3. Put them in the center of your circle during a druid holiday.  I’ll be blessing my most recent batch at Imbolc in a week or so.
  4. You can make these on a full moon, on a holiday (Samhuinn or Yule being a good example) for added effect.

 

Scattering Your Seeds

Finished, Blessed Seed balls are ready to go!

Finished, Blessed Seed balls are ready to go!

Scattering the seeds is a huge part of the fun.  I like to make extra and give them as gifts to those who would appreciate them–then the seeds can go even further.

 

The easiest way of scattering them is just tossing them wherever you want them to grow.  Remember that some seeds need a cold period (cold stratification) so tossing them even in the wintertime isn’t a bad idea!

 

The sky is the limit in terms of these seeds. Make yourself a little bag, take it with you where you go, and have fun!  With each toss, you regenerate the land, bless the land, and scatter abundance.

Wildtending: Refugia and the Seed Arc Garden

Over the course of the last six months, I’ve been discussing in various ways philosophies and insights about helping to directly and physically heal our lands as a spiritual practice, weaving in principles of druidry, permaculture, organic farming, herbalism, and more. Specifically, I’ve suggested that we can have direct, meaningful, and impact benefit on our lands and through the work of our “healing hands” we can help heal the extensive damage caused by humanity. The reason is simple: we have lost so much biodiversity in so much of our landscapes; even our forests are in many cases, pale representations of what they once were in terms of biological diversity. This is true of tree species, plant species, animal species, insect life, soil biology, mycology, water-based life and so on.  While nature has the ability to heal herself, with the help of humans, she can do it much more effectively–and that’s where we come in.

 

Fall foliage rising above...

Fall foliage rising above…

In my last post, I discussed the importance of physically healing the land and building biodiversity through scattering roots, nuts, and seeds–this gives nature the building blocks she needs to do some of her healing. I also discussed balancing wildtending with wildcrafting and seeing both as a spiritual practice. In this post, we are going to explore another angle, take this stream of thought it a bit further, and explore the concept of refugia.

 

Refugia

Refugia is a concept discussed by E. C Pielou in After the Ice Age: The Return of Life to Glaciated North America among other places. In a nutshell, refugia (also called “fuges”) are small pockets of life that were sheltered from broader happenings on the earth that destroyed a lot of other places.  In terms of Pielou’s work, refugia were small pockets of life that were for various reasons from the worst of the effects of the last ice age when the rest of the lands were barren and covered in ice. These isolated pockets survived as a sheltered spot, a microclimate, a high point, and so on. When the glaciers receded and left a bare landscape devoid of topsoil or life, it was these refugia that allowed life to spread outward again, repopulating areas in North America covered by glaciers. Of course, Refugia aren’t limited to North America–they are a worldwide phenomenon, and even our human ancestors, at various points in our history, have used them to survive challenging environmental conditions.

 

In the Anthropocene, that is, the time of human-dominated ecological change we are currently all experiencing, things are a bit different than in glacial North America.  But things are not as different as you might think. For one, the loss of biodiversity and essentially inhospitable landscape can pretty much sum up the 40,000,000 acres of lawns currently in cultivation (in the US alone), the 914,527,657 acres of conventional farmland (in the US), and the amount of concrete and houses taking up land (statistics for which I cannot find). We also have wild areas that, as I’ve described in my last post, have been subject to pillaging and resource mining–these areas are a lot less diverse than they once were. The spaces that aren’t being actively pillaged likely are recovering from pillaging (at least where I live out here) or are subject to their own duress–and the few spaces that are supposedly “safe” and “protected” are constantly under threat from new bills or legislation, logging, mining, etc.. And so, we have a situation where a biological life, generally, has a lot less space to grow and thrive unhindered.  As my post described earlier, we have evidence of the loss of biodiversity in a wide range of ways.

 

Given this, I believe that the concept of refugia is a useful one to consider–and even enact–given the circumstances that we have going on here now. A lot of  us don’t have control over what is happening in the land around us, but we can work to help cultivate small spaces of intense biodiversity, spaces that preserve important plant species, then we can put more of the building blocks back into nature’s hands for the long-term healing of our lands.

 

A rare woodland lady's slipper--the only one I've ever seen in PA

A rare woodland lady’s slipper–the only one I’ve ever seen in PA

Creating Refugia: Goals

We can cultivate refugia in cultivated/human dominated spaces (like lawns, etc), or we can create them in wild spaces (forests, wild fields) that we know will be safe for some time. Today I’ll mainly be talking about cultivating refugia on a small piece of property, and at a later point, will return to cultivating refugia in wild spaces.

 

In the permaculture and organic gardening communities, people have been long creating spaces that are intensely planted, that may be perennial or annual in nature, but they might be doing them with different goals. Most often in permaculture practice, the goals are intensely focused on the site–the goal of bringing a degraded piece of land back into healthy production, with a range of yields, some of which are beneficial to humans, and some of which are beneficial to other life. In other words, permaculture designers often use a kind of sanctuary model. For organic farmers, they may have many of the same goals, but different (more annual) means; both may be interested in some economic benefits as well.

 

Working to actively create refugia can add and compliment these existing goals in the sense that we are creating a protected place (physically and magically) that is richly biodiverse with the idea that this biodiversity can spread if given opportunity (or if we spread it ourselves–you might be able to see where I’m going with this!).

 

I would like to suggest that each of us, as we are able, create biologically diverse refugia–small spaces, rich in diversity and life, that can help our lands “whether the storm” and a place which we can grow seeds, nuts, and roots to scatter far and wide. Or if we are already cultivating biologically diverse gardens, homesteads, sacred gardens, and the like, we add the goal of becoming refugia to our plans–and plant accordingly.  I would like to suggest that we can see this not only as a physical act, but as a sacred and spiritual practice.

 

I’ve been working through this idea quite a bit since I moved back to my home state over the summer. In the process of developing my own refugia site using permaculture principles and sacred gardening practices, I have started with a number of goals. Your goals might be different depending on your situation, but I thought I’d share mine as a good place to start.

 

The refugia garden will contain plants that:

  1. Native or naturalized to this region.
  2. Currently rare or non-existent in the surrounding ecosystem.
  3. Slow growing or hard to establish.
  4. Offer some key benefit to the ecosystem (nectary, nitrogen fixer, dynamic accumulator, wildlife food, etc)
  5. Offer some key benefit to humans (medicine, dye, fiber, food, beauty, spiritual significance).
  6. Are able to grow without human influence or cultivation long-term (perennial focus or self seeding annuals).
  7. Can be spread by nut, root, rhizome, or seed (to think about how to repopulate these species outward).
  8. Are well positioned in terms of how my climate will be changing in the upcoming century.

The refugia will be:

  1. A teaching and demonstration site for others
  2. A site of peace and beauty
  3. A sacred place  for humans to commune, reconnect, and grow
  4. A site of ecological diversity and healing for all life

 

Refugia: Functions and Outcomes

The Refugia garden is, of course sacred garden, a magical place where we can spend time and simply enjoy getting to know these plants, many of which are hard to find or impossible to find in our surrounding landscape.

The other way we might think about these refugia gardens is that they are seed arks, that is, little places where biodiversity and life can spring forth once again.  I’ve been taking to calling the garden I’m designing the “seed ark” for that reason!  We can use this site to grow and scatter seeds, nuts, and roots far and wide. As an herbalist and wild food forager, this is nothing new–taking seeds from wild plants this year and spreading them just a bit further or into new areas.  Ramp seeds, for example, can be gathered the fall and spread easily enough in wet woodland areas, hickory nuts can be planted, and so on.  The refugia garden makes it easier to do that–you will have an abundance of seeds, nuts, roots, and so on in a few short years or less that can be scattered to bring biodiversity back.  Otherwise, you are buying seeds or maybe finding them in the wild when possible (but where I’m at, a lot of what I’m hoping to spread and add to this garden simply doesn’t exist in the wild any longer).

 

Cultivating biodiverse spaces

Cultivating biodiverse spaces

Third, the space itself will be biodiverse and welcoming. Its amazing what a tended space with perennial plants can become in a few short years! Make it a place where people want to go–and add some signage talking about what you are doing!

 

Fourth, when I lived on my homestead in Michigan, one of my favorite things to do was to give away plants–plants are abundant and multiply, and you can easily split most perennials after only a few years.  There are more than enough to go around.  This means that others, too, can be blessed with these rare plants–the more sites like these, the better.

 

Fifth, and most importantly, is the idea of making a difference.  You have no idea what the long-term implications will be of introducing these plants back into the landscape–but the important thing is doing something, we put one’s feet on the path, and seeing where the journey takes us.

 

Refugia Garden Plants

You will want to think carefully about what kind of ecosystem you are designing your refugia garden for–is it full sun? dry? part shade? moist? A woodland?  The good news is that many different needs exist, so you can design a garden for almost any condition.

 

Since we are thinking long term with this principle, I think its a a wise idea to look 10, 20, 50, 100 or more years down the road in terms of climate change.  How will your immediate climate change in the upcoming century?  Will it get hotter, wetter, drier?  Are there species that are rare/at risk, but well adapted to these changing circumstances? A few good resources exist for this online, including NASA’s predictions and information from the US EPA.  I was able to find a specific guide for Pennsylvania (in PDF), which provided exactly the information I wanted to know (about temperature, weather, snow cover and more–as well as about different emissions scenarios)–you should be able to find something similar!

 

Here are some design lists to get you started for at temperate climate (nearly all of these come from the United Plant Savers At risk and To Watch Lists):

  1. Perennials and self-seeding annuals in full sun: Swamp Milkweed, Milkweed, Echinacea, gentian (wet), blue vervain, New England aster
  2. Edge Plants: Part shade, on the edges of forests (bloodroot, black cohosh (damp, part shade), Spikenard (some moisture), Lobelia Inflata
  3. Swampy Plants with Light: Calamus, Horsetail, Cattails (growing rare in some areas, like in MI, due to phragmites)
  4. Swampy Plants in Forests: Ramps, Woodland Nettle, Skullcap, Stoneroot
  5. Dark forest plants: Wild Yam, Goldenseal, Blue Cohosh, Ginseng, Partridge Berry, Mayapple, Lady Slipper Orchid, Trilium
  6. Trees: Slippery Elm, Chestnuts, Butternuts, Paw Paw, Hazels, others unique to your bioregion.  For this, I like to think about the species that are slow to return or that need a leg up!

Of course, you’ll also want to think about sacred gardening techniques as part of your refugia garden–as above, so below, as within, so without.  I have a few good articles on these topics to help you along. We’ll continue this discussion in next week’s post, when we look at the beginnings of the refugia garden I’ve been working on for the last six months :).