Dolmen grove

DOLMEN GROVE CHRONICLES

www.dolmengrove.co.uk

CONTENTS 1…Stonehenge – Diane Narraway 2…Tout Quarry – Scott Irvine 3…Mandrake – A Very Magickal Herb – Andrew Cowling 4…Crystal Gridding – Cheryl Waldron 5…Book Review of The Voyager Tarot Companion – Eirwen Mitchell 6…Art, Death, Magick and the Spaces in Between – Charlotte Rodgers 7…The Power of Music – Sem Vine 8…Recipe for Faerie Cookies – T.J. Burns 9…The Weymouth Pirate Festival – Mark Vine 10…The Unifying Light of Wisdom from the Shekinah – David Rankine 11…Samhain Thoughts – X roads – Ceitidh Brown Cold Moon – Mark Vine The Show Off – Lynette Flynn Nightmares – Martin Pallot The Ghost Hunt – Cheryl Waldron Saturn Devours his Children – Louise Lisse 12…Diary of the Hedgewitch – Rachael Moss 13…Journey – The Music…The Album…and the Shipwreck Project – Taloch Jameson/ Diane Narraway/Graham Knott 14…Book Review of The Treasure of the Golden Grape – David C. 15…Symposium – Gathering of the Clans 16 … Dolmen Grove Moot Information All information is accurate at the time of publication and all articles are assumed to be the work of those being credited https://www.facebook.com/DolmenGroveMagazine?ref=hl Photographs in this issue …Joanna Caswell, Jennie Jones, Scott Irvine, Sarah Jane Penfold, Chris Ryan, Andrew Orman, Louise Lisse, Simon Brown, Rachael Moss, Marc Aitken, Andrew Cowling, Diane Narraway. Cover Photo Joanna Caswell.

Artwork – Sem Vine.

Artwork – Sem Vine Unless otherwise stated all other images are from the public domain.

Further information on the Dolmen Grove can be found at: www.Dolmengrove.co.uk http://www.facebook.com/pages/TheDolmenGrove/110124449082503 All information is accurate at the time of publication and all articles are assumed to be the work of those being credited https://www.facebook.com/DolmenGroveMagazine?ref=hl

THE DOLMEN GROVE The Dolmen Grove is a pagan organisation of mixed spiritual paths established in the early 90s by Taloch Jameson, which over the years has grown from one small circle in Weymouth Dorset, to several clans not only across the UK but worldwide.

The Spiritual ethos of the Dolmen Grove has remained the same throughout and is based purely upon the Freedom of the Individual.

It is the collective belief that in an age where technology can often dwarf our humanity, it is important that we take control as individuals and embrace our own spirituality in order to maintain the equilibrium within an ever changing world.

Although the Grove is not a political organisation preferring instead to focus upon the spiritual, this does not prevent either individual members or the Grove as a collective from playing an active part in humanitarian and environmental issues.

There are no hierarchy or titles within the Dolmen Grove as it is our aim to encourage each man and woman to discover their own unique and authentic journey so that their spiritual connection is founded upon that which works for them as an individual rather than a spiritual rule book set for the masses.

The key to our success is the Round Table which is made up of around twenty people from a variety of spiritual paths who uphold the spiritual ethos of the Grove. They not only organise their respective moots but also the festivals and events hosted by the Dolmen Grove.

Our Moots are regular meeting places which are held once a month in several areas. Although these are organised by and largely attended by Grove members, non-members are always welcome to find out more about the Grove and enjoy the company of other free thinking people as well as the activities organised by the Moot.

There is a membership in place that enables those who wish to be part of this ever growing Clan to enjoy reduced ticket prices for Dolmen Grove Events, festivals and where stated ‘member only’ Ceremonies and Courses. Although we host many Ceremonies which are open to the general public, to avoid crowding and to allow our members to celebrate free from pressure we also hold members only ceremonies.

‘ALL ARE SPIRITUALLY UNITED WITHIN THE DOLMEN GROVE’

h

Stonehenge Every ‘Open Access event’ people gather on mass to celebrate the solstices and equinoxes at Stonehenge, and to be part of something spiritually timeless amid the chaos of today’s society. For a large number of pagans worldwide this is the heart of the pagan world and many dream of going there one day.

There is little doubt that the success of the solstice and equinox events has been largely due to English Heritage’s willingness to work alongside the pagans who regularly celebrate the ‘wheel of the year’ at Stonehenge.

However over the years interest in the enigmatic stone circle has increased, appealing to a variety of people regardless of spiritual or religious belief.

The growing number of annual visitors meant the small visitor centre soon became unable to accommodate the large amount of visitors to the area and so in 2014 the new visitor centre was built.

These has been a monumental undertaking and without question at times a controversial one, involving the restructure of the surrounding landscape, the closure of the A344 as well as the building of a new large world class visitor centre.

As a regular attendee at open access, I went along to see what was on offer at the new visitor centre.

Having performed rituals barefoot in the centre circle, felt the warm earth beneath my feet trodden by so many before me with the warm sun on my face I am all too aware that there is something undeniably spiritual about this ancient monument, but this time I was there as a tourist. I was curious to know and if possible understand the fascination and lure from those who are there for other reasons.

The new Stonehenge world-class visitor centre is tucked unobtrusively away in a spectacular array of natural grasses, saplings and wild flowers yet the sleek modern building ironically seems to fit comfortably into the ancient landscape. I had like around 9,000 others that day come for the experience that is Stonehenge as a heritage site.

My first stop like many a weary traveller was the café and toilet facilities which were clean, spacious with café prices being pretty much on a par with other franchises and once refreshed, equipped with my visitor pack and audio tour radio I was ready to experience all

that was on offer. Although there is ample space, it is only the stone circle that is any distance away, everything else on offer is close by.

The exhibition centre is home to a variety of displays and contains a wealth of information on not just the stones but the surrounding areas and the people both ancient and modern who have left their mark on the Stonehenge timeline. It is here that through artefacts, imagery and detailed explanations the Neolithic and bronze ages are brought to life including a beautifully detailed facial reconstruction of a 5,500 year old Neolithic man found close by.

Included in the exhibition is a 360°degree virtual experience of Stonehenge through the ages.

The story of Stonehenge from its earliest beginnings as a wooden structure through to the present day slowly unfolds, taking into account the landscape, the seasons and its spiritual significance today. While it may not feel the same to those who have stood there or indeed match up to the romantic image many have of it; it is informative, well presented and quite captivating.

Just outside, the Neolithic village offers a living history display consisting of authentic well equipped huts which are both beautiful and informative. Currently these are manned by local volunteers who are happy to share their knowledge and enthusiasm for these displays.

The land-train and buses are close by and as light and airy as a hot day in August would allow and provides a tour commentary and a drop off point for those wishing to experience Fargo woods and walk part of the way to the stones. On arrival at the stones there is a short walk to the monument where the audio tour begins.

Initially it seemed strange not to be entering the centre circle and I couldn’t help but wonder if this experience would be lacking in some way but it wasn’t. The audio tour provided information on the surrounding landscape which I had only ever seen through a mass of people in the hazy early morning light. Now on a clear summer afternoon ditches, mounds and tumuli were all clearly visible and not least of all was Stonehenge itself.

Silent, empty and more enigmatic than I had ever seen it before, I began to understand why so many people flocked here to experience the mystical beauty of this ancient wonder. I personally have a long standing relationship with Stonehenge but I wanted to know how others felt about it and what compelled them to come and see the stones for themselves.

For many it seems it is simply that Stonehenge is a significant part of our past, a piece of human history built by our ancestors and providing a link to a past shrouded in mystery. For others it was another ‘must do’ ticked off their bucket list whilst for many it was just ‘a must see’ ancient wonder.

The visitor centre is a work in progress constantly striving to improve its facilities, offer more and enhance the experience of Stonehenge by bringing the past and present to life whilst looking to the future.

The energies in this area have a profound effect on all those who visit which can be felt not just at the solstice and equinox sunrise celebrations but every day and for a variety of different reasons …..Irrespective of spiritual and religious beliefs it would appear there are many roads leading to the ancient temple - Stonehenge.

Diane Narraway

Stone Circles - Ancient and Modern and todays Pagans

Tout Quarry Having taken part in all of the Dolmen Grove Conjurers Lodge ceremonies and rituals, meeting Groep 85 in September 2013 was a unique opportunity, as it is rare as Pagans that we get to meet those who build the stone circles we frequent. Whilst there I was speaking to one of the sculptors when she caught sight of my necklace – the alchemical symbol for sulphur (Leviathan Cross), at the base of which is the symbol for infinity. It was this that became the inspiration for one of her sculptures within the stone circle thereby adding a piece of the Dolmen Grove to the circle. The following article unites Groep 85 and the Dolmen Grove inthis very special setting.

Diane Narraway hatched to regenerate a part of Tout Quarry on the west cliff that was being used as part of the local rubbish tip.

The following year the group returned to the U.K. to begin clearing away old washing machines, broken glass and bricks before covering the area with limestone to encourage native plants to grow.

At first the group had to hire the tools and machinery they needed to create their vision but now they get on well with the quarry owners so they can borrow equipment whenever they need it.

The sound of drums echoed around the quarry as patches of mist drifted across the top of Portland.

A horn sounded. It was the start of a handfasting ritual for all eternity.

This was not the first pagan wedding to take place at the Circle of Stones. Two years ago Ushi and Paul, pagan friends of the architects of the stone carvings that make up the circle celebrated their union here.

The collection of sculptors from Nijmegen in the Netherlands known as Groep 85 attended a stone carving workshop with the Portland Sculpture and Quarry Trust in 2001 at the Drill Hall on Easton Lane. During their stay on Portland a plan was

Each artist works on an individual carving but the overall design is a collective effort to ensure a unified coherent construction. It is believed that an ancient stone circle once stood on Tout, which means ‘lookout’ but was destroyed when quarrying began in 1780.

By the time of its closure in 1982 around 30,000 tons of stone had been excavated for sea defences at West Bay. A year later it was turned into a sculpture park by the Portland Sculpture and Quarry Trust where it has become a haven for wildlife and is now a protected Site of Special Scientific Interest.

When Groep 85 began this project in 2001 their original intention had been to sculpt down in the quarry, as other artists had done previously, but because the quarry had become a Site of Special and Scientific Interest they were not permitted to move even the smallest piece of stone.

Subsequently they ended up in the southern area, which had previously been part of the local dump.

In 2003 they put the central table in place and from that the idea of a stone circle naturally grew.

Some of the members are more spiritual than others and Jan Willem Rutgers made sculptures that reflected his connection with water. Over the years the spiritual significance of the circle became stronger and it was evident that there is a lot of energy both on the island and within the circle. It is as though the energy they put into the sculptures has brought out energy that was already present there.

More recently they heard that there may be a leyline present there and that the sun sets and the moon rises over the circle. Since it has been built, there have been several ceremonies at the Circle of Stones. The Conjurors Lodge (A witchcraft circle housed under the umbrella of the Dolmen Grove) held a ritual there at the Spring Equinox led by Taloch Jameson and Diane Narraway where a combination of evocations and chants echoed around the old quarry. Those present at this Summer Solstice ritual, witnessed an amazing sunset over Lyme Bay followed by a spectacular full moon rising behind the Portland Stone Workshops.

The smell of burning Ash at the Autumn Equinox swept across the circle as the circle was cleansed. Drums banged, horns blew, the four quarters were called and gods and goddesses invoked as an ethereal mist encompassed the ceremony. Only a couple of days after the handfasting ceremony at the circle, the Dolmen Grove Portland Moot carried out a banishing ritual by the glow of a small lantern on the altar. Touching hands with palms on the stone slab a pulse was felt that reached into the soul, witnessing a powerful energy that is contained there.

Sadly Groep 85 had returned to the Netherlands so missed these events. They would have liked to see their creation used in this way as they had said from the beginning that they were happy for the central table to be used by the local community as long as there were no human sacrifices carried out on it!!

This year at the right side of the path (just before the porta-cabin) is a sculpture that has been designed so that you can carve the names and dates of those being handfasted there. It lies between the moon and the sun and is in line with the altar. For more information on the circle of stones For further information visit www.groep85.nl

Scott Irvin

Membership of the Dolmen Grove How to become a full member

The Dolmen Grove offers a lifetime membership, which simply means a one-off payment of ÂŁ20 for those who wish to embrace and enjoy the freedom, Clanship and the right to practice their own spiritual path within the Grove family.Full Members of the Grove will enjoy reduced rates for events such as Gatherings like the Beltane Spirit of Rebirth and Tribal Dreams, and to many other events when stated. A Full member will receive a Membership Card and a unique Membership Number that identifies who they are when wishing to attend Member only Ceremonies and other Dolmen Grove Events.

The Dolmen Grove does not have a hierarchy, as we do not believe that people need titles or labels to follow a spiritual path; instead the spiritual ethos of the Grove is facilitated by a Round Table, a circle of people from all walks of life.

For further information on the Dolmen Grove and becoming a member please send an email to dolmengrove@dolmengrove.co.uk. Also find us on faceboook - thedolmengrove and thedolmengrovemagazine

Mandrake: A Very Magickal Herb (Mandragora officinarum)

Moving towards winter most plants are disappearing into Mother Earth to begin their hibernation. Mandrake Mandragora Officinarum is different and is just emerging from the soil in my garden preparing to flower early in the New Year.

The name comes from either the Greek mandra (herd of cattle) due to its poisonous effect on cattle or from the Greek madragorus, deriving from the Sanskrit mangros and agora meaning sleep substance. Known by the ancients it is mentioned in the Ebers papyrus (1700BCE) and pieces of root have been found in the pyramids.

The root is the focus of this story and because it is highly toxic it is not used by herbalists today. It has strong purgative (bowel evacuation) and emetic (vomiting) properties. In small doses it can be sedative and was used as a pain reliever and to induce sleep. Larger doses are said to cause madness and delirium.

In ancient times it was chewed to induce anaesthesia in order to deaden pain and induce sleep before surgery (there is records of this as late as 1874), and mandrake wine was offered to those about to be crucified or hanged. The leaves were made into an ointment to treat irritating skin conditions (herbalists would now use marigold, comfrey or chickweed cream for this purpose).

The supposed human shape of the root (it actually closer resembles a parsnip or carrot) was first recorded by Dioscorides in the 5th Century. It is from this shape that much of the magick and folklore derives. Because of this shape the root

was valued and expensive. Bryony roots carved into human shapes were commonly passed off as mandrake roots in mediaeval times, proving that scams are nothing new.

Long said to be a fertility aid and aphrodisiac (there is mention of this in Genesis), the Greeks dedicated it to Aphrodite, Goddess of Love. The root was carried by women who wished to conceive and amulets were worn by those seeking to attract love. It was also a good luck charm and offered protection when hung in the home. In France the shape of the root was likened to the elf Mandegloire who was said to bring wealth.

It has been used in exorcism rituals and was even used by the Anglo Saxons to free people from demonic possession.

To prepare for magickal use the root is dried over a fire of vervain leaves. It increases potency when added to magickal mixes and burning helps to release its inner creativity, translating this into practical creative manifestations (artworks, poetry etc.). It is also said to induce visions.

The root is said to emit blood curdling screams and groans when dug out of the ground inducing deafness, madness and death to those present. In consequence, harvesting of the root was carried out by loosening it and then tying it to a dog which was made to pull the root out of the ground.

The dog of course, subsequently died.

I will not be moving my mandrake plant any time soon!

MANDRAKE IS HIGHLY TOXIC AND THIS ARTICLE IS INTENDED FOR INFORMATION AND ENTERTAINMENT PURPOSES ONLY

Andrew Cowling BSc(Hons),Dip.Phyt,D.Hyp,RCST,MNFSH,FNIMH. Herbalist, Craniosacral Therapist, Hypnotherapist, Healer.

62 Grove Road , Portland, DT5 1DB. Tel. 01305 860611.

Crystal Gridding

It’s far easier than you think A crystal grid is geometric pattern of crystals that once aligned and charged with intention, will create an energy field in the space that they are set; the crystals can then be used to clear, protect, charge or bring in specific energies into that said area. This works because each crystal placed in the grid has its own special energies and vibrational frequencies; place them all together in a geometric form and they create a continuous force of energy.

Grid Uses: Healing Protection Passion

Stress Relief A Loving Environment Banishing Negativity

Chakra Balancing Crime Prevention Meditation

Gridding can be done as simply as using a small grid on a table at home or in fact, you could grid your entire home. I am part of a group called World Protection Crystal Grid and Meditation and once a month we all create an individual crystal grid and link them together, worldwide, for healing; then as a whole we make a mental note of where all of the grids are located around the world; The UK, Australia, North and South America, Ukraine, Spain, Denmark, Canada and Italy and we then use meditation techniques to connect our grids together.

We can visualise the energy flowing from the grids and then use that energy for a specific purpose, whether it be individual healing, healing for groups, for Mother Earth, gratitude or thanks.

Gridding crystals and stones is not a modern ‘new age’ invention, far from it, for millennia, the ancient art of laying stones into circles and henges has been practised all over the world and these grids are known by many names; grids, fairy circles, megaliths, medicine wheels, altars and stone circles.

For example parts of Stonehenge are made of a stone called Diabase Bluestone, which is known for its powerful magickal aura, giving focus and stability - anchoring right down into the Earth’s energies; so maybe our ancestors knew more about the power of crystals and gridding them than we give them credit for.

Anybody can make and use a crystal grid; you do not have to be a crystal healer, a Reiki practitioner or a Witch, and you certainly do not have to be able to assemble and create elaborate rituals or patterns to be able to use them. Of course, a grid made by somebody who is more skilled and experienced at working with crystals and channelling their energies, will hold an energy charge for a longer time, but even children can make and use them.

How often have you seen children collecting stones and shells from the beach, the park, the garden even?

My younger children have pockets and bags full of them; everywhere we go they seem to gather a new mini collection. Because children love to play with stones they will often set them into patterns that they find appealing, like circles and spirals, even attempting towers with them. The one thing you will always find is that while a child is playing, setting out and creating shapes with their new found collection of stinky, dirty stones…….is that they will be quiet, peaceful, content, just for a little while, and without realising it, they are creating their own grids.

BOOK REVIEW THE VOYAGER TAROT COMPANION : R Lloyd Hegland Reviewed by Eirwen Mitchell I have chosen to review this striking book of poetry written by American based author R Lloyd Hegland because it works on many levels. Initially as a companion book to the Voyager Tarot by Dr James Wanless but also it stands alone without the Tarot deck, not only as a book of poetry but also as a method of divination in itself .

Each poem represents a card including both the Major and Minor Arcana. The poetry is sparkling in its jewel like lusciousness, and it is lovely to dip in to the pages from time to time. I was recently at a gathering where the energy was a little flat and although I didn’t have any cards I did have this book so I decided to use this book as a cross between Tarot and Bibliomancy - the art of divination through opening a book at random pages and seeing what message lies therein.

The results were quite surprising as what started off as a light hearted pastime began to answer questions and situations that were currently occurring in the Querent’s life. I then held the book behind my back so that I couldn’t subconsciously pick out of the front of the book indicating the Major Arcana or towards the end where the Minor Arcana’s poems would be. It was really lovely ....and lightened the energy.

If you love poetry, Tarot or indeed both then this would be the perfect way to treat yourself. I will finish with a poem of a card which of course I picked at random!

Publisher: Fair Winds Press; New Ed edition (2001) ISBN-10: 1931412561

THE TWO OF CUPS - ‘EQUILIBRIUM’ Priestess emotion soft and steady.

Floating over the inner waves and Smothering them in damping love, With surfer feathers crossing above.

River floating below, Always buoyant, Always ready The energy of equilibrium Is tranquil, steady and sure, With balsa feathers and cactus, Clear intention takes her down To the ocean From icy lofty climb.

When You receive the Equilibrium card Soften Your emotions and float With them like a priestess From jagged mental peaks To the ocean below.

Maintain emotional balance Despite all float, float, floating Watery halls.

Art, Death, Magick and the Spaces In-between Charlotte Rodgers All of us are born with both talents and with imperfections.These gifts and flaws are subjective according to the society we are born within and often move from one category to another, as we progress on our journey of life.

One of my gifts is an ability to work with remnants of death.

Working with the remnants of death seems to come naturally to me and admitting who and what I am is a key part of any magickal process.

Also being aware of and adaptable to changes in life and environment is an act of magickal in itself.

Grimoires and 13th century Cabalistic writings have a place, but I am one of those people who need to feel and do.

Although I have a very impulsive now streak! I try to acknowledge that and find positive aspects of these personality traits while remaining aware of any problems that may occur and making the necessary concessions.

Even though I only work with animals that are found dead, or have naturally died or are dead as a result of road kill, many of the animals that I work with have died as a result of modernity, albeit as a result of being hit by a car, poisoning or such.

Their bodies are often changed due to steroids or chemicals (think inner city seagulls with all their steroid rage) so when you start working with them there will be layers of ‘stuff’ figuratively speaking, covering the essence of their species.

When you do any work with a wild animal, as opposed to a domesticated or inner city creature you will really notice a difference.

Acknowledging this and moving the layers of muck from the inner nature is in itself a ritual.

You are recognising aspects of destruction and removing them; it’s a way of giving back to the earth, as well as to the wilder part of the self.

Brave New World Mixed Media with birds’ skulls, broken glass from London Riots 2011, quartz crystal, deer bone and volcanic glass. Image by Marc Aitken

My basic tools are a black rubbish bag or plastic carrier bag, and a good knife, which I tend to carry everywhere with me Also rubber gloves and a dissection kit are indispensable.

I also use essential oils as I find them more ritualistic, for sterilising, anointing, and as an insect repellent.

I tend to not boil the bones or use chemicals. I’m not into the white look unless sun bleached and I find artificial bleaching processes sap out calcium leaving the bones more brittle, besides working the old fashioned way with toothbrush, water and soap is more mindful.

I generally work with things as they come into my life, then analyse afterwards what the meaning was.

Once prepared I’ll paint over the bone with a paint made from dragon’s blood which represents a circulatory system and the giving of life, albeit contained life.

It is a way of opening myself up to the spirit and energy of the species I’m working on, mingling it with me and then putting it back into the bone.

Then I seal it in the bone according to my intent.

If I want to rebury or burn the creation, or it is to be used as an offering in a ritual, I will use biodegradable colour on it; ochre’s, or natural pigment based food colourings.

My favourite paints though are the ones that are used for model-craft work. They come in incredible iridescent colours so you can dribble and mix and they are shiny and reflect light beautifully which great especially. if you are creating a spirit house.

I’d recommend doing some reading up on crazing techniques which were used and still are used for camouflage.

On one level we are taking a technique which is used within warfare and subverting it, which is my mind is good magick, and on another we are using colour and light to create illusion which is also very magickal.

Doing this sort of work is making art and magick, as well as creating an offering for the gods, ourselves and the animal itself.

The last time that I talked here I was asked if I make this art within a circle, or within an obvious ritual context.

I don’t, however I do get into a magickal head set before I do anything.

Magick always has been about healing and transformation. It has always been easy for some magickal people to get lost in their heads and lose sight of an outside world, one that needs attention.

Holding a bone, and opening yourself up to it, you connect with something deeper than yourself, a memory beyond the individual and one lifetime.

Working with remnants of the dead, in art and magick you are allowing yourself to learn from the past and you are in the privileged position of being able to use it to create changes in the present, and the future.

For more visit www.perdurabu.com/

Totentanz Mixed Media with Crane’s head, fox bone and Turkey Chick Image by Marc Aitken

DATES FOR THE DIARY SAMHAIN CHILDRENS EVENT TRICK OR TREAT FRIDAY 31ST OCTOBER FOLLOWED BY THE BANQUET & WYTCHES’ BALL (PLEASE SEE MAIN ADVERT) THE DOLMEN GROVE YULE BALL

The Power of Music

'Music in the soul can be heard by the universe.'

Lao Tzu Living in modern times we are exposed so often to such a diversity of music that we become at times oblivious to the fact we may be, if not listening, certainly frequently hearing a plethora of collective processed sounds, snatches and fragments of melody.

The general contemporary Jingles, advertising, programme intros, doorbells, alarms; all part of a cultural signal and often emotional language we have come to understand and are almost become immune to. Personal ringtones, a matter of choice, an outward token of identity, choices of music meant as art in-itself, each holding an intrinsic intangible quality that speaks to our essence, our experience that reaches in and moves us, that makes us feel.. Although censorship is still minimally exacted, the phenomenon 'music' resides in such realms of freedom that expression and involvement with it is unquestionable. The choice is ours.

Variety is accessible. This intangible quality of harmonised sound, like the omnipotent air we breathe and that moves through us, is made ours by better right than Man's.

But knowledge of that intrinsic, emotive power has caused humankind to question that freedom.

A mere whisper of a page in Time's endless book, reading Plato thoughts from within that modern experience is difficult, oppressive and demanding.

Such does he realise the deep omnipotence of that transcendent power: 'Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything' And with that realisation he sets about discerning and prohibiting forms that speak to the chaotic heart for the sake of the Utopian state in The Republic.

As we read on we have the hindsight of history with us, that of the barbarous effects of intensely proscriptive governments that undoubtedly found inspiration in these ancient texts. Plato and his worshipful following exhibit a convincing sense of knowing that have sent ripples through centuries because at its centre is that universal truth, that music connects us with the Universal Soul. Plato advocates what is to be heard, for harmony and rhythm 'permeate the inner part of the soul more than anything else ‌'

In opposition stands, or is that staggers, Dionysus.

His are the chaotic, intoxicated, wild and chthonic realms of excess, the tumultuous belly of our being. Nietzsche describes the value of the Dionysian drive as a unifying force, the place of primal unity.

'Under the spell of the Dionysian it is not only the bond between man and man which is reestablished: nature in its estranged, hostile or subjugated forms also celebrates its reconciliation with its prodigal son, man.'

A human being is made by that which they experience, and that which they experience has the power to reveal their supreme qualities.

Plato says' ... if someone's soul has a fine and beautiful character and his body matches it in beauty and is thus in harmony with it, so that both share the same pattern, wouldn't that be the most beautiful sight for anyone who has eyes to see?'

While Plato advises the removal of all music which speaks to the dark side releasing and inflicting chaos on a just world, Nietzsche advocates that just such an awakening serves as a unifying and supremely creative force, and that music, as an authentic 'unmediated copy of the will itself ' offers the maximal medium for the communal chthonic journey to the throne of our tragedy and of our ecstasy.

Poets, he says, are only to write words that make an 'image of good character' so that ultimately the finished compositions will 'strike their eyes and ears like a breeze that brings health from a good place.' such is the power of song.

In 1871, more than two thousand years, later Nietzsche stood and spurned this strict prohibition in The Birth of Tragedy. Also affirming the significance of music as that which speaks to the innermost part of a human being, he maintains that music plays a vital and healthy role in speaking to an individual's darkest realms, playing an important role in their unification within community and in the completion of themselves as individual beings.

He names two opposing drives; one named for the Greek god of light, Apollo, who is our reasoning, our compulsion to order and so bring calm by interpreting that which we perceive in dream and in vision, and is the mechanism that harbours the potential promise of prophecy.

'Apollo is at once the god of all plastic powers and the soothsaying god. He who is etymologically the "lucent" one, the god of light, reigns also over the fair illusion of our inner world of fantasy. ' It is Apollo who brings the fair illusion of the dream sphere to fruition that produces, makes and stabilises. He is the set of our innate, individual guiding principles that we trust in to guide us through troubled times.

' . . under the mystical cry of exultation of Dionysus the spell of individuation is burst apart and the path to the Mothers of Being, to the innermost core of things, lies open.'

Allan Bloom in ‘The Closing of the American Mind’, lies somewhere between the extremes of Plato and Nietzsche. There is a sense of disdain and stuffiness as he describes the over-availability of music due to the advent of personal stereos, saying that people listen to it everywhere all the time and in its plethora of forms at the expense of taste and depth of understanding.

He mourns the apparent death of classical music, not only in its playing but in its production, believing it to have become a minority reserve, its sentiments bearing no relation to the sensitivities of the present, and that rock music as a replacement 'is as unquestioned and unproblematic as the air that [we] breathe . . ' He generalises that all too accessible, and much purposefully made so in an ever astute market, rock music is simply too raw in his eyes, appealing only to the 'barbaric' functions in human nature and - reminiscent proof of Plato's theory - it offers 'too much too young' for spirits too unformed to realistically evaluate their effect, he says culminating and encouraging disillusion, rebellion and unrest.

Through his obvious disdain Bloom does recommend food for thought: that sometimes we should reflect and step back, so that the Apollo might be invited to examine the Dionysus, to the exercise of the power of doubt over that which has drawn us blindly and hypnotically in.

'So it may well be that through our greatest corruption runs the path to awareness of the oldest truths.' is his glimmer of hope; to doubt that which we love.

It's a hopefulness that rests on Bloom's obvious love of music, his despair rests on that the depths of its art has largely lost, through its heavy dilution, the respect its true power on the soul deserves, that the expansive wealth of its subtle levels of energy are not shared, experienced and learned from; that too many are simply 'missing out' on the true richness of music.

Perhaps it is that most of us hunger for the unreason of Dionysus, seek out the raw, unpolished, sexually charged music that pulls at the soul of us in this modern, ordered and predictable world, and that the majority of us have no need to pull back and decipher why.

With the progression and saturation of sound does that unawareness matter?

Perhaps Bloom should admit that much of contemporary music in fact has those classical, informed qualities, and sustains the same creative rebel element that compelled historic and immediate figures such as Paganini, Mozart or Beethoven, who themselves personify the Dionysian drive itself, often purposefully.

And that the traditional concept of classical music is far from dead, most popularly permeating the public through for example film scores, and there is that heady scent in all genres and fusions; the unsophisticated pagan heartbeat blends with modern genres, where sometimes the foreignness of a voice becomes an instrument of wonder, regardless of the words.

These three passionate philosophers sail a boat and scan the constant seas of change, observing the brother gods at work and play, looking to what lies on horizons. Plato's emphasis on nurture above nature is problematic for us, and Nietzsche proclaiming music as 'an unmediated copy of the will itself ' representing both Apollo and Dionysus offering the balanced hand in the creation of its unifying structure, says something of its potency on an opened mind.

As for Bloom, it is valid that there should be opportunity to relate to more than the mass media music fed to us and he is right that there is limitless value in the enjoyment of live music in real and actual time.

Apollo and Dionysus: chaos invites order and order invites chaos, twin drives ultimately and ideally unite, balance and inform each other in a common creative purpose. One recalls an iconic cinematic scene with Bates and Reed wrestling in naked combat before the roaring fire of creativity, to swear an oath of blood-brotherhood.

In * Cymatics and the Chladni figures there is haunting proof that matter responds to sound and we might also reflect on the potent effects said to emanate from experiencing the Solfeggio frequencies. There we find sonorous sculpture made tangible and wonder if perhaps the universe so adopts its forms, in the greater part, to the tune of its own music and that then we ourselves are the shape that sound has made us.

In sound we discover a universal benefit in a deep temporal expression of world-alienation, of all that lies beyond the Circle of the Moon, the path to an Other-worldliness akin to the spinning axis of the Dervish 'Music is accordingly, when viewed as the expression of the world, a universal language to the highest degree . . . .'- Nietzsche 'If music be the food of love, play on' - William Shakespeare (Twelfth Night) CYMATICS : one to try at home . . . http://www.youtube.com/watch?v=Bs3uPbhIZxc Written and illustrated by Sem Vine

LOOKING FOR A GREAT POST-RITUAL TREAT ?

TRY THESE FAERIE COOKIES! Sharing a special treat after a group ritual helps participants get grounded and inspires conversation, giving folks a chance to make and strengthen connections. But a post-ritual treat isn’t just for company!

The following recipe for Faerie Cookies is so simple, there’s no reason not to pamper yourself with a few luscious bites after a solitary ritual or anytime you feel like celebrating the magick and mystery of the faerie world I call them Faerie Cookies because they look, smell and taste like something only the fey could have created, and once you make them you can easily imagine a host of faeries enjoying these delicate sweets with a cup of tea.

Before you start, a note about cooking with botanicals: When using flower petals in food make certain the plants are graded for human consumption. Plants should be grown organically and processed without additives. Flowers from your garden are the best choice, but if homegrown isn’t an option then consider ordering dried material from a reliable online apothecary or taking a trip to the farmer’s market.

Cookery grade essential/flower oils can be substituted for plant material, and in some cases oils are a better flavoring agent than flower petals, but not as pretty. In the following recipe I use lavender flowers and lavender essential oil to make sure the cookies appeal to the eyes and the palate.

Ingredients (*including their magickal correspondences) This makes approximately 2 dozen cookies, depending on the size/shape of your cutter.

1 ½ cups (340 grams) unsalted butter softened 1 cup (128 grams) white sugar 1/4 teaspoon fine sea salt

*Prosperity

*Happiness

*Protection/Purification

Approximately 4 drops pure lavender essential oil 3 ½ cups (450 grams) all-purpose flour

*Abundance

1 teaspoon dried food-grade lavender flowers ¼ cup (60 gram) dried food-grade calendula petals

*Love/Peace

*Love/Peace

*Increase Magickal Powers

1 tablespoon fresh lemon zest (substitute orange zest if lemon isn’t available)

*Health

In her book “A Kitchen Witch’s Cookbook” Patricia Telesco states that in general, cookies correspond to a motherly, nurturing energy. With so many ingredients that promote love and well-being, this recipe for Faerie Cookies are powerful magick, indeed!

In a large bowl, mix the butter, sugar, salt and essential oil together with a spoon, by hand. Whipping the ingredients, which adds air, should be avoided, so a spoon and elbow grease are preferable to using a mixer.

Sift the flour into the butter/sugar mixture. Mix until the dough comes together.

Add the lavender petals, calendula and zest and stir to distribute the botanicals evenly throughout the dough.

Form the dough into a ball. Cut the ball in two equal halves and flatten each half into a disk. Wrap the disks in plastic and chill for 30 to 60 minutes.

Lightly flour your work surface. Work with one disk at a time and roll the dough until it is ½-inch thick.

Flour the rolling pin and the dough as you work to prevent sticking.

Use cookie cutters to cut the dough in interesting shapes that correspond with your celebration.

Transfer cut cookies onto a parchment-lined baking sheet and place in an oven preheated to 350 degrees F. Bake for approximately 20 minutes or until the edges are lightly golden.

Do not let the cookies brown.

Let the cookies cool for 1 to 2 minutes before removing them from the baking sheet and onto a cooking rack.

After cooling, store in an airtight container for up to week assuming you can keep them that long!

These fruity, flowery sweets are perfect for serving at any spring or summer gathering. The magickal energy of the ingredients also makes them wonderful for a full-moon celebration or to cheer a friend in need of an emotional lift.

Only pure, organic essential oils should be used for consumption. Synthetic or blended oils may not be safe to ingest. Check labels carefully.

TJ Burns TJ is the author of two books on Pagan topics. Her newest release “Writing Wild: Crafting the Pagan Memoir� can be found at Amazon and other major retailers. In addition to writing and baking magickal cookies, TJ enjoys dancing with the garden devas under the full moon and teaching her grandchildren to do the same.

Wynterkallista offers a range of natural,ethically sourced Aromatherapy health and beauty products created with care.

We also specialise in hand madePagan/Wicca products, such as Wands and Staffs, Herbs, Dilly and spell bags.

We are fully licensed by Cosmetic Safety Consultants Ltd. Also a qualified, experienced and fully professional member of the Guild of Holistic Therapists Wiccan High Priestess and Celebrant winterkallysta@yahoo.co.uk www.facebook.com/Wynterkallista

Weymouth Pirate Festival Weymouth Pirate Festival is the brainchild of two of the Dolmen's crew, Steve Booth and Mark Vine. It was conceived as a means of raising funds for the Weymouth Old Town Hall and, like the Crabchurch Conspiracy weekend (based on the book of the same name) which the pair also organise, it is both a re-enactment and music based event.

The first one in April 2014 raised over 900 pounds for the hall''s restoration, with over 60 pirates, militia and wenches turning up to perform. The next one at the beginning of November could see double that number and, as with the April event, will include the much-loved Dolmen in concert doing one of their Pirate's Keep evenings.

Also involved in the event this time, will be the Tall Ship Pelican around which a lot of the action will take place.

The two friends are planning an even bigger Pirate Festival for the Spring of 2015 when they hope to get, along with The Dolmen, another great pirate band along to perform, The Pirateers from Cornwall. By then it is hoped that the event will attract quite literally hundreds of pirate reenactors and really put Weymouth on the pirate's map. https://www.facebook.com/pages/Old-Town-Hall-Weymouth/193500114026?fref=ts

enquiries@adventureundersail.co http://www.adventureundersail.com https://www.facebook.com/adventureundersail/timeline

https://www.facebook.com/crabchurch?fref=ts http://crabchurch.co.uk/

https://www.facebook.com/thedolmen?fref=ts http://www.thedolmen.com

The Unifying Light of Wisdom from the Shekinah wisdom goddesses of the ancient world, the unnamed Wisdom Goddess of the Hebrew Bible (especially the Book of Proverbs) and early Jewish wisdom literature, the Shekinah is the manifestation of feminine divinity in the Jewish “For she is more beautiful than the sun, and above all the order of stars: being compared with the light, she is found before it. For after this cometh night: but vice shall not prevail against wisdom,” ~ Wisdom of Solomon 7:29-30, C1st BCE The Kabbalah is a Jewish system of mystical philosophy and spiritual practice which syncretised components of Gnosticism, Neo-Platonism, and early Jewish mysticism (Merkavah mysticism) with aspects of ancient Sumerian and Egyptian cosmologies. These diverse sources all came together in tenth fourteenth century Europe, although their origins were considerably older.

Due to its early oral origins, the first appearance of the Kabbalah cannot be specifically dated.

Considering the word Kabbalah means ‘received wisdom’, this oral beginning is entirely appropriate. The Sepher Yetzirah (Book of Formation), one of the key texts on which Kabbalistic philosophy is based, is usually regarded as being dated to the second-third century CE. The Shekinah has a range of powerful roles and functions within the Kabbalah, being seen as the primordial light of creation, the heavenly glory of divine wisdom and the inspiration for prophecy.

She is also the world soul, manifest through the divine sparks of her light which comprise human souls and thus unites us all. With roots in the

mystical systems known as the Kabbalah and Merkavah (‘Chariot’) mysticism.

The transition from unnamed Wisdom Goddess to named divine feminine wisdom occurred around first-second century CE, contemporary with the Gospels, the earliest Merkavah texts (such as the Revelation of Moses), the first Kabbalistic text (Sepher Yetzirah) and the proliferation of Gnostic texts. The name Shekinah first appeared in material found in the Onkelos Targum, which dates from the first-second century CE. This text, by an unknown author, was misnamed during the medieval period after Onkelos the Proselyte (35110 CE), who translated the Bible into Aramaic.

In the Onkelos Targum the term Shekinah is used to illustrate a divine presence which is separate from Yahweh, as in the paraphrase of Exodus 25:8; “And they shall make before me a sanctuary and I shall cause my Shekinah to dwell among them.”

The first glimpse of the power or function of the Shekinah is seen in the meaning of her name, which is derived from the Hebrew root Shakhan meaning ‘to dwell’. In Kabbalah this meaning hints at her tangible presence as a visible manifestation of the light of wisdom in the books of the Hebrew Bible, as the burning bush seen by Moses, in the Ark of the Covenant and in the Temple of Solomon.

A story of the first century religious teacher Rabbi Gamaliel records that when he was asked why

God revealed himself in a burning bush to Moses, he replied “To teach you there is no place on earth not occupied by the Shekinah, that is, there is no place on earth where the Shekinah cannot reveal itself.”

The idea that it was the Shekinah who spoke to Moses from the burning bush is a common one in old Kabbalistic texts. As the Shekinah was equated to both of the prophetic mediums of the Ruach HaQadosh (‘spirit of holiness’ or ‘holy spirit’) and the Bath Kol (‘daughter of the voice’), it is easy to see why the burning bush should be considered as one of her manifestations. The burning fires of the bush also hints at the divine fires associated with the Shekinah in many of the descriptions of her.

To gain a greater understanding of the self, the universe and the divine, Kabbalists have studied the books of the Hebrew Bible for inspiration and guidance for many centuries, producing numerous works in their discussion of the hidden meanings and layers of revelation found in the words and phrases of the verses and chapters (including Gematria which is the study of their numerical values and associations). When studying Kabbalistic writings from the medieval period onwards, the Shekinah can be found permeating Kabbalistic philosophies and the glyph of the Kabbalistic Tree of Life. This is especially evident in two of the most famous Kabbalistic texts, the Bahir and the Zohar.

The Zohar emphasises this connection between the Shekinah and breath, saying: “And the Lord God formed the man out of dust from the earth and breathed into his nostrils or soul the breath of life,’ the divine Shekinah.”

One of the most important attributions of the Shekinah in Kabbalah is as the Neshamah or higher soul. The Kabbalah describes the soul as having three main parts, the Neshamah, Ruach and Nephesh. The Neshamah has two further divisions, giving five parts in total. This is why the Hebrew letter Heh, with a numerical value of five, is often seen as being a symbol of the soul.

Heh is also symbolic of the Shekinah in the divine

name Tetragrammaton, a fact which is no coincidence. Tetragrammaton, the unpronounceable name of God, is commonly spoken as Jehoveh or Yahweh, and is comprised of the Hebrew letters Yod-Heh-Vav-Heh (IHVH), which are equated to the divine as the family of Father, Mother, Son & Daughter.

Every letter in the Hebrew alphabet has a numerical value, giving every Hebrew word a total numerical value based on its letters. One of the practices found in Kabbalah is gematria, where these numerical totals are compared to produce spiritual and philosophical insights where word totals match. E.g. the word for Unity, achad (AChD) is made of the letters Aleph (A), Cheth (Ch) and Daleth (D), which have numerical values of 1+8+4 = 13; likewise the word for Love, ahebah (AHBH) is made of the letters Aleph (A), Heh (5), Beth (2) and Heh), giving 1+5+2+5 = 13.

So a Kabbalist might infer from this that the nature of unity is love (as both add to the same total). Using these two words as a further example, together they add to 26 (2 x 13), the same number as Tetragrammaton or Jehovah, so

by Gematria one could say that God is the unity of divine love.

This view is particularly emphasised by the famous medieval Jewish Kabbalist Abraham Abulafia (1240-1291 CE), who said, “The name of God is composed of two parts since there are two parts of love (2x13) [divided between] two lovers, and [parts of] love turn one [entity] when love became actuated. The divine intellectual love and the human intellectual love are conjuncted being one. This is the great power of man: he can link the lower part with the higher [one] and the lower [part] will ascend and cleave to the higher and the higher [part] will descend and kiss the entity ascending towards it, like a bridegroom actually kisses his bride out of his great and real desire, characteristic to the delight of both, from the power of the name [of God].”

So from the perspective of the Shekinah, the human soul is divided into the three major

components of the Neshamah (higher soul) which is equated to the Shekinah as a spark of her fire, Ruach (middle soul) which may be equated to the Shekinah as the breath of life, and Nephesh (lower soul). As an expression of the Earthly Shekinah within the individual, the Ruach is the seat of moral qualities divided into five sub-parts, corresponding to the faculties of Memory, Will, Imagination, Desire and Reason.

The different parts of the soul are considered to each exist in a different world or level of being, demonstrating the interconnectedness of man, the universe and the Tree of Life as all being manifestations of the same creative divine impulse. The Zohar, on the subject of unification, states: “Observe, when there is a just man in the world, or one whose higher and lower self have become harmonized and unified, the divine spirit or Shekinah is ever with him and abides in him, causing a feeling of affectionate attachment towards the Holy One to arise similar to that between the male and female.”

Echoing the attribution of the Shekinah to the higher soul, some of the Gnostics also viewed the soul as feminine, as seen by the opening of The Exegesis on the Soul (one of the Nag Hammadi texts): “Wise men of old gave the soul a feminine name.

Indeed she is female in her nature as well. She even has her womb.”

In an important discussion of the generation of souls, the Zohar makes the hermaphroditic nature of the soul clear, saying, “When souls issue, they issue male and female as one. Subsequently, as they descend they separate, one to this side, one to that side ... Happy is the human who acts virtuously, walking the way of truth, for soul is joined to soul as they were originally!”

Developing the idea of the hermaphroditic nature of the soul, the Hebrew words for man and woman both contain within them the mystery of

the Shekinah as the divine fire of the soul when explored from a Kabbalistic perspective. The word for woman is ishah (Aleph Shin Heh) and the word for man is isyh (Aleph Yod Shin). If we remove the Heh from ishah and the Yod from isyh then both words become esh (Aleph Shin) meaning ‘fire’. So we can see that both women and men contain the same fire within them (the Shekinah), but the difference is in the manner of its manifestation and expression.

The Yod from isyh (man) represents the masculine principle as the Father in Tetragrammaton, and in appearance it represents the phallus and the sperm. The Heh from ishah (woman) represents the feminine principle as the Mother (and daughter) in Tetragrammaton, and in appearance it represents the legs.

The Zohar says of the parts of the soul that, “all three are one, comprising a unity, embraced in a mystical bond”, reminding us that the quest for the divine is one which is true to all religions. As Francis Peters observed, “What was called by the Jews the Shekinah, the Divine Presence, became for Eastern Christians the Divine Light, which ‘illuminates the soul from within’.”

In the quest for illumination, the divine wisdom offers her light for all who seek.

Bibliography D’Este, Sorita & Rankine, David (2011) The Cosmic Shekinah: A Historical Study of the Goddess of the Old Testament and Kabbalah.

London, Avalonia Matt, Daniel Chanan (2003-2009) The Zohar, Pritzker Edition (5 vols). Chicago, Stanford University Press Peters, Francis E. (1990) Judaism, Christianity, and Islam: the Classical Texts and Their Interpretation. Princeton, Princeton University Press Rankine, David (2005) Climbing the Tree of Life. London, Avalonia Sperling, Harry, & Simon, Maurice (trans) (1933) The Zohar (5 volumes). London, Soncino Press

T

The Dolmen Grove Wheel of the year February (Imbolc) -The Enchanted Market, Wokingham, Berks.

March (Ostara) -Psychic fayre and Spring Ball, St Austell, Cornwall April (Beltane) - Spirits of Rebirth Camp, Dorset 27th June -A Midsummer Nightmare 22-25th August - Tribal Dreams, Gathering of the clans September (Mabon) - Bracknell Gathering October (Samhain) - Psychic fayre and Wytches ball December – Yule Ball

Samhain Thoughts and Tales Speak the words (You know which ones by now.)

And when you see yonder

Xroads Under the watchful eye of the Moon.

Better still if you rested with the Shades for a while: A tombstone for pillow, The mounded earth for bed.

They like that, sometimes, and in return Will fill your dreams with revelation and yet-to-be.

(O else, tie you to the saddle of the Night Mare.)

Take the tomb dust in your left hand And stand alone at the crossroads at midnight.

(Midnight being the Crossroads of Time.

Taking dim shape out of starlight, That figure; that Dark Man, (You’ll know him by his limping; Sometimes his antlered crown; Perhaps instead the silk hat and cane-) Or hear the distant baying of the hounds And know it’s Her insteadStand your ground, but respectfully: Steel your heart and ask graciouslyTake the apple offered.

(It will stop your mortal breath.)

When the cock crows thrice You’ll have not what you came for But what you need.

Ceitidh Brown

Cold Moon The cold moon climbs in a mercury sky Framed in the glint of a witch’s eye Obscured by clouds yet rising still Up for the ritual and in for the kill.

There are ghosts in the circle and chants on the air Blood on the stones, as the flesh starts to tear.

The cold moon watches the dark night long Smiling down on the witch's throng Holding their court in the midnight freeze Old souls casting spells on the breeze Foxes screech as a stag rushes by His heart pumping, his antlers held high Out of the wood and on to the track Froth on his lips and sweat on his back All the night long he’s followed the Ley As darkness rushes towards a new day The Stag Lord returns to his people again On this beautiful, blessed dawn of Samhain

Mark Vine

The Show off “Which way did she go? Really which way did she go? ...Wow! She must be a really Mighty Sorcerer” “Or just showing off!”

The two women watching her became mesmerised as she disappeared into thin air followed by a loud AHHH KABOOM!!

“Where did she go” they asked in unison as they looked around.

Then they noticed where they were standing. As their gaze returned downward they noticed nearby on a patch of earth an imprint of a broom and star.

“Where do you think she went? What the heck?”

Exclaimed one of them. ” Look!...Up there…There she is sitting on the moon…That’s her leg stretched out over the side of the gibbous edge.”

“Mysterious to say the least” said her friend.

“Look she’s leaning back …And there’s her head…See it?” said the first woman still quite mystified by the whole thing. “And look there are small stars in her hair...How pretty.”

The other then realised something odd and exclaimed partially in horror and partially in disbelief ”I think she’s smoking a cigarette!”

“On the moon? That’s absolutely sacrilegious…!! Blasphemous!! …I mean everybody knows there’s no smoking on the moon!”

“Really?” said her friend somewhat doubtfully. ”Yeah absolutely! They should kick her off!” ‘ “Hey watch out for that fallen star it’s headed right for us… Quick! Run for your liiiiife!” screamed her friend.

They bother Ran screaming into the night Ha! Ha! Shrieked the great witch “Never mess with a witch while she is smoking a cigarette with the Great Lady…added quietly more to herself than anyone else ”Still it’s a good thing she caught me time or I would be flying through the universe and who knows where I would have ended up …But that’s our secret!... Now, without my broom how am I going to get down from here?...Call the fire department? Ah I’m so funny”.

Then the Great Lady gently took hold of her, carefully placed her back down on the earth and whispered ” Mother Earth and myself constantly work together to keep you safe and happy” The goddess then gave her a little swat on the rear… adding in a cautionary tone “And no more drinking and riding!!!!”

Lynette Flynn

Nightmares (With apologies to Edgar Allen Poe) In the hours of the morning, Just before the day is dawning, When spark of life is deepest hidden, Then, dreaming, spectres come unbidden.

Knocking at my right brains door.

Darkly shadowed, lurking stranger, Precursor to some nameless danger, Dread, that through my mind goes seething, Whilst all I hear is, something, breathing.

Breathing at my right brains door.

Ghoulies, ghosties, grims and gremlins, Fearful fetches leave me trembling, Unhallowed landscapes stretch before me, Hands reach from the ground to claw me.

Scratching at my right brains door Quoth the left brain, “tis a dream and nothing more”.

Amorphous shapes that drool and snicker, Candle flames that dim and flicker.

Revealing by their luminescence, Viscous pools of pale putrescence.

Seeping ‘neath my right brains door.

Swirl of fog and vapours choking, Werewolves howl and Raven’s croaking, Stench of foul and gruesome Goblin, All come sliding, creeping, hobbling.

Hobbling to my right brains door.

Sights to set my heart strings thrumming, Foulsome mud that stops me running, Mis-shapen shadows lurk and gather, Packs of hell-hounds growl and slather.

Slather at my right brains door.

Quoth the left brain, “tis a dream and nothing more”.

Skulls with eyeless sockets bleeding, Take revenge for too much reading, Tales by Lovecraft, James and Benson, All these help to raise the tension.

Gripping at my right brains door.

Ghosts in fifty shades of grayness, Sigh in soft despairing faintness.

Eerie winds set curtains flapping, Unseen hands set tables rapping Rapping at my right brains door.

A shuffling, shambling, bandaged figure, Newly risen from Death’s rigor, Holds forth a gleaming eye of Horus, While I yearn to hear Dawn’s chorus.

Singing at my right brains door.

Quoth the left brain, “tis a dream and nothing more, Waken now….

Or Nevermore! ”

Martin Pallot

The Ghost Hunt Samhain last year I was invited to go along to a ghost hunt; Ghost hunt……now there’s a phrase I hate because I don’t like to hunt ghosts, I like to communicate with spirits (where there are spirits), there’s a BIG difference! And those of you, who know me, know that I don’t go along to these commercial ghost hunts. I believe they are a tacky rip off, the so called expert investigators using fabricated tales of happenings that have never actually happened apart from the local childhood gossip, which has been accepted as fact. Now don’t get me wrong, I believe, but I am a sceptic, I have a scientific mind; I believe what I see, feel and hear, not what a ‘celebrity expert’ is telling to see, feel and hear, but I digress……

So picture the scene…...I have agreed to go to a local ‘ghost hunt’ to appease a friend who has never been to one before. She’s overly excited, hyped up and already scared out of her wits because the investigator, wait for it……told her ‘she should be’……on a social network site! So as you can imagine, I am extremely unimpressed already. So we make our way to the ‘secret location’ which turns out to be a very modern, unsecret location, there are posters on the board outside advertising weekly ghost hunts. I roll my eyes, smile sweetly and decide that I will try my very best to keep my big mouth firmly shut, for the sake of my now trembling, wide-eyed excited friend.

So there we are, my friend, myself and fifteen other people, who I’d like to add have the same wide-eyed expression and synchronised trembles going on, huddled in a dark room (why do they have to switch all the lights off?) silently waiting……waiting……waiting……and still waiting……waiting for what?

“OH MY GOD, DID YOU HEAR THAT?” the lead investigator calls out. And I try not to, but I can’t help it.

“What” I reply “I didn’t hear a thing” A torch switches on and shines directly into my eyes.

“The heavy breathing, that rasping……can’t you hear it?”

I don’t hear a thing, unless you count shuffling footsteps, coughs and giggles.

“Yes” comes a shriek, followed by another “yes” and another. Lead investigator Dopey (I named him myself) flashes the torch around encouraging the trembling, wide-eyed group of people to tell him ‘what they can hear and feel’. And already I can see this is going to be a long and laborious night.

So this goes on for nearly a whole hour, a whole bloody hour of shrieks and yells and ‘ooooohs, aghhs’ and the occasional scream of “something just touched my shoulder”, and quite frankly, I’m bored, bored out of my head, wishing that I was at home doing anything else except this. I have no Wi-Fi signal to update to social networking how much of a boring night I’m having, there’s no coffee, not even a rich tea biscuit and this has cost me £70, yes that’s right, £70!

We’re in a dark, damp and dinghy place and I’ve had enough of lead investigator Dopey and his sidekick Dipsey telling me that I just don’t have ‘the gift’, that I will never be able to communicate with these spirits, could I please stop mumbling that I’m bored and that there is no way at all they would even consider me to join them on their ‘exclusive’ training course, that I might add will cost nearly the same as the average monthly wage! I’m doing this for friendship and friendship only I say to myself.

I have been avidly time watching, as my thoroughly over-excited friend, who is now convinced she’s ‘got what it takes’ to be an expert ghost hunter because lead investigator Dopey told her so, is bouncing around like a child in a sweet factory excitedly anticipating the crescendo of tonight’s hunt……the hallway. I stand halfway up the spiral staircase, observing the herded converts, my eyebrows raised, sniggering to myself, hopefully not too loudly. “Reputedly the scariest place in the whole of Britain” deputy investigator Dipsey tells the huddled crowd.

“Yeah right, isn’t that true of every ghost hunt location, that was rhetorical and totally sarcastic, there is nothing scary about this place at all, there’s not a single spirit in sight or within hearing distance, in fact any spirit that once called this place home is long gone, if there ever was one, and I highly doubt that. The ghosts simply vanished, vamoosed, nothing……nothing at all.

There’s more activity coming from the resident spiders than any apparent ghosts” That’s when I realise that I haven’t actually said any of this in my head at all, it all came out, and came out very loudly too!

There is sudden silence, no more gasps, nor more ooohs, the whole herd turn in unison to look at me with faces ranging from disgust to shock and utter horror. Investigators Dopey and Dipsy look like they might actually spontaioulsy combust; well at least if they had, that would have been some sort of activity that would make the ticket price worthwhile, I think to myself. And that’s when it happened. Now whether the resident arachnids were in agreement with me or disagreement with me is still a debatable subject. The only thing I do know is that the spiders sent an envoy, of the monstrous kind; what at the time appeared to be the biggest, hairiest spider I have ever seen and it decided to communicate with me by dangling down on its silken thread right into my face!

Now it could be that the spidery envoy (who may have been quite small and friendly), completely agreed with everything I had muttered, thought and said that night, or it could be that it thought I was in fact a total idiot who should learn to keep the things in my head, actually in my head.

But what happened next really gave the herd and the investigators complete value for money. So as I said, the arachnid envoy communicated with me, in a way that I really did not want to be communicated with. I suddenly became an expert ninja, swiping out with my hands, arms and legs, shrieking louder than any of the other guests had done that night. I did my best running on the spot impression whilst flapping my arms above my head and as I was doing so, missed my footing, tumbled and slid most inelegantly, head over heels, arms and legs twisted out at odd angles all the way to the bottom of the spiral staircase, where I landed on my bum to a rapturous applause from the herd, Dipsey and Dopey. Not only was I aching and physically bruised but my ego was bruised even more. My friend dragged me unceremoniously up from the floor and out of the building, shouting at me for ruining her evening.

So the moral of this story is…….Sometimes it is really best to keep your thoughts to yourself, your big mouth shut and to learn to say no to friends, no matter how desperate they are for you to ghost hunting with them.

Cheryl Waldron

Saturn Devours His Children With razor blade fangs he tears at the lace wings, crushes pitiful limbs, spits out shreds of foetal dress. The helpless sparkles of Life die on his bloodied lips, fade to black like glowworms giving their last breath. He chews loudly, sickening with monstrous indifference, and the clouds shudder and the stars recoil in horror at the absurdity of his

hunger.

He is the Empty Pit, the Black Hole, Primeval Indifference. He is the cavernous Mouth of the World that swallows all into oblivion.

With time-suspending despair Medea contemplates the ruins of her garden, never to bloom again : the black orchids withered, the snapdragons faded; the canker on the stem of the lifeless rose, yesterday's bud doomed to rot, its fragrant hopes brutally silenced.

Her wound gapes like a mouth SCREAMING with blood stained teeth, the blackened tongue protruding like that of a hanged man, and from the womb of her Abyss of Grief harpies are born, and gorgons, and cyclops, a nightmarish brood of shadows to haunt thenight air with the wails of her torment : INSIDE ME IS CHAOS NIGHT WASTE NIGHT WASTE AND VOID WASTE AND VOID WASTE VOID

Louise Lisse

Diary of the Hedgewitch the long dark shadows cutting a sharp contrast; the otherworldly glowing Ah, autumn softly sweeps in, almost unnoticed in the dry silent, still, sticky warm nights and the days that still blaze with heat into October.

Fluttering crisp leaves, flickering sparks ignited by sunlight, slowly spiral gently downwards, bronze, orange, red and gold hues, falling with the ever deepening darkness, a breathing-in, and the first aroma of earthy decay is felt, the delicious scent of life spent.

Crescendo has peaked in the voluptuous curves of fruit ripening in the deep lustre of the autumnal Sun; in the purple gleam of sprawling rampant blackberries, in blood-red haws splattered in wild abandonment, in shiny brown chestnuts crunching under car tyres, in juicy scarlet tomatoes, far from their native South America, still ripening well into the autumn in this year’s heat, and in the glowing roundness of rosy apples falling in their fullness with a thud; all heavy in gestation of their most precious accomplishment: seeds that bear the trinity of past future and present that exist forever now; future seedling imprinting onto the fruit of the past.

Beginnings and endings are eternally embraced and alive within, fertilised and ready to begin another loop in the wild dance of becoming, dying, begetting and devouring.

The climax of fullness and abundance turns to withering and decay in the dank mustiness of autumn as the longing for change brings death and the vital transformation of life.

The vibrant deep hues and richness of colour upon lush green dew drenched grass,

blues, orange, purple and reds of flowers that still bloom; the glinting of sunlight upon the precious harvests of fruit that seem lit from a glow within, all become a monochromatic grey as the stark cold dark months of winter creep in.

The stillness and silence of autumn and winter mark the end of the concertos and hums, swooping, fluttering, and twittering, the lustiness and frantic height of creation, the breathing-out of the summer. In autumn the world inhales. And like the contracting into seed, the migrating flocks, the burrowing into earth of hibernating creatures, and the intricate geometric snowflake, a drawing into community occurs as we gather together.

In my area of rural Dorset, the apple harvest brings together generations of apple and cider enthusiasts, some gnarled like the old apple trees, some brimming with the vitality of youthful spring, and small children scrambling and slipping among the half rotted fruit that lay crushed beneath feet.

The old cider barn with its sweet and acid smell, the scent of fermentation as life turns and transmutes. Smashed green and crimson apples lay smeared and sloshed brown upon the press, as it creaks and groans and gushes juice; happy faces animated by the glasses of last year’s cider glinting pale orange in the low shafts of sunlight; laughing children playing amongst the swaying forest of the legs of adults, dogs with wagging tails salivating at the banquet laid upon a rickety table.

Cheer and gladness abounds as the season embraces rural folk on the cusp of the harshness of winter to

follow, as they do each year, sipping the elixir of last years’ harvest, whilst crushing its progeny in the ancient press, and clasping their own fruit, babes in arms, as the ritual continues generation after generation; all made and ripened by the earth, wind, heat, sunshine, and whirling water which pulsates in the fire of the blood and sap. Colourful jewels upon Indra’s Net. The apple is a good companion, a symbol for the transition from hunter-gatherer to the culture of the garden, paired with the initiation and evolution of humanity, and of that greater precious fruit and wisdom that is our birth-right.

Over and over, again and again, the cycles and rhythms that mark time spin, again we enter the stark frozen bareness and desolation of winter, warmed by Hope for the spring, and the love that burns and crackles in our hearth and the fire of our hearts; each thought and desire cascading outwards like the evening mists that glide from the vales and like the wood smoke that billows, a nostalgia to the nostrils, to disappear into the drab greyness of winter skies and transmute, creating anew and eternally, perpetually, alive.

October Sowing Sowing Calendar forChart last half of October

Sun 12

Mon 13

Tues 14

Weds 15

2pm

19

20

Thurs 16

Fri 17

Sat 18

A 6am

7pm 21

22

23

24

25 4pm

x all day

x all day

27

28

10pm

26

29

1am

30

31 12pm

1am

Key to Astrological Symbols Capricorn November Sowing Calendar

Aquarius

Sun

Pisces

Mon

Cancer

Dark Moon

Leo

1st quarter

3am

A P

Apogee Perigee North (ascending) node

Element Symbols Earth

November Sowing Chart

Tues

Virgo

Weds

Full Moon

Thurs

Air Sat

Fri

South (descending) node

1

Fire 11am Aries

Libra

3rd quarter

Taurus

Scorpio

Highest Moon

x 2

3

Gemini

4

Sagittarius

No sowing

5

Water

6

7

8

Lowest Moon 3pm

Crops to Sow in October Root/Earth 9 10 Onions Garlic

P 0hrs Flower/Air

3am 10pm Fruit/Fire Leaf/Water 12 14 Overwintering salads 13 Broad beans

11

11pm 16

15

3pm

A 2am

3pm 17

18

19

20

21

22 9am

8am 23

24

25

26

x all day 28

27

x all day 1pm

29

3pm x all day P 11pm

8am

10am

30

Key to Astrological Symbols Capricorn

Cancer

Dark Moon

A P

Aquarius

Leo

1st quarter

Apogee Perigee North (ascending) node

Pisces

Virgo

Full Moon

South (descending) node

Aries

Libra

3rd quarter

Taurus

Scorpio

Highest Moon

Gemini

Sagittarius

Lowest Moon

Element Symbols Earth Air Fire

x

Crops to Sow in November Root/Earth Onions Garlic

Flower/Air

Leaf/Water Overwintering salads

No sowing

Water

Fruit/Fire Broad beans

Journey – The music….

The thing that impressed me the most was his immense passion as he recounted the stories behind the shipwrecks around our coastline. As Josh and myself listened to his stories we decided we wanted to write an album dedicated to his work, something that would help from a musical aspect to map out his journey.

Initially I met up with Grahame and began discussing exactly what was involved in the shipwreck project. I understood that while they were diving they were also mapping the Dorset coastline which I thought was absolutely brilliant. I also had the pleasure of seeing the images being photographed during these dives and being able to see this totally different world.

This was a whole new world that previously I had never really looked into before, but I found that it was just as intriguing as looking into space. It was just as fascinating and beautiful as the cosmos yet here it was right on our doorstep!

And of course you can’t just leap in the water and go exploring these depths, divers require a lot of professional training in order to do this. I see this in the same way as astronauts going into space.

As the conversation with Grahame unfolded I learned more of his dreams and aspirations and how from childhood he’d had a deep fascination with the sea which had stayed with him throughout his life and eventually had led to his setting up the shipwreck project.

Throughout the album we endeavoured to capture moments of passion, tension and a whole host of thoughts and feelings that have been and would be experienced on this journey. It is rather like writing the music for Peter and the wolf, not in sound or melody but in as much as the music needs to translate the images conjured up by his stories. It’s something I totally love about making a concept album.

As we worked on the album we got deeper into the music and as we talked more with Graham, so we began to expand more upon our original ideas. There is a saying among the band members of the Dolmen that albums take on their own persona and although this was solely a Taloch Jameson/Josh Elliott production we are both Dolmen members so that ‘Dolmen’ feeling and emotion was still very much present when working on this album.

It is that feeling and emotion that enhanced our interpretation of the passion felt within the shipwreck project. For us it is great to centre an album around an individual life in this way especially when we look at his achievements within the shipwreck project - The history it brings to light, and indeed to life, the photographed images and although Grahame is the founder there is a whole team working alongside him equally as passionate as he is and we too wanted to be able to contribute in some way and writing the music to accompany the film footage became quite a quest. We didn’t want to just write some pretty sounds we wanted something that would bring the shipwreck project to life and show Graham's determination and strength.

While living by the sea plays some part in it, ultimately we are historians and we like to keep history. We did the same thing with the Pirate and Crabchurch albums and we have also done the same thing with the

witchcraft albums because this is our contribution to keeping history alive. We write about the things that matter to us and for those who appreciate and enjoy our music and of course our historical values.

Journey, likewise captured our imagination and fell in line with our love of history and in particular our own local history. The shipwreck project is dedicated to bringing forgotten and lost history back to the people by finding these shipwrecks, photographing and recounting their stories.

In fact it is fair to say we have learned a lot about our own maritime history whilst working on this album and what makes it even better is that Grahame Knott is a brilliant character whose friendly and humorous personality is inspiring. The Shipwreck Project is brilliant and we hope that it will be well supported by people not only in the local area but everywhere

...The album Journey is a truly unique experience, written, performed and produced solely by Taloch Jameson and Josh Elliot.

There can be no doubt as to the talents of these two men as singer/songwriters, musicians and producers as can be seen by their success with the Dolmen.

This album however is a far cry from the rebel rock style of the Dolmen. Journey has subsequently evolved into something unique that captures the very essence of those lost at sea and the wrecks that tell their story.

On Journey Taloch Jameson and Josh Elliot demonstrate their rare ability not just to translate stories into music, but music that has the ability to awaken the imagination conjuring up images that bring to life these historical seafaring tales.

As an album it is flawless, deftly weaving sublime harmonies with the stories behind the music to create something both uncanny and beautiful. Journey will appeal to just about anyone.

Diane Narraway www.thedolmen.com https://itunes.apple.com/gb/artist/the-dolmen/id203275495

…And the Shipwreck Project The album was written about my journey leading up to the shipwreck project. I’ve been a diver and boat skipper for thirty years and I got tired a long time ago going to the regular dive sites and doing the regular dive stuff that everyone’s been doing. I also had another job which involved working with Ultra Electronics in connection with their sonar and navigation equipment.

From this I became interested in side scan sonar and immediately saw the use we could put that to when looking for wrecks.

The common belief round here is that everything of interest has been found but it hasn’t. Up until now most of the survey work that has taken place has been looking for larger shipwrecks that could be a navigation hazard. No one has done a really close examination of the sea bed which is what we are doing with high frequency sonar and of course Portland is particularly difficult to survey because of the number of ledges and rock out crops off shore so you need to know really well and also the fishing gear etc. This means we are currently surveying areas that have never really been surveyed before certainly not in so much detail.

Over time I gradually distanced myself from what I call the ‘holiday diving’ and moved more towards this more ‘specialised’ diving and it’s this year that it’s all really come together. We now have a display at Underwater Explorers, the website is up and running, we have the album and TV companies and other media are showing an interest in what we do.

We have now thrown off all the shackles of the holiday diving and we are now explorers, shipwreck hunters and most importantly story hunters. People sometimes accuse us of being treasure hunters but we are not, if we were we’d be worth a fortune and have packed it up by now. It is the story that is the most important to us. Every shipwreck tells its own story.

Each wreck is a time capsule that tells us when it sank and there are so many indicators within that wreck that tell us what happened to it, who built it, the people that were on it and what was happening at the time it sank.

One of the best things about this is, especially with the wartime wrecks is that sometimes their stories continue right up to the present day when people contact you trying to locate their fathers or grandfathers ship or we contact them/make an appeal for family members. In all these cases people are really happy to know what happened to their relatives and find out the full story.

It is the stories that drive us because as much fun as it is we don’t make any

money out of it. This year the two of us mainly involved pooled our resources and bought a survey boat. We are not rich by any stretch of the imagination but we wanted to follow our passion for history and shipwreck exploration and are prepared to give it a go and see where it leads.

The website has been quite a big thing for us because we are trying to use membership fees from that to partly finance the project because up until now we have covered all the costs ourselves and it has been incredibly expensive.

We also provide talks which include images from the shipwreck project; the diving, the equipment and of course the shipwrecks.

The idea was to have music to accompany the talks which generally take place at the dive centre although there will be some at the ‘Old Town Hall’ Weymouth, the first of which will be on 20th December 2014 which is part of a party where Taloch will be playing at the end of the day. There is also a talk planned in London and the intention is to provide more talks especially during the winter months in clubs, universities, and colleges and of course schools because the interest of younger people make it worthwhile. Of course the shipwreck project is not just about telling the stories of shipwrecks but about engaging the public and hearing the stories told by locals.

At the Waterfest we put on an exhibition aboard the survey boat where we showed some film footage of Cannons we had found and how we use the sonar equipment and the boat was jam packed

all weekend with members of the public who were fascinated by the project.

The Journey album came about because we had put a lot of film footage together and we felt we needed music to go along with it but we needed the music to work with the images which of course it does. I approached Taloch and tried to explain what I required but it wasn’t until I showed him the footage that it began to take shape. The most amazing thing was how Taloch could see exactly what I see which was almost spooky and when I listen to some parts of the album today it is quite unnerving to think he knows what’s in my head. Taloch has seen these underwater places exactly as I have without ever going down there and I am as in awe as he is when I am diving but there is also a technical side to it which I have to be mindful of in order to stay alive. Nonetheless I am amazed as to how he sees it the same way and although it has taken a while to finish it has evolved to exactly what it should be.

Dive Photographs by S. Brown

A Book Review Treasure of the Golden Grape Whilst I must declare my interest and fascination in local shipwrecks, this is an absorbing tale of the wrecking of the Dutch merchant sailing ship ‘ Golden Grape’ on Chesil Beach on 11 December 1641 that should appeal to a wide variety of readers.

It has been well researched over many years by a local amateur maritime historian who I know has also been diving these waters for the past four decades in the continuance of his researches.

His enthusiasm for the subject manifests itself in the readability of this book with its engaging style of narrative.

If an authentic local tale of treasure, smuggling, piracy and shipwreck served up with a dash of slavery, conspiracy, execution and the English Civil War is not enough to grab the reader’s attention the author, Selwyn Williams, even manages to include James Bond in the tale! The book is well illustrated with 70 black and white and colour images and its usefulness as a reference book for other researchers is supported by five appendices, a chronology, glossary and a comprehensive index.

David C. http://www.deadmansbay.co.uk/

Symposium: Gathering of the Clans On July 12th 2014, representatives of a number of the largest and most prominent Pagan organisations took part in an historic event, a "symposium" hosted by the Pagan Federation in London which is thought to be the first time that so many organisations representing so many Pagans had gathered together in one place to talk about the Pagan community and its future.

The symposium was held in a spirit of setting aside past differences and looking for ways to work together and collaborate in the future on a wide range of issues giving the Pagan community, perhaps for the first time, a real and organic sense of unity. Some of the issues covered were accurate and coherent representation of Pagans and Paganism in the media, protecting Pagan heritage and the sacred landscape of the nation (and indeed other nations) and caring for the wider community in matters of education, health, social care and interfaith.

Mike Stygal, president of the Pagan Federation of England and Wales, opened the meeting, quoting from a similar introduction by Doreen Valiente, from the inaugural Beltane meeting of the 'Pagan Front' in 1971 (which later became the Pagan Federation in 1980). We were all struck by the continued relevance of her words: “Unity is strength, and I welcome the fraternal unity of all sincere people of goodwill who follow the Pagan path. We may not always agree with each other, but we must support each other, in our struggle for our right to follow the religion and life-style of our choice in the modern world.�

The symposium concluded with agreement that further meetings should take place. The size of this meeting was limited solely by the size of the venue. And we hope future meetings, buoyed by the success of this one, can be held in larger surroundings with an even greater range of representatives.

Meanwhile attendees have agreed to collaborate in a number of side projects, not least this, the first public statement on behalf of the symposium. We asked all those taking part to let us know their feelings on taking part in this historic event. Here’s what they had to say:

On July 12th cats were herded in London - representatives from many Pagan organisations decided to work together. Some may be pessimistic about this, but this time I really think it will work. No one organisation is trying to take this over and it looks like being an equal collaboration for the good of Paganism generally. The areas we discussed included sacred places, media, ceremonies, and community support and mental health. Sharing knowledge and expertise is good. More Pagan groups are already becoming involved. Provided we each remember it’s not about us, or our individual organisations, the future looks bright.

Andy Norfolk Pentacle magazine http://pentaclemagazine.co.uk/ ASLAN (Ancient Sacred Landscape Network) www.facebook.com/AncientSacredLandscapeNetwork The Centre for Pagan Studies and the Doreen Valiente Foundation feel privileged to be a part of the first steps on a road to possible unity among the modern Pagan community. The day was characterised by a real spirit of willingness to sensibly engage with each other. Finding common ground and playing to each group's strengths could see Paganism soon develop the coherent voice it has lacked for so long. This was a historic day and there is a great deal of good yet to come from the ‘green shoots of this fledgling ‘group of groups’.

Ashley Mortimer CENTRE FOR PAGAN STUDIES / DOREEN VALIENTE FOUNDATION www.centre-for-Pagan-studies.com www.doreenvaliente.org An historic meeting of groups and of minds representing the spectrum of Pagan and Pagan-like beliefs. This assembly was an example of how much we have matured and grown in our relationships with each other. No group rivalry or politics, instead pragmatism and a willingness to talk frankly and constructively about those matters which we deem of inherent importance to all our futures. A spirit of co-operation and open minded sharing of ideas and opinions in a spirit of friendship and good natured camaraderie which was a model for all inter-Pagan relationships from now on. Superb!

Tam Campbell CHILDREN OF ARTEMIS www.witchcraft.org I arrived unsure what to expect but with high hopes for the future of Paganism. It became apparent that although each group in attendance was dedicated to making a positive difference in the Pagan world, by pooling their knowledge and resources, so much more could be achieved. It was humbling to be part of this first meeting where despite the diversity of groups in attendance a real sense of unity could be felt as we all took the first steps to making a real difference to the future of Paganism and heathenry in the UK if not worldwide.

Diane Narraway DOLMEN GROVE www.dolmengrove.co.uk

From the first moments as everyone arrived, the prevalent attitude was positive. Smiles and greetings, hugs between friends and new introductions. As the day went on, the smiles grew wider and the laughter louder.

The key word that keeps coming back to me is 'enthusiasm'. We were all so keen, so full of ideas - but not just dreams, real practical and achievable plans. From the basic hope to have Pagans working together, that spark ignited, and very tangibly so. We all felt the excitement, that history was being made right now... and our responsibility within that.

Cat Treadwell THE DRUID NETWORK www.druidnetwork.org Thank you Mike for the vision of this group. The day went far too quickly, always a good sign, showing a general engagement! In future, we look forward to days where we focus on particular aspects. Meredith and I found the day pleasant and interesting and were especially impressed with the contributions from Andy Pardy and Ashley Mortimer, and want to hear more of their ideas. We also want to thank Morgana for giving the International perspective, highlighting the very serious issues they are facing. We think it's good to be up to date with the Pagan scene internationally. Meredith was impressed with the Moon Temple delegates, and the idea of what CAN be done.

Caroline Wise, with Meredith MacArdle

FELLOWSHIP OF ISIS www.fellowshipofisis.com My participation at the Pagan Symposium was multi-fold. Firstly, it was as organiser and then as General Secretary for the Pagan Federation as well as the ‘eyes and ears’ for the Glastonbury Goddess Temple (who were unable to attend due to an important dedication ceremony that day). It was a privilege to be a part of it. My thought on the day was ‘Unity through diversity’, and how powerful it will be that Pagan organisations are coming together in this way to support one another. The genuine friendship be-tween organisations on the day was truly wonderful. May it long continue.

Elle Hull

GLASTONBURY GODDESS TEMPLE www.goddesstemple.co.uk When Mike Stygal invited me to this event I did have my doubts as to how effective it would be; I was expecting that there would be egos clashing and territorial rights being waved like battle-axes. Nothing could have been further from the truth. There was a great diversity of organisations represented amongst the small number of people there, and a total and unconditional willingness to give and share information and experiences. I heard many times that day people commenting that it was a ground-breaking and “historical” meeting that would open up a new phase for the Pagan community, for us to become a Pagan community! If the spirit of that day can be nurtured and carried forward into the future then it surely will be a day to be remembered with pride! Was-sail!

Phil Parkyn

KITH OF YGGDRASIL www.kithofyggdrasil.org.uk

All Dolmen Grove Moots hold regular meetings where people can find out more about Dolmen Grove membership, ethos and upcoming events including camps, workshops and talks.

Portsmouth – The Heathfield Arms 116 Blackbrook Road, Fareham po15 5bz Every second Wednesday of the month, 7:30pm onwards Lonsdale Road, Essex - Scout Hut, Cromwell Road, Grays, RM17 5HT Weekends Weymouth – Old Town Hall High West Street DT4 8JH Weymouth, Dorset (The Dolmen Grove’s oldest and most established moot) Every second Wednesday of the month, 7:30pm onwards Portland - The George Inn 133 Reforne, Portland, Dorset, DT5 2AP Every last Wednesday of the month, 7:30pm onwards Cornwall - Polgooth Inn Ricketts Lane, Polgooth, St.Austell, PL26 7DA Every first Wednesday of the month, 7:30pm onwards Berkshire (Bracknell) - The Boot Public House Park Road, Bracknell, Berkshire, RG12 2LU Every 3 third Wednesday of the month, 7:30pm onwards Poole - The Kings Head6 High Street, Poole, Dorset BH15 1BD Every third Tuesday on the month 7:30pm onwards Moots are advertised regularly on facebook www.dolmengrove.co.uk

Further information on the Dolmen Grove Magazine, including back issues, up and coming features, and article submissions can be found on facebook.. http://www.facebook.com/DolmenGroveMagazine?fref=ts Editor Diane Narraway Further information about regarding membership, courses, up and coming events and ceremonies (including membership enquiries) is available through The Dolmen Grove – website www.dolmengrove.co.uk Email: dolmengrove@dolmengrove.co.uk Or through Facebook http://www.facebook.com/pages/The-Dolmen-Grove/110124449082503 Further information about music from The Dolmen including c.d. purchase is available at http://www.thedolmen.com Email UK the dolmen@thedolmen.com Email USA thedolmenusa@thedolmen.com Or through Facebook http://www.facebook.com/pages/The-Dolmen/250111806234 Email UK dolmengrove@dolmengrove.co.uk Or through Facebook http://www.facebook.com/pages/The-DolmenGrove/110124449082503 Further information about music from The Dolmen including c.d. purchase is available at http://www.thedolmen.

Email UK thedolmen@thedolmen.com Email USA thedolmenusa@thedolmen.com Or through Facebook http://www.facebook.com/pages/The-Dolmen/25011180623