Earth-based spirituality – Page 54 – Feminism and Religion

The Tension of Opposites: Love, Chaos, & the Wild Vortex by Chris Ash

“Perhaps it shouldn’t be surprising that a high tolerance for ambiguity, ambivalence, and a tendency to think in opposites are characteristics researchers have found common among creative people in many different fields. But professional creators… come to understand that in order to be creative, they need to give themselves to sensations of ‘knowing but not knowing,’ inadequacy, uncertainty, awkwardness, awe, joy, horror, being out of control, and appreciating the nonlinear, metamorphosing features of reality and their own thought processes — the many faces of creative chaos.”

– John Briggs and F. David Peat, Seven Life Lessons of Chaos

Christy Croft As someone whose interfaith, nature-based spirituality regularly draws inspiration from science, I experienced my recent read of the book Seven Life Lessons of Chaos as both an affirmation and a challenge. Throughout the book, one theme emerged over and over, each time in a different context: the creative impulse – that which generates nature and space, planets and stars, love and rage – emerges from within the tension of opposites.

Creation doesn’t burst forth from one opposite overtaking another, but rather as the direct outcome of the unending push-pull swirl of outward and inward, boldness and fear, light and dark. Living in creative authenticity regularly leaves me stewing in a mix of often-contradictory feelings, and while it’s easy for me to revel in my confidence when I’m feeling bold or in my wordy wit when I’m feeling brilliant, it’s far more difficult for me to sit with wonder in times when I feel rejected, unlovable, unaccomplished, insecure, or ugly. My inner dialogue frequently finds me alternating between the opposites that pull at my heart, mind, and way of being in the world.

Really, this is where many of us often find ourselves – be smart but not too intelligent, be beautiful but not vain, be sexy but not sexual. Madonna-whore, virgin-slut – choose a side, but know that once you do you will be judged. We are asked to choose between equally restrictive and caricatured forms that have been pre-fabricated for us by years of cultural control and legal oppression – forms that emphasize who we are in relationship to others, to men, and to our religious laws, rather than honoring who we are to ourselves, to our gods, and in our chaotic brilliance. Continue reading “The Tension of Opposites: Love, Chaos, & the Wild Vortex by Chris Ash”

Facing the Moon Alone by Molly Remer

February 2016 030

“When all is said and done I think every Witch should, at some time, face the moon alone, feet planted on the ground, with only his or her voice chanting in the starry night.”

–Laurie Cabot, Power of the Witch

I will never forget the first time I heard someone recite the Charge of the Goddess from memory. Bare-breasted, she strode around the fire in sacred circle at a large goddess festival in Kansas, delivering the words with power, grace, and confident resonance. I thought: I will do that someday.

In February of this year, we took a family trip to Dauphin Island. While there, the afternoon of the full moon, I
decided that the time had come. I was going to memorize the Charge of the Goddess. First, I thought I would only memorize it a piece at a time. It seemed “too big” to do in a single sitting. I had it printed out on a piece of paper that rapidly became damp with the salty sea air. I drew a labyrinth in the sand with my toes, set one of my goddess sculptures at its entrance, and drew a Womanrunes card.

One stanza at a time, slowly I began to repeat the poem* aloud:

hear ye, the words of the star goddess
the dust of whose feet are the hosts of heaven...

Over and over, I said the words, letting them twine around my tongue and in the air, experimenting with cadence and rhythm. After I could reliably repeat one section, I’d move to the next, letting it build in my memory until I could put the two together confidently and then moving to the next.

I am the beauty of the green earth
the white moon amongst the stars..

I stared into the waves, listening to them rise and fall along with my words. My three older children dug in the sand. February 2016 073
My husband fished. My toddler toddled around and then came to sit on my lap and nursed to sleep for nap time:

before my face
beloved of all…

I whispered into his damp hair. I felt in an altered state of consciousness. The words began to wind their way through me, becoming a part of me, embedded in me. I danced with them as I have never danced with another piece of writing. I felt them merging with me. I sang them aloud. I stated them fast and slow and I built, adding the next line and then the next…

for behold, all acts of love and pleasure
all my rituals.

I turned over hard thealogical questions as the words spun their magic through the air. What does it really mean that “all your learning and seeking shall avail you not, lest your know the mystery.” Do I really feel the goddess within? Do I find her within myself or is she only outside and if she is only outside, does she really exist at all? Tears came to my eyes: do I even like myself?

Two hours passed. My baby awoke and returned to digging in the sand. My husband packed up his fishing gear. The sky began to darken and spit rain. I stood and danced the words into the sand with my feet.

let your divine innermost self
be enfolded
in the rapture
of the infinite

I felt rapturous. I felt triumphant. I had done it. Faster and faster my feet stamped the sand as I called the words into the waves. I spun in circles with my toddler chanting and laughing and offering my devotion before the sea, beneath the moon.

the mystery of the waters
the desire in human hearts…

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*I used Shekhinah Mountainwater’s adaptation of the Charge, originally by Doreen Valiente, as included in the book Ariadne’s Thread. Molly 180

Molly has been “gathering the women” to circle, sing, celebrate, and share since 2008. She plans and facilitates women’s circles, seasonal retreats and rituals, mother-daughter circles, family ceremonies, and red tent circles in rural Missouri and teaches online courses in Red Tent facilitation and Practical Priestessing. She is a priestess who holds MSW and M.Div degrees and recently finished her dissertation about contemporary priestessing in the U.S. Molly and her husband Mark co-create original goddess sculptures, ceremony kits, and jewelry at Brigid’s Grove. Molly is the author of Womanrunes, Earthprayer, and The Red Tent Resource Kit. She writes about thealogy, nature, practical priestessing, and the goddess at her Woodspriestess blog.

What Does Mother’s Day Mean in a Patriarchal and Matricidal Culture? by Carol P. Christ

Carol Molivos by Andrea Sarris 2 When we seek immortality or spiritual “rebirth,” are we not saying that there is something wrong with the “birth” that was given to us through the body of our mothers? In She Who Changes and in “Reading Plato’s Allegory of the Cave as Matricide and Theacide,” I asserted that our culture is “matricidal” because it is based on the assumption that life in the body in this world “just isn’t good enough.”

What is so wrong with the life that our mothers gave us that we must reject it in the name of a “higher” spiritual life? The answer of course death.

Can we love life without accepting death?

Can we love our mothers if we do not accept a life that ends in death? Continue reading “What Does Mother’s Day Mean in a Patriarchal and Matricidal Culture? by Carol P. Christ”

Dance of Persephone: The Trata of Megara by Laura Shannon

Laura Shannon square crop In a previous post on FAR I explored Greek Easter customs which interweave Christian and pre-Christian beliefs. Today I would like to take a closer look at one of these customs, the women’s ritual dance known as Tráta, ceremonially performed on ‘Bright Tuesday,’ the Tuesday after Easter. Versions of Tráta survive in the towns of Mégara and Elefsina just west of Athens, on the island of Salamína directly across from them, and in the surrounding area as far as Thebes.

Elefsina, of course, is Eleusis, where for over 2,000 years the Eleusinian Mysteries enacted the story of Demeter and her daughter Persephone’s descent to the Underworld. Choral dance was a central part of the ceremonies at Eleusis – as at other sacred sites including Delphi, Knossos, Athens, and Vravrona – and the ‘Well of the Beautiful Dances’ can still be seen at the archaeological site. It is a a visible reminder of the circle dancing which was a part of the initiatory experience, bringing cosmic order – symbolised by the circle – into the human world. This is still one of the functions of the Tráta as performed today.

Eleusis – ‘Well of the Beautiful Dances’

Continue reading “Dance of Persephone: The Trata of Megara by Laura Shannon “

Our Enchanted Bosque by Judith Shaw

judith Shaw photo I live in New Mexico’s largest city, Albuquerque. As a Goddess Worshiper, one of the things I love about New Mexico is the easy access I, a city dweller, have to so much natural beauty. I feel Her beauty and power in the widely varied landscapes of New Mexico.

Continue reading “Our Enchanted Bosque by Judith Shaw”

How the Outdoors Got on Us by Barbara Ardinger

Barbara Ardinger I read some wonderful posts last spring and summer about the beauties of the outdoors. One that especially inspired me was by Molly Meade. If you missed Molly’s description of how she goes out to the “priestess rocks,” read it now.

But as much as I admire people who like to spend time outdoors in gardens or the wilderness or national parks or anywhere else without kitchens and bathrooms…well, I just don’t like to get the outdoors on me. Most Pagans I know like to camp and hold grand outdoor rituals. Not me. I get lost. I trip over tree roots and get allergic in some large gardens. I don’t like to climb or hike and I stay away from the beach because it’s got all that icky, dirty sand all over it. Although I send money to the Wilderness Society and Friends of the Earth, the wilderness does not need my footprints in it.

So here’s another of my weird little stories. This one’s a fable I wrote several years ago for a friend who was holding regular ceremonies at Joshua Tree National Park in the SoCal desert. (I went to some of those ceremonies. My friends were very proud of me.)

Continue reading “How the Outdoors Got on Us by Barbara Ardinger”

Arduinna, Gaulish Goddess of Forests and Hunting by Judith Shaw

judith Shaw photo Arduinna, Gaulish Goddess of Forests and Hunting is one of the many Celtic Goddesses who is associated with a particular region or body of water. She was worshipped in the heavily forested regions of the Ardennes, located in what is current day Belgium and Luxembourg with small portions found in France and Germany. She was also associated with the Forest of Arden in England. Her name has its roots in the Gaulish word “arduo” meaning “height”.

Continue reading “Arduinna, Gaulish Goddess of Forests and Hunting by Judith Shaw”

More Than Just an Image by Jassy Watson

I spent 2015 teaching an Intentional Creativity program ‘Wisdom of the Goddess” to an intimate tribe of women creatives from our local community. In December we held an end of Year Art Gala displaying a portion of the work which saw over 100 paintings of Goddesses created over a 10-moon period.

The program was divided into the cycles of Creation, Transformation and Celebration, as inspired by Hallie Inglehard’s book “The Heart of the Goddess”. Each month, through ritual, visioning and painting, we explored a Goddess that represented these cycles; Eve, Anjea, Demeter, Cerridwen, Kali, Persephone, Aphrodite, Ochun and finally, our Inner Goddess.

It took great courage for the artists to display their paintings in public. It is often hard to explain this work because it requires such deep and thoughtful exploration of one’s inner world along with a commitment to a creative practice that favours personal growth and discovery over outcome. It can be difficult finding the language to elucidate on this process that is not just about the act of painting.

It is painting to grow and heal.

It is sacred.

It honours and empowers women.

It inspires authentic creative expression.

It unites one with self.

It connects one back to the earth.

It transforms.

It reveals.

The show was a great success. A gallery full of Goddesses was surely a sight to behold! It was a humbling experience to be out and proud about our creative work in our regional, agricultural, largely conservative community. I feel it is imperative for the restoration of female empowerment to be remembering and re-imagining the Goddess by way of image and it was through Her that these astounding women artists found the courage to put their heart and soul on the wall for all to see.

The influence that image has is far-reaching and cannot be under-estimated. Image is a universal language that evokes emotion and can go as far as mobilising the masses and even change the course of history. The famous photo of ‘Phan Thi Kim Phuc’ running naked down a road after a napalm attack during the Vietnam War is but one outstanding example.

As I reflected on the years work however, I was reminded that while these paintings carry with them incredible insights and powerful messages of change, growth, discovery and transformation, the Goddess is so much more than just an image; and certainly more than just an image to mass-produce and sell. While “the strength and independence of female power can be intuited by contemplating ancient and modern images of the Goddess” (Carol P. Christ in ‘Why Women Need the Goddess’), it cannot be forgotten that She is the sacred made immanent in the natural world, expressed in the diversity of all forms of life and death. We seek Her, sometimes even travelling to the ends of the earth to find Her, forgetting that She is everywhere. She is you and me and Her sacred sites are found in our own backyards.

With this in mind I recently returned to some creative investigations I had begun a few years ago exploring woman in nature and the Goddess as the body of the earth through paint. The earth speaks and I am listening to Her stories and bringing them to the canvas to re-affirm my sense of wonder and respect for nature. My aim is to awaken an ancient memory of the sacred relationship between human and nature, for now, more than ever, it is critical that this relationship be restored. In doing so, the earth may once again be seen and valued as a living, breathing body that sustains and nourishes all life rather than being merely a commodity to be devastated and destroyed in the name of capitalism and greed. Further, these images are reminders of the interconnectedness of all life; we are not separate from the earth, but part of its’ intricate web.

The following image was inspired in part by Terry Tempest Williams ‘When Women Were Birds’ but is also an image born from a revelation I had many, many years ago when I first starting seeing woman in nature, especially in the body of trees.

When women were birds FINAL

“We are the birds eggs. Birds eggs, flowers, butterflies, rabbits, cows, sheep; we are caterpillars; we are leaves of ivy and sprigs of wallflower. We are women. We rise from the wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we are flame, we are oyster and pearl, we are girls. We are woman and nature. And he says he cannot hear us speak.

But we hear.”

― Susan Griffin, Woman and Nature: The Roaring Inside Her

Jassy Watson, who lives on the sub-tropical coast of Queensland Australia, is a Mother of four, passionate organic gardener, Intuitive/Visionary Artist, Intentional Creativity Coach and a student of Ancient History and Religion at Macquarie University, Sydney. She is the Creatress of Goddesses Garden Studio & Gallery; a small school for the Sacred Creative Arts. Jassy teaches regular painting workshops in person, nationally, internationally, and online based around themes that explore myth, history, earth connection and the Goddess. Her latest SOULSCAPES (TM) exploring woman in nature will be on show at ‘Dreaming Into Being’, Percolator Gallery, Paddington, Brisbane April 5th-11th. You can see her work at http://www.goddessesgardenandstudio.co

Becoming by Deanne Quarrie

Deanne Quarrie, D.Min. The Year 2015 is coming to a close. It is a time of endings and a time of beginnings. That is the wonderful thing about our cycles. We all have the opportunity to end and begin – over and over. Each day, each month and each year. We all scurry about making resolutions for the new year only to see them fail almost immediately.

This is where a good basic magical practice can lend a hand with our resolutions. In every magical act we must first know what it is we wish to manifest. I am not talking some empty wish here but a real look at what we want – really want – for the new year to bring.

If there were one thing I would say needs to be given the most attention in one’s magical practice is the Art of Becoming. Continue reading “Becoming by Deanne Quarrie”

There Is No Santa: The Antlered Flying Goddess– with Gifts by Marie Cartier

temple of isis elen 2 — Marie bringing in Elen of the Ways
photo by Tony Mierzwicki

One of my colleagues at Feminism and Religion recently wrote of Xmas and Feminine Wisdom. My blog, for Christmas Day continues this exploration.

Elen of the Ways is a figure primarily studied by scholar, Carolyn Wise. She wrote two core articles available on the web here and here. Wise writes that in order to “track” and find Elen of the Ways she had to peel back the layers:

…to the earliest track ways, the migratory tracks of the Reindeer and Elk. Elen moves across vast tracts of time, and land, cloaked and masked appropriately for each age.

As the Green Lady, she peers out between the trees in forests …As a British Venus… she is guardian of the underground streams that carry the sacred waters. She is the Guardian of the ancient track ways, the Leys, the Kundalini currents in nature. And as the Horned Goddess, she leads us to the first track ways, the migratory tracks of the reindeer and later, to the path of the red deer through the forests. From here she leads us to the lost Shamanism of the isles of Britain and we can follow her across Scandinavia, Russia, Mongolia, Siberia, India and beyond.

You can read more about Elen in the book edited by Carolyn Wise, Finding Elen: The Quest for Elen of the Ways. Elen is:

…part goddess, part dream, part saint, a green lady and a water nymph, primordial mother and patroness of deer, and guardian of the Old Straight Tracks and solar alignments. …Elen is as real as the roads named after her, as solid as the ancient paths that carry her presence.

What are these tracks? Part of the story can be explained by understanding that there are ley lines, or energy paths throughout the globe. These paths were “tracked” by shamans, pagans, and regular folk and still exert their influence today in very recognizable ways. People celebrated earlier this week on the Solstice (December 21) at Stonehenge. “One of the most important and well-known features of Stonehenge is its alignment on the midwinter sunset-midsummer sunrise solstitial axis,” a spokesperson said. “The midwinter sun sets between the two upright stones of the great trilithon.” The solsitial axis is part of the ley line network that connects sacred sites such as Newgrange in Ireland, a sacred burial mound which lights up only the morning of Solstice.