Living with the Heartbeat of the Land

A year’s journey celebrating and marking the Celtic festivals and learning from the magic at Hazel Hill Wood.

Background

For over two decades we have been listening deeply to the rhythms and the heartbeat of Hazel Hill Wood, celebrating ancient traditional festivals which mark the rhythm of the Wheel of the Year. I’d like to express my deep appreciation and gratitude to Agatha Manouche, a medicine woman with huge commitment, wisdom and insight: Agatha is the main author of this work. Heartfelt appreciation also to Alan Heeks, my friend, and founder and chairman of Hazel Hill Wood: Alan’s been deeply committed to this work and the wood for over 30 years.

 The Celtic Festivals. The purpose of sharing this paper is to provide one framework (there are many) which gives an approach to living with the heartbeat of the land, following the dance of the Earth around the Sun which has been celebrated since prehistoric times, marking the seasons on our land. You can follow these eight festivals like an unfolding journey of manifesting your yearly dream.

So, we start with…

Winter Solstice: sometimes also known as ‘Yule’

On December 21st, the sun reaches its furthest point in the Southern hemisphere; there it pauses on its course before it starts moving Northward again. This pause is called "solstice" from the Latin words "sol" meaning sun, and "sisto" meaning stop. 

 Like the tide at the point it’s neither in nor out, there’s these moments for a few days around the Solstice when the sun doesn’t move. For us humans this time calls for stillness, as we observe and experience nature hibernating. To reach this state, we consciously aim to slow down our human activities from the previous festival (Samhain) throughout the Autumn months. Invited by the natural rhythm of the wood which seems to be falling asleep, by the winter solstice, we’ve watched the leaves steadily fall and slowly dissolve into the ground, as the rain and the cold settle, and the days become shorter.

Symbolically, during this period, we’ve looked within and attempted to let go of what’s no longer serving us: attachments to old habits, patterns of behaviour, grudges etc. So when Solstice arrives, there’s a sense of a turning point. We’ve come to a place called the Static Feminine: apparently we’re doing very little outwardly, yet we’re restoring the vital nutrients provided by our inner process to prepare for the New Year, the New Dream.

As people have done for millenia on this Earth, at Hazel Hill Wood we call the Sun back to our Land with celebrations of songs and dances and prepare to receive the New Seed of the New Dream - a journey that will unfold through the year to come.

Imbolc: 2nd February, also called Candlemas

Half way between Winter and Spring, Imbolc is the time when we begin to witness glimpses of the return of the Sun. Like Candlemas (feast of candles), Imbolc invokes the return of the light. “Imbolg” meaning “in the belly”, marks the beginning of the lambing season, new life, new milk, new beginnings. It’s time to celebrate fertility. Brigid, an old Celtic goddess related to fire and fertility was traditionally invoked to fortify the fertility in the land.  The first shoots and sometimes even early flowers begin to appear, celandines and primrose, snow drops.  In the journey of the Dream of the year, they represent the first manifestation of the seeds received from the blessings at Winter Solstice.

 In your thoughts or prayers you can hold that the seed of the new Dream be fertilised by the light and the Fire of the returning Sun. Like the rest of Nature around us, we emerge slowly from our hibernation; we move from the Static Feminine mode to the Dynamic Masculine one -  a more focused and active way of being. The emerging light activates our own shoots and, if we pay attention, we may feel a new focus emerging in our life; something of the New Dream we called for at Solstice. We gather to re-kindle with the New Light, calling for the inner and outer process of thawing which will allow renewal to emerge. It’s a great time to plant a new tree to give root to the New.

Spring Equinox: sometimes known as Ostara

On 21 March, Spring Equinox marks the time when the Sun is reaching the Equator, stepping back into our hemisphere; the days and nights are equal. And to honour that, we check-in with what’s in and out of balance.  We assess whether there’s too much of one thing or not enough of another; perhaps too much activity or inactivity in the symbolic journey of manifesting the Dream of the year.

Equinox is also a place where we look at situations in our life that may have become polarised into inner or outer conflict. This quest for balance is also a quest for harmony; nature gives us plenty of examples how apparently competing species, e.g. of trees, can reach a balance.

Beltane: 1st May

Beltane brings together many different threads, as we continue to follow the journey of the Dream of the year and listen to the heartbeat of the land. Many plants have flowered and Hazel Hill Wood sees the magical purple-blue from the Bluebells! This is the time of witnessing Birth everywhere - Beltane is an explosion of vitality and lushness: baby owls hoot and the fowls dance, the woodpecker sounds his rhythmic beat;  birdsong becomes a magical chorus and the panoply of flowers explodes as we leap between the ritual fires of the Sacred Masculine and Feminine in the Celtic tradition. 

Like the symbol of the Easter egg hatching, we witness the hatching of our year’s Dream, asserting our intention and commitment in the spirit of joyous celebration.

Summer Solstice: 21st June, sometimes known as ‘Litha’

As the Sun grows higher on our horizons, between Beltane and the Summer Solstice it’s the final stages and opportunity for nurturing and supporting the evolution of that Dream of the year we’ve carried forth to its fullness.  Summer Solstice is the longest day and shortest night of the year. As we reach the point of stillness, we look at our dream’s full potential, as well as its limitations. Hopefully we realise its purposeful manifestation and feel the difference it’s made in our lives and possibly that of others. Solstice also brings focus to the beginnings of a sense of “this is it”, and by Midsummers night we know that we’ve arrived at the turning point. For that long night the Sun stands still but as it starts its retreat to the South, the days begin to shorten.  Nevertheless, the promise of the harvest is yet to come.

Lammas: 1st August, sometimes known as ‘Luchnassad’

Although imperceptibly the days become shorter, the sun is still high and strong, and it continues to help the fruits of our harvest ripen. The journey between Summer Solstice and Lammas is a time of embracing what has manifested but also a time for reflection, when we ask ourselves: “what has my Dream been about?”

 It brings a sense of honouring of its gifts and limitations. Lammas has a quality of seeing things as they truly are and being open to learning from what’s happened thus far; this attending to our learning is vital so that our next Dream in the cycle becomes richer and more real.

 This is a time of counting our blessings. Although the Sun is descending faster on its Southern journey, our Dream continues to bear its fruits. At the wood we notice the start of wilting as the leaves of many trees begin to turn to browns, golds and reds indicating the turn to Autumn.  Great time to honour gifts, beauty and blessings.

Autumn Equinox 20-23 September, also known as ‘Mabon’

As we complete the last stages of our harvesting, and fruits and nuts ripen, we’re truly with the energy of thanksgiving for all that has come: celebrating the Earth’s unconditional abundance as well as our own achievements, acknowledging the blessings of food, friendships and our many communities and tribes we’re a part of.

 Squirrels teach us about harvesting and storing in preparation for the winter, and the trees and plant kingdoms let their energy drop back into their roots. As the Sun crosses the Equator again, on its way back to the South, we take another opportunity to check what is in and/or out of Balance, it’s the beginning of Autumn; the light is fading and now growth either slows down or stops entirely.

 We look at how we can best store and harvest for ourselves the lessons that came with the journey. It’s also a good time to release the past like the leaves that drop and become compost, bringing their richness and goodness into the ground of our being, our soil.

Before the days grow shorter we check again what’s in or out of balance, moving beyond old patterns that might have tended to polarity, and slowly we prepare ourselves for the descent into the dark. 

Samhain: 31 October – 1 November

Half way between Autumn and Winter, the festival of Samhain marks the time when we begin the slowing down process. Like the leaves falling off the trees, we let go of whatever is no longer needed or helpful; as we look at the shape of the tree trunks devoid of their ornaments, we allow the Dream of the year to lose the illusion of its form, yet keeping its core essence. With the nights growing longer and the cold taking over, we learn from the creatures of the wood as they embark into their hibernation. Like them, we begin the descent into the dark cave of the Earth, where rest and decay transform into vital organic nurturing.

 Samhain coincides with Halloween -  the time when the veil between the world of the living and the world of spirit is at its thinnest and for many indigenous traditions this is the time when ancestors come to help us go down into our own ‘underworld’, to re-connect with our spirit, the Source of all Dreams. Samhain marks the end of the year’s cycle, and the necessary preparation for the beginning of the next. From here, we prepare ourselves for the renewal that Winter solstice will bring.

At Samhain we go underground, we adjust our pace and enter a deeper dreaming. We review the year that’s passed, and for better or for worse, we look at what’s worked and what hasn’t. We learn to see the essence of our Dream of the Year and let go any illusions we may be carrying. We discover how to bring our ancestors closer and connect with the ones that can help us manifest the cycle of transformation.

…and so we return to the winter solstice

Spoon carving: (Warning!! - Try this and it could be addictive!)

In January 2016 I was lucky enough to attend a course at West Dean College called “Greenwood spoon carving with traditional tools”. As a keen woodworker with a reasonable amount of experience, I was interested in learning from a real expert. West Dean is an amazing place for art and craft courses and Nic Webb, our tutor, was not only a brilliant craftsman but an excellent teacher. I left West Dean 2 days later with 3 lovely spoons and a real passion for carving them.

 The humble wooden spoon is easily taken for granted. My friends all thought it was quite strange that I could dedicate precious time to what, at first glance, seemed to be a somewhat trivial activity. The pile of chippings on my sitting-room floor was certainly a source of amusement (they sweep-up very easily from parquet flooring, whereas with carpet I would think twice). However as the stack of spoons outgrew the chippings (the picture shows only a fraction of what I have made), the comments became more complimentary and requests for spoons started with more and more people interested in having a go themselves.

The fact is, making a spoon from a simple piece of greenwood is a hugely satisfying process, resulting in a rather attractive and useful object. It doesn’t take too long, nor does it require enormous effort. The tools you need are inexpensive to acquire and really quite simple to use, though there are some seriously sharp blades involved so its a good idea make sure you know how to use them safely and keep them sharp.

 What follows is a short description of how I make spoons from greenwood. It is by no means the only way (and very possibly not the best way either) but as the pile of spoons testifies, is one I love. 

The process begins with a log of freshly cut timber. I have reasonable access to hardwoods such as birch, sycamore, ash, willow and hazel. If I am lucky I manage to get my hands on wood from fruit tress such as cherry, apple, pear or plum. I cut the wood to a length about 1½ times the length of the desired spoon. Knots in the wood are much harder to work, so I would try and choose a section where there aren’t too many branches. The piece of wood doesn’t have to be straight as a natural curve can be utilised for the shape of the spoon.

 The wood is split along its length to produce a billet from which the spoon can be carved. I have an old traditional tool called a “froe” which I really like, but an axe will also work fine. The force to split does not come from the froe or the axe but from a wooden or leather mallet. I draw the outline of the spoon bowl onto the billet with a pencil based on looking at the grain I can see in the split log and allowing the wood to suggest a shape. The handle of the spoon can also be drawn but generally I only mark the very top part. With the handle it is really the wood grain which dictates shape so all I am doing is marking where the handle will connect to the bowl.

Initial shaping of the spoon is done with an axe. This may sound dangerous to some but by holding the axe around the neck you actually have very good control and it is an excellent way of removing wood, either by splitting or, as by carving using the weight of the axe head to do the work for you.

 A knife is used to finish off the back of the spoon bowl, giving it its final shape and making sure that tool marks from the axe have been completely removed. With my early attempts I moved on to the knife much too early. It’s a great way of doing detailed work but your fingers will thank you if you are able to get as close to the finished shape as possible with the axe. (Just in case you were worried, the axe work at least was done outside and not in my living room!)

Once the shape of the bowl is finished you can turn the spoon over and think about hollowing the bowl. I mark the thickness of the walls I would like with a pencil and then use a gouge to carve out the bowl. This is one process I really don’t like doing with the spoon held in my hands. It takes two hands to properly control a gouge and the tendency, especially at the beginning when there is no proper hollow, is for the tool to jump. I therefore mount the wood in a vice to save on the need for first aid. Once the hollow is roughly cut, the finish can be improved with a bent gouge or a crook knife. Like with the reverse side of the bowl, the aim is to get a nice smooth finish with no tool marks and to make sure that the wall thickness is even.

The final part of the carving process is to finish off the handle of the spoon. I always do this last as it provides support while carving the bowl and if the handle is too fine it might snap.

The spoon is now “finished” in its “wet” or greenwood state. It may look a bit rustic at this stage but do not fear. Before you can get the final finish the wood needs to dry out as sanding wet wood doesn’t work very well. The sandpaper just gets clogged up and the fibres of the wood sometimes get a bit fluffy, so it’s best to leave it for a few days. I start sanding with 120 grit paper and work down to 600. This gives me the wood a polished satiny finish, although some people prefer a rustic look and feel with knife marks still visible. All you need to do then is oil the spoon to protect the wood and its finished. I wouldn’t put a hand carved spoon in the dishwasher, but if it is protected with linseed oil or food-safe mineral oils, it is an object which not only looks great but can be put to good use too.

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.

Why green wood?

Working with greenwood – what is it about freshly cut wood?

One of the most common questions I am asked is, “Why greenwood?” Most people know that, as it dries out, wood naturally shrinks and has a tendency to warp and crack. What sense does it make to put effort into something which will unavoidably be damaged or distorted? 

 The prejudice is well founded. Some objects are, indeed, wholly unsuited to being made in unseasoned greenwood. If elements have to closely and reliably fit against each other, with accurate dimensions of the finished product, making it from a material which will still significantly change in size and shape is quite a challenge (though not impossible). Similarly, where thick sections are involved and drying is uneven, tension is created at the surface where drying occurs faster than in the interior and cracks often result. Better to dry the timber first, for the shrinkage to take place and make dimensioning more predictable and for warping or cracking to have finished. Wood can then be selected defect-free or deformities can be machined away and “proper woodworking” can be started on a material stable in size and quality. But that is a bit one-sided.

 As wood dries out it becomes increasingly strong and resilient. Green wood is softer by nature than seasoned wood. The water content within the fibres lubricates the blade making it easier to cut and the fibres are less tightly bound together so it is easier to split. While a saw or abrasive tool such as a rasp might get clogged, bladed tools such as axes, knives and gouges require much less effort to use. Objects such as spoons or bowls have thinner walls so drying is more even. The resulting tension in the wood is lower and cracks are much less likely to form. Yes, the wood will change shape a bit, but the change does not affect the object’s functioning and may even enhance its aesthetic. So, where there is no clear need to use dry, seasoned wood to make an object, the use of greenwood is an option. But why do I prefer it?

 It is all to do with the softer material and ease of cutting. It is not the efficiency which is appreciated. Let’s be honest, power tools are extremely effective at processing wood as quickly as possible. But greenwood gives you the freedom to work with simple hand tools.  You are not bound to a power supply. There is no accompanying noise and dust, or at least much less. And working with seasoned wood, however beautiful the timber might be, somehow slightly lacks soul with its natural unpredictability removed. Working with green wood on the other hand is truly organic. The tree from which it came is fully apparent. Its shape and structure suggests what is to be made with the hand of the maker influencing rather than imposing an outcome. The grain guides the cuts. Removing material is not simply the excess being cut away, but a form steadily being revealed. It is a mindful process where sharp blades provide a quick reminder should concentration drift. An object emerges, encouraged out gently rather than forcibly.

 That personal and active transformation forms a connection between the maker and the object which endures long after the process is completed. It is a meditative journey - the purposeful application of head, heart and hands intimately bound with the natural world by the wood on which you are focused. The reward from the connection is every bit as strong as any sense of achievement with the finished article.  

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.

My favourite sound in summer – a chainsaw!

View fullsize

Traditionally, wood has been harvested in winter. Originally, I guess it had something to do with people being pretty busy at other times of the year with farming activities. Concerns are also voiced, that when the sap is in full flow, cutting might damage the tree and make it susceptible to disease.  Whatever the reason, it is noticeable that for a greenwood worker the availability of material diminishes significantly in summer.

I spend my weekdays in a city where perhaps the seasons have less of an impact on people’s lives that in the countryside. Building sites need to be cleared and a tree surgeon’s work is perennial.  The resounding staccato ring of a chainsaw maybe an irritation for many, part of the background city hubbub to others, but to me it is a beckoning call.

The fact that beautiful trees are cut down in the name of human expansionist tendencies is sad enough. What is worse is that, in this day and age, time seems to be the only resource we really value. Tree surgeons here tell me of a time when they would cut and store timber. The market for firewood and supplying craftspeople brought in a handy supplementary income. Still today, they are not immune to the beauty of the trees they are cutting, especially mature ones or less common species. However, today it seems that there is no time or storage space to spare. More often than not, their “waste material” is shredded or sent off for incineration.

View fullsize

And so, following the chainsaw’s call, I track down the source and make a polite enquiry - if I may be allowed to have or buy some wood. A short explanation of what I want to make is usually enough. It has been known for a spoon or a small bowl (which just happens to be in the car) to be shown and even offered in exchange. Interest is nearly always triggered and generosity follows more often than not. Trees have always been (and will continue to be) cut down or cut back by mankind to make space, but it seems that the desire to honour them and appreciate the beautiful material they provide runs deep.

Want to try it out yourself?

William Torlot and Marcos Frangos are running regular weekend retreats at Hazel Hill Wood, near Salisbury. If you are interested, check out their upcoming events or get in touch to discuss the possibility of organising a workshop with Marcos and William.

If you want to find out more about green woodwork and their unique approach, have a look at the other Spoons and Spirit blog posts.