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(The following is extracted from the British Druid Order bardic course, booklet 17)

Hare by Albrecht Durer“Harshness vanished. A sudden softness
has replaced the meadows’ wintry grey.
Little rivulets of water changed
their singing accents. Tendernesses,
hesitantly, reach toward the earth
from space, and country lanes are showing
these unexpected subtle risings
that find expression in the empty trees.”

‘Early Spring,’ Rainer Maria Rilke (1875-1926).

The east, elemental Air, marks the spring equinox, Welsh Alban Eilir, ‘the Birth of the Fresh (or Green) Quarter,’ which falls on or about March 21st (September 21st in the southern hemisphere). In Western astrology, the Sun is now said to be entering the zodiacal sign of Aries, the Ram. In Vedic and Sidereal astrology, however, which are based on the actual position of the Sun relative to the stars, the Sun is entering the sign of Pisces, the Fishes. On the morning of the equinox, at least in the British Isles and equivalent latitudes, the Sun rises directly in the east. Day and night are of equal length. The divine child born at Midwinter now begins to develop as an individual, independent of its parents, still wide-eyed with wonderment but no longer content just to observe. Now the child is eager to experience all that the world has to offer. This is a time of balance between the long nights of winter and the long days of summer. Balance is a temporary state and, at this time, it is about to tip in favour of summer.

There is not a great deal of evidence for the marking of the equinoxes in British and Irish prehistory. A possible exception is the West Kennett Long Barrow (below) where, from floor plans, personal observation sitting atop the mound and compass readings taken both inside and above the chambers, the central passage seems to be aligned on the equinoctial sunrise. I say ‘seems to be’ because two things render accurate assessment difficult. One is that an enormous sarsen slab, some nine feet high and of similar width, stands across the entrance, blocking the light of the Sun from entering the passage. The other is that the passageway and chambers as we now have them are as reconstructed by the Ministry of Works following excavation of the site by Richard Atkinson and Stuart Piggott in 1955-6. When the excavation began, the passage and chambers were in a sorry state, the roof stones fallen in and the walls collapsed. Piggott numbered each sarsen stone as it was removed during the dig but there is some doubt as to whether his numbering was followed when the tomb-shrine was rebuilt. The roof was built from scratch, using sarsens found in situ but also a number of new sarsen slabs brought in for the purpose. The idea had been to reconstruct the passage and chambers as they were when the site was first created in the Neolithic era but there is considerable doubt as to whether anything like this aim was achieved and it seems that neither Atkinson nor Piggott were happy with the result.

West Kennett Long Barrow - photo by Greywolf

Although the basic alignment of the central passageway is unlikely to have been significantly altered during reconstruction, the entrance seems to have been drastically remodelled. The default for chambered tomb-shrines is for their entrances to be small and narrow enough to make access difficult. The Ministry of Works, however, wanted the entrance at West Kennett wide open to make visitor access easier. Unless records of the 1955-6 excavations show what the entrance was originally like, gauging its original size and position is impossible. Taking a middle line down the centre of the passage, the alignment is about 6 degrees south of east. A narrower entrance only slightly offset from the centre of the present one would, then, have allowed the equinoctial sunrise to fully illuminate the large rear inner chamber, even allowing for the fact that the Earth’s axis has tilted by about half a degree in the last 5,000 years. A narrow entrance in the exact centre of the current one would allow the same to occur about nine days from the equinox.

Clive Ruggles has set out the difficulties involved in calculating the equinoxes in prehistory. Deriving their exact timing by observing the position of sunrise would depend on having an absolutely flat horizon to work from, so any such alignment would necessarily be an approximation. Ruggles also reminds us of the difficulty of discerning what the equinoxes might have meant to our prehistoric ancestors. As so often in our exploration of the deeper roots of Druidry, we are left to speculate based on much later sources. We do have clear evidence that our ancestors throughout the British Isles recognised and marked the two solstices, so it may be that the equinoxes, being halfway between the solstices, were also of interest to them. Possible equinoctial alignments in the Orkneys include the stone circle known as Callanish 1 and the Cuween tomb-shrine.

Loughcrew, Ireland

At least one certain prehistoric equinoctial sunrise alignment does exist, dated to the 4th millennium BCE. This is at Cairn T, the largest of a group of megalithic tomb-shrines at Loughcrew, near Oldcastle in County Meath, Ireland (above). The stone first illuminated by the rays of the rising Sun is etched with more than a dozen Sun Stone, Loughcrewsymbols that may represent the Sun (left). Those with ‘rays’ have either four, eight or nine. Another prominent decoration is of ‘fish-bone,’ or ‘rib-cage’ patterns enclosed, or partially enclosed, in ovoid cartouches. These have either seven or eight horizontal lines crossing an upright central stem. One of the largest stones lining the passage has a surface pock-marked with numerous deep, circular holes. When the cairn was excavated, a number of chalk balls found at the foot of the stone were found to fit exactly into these holes. It has been suggested that these may have represented stars against the darker surface of the stone ‘sky.’

The range of hills on which Cairn T stands is Slieve na Calliagh, ‘the Cailleach’s Mountain.’ The Cailleach is the Hag of Winter who rules the year’s winter half, from Nos Galan Gaeaf (Hallowe’en) to Calan Mai (May Day). Cairn T itself is called the Hag’s Cairn or the Tomb of the Ollamh Fodhla. Fodhla is one of three goddesses who gave their names to the island of Ireland. Ollamh Fodhla, ‘Professor of the Goddess of Ireland,’ whose given name was Eochaid, was a prehistoric pagan High King of Ireland said to be the originator of a dynasty that ruled for seven generations. He is said to have originated the Feis Temrach, ‘the Feast of Tara,’ a week-long gathering held every three years at which laws were promulgated, disputes settled, oaths made and bonds renewed.

Rather than celebrating the day itself, the spring equinox has long been used to calculate the beginning of a celebratory period marking the return of life to the land after the long darkness of winter. The date of the Christian festival of Easter is still calculated from the first full Moon after the spring equinox. This method of calculation, combining the cycles of Sun and Moon, is first recorded in Sumeria more than 4,000 years ago, where the New Year festival of Akitu, devoted to the Moon-god, Nanna, was celebrated over twelve days beginning with the first appearance of the new Moon after the spring equinox and ending with the full Moon.

Born in the Underworld, Nanna is the child of the sky-father, Enlil, and the corn-mother, Ninlil, conceived as Ninlil is bathing in a sacred river. This is reminiscent of the coupling of the Morrigan (‘Great Queen’) and the Dagda (‘Good God’), which takes place when the Dagda comes across the Morrigan bathing in the River Unius in Ireland. The Dagda is father to the Irish god of love, Aengus Og, and of Brigid, the patroness of bards. Nanna fathers the Sun-god, Shamash, and the love goddess,Inanna Inanna (right), associated with the planet Venus, love and fertility. These three formed the holy trinity of the ancient Near East, a position they retained for more than a thousand years. A British equivalent of Nanna may be Nudd (or Lludd) Llaw Ereint (‘of the Silver Hand’), Irish Nuada Airgetlam, or possibly Gwyn ap (‘son of’) Nudd, “whom God has placed over the brood of devils in Annwn, lest they should destroy the present race.” Gwyn is ruler of both the Underworld of the Dead and the Otherworld of the Faery Folk. His name means ‘white,’ with connotations of ‘sacred.’

Some believe the celebration of Easter to be a Christian adaptation of a festival devoted to a goddess of springtime and fertility called Ēostre in Anglo-Saxon, Ôstara in Old High German. Her name survives in the old Northumbrian dialect name for the month of April, Ēosturmōnaþ, ‘Ēostre’s month.’ Her name seems to derive from a Proto-Germanic word meaning ‘dawn, or morning.’ It has been suggested that the egg and the Moon-gazing March Hare were symbolic of her. In British folk tradition, the expression, “mad as a March Hare,” is based on the courtship displays of male Hares who, at this time of year, may be seen leaping in the air, racing around in circles and engaging in what look like boxing matches with each other. The Hare is recognised as a sacred animal of the Moon in cultures from Britain to China. One of the most famous appearances of a Hare in a native British spiritual context occurs in Cassius Dio’s description of the revolt of Boudica and her Iceni tribe against Roman occupation in 60 CE. Cassius gives the following speech to Boudica as she rallies her troops for battle:

“... we have ... been despised and trampled underfoot by men who know nothing else than how to secure gain. ... let us ... do our duty while we still remember what freedom is, that we may leave to our children not only its appellation but also its reality. ... Have no fear whatever of the Romans; for they are superior to us neither in numbers nor in bravery. ... Furthermore, this region is familiar to us and is our ally, but to them it is unknown and hostile. As for the rivers, we swim them naked, whereas they do not across them easily even with boats. Let us, therefore, go against them trusting boldly to good fortune. Let us show them that they are hares and foxes trying to rule over dogs and wolves.”
When she had finished speaking, she employed a species of divination, letting a hare escape from the fold of her dress; and since it ran on what they considered the auspicious side, the whole multitude shouted with pleasure, and Buduica, raising her hand toward heaven, said: “I thank thee, Andraste, and call upon thee as woman speaking to woman; for I rule over no burden-bearing Egyptians as did Nitocris, nor over trafficking Assyrians as did Semiramis ..., much less over the Romans themselves as did Messalina once and afterwards Agrippina and now Nero (who, though in name a man, is in fact a woman, as is proved by his singing, lyre-playing and beautification of his person); nay, those over whom I rule are Britons, men that know not how to till the soil or ply a trade, but are thoroughly versed in the art of war and hold all things in common, even children and wives, so that the latter possess the same valour as the men. As the queen, then, of such men and of such women, I supplicate and pray thee for victory, preservation of life, and liberty against men insolent, unjust, insatiable, impious, - if, indeed, we ought to term those people men who bathe in warm water, eat artificial dainties, drink unmixed wine, anoint themselves with myrrh, sleep on soft couches with boys for bedfellows, - boys past their prime at that, - and are slaves to a lyre-player and a poor one too. Wherefore may this Mistress Domitia-Nero reign no longer over me or over you men; let the wench sing and lord it over Romans, for they surely deserve to be the slaves of such a woman after having submitted to her so long. But for us, Mistress, be thou alone ever our leader.”

I’ve included the whole of Boudica’s address to Andraste as it is one of the few records we have of a native British prayer from this era, albeit recorded many years later by a writer who did not himself witness the events described. Boudica referring to the land of her birth as an ally certainly has a good, Druidical ring to it. Likening the Romans to Hares and Foxes and her own people to Dogs and Wolves also has an authentically animistic feel. Divining by observing the movements of a Hare is also in keeping with both ancient European paganism and more recent folklore. The release of the Hare being immediately followed by Boudica’s honouring of Andraste has led many to suppose that the Hare was sacred to Andraste and that, since the Hare is widely acknowledged as a sacred animal of the Moon, Andraste must have been a goddess of the Moon. The name Andraste may derive from Proto-Celtic *anderā, ‘young woman’ and *ster, ‘star,’ giving the meaning ‘Young Woman of the Stars,’ a reasonable name for a Moon goddess and one that would place her in a family of star goddesses among whom we would place the Welsh Arianrhod, whose name means ‘Silver Wheel’ and who is linked with the circlet of stars known as the Northern Crown (Latin Corona Borealis), called Caer Arianrhod in Welsh.

For a time, it did indeed seem as though the Hare was right, that Andraste and the gods favoured the Iceni and that Boudicca might actually succeed in driving the Roman occupiers out of Britain.

Traditional celebrations at this festival include decorating the house and your altar with Spring flowers, decorating and giving eggs as representations of fertility and rebirth, and baking and sharing hot cross buns, the cross representing the four major stations of the Moon; new, first quarter, full and last quarter. Hot cross buns were made in ancient Egypt in honour of the Moon. A tasty and thoroughly pagan example of quartering the circle.

Many blessings,
Greywolf /|\

Copyright 2022. All rights reserved.

3

The festival of Gwyl Forwyn (Imbolc, Candlemas), the goddess Bride/Brigid/Brigantia and the White Serpent of healing.

Today is the day of Bride;
the Serpent shall come from its hole,
I will not molest the Serpent,
nor will the Serpent molest me
.”

This Scottish folk charm is from Alexander Carmichael's Carmina Gadelica. The Serpent referred to is the power of life and growth which, at this time, returns to us from its long winter sleep in the Underworld. To ensure peace with the Serpent, offerings of incense, milk or mead are often made.

Bride (pronounced ‘Breed’) is Saint Bride or Brigid, an early 6th century Irish nun, often known as 'the Mary of the Gael,' and sometimes as 'Christ's foster-mother.' In Wales, she is known as Ffraid. The widespread veneration of the popular Christian saint, however, is often carried out in forms like the prayer above that hark back to an earlier Brigid, a pagan goddess whose name derives from the Proto-Celtic Brigantī, meaning 'High, or Exalted One.' Her Irish incarnation is a daughter of the great Irish father-god, the Dagda, sometimes known as 'the god of Druidry.' The pagan Irish Brigid is associated with childbirth, poetry, smithcraft, sacred wells, the brewing of ale and mead and fire. A shrine containing a perpetual fire dedicated to her and tended by women devoted to her is believed to have become a convent of nuns devoted to her Christian namesake in Kildare ('Church of the Oak') in Ireland. Folk lore and folk traditions associated with the goddess seem also to have passed over seamlessly from paganism to Christianity. The following video explores Irish customs associated with this remarkable goddess turned saint:

Moving sunwise around the sacred circle, this festival has its home in the North-East, where the elements of Earth and Air combine. It marks the first of the English cross-quarter days, Candlemas, falling on February 2nd. February 1st is celebrated in Wales as Gwyl Forwyn, 'the Feast of the Virgin,' and in Ireland as Imbolc, possibly meaning 'in bud.' It marks the time when trees are beginning to bud, the first wild flowers are appearing, and ewes begin to lactate, all of which herald the coming of Spring and the return of life to the land. It is traditionally a celebration of lights, candles being lit to illuminate homes and places of worship. As at the other quarter days, offerings of food and drink, particularly milk, are put out for the Faery Folk or poured over standing stones.

In Scottish folklore, Candlemas is the time when a White Snake, the Serpent of Bride, emerges from underground where it spends the Winter months, a potent image of life returning to the land. The huge popularity of the canonized goddess in Scotland and Ireland ensured that her festival has been celebrated in those countries for the longest time and with the greatest gusto. In Scotland, the period of Winter from Hallowe’en to Candlemas is said to be under the control of the Cailleach, a mountain-dwelling crone who blasts the land with cold winds and frosts. According to one legend, on Candlemas eve, the Cailleach returns to the Land of the Ever-Young, the Otherworld of the Faery Folk, the ancestors and the gods. There she makes her way to the Well of Youth that lies in a wood at the heart of that magical land. Before the Sun rises on Candlemas morn, she drinks from the Well, returning to our world as the beautiful goddess Bride whose touch causes the grass to green and the white and yellow flowers of early Spring to bloom. Alexander Carmichael, who collected folklore in the Scottish Highlands and Islands in the late 19th and early 20th centuries, describes one Candlemas custom as follows:

“On Bride’s Eve (January 31st) the girls of the townland fashion a sheaf of corn into the likeness of a woman. They dress and deck the figure with shining shells, sparkling crystals, primroses, snowdrops, and any greenery they may obtain. A specially bright shell or crystal is placed over the heart of the figure. This is called the guiding star of Bride. The girls call the figure Bride, and carry it in procession, singing the song, Beauteous Bride, Virgin of a Thousand Charms. The Bride maiden-band are clad in white, and have their hair down, signifying purity and youth. They visit every house, and every person is expected to give a gift to Bride and make obeisance to her. The gift may be a shell, a spar, a crystal, a flower, or a bit of greenery to decorate the person of Bride. Mothers, however, give a Bride bannock, a Bride cheese, or a Bride roll of butter. Having made the round of the place, the girls go to a house to make the Bride feast. They bar the doors and secure the windows of the house, and set Bride where she may see and be seen by all. Presently the young men of the community come humbly asking permission to honour Bride. After some parleying they are admitted and make obeisance to her.
“Much dancing and singing, fun and frolic are indulged in during the night. As the grey dawn of the Day of Bride breaks, they form a circle and sing the hymn, Beautiful Bride. Then they distribute the fragments of the feast among the poor women of the place.”

The arrangements for such folk celebration of Candlemas often seem to have been planned and carried out by women and girls, with men and boys being invited in if they ask nicely, behave themselves and show appropriate reverence for the goddess.
At home, you might celebrate Candlemas by lighting candles and decorating your dining table with Snowdrops, Dandelions or Primroses if they are available, and with shells, crystals and other things that will sparkle and shine in the candlelight.

An archetypal emblem of Brigid in Ireland is the Brigid's Cross, woven from Willow withies, straw, reeds, grasses, etc. This symbol seems to be another pagan continuation, the cross representing the four directions and a simplified form of the Solar wheel of the year. The following video gives a step-by-step guide to making one.

In the strange, dark times we have been experiencing for the last year, the idea of light and life returning to the world in any form seems a wonderful one to embrace. When we consider that the White Serpent has ancient roots in British and Irish traditions as a bringer not only of light and life but also of health and healing, it becomes even more enticing. In our tradition, the White Serpent is the regenerative power that combats and ultimately defeats the dark Serpent that embodies disease as readily as it defeats the dark and cold of winter. The conflict between the light and dark Serpents features in the most famous of the poems attributed to the legendary 6th century bard, Taliesin. In Cad Goddeu, 'the Battle of the Trees,' illness is characterised as "A Serpent, speckled, crested, a hundred souls for their sins are tormented in his flesh," while the bard himself says, "I was a speckled Snake on a hill, I was a Viper in a lake." Taking on the form of the White Serpent of healing, the Serpent of the goddess that brings new life to the earth each Spring, Taliesin defeats the dark Serpent of disease. Hence we should invoke the White Serpent with renewed fervour this year, that the healing, life-restoring power of the goddess of springtime flows once more through the land, bringing her gifts of light, life and healing to all. So may it be!

Blessings of Gwyl Forwyn, of healing, strength and renewal, to one and all,
Greywolf /|\

1

A Ceremony of Healing with prayers and chants from the Druid tradition of Ynys Prydain (the British Isles) and ancient Gaul.

Hallowe’en, Nos Galan Gaeaf, Samhain, 2020
For thousands of years, indigenous peoples across much of the globe, including our European ancestors, conducted ceremonies during the winter designed to stave off the increasing waves of illness that spread across the land during the coldest months of the year. Wolf spirits were and are prominent in these ceremonies, from the Central Asian Steppes 4,000 years ago to the modern-day Pacific Northwest. Winter Wolf ceremonies were held in ancient Greece and Rome, where they were called Lupercalia. In Ireland, the young men known as Fianna were Wolf warriors. The Wolf clans who were central to these healing ceremonies usually consisted of similar youthful warbands who lived apart from the rest of society, charged with protecting their kinfolk from external threats. Whilst training as warriors, they also learned the legends of their tribes, traditional songs and poetry. They were warrior bards.
Each winter, they would create a ceremony during which they and the rest of the community would renew their bonds with their power animals through ceremonies that incorporated chanting, dancing and feasting. Each person present would have the opportunity to dance and sing their spirit animal, thus renewing the bond between them that would keep both healthy and strong through the winter months.
In the British Druid Order, we are reviving this practice with what we have dubbed a Winter Wolf Healing Ceremony. This year, we were to have held one in and around our roundhouse in Shropshire. Sadly, at the very time when we have so much need of such a ceremony, the increasing number of Covid-19 infections in the UK have prevented us from holding it.
We will not, however, let the impossibility of a physical gathering prevent us from going ahead. Here, then, are the bare bones of part of the ceremony, with accompanying sound files and videos where available.
We begin with a prayer to the old gods of the British Isles, from the creation of the world by Math and Don, how their children, Gwydion and Arianrhod, were given sovereignty over the forests and the stars, how Blodeuwedd became patroness of healing, and much more besides, all with a join-in chorus of, “we give thanks to the great gods.” Includes lyre accompaniment and birdsong. Apologies for the popping on the vocals, recorded in a rush...

This second prayer, ‘For Long Life and a Good Old Age,’ is possibly 8th century, from the 14th century Irish ‘Book of Ballymote’ and found in the British Druid Order's ovate course. Given that risk from Covid-19 increases markedly amongst the elderly, this seemed particularly appropriate.

… and here’s the video version that includes the lyrics:

Next is a general ‘Chant for Healing and Protection,’ again derived from an early medieval Irish source. Our ancestors characterised disease as a dark Serpent bent on destruction, hence the singalong chorus of “beat the Serpent from its lair.” Please grab a drum or clap your hands and join in.

… and here’s the video version that includes the lyrics:

Now for the first of the animal chants, the Wolf Chant. This was given to me among the old stones of Avebury in Wiltshire and is an authentic native British Wolf Chant since I am authentically British, having been born here and lived here all my life, as have the families of both my parents for at least a thousand years. The gift of this chant came to me not long after I experienced a powerful vision of a Wolf during a ceremony in 1994. Again, please sing along and dance should the mood take you, even if your personal spirit animal is other than Wolf. Wolf is a sociable animal…

Now we’ll alternate between other animals and Wolf, starting with the oldest of these chants, originating in an inscription to the Horse goddess, Epona, from 1st century Gaul. It consists of various names for the Horse goddess. Again, feel free to join in vocally, instrumentally and physically.

‘Blessed Be, Earth’s Son’ is a second Wolf chant, this time using other names by which Wolf people are known. This reflects the ancient habit of not using the actual name of the primary totem animal during ceremonies but substituting descriptive titles instead. Again, sing, dance, live!

The next chant is for the Deer people, specifically the Fallow Deer. As before, feel free to sing, drum, dance, clap and generally join in.

I’m afraid for any other animals, you’re going to have to add you own chants and dances. There are more in the BDO Druid course, but I don’t have time to record them now. So, since it’s always best to end on a howl, here’s the native British Wolf chant again. Enjoy!

And so we conclude our ceremony by feasting and quaffing mead or ale, sharing some with our ancestors, thanking again both them and our gods.

Hale and blessed be!

Hale and blessed be!

Hale and thrice blessed be!

Greywolf /|\ Blaidd Llwyd

October 31st 2020

A chant for healing and protection based on a poem in the medieval Irish Metrical Dindsenchas.

The chant for which you'll find sound and video links below is extracted from one of the booklets of the British Druid Order's ovate course. It draws inspiration, language and symbolism from a poem in the medieval Irish Metrical Dindsenchas. The story in which the poem is contained describes actions taken by the Irish god of healing, Dian Cécht, to quell a disease outbreak by destroying the serpent that embodies the illness, reducing its remains to ashes and then washing them away in the purifying waters of a fast-flowing river (a reminder to keep up regular hand-washing).

In the medieval literature and later folk medicine of Britain and Ireland, disease is often represented as a dark serpent. Representations of sickness in animal form are common to many indigenous cultures, with snakes, lizards and toads frequently being the form taken. This suggests a very early and extremely long-enduring stratum of belief.

An obvious advantage of seeing disease in this way is that it gives spirit workers, often called by that overused Siberian term, 'shamans,' a clear, easily visualised image against which to work healing magic. My sense of the original Dindsenchas text is that it recounts precisely such a spiritual conflict against disease, one that is ultimately successful.

I should add that by no means all representations of serpents in our indigenous literature are dark and ill-favoured. On the contrary, there is a bright serpent of healing. Hence the long-standing link between serpents and medicine, pre-dating the Greek healer god, Asclepius, with his serpent-entwined staff, continuing to the present day with the caduceus wand of Mercury, wound with light and dark serpents, being the symbol of the modern medical profession. Also, I believe, accounting for the several representations of serpents coiled around lightning bolts that appear in Pictish stone carvings, a couple of which feature in the long version of the chant video.

In these stressful times, it seems particularly appropriate to release this chant online. Whether or not your personal belief system is animistic enough to believe that such chants have an actual impact on a physical illness, if the sound of the chant appeals to you, then joining in with it can certainly lift your metaphorical spirits. As I've found, even just listening to it lifts my spirits and leaves me smiling. If, however, your belief system is significantly animistic/shamanistic, then you may feel that, repeated worldwide and often, the chant may help us all get through this current crisis in a variety of useful ways.

So please do join in. Sing, drum, dance, howl, stomp, clap, holler and yelp along! Maybe fling wide your windows while you do (always allowing for the sensibilities of your neighbours)! Let's all boost our collective spirits!

Blessings to all,

Greywolf /|\

First, here's the 9 minute 35 second long sound file...

Now here's the video that goes with that 'short' version...

... and here's the extended, 1 hour 7 minutes video for those who want to get totally immersed in it... /|\

Credits: I composed the chant and recorded it on the desktop computer in my home office using a tiny lapel mic to multi-track the vocals and drums. The main drum is the frame drum I made myself a few years ago. It's painted with, among other things, a Wolf (surprise, surprise) and a bright Serpent of Healing. The second drum is another frame drum I made, with assistance from my son, Joe, and which I recently dubbed the Pretani Drum. Panned way off to the right speaker is a little clay drum a photo of which appears partway through the long video. It's based on a Bronze Age original that was found within 20 miles of my house. In the left speaker there's a larger clay drum based on an original apparently found at Avebury, again within 20 miles of my house. A picture of it also appears in the video. The original was claimed to be Bronze Age, but I think it may be Iron Age. I made the clay drums. The running water in the background is a recording of Borle Brook in Shropshire I made a few years ago. The photos are either by me or Elaine Gregory, who took the main photo which shows me drumming in St. Nechtan's Glen in Cornwall. The drum I'm playing in the photo is a Remo Buffalo Drum that I bought in Seattle and painted with Wolves, Eagles and Serpents. I put the videos together using the free, open-source OpenShot Video Editor.

A pagan prayer from the 14th century Irish 'Book of Ballymote.'

The current Covid-19 outbreak is impacting our lives in many ways. How it will play out in the long term remains to be seen. In the meantime, we need to do all we can to keep ourselves and our families safe. Until a vaccine becomes available, the best ways to do this are by maintaining physical distance between us and washing regularly and thoroughly, especially our hands.

Of course, as spiritual beings, there are other things we can do. Those of us whose Paganism allows for the reality of entities existing in the realms of spirit whose influence extends into the physical, including the old gods of our lands, may choose to pray to those gods for their blessings and protection. Our ancestors certainly did just that.

The following prayer is found in the Book of Ballymote, compiled in County Sligo, Ireland, circa 1390, although the prayer itself is considerably older, dating perhaps from the 8th century. Skeptics may argue that an 8th century prayer can have no possible relationship to Druidry. There are, however, numerous references in the manuscript literature of Britain and Ireland indicating that Druids continued to play an active role in society at least until the 12th century. It is certainly hard to see the prayer itself as anything other than pagan. I have not included a translation of two lines of Latin appended to the end of the original manuscript text since they were clearly tacked on in a half-hearted attempt to Christianise an otherwise splendidly pagan prayer. I defy anyone to locate a Biblical reference to ‘the Seven Daughters of the Sea’ who feature in the first two lines, while the 'Silver Champion' referred to in line 10 seems likely to be Nuada Airgetlam, 'Nuada of the Silver Arm,' sword-wielding equivalent to the Romano-British Nodens, who oversaw a large healing sanctuary at Lydney on the banks of the River Severn.

Note that illness is characterised in the prayer as a ‘two-headed adder,’ a ‘hard-grey serpent,’ and a ‘headless black beetle.’ It was extremely common for our ancestors to view disease as a dark creature, most often a venomous serpent. When combatting illness in spirit, attributing a form to it is extremely useful, providing a clear focus on what it is we are seeking to counteract and protect against.

This particular prayer seems peculiarly appropriate at the present time, given that the severity of the effects of the Covid-19 virus seems to increase the older one gets.

Here, then, is my English rendering of the text as it appears in the British Druid Order’s ovate course. Scroll down and you’ll find links to my Soundcloud recording and YouTube video of the prayer, accompanied on a Celtic lyre.

Blessings to all,

Greywolf /|\

"The cry of a worthy man upon the road, may it bless me on my journey into the Plain of Age:"

“I invoke the Seven Daughters of the Sea
who weave the threads of children for long life:
May three deaths be taken from me!
May three life-spans be granted to me!
May seven waves of good fortune be dealt to me!
Phantoms shall not harm me on my journey
a flashing breastplate keep me from injury!
My fame shall not be bound by death!
Let death not come to me till I am old!
I invoke my Silver Champion who has not died, who will not die:
May time be granted to me of the quality of pure bronze!
May my form be ennobled!
May my right be maintained!
May my strength be increased!
May my grave not be readied!
May death not come to me on my journey!
May my journey be successfully fulfilled!
May the two-headed adder not seize upon me,
nor the hard-grey serpent, nor the headless black beetle!
May no thief ever harm me, nor band of women, nor band of armed men.
May increase of time come to me from the King of All Being!
I invoke Senach [‘the Ancient One’] of the seven ages,
whom Fairy women have reared on breasts of plenty:
May my seven lights not be extinguished!
I am an indestructible stronghold,
I am an unshakeable rock,
I am a precious stone,
I am a fortunate one of seven riches.
May I live a hundred times a hundred years,
each hundred after another!
Thus I summon my good fortune to me.”

The prayer was recorded in our Shropshire roundhouse in August 2019, hence the crackling of the central hearth fire and the screaming sounds of Buzzards (Buteo buteo) wheeling around in the sky outside. The lyre accompaniment was added a few days ago here in my study at home using a little lapel mic as a pick-up. The lyre used is the one in the photos, beautifully made for me by Koth na Fiach of Dark Age Crafts. It’s of a type played in Europe from at least 800 BCE until around 600 CE, possibly later. The earliest recorded name for it is chrotta.

2

Four days of sacred ceremony, workshops, drum-making, shamanism and Druidry, new friends, chaga, and a psychedelic duck!

Just from a week in Norway during which Elaine Gregory and I spent four days representing the British Druid Order (BDO) at the Annual Shamanic gathering, organised, as ever, by Sjamanistisk Forbund (the Shamanic Foundation). This year’s event was called Naturfest and was amazing. So many wonderful, lovely people. Little kids and dogs of varying sizes wandering and playing in the sunshine, fantastic music, magical ceremonies, and a beautiful new venue, almost an island, connected only by a narrow isthmus with a road across it, surrounded by a clear blue lake and blessed with the characteristic Norwegian trees, tall pines and graceful birches. For us Druids, there was the added bonus of a young oak tree.

Friends old and new at Naturfest: Greywolf, Louise Degotte, Morten Wolf Storeide, István Zsolt Barát (see below) & Christoffer Skauge Eid, current head of Sjamanistisk Forbund.

When we go to Norway, one of the greatest pleasures is staying with our friends, Morten and Louise, two of the nicest, warmest, most generous human beings I’ve ever known. We also share a silly sense of humour, which always helps. Their house is surrounded by a wild flower meadow in the middle of a forest and is so soothing to the soul. There’s a lake within easy walking distance, Elk (aka Moose) wander past the back window, Deer graze at the front.

Edwin the Moose. Photo by Elaine.

The venue for the gathering is about a two hour drive from their house. To stock up on supplies for it we crossed over into Sweden to a huge shopping complex. Kyrre had asked us to bring a British Druid Order flag to the event. We didn’t have one, so I designed one and ordered it online. Unfortunately, it hadn’t arrived by the time we left England. Wandering around the Swedish shopping centre, however, we passed a store where I saw a large psychedelic duck suspended from the ceiling. I pointed it out to the others and we went in to get a closer look. It was so weird, we just had to buy it, deciding it would make a good substitute for the missing BDO flag. We called it PD, short for psychedelic duck.

We arrived, unpacked and settled into our tiny attic room in time for the opening ceremony which began up by the barn that was being used as office space, market and healing centre for the weekend. From there, we made our way to the central ceremonial fire. Two ceremonies then celebrated the feminine and the masculine before a sharing circle brought the first evening to a close.

Opening ceremony, Naturfest 2019. Photo by Morten.

Next day there were traditional games, a workshop on Sami healing led by Robert Vars Gaup, a nature walk and the first part of a drum-making workshop, among other things. It was a very crowded schedule, with events running right through Friday and Saturday nights as well as all day.

After 45 years as a Druid, it is my life and I know no other. Living in the British Isles, I forget that there are places where Druidry is little known. Norway is one of those places. When organiser, Kyrre Franck, asked if there was anything Elaine and I wanted to do other than the chaga ceremony we were helping out with, we couldn’t think of anything in particular, so he suggested a sharing circle about ceremony. I was a little concerned that the sharing circle was booked for 11 o’clock at night, the chaga ceremony for 2 o’clock in the morning! I had forgotten that, at Midsummer in Norway, it doesn’t actually get dark. However, once word got around that there were two Druids on the camp, people started asking if there was going to be a workshop on Druidry, so I asked Kyrre if we could fit one into the already very packed schedule. He said he’d see what he could do and, 10 minutes later, a handwritten poster in big blue letters was pinned up above the printed timetable announcing a Druidry workshop in the Lavo (a sort of wooden tipi) at 12 noon on Sunday. We’d suddenly got star billing and had to figure out how to live up to it!

We go to the top of the bill!

Our sharing circle was fun, though I’m never all that comfortable with the format. The chaga ceremony was very good, as they always are. On this occasion, we had to contend with a plague of midges and the fact that an amplified open mike night was being held as part of the gathering not far away from where we were doing our preparation for the ceremony. In making a chaga ceremony, it’s necessary to spend about four hours preparing the chaga, boiling the water, adding the chaga a small handful at a time, stirring the pot, chanting, singing, drumming, making prayers and offerings to the spirits, in particular to Nivvsat Olmai, the chaga and birch tree spirit. Chaga (a woody fungus that grows on Birch trees) is already blessed with many healing properties. By adding this ceremonial element to the brewing, we seek to enhance those existing properties and maybe add a few more.

Our set-up for brewing chaga in the Lavo. Photo by Greywolf.

When the brew was ready, we carried it down to the open air ceremonial circle on the site, with its central fire pit surrounded by stones. Elaine welcomed folk into the circle via the eastern entrance and then remained to guard it. Yes, although it was 2am, people still came! Morten and Louise conducted the ceremony. I prowled around the outside of the circle sunwise with my drum. One particularly memorable part of it was when Morten set up a heartbeat rhythm with his drum as he circled the ring of people sitting on the ground while I drummed the same heartbeat rhythm from the outside. For the people between the two drums, the vibrations must have been quite strong. During the ceremony, the Moon rose from the forest treetops across the lake. Not long after we finished the ceremony, the Sun rose to join it.

Morten, Elaine, Louise, Greywolf: the 3am Chaga crew. Photo by ?

We finished at 3 am. At 4 am there was to be a men’s sweat lodge, which I was booked into. In the event, I helped a little with the building of the fire but then had to make my apologies and leave, realising that, having been up all night, I was simply too tired.

Among the many events across the weekend, I was intrigued by a series of workshops being given by a Tuvan shaman called Dimitrij Markov. Dimitrij, turned out to be a really nice guy with a dry sense of humour. In his first session, he showed us how to build a spirit house. This consisted of sticks of firewood arranged in tipi shape, modelled around slabs of butter and cheese and set on a strong cardboard base. The whole thing was then placed on the central fire as an offering to the ancestors. Dimitrij conducted the workshop in Norwegian. I know hardly any Norwegian, but was able to follow what was going on by the few words I could pick up and Dimitrij’s actions. I noted that he always went sunwise around the fire, just as we do in Druidry.

Dimitrij placing the Spirit House on the fire. Photo by Elaine.

An outstanding feature of Dimitrij’s ceremonial creation is his costume, hung with colourful plaited cords, bells, signs and symbols, topped off with an extraordinary headdress comprised mainly of Eagle feathers. These he dons immediately before ceremony begins and takes off as soon as it is finished. His ceremonies often end with him standing quietly for a few seconds, then saying, “That’s it,” walking out of the circle and disrobing.

Dimitrij in ceremonial costume. As my friend, Leon Reed, says, "Wear your power." Photo by Morten.

One of the things I love about these gatherings is that you get to see both the surface differences in the ways we work and the underlying similarities that make it so easy to understand and communicate with each other across cultures.

Saturday night was the Sami Midsummer ceremony, which I’d been part of on our last visit two years ago. This year’s was conducted by Kyrre, Robert and Elin Kåven, a noted Sami musician. Offerings of seasonal flowers from everyone were placed around the central fire with prayers made for those in need. There was much drumming and dancing. Central to the rite was the raising aloft and honouring of a wreath of greenery tied with coloured ribbons, raised in honour of the gods of earth and sky.

Sami Midsummer Ceremony. Photo by Elaine.

Later that evening, Rotha (it means Roots) treated us to a fabulous musical set. They are a three-piece consisting of guitar/bazouki, Elin on vocals, and percussion, the latter including the biggest frame drum I’ve ever seen. The sound blended traditional and modern really well, while several lyrics were drawn from the Icelandic Eddas. Morten tells me that although the musicians are Sami, they draw much of their inspiration from Norse mythology. They are very, very good.

The band having done their encores, having been up until at least 3am the night before, we were all prepared to go to bed when Kyrre announced an addition to the program: a Wolf healing ceremony with Dimitrij, due to take place around the ceremonial fire at 1am. Had it been anything other than a Wolf ceremony, I would have gone to bed. As it was, Morten, Louise, Elaine and I all went down to the ceremony site. Dimitrij donned his costume, pulled on his headpiece and picked up his drum. Having promised my own drum a rest after the exertions of the Sami Midsummer ceremony earlier, I had left her hanging on the wall of our room, so was unable to join in the drumming. Dimitrij made up for it. His drumming began fairly quietly but quickly gained pace and volume. He began waving his drum back and forth. He started behaving as Wolf, lowering his body. At one point, he fell over and rolled on his back, kicking his legs in the air. Rising again, he stood still for a while, lifting his drum towards the sky, which was as dark as it gets, though still not dark enough for stars to be visible. He began to howl. I began to howl. Some of the others began to howl. After drumming vigorously for about half an hour, during which Dimitrij continued to move and I continued to rock from one foot to the other, we stopped. Dimitrij stood still for a few moments, facing the central fire, then said “That’s it.”

Dimitrij making milk offering. Photo by Morten.

During the ceremony, I felt a kind of expansion from my primary place of power, located near my solar plexus. The following day, I woke up feeling better than I had for ages, emotionally, physically and psychologically. Further proof that, as I said during our sharing circle about ceremony, “This shit works.” Thank you again, Dimitrij.

After a few hours’ sleep, at midday on Sunday it was time for our Druidry workshop. Elaine and I had discussed a brief outline which we followed, allowing space for whatever the awen dictated to happen. We opened our circle as usual with calls for peace at the four quarters, wove the circle, invoked the powers of the four directions, honoured the spirits of place, the ancestors and the old gods of our lands, in all of which Elaine took the lead. I then spoke of the survival of Druidry for many centuries after the Roman invasion of Britain in 55 CE, through to the time when the great Welsh and Irish legendary tales were written down. I told the story of Ceridwen and Taliesin and the brewing of the cauldron of inspiration. We then chanted the awen, filling the tall wooden structure with our voices so that they rolled and echoed in tumbling cascades of sound. It was beautiful. Then, having started late due to the previous workshop overrunning, we hurriedly closed our circle and left to allow the next workshop to begin. Afterwards, we were told of overflowing emotions and of visions occurring during our session. These things are always reassuring that we have done our job well. Many thanks to all who came and made ceremony with us, both seen and unseen.

Also at the camp, and another great guy, was István Zsolt Barát, founder and head of the Four Elements School, ceremonial leader, healer, singer, artist, drummer and a traditional bearer of Hungarian Shamanism, which he studied in Carpathian region. He has worked as co-organizer of Kurultai, the largest gathering of Central Asian tribes, a biannual festival that gathers up to 300,000 people.

Greywolf and István. Photo by Elaine.

A remarkable woman we had made ceremony with two years ago in Sweden, Inger Lise Nervik, was also there. She’s one of the organisers of Sjamanistisk Forbund and co-founder of the Beaivi Shamanic School. So many other great people it would take a book to name them all. What characterises them all, apart from our shared spiritual vision, seems to be a wonderful, off-the-wall sense of humour. This, I think, is one of the most important tools we have in our line of work.

Greywolf chatting with Inger Lise, Elaine in background, Louise in foreground, back to camera. Photo by Morten.

Speaking of which, back to the duck. Sunday morning, I got up early and decided if we were going to introduce the camp to the duck, it would have to be today. Fetching the foot-pump, I set to work and PD grew and grew and was a magnificent sight to behold. He proved a considerable hit with the campers, especially the smaller children, who were soon climbing all over him. Then, at the end of the day, the moment came to launch PD on the lake. It had to be done. Two of the younger campers came with us, including new friend, Jorgen, whose first shamanic camp it was. PD was duly launched onto the water, carefully roped to shore as we had no idea of the currents or of PD’s manoeuvrability. Stripping to my underpants, I climbed onto PD’s back and set sail. It was the most wonderful fun I’ve had for ages. PD was very comfortable and I could happily have floated off on his back to who knows where, but time being pressing, after much splashing, giggling and ill-advised photographs, I clambered back onto the jetty. Our two young friends then took their turns, Jorgen attempting running dives, the second of which sent PD onto his side and Jorgen into the very cold water. Fortunately, he’s a good swimmer and after a little reassurance, PD was happy too. Thus, amidst much laughter, our time at Naturfest came to an end.

Greywolf enjoys the first voyage of PD, the Psychedelic Duck. Photo by Elaine.

Oh, I almost forgot to mention that very early on the morning after our chaga ceremony, I was fetching a few things from the car when a tiny just fledged bird landed on my arm. I think he was a Goldcrest. Having latched his little talons into my coat, he started preening his feathers, shaking himself and looking around, then doing a bit more preening. After a while, it became obvious that he wasn’t going to leave without some encouragement. I moved towards what looked like a good perch for a small bird, shook my sleeve gently and he fluttered off. It was a small, magical encounter, adding one more joyous element to a wonderful weekend.

After a couple of days back at Morten and Louise’s house, it was time to head home. Before we did, however, Morten had one more surprise for us. Bringing out a familiar flight case, he opened it to reveal The World Drum. This extraordinary shamanic instrument was created by a Sami drum-maker following a vision that Kyrre Franck had. The Drum has spent many years travelling all over the world, crossing cultural, linguistic and political boundaries, uniting people with its message of care for our Mother Earth and peace between her children. The British Druid Order first hosted the Drum in the UK in 2008, visiting Dragon Hill and Avebury. In 2013, we journeyed with her to Glastonbury Tor, Anglesey and many other places. It was so good to see her again. A wonderful close to a beautiful trip...

Elaine and Morten with The World Drum and the many messages she carries between groups, cultures and traditions around the world. Photo by Greywolf.

I’m already looking forward to next year!

Oh, yes, and that BDO flag I ordered arrived while we were away. And here it is:

Elaine and Greywolf modelling this year's most essential accessory, a British Druid Order flag! Photo by Garth.

2

It being May Day and the weather cool but fair, I wandered through the woods and scrambled down to a hidden hollow by the brook, where water tumbles over rocks and makes a magical sound that eases that slide into reverie in which awen flows and words emerge. With mobile phone as notebook, I jotted down the basis of this poem. It hasn't reached its finished state yet, at least I don't think it has, perhaps it never will, but I wanted to share it now, while the inspiration is still fresh. I am grateful for the gift of a poem made from just the interweaving of awen with the spirits of a special place and time... /|\

Beside the brook I sat a while
and watched the water flow
through the lichened rocks below
with rush and tumbling foam.
Astride a lichen-cushioned log
I perched and heard Sabrina’s song
as glistening waters ran their course
across the ages long.
Ancestral race, this mystery
had so sat contemplating,
this unceasing rush through time
on to an ever waiting sea.
Spirit-full and ever changing,
silver flow will make its way,
stopping not for tree or boulder,
save to skirt them both around,
for water’s wisdom is the gift
of ever finding ways anew,
unerring and unstoppable,
ageless and unwavering,
yet constantly renewed.
And so to you, great goddess,
I give thanks beside your play,
for filling all my senses
on this first day of May,
reminding me that time and tides
will bear all things away,
and for the gift of awen,
thus to weave these words in rhyme,
from mortal to immortal passed
until we merge in time.

Composed May 1st 2018
White Horse Beltaine Camp

Text and images © Greywolf 2018

Many of us who work with spirits, guardian spirits, power animals, whatever form they take and however we perceive them, regard their willingness to work with us as a gift and a blessing for which we are willing to give in return what they may ask of us. Many of us will also be aware that there are times when our connections with these spirits, however strong, may be lost or broken. This may occur for many reasons, but when it does, it can leave us debilitated, unable to function properly, unable to journey between worlds, often physically or psychologically ill. What, then, can we do?

The other day, browsing through a slightly battered book I’ve had on my shelves for years, I came across something I’d failed to notice before.* The book is actually about Paleolithic hunter-gatherers, but the author spent time amongst aboriginal people in Northwestern Australia. There he learned of a means by which shamanic workers recovered lost spiritual connections. In his account, the method requires the participation of a group. Not all of us have the benefit of working with a group of people who are a) able to perform such a task, or b) available to do so when we need them. In such circumstances, I wonder if the technique could be performed alone. If we have a reasonable connection with our ancestors in general, or with a specific ancestor, it seems likely that it could, though I've yet to try it.

Here’s the relevant text:

But it also happens that a shaman loses the gift of frequenting the underworld. He suddenly becomes incapable of making contact with the spirits and his poetic gift for creating songs and dances vanishes.
In such cases all the men gather together to re/establish the broken link with the dead forefathers.
The shaman is laid on the ground. All the men sit in a circle around him. They begin to sing and as they sing they slowly rub the shaman’s body. The men sing for hours on end on a regularly rising and falling note:

Mmmmm nnnnnn mmmmmm nnnnn

(This is a humming such as occurs in many Russian folk songs.)
The shaman gradually goes into a trance; finally his soul leaves his body and, so the accounts say, roams about looking for the spirit of a dead ancestor. After long wandering it will finally come upon such a spirit.
The dead ancestors themselves send out one of their number to look for the shaman. They themselves have painfully missed the shaman’s visits and the contact with their living descendants and wish to re/establish relations with the living.
The shaman tells the spirit of the dead that he no longer knows the way to the underworld and cannot ‘find’ any more songs. The spirit of the dead - frequently it will be the spirit of his father or grandfather - promises to help him and to come for him in a few days.
After a time - it is perhaps one evening when the people are sitting quietly and talking - the shaman suddenly hears a distant call. It is his helping spirit calling him. He goes off by himself and converses for a while with the spirit.
But a few days later his soul leaves his body. His body lies quietly sleeping. But under the leadership of the helping spirit many spirits now come up from the underworld and take possession of the shaman’s spirit, which they want to see among them again. They tear the soul to pieces and each spirit carries a piece into the underworld. There, deep under the earth, they put the shaman’s soul together again.
They show him the dances again and sing songs to him.

Well, there we are. What do you think? Could this be adapted for solo working? Do you know of parallels or alternative methods from other cultures, perhaps closer to home (I live in the British Isles)? If so, please share, if your spirits will allow you to.

Many blessings,

Greywolf /|\

* Andreas Lommel, The World of the Early Hunters: Medicine-men, shamans and artists, Evelyn, Adams & Mackay Ltd., 1967, page 139.

1

Donovan Leitch is a forgotten superhero of ‘60s music, so deeply attuned to the era that when its core messages were abandoned by mass media and fashion in the 1970s, he was abandoned with them. In the late ‘60s, however, he was troubadour to the court of rock royalty, courted by Bob Dylan and friends with the Beatles and the Rolling Stones. He also produced some wonderfully innovative music that was ahead of the curve of most musicians of the time. His late 1965 LP, ‘Fairytale,’ contains two tracks, ‘Sunny Goodge Street’ and ‘Candyman,’ that overtly reference cannabis use. His classic single, ‘Sunshine Superman,’ released in December 1966 though recorded a full year earlier, was still at no. 3 in the UK singles chart in the first week of 1967. Both its sides reference LSD, the B-side being a remarkable, driving slice of prime early psychedelia called simply ‘The Trip.’

The opening lines of ‘Sunshine Superman’ are:

"Sunshine came softly through my window today
Could've tripped out easy but I've changed my ways.”

This is a reminder that Donovan was not only one of the first UK musicians to embrace LSD as a means of spiritual exploration, he was also among the first to publicly abandon it in favour of transcendental meditation.

The last verse of the song references two DC comic book superheroes:

"Superman or Green Lantern ain't got nothin' on me,
I can make like a turtle and dive for your pearls in the sea,
You you you can just sit there a-thinking on your velvet throne,
About all the rainbows that you can have for your own...”

Prior to the mid-’60s, superhero comics had been considered disposable fodder fit only for pre-adolescent boys with juvenile power fantasies. This began to change when comics legends, Jack Kirby and Steve Ditko, introduced new kinds of superheroes at Marvel Comics. Kirby’s Fantastic Four feuded like a real family, Ditko’s Spider-Man was the kind of geek who might previously have scraped by as a teenage sidekick to a ‘proper’ superhero. Kirby’s Thor was a god of Asgard sent by his father, Odin, to walk the Earth, while Ditko’s Doctor Strange was an astrally projecting, spell-casting magician, a veritable ‘Master of the Mystic Arts.’ The comic book geek in me can’t help but note that Donovan refers to two DC heroes in the song, saying that they “ain’t got nothin’ on me.” This could be a recognition that, in the mid-’60s, the cool kids were all reading Marvel Comics with their more relateable characters and superior art. Incidentally, Kirby's Thor was my introduction to Paganism, while Ditko's Doctor Strange introduced me to many core concepts of ritual magic.

Suddenly comic books were being read and enjoyed by college students. Donovan was, I believe, the first musician to refer to this phenomenon, recognising that, for people in their teens and twenties, these colourfully costumed super-beings with their god-like powers were increasingly taking the place once occupied by the gods of more ancient mythologies. In the last verse of ‘Sunshine Superman,’ he also shows clear recognition of the fact that the popularity of superheroes was largely driven by a feeling that we could become them or, as is the case here, exceed them, by expanding our consciousness. This is the essence of what anthropologists now like to call ‘shamanism.’

Donovan, in common with other musicians of the era, perhaps more than most of them, recognised the power of music to alter perceptions and devoted his art to putting out ‘good vibrations’ into the world. This is why, 50 years on, his music still resonates, still calls on us to excel, to pursue those rainbows for the ones we love, to become the superheroes of our own life stories.

4

October 29th - 30th 2016

1-IMGA0012A crazy idea came to me on the train taking me to the 2016 White Horse Samhain (Hallowe'en) Camp, held at the Wild Ways crafts and retreat centre in Shropshire, UK. Having seen the already full schedule of events planned for the camp, I had felt there might not be anything I could add to it. For years, however, I had pondered the possibility of holding an all-night ceremony in the Iron Age roundhouse (right) we had built in nearby woods. I thought perhaps this might fit in as it wouldn’t start until everything else had finished, running through until sunrise the following morning, Sunday, November 30th. People would be welcome to come and go whenever they chose to or needed to. Even so, it was a bit of a cheek to arrive out of the blue with this crazy notion without having discussed it with any of the organisers beforehand. However, one of the great things about White Horse camps is the openness of the organisers to the unexpected and strange and their willingness to make room for them.

Gundestrup CernunnosThe idea had three main sources of inspiration; one was the observation that there seems to be an unusual amount of what might be termed ‘weird shit’ going on in the world at the moment; next was the way in which the stand being taken by the Lakota people against a polluting oil pipeline being driven across their sacred land has inspired so many others all around the world to stand up and be counted against ‘big oil’ and compliant governments; third was my own recent journey to deepen my understanding of how our Druid ancestors worked with serpent power. I have no doubt that they did, as evidenced by several representations from around 2,000 years ago Ovate booklet 9 coverportraying native European deities accompanied by serpents. The most famous is that on the Gundestrup cauldron (upper left). Another well-known image from the period overlooks the hot springs in Roman Bath and portrays a bearded god with snakes growing out of his head (lower left). I had worked out some ways in which serpent power was approached, but felt I still lacked a vital key to understanding why it was that British Druids were sometimes called Nadredd, i.e. 'Serpents.'

These threads all came together through a Lakota prophecy that a Black Snake would come to devastate their land, causing people and animals sicken and die. Many Lakota dapl-protesters-arizonasee the DAPL oil pipeline as that Black Snake and, therefore, see opposition to it as both a vital necessity and a sacred duty. I had already been led to the conclusion that individual healing in our Druid tradition comes about partly through invoking the power of a White Serpent of Healing to set against the power of a Black Serpent that brings disease. My thinking for this roundhouse ceremony was to try to harness the power of the White Serpent to oppose the DAPL Black Snake and as many other manifestations of its destructive force in the world as we could fit into one long night.

The ceremony was duly announced to the camp at the first morning meeting, for which I particularly thank Richard and his fellow organisers, Ariane and Hilde. As we wouldn’t be starting until around 11pm at the end of a full day, and would continue until sunrise at 6.50am, I had no idea whether anyone would want to come at all, let alone how many. However, a few friends immediately expressed not only interest but excitement, so there were willing helpers to join me in transporting things to the roundhouse and preparing it. Thanks to Becky, who wields a fine besom, to Amanda, Daru, and Elaine, who not only runs the centre but loaned us two large reindeer hides, some saining sticks and a couple of warm woollen blankets from her house.

When I mentioned our intentions for the ceremony on the BDO Facebook page, people in countries around the world said they would join us in ceremonies timed to coincide with ours. This was a wonderful gift and a further inspiration to us. Thank you friends, heart to heart, spirit to spirit.

Morten Wolf Storeide with The World Drum
Morten Wolf Storeide with The World Drum

Adding to an already potentially rich mix, Elaine also donated a bag of Chaga, a remarkable medicinal plant, a hard, woody fungus that grows on Birch trees in Northern climes. This had been given to her by a remarkable couple, Morten Wolf Storeide and Louise Degotte. Morten organises the global travels of The World Drum, a powerful healing Drum made by a Sami drum-maker following the vision of Kyrre Franck White Cougar. Morten and Kyrre, with their friends, LeNa Paalvig Johnson and Will Rubach, brought us the gift of an amazing ceremony centred around Chaga when we hosted The World Drum at Wild Ways in 2013.

DSC_0015For use in ceremony, Chaga needs to be brewed for at least four hours. This meant that a few of us had to miss the Saturday evening eisteddfod and go to the roundhouse shortly after 7pm to begin the brewing process. Amanda, who had taken part in an initiation in the roundhouse, stayed on to set up the tripods over the central fire to support the two pots in which we would brew the Chaga. The water was already heating when I arrived. We sat and talked for a while as we waited for it to boil. Then we began adding Chaga, taking it in turns to put a handful into the two pots and stir them. We talked through ideas about what we might do during the ceremony and the Chaga crew came up with several ideas while helping my sketchy ones to take shape. For the rest, I was relying on the spirits to guide us, and on all those who came, both seen and unseen, to bring their own inspiration and ideas to the mix.

A few more people drifted in after a while, followed by quite a crowd once the eisteddfod ended. Having doubted whether anyone would come, we found the 20 log seats we’d set out were not enough. Of the 55 people on the camp, about 25 joined us.

wolves-pack2As well as making prayers for the protectors at Standing Rock, we had been asked to pray for those standing against another oil pipeline in Florida, which we did. I also wanted to send some energy and protection to the Wolves of Norway, under threat from a decision by the Norwegian government to allow 47 out of the 68 Wolves in the country to be shot. Elaine, recently back from Ireland, asked that we also pray for the Deer over there who are to be shot because there is a remote and unproven possibility that they might be responsible for some cases of TB in domestic cattle. Also present at the camp were several people who have protested against Badger culls in the UK, carried out for the same dubious reason. We added them to our list. I assumed that other things to work for would emerge during the night. They did...

As for how we were going to work, I thought we might do some personal healing, using a technique I developed, or rediscovered, while researching for the British Druid Order ovate course. I felt we should drum and chant for the animals. I already have a Wolf chant (naturally), and a Deer chant, and thought we could come up with something for the Badgers. I also knew we had to work with the power of the White Serpent, though I wasn’t sure how. Again, I trusted the spirits to show us the way.

The fact that we were working through Saturday night into Sunday morning, and that Sunday 30th was the day of the New Moon of Samhain, helped. Samhain (‘Summer’s End’) is the old Irish name for the seasonal festival known in Wales as Nos Galan Gaeaf (‘Nights of Winter Calends’) and in England as Hallowe’en (‘Hallowed, i.e. Sacred, Evening’). Originally held over three nights, it marks the end of summer and the beginning of winter.

RhiannonCardx800The Moon has its own serpentine associations, its nightly waning from the full being likened to a snake shedding its skin. A snake within a Moon appears on many Celtic coins, as in the top left corner of this image from our Druid Tarot deck, taken from one of those coins.

During the ceremony, I remembered a widespread folk custom carried out in Scotland until the early 20th century, in which the White Serpent of Bride (i.e. the goddess, Bridget) is said to emerge from beneath the earth at Imbolc (Gwyl Fair, Candlemas) at the beginning of February, restoring life to the world after the long months of winter. The spoken charm that accompanies the re-emergence of the Serpent translates as follows: Today is the day of Bride; the serpent shall come from its hole, I will not molest the serpent, nor will the serpent molest me.

It struck me very strongly that the New Moon of Samhain would be exactly the time at which the White Serpent would go down into the earth, as the leaves were falling from the trees and the last of the wild plants dying back into dormancy.

badgergrovefrontisThis phase of the year’s cycle is reflected in, among others, the Greek myth of Persephone, and the ancient Middle Eastern legend of Inanna’s descent into the underworld. In native British lore, the goddess who possesses the serpent power appears as Olwen of the White Track, daughter of the giant, Ysbaddaden (‘Hawthorn’), as Creiddylad, daughter of Lludd (or Nudd) of the Silver Hand, and as Arthur’s queen Gwenhwyfar, whose name means ‘White Enchantress.’ All of these three feature in the archaic tale of Culhwch and Olwen, as preserved in the 12th century collection of tales known as the Mabinogi.

The night of our working, then, was the last during which our Serpent Goddess’s power would remain above the earth prior to its descent into the underworld where it would spend the winter. This seemed the perfect time to invoke her aid. In our ceremony, then, we invoked the healing power of the White Serpent against the destructive power of the Black Snake.

I think it was Ariane who drew our attention to the fact that Ineos, one of the companies involved in fracking in the UK are calling their fleet of huge, Chinese-built oil tankers ‘Dragon ships.’ Is this a deliberate invocation of Black Snake energy on their part? Who knows?

The insidious way in which oil companies and governments are conspiring together to force the unwanted, unnecessary and polluting technology of fracking on unwilling populations around the world is symptomatic of a wider malaise in which democracy has long ceased to be what it was in pagan Greece, i.e. ‘people power,’ becoming instead a means by which wealthy and powerful elites retain dominance over increasingly powerless populations. Polls show that 81% of the UK population would like to see more investment in renewable energy sources, while only 19% favour fracking. In Norway, there is an identical split between the majority who want to see Wolf numbers remain the same or increase and the minority who want them killed. Meanwhile, polls in the USA show that 86% of the population are with the protectors at Standing Rock and against the DAPL pipeline. Fortunately for us, this huge public support for what we were trying to achieve through our ceremony meant that there was a huge impetus behind us. Trying to work magic against opposition is hard. It's easier if the vast majority of the people of the world are with you in spirit. Knowing that they are is encouraging, to say the least.

warriors-sigilOne of our group brought a flag bearing the symbol of the Pagan anti-fracking movement in the UK and we lodged it into the rafters of the roundhouse, where it stayed throughout our ceremony. I'm not sure what it was originally designed to represent, but to me it looks like a Dragon's head!

We drummed to raise energy for ourselves and the groups and causes we had been asked to pray for and send power and healing to. As with the people at Standing Rock, we directed some of those prayers towards those causing the harm, asking that they realise that what they are doing is destructive and wrong, and that it is in their long-term interests to change.

Long ago, in talking with spirit workers from other cultures and traditions, there emerged a strong sense that we should be working together for our shared Great Mother Earth and all her children. Subsequent meetings with healers and fellow spirit workers have strengthened this sense that now is the time for us to set aside the surface differences that divide us and recognise the commonalities that we share. As spirit workers, we regularly work with altered states of consciousness, and so are ideally placed to work towards changing the consciousness of those who seek to despoil and pollute our planet, bringing them to the light of realisation and understanding that will lead them to change what they are doing for the benefit of all.

gwdrumx600 We cast our circle with sound and saining herbs, we invoked into it all those powers for good that we work with, the spirits of place, the elemental spirits and guardians of the four directions, of our ancestors of blood and spirit, of the old gods of our lands, and of the White Serpent of healing (as painted on my drum, right) and the Dragon power through which it also manifests. We chanted the Awen, the holy spirit of inspiration and creativity. We shared Chaga brewed on our sacred fire. We drummed and chanted long into the night. From around 2am, people began to drift away, thanking our ancestors as they passed across the threshold and went in search of sleep.

By around 3.30am, our numbers were reduced to around nine, of whom eight were lying on the piles of furs we had provided or on the bare earth floor, most under blankets. While they drifted in and out of sleep, I continued to quietly drum and chant. I had thought to go into trance with the drum, but this didn’t happen. I realised that my role was to drum for the others, both seen and unseen, in the roundhouse and around the world. Between drumming, I made sure the central fire was kept fed with logs.

1-DSC_0053My lone drumming vigil continued until around 6.30am, at which time, without prompting from me, the others began to stir, wake up, and reach for their drums. We formed a circle around the central fire, linked hands and chanted the Awen again. Then we began to drum the sunrise, beginning quietly and building to a thundering crescendo that carried us across the moment of dawn and into the light of a new day, the day of the New Moon, blessed by the White Serpent of Healing.

I shared a gift of insight the Awen had given me during the night; the reason why our ancestors were called Nadredd. As Druids, we are the Serpent, we are the Power, we are the Dragon. Our role is to embody the Serpent Power, to carry it within us at all times, to use it for the benefit of our communities, our Great Mother Earth and all her children. When the White Serpent Power of the Goddess of Life, Light and Healing goes down into the earth for the long Winter months, we, as Druids, continue to embody it in the world so that the light of life never dies.

Our ancestors knew this, and that knowledge was either passed down directly, or rediscovered, in the bardic colleges that flourished in Wales, Ireland and Scotland during the medieval era. Hence, in the probably 12th century CE poem, ‘The Cattle-Fold of the Bards,’ attributed to the semi-legendary 5th century CE bard, Taliesin, he is able to say with absolute conviction and perfect truth:

I am song to the last; I am clear and bright;
I am hard; I am a Druid;
I am a wright; I am well-wrought;
I am a serpent; I am reverence, that is an open receptacle..."

and:

Wyf sarff, wyf serch... (pronouned ooeev sarff, ooeev serch [‘e’ as in bet, ‘ch’ as in Scottish loch])

...which means:

I am serpent, I am love…”

Profound thanks to all who made our ceremony possible and took part in, both seen and unseen, in the roundhouse and around the world. Thanks to the spirits of place, spirit animals, ancestors and old gods of our lands for their gifts of Awen, and thanks to the Serpent Power of Life, Light and Healing. May that power be with all who need it in these strange and troubled times. May the Light shine strong within you.

We are Nadredd and we offer this Awen and these blessings to all in need,

Greywolf /|\
the Chaga Crew /|\
Wildways /|\
and White Horse Camps /|\

PS. If I've got anything wrong or forgotten to credit anyone who should be credited, please let me know 🙂