Midnight Stones

My cover for the SONG (Spirit Of the Northern Gathering) newsletter back in the mists of time, reworked in black biro on cheap crappy copy paper.

  

The Magickal process and Creativity.

In Druidry we place a lot of emphasis on the creative arts and being creative; especially the “traditional arts” of poetry and music. Throughout the centuries the skills of the ‘Bard’ as poet, storyteller and musician have been the mainstay of communal gatherings and entertainment. In many ways they still are, although their scope and media, like their audiences, has altered drastically. We also have a high appreciation the ‘visual arts’ of painting, drawing, and sculpture. All of these art forms are socially important. They bring us together as a society, record our histories and reflect our hopes and our dreams. They are part of the fabric of who we, as a people, are. It is of no wonder then that they, and their artists, are held in such high social esteem. However, these ‘traditional arts’ are not the only ways to be creative or to think about creativity.

Over recent decades there have been many studies about creativity and many theories concerning the creative process (Honing Theory, The Explicit–Implicit Interaction theory, Creative cognition theory etc.). Some more appealing and “valid” than others. Esoterically, we see the creative process as a magickal act during which the practitioner conceives an ‘idea’, then uses the focus of their ‘will’ to make that ‘idea’ (or a representation thereof) manifest in the physical world. For example you conceive the idea to write a poem about a tree, you spend time applying your will to organise the words and imagery you wish to convey into the form of a poem, then you manifest the poem into the physical world by writing or typing it out. Conception of Idea-focused application of will- manifest result.

In Qabalah the creative process is delineated into four parts that correspond to the four “Qabalistic worlds” Assiah, Yetzirah, Briah and Atziluth, which represent the Tetragrammaton YHVH. In this model the magickal act of creation (Idea-Will-Manifestation) has an extra preliminary dimension added to it. In order to be able to intellectually conceive an idea it first must exist in the ‘Divine’. The origin of all creation is Atziluth, the realm of divine emanations and archetypes. It is where everything exists in its perfect form conceived by the Union of God. The second stage, Briah, is the realm of creation. For our purposes Briah can be viewed as the point of inspiration, where we conceive a reflection from the divine emanating out of Atziluth. Yetzirah, the third stage, is the realm of formation. This is a realm of thought where the inspiration from Briah is given shape and form before being physically manifest into Assiah, the material plane.

In Druidry the process of creating is linked to the concept of Awen, which can be roughly translated to mean “flowing inspiration”. In the imagery of ‘Awen’ we are following a similar idea to the Qabalists but instead of breaking it down into separate steps we are trying to encapsulate the whole dynamic process. Awen follows the flow of the creative force. We ‘call the Awen’ down into ourselves from the ether, or from the divine source; the Awen flows through us driving and inspiring us to engage our creative will, which gives shape and form to the Awen as we release it into the physical world. Like the Qabalists we are drawing ‘inspiration’ from the “divine”, engaging our ‘will’ to give it shape and form as we ‘manifest’ it into the world. Each time we chant the Awen we are singing a hymn to the creative process and opening ourselves up to be conduits of the creative act.

Engaging with the creative process can have beneficial effects on many levels. Contacting and using the creative part of ourselves can teach us a lot about ourselves and how we assimilate and interact with the worlds about us. On a magickal level, being creative can help us be more receptive to the ‘divine’ or higher States and in doing so build a stronger more accessible link to that state. It helps us to exercise, focus and discipline our ‘magickal will’ . It helps us to explore and understand our own subconscious/inner symbolic language; and to experience the release of manifesting our magickal intent out into the world (A lot of magick is ineffectual because the practitioner never truly “releases” the intent to be independently active in the world. When you a throw a stone into a lake, you can choose the trajectory, the speed and the timing of the throw. but only once it has been fully released on its path can it fulfil its purpose and create the ripples in the water). If we are skilled, inspired or lucky enough something we create may alter or effect someone else’s life.

However, some people are naturally more ‘artistically skilled’ than others. This doesn’t mean that those of us who are less ‘artistic’ shouldn’t engage in some form of creative process. Creativity can come in many forms and many of the accepted definitions centre around the concept of “the production of something original and worthwhile” (Robert Sternnerg), or “production of novel, useful products” (Mumford). Wikipedia defines creativity as “.. a phenomenon whereby something new and somehow valuable is formed”. Whilst these definitions are problematic with their need to further define concepts like “worthwhile” and “valuable”, they do highlight “production of something new” as the main aspect of creativity. If we accept this aspect as a definition we are no longer limited to the popular conception that creativity has to be the “traditional arts”, instead it opens up whole new worlds of possibilities of what we can class as creative. Any productive “handicraft”, skill or idea can be counted as creative and therefore part of a magickal process (For instance, as far as I’m concerned, anyone who can take raw ingredients and make a half decent meal, bake a cake or produce a loaf bread is a creative genius producing something both “worthwhile” and “valuable”!) It could be argued that daydreaming imaginatively (counterfactual thinking) can be counted as a creative act that can produce subtle, but tangible, manifestations on the physical plane.

Ultimately, however, you don’t have to be “good” or “artistically skilled” at something to be creative. It is the act, the impulse, the feeling of creating that really matters. We can’t all be Yeats, Mozart or Rembrandt, but we can engage in the creative process. And magickally speaking, the inherent artistic or aesthetic “value” of the created product is of little concern. Instead it is the experience of the creative process that is truly important.

Suffering in religion

Dumbledore (a blogger on our ‘Grove ‘ blog – Link here-) posed a question on our face book group. It concerned the theme of suffering in religion. He noted how the Jewish, Christian and Buddhist traditions all, to a degree, focus on suffering, and asked why we, as pagans, didn’t? And was suffering, or the avoidance of, “healthy” in religion? Below is my response….

“Ok, so this is a little longer than I intended, and I hope it makes sense….

I think “healthier” is probably very subjective to the tradition/religion/ idiom you are engaged in. I guess you’ve got to look at the core concepts of the religions in question, and at the time in history these concepts were decided on. 

Judaism, at its heart, is a religion based on principles of superiority and revenge. The Jews largely conceived their hardline central doctrine whilst enslaved by the Babylonians. Their religion taught that they were the chosen people beloved by God (yehweh) and that their god would save them and destroy, or damn to everlasting torment, their enemies and other nonbelievers. However, to prove that they are part of the chosen they must live their lives under strict observations and laws. Whilst in slavery they were powerless in this world, but if they lived strictly by their codes, they believed that after death they would be “saved” and their oppressors punished. 

This started a trend of thought that was whole heartedly adopted into early Christianity. If you lived by strict doctrines you would be worthy to become one of the elect and ascend into heaven after death, whilst the lesser people (everyone else) would be punished. Into this mix you can add the idea of sin and the notion that all mankind is damned by inheriting the original sin of Adam and Eve, therefore you have to work and suffer even harder to atone and prove your devotion to your god so you can be saved. All together it sets up a nice theory of redemption (and revenge) through suffering. Jesus then becomes the ultimate poster boy for the persecuted and advocates suffering as the path to holiness. Asceticism and monasticism can become the way to prove devotion to god. In this peculiar doctrine “suffering” is “healthy” because it brings you closer to god. 

Judaism and later Christianity came about in turbulent times. In both cases  large ‘civilised’ empires were in decline, the social order was collapsing, wars were common; life was short and uncertain. As chaos and change reared it’s head, the optimism of the civilised world dropped and pessimism took over. Religions focused on an afterlife and salvation became desirable. 

In classical (and to a degree neo-paganism) the Gods are far less judgemental, patriarchal and demanding. In paganism the gods are more immediate and approachable (personable?). You could petition their favour through correct rites and appropriate sacrifices, in essence you could “buy” their help. In most cases you did not have to devote yourself to a god nor follow a lifestyle to make yourself worthy of their favour, there were no scriptures or authoritative dogmas to follow, and there was no all powerful social hierarchy to judge you.  In this idiom “suffering” would seem “unhealthy” and would be addressed by seeking the intervention of the Gods.

Paganism is relatively optimistic,  concerns were generally based in the  everyday here and now material world, life was about living,  and the gods were petitioned to help you have a better life. Judaism and Christianity on the other hand are pessimistic and focus on the next life which will be better than this life that you have to renounce and suffer your way through to be worthy of the next. Buddhism, what little I know of it, is also pessimistic as it seeks to transcend this material world and focuses on next state/oblivion.

As a neo-pagan I believe that the world is a wonderful, spiritual and sacred place. I am spiritually optimistic and generally glad to be alive. Im free to self determine (to a degree) and I’m self empowered (to a dgree) and not subject to the whim of a controlling “church/organised religion”, patriarchal god or social hierarchy. I don’t believe in sin or a need to appease a judgemental god to achieve favour in the next life. I see this life as a pleasurable place that we should all enjoy, therefore I see “suffering” as unhealthy and undesirable”

My spiritual path (pt.3)

The next question was:
“Are there any points of tension in your hybrid path?”

My response:

“At first I was really worried that there would be tensions and conflicts, and I was desperate to keep it all compartmentalised. But after a while I started to notice similarities creeping in. Eventually I worked out that most of the techniques were essentially the same in intent if not symbolically. Then I learnt that OBOD Druidry and Crowley were based on the Golden Dawn system and a lot of it clicked into place. The basic techniques or technologies are the same across the board, they just utilise different symbolic and cultural settings. The aims of the systems are also the same – spiritual growth and transformation.

I think that if I was strictly wedded to one pantheon of gods or set of symbols there may have arisen some conflicts. I would also think I’d have had more problems if OBOD Druidry was more dogmatic, or if I was strictly following Crowley’s methodology instead of ‘cherry picking’ the parts I want. I do struggle with the overt Christian symbolism of the Golden Dawn, mainly because I’m just not familiar with the bible.”

My spiritual path (pt.2)

The first question was:
“what attracted me to ceremonial magick and Thelema?”:

My response:

“I guess it was a culmination of many seemingly disparate influences and awarenesses that had been building in me for a while. In a Lovecraftian way I wanted to know more, to step beyond what mainstream society was trying to sell me, to scratch the surface…

As I said, ‘religion’ was never really part of my life, but I did know that Christianity as I saw it at the time (now I’d recognise it as the hypocrisy of the ‘church’) just wasn’t for me, it was too keen on control and conformity. So, I wasn’t looking for alternative religions or spirituality, but through countless little references
Aleister Crowley’s name just kept coming up. I was intrigued on who he was (I’d already started to look into Tarot at this point) and “Book 4: magick..” seemed to be his most famous book, so that’s were I started –
I got hold of a copy when I was 15(?) didn’t really understand a word of it, but I got enough to realise it was important. Something (probably my HGA) just kept kicking me inside the head saying ” pay attention, this is important!”. In an effort to decipher book4 I started to read into the occult and the more into it the more intrigued I got. … And that’s how my journey started – as a way to ‘unpack’ and understand Crowley and ‘book4: magick’.

Overall, it just seemed to ‘speak’ to me and I liked the symbolism and the ritual, I liked the idea behind it, I liked the complexity and interconnectedness, I liked the aesthetic, I liked the sense of taking responsibility for your own spiritual life and that you were ‘allowed’ or encouraged to be a unique individual, I liked the researching into history and philosophy that it started me on, I liked the ‘feel’ of it I guess.

I wasn’t looking for a ‘religion’, but as I started reading and understanding I guess I became aware of a ‘spiritual’ and ‘intellectual need’ that was unfulfilled in me, magick and occultism filled some of that need (Druidry helped fill the rest) and gave me something to focus on.”

My spiritual path (pt.1)

On our Grove Facebook group we are currently each sharing the history of our spiritual path and answering questions posed by the other grove members. These may be shared later in our grove blog: corieltauvigrove.wordpress.com

In this part I’ll copy my original post, in the next part (or two) I’ll post up my responses to various questions.

“Religion was never part of my childhood. If push came shove my parents would probably claim to be Christian, but that’s about as far as it would go. I was never christened, and apart from 1 wedding, 2 funerals and the inevitable junior school harvest festival, I’ve never been to church. The closest I ever got to religion whilst growing up was watching Sparticus or a similar technicolor biblical epic at Easter whilst scoffing chocolate. I didn’t grow up with religion, I’ve never missed it and I’ve never felt the pain of loosing ones faith or the need to replace it with another. I don’t consider Druidry as a religious faith, instead I see it as a living spiritual philosophy.

When I was a younger I was never a “mainstream” kid, I was into sci-Fi and fantasy films, books and TV. I got into rock and heavy metal music, RPG’s, weird and horror fiction … As I’m sure tha Daily Mail and certain sections of the Church would be keen to point out, my drift towards the occult was inevitable.

My first foray into the occult was with tarot cards and runes. Then I went straight onto Aleister Crowley’s “Magick in Theory and Practice”. Thus started my complex relationship with the great beast himself.

In an effort to understand Crowley, I looked into the Hermetic Order of the Golden Dawn, other occult groups, and societies; and other religions. I read a lot on occult theory and various pagan and magickal paths.

I joined OBOD in 1991; Spent 5 years as a bard, 4 as an Ovate and 5 in the Druid grade; graduating in 2005. I was approached about becoming a tutor a few years before I graduated. I passed the tutor selection process, and took up my role as a Bardic tutor in March 2006. I am currently a Bardic, Ovate and (occasionally) a Tutor tutor. I am also admin on the shadowy and secret “OBOD mentors” FB group.

Although dedicated to Druidry as my main path, I still keep up with some Crowley/GD/ceremonial reading and research. To me the two paths are interlinked. I am an initiate of the GD tradition and student of Thelema. (Technically, I’m also a Druid companion in AODA and an initiate of the Druidical Order of the Golden Dawn). I currently blend GD / A.’.A.’. and Druidry into my spiritual magickal practice.

Core beliefs: I believe there is a primal creative force that permeates everything in the universe. This force can be referred to as the “divine”. We are part of that force, as is everything else. All is connected. The totality of the divine force is beyond our current comprehension. I believe that through various magickal, meditational, devotional and other consciousness altering and focusing techniques we can raise our awareness of this divine presence/element both within ourselves and in the wider consensus reality (I follow a microcosm/macrocosm model). Through application of our willed (focused) awareness, we can affect change within ourselves and the wider consensus reality. We strive towards greater awareness/comprehension and connection/unity with the divine so far as we can comprehend it (the Great Work). In Druidry we conceptualise this process as the circles of Abred with Gwynfyd as the divine; in Thelema it is the union of Hadit and Nuit; in Qabalah it is the journey of the great return to Kether on the tree of life.”

A fragment concerning dreams

“…Dreams, as I’m sure you are aware, can be a very powerful ‘tool’. In the dream state ‘we’ are connecting directly with our subconscious, or, I guess, more correctly our subconscious takes the opportunity to bypass the ‘rational/controlling’ part of minds and leaves (mostly) important images in our conscious memory. It is a similar process to that which we use in guided visualisation meditations (sacred grove etc), except in a visualisation meditation we retain a greater ability for focus and control. In dream state that control is missing, but it gives the subconscious a freer rein on how to get its message across – which obviously can result in some confusion. Also in a meditation we are normally looking for ‘something’, whereas in dream state we are opening up to allow the subconscious the space to bring forward that which it thinks is important that we may, or may not, have been aware of. The ideal state of course would be ‘lucid dreaming’ which is a skill that apparently can be learnt.

I would say that dreamwork and interpretation is a very valid path and fits in nicely with the themes of the Ovate grade- thinking a head it may make for an interesting Ovate project. Keeping a dream journal has a long history in occult practice, and dream journeying is an essential part of the Shamanic path. I’m sure there are many good books and other resources available.

All that been said, however, I’m rubbish at dreaming and dream interpretation!! I guess that if we follow Jung, there are many universal symbols from the shared subconscious that will be presented in dreams, but my feeling are that you are probably best to ‘unpack’ your dreams yourself, then meditate on the images to create your own interpretation and ‘symbolic dream language’ – after all it’s your own subconscious mind you are communicating with, so you should already have the key to the symbolic code buried somewhere…”

Meaning of the Corieltauvi Grove symbol

Symbolism of the Seal

As part of the reinvigoration of the grove in 2006, it was decided that we would re-imagine the grove logo or banner, up to this point we had a “seedgroup” banner although it was little used and not hugely relevant to the grove. After brainstorming ideas the then grove membership came up with a rough design plan which was later interpreted and created by the Herald into this basic official banner/ logo:

De-constructing the logo, we can look at it as several parts.

First is the intertwined circle and square that forms the outer part of the logo. The intertwined circle/square is the OBOD order symbol of the Bardic grade.

The square represents the material universe, the nature and solidity of the four elements, delineates the four cardinal points, echoes the equilateral four armed cross which is the symbol of Earth, Malkuth on the tree of life, practicality, solidity and foundation.

The circle represents the spiritual, ethereal aspects of the universe, Kether on the tree, oneness, wholeness, that which cannot be confined to the mundane, Magick, spirit, divinity, the subtle energies.

The two shapes circle and square are intertwined to represent spirituality and practicality working together, supporting and inseparable to each other. Kether in Malkuth, Malkuth in Kether, The reality that is the spiritual nature of the practical world and our aspiration to be constantly aware of their co-dependence and inseparability.

The next part of the logo is the inner “knot-work” panel. The panel is adapted from a Pictish design found on a stone in Rosemarkie in Ross-shire. The intertwined knot-work quarters of the design represents the complex, yet supporting, nature of the elements, their aspect, movement and nature; their co-operation, interplay and balancing aspects of each other. If any part of the design is removed the symmetry is altered and fails. The creative forces working in harmony. The knot-work can also be seen to represent the members of the grove, their energies and relationships balancing, supporting and complimenting each other in an exquisite design.

In the central section of the logo are the Ogham sigils/characters of Oak and Ash. In the ancient forests that covered this region of the country, Oak and Ash were the dominant species. Although farming, building, urban and industrial development have radically altered our forest landscape the Oak and Ash still endure as the most dominant species. They are tied into the very fabric of the landscape around us, joined into the very energy and character of our tribal land.

The Oak Fidha “Duir” means “Endurance” and has associations of steadfastness, durability and strength. The Oak was considered one, if not the, most important trees in Celtic myth, shrouded with ideas of magic and sovereignty, often seen as a “door way” to the gods and the otherworlds (the word door originates from the Gaelic and Sanskrit word Duir”). Because of their long life, Oak trees were often the centre pieces of village gatherings and celebration as a symbol of continuity and tradition.

The Ash Fidha “Nuinn” means “rebirth and peace”. It is seen as a tree of transformation, a bridge between the worlds, spanning the micro/macrocosm, the realms of existence, this world and the other otherworld etc. the Ash is both masculine and feminine in energy giving feelings of balance, but also fluidity, a tree of assimilation, change and understanding.

Both the Oak and the Ash were sacred to the Celts and were considered trees of the summer. In Druidic tree lore the oak can be considered as the entrance of the sacred grove, Ash as the exit.

The “three part” aspect of the grove symbol also resonates the three circle of Abred (circles of existence). In the circles of existence (manifestation) the soul travels from the centre (Annwn) into the circle of Abred, outwards to Gwynfdd, then onto the limitless realm of Ceugant. If we look at the grove symbol we can say that the centre is the land, tradition and transformation (the Ogham); we travel out wards through the elements and with the support of the grove members (the knot-work); into a state of spiritual awareness and consciousness (circle and square) then out wards into the unknown….

To vote, or not to vote? That is the question…

The following ruminations on voting are taken from a Facebook conversation I started about UKIP wanting to repeal The Human Rights act 1998.

The post quickly moved onto an exchange between myself and Leithin Cluan, a friend, grove sister and fellow blogger. After agreeing that both UKIP and the Tories suck, Leithin said she would be voting for the Green Party in the general election. I, rather glibly, quoted Canadian author and social activist Naomi Klein,

“Real change will not be delivered within the machinery of the current system….[it’s against their interests]”

Leithin retorted with,

“There is that, but there is also the ‘keeping people alive while we wait for the revolution’ thing…”

Which made me consider and clarify my thoughts on the effectiveness of voting for the Green Party. On the whole I like the ‘Greens’, and if push comes to shove they are the party I’m most likely to vote for. However, I don’t actually believe that they will ever be popular/big enough to get into power (or into the top three possibilities). Which means they will remain a ‘protest’ or ‘pressure’ vote. The trouble with that, is that for it to be effective the people you are protesting to, or trying to pressurise, need to actually care for your opinions…. I answered Leithin with:

“Unfortunately voting green will have no actual effect on that. At best voting green will send a message about how important environmental issues are to some of us. The trouble is, the main parties already know this and will either pay passing lip service to green issues (and then just carry on business as usual) or, more likely, just ignore it altogether as it will inconvenience their corporate paymasters and vested interests.”

Leithin reluctantly agreed, but still insisted that voting is important. But I’m not sure anymore, especially if you take into account Naomi Klein’s argument quoted earlier. So I tried to clarify my position, or lack thereof, with,

“The voting/not voting question, for me personally, is a catch 22 situation.

If I vote green (as I want to) my vote will have no effect on the overall out come of the election or future policies of the main parties (see the post above). If I vote for one of the main parties I may (maybe) have a vague effect on the outcome, however, as there is, to my mind, no real recognisable difference in the main parties (blue conservative, red conservative or the yellow party that’ll hitch it’s wagon to which ever will offer them a sniff of power and be conservative) there is no real point in me trying to influence who gets into power (if you’re offered three turds and you have to pick one you’re still going to end up with a turd). None of them represents my wishes nor do they have any desire to. If I vote I’ll have no actual effect, or at least important effect, on the political outcome and certainly no effect that would actually represent my views or best interests. Also, by voting I validate and perpetuate the delusion that we are operating in a democracy, which we are not. Instead we are placated by being allowed to partake in a pallid imitation of true democracy whilst at the same time being kept away from any true power or control over the systems of power.

However, if I don’t vote I, again, have no actual effect over the political outcome, pallid imitation of democracy or not. I am, in effect still voiceless and powerless within the confines of the overarching political system. And whilst I would like to believe (but can’t) that a “no voting” stance would be regarded as a protest against the prevailing political parties and political climate, I actually recognise that it will be viewed as total voter apathy which will signal to the parties, the career politicians and the establishment, not that they need to change, but that they can get away with more because the public aren’t really interested in monitoring them or calling them to account.

Voting or not voting are both essentially ineffectual . You are effectively powerless and unrepresented either way. Both lead to disillusionment and ultimately disenfranchisement from power and democratic representation within the current system.”

Unfortunately, by this point in the conversation I think Leithin had got bored, given up, wandered off and left me to it…..