June 17, 2013October 2, 2019 Mago Work AdminLeave a comment

(Poem 3) Creation Story by Dr. Mary Ann Ghaffurian

PART III In a starry bower, King and Queen of the Heavens breathed. Deep in every permutation of chime beyond human to discern. Lost in contemplation and awe at what Read More …

June 16, 2013October 2, 2019 Mago Work AdminLeave a comment

Call for contributions for June 2013 solstice

If you have work that you would like considered for publication here on the June 2013 solstice, please email magoism@gmail.com and cc to rosemarycm8@gmail.com . Please see the guidelines in http://magoism.wordpress.com/people-3/call-for-contribution/

June 14, 2013October 2, 2019 Mago Work Admin2 Comments

(Essay 1) I Must Call Her Awe/stralia by Leslene della-Madre

Soaked in loving sisterhood, I have recently returned from being on tour in a-mazing Australia. After nearly three years of conjuring with the magnificent women of the School of Shamanic Read More …

June 12, 2013July 5, 2020 Mago Work AdminLeave a comment

(Art) Chiu by Lydia Ruyle

[Editor’s Note: First entitled, Dokkaebi, this banner’s title is changed to “Chiu,” the 14th ruler of Danguk (3898 BCE-2333 BCE), who is introduced as “the God of War” in East Read More …

June 11, 2013May 25, 2023 Mago Work Admin1 Comment

Meet Mago Contributor, Danica Anderson

Dr. Danica Anderson is a US-based international social scientist, researcher, and forensic counselor (criminal justice specialist) with a doctorate in clinical psychology. Dr. Anderson is a member of the UNESCO Read More …

June 10, 2013October 2, 2019 Mago Work Admin4 Comments

(Poem) To Titian's Ariadne by Donna Snyder

My body twists & turns in naked sorrow My love gone on his strange and lonesome journey without me I am left exposed vulnerable to passion & dissolution I grasp Read More …

June 7, 2013October 2, 2019 Mago Work AdminLeave a comment

(Poem 2) Creation Story by Dr. Mary Ann Ghaffurian

PART II The rainbow serpent coiled back in on herself Taking the essence of her Lord with her In the unification of essences. Then the serpent rolled out in all Read More …

June 5, 2013October 2, 2019 Mago Work Admin2 Comments

(Art) Sangwon-sa Apsara by Lydia Ruyle

Sangwon-sa Apsara Apsaras in Korea are youthful female spirits of clouds and waters who fly in the sky and communicate with people. As celestial musicians, apsaras adorn the oldest copper bell in Sangwon-sa Buddhist temple Read More …

June 3, 2013October 2, 2019 Mago Work Admin2 Comments

(Mago Essay 3) Toward the Primordial Knowing of Mago, the Great Goddess by Helen Hwang

[The following sequels including this one are a modified version of my paper presented to Daoist Studies, the American Academy of Religion (AAR) in 2010.] Part 3 Daoist Rendition of Read More …

June 2, 2013March 30, 2023 Mago Work Admin3 Comments

(Meet Mago Contributor) Glenys Livingstone

Glenys Livingstone, Ph.D. (Australia) Glenys Livingstone Ph.D. (Social Ecology) has been on a Goddess path since 1979: her path has included diverse spiritualities and a scientific perspective, inner work as Read More …

May 31, 2013November 15, 2019 Mago Work AdminLeave a comment

(Essay 2) The Body – Essential or Not? by Glenys Livingstone Ph.D.

This essay is the second part of an evolved version of an excerpt from Chapter 2 of her book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Often the work of woman-centred Read More …

May 29, 2013January 20, 2020 Mago Work Admin3 Comments

(Special Post Mother Teresa 4) A Role Model for Women? by Mago Circle Members

Part IV: Illumination and Consensus Reached [Editorial Note: The following is an edited version of the discussion that took place spontaneously on Mago Circle from March 1, 2013 for about Read More …

May 27, 2013November 8, 2019 Mago Work Admin7 Comments

(Essay) The Messages of Birds by Hearth Moon Rising

Long before tarot, runes, I Ching, or throwing the bones, divination was applied through signs in nature. A sophisticated system of reading these signs was known as augury during the Read More …

(Poem) Fuerza Ancestral/Ancestral Strength by Xánath Caraza (in Spanish and English)

Fuerza ancestral Fuerza de mujer Delicada Que fluye en aguas rojas Pensamientos concéntricos Fuerza que renace Se enreda en las copas de los árboles Cihuacóatl Fuerza creadora que canta Que despierta Que guía entre el oscuro laberinto Que susurra al oído el camino extraviado Que invita a vivir Tonantzin
(Prose) “First Light Reflection…” by Sara Wright

This morning I awakened to the same smoky blue gray clouds that brought in twilight last night, clouds that bled black ink into a fiery sky. The air was mild, 30 degrees, as I stepped outside to witness with wonder the dawn breaking – that moment when time ceases and the earth holds her breath. As I scattered seed for the birds a solitary robin sang from the cottonwood, the first spring song I’ve heard him sing this year. Was he heralding the birth of First Light? Suddenly a cacophony overhead: a gaggle of geese flew so low I could see dark wings and white bellies, and as they soared they too were honking with the greatest enthusiasm, a collective song sung with one voice. It was impossible to escape the sense that my avian friends know that today was a special day, a day when the whole earth celebrates the return of the light. When the sun broke over the horizon, a golden orb shining through the trees the smoke was already fading into a deep blue sky. I stood at the gate overlooking Avanyu’s river, (the Pueblo Serpent, whose horned watery undulating image is pecked into so many stones on the highest rubbly mesas), for a moment I felt a sharp pang of grief that the water was so low, but the shimmering serpent seemed intent upon reflecting the beauty of the sky above, and no more. Ancient peoples noted the return of the light and celebrated, each in their own way. Some of us have not forgotten the old ways and live them still and I will always be filled with gratitude for the women’s spirituality movement which developed out of a feminist perspective in the 80’s, because it helped women and men to dive into the cultural meanings behind these cyclic turnings of the wheel resacralizing the earth and her seasonal shifts for many. These turnings that were once considered holy by all peoples… In Celtic lore it is Brigid’s Fire and Light that we honor today. Brigid is goddess of the forge, she works with fire and metal and is a transformer herself; she is also a poet and writer, a great source of artistic inspiration. In my “First Light” ritual (my name for this turning) I always light a “crown” of candles on this day – this circle of light embodies the wholeness that I associate with the sanctity of the earth in darkness as well as light. Groundhog Day is the only vestige of the ancient ritual practice associated with the She Bear, “Mother of All” that remains part of American tradition. On February 2nd, today, the bear (who shapeshifted into a groundhog in the United States) first emerged from his den to determine when spring would come. If the bear saw his shadow spring was still six weeks away and the bear returned to his den to sleep. In actuality wild bears sometimes stir, and males often emerge briefly on the first warm, sunlit, late winter days, so this cultural story has a basis in the habits of real wild bears. What fascinates me about this myth is the shadow element that is associated with the return of the light of the sun. The brighter the light, the darker the shadow… it is easy to forget that light always brings shadow along as its doppelganger… It is important to be mindful of this truth. I think about the custom of the European Shrovetide Bear who was chained and led from house, forced to dance on hot coals to bless the fields for the coming year. This wild animal – a real bear (probably a grizzly) – was tortured for reasons that remain unclear to me unless I consider that the bear has been forced to carry our human shadow element for millennium and was used as a stand in for containment of the dark side of humanity – as an animal scapegoat. Remember, the bear was chained. (Perhaps we need to re-visit this idea of containing the dark side of humanity, which seems to be out of control as we continue to destroy life on this planet). For me, this coming of the light has a shadow aspect that I can feel in my body as a kind of uncomfortable buzz. As a bear researcher I experience raw fear for all the hibernating wild bears who are still snug and safe in their winter dens. From the time these animals first emerge in the spring they will be mercilessly hunted down by men – men who continue to project their dark destructive impulses onto these animals and slaughter them. So this coming of the light is not just about the return of light and the greening of the earth, but reflects the reality of human darkness and the cruelty inherent in the human condition. This knife edge is important to acknowledge as we move into the spring of the year because it is too easy to forget that light and dark are always part of one whole, and to experience one side is to be opened to the other. (Meet Mago Contributor) Sara Wright
(Poem) The Nüshu (Women's Script) Poets by Donna Snyder

The words are hidden in strands of silk or letters A secret language for women’s voices only a language broken and bound prettily like feet a silken dress conceals the secret poet she is she walks before portraits in a Taoist temple also envy of male scholars celebrated empirically a hidden poet sends a basket of flowers to a girl in the scarf she wove words hidden in plain view songs of summer mountains wistful for her friend secret lessons for the girl as if she were a boy as if a schoolboy slated for imperial examinations a fisherman’s child wife she sends hidden lessons she writes her dreams in their woman’s language she weaves pictures of wild sea creatures in her gift the friend’s delight rings in her blood as loud as waves lowered eyes see shoes given by her lord and husband but tonight she will dream of sea creatures and passion and in the morning sea salt will outline her girlish lips Written March 21, 2009 at Tumblewords Project after hearing about the secret language of Chinese girls and women used to teach each other poetry and other matters, and to maintain passionate friendships. Vestiges of the language have persisted into the modern era, with only a few women still knowing the words. Read Meet Mago Contributor, Donna Snyder.
(Meet Mago Contributor) Joanna Kujawa, Ph.D.

Dr Joanna Kujawa is the author of The Other Goddess: Mary Magdalene and the Goddesses of Eros and Secret Knowledge, scholar, and spiritual detective. She received her BA and MA from the Pontifical Institute for Medieval Studies at the University of Toronto, Canada, and her PhD from Monash University, Melbourne, Australia. As an active academic for over 20 years, she uses her scholarly training to investigate topics other academics often pass over, such as: Can spirituality and sexuality be experienced as one? Who was the real Mary Magdalene? Is there a lineage of Goddesses now resurfacing in our collective experience of spirituality? Apart from her writings for academic publications on spiritual travel, Joanna has also had her short stories and essays published through various media and in many prestigious anthologies, including Best Australian Stories, the Australian Broadcasting Corporation, She Rises. She is on the editorial board of the International Journal of Goddess Studies and co-edited an academic volume on Spiritual Tourism. The Other Goddess was translated into Mandarin. She now explores connections between The Gospel of Mary Magdalene and Esoteric Traditions of Egypt. Dr Joanna Kujawa | Author, Scholar, Spiritual Detective To order ‘The Other Goddess’: http://amzn.to/3KsQmB1 Or take a course with her on The Goddesses of Eros and Secret Knowledge: https://courses.sacredstories.com/courses/goddesses-of-eros?ref=82dd41
A Crone’s Embodied Life with Goddess by Deanne Quarrie

Awakening to Goddess made me aware that as a human being, I was designed to utilize all of my senses. I realized that I had drifted away from my natural state through which, at one time, I engaged with all of life through all my senses, including the intuitive. This change came about through an active, stress filled life in which I seldom slowed down to even appreciate what was around me. I had ignored much of my sensory ability due to a change-over from right brain functioning, which is more imaginative, creative and intuitive, to left brain functioning, which is linear and analytical. Once I had entered the educational system, two of my senses were developed out of proportion to the others. I had left my childhood behind and entered an environment lacking in exposure to the natural world. I had become a resident of an indoor and often sedentary world.
(Part 2) Why Celebrating the 9th Anniversary of the Goddess Feminist Activist Spirituality Movement? by Helen Hye-Sook Hwang

[Author’s Note: Mago is an East Asian/Korean word for the Cosmic Mother or the Creatrix. This piece is written as the second of the four-part essays. I am surveying the past 9 years of The Mago Work (A collective effort to restore the consciousness of Mago, the Creatrix), which birthed the Movement of Goddess Feminist Activist Spirituality, while being shaped by the latter. A slightly revised version is first published in Feminism and Religion on October 12, 2024] This year marks the 9th anniversary of the first volume of She Rises trilogy, a collective writing project, which was first published in 2015 by Mago Books. Entitled Why Goddess Feminism, Activism and Spirituality?, the 93 contributors trumpeted the onset of the Goddess Feminist Activist Spirituality. It was followed by the second volume, How… Goddess Feminism, Activism, and Spirituality?, with 96 contributors, in the following year, and the third one, What… Goddess Feminism, Activism, and Spirituality?, in 2019. The 9th anniversary of the first volume provided a new momentum for all contributors of the trilogy to come together as a virtual group, which we named “She Rises…” This group allows the authors of all three volumes to gather together for the first time, while inviting newcomers from outside the She Rises trilogy. Where is the Movement of Goddess Feminist Activist Spirituality now? We certainly are not in the same place as we were 9 years ago. The vision, intelligence, and passion that made the She Rises trilogy must not be forgotten or dried out. Where should we go from here? We need to move together and evolve in order to help ourselves and the world. There is another uphill for us to climb, to arrive in the area in which we can have the bird-eye view, to look back at what we have done and see where we are going. The bird-eye view heals in the vision of ALL. Our efforts do not have to be left on some brave individuals. Everyone will walk together as we have done for the She Rises trilogy. Here is the herald that I bring: The evolution of the GFAS Movement is underway. We in the 21st century are not the only ones on this path. What do I mean by that? The answer is embracing the nine symbology. I suggest that we adopt a systematic way of ever re-membering the beginning and ever staying on the course by honoring the Nine Symbol. A way that won’t exhaust us or defeat us. Contrarily, we get ever inspired and ever envisioned. That is possible. The Nine Symbol signifies that we are on the spirally interdependent journey. We are guided by our journey itself, spiral and interdependent. The spirally interdependent journey is the way of Life. Biologically, organisms are structured not arbitrarily but rhythmically, in three ways by the ceaseless interplay of nine numbers, to be explained later. I am inviting us to tap into the power of the Nine. The Nine encodes soteriology for ALL on the planet. We are called to see matters from the perspective of the Creatrix, ALL (including non-organic beings) are found kindred. Celebrating the 9th anniversary of the She Rises trilogy offers a momentum for us to enter the matriversal (of the maternally perceived universe) consciousness. Our pre-patriarchal ancestors bequeathed us moderns Nine Soteriology. Nine Soteriology is an intangible heritage embedded in our cultures. The Nine Symbol unfolds the reality of matriversal unity. We are transformed by the power of the Nine Symbol. On August 10 of this year (2024), we, She Rises trilogy authors and new members of the She Rises… group, celebrated the ninth anniversary by holding a salon in which the authors shared their then and now whereabouts under the theme of “She Rises: Tell the World Your Journey of Goddess Feminist Activist Spirituality.” Among them were Molly Remer, Glenys Livingstone, Amy Smolinski, Leslene della-Madre, and myself. Kaalii Cargill kindly and generously facilitated the session. Our presentation summaries are available below: https://www.magoacademy.org/2024/07/06/salon-9th-anniversary-of-she-rises/ The salon was a perfect format wherein the authors of different volumes came, met, and learned from each other. It confirmed our matured, ever charged, and endured commitments. It seemed like a reunion of comrades who came from matriarchal villages in pre-patriarchal times. New neighbors, Dr. Helen Benigni, Jillian Burnett, and Dr. Stephanie Mines, from outside the trilogy also came to meet us. What about the Nine? In fact, we have been consciously honoring the Nine. All anthologies of the She Rises trilogy are structured as Nine Sisters (Chapters) under Three Mothers (Sections). Three MothersNine SistersMother OneSister EastSister SouthSister WestMother TwoSister NorthSister CenterSister WindMother ThreeSister FireSister WaterSister Earth From the perspective of Magoism, celebrating the Nine is to make a Ceto-Magoist statement that ALL is in harmony with the Cosmic Music, the creative force of the Matriverse. I wrote about the Nine below in the announcement:“9 years is a symbol for the Cosmic Music (Sonic Numerology), the metamorphic force of the matriverse (maternally perceived universe), which refers to a ceaseless interplay of sonically charged nine numbers. We have completed the first full cycle of nine years!” And I presented on the topic of the Nine at the salon. My presentation, “The Nine Maps the Sono-Numerological DNA of Mativersal Soteriology,” explains why we celebrate the ninth anniversary. Revival of the Nine Symbol is an act of decoding the message of the pre-patriarchal ancestors, Old Ceto-Magoists. Below is the summary of my presentation: We moderns have forgotten the Nine. The ancient world across cultures bequeathed the legacy of Nine Sisters, Nine Mothers, Nine Mountains, Nine Villages, Nine Worlds, Navratri, and Novena, to name a few. Nine signifies Matriversal Soteriology; The Matriverse (Maternally Perceived Universe) is a sono-numerological organism of LIFE, represented by Mago, the Creatrix. Salvation lies in knowing and honoring the nine-fold sonic force of the Matriverse, the Cosmic Music. Nine conveys the consanguineous matriversal ontology of ALL. ALL are on the homecoming journey (causal becoming) to the Cosmic Mother by way of the birthing, evolving, and transforming force of the …
Bona Dea: Goddess of Feminism? by Luna Anna

Bona Dea artwork by Sketchepedia on Freepik Bona Dea ‘Good Goddess’ was a Goddess of Ancient Rome. She presides over nature, the earth, and fertility, but also virginity and chastity. In Roman times purity and vitality were highly regarded attributes and therefore Bona Dea was considered to be a protector of Rome and an important Goddess. (1) She was so popular that evidence of Her worship has been found throughout the Mediterranean and North Africa where there was once Roman rule. (2) According to belief, She is an ancient Goddess who predates Rome and may have come from the Greek Goddess, Diama or Artemis, or possibly the Italian Goddess, Ops. There is little academic evidence of this Goddess, due to the secrecy that shrouded Her rites, and the fact that men were excluded from them. (3) In Her time, men were the only historians, and therefore Bona Dea was rarely written about. There are, however, artefacts and sacred places known to have been related to Her. (4) Perhaps the most fascinating thing about this Goddess was Her cult following and the fact that She does have links to scandals and the breaking of rules, which would never otherwise be broken in Ancient Rome. Men in patriarchal Roman Society, feared Bona Dea so much, that they allowed women to worship Her in private at festivals where Vestal Virgins (whose services were usually reserved for men), conducted the ceremonies. “Since the earliest literary documents, Bona Dea was presented as a prestigiously ancient State goddess, whose cult was the only one officially reserved for women. Extraordinarily, women were allowed to perform a sacrifice on the night between December 3 and 4 on behalf, and for the benefit, of the whole populace, i.e. pro populo and pro salute populi Romani1 (sacrifice was rigorously reserved for men). The ritual took place in the house of the magistrate cum imperio, where the festive celebration included music, dances, and wine (otherwise prohibited to women). Yet, the magistrate did not participate: men were strictly and scrupulously excluded from this religious festival, and the cult was led by his wife, the Vestal virgins and, possibly, female slaves. The mythographic rationale behind this gender separation was based on unlawful consumption of wine (a crime for women), an attempted rape, and a murder by the mythic Latin king Faunus, Bona Dea’s husband (or brother/father, according to other variants). Very little else is known about the cult itself, except that another festival was performed in the Aventine temple in May.” – Ambasciano, L, The Fate of a Healing Goddess: Ocular Pathologies, the Antonine Plague, and the Ancient Roman Cult of Bona Dea, (2016) (5) As you can imagine, men were curious about what went on during these festivities and the famous scandal came about when, in December 62 BC Clodius Pulcher dressed as a woman and snuck into the festival. That year it was Pompeia overseeing the rites as Julius Ceasar was the senior senator. Clodius was apprehended but not caught and this caused a scandal, speculation, and trials that lasted years. Julius Caesar divorced his wife saying, “Caesar’s wife must be above suspicion.” However, as is demonstrated throughout the stories of Bona Dea, once again, normal rules were broken to become more favourable to women, when, Caesar gave his wife a dowry and found her a new husband. (6) (7) Bona Dea is said to have been the reincarnation of the nature Goddess, Fauna, daughter of Faun. The myths vary, but one is that Fauna drank wine despite knowing that women were forbidden from drinking it. Her father, Faun, found her drunk and attempted to rape her, but she fought him off. He then beat her to death with a branch of myrtle to teacher her a lesson. Once dead, Faun elevated her to Goddess status, and She became known as Bona Dea. This is a nod to women’s sovereignty, although her fate ended in death. There are some versions of the myth that say Faun successfully raped Fauna, but I prefer the version where he doesn’t. (8) (9) Due to Her power to provide miracles to the people of Rome, She had a temple at Aventine Hill, where snakes dwelled and medicines were grown. The temple was for women only and rumour has it that the women made their own rules within this sacred space. (10) As well as that, at Her festivals which took place on 1st May for the public at the temple, and on 3rd December at the Pontifex Maximus house, at night, all men and male objects were removed to please the Goddess. This included animals and art. (11) Myrtle wasn’t allowed as this could anger the Goddess. Wine was drunk but relabelled as ‘Milk’ and was drunk from jugs renamed ‘Honey Pots’, to hide the fact that wine was being drunk. Since women were forbidden from drinking wine, this should have been punishable, but because it was in favour of Bona Dea, it was permitted. (12) My thoughts on this mysterious Goddess are that She was a Goddess of Feminism. She was a sign of hope for women and without realising it, her worshippers back then made progress for the future of all women. Without this Goddess, and the breaking of patriarchal rules, on Her behalf, how much deeper could Patriarchy have been embedded into everyday society? Throughout the stories of Bona Dea, there is a thread that continues, and that thread is the refusal to conform to patriarchal norms; to break the rules, all in the name of the Good Goddess. https://www.magoism.net/2023/11/meet-mago-contributor-luna-anna/ References and Suggested Other Reading 1: https://legendaryladieshub.com/goddess-bona-dea/ 2: https://web.archive.org/web/20220131052922id_/https://journals.openedition.org/antafr/4024 3: https://olh.openlibhums.org/article/id/4422/ 4: https://www.thybrisriverexperience.org/ 5: Ambasciano, L., (2016) “The Fate of a Healing Goddess: Ocular Pathologies, the Antonine Plague, and the Ancient Roman Cult of Bona Dea”, Open Library of Humanities 2(1), e13. doi: https://doi.org/10.16995/olh.42 6: https://diotima-doctafemina.org/translations/anthologies/womens-life-in-greece-and-rome-selections/x-religion/413-desecration-of-the-rites-of-the-bona-dea/ 7 & 9: https://ancientworlds.net/aworlds_direct/app_main.php?pageData=Post/238290 8: https://womeninantiquity.wordpress.com/2018/11/27/the-cult-of-bona-dea/ 10: https://www.ostia-antica.org/regio4/8/8-3.htm 11: https://pantheon.org/articles/b/bona_dea.html 12: https://oxfordre.com/classics Artwork by Sketchepedia on Freepik.
(Book Excerpt 3) Discovering the Gift Paradigm by Genevieve Vaughan

Subjectivities The two logics, exchange and gift giving, also produce different kinds of subjectivities. The practice of exchange creates an ego-oriented ego according to its logic of self-interest while the practice and logic of gift giving promote more other-orientation. Exchange is a gift turned back upon itself, doubled and made contingent. It requires quantification while gift giving is mainly qualitative. Exchange is ego-oriented and gives value to the ego, while gift giving is other-oriented and gives value mainly to the other. Exchange places the exchangers in adversarial positions; each tries to get more than the other out of the transaction. The values of patriarchy are implicit in exchange, and drive Capitalism, as each contender struggles to reach the top of the hierarchy to own more necessary and to become Big. The kind of ego that is based on the exchange logic is for the market, while the gift giving personality is eliminated, or is easily victimized and becomes the ‘host’ of the exchange ego.[1] One superstructural consequence of ego formation based on the logic of exchange is that consciousness itself is considered in the light of exchange as self-reflecting in a sort of equation of value with itself. The subconscious is thus placed in the gift giving position, giving energy, memories, ideas to this self reflecting mechanism. We might say that our idea of consciousness in its capacity for self-evaluation is made in the image of preparation for exchange. The self-reflecting consciousness floats upon the gifts of the subconscious and of experience, without a clear indication of how those gifts come into the mind. Similarly the market floats on a sea of gifts without a clear indication of where they come from and how they constitute profit. In individuals, the coexistence and conflict, as well as symbiosis of these two kinds of ego structures, one tending towards others and therefore somewhat transparent to itself, the other tending towards itself, and self reflecting, can be seen as a result of the exchange paradigm, not its cause. It is not that human beings are greedy and therefore create the market and capitalism. Rather, the system has an existence that is over and above that of its individual participants. Patriarchy, the market and capitalism create the human ego structures that are well adapted to their needs. Greed is one of the human qualities that is functional to the maintenance and development of the market as such. Competition for narcissistic self aggrandizement and dominance are played out on the economic plane because otherwise the market economy would not ‘grow’ and maintain its control over other possible ways of distributing goods i.e., gift giving. Patriarchy supplies the motivation that drives Capitalism, as well as the individuals who embody the motivation, with the ego structures and belief systems that justify the embodiment. Capitalism supplies the tools and rewards with which individuals and now corporations carry out the Patriarchal agendas on the terrain of so called ‘distribution’ of goods to needs through exchange. Mothering, on the other hand, involves the unilateral free distribution of goods and services to young children and a consequent creation of human bonds between givers and receivers. Society has assigned this role to women. Although we are characterizing it here as the distribution of goods, mothering is usually not seen as an economic category. In fact by overvaluing exchange and making it dominant, infusing it with Patriarchal motivations, the market devalues mothering, making it dependent and subservient. Categorization itself, of males as not-giving and superior, and of commodities as not-gifts, disqualifies mothering/gift giving as a non-category. Shifting to the gift paradigm allows us to see that the direct distribution of goods and services to needs that is present in mothering can be understood as an example of the practice of an alternative economy. As a mode of distribution, it is present in all societies because it is required, not by the biology of women, but by the biology of children. That is, for a very long period of time, children’s biology does not allow them to independently satisfy most of their own or others’ needs. It requires and elicits other-orientation and unilateral gift giving from their caregivers.[2] (To be continued) Meet Mago Contributor, Genevieve Vaughan. Notes [1] Looking at personality formation as deriving from the practice of the different logics, allows us to respond to questions about nurturing men and dominating women. Individuals of either gender can behave according to the economic logic, which is socially identified with the other gender. However, on a broader scale the logic of exchange dominates, while the logic of gift giving gives way. [2] Perhaps it is partly this fact of being uncategorized that causes the unilateral gift giving that takes place in mothering to be unrecognized by European anthropologists and sociologists, even those who do pay attention to ‘gift exchange’. Although mothering, like language, is a cultural universal, with the exception of Helene Cixous (1976) it is usually mentioned only as an aside, if at all, by those who study gift giving, from Marcel Mauss to the sociologists of the journal MAUSS. This lack is not only negative in that it distorts the picture of human gift giving generally but it also denies women their rightful place as the leaders of change towards an alternative economic way which they are already practicing and which is embedded in the human practice of communication. The existence of successful gift economies, controlled by women in societies such as the Iroquois demonstrate mothering on a social scale (Mann 2000) but they have been misinterpreted by European scholars and destroyed by colonization.
Luciana Percovich

Read all posts by Luciana Percovich. A member of the Italian Feminist Movement since the Seventies, she has lived and worked in Milano as a teacher, an editor, a translator and an author, before leaving for the country. She is part of the Libera Università delle Donne di Milano (www.universitadelledonne.it), director of a series of books on women’s history and spirituality (www.venexia.it), and contributor to women’s reviews on women’s health, science, anthropology and mythology.

(Special post) The Goddess Inanna: Her Allies and Opponents by Hearth Moon Rising

Inanna’s Descent to the Underworld is one of the most fascinating myths ever told. Not just because it is profound and enlightening, although it is certainly that. It’s an exciting journey that ignites the imagination, and female characters are at the hub of the action. This is a tale of power: power that is demanded, power that is won, power that is appropriated, and power that cannot be escaped. The story follows the fertility goddess Inanna, who brought civilization to Mesopotamia, as she seeks to expand her realm by venturing into the world below. Inanna’s experiences in the great below, her escape, and the wild events that unfold as a result of her caper are the focus of the tale.
(Special post) Laurie Baymarrwangga, Senior Australian of the Year 2012

Posted with permission in Return to Mago on ‘Australia Day’, 26 January 2014 (Australian time), in recognition of the ill-treatment and misunderstanding of Aboriginal people that was set in train when, in 1788, white people first settled in the land now known as Australia.
(Special Post 6) Why Goddess Feminism, Activism, or Spirituality? A Collective Writing

[Editor’s Note: This was first proposed in The Mago Circle, Facebook Group, on March 6, 2014. We have our voices together below and publish them in sequels. It is an ongoing project and we encourage our reader to join us! Submit yours today to Helen Hwang (magoism@gmail.com). Or visit and contact someone in Return to Mago’s Partner Organizations.] Esther Essinger “Why Goddess, when “GD” is perpetrating so much grief? 1) First, it’s vital to know that Goddess is NOT “GD” in a skirt. It is demanded of NO one that they “believe” or “have faith”, so there can be no guilt (and no punishment! (No Hell below us, thank you John) in NOT choosing to interest oneself in these particular Stories, myths, legends and tales which center the Cosmic Female, the Universal Mother, Mother Earth /Mother Nature at their core. No evangelism happening here!

(Video) A Samhain Ceremony by Glenys Livingstone Ph.D.

https://www.youtube.com/watch?v=IVRoK2XNeqw The purpose of the video is for ceremony and I suggest pausing the video where it suits you, to add your own processing, embellishments and/or your own drum, percussion and voice wherever you please. I have made short spaces in the video where it could be paused. For more full participation in the ceremony, you could have some past photos of yourself, an altar with ancestor photos, a gingerbread snake, some apples sliced up, and some apple juice. The script for this Samhain ceremony is offered in Chapter 4 of my book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony, with all acknowledgements and references there. However I want to acknowledge here the inspiration and some text of Robin Morgan’s poem “The Network of the Imaginary Mother” in her book Lady of the Beasts, for which I was given permission in my book. I also acknowledge here the paraphrase of some words by Starhawk in her book The Spiral Dance, used in the rite of Sailing to a New World. I also use a line from the poem Song of Hecate by Bridget McKern. The elements of Water, Fire, Earth and Air on the altar in this video are placed in directions that are appropriate to my region in the Southern Hemisphere, and East Coast Australia: you may place yours differently, and transliterate when I mention the direction (which I do minimally). For the rite of the Transformation Journey (remembering old selves) I use an adaptation of a children’s game “In and Out the Windows”, where each participant travels in and out of upraised and linked arms of the circle, and when ‘in’ may speak and /or show photos of themselves from the past. Some may choose to remember any self from the entire evolutionary story, with whom they would like to identify. The game seems appropriate to what each being does existentially in so many ways, over the eons as well as in our personal lives. The chant can be found on YouTube. The photos used are a collage of footage and photos from the 2024 Samhain ceremony at my place in Wakka Wakka country, South East Queensland Australia, and from previous Samhain ceremonies I facilitated over the decades in MoonCourt, Goddess ceremonial space in NSW Australia, Darug and Gundungurra country. Music credit: All music used in this video is by Tim Wheater, which has previously generously allowed me to use in my work. The pieces used are from Tim’s CD Fish Nite Moon: they are Ancient Footsteps, Fish Nite Moon, Spiritbirth, and Conception. I thank my partner Robert (Taffy) Seaborne for his participation in the creation of the video.
(Essay) Contemplating How Her Creativity Proceeds by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the conclusion of chapter 5 of the author’s book, PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. It is a chapter on the process of the Wheel of the Year. for the Northern Hemisphere version: https://pagaian.org/pagaian-wheel-of-the-year/ It seems to me that the main agenda of the Cosmos is ongoing Creativity, “never-ending renewal” it may be termed, and that this is expressed in Earth’s Seasonal Wheel through the transitions of Autumn,Winter, Spring, Summer; and in the ubiquitous process of a Cosmic Triplicity of Space to Be, Urge to Be and this Place of Being, a dynamic that has often been imagined as the Triple Goddess. In the flow of the PaGaian Wheel of the Year, the Seasonal transitions of the Wheel and the Triplicity of the Cosmos come together. There are two celebrations of the Old One/Crone or the Cosmogenetic quality of autopoiesis creating the Space to Be; and they are Lammas/Late Summer and Samhain/Deep Autumn, which are the meridian points of the two quarters of the waxing dark phase. At Lammas, the first in the dark phase, we may identify with the dark and ancient Wise One – dissolve into Her; at Samhain, we may consciously participate in Her process of the transformation of death/the passing of all. The whole dark part of the cycle is about dissolving/dying/letting go of being – becoming – nurturing it (the midwifing of Lammas/Late Summer), stepping into the power of it (the certain departure of Autumn Equinox/Mabon), the fertility (of Samhain/Deep Autumn), the peaking of it (at Winter Solstice). The meridian points of the two quarters of the waxing light phase then are celebrations of the Young One/Virgin or the Cosmogenetic quality of differentiation, the new continually emerging, the Urge to Be; and they are Imbolc/Early Spring and Beltaine/High Spring. At Imbolc, the first in the light phase, we may identify with She who is shining and new – as we take her form; at Beltaine, we may consciously participate in Her process of the dance of life. The whole light part of the cycle is about coming into being: nurturing it (the midwifing of Imbolc/Early Spring), stepping into the power of it (the certain return of Spring Equinox/Eostar), the fertility (of Beltaine/High Spring), the peaking of it (at Summer Solstice). In the PaGaian wheel of ceremony there are two particular celebrations of the Mother, the Cosmogenetic quality of communion; and they are the Solstices. If one imagines the light part of the cycle as a celebration of the ‘Productions of Time’, and the dark part of the cycle as a celebration of ‘Eternity’, the Solstices then are meeting points, points of interchange, and are celebrations of the communion/relational field of Eternity with the Productions of Time. This is a relationship which does happen in this Place, in this Web. This Place of Being, this Web, is a Communion – it is the Mother; the Solstices mark Her birthings, Her gateways. The Equinoxes then – both Spring and Autumn – are two celebrations wherein the balance of all three Faces/Creative qualities is particularly present: in the PaGaian wheel, the Equinoxes have been special celebrations of Demeter and Persephone – echoing the ancient tradition of Mother-Daughter Mysteries that celebrate the awesomeness of the continuity of life, its creative tension/balance. Both Equinoxes then are celebrations and contemplations of empowerment through deep Wisdom – one contemplation during the dark phase and one during the light phase. The Autumn Equinox is a descent to Wisdom, the Spring Equinox is an emergence with Wisdom gained. I like to think of the Equinoxes, and of the ancient icons of Demeter and Persephone, as celebrations of the delicate ‘curvature of space-time’, the fertile balance of tensions which enables it all. Her Creative Place The Mother aspect then may be understood to be particularly present at four of the Seasonal Moments, which are also regarded traditionally as the Solar festivals; and in this cosmology Sun is felt as Mother. I recognize these four as points of interchange: at Autumn Equinox, Mother is present primarily as Giver – She is letting Persephone go, at Spring Equinox, She is present primarily as Receiver – welcoming the Daughter back, at Winter Solstice the Mother gives birth, creates form, at Summer Solstice, She opens again full of radiance, and disperses form. The Mother is Agent/Actor at the Solstices. She is Participant/Witness at the Equinoxes, where it is then really Persephone who is Agent/Actor, embodying an inseparable Young One and Old One. The Old One is often named as Hecate, who completes the Trio – all seamlessly within each other. Another possible way to visual it, or to tell the story, is this: The Mother – Demeter – is always there, at the Centre if you like. Persephone cycles around. She is the Daughter who returns in the Spring as flower, who will become fruit/grain of the Summer, who at Lammas assents to the dissolution – the consumption. At Autumn Equinox She returns to the underworld as seed – Her harvest is rejoiced in, Her loss is grieved, as She becomes Sovereign of the Underworld – Her face changes to the Dark One, Crone (Hecate). As the wheel turns into the light part of the cycle She becomes Young One/Virgin again. Persephone (as Seed) is that part of Demeter that can be all three aspects – can move through the complete cycle. The Mother and Daughter are really One, and embody the immortal process of creation and destruction. Demeter hands Persephone the wheat, the Mystery, and the thread of life is unbroken – it goes on forever. It is immortal, it is eternal. Even though it is true that all will be lost, and all is lost – Being always arises again: within this field of time there is never-ending renewal, eternity. This is what is revealed in the ubiquitous three faces of the Creative Dynamic/ She of Old, the Triplicity that runs through the Cosmos. The Seed of Life never …
(Essay) Conceiving, Imagining the New at Samhain by Glenys Livingstone Ph.D.

It is the Season of Samhain/Deep Autumn in the Southern Hemisphere at this time. In the PaGaian version of Samhain/Deep Autumn ceremony participants journey to the “Luminous World Egg” … a term taken from Starhawk in her book The Spiral Dance[i], where she also names that place as the “Shining Isle”, which is of course, the Seed of conception, a metaphor for the origins of all and/or the female egg: it is the place for rebirth. Artist: Bundeluk, Blue Mountains, Australia. The “luminous world egg” is a numinous place within, the MotherStar of conception: that is, a place of unfolding/becoming. The journey to this numinous place within requires first a journey back, through some of each one’s transformations, however each may wish to name those transformations at this time. The transformations for each and every being are infinite in their number, for there is “nothing we have not been” as has been told by Celts and others of Old, and also by Western science in the evolutionary story (a story told so well by evolutionary biologist Elisabet Sahtouris, particularly in her video Journey of a Silica Atom.) Ceremonial participants may choose selves from biological, present historical self, or may choose selves from the mythic with whom they feel connection; from any lineage – biological or otherwise. Selves may also be chosen from Gaia’s evolutionary story – earlier creatures, winged or scaled ones … with whom one wishes to identify at this time. Each participant is praised for their “becoming” for each self they share. When all have completed these journeys/stories of transformation, the circle is lauded dramatically by the celebrant for their courage to transform; and she likens them all to Gaia Herself who has made such transitions for eons. The celebrant awards each with a gingerbread snake, “Gaian totems of life renewed”[ii]. gingerbread snakes Participants sit and consume these gingerbread snakes in three parts: (i) as all the “old shapes” of self that were named; and (ii) remembering the ancestors, those whose lives have been harvested, whose lives have fed our own, remembering that we too are the ancestors, that we will be consumed; and (iii) remembering and consuming the stories of our world that they desire to change, the stories that fire their wrath or sympathy: in the consuming, absorbing them (as we do), each may transform them by thoughts and actions – “in our own bodyminds”. When all that is consumed “wasting no part”, it is said that “we are then free to radiate whatever we conceive”, to “exclaim the strongest natural fibre known” – our creative selves, “into such art, such architecture, as can house a world made sacred” by our building[iii]. This “natural fibre” is a reference to the spider’s thread from within her own body, with which she weaves her web, her home; and Spider has frequently been felt in indigenous cultures around the globe as Weaver and Creator of the Cosmos. Spider the Creatrix, North America, C. 1300 C.E., Hallie Iglehart Austen, The Heart of the Goddess, p.13 In the ceremony, participants linked with a thread that they weave around the circle, may sail together for a new world “across the vast sunless sea between endings and beginnings, across the Womb of magic and transformation, to the “Not-Yet” who beckons”[iv]: to the Luminous World Egg whereupon the new may be conceived and dreamed up. Samhain/Deep Autumn ceremony is an excellent place for co-creating ourselves, for imaginingthe More that we may become, and wish to become. This is where creation and co-creation happens … in the Womb of Space[v], in which we are immersed – at all times: and Samhain is a good season for feeling it. References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005 Sahtouris, Elisabet. Earthdance: Living Systems in Evolution. Lincoln NE:iUniversity Press, 2000. Starhawk, The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. NY: Harper and Row, 1999. Swimme, Brian. The Earth’s Imagination.DVD series 1998. NOTES: [i]p.210 [ii]a version of this Samhain script is offered in Chapter 7 PaGaian Cosmology [iii]These quoted phrases are from Robin Morgan, “The Network of the Imaginary Mother”, in Lady of the Beasts, p.84. This poem is a core inspiration of the ceremony. [iv]“Not-Yet” is a term used by Brian Swimme, The Earth’s Imagination, video 8 “The Surprise of Cosmogenesis”. [v]note that creation does not happen at the point of some god’s index finger, as imagined in the Sistine Chapel – what a takeover that is!
Artful Ceremonial Expression by Glenys Livingstone Ph.D.

This article is an edited excerpt from Chapter 7 of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. I always wore a special headpiece for the Seasonal ceremonies when I facilitated them over the years, and I feel that any participant may do so, not just the main celebrant. My ceremonial headpiece with its changing and continuous Seasonal decoration took on increasing significance over the years; it became a personal central representation of the year-long ceremonial art process of creating, destroying and re-creating. For the research period of my doctoral studies particularly, when I was documenting the process, I realised that this headpiece came to represent for me the essence of “She” – as Changing One, yet ever as Presence – as I was coming to know Her. In my journal for the Mabon/Autumn Equinox process notes one year I wrote: As I pace the circle with the Mabon headpiece in the centre, I see “Her” as She has been through the Seasons … the black and gold of Samhain, the deep red, white and evergreen of Winter, the white and blue of Imbolc, the flowers of Eostar, the rainbow ribbons of Beltane, the roses of Summer, the seed pods and wheat of Lammas, and now the Autumn leaves. I see in my mind’s eye, and feel, Her changes. I am learning … The Mother knowledge grows within me. The headpiece, the wreath, the altar, the house decorations, all participate in the ceremony: they are part of the learning, the method, the relationship – similar to how one might bring flowers and gifts of significance to a loved one at special moments. Then further, the removal and re-creation of the decorations are part of the learning – an active witness to transformation through time.
(Essay) Ceremony as “Prayer” or Sacred Awareness By Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 3 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. MoonCourt Ceremonial Space set for Autumn Equinox ceremony, 2013 Ritual/ceremony is often described as “sacred space.” I understand that to mean “awareness of the space as sacred”: all space is sacred, what shifts is our awareness – awareness of the depth of spacetime, and of the depth of all things and all beings. I understand “sacred awareness” as an awareness of deep relationship and identity with the very cosmic dynamics that create and sustain the Universe; or an awareness of what is involved in the depth of each moment, each thing, each being. Ceremony is a space and time given to expression, contemplation and nurturance of that depth … at least to something of it. Ceremony may be both an expression of deep inner truths – perceived relationship to self, Earth and Cosmos, as well as being a mode of teaching and drawing forth deeper participation. Essentially, ceremony is a way of entering into the depth of the present moment … what is deeply present right here and now, a way of entering deep space and deep time, which is not somewhere else but is right here. Every-thing, and every moment, has Depth – more depth than we usually allow ourselves to contemplate, let alone comprehend. This book, this paper, this ink, the chair, the floor – each has a history and connections that go back, all the way back to Origins. This moment you experience now, in its particular configuration, place, people present, subtle feelings, thoughts, and propensity towards certain directions or outcomes, has a depth – many histories and choices that go back … ultimately all the way back to the beginning. Great Origin is present at every point of space and time – right here. In ceremony we are plugging our awareness into something of that. In this holy context then – in this mindframe of knowing connection, everything one does is a participation in the creation of the Cosmos: for the tribal indigenous woman, perhaps the weaving of a basket; for another, perhaps preparing a meal; for you, perhaps getting on the train to go to a workplace. It is possible to regain this sense, to come to feel that the way one breathes makes a difference – that with it, you co-create the present and the future, and you may even be a blessing on the past. In every moment we receive the co-creation, the work, of innumerable beings, of innumerable moments, and innumerable interactions of the elements, in everything we touch … and so are we touched by them. The local is our touchstone to the Cosmos – it is not separate. Ceremony may be a way into this awareness, into strengthening it. Ceremony is actually ‘doing,’ not just theorizing. We can talk about our personal and cultural disconnection endlessly, but we need to actually change our minds. Ceremony can be an enabling practice – a catalyst/practice for personal and cultural change. It is not just talking about eating the pear, it is eating the pear; it is not just talking about sitting on the cushion (meditating), it is sittingon the cushion. It is a cultural practice wherein we tell a story/stories about what we believe to be so most deeply, about who and what we are. Ceremony can be a place for practicing a new language, a new way of speaking, or spelling – a place for practicing “matristic storytelling”[i] if you like: that is, for telling stories of the Mother, of Earth and Cosmos as if She were alive and sentient. We can “play like we know it,” so that we may come to know it.[ii] Ceremony then is a form of social action. I have found it useful to describe ceremony using and extending words used by Ken Wilber to describe a “transpersonal practice,” which is needed for real change: he said it was a practice that discloses “a deeper self (I or Buddha) in a deeper community (We or Sangha) expressing a deeper truth (It or Dharma).”[iii] My extension of that is: ceremony may disclose a deeper beautiful self (the I/Virgin/Urge to Be/Buddha), in a deeper relational community (the We/Mother/Place of Being/Sangha), expressing a deeper transformative truth (the It/Old One/Space to Be/Dharma). This is the “unitive body,” the “microcosmos” that Charlene Spretnak refers to in States of Grace.[iv] Since ceremony is an opportunity to give voice to deeper places in ourselves, forms of communication are used that the dreamer, the emotional, the body, can comprehend, such as music, drama, simulation, dance, chanting, singing.[v] These forms enable the entering of a level of consciousness that is there all the time, but that is not usually expressed or acknowledged. We enter a realm that is ‘out of time,’ which is commonly said to be not the “real” world, but it is more organic/indigenous to all being and at least as real as the tick-tock world. It is a place “between the worlds,” wherein we may put our hands on the very core of our lives, touch whatever it is that we feel our existence is about, and thus touch the possibility of re-creating and renewing ourselves. NOTES: [i] A term used by Gloria Feman Orenstein in The Reflowering of the Goddess (New York: Pergamon Press, 1990), 147. [ii] As my doctoral thesis supervisor Dr. Susan Murphy once described it to me in conversation. [iii] Ken Wilber, A Brief History of Everything (Massachusetts: Shambhala, 1996), 306-307. [iv] 145. [v] As Starhawk notes, The Spiral Dance, 45. REFERENCES: Livingstone, Glenys. A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Girl God Books: Bergen, Norway, 2023. Orenstein, Gloria Feman. The Reflowering of the Goddess. New York: Pergamon Press, 1990. Starhawk. The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. New York: Harper and Row, 1999. Wilber, Ken. A Brief History of Everything. Massachusetts: Shambhala, 1996.
(Essay and Video) Cosmogenesis Dance: Celebrating Her Unfolding by Glenys Livingstone

The dance begins with two concentric circles, which will flow in and out of each other throughout the dance, resulting thus in a third concentric circle that comes and goes. The three circles/layers are understood to represent the three aspects of Goddess, the Creative Triple Dynamic that many ancients were apparently aware of, and imagined in so many different ways across the globe. In Her representation in Ireland as the Triple Spiral motif, which is inscribed on the inner chamber wall at Bru-na-Boinne (known as Newgrange)[1], She seems to be understood as a dynamic essential to on-going Cosmic Creativity, as this ancient motif is dramatically lit up by the Winter Solstice dawn. It seems that this was important to the Indigenous people of this place at the time of Winter Solstice, which celebrates Origins, the continuing birth of all. Thus I like to do this Cosmogenesis Dance, as I have named it[2], at the Winter Solstice in particular. The three aspects that the dance may embody, and are poetically understood as Goddess, celebrate (i) Virgin/Young One – Urge to Be as I have named this quality – the ever new differentiated being (also known as Fodla in the region of the Triple Spiral)[3]. This is the outer circle of individuals. (ii) Mother – the deeply related interwoven web – Dynamic Place of Being as I have named this quality – the communion that our habitat is (also known as Eriu in the region of the Triple Spiral)[4]. This is the woven middle circle where all are linked and swaying in rhythm. (iii) Crone/Old One – the eternal creative return to All-That-Is – She who Creates the Space to Be as I have named this quality (also known as Banba in the region of the Triple Spiral)[5]. This is the inner circle where linked hands are raised and stillness is held. The three concentric layers of the dance may be understood to embody these. The Cosmogenesis Dance represents the flow and balance of these three – a flow and balance of Self, Other and All-That-Is. It may be experienced like a breath, that we breathe together – as we do co-create the Cosmos. Thomas Berry and Brian Swimme have named the three qualities of Cosmogenesis in the following way: – differentiation … to be is to be unique – communion … to be is to be related – autopoiesis/subjectivity … to be is to be a centre of creativity.[6] The three layers of the dance may be felt to celebrate each unique being, in deep relationship with other, directly participating in the sentient Cosmos, the Well of Creativity. The Cosmogenesis Dance as it is done within PaGaian Winter Solstice ceremony expresses the whole Creative Process we are immersed in. It is a process of complete reciprocity, a flow of Creator and Created, like a breath. There is dynamic exchange in every moment: that is the nature of the Place we inhabit. The dance may help awaken us to it, and to invoke it. The Cosmogenesis Dance on YouTube https://www.youtube.com/watch?v=dR73MDMM9Fk For more story: Cosmogenesis Dance for Winter Ritual For Dance Instructions: PaGaian Cosmology Appendix I Meet Mago Contributor Glenys Livingstone NOTES: [1] The Triple Spiral engraving is dated at 2,400 B.C.E. [2] This dance is originally named as “The Stillpoint Dance”, or sometimes “Adoramus Te Domine” which is the name of the music used for it. I learned it from Dr. Jean Houston in 1990 at a workshop of hers in Sydney, Australia. I began to use the dance for Winter Solstice ceremony in 1997, and it was only in the second year of doing so that I realised its three layers were resonant with the three traditional qualities of the Female Metaphor/Goddess, and also the three faces of Cosmogenesis. I thereafter re-named and storied the dance that way in the ceremonial preparation and teaching for Winter Solstice. See Glenys Livingstone, PaGaian Cosmology: pp. 280-281 and 311. [3] Michael Dames, Ireland: a Sacred Journey, p.192. [4] Michael Dames, Ireland: a Sacred Journey, p. 192. [5] Michael Dames, Ireland: a Sacred Journey, p. 192. [6] Brian Swimme and Thomas Berry, The Universe Story, p. 71-79. I have identified these qualities with the Triple Goddess, and the Triple Spiral in the synthesis of PaGaian Cosmology: see Glenys Livingstone, PaGaian Cosmology, particularly Chapter 4: https://pagaian.org/book/chapter-4/ References: Dames, Michael. Ireland: a Sacred Journey, Element Books, 2000. Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Lincoln NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. NY: HarperCollins, 1992.

(Essay) The Mago Hedge School: Why Remember Mary Daly? by Helen Hye Sook Hwang

Prologue By writing this, I do not intend to defend Mary Daly’s position in any dispute. A controversial figure, Mary Daly never let go of her fight with those whom she thought on the other side of her feminist war. Like anyone else in history, Mary Daly belonged to her time and culture, and I leave her unresolved issues up to her. What I write here is my fond memory of her, whose feminist thought left an indelible mark on my being as well as humanity as a whole. Daly’s contribution remains to be reassessed from the fresh eye of new generations. In the meantime, I begin to speak for my part. Without Mary Daly’s thought, I would not have been in this place where I stand right now. It has empowered me to actualize my dreams to the fullest as a wo/man who was born and raised in Korea but had come from the One Home in origin. I first hear of the hedge school “Have you heard of the hedge school, Hye Sook?” asked Mary. “No, I haven’t heard of it,” I answered. This conversation took place during the conference called the Feminist Hullaballoo held in Santa Fe, New Mexico in 2007. We met there and spent three days as chums. Mary was with another friend, Yvonne Johnson, so the three of us hung out together. It was a very special time for me – I felt as if I were wrapped up in the eye of the storm. (In fact, my life feels so.) At the conference, someone asked me how I came to be invited as a featured speaker. I was among such renowned feminist speakers as Sonia Johnson, Paula Gunn Allen, and Mary Daly herself. They felt like giants to me. I told her that Mary Daly invited me. Mary had asked me if I would like to go and speak at that conference. I did not have an inflated ego. I would not have been hurt if I were not chosen. But I said “Yes” without hesitation. At the time, it felt like another one of the many “outlandish” adventures that I had undertaken throughout my life. In retrospect, however, this was a very special “Yes” to the beginning of my life’s new phase. It was my debut as a radical feminist, so to speak – the first time I spoke to such a large number of radical feminists. Mary sat in the front row and listened to my talk. She nodded her head saying “It was great,” when I finished and came down to sit next to her. Mary was just getting to know my research on Mago in that year; that was what she was referring to. Nonetheless, what mattered to me was not how well I presented my research, but that I managed to do it! The jitters were over! I was returning Home and had just been baptized in public as a Wo/man, the whole being. [This talk was later published in Trivia: Voices of Feminism.] My two dreams When I accepted Mary’s invitation, I was thinking of my two dreams. I am a dream-listener. Or to be more accurate, my dreams have led me through. These dreams with regard to Mary Daly are in fact old; I dreamt them before my arrival in Claremont, California, in 1997. In the first dream, I was in the crowd when Mary spoke to a large audience. The venue was an open plaza and the stage was far away from where I was standing. Then, out of the blue, Mary called my name and asked me to come up to the podium. It sounded like a call to my soul. So I did. Then, she passed the microphone to me. I blacked out, not knowing what to say, and woke up. This dream told me what I lacked, a message to deliver to the world, which I did not have for some years. The second dream was a brief but sweet one. Mary and I were standing in an old-style classroom as co-teachers. The dynamic between us was intimate and enjoyable. Honored and proud, I felt in the presence of my old friends. The classroom was a dream-like space within a dream, as if we were in a time machine! More than two decades have passed since I had those dreams, and now I see that they were indeed self-fulfilling dreams. The first dream was fulfilled through the event of my speech to the Feminist Hullaballoo conference. By then, it was clear that I was going to speak about the topic of Mago, which I had encountered for my Ph.D. dissertation. It was the topic that I had searched for without knowing and I found it. Now I see that it found me! It is the tradition of my ancestors that has beckoned me to come Home. In Mago, I found an anciently originated gynocnetric reality, which encompasses everyone regardless and named it Magoism. Mary and I meet in person The first time I met her in person was in early April of 1999, in Claremont, California. I had been in contact with Mary Daly for about four years before then. We had spoken over the telephone, faxed, and snail-mailed across the Pacific Ocean while I was living in Korea from 1994 to 1997. Mary was invited to speak by the committee of Claremont Colleges programs including the Women’s Studies in Religion Program at Claremont Graduate University, the program I was studying in. In fact, that was the program that Mary had suggested I apply for, and she had written a recommendation letter on my behalf. My first meeting with her is imprinted on my soul, and it feels as fresh as ever. It was an unusually cold spring day in Claremont. It even sprinkled some rain. She was staying at the Claremont Inn, only a couple of blocks away from my dormitory apartment. She had phoned me the day before her arrival. She called me …
(Mago Pilgrimage video 2) Ganghwa Island by Robert (Taffy) Seaborne

https://www.youtube.com/watch?v=_ANT2cPDN-g The first day of Mago Pilgrimage 2014 to Korea, organised by Dr.Helen Hwang, was to Ganghwa Island, starting actually on Gyodong Peace Island: the group included locals, and together we walked up to the Rock of Constellation Marks located atop the Ruin of Hwagae “Castle”/Stronghold. The scenic view up there is from the Ruin of Gwanmi Stronghold (not a fortress, as present minds may think, but a “strong” place). I state all this here about the name because there was a bit of confusion in my mind when making the video. Along our way we came across an ancient sweat lodge – named Hanjeung-mak – shaped like a womb and similar to ancient constructions in other lands. As we walked we could also at some points, see across to the Demilitarized Zone and North Korea, and some in our group expressed deep distress about the loss and splitting of families, with this division.
(Pilgrimage Essay 1) Report of First Mago Pilgrimage to Korea by Helen Hwang

[Author’s note: First Mago Pilgrimage to Korea took place in June 6-19, 2013. We visited Ganghwa Island, Seoul, Wonju, Mt. Jiri, Yeong Island (Busan), and Jeju Island.] Part 1 Magoist Alchemy and Consanguinity of All Peoples My study of Mago, the Great Goddess of East Asia, has hurled me into uncharted territory. (In fact, my life hurled me onto a labyrinthine path.) Mago is not a mere subject of my study. Or, study is not a mere brain activity for me. Mago has been the answer to my intellectual/spiritual quests. And I am to carve out my own destiny. Studying Magoism has become a way of life to me. Magoism is the term that I coined to name the mytho-historical-cultural context in which Mago is venerated. Assessing a large body of source materials that I documented, I learned that Magoism is one of the most comprehensive contexts that can explain East Asian civilizations as a whole. It feels right that reconstructing Magoism, the method that I employed in studying Mago, is the reason why I study Mago. Ever since I began to contemplate the topic of Mago for study in 2000, I have visited Korea, my native land, almost annually and undertook such activities as documentation, presentation, trips, and field research for the purpose of measuring the landscape of Magoism. In enacting those projects, I have worked with a variety of groups and individuals including feminists, scholars, friends, and the general public. For the last three years, I have organized various sizes of pilgrimages to near and far places with Koreans. Those experiences have gradually led me to the unfolding mystery of Magoist spiritual/intellectual reality. That said, it was my honor and privilege to organize and lead the very first intercontinental Mago Pilgrimage to Korea from June 6 to June 19 in 2013. This pilgrimage made a memorable landmark in Magoism. About a decade ago, Mago was hardly known among goddess people in the West. And the situation was not so far different from that in Korea. At that time, I was writing my Ph.D. dissertation on Mago from a multi-disciplinary perspective, not knowing what was forthcoming. The Mago Pilgrimage envisioned the remarkable change!

Author: Mago Work Admin

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