January 31, 2020January 24, 2020 Mago Work AdminLeave a comment

(Essay) Aprons: Povesma by Danica Borkovich Anderson, Ph.D.

According to the South Slavic elderly women I talked to in Bosnia in the aftermath of the third war in one century, “The apron is not for housework or housekeeping.” Read More …

(Poem & Art) The Moon and I by Noris Binet

The Moon Goddess by Noris Binet https://www.magoism.net/2019/08/meet-mago-contributor-noris-binet/
Meet Mago Contributor, Luciana Percovich

A member of the Italian Feminist Movement since the Seventies, she has lived and worked in Milano as a teacher, an editor, a translator and an author, before leaving for the country. She is part of the Libera Università delle Donne di Milano (www.universitadelledonne.it), director of a series of books on women’s history and spirituality (www.venexia.it), and contributor to women’s reviews on women’s health, science, anthropology and mythology. Her main books are: La coscienza nel corpo. Donne, salute e medicina negli anni Settanta, Franco Angeli, Milano, 2005; Oscure Madri Splendenti. Le origini dl sacro e delle religioni, Venexia, Roma, 2007; Colei che dà la vita, Colei che dà la forma. Miti di creazione femminili, Venexia, Roma, 2009.
(She Summons Excerpt) The 2020 Vision of MotherWorld by Kathy Jones

Photo by Ann Cook MotherWorld is the society in which Mother Earth, Mothers and the values of mothering and caring for each other and for all Her creatures and Nature – are placed in the centre of our lives and communities. MotherWorld is the society in which creative, nurturing and life-affirming values, actions, insights and awareness are honoured and encouraged in women, men, children and all genders. It is the society that is grounded in the fact that we all live upon our Mother Earth. She is our Great Mother, the Source and Foundation of all that we are and all that we have. We are Her offspring. We need to take care of our Mother, of each other and of all life. Human Mothers gift life and love to our babies. Mothers carry new life in our wombs usually for nine months and give birth to children, who are dependent upon us for many years. Mothers are the primary caregivers in the world who nurture and raise children. We do not do this alone, but with the loving support of fathers, the wider family and society. These children are the future of our human species, of our world. If we do not care for and support mothers, that lack of support damages the ability of mothers to unconditionally gift love and care to our children. In turn children go on to become damaged adults, and so the cycles of harm continue. Our families and societies need to honour and take care of all Mothers. At this time especially we are all experiencing the effects of the Corvid 19 virus pandemic and people are calling for a quick return to ‘normal’. However this is a great opportunity to not return to the patriarchal ‘normal’, but to create a new MotherWorld, with new values, insights and awareness. Throughout the pandemic the important roles of carers of all kinds have been brought to the fore. Without the dedicated gifted work of mothers, fathers, carers, hospital staff, social careworkers, support staff in food supply and transport, all who have placed themselves in harm’s way for the good of others, many more thousands of people would have died from the effects of the virus. For the first time their always vital underpaid, under-valued work is being recognised and honoured. We do not want to return to the old ways of doing things. This Vision of MotherWorld calls for a sea-change (from Shakespeare’s ‘Tempest’) in the ways in which we live upon our Mother Earth, and in how we recreate and develop our societies for the future, especially at this time of opportunity. It encourages all individuals and communities to recognise and honour Mothers, all Women, and all who care for others, our thoughts and feelings, our bodies, our experiences, our voices and our values. This Vision asks that we all open to the Deep Feminine in our personal and collective lives. The primary values for the new MotherWorld are: Honouring Mother Earth as a living being. Protecting and taking care of the Earth, Water, Fire, Air and Space, and all beings living in Her world. Honouring all forms of mothering, honouring fathers, honouring all carers, and the celebration and nurture of children and young people. Love for each other, kindness, support, respect, care and compassion. Suggested values for the new Motherworld include: Honesty, personal integrity, authenticity, relationship, diversity, choice, discernment, inclusion, trust, beauty, emotional expression, listening, hearing, clear boundaries, reflection, soul development, empowerment, shadow-healing, compassion, happiness, the pursuit of wisdom, the encouragement of self-respect, self-responsibility, self-worth, self-confidence, self-discipline, self-reflection and self-love; prayer, ceremony, service, connection, partnership, generosity, sharing wealth, gifting, receiving, humour, creativity, education for all, non-violent methods of resolving conflict, honouring and protecting Mother Nature and all living beings, ethical production of goods and services, the protection of the vulnerable, and valuing the Wisdom of the Elders and of the Ancestors. MotherWorld is the society where the patriarchal structures and values of dominance, power-over control and coercion, greed, excessive profit, destructive competition, violence, rape, war, slavery, suffering, hunger, poverty and the pollution of Mother Earth and Her atmosphere, are recognized as shadow expressions of humanity, which need to be challenged, deconstructed, transformed and healed. In MotherWorld healing practices for individuals, communities and for the Earth Herself are encouraged and made readily available to all. 236 MAGO BOOKS In MotherWorld it is recognized that all human beings carry wounds from our patriarchal conditioning – emotional and mental patterns which may be activated as we try to change our world. Within our Glastonbury Goddess Temple community we are particularly aware of our shadow material, which includes envy, jealousy, judgment, competitiveness, undermining, back-biting, blaming, collusion, resentment, naming and shaming, projection of negative emotions, of anger, rage, fear, loneliness, abandonment, lack of self-love, lack of self-esteem and lack of self-confidence, all of which are the result of individual cultural and karmic life experiences. In MotherWorld one of our first works is to love and support each other in taking responsibility for our repressed and often hostile shadow emotions. These shadows can undermine all our best endeavours to change the way we act in our personal and social relationships, in our lives as Goddess-loving people living in a patriarchal world. They often prevent us from experiencing true empowerment. We have developed skills and techniques of emotional expression, such as really listening to each other and offering reflection and support when needed, so that we may heal these wounds. This personal healing work needs to and can, accelerate at this time with the help of the MotherWorld community, which holds us in compassionate safety as we work to heal our wounds. The name MotherWorld comes from Barbara Walker’s novel ‘Amazon’, where it describes an ancient fictional matriarchal society living close to the Earth. This Vision is not a return to such a society. It is a groundswell forward movement to a new kind of mother-life-centred community, where all are valued, supported and appreciated, and where we can experiment …
(Book Excerpt 1) Mago Almanac Planner for Personal Journey by Helen Hye-Sook Hwang, Ph.D.

[Author’s Note: Year 4’s Mago Almanac celebrates the birth of Mago Almanac Planner for Personal Journey. The Magoist 13 month 28 day calendric movement has grown steadily and we welcome the public as well!] PREFACE: What Mago Almanac Planner Offers The Mago Almanac Planner for Personal Journey enchants people and our societies to live with a sense of the natural timespace patterned by the luni-menstrual rhythm in company with the earth’s song and dance. This is not a statement of poetic fancy unsupported by science or mathematics. We are invited to walk through the matrix of Sonic Numerology, the organizing force of Life. The 13 month 28 day Magoist Calendar returns calendric regularity to us. Calendric regularity is the very vision that unfolds the metamorphic reality of WE/HERE/NOW. Unlike the 12 month irregular day calendar that modifies the natural rhythm to serve the purpose of controlling people, the Magoist Calendar guides human activities within the natural rhythm to harmonize the human world with the natural world. The Mago Almanac Planner is built to provide flesh to the bones of the Mago Almanac. Taking the latter as foundation, Mago Almanac Planner partitions a year into the units of weeks and days. The regularity of 28 days makes it possible to lay out 52 weeks and 364 days with one or two extra days seamlessly. The rhythm of nine numbers becomes transparent. Each day of a year is named accumulatively in order i.e. the first to 364th. Likewise, each week of a year is named accumulatively in order i.e. Week 1 to Week 52. Each day is given the daily number, the moon phase, and/or 24 Seasonal Marks. Special days include such double dates as New Year (1st Moon 1st Day), double second (2nd Moon 2nd Day), double third (3rd Moon 3rd Day), and so forth. By writing the Mago Almanac Planner, I have observed that Double Ninth (9th Moon 9th day) overlaps with the 16th mark of 24 Seasonal Marks, Ipchu (立秋 Entering Fall) or Lammas in the Northern Hemisphere. The day of Double Ninth is indeed the center point of a year! Also the interval of 24 Seasonal Marks is about every 15 days, whereas that of 8 Seasonal Marks is about every 45 days. In three Appendixes, I have provided a traditional style of one year calendar, Year 4’s 364 Days (52 Weeks) with 2 Extra Days and their Gregorian Dates or the conversion chart, Large Calendar 1 (Years 1-4) marked in Gregorian C. Dates, and Year 4 Lunar-Menstrual Chart in which one can add their menstrual dates in relation to the moon phases and seasonal marks. As a whole, the Mago Almanac Planner is designed to personalize one’s own celebratory or commemorative days in tune with nature’s rhythm. This Planner marks the 4th year (Volume 4) of the revived Magoist Calendar, Mago Almanac: 13 Month 28 Day Calendar. We are about to complete the first Large Calendar, which refers to the first four years (Years 1-4). We set the new moon date (December 18) before Winter Solstice in 2018 in the Northern Hemisphere as the first lunation of the revived Magoist Calendar. If we count the year from the onset of the nine-state Danguk confederacy (3898 BCE-2333 BCE) founded by Goma, Magoist Shaman Queen Mother, our Year 1 would be 5916 ME (Magoma Era). Technically speaking, the Magoist Calendar formed at the time of our beginning came to be reincarnated on December 18, 2018 in the Northern Hemisphere (hereafter it implies the Northern Hemisphere otherwise indicated.) The year 2018 for the rebirth of the revived Magoist Calendar was arbitrary in that it could have been in 2017 or 2019. In retrospect, I must say that we are lucky to set the time of our first lunation on December 18 2018 because it makes the calendric migration process the smoothest. This means that our Magoist Calendar runs as less as 13 days behind the Gregorian Calendar. If we had begun in 2017, our New Year would have been December 17. Only one day difference. However, if we had begun in 2016, our New Year would have been on November 29. Likewise, if we had begun in 2019, our New Year would have been on November 26. These dates are the new moon date before Winter Solstice, the New Year day. The Magoist Calendar charts the human world into the Reality of WE/HERE/NOW. The Magoist Calendar needs to be in use today, which means that it has to be translated into the language of the Gregorian Calendar. For we have lost the actual counting of the Magoist Calendar into our days in the course of patriarchal history. Mago Almanac serves the purpose of making our calendric migration possible from the 12 month Gregorian Calendar to the 13 month Magoist Calendar. It guides our collective journey in the Mother TimeSpace interwoven by the cosmogonic force of Sonic Numerology, the musical interplay of nine numbers, which gives birth, nurtures, and transforms all beings in the cosmos. Intriguingly, I have realized only last year that the Magoist Calendar is identical with “the 13 Moon Turtle Calendar,” the calendar of North American indigenous peoples, which adopts the turtle shell that has 13 inner sections and 28 outer sections for the calendar of 13 moons and 28 days (see figure). This speaks volumes that the 13 month 28 day calendar was once widely known among peoples of the ancient world. The Magoist Calendar restores the link between lunation and menstruation as a 28 day monthly cycle, a topic that I have discussed in my essay, “Introducing the Magoist Calendar: Original Blessing of the Womb Time,” included in this planner. Why do we need to reinstate the calendar that is based on the luni-menstruation rhythm? That is because the Magoist Calendar is in accordance with Sonic Numerology. Put differently, the moon-women duet inscribed in the 13 month 28 day calendar is given by the Natural World. In fact, the Magoist Calendar is the first and …
(Book Excerpt 1) Rainbow Goddess: Celebrating Neurodiversity ed. by K. L. Aldred, P. Daly, T Albanna, and Trista Hendren

[Editor’s Note: This anthology was published by Girl God Books (2022).] “Being a Neurodivergent Woman” by Kay Louise Aldred Many people, even my closest friends and family, have no idea that I am a neurodivergent woman. Being autistic is still new to me as I was only recently diagnosed, in November this year. I have done a great job at camouflaging, masking, and presenting as ‘normal’. Neurodivergence was not something I had considered in relation to myself until I had children. This is ironic on many levels, most especially because I am a trained and experienced teacher and have held curriculum and pastoral leadership positions, in which I ensured that all students, from every demographic, including those who were neurodivergent, achieved their potential and felt safe, seen, and heard. It was giving birth and rearing my own children which highlighted the ‘differences’ between me and my contemporaries, and significantly amplified the feelings I had been experiencing since childhood. Feelings of being ‘atypical’, ‘odd’ and a ‘misfit’. Mother and baby groups, children’s parties, and the PTA were mirrors which clearly reflected that I was not at all like ‘most women’. They were also the situations where I began to recognise that my two sons bucked the communal childhood trends of behaviour, thinking and preference. I did however socialise my three children well. Despite my personal discomfort around being in social settings and making small talk, I knew the importance of doing this. They thrived academically but when my sons transitioned to secondary school, I saw the hallmarks and signs of neurodivergence – predominantly sensory processing and autism. Their diagnoses were convoluted, unnecessarily complex in their procedure and stressful. I was told by professionals that I had ‘taught them too well to be normal’ and that ‘they were coping’ so didn’t ‘need a label’. They were both eventually diagnosed a few months before university, when it became completely apparent that the transition would only happen if they had support. The ‘label’ has been very helpful for them both in understanding and representing themselves. Their diagnoses prompted me to assess my own lifelong challenges. My husband had been affectionately calling me his ‘Aspie Wife’ for a while before the penny dropped that I may be ‘on the spectrum’. We operated as an autistic-friendly household – which helped everyone, including my apparently ‘neurotypical’ daughter (her ongoing journey of self-discovery is another story), long before I contemplated my own assessment. I looked on at both of my sons openly ‘owning’ their preferences and explaining their needs, and thought, ‘I feel and have those additional needs too but am constantly pretending I don’t’. I realised that the result of this pretence was suffering and an added burden. That was four years ago. It is only now, aged 48 years, that I have got to the point of exhaustion and the resignation that I am not going to ‘cure myself’ or be miraculously transformed – and let me tell you I’ve tried all sorts of ways to do this including, books, therapy, and spiritual practices. Early last year I requested a GP referral for an adult autism assessment. Regardless of the outcome, I had begun to privately identify as neurodivergent, and noticed that acknowledging this went some way to explain the lifelong loneliness, social anxiety, and chronic low mood I had experienced and offered a reason for the bullying and social rejection I had undergone – particularly as an adolescent. On receiving the diagnosis last month, I wept. I felt numb, angry, grief stricken and elated simultaneously. Processing the magnitude of having an undiagnosed lifelong neurological and developmental ‘disability’ and coping with this alone, without reasonable adjustment, is going to take a long time. Autism is disabling in our society. And no, everyone is not a little bit neurodivergent or ‘on the spectrum’. Knowing I am autistic has brought a new level of self-compassion and self-protection. I can’t change myself or improve myself. Autistic people do not habituate – brain wiring does not change, and autism is not ‘cured’. I’m curious as to who I am unmasked and what gifts that will uncover. Some people who know me well, will be reading and learning this about me for the first time. I wonder if this ‘coming out’ publicly in the anthology will be liberating for the many women who continue to ‘hide’ their authentic self. The spirit of this book is the celebration of neurodiversity and so I’d like to channel that now and reclaim the Rainbow Goddess that I am by declaring that: I pretend to be interested in clothes. I’m not in the slightest bit interested. However, I’d happily wear the same thing every day – black cropped top, black pants, black vest top, black loose, jersey dungarees, black jumper, black socks with Ugg boots in winter and black sandals in summer. It’s all about utility and minimal thought. I’ve got other things I’d rather think about. Tight clothes of any sort are a no. Why would I wear scratchy, restrictive clothing which squash up my intestines and womb and restrict breathing and digestion? Makes no sense. I intensely dislike small talk and prefer deep, philosophical, existential, and meaningful conversation. I find chit-chat exhausting – I don’t understand it. It’s a waste of energy. I’m not interested at all in hairstyles, makeup, trends. I’m interested in the inner landscape of your life. I prefer my own company – listening to my inner guidance. I’m fearful of humans – the aggression, hostility, abusive dynamics, sarcasm, meanness, inauthenticity. I trust very few people. Very few people are trustworthy and transparent. I am fiercely loyal – to those I trust and respect. I can’t sequence – tasks, actions, to do lists. My brain is making patterns and connections about the meaning of life, justice, the universe. I may also have undiagnosed ADHD. I have zero executive functioning skills – packing to go on holiday puts me in a flat spin. Consequently, my home is a peaceful haven where I …
Bona Dea: Goddess of Feminism? by Luna Anna

Bona Dea artwork by Sketchepedia on Freepik Bona Dea ‘Good Goddess’ was a Goddess of Ancient Rome. She presides over nature, the earth, and fertility, but also virginity and chastity. In Roman times purity and vitality were highly regarded attributes and therefore Bona Dea was considered to be a protector of Rome and an important Goddess. (1) She was so popular that evidence of Her worship has been found throughout the Mediterranean and North Africa where there was once Roman rule. (2) According to belief, She is an ancient Goddess who predates Rome and may have come from the Greek Goddess, Diama or Artemis, or possibly the Italian Goddess, Ops. There is little academic evidence of this Goddess, due to the secrecy that shrouded Her rites, and the fact that men were excluded from them. (3) In Her time, men were the only historians, and therefore Bona Dea was rarely written about. There are, however, artefacts and sacred places known to have been related to Her. (4) Perhaps the most fascinating thing about this Goddess was Her cult following and the fact that She does have links to scandals and the breaking of rules, which would never otherwise be broken in Ancient Rome. Men in patriarchal Roman Society, feared Bona Dea so much, that they allowed women to worship Her in private at festivals where Vestal Virgins (whose services were usually reserved for men), conducted the ceremonies. “Since the earliest literary documents, Bona Dea was presented as a prestigiously ancient State goddess, whose cult was the only one officially reserved for women. Extraordinarily, women were allowed to perform a sacrifice on the night between December 3 and 4 on behalf, and for the benefit, of the whole populace, i.e. pro populo and pro salute populi Romani1 (sacrifice was rigorously reserved for men). The ritual took place in the house of the magistrate cum imperio, where the festive celebration included music, dances, and wine (otherwise prohibited to women). Yet, the magistrate did not participate: men were strictly and scrupulously excluded from this religious festival, and the cult was led by his wife, the Vestal virgins and, possibly, female slaves. The mythographic rationale behind this gender separation was based on unlawful consumption of wine (a crime for women), an attempted rape, and a murder by the mythic Latin king Faunus, Bona Dea’s husband (or brother/father, according to other variants). Very little else is known about the cult itself, except that another festival was performed in the Aventine temple in May.” – Ambasciano, L, The Fate of a Healing Goddess: Ocular Pathologies, the Antonine Plague, and the Ancient Roman Cult of Bona Dea, (2016) (5) As you can imagine, men were curious about what went on during these festivities and the famous scandal came about when, in December 62 BC Clodius Pulcher dressed as a woman and snuck into the festival. That year it was Pompeia overseeing the rites as Julius Ceasar was the senior senator. Clodius was apprehended but not caught and this caused a scandal, speculation, and trials that lasted years. Julius Caesar divorced his wife saying, “Caesar’s wife must be above suspicion.” However, as is demonstrated throughout the stories of Bona Dea, once again, normal rules were broken to become more favourable to women, when, Caesar gave his wife a dowry and found her a new husband. (6) (7) Bona Dea is said to have been the reincarnation of the nature Goddess, Fauna, daughter of Faun. The myths vary, but one is that Fauna drank wine despite knowing that women were forbidden from drinking it. Her father, Faun, found her drunk and attempted to rape her, but she fought him off. He then beat her to death with a branch of myrtle to teacher her a lesson. Once dead, Faun elevated her to Goddess status, and She became known as Bona Dea. This is a nod to women’s sovereignty, although her fate ended in death. There are some versions of the myth that say Faun successfully raped Fauna, but I prefer the version where he doesn’t. (8) (9) Due to Her power to provide miracles to the people of Rome, She had a temple at Aventine Hill, where snakes dwelled and medicines were grown. The temple was for women only and rumour has it that the women made their own rules within this sacred space. (10) As well as that, at Her festivals which took place on 1st May for the public at the temple, and on 3rd December at the Pontifex Maximus house, at night, all men and male objects were removed to please the Goddess. This included animals and art. (11) Myrtle wasn’t allowed as this could anger the Goddess. Wine was drunk but relabelled as ‘Milk’ and was drunk from jugs renamed ‘Honey Pots’, to hide the fact that wine was being drunk. Since women were forbidden from drinking wine, this should have been punishable, but because it was in favour of Bona Dea, it was permitted. (12) My thoughts on this mysterious Goddess are that She was a Goddess of Feminism. She was a sign of hope for women and without realising it, her worshippers back then made progress for the future of all women. Without this Goddess, and the breaking of patriarchal rules, on Her behalf, how much deeper could Patriarchy have been embedded into everyday society? Throughout the stories of Bona Dea, there is a thread that continues, and that thread is the refusal to conform to patriarchal norms; to break the rules, all in the name of the Good Goddess. https://www.magoism.net/2023/11/meet-mago-contributor-luna-anna/ References and Suggested Other Reading 1: https://legendaryladieshub.com/goddess-bona-dea/ 2: https://web.archive.org/web/20220131052922id_/https://journals.openedition.org/antafr/4024 3: https://olh.openlibhums.org/article/id/4422/ 4: https://www.thybrisriverexperience.org/ 5: Ambasciano, L., (2016) “The Fate of a Healing Goddess: Ocular Pathologies, the Antonine Plague, and the Ancient Roman Cult of Bona Dea”, Open Library of Humanities 2(1), e13. doi: https://doi.org/10.16995/olh.42 6: https://diotima-doctafemina.org/translations/anthologies/womens-life-in-greece-and-rome-selections/x-religion/413-desecration-of-the-rites-of-the-bona-dea/ 7 & 9: https://ancientworlds.net/aworlds_direct/app_main.php?pageData=Post/238290 8: https://womeninantiquity.wordpress.com/2018/11/27/the-cult-of-bona-dea/ 10: https://www.ostia-antica.org/regio4/8/8-3.htm 11: https://pantheon.org/articles/b/bona_dea.html 12: https://oxfordre.com/classics Artwork by Sketchepedia on Freepik.
(Prose) Spiral Bracelets and Snakes by Susan Hawthorne

The Snake Goddess, from the Temple Repositories at Knossos, 1650-1550 BC. Archaeological Museum of Heraklion. From Wikimedia Commons “The spiral bracelets move. They creep down my shoulders and neck. The sun blazes orange and red on the horizon. I feel a tickling in my ears. I hear a faint whispering. Their tongues are licking the skin, the wax of my outer ears.”[1] Notes This short extract comes from towards the end of my novel The Falling Woman. I was writing this book between 1982 and 1992. At the time, I was thinking of the Cretan snake bracelets which I had seen in the Heraklion Archaeological Museum in the late 1970s and mid 1980s. The extract is about a woman sitting inside a rock hollow in the Australian desert. It’s a story of two women who venture into the desert for a holiday, but it is also about how one of these women named Stella/Estella/Estelle is trying to figure out her own way of being in the world. They face the usual complications of travel to remote areas – punctured tyres, engine troubles, getting bogged in sand – but Stella also has to face her own mortality and the vagaries of epilepsy. The Trojan princess, Cassandra makes an appearance in the reference to the licking of the ears by snakes. Contemporary women face the same obstacle as Cassandra did. She was raped by Ajax and dragged away from the altar of Athena. For resisting rape, Cassandra was punished by the god Apollo. Previously, she was able to prophesy the future, but after this she was condemned to be disbelieved. Just as women these days are still disbelieved when they report rape. I have recently been rereading Whence the Goddess: A Source Book by Miriam Robbins Dexter. It is a treasure trove of information about the mythic history of goddesses from many parts of the northern hemisphere. She points out that although Athena is often regarded as the ally of patriarchy, in earlier times the snake is her companion.[2] And in her discussion of snake predecessors Miriam translates from the Aeneid[3] the description of Allecto, one of The Furies, that her, heart [loves] sad wars, rages, plots, and noxious crimes … she changes herself into so many forms, such fierce shapes, so many black serpents sprout up These are the serpents of resistance to the impositions of patriarchy. The Furies rail against the killing of women, the invasion of women’s scared spaces and of women’s ability to give birth, spill her own blood and thrive. As Marija Gimbutas showed in her book, The Language of the Goddess,[4] the snake is a symbol of women from the earliest periods of prehistory that predated the arrival of Indo-European societies and as Judy Foster also shows in her book Invisible Women of Prehistory,[5] the snake not only appears in Minoan and Indo-European derived societies but also in many parts of Africa and Australia. In this time of war and conflagration, we need more than ever a movement toward a society which respects the power of women and forsakes the violence of patriarchy. © Susan Hawthorne, 2023 [1] Hawthorne, Susan. 1992. The Falling Woman. Melbourne: Spinifex Press, p. 255. [2] Robbins Dexter, Miriam. 1990. Whence the Goddess: A Source Book. New York: Pergamon Press. p. 119. [3] Vergil. Aeneid, Book VII, lines 324-329. Cited in Robbins Dexter, p. 180. [4] Gimbutas, Marija, 1989. The Language of the Goddess. New York: Harper & Row. [5] Foster, Judy with Marlene Derlet. 2013. Invisible Women of Prehistory: three million years of peace, six thousand years of war. Melbourne: Spinifex Press. https://www.magoism.net/2013/12/meet-mago-contributor-susan-hawthone/
(Art) Akhilandeshvari – Goddess who is never not broken by Paola Suarez

She who is never not broken. Akhilandeshvari is a Goddess whose power is in the heartbreak, the soulbreak, and all the breaks life deals us. Now that I know of her, I am grateful to have Akhilandeshvari’s energy to work with when I feel shattered and broken. She reminds me to see these times as opportunities to grow and remake myself.
(Essay 2) Con-Text: Personal/Cultural/Cosmic Stories by Glenys Livingstone, Ph.D.

This essay is a version of an excerpt from Chapter 2 of her book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Further to my unfolding awareness of the nature of my cultural con-text, the androcentric nature of the stories in which I grew, was the perceiving of my identification as sex object … with no subjectivity, no space to Be. I remember pornographic magazines from my childhood, depicting 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, which saturated my context, 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. They sometimes called me “Marilyn” (for Marilyn Monroe), simply because of my babyhood platinum hair. I was not particularly cute as I grew up, on the contrary, I was skinny, had buck teeth, freckles and a bad haircut. But 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 or two 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. 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 and told 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: though I had no words for it. Ursula Le Guin says, We are told in words, and not in words, we are told by their deafness, … (that) … the life experience of women, is not valuable … to humanity. (We have been valued by the patriarchal viewpoint) as an element of their experience, as things experienced.[1] The male in this worldview was also “inanimate”, albeit the machine that was expected to perform. I began to find words, and consciousness of my assigned cultural destiny as sex object. I wrote: What did it take to move from that, to develop a shell, a protective boundary, to pull the shades on the imposing mostly male Gaze, to allow a fertile darkness within my being, where ‘I’ could begin? What did it take to create this kind of darkness, a safe place to Be, to shut out the world and scream ‘I’? … A sex object has to completely fall apart before she can rebuild herself in her own image. She has to fall into the mud, begin again, perform her own acts of Creation, mold herself of this solid material. It is out of the mud that the lotus blossoms. It does not grow on some pedestal, under the light of the eternal Gaze. … How ironic that our paternal mythmakers made Medusa’s gaze the deadly one!

(Special Post Mother Teresa 3) A Role Model for Women? by Mago Circle Members

Part III: The Debate, What Went Right/Wrong with Mother Teresa? [Editorial Note: The following is an edited version of the discussion that took place spontaneously on Mago Circle from March 1, 2013 for about two weeks. It was an extensive, heated, yet reflective discussion, now broken into four parts to fit the format of the blog. We thank each and all of the participants for your openness, generosity, and courage to stand up for what you believe and think! Some are marked as anonymous. As someone stated, something may have been “written in the heat of the moment” and some might like to change it at a later time. So we inform our readers that nothing is written in stone. As a matter of fact, the discussion is ongoing, now with Magoism Blog readers. Please comment and respond as you wish.] [C]: Unfortunately, Mother Theresa is not understood here in some of these comments: To be in any way critical of Mother Theresa using what was the state of the world in her time & the poor & dying as tools of compassion, even more so when left to die visibly barely cared for, as a teaching method must not be looked at as unfeeling on her part as it was her greatest sorrow to use them so horribly as means to an end, but they were what she had at hand. Was never her intention to use any money to save them, would negate their very suffering purpose as well. She did not believe we all had learned the lesson yet in her time so she had to pretend to be solving the problem while continuing the problem. You see, the money was a byproduct of no importance to her, used just to get the peoples’ attention by using what they valued, let the Church have it for other things for it had served it’s purpose by bringing her sought after awareness of the poor & dying into view. In pretending to like & accept attention to herself, honors, & even challenges to these choices, all for one purpose to fool, to get the poor & dying attention, is why she was so distressed near the end by the means she had to use to reach that end! And perhaps her sheer loss of hope at having to stoop to such measures which reflects on the sad state of the rest of us. Wondering here where the money went doesn’t understand anything of what she was trying to do. [C]: Thank You Naa Ayele Kumari for plowing through my thoughts enough to ‘like’ even! Could I be understood that Mother Theresa’s intentions were ‘higher’ than just taking care of the poor & dying in institutions, but to have the people understand there should be ‘feelings’ for them so they would never ever even have to be cared for in such ‘style’? She sacrificed these many nonpeaceful deaths to display, to show, to the whole world the direction it was heading, for the saving of the future multitudes of suffering & deaths if no one understood & cared soon. She dreamed these future lives would be right & good & their deaths would be the same attended by loved ones of their own, no need for group interference. She did not wish to just contain such tragedy, but to eliminate it from the whole earth forever. In the smaller scale view of some today the institutions are a necessary step, however Mother Theresa thought this a false step on a horrible path in the wrong direction, & she knew this, & dreamed beyond! To send away, to cage, the suffering, old, & sick in any society is a crime against Mother Nature no matter what the excuses or how pretty the packaged institution is presented! [Z] Did not foresee the discussion would provoke such indepth and rich responses. It feels that we are getting close to the bottom of the matter that has not been brought up for so long, not in my life time. Profound interactions that make us aware of the aspects of how our thinking and living can be based on the kind of values we hold. I treat each and all of you in the hand of our goddesses. Anne Wilkerson Allen: I think the Mother always moves us back toward compassion. Whether we have a sense of deity or not, we can all understand contextually how she was used and that her “beliefs” left her with such poverty of spirit that her entire life is under the microscope. I wonder, will the media ask what the Church has done with all their Billions or simply focus on a dead nun indoctrinated by the system? Diane Horton: No, I am sorry. [C], that is an incredible rationalization of Mother Teresa’s actions. Unbelievable actually. For you to justify her not using the extraordinary amount of money sent to her by saying that she chose to use these horrible deaths to bring attention to the sick and the dying and evoke compassion in people – that is the most megalomaniac position possible! Did she assume the role of God then?? That is outrageous! To think that she had the means to relieve these poor people’s sufferings and chose not to in order to USE them is even more heinous to me! I cannot wrap my head around how you think that is a good thing. She already HAD evoked compassion for these people. That’s why the money poured in! And all the “pretending” and lying you said she did for the greater good? NO. Compassion and empathy are a basic human response to suffering. “She sacrificed these nonpeaceful deaths” REALLY?! She had no right. And she was wrong. I can see no lofty ideal she was displaying there. Diane Horton: Forgive, me. I could not let what was said there lie. I won’t say anymore. Everyone has their own perspective. And each perspective together makes the whole. Blessed Be. [C]: On this […]
(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 1) "The Oldest Civilization" and its Agendas by Mago Circle Members

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

(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. …
(Video) Autumn Equinox/Mabon Poetry by Glenys Livingstone Ph.D.

The Autumnal Equinox occurs each year in the range of March 20-23 in the Southern Hemisphere, and in the range of September 20 -23 in the Northern Hemisphere. Autumn Equinox is a point of sacred balance: it is the point of balance in the dark part of Earth’s annual cycle. Sun is equidistant between North and South as it was/is at Spring Equinox, but in this dark phase of the cycle, the trend is toward increasing dark. Henceforth the dark part of the day will exceed the light part: thus it is a Moment of certain descent … and a sacred Moment for feeling and contemplating the grief and power of loss, for ceremoniously joining personal and collective grief and loss with the larger Self in whom we are. https://www.youtube.com/watch?v=vcZflKLkvP8 Below is the text of the video. It is based on the traditional poetry for PaGaian Autumn Equinox/Mabon ceremony[i]. This is the Moment of the Autumnal Equinox in our Hemisphere – the moment of balance of light and dark in the dark part of the cycle. The light and dark parts of the day in the South and in the North of our planet, are of equal length at this time. We feel for the balance in this moment – Earth as She is poised in relationship with the Sun … breathing in the light, swelling with it, letting our breath go to the dark, staying with it. In our part of Earth, the balance is tipping into the dark. We remember the coolness of it. This is the time when we give thanks for our harvests – all that we have gained. And we remember too the sorrows, losses involved. The story of Old tells us that Persephone, Beloved Daughter, is given the wheat from Her Mother – the Mystery, knowledge of life and death. She receives it graciously. But she sets forth into the darkness – both Mother and Daughter grieve that it is so. Demeter, the Mother, says: “You are offered the wheat in every moment … I let you go as Child, most loved of Mine: you descend to Wisdom, to Sovereignty. You will return as Mother, co-Creator with me. You are the Seed in the Fruit, becoming the Fruit in the Seed. Inner Wisdom guides your path.” We give thanks for our harvests – our lives they are blessed. We are Daughters and Sons of the Mother. Yet we take our Wisdom and all that we have gained, and remember the sorrows – the losses involved. We remember the grief of the Mother, of mothers and lovers everywhere, our grief. Persephone descends. The Beloved One is lost. Persephone goes forth into the darkness to become Queen of that world. She tends the sorrows. The Seed represents our Persephones, who tends the sorrows – we are the Persephones, who may tend the sorrows. We go out into the night with Her and plant our seeds. Persephone blesses us with her fertile promise: “You have waxed into the fullness of life, And waned into darkness; May you be renewed in tranquility and wisdom[ii].” These represent our hope. The Seed of life never fades away. She is always present. Blessed be the Mother of all life. Blessed be the life that comes from Her and returns to Her. We tie red threads on each other: we participate in the Vision of the Seed – of the continuity of Life, that continues beneath the visible. The Mother knowledge grows within us. Our hope is in the Sacred Balance of the Cosmos – the Thread of Life, the Seed that never fades away: it is the Balance of Grief and Joy, the Care that we may feel in our Hearts. NOTES: [i] Glenys Livingstone, PaGaian Cosmology, p. 239-247. [ii] Charlene Spretrnak, Lost Goddesses of Early Greece, p. 116. REFERENCES: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005. Spretnak, Charlene. Lost Goddesses of Early Greece: a Collection of Pre-Hellenic Myths. Boston: Beacon Press, 1992/1978.
(Essay) Conceiving, Imagining the New at Samhain by Glenys Livingstone Ph.D.

It is the Season of Samhain/Deep Autumn in the Southern Hemisphere at this time. In the PaGaian version of Samhain/Deep Autumn ceremony participants journey to the “Luminous World Egg” … a term taken from Starhawk in her book The Spiral Dance[i], where she also names that place as the “Shining Isle”, which is of course, the Seed of conception, a metaphor for the origins of all and/or the female egg: it is the place for rebirth. Artist: Bundeluk, Blue Mountains, Australia. The “luminous world egg” is a numinous place within, the MotherStar of conception: that is, a place of unfolding/becoming. The journey to this numinous place within requires first a journey back, through some of each one’s transformations, however each may wish to name those transformations at this time. The transformations for each and every being are infinite in their number, for there is “nothing we have not been” as has been told by Celts and others of Old, and also by Western science in the evolutionary story (a story told so well by evolutionary biologist Elisabet Sahtouris, particularly in her video Journey of a Silica Atom.) Ceremonial participants may choose selves from biological, present historical self, or may choose selves from the mythic with whom they feel connection; from any lineage – biological or otherwise. Selves may also be chosen from Gaia’s evolutionary story – earlier creatures, winged or scaled ones … with whom one wishes to identify at this time. Each participant is praised for their “becoming” for each self they share. When all have completed these journeys/stories of transformation, the circle is lauded dramatically by the celebrant for their courage to transform; and she likens them all to Gaia Herself who has made such transitions for eons. The celebrant awards each with a gingerbread snake, “Gaian totems of life renewed”[ii]. gingerbread snakes Participants sit and consume these gingerbread snakes in three parts: (i) as all the “old shapes” of self that were named; and (ii) remembering the ancestors, those whose lives have been harvested, whose lives have fed our own, remembering that we too are the ancestors, that we will be consumed; and (iii) remembering and consuming the stories of our world that they desire to change, the stories that fire their wrath or sympathy: in the consuming, absorbing them (as we do), each may transform them by thoughts and actions – “in our own bodyminds”. When all that is consumed “wasting no part”, it is said that “we are then free to radiate whatever we conceive”, to “exclaim the strongest natural fibre known” – our creative selves, “into such art, such architecture, as can house a world made sacred” by our building[iii]. This “natural fibre” is a reference to the spider’s thread from within her own body, with which she weaves her web, her home; and Spider has frequently been felt in indigenous cultures around the globe as Weaver and Creator of the Cosmos. Spider the Creatrix, North America, C. 1300 C.E., Hallie Iglehart Austen, The Heart of the Goddess, p.13 In the ceremony, participants linked with a thread that they weave around the circle, may sail together for a new world “across the vast sunless sea between endings and beginnings, across the Womb of magic and transformation, to the “Not-Yet” who beckons”[iv]: to the Luminous World Egg whereupon the new may be conceived and dreamed up. Samhain/Deep Autumn ceremony is an excellent place for co-creating ourselves, for imaginingthe More that we may become, and wish to become. This is where creation and co-creation happens … in the Womb of Space[v], in which we are immersed – at all times: and Samhain is a good season for feeling it. References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005 Sahtouris, Elisabet. Earthdance: Living Systems in Evolution. Lincoln NE:iUniversity Press, 2000. Starhawk, The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. NY: Harper and Row, 1999. Swimme, Brian. The Earth’s Imagination.DVD series 1998. NOTES: [i]p.210 [ii]a version of this Samhain script is offered in Chapter 7 PaGaian Cosmology [iii]These quoted phrases are from Robin Morgan, “The Network of the Imaginary Mother”, in Lady of the Beasts, p.84. This poem is a core inspiration of the ceremony. [iv]“Not-Yet” is a term used by Brian Swimme, The Earth’s Imagination, video 8 “The Surprise of Cosmogenesis”. [v]note that creation does not happen at the point of some god’s index finger, as imagined in the Sistine Chapel – what a takeover that is!
(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: …
Artful Ceremonial Expression by Glenys Livingstone Ph.D.

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

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

(Mago Pilgrimage 3) Seonam-sa (Seonam Temple), Suncheon, South Jeolla Korea by Helen Hye-Sook Hwang

Seonsam-sa, located in Suncheon City, South Jeolla Province, is one of many ancient Buddhist temples in Korea. It is among the seven Korean Buddhist temples designated as UNESCO World Cultural Heritage Sites this year. I visited Seonam-sa during the Mago Pilgrimage to Korea in 2014. The name, Seonsam-sa (仙巖寺 Seonam Temple), drew my attention immediately for the first two characters “seon (read sun)” and “am (read ahm)” of its title convey Magoism. It remains esoteric that Seon-am (仙巖 Precipice of Seon) is an alternative of Mago-am (Precipice of Mago) also known as Nogo-am (Precipice of Nogo). “Nogo” (老姑 Primordial Goddess) is a popular epithet, which is often interchangeably used with “Mago” in place-names and folktales. That said, the character “seon or xian (仙)” refers to Magoists rather than Daoist Immortals, a topic that requires another space to explicate. Fork traditions have preserved its Magoist meaning (Mago or Magoist) in place-names and stories. One prominent exmaple is “Mago Seonnyeo” to convey a Maogist Female Seon. Below I use it as Seon without transliteration. It is rarely recognized by the public that Seonam-sa is imbued with Magoist mytho-historical-cultural memories. This is not to say that Korean Buddhist temples are as a whole independent of Magoism. I have discussed, among others, that the main hall (Daeung-jeon) of many Korean Buddhist temples is dedicated to Goma, the Magoist shaman queen founder of Danguk (3898-2333 BCE), also known as Daeung (Great Hero), as follows: Korean Buddhism is characterized by its idiosyncratic feature of Daeung-jeon (Hall of the Great Hero), its main building, in most Buddhist temples. That Goma is enshrined in Daeung-jeon accounts for the Magoist root of Korean Buddhism.[1] Seonsam-sa has some intriguing unorthodox Buddhist characters. While its foundation is debated to be in the mid 6th century by Ado Hwasang in 592 or the second half of the 9th century by Monk Doseon (827-898), we have stories about Monk Doseon , the alleged founder. Monk Doseon, according to the story, had a revelation from the Heavenly Ruler of the Holy Mother (聖母天王) of Mt. Jiri who told him “If you establish three Amsas (Precipice Temples), Three Hans will unite and there will be no wars.” Doseon founded the three precipice temples known as Seonam (Seon Precipice), Unam (Cloud Precipice), and Yongam (Drago Precipice).[2] Three Hans (Samhan) refers to the descendants of Old Joseon (ca. 2333-232 BCE), the Magoist people of ancient Korean states including Goguryeo, Baekje, Silla, Gaya and their remnants who sought to restore the bygone rule of Magoist confederacies.[3] In short, the foundation story of Seonamsa reflects the mytho-history of Magoism. Also intriguing is the fact that Seonam-sa has Seungseon-gyo (Bridge of the Ascended Seon) and Gangseon-ru (Pavilion of the Descended Seon), which are evocative of such Magoist place-names as Mangsoen-gyo (Bridge of Anticipated Seon) and Biseon-dae (Point of Ascending Seon), to name a few. In addition, Seonam-sa is, among numerous halls and shrines, noted for Sansin-gak (Mountain Deity Pavilion) and Samseong-gak (Three Sages Pavilion), the indigenous faith practices that are incorporated in a Buddhist temple. We were enrolled in Seonam-sa’s Temple Stay. Later I detected that the monk who guided us was unenthused about our interests in indigenous elements of Seonam-sa. Out of honesty, he mentioned that Seonam-sa needed to purge itself of indigenous shrines. It was sad to hear that but I could see where he was coming from. It appeared that monks were not all in agreement with him, however. Our visit to Seonsam-sa seemed to end with a somewhat uneasy stroll with the monk. Lo and behold! As we were about to leave the temple, we ran into a female Buddhist novice who took interest in our queries. Together with her, we hurriedly payed visit to Sansin-gak and a couple of indigenous shines located in the backside of the main sectors. While on a brief leisurely stroll with our new guide, she finally led us to an unlikely place, the unseen heart of Seanam-sa by the public. She showed us the place wherein monks gather to begin Dong-angeo (Winter Retreat), an annual three-month-long winter medication practice. Inside this ordinary-looking Korean traditional house was a traditional style kitchen stove. Above the big iron cast cooking pot was hung a tablet that reads “Nammu Jowangsinwi,” which means “Take refuge in Jowang Deity who is present here.” Faith in Jowang Deity was still alive among Buddhist monks!!! Jowang-sin or Jowang Halmi, the Kitchen Goddess or the Hearth Goddess, is one of the many indigenous Goddesses of Korea. It is known today that she was enshrined in the kitchen and widely venerated by women in the past. Today, She is still worshipped in Muism (Korean Shamanism) as the deity of fire, children, and wealth of the household. (Meet Mago Contributor) Helen Hye-Sook Hwang. Notes [1] Helen Hye-Sook Hwang, “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), 293. [2] Sanghyeon Kim, “Suncheon Seonam-sa,” in Hanguk Daebaekgwa Sajeon (Encyclopedia of Korean Culture). http://encykorea.aks.ac.kr/Contents/Item/E0028783/. August 12, 2018. [3] Helen Hye-Sook Hwang, “Mago, the Creatrix from East Asia, and the Mytho-History of Magoism” in Goddesses in Myth, History and Culture (Lytle Creek, CA: Mago Books), 29-34.
(Poem) Knowing Mago Calendar by Helen Hye-Sook Hwang

[Author’s Note: This poem was an offshoot of an essay on Magoist Calendar and Nine Numerology, to be included in the forthcoming anthology, Celebrating Seasons of the Goddess (Mago Books, 2017). I thank Genevieve Vaughan, Danica Anderson, and Harriet Ann Ellenbeger who have given me feedback to the article and inspiration to this poem.] Mago Calendar is the umbilical cord of the Great Goddess, the umbilical cord that re-members the Beginning Story of us all terrestrial beings, that enables the one and many songs/dances of the Earth, and that nourishes the human world to sing the chorus to the cosmic lullaby. Mago Calendar is the grand wheel of the Great Mother, the grand wheel that spirals the inter-cosmic orbit of truth, goodness, and beauty, that carries all earthlings to the fullest becoming, and that builds bridges into the inter-protonic galaxies. Mago Calendar is the everlasting blessing of the Nine Mago Creatrix, the everlasting blessing that scripts the ecstasy of Heavenly Numerology, that charts the Earth’s metamorphosis from the infinite to the physical, and that unfolds the Reality of the Mago Time, WE/HERE/NOW. (Meet Mago Contributor) Helen Hye-Sook Hwang.
How do you say what The Mago Work is? by Helen Hye-Sook Hwang & Mago Circle Members

It took many years for me to pronounce the communal nature of the Mago Work. Defining the Mago Work necessarily endows us with the bird’s eye view of the Great Goddess, the primordial consciousness of WE in S/HE. Early this year, I asked people to define the Mago Work and their definitions are illuminating about what this book ultimately seeks to achieve.[1]