The dolmen grove samhain 2015

THE DOLMEN GROVE CHRONICLES

SAMHAIN 2015

Native Americans William Staples

and Jolene Kegg on the Customs

and Traditions Practiced by the

Ojibwe Chippewa Tribe

THE CROW DANCE RITUAL

Its meaning and

the purpose behind it

plus the new

Crow Dancers Band

.

KAyLeigh The New Dolmen Album and Gig

Guides

Wicca …Unity or Purity? – Merlyn

www.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 members only ceremonies.

‘ALL ARE SPIRITUALLY UNITED WITHIN THE DOLMEN GROVE’

CONTENTS

1…Care and Use of your Cauldron – Molly McHenry

2…To Dance is to Live – William Staples and Jolene Kegg / Photographs are property of

William Staples and Jolene Kegg - Introduction by Taloch Jameson

3…What is the Crow Dance / Children and the Freedom of the Crow Dance / Crow Dancers

the Band – with contributions from Taloch Jameson, Diane Narraaway and Kayleigh

Marchant. / Artwork by Sem Vine/photography by Joanna Caswell unless otherwise stated.

4… Book of the Great Queen – The Morrigan and Morpheus Ravenna featuring reviews by

John Beckett and Seirian Morriganwitch.

5…The Dolmen/Kayleigh Album Review – Diane Narraway /Artwork by Sem Vine /

Kayleigh photographs by Joanna Caswell unless otherwise stated

6….Making Magickal Wands – Bryant Pinnix / Photographs are property of Bryant Pinnix /

Alea Dawn

7….Museum of Witchcraft and Magic – Diane Narraway / Artwork and photographs are

property of theMuseum of Witchcraft and Magic

8… Dolmen Grove Samhain Rituals – Cornwall Moot – Karen Cooper / Essex Moot – Toni

Glitz

9…Wicca Unity or Purity – Merlyn (Children of Artemis) / Artwork is property of Children

of Artemis.

10….Totem Animals – The Hedgehog - Cheryl Waldron

11…Godless the New Novel by Rachel Summers

12…The Seelie and Unseelie Court Faeries and Us!! – aaron Dabbah

13…Magik for Life…Bringing the Sunshine – Scott Irvine / Photographs by Scott Irvine

14…The Dolmen’s Pirate Parlay Weekend – Mark Vine / Artwork by Sem Vine

15…Aromatherapy – Sandra Wiseman

16…Samhain and the Magic of Food – Rachel Patterson

17…The Hedgewitch’s Diary and Sowing Chart – Rachael Moss / Photographs by Rachael

Moss

18…A Spell to Find other Witches – Molly McHenry

19…Wormwood , A Touch of Bitterness – Andrew Cowling

20…Cernunnos, God of the Celts – Cheryl Waldron / Artwork by Jeroen van Valkenburg.

21…Metaphysical and Healing Properties of Crystal – Selenite – Cheryl

Cover Image – Gill MacDonald

Photographic artwork on Spriggan Mist gig guide by Aaron Cilia

Unless otherwise stated all other images are from the public domain.

Crabchurch 2016 advert Sem Vine

.

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

[email protected]

The cauldron is a valuable tool in witchcraft with

many purposes. Sadly, it is not often high on a

new practitioner's list of needed tools. Worse yet

is that many of the casters who do own one either

under-utilize it or allow it to be damaged through

improper care. These are simple problems to rem-

edy, as you will see, and the strength of your caul-

dron's magic will easily grow with a little effort.

This article is aimed properly handling and caring

for a cauldron so that it will last for many years. A

well-tended cauldron can become an heirloom, so

treat it well.

Start by buying the best one you can afford right

now. Consider how and when you plan to use it.

If you've never worked with a cauldron before,

you will probably need to own one before you

know when and if you'll use it with the same regu-

larity as other tools. If this describes you, get the

simplest cauldron you can find and wait a few

years to buy anything more elaborate.

I have seen cauldrons for sale that state that they

are not for food use. Buying one with that warning

is something I strongly suggest you avoid. First, it

is a pot--and a cooking pot, at that, so it is natural

to use it for edible potions. You might have no

plans for using it that way at the moment but over

time you could forget and give yourself or a client

a dangerous dose of lead poisoning. Instead, it's

best to start out with a pot that is safe enough for

food use, secure enough to hang over a fire, and

watertight enough to hold a potion, should you

ever choose to use it that way.

Choosing Your Cauldron

Does a cauldron need to have three legs? The

short answer is ‘no’. I've been asked this many

times before by casters of all levels. While it's said

that the three legs do have a symbolic meaning,

there is nothing magically important about them

otherwise. Their function is to protect whatever

surface they sit upon from the damage of the heat

within. This can be especially important if you

burn papers or other spell items inside your

cauldron. No matter what kind of pot you use,

though, always be aware of fire and heat safety.

Cast iron retains heat extremely well and will re-

main hot for a long time, so plan ahead by stand-

ing it upon a flat slab of stone or a trivet and have

a dish towel ready to protect your hands for ad-

justing it or carrying it by the bail.

Using a flat-bottomed cauldron will not hinder

your magic or harm anything you make in it. If it

is something that you feel strongly about then by

all means, seek only the footed kind. However, I

have both a footed and a flat-bottomed cauldron

and use them both regularly without seeing a bit

of difference.

Does it need to come from a witchcraft shop?

Again, ‘no’. It's an important aspect of the magi-

cal community that we give our full support to

witchcraft shops and suppliers, but that is not our

only resource, in this case. If you see one there at

a price you can afford, you should certainly buy it,

but there is no need to buy one expensive but ordi-

nary pot when you could have purchased some of

the many terrific items that can't be found else-

where.

Check resources like camping and cooking supply

businesses for cast iron pots. Several quality pro-

ducers exist and their wares come in a variety of

sizes and styles. If you identify a brand in a store,

look it up on-line to learn more about its origins

and any warnings or suggestions for its use. This

is especially helpful for buying used items.

Choose your cauldron based on the size you’ll

most often need as well as any features that you

find important. A huge pot looks nice, but will

rarely be used. Even one that is a few cups too

large for you will be a waste; the extra space in-

vites you to use too many ingredients in your po-

tions and fill it too full. My "every day" cauldron

holds about 3 cups; my large coven cauldron

holds about 9. This is ample room for use in po-

tion making but also for small contained fires, safe

candle burning, and empowering magical objects.

Maintaining a Magic Cauldron

No matter what you plan to do with your pot, it

will need to be seasoned. Seasoning prevents

damage like rust and pitting from ruining the iron.

A new cauldron will come pre-seasoned; you will

need to do your own right away if you buy a used

one. It's also important to re-season regularly

(once to twice a year) or more often if it sustains

an accident, is scrubbed hard, scratched deeply, or

if you regularly burn items inside. You will know

when it is time to re-season if the inside of your

cauldron looks dull or shows signs of rust.

To season, begin by scrubbing the pot with soap

and water inside and out. Rinse well and dry com-

pletely. Then rub the entire surface of the cast iron

with a thin coat of vegetable shortening. Rub it in

until it is shiny but not caked or showing any

white patches. Place the cauldron upside down on

the rack of a preheated oven set to 200 degrees. If

it has a lid, do the same for it and place beside the

pot but not touching it. Bake your cauldron for 8

hours, then turn off the heat and let everything

cool down with the oven door still closed. Re-

move the cauldron then and inspect it to be sure

your season is smooth and even without any bare

spots. It is now ready for use.

Using Your Cauldron

Because cast iron is strong and thick, you can use

your cauldron for a variety of magical purposes.

It is popular today, especially for apartment dwell-

ers, to use it to substitute for a hearth fire indoors

or a bonfire outdoors. You can use twigs of an ap-

propriate wood and build a regular fire inside the

pot or simply add a flammable alcohol and light.

Alcohol is a good option for indoor rituals and

spells because it creates no smoke and no smell.

Another use is as a secure container for spell can-

dles to burn upon the altar. The cauldron's associa-

tion with transformative magic makes it the per-

fect foundation upon which to arrange items re-

lated to your desire. It's also helpful for storing

your favorite magical tools, crystals, and talis-

mans to keep them charged with energy.

Pouring water into a cauldron creates an ideal sur-

face upon which to practice scrying in the same

way a black mirror or body of water is used. As a

method for contacting deities and other guiding

spirits, viewing remote places, or gaining insights

on the future, the cauldron is useful as a learning

divination tool or just as a portable one.

Making potions, of course, is an obvious use.

Whether suspended over a fire or placed on your

stovetop, a cauldron is the ideal pot for brewing.

Also note the many kinds of magical cakes,

breads, and other sweets that are featured in love

and protection magic. Baking them in a cauldron

adds even greater magic to these already powerful

edible spells.

No matter your practice or your length of years,

the cauldron is a highly versatile tool. Using it can

enrich your magic, strengthen your spells, and fuel

your imagination. If you don't have a cauldron of

your own, now might be the time to begin the

search for this traditional witch's assistant. If you

have a cauldron that is gathering dust upon the

shelf, perhaps today you can take it down, give it

a wash and a new season, and cook up some

magic together.

Molly McHenry

Gill Macdonald Freelance Artist & Tarot Reader Original Artwork for sale. Copyright retained

https://www.facebook.com/Gill-Macdonald-Art-Books

-818756938138513/?__mref=message_bubble

www.tarotandhealing.co.uk

TO DANCE… We welcome two special friends to this edition of the Dolmen Grove Chronicles, husband and wife Bill Staples and

Jolene Kegg. They are Ojibway Indians currently living on the Minnesota Reservation USA. Bill is a traditional and

highly respected Tribal Dancer and Jolene a renowned Bead Crafter. Their love for heritage and the philosophies of

their people are important and passed down to their children, with their 6 year old son William Bobolink Staples who

is named after his great grandfather following the tradition of Bill and has been dancing since he could walk. The

similarities that exist between the ancient tribal heritage of Albion and that of the Native Indians in the U.S.A. are not

so dissimilar, both our cultures reclaim their ancient heritage in many ways, taking pride and giving importance to

the traditions whilst shaping the future. Bill gives a short insight from a philosophers and tribal dancer’s perspective

on the ancient magick of the drum and tribal dance.

Taloch

My name is William Staples although my native name is Biizhiikiinz which

is a translation Little Calf and I am from the Leech Lake band of Ojibwe

Chippewa tribe. Growing up both my father and grandfather taught me many

things.

From a young age my father taught me to respect the drum. In Ojibway

language the drum is called daa’way’ gun and we are taught to show it the

same respect we would show a grandfather because we always have the

utmost respect for him. We take care of it as if the drum was a person. And

we use the drum alongside our singing during powwows and

healings...We sing for healings and also for honouring ceremonies.

I also learned the songs and dances of our tribe, all of which have specific

meanings. The songs I sing are mostly vocal sounds rather than words, but

when I do use words they are not just empty words. They all have to either tell

a story or have a deeper more profound meaning. Most of these lyrical songs

were originally used in ceremonies but these days they are used more at

powwows. The drum the Ojibways use is a small water drum mainly used in

the ceremonies. The Lakota tribe also use the same drum as the Ojibways.

Dancing not only makes me feel good but it also brings happiness to my parents,

grandparents and in fact all my family. When I dance, I am out there dancing for the ones

who have passed on to the spirit world, for the people who cannot dance anymore as well as

for the ones who are sick.

I was taught how to use tobacco as an offering during prayers to show respect

for the creator and that the tobacco we offer will become our beds in the spirit

world. We also offer tobacco in exchange for the gifts of nature such as the

plants and roots we use for both medicine and food. We also use Sweat Lodges

for ceremonial healings. It's a way of cleaning out the negative, or seeking

answers through prayer. Each time we go in we introduce ourselves to the

grandfather and to the sweat lodge. I was told it’s like being reborn. Our bodies

are cleansed along with our mind and spirit.

My role within the tribe is to pass on the knowledge taught to me by my father

and grandfather to the next generation.

William Staples

…IS TO LIVE! My English name is Jolene Kegg although my Ojibwe name is

Anungoquay which translates as Starwoman. I am from the Mille Lacs

band of the Ojibwe Chippewa tribe and the grand-daughter of Maude

Kegg. Maude was my paternal grandmother and she worked at the

Min-nesota State Historical Society at Mille Lacs where she helped

make a huge display depicting the seasonal life of the Ojibwe peoples

which included making most of the crafts that are within the display

herself. She also wrote three books and helped with the translation of

the Ojibwe language.

When I was growing up I would visit my grandmother and I always

remember seeing the dif-ferent craftwork around the house. She lived next door to me so I

saw a lot of her craftwork and I picked how to do it myself either through asking her

questions or watching her work. I guess her beadwork must have fascinated me the most as,

even now that is what I tend to prefer doing.

Hunting has always been a big part of my life and I guess you would

say that I participated in the hunting and gathering aspect of our

culture. Growing up I would tag along with my father who was

always outside either hunting, fishing or gathering wild rice. Often he

would net fish and hunt duck and funnily enough these days I don’t

eat either; I think I must have eaten too much of it growing up. He

would set snares for rabbits in the wintertime and when I was young I

remember we had to hunt for deer. I always remember doing it at

night we called it shining deer which is poaching. The only time we

would go out was when we needed the meat and my mother would

take the hide and tan it and use it for craftwork.

Every Spring I have good memories of attending the Maple Camp. Here we would tap the

Maple trees for the sap which we collected and boiled down to make Maple syrup, Maple

sugar and Maple cakes. I remember that if, while boiling it down, at the right moment you

poured it onto ice or snow it would turn into taffy. The wild rice harvest is another food that I

remember vividly being gathered as a child. My parents would go out at

the break of dawn and then coming home in the evening with 100 of

pounds of wild rice. I also recall the process of making it ready to store

and cook. We would keep what we needed and sell the rest for other food

or clothing or even to pay bills. My father was also a bait dealer and by

catching minnows and leeches to sell to resorts he made good money,

which enabled us to be comfortable. My mother would make various

crafts to sell like beadwork moccasins, birch bark baskets.

Jolene Kegg

WHAT IS THE CROW DANCE?

There seems to be an inner voice that at the most unexpected times can call upon us to review life and

consider varying aspects of the spiritual.

I’ve heard Psychologist refer to it as the God part of the brain.

Regardless of how you personally perceive these moments or what you think it is we cannot deny its

existence.

Personally I think a balanced spirituality helps with life in the physical.

However the mind must continuously seek balance.

“Gaze at the stars but walk on the ground.” - Regardless of what or how deep your spiritual quest be sure

to live your life and don’t waste it waiting and may your path be soft and rewarding in this physical world

as well as your spiritual.

Taloch

To explain the Crow Dance fully would take

some time but I will try and condense it a bit,

In many old traditions the Crow is seen as a

messenger between the varying realms of

existence and very commonly known as the

bird attached to the Goddess Morrigan.

Despite its classic caw it’s a very peaceful bird

that always seems intent on a mission.

Crow Dancers are like the Crow in many ways

for instance they are on a mission, they are also

attached to the feminine aspect of creation or

Goddess Mother and just like the Crow they

too are messengers.

In the tradition and perceptions of the Crow

Dance the Crow is a messenger that serves

between the Crow dancer and the various

spirit realms.

My first mystical and solid connection with the

Crow was in the early 90’s during a meditative

trance, when I saw images of a Shamanic

character dancing in a circle and wearing the

sacred antlered headdress. I saw large stones

like those at Avebury with a host of black

Crows flying above. There were other images

and also audio to my trance dream but despite

all that I felt, I was merely a recipient of

consciousness yet I knew there was a point and

purpose to the experience. For many weeks

afterwards I found my thoughts revisiting the

atmosphere and Images from within the trance.

In fact I did something which is uncommon for

me; I shared the experience with a few

individuals. Doing this reminded me why I

never voiced my findings, however in this case

I did, only to be told that my vision was the

result of an over active imagination or a

moment of insanity.

Funnily enough though, and I would like to be

quite clear about it I didn’t find these

comments insulting, as such judgment by an

individual quite often serves to confirm their

lack of knowledge and experience in this

unique field of interest and stands only as a

warning that if one talks of such fantastic

things amongst those who are unable to

comprehend them, one shall be discredited as a

fool...

So often it is better to be thought a fool than to

open ones mouth and leave no doubt!

Your mind is open and free during meditations

and as a result of this you are likely to see and

even experience a variety of words and images

which more often than not can be placed

together into a story board, but on this

occasion when I came out of the meditation I

knew that this story would become something

more significant. The problem I had with this

was that my understanding of paganism at the

time was that it simply wasn’t ready for the

Crow Dance, having not yet reached the tribal

aspect at least not on mass.

The accepted ritual clothing seemed to be robes

accompanied by very set ways and definite

ideas, where being part of a group, and of

course the right group was of the utmost

importance.

In the midst of paganism finding its place in

today’s society I wanted to add an ingredient

that was not only tribal but incredibly ancient.

I wanted to bring this dancing Shaman of my

communion into the physical world. And as the

Dolmen Grove started to grow and find its

place in the pagan world, I could see it would

become an umbrella for all different paths and

somewhere the Crow Dance could be brought

to life. One of the things that members of the

Dolmen Grove often speak of is their unity.

Their sense of being part of a family, a Clan

and this of course is Tribal, where peoples

paths are uniquely theirs, all are valued equally

and their spiritual freedom is respected.

All in all it has taken about 20years since that

initial vision of the tribal dancer for its affect to

mature, and for me to feel comfortable and

ready within the pagan world for the Crow

Dance to begin. 2015 would be the birth of the

Crow Dance and taught to others as a

shamanic technique used to commune with the

varying realms of existence.

When I released the album Crow Dance a few

years ago it was to pave a way for the Crow

Dancers to come to life in 2015 and so far

everything is working despite a few obstacles,

it’s all on time and the next phase has begun.

I believe that everyone is capable of magick, it

is something that is present within all of us.

The ability to shape and manipulate is

something which humans do very well and the

individuals that work alongside me I feel are

open and able to embrace the concept of the

Crow Dance; their potential to develop an

understanding within the framework make the

journey magickal and all are as both student

and teacher as they explore and share their

message of the Crow Dance.

There are many techniques used throughout

the world to commune with spirits and beings

from beyond this realm, Crow Dance is just

one of these techniques which also has a

purpose. The greater purpose of it, like all

things will I imagine be revealed over time but

for now it is what is achieved by its popularity

and simply by it being available to others.

The most important thing for individuals who

choose to work magickally using Crow Dance

techniques is that they must be open minded

because it is about spiritual freedom. The Crow

Dance is a journey of exploration which goes

beyond traditional ideas and predetermined

concepts.

We have been brought up in a world where we

are bombarded by how we should look, think

and act; handfuls of individuals decide through

the media what we should wear and more

tragically How we should Think.....

Working on the fivefold philosophy which is

the cornerstone of the Dolmen Grove all

human beings are born equal so therefore all

human beings have a natural entitlement to

equal opportunity. With equal opportunity

there is a wisdom which grows from ones deeds

in life. No man, woman or child can ever be

truly free unless they have freedom of choice

and this is something which as a race we have

to work on. Freedom, equality, opportunity

and wisdom are governed by love; because

everything is love.

It is only through the unification of these

positive aspects can there be love and if we

keep that fivefold philosophy in our thoughts

we gain a love of life; understanding that every

moment of life is precious. With that set in our

minds we have the potential to survive as a

species.

Taloch Jameson

https://www.facebook.com/Crow-Dancers-

1022216127812903/?fref=ts

ChILDREN & THE FREEDOM OF THE CROW DANCE

At Tribal Dreams the children performed their interpretation of the Crow Dance ritual. The tribal

freedom that is dormant in so many shone out from our children as they danced and drummed with

painted faces and feathers in their hair. This was not something religious forced upon them it was just

children being themselves, sharing their perspective whilst being free to express their own

individuality.

Part of the Crow Dance philosophy is that in order for us to evolve our consciousness into the future

we have to understand our past – our roots. Both children and adults can gain knowledge,

understanding and wisdom through being allowed to access their tribal nature. Without religious

doctrine or dogma everything flows naturally. This freedom provides a safe environment to grow and

expand the mind while walking one’s own unique spiritual path.

The children’s ritual was centred on the following poem which was specifically written for them by

Diane Narraway

A young girl went out hunting

For a Feather black as night,

So she could perform the crow dance

For her tribe that night.

But not one single feather

Could she find for her hair.

Though she had hunted,

Almost everywhere

So she called to the crow

Asking for a feather for her head

And he said she needed to look,

In the land of the dead.

So she travelled to the place

Where her ancestors did abide,

To find a single feather

A feather black as night.

But no matter how hard she looked

No feather could she find.

So she fell upon the ground

And she began to cry.

Then she heard the sound of beating wings

And the crows cry filled the air,

Then he laid a feather at her feet

As black as night for her hair.

‘Oh crow you are magickal

Benevolent and wise

And I shall dance a dance for you,

Tonight for my tribe.’

And so she danced for the crow,

In fact she danced until she died.

Till she became the Morrighan

That dances by his side.

GB GB121450 8212145082

CROW DANCERS - THE BAND Crow Dancers are an expressed image, brought into being by the physical perception of Crow Dance

philosophy. The music conjures a ritualistic atmosphere spiritually infused with ancient tribal lore.

Kayleigh, famous for her soulful vocals and Bass playing with The Dolmen, shares another side of her

musical talents and dedicates her energies within the Crow Dancers as Lead

Vocalist, Flute and Whistles.

The music is purposefully aimed to conjure a magical atmosphere of ritual on stage that will involve the

audience and share the peaceful philosophies of the Crow Dance.

The right Music can aid our minds to journey un-inhibited to magical realms even those unchartered, and if

a spirit is focused for the right reason the connections will be positive, and as we are influenced by this con-

nection so it is naturally expressed in our everyday life. Love is everything and when we embrace the nature

of this earth we also embrace that of the universe and all life.

Kayleigh Marchant

The Band’s debut album is set for release in March 2016, and will be performing

in the UK at the 2016 ‘3 Wishes Festival’.

Other dates will be announced on the official Crow Dancers web site.

Kayleigh Marchant - Lead Vocalist, Flute and Whistles.

Taloch Jameson -8 String Acoustic, Electric Guitar, Keyboard and Vocals

Josh Elliot -Drums, Keyboard, Whistle and Vocals

KT Glitz -Bass Guitar, Percussion and Vocals

The Book of the great queen… The Morrigan and Morpheus ravenna

Morpheus Ravenna is a spiritual worker, artist, and writer, residing in the San Francisco Bay area. An initi-

ate of the Anderson Feri tradition of witchcraft, she has studied and practiced devotional polytheism and the

magical arts for about twenty years. Her primary spiritual practice is her devotion and dedication to the

Morrígan, within the framework of Celtic heroic spirituality. She co-founded the Coru Cathubodua

Priesthood, a Pagan devotional priesthood dedicated to the Morrígan, and she authors the Shieldmaiden

Blog. Her earlier work at Stone City Pagan Sanctuary helped provide a space for land-based Pagan commu-

nity in northern California, shown in the 2010 documentary "American Mystic." Morpheus makes her living

as a tattoo artist, with a passion for ritual tattoos, folk magic, and tattoo design inspired by historical art and

ancient civilizations. She recognizes tattooing as an initiatory art. An accomplished artist, she continues to

create devotional artworks in a variety of media including oil and watercolour, ink, metalwork, and more.

She also practices medieval armoured combat in the Society for Creative Anachronism.

Morpheus can be reached through her website at

www.bansheearts.com.

http://bansheearts.com/blog/

The Book Reviewed

by John Beckett

The Book

of the Great Queen by Morpheus Ravenna published by Concrescent Press, May 2015

trade paperback: $29.99 484 pages Cover art and illustrations are by Valerie Herron of Mystic

Media

The first part of the book is an exhaustive analysis

of the literary and mythological appearances of

the Morrígan. I’m a Druid and a Celtophile so I’ve

read a lot of these stories. But there are some I

haven’t been able to find, and some that I hadn’t

even heard of. Each one has a summary that

focuses on what it tells us about the Morrígan and

the many ways she was understood by the people

who told these stories. Then the various

Goddesses – or possibly, various names for one

Goddess are examined in depth. Perhaps the most

helpful chapter is the one titled “One, Three, and

Many” which explores the multiple nature of the

Morrígan.

The second part looks at how and where the

Morrígan was worshipped. Individual chapters

examine the land and features of the land

(including temples – yes, the Celts had them, at

least a few), iconography, sacrifice, priesthood,

oracles and divination, sorcery, and her worship in

relation to warriors and battle.

Each section begins with the relevant history and

ends with “Living Practice” – how devotees and

priests of the Morrígan are honouring,

worshipping, and communing with her today. But

a deep, robust Celtic and polytheist practice

involves more than the worship of one Goddess,

even the Great Queen.

The section “The Sovereignty of Spirits” makes a

key point that often gets overlooked in some

Pagan traditions: Polytheism, as a religious

practice of relationship, can only begin when we

recognize and honour the agency and sovereignty

of spiritual beings. Their lives and life force are

not ours to command; their homes, landscapes,

gateways, contexts, and histories are not there for

our pleasure or even for our teaching. They live in

the world as we do, existing for their own

purposes, pursuing their own destinies, in

sovereign relationship to their landscapes and

contexts.

The section on devotion is particularly helpful –

14 pages of things you can do to build a

meaningful spiritual practice. I do most of these,

some daily, others periodically and I can attest to

their effectiveness. The section on priesthood

draws clear differences between the role and

commitment of a priest and that of a non-priestly

devotee, and it points out that priesthood is a path

of service.

The book ends with a statement I think is very

important as we consider a Pagan and polytheist

worldview in contrast to the monotheist

worldview that still dominates our culture.

The reading and study of lore can only take you so

far, and no further. It is up to you now to take

what you may have found of value in this book

and bring it to life in your own practice.

The lore of the Morrígan is complicated and

ambiguous and it does not fit neatly into a simple

dualistic narrative. We have two choices as to how

to deal with this lack of clarity and certainty.

We can examine the texts and declare some canon

and others heresy. We can create elaborate

doctrines to justify our choices. We can use

coercion and outright violence to silence those

who disagree with us. We can create the One True

Way…As followers of other religions have done

many times. Or, we can take the lore for what it is

– the stories of men and women and the

experiences they had in a particular place and

time. We can embrace the ambiguity and let it

remind us to remain humble about what we do and

do not know. We can learn from skilled priests

and then develop our own spiritual practices. We

can stop worrying about thinking and believing

the right things and start doing the right things.

We live in tumultuous times so it is no surprise

that the Morrígan is especially active now.

I have often felt, and have heard others say too,

that the Morrígan is a fitting Goddess for our

times. She holds and teaches the powers and

wisdoms we need to be able to face these choices.

She sees those who are born on this battlefield.

She sees what can rise in us to meet the battle, and

calls that forth from within us. We need strengths

like these. We need the heroic ethos. We need

whatever it is that can grant us the courage to be a

force for justice and right action.

The Morrígan is a fitting Goddess for our times,

and The Book of the Great Queen is the most

complete and thorough guide yet written to

learning about her, honouring her, and taking up

her great work.

Living With The Morrigan … A talk by Morpheus Ravenna centred around her book;

The Book of the Great Queen hosted by Treadwells Books and reviewed by

Seirian Morrighanwitch

Living with the Morrigan' was a well-attended, in

fact sold out event at Treadwells book shop in

London. Morpheus Ravenna spoke about her own

path with the Morrigan during a question and

answer session hosted by founder of Treadwells

Books Christina Oakley Harrington.

The devotion to the Goddess, shown by Morpheus

shone through whilst she spoke, as she answered

questions about how she incorporated her

devotion as part of her life. Amongst other topics

she explained how she first encountered the

Morrigan whist being within the Anderson Feri

tradition. Morpheus pointed out that for someone

who had been brought up in a pacifist

environment the concept of working with a

Goddess who is concerned in part with War and

Sovereignty involved a lot of soul searching and

prayer. And that she finally reconciled this by

deciding that fighting for a cause can also be

viewed as devotional service which is an essential

part of the Anderson Feri tradition.

The Morrigan directed her to take a pilgrimage to

Ireland where she could experience directly the

intrinsic connection between the Goddess and the

land. The book covers the geography of the land

and how it relates back to the ancient verses and

tales about the Morrigan. It is very thorough and

is definitely a book that can be used for reference

as much as entertainment as it is very complex.

It is the culmination of many years of scholarly

study which is reflected in the writing and the

intense research and referencing. As Christina

Oakley Harrington could testified that the original

ancient Irish text and language is a painstaking

task , however Morpheus explained that although

the English translation gives the feel of the texts ,

to use them in ritual and magickal practice the

words themselves form a pattern and much of the

power is contained within their order and rhythm.

This magickal dimension is at the core of the

devotion to the Morrigan and can be used as

chants for daily meditation.

Perhaps the most interesting part of the talk for

me was when Morpheus was concluding her talk

by saying how the Morrigan is awakening and

how many people are hearing her call, all over the

world in, even in areas where the Celtic tradition

is virtually unknown. These are not just aspects of

the Dark Goddess, which are reflected in different

traditions, it is the Morrigan Herself which

Morpheus proposes is the result of an increased

willingness to fight for the land and its

sovereignty. I personally recommend this book for

those who have a serious interest and devotion to

the Morrigan and who wish to explore her call in a

scholarly and in depth manner. It is challenging in

its depths and reading through the original verse

does take some degree of focus, however it is well

worth the energy spent.

And Finally - A word from

the Author Morpheus Ravenna

This book is the culmination of my nearly 20

years of study and practice as a dedicant of the

Morrígan. My intention for the book is to provide

a comprehensive and in-depth look at the

Morrígan as we know her through textual,

historical, and archaeological sources, her role and

cult of worship in ancient Celtic religion, and to

provide guidance for the modern devotional

practitioner drawing on these traditions. The Book

of the Great Queen is published by independent

esoteric publishing house Concrescent Press.

.http://bansheearts.com/projects/the-book-of-the-great-

queen/

The Dolmen

Friday 6th November – Pirates Parley Weekend The Dolmen Pirates Quiz Night

The Belvidere Inn, 34 High West St, Weymouth DT4 8JH

Saturday. 7th November - Pirates Parley Weekend

The Pirates Keep The Golden Lion, 19 St Edmund St, Weymouth DT4 8AR

Sunday 8th November - Pirates Parley Weekend

Dolmen Accoustic The Belvidere Inn,, 34 High W St, Weymouth DT4 8JH

Saturday 14th November - Witchfest International,

Fairfield Halls, Croydon

Sat. 21st November - The Hare & Hounds,

104 Sopwell LaneSt Albans AL1 1RL

Saturday 5th December – The Dolmen Grove Krampus Night, Community Centre, Mill St, Titchfield, Fareham, Hampshire

PO14 4AB

Saturday 12th December - Midwinterfair Archeon Netherlands

Sunday 13th December - Midwinterfair Archeon Netherlands

Friday 1st January - Winter MPS Dortmund, Germany

Saturday 2nd January - Winter MPS Dortmund, Germany

www.thedolmen.com

Anyone who has ever listened to a Dolmen album or experienced them live in concert can

be left with no doubt that Kayleigh Marchant is both an accomplished bass player and singer.

But few of us fully recognise either the extent of her talent or her versatility. She often plays

pipes or drums, writes some of the most haunting lyrics and has even taken ‘Eliza’; a Tudor

anthem, added her warm captivating vocals and turned it into an iconic tribute to the

Goddess.

Moreover she can swap from singing the beautifully spiritual or emotionally seductive to

raunchy pirate in a heartbeat. Now for the first time The Dolmen bring us a collection of

original tracks sung by Kayleigh Marchant on a debut solo album. The vast majority of songs will, of course be recognised by Dolmen fans but many of them

have been remixed to bring us an album that is, as the title suggests uniquely Kayleigh. On

top of which there are couple of previously unreleased tracks that

are written and performed solely by her. This album is the whole

package that from beginning to end it is beautifully crafted with

the same professional quality that we expect from everything

Dolmen.

So whether you shed a tear to the hauntingly seductive ‘Hush my

Lover’, lose yourself in the enchanting ‘Guide Me’ or can’t help

but smile at the cavalier ‘Dead Cats don’t Miaow’ you will be

entertained.

Kayleigh is an essential for Dolmen fans everywhere and all

those who appreciate quality music at its best. An ethereal

triumph and with her renowned seductive and alluring vocals.

From beginning to end Kayleigh Marchant is quite simply

enchanting!

Diane Narraway Photo by Florian Mull

www,thedolmen.com

Making Magickal Wands

The wand is one of the most important tools on a Witches Altar. We use the wand to

direct energy towards a specific intent. Even though the wand is simply an extension

of ourselves over time it collects and stores our personal energy. Wands are crafted

out of a variety of different kinds of wood according to the Witches specific intention.

Every tree branch that a wand is crafted from will be unique to crafter. The length

of the wand is determined according to the length from your elbow to the tip of

your middle index finger on your dominate hand. Anything longer would be consid-

ered a Blasting Rod and not a wand. Although still used for the exactly same pur-

pose. For a beginner who is just collecting their tools, the best method to finding the

right branch for you is taking a nature walk. Let your wand find you. You will be

drawn to a specific branch I assure you happens every time, it’s the Universe’s way of

saying you are not alone! For now the kind of wood does not matter as much as

what the branch means to you.

NOTE*Always make sure your branch is not living and is already dried and cured.

Also make sure the branch you choose is at least an inch in diameter. This will allow

room for carving.

Before…

And After

Crafting Your Wand!

The first thing I always do is get a hand saw and cut the branch to the correct

length. Remember it’s from your elbow to the tip of your index finger on your domi-

nate hand. Once you have the correct length take a sharp knife (I always use my

pocket knife) and remove all the bark off the future wand.

Once it’s nice and clean look at the branch and see how it flows. See the wand as if

it is already finished. This will give you a general idea of how you want to shape your

wand. Now start carving just like you would whittle on a stick when you were a kid.

Take away all the wood that is not going to be your wand. Once you get the general

shape you are looking for it is time to sand your wand. This process always takes the

longest but drastically changes the appearance of how the finished product will look.

It’s important to at least sand your wand in two-three stages using different grades

of sand paper. I always start with something quite coarse. This will takes a lot of

wood away and gives you that final shape. Once I have the shape desired I then work

with a medium grade sand paper which allows the splinters and jagged edges to di-

minish and it begins to have a polished look. This stage is fairly time consuming but

well worth it. The next grade I use is the final stage, fine sand paper. This is for pol-

ishing your wand before you oil it. Always take your time with sand paper. The more

you sand the more beautiful your wand will be.

Oiling Your Wand!

I always use 100% virgin olive oil when oiling all my wands. However grape seed oil

and almond oil are also great options. Basically just get a rag, dip it in the oil and

rub it into your wand. It will take several days before the wand fully absorbs the oil

but just keep oiling it until the wood rejects the oil. That means the wood fibers are

full and cannot hold any more oil. Let your wand sit for several days then take a dry

cloth and polish it. You will be astonished at the results.

Note* I always activate my wands by adding one drop of blood to the butt of it. This

adds your D.N.A. and is like putting your personal signature to all your future Magick

performed with the wand!

List of My favorite Wands and their Meanings

Willow- (Water Element) Willow is a magickal and all round wand. It is used for

healing, prosperity and anything relating to psychic visions and dreams! All in all

awesome wand!

Oak- (Fire Element) Oak is a masculine wood and amazing for protection and cast-

ing circles. It is also great for any sun magick. In Nordic Mythology oak was consid-

ered Thor’s tree. It was the tallest therefore the most often hit by lightning.

Cedar- (Earth Element) Cedar has been used for thousands of years to construct

temples and build religious items. It is an amazing wand for purifying, creating sa-

cred space, cleansing and blessing. A must have for my personal collection!

Hickory – (Fire Element) is known for its unique flavor when smoking meat and its

density. It is often used in darker magick because it was the wood of choice, used by

our ancient ancestors to cook the sacrificial meat offered to the gods during ritual.

All in all it’s a great wand for binding, banishing and hexing!

Maple- (Earth Element) Maple is a hardwood and is very sought after here in the

United States for its sweet sap inside. Maple syrup! This wand is great for matters of

love or just connected to friendship! One wand even a beginner cannot go wrong

with.

*In conclusion wand crafting not only is fun but an awesome way for us Pagans to

connect with nature and the elements. By all means there are other ways to make

wands I just find that this way works best for me! I hope you have all enjoyed this

article and have as much fun making wands as I have.

Blessed Be to all Bryant Pinnix

Two years ago I was fortunate enough to get the opportunity to write an article on the Museum of

Witchcraft, now two years later the museum has changed hands and I returned to see what changes if any

had been made.

On the outside there are some new signs and the Museum of Witchcraft is now the Museum of Witchcraft

and Magic which is possibly a more accurate title as folk magic, a significant part of our magical heritage

was not necessarily considered witchcraft. There is also a small herb garden outside giving it that ‘Kitchen

witch’ feel on arrival.

These changes while improving the outside aren’t overwhelming but inside the changes are more dramatic.

Upon entering the museum the first display is of Cecil Williamson, the founder of the museum, the intention

is to provide useful and relevant information on the founder as his name occurs throughout in connection

with many of the other displays.

Likewise the ‘Witches’ display cabinet which features a wide range of images and artefacts from Disney to

Goya is now an exclusive media portrayal of witches both ancient and modern. This now includes an

original Goya etching of the witches.

The persecution section too has become more organised providing a comprehensive portrayal of the

persecution of witches throughout history, including the 16th century Daemonologie published by King

James alongside instruments of torture including the Scold’s Bridle and Ducking Stool. For those who

practice witchcraft today it is as chilling as it is informative, offering an insight into a dark period in our

history.

Upstairs the Goddess, Green Man and Satanism/Luciferian sections have also been better organised, with

more appropriate backgrounds affording better overall understanding of the artefacts and what they

represent.

Probably the most dramatic changes are the removal of a replica of a stone circle to make way for a modern

exhibition space allowing for continued variety within the museum. The first of which was an exhibition by

artist Joseph A Smith, best known for his illustrations in the book ‘Witches’ by Erica Jong. This was

intended to be the first of many and although this one has now ended next year promises to be just as

interesting. An exhibition on Halloween which will run from March – November 2016.

Alongside this is another interesting update, having spent years reciting the same charms the Wise Woman

in Joan’s Cottage is not only getting a few new spells and charms but some of these will be spoken in the

original Cornish language. The new spells and charms were collected by Levannah Morgan and are recited

by Cassandra Latham and featured the West Country accents of Elaine. There will be a CD of the charms

(all collected in the 19th century) together with music, plus a mini-booklet, available from the Museum shop

next year.

Another and I feel the most significant change is the introduction of ‘Candlelit Evenings’, I say this because

even modern witchcraft rituals whether Pagan, Christian or otherwise are nearly always accompanied by

candlelight. Light a few candles and the whole atmosphere changes because however impressive as the wise

woman sat at her table reciting spells in old Cornish might be, she will be a whole lot more so by

candlelight.

Most if not all of the displays housed within the museum would have at some point have been used by

candlelight or flaming torch light making this the best way to visit it.

It had been my original intention to provide a review to Joyce Froome's book on the Pendle witches 'Wicked

Enchantments' which is a fabulous insight into the Pendle witch trials and the magic being practiced at the

time. However it is not due to be reprinted until next year so in the meantime I asked what books the

museum would currently recommend, as these days there is a much larger selection on offer in the Museum

shop.

Current recommendation:-'Between the Realms: Cornish Myth & Magic' by Cheryl Straffon (Troy Books).

I would like to add to that list ‘Cornish Tales’ by Eric Quayle and illustrated by Michael Foreman.

Last time I visited I asked Graham, if he could have any piece in the museum what would it be? This time I

asked the same question of Co – managers Peter Hewitt and Judith and received a similar, but longer reply

from Judith; an original Goddess statue, John Dee’s scrying mirror, original written charms of the ‘Cunning

Folk’, the original Gundestrup Cauldron, in fact the list is probably as endless as it has ever been although

Peter agreed that if the British Museum wanted to donate Dr John Dee’s scrying mirror he wouldn’t say no!

And when posed the question of what piece in the museum would you most like to own? Judith’s answer

remains identical to Graham King with no hesitation whatsoever …Cecil Williamsons scrying mirror! Peter

however hastened to point out there are so many great objects, but that he does love the moles feet - worn as

a charm against cramp and toothache. Although there is also a recently acquired a beautiful silver figure of

Selene (Greek moon goddess) that dates to around 150 AD which will be displayed in a new Goddess

display next year.

Like many of today’s witches the museum has held a special place in my heart ever since I first went there

in the 70's as a teenager, although the displays these days are very different to back then I was impressed by

the changes finding it better organised, aesthetically more pleasing, with plans for the future and a vision of

what it can be. The museum doesn’t just appeal to witches because regardless of age or path; magic and

witchcraft appeal to all those who are fascinated by its secrets, mystery and even the tragedy, all of which

are brought to life at the Museum of Witchcraft and Magic.

Diane Narraway

For further information on

museum visit;

http://www.museumofwitchcraft.com

https://www.facebook.com/museumofwitchcraft/?fref=photo

Dolmen Grove Cornwall Moot - Samhain Ritual.

Ritual Items:

One Black and One White Candle

Incense Burner

Blowing Horn

Opening:

The Space is warded with the Hammer Rite. A Blowing Horn is blown three times.

And the Need Fire is lit.

Focus:

“At This Time of Year, As the Veil Between our Worlds is at its Thinnest,

We can Travel more easily between the Worlds of the Living and of the Dead…

This Fire Light Represents the Living…

This Smoke Represents The Veil… (A veil of smoke is made by walking thrice

About the circle with the incense burner)

And The Darkness Beyond is The World of the Dead…

This is where we are to be Tonight…”

All:

A Processional Rune Chant is performed around the Fire with Drumming.

Invocations:

“Hail to our ancestors, both known and unknown, to those of our line going back to

the beginning,

Alfar and Disir!

Hail to those that guide us and protect us, we thank you for your wisdom and

Knowledge”

“Hail Odin,

God of Knowledge, Wanderer, Raven God, Allfather,

You travel the worlds seeking to know more, spiritually sacrificing and sharing,

We owe you much for all these things, mighty god of Runes, help us to gain a

Deeper level of connection with our ancestors of the past,

That we may grow and our knowledge may increase

Hail Odin!”

“Hail Hela,

Keeper of the dead, half living one, Loki’s daughter, we honour you this night.

Over the resounding bridge we travel, seeress at the eastern gate,

Share with us the wisdom of ages, from the realm of deep subconscious,

At the roots of all the world’s, in the world of misty darkness,

You tend the old and sick, may our ancestors rest in peace,

In Hela’s halls, long may they feast

Hail Hela!”

Meditation:

“As Odin often travelled between the worlds, seeking the wisdom of the dead, we too must seek out the

knowledge of our ancestors, for at this time itis more accessible to us than ever!”

(All join hands and close your eyes)

“Concentrate on a loved one who has passed………ask them a question………

See them, feel their presence here…….now we travel………”

“Into the darkness descend,

To the depths of the worlds we wend

Dimly lit shadows unfold,

A candlelit cavern behold

The goddess Hela doth dwell,

Here in this dank misty well

Standing before the waters of old,

You gaze deep into the abyss of your soul

Dark pools ripple with energies untold,

Spilling forth as it twists and groans

Ethereal tones, rebound off the stones

Bowers of gold and silver abound,

Crystals glisten, and fates spin around

Thru the mists, visions transpire,

Muse a while, upon your desire

Emerging now into the night,

Ancestors shimmer, reborn in our light. “

(Come back to the now, inhale, exhale, come back to the now and open your eyes)

Blessing of the cake and mead to share (offering).

The Rune Bowl is now passed around, each person chooses a Rune.

“Now is the time to give thanks for all that our Ancestors have given, and to honour the wisdom of the dead,

may their knowledge continue to enhance our lives

Hail! To the ancestors of all!”

(Each person steps forward and places an offering into the fire)

“Ancestors honoured, blessed is the ground

Our work here is done til’ next samhain comes around

May the gods watch over us always

Hail and farewell!”

Karen Cooper

https://www.facebook.com/groups/460165050682366/?fref=ts

Dolmen Grove Essex Moot Samhain Ritual

Samhain is a time to take stock of the past and plan the future; a time also to honour the past while looking

forward. A time of loss, love and remembrance mingled with hope.

This year, the Essex Moot will hold a circle to celebrate the lives of those who have gone before us. We will

give thanks to our ancestors for the skills they pass down to us, grateful that they prevailed and survived. We

remember that we exist as a result of their lives, loves, the sacrifices and choices they made.

The altar will be set up on the day. On it will be placed statues of the Goddess and the God to represent bal-

ance, as well as symbolic representations of the elements of life and creation; Earth, Air, Fire and Water.

There will also be Sprigs of Rosemary for remembrance.

We'll start by smudging everyone as they come in the room and as the ceremony begins we burn sage to

cleanse the area before inviting our ancestors to join us

This will be followed by a drumming circle to raise energies as we chant ‘We Are the Flow’.

All moot members will then be invited to place on the altar photographs of those who have passed or other

small objects of significance to represent them. We do this so that the ancestors we wish to honour have a

physical representation within the ceremony. Due to the flammable nature of some of these items and the

restrictions in place where our ceremony takes place, tea light candles are used within lanterns.

Then we open a circle by linking our energies and visualising the circle. I invite our ancestors to witness our

celebrations in their honour and talk about how we exist as a product of thousands of years of love and we

are here because of the ability of our ancestors to survive and overcome obstacles.

We give thanks to them for that and because this is a time when the veils are thinnest we will honour the

spirit of the crow that walks beside the Morrigan. This shall be done by the following words.

In a cloud of black feathers Crow descended into the World.

Oh Crow, for thou art surely the colour of the Void;

the colour of Creation Crow, who gives the gift of Light; of Fire in the Head.

Crow the Trickster, who sits on the shoulder of the the Great Faery Fool, Amandán Már, at the Crossroads to the Un-

derworld.

Carrion Crow, who rejoiced for battle when the Triple Morrigu enchanted a mist to shroud the war ships of the Tuatha

de Danann.

Oh Crow, ever faithful companion of The Morrigan but also of Lugh, “Raven of the Sun” Teacher of Arts and Sci-

ences.

Crow, known to the ancients to speed across the Earth as “Thought” and “Mind”; this alone, the Key to his greatest of

Mysteries.

Oh Crow, who at the beginning of Time and Time Forever, stands on the rim of Cerridwen’s ceaselessly bubbling

Cauldron.

As Death-in-Life. As Life-in-Death. Crow, the Source of Self; the Messenger between the worlds.

“Listen”, says Crow, as his Round Dance weaves the world into being, “Who isn’t dancing is in the dark." Father

Crow. All is all. Father Crow, Gentle Crow, Gentle Soul.

We pass around a sprig of rosemary for remembrance around the circle and each take turns to talk about or give thanks

to our ancestors.

Then we share food and drink. During the ceremony Frankincense is burned because the ceremony can be

emotional for participants and Frankincense is soothing and clarifying. To close the circle there is drumming

and singing, depending on how emotional we all are.

At the end of the ceremony we close the circle down and burn cedar in the cauldron to clear the space.

Toni Glitz

https://www.facebook.com/groups/dolmengroveessexmoot/?fref=t

Wicca

…Unity or PUrity ?

Many people in the pagan community do not refer to

their chosen path as a religion, if pressed for a descrip-

tion they might suggest belief system, or simply

"path". The reasons for this stem from bad experiences

many have had with established religions. The poor

reputation mainstream religions have built up over the

centuries, with abuse of power, excesses in wealth, and

intolerance to anyone who disagreed with their views.

This excessive intolerance extended to what many of

us would consider minor differences in emphasis, or

slight variations in practice. These disputes within the

main world religions themselves have led to persecu-

tion, ethnic cleansing, murder, and war, scarring our

history with bitter religious disputes that continue to

this day. To a Wiccan it is hard to understand the ha-

tred between some denominations of Christianity or Is-

lam; as to us they look remarkably similar. To insiders

the minor differences are of key importance, enough to

completely overlook the massive similarities.

Understandably Wiccans do not want to associate

themselves with this unwanted baggage from these

very different systems, even to the extent of avoiding

the word "religion" to describe their own beliefs. But

purely avoiding the tainted word "religion" does not

mean that Wicca could not fall victim to the same

problems. Over the past few decades there have been

many Witch Wars, fortunately only fought with words,

but they were still bitter intense disputes. The Alexan-

drians suffered the wrath of the established Gardnerian

tradition, who firmly believed that they were the only

true form of Wicca. If this sounds worryingly similar

to disputes in other religions that is because it is. Most

of these inter-tradition disputes have been settled and

mostly forgotten, with mutual recognition and co-oper-

ation between the different traditions.

The new issue within Wicca is the seemingly unstop-

pable rise in popularity of Solitary Wicca. Since it be-

gan in the USA with the publication of Scott Cunning-

ham's book "Wicca - A Guide for the Solitary Practi-

tioner" solitary Wiccans have grown in numbers at an

incredible rate, with the book selling more than

400,000 copies worldwide in the process.

Wicca started as a lineage based initiatory mystery re-

ligion, effectively meaning that the only way to be-

come Wiccan was to join a coven and be initiated by

them. The appearance of the self initiated Solitary

Wiccan broke this restriction completely; the only

thing you needed was that single paperback book to

get started on your Wiccan path. This led to resent-

ment and condemnation from the established Wiccan

traditions, which felt this new version, was not actually

Wicca at all. Fears of the potential damage to their

hard won reputation by untrained and inexperienced

new Solitary Wiccans made the situation worse. The

reality of the situation now is that solitaries are here to

stay and it would be impossible to prevent them calling

themselves Wiccan, so it is a futile conflict. While the

initial hostile reaction has calmed down, there are still

those traditional Wiccans who firmly believe unless

you have been initiated into a coven you are not Wic-

can.

It should be remembered where we started in this arti-

cle with minor differences completely obscuring mas-

sive similarities, and this is true of the solitary vs. tra-

ditional coven system as well. Solitary Wicca is a di-

rect descendent of the beliefs and practices originally

created by Gerald Gardner and Doreen Valiente for

their coven based religion. Almost all the ideas from

the original have been incorporated into the newer ver-

sion, with the one notable exception of lineage back to

the founders through initiation within a coven. If we

have learnt anything from the mistakes of the past, and

truly want to avoid the terrible errors made by other re-

ligions, we should be more tolerant and inclusive. That

would mean an end to any suggestion that a solitary

was not a "real" Wiccan, and hopefully more social

contact too. The advantage of more tolerance would be

much stronger Wiccan unity, encouraging further

growth and progress.

We are fortunate that we are not a religion of the book,

so we can change if we really want to, even if it is

painful on occasions. Embracing positive change

makes Wicca more vibrant and much more relevant to

today's world, something the religions of the book con-

stantly struggle with. On the other side of the coin and

dismissing solitaries as not Wiccan, would set an un-

healthy precedent and risk Wicca becoming frozen in

time, always looking back to the 1950s, something we

should avoid at all costs. Like all pagan paths Wiccans

are free thinkers, so carefully consider condemning

others, and value unity over purity.

Merlyn from Children of Artemis

www.witchcraft.org/

http://www.facebook.com/childrenofartemis?__mref=message_bubble

TOTEM ANIMALS – THE HEDGEHOG

The Hedgehog is a nocturnal animal, scuttling over lawns

and through hedges searching for food whilst most of us

sleep; they prefer the night-time, the darkness brings peace,

still and quiet. This is often seen in the people that have a

Hedgehog as a totem animal or spirit guide; the people that

are nocturnal beings, much preferring the night to day and

Photo by Lars Karlsson is linked to the shadows, prophetic dreaming and visions.

As a person, those who the Hedgehog has chosen tend to be gentle, the care-givers, the wise and

graceful person that many turn to for advice because of their humility and maturity. These are the

people whose presence is always noticeable but in the most subtle of ways, the people whose

words are listened to and taken wisely, the beings that love the outdoors and outdoor space or

gardens that they can tend to and nurture, often amateur gardeners and horticulturists and highly

intuitive in regards to the weather. It is noted that many people who have the Hedgehog as their

totem animal are very perceptive in weather forecasting and usually always know when it will

rain, even when the current weather gives no indication of it.

The Hedgehog shows us how to do our best to enjoy the life we lead; it is a symbol of fertility and

is connected to the Mother Earth and the Goddess and both of their energies; you can call upon

the Hedgehog to connect to these energies as and when needed. When we are drawn to the

Hedgehog, literally or in pictorial form, it is telling us that now is a good time to retreat and take

care of ourselves, to make time to refresh and heal our body, mind and spirit. It can also be making

us aware that we should follow our instinctive curiosity, to follow our hopes and dreams.

The Hedgehog has a fantastic defence mechanism, when threatened, it will quickly curl into a

small prickly ball, and if this wasn’t enough, the Hedgehog is also resistant to snakes bites and

their venom, a perfect defence tactic against predators. Symbolically, curling into a tight ball is

seen to mirror the foetal position, further connecting it to the Mother Goddess and fertility and

can be seen in the person who knows how to look after themselves, the person that although

gentle and humble, is more than capable of building strong barriers to ensure they will not be

beaten down or defeated.

Additional Associations

Perception

Protection

Intelligence

Tenacity

Wisdom

Intuition

Cheryl Waldron

Godless... The new Novel by Rachel Summers

Marked by a madman on a killing spree, a young girl relates the sordid tale of a convent possession from the confines of her room in a mental health institution. Why? She was asked by the Devil. She sets the stage in seventeenth century France, where a priest was burned for witchcraft, namely for causing the possession of the local Ursuline sisters. Was this alleged possession and its treatment so different from the experiences of our narrator at the hands of modern psychiatry? Not in the mind of the patient where the witch hunter and the doctor become one.

Rachel Summers takes a questionable chapter in the history of the Church and turns it upside-down in the hopes that a different angle will reveal a different past. Part Two of the Mission Maligned series, Godless is a tale of the ‘Other’ in confrontation with society. Summers tasted this confrontation first-hand inside the Ivory Tower where she received degrees in History, Philosophy, and Religious Studies.

About the Author

A Ph.D. shelved in lieu of research inverted, the work of Rachel Summers is what some have called a journey into antinomian mysteriosophy, where socially sanctioned morality is turned on its head in order to shake out just a few drops of enlightenment. Summers holds degrees in History, Comparative Religions, English Literature, and Philosophy, all centered on heresy and magic in the late

medieval era. http://www.amazon.com/gp/product/1517755581?keywords=godless+summers+books&qid=1446133357&ref_=sr_1_1&sr=8-1

The Seelie and Unseelie Court Faeries -- and Us !!!

Image – Daniel Matisse

Faerie is of course a rather broad term, and

analogous entities populate history and traditions

cross-culturally, but one of the most notable

subsets, and the most common in the Western

world are those deriving directly from Celtic

traditions. Even within the greater conception of

Celtic faeries there are distinct sociological

differences remarked upon between Insular Celtic

(deriving from the British Isles) and the Celtic

faeries of Continental Europe, and even

pronounced variations between Irish and Scottish

understanding of faeries. The bulk of literature on

Celtic faeriedom has them regarding humans

ambivalently or with an eye towards our

entertainment value with occasional

considerations given towards our potential labor

services. This is to say, the greater part of our

understanding of faeries across the centuries has

revolved around their role as tricksters, or a

parallel and complex civilization with often

inscrutable, but rarely malicious motivations.

The origin of the hypothesis that a sharp division

exists in faerie society with regards to human rela-

tions emerged specifically from Scottish faerie-

lore, which propounded the idea of the Seelie and

Unseelie Courts. This seems to be an aberration in

Celtic faerie lore considering the wide range of

complementary appellations applied to faeries

from

“The Good People” to “The Fair Folk”. The lin-

guistic derivation of the terms “seelie” and

“unseelie” seem to be from Old English sael

(loosely translated as happy) and gesaelig

(unhappy), and more commonly interpreted as a

monarchical association divided into independent

factions of “light” and “dark” faeries.

“The seelie court were kind, courteous, and

charitable to the aged, the poor, and the afflicted,

to whom they gave gifts suited to their

necessities…The unseelie court, on the other

hand, stole the goods from those who offended

them and killed their cattle by elf-shot which was

occasionally found on the moors or turns up in the

fields now-a-days, but which science ruthlessly

asserts to be the arrow-heads of our prehistoric

ancestors. They entertained a particular dislike

against those who wore clothing of a green col-

our. To this cause the Highlanders ascribed the

death of Viscount Dundee at Killiecrankie. But

their most wicked prank of all was the carrying

away of handsome unbaptized children from the

side of the lying-in mother, substituting their own

loathsome and sickly progeny in their stead”

(Buchan, 1873, pxviii).

More extreme interpretations

of the Unseelie Court attitudes were that no of-

fense need even be given to incur their wrath.

“The ‘wicked witches’

of Fairydom were always ready to inflict skaith or

damage upon

mankind. They

shaved people with

loathsome razors,

eradicating every

vestige of whiskers

and beard. When

any one, in a fit of

temper, commended

himself to the

Devil, ‘the unseelie

court,’ took the

speaker at his

word; they

transported him

into the air on a

dark cloud, and

consumed him to

charcoal.

. Image - Wellcome Library,

They abstracted the household goods of those who

offended them, destroyed their cattle by small

flints, or elf-shot” (Roger, 1869, p235).

Why such a sharp divide in faerie culture

regarding the treatment of humanity or why such

malign inclinations should exist has never been

adequately explained. The heavy influence of

Teutonic culture on the Scottish Gaelic traditions

has been proposed as the source of the concept,

since one of the few related parallels is the

Norse/Germanic idea that there are light and dark

elves (Dökkálfar and Ljósálfar), but curiously the

“dark” inclinations of the Dökkálfar are more

closely related to their subterranean nature, rather

than a clear conception that they were evil.

“The third kind of inferior Deities which the

heathen Northmen worshiped was the Elves (Alfr,

a spirit; plur. Alfar). The belief in them rests

wholly upon the Asa doctrine, which represents

the Elves as the inhabitants of that region of the

atmosphere nearest to the Earth's surface, and of

the interior of the Earth. The former were called

properly, Light-Elves (Ljosalfar), the latter, Dark-

Elves (Dokkalfar); but the two classes were

blended together at an early period in the popular

faith, and it appears to have been a very general

belief that the Earthly Elves were neither black

nor evil. It was thought that in their whole nature

and appearance they were like men, and that they

had their dwellings in mounds. They showed

themselves occasionally and were thought to have

power to do both good and evil to the people who

lived in their vicinity. Therefore men sought to

gain their friendship by sacrifices (Alfablot) and

by services, whenever the Elves might demand

them” (Keyser, 1854, p193-194). .

Image

John Henry Fuseli

While the classification scheme seems to have

been preserved in its transposition to Scottish

faeriedom, the reason

Unseelie faeries hate

humans is still

somewhat ambiguous,

but it may have

discernible roots in the

blending of Scottish,

Teutonic, and later

Goidelic Celt accounts

of the origins and final Image – H.R. Millar disposition of the

Tuatha

Dé Danann in Ireland

The Tuatha Dé Danann (the Tribe of Danu) were

considered to be simply another (although gifted

with supernatural powers) invading people that

were the last in a long string of invaders of the

sparsely populated Ireland, culminating in Gaelic

invasions from continental Europe that ultimately

resulted in the Ireland we see today. The 11th

Century A.D. Lebor Gabála Érenn “The Book of

the Taking of Ireland” (or more colloquially, “The

Book of Invasions”) appeared to have been

heavily influenced by earlier Medieval works for

much of its source material (both Pagan and

Christian) and makes one thing abundantly clear –

the Gaels (a Celtic-speaking ethnic group that

includes Scots, and whom we typically associate

with the modern Irish), were relative latecomers to

the Emerald Isle, mythologically preceded by the

monstrous Fomorians, Nemedians, Fir Bolg, and

Tuatha Dé Danann, the earlier residents of an

Ireland that had been occupied since roughly 8000

B.C. In essence, the Fomorians were stomped on

by the Nemedians, and subsequently the

Nemedians and Fomorians were knocked about by

the Fir Bolg (thought to be the last non-Celt

invaders of Ireland, and interestingly given the

dark/light elf correspondences in Teutonic

mythology, have been thought to represent a series

of seaborne invasions of Gallo-Germanic tribes).

The Tuatha Dé Danann are associated with the

remnants of the Nemedians that survived the Fir

Bolg, although many scholars, viewing the entire

proto-history through a Christian filter (since

monks have a lot of free time, and they were the

one’s busy writing all this down) suggested that

the Tuatha Dé Danann were simply the last

vestiges of the main deities of pre-Christian

Gaelic Ireland.

The Tuatha Dé Danann essentially formed the ba-

sis for much of the Celtic faerie mythology, but

their history is decidedly unpleasant, and in the

culmination of the taking of Ireland by Goidelic

Celts invading from Northern Spain and Portugal,

we may find the source of Unseelie Court resent-

ment towards humans. In the First Battle of Magh

Tuireadh, the Tuatha Dé Danann are said to have

defeated the Fir Bolg, followed by the Second

Battle of Magh Tuireadh, where they are said to

have similarly bested the remaining Fomorians.

Having established supremacy in Ireland, the Tu-

atha Dé Danann were then forced to face the in-

vading Milesians (the Goidelic Celts). The Mile-

sians (who we can presume to represent the hu-

mans that inherited Ireland and became the mod-

ern Irish in this grand epic) defeated the Tuatha

Dé Danann, forcing them to accept an unfair divi-

sion of Ireland, the Milesians allotting the surface

to themselves, and driving the Tuatha Dé Danann

underground. It seems rather likely that this

would breed resentment, or even homicidal misan-

thropy for those faeries that might already be dis-

inclined towards humanity.

We tend to regard monstrosity as it relates to man-

kind as an irrational act, puzzling over why our

good looks and charm have not won over those

things that go bump in the night. Perhaps it is our

designation of such otherworldy critters itself that

reeks of offense. After all, as observed by Laini

Taylor, “It is a condition of monsters that they do

not perceive themselves as such. The dragon, you

know, hunkered in the village devouring maidens,

heard the townsfolk cry ‘Monster!’ and looked be-

hind him.” Reflect on this as the children choose

their monster masks for Halloween (which if I

were a monster, I would regard as rather rude),

and consider that one need simply scratch the sur-

face of folklore to determine that the goblins,

trolls, ogres, and Unseelie faeries that inhabit the

margins of our universe may justifiably have a

bone to pick with us.

Aaron Dabbah

References

Buchan, Patrick. Legends of the North: The Guidman Oʹ Inglismill And

The Fairy Bride. Edinburgh: Edmonston and Douglas, 1873. Keyser, Rudolph, 1803-1864. The Religion of the Northmen. New York:

C.B. Norton, 1854. Rogers, Charles, 1825-1890. Scotland, Social And Domestic: Memorials

of Life And Manners In North Britain. London: Printed for the Grampian

Club, 1869.

Image - Harry George Theaker

Magik for L ife…Bringing the Sunshine

The potential for magik is everywhere; it is inside

us and outside of us. Magik is the transformation

of one energy into another. Energy is an invisible

vibration that influences the human mind from

which matter is created and formed.

With a little imagination and a smidgen of

contemplation we can enhance that power and use

it for our own bidding. Magik is the act of calling

on the forces from Above and Below. From Above

we discover the energy from the planets and stars

and Below is the realm of Mother Earth herself.

To marry the two forces we create an inner energy

of intent as a temple for the reaction to take place.

To attract the two forces Intent is first formed

inside us; any condition can be transformed with

the right intent. Whatever the

wish it is important to

visualize the outcome that

will become the foundation of

your own inner energy

awakening. It is the intent

(noun – any purpose or

intention); the most important

part of the magik.

My intent right now is to

change the weather. To

transform the rain into

sunshine. I imagine the Sun in all his glory,

bathing nature in light and warmth. Everything on

Earth bows down to the Sun; the Son of the

Cosmic Mind.

The intent begins to vibrate in the upper stomach,

around where the solar plexus is born out of

passion and instinct. It infuses itself with

imaginations of cloudless blue skies emblazoned

with the radiance of our life giving star.

While the intent is forming it is time to call on the

forces of above (the heavens) and below (the

earth) to assist and witness the magic I wish to

achieve. The heavens is the spiritual realm of the

gods and nurturing realm of the goddesses who

listen to human prayers, spells and wishes, and if

properly acknowledged, they are only too happy

to help out.

I find the goddess most helpful in my quest for

expanding my view of the spirit world. Sometimes

the triple moon goddess of the Celtic world,

sometimes Lakshmi simply because she always

seems to respond to my requests. Mostly it is just

the goddess; an un-named live giving, caring

feminine aspect.

I see the spiritual realm as a Patriarchal world

where the gods work on the creation of new

universes, while the goddesses nurture and

maintain them; running the affairs of humanity.

The gods went to work while the goddess stays

nearby to nurture nature (which includes

humanity). The Goddess will hear your request

without judgement and pass it on to a god to

perform the transformation. The goddess cannot

directly interfere with change; she can only

influence a god to create an

opening in the material world

for things to change.

Planetary influences

including the Sun, invisible

colours of light are drawn

down by the call of the intent

patiently growing inside as

the vibration increases. The

goddess and cosmic spirits

have heard your call. They

are with you. They are you!

Being of the Earth it is only natural that for

anything to happen here, she has to accept it to be

able to put into position the circumstances to

allow the change to take place. It is in her time

that the event will play out so it is only polite to

invite her energy to the party.

The Mother Goddess arrives in the form of the

four directions and elements. The elemental spirits

which include animals and mythical creatures love

a good party and only too happy to represent the

Goddess on Earth.

When everything is in place and the intent is ready

it welcomes both energies from above and below

to join it and share themselves to become a single

vibrating mass of energy in the solar plexus.

Sometimes a wand is used or athame (ceremonial

knife) is preferred to focus the magic energy from

within to without; the important thing is to believe

the power of the intent as it rises up through your

body. Experience the radiance as it passes up

through the heart to the shoulders and up through

the raised arms and released towards the spirit

realm where all the events that occur on Earth are

first played out.

Once the magik has been expelled and passed on

to the goddess to carry back to the Upper world it

is necessary to ground yourself by simply feeling

the earth with a bare hand. Any excess energy not

used is released and given to Gaia (mother earth)

who in turn returns any energy that was lost by

you during the ritual. All the deities and spirits

that helped are thanked and sent back to their own

realms.

Shortly after I finish writing this, the grey clouds

parted to allow the Sun and blue sky to look down

over Portland. It only lasted for a short while

before the grey clouds encroached and it began to

rain again. It was just as the weather forecast had

predicted for the day.

Scott Irvine

All photography in this article is by Irvine images

The

DOLMEN'S PIRATE PARLAY WEEKEND

6TH - 8TH NOVEMBER 2015.

The Dolmen's 'Parlay' is designed to be an end of season get-together for members of the Pirate re-

enacting brethren and their wenches. A wind down, or wind up, depending on how much grog gets sunk, after a long season's battling. One re-enactment crew is even sailing in from MALTA

for the event!

Set in the old Dorset seaport of Weymouth, itself no stranger to the 'activities' of those 'gentlemen

of the sea' and their enterprising 'cousins', the smugglers, those attending will be in a veritable Piratical wonderland of the very best Pirate mu-sic (no less than three gigs by top UK & Euro-

pean Pirate band, The Dolmen) one of which will be the Infamous Pirates' Keep', at the Golden

Lion on Saturday 7th November!

The night before, Friday 6th November will wel-come the crews to the Weymouth Old Town Hall whereupon, they will take a short trip just down the road to Weymouth's newest and refurbished music venue The Belvedere where a night of pi-

ratical shenanigans awaits including the Dolmen

Pirate Savvy Quiz Night.

Midday on Saturday will be taken up with a se-ries of duels, the reasons for which were spawned

the night before as the grog took hold and the parlay got strained! Lots will be drawn to see

who fights who... in the 'High Noon 'Ave Some'! Pirates will fight it out, one on one, until a Pi-rate King is crowned. This will be followed by

the Pirates Parade which will leave the Belvedere at around 2pm and snake its way through the

town, led by the Dolmen Drummers.

The evening will be the pinnacle of the weekend with The Pirates' Keep, a gathering of the pirate family and others, where stirring true tales are told of long ago. Tales of the Golden Age of Pi-

racy, in between some awesome Pirate songs from The Dolmen. The second half of the evening up

until 1am will be a full on Dolmen gig, playfully known as 'The Riot Set'!

Sunday 8th November will see any survivors

dragging their abused carcasses once more along the road to the Belvedere for a Survivors' Jam

Session, 'The Pirates Preserve' where anyone can get up and sing a song and The Dolmen will once again be the masters of ceremony. The Landlord

has also promised a pig roast, so at least the crew will go away with something more than just rum

and ales inside them. The Dolmen…Where Music & History Merge ...

and Magick is Born!

Mark Vine

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 nu-

merous medical herbs have been utilized since antiquity, many of which have become of modern drugs (such as Qui-

nine and cocaine)

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

Argan Carrier Oil

Latin name Argania spinosa

Argan Carrier Oil is also known

as liquid gold or

miracle oil and is extracted us-

ing the cold pressed method.

The oil is derived from the seeds or fruit of the Argan

tree which grows naturally in Morocco. It is the rarest

and most expensive oil in the world, so much so that

UNESCO has put it on the endangered list. It is rich in

anti-oxidants and has been used for years in anti-age-

ing products. It has a shelf life of 12- 18 months with a

dark to golden colour and the odour is sweet.

As well as powerful anti-oxidants Because of

its Vitamin E content, it also contains Omega 3 and

Omega 9 and is said to be better than olive oil in as

much as it also contains Vitamin A, Vitamin B1,

Vitamin B2, Vitamin B6, Vitamin C, proteins and

minerals and helps cool the skin in windy and dry

conditions. Argan is also considered to help prevent

wrinkles as it rehydrates the skin providing a lipid

layer that assists in restoring saggy skin which is

lacking vitality. It is very good for the hair especially

frizzy or dry hair and its other benefits include

reducing joint pain including that caused by

rheumatism, stabilises blood sugar levels and

stimulates the nervous system and helps to improve

brain functions. This oil is really good to use with

Essential oils and if you use Fennel it would help re-

store and improve dull, oily, and mature skin.

. Fennel Essential Oil

Latin name Foeniculum vulgare

Fennel is a biennial or perennial

herb which grows up to 2 metres

high with feathery leaves and

golden yellow flowers. There are two types of fennel,

bitter which his not used as an essential oil or sweet

which is slightly taller and originates in Malta having

been introduced by Monks. It is now grown in France

Greece and Italy. It is

extracted by steam distillation form crushed seeds and

is a colourless to pale yellow liquid., with a strong

liquorice flavour and blends well with lavender, rose

geranium and sandalwood ( Julia Lawless- the Ency-

clopaedia of Essential oils).

As mentioned previously, it helps heal bruises and

improve dull, oily and mature complexions. This is a

valuable oil for digestive support and helps with

hormonal balancing as well as Premenstrual Tension

which can lead to eating junk food and ultimately

upset stomachs.It can also be beneficial if you suffer

from colic, anorexia, constipation, flatulence,

hiccoughs, nausea or obesity. It can also assist in

helping rheumatism, oedema, insufficient milk in

nursing mothers and menopausal problems.

Emotionally it helps people who struggle with self-

doubt, low self-esteem, lack of motivation,

accountability, or stubbornness, and help them live in

alignment with their values and integrity.

SAFETY DATA

Sweet fennel oil is powerful and shouldn't be used in large doses, as it may have a narcotic effect. It should be avoided

altogether in pregnancy, breast feeding mothers, unless you have not got enough milk, people with oestrogen linked

cancers, endometriosis and cases of epilepsy.

Sandra Wiseman Therapies 4 You 07804 138585

www.therapies4you.com

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.dolmengrovehampshiremoot/?fref=ts

Essex - 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/?fref=ts

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, PL26

7DA - First Wednesday of every month, 7:30pm onwards

https://www.facebook.com/groups/460165050682366/?fref=ts

Berkshire, Bracknell - The Boot Public House Park Road, Bracknell, Berkshire,

RG12 2LU -Third Tuesday of every month, 8:00pm onwards

https://www.facebook.com/groups/150234135114242/?fref=ts

Dorset, Poole - The Kings Head6 High Street, Poole, Dorset BH15 1BD - Third

Tuesday of every month 7:30pm onwards

https://www.facebook.com/groups/285539554914086/?fref=ts

Berkshire, Newbury - Last Thursday of every month, 7.30pm onwards

See Facebook group for venue details

https://www.facebook.com/groups/1654789994736431/?fref=ts

All Dolmen Grove moots are advertised regularly on

www.dolmengrove.co.uk

with up-to-date information on individual moot facebook pages

Samhain and the Magic of Food

This has got to be I would think, quite possibly the most celebrated pagan holiday. I love this time of

the year, autumn is my favourite with the crisp fresh air first thing in the morning and the colour of

the autumn trees. It is the end of summer and the third and final harvest of the year, a time when the

veil between the worlds is at its thinnest, and a time to celebrate the lives of those that have passed and

to remember and honour our ancestors. Oh … and eat lots of sweets. Samhain is a good time to look

back over the past year and let go of that which did not serve you and look forward to the year ahead.

It is also an excellent time to work with your divination skills.

Aside from all the Samhain goodies that will give us all a sugar overdose, foods for this season make

me think of big hearty casseroles, home baked bread and stick to your rib puddings.

Autumn is a fabulous time of the year to go out for a walk and although there isn’t a huge amount to

be found in the hedgerows at this time of the year you might be lucky enough to bag yourself nettles,

sorrel, cow parsley, horseradish, crab apples, juniper berries, rosehips, sloes, chestnuts, walnuts and

wild mushrooms.

Veggies that are in season in October/November are artichokes, aubergines, beetroot, borlotti beans,

broccoli, Brussels sprouts, cabbage, carrots, cauliflower, celeriac, celery, chicory, courgettes,

cucumber, endive, fennel, French beans, garlic, leeks, onions, parsnips, peas, peppers, chillies,

potatoes, pumpkins, squash, radish, runner beans, spinach, swede, sweetcorn, tomatoes, turnips and

watercress.

October/November seasonal fruits are: Apples, blackberries, black currants, damsons, greengages,

grapes, medlars, melons, peaches, nectarines, pears, quince, raspberries and rhubarb.

Vampire’s Blood (OK…blackberry cordial)

A yummy sweet syrup with spices and optional alcohol. Delicious cold with water over ice or made

with hot water for a warming drink but it can also be poured over ice cream or steamed pudding.

500g/17 ½ oz blackberries

500g/17 ½ oz sugar

2-3 tablespoons water

Optional – 6 tablespoons brandy

You will need a large jar or heat proof jug, pop the blackberries and the water into it. Pour half the

sugar on top of the fruit. Stand the jar in a saucepan of hot water, bring to the boil and simmer for 1

½ hours (keep an eye on the water level, don’t let it boil out). Then strain the contents of the jar into a

large saucepan squishing all the fruit through a sieve. Add in the rest of the sugar and bring the

mixture back to the boil, stirring all the time. Once the sugar has dissolved keep stirring and boiling

for a further five minutes. Remove from the heat and allow to cool. You may have to skim a little

from the top of the mixture. You can now add in 6 tablespoons of brandy if you wish, giving it a good

stir. Pour into clean jars and put lids on.

Magic of the ingredients:

Blackberries – protection, healing, money

Sugar – love and to make life sweet

Water – emotions, release, purification

Chapatis

Now these might not be the most obvious choice for Samhain but they are brilliant if you are having a party to celebrate

as they can be made ahead and reheated or even frozen and reheated just before you need them and they work brilliantly

with a great big pot of homemade curry, chilli or even savoury dips. They are also ridiculously easy to make. I use atta

flour which you can get from Asian supermarkets but wholemeal flour works just as well.

175g/ 6 oz atta or wholemeal flour plus extra for dusting

Good pinch of salt

110ml/4 fl oz water 1 teaspoon vegetable oil

Sift the flour and the salt into a large bowl. Add the water gradually (you might not need it all) and mix to a soft dough

then knead in the teaspoon of vegetable oil.

Knead on a lightly floured surface for about 5 minutes, until the dough is smooth. I do this process in the food mixer with

a dough hook fitted. Place in a lightly oiled bowl and cover with a tea towel, leave to rest for about 20 minutes.

Take small pieces of the dough (walnut size) one at a time and roll them out on a floured surface, try and roll them as thin

as you can.

Heat a non stick frying pan – I have found that I don’t need to use any oil as the non stick coating does the job but you

may want to add a tiny amount.

Cooking each chapati one at a time, place it in the hot pan over a medium heat for probably not even a minute – you will

need to watch these as they cook fast! The chapatti will start to bubble, turn it over and cook on the other side for a

further 30 seconds.

You can keep them warm by wrapping them in a tea towel whilst you cook the rest of the batch.

Magic of the ingredients:

Flour – prosperity, stability

Water – emotions, release, purification

Salt – purification, protection, cleansing

Source: A Kitchen Witch’s World of Magical Food by Rachel Patterson

Monday 2nd November - talk at the Dolmen Grove, Fareham

Tuesday 3rd November - Coffee, cake & Magic, Portsmouth

10.30am - 12.30am

Saturday 14th November - Magical Food talk at Witchfest

Full details on the website:

www.rachelpatterson.co.uk

www.kitchenwitchhearth.net

Books can be purchased via my website or at most online retailers

(Amazon, Book Depository etc)

The Hedgewitch’s

Diary

Crows with their harsh cries herald in the colder

months, and the autumn winds bring a chill and

animation to the waving branches, ripping the

orange-brown leaves from the stricken trees,

sending them spinning in furious flur-

ries to the earth. Fat juicy spiders hang

in their silken webs or stroll purpose-

fully across the floors of our homes

searching for mates, the swallows

have flown and bats now hang in

hibernation. The low angle of the

diminishing Sun casts a rich deep

vibrant orange glow like burning

embers, the eternal fire of passion; and

the smell of wood smoke floats in

wavering drifts as we are drawn to the

comfort of home where the hearth is

the heart in these few months to come.

Morning mists drape fluttering veils,

shrouding the land in mysteriousness as the brazen

voluptuousness of

summer dampens into obscurity. Yet, some

flowers in my garden still bloom, clinging to the

skirts of summer, providing sweet nectar for the

hungry insects that will need their sustenance to

survive the winter, but most blossoms have

formed their seed, accomplishing their life-cycles,

and withered to leave the garden slightly

dishelleved in the autumnal wetness..

Fungi spurt from the decaying dampness, brown

and bruised apples lay splattered and crushed in

putrefaction under their bountiful trees, and that

glorious scent of rot, the musky earthiness of this

time of year draws us in, seducing us in a longing

for the roots of the past that lie in the dark secrets

of the Earth. This scent of transformation is a

reminder that everything is in motion, and all life

is change. And it is that sense of change that we

feel greatest in the beginning of the autumn as the

lord of the dance that penetrated the summer in

passionate glee and spilled his impregnating seed

in his triumphant dance of fertility, wears the

mask of death as he droops into the little death,

the petit mort, the greatest change and the greatest

life is in death as the end of fervour gestates the

seed of the future that carry the roots of the past.

For ruminant creatures autumn is

the rutting season, and where all

seems to be withering into death,

the rampant stags bear their

magnificent velvet antlers, the

stench of hot musk oozing from

every pore, to begin their urgent

frenzy in the wild untamed dance

of fertility; sex and death two

faces of the same countenance.

And at the thinning of the veil at

samhain, that liminal moment is

reached where life and death c

onjoin in a thrashing of clashing

antlers in the mists of dusk.

We gather in and ruminate upon the harvests of

our accomplishments and failures that were borne

throughout the summer as well as the ravishing

physical bounty that sprawls on ground, tree and

hedge, sparkling like jewels. Glistening blackber-

ries have filled many bellies, crimson haws and

gleaming purple sloes splash the

hedgerows, and scarlet rowan berries hang heavily

bending branches, it’s been a bountiful year for

the graceful rowan, and fat gleaming conkers

emerge from their spiny cases, all shine in the

heavy dew, as the feast is laid on the banqueting

table of our lives.

The harvests that allow

our continued survival

upon this beautiful and

terrible, battered and

bruised, Earth, glint as

precious treasure in the

rays of the Sun, their life-

cycles reaching

accomplishment as the

seeds ripen within, and I

again wonder at life’s

marvellous processes as I

gather up the seed from

the plant that I collected

as a seed the previous year, and its parent the year

before that…

The seed that is formed from the summer’s fling

bears the entire universe in all its potency, passing

on and on and on its memories. All things come

and go, civilisations grow, climax, and crumble,

thoughts, days, moments, individual lives, eras

and epochs, and from the blood of the their

remains spring new wonders that in turn die,

spilling their seed, scattering their remains, as the

continuity of life eternally spirals onwards, not

attached to flimsy impermanence of form. Such is

the dance and rhythm that in its motion brings

together in heady desire that which has been

rendered apart so that its love will seek the union

that will ignite creation afresh, and perhaps dance

beyond the tune of nature’s rhythms.

Rachael Moss

NOVEMBER SOWING CHART

1 2 3 4 5 6 7

3pm

x all day

A 10pm 12pm

8 9 10 11 12 13 14

2pm

3pm

15 16 17 18 19 20 21

x all day 12pm

22 23 24 25 26 27 28

P 8pm 8pm

29 30

3pm

Key to Astrological Symbols

Capricorn Cancer Dark Moon A Apogee Element Symbols

P Perigee Earth

Aquarius Leo 1st quarter North (ascending) node

Air

Pisces Virgo Full Moon South (descending) node

Fire

Aries Libra 3rd quarter

x No sowing Water

Taurus Scorpio Highest Moon

Gemini Sagittarius Lowest Moon

Crops to Sow in November

Root/Earth Flower/Air Leaf/Water Fruit/Fire

Onions Overwintering salads Broad beans

Garlic

Spriggan Mist

Sunday 1st November 2015

Rose and Crown, Sandhurst - Ghostly Tales Tour 2015

Saturday 7th November 2015

The Boot, Bracknell - Ghostly Tales Tour 2015

Saturday 14th November 2015

Witchfest International 2015 Fairfield Halls,Croydon

Saturday 5th December 2015 The Dolmen Grove Krampus Night Titchfield Hampshire

Saturday 9th January 2016

Spriggan Mist's wassail in Bracknell venue tbc

Saturday 30th January 2016

The Snug, Weymouth

www.sprigganmist.co.uk

A spell to Find Other Witches On the night of the full moon, pour out a small bottle of pure vanilla extract and reserve.

Stuff the empty bottle with chopped fresh catnip leaves. Refill the bottle with the extract,

then cap and shake well while focusing upon your goal. Allow the bottle to stand until the

new moon comes, then complete the spell

Pour out the infused extract into a shallow bowl. Soak in it a square of indigo fabric. Wring

out the excess and flatten the cloth upon your workspace. Place in its center an inch of the

catnip from the bottle. Atop this lay a lodestone. Sprinkle the stone with magnetic sand to

activate it. Write upon a slip of paper the words:

Striga mihi revelare

Fold the paper and place it on top of the lodestone. Hold your hands over and around the

objects, index fingers and thumbs touching in a triangle shape. Speak these words over your

hands as you focus:

Like moths rushing to the flame, Witches, fly to me now!

We are comrades with one aim. Witches, fly to me now!

Show me your faces and your names. Witches, fly to me now!

So mote it be!

Gather up the edges of the fabric and tie it securely into a bundle with an amber colored

ribbon. Carry this bag where it will be seen by others and you will soon discover all the

magical folk around you.

Molly McHenry

Wormwood: a

Touch of Bitterness

Whilst elder and apple are herbs well known for

their association with Samhain, there are other

plants with a role to play. One of them is

Wormwood (Artemesia absinthum), a favourite

herb of mine, perhaps because it grows vigorously

around where I live.

Its role at Samhain is one of protection which was

achieved by throwing it onto the fire: it would

certainly create a distinctive aroma. More

generally it can be used to release anger and

negativity in a peaceful manner and can be used in

group magick to stop war or inhibit the enemy. As

a visionary herb it can be used in prophecy and

divination and is associated with the lover’s card

in the Tarot.

Linked to the Goddesses Diana and Artemis, its

name is a combination of the two.

Wormwood is a wonderful example of the

Doctrine of Signatures, a very old concept which

says that something about a plant (taste, smell,

flower colour, shape, habitat, leaf markings etc.)

tell us what the plant can be used for.

The smell and taste of Wormwood convey

strength and power; to me the message is ‘I am

powerful, I can harm you, so treat me with care

and respect.’ The grey green foliage stands out

from surrounding vegetation saying ‘look at me.’

The message from this ancient concept is borne

out by what the plant does and what we can use it

for. Part of the story is in the name; it is a remedy

for intestinal worms and parasites. Any herb

which can do that is potentially harmful on a

wider scale and Wormwood is potentially toxic if

not used wisely.

In similar vein an infusion can be used as a wash

to treat head lice and bunches of the herb placed in

wardrobes and drawers will keep away moths. I

know someone who sprays herself with an

infusion to keep away midges and other biting

insects, although it is not recommended as a

perfume! The same action supports its use as an

old strewing herb.

Wormwood is one the most bitter herbs that

herbalists use. Bitterness in a plant acts on the

bitter taste buds on the tongue to stimulate and

invigorate the whole digestive process. This

property is much valued by herbalists and can be

used anywhere there is sluggishness or congestion

in the digestive system. This includes lack of

appetite, nausea, poor liver function, low secretion

of digestive juices, and constipation.

It is an old remedy for depression which is

interesting as depression and poor digestive

function often go together. There is increasing

recognition of the concept and functions of the

‘gut brain;’ the vast network of nerves supplying

the gut. Invigorating this part of the nervous

system by stimulating digestive function with

bitters such as Wormwood -increases production

of the neurotransmitter serotonin; maybe this is

the connection between its use as a digestive

remedy and an antidepressant.

This connection may also explain its use in

helping people withdraw from benzodiazepines

such as Valium.

Wormwood is also known as a constituent of

alcoholic beverages. It was one of the herbs used

to flavour ale until the use of hops in this country

became widespread in the 16th Century. Famously

it was a constituent of the liqueur Absinthe which

is known to be toxic in excess to the point where it

is now banned in many countries.

So a good example of a beautiful herb which

offers us much as well as teaching us to respect its

power and strength and use it wisely.

Andrew Cowling

BSc(Hons),Dip.Phyt,D.Hyp,RCST,MNFSH,FNI

MH.

Herbalist, Craniosacral Therapist, Hypnotherapist,

Healer.

62 Grove Road

Portland

DT5 1DB.

Tel. 01305 860611.

Wheel of the year

February 13th and 14th ...Enchanted Market Garth Hill College, Bull Lane, Bracknell, Berkshire RG42 2LN.

March 28th …Ostara Psychic Fayre and Spring Ball.

April 22nd - 24th April inclusive…Beltane Spirit of Rebirth Camp, Dorset.

August 26th - 28th inclusive…Tribal Dreams Camp, Dorset.

September (Mabon) – Local Ceremonies.

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

December 5th – Yule Market and Krampus Night.

www.dolmengrove.co.uk

https://www.facebook.com/The-Dolmen-Grove-110124449082503/?fref=ts

Cernunnos… God of the Celts

Cernunnos, most probably the most recog-

nised and talked about deity in the modern

Pagan world, he appears in far more books,

magazines, publications and in ceremonial

rites than any other male horned deity. A

Celtic god and I use the term ‘Celtic’ loosely,

because to many people the word ‘Celtic’

conjures up images of an ancient race of peo-

ple and to others it is a way of life; to many

more it is nothing more than a modern

phrase for an ancient race of people. My defi-

nition is neither here nor

there, I use the term ‘Celtic’

as reference to an ancient

race of Western European

people.

The name Cernunnos,

which is believed to have

European origins, translates

to ‘Horned One’ and when

we look at other ancient languages transla-

tion of the word ‘horn’ or ‘horned one’, we

can see why:

Latin – Cornu,

Welsh – Carn, Gallic – Cernon,

Germanic – Hurnaz

The Cernunnos we recognise today and pic-

ture in our heads, is a deity that sits cross-leg-

ged, wearing a sleeveless tunic and has stag

antlers on his head. He wears a beaded neck-

lace and in one hand he holds a silver war-

rior’s neck torc and in the other a ram horned

serpent. He is associated and often depicted

with the images of a stag, a wolf, a boar and a

lion, each of these animals symbolise a great

power and strength, but in Cernunnos him-

self, it also symbolises an affinity for nature, a

true symbol of Chthonic wisdom and trans-

formation.

Cernunnos first appears in France and his fol-

lowers and popularity quickly spread across

Europe and inscriptions and carvings that

have been discovered corroborate this. There

are many variations in the spelling and pro-

nunciation of his name; Cernunnos,

Cernonos, Cernhunaz,

Keraunos yet they all have

the same meaning, as men-

tioned before, but the main

reason for the name varia-

tions would undoubtedly be

due to the Celtic traditions

being oral and not written.

When the Romans and

Monks wrote and recorded the so called ‘bar-

baric’ people, it would have been from

memory and word of mouth, so it naturally

follows that variations would be inevitable.

The most famous image of Cernunnos and

the one that springs to most minds (even if

they are unsure of its origin) is the image of

him depicted on the Gundestrup Cauldron.

The cauldron, discovered in Denmark is be-

lieved to be dated to between the 4th and 1st

century BCE; it is a solid silver cauldron with

depictions of many ancient deities, battles

and rites. Cernunnos sits on the cauldron

cross-legged and holds a warrior’s torc and

serpent in his hands, surrounding him are a

stag, a boar, a lion and a wolf; wild, strong,

primordial creatures, creatures of power,

strength and wisdom.

As a horned deity, Cernunnos has played a

significant role in the development of a Celtic

civilisation right up to modern times, he has

stood the test of time and has stayed with his

followers or at the very least, his followers

have stayed with him.

In Cernunnos we see virility, fertility and

wisdom symbolised by his stag antlers, they

do, without much use of the imagination,

mirror the branches of trees, connecting him

to the Earth and forests in particular.

His horns demonstrate to us his enduring

power, his animalistic form is camouflaged

perfectly. He is fleet of foot, silent; he is the

spirit of the depth of the nature of human and

animals across the forests and wild moors.

Cernunnos is often seen as the bestower of

wealth, we see him frequently see him de-

picted sat next to coins, which would indicate

a wealth connection and wealth does go hand

in hand with virility and fertility.

Because of his horns and often, erect phallus,

depictions of Cernunnos are and have been

through time mistaken and misinterprete4d

as that of Satan; the Christian church used

this historically, to their advantage and ruled

that any worship of a horned god, like Cer-

nunnos was in fact Devil worship something

that is still recognised today.

In modern times, Cernunnos is a deity recog-

nised by and is popular with many Neo-Pa-

gans, Wiccans, Witches and followers of the

Old Ways. He is associated with good for-

tune, abundance, fertility, masculine energy

and animals, the rutting stag in particular.

He is an ancient poetic warrior, the God of

Death and Rebirth and a guardian of the Un-

derworld.

Cheryl Waldron

MEMBERSHIP OF THE DOLMEN GROVE

The Dolmen Grove offers a lifetime membership, which simply

means a one-off payment of £20 for those who wish to embrace and enjoy the freedom,

Clanship and the right to practice their own spiritual path within the Grove family.

Full Members of the Grove will enjoy reduced rates for events such as

Gatherings like the Beltane Spirit of Rebirth and Tribal Dreams,

and many other events when stated.

A Full member will receive a Membership Card and a unique

Membership Number that identifies who they are when wishing to attend Member only

Ceremonies and other Dolmen Grove Events.

The Dolmen Grove does not have a hierarchy, as we do not believe that people need titles

or labels to follow a spiritual path; instead the spiritual ethos of the Grove is

facilitated by a Round Table, a circle of people from all walks of life.

For further information on the Dolmen Grove and becoming a member please send an email to

[email protected]

.Also find us on faceboook - thedolmengrove and thedolmengrovemagazine

Metaphysical and Healing Properties of Crystals Selenite/Gypsum

The Angelic stone of Mediums and Spiritualists

“The Bringer of Light”

Selenite is a crystal of fine and gentle vibrations, a

powerful stone that connects to the spiritual,

higher guidance and angelic consciousness

vibrations that are being experienced on Earth in

modern times; its ethereal qualities give clarity of

mind and allows for expansion of ones awareness

of ourselves and of our surroundings. It cuts

through unconscious expectations and promotes

the relinking between the self and the mystik self

that dwells within us.

It is popular for creating protective grids in

homes (the four corners of your home),

workplaces and temples since it creates a safe,

peaceful place of quiet and does not allow outside

influences to penetrate in; often larger pieces of

Selenite will be used for this purpose, generating a

peaceful atmosphere and especially when being

used in Feng Shui as the Selenite transmutes and

negative ‘sha’ energy.

Selenite provides us with the ability to access a

conscious understanding at a subconscious level

allowing for the clearing of mental confusion and

permitting us to see the ‘deeper picture’, this is

because Selenite is a strong stabiliser and

disperser of erratic emotions and negative

energies.

Selenite is one of the very few crystals that is both

strong and powerful enough to clear and cleanse

any negative energies accumulated in Quartz

crystals and is a stone that instils deep peace,

Selenite is excellent for spiritual and meditation

work, it provides divine light that exists at the

crossing point between spirit and matter while

directly linking to the light body, anchoring it to

the Earth’s vibrations, enhancing the vibrations

and energies of the person holding it.

Selenite is exceptional for scrying, accessing both

past and future lives, so is a very popular tool with

mediums, clairvoyants and tarot readers and is

often used by healers both angelic and spiritual (in

wand form) to prevent mind influence and to

assist in detaching unwanted entities.

Selenite reminds us of our soul’s purpose and the

lessons we have learnt in the past and helps us to

identify future issues and teachings and apply our

knowledge and gained experience to any future

situations. It helps us to discharge ourselves from

a history of abuse, emotional distress and negative

feelings, thoughts and assumptions; it provides us

with the energy, insight, judgement and flexibility

to strengthen our decisions and the will-power to

keep to them.

Source: Australia, Austria, England, Germany, Greece,

Italy, Mexico, Poland, Russia & U.S.A

Astrological Signs: Pisces and Cancer

Element: Water

Chakras: Crown Chakra, higher Crown Chakra & 3rd Eye

Deities: Selene, Angels, Spirit Guides & Ancient Beings

Colours: Blue, brown, green, orange & pure white

“A stone of both majesty and mystique, it has been likened to the streams of flowing waters which flow from

rocks to nourish that which they touch” (Psalms 78:16-105:41)

Green Selenite White Selenite Orange Selenite

Selenite is water soluble so do not wash or cleanse

in water, using incense is a preferred option. If

allowed to become completely dehydrated of all

moisture, Selenite will become Angelite

(Anhydrite) and if rehydrated again, it is possible

to change back to Selenite……….very much a

subject for the Alchemists among us.

The word Selenite is a Greek word which means

the Moon, and is popularly used in ceremonial and

ritual activities as it provides the flexibility and

connectedness needed to work with the ever

changing cycles of the Moon.

Magickally Selenite is used to increase the

procurement of materialistic pursuits and

reconciliation of relationships and ensuring

fidelity often through forms of divination, it

attracts spiritual energies to craft a safe and sacred

space for ritual use and purifies one’s self and

space.

In healing Selenite’s use is prevalent with Holistic

Therapists and Holistic Midwives to help ease the

process of labour and birth and is especially good

in easing back pain during labour in addition it is

excellent for breast feeding mums to use, usually

popped in the side of a bra to help produce milk.

Used in many medicine and healing circles as the

central structure it is used to smooth the energy

flow within. Selenite can be used to realign the

spinal column, provide flexibility within the

muscular system and eradicates any energy

blockages throughout the body. It is believed that

Selenite prevents, overcomes and facilitates the

regeneration of the cellular structure and the

protective membranes that surround the cells in

body structures such as the skeletal system. It is

used frequently to ease calcium deficiencies, to

alleviate wrinkles and age spots, to help with light

sensitivity especially S.A.D (Seasonal Affective

Disorder) and to help treat epilepsy. There are

claims that its use is effective in the fight against

cancer and the elimination of both cancerous and

non-cancerous tumours.

*Selenite can be used holistically alongside

conventional medical practices and can enhance

treatments, but always consult your doctor first

and NEVER change any treatment you are

receiving medically without previously

consulting your GP or Consultant*

Orange and Brown Selenite: Associated with the

Naval Chakra, angelic energies and aids in Earth

healing.

Blue Selenite: Associated with the Throat Chakra

and 3rd Eye Chakra, helps to shut off the mind

during meditation.

Green Selenite: Associated with the Heart

Chakra and helps you to work to the highest good.

It allows you to feel good about yourself and is

good for aging skin and skin and cell regeneration.

Desert Rose Selenite: Dissolves addictive ideas

or behaviours. Has strong Earth energies and

strengthens affirmations.

Cheryl Waldron

Further information on Dolmen Grove can be

found

www.dolmengrove.co.uk

Dolmen Grove Facebook links

Portland Moot

https://www.facebook.com/groups/1480755120

3393

Metaphysical Properties

Psychic development

Accessing the subconscious

Greater insight

Past-life memory recall

Visualisation

Channelling

Angelic & spirit world contact

Meditation (especially Moon meditations)

Connects spiritual & physical bodies

Transmits energies

Healing Properties

Mental clarity

Concentration

Increases sensitivity

Flexibility

Decision making

Calming

Soothes nerves

Improves libido

Balances all body systems

Further information on Dolmen Grove can be found

www.dolmengrove.co.uk

Dolmen Grove Facebook links

Portland Moot https://www.facebook.com/groups/14807551203393

Poole Moot https://www.facebook.com/groups/28553955491408

Weymouth Moot https://www.facebook.com/groups/43508956658200

Berkshire/Bracknell Moot https://www.facebook.com/groups/15023413511424

Cornwall Moot https://www.facebook.com/groups/46016505068236

Essex Moot https://www.facebook.com/groups/dolmengroveessexmoot

Hampshire Moot

https://www.facebook.com/groups/www.dolmengrovehampshiremoot/

Berkshire/Newbury Moot

https://www.facebook.com/groups/1654789994736431/?fref=ts

Dolmen Grove Chronicles

https://www.facebook.com/DolmenGroveMagazine

Dolmen Grove

www.facebook.com/pages/The-Dolmen-Grove/110124449082

Email Diane Narraway (chairman Dolmen Grove/Editor Dolmen Grove Chronicles)

[email protected]

COMING SOON

A