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The roundhouse, May 2010

When the first thatch layer on our reconstructed Iron Age roundhouse in Shropshire was finished, we stood with John Letts, the expert on medieval thatching techniques who had taught us how to thatch, and he told us that a thatched roof has been described as “a managed compost heap.” Over the years, the truth of this has become clear. Our roundhouse is built in a wood, meaning that the roof doesn’t get as much sunlight as it should to dry the thatch after rain, therefore it rots more quickly than it otherwise would. Because of this, we have to renew the thatch more often than we would like. We completed the roundhouse in the spring of 2009. Eight and a half years later, we have just completed our third thatch layer.

The first spar coat, October 2011

Rather than stripping off existing thatch and staring again, renewing a thatched roof usually entails putting a fresh layer of thatch on top of what’s already there. Our latest layer is a spar coat, meaning that the thatch is fixed with long hazel ‘sways’ held in place by twisted hazel ‘spars’ pushed and hammered into the existing thatch.

Jo and Adrian making yealms, me and Koth thatching, September 2017.

The roundhouse is thatched with long straw as being more period authentic than the now far more common ‘combed wheat reed.’ Long straw thatching requires considerable preparation. The straw must first be layered into ‘beds,’ each layer being thoroughly wetted. The beds are then ‘drawn’ or ‘pulled.’ You grab a few ends of straw from somewhere near the bottom of the bed and tug firmly. As the straw slips out of the bed, it is straightened out and most of the leafy bits that will prevent rain from running smoothly down the thatch are left behind in the bed. More handfuls of straw are then pulled with the left hand and transferred to the right. When the bundle in the right hand is thick enough, you grab it firmly at one end and give it a shake. Then you run your fingers through it like a comb, stripping out more of the leafy bits. Then turn it over 180 degrees and do the same again, shake and comb. The cleaned straw is then laid across a length of string on the ground. Then you pull some more.

Me throwing a yealm up to Joe, September 2017. Photo by Elaine Gregory.

When your bundle of straw on the ground has reached a size where you can just about get two hands around the end of it, you tie the string around it. This bundle is called a ‘yealm.’ This preparation is hard, time-consuming work, and we were very glad to have such a great group of people arrive to lend a hand.

At John’s advice, the lower three layers of thatch were stitched in with tarred twine, tarred so that, in theory, mice won’t chew through it. In practice, they must have a hardier breed of mice in Shropshire, and we’ve had to replace some of the stitches with spars. Ah well…

Myself and son, Joe, ascending to the heights, September 2017. Photo by Elaine Gregory.

Ideally, you need a ladder with nice, wide rungs for thatching. This is because the ladder lies flat against the roof and you need a wide rung to give your toes something to stand on. One of our ladders had rungs only half an inch across. Ah well, all along the line, since 2006, when we planted the seed for the straw with which to do our first thatch, we’ve had to make do with whatever tools we can find or make, and whatever time we can spare from other work. Under the circumstances, we’ve done pretty well.

The other-than-human inhabitants of the grove in which we built the roundhouse have been open to us from the start, when I found a deer skull on the first day we started clearing the ground.

Gerald, September 2017. Photo by Elaine Gregory.

We had wrens nest inside during the build, and there are still wrens who nest under the eaves. Buzzards have circled overhead, deer visited at twilight and, during this last thatch session, we were entertained one day by a group of wood mice who were remarkable friendly, strolling around our feet while we ate lunch and posing for Elaine’s camera.

We completed all the thatch we could on Sunday morning. We had used almost all the last batch of straw Elaine had bought in. We didn’t go right to the top of the cone, because, in the spring, we’re going to remove this part of the thatch, exposing the roof timbers again. Then we’re going to erect a new timber structure consisting of a downward-bending roof pole at either end of which will be a triangular opening to let out the smoke from the central fire.

Smoke filtering through the thatch (but not enough), January 2011.

Roundhouse reconstructions have, until now, followed Peter Reynolds, who built the first such reconstructions at the Butser Hill Farm in Sussex. Reynolds copied African roundhouses, but decided not to include a smoke hole in the belief that the smoke would permeate out through the roof. If the thatch is thin enough, a lot of it does, but a lot more doesn’t. It then depends how big your roundhouse is and how high its roof as to whether the resulting smoke layer is above or below head height. Our roundhouse is only 22 feet internal diameter, and that’s not quite big enough, so the smoke layer comes down to chest height, which means that unless you build the fire with very dry wood and keep it burning strongly, you’re breathing smoke whenever you stand up. Having had pleurisy a few years ago, I’m reluctant to expose my lungs to too much more smoke.

https://classconnection.s3.amazonaws.com/442/flashcards/377442/jpg/picture11347321291977.jpg
Villanovan hut urn.

Fortunately, I don’t have to. It turns out that roundhouses had not one, but two smoke holes. Our evidence for this comes from little clay or metal models of roundhouses dating from the late Bronze age and early Iron Age and known as Villanovan hut urns. They seem to have been used as incense burners. Their roofs clearly show two triangular vents at either end of a downward-curving ridge pole. The same style of roof is being used in the Baltic region to this day. Given that it has been in use for 3,000 years or more, my assumption is that it works. In the spring, we’ll find out. Many thanks to Corwen Broch for drawing my attention to this hopefully elegant solution to our smoke problem in this excellent blog post.

A bonus in this year's thatching session was that Amanda, Ariana and Pete re-whitewashed the roundhouse and added spiral decorations on either side of the doors (see photo below).

Chaga ceremony, May Eve 2013. Photo by Elaine Gregory.

Huge thanks to everyone who has worked on the roundhouse over the years. Between us, we have created an amazing, magical place, filled with ancestral voices, woven with music, poetry and ritual, a perfect venue for ceremony, journeying between worlds and communing with the spirits of the place and of the old gods of these lands.

Amanda, me, Joe and Ariana at the end of a long week's thatching, September 2017. Photo by Elaine Gregory.
The re-thatched, re-whitewashed roundhouse, September 2017. Photo by me.

3

Archaeoacoustics is a fairly new branch of archaeology that studies the acoustic qualities of caves inhabited, or used ritually, during prehistory and ancient buildings such as the Newgrange tomb-shrine and Stonehenge. Studies sometimes include the use of instruments contemporary with the sites themselves.

The 'Devil's Chair'

I visited Avebury last weekend with my friends, Amanda and Pete, taking with me the newest of my Celtic lyres, wire strung and made from Oak. Towards the end of the day, we arrived at the huge southern entrance stone known in local folklore as ‘the Devil’s Chair’ due to a natural cleft, the base of which forms a comfortable seat in the southern face of the stone, the face that greets people arriving into the henge from the processional route along the West Kennett Avenue. At Amanda’s request, I broke my usual protocol against sitting in the seat so that she could photograph me with the lyre. It was then that we made a remarkable and surprising discovery.

Sitting in the 'Devil's Chair' playing the lyre. Photo by Amanda.

Sitting in the notch in this enormous sarsen stone, I began to play the lyre. As I played, I moved the instrument across my lap until it was facing into a hollow depression in the stone beside my right thigh. I don't know what prompted me to do this, presumably the spirits of the place, but I noticed as I did so that the volume of the lyre increased dramatically when the soundhole was aligned with the hollow and pointing at it. The amount of amplification was quite startling. So much so that I decided to explore it further. Standing up, I held the lyre as far away from the stone as I could lean and still manage to play it, then, continuing to play, moved it towards the stone. From about a foot and a half in front of the stone’s face, the increase in volume was very marked indeed, maximum amplification being achieved when the soundboard of the lyre was almost inside the hollow ‘seat.’ Such was the acoustic feedback coming off the sarsen stone that the last note played on the lyre sustained for much longer than the instrument was normally capable of, continuing to ‘ring’ for several seconds. I didn't count, but I'd guess a good ten seconds longer than usual, probably more.

My wire-strung Oak lyre

I thought the effect might be extremely localised and that you’d need to be right on top of the instrument, as I was, in order to appreciate it. Thanks to Amanda and Pete, I quickly learned that this was not the case. They were standing five or six yards away, between the sarsen and the busy main road that runs through the henge. When the lyre was facing away from the stone, any passing traffic drowned it out completely. When it was played facing into the stone, it was clearly audible, even over the sound of large lorries going by. We found that the effect varied depending on where you were standing in relation to the face of the stone, with particularly strong effects heard when standing at a shallow angle to it and at some distance to the side.

West Kennett Avenue as it approaches the henge

I tried calling into the ‘seat’ hollow and found the same effect, my voice being considerably amplified and thrown back at me. This led me to wonder if the effect might have been used to project sound towards the gap between the banks where the West Kennet Avenue reaches the henge. I would imagine that an instrument like a bull horn would have had considerable impact on anyone entering the henge at that point. The fact that the sound was being thrown from the entrance stone would have made its source hard to identify. I’ll have to try it on my next visit.

It’s amazing that I’ve been visiting Avebury for more than forty years, have taken part in ceremonies that have included the southern entrance stone for more than twenty years, but had never previously noticed this acoustic effect.

Pete made some recordings, and if they came out OK, I'll add them to this post.

Incidentally, I don't mean to suggest that an Iron Age lyre, played in Europe from at least 800 BCE, was contemporary with a Neolithic henge constructed between 2800 and 2200 BCE. Clearly it wasn't. The lyre just happened to be the only instrument I had with me. Next time, I'll take a bull horn and a clay drum...

Blessings of Caer Abiri,
Greywolf /|\

1

Today’s recollection from the first Summer of Love comes in the form of a talk given on January 18th, 1967, by Dr. Timothy Leary at UCLA, the University of California, Los Angeles.

Born in 1920, the clinical psychologist, Timothy Leary, was one of the leading voices of the hippy era, a proponent of consciousness expansion through the use of psychedelic drugs, combined with more conventional spiritual techniques. He drew on Tibetan mysticism, Hinduism, Yoga, Meditation and other techniques and traditions, merging them into a form of spirituality suited to the young people he taught at Harvard University and talked to elsewhere.

In 1960, he and Richard Alpert began the Harvard Psilocybin Project to research the effects of that natural hallucinogen on prisoners and on students. This was continued in the Concord Prison Experiment. They found, among other things, that recidivism rates among prisoners dropped dramatically once they had undergone psilocybin ‘trips’ in controlled conditions that encouraged them to have revelatory spiritual experiences. Leary and Alpert were both fired from Harvard in 1963. This began a long period during which various American authorities, including the CIA and the FBI, worked extremely hard to shut Leary up. He spent time in prison, escaped, fled the country, returned, got arrested some more. His life and philosophy, not surprisingly, appealed strongly to young people in the 1960s.

Personally, I found that hallucinogens can help people to, as Jim Morrison put it, “break on through to the other side.” I was, however, delighted to discover techniques such as rhythmic drumming, by which it is possible to achieve states of altered consciousness without drugs. Why? Simple. Because, as Leary admits in this talk, hallucinogens confuse the mind and the non-drug techniques don’t.

In this talk, Leary speaks engagingly, often amusingly, and in some depth about his personal history and philosophy, including his famous exhortation to young people to “Turn on, tune in, drop out.” He explains that “Dropping out means gently, invisibly, beautifully finding what’s inside and expressing it slowly in a cellular fashion around you.” I like the way he addresses his audience as “Beloved robots.” I love his advice on how to start a new religion. His is a voice that still has relevance and resonance today and it’s good that, although Timothy Leary is dead, through the magic of virtual life, he is still on the outside looking in.

Peace and love,

Greywolf /|\

2

WorldTreeGWx800I always find it hard to sleep when the moon is full, so was up and out very early this morning. As the sun rose over the village, I crossed the road and the brook, sacred to the goddess, Sulis, lined with springs. The nearest of these was revered by Anglo-Saxon ancestors as a local manifestation of the Bubbling Cauldron (Hvergelmir) at the roots of the World Tree, around which coils the serpent/dragon, Nidhoggr. Here's my drawing of the World Tree from the BDO Bardic Course. Click the picture to expand it.
By the spring, I met an early dog-walker. Her dog, an old black and white collie, adopted me for a while as she went on ahead and he padded along at my heels. Our ways parted and I walked up the Green Path to a space between the trees where I could see out across the fields and the edge of the village, with a clear view of the sun.
GWDrumPaintedx800Took out my drum, held it to the newly risen sun, played and sang. With frost on the grass in the dips, I wondered if the drum would sound. I needn't have worried, the Red Deer's golden skin immediately absorbed and responded to the light and warmth of the golden fireball in the East and the lightest tap of my fingers brought forth a clear, ringing tone.
I added another goddess to the list of deities and spirit beings called upon in my morning salutations. Having been with the White Horse Camp until yesterday afternoon, we had discussed honouring this goddess in a ceremony there this morning, and I wanted to connect with my friends at the camp from my quiet corner of North Wiltshire.
Uffington White Horsex800I live just off the Northern edge of Salisbury Plain, within the territory of the Bronze Age people who created the beautiful chalk hill figure, the Uffington White Horse, etched into the greensward beside a rectangular earthwork on White Horse Hill in South Oxfordshire. Just above the Horse runs the Ridgeway, one of Britain's oldest prehistoric trackways, sections of which are still walkable. The Ridgeway once wound from the Norfolk coast to reach the sea again in Dorset, passing by many ancient sacred sites along the way, including Wayland's Smithy, Avebury and Wodnesbeorg. One of the White Horse's tasks, I believe, was to guide and assist walkers along that ancient track. My area of North Wiltshire is known to have had at least fourteen other chalk hill figures of horses etched into its hillsides.
Short digression: In 1996, I led a Midsummer ceremony among the great stone circles of Avebury. Part of its purpose was to honour World Peace and Prayer Day, an idea inspired by the birth of a White Buffalo Calf in Wisconsin two years earlier. This event was seen as being of great spiritual significance by many Native Americans, who greeted it as a sign that their ancestral ways would be returning to them with renewed power. This is because, long ago, it was White Buffalo Calf Woman who brought the Lakota, Dakota and Nakota peoples their seven sacred ceremonies and taught them how to conduct them for the benefit of the tribes and of all beings.
Bear ButteJoining us at that ceremony in 1996 was a young Lakota who came because he had a vision of a White Horse while he fasted in a cave on Bear Butte, a sacred, holy place for many Native Americans. His vision led him to Avebury and to us, since our ceremony was being held at a place sacred to the ancient people of the White Horse. He brought with him a song he had been gifted during his vision and sang it for us in the circle. I am ashamed to say that a few drunken members of the Loyal Arthurian Warband shouted abuse at him as he sang. He didn't let them phase him though. His voice, his spirit and his song remained strong and true.
After the ceremony, we talked. He asked if folk in England always yelled insults at people during sacred ceremonies. I explained the behaviour of the drunks as best I could and apologised for it. He said with a sigh, "Yeah, we get 'em back home too." We talked about Wannabee Indians and he said, "If people over here think it's so damn great being an Indian they should try living on the Res for a couple of years."
We also discussed his vision. He said he had come to us because he felt there was a link between the birth of the White Buffalo Calf, White Buffalo Calf Woman who taught the sacred ways to his people, and our native British White Horse spirit. I've been thinking about this again recently and am more than ever convinced that he is right. I believe we have our own teacher of sacred ceremonies and spirit ways, centred on this area of rolling downland where the most famous of them all, the Uffington Horse, bestrides the hillside above Dragon Hill.
RhiannonCardx800So, who is our native White Horse Woman? I believe she is Rhiannon, 'the Great Queen,' who features in the First Branch of the Mabinogi, where she first appears riding a magical horse and later acts as a horse herself, carrying travellers on her back. Here she is, from the Druid Tarot I designed many years ago (available from the BDO webshop). If I'm right about this image derived from a Gaulish coin representing the same horse goddess (perhaps under a different name), then the spirit of the White Horse reaches far beyond the area where I live.
I believe that she is one of the prime movers behind both the White Horse Camps (formerly OBOD Camps) and the Avebury Gorsedd. An interfaith conference organised by Tim Sebastion in 1993 featured the first ever ceremony of the Gorsedd of Bards of Caer Abiri, a ceremony I created for the event and which is still conducted at Avebury today. During the same weekend OBOD's chief, Philip Carr-Gomm, and Dr. (now Prof.) Ronald Hutton went for a walk around the stones and Ronald suggested that Philip should organise a Druid camp. The first camp took place at Lammas 1994 and included a trip down to Avebury to join the Gorsedd celebration there, again conducted by me, still flying from having encountered my spirit Wolf in a sweat lodge on the camp the night before.

Beating the bounds with garth on Gate, OBOD Lammas camp, 2006. Photo by Elaine.
Beating the bounds with garth on Gate, OBOD Lammas camp, 2006. Photo by Elaine.

That first camp became a template for many others and similar camps are now held throughout the year by five different Druid group in the UK and by OBOD and others in the Europe, the USA, Australia and elsewhere. The Avebury Gorsedd also became a template for similar festival celebrations at Stonehenge, the Long Man of Wilmington, Stanton Drew and elsewhere in the UK and, as with camps, at many other sites around the world. Part of the Gorsedd ceremony even featured in the closing ceremony of the London 2012 Paralympics, broadcast live to a global audience of millions.

1st century Gaulish coin from which my Druid Tarot card was derived.
1st century Gaulish coin from which my Druid Tarot card was derived.

When things have such power, that power must have a source, or several sources. In the case of White Horse Camps and the Avebury Gorsedd, linked by the Ridgeway, the power came from a combination of time, place and people, but also from Rhiannon, our White Horse Woman. I believe that our presence and our intention to revitalise the ways of our ancestors called her forth in the 1990s to teach, inspire and empower us, just as she had our ancestors in the distant past. Long may she continue to guide us in the recreation of our ancestral ways. I trust that many of us will honour her, and give thanks for her gifts, in our ceremonies as we celebrate the first fruits of the harvest this Lammastide.
Hail Rhiannon!
Hail and blessed be!
and a blessed and inspiring Lammas/Lughnasad/Gwyl Awst to one and all!
Greywolf /|\

It's good to start the day in a focused, spiritual way. My days begin with a yoga-based series of exercises - called Surya Namaskar (Salutation of the Sun God), though mine vary from the pattern given in the link (and many thanks to Anita Dreyer for introducing me to this). These are followed by an address to various spirits and deities who are important to me. This has grown with my travels through life, in Britain and elsewhere. The current version goes like this:

"Hail to Q'wati, the Transformer.
Hail to T'istilal, the Thunderbird,
Hail to Woden, wisest of wights,
Howls of wolves and ravens' cries,
Be sig-runes writ on this bright day.
Hail to Freya, fiery love queen,
Witchwife, healer, warrior of trance.
Hail to Gwydion, antlered lord of forests,
Hail to Arianrhod of the starry skies,
Hail to Beli Mawr, father of all,
and hail to Dôn, the great mother,
Hail to Sulis and Sarasvati of the flowing waters,
and hail to the white serpent of healing.
Hail to the gods and goddesses all,
Hail to the ancient ones, spirits most wise.
May your blessings of strength, guidance, wisdom and healing
Be with us this day, this day and all days.
So may it be."

Q'wati and T'istilal are powerful spirit beings among the Quileute people of the Olympic Peninsula in the Pacific Northwest of America. Powerful spirits brought us together and I look upon the Quileute as an extension of my family and wolf clan. Honouring the Transformer and the Thunderbird each day confirms this connection. Woden and Freya came to me on an ancient chambered tomb-shrine during a pilgrimage many years ago, and part of my ancestral line is Anglo-Saxon, traceable back to Woden. Gwydion and Arianrhod have become increasingly important to my spiritual life as I've learned and understood more about them over the last few years. Beli (Brightness) and Dôn (Flowing) are a divine couple in British mythology, parents of a line of gods, the Children of Dôn, and of humans. I trace my ancestry back to them through the royal house of North Wales that includes Rhodri Mawr.

Sulis is the local water goddess of the area where I live. She is patroness of the hot springs in Bath and, I believe, the goddess after whom the city of Salisbury and Silbury Hill are named. I live within the triangle formed by these three places. A stream runs past my house that flows into the River Avon, past Stonehenge and through Salisbury. A beautiful ebony statue of Sarasvati has adorned my home altars for about thirty years. She is a Hindu goddess of rivers, and also of music, literature, the arts and inspiration. I think of her as a relative of our own Ceridwen, only less harsh. If I'm in Shropshire, staying with my friends there, I substitute Sabrina for Sulis. A brook runs through their land and flows into the River Severn, sacred to the goddess Sabrina.

The white serpent of healing is an almost universal spirit with whom I've been working increasingly over the last few years.

The whole thing, excercises and address, only takes ten to fifteen minutes to perform and is well worth it, especially if, like me, you spend much of your day sitting indoors working. The excercises help keep me healthy, the address links me with the natural world through the spirits that inhabit parts of it, while linking me with my family, clans and tribes whose lives are enhanced and inspired by the same spirits. It also acts as a daily reminder of spiritual blessings already received, helping to maintain the connections that enhance and inspire my path through life.

Well, that's how I start my days. How about you?

Peace, love and blessings,
Greywolf /|\

Shingles is a painful skin rash around the area of a nerve infected with a virus called varicella-zoster. It is very unpleasant for sufferers, usually lasts from 2-4 weeks, and can be treated with anti-viral medication. About 1 in 4 UK citizens will suffer from it at some time in their lives. In Welsh Folk-Lore: a Collection of the Folk-Tales and Legends of North Wales (1888), Elias Owen gives the following curious, Eagle-related cure for shingles:

"The manner of proceeding can be seen from the following quotation taken from 'The History of Llanrhaiadr-yn-Mochnant,' by Mr. T. W. Hancock, which appears in vol. vi., pp. 327-8 of the Montgomeryshire Collections.

“This custom (charming for the shingles) was more prevalent in this parish than in any other in Montgomeryshire. A certain amount of penance was to be done by the sufferer, who was to go to the charmer in the morning fasting, and he was also to be fasting. The mode of cure was simple - the charmer breathed gently on the inflamed part, and then followed a series of little spittings upon and around it. A few visits to the charmer, or sometimes a single one, was sufficient to effect a cure.
“The power of charming for the 'Ryri' is now lost, or in any event has not been practised in this parish, for several years past. The possession of this remarkable healing power by the charmer was said to have been derived from the circumstance of either the charmer himself, or one of his ancestors within the ninth degree, having eaten of the flesh of the Eagle, the virtue being, it was alleged, transmitted from the person who had so partaken to his descendants for nine generations. The tradition is that the disorder was introduced into the country by a malevolent Eagle.
“Some charmers before the operation of spitting, muttered to themselves the following incantation:-

Yr Eryr EryresEarly 12th cent Irish MS Eagle crop
Mi a'th ddanfonais
Dros naw mor a thros naw mynydd,
A thros naw erw o dir anghelfydd;
Lle na chyfartho ci, ac na frefo fuwch,
Ac na ddelo yr eryr byth yn uwch.”

Male Eagle, female Eagle,
I send you (by the operation of blowing, we presume)
Over nine seas, and over nine mountains,
And over nine acres of unprofitable land,
Where no dog shall bark, and no cow shall low,
And where no Eagle shall higher rise.”

The charmer spat first on the rash and rubbed it with his finger over the affected parts, and then breathed nine times on it.”

W. Jenkyn Thomas, writing in The Welsh Fairy Book (1908), tells us that:

"Huw Llwyd of Cynfael was the seventh son of a family of sons, and therefore he was a conjurer by nature. He increased his knowledge of the black art by the study of magical books, and he ate Eagle's flesh, so that his descendants could for nine generations charm for the shingles."

Golden_Eagle_flying-whiteLet me make it absolutely clear that I am in no way encouraging anyone to eat Eagle flesh. Eagles are a beautiful and endangered species and should not be harmed in any way at all. I should also remind readers that Eagles are legally protected and damaging them or their nests is a criminal offence. I'm posting this for its historical interest, and its interest in linking Eagles with healing. As to the form of the healing, note the repetition of the number nine in the incantation, reminiscent of similar repetition in the Anglo-Saxon 'Nine Herbs Charm.' The 'Nine Herbs Charm' also includes blowing the poison out from the afflicted person. I have yet to try the shingles charm, but it may be that it works without the necessity for you, or one of your ancestors, to have eaten Eagle flesh. I suspect that, as with many unconventional healing methods, the real key lies in the strength of belief of both the charmer and the charmed. Indeed, the same applies to conventional medicine more than some doctors care to admit.
The idea that Eagles offer a cure for shingles may owe its origins to the similarity between the Welsh words eryr, 'Eagle,' and (swyno'r) ryri, 'shingles,' but no doubt also relates to an archaic belief encountered elsewhere, including in the 'Nine Herbs Charm,' that disease can be caused by the attack of malignant serpent spirits. In native British tradition, shingles was referred to as a serpent wrapped around the body. There is a long and widespread tradition that Eagles will attack and kill snakes. Put the two together, and the idea that an Eagle could attack and kill the disease makes mythical sense. William Elliott Griffis, in his Welsh Fairy Tales (1921), says that shingles -

“... is called also by a Latin name, which means a snake, because, as it gets worse, it coils itself around the body. Now the Eagle can attack the serpent and conquer and kill this poisonous creature.”

Sadly, Eagles have long been persecuted by farmers and game-keepers. Golden Eagles were driven to extinction two centuries ago in England and Wales, though one or two have recently been seen again and there are said to be one or two breeding pairs in the Lake District. In Scotland, they're doing better, with estimates of up to 450 pairs. There are, however, still instances of game-keepers poisoning them. Ironically, much of their diet consists of rabbits, which farmers view as pests.

There is a legend that thunderstorms are created by the beating of the wings of great Eagles who circle in the clouds that shroud the high peaks of Snowdonia, called Eryri in Welsh, 'the Place of Eagles.' I have flown with them, and know it to be true. One day, I trust that physical Eagles will return to Eryri. Until then, here is a picture created digitally to show how magnificent they will look when they do. They are big, with a wing span up to 8 feet. They are also fierce, intelligent, powerful and beautiful. Long may they continue to soar the skies!SnowdonEagles
This piece is extracted from a booklet in the forthcoming British Druid Order Druid course. The drawing accompanying the charm is from a 12th century Irish manuscript.

5

maltaspiralplatebackThe concept of serpents as spirit beings of immense power is an extremely widespread and very ancient one. Three serpents are etched into this 24,000 year old mammoth bone plaque from an Upper Palaeolithic site at Mal'ta in Siberia. Asian, European, and Native American traditions all equate earthquakes and volcanic activity with underworld serpents, while winged serpents are linked with celestial phenomena from thunderstorms to eclipses. Serpents are creatures of great power and, therefore, of great danger. In many traditions, it is only those marked out to be spirit workers who should attempt to approach serpents, let alone have one as a spirit animal. Others risk severe illness or death should they encounter one.
23GwydionSerpents, of course, are important to us Druids. In British folk tradition, we are sometimes referred to as Nadredd, 'Serpents.' One of the most famous depictions of a spirit being from the European Iron Age is the 'Druid/shaman/god' on the Gundestrup cauldron (shown here in the version from the British Druid Order's Druid Tarot deck). In his left hand, he holds a ram-horned serpent by the throat, indicating that the antlered figure has control over the serpent. It is this control that marks him out as either a powerful spirit such as a god, or as a powerful spirit worker, i.e. a Druid.
One of the things that we have largely lost from Druidry over centuries of oppression and ignorance is the star lore of our ancestors. However, as joint inheritors of Indo-European traditions, we feel justified in looking to Vedic Astrology to fill in some of the gaps in our knowledge. Vedic Astrology is a sidereal system, i.e. based on the actual position of the stars, as opposed to classical western astrology, which is based on the positions of the stars about 4,000 years ago. Here's some Vedic astrology relating to tomorrow's eclipse:
The Eclipse of March 20th 2015
rahu&ketuThe first Solar eclipse of 2015 happens with the New Moon in Pisces, joined by Mars and Ketu. Ketu is the tail of the celestial serpent, Rahu its head. Astrologically, they are the south and north nodes of the Moon. Eclipses occur when the serpent swallows the sun. This eclipse / New Moon will clarify and challenge our beliefs and spirituality, both Pisces themes. When Sun and Moon come together near the Node an eclipse results, producing a momentary disconnection and darkening our power source, the Sun. This literally leaves us feeling in the dark, and we may tempted to pursue the shadow side, or quick fix spiritual solutions, escaping into drug abuse or New Age fantasies. Be careful of such lazy, cynical options during the next 30 days. This eclipse happens in Uttara Bhadra Nakshatra, ruled by the God Ahi Bhudnya, the celestial serpent. This divine cosmic force is associated with clearing the last bits of dirt that are blocking the soul’s liberation.
A 16th century Irish text often called 'The Cauldron of Poesy' speaks of:
“...two chief divisions of joy that turn [the cauldron of motion, located at the solar plexus] into the cauldron of wisdom [located in the head]: divine joy and human joy, [one of which is] joy at the onset of imbas[divinely gifted inspiration] by grinding away at the nuts of the nine hazels of fair fruitfulness that grow by the Well of Segais in the land of the Sidhe [Faery Folk, pronounced shee]. They hurtle upstream in a ram’s-head bore along the river Boyne, swifter than a three-year-old racehorse, at midsummer every seventh year.”
Horned-Serpent-SanRafaelSwell-Utah-100_1933Here we see the ram-horned serpent power of our Gundestrup figure represented as a 'ram's-head bore' that surges along the sacred river Boyne, bringing with it the surge of divinely-inspired joy that awakens the cauldron of wisdom, the seat of spiritual enlightenment, located in the head. Our picture shows a horned serpent depicted in cave art from Utah, USA.
The god, Ahi Budhnya, mentioned in the Rig Veda, is the snake of the deep world or underworld. Some suggest he is the serpent of the atmospheric ocean. Ahi Budhnya is symbolically represented as a water snake or reptile that may have harmed people, although he is invoked to gain blessings and not to be harmful. Vishnu Purana mentions that he was the son of Vishwakarma, the divine architect. In the Mahabharata, Ahi Budhnya is one of eleven Rudras and is also one of the eleven Maruts. By the Mahabharat period the deity is related to Rudra or Shiva. In the Rig Veda, his name is only mentioned in the hymns dedicated to Viswedevas.
In the British Druid Order's courses, we work with serpent energy in various ways, from encountering it in the earth as we make pilgrimages across the land to invoking it for healing. In our ovate course, there is a meditation that we developed for a previous eclipse. The essence of it is a chant, perhaps accompanied by the beat of a drum. Here it is in Welsh and English:
Wyf sarff, wyf serch, wyf Gwydion/Arianrhod
'I am serpent, I am love, I am Gwydion/Arianrhod.'
The first four words are part of a poem called 'The Fold of the Bards,' attributed to the archetypal bard, Taliesin. To this we have added invocations to the deities Gwydion and Arianrhod.
Gwydion is the British equivalent of the classical gods Hermes or Mercury. Mercury is the planetary power associated with the Moon's North Node, characterised in Vedic tradition as Rahu, the Head of the Serpent. The ram's-head reference is supported in Vedic astrology where the Serpent's Head rules the sign of Capricorn, the Ram. I believe that Gwydion is the British manifestation of the unnamed serpent-taming deity portrayed on the Gundestrup cauldron. Some have identified this figure with the Hindu deity, Shiva.
CoronaBorealeArianrhod is the sister and/or lover of Gwydion. In Hindu terms, we may identify her as the Shakti of Gwydion, that is the feminine manifestation of the power through which the god (and we as Druids) acts in the world. In the starry heavens, Caer Wydion, 'Gwydion's Castle,' is the Milky Way, while Arianhod, whose name means 'Silver Wheel,' is represented by the constellation Corona Borealis, the Northern Crown, known to British tradition as Caer Arianrhod. As shown in the graphic (left), the Northern Crown is located just above the head of the constellation Serpens, the Serpent. Given that the Crown is an incomplete ring of seven stars, the conjunction of Crown and Serpent is very reminiscent of the torc and serpent held by our antlered Gundestrup god.
We suggest this chant as a means of connecting with the potentially harmful serpent energy manifested through the eclipse in a good, healing, helpful way, using it to unblock those blockages that are keeping us from attaining out true goals of the spirit, from turning our cauldron of motion into the cauldron of wisdom, the full manifestation of which produces:
“Divine joy [that] brings special grace to turn the cauldron of wisdom, so that there are sacred and secular prophets, commentators upon both holy and practical matters, speaking words of grace and performing miracles, whose pronouncements are precedents and judgements, becoming the pattern of all speech. Although the source of this joy is without, its cause comes from within."
For the chant to be fully effective, it may need to be repeated for a considerable period. The seven years of tradition should not be considered too long given the potential benefits. Given the depth and power of this meditation, it is advisable to perform it within your sacred circle or within existing sacred space.
OvateBooklet10_12DoorwaysSit cross-legged but comfortable, breathing steadily and easily. You may wish to replicate the cross-legged, orans posture of the figure on the Gundestrup cauldron. However, if you find sitting cross-legged uncomfortable, then find another, more comfortable posture. This meditation may be assisted by the steady beat of a drum or drums.
Begin by focusing energy into the base of the spine and lower groin, between the genitals and anus. Build a bright, hot fire there, drawing on the internal heat of the coiled serpent/dragon to heat the lunar liquid awen contained in the upright Cauldron of Devotion, which is also the Cauldron of Ceridwen.
When the heat is sufficient, feel the three hot droplets of inspiration burst upwards from the Cauldron of Devotion to ignite the flashing solar fire beneath the Cauldron of Motion, located at the solar plexus and lower central chest cavity. As we have seen, this Cauldron will normally, though not always, be on its side to begin with. As the heat builds here, the Cauldron of Motion will begin to turn upright. When there is a fiery ball of radiant solar heat churning away at the solar plexus, use it to drive the Cauldron of Motion up into the head, flipping it fully upright as it goes.
At the head, it becomes the Cauldron of Wisdom in which the contents of the lunar Cauldron of Devotion combine with those of the solar Cauldron of Motion. This merging of Sun and Moon represents the blending of all being into unity, that unity creating the brilliant white light of pure bliss, pure being and full spiritual awakening.
If you are having difficulty making the ascent through focusing on the cauldrons, focus instead on the image of the ram-headed serpent surging up the spine to fill the head with light, creating a circlet of stars around the crown of the head.

Chants to evoke the Serpent-power – Men chant as Gwydion, Women as Arianrhod (unless one's guides or gender preferences/alignments suggest otherwise):

Chant: Wyf sarff, wyf serch, wyf Gwydion (or wyf Arianrhod)
Pronounced: ooiv sarf, ooiv serkh, ooiv Gwid-eon (ooiv Arry-ann-hrod)
Translation: I am serpent, I am love, I am Gwydion (I am Arianrhod)

Continue for as long as it takes.

Alternatively, you may choose to simply chant the name of the god or goddess, or use the Awen chant or another you create yourself.

The Return:
AwenBadgeBDOIn order to focus and ground the energy raised during this exercise, we conclude it with an Awen chant (i.e. chanting aaaah-ooooh-eeeeh-nnnn repeatedly, awen meaning 'inspiration, or flowing spirit' is the creative spirit in Druid tradition, symbolised by three rays of light - right), flowing the energy from the rite either into oneself for healing, change, creativity, etc., or directing it out to someone beyond the circle.
It is suggested that you further ground yourself by physically touching the earth and by eating something afterwards.
It is extremely difficult, probably impossible, to continue to exist in this world while maintaining the level of heightened awareness that fully awakening the serpent should bring. There are difficulties involved in opening ourselves to the universe. To maintain our ability to relate to consensus reality, we must consciously step back into the mundane world of washing up, car troubles, family concerns, etc. Our aim is to step back in such a way that we retain the ability to access the gifts of the upright Cauldron of Wisdom so that we may use them to help us, our families, friends and wider communities. This is the path that Buddhists call that of the bodhisattva, 'enlightened being.' This refers to one dedicated to the goal of attaining enlightenment and also to one who, having attained it, chooses to devote themselves to the goal of bringing all other beings to enlightenment. The word Druid may be interpreted as 'very wise one,' a meaning very close to that of bodhisattva.

Drumpaintedx800And finally, the caveat emptor: If you've read the above carefully, you'll know that serpent power is not to be trifled with. The meditation given above is designed to invoke the aid and protection of powerful deities. If you're not ready for such encounters, leave well alone!

Blessings of the white serpent of healing,
Greywolf /|\

7

Having felled the tree, made the hoops and cured and stretched the hide, now it's time to bring them together and actually make the drums in this, the third and final part of my little beginner's guide to drum-makingDrumHoopMeetsSkinx800.
I began by soaking the hide for a few hours. When good and wet, I laid it out rough side up, flat on a table. I then placed the first hoop, the larger of the two, on the hide and drew around it with a soft pencil. Then, using a little jig made out of a scrap piece of frame wood, I marked another round, 4” out from the hoop. This allows for the 3” depth of the hoop plus another inch to overlap.
DrumSkinFittingx800Next, I cut around the outer pencil marks with a sharp pair of scissors, following which it's time to punch the holes to thread the rawhide cord through. This is done with a leather punch set to its largest hole size. What you want is 32 holes in 16 pairs. First, fold the skin in half. This gives you two opposite sides you can punch two holes each through, about an inch apart and about a half-inch in from the edge of the hide. Next, fold in half again so that the two pairs of holes you've just punched GWthreadingDrumx800match up with each other. At either end of this second fold, punch another two holes. Now fold the hide in between the sets of holes you've already punched, lining them up with their opposites. Again, at either end of your fold, punch two more holes. Keep doing this until you have 16 sets of evenly spaced holes around the edge of your hide. Having cut out and hole-punched both drum-skins, back they go in the bin of clean rainwater to soak.
Having a fair bit of spare hide left, the next stage is to cut the cord you'll use to bind the skin to the drum hoop. Take your sharp pair of scissors and cut strips of hide about a quarter to half an inch wide. It helps if you leave a wider tab at one end, cut in the shape of a leaf and with a hole through the middle of it. The cord will stretch to a lot less than its original width when you come to use it, but it needs to be narrow enough to fit through your punched holes. Cut the strips as long as you can. You're going to need several yards to do a drum and it needs to be one continuous strip. It may help to know that rawhide cord is incredibly tough. You can test its strength for yourself. Cut a strip about a yard long and the DrumThreadedx800width you're going to use on your drum. Now grab one end in each hand and pull for all you're worth. If you've got your curing right, you'll be amazed at how strong it is. When you've cut your cord, pop it back in the tub to soak.
Lay the hide flat on the table again, rough side up and, using your pencil marks as a guide, position your hoop on it. Now grab the edge of the hide on opposite sides of the hoop and pull to stretch it. Do that all the way around. DrumFinalKnotx800Then start pulling the hide up over the rim of the hoop. Again, do this all the way round. Now you're ready to start threading the cord through your pre-punched holes.
Take the end with the tab on it and poke it through a pair of holes on one side of the drum. Then take the other end of your cord, locate the pair of holes directly opposite the ones you've just threaded through and pass the other end of your cord through them, pulling the whole length through. OK, from here on you need to watch this video, in which Salish drum-maker, Jorge Lewis, gives perfect teaching on how to thread a drum. This is the video that taught me how to do it. Follow it carefully and take notes as you go. It's the best teaching video I've ever seen.

Jorge Lewis reminds me of an aspect of drum-making that I haven't emphasised enough, which is the ritual that accompanies every stage of the process, from communicating with the tree spirit before felling the tree from which the hoops are made, through acknowledging the death of the deer whose hide will be the drum's skin. I fluted for the deer when the hide was lain in the brook at Wild Ways to be washed, and again when it was washed in the brook that runs past my house after being cut to size. I drummed with my previous drum and shook my rattle to call in good spirits to the hoop and hide. I placed scented herbs around the bin in which the hide was curing. Every step of the way there was ritual, music, communication with the spirits of tree and deer and prayers to the spirits of the brooks and the old gods of our lands. Without these things, you can still produce a drum, but it will not live. A vital part of the process for me is the knowledge that the tree and the deer that have given themselves to make the drum will live on and sing on through it, that their spirits will enable this drum to communicate with other spirits as its song passes between the worlds. The drum is a ritual tool of great power. Of course there must be continual ritual throughout its making.
2ndDrumJoeLacingx800For me, a personal pleasure of threading the hide onto the hoop was having my son, Joe, help me (right). He proved very adept and will soon be beginning the journey of making his own drum. My youngest son, Mike, took pictures as we worked.
One thing about being a beginner drum-maker is that there's no way of knowing if you've got it right until the drum is not only finished but fully dried. The latter was achieved by hanging that first drum from the washing line in my garden, using the extra length of cord left over as per Jorge Lewis' instructions. Then it's just a question of waiting. Of course I found myself nipping out every half hour or so to check if it was dry yet. It took a while, but finally I could find no damp spots at all, not even in the cross-shaped wraps that form the drum's handle and represent the four directions and their associated elements. Then came the testing moment. I took the drum 2ndDrumBeginningtoDryx800down from the line, took a beater in my hand and tried it for the first time. It sang! Not only did it give a good, strong sound, but that sound continued to reverberate for a satisfyingly long time after the first strike. It sounded beautiful, magical, powerful. I played some more. Woohoo! I'd made a drum! No words can express the heart-leaping joy, the sheer sense of soaring elation, that discovery produced. That wonderful moment made all the work inexpressibly more than worthwhile.
Joe and I set to and made the second, smaller drum. This had to dry overnight and ended up 2ndDrumAlmostFullyDryx800hanging from the stairs in our house. Again, the result was a beautiful drum with a deep, rich tone.
Next comes the process of developing a relationship with the drum. This is achieved, of course, by playing it. Because of the way these drums are made, they are never circular but always roughly egg-shaped. This means that different tones can be created by playing towards the edge of the skin where the drum's width is narrowest, then moving round to 2ndDrumComplete+Joex800where it's widest. The different thickness of the hide at different points also produces different tones. The beater can also make a huge difference to the sounds the drum produces. For this reason, I have two beaters (below right). One has a soft leather head stuffed with Red Deer fur. The head on the other is a piece of fur-on Red Deer hide with the fur on the outside. While the former produces a strong, powerful beat, the latter can be used to play very softly, producing a sound that has a Drum Beatershypnotic, deeply meditative quality. My drum, the first one I made, averages a little over 21” in diameter, which is quite large. Because of its size, its basic tone is a deep bass note very like that of my previous drum, a 22” Remo Buffalo drum that I came to call my thunder-drum (below).  My Red Deer drum is also a thunder-drum. However, it also produces a wide range of overtones that cover a broad sonic spectrum.

Greywolf & Thunder Drum

Playing the drum in ritual is another vital part of the process of getting to know it and learning to work in harmony with its inhabiting spirits. My drum and I have been to my heartland, the Avebury stone circles (see the video below), have played with the ancestors in the West Kennett Long Barrow, have played for the spirits of the brook that runs past our house and with the spirits of place where we live. We've travelled together to and within our beautiful Shropshire roundhouse and the surrounding woodland. Just recently, we've returned from a much longer journey to the Pacific Northwest of the USA. There I had the honour to drum with the Quileute Drum Circle, accompanying sacred masked dances that tell the legendary history of the tribe. While staying on the Quileute Reservation, in the village of LaPush, I drummed and sang on beautiful beaches overlooking the great Pacific Ocean and the drum helped restore and strengthen spiritual connections I once thought lost. But that's another story for another time.

Undecorated DrumOne decision yet to be made is whether to paint my drum or not. It has patterning on it already, both from the darker colour where the stag's strong spine ran and where that line is crossed by strange striations (upper left). My previous drum was painted all over with a design incorporating wolves and eagles (see the image above), two creatures I've worked with in spirit for many years. For this one an image of a white serpent keeps returning. For me, as for our ancestors, it represents healing and the renewal of life and energy. There's a Pictish engraving that shows it well and in a style that might work for my drum. Here, computer software comes in useful. I can experiment with designs without actually committing them Possible Drum Designto the drum skin. Here's a possible decoration, incorporating a Pictish wolf and eagle as well (lower left).
In the meantime, I've treated it by gently rubbing neatsfoot oil into the ties on the back, sides and upper, playing face of the skin with a soft cloth. Olive oil apparently works just as well. Oiling the drum skin helps preserve it and reduces the extent to which the drum's tone changes in moist conditions. Being a natural hide, it will still change with variations in moisture and temperature. If it becomes too loose to play, hold it near an open fire or other heat source for a moment or two or aim a hair dryer at the playing surface. This will bring it back to playability. If it goes the other way and is getting too tight and dry, carry a little spray water bottle in your drum bag and use it to spray the inside of the drum skin, the side you haven't applied oil to, as this will absorb moisture better. This will stop your skin from splitting and bring its tone back down. With care, I'm told these drums should still be playable a hundred years from now, so they could pass from you to your children and to their children and still be singing strong and true.
I am getting to know my drum and its spirits are getting to know me. I pray that we will deepen and strengthen our connections through many years to come. I give thanks to the spirits of my ancestors, whose voices have sung to me during the making and the playing. I give thanks, of course, to the spirits of the Ash tree and of the Red Deer stag. I honour you, kinfolk of the green world and the great forest. I give thanks to the old gods whose powers have strengthened and supported us on our journeys. May they continue to bring us strength and guidance through all our days and help us bring their wisdom and the powers of healing to our kinfolk and our tribes.
Many blessings,
Greywolf /|\

6

Ammerdown Centre, Somerset - February 1st 2014 - Morning, Day Two

Woke up at around 5.15am after little more than two hours sleep. Ah well, fresh filter coffee would be available from about 8am and I could fill in the interim listening to music on headphones and pootling on my little netbook.

The morning's first session began with our moderator, Denise Cush, introducing its subject, 'Addressing Our Respective Fears and Prejudices.'

Steve Hollinghurst
Steve Hollinghurst

Steve Hollinghurst of the Church Army's Research Centre in Sheffield spoke first. As mentioned at the end of my previous post, he admitted to being embarrassed by the 'Army' bit as an unfortunate hangover from the days of Empire. He got the day off to a fine start by showing us the Monty Python sketch in which Cardinal Biggles and Cardinal Fang endeavour to 'torture' a confession of heresy out of an old lady by prodding her with soft cushions and making her sit in “the comfy chair.” Because, of course, “No one expects the Spanish Inquisition.”

 He then spoke of an accusation first levelled against Christians, and then by them against others, that they sacrificed babies born as a result of wild sex orgies known as Lucerna Extincta ('Lights Out'). This led on to a consideration of the 'mythic history' that often divides Pagans and Christians, the latter accusing Pagans of human sacrifice and portraying themselves as a religion of love, light and freedom whilst advising each other to have nothing to do with Pagans because they're all Satanists.

Meanwhile, modern Pagans have developed their own myths of ancient pagans all being lovely, peaceful, matriarchal ecologists whose idyllic existence was only ruined by those nasty Christians, only it wasn't because paganism just went underground, only to re-emerge fully formed in the 20th century to bring everyone back to the peaceful era of the Great Mother.

Zeus
Zeus

Exploring the relationships between modern Pagans and Christians, Steve put up a screen image of a modern ceremony that took place in Greece, devoted to the ancient Greek father of the gods, Zeus. Steve then admitted to a personal belief that Christianity went wrong when it hooked up with the Roman state and its military machine. He went on to cite one of the most recent examples of the imposition of Christianity on a Pagan state in Europe, this occurring in Estonia in the 13th century. Here, a state church run entirely by non-Estonians was imposed on the nation from outside, a situation that continued until the mid-1980s and the fall of the Berlin Wall. Following this, there has been a big revival of paganism in Estonia.

Steve then addressed the Biblical creation myth that has given us the notion of mankind being somehow separate from and better than the rest of creation, leading to a skewed relationship with the natural world.

Steve then said, quite rightly, that both Christianity and Paganism are very diverse, homes to a huge variety of both beliefs and practices. Nevertheless, there is a persistent sense of Christianity as exclusivist, maintaining that everyone else is wrong and that only Jesus can save them from their erroneous ways. He added that some more extreme Christians promote the idea that since God is going to destroy the world anyway as part of His Almighty Plan, therefore environmentalism is obviously a Satanic plot! Good grief...

Black Jesus, Rome, 530 CE
Black Jesus, Rome, 530 CE

Another angle taken by some Christians is that the church is all-embracing because everyoneis a Christian really, it's just that some of us haven't realised it yet. This is the inclusivist argument, one that Steve admitted is deeply patronising. Then there's the more agreeable pluralist argument, which maintains that Christianity is just one of many paths, all of which are valid. Then there's what he characterised as 'transformist' Christianity, maintaining that Christianity acts as “good yeast in each culture” where it exists, whilst creating colourful cross-overs with native religions, producing, for example, images of Christ as black, female or Pagan. Then there are what he called Christo-Pagans who, he said, had been accused of 'dumbing down' the differences between the two.

 Steve maintained that, despite impressions held to the contrary, Christianity does change with the times, albeit often slowly and against internal opposition.

He then addressed the topic of Evangelism, deriving from words meaning 'good news,' which he characterised as an attempt to create the kind of world Evangelists would like to see by a process of divine intervention. He said there is no Pagan theology of salvation driving them out after converts, but that Pagans are very good evangelists precisely, in his opinion, because we are not out on a recruiting drive but are simply and clearly putting forward a vision of a way of being in the world.

 In keeping with the season, he ended by referring to Brighid as a fine example of Interfaith interaction that could be taken either as cultural theft by Christians of Pagan culture, or as a successful blending of the two.

Graham Harvey
Graham Harvey

 Our second speaker was another old friend, Graham Harvey, Reader in Religious Studies at the Open University and author of a number of books on Paganism and Animism. Graham introduced himself by saying that his favourite amongst the various titles he's obtained over the years is that bestowed on him by the late Archdruid, Tim Sebastion, of “Conscience of the Secular Order of Druids.” This meant that Graham was often the one trying to get the Archdruid out of the pub so as not to be too embarrassingly late for the start of the ceremony he was about to conduct.

 Graham voiced his concern that interfaith dialogues often seemed to him to end up consisting of “people talking past each other.” He took as his primary text a line from William Blake which says that “opposition is true friendship.” He spoke of the prevalence of annoying clichés, admitting that there are both Christians who are more like ancient pagans than many modern Pagans are, as well as modern Pagans who are essentially Protestants.

 Graham suggested that Jesus throwing the money-lenders out of the temple in Jerusalem represented an attack on Judaism and was one of the foundation myths of anti-Semitism, evidence perhaps that Jesus was not quite a paragon misrepresented by later Christians.

 He queried the widespread notion that Paganism is not a religion of revelation, suggesting that many Pagans experience revelations of many kinds and from many sources, whilst Christianity is by no means solely a religion of revelation, but also of family, community, etc. He also questioned the widely-held assumption that all Christians are monotheists while all Pagans are polytheists, pointing out that there are monotheistic Pagans and that Christianity can easily be seen as polytheistic through its reverence of a multitude of saints in much the same way that pagans revere a similar multitude of gods. He said that many Pagans were happy to accept Jesus as one god among many because that's how polytheism is.94926690-monsanto-pharmers

 He characterised Paganism as “an experiment to rediscover Nature,” adding the observation that “there is more diversity of life in this carpet than there is in a Monsanto-sprayed field.” This he set against the impression of Christianity as a religion primarily focused on the idea of salvation. However, he added that not all Pagans were 'about' Nature, but that many held Paganism to be a process of enchantment or re-enchantment, or “a different way from modernity (rather than Christianity) of defining our position in the world of human and non-human beings.” The notion of relating to non-human beings on an equal, or at least more equal, footing is one of increasing interest and concern in modern Paganism and one in which Graham himself is deeply involved. He went on to refer to a tension that exists within Paganism between what he characterised as an internal spiritual quest and the desire to relate animistically with the world.

Bear Tribe Logo
Bear Tribe Logo

 Finally, Graham suggested that both paths might come together in agreeing that our traditions will benefit from greater engagement with the world, an engagement that could also be of great benefit to the planet. He shared with us a beautiful photograph and his personal experience of attending the annual Midwinter gathering of the Bear Tribe at the Ancient Technology Centre in Dorset. The aim of the event is to celebrate and honour all the plants and animals that attendees have eaten during the year. At last year's event, the clouds parted at the end of the ceremony, revealing an incredible view of the Milky Way arching over the lodge in which the ceremony was held, as captured in Graham's photograph. Incidentally, this link to the Bear Tribe's website includes Graham's 'Animist Manifesto,' which is well worth checking out.

 Graham ended with a quote from Ronald Grimes, “Performance is currency in the deep world's gift economy.” Make of that what you will!

 After coffee, there was a continuation of the debate round table style, only without the table. Much of this focused on evangelism, which many admitted to finding condescending, patronising, or simply annoying, and not just among the Pagans! As always in these events, there is never enough time to fully, or even partly, explore more than a fraction of the potential topics raised by the speakers, and this was a case in point. Graham did make the very telling observation that when we talk about building bridges, those bridges can often have to stretch across yawning gulfs or chasms and that perhaps it would be wise not to forget that simply because we were currently standing on a bridge.

 Many of the discussions that took place over dinner and in the bar picked up various themes and dug further into them. I only wish I had thought to pack a recorder or taken notes during at least some of these informal exchanges. I got the impression that they did at least as much to lessen misunderstandings as the official sessions, and probably more to forge or re-forge friendships.

 And so to lunch, with, of course, a choice of vegetarian or carnivore.

 After lunch, I was surprised to find that we had nearly three hours until the afternoon session with Philip Carr-Gomm (Druid) and Simon Howell (Christian). In the spare hours I ran through the songs I intended to play in the evening concert to see how well I could remember the words, but more of that and of Philip and Simon's talks on the next blog.

The Three Philips
The Three Philips: Messrs. Carr-Gomm, Shallcrass & Ryder

 Incidentally, much humour stemmed from the fact that there were three heads of Druid groups present, all called Philip, the third being Phil Ryder of the Druid Network, attending with his partner, Lynda, who expressed her delight at being “in the presence of so much Pagan royalty.” This confused some of the Christian delegates who had, of course, never heard of us!

 OK, thank you for bearing with me, and see you next time...