January 6, 2017October 2, 2019 Mago Work AdminLeave a comment

(Book Excerpt) Sexism and U.S. History by Elizabeth Hall Magill

What are the Roots of U.S. Patriarchy? As Barbara Berg asserts in Sexism in America, “Sexism, it’s fair to say, is America’s default setting.”[i] The United States was established as Read More …

March 28, 2016October 2, 2019 Mago Work Admin1 Comment

(Book Review) Hendren & Baartz’s New Love: a reprogramming toolbox for undoing the knots, reviewed by Elizabeth Hall Magill

I have often written of the work of undoing patriarchal thought—facing our assumptions, our fears, our wounds. While we all must do this inner work, to face patriarchal thought as Read More …

February 23, 2016October 2, 2019 Mago Work AdminLeave a comment

(Meet Mago Contributor) Elizabeth Hall Magill

Elizabeth Hall Magill holds degrees in English from the College of William and Mary and James Madison University. She has been a technical writer for IBM and taught college-level writing Read More …

July 22, 2015October 2, 2019 Mago Work AdminLeave a comment

(Book Announcement 3) She Rises: Why Goddess Feminism, Activism, and Spirituality by Helen Hwang

[Note: She Rises Vol 1 has been published June Solstice, 2015.] She Rises Book Reviews include the following: “There are many contributors with names you may be familiar with, such Read More …

(Essay 2) The Queen of Heaven: Depictions of Asherah in Ancient Israel by Francesca Tronetti Ph.D.

The Depiction of Asherah is from the 13th century BCE and is on display in the Israel Museum. Asherah and YHWH: Current theological and historical teaching holds that the Israelites were one of the first monotheist groups. Their rejection of other gods caused much of the conflict between them and their neighbors. In Exodus, YHWH becomes angry when Aaron created a golden calf for the people to worship. An action for which the people were banished to wander the desert for forty years. Based upon these stories, scholars have, for centuries, maintained that the ancient Israelites worshipped only YHWH. However, archaeological and textual evidence had forced us the reexamine the religion of the Israelites and have led to some interesting revelations. One such conclusion is that the worship of Asherah was not considered heretical to the ancient Israelites. In the book of Hosea, we see many virulent attacks against the worship of outside gods or traditions that were not part of the Yahwihistic cult. However, neither the worship of Asherah nor the asherah pole’s placing is mentioned in the text. This has led Olyan and other scholars to argue that the worship of Asherah was, in fact, part of the state cult religion. Evidence suggests that Asherah was worshipped alongside YHWH in the official Judahite religion. A substantial piece of evidence was that the ‘asera or asherah pole was placed in or near the temples of YHWH. Olyan concludes that “Based only on an examination of biblical sources, we argue that the asherah was a legitimate part of the cult of YHWH…in the north…in state religion and popular religions.”[1] Asherah’s worship was so much a part of the normative religion that when Jehu purged Samaria of all non-Yahwistic elements of the YHWH cult, the ‘asera which Ahab had erected remained standing until after Jehu’s death. That this ‘asera remained standing suggests that the ‘asera was perceived to be an appropriate religious symbol within the cult of YHWH. There is archaeological evidence that in the southern province, worship of Asherah was part of YHWH’s worship. Scholarly interest in Asherah was bolstered after several inscriptions were found at the archaeological site of Kuntillet’ Arjud. On a pithos, an inscription was found reading brkt. ‘thm. Lyhwh. Smrn. wl’ srth., which has been translated as “I have blessed you by YHWH smrn and his Asherah.” This inscription is very similar to much of the Khirbet el’ Qom material. It suggests that among some religious circles in Samaria, worship of Asherah and YHWH was paired. When analyzing the inscriptions from Kuntillet’ Arjud (8-9th century) and Khirbet el-Qom (9th century), it is interesting to note that the inscriptions reference Asherah positively in context with YHWH. Several Biblical texts refer to Asherah, or the asherah pole, as a foreign element and “evil in the eyes of the Lord.” However, non-biblical sources indicate that she was a legitimate part of the worship of YHWH. Based on graffiti and figurines found at archaeological sites, we can conclude that worship of Asherah was prevalent among Judah’s people before the Babylonian exile and that those who remained in Yehud continued to worship her during the exile. It is not until the Persian era that we cease to find evidence of Asherah worship in Jerusalem and that the people cease producing her figurines. There is a belief among some scholars that Asherah was worshipped as the consort YHWH by the ancient Israelites. In Ugarit, Asherah was the mother of the gods, and there is evidence that this veneration continued when she was adopted into the cult of YHWH. According to the Deuteronomistic school, Asherah was the consort of Baal during the time of Judges. Later during the Israelite monarchy, an association was made between Asherah and YHWH. The most compelling evidence to support this argument is the presence of the ‘asera, the symbol of the goddess, next to YHWH’s altar in the Temple in Jerusalem. This placement of her sacred post in proximity to the altar has led some to conclude that Asherah was the consort/wife of YHWH. Deut 16:21-22[2] prohibits the setting up of a pole near an altar to YHWH. The fact that such a prohibition was necessary indicates that Asherah’s worship was closely associated with YHWH. Day writes that Asherah appears to be regarded as YHWH’s consort in syncretistic circles … and the sons of God … are clearly the sons of YHWH in the OT, it follows that the sons of God were regarded as Asherah’s offspring in syncretistic circles. Since the sons of God clearly correspond with the host of heaven, it appears that we may hold that the host of heaven were probably regarded as the offspring of Asherah[3]. Given the evidence for Asherah’s worship in Israel and her position as consort to YHWH, Smith suggests that the heroine in the Song of Songs is partially based on Asherah. The Song of Songs tells the story of a pair of human lovers. Smith, viewing the story as an allegory, argues that the human lovers are, in fact mirroring a pair of divine lovers. This holy pair is not YHWH and Israel but is instead YHWH and Asherah. This mirroring of a divine couple was a common practice in the ancient world. In Egypt, the Pharaoh and his bride were supposed to represent the gods on earth. There is evidence that the priests, priestesses, and leaders would reenact or enter a divine marriage as part of worship in Mesopotamia and ancient Greece. A pair of human lovers standing in for divine lovers is not without precedent in the ancient world. (To be continued) https://www.magoism.net/2018/11/meet-mago-contributor-rev-francesca-tronetti-ph-d/ [1] Olyan, 1988, Asherah and the Cult of YHWH in Israel, p. 13. [2] Deut. 16:21-22 You shall not set up a sacred post- any kind of pole beside the alter of the LORD your God that you may make- or erect a stone pillar; for such the LORD your God detests. [3] Day, 1986. “Asherah in the Hebrew Bible,” p. 400.
Our Mother (Prayer by Patricia Lynn Reilly, Music by Gary Floyd, Art by Andrea Redmond) by Alison Newvine

In honor of the passing of legendary gay punk rock star and Divine Mother devotee Gary Floyd, we are sharing a piece of his music composed for the prayer “Our Mother” written by spiritual feminist author Patricia Lynn Reilly. This version was recorded live by Spiral Muse at herchurch in San Francisco in 2018. https://youtu.be/An-Vm5EMCyI?si=h5rqJZmi-nZNsZEh https://www.magoism.net/2023/10/meet-mago-contributor-alison-newvine
Dance Dramas as an Instrument of Political Change by Dorothea Kahena Viale, Ph.D.

There are many ways to create change in society. I was considered a good girl; parents liked when my friends and I played together. I was always creating games for us to play, and we never caused trouble. However, I started rebelling against the existent order of things from a young age. I grew up in Bed-Sty Brooklyn. My friends and I were all connected to a hyphenated American culture. I was Sicilian/American, others were Maltese/American, South America/American, Puerta Rican/American and so on. When I asked my mother where the white people were, she told me they had money lived in Manhattan. Later, I realized that she meant Northern Italians, British, etc. When we met someone new, it was common to ask their heritage. No big deal. So, it came as a shock when I introduced somebody new to the group and there was resistance. I had watched this girl looking out her window every day and she looked sad. I would cross the street and talk to her. We exchanged stories. I asked her to come play with us. She said her mom wouldn’t let come out. She had to watch her little brother. Well, my humble self, told her, don’t worry I will talk to your mother and convince her to let you play with us. And I did. She was black; African-American. When she joined us, I was in for a shock. My friends would not play with her. Why this one hyphen bothered them, with all the mixtures we had, was beyond me. So, I played with my new friend, and let my other friends fend for themselves. I realized that, while I had other black friends before, I had played where they lived, not on my block. After a very short while, my friends got over themselves and joined us. What helped was that I was the one that usually made-up new things to do, when they got bored. For example, I created a skating army. My mom worked in a sweat shop as a seamstress. Pay was low but one of the few benefits was that she could take home scraps of material that were too small to make clothes with. She made all of us these cute hats which we wore while skating. We were quite proud of our selves. I created routines (which I much, much later realized were choreographies). Having the hats made us feel connected. The next run ins were with the Church (Catholic, of course). The earliest that I remembered occurred when I was about 7 years old. I told a priest from the parish that I wanted to be an altar boy. He said that couldn’t happen, but that I could be an altar girl. I asked him what altar girls did. He replied that they cleaned the altar linens. I responded angrily, that if I wanted to do housework, I would help my mother at home. I demanded that he give me the address of our local bishop. I was sure the priest was just against women and couldn’t believe that it was a rule of the Church. But, of course, it was. Many decades later, I went to Italy as a part of a Women’s Studies in Religion course. Gianluigi Gugliametto, a fellow student, set up a fabulous tour in Italy which included a church where nuns ran the services. The one exception was that a priest consecrated the host which the nuns distributed to the congregation. A step forward. One last Catholic Church run in… When it came time for Confirmation, we had to choose a name for Confirmation. I chose Athena. The nun told me that it had to a saint’s name. I replied confidently that it was a Goddess name and wasn’t that better!? Umm…. None of them agreed. I was bummed. I ended up using the most common name Mary because I lost interest. As I grew and learned, the manner of things I felt needed change expanded. I have marched, voted, attended rallies and I have signed petitions. I was squished against a chain link fence while police dogs threatened to maul us (during the Nixon administration). I was a founding member of the Black Student Union. It was by request. When they asked, I looked at them, pointed at my skin, and looked at them questioning. They said we know, but, ummmmm, we need to have a white person to get the Union OK’d. OH! So, you need me to be your token? They replied yeah…Sorry but we trust you. Do I have to go to many meetings? No, you don’t have to go to any, unless you want to. I said you have a deal. But the action that has made the most impact, are the thirty something dance dramas I have created. All were created and performed at the Long Beach WomanSpirit Summer and Winter Solstice Faires. Some were performed also at MECDA (Middle Eastern Culture and Dance) events. The arts are profound way to create change because they engage people in a way that is not dry and draw them into the story. With the dance dramas, our stories were danced, had dialogue, and always had an interactive part to include the audience. I usually added a give-away to help them continue the energy after the fair. This including of the audience gave them ownership to continue action the taken when they got home. What was nice is that at our regular meetings, they would let me know how things went. The first or second one I created, I danced alone. It was for LBWS. A member of our community, who was overwhelmed attempted suicide. He, also, caused other problems. But, underneath, he was a good person. He had ended up in jail with no one to bail him out. He was very depressed. I created a dance drama, where I was dressed in black, the sky cooperated by being overcast. I don’t remember the words …
(Essay 1) I Must Call Her Awe/stralia by Leslene della-Madre

Soaked in loving sisterhood, I have recently returned from being on tour in a-mazing Australia. After nearly three years of conjuring with the magnificent women of the School of Shamanic Midwifery in Australia, Melinda Whyman, Jane Harwicke Collings and Susan Stark, I spent this past April there in this sacred land that I must call Awe/stralia! The book/workshop tour invitation was an absolute honor and the tour was beautifully planned and mapped. These women are absolute treasures! My other sister hosts, Glenys Livingstone and Brooke Burton, brought me into their homes as if I had been a relative they hadn’t seen in a while! More women treasures! I was also womb and heart connected with Zohl de Isthar, though we only met over the phone. Zohl is Executive Director at the Kapululangu Aboriginal Women’s Association in Balgo, Western Australia. She cares for the elder Law Women there and is holding the Women’s Law Camp as I am writing this piece. Zohl graciously invited me to come and participate in the Women’s Law Camp, which I so fervently wanted to do, but knew I would need a good rest after my extensive travels and had to turn down her most gracious invitation. I knew I could not do the extensive travel required to get to her and to the beautiful Aboriginal women. It was another way I felt deeply honored, even though I couldn’t be there in body with those a-mazing women. But they are all in my heart! Oh, the power and grace of women!! I have had a deep place in my heart for Awe/stralia for a long time — mainly because the Aboriginal indigenous culture is the oldest continuous shamanic culture on the planet. I have always felt a connection to that reality. Now, after having only recently returned in early May, I realize I was sung there by the ancestors. I was dreamed there. My shamanic work has been connected to the ancestral grandmothers of the cosmos and the planet for a long time. I know the grandmothers of the Dreamtime are part of this vast network, which is something I am coming to understand as a cosmological living mythos pulsing in our cells, in our blood, in our very being — a wisdom, of course, that Aboriginal women have always known. The Dreamtime ancestor world is about the forces of nature and the universe — what I call the YoniVerse — including gravity and electromagnetism as the forces of attraction and repulsion and resonates very well with my recent research into electric universe theory. It is a very different sense of ancestors than what I have been used to in terms of family lineage. However, I feel when one really looks into family lineage, we can find ourselves on a journey that expands into the cosmos. I was called to Awe/stralia because I need to learn what these ancestor grandmothers want me to know. Johanna Lambert, editor of Wise Women of the Dreamtime, writes, “Traditional Aboriginal society is founded on the preeminence of the characteristics of the Universal Feminine.”[1] To have an opportunity to be on the land where women have held this truth for over 50,000 years was profoundly sacred for me — a gift beyond measure. As a devotee of the Sacred She for a long time, and one who is also devoted to uncovering her deep wisdom in any and all ways possible, I feel humbled beyond words by being called, sung and dreamed to this sacred land whose magic I will be integrating for a long time. One trip is not enough!
(Essay) Zemyna: Gratitude for the Goddess by Carolyn Lee Boyd

Statue of Zemyna: Šarūnas Šimkus-Kalvaitis, Public domain, via Wikimedia Commons, Artist/Wood sculptor: Danielius Sodeika October, spring in the Southern hemisphere and harvest time in the Northern hemisphere, is the perfect time to offer gratitude to the Lithuanian Earth goddess Zemyna. Marija Gumbutas says of her, “She personifies Mother Earth: moist, fertile, black (the color of the fertile earth), and strong. This goddess has close parallels with the Greek Gaia-Demeter, Thracian Semele, Roman Ops Consiva, Slavic Mat’ Syra Zemlya, ‘Mother Moist Earth’”1. According to Patricia Monaghan, traditionally, in spring loaves of bread that had been baked from the last harvest were plowed into the Earth to encourage a season of plenty while at harvest-time “a priestess carried twenty-seven pieces of bread to the storehouse, together with a portion of a sacrificed pig. There she prayed for abundance”2. Central to Zemyna’s traditions was gratitude of the people for the Earth and its gifts. Monaghan tells us “Every celebration began with an invocation and libation to her. Starting with the head of the household, each person thanked the earth, then poured out a ladle of beer”3. In fact, according to Gimbutas “Until recently, people kissed Mother Earth as if she were a human mother, in the morning and in the evening, before Christian prayers were said”4. Further, “Because life came from her, Zemyna was honored at every birth, when the soil was kissed and food offerings laid in front of stones, tied to tree boughs, or cast into flowing water”5. Gratitude has become essential to the daily practices of many people, a seemingly simple reminder for us each to appreciate all that blesses our lives. Yet, in these rituals conducted to thank Zemyna, who is the Earth Herself, I sense a gratitude that entails adopting a worldview and way of being in our world that is quite different from how many people in our Western society behave. And, this worldview has parallels elsewhere in Old Europe as well as global Indigenous and other traditions. True gratitude requires respect. Says Monaghan, “No Baltic person spit upon the soil, cursed it, or hit it, for it was the goddess Zemyna”6. We cannot just give thanks for what we have received, but we need to also appreciate the dignity and inviolability of the giver, and all living beings. True gratitude is a form of reciprocity. Zemyna’s devotees did not simply give thanks, but also offered sacrifices to give back energy and life to She who gives unceasingly the energy and life we need to exist. Besides feeling grateful, you have to do what you can to ensure that the giver is not depleted and that others will also be able to share in abundance. True gratitude is always, in its most essential, based in gratitude for the Earth. When we are grateful for another human’s actions or gifts to us, we must also express appreciation for the Earth and the eternal cycle of birth, death, and rebirth that enabled that person to live and perform the acts for which we are grateful. True gratitude is also true justice and true peace. When we express gratitude, we are acting in expression that fairness requires us to acknowledge the gifts and rights of others. Gratitude means that what is exchanged between any beings is by consent, not force, and that we repay it with our sacrifices in reciprocity. Gratitude is inherently peaceful in that nothing is taken, but rather given freely and accepted with grace and joy. True gratitude is an understanding of the interdependence of all existence. It is not an individual act we do for our own well being, but rather as part of the matrix of relationships that connect each of us to all other living beings, including the Earth, and however we may perceive divinity and deity. When we express gratitude for life to Zemyna, we are also thanking Her for the continuing cycle of life, death, and rebirth, understanding that our lives are finite, but that the life we have been given will continue as transform into life-giving nutrition when we return to the Earth. Says Gimbutas, “This act (of renewing life) accords with the Old European belief that seasonal awakening, growing, fattening, and dying were interdependent among humans, animals, and plants”. While we can never know exactly what ancient people thought or how they saw the world, we can examine their practices, stories, myths, and beliefs, as well as those that have come down to generations quite close to our own and thereby have been preserved for millennia. Zemyna speaks about many things — Earth as the source of all life, the continuing cycle of life, death, and rebirth and our part in it, and the importance of gratitude in all its manifestations in our relationship with the Earth and all living beings are only a few. We see that gratitude must not only be an act of thanks that we do as part of our daily lives, prayers, and rituals, but it can also be the basis of a worldview that can transform how we see ourselves and our place on the Earth and in the matrix of relationships that is our existence. We come to understand how gratitude as practiced by those devoted to Zemyna echoes so many other aspects of ancient life, amplifying them as we find ways of perceiving and moving in the world that can better us and all life on our planet. Sources: Gimbutas, Marija. The Living Goddesses. Berkeley, CA: University of California Press, 2001. Monaghan, Patricia. Encyclopedia of Goddesses and Heroines, Novato, CA: New World Library, 2014. https://www.magoism.net/2016/08/meet-mago-contributor-carolyn-lee-boyd/
(Essay 2) Choosing Celibacy on My Path to Freedom by Marie de Kock

Would you call a womb that is consciously receiving the protection and nurture from the Cosmic Womb and consciously storing the bliss of self cultivated implosive orgasm for the purpose of Creation celibate or creative? Continuing with a twist in the story of my personal tale: While most of the New Age World was preparing for their Ascension during 2012, I fell in lust and love. After my in depth investigation into Sacred Sex I grasped the spiritual liberation inherent in implosive orgasm— clearly extremely useful if it could propel me into a multi-orgasmic state that would recharge my point of attraction blissfully! I realized that a couple practicing Sacred Sex could create the most exciting, abundant reality for themselves with the help of the Law of Attraction!
(Equinox art) Inanna by Lydia Ruyle

Inanna is Queen of Earth and Heaven.
(Prose) What the Red-Winged Blackbirds Say by Sara Wright

Yesterday it snowed. Great white flakes fluttered down like butterflies from the sky and stuck to every leaf and thorn – covering the red earth with a delicate lace shawl. A spring snow is a benediction. I opened the door and was serenaded by black robed women with wings, singing with wild abandon from the nearest cottonwood tree, as a coffee colored river rushed by… Nature is crafting her own harmony, Red Willow River is the chorus. Red-winged blackbirds soar, their high-pitched trills creating a symphony of sound. Flashing crimson wings whir like fans as they fly by. I feel hope pulsing through each cell of my body as I join the crowd. My mind falls silent as I breathe in deep peace… Oh Daughters of the Night, gift us with your blessing; for you teach us that only the present moment matters… that cycles of becoming are what is – and participation is always our choice. We must not ever forget that our strength comes with numbers – that each life matters. Life births life, as death sleeps soundly in the heat of the rising sun. 4/5/17 Working Notes Spring in the high desert is a wondrous event, and I have been blessed by living on Red Willow River close to those who carve relationship out of song. Spring in the high desert brings wildflowers – primrose and globe mallow – “forget-me-nots” dressed in delphinium blue – big gray green sage captures all but the most numb through intoxicating scent – and every day births a seed for becoming. The arrival of the red-winged blackbirds ushers in the season of love. I germinate Datura seeds… And plant twigs with roots. We circle big sage with prayer. Black birds remind us that Nature is both – fragile and tough. (Meet Mago Contributor) Sara Wright.
(Poem) My Lady: A poem written for Love by Sara Wright

My Lady is a Messenger; her peaked cap, breast and body tinted the palest rose. A bittersweet orange beak cracks scattered seed.

(Special Post 4) Multi-Linguistic Resemblances of “Mago” by Mago Circle Members

[This is a summary of discussion that took place around 2014 in The Mago Circle, Facebook group.]Helen Hye-Sook Hwang: I am writing an entry on “Mago” for the Glossary of my book, The Mago Way: Re-discovering Mago, the Great Goddess from East Asia:Mago (麻姑): East Asian word for the Great Goddess. Read “Ma” as in “Mama” and “Go” as in “to go.” The logographic characters are pronounced/romanized as Mago in Korean, Magu in Chinese, and Mako in Japanese. When it is used in historical contexts, “Mago” refers to the Great Goddess AND HER cultural matrix, Magoism (Magoist shamans/priestesses/rulers and/or the bygone mytho-history of Old Magoist Korea). S/HE represents Ultimate Reality as One Undividable Unity. The Great Goddess embodies the Creatrix, the cosmic sonic system of Life. Through HER, we enter the view of the whole, the consciousness of WE/HERE/NOW. Also known to have originated from the Big Dipper (Seven Stars) in lore—part of the Big Bear constellation—the Guardian of the Polaris, S/HE is the Guardian of the solar system. S/HE causes the stabilization of the solar system. In that sense, S/HE is the Sun Deity or Heavenly Deity. Self-emerged with Mago Stronghold (Earth) and two moons of the Earth through the sonic movement of Pal-ryeo (Eight Tones), the Great Goddess oversees the cosmic music of Yul-ryeo (Rhythms and Tones), another term for the sonic movement of the universe. Mago gives birth to two daughters (Gung-hui) and (So-hui) parthenogenetically. Thus, they form the Mago Triad (Samsin). S/HE delegates HER two daughters to oversee the cosmic music of Oeum-chiljo (Five Pitches and Seven Tunes). Gung-hui and So-hui respectively give birth to four daughters parthenogenetically. The Primordial Mago Clan forms the Nine Magos, the archetype of Gurang (Nine Goddesses). Mago delegates eight (grand)daughters to oversee the cosmic music of Pal-ryeo (Eight Tones). S/HE causes the self-evolution of the Earth through which all terrestrial beings are brought into existence. In that sense, S/HE is the Earth Deity. As Samsin Halmi (Triad Grand-Mother), S/HE controls the birth and illness of children. Mago allows the Early Mago Clan in the paradise of Mago Stronghold to procreate progenies and entrusts them to take in charge of the terrestrial acoustic equilibrium. Revered as the Cosmogonist, Progenitor, and Ultimate Sovereign, Mago delegates the Mago Descent, the entirety of the divine, human ancestors, and humans, to oversee the acoustic harmony of the Earth in tune with the cosmic music. Hereupon, the paradisiacal Home of Mago Stronghold is established. S/HE is called by many names. Among them are Samsin (Triad Deity), Cheonsin (Heavenly Deity), Halmi (Grandmother/Goddess), Nogo (Ancient Goddess), and Seongo (Immortal Goddess). Also referred to as Mugeuk Nomo (None-Polarized First Mother) or Musaeng-nomo (Non-birthed First Mother) in Daoism. Mago appears resembling many Goddesses from around the world by way of such mythemes as the triad, parthenogenesis, cosmic music, animal companions, and the cosmogonist. “Mago” is linguistically identical or similar with “Mago” in Italian and Portuguese, “Magus/Magi” in Latin, “Magos” in Greek, “Maka” in Mycenaean Greek, “Magus” in Old Persian, and “Ma Guanyin” in East Asian languages, to name a few. Brian Kirbis: Funny, despite my fondness for language, I never made the connection. Though I have explored the lineage potential between naga and Nuwa 女娲. Helen Hye-Sook Hwang: What did you find the linkage between naga and Nuwa, Brian? There is sometimes linguistic linkage relevant and other times mythological linkage… Brian Kirbis: Linguistic, iconographic, and mythological links are all available to us within a broad cross-cultural frame. My own analytic tendency is to see such mirror-image male-female representations as matrilineal and patrilineal essences which, in Chinese energy theory, reside in the kidneys (ancestral qi).Consider the Adam and Eve myth, for instance, with the figures on either side of the tree (spine, cosmic pivot, Milky Way), within which is contained the serpentine energy. There is ample information extant on such Tree of Life symbolism, all of which illustrates the inner energy body. The nagini-naga / Nuwa-Fuxi conjoint images in India and China absorb the serpent iconography into the human – an internalization of Kundalini energy.As you know, my area of interest is in the underlying cultural complex of tea-growing peoples located in Southwest China and upland Southeast Asia, an area replete with serpent mythology. Brian Kirbis: Comparison of Indian and Chinese representations of the Naga-Nagini and Fuxi & Nuwa. Helen Hye-Sook Hwang: Yes, indeed, there is similarity between the two. Interesting! Thanks for sharing them. Lizzy Bluebell: Brian Kirbis – fascinating – any idea what kind of tool each is holding in the sculpture? I see a chevron or M to the right of the Nagini’s head; (M and MA are fairly universal root symbols for Mother; Latin M encodes breasts, mounds, mountains, paps, tophets, etc. plus a general historical dispute over the importance of hills versus valleys.)I also note the inversion of right/left positions in the Nu Wa image.In terms of your statement – “The nagini-naga / Nuwa-Fuxi conjoint images in India and China absorb the serpent iconography into the human – an internalization of Kundalini energy.” — My thought: Have you ever considered it otherwise – that humanity has actually EXTERNALIZED chi energy into the form of the snake as a means of expressing it in non-vocal (sonic) symbolism which also manifests form via means of visualization as opposed to sonic/vocalizations or cymatics which creates form via RESONANCE.Helen – note that the tails are knotted – very important symbolic notion of ‘tying things’ as in the Shen Ring and Ankh – a masonic motif – related to measuring and containing within an Ouroborus SYSTEM which is closed, not cyclic or spiraling vis a vis Nature’s Way. It is the CLOSED CIRCLE as Plato’s “perfect form” which traps us in the flaws of re-peating and re-petitioning any ‘his-story’ we follow which does NOT HONOUR AND REVERE MAGO or hold her values close to HEART, as HEARD, in the HERD.Your original post (O/P thereafter) is fascinating and revealing and provides much to discuss on the topic of Zoroaster/Zarathustra and the Persian/Arabic/Semitic invention of Algebra and Astrology. In […]
(Special Post 2) "The Oldest Cilivization" and its Agendas by Mago Circle Members

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

(Book Excerpt) Held in the Womb of the Wheel of the Year by Glenys Livingstone Ph.D.

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

Winter Solstice/Yule Southern Hemisphere – June 20 – 23. Northern Hemisphere – December 20 – 23 Winter Solstice is a celebration of the Mother/Creator aspect of the Triple Goddess in particular – as both Solstices may be, as dark or light come to fullness. Winter Solstice Moment celebrates the ripe fullness of the Dark Womb, and the gateway from that fullness back into new growing light. It is a Birthing Place – into differentiated being, and Her birthing happens in every moment in the breath, and is seamlessly connected with all layers of being – of self, Earth and Cosmos. https://www.youtube.com/watch?v=nDsVZzXtoyM The Text in the Meditation[i] Take a deep breath and let it go. Notice the Void at the bottom of emptying your breath … feeling it, and feeling the Urge to breathe as it arises. And again … feeling it over and over – this breath that arises out of the full emptiness in every moment, birthing you in every moment. – Recall some of the birthings in your life, your actual birth – see it there in your mind’s eye … you coming into being – your Nativity, your Nativity. Recall projects you have brought into being, new beings within yourself, perhaps children, new beings in others, how you have been Creator and Created – even at the same time … who was birthing who? Staying for a while with the many, many birthings in your life. – recalling now Earth-Gaia’s many birthings out of the Dark everyday … the dawn is constant as She turns. See Her in your mind’s eye – the constant dawning around the globe, the constant birthing. Recall Earth’s many births right now of all beings – as day breaks around the globe – the physical, emotional, spiritual births. Her many, many birthings everyday, and throughout the eons. recalling now Universe-Gaia’s many birthings – happening in every moment – right now in real time and space … supernovas right now, stars and planets being born right now. Her many, many birthings in every moment and throughout the eons. – recalling now Universe-Gaia’s many birthings – happening in every moment – right now in real time and space … supernovas right now, stars and planets being born right now. Her many, many birthings in every moment and throughout the eons. Come back to your breath – this wonder – none of it separate … the Origin Ever-Present, birthing you in every moment – out of Her Fertile Dark, in real time and space. Feeling this breath, Her breath. NOTES: [i] Glenys Livingstone, PaGaian Cosmology, Winter Solstice ceremonial script, p. 195-196. Reference: Glenys Livingstone, PaGaian Cosmology. Music: Fish Nite Moon by Tim Wheater, permission generously given Images: – Birth of the Goddess, Erich Neumann, The Great Mother, pl. 155. See https://pagaian.org/book/cover-goddess-image/ – Winter Solstice window, MoonCourt Australia 2016 – some sources unknown
(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!
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 2 Part 3) Why Do I Love Korean Historical Dramas? by Anna Tzanova

Part 3 UNIVERSAL APPEAL The worldwide success of Korean historical drama began in 2004, when Dae Jang Geum (대장금), “The Great Jang Geum”, or “Jewel in the Palace”—a Sageuk relating a compelling story about the life of the legendary first woman who became a supreme royal physician in 16th century Joseon—was aired in over 60 countries around the world. Since then, the number is much higher, not taking into consideration DVD sales, pirated DVDs, plus the millions who have seen the drama globally via the Internet. In Iran, Dae Jang Geum was so popular that reports claim Iranians began organizing their mealtimes so as not to interfere with the show’s broadcast. In India, after seeing the series one prisoner wrote an open letter to the broadcast company in Korea saying, “This serial has been of great influence in my personal life, as well adding a lot to my positive approach towards life. I dare say it is not a motivation for only people like me, but for everyone.”[i] In Zimbabwe, the audience protested to a TV station and requested the airing of Dae Jang Geum instead of the Olympic Games when the two timetables clashed.[ii] To me, “Jewel in the Palace” is not just a very beautiful and inspirational piece of art. Seeing it from a personal angle, it is a great reminder of all that is wrong with our medical science, health care, and industrialized food production. How science needs to be as much cerebral as cordis. All the good that can come of turning our eyes and respect back to Mother Earth and all her sentient beings. The importance of not only quality food, but also the way the ingredients are grown, nurtured, collected and stored; the way food is prepared; the thoughts and feelings food is infused with, and how it affects not only the taste, but also the health of those who would consume it. The true holistic approach to health and well-being, as well as how titles and following institutional protocols, doesn’t secure quality of care. The natural curve in the onset and development of every disease, and how its abrupt interruption leads to dire consequences in the long run. The compassion and inner qualities of character a true healer should pursue and cultivate. Korean historical drama offers layers of meaning and understanding. The viewers are not only gently guided to open their hearts and feel, but also to think. Stories are not only well told; internalization by the audience is encouraged. Thus, the experience becomes very personal, and a deep connection between the creators and the spectators is established. Hwang Seongbin quotes a science and technology researcher who shared his opinion on Korean period drama when they met at an international conference reception: “I like Korean historical drama, because the story is told from the perspective of the people, rather than from that of those in power.”[iii] The transnational issues we all face, such as greed, corruption, deceit, conspiracies, abuse, and war, are depicted in their cruelty as shared experiences. Through that and the exploration of universal themes like love, kindness, loss, yearning, overcoming adversities, following one’s passion, achieving one’s dream, and many more, our global communality is fortified. Another trait worth noting is the depiction of traditionally oppressed women. It is a growing tendency in Sageuk to give center stage to heroines. Even when they are not the protagonist, they play significant roles supporting or guiding the protagonist’s efforts: creating nurturing environments, serving as examples of right action, and assisting the protagonist in his growth. There is a fascination, respect, honor, and affection that female leads are surrounded by or treated by the hero. Women in Korean historical drama are strong in a graceful way, using skill and genuine power as opposed to aggression and brutal force. They are persistent in their efforts and courageous in their actions. Despite being sidetracked by hindrances, they never lose focus on their goals. Ultimately, they are never deterred from accomplishing their dreams, transforming or inspiring everyone else in the process. In that regards, women in Sageuk serve as great initiators of change. They embody the most pliable element of all—water—nourishing, never stagnant, unstoppable, constantly adaptable, following its course through and around obstacles, cleansing, reshaping, and renewing. In the words of Clair Webber: “Undoubtedly, there is something inexplicable about K-pop and K-dramas. Whether it is the courage of civil disobedience in North Korea, peace in the Middle East, or female empowerment in Pakistan—South Korean cultural imports have the uncanny ability to foster hope in some of the most seemingly hopeless situations.”[iv] This is what “soft power”, a term coined in 1990 by Harvard political scientist Joseph Nye[v], truly is. “They fight with arms, but we—with our hearts,” states Empress Ki in the Sageuk with the same name. I’d love for humanity to hear this message and finally learn how to avoid or deal with conflicts. I am not going to quote or start analyzing different dramas one-by-one. I will leave you to find your own point of view and preferences. Signing up for Mago Academy’s Korean Historical Drama course would be a good place to start. I hope you will consider joining and experiencing first-hand everything I mentioned above, and much more. Korean culture has a specific flavor that distinguishes it from other Asian cultures. It is humble, but resilient. It is charming, heart-centered, perceptive, thoughtful, and caring. It has a lot to offer. Give it a try. But I have to warn you, it might be addicting. (Read Essay 1, Essay 2 Part 1, Essay 2 Part 2) Notes: [i] Busis, Hillary, Korean Dramas: A Beginner’s Guide, Entertainment Weekly, (April 11, 2014) [ii] Gowman, Philip, The Redemptive Power of Lee Young-ae, London Korean Links, (January 13, 2008) [iii] Voluntary Agency Network of Korea blog, Hallyu Report III – Korean Drama, Friendly Korea, My Friend’s Country, (01/09/2013) http://korea.prkorea.com/wordpress/english/2013/01/09/hallyu-report-ii-korean-drama/ [iv] Weber, Clair, K-Pop, K-Dramas, Hallyu – South Korean Culture Around the Globe, About Education, (2015) [v] …
(Pilgrimage Essay 1) Report of First Mago Pilgrimage to Korea by Helen Hwang

[Author’s note: First Mago Pilgrimage to Korea took place in June 6-19, 2013. We visited Ganghwa Island, Seoul, Wonju, Mt. Jiri, Yeong Island (Busan), and Jeju Island.] Part 1 Magoist Alchemy and Consanguinity of All Peoples My study of Mago, the Great Goddess of East Asia, has hurled me into uncharted territory. (In fact, my life hurled me onto a labyrinthine path.) Mago is not a mere subject of my study. Or, study is not a mere brain activity for me. Mago has been the answer to my intellectual/spiritual quests. And I am to carve out my own destiny. Studying Magoism has become a way of life to me. Magoism is the term that I coined to name the mytho-historical-cultural context in which Mago is venerated. Assessing a large body of source materials that I documented, I learned that Magoism is one of the most comprehensive contexts that can explain East Asian civilizations as a whole. It feels right that reconstructing Magoism, the method that I employed in studying Mago, is the reason why I study Mago. Ever since I began to contemplate the topic of Mago for study in 2000, I have visited Korea, my native land, almost annually and undertook such activities as documentation, presentation, trips, and field research for the purpose of measuring the landscape of Magoism. In enacting those projects, I have worked with a variety of groups and individuals including feminists, scholars, friends, and the general public. For the last three years, I have organized various sizes of pilgrimages to near and far places with Koreans. Those experiences have gradually led me to the unfolding mystery of Magoist spiritual/intellectual reality. That said, it was my honor and privilege to organize and lead the very first intercontinental Mago Pilgrimage to Korea from June 6 to June 19 in 2013. This pilgrimage made a memorable landmark in Magoism. About a decade ago, Mago was hardly known among goddess people in the West. And the situation was not so far different from that in Korea. At that time, I was writing my Ph.D. dissertation on Mago from a multi-disciplinary perspective, not knowing what was forthcoming. The Mago Pilgrimage envisioned the remarkable change!
(2014 Mago Pilgrimage Report 1) Sweat Lodge in Gyodong, Ganghwa Islands by Helen Hwang

[Author’s Note: Revised verison of this report is published in Celebrating the Seasons of the Goddess (Lytle Creek, CA: Mago Books, 2017). 2014 Mago Pilgrimage to Korea (Oct. 7-Oct. 20) was participated by a culturally mixed group of pilgrims from the U.S. Australia, and Korea. Among non-Koreans were Dr. Glenys Livingstone (co-facilitator), Mr. Robert (Taffy) Seaborne, and Ms. Rosemary Mattingly. For details, read 2014 Mago Pilgrimage. View the video on our visit to Ganghwa Islands by Robert (Taffy) Seaborne.] 2014 Mago Pilgrimage granted me ever unfolding revelations. The first of them that I would like to mention concerned the sweat lodge called Hanjeung-mak (汗蒸幕, Chamber of chill and steam).[1] Until we visited the traditional sweat lodge in Gyodong, Ganghwa Island, it did not occur to me that the origin of its modern variations[2] has to do with the rebirthing experience in the Womb of Mago. (Here Mago means the Great Goddess or the Primordial Mother.)