Tag Archives: music

Hypnotic Poetry Experiment No.3

This is a re-blog from the wonderful ravings of my husband’s blog. Helping to Garden Abundantly with a bit of mental ecological redesign…:)

Learning to Give

It’s not always easy to remember the blessings we are constantly receiving as we explore and grow in our complex lives, and there are so many compelling and diverse distractions!
Aren’t there?!
I mean, just think of the internet for one…

There are so many tools, so many choices, so many views…
So many pictures on facebook.

It’s almost a surprise… a genuinely pleasant surprise to discover, remember, and find our inner gifts… waiting for us… in the silence…

because there’s so much noise!

Sometimes we just have to stop…
and listen
and be aware…
in the quietness
of the unbounded space
which still… exists… still…
inside
and remembering
sometimes
is difficult… to forget…

that’s right…

So easy… when we find… the time…
is all… right… here…

waiting for us…
All the time we’re seeking…
all the freedom
all the space… the boundless space
is here
right where
it’s always…

View original post 1,230 more words

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Sacred Dance to Reawaken our Truth

With thanks, love and appreciation to David Ashwanden and to all my fellow space-holders.

Many people have written about the various themes which underlie all of human society and culture, regardless of how far back in history you go or how far-flung from each other the societies are.  Among the things which unite us all as humans we have myths and stories (1), transcultural symbols (2) and even intoxicants, which have been used in one form or other by the vast majority of societies in human history (3).

As fundamental as all of these is our need to express ourselves with our bodies, an expression which comes out in dance. Having been following this need as a professional artistic pursuit for the past three years (as well as a social enjoyment activity for much longer!) I decided to take it further by doing some kind of training. But what kind? I am not really interested in learning formal steps or a particular style, but more in the free expression. And there are plenty of dance courses which encourage this out there, from 5 Rhythms (4) to Biodanza (5). Such styles seem interesting, if a little prescriptive, yet I did not feel drawn to actually training in them. Perhaps because as important as the free expression is the recognition that dance is a form of healing, an integral part of human enjoyment and therefore as such can be recognised as a sacred act.

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Dancing as a Sacred Act. Photo by Catherine Brogan.

Maybe it was too much to hope for to find a training which combined all these things: healing, enjoyment and recognition of the sacred. Yet find it I did when I discovered Daisy Kaye’s  5 Element Dance Teacher Training (7) – a training which focuses on using cacao as a key part of the ritual and ceremony in order to enhance the experience. This meant I got the added bonus of being able to practise and expand my love and knowledge of herbalism. Oh, and the course was being held on a tropical island in the Gulf of Thailand. Somehow, it just had to happen.

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Arrival on the island. Photo by David Ashwanden

And it did. And I got out of it a sense of healing and reconnection with my body, renewed enjoyment of dancing, and many more tools for welcoming the sacred into my everyday life, as well as much more knowledge of different medicinal plants from around the world.

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Some of the herbal medicines we were learning about, including, of course, cacao. Photo by David Ashwanden

However, I also got more even than all of this. Because part of what the course helped me and the other participants to gain was a sense of deeper truth. What do I mean by this? Read on to find out…

Dancing Alchemy – Mixing Up the New Human Culture 

Though the course was a teacher training which eventually gave us the tools to run our own ceremonial dance meditations, the first week was simply an introduction to Daisy’s Five Elements dance, which uses a system of symbols to understand the relationships between things in the world, including our bodies. These are used in various ways by different cultures globally, though one of the interesting aspects of Daisy’s style is that she does not focus on one system only. While she is very experienced in and influenced by Chinese medicine, Taoism and Qi Gong, ‘her’ Five Elements are not based exclusively on the Chinese interpretation but also use Ayurvedic, Native American and Daisy’s own ideas.

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Connecting with the Fire element. Photo by David Ashwanden

Indeed, this amalgamation of ideas from different cultures was a recurring theme throughout the course and was one of the most beautiful aspects of it to me. Though much of the actual action we were engaging in can be seen as an ancient practise – breathing and breathwork, gathering together, sitting in circles, sharing herbal intoxicating brews and of course dancing – the fact that Daisy was bringing together traditions from many cultures across the world meant that this course was encouraging the development of an entirely new practise. Importantly, as Daisy puts it, her ideas are not fixed and we are all encouraged to create our own personalised versions. Thus we are engaging not in a rigid system but in the growth of a transglobal new human culture.

Listening to Our Bodies

Five Elements dancing is not just a dance, it is a “manifestational movement meditation” (8). By dancing to clear our minds, we become clear about what it is we actually want. By sharing this with others in a circle we help to crystallise it and make it even clearer. Then we dance through the five elements: grounding with the Earth, flowing with Water, enlivening with Fire, soaring with Air and connecting with Ether. This has the effect not only of helping us to achieve a meditational state but also with helping us connect deeply with our bodies. And when we do this, perhaps surprisingly for some, our bodies usually have some messages for us.

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Listening for the messages. Photo by David Ashwanden

As I’ve quoted before (9),

“We may never have been conscious of our life energy, but our bodies can feel it. We may never have been conscious of our suffering in childhood, but our bodies can remember. We may never have been conscious of the suffering of our parents, but our bodies received it in the womb and carry it. We may never have been conscious of the pollution of the planet but our bodies feel it and manifest the effects…

So if we inhabit our bodies and let them speak to us, we can become aware of transpersonal energy, and in welcoming it, we heal not only ourselves, but our families, our communities and our planet” (Hayes, 2007) (10)

This ‘inhabiting’ is a practise which is often so overlooked in modern culture that it can be a bit of a shock to begin doing it once more. The Five Elements seem a very effective way for helping to tune to what our bodies are telling us, as each element connects us to different emotions, so any emotions which our bodies “remember” can be released. However, we do not dwell on any element in particular, so the emotions can also be let go of.

Magic Circle

Holding space is a key part of helping make a place sacred. It can help to create your own sacred space like this Magic Circle, though the first sacred space to create and recognise is within you. Photo by David Ashwanden

Mind-Truth and Body-Truth

In the circle we are encouraged to speak the truth and part of the art which the course helped me to learn was holding space in a way which facilitates and fosters this. However, sometimes our minds may get in the way of what we’re saying so that even we are not sure if it’s really true.

The dance meditation connecting us to our bodies, encouraging us to be “at home in our bones” brings out a kind of truth which is even deeper, more subtle and perhaps more difficult to define – the truth our bodies and senses are sharing with us. It seems as though once we connect to this the whole way in which we speak takes on a different significance, as well as the way in which we act and move around in our lives.

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Circle Dance. Photo by Tianna.

Because one thing which the course helped with was in making it easier to connect to our  deeper truths – to be honest with ourselves. The radiating effect of this is that it’s less easy to lie about anything in life, whether it’s participating in an activity that you do not really enjoy or agree with, or speaking your mind about something.

Bringing the dance out

In the sacred dancing circle we are all human beings, fresh personalities poised and ready to listen to our guiding desires and to begin the delicious journey of manifesting them.

Outside the circle, we may pick up different characters here and there to help us in our journeys. One of the main teachings of the course for me was being able to tell which of these characters are beneficial to us and which help us to develop healthily in body, mind and spirit. The dancing meditation makes it easy to differentiate – but once we go back into the world, it may also be easy to forget. The fact that the course was on a secluded beach on a tropical island meant that it felt very much like a holiday. Many of the other course participants defined themselves as living double or triple lives and seemed unhappy with the lack of integrity this seemed to be giving them.

Hopefully by the end of the training they were more sure about where their integrity lies, and strong enough to follow it: why leave holiday behind when we can embody it as part of our lifestyle?

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Creation of altars – one way of making a space sacred. Photo by Tianna.

Tune in now

You don’t need to participate in one of Daisy’s courses in order to connect to your deeper truth or help you to make every day sacred, though it has certainly aided me in re-finding my path. There are so many ways to do it: maybe you find it through yoga, qi gong, mindful walking; from practising circus skills or martial arts; by learning about the Tao, the Chinese medicine system or Buddhism, or simply by standing still and focusing on your breath. None of these things are exclusive and the most important thing in practising them is probably your own enjoyment.  Sacred spaces are all around us, and the sacred dance is within us all the time. We can let it out however we like…

Just remember to keep dancing…

Notes

If you are interested in reading more about the course, feel free to check out my fellow participant Debbie Bird’s experiences here: Bird is Travelling.

References

  1. Campbell, J, 1949. The Hero with a Thousand Faces. Pantheon Books: New York City
  2. Corbett, L, 2012. Psyche and the Sacred: Spirituality beyond Religion. Spring Journal Books: New Orleans
  3. Walton, S, 2003. Out of It: A Cultural History of Intoxication. Three Rivers Press: New York City
  4. 5 Rhythms, 2016. ‘Who We Are’. https://www.5rhythms.com/who-we-are/
  5. The Art of Biodanza, 2016. ‘About Biodanza’. http://theartofbiodanza.com/origins-of-biodanza/
  6. Daisy Kaye, 2016. ‘Live a Holiday Lifestyle’. http://www.liveaholidaylifestyle.com/
  7. The Sanctuary Thailand, 2016. ‘Sacred Cacao 5 Element Dance Teacher Training’. http://www.thesanctuarythailand.com/sacred-cacao-5-element-dance-ceremonies-teacher-training-with-daisy-kaye.html
  8. Daisy Kaye, 2016.
  9. Haworth, C, 2016. David Bowie: Helping us Dance to Heal. Abundance Garden, 4/2/16. https://abundancedancegarden.wordpress.com/2016/02/04/david-bowie-helping-us-to-dance-to-heal/
  10. Hayes, J, 2007. Performing the Dreams of Your Body: Plays of Animation and Compassion. Archive Publishing: Chichester

Tuning Into Nature

It seems increasingly clear that much our action as humans is detrimental to the world around as, not to mention to our own species. News reports abound in tales of lack of earth care with companies ripping out the soil to extract minerals and oil (see for example 1), lack of people care with those fleeing from disaster or conflict are met with guard towers, barbed wire fences and a demand for the right papers (see for example 2), and lack of equal distribution of resources when we see how much food we produce in the world, and how much of that is thrown away (see for example 3).

 

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Our human-made creations are beautiful, but only as part of a whole which includes non-humans as well. Photo by David Ashwanden

 

Oh No!?

All of these lacks seem indicative of a number of trends within our human culture. The first one to note and which it is useful to be keenly aware of is what could be called the ‘oh no!’ phenomenon. This is the tendency of people, from the level of global media down to individuals you may meet on the street, to focus on the negative side of whatever is going on. The reasons for the ‘oh no!’ phenomenon are many, varied and have been developing for a number of years.

What seems important now is to realise that, though there may be things going on in the world which are creating unbalance, upset and disharmony, there are also many things which are helping to create positive, balanced and harmonious situations. If we always focus on the negative side we are giving energy to it and therefore helping to manifest more of whatever it is we supposedly do not want.

…OK…

It is perhaps not as simple as if we see a problem we should just ignore it and it goes away. What exists, exists, so there is not really any point in denying it. If we want to truly live, we must also accept dying and the idea of death around us. This idea is explored in many works of art, and indeed it has been noted that the job of the artist is to show how close we are to death in order to appreciate life (see for example 4).

Firmly rooted in this acceptance we can look at the lack of harmony and balance in the world, accept it, and move towards a more positive-seeming future. What appears to be key to assisting this movement is our own attitudes, as human beings, towards the other beings which inhabit this planet along with us. David Abram (5) suggests that we can trace back our lack of care for the world around us exactly to the time when we first developed phonetic language and with it the ability to construct abstract ideas and concepts. Abram and others have pointed out that with this ability we can create the illusion of being ‘abstracted’ from the rest of the world, as we can separate ourselves in our minds from other animals, plants, rocks, indeed all the living, breathing, more-than-human world (5). The problem with this is that it is a false idea, since we are still connected in a very fundamental way to this world, regardless of how many abstract ideas and virtual realities we bring into it.

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Animals – connected to us through the physical realm, however disconnected we may seem. Photo by David Ashwanden

How can we then bring back our understanding of ourselves in line with our physical connection to the rest of the world? One way is to be aware that there is more than one type of language. You may be able to speak English, Italian, Spanish, French, German – you may even think in a number of different human languages, and your mind be open to new perspectives from the subtle differences of thought which exist between them. Yet you can be as polylingual as any UN translator and still miss the languages which are perhaps more important to learn, especially now. These are the older, half-forgotten languages of the earth and sky, of the plants as they grow and as they die, and even the rocks and minerals underground. Opening ourselves up to sense these languages is maybe one of the most fundamental steps we can take towards creating positive change in our world.

I use the term ‘language’ to describe this way in which we can communicate with the more-than-human world around us, though you can interpret it how you like. Maurice Merleau-Ponty, one of the first phenomenologists, calls the process of being alive ‘reciprocal participation’ (5) as we are constantly not only perceiving the things around us but also being perceived by them, in an interaction which we in our modern cultures are perhaps forgetting.

…Oh Yes!

Re-connecting with these languages is surprisingly simple, and you have probably already experienced it in life. The process is a constant communication, what could be called a ‘tuning in’ to nature and to all of the life which is surrounding you.

You may not necessarily agree with the way in which I am framing this connection; it may not fit with your world view to think of rocks as alive, or to see the way in which the trees whisper in the first rising wind of a summer storm as anything to do with a communication to you. What is important is not the words which I am using but what lies beyond them; deeper than the words is the blood which links all of us, the steady beat of your heart which drums in rhythm with all the world, if only you can tune into it.

 

Many cultures place music and dancing as highly important aspects not only as enjoyment but as physical connection to the music of the environment. Tuning into nature is about becoming aware of your own body and how you dance as much as it is about becoming aware of the rest of the world. Dance is a powerful and very immediate way of communicating, where words are both unnecessary and superfluous.

So if you’ve read this far, forget the words. Words are useful to convey ideas, but unless we also connect to the deep and fundamental family of all the living beings of the world the words are empty, useless, and potentially dangerous in their false promises of separation. So forget these words. Forget all the words which may be rolling around in your head, demanding your attention and your time, and for just a moment, give time to your breath instead. Try following your feelings. Go outside under the full moon; stand in a field and watch a lightning storm; jump into the sea without resisting her cold, welcoming touch; run around in the rain and listen to the changes in sound, in scent, in texture of the world becoming wet; sit still in the forest and come to that place where words no longer matter.

However your rhythm goes you can connect it to the greater rhythm of life around you. Give it a try; you never know…It may even be a joyous experience.

References

  1. Good, K, 2015. ‘How Drilling the Earth for Natural Gas is Fracking up Human Lives Across America’. One Green Planet, 27/2/2015. http://www.onegreenplanet.org/environment/impact-of-fracking-on-human-health/
  2. Tomlinson, C, 2016. 5000 Migrants Turned Away As Macedonia No Longer Recognises Afghans As ‘Refugees’. Breitbart, 23/2/2016. http://www.breitbart.com/london/2016/02/23/5000-migrants-turned-away-as-macedonia-no-longer-recognises-afghans-as-refugees/
  3. Institution of Mechanical Engineers. ‘Global Food: Waste Not, Want Not’. Imeche: London. Available as a PDF here: https://www.imeche.org/docs/default-source/default-document-library/global-food—waste-not-want-not.pdf?sfvrsn=0
  4. Campbell, J, quoted in ‘Mythos: Vol III, Episode 3.5 Into the Well of Myth.’ PBS: Arlington, Virginia.
  5. Abram, D, 1996. The Spell of the Sensuous: Perception and Language in a More-Than-Human World. Vintage: New York City

David Bowie: Helping us to Dance to Heal?

It’s been just over 3 weeks now since David Bowie moved from this dimension into one even more infinite. In those 3 weeks many others have died; ‘celebrities’ and others; and many, many people have been born as well – the human cycle continues to turn. Yet it seems fitting to me to mark the memory of this particular human as someone, at least to me, rather special.

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A tribute to Bowie on a tree in Brixton. The quote reads ‘Look up here, I’m in heaven’ – a line from one of his latest singles, released a few days before his death. Photo by Charlotte Haworth

In many ways it will be an echo of other tributes; I am happy to have had Bowie as part of my life as he helped me to see that being ‘not normal’ can also be perfectly fine; like many others who “felt like freaks and oddballs” (Madonna, 2016) (1). His changes of characters and personae are an everlasting inspiration; showing to me that the exploration of deep mythological archetypes can be fun like the eye-patch ( see for example 2) or mind-blowingly eerie like the Blackstar dances (3); sad like in Ashes to Ashes (4) or triumphant like the Heroes (5).

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The impromptu shrine at Brixton tube station. Photo by Charlotte Haworth.

So moved was I to pay tribute that I decided to visit the mural of Bowie’s face outside the tube station for Brixton, where he grew up. The mural has been turned into something of a shrine, with many people gathering to leave flowers, candles, pictures, poems and other gifts.

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Some of the many flowers and gifts, including my poem, which you can read here if you like. Photo by Charlotte Haworth

It seems that we can all learn from David Bowie, whether we have listened to his music before or never got into him at all. Bowie followed his inspiration, and did whatever seemed right to him. If you watch him dance it doesn’t look necessarily as though he is moving his body- rather, that something is moving through him. Of course, having not known Bowie personally I cannot say for sure if this is the case, yet the fact that he continues to have this inspirational effect remains. Even up to his death he was still exploring the various facets of the human psyche for us through his art. His latest album was released 2 days before he died (6): he didn’t work as a singer, dancer or musician- he lived his art, which we are all capable of doing, and if you are not right now maybe you should be wondering why?

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A true artist. Photo by Charlotte Haworth

There are many who see dance and music as part of the storytelling of our lives (see for example 7, 8); as a means not only of recreation but of connecting profoundly and sensuously to ourselves and those around us – one of our most primal means of communication, and still one of our most effective. As Hayes (7) puts it,

“We may never have been conscious of our life energy, but our bodies can feel it. We may never have been conscious of our suffering in childhood, but our bodies can remember. We may never have been conscious of the suffering of our parents, but our bodies received it in the womb and carry it. We may never have been conscious of the pollution of the planet but our bodies feel it and manifest the effects…

So if we inhabit our bodies and let them speak to us, we can become aware of transpersonal energy, and in welcoming it, we heal not only ourselves, but our families, our communities and our planet” (Hayes, 2007) (7).

How we decide to go about this healing is up to us. Along the way, it may be helpful to remember the immortal words,

“Let’s dance!” (9).

And of course, “let the children boogie….” (10)

References

1. Geoghegan, Saunders, et al, 2016. ‘Reaction to David Bowie’s death’. BBC News, 10/1/16. http://www.bbc.co.uk/news/live/entertainment-arts-35278886

2. David Bowie, 1974. ‘Rebel Rebel’. Music released by Columbia records. https://www.youtube.com/watch?v=Sa6bI_95G9I

3. David Bowie, 2016. ‘Blackstar’. Music released by Columbia records. https://www.youtube.com/watch?v=kszLwBaC4Sw

4. David Bowie, 1980. ‘Ashes to Ashes’. Music released by Columbia records. https://www.youtube.com/watch?v=CMThz7eQ6K0

5. David Bowie, 1977. “Heroes”. Music released by Columbia records. https://www.youtube.com/watch?v=Tgcc5V9Hu3g

6. Wikipedia, 2016. David Bowie: Blackstar album.https://en.wikipedia.org/wiki/Blackstar_(David_Bowie_album)

7. Hayes, J, 2007. Performing the Dreams of Your Body: Plays of Animation and Compassion. Archive Publishing: Chichester

8. The Dynamic Turnaround, 2016. ‘The Healing Power and Joy of Dance’. http://www.thedynamicturnaround.com/dancetherapy.htm

9. David Bowie, 1983. ‘Let’s Dance’. Music released by Columbia records. https://www.youtube.com/watch?v=B2HWuR2mq5M

10. David Bowie, 1972. ‘Starman’. Music released by Columbia records. https://www.youtube.com/watch?v=4B5zmDz4vR4

 

Growing Halloween

Come We Grow

Last Friday, the 31st of October, saw the marking of a number of occasions. The date has special significance for a number of cultures anyway, and not just for connotations of plastic masks, glow-in-the-dark teeth and threatening (or is it cajoling?) your neighbours for sweets. On top of this, it was also the day of Come We Grow, which I had the pleasure of being involved in.

What is Come We Grow?

                Last week’s event, held at the Wheatsheaf Hall in Vauxhall, South London, was celebrating the release of ‘Fear of a Green Planet’, the new EP from KMT. He is the co-founder of the May Project Gardens in Morden, which combine an interesting mix of permaculture garden and community and music studio where people from all walks of life can go and record.

KMT (his artist name: he introduced himself to me as KMT Ian) seems to have equally strong roots in both hip-hop rap and permaculture. An example of how these perhaps sometimes seemingly incongruous themes come together is KMT’s ‘bling’: from a distance, a large, chunky silver necklace such as may be fashionable among trendy rappers (though I won’t pretend to know about these things). As you get closer, however, it becomes clear that the necklace has been made up of recycled ring-pull tabs.

Celebrations of Growing

                The workshop I was running at Come We Grow focusses on our identification with culture, and indeed what it means to be a part of an existing or emerging culture. In line with this, the subject of Halloween came up; and we explored the significance of this celebration as seen by the people present. To help facilitate discussions we had a pumpkin with us, which got participants talking of carving and of fancy dress. We ended up exploring the idea that many Halloween traditions which are common now in UK culture are based on commercial gain rather than actual cultural ties. When asked if anyone knew of any deeper Halloween traditions no one could say. I was quite surprised at this, though it could have been that simply people were getting tired. I decided to share my reasons for celebrating this date, which I shall summarise here too.

Halloween

                Halloween is a later name for one of the eight important pagan celebrations held throughout the year. Each are chosen according to how much light there is rather than a particular numbered day. At the longest and shortest days we have, respectively, the Summer and Winter Solstices, and in between these, when the day and night become equal in length, are the Spring and Autumn Equinoxes. Then in between each of these days are four more celebrations, “cross-quarter” days in the middle of the others, when change is in the air and, as many traditions believe, the world of magic and of spirits is closer to our own.

These four ‘in between’ festivals can be seen as the most potent times of year, and though pagan and Celtic traditions have been somewhat forgotten in this country, are still celebrated by people nowadays, though possibly as more of a revival than a continuation, since so much of our traditions were totally lost. The eight festivals are listed at the bottom of this article with the “cross-quarterly”, or (as some feel) more magical, ones, in bold, and the one which corresponds to Halloween is known as Samhain (pronounced “sa-ween”).

For me, Halloween is about the celebration of this time of change, of the light and dark in their eternal dance, and the seasons turning towards the chill of winter. Though I have found the Pagan calendar to be of use in my own personal celebration-marking, I am by no means exclusively bound by it and have researched many other traditions of this day too, taking from them the meanings which suit me. In some cultures this is a time for honouring the dead, such as with the Mexican celebration of El Dia de Los Muertos (see for example 2), and I feel this is important not just for remembering whichever friends or relatives you know who have passed on, but also with a consideration of your ancestors and all those who have gone before you, and what they have given to you.

It certainly made an interesting accompaniment to the seedbomb making, which was the actual practical aim of my workshop. Even our younger friends, who let’s face it were only really there to play with mud and clay, seemed vaguely interested in our Halloween explorations.

Welcome

                Later on, as the night truly began drawing in and the faint flutter of otherworldy beings to flick in and out of our peripheral hearing (well ok, it may have been the kettle boiling in the cafe), we witnessed the Welcoming Ceremony of the evening. In order to give the attendants a proper welcome, Come We Grow actually had a Shamanic Celebrant to help us all get into the right mood. Aama Sade Shepneki (2), the Celebrant, has a grace and presence which is quite notable, even when she is not speaking. When she began the ceremony, playing a djembe to raise everyone’s energy levels, there was more than one person present with goosepimples.

She also mentioned the importance of Samhain and how, as she puts it, “the veil is thinner” at this time of year. She says it is a time for drawing in our energy and storing up our reserves in preparation for the cold season; a synchronicity with my explorations of the symbolism of the pumpkin and all of the good food which it represents. She says it is also a time for reflection on what we have achieved and meditation on what we are planning.

For anyone who may, too, have been trying to start something new over the past couple of weeks and been repeatedly flummoxed by it, these seem helpful words to remember.

Hip hop permaculture

Following the Welcome, KMT gave an introduction by singing one of his rap songs; a history of the May Project Gardens. The chorus is “planting little seeds every day/ watching the world just change” (3) and as he wandered around the hall he gave out actual seeds to accompany the song.

Having a keen interest in both music and permaculture, it was inspiring to see such heartfelt and passionate art being performed right in front of me. I suppose I lost interest a little in combining my two hobbies after hearing some of the tepidly whimsical songs which have come out related to permaculture. KMT has helped to reignite that interest. It is so clear now: just because we care about the planet and about each other, doesn’t mean we also can’t make music with raw energy and soul.

Another key benefit of the musical aspect of May Project Gardens is that it can help foster connections with so many more people than a simple permaculture project. Many people have never heard of permaculture but a lot of people, especially in South London, have heard of hip hop. Perhaps they come to the May Project just to make music, which is fine. But maybe while they are there they get a tour of the gardens, and end up deciding to help out there, or to recreate some or other aspect of the gardens in their own lives.

All in all, a highly inspirational event, and I look forward to participating in future Growing celebrations.

References

  1. UNESCO, 2014. ‘Indigenous Festivity Dedicated to the Dead’. http://www.unesco.org/culture/ich/RL/00054 – retrieved 09/11/14
  2. Tree Circle Ceremonies, 2014. ‘About’. http://www.treecircleceremonies.co.uk/ – retrieved 09/11/14
  3. KMT Freedom Teacher, 2014. ‘Little Seeds’. http://kmtfreedomteacher.bandcamp.com/track/little-seeds – retrieved 09/11/14

The Eight Festivals in the Wheel of the Year

The festivals have different names according to different traditions but I am familiar with their Gaelic names (so good luck saying them correctly because I don’t think I do):

– Midwinter or Winter Solstice – around December 21st. shortest day of the year

Imbolc – pronounced “i-molk” – around February 2nd. In between Winter Solstice and Spring Equinox

– Ostara or Spring Equinox – around 21 March. New Year – days become longer than nights

Beltane – pronounced “bel-tain” – around May 1st. In between Spring Equinox and Summer Solstice

– Midsummer or Sumer Solstice – around June 21st. longest day of the year

Lammas or Lughnasadh – pronounced “lu-na-sa” – around August 2nd. Traditionally beginning of harvest; in between Summer Solstice and Autumn Equinox

– Mabon or Autumn Equinox – around September 21st. Nights become longer than days

Samhain – pronounced “sa-ween” – around October 31st. in between Autumn Equinox and Winter Solstice