Monday, April 15, 2013

"The Awakening" - Numina Masks for the Elemental Powers

Ann Waters as "Dawn of the New Aeon"
"Dawn of New Aeon - She arises! Mother awaken to us! We see her on the horizon, rising with the sun…New Aeon - take hold!"
I've received photos from The Awakening - Our Changing Earth the  performance created and produced by Ann Waters, in Collaboration with Mana Youngbear, the Muse in Willits, and her Community of performers and writers - wonderful!  There are so many beautiful photos, and excerpts from the script I'd like to share.  



My deepest gratitude to Annie, Mana, and all of the wonderful people in the Cast - for creating hope, beauty, bringing the masks to life, and giving voice to the Numina.  May this important story continue to unfold.


Mana Youngbear as "The Medicine Basket"

"You’ve gathered through the springtime, the summer and the fall.
Your offerings are yours alone, and precious to us all.
 Now rest and build your strength up. Cycle with the moon.
Offer your song of life
 A very sacred tune.
Dream of where you’re going
 Dream of where you’ve been
 Dreams  make the Gathering.
 Beginnings never end."

"Rainbow Star Goddess"
"I bear a message of hope.   You are the Rainbow Bridge prophesized so long ago."


All photographs are copyright Jerri Jo Idarius, and used with her permission.

Corizone Elliott as "The Pythoness - Oracle"


THE PYTHONESS:

Pilgrim and Kings, alike, answers sought, spoke of their hopes and dreams,
 journeyed to holy Delphi,  a crevice, deep in the earth,
 journeyed to the Oracle, the Sibyl, the Pythoness
 In trance, she spoke offered visions, offered hope: 
Behold I draw a spiral for You - 

Step In I implore You


You are vessels of  
Finely Woven well pitched baskets
Ancient Urns, Carved boxes
and Medicine Bundles
Fashioned From Your Perfect Heart
They are Still Safe Inside HER Holy Womb

Ancient Prayers Stir the Air,
Stirring Breath and Bone 
Inspiration, Invocation, 
Your hope is yours alone.
To touch what was a memory brings no fruit, 
Your silent longing is the proof

As the Years move to months, 
Months move to days
Numina witness you this Night,
Numina witness you this Night,

Floating plastic, Trash, decay, 
Fill our planet and oceans today
Young and Old cry out to be free,
Grieving  loss from each killing spree
Earth Mother Gaia raped 
of soil and honor brings famine
Extinction threatens sockeye salmon
Elders sit alone in Hunger waiting; 


Chorus:  Man’s compassion dissipating.

Time to listen, Take note, Stand strong
Mark My Words - It won’t be long
When no water will be safe to drink, 
And Men will lose their right to think
Because their judgment is impaired 
with residue of regret and mind despaired.
Desolation’s Darkened Dance
Stomps out the last of free will’s chance
False pride clothed in glamour’s fashion -
a deceptive weaving of wasteful action

Chorus:  Grinding you down ...Back Down to dust.


A woman weeps - A baby cries, a seed refuses to grow
Where now there is open sea there once was gentle snow.
Fruitless trees that do not bear, drought pursues you everywhere.

But Listen within - Your Soul Still Knows.
Ageless Grace resounds around.

Chorus : A Prophecy is about to unfold


Thallia Bird as "The Weaver"


THE WEAVER:

Listen. Things are unraveling.   
Let me tell you about the fabric of your life. 
Your soul is the tightened yarn of the weft; your spirit is the weave. 
Your spirit is woven into the mat on which you kneel, 
into the cloak that wraps around the shoulders of your everyday lives.
 
Allow the distressed threads of your life to unravel. 
I have an old yarn. I have a new yarn.

Chorus: Take this yarn from me.

Form a weft that makes you strong
Take this yarn from me
Weave the threads so life goes on
 Take this yarn from me.
           
Stories are woven into the land. Stories wrap themselves
around old bones and compost, vine and curl and leaf in the night,
stories written in the rocks about Deer and Raven,
sung by a Tree Nesting Warbler, stories found
in the cold hearts of sleeping mountains.

Walk out into the orchard. Sit beneath a fruiting tree. 
Notice the shapes of things. The shape of the sky,
the shapes of the shadows, the shape of your own shadow.

There are cracks in the land like a spider web,
full of light, full of fire. Once,
you could see the Web as plain as day. 
Song lines, leylines, threads, the pattern. 
Each shining, woven thread.

It’ s time to weave a new story now.
See yourself as Spiderwoman, 
sitting in the center of your   web.

All of its snaking rivers and twining roots are inside of you! 
All those threads come right out of your hands and out of your hearts
All those threads just go on forever

Chorus:  

Into the Earth, and into each other: 
into all your stories, into everyone you'll ever know,   
Into all those who came before you, 
and all those who will come after you.


Script excerpts by Ann Waters, Mana Youngbear, Ilana Stein, Lauren Raine
My gratitude to the fabulous performers of Willits who danced the masks to life!


"Drought"
Thank you once again for bringing these masks to life, for truly making them "Masks for the Elemental Powers"!

"Storm" by Diane Smalley.

"Desert Spring (Our Lady of the Arroyo)"

"Ocean"

"Ice (Glacier"

"Flood"

"Volcano"
"Butterfly (Imaginal)" by Diane Smalley.
"The Lady of Avalon (Sacred Spring)"

"River"
"Rainbow"
Medicine Basket

Gaia
The Black Madonna



All photographs are copyright Jerri Jo Idarius, and used with her permission.

Sunday, March 10, 2013

"The Awakening" - Numina Masks in California




I  feel so honored that ritualist, community organizer, and choreographer  Ann Waters, along with her collaborator Mana Youngbear, creator of  The Muse In Willits, and the wonderful dancers of the community of Willits, California, will be performing "The Awakening".  They will give voice to Our Changing Earth with a mythic journey. 



"The Awakening" is a dance theater event in our newly revived Little Lake Grange Hall. We will experience the story of our times and our changing Earth using the 'Masks of the Numina', dance, poetry and music.

Do you think our current cultural direction needs revision? Are you concerned about the extreme weather we have experienced in the last decade - Hurricanes Katrina and Sandy, the Tsunamis, drought in the Midwest, GMO Labeling, Species Extinction, Plastic in the Oceans?
Would you like to go beyond your fears and find a place of peace and simple connectivity to nature? 
 
Join us. 

Local playwright Annie Waters has written this timely script with flowing renditions of poetry by Mana Youngbear, Lauren Raine, Marilyn Motherbear, Ilana Stein, the Grange Founders, and others. 

Many local dancers and speakers will bring their talents to the stage for this contemporary drama. The early Romans believed nature was inhabited and maintained by elemental forces they called the Numina. The mysterious forests, the generous orchards, the fields of grain, the healing springs each had an intelligent spirit, a Numen. Every Roman farm had a shrine dedicated to the spirit of place that lived there. Being in good relationship with the Numina, receiving their blessings and their wisdom was necessary for the health, prosperity, and spiritual well being of all who lived on the land.

As Rome grew storytellers began to give the Numina names, and the weavers of myth gave them faces, and temples were built for them. But their ancient origins were never forgotten, their primal grace always sought. Indeed - the “Spirit of Place” calls to us today. We experience it in our wisdom and concerns over the salmon, health of the ocean, hurricanes, summer heat and wild fires being experienced each year.  This unusual performance of Mask Art, Poetry and Dance presents the dilemma of our time in Classical Greco-Roman theater style. We will enjoy the enigmatic Masks of Ancient Numina (Spirit of Place) created by master mask artist Lauren Raine - as we face our fears, and find a key to re-visioning our collective future.

Newly installed theatrical lighting for the main stage at the Grange is being used for the very first time; we thank all of those who contributed to this great revival of our completely renovated Community Grange Hall.

Please join us for an evening of deepening and artistic vision.

Playing one weekend only- March 15 and 16th, 7pm

Little Lake Grange - 291 School St - Willits, CA 95490
Tickets $10 - available at Good's Stamp Shop
 and Grange Grains (Farmers Market)
General Seating. Call the Muse (707)  354-2475  for more information 



 

Radio Talk Show 3/11, and Interview of 5/11

Ocean Mask (2013)
 Mask of Chaos and Order (2012)
I feel very honored  that I'll be interviewed by Janie Rezner for her "Women's Voices" radio program on Monday, March 11 at 7 pm Pacific Time (8:00 my time).  I'll be talking about masks, the new Numina collection, and the evolution of Ann Waters and Mana Youngbear's community performance "The Awakening". 

You can listen in at  90.7 Philo, 91.5 Willits and Ukiah, and 88.1 Fort Bragg.    The interview can also be   heard live at www.kzyx.org  7 pm Pacific Time.  As with all of Janie's programs, the show will also be archived at www.radio4all.net under  Janie  Rezner, MA  Programmer KZYX.


I find that I am often reticent to "promote" myself, so I often don't announce things I'm doing on behalf of my work, such as interviews, articles published, etc.  I'm very proud of these masks, and absolutely delighted that they are being animated and filled with story by these talented and dedicated people.  So in thinking about this upcoming interview,  I looked up another interview I did a few years back with Joel Le Blanc from New Zealand, Editor of  Wildberries Journal .  Reading the interview again, I felt like sharing here (I've edited it a bit for brevity).

Now to not be too nervous on Monday!
The Medicine Basket Mask
................................................................................................
Interview May 3, 2011, with Joel Le Blanc, WILD BERRIES JOURNAL OF MYTHIC ARTS: 

Joel:    How has your art evolved over the span of your career? 

You know, I don't know how to answer that. Our art is about our lives, and if we're fortunate enough to do great art, then we've touched something universal, and our art is also, somehow, about many lives as well. Art process is the residue of life, its record, exploration, archives, memory, and sometimes, its future memory as well. So, looking at my work, I see two things:   I see something that has always been there, something intrinsic to who I am., and 2., I see my maturation as a human being, the art reflecting that growth.

How has mythology and folklore influenced my art? At this point, it seems to be pretty much everything! Whether working with masks for individual customers, or pursuing "The Masks of the Goddess" project, or my current interest in the native American mythology of the Spider Woman, mythic mind seems to be my chief source of inspiration. Mythology, and the archetypes that undermine and "over-view" any given culture, are deep, rich, and alive, once one allows oneself to 'activate" them within your imagination. When you align yourself with myth, you align yourself with the mythic continuum, or "symbolic history", of the culture you live in.  Since we are now becoming a world culture, this continuum has expanded to include all of human culture.

Joel:  Do you feel mythology and folklore is still relevant to people living in today's modern society?

The great mythologist, Joseph Campbell, has been my personal muse and mentor. I met the artist Alex Grey ("The Sacred Mirrors") in NYC years ago. We were talking about the series of talks Campbell did with Bill Moyers (The Power of Myth) in the '80's, and Alex commented that Campbell was the "Avatar of artists". Myth and art are intimately connected.  I feel that myth is more important to todays evolving world than it has ever been. Mythology is one of the ways that human beings organize information - it is intrinsic to consciousness, and to how human beings have transmitted information from generation to generation. We think and comprehend and communicate through story.

The poet, Muriel Rukeyser, famously wrote that “the world is made of stories, not atoms”. Stories are at the center of our human nature, and our creative intelligence evolved from the tribal stories we told in our attempt to understand the mystery of the world. Story, myth, is our essence. Religions are also based on mythology, and for those who study the evolution of mythology, one begins to see the evolution of culture within the religious myths. They are threads that make the weave, and weave into present time from very ancient roots.
"Scapegoat Mask" for TRAGOS by Antero Alli

So the question we have to ask is "how are the old myths serving us?" Are they still useful, or not? And if not, what kinds of new mythologies do we need? That's where artists come in.   I think, for example, of the recent film "Avatar" by James Cameron........ how gorgeous a work of art and myth making, and how entirely appropriate for our time.

Joel:  You often refer to the "Spider Woman" of North American mythology, and you have even titled one of your blogs after her. Who exactly is the Spider Woman and how has she influenced your work?

The Spider Woman creatrix myth is ubiquitous throughout the Americas, and remains a profound metaphor to re-discover for our time. Grandmother Spider Woman is revered by the Navajo, for example, as a great teacher, and to this day midwives rub a bit of spider web into the palms of infant girls, so they will "become good weavers." Pueblo peoples called Spider Woman “Thought Woman” (Tse Che Nako), the goddess who spun the world into being with what she imagined. I find the Spider Woman myth, or archetype, utterly relevant to contemporary ecology, human community, and contemporary science, including quantum physics, which now suggests that we live in a “thought universe” wherein all things are interconnected, entangled, and responsive.

Tse Che Nako Weaving the World into Being

To the Hopi, as well as the Navajo, weaving is a spiritual practice, an act that uncovers a pattern already there. A good weaver aligns herself with Spider Woman, and seeks to work with the deep patterns. I suppose it would be hard, at this point, to say how Spider Woman has influenced my work.........my 2007 community project, "Spider Woman's Hands" sought to imply that our own hands are also the hands of Spider Woman, weaving the world into being together with the "stories we tell and dream".

 Joel:  As a multi-media artist, do you have a current favorite form of artistic expression?

 No, not really...........I think we find different ways of expression for the same idea. Because I've trained as a visual artist, that is what I'm most comfortable with, how I think, in images.

Joel:  What place does blogging and the world wide web have in your career and art? 

Well, the Pueblo people of the Southwest believed that it was Spider Woman who led the people, at the disastrous flood that signalled the end of the 3rd World, up into the new world (the 4th age). It is now, according to the Hopi (and Mayan) calendars, the end of the 4th World. There are a few prophecies that, as in the past, Spider Woman will return, perhaps, to lead us once again into a new world and a new age. I kind of like to think of the the Internet as Her latest appearance.

Joel:  What are some of your upcoming and future projects?

 My question now is: "How do we speak with the Earth?". I hope my journey (to Glastonbury)  reveals some answers.

Joel:   Now for an obvious question: do you have any advice to offer for budding artists and writers out there? 

Nothing "practical" in a world that values money to the loss of soul. Art making, in whatever form, can be viewed as a spiritual practice that can reveal you to yourself, and can be a form of prayer or invocation. And artists are the myth makers and transmitters of cultural story......a very important task! I think it's important that artists, young or old, value the significance, personally and collectively, of our amazing worldwide artistic legacy, and the evolution and contribution each artist makes to that "Grand Conversation". 

Sunday, December 9, 2012

"Numina" - Masks for the Elemental Powers

Drought

My  Numina Masks  invite others to join in the great "Mythic Conversation" with the Spirits of Place through storytelling and masks.  In 2013 the collection was used by playwright and activist Ann Waters, along with her collaborator Mana Youngbear and extraordinary community to produce
"The Awakening:  Our Changing Earth" in California.

Below is an article I wrote about "Numina", and  renewing our conversation with the Earth.

I think it's time to learn to listen........

Numina: Spirit of Place, Myth and Pilgrimage

by Lauren Raine MFA

From Coreopsis Magazine (2014) 

“To the native Irish, the literal representation of the country was less important than its poetic dimension. In traditional Bardic culture, the terrain was studied, discussed, and referenced: every place had its legend and its own identity….what endured was the mythic landscape.”   

 R.F. Foster, (2001, p. 130)
The Romans believed that special places were inhabited by intelligences they called Numina, the “genius loci” of a particular place. I personally believe many mythologies may be rooted in the experience of “spirit of place”, the numinous, felt presence within a sacred landscape.
To early and indigenous peoples, nature includes a “mythic conversation”, a conversation within which human beings participate in various ways. Myth is, and always has been, a way for human beings to become intimate and conversant with what is vast, deep, and ultimately mysterious. Mything place provides a language wherein the “conversation” can be spoken and interpreted, and personified. Our experience changes when Place becomes “you” or “Thou” instead of “it”.

In the past, “Nature” was not just a “resource”; the natural world was a relationship within which human cultures were profoundly embedded. The gods and goddesses arose from the powers of place, from the powers of wind, earth, fire and water, as well as the mysteries of birth and death. In India, virtually all rivers bear the name of a Goddess. In southwestern U.S., the “mountain gods” dwell at the tops of mountains like, near Tucson, Arizona, Baboquivari, sacred mountain to the Tohono O’odam, who still make pilgrimages there and will not allow visitors without tribal permission. This has been a universal human quest, whether we speak of the Celtic peoples with their legends of the Fey, ubiquitous mythologies of the Americas, or the agrarian roots of Rome: the landscape was once populated with intelligences that became personified through the evolution of local mythologies.



The early agrarian Romans called these forces “Numina”. Every river, cave or mountain had its unique quality and force – its inherent Numen. Cooperation and respect for the Numina was essential for well-being. And some places were places of special potency, such as a healing spring or a sacred grove.   As monotheistic religions developed, divinity was increasingly removed from nature, and the natural world lost its “personae”. In the wake of renunciate religions that de-sacralized nature and the body, and then the rapid rise of industrialization, nature has become viewed as something to use or exploit, rather than a relationship with powers that require both communion and reciprocity. Yet early cultures throughout the world believed that nature is alive, intelligent, and responsive, and they symbolized this through local mythologies. From Hopi Katchinas to the Orisha of Western Africa, from the Undines of the Danube to the Songlines of the native Australians, from Alchemy’s Anima Mundi, every local myth reflects what the Romans knew as the resident “spirit of place”, the Genius Loci.

Contemporary Gaia Theory revolutionized earth science in the 1970’s by proposing that the Earth is a living, self-regulating organism, interdependent and continually evolving in its diversity.
The Gaia Hypothesis, which is named after the Greek Goddess Gaia, was formulated by the scientist James Lovelock and co-developed by the microbiologist Lynn Margulis in the 1970s. While early versions of the hypothesis were criticized for being teleological and contradicting principles of natural selection, later refinements have resulted in ideas highlighted by the Gaia Hypothesis being used in subjects such as geophysiology, Earth system science, biogeochemistry, systems ecology, and climate science. …………….In some versions of Gaia philosophy, all life forms are considered part of one single living planetary being called Gaia. In this view, the atmosphere, the seas and the terrestrial crust would be results of interventions carried out by Gaia through the coevolving diversity of living organisms.

If one is sympathetic to Gaia Theory, it might follow that everything has the potential to be responsive in some way, because we inhabit and interact with a vast living ecological system, whether visible to us or not. Sacred places may be quite literally places where the potential for “interaction” is more potent. There is evidence that Delphi was a sacred site to prehistoric peoples prior to the evolution of Greece. Ancient Greeks built their Temple at Delphi because it was a site felt to be particularly auspicious for communion with the Goddess Gaia. Later Gaia was displaced by Apollo, who also became the patron of Delphi and the prophetic Oracle. Mecca was a pilgrimage site long before the evolution of Islam, and it is well known that early Christians built churches on existing pagan sacred sites.

There is a geo-magnetic energy felt at special places that can change consciousness. Before they became contained by churches, standing stones, or religious symbolism, these “vortexes” were intrinsically places of numinous power and presence in their own right.

Roman philosopher Annaeus Seneca junior commented that:


"If you have come upon a grove that is thick with ancient trees which rise far above their usual height and block the view of the sky with their cover of intertwining branches, then the loftiness of the forest and the seclusion of the place and the wonder of the unbroken shade in the midst of open space will create in you a feeling of a divine presence, a Numen."


Personal Encounters

Many years ago I lived in Vermont, and one morning I went down to the local Inn for a cup of coffee to discover a group of people about to visit one of Vermont’s mysterious stone cairns on Putney Mountain, the subject of a popular book by Barry Fell, a Harvard researcher, and under continual exploration by the New England Archeological Research Association (NEARA). I had stumbled upon their yearly Conference. Among them was Sig Lonegren , a well-known dowser and researcher of earth mysteries who now lives in Glastonbury, England and was then teaching at Goddard College in Vermont. Through his spontaneous generosity, I found myself on a bus that took us to a chamber constructed of huge stones, hidden among brilliant foliage, with an entrance way perfectly framing the Summer Solstice.

Fell and others suggest that Celtic colonists built these structures, which are very similar to cairns and Calendar sites found in Britain and Ireland; others maintain they were created by a prehistoric Native American civilization, but no one knows for sure who built them. They occur by the hundreds up and down the Connecticut River. Approaching the site on the side of Putney Mountain, I felt such a rush of vitality it took my breath away. I was stunned when Sig placed divining rods in my hands, and I watched them open as we traced the “ley lines” that ran into this site. Standing on the huge top stone of that submerged chamber, my divining rod “helicoptered”, letting me know, according to Sig, that this was the “crossing of two leys”; a potent place geomantically.
“Approaching the site on the side of Putney Mountain, I felt such such a rush of vitality it took my breath away. I was stunned into silence when Sig placed divining rods in my hands, and I watch them open as we traced the ‘ley lines’…

According to many contemporary dowsers, telluric energy moves through stone and soil, strongest where water flows beneath the earth, such as in springs, and also where there is dense green life, such as an old growth forest. Telluric force is affected by planetary cycles, season, the moon, the sun, and the underground landscape of water, soil and stone. Symbolically this “serpentine energy” has often been represented by snakes or dragons. “Leys” are believed to be lines of energy, not unlike Terrestrial acupuncture lines and nodes, that are especially potent where they intersect, hence dowsers in Southern England, for example, talk about the “Michael Line” and the “Mary Line”, which intersect at the sites of many prehistoric megaliths, as well as where a number of Cathedrals were built.

At the time I knew little about dowsing, but I was so impressed with my experience that months later I gathered with friends to sit in the dark in that chamber, while we watched the summer Solstice sun rise through its entrance. We all felt the deep, vibrant energy there, and awe as the sun rose to illuminate the chamber, we all left in a heightened state of awareness and empathy.

Earth mysteries researcher John Steele wrote in EARTHMIND, a 1989 book written in collaboration with Paul Deveraux and David Kubrin, that we suffer from what he called “geomantic amnesia”. We have forgotten how to “listen to the Earth”, lost the capacity to engage in what he termed “geomantic reciprocity”. Instinctively, mythically, and practically, we have lost the sensory and imaginative communion with place and nature that informed our ancestors spiritual and practical lives, to our great loss.

We diminish or destroy, for money, places of power long revered by generations past, oblivious to the unique properties it may have, and conversely, build homes, even hospitals, on places that are geomagnetically toxic instead of intrinsically auspicious. Our culture, versed in a “dominator” and economic value system, is utterly ignorant of the significance of place that was of vital importance to peoples of the past. Re-discovering what it was that inspired traditional peoples to decide on a particular place for healing or worship may be important not only to contemporary pilgrims, but to a way of seeing the world we need to regain if we are to continue into the future as human culture at all.

Making a pilgrimage to commune in some way with a sacred place is a something human beings have been doing since the most primal times. Recently unearthed temples in Turkey’s Gobekli Tepe reveal a vast ceremonial pilgrimage site that may be 12,000 years old. The Eleusinian Mysteries of Greece combined spirit of place and mythic enactment to transform pilgrims for over two millennia.
One of the most famous contemporary pilgrimages is the “Camino” throughout Spain, which concludes at the Cathedral of Santiago at Compostella. Compostella comes from the same linguistic root as “compost”, the fertile soil created from rotting organic matter – the “dark matter” to which everything living returns, and is continually resurrected by the processes of nature into new life, new form. Pilgrims arriving after their long journey are being metaphorically ‘composted’, made new again. When they emerge from the darkness of the medieval cathedral in Compostella, and from the mythos of their journey, they were ready to return home with their spirits reborn.]

In 2011 I visited the ancient pilgrimage site of Glastonbury, England. Glastonbury’s ruined Cathedral once drew thousands of Catholic pilgrims, and Glastonbury is also Avalon, the origin of the Arthurian legends, a prehistoric pilgrimage site. To this day thousands still travel to Glastonbury for the festivals held there, and for numerous metaphysical conferences, including the Goddess Conference I attended. The sacred springs of the Chalice Well and the White Spring have been drawing pilgrims since long before recorded history, and many people come still to drink their waters.
Making this intentional Pilgrimage left me with a profound, very personal sense of the “Spirit of Place”, what some call the “Lady of Avalon” and taking some of the waters from the Holy Springs back with is ever a reminder of the dreams, synchronicities and insights I had there.

Sacred Sites are able to raise energy because they are geomantically potent, and they also become potent because of human interaction. “Mythic mind”, the capacity to interpret and interact with self, others and place in symbolic terms (as, for example, the way the Lakota interpret “vision quest” experiences) further facilitates the communion. Sig Lonegren, who is one of the Trustees of the Chalice Well in Glastonbury, and a famous dowser, has speculated that as human culture and language became increasingly complex, verbal, and abstract, we began to lose mediumistic, empathic consciousness, a daily intuitive gnosis with the “subtle realms” that was further facilitated by ritual. Dowsing is a good example of daily gnosis. “Knowing” where water is something many people can do without having any idea of how they do it. Sometimes, beginning dowsers don’t even need to “believe” in dowsing in order to, nevertheless, locate water with a divining rod.

With the gradual ascendancy of left-brained reasoning, and with the development of patriarchal religions, he suggests that tribal and individual gnosis was gradually replaced by complex institutions that rendered spiritual authority to priests who were viewed as the sole representatives of God. The “conversation” stopped, and the language to continue became obscured or lost.

Perhaps this empathic, symbolic, mediumistic capacity is returning to us now as a new evolutionary balance, facilitated by re-inventing and re-discovering mythic pathways to the Numina.



References:


Foster, R.F.(2001) , The Irish Story: Telling Tales and Making It Up in Ireland (London: Allen
Lane/Penguin Press), page 130.
Lovelock, J. and Margulis, L., (1970) The Gaia Hypothesis, quote is from Wikipedia
Retrieved on: May 11, 2014 http://en.wikipedia.org/wiki/Gaia_hypothesis
Seneca, L. Annaeus junior (65 A.D.) Epistulae Morales at Lucilium, 41.3.
Retrieved on: Wikipedia http://en.wikipedia.org/wiki/Epistulae_morales_ad_Lucilium
Fell, B. (1976, 2013). America B.C.: Ancient Settlers in the New World, Artisan Publishers, N.Y.
Lonegren, S. (2013) Mid Atlantic Geomancy, Blog. Retrieved on: http://www.geomancy.org/
Steele, J. (1989). Earthmind: Communicating with the living world of Gaia, with Paul Devereaux
and David Kubrin. Harper and Row: N.Y. Page 157.