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I thought for this week that I’d provide a bit of trance journaling that I did after some work in my Mental Grove. This is not quite a full fledged trance journey, but does involve my closest ancestor spirit guide, and is a good example of one of the ways I use trance to try to help me with mundane world problems.

***

Mentally and emotionally this was another hard week, but I did continue to practice Trance and even work a little magic. This time they were mostly separate, with the Trance being a working I was doing to go have a communication with a spirit ally (Ruby Olar, a deceased professor from college who I had a specially connection to in life and who has been a willing and eager spirit ally in death). I wanted to make sure I was making a decision to be true to myself, and so I set out to go to my Mental Grove and hopefully call to him and have a conversation with him.

My mental grove is as it always is – seasons don’t seem to have meaning here, which makes some sense, as the tree that I see in my grove is a massive Live Oak, with huge sprawling arms, like the Seven Sisters Oak or A&M’s Century Tree. The branches totally enclose the grove, setting it off from the rest of the otherworld, and so I find that I can truly relax there. After several years of practice, it has become my “home” in trance. There is a fire in a wide stone circle, firewood for tending it (neither of which ever seems to go out) and a spring that burbles up from the ground, over a round rock, and down over several rocky little pathways to the edge of the tree branches.

I did a progressive relaxation exercise to begin, and then called up the mists, and then allowed my mind to materialize into my Grove, where I found it peaceful and quiet. The light in my mental grove is often ambiguous, but this time it was clearly liminal – I believe dusk, by the way that my interactions went. I spoke to the grove, which has several inhabitants that come and go, including a large brown and white rabbit, a barred owl, a couple of different toads, and a stag. Tonight it was just the rabbit, who seems happy to be there most of the time. She and I said our greetings, and I settled myself down to the fire, and said to the grove “I would like to speak to Ruby Olar”.

Sometimes this works, and other times it doesn’t, but tonight it did work, and Ruby walked in through a small gap in the tree limbs, as spry and light on his feet as ever. A dancer and martial artist in life, I recognize Ruby as much by his face and his voice as I do by the way that he moves – a trait that stuck with him in the afterlife.

We had a long conversation, that I will not document here, but where he told me several times that I needed to “be in the moment” and that while I should be proud of being a “force of nature” to remember that nature is both still as a mountain and flows like the river. I don’t remember precisely what he told me in answer to my questions, but after a good few minutes of conversation we fell into a companionable silence. He ended the encounter by standing, and – like he did in life, and like he has always done in my grove – asking if I wanted a hug. I always accept (but he still always asks), and then he disappeared into the mists outside the grove.

I sat in the grove for awhile, made offerings of incense and whisky to the fire in thanks for my conversation with Ruby, and then allowed the grove to disappear into mists in my mind and brought myself back to my body, lying on my floor.

The journey took about 30 minutes total, and when I was done I felt both refreshed and tired. I had a cup of tea and some yogurt, and left the lamp burning on my altar long after I was done with my working.

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Introduction:

This course is the first of two intended to provide an introduction to the practice of liturgical writing. Topics covered in this first course are primarily foundational: the purposes of ritual; the use of source materials; and the nature and forms of heightened language (or, for the purposes of this course, poetics) applied to writing liturgical material, such as prayers.

This course also assumes a familiarity with the ADF order of ritual and completion of the ADF Dedicant Program. While much of the content of this study guide is couched in general terms, the student will be asked to apply those general concepts to a consideration of how they are exemplified by ADF liturgical practices and having those practices in mind while reading the material will be helpful.

Course Objectives

  • Students will analyze and discuss a variety of purposes fulfilled by the ADF Core Order of Ritual.
  • Students will identify techniques utilized within effective poetic expression and begin to incorporate these techniques within their liturgical writing.
  • Students will be able to create a prayer appropriate for use in high day ritual and select an appropriate offering to accompany the prayer.

1.    Describe how ADF’s order of ritual expresses the following concepts: “Serving the people”; “Reaffirming shared beliefs”; “Reestablishing the cosmic order”; “Building enthusiasm”. (Min. 500 words)

  “Serving the People”

ADF’s Core Order of Ritual is a type of service in and of itself, for it was designed to be a shared, public Neopagan liturgy. Isaac’s vision was one where ADF groves held rituals in public, for their entire communities, in a way that was normal and affirming to all who might come and worship the kindreds with us. Public ritual is a service that groves provide, and a service that ADF clergy provides at festivals, to the various communities that they serve and are a part of.  This service allows people to strengthen their ties to the kindreds and to their gods and spirits through offerings and receiving the blessings, and it facilitates the building of social structures as well, which are ever more and more important in today’s often frantic society.

“Reaffirming Shared Beliefs”

The first steps of the Core Order are about reaffirming shared beliefs. We process into the space together, often in song, as a show of solidarity of spirit and purpose. Each member is purified, but then we create the group mind, often through the Two Powers meditation, establishing our connection to each other, to the powers of the Earth and Sky, and maintaining our sacred space within the worlds. We then state our purpose for being in ritual, a step that is both about reaffirming our shared purpose and beliefs and that teaches newcomers what to expect in the ritual. These steps form the “set up” at the beginning of any Core Order ritual and provide a shared system of belief and a feeling of community that pervades the rest of the ritual. As each offering is made, the community responds in kind – “Accept this offering” and “Accept this sacrifice” – as each offering is both personal and communal. Our shared beliefs are upheld when we make offerings together. (Newburg)

“Reestablishing the cosmic order”

The cosmic order is maintained through our ritual actions each time we do ritual, in the “middle” of the setup of a Core Order ritual, after the affirmation of shared beliefs and the introductory parts of the ritual.

While world-creating aspects of liturgy “are sometimes present just to commemorate the creation… more often they are also meant to orient the ritual participants to other parts of the universe and to all the other beings in it” (Bonewits 31). Bonewits says that the first step of this part of the ritual is “defining a ritual center,” which ADF does through creating the sacred center in the Fire, the Well, and the Tree, as well as the three “worlds” of Land, Sea, and Sky. This requires creating a “center of the world” (Eliade, in Bonewits 31), which is the place where the deities created everything and a place where you can have access to anywhere in the various worlds. This is usually represented by the axis mundi – the Tree in ADF’s cosmology, which can be represented by any number of axes, including Yggdrasil, Irminsul, Omphalos, and Bile.

ADF then completes this sacred center by opening up a gate, with the aid of a Gatekeeper spirit (or spirits), through which all of the energy of the ritual will flow, both inwards to the other realms and then back outwards to the participants in the ritual.

“Building Enthusiasm”

Building enthusiasm is the creation of energy that is raised for the benefit of the spirit or spirits that are the central focus of the ritual itself. This preliminary power raising can be done by “singing or chanting, by a sacred dance, or by formal evocations or invocations” (Bonewits 33). In ADF ritual this is typically done through a combination of song and evocative prayers, where calls are made and energy is raised through offerings that are poured into the fire. Drama is key here, and a boring evocation with no poetry or ‘magic’ will often fall flat, where the same or similar evocation given with oomph and a flair for the poetry of the situation can be truly inspiring. The peak of this power-raising is the Prayer of Sacrifice, where all of the good intent, offerings, energy, love, and praise of the community is focused through the gates in a big final push to the gathered spirits (Newburg).

ADF ritual also builds another kind of enthusiasm – the enthusiasm for community and shared experience. Often if a group is feeling flat or dull, performing ritual together can spark life and energy back into the core of the group. This enthusiasm is built through our ritual structures, and brings us back full circle on this question, as it feeds back into the idea of serving the people.

(772)

2.    Create a prayer of praise, offering, or thanksgiving to a deity modeled on a mythic, folkloric, or other literary source of at least 75 words. Include a summary of what your sources were and how you utilized them (summary at least 150 words).

Hail Frey, Lord of the fields!
Beautiful lord of the Vanir
Golden of hair as the fields of wheat and corn,
Bringing riches of heart and hearth to the folk.

We hail you with the grain that springs forth
And falls again to nourish us.
We hail you, mighty boar in flight,
Lord of Frith that is bound to land,
You who can warm the cold heart,
Warrior without a weapon
Who give your prosperity to all of your kin,
You guide and sustain your descendants.

Lord Ing, Providing god,
God of the bees and the barley,
You who make the grain spring forth,
We sacrifice this, our first loaf,  to you
As the grains are sacrificed for us each year.

I have an ever deepening relationship with Frey, and have since I was working on my Mental Discipline requirement for my Dedicant work in 2012. Over the years, I’ve collected a number of books about him, and read all of his myths multiple times, but I’ve found that in popular culture this multi-faceted deity gets flattened to only be about fertility.  Ann Sheffield, in her Frey: God of the World, summarizes the kennings that are used to describe Frey in the Poetic and Prose Eddas. I consulted this list extensively. Some of the kennings that Sheffield quotes include:

  • Most renowned, most glorious among gods
  • Harvest-god, god of prosperity
  • Foremost, best of gods
  • Beli’s bane
  • Bright
  • Sacrifice-priest
  • Freyja’s brother
  • Battle-wise
  • Wealth-giver
  • (one who) guides, governs the people
  • People’s ruler of the gods
  • Fair, beautiful
  • Wise
  • Temple-priest
  • Chieftain
  • Mighty
  • Providing
  • Shining
  • Njordh’s son
  • Vanir-god
  • God of the world
  • Weaponless, unarmed

These kennings and bynames come from the Skirnismal, Gylfaginning, Ynglinga Saga, Grimnismal, Skaldskaparmal sections of the Poetic and Prose Eddas, by Snorri Sturlusun, or poets that he quotes (Sheffield 2-3). I noted that most of these references are to Frey as a giver of wealth and prosperity, and thus made that the focus of this prayer of offering, which references as well the first-loaves that were a common offering around this time of year (early August). I also make reference to Gullinbursti – Frey’s boar of golden bristles – which also comes from the Skaldskaparmal section of the Prose Edda. The reference to Bee and Barley is a reference to Beyla and Byggvir, Frey’s servants as quoted in the Lokasenna portion of the Prose Edda. The reference to warming the cold heart is to the story in Skirnismal where Frey sends his servant Skirnir to woo the Jotun-maid Gerda, who then becomes his wife.

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3.    Discuss a poem of at least eight lines as to its use of poetic elements (as defined by Watkins): formulaics, metrics, and stylistics. Pay particular attention to use of meter and phonetic devices, such as rhyme and alliteration. (Minimum 100 words beyond the poem itself.)

Riddle Forty-three:

Ic wat indryhtne              aethelum deorne
giest in geardum,            tham se grimma ne maeg
hungor scethan                 ne se hata thurst,
yldo ne adle.                  Gif him arlice
esne thenath,               se the agan sceal
on tham sithfate,             hy gesunde aet ham
findath witode him         wiste ond blisse,
cnosles unrim,               care, gif se esne
his hlaforde                hyreth yfle,
frean on fore.                  Ne wile forth wesan
brothor othrum;              him thate bam scetheth
thonne hy from bearme          begen hweorfath
anre magan                       ellorfuse,
moddor on sweostor.    Mon, se the wille,
cythe cynewordum        hu se Cuma hatte,
edtha se esne,                 the ic her ymb sprice.

(Porter 74)

I know of a lofty stranger
in the yards, beloved by noblemen,
whom sharp hunger cannot harm,
nor hot thirst, old age or sickness.

If the servant serves him kindly,
who must go away on that journey —
they will find at home, certain
and unharmed, happiness
and a hot meal, countless children.
But sorrow, if the servants
obeys his lord poorly,
his master along their way.

Brother does not fear brother,
who injures them both,
when they both depart, eager for yonder
from the lap of a single kinsman,
mother and sister.

Let the one who wishes to
name this stranger in familiar words,
or else the servant,
who I’m talking about here.

(Hostetter)

John Porter calls the Anglo Saxon riddles a collection of “lyric poems”, and defines these riddles as “metaphor, transformation and analogy, poetic perception, verbal play, language under creative imagination, ‘making it new’” (Porter 7). These poems are the essence of Old English poetry, and provide classic examples of the highest valued portions of their poetic forms – primarily alliteration and rhythmic forms. I have included both the Anglo-Saxon original and a readable translation for the analysis here, since it’s hard to analyze alliteration in a translation.

Formulaics is the use of repeated words and phrases, sometimes across languages, which serve as a poetic cue to the reader and to the poet (Watkins 12-19). While Watkins primarily compares the Vedic and Greek poetry for shared words and phrases that share syntax and meaning, the Old English literature is not discussed – perhaps because by the time it was written down it had branched so far from the original languages as to only share formulas with closer, sister-languages such as Old Norse and other Germanic languages.

Even so, this riddle is an exercise in poetic formulas from top to bottom, and – in fact – is a sort of poetic formula by its very nature, being that a riddle is in some ways an elaborate kenning for a greater topic. As well, there are formulaic pieces within the riddle as well, the most prominent of which is part of the key to solving the riddle. John Porter says that the answer to this riddle is “the body and the soul” (the stranger and the servant). Thus would the “single kinsman, mother and sister” be the earth itself (Porter 135). The oral traditions of poetry that Watkins discusses were incredibly successful thanks to these formulas, and the Anglo-Saxon language is no exception. There is very little written in Anglo-Saxon, and what we do have was written post-conversion.

Metrics is the pattern of stressed and unstressed syllables in poetic forms, as well as the use of pauses, or caesura, mid-line (Watkins 19-21). The basic pattern of the lines in Riddle Forty-three is two half lines that are connected by alliteration (consonants with consonants, vowels with vowels), where the alliterated words have more stress. Each line includes a caesura mid-line.

Stylistics is all of the other linguistic features that distinguish poetry in a language, like alliteration, parallel structure, simile and metaphor, rhyme, repetition, and others (Watkins 21-27). As is typical of Old English poetry, there is no rhyme scheme in this 16 line riddle – and in fact there is no rhyme scheme in any of the riddles, which vary dramatically in length. Alliteration, however, there is in plenty – giest, geardum, grimma, maeg (line 2), his, hlaforde, hyreth (line 9), bearme, begen (line 12). The greater style of all of the riddles is one of extended metaphor – the subject of the riddle is compared to or described as many things in an attempt to get the listener to correctly guess the riddle’s subject.

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4.    Create a prayer suitable for the main offering of a High Day rite which includes invocation of at least one deity suitable to the occasion, description of the offering and its suitability to the occasion, and the purpose of the offering, totaling at least 100 words. Any stage directions necessary for performance of the offering should be included.

This invocation was made to Sunna at Nine Waves’ Midsummer ritual in 2016 and 2017.

Radiant Sunna, whose rays wash the land in light,
All nature vibrates with your energies
And the Earth is bathed with warmth and life
Fire of sky and air, your brightness draws us forth.
You are called ever-glow, day-star, and all-bright seen
Daughter of Mundilfari, you mark our days,
And with your brother you tell the time for us

Shine brightly upon us, Sunna,
On this the feast of your strength and speed
Your longest journey is today,
Let your light shine upon the fields in our hearts and minds
And may the harvest grow strong and tall there
Let your light shine upon the land around us
And may the harvest grow strong and tall there

May your blessing fall on our homes and all the crops we have sown
Until the time of harvest draws near.

Shining Sunna, accept our sacrifice!

(Throw sunflowers into the fire.)

(163)

Works Consulted

–. Anglo-Saxon Riddles. Trans John Porter. Little Downham, Ely, Cambs: Anglo-Saxon Books, 2003. Print.

Bonewits, Isaac. Neopagan Rites: A Guide to Creating Public Rituals that Work. Woodbury, MN: Llewellyn Publications, 2007. Print.

Dickins, Bruce. Runic and Heroic Poems. London: Cambridge University Press, 1915. Print.

Hostetter, Dr. Aaron K. “Exeter Book Riddles.” Rutgers University. Web. 1 August 2017.
<https://anglosaxonpoetry.camden.rutgers.edu/exeter-book-riddles/&gt;.

Newburg, Brandon. “Ancient Symbols, Modern Rites: A Core Order of Ritual Tutorial for Ár nDraíocht Féin.” ADF. Web. 1 August 2017. <https://www.adf.org/members/training/dedicant-path/articles/coortutorial/index.html&gt;.

–. The Poetic Edda. Trans. Carolyne Larrington. New York: Oxford University Press, 1996. Print.

–. The Poetic Edda. Trans. Lee M Hollander. Austin, TX: University of Texas Press, 1990. Print.

Sheffield, Ann Groa. Frey: God of the World. Lulu.com, 2007. Print.

Sturluson, Snorri. Edda. Trans. Anthony Faulkes. Clarendon, VT: Everyman Press, 1995.

Watkins, Calvert. How to Kill a Dragon: Aspects of Indo-European Poetics. New York: Oxford University Press, 1995. Print.

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This week I have decided to add a little to my daily practice, and then I may stick with it for awhile.

My (almost) daily routine is as follows:

Light lamp
Light incense

Cosmos Prayer:

The waters support and surround me
The land extends about me
The sky stretches out above me
At the center burns a living flame
May all the kindreds bless me
May my worship be true
May my actions be just
May my love be pure
Blessings, and honor, and worship to the holy ones

Prayers to Earth Mother and Gatekeeper, the two beings that I am tasked with developing relationships with as part of this journey through Clergy 1:

Eorthan Modor, I am your child. Uphold me today and always, as I honor you and walk the elder ways.

Eostre, She who walks the paths of Dawn. Guide me today and always, and may your light shine upon my path as I walk the elder ways.

This week in the grove meeting we are doing a full moon ritual, which should be fun and also good practice. Everyone who wants a speaking part will be drawing randomly from a hat, and we’re going to try to get everyone used to improvising our ritual pieces.

Last weekend, I got to practice my clergy discipline routine of having a monthly “retreat day”. It was spread out over two days, because it’s hard for me to take 24 hours entirely out of my (admittedly probably overscheduled) life, at least every single month.

This is the basic text of the monthly retreat ritual that I am working on. As I change and update it, I will update here. I’m actually pretty happy with this ritual though – it’s a full core order, takes about 20 minutes to do. I typically go for more explicitly poetic ritual pieces, but for some reason this one is what I came up with. It’s a variation on another ritual that I used to use, and I’m really happy with how it turned out for solo practice.

(more…)

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I think it’s about time I repost and update my daily practice, since it’s been a few years since I’ve talked about it, and it has evolved a bit. First, though, my altar has some new items that I want to show off!

Altar - April 2016

This is just the working surface (which you can tell is used, by the amount of ash that I continually fight to keep cleaned up). I have a shelf full of deity and spirit icons/tokens above the tree, but it’s hard to get a picture of both that looks good.

The new items are the incense burner on the left, and the oil lamp in the middle.

Both are made by blacksmith David Cohen, at Dark Moon Forge in Austin. I’m lucky enough to know David in person, having met him at the Texas Imbolc Retreat the last two years, and he is a wonderful artisan. I purchased the incense burner from him last year, and then a few weeks ago he was posting on Facebook about the new oil lamps he was making to gauge interest. Typically he doesn’t do mail-order items, preferring to sell his wares in person in the Austin area, but I asked very nicely, and he mailed me my new lamp.

I had to wait a few days to get the lamp oil in (I’m using Firefly Clean Lamp Oil, since it’s odorless and smokeless), which was agonizing, but I’m SO happy with how it looks. I’ve tried various configurations of candles for the fire representation on my altar over the years, and never found anything I truly loved. I also had problems with candles getting weird and needing to be replaced because they were only lit for 5-10 minutes at a time. This lamp will burn for any amount of time, and I just love the leaf handle (which does allow me to carry it around, but since it’s an open container of lamp oil, I’ll have to be super careful with anything like that). I still love and burn lots of candles, but for my altar, I see myself using this oil lamp for a good long time.

Regardless, if you happen to be in the Austin, TX area, I can’t recommend Dark Moon Forge highly enough.

As for my daily practice, I first posted about it in June of 2014 as I was working on my first pass at the Liturgy Practicum class, before I had started on the Clergy Training Program. I typically do this practice at my mid-morning “coffee” break (I don’t drink coffee, but I like to get up around 10:30 or 11 and stretch a bit.)

Not a lot has changed, but I have added to it slightly, and I still feel like it’s not quite finished.

(Three breaths to center self)

Hail to you, Hertha, Earth Mother – may I always be supported as I walk in your ways.

The earth is below me, the heavens above me,
The flame lights the way! (Light lamp)

The earth is below me, the heavens above me,
The well flows within! (Fill/touch well)

The earth is below me, the heavens above me,
The tree spans the world! (Bless tree)

Let us pray with a good fire! (Light incense)

Eostre, Guardian of the Gates of Dawn, hold fast these gates that I may speak into the worlds.

I make offering to the gods.
May their power be with me this day. (Cense altar shelf)

I make offering to the ancestors.
May their wisdom be with me this day. (Cense altar shelf)

I make offering to the nature spirits.
May their blessing be with me this day. (Cense altar shelf)

The waters support and surround me
The land extends about me
The sky stretches out above me
At the center burns a living flame
May all the kindreds bless me.
May my worship be true
May my actions be just
May my love be pure
Blessings and honor and worship to the holy ones.

Mighty, Noble, and Shining Ones, thank you for your blessings and your presence.
Eostre, Guardian of the Gates of Dawn, thank you for keeping fast the ways.
Hertha, Earth Mother – thank you for upholding me always.

(Three breaths to center self)
(Extinguish lamp)

I always think it needs a daily rune draw, but I haven’t managed to figure out a good way to do that. If I leave my runes on my altar, I forget about them when I need them for ritual or study group meetings, and though I have a journal specifically for readings, I never seem to remember to write down what I drew. (I have a working memory like a rusty sieve these days.)

I also feel like I should make some kind of offering to the deities I’m working with by name (Ing Frea, Hela, Frige), as well as to my ancestors and house spirits, but I also don’t want to have a 15 minute practice. I’ll never remember to do the whole thing if it’s going to take more than just a few minutes. Perhaps I need to have a weekly practice to make specific offerings. Or maybe I need an evening practice to do?

I’ve talked to other ADFers, and they seem to have more “built in” practices – an offering to the ancestors with breakfast coffee, and the like. I have trouble starting anything like that due to just sheer forgetfulness, but with all the beings I’d like to be building *ghosti with, maybe I need to just send myself a bunch of reminders!

Anyway, this is obviously a work in progress – I try to balance as much oomph as I can get into a small bit of time, knowing that I’m most likely to actually do the offerings that way, and so far it works nicely.

Any thoughts you might have on polishing this into something a little more “complete” feeling would be really nice!

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So ADF ritual has two main phases – an offerings phase, where we send all our love, devotion, and offerings through the portals into the otherworld, and a blessings phase, where we accept blessings in a “return flow” from the otherworld. Those blessings are concentrated into a sacred drink, called (usually) the Waters of Life.

Originally the Waters of Life were whiskey (or sometimes water). ADF ritual has expanded to include mead and other alcoholic beverages. The alcohol represents the “life” part. As Nine Waves got started, we typically had mead for our Waters of Life, since that fit with our hearth culture and was tasty.

However, a few things happened that got me thinking about including alcohol in our rituals:

  1. We now meet in a park that does not allow alcohol
  2. We now have an underage regular ritual attendee, and in Texas it is VERY illegal for us to give him even a sip of alcohol
  3. I have circled in the past with recovering alcoholics, who would not be able to partake of our blessings
  4. I myself am on medication that is contraindicated with alcohol, so I was dancing with danger already
  5. There is nothing in ADF ritual guideline that specifies that the Waters of Life must be alcoholic
  6. There was a spirited discussion on the ADF Facebook group about the topic, where several good arguments were made

We figured we could do two things – we could have two cups/mead horns, one with actual mead, and one with water (which presents a logistical issue, even in a group of only 10 people, and would still be breaking the rules of the park where we meet), or we could just go with a non-alcoholic option.

One of the best posts on the ADF Facebook discussion came from Ceisiwr Serith, who spoke of making his own sacred drink for rituals. His recipe included barley (which I can’t consume, having celiac disease) but it got me thinking about ways to make a sacred drink that we could all enjoy, that would feel special (since that’s important), but wouldn’t exclude anyone.

So I went digging for recipes, and came across some recipes for “soft mead” – basically honey water. And I got creative, and came up with the following:

Spiced Sacred Drink

  • 4 cups filtered water
  • 1 cup honey
  • 2 lemons
  • 2 inches fresh ginger, thinly sliced
  • 4 cinnamon sticks
  • 8 whole cloves

Juice the lemons and toss them – peel, juice and all – into a large, non-aluminum pot with all the other ingredients. Cover and place over very low heat (do not allow to boil) for up to 3 hours, stirring frequently. Remove the lemons, and let sit for up to another 3 hours. Strain and serve warm or at room temperature.

Nine Waves was, overall, very skeptical of my creation. They liked having mead, the alcoholic “life” was important, and it felt special to us to share mead from our mead horn together. But they humored me, and I have, I must say, converted them all. This is extremely tasty, especially warm on a cold night around a campfire, and it requires preparation and is “special” – I only make it for our rituals. And we now don’t have to worry about new people being averse to anything (other than a possible allergy to any of the sacred drink ingredients) or not being able to consume alcohol.

It’s a win for everyone. (And it really is tasty.)

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I am, by and large, an Indo-European pagan. I work with Gods from a number of cultures (Manannan, Hela, Ing Frea, Thunor, Heimdall/Hama, Hecate), but I’ve rarely (even before ADF) ventured outside this language/culture group. However, there’s a day of mourning called for today that I think I’ll be participating in.

From The Wild Hunt:

In another part of the world, ancient statues, relics and other historic sites are being pillaged and destroyed by ISIL. The destruction of these treasured artifacts has upset many Pagans, Polytheists and Heathens. One California Pagan, Jack Prewett has called for a Global Day of Mourning on April 18. Prewett calls the destruction a “tragedy for humankind” and says,“Let us mourn the loss of our history, our heritage. Cry for those that will come after us and know that once we had our history in our hands and let it slip through our fingers.” Why did Prewett choose April 18?  That is the U.N.’s World Heritage Day.
ADF Priest Michael J Dangler has also called for devotions – in this case, the making of art objects – in honor of the desecrated sites.
And Galina Krasskova has put forth a post about devotions in honor of the many Gods of the many Peoples who inhabit the lands that are currently under siege.
So if you have a little time today, remember this tragedy, and remember the Gods and Goddesses of those lands. I intend to make offerings in their names tonight, and hope that maybe my small voice can be joined with the voices of others. After all, I can’t fight this on the ground, and I certainly can’t fight it in person, but I can pray, and make offerings, and give honor to the Gods of those peoples, in hopes that They can help evict those who are committing atrocities across their lands.
If you’re feeling particularly ambitious about it (and by no means should you feel confined to make offerings and devotions only today, on World Heritage Day), a library or museum would be an especially powerful place to do so. It is history and art that are being destroyed, and it is from our centers of history and art that we can reach out and (hopefully) do a little nudging of the cosmic forces in the direction of preservation and the end of this reign of destruction.

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ADF has a good sized songbook of chants and songs that are used in group rituals.

Since I haven’t ever done group ritual that I wasn’t leading myself, I am only barely familiar with a few of these chants – mostly through watching ADF rituals online. (3 Cranes Grove has three large group rituals they just posted to YouTube, if you’re interested in seeing how an ADF ritual scales up for 300 people in a large outdoor tent!)

I’m extremely self-conscious about my singing though. I have a music degree, which may actually have made me MORE self conscious – I have good pitch, but I am very very aware of the shortcomings of my (untrained) voice when compared to someone who actually knows how to sing. That said, I’m learning a few of the ADF chants, and considering adding them into our rituals as appropriate. I don’t think we need a chant for every step of the COoR, but a processional and recessional might be nice, and I’m fond of the “Blessings in the Waters” song for after the waters of life are distributed. I really like the addition of music to prayer, and I think it’s a good way to focus.

Also, I’ve found I can use some of the “catchier” ADF chants to get songs out of my head. So when I get earwormed by something obnoxious, I start singing something I’m trying to memorize, and the concentration plus a catchy tune usually helps me stop with the endless repeats of “This is the song that never ends” or whatever.

The one “chant” (That I’ll just be saying as spoken word) I know I’ll be adding to our ritual for Imbolc is this one by Ceisiwr Serith.

The waters support and surround us
The land extends about us
The sky stretches out above us:
At the center burns a living flame.
May all the Kindreds bless us.
May our worship be true
May our actions be just
May our love be pure.
Blessings, and honor, and worship to the holy ones.

I plan to use it to end the Two Powers meditation and bring us into the active part of the ritual. Hopefully it goes as nicely in practice as it does in my head. There’s something very cosmos-affirming about this chant/prayer, so I hope everyone else likes it as much as I do.  I actually intend to memorize it and use it as part of my daily devotions. My practice needs a bit of a reboot, and I think this will be a nice thing to add to get it feeling fresh again.

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