September 10, 2014October 2, 2019 Mago Work Admin

(Art poem) Placenta Encapsulation by Paula Lietz

lying within earth’s immortal womb

moist muscle pulsating

I laboured to be smaller

she implored me to be mightier

contractions fierce she carried

me upon the wayward wave

all wretchedness of mankind

readying for the next stricken swell

all humanities aspirations

I began to pant

she swathed me in soothing winds

and upon my cracked lips dabbed

uncivilized raindrops flavoured in rainbows

bathed me with rays of sun

and murmured with conviction ~ believe

spent I lay there vulnerable

releasing others expectations

and more important, those of my own

automatically I reached for the umbilical

cord, now dried, dust to dust

corpus uteri I had become

instinctively protective gathering

the daisies, art, clouds, the witty

the children and the lonely

within my universal womb

who was nourishing who

now did not matter

all I had to do was believe

published 2013 May

Beautiful Women Unleashed

by Lipstick Press

Beautiful Women Unleashed from Lipstick Press

Meet Mago Contributor Paula Lietz.

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(Essay 3) Future of Identity: Reclaiming the Northern Pagan Tradition by Jillian Burnett

Art by Jillian Burnett Politics of the New Pagan Tribe An issue to consider is the collectivity of the ideology. Tribes—like any other organization or assembly of folk may adhere to shared values, religion and philosophy. loosely bind associated people who are not blood bound—who have family no relations. Today’s northern pagans are not made of cousins and second-cousins. It’s a dystopian future tribe, born from the dwindling embers of a dying social order and hierarchy whose past is bloody colonization. The members of this neo-pagan tribe often share nothing but ideology. As is common among tribes, a council usually of elders makes decisions for the group.The neo-tribe values the individual and self-expression—not necessarily as a rivalry against the older generation, but as a powerful network where each member is valued. This can coincide with non-conformity as well as anti-authoritarian values. As a political movement this can translate into populism or self-determination and sovereignty for the tribe. In native Hawaii, movements are growing to protect lands outside of United States control. Currently the Sami in Scandinavia advocate for their own rights of self-determination. These two indigenous groups have a multitude of clans and tribes within them; both fight to keep their language, stories, culture and religion as well as their way of life intact from colonizer culture. The indigenous Taino of the Caribbean were wiped out with the pen in a paper genocide. The Roma—known before as gypsies, were denied membership into society. That was then. Today’s tribes are making a comeback. The modern world may not be ready for it. Civically there are northern pagans on the left and right of the political spectrum. The political leaning of pagans generally however may veer slightly more left, while also holding the virtue of self-determination. American Transcendental author Ralph Waldo Emerson wrote the famous essay self-reliance in 1841; by 1861 individual states rights versus overbearing federal law tore the United States into Civil War. This anti-authoritarian theme of the individual having purpose and power—a portrait of the young man in becoming, is still a dominant cultural thread that ties us to our pagan past. Contrastingly the northern pagan tradition has its feudal and tribal style of having a speaker. There were chiefs, jarls and kings who were head of communities. Analogous to the old times of the northern pagans, solving a problem would entail taking up counsel with the tribe leader. This person would speak for them on behalf of their situation and advocate with another on their relative social power-tier of their community’s hierarchy. This speaks to more of a republic style of social government rather than a democratic model with equally spread out power-parity. While fierce independence is a value of the northern pagan tradition, both systems of community and individuality are seen when we reflect on the historical past. As modern pagans redefine what elements of culture remain relevant to them and outright reject certain aspects of dominant society, communal gatherings increase. Lunar calendars are again coming back into use; cultural events like blöts, and solar minimum/maximum events are observed. Folk meet to focus on secular, mythological/semi-historical as well as religious celebrations; all have relevance. Slowly, the festivals of the hegemony lose their place as the neo-pagan tribe abandons that which does not represent them. The neo-tribe of northern pagans have their own symbols that refer back to their land and ancestry. No longer do their spoken metaphors tell of a serpent entwined tree, but of Jormungandr encircling Yggdrasil. Reclaiming symbols like the world tree—in signifying the path and devotion of the faithful is a statement of power. The tree known to western society belongs to the Abrahamic faiths; known as one that contains knowledge of good-and-evil within stories of evangelical religious colonizers. Conversion along with imposed religion and imperialism amount to cultural annihilation. Through religious syncretism, as Christianity absorbed the holidays and sacred sites and resignified occasions and places, the underlying culture was hidden but not lost. Sadly however, this was not so in all aspects of pagan faith, as völva were persecuted during the Christianization of northern Europe. History teaches us that shamans were killed and witches were burned. This strategically purged the folk of their power, ancestral wisdom, ties to their spirits and ties to their land by ensuring that mothers were killed. No one was there to teach the future generations of their ancestral rites. While cultural revivals are plentifully found, as people rekindle their love of historical trends, bygone fashion, dated cuisine and food-preparations, plant knowledge makes its way back as well. The wild-man food-foraging trend is popularly trending; millions watch and learn what foods can be eaten in the wild. Society is fascinated with what we have lost, and slowly these food foraging shows, classes, and Instagram reels are growing in popularity. While these consumable trends may seem like the flavor of the week; the change in perception towards agribusiness and industrial farming is slowly being transformed. Lifespan has increased in the US and there is more participation in fitness programs en masse. Veganism is a healthy trend that many celebrities promote, and Hollywood Hills fashionable farm-to-table movement is on the rise. (To be Continued) https://www.magoism.net/2020/08/meet-mago-contributor-j-a-a-narayan/
(Poem) Precious Body Unknown by Glenys Livingstone

Precious Body I gave you away (we gave you away) Cast you before swine. ooo Precious Pearl, the Self … Embodied I delivered you to the pyre (we were delivered, delivered ourselves) I bound your feet (we were bound, bound ourselves) I mutilated your genitals … your my our sacred yoni (we were mutilated, mutilated ourselves … why do whales beach themselves?) ooo Precious MindBody I denied your knowledge (we were denied, we denied … all of it) Truly I played dumb, felt dumb (we played dumb, felt dumb, were told we were dumb, were not addressed) I did not speak to you, I did not hear you (we did not speak to ourselves, were not spoken to, did not hear, were not heard) I starved myself (we starved ourselves, we were starved) I pretended I was not there/here … would the world be better then? (we pretended we were not there/here, we were just shells, vacuous, empty) ooo Where was Our Mother? (where were we, what kind of monster was Our Father?) Why did we not raise up ….. an army? Why did we not say no? (we did say no) ooo As our blood spilled out our bodies/minds burned, corsetted, bound, probed our spirits quelled we hoped, as mothers do, that Marduk would mend his ways that the Son of the Mother would remember Himself. oOo Glenys Livingstone 1995
(Art) Throne for a Goddess, inspired by the “Venus” of Willendorf by Glen Rogers

Throne for a Goddess The “Venus” of Willendorf has long been an icon of the Sacred Feminine and for me a beacon of what was and what could be. (Many feel that the “Venus” nomenclature unfortunately frames this very important figure in a sexist manner.) However, despite her title, She represents a female figure connected to Mother Earth, revered for her fecundity and her role as life-giver. On September 9, 2020, at the height of the pandemic, my new sculpture, Throne for a Goddess, inspired by this historical figurine was installed at St. Ruprecht/Raab sculpture park in Austria. It was an exciting project for me and viewing the finished Throne via photos versus in person, because of the travel ban, did not diminish my enthusiasm. Throne for a Goddess Backside It was through a number of synchronous events on a trip to Vienna only a year earlier that culminated in the sculpture coming into being. My main reason for going to Europe was a group exhibition I was in, Crossing Borders, in Ghent, Belgium. But my friend whom I was traveling with had family in Austria, so she convinced me we should go there after the show. Sitting around the dinner table our first night in Vienna, I asked her cousins if there were any Neolithic Goddess sites to explore nearby. Some may be surprised that I would ask that question, but visiting sacred sites has been my passion for many years. My book, Art and Sacred Sites: Connecting with Spirit of Place, chronicles 10 such sites around the world that inspired my artwork such as Newgrange in Ireland, Uluru in Australia, and Font de Gaume cave in South of France. To my utter surprise, they said the Venus of Willendorf, one of the oldest and most celebrated Paleolithic goddess sculptures, was housed in The Natural History Museum in Vienna. With a feeling of reverence and excitement, we paid her a visit the very next day. On display in a special room with only a few other artifacts, the tiny 4½-inch limestone figure is believed to be almost 30,000 years old. Although I’ve seen many fertility figures from early cultures in museums around the world, the Willendorf statue took my breath away. It was awe inspiring to be in the presence of a figure so ancient and so imbued with the Sacred Feminine and I knew at that moment she would inspire a new artwork in me. Our host then took us to the beautiful Styria countryside specifically to show us a new sculpture park in St. Ruprecht/Raab where he had a piece. The park which is beautifully laid out like a giant peace symbol, already had 20 to 25 sculptures by local artists. I’ve done a lot of public sculpture myself, with pieces like Beacon and Spirit Gate in California, so my wheels were spinning imagining one of my pieces there. After meeting the park’s developer, I decided to empower myself and ask if I could submit a proposal. He agreed! Artist/Author Having been newly inspired by the Willendorf figure, I knew I would create a piece to honor this symbol of the Divine Feminine – the primary focus for my art for so many years. I also felt lucky to be introduced to Jitka Derler of the Binder Company, for the fabrication in Austria, a female artist who also honored the Goddess. We worked well together sending computer files and encouragement back and forth over the internet. My idea was to design an interactive sculpture where visitors are invited to sit and feel the energy of the Great Mother. The final Throne is made of gold-tone anodized aluminum and rusted steel and stands 6.5 feet tall. Along with the Willendorf figure are symbols associated with the Goddess such as the moon and the spiral and my inspirational message cut into the metal: Rest in the Warm Embrace of the Goddess, the Great Mother, the Divine Feminine. Feel Her Nurturing Love and Offer of Abundance and Prosperity. Sit in Her Lap of Fertility and Plant a Seed for your Dreams and New Beginnings. Print Back in my studio in San Miguel de Allende, Mexico, I decided to create a commemorative print as a way to honor the sculpture locally. Since this project is all about empowering and honoring women – from the ancient to the present, I partnered with the non-profit, Mujeres en Cambio (Women in Change). This organization was a logical choice since they, in turn, empower young women in rural SMA communities by offering educational scholarships. The beautiful Throne for a Goddess commemorative print is available via my website with 40% going to Mujeres: www.glenrogersart.com/shop It was amazing how all of this came together within a year – especially the year of 2020. It felt like I was being looked after, just like the mantra I use while traveling, In Her Hands. As soon as vaccines are administered and bans are lifted, my friend and I will surely return to Austria and experience Throne for a Goddess first-hand. https://www.magoism.net/2021/01/meet-mago-contributor-glen-rogers/
(Art) Juárez City Mothers (with Frida Kahlo) by Eileen Haley

Women from Juárez, Mexico, demonstrate for justice for their daughters, victims of the high rate of femicide for which their city is notorious. The predominance of pink reflects the use of this colour in the campaigns conducted by the mothers to emphasise the youth and femininity of the victims.
(Art) Labrys by Pegi Eyers

Art by Pegi Eyers The first labyrinths were associated with the ceremonies of the Moon Goddesses of the ancient world such as the Amazon Goddess Gaea, and with the symbol of the double-headed axe. “Her soul message is the reclaiming of your matriarchal heritage as leader and visionary.” (This is included in She Rises: What… Goddess Feminism, Activism and Spirituality? Volume 3)(Meet Mago Contributor) Pegi Eyers.
(Book Review) Mary Ann Beavis and Ally Kateusz, eds. Rediscovering the Marys: Maria, Mariamne, Miriam. Reviewed by Bojana Radovanović

The present volume appeared in the series Scriptural Traces: Critical Perspectives on the Reception and Influence of the Bible, and was published under the Library of New Testament Studies. This collection of scholarly essays contains seventeen contributions, divided into three sections. In addition, the volume includes an introduction and an afterword written by both editors (Mary Ann Beavis and Ally Kateusz), in-text illustrations (some of which of exceptional provenance and dating from Late Antiquity/Early Middle Ages), lists of figures, abbreviations, and contributors, references, index and index of Biblical references. This volume falls within the research field of Mariamic studies – a relatively young scholarly domain addressingthe reception of the Marys in Christianity, Judaism, and Islam, as outlined by Mary Ann Beavis and Ally Kateusz in the Introduction. The Rediscovering the Marys aligns to the previous pioneering work by F. Stanley Jones and Deirdre Good, in which the foundations of this field of study have been laid.[1] The first thematic section regroups the articles focused on textual sources covering the period of Late Antiquity and Early Christianity, and is largely knitted around the highly debated question of the identification of Mary in early Christian texts, as announced in Stanley Jones’s edited volume, and pronouncedly addressed in Stephen J. Shoemaker’s contribution.[2] This section delves into questions of Mary’s identity and traces it back to the period encompassed by the first three centuries of the Christian era, up to the First Council of Nicaea in 325 CE. Marc Goodacre bases his deliberations in view of the century-long confusion arisen over the character of Mary Magdalene, and the flourishing of feminist hermeneutics. Goodacre meticulously dissects the textual proof and convincingly argues that Mary of early Christian gospels is not solely Mary Magdalene, but, as a literary character, assimilates thetraits derived also from Luke’s and John’s portraits of Mary of Bethany, Martha’s sister. Mary Ann Beavis examines the aspect of “the neglected figure” of Mary of Bethany (25), by drawing on her previous work and dedicating special attention to Mary’s status as “apostle to the apostles” and holy myrrhbearer. In her contribution, Beavis encompasses Mary of Bethany traditions, ranging from Augustine and Hippolytus, to canonical, as well as apocryphal Christian literature. The ensuing question of particular significance the author raises is that of Mary of Bethany’s interpretative role in Christian art. Judith Hartenstein embarks on a textual analysis of the Gospel of Mary and places it in the wider research strand enclosing the role of the text in early Christianity. The author questions the very implications of the title of the gospel and concludes that Mary may have been chosen as a heroine of the gospel not only because she was “generally known and accepted,” but also, due to the fact that she may have represented the “accepted and useful disciple,” thus implying the right of women to aspire to leadership and educational functions (45-46). The essay of Jo-Ann Badley questions Mary’s role in the Acts and furthermore, explains why the answer to this question is worth pursuing. Badley concludes that Mary’s role in the Acts “recalls her proleptic role in the gospel story” (56), and views her presence as enclosing the events between the baptism of Jesus by John and Jesus’ ascension, thus underlining continuity within the wider narrative by her capacity to interpret God’s actions. Anna Cwikla deepens a theme of the quest for the unspecified Mary in noncanonical texts, especially in the Dialogue of the Savior. Apart from the already presented possibilities in the scholarship, Cwikla pinpoints to another option which has not been utterly developed by now and suggests that Mary may not refer to a specific woman from the canonical gospels, adding that the question “which Mary,” should be reframed to “why does it matter which Mary” (67). Kara J. Lyons-Pardue opens the intriguing question of Eusebius’ suggestion that there may have been two Mary Magdalenes. From Eusebius’ perspective, as Lyons-Pardue argues, the existence of two Mary Magdalenes is more plausible, as a consequence of a scribal error and due to several contradictions – one of which is, for example, related to the incongruity between Mary Magdalene in Matthew’s Gospel who grasps Jesus’ feet, and Mary Magdalene in John’s Gospel who does not touch Jesus at all. In the following essay, Ally Kateusz analyzes the identity of Mary Magdalene in literary transmission, as well as in art history. Kateusz suggests that a specific variant in the Syriac second-century Diatessaron may constitute an early source of the widely attested phenomenon in scholarly circles, ascribing the image of Mary the Magdalene in the garden with the risen Christ to Jesus’ mother. After a neatly-elaborative survey conducted on the four examples, the author convincingly pinpoints to the crucial role of a separate critical textual variant of Diatessaron – on the basis of the oldest Latin manuscript of John – in which Jesus’ mother was placed in the garden with resurrected Christ. Section two includes essays on social and religious history in diachronic perspective, and expands on questions relating to the role of the Marys in mission and leadership. Cornelia Horn focuses on the path traced by the scholarship of Marian traditions and especially by the recent edited collection on the intercessory role of Mary, Jesus’ mother in Byzantium.[3] This chapter offers a new outlook of Mary’s intercessory role in the scope of the role(s) early Christians assigned to her, as well as of the classification of Mary’s authority. Upon a survey of selected hagiographical and apocryphal texts of Syriac and Arabic provenance, Horn argues that a concept of “mediation” comprises “the fuller range of her ‘diplomatic service’ on behalf of the interests of humankind” (101), as a more powerful image than the one associated with that of an intercessor emerges. Erez DeGolan and Miriam-Simma Walfish base their research on post-scriptural stories of the Hebrew Bible’s Miriam and New Testament’s Mary Magdalene in view of their leadership functions, by comparing the narrative strands about Miriam of Late Antique Rabbinic texts to those of …
(Book review) Poemas Ante el Catafalco: Grief and Renewal by Donna J. Snyder, reviewed by Mary Saracino

Poemas Ante el Catafalco: Grief and Renewal (Chimbarazu Press 2014) Donna J. Snyder It is a poet’s challenge to find language for emotions that elude language. In Poemas Ante el Catafalco: Grief and Renewal, Donna Snyder uses her considerable gifts to translate the soul’s bodily wisdom into words that simultaneously pierce the heart and offer solace. This collection of poetry is a personal and intimate testament to how grief and bereavement can undo the human spirit, rain unbearable suffering down upon the human body. Snyder takes our hearts in her very capable hands and leads us over the steep hills and through the deep valleys of grief and surrender. Her poems are unflinching, fearless, beautifully written, brave, honest. True.
(Praise poem) Litany of the Black Madonna by Mary Beth Moser

She is the Our Lady of the Tree, Rock, Sea and Cave Beloved Mother of Wisdom, You are Black and Beautiful! She is the Madonna of Fire and Water Beloved Mother of Wisdom, You are Black and Beautiful!
(Video 3) Angela Dolmetsch & Alessandra Piccoli in Maternal Gift Economy: Breaking Through by Genevieve Vaughan

[Words of Invitation] Drawing on Maternal Gift Economy theory, the suppressed wisdom of women, and the traditions and ethics of Indigenous societies, this integrated programme of presentations sponsored by the International Feminists for a Gift Economy Network will offer new insights, perspectives, and challenges to the underlying market-based mentality of the dominant world order. In this time of crisis and systemic upheaval, the model of the Maternal Gift Economy on which our survival depends at the beginning of life, is being revealed and celebrated. The interdependence of all living beings can now be made visible and honored. Mother Earth provides the model of an economy based on gifting that we receive as young children from our nurturers—before we are alienated into market exchange. We must make the transition from the exploitive Euro-American patriarchal/dominating and capitalistic ideology to a gift-based economy and culture grounded in the values of nurturing and care rather than competition and greed. We invite you to join us in exploring the possibilities in this series of presentations and dialogues that bring together those who have been laboring to articulate the principles of the Maternal Gift Economy, protect Indigenous values, and practice peaceful and just community building. The time is now for all humans to cooperate rather than compete. Please join us! https://www.youtube.com/watch?v=zNGZ0nEe_6A&t=1s For more information on the Maternal Gift Economy, see here. https://www.magoism.net/2014/06/meet-mago-contributor-genevieve-vaughan/

(Special Post) Discussion on Mother-Daughter Wound by Mago Circle Members

[Mago Circle members discussed and answered the question, “What do you think of this (the topic article below)? If you are a feminist, it is something that you would promote? If so, why? If not, why not?” The discussion took place on May 15, 2017 and shortly thereafter in The Mago Circle.] Topic Article: “For The Daughters Who Don’t Love Their Mothers – Screw Mother’s Day” by Sade Andria Zabala Everyone talks about a mother’s unconditional love. But what if it doesn’t exist? Daughters are socially expected to be close with their mothers. But are you one of the women who aren’t? Mother’s Day isn’t just for celebrating moms. It’s a day some of us dread because we are reminded we grew up (or are still) unloved, not good enough. (Read the whole article here.)
(Special Post 1) "The Oldest Civilization" and its Agendas by Mago Circle Members

[Editor’s Note: The following discussion took place in response to an article listed blow by the members of The Mago Cirlce, Facebook group of Goddessians/Magoists from May 6 to May 10, 2016. Readers are recommended to read the original article linked below that has invoked the converation.] “The Danube Civilization: Oldest in the World” in The Ancient Ones upon the ruins of our ancestors, published April 3, 2016.
(Special Post Isis 3) Why the Color of Isis Matters by Mago Circle Members

[Editor’s note: The discussion took place in Mago Circle during the month of July, 2013. Our heartfelt thanks go to the members who participated in this discussion with openness and courage.] Part 3 Isis, Arab Women Revolution, and Black Goddesses Naa Ayele Kumari Going back to the original topic of the post…. Some quotes ” Women are in half the society… How come there are only 7 in the Assembly… and they are all Islamist! ” I can’t beat up my wife and almost kill her and call it discipline… this is not discipline… this is abuse and insanity” http://youtu.be/y4umifTLSII 12-Year Old Explains Egyptian Revolution in Under 3 Minutes www.youtube.com Max Dashu It is tremendously heartening to see these insights being expressed, and spread. The Salafis have made such inroads, and now the pushback is happening. Harita Meenee Dear Naa Ayele Kumari, thank you actually reading my post and commenting something relevant to it. It’s refreshing when someone does hear what we have to say instead of projecting their own notions. Building a solidarity movement with those who are oppressed but fighting is very important during these critical times! Harita Meenee See also: https://www.facebook.co/intifadat.almar2a?fref=ts The uprising of women in the Arab world انتفاضة المرأة في العالم العربي حرية الفكر ، حرية التعبير ، حرية الاعتقاد ، حرية التنقل ، حرية الجسد ، حرية اللب…See More Glenys Livingstone … as you say Max …” way too much of it going on” – amongst people who should know better (I would have thought): “Dark goddess as terrifying, challenging, white goddess as benign; “black magic” as harmful; I see way, way too much of this going on out there.” And related to that in my mind is all the “love and light” business that is so common: the Ground of Being is Dark … it seems to me that mystics have always understood the quintessential darkness of Love/Deity. Max Dashu Sure. I would just like to add that the critique raised here addressed issues much broader than the substance of the article, which made some good points. But once the choice of graphics flagged the issue of representation, people had much more to say about that old yet still very fresh wound which is constantly reopened by the cultural habit of whitening Egypt, or interpreting Africa through a eurocentric lens. It is not on any one person to carry the weight of that; we all have a responsibility to address the issues, but especially those of us of European heritage need to familiarize ourselves with how this plays out over and over. Just as men have a responsibility to speak up in support of women when patriarchal assumptions are on board. We all can learn something from each other, along all the various axes of domination, and overthrow them in coalition. Naa Ayele Kumari I have often considered where the roots of this psychology comes from. It is dualistic thinking that causes us to compare and contrast, then sum up judgement of good or bad and place a value on each. It extends into competition and justification for war. It also doesn’t escape me that often this came with certain civilizations who systematically destroyed others. It didn’t just happen with blacks in Africa… but blacks in Asia and the Indus Valley as well. With the Aryan invasions of India, came the eventual introduction to lighter divinities and more emphasis on male divinities. Southern Indians, Sri Lankans are very dark… even more so than many African Blacks. The caste systems implemented by the Aryan invaders did the same thing to them casting them as “untouchables”. With that came the marginalization of their black female divinities such as Kali. Kali actually has 10-16 forms… from compassionate mother, the fountain of wisdom, to she of great beauty but she is minimized as just destructive and terrifying… especially as Brhaman, Vishnuu, and Shiva grow in popularity. One of Kali’s statues has her black self standing on top of Shiva because she conquered him. Later there is a discussion in on of the Hindu text explaining Kali (as Parvati) after being subdued by Shiva she becomes lighter. Further they have stories about him rejecting her and calling her blackie which made her do austerities to rid herself of her black skin. Naa Ayele Kumari It should not be overlooked that in the Story of Alice in Wonderland… a story intended to keep Goddess elements for future generations, has the Elder sister ( the Queen of Hearts) portrayed as man, ego, and power driven who cuts off heads and has a fierce dragon…a clear reference to Kali. The White goddess as the younger sister is her opponent… and her mission is to usurp the throne of the Queen of Hearts even though she was the rightful heir as the oldest … or primordial. Stories like these also reinforce the stereotypes and negative iconography. Max Dashu Yes, it is pervasive in many cultures of domination. Demons are portrayed as black not only in Europe, which we know well, but also in China and in a lot of Buddhist iconography. In modern India, the sweet goddesses are shown as pink, the wrathful as black; and Krishna (name means “dark”) is turned powder blue. (Another of his titles, s’yam, also meaning dark, is the word translated as “green” in Green Tara.) The countercurrents (Black Mazu, loving Kali – esp in Bengal and south India, Black Madonna) bubbled up from the common people, who knew and longed for something other than the dominant racialized hierarchy. Naa Ayele Kumari I am just discovering Mazu ( Matzu/LuShui) in China today! Never knew about her. This discussion has led me to look deeper for black goddesses in Asia. Max Dashu Taoist spiritual tradition often refers to Xüan Nü, which can be translated in several ways. You’ll usually see it rendered as “the Mysterious Female,” a phrase that occurs in the Dao De Jing (Tao Te Ching), and this is a valid translation; but what is less emphasized is that it also means “the Dark Woman.” In […]

(Music) Songs for Samhain by Alison Newvine

The season of Samhain is upon us. This playlist is an offering for this descent into the sacred darkness, and a companion for the journey into the underworld. Invocation of Witches features music by Loreena McKennitt, Marya Stark, Inkubus Sukubus, Wendy Rule, my band Spiral Muse, and many others. It is a soundtrack for ceremony and each song expresses a different face of the spirit of the witch. May this Samhain season guide you gently into the dissolution of what no longer serves, the honoring of what is complete and the cultivation of the inner space that will gestate what is yet to come. https://open.spotify.com/playlist/2CFNoH9exhloz3w95P3Rlb?si=270cf01fabb8421c https://www.magoism.net/2023/10/meet-mago-contributor-alison-newvine/
(Slideshow) Beltaine Goddess by Glenys Livingstone, Ph.D.

Tara, Hallie Iglehart Austen, p.122 On November 7th at 22:56 UTC EarthGaia crosses the midpoint in Her orbit between Equinox and Solstice. In the Southern Hemisphere it is the Season of Beltaine – a maturing of the Light, post-Spring Equinox. Beltaine and all of the light part of the cycle, is particularly associated with the Young One/Virgin aspect of Goddess, even as She comes into relationship with Other: She remains Her own agent. Beltaine may be understood as the quintessential annual celebration of Light as it continues to wax towards fullness. It is understood to be the beginning of Summer. Here is some Poetry of the Season: Earth tilts us further towards Mother Sun, the Source of Her pleasure, life and ecstasy You are invited to celebrate BELTAINE the time when sweet Desire For Life is met – when the fruiting begins: the Promise of early Spring exalts in Passion. This is the celebration of Holy Lust, Allurement, Aphrodite … Who holds all things in form, Who unites the cosmos, Who brings forth all things, Who is the Essence of the Dance of Life. Glenys Livingstone, 2005 The choice of images for the Season is arbitrary; there are so many more that may express this quality of Hers. And also for consideration, is the fact that most ancient images of Goddess are multivalent – She was/is One: that is, all Her aspects are not separate from each other. These selected images tell a story of certain qualities that may be contemplated at the Seasonal Moment of Beltaine. As you receive the images, remember that image communicates the unspeakable – that which can only be known in body – below rational mind. So you may open yourself to a transmission of Her, that will be particular to you. https://www.youtube.com/watch?v=SKGRoVjQQHY Aphrodite 300 B.C.E. (Hallie Iglehart Austen, The Heart of the Goddess). This Greek Goddess is commonly associated with sexuality in a trivial kind of way, but She was said to be older than Time (Barbara Walker p.44). Aphrodite as humans once knew Her, was no mere sex goddess: Aphrodite was once a Virgin-Mother-Crone trinity – the Creative Force itself. The Love that She embodied was a Love deep down in things, an allurement intrinsic to the nature of the Universe. Praised by the Orphics thus: For all things are from You Who unites the cosmos. You will the three-fold fates You bring forth all things Whatever is in the heavens And in the much fruitful earth And in the deep sea. Vajravarahi 1600C.E. Tibetan Tantric Buddhism (Hallie Iglehart Austen, The Heart of the Goddess). A Dakini dancing with life energy – a unity of power, beauty, compassion and eroticism. Praised as Mistress of love and of knowledge at the same time. Tara Contemporary – Green Gulch California ,Tibetan Buddhist. (Hallie Iglehart Austen, The Heart of the Goddess). “Her eroticism is an important part of her bodhisattvahood: the sweetpea represents the yoni, and she is surrounded by the sensual abundance of Nature. One of Tara’s human incarnations was as the Tibetan mystic Yeshe Tsogyal, “who helped many people to enlightenment through sacred sexual union with her”. – Ishtar 1000 B.C.E. Babylon (Hallie Iglehart Austen, The Heart of the Goddess). Associated with passionate sexuality (and with Roman Goddess Venus) – which was not perceived as separate from integrity and intelligence … praised for Her beauty and brains! Her lips are sweet, Life is in Her mouth. When She appears, we are filled with rejoicing. She is glorious beneath Her robes. Her body is complete beauty. Her eyes are total brilliance. Who could be equal to Her greatness, for Her decrees are strong, exalted, perfect. MESOPOTAMIAN TEXT 1600 B.C.E. Artemis 4th Cent.B.C.E. Greece. (Hallie Iglehart Austen, The Heart of the Goddess) – classic “Virgin” image – wild and free, “Lady of the Beasts”, Goddess of untamed nature. As such, in the patriarchal stories She is often associated with harshness, orgiastic rituals but we may re-story “wildness” in our times as something “innocent” – in direct relationship with the Mother. She is a hunter/archer, protector, midwife, nurturing the new and pure essence (the “wild”) – in earlier times these things were not contradictory. The hunter had an intimate relationship with the hunted. Visvatara and Vajrasattva 1800C.E. Tibetan Goddess and God in Union: it could be any Lover and Beloved, of same sex. Image from Mann and Lyle, “Sacred Sexuality” p.74. Sacred Couple –Mesopotamia 2000-1600 BCE “Lovers Embracing on Bed”, Inanna Queen of Heaven and Earth, Diane Wolkstein and Samuael Noah Kramer. Represents the sacred marriage mythic cycle – late 3rd and into 4th millennium B.C.E. (See Starhawk, Truth or Dare). This period is the time of Enheduanna – great poet and priestess of Inanna. Xochiquetzal 8th century C.E. Mayan (Hallie Iglehart Austen, The Heart of the Goddess). Her name means “precious flower” – She is Goddess of pleasure, sexuality beauty and flowers. Sometimes represented by a butterfly who sips the nectar of the flower. “In ancient rituals honouring her, young people made a bower of roses, and, dressed as hummingbirds and butterflies they danced an image of the Goddess of flowers and love.” Her priestesses are depicted with ecstatic faces. (called “laughing Goddesses” !!) She and Her priestesses unashamedly celebrated joyful female sexuality – there is story of decorating pubic hairs to outshine the Goddess’ yoni. https://www.magoism.net/2013/06/meet-mago-contributor-glenys-livingstone/ REFERENCES: Iglehart Austen, Hallie. The Heart of the Goddess. Berkeley: Wingbow, 1990. Mann A.T. and Lyle, Jane. Sacred Sexuality. ELEMENT BOOKS LTD, 1995. Starhawk. Truth or Dare. San Fransisco:Harper and Row, 1990. Walker, Barbara. The Woman’s Encyclopaedia of Myths and Secrets. San Francisco: Harper and Row, 1983. Wolkstein,Diane and Kramer, Samuel Noah. Inanna Queen of Heaven and Earth. NY: Harper and Rowe, 1983. The music for the slideshow is “”Coral Sea Dreaming” by Tania Rose.
Beltaine/High Spring within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 8 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Traditionally the dates for Beltaine/High Spring are: Southern Hemisphere – October 31st or 1st November Northern Hemisphere – April 30th (May Eve) or 1st May though the actual astronomical date varies. It is the meridian point or cross-quarter day between Spring Equinox and Summer Solstice, thus actually a little later in early November for S.H., and early May for N.H., respectively. The twin fires lit in older times on hilltops in Ireland for Beltaine likely represented the two eyes of night and day.[i] With this vision, Goddess as Sun and Moon sees Her Land, and with the power of Her eyes (Sun and Moon) brings forth life and beauty. With the fire eyes, Goddess“reoccupied and saw her whole land…”[ii] The twin fires later came to be used to run cattle between as they headed out to Summer pasture, for the purpose of burning off the bugs and ticks of Winter; the fires may thus be understood to serve a cleansing effect and likely the origins of the tradition of the ceremonial leaping of flames by participants in Beltaine festivities. In PaGaian Cosmology this is poetically expressed as the Flame of Love that burns away the psyche’s “bugs and ticks,” and sees the Beauty present, and calls it forth. The Beltaine flames may be a celebration of Sun entering into the eye, into the whole bodymind: a powerful creative evocation upon which the Dance of Life depends, and as the cleansing power of love and pleasure. PaGaian focus for Beltaine is on the Holy Desire/Passion for life, and it may be accounted for on as many levels as possible … the complete holarchy/dimensions of the erotic power. On an elemental level, there is our desire for Air, Water, the warmth of Fire, and to be of use/service to Earth. There is an essential longing, sometimes nameless, sometimes constellated, experienced physically, that may be recognized as the Desire of the Universe Herself – desiring in us.[iii] We may remember that we are united in this desire with each other, with all who have gone before us, and with all who come after us – all who dance the Dance of Life. Beltaine is a time for dancing and weaving into our lives, our heart’s desires; traditionally the dance is done with participants holding ribbons attached to a pole or tree (a Maypole in the Northern Hemisphere, which may be renamed as a “Novapole” in the Southern Hemisphere), wrapping the pole with the ribbons. This is not simply the heterosexual metaphor as is thought in modern times (thanks largely to Freudian thinking) – it is deeper than that. As Caitlin and John Matthews point out: it is symbolic of a far greater exchange than that between men and women – in fact between the elements themselves. … the maypole, a comparatively recent manifestation in the history of mystery celebrations, can be seen as the linking of heaven and earth, binding those who dance around it … into a pattern of birth, life and death which lay at the heart of the maze of earth mysteries.[iv] Beltaine is a celebration of Desire on all levels – microcosm and on the macrocosm, the exoteric and the esoteric.[v] It brought you forth physically, and it brings forth all that you produce in your life, and it keeps the Cosmos spinning. It is felt in you as Desire, it urges you on. It is the deep awesome dynamic that pervades the Cosmos and brings forth all things – babies, meals, gardens, careers, books and solar systems. We have often been taught, certainly by religious traditions, to pay it as little attention as possible; whereas it should be the cause of much more meditation/attention, tracing it to its deepest place in us. What are our deepest desires beneath our surface desires. What if we enter more deeply into this feeling, this power? It may be a place where the Universe is a deep reciprocity – a receiving and giving that is One. Brian Swimme says, in a whole chapter on “Allurement”: You can examine your own self and your own life with this question: Do I desire to have this pleasure? Or rather, do I desire to become pleasure? The demand to ‘have,’ to possess, always reveals an element of immaturity. To keep, to hold, to control, to own; all of this is fundamentally a delusion, for our own truest desire is to be and to live. We have ripened and matured when we realize that our own deepest desire in erotic attractions is to become pleasure … to enter ecstatically into pleasure so that giving and receiving pleasure become one simple activity. Our most mature hope is to become pleasure’s source and pleasure’s home simultaneously. So it is with the allurements of life: we become beauty to ignite the beauty of others.[vi] Beltaine is a good time to contemplate this animal bodymind that you are: how it seeks real pleasure. What is your real pleasure? Be gracious with this bodymind and in awe of this form, this wonder. Beltaine is also a good time to contemplate light, and its affects on our bodyminds as it enters into us; how our animal bodyminds respond directly to the Sun’s light, which apparently may awaken physical desires. Light vibrates into us – different wavelengths as different colours – and shifts to pulse. It is felt most fully in Springtime (“spring fever”), as light courses down a direct neural line from retina to pineal gland. When the pineal gland receives the light pulse it releases “a cascade of hormones, drenching the body in hunger, thirst, or great desire.”[vii] We respond directly to Sun as an organism: it is primal. NOTES: [i] Michael Dames, Ireland, 195-199. [ii] Ibid., 196. [iii] I have been inspired and informed by Swimme’s articulations about desire, particularly in Canticle to the Cosmos, video 2 “The Primeval Fireball,” video 5 “Destruction and Loss,” and video 10 “The Timing of Creativity.” [iv] Matthews, The Western Way, 54. And for more, see “Creativity …
(Mago Almanac Excerpt 7) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) at Mago Bookstore. YEARLY LEAP DAY AND EVERY FOURTH YEAR LEAP DAY Each Sa includes a Dan of the big Sa. A Dan is equal to one day. That adds to 365 days. At the half point of the third Sa, there is a Pan of the big Sak (the year of the great dark moon). A Pan comes at a half point of Sa. This is of Beopsu (Lawful Number) 2, 5, 8. A Pan is equal to a day. Therefore, the fourth Sa has 366 days. Each year has a leap day (Dan), which makes a total of 365 days. Every fourth year is a leap year that has a leap day (Pan), which makes a total of 366 days. The Dan day comes before the New Year in the winter solstice month. And the Pan day comes before the first day of the summer solstice month in the fourth year. The above, however, does not indicate when the New Year comes. Logographic characters of Dan and Pan each suggest their meanings. While each year includes the Dan day (the morning), every fourth year has the Pan day. A unit of four years makes the Big Calendar. Dan (旦 Morning) Leap day for every first three years Pan (昄 Big) Leap day for every fourth year I have postulated that the year begins on the Dan day (one leap day), a day before New Year that comes in the month of Winter Solstice in the Norther Hemisphere. And the Pan day comes on the day before the first day of the 7th month that has Summer Solstice in the fourth year in the Norther Hemisphere. Years Year 1 Year 2 Year 3 Year 4 Months Dan Dan Dan Dan 1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5 6 6 6 6 Pan 7 7 7 7 8 8 8 8 9 9 9 9 10 10 10 10 11 11 11 11 12 12 12 12 13 13 13 13 Days 365 365 365 366 The Magoist Calendar’s intercalation involves one leap day every year and one leap day every four years. That is, each year has one extra day to make it 365 days. Every fourth year has an extra day to make it 366 days. Four years has a total of 1461 days (365×3+366), which makes the mean of 365.25 days. Considering that the month is following the sidereal period rather than the synodic period, it is inferred that the year also follows the sidereal year rather than the solar year. In fact, Magoist Calendar’s one year is very close to today’s 365.25636 days of the sidereal year compared to 365.24217 days of the solar year or the tropical year. Given that, as seen below, the Budoji mentions the tiniest discrepancy of one leap day for 31,788,900 years, the discrepancy between 365.25 and 365.25636 (0.00636 day) can be explained that the year was actually 365.25 days at the time of Budo circa 2333 BCE, 4440 years ago. In other words, there is a discrepancy of 0.12375936 seconds between 2017 CE and 2333 BCE. Regarding Lawful Numbers 2, 5, 8, it is involved as follows: 365 days (3+6+5=14, 1+4=5) Lawful Numbers 2, 5, 8 refers the unit of 365 days (364 days with one intercalary day). Further dynamics are unknown. The sidereal year refers to the time taken by the Earth to orbit the sun once with respect to the distant stars. In contrast, the solar or tropical year means the time taken by the Earth to orbit the sun once with respect to the sun. The sidereal year, 365.25636 days, is about 20 minutes and 24 seconds longer than the mean tropical year (365.24217 days) and about 19 minutes and 57 seconds longer than the average Gregorian year of 365.2425 days. The difference occurs primarily because the solar system spins on its own axis and around the Milky Way galactic center making the solar year’s observed position relative. Time is no independent concept apart from space and the agent. The very concept of time is preceded by the agent bound in a space. It is always contextualized. In Magoism, both calendar and time are born out of the cosmogonic universe, the universe that is in self-creation. Like calendar, time is to be discovered or measured. It is a numinous concept. The very concept of time testifies to the reality of the Creatrix. Time proves the orderly movement of the universe into which we are born. Calendar patterns time, whereas time undergirds calendar. How can we measure time? We are given the time of the Earth that comes from its rotation, revolution, and precession in sync with the moon and the sun (and its planets). One type of time is the solar time. The solar time is a calculation of time based on the position of the sun. Traditionally, the solar time is measured by the sundial. The solar time is, however, specific to the Earth only. It is valid only for the-same-observed-location. It is not made to be used for the time of another celestial body. For example, Mars’ solar time has to be measured independently based on its own rotation and revolution rates. The solar time is an isolated time. It is static and exclusive, not made for the time of other celestial bodies. By nature, it is unfit for connection and communication across celestial bodies. The second type is the sidereal time. The sidereal time is a time scale based on the rate of Earth’s rotations measured relative to the distant stars.[29] Because the observed position is in the far distant stars beyond the solar system, the sidereal time may as well be called an extrasolar stellar time. We can think of the observer’s position of an imaginary cosmic bird far out there, infinitely far beyond not only the solar system and …
Artful Ceremonial Expression by Glenys Livingstone Ph.D.

This article is an edited excerpt from Chapter 7 of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. I always wore a special headpiece for the Seasonal ceremonies when I facilitated them over the years, and I feel that any participant may do so, not just the main celebrant. My ceremonial headpiece with its changing and continuous Seasonal decoration took on increasing significance over the years; it became a personal central representation of the year-long ceremonial art process of creating, destroying and re-creating. For the research period of my doctoral studies particularly, when I was documenting the process, I realised that this headpiece came to represent for me the essence of “She” – as Changing One, yet ever as Presence – as I was coming to know Her. In my journal for the Mabon/Autumn Equinox process notes one year I wrote: As I pace the circle with the Mabon headpiece in the centre, I see “Her” as She has been through the Seasons … the black and gold of Samhain, the deep red, white and evergreen of Winter, the white and blue of Imbolc, the flowers of Eostar, the rainbow ribbons of Beltane, the roses of Summer, the seed pods and wheat of Lammas, and now the Autumn leaves. I see in my mind’s eye, and feel, Her changes. I am learning … The Mother knowledge grows within me. The headpiece, the wreath, the altar, the house decorations, all participate in the ceremony: they are part of the learning, the method, the relationship – similar to how one might bring flowers and gifts of significance to a loved one at special moments. Then further, the removal and re-creation of the decorations are part of the learning – an active witness to transformation through time.
Imbolc/Early Spring – a Season of Uncertainty by Glenys Livingstone Ph.D.

Traditionally the Seasonal transition of Imbolc/Early Spring, celebrated in early February in the Northern Hemisphere, and in early August in the Southern Hemisphere, has been a time of nurturing the new life that is beginning to show itself, around us and within. It is a time of committing one’s self to the new life and inspiration – in the garden, in the soul, and in the Cosmos. We may include in our celebrations and contemplations of this Season the beginnings of the new young Cosmos as She was, that time in our cosmic story when She was only a billion years old and galaxies were forming; and also the new which has continually emerged throughout the eons, and is ever coming forth. The flame of being, as it has been imagined by many cultures, within and around, is to be protected and nurtured: the new being requires dedication and attention. In the early stages of its advent, there is nothing certain about its staying power and growth: it may flicker and be vulnerable. There may be uncertainties of various kinds. There is risk and resistance to coming into being. The Universe itself knew resistance to its expansion when it encountered gravitation in our very beginnings, in the primordial Flaring Forth[i]. The unfolding of the Universe was never without creative tension. The Universe knows it daily, in every moment: and we participate in this creative tension of our place of being. Urge to Be budding forth Imbolc/Early Spring can be a time of remembering personal vulnerabilities, feeling them and accepting them, but remaining resolute in birthing and tending of the new, listening for and responding to the Urge to Be[ii]of the Creative Universe within. Brian Swimme has said (quoting cultural anthropologist A.L. Kroeber) that the destiny of the human is not “bovine placidity” but the highest degree of tension that can be creatively born[iii]. many flames of being, strengthening each other These times are filled with creative tension, collectively and for most, personally as well; there is much resistance, yet there is promise of so much good energy arising. We may be witness to both. This Season of Imbolc/Early Spring may encourage attention, intention and dedication to strengthening well-being: in self, and in the relational communal context, and opening to our direct immersion in the Well of Creativity. We may be strengthened with the joining of hands, as well as the listening within to the sacred depths, in ceremonial circle at this time. NOTES: [i]As our origins (popularly named as “the Big Bang”) are named by Thomas Berry and Brian Swimme in The Universe Story. [ii]As I name this determined Virgin quality in PaGaian Cosmology. [iii]The Canticle to the Cosmos, DVD #8, “The Nature of the Human”. References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. New York: HarperCollins, 1992. Swimme, Brian. Canticle to the Cosmos. DVD series, 1990.

(Book Announcement 5) Introduction (part 3) by Helen Hye-Sook Hwang

[Editor’s Note: This Introduction is from She Rises: How Goddess Feminism, Activism, and Spirituality? Volume 2.] Pre-order available now! Engendering the Gynocentric Economy In the sense that the She Rises collective writing project does NOT begin with a ready-made blueprint, it is distinguished from a standard anthology. More to the point, this book is a book of the Goddess. By saying that, I do not mean that it is just about the Goddess. It is created in a gynocentric way and it serves a gynocentric purpose. Motivations matter; the task of the She Rises collective writing was first undertaken as a way of enhancing the Goddess/Mago Movement in 2014.[i] It has taken place spontaneously by the hand of volunteers. It relies on the gynocentric economy, a system of enabling the life of all beings operated through voluntary collaboration and egalitarian coordination. As an extension of the Gift Economy that Genevieve Vaughan advocates, the gynocentric economy is based on the voluntary sharing of one’s available resources for the whole.[ii] Gift-givers not only give what we can give freely but also enable a whole new (read non-patriarchal) mode of doing economic activities. In other words, they summon gynocentric reality to take place. Gynocentric economy secures free gift-giving activities and at the same time is shaped by the latter.
(Essay 2 Part 1) Why Do I Love Korean Historical Dramas? by Anna Tzanova

Part 1 Fans, journalists, critics, and academia in multiple fields have studied this world phenomenon; have written blogs, articles, books; and presented in conferences, dissecting, and making predictions. Still, the magic and mystery of its success persists to be as thrilling as ever. This is the way I see it: DELIGHTING THE SENSES
(Mago Essay 3) Toward the Primordial Knowing of Mago, the Great Goddess by Helen Hwang

[The following sequels including this one are a modified version of my paper presented to Daoist Studies, the American Academy of Religion (AAR) in 2010.] Part 3 Daoist Rendition of Mago, the Great Goddess Being the creatrix, progenitor, and ultimate sovereign, Mago has been addressed by many names. Her derivative names include Samsin Halmeoni (Triad Grandmother/Goddess), Cheonsin (Heavenly Deity), Daejosin (Great Ancestor Deity), Nogo (Crone/Grandmother), Gomo (Goddess Mother), Magui (Devil), Seogo (Auspicious Goddess), Seonnyeo (Female Immortal), Seonja (Immortal Person), and simply Halmi (Grandmother/Crone/Goddess) especially in Korea. To say the least, these names, respectively embedded in a particular cultural and historical background, reflect a complex and enduring feature of Magoism. One may wonder: How is it possible to assess that these goddesses with different names refer to the same goddess, Mago? While such a query is legitimate, its answer entails a prolix explication of inferences based on the comprehensive analysis of a large volume of data, a technique that requires all human faculties, not just rationality. Foremost, the name “Mago” is the primary defining factor to identify Her transnational manifestations in East Asia. This name crisscrosses otherwise seemingly unrelated data including folklore, arts, literature, poetry, and religious and historical records. Such toponyms as Mt. Mago, Rock of Mago, and Cave of Mago presently extant in Korea, China, and/or Japan further substantiate the coherence of Magoism in East Asia. Having established the patterns and styles of Mago stories, the researcher is able to identify a common motif that is shared by the stories and place-names of the goddesses with derivative names. In short, these stories are organically interconnected, reflecting the universality and particularities of Magoist theism. As with Her many names, the researcher or art historian requires the same technique to assess a broad range of Her visual representations. One can begin with a good number of paintings whose colophons designate Mago. Two of the most conspicuous colophons are “Magu gathering medicinal herbs” and “Mago presents longevity.” However, many icons including sculptures and embroideries do not have such an indication. In that case, one can tell the Mago icon by its pictorial themes recurring in the images that are identified as Mago. That said, there is no doubt that the Mago icon stands as the prototype of its numerous variations, which are beyond my documentation at this point. A large portion of Mago visual representations I have documented is casually referred to as “The Immortal Magu (麻姑仙, Magu Xian or Mago Seon)” by moderns. As such, it is assumed that She is a Daoist goddess. Would the Daoist appropriation of Mago’s visual images be accurate? I hold that the Daoist rendition of Mago is a specious stopgap, leaving many issues unattended. When B is derived from A, B alone can explain neither A nor B. Not only Her pre-Daoist origin but also Her supreme divinity as the Great Goddess remains unexplained. Furthermore, Daoism has offered no framework to explain the transnational dissemination of Magoist material culture in Korea, China, and Japan.