Tag Archives: druid

To know that life is a constant cycle of life, death, and rebirth

snowdrop2As the dark, cold morning gives way to light,
And the world shows its face dazzling in her nakedness,
So the twigs and leaf-bare branches,
Bow to the passing dance
Of old Jack Frost.

His crystal breath on the earth,
And the corners of houses weep icicles of joy.
But where is the Sun’s warmth?
Where is life?

A small flower, delicate and pure-white,
Looks to the earth,
As if talking to the waiting green,
“Not yet,” it seems to whisper.
“When I fall, then you can return.”

And she nods her head, 
as the Lady passes by,
Leaving more flowers in Her wake.

ImbolcDamh the Bard

As I look at the natural world I see many signs of life, death and rebirth. The cycles of days and nights, the waxing and waning of the moon and sun, the turning of the seasons in the Wheel of the Year. As each year passes so I’ve found that my life also reflects these cycles.

Within the darkness comes the opportunity to return to the earth, to gestate, gather my thoughts, re-assess, regroup. Then as this time of year arrives, Imbolc, with it’s gentle significator the snowdrop, my thoughts and actions begin to turn towards a more outward expression. A gentle rebirth.

In life people go through many rebirths. From large, life-changing ones like the end of a relationship or moving house, to small but potentially equally powerful moments such as waking to greet each new day. Single moments or thoughts can bring a rebirth – they don’t always have to be dramatic and grand – the new day brings with it new potential, a fresh start.

I have found that bringing my life into a more microcosmic experience, making sure I look at each passing moment as a new opportunity, brings with it a glorious sense of hope. It helps to makes sure that I am, as much as possible, connected with the now, and living in this moment. Maybe rebirth is the wrong word for these moments. Maybe renewal is more apt. A sense of rejuvenation. A lust for what is happening right now, and for what might come next, moment to moment.

Imbolc brings with it the opportunity of a more dramatic rebirth. From Samhain through the Winter Solstice I have been going through this gestation process – re-assessing, and gathering my thoughts. Imbolc is the time when the seed I have nurtured will send forth its tentative new shoots – reaching out for the light, and down into the earth for stability.

Since I found this path and began to actively work with the Wheel of the Year this has been the pattern of my life. In tune with the seasons, and the coming of each new day. To me this is one of the most important gifts of the Pagan path.

To know that life is a constant cycle of life, death, and rebirth.

Ritual offerings – Sacred or debris?

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Clooties on a Beech tree – Avebury Stone Circle

A couple of months ago we took a group of visiting friends to Waylands Smithy, a neolithic long barrow on the ancient track known as The Ridgeway. By the time we arrived the Sun had set and we walked the ancient track in darkness. Walking through the gate to the barrow it appeared as a black shape in the night. Ancient, sacred, and doubtlessly haunted by countless ancestral spirits.

We walked to the doorway, crouched down and crawled inside the tomb. Utter darkness. Silence. I switched on my torch and the inside of the tomb was washed with light, illuminating, and casting deeper shadows inside. In the centre of the far end of the tomb an arrow had been pushed into the earth. It stood as if fired from far above. There were flowers.

For this week’s look at an area of my spiritual life I’m going to take a look at what is often an controversial topic.

Ritual offerings.

I remember being at a Pagan conference some years ago where one of the custodians of a stone circle was giving a talk about this topic. They had brought a carrier bag full of what they called ‘debris’ they had collected from the stones. They un-ceremonially upended the bag and tipped out the contents which they then picked through, holding bits and pieces up to show the audience. They said, “There are crystals, ribbons, lots of aluminium nightlight remains, and pieces of paper, including bad poetry for dead boyfriends”. They picked up a little scroll of paper, then tossed it back onto the pile of ‘debris’. I was shocked. Shocked that people would leave offerings that might damage the stones like candles, but also shocked at the callous way some of these offerings had been not only dismissed, but treated so horribly by a person who, as a Pagan, seemed to have no respect for the emotion behind some of the offerings. They might not have been sacred to her but to the partner of that dead boyfriend, who had written their heartfelt words onto a scroll, then left it in what they obviously considered a sacred place (as a Christian might light a candle in a Church) it was important. Some of this ‘debris’ was devotional.

All around me people were voicing their disgust at the litter on the table before the speaker. And although I could see their point, I also couldn’t help but think that we were all missing something incredibly important. I looked at Cerri and it was obvious that she was feeling it too. She put her hand up to ask a question. The voices died down and she said, “Why don’t you create a little space, just a table or some kind of altar, where people could leave their offerings? If people are going to leave votive offerings, isn’t that better than having nowhere, which is why they are left by the stones?”

A good and valid question I thought. But all around me, giggling. I was now even more confused. “Look,” the speaker said, ” we don’t even know what the stones were used for. They might just be a goat pen for all we know! If we put an offering table we would be suggesting that this was a ritual site, and we don’t know that is was. No we won’t do that.”

We don’t know that it was… Well, maybe that’s true. But it is now.

I went back to the stone circle this past Summer. Sat quietly among the stones. That potential ‘goat pen’. Looking around I saw a few flowers left here and there. The aluminium remains of a nightlight sat at the bottom of one of the stones. People still coming here and leaving their offerings. If they had placed a small table I think people might have used it. Instead the ‘debris’ still comes.

When I stepped into Waylands Smithy and saw the arrow and flowers I was torn, as I always am when finding ritual offerings of this kind. Part of me thinks why did you feel the need to leave something like this? Why not leave only footprints? Then another part of me thinks the Pagan religion is alive, this tomb built by our ancestors is still being used 5000 years on. It’s a hard one for me to balance. People have been leaving offerings at sacred sites since the dawn of humanity. It seems to be something in our very DNA. This is nothing new, in fact we can honestly say that this is an unbroken tradition.

When Cerri and I went to Cyprus some years back we went to Aphrodite’s Rock. We parked our car and walked under a roadway, through a dark passage and then out into the light of the beach, and the first thing we saw was a tree literally dripping with white ribbons. Did I look in disgust at this ‘debris’? No, I had tears in my eyes. Here on this beach the Great Goddess Aphrodite was still being remembered and honoured by hundreds of visitors. She was alive, and if this tree hadn’t been hung with clooties I would never have known that. Instead I would have seen a beach and a rock connected with an ancient myth on an island that had seemingly forgotten its ancient heritage. Seeing this tree made me happy.

I have a current bugbear and that is when authors write ‘the Druid did this, the Pagans did that’ etc etc. I am very much looking forward to the time when we give our paths the credence and acceptance to be able to say ‘the Druids do this, the Pagans do that’. Here this tree was a living example of a spiritual practice. As are the ribbons and clooties on other trees in Britian.

Last year I went to the Rocky Valley Labyrinths, and Avebury, and at both I found offering trees. There were ribbons, hair, but also plastic bags, and other non-biodegrable stuff tied to the trees. Now that I don’t get. If people are going to leave offerings make them natural offerings. Small things that we know will rot away into nothing over the course of time. Not Tesco carrier bags..!

There is no easy answer to this debate. Simply saying “don’t leave stuff” is not going to change anything. There is a drive to leave physical objects in honour of our Gods and the Spirits of Place. This ‘debris’ can even add great atmosphere to a site – if you’ve ever been to St Nectan’s Glen waterfall in Cornwall you will know what I mean. But if we are going to leave offerings let’s make sure they are honourable offerings. Not nightlights, candles or plastic, but a simple hair (my personal favourite), small cotton or silk ribbon, flowers, honey, or milk. Something that is a part of you, something that has taken some thought, not only for the object of the offering, but with respect to the place and people who will visit the site after you.

Ceridwen and Taliesin – The Making of Antlered Crown and Standing Stone

Okay, one day late with the music post…

Here’s the final ‘making of’ video that tells of the inspiration behind the song Ceridwen and Taliesin, from my new album Antlered Crown and Standing Stone.

I hope you’ve enjoyed these little videos as much as I’ve nejoyed putting them together.

Previous videos in the series:

Antlered Crown and Standing Stone

Under a Beltane Sun

Brighid

Branwen’s Lament

Sons and Daughters (of Robin Hood)

The Dreaming

The January Man

Silent Moon

Down in the Garden

The Druid Robe

avardruidThe blog has had a facelift, and a new year has begun, and with it I’ll be updating the blog in a different way. On Mondays I’ll be writing about an aspect of my spiritual life, and on Friday the post will be of a musical/creative theme. There’ll be other posts in between but this is the pattern I’m going to aim at. So, it’s Monday – time to explore a part of my spiritual life.

Let’s start with robes.

I’ll start by saying I have a very positive relationship with ritual dress. I have a modern Druid robe. It’s off-white with Rowan embroidery to show my spiritual association with this tree. To me it is a sacred garment that I only ever wear during ritual, or some other spiritual or religious activity. I’ve been asked to wear it for media photographs but I always refuse – that is not what it’s about. It is not about dressing up to show off. It’s about intent and focus.

When I put on my Druid robe I know that magic is about to take place. Like an executive putting on their well groomed black suit, the act of putting on the robe can act as one of the many shifts in focus that take us out of the ordinary, and into that frame of mind where we engage the Magician. Do I need to wear it? No, of course not. But like the smell of incense, the lighting of a candle, the chanting of a sacred word, the walk into a twilight forest, it is one more thing that can help to deepen my relationship with the intent of the moment.

I believe that, over time, and with regular use, magical items can absorb the memories of ritual and magic. Like the magic wand they can become allies for the magician – friends and companions that almost take on personalities of their own. I am blessed that Cerri is an amazing seamstress, and she made my robe to my own requirements. Like any magical tool it is always best if you can make them yourself. The shop-bought wand might be a great companion, but better the personally hunted and cut wand from a tree you have known, and one you can return to again in the future. I think the same can be said for the robe. If it is made for you, or even better if you can make it yourself, there will always be a closer relationship.

I know there are some who say we shouldn’t wear robes, that they make us look daft, and bring embarrassment. I don’t agree. I think they bring colour, drama, and can help bring a shift of consciousness, but in the context of ritual and sacred acts. You will never see me robed on stage, but you might bump into me in the woods, robed and chanting, singing and playing music to the moon and stars, to the trees and to the Fae.

And they seem to turn their gaze toward me in familiarity, and recognise the white robe, in the greenwood grove.

Devotional – I’d go with that

acsscoverrbgAround the 1st November last year I pressed the ‘burn CD’ button on my computer that created the final master CD of my new album that would be sent off to be pressed. Cerri had done the artwork, it was finished. 3 years of writing and a year of recording and there it was in my hand.

The last time I held a master CD of my own songs was back in 2008 and it had been The Cauldron Born. Since then so much had happened. My music was now being heard all over the world, and I was travelling to those places and hearing voices sing back the words I had written. I thank the Gods every day for my life, and I thank you all as well for bringing the dream of an 8 year old boy who had just been bought his first guitar and was driving his parents crazy, singing his heart out, dreaming of a day when he might do exactly what I now do for a living, to reality.

But what of this album?

Back in 2008 when I pressed the same ‘burn CD’ button to create the master of The Cauldron Born I was exhausted. When compared to my previous three albums The Cauldron Born was different. It held within it songs that dealt with very human issues, the Pagan songs were personal, the topics sometimes challenging, but it also had anthems a-plenty. The opening songs of the previous 3 albums were anthemic, stirring. The opening song of The Cauldron Born began in a gentler way, and was a deeply personal take on the Pagan view. I sent it off wondering how it would be received.

Now I held in my hand the master of Antlered Crown and Standing Stone. How did this album compare with the other 6? More importantly how did it compare to The Cauldron Born and the previous 3 albums of my own music?

I thought about the journey of writing and recording it.

The first song had been Under a Beltane Sun, written about 7 months after The Cauldron Born had been released. Then came Silent Moon. The others arrived over the next couple of years. My songs obviously come from my own journey as a Pagan Druid. When I listen to the songs on my albums they are like a diary of where I’m at spiritually. The new album had quite a lot of slower more reflective songs on it, and this matched where I was with my relationship to my Path. It worried me a little that it might be too gentle so I played the demos to a few people and it was one of my Czech friends who, when I said I was nervous about the gentleness of the album, said, “It can’t be Beltane all the time.” And in that moment I knew he was right and any fear that this new album might not be as well received fell away.

So I sent off the master. The CDs returned, the album became available on iTunes and Amazon, and CDs began to go out in the post. I was happy with it, but how would you, dear listener, how would you like the new songs? It seems that my initial worry, that the album would be too reflective, was unfounded. Thank you for all of the wonderful feedback. I found a review of the album online during which the writer called the album a ‘devotional’ album. I think that hit the nail right on the head. I called it reflective, but it really is a collection of devotional songs, and I’m really happy with that.

When I finished The Cauldron Born I was exhausted and didn’t write a song for over 6 months. The journey of Antlered Crown and Standing Stone had been different. 2013 marks the 10th Anniversary of Herne’s Apprentice, my debut album. When I look back at my musical journey over those 10 years I am so happy with where it has taken me. I’m more at home with my music than ever before, and I’m looking with excitement to the future and what it will bring.

And I cannot wait to get writing and creating again.

An ancient Triad says that, Those who would be a Bard must take up harp, and sorrow, and the wandering road. I do accept the sorrows of life, but I would also add joy, excitement, wonder, friendship, and peace to that Triad.

Here’s to 2013!

Silent Moon – The Making of Antlered Crown and Standing Stone

Continuing the series of short ‘making of’ videos, this one tells the story behind the song Silent Moon, dedicated to our Lady of the Night Sky.

The new album, Antlered Crown and Standing Stone, is available here

Previous videos can be found here:

Antlered Crown and Standing Stone

Under a Beltane Sun

Brighid

Branwen’s Lament

Sons and Daughters (of Robin Hood)

The Dreaming

The January Man

To be a part of all that is, was and ever will be.

I spoke about Druidry at the recent Friends of the Witchcraft Museum day in Boscastle, Cornwall and during the talk I said that I could sum up what Druidry is to me in one word – connection. It sounds so easy now, and it wasn’t always this way – it’s taken me years of commitment and study to reach this place. If I was new to Druidry and I heard someone say that I would probably think that’s all very well, but how?

Like many people I spent years researching the ancient Druids – what they did, how they lived, what evidence there was that I could take inspiration from and bring into my practice, is what I’m doing authentic and can I call in Druidry? All of those things and more. And sometimes I had other people questioning my right to call myself a Druid. Some of us will remember the internet flame war that was the declaration by some that there are no Druids in this modern age. Every time things like this came up I would ask myself the same questions and sometimes I would find shadowy places where there were no honest answers.

I posted a blog recently about my thoughts on the age of modern Paganism, and why it can feel so young, and another about the love of detail. The recent DruidCast podcast featured a conversation between two modern Druid leaders, Philip Carr-Gomm of the OBOD and John Michael Greer of the AODA, and a good deal of their discussion also focussed on authenticity versus validity. It’s obviously something in the air right now, and what I’m hearing time and again is an acceptance. An acceptance that our modern Pagan movement is in its youth – that we are a new people taking inspiration from ancient religions and that we are working with them very much in our own modern ways. An honest acceptance of this throws light into those shadowy places where I couldn’t answer accusations of authenticity because I’m no longer viewing modern Druidry as needing it. It’s a new Druidry for our modern age, and the validity comes from the fact that for thousands of people it works.

What to me is its greatest gift? That word. Connection.

A connection to the land, to each other, to the plants, animals, stones, rivers, seas, mountains, stars, sun and moon. A connection to our ancestors through their stories, poetry, songs and the physical remains they have left us that help us to understand how they lived, who they were. A connection to the Otherworld, to Deity, Faerie, and other realities. To understand that I am a part of all of this, I am one with my brothers and sisters, one with the land, one with Spirit.

To be a part of all that is, was and ever will be.

Connection.

The Dreaming – The Making of Antlered Crown and Standing Stone

Here another in a series of story behind the song videos that tell the inspirations and stories of the songs on my new alnum Antlered Crown and Standing Stone. This one is called The Dreaming. The others are here:

Antlered Crown and Standing Stone

Under a Beltane Sun

Brighid

Branwen’s Lament

Sons and Daughters (of Robin Hood)

 

Sons & Daughters (of Robin Hood) – the making of Antlered Crown and Standing Stone

It seems right that this video should be uploaded on the eve of the USA Presidential elections. Here is the inspiration and story behind the song Sons and Daughters (of Robin Hood) from my forthcoming album Antlered Crown and Standing Stone due out on 17th November and available to pre-order now from my website at www.paganmusic.co.uk

Enjoy!

The other four videos are here:

Antlered Crown and Standing Stone

Under a Beltane Sun

Brighid

Branwen’s Lament

Branwen’s Lament – The making of Antlered Crown and Standing Stone

Here’s the fourth in this series of videos.

This one tells of the inspiration and story behind the song Branwen’s Lament from my forthcoming album Antlered Crown and Standing Stone due out on 17th November and available to pre-order now from my website at www.paganmusic.co.uk

Enjoy!

The first three are here:

Antlered Crown and Standing Stone

Under a Beltane Sun

Brighid