I first met Lynne Sinclair-Wood in a small Adelaide Hills community of Pagans coming together to celebrate a full moon. From that day our friendship developed along a path woven of similar interests in feminist and Goddess art, writing, and relational earth-centric spiritual consciousness with a strong ancestral element. We often spoke of the challenges of weaving ancestral ways into our present bioregional experiences, and I was influenced by her thoughts and wisdom in the gestation of my own creative process during the fifteen years of our friendship, and in many ways as profoundly since her passing.
Lynne was an artist and writer, a teacher, facilitator, and Druid. Influenced by, and friends with feminist Goddess artists such as Monica Sjöö and Jill Smith, Lynne’s expressions sought connection and harmony between all aspects of life, especially between her body and the land. While she journeyed through academia – she had a Master of Arts from the University of Adelaide, a Fine Arts degree from the University of South Australia, and a Diploma of Art Education from the National Art School, Newcastle – it was in the school of life that her passions were nourished and took root. While working at the UNESCO World Rock Art Centre in Valcamonica in 1983,[1] Lynne collated a “Who’s Who of World Rock Art,” and was able to meet many of those attending a conference held at that time for those people studying ancient rock art throughout the world. During this period of her life, her interests in the connections between Indigenous peoples and Europeans expressed through symbolism, art, and story, were enriched in concert with her experiences in Scotland and Wales, and later, in the Central Desert of Australia.
Ancient people recognised the importance of aligning the physical and spiritual energy of humanity with these cosmic forces which influenced the seasons, the weather, and the human psyche. The symbols used to reflect this interdependence between humanity, the earth, and cosmic forces was ‘The Great Mother.’ The maternal metaphor describes the nurturing aspect of the life force and the importance of inter-relationship between all life forms a relationship which continually regenerates with the cycles of nature. Special places on the earth became sacred because of the flow of energy which could take place at certain times between people, the earth, and cosmic forces, just as the blood or the breast milk of the mother passes to her child.[2]
The growing sense of being part of my own ancestral sacred landscape made me consider more deeply the indigenous cultures of Australia. I began to consider how alienated so many European Australians like me are from awareness of the relationship between people and the sacred land. This awareness had been lost by those who colonised other countries so far from their ancestral roots. My work began to explore this duality between ‘being’ Celtic, feeling at one with my ancestral place and culture in Britain, and my present life as a third generation Australian born into landscape that is sacred to another culture.[3]
Lynne’s core need to find peace in place whilst bridging cultures and working towards personal and collective healing was affirmed as a life path, and an ardent adventure at that. This seeking, on personal, political and cosmic levels, was the essence of the weave of our friendship and the unofficial mentoring she gifted me despite our very different life experiences.
The following essay regarding a coming-together of people in honour of the Whale,[4] an example of Lynne’s intuition and life calling through an intercultural and interspecies experience, was originally printed in the first edition of the Pagan Alliance of South Australia Newsletter, ‘Silver Wheel’, Summer (November) 1998, when I began as editor using the nom de plume of Blackthorn. Sighting logs record Southern Right Whales (7 adults and 7 calves) on 29 August, 1998 on the South Coast (South Australia). In addition to the Southern Right, other whales are also seen in this area, including Humpbacks and Pygmy Sperm whales. These logs can be viewed at
http://sawhalecentre.com.au/old/sightings/logs/Cetacean_Sighting_Log_1998.pdf
Blessing of Sun Radiant Bhrìde,
Blessing of An Cailleach
Louise M Hewett, April 2020
From about 1990 I have taught myth, culture and spirituality in Adult Education through courses and workshops. I wrote a book on Women in Celtic culture and completed a Master’s degree at University of Adelaide. Over the years, within both the more academic research and personal spiritual practice within my own ancestral tradition, I have tried to accommodate the fact that I am 3rd generation Australian and have some connection to the sacred nature of the environment as well. In fact, my Druid path has made it clear that living as a bridge between the two cultural environments is part of my path and I have been forced to accept that even though I can return to Britain and Ireland to visit every few years, Australia is where I must help find a new form for the ancient wisdom.
Since 1997 I have been working with elders of local Aboriginal communities here in Adelaide, looking at ways in which Celtic and Aboriginal spirituality overlay, as part of the reconciliation process. We have looked at ways of expressing our common spirituality in more practical ways as well as developing ceremony that encapsulates the essence of the land itself, in forms that are both respectful of Aboriginal Australian traditions and the ancestral traditions of Anglo-Celtic European Australians.
In 1998 I was offered some work in the office at Buddha House, an education centre here in Adelaide, which offers teachings in Tibetan Buddhism. While attending teachings at Buddha House by the resident Lama, Khensur Rinpoche, it began to occur to me that a meeting between the Rinpoche and some of the Aboriginal elders would be an interesting experience. A perfect opportunity presented itself in August/September when a large number of whales, nursing their newborn young, appeared off the coast of South Australia at Middleton. This was seen as a powerful omen to Aboriginal Elders of the People of the Whale, an auspicious sign of regeneration, and a good time to gather together with people of other traditions from many parts of the planet.
Apart from the more recent simplistic New Age associations with whales, ancient traditional cultures all over the world have always seen the behavior of whales as important reference points for the state of the life force of the planet itself. In their movement across the seas of the world, whales follow energy lines, just as traditional tribal people like Australian Aboriginal peoples have moved along the Songlines[5] of the earth. Going beyond the cynical popular culture exploitation of human associations with whales, there is no doubting the impact that the appearance of these animals have on humans, helping the bonding of humans with the animal world.
According to Aboriginal Elders, a major world Songline passes from Middleton through Victoria Square in Adelaide, then moves north-west out of Australia to the Himalayas of Tibet, across northern Europe to the western regions of Britain where traditional wisdom around important sacred sites recognizes connections with Asia and Australia. With the appearance of the whales and their young at Middleton in such big numbers, tribal elders saw this as an important time to call a series of meetings and gatherings. This could hopefully bring together different spiritual traditions represented here in Adelaide, who have their cultural roots in the regions affected by this Songline.
In an attempt to find common ground within our differences, and to regenerate a sense of respect for the land and all living beings, a ceremony was planned for 29th August on the beach at Middleton to acknowledge the gift of the whales’ presence. It was hoped that Khensur Rinpoche could be involved in this ceremony, so a meeting was arranged for him for Friday 28th August. On that day, three South Australian Aboriginal tribal elders, who are keepers of Whale Dreaming representing the Kaurna, Barngarla and Mirning Peoples, a Maori man, and myself representing the Celtic Druid tradition of Britain and Ireland, had a very interesting afternoon with the Rinpoche. Stories were exchanged, and a series of patterns based on Aboriginal stone arrangements found in South Australia were shared with the Rinpoche, in addition to a viewing of world maps that delineate important international Songlines. Similarities were observed within story themes and ceremonial imagery in the different cultures – Aboriginal, Maori, Tibetan Buddhist and Celtic. For example, a close parallel in imagery and meaning was drawn between Tibetan mandalas, Aboriginal Dreaming images and Celtic patterns.
Rinpoche spoke of the importance of the coming together of the different traditions in a spirit of peace and harmony through an understanding of and respect for the life force of the Earth and its influence on all living beings. In finding the common elements within different cultures we have a reference point to begin to heal the suffering created by the inability to respect difference. At the same time, Rinpoche stressed the need for cultural groups within Australia to more fully understand their own ancestral spiritual inheritance, to find the wisdom within themselves when coming together with other cultures. Just as some Aboriginal people are maintaining and reclaiming their ancient wisdom, European or Anglo-Celtic Australians can find strength in their own cultural wisdom, so that in pursuing an interest in traditions such as Tibetan Buddhism or traditional Aboriginal spirituality, we bring a more balance perspective without the desire to fill a gap missing in our own culture.
While it wasn’t possible for the Rinpoche to be present at the Middleton ceremony on the 29th August, he expressed a strong interest in being part of future gatherings and ceremonies for bringing peace and harmony between cultures. He also talked of the importance of Adelaide as a special focus in the world for such gatherings. The Rinpoche gave his blessing for this first ceremony with the whales at Middleton, as well as individual blessings to those present at this first meeting.
The next day at Middleton a group gathered that included the local Ramindjeri guardian of the Whale Dreaming, and representatives of other Aboriginal South Australian People of the Whale, the Mirning, Kaurna, and Barngarla tribes, as well as myself and other interesting people of various European ancestry. A group of young people, both Aboriginal and European, who are learning Aboriginal dance from Kaurna man Joseph Williams of the Tjilbrucke Dance Group, performed a ceremony which acknowledged the gathering of the whales and the people of diverse backgrounds. In preparing the ceremonial ground, both Aboriginal artefacts and a ceremonial Celtic sword were arranged within sacred space. Within the ceremony the energy of the international Songline was tapped, invoking the power of the land across the planet. As the ceremony progressed, the whales, who had been displaying themselves in different parts of the bay, moved close to the shore where the ceremony was taking place and began to dive and display their tails, blowing water high into the air. This was quite spectacular to see and a powerful acknowledgement of the interaction between those people gathered and the whales. Those present were certainly uplifted by all of this and we all had the strong sense that we had made a good beginning in the process of healing between the people of South Australia, the land itself and these wonderful animals of the sea.
I personally feel incredibly blessed at this time to be part of such momentous events, to be working within an energy that flows freely between the Celtic, Aboriginal and Tibetan Buddhist spirit within our community, and by extension through the energy lines with the rest of the planet and all living beings.
Blessed Be the Great Mother Brighid
Lynne Sinclair-Wood
My concept for this drawing was to consider the Southern Right Whales harmonising the Maori, Aboriginal, Celtic and Buddhist symbols for this gathering in honour of the Whale, I wanted to evoke the similarity of patterns Lynne spoke about in her article. The spiral on the left is not meant to copy but to evoke the Maori ‘koru,’ symbol of new life and growth; the centre disc of concentric circles evokes a ritual Buddhist/Hindu mandala (mandala in Sanskrit means circle); and on the upper right is a simple triple spiral or ‘triskele’ evoking the European/Celtic symbolic tradition. The background is styled to evoke the ocean, source of life, with lines and dots, not to mimic Australian Aboriginal art styles, but to suggest the power of connection that Lynne spoke about in this piece, as in all of her work. – Louise M Hewett © 2 May, 2020
(Meet Mago Contributor) Louise M Hewett
[1] Susan Kinneally, August 2012. ‘The Art of Lynne Sinclair Wood – Images of a Spiritual Journey,’ 50ys Reunion Newcastle Art School. Published by woolsheds A (Barbara Aroney) for the Reunion c.1969 Newcastle Art School, 2 January, 2019 <https://50ysreunionnewcastleartschool.wordpress.com/2019/01/02/the-art-of-lynne-sinclair-wood-images-of-a-spiritual-journey/>
[2] Lynne Sinclair-Wood, 1999. Creating Form From the Mist, Capall Bann Publishing, Berks, UK, 15
[3] Dee Michell, 2010. From ‘Images on a Spiritual Journey, Lynne Sinclair-Wood’ in Women Journeying with Spirit, ed. Deidre Michell and Jude Noble <https://www.researchgate.net/publication/305637443_Women_Journeying_with_Spirit> 101
[4] Lynne Sinclair-Wood, 1998. ‘A Whale of a Time,’ in Silver Wheel: Newsletter of the Pagan Alliance of South Australia, Summer 1998. Ed. Louise M Hewett (Blackthorn), collated and distributed by Louise M Hewett and Don Mcleod in South Australia
[5] Songlines are also called Dreaming Tracks