Dolmen grove chronicles midsummer

DOLMEN GROVE CHRONICLES

Midsummer THE ART OF CAPTURING TIME FEATURING GONZALO BERNARD, PIA SOFIE BARTMANN, SCOTT IRVINE, JOANNA CASWELL AND CONNACH CASWELL J

Exiles from Fairyland; Finding Your Phynnodderee on the Isle of Man - Aaron Dabbah

Cerridwen - A look at the Dark Mother Goddess, Her myth and her significance

More or Less – The New Amy Hopwood CD

PLUS, LOADS MORE INSIDE!!!

WWW.DOLMENGROVE.CO.UK

CONTENTS 1…Cerridwen – Cheryl Waldron 2…The Art of Capturing Time – Intro by Diane Narraway and featuring The Power Behind the Photograph – Gonzalo Bernard A Force of Nature – Pia Sofie Bartmann Bringing the Past to Life and Awakening the Memory Stones – Scott Irvine Joanna Caswell and Son, Capturing the Beauty and the Spirit for Eternity – Joanna Caswell and Connach Caswell J 3…Aromatherapy; Cacay Carrier Oil and Marjoram Essential Oil – Sandra Wiseman 4 …St John’s Wort; A Favourite Summer Herb – Andrew Cowling 5… Exiles from Fairyland; Finding Your Phynnodderee on the Isle of Man – Aaron Dabbah 6…Diary of the Hedgewitch and seasonal sowing charts – Rachael Moss 7…Learning Lenormand, Part 3 – Eirwen Morgan 8…Afon Llynfi – Shodie Wilson 9…More or Less – Amy Hopwood on her new CD plus Review by Diane Narraway 10…Author profile - Elizabeth Andrews Books 11…Awakening Lucifer - Asenath Mason and Bill Duvendack .plus Reviews Photos in this issue by Rachael Moss, Joanna Caswell, Scott Irvine, Andrew Cowling, Connach Caswell J, Pia Sofie Bartman, Gonzalo Bernard Artwork in this issue by Sem Vine All Dolmen and Dolmen Grove artwork by Sem Vine Unless otherwise stated all other images are owned by the authors or from the public domain Cover Image 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 and images are assumed to be the work of those being credited https://www.facebook.com/DolmenGroveMagazine?ref=hl Editor… Diane Narraway email dolmengrove@dolmengrove.co.uk

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 a number of ‘members only’ ceremonies throughout the year.

ALL, ARE SPIRITUALLY UNITED WITHIN THE DOLMEN GROVE’ www.dolmengrove.co.uk

Cerridwen Cerridwen is generally regarded as a Mother Goddess, a witch and enchantress with the esoteric powers and knowledge of universal lore, regeneration, and fertility. She is the keeper of the Awen…the cauldron of inspiration. The compassionate, wise and powerful dualistic matriarch capable of both healing and transformation, Cerridwen is the fierce protective mother and warrior, representing both motherhood and ageing. The seasons of late Summer through to Winter belong to her, as do the full, the waning and the dark moon. Associated with hawks, hens, otters and greyhounds, she is also associated with the white sow and was said to transform into one to address her people.

Carnelian, coral, agate, brown jasper and amethyst are crystals attributed to Cerridwen. The colour white and plants and herbs such as vervain, chamomile, jasmine, acorns, vanilla, almond, and bergamot all have associations or can be offerings to her.

Cerridwen, was the wife of Tegid Voel and the Queen Among Witches. Legend tells that she lived in Snowdonia in North Wales in a house that stood on stilts in the centre of lake Tegid (Lake Bala). She had three children, a son named Morfan; a daughter, the most beautiful in the land, Creirwry (cr-eir-wy) and a second son, Avagddu (avag-thuu) whom Cerridwen thought so ugly that she deemed his prospects in life to be very bleak.

Cerridwens expertise in the magckial arts were parallel only to her maternal devotion and with this devotion she resolved to brew a magickal potion for her disfigured son to cure him of his ugliness.

This potion would imbue Avagddu (avag-thuu) with remarkable mental abilities and knowledge of life’s most profound mysteries giving him the inspiration to use those gifts wisely.

Exercising all the wisdom she possessed, Cerridwen amassed potent magickal herbs and ingredients that were so rare and prized, they would never be obtained again. Together, these precious ingredients would produce her heart’s desire. She set a cauldron over a fire and assigned Morda (an old blind man) to tend the flames to ensure her precious brew was always kept boiling.

Gwion-Bach (a young servant) that she assigned

to stir the mixture constantly was warned that not a single drop of the brew was to spill over the cauldron’s rim. Here we see one of two schools of thought: either Cerridwen is showing compassion by setting a blind man and a youth to work, or she is in fact using a blind man and a youth in order to protect her secret. The brew had to boil continuously for a year and a day during which time Cerridwen continued to gather fresh magickal herbs for the brew and chanted her incantations incessantly. Lughnassadh approached, and Cerridwen, once more, was absent searching for additional magickal ingredients.

As Gwion-Bach was stirring the magickal brew, a bubble burst from the heart of the cauldron and three drops splashed onto his hand. To soothe his scalding skin, he instinctively thrust his hand into his mouth to suck off and the burning drops and cool his hand. Such was the nature of the witchcraft exercised by Cerridwen, that all the magickal power within the cauldron was immediately lost, only the first three drops of the brew were to be effective…the whole of its strength now entered Gwion-Bach’s body and filled his mind. Gwion-Bach’s, new found powers of magickal awareness became immediately obvious to him and left him in no doubt that Cerridwen would be insane with fury…he wasn’t wrong! Her toil for her disadvantaged son was irretrievably ruined, Gwion-Bach had betrayed both her and her son.

The remaining liquid in the cauldron, exhausted of its invaluable properties, had become toxic…it cracked the cauldron and poured over the fire, extinguishing it. The potion poisoned the soil, killed all plants and spilled into a nearby stream, killing all the fish and livestock that lived and drank from it.

Gwion-Bach, understandably, fled! Cerridwen was mad with fury and in her rage, she struck Morda over the head with a stave with such a force that one of his blind eyes fell out, onto his cheek. She raced off to track Gwion-Bach down.

Gwion-Bach found the power from within to transform himself into a hare, evading Cerridwen.

Cerridwen being an enchantress, transformed herself into a greyhound and gave chase. GwionBach ran towards a river and as he leapt in, transformed into a salmon. With that Cerridwen transformed into an otter bitch and pursued him.

Leaping out of the water, Gwion-Bach once again transformed, this time into a wren, but Cerridwen quickly became a hawk, swooping down upon him and continuing the chase. Dropping to the ground, Gwion-Bach became a grain of wheat and hid amongst thousands of others.

Cerridwen, incensed with rage, made her final transformation, into a night-black hen and sought Gwion-Bach out by eating every single grain of wheat, swallowing him whole.

Nine months later, Cerridwen gave birth to a son, that had been sired by no man. She instinctively knew this child was Gwion-Bach. Being an angry and resentful woman she planned her revenge, which comprised of killing the baby once it was born to forever rid herself of this boy that had robbed her and her son.

However, when she saw the helpless new-born, and wondered at its beauty and innocence, she could not bring herself to take its life. Instead she wrapped him in a carcle (a seal leather bag) and cast him away into the sea…his fate to be determined by the mercy of the Sea God, Manawyddan (man-o-weeth).

At Aberystwyth (aber-ist-with), there was a salmon weir where prince Elphin found the baby and named him Taliesin. He became the legendary and greatest Welsh bard in the land, a counsellor of kings, and was perceived as the genuine incarnation of Druidry.

Though Cerridwen ruthlessly hunted Gwion-Bach, it was her motherly drive and motives that propelled her to such actions, and has made her such a relevant figure in modern day witchcraft.

Cerridwen represents motherly dedication, divine inspiration, and an unyielding search for

knowledge. Cerridwen’s womb like her cauldron has the potential to birth all manifestation and is the beginning and end of life.

In the story of the ritual pursuit of Gwion-Bach, there is the symbolism of magick, fertility, betrayal, revenge, sacrifice, compassion, regeneration and transformation. Influencing the outcome of battle by magickal means, in this case shapeshifting and communing with nature, is a common factor with this Dark Goddess.

Cerridwen is the keeper of the Cauldron of Inspiration and Knowledge. Cauldrons have magickal powers of regeneration, and so reflect life, prosperity and fertility that are associated with sacrifice. They possess the dual roles of life and death. Cerridwen being a shapeshifter, can take any form she wishes. The big question is not what form she will take but whether you will be able to recognise her; she is, after all, an occult mistress.

Cerridwen is mainly honoured for her darker, Mother and Crone aspect. She has the powers of prophecy and this resonates with the darker elements, connecting her to the underworld. This dark side of Cerridwen; the shadow side represents the darker side of our natures, which conventional religious ideology has mytholised as satanic.

Hence, we have been conditioned into denying the shadow within ourselves. Cerridwen is both a terrible and a good mother, acknowledging the all-embracing aspects of both the dark, vengeful destructive goddess as well as the loving and compassionate one. Cerridwen has the esoteric powers to manifest her desires and can easily adapt to changing circumstances. Her dualistic light and dark aspects are reflected in our own lives as they challenge us to change and grow, to take responsibility for our actions and the consequences of those actions.

Cerridwen represents, the strong woman within each of us, determined, all encompassing, protective, and warrior …perfectly balanced. She is both fate and death, the cradle and the grave; the patroness of witches and priestesses. She rules the night, magick and prophecy. She is the passionate and seductive lover who inspires the bard to dream, she is the womb from which all things are born…she is the sorceress that will not be ruled. She manifests in the women who have

such confidence and wisdom that they are usually of a great interest to men, because there is something so indefinably seductive about a woman who is ‘confident and organised’. Wisdom and empowerment are the gifts of this dark goddess.

Cerridwen’s somewhat appalling violent, deathinducing, destructive traits are not generally seen as female or motherly behaviours. Yet paradoxically, we think no different to Mother Nature being the most violent and destructive force there is known to mankind. The chemistry of positive and negative, light and dark is the key to the mother, wise and dark goddess Cerridwen.

The lesson of the mother and indeed Cerridwen, is that is if we do not face change willingly, then it

will be forced upon us, in a far more dramatic way than we would otherwise choose. And learning from your mistakes shows a willingness to adapt and accept change.

So, who is Cerridwen? She is strength, she is wisdom. She is both light and dark, good and malevolent. Cerridwen is both the Mother and the Crone; she is the defiant Pagan; the Witch, Heathen, Wiccan and Occultist women you see around you every single day. She is all those who rebel, refusing to conform with the religious and dogmatic practices found in contemporary society.

Cheryl Waldron

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THE ART OF CAPTURING TIME One picture is worth a thousand words – San Antonio Light There is little doubt that great works of art are emotive, they are subjective invoking something different in each person. Whether for good or bad, whether we laugh and cry, they stir the soul. And truly great artists bring their work to life. Portraits which capture the personality or very essence of the individual, landscapes where you can almost smell the flowers or feel the breeze or surreal, profound images that leave you with more questions than artists.

Photographers are no different, they capture moments in time, fragments of life, from the pained expression of disaster survivors to the tears of joy on a young bride’s face. They record for eternity the precious moments we treasure and those that cause us sorrow and heartache, from the first breath of life to the last and the greater the photographer the more emotive the image will be. Those photo’s we consider iconic are either the ones that invoke the greatest emotions or the ones where photographer just had a lucky advertising break. The latter are often ones that have graced our television screens first; Hollywood stills, tragic moments, war ravaged landscapes, scientific breakthroughs, sports achievements and the moon landings. The beautiful, the grotesque and the curious all of which are history in the making, moments captured forever by photographers.

So, what constitutes a beautiful photograph or great photographer? Their understanding of the subject? A lucky shot or one contrived and strategically posed? Are black and white or sepia shots more or less dramatic than colour?

This issue features five photographers; Gonzales Bernard, a shaman whose photography is as much a part of his spiritual journey as meditation and ritual, Pia Sofie Bartmann, a young up ‘n’ coming photographer for whom photography brings her closer to the natural world, , Scott Irvine a photojournalist whose work focuses on mankind’s ancestral past, Joanna Caswell, the official Dolmen Photographer who is as much at home with creating striking portraits as she is capturing the raw natural moments that occur in people’s lives and her son Connach Caswell J, who has a natural aptitude for photography and in this feature shares with us his striking portraits of his mother.

And all of these photographers take a different approach to their art to create beautiful imagery that captures the imagination and stirs the emotions.

Images that make us smile, shed a tear or awaken the poet within!

Diane Narraway

GONZALO BENARD

THE POWER BEHIND THE PHOTOGRAPH

I believe that the first era of sensitive men didn't invent gods because they had a greater awareness of the true spirits of nature, an awareness of the senses of the animals and of the plants and therefore became true shamans with a deeper understanding of living nature and its spirits.

These men, now labelled as Palaeolithic, were the first ones who created artistic teachings for us as prayers to the spirits of nature. Even if we tend to overlook the engravings and their meanings, they understood that man as a species was not strong enough, didn’t have enough power or wasn't yet evolved enough to reach certain targets. A wolf always had a greater sense of smell than us. An eagle always had better vision than us.

After engraving and representing the deer or rhino they wanted to hunt on the walls of the cave, they knew that by invoking the spirits of other animals to become part of themselves, they would better hunters, with more powerful, keener senses and a greater ability to hunt their prey. Representing as a self-portrait of the community; the main hunter with a wolf’s head, others with antlers on their heads, another with other parts of other animals, intended to bring to them the spirit of the chosen animal to assist them in the hunt

This not only resulted in the first representation of hybrids that were part human part animals, but brings us also the knowledge of their rituals, beliefs and awareness of nature and a deeper respect for them as they are in communion with nature itself.

In fact, apart from the methods of representing them artistically, and the future need which led to the creation of gods that are more powerful than men, this notion of a hybrid or need of hybridization to give men more power, even to become gods themselves, didn't change much. The purity and true shamanic wisdom might have disappeared or become diluted with time, but even today we tend to say that a politic is being a fox or has lion's complex for example, to give the person an animal stereotyped attitude. (do you mean as cunning as a fox or as brave as/the heart of a lion?)

We all know that the gods of ancient Egypt, Rome and Greece, were kept alive and given new shapes and powers often resulting in hybrid-gods, created by men with the need to have something superior as something to aspire to and ultimately become; an unattainable perfection that men would strive for yet knowing it would be impossible.

The Anubis, half man half jackal, became the Egyptian god of death, once jackals were considered animals that used to wander around cemeteries. Horus, ‘The One Far Above’, is another god, half man half hawk, who became protector of Egypt, and it was believed that the Pharaoh was the god on earth or the living Horus. Thoth, a man's body with the head of an Ibis, was the god of writing. Khnum was a creator-god, moulding people on a potter's wheel, with his head of a

curly-horned ram. Sekhmet, is represented with a lion's head and is initially a fierce goddess of hunting.

In Rome and Greece, we have another set of hybrid gods and demi-gods, beings of power such as the powerful Minotaur, a creature with a bull's head and an equally powerful human body, or the most destructive monster the Typhon, depicted with the upper body of a man with thousands of wings and from his neck a hundred heads of dragons, fire flashes from his eyes and his legs are made up of viper's tails.

became a privilege of wealthy and powerful families as the ordinary people were given the new beasts... This promoted a new sense of morality; even if Leda kept getting pregnant by the swan, depicted by art or the beautiful hybrid mermaids with their power of enchantment, continued singing and calling seafaring men to their depths below, man in his evolution created an unconscious separation between them and nature, just as he had with shamans. The religions start using these powerful beings and forces to represent their rules of morality, using these hybrids to show what was Good and what was Bad. Bringing new fears and new sense of guilt, so they could easily control the masses and it was so intense that even today that although we're considered intelligent, a significant number of people keep living like sheep, in flocks, following the one who rules. Another metaphor.

Always using animals, to upgrade or degrade humanity.

Even the mythical dragons are to be fought and killed by human heroes as every time a leader considers it to be a bad dragon. Or something he cannot or has not been able to supress. Something untameable!

In the east, there are also representations of gods and monsters to be feared; Ganesh, the Hindu god with an elephant head, or Garuda, still the symbol of Thailand, iconic in Hinduism and Buddhism and depicted as a man with a mythical bird’s head and wings, not unlike the phoenix, another mythological being full of power.

Although, Garuda has rapine talons in its human torso whereas the Phoenix has lion's legs and paws.

All these representations were still used to invoke the power of the animals into men to be feared as gods or monsters, entities that were either good or evil. They were also given additional importance as it was believed that they were responsible for the storms or other natural occurrences which they didn't have the knowledge to explain ... and even when they could explain them, it was always better to keep ordinary people under fear. This has always happened and still happens within structured religions or those manipulators of gods and monsters.

Nowadays, even the football teams are represented by a lion, an eagle, and a dragon, animals that give a sense of power. Nobility has and still does used these animals and can be seen in the medieval heraldry, the coat of arms of noble families or even religious hierarchy.

It’s interesting to see that with the arrival of Christianity, the concept of pure shamanism whereby one actually connected to the spirits of nature, changed in its representation, hiding its purpose from the masses. The symbolic use of the powerful animal

The series ‘ONENESS’, was my first approach to the subject using photography as a means for creativity, representing not only some shamanic rituals and rites, but also interacting or creating a more empathic connection with animals, nature and its own spirits.

After 3 days of brain death, I went back into nature far away from everything and everyone, to be one with nature. There I performed my daily transcendental meditation and shamanic practices to bring myself back to life. I was physically weak, so I called the spirit of a bull to give me strength back, and so initially I created a self-portrait with a bull’s horn leading my way.

The series of ‘HYBRIDS’, half human half animals, is a way to bring man new awareness of himself, acquiring new powers and skills, both physically and spiritually. In rituals of life helping us to grow, to heal and also in rites of death as a means of helping the soul to leave the physical behind.

We call the serpents, and magpies and jaguars and wolves back to us. To protect, to make us feel complete, at one with nature, to help use heal others.

These hybrids were also my way to show gratitude for all sentient beings and souls involved in a dance …

The dance of life, of the fire, water, earth and heavens.

Gonzalo Bénard was born in Lisbon from a Spanish and French family in a very cultural environment, growing up in Museums, concert halls and art galleries. Later, he went to the Himalayas, where he spent 3 years in a Buddhist monastery school of philosophy, martial dance and painting, and with Tibetan Shamans at the higher lands following the Shamanic Bon Tradition.

A few years ago, he went through 3 days of brain death: a terrific experience of consciousness. After that he often spent time with African Shamans in the Western Sahara learning and practicing their ways.

Being ‘High Functioning Autistic’ he enjoys solitude and learning. Art – photography, painting and drawing – and writing are mainly his ways to express himself having now more than 45 exhibitions worldwide.

As a shaman, he dances with the spirits of animals, entering in trance while healing others or at times preparing others for their departure to heavens. He is the author of the books “I, energy” and “MPower the Shaman” http://www.gbenard.com/mpowertheshaman https://www.instagram.com/gwbenard/ http://www.blurb.com/b/6246736-i-energy https://www.amazon.com/dp/1320623611 http://www.blurb.com/b/7430910-mpower-the-shaman https://www.amazon.com/Mpower-Shaman-GonzaloW-Benard/dp/1366916689 Gonzalo Bénard: www.gbenard.com gbenard@gbenard.com

PIA SOFIE BARTMANN

A FORCE OF NATURE It would be fair to say that initially my father was the inspiration behind my photography as it was he, who bought me my first camera at 13. I remember when I got it, I went outside and photographed literally everything in the world around me ‌Nature!

What inspires me today to still photograph nature is my love of the natural world. I feel far more at home outside surrounded by trees, fields, lakes; just life in all its natural beauty and I am driven to capture as much of it on photograph as I can.

For the time being, photography is a hobby and I still have to work but perhaps that will change in the future. Although as much as I would like to be a professional photographer, while I am not, I can at least choose what I photograph. Likewise, I could never decide which of my photographs I perceive as good because photography is subjective and speaks solely to the heart or soul of the individual.

A good photograph is not always about its clarity but about what it invokes within. For me it is about capturing a moment in time as opposed to a staged portrait with a forced smile. The wild natural aspect is what calls to me and perhaps, in many ways, is a reflection of my own wilder nature.

Being a photographer is about capturing the essence of the moment and then sharing that moment with the world and in the future, I will hopefully get to share these moments with a wider audience. I also write inspirational poetry and song lyrics and hopefully some of these will become better known too. For me it all goes hand in hand; the poetry of life reflected in a photograph or song, it is all a moment in time captured forever.

The mountains In the fire sun, When ashes fall Death has begun.

The dragon's In the countryside, To take it all The worlds collide, The city wakes And thunder’s call, Turns to despair When heroes fall.

Your holy ground He took away, And tried to set The end of day.

But you fought back And were standing tall, For many years Spring, summer, fall Then, the winter Came to the lands, And caught you back With frozen hands.

And even if you Won the fight, You still know The King has died.

Pia Sofie Bartmann

SCOTT IRVINE:

BRINGING THE PAST TO LIFE solstice of 1988 from behind a group of Druids surrounded by riot police and barbed wire.

I have thought of myself as an accomplished photographer after graduating with a degree in photography in 2001. It gave me the confidence and authority to wield my camera wherever I liked. I joined Fridge, a group of recently graduated artists based in Poole. To further our ‘artistic skills’ we took on a project designed to take us out of our comfort zones culminating in an exhibition at the Cube Gallery. For me dealing with strangers and organizations was as far out of my comfort zone as I could get at the time.

I had been awestruck by the Druids at Stonehenge celebrating summer solstice during the free festivals in the early eighties and had felt a deep connection to them; they were mysterious.

By the time of Fridge, I had discovered the work of Photographer Fay Godwin and was inspired by her book ‘Our forbidden Land’ that explored the British landscape under threat from government policies, industry and housing during the Thatcher years. Godwin was above all a landscape photographer and put words to her pictures in her books. ‘Our Forbidden Land’ included the iconic photograph from inside Stonehenge at the summer

Outside the perimeter stood a crowd of jeering protestors unhappy at being banned from the ceremony. In amongst that crowd near the front with his camera was me. My project was to be in Fay Godwin’s shoes inside Stonehenge photographing a Druid summer solstice ceremony.

Where do I start?

After some e-mails and letters the best I achieved was an invite to an open ritual at Rollright stone circle in Gloucester. The day was hot, I angered King Arthur for refusing to leave the circle; I figured I was there first so had a right to be there.

Then I found I was in the way when the Druids circled inside the stones three times, some having to go around me, others stepping over me, all the while documenting the occasion on film.

Introducing myself to the Arch Druidess afterwards and expecting a scolding for my stubbornness, I was surprised to learn she liked my style and I was invited to photograph their private ceremony at Stonehenge the following Sunday. I had discovered my style and I had learnt that the further of my comfort zone I am the more my subconscious kicks in.

abandoned for the past 1,500 years before the arrival of the Druids and that the Celts had a belief in a spiritual upper and lower realm that contained the gods and goddesses and the souls of the dead.

The camera acts as a shield of invisibility from everything else allowing the higher forces to take over. I become invisible, an anonymous photographer at one with his camera. Nothing else exists in my mind but what is in the viewfinder, searching to capture a unique moment in time to remember later on screen or photograph.

Over time, my interest in the Druids, the priest kings of the Celts led me to visit and explore the many sites of the Bronze Age world of enchantment and tribal dominance; the hill forts, round barrows and defence works scattered across our landscape. From the towering hill top views their whole world could be seen, the countryside, valleys, rivers and forests stretching to the horizon giving a commanding view for the intrepid photographer. I would try and imagine what the site was like at the time it was in use; guards pacing along the ramparts as a Druid passed through. What would an ordinary man like me be doing? Who were the Celts?

I learned that they were a warrior race which had migrated to Britain from northern Europe around 500BC and believed to have utilized the stone monuments that were already dominating the landscape. I discovered that most of the stone circles were created during the Neolithic period, between 6,000 and 4,000 years ago and had been

To understand the spirit world; remember I was still living fully focused in the physical world of motorbikes, football and photography, I studied philosophy for two years in Southampton and a spark was ignited inside me when I learnt that both my body and spirit were connected by my mind.

Recently I joined the Association for Portland Archaeology (APA) currently digging a Mesolithic at Reap Lane. Fifty years ago they had discovered and excavated the earliest inhabited site known in Britain by about 2,000 years at Culverwell near to Portland Bill. It reignited my desire to get into the mind of the Stone Age people after unearthing stone chert tools (flint scrapers, arrow heads, axes and hammers), evidence of what they ate and how they constructed their shelters. I felt the whispers from the past seeping into the present; ancient voices revealing who they were and what they thought.

Today when I visit an ancient site, a stone circle, row, dolmen, standing stones, burial mounds, long barrows, hill forts or an ancient spring or holy well I feel a strong connection with the energy of the place. The more I learn, the more I connect and understand the people. I try and feel what it was like to be there at the time it was in use. I like to record my visit with a camera to invoke that memory in time. That moment becomes history and the photograph takes on the feelings, thoughts and emotions of that instant. A photograph is an historic document, a recording of that unique moment when I was there.

I look for the unusual perspective of what I am photographing, searching for that angle from which it is not normally explored. I look to put the object in its context with its environment and also out of context as an abstract form, wherever my mind takes me or the spirits guide the camera. A photograph to me is the format I choose to bring the past to life in the 21st Century in an attempt to understand how things were in context with today’s thinking. The more I understand our past the more I can connect with an ancient site and the more easily I hear the ghostly echoes reaching out to me when life was about nature, working with nature and existing in harmony with nature.

AWAKENING THE MEMORY STONES

It was a chilled damp early morning at Priory Corner on the edge of Tout Quarry where a Dolmen Grove coven of thirteen (albeit an unplanned number) stood inside Portland’s newest sculpture, the Memory Stones; created by local sculptor Hannah Sofaer or ‘Tout Henge’ as it is known to some. It was Beltane morning, May the 1st and the sun had yet to rise, not that there was much chance of it making an appearance from behind the thick grey sky and the rain that was forecast to last all day. The site was cleansed, the directions with their elementals were called into the circle along with the gods and goddesses.

“Hail and Welcome!” The circle was open.

Drums aroused the energies within the circle flowing, dancing and awakening the physical world. Using wishes determined by the whole group, a spell was cast to unite people in harmony with the planet and with each other, a world of peace, of good health, good fortune and happiness, was woven into the rich tapestry that is life.

Beltane marks the start of summer in the Celtic wheel of the year; the midpoint between spring and summer when the forces of darkness symbolically gives way to the forces of light. For our ancestor’s, it was the time to light great fires in order to purify the cattle and sheep which had been kept inside or close to the farmsteads during the long winter months and could now be turned out into the fields.

To invoke the purification of Belenus, (the Bright One) the cattle were driven between two bonfires close enough to be singed by the flames, killing off the parasites that had nested in their fur during the winter. The fires also banished the dark forces from the ‘dark half of the year’, preventing them from enjoying a last night of freedom where they might cause havoc in the physical world before the morning light arrived.

Beltane represents the great movement of the Cosmic Boar Hunt in which all the energy of the land and the tribe plays a part in catapulting the spirit of summer across the line which separates the opposing light and dark forces. The passage from winter to summer, like the cross over from summer to winter at Samhain is a break in the fabric of time causing the blurring of the normal parameters between our world and the Otherworld of the spirits.

The Celtic God of Fire, Belenus, was the source of purification for all living things. Beltane fires were lit so that the material earthy soul of the goddess can merge with the spiritual sun’s soul (sol) of the god. It is known as the Sacred Marriage and is the celebration of the Divine Union when the Sun King becomes old enough to marry and bed his sweetheart, the energy of growth in the living fertile land is manifested as the Flower Maiden. It is a union between the sky and the earth and the land and the tribe; an outer male journey balanced with an inner female journey.

In order to win the hand of his love, the Sun King must slay the Hag who is a sterile manifestation of the fertile Flower Maiden whose rule was about to

end. The Hag is the Pure Black Witch lying in wait at the top of the Ravine of Worry on the borders of Hell. At the same time, the Stag Lord descends into the world with the fresh spirit of nature. It is the Stag Lord that symbolises the new male growth of vegetation in the land and the newborn animals of the forests.

Where six weeks or one and a half moon cycles earlier, the Spring Equinox infant has by Beltane, grown into a child with a great thirst for learning and the metaphorical day has journeyed from sunrise to morning.

The sun has risen and has begun to warm the earth. Plans and ideas made at the Spring Equinox can now be expressed into the world of Beltane, the season of action and energy; a time of celebration and renewal.

Back to the top of Portland and the sun had risen but stayed veiled by dark clouds, nevertheless the light changed noticeably from blue to orange and patches of clear sky began to appear over Weymouth. The day had begun as early morning traffic began to rush past Priory Corner and joggers sped past the monument as we ended the ceremony. Any gods and goddesses were thanked and likewise the elementals as they were requested to return to their compass points. “Hail and Farewell!� The circle was closed.

JOANNA CASWELL & SON

MONOCHROME AND SEPIA

JOANNA CASWELL & SON CAPTURING THE BEAUTY AND THE SPIRIT FOR ETERNITY

Before digital photography was available, I remember the excitement of waiting for the postman to deliver my prints. The eager wait for my pictures was unpredictably nervy to the point that I would jump up and down with excitement on their arrival. Ever since childhood, I have been fascinated by the idea of being able to capture a moment in time; a smile, an emotion, an actual moment where time and vision come together in a 2-dimensional image. I would sit with my grandparents, reminiscing about my ancestors, fascinated by seeing my gene pool in black and white or sepia. A time lost to us now but captured for my children and children’s children to see where their own physical appearance came from.

We have the chance to see where our eyebrows came from or that awkward ear shape!

When digital arrived I was quite apprehensive, it seemed alien to me, never the less I bought my first Nikon D50 second hand and never looked back. The ability for instant pictures and having the deletion feature was just awesome. The clarity was astonishing and left me freedom to capture everything.

The Dolmen Grove camps opened up a whole array of people, colours, facial expressions, dancing and celebrations. People are relaxed at these camps and it shows in their faces. I am not a lover of posed photographs, preferring to capture who and what I see when people are relaxed and caught off guard. There is something very different about posed images, one little aspect changed such as a forced smile or posture alters the subject’s mindset and much of the individual’s vitality can be lost. Overtime your eye becomes trained to discover certain spectacles, falseness is not what I am about, for me taking a photograph is about finding the beauty in whatever is in front of my lens.

I have been the official Dolmen photographer for many years now and work along Semirani vine

who adds the art work to their cd covers and posters into something amazing. Photographing the band is a difficult task I can tell you! And as a photographer you must learn in a polite but direct manner how to place them as they can be impossible but always fun lol. As a photographer, my favorite album was ‘The Kayleigh’ album although it was very challenging. It can on average take up to 2 hours to relax your subject before you get the ‘right photo’ but it’s awesome when you do. Behind the scenes is rain, wind, often gale force, umbrellas, often inside out, pigeon excrement, tall walls that involve climbing and eventually, when you finally break through the frustration barrier, a smile appears making it all worthwhile. And of course, even after you have turned blue from the cold and you reach your final portrait then the subject has to approve of it too.

Everyone has a beauty and for me photography is about capturing it.

Where do I get my inspiration from is a milliondollar question, over the years I have admired an array of photographers’. William Klein is one of my favourite’s although I still love Victorian photography and monochrome is my all-time favourite, perhaps I was born in the wrong century.

My 10-year-old son Connach, now has my old d50 Nikon as I moved on to a Nikon D3300 and a quote of his that still makes me proud is, ‘The settlement of the vast background is a democracy for a specific type of camera.’

Connach, has the ability and confidence already to take amazing photographs as he has a natural understanding of the frame. In fact, he is the only person I allow to take my portrait and his series of ‘Mothers Portraits’ are quite cool for a kid of his age.

“Give a child a camera and a free rein and the spirit of their childhood will be captured forever”

JOANNA CASWELL & SON

COLOUR

Aromatherapy If you are new to Aromatherapy or have not read previous articles on this then an insight to it is: - Aromatherapy is the use of organic essences extracted from aromatic plants for healing and maintenance of vitality.

It may help minor ailments, keep us fit whilst still enabling us to be relaxed and at ease with ourselves.

The oils work by entering the blood stream via the skin, smells evoke memories and the brain registers the scent via the neurological and the endocrine system.

The therapeutic potential of essential oils, like other plant derived remedies, has yet to be fully realized.

Although numerous medical herbs have been utilized since antiquity, many of which have become of modern drugs (such as Quinine and cocaine)

In order to use an essential oil apart from Lavender and Tea Tree they MUST be blended with carrier oil.

Most people would use Sweet almond oil or Grapeseed oil to blend with an essential oil but if you want something different you could use Cacay oil

Cacay Carrier oil Caryodendron Orinocense Like me, most of you have probably not heard of this oil yet it has a lot of benefits, the Cacay trees grow wild along the eastern base of the Andes Mountains in Colombia. These majestic trees can reach over 40 meters in height and have a very positive impact on the environment.

This helps both local people and the environment as well as providing local farmers with an income. It also provides nutrients for the soil and helps to shelter people This unusual oil is cold compressed from the seed and is yellow to brown in appearance. The remainder is used to make flour, fuel and added to animal feed

Cacay oil is the best oil to use for the skin, it is the new anti-aging oil. It can reverse the signs of aging, and in doing so helps reduce wrinkles, fade scars and stretch marks as it has the best natural source of vitamin A, a very healthy dose of Vitamin E and a high concentration of Linoleic acid. It is a fast absorbing, odourless, dry oil that leaves no residue.

Marjoram Essential Oil Origanum majorana Marjoram oil originated in the Mediterranean, Marjoram is a perennial flowering herb that can also be found in parts of Europe and North Africa.

The entire plant, including its small oval leaves, can be used to make the essential oil via steam distillation.

Marjoram has warm, woody and spicy aroma with subtle floral and pine notes. It is related to, but not the same as, oregano, which sometimes called ‘wild marjoram’ The Essential oil is clear in colour and with a tinge of yellow and is thin in Consistency. The aromatic description is herbaceous, sweet, and woody, with a campherous odour.

Its principal constituents are linalool, carvacrol, linalyl, acetate, citral eugenol, Pinene, Alpha Terpenene, Beta-Caryophyllene and a few others.

It blends well with bergamot, lavender, cypress, eucalyptus, cedarwood, Rosemary and tea tree.

Marjoram has many when it comes to skin care, it helps bruises, ticks and chilblains. It is very good for muscular aches and pains, Arthritis, rheumatism, sprains and strains. It can help the Respiratory system if you suffer from Asthma, coughing, Bronchitis and can also help colds.

Marjoram is one of the best ones for digestive problems such as, flatulence, colic, and constipation as well as assisting with women’s problems such as PMT muscle cramps, heavy or irregular menstruation. It can also help alleviate headaches, migraines, hypertension and nervous tension. [Julia Lawless, The Illustrated Encyclopedia of Essential Oils (Rockport, MA: Element Books, 1995), 56-65.]

Safety Information: Avoid Marjoram Oil during pregnancy. [Julia Lawless, The Illustrated Encyclopedia of Essential Oils (Rockport, MA: Element Books, 1995), 187.]

Sandra Wiseman

Asunder! Is a collection of songs telling tales of piracy, wrecking, smuggling, the sea and the misery it causes plus the murder of a loanshark. Written over time it contains a few songs from the old days as the black wreck, but most of all this album encapsulates all that is now The Boarding Crew!

https://www.facebook.com/theboardingcrew/ https://theboardingcrew.bandcamp.com/releases

DOLMEN GROVE MOOTS 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 Hampshire, Fareham, – The Heathfield Arms 116 Blackbrook Road, Fareham PO15 5BZ - First Monday of every month, 7:30pm onwards. https://www.facebook.com/groups/www.dolmengrovehampshiremo ot/?fref=ts Essex and Kent - Scout Hut, Cromwell Road, Grays, RM17 5HT Weekends https://www.facebook.com/groups/dolmengroveessexmoot/?fref=ts Dorset Weymouth – Old Town Hall High West Street DT4 8JH Weymouth, Dorset Second - Wednesday of every month, 7:30pm onwards https://www.facebook.com/groups/435089566582005/ Dorset - Portland - The George Inn 133 Reforne, Portland, Dorset, DT5 2AP - Last Wednesday of every month, 7:30pm onwards https://www.facebook.com/groups/148075512033935/?fref=ts Cornwall, St Austell - Polgooth Inn Ricketts Lane, Polgooth, St.Austell, First Wednesday of every month, 7:30pm onwards https://www.facebook.com/groups/460165050682366/?fref=ts

All Dolmen Grove moots are advertised regularly on facebook. www.dolmengrove.co.uk dolmengrove@dolmengrove.co.uk

The Dolmen JUNE Saturday, 24th – Duncarron – Duncarron, Scotland Sunday,25th – Duncarron – Duncarron, Scotland JULY Saturday,15th - Mittelalterlich Phantasie Spectaculum Buckeburg,, Germany Sunday,16th - Mittelalterlich Phantasie Spectaculum – Buckeburg, Germany AUGUST Wednesday,2nd – Wacken – Wacken,, Germany Thursday,3rd – Wacken – Wacken,,Germany Friday 4th – Wacken – Wacken,. Germany Saturday,12th - Children of Artemis – Oxford. Uk Friday,25th - Middeleeuws Winschoten – Winschoten, The Netherlands www.thedolmen.com

Saturday,26th - Middeleeuws Winschoten – Winschoten, The Netherlands Sunday,27th - Middeleeuws Winschoten – Winschoten, The Netherlands SEPTEMBER Saturday,2nd - Mittelalterlich Phantasie Spectaculum – Ojendorf, Hamburg,Germany Sunday,3rd - Mittelalterlich Phantasie Spectaculum – Ojendorf,, Hamburg,Germany Saturday,16th - Mittelalterlich Phantasie Spectaculum – Borken, Germany Sunday,17th - Mittelalterlich Phantasie Spectaculum – Borken, Germany Saturday,23rd - Elfia Arcen 2017 - Castle Arcen,, The Netherlands Sunday,24th - Elfia Arcen 2017 - Castle Arcen,, The Netherlands Saturday,30th - Mittelalterlich Phantasie Spectaculum Hohenlockstedt,,Germany www.,thedolmen..com

St John's Wort: A Favourite Summer Herb St John's Wort (Hypericum perforatum), is one of my favourite and most prescribed herbs.

Hypericum derives from the Greek 'to overcome an apparition' meaning that it has a reputation as an herb of protection. Perforatum refers to the leaves appearing as if they have tiny pinholes in them; a useful aid in the identification of this plant. In fact, the pinholes are transparent oil cells.

The English name refers to its connection to John the Baptist.

The aerial parts (parts which are exposed to the air) are used in tincture or infusion form whilst an oil can be made from the flowers.

St John's Wort is well known as an anti-depressant and is a very effective remedy for those suffering from low mood or mild to moderate depression, often making a positive difference within a few days of beginning to take it. It’s ability to lift the mood has long been known with 17th Century herbalist Nicholas Culpeper documenting that 'a tincture of the flowers in wine is commended against the melancholy and madness'.

The reason St John's Wort is such a favourite of mine, is that it does so many other things to help us. It is a tonic for strengthening the nervous system as a whole, and as such I often use it in combination with oats (another nerve tonic) by using herbs as tonics is an important aspect of herbal medicine, often used along with herbs specifically directed at other ailments. The beauty of St John's Wort is that the tonic action underlies all the other things it is used for.

As a sedative, it is used to relieve anxiety and tension as well as reducing irritability, especially where this is linked to pre-menstrual tension or menopausal mood changes.

Taken internally as an infusion or tincture or applied externally as an oil it has pain relieving properties and reduces nervous irritation. So, it is ideal for use in conditions such as fibrositis, sciatica, rheumatic pain, fibromyalgia, neuralgia and shingles. It is a wonderful remedy for treating shingles which is caused by the virus Herpes zoster. Applying the oil to the lesions on the skin relieves the pain of the irritated and inflamed nerve endings and aids healing. Taken internally with other immune tonics such as Echinacea it helps to bring the virus under control again; an indication of its antiviral properties.

Because it can reduce nerve irritation it can be used to calm a tickly cough (although medical advice should be sought first to determine the cause). It can also be used to address bedwetting in children and irritable bladder (urgency and frequency), which in my experience is far more common than is appreciated.

The oil is easy to make. Flowers are picked and put into a glass jar. They are covered with an organic oil such as olive oil and left in the sun for around 6 weeks. The oil is then strained and bottled. Bright yellow flowers and green olive oil together with sunshine combine to give what I think of as one of nature's miracles: a deep red oil.

It relieves pain and heals, so can be used to heal a variety of skin conditions and wounds. The 16th Century herbalist John Gerard wrote 'the leaves stamped are good to be layed upon burnings, scaldings and all wounds, and also forgotten and filthy ulcers.' He also advocated using the oil and He also advocated using the oil and wrote instructions as to how to make it. It was a noted remedy for puncture wounds and this is an

illustration of the Doctrine of Signatures which says that something about the plant e.g. its shape, appearance, flower colour, location, texture, taste, tells us what we can use it for. In this case the apparent holes in the leaf correspond to this type of wound.

It has a reputation as an herb of protection and was used in a number of ways. Traditionally gathered on the eve of St John's Day (24 June), bunches were hung under the eaves and in the windows of the home to protect against evil spirits and to render spells useless. A sprig worn about the neck was believed to protect against fever and burning the herb in the fireplace brought protection from lightning and severe storms.

Being associated with the element of fire it could be used to commune with the fire spirits when burnt in the form of incense, or used as a wash it would cleanse the work area, tools and the person of negativity.

So, all in all a wonderful, multifaceted tool which we have been given plus it self-seeds easily in my garden, and I always love the time of year when it bursts into flower. A beautiful gift for us all.

Photos by Andrew Cowling

Exiles from Fairyland: Finding Your Phynnodderee on the Isle of Man “Exile is more than a geographical concept. You can be an exile in your homeland, in your own house, in a room” Mahmoud Darwish Postmodernity’s cry for the primacy of the narrative, a narrative that inescapably traps us in meanings we never intended has guaranteed that we are all exiles. Exiles from paradise. Exiles from our society. Exiles from ourselves. We are creatures running from the ideal, pressing against our cultural bounds, and desperately trying to engage patterns of thought that exist outside of us.

But like all exiles, we construct elaborate fantasies of a triumphant escape from the estrangement and a re-establishment of an empire at which we are the center, not in the egotistical Napoleonic sense, rather in attempt to feel that our ideas and actions have import for the cosmos. As Salman Rushdie observed, “Exile is a dream of glorious return.

Exile is a vision of revolution: Elba, not St Helena. It is an endless paradox: looking forward by always looking back. The exile is a ball hurled high into the air. He hangs there, frozen in time, translated into a photograph; denied motion, suspended impossibly above his native earth, he awaits the inevitable moment at which the photograph must begin to move, and the earth reclaim its own.” The guardians at the edge of the map, at the limits of custom, and the extremity of our psyche are monsters, both feared (for they are dangerous) and revered (for defiantly refusing to not exist), but upon examination may offer us the element most decidedly absent from our bracketed narratives and clearly delineated endpoints. They offer us the possibility of continuity and an end to exile. Perhaps in the story of the monstrous Phynnodderee, exiled not only from Fairyland, but to the Isle of Man (between Ireland and England), we can find a little bit of redemption from exile.

Or at least scare the existential bejeezus out of the kids.

The story of the Phynnodderee has no beginning and no end (except in the dismissiveness of alternative reality that is the hallmark of steadfast modernity). Perhaps he already inhabited the Isle of Man 8500 years ago, before the first human settlements appeared, living out his lonely existence, with one foot in faeriedom and one in our world, an aristocratic jet-setter from the Seelie Court.

He may have arrived with the colonizing Gaels in the 5th Century A.D. or with the Teutonic mythologies of the invading Norsemen in the 9th Century. Sir John Rhys, in tracing the etymology of the term Phynnodderee (or Fenodyree) thought perhaps he hitched a ride on the boats of those fearsome Vikings, commenting, “The term fenodyree has been explained by Cregeen in his Manx Dictionary to mean one who has hair for stockings or hose. That answers to the description of the hairy satyr, and seems fairly well to satisfy the phonetics of the case, the words from which he derives the compound being fynneyi, ‘hair,’ and oashyr, ‘a stocking’; but as oashyr seems to come from the old Norse hosur, the plural of hosa, ‘hose or stocking,’ the term fenodyree cannot date before the coming of the Norsemen; and I am inclined to think the idea more Teutonic than Celtic” (Celtic Folklore, Welsh And Manx v1. Oxford: Clarendon press, 1901).

He weaves in and out of the history of the Isle of Man. He is a good fairy. He is a bad fairy. He helps and he hurts. And he hates gifts of clothes, as they remind him that he is not with his true mortal love in the merry glen of Rushen and as observed by Campbell, “Beings of this class seem to have had a great objection to presents of clothes.”

(Superstitions of the Highlands And Islands of Scotland: Collected Entirely From Oral Sources.

O. Glasgow: J. Maclehose & Sons, 1900).

His homeland is not ultimately Celtic or Teutonic, for he is a native of the otherworld, to which he may never return. He cannot fully be part of our world, nor ever inhabit his own. His story is that of the eternal exile, whether growing from fertile local soil or arriving with violence.

Once an esteemed knight of the Fairy Court, he had the nerve to fall in love with a Manx maid, neglecting his fairy duties during the harvest moon, and for this he was condemned, metamorphasized into a shaggy giant and

sentenced to exile on the Isle of Man until kingdom come. His sadness is our sadness.

There has not been a merry world since the Phynnodderee lost his ground. This useful little old gentleman, with his hairy coat, was a fallen fairy, who was banished from his brethren in Fairy-Land for having paid his addresses to a pretty Manx maid, and deserting the Fairy court during the harvest moon, to dance with his earthly love in the merry glen of Rushen. He is doomed to remain in the Isle till the end of time; and many are the stories related by the Manx peasantry of his prodigious strength. Having performed one of his wonderful feats, a gentleman, wishing to recompense him, caused a few articles of clothing to be laid down for him in his usual haunts, when, on perceiving them, he lifted them up one by one, saying—” Cap for the head; alas! poor head; Coat for the back; alas! poor back; Breeches for the breech; alas! poor breech; If these be all thine, thine cannot be the merry glen of Rushen.”

Having said so, he departed, and has never been heard of since! His resemblance was that of the “Lubber Fiend” of Milton, and the Scottish “Brownie.” The Rhyme of the Scottish Brownie, when he was rewarded with a coat and sark, ran thus ” Gie Brownie coat, gie Brownie sark, Ye’se get nae mair o’ Brownie’s wark.” Many other similar rhymes are to be met with in various localities.

The luck of the house is said to depart for ever with the offended Phynnodderee “. (Harrison William, “Mona Miscellany”. Manx Society.

[Publications]) He is a fallen fairy, not because he declared impious war in heaven, but out of earthly love.

Although there are folktales about other creatures who have fallen from lofty positions to ignominy (I’m looking at you Satan), the Phynnodderee does not partake of their devolution, except in regards to his physiognomy. He behaves, as all exiles do, with enormous gratitude towards those who have taken him in and promote his welfare, using his newfound bestiality to lend a hand when called upon, but woe to those that remind him of what he has lost, that he is an interloper in our world, and neglect reminds him that he cannot participate wholeheartedly in our universe or his own.

The popular idea of the Phynnodderee is that he is a fallen Fairy, and that in appearance he is something between a man and a beast, being covered with black shaggy hair and having fiery eyes. Many stories are related by the Manx peasants of his prodigious strength. He may be compared with the Gruagach, a creature about whom Campbell writes as follows— ” The Gruagach was supposed to be a Druid or Magician who had fallen from his high estate, and had become a strange hairy creature. The following story is told about one of these: —” The small island of Inch, near Easdale, is inhabited by a brownie, which has followed the MacDougalls of Ardincaple for ages, and takes a great interest in them. He takes care of their cattle in that island night and day, unless the dairy-maid, when there in summer with the milk cattle, neglects to leave warm milk for him at night in a knocking-stone in the cave, where she and the herd live during their stay in the island. Should this perquisite be for a night forgot, they will be sure in the morning to find one of the cattle fallen over the rocks with which the place abounds. It is a question whether the brownie has not a friend with whom he shares the contents of the stone, which will, I daresay, hold from two to three Scotch pints”. (Moore, A. W. 1853-1909. The Folk-lore of the Isle of Man: Being an Account of Its Myths, Legends, Superstitions, Customs, & Proverbs, Collected From Many Sources) He is not the dissolute Satyr with which he is associated thanks to the ministrations of the Manx Bible (a late addition to the mythological ether), although he shares in a certain beastliness.

Of stories of the Phynnodderee and the Glashtin there are dozens. These merry trolls have prodigious strength, and are sympathetically inclined to man on occasion, and equally vengeful if the whim seizes them. If you look for the definition of a Phynnodderee in the Manx dictionary, you will see that Cregeen calls him a “satyr,” and tells us that the Manx Bible refers to the spirit in that form.

Hig beishtyn oaldey yn aasagh dy cheilley marish beishtyn oaldey yn ellan, as nee yn phynnodderee gyllagh da e heshey. (The wild beasts of the desert shall also meet with the wild beasts of the island, and the satyr shall cry to his fellow.) (Herbert, Agnes. The Isle of Man. London: J. Lane company, 1909)

But the Phynnnodderee is not exactly a satyr, for all that. The word probably just fitted the requirements of the translator, and the title of the elf was taken in consonant vainness.

Gathering about him other fallen brethren, fellow exiles from the otherworld, he can for an evening step back into brotherhood and the realm of lost greatness. Take note, that the visitors from the Good People are numerous in the Isle of Man, but the Phynnodderee literally stands head and shoulder above the rest.

“The Boganes are numerous, causing some fear in certain fields and houses, but useful in preventing people from being out too late at night.

Only one moddey dhoo (black dog) has been noted, that in the Bishop’s dungeon at Peel. It is difficult to describe two others the Glashtin and the Lhiannan shee, the first a goblin, the second a familiar spirit. The giant among them all is the Phynnodderee, a hairy satyr of great strength, and of kind temper if kindly treated: one who can thresh a stack of corn (a ‘tooran’) in a night for the farmer”. (Radcliffe, William. Ellan Vannin: Sketches of the History, the People, the Language, And Scenery of the Isle of Man. London: C.H. Kelly, 1895) In his Book of the Damned, Anomalist Charles Fort once remarked, “We conceive of all ‘things’ as occupying gradations, or steps in series between positiveness and negativeness, or realness and unrealness: that some things are more nearly consistent, just, beautiful, unified, individual, harmonious, stable – than others. We are not realists. We are not idealists. We are intermediatists – that nothing is real, but that nothing is unreal: that all phenomena are approximations one way or another between realness and unrealness”. Is this not the very definition of our exile, an intermediary between monstrosity and humanity, of human charity and vanity, feats and foibles? We long for the comfort of discreteness, to say that this is who I am, and this is where I’m from, and this is what I will be, but such yearnings that have characterized human thought since we began telling each other stories is lost in the flow of continuity. Think kindly of the Phynnoderee. Like most of us, he is a long way from home in thought and space, for as Albert Camus said, “We all carry within us our places of exile, our crimes, and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others.” And

before you go to bed on the Isle of Man, remember to leave a bowl of milk and some oat cakes for the Phynnoderee.

Aaron Dabbah https://esoterx.com/ esoterx@gmail.com

CLIFF CARR THE BARD

https://www.reverbnation.com/CliffordCarr https://www.facebook.com/Cliff-Carr-RyGbard182261731346/ https://store.cdbaby.com/Artist/CliffCarr

March …Ostara Psychic Fayre and Spring Ball., Cornwall April …Beltane Spirit of Rebirth Camp, Dorset.

July 28th – 31st…Tribal Dreams Camp, Dorset.

August 25th -28th…Free Spirits Camp, Kent/Essex September (Mabon) – Local Ceremonies.

October 31st (Samhain) – Local ceremonies and Events.

December – Yule Winter Wonderland Market and Ball., Dorset Crow Dancers Camp, (to be confirmed) www.dolmengrove.co.uk

Diary of the HedgewitCH “The world, Govinda, is not imperfect or slowly evolving along a long path to perfection. No, it is perfect at every moment; every sin already carries grace within it, all small children are potential old men, all sucklings have death within them, all dying people…eternal life…”

Herman Hesse, Siddhartha In the rampant aliveness of summer death bristles in the faded petals and the seeds that spill from fertilisation, the seeds that contain next summer and summers passed, as all exists at once, the end and beginning contracted inside. The world is ever

We spin towards midsummer; swallows skim the skies, swifts scream as they scythe the air, the world trembles with birdsong, crickets chirp, petals seductively unfurl, bees hungrily drift from bloom to bloom, feasting on sweet nectar, flower fragrance wafts, igniting halfforgotten memories and sensations, soft breeze tickles the skin and leaves quiver. Hope and longing are manifest in the pounding sensuality. We see beauty in the dappled shade and the long warm shadows, the dazzling blue of the sky, and joy in the heat that seeps through our bones and the soothing coolness of a bubbling stream. Life teems in motion, colour, touch, sound and scent, we see and feel the magick and the world tugs towards a crescendo under the midsummer sun.

Potentials are realised, possibilities fulfilled, insatiably unbounded, as the blossoms unpeel reaching out to reveal and display their crowning glory, uninhibitedly crooning for pollination by rampaging promiscuous creature or wandering winds, to create anew.

The Sun that dominates our worlds and the wheel of the seasons, blazes, the world is brazenly vitalized, our hearts burn as we are carried into the expanse of light and warmth, beyond the material of this world, recognising the divinity within, that is reflected in the gossamer wings of a bee, as the creative energy, the great power that pulses throughout our being in all its mighty potential, seethes.

re-creating, altering, the old must give way as life’s eternal energy thrusts. Ever changing, possibilities are danced out, and set forth as the seedling slowly unravelling its blossom, the climax of its development, in the process of becoming, to return once again to the seed carrying all the experiences of summer with it, the universe transformed by its being.

And so, the days shorten in the dizzying haze of summer as we dance out our tune in summer’s daze, imprinting our experiences and actions and wills into the past and future that brims in every moment.

Rachael Moss

July Sat 01 Sun 02 Mon 03 Tues 04 Weds 05 Thurs 06 Fri 07 Sat 08 Sun 09 Mon 10 Tues 11 Weds 12 Thurs 13 Fri 14 Sat 15 Sun 16 Mon 17 Tues 18 Weds 19 Thurs 20 Fri 21 Sat 22 Sun 23 Mon 24 Tues 25 Weds 26 Thurs 27 Fri 28 Sat 29 Sun 30 until 3pm after 3 pm Mon 31

Dark Moon

1st quarter

August Tues 01 Weds 02 Thurs 03 Fri 04 Sat 05 Sun 06 Mon 07 Tues 08 Hamburg parsley, radish, swede Weds 09 turnip Thurs 10 Fri 11 Sat 12 Sun 13 Mon 14 Tues 15 Weds 16 Transplant crops, prune, Thurs 17 mow lawns Fri 18 Sat 19 Sun 20 Mon 21 Tues 22 Broccoli, chard, florence fennel, Weds 23 kohl rabi, lettuce, parsley, salad, Thurs 24 spinach Fri 25 Sat 26 Sun 27 Mon 28 Tues 29 Weds 30 Peas, runner beans Thurs 31 Peas, runner beans

Full Moon

September Fri 01 Sat 02 Sun 03 Mon 04 Tues 05 Weds 06 Thurs 07 Onion sets, radish, turnip Fri 08 Sat 09 Sun 10 Mon 11 Tues 12 Weds 13 Thurs 14 Transplant crops, prune, Fri 15 mow lawns Sat 16 Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Cabbage (spring), chard, lettuce, Fri 22 salad, spinach Sat 23 Sun 24 Mon 25 Tues 26 Weds 27 Thurs 28 Fri 29 Sat 30

Onion sets

Transplant crops, prune, mow lawns

Cabbage (spring), chard, lettuce, salad

3rd quarter

++

LEARNING LENORMAND PART THREE In part two I looked at The Rider, Clover, and The Ship and how to read a simple three-card spread. In this part I will be looking at the next three cards, numbers 4, 5 and 6; The House, The Tree, and The Clouds.

There are many variables, the question asked and its context, the position within the spread in which the card appears and the cards surrounding it. However, I will be giving their classical meanings and using them within a series of three-card spreads.

The House can literally mean a house, a home or in some cases the Self within a space, your own inner space.

The Tree can represent health, the family, an individual’s roots or personal growth.

The Clouds can mean confusion, irrational thoughts that mask or muddle the situation. In some decks, the card face depicts both stormy and summer clouds, to show a dark side of the Clouds as well a lighter side.

This may be read as the darker side being where the confusion lies with the lighter side of the clouds as the solution or clarity depending upon the cards surrounding it. However, here I am reading it’s classical meaning of Confusion but as you get more used to the cards you may choose to resonate with this card’s other meanings.

Referring back to the previous article, ‘The Ship meant movement’ so for example; a reading that featured The Ship, The House, The Clouds could literally mean ‘moving house caused confusion. Whereas, The Clouds, The Rider and The Tree could mean, confusion around new information coming in about one’s health.

For example, the querent asks about moving house, they wonder whether they will be moving house? The cards dealt were The Ship, The House and The Rider, the answer being ‘Yes a move will be happening soon’ The Ship = Move - The House = House - The Rider = Quickly Of course, that is simplistic. However, I will be exploring more complex spreads later on and show how the different cards surrounding each card shape how a straightforward question is answered.

So, another way of looking at this is, the querent wants to move to another area, they ask if this will be a good move? The cards that appear are, The Ship, The House and Clover which can be read as ‘moving house will bring a small amount of luck’ so yes, it will be a good move.

The Tree can mean health. It is important that readers understand there is an ethical responsibility when answering health questions and for this reason some prefer to not do this. I will answer some questions about health, however it is good practice to always add that they seek professional medical advice.

Example: After a period of ill health a querent is asking if his health improve in the future? The cards drawn are The Clouds, The Tree and The Rider, so this could be read as ‘Any confusion surrounding their health will move away’ The Clouds = Confusion - The Tree = Health - The Rider = News A more complex spread featuring The Ship, The House, The Clover, The Rider and The Tree could be read as ‘Moving house will bring fortunate news about their health’ The Ship = Movement - The House = House - The Clover = Luck/Good fortune - The Rider = News - The Tree = Health In part 4 I will be looking at The Snake, The Coffin and The Bouquet meanwhile practice asking questions using the cards in the three-card spread and try a five-card spread which I will also be covering in the next part.

Eirwen Morgan For further information and readings email: missseirian@gmail.com https://www.facebook.com/cornwallcartomancy/

Afon Llynfi Afon Llynfi, who's waters run red with iron.

Whose waters rush past my door, as rain swells your body like a pregnant mare.

White horses of the water falls are your hair.

Red, your gown, sewn with white and silver ribbon and shod in grey, grey stone.

Afon Llynfi, goddess of vole and the jackdaw, of the creeping cat in the branch that crosses your girth.

I have known you in battle as you rage, rushing to meet the sea.

And in peace, healing and nourishment.

I have taken your waters to my garden and fed upon the fruits there in produced.

With your perfumed body, I cleanse and dedicate my soul To works of healing and of ritual to my gods Limnaiad, kelpie, otter sprite Lover of nix and beloved of the moon Goddess, mother, witch and bitch Giver and taker, nourisher and destroyer My heart, oh how my heart, Hears, your every song Afon Llynfi

Shodie Wilson

I’m a singer songwriter based in Weymouth, Dorset and I’ve just released my debut album ‘More or Less’. I love traditional folk songs so I wanted to put my own particular spin on them, and introduce them to a modern audience. This album is full of old folk songs sung my way plus a couple originals written by me.

I love songs that tell great stories with witty lyrics, so you will hear tales of female pirates, lusty shepherd boys and dastardly murder plots gone wrong. You’ll also find songs about the sea, storms and the changing of the seasons as these subjects always fascinate me.

The album title ‘More or Less’ has many meanings for me. One in particular is that, as a solo performer, I’ve become known for singing ‘a cappella’ and for a ‘stripped back’ style,but this album gave me a chance to create a full band sound for some of the songs, with the help of the brilliant Josh Elliott and Tobias Raabe. So, you’ll hear rip-roaring, up-beat folk tunes alongside the more introspective, tender or emotional songs - both ‘More’ and ‘Less’.

To find out more, listen to songs, or buy a copy of the album, please visit: www.amyhopwood.co.uk www.facebook.com/AmyHopwoodMusic “More or Less… Is nothing short of stunning! Amy Hopwood has a rare clarity to her voice that few singers possess which adds something unique to each and every track. Her voice literally breathes new life into some very familiar traditional folk songs. The songs are quite varied and her vocal style matches them perfectly, encouraging you to feel the passion, share the joke or the heartache.

Amy Hopwood brings additional warmth and soul to the tracks she sings a cappella turning some dusty old songs into something quite breath taking and uniquely ‘hers’.

And just when you think it can’t get any better, there’s two original tracks ‘More or Less’ and ‘Where the Sea meets the Stone’ both of which are written and performed by Amy. Both of which are lyrically clever, musically on point and come across as ‘old favourites’ blending in perfectly with the rest of the album. which as I said at the beginning is nothing sort of stunning!!”

N

APPEARING AT DOLMEN GROVE TRIBAL DREAMS 28TH JULY - 1ST AUGUST 2017 ARTEMIS GATHERING 13TH AUGUST 2017 WITCHFEST INTERNATIONAL 6TH OCTOBER 2017 https://www.facebook.com/crowdancers/

Elizabeth Andrews Growing up in rural Dorset, Elizabeth Andrews became fascinated with the folklore of the countryside. She worked in advertising, running a design business with her husband on the south coast before moving to Cambridge for a number of years. Interest in her artwork and writing increased on-line and Elizabeth's first illustrated book ‘Faeries and Folklore of the British Isles’ was published in 2006. A second Illustrated book ‘Faerie Flora’, was released in 2013, a seasonal guide to the country's most common flowers and plants including faerie stories, spells and charms. A ghost story, ‘The Lavender Witch’ was released in paperback and Kindle.

A change of style followed with a number of illustrated short stories for Children under the ‘Mice of Horsehill Farm’ series and ‘The Faeries Tea Party’.

Elizabeth is also a regular contributor of folklore articles to a number of popular magazine titles.

Coming to Kindle in September 2016, The Cunning Man is Elizabeth Andrews' second novel; following the success of her first novel on Kindle: The Lavender Witch.

The Cunning Man again features the psychic sisters who following an innocent seaside holiday become embroiled in a dark ghostly encounter, with a village held in terror. Drawing on tales from the south west coast Elizabeth has again shown our dark past is barely hidden beneath the veneer of modern life.

The Lavender Witch A chilling ghost story based on the strange but true events surrounding the death of Hannah Beamish, accused of being a witch by a wealthy farmer in a small remote village where she lived in the early 1800’s.

One hundred and seventy years later these strange events, only now remembered by a few, come to light when Kitty and Gordon move back to the Devon village where they were born, they buy an old orchard from a farmer and build a small house. All is fine until they move in and Kitty spends her first day alone in their new home.

Over the course of their first week in the house chilling apparitions appear and events spiral out of their control bringing the past and present together until the truth emerges as to what really happened on Castle Hill. Was Kitty and Gordon's return to the village a coincidence? And what secrets are the elderly sisters Sybil and Queenie keeping? To save their home and their sanity they must finally put the ghosts to rest.

The Cunning Man During an innocent day trip with the WI to Bindon, a small fishing village on the Dorset coast Queenie and Sybil, the psychic sisters are troubled by the underlying atmosphere of fear and secrecy.

Their curiosity is further piqued when Queenie notices fresh witch marks carved into every door lintel in the village and when they encounter the ghost of a child in the churchyard they realise they have to investigate further.

Faerie Flora An illustrated seasonal guide which explores the folklore surrounding our most common flowers and plants. Includes myths, legends, traditional folk remedies, spells and culinary recipes.

Faeries and Folklore of the British Isles: A guide to the host of strange sightings of supernatural beings who inhabit the British Isles These tales of an enchanted kingdom come from all corners of the British Isles - from Ireland, the Channel Islands, the Isle of Man, to the Scottish hills and then down to the tip of Cornwall. Many of the folk tales can be traced back to Celtic times and have been passed on orally, from old wives' tales to the spellbinding faerie stories we were told as children.

On Kindle for Children Deep in a small wooded valley lies an old farm, a small bubbling stream flows past the old buildings, its banks lined with young hazel and willow trees, and in the summer the farm is surrounded by a sea of flowers and wild garlic. The small mouse family of Spillers, Teasel and their five children, Fullers, Marigold, Stickers, Twinkle and little Jersey live in the crumbling stone barn at Horsehill Farm.

The Whales Tooth is the third in the series. Jersey and Twinkle make an exciting discovery in the feed shed and Grandpa Dieselrat tells the exciting story of the day three ferocious pirates and a bad-tempered whale swim up the river to the farmyard.

An ideal for reading to your children at bedtime.

Illustrated children's story. The Great Storm is the second in The Mice of Horsehill Farm series. Grandpa's story of dragons comes to life when an unexpected visitor crashes into the farmyard

The Mice of Horsehill Farm- Teasel's Present.

Deep in a small wooded valley lies an old farm; a small bubbling stream flows past the old buildings, it's banks lined with young hazel and willow trees. In the summer, the farm is surrounded by a sea of flowers and wild garlic.

Spillers, Teasel and their five children, Fullers, Marigold, Stickers, Twinkle and little Jersey live in the crumbling stone barn at Horsehill Farm.

Teasel's Present is the first in the series of many adventures that the small mice family have throughout the year. Second in the series is The Great Storm, third, The Whales Tooth.

Ideal for reading to children at bedtime. https://t.co/2hhClOlu8s http://faeriesandallthatstuff.blogspot.co.uk/ https://www.facebook.com/elizabeth.andrews

Lucifer is one of the most popular deities in the world, generally associated with the Left Hand Path, and all too often misunderstood. While it is easy to find information about his history and etymology, there is far less material about how to work with him in an interactive way. As the Lightbringer, he is either glorified or vilified, and like most beings, the truth is always stranger than fiction. Awakening Lucifer is co-written

by Asenath Mason and Bill Duvendack, and looks at several different Luciferian archetypes in different cultures, and includes rituals for communing with them. In addition to Awakening Lucifer, a special collection is available. It’s called “Lucifer Chronicles,” and includes “Awakening Lucifer” and the Temple of Ascending Flame anthology “Rites of Lucifer,” which acts as a primer to Awakening.

Awakening Lucifer presents a fresh viewpoint on many of the old myths and Luciferian archetypes. This book is for those who want a deeper understanding of the many faces of Lucifer and how this figure relates to mankind. By delving into the ancient Sumerian and Babylonian legends, this book takes the reader beyond the Biblical fallen angel. It’s a beautiful grimoire written by two highly respected occultists!

Laurie Penumatikos, authoress This magnificent grimoire is an inner call to self-illumination and apotheosis through powerful explorations, transforming the spirit into a vessel of the Luciferian essence in flesh, with the purpose to learn to operate on this plane as gods and goddesses and open astral gates in diverse magickal workings. Awakening Lucifer is a symbol of self-liberation and inner devotion transcending into self-perfection in every stage of life.

Edgar Kerval, author There is power behind the words. This book is for serious occultists and those seeking communion, selfinitiation and ultimately the wisdom/gnosis that comes with it. Awakening Lucifer brings a deeper understanding of the Lucifer archetype and along with it something new and exciting for both the reader the future. Would absolutely recommend!!

Diane Narraway, author/editor ASENATH MASON Asenath Mason is an author of many books and essays on esoteric, religious and mythological subjects, with a particular focus on the Left Hand Path philosophy, Luciferian Spirituality and Draconian Tradition. She is an active practitioner of Occult Arts and teacher offering personal consultations and initiations into the Draconian Current. Founder and coordinator of the Temple of Ascending Flame, a platform for individuals around the world who want to share certain aspects of their work within the Draconian Tradition with other adepts on the path and for those who need guidance into Draconian initiatory magic. She is also a co-author and editor of a number of anthologies and occult magazines, e.g. Visions of the Nightside, Rites of Lucifer, and Tree of Qliphoth, anthologies by the Temple of Ascending Flame.

In her daily life, she is a professional author and graphic designer, and you can find her art both in her online portfolios and in her books. Themes of her art include many gothic, fantasy and esoteric concepts.

For further information:

Contact: https://www.facebook.com/asenathmason.official/ Art: https://www.asenathmason.darkfolio.com Temple of Ascending Flame: https://www.ascendingflame.com Guidance and ritual for hire: https://www.becomealivinggod.com/asenathmason The Book of Mephisto: A Modern Grimoire of the Faustian Tradition (2006), Edition Roter Drache Necronomicon Gnosis: A Practical Introduction (2007), Edition Roter Drache Sol Tenebrarum: The Occult Study of Melancholy (2011), Edition Roter Drache The Grimoire of Tiamat (2013), Nephilim Press Liber Thagirion (2014), Aeon Sophia Press Draconian Ritual Book (2016), Magan Publications Qliphothic Meditations (2016), Become A Living God Chants of Belial (2016, with Edgar Kerval), Sothis Press Awakening Lucifer (2017, with Bill Duvendack), Become A Living God

BILL DUVENDACK Bill Duvendack is an ordained independent Spiritualist minister, an astrologer, internationally known psychic, presenter and author. He has presented in many venues, ranging from colleges and high schools to national and international conferences. He is the author of the several published books including Vocal Magick, The Metaphysics of Magick, In the Shadow of the Watchtower, Enochian Grimoire Volume1, Spirit Relations, and the upcoming Awakening Lucifer co-written with Asenath Mason, plus several others due for release soon.

He has had over a dozen essays published in various anthologies, and his magical writings have been translated into 6 different languages. He regularly teaches classes on magick, astrology, and modern spirituality nationally and via webinars. He has been interviewed by the NY Times, RTE 1, and has made many TV and radio appearances.

For further information: www.418ascendant.com Vocal Magick by Immanion Press. http://www.immanion-press.com/ The Metaphysics of Magick. A look at modern occultism. Available through Createspace Rites of Lucifer unlimited softcover, published by Temple of Ascending Flame, available through Createspace. https://www.createspace.com/ Lilith, Goddess of Sitra Ahra, published by Black Tower Publishing. "Lilith as the Great Qabalistic Initiator." https://www.createspace.com/.

The Metaphysics of Magick https://www.createspace.com In the Shadow of the Watchtower, Enochian Grimoire Volume 1, http://siriuslimitedesoterica.blogspot.com/ Songs of the Black Flame by Black Moon Publishing. http://blackmoonpublishing.com/webstore/phone/black-flame.html Spirit Relations, published by Immanion Press. http://www.immanion-press.com/info/book.asp?id=499&referer=Hp Awakening Lucifer, co-written with Asenath Mason, published by Become A Living God. http://www.becomealivinggod.com/asenathmason/lucifer

http://www.becomealivinggod.com/asenathmason/lucifer

HUSBANDS ‘N’ KNIVES

15TH JUNE – THE JUNCTION PLYMOUTH 12THAUGUST – PENZANCE 25THAUGUST PENZANCE 15th SEPTEMBER PUNK PICNIC PLYMOUTH https://www.facebook.com/HusbandsNKnivess/ https://husbandsnknivesmusic.bandcamp.com/music

Further information on Dolmen Grove can be found www.dolmengrove.co.uk Portland Moot https://www.facebook.com/groups/14807551203393 Weymouth Moot https://www.facebook.com/groups/43508956658200 Cornwall Moot https://www.facebook.com/groups/46016505068236 Kent & Essex Moot https://www.facebook.com/groups/dolmengroveessexmoot Hampshire Moot https://www.facebook.com/groups/www.dolmengrovehampshiremo ot/ Dolmen Grove Chronicles https://www.facebook.com/DolmenGroveMagazine/?ref=br_rs Dolmen Grove www.facebook.com/pages/The-Dolmen-Grove/110124449082 Email Diane Narraway (chairman Dolmen Grove/Editor Dolmen Grove Chronicles) dolmengrove@dolmengrove.co.uk

https://www.facebook.com/DolmenGroveMagazine/?fref=ts&ref=br_tf www.dolmengrove.co.uk