Seven Stages of Womanhood: a Contemporary Healing Ritual from the Finnish Mythology of the Kalevala

SEVEN STAGES OF WOMANHOOD: A CONTEMPORARY HEALING RITUAL FROM THE FINNISH MYTHOLOGY OF THE KALEVALA Sirkku M. Sky Hiltunen Virtasalmi, Finland Washington, D.C. ABSTRACT: The purpose of this article is to introduce a healing ritual, which is inspired by and draws from the ancient Finnish epic Kalevala’s poetry of affirmations and its seven stages of womanhood. The seven stages are metaphors for female ego stages of maiden, wife, mother, crone, sage, warrior, and heal- er. Participants select these ego stages for cycles of affirmations, which are laments, charms, positive affirmations, affirmations of transcendence, affirmations of transformation, and prayers. The healing components of the ritual incorporate interpretive frames from Baldwin’s transactional system and the author’s differentiation of personal, transpersonal, and universal perspectives. The larger context of the oral tradition, the “poetry of affirmations” that gave birth to the Kalevala, is presented. The traditional mythological figures of the Kalevala exemplify the seven stages of womanhood and are guides for inspir- ing imagination and free associations among participants in a healing ritual. The procedure for the ritual is outlined, followed by concluding observations. The wisdom and healing practices of ancient cultures were often transmitted orally. The rituals and chants that passed these practices on were imbued with the living power of direct oral expression. Shamans, spiritual heroes, and heroines of sung stories also acknowledged the power of chanted poetry. As written languages were developed and literacy among ancient peoples increased, the power and efficacy of the ancient traditions, which depended on oral transmission, was all but lost. Where the oral tradition has only recently faded or is perhaps still extant, recaptur- ing the power of this tradition is naturally easier. Such is the case with the tradition of Rune Singing in Finland. Oral poetry was first recorded in the beginning of the 19th century. Living Rune Singers from an unbroken lineage of oral transmission have been tape-recorded by folklorists in the sparsely populated areas of Eastern Finland as recently as the 1970s. Today, a growing interest in indigenous spirituality worldwide has brought about a renewal of efforts to retrieve and preserve some of the ancient oral traditions and even to recreate and synthesize ancient laments, charms, and prayers in contemporary forms. The use of ancient traditions and folk poetry as a source for contemporary theater, visual arts, and music has strongly taken root in Finland since the late 1980s (Fihlman, 2001). More recently, researchers discovered that there are still a few living lamentors who belong to an oral tradition of unbroken transmission. However, contemporary lamenting is a learned skill and is used for self-expression, even in public performances. It springs from a basic human need to express pain and Requests for reprints should be sent to: Sirkku M. Sky Hiltunen, Art and Drama Therapy Institute, 327 S St. NE, Washington, DC 20002 (e-mail: [email protected]). Copyright © 2001 Transpersonal Institute The Journal of Transpersonal Psychology, 2001, Vol. 33, No. 2 113 loss in one’s own life and circumstance. In the field of Expressive Arts Therapy, I have developed a framework, “the Rainbow Method,” which draws from ancient Finnish rituals, rites, and healing traditions. One of its most important components is the recovery and revitalization of the ancient Finnish oral tradition adaptated and used for healing purposes in contemporary contexts. This article presents a work in progress. It introduces an outline of a healing ritual that draws from the Finish mythology of the Kalevala and its poetry of affirmations. This mythology is also the source of the structure of the seven stages of womanhood and of personal healing (Hiltunen, 2001). In my work with the ritual, I take the spirit and structure of Kalevala’s poetry of affirmations and have the participants express themselves in their own language and personal style. THE POETRY OF AFFIRMATIONS The Kalevala The term “Poetry of affirmations” is used here as the general term for laments, affirmations, charms, and prayers that compose a large portion of the epic stories recorded by Elias Lönnrot (1802-1884) in the Kalevala (Haavio, 1943). Lönnrot’s work shaped Finland and its collective vision as a nation by igniting nationalistic consciousness. “One might say that, in true folklore fashion, the Finnish people through the Kalevala actually sang themselves into existence” (Friberg, 1988). The Kalevala represents a vast oral tradition of epic stories, laments, charms and prayers.1 The mythological poetry or runes (Finnish: runo) were transmitted by the Rune Singers, male and female, by singing or chanting it to the next generation while working in the home, field, or forest. For the Rune Singers, singing was as natural as breathing. Singing and chanting accompanied their activities throughout the day, which made it possible for succeeding generations to learn and memorize thousands of verses at an early age. The Kalevala’s plot centers around three male heroes, Väinämöinen, Ilmarinen, and Lemminkäinen, from the mythical homeland of Kalevala. All three are trying to court the beautiful daughters of Louhi, the unattractive but powerful Matriarch of Northland. Louhi puts the three heroes’ shamanic skills to a test. She is able to trick one of them to forge a sampo, a magical object of power and wealth. Then a fight ensues among the heroes over the sampo, which breaks into pieces. This leads Louhi to seek revenge. In retaliation she hides the sun and the moon, causing per- manent darkness in Kalevala. Only when the heroes threaten Louhi’s freedom does she free the sun and the moon and transform herself into a dove to take the good news back to Kalevala. The myth has many subplots, such as the story of Lempi, mother of Lemminkäinen. He is young, and behaves arrogantly and disrespectfully to an old shaman who, in revenge, kills him at the River of Tuonela (Death). Lempi goes to the river and is able to retrieve her son’s dismembered body, piece by piece, and eventually bring him back to life. 114 The Journal of Transpersonal Psychology, 2001, Vol. 33, No. 2 Laments Lamenting, also known as keening, is the international heritage of humankind. The most ancient recordings come from ancient Greece, whose dramatic literature gave us the classical tragedies in which the chorus consists of women lamentors. Laments have also been historically recorded in Ireland, Corsica, and Sardinia. The longest recorded tradition, however, has been found in Eastern Europe, in countries with Finno-Ugrian and Slavic nationals. The laments of the Kalevala often seem to cry about misfortunes or events of loss or loneliness. However, some runes sing of happier occasions and may have been performed to honor high-ranking guests. Laments held a central place in all rites of passage. In weddings, for example, they were quite elaborate and complex. The bride sang thanks and good-byes to her parents and to her carefree days of child- hood. Ten different runes prepared the bride for her departure from home and arrival at her new home-to-be. These runes were for saying good-bye, setting the bride’s headdress and seeing her off, for arrival in the bridegroom’s house, for praise and advice for both bride and bridegroom, and for comforting the bride. The wedding party eventually joined in with laments for teasing, reproaching, praising, comforting, pitying, and praising both parties involved. Funeral laments would likewise have their own order of singing. According to Asplund and Koivu (1980), death laments were chanted to see the deceased off to the grave and lead his or her spirit to the afterlife. When the deceased was carried to the graveyard, the lamentor assumed the role of the deceased and uttered the good-bye to the home, house, and yard. At the graveside, the lamentor requested the dead ancestors to receive the deceased among them. When the casket was lowered into the ground, the lamentor continued until the casket was in the grave and the grave covered. From the graveyard, the relatives and friends returned to the house of the deceased to lament and seek the deceased there. After funerals, widows would sing at the graveside of their loved ones. According to Asplund and Koivu (1980), the tradition of lamenting legitimizes the expression of grief at a sanctioned time and place. Thus lamenting was a custom that made provision for a healthy grieving process. The mourning process is generally understood as consisting of distinct steps. Fitzgerald (1994), for example, identifies eight steps for the mourning process: disbelief and shock, denial, rage and anger, guilt and regret, depression, fear, panic, and physical illness. In my work with laments in rituals, I recognize these eight and have added a ninth, resilience, or acceptance. Levine (1982) also recognizes the importance of experiencing grief to its fullest dimensions of pain, because it can open our hearts. Grief may be experi- enced first at the cerebral level, but if one does not allow the pain to tear the heart open, allowing grief to be fully felt, the opportunity may be lost to experience love and compassion again. Asplund and Koivu (1980) state that after the death of a loved one, laments express- ing grief, at funerals, or at the graveside can never be repeated exactly, because they Seven Stages of Womanhood 115 spring from the deep emotions and special style of the lamentor, as well as a tradition of unique vocabulary. These authors note that the most established lamentors were often older women, whose life experiences enriched the depth of their expres- sions of grief and loss. Traditionally, in the beginning of a lament, sobbing is sparse, but as the lament continues, the sobbing increases and lengthens.

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