Crete

TRAVELOGUE INTO HISTORY: MY BIG FAT GREEK ODYSSEY (Part 2) by Sally Mansfield Abbott

Part 1 was posted yesterday. You can read it here.

Arriving in Heraklion on Crete, I was enlivened by the sea air and the informal “island” vibration. My sister and I made our way through its labyrinthine streets, following Daedalus, a pedestrian street named after the legendary creator of the labyrinth at Knossos, the prototype of the artist, who Joyce names as his stand-in in Portrait of the Artist as a Young Man and Ulysses. Our hotel was on Theotokopolous Street. (They’d call you El Greco too if your name was Domenikus Theotokopolous.) Nikos Kazantzakis was also from Heraklion, a city noted for its artists.

Knossos was a small, contained place circled by pine trees, unlike the sprawling sun-drenched expanse of a typical archeological site. There were restored ocher columns, four storeys to the palace, open courtyards for bull leaping, and cisterns that had been used for self-purification. Its red clay and turquoise frescoes were so familiar to me, with their vivid colors and playful lines that Matisse could have envied. No wonder it was the prototype of a work of art!

Carol P. Christ’s Legacy: Is This How Patriarchy Began?

This was originally post on June 19, 2017

In my widely read blog and academic essay offering a new definition of patriarchy, I argued that patriarchy is a system of male dominance that arose at the intersection of the control of female sexuality, private property, and war. In it, bracketed the question of how patriarchy began. Today I want to share some thoughts provoked by a short paragraph in Harald Haarmann’s ground-breaking Roots of Ancient Greek Civilization. Haarmann briefly mentions (but does not discuss) the hypothesis that patriarchy arose among the steppe pastoralists as a result of conflicts over grazing lands. As these conflicts became increasingly violent, patriarchal warriors assumed clan leadership in order to protect animal herds, grazing lands, and the women and children of the clan.

On the recent Goddess Pilgrimage to Crete, while we were driving through sparsely populated grazing land, my friend Cristina remarked that the shepherds on foot wearing traditional clothing that she had seen several decades earlier had been replaced by men in shirts and jeans, driving farm trucks. Her nostalgic reverie was interrupted by our young Cretan bus driver who said, “You would not want to be alone with one of those men, not now and certainly not then.”

Carol P. Christ’s Legacy: THE LABRYS: A RIVER OF BIRDS IN MIGRATION

Moderator’s Note: Carol Christ died from cancer in July, 2021. Her work continues through her non-profit foundation, the Ariadne Institute for the Study of Myth and Ritual and the Goddess Pilgrimage to Crete. This blog was originally posted July 29, 2013. You can its original comments here.

“There’s a river of birds in migration, a nation of women with wings.” —Goddess chant, Libana

On the Goddess Pilgrimage to Crete, I explain that many of the names given to “Minoan” (c. 3000-1450 BCE) Cretan artifacts and architecture are products of patriarchal and Eurocentric imaginations, and as such, are misleading. For example the name “Minoan” was given to the culture of Bronze Age Crete in honor of “King Minos,” who was said to have ruled in Crete a few generations before the Trojan War–several hundred years after the end of the culture to which his name was attached. In fact, despite his eagerness to find evidence that King Minos ruled at Knossos, the excavator Sir Arthur Evans finally had to concede that the best he could do was to produce a fresco of a “Prince of the Lilies” which he identifed as the image of the male ruler of the culture he called “Minoan.” Evans’ Prince had white skin, a fact that Evans conveniently overlooked–because according to his own interpretation of “Minoan” iconography, white skin would mark the figure as female. Mark Cameron, who reviewed Evans’ reconstruction of the fresco, suggested that the Prince is more likely to be a young woman who is perhaps leading a bull to take part in the bull-leaping games. He also stated that the “crown” belonged to another fresco altogether.

Altars Everywhere, Part 1 by Carol P. Christ

In a recent blog, Carolyn Boyd invited us to reflect on how our women’s spiritual power is activated through symbols that help us to remember and manifest the “deep well” of our inner knowing. According to historian of religion Mircea Eliade, the sacred and the profane were not separated in premodern cultures because all of life was considered to be sacred. Many in the Women’s Spirituality and Goddess communities have advocated this earlier more wholistic understanding. Although it is not always easy to overcome the dualism between sacred and profane, we attempt to do so.

One of the symptoms of my chemotherapy is neurasthenia or partial numbness in my right foot. When it first occurred, I fell three times in my apartment because I was not lifting my foot automatically. I became afraid to move without holding onto the walls or furniture. I resisted my friends’ advice to get a walker, but finally agreed that I needed some form of physical support. I arranged for my friend Eirini Kouraki to have a rubber tip added to the shepherd’s cane I sometimes use walking in the mountains. When she brought it too me, I decorated it with three ribbons I saved from rituals at the Holy Myrtle Tree at the Paliani monastery in Crete. The most recent were brown, the color of the earth, and red, the strong energy I will need to heal. I added a light green-blue ribbon, representing the calm and clear optimism I feel as I face a crisis of life and death. The ribbons remind me of the healing power of the Holy Tree that I have called upon many times, turning a symbol of my infirmity into a symbol of healing and hope.

In the past weeks as my cancer treatment continues, I have been feeling strong enough to finish unpacking (with the help of Vera, my cleaning lady) and organizing my new home in Crete. As I rediscover sacred objects, I create altars. Altars are physical reminders of our spiritual beliefs. Creating and tending them helps to create the embodied knowing that brings the spirit into our daily lives.

The living area of my new apartment has 3 glass shelving units. In one of them, I created a triple altar with images of the Goddess and female power from ancient Crete. Because the apartment is sleek and modern yet welcoming to my antique furniture, I kept the altar minimal.

On the top shelf I placed three pre-palatial “pitcher” Goddesses, two with breasts from which liquid pours and one that is holding a water jug from which liquid can also be poured. These images, dated before 2000 BCE, express the Old European insight that the Goddess represents the powers of birth, death, and regeneration in all of life. Though they have human qualities, they are more than human. The Goddess from Malia who sits in the center of this altar has a beaked face and wings and her triangular shape evokes the mountains from which water flows to villages and fields. These images remind me that the Goddess is the Source of Life, provider of gift of life that is our embodied being and the gifts of life—including food and water–that nourish us daily.

The second shelf holds one of the oldest images from ancient Crete, the Neolithic Goddess from Ierapetra. She is seated on massive buttocks, securely rooted in the earth. Her face is beaked, symbolizing her connection to the birds that fly in the air. Her body is decorated with lines identified by archaeologist Marija Gimbutas as the flowing water that nourishes all of life. Her body too is shaped like the mountain. She represents the never-ending powers of birth, death, and regeneration in all of nature.

In front of the Neolithic Goddess I placed a twig from Paliani with a dark blue ribbon reminding me that my friend Tina Nevans is sending the healing energy of the Blue Buddha to me in her daily meditations, as well as several handsewn triangles holding leaves from the Holy Myrtle tree, and a crystal extracted from the Trapeza Cave, found on the path outside of it. To Her right is a small image of the long-necked turtle Goddess from Myrtos who holds a pitcher recalling women’s daily visits to water sources, and a small copy of a Kamares ware pitcher used to pour libations in the Sacred Centers. To the left are a bronze copy of a labrys, originally the double sacred female triangle transformed into wings and also a happy little bull who reminds us that animals experience the joy of life.

On the lower shelf, copies of dancing women from post-Minoan Paliakastro symbolize the transmission of Old European values of community, lack of hierarchy, and most of all, celebration of the joy of life as Laura Shannon has written. The dancing women are surrounded by images of later Mycenaean Goddesses and of Aphrodite who was worshiped at the Minoan site of Kato Symi in classical times, and a small reproduction of the Neolithic Goddess from Catal Huyuk, who reminds us that Crete was settled c.7000 BCE by farmers from Anatolia.

In the hallway I placed a copy of a drawing of the Holy Myrtle Tree of the monastery of Paliani created by one of the nuns. According to the story told, the area where the monastery was later built was burned in a fire but a small myrtle bush survived. It was watered by girls who saw the image of the Panagia (Mary the Mother of Jesus) in its charred branches. So, the monastery which was known as ancient in 668 CE was built. The monastery is a sacred place for the surrounding villages. The sacred tree and the icon of the Panagia in the church are said to have performed many miracles. Below the drawing of the Sacred Myrle Tree is a small image of a face in a twig from tree given to me by German artist Carla Randel.

On a small table under the drawing, I placed an image of Aphrodite who was earlier associated with myrtle trees, along with a candle, a star, a blue glass paperweight, and a triton shell, symbolizing Aphrodite as the morning and evening star, and her relation to the sea.

When I light candles in translucent glass holders on the altar with the pitcher Goddesses as the day dawns and in the evening as day turns to night, and when I gaze at my other altars, I remember that I am always surrounded by the nurturing love of the Goddess. This love takes root in my body, and I am inspired to share it with others.

To be continued.

Endings, Beginnings, and Dreamings by Carol P. Christ

Fifteen years ago, I bought my dream home in Molivos, Lesbos, one of the most stunning villages in the world. Over the next two years I renovated a listed Neoclassical house that had been neglected for over thirty years, restoring it to its original beauty. One of my friends who visited exclaimed that it looked like a movie set. Someone else said that the final result was “more Greek than Greek.” I thought this would be my forever home. But, as I have discussed in an earlier blog, I came to feel isolated in a small village.

Two years ago, I followed my heart to Crete, renting a lovely apartment in Heraklion, followed by a house near the sea. Then back to Lesbos, travel to the US and Canada, and Crete again after Christmas. I would have been happy to move back to the apartment I had rented the previous year, but this time I would bring my little dog. The apartment under my friend’s house outside Heraklion seemed like a good compromise, but the drive to Heraklion proved treacherous and parking difficult. Continue reading “Endings, Beginnings, and Dreamings by Carol P. Christ”

The Lost Is Found by Carol P. Christ

Since I wrote “Claiming the Power to Choose to Our Lovers” and “Choosing to End Love” in the spring, my beloved and I came back together and parted again, not once, but twice. At the end of the summer, believing our separation to be final, I decided to drop a miniature copy of the Minoan bee pendant, symbol of my desire to “let go of a beautiful dream,” into a crevice in the Skoteino Cave while on the Goddess Pilgrimage to Crete.

I don’t believe in divine intervention, but something happened to stop me. The day before the ritual, the pendant disappeared. It was not in my jewelry case, not in my handbag, not anywhere in my suitcase or my hotel room: it was nowhere to be found. That same day I received a gift of a large jar of honey from a local shopkeeper. In the end, I dropped a sugar-coated almond into the crevice and poured every bit of the honey onto the altar of the cave, asking for transformation and love. Continue reading “The Lost Is Found by Carol P. Christ”

The Heraklion Museum: A Critique of the Neolithic Display by Carol P. Christ

If I had been asked to write the words that introduce visitors to the Heraklion Archaeological Museum of Crete to its earliest inhabitants, I would have said something like this:

While there is evidence that human beings visited Crete as early as 150,000 years ago, the first permanent settlers arrived from Anatolia in the New Stone Age or Neolithic era, about 9000 years ago, bringing with them the secrets of agriculture and soon afterward learning the techniques of pottery and weaving. As the gatherers of fruits, nuts, and vegetables and as preparers of food in earlier Old Stone Age or Paleolithic cultures, women would have noticed that seeds dropped at a campsite might sprout into plants. Women most likely discovered the secrets of agriculture that enabled people to settle down in the first farming communities of the New Stone Age. As pottery is associated with women’s work of food storage and preparation, and as weaving is women’s work in most traditional cultures, women probably invented these new technologies as well. Each of these inventions was understood to be a mystery of transformation: seed to plant to harvested crop; clay to snake coil to fired pot; wool or flax to thread to spun cloth. The mysteries were passed on from mother to daughter through songs, stories, and rituals. Continue reading “The Heraklion Museum: A Critique of the Neolithic Display by Carol P. Christ”

The Beauty Way by Carol P. Christ

When I learned about the Navajo Beauty Way, I understood it to be a path in which human beings respect all beings in the web of life and live in harmony with them. But I didn’t understand why this path was called the “Beauty Way.” As a young woman, I knew that my worth was defined by many in terms of my ability to conform to ideals of female beauty promulgated in movies, tv, and advertising. I didn’t believe the Navajos were talking about beauty in that sense, but because of my conditioning, I was not yet able to fully grasp what they might mean by beauty. I would have called the way they were describing a “Way of Harmony” or a “Way of Respect for Life.”

Still, I wondered: why the Beauty Way?

Marija Gimbutas described the societies of Old Europe as peaceful, settled, agricultural, highly artistic, matrifocal and probably matrilineal, and worshipping the Goddess as the power of birth, death, and regeneration in all of life. Though I am impressed with the beauty of the many small works of art Gimbutas reproduced and interpreted in The Language of the Goddess, I sometimes inadvertently omit the words “highly artistic” when repeating in her definition of the culture of Old Europe. I have tended to view the fact that Old Europe was peaceful and matrifocal as more important than the fact that it was highly artistic.Yet this judgment is wrong. In calling the cultures of Old Europe “highly artistic,” Gimbutas was trying to convey her understanding that appreciation of the beauty of life was fundamental within them.

We have been taught that “high” or “great” art is most often monumental in size. The Pyramid of Giza is over 230 meters (756 feet) tall. The Great Sphinx of Giza is 20 meters (66 feet) high. The Parthenon rose to 14 meters (45 feet) and the statue of Athena inside it was 9 to 11 meters (35-40 feet). It is telling that we use the words “high” and “great” (originally measures of size) to describe the value of artistic creations.

Statue of Athena in Parthenon reproduction in Nashville, Tennessee

The purpose of monumental works of art is to diminish the viewer, to make the her feel small, to induce her to bow down, to worship, and to obey a power or powers greater and higher than herself.

In contrast, the small scale of the art of Old Europe does not diminish anyone or anything. Its purpose is not to make anyone one want to bow down. Instead small works of art make the viewer feel comfortable, welcomed, and part of the beauty of life that is depicted.

Marija Gimbutas viewed ancient Crete in the Bronze age as the final flowering of the culture of Old Europe. In Crete too, everything is on a small scale. Though the so-called Palaces or Sacred Centers are large, the rooms within them are small. There is not a single room where crowds could have bowed down to a King or Queen. Nor are there images of deities larger than life. The famous Minoan Snake Goddesses are less than 15 inches tall and the well-known pitcher Goddesses are even smaller. Such objects would have been held in hands during rituals or set on low benches in small rooms lit by oil lamps.

Snake Goddesses of Bronze Age Crete c. 1500 BCE

When my friend’s daughter Klia was seven years old, she spent her afternoons collecting stones by the sea. One day I asked her if the stones spoke to her. “Of course,” she replied. “What do they say?” “They say, ‘we are very beautiful.’”

Klia intuited the meaning of the Beauty Way. It has nothing to do with artificial beauty standards. It has nothing to do with size. It is recognizing beauty everywhere and in everything. When we do so, we walk in beauty, in the grace and joy of life. And yes, the Beauty Way has ethical implications, for no one who truly recognizes beauty could want to harm it. This was understood by the Navajos, the Old Europeans, and the ancient Cretans, and many others. Only we seem to have forgotten. We can remember.

Carol P. Christ is an internationally known feminist writer and educator living in Molivos, Lesbos, who volunteers with Starfish Foundation that helps refugees, assisting with writing and outreach. Carol’s new book written with Judith Plaskow, is Goddess and God in the World: Conversations in Embodied Theology. FAR Press recently released A Serpentine Path: Mysteries of the Goddess. Join Carol on the life-transforming Goddess Pilgrimage to Crete. Carol’s photo by Michael Honegger.

Learning Gratitude for the Gifts of Life on the Goddess Pilgrimage to Crete by Carol P. Christ

In Crete we are always being given gifts—fresh cherries, ice cold bottles of raki, yogurt swimming in honey, and so much more. Over the years it finally hit me that this spirit of great generosity is a living remnant of the ancient Cretan egalitarian matriarchal tradition of gift-giving.

In egalitarian matriarchal cultures gift-giving is not something reserved for birthdays and holidays. It is a way of life rooted in the primary understanding that life is a gift that is meant to be shared.

Our lives are a gift from our mothers. Our individual lives have are not something we create or created for ourselves. We all emerged from the body of a mother. We were all given the gift of care and feeding by a mother or others. Our mothers did not create themselves. They emerged from the bodies of mothers and were cared for and fed by mothers or others. And so on back to the original mother of the human race, known as the African Eve.

Continue reading “Learning Gratitude for the Gifts of Life on the Goddess Pilgrimage to Crete by Carol P. Christ”

Notes from A Goddess Pilgrimage by Joyce Zonana

JZ HEADSHOT

The solar eclipse has had me sensing deep alignment with earth, sea, and sky, with my sisters and brothers and Self. This, then, from my 1995 journal of my first Goddess Pilgrimage to Crete with Carol Christ, a trip still engraved in my heart:

June 3 – Yesterday, anointing us with rose, lavender, or olive oil, Jana said, “Your journey has begun.” But for me it is this morning, with the purchase of this journal at the biblio on the square across from the hotel, where I sit now in the lobby, traffic noise outside, our group gathering, preparing for our journey . . . happy to be here . . .

Bleeding at the home of the Panagia, the all holy, the sacred mother, sacred myrtle, ancient tree of Aphrodite, Mary, black-bent nuns: we tie ribbons to the tree, sing, “all manner of things shall be well. Blessed be, walk in beauty.” And I am utterly in tears as I walk on the grounds of this ancient place, the birds singing everywhere, yet there is quiet, stillness, an ancient peace . . . A pilgrimage, a shrine, a very holy place.

Continue reading “Notes from A Goddess Pilgrimage by Joyce Zonana”

Honey: A Thousand Flowers by Mary Beth Moser

Today I am finishing the last bit of the honey I hand-carried home from my most recent trip to Trentino. Sun yellow in color, it is made from the nectar of mountain flowers. Its label tells its origin—di montagna, of the mountains, and its type — mille fiore, often translated as “wildflowers.” Literally, however, it means “a thousand flowers.”

The valley where my maternal grandmother was born, Val di Sole, is renowned for its honey. In Croviana, one of the villages in the valley, new honey is celebrated in July with a sagra, a communal food festival. There are more than a dozen different types of honey from Trentino, including apple, chestnut, and rhododendron. These are plants of place – nature’s gifts that appear in the folk stories and are present in everyday life. Continue reading “Honey: A Thousand Flowers by Mary Beth Moser”

Is This How Patriarchy Began? by Carol P Christ

Knossos: The Truly True Story by Barbara Ardinger

Barbara Ardinger (Note: this story was inspired by a blog written by Carol P. Christ. But she’s not responsible for the nonsense I write.)

Once upon a time there was a woman named Carol who lived in the largest house on the Island of Crete and had the largest flower garden and the largest herd of cattle. Because of her riches, not to mention her common sense, she had been elected chief of the Council of Mothers, the government of the island. The Council had searched and searched for a proper title for their leader and finally, reluctantly, decided that Queen was as good as anything else…as long as everyone remained politically correct and understood that Queen was merely a handy title. Queen Carol had a husband named Minos who tried and tried to assume the title of King, but no one ever paid any attention to his pretensions. Because he had nothing else to do, he spent most of his time lounging in the front parlor and reading the Knossos Times-Myth-Dispatch.

“Look here,” he said one day, waving the newspaper at his wife. “The Greeks are ramping up for a war over in Troy. They’re calling for kings and armies to join them.”

Carol laid her feather duster aside for a minute. “Well, if you really want to,” she said, “you can go. It’ll be better for you than sitting around here all the time and complaining that you’re bored. But you’d better not come back here and set yourself up as a warrior king! None of those huge statues like they’ve built in Egypt. None of those huge temples with carvings of conquering armies on them, either. We mothers won’t stand for it!”

Continue reading “Knossos: The Truly True Story by Barbara Ardinger”

Argument from “Absence” and Absence of Dialogue by Carol P. Christ

Recently in a conversation with a noted archaeologist and his male graduate student assistant, I proposed that the absence of war and the trappings of war, including images of larger than life-size warrior kings, suggested to me that we should not understand the social structure of ancient Crete on the model of patriarchal kingship. “Kings are always warriors,” I said, “yet there is no clear and convincing evidence of organized warfare in ancient Crete. And,” I continued, “because warrior kingship is not a ‘natural state,’ but one achieved through warfare and domination, kings must legitimate and celebrate their power through larger than life-size images of themselves. Such images were common in ancient Sumer and in ancient Egypt, but are not found in ancient Crete.”

The response I received was unexpected: both archaeologists seemed dumbfounded. “Is kingship always associated with war?” they asked. “Yes,” I responded, “this is a conclusion I reached many years ago while studying the cultures of ancient Greece and ancient Israel, and I have recently elaborated this theory in a series of essays on the blog Feminism and Religion ( See “Patriarchy as a System of Male Dominance Created at the Intersection of the the Control of Women, Private Property, and War”).” Continue reading “Argument from “Absence” and Absence of Dialogue by Carol P. Christ”

GIVING BACK TO THE MOTHER by Carol P. Christ

One of the inspirations for the Goddess Pilgrimage to Crete was the spiritual power and energy I felt at the monastery of Paliani with its Sacred Myrtle Tree. The Panagia, She Who Is All Holy, is said to live in the tree, and the nuns who tend the tree follow customs far older than Christianity. When I first visited Paliani, I asked Her to heal my broken heart and help me find my true love.

Over the years, I have offered many other prayers: for my books and tours, for health, for citizenship that would enable me to stay in Greece. I tell other pilgrims that the Panagia of Paliani has performed many miracles and repeat the story of the doctors who desperately wanted to have a child, who had tried everything, and who had a son a year to the day after making a prayer at Paliani. I point to the many “tamas,” including gifts of precious jewelry, crutches and body braces that have been given in honor of the power of the Panagia of Paliani.

In the fall of 2012 one of our members prayed that a heavy flow of menstrual blood that often lasted for more than half of every month be stopped so that she would have the strength to participate fully in the pilgrimage. She had been bleeding for 5 weeks when she came on the tour, and her bleeding stopped the moment she touched the tree. Continue reading “GIVING BACK TO THE MOTHER by Carol P. Christ”

IS THE SPIRIT OF GREAT GENEROSITY IN CRETE A SURVIVAL OF ANCIENT MATRIARCHAL VALUES? by Carol P. Christ

At a coffee shop in Agios Thomas, Crete last month a perfect stranger offered to pay for the coffees and sodas of the 16 women on the Goddess Pilgrimage to Crete. This spirit of great generosity is rarely experienced in the United States or other parts of Europe, but it is still common in rural Crete and some parts of Greece.

In fact our group was in Agios Thomas because our bus driver Babis, also in a spirit of great generosity, insisted on stopping to show us his village when we were passing nearby. He guided us to see Roman rock cut tombs and arranged for the early Byzantine church to be opened. At the end of the our pilgrimage, Babis stopped the bus at a wooded glen beside a small church where he offered us his own homemake raki, wine, and olives, accompanied by local sheep cheese he had purchased while we were climbing a mountain. After every meal that we ate in local tavernas, we were offered bottles of cold raki, fruit, and sweets.

This spirit of great generosity has long been commented on by travelers in Greece, who often speak of it as unexpected (for them) hospitality to the stranger or traveler. That it is, of course. Through the work of Heidi Goettner-Abendroth, I now understand that the famous Greek hospitality to the stranger has deep roots in matriarchal cultures. According to Goettner-Abendroth, equality of wealth is assured through the widely-practiced custom of gift-giving in matriarchal cultures. Continue reading “IS THE SPIRIT OF GREAT GENEROSITY IN CRETE A SURVIVAL OF ANCIENT MATRIARCHAL VALUES? by Carol P. Christ”

Earth Connection & Healing the Bees by Jassy Watson

I’m an avid gardener. I must, need, long to have my hands in the soil. The sweet smell and feel of the earth connects me to something greater, to a sense of ‘other’; a source divine. I am interwoven, connected, at one and in reverence of a greater mystery. When I think about my connection to the earth and its origins, I find it is a connection I have had my entire life. As a young girl I spent many hours, days, in fact years, exploring the Australian bush – it was my backyard. Some of my most prominent memories are the smell of Eucalypt and the crescendo of cicada song that would permeate my entire surroundings throughout summer. As a teen, time and time again, I bushwalked our families property that backed onto mountainous National forest. I often sensed the indigenous ancestral spirits of our land watching attentively.

It is this deep connection that I have to the earth that not only leaves me feeling exultant, it leaves me troubled. I am troubled by the continuing problems caused to the environment. I admit to feeling quite disturbed recently when I read a number of reports about the persisting problems with the Fukushima Nuclear plant – radiated water still leaking into the ocean. Birdlife and ocean animals found suffering from radiation burns. Should we even be eating fish from the pacific? I can’t begin to fathom the enormity of the repercussions from this disaster that will be seen for many generations to come. My inner activist wants to be out there on the frontline, riding the waves on the Rainbow Warrior, tied to an ancient tree in protest of lopping; but I know my place is here, nurturing my little ones. So what can I do with these troubled feelings, with the frustration and with the love I have for Mother earth and all her beings? Action starts from home. So I let it fuel my fire and I get creative. I paint, I write, I garden; with intention. My intention is to play a role, no matter how small, that aids in the healing of the planet. I hold hope that it inspires other to do the same. Continue reading “Earth Connection & Healing the Bees by Jassy Watson”

THE LABRYS: A RIVER OF BIRDS IN MIGRATION by Carol P. Christ

“There’s a river of birds in migration, a nation of women with wings.” —Goddess chant, Libana

Evans’ failure to find evidence of a King or for that matter a Queen at the complex of buildings he called “The Palace of Knossos” calls into question his idea that these structures were palaces. Nanno Marinatos argued that the “palace” was instead a ritual center for the surrounding village, as well as a community gathering place, a place for storing grain, wine, and oil in a sacred way, and a place where ritual objects were fashioned of clay, bronze, stone, and gold. Following her lead, I renamed the “Palaces” “Sacred Centers.” In this blog I will experiment with renaming the “Minoan” culture “Ariadnian,” after the pre-Greek name Ariadne, which may be one of the names of the Goddess of Bronze Age Crete.

One of the most pervasive–and many would say–most enigmatic symbols of the Ariadnian culture is the labrys. Continue reading “THE LABRYS: A RIVER OF BIRDS IN MIGRATION by Carol P. Christ”

Bird Watching and Geology in the Body of Goddess by Carol P. Christ

The notion of the earth as the body of Goddess has taken on deeper meaning for me in recent years. I have felt connected to nature all of my life. Yet often, though not always, I have related to nature in general rather than in specific ways. Some years ago, after reading Hartshorne’s essay “Do Birds Love Singing?” I stopped for the first time in the wetlands of Kalloni, Lesbos, to see the flamingoes that live in the salt pans there.

One thing led to another, and I met someone with whom I spent the next six weeks visiting every pool and puddle where birds were stopping in Lesbos that spring. Continue reading “Bird Watching and Geology in the Body of Goddess by Carol P. Christ”

Inspiration by Jassy Watson

Jassy_Agora1-150x150 This “Mountain Mother” painting is an ode to women’s earth wisdom and is my prayer for reclaiming of that wisdom to heal the earth and all her beings.

When I am inspired to paint I can think of nothing else, the desire to put brush to canvas takes over every ounce of my being, and it is difficult to be present in everyday life. There are other times where I’ve wanted to create but inspiration was lacking: I would start a painting and have no desire to finish it. I would often get quite frustrated at myself. It’s only recently that I’ve had the realisation that down time is just as significant as the up time. Rather than get anxious about not creating a masterpiece, I have learnt to go with the flow, take pleasure in the time of rest, because I know it’s all part of the cycle. My inspiration always returns with abundance. Presently I am bursting at the seams with creativity, and I can’t find enough hours in the day to let all this inspired energy out. I am overcome with a sense of urgency I can’t explain. I am committed to paint and write with the intention that my personal message becomes part of the global message for change as our sacred feminine wisdom is being called forth. I am determined and full of courage to be part of the movement that brings about a shift in all aspects of life.

My present state of inspiration can be attributed to my recent Goddess pilgrimage to Crete with Carol Christ. I am sure that anybody who has attended such pilgrimages will attest that these experiences are life-changing. Travel alone is profound, but to share the experience in a circle of twenty amazing women is even more so. We sang, danced, trekked through the Cretan countryside, delved deep into caves; the womb of our great mother, climbed mountains and cleansed in the sea. We prayed and communed with the goddess daily, participating in rituals that were meaningful, un-contrived and safe. While I have always known that the goddess is everywhere, within and without–encountering her ancient past in a present day context is a feeling I’m not sure I can adequately describe with words, hence my desire to express some of these feelings through my art.

Continue reading “Inspiration by Jassy Watson”

The Turtle Goddess from Myrtos in Ancient Crete by Carol P. Christ

“As we bless the Source of Life, so we are blessed.” Song by Faith Rogow.

The strange and cheerful figure portrayed in this ancient Cretan vessel comes from the site known as Fournou Korifi near Myrtos, in Crete. Dated before 2000 BCE, she was called the “Goddess of Myrtos” by the excavator, Peter Warren. This little Goddess was found on an altar in a small room in the ritual area of a complex of small rooms on a hill above the sea that was home to up to 120 people. The Goddess of Myrtos is a vessel holding a vessel. In ritual libations, liquid would have been poured from the pitcher she holds onto an altar.

She is obviously female, with breasts and a sacred triangle. Continue reading “The Turtle Goddess from Myrtos in Ancient Crete by Carol P. Christ”

“The Language of the Goddess” In Minoan Crete by Carol P. Christ

While the “war against Marija Gimbutas,” rooted in what my friend Mara Keller calls “theaphobia,” is being waged in the academy, her theories continue to unlock the meaning of hundreds of thousands of artifacts from the culture she named “Old Europe.”

According to Gimbutas, the Neolithic and Chalcolithic cultures of Old Europe c. 6500-3500 BCE were peaceful, sedentary, agricultural, matrifocal and probably matrilineal, egalitarian, and worshipped the Goddess as the power of birth, death, and regeneration in human and all forms of life. The cultures of the Old Europe contrasted with the Bronze Age cultures of the Indo-Europeans who brought the Indo-European languages and value systems to Europe and India and to all of the European colonies. The Indo-European cultures were patriarchal, patrilineal, nomadic, horse-riding, and warlike, and worshipped the shining Gods of the sky.

“The language of the Goddess” includes a series of signs and symbols that the people of Old Europe could “read” as surely as you and I know that a cross on top of a building marks it as Christian or that a woman wearing a star of David pendant is Jewish. Gimbutas identified the meaning of these symbols through a painstaking process that involved comparison of artifacts, attention to where they were found, and clues from the recurrence of similar symbols in later cultures. In twenty years of leading Goddess Pilgrimages to Crete, I have found Gimbutas’ theories an indispensible “hermeneutical principle” which unlocks the meanings of the artifacts we encounter.

Continue reading ““The Language of the Goddess” In Minoan Crete by Carol P. Christ”

Why a Goddess Pilgrimage? by Carol P. Christ

What is a Goddess Pilgrimage and why are so many US, Canadian, and Australian women making pilgrimages to ancient holy places in Europe and Asia? The simple answer is that women are seeking to connect themselves to sources of female spiritual power that they do not find at home.

Traditionally pilgrims leave home in order to journey to a place associated with spiritual power. “Leaving home” means leaving familiar physical spaces, interrupting the routines of work and daily life, and leaving friends and family behind. For the pilgrim, “home” is a place that has provided both comfort and a degree of discomfort that provokes the desire to embark on a journey. The space of pilgrimage is a “liminal” or threshold space in which the supports systems of ordinary life are suspended, as Victor Turner said. A pilgrim chooses to leave the familiar behind in order to open herself to the unfamiliar—in hopes that she will return with new insight into the meaning of her life. Continue reading “Why a Goddess Pilgrimage? by Carol P. Christ”