#15 An Introduction to Geomancy

#15 An Introduction to Geomancy

WARNING: THIS ONE IS QUITE SAUCY

The literal translation of Geomancy is, ‘Land Divination’, and the term covers an array of magickal practices that work with the land in a conscious and communicative way; Feng Shui, I Ching, and Dowsing to name but a few. In this rather manic and scattered podcast I try to share the story of how and why I became a ‘body dowser’ and ‘geomancer’, having learned that if I invite the land to play an active participatory role in the creative process, by getting out of the way and letting her through, then she’ll never fail to turn up to play her part, bringing awe and profound meaning to what would otherwise be a banal existence. 

This episode is a little crazy. I didn’t realise until I started sharing my story, and I only just managed to scratch the surface with this sharing, what a wild and bizarre journey this has turned out to be. The story includes many more chapters and details than I’ve managed to share here in an hour, and I hadn’t realised how complex and lengthy the story had become! Gaia, Mumma Earth, keeps showing up and playing performative diva roles in my life and the work I’m creating. We’re collaborating together to make extraordinary things happen, and I adore her. 

I mention in this episode that I’m running a residential immersion weekend in Sark for Samhain and you can find out more information about this through social media. You can get in touch with me on Instagram @kriyaarts or the Nonsense in the Chaos Page on Facebook. 

The music and artwork is by @moxmoxmoxiemox

Nonsense in the Chaos is available on all podcast platforms or you can listen here… https://nonsenseinthechaos.buzzsprout.com

Please like, follow, and review. Also, please consider supporting the podcast by becoming a patron on my Patreon page... patreon.com/JolieRose. And share far and wide please! The more people who hear about the podcast the better.

Huge love to you all and I hope you enjoy listening to this week's episode!

The music and artwork is by @moxmoxmoxiemox

Nonsense in the Chaos is available on all podcast platforms or you can listen here… https://nonsenseinthechaos.buzzsprout.com You can get in touch with me on Instagram @kriyaarts or the Nonsense in the Chaos Page on Facebook

Please like, follow, and review. Also, please consider supporting the podcast by becoming a patron on my Patreon page... patreon.com/JolieRose. And share far and wide please! The more people who hear about the podcast the better.

Transcript

0:05

The mountains and the caves. Wicked witches. Crusting the unknown. Transcribed by https: otter. ai Welcome to the Nonsense and the Chaos. I'm your host, Jolie Rose. This week, I'm going to be talking to you about the concept of geomancy, which is a form of land magic. It's something that lots of different cultures have. Often it's to do with divination. Feng shui is a form of geomancy. And my relationship to it is to do with theatre and energy lines and what they've come to mean to me The way I see it is, it's my relationship to the land, which feels like a sentient two way relationship. I had a download at one point where the earth told me that what a ley line is, what an energy line is, Is it's a direct, a more direct line to communicating, so it's like a clearer line, you know, it's like having better Wi Fi, it's a stronger signal. And so when you're walking on these energy lines and connecting these energy lines, it's a stronger signal. way of communicating with the land, which sounds nuts. Like I know that that sounds nuts, but I've been on a whole journey that's got me to a place where that's what's happening, where I'm having that kind of communication. And the land is telling me such things. So I thought I'd tell you the story of how that came to be and how it keeps revealing itself and the ways that I'm working with it. I see other people doing it differently and I think it's about your relationship to it. So we each are unique beings that have our own inner worlds and our own sensory apparatus and everyone's having a different experience and there are realities outside of our personal experience. You know, every single human is having a completely different reality and so I always think why are we looking You know, the concept of parallel universes, as if it's like an outer world thing that we'd need to find or prove. It's like, you are a completely different universe to me. If I was to drop into your body, I would see everything differently. I would feel different. I'd taste different. I'd have different aches and pains. I'd have a different back history. I'd have a different knowledge. The universe would look and be completely different. And so every single being on this planet and all the beings that have ever lived have all been. different parallel universes. And that's mind blowing and awesome. And we're one thing having this multifaceted trip. And that's so cool and mad. And what is this? What is going on? Brilliant. Cool. I'll do my bit. I'll play my part. So this is Discussion and sharing of Geomancy. I won't go into Pilgrimage too much because I did a whole podcast on Pilgrimage and I went back and listened to it to sort of check in with what I've shared and what I've already said. So there's a whole story there, so go back and listen to that podcast talking about Pilgrimages and we will be unpacking them more. I'm going to be interviewing people to do with the Pilgrimage, you know, hopefully interview everyone who was involved in it at some point. There are more planned going forwards like I definitely want to be doing that again. It was interesting listening back to the pilgrimage podcast because I was giving myself some advice from the past because it was made before I went to Boomtown and I was in quite a befuddled place and it was just interesting to remind myself where I was at and what was going on and also plans I had for taking social media off my phone which I hadn't done and so I did it last night, took it off and Yeah, just past me giving me some much needed support and advice, which was really useful. So go back and listen to that, to delve into the pilgrimage world more and there will be more to come. There are so many people I can speak to about all of this stuff, and I'm looking forward to speaking to all of them. So, without any further delay, here is my story of Geomancy. This is a video I made in a hurry to show how to make a good video. I hope you enjoyed this video. for me, this story began With all these things, it's funny, when I, I've just written a book about the pilgrimages that I walked, and you keep going further and further back, and being like, Oh, the trickle of this stream actually started even further back, and you can just keep going I have chosen a point where I'm going to begin this story, and that is the first time I went and did an ayahuasca ceremony. my friend Josh, who is awesome, we squatted together He paid for me to go and do an ayahuasca ceremony at a psychoactivity conference in Amsterdam. this conference was biannual, and it kept moving around and was in different places each time, and it happened to be in Amsterdam that year. Josh had been traveling around South America and had discovered ayahuasca, and this was like 2002, so it was way before all the, you know, everyone's heard of ayahuasca now. No one had heard of it at this point. And he had an incredible trip, and It turned into a Jaguar, which is quite a big deal in the Shaman world. And, made some really strong connections with the shamans over there, some who were Dutch, who were apprenticing to the Colombian shamans that, he, I think he was in Colombia. there was this community of people that he got to know and they were all in Holland and we're going to be at this psychoactivity conference. And the reason why he wanted me to go is because I'd had an abortion that made me very, very ill. I started to feel like I was rotting inside. I started getting abnormal smear tests and things like that, like my body just, I know it was bruising really easily, you could write your name in my leg by poking me. Like, it was, yeah, not good. I wasn't in doubt about keeping or not keeping the child, but I was blown away by how profound the experience actually was, and it's something that's hard to talk about, because obviously you get the whole pro life thing, and I 100 percent think we should have the right to do whatever we need to do with our bodies. I shouldn't have brought that child into the world. It was the wrong time, it was a random person, nothing about it was right. But it was a bigger deal than I thought it was going to be and it did affect me profoundly and made me, not feel well. And it was also a lot to do with how it was actually physically dealt with through the process of doing it. It was not dealt with very nicely and, you know, all of that sort of stuff. So I, said, yes, let's go do this. So we went over and he paid for the whole thing, which was great. I did one ceremony the first night, but I did an opening, there was an opening ceremony, and this guy was laying out these stones on the floor and indicated for me to help him, and he didn't speak English, but he just was, he was a fool, he was a natural fool, and we just kept giggling when we looked at each other, he made me laugh, and I, we just connected, and I thought he was wonderful, and he did the opening ceremony, and he was this shaman from Columbia, and he was really cool, and I was just like, ah, he's so lovely, and There was a ceremony, like, menu, for doing the ayahuasca ceremonies, and during the day, like, there were all these people that were scientists and artists and different academics talking about psychoactive substances, and there were opportunities to try things. I smoked DMT for the first time, got written about in Face magazine randomly. Someone was there when that happened and wrote about it in this article. I sort of appear in things randomly, occasionally. The first night, it was profound, but I felt like the shaman who was holding it was a bit egotistical. He was Colombian as well, but it just felt like, I'm a shaman kind of thing. And I did, ayahuasca you have to surrender to. It's a bit like falling asleep or meditation. Like you have to kind of work at it a little bit. You have to, you have to surrender. I feel like the first night was me dealing with ego and surrendering, and the second night, Kahuli, who was this shaman that had done the opening ceremony, he had one, but it said, not for the faint hearted, I remember that was the exact words, it said, not for the faint hearted, he will be blowing Yopo, Yopo, Yopo up your nose, which is natural DMT, and it's strong brew, but I was just like, I'm an old hand at hallucinogens. I've taken a lot over the years and I just thought I feel like I probably will be able to handle this but I also really trust this person and I want to go deeper because you have to fast because you throw up and poo yourself and your body purges when you do it I purged all night the night before and I felt really empty and clear I hadn't slept for a whole night already but I was just like, I feel ready to go there now. And so did the second ceremony with him and it was incredible. Everyone there was a shaman except for me and I recognised them all from doing the talks because this was the last night and so everyone who'd done the talks and been part of the daytime stuff. I'd seen them by this point and they were all there. It was incredible. I was, that was me and a couple were the only what felt like tourists there. Everybody else was a shaman or an academic of, you know, high standing. It was mad and I felt like they had loads of conversations that were really profound that I felt honoured to be witness to and to be part of. And then people all started getting healings from Kahuli and I desperately wanted a healing but I felt very intimidated and embarrassed by big these people were and, you know, it felt like they were all a big deal. But I started to unravel, I started to fall apart and his apprentice saw and clocked me and spoke to Kahuli and he saw me and he saw what was going on. he said, I will do her. at the end and I will need to have a rest. So he had a little sleep. I think he journeyed with me. I don't know. We journeyed because I was in the inner world, tripping my head off at this point, and just puking up tears. Like I was puking up tears. It was such a huge emotional thing that was happening. And then he did this whole, so yeah, his, apprentice, Jan Frank, looked after me while he slept. And then, He came back and did this healing ceremony on me and I, part of it was I became aware of how much there was, it was a performance like as, as an, a theatre maker myself, especially interested in fooling and working and fooling and that kind of thing. I could see the performance was partly the, you know, there's placebo. So if I was going to do a PhD, I would do it in, is all theatre a form of placebo. and how that was our medicine prior to having medicine. And that it is actually very powerful. Like it's not, I wouldn't say you do it instead of medicine. obviously I'm pro medicine and I think in science and we have achieved so much, but also, you know, big pharma are making money out of it. if you could heal yourself through psychological placebo theater trickery, and that's for free or, you know, however much that costs to go and do, in comparison to taking these pills every day for the rest of your life. I feel like it's worth exploring that avenue, but I wouldn't ever, you know, not in a way that's dangerous or if the medicine exists, like don't do it, don't not do the medicine as well or whatever. they have proven that they found in, tests that if you tell someone that an actual pill that is the medicine is placebo it works less well so even when it is actually the medicine we will make it work less well because our minds think it's not. So it is powerful our mind and it was the only medicine we had and I could see how he was using that and I was aware of that and it worked and we had this ceremony that was really intense and Yeah, he pulled demons out of me and he pulled all this stuff out of me and then gave me all this lovely advice via a translator and it was deeply profound and for some reason it was for him too and I don't know why and reflecting back he was a lot younger than I thought he was the way I saw him again 15 years later so we kept in touch and I kept in touch with his apprentice and they were coming back to Holland 15 years later and invited me to come to a ceremony And I was in a really good place and I thought it'd be quite interesting to do a ceremony now from this space. So I went and it was incredible this guy he'd had cancer and he'd, had tumors on his liver or kidney or something. And he was about to start the medical process of trying to get, something done to help it, you know, chemo or whatever it was, it was about to start. But he, felt like he was going to try ayahuasca first. So he'd gone to Kahuli to, get healed. And Kahuli had said, if this is chemical based, if this is environmental based, then this healing won't, you know, it won't necessarily be able to help you. But if it's psychologically induced, then this might help. But if you've made yourself this ill, It's going to be a big thing will be unpicked and your life will never be the same again. he'd done this ceremony and remembered and unlocked. Suppressed memories of being incredibly, horribly, violently abused as a child and he'd completely blocked it out. he'd spent his life being this hardcore punk that was a squatter and very unemotional, very Mad Max kind of crazy character. Didn't realize that he'd been blocking all these emotions and suppressing his emotions and he then became this ridiculously emotional, fluffy bear. Heh. Being who had to just let it all happen. Let it all come out. And he did get better. It did work. His, tumors were significantly reduced and yeah, he, he got better. And, I don't know whatever, you know, I don't know the whole medical process that he went through, but I know that it worked and he felt that it was the ayahuasca that had done it. And he was a welder. And so he'd made Kahuli this huge red and yellow big top tent. It was enough room in there for about 200 people to be there in ceremony. There was this massive sacred fire with a chimney flume going up to the ceiling and it was, and then when you entered it had Circus Cahooley written on a sign out the front and there was Cahooley with a red nose and surrounded by jaguar heads and it was just so cool. I was just like, this is my church. This is definitely my church. the first night felt like the ego letting go. it was, a cacophony of creativity. There was music, dancing, singing. It was splendid. that absolutely is my church. Hallucinogens, circus tent, shamans and creativity. Yep. That's totally my cup of tea. Thank you very much. the second night he dedicated it to the divine feminine. that was the first time I'd ever heard that properly. We're used to it now because the feminine has awoken again and we're awash with it and that's brilliant and long may that continue and it's something that we're all pretty present to and used to now. But at the time that was the first time I'd heard that and so he said, oh every woman here is an aspect of the divine feminine, you're all aspects of the goddess. So tonight we're worshipping you, we're worshipping the Divine Feminine. And, we got worshiped all night and it was a completely different atmosphere. It was really gentle, it was really calm. One person sang and performed at a time, and then there was time for things to stop. After each performance, we would be gentle, and the women tended to the fire. So the men, instead of bashing the fire and shoving logs in and stuff like they've been doing the night before. The women were like gently placing logs and gently tending to it. And there's this point where the female apprentices got together in this line with their drums and sang and it was like elven queens had entered the room. Absolutely stunning. And all of us, the women, we kept just catching each other's eyes and just being like, well, this is the most incredible experience I've ever had. We were being worshipped and no one was physically doing anything to us. It was just in the intention Our souls felt it, we felt it, and we had a group hallucination. There was a point where Kahuli sang in the back of his drum, and it sounded like a cave, an ancient singing through a cave, it was unbelievable. And we all saw a gold beam of light come down into the middle of the tent and hit all the women. And we all then had different experiences of what happened to us. I atomized and turned into this larvae that was like a queen bee, kind of, I don't know what insect it was, but it was some sort of insect that was just constantly being screwed, shagged, and pooped. producing babies, like I was just popping out babies, but I was in a constant state of sex. And that's what the trip, the experience was revealing to me was that feminine, the feminine energy, the creative energy that you have, the masculine is the destroyer. and, you know, that harder energy, that action, makey, do things kind of energy. And then there's this creative energy that's the feminine energy is sex. It literally is sex. That's what nature is. That's what the goddess is. That's what the feminine and the femme within everyone is sex. The sexy bit is the feminine. And it was just wonderful. And I orgasmed for hours as this larvae thing. I literally physically was, you know, coming from it and being a gooey mess. And then I turned into a serpent. I was riding around on the floor and all you could hear was everyone else having sexy trips and just all these noises of pleasure. It was just delightful. And the men were like walking around like cock crawls and it was really funny. Just the men just reacting to it. And, you know, and no one touched each other. There was no sexy stuff actually happening. It was all just in our experience, but it was profound. And I then also realized that ayahuasca was love, but this is what Jonathan was saying in the previous podcast. The whole universe is love. This is love. The universe is love. And that this is some mad trip that we're having of these experiences of these parallel universes where we're all one, so we're all facets of a divine jewel, an inner divine jewel. Individual inner divine jewel. We're individual facets of one thing and there's within that, like, you know, it's see through, like a jewel is see through. You can see all the other facets within it. So we are all masculine, feminine mixtures of aspects and we can play any part and we can be anything. that's what we do in Fooling. We play all the parts and you can do that because all those facets are within that one facet, but you are experiencing it. Predominantly from your perspective from your facets perspective and that that's a gift and that you're bringing that to the party. It's part of the symphony. You're a note in a symphony and that's what you're doing. But this is all about love. It's all love. And yes, that has the shades of hate within because for us to really experience it, you need all of the shades to make it 3D. you've got to have that full experience and that's what we're here doing. and I just realized that ayahuasca was love and that, it's a hard teacher, love belongs to desire, and desire is always cruel, as Neil Gaiman puts it, it's not gonna necessarily be gentle and kind, there are other ways of, you know, basically, you gotta learn the lessons, right, and that's part of it, and you're learning the lessons and going through Dark Nights of the Soul, And Ayahuasca doesn't let you hide. It's like, you've got to face the things. But you're probably quite a nice person. Don't worry about it. You know, I've faced my demons and they're not that bad. But also, then, they do get worse. Like, it's layers of an onion. You're going to keep Going deeper in and, you don't wanna get cocky and you don't wanna get arrogant and egotistical about it, which is what Kahuli said to me at the first ceremony. He said, the only things that humans need to worry about is fear and ego. so don't be scared, but then also don't be a twat about it afterwards. You know, like, don't get egotistical about it. and so. I had this amazing experience, realized it was love, said thank you to the Iwaska and to the universe and this neon sign appeared above me with this little Japanese girl on it and he went, you're welcome. I was just like, brilliant. the next morning, you know, I hadn't slept, but it just came to me as a download that I needed to write a play called Sisterhood. I just knew that it was going to be called Sisterhood, and I needed to make it with my mentor, Andrea Brooks, who I will hopefully interview at some point, she's a theatre maker, and deeply magical human being. And Cara, who is the reason why I now live on Sark, she's a friend of mine that I met at Kent World, the Tudor reenactment that I've done podcasts about, I was in my 30s when I met her, and she was a teenager, about 15, 16, and she became, you know, A deeply close friend, but like kind of protege and daughter like relationship. And, and I realized it's the stewardship of, you know,'cause I felt like I was getting so much from Andrea, but I was always worried I wasn't giving something back. And then meeting Cara and me being a mentor to her, but me also getting so much from her. I mean, we've kind of swapped now. She basically mothers and looks after me. she's not my protege anymore. She's my keeper, Yeah, she lived on Sark and had come here as a carriage driver and as soon as she got here, she was like, Jolie, you're gonna love it here. You've got to come over and visit. It's just like Cadwell and she was right and she's the reason why I moved here. so I didn't know what the play was going to be about. I was sort of imagining like vagina monologues, kind of modern funky vibe and that's not what happened at all. So I went on this journey where I felt like the goddess had asked me to make this play and I spoke to Andrea and she said, Just book somewhere, find an Airbnb, book it, and we'll go there, but get like, a whole group of women, so all of the different roles, like the, costume design, set designer, lighting designer, statistician, someone to like, do fact checking and stuff, and we'll all go, and we'll make this play together, and just bring all your stuff, so we all brought like, things that we had, like, who were, you know, that we represented, so, The artist brought arty things with them and I brought loads of costumes and because me and Cara do Kemperol together we brought our Kemperol costumes so it was just, that was what was in the mix and the Airbnb that I found was in a place called Wilmington which has the long man of Wilmington where he's holding these two sticks and it was this beautiful thatched cottage that was Very old in this lovely village. And it was just fate that that's where we were. It was because that was what was on Airbnb. but it was exciting that it was there cause it's this lovely place. And we get there and Andrea's like, Oh, there's a church yard up the hill with this old yew tree in the church yard. We went up and realized that the tree was older than the church. So. At some point, the tree would have been overlooking the long man. They would have been in view of each other, and this church had been built in between them. And there'd been an arson attack at the church at one point, and it had meant that this beautiful stained glass window had been destroyed. It was an unusual stained glass window in that it was quite pagan seeming. So it had a saint in the middle, and I don't know which saint he was, but all around the edges were different wildlife. Butterflies and things that were from the local wildlife of the area and that had been smashed. But then an artist had recreated it doing the same image, but with brighter materials. It was modern, you know, modern materials. So it had a brighter color to it. So he recreated the image but then had a phoenix at the bottom, so rising from the ashes, and the pyre that he was rising from was the broken glass of the original picture. It was brilliant, it was beautifully done. And we're there sat in the church during the golden hour. So the light was stunning, and Andrea had said, when we got to the house, the story's trying to tell itself, we just have to get out of the way. I mean, she's so brilliant. Deliciously wonderful, this lady. And so we were just starting to observe what was there. So it was Beltane. we'd gone away. It was Beltane. The blossom was falling from the trees. When we got there, it looked like it was snowing and the floor was covered in beautiful white blossom. There was these lambs right at the end of our gardens. There's the sound of lambs bleating. There were jackdaws everywhere. And we had two trapped in our fireplace. we arrived at the Airbnb and we have to let these two jackdaws out of the fireplace. So it's all getting like. very certain vibes yeah and we're in this beautiful thatch cottage and it's like okay oh and the long man of Wilmington's right there oh and there's this ancient yew tree that was so powerful it had walking sticks and chains holding it up and it was just this really epic tree and then we're in the, you know, church and the light's spilling through the stained glass window and it's covering us in this fiery light with the fire of the phoenix and the golden hour light and andrea says oh you know if if you didn't have a lock up which like some villages and towns have we have one on sark where the drunks would get chucked in or you know if someone's done something wrong they would be kept there until the magistrates or the assizes They were called, would come and do the trial and judge and then probably be taken away, someone to be hung or whatever was going to happen. the judgment would be dealt out. And so if she was saying, if you didn't have a lockup in your particular village or town, as there wasn't one in Wilmington, then the church would normally be used because that would be the only secure building that you could lock someone into. so like, if you were a witch, you would be locked in the church and you'd have to spend the night in the church. We all sat there in silence and then I was like, I think that's the play, isn't it? And that was the play. And so what I thought was going to be this really pizzazzy vagina monologues vibe play turned into a sort of Shakespearean epic where we went back to the house and we put on the Tudor costumes that we had and we sat in the larder. There was this room, cold room that was a larder and pretended it was the church because we felt we couldn't really go in the church and do it because people might disturb us or, you know, we didn't want to seem disrespectful or anything. So we improvised these three women. So there was Andrea, me, and Cara in Tudor costumes and we improvised the play together and we looked for the communal wine and we got drunk on the communal wine And Andrei was just stunning. she led it and had lots to chuck in and was so flowing and she had this awesome character who Marjorie just, oh my god, she was full of wisdom and is everything that Andrei is just absolutely full of wisdom and she helps us get through the night and finds a way through for us. So I won't tell you what happens at the end. I watched it on video because I've got a YouTube of us doing it and I will be able to edit it to make it work for a podcast, so I will share the audio of it at some point. we came up with this play. We then did another bit of improvisation where we did go up to the U tree because the reason why we're locked in the church is because the three of us have gone and done something at the U tree at Beltane and we get caught. And so we're then put in this church, but we don't know each other and we were doing them separately. So it was three separate things that we were doing there. And so for us to have that in our minds and know what doing or talking about in the play was. We went and improvised that happening. So that, yeah, it's easier to perform it when you've actually kind of lived it. it was really funny because these tourists found us and there was enough Tudor costume for all of the women who were there to get dressed up and we were all up there in Tudor costume and this tourist turned up and there, and we've all just got caught, you know, now we're going to get, Whatever happens to us, happened to us. and so we're in a very austere mood. And he took a photo of us and we're all sat on the yew tree in our Tudor costumes with this ridiculously somber looks. he's like, Well, cheer up. Might never happen. We were like, well, it has. So, yeah, it's the most witchy photo I've ever had taken of me. And I love it. It's a brilliant photo. If you enjoy this podcast and please consider supporting through Patreon, patreon. com forward slash Jolie Rose. This is my craft. It's my art and I love doing it and I love sharing it with you. And it means that I'm able to be an artist in Sark. And that's a feat. So this is how I figured out to do it. I'm really enjoying it. And I feel like the universe has led me to here. And I'm just loving that people are responding positively to it. And I'm getting people listening. And please just share it far and wide. Let people know about it. And if you're able to spare a bit of money to support me, I would thoroughly appreciate it. I support other artists on Patreon who I enjoy listening to. happy to be doing it. It feels nice. So it's a reciprocal, wonderful thing where we're being generous and kind and supporting each other, which is a lovely thing. but if you can't do it and you haven't got any money, that doesn't matter. You can just share or you can just listen and just be here. I'm happy for you to just be here. Thank you for being here. if you want to be here in person, you could come and join my immersion weekend at Samhain. I think, I mean, we actually kind of are fully booked, but we, we could squeeze another person in. It's Samhain. It's gonna be delicious and I've got some wonderful things up my sleeve that I'm super excited about. Working with the ancestors, also crowning our menstrual cycle wherever we're at. If we're in the menopause or perimenopause or motherhood or whatever it is that we're at. So I'm gonna do a crowning where we crown ourselves and revere and yeah, a bit of feminine goddess worshipping. that ceremony was like with the ayahuasca. and how we're the culmination of all the hopes and fears of our ancestors, you know, our ancestors all screwed and fought and survived for us to exist. We're the froth at the top of an ocean of grief of loss of ancestors that we're their hopes and dreams. if you'd like to know more about that, you can reach out to me through my social medias. if you ever want to follow me on social media, it's at Kriya Arts. K R I Y A A R T S. And that's on Instagram and on Facebook, or there's the Nonsense and the Chaos page on Facebook. so just message me through that. Thank you. And now back to the show. So we then took the show to Edinburgh. And it totally bombed. It did so badly. I lost 15, 000 pounds. I tore a calf muscle. it was awful. And I did a reading because we were working with the moon cycles while we were up there and doing ceremonies as part of us doing it, which was great. And we needed it because it was a really traumatic play to perform every day for a month. And I asked the goddess in a reading, a card reading, why, why has thou forsaken me? Like, why have you made me do this and, and for it to do so badly here? Because it just wasn't, it wasn't, Edinburgh vibes. You know, people are there wanting to watch comedy and this was not, it was actually quite funny. It's gallows humour. It's, there is, it is funny if you realise it's funny. But it wasn't, yeah, kind of Edinburgh vibe. The goddess said in her response through the cards, what, you think that was it? And I was like, oh yeah, I guess me doing well at Edinburgh is probably not really on, high on your radar. So, trusted the process, I tried to get some bookings for it, but, I didn't really get any bookings. The theatre world was pre pandemic, already broken. Pandemic was almost like a lucky excuse for us to go, Oh look, the pandemic broke theatre. No, theatre was already broken. Austerity broke theatre, any, local authority has a theater. When they did all the huge cuts, they had to choose between swimming pool, library or theater. So many theaters closed. The ones that remained were then the only frontline service left for the community. So they had a lot more pressure on them. They were the ones that were suddenly having to organize the carnivals and fake days. any community groups like help groups that meet would need to be meeting in that space. they had a lot on their plates all of a sudden, but also they didn't get as much. support financially, which meant that they had to make more money from ticket sales, which means they could take less risks. And they doubled their panto seasons because panto is just a dead cert and you will sell those tickets. So the number of slots for people to performing got halved and they weren't taking risks. And there were more theatre companies than ever. And they were all rich people because only rich people could afford to work in theatre So Edinburgh was just becoming a ever increasingly posh people and that was it and they'd all just be looking over your shoulder the whole time to see if there's anyone more important than you to talk to. And it was just disgusting. I hated it and was quite relieved when the pandemic came and broke everything. I'm very happy that I'm not doing shows at Edinburgh anymore and have found other ways to make theatre and work as a performer. This podcast being one of them and doing pilgrimages and touring folk theatre and I'm way happier with all of that and holding ceremony. All of it for me is theatre and medicine and I'm way happier that I managed to segue into this through the pandemic. I managed to get one festival, theatre festival booked me for the beginning, which was brilliant because they, that was all about experimental theatre, so that sold out and I knew it would sell out. And then I got one theatre booking from a little theatre Don't do any marketing. You send them the flies, but they don't really put them anywhere. and lo and behold, we got there and only two people came because it was in a theater, but for the rest of the tour, it completely sold out because I'm a producer by trade as well as an artist. And I'm very good at producing. one thing I know is that if you. think outside of the box when it comes to creating a tour then you're more likely to sell tickets and buy that i mean don't be in theaters go somewhere else i thought of going to all the places where matthew hopkins the witch finder general tortured and executed witches and we'll do the performance in those spaces Like, Culture to Castle Dungeons, for example, where he had about 16 odd people that he kept there and tortured there, and, and they were executed, to then do a healing ceremony after the play, and for us to do a healing ceremony, and so that's what we did, and we went around to all these places, but in doing that, I discovered that my life growing up Essex, was slap bang in the middle of Matthew Hopkins web of, The Witch Hunt. he was born in Manning, Manningtree. And as I mentioned in the previous podcast, the witch craze began because he pulled his neighbor, Elizabeth Clarke, out by the hair of the Red Lion Pub, which we performed in. accuser of being a witch then somehow managed to get the authority and the thumbs up from whoever the authorities were for him to then torture this woman until she confessed and then she confessed to two other women being witches as well and then that trial got taken to Ipswich or somewhere that was this public trial that everyone then heard about. They got condemned to be hung. They got sent back to the places where they were from. And I think they were from three different villages. And they were hung. that meant that he then had the reputation of being able to be a witch hunter. It was during the Civil War, so there was civil unrest, people were terrified, there'd been drought, and so there was famine, and a Puritan fundamentalist nutjob had just been travelling around East Anglia, telling everyone that the devil was amongst us, and had like, whipped up a religious fervour, which, when Hopkins then comes through afterwards going, Anyone got any witches? I can get rid of them for you. Everyone's like, yeah, we got witches. And, but it was also very calculated. So if you were accused of being a witch, the family didn't inherit your land, it went to the local authorities. So it was a land grab, basically. And he was given huge amounts of money for the privilege of doing this. So it wasn't just, you know, I think people often imagine that it was just all the witchy old women that got done. That's normally because they were very vulnerable and easy to take out. If you're an old woman on your own, no men to protect you, no men to stand up for you, and you've got a house. Thank you. We'll have that. Thank you very much. So yes, old women. a lot of men were away at the civil wars. So there was a lot of people who were vulnerable because their men weren't around. And, but also it was problem family. So like Neighbors from Hell kind of vibe. If you had a whole families were taken out. So you'll see the list of names and it will be a whole family and it will be men as well. So it was a mix. But yes, women definitely were more vulnerable. And so easier to take advantage of the situation. And it was awful. At one point in Culture to Castle he tortured this teenage girl. He made her confess that her mother was a witch. It was horrible. It was really horrible. And then it wasn't until the government or whatever was happening in Westminster, whoever was sort of tenuously still in charge at that moment, got wind that, he was about to have a hundred people tried and hung in, again, I think it was Barristan Emmons, and they were like, hang on, a hundred witches? What? so they went down and went, hang on, hang on, who are you? What's this? No, no, they did do the trial and one person did get found guilty of witchcraft and they were hung, but the others were released and they just, shamed Matthew Hopkins. And that's like the worst thing that could, I mean, it's not the worst thing that could happen to you is be accused of being a witch and being hung, which is obviously not a nice thing to be happening. but reputation was everything in the Tudor times. And so to have your reputation. He, so he was absolutely humiliated and shunned from society and then died of tuberculosis about a year later. Age 28. He was a young whippersnapper. It's absolutely unbelievable that he did what he did by that age. And yeah, he killed about 70 percent of the witches that were ever killed in England were at his hands. And he did it. right around me. So Braintree was slap bang in the middle of where his reign of terror occurred. So that was suddenly quite weird to be like, Oh, you know, and obviously I'm very drawn to the Tudor times. I, I live as a Tudor. I work at Kentwell Hall and I've nearly drowned six times in my life. And I'd found out through my mum, when we went around booking the tour, that The, she'd been living on the ducking bridge in a cottage when she was pregnant with me. So the song line that would have jumped up through my feet and kick started me to life was that song line. Now that feels profound to me because, there's this connection with Elizabeth Clark and Anne Clark, who I talked about in the last two podcasts, whose house I squatted, her actual name was Elizabeth Anne Clark, but everyone called her Anne. So she's Elizabeth Clark, and then this other woman in the reason that the witch trial hunt craze began was called Elizabeth Clark. So there's this connection with that. But also I have a connection with Aborigine. culture as well. I feel like, these are two past lives I feel like I have. I feel like I have a Tudor past life that's something to do with ducking and drowning, that means that I'm, keep redrowning in this life. I have a lot of problem with my voice. My throat is my weak spot and I can't really sing and things like that. I'm very drawn to the Tudors, but also something Aborigine. I feel like I have an Aborigine past life connection as well, because from, Aged like 12, 13 I read Songlines by Bruce Chatwin I know that's a controversial book now because he kind of stole a lot of stuff and some of it wasn't true but what I learned from that was that songlines are maps of the outback when the ancestors like witchy grub and coyote or emu rose up from the earth their movement and rising up like say witchy grub was under the earth and he started to move around and his wiggling around made a mountain range he moved out into the earth had a piss and that became a watering hole and then he threw up and that became a forest or whatever like the landscape was created by the ancestors singing it into existence and through their movement through it when you are born of your song line because that's what Kickstarts the baby and the first time the baby kicks, the mother will remember where she's standing, tells the elders, they'll know what song line it was, they'll teach the song and then that song will take you across the outback on walkabout as a map. Amazing. So I'd known about that since I was really young and I felt very connected to it and fooling. So when, in Aborigine culture, the veil between the inner and outer world is very, is, is non existence. The inner and outer are one. And so the dreaming is part of their everyday existence The inner world, your twin, is the dreaming, like that's what we're working with, and it's about us relaxing that sphincter of separation between our inner and outer worlds. And learning to be able to relax that so that we can let things flow through more. And for me, it's about creating your life being an act of worship, your life being divine, everything being sacred, everything being worship. blimey, life's great when you do that. So that's a big turnaround. delve into that and keep going with it because it's never ending. And I love it. And my life's a work of art. My greatest work of art is my life, definitely. went to Australia with a theatre show that we took to Edinburgh in 2020. it was the last time I took a show to Edinburgh We were booked to go and perform in Australia, while the forest fires were happening It just felt weird and wrong that we were flying all this way I tried really hard to get out of us going but they ended up throwing loads of money at us to make us come Way more than they would have done if I'd been up for it So it worked out quite well, but it meant that we went I really didn't want to go back to Australia I'd moved there when I was 18 because I had this sense of Wanting to get away. I needed to get away from Essex, but it felt like a place I wanted to get to was Australia, felt drawn to it. And then I got there and I just had the worst anxiety and it felt awful. And I do feel like there's this past life Aborigine connection where. The culture of being there is terrifying for me because it's the oppressive, invader culture of the settlers who've gone over there and what they did and what that trauma of what's happened. But we went, because of the forest fires, I said, I want us to do something while we're there. And I found a charity that were going to places that have been burnt and like doing a ground force thing where they rebuilt the garden And we went with them for a day and we planted a garden at this woman's house where her mum had tried to fight the fire and had died and she was really sad but it was lovely that we were able to bring it. a bit of Lease of Life again by bringing the garden back to life. And as soon as I got my hands in the soil in Australia, I felt it. I was like, ah, hang on. I love this land. I love this land deeply. And it's the culture here that I hate. And that was, an epiphany, which felt like a past life thing, but also it meant that I learned about the rainbow serpent, which I wouldn't have known about if I hadn't gone there. And the rainbow serpent is one of the Aborigines biggest stories, most sort of important stories. And when they see a rainbow, the serpent is gone. Travelling from one watering hole to another. So they're like, be quiet. You don't want to get caught by the serpents. They're kind of a bit scary, which I think is really funny way of looking at rainbow. I love that. but also when you look at the Milky Way, they don't see constellations as the light. Like we see the stars, they see the darkness. So they see the Milky Way is where the serpent, the rainbow serpent, has moved across the sand, and it's the stars of the sand that's been wiggled through, which you can totally see it when you look at it like that, it's like, oh yeah, it does look like a serpent's wiggled through sand, and they see a dark emu, which is a dark space that makes the shape of an emu between the stars, and then they see Orion's belt as an eagle that's pierced the blackness with its claws, Just love it. It's such a different way of looking at it. And I share that when I'm at the observatory, showing people the Dark Skies So I have this whole experience of putting this tour together and having the, you know, connection to land that I was starting to develop. But what happened with Sisterhood, it's just blew me away because nature became a proactive part of it. So the first three performances, I didn't know what we were saying to Matthew Hopkins cause we were doing this healing ceremony and I timed it so that we had three performances before Halloween. full moon was at Halloween. So we were building up to this full moon and that night I booked the tour to go to the red line in, in Manningtree. his birthplace and the place where the witch trials started, So it was the fourth performance and that was where it would be for Halloween. And the first three performances, there was thunder and lightning and we were in the barn in Coggeshall, by the ducking bridge where my mum had me when she was pregnant with me, there was thunder and lightning around that barn and I as part of the healing ceremony would show a card, a tarot card. So I had a big printout so it was blown up and printed out so that I could show people this card because in the rehearsal process, one day, one of the actresses who played Cara, those Cara and, Andrea couldn't come on tour. So we had actresses, but playing them and the one who was playing Kara's part was called Coco and she brought this lovely tarot deck with her and so we pulled cards for our characters and they were deeply insightful but we also pulled one because I, I hadn't known what I was saying to Matthew Hopkins what was my We, were we gonna go and shout at his grave, like, what were we gonna do, like, desecrate his grave, what did we wanna do? We pulled a card for him, and the card was the Wheel of Fortune, and in this particular deck, there were women in between each spoke. And the women at the bottom, it was like a dark blue background. They had long dark hair and they looked like they were in despair and it looked like they were being accused of witchcraft. So there was these three women who looked like they'd been accused of witchcraft at the bottom. And then at the top, there was these three women who were like bright golden background, golden hair, just full of joy, hands in the air and just absolutely in their power and Trump and. Boris Johnson had recently got into power at this point, so it felt very depressing. But, the she is rising, the divine feminine had significantly, lifted. So, it felt like we were in the top bit of that cycle, but at the same time had the, patriarchal death rattle happening, at us. And so that was a reminder that this too shall pass. Like, yes, people like Matthew Hopkins exist. Yes, people like Trump and Boris Johnson exist. Yes. But they don't live forever and they're not going to be here forever. And actually we can just move on because they're nothing. Like, fuck them. And so that was the message is that we're forgiving and forgetting him. And I say that in Coggeshall Barn while there's thunder and lightning going on. And I said, yeah, we're forgiving and forgetting Matthew Hopkins. Massive crack of thunder. Everyone goes, it was brilliant. So we then go to. Manning tree and it's Halloween and it was really wonderful because the performance the night before Someone had pointed out because in the ceremony we gave everyone a black and a white stone and we said We want you to think of people who've been oppressed, and put a stone in the middle and then think of people that have inspired and made you feel strong and made you feel supported. And the people who are oppressed could be people you feel connected to that you represent, or it could be people that you care about. And it had been that the black stone was the oppressed stone and the white stone was the hope stone and someone had just said, it doesn't have to be that way around. Why is it always that way around? So we changed it. And at Halloween we changed it. And it was the first performance where someone of color was there. it was interesting how much people tripped over trying to say it. They kept automatically going to do it the other way round, which is just an interesting thing to observe. So that night, we normally would put the stones in the middle, and then we would cleanse them by singing a note at them, and we had a prayer bowl that we'd use, and then we'd read out the names of the people that had been accused and tortured and killed in that place. But on this night, we took the stones outside because there was three trees planted for the three women, Elizabeth Clarke and two other women accused of being witches as well, who were all hung. There were three cherry trees planted for them in front of the pub. we took the stones out and put them at their roots. And when we'd arrived in Manningtree it was really foggy and it had this deeply oppressive atmosphere some neighbours peered out through the curtain and it just had this real like, who are you, you know, kind of spiky energy When we took the stones out, the clouds parted and the full moon appeared and shone down on these three trees as we put the stones down. And it felt like, you could hear angels singing like it was, yeah, incredible moment. And then the next day, the next venue we go to, which was this theater where only two people turn up but there was a rainbow over it. So the next day there's a rainbow over the venue. And then from then on the rest of the tour, it was sunny and beautiful and They all said, God, it feels like the atmosphere's changed. Like it feels like you've done something. And it just revealed to me that mother nature. can and will play an active role in a performance and that I would share that story. So when we were doing the, the performances where it was sunny and lovely, I was sharing what had happened with the thunder and lightning and the rainbow and just said that this has happened. So then, the pilgrimages happen and I'm not going to go into them in detail because I've done that in the previous podcast, Mother Nature played a very active role in that also. just beautiful synchronicities kept happening. But the bit that I'll tell you about is when we got to Scotland, we had an energy support team who were people elsewhere, who were energy workers, meeting on Zoom and doing ceremonies to support us and sending us positive energy, which was extremely useful and helpful. They'd realized as we were approaching Scotland that we needed to ask for permission to go in there, so they'd found some medicine shaman wisdom keepers from Scotland and invited them to the ceremony and they'd welcomed us in And obviously gone to Australia, not wanting to go to Australia, but through going there had been gifted realizing that I did have some connection to that land and deeply love it, regardless of the culture that's there. And I learned about the rainbow serpent, which I would never have known about before. what had happened was the year before I did the first pilgrimage on my own in 2020 and discovered from meeting people along the way, The Michael energy line that was one of the lines I was walking goes all the way around the world and actually becomes the Rainbow Serpent line in Australia. Ayers Rock has a different name, which is the traditional name, and I've forgotten, they gave that back. to the aborigine people and they took the poles out of the ground that the tourists had used as safety lines they pulled them out and when that happened, the Michael line in England had widened the dowsers were there and they felt it widened and they'd had a ceremony at the Stone Circle that's by the Cheese Rings, in Dartmoor, and it had an impact there, so these lines travel all the way around the world, and it's a bit like meridian lines in the body, I wouldn't have known about that if I hadn't gone to Australia. And it meant that I had learned that about the Michael line. We're then the next year walking up to COP 26, Glasgow, and we're walking along the spine of Albion and that's the Ellen and Bellinus lines that we're walking and yeah, get to Scotland. And I knew that they'd asked for permission for us to enter. But when we got there, it was like we were trying to break into Glastonbury or something because the main way to get across was this motorway bridge, but it was a really busy, horrible motorway bridge. And then walking along the side of a motorway for ages. So we saw on the map that there was a bridge we could go to, but it's quite a long walk, but it was better than going across the motorway. So we walked there and it was fenced off and we couldn't cross it. There was no way of getting across it. the choice was to go back, but it was a long way. So we would have been doing, 25 miles that day if we'd done that, which no one wanted to do. We were normally doing like 10, or carry on to what was the next bridge, but there was no way of knowing, and we were looking on Google Maps, satellite images to see if we could get through because it wasn't a maintained path, but it was an old railway track that we could walk along, but we had no way of knowing It was accessible, it might have been completely covered in brambles and overgrown. I went off and had a wee, and as I was having a wee I looked up and there was a hawthorn bush above me, and hawthorn on my first pilgrimage that I did on my own, walking the Rainbow Serpent Michael line, Hawthorn had supported me It hawthorn's heart medicine. Like doctors will prescribe it as heart medicine. It strengthens the blood capillaries, so the boundaries between you and your blood and your body. And so it helps with blood pumping. And it also is a boundary bush. birds can get through and rabbits can get through, but humans and horses and things can't. It's really good for boundaries, and so I'd had this stick that I'd carried back with me when I'd gone back to face me and my husband splitting up and moving out, and I had this stick that's just supported me to have my boundaries, and I still have it on my altar at all times. It's, she's with me, and now Hawthorne feels like my friend. She's my homegirl, And I love her. I looked up at this Hawthorne bush and I was like, can we, can we enter? Sorry, sorry, we haven't asked, but if, yeah, if it's okay, can we enter Scotland? And I felt I'd say yes. And I went back and I went, I'm going to carry on like you guys obviously do whatever you want, but I'm going to carry on. I trust that we can get through that way. And so people are like, yeah, all right, we'll, we'll all do it. So we went that way and it was fine. It was a bit scrambly. Some of it was a bit. tricky, but when we got there, this bridge was the oldest bridge into Scotland. It was beautiful, medieval stone bridge. We cross over. It says, welcome to Scotland. The next field behind it had more magic mushrooms in it than I've ever seen in my life. And it was amazing. Absolutely insane. So we dive into there and just start picking. and then we walk up the hill and there's this couple come running out and they'd seen us on the news and they were like, Oh, they might come this, this way. And so they recognized us. They ran out, invited us in, had made biscuits and cake and cups of tea. And we're all just coming up on mushrooms and they were lovely. They were so lovely. And we visited again on the way back. And so two years later, when we came back down, the opposite direction, we saw her again and went and had, It was lovely. So it's nice to make these friends and have these connections. But yeah, it just felt like the land just said yes. And then throughout the, that bit of Scotland, rainbows were everywhere. So when we were at COP, there were rainbows. this connection to the rainbows that they'd said in the ceremony, and then also the rainbow serpent connection, just, they were everywhere. we didn't walk to the top of Scotland because that's mountaineering range, walking through the Cairngorms or whatever you got. That's a different thing to what we'd done walking up England. we got a people carrier and we drove to the last bit where the energy line goes into the sea, the energy lines would enter the sea. and it was a place called Hope Bay. And we got up there, and as we're driving along, we're going through the highlands, and it's autumn, and so all of the brackens turned gold. It's absolutely golden. We ended up driving through triple rainbows, in this sea of gold, and the rainbows are hovering around on the the golden bracken, it's like here is the gold at the end of the rainbow, this is mad. But it was a triple rainbow, so it was like we were going through a tunnel of rainbows. And we get to the lands at the end, and the land looks like a dragon going into the sea. And then, it's like we do the closing ceremony and we've done the ceremony on each of the chakra points up the spine of albion on our way to cop 26 and this was the last one in the crown chakra and out of nowhere there was seven claps of thunder and then there was no lightning and no rain so the earth clapped and it clapped seven times which was the number of ceremonies we'd done it was the most incredible mental thing that's ever happened to me, I was like, what? and so, yeah, and then that's what, whilst walking the energy lines at some other point I got the download that it's the most direct way to communicate. And so when Aborigines are going on walkabout, they're going to have sexy lover time with Mother Earth. And she is the mistress that just keeps on giving. the more I open myself up to this relationship being sentient and two way, the more it happens. I just, I love her so much. I feel very bereft at the moment because I haven't gone walking this year and I feel ill and I feel wrong and blah. but I also needed it. I needed a year to process. I needed a year to be getting married to Dears in October and so I've been missing his birthday for the last four years every time I've been away. Next year I will definitely be away again but this year it was important for me to be here and it's been a processing thing. It's a necessity. It's been a necessity. it's okay, but it's also been a bit uncomfortable and, yeah, I'm like smoking and drinking and doing things that's not what I would normally be doing right now and it's not what I want to be doing, but also I'm letting, I'm forgiving myself. It's okay. This is just what's happening. This is a video I made in a hurry to show how to make a good video. I hope you enjoyed this video. So that's what geo Muncie is for me is trusting the process. It's following the signs, it's following the universe and letting the universe lead. And mother nature, Gaya. She just keeps playing active roles in my life. So both the bell team festivals that I've put on. This year is one was our wedding and there was one last year. And both years it's been horrific weather right up to the festival happening. And then the day before the festival bright sunshine. Absolutely glorious weather on the day And my friend who came to my wedding. And saw that happen. And when they came over on the boat on the ferry, they saw dolphins and it was just ridiculous. Everyone was like, it just feels like. SOC was showing off. My friend, who's a taxi driver said, don't believe in magic, but you make it really hard not to. And so that's what for me, it's me working in collaboration with nature. To make extraordinary things happen. Yeah, she's, she's a brilliant. Magician ally, creative diva. She knows what she's doing and she gains during it. And it's also things like I'm a body dowser. I can totally feel the lines I can feel when I'm on them. I can feel when I'm off them. You just notice things like it, Tinkles more and the light changes and synchronicities happen. And so just being open to these things, you know, You can doubt it. You can question it, but it's an instinctual. thing that you're having to develop, like you've got to take down the barriers and you've got to let it happen and observing how everyone has different experiences of it. John Schumacher, who I interviewed in the podcast. Has very different way of experiencing the lines and being with them and things than I do. You know, like I will. Arrive at a place and put my stick down and it will be the note point. And when someone dials is that will be the no point. If you look on a map of anyone who's drawn out or whatever, it will be where I was, you know, like I just automatically find. The note point and my body just takes me there, but I can't feel like the width of it, or whenever I just noticed when I'm on it, that the. The quality's different. And then there are other people that don't fill anything like that, but they do notice the synchronicity and, if we walked anywhere, Things might feel different and be magical because the whole world is incredible, which is also true. it's my personal relationship with Gaya, who is this being, who I'm having a two way. Experience with. Regardless of whether that's true or not, she keeps doing awesome things. At opportune moments. When I do creative acts in the world, and I just want to keep playing with that. Uh, she's my director. And I am her. Well, she's my muse. I'm her play thing she can use and abuse me as much as she likes. I adore her. I'm going to pull a rune just to see what, the universe wants me to briefly talk about before, We closed this podcast this evening, so Oh, it's Perath again. So this is the rune that I pulled last week from Anne. So it's Lot's Cup. It's the gambling cup. And again, it's potentiality. So this is the most mystical of the runes. It's the rune that's anything's possible. It is Schrodinger's Cat. It's like, until you look in the box, you don't know. The cat is both there and not there. So it's potentiality. It's the potential for anything to happen. You know, it's interesting that that is also what I got from Anne because it is the dreaming, you know, the dreaming is infinitely possible and all our parallel universes and all of our reality is made up. Could we literally just trip a different reality into being? Could we collectively dream a totally different reality? Not like we have to plod along in a linear, outer world, get from A to B, change things way. Could we literally just flip the script by all, enough of us dreaming a different reality into being? Is that happening all the time? Are we, you know, your timeline is shifting and that's happening all the time? I had a part of the pilgrimage experience of feeling like the timelines had shifted, which I felt like happened in Avebury, was going to Glastonbury Tor, which I've been to millions of times. I've walked up millions of times, and I got there, and the path at the back, the back entrance to get up there, not the main, sort of, easier route, there's a less accessible, more steep climb you can do at the back, and the path there, which I've seen millions of times, was in a different place. It was in a completely different place. And I felt like if a timeline was going to show you that something was different. The geographical shift being at Glastonbury felt very apt because it's a spiritual, yeah, like that's the sort of place where it would happen. so yeah, it's in a different place. What can I say? it's not where I left it. I definitely feel like I'm on a different timeline. I messaged Andrea about it because she's the sort of person that I could talk to about this sort of thing. Who's my mentor. And she went, Oh, yeah, no, it happens to me all the time. I'm always shifting timelines. I just love that I have someone in my life that will say that to me and can be that person. but reality is made up. Create or be created. And this cup is that. It's saying create, work with the dreaming, work with the inner world and create something. make your life sacred and magical and trippy and do whatever the hell you want with it. Finally, for the chaos crusade this week, there's been a lot of stuff to do with walking. I thought about this the other day that many of the chaos crusades have been to do with walking and it's, it is an obvious, well for me, walking is my prayer, And so I invite you to go and watch a sunrise and sunset. I do this at the summer solstice for example, I stayed up all night and I swam, I swam with the sunset and you get that golden path that appears in the sea when the sun is setting and that's meant to be the path to fairyland, or the the dreaming. And I was in the water skinny dipping as the sun set and I parted my legs and I let this golden light in. enter me and impregnate me with creativity for the year. And that's what I did in the summer solstice this year. And then stayed up all night and did the same thing at sunrise. And again, let the golden light of the sunrise impregnate me. So the sunset and sunrise impregnated me with their creativity this year. It's that, that kind of relationship with nature as a witch, my church, our church is to watch a sunrise. I invite you to do both and it's half and half at the moment because of the equinox so it's a good time of year to do it. and to just sit and watch it and be quiet and just do So that's my invitation to you. It's a profoundly wonderful thing to do. Every day we get a free sunset. How amazing is that? That's a lyric from beans on toast. So thank you so much. this is taking us off into a bit of a journey to do with nature. And, I've got a brilliant interview lined up for you next week with my sister in law's sister, Sarah Day, who I grew up with at Kent Royal Hall at the Tudor reenactment. She cut her cloth working with Ray Mears doing bootcamps out in nature for young offenders and she literally is everybody's apocalypse person. we will go and find Sarah if anything happens, like we're Sarah, she'll look after us. She's absolutely awesome and I can't wait for you to hear about her world and life'cause it's absolutely inspiring and batty. that's next week and she has a really deep connection with nature we'll see where the journey takes us from there, but I will also share sisterhood with you. that probably will be the week after and then hopefully we might interview some people to do with that or something. We'll see where the universe takes us. thank you for listening. Love you. I'll see you then. Yeah. Please subscribe! I don't know.