Niamh (meaning ‘bright’ or ‘radiant’) of the Golden Hair, one of the Tuatha de Danann and daughter of Mannanan mac Lir, Celtic God of the Sea, was Queen in the land of Tír na nÓg (pronounced Tear na Noge), the most famous of the Celtic Otherworlds.
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”.
If you ever eavesdrop on a conversation between my husband and me around the clamor of our four children’s voices, you will probably hear me making a tired lament: “All I want is a broad swath of uninterrupted time.” In listening to Elizabeth Gilbert’s newest book, Big Magic, on audio book I was interested by her mention that many creative people lament not having long stretches of uninterrupted time available in which to work. She quotes a letter from Herman Melville to Nathaniel Hawthorne, lamenting his lack of time and how he is always pulled “hither and thither by circumstances.” Melville said that he longed for a wide-open stretch of time in which to write. She says he called it, “the calm, the coolness, the silent grass-growing mood in which a man ought always to compose.”
…I do not know of any artist (successful or unsuccessful, amateur or pro) who does not long for that kind of time. I do not know of any creative soul who does not dream of calm, cool, grass-growing days in which to work with- out interruption. Somehow, though, nobody ever seems to achieve it. Or if they do achieve it (through a grant, for in- stance, or a friend’s generosity, or an artist’s residency), that idyll is just temporary—and then life will inevitably rush back in. Even the most successful creative people I know complain that they never seem to get all the hours they need in order to engage in dreamy, pressure-free, creative exploration. Reality’s demands are constantly pounding on the door and disturbing them. On some other planet, in some other lifetime, perhaps that sort of peaceful Edenic work environment does exist, but it rarely exists here on earth. Melville never got that kind of environment, for instance. But he still somehow managed to write Moby-Dick, anyhow.
When I create a new sculpture, I am most often creating something that I need to remember or want to learn. The original figures for my Centered Mama sculpture and my Meditation Goddess sculpture were both created while at a friend’s house for a weekend work exchange as my baby toddled around. While I love making figures of mothers and babies, I was feeling a strong urge to make a goddess representation complete unto herself. It felt like a reclaiming of my non-maternal identity and a declaration of self-sovereignty. She turned out a little bigger than some of my other figures, strong and secure and independent. Then, the baby crawled over and knocked off one of her breasts, knocked her over on the tray, smashing the side of her head. I came close to crying. I felt annoyed with my husband who’d “let” him come over and destroy my work rather than noticing him doing it and stopping him. I was frustrated, dismayed, and my feelings felt hurt in a sense. First I felt like, Argh! This is a metaphor for life! And, then I realized it was not just a metaphor for life, it is my actual life! I pouted a bit and said I was just going to smash her and give up and I made some bitter faces at my husband and some long-suffering huffs and signs, but then the baby fell asleep in the Ergo, held close against my chest. I kissed his soft hair and I took my clay and started again. I reclaimed her from the smashed parts and she sat stronger and taller than ever.
She reminds me not to give up and that beautiful work can come from struggle, but also of interdependence (not just the independence I was going for!), co-creation, and tenacity. When the finished version of her, cast from the original sculpt, sits by my bed at night or overlooks my dinner preparations, she reminds me that I am strong and that persistence is worthwhile. She also tries to remind me to be calm and steady, centered and Zen, even though I more often feel like a whirlwind.
That same Saturday at my friend’s house, as my baby tentatively toddled around the kitchen, chewed on a piece of watermelon, and snoozed on my chest, I felt moved to begin creating a new Centered Mama sculpture. I had been going through an emotional rough patch, feeling buffeted by variable emotions and erratic and unpredictable in my enthusiasm and confidence. I was also feeling impatient, snappy, and irritable.
“I will be gentle with myself. I will be tender with my heart. I will hold my heart like a newborn baby child.”
This song by Karen Drucker replayed in my mind as I sculpted. The baby woke, the watermelon got dragged along the floor collecting dust, and it was time for our collaborative dinner, so I had to put her away unfinished. When we got back to our own home, I was compelled to finish her, working feverishly as the baby pulled on my legs and I said, “just a few more minutes!” to the older kids who were trying to play with him to let me work. Again and again I re-rolled the clay baby’s head, trying to make it “perfect,” and worked to lay down the strands of her hair, against of the backdrop of this often-chaotic, noisy, home-based life we’ve consciously and intentionally created together. She was created to represent holding my own center in the midst of motherhood. I will be tender with my heart. I don’t create sculptures like this because I AM so “Zen” and have life all figured out, I make them to remind me what is possible if I listen to my soul.
As I do extensive rearranging, construction, and reconstruction on my slowly ongoing dissertation project, I typed out a quote from the book Priestess: Woman as Sacred Celebrant by Pamela Eakins about her past life memories of making clay goddess figures as a temple priestess:
…to me it brought a continuation of the energy of the sacred objects of the grandmothers. I contained this energy in a new form in the dolls that would be placed upon the altars and in the graves of the daughters living now and the daughters to come…
I felt this process made my own clay stronger, too. Some of the pieces cracked in the fire because of the added ‘impurities’…but, in this case, I felt the impurities were the purest of pure and I worshipped each crack knowing the crack contained the wisdom of the priestesses who had occupied the doll-making table for more moons than I could even imagine. It contained too, the devotional energy of every grandmother who had held it in her hands or placed it on her altar. Sometimes ‘impurities’ sanctify further that which is holy to begin with.
While I tend to have a knee-jerk skepticism about past-life memories, there is something in Eakins’ words that I know at a bone-deep level as I do my own work with goddesscraft:
…Each goddess was imprinted with the sound of sacred life coursing through the Universe. I changed with the priestesses as the figures came through my hands. Each doll received the sacred vibration of life…For seventy-seven moons I made the dolls at the long table with the young Sisters of Nun. My hands were so fast. I made thousands of figures: beautiful little faces, etched collars of gold plates, pubic hair swirled into tiny rows of connecting spirals. They were so precious. At the end of the day, my baked clay shelves were covered with little women.
The clay goddesses healed…
This is how I apprenticed. I learned, in this manner, the art of healing. I learned that to heal means to make whole, and that becoming whole involves learning many levels of purification, balance, and reformation” (p. 32-33).
In Anne Key’s marvelous priestess memoir, Desert Priestess, she makes this important point: “It is of course no small wonder why graven images are so tightly controlled by religious traditions.” (p. 52) Sometimes I feel like this is what I’m tapping into when I make my own goddess sculptures—a resistance to tight control over graven images and over personalization of divinity as male.
I occasionally get requests to make bigger goddesses–-people ask about figures that are large altar pieces 12-18 inches tall or taller. The goddesses I make are all about three inches tall and there’s a reason for that: they fit in the palm of my hand. When I create them, I feel as if I’m part of an unbroken lineage stretching back 30,000 years to the person who carved the Goddess of Willendorf. I feel connected to the priestesses of the Mesopotamian temples who sculpted hundreds upon hundreds of tiny clay goddesses. Someone commented on my sculptures once saying, “echoes of Mesopotamia.” And, I said, “exactly.” I feel the connection between the clay in my hand and the clay in their hands, running through the ripples and eddies of time.
I’ve been inspired recently to re-read Starhawk’s The Spiral Dance, finding new bits of wisdom from it that speak to something different in me than they did the first time I read it. She writes of the attempts to discredit Goddess religion by invalidating the historical narratives or archaeological evidence: “The idea seems to be that if they can disprove our origin story, they can invalidate our spirituality…Is Buddhism invalid if we cannot find archaeological evidence of Buddha’s existence? Are Christ’s teachings unimportant if we cannot find his birth certificate or death warrant?…the truth of our experience is valid whether it has roots thousands of years old or thirty minutes old…a mythic truth whose proof is shown not through references and footnotes but in the way it engages strong emotions, mobilizes deep life energies, and gives us a sense of history, purpose, and place in the world. What gives the Goddess tradition validity is how it works for us now, in the moment, not whether or not someone else worshipped this particular image in the past” (p. 4).
The ancestry of my goddess sculptures may not be the same energy that raised temples and built monuments (or walls), it is the energy that carried a baby on one hip and a basket of supplies on the other and needed a goddess just the right size to tuck down the front of a shirt…
Sometimes I describe my life in the woods as being held in the hand of the goddess. And, I make goddesses that I hold in my hand. Am I in the palm of her hand or is she in the palm of mine? The answer is both.
(One of my all-time favorite fan photos–a rainy day traveling goddess picture, taken by my friend/SIL (this one is only an inch tall, but look how she calls in the waters of the world!)
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. She is an priestess who holds MSW and M.Div degrees and she is finishing her dissertation about contemporary priestessing in the U.S. Molly’s roots are in birth work and in domestic violence activism. She has worked with groups of women since 1996 and teaches college courses in group dynamics and human services. Molly is the author of Womanrunes: a guide to their use and interpretation, Earthprayer, Birthprayer, Lifeprayer, Womanprayer, and The Red Tent Resource Kit, as well as three social service oriented booklets and a miscarriage memoir. She has maintained her Talk Birth blog since 2007 and writes about thealogy, nature, practical priestessing, and the goddess at her Woodspriestess blog. Molly and her husband Mark co-create original birth art, goddess sculptures, ceremony kits, and pendants at Brigid’s Grove.
“The tools are unimportant; we have all we need to make magic: our bodies, our breath, our voices, each other.”
–Starhawk
As November drew to a rainy close, we had a small family full moon ritual on our back deck and incorporated a simple gratitude ritual into it. The sky was overcast so we couldn’t actually see the moon, but my four-year-old daughter wanted to get out glow sticks left over from Halloween. We had so much fun dancing around with them and making patterns together in the dark night. We sang a chant I recently made up:
Hallowed evening
Hallowed night
We dance in the shadows
We offer our light.
We did a simple gratitude practice by placing corn kernels in a jar, one for each thing we are grateful for from the past month. We started out slowly and taking turns and then we sped up and the gratitude offerings came tumbling out, over one another. Even the one-year-old added corn, rapidly yet with great concentration to make it actually go in the jar. We drummed and called out, “We are ALIVE! We are GRATEFUL! We are POWERFUL! We are CREATIVE!” When we finally decided to close our ritual and go back inside, the moon peeked out from behind the clouds to briefly say hello and it felt like a blessing on the magic we’d just created together.
As we went back inside, I felt relaxed, happy, and connected. For being something very simple, not particularly pre-planned, and semi-chaotic, it felt like one of our deepest and most connected personal family rituals. The quote above from Starhawk floated back into my mind and I reflected that when I try “too hard” to get things ready for a perfect ritual, I often end up feeling a disappointed. Sometimes I feel like giving up on holding ceremonies with my children entirely. Last year, as we prepared to walk our Winter Solstice Spiral, the baby had a poopy diaper that extended up his back. I often end up snapping critically at whomever isn’t doing it “right.” My boys make fart jokes. My husband gives long-suffering sighs. Our circle looks more like a lopsided peanut. Our humming together discordant and off-key. As we lie on the ground together on the Spring Equinox to do our “Earth Listening” practice together, the kids wiggle and fight, pushing one another off the blanket and exclaiming in loud voices so no one can hear what we’re listening for. We listen to a shamanic drumming CD, but the only one to reach a trance state is the baby as I pace back and forth with him in a baby carrier. The four year old ends up crying because she doesn’t see anything and she wanted to see something cool. Martyrpriestess emerges to complain that she doesn’t know why she even bothers trying to do nice things for anyone if this is how you’re all going to act.
I recently finished reading Under Her Wings: The Making of a Magdalene, by Nicole Christine. A theme running through the book was the concept of “As Above, So Below and As Within, So Without.” I read this book as part of my research for my dissertation about contemporary priestessing and as I read, I kept thinking, I want to hear from the Mamapriestesses, from the Hearth Priestesses! Where are the other practicing priestesses with children at home? I noticed in Christine’s book that the bulk of her work took place after her children were grown and, to my mind, she also had to distance or separate from her children and her relationships in order to fully embrace her priestess self. I notice in my reading and my research group that many women seem to come to priestess work when the intensive stage of motherhood has passed, or they do not have children. Is there a very good reason why temple priestesses were “virgins” and village wise women were crones? Where does the Mamapriestess fit?
As I read Christine’s book and witnessed her intensive self-exploration, discovery, and personal ceremonies and journeys, I realized that in many ways personal exploration feels like a luxury I don’t have at this point in my parenting life. How do we balance our inner journeys with our outer processes? Christine references having to step aside and be somewhat aloof or unavailable to let inner processes and understandings develop, since our inner journeys may become significantly bogged down in groups by interpersonal relationships, dramas, venting, chatting, and so forth. For me, this distance for inner process exploration isn’t possible in the immersive stage of life as a mother. And, yet, I also know in my bones that I’m not meant to give it up. How does the As Within and the So Without actually work?
I return to our Full Moon gratitude ritual. My oldest son, 12, whose height is rapidly extending into manhood, totes his tiny brother on one hip with practiced ease, offering his own glow stick and helping my little one hold his into the air. He expresses gratitude for the fun he’s been having this month with his new video game and, “I’m grateful for you for doing things like this with us, Mom.”
My second son, 9, my bravest child, crawls willingly into the darkness under the deck to retrieve lost glow sticks, poked purposefully down porch cracks by the one year old. He returns, triumphant, holding the bundle of sticks aloft.
My daughter, nearly five, tips her face back, looking up at me with eyes alight, “I’m glad to be a Goddess Girl!” she calls out…
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. She is an ordained priestess who holds MSW and M.Div degrees and she is currently writing her dissertation about contemporary priestessing in the U.S. Molly’s roots are in birth work and in domestic violence activism. She has worked with groups of women since 1996 and teaches college courses in group dynamics and human services. Molly is the author of Womanrunes: a guide to their use and interpretation, Earthprayer, Birthprayer, Lifeprayer, Womanprayer, and The Red Tent Resource Kit. She has maintained her Talk Birth blog since 2007 and writes about thealogy, nature, practical priestessing, and the goddess at her Woodspriestess blog. Molly and her husband Mark co-create original birth art jewelry, figurines, and goddess pendants at Brigid’s Grove.
Note: If you have children at home, I’d love to hear from you about the Mamapriestess topic! If you do not have children by choice, how does this play into your spiritual work? If you do not have children and that is not by choice, how does this play into your spiritual work?
The 2015 Nobel Prize for Medicine was awarded in part to a Chinese woman (Tu) for her identification and isolation to treat malaria of a chemical known as Artemisinin. The name of that chemical derives from the fact that it is found in varying amounts in the ‘family’ (technically, genus) of plants known as Artemisia. The name of that family derives from its association with the goddess Artemis.
Because Tu’s work began in China in the 1960s it is understandable that even if she knew this about Artemisia (a term I use to refer to any one plant or all of the plants of that family) it would not have been a ‘careerbuilder’ for her to point it out to those for whom she was working. It was bad enough that she was a woman. At that place and time, however, if she had said or done something that could be associated with Western culture her name might not even be known today.
Nevertheless, because those awarding the Nobel Prize are free from discrimination or intimidation, it is startling that in the explanation provided for the award no mention is made of the Western legacy of Artemisia. To begin with, the very fact that the Prize was being awarded to a woman for a plant named after a goddess should have elicited at a sense of uncanniness that arguably deserved mention. Be that as it may, the failure to mention that Artemisia has a long history of being used medicinally in the West not only as an insect repellent but also to treat fever–a common symptom of malaria–is simply inexcusable.Continue reading “Artemis As Artemisia: Ancient Female Spirituality & Modern Medicine by Stuart Dean”
Having spent the past year and a half immersed in the study of Celtic Goddesses, I am intrigued by the sharing of many of their attributes, symbols, and associations – shape-shifting, magical birds, and apple orchards in the Otherworld to name just a few. One other common thread found in so many Celtic Goddesses is the existence of many contradictory folk tales about them. Their stories, like the otherworldly mists of the Celtic countryside, which materialize suddenly, obscure reality and then melt away again, exist on the frontier of myth and reality.
Chlíodhna (pronounced Kleena), Celtic Goddess of Beauty, the Sea and the Afterlife, is such a Goddess.
One of the most famous Catholic icons is the model for a Haitian Vodou goddess who protects lesbians.
Traditional images of Erzulie Dantor, the Vodou defender of lesbians, are based on the Black Madonna of Czestochowa. They even share the same two scars on the dark skin of the right cheek.
Every year more than 100,000 people view the original Black Madonna of Czestochowa icon in Poland at one of the most popular Catholic shrines on the planet. John Paul II, the Polish pope, was devoted to her. Few suspect that the revered icon of the Blessed Virgin Mary has a lesbian connection. Continue reading “Black Madonna Transforms into Vodou’s Lesbian Defender by Kittredge Cherry”
Finding ourselves together in Crete after attending a conference, four friends and I set out to visit the caves of Eilitheia in Amnissos and Agia Paraskevi in Skoteino. As we drove along the coast toward Amnissos, I recalled that caves have been understood as sacred from the dawn of religion. When people knew the earth as their mother, the cave, the opening in the earth was her vagina and womb, the passageway to her deepest mysteries, the secrets of birth and rebirth.
The Eilitheia Cave is in the hills above the ancient port of Amnissos. We arrived in the morning, accompanied by the guard who came with us to unlock the gate. The cave has one large, long room, with a wide mouth, and a low ceiling. There is a belly stone near the entrance that women rubbed to insure conception. Near the center of the cave, in shadowy darkness, are two stalagmites, one squat and the other tall, surrounded by the remains of ancient walls that enclosed the sacred space. The guard told us that they were worshipped as the Mother, seated, and the Daughter, standing. Their heads were chopped off with the blow of an ax. In the back of the cave there are small pools of water, used for healing
As our eyes adjusted to the darkness, we felt that we too had entered into the womb of the Mother. Naomi sat by the Daughter stalagmite, while I leaned against the Mother. We chanted to Her and sang, aware of the bemused but accepting presence of the guard, who retreated to the entrance of the cave. As we turned to leave, Mara crouched at the cave’s entrance to take a picture, her short, full body the image of the Mother Goddess, her wispy blonde hair capturing the light, crowning her like a halo. Slowly, we emerged from the cool depths, the place of ancient mysteries, into the light and warmth of the midday sun.
We visited the Skoteino Cave late in the day, after lunch and a refreshing swim in the sea. To reach the cave, we ascended into the mountains, passed through the small village of Skoteino, and turned right down a dirt road. Above the cave is a small church dedicated to Agia Paraskevi, the patron saint of eyesight. I had been to the cave eleven years earlier with my husband, Roger, on the saint’s name day, July 26th. That day the locals celebrated first in the church, where they decorated the icon of Agia Paraskevi with flowers and lit candles, and then in the cave, where they roasted lamb, sang, and danced. It is likely that this cave has a continuity of worship from ancient times to the present day.
The first time I visited the cave of Skoteino, which means dark, I thought it was a single, huge, high-ceilinged, cathedral-like room, adorned with stalagmites and stalactites. In the meantime, I had learned that beyond the first room, there are three more levels, the final one, totally dark. Mardy offered to lead the way. Two young German men, emerging from the depths, told us the way down was not easy, as there was no clear path.
Marie, unsure of her footing, stayed near the entrance. Naomi, afraid of the unknown, perched on a rock at the back of the first room holding her candle. Mara, Mardy, and I braved the descent. We did not know what awaited us in the dark. With candles and small flashlights, we climbed and slid, sensing a way down. The rocks were cool, damp in some places, but not slippery. There were no sharp edges because the rocks had been smoothed by water. Encouraging each other we reached a place where it looked like the next descent would be though a hole or narrow opening. We still had faint light from the mouth of the cave. The final passageway was unknown, frightening, inviting. We paused, eyes fixed on the dark opening. Mardy broke the silence saying that we should turn back because the sun was about to set.
I made the ascent more rapidly than the others, my body urging me on until I reached the first level. As I walked slowly up the path that meandered through the first large room, I could see two women before me with candles, and two behind me coming up from the depths. I could almost see Persephone coming up from the underworld, torch in hand. Surely it was in a place like this that the Eleusinian Mysteries began.
The most important ingredient, however, is not an ‘ingredient’ as such, but a shape. The bread, the cheese, and the cheese spread are all round. That by itself might not seem remarkable, but the Latin terminology (words from which ‘orbit’ and ‘globe’ derive) is identical to then contemporary astrological terminology. The bread is even scored into quadrants, symbolizing, among other things, the four elements and the quadrants of an astrological observer’s circle.
The ancient audience of Moretum would have recognized in all this the world view of the Italian poet from southern Campania, Parmenides. Though the only poem he is known to have composed is in Greek, the combination of the fact that he likely wrote it while in Italy and that it had over the centuries since its composition become one of the most influential philosophical works of pre-Christian antiquity meant Parmenides had special importance to Romans. It is not surprising Moretum has the same meter and many of the poetic images as are found in the poem of Parmenides.Continue reading “Why Is Pizza Round? The Black Goddess of Rome by Stuart Dean”
I am mad. So very mad. No, that doesn’t begin to describe it. I am pissed. I am angry. I am irate. I am incensed. I am outraged. I am enraged. I am livid. I am GODDESS DAMN FURIOUS.
“All men are created equal,” states the Declaration of Independence. From the very beginning, women were denied equality in this country. It has taken over two centuries for women to win the right to vote, to have alleged protection under the law, to earn as much as 68 and 77 cents on the dollar (depending on our skin color) that men are paid, and to gain control over our own bodies and destinies.
And now, nearly 250 years later, we are seeing our rights, our freedoms, our health care being stripped away, one by one, by mean spirited, misogynistic, right wing religious uber-conservatives. In 2015 there is still no Equal Rights Amendment. Women are still not equal under the law. Continue reading “I am mad by Mama Donna Henes”
Niamh (meaning ‘bright’ or ‘radiant’) of the Golden Hair, one of the Tuatha de Danann and daughter of Mannanan mac Lir, Celtic God of the Sea, was Queen in the land of Tír na nÓg (pronounced Tear na Noge), the most famous of the Celtic Otherworlds.
“If there is one chant in the universe it is to create.”
dismayed, and my feelings felt hurt in a sense. First I felt like, Argh! This is a metaphor for life! And, then I realized it was not just a metaphor for life, it is my actual life! I pouted a bit and said I was just going to smash her and give up and I made some bitter faces at my husband and some long-suffering huffs and signs, but then the baby fell asleep in the Ergo, held close against my chest. I kissed his soft hair and I took my clay and started again. I reclaimed her from the smashed parts and she sat stronger and taller than ever.
the floor collecting dust, and it was time for our collaborative dinner, so I had to put her away unfinished. When we got back to our own home, I was compelled to finish her, working feverishly as the baby pulled on my legs and I said, “just a few more minutes!” to the older kids who were trying to play with him to let me work. Again and again I re-rolled the clay baby’s head, trying to make it “perfect,” and worked to lay down the strands of her hair, against of the backdrop of this often-chaotic, noisy, home-based life we’ve consciously and intentionally created together. She was created to represent holding my own center in the midst of motherhood. I will be tender with my heart. I don’t create sculptures like this because I AM so “Zen” and have life all figured out, I make them to remind me what is possible if I listen to my soul.with the priestesses as the figures came through my hands. Each doll received the sacred vibration of life…For seventy-seven moons I made the dolls at the long table with the young Sisters of Nun. My hands were so fast. I made thousands of figures: beautiful little faces, etched collars of gold plates, pubic hair swirled into tiny rows of connecting spirals. They were so precious. At the end of the day, my baked clay shelves were covered with little women.
inches tall or taller. The goddesses I make are all about three inches tall and there’s a reason for that: they fit in the palm of my hand. When I create them, I feel as if I’m part of an unbroken lineage stretching back 30,000 years to the person who carved the Goddess of Willendorf. I feel connected to the priestesses of the Mesopotamian temples who sculpted hundreds upon hundreds of tiny clay goddesses. Someone commented on my sculptures once saying, “echoes of Mesopotamia.” And, I said, “exactly.” I feel the connection between the clay in my hand and the clay in their hands, running through the ripples and eddies of time.
through the book was the concept of “As Above, So Below and As Within, So Without.” I read this book as part of my research for my dissertation about contemporary priestessing and as I read, I kept thinking, I want to hear from the Mamapriestesses, from the Hearth Priestesses! Where are the other practicing priestesses with children at home? I noticed in Christine’s book that the bulk of her work took place after her children were grown and, to my mind, she also had to distance or separate from her children and her relationships in order to fully embrace her priestess self. I notice in my reading and my research group that many women seem to come to priestess work when the intensive stage of motherhood has passed, or they do not have children. Is there a very good reason why temple priestesses were “virgins” and village wise women were crones? Where does the Mamapriestess fit?
Having spent the past year and a half immersed in the study of Celtic Goddesses, I am intrigued by the sharing of many of their attributes, symbols, and associations – shape-shifting, magical birds, and apple orchards in the Otherworld to name just a few. One other common thread found in so many Celtic Goddesses is the existence of many contradictory folk tales about them. Their stories, like the otherworldly mists of the Celtic countryside, which materialize suddenly, obscure reality and then melt away again, exist on the frontier of myth and reality.
Savor an excerpt from A Serpentine Path: Mysteries of the Goddess:
The Eilitheia Cave is in the hills above the ancient port of Amnissos. We arrived in the morning, accompanied by the guard who came with us to unlock the gate. The cave has one large, long room, with a wide mouth, and a low ceiling. There is a belly stone near the entrance that women rubbed to insure conception. Near the center of the cave, in shadowy darkness, are two stalagmites, one squat and the other tall, surrounded by the remains of ancient walls that enclosed the sacred space. The guard told us that they were worshipped as the Mother, seated, and the Daughter, standing. Their heads were chopped off with the blow of an ax. In the back of the cave there are small pools of water, used for healing
As our eyes adjusted to the darkness, we felt that we too had entered into the womb of the Mother. Naomi sat by the Daughter stalagmite, while I leaned against the Mother. We chanted to Her and sang, aware of the bemused but accepting presence of the guard, who retreated to the entrance of the cave. As we turned to leave, Mara crouched at the cave’s entrance to take a picture, her short, full body the image of the Mother Goddess, her wispy blonde hair capturing the light, crowning her like a halo. Slowly, we emerged from the cool depths, the place of ancient mysteries, into the light and warmth of the midday sun.
Marie, unsure of her footing, stayed near the entrance. Naomi, afraid of the unknown, perched on a rock at the back of the first room holding her candle. Mara, Mardy, and I braved the descent. We did not know what awaited us in the dark. With candles and small flashlights, we climbed and slid, sensing a way down. The rocks were cool, damp in some places, but not slippery. There were no sharp edges because the rocks had been smoothed by water. Encouraging each other we reached a place where it looked like the next descent would be though a hole or narrow opening. We still had faint light from the mouth of the cave. The final passageway was unknown, frightening, inviting. We paused, eyes fixed on the dark opening. Mardy broke the silence saying that we should turn back because the sun was about to set.
A Serpentine Path: Mysteries of the Goddess is available in kindle and paperback. Carol P. Christ leads the life-transforming Goddess Pilgrimage to Crete. Her books include: Goddess and God in the World: Conversations in Embodied Theology, written with Judith Plaskow and She Who Changes and and Rebirth of the Goddess; also with Judith Plaskow, the widely-used anthologies Womanspirit Rising and Weaving the Visions.
Feminism and Religion 