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Unveiling the World Drum After Avebury, Stonehenge and Glastonbury, where next for the World Drum? Why to the town of Ironbridge in Shropshire of course! Why Ironbridge? Well, Ironbridge is widely credited with being the birthplace of the Industrial Revolution and it was the Industrial Revolution that led to so many of us being divorced from our Mother Earth. In 1760, some 80% of the population of Britain lived and worked on the land. By 1830, 80% of us lived in towns and cities and worked in factories. This process has been repeated across the world in other industrialised nations. As a result, much of the world's population has become cut off from the Earth as our source of food and of spiritual sustenance. Since the message of the World Drum is about re-connecting with our Mother Earth, what better place to bring it than Ironbridge, the very place where the great disconnection began?Lorraine, who lives nearby, offered to co-ordinate this event with us, working with the tireless Elaine Gregory, who cross-coordinated all of the World Drum events. Our profuse thanks and blessings to both and, of course, to everyone else who made our journeys and ceremonies possible and who took part in them.
We tried to contact the local council and the tourist board at Ironbridge to ask if what we were planning was OK with them. They failed to respond to repeated attempts so we assumed everything was OK. And it was.
Beginning the ceremony we call for peaceIronbridge came as a surprise to me. When it's spoken of as the birthplace of the Industrial Revolution, this instantly conjures images of coal-blackened factories, smoke-belching chimneys and polluted waterways. Ironbridge is beautiful. It nestles in a steep-sloped, wooded valley, the River Severn, sacred to the goddess Sabrina, flowing serenely beneath the bridge from which the town is named. The main street, shops and cafes are decked with flower baskets. It is clearly a place that is loved and cared for by those who live there. It is also a living testament to Mother Earth's ability to revitalise, restore and renew our built environment if we only give her a little help and encouragement and stop doing the things that hurt her and harm her creatures. So, an even more perfect venue for the World Drum to sound out the heartbeat of our Mother Earth.
On our exploratory visit to the town prior to the ceremony, we were struck by the presence of a memorial to the dead of the 1st World War that stands at one end of the bridge. Since the World Drum's secondary message is of peace between all peoples, it seemed right to honour this memorial to the destructive folly that is war.
Taking the World Drum to each of the previous venues, we had at least a sense that there would be other like-minded people ready to join us in our rites. Taking the Drum to Ironbridge, we had no such expectation. Indeed, for all we knew, we might be moved along for giving a public exhibition without a license or some such. In the event, our rite was attended by those we knew would be there with us plus just a few passers-by intrigued by our curious dress and behaviour. One delightful family ended up spending much of the afternoon with us as well as participating in the ceremony and playing the World Drum.
With the World Drum at IronbridgeThe ceremony was quietly energising, blessed once more by glorious sunshine and blue skies as the river flowed peacefully on below us. The goddess Sabrina was honoured, the Speech for Mother Earth spoken once more. We spoke for peace at the foot of the memorial to war. We formed our circle on the bridge the symbolises both the birth of the Industrial Revolution and, nowadays, the Earth's ability to recover from even the worst effects of industrial processes if we allow and encourage her to do so.
With the World Drum at IronbridgeIt was a good day...
Blessings to all,
Greywolf /|\

Photos by Elaine Wildways. Video footage to follow soon /|\

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St Michael's tower on Glastonbury TorAfter having brought the World Drum to Avebury and Stonehenge, where should we go next? Well, the answer is obvious really, we must, of course, go to Glastonbury. Glastonbury has long had a reputation for myth and magic. It is said that Joseph of Arimathea came there during the lifetime of Jesus and again after his death. Some say he brought the child Jesus with him, others say he brought the Holy Grail and hid it there. Others say he planted a holy thorn tree when he pushed his staff into the ground and it took root. Some say that Merlin was imprisoned beneath the oddly shaped Tor that dominates the skyline for miles around. Some claim that King Arthur and his queen, Guinevere, were buried in the grounds of Glastonbury Abbey. Local legend has it that a dragon sleeps coiled within the Tor. The Tor is believed to be hollow, with two caverns within it. Some say that Merlin still resides frozen in one of them, while Arthur and his knights are reputed to sleep in the other, awaiting Britain's time of greatest need to arise and aid us once more.Whether you believe any of these tales, they certainly indicate that Glastonbury exercises a powerful pull on the imagination of the people of Britain.
When we first began to talk about taking the World Drum to Glastonbury, there was never any doubt in my mind that we would have to play it on top of the Tor, next to the ruined tower that is all that remains of the church of Saint Michael that used to stand there. Others suggested that, given the very cold spring we were experiencing, an indoor venue would be wise. To me, it had to be the Tor and no other place.
Britannia from a Romano-British coinWe began to consider ritual. Long time BDO supporter and Elder, Morgan, has been holding regular ceremonies in Glastonbury for many years and so we felt we could rely on her to advise and assist, which she was eager to do. I had a notion that we should call upon the Romano-British goddess, Britannia. Now known mainly through the patriotic dirge "Rule Britannia," she is actually a far less warlike and jingoistic figure than one might imagine. From her earliest representations on Roman coins, she has been represented as enthroned, seated, not in a warlike posture but in repose. She holds a large shield at her side, showing that she is protective of her land and people. In her right hand she holds a trident, symbolising that she is a daughter of Neptune, god of the sea that surrounds our islands. She seemed to me a daughter also of our Mother Earth and, therefore, a good local deity to invoke when asking for our people to reconnect with Mother Earth in respect and reverence.
To balance the feminine nature of Britannia, I began to think about also invoking the spirit of the people of our islands through the male figure of Albion (though some say Albion is hermaphrodite). Albion was adopted by the counter-culture of the 1960s and early 70s of which I was a part, and I was pleased to learn that at the first Glastonbury Fayre, the pyramid stage was positioned in relation to the Tor so as to act as a kind of spiritual dynamo to awaken the sleeping giant, Albion. This sacred alignment was suggested by John Michell, author of 'The View Over Atlantis.' I attended that first Glastonbury Fayre. Years later, in 1993, John Michell was among those present at the first gathering of the Gorsedd of Bards of Caer Abiri that I inaugurated at Avebury. Synchronicity...
The weather forecast for the day of the rite was not promising. It was supposed to be cloudy, dull and freezing cold. Nevertheless, it looked quite bright as we set off in the car in the morning and, by the time we reached Glastonbury, the sun had emerged and the skies clear. We climbed the steep slopes of the Tor in brilliant sunshine and arrived at the summit to be treated to spectacular views across the surrounding countryside under beautiful blue skies. The World Drum had come through for us again.
The World Drum circles with the sunWe found Morgan on top of the Tor and the accustomed conversation took place. "So, what are we going to do then?" "I don't know, what do you think?" "Well, I guess we could ..." So we chose where we were to conduct the rite and began to exchange ideas. I mentioned Britannia and Albion, Morgan mentioned the sleeping dragon. As we talked, a woman in blue standing close to us suddenly exploded with a cry of "You cannot block Brigit!" She said it so loudly that those of us standing near jumped sideways. I said, "Pardon me?" and she repeated, equally loudly, "You cannot block Brigit!" I ventured to suggest that no one had proposed that we should block Brigit. She proceeded to lecture us on how Brigit is the goddess of these lands, the goddess of the Brigantes. Well, technically speaking the Brigantes were a tribe of Northern Britain, a very long way from Glastonbury, but I had no desire to argue on such a lovely day, so suggested that Brigit should be included in our rite.
Sunshine drummers on the TorWhen we formed our circle, we were still bathed in beautiful sunshine and over a hundred people joined us, many with their own drums. We spoke of the World Drum and its message, reading Morten Wolf Storeide's 'Speech for Mother Earth' once again. We invoked the goddess Britannia, spirit of the land, Albion, spirit of the people, all the people, whatever their creed or colour, our new friend spoke beautifully for Brigit and Morgan for the dragon of the Tor. then we began to Drum. As at Avebury, Lorraine carried the Drum around the circle so that everyone got the chance to play it. The many other drummers joined their drums to the heartbeat of Mother Earth. There were a lot of very good drummers on that holy hill and we raised some really good energy. Walking the circle with my own drum and looking around at the faces, you could see them lighting up with joy and the magic of the place and the rite. It was beautiful and inspiring. You could feel the spirits rising, and the drums continued...
The rite ended with an outbreak of spontaneous cheering. It was a truly joyous event.
With the World Drum on Glastonbury TorAfter the ceremonyAfter the rite, there were many conversations with folk wanting to know more about the World Drum Project, about who we were and what we were doing. Children played the Drum, people took photographs. People introduced themselves. Two women had come all the way from America to be with us. As things began to wind down, I heard drumming coming from inside St. Michael's tower. I was about to put the World Drum back in its case when it called to me and told me that it wanted to be played in the tower. I picked it up and walked into the tower. There was Ginny, leading the drums with her djembe, while my friend Steve was in one corner of the tower and a tall guy called, I think, Ben, was in the opposite corner. The Drum and I took up our place in the one corner that didn't yet have a drummer and joined our voices. Between us drummers were the dancers, including a group of Spanish women who went wild. It was beautiful!
Drumming and dancing in St Michael's towerI have to say, after the rite itself and then the amazing drumming inside the tower, I pretty much flew down off the Tor. My only concern: how are we going to top that?
In conversation with Morgan after the rite, I learned that the theme of the Goddess Conference in Glastonbury in 2012 had been the reclamation of Britannia as a Pagan goddess. Synchronicity...
I love this life, the life of the Druid is the life of the land as I once said in song ...
And so to the next venue ...

PS. Photos by Elaine Wildways. Sound and video to be added soon ... /|\

This was the one we had to keep quiet about ... March 30th, 2013, 5.15pm, the evening we took the World Drum to Stonehenge. Five years ago, the last time we hosted the World Drum, I thought it would be good to take it to the Henge. In the 90s and early 00s, Emma Restall Orr and I had built up a good rapport with Clews Everard, then running Stonehenge for English Heritage. Clews appreciated the approach we brought to negotiations about ritual access to the Henge, which was simply to discuss politely and without anger, prejudice or bitterness. However, by the time the World Drum reached us in 2008, I had not attended the regular Stonehenge access meetings for 7 years and Clews and everyone else we knew at English Heritage, Stonehenge had left. When I telephoned the EH office, I was rudely stone-walled by a man who refused to give his name and lied to me about access, not realising that I had been involved in discussions on the subject for several years and probably knew more about it than he did.So, this time, rather than go through the frustrating process with EH again, I decided to contact the folks who now look after the Gorsedd of Bards of Cor Gawr, the group Emma and I founded nearly 20 years ago to enable peaceful access to the stones for focused ritual. Christine Cleer came up trumps. Having an ongoing relationship with the folks at EH Stonehenge, she was able to arrange a one hour access for us.
Christine Cleere with the World Drum at StonehengeOf course, things are seldom quite as simple as they appear, and this was no exception. When Christine arrived at the office next to the Henge, she was told they had no record of her access request. However, Christine, having encountered similar problems before, had brought with her a copy of the e-mail from EH confirming the access arrangements. We were OK.
We were limited to 12 people, hence not being able to announce the event beforehand ... we didn't want to disappoint all the people who I'm sure would have loved to share the access with us. Ah well, we were pleased to be there at all.
Another slight oddity was that these special accesses to the stones are normally conducted out of public visiting hours. We, however, were ushered through while sight-seers were still strolling the perimieter of the henge on the concrete path that runs around past of the outside of the sarsen circles. I'd never attempted a ceremony surrounded by such a large group of onlookers who were clearly interested but were not allowed to join us. Very strange.
The reason why EH limited us to 12 is that the grass had been trampled to mud by a larger group who had ritual access at the Spring Equinox. EH are a little absessive about their grass. Inside the stone circles the ground is protected by plastic matting through which the grass grows. When I was a kid, the grass between the stones was a little word by generations of visitors, there was only one low fence and no one paid to get in. The stones didn't seem to mind... Unfortunately these days the henge has become a major generator of funds for EH as one of their greatest tourist attractions. Not quite what local resident, Sir Cecil Chubb intended when he gave it to the nation in 1918 with the proviso that it be kept open for public access.
The World Drum being played before one of the trilithon arches at StonehengeThe henge is a strange place, surrounded by much contention. Various Druid groups and others argue over access to it, it sits on Salisbury Plain surrounded by busy main roads and extensive army camps and firing ranges. In its heyday, 4,500 years ago, it was a ritual focus for people from as far afield as the Orkneys and Switzerland, this at a time when almost every other henge and sacred structure in Britain was falling into disuse and decay. The implication is that Stonehenge was run by a powerful elite who ruled the whole of Britain. The very structure of the place speaks of this elite dominance. Unlike Avebury, 20-odd miles to the North, with its openness and massive scale, the centre of Stonehenge is tightly enclosed between four circles of stones, well, OK, two horseshoes and two full circles. Some of the gaps between stones are very narrow and the actual space in the centre of the henge is small. Seeing into the centre from outside the stones would have been very difficult. This was designed to be a hidden sanctum where the priests of the ruling elite conducted rites away from the prying eyes of the populus who gathered outside to await the words of wisdom brought out from within. All this makes it a little strange that it should have been so firmly adopted as a favoured destination for gatherings by the young, the anarchic and the dispossessed, those as far from the ruling elite as one can get. But maybe that's appropriate? Maybe it's a redressing of an ancient balance?
Anyway, the point is, it makes for a very strange place to do ritual. You might wonder then, why did we want to bring the World Drum here? Well, partly for the very reasons the place is strange. The fact that it did once network across the whole of Britain and across deep into Europe means that there is still the possibility to send out messages from it through the network of Earth energies that may still touch the spirits of folk in the Outer Hebrides or Switzerland. Then there is the notion of taking the World Drum, this amazing creation of peace and reverence for our Mother Earth, into the heart of a place with such a troubled past and present. To sound the Drum there, to radiate peace within those ancient stones, felt right. Plus it would be churlish not to mention our other motive, which was simply to get photographs of the World Drum being played in this hugely recognisable temple, surely one of the most recognisable buildings on the face of the planet. After all, part of the World Drum vow is that we will do all we can to promote the presence of the World Drum and its message of reverence for our Mother Earth and peace between all her peoples. We hope that our photographs, and video footage, of the Drum sounding out at this iconic location will help to promote the Drum, the reverence and the peace.
So may it be! And to help us promote the World Drum and its message, please feel free to share this blog and any of the images here.
Blessings to all and thanks to my son, Mike, and Elaine Wildways for the photos,
Greywolf /|\