What to wear? Ritual Clothing…

10 (800x590)What to wear in ritual? Whether you’re a Druid, a Witch, a Wiccan, a Heathen or from any other path this question often comes up. The simplest answer is: wear what you like. However, let’s go into more detail, for the sake of this blog post!

I come from a Druid/Witch/Wiccan background. When I first began on my Pagan path, I performed my solitary rituals either in the nude or in robes that I had made. It all depended upon the season, the intention of the ritual, and practicality of it all. Some indoor magical workings and rituals I would do without a stitch on, as I felt that was most appropriate. As well, having just come out of a ritual bath, it was easy! I have also done some solitary outdoor rituals in the nude, such as honouring the solstice while dancing outside in the warm rain, away from prying eyes. The feeling of the warm, humid air and the rain on my body were wonderful, and is an experience that I will always remember and treasure. However, that ritual was performed during a Canadian summer, where the temperature soars to a very humid 32 degrees, and wearing anything or even moving causes one to break out in a sweat. It was also raining, which meant the bugs were in hiding, and the mosquitoes and blackflies which would otherwise eat me alive were not present.

In a British summer, things can be very different, and four seasons in one day is not uncommon. As well, there are less wild places to be in Britain away from prying eyes, as there are just so many more people on this tiny island than there is spread out across the vastness of Canada. Working in the nude can be extremely liberating, and many of modern Paganism’s leading people such as Wicca’s Gerald Gardner and Druidry’s Ross Nichols were firm believers in naturism: that being unclothed in nature had great benefits to one’s physical and spiritual health. However, in my opinion it can also be cold, uncomfortable and inappropriate.

It is entirely your choice as to how you wish to dress, or undress for ritual. If you are performing it in a public place, then you must remember that in most countries, it is illegal to be nude in public. The laws and the sensitivities of others must be taken into consideration. Some would argue this, such as those who at large Pagan festivals prefer to walk around naked, but I feel that this is inappropriate for many. We do not know everyone’s story, and so to be confronted by a naked person can be very upsetting for some people. There may have been past sexual abuse, or ongoing abuse in their lives. We have to think of the repercussions of our own actions and behaviour, how they will affect others. We are still able to express ourselves in freedom, without upsetting other people.

White Spring 1 (6)The last time I was as the White Spring in Glastonbury, it was open to the public and three women went in the main pool (not the bathing pool, I might add) and performed a ritual there in front of everyone with two of the three ladies completely starkers. While that may have been appropriate for a private ritual, when the public are also walking around it is, in my view, highly inappropriate to do so. Imagine a nun from France visiting, or a young schoolgirl who is asked by her teacher “What did you do this weekend?” and she replies “Daddy and I went to the White Spring and watched naked ladies in the water”. I have performed private ritual at the White Spring in the nude with friends, and it was absolutely lovely to immerse ourselves in the sacred and very, VERY cold water (we had to use the main pool, as the bathing pool wasn’t in existence then).

Here in Britain, it is highly unlikely that I will perform any ritual naked out of doors. Even my backyard is overlooked by neighbours either side, and so I keep my clothes on. As well, it’s usually too cold to go out romping in my birthday suit. I completely understand why some people feel the need to do ritual naked, but I don’t see the point when it is illegal, uncomfortable or inappropriate.

Making your own robes can be a richly rewarding practice. There are many simple robe designs that you can find online easily, and all you need to do is have some fabric and a little skill with a needle and thread. I would suggest using fabrics that are natural and that don’t have any man-made material in them if you plan to wear it in ritual, and they are lying next to the skin. Rayon for instance has a tendency to melt onto the skin if caught in a candle’s flame. Also robe designs with big bell sleeves are a no-go for anyone working with fire. No one wants a human torch as part of the ritual!

Many people like the old-fashioned appeal of robes for ritual, feeling that this harkens back to a time that seems more magical than today’s modern age. However, plain comfortable modern clothing can also be appropriate for ritual, if you have no desire or skill to make your own robes. We don’t know if our ancestors, whether they be witches, druids, heathens or whatever dressed in different clothing for every magical working or religious rite. They may very well have worn whatever they were wearing that day, that week, that month (depending on how often they changed their clothing).

1902780_825582470792076_380046463_nWhen I am trudging out onto the heath for ritual, I wear good boots as I live in adder country. I usually also wear trousers such as jeans that have a heavy material which the gorse cannot penetrate, or at least knee-high boots that can ward off most of the pricks and thorns. I like the dress in natural colours, mostly greens lately as I find this personally pleasing. Green is also a colour associated with the faeries and the Otherworld, and in my current work is very appropriate.

In group ritual, sometimes those organising ask people to come along and dress in specific colours that honour the festival or season. Midsummer might be in fiery hues, for example. Some may wear modern clothing in the appropriate colours, others go for full-on gowns or robes. Either way, this is a nice way to get people together with a certain theme in mind and create a sense of community and harmony, whether you are in modern clothing or ritual robes; at least you’re somewhat matching. Much like making your own robes, doing this can also put you in a ritual frame of mind long before you have left the house. You are already thinking about the ritual as you are choosing or making your clothing. The ritual, indeed, has already begun.

Some people like to wear clothing that is true to ancient times according to their tradition. This can be wonderful way to connect to the ancestors. It is also a lot of fun! Many people who are involved in re-enactment organisations and who are also Pagan like to use this as a theme for their ritual garb. Reconstructionist paths do much the same.

A89A4891 (1024x683)The most important thing is that you like what you are wearing. Even if it is a simple piece of ritual jewellery that you can hide underneath your shirt, if that pleases you then wear it wherever and whenever you do ritual. Being comfortable is also a big factor, as being hot and uncomfortable, sweaty or cold is not really all that conducive to productive ritual. Let what you wear (or don’t wear) reflect your true self, in accordance with the law and propriety. And most of all, let it be fun and enchant you, and be a contributing part of the ritual if you so wish.

 

 

 

Women of the Mabinogion

Here is the essay version of my presentation for Leaping Hare. I hope you enjoy it!

Women of the Mabinogion (Rhiannon and  Blodeuwedd)

rhiannon-boulet_susan_seddon-kb_ssb_rhiannon_2For the longest time I found myself unable to connect, or should I say, unwilling, to try to connect to the stories of the women in the Mabinogion. For those who don’t know what the Mabinogion is, it is a collection of the earliest prose stories of the literature of Britain. The stories were compiled in Middle Welsh in the 12th–13th centuries from earlier oral traditions. The two main source manuscripts were created c. 1350–1410, as well as a few earlier fragments. These stories offer drama, philosophy, romance, tragedy, fantasy and humour, and were created by various narrators over time. Scholars from the 18th century to the 1970s predominantly viewed the tales as fragmentary pre-Christian Celtic mythology. Today, we can appreciate the tales for the beautiful and sophisticated work that it is, stemming from an earlier oral Celtic tradition and recorded by Christian monks over time.

In this recording of earlier tales from a different and conquering religion, of course there were misunderstandings and certain flavours that did not sit well with the monks, and so modifications no doubt were made. Whether these were intentional or not we will probably never know, however, we can peel back the layers with what we know of the Celts and their predecessors, to make the tales come alive again to the Pagan soul.

I will admit now, that I am certainly no expert on the Mabinogion or Welsh mythology. Rather, this little presentation is to share my experience with coming to terms with what I had previously seen as an anti-feminist doctrine or propaganda. I also admit that I originally took the tales at face value, and only after having spent many years delving into the history and mythology of the Celtic peoples have I come to a better understanding, and been able to see more clearly just what the tales have been trying to tell us all along. My work with the Sisterhood of Avalon has helped me greatly in uncovering the real strengths of the women in these tales, and the messages that they are trying to convey through the mists of time.

I shall start with Rhiannon. She’s a well-loved goddess, sometimes seen as a Faery Queen. When I first came across this goddess, I could relate to her as a goddess of the land, symbolised by the white horse. I’ve always loved horses, and so discovering another horse goddess was a real treat. But then I learned more of her tale, and that’s when things started to get sticky for me.

Rhiannon had a child with her husband, the king, Pwyll. The child was stolen one night, and her handmaidens, being afraid that they would be blamed for their incompetence (and probably rightly so) killed a puppy and smeared its blood over the bedsheets where Rhiannon slept and where her child had slept. Upon discovering this horrible scene in the morning, Rhiannon was accused of killing her child, and was condemned to punishment. Her punishment? Being a horse goddess, she was condemned for seven long years to carry visitors to the court upon her back after relating the story of what she had done to deserve this punishment, while she sat on a horse block (this is a block used to mount up and get in the saddle, which takes the stress and strain of a human’s weight pulling down on one side of the animal during mounting). Rhiannon obliged, and for seven years she performed these tasks.

Not exactly the most inspiring feminist story ever told, is it? Why didn’t Rhiannon challenge the women who falsely accused her? Why didn’t she stand up for herself and deny the charge in the first place? Why did she accept the punishment so easily? When I first heard this myth, I was disheartened. I wanted strong goddesses to work with, like Morrigan. What on earth was this horse goddess doing, and what does that teach women today? And so, I left Rhiannon far behind, and have only come back to her recently, and learned of other women in the tales contained within the Mabinogion in the last few years.

Let’s begin with looking at Rhiannon as a goddess of sovereignty. Through her marriage to Pwyll, she connects the Otherworld to this world, and consecrating and blessing the choice of king, as was the way in Celtic lands. As representative of the land itself, she offers up many things without discrimination. She is compassion and nourishment. In the association with the horse, she is strength and working in relationship with a partner (think of a horse and rider working together). She is a Great Divine Queen, and indeed, I later found out that her name shares roots with that of Morrigan and Rigantona, who also are Great Divine Queens.

So what does this teach us? Well, it teaches us of patience, compassion and hope. Seeing Rhiannon weather her trials and tribulations with grace, never faltering in her duty can inspire others to do the same. She is a goddess of endurance, a reflection of the strength and endurance seen in her symbol, the horse. She is grace under pressure. She is true to herself, even in the midst of chaos and unjust treatment. She knows what can be changed, and what cannot. She picks her battles wisely.

She also teaches us of inner sovereignty as well as outer sovereignty. Her dignity never leaves her, even as she carries the few people who do choose to accept her offer of being carried into the court. She knows that the truth will win out in the end. She knows this because she is the land itself. The land knows things that we humans do not. The land knows the bigger picture. She knows that there will be challenges, hard challenges but still she does what she needs to do. She knows the right order of things, the way that the land needs to be in order for everything to prosper, even if the humans of the court do not know this. She teaches us not to give in to victimhood or self-pity. She knows that all things will pass, and this is simply one circumstance out of many that lie ahead.

When I found these deeper layers to her being, I was able to resonate more strongly with her story. So many women can relate to being betrayed by other women. So many women are made to live their lives according to what others think they should be. But Rhiannon stands strong in that, while not succumbing to the lowest common denominator. Rhiannon’s son is eventually restored to her, now a little boy of seven years, and Rhiannon returns to her place as Queen. Her son’s name became Pryderi ap Pwyll, which means “Care, son of Wisdom”. If we are strong enough, and if we do not lose our compassion, but still care for things and have compassion while undergoing the trials of experience which lead to wisdom, then we will follow in the footsteps of this goddess of sovereignty. Forgiveness is necessary in order to move forwards. The past cannot be changed, but we can be healed of the wounds of the past in order to provide for a better future. In doing so, we become sovereign of ourselves, making choices based upon the current moment, and not out of fear or hurt of the past, or worry about the future. Rhiannon teaches us that we have choices, and that the choices that we make can either destroy a kingdom, whether it be an external literal kingdom or our own inner kingdom, or we can hold it together until a better circumstance presents itself. Through her own strength of will, her own dignity and grace, she is able to overcome it all. Well, she is a goddess, after all!

While we may not be so graceful and dignified under pressure, it is certainly something to think about and perhaps strive for in our daily interactions. It made me see this Celtic Welsh goddess in a completely different light. The tale has helped in my own journey to find inner peace and sovereignty of my own self. She reminds me to be as compassionate as I can, as well as showing me how strong I can be against the trials and tribulations of the world, injuries and injustices and more.

Another goddess whose story I originally balked at what that of Blodeuwedd. She was a woman created out of flowers in order to be married to Lleu. This story in itself connects with another goddess from the tales, Arianrhod. She laid three tynghedau, the Welsh equivalent of the Irish geis, upon her son: that he should have no name save one which she herself provides; that he should not bear any arms except those that she provides; and that he should never marry a woman from the race of Men. These “rules” may seem harsh and unpleasant, a kind of “wicked stepmother” scene apart from the fact that she is indeed his real mother. But again, when we peel back the layers of the story, we understand more. In ancient times, it was the mother who often bestowed a name, arms and chose a wife for her son. I’m guessing the monks who recorded these tales didn’t quite “get” that idea, and so made her out to be a wicked woman denying her son of many things. And so, Lleu gets his uncle to “make” him a wife, and he creates one out of flowers and she is named Blodeuwedd, or Flower Face.

Arianrhod’s tale continues, but now I’m going to focus on Blodeuwedd. A woman created for a man – hmm, where have we heard this story before? This might very well be a take on the Christian tale, and the original meaning of it lost to history. However, we can look deeper at many parts of this tale, to see the strengths found in the feminine.

BLODEUWEDD 3Blodeuwedd was the model wife, for a while. But eventually, while the husband was away, she fell in love with Gronw, a neighbouring lord. They lay together for three nights, and then Blodeweudd decided to plot against her husband, in order to kill him and live instead with Gronw. She schemed until she found out how she could kill her husband, who was not easy to kill, ie. he cannot be killed indoors or out, on horseback or on foot and only by a spear that took a year to make and was only worked on during Sunday mass (a forbidden, holy time, which is quite interesting and an open “nod”, if you will, to the story’s Pagan origins). Blodeuwedd discovers how to do this by asking her husband, who seems rather stupid really in giving her all these answers to these riddles, and then Gronw sets to work on the spear.

So when the spear is ready, she makes a bath for Lleu on the banks of a river and builds a house of thatch with only a roof and no walls. She brings either a buck or goat, depending on which translation of this tale you read, and then ask him to show her how he needs to stand with the animal in order to be killed, which he does. Really. Gronw then rises from his hiding place and throws the spear at Lleu, which injures him. As he lies dying, his uncle Gwydion comes and turns him into an eagle in order to save his life. Blodeuwedd and Gronw return to rule over the court, while Gwydion then goes in search of the eagle that flew away, eventually finding him and restoring him back to his original form. After a year has passed, Lleu returns to court, and demands that he should enact the same deed that was done to him, upon Gronw. Gronw has no choice but to accept to keep his honour, but he requests that a stone be placed between him and Lleu. Lleu agrees, and throws the spear, which goes right through the stone leaving a great hole, and kills Gronw. (The stone can still be seen today, with a great big hole through it). Blodeuwedd runs away, but Gwydion tracks her down and turns her into an owl, as “punishment”.

When I first read this tale, I thought “My, what a horrible woman”. But when I looked deeper, and applied what I knew of Celtic mythology and lore, a new picture began to emerge. There are a couple of tales where two kings fight, usually over a woman, such as one of the tales of Gwynn ap Nudd, or the more recent Oak and Holly King. The woman represents the land, and decides who has sovereignty over which part of the year. Lleu means “light” and Gronw is associated with darkness. So, we can see the cycles of the year represented in the “battle” between the light half of the year, and the dark half of the year, with the goddess of the land choosing her mate at the appropriate time.

In lying with Gronw for three nights, this is actually a form of marriage in ancient Celtic law. There were many forms of marriage, this being just one of them. So it is easy to see how the goddess of the land, the one who was literally “made” from the land out of flowers, chooses who will be king. She is dutiful to Lleu during the appropriate time, and then weds Gronw again when the time comes to move into the dark half of the year. In this regard, Blodeuwedd is another goddess of sovereignty.

She herself transforms as well, from that which turns to the light, ie. flowers, to that which turns to the dark: an owl. Married to Lleu, as a flower she turns to the light. Married to Gronw, she is a creature able to see clearly in the darkness, and fly free. The monks who wrote this tale down saw the transformation into an owl as a punishment, and recorded it as such, but really what would you rather be? A flower or an owl? Something rooted to the land, or something that can fly, see in the dark, is an exceptional hunter and which is utterly gorgeous?

Perhaps Gwydion did not change her at all. Perhaps Blodeuwedd changed of her own accord, so that she could fly free and exist in the dark half of year with the appropriate king and husband. Perhaps she will return again the spring as the flower, making the cycle complete. Perhaps that is the truer, older tale.

Blodeuwedd shows us that in us there is both light and shadow, and that we must acknowledge both these aspects of ourselves. For if we do not, if we abandon one for the other, we become imbalanced. We need winter just as we need summer.

With Rhiannon and Blodeuwedd, we can find tales of the stories of women, their struggles and their pain, their choices and the cycles of life, death and rebirth. We can still find them in the old tales, even through the thin veneer of a conquering religion at the time. We have to be able to open up our perceptions, however, to look deeper, as well as do the research into the time and place when these stories occurred. We need context. Without knowledge of ancient Celtic lore, these stories, taken at “face value” in the Christian context can seem utterly demeaning towards women. But when viewed on a deeper level, with what we now know of Celtic lore, as well as the cycle of the seasons and looking with a Pagan eye, we are better equipped to fully understand just what the stories were trying to say.

My work with the Sisterhood of Avalon helped me to better understand these women’s stories. The SOA uses the tales of Rhiannon, Blodeuwedd, Ceridwen, Arianrhod and Branwen to move through cycles of healing and transformation. The creator of the SOA, Jhenah Telyndru, is a wonderful woman and scholar in Celtic studies, bringing good research and lore to a deeper understanding of the myths and tales. You can find out more about the SOA at sisterhoodofavalon.org.

Their stories are our stories. Even today.

 

Simple Imbolc Celebration and Magic

Cover high resHere is an extract from my upcoming book, “The Hedge Druid’s Craft“, which is another introductory Pagan Portals book and is now available for pre-order.

Imbolc

Imbolc is a gentle festival, where we honour the first signs of Spring after a long winter. It has long been dedicated to the goddess Brighid who has associations with fire and water. Allow this time of year to fill your soul, the air still cold but the warmth of the light from the strengthening sun inspiring you to go out into the worlds and do the work that you have to do. You can light a candle to dedicate yourself at this time to your work, having spent the winter months thinking long and deeply about it. Now is the time to state your intention clearly. You can carve words or symbols into the candle that represent your work, and strew herbs around it to lend their energies (see A Basic Candle Spell below). As you light the candle, state your intention clearly, calling upon the ancestors and the Fair Folk, the gods and goddesses to bear witness. This is not an oath to be made lightly.

Meditate upon the candle’s flame for as long as you wish. Then take a bowl of spring water and anoint yourself with it. I like to collect water from Chalice Well and the White Spring in Glastonbury every time I visit, and I use this special, holy water for use in rituals and in spellcraft. You can draw the shape of a crescent moon upon your brow with the water, or place any other symbols which have meaning to you upon your body. It is also a good time for healing work, and anointing yourself with sacred water on areas of your body that need healing can kick-start the process (as well as following good medical and spiritual advice).

A Basic Candle Spell

Take a candle of an appropriate colour to use in your work. As a very basic guide, red is for love and passion, pink for emotions, blue for healing, green for the environment, brown for animals, yellow for inspiration, purple for magical strength, black for release of negativity. White candles are used for purification, as well as can be used to replace any other colour that you may not be able to obtain.

Sit with your candle and meditate upon the work that you wish to achieve. Then, stating your intention clearly, pour your energy into the candle. Allow energy to flow from your hands into the candle. When you have poured enough into the candle, you can then add more strength to it by carving words or symbols into it, still holding your intention. Then, place the candle it a holder and light it with a match. As you strike the match, keep your intention in your mind, and as you bring the match to the candle’s wick, visualise the power of fire igniting your work. Sit before the candle and meditate upon the flame, still holding your visualisation of the end result of your spellwork coming to fruition. You can add herbs around the base of the candle, if you so wish, to allow them to add their magical energy to your work. You can infuse the herbs with your intention and energy in exactly the same way as you did the candle. See with your mind’s eye a cone of power rising from the herbs around the candle, blending with the candle’s flame and sending the power out into the world.

Blog Award!

It’s an honour to be included in the Top 75 Witchcraft Blogs and Websites for Witches. (No.27!) You may notice the new badge on this blog in recognition of such 🙂  Many, many thanks for your support. May we be the awen, the inspiration!

blog badge (2)

A very early teaser…

So, here’s a little teaser about the work that I did a couple of months ago, when the gods decided to sit me down quite literally and make this book happen. This book will not be available until 29 June 2018 through Moon Books, but I just thought I’d leave this here…  🙂

Cover high res

Endorsement by Mabh Savage, author of A Modern Celt and Celtic Witchcraft:

“This book is an absolute must for anyone seeking to deepen their magical nature or set out upon a path to connect with the world around them. Jo is incredibly inclusive and covers aspects of witchcraft, Wicca and druidism interspersed with an alamanac-style folklore juxtaposed against modern science and a common-sense realism about the modern world we find ourselves in. As a witch on an eclectic path, and a trainee Bard, many of Jo’s words and experiences really resonated with me. Like Jo, I have always been a witch, but appreciate this can mean different things to different people, and I also have found that some Druidic paths can at first appear dry and academic, but with this volume you can sink your toes into the earth and reach high into the sky to touch the stars; to feel what being a Hedge-Druid can really mean; how it can change your world. Jo works with herbs, plants and animals, examining all types of creature, from what we might consider the lowest, such as insects and invertebrates, to the magnificent mammals such as stags and horses. She reminds us that each has a vital place in the world, and in its eco-system, and even shows us how we might go about finding our own animal ally. As well as the earthly beings we can connect to, Jo teaches us how to connect to the celestial beings; the sun, moon and stars, and the aspects of our earth that they control, such as the tides and the seasons. Jo speaks to us of the inherent goodness in some people; how we can look past the horrors that some humans have brought upon the world and see the hard work of those (including many druids and those on similar paths) who are trying to fix the damage and repair the connection between humans and nature. Jo reminds us that we can fill each day with ‘the magical and the mystical’, and gives us the tools and knowledge to create our own deeper understanding of this truly wondrous world we live in.”