Rite and Worship
Ritual as Physical Poem : An Introduction
Cross-Quarter Votive
This candle
lit in
winter’s belly, its tomb
a flame, its hot blue bones
knock quick against the icy sunset,
quick against
the skin of rivers
cut from fat, crumbled farmland;
This candle slips into my mouth
like
blood
through veined
silhouettes,
trees buttressed
by architectured wind
and a belly
of bones,
blue entombed blood slick
and cracked;
This candle,
wick bent
black as
an undone tomb under fire’s weight,
and ice,
burned and bleeding from
the slow noise of winter—
both knock back
at the bruise of sunrise
spread thick
across the morning.
-- Ali
There are many ways to think of ritual. Mindless repetitions.
Obsessive-compulsive neuroses. Superstitious tricks to undermine or circumvent
the rational mind. Obviously, these are all very negative views. There
are also some positive ways of thinking of ritual in social and psychological
senses: they provide common activities that can help to form bonds among
community members and contribute to a tradition of cultural identity; they
reinforce certain psychological states by associating places, times and actions
with those states, making them easier to evoke (as is the case with many artists
and writers who develop particular habits to put themselves in a “creative mood”).
These aspects of ritual are, of course, important and do come to play in
religious ritual. However, I am more interested in exploring ritual not from a
psychological or cultural point of view, but from the viewpoint of religious
practice—the “work” of the spiritual life.
In this sense, I like to think of ritual as a kind of physical poem. Poetry is a
complex art form—it incorporates the linear progression of text with the visual
and other sensory details evoked by its words, all this set against and
interplayed with the musical quality of the words themselves welling from the
throat and falling from the lips and tongue. Its musical qualities draw poetry
close to the body, close to the speaker and the listener (or reader); as the
same sounds vibrate through each of them. When a reader speaks an old ballad
aloud, her body is quite literally moving in the same way that the original
singer moved. Thus, the musicality of poetry draws us close to one another, to
the poem, and to ourselves; it serves to unify. By contrast, the linear aspect
of the text and the external aspect of the sensory, concrete details evoked
serve to separate. A poem’s defining feature is often its line and stanza
breaks, the space which surrounds it and sets it apart from prose on the page.
As we imagine the images, scents and sounds that the words of a poem describe,
we project an idea of beauty outward into the world; as if we were looking at a
painting or dance performance, we act as an observer of beauty and, as an
observer, are thus separate from it. It is the intriguing nature of poetry to at
once unite and separate us from beauty, from the work of the piece.
In the same way, ritual works to unify us—to bring ourselves into
wholeness, to unite us with one another, and ultimately, to bring us into
intimacy with the Divine—while it also works to separate—setting aside
certain places, designated times and particular acts as sacred, as somehow
“different” from everyday life. Religious ritual embodies this strange
contradiction. It is a “physical poem.” That is, it is a poem that we act out
in our lives—we perform the same movements and activate the same energies in our
physical bodies and in the physical space which serve to unify ourselves over
time and space, and yet each time we do so, the act is unique and meaningful,
and thus also separate and different from all previous experiences. Just as a
poem evolves through our contemplation of it even while the musical sounds
remain the same, a ritual moves us into a state of being where we are both
connected to a larger world while at the same time remaining uniquely acting
individuals. This is the religious meaning of ritual for me; when I perform such
acts consciously and with purpose, I am opening myself to a mysterious process
whereby I seek intimacy both with the eternal, unifying aspect and the height of
the unique and personal aspect of God.
That is the understanding which guides my use of ritual in my spiritual life,
and my discussion of ritual in these pages. For a long time, I took for granted
the idea that belief in God was enough. This seems odd to me now, thinking back
on how adamantly I insisted that love was an active force and not merely a
warm-fuzzy emotion. How can something be an “active force” in one’s life without
actually manifesting in behavior? By very definition, to believe in love as an
active energy animating my very soul is to believe that I must undertake acts of
love—towards God, towards my fellow human beings, and towards myself—in
full consciousness. In the end, that is what both poetry and ritual are for me.
Through ritual and writing, I act with focus, openness and intention to manifest
love, to be a child of the Divine, within the world.
Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground.
-- Rumi
O body swayed to music, O brightening
glance,
How can we know the dancer from the dance?
-- W. B. Yeats, from "Among School Chhildren"
Originally posted on
03.05.05
© PLW/ALS
The church that I attended for most of my childhood was a
modern building, rather sparsely decorated and otherwise much like my elementary
school, complete with “auditorium” and halls of classrooms in the back. In other
words, it was nothing special. The idea of sacred space never occurred to me
until I started my scholarly study of comparative religions in earnest, reading
about some of the practices in other traditions. The beauty of Muslim
mosques with their intricate geometric patterns and script, the tranquility of
Buddhist monasteries, and the public yet intimate Hindu and Shinto
shrines, all fascinated and inspired me. I began to take interest in the sacred
spaces of Christianity—the majestic architecture of Gothic cathedrals, the
small churches tucked into busy city blocks, and everything in between. I also grew more aware of the natural places which held
meaning for me. Although the local church had never felt like anything special,
the park at the end of my block, with its creek running through a small organic
garden, had always been a place of refuge as well as play. When I was 13, I spent an entire
summer cataloguing all of its plants and local wildlife in a “nature journal.”
As my spiritual life progressed, it made sense to try to bring my love of nature
more fully into my faith, just as I had been bringing it into my poetry for
years.
Anyone who has spent a morning walking through a quiet woods, watching light filter
peacefully through the canopy of leaves
as the sun climbs steadily higher, can appreciate the importance of setting
aside space in our busy and cluttered lives. Having a sense of sacredness
located within a physical place is one of the fundamental aspects of ritual. All
ritual, all religious practice, happens within a physical space because we as
living human beings occupy a space that is physical as well as spiritual. We
must not demean the physicality of our existence--really, it is something to be
celebrated. The very fact that we are alive in these complexly working bodies,
against unimaginable odds, is quite literally a miracle. It's important
for us to celebrate the physical world and our physical bodies. We do this
through acting in the world, understanding our bodies as tools of the Divine,
ways in which the Divine can manifest. We can use ritual as a purposeful way of
reminding ourselves that we have physical as well as mental aspects of our
spiritual lives. And we can set aside sacred space as a way of reminding us of
the sacredness of all space.
A sacred space provides us with a place dedicated solely to
spiritual practice. When we enter that space, we help ourselves grow more
conscious of our work within the Divine. It doesn't mean that this sacred space
is "good" and all other space is "dirty" or "bad" or "profane." Setting aside a
special space just serves as a reminder of the sacredness of space in
general--just like celebrating a birthday doesn't mean we think all other days
are unimportant, but it helps to remind us to be thankful and glad for the whole
of our lives. Having a sacred space gives us a place of safety, a place we can
return to again and again, away from the judgments (and prejudices) of everyday
life and culture, a place where we can do whatever we feel moved to do--whether
that be singing out of tune, dancing "skyclad" (or, as I like to do, dancing on
the coffee table using the remote as a microphone), or just meditating or
praying free of distraction, seeking intimacy with God. Sacred space, even that
which is temporarily "constructed" by casting a circle, provides us with
security, intimacy and openness. If that space is natural (out in a secluded
woods, or by a river or ocean, for instance), it reinforces that idea that,
within this space, we should be "natural." We are ourselves when
conscious of the divine presence, and we respect and celebrate the
divinity that is within each of us, naturally, when we are ourselves. Even "man-made" places (indoors or outside) can serve as sacred spaces
(obviously, the role of many churches, temples and monasteries). It's up to you
and your personal tastes.
There are a couple of ways that we can bring an awareness of
sacred space—in particular, natural places, both wild and cultivated—into our
religious lives. We can explore the world around us: the parks that have been
set aside as natural havens in suburbs and cities, the landscapes of rolling
farms and countrysides, even the way modern architecture often comes to echo
many patterns of the wilderness. We can also make scared space by setting aside
a place within our own homes, yards and gardens. In the following sections, I’ll
talk a little about finding, creating and respecting the sacred spaces in our
lives.
Originally posted on
03.06.05
© PLW/ALS
Outdoors
After A Storm on Good Friday
When the sun, squinting
through the billows on the western horizon,
catches the last tired drops that fall
belatedly from the branches
with the pear tree petals,
and I walk through it
as if behind stained glass,
my dress accentuating
the cold breeze that wraps my body,
I feel beautiful again.
-- Ali
I composed the above poem several years ago while on a
walk through my neighborhood "after a storm on Good Friday." I'd forgotten about
it until searching for a good piece to begin this section. It speaks to
the interesting interaction between nature and that which is "man-made." It is
my body and my dress that accentuates the wind, rather than the reverse. And
although I walked through a residential neighborhood, the storm that had only
just passed seemed to have united the whole world in the single natural
phenomenon of rain and light.
There was no difference between the sidewalk, the houses, the trees and the
clouds--all were beautiful, natural, and sacred.
Sometimes it is this easy to find a sacred space out of doors. Places call out
to you, invite you in. Before I began looking for a place to dedicate as my own
sacred space, I already found myself drawn to certain spots. Sometimes we need
to practice listening for that call, noticing that pull of familiarity and quiet
joy. We're used to paying attention to a sunset as a romantic experience; we
recognize a storm as a frightening experience that highlights natures raw power,
and a bright meadow as the perfect backdrop for a family picnic and some
afternoon play. Allowing nature to touch us requires that we let go of our
distractions and take some time to relax, sit quietly and listen. When we do
this regularly, we learn things from nature we never expected. Experiences and
events become more than just another cliché of romance and reveal whole new
levels of meaning and connection. The ideal outdoor sacred space is one in
which we can meditate for a few minutes each day, where we can walk gently and
attentively, knowing we are walking with and through the Divine. These moments
of communion with and revelation of God through nature are the foundation of a
magical spiritual life. Sometimes it takes the discipline of many years of
quieting ourselves enough to listen. And sometimes it overwhelms us and we just
can't ignore it.
Unfortunately,
it's often very hard to find the right place for this type of practice, especially if you hope to perform
rituals or ceremonies outside beneath the sky. Public parks may not provide the privacy or
security. Ideally, you should feel comfortable being entirely open whenever you
are in your sacred space, free to sing or shout or just sit quietly with some
candles without interruption, stares or awkward explanations. Obviously, despite
that moment of intimacy during my walk, I couldn't set up an altar and buckle
down to chanting right there in front of a stranger's house! So, when looking
for a sacred space outside, some compromise is often necessary. Keep in mind
that personal safety may be your highest priority, along with privacy and
concerns about what "feels right." You won't be able to give yourself over to
your spiritual work of listening to the lessons of space and nature if you're
too worried about being mugged, or defamed by gossiping neighbors. Weigh these
considerations carefully, and don't rush yourself into anything. Have confidence
that the Divine will make space for you as long as you make space within your
heart, mind and life for the Divine. Invite God in, and She will find room
enough to make Herself comfortable!
I myself am in a situation that calls on me to compromise. For now, I have sacred spaces both inside my bedroom
(I'll talk about this in the next section), and
outside in a local wooded park. I visit the park often, exploring all its paths,
nooks and crannies. I have come to know the places where others rarely visit,
and so I often feel comfortable sitting in quiet contemplation there without
worry. I also find that simple walks are themselves wonderful ways of talking
with and listening to the Divine--I let God guide my feet and lead my gaze in a
kind of moving meditation. Meanwhile, however, I do not do any overt ritual work
in this public park, and I rarely go there after
dark for safety reasons (especially since the park officially closes at sunset). I look forward to one day
owning a house with a backyard, where I can garden and practice more freely out
among the trees or under the stars, the way I used to play in my backyard as a
child. Until then, I enjoy the sacredness of the
outdoors, and I do my ritual work within a sacred space in my own home.
At Home
As I mentioned above, I have a personal altar in my home where I do much of my ritual work. I’ll talk a little more about the role of a personal altar in the section below, but here I would just like to touch briefly on how we can make the most of indoor sacred space. Although “man-made” sacred spaces might seem less able to fulfill those same needs that I mentioned above regarding the beauty and divinity of nature, in some ways interior spaces provide us with other unique opportunities to explore and learn from our “inner landscape.”
[…]
Altars
Bowl of rain or dash of snow;
Candle wrapped with sunflower stem;
Rock-round altar carved below;
Cloud-spires arched above the wind.
-- Ali
Shrines
[intro here]
Candles & Incense
Salt & Oil
Chalices & Bowls
Bells & Chimes
Heartbox
Journal
Sacred Texts
[intro here]
Casting the Circle
Calling the Corners
Welcoming the Divine
Meditation
Return
Thanksgiving
Releasing the Circle