“Macha’s themes are victory, success, protection, fertility and fire. Her symbols are red items, the acorn and the crow. Macha means ‘mighty one.’ Macha used Her potency to clear the land for wheat, giving Her associations with fertility. She also used Her might to protect the Celts’ lands agains invaders, thereby becoming a war Goddess and guardian. Art shows Her dressed in red (color abhorrent to evil) and with blazing red hair, forever chasing off any malevolence that threatens Her children’s success.
Bonfire Night in Scotland takes place around May 22 and is a festival that originally had strong pagan overtones, the fires being lit specifically for ritual offerings that pleased the Gods and Goddesses and invoked their blessings. Additionally, the bright, red fire looked much like Macha’s streaming red hair, and thus it banished any evil spirits from the earth. So don any red-colored clothing today, or maybe temporarily dye your hair red to commemorate this Goddess and draw Her protective energies to your side. Eating red foods (like red peppers) is another alternative for internalizing Macha’s victorious power and overcoming any obstacle standing in your way.
Or, find some acorns and keep them in a Macha fetish bag (any natural-fiber drawstring bag). Anytime you want her power to manifest, simply plant the acorn and express your wish to it. Macha’s potential is in the acorn, ready to sprout!”
(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)
“Macha (pronounced MOCK-uh) is an Irish war Goddess, strongly linked to the land. Several Goddesses or heroines bear Her name, but She is generally thought of as one aspect of the triple death-Goddess the Mórrígan (the “Great Queen” or “Phantom Queen”), consisting of Macha ‘Raven’, Badb ‘Scald Crow’ or ‘Boiling’, and Nemain ‘Battle Fury’. Macha is associated with both horses and crows.
The Mórrígan is both sex and battle Goddess, and Her personality is usually described as both war-like and alluring. She is known to be a prophetess: the Washer at the Ford is said to be one aspect of Her, who appears to those about to die. She is commonly shown washing bloody clothes at a river ford; when approached, She tells the enquirer the clothes are theirs. Like the bean sidhe (banshee), who She is believed related to, She is an omen of death.
Three other aspects of Macha feature in Irish folklore, which likely derive from a common Goddess, as they are all said to have a mother named Ernmas (also considered to be the mother to Ériu, Banba, and Fódla, sacred names for Ireland). One Macha, a seeress, was the wife of Nemed ‘Sacred’, who invaded Ireland and fought the Fomorians in Irish legend. Emain Macha, a bronze-age hill fort in Northern Ireland, and legendary capital of Ulster, is said to have been named for Her.
The second Macha, titled Mong Ruadh (“red-haired”), was a warrior and Queen, who overpowered Her rivals and forced them to build Emain Macha for Her.
The third Macha, and probably the most well-known, was said to be the wife of Crunniuc. Like many supernatural lovers, She warns him to tell no one of Her existence; but he boasts to the king of Ulster that his wife can outrun the fastest chariot. The king then seizes the very pregnant Macha and forces Her to run a race, against Her protests. In spite of this, She does win, and as She crosses the finish line She gives birth. In Her dying pain and anger She curses the men of Ulster to nine times nine generations, that in their time of worst peril they should suffer the pain of childbirth.” 
The Goddesses of Ireland and their “fall” as Christianity spread into Ireland
“The Goddess was a ‘dual-natured female figure, beautiful and hag-like by turns in whose gift was great power’. The Goddesses were especially depicted in three’s, such as Eriu, Banba, and Fotla, all Goddesses of sovereignty. In the 11th century, Ireland was often called Eire (a form of Eriu) and also called ‘the island of Banba of the women’. Goddesses were often hybridized by Roman and Greek influences, but this did not seem to obscure the native elements. For example, Julius Caesar likened one Celtic Goddess to Minerva, a classical deity. In fact, some Celtic Goddesses seemed to share certain of their characteristics. However, there were no Celtic Goddesses of love. There were Goddesses more often associated with fertility and the natural cycle of life, including death. Perhaps most importantly, the Goddesses represented creativity especially as it related to giving life, in all its aspects.
The female warrior Goddesses respect for death, as a natural part of life, which seemed in translate into ‘real’ life as well. This is best seen in the symbolic marriage between the king and the Goddess of sovereignty. This union was to ‘ensure fertility for the land and for his people in the year to come.’
The role of the Goddess in Celtic Ireland was important in to the inter-relatedness with human woman: ‘Since the source of life was so integrally associated with women, it would seem to follow that the origins of life were female. At times of joy or moments of pain, humans would turn to the Goddess who was honored in Her many guises’ (Condren). It would not seem strange then to worship a female deity and consequently treat her female subjects with respect and honor. Descent was also often traced through the mother and a strong emphasis was placed on the mother relationship. However, conservative scholars are quick to point out that the power did not entirely rest on women, rather the focus appears to be on women. Life was of tremendous value in what appears to be the most natural, physical sense. Hence the importance of the woman, Goddess or human.
‘Women were highly honored, female symbolism formed the most sacred images in the religious cosmos, and the relationship with motherhood was the central elements of the social fabric the society was held together by common allegiance to the customs of the tribe loosely organized around the traditions of the Goddess’ (Condren).
What appears to have dismantled this society was the warrior culture and the spread of Christianity into Ireland. The story of Macha is an instructive example of the ‘fall’ of the Celtic Goddess and in some sense the fall of the Celtic woman. Macha (Ulster Epona, the horse Goddess) marries Crunnchua mac Angnoman a rich widower. The two prosper together until one day, Crunnchua wishes to go to the annual assembly of the Ulsterman. Macha pleads with him not to go, but Crunnchua insists. While at the assembly, Crunnchua witnesses a horse race. Those in attendance with him, including the king himself, declare that none can run faster than these horses. Crunnchua knows that his wife can outrun these horses with no problem and decides to challenge the declaration. The king, angered at Crunnchua’s arrogance insists that Crunnchua bring Macha to them for a match. Macha comes reluctantly, but before doing so, pleads, ‘Help me, for a mother bore each of you. Give me, oh, King, but a short delay until I am delivered.’ Macha is pregnant.
This request and the king’s subsequent refusal are striking reminders of the changes that took place not only in the Irish sagas such as this one, but also the changes in the societies that ‘authored’ such work that became, significantly, myth. The king’s ultimate responsibility was to allow the ‘creativity of women to prosper.’ Kings were to promise that no one would die in childbirth, food should grow plentifully, and the traditional dyeing (a woman’s art) would not fail. These promises were related to the ‘needs and concerns of women, and unless the king could be seen to take care of the cultural and fertility needs of the clan, symbolized by these women’s activities, the king would be overthrown’. The king as evidenced in this story, violated the promises he made and instead of being overthrown, is permitted to continue his reign with no apparent resistance from his constituents. This portrayal of Macha is actually the last of three major cycles. In the first She is a brilliant, strong mother-Goddess. In the second She is a helpless (but wise) wife, and the third She is relegated to an existence of shame and forced to abandon Her life-giving gifts, adapting to the new warrior ethos. This is how She had traditionally become associated with the three war-Goddess spiral, joining Badb and Morrigan. The appearance of the war-Goddess appears to develop as a result of the change in Celtic society to one of violence and paradoxically, Christianity.
Macha evolves into a warrior-Goddess as the simultaneously the status of women decline in societies constantly under attack, where emphasis is placed on death and bloodlust rather than on life and respect for death. With this, men began to feel threatened by women as well, by any force seen as competition. Importantly another aspect of the decline of Macha (and other Goddesses) was the Christian clerics who began to satirize the Goddesses because their patriarchal system of beliefs stood in direct contrast especially to the worship of a female deity. Goddesses were becoming as violent as the society that ‘created’ them. They were raped, murdered and often died in child birth.
Peter Berresford Ellis in his book, Celtic Women, Women in Celtic Society and Literature, concurs with Condren that Goddesses in literature were often raped, died in childbirth and their status was destroyed by the symbolism of the rape.
The Goddesses, however, gave birth to great men who would in turn become great warriors. Indeed, ‘the famous warrior society triumphed over the culture of the wise women’. Several sources consulted point to the war-Goddess as a symbolic adaptation to the culture who called on Her to wreak death and destruction. The war-Goddess is often portrayed too with a voracious sexual appetite. Ellis quotes Moyra Caldecott:
‘Her twin appetites for sexual gratification and for bringing about violent death are a travesty of the very necessary and natural forces of creation and destruction that keep the universe functioning and imbalance of which brings about disaster’. 
Wow…After reading this excerpt from the University of Idaho’s site, it all made so much more sense and brought it all home for me. I had read in several books that stated that many peaceful agricultural societies worshipped a mother Goddess type deity(ies) who presided mainly over life cycles, vegetation, and agriculture; that it wasn’t until the invasions of the violent war-faring Indo-Europeans that “swept through Old Europe, the Middle East and India bring[ing] their priests, warriors and male gods of war and mountains”  with them that the Goddesses started becoming less important, more subservient and taking on more violent and warlike qualities. Truly, this is not limited to the Celtic culture – look at Inanna for example; or Minerva who evolved from an Italic moon Goddess, into an Etruscan virgin Goddess of poetry, medicine, widsdom, commerce, weaving, dyeing, crafts, the arts, science and magic and later, the Romanized Goddess became associated with war. Venus who originally was a vegetation Goddess and patroness of gardens and vineyards who had no original myths of Her own became associated with love, fertility and even war under the name Venus Victrix, the Goddess of victory in war. And let us not forget how Goddesses like Inanna, Asherah and Lilith were demonized by the Abrahamic patriarchal religions for refusing to submit to them and their “all powerful” male deity.
I think it only appropriate to conclude with some words from Jani Farrell-Roberts, “Women often had to fight in the wars. They needed a Goddess of the Battlefield as did the men (thus their talk of heads being ‘the mast of Macha’) – and so grew the myth of the Morrigan into which the kinder harvest Goddess Macha was subsumed as part of a triple Goddess with Her two sisters, Badb and Morrigan. In Britain She was probably Morgan. The Morrigan however came to be hated by men who dreaded the female power She represented – so men tended to depict Her as a hag – or as three hags (perhaps as reflected in Shakespeare‘s Macbeth).
But in the old sagas Her role is much more that of the healer of the wounded and of the taker of the spirits of the dead into the next world. For example, Macha is depicted in these myths as the Sacred Cow whose milk is an antidote to the poison of weapons. She had become the Mother on the Battlefield.” 
Sphere of Influence: Protection and sex
Preferred Colors: Red, black
Associated Symbol: Raven
Animals Associated with: Raven, crow
Best Day to Work with: Monday
Strongest Around: Lughnasadh
Suitable Offerings: Acorns
Associated Planet: Moon 
And now, a tribute to the great Goddess Macha and Her stories…
Eisler, Riane. Iowa State University, “The Chalice and Blade“.
Farrell-Roberts, Jani. The Web Inquirer, “Macha, Brighid, the Ancient Goddess of Ireland“.
Took, Thalia. A-Muse-ing Grace Gallery, “Macha“.
University of Idaho, “Celtic Women: Myth and Symbol“.
Aisling. Order of the White Moon, “Macha“.
Bar, Tala. Bewildering Stories, “Goddesses of War“.
Jones, Mary. Maryjones.us, “Macha“.
Skye, Michelle. Goddess Afoot!: Practicing Magic with Celtic & Norse Goddesses, “Macha” (p. 166 – 181).