May 12, 2017October 2, 2019 Mago Work AdminLeave a comment

(Essay 2) Poet as Initiate: A Rebirth of the Goddess & The Darkmother in Women’s Poetry in the 70’s by Louisa Calio

Redemption Ntozake Shange did the same work of redemption when she created her choreopoem in the San Francisco Bay area: For Colored Girls who have Considered Suicide When the Rainbow Read More …

May 10, 2017October 2, 2019 Mago Work AdminLeave a comment

(Book Excerpt 1) Single Mothers Speak on Patriarchy by Trista Hendren & Pat Daly

My Very Own Mother’s Day Proclamation Brenna Jean Richart I SOBBED FOR THE FIRST TIME in six months today. Throat aching loud, heaving sobs that come when someone dies. Read More …

May 4, 2017October 2, 2019 Mago Work AdminLeave a comment

(Essay 2) Poet as Initiate: A Rebirth of the Goddess & The Darkmother in Women’s Poetry in the 70’s by Louisa Calio

Poet as Initiate: A Rebirth of the Goddess & The Darkmother in Women’s Poetry in the 70’s[i] (for my mother Rosa) “She is you, she is me, she is our mother’s Read More …

May 3, 2017October 2, 2019 Mago Work AdminLeave a comment

(Art) Transformation by Liz Darling

The experience of becoming a mother transformed the way I view the female body and the creation of life. Inspired by performing in Eve Ensler’s “The Vagina Monologues,” I use Read More …

May 1, 2017October 2, 2019 Mago Work AdminLeave a comment

(Essay 1) Poet as Initiate: A Rebirth of the Goddess In Contemporary Women Poets of the Spirit by Louisa Calio

Poet as Initiate: A Rebirth of the Goddess In Contemporary Women Poets of the Spirit- I[1] THERE IS SOMETHING wonderful happening. One could call it a reclamation of something lost or Read More …

April 28, 2017December 19, 2019 Mago Work AdminLeave a comment

(Essay 1) The Magoist Calendar: Mago Time inscribed in Sonic Numerology by Helen Hye-Sook Hwang

[Author’s Note: This is my latest research that has led me to restore the 13-month, 28-day Mago Calendar, which will be included at the end of its sequels. See Mago Almanac: 13 Read More …

April 27, 2017October 2, 2019 Mago Work AdminLeave a comment

(Prose) My Nature Guided Self-Renewal by Amina Rodriguez

My journey toward the divine source within me was inspired by a tree and only began in my 40s. I usually write poems and other inspired writings as notes on Read More …

April 21, 2017October 2, 2019 Mago Work AdminLeave a comment

(Poem) Spring Equinox Dance by Andrea Nicki

Some placed offerings on the room’s center altar One woman added a green blown glass bird She said her daughter made it when she was 17 Now in her 30’s Read More …

April 20, 2017June 22, 2020 Mago Work AdminLeave a comment

(Poem) mind the confluence by Aisha Monks-Husain

two roaring rivers raging waters broken slumber wash away my concrete thoughts stumbling drunkenly laughing, feeling hurting, growing up finding my place

April 17, 2017October 2, 2019 Mago WorkLeave a comment

(Prose) Connection by Deanne Quarrie

As an introvert, I do a lot of listening. However, I have noticed that when I am in a group and think I am listening, quite often I have tuned Read More …

April 13, 2017October 2, 2019 Mago WorkLeave a comment

(Prose) Liminal Time and Space by Deanne Quarrie

The word liminal comes from the Latin word līmen, meaning “a threshold.” The word threshold has several definitions. It can be the sill of a doorway or the entrance of Read More …

April 7, 2017October 2, 2019 Mago Work AdminLeave a comment

(Poem) Hystory by Susan Hawthorne

[Author’s Note: This poem is written in honour of the work of Marija Gimbutas, archaeologist, linguist, visionary. I was lucky enough to hear her give a lecture one day in 1990 Read More …

April 4, 2017October 2, 2019 RTM EditorsLeave a comment

(Book Excerpt 2) Pressing out the Pure Honey by Frances Guerin

In fairy stories a forest is the site of transformation. Unexpected encounters with shadow and benign figures take the protagonist from one state of being to a state of wholeness Read More …

(Essay 3) The Magoist Calendar: Mago Time inscribed in Sonic Numerology by Helen Hye-Sook Hwang

[Author’s Note: This is my latest research that has led me to restore the 13-month, 28-day Mago Calendar, which will be included at the end of its sequels. See Mago Almanac: 13 Month 28 Day Calendar (Book A), published in 2017.] THE SECOND CALENDAR Then, the Earth had increasingly so much work in all regions. Biodiversity went overboard. The terrestrial song became uncontrollable. The initial calendar became defunct. Lifeforms were left uncoordinated. The Earth fell into disorder, as she had no one to tune the song of earthlings in harmony with the cosmic music of creativity. The Earth was in need of sentient beings who could undertake the task. Mago’s descendants were to be born. Humans were entrusted to cultivate the earthly sound property by the Nine Mago Creatrix. The Budoji writes:
(Poem 1) Hecate’s Moon by Sara Wright

Photo credits: I took this photograph when visiting the studio of artist Armando – Adrian Lopez whose work in mixed media produced this vision of Guadalupe. Lupita, Guadalupe – Your agave points of light glow in grave darkness. Hecate’s Moon is Red. The Raven slices the sky into shards. The River catches shivering stars. We remember the First Mother… Patiently, painfully, we return the parts to the Whole. See the Wolf who hides behind the Tree? Welcome him in. Only then can we begin… Lupita, Guadalupe – Your agave points of light glow in grave darkness. Working notes… Guadalupe is the Native “Mother of the Americas” – not the Virgin Mary as often suggested but an ancient Earth goddess. She is dark skinned and an Indian. Curiously, Lupita is the diminutive form of Guadalupe. Lupe means wolf. I was surprised to learn that the name Guadalupe means river of black stones or valley of the wolf. I was intrigued by the inclusion of both dark and light (wild and tame) in Guadalupe’s naming. She is a goddess of wholeness whose light continues to shine in a broken patriarchal culture. Hecate’s moon is the last moon of the year according to some earth based traditions, and here I aspect her as the goddess who ushers in the dark months ahead in the northern hemisphere and the return to chaos. ____________________________________________________ https://www.magoism.net/2014/12/meet-mago-contributor-sara-wright
(Poem & Art) committed by Maya Daniel

you bonded your heart and committed to serve the people the enemies painted your name black as coal they hunted you that calls from home were painfully undone some thought of you a mystique no one could dare say you are dead or alive, it’s just that you disappeared in shadows and fasten your heart to the revolutionary movement, embraced a life that beats survived moments of death cheating and now fading away to the stars thank you for being here you who found life’s motive and dared the challenges of our time.
(Poem) Cyane by Susan Hawthorne

moon pool, colour code for blue Cyane is older than us all river home for a Sicilian nymph but she was no nymphette she stood up to the death god abducting her friend Proserpine called out to him stop, this is no way to gain a wife let her go Pluto in self-rapture ruptured earth Cyane stood in silence, wept and wept yet more, with each new tear her body dissolved into fluid her hair blue as the sea melted limb by limb shoulder by arm she wasted away in grief for her friend when Ceres arrived all speech had been swallowed into liquid no words just bubbling and burbling but she showed to Ceres the sash of Proserpine and Ceres knew the truth of her daughter’s abduction in Syracuse they remember Cyane her transformation her metamorphosis from young girl to sacred blue river notes Inspired by Book V of Ovid’s Metamorphosis. I have used the Roman names for the Greek gods in keeping with Ovid’s use. Prosperpine is Persephone; Pluto is Hades; Ceres is Demeter. Proserpine/Persephone is the daughter of Ceres/Demeter. Prosperpine becomes Queen of the Underworld after she is abducted and raped by Pluto/Hades. Postscript There are so many versions of the rape of Propserpine/Persephone and I keep writing about her. I enjoy giving a new slant to mythic tales and Cyane is one of many. I did not know about Cyane until a few years ago. In printing, CMYK refers to cyan, magenta, yellow, black: four colour printing. Cyan is a limpid blue colour. Cyane is also a short river (8 km in length) that flows into the Ionian Sea near Syracuse, Sicily. The Greeks had a colony on Sicily from the 8th century BCE and many of the places you can visit look more like Greece than Rome. Cyane was so grief stricken about the rape of her friend that she literally melted away, but not before showing Proserpine’s mother, Ceres a scarf that Proserpine had been wearing and which Ceres recognises as her daughter’s. This poem was first published in Metamorphic: 21st Century Poets Respond to Ovid. Edited by Nessa O’Mahony and Paul Munden. Canberra: Recent Work Press. 2017. It was reprinted in my book The Sacking of the Muses, Spinifex Press. 2019. https://www.spinifexpress.com.au/shop/p/9781925950007 (Meet Mago Contributor) Susan Hawthorne https://www.magoism.net/2013/12/meet-mago-contributor-susan-hawthone/
(Art & Poem) Autumn Equinox by Sudie Rakusin and Aphrodite Rose

Autumn Equinox by Aphrodite Rose Pomegranates and persimmons And fruits from the vine Persephone yields As we ponder the Divine Meet Mago Contributor Sudie Rakusin and Meet Mago Contributor Aphrodite Rose Art and poem stanza are from Celebrating Seasons of the Goddess.
(Essay 2) The Old Sow by Hearth Moon Rising

Meet Mago Contributor Hearth Moon Rising. The pig was domesticated shortly after the sheep and cow, about 12,000 years ago. This ushered in the era of pig goddesses, who were probably originally boar goddesses like Freya. Boar lore became transferred to the domestic cousin, but grew in complexity due to the relationship between pigs and cereals. Unlike ruminant animals raised for consumption, the domestic pig requires grain in order to thrive since she does not digest grass. Thus the sow goddess had a vested interest in grain production and she was propitiated for an abundant harvest. The appearance of animal husbandry at roughly the same time as agriculture was not an accident. Pigs were used to clear fields after harvest, aerating the fields as they rummaged. They helped reduce garbage and provided manure for fertilizing cropland. In some forested areas pigs were allowed to forage as a way of reducing groundcover and managing woodlands. The goddess Demeter is the best known of the sow-grain goddesses. She is often depicted carrying a torch, used for traversing the dark underworld, symbolizing her association with death as well as motherhood and sustenance. The main ceremonies once associated with Demeter were Thesmophoria, a women-only retreat where piglets were sacrificed, and the Eleusinian mysteries, the reenactment of Demeter’s loss and reunion with her daughter Persephone. In myth the Semitic vegetal gods Adonis and Tammuz are gored by a boar, again emphasizing the death aspect of the boar. The sky goddess Nut is sometimes represented as a sow, which was probably her earlier form. The ithyphallic vegetal god Min, whose cult was overtaken by Osiris, is the son of a white sow. In some legends the Egyptian god Osiris is gored by Seth in the form of a boar. The Sow Goddess was important in pre-dynastic Egypt, but her worship steadily declined as the pig established a reputation as an “unclean” animal. This also occurred in Babylonia, and it was rooted in the pig’s need to regulate body temperature, which must have been especially great in these hot dry climates. A pig greatly prefers to cool off in clean mud, but will wallow in sewage if there are no other options. In the highly populated areas in Mesopotamia and along the Nile cleanliness was a persistent concern, while opportunities for ideal pig wallows were probably becoming scarcer. Neither culture forbid pork consumption, but the meat did grow out of favor for those who could afford cattle. Egyptians continued to carry pig charms and use pig ingredients in spells and healing remedies. Sow pictures or figures are occasionally found in tombs from all eras. To be continued. Read part 1. Hearth Moon Rising is a Dianic Priestess living in the Adirondack Mountains of upstate New York and the author of Invoking Animal Magic: A guide for the Pagan priestess. www.invokinganimalmagic.com. She blogs at www.hearthmoonblog.com. Sources: Barrett, Clive. The Egyptian Gods and Goddesses: The Mythology and Beliefs of Ancient Egypt. London: Diamond Books, 1991. Bottero, Jean. The Oldest Cuisine in the World: Cooking in Mesopotamia. Chicago: University of Chicago Press, 2004. Cooper, D. Jason. Using the Runes. Wellingborough, UK: The Aquarian Press, 1986. Germond, Phillippe. An Egyptian Bestiary: Animals in Life and Religion in the Life of the Pharoahs. London: Thames and Hudson, 2001. Gimbutas, Marija. The Living Goddesses. Berkeley, CA: University of California Press, 1999. Gimbutas, Marija. The Language of the Goddess. San Francisco: Harper and Row, 1989. Graves, Robert. The Greek Myths. London: Penguin, 1960. Graves, Robert. The White Goddess. New York: Farrar, Straus and Giroux, 1948. Green, Miranda. Animals in Celtic Life and Myth. London: Routledge, 1992. Johnson, Buffie. Lady of the Beasts: The Goddess and Her Sacred Animals. Rochester, VT: Inner Traditions, 1994. O’Sullivan, Patrick V. Irish Superstitions and Legends of Animals and Birds. Dublin: Mercier Press, 1991. “Pigs,” Ancient Egyptian Bestiary, http://www.reshafim.org.il/ad/egypt/bestiary/pig.htm “Pigs in Egypt,” Tour Egypt, http://www.touregypt.net/featurestories/pigs.htm “Welcome to Eleusinian Mysteries,” Eleusinian Mysteries, http://eleusinianmysteries.org/SubjectIndexP_Z.html
(Essay 4) Magos, Muses, and Matrikas: The Magoist Cosmogony and Gynocentric Unity by Helen Hye-Sook Hwang, Ph.D.

[Author’s note: This paper is published in the journal, the Gukhak yeonguronchong 국학연구론총 (Issue 14, December 2014). Here it will appear in five sequels including the response by Dr. Glenys Livingstone. Numbers of end notes differ from the original paper.] (Part 4) Parallels between Magos and Matrikas The numeric fluidity of a particular pantheon of Goddesses from three to nine is no isolated phenomenon in Western Muse tradition only. Laura K. Chamberlain’s research on the Hindu Goddess Matrika, one of the major manifestations of Durga, bears a close resemblance to the counterpart in Magoism.[1] In the story of Mago Halmi, Mago had eight daughters and dispatched seven daughters to seven regions/islands who respectively became the shaman progenitor of the region. She lived with the youngest daughter, whose region was the center of Magoism.[2] The Mago pantheon is also addressed as Gurang (Nine Goddesses) in the case of Gaeyang Halmi (Sea Goddess/Grandmother).[3] Among others, a parallel between Chamberlian’s delineation of the worship of the Asta Matrikas (Eight Mother Goddesses) and folk rituals concerning Mago is striking with regards to the aniconic rituals offered at “crossroads, rivers, the sea, and mountains” to Matrika. In the case of Magoism, the veneration of rocks and mountains that may be seen as “animistic beliefs” is widespread throughout the Korean peninsula. The linguistic resemblance is also present between Matrikas and Magos. According to Chamberlian, Mai (mother) and Ajima (grandmother) are the “two of the oldest names for the goddess in Nepal.” [4] They appear analogous with the Korean words Eomma 엄마 (Omai 오마이, Omasi 오마시, and etc. for mother) and Ajime (아지매, a female relative or aunt), a dialect from which the modern term Ajuma (아줌마, neighbor woman often pejoratively referring to a housewife) is derived. Chamberlain also notes the varied number of Matrikas and writes: The inconsistency in the number of Matrikas found in the valley [Indus] today (seven, eight, or nine) possibly reflects the localization of goddesses [ ] Although the Matrikas are mostly grouped as seven goddesses over the rest of the Indian Subcontinent, an eighth Matrikas has sometimes been added in Nepal to represent the eight cardinal direction. In Bhaktapur, a city in the Kathmandu Valley, a ninth Matrika is added to the set to represent the center.[5] On the one hand, it is true that the indeterminate number of Matrikas, as Chamberlain points out, explains localization of Hindu Goddesses in the Indian Subcontinent. On the other hand, it is equally possible to posit that there was a Goddess myth once shared by the members of mother community in a remote past. A daughter community, which resided in the mother community, came to migrate farther away from the mother community. She herself became a mother and was known as the mother community by her own daughter communities. From the perspective of the original mother community, the memory of the original myth by granddaughter communities would be fragmented and flavored with their own cultural, historical, and linguistic backgrounds. After many generations passed, granddaughter communities would lose the memory of the original myth and that they would not recognize kindred communities all over the world. However, the first mother was wise. She chose one daughter to carry on the legacy of the original myth. This is exactly what Mago stories tells us. When all is said and done, the numeric similarity of three, seven, eight, or nine and the inconsistency of the number are only some of the fragmented testimonies by granddaughter communities. Under such circumstances, Mago’s lineage, especially the first three generations, works as a blueprint of the family tree lost among granddaughter communities. (Read Part 3, to be continued in Part 5, Dr. Glenys Livingstone’s response to this essay.) References: Bak, Geum (Bak, Jesang). Budoji (Epic of the Emblem City). Eun-Soo Kim, translated and annotated. Seoul: Hanmunhwa, 2002, 1986c. Baring, Anne and Julies Cashford, eds. The Myth of the Goddess: Evolution of an Image. London: Viking Arkana, 1991. Chamberlain, Laura K. “Durga and the Dashain Harvest Festival: From the Indus to Katmandu Valleys” in ReVision (vol. 25, no. 1, Summer 2002), 24-32. Chung, Yenkyu. Ancient Korea and the Dawn of History on the Pamirs. Seoul: Jimoondang, 2007. Daly, Mary. Pure Lust: Elemental Feminist Philosophy. Boston, MA: Beacon Press, 1984. Davis, Elizabeth Gould. The First Sex. New York, NY: G. P. Putnam’s Sons, 1971, 33. Hwang, Helen Hye-Sook. “Issues in Studying Mago, the Great Goddess of East Asia: Primary Sources, Gynocentric History, and Nationalism,” in The Constant and Changing Faces of the Goddess: Goddess Traditions of Asia, eds. Deepak Shimkhada and Phyllis Herman (Cambridge Scholars Publishing 2008), 10-33. ____________________. “The Female Principle in the Magoist Cosmogony.” Ochre Journal of Women’s Spirituality, (Spring 2007) [http://www.ochrejournal.org/2007/scholarship/hwang1.html]. ____________________. Seeking Mago, the Great Goddess: A Mytho-Historic-Thealogical Reconstruction of Magoism, an Archaically Originated Gynocentric Tradition of East Asia. Ph.D. Dissertation: Claremont Graduate University, 2005. Kim, Busik. The Samguk Sagi (History of Three Kingdoms). Translated and annotated by ByongSu Lee. Seoul: Elyu Munhwasa, 1977. Lee, Ki-baik. A New History of Korea. Translated by E. Wagner and E. Shultz. Cambridge, MA: Harvard University Press, 1984. Smith, Barbara. “Greece” in The Feminist Companion to Mythology. Carolyne Larrington ed. Hammersmith, London: Pandora Press, 1992. Yoon, Thomas. BuDoZhi: The Genesis of MaGo (Mother Earth) and The History of the City of Heavenly Ordinance. Notre Dame, IN: Cross Cultural Publications, 2003. Walker, Barbara G. The Woman’s Encyclopedia of Myths and Secrets. San Francisco: Harper & Row, 1983. [1] Levy 1990; Slusser 1982, cited in Laura K. Chamberlain, “Durga and the Dashain Harvest Festival: From the Indus to Katmandu Valleys” in ReVision (vol. 25, no. 1, Summer 2002), 24-32. [2] See Tales [9-1] and [5-3] in the Appendix, Hwang (2005), 391-8. [3] I was able to join a field research trip organized by the research team of Kunguk University’s Korean Literature Graduate Studies to collect the folk stories of Gaeyang Halmi, the Sea Goddess, in Buan-gun (Buan County), North Jeolla Province, South Korea July 10-12, 2012. Only after the trip, I realized Gaeyang Halmi with her eight daughters was …
(Photo Essay 5) ‘Gaeyang Halmi, the Sea Goddess of Korea’ by Helen Hwang

Part 5: Gaeyang Halmi, How Does She Relate with Mago? The field research concerning Gaeyang Halmi was undertaken with the thought that Gaeyang Halmi is related to Mago in some way. Such assumption is on the grounds that the folktales of Gaeyang Halmi and Mago Halmi substantively share the same motifs. In fact, I had thought Gaeyang Halmi is another name of Mago Halmi. A scrutiny has proven that the picture of their correlation is far more complex than I first envisaged, exposing the hidden nexuses of Old Magoism. This last part aims at disentangling the grips. It is indispensable for me to invite my readers to the task of reconstructing ancient East Asian mytho-history. Gaeyang Halmi embodies a partial manifestation of Mago as the Sea Goddess. Nonetheless, such a statement lacks complex subtexts that this topic involves. The Gurang (Nine Maidens) mytheme of Gaeyang Halmi sheds light on the mytho-history of Old Magoism (read Magoism in pre- and proto-Chinese times characterized by shaman rulers). To be specific, Gaeyang Halmi in the gurang pantheon suggests a yet-to-be-known shaman ruler, “Ungnyeo” (Bear/Sovereign Woman), founder of the confederacy of the nine states, which I call Danguk (ca. 3898 BCE-2333 BCE). The gurang represented by Gaeyang Halmi is no small clue to the pervasive yet misunderstood civilization of Ungnyeo. “Ungnyeo” is eponymous of the female symbolism of nine, such as the nine-tailed fox in East Asia and the nine muses and the nine forms of Durga beyond East Asia mentioned in Part IV. In short, Gaeyang Halmi oscillating between “Mago” and “Ungnyeo” in Her identity testifies to the suppressed history of Old Magoism. Methodically, I have two types of mythological texts to decipher the overtones of Gaeyang Halmi’s mytheme: folklore (oral narratives) and the written myth. Goddess mythemes, malleable yet immortal, constitute the grammar blocks of the gynocentric language that often appears “awkward” if not “ridiculous” to moderns. They need to be analyzed and interpreted. Feminist techniques are apt to sort out the sediments and decipher the diastrophic disturbances caused by patriarchal advances in the course of time. Some parallels between Gaeyang Halmi and Mago Halmi folk stories are overt. Their stories are so similar that they appear to be an identical goddess: A: The motif that Gaeyang Halmi walks on the sea, often described as wearing namak-sin (wooden shoes) or only beoseon (Korean traditional socks), is also commonly told in Mago stories especially from Jeju Island[i] and other coastal regions. B: That Gaeyang Halmi walks around in the sea to measure its depth is also told in the stories of Mago from other coastal regions. C: The mytheme that Gaeyang Halmi had eight daughters recurs in the stories of Mago, especially from the region of Mt. Jiri. Mago is said to have had eight daughters and sent them to eight provinces. Given the above, it is evident that Gaeyang Halmi lore resembles that of Mago. Were the populace confused about these two goddesses? I hold that the confusion was not a mistake but a way to convey that Gaeyang Halmi is related to Magoism rather than Mago Herself. In folklore, “why” and “how”are the questions to be interpreted, not to be read.
(Essay) Integrating the Co-essential Darkness by Glenys Livingstone Ph.D.

We live in times wherein beings the world over are witnessing global transformation. Such a scale of planetary change has happened before, but humans are integral to this one – not only as witnesses and participants, but also as primary agent/cause. These times have apparently been expressed and foretold by different religious traditions: in the Celtic tradition, as the Age of Cailleach – the Old Woman whose song heralds changing tides; in Hindu tradition, as the Age of Kali – the awesome Goddess whose capacities embrace the process of destroying for the purposes of Creativity … it is her passion for Being, for birthing the New. She, like many of Her Dark Sisters around the globe, embodies the truth (an ultimate Truth) that this life is built on the passing or transformation of all that went before: that we are here by the grace of the Space, and the knowledge of the eons that is passed on.

(Special Post 5) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing sequels are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hye-Sook Hwang: I have come across the origin of the Dokkaebi (image, Heavenly Ruler Chiu, 14th Hanung of Danguk. Chiu represented the Magoist rule aided by her 81 giant sister clan allies (nine groups of Nine Hans) fought Huangdi (Yellow Emperor), one of the ancient rulers of pre-historic China. Chiu is known as the empeor of Guri-guk or Guryeo-guk (Nine Ri State or Nine Ryeo State), which is alternatiely referred to as Goryeo-guk and Goguryeo-guk by East Asians. She was worshipped as the deity of war and remembered/depicted for her helmet made of copper and iron. Records about her war against Hungdi inundates ancient Korean and Chinese texts and myths. About Chiu or Chiyou, it is too complex to discuss here. It is a topic to be treated in its own right. Suffice to say that even some of basic information from Wikipedia is illuminating. “Chiyou (蚩尤) was a tribal leader of the Nine Li tribe (九黎) in ancient China. He is best known as a king who lost against the future Yellow Emperor during the Three Sovereigns and Five Emperors era in Chinese mythology. For the Hmong people, Chiyou was a sagacious mythical king. He has a particularly complex and controversial ancestry, as he may fall under Dongyi, Miao or even Man, depending on the source and view. Today, Chiyou is honored and worshipped as the God of War and one of the three legendary founding fathers of China.” “According to the Song dynasty history book Lushi, Chiyou’s surname was Jiang (姜), and he was a descendant of Yandi. According to legend, Chiyou had a bronze head with a metal forehead. He had 4 eyes and 6 arms, wielding terrible sharp weapons in every hand. In some sources, Chiyou had certain features associated with various mythological bovines: his head was that of a bull with two horns, although the body was that of a human. He is said to have been unbelievably fierce, and to have had 81 brothers. Historical sources often described him as ‘cruel and greedy’, as well as ‘tyrannical’. Some sources have asserted that the figure 81 should rather be associated with 81 clans in his kingdom. Chiyou knows the constellations and the ancients spells for calling upon the weather. For example, he called upon a fog to surround Huangdi and his soldiers during the Battle of Zhuolu.” “Chiyou is regarded as a leader of the Nine Li tribe (九黎, RPA White Hmong: Cuaj Li Ntuj) by nearly all sources. However, his exact ethnic affiliations are quite complex, with multiple sources reporting him as belonging to various tribes, in addition to a number of diverse peoples supposed to have directly descended from him. Some sources from later dynasties, such as the Guoyu book, considered Chiyou’s Li tribe to be related to the ancient San miao tribe (三苗). In the ancient Zhuolu Town is a statue of Chiyou commemorating him as the original ancestor of the Hmong people. The place is regarded as the birthplace of the San miao / Miao people, the Hmong being a subgroup of the Miao. In sources following the Hmong view, the “nine Li” tribe is called the “Jiuli” kingdom, Jiuli meaning “nine Li”. Modern Han Chinese scholar Weng Dujian considers Jiuli and San Miao to be Man southerners. Chiyou has also been counted as part of the Dongyi.” https://en.wikipedia.org/wiki/Chiyou Above all, her depiction by ancient China is of a pejorative one. As we will see in the next part, she is contrasted with her opponent Huangdi (Yellow Emperor), a triumphantly depicted ancient hero of ancient China. Above Wikipedia. See her images created by ancient Koreans, the middle one in the three figures, depicted as a woman with female breasts, one of Dokkaebi images. There are other records that describe one of her allies. as one adorned with snakes in the head, which reminds me of Medusa. Silla (left), Baekje (Center), Goguryeo (right) http://lasvegaskim.com/Etc_Poem_55.htm Max Dashu: Oe-ri, Buyeo, in the Baekje period. Helen Hye-Sook Hwang: That is where the rooftile at the center is excavated. That is the original image of Dokkaebi that Lydia Ruyle chose and depicted in her banner work. I could not connect this image with Chiu until now. We have the female ruler who subdued the patrilocal force of Yellow Emperor, the forebear of ancientChinese emperors. There are lots of myths and data that I have found on them. Chiu is also numerously depicted as Dokkaebi faces, which makes me think of its connection to the iconography of Medusa and Gorgon (who comes as Three Sisters). Eight-snake-headed Medusahttps://en.wikipedia.org/wiki/Medusa Gorgon https://en.wikipedia.org/wiki/Gorgon https://www.magoism.net/2013/06/art-dokkaebi-by-lydia-ruyle/ Lizzy Bluebell: ‘Gonggong’ is not a far stretch phonetically from ‘Gorgon’ – I note. Briefly here – because it is a complex explanation – much more can be said about the etymology. For example, “gorge” relates to deep mountain passes with water flowing through them as well as the human throat or gullet, (relating the word to both speech and eating) and mountains are/were Goddess terrain, later usurped by MON-A-Ster-ies. The masculine name Ge-Orge is code which relates to GE/Gaia/Gay as well as to ‘orgy’. Sanskrit “garg” begets English ‘gargle’, and a guttural (gut-her-all) sound. I’ve always seen the archetypal Medusa/Gorgon’s ‘snaking curls’ as the energy emmitted from her head by her Wild I-Deas, which returns us to the theme of the Pythia/Oracle/Snake connections too. “In Greek mythology, a Gorgon (/ˈɡɔːrɡən/; plural: Gorgons, Ancient Greek: Γοργών/Γοργώ Gorgon/Gorgo) is a female creature. The name derives from the ancient Greek word gorgós, which means “dreadful”, and appears to come from the same root as the Sanskrit word “garğ” (Sanskrit: गर्जन, garjana) which is defined as a guttural sound, similar to the growling of a beast,[1] thus possibly originating as an onomatopoeia. While descriptions of Gorgons vary across Greek literature and occur in the earliest examples of Greek literature, the term commonly refers to any of three sisters […]
(Special Post 2) Multi-linguistic Resemblances of “Mago” by Mago Circle Members

Artwork, “The-great-mother” by Julie Stewart Helen Hye-Sook Hwang: On the word, Magi/Magus, from Magi – Wikipedia, the free encyclopedia. Magi (/ˈmeɪdʒaɪ/; singular magus /ˈmeɪɡəs/; from Latin magus) were priests in Zoroastrianism and the earlier religions of the western Iranians. The earliest known use of the word magi is in the trilingual inscription written by Darius the Great, known as the Behistun Inscription. Old Persian texts, predating the Hellenistic period, refer to a magus as a Zurvanic, and presumably Zoroastrian, priest. Pervasive throughout the Eastern Mediterranean and Western Asia until late antiquity and beyond, mágos was influenced by (and eventually displaced) Greek goēs (γόης), the older word for a practitioner of magic, to include astronomy/astrology, alchemy and other forms of esoteric knowledge. This association was in turn the product of the Hellenistic fascination for (Pseudo‑)Zoroaster, who was perceived by the Greeks to be the Chaldean founder of the Magi and inventor of both astrology and magic, a meaning that still survives in the modern-day words “magic” and “magician”. In the Gospel of Matthew, “μάγοι” (magoi) from the east do homage to the newborn Jesus, and the transliterated plural “magi” entered English from Latin in this context around 1200 (this particular use is also commonly rendered in English as “kings” and more often in recent times as “wise men”).[1] The singular “magus” appears considerably later, when it was borrowed from Old French in the late 14th century with the meaning magician. … An unrelated term, but previously assumed to be related, appears in the older Gathic Avestan language texts. This word, adjectival magavan meaning “possessing maga-“, was once the premise that Avestan maga- and Median (i.e. Old Persian) magu- were co-eval (and also that both these were cognates of Vedic Sanskrit magha-). While “in the Gathas the word seems to mean both the teaching of Zoroaster and the community that accepted that teaching”, and it seems that Avestan maga- is related to Sanskrit magha-, “there is no reason to suppose that the western Iranian form magu (Magus) has exactly the same meaning”[4] as well. But it “may be, however”, that Avestan moghu (which is not the same as Avestan maga-) “and Medean magu were the same word in origin, a common Iranian term for ‘member of the tribe’ having developed among the Medes the special sense of ‘member of the (priestly) tribe’, hence a priest.”[2]cf[3] Helen Hye-Sook Hwang: On the word, Gaia, from Gaia (mythology) – Wikipedia, the free encyclopedia In Greek mythology, Gaia (/ˈɡaɪə, ˈɡeɪə/ GHY-ə, GAY-ə;[1] from Ancient Greek Γαῖα, a poetical form of Γῆ Gē, “land” or “earth”),[2] also spelled Gaea (/ˈdʒiːə/ JEE-ə),[1] is the personification of the Earth[3] and one of the Greek primordial deities. Gaia is the ancestral mother of all life: the primal Mother Earth goddess. She is the mother of Uranus (the sky), from whose sexual union she bore the Titans (themselves parents of many of the Olympian gods) and the Giants, and of Pontus (the sea), from whose union she bore the primordial sea gods. Her equivalent in the Roman pantheon was Terra.[4] … The Greek name Γαῖα (Gaĩa)[5] is a mostly epic, collateral form of Attic Γῆ[6] (Gê), Doric Γᾶ (Gã, perhaps identical to Δᾶ Dã)[7] meaning “Earth”, a word of uncertain origin.[8] Robert S. P. Beekes has suggested a Pre-Greek origin.[9] In Mycenean Greek Ma-ka (transliterated as Ma-ga, “Mother Gaia”) also contains the root ga-.[9][10] Helen Hye-Sook Hwang: Greek mythology of Gaia’s family tree is remotely evocative of the Magoist genealogy written in the Budoji (Epic of the Emblem City), the principale text of Magoism. In Korean, “Mama” is also an honorary title referring to the royal family including ruler, ruler’s mother, father, grandmother and so on. This suggests that “ma” means “mother,” “ruler,” and “Goddess” all at once in gynocentric/gynocratic (Magoist/Magocratic) societies, pre-patriarchal in origin. Helen Hye-Sook Hwang: I came to search the etymology of “montgomery” in relation to Mt. Mago or Mt. Goya and am led to such related terms as Gomer, Gog, Magog. Montgomery (name) – Wikipedia, the free encyclopedia Montgomery or Montgomerie is a surname from a place name in Normandy.[1] Although there are many stories of its origin,[2][3][4][5] An old theory explains that the name is a corruption of “Gomer’s Mount” or “Gomer’s Hill” (Latin: Mons Gomeris), any of a number of hills in Europe named in attribution to the biblical patriarch Gomer,[2] but it does not explain the final -y or -ie (the phonetical evolution would have been *Montgomers) and it does not correspond to the old mentions of the place name Montgommery in Normandie : Monte Gomeri in 1032 – 1035, de Monte Gomerico in 1040 and de Monte Gumbri in 1046 – 1048.[6] More relevant is the explanation by the Germanic first name Gumarik,[7] a compound of guma “man” (see bridegroom) and rik “powerful”, that regularly gives the final -ry (-ri) in the French first names and surnames (Thierry, Amaury, Henry, etc.). Moreover, the name is still used as a surname in France as Gommery,[8] from the older first name Gomeri.[9] Helen Hye-Sook Hwang: On the word, Gomer below from Wikipedia. Gomer (גֹּמֶר, Standard Hebrew Gómer, Tiberian Hebrew Gōmer, pronounced [ɡoˈmeʁ]) was the eldest son of Japheth (and of the Japhetic line), and father of Ashkenaz, Riphath, and Togarmah, according to the “Table of Nations” in the Hebrew Bible, (Genesis 10). The eponymous Gomer, “standing for the whole family,” as the compilers of the Jewish Encyclopedia expressed it,[1] is also mentioned in Book of Ezekiel 38:6 as the ally of Gog, the chief of the land of Magog. Helen Hye-Sook Hwang: On the word, Gog and Magog from Wikipedia. Gog and Magog: They are depicted as monsters and barbarians from the East/Eurasia. Gog and Magog (/ɡɒɡ/; /ˈmeɪɡɒɡ/; Hebrew: גּוֹג וּמָגוֹג Gog u-Magog; Arabic: يَأْجُوج وَمَأْجُوج Yaʾjūj wa-Maʾjūj) are names that appear in the Hebrew bible (Old Testament), the Book of Revelation and the Qur’an, sometimes indicating individuals and sometimes lands and peoples. Sometimes, but not always, they are connected with the “end times”, and the passages from the book of Ezekiel and Revelation in particular have attracted attention for this reason. From ancient times to the late Middle Ages Gog and Magog were identified with Eurasian nomads such as the Khazars, Huns and Mongols (this was true also for Islam, where they were identified first with Turkic tribes of Central Asia and later with the Mongols). Throughout this period they were conflated with various other legends, notably those concerning Alexander the Great, the Amazons, Red Jews, and the Ten Lost Tribes of Israel, and became the subject of much fanciful literature. In modern times they remain associated with apocalyptic thinking, especially in the United States and the Muslim world. Helen […]
(Special Post Mother Teresa 2) A Role Model for Women? by Mago Circle Members

[Editorial Note: The following is an edited version of the discussion that took place spontaneously on Mago Circle from March 1, 2013 for about two weeks. It was an extensive, heated, yet reflective discussion, now broken into four parts to fit the format of the blog. We thank each and all of the participants for your openness, generosity, and courage to stand up for what you believe and think! Some are marked as anonymous. As someone stated, something may have been “written in the heat of the moment” and some might like to change it at a later time. So we inform our readers that nothing is written in stone. As a matter of fact, the discussion is ongoing, now with Magoism Blog readers. Please comment and respond as you wish.] Part II: We Disagree! Stand up for what you believe but be open-minded! Naa Ayele Kumari: I am going to step away from the common responses and say this… Binary is only no in betweens if you choose sides and can’t see the whole. I have been a part of black consciousness movements and women’s movements and both have the capacity for progress as well as extreme viewpoints. Both have the capacity to become so hypercritical that the movement itself transcends common human compassion and understanding. Mother Teresa was a human being with flaws and goodness. She had a public image and private fears and insecurities.. l like all of us. She lived her life the best way she knew how.. Like all of us. She made mistakes.. misjudgments.. Like all of us. But she also DID help and inspire others to help too. It is this dualistic thinking that forces people to feel like they have to assign the label of good or bad and no in between. None of us are all good or all bad.. so it seems to me that to label her has an evil traitor who let people die is no better than labeling her an Angel of god who did no wrong. She was a woman who lived her life and managed to come to worldwide fame and inspire others to love at a time and in an institution that was highly patriarchal and women were not raised up at all. Mother Goddesses in Africa were known for great nurturing and care symbolized by carrying a baby and also carried a machete on the other side for justice. This was the fine balance of wholeness…she was the gentle rain and the storm.. This was binary, but not one or the other but both.. Opposite ends of the same pole. [H]: I’m having a powerful visceral effect from this conversation. I feel as if I’m going to vomit violently. Mother Teresa comes to me in dreams and meditations. Makes me wonder what kind of person I’m seen as if I attract her energy. I have always felt so much love for her. Naa Ayele Kumari: If she comes in your dreams and it has been healing for you… Allow it/ her to continue to be healing for you. Its all about love and anything that is not love… Leave it be.. Vomiting is rejecting something that doesn’t belong with you. Embrace love my sister. Antonia McGuire: I think we may all agree that all belief systems initially began to promote a sense of goodness or fairness to some degree, but over time they are corrupted and produce both advantages and disadvantages. Donna Snyder: Yes, Gandhi, too. Back in the 90’s when I was in a band/performance art troupe called Central Nervous System, I shocked all the guys in the band coming out with an improv in response to a melody played on a banjo tuned like a sitar, called exactly that-Yes, Gandhi. Now make no mistake, he is one of my heroes, devoid of the falsified sentimentality that clings to MT. Gandhi’s work was for the world, for the masses, not for the appropriately humbled. Yet I spoke out about his sexual practices, his use of female bodies. Telling the truth about a hero requires courage. Retreating into a blind defense of a myth is a form of ethical cowardice. Anne Wilkerson Allen: Strangely I had a discussion with someone about the “hero’s journey” moving from metaphorical to physical being part of the problem…..when the “demons” are human instead of our own flaws, there seems to be a tendency to point the finger (and gun barrel) elsewhere. [B]: Fascinating & thought-provoking conversation, all. I think the biggest stumbling block I have with MT is how her acceptance of the dogma of the Catholic church blinded her to seeing and then being moved by the suffering of others enough to do something to alleviate & not vicariously celebrate it. No wonder she “suffered a lack of connection with the Divine”. This crisis with her spirituality seems to have been divorced from her and others’ body wisdom. Self-abnegation (perhaps not the same as “sacrifice”) ultimately backfires because some small part of us insists, “I am worthy!” To which I say, “We are all worthy!” [H]: I do not see or feel that she vicariously celebrated the suffering of others. I feel that she devoted her life to deeply loving and serving the poorest of the poor. I have not been to Calcutta and I have also seen some unimaginable poverty in India that is not like anything that I’ve been exposed to before. I truly believe that she had a very deep way of working with suffering that is not necessarily visible to those more accustomed to modern medical intervention and the resources available for such. I have participated in a very small amount of poverty medicine and the resources that we take for granted are just not readily available to MANY. I learned very powerfully from my experience how blessed and fortunate and often very careless we really are with our precious resources. This discussion has been a learning experience for me. I am trying to not take the critical comments […]

Samhain: Stepping Wisely through the Open Door by Carolyn Lee Boyd

Day of the Dead altar, via Wikimedia Commons According to Celtic tradition, on Samhain (October 31 for those in the north and April 30 for those in the south) the doors between the human and spirit worlds open. Faeries, demons, and spirits of the dead pour out of the Otherworld to walk the Earth. In the past, some would try to hurry ghosts past their houses or ward off evil spirits by setting jack o’lanterns in their windows. They avoided going outside, especially past cemeteries, lest they be snatched away to the Otherworld. In ancient times, some offered sacrifices to propitiate deities. However, others have invited in the souls of friends and family who have passed away. In Brittany, according to W.Y. Evans-Wentz’s Fairy-Faith in Celtic Countries, people would provide “a feast and entertainment for them of curded-milk, hot pancakes, and cider, served on the family table covered with a fresh white tablecloth, and to supply music” which “the dead come to enjoy with their friends” (p. 218). Other cultures also have such welcoming traditions. In Korea, as so beautifully described by Helen Hye-Sook Hwang in her posts about her family’s mourning for her father (Part I and Part II), in Mexico on the Day of the Dead, and elsewhere, food and flowers are brought to cemeteries to honor those no longer in the realm of the living. Many of us live in a society where death is pushed out of sight and Samhain’s sacred traditions have devolved into Halloween, a commercialized children’s holiday. Still, it seems to me that the pandemic, climate catastrophes, and war have made death much more present in our everyday thoughts over the past couple of years than before, so perhaps this year’s Samhain offers us the opportunity to re-examine Celtic and other practices of the past and present to see what insights and meaning they may have for us. Jack o lanterns: By Mihaela Bodlovic, via Wikimedia Commons All these ancient practices respect the spirit world and its power. Whether you believe that the Otherworld can wreak havoc on us at Samhain or not, the realm where spirits dwell clearly has power. Its allure can take us away from focusing on mundane, daily challenges or, more positively, open our eyes to the value of relating to forces that can give richness and meaning to our lives. At the same time, we must remember that each domain has its own power. We can use our physical bodies in beneficial ways that those in the Otherworld cannot. We must respect the power of the Otherworld as well as our own. Some kinds of healing are only possible when we welcome those from the Otherworld into our lives in a healthy way, whether through holiday visits or every day through remembrance, meditation, prayer, or other means. I’m of an age when many of my beloveds are in the Otherworld and so I am beginning to find that the idea of being able to sit with someone I have lost is cause not for fear, but rather joy and comfort. Perhaps those who have longstanding wounds from the past can heal by remembering those we have lost at Samhain and forgiving them or ourselves or realizing that we are no longer bound to those who have hurt us and are now gone. Samhain can also reassure us of the truth of our intuitive sense that our beloveds who we grieve are with us still, in some way, on this night and throughout the year. When we participate in the celebration of Samhain’s opening of doors to the Otherworld, if only for a day, we are honoring our own participation into the great cycle of life, death, and rebirth. We are expanding our vision of ourselves to be more than our bodies on the Earth and experiencing ourselves as connected to many realms, seen and unseen, spirit and human. We are accepting that at some time we will also become ancestors, with all the responsibility that entails and the fulfillment of taking our place in the complex matrix of being that is our universe. When we interact with the souls of those we have lost in ways that are healthy for us, however we may choose and believe that happens, we can also better celebrate the realm of the living. Just as we may listen in various ways for positive messages from those whom we have lost, we can ensure that we are expressing important guidance to those who will come after us by who we are and how we live our lives. We can express that life is worth living, even with all its traumas, and that we respect both the boundaries and the doors between the worlds so that we may continue living fully in our physical bodies on our beautiful, awe-inspiring Earth. I hope my message to my descendants will be: Love your lives. Build on what we have done and do better. Leave behind what we left you that no longer serves. If you feel alone, remember that you have thousands of generations of mothers sending you unconditional love and also generations of women coming after you eager to pick up where you left off. According to Mary Condren in The Serpent and the Goddess, in the most ancient times, “Samhain had been primarily a harvest feast celebrating the successful growth and gathering of the fruits of the past year” (p. 36). While we in the north are coming into the season of death, those in the south are experiencing Beltane, the first moments of spring when the doors between the worlds are also open. The eternal cycle of life, death, and regeneration turns again. Whether you are celebrating Samhain or Beltane, know that this holy time offers us all a chance to enter into the task of maintaining harmony with those we have loved before and for bringing balance between life and death, winter and summer, and the realm of the living and …
Summer Solstice Poiesis by Glenys Livingstone Ph.D.

Seasonal Wheel of Stones Both Summer and Winter Solstices may be understood as particular celebrations of the Mother/Creator aspect of the Creative Triplicity of the Cosmos (often named as the Triple Goddess). The Solstices are Gateways between the dark and the light parts of the annual cycle of our orbit around Sun; they are both sacred interchanges, celebrating deep relationship, communion, with the peaking of fullness of either dark or light, and the turning into the other. The story is that the Young One/Virgin aspect of Spring has matured and now at Summer Solstice her face changes into the Mother of Summer. Summer Solstice may be understood as a birthing place, as Winter Solstice may also be, but at this time the transiton is from light back into dark, returning to larger self, from whence we come: it is the full opening, the “Great Om”, the Omega. I represent the Summer Solstice on my altar wheel of stones with the Omega-yonic shape of the horseshoe. I take this inspiration from Barbara Walker’s description of the horseshoe in her Woman’s Encyclopaedia of Myths and Secrets, as “Goddess’s symbol of ‘Great Gate’[i]”; and her later connection of it with the Sheil-na-gig yoni display[ii]. Sri Yantra. Ref: A.T. Mann & Jane Lyle, p.75 Summer Solstice is traditonally understood as a celebration of Union between Lover and Beloved, and the deep meaning of that is essentially a Re-Union: of sensed manifest form (the Lover) with All-That-Is (the Beloved). This may be understood as a fullness of expression of this manifest form, the small selves that we are, being all that we may be, and giving of this fullness of being in every moment: that would be a blissful thing, like a Summerland as it was understood to be. The boundaries of the self are broken, they merge: all is given away – all is poured forth, the deep rich dark stream of life flows out. It is a Radiance, the shining forth of the self which is at the same time a give-away, a consuming of the self.In traditional PaGaian Summer ceremony each participant is affirmed as “Gift”[iii]; and that is understood to mean that we are both given and received – all at the same time. The breath is given and life is received. We receive the Gift with each breath in, and we are the Gift with each breath out. As we fulfill our purpose, as we give ourselves over, we dissolve, as the Sun is actually doing in every moment. The “moment of grace”[iv]that is Summer Solstice, marks the stillpoint in the height of Summer, when light reaches its peak, and Earth’s tilt causes the Sun to begin its “decline”: that is, its movement back to the South in the Northern Hemisphere (in June), and back to the North in the Southern Hemisphere (in December). Whereas at Winter Solstice when out of the darkness it is light that is “born”, as it may be expressed: at the peak of Summer, in the warmth of expansion, it is the dark that is “born”. Insofar as Winter Solstice is about birth, then Summer Solstice is about death, the passing into the harvest. It is a celebration of profound mystical significance, which may be confronting in a culture where the dark is not valued for its creative telios; and it is noteworthy that Summer Solstice has not gained any popularity of the kind that Winter Solstice has globally (as ‘Christmas’). The re-union with All-That-Is is not generally considered a jolly affair, though when understood it may actually be blissful. Full Flowers to the Flames Summer is a time when many grains ripen, deciduous trees peak in their greenery, lots of bugs and creatures are bursting with business and creativity: yet in that ripening, is the turning, the fulfilment of creativity, and it is given away. Like the Sun and the wheat and the fruit, we find the purpose of our Creativity in the releasing of it; just as our breath must be released for its purpose of life. The symbolism used to express this in ceremony has been the giving of a full rose/flower to the flames. Summer is like the rose, as it says in this tradition[v]– blossom and thorn … beautiful, fragrant, full – yet it comes with thorns that open the skin. All is given over. All is given over: the feast is for enjoying With the daily giving of ourselves in our everyday acts, we each feed the world with our lives: we do participate in creating the cosmos, as many indigenous traditions still recognise. Just as our everyday lives are built on the fabric of the work/creativity of all who went before us, so the future, as well as the present, is built on ours, no matter how humble we may think our contribution is. We may celebrate the blossoming of our creativity then, which is Creativity, and the bliss of that blossoming, at a time when Earth and Sun are pouring forth their abundance, giving it away. In this Earth-based cosmology, what is given is the self fully realized and celebrated, not a self that is abnegated – just as the fruit gives its full self: as Starhawk says, “Oneness is attained not through losing the self, but through realizing it fully”[vi]. Everyday tasks can be joyful, if valued, and graciously received: I think of Eastern European women singing as they work in the fields – it is a common practice still for many. We are the Bread of Life Summer Solstice celebrates Mother Sun coming to fullness in Her creative engagement with Earth, and we are the Sun. Solstice Moment is a celebration of communion, the feast of life – which is for the enjoying, not for the holding onto. We do desire to be received, to be consumed – it is our joy and our grief. Brian Swimme says: “Every moment of our lives disappears into the ongoing story of the Universe. Our creativity is energising the whole[vii]”. As it may be ceremoniously affirmed: we are (each is) …
(Music) Songs for Samhain by Alison Newvine

The season of Samhain is upon us. This playlist is an offering for this descent into the sacred darkness, and a companion for the journey into the underworld. Invocation of Witches features music by Loreena McKennitt, Marya Stark, Inkubus Sukubus, Wendy Rule, my band Spiral Muse, and many others. It is a soundtrack for ceremony and each song expresses a different face of the spirit of the witch. May this Samhain season guide you gently into the dissolution of what no longer serves, the honoring of what is complete and the cultivation of the inner space that will gestate what is yet to come. https://open.spotify.com/playlist/2CFNoH9exhloz3w95P3Rlb?si=270cf01fabb8421c https://www.magoism.net/2023/10/meet-mago-contributor-alison-newvine/
(Prose & Photography) Equinox Reflection by Sara Wright

Photography by Sara Wright I gaze out my bedroom window and hear yet another golden apple hit the ground. The vines that hug the cabin and climb up the screens are heavy with unripe grapes and the light that is filtered through the trees in front of the brook is luminous – lime green tipped in gold – My too sensitive eyes are blessedly well protected by this canopy of late summer leaves. The maples on the hill are losing chlorophyll and are painting the hollow with splashes of bittersweet orange and red. The dead spruces by the brook will probably collapse this winter providing Black bears with even more precious ants and larvae to eat in early spring. I only hope that some bears will survive the fall slaughter to return to this black bear sanctuary; in particular two beloved young ones… Mushrooms abound, amanitas, boletes morels, puff balls, the latter two finding their way into my salads. The forest around my house is in an active state of becoming with downed limbs and sprouting fungi becoming next year’s soil. The forest floor smells so sweet that all I can imagine is laying myself down on a bed of mosses to sleep and dream. The garden looks as tired as I am; lily fronds droop, yellowing leaves betraying the season at hand. Bright green pods provide a startling contrast to fading scarlet bee balm. Wild asters are abundant and goldenrod covers the fields with a bright yellow garment. Every wild bush has sprays of berries. My crabapple trees are bowed, each twig heavy with winter fruit. Most of the birds have absconded to the fields that are ripe with the seeds of wild grasses. The mourning doves are an exception – they gather together each dawn waiting patiently for me to fill the feeder. In the evening I am serenaded by soft cooing. One chicken hawk hides in the pine, lying in wait for the unwary…Just a few hummingbirds remain…whirring wings and twittering alert me to continued presence as they settle into the cherry tree to sleep, slipping into a light torpor with these cool September nights… Spiders are spinning their egg cases, even as they prepare to die. I can still find toads hopping around the house during the warmest hours of the day. Although the grass is long I will not mow it for fear of killing these most precious and threatened of species. I am heavily invested in seeing these toads burrow in to see another spring. My little frogs sit on their lily pads seeking the warmth of a dimming afternoon sun. Soon they too will slumber below fallen leaves or mud. I am surrounded by such beauty, and so much harvest bounty that even though I am exhausted I take deep pleasure out of each passing day of this glorious month of September, the month of my birth. Unlike many folks, for me, moving into the dark of the year feels like a blessing. Another leave -taking is almost upon me, and I am having trouble letting go of this small oasis that I have tended with such care for more than thirty years… I don’t know what this winter will bring to my modest cabin whose foundation is crumbling under too much moisture and too many years of heavy snow. In the spring extensive excavation will begin. A new foundation must be poured and this work will destroy the gardens I have loved, the mossy grounds around the south end of the house that I have nurtured for so long. In this season of letting go I must find a way to lay down my fears, and release that which I am powerless to change. Somehow… I have no idea what I will return to except that I have made it clear that none of my beloved trees be harmed. I am grateful that Nature is mirroring back to me so poignantly that letting go is the way through: That this dying can provide a bedrock foundation for another spring birth. As a Daughter of the Earth I lean into ancient wisdom, praying that this exhausted mind and body will be able to follow suit. (Meet Mago Contributor) Sara Wright.
(Art & Poem) Candelmas/Imbolc by Sudie Rakusin & Annie Finch

IMBOLC DANCE From the east she has gathered like wishes. She has woven a night into dawn. We are quickening ivy. We grow where her warmth melts out over the ice. Now spiral south bends into flame to push the morning over doors. The light swings wide, green with the pulse of seasons, and we let her in We are quickening ivy. We grow The light swings wide, green with the pulse till the west is rocked by darkness pulled from where the fire rises. Shortened time’s reflecting water rakes her through the thickened cold. Hands cover north smooth with emptiness, stinging the mill of night’s hours. Wait with me. See, she comes circling over the listening snow to us. Shortened time’s reflecting water Wait with me. See, she comes circling From Calendars (Tupelo Press, 2003) Art is included in Celebrating Seasons of the Goddess (Mago Books, 2017). (Meet Mago Contributor) Sudie Rakusin (Meet Mago Contributor) Annie Finch
(Book Excerpt) Imbolc/Early Spring within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 6 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Traditionally the dates for Imbolc/Early Spring are: Southern Hemisphere – August 1st/2nd Northern Hemisphere – February 1st/2nd though the actual astronomical date varies. It is the meridian point or cross-quarter day between Winter Solstice and Spring Equinox, thus actually a little later in early August for S.H., and early February for N.H., respectively. Some Imbolc Motifs In this cosmology Imbolc/Early Spring is the quintessential celebration of She Who is the Urge to Be. This aspect of the Creative Triplicity is associated with the differentiation quality of Cosmogenesis,[i] and with the Virgin/Young One aspect of the Triple Goddess, who is ever-new, unique, and singular in Her beauty – as each being is. This Seasonal Moment celebrates an identification with the Virgin/Young One – the rest of the light part of the cycle celebrates Her processes. At this Moment She is the Promise of Life, a spiritual warrior, determined to Be. Her purity is Her singularity of purpose. Her inviolability is Her determination to be … nothing to do with unbroken hymens of the dualistic and patriarchal mind. The Virgin quality is the essential “yes” to Being – not the “no” She was turned into. In the poietic process of the Seasonal Moments of Samhain/Deep Autumn, Winter Solstice and Imbolc/Early Spring, one may get a sense of these three in a movement towards manifest form – syntropy: from the autopoietic fertile sentient space of Samhain, through the gateway and communion of Winter Solstice to differentiated being, constant novelty, infinite particularity of Imbolc/Early Spring. The three are a kaleidoscope, seamlessly connected. The ceremonial breath meditations for all three of these Seasonal Moments focus attention on the Space between the breaths – each with slightly different emphasis: it is from this manifesting Space that form/manifestation arises. If one may observe Sun’s position on the horizon as She rises, the connection of the three can be noted there also: that is, Sun at Samhain/Deep Autumn and Imbolc/Early Spring rises at the same position, halfway between Winter Solstice and Equinox, but the movement is just different in direction.[ii] And these three Seasonal Moments are not clearly distinguishable – they are “fuzzy,”[iii] not simply linear and all three are in each other … this is something recognised of Old, thus the Nine Muses, or the numinosity of any multiple of three. Some Imbolc/early Spring Story This is the Season of the new waxing light. Earth’s tilt has begun taking us in this region back towards the Sun. Traditionally this Seasonal Point has been a time of nurturing the new life that is beginning to show itself – around us in flora and fauna, and within. It is a time of committing one’s self to the new life and to inspiration – in the garden, in the soul, and in the Cosmos. We may celebrate the new young Cosmos – that time in our Cosmic story when She was only a billion years old and galaxies were forming, as well as the new that is ever coming forth. This first Seasonal transition of the light part of the cycle has been named “Imbolc” – Imbolc is thought to mean “ewe’s milk” from the word “Oimelc,” as it is the time when lambs were/are born, and milk was in plentiful supply. It is also known as “the Feast of Brigid,” Brigid being the Great Goddess of the Celtic (and likely pre-Celtic) peoples, who in Christian times was made into a saint. The Great Goddess Brigid is classically associated with early Spring since the earliest of times, but her symbology has evolved with the changing eras – sea, grain, cow. In our times we could associate Her also with the Milky Way, our own galaxy that nurtures our life – Brigid’s jurisdiction has been extended. Some sources say that Imbolc means “in the belly of the Mother.” In either case of its meaning, this celebration is in direct relation to, and an extension of, the Winter Solstice – when the Birth of all is celebrated. Imbolc may be a dwelling upon the “originating power,” and that it is in us: a celebration of each being’s particular participation in this power that permeates the Universe, and is present in the condition of every moment.[iv] This Seasonal Moment focuses on the Urge to Be, the One/Energy deeply resolute about Being. She is wilful in that way – and Self-centred. In the ancient Celtic tradition Great Goddess Brigid has been identified with the role of tending the Flame of Being, and with the Flame itself. Brigid has been described as: “… Great Moon Mother, patroness (sic … why not “matron”) of poetry and of all ‘making’ and of the arts of healing.”[v] Brigid’s name means “the Great or Sublime One,” from the root brig, “power, strength, vigor, force, efficiency, substance, essence, and meaning.”[vi] She is poet, physician/healer, smith-artisan: qualities that resonate with the virgin-mother-crone but are not chronologically or biologically bound – thus are clearly ever present Creative Dynamic. Brigid’s priestesses in Kildare tended a flame, which was extinguished by Papal edict in 1100 C.E., and was re-lit in 1998 C.E.. In the Christian era, these Early Spring/Imbolc celebrations of the Virgin quality, the New Young One – became “Candlemas,” a time for purifying the “polluted” mother – forty days after Solstice birthing. Many nuns took their vows of celibacy at this time, invoking the asexual virgin bride.[vii] This is in contrast to its original meaning, and a great example of what happened to this Earth-based tradition in the period of colonization of indigenous peoples. An Imbolc/Early Spring Ceremonial Altar The flame of being within is to be protected and nurtured: the new Being requires dedication and attention. At this early stage of its advent, there is nothing certain about its staying power and growth: there may be uncertainties of various kinds. So there is traditionally a “dedication” in the ceremonies, which may be considered a “Brigid-ine” dedication, or known as a “Bridal” dedication, since “Bride” is a derivative of …

(Essay 3) Making the Gynocentric Case: Mago, the Great Goddess of East Asia, and Her Tradition Magoism by Helen Hwang

[Editor’s note: Numbers of endnotes differ from the original ones in the article] Claiming the Budoji (Epic of the Emblem City) as a Principal Text of Magoism The Budoji (Epic of the Emblem City) stands out from other sources for its systemic and refined mytho-historical account of Old Magoism. Alleged to have been written in between the late fourth and early fifth century of Silla Korea (57 BCE-918 CE), the Budoji is the Sillan testimony to the history of Budo (Emblem City), a replica of Mago’s Citadel. It is a book that summons ancient Koreans to remember the glorious history of their Magoist ancestors particularly Budo, better known as Dangun Choson Korea (2333 BEC-232 BEC). Budo’s construction and administration in East Asia for nearly two millennia are attributed to the leadership of Imgeom or Dangun. She is the third of the triad sovereigns of Old Magoism after Hanin and Hanung. Designating the civilization of Budo as a direct successor of its previous civilization Sinsi (Divine Market) attributed to the leadership of Hanung, the Budoji traces the Magoist pedigree of pre-patriarchal civilizations ultimately back to Mago and her paradisiacal community, Mago’s Citadel.[i] Composed of thirty-three chapters, its epical narrative is replete with unheard but resonant concepts and symbols such as cosmic music, triad, parthenogenesis, mountain paradisiacal community, genealogy, and so on. Among others, the Budoji unleashes one most fascinating cosmogonic account yet-to-be-known, the story of Mago’s beginning.[ii] Mago, emerged by the cosmic music alongside the stars in the primordial time, began her procreation. Then she initiates the natural process of self-creation. She had her offspring to procreate and asked them to administer the paradisiacal community in Mago’s Citadel. She is the cosmic being who listens to the rise and fall of the cosmic music. The primary task of Mago’s community was to produce Earthly musical resonance that corresponds with the music of the universe. The sonic balance between the universe and the Earth is absolutely essential to the survival and prosperity of the earthly community.[iii] The Budoji not only makes it possible to recognize a large corpus of transnational primary sources as coherent within the context of Magoism but also enables the researcher to understand erosion, variation, and mutation wrought on individual data in the course of history. Budoji’s mytho-historical framework is particularly crucial in assessing the large number of folkloric and topological data that are otherwise seen anomalous or corrupted. For example, the stories that Mago lived in a rock or Mago carried large boulders on her limbs and built megalithic structures find resonance in Budoji’s narratives. Its accounts concerning rocks and landmasses are too complex to present here. Some examples are: Mago began her act of creation by moving and dropping a heavenly landmass and into heavenly water; Magoist sovereigns became rocks that made resonating sounds upon death. In short, Magoism animates pre-Chinese history of East Asia otherwise labeled as “primitive societies.” It entertains the idea that animism and shamanism are not isolated practices but the older religious forms of Magoism.
(Book Announcement 4) Introduction (part 2) by Helen Hye-Sook Hwang

[Editor’s Note: This Introduction is from She Rises: How Goddess Feminism, Activism, and Spirituality? Volume 2.] Pre-order available now! The Text of the Primordial Mother/the Creatrix/Mago She Rises Volume 2, like her predecessor, is born out of the Magoist vision.[i] It intends to raise the collective consciousness of WE, a cognitive symbolic system derived from the knowing of the Primordial Mother or the Creatrix. One may call it an embodied knowing or gynocentric epistemology. Our stories shed light on the holistic view in which all parts are revered as a microcosm of the Creatrix. The She Rises book is an emblem of gynocentric cosmology: All contributions are interconnected and the book is enriched by each and all contributions. This book is NOT just about what we have discovered and what we have experienced about Goddess feminism, activism, and spirituality but what and how we do with our discoveries and experiences. Where are we heading to with our knowing of S/HE? The collective consciousness of WE summons a gynocentric reality. This book is designed to show our togetherness in our uniqueness. It stands for unity that is enhanced by the diversity of individuals. The key phrase in the subtitle, “Goddess feminism, activism, and spirituality,” is a reminder of the all-embracing gynocentric way of our becoming. We ARE committed to the making of the book to reflect the gynocentric principle of unity in diversity. We allow our differences to lead us to a new (read gynocentric) territory without making ourselves fall into factionalism. Competition in a constructive manner helps us grow. But factionalism destroys us. We speak our truths not to argue or win. We speak our truths because they are true to us. Truth speaks, even when we can’t hear. And we trust ourselves to speak our truths in HER. And S/HE shall bring us together in WE. To trust in our contributors is the map that we editors have followed in She Rises collective books. In the process, we have learned that what we really need to be careful of, not the other camp of Goddessians, but what really divides us among Goddessians/Magoists. In my Introduction to She Rises Volume 1, I drew attention to the word “Goddess,” concerning our need to reclaim it despite its linguistic drawback. Summarily, we strategically adopt the word, “Goddess,” knowing its derivative and subsequently dualistic nature from the word “God” in the English language.[ii] We are aware of the functional nature of language, a means for the meaning that we intend to convey. We choose one word over another for our political and utilitarian reasons. Our use of the word “Goddess” has given us a common ground to come together and interweave the She Rises books. The Magoist vision of the book merits the stance that the Goddess is not just the female divine or a sum of female deities but the Great Goddess, the Primordial Mother. It is S/HE who allows us the holistic view of WE/HERE/NOW, the ultimate reality. We who are awakened in S/HE know that we ARE this S/HE reality. In writing my Introduction to the second book, another term has come to my attention, “feminine.” As seen in this book, some of our authors have favorably chosen the word, “feminine” in support of Goddess feminism, activism, and spirituality for reliable reasons. The context wherein the term is used is complex and highly suggestive of the female divine power. In their uses, some make it clear that the feminine refers to the female divine nature/power of women. Others use it in redefining and deconstructing patriarchal definitions of “the feminine.” It is true that “the divine feminine” or “the sacred feminine” has taken on popularity so much so that it appears almost indispensable in the Goddess Talk. Nonetheless, I hold that there is a point that we need to think and explore together the meaning of “feminine.” Linguistically speaking, referring to the gender quality of women, the meaning of “feminine” fluctuates. I find it worth broaching these questions to us: Is the term “feminine” empowering Goddess feminism? Why yes? Why no? These questions can only be answered by our authors and readers. We editors by no means advocate the purge of the term, feminine, from this book. Forcing unity is not gynocentric. We propose the question as an ongoing conversation among Goddessians. Here is my stance to the question, which is yes and no. When the context indicates an ancient (read gynocentric) or feminist meaning, the word “feminine” certainly empowers women. When “the divine feminine” indicates the Primordial Mother within an environment like this book, the word is empowering. Put differently, the meaning of “feminine” can be conveyed as gynocentric, that is, women-empowering, when “the divine feminine” refers to the Creatrix, the Great Goddess. In this case, the gender quality of “feminine” is coherent with the biological quality of “female.” The meaning of “feminine” in such context does NOT reflect the patriarchally-imposed qualities of women; the feminine is gynocentric and sacred. However, when the word “feminine” is used outside the gynocentric context, it becomes dubious in meaning, if not self-defeating, obstructing the impetus of women’s empowerment. Referring to the gender quality (read a social/patriarchal construct), of women, the meaning of “feminine” changes in different times and cultures. It is not free from socio-cultural settings. Being feminine today in the U.S. would be very different from being feminine two centuries ago. Also, being feminine today in one country would be very different from being feminine today in another country. On the other hand, the word, “female,” conveying the biological and biologically-derived quality of women, remains coherent in meaning across times and cultures. “Female” offers us a solid ground to build our feminist activism and feminist spirituality. Thus far, we women still hold the power of female biological and biologically-derived traits. The word, “feminine” alone risks a powerful conceptual ground for Goddess feminism. Precisely, it falls short in capturing the divine power of the Primordial Mother, the Creatrix. For example, I …
(Goma Article Excerpt 3) Goma, the Shaman Ruler of Old Magoist East Asia/Korea and Her Mythology by Helen Hye-Sook Hwang

[Author’s Note: This essay was first published in Goddesses in Myth, History and Culture, published in 2018 by Mago Books.] The Goma Words The Bear Goddess In the coventional interpretation of the Korean foundation myth, “Ungnyeo (熊女)” is the name given to the bear (Gom) who received a female body upon enduring the trial of the cave initiation, married Hanung, and gave birth to a son who later became the founder of the ancient Korean state, Joseon (2333 BCE – 232 BCE). As such, “Ungnyeo” and “Gom” are unequivocally identified as the same figure. Nonetheless, the notability of “Ungnyeo” remains secular to most modern Koreans. That Gom is also involved with the bear constellation, the Northern Dipper in particular, remains esoteric at best. The bear mytheme of the Goma myth offers an insight to the etymology of both words, “Mago” and “Goma.” Given the mythological evidence that associates both Goma and Mago with the bear constellation, we may establish that the syllable “Go (姑 Ancient Goddess)” in “Mago” and “Goma” is derived from “Gom,” which means the bear in Korean. Modified by “Ma,” a universal sound for “mother,” both “Goma” and “Mago” refer to the Bear Mother. This assessment merits, among others, an explanation for the bear mytheme in the Goma myth in which Goma is depicted as the head of the royal bear clan. The bear is one of the most prominent symbols of Goma and Mago together with the nine and the tree. Goma, as the bear Goddess, holds together the animal bear, the bear worshipping people, and the circumpolar constellation of the Bears (Ursa Major and Ursa Minor) in the Northern Hemisphere. Indicating the bear totem and the bear constellation, the bear symbol runs through her myths and linguistics. In the story, the cave initiation that Goma proposed intimates the ancient bear worshippers associated with the bear’s cyclic behaviors including hibernation for the long winter months in a cave. The bear symbol is important in that it connects Goma (the queen of the bear clan), Mago (the Goddess of the bear constellation), and their devotees, “the royal bear clan,” broadly recognized across cultures. It is not surprising to note that Goma and Mago appear conflated in cultural and devotional practices. Doumu (斗母 Mother of the Northern Dipper) is a prominent example of the amalgamated divine, Magoma. Doumu is well noted for her conflating manifestations among kindred Goddesses in Daoism. Marnix Wells states that Doumu is alternatively identified as Taiyi Yuanjun (太一元君 Goddess of the Great One) and Jiuhuang Daji (九皇大帝 the Great Emperor of Nine Emperors). Doumu is considered as “Mother of Dipper” known as Doumu Yuanjun (斗母元君 “Goddess of the Chariot”) and conflated with Taiyi Yuanjun (太一元君 “Goddess of the Great One”), who is one of the Three Pure Ones. She is considered the mother of the seven stars of the Dipper and two not visible ones, the Jiuhuang Daji (九皇大帝 “Nine Great Divine Kings”).[1] Here Taiyi Yuanjun corresponds to Mago (or the Mago Triad) and Jiuhuwang Daji to Goma (or the Nine Mago Creatrix). As such, Doumu is also related to the number nine symbol, which connects Mago and Goma, a topic to be explained below. Suffice it to say that Doumu, representing Magoma, is a female personification of the inter-cosmic reality unfolded through the circumpolar constellation of the Bears in the Northern Hemisphere in sync with the eco-biotic behavior of bears, as such venerated by their devotees. Goma and the Korean Identity Goma’s alternative names include “Ungnyeo (Female Sovereign),” “Hanung (Han Sovereign),” “Cheonung (Heavenly Soverein),” “Daeung (Great Sovereign),” “Seonhwang (Immortal Emperess),” and “Daein (Great Person)” as well as “Ungssi-ja (Decendant of the Goma Clan), “Ungssi-wang” (Ruler of the Goma Clan), and “Ungssi-gun” (Head of the Goma Clan). The Goma words also include such modifiers as “Ung,” “Gom (Gam, Geum, Geom, Kami)” and “Baedal (Barkdal, Baekdal), “Dan.” Given that her worship is old in origin and non-ethnocentric in nature, the Goma epithets are not limited to the above. It is conjectured that she was revered by other names including the aforementioned Goddesses across cultures. In fact, the Magoist hermeneutic of the Goma myth enables us to reassess variant Halmi (Great Mother/Grandmother/Crone) stories in Korea that have the Magoma mytheme. Among them are Gaeyang Halmi, Seogu Halmi, Angadak Halmi, Dangsan Halmi, to name a few. In any case, the epithet “Goma” is by no means a modern invention. Intriguingly, they are found in place-names, state-names and clan-names, to be discussed shortly. The link between “Ung” and “Gom” is not something unfamiliar to most Koreans. Researchers note that “Goma-seong (Goma Stronghold)” better known “Ungjin-seong” was the capital of ancient Baekje Korea from 475 to 538 CE.[2] However, “Gom” as an alternative epithet of “Goma” remains unfamiliar to many modern Koreans. Furthermore, little known is that “Ungnyeo” is derived from “Goma,” the queen of the bear clan. Korean linguists infer that “Ungsim (熊心)” is an Idu word and should be read “Goma.”[3] Accoding to them, the second character “Sim (心)” meaning “Maeum (마음)” in “Ungsim” is an indicator of its phonetic sound, “Ma.” Following the first character “Go” in “Gom (곰), “Ungsim” should be read as “Goma.” A compound of “Ung (熊)” and “Nyeo (Woman),” “Ungnyeo” is a euphemism for “Ungsim (熊心).” Idu (吏讀 Official’s Script) is an ancient Korean writing system that uses logographic characters for the Korean spoken language. Its use is noted during the early three states (Silla, Goguryeo, Baekje) to Joseon (1392-1919) periods. That Goma is the Idu word for Ungsim offers no small insight. It holds key to unlock a broad range of the Goma words found trans-nationally in East Asia and elsewhere. The Idu word “Ungsim” for “Goma” holds the key to unlock the Goma words that permeate ancient Korean history, language, and culture. Ungsim-yeon (熊心淵 Goma Lake) and Ungsim-san (熊心山Goma Mountain) and Ungsim-guk (熊心國 Goma State) are the most prominent examples. These place-names show how Goma mythology has shaped the landscape of ancient Korean mytho-histories. Ungsim-yeon (Goma Lake) is associated with Yuhwa (Willow Tree …

Category: Awakening

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