Tag Archives: mythology

The Wheel of the Year – Valid or Not?

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Poplars_in_four_seasonsI sometimes watch with confusion the conversations that develop on social sites like Facebook and Twitter over some of the things we do as modern Pagans. One of the topics that seems to get regularly dissected is the Wheel of the Year and the way it is celebrated. There are those who love it, there are those who say that it is a modern invention so therefore we shouldn’t be following its pattern, there are those who see its value in the regular connection with the natural world, there are also those who express a form of superiority by turning their back on it in order to practice something more ‘authentic’.

I must be a little weird because in these situations I just think if you don’t like it, don’t work with it, simples.

Why is there the need to place one practice in a better light by denigrating the practice you don’t do? Why not live and let live and just do what is right for you? These are the things that occur to me when I see people laying into the Wheel of the Year.

But I also don’t mind being challenged to take a fresh look at why I do what I do. Sometimes this is a very valuable exercise, to challenge something I hold as sacred every now and then – to make sure that I’m not just blindly following something, but that it is still a practice that I find valuable and of importance. So I took the time to take another look at the Wheel of the Year, to see where I stood in relation to it as a practice.

I took three of the most common accusations I’ve read over the years against the practice of the Wheel, and then wrote my thoughts on each one in turn.

So here goes.

1. “The Wheel of the Year is not an authentic ancient Pagan practice.”

No, that’s right it isn’t. Although we know that Pagans have been marking each of the 8 festivals individually, the placing of them into the 8-fold Wheel of the Year was probably created by two men, Gerald Gardner (the father of modern Wicca) and Ross Nichols (the founder of the OBOD), sometime back in the 50s/60s. So as the pattern of a cycle of festivals this practice probably goes back 60 or so years. Does that matter? Not to me. I’m not seeking complete ‘authenticity’ of practice, I’m seeking meaningful ‘validity’ and connection.

See I think those two men tuned into something very powerful. We know that the ancients marked the Solstices and Equinoxes, and we know that our farming ancestors marked the agricultural festivals. When I stand in circle to mark the Winter Solstice I know that this is a moment that connects me not only with the turning of the planet, and its relationship with the Sun, but it also connects me with my ancestors who also marked this time at passage grave and stone circle. The same is true for each of the festivals. The pattern is the glue that brings each festival in relationship to the other, and it does it beautifully. If we were living during the time of Taliesin, and he had seen the connection between these festivals, I think we would have honoured that insight of Awen with respect. I honour the inspiration that has given us this mandala. I have no need for that aspect to be ancient. It works.

2. “People who practice the Wheel of the Year are not farmers anymore so it is no longer relevant.”

No, that’s right, many of us are not farmers. And that is an even more important reason for us in this modern time to make that regular connection with the turning seasons and with nature. Many of us are so busy, running from job to home, to kids, to work, to home, that we can be swept along by the demands of modern life. But every 6 weeks or so we consciously make the time to turn away from that and go outside so a place that has some kind of significance for us. To look around, to see the changes that have taken place in the landscape, to smell the difference in the air, to notice the touch of the air upon the nerve endings of our skin. To mark our place in time.

At the Anderida Gorsedd we have just entered our 14th year of continuous open ritual celebrations at the Long Man of Wilmington. 13 times through the Wheel of the Year with 104 rituals, rain, shine, or snow. The regular marking of the Wheel gives a connection to the seasons that is tangible, with memories of 13 Imbolc rituals going back to 2001 you get to know and understand where the cycle is and what to expect of each time of year. The wheel goes way beyond farming practice, and for us with our disconnected lives, where we sometimes get to spend little time with our eyes well and truly open to see the changes of the seasons, the festivals that make up the Wheel are probably more important now than they ever have been in the past.

3. “Celebrating Spring when there is still snow on the ground is stupid. Winter is still here.”

This is one for 2013′s Spring Equinox. We had our Spring Equinox ceremony at the Long Man and it was ice cold. It didn’t feel like Spring at all, that’s true. But I have two reasons to still mark that time. The first is that the Equinox is a celestial event – it’s happening regardless of the weather. It is the time of equal day and night and is the relationship between the sun and the earth’s axis, and regardless of the weather it is the bringer of Spring. It’s here and ready to burst. It just needs the wind direction to change and those leaves will explode. The other reason is hope, particularly this year. We know it’s cold. But we also know that the Green is ready, and some plants and trees are already opening their leaves.

So for me the Wheel is still very much a part of my regular Pagan practice, and I can’t see that changing. It might not be for everyone, and that’s ok. But for those of us who do mark the turning seasons in this way, if you don’t, try not to make the judgement that it is meaningless. There is deep meaning here, laid out in the movements of the sun, the moon and stars, the changes of the landscape, and the honouring of the ancestors.

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

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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

Silent Moon – The Making of Antlered Crown and Standing Stone

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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

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

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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

Brighid – The Making of Antlered Crown and Standing Stone

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Here’s the third in this series of 10 videos.

This one tells of the inspiration and story behind the song Brighid 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 two are here:

Antlered Crown and Standing Stone

Under a Beltane Sun

New Hills they are Hollow fan video

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I just love the creativity that people show when putting my songs into video. Here’s the latest fan video I’ve been sent and there are some amazing images and film. There are a few shots from the Spirit of Albion movie in here too, and much more that I don’t recognise. I thoroughly enjoyed watching it so I hope you do too!

New Lyric – The Dreaming

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I first went to Australia in 2009 just before the launch of Tales from the Crow Man. I went to play music at a concert/festival called The Druids Dreaming near Adelaide and I fell in love with the country immediately. I’ve been back twice since to tour with Spiral Dance and each time I have brought a little more of Australia home in my heart (or maybe I’ve left a little bit of me in the land). Australia is alive and infectious. The Spirit of the Land and the people get under your skin. The history and spirit of the native stories still sing from the land, from The Dreaming.

The seed for this song was planted back in 2009, when I saw my first Roo, when I met Old Gum Tree, and walked in the warm waters of the ocean. The shoots and leaves unfurled on my next two visits when I learned more of the land and its stories, and now the flower has taken full bloom.

So this song is dedicated to all of my Australian friends, to that glorious land, to anyone who has been there and knows what I’m singing about, and to anyone who dreams of the long trek down under.

The Dreaming – Damh the Bard

Verse 1:

Welcome now a visitor to your shore,

Following a dream I can’t ignore,

From a distant land you may never know,

Of sun and rain and snow.

Here where the endless skies reach for the sun,

The Gum trees stand like the Oaks of Albion,

And the land sings in lines of ancient song,

For the soul to sing along.

Chorus:

And the Southern Cross shines down on where I stand,

And I hear the voices from the Singing Land.

Verse 2:

Here where the land still is king,

Beneath red sand the Ancestors are dreaming,

And a Mother knows which song will be sung,

When a new life has begun.

A serpent made a path across the land,

Formed the rivers and mountains where they stand,

These songs are in the kookaburra’s call,

But she’s laughing at us all.

Chorus:

And the Southern Cross shines down on where I stand,

And I hear the voices from the Singing Land.

Bridge:

Oh I can feel you dreaming,

Oh I can feel you dreaming,

Oh I can feel you dreaming, Oh.

Verse 3:

Familiar stars now shine from up above,

I’ve returned to the land that I love,

But my heart must try to understand,

It’s now shared by another land.

Beneath the Plough I look to the setting sun,

As I stand once more on the land of Albion,

But the Southern Cross will guide me to your shore,

To hear you sing once more.

Chorus:

And the Southern Cross will shine down on where I stand,

And I’ll hear the voices from the Singing Land.

Oh, can you feel me dreaming?

Oh, can you feel me dreaming?

Oh, can you feel me dreaming, oh.

A Story of Pagan

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Pagan loved the Sun. No one could doubt that. And she loved the Moon too, and each night she would lie on the grass in a field just outside her house and look up at the stars that shone like tiny pin-pricks in the black velvet of the universe. There she could see her children marked in patterns across the sky. Gods of a land that was caressed by a warm near land-locked sea, and others too, gently moving in the night. Pagan loved the Earth too. She could see the shapes of giants in the rocks, and the Goddess in the rolling chalk hills.

Everyday she would go for a walk across the countryside and into the woods and sometimes, if she was lucky, and in the right place at the right time, she would see a group of deer, or a fox. And sometimes if she was luckier still she would catch the eye of the great stag that lived in the forest nearby and, just for a moment, she would feel its Spirit. And as the stag returned her gaze she could feel that the animal knew and understood her inner being too. These connections reminded her everyday that she was a part of the web that connected all life.

Nobody knew how old Pagan was. She had certainly been here since the first humans painted images of animals and dancing horned figures on darkened cavern walls, creating colour from minerals found within the bones of Mother Earth. And here she was, still looking at the Sun, Moon and Stars, still understanding her connection to all of life. The only person who really knew where she had come from was Pagan, and she was keeping her secret. Sometimes she felt bad about this. She knew that people longed to understand her more. When she occasionally went into the town she could see all of the books that had been written about her. Hundreds of books. All telling the story of her life, what she’d done, and what she believed. And she could see the people reading these books and she felt bad for them too. She wasn’t sure when it had happened but people had begun to look into the mirror of life and believe that what they saw there was the truth. If she could only smash those mirrors! Then people might look at each other more, and see their own reflection in the faces of their kin, not the reflected and reversed image of their own face. Just a face. Just a face. So she watched as people read books to try to understand exactly what it was that she believed.

And some of them argued too – about the right way to do things. About grades, levels of experience, whether the Elements really existed and, if they did, what made them correspond to particular directions. Were the Gods real? That was the one that upset her the most. Were they real? She could still remember the first people who, when hearing the sound of thunder, began to make offerings. She could still remember the hunter whispering words to an unseen power. And as years went on she thought of those days, and watched as those same people, years later, raised mighty earth tombs in honour of their dead, and still those lips moved in prayer. To what? She would never say. She never had to. Ever. But that seemed to be the missing part of the mirror people. She shook her head. The first people had no books, yet they knew. They had eyes, and ears.

Pagan loved to play. She would dance and sing, laugh and run about. She loved her circles, her elements, her patterns in the sky, the Sun, the Moon, the tales she told of ancient gods and heroes. She loved peaceful ritual, and ecstatic trance. She loved the simplicity of prayer and meditation, and the complexity of ceremony. She loved being with groups of people, and with the solitary on the hill. She knew all of the Gods by name, and she knew they were inside, outside, and nowhere. She knew with all of her heart that there were no secrets, but there were mysteries. And she also knew that each revealed mystery would be different for every soul that ever lived. And that is why sometimes she cried when she heard voices that tried to dominate with only one truth.

Pagan sometimes wondered why she was still a child.

Final Spirit of Albion Movie Diary

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Well, it was a year in the making and nearly three years from conception to the finished film, but just about a week and a half ago we went to the southern premier of the Spirit of Albion movie and it was such a wonderful night. The support this film received from so many people was really quite overwhelming, as the 5 minute credits of the end of the film will attest.

I opened the evening with a 30 minute set and then we all sat back to watch the film. The atmosphere was so wonderful and at the end there was a standing ovation from the audience to Gary and the cast and crew.

It was such an amazing and at times quite surreal experience to have been involved with, and I’m so proud to have been a part of this project. I really hope that this film will inspire more films with a Pagan theme. So it has begun, here’s to the Spirit of Albion movie, and to the other creative projects it might inspire!

Here is the final movie diary from that night. Enjoy!

http://youtu.be/JbvhVoUDXVI

 

It’s a boy, no a girl, no – It’s a film!

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On the 30th April 2011 the cast and crew gathered in a woodland in Sussex to begin filming Sprit of Albion, the Movie. Before we did anything else we held hands in a circle and asked for the blessings of the Spirits of the Land and of the Old Ones to see the film through to completion. We took some deep breaths, then the filming began – the first shoot being my performance of Pagan Ways, then I watched my song Green and Grey come to life before my eyes. It was an amazing moment I will never forget.

A year on to the day and there are two premiers being held in the UK tonight, one in the north of England which still has a few tickets left, and one in the south at the Hawth in Crawley that is sold out. Then tomorrow the DVDs go on sale. I can barely believe it’s actually finished.

I know that there have been independent films created in the past that have held magic in the hearts. The films of Kenneth Anger spring to mind, and I know that many Pagans (me included) love the old 70s horror film The Wicker Man, but that has really been adopted by us, and the final scene isn’t exactly the best publicity message for the Pagan community. I think with The Wicker Man it’s the magical vibe, and the songs, that we love.

Well, now we have a film that is truly ours, and I hope it will be loved just as much as Anger’s and The Wicker Man. A film that is about magic, and our relationship with the Land and it’s old myths and legends. It will take people on a journey, and there is one message held at the very heart of the film, a message that we don’t get very much from our regular TV, movies, or other media.

The message is one of hope.

Happy Birthday Spirit of Albion – The Movie!