April 3, 2015October 2, 2019 Mago Work Admin1 Comment

(Goddess Panel Art) Mother Nature by Kaalii Cargill

This image of “Mother” is one of a series of four Goddess Panels made for the Australian Goddess Conference in 2014. The “Mother” panel is life size (210 x 106 Read More …

February 27, 2015October 2, 2019 Mago Work Admin1 Comment

(Poem with art) Naturaleza/Mother Nature by Xánath Caraza, art by Adriana Manuela Ruiz Gómez

Naturaleza Por Xánath Caraza La que se mueve fuerte Produce flores rojas embriagantes Y los poemas más sensuales Está lastimada Sangran sus cañones, Sus montañas se desgarran Read More …

(Poem) Lauds by Amy D’Amico

it is such a March as we haven’t had in a decade. mothball snow continues, the sun chilly, sky overcast for weeks at a time. this a.m. a tabby across the road yowled; the very echo of the dream I can’t let go from last night.
(Prose) Tlachtga by Deanne Quarrie

This is the story of Tlachtga. Her name means “earth spear.” Her story gives us the name for a famous place in Ireland where to this day, the rites of Samhain are held in her honor. This location is called the Hill of Ward and it is near Tara. At this gathering Druids would light the bonfire on Samhain, from which embers were carried far and wide and were used to light the new fires for the new year. The location of the celebration was critical because they believed it to the place where this world and the Otherworld were the closest together. Tlachtga is mentioned in two pieces of Irish literature, the Banshenchas, “the Lore of Women” and in the Dindsenchas, “the Lore of Places.” In translations by Christian monks, her story has been confused with biblical characters and Tlachtga has been all but forgotten. From all of these stories of Tlachtga the earliest we can find reveals her as a goddess (druid) who arrived with the Firbolgs, long before the Tuatha De Dannan and Milesians. She was the daughter of the Chief Druid, Mogh Ruith of Munster. His name means devotee of the wheel, which relates to the sun. Mogh Ruith, a blind man, taught his daughter Tlachtga all his skills. Together they worked with all the best masters of magical knowledge in Ireland and Scotland. In one story Moug Ruith and Tlachtga constructed a fabulous flying wheel named Roath Ramach, a machine they used for sailing through the air. It was said to be made from two pillars of stone. She made the Rolling Wheel for Trian, the Stone in Forcathu and the Pillar in Cnamchaill (Cnamchaill means bone damage). These devices were feared by all and stories were told that any who touched them died, any who saw them were blinded, and any who heard them were deafened. The pillars themselves, represent lightning, which does tie in with the meaning of her name, Earth Spear. Lightning certainly could be seen as a spear thrown to the ground and it could also kill, deafen and blind those touched by it. Tlachtga was most likely a goddess of death and rebirth as well as the sun and lightning. Hers is a tragic story, for as she gave birth to three boys, her subsequent death gave power to the land in the process. Her sons, Doirb, Cumma and Muach became the rulers of Munster, Leinster and Connaught. It was said that as long as they were remembered no one could claim the land. (spoken of in the poem below) However, as we know that did not last forever. And who knows, it may well be because they were all but forgotten. So, it is that Tlachtga is intimately linked with the symbolic death and rebirth of the land at Samhain. Tlachtga For Trian – no honour -Tlachtga Created the red mobile wheel, With the great Mogh, and Simon she brought Her wisdom, thus leaving the moving wheel. Finished stone of Forcarthus she left and pillar of Cnamchaill. Whoever sees it becomes blind. Whoever hears it becomes deaf. Anyone taking from the wheel will die. [Missing lines in text…] After the woman came from the east, She gave birth to three sons in hard labour. She died, the light & wise one. This urgent unconceivable news was to be heard by all. The son’s names were of great import… Muach and Cumma and Doirb Others [text missing again] As long as Banba remembers the names of the Three sons as the truthful story tells …………. No catastrophe will befall its inhabitants. The hill where Tlachtga is buried, Surpasses all other women, Remember the name it was given.. The Hill of Tlachtga. Irish Manuscript Text Translated by S. Geoghegan. Tlachtga’s story is tragic. It is possible that she was once a Sun Goddess, highly revered for her fertility and the land. Tragically her story changed and it is her tragic death that is remembered. For this reason, as a goddess of birth and death, “The Hill of Ward” has been regarded by Druids for eons as the “Temple of Tlachtga.” It is here where the old fires of the Celtic Year are ritually smothered out and a new pure flame is lit for the year ahead. May Tlachtga be remembered as brave, courageous, and wise, her brightness dimmed by the new patriarchal powers that invaded the land. May her light of the new year carry you bravely into the dark months ahead and may her light stay kindled until we great the rising sun at its new birth. Meet contributor, Deanne Quarrie
(Book Excerpt) The Myth of the Year by Helen Benigni, Ph.D.

[Author’s Note: This book is republished by Mago Books in 2023. The Myth of the Year, co-authored by Helen Benigni, Barbara Carter, and Eadhmonn Ua Cuinn, was first published in 2001, currently out of print.] INTRODUCTION The Discovery of The Sequani Calendar When a new millennium is dawning and a gyre of time rapidly comes to an end, we either search for new means of measuring time or turn in our need to improve our understanding of time to rediscover ancient calendars. One such ancient calendar is The Sequani Calendar discovered by a group of researchers almost by fate. The researchers, a Celtic Studies group based in the mountains of West Virginia, were in fact in search of an eclectic learning experience when they discovered the ancient text. The group, now known as The Sequani Celtic Studies Group, got together in the basement of the local college library to enhance their understanding of Celtic Studies by combining disciplines. They felt that the compartmentalizing of disciplines in the modern world had not offered what they termed an eclectic or broader based knowledge of the natural world because it narrowed experience and did not mirror the complex systems of Nature. The group was interested in Celtic Studies because the ancient system of learning proposed by the Druids was a model for them. The Druids combined natural studies, poetry, astronomy, religion and other disciplines to form groups of experts from each field, thus enhancing the picture of the universe to be studied as a whole. The group embarked on an unknown path of discovery when they received a copy of the Coligny Calendar as it was printed for the Royal Irish Academy in 1926 by a linguist named Eoin MacNeill. MacNeill reconstructed the original bronze tablets that were discovered in a well at the headwaters of the Seine River in France at the turn of the last millennium. The tablets contained vital information for measuring the moon, the stars and the sun, but they were written in a Gaulish tongue that MacNeill could not translate. MacNeill was limited because he approached the calendar from a linguistic point of view and not from an eclectic or Druid standpoint. With the combined knowledge of several scholars who by now had become trusted companions, the journey of discovery began. The group consisted of Clay and Barbara Carter, an astronomer and astrologer, respectively; Eadhmonn Ua Cuinn, a Celticist and sculptor; Helen Benigni, a writer and mythologer; Mark Butervaugh, a Naturalist and artist; and Tim Krantz, a printmaker. Their first insight, that the calendar was discovered at a sanctuary in Coligny, France in the territory of the ancient Celtic tribe of the Sequani, gave the group its name and direction. A rapid series of discoveries followed. The group discovered that the calendar followed the lunar cycles of the year with amazing accuracy. The names of twelve lunar cycles are listed on the calendar as: Samonios, Dumannios, Rivros, Anagantios, Ogronios, Cutios, Giamonios, Simivisonnios, Equos, Elembivios, Edrinios, and Cantlos. As Barbara began to count lunar returns over 100 years and Clay began to count lunar cycles over longer periods of time, they discovered that for every two years and nine moons, the calendar reveals an Intercalary Moon, making The Sequani Calendar more accurate than the Julian. This Intercalary Moon is marked on the calendar as an untitled thirteenth moon and might have been used as a holiday for the people; the function of the Intercalary Moon is to keep the lunar and the solar cycles in sync. To expand the accuracy of The Sequani Calendar further, every 55 years the calendar starts a lunar cycle on one of the four major phases of the moon, returning to its original phase every 220 years. The extra days that the calendar would naturally experience when moving from one phase of the moon to another in 55 year cycles make the Intercalary Moon a longer holiday every 55 years. The calendar begins the lunar cycle on the new moon in the present cycle and marks the first quarter moon as the beginning of the cycle that starts on the Winter Solstice in 2001. Moreover, The Sequani Calendar coincides with other ancient monuments such as Machu Picchu, the Pyramids, and Stonehenge which base their astronomical orientation to the Winter Solstice, a knowledge passed down from the Neolithic peoples. The Sequani Calendar marks the Winter Solstice or Samonios as the New Year and the beginning of the light half of the year and Summer Solstice or Giamonios as the beginning of the dark half of the year. Each of these Holy Months are significant holidays designated by two facts. First, the word “Samonios” means the beginning of light and the word “Giamonios” means the beginning of darkness. Second, the holidays are accurately marked in Celtic stone monuments such as Newgrange, Knowth, Dowth, and Stonehenge to coincide with The Sequani Calendar’s markings of the Solstices, the Equinoxes, and the lunar cycles. The Sequani Calendar is therefore an integral part of Celtic culture, and perhaps like other knowledge of astronomy that was passed to the Druids from the Neolithic peoples, the calendar may represent a cornerstone of human achievement which took thousands of years to quantify. Martin Brennan, in his text The Stones of Time ( Inner Traditions 1994), has discovered two Neolithic calendrical engravings, one on Knowth in Ireland and one on Pola de Alande in Spain, that represent the same cycles on which The Sequani Calendar is based. The fact that the Celtic world which spanned Europe and the British Isles shortly before the turn of the last millennium might have inherited this ancient calendar is not far fetched. The group’s astronomer and astrologer then made the exciting discovery that the beginning of each month of The Sequani Calendar was designated with the appearance of a star of first magnitude, marked PRIN on the calendar, that appears on the Eastern Horizon shortly after sunset. At sunrise, these stars are beginning to set on …
(Essay) Women, Power, and Religion in Ancient Athens by Harita Meenee

If there ever was an intimate connection between state and religion, we can see it quite clearly in ancient Athens. The very name of the city is attributed to a goddess—Athena, its protectress and guardian. There are different versions of how this came to be as she competed against Poseidon, the angry god of the sea and earthquakes. A fascinating story about this fight comes surprisingly from a Christian writer, St. Augustine: At the time of Kekrops [legendary king of Athens] an olive tree suddenly sprung up on the hill of the Akropolis and a spring gushed out near that spot. Kekrops asked the oracle for advice and received the response that the spring suggested Poseidon, while the olive tree pointed to Athena. Kekrops called an assembly of all the citizens, male and female, to vote on the question; for at that time and in that place the custom was that women as well as men should take part in discussions about the affairs of state. When the matter was put before the people, the men voted for Neptune [Poseidon], the women for Minerva [Athena]; as it happened, the women outnumbered the men by one; thus, the victory was given to Minerva. Then Neptune was outraged and devastated the territory of Athens flooding it with sea-water (…). To appease his anger (…) the women suffered a threefold punishment: they were never to have the vote again; their children were never to take their mother’s name; and no one was ever to call them “Athenian women.”[1] This amazing myth reveals a telling connection between religion and politics. Also, it states quite bluntly that there was a time when women had significant rights: they participated in the decision-making in a democratic way, they had the legal status of Athenian citizens, while the naming of children was likely to be matrilineal. The essential truth of this legend is confirmed by archeological and anthropological evidence, showing that egalitarian societies did exist in prehistoric times, while in some parts of the world they survived even until recent years.[2] Furthermore, the matrilineal naming of children is attested among several ancient peoples, such as the Lykians of southwestern Anatolia, the Egyptians and the Etruscans. It is also evident in the Hellenic colony Lokri Epizephyrii in Southern Italy, as well as in the area of Western Lokris in Greece.[3] Even in modern Greece, where, as a rule, children take their fathers’ surnames, a number of surnames clearly originate in female names. The tale preserved by St. Augustine also demonstrates that Athena was worshipped mainly by women—it was their vote who made her patron (or rather matron!) of the city. Yet at the same time this story shows how religion was used to justify women’s oppression: their subordination was presented as a kind of punishment inflicted through the wrath of a male deity, as plainly stated by St. Augustine. Far-fetched as this may sound, it is also reminiscent of another story used to marginalize the female sex in more recent times: the punishment of Eve, who is portrayed as angering God within both Judaism and Christianity… Women were indeed deprived of many rights in class-divided, patriarchal Athens; yet the power of the goddess never failed. Athena remained strong and independent—unlike other goddesses, she was never defeated, raped or forced into marriage. The best-known monument of ancient Greece, a testimony to the glamour and wealth of classical Athens, is none other than her temple, the Parthenon. The word derives from Athena’s title Parthenos, “Virgin,” a term originally denoting a woman’s unmarried status rather than her physical virginity.[4] The goddess’s huge statue, made of gold and ivory, was the work of Pheidias, one of the most famous sculptors of antiquity.[5] Many were her titles and attributes in ancient Athens: Polias, “Goddess of the City,” Promakhos, “Defender,” Boulaia, “Of the City Council,” Ergane, “Industrious” etc.[6] Splendid festivals, like the Panathenaia, were organized by the state in her honor. Women always retained a special place in her rituals, as her priestesses and worshippers. They took part in formal processions, wove herpeplos (mantle), carried her sacred objects and ceremonially washed her wooden statue. They also tended the fertility of the earth in festivals like the Skira and the Arrephoria, since women always maintained a mystical connection to the land and the magical energy of the goddess.[7] Although, according to myth, they suffered the loss of many rights because of their devotion to her, they knew better than to hold that against her. Besides, oppression is usually rooted in political, social and economic conditions rather than in religious beliefs used to justify it. The wealth and power of ancient Athens was largely based on the exploitation of women and slaves—female as well as male ones.[8] Aristophanes, the greatest comedy writer of antiquity, pointed in his own way at women as the possible solution to the problems of social injustice and war.[9] It seems that memories of a more egalitarian and peaceful world, in which the female gender played a major role, were still alive in his time. Intertwined with these memories was old, wise Athena.[10] For the women of the city she was a mighty goddess of peace and freedom, dear to their hearts, rejoicing in their celebrations, or so grandpa Aristophanes tells us. Thus, the female chorus in hisThesmophoriazousai makes a touching invocation to her: Athena Pallas, the dance-loving goddess, it is custom to call to our dance, the virgin, unmarried maiden, holding our city, she alone having evident power, she, the keeper of its keys. Appear, you who properly despises tyrants. The womenfolk are calling you; come to us bringing Peace, who loves festivities.[11] (This was originally published here: http://hmeenee.com/1794/8501.html) (Meet Mago Contributor) Harita Meenee.
(Essay) The Women of Fanes by Claire French

Old Agostino was the yardman in my uncle’s building yard. He was a hunchback with a large bony face, sad grey eyes and unkempt grey hair. His hands were like shovels, strong and hard, and he walked with a heavy shambling gait like Alberich in the Northern saga. But to me, a lonely little girl in a world of grown ups, he was always of exquisite gentleness, and I soon discovered that he was a wonderful storyteller. His voice was deep and strong, in stark contrast to his misshapen body, and his words, broken Austrian-German interspersed with his native Ladinian, sounded like water murmuring, rippling and gushing over a stone-filled creek bed. Agostino hailed from the Dolomite mountains, from the forgotten tribe of the Ladinians, and that was his pride and his sorrow. “Agostino, tell me of Dolasilla”, I begged, and waited for the radiant smile to light up his face. “Ah, Dolasilla, the Princess of Fanes … she was so beautiful. Straight and slim she sat upon her charger, and the blue Rayeta Stone gleamed in her crown. She wore the white mantle of the marmots and she had the unfailing silver arrows in her quiver.” This was a story that I did not find in my book of Grimm’s Fairy Tales. A princess who fought in battle and who was an invincible warrior. But Agostino did not spare me the tragic end. Yes, Dolasilla wanted to stop fighting and conquering, but it was her father, the wicked king, who would not allow it. He banished her lover, handsome prince Ey-de-Net, and promised his daughter to the King of Aurona, the Great Goldmine. But Dolasilla would not be married against her will. When the King of the Aurona came to get her, she fought against him. But without her lover, who was also her shield bearer, she was vanquished. She was killed in battle and her kingdom, the Kingdom of Fanes, was destroyed.
(Essay 6) The Blending of Bön, Buddhism and the Goddess Gemu in Mosuo Culture by Krista Rodin

The Goddess’ Home and the beginnings of Bön and Buddhism in the Region Black Hat Temple near Walking Bridge under reconstruction. Photo, K. Rodin Gemu’s story is honored with annual pilgrimages around the mountain, and by visiting her cave high on the slope. The pilgrimage takes place in the seventh lunar month, i.e., generally around the end of July. Families make the trek around the mountain as a group, stopping, eating, and performing rites at sites that are related to their specific ancestors. The day is like a walking picnic for the entire community and is intended to have the Goddess bless the people with good harvests, health, and wellbeing for another year. Fascinatingly, these clan pilgrimages are led by either dabas or Buddhist lamas, depending on the particular family. The daba/lama leads holy rites conducted at the most important stops. The festival involves nine fires placed strategically around the mountain. Corn, rice and beans are mixed together and put into the lake and various places around the mountain as well. The only restriction is that the mixture cannot be placed anywhere where people live or work. Visits to the cave used to be solely for worship as it was very difficult to climb the fairly steep mountain to the cave entrance. Now, it has become a major tourist destination with a cable car going from the valley to a point above mid-way up the mountain. From the cable car station there are fairly steep staircases overrun with begging brown monkeys leading to the cave entrance. The cave itself is quite large and is now lit with various neon lights highlighting various stalagmite formations that are labeled as “The Kiss”, “The Goddess,” “The Priest,” etc. There is even a plaque alerting the visitor to the place where the Goddess throws evil people to Hell. This is her home, and her seat of judgment. By the entrance, a new temple has been constructed run by yellow robed Buddhist priests who read oracles telling tourists’ fortunes. On the way down from the cave, after exiting the cable car, there is a choice to walk or to cram into a go-cart and soar down a serpentine looped track to the valley floor. The Goddess’ blessing is evidenced by the fact that so far no one has been thrown from the carts. The Goddess is honored as the supreme matriarch protecting her children in the valley and around the lake. Her ahzu relationship is the model for partnerships, and her placement in the sacred traditions of the region validates the matriarchic nature of Mosuo. Bön must have come fairly early to the area, and while the elite were aligned with Buddhist monasteries, it seems that the common people often affiliated with the Bön temples. Most of the Mosuo follow the Black Hat (Bön) or another non-traditional Tibetan Buddhist sect, the Wan Sho. Yellow Hats (Gelugpas) are also in the region, but not many remain by the lake. All the temples in the region were destroyed during the Cultural Revolution, but since about 2008, there has been a massive rebuilding campaign. A sizable Black Hat Temple was originally reconstructed in 1980 and is currently undergoing another extensive overhaul. Surrounding the structure are prayer wheels in place for the backwards (in relation to other Tibetan Buddhist traditions) counter clockwise kora, a ritual circumambulation, around the temple. As with other religious sites there is a lively market right next it. The Black Hat Temple is directly in front of the entrance to one side of Gemu’s Lovers Walking Bridge. Bön was officially suppressed by the Gelugpas in the 18th century in Lijiang, but evidently survived better around Lugu Lake. Although the exact date is shrouded in mystery, Buddhism supposedly came to the Lugu Lake region no later than the 13th century and a second sect in the 14th.[1] Until the Social/Democratic Reforms in 1956 when the Mosuo were officially incorporated into Chinese society with the abolition of the chieftain, there were two major Buddhist monasteries corresponding with these two branches in the region. Each family would send at least one son to join either Zhameige, belonging to the Gelugpa tradition, or Zhenbo, which followed either a Kagyu or Sakya tradition depending on era, thereby tying the formal Buddhist structure with the social community. Families would join particular monasteries based on the geographical location in relation to their home as well as on the ideological differences in the sects. The Gelugpa (Yellow Hat) was larger than the Kagyu/Sakya (White/Red Hat), although both had hundreds of monks in their communities. Zhameige was also the home of the “Living Buddha,” an incarnation of a famous lama from Lhasa who came sometime in the late 19th/early 20th century to live among the Mosuo. His latest incarnation died a few years ago and people still speak of him as if he were among the living. The monasteries were destroyed in the Cultural Revolution, but both Zhameige Temple and Dajialin Temple have since been reconstructed. Both monasteries, but especially Zhameige, used to send young monks to Lhasa to study at the main monasteries before returning to their home state. There is a longstanding tradition of Mosuo monks at the illustrious Drepung Monastery. When in the Lugu Lake region, the monks would not live at the monastery and would also not be bound by the traditional laws of celibacy, but instead were free to pursue ahzu relationships. Some texts even relate that on the eve of the departure to Lhasa, young student monks from Zhenbo were led to a field with tents so that they could spend their last night with their ahzus. To fulfill their religious obligations, the monks would meet to recite texts on the first and fifteen of the month; otherwise they would continue to help with the normal activities of the household.[2] According to Shih, there is some indication that the returning monks did not participate in agricultural production, which is the mainstay of Mosuo economy, when they returned …
(Essay) My Mother Is: The Stories We Tell Ourselves and the Divine Dreams that Change Them by Trista Hendren

My Mother is: The Stories We Tell Ourselves and the Divine Dreams that Change Them “My grandfather used to tell me that life was a dream. He also said that when people finally realized this, the dream could be changed, and then humanity would change.” ~ Don Miguel Ruiz My mom left me when I was four. At least that’s the story I told myself most of my life. It was the story that I had been told and it was the story I identified with, whether it was true or not. The last memories I have of being close to my mom are from when I was four. And those are the pictures of us together, before the rift that I have cherished. It’s not that I did not love my mom after that. Quite the opposite. I remember clearly lying in my bed alone at night, crying my eyes out when my dad and stepmom thought I was asleep. I was crying for my mother. All I wanted was my mom. In those moments of feeling sorry for myself, I told myself she did not love me enough to take me with her, or at the very least, that she had chosen someone else. I felt invisible around my dad. In fact I still do. I know he loves me, deeply. But I don’t feel like he has ever really seen me. He doesn’t know me. I was his loyal little girl for most of my life, well into adulthood. I wanted to please him, and oftentimes, I felt like pleasing my dad included showing disapproval towards my mom. Not that he ever said that, per se. Quite the opposite. I have never heard my dad badmouth anyone. I literally had the wicked stepmother. It took a long time for me to finally say that. For most of my life, I have tried to frame everything positively, even when it was not. My sister got most of her wrath because she was spunkier than me. I kept everything inside. I was easier to control. There are not a lot of moments that stand out to me from my childhood. But I do remember one day in particular with my stepmom when I was 12. We were in the supermarket. I had been going on and on about my real mom until her annoyance-level became unbearable. She turned to me and stopped me mid-sentence, stating with venom: “Your mother is a whore.” I cried my eyes out. I remember sitting in the car with her afterwards, unable to calm down and stop the heaving tears. That statement stung more than any words I had ever heard in my life. To this day, they still cut deep into my heart. My mother married when she was barely out of high school. To be brief, she ended up having an affair after years of living with my emotionally unavailable father. When he found out, it was painful and dramatic. He never showed her his love, but I remember walking in on him several times as he was crying over my mother. He wrote it all out in music that she never heard until years later. Those images stayed in my mind whenever I dared to side with my mother. Last month, I was supposed to go to my father’s birthday party. I got a migraine that morning, as I often do when I am avoiding something. And I decided for one of the first times in my life that I would not go to his party. Soon after that, I rallied. Since I rarely have a night without children, I decided to go out with my mother instead. My mom has been my only babysitter all these years, so this was the first time we had ever done this. We had a blast. We ate dinner at a local pub, went to see a funny movie, and were headed home when I said, “Mom, how often do we have a chance like this? Let’s go do Karaoke!” My mother, who rarely drinks, had a few cocktails with me and we sang our hearts out. We even danced. I can never remember dancing with my mother — ever. It’s a night I will always cherish. It got me thinking: we all ought to have an opportunity to dance with our mothers – at least once – if not often – before we die. On the way home, we talked. We rarely really talk. We talk about the kids, and we talk about work, but we rarely talk about what is really going on for both of us. She mentioned that she was sorry for being a supermom and trying to do it all. And I told her that was never a problem for me. For me it was something else. And I started thinking about the difficulties of mothers and daughters. Longing to be close, but remaining distant for whatever reason. Feeling sorry for things that never bothered the other person at all, and not realizing the things we had both done to hurt each other. We have a long history in our family of difficult mother-daughter relations, going back at least as far as my great grandmother. There is some sort of legacy there. It is time to break traditions of hurt and heal together. I recently submitted an article to be published anonymously that I had written years ago. And in that article I had written that I did not have the close relationship with my mother that I yearned for. I realized, gratefully, during our talk that that was no longer the case. It was first time I told my mom she was a great mother, and I meant it. Just before my daughter was born, over 6 years ago, I had a freak out moment with my mom. My first pregnancy was with a son, which jolted me into action – and therapy. I knew I had …
(Poetry) Listen For Me by Kaalii Cargill

I am the Queen of Sheba, more beautiful than all the rest. I am the night-hag, more haggard then your worst fears. Don’t try to hold me still. Things change. Time moves. The coins on my hip girdle ring – like bells – as I move between the worlds. Listen for me. https://www.magoism.net/2014/05/meet-mago-contributor-kaalii-cargill/
(Song) Oh Holy Dawn by Dale Allen

“Oh Holy Dawn” was first sung in 1999 in my musical theater production, “Dancers of the Dawn.” The play featured a cast of 7 women of different ages, shapes, sizes and colors who tell the untold herstory, and who as modern women, experience the ways the sacred feminine flows through their lives. At the time, Isabel Donahue was an infant, whose mother, Arden was part of the cast. We all took our coveted turns to hold the baby at rehearsals! Now, Isabel sings the song in this new vocal recording over the original piano track, bringing the gift of her angelic voice. “Oh Holy Dawn” by Dale Allen • Lyrics Oh holy dawn The sun is surely rising It is the morn of the Goddess’ return Born in us all She holds all life as sacred Our hearts rejoice in remembering Her Her body is the Earth and all creation All life is free to thrive in peace and joy Rise to your feet Oh hear the ancient voices! Oh love within Feel Her strength and love within Oh love di-VINE Oh love Her love divine Artwork attached! Oh Holy Dawn by Dale Allen https://www.youtube.com/watch?v=vACT057bm7o&feature=youtu.be https://www.magoism.net/2024/05/meet-mago-contributor-dale-allen

(Special Post 1) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing eight sequels (all nine parts) are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hwang: I am thinking of the Nine Goddess/Mago Symbolism or Nine Numerology. Insights connect the data that I have collected, otherwise seemingly unrelated across cultures and periods. We have reasons to celebrate the nine symbolism among us. As seen in this discussion below, Hercules is most aptly equated with Huangdi (Yellow Emperor, 2698–2598 BCE), one of the forebear emperors of ancient China, who is alleged to have defeated Chiu (successor of Goma), the representative of Danguk’s Nine Giants (nine sub-states). The Magoist history writes the other way around. Chiu won the war, the archetypal international/global war waged over the defense/overthrow of the Magoist throne. Old Magoists (Danguk founded by Goma) of Nine Queen-led States defended the rebellion of the patrilocal force, represented by the Huangdi. With this victory, Old Magoist Confederacy of nine sub-states was able to maintain gynocentric peace of the ancient world for about five centuries longer until a man, Yao, rose to give a way for the establishment of the first patriarchal rule, ancient China of the Xia Dynasty (c. 2070 BCE – c. 1600 BCE). Nonetheless, patriarchal ethnocentric Sinocentric historiography has proliferated to this day. Yu, the founder of the Xia dynasty, is depicted as the hero who slains the nine-headed snake. What I am saying is here that the Nine Goddess/Symbolism is pre-patriarchal in origin and possibly speaks of the same event across cultures! The slain of nine-headed snakes or dragons indicates the usurpation of gynocentric rule by a patriarchal hero across cultures. Let me show you some available information and images to open the discussion. Lernaean Hydra 1 oz Copper | The 12 Labors of Hercules “Hercules was sent to slay the Lernaean Hyrda for his second Labor. The multi-headed, snake-like monster was defeated by Hercules after he sliced its one mortal head. The last day to purchase the 1 oz Copper Lernaean Hyrda was the November 12, 2014. There is, however, time to order the 5 oz Copper Hercules Round, and 5 oz Silver Hercules Round. To read about Hercules and his 12 Labors, check out our blog for more information. If you enjoy the 12 Labors of Hercules coin series, take a look at more Silver and Copper coin collections offered by Provident Metals. After defeating the Nemean Lion, Hercules was sent to slay the Lernaean Hydra for his second labor. The Hydra, a snake-like beast with multiple heads, was raised by Hera to destroy Hercules — making this an inevitable match up. In the face-off between Hercules and Hydra, the son of Zeus used a sword to slice off each of the creature’s necks, according to one popular tale. When the heads grew back, Hercules enlisted his nephew to burn each of the necks to halt regrowth. The Hydra had one mortal head, however; so Hercules used his golden sword to slay the mutant and complete his second labor. The beast is displayed on the Second Labor coin, to be released in the 12 Labors of Hercules Series. The reverse features the multi-headed Hydra in a striking position, displaying the daunting task Hercules faced. LERNAEAN HYDRA and II are inscribed. The familiar obverse portraying Hercules with the Nemean Lion draped over his head as armor is shown on this round, as it will be on each round in the powerful series. “1 oz CMXCIX (999 in Roman numerals) FINE COPPER” is also displayed. The 1 oz. Copper Lernaean Hydra rounds will only be available for one month from Oct. 12 through Nov. 12. Make sure to keep your 12 Labors of Hercules Series collection current before time runs out! 12 Labors of Hercules Driven crazy by Hera, Hercules slew his family — only regretful after recovering his sanity. King Thespius purified the son of Zeus, but to atone for his crimes, he was sent to serve King Eurystheus. Eurystheus ordered Hercules to execute 10 Labors, which were a series of tasks carried out as penance for his actions. Hercules successfully completed all 10, but because his nephew helped with one and he planned to accept payment for another, Eurystheus forced Hercules to finish two more Labors alone. Hercules’ Labors adhere to the traditional order of the Bibliotheca: Nemean Lion – Sept. 12, 2014 Lernaean Hydra – Oct. 12, 2014 Ceryneian Hind – Nov. 12, 2014 Erymanthian Boar – Dec. 12, 2014 Augean Stables – Jan. 12, 2015 Stymphalian Birds – Feb. 12, 2015 Cretan Bull – March 12, 2015 Mares of Diomedes – April 12, 2015 Girdle of Hippolyta – May 12, 2015 Cattle of Geryon – June 12, 2015 Apples of Hesperides – July 12, 2015 Cerberus – Aug. 12, 2015 Commemorate the historic battle between Hercules and the Lernaean Hydra with this 1 oz copper round from Provident Metals.” https://www.providentmetals.com/1-oz-copper-lernaean-hydra-the-12-labors-of-hercules.html Helen Hwang: I looked for the answer to this question: How many heads did the Hydra originally have? It is nine, which accords with its icons to be shared shortly. Helen Hwang: Check out Nine-fold or Nine-Headed Phoenix. Not all iconographies of pre-modern China vilify the nine symbolism, which indicates the influence/presence/revival of Magoism. This image is much reminiscent of the blue crane with nine feathers, a Magoist symbol that we have seen in Mago Stronghold, Mt. Jiri during Mago Pilgrimage (to be discussed in another space). “This Qing-dynasty (1644-1911) print shows the nine-headed phoenix, a being from Chinese mythology with a bird’s body and nine heads with human faces. It is one of several hybrid creatures mentioned in the Classic of Mountains and Seas (Shanhai jing), where it is […]
(Special Post Isis 2) Why the Color of Isis Matters by Mago Circle Members

[Editor’s note: The discussion took place in Mago Circle during the month of July, 2013. Our heartfelt thanks go to the members who participated in this discussion with openness and courage.] Part 2 The Color Talk in Goddesses Kahena Dorothea Athena was also whitened which is sad. However the statues were worshiped by many women to whom they brought comfort. And their origins were later remembered by the abundance of Black Virgins that became important in Italy and other parts of Europe. I don’t see Dark Goddesses as shadows but as having depths of Creativity and Knowledge. My main Goddess is Kirke and the bast relief I have of her is a chocolate brown. Diane Horton The worship of Isis broadened from Egypt to all the countries bordering the Mediterranean, as well as the Middle East and the isles called now the British Isles. She and Her worship were virtually everywhere in the westernly known world of the time! She IS the Goddess of 10,000 Names! And as such she was adapted to each culture’s vision of Her. She was the basis of all the” Black Madonnas”. I do not think of this as Isis/Auset representing the “dark” Goddess as something somehow bad or to be dealt with, but rather that ancient darkness represents infinite potential, eternal creativity/fertility, the beginning and ending of all things, and the always deepening knowledge of magick. Max Dashu However, there is a politics of representation that we all need to be aware of, that pushes original African iconography down and away, and fronts Europeanized images. There is no possibility of “colorblindness” in such a system; a restoration of the original must be actively striven toward. This is incumbent on all of us not of (recent) African descent. Otherwise we perpetuate the injurious status quo, instead of overturning it. Harita Meenee I agree with those who say that race is largely a social construct. Its roots seem to lie in colonialism and the slave trade. I would also like to add that racism is used to oppress people of different nationalities and colors. Ηere in Greece the IMF neo-liberal policies are destroying our economy (and lives); they go hand in hand with a vicious racist campaign against immigrants, along with the rise of a neo-Nazi party. This is part of an effort to redirect people’s anger away from the government and bankers, towards those who are poor and foreign and often have a different color or religion. Fortunately, many grassroots activists are responding to this by building a strong anti-racist, antifascist movement. You can see our Facebook page below. It’s in Greek but the photos are quite revealing. If anyone is interested in learning more about the situation here, please message me and I’ll try to find some articles in English for you. https://www.facebook.co/19JanuaryATHENSvsFASCISM?fref=ts 19 Γεναρη – ΑΘΗΝΑ ΠΟΛΗ Αντιφασιστικη Μπροστά στη κλιμάκωση της φασιστικής απειλής και της ρατσιστικής βίας, στη εμφάν…See More Naa Ayele Kumari Let me put this in the context of something you might understand. This is a goddess group that honors the feminine and the power it represents. People in this group understand the oppression and misrepresentation of women. We understand the implications of misogynistic patriarchal thinking. We understand the implications of stealing the information, rites, and traditions from goddess centered cultures and rephrasing them into male dominated themes… especially those that then went on to oppress women today. This is the same thing that has happened as it related to race and our cultures. It infuriates us when a man may say… why do we have to focus on the goddess? Let us just accept that we are all human and no special consideration should be given to anyone because of their gender. Or, this is just a distraction or social construct and it really doesn’t matter. We understand the blatant disregard and ignorance of those statements. Yet, the same is true for race and people of other races. Your attitude and casual disregard perpetuates a lie that you are comfortable with and don’t wish to move from that comfort zone. It means you don’t have to be accountable for the injustices or oppression it continues to perpetuate in the larger culture toward people who do not look like you. As far as I am concerned, I truly believe that the dark goddess for many with white skin IS their shadow… It is the part of themselves that they deny and fear. That you may have come from black people may scare you… even when the science proves it. That deep down… you fear what you don’t understand. To even confront it is frightening… something that you would rather ignore and deny… Yet… here we are. Black, Yellow, Red… people.. women… who have been oppressed for thousands of year because of this… and are asking… to be seen in their true likeness… not as you wish them to be… or fear them to be. Naa Ayele Kumari Thank you Max Dashu, I so appreciate your scholarship and dedication to the truth where ever you find it… and Helen Hwang for staying open to it as well. [Someone withdrew the threads.] Rick Williams No, you can’t passively aggressively slither your way out of this, reread your own statements and that last post contradicts most of your ascertains. I can’t believe that you honestly say fire away at you like you’re some sort of martyr and VICTIM of being misunderstood, not at all, I understand you very well. I don’t think you understand yourSELF. That’s the real tragedy. Rick Williams “The Lips of Wisdom are Closed except to the Ears of Understanding.” It is in quotes, and it’s part of Ancient Wisdom, of Tehuti, DJehuti, or Hermes Trimegitus… The Great Scribe of KMT.. they have alot of pretty pictures of him all over KMT(Egypt).. still have no idea what you are saying have the time. Max Dashu Thank you Naa Ayele for taking the time to make the extremely apt analogy of women’s oppression to clarify the politics of race oppression […]
(Special Post 3) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing sequels are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hye-Sook Hwang: Xiang Yao or Xiangliu is the Chinese equivalent to Hydra in Greek mythology. And Hercules is to Yu, the Great, founder of the Xia dynasty. We will see in the course of this discussion that the myth of Yu, the founding ruler of Xia, the oldest dynasty of China, who slains the nine-headed snake, is only a variation of its older prototype, the myth of Huangdi who fought Chiu, the alliance of the Nine Han Giants (East Asian/Korean Magoists). “According to the Classic of Mountains and Seas, Xiangliu was a minister of the snake-like water deity Gonggong. Xiangliu devastated the ecology everywhere he went, leaving nothing but gullies and marshes devoid of animal life. Eventually, Xiangliu was killed by Yu the Great, whose other labors included ending the Great Flood of China. In other versions of the story, Xiangliu was killed by Nüwa, after being defeated by Zhurong, but his blood was so virulently poisonous that the soil which it soaked could no longer grow grain.[1] An oral version of the Xiangliu myth was collected as late from Sichuan as 1983, in which Xiangliu is depicted as a nine-headed dragon, responsible for floods and other harm.” https://en.wikipedia.org/wiki/Xiangliu Helen Hye-Sook Hwang: Ancient China had to demonize the pre-Han myth of the nona Mago because it bespeaks the matriarchal/gynocentric history that it overthrew… the past that had to be severed in order to fake patriarchal originality. With this in mind, we have a better look on patriarchal mythopoeia, which appears to be complex but, nonetheless, transparent in its motive to hide/hijack pre-patriarchal gynocentric histories. “One of the most harrowing myths from ancient China is the story of Gonggong’s rebellion. You can revisit the whole story here, but the quick version is that the evil water god Gonggong attempted to drown the world and was only prevented from doing so by the heroic last resort actions of the beneficent creator goddess Nüwa, who cut the legs off the cosmic turtle in order to set things to rights. In the chaos of the climactic battle, however Gongong’s chief minister and partner in crime Xiangliu the nine-headed snake monster completely escaped. Filled with bitterness about Gonggong’s failure, Xiangliu crawled away across the soggy lands of Szechuan (which were water-logged after the nearly world-ending floods). Wherever he went, the snake monster left permanent fens and swamps which were toxic to life. His very being had become steeped in poison, and his progress through the damp and moldy world had to be stopped. Yu the hero, the third of the three sage kings, finally caught up with the nine-headed monster and killed him in a pitched battle. Yet still there was a problem: Xiangliu’s pestiferous blood has poisoned the whole region, which now stank of rot. Crops would not grow and civilization began to falter. Yu dug up the blood soaked soil again and again, but the corrupted blood of the monster just sank deeper into the ground. Finally, Yu excavated a deep valley by Kunlun mountain and rid the world of Xiangliu’s toxins. With all of the land he had excavated he built a great terraced mountain for the gods. Yu then went forth to found the kingdom of Xia, the first civilized state in Chinese history. Of course some people say that Yu did none of this, that, it was the goddess Nüwa who once again came forth to battle the monster and undo the damage he had caused. Then, with accustomed modesty she let Yu take the credit and begin his kingdom (for Nüwa cared not for empty praise and hollow glory but only for the well-being of her children).” https://ferrebeekeeper.wordpress.com/2013/09/24/xiangliu-the-nine-headed-snake/ Max Dashu: These patriarchal heroes! Nova Scheller: What a fascinating thread…that the nine headed hydra correlates to the nine headed dragon as a linkage to patriarchy or gynocentric/ matriarchal beginnings…the root being in Korea! Dropping into your work of so many years…a privilege as well as informing some of my personal awareness. Helen Hye-Sook Hwang: Nova Scheller, indeed! The myth of slaining the nine-headed snake/dragon across cultures shows; (1) The onset of patriarchy did not come naturally but forcefully, which proves that patriarchy is not original. It was a reaction to what had been before, its matrix. Patriarchy faked its originality by inventing the myth of demonizing and killing the female principle. (2) Patriarchal rules established across cultures adopted the mythic motif of slaining the nine-headed snake or dragon, which appears to be of Chinese origin. (3) The Nine Mago mythic system preserved in Korean Magoism testifies to gynocentric/matriarchal beginnings, which were remembered by peoples of the ancient world. (4) Furthermore, Korean Magoist mythology explains the origin/meaning of the nona Goddess symbol. Let’s explore how the Nine Mago pantheon was remembered in East Asian myths and religions. For this, we need to unravel the patriarchal mythopoeia of Goma, the Shaman ruler of Old Magoist East Asia/Korea. Helen Hye-Sook Hwang: In principle, we can tell if an ancient rule/culture was patriarchal or gynocentric by the myth of the nine-headed snake/dragon. In the case of ancient China whose heroes are told to have killed the opponent, the nine-headed snake. Nonetheless, the people’s memory of pre-patriarchal gynocentric history never dies. The nine symbolism is still described as auspicious. It revives time and time again throughout history. In other words, ancient China was a small regional power, only modern scholarship seals it all mighty China. Find out what other ancient myths concern about the nine female symbolism. (To be continued) Join us in The Mago Circle https://www.facebook.com/groups/magoism/.

(Essay) Winter Solstice/Yule within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 5 of the author’s book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Dates for Winter Solstice/Yule Southern Hemisphere – June 20 – 23. Northern Hemisphere – December 20 – 23 This Seasonal Moment is the ripe fullness of the Dark Womb and it is a gateway between dark and light. It is a Birthing Place – into differentiated being. Whereas Samhain/Deep Autumn is a dark conceiving Space, it flows into the Winter Solstice dark birthing Place – a dynamic Place of Being, a Sacred Interchange. This Seasonal Moment of Winter Solstice is the peaking of the dark space – the fullness of the dark, within which being and action arise. It is the peaking of emptiness, which is a fullness. As cosmologist Brian Swimme describes: the empty “ground of being … retains no thing.” It is “Ultimate Generosity.”[i] In Vajrayana Buddhism, Space is associated with Prajna/wisdom – out of which Upaya/compassionate action arises. Space is highly positive – something to be developed, so appropriate action may develop spontaneously and blissfully.[ii] In Old European Indigenous understandings, the dark and the night were valued at least as much as light, if not more so: time was counted by the number of nights, as in ‘fortnights,’ and a ‘day’ included both dark and light parts … it was ‘di-urnal’. I have been careful with my language about that inclusion in the ceremonial ‘Statement of Purpose’ for each Seasonal Moment. This awareness is resonant with modern Western scientific perceptions about the nature of the Universe: that it is seventy-three percent “dark energy,” twenty-three precent “dark matter,” four percent “ordinary matter.”[iii] The truth is that we live within this darkness: it is the Ground of all Being. In Pagan traditions since Celtic times, and in many other cultural traditions, Winter Solstice has been celebrated as the birth of the God; and in Christian tradition since about the fourth century C.E., as the birth of the saviour. But there are deeper ways of understanding what is being born: that is, who or what the “saviour” is. In the Gospel of Thomas, which was not selected for biblical canon, it says: “If you bring forth what is within you, what you bring forth will save you.”[iv] This then may be the Divine Child, the “Saviour”: it may be expressed as the new Being forming in the Cosmogonic Womb,[v] who will be born. We may celebrate the birth of the new Being, which /who is always beyond us, beyond our knowing … yet is within us, burgeoning within us – and within Gaia. What will save us is already present within – forming within us. The Winter Solstice story may emphasize that what is born, is within each one – the “Divine” is not “out there”: it may be said, and expressed ceremoniously, that we are each Creator and Created. We may imagine ourselves as the in-utero foetus – an image we might have access to these days from a sonar-scan during pregnancy. This image presents a truth about Being: we are this, and it is within us, within this moment. Every moment is pregnant with the new. It will be birthed when holy darkness is full. Part of what is required is having the eyes to see the “new bone forming in flesh,” scraping our eyes “clear of learned cataracts,”[vi] seeing with fresh eyes. That is what the fullness of the Dark offers – a freshening of our eyes to see the new. And the process of Creation is always reciprocal: we are Creator and Created simultaneously, in a “ngapartji-ngapartji”[vii] way. We are in-formed by that which we form. In Earth-based religious practice, the ubiquitous icon of Mother and Child – Creator and Created – expresses something essential about the Universe itself … the “motherhood” we are all born within. It expresses the essential communion experience that this Cosmos is, the innate and holy Care that it takes, and the reciprocal nature of it. We cannot touch without being touched at the same time.[viii] We may realize that Cosmogenesis – the entire Unfolding of the Cosmos – is essentially relational: our experience tells us this is so. The image of The Birth of the Goddess on the front cover of my book PaGaian Cosmology expresses that reciprocity for me, how we may birth each other and the healing/wholing in that exchange. It is a Sacred Interchange. And it is what this Event of existence seems to be about – deep communion, which both Solstices express. Babylonian Goddess, Ur 4000-3500 BCE. Adele Getty, Goddess, 33. Birthing is not often an easy process – for the birthgiver nor for the birthed one: it is a shamanic act requiring strength of bodymind, attention, courage, and focus of the mother, and resilience and courage to be of the new young one. Birthgiving is the original place of ‘heroics,’ which many cultures of the world have never forgotten, perhaps therefore better termed as “heraics.” Patriarchal adaptations of the story of this Seasonal Moment usually miss the Creative Act of birthgiving completely, usually being pre-occupied with the “virgin” nature of the Mother which is interpreted as having an “intact hymen.” The focus of the patriarchal adaptation of the Winter Solstice story is the Child as “saviour”: even the Mother gazes at the Child in most Christian icons, while in more ancient images Her eyes are direct and expressive of Her integrity as Creator. NOTES: [i] Swimme, The Universe is a Green Dragon, 146. [ii] See Rita Gross, “The Feminine Principle in Tibetan Vajrayana Buddhism.” The Journal of Transpersonal Psychology 179-192. [iii] These figures as told by cosmologist Paul Davies with Macquarie University’s Centre for Astrobiology, Australia. [iv] Elaine Pagels, Beyond Belief: the Secret Gospel of Thomas, saying number 70. See https://www.pbs.org/wgbh/pages/frontline/shows/religion/story/thomas.html . [v] Melissa Raphael’s term, Thealogy and Embodiment, 262. [vi] The quotes come from a poem by Cynthia Cook, “Refractions,” Womanspirit (Oregan USA, issue 23, March 1980), 59. [vii] This is an Indigenous Australian term for reciprocity – giving and receiving at the same time. I explain it a bit further in PaGaian Cosmology, 256-257. [viii] An expression from Abram, The Spell of the Sensuous, 68. REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Getty, Adele. Goddess: Mother of Living …
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.
(Mago Almanac Excerpt 5) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) Free PDF available at Mago Bookstore. THE 28-13-7 INTERPLAY How does the number, 28 (days), for the lunar cycle come about? Why is it 28 days and not 29 or 30, the latter implicated in the traditional lunar calendar of East Asia? It appears that 28 days is a value closer to the moon’s sidereal period (about 27.3 days) than the synodic period (about 29.5 days). Or is it that 28 days points to the median between the synodic lunar cycle and the sidereal lunar cycle? To answer these questions, it is important to note that a value in the Mago Time captures an inter-cosmic biological cusp/juncture derived from the matrix of sonic numerology. Distinguished from the patriarchal measure of time fixated into a solipsistic space, it makes visible the interconnectedness of all bodies. It never stands as an isolated single occasion. The 28 day, 13 month calendar has to do with how we perceive the moon. There are two ways of understanding the lunar cycle; the sidereal period and the synodic period (see Figure 2). The synodic period refers to the time, about 29.5 days, that we on earth see the moon complete one round of revolution, e.g. from the full moon to the full moon. In contrast, the sidereal period refers to the actual time, about 27.3 days, that the moon takes to complete one round of revolution. While the synodic time is measured relative to the Earth (the observer’s position is on earth), the sidereal time is measured relative to the distant “fixed” stars (the observer’s position is far out at the distant stars). Since the distant stars are considered at rest, the sidereal period is taken as a universal value, not affected by the location of the viewer, we on earth. There is, apparently, a discrepancy between the lunar cycle that we on earth see the moon return to the same phase and the lunar cycle that the moon actually completes a revolution. The former is based on our observation of the moon’s phases, whereas the latter is based on the moon’s actual orbital motions. The two differs basically because all celestial bodies, the moon, earth, and sun, in the solar system are in motion. It is not just the moon that we watch revolving but Earth also revolves around the sun. We are watching the movement of the moon on a moving vehicle, earth, so to speak. Therefore, the moon has to travel about 2 more days in order for us on earth to see it in the same phase (see the green portion in Figure 2 part). At the position A of the moon in Figure 2, the moon is in line with the sun and the distant stars, which is a new moon. In the position of B (the new moon), the moon is in line with the sun but not with the distant stars. The right hand line of the green portion in line with the distant stars is where the moon started as a new moon. The moon has traveled about 2 more days to be in line with the sun. That is why the synodic period is about 2 days longer than the sidereal period. When it comes to “the lunar calendar”, moderns tend to think of it as the waxing and waning phases of the moon (29.5 days, the synodic period). The problem lies in that, following the synodic period, people see nothing beyond the moon’s phases. They overlook the fact that the moon rotates and revolves on its own axis and around the earth approximately 13 degrees every day. The synodic lunisolar calendar is a navel-gazing vision. Attending to the moon’s phases may seem benign. However, that is a planned pitfall; the synodic lunisolar calendar with 12 months in a year is here to supersede the 28 day, 13 month gynocentric calendar. Its irregularity with the number of days in a month (29 or 30 days with about 11 extra days for intercalation) is an inherently critical flaw. Its inaccuracy when incorporated within the solar annual calendar (approximately 365.25 days) stands out. Seen below in the table, the synodic lunar track results in as many leap days as a total of 44 days for 4 years, whereas the sidereal lunar track has 2 days for 4 years. The synodic lunisolar calendar undercuts the moon’s given capacity – guiding earthly beings into the intergalactic voyage of WE/HERE/NOW. In it, both the moon and women are, glorified and objectified by the viewer, cast under the male voyeuristic eye. On the contrary, the sidereal lunisolar calendar, based on the cyclic synchrony between the moon and women, offers the lens to the interconnectedness of all bodies in the universe. Synodic Lunar Track (Patriarchal) Sidereal Lunar Track (Magoist) Focus Moon’s phases Moon’s motions Days of month 29 or 30 (irregular) 28 (regular) No. of months in a year 12 13 Women’s menstrual cycle Assumed sync Synced Luni-centric Astolonomy Unknown 28 Constellations Intercalations 11 days annually, a total of 44 days for 4 years 1 day annually & 1 day every 4 years, a total of 2 days for 4 years Sources prove that the sidereal lunation is, albeit esoterically, known across cultures to this day. Through the comparative study of ancient cultures of Babylon, Arabia, India and China, W. B. Yeats (1865-1939) observes the substantive difference in dynamic between the two lunation tracks, the synodic and the sidereal. He notes that the moon’s orbital motion, apart from the sun’s, charts out the celestial sphere as the 28 Mansions. I have learned that the 28 Mansions or 28 Constellations of the Moon is a popular form of the 28 day and 13 month Magoist calendar, widely circulated among East Asians especially Koreans from the ancient time. Yeats’ following insights corroborate the Budoji’s explication of the Magoist Calendar in general and the faulty nature of the patriarchal (ancient Chinese) calendar in …
(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!
(Essay) The Wheel of the Year and Climate Change by Glenys Livingstone Ph.D.

https://pagaian.org/pagaian-wheel-of-the-year/ The Wheel of the Year in a PaGaian cosmology essentially celebrates Cosmogenesis – the unfolding of the Cosmos, in which Earth’s extant Creativity participates directly, as does each unique being. The Creativity of Cosmogenesis is expressed through Earth-Sun relationship as it may manifest and be experienced within any region of our Planet. In PaGaian tradition this is expressed with Triple Goddess Poetry, which is understood to be metaphor for the creative dynamics unfolding the Cosmos. At the heart of the Earth-Sun relationship is the dance of light and dark, the waxing and waning of both these qualities, as Earth orbits around our Mother Sun. This dance, which results in the manifestation of form and its dissolution, as it does in the Seasons, happens because of Earth’s tilt in relationship with Sun: and that is because this tilt effects the intensity of regional receptivity to Sun’s energy over the period of the yearly orbit. This tilt was something that happened in the evolution of our planet in its earliest of days – some four and a half billion years ago, and then stabilised over time: and the climatic zones were further formed when Antarctica separated from Australia and South America, giving birth to the Antarctica Circumpolar Current, changing the circulation of water around all the continents … just some thirty million years ago[i]. Within the period since then, which also saw the advent of the earliest humans, Earth has gone through many climatic changes. It is likely that throughout those changes, the dance of light and dark in both hemispheres of the planet … one always the opposite of the other – has been fairly stable and predictable. The resultant effect on flora and fauna regionally however has varied enormously depending on many other factors of Earth’s ever changing ecology: She is an alive Planet who continues to move and re-shape Herself. She is Herself subject to the cosmic dynamics of creativity – the forming and the dissolving and the re-emerging. The earliest of humans must have received all this, ‘observed’ it, in a very participatory way: that is, not as a Western industrialized or dualistic mind would think of ‘observation’ today, but as kin with the events – identifying with their own experience of coming into being and passing away. There is evidence to suggest that humans have expressed awareness of, and response to, the phenomenon of coming into being and passing away, as early as one hundred thousand years ago: ritual burial sites of that age have been found[ii], and more recently a site of ongoing ritual activity as old as seventy thousand years has been found[iii]. The ceremonial celebration of the phenomenon of seasons probably came much later, particularly perhaps when humans began to settle down. These ceremonial celebrations of seasons apparently continued to reflect the awesomeness of existence as well as the marking of transitions of Sun back and forth across the horizon, which became an important method of telling the time for planting and harvesting and the movement of pastoral animals. https://pagaian.org/pagaian-wheel-of-the-year/ It seems that the resultant effect of the dance of light and dark on regional flora and fauna, has been fairly stable in recent millennia, the period during which many current Earth-based religious practices and expression arose. In our times, that is changing again. Humans have been, and are, a major part of bringing that change about. Ever since we migrated around the planet, humans have brought change, as any creature would: but humans have gained advantage and distinguished themselves by toolmaking, and increasingly domesticating/harnessing more of Earth’s powers – fire being perhaps the first, and this also aided our migration. In recent times this harnessing/appropriating of Earth’s powers became more intense and at the same time our numbers dramatically increased: and many of us filled with hubris, acting without consciousness or care of our relational context. We are currently living in times when our planet is tangibly and visibly transforming: the seasons themselves as we have known them for millennia – as our ancestors knew them – appear to be changing in most if not all regions of our Planet. Much predictable Poetry – sacred language – for expressing the quality of the Seasonal Moments will change, as regional flora changes, as the movement of animals and birds and sea creatures changes, as economies change[iv]. In Earth’s long story regional seasonal manifestation has changed before, but not so dramatically since the advent of much current Poetic expression for these transitions, as mixed as they are with layers of metaphor: that is, with layers of mythic eras, cultures and economies. We may learn and understand the traditional significance of much of the Poetry, the ceremony and symbol – the art – through which we could relate and converse with our place, as our ancestors may have done; but it will continue to evolve as all language must. At the moment the dance of dark and light remains predictable, but much else is in a process of transformation. As we observe and sense our Place, our Habitat, as our ancestors also did, we can, and may yet still make Poetry of the dance of dark and light, of this quality of relationship with Sun, and how it may be manifesting in a particular region and its significance for the inhabitants: we may still find Poetic expression with which to celebrate the sacred journey that we make everyday around Mother Sun, our Source of life and energy. It has been characteristic of humans for at least several tens of thousands of years, to create ceremony and symbol by which we could relate with the creative dynamics of our place, and perhaps it was initially a method of coming to terms with these dynamics – with the apparently uniquely human awareness of coming into being and passing away[v]. Our need for sacred ceremony of relationship with our place, can only be more dire in these times, as we are witness to, and aware of, …
(Poetry & Photo Essay) Pongal by Susan Hawthorne

I am a secularist rather than a ritualist, but I can’t help but be drawn into the celebrations that people make when they honour the passing of the seasons. Even as a child I felt the disconnect between Christmas and the hot dusty days of summer. When Christians invaded and colonised Australia they brought their holidays but did not consider changing the dates to match the seasons. I was in India recently, invited as a speaker at the Hindu Lit For Life Festival in Chennai where I had lived ten years ago. The last day of the festival was the first day of Pongal. A friend, feminist economist Devaki Jain, who had grown up in Chennai eighty years earlier invited me to join her in a car ride to see Pongal celebrations in the streets. This is a Tamil festival dating back at least a thousand years, a sun festival, welcoming the next six months of the sun’s journey, also a harvest festival. During this time many women produce beautiful drawings, known as kolam. In my book Cow I wrote a poem about kolam which I think says more than I can explain here. what she says about kolam where they are drawn and when is all important early morning is auspicious it sets the shape of the day the hard ground is cleaned points of white grain sprinkled she works quickly she knows her design for the day runs the powdered grain from point to point it is a mandala a yantra a sign so the forces of the universe align themselves with her intentions Back to Pongal. The festival goes for four days. On the first day, which is called Bhogi, people are on the streets with the fruits of harvest, piles of tumeric and stacks of sugar cane tied in bunches. My friend, Devaki, bought flowers to take back to her room in the hotel. The second day, called Thai Pongal, I was invited to a harvest lunch at the house of my friend Mangai who is a playwright, theatre director and human rights activist. The word ‘pongal’ means ‘boiling over’ or’ overflow’ and I saw this in the cooking of the sweetened rice dish into which each of the twelve people present poured some water and milk as it almost overflowed the pot. This sweet rice dish was added to the collection of other dishes on the table. I cannot tell you what they were, but the meal was delicious. After lunch everyone relaxed, someone sang, we talked and caught up on news. The third day, is called Maatu Pongal, and cattle are at the centre of celebrations on that day. I don’t know if this line up of cattle had anything to do with the day’s celebration but there they were tied up alongside a very busy main road. These were not cows and I did not see any cows with decorated horns and flowers on their heads. on that day as I have on other occasions. On the fourth day, Kaanum Pongal, things begin to wind down. One of my co-speakers at the festival said she would be visiting family members on that day. The kolams are drawn again, sugar cane is consumed and people go back to their daily lives. What I liked about being in Tamil Nadu during the Pongal festival is that it felt absolutely right. The time of the year, the connection with harvest, so I did not feel the discomfort I so often feel in the midst of the out-of-season commercialised holidays as they are celebrated in Australia. Susan Hawthorne’s book Cow is available worldwide from distributors in USA, Canada, UK, from all the usual online retailers or from Spinifex Press. http://www.spinifexpress.com.au/Bookstore/book/id=215/ © Susan Hawthorne, 2019 (Meet Mago Contributor) Susan Hawthorne.

Mago, the First Mother from East Asia by Helen Hye-Sook Hwang

[Excerpts from “Mago, the First Mother from East Asia,” Creatrix Media Live (CML) Roundtable Radio Talk with Dr. Helen Hye-Sook Hwang. May 23, 2011] Jayne DeMente: Welcome Helen, I was fortunate to read some of your research and I applaud you because, we in the Western WSE movement have long needed to hear more from Asian women spiritual leaders and feminists and your reference to the Neolithic timeline… For our listeners and participants online, let’s lead with the question of who is Mago, was she a mother figure, what is Magoism, does any other deity pre-date her? Helen Hye-Sook Hwang: *Mago is the great goddess known to East Asians throughout history. She is the first mother of all, cosmogonist, and ultimate sovereign/ruler. She has many names. Among them are Triad Deity (Samsin), Grandmother (halmi), Auspicious Goddess (Seogo), Evil (Magui), and Old Goddess (Nogo). She is also known as the Giantess who shaped the natural and cultural landscape. Her manifestations are so multivalent that one may think they do not refer to the same goddess. She was well loved, given high esteem, celebrated by East Asians in the past. She was almost completely forgotten, however in modern times, up until the 1980s in Korea, when the principle text of Magoism, the Budoji, re-emerged. *Mago is a mother figure in the sense that she bore two daughters, Kunghee and Sohee, and managed her household called the Castle of Mago, the primordial paradise of humanity. She is the ancestor of all races. She takes care of everything on earth via the equilibrium of cosmic music/sound/vibration. *Magoism is the term that refers to the totality of culture/civilization venerating Mago as the great goddess. It is a tradition largely unnoted but co-opted and distorted in major East Asian religions. The concept of Magoism helps one identify and understand Mago’s multivalent manifestations that are found trans-nationally. It also makes possible to name the female-centered original/primal civilization that gave birth to the forthcoming East Asian civilizations and religions. *Whether Mago is the earliest deity known to East Asia is unknown. In fact, there are goddesses unearthed from “pre-historic” archaeological sites without their names. The life-sized goddess statue was unearthed in the site of Hongshan Culture, northeastern region of present China dating from 4,700 to 2,900 BCE. The heavy use of jade along with the partly bear-figured female icon is congruent with the account of Magoism in the Budoji. Also, of course, there are numerous female figurines called dogu excavated in Japan’s “pre-historic” times. The ancient origin of Mago or Magoism has a merit to explain some facts that remain a mystery, so to speak. Korea is also known as the land of dolmens. Half of the world megaliths are populated in the Korean peninsula. There are numerous pyramids found in mainland China. There is a documentary film about the sunken temple beneath the sea of Okinawa Japan, etc. dating to 10,000 years ago. *Then, how early does Mago date to? It is difficult to date the earliest evidence of Mago or Magoism simply because written history does not exist in pre-patriarchal times. As you see here, when we talk about the earliest of something, everyone assumes it is of Chinese. So let me follow this line of thought: Ge Hong’s record on Magu from China dates to the early fourth century CE (Ge Hong 283—343 CE). However, Daoist scholar Robert Ford Campany states that the cult of Mago dates back to the Stone Age. It is more difficult to date Mago in Korean records simply because ancient written records did not survive. Two books, the Budoji and the Handan Gogi, alleged to have been written in the late 4th or early 5th century and subsequent later times, which refer to Mago otherwise known as Samsin (Triad Deity) remain controversial. Considering that the name Mago is embedded in Korean language as in “gom,” “geum,” and “gam,” whose meaning indicates ruler, sovereign, and head, the origin of Mago is as old as these words. Likewise, most materials that recount Mago as cosmogonist are of folklore, place names, literature, arts, and debris of historical and religious records, most of which are difficult to date for its origin. Anniitra Ravenmoon: Thank you Helen, you have done much academic research and hold several degrees, can you explain to us how your education or experience informed you regarding Mago? Helen: *I would say that encountering Mago as a doctoral research topic is ultimately prompted by my intellectual quest as a Korean feminist. Following radical feminism of Mary Daly, I wanted to seek spirituality that is not only non-patriarchal but also East Asian and Korean. This made me study feminism and East Asian religions, histories, and cultures, etc. I end up with so much to study over the past decade and a half. I did not take up graduate studies as a means to develop an academic career. I loved reading and studies from youth. This kind of attitude is not that practical in the job market. However, I believe this is the right path for me. To look back, I did not follow the ready-made conventional path of life. I was a dreamer and idealist. I still value those qualities in myself and others. I used to think to myself, if I had remained a Christian, I would not have sought Mago. How could I? Likewise if I had resorted to Buddhism, I would not have encountered Mago. Because I wanted to carve out my own spiritual path as a Korean feminist, I was able to encounter Mago. Another factor at work in my study of Mago is the cultural or spiritual tradition of cultivating the Dao, the Way, in East Asia. I wanted to find out what the truth was, how I could make the most out of my life and etc. So I tried the shoes of a Catholic overseas missionary for a while. Leaving Christianity behind, however, helped me realize the cultural heritage that I have within. It was …
(Essay) A Cross-Cultural Feminist Alchemy: Studying Mago, Pan-East Asian Great Goddess, Using Mary Daly’s Radical Feminism as Springboard by Helen Hye-Sook Hwang

Mago is the Great Goddess of East Asia and in particular Korea. Reconstructing Magoism, the cultural and historical context of East Asia that venerated Mago as the supreme divine, is both the means and the end. Magoism demonstrates the derivative nature of East Asian religions such as Daoism, Buddhism, and Confucianism while redefining East Asian Shamanism to be the religious expression of Magoism. I encountered the topic of Mago during my doctoral studies. The topic of Mago fell out of nowhere at the time I was preparing for qualifying examinations. I had never heard the name, Mago. Only when I was able to collect a large amount of primary sources from Korea, China, and Japan, was I awakened to the cultural memory of Mago. I grew up craving the stories of Halmi (Grandmother/Great Mother), a common referral to Mago among Koreans. I had a childhood experience of being in the fairy land unfolded by my grandmother’s old stories. While “Mago” was unfamiliar to most Koreans, she was taken for granted in her many other names such as Samsin (the Triad Deity) and Nogo (Old Goddess) and place-names such as Nogo-san (Old Goddess Mountain) and Nogo-dang (Old Goddess Shrine). A Korean scholar, on a casual occasion, gave me a book entitled the Budoji (Epic of the Emblem City). He may have intuitively foreseen that I would make use of it sooner or later. The Budoji is an apocryphal text that describes the genesis event of Mago and her paradise called Mago-seong (Castle/Stonewalls of Mago) and an ensuing deployment of pre-patriarchal Korean history, thitherto unheard of. Upon my first reading of the Budoji, I was more confused than enlightened, but I felt drawn into and embraced by its mythic, historical and poetic language. I was already far along the path before I realized I was truly immersed within it! An ark of treasure emitting a pristine aura was laid before me, though I was too bedazzled to see within. Mago was there, shrouded in her old garments, seemingly obsolete, but a full and complete presence. I was tongue-tied a while. But I did inquire about Mago among Koreans. I learned that Mago was recognized by contemporary Koreans, marking the modern revival of Magoism. A movie entitled “Mago” was being made. A newly formed feminist musical band named itself “Mago.” A tea house named the “Mago Cafe” further enforced the reality that there was a pride and understanding of her existence. Foremost, I was surprised by the fact that a large number of Mago stories were available both online and written documents. Many stories that depict Mago as the nature-shaper of local landscapes such as mountains, rocks (including dolmens and megaliths), seas, villages, streams, stone-walls, and caves, were still told by the elders in small villages of Korea. I also found historical materials that mention Mago not only from Korea but also China and Japan. I brought up the subject of Mago to my advisors in time to propose a topic for my dissertation. This topic was barely known to anyone in academia. I was able to put together a bibliography with a considerable amount of source materials for my dissertation proposal. Secondary sources were, albeit small in number, also gathered. That marked the beginning of my study of Mago. I had another dissertation topic at that time. In fact, my thitherto prospective topic was Mary Daly’s feminist religious thought. Daly’s feminist thought had been the guiding light ever since I first read the Beyond God the Father in early 1990s. I encountered Mary Daly’s post-Christian thought when I was on the brink of Christianity. I had been a member of Maryknoll Sisters, an organization that opened up to me the possibility of cross-cultural living. Though I dedicated myself to implementing Christian ideals, all I could see was the necrophilic “foreground;” a world dictated by patriarchal institutions and ideologies. Feminist theology was self-transcending to me. I was unafraid of going beyond the boundary of Christianity and its God. Female subjectivity of which I was now conscious no longer held male subjectivity “neutral” or “objective.” My take of female subjectivity, however, needed to peel off another layer of ethnocentrism, Sino-centrism in East Asain studies and Euro-centrism in feminist studies. I began to re-orient myself to the new reality, “the Biophilic Background,” to borrow Daly’s term, by affirming myself, a Korean feminist, and all Others rendered as “inferior” by the patriarchal and/or Euro-centric self. I was a self-motivated feminist learner. I had spent four years alone in reading or rather soaking in Daly’s books after withdrawing from Christianity. I translated Daly’s first two books as well as one Eco-feminist book, Reweaving the World, edited by Diamond and Orenstein into Korean during that time. It was a time of self-birth as a woman-identified woman. I de-educated myself from patriarchal knowledge and ethics and spent time to reestablish my relationship with my mother. The process of de-education took place inwardly while I was reading feminist books, keeping my daily journals, and practicing meditations including physical activities such as walking and stretching. These were the things that I had already been doing. What was new to this period was that I chose things that I wanted to do especially with my body and senses. I practiced gukseon-do (a Korean traditional mind and body exercise, equivalent to yoga) on a regular basis and took art lessons including fine art and calligraphic painting. I took time in nature visiting mountains, parks, and Buddhist temples. I reflected upon my mindset to see if I was still feeding the conceptual habit of self-defeat imposed upon women by patriarchal religions and cultures. For example, I probed to see if I was still under the influence of the so-called “feminine virtues” of dependency, obeisance, and silence. For quite some years, I was caught in raw emotions of anger and grief. Nonetheless, I knew, even then, that those emotions were there to help me build myself as a life-affirming existence. Any practice that was necrophilic was something that I disassociated myself from and avoided. …
(Book Announcement 5) Introduction (part 3) by Helen Hye-Sook Hwang

[Editor’s Note: This Introduction is from She Rises: How Goddess Feminism, Activism, and Spirituality? Volume 2.] Pre-order available now! Engendering the Gynocentric Economy In the sense that the She Rises collective writing project does NOT begin with a ready-made blueprint, it is distinguished from a standard anthology. More to the point, this book is a book of the Goddess. By saying that, I do not mean that it is just about the Goddess. It is created in a gynocentric way and it serves a gynocentric purpose. Motivations matter; the task of the She Rises collective writing was first undertaken as a way of enhancing the Goddess/Mago Movement in 2014.[i] It has taken place spontaneously by the hand of volunteers. It relies on the gynocentric economy, a system of enabling the life of all beings operated through voluntary collaboration and egalitarian coordination. As an extension of the Gift Economy that Genevieve Vaughan advocates, the gynocentric economy is based on the voluntary sharing of one’s available resources for the whole.[ii] Gift-givers not only give what we can give freely but also enable a whole new (read non-patriarchal) mode of doing economic activities. In other words, they summon gynocentric reality to take place. Gynocentric economy secures free gift-giving activities and at the same time is shaped by the latter.