MoonCourt is dedicated ceremonial space created for the celebration of Her Creativity, as this manifests in the Seasonal Moments, which are holy days of Earth, points of transition marking Earth’s orbit around our mother Sun. MoonCourt as it has been named, is sacred space for celebrating Earth’s everyday sacred journey, our everyday pilgrimage – where we actually are. It is a Goddess safe space where She may be spoken and announced in all Her beauty and power. MoonCourt is the emergent home of PaGaian Cosmology.
There are three seasonal markers on the wall: the window for the Winter Solstice dawn, the window for the Summer Solstice dawn, and the Equinox marker in between them. I found the simple placement of these markers in themselves to be mind-altering. I wrote soon after living with them for a while: “It is placing me in a new way.”
The Winter Solstice window is vulval in shape, designed and made especially, an open space with a wrought iron Triple Spiral held in its centre. The Summer Solstice window is a round plate of thick glass with a diamond shaped pattern centrally embedded in it. The marker for the Equinoxes, which has the same position on the horizon for both Spring and Autumn, is a downward pointing triangle, a classic Goddess pubic shape; at first with an image from Loughcrew Ireland included within it, then later and presently with an image of Demeter and Persephone within it.
The floor of MoonCourt is embedded with a thirty metre brass spiral which represents the unfolding Universe, from the Original Flaring Forth to the present moment: there are forty brass pins embedded along its length at appropriate measured distances, representing moments considered significant by present scientific and cultural understandings, and I always tell the story inclusive of Goddess perspective.
The foundations for MoonCourt began in early January of 2008; its advent was an organic process. The only certainties were (i) that the space would be home to the seasonal ceremonies that I had hosted for years, frequently in hired locations and only recently coming back to this ground, and (ii) that it would be made of earthen materials. We did not actually have a plan to go by, other than beginning with the noting and marking of the sunrise on the horizon for the Summer Solstice, the Equinoxes, and the Winter Solstice. My partner Taffy (Robert) Seaborne initiated and took an active role in MoonCourt’s construction, though it was my story, my cosmology (which did not yet have a name), which informed the design.
As we reached for a name for this sacred space we wrote: “It is a place for getting caught by the Moon, where Her law/lore is laid out. The seasonal rituals as we do them are a celebration of the dance of Light and Dark – the rhythm of waxing peaking and waning, as Moon holds them within Her round face. It is to be a place for courting the Mother.” We did also think about naming it a MoonAsylum … as it is a “refuge for learning and celebrating Her Wisdom” and we often playfully regarded ourselves as Lunatics! MoonCourt is the name that emerged, partly due to a white marble that was found mysteriously placed exactly in the centre of the rubble of the foundations.
I continued to hold the all the seasonal ceremonies on the site as it was built … Earth does not stop turning; the celebration of Her Creativity, the sacred conversation, must always go on. Herewith a photo as it was for Autumn Equinox of 2008, when MoonCourt was the site for the Underworld part of the ceremonial process. I include it for the purpose of showing that one does not have to wait for magic to happen.
originally posted at Mago E-Magazine
Glenys Livingstone, Ph.D.
Glenys Livingstone, Ph.D. has over thirty years experience on a Goddess path, which has included diverse spiritualities and a scientific perspective, inner work as well as academic scholarship. Her studies have been in theology, ritual, archaeomythology, social ecology, psychology, sociology and education.
Glenys is the author of PaGaian Cosmology: Re-inventing Earth-based Goddess Religion, which was an outcome of her doctoral work in Social Ecology from the University of Western Sydney. Glenys’ doctoral research was an experiential study of the three phases of the Triple Goddess – Virgin, Mother, Crone – as Creative Cosmological Dynamic, and the embodiment of Her in seasonal ritual as a catalyst for personal and cultural change. More recently, Glenys’ continued ritual practice of the seasonal Wheel of the Year and research, has deepened her identification of this Cosmic-Organic Creative Triplicity with the Triple Spiral engraved by the ancients at Newgrange (Bru na Boinne) in Ireland.
Glenys grew up in country Queensland Australia. Glenys considers herself a student of the Poetry of the Universe – a language expressed in scientific story, mythological metaphor, ancient and contemporary images of integrity, body movement and dance, stillness, chants and songs. By these means, she conducts geo-therapy – ecological reconnection – for herself and with others.
Glenys’ work is grounded in the Old European indigenous religious practice, integrated with evolutionary perspective and Goddess scholarship.
Glenys’ M.A. is in Theology and Philosophy and included education in liturgical practice at the Jesuit School of Theology Berkeley California. She lives in the Blue Mountains west of Sydney with her beloved Taffy (Robert) Seaborne, who is also a graduate of the School of Social Ecology and rich life experience. Glenys teaches, writes and facilitates the seasonal rituals in her Place with an open community.