May 17, 2018October 2, 2019 Kaalii Cargill

(Photo Essay 8) Goddess Pilgrimage 2017 by Kaalii Cargill

[Author’s Note: In July 2017, I set out on a 4 month pilgrimage to the Unites States, Italy, France, Spain, Lebanon, Jordan, and Egypt. I name it a “pilgrimage” because my main focus is what I call “visiting with the Grandmothers”, although I also encountered many other wonderful people and places. This series of Photo Essays is an invitation for you to visit with the Grandmothers I met on my journey . . .]

SPAIN

The Cybele Palace in Madrid is the home of the City Council – a grand old building with a “Refugees Welcome” sign on the front. It is located on the Plaza de Cybele which has a fountain with a statue of Cybele with two lions.

Grandmothers, 5600-4000 BCE, Madrid Archeological Museum

Elvissa, V-VI BCE, Museum of Archaeology of Catalonia, Barcelona.

Barcelona Egyptian Museum. Many Egyptian tombs included statues of naked women; originally interpreted as concubines (!), they are now understood to represent Isis and Nephthys. Wooden statue, 2040-2134 BCE. Necklaces, 4000-3000 BCE.

Meet Mago Contributor Kaalii Cargill

1 thought on “(Photo Essay 8) Goddess Pilgrimage 2017 by Kaalii Cargill”

Sara Wright says:

May 18, 2018 at 5:50 AM

Re: Kaalli Photos…. I love the grandmothers and the one beneath that looks so owl-like… I look forward to seeing these images so much… It’s fascinating that the so called concubines are goddesses – leave it to patriarchy to leave the sublime and reduce them to sex slaves. UGH.

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(Art) Meditative Mother by Liz Darling

Artist’s Note : These paintings encompass ideas about female sexuality, the divine feminine, and religion. The experience of becoming a mother transformed the way I view the female body and the creation of life. Inspired by performing in Eve Ensler’s The Vagina Monologues, I use the vulva as a symbol of female power. This body of work also reflects my disgust with the Christian Church’s women to inferior, subservient roles both in worship and domestic settings.
(Book Review) Gillian M. E. Alban’s The Medusa Gaze in Contemporary Women’s Fiction by Glenys Livingstone Ph.D.

Beginning with some quotes from this ovarian book: “Alban reflects throughout this book on the myriad ways women and girls are gazed upon within patriarchal cultures as well as examples of how women assert their right to look, stare, or claim an apotropaic gaze of power and anger …”. from the Foreword by Margaret Merisante, Ph.D., Feminist Comparative Mythologist. “Women are by no means merely the passive object of the other’s gaze; these writings show them asserting agency … I thus reclaim the gaze for women as active agents in their own right.” page 6. “… women are now defiantly asserting their independent scopic force under the banner of Medusa, staring down any attempts to diminish them.” page 22. “The dominant social gaze in our societies is male … which objectifies them as sexual beings, whether admired, or dismissed as unworthy of observation and lacking the dignity of complete human beings. Objectified through such looks, women are evaluated as merely female rather than appreciated as human.” page 24. “Devouring mothers cause their daughters trauma, as do those who abandon and fail to care for their child, leaving the child longing for her mother; … Most mothers fall between these two extremes. They are neither devouring or monstrous, nor abandoning or negligent, but as fallible humans, they often fall short of the high standards required in the task of mothering remaining condemned as not-enough for their demanding task. Mothers may embody the monstrosity of Medusa, or they may simply be inadequate in fulfilling their arduous mothering role, however desperately they do their utmost …” page 201 *** Some decades ago I reflected on my childhood experience of being observed: A strong part of the cultural milieu in which I grew, was that I felt identified as sex object … with no subjectivity, no space to Be. Pornographic magazines of the day depicted women being constantly pursued by salivating men – either there was an assumption that she desired this, or they did not care to ask her. And Christian cosmology appeared to condone the imposition of a dominant will upon another – at the very heart of it is “the sacrifice of the lamb”. Women have been especially vulnerable, with their submission openly advocated. “Marilyn”, they sometimes called me, simply because of my babyhood waved platinum hair … Marilyn was suggested to me by this naming, as someone I could model myself after. … I don’t remember any other significant famous women in the first decade of my life. As a child I was very conscious of being looked at, and perhaps on reflection, it was because I was female. I felt transparent and vacuous. I remember believing that others (particularly adults) could see my thoughts. The Great Male Metaphors of the day – God and Santa – knew everything about me. The male humans imitated the Deity with constant Gazing, in magazines, movies, wall calendars. I could only hope to be chosen to be worthy of his desire, yet at the same time it was known that he could be dangerous. I felt acutely the identification of myself with the “inanimate” world, as it was understood to be – dead and inert.[i] I remember the first time that I consciously felt being seen/heard as human rather than sex object. I was forty-two years old, and speaking on the phone to the organiser of the Dalai Lama’s visit to Australia, about volunteering to assist; I got off the phone and contemplated this novel vision of myself … human being. I love the Table of Contents of this book: this table in itself could bend a few brains, give cause for pause. Here is just a sample, though you may select others as alluring.[ii] The Self in the Petrifying Gaze of the Other The Gaze of the Double in the Mirror–My Sister! Mother as Monstrous Medea: the Mother’s Devouring Love. Gaia and Demeter: Mother Earth Sacrifice in Mothering Birth and Mothering: The Thing Itself Matriarchal Survivors Demeter/Persephone; Mother-Daughter Longing Medusa’s Redemptive Evil Eye This book offers many insights as the reader is taken through multiple literary works. It could be a journey through hellish places you have been, or quandaries you have known, and how your spirit intuitively coped, put strategies in place to ensure your survival. In the section “Medusa’s Redemptive Evil Eye”, the author describes how Elaine in Margaret Atwood’s Cat’s Eye “creates a Madonna for herself in the shape of an apotropaic Medusa eye in her moment of direst need, and this force rescues her by fortifying her against the hostility of so-called friends.”[iii] The journey could also be into the hellish places of other women you may have heard about in popular press and opinion, who have been harshly judged; and there may be evocation of another vision from within her frame, and compassion – a rethinking of popular judgements. In “Devouring Clytemnestra and Electra”, Alban notes: “Domineering, interfering, or infanticidal mothers do suggest the monstrosity inherent in mothering. The commonest cause of maternal infanticide has been illegitimacy; …”[iv] wherein a woman remains “helplessly trapped within sexual and moral mores, …”.[v]And another wherein the mother is “caught in the terrible dilemma of exerting Medea power over her daughter by killing her in order to prevent her return to slavery.”[vi] In a patriarchal, androcentric context, even everyday choices for women, such as, about how to raise a child in a hostile environment, whether it is safe to go out, how to dress, how to exercise authority, take the lead – have had to be considered more carefully and strategically, often defensively. As woman (again) cloaks herself, situates herself,[vii] regains vision of herself from within her own skin, she is able to take action with greater clarity and integrity, and confidence that she can hold her own. This book The Medusa Gaze is an empowering reflection on the complexities of woman’s situation, across diverse cultural experiences and personal particularities, gazing as it is from within female eyes, thus …
(Novel Review) Judith by Leslie Moise; reviewed by Mary Saracino

In this finely crafted novel, Leslie Moise has done a wonderful job of fictionalizing the story of Judith of Bethulia, a Hebrew woman whose story did not “make the cut into the Bible”. In her Author’s Notes in the end matter of the novel, Moise notes that Judith’s saga was “deemed too fictional a tale for the official text, and not quite historically accurate enough for the bishops who sat in judgment in the fourth century after the Common Era.”
(Poem & Art) Spinning webs by Nuit Moore

Spinning webs the glisten ebbs glowing with the potent curve, molten with the lava merge, spirals moist of deep dark earth and stones sing of ancient birth. Tides of primal female sacra rust of raw and stains of ochre cave wall echoes mystic womb, deep dark in the hive of hum, lunar horn and crescent born within crimson bloom. Ritual Art (mixed media) – Dea Madres/Webs #11 from Dea Madres/Webs series https://www.magoism.net/2019/02/meet-mago-contributor-nuit-moore/
(Prose) The Value of Women’s Spirituality Centers by Francesca Tronetti, Ph.D.

Photo from Maetruem of Cybele facebook page Life stressful, especially in this American economy. Wages are low and trying to find a good paying job takes a lot of time an effort. Writing new cover letters, and gathering references, then having to fill in online forms with all the same information a second time. Publishing articles and blog posts, presenting at conferences, writing editorials for journals, finding new journals to publish in. Just thinking about it all is enough to cause us to lose sleep, laying in bed awake asking ourselves how we will ever get through this. And even when we do sleep, we are plagued with anxiety dreams which steal our rest and leave us feeling worse in the morning. Then was wake up and it is rinse and repeat. And this has consequences beyond a lack of sleep and higher stress levels. We spend our days always thinking of work to be done, bills to be paid. However, if we are always frazzled and teetering on the edge of a meltdown then we won’t be able to focus on anything else. We won’t have the engery to be active in our communities or to agitate for change. We will be focused on just getting ourselves through the next twenty-four hours. And anyway how we are supposed to help stop big companies from polluting the water. We all have other things we have to do and besides the government is corrupt, and nothing we do will change anything. It all seems so overwhelming, and it is. This society is designed so that we are always focused on the physical side of now, paying our bills, making sure the car doesn’t break down, keeping expenses low. We are so afraid of that unexpected bill which would leave about half of us on the street that we have forgotten that we have forgotten about the spiritual side of now. Meditation and yoga are great if you have the hour to drive to the yoga studio and back, the money for a membership, and the stylish yoga clothes. Even spirituality has become commercialized and is seen as something for the middle class. We need to change this, to open spirituality up so it is available to everyone and not just as a YouTube video they can watch. We need a way to connect to the world spiritually, to connect with whatever higher power we recognize to reinforce in us the knowledge that all livings things on this planet are inexorably linked together. We must have a way to calm ourselves and clear our minds, or else our task will seem monumental and not worth beginning. Photo from Maetruem of Cybele facebook page I have been visiting a women’s spirituality center called the Maetreum of Cybele located in Palenville, NY. It is a woman’s only facility and is the home for the Cybele Pagan sisters of the United States. I’ve been visiting this center for over a decade and have helped to build it back up from a building on its way to being condemned to a thriving center which welcomes women of all faiths who want to improve their spiritual health. Through the years the Maetreum has become more self-sufficient with solar panels and a windmill, fruit trees, a small garden, and chickens for fresh eggs. I would like to see more centers like this established all over the country. Places like these would offer women and men a chance to engage in group activities such as drumming or meditating or if they choose, they can sit and relax, just let the stress of life or work ease through them without having to be on time and participating in activities. They would be self-sufficient to a great degree, growing their fruits and vegetables, baking bread, and canning or preserving their harvest in a root cellar. What they did not grow themselves they could trade for with local farmers or others in their area that grew or raised what they needed. Ideally, they would be outside of cities, with a good deal of land surrounding them. A place to commune with the earth or the spirits I think we need to be removed from distractions. No hearing sirens or loud music as someone drives down the street. And, since people are not always able to drive more than an hour outside the city for a weekend retreat, it is important to create a sanctuary within one’s own home as a place to relax and let oneself go. I think that this sort of spiritual refreshing is important on more than a personal level. (Meet Mago Contributor) Francesca Tronetti, Ph.D.
(Prose) Answering a Call by Sara Wright

Photo by Sara Wright Answering a Call “Shamans bridge the night flow…” the first lines from a poem I wrote long ago keep coming into my mind. Frustrated because I can no longer access the poem, I accept that the first line is what I need… ‘bridging the night flow’ of intrusive negative feelings/actions on the part of others (as well as myself) is precisely the edge I am on. Even smoke – filled rooms remind me that I need personal protection. An Indigenous healer and impeccable scientist and naturalist friend of mine reminds me of what I know, spiritual forces are moving. When I told him of my dream his response was to focus on protection, create the intention, and let it go… I tried to do this in my mind with limited success but apparently our discussion around this subject opened a door for me or we both did as I remembered how important it is for me to ground my intentions in something concrete. How had I forgotten? I have a terrarium that I created from plants and debris from a beloved forest, and it occurred to me to put my need for protection into this square container allowing nature to take the lead. My friend and I are both aware that this is a dangerous time of year – a time when Shadow is on the move. What’s critical is to acknowledge the danger but not to get caught by either extreme (fear or aggression), allowing these forces to dissipate over time. Winter solstice is over, but fire lingers on; the bridge to a new year is in the making, but new year’s eve is still caught in dark revelry – the kind that hides violence under fun… again, a continuation of this dangerous time ( a personal example : last year I broke my foot on new year’s eve shoveling ice away from my door, and that turned out to be the beginning of a negatively charged year, the details of which no longer matter ). Taking an active stance is necessary. As is staying with the process. After making the necessary offerings, the identity of one of which came to me directly from a plant, the other from a plant scientist’s remark, I continue to hold this awareness of the need for protection close. The child nudged me too and I brought down our spirit animals putting one bear and a frog in my terrarium as she requested, and the rest she directed me, needed to circle my crisped balsam wreath. I recalled the Pueblo Animal Dances beginning on or after the 1st of the year extending into spring. She was right again! Having specific animal protection is necessity. Animals ground us in our bodies. I peer deeply into the shadows gathered around me with the eyes of the mystic turned realist, a person who seeks solid ground within her own little forest, self and in nature. I heed the warnings of smoke; the fire is not yet out. I make a promise to nature to remember that I am part of earth and sky, and both are always present in me along with humans and their non – human relatives. When bad things happen it is a challenge to keep this door open, but I commit to doing my best not to turn away. And most importantly, I get on with my life… I will digress into natural history to use as my example: I spied a tangle of Usnea lying on snow I couldn’t reach. The lichen kept calling, so out the door I went on a quest to gather this lichen that is called “the lungs of the forest”. Indigenous peoples have used the herb for respiratory issues for millennia. Usnea is also useful for wounds helping them to heal faster. Walking up a dirt road near my house I was impressed by the amount of Usnea present on the ground even though it is only December. Usually, I collect this lichen in the spring on those first rainy days that turn the clusters bright green. Every piece I pick up reminds me that this organism, composed of an alga, a fungus and cyanobacteria (sometimes) was the first to inhabit dry land perhaps more than 400 million years ago (there is an ongoing debate on this issue of the oldest land plants). The alga photosynthesizes feeding the fungus, and in return the fungus attaches itself to rock and breaks it down creating the first soil. Imagine. Today, neither can live without the other. Out of twenty thousand lichen possibilities I found hirta, a branched version and glabrescens, one that looks like hair. It wasn’t too long before I had a whole bag full. I deliberately took some from each fallen branch but left some tufts for the deer. Many animals need these lichens for winter food. I was pleased to see that the heavy winds had also deposited plenty of birch seeds on the snow so birds would not go hungry, at least until the next storm. There are so many trees down so early into the winter season that I cannot imagine what the woods will look by spring. The forests as whole are under so much stress from abrupt weather changes, wind, insects, drought, flooding that they are more vulnerable now than ever before. Broken branches lay everywhere. Usnea likes high places, and not surprisingly I picked most of my bounty from fallen topmost branches – many from pines. Returning to the house I cleaned my lichens while thanking them and tinctured the whole with alcohol – Within a few weeks I will have yet another useful medicine on hand. This helpful diversion helped me deal with my general unease. I believe that having adequate protection from dark forces within and without becomes a priority during the times when our Cultural Shadow is on the increase. Indigenous and countryfolk historically dressed in masks to protect their identity from …
Join the Solstice Chant of 24 Seasonal Marks!

We’d like to invite Return to Mago readers and contributors to join us in chanting the earth’s twenty-four seasons for nine days beginning from December 21, 2014 till December 29, 2014. One can do it any time of the day and as many times as one wishes. We encourage you to create your own tune for chanting.
(Book Excerpt) Bearing Witness Transmigration by Danica Anderson, Ph.D.

For seventeen years, I bore witness to the Bosnian women war crimes and war survivors. In my clinical informed Kolo (Slavic Folk Circle and/or Round Dance) Trauma practices I realized I encountered the purest Orphic doctrine. Dionysus myths of the dismembered god live on in Thrace of old now the geographic regions of Greece and former Yugoslavia. The process is called, “Transmigration of Souls,”[1] an apt description of my journeys to Bosnia in the aftermath of war. Much gossip and talk occurred with my rhythmic returns back to Novi Travnik, Bosnia. The Bosnian women survivors often wondered why someone would return without the salves to soften their wounds. I had little to no funding for my clinical trauma work. Their invisible status to the helping aid organizations added to the environment where wars never end. The only way through and what was left to do was bearing witness. Let me tell you bearing is the most difficult single act of humanity that ties your hands behind your back as you brave the elements. Yet, something happens to you when you are without money in the pockets, or huge backers, as one lone middle-aged female (me) facing an aftermath of a hideous vicious war. I continue to swim in the archaeologies of memories of women’s first person stories streaming into the female collective communal gatherings. Slavs have a kinship with the trees and often metaphors detail a complex but simple archetypes. My sense and understanding about bearing witness assumes the posture of trees rooted to one spot all their lives. When the trees fall to the earth, their decaying mass transmigration into the new saplings must be an immense relief for the tree after being in one posture for perhaps hundreds of years. Often the fall to the ground, the tree is shattered and torn much like the Bosnian women survivors. But, when I bore witness to the fallen trees I saw how the trees’ energy given while alive leaves behind the flesh filled tree rings of recorded life. The tree rings are a nurse log of life experiences-stories. In my bearing witness to their first person woman stories, herstories, the tree rings shaped like the kolo (s) nurse life in the present moment and future generations. I am talking about the vast resources found in epigenetic processes that shape our genome from how each of us live our lives, what we eat and grow, how we play and dance right down to every decision and choice we make. I am defining transmigration as the sacred pilgrimage and sometimes referred to as rebirth, metempsychosis/regeneration. This in Orphic doctrine is noted as the symbology of a thunderbolt or meteoric stone. [2] Bearing witness and hearing first person stories are thunderbolts and meteoric stones thrown into your being and consciousness. By bearing witness female solidarity is threaded into our beings with other women, we discover how effortlessly it is to bear witness and that it was not a struggle but huge important work that heals trauma. Yes, the thunderbolt and meteoric stones can be thrown at us with the stories loaded with pain and often filling us with terror. One Novi Travnik young woman told me a story of another young woman who lost her parents and did not know her grandparents either since they died long before the war. Engineering or some technical field was the Bosnian young woman’s major course of study. With the siege in Novi Travnik by snipers taking up locations in the surrounding heavily treed hills, going to the market meant a ten second dash and spurts of diving for cover. Many were killed on their way to the market and even as they stayed hidden in their flats or homes away from windows where sniper bullets would lethally intrude. However, this young Bosnian woman was able to get out and had forays into the mountain slopes for herbs, plants and berries if available. Whatever she brought back she shared with others in the Apartment building. She saved many lives from starving. After the war, an elder woman from another village, who knew her great grandmother, went to her. The elder woman told her how proud her great grandmother would be that she followed in her footsteps for knowing the plants, herbs and mushrooms. The mysteries deepen, as this young woman had no interest in botany let alone the idea of botany as a study. When I stayed with her for the night in a shell of once a stately home so cold I slept with my boots and coat on, she made me tea from her hand-picked store of herbs. The tea was something she learned to do during the Balkan War. My curiosity about this the running storyline from her great grandparents both of which did not survive WWI in their great granddaughter propelled me to ask many questions. She told me she felt guided to pick the mushrooms and plants. I asked how did she know which mushroom was poisonous or not. She said she still does not know which are poisonous because she only picks the good ones. I thought this was exactly how transmigration of wisdom occurs which is especially heightened during times of trauma and the need to survive. I ended the interview with questions, ‘what is transmigration of souls like when we are not surviving violence and wars? What is transmigration in times of strength, bonding with all of life and in female solidarity?’ I have only to look at my mother’s survival of a WWII concentration camp in contrast to the prehistoric “Old Europe” (6500 – 1450 BCE) civilization of the Goddess[3] to see how our bodies and genomic multi-nodal learning capacities genetically encode our intuitive ways we behave and respond to life’s circumstances to seed life. What I saw in my research of Old Europe was how women created culture with no violence and wars in times of strength. This art form is not dead. Women simply need …
(2014 Mago Pilgrimage) Overall schedule

This is the overall schedule for the 2014 Mago Pilgrimage. There will be daily posts of each day’s schedule at 5 pm PST, with the Korean date. This equates to 9 am Korean standard time the following day, to coincide with the start of each day’s activities. The programme is very full so we are unlikely to post updates of what we’ve been doing, but we hope this schedule will allow you to be with us in spirit each day. Read 2014 Mago Pilgrimage, Facilitators and Participants, and Info in Korean. Thanks to Lydia Ruyle, we will have her art banners of Korean and World Goddesses as we move along the journey! (Last updated Sept. 28, 2014)

(Special Post 4) Why Goddess Feminism, Activism, or Spirituality? A Collective Writing

[Editor’s Note: This was first proposed in The Mago Circle, Facebook Group, on March 6, 2014. We have our voices together below and publish them in sequels. It is an ongoing project and we encourage our reader to join us! Submit yours today to Helen Hwang (magoism@gmail.com). Or visit and contact someone in Return to Mago’s Partner Organizations.] Yvonne Lucia: “Feminism is the radical notion that women are people.” -British suffragist and journalist Rebecca West “When the God is male, the male is God.” -Mary Daly Yvonne Lucia sacredartportal.com Lila Moore: My first piece of performance art was a ritual inspired by Isis. However, as a young artist, my interest in combining art and ritual was devalued by my teachers and critics alike. I felt isolated and persecuted. Only after relocating to London was I able to gradually understand that my personal and creative aspiration was integral part of a collective and global feminine and feminist awakening. I realised that personal experiences of women have political perspectives, and that being a contemporary woman artist positions me in the midst of historical and cultural enterprise. As an artist-film-maker and scholar, I have regarded my work as a spiritual quest, exploring through dance-ritual and art films the interaction of the body and psyche with the natural environment and technology. In the 21st century, my interest in the healing and transforming aspects of images on screen has been combined with a growing sense of activism. It seems inconceivable to take images of nature out of context by ignoring the ecological holocaust which is evident everywhere. I have felt compelled to ask whether the needs of the body and mind can be separated from the needs of the Earth?
(Special Post 2) Why Goddess Feminism, Activism, or Spirituality? A Collective Writing

[Editor’s Note: This was first proposed in The Mago Circle, Facebook Group, on March 6, 2014. We have our voices together below and publish them in sequels. It is an ongoing project and we encourage our reader to join us! Submit yours today to Helen Hwang (magoism@gmail.com). Or visit and contact someone in Return to Mago’s Partner Organizations.] Harriet Ann Ellenberger I got involved with women’s liberation in the early 1970s, so involved that it became my life for many years. During those beginnings of what is now called “the second wave of feminism,” everything was new to us and everything was mushed together — the political, the economic, the intellectual, the emotional, the spiritual. I liked that a lot; it felt as if all the parts of myself were coming together. During that time, I learned something crucial the imagery and concepts of patriarchal religion justify and are embedded in the material structures of oppression. I don’t know which came first, institutionalized oppression (of everyone; I’m not speaking here only of women) or the religious expression of that oppression. All I’m certain of is that patriarchal religion permeates, for example, the Oxford English Dictionary, which I use all the time, in conjunction with Websters’ First New Intergalactic Wickedary of the English Language, conjured by Mary Daly in cahoots with Jane Caputi.
(Special Post 1) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing eight sequels (all nine parts) 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 Hwang: I am thinking of the Nine Goddess/Mago Symbolism or Nine Numerology. Insights connect the data that I have collected, otherwise seemingly unrelated across cultures and periods. We have reasons to celebrate the nine symbolism among us. As seen in this discussion below, Hercules is most aptly equated with Huangdi (Yellow Emperor, 2698–2598 BCE), one of the forebear emperors of ancient China, who is alleged to have defeated Chiu (successor of Goma), the representative of Danguk’s Nine Giants (nine sub-states). The Magoist history writes the other way around. Chiu won the war, the archetypal international/global war waged over the defense/overthrow of the Magoist throne. Old Magoists (Danguk founded by Goma) of Nine Queen-led States defended the rebellion of the patrilocal force, represented by the Huangdi. With this victory, Old Magoist Confederacy of nine sub-states was able to maintain gynocentric peace of the ancient world for about five centuries longer until a man, Yao, rose to give a way for the establishment of the first patriarchal rule, ancient China of the Xia Dynasty (c. 2070 BCE – c. 1600 BCE). Nonetheless, patriarchal ethnocentric Sinocentric historiography has proliferated to this day. Yu, the founder of the Xia dynasty, is depicted as the hero who slains the nine-headed snake. What I am saying is here that the Nine Goddess/Symbolism is pre-patriarchal in origin and possibly speaks of the same event across cultures! The slain of nine-headed snakes or dragons indicates the usurpation of gynocentric rule by a patriarchal hero across cultures. Let me show you some available information and images to open the discussion. Lernaean Hydra 1 oz Copper | The 12 Labors of Hercules “Hercules was sent to slay the Lernaean Hyrda for his second Labor. The multi-headed, snake-like monster was defeated by Hercules after he sliced its one mortal head. The last day to purchase the 1 oz Copper Lernaean Hyrda was the November 12, 2014. There is, however, time to order the 5 oz Copper Hercules Round, and 5 oz Silver Hercules Round. To read about Hercules and his 12 Labors, check out our blog for more information. If you enjoy the 12 Labors of Hercules coin series, take a look at more Silver and Copper coin collections offered by Provident Metals. After defeating the Nemean Lion, Hercules was sent to slay the Lernaean Hydra for his second labor. The Hydra, a snake-like beast with multiple heads, was raised by Hera to destroy Hercules — making this an inevitable match up. In the face-off between Hercules and Hydra, the son of Zeus used a sword to slice off each of the creature’s necks, according to one popular tale. When the heads grew back, Hercules enlisted his nephew to burn each of the necks to halt regrowth. The Hydra had one mortal head, however; so Hercules used his golden sword to slay the mutant and complete his second labor. The beast is displayed on the Second Labor coin, to be released in the 12 Labors of Hercules Series. The reverse features the multi-headed Hydra in a striking position, displaying the daunting task Hercules faced. LERNAEAN HYDRA and II are inscribed. The familiar obverse portraying Hercules with the Nemean Lion draped over his head as armor is shown on this round, as it will be on each round in the powerful series. “1 oz CMXCIX (999 in Roman numerals) FINE COPPER” is also displayed. The 1 oz. Copper Lernaean Hydra rounds will only be available for one month from Oct. 12 through Nov. 12. Make sure to keep your 12 Labors of Hercules Series collection current before time runs out! 12 Labors of Hercules Driven crazy by Hera, Hercules slew his family — only regretful after recovering his sanity. King Thespius purified the son of Zeus, but to atone for his crimes, he was sent to serve King Eurystheus. Eurystheus ordered Hercules to execute 10 Labors, which were a series of tasks carried out as penance for his actions. Hercules successfully completed all 10, but because his nephew helped with one and he planned to accept payment for another, Eurystheus forced Hercules to finish two more Labors alone. Hercules’ Labors adhere to the traditional order of the Bibliotheca: Nemean Lion – Sept. 12, 2014 Lernaean Hydra – Oct. 12, 2014 Ceryneian Hind – Nov. 12, 2014 Erymanthian Boar – Dec. 12, 2014 Augean Stables – Jan. 12, 2015 Stymphalian Birds – Feb. 12, 2015 Cretan Bull – March 12, 2015 Mares of Diomedes – April 12, 2015 Girdle of Hippolyta – May 12, 2015 Cattle of Geryon – June 12, 2015 Apples of Hesperides – July 12, 2015 Cerberus – Aug. 12, 2015 Commemorate the historic battle between Hercules and the Lernaean Hydra with this 1 oz copper round from Provident Metals.” https://www.providentmetals.com/1-oz-copper-lernaean-hydra-the-12-labors-of-hercules.html Helen Hwang: I looked for the answer to this question: How many heads did the Hydra originally have? It is nine, which accords with its icons to be shared shortly. Helen Hwang: Check out Nine-fold or Nine-Headed Phoenix. Not all iconographies of pre-modern China vilify the nine symbolism, which indicates the influence/presence/revival of Magoism. This image is much reminiscent of the blue crane with nine feathers, a Magoist symbol that we have seen in Mago Stronghold, Mt. Jiri during Mago Pilgrimage (to be discussed in another space). “This Qing-dynasty (1644-1911) print shows the nine-headed phoenix, a being from Chinese mythology with a bird’s body and nine heads with human faces. It is one of several hybrid creatures mentioned in the Classic of Mountains and Seas (Shanhai jing), where it is […]

(Poem) Samhain by Annie Finch

In the season leaves should love, since it gives them leave to move through the wind, towards the ground they were watching while they hung, legend says there is a seam stitching darkness like a name. Now when dying grasses veil earth from the sky in one last pale wave, as autumn dies to bring winter back, and then the spring, we who die ourselves can peel back another kind of veil that hangs among us like thick smoke. Tonight at last I feel it shake. I feel the nights stretching away thousands long behind the days, till they reach the darkness where all of me is ancestor. I turn my hand and feel a touch move with me, and when I brush my young mind across another, I have met my mother’s mother. Sure as footsteps in my waiting self, I find her, and she brings arms that hold answers for me, intimate, waiting, bounty: “Carry me.” She leaves this trail through a shudder of the veil, and leaves, like amber where she stays, a gift for her perpetual gaze. From Eve (Carnegie Mellon University Press, 2010) (Meet Mago Contributor) Annie Finch
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.
The Ceremonial Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 3 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. The Cosmos is a ceremony, a ritual. Dawn and dusk, seasons, supernovas – it is an ongoing Event of coming into being and passing away. The Cosmos is always in flux, and we exist as participants in this great ritual event, this “cosmic ceremony of seasonal and diurnal rhythms” which frame “epochal dramas of becoming,” as Charlene Spretnak describes it.[i] Swimme and Berry describe the universe as a dramatic reality, a Great Conversation of announcement and response.[ii]Ritual/ceremony[iii] may be the human conscious response to the announcements of the Universe – an act of conscious participation. Ceremony then may be understood as a microcosmos[iv] – a human-sized replication of the Drama, the Dynamic we find ourselves in. Swimme and Berry describe ritual as an ancient response humans have to the awesome experience of witnessing the coming to be and the passing away of things; they say that a “ritual mode of expression” is from its beginning “the manner in which humans respond to the universe, just as birds respond by flying or as fish respond by swimming.”[v] It is the way in which we as humans, as a species, may respond to this awesome experience of being and becoming, how we may hold the beauty and the terror. Humans have exhibited this tendency to ritualize since the earliest times of our unfolding: evidence so far reveals burial sites dating back one hundred thousand years, as mentioned in the previous chapter. We often went to huge effort in these matters, that is almost incomprehensible to the modern industrialised econocentric mind: the precise placing of huge stones in circles such as found at Stonehenge and the creation of complex sites such as Silbury Hill may be expressions of some priority, indicating that econocentric thinking – such as tool making, finding shelter and food, was not enough or not separate from the participation in Cosmic events. Ritual seems to have expressed, and still does actively express for some peoples, something essential to the human – a way of being integral with our Cosmic Place, which was not perceived as separate from material sustenance, the Source of existence: thus it was a way perhaps of sensing “meaning” as it might be termed these days – or “relationship.” Swimme and Berry note that the order of the Universe has been experienced especially in the seasonal sequence of dissolution and renewal; this most basic pattern has been an ultimate referent for existence.[vi] The seasonal pattern contains within it the most basic dynamics of the Cosmos – desire, fullfilment, loss, transformation, creation, growth, and more. The annual ceremonial celebration of the seasonal wheel – the Earth-Sun sacred site within which we tour – can be a pathway to the Centre of these dynamics, a way of making sense of the pattern, a way of sensing it. One enters the Universe’s story. The Seasonal Moments when marked and celebrated in the art form of ceremony may be sens-ible ‘gateways’ through the flesh of the world[vii] to the Centre – which is omnipresent Creativity. Humans do ritual everyday – we really can’t help ourselves. It is simply a question of what rituals we do, what story we are telling ourselves, what we are “spelling”[viii] ourselves with – individually and collectively. Ceremony is actually ‘doing,’ not just theorizing. We can talk about our personal and cultural disconnection endlessly, but we need to actually change our minds. Ceremony can be an enabling practice – a catalyst/practice for personal and cultural change. It is not just talking about eating the pear, it is eating the pear; it is not just talking about sitting on the cushion (meditating), it is sittingon the cushion. It is a cultural practice wherein we tell a story/stories about what we believe to be so most deeply, about who and what we are. Ceremony can be a place for practicing a new language, a new way of speaking, or spelling – a place for practicing “matristic storytelling”[ix] if you like: that is, for telling stories of the Mother, of Earth and Cosmos as if She were alive and sentient. We can “play like we know it,” so that we may come to know it.[x] Ceremony then is a form of social action. NOTES: [i] Spretnak, States of Grace, 145. [ii] Swimme and Berry, The Universe Story, 153. [iii] I will use either or both of these terms at different times: I generally prefer “ceremony” as Kathy Jones defines it in Priestess of Avalon, Priestess of the Goddess, 319. She says that ritual involves a repeated set of actions which may contain spiritual or “mundane” elements (such as a daily ritual of brushing one’s teeth), “whereas ceremony is always a spiritual practice and may or may not include ritual elements.” The PaGaian seasonal celebrations/events are thus most kin to “ceremony,” although I do not perceive any action as “mundane.” However, “ritual” is more commonly used to speak of how humans have conversed with cosmos/Earth. [iv] Spretnak, States of Grace, 145. [v] Swimme and Berry, The Universe Story, 152-153. [vi] Ibid. [vii] Abram speaks of “matter as flesh” in The Spell of the Sensuous, 66, citing Maurice Merleau-Ponty, The Invisible and the Invisible (Evanston, Illinois: Northwestern University Press, 1968). [viii] Starhawk used this term on her email list in 2004 to describe the story-telling we might do to bring forth the changes we desire. [ix] A term used by Gloria Feman Orenstein in The Reflowering of the Goddess (New York: Pergamon Press, 1990), 147. [x] As my doctoral thesis supervisor Dr. Susan Murphy once described it to me in conversation REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Jones, Kathy. Priestess of Avalon, Priestess of the Goddess. Glastonbury: Ariadne Publications, 2006. Orenstein, Gloria Feman. The Reflowering of the Goddess. New York: Pergamon Press, 1990. Spretnak, Charlene. States of Grace: The Recovery of Meaning in the Postmodern Age. San Francisco: HarperCollins, 1993. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. New York: HarperCollins, 1992.
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.
(Essay and Video) Cosmogenesis Dance: Celebrating Her Unfolding by Glenys Livingstone

The dance begins with two concentric circles, which will flow in and out of each other throughout the dance, resulting thus in a third concentric circle that comes and goes. The three circles/layers are understood to represent the three aspects of Goddess, the Creative Triple Dynamic that many ancients were apparently aware of, and imagined in so many different ways across the globe. In Her representation in Ireland as the Triple Spiral motif, which is inscribed on the inner chamber wall at Bru-na-Boinne (known as Newgrange)[1], She seems to be understood as a dynamic essential to on-going Cosmic Creativity, as this ancient motif is dramatically lit up by the Winter Solstice dawn. It seems that this was important to the Indigenous people of this place at the time of Winter Solstice, which celebrates Origins, the continuing birth of all. Thus I like to do this Cosmogenesis Dance, as I have named it[2], at the Winter Solstice in particular. The three aspects that the dance may embody, and are poetically understood as Goddess, celebrate (i) Virgin/Young One – Urge to Be as I have named this quality – the ever new differentiated being (also known as Fodla in the region of the Triple Spiral)[3]. This is the outer circle of individuals. (ii) Mother – the deeply related interwoven web – Dynamic Place of Being as I have named this quality – the communion that our habitat is (also known as Eriu in the region of the Triple Spiral)[4]. This is the woven middle circle where all are linked and swaying in rhythm. (iii) Crone/Old One – the eternal creative return to All-That-Is – She who Creates the Space to Be as I have named this quality (also known as Banba in the region of the Triple Spiral)[5]. This is the inner circle where linked hands are raised and stillness is held. The three concentric layers of the dance may be understood to embody these. The Cosmogenesis Dance represents the flow and balance of these three – a flow and balance of Self, Other and All-That-Is. It may be experienced like a breath, that we breathe together – as we do co-create the Cosmos. Thomas Berry and Brian Swimme have named the three qualities of Cosmogenesis in the following way: – differentiation … to be is to be unique – communion … to be is to be related – autopoiesis/subjectivity … to be is to be a centre of creativity.[6] The three layers of the dance may be felt to celebrate each unique being, in deep relationship with other, directly participating in the sentient Cosmos, the Well of Creativity. The Cosmogenesis Dance as it is done within PaGaian Winter Solstice ceremony expresses the whole Creative Process we are immersed in. It is a process of complete reciprocity, a flow of Creator and Created, like a breath. There is dynamic exchange in every moment: that is the nature of the Place we inhabit. The dance may help awaken us to it, and to invoke it. The Cosmogenesis Dance on YouTube https://www.youtube.com/watch?v=dR73MDMM9Fk For more story: Cosmogenesis Dance for Winter Ritual For Dance Instructions: PaGaian Cosmology Appendix I Meet Mago Contributor Glenys Livingstone NOTES: [1] The Triple Spiral engraving is dated at 2,400 B.C.E. [2] This dance is originally named as “The Stillpoint Dance”, or sometimes “Adoramus Te Domine” which is the name of the music used for it. I learned it from Dr. Jean Houston in 1990 at a workshop of hers in Sydney, Australia. I began to use the dance for Winter Solstice ceremony in 1997, and it was only in the second year of doing so that I realised its three layers were resonant with the three traditional qualities of the Female Metaphor/Goddess, and also the three faces of Cosmogenesis. I thereafter re-named and storied the dance that way in the ceremonial preparation and teaching for Winter Solstice. See Glenys Livingstone, PaGaian Cosmology: pp. 280-281 and 311. [3] Michael Dames, Ireland: a Sacred Journey, p.192. [4] Michael Dames, Ireland: a Sacred Journey, p. 192. [5] Michael Dames, Ireland: a Sacred Journey, p. 192. [6] Brian Swimme and Thomas Berry, The Universe Story, p. 71-79. I have identified these qualities with the Triple Goddess, and the Triple Spiral in the synthesis of PaGaian Cosmology: see Glenys Livingstone, PaGaian Cosmology, particularly Chapter 4: https://pagaian.org/book/chapter-4/ References: Dames, Michael. Ireland: a Sacred Journey, Element Books, 2000. Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Lincoln NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. NY: HarperCollins, 1992.
Lammas – the Sacred Consuming by Glenys Livingstone Ph.D.

Lammas, the first seasonal transition after Summer Solstice, may be summarised as the Season that marks and celebrates the Sacred Consuming, the Harvest of Life. Many indigenous cultures recognised the grain itself as Mother … Corn Mother being one of those images – She who feeds the community, the world, with Her own body: the Corn, the grain, the food, the bread, is Her body. She the Corn Mother, or any other grain Mother, was/is the original sacrifice … no need for extraordinary heroics: it is the nature of Her being. She is sacrificed, consumed, to make the people whole with Her body (as the word “sacrifice” means “to make whole”). She gives Herself in Her fullness to feed the people …. the original Communion. In cultures that preceded agriculture or were perhaps pastoral – hunted or bred animals for food – this cross-quarter day may not have been celebrated, or perhaps it may have been marked in some other way. Yet even in our times when many are not in relationship with the harvest of food directly, we may still be in relationship with our place: Sun and Earth and Moon still do their dance wherever you are, and are indeed the Ground of one’s being here … a good reason to pay attention and homage, and maybe as a result, and in the process, get the essence of one’s life in order. One does not need to go anywhere to make this pilgrimage … simply Place one’s self. The seasonal transition of Lammas may offer that in particular, being a “moment of grace” – as Thomas Berry has named the seasonal transitions, when the dark part of the day begins to grow longer, as the cloak of darkness slowly envelopes the days again: it is timely to reflect on the Dark Cosmos in Whom we are, from Whom we arise and to Whom we return – and upon that moment when like Corn Mother we give ourselves over. This reflection is good, will serve a person and all – to live fully, as well as simply to be who we are: this dark realm of manifesting is the core of who we are. And what difference might such reflection make to our world – personal and collective – to live in this relationship with where we are, and thus who we are. We all are the grain that is harvested and all are Her harvest … perhaps one may use a different metaphor: the truth that may be reflected upon at this seasonal moment after the peaking of Sun’s light at Summer Solstice and the wind down into Autumn, is that everything passes, all fades away … even our Sun shall pass. All is consumed. So What are we part of? (I write it with a capital because surely it is a sacred entity) And how might we participate creatively? We are Food – whether we like it or not … Lammas is a good time to get with the Creative plot, though many find it the most difficult, or focus on more exoteric celebration. May we be interesting food[i]. We are holy Communion, like Corn Mother. Meet Mago Contributor Glenys Livingstone NOTES: [i] This is an expression of cosmologist Brian Swimme in Canticle to the Cosmos DVD series.

(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.
(Mago Stronghold Essay 1) The Forgotten Primordial Paradise by Helen Hye-Sook Hwang, Ph.D.

Part I Multivalent Meaning of Mago Stronghold Mago Stronghold (麻姑城, Mago-seong) refers to the center of the world (axis mundi) in the Magoist Cosmogony. It is a metaphor for the Source/Origin/Womb of Life for terrestrial beings. Mago Stronghold represents the forgotten paradise of the Great Goddess in patriarchy. In patriarchal times, it has become a code to unlock the hidden S/HE Reality. As one’s life in the body and mind is the very proof for the first mother, “Mago,” from whom one comes, the existence of Mago Stronghold in toponym and meaning is the very token to prove vital for the primordial home of terrestrial beings, also called the Earth. The Mago Stronghold talk, upon being fully deciphered, merits the bird’s eye view of human history from the cosmogonic beginning of the Great Goddess to this day. Its message is, among others, we are NOT locked out from the blissful time of S/HE beginning. We are NOT disconnected from our ancestors and deities. And we are NOT substantively different from our non-human sojourns. All in WE are found in Mago Stronghold. I present my investigation of Mago Stronghold, rather than a new theory, as an alternative mode of perceiving reality. The Mago Stronghold talk answers the ultimate question of “who I am” as a person and why we are here in our life journey. It is meant to engender metamorphosis, the process of awakening and navigating in S/HE Reality, for both an individual and the collective. We realize that no one is bound to patriarchal reality except those who create it. WE are HERE/NOW. However, the full-fledged implication of Mago Stronghold can’t be unveiled without naming the systemic working of mental blocks and lifting the limit. Official (read patriarchal) historiography is not the place where we nest our conversation. Linear thinking can’t help us arrive at the Scene. Thinking within ethnocentric and nationalist grids is among the mental blocks. We are invited to explore a whole new/old/original way of seeing and knowing matters. You and I across cultures, nationalities, and geographies have a lot in common to talk and think about. Precisely, the Mago Stronghold talk bridges the gap among moderns. Its implication is NOT confined to Korea or East Asia. One may wonder how it is so? The concept of Mago Stronghold, remembered by East Asian Magoists, concerns the common origin of all beings on Earth. Discourse on the Great Goddess/Primordial Mother/Creatrix can’t be parochial by nature. It maps out the gynocentric consciousness of WE, which redefines national/cultural identities as consanguineous. The Mago Stronghold talk works at multi-dimensions crisscrossing and connecting the personal and the collective, the local and the universal, and the physical and the symbolic. Mago Stronghold found across Korea and China is no ordinary cultural or historical landmark. It is also equated with Mago Mountain or Triad Mountain. The extant toponym of Mago Stronghold is a door to the Other Realm of the Great Goddess. Precisely, it signifies the Primordial/Perennial Home for not only the Mago Clan (Mago and HER divine and human descendants) but also all terrestrial beings, according to the Magoist Cosmogony. “Mago Stronghold” is an eponym for such socio-natural-architectural variations as castles, citadels, mountain villages, fortresses, stone walls, earthen walls, and ultimately the Earth. It is etiological, explaining the gynocentric origin of the axis mundi and the sacred mountain reverence known in many ancient worlds. Macrocosmically, Mago Stronghold refers to the Earth, the Splendid Land of the Primordial Mother. Residing in the Big Dipper (Seven Stars),[1] Mago governs the solar system and chooses the Earth as HER Garden.[2] S/HE delegates HER divine and human offspring to cultivate sonic resonance in harmony with cosmic music. In that sense, Earth IS HER Civilization. Its literal meaning, the Stronghold of the Great Goddess, conveys that all Earth’s civilizations are born of the Great Goddess. The Mago Civilization of Earth is aligned with the Law of Nature established by the marvelous working of the Great Goddess. Nature reflects HER Majestic Work. When the Creatrix (Cosmogonic Matrix) is made unthinkable, if not erased, in the course of patriarchal mytho-history, Mago Stronghold stands as an enigmatic cultural icon. It comes to us as a code to decipher. Much is to be unveiled for HER Paradise to be reinstated in the collective mind of humanity. Euphemisms that are severed from the Magoist implication in the course of history are linked back to the original Magoist words. The Mago Stronghold Code enchants us to the holistic view of the Great Goddess, the WE consciousness in S/HE, that is tabooed in patriarchy. Reminding people of the common origin from the Primordial Mother, Mago Stronghold opens a new horizon of the gynocentric reality, WE/HERE/NOW. We have been part of the Grand Plan of the Great Goddess. When it comes to the female, official historiography, which is after all a product of the patriarchal dominant group, offers little to, if not obstructs, the researcher. The history it calls is nothing other than a self-aggrandizing distorted view of the past events, or rather an imposed false view of the past by patriarchal colonizers. Patriarchal history should be called pseudo-history. It concerns not truth but domination and self-expansion. The history of self-sharers/altruists/Magoists never dies for it is about re-membering of all in WE. What happened is never left unanimated, according to the Law of Nature. It can’t be erased, for truth is the language of Life. As such, the collective memory that ancient (read pre-patriarchal) Magoists were the bearers of the Magoist royal lineage has survived official East Asian (read Sinocentric) historiography. It is imbued in such socio-cultural data as lore, literature, art, and place-names, as well as the so-called apocryphal texts. My task here is to decode the meaning of Mago Stronghold, unearthing non-official data and reading them between the lines of written records. (To be continued) See Meet Mago Contributor Helen Hye-Sook Hwang, Ph.D. [1] The Big Dipper (Seven Stars) is favored by Koreans. Triad Deity (Samsin), another name for Mago, is …