|
Using The Sacred Spiral For Power, Protection Transformation And Healing
The Crossing Press 2004 ISBN #1-58091-126-9
Cassandra Eason is a renowned British psychic and folklorist. From this background, she brings us one of the most decisive tools of personal empowerment that I have seen in a long time. Written in a gentle, giving manner, Eason makes it very clear that if we want to do labyrinth work the first thing that we need to do is to respect the tool that we are working with. The next thing that we need to do is to try and understand what a labyrinth is, and have the foresight to recognize all that it can be. The sub-title to this book is "Using The Sacred Spiral For Power, Protection, Transformation And Healing". I think we have all of the bases covered here! We begin with labyrinth history and folklore. The history that you see here is a well researched history brought to a very personal level. You don't have to tread through pages of academia to get to the "good stuff"! Indeed, the prologue hits the ground running with a description of a reenactment of the Theseus/Ariadne myth, where Theseus enters the labyrinth intent on slaying the Minotaur. Labyrinths are both simple and complex - they are simple in that, no matter how large they are 'grown", they are unicursal, meaning that they have but one single path leading to the center (as opposed to mazes, with their blind alleys). They are complex because of their purpose - they lead you within yourself, they allow you to find yourself. They represent both the male and the female energies of the Divine, and in that they are always to be considered sacred spirals. England and Europe are home to fine examples of labyrinth architecture, from the labyrinth at the Chartres Cathedral in southwest France, to the Amien's Cathedral (also in France), to the classic labyrinths of Crete and the labyrinths of the Hopi Indian's in North America. There are different shapes, and sizes, to labyrinths, often depending on their purpose. One of the greatest gifts that Eason presents her readers with is a constant stream of drawings of the different labyrinth styles. The written word, combined with these awe inspiring visuals, are what true learning is all about. Eason presents this book in three parts. Part I is concerned with Mythology and History, and deals with basic information about labyrinths and their connection to the mother goddess. Part II is concerned with the methods used for power, protection, transformation and healing. Here Eason talks about using labyrinth work as a tool for psychic development, and on working with healing, past lives and the chakras. Part III is concerned with Deities, Locations and Rituals. Here Eason discusses the various gods and goddesses that may be relevant to the work that the reader is doing on a personal level, shows where to find labyrinths locally and goes into ritual work in conjunction with labyrinths. One of the primary ideas that is presented here is that in working with labyrinths, we need to recognize that we are connecting to ancient tradition, to folklore, and essentially to our ancestors. (One of the saddest things about labyrinths is that many of them were deliberately torn down, basically under the influence of churches.) Labyrinths can be created anywhere, and from anything. They can be created in the earth, in sand, on stone, from natural fibers, from clay - essentially from things that our ancestors had available to them. Labyrinth work is seen in many cultures - some of the finest examples are seen in church floors, or on church property, while other examples include Buddhist work with mandala's and Native American work with sacred spirals. What interested me most here was the creating of a labyrinth for a specific purpose, and the "taking down", or "taking apart" of the labyrinth when the purpose had been accomplished (especially easy to do when working in a media such as sand, where all traces can be "wiped away"). The labyrinth represents the mother goddess - walking the labyrinth represents, in part, a returning to the womb. One of the interesting asides that Eason presents us with is that negative spirits are thought by many cultures to move only in a straight line. Through the use of the spirals of the labyrinth, these spirits were caught and held, so that they could do no harm. In the same way, when we walk the labyrinth, we leave behind our destructive habits, dead relationships, and fears, exiting with a feeling of renewal that we experienced with the "cauldron of regeneration" at the labyrinths center. The center of the labyrinth is also considered the doorway to "another world", that may be accessed through prayer, meditation or dreams. You can find the answers that you need from whatever plane you need to find them on. This is your portal to your ancestors, your connection with the Divine source. An interesting thought here is that the more a labyrinth is worked with, the more people that use it, the stronger its connection to mother earth, and the stronger its power. Personal stories, some from Eason, some from other people that she met while visiting diverse labyrinths, add a great deal to this book. They make it "real", and allow us to understand that our own mundane needs are not to small to ask for help with. (When we walk a labyrinth, that is what we are doing - asking for help, whether we do so in a conscious manner or not.) The point is also made that if you wish to work with a god or goddess within the labyrinth, that the one you connect with the most is the one that you should use. The energy that you call in will be the energy that is there to help you. Different rituals are interspersed throughout the book. In the first ritual presented, the reader is asked to visualize a labyrinth in his/her mind. In this labyrinth, connection will be made with your personal labyrinth "mother". You may at times work with other energies, but the energy of your labyrinth "mother" will always be there, in the background. This is an easy ritual, that anyone can do, and one that leaves the practitioner feeling safe and protected. It sets the groundwork for future work. Part of the history of the labyrinth that is very important to understand is its geometry - that of the spiral - the sacred spiral. The spiral is an ancient symbol for the mother - the triple spiral the symbol for the triple goddess - maiden/mother/crone. Eason does an excellent job of setting out a series of diagrams for creating labyrinths of varying sizes (as defined by the number of spirals). Along with the instructions for a three-coil labyrinth Eason presents a template for celebrating a transition or rebirth. I think this is one of the best ways that we can actually "see" the uses that a labyrinth can be put to - by being gifted with the template for a specific (but not necessarily "only") ritual or ceremony to be used in the labyrinth. Eason defines the labyrinth journey as a three stage journey: (1) entering the labyrinth and walking inward through the coils, (2) pausing at the center of the labyrinth, and (3) leaving the labyrinth via the coils to return to the outer world. The journey is all about leaving our burdens in the dwelling of the mother in the center of the labyrinth. Eason presents a series of ways of looking at each stage of the journey so that you get the most out of it. For example, one way of taking the journey might be: (1) Waxing Moon, the maiden goddess stage as you enter, bringing plans, hopes and dreams with you; (2) The Full Moon, the Moon Mother in the center of the labyrinth, for endowing you with the power necessary to bring those plans to fruition; (3) the Waning Moon, the Crone, leaving the labyrinth shedding all doubts and all that stands in the way of that fruition. You may also choose to bring in gifts and ask that they be blessed. One of the journey's that Eason suggests that we go on is that of discovering the energy of our "dark mother" - the shadowy, negative, destructive sides of ourselves that we don't want to visit often. One of the techniques that Eason discusses is dancing the labyrinth - something that several of my professional Tarot associates work with on a consistent basis. This can be done singly, with couples, or with groups of people. The "trick" here is the timing - each person starts one minute after the person ahead of them. When the center is reached, further work can be done, depending on the purpose for the labyrinth work. As they dance the coils, those participating come closer to each other, and then dance away, as they follow the curve of the coil. Note: if you take your shoes off before you enter the labyrinth, you will maintain a greater connection with the earth under your feet. (I also suggest this for indoor work - it frees the energy around you. That's my story , and I am sticking to it!) Eason covers a great deal of ground in discussing how to create a labyrinth - how to choose the best location, the materials to use, whether you want a permanent or a temporary labyrinth, how to work with larger (i.e. seven or more coils) and more. She then goes on to discuss how to honor your labyrinth, ceremonies that can be done, creating miniature labyrinths and much more. I intend to do a small, indoor sand labyrinth that can be placed in my office, as well as a larger, permanent outdoor labyrinth made of herbal plants and stepping stones. I have my herbs to ceremonial use, and my labyrinth! Labyrinths are, at their core, a spiritual journey. Eason discusses using meditation and prayer as part of a labyrinth journey, and gives an excellent template for doing so. Think of this - we walk into the labyrinth with the intent to quiet our minds. In the middle, we meditate, pray and access both inner and outer planes. As we leave, we take the sense of peace that we found in the center, or "womb" of the labyrinth with us. There is so very much more to this book - working with psychic abilities, candles, crystals and meditation. Working with smudging, working with musical notes, planets, problem solving, working with the inner child, and working with archangels - it is all here! I cannot say enough about this book. I highly recommend it as a reference for labyrinth work, for building labyrinths, and for realizing that there is no limit to the work that you as an individual can do.
Bonnie Cehovet
 View My Guestbook Sign My Guestbook
Graphics by Art for the web |
