October 7, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

(Book Review) Danica Anderson’s Blood and Honey by Glenys Livingstone Ph.D

This book is an entrance into the grief and hope of the Mother (Earth/Cosmic Mother), in a particular region of Her stress (South Slavic countries); which is a place wherein Read More …

September 2, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

(Review) Vibrant Voices: Women, Myth, and the Arts, editors Sid Reger & Marna Hauk, by Glenys Livingstone Ph.D.

If you are passionate about Goddess in your heart and mind and life, you only need to see/hear the titles of the five sections of this book Vibrant Voices: Women, Myth, Read More …

July 1, 2019March 31, 2022 Glenys D. LivingstoneLeave a comment

(Essay 3) The Power of Metaphor – Spelling Ourselves, Our World by Glenys Livingstone Ph.D.

This essay is part 3 of an edited excerpt from the Introduction to the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion, and was originally part of her doctoral thesis, The Read More …

June 3, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

(Review) Journey into Dreamtime by Munya Andrews, reviewed by Glenys Livingstone

Although the term “Dreamtime” is often not considered an adequate translation of the cosmology, religion or spirituality of Indigenous Australians, Munya Andrews of the Bardi people from the Kimberley region Read More …

May 6, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

(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 Read More …

March 4, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

(Essay) A Meta-religious Metaphor By Glenys Livingstone Ph.D

This essay is an edited excerpt from Chapter 8 of the author’s bookPaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Thomas Berry has said that we need to understand that the challenge Read More …

February 4, 2019November 15, 2019 Glenys D. LivingstoneLeave a comment

Lammas/Late Summer in PaGaian tradition By Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 5 of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Traditionally the dates for this Seasonal Moment are: Southern Hemisphere – Read More …

November 5, 2018November 15, 2019 Glenys D. LivingstoneLeave a comment

(Prose) Desire: the Wheel of Her Creativity by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the concluding chapter (Chapter 8) of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Place of Being is a passionate place, where Read More …

October 1, 2018November 15, 2019 Glenys D. LivingstoneLeave a comment

(Essay) Feminist Discourse: Gaian Concourse by Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 2 of the author’s book PaGaian Cosmology:Re-inventing Earth-based Goddess Religion The focus of my work in the authoring of a PaGaian Cosmology Read More …

September 3, 2018November 15, 2019 Glenys D. LivingstoneLeave a comment

(Book excerpt) A Journey with Inanna by Glenys Livingstone Ph.D.

An essay from the anthology Inanna’s Ascent: Reclaiming Female Power edited by Trista Hendren, Tamara Albanna, and Pat Daly. Forty years ago (1978) I signed a letter to an editor “in Read More …

July 2, 2018November 15, 2019 Glenys D. Livingstone5 Comments

Goddess Pilgrimage Central Queensland Australia by Glenys Livingstone Ph.D.

Her vulval images are in abundance in this place, Carnarvon Gorge, Central Queensland Australia; however, in a cultural milieu that can barely say the word ”vulva”, let alone understand the Read More …

June 22, 2018November 15, 2019 Glenys D. Livingstone1 Comment

(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. Read More …

June 9, 2018November 15, 2019 Mago WorkLeave a comment

(Book Excerpt 3) Re-visioning Medusa Eds. by Glenys Livingstone, Trista Hendren et. al.

Medusa: Wisdom of the Crone Moon Theresa Curtis, Ph.D. ALL MYTH IS AN UNFOLDING of both being and becoming. Hence, Medusa equally was—as Herself, precisely—and is—brewing Her story as circumstances Read More …

(Essay) The Magic Comb by Hearth Moon Rising

One of the first things I do upon rising in the morning is to comb my hair. In my mind, detangling my hair is a way of sorting out my thoughts, helping me to think clearly. Some readers of this blog are old enough to remember being given a comb, brush and mirror set for a special “big girl” birthday. It would be the finest set a family could afford — expected to be used the girl’s entire life. Ivory, tortoiseshell and silver were the most fashionable materials, valued as much for their dearness as their utility. Today, a comb is not an item of conspicuous consumption, and wooden combs are preferred because they detangle without leaving a static charge. Still, a comb is a very personal object, and most women value one with size, shape and tooth-spacing conducive to her particular hair. Not surprisingly, women (and sometimes men) were once buried with their combs, and the quality and workmanship of the comb provides information about the status of the individual. The oldest extant combs are carved of bone, ivory or antler, although very rarely, a wooden comb survives the passage of time. A few mucky-mucks went to the other world with a gold comb. Since some mummies have been discovered with lice, it’s a good thing the ancient Egyptians included nit-combs in their burial goods, although I personally prefer to envision an afterlife without head lice. Despite the importance and ubiquity of the implement, little has been noted about the comb and its symbolism. Marija Gimbutas has identified a comb symbol going back to the painted vultures at Catal Huyuk (6,000 bce). She finds the comb symbol on a variety of pottery and goddess figures from Neolithic and Iron Age Europe. Combs from the Switzerland area portray stylized feminine forms with breasts or vulvas. Gimbutas adds that: To this day, European peasants use the comb for protection against diseases and other evils and for healing purposes. Children and women after childbirth wear comb pendants on their front or back, a custom inherited from prehistory when it was considered necessary to appease the Vulture (Death) Goddess during the period of her rule in order to secure a safe and healthy life. The comb as women’s symbol refers not just to hair combs but combs associated with processing textiles, once exclusively women’s work. The goddess Athena murders her rival Arachne with a loom comb. The comb symbol often appears on spindle whorls. Hittite tablets record a rite for newborns performed by the midwife involving a sheep’s wool comb. There is a strong connection between hair combing and water. Sea goddesses like Venus are pictured with combs. In folklore, rain can be caused by combing hair. Sometimes pearls, which come from the ocean, are combed out of hair—although a witch can also cause hideous things to be combed. Pre-Christian and medieval symbol stones from Scotland, called “Pictish Stones,” frequently show a comb-and-mirror combination. It is not known exactly what the comb-and-mirror signifies, except that it is believed to be a feminine symbol. In Scottish lore, seductive mermaids are famous for sitting on rocks combing their hair, a special magic they perform to lure sailors to their death. The Irish goddess Medb, with her legendary sexual appetite, has a comb as her symbol. Sexuality, particularly women’s sexuality, has been considered a malevolent force by Christianity, but the mermaid with her comb and mirror is carved on many Irish churches, indicating the symbol may once have had a more benign interpretation. Perhaps the power of the mermaid combing her hair symbolized the fertility of the sea, offering a bounty of food. In Germanic folklore, mythic creatures with combs also perform mischief. If a man chances upon a water nymph combing her hair, he must assume she has called him there with her magic and marry her within three days, or he will die. Sprites come out at night to comb the manes of horses or the beards of goats, presumably to gain power from these animals. In a Russian fairytale, a cat with a magic comb appears, and this comb is like no other. Drawing on the contrary nature of the domestic cat, this comb tangles instead of detangles. The heroine uses the cat’s comb to create a tangled forest behind her as she escapes her pursuer. The Christian church at one time recognized the ritual power of the comb. Liturgical combs were widespread in the early Middle Ages, although their exact symbolism and function is unknown. There are obscure references to ritual hair-combing of priests that may still occur in some Christian churches but details are not available. A comb spell for Halloween surfaced in colonial America that probably has older precedents. A woman (always a woman) would light a candle and sit before a mirror, combing her hair while looking for her future lover behind her shoulder. This form of divination remained a popular Halloween game to the early twentieth century. Comb spells are surprisingly scarce in books about modern witchcraft, and the comb is not listed as one of the core magical tools in any book I have run across. Ed Fitch, in Magical Rites from the Crystal Well, has offered a comb-and-mirror spell for women that is somewhat well-known. The comb is a powerful magical tool, almost exclusively a woman’s magical tool, and we should make better use of it. Comb-and-mirror spells are simple and need little elaboration. Though I’ve combed only a limited geographic region for this article, I have no doubt that women’s magical traditions around the comb could be found in West Africa, China, India, and probably many other places as well. Though combs have gotten some attention as art history, the comb as a shamanic tool has not been adequately explored. Sources Answers.com “Liturgical Comb.” http://www.answers.com/topic/liturgical-comb-1 The British Museum, “Liturgical Comb Made of Ivory.” http://www.britishmuseum.org/explore/highlights/highlight_objects/pe_mla/i/liturgical_comb_made_of_ivory.aspx. Edwardian Promenade. Hallowe’en in the Guilded Age. http://edwardianpromenade.com/amusements/halloween-in-the-gilded-age/ Fitch, Ed. Magical Rites from the Crystal Well. St. Paul, MN: Llewellyn, …
(Prose) Our Loss of Od by Deanne Quarrie

Freyja is an Old Icelandic goddess of the Earth, fertility, and beauty. Her name means “Lady.” Freyja is known to be very beautiful and sexual. It is thought that Freyja was first in union with Od. This union represented what is known in Old Icelandic as sam-vit, a state of united consciousness. In other words, consciousness that reflects a state of being united, integrated, or whole. Od had vanished from Her life causing her to weep for his loss. Where her tears fell on the land, they turned to amber and where they fell in the Sea they became gold. Amber and gold are both sacred to Freyja. From the time he left, she continued to travel and search for him. We come into this world as infants, and in that state only experience the present moment. We know our mothers from the heart beat felt in the womb and perhaps through other senses as yet undefined. We know at any given moment that we are hungry or content, wet or dry, sleepy or wakeful. Our ability to see is not fully developed and at first we see only hazy images around us. We are born knowing how to cry. It is our only way to communicate as infants. Our interests focus only on “self” and our own needs. We are, except for this ability to cry, basically helpless, unable to do anything except be where we are placed and are totally dependent on those who care for us. As we mature, however, we begin to hear and identify sounds, see colors and shapes and taste foods we like or dislike. We learn to smile when something pleases us and we learn to laugh when feeling happiness. We learn to recognize other people, sounds and gestures and eventually the many words spoken to us. We learn to scoot, crawl and finally walk. With that we learn to mimic and then, with understanding, communicate with speech. We still however, live very much in the “now.” As children, if not damaged by the care given us, we are fully sensing beings. We may not always understand our sensory perceptions because our experience is limited but we use our senses easily. We are creatures of exploration and discovery. Using an Old Icelandic term once more, you might say finna is fully active at this time. Finna is a critical and innate element of being that is critical to our spiritual and physical health and well-being. It means to discover, find, perceive, notice, feel, learn, to come across, and to meet. Something happens to us when we are old enough to enter school. We are placed in an environment where sensory exploration is no longer the focus but rather we begin to develop left brain perception, through reading and writing. We are taught to be more analytical, oriented toward mental processes rather than sensory awareness. Because of the rigid conformity required of us, we lose the ability to be open and much of the inherent wonder and deep curiosity of our own body’s desire to be open to our environment is lost. For those of us on a spiritual path, awareness of this loss comes to us as we seek answers to our own spiritual questions. Our yearning is much like that of Freyja for her Od. We have body memories of our connections to the sacred in those simple ways of childhood. We may not consciously remember what it is like to be open to all that is around us, but there is an inner yearning to seek and find, no matter how elusive it might be. Once we recognize that we are sacred beings and one with our Source, as well as everything else around us, the connections begin to grow. We take ourselves out into nature. We learn to really “see” what is around us. We learn that everything can speak to us, tell us what we need to know, if we listen. We study our past, digging deeply into our ancestors spiritual past wanting to know who their gods and goddesses were and we actively engage with them in our own lives. We learn that our bodies truly are our temple because they house our sacred spirit. From this we begin to see the advisability of caring for our bodies and begin eating in healthy ways. We learn to take care of this “temple” we have been given or have chosen for ourselves. If we allow it, music can enter our souls and speak to us, recalling far distant longings, awakening emotions hidden deeply within. Our food can give us new pleasure, with taste sensations unnoticed before. We learn about our deep inner nature, our lightness and our shadow. We acknowledge and love both. We see who we are though our learning about ourselves, perhaps through the many self-development avenues available to us. We learn to love who we are no matter if flawed or not, because we know that all are flawed in one way or another and we see that even “flawed” is a faulty perception. As we explore the five senses given to us at birth, opening in our perceptions, somehow another sense is developed and it is a returning of our own intuitive awareness. We have the ability to know of things seen by the inner eye and heard by inner ears. We delight in the sense of touch, both in the touching and in the being touched. And so this ongoing search for Od that we have leads us into a return to a natural state of openness and from there to an inner consciousness that reflects the state of being united, integrated, and whole. When we are in that state we are able to access all that we need to manifest all possibilities in life. Our Freyja will have found her Od. Meet Mago Contributor, Deanne Quarrie
(Art) Palmistry by Liz Darling

(Meet Mago Contributor) Liz Darling.
(Poem) what Lupa says by Susan Hawthorne

Lupa, Photo Susan Hawthorne, © 2013 air is sweet in this forest as we followearth’s ridge toward an Etruscanhollow Diana runningalongside me shrine of Demeter dug deep in soilscraped from earth’s heartsmells of two millenniaunderworld protection whiff of ancient rust of grainher figure in an alcove wheat stalkvisible in her hand I sniff stale airdamp walls nightfall we camp in ancient cavesDiana seeks traces of handprints spiral whorlsrounded forms in the space between night and dayair from Aurora’s wings shiversalong my coat I curl into her bellyseeking warmth rock temple holds usthrough nocturnal hoots and howlsdawn birdcalls wake meinto saffron light Notes I wrote this poem while on a six-month Literature Residency in Rome. The purpose of the residency was to write the book Lupa and Lamb. I returned to Rome briefly last year and while I enjoyed revisiting some old haunts, it seemed to have lost some of its patina. Perhaps because of the huge numbers of visitors. Lupa is the mother wolf of Rome. But she is much more than that and has associations with other historical and mythical figures: Ilia, Rhea Silvia, Acca Larentia, Diana, Artemis, Artemisia. The first four are really the same woman/wolf. Lupa means both ‘wolf’ and ‘prostitute’. Ilia/Rhea Silvia is raped by the god, Mars and when she becomes pregnant is imprisoned. Lupa, the she-wolf, finds Ilia’s twins who are raised by Acca Larentia (also known as Lupa). Diana, Artemis, Artemisia is identified as a goddess, the mistress of the forests, of wolves; she who runs with hounds. As Artemisia she is a herb and the artist, Artemisia Gentileschi, who was publicly scorned when she was raped. In this book, Lupa is sometimes a dog. The reference to Aurora is to the Roman goddess of the dawn. And to Demeter, not far from Rome in Viterbo, there are Etruscan votive offerings to Demeter that date back to at least 1000 BCE. https://www.magoism.net/2013/12/meet-mago-contributor-susan-hawthone
(Poem) Winter by Jillian Parker

Long had the last currants fluttered to the earth, Raspberries and blueberries melted in the frost, Splitted logs were waiting on the hearth, The first mitten already had been lost, But the red rowan berries still hung waiting For the rustling and the fluttering For the shuddering and the clustering The sudden mustering of red wings. One hundred wings and fifty carmine coats Twenty minutes’ allotment for their grand attack Stuffing rowan berries down their scarlet throats Straightaway they’re gone, next year they’ll be back. Read Meet Mago Contributor, Jillian Parker.
(Art) Mago by Lydia Ruyle

Mago of old Korea and East Asia, also known as Magu, Mako, Samsin Halmeoni (Triad Grandmother Goddess) and Cheonsin (Heavenly Deity), is the Great Goddess. Mago is the progenitor, creatrix, and ultimate sovereign. Early gynocentric cultures venerated Her in many forms. Her multivalent identities include an immortal, mendicant, crone, shaman, and/or nature-shaper of mountains, rocks, caves and seas. In art, Mago often carries a basket of lingzi mushrooms, medicinal herbs and flowers–all symbols of immortality. Source: Painting c. 1400 CE by Seokgyeong. Joseon Dynasty. Korea Meet Mago Contributor, Lydia Ruyle.
(Poem) lingua ignota by Donna Snyder

the rule–theless common than aindefinite more common than definitea code herelingua ignotathe litterae ignotaehere with no Hildegarde to translateno sybilline instructorher latinate Rheinish codea DNA of visionsa hierarchy of angels and symbolsa more common than thea secret alphabet of sistersspies everywherea secret langugeanother hierarchy stillbut of words as symbolthe Benedctine rule of orderused to bend Vatican lawa Catholic near saint still subversivenearer to being protestant than papishsoon to be declared a saint by the Holy Seea secret language of sistersstudents and teachersconfessors and confidantesspies everywhereHildegarde and her Juttatap into your FXP20bend your mouth around the name of her JuttaJudith her Yittya teacher who recognized the extraordinary studentHildegardemore rare than angels dancingshe who created words and lettersin the beginning was the Wordand the Word is Godwords and letters usedsigns communicatedmusical notes used to create prayersto preach perfectibilityshe who gave voice to perpetuate silenceher hierarchical language hiddenhiding power and thought from the Church hierarchythe truth of visions and remedieseffulgence unsuppressedemanations of glory extend far beyond Rhinelandish valleysbeyond Latinate Romebeyond continents and centuriesnothing in her mind not first in heaven’s naturenature more common than ecstasya secret language of flowersherbs and angelsthe code herea code herea more common than the
(Prose) The Traveling Cosmogony by Alaya Advaita Dannu

There are three devotional practices that I engage in every day. I will share the details of one of them, since it is the most striking and public display of “How” Goddess spirituality and activism. “… you’d have to find the primordial waters of creation… … that is where I come from, that is what created me. I am from the Oldest of the Old. She/The Waters created itself from itself and then brought forth the sun. So light came from within darkness. … a nebulous space, mostly red in color, where stars were being created… … moving within this space is like swimming in water, only I am swimming amongst stars. A large eye appeared, manifested from the red gases of the nebula. In this eye – within its pupil – I can see more universes held within it… I reached out to it… … small stars swelled within it and fell from the Eye, floating/gravitating towards me. The Eye cried tears of stars… they clustered onto my fingertips, spreading out into a thin layer of light on my body… I was pulled back to fertile ground.”
(Poem) The GODDESS in Transit by Abigail Ardelle Zammit

Photo by Abigail Ardelle Zammit [Author’s Note This poem is from the sequence You May Touch If You Like, published in Portrait of a Woman with Sea Urchin (SPM: London, 2015), which was the second prize winner of the Sentinel Poetry Book Competition. The Maltese Venus is a fertility Goddess variously known as ‘The Sleeping Lady’ and ‘The Fat Lady’, statues and figurines of which have been found in many Maltese Neolithic temples, amongst which, the Hypogeum of Ħal-Saflieni, a sanctuary and necropolis located in Paola, the earliest remains of which date back to 4000BC. You may read the whole Goddess sequence, as well as other poems set in Malta during WWII by purchasing the collection online: https://abigailardellezammit.net/poetry-books/] https://www.magoism.net/2023/05/meet-mago-contributor-abigail-ardelle-zammit/

(Special Post 1) "The Oldest Civilization" and its Agendas by Mago Circle Members

[Editor’s Note: The following discussion took place in response to an article listed blow by the members of The Mago Cirlce, Facebook group of Goddessians/Magoists from May 6 to May 10, 2016. Readers are recommended to read the original article linked below that has invoked the converation.] “The Danube Civilization: Oldest in the World” in The Ancient Ones upon the ruins of our ancestors, published April 3, 2016.
(Special Post 5) 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.] Annie Finch For me, Goddess is completely different from God–Goddess means acceptance of the sacred WITHIN the physical instead of transcending the physical; acceptance of death and life as equally sacred; and the holiness of changing cycles…. Annie Finch, Maine anniefinch.com Marie de Kock Why Goddess spirituality? Goddess spirituality is crucial for our survival and the survival of our planet. I’m referring to every woman’s connection and relationship with her own Spirit which resides in her heart, and her own divine ability to create, which springs from her womb. The womb is infinitely more than a reproductive organ; it is a replica of the Cosmic Womb or Mago. From that profound pool of infinite silent knowledge, women can access the solutions so urgently needed to recover the equilibrium the world with its God spirituality has lost, and women can dream the solutions into being. It is the intelligence of the heart and intelligence of the womb that humanity needs in order to balance out the ill effects of our noisy ‘rational’ left brained society. Women carry the keys to the wisdom within them. Female spirituality is the door. Marie is in Chile for now http://ninenormalwomenwithwings.com Leslene Della-Madre Goddess among many things to me is a verb–Goddessing. “Goding” isn’t the same. She is Love in action in all things–she is the cosmic gen-Her-ator bringing life into form from primordial chaos, the twin serpents of coming and going. She is the plasMA of the YoniVerse filling space with her divine essence creating great beaded necklaces of galaxies all connected to each other by electric pathways. She is the All and Eternal. Leslene Della Madre, California USA midwifingdeath.com Diane Horton Sacred Goddess Sisterhood Each of our stories as women who have come to embrace the Goddess are varied and interesting. Certainly interesting to each other, as our spirits long to resonate with another who has had a similar journey. Mine began while I was still a member of the Episcopal Church and a Christian. But relative to many, it was not that long ago, just 18 years. Some women have been knowing and worshiping the Goddess for more than 30 years, some have only just come to the reawakening and re-membering recently. Some of us call ourselves witches, some priestesses, or both. Some do not identify with either of those words and simply say they have immersed themselves in the Divine Feminine, or that they worship the Goddess. Some will say they are Pagan or Wiccan or Dianic Wiccan. Whatever we call ourselves, or do not call ourselves, we are all Sisters in Goddess, those who worship the Great Mother. And though our numbers are growing, seemingly almost daily, we are still in a minority. We need those who are articulate to voice our views and we need wise teachers who can share practices, philosophy and knowledge with those who are eager for such spiritual food. One of the great things about this Goddess Path is that, although there is much written and oral knowledge to be had for those who seek it, the deepest part of this path is experiential. Personal experience with Goddess, deep within ourselves, and having our eyes opened to Her all around us all the time, seeing and feeling Her magic in our lives, knowing Her love and nurturance in our hearts. We have no dogma, no set of rules or commandments, no rigid ideology. We have our own hearts to guide us into all acts of love and pleasure, compassion, humility and reverence which are Her rituals. When we express strength, hold our power and honor life, as well as giggle and laugh, those are Her rituals, too. There are the Women’s Blood Mysteries, which set women apart from men who worship the Goddess, but that should serve to unite women in a strong eternal bond, not alienate men. There is no place for hierarchy. We are all women equal to each other as daughters of the Goddess. We cannot, we must not, allow the patriarchal mindset to contaminate Feminine Spirituality. No hierarchy, no duality, no controlling others. If we want to see a world in which the Divine Feminine is prominent, the world that many of us believe is coming, we need to take a good, hard look at ourselves in the mirror of our Sisters’ eyes and all of us individually commit ourselves to Unity, Sisterhood and Unconditional Love. That does not mean we will never disagree, and sometimes disagree vehemently, but it does mean we do not allow those disagreements to fracture us as a body of women or to damage or destroy our Sisterhood. There are many teachers who have their own followings of students, their own coursework, their own publications and newsletters, their own festivals they work all year to organize and make manifest. This is a good thing! Especially with the national economy the way it is now many, many women cannot afford to travel very far from their homes, so the fact that there are festivals in diverse parts of the country is no doubt just as the Goddess desires. Those who know of Her and hear Her call are greatly benefited by all of these in mind, heart and spirit. We all need each other. We who can spread this information far and wide need to do so, not just think of and promote the one group or project we are involved in ourselves individually. This is the BIG PICTURE. This is how the movement moves forward. This is how the Goddess gathers Her women (and men). Unification of purpose. Standing together. Supporting each other in concrete ways. We are Women of Goddess. Her spirit […]
(Special Post 2) 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: Here is another image of the nine-headed Lernaean Hydra slain by Herakles. https://simple.wikipedia.org/wiki/Hydra_(mythology)… Glenys Livingstone: Yes, the Hercules story is more documentation of the Old Battle, of the rise of the “hero” to slay the Mother, when in the earliest of times he served with his beauty and labours. It is so interesting to see the analogies in other cultures/places as you are doing Helen, especially in Asia – it seems important work. Your perseverance is paying off, and will. Helen Hye-Sook Hwang: Glenys, I am re-reading a book on Chinese mythology and found a lot more on the nine Magoist symbolism. Someday, I hope to write about the topic in its own right. Glenys Livingstone: This chapter’s work is good re the Old Battle in Greek mythology: Valaoritis, Nanos. “The Cosmic Conflict of Male and Female in Greek Mythology”, in From the Realm of the Ancestors: An Anthology in Honor of Marija Gimbutas. Joan Marler (ed). Manchester CT: Knowledge, Ideas and Trends Inc., 1997, p.247 – 261. Helen Hye-Sook Hwang: Now back to the female divine who is depicted with the nine heads. See the nine-headed Guanyin/Kannon/Gwaneum. Also note that her icon comes in eleven-headed (the 8 Daughters and the Triad Creatrix, which makes eleven). http://www.onmarkproductions.com/html/kannon.shtml Helen Hye-Sook Hwang: The symbol of nine dragons was adopted by imperial China. See the Nine Dragon Wall China. https://en.wikipedia.org/wiki/Nine-Dragon_Wall Helen Hye-Sook Hwang: We connect the dots. When Guanyin is depicted with nine dragons, it conveys that the nine symbolism was/is once deemed sacred. https://i.pinimg.com/originals/4a/17/b3/4a17b33d9a4ae53bad6466a0eaf11722.jpg How popular the Guanyin icon, three headed and eight armed, to this day! Simply Google “eight armed Guanyin.” Below is from the Late Ming Dynasty, China. https://www.google.com/search?q=eight%20armed%20guanyin… She comes in a different name, Ushnishavijaya, in Tibetan Buddhism. https://www.himalayanart.org/items/65445 Helen Hye-Sook Hwang: We can draw that the female deity such as Guanyin and Ushnishavijaya, just to name two, is venerated in association with the nine symbolism. Within the mytho-history of Magoism, I infer that Guanyin or Ma Guanyin is a persona embodying Goma, the Magoist Shaman ruler of Danguk (3898 BCE-2333 BCE), the head of Nine Hans (Magoist Koreans). Note that Magoist shamans or priestesses are called “Mago.” See my essay, “Goma, the Shaman Ruler of Old Magoist East Asia/Korea and Her Mythology,” in Goddesses in Myth, History and Culture (Lytle Creek, CA: Mago Books), 2018. The insight that the major Goddesses in East Asia and beyond point to the same and old divine persona is NOT farfetched, considering that the nine-headed snake or dragon representing the female sovereignty of pre-patriarchal times is slain by male heroes across cultures. Judy E Foster: I’d have to agree with you here. As usual, interesting information! Patty Kay: My meditation this morning was on a history of mysticism. While I’m in the midst of appropriating all of the wonderful beliefs I find here, I also have found a strand in my own tradition that helps me understand why all the Divine Feminine stuff makes so much sense to me. I’ve been trying to determine when the patriarchal world view took over. According to this history, mysticism began to emerge in about 800 to 500 BCE. Could it be that mysticism kept alive the ancient understanding of the cosmos? This is just speculation, but in it I’m answering my own questions. (To be continued) Join us in The Mago Circle https://www.facebook.com/groups/magoism/.

(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 …
(Art & Poem) Spring Equinox by Sudie Rakusin & Annie Finch

A SEED FOR SPRING EQUINOX . . . till I feel the earth around the place my head has lain under winter’s touch, and it crumbles. Slanted weight of clouds. Reaching with my head and shoulders past the open crust dried by spring wind. Sun. Tucking through the ground that has planted cold inside me, made its waiting be my food. Now I watch the watching dark my light’s long-grown dark makes known. Art and poem are included in Celebrating Seasons of the Goddess (Mago Books, 2017). (Meet Mago Contributor) Sudie Rakusin (Meet Mago Contributor) Annie Finch
(Mago Almanac Excerpt 3) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) Free PDF available at Mago Bookstore. MAPPING THE MAGOIST CALENDAR According to the Budoji, the Magoist Calendar was fully implemented and advocated during the period of Old Joseon (ca. 2333 BCE-ca. 232 BCE) whose civilization is known as Budo (Emblem City). Indeed, the Magoist Calendar is referred to as the Budo Calendar in the Budoji. Budo was founded to succeed Sinsi and reignited Sinsi’s innovations including the numerological and musicological thealogy of the Nine Mago Creatrix. The Budoji expounds on the Magoist Calendar as follows: The Way of Heaven circles to generate Jongsi (a cyclic period, an ending and a beginning). Jongsi circles to generate another Jongsi of four Jongsi. One cycle of jongsi is called Soryeok (Little Calendar). Jongsi of Jongsi is called Jungryeok (Medium Calendar). Jongsi of four Jongsis is called Daeryeok (Large Calendar). A cycle of Little Calendar is called Sa (year). One Sa has thirteen Gi (months). One Gi has twenty-eight Il (days). Twenty-eight Il are divided by four Yo (weeks). One Yo has seven Il. A cycle of one Yo is called Bok (completion of a week). One Sa (year) has fifty-two Yobok. That makes 364 Il. This is of Seongsu (Natural Number) 1, 4, 7. Each Sa includes a Dan of the big Sa. A Dan is equal to one day. That adds up to 365 days. At the half point after the third Sa, there is a Pan of the big Sak (the year of the great dark moon). A pan comes at a half point of Sa. This is of Beopsu (Lawful Number) 2, 5, 8. A Pan is equal to a day. Therefore, the fourth Sa has 366 days. At the half point after the tenth Sa, there is a Gu of the big Hoe (Eve of the first day of the month). Gu is the root of time. Three hundred Gu makes one Myo. With Myo, we can sense Gu. A lapse of 9,633 Myo-Gak-Bun-Si makes one day. This is of Chesu (Physical Number), 3, 6, 9. By and by, the encircling time charts Medium Calendar and Large Calendar to evince the principle of numerology.[12] KEY TERMS Calendric Cycles Jongsi (終是 Ending and Beginning): Cyclic periods Soryeok (小曆 Little Calendar): One year Jungryeok (中曆 Medium Calendar): Two years Daeryeok (大曆 Large Calendar): Four years Names of Year, Month, Day, Week Sa (祀 Rituals, year): One year refers to the time that takes to complete the cycle of rituals. Gi (期 Periods, month): One month refers to the period of the moon and menstruation cycle. Il (日Sun, day): One day refers to the sun’s movement due to Earth’s rotation. Yo (曜 Resplendence of seven celestial bodies, Sun, Moon, Mercury, Venus, Mars, Jupiter and Saturn, week): Each weekday is dedicated to seven celestial bodies. Bok or Yobok (曜服 Duties of the Celestial Bodies, completion of a week): One week refers to the veneration of the seven celestial bodies. Names of Monthly Transition Days Hoe (晦 Eve of the first day of the month, 28th) Sak (朔 First day of the month, 1st, the dark moon) Names of Intercalation Days Dan (旦 Morning): Leap day for New Year Pan (昄 Big): Leap day for every fourth year Names of Time Units Gu (晷 sun’s shadow): Time measure, 1/300 Myo Myo (眇 minuscule): Time measure, a total of 300 Gu Myo-Gak-Bun-Si (眇刻分時 minuscule, possibly 15-minutes, minute, hour): Time measure, 9,633 Myo-Gak-Bun-Si is equal to a day Names of Three Types of Numbers in Nine Numerology Seongsu (性數Natural Number): 1, 4, 7 in the digital root Beopsu (法數 Lawful Number): 2, 5, 8 in the digital root Chesu (體數 Physical Number): 3, 6, 9 in the digital root THREE SUB-CALENDARS The Way of Heaven circles to generate Jongsi (a period, an ending and a beginning). Jongsi circles to generate another Jongsi of four Jongsi. One cycle of jongsi is called Soryeok (Little Calendar). Jongsi of Jongsi is called Jungryeok (Medium Calendar). Jongsi of four Jongsis is called Daeryeok (Large Calendar). The universe is infinite without beginning and ending. Everything runs the course of self-equilibration in relation to everything else. The Way of Heaven or the Way of the Creatrix circles and makes possible the infinite time/space to be measured and calculated. As the Way of Heaven circles, we are able to perceive Our Universe in finite measures of time/space. Time becomes measurable, as space is stabilized. Seasons and days-nights are demarcated in cyclic patterns, as the Earth makes the three cyclic movements of rotation, revolution, and precession. Calendar, born out of the inter-cosmic time, synchronizes human culture with the song/dance of the universe. The term Jongsi, which means an ending and a beginning, is equivalent to “a cyclic period” that is marked by the beginning and the end. Time (a day, a month, and a year) circles, as space (the Earth, the Moon, and the Sun) spirals. The Magoist Calendar has three sub-calendars: The period of one yearly cycle is called Little Calendar, whereas the period of two yearly cycles is called Medium Calendar and the period of four yearly cycles, Large Calendar. To be continued. (Meet Mago Contributor, Helen Hye-Sook Hwang) Notes [12] Budoji, Chapter 23. See Bak Jesang, the Budoji, Bak Geum scrib., Eunsu Kim, trans. (Seoul: Gana Chulpansa, 1986).
(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
(Essay) The Emergence celebrated at Spring Equinox by Glenys Livingstone Ph.D.

The Spring Equinox Moment occurs September 21-23 Southern Hemisphere, March 21-23 Northern Hemisphere. The full story of Spring Equinox is expressed in the full flower connected to the seed fresh from the earth; that is, it is a story of emergence from the dark, from a journey, perhaps long, perhaps short, through challenging places. The joy of the blossoming is rooted in the journey through the dark, and an acknowledgement of the dark’s fertile gift, as well as of great achievement in having made it, of having returned. Both Equinoxes, Spring and Autumn, celebrate this sacred balance of grief and joy, light and dark, and they are both celebrations of the mystery of the seed. The seed is essentially the deep Creativity within – that manifests in the Spring as flower, or green emerged One. the full story: the root and the flower As the new young light continues to grow at this time of Spring, it comes into balance with the dark at Spring Equinox, or ‘Eostar’ as it may be named; about to tip further into light when light will dominate the day. The trend at this Equinox is toward increasing hours of light: and thus it is about the power of being – life is stepping into it. Earth in this region is tilting further toward the Sun. Traditionally it may be storied as the joyful celebration of a Lost Beloved One, who may be represented by the Persephone story: She is a shamanic figure who is known for Her journey to the Underworld, and who at this time of Spring Equinox returns. Her Mother Demeter who has waited and longed for Her in deep grief, rejoices and so do all: warmth and growth return to the land. Persephone, the Beloved Daughter, the Seed, has navigated the darkness successfully, has enriched it with Her presence and also gained its riches. Eostar/Spring Equinox is the magic of the unexpected, yet long awaited, green emergence from under the ground, and then the flower: this emergence is especially profound as it is from a seed that has lain dormant for months or longer – much like the magic of desert blooms after long periods of drought. The name of “Eostar” comes from the Saxon Goddess Eostre/Ostara, the northern form of the Sumerian Astarte[i]. The Christian festival in the Spring, was named “Easter” as of the Middle Ages, appropriating Goddess/Earth tradition. The date of Easter, which is set for Northern Hemispheric seasons, is still based on the lunar/menstrual calendar; that is, the 1st Sunday after the first full Moon after Spring Equinox. In Australia where I am, “Easter” is celebrated in Autumn (!) by mainstream culture, so we have the spectacle of fluffy chickens, chocolate eggs and rabbits in the shops at that time. There are other names for “Eostar” in other places …the Welsh name for the Spring Equinox celebration is Eilir, meaning ‘regeneration’ or ‘spring’ – or ‘earth’[ii]. In my own PaGaian tradition, the Spring Equinox celebration is based on the Demeter and Persephone story, the version that is understand as pre-patriarchal, from Old Europe. In the oldest stories, Persephone has agency in Her descent: She descends to the underworld voluntarily as a courageous seeker of wisdom, and a compassionate receiver of the dead. She represents, and IS, the Seed of Life that never fades away. Spring Equinox is a celebration of Her return, Life’s continual return, and thus also our personal and collective emergences/returns.We may contemplate the collective emergence/returns especially in our times. I describe Persephone as a “hera”, which of old was a term for any courageous One. “Hera” was a pre-Hellenic name for the Goddess in general[iii]. “Hera” was the indigenous Queen Goddess of pre-Olympic Greece, before She was married off to Zeus. “Hero” was a term for the brave male Heracles who carried out tasks for his Goddess Hera: “The derivative form ‘heroine’ is therefore completely unnecessary”[iv]. “Hera” may be used as a term for any courageous individual: and participants in PaGaian Spring Equinox ceremony have named themselves this way. The pre-“Olympic” games of Greece were Hera’s games, held at Her Heraion/temple[v]. The winners were “heras” – gaining the status of being like Her[vi]. At the time of Spring Equinox, we may celebrate the Persephone, the Hera, the Courageous One, who steps with new wisdom, into power of being: the organic power that all beings must have, Gaian power, the power of the Cosmos. This Seasonal ceremony may be a rejoicing in how we have made it through great challenges and loss, faced our fears and our demise (in its various forms), had ‘close shaves’ – perhaps physically as well as psychicly and emotionally. It is a time to welcome back that which was lost, and step into the strength of being. Spring Equinox/Eostar is the time for enjoying the fruits of the descent, of the journey taken into the darkness: return is now certain, not tentative as it was in the Early Spring/Imbolc. Demeter, the Mother, receives the Persephones, Lost Beloved Ones, joyously. This may be understood as an individual experience, but also as a collective experience – as we emerge into a new Era as a species. Thomas Berry and Brian Swimme speak of the ending of the sixty-five million year geological Era – the Cenozoic Era – in our times, and our possible emergence into an Ecozoic Era. They describe the Ecozoic Era as a time when “the curvature of the universe, the curvature of the earth, and the curvature of the human are once more in their proper relation”[vii]. Joanna Macy speaks of the “Great Turning” of our times[viii]. Collectively we have been away from the Mother for some time and there is a lot of pain. At this time we may contemplate not only our own individual lost wanderings, but also that of the human species. We are part of a much bigger Return that is happening. The Beloved One may be understood as returning on a collective level: …
A Southern Hemisphere Perspective on Place by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the Introduction to the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion, which was an outcome of her doctoral research/thesis entitled The Female Metaphor – Virgin, Mother, Crone – of the Dynamic Cosmological Unfolding: Her Embodiment in Seasonal Ritual as Catalyst for Personal and Cultural Change. This doctoral work was in turn a documentation and deeper research of the Seasonal ceremonial celebrations that the author was already engaged in for over a decade. The whole of the process is here named as her “Search”. photo credit: David Widdowson, Astrovisuals. The site of seasonal ceremonial celebrations will always be significant. In my case, the place in which I have created them has been notably in the Southern Hemisphere of out Planet Earth. The fact of my context being thus – the Southern Hemisphere – had contributed in the past to my deep internalized sense of being “other”, and dissociated from my senses, since almost all stories told were based in Northern Hemisphere perspective. Yet at the same time this context of inhabiting the Southern Hemisphere contributed to my deep awareness of Gaia’s Northern Hemisphere and Her reciprocal Seasonal Moment: thus, awareness of the whole Planet. My initial confusion about the sensed Cosmos – as a Place, became a clarity about the actual Cosmos – which remained inclusive of my sensed Cosmos. PaGaian reality – the reality of our Gaian “country” – is that the whole Creative Dynamic happens all the time, all at once. The “other”, the opposite, is always present – underneath and within the Moment. This has affected my comprehension of each Sabbat/Seasonal Moment, its particular beauty but also a fullness of its transitory nature. Many in the Northern Hemisphere – even today – have no idea that the Southern Hemisphere has a ‘different’ lunar, diurnal, seasonal perspective; and because of this there often is a rigidity of frame of reference for place, language, metaphor and hence cosmology[i]. Indeed over the years of industrialized culture it has appeared to matter less to many of both hemispheres, including the ‘author-ities’, the writers of culture and cosmos. And such ‘author-ity’ and northern-hemispheric rigidity is also assumed by many more Earth-oriented writers as well[ii]. There has been consistent failure to take into account a whole Earth perspective: for example, the North Star does not need to be the point of sacred reference – there is great Poetry to be made of the void of the South Celestial Pole. Nor need the North be rigidly associated with the Earth element and darkness, nor is there really an “up” and a “down” cosmologically speaking. A sense and accountof the Southern Hemisphere perspective with all that that implies metaphorically as well as sens-ibly, seems vitally important to comprehending and sensing a whole perspective and globe – a flexibility of mind, and coming to inhabit the real Cosmos, hence enabling what I have named as a ‘PaGaian’ cosmological perspective, a whole Earth perspective. It has also been of particular significance that my Search has been birthed in the ancient continent of Australia. It is the age of the exposed rock in this Land, present to her inhabitants in an untarnished, primal mode that is significant. This Land Herself has for millennia been largely untouched by human war, conquest and concentrated human agriculture and disturbance. The inhabitants of this Land dwelt here in a manner that was largely peaceful and harmonious, for tens of thousands of years. Therefore the Land Herself may speak more clearly I feel; one may be the recipient of direct transmission of Earth in one of her most primordial modes. Her knowledge may be felt more clearly – one may be taught by Her. I think that the purity of this transmission is a significant factor in the development of the formal research I undertook – in my chosen methodology and in what I perceived in the process, and documented; from my beginnings as a country girl, albeit below my conscious mind in the subtle realms of which I knew little, to the more conscious times of entering into the process of the Search. In this Land that birthed me, ‘spirit’ is not remote and abstract, it is felt in Her red earth[iii]. Aboriginal elder David Mowaljarlai described, “This is a spirit country”[iv], and all of Her inhabitants, including non-Indigenous, may be affected by the strength of Her organic communication. It took me until the later stages of my research to realize the need to state the importance of this particular place for the advent of the research: the significance of both the land of Australia, and the specific region of the Blue Mountains in which I was now dwelling, as well as the community of this particular region, which all lent itself to the whole process. The lateness of this perception on my part, has to do with the extent of my previous alienation; but the fact that it did occur, is perhaps at least in part attributable to the unfolding awakening to my habitat that was part of the project/process. The specific region of the “Blue Mountains” – as Europeans have named them – is significant in that I don’t think that this project/process could have happened as it did in just any region. David Abram says, “The singular magic of a place is evident from what happens there, from what befalls oneself or others when in its vicinity. To tell of such events is implicitly to tell of the particular power of that site, and indeed to participate in its expressive potency[v]”. Blue Mountains, Australia: Dharug and Gundungurra Country The Blue Mountains are impressive ancient rock formations, an uplifted ancient seabed, whose “range of rock types and topographical situations has given rise to distinct plant communities”[vi]; and the presence of this great variation of plant communities, “especially the swamps, offer an abundance and variety of food sources, as well as habitats for varied fauna”[vii]. I feel that this is the case for …

(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.
(Video) 2013 Mago Pilgrimage to Korea by Helen Hye-Sook Hwang

[Author’s note: The first Mago Pilgrimage to Korea took place June 6-19, 2013. We visited Ganghwa Island, Seoul, Wonju, Mt. Jiri, Yeong Island (Busan), and Jeju Island.] Read Mago Pilgrimage Essay 1 and Mago Pilgrimage Essay 2. See Meet Mago Contributor, Hae Kyoung Ahn for “Ma Gaia Womb” chant music and Meet Mago Contributor, Helen Hwang Ph.D.
(Photo Essay 4) ‘Gaeyang Halmi, the Sea Goddess of Korea’ by Helen Hwang

Part IV: Revival of the Gurang (Nine Maidens) Gaeyang Halmi There is more to reveal. As I write this part of the photo essay, I have encountered new information, previously made available online by individuals and organizations. It is reported that the “Suseong-dang” (水聖堂, Sea Saint Shrine) was once called the “Gurang-sa” (九娘祠, Nine Maidens Shine), of which I never heard before.[i] That Suseong-dang is a fake name blew my mind! Note the difference of gender between “the Nine Maidens Shrine” and “the Sea Saint Shrine”! The female-connoted term was stolen just like that! “Gurang-sa,” a female-referenced term as the character “rang” means a maiden, had to go due to its overt female representation. It is not without grounds that I was taken aback to see its present logography, “the Sea Saint Shrine,” on the information board.[ii] I almost heard a voice warning me, “This is not the place that you think it is!” That voice attempted to force me to leave the place without further investigation. However, I intuitively took a mental note, “Something is not correct here.” And I was right! Its name change sheds a consistent light on the meddling of patriarchal distortion/deception done to the tradition of Gaeyang Halmi. Readers are reminded of the lost painting of Gaeyang Halmi, which was replaced by that of the Sea God explicated in Part 2 of this photo essay (also Part 3). Like “the Sea God,” “the Suseong-dang” constitutes no reality. It is not only a conceptual deception but also a theft of the intangible cultural heritage, righteously committed by faceless patriarchal men disappeared into the lapse of time. It is clear that systematic erasure of the Female/Goddess has been in operation. Female power embodied whether in the name of the shrine or in the iconography was stripped away. However, it is proven once again that the Female is immortal because it constitutes the root of patriarchy. People smuggled the forbidden knowledge of the Female to later generations through oral stories. Thus, we find the folklore of the Female subversive.

Category: Glenys Livingstone

(Book Review) Danica Anderson’s Blood and Honey by Glenys Livingstone Ph.D

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(Review) Vibrant Voices: Women, Myth, and the Arts, editors Sid Reger & Marna Hauk, by Glenys Livingstone Ph.D.

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(Essay 3) The Power of Metaphor – Spelling Ourselves, Our World by Glenys Livingstone Ph.D.

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(Review) Journey into Dreamtime by Munya Andrews, reviewed by Glenys Livingstone

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(Essay) Conceiving, Imagining the New at Samhain by Glenys Livingstone Ph.D.

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(Essay) A Meta-religious Metaphor By Glenys Livingstone Ph.D

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Lammas/Late Summer in PaGaian tradition By Glenys Livingstone Ph.D.

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(Prose) Desire: the Wheel of Her Creativity by Glenys Livingstone Ph.D.

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(Essay) Feminist Discourse: Gaian Concourse by Glenys Livingstone Ph.D.

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(Book excerpt) A Journey with Inanna by Glenys Livingstone Ph.D.

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Goddess Pilgrimage Central Queensland Australia by Glenys Livingstone Ph.D.

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(Essay and Video) Cosmogenesis Dance: Celebrating Her Unfolding by Glenys Livingstone

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(Book Excerpt 3) Re-visioning Medusa Eds. by Glenys Livingstone, Trista Hendren et. al.

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Mago Almanac Year 8 (for 2025)

S/HE: IJGS V3 N2 2024 (B/W Paperback)

S/HE: IJGS V3 N1 2024 (B/W Paperback)

2025 S/HE Conference Program Booklet

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