December 26, 2014October 2, 2019 Mago Work Admin

(Art poem) Uncharted by Sandra Torrez

Blue Worlds, digital picture by Sandra Torrez

I wash up on the shores of indigo Neptune

boundless, infinite in scope hiding in corral skin

amphibian cells float in my currents of blue quarts

inside are my diamond eyes of Saturn’s icy rings

comets collide inside me, submerged in deep sea floors

jelly fish swim with plankton ashore my icy paradise

in air above I gather pollen for the hives

as yellow orange lava seeps from my open mouth

I am distant organism

I am distant world

I am distant uncharted galaxy.

Read Meet Mago Contributor Sandra Torrez.

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(Poem) Herstory Rhyme of Feminine Wilds by Joan Powell

Previously published in Women-Church: An Australian Journal of Feminist Studies in Religion, issue #4 Autumn 1989 Ideas for this Herstory Rhyme came from WEBSTER’S FIRST NEW INTERGALACTIC WICKEDARY OF THE ENGLISH LANGUAGE conjured by Mary Daly in cahoots with Jane Caputi. I announce Daly news I share it with Pride from the Lunatic Fringe which spreads far & wide. *** I’m a brewster who brews in my cauldron at night and make magic potions to take away fright. *** I wriggle and roar when I leap on my broom and wantonly fly in my starry night room. *** I’m a queer crafty Witch a Wise One who sees the wasters who harm the bats and the trees. *** I take up my labrys and chop through all lies and lustily laugh while I flash my Wild Eyes. *** I’m a dangerous Nix, a Vixen, a Bear I do daring deeds with snakes in my hair. *** I study unlearning I heal and inspire I’m a sinister dragon I breathe words of Fire. *** I’m a Scold who scalds users with a Hot boiling Stare. It is the Hour of Thirteen coming through Everywhere. *** I’m a Monster, a Nag, an Ogre outrageous, as Weird as a Wild Cat I break open cages. *** I’m Moon-Wise & Shrewd a Seer,a Sooth-sayer, sensing deceptions I am a truth-sayer. *** I frisk and I frolic I boundary dance with finny and furry as they splash and they prance. *** And sometimes I meet with Muses and Sprites; we nourish ourselves at our Sacred Sites. *** We make music that zings far out to the skies; the Spelling Bees hum as harmonies rise. *** Our words are like birds in flight or at rest we wake up our sisters with songs they love best. *** These songs are angelic, they draw and they soar – they are Clues in the Maze; they Spin from our Core. *** We have a large hammer for cracking the rules that damage our lives and our Terrible Tools. *** The Tools that we treasure are our Wits and our Rage they keep us Revolting to a Venerable Age. *** We are Spinners of Webs and love to cavort; we go anticlock-wise with a horse-laughing snort. *** Our cloaks are our courage – a rainbow protection they conjure Old Hags with love and affection. *** Our ancestral mothers are Prudes of Deep Passion unwinding the binding in hair-raising fashion. *** Now it’s time for a picnic a snakey parade. Let’s hop, skip and slither and get the food made. *** We will go to the beachfront with animal friends. They are very good Guides on spirals and bends. *** They tumble and scamper, they crawl and they run. They come from all over, they are ready for fun. *** The wild horses thunder, they bring some wild cows – there are crabs and a turtle echidnas and sows. *** The dolphins and whales call out as they dive. Come to Deep water – you’ll know you’re alive. *** The jackass is laughing, brolgas dance up the beach. Crackpots and Crones know what these teachers teach. *** We belong to the land, Her songlines and dreams We sing up the country, the forests and streams. *** Here lives the Goddess of Wisdom and Love Well of Divine Grace the Queen of Above. *** We remember our Dead now in Her strong embrace, We, the Living, are part of a Powerful Race. *** Woman most Sensuous the One who gives Birth the Bread of our Lives and Blood of our Earth. ******** Read Meet Mago Contributor Joan Powell.
(Essay 3) The Giant Huwawa (a digression) by Hearth Moon Rising

Discussions about my last post in this series made me realize that some background about Mesopotamia might be useful for readers in understanding the myths surrounding Huwawa. Feminists tend to place events and ideas in terms of pre-patriarchy versus patriarchy, and this is challenging when considering early Mesopotamian civilization. Cylinder seal of grain and birds. Early seals denoted offices and institutions, not people. Photo: G. Garitan/Wikimedia Commons. To understand Mesopotamian cultures, we have to contemplate, first, the changes in the world at the end of the Ice Age. While a few hunter/gatherer societies persist to this day, in much of the world agricultural societies emerged at this time, when changing weather patterns diminished large animal populations. Most humans turned to a more plant-based diet and began farming and raising livestock, activities that could support a larger population or even make population growth desirable. An archeological record exists that parallels the transition from paleolithic territories to settled Neolithic communities. Samarra bowl with antelope, circa 6000 BCE. Early pottery in Mesopotamia typically features animals and geometric designs. Photo: Einsamer Schutze/Wikimedia Commons. In Mesopotamia there is no human Ice Age record, however, nor is one likely to be recovered, because Mesopotamia was uninhabitable before weather patterns changed dramatically. What wasn’t desert was under water. Settled communities were established around 6500 BCE, first in the north, eventually reaching into the south. People came from the north, northwest, east, and (probably) south, places where agriculture, pottery-making, and animal husbandry had already been established. Prehistoric peoples of Mesopotamia are categorized by their styles of pottery and architecture, which are not necessarily tied to one region or one time frame. How these things relate to ethnicity can only be conjecture. Words and place names incorporated into Sumerian and Semitic languages indicate that Mesopotamia was settled in prehistoric times by various Semitic groups and by peoples with no ties to other languages or even known language groups–in other words, they were not Semitic, Sumerian, Indo-European, Indo-Iranian, Hurrian, etc. These “language isolate” settlers may or may not have been related to each other. Female figure from Samarra circa 6000 BCE. Photo: Wikimedia Commons. The early dominant Mesopotamian groups identified by their pottery arrived within five or six hundred years of one another. They developed dry farming methods in the north and canal irrigation in the central region. They were peaceful and left no signs of economic stratification. They made beautiful painted kiln-fired pottery. Clay figures were mainly of animals or women, and many of the symbols on pottery or figurines are recognizable to anyone who has studied the “Old Europe” treatises of Marija Gimbutas. This should be unsurprising, since Gimbutas has identified Anatolia (modern Turkey) as a root of Old European culture, and Anatolia borders Mesopotamia. It should not be assumed, however, that the elements of Mesopotamian culture that are commonly labeled matriarchal – feminine iconography, lack of sustained warfare, lack of economic exploitation, social equality between men and women – can be attributed to the Anatolian influence. These characteristics were endemic throughout the region. Vase from Uruk showing offerings to Inanna. 3200 B.C.E. Photo: Osama Shukir Muhammed Amin/Wikimedia Commons. Yes, but what about the Sumerians? The Sumerians were the last ethnic group to settle in prehistoric Mesopotamia, arriving between 5900 and 4300 BCE. That’s a big time gap. Whether you take the earlier or the later figure depends on whether you believe certain technological advances of the early fifth millennium emerged out of a long-settled multi-ethnic base or whether you believe they were introduced by another highly evolved culture. There are arguments on both sides. What is clear is that when the Sumerians arrived, whenever they arrived, they settled in a multi-cultural, advanced farming region that was largely, but possibly not entirely, pre-patriarchal. Where did the Sumerians come from? According to their own origin story, they arrived by boat from the south, probably meaning the Persian Gulf, into a region that was largely flooded but inhabited on neighboring sides. The Sumerians called themselves “the black-headed people.” This has led some scholars to surmise that they were dark-skinned, possibly related ancestrally to the Dravidian peoples of the Indian coast. Sumerian is not related to Dravidian, however, and is another language isolate. Were the Sumerians patriarchal when they arrived? Another unknown. I could make a guess, but I would have to include pages of explanation, and even then it would be tentative. By the time the Sumerians are clearly established, the first large city, Uruk, is emerging, but the increase in archeological data, so far, does not clarify things. The society grew to become male-dominated, which I believe had more to do with conflict engendered by the vast amounts of wealth generated by the cities than with specific ethnic groups. Early temple in Uruk. The accessibility and size of temples lead some to conclude that Sumer was not a highly stratified society. Illustration: Lamassu Design. In Uruk women as well as men held positions of leadership, no dominant class hoarded resources, and sexuality was open and uninhibited. Recorded names of bureaucrats and priestesses were not always Sumerian, though this was the official language. Presumably many languages were spoken on the streets in this multi-ethnic city that had 50,000 people by the beginning of the third millennium. Early writing circa 3000 BCE. Photo: Rama/Wikimedia Commons. Since “Sumerian” civilization was the product of many cultures, some scholars argue that questions of who the Sumerians were and where they came from are unimportant. Yet Sumerian is a language which carried a culture which pervaded Mesopotamia, in the north as well as the south, and it continued to influence political and religious life for millennia, long after patriarchal kingdoms had been established and the first cities had declined in importance. Learned people, women and men, studied Sumerian long after the language ceased to be spoken as a common tongue. Thus ideas and perspectives recorded in that language continued to be influential. The caveat is that we must remember that Sumerian beliefs were influenced …
(Art Essay 1) The Essence of Round by Lena Bartula

Offerings Another full moon has passed, a spectacular solar eclipse looms, and I am noticing a pattern of circles popping up in my photos. Because I live too far south to witness this coming cosmic event, I decided to share my personal circular activity here on this blog. May we all celebrate the energy of circle, the essence of round. Dark and light, intense and subtle, large and small, this energy is about all of us. It IS all of us. The full moon, the sun, planet Earth and all the planets in the cosmos, all are circles. Even our eyes with which we view them are circles. In exploring the concept of circle, I find it represents unity, wholeness and life cycles. Without beginning or end, it represents inclusivity and its affiliate number is one. We can imagine that when we sit within a circle, we are all equal, one and the same. Being inside the circle, we also feel the safety and protection from anything outside that zone. When someone says they’re in or out of their ‘comfort zone’ I picture that as a circle. Here are some huipiles from the 365 4 2015 series, in which I made one small huipil every day in the year 2015. Looking back at them now from a different viewpoint, I wonder what led me to create so many circular forms. The circular motion of joining hands says inclusivity. It takes all of us working together to bring balance to our Mother planet) It’s not a crime to be Black. Living while black, driving, walking or any other daily event, it’s all part of a broken system that needs changing. Occasionally a day goes just right, you come up with a solution that works, and the term for that sums it up in these circles. Shiva the Destroyer Crushing the demon of ignorance, Shiva’s dance recallsthe cycles of birth, death and rebirth. All is circular. This one is like “follow the money” when we’re trying tounderstand how the world works. It’s not in “mysterious ways.” We all wish for miracles, and maybe they do happen, butI’m not convinced. What do you think? “Life is a full circle, widening until it joins the circle motions of the infinite.” ― Anaïs Nin (To be continued) https://www.magoism.net/2017/08/meet-mago-contributor-lena-bartula/
Phibby Venable

View all posts by Phibby Venable. Phibby Venable lives on the line separating the Blue Ridge and the Appalachian Mountains. She has authored six books of poetry, a book of short stories, and one novel. Twice nominated for the Pushcart Prize, she works in animal rescue, human rights, and photography. She was awarded The Virginia Water Project Award, for helping low income families receive indoor plumbing and home repairs, and for working to drill wells & provide waterlines to small Appalachian communities. Nominated for the Virginia governor’s award for volunteer excellence.
(Book Excerpt 6) Discovering the Gift Paradigm by Genevieve Vaughan

Categorizing Psychological competition for dominance can take the place of physical competition. Categorizing others as inferior replays the gender distinction over and over, placing some people who are usually also themselves the categorizers, in a ‘superior’ category to which those in ‘inferior’ categories must give both materially and psychologically. At the same time the positive gift giving and receiving that is actually continually being done in material and linguistic communication is unrecognized as such and disparaged – or over valued and made unreachable for ordinary people. In its place we have neuter and neutral ‘objective’ categories which reflect the neutral non giving market categories: exchange value, production, distribution (through exchange) consumption, supply and demand, price, monetized labor, commodities, money, capital, all of which are constructed on the back of the gift economy. The logic of categorization, undergirded by the selection process of the market, determines the kinds of things to which value will be given, and the degree of visibility they will have, effectively leaving out gift giving as an aspect of knowing. Inclusion and exclusion are made to precede the satisfaction of needs, which are “legitimately” ignored if for example, those who have the needs are not included in the category of those having money to pay for the products. The overemphasis on categorization in the economic realm influences an over emphasis on categorization in the rest of our thinking. We do not consider our intellectual production in terms of what needs it may be satisfying but only think of it as (giftless) acts of inclusion and exclusion of one kind or another that we are performing. Gift giving is made arduous by its co existence with exchange. Since gift giving is cooperative while exchange is competitive, it loses the competition by not competing. The context of adversarial exchange creates suspicion in the community and gift giving can appear to be a moral ego trip or a veiled bid for power and recognition. In fact, especially in a context where exchange relations are the norm, gift giving can become manipulative, and can be used for ego-oriented purposes, deviating from its unilateral transitive path, and doubling back upon itself. The worst aspect of the competition between exchange and gift giving is that the exchange paradigm really cannot compete in a fair way with gift giving, because living according to the logic of the gift would be life enhancing, while living according to exchange is bio pathic. Therefore in order to prevail, the exchange paradigm has created a system that cripples gift giving and makes it dependent on the market for access to the means of giving. By diverting the flow of gifts into the hands of a few,[1] by wasting ‘excess’ wealth on armaments, drugs and symbols of power (skyscrapers, monuments, jewels), as well as by privatizing the free gifts of nature and culture, Patriarchal Capitalism creates the scarcity that is necessary to penalize gift giving and keep it subservient. In fact even the flow of gifts to the wealthy must be regulated so that not too much will trickle back down. The tide must be kept low; otherwise all the ships would sail away. Although girl children are not socialized to construct a gender identity that opposes that of their nurturing mothers, and many of them will have to do mothering themselves as adults, they can be encouraged to strive for inclusion in ‘superior’ social categories and to achieve the ‘male’ exemplar position. In a context of scarcity, where categorization itself has become excessively important due to the binary categorization of gender, girls may also strive to be included in the privileged social category of people to whom others must give. Nevertheless, because children require unilateral gift giving to survive, women who have been socialized towards this work (or at least have not been socialized in opposition to it), remain in the gift logic in many parts of their lives, even when they do not have children and even when they have been absorbed into the market and see the world mainly through the eyeglasses of the exchange paradigm. The practice of the gift logic at the material and at the verbal level can take place without our being conscious of it as such. In fact unilateral gift giving is transitive and gives value and attention to the other, while exchange requires quantification and measurement, reflecting back to the exchangers an image of what they are doing. We in the North are accustomed to the exchange way of knowledge and self-reflecting consciousness and so we embrace what we see in that way, which is of course NOT the gift. Gratitude might make us look more at the gifts we receive and give but if we make our gift contingent on the others’ gratitude, the gift is no longer unilateral. In the context of exchange, even gratitude becomes problematic. It risks seeming or actually becoming a payment for gifts received. There is also a sort of scarcity of gratitude because ‘deserving’ appears to be more honorable than receiving. What is necessary now is to see gift giving and exchange from a broader ‘meta’ point of view that includes both as modes of distribution and as paradigms, look at the way they interact, and deliberately restore the consciousness of the gift where it has been erased. [1] The wealth of the 225 richest people in the world is equal to that of the poorest 2.5 billion people. The 3 wealthiest people have more than the 48 lowest GDP countries. In 1998, 20 percent of the world’s people living in the highest-income countries accounted for 86 percent of total private consumption expenditures while the poorest 20 percent accounted for only 1.3 percent. That’s down from 2.3 percent three decades ago. (UNDP 1998 – from www.cooperativeindividualism.org.) Meet Mago Contributor, Genevieve Vaughan
(Tribute) Midsummer Births a Goddess, Carol P. Christ (1945-2021) by Sara Wright

Photo by Sara Wright [Author’s Note: I wrote the prose and poem this morning July 14th for Carol’s blog not knowing at that time that this most compassionate woman, feminist scholar, mentor, friend had died shortly after midnight. When I saw the notice on the Internet I was stunned. It seemed so impersonal to receive such heartbreaking news in this manner. When I came back to read this piece I realized that indeed, Midsummer had given birth to a Goddess and her name was Carol Christ.] This year more than ever before I note a very subtle shift that is occurring as we approach the middle of July. Lots of humidity – and I confess – I love the sweet summer scent as long as it isn’t hot. The days are losing a minute or two of light. Instead of slamming out of bed in the pre-dawn hour I find myself sleeping until 6AM and my dogs want to sleep in until 9 on gray foggy mornings like today. The birds are quieter, their songs less intense although my feeder is visited by hoards of youngsters, many of which are still being fed by their parents. The Wood thrush has moved deeper into the forest, so it the Mourning doves who begin my day with song. Most of all, I notice the richness, the vibrancy of deep summer green. Even though my flower garden is on fire with primary colors, I can’t seem to soak in enough greening to satisfy my hungry heart.. Subtle changes like this probably go unnoticed by most but for me they are signs of the goddess coming into her own…I am curious if anyone else senses this shift of energy. ______________________________________________________________________ Midsummer births a Goddess She comes to life dressed in ferns – maidenhair, sensitive, royal, hay scented, each a different shade of green. She hides under graceful hemlock fronds, a lacy cedar. As Partridge berry She winds her way around a rotting trunk, fruit not yet fully formed. Cherry tree, drops pale leaves in light winds, her life force spent after early April blooms. Her gift of perfect crimson pearls loved and eaten by birds and bears. Each Tree bares her name smooth and ribbed limbs, verdant leaves capture shimmering drops of dew. Silver slips through stone so eerily still – it’s hard to recall rushing waters until thunder cracks open the sky, and churning rivers run brown, peeling away unprotected hills. When the Cloud People cast shark gray shadows I call up Her gentle, soaking rains to temper wild and white lightening strikes. She courts Peace, repairs tortured splits between earth and sky with Love… She calms all who seek her in that Sea of Emerald Grace.
(Video) Commemorating the Bombing of Hiroshima by Janie Rezner

https://vimeo.com/107298904 Speaking at Rally to Commemorate the Bombing of Hiroshima, Aug 4, 2001 in Fort Bragg
(Prose) Cardea by Deanne Quarrie

“Ovid says of Cardea, apparently quoting a religious formula: ‘Her power is to open what is shut; to shut what is open.’ …” Robert Graves, in the White Goddess The Roman Goddess, Cardea, was keeper of the doors and had as Her principal protective emblem, a bough of Hawthorne. In the Celtic year, June is the month of the Oak, “Duir” and is considered the hinge of the year (the seventh of thirteen moon cycles). She looks both forward and backward in time. Benefactress of crafts people, she lives in a starry castle at the hinge of the universe behind the North Wind. She is the Keeper of the Four Winds. She is honored at her festival, Beltane, and is also honored during the month of June – which is known as the “hinge of the year.”
(Prose 2) When I Was 5 I Became a Witch; When I was 35 I Knew What That Meant by Shireen Qudosi

WHAT COMES FIRST, THE PATH OR THE PERSON? There are only so many times something is a coincidence before it’s a synchronicity. Life itself has been one big synchronicity. And there have been dreams with very clear messages, some that wouldn’t make sense in words, others that haunt me. And there have been experiences that connect you to things that are unseen but can still be experienced. This is deeply personal but it’s part of the story. It first started when I was five years old. It stopped for a while, and then it started again in my mid-twenties. It comes and goes.

(Special post) Interweaving Mago Threads by Mago Circle Members

“Mago” tradition Magoism is a new word to the modern Western vocabulary, yet it has its linguistic roots in many parts of the globe and in an ancient knowledge and know-how almost lost. Dr Helen Hwang determinedly and methodically is excavating the little-understood historical Mother-Goddess knowledge of Korea, and its traditions, the Mago, and Magoism, and in doing so is unlocking another previously invisible door, and replacing another ripped-off corner of the global map of significant, almost-lost tradition and forgotten knowledge. This is a most welcomed prospect. The newness of this discovery for those who learn of it fills them with excitement because every step to remember the ancient ways, particularly the lost Goddess ways, and those ways that hint of Source, are crucial to humanity remembering itself. Moderns have become accustomed to modes of mind that strip the soul and psyche of finer attunement to earth, sea, stars and each other. This renders most adrift on a sea of seeming limitless freedoms, to be picked up by any technological hook that would substitute for inner knowing. The map becomes the new computer wiring, insurance policy or bank regulation to follow. But once we scrape from our psyches the encrustation of mind most moderns have settled with (which calcifies the innate senses and finer antennae of knowing, emboldening technologically driven modes of mind and being to take their place), then we are on our way to a vivifying recollection. Here is an earlier presentation of the “mago” root word in “imago” or image. Not coincidentally, perhaps, it is connected to maps. (Mary Ann Ghaffurian, culled from Through a Darkened Door—Light, Part 2 by Mary Ann Ghaffurian PhD [http://magoism.wordpress.com/2012/11/26/through-a-darkened-door-light-part-2-by-mary-ann-ghaffurian-phd/]) A very special online, global group Dearest X, …Which brings to mind the “other” reason why I wanted to write to you … Other than just saying “hello” and letting you know that you are very much missed, I also wanted to share with you about a very special online, global group that I have had the honor of being a part of. This group is called Mago Circle and it was founded by my dear friend, “sister” and colleague, Helen Hwang. Helen’s work and commitment to restoring Mago, Ancestral Mother Goddess, to her rightful place as progenitor and creatrix of the Korean people, has not only been admirable but truly critical during a time when we are in real need for inspiration from thought leaders and scholars with a solid foundation in the arts and research of the sacred feminine. As you know, with the roots of Korean shamanism in the realm of women, it makes perfect sense that Korean spirituality must also have sprung within the womb of Woman … the great cosmic goddess, Mago. While Helen’s work is very much grounded in meticulous research — showcasing Korea to the rest of the world in all of Her depth, herstory, and vibrance — it is more importantly, founded in genuine intentions of love, transparency, and humility. I know that Helen can explain the depth, breadth, and height of her work much better than me so I think it will be better to have her directly share more of herself with you; what I simply hope to do through this letter is perhaps help serve as a familiar hand …. reaching out to you and letting you know that your presence and blessings as a well-regarded and much-admired Korean female shaman and scholar would be much appreciated in Mago Circle. Do you remember, X, … you once told me … about 20 years ago: “Sanity is insanity with a focus.” These words I still remember and hold true … they have helped me through times that were truly dismal and chaotic in my life, and with this reassuring and transformational way of looking at myself, looking at my life, looking at the world, I have made it through. My life continues to have its share of insanity, but I know that with focus, all sanity is restored. I know that my letter to you today may feel unexpected and random (especially after not having seen each other for so, so long), but as you know, somehow, life brings us through twists and turns that may seem awkward and strange at first, but upon retrospect, all makes complete sense. In closing, may I have the honor and pleasure of introducing Helen Hwang and the Mago Circle to you … I realize that you must be very busy, but it is my sincere hope that you will find a little time to acquaint yourself with Helen and this wonderful group of women (and men) who are very much dedicated to restoring the balance and peace of Korea and the world via Mago and her goddess sisters of many names… (Wennifer Lin, culled from her letter to her old friend) I share your call for staying connected with each other at a time of cultural and religious tensions. I too believe that all tensions arise from a patriarchal system of hegemony or domination. In the absence of patriarchal hegemony, there would be little or no tension among human beings. The belief in the Mother Goddess would remove the necessity for aggression and hence domination of other human beings or animals. In the eyes of the Mother, every living being is her creature. Hence love, kindness, nurturing and all that is beautiful would prevail everywhere. Am I sounding too idealistic or am I pining for a utopian society that is just not possible? But in theory, it is possible to return to the spirit of Mother, manifest in everything in nature and in our thoughts and actions. With admiration and preservation of Mother we can change the world for a better place. So with this in mind, I submit to all women (who are the living image of the Great Mother Goddess) and goddess lovers in the world to unite in our efforts to bring back the ideals of the Great Goddess. As an academic, I […]
(Special post) Laurie Baymarrwangga, Senior Australian of the Year 2012

Posted with permission in Return to Mago on ‘Australia Day’, 26 January 2014 (Australian time), in recognition of the ill-treatment and misunderstanding of Aboriginal people that was set in train when, in 1788, white people first settled in the land now known as Australia.
(Special Post 2) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing sequels are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hye-Sook Hwang: Here is another image of the nine-headed Lernaean Hydra slain by Herakles. https://simple.wikipedia.org/wiki/Hydra_(mythology)… Glenys Livingstone: Yes, the Hercules story is more documentation of the Old Battle, of the rise of the “hero” to slay the Mother, when in the earliest of times he served with his beauty and labours. It is so interesting to see the analogies in other cultures/places as you are doing Helen, especially in Asia – it seems important work. Your perseverance is paying off, and will. Helen Hye-Sook Hwang: Glenys, I am re-reading a book on Chinese mythology and found a lot more on the nine Magoist symbolism. Someday, I hope to write about the topic in its own right. Glenys Livingstone: This chapter’s work is good re the Old Battle in Greek mythology: Valaoritis, Nanos. “The Cosmic Conflict of Male and Female in Greek Mythology”, in From the Realm of the Ancestors: An Anthology in Honor of Marija Gimbutas. Joan Marler (ed). Manchester CT: Knowledge, Ideas and Trends Inc., 1997, p.247 – 261. Helen Hye-Sook Hwang: Now back to the female divine who is depicted with the nine heads. See the nine-headed Guanyin/Kannon/Gwaneum. Also note that her icon comes in eleven-headed (the 8 Daughters and the Triad Creatrix, which makes eleven). http://www.onmarkproductions.com/html/kannon.shtml Helen Hye-Sook Hwang: The symbol of nine dragons was adopted by imperial China. See the Nine Dragon Wall China. https://en.wikipedia.org/wiki/Nine-Dragon_Wall Helen Hye-Sook Hwang: We connect the dots. When Guanyin is depicted with nine dragons, it conveys that the nine symbolism was/is once deemed sacred. https://i.pinimg.com/originals/4a/17/b3/4a17b33d9a4ae53bad6466a0eaf11722.jpg How popular the Guanyin icon, three headed and eight armed, to this day! Simply Google “eight armed Guanyin.” Below is from the Late Ming Dynasty, China. https://www.google.com/search?q=eight%20armed%20guanyin… She comes in a different name, Ushnishavijaya, in Tibetan Buddhism. https://www.himalayanart.org/items/65445 Helen Hye-Sook Hwang: We can draw that the female deity such as Guanyin and Ushnishavijaya, just to name two, is venerated in association with the nine symbolism. Within the mytho-history of Magoism, I infer that Guanyin or Ma Guanyin is a persona embodying Goma, the Magoist Shaman ruler of Danguk (3898 BCE-2333 BCE), the head of Nine Hans (Magoist Koreans). Note that Magoist shamans or priestesses are called “Mago.” See my essay, “Goma, the Shaman Ruler of Old Magoist East Asia/Korea and Her Mythology,” in Goddesses in Myth, History and Culture (Lytle Creek, CA: Mago Books), 2018. The insight that the major Goddesses in East Asia and beyond point to the same and old divine persona is NOT farfetched, considering that the nine-headed snake or dragon representing the female sovereignty of pre-patriarchal times is slain by male heroes across cultures. Judy E Foster: I’d have to agree with you here. As usual, interesting information! Patty Kay: My meditation this morning was on a history of mysticism. While I’m in the midst of appropriating all of the wonderful beliefs I find here, I also have found a strand in my own tradition that helps me understand why all the Divine Feminine stuff makes so much sense to me. I’ve been trying to determine when the patriarchal world view took over. According to this history, mysticism began to emerge in about 800 to 500 BCE. Could it be that mysticism kept alive the ancient understanding of the cosmos? This is just speculation, but in it I’m answering my own questions. (To be continued) Join us in The Mago Circle https://www.facebook.com/groups/magoism/.

(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/
(Prose) Halcyon for the Season by Deanne Quarrie

A bird for this season is the Kingfisher, also known as the Halcyon. The Kingfisher is associated in Greek myth with the Winter Solstice. There were fourteen “halcyon days” in every year, seven of which fell before the winter solstice, seven after; peaceful days when the sea was smooth as a pond and the hen-halcyon built a floating nest and hatched out her young. She also had another habit, that of carrying her dead mate on her back over the sea and mourning him with a plaintive cry. Pliny reported that the halcyon was rarely seen and then only at the winter and summer solstices and at the setting of the Pleiades. She was therefore, a manifestation of the Moon-Goddess who was worshiped at the two solstices as the Goddess of Life in Death and Death in Life and, when the Pleiades set, she sent the sacred king his summons for death. Kingfishers are typically stocky, short-legged birds with large heads and large, heron-like beaks. They feed primarily on fish, hovering over the water or watching intently from perches and they plunge headlong into the water to catch their prey. Their name, Alcedinidae, stems from classical Greek mythology. Alcyone, Daughter of the Wind, was so distraught when her husband perished in a shipwreck that she threw herself into the sea. Both were then transformed into kingfishers and roamed the waves together. When they nested on the open sea, the winds remained calm and the weather balmy. Still another Alcyone, Queen of Sailing, was the mystical leader of the seven Pleiades. The heliacal rising of the Pleiades in May marked the beginning of the navigational year and their setting marked the end. Alcyone, as Sea Goddess protected sailors from rocks and rough weather. The bird, halcyon continued for centuries to be credited with the magical power of allaying storms. Shakespeare refers to this legend in this passage from Hamlet: Some say that ever ‘gainst that season comes Wherein our Saviour’s birth is celebrated, The bird of dawning singeth all night long; And then, they say, no spirit can walk abroad; The nights are wholesome; then no planets strike, No fairy takes, nor witch hath power to charm, So hallow’d and so gracious is the time. Hamlet, I, i 157 When I was a young mother, and my children were little, we lived in a house that had a creek in the back yard. There were small trees along the far bank of this creek and every day, a kingfisher would sit in the branches overlooking the creek. Sometimes he sat there very quietly for a very long time. Suddenly he would dive from his perch straight into the creek. Every time he did he came out and up into the air with a fish. It gave me great pleasure to watch him from my kitchen window. I love birds. I love learning about their habits because it teaches me ways of being that are closer to nature. I love drawing birds as well. When I was a young and more able, I was an avid bird watcher, out with my friends hoping for a sight never seen before. I love the story of the kingfisher and her connection to the Halcyon Days of the Winter Solstice. It is for most of us the busiest time of year. Whether it is for the Solstice or Christmas (often both) we are in a frenzy to get things done, making sure everything is just right and perfect. I celebrate the Winter Solstice. As a priestess, my days right now are very busy creating ritual. It is at the Solstice that many passage rites are happening with the women I work with. And of course, I celebrate with my family with our magical Yule Log each year. But I try to honor those seven days before and the seven days after by trying to have the frantic moments before the Halcyon Days begin and then even when busy, hold the peace and calm of that beautiful smooth sea in my mind. Peace and love and joy surrounding the Winter Solstice make it perfect. May the Peace of a Halcyon Sea be yours in this Solstice Season. Do hold the image of that little kingfisher in mind! Meet Mago Contributor, Deanne Quarrie
(Prose) Desire: the Wheel of Her Creativity by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the concluding chapter (Chapter 8) of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Place of Being is a passionate place, where desire draws forth what is sought, co-creates what is needed[1]; within a con-text – a story – where love of self, other and all-that-is are indistinguishable … they are nested within each other and so is the passion for being. I begin to understand desire afresh: this renewed understanding has been an emergent property of the religious practice of seasonal celebration: that is, the religious practice of the ceremonial celebration of Her Creativity. It has been said She is “that which is attained at the end of desire[2].” Within the context of ceremonial engagement and inner search for Her, I begin to realize how desire turns the Wheel. As the light part of the cycle waxes from Early Spring, form/life builds in desire. At Beltaine/High Spring, desire runs wild, at Summer Solstice, it peaks into creative fullness, union … and breaks open at that interchange into the dark part of the cycle – the dissolution of Lammas/ Late Summer. She becomes the Dark One, who receives us back – the end of desire. It has been a popular notion in the Christian West, that the beautiful virgin lures men (sic) to their destruction, and as I perceive the Wheel, it is indeed Virgin who moves in Her wild delight towards entropy/dissolution; however in a cosmology that is in relationship with the dark, this is not perceived as a negative thing. Also, in this cosmology, there is the balancing factor of the Crone’s movement towards new life, in the conceiving dark space of Samhain/Deep Autumn – a dynamic and story that has not been a popular notion in recent millennia. Desire seems not so much a grasping, as a receiving, an ability or capacity to open and dissolve. I think of an image of an open bowl as a signifier of the Virgin’s gift. The increasing light is received, and causes the opening, which will become a dispersal of form – entropy, if you like: this is Beltaine/High Spring – the Desire[3]that is celebrated is a movement towards dis-solution … that is its direction. In contrast, and in balance, Samhain/Deep Autumn celebrates re-solution, which is a movement towards form – it is a materializing gathering into form, as the increasing darkness is received. It seems it is darkness that creates form, as it gathers into itself – as many ancient stories say, and it is light that creates dispersal. And yet I see that the opposite is true also. I think of how there is desire for this work that I have done, for whatever one does – it is then already being received. Desire is receiving. What if I wrote this, and it was not received or welcomed in some way. But the desire for it is already there, and perhaps the desire made it manifest. Perhaps the desire draws forth manifestation, even at Winter Solstice, even at Imbolc/Early Spring, as we head towards Beltaine – it is desire that is drawing that forth, drawing that process around. Desire is already receiving; it is open. Its receptivity draws forth the manifestation. And then the manifestation climaxes at Summer and dissolves into the manifesting, which is perhaps where the desire is coming from – the desire is in the darkness, in the dark’s receptivity[4]. It becomes very active at the time of Beltaine, it lures the differentiated beings back into Her. So the lure at Beltaine is the luring of differentiated beings into a Holy Lust, into a froth and dance of life, whereupon they dissolve ecstatically back into Her – She is “that which is attained at the end of Desire.” And in the dissolution, we sink deeper into that, and begin again. All the time, it is Desire that is luring the manifest into the manifesting, and the manifesting into the manifest. Passion is the glue, the underlying dynamic that streams through it all – through the light and the dark, through the creative triplicities of Virgin-Mother-Crone, of Differentiation-Communion-Autopoeisis[5]. Passion/Desire then is worthy of much more contemplation. If desire/allurement is the same cosmic dynamic as gravity, as cosmologist Brian Swimme suggests[6], then desire like gravity is the dynamic that links/holds us to our Place, to “that which is”, as philosopher Linda Holler describes the effect of gravity[7]. Held in relationship by desire/allurement we lose abstraction and artificial boundaries, and “become embodied and grow heavy with the weight of the earth[8].” We then know that “being is being-in relation-to”[9]. Holler says that when we think with the weight of Earth, space becomes “thick” as this “relational presence … turns notes into melodies, words into phrases with meaning, and space into vital forms with color and content, (and) also holds the knower in the world[10].”Thus, I at last become a particular, a subject, a felt being in the world – a Place laden with content, sentient: continuous with other and all-that-is. Notes: [1]“…as surely as the chlorophyll molecule was co-created by Earth and Sun, as Earth reached for nourishment; as surely as the ear was co-created by subject and sound, as the subject reached for an unknown signal.” As I have written in PaGaian Cosmology, p. 248. [2]Doreen Valiente, The Charge of the Goddessas referred to in Starhawk, The Spiral Dance, p.102-103. [3]I capitalize here, for it is a holy quality. [4]Perhaps the popular cultural association of the darkness/black lingerie etc. with erotica is an expression/”memory” of this deep truth. [5]These are the three qualities of Cosmogenesis, as referred to in PaGaian Cosmology, Chapter 4, “Cosmogenesis and the Female Metaphor”: https://pagaian.org/book/chapter-4/ [6]Brian Swimme, The Universe is a Green Dragon, p.43. [7]Linda Holler, “Thinking with the Weight of the Earth: Feminist Contributions to an Epistemology of Concreteness”, Hypatia, Vol. 5 No. 1, p.2. [8]Linda Holler, “Thinking with the Weight of the Earth: Feminist Contributions to an Epistemology of Concreteness”,Hypatia, Vol. …
(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.
The Passing of Last Summer’s Growth by Glenys Livingstone Ph.D.

The ‘passing of last Summer’s growth’ as is experienced and contemplated in the Season of Deep Autumn/Samhain, may be a metaphor for the passing of all/any that has come to fullness of being, or that has had a fullness, a blossoming of some kind, and borne fruit; and in the passing it has been received, and thus transforms. The ‘passing of last Summer’s growth’ may be in hearts and minds, an event or events, a period of time, or an era, that was a deep communion, now passed and dissolved into receptive hearts and minds, where it/they reside for reconstitution, within each unique being. Samhain is traditionally understood as ‘Summer’s end’: indeed that is what the word ‘Samhain’ means. In terms of the seasonal transitions in indigenous Old European traditions, Summer is understood as over when the Seasonal Moment of Lammas/Lughnasad comes around; it is the first marked transition after the fullness of Summer Solstice. The passing and losses may have been grieved, the bounty received, thanksgiving felt and expressed, perhaps ceremonially at Autumn Equinox/Mabon; yet now in this Season of Samhain/Deep Autumn it composts, clearly falls, as darkness and cooler/cold weather sets in, change is clearer. In the places where this Earth-based tradition arose, Winter could be sensed setting in at this time, and changes to everyday activity had to be made. In our times and in our personal lives, we may sense this kind of ending, when change becomes necessary, no longer arbitrary: and the Seasonal Moment of Samhain may be an excellent moment for expressing these deep truths, telling the deep story, and making meaning of the ending, as we witness such passing. What new shapes will emerge from the infinite well of creativity? And we may wonder what will return from the dissolution? What re-solution will be found? We may wonder what new shapes will emerge. In the compost of what has been, what new syntheses, new synergies, may come forth? Now is the time for dreaming, for drawing on the richness within, trusting the sentience, within which we are immersed, and which we are: and then awaiting the arrival, being patient with the fermentation and gestation. Seize the moment, this Moment – and converse with the depths within your own bodymind, wherein She is. Make space for the sacred conversation, the Conversing with your root and source of being, and take comfort in this presence. We may ponder what yet unkown beauty and wellness may emerge from this infinite well of creativity. The Samhain Moment in the Northern Hemisphere is 17:14 UT 7thNovember this year. Wishing you a sense of the deep communion present in the sacred space you make for this holy transition.
(Book Excerpt) Held in the Womb of the Wheel of the Year by Glenys Livingstone Ph.D.

This essay is an excerpt from the Introduction of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Meditation cushion in circle of decorated stones My ancestors built great circles of stones that represented their perception of real time and space, and enabled them to tell time: the stone circles were cosmic calendars.[i] They went to great lengths and detail to get it right. It was obviously very important to them to have the stones of a particular kind, in the right positions according to position of the Sun at different times of the year, and then to celebrate ceremony within it. I have for decades had a much smaller circle of stones assembled. I have regarded this small circle of stones as a medicine wheel. It is a portable collection, that I can spread out in my living space, or let sit in a small circle on an altar, with a candle/candles in the middle. Each stone (or objects, as some are) represents a particular Seasonal Moment/transition and is placed in the corresponding direction. The small circle of eight stones represents the flow of the Solstices and Equinoxes and the cross-quarter Moments in between: that is, it represents the “Wheel of the Year” as it is commonly known in Pagan traditions. I have found this assembled circle to have been an important presence. It makes the year, my everyday sacred journey of Earth around Sun, tangible and visible as a circle, and has been a method of changing my mind, as I am placed in real space and time. My stone wheel has been a method of bringing me home to my indigenous sense of being. Each stone/object of my small wheel may be understood to represent a “moment of grace,” as Thomas Berry named the seasonal transitions – each is a threshold to the Centre, wherein I may now sit: I sense it as a powerful point. As I sit on the floor in the centre of my small circle of stones, I reflect on its significance as I have come to know the Seasonal transitions that it marks, over decades of celebrating them. I sense the aesthetics and poetry of each. I facilitated and was part of the celebration and contemplation of these Moments in my region for decades. It was always an open group that gathered, and so its participants changed over the years but it remained in form, like a live body which it was: a ceremonial body that conversed with the sacred Cosmos in my place. We spoke a year-long story and poetry of never-ending renewal – of the unfolding self, Earth and Cosmos. We danced and chanted our relationship with the Mother, opened ourselves to Her Creativity, and conversed with Her by this method. All participants in their own way within these ceremonies made meaning of their lives – which is what I understand relationship to be, in this context of Earth and Sun, our Place and Home in the Cosmos: that is, existence is innately meaningful when a being knows Who one is and Where one is. Barbara Walker notes that religions based on the Mother are free of the “neurotic” quest for indefinable meaning in life as such religions “never assumed that life would be required to justify itself.”[ii] I face the North stone, which in my hemisphere is where I place the Summer Solstice. From behind me and to my right is the light part of the cycle – representing manifest form, all that we see and touch. From behind me and to my left is the dark part of the cycle – representing the manifesting, the reality beneath the visible, which includes the non-visible. The Centre wherein I sit, represents the present. The wheel of stones has offered to me a way of experiencing the present as “presence,” as it recalls in an instant that, That which has been and that which is to come are not elsewhere – they are not autonomous dimensions independent of the encompassing present in which we dwell. They are, rather, the very depths of this living place – the hidden depth of its distances and the concealed depth on which we stand.[iii] This wheel of stones, which captures the Wheel of the Year in essence, locates me in the deep present, wherein the past and the future are contained – both always gestating in the dark, through the gateways. And all this has been continually enacted and expressed in the ceremonies of the Wheel of the Year, as the open, yet formal group has done them, mostly in the place of Blue Mountains, Australia. PaGaian Cosmology altar/mandala: a “Womb of Gaia” map Over the years of practice of ritually celebrating these eight Seasonal Moments – Earth’s whole annual journey around Sun, I have been held in this creative story, this Story of Creativity as it may be written – it is a sacred story. Her pattern of Creativity can be identified at all levels of reality – manifesting in seasonal cycles, moon cycles, body cycles – and to be aligned with it aligns a person’s core with the Creative Mother Universe. I have identified the placing of one’s self within this wheel through ceremonial practice of the whole year of creativity, as the placing of one’s self in Her Womb – Gaia’s Womb, a Place of Creativity. All that is necessary for Creativity is present in this Place. All may come forth from here/Here – and so it does, and so it has, and so it will. NOTES: [i] See Martin Brennan, The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland (Rochester Vermont, Inner Traditions, 1994). [ii] Barbara Walker, The Woman’s Encyclopaedia of Myths and Secrets (San Francisco: Harper and Row, 1983), 693. [iii] David Abram, The Spell of the Sensuous (New York: Vintage Books, 1997), 216. REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Brennan, Martin. The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland.Rochester Vermont: Inner Traditions, 1994. Walker, Barbara. The Woman’s Encyclopaedia of Myths and Secrets. San Francisco: …

(Poem) Just Remember WE in S/HE by Helen Hye-Sook Hwang

Just Remember WE in S/HE Remember the Universe is without the beginning or the end. Remember the Creatrix is the Music of the Universe.
(Essay 1) Magoist Cetaceanism and the Myth of the Pacifying Flute (Manpasikjeok) by Helen Hye-Sook Hwang, Ph.D.

Pod of narwhals, northern Canada, August 2005. Image courtesy of Kristin Laidre. Wikemedia Commons Manpasikjeok (the pacifying flute that defeats all) is a legendary flute, purportedly made from a narwhal’s tusk, originating in the 7th century Silla (57 BCE-935 CE). King Sinmun (r. 681-692) had a revelation concerning “a bamboo tree” growing on a mysterious mountain floating in the Sea of Whales, today’s East Sea of Korea. From this tree, a flute was made with which he was able to protect the whole world. As a national treasure of Silla, this instrument was famed to defeat all enemies at the time of troubles. What we have is the accounts of the pacifying flute recounted in Korea’s official historical texts. Two sources from the Samguk Sagi (Historical Records of the Three States) and the Samguk Yusa (Memorabilia of the Three States) shall be examined. Not surprisingly, whales are made unrecognizable not only within the story but also in the official history books of Korea. Magoist Cetaceanism was subjected to erasure in the course of Korean official history, but apparently not in the time of King Sinmun of Silla. The myth of Manpasikjeok testifies to Sillan Magoist Cetaceanism upheld by 7th century Sillan rulers. We are reading a Magoist Cetacean myth, however, told by people of a later time when Magoist Cetaceanism was no longer recognized. The fact that these two official historical texts of Korea recount the narrative of Manpasikjeok speaks to its significance: The story is told with a sense of mystery or suspicion. While the Samguk Sagi overtly treats the author’s sense of disbelief, the Samguk Yusa provides a full narrative in tantalizing but mystified details. How was Manpasikjeok 萬波息笛 created in the first place? Below is the Samguk Sagi version of the story: According to Gogi (Ancient Records), “During the reign of King Sinmun, a little mountain emerged in the East Sea out of nowhere. It looked like a head of a turtle. Atop the mountain there was a bamboo tree growing, which became two during the day and became one at night. The king had his subject cut the bamboo tree and had it made a flute. He named it Manpasik (Pacifying and Defeating All).” Although it is written so, its account is weird and unreliable.[1] Written by Gim Busik (1075–1151), a Neo-Confucian historiographer, the above account betrays an unengaged author’s mind in the story. For Gim, Korean indigenous narratives like Manpasikjeok are anomalous, if not unreliable, by the norms of Chinese history. In contrast to the former, the Samguk Yusa details the Manpasikjeok story in a tantalizing sense of mystery. Its author Ilyeon (1206-1289) was a Buddhist monk, a religious historian who saw the history of Korea as fundamentally Buddhist from the beginning. He elaborates the story with factual data but fails to bring to surface the cetacean underpinning of the myth. It is possible that Magoist Cetaceanism had already submerged much earlier than his time. King Sinmun (r. 681-692) had built the temple, Gameun-sa (Graced Temple), to commemorate his late father King Munmu (r. 661-681) who willed to become a sea dragon upon death. The relic of King Munmu had been spread in Whale Ferry (Gyeongjin 鯨津), also known as the Rock of Ruler the Great (Daewang-am) located in the waterfront of the East Sea also known as the Sea of Whales. Evidence substantiates that King Munmu was a Magoist Cetacean devotee clad in a Buddhist attire. Or today’s Buddhologiests call it Esoteric Buddhism. The Manpasikjeok myth may be called the story of King Sinmun’s initiation to Magoist Cetaceanism. Before explicating the Samguk Yusa account, which is prolix and complex, I have summarized the Samguk Yusa’s account as follows: (Summary of the Manpasikjeok Myth) King Sinmun ordered the completion of Gameunsa (Graced Temple) to commemorate his deceased father, King Munmu. The main hall of Gameunsa was designed at the sea level to allow the dragon to enter and stroll through the ebb and flow of the sea waves. In the second year of his reign (682 CE), Marine Officer reported that a little mountain in the East Sea was approaching Gameunsa. The king had Solar Officer perform a divination. The divination foretold that he would be given a treasure with which he could protect Wolseong (Moon Stronghold), Silla’s capital. This would be a gift from King Munmu who became a sea dragon and Gim Yusin who became a heavenly being again. In seven days, the king went out to Yigyeondae (Platform of Gaining Vision) and saw the mountain floating like a turtle’s head in the sea. There was a bamboo tree growing on its top, which became two during the day and one at night. The king stayed overnight in Gameumsa to listen to the dragon who entered the yard and the substructure of the main hall. Then, there was darkness for seven days due to a storm in the sea. After the sea calmed, the king went into the mountain to meet the dragon. The dragon told him that, if he made a flute out of the bamboo tree, the whole world would be pacified. The king had the bamboo tree brought out of the sea and made it into a flute, which became a treasure of Silla. The mountain and the dragon disappeared. The flute, when played during times of the nation’s trouble, brought peace. Thus comes its name, Manpasikjeok (the pacifying flute that defeats all). During the reign of King Hyoso (r. 692-702), his son, the flute continued to make miracles. Thus it was renamed Manmanpapasikjeok (the pacifying flute that surely defeats all of all). One day, it was reported to King Sinmun that a little mountain was approaching Gameunsa. That mountain had a mysterious bamboo tree atop. On the seventh day from then, he went out to Yigyeondae (Platform of Gaining Vision), the whale watch place near Gameumsa. Then, he stayed overnight in Gameunsa to hear the dragon who entered the temple yard through the ebb and flow of the …
(Italian language essay) Corea: la Musica cosmica di Mago by Luciana Percovich

[Author’s note: From Colei che dà la vita. Colei che dà la forma. Miti di creazione femminili, Venexia, Roma, Italia, 2009] Capitolo 3 Corea: la Musica cosmica di Mago Mago Nell’Età del Primo Cielo, esistevano solo la luce del sole e l’acqua. Quando Ryoe Ryul (la Musica cosmica armonizzata) risuonò più volte, emersero le stelle. Da Pal Ryoe (la Musica cosmica otto volte avvolta), si generarono Mago e il paradiso di Mago (Mago Sung). Fu un evento che ebbe luogo nell’Età Cosmica di Mezzo chiamata Jim Se (il Suo/Loro mondo). Mago preparò l’età che si chiama Ultimo Cielo. Mago non provava sentimenti né di piacere né di dolore. Nell’Età del Primo Cielo la grande cittadella di Mago stava sopra il SilDal (la Terra reale) e vicina all’HeoDal (la Terra ideale). Anche queste erano emerse dalla musica. Quando il Jim Se ebbe compiuto i suoi cicli per molto tempo, prima dell’Ultimo Cielo (il Nostro/Questo mondo), Mago generò da sola due figlie, Kung Hee (volta) e So Hee (nido) e affidò loro l’Oem Chil Jo (le cinque note e i sette toni). E mentre praticavano l’arte di vivere, dalla terra sgorgava il latte; Kung Hee e So Hee generarono ciascuna due figlie e due figli. In seguito, Mago affidò Ryoe (la Musica cosmica femminile) alle quattro nipoti femmine e Ryul (la Musica cosmica maschile) ai quattro nipoti maschi. Il paradiso di Mago, Mago Sung (la cittadella di Mago), che onorava l’Emblema celeste, seguì al Primo Cielo. Le quattro coppie, chiamate Hwang Gung (volta gialla), Baek So (nido bianco), Chun Gung (volta azzurra) e Heuk So (nido nero) furono posizionate ai quattro angoli della città. Ed esse costruirono i tubi (flauti) e composero musica. Il ciclo dell’Ultimo Cielo si srotolava. Ryul e Ryoe tornavano a risuonare. Si formò Hyang Sang (la rappresentazione dell’eco), suoni e musica si mescolavano. Mago tirò la grande cittadella di SilDal e la immerse nella regione dell’Acqua celeste. L’energia del SilDal salì e coprì la nuvola d’acqua. Quando il corpo del SilDal si espanse, comparve la terra in mezzo all’acqua. Terra e acqua stavano parallele, sorsero le montagne e le correnti si allungarono. La regione dell’Acqua celeste divenne terra e le due nuove regioni di acqua e terra ruotarono ripetutamente, finché il sopra e il sotto si rovesciarono. Da qui iniziarono numeri e calendario. Energia, fuoco, acqua e terra si generavano, mescolavano e equilibravano in mutua relazione. Da quel momento la luce separò il giorno dalla notte e le quattro stagioni. Piante e animali crescevano in abbondanza. C’era tanto lavoro da fare sulla terra… Poiché non c’erano altri se non i quattro uomini e le quattro donne celesti che amministravano la musica originale e la rappresentazione dell’eco, le cose apparivano e sparivano rapidamente senza tenersi in equilibrio. Mago allora mostrò loro come procreare dalle ascelle. Fu allora che i quattro uomini celesti si unirono alle quattro donne celesti. E ciascuna generò tre figlie e tre figli: gli antenati umani che apparvero per la prima volta sulla terra. Tutti gli abitanti di Mago Sung avevano disposizioni di cuore e di mente pure e sincere e conoscevano l’armonia. Bevevano il latte che sgorgava dalla terra e il loro sangue era energia pura. Avevano oro nelle orecchie e sentivano la musica celeste. Correvano e camminavano a loro piacere, erano liberi nei movimenti. Alla fine della loro vita, diventavano polvere dorata. L’essenza dei loro corpi si conservava. Con l’hon (spirito dell’aria) risvegliato, sapevano parlare senza voce e muovendo il baek (spirito del corpo) sapevano agire senza forme. Vivevano sparsi tra le energie della terra e la lunghezza delle loro esistenze era infinita… Quando ogni clan raggiunse il numero di 3000 … Ji So (nido di ramo), del clan dei Baek So (nido bianco), non riuscì più a bere il latte della terra. La sorgente del latte era così piccola e affollata che Ji So perse il suo turno più volte. Così Ji So per la fame assaggiò l’uva e invitò altri a farlo e fu così che un gruppo fu mosso a provare questa nuova esperienza… Il loro sangue e il loro corpo cominciarono a diventare torbidi, crebbero loro i denti, gli si aprirono gli occhi … stavano perdendo la loro natura celeste. Cominciarono a morire e la morte non fece più parte della vita. Nacquero creature bestiali. L’ordinato calendario cadde nel disordine. La comunità si divise e quelli che mangiavano l’uva lasciarono Mago Sung con vergogna, disperdendosi in luoghi diversi … . Fu allora che Mago chiuse i cancelli e ritirò le nuvole attraverso cui la gente poteva restare in sintonia con la Musica cosmica.