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June 13, 2008

Discordian thoughts

Ever wondered about the waves of thinking that ebb and flow between order and chaos traditions. It seems each holds the seeds of the other within it. Chaos is the natural antidote to too much certainty, or the ennui that comes from the tendency of organizations to settle into patterns that are, for want of a better word, predictable.

On a web site, as users we love predictability. But as people who engage in play and ritual, we like a bit of both. The predictable elements in public ritual let you know nothing too weird is going to happen, but the surprise factor is a pretty key element as well. Raven and I tend to try to mix it up and add elements of children's games and activities to rituals, things that allow everyone to join in and be part of the experience we're creating.

A couple of years ago, we asked folks to do the hokey pokey as a power raising, and that was unexpected enough to get some real energy going. This year, for summer solstice, we're focusing on super simple ritual, involving hand gestures, and walking through gates, but you can be sure there'll be a couple of discordian moments in there as well.

Some good friends of ours are planning on taking it even further and have the "BALLS" (an acronym for their group), to push the envelope even further later in the summer. Predictably, I expect some push back from the more "seemly" elements in the community, and I'm personally hoping for some engaging dialogue.

peace. out.

August 23, 2007

Shadowplay Year by Year - Part 1

The First Fourteen Issues: 1984 - 1987

by Cyfrin

Warning. Warning. Ahwoogah, ahwoogah. And so on. This little two-piece article exists pretty much solely for those who either produced or used to buy ye olde hard copy version of SHADOWPLAY which flourished like a perky young gladiolus from 1984 to 1995. Anyone else is more than welcome to have a peruse but will probably find it about as rivetting as going to a high school reunion for a school you didn't actually go to. Sorry 'bout that.

1984

Well, call me a sedimentary old fluff, but it seems to me that the first issue of the ole comic wasn't at all a bad start as starts go. Rhea began a series on Stone Casting that became popular enough to get her a book contract in time, and Peter Bowden got our tradition for magical fiction going with a perverse little parable called The Secret Life of Lester Tuckwell. Looking at the first issue today though you can't help feeling it had quite a way to grow. This it then did.

Admittedly, the second issue didn't break a huge amount of new ground but neither did it lose any. Rhea (at that time, the sole editor) is, however, well known as a fast learner so after 1984 the magazine took off like Granny Weatherwax in a high wind.

1985

By the third issue, things began to coalesce agreeably, partly due to the magazine's initial international input. Circa that time, a large contingency of Church of All Worlds people from the US were in Australia after enjoying several weeks hunting for mermaids in the Pacific. As one does.

Discussions with some of the people responsible for Green Egg, one of the most influential, innovative and downright spiffy of Pagan magazines (even before its renaissance), fired up our imaginations more than somewhat. Lots-what, in fact.

The third issue was the first to feature artwork by our good chum, Paul Stevens. To put Paul's artwork into context, consider the role Jimi Hendrix played in the Jimi Hendrix Experience. I mean, the other guys in the band were awfully good musicians but the lead guitarist was the guvnor, let's face it. (I may even have suggested changing the magazine's title to The Paul Stevens Experience. But then the mead wore off and everything was back to normal.) In any case, Paul was - and still is - an gobsmackingly fine artist. Make sure you have time to rummage in the Gallery section to have your very own gob smacked in the privacy of your own home or place of employment.

Issue three also contained the first published piece on the great CAW mermaid hunt by a very talented artist and poet, Daniel Blair. Eat your heart out, Rupert Murdoch.

It was circa then I signed on as an official Editor, rather than cheer leader. Je ne regrette rien. Well, almost rien.

By the fourth issue we'd begun a sort of Wiccan/Occult Media Watch (we should probably have called it 'Medium Witch' I suppose). Much harmless fun was to be had over ensuing years pulling the work of more financially successful journalists to pieces. I strongly recommend it as an amusing hobby.

Sticking with the media watching motif, the fifth issue devoted space to one of the more impressive and entertaining Australian achievements in the occult field in the 1980s: a documentary masterminded by author Nevill Drury called The Occult Experience.

It was while watching this prime-time television film that many Australians would have heard the word 'Wicca' for the first time. That they heard it coming from the mouths of people like Margot Adler, Selene Fox, and Janet and Stewart Farrar was a very good thing.

The film also contains what must have been one of the illustrious Alex Sanders's last media appearances.

Though clearly frail, Sanders is in fine form and his superb sang-froid while dealing with an unexpected fire in his loincloth during an invocation of an Aztec spirit has to be seen to be believed. You can't help thinking that anyone else would have been jumping into a pond or at least giving a quick chorus of 'Great Balls of Fire'.

Tying in with the show, we also published a piece by Nevill on the remarkable, if slightly worrying, HR Giger - the first of many pieces on major occult artists and authors we were to present.

By this time we were consciously nudging the magazine into the areas where mainstream art and the magical arts converged (see Paul's issue six cover to see that sentence much more elegantly expressed in pen and ink). Ever one for thematic unity, Rhea began working for the Sydney Biennale round that time too.

1986

Unable to draw a straight line - or even a convincing wobbly one - I was forced instead to up the fictional content in the magazine from issue seven, beginning with a six-part story called The Visitor. This may yet turn up in a radically mutated form in a bookstore near you, though probably under yet another nom de keyboard.

By issue eight, we'd a busy working grove-type thingo going and were being encouraged to have a stab at organising the Third Australian Wiccan Festival. We used Rhea's spiffy little Print Gocco machine (a sort of screen-print making gizmo with a very bright flashing thingy in it) to whip up a little coloured ad for the event to plop into the centre pages of the issue. We felt totally, unassailably 'state of the art'. Sweet in a way.

We also veered recklessly into the convoluted art of Esoteric Filk with a team effort called Can't Help Loving That Pan of Mine. I ended up with an unhealthy addiction to the form, as a browse through the rest of this site will tragically verify.

In a similar vein, issue nine included Part One of The Magical Diary of Damien Vole, a tribute to Sue Townsend's superlative Adrian Mole books.

A rather more substantial literary tribute was made by the commencement of a four-part series called HP Lovecraft as 'Occultist' by a geezer I worked with at the time, name of Leigh Blackmore. Having been a closet Lovecraftophile (well, it's not the sort of thing you talk about loudly in buses, is it?) since I was twelve, I was utterly chuffed to find out that not only was I working alongside one of the world's leading authorities on HPL but the said authority was happy to let us publish his thoughts on the Rhode Island Recluse.

Our home-grown stable of artists and writers (no, that doesn't sound at all right - you don't 'grow stables' and … oh,work it for yourself) had by now been enriched by Rowan, whose Blodeuwedd in issue ten was a knockout. (Hopefully, she's reading this and will email to say we can plop it up online for the rest of y'all). Paul's summery cover for that issue was a delight too (back to the Gallery with you.)

1987

The aforesaid Rowan was also one of the co-authors writing as the Android Sisters who gave us a eminently good piece on the implausibility of psychic attack in issue eleven. The other 'sister' was Rhea who, in (Australian) Autumn 1987, chuffed off for a holiday esoterically schmoozing in the US.

We gather she liked it, since after a bit of bouncing about between continents over the next couple of years she eventually settled in Seattle (say that five times quickly with a mouthful of potato chips) with her longtime love, Raven. This in turn suggests it wasn't just the splendiferous Seattle climate that attracted her to the place.

Issue twelve contained a good little 'What I Did on My Vacation' piece by Rhea. I suggested a sequel about 'Who She Did on Her Vacation'. I don't recall her response but it was probably a tad Rabelaisian.

Rowan was also in fine form for issue thirteen (with its very appropriate Danse Macabre cover by Paul) giving us another fine illustrated poem called Bella Donna, while I had a stab at a reasonably comprehensive critique of Stewart Farrar's fiction - mainly because no one else had done it. A revamped, updated version of that piece will be on this site sooner or later.

By popular demand, Damien Vole returned in issue fourteen. Wanting to take a slightly different approach to Herr Vole, I had a stab at doing one of those 'Choose Your Own Adventures' type things which were extremely popular with kids back then (they still might be - I've lost touch). Extremely silly. We should probably bung that up online too some day.

Less daft by a long shot was Leigh Blackmore's myth-popping piece on the Golden Dawn and supernatural fiction writers, aptly called Hermetic Horrors.

We also gained another exceptional artist round this time, one Gavin O'Keefe, who not only supplied us with his own wondrous work but began to work on collaborative pieces with Rhea. Rhea's own artwork was flourishing too. All those illustrations for the magazine had honed up her already fine drawing skills nicely and by this point she was exhausting her life drawing models left, right and sideways. Her living room began to look like a sort of skyclad Madame Tussaud's - frozen bodies everywhere.

To Part Two.

Shadowplay Year by Year - part 2

The Second Fourteen Issues (and Beyond): 1988 - Today Sometime

by Cyfrin

1988

Issue fifteen was an anomaly even for a magazine that might reasonably have been called Anomalies R Us.

Most of the issue was devoted to a short story of mine called In Love In Absence (illustrated entirely splendidly by the Gavin/Rhea team). Gratifyingly, no one complained about this outburst of self-indulgence. Well, not within my earshot anyway.

I dropped out of the editor's role for issue sixteen. Shame, it's a really nice little issue with another ace Paul Stevens cover, a piece by Nevill Drury about the remarkable and highly Witchy Australian artist Rosaleen Norton, and a well written obituary for Alex Sanders by Tuan. Startled to discover I wasn't a vital necessity to a good issue, I immediately signed back up as Editor on the next issue and hoped that nobody else had noticed.

Chris Scott's astrological series began in issue seventeen and we published our first pieces on Pagan parenting and a Wiccaning, which suggested we were all getting older.

1989

Hawkeye's nifty borders and artwork became a feature of the magazine with issue eighteen, and Rhea and Gavin collaborated on illustrations for another short story of mine called The Ghost in The Machine, which became the first of three stories given a much wider readership through reprints in the revamped Green Egg magazine. Which was nice.

The first forum section appeared in issue nineteen, on the subject of Group and Solitary Work. In retrospect, perhaps we should have left a blank page in the forum for subscribers to write their own contributions in if they didn't meet our copy deadline. Proto-interactivity. Not a problem with our new improved, cyberforums, folks - see the Your Bit pages.

Gavin and Rhea collaborated on artwork for a short story again in this issue, this time for a Witchy historical romance piece called In Return for her Soul by Stephanie du Barry. Paul's cover was a winner too - a gently deflating comment on some of the darker magical traditions around at the time. Nice wombat too. I had it made into a T-shirt. The cover, not the wombat.

The twentieth issue contained the Initiation forum and, it being the (Australian) winter, a verse by Martin O'Connor called Nuclear Winter, a small wintry story of mine, and a Yule-ish cover by Rhea. Must've been a chilly winter. We weren't generally that topical.

For our twenty-first issue, Paul gave us a party cover, hosted by a Mr A Crowley; Julia Phillips gave is some thoughts on Margaret Murray; David and Fiona began a very popular series of Sabbat rituals; and the forum was about Polarity Magic and Sacred Sexuality (seemingly a topic much loved by our readers since we needed two issues to let everyone have their say).

We also included a piece of mine called The Very Model of a Modern Esotericist which I really should have issued as a single, since it became the most widely reproduced thing I've written to date. Too bad I sing like a cross between an inebriated Bob Dylan impersonator and a seriously injured elk. Where was Fiona Horne when we needed her? (Then again maybe Gilbert and Sullivan parodies wouldn't have gone down a treat with Def FX techno-thrash audiences.)

1990

Issue twenty-two was the last of the pocket-sized Shadowplays and the last produced wholly in Australia. After that, Rhea relocated to the US and the magazine took on a larger format because in the US you have a lot of competition for people's attention and, in the immortal words of professional Goddess Tori Amos: 'It's gotta be big.'

Amanda R began a two-parter on Tolkien; Alan Moyse gave us a very nice verse called Moonlight; the magical nookie forum continued; and my beluft, Antonia, made her first contribution to the magazine, illustrating a story called Convents and Cloisters, about the secret life of nuns.

1991

Paul gave issue twenty-three and the new look magazine a fine start with a brilliant Kali image, a favourite of many readers. Georgiana Bowley wrote on the magic of pure sound; Julia Phillips looked at novelist Charles Williams (not literally, him being dead and all - then again, you never know with that girl); and I spilled the beans on a collaboration between Cole Porter and Aleister Crowley on a version of You're the Top (caution: may not really have happened).

1992

Anyone noticing a slight drop in productivity by now? One issue a year. Whoo bleeding hoo. Ah well, in our defense, trying to put the magazine together between Sydney and Seattle without handy little creations like email (or even home faxes) proved a trial compared to the earlier, rather more casual approach to editorial meetings we enjoyed in the 80s.

Still we kept both the magazine and the post offices of our respective countries going for a few more issues.

Issue twenty-four had a forum on Talent and Training in the Craft, an early example of Wiccan hip hop by someone professing to be called MC Spiced Mead, and more spilled beans on Cole Porter's co-writers - this time it was the Anton La Vey version of My Heart Belongs to Daddy (caution: almost certainly a fabrication).

1993

Issue twenty-five contained a fine piece on channeling called Ecstasis by Ted Gill and Rhea which is well worth reading so I'll just sneak off for a cup of tea while you get into it.

That's better. Now, where were we? Ah yes, ish twenty-five. For my main chunk that time round, not content with nun stories, I had a whack at revealing what really happened when Joseph of Arimathea visited England in And Did Those Feet, illustrated by Antonia in her best mediaeval hand.

Tane Bwca's Trance and Meditation and Kallista's Digging for Divinity were highlights of issue twenty-six, along with the beginning of a series by Helen of Greenleaf on matters herbal to complement the earlier pieces on herbie matters by Cazz Tully. A series? This late in the day? She only has two more issues to go! Pushing your luck, I'd call that. Good articles though.

1994

The twenty-seventh issue had a cover drawn by Nevill Drury in 1968. Talk about getting your copy ready well in advance. Worra trouper. On top of that, he gave us his piece on Three Magical Artists.

Raven wrote about Total Recall and we asked a few experts about the state of Paganism in Germany which is the sort of thing we'd like to have done more of. If anyone reading this is an authority on the Wiccan communities in countries other than the US, Canada, the UK, Eire, Australia and New Zealand, we'd love to hear from you.

1995

The last hurrah - issue twenty-eight.

Paul's memorial on the front and back covers to all things Shadowplay-ish couldn't have been bettered. We'd been working on a whole pot of interviews prior to this issue and weren't about to put the magazine to bed without tucking every last scrap of hard work in there with it. Hence, chats with Paul Hume on Thelema, Hawkeye on magical metallurgy and Nevill Drury on occultism in Australia in the 60s.

A quick look back of a decade of magic by seventeen people who took the trip, a bunch of thank yous and we all rode off into the sunset (really hard to do organise when some of you are in Australia and some in the US).

1999

They're ba-ack ...

Yup, www.shadowplayzine.com - which, quite literally, is where you came in.

On the Charge [of the Goddess]

by Thomas Lake [Archive April 02]

The Silver Moon coven has gathered in the woods for their monthly esbat, celebrating the goddess in all her glory. The circle has been cast and the guardians of the four quarters invoked. Now the High Priest begins the reading of the Charge...

High Priest: Now listen to the words of the Great Mother, who of old was also called among men Artemis, Astarte, Athena, Dione, Melusine, Aphrodite, Cerridwen, Dana, Arianrhod, Isis, Brigid and by many other names. At her altars the youth of Lacedaemon in Sparta made due sacrifice. 

The High Priestess is about to start into her bit when there seems to be a bit of a commotion outside the circle. A stranger all dressed in black and with a raven on his right shoulder has turned up. The rest of the coven is wondering whether this is some weird elemental that's cropped up. Both coven leaders are staring at the figure incredulously.

Stranger: Look I am really sorry to disturb your ritual. I was just passing through on my way to the local when I heard what you said. And I must say it just does not cut the mustard. 

High Priestess: What are you saying - that we're reciting the charge incorrectly? 

Stranger: No, I am not disputing your recital. What I'm saying is that you cannot go around saying the youth of Lacedaemon in Sparta made due sacrifice. 

High Priest: Why not? 

Stranger: You got a few spare moments? If so, I'll explain why. 

There is a brief huddle amongst the coven at which there is much whispering and then finally the coven agrees to hear the stranger out. 

Stranger: OK, for starters the Farrars have already pointed out the most obvious reason in their Witches' Bible. Sparta is in Lacedaemon not the other way around. Saying the youth of Lacedaemon in Sparta is like saying the youth of Australia in Sydney. But geography is not the only reason for ditching the whole Spartan angle. 

The nature of Sparta itself does not mesh with the nature of Wicca, and in fact the sentiment echoed within the charge. However, it does mesh with that of the people of Lacedaemon. In essence, Wicca can be described as a fertility religion concerned with the cycle of the seasons and the fruitfulness of the land. All kind of concepts that mesh nicely with an agrarian based culture such as that of Egypt or the Fertile Crescent, but not of Sparta. Sparta as a city in Lacedaemon is a highly militaristic culture. It has an agrarian base but it is maintained by a captive population, the natives of Lacedaemon outside of Sparta. Spartans do not maintain the fields and orchards necessary to keep them alive, their task is to fight and fight bravely. And it is due to the fact that their society is slave-based that they are such good fighters. After all, if you're outnumbered ten to one, you have to have some kind of edge. 

Thus the Spartans turned their society into a militaristic culture, the premise being that the Helots and Perioci - the two tiers of the slave population and also the indigenous inhabitants of Lacedaemon - needed to be confronted with a force they could not hope to defeat. Prior to the Battle of Leuctra in 346 BC, no force of equal numbers had ever defeated a Spartan army and quite often they were able to defeat forces of far greater numbers. Every Spartan child was taught the worth of a Spartan soldier in comparison to those of other states. 

So it's hardly the kind of culture that would embrace the kind of precepts found in the charge and the rede. 

But the Helots and Perioci are a different matter entirely. They are both agrarian societies native to Lacedaemon, and their outlook on life is more in tune with the sentiments of the charge, especially the concept of the charge symbolizing a kind of freedom not bound by the constraints of existing society. For the Helots and the Perioci, the whole sentiment of the charge would empower them in a way that they could not achieve in the existing social structure. Thus Wicca is more likely to do with societies such as the Helots and the Perioci than that of the Spartans. So perhaps the line should be the youth of Lacedaemon in Peloponnesia, which is the region of Greece that Lacedaemon lies in. 

Anyway sorry to interrupt your ritual. Hope my rambling has given you some food for thought. I'm off down the local to argue the premise of 'religion is the opiate of the masses'. Buenos noches. 

The stranger wanders off down a forest track muttering to his raven friend about who's doing the buying. Once he has departed the Silver Moon coven return to the business of their esbat. 



[Editor's note: Being the sort of person who, if asked about the history of Greece, is likely to tell you that the stage play came first, then the movie with Travolta, I'm not going to touch the historical aspects of this piece. However, with mucho respecto to Thomas, Stewart and Janet, I'd defend the 'Lacedaemon in Sparta ' bit as a slightly awkward bit of rhetoric, rather than naff geography. If you read 'Lacedaemon in Sparta' as a single location, it does sound dippy, but the sentence is probably meant to be read as a poetic inversion of 'In Sparta, the youth of Lacedaemon made due (and rather grisly) sacrifice'. Sort of like 'politicians of Australia in Canberra mingle, talk drivel and make lots of money'. - Cyfrin]

Revealing the Goddess

by Rhea Shemazi [Archive - April 02]

If I command the moon it will come down
And if I wish to withhold the day
Night will linger over my head
And again,
If I wish to embark on the sea
I need no ship
And if I wish to fly through the air
I am freed from my weight
- Ancient Greek Papyrus

She is acknowledged, and worshipped in many contemporary cultures, by diverse names and in many aspects. She is the Goddess - counterpart to the God, and equally important to spiritual balance in today's world.

The first association made with the word "Goddess" is usually the images of primitive fertility goddesses, which are found scattered over Europe, images which are thought to be among the first representations of the divine known to humankind. In searching for Her we undertake a journey into that part of our own psyche, which resonates to the call of the wise.

However, She is not only the inspiration of dead civilizations, nor an historical curiosity - seeking the Goddess is not a reversion to the primitive, but rather an identification with a multi-faceted symbol. She means many different things to those who choose Her as artistic patron, or as inspiration for their creative work and spirituality.

If we are inspired by myth, we are drawn to examine the roles of men and women in the society, which gave rise to the myth. Among the earliest cultures, images of fertile women and of the hunt were crafted in stone and clay, in ochre painted on cave walls and carved into the rock. They are representations of two human needs - children to increase the tribe and food to sustain it - arguably the oldest representations of deity. The images are important in their own right, for beyond the necessity for water, food Shelter and companionship, these early people sought to express their concept of forces in nature, which shaped their lives. Like all good art, it crosses cultural barriers and evokes feelings, which are relevant today, because we are still connected to the same human needs.

Today, priestesses and priests of the Goddess add their knowledge of psychology to the experience of history, to create a new worship from an ancient wisdom. They celebrate the Goddess in religious rites, yet they also draw parallels between the myths of the Goddess and the phases of human life - just as some people relate to the myth of Persephone in the Rites of Eleusis and perceive that it tells the tale of the Maiden (Persephone), the Mother (Demeter) and the Crone (Hekate).

A triumvirate of maiden, mother and crone is, in modern paganism, related to the phases of the moon, corresponding to first crescent, full moon, waning moon and dark moon. The process of birth through growth, maturity, aging and death is also connected to the aspects of the goddess, though the aspects are called by many diverse names from as many different pantheons.

THE MAIDEN 

In dreams, the Maiden often represents the potential self, the person we are becoming, and a possibility not yet real. Something has been conceived - a new attitude or idea, the seeds of a poem, an unknown strength, the courage to resist, or create or die.

There is a place within us which contains the Maiden - complete unto ourselves, virgin, we proceed from a willingness to meet every stranger as another deity in disguise. The Kore in Greek Myth can represent the potential within us all. We seek Her power, in the willingness to enter initiation, to abandon perceptions, to enter the realm of the unknown. She is the Maiden who lives in harmony with nature, who is reckless and restless about rules and restrictions. She is the Kore, stolen away by death into the underworld where She undergoes the transformation knowledge brings. She is stolen, dispossessed of Her innocence to become the initiate who is Persephone, Queen of the Underworld.

The knowledge gained in this journey, from child-woman to ruler of the dark mysteries of the underworld, marks a separation from the mother in the individuation process; severed from the complacency of childhood, we face our own decisions and trials. We take risks - sometimes risks that are not wise ones - but all these risks and adventures make us who we will become. We are reminded that a willingness to face our own mortality and effect the transformation of an initiatory experience marks our ability to complete the cycle of personal spiritual growth. The Maiden awakens us to the potential and creative strengths that slumber in the underworld of our own psyche.

THE MOTHER 

The Mother is nurturing, creative and gives of Her substance to the world. She embraces the principles of returning and recycling energy. Through Her, the gifts borne by the Maiden are transformed in the crucible of mature realization.

The Mother can be perceived as our nurturing self, complete, but also a companion. She reaches beyond the singular to contain a multitude of possibilities. She is the relating principle, able to encompass a relationship of equals, to create and to build strength in Herself and others. Giving of Herself, She receives in return the freedom to fill Her cup with new dreams. The Mother has many images - She is the serpent and the butterfly Goddess; She is the deer, the bear, the wolf or the sow and is mistress of the art of transformation. Her association with these creatures is not totemic; She is not a woman with the characteristics and strengths of an animal. Instead, She is the creature or the Goddess. Part of these tales of transformation speaks of metamorphic change, dispossession and the process of alienation. Many myths tell of a Goddess who, in the dark of night, or at certain times, transforms or is transformed by some magic process (not always by choice) into a mythic beast. Her offspring are referred tor as foals, cubs or kids and are more powerful than their (often) mortal fathers in that they have the blood of faerie and the power to transform themselves. These myths are part of our Heritage, where the realm between the worlds exerts its attraction and speaks to us of spiritual truths.

Red is the color of the Mother - blood of birth, of the menstrual flow that Heralds the sea change at puberty and heats the blood in passion. It also represents blood drawn by Her or owed to Her in battle. It is no co-incidence that love Goddesses are often also warrior Goddesses; their language is that of the blood, the water of life.

She teaches us that duration and ripening, of ideas and maturity, are important; She emphasizes that we must free our children and ideas to blossom in their own way. Until we have given of ourselves, we cannot either return to the Maiden within and learn things from a new perspective, or move into the realm of the Crone, who is the weaver of dreams.

THE CRONE 


The Crone is the queen of the shades, dark mistress of the night. She gathers the strands of our realizations and weaves a many-colored tapestry to illustrate our lives.

As a midwife and timekeeper, She attends each birth and cuts the cord that binds us to the Mother. She is priestess and seer, weaver of magic and tide, who holds the spindle and measures the thread of our lifespan, weaving it into the web for a certain time and then releasing us to the regeneration of death.

As ruler of the crossroads, She is the giver and taker of gifts. She may grant us everything we desire or withhold it. She may wear all the faces of the Goddess simultaneously and is often portrayed as a serpent with many heads or as a medusa. She is that which we most fear and are most fascinated with - the realm of death. She leads the initiate into the depths of their own renewal in Her role as teacher of the mysteries.

She is found in the twilight world, as wise women are often portrayed, or on the edge of a forest, a river, and the sea or in an isolated cave. This makes Her a figure of dreams and magic. When we seek Her power within us, we challenge the boundaries of life and are "out on the edge" of reality. Her, the balance is precarious but She teaches us to synthesize realizations from the knowledge we glean from experience of life. Some of Her powers are those of the Fates, the Norns, and the Muses. She is also seen as a spirit of the wind and of wild places where things may be transformed into their opposites. As such, She can as easily change Her form and be seen as a woman of any age She chooses.

She is wanderer and oracle, Herbalist and shape shifter, wild woman of the wilds. She moves between the worlds of humankind and the elder gods freely and without restriction for She is a creature of all places, not just one physical realm. Where the Maiden can be seen as encompassing potential, and the Mother contains all fulfillments, the Crone rejoices in release from ties. Her knowledge of that which binds makes Her the ruler of cord magic and spinning. She apprehends the lessons of past, present and future and leads us into the mysteries of renewal.

A MODERN PRACTICE


The Triple Goddess who manifests as Maiden, Mother and Crone, is one of the forces worshipped in the Old Earth Religion and in modern Paganism and Wicca. She is the creator / preserver / destroyer who interacts with other multi-faceted deities.

We borrow from cultures of the distant past a concept of pattern, an ordered progression of changes within the individual and within society. Whether we perceive the Goddess as the primal female aspect of our own nature or as an aspect of deity; or indeed, as the creative principle of the universe, we can relate to imagery of the Goddess and find reflections of Her cycles in our own bodies. The process of change and growth that occurs in our life is echoed in the myths of the Goddess, from various cultures, which stress connection with nature and cultural rhythms.

The theme of the Goddess leads to an examination of the role of deity in our everyday lives and, in turn, an exploration of the inspiration provided by spiritual or religious principles.

Now and again in the world individuals seek personal inspiration from the environment and express that connection through art, music, dance and ritual. We create the fragile strands of a cultural web and call on the many aspects of deity who are part of our spirituality.

The Goddess has many names and is as real to Her Priestesses and Priests today as She was in remote history. We call on the ancient wisdom, on the Lady who has changed Her shape to fit the needs of Earth's children. We worship and celebrate in open fields and groves of trees, in suburban living rooms and city parks, carrying a wild magic in our hearts and a willingness to undergo transformation and challenges in the names of the deities we worship.

The Goddess is once more honored in all Her aspects and finds a place in our hearts and our daily lives. Her power is seen in nature, in the depth of sacred pools and in the pull of the tides of earth and sea. The Mystery lives within us and is known by many names; we all carry Her within us, whatever our gender or age.

Both as artist and individual, I am poised between the faces of deity - between the underworld of dreams, myth and creativity on the one hand and the realm of thought, action and self-expression on the other. As priestess and woman I flow along the edge of the blade, a precarious but exhilarating balance - celebrating deity and life.

June 01, 2007

Communicating with plants

by Bob Makransky

Plants’ experience of being in the world is very different from the experience of us animals.  Because plants cannot move about, they exist in a state of profound acceptance and peace within themselves.  Emotions such as fear, hate, jealousy, possessiveness, etc. are wholly unknown to plants and would serve no useful purpose.  On the other hand, plants are capable of experiencing a wide range of higher emotions the like of which we animals could scarcely conceive.

At the same time, there are feelings which plants share with us animals, such as love, pain, joy, thirst, etc. It is the feelings we share with plants which provide the basis of our ability to communicate with them.

Feeling with plants is not so different from feeling with people. For example, when we are about to have sex with someone who really turns us on, we feel a palpable surge of sexual energy connecting us to that person. Similarly, when we walk into a room to face someone who is madder than hell at us, we feel connected to that person by a palpable wave of anger and fear. When a baby smiles at us, we feel a rush of joy that has us automatically smile back.  However, most of our interactions with other people do not have this feeling of connectedness and emotional immediacy.   Most of the time we don’t even look the people we are addressing in the eye, let alone feel with them.  Because of our social training, we tend to regard sharing feelings with other people as threatening.  We are taught to close up and defend ourselves, and to keep our interactions as sterile and devoid of feeling as possible.

In order to communicate with plants (or people), you have to be able to regard them as your equals.  If you are afraid (ashamed) to talk with homeless people, beggars, crazy people, etc. then you’ll also find it difficult to talk with plants.  However, it’s actually easier to communicate with plants than it is to communicate with people because plants don’t have defenses and self-importance agendas in place which engage our own defenses and self-importance agendas.  To feel with plants (or people) doesn’t mean to gush all over them; all it means is to recognize them as beings whose feelings are as important to them as your feelings are to you

When first learning to communicate with plants, it helps to be in contact with the same individual plants on a daily basis.  Ideally you should go out, preferably alone, to the same tree or meadow for at least a few minutes every day.  If you can’t do this, cultivating garden or house plants will work just as well, although it’s easiest to communicate with large trees.  This is because from a feeling (light fiber) point of view, humans and trees are very much alike – the light fiber (auric glow) configurations of both humans and trees are quite similar, whereas that of insects, for example, is very different from either.  It is easier for humans and trees to communicate with each other than it is for either to communicate with insects.

Now even the least psychic person, going up to a large tree, should be able to pick up something of the personality (mood) of that tree.  How does the tree make you feel – happy, sad, loving, jolly, heavy? Can you pick up its sex? sense a male or female presence – or its age:  young and vigorous or old and mellow?

This isn’t all that hard to do – you can call upon your senses to buttress your feelings, as in the exercise of seeing pictures in the clouds, except that you do it by feeling rather than thinking – by relaxing into the process rather than controlling it.  It’s exactly what a rationalist would term “anthropomorphism.”

For example, spiky trees (like palmettos and Joshua trees) have a sassy, masculine energy.  Cedar trees tend to be clowns or wise guys.  Banana trees are joyous and loving.  Weeping trees really do have a doleful air about them.  Tall, erect trees have proud and regal personalities. Trees that seem to be reaching longingly for the heavens are reaching longingly for the heavens.

A good time to learn to connect emotionally with trees is when they’re dying.  The next time you see a tree being felled, pause and quiet down your thoughts and watch it attentively.  You should easily be able to feel the tree’s agony just before it falls, since trees (and all beings) are filled with power at the moment of their deaths and profoundly affect the beings around them.  Loggers triumphantly yell “Timber!” when a tree falls to cover their sense of shame and disconnectedness – to block communication with the tree at the moment of its death.

Another good time to pick up on plants’ feelings is when they are in motion.  Plants are happiest when they are moving – blown by the wind and the rain.  Wave back to them when they wave at you (it’s only polite).  Watch how they dance in the breeze.  See how the trees which overhang roads and walkways cast down blessings on all who pass beneath them.  See how the young growing tips are more alert, vigorous, and naively impetuous than the older and mellower lower leaves.  Be aware of the awareness of plants:  when you walk through a wood or meadow, feel as though you were walking through a crowd of people, all of whom are watching you.

Some people pick up on the feelings of plants by seeing faces in the bark or foliage.  They impose that thought form (of a face with a giggly, dour, saucy, etc. expression) over the feeling of the tree, since that’s how most people are conditioned to interpret feelings – by associating them with facial expressions.

What we’re tying to get at are feelings, which can be apprehended directly, without any need for sensory cues.  However, the senses can provide a useful point of reference and serve as a bridge between imagination and pure feeling, which is how they function in dreams.  When you see with your feelings rather than your mind, your visual attention isn’t focused on any one thing, but rather everything within your field of vision strikes your attention with equal impact (vividness), as it does in dreams.  To see this way you have to have your mind quiet, and you have to be in a joyous and abandoned mood.  If you’re bummed out or grumpy, you won’t be able to see what plants are feeling any more than you’d be able to see a baby smile at you.

Much of our social training entails learning to stifle our senses – to not see what is right before our eyes, to not listen to what our ears are hearing, to be offended by smells, discomfited by touch.  Cutting off our senses leaves us feeling apathetic and disconnected from our world.  Therefore, if we want to renew our feeling of connectedness which we had as infants, we have to start plugging our senses into our feelings again.  And because they are so nonthreatening, feeling with plants is a good place to start.

Not only do different species of plants have different feelings associated with them, but also there is considerable individual variation in personalities between different plants of the same species, between different branches on the same plant, and even between different leaves on the same branch.  By lightly holding a leaf for a moment between your thumb and forefinger, you can feel which leaves want to be picked for medicine or food purposes and which ones want to be left alone.  The leaves that want to be picked have a high, vibrant feel to them, whereas leaves that don’t want to be picked feel dead in your hand.

Even if you can’t seem to tune in to the feelings of plants, you can still telepathically “talk” with them.  Plants can talk to you in thoughts, and these (at first) seem indistinguishable from your own thoughts.  That is, it will seem to you that you are the one who is thinking these thoughts, when in fact it is the plants which are sending you messages.  That’s why it’s important to have your own mind as quiet as possible – to be in a relaxed mood – if you expect plants to talk to you; if your own mind is buzzing, there’s no way the plants can get a word in edgewise.  Any thoughts or feelings you have while sitting under a tree or working with plants are probably messages from the plants.

So how do you know if you are actually communicating with a plant, and not just imagining it?  The answer is:  you don’t.  You just go with your intuition rather than  going with your concepts, what you’ve been taught.  Instead of hypnotizing yourself into believing that the world of concepts is reality, you hypnotize yourself into believing that the world of feelings – of magic – is reality.  The only difference between these two equally valid points of view is that from one of them plants talk to you, and from the other they don’t.

If you feel self-conscious talking to plants, just remember that what you have been programmed to call the “real” world is merely a figment of your imagination also.  And if you start calling something else the real world, then that something else becomes the real world; it becomes as real as this one.

If you’re dubious, just ask the plant over and over “Is this you, Mr. or Ms. Plant talking to me, or am I just imagining it. And if you keep getting the same answer over and over, “It’s me, the plant. It’s me, the plant!” – then just assume that it is indeed the plant talking to you, and listen to what it has to say.  You can ask questions and get answers, both questions and answers coming as though you were holding a conversation in your own mind.

It’s easy to learn to talk with house and garden plants, since these are particularly eager to discuss matters such as fertilization, watering, shade, grafting and transplanting techniques, etc. But in addition to such mundane affairs, plants (particularly large trees) can give you helpful advice on all sorts of matters. Take them your problems; ask them what they think you should do. Some of my best friends and most trusted advisors are trees.

Whether you are consciously aware of it or not, you are already communicating with plants all the time. The soothing, healing, tranquilizing feeling that comes when you are gardening or are out in nature is in fact your psychic attunement to the joyous vibrations of the plants around you. To follow this feeling one step further – to its source – is to put yourself into direct communication with the plants. It’s as easy as smiling at a baby.

(excerpted from Bob Makransky’s book Magical Living)

More of Bob Makransky’s articles are posted at www.dearbrutus.com. To subscribe to Bob Makransky’s free monthly Astro-Magical e-zine, send an e-mail to: MagicalAlmanac-subscribe@yahoogroups.com

August 01, 2006

Planetary Magick I

Working with planetary energy is a particular ken of mine. At one stage I spent some six months recreating the kameas (planetary number boxes), tracing the paths on a vector drawing program, and assembling the results into a series of cards. I'm going to share some of that information in this series of articles, so stay tuned for PDFs to download.

In the meantime, if you haven't already visited the Shadowplay magickal calculator, go here as there's a handy tool for calculating planetary hours. Just put in the city and date for which you want the hours, and it will calculate sunrise, sunset, and the number of minutes in each planetary hour for you. Another related article on Timing the Ritual can also be found in the Shadowplay archive. The efficacy of planetary work is in aligning yourself with the energies, using as many ways of doing so as possible. Those ways may include using herbs, colors, candles and metals associated with that particular planet, all with the goal of using the Law of Similarity to leverage the work.

March 29, 2006

Street Magicks: A Sense of Magick

A Sense of Magick

by Rhea Shemazi and Raven Erling

Magick is as natural as breathing. It is something we are born knowing, but many of us are trained out of that knowledge in the process of growing up and becoming socialized. All children come equipped with a sense of wonder, an ability to learn, and a desire for information. One of the first things we learn is to use our senses to explore the world. We learn that there are expected ways of interpreting the information from our senses, and that there are five senses that we categorize. When we are learning Magick, we revisit our senses, and learn to interpret the data we usually ignore. Our worldview shifts to one where Magick is taken for granted.

The Sense of Touch

Our kinesthetic sense is not limited to physical touch. It extends from the physical through to the extra-physical, and includes a sense of the touch and feeling of different energies. Just like a child, who knows what it feels like to walk into a room where an argument has taken place, we reactivate that awareness of residual energies. In a highly developed state, this can lead to an ability to psychometrize, to read the energies from physical objects we touch with our hands, or hold against our skin (forehead, inner arm, throat, or some other part of our body that is more sensitive to extra-physical energy).

Our kinesthetic sense also extends to the skill for finding things that are not physically present. We reach out with phantom limbs to touch things that are distant to us in time and space, to feel texture, heat and cold, judge weight and inertia. If we are also able to move objects that we are not physically in touch with, this is called telekinesis (kinesis from the kinesthetic sense). There is thought that the act of perception makes a connection between an object and ourselves and that distance then becomes an illusion.

The Sense of Smell

Our sense of smell is little understood by researchers. We do know that it acts directly on the limbic part of the brain, the primal instincts, and may be how we recognize family. Certainly, it is a direct route to our emotions, and bypasses conscious thought in most cases. Smells summon memory, reminding us of times long gone, and alerting us to danger. A fear smell in a crowd instantly spreads, turning it into a mob. Coupled with our sense of hearing, it might be called a primal survival sense.

The Aromancy Guild (Australia and America) explores the deliberate use of aroma for ritual purposes. Incenses, essential oils, wood resins and pheromones are combined to heighten and change perception, enriching and enhancing experiences.

It is good to be conscious of the way smell affects you, and to identify the classes of aroma that make you feel most balanced and aware.
      

The Sense of Taste

We taste a variety of substances, among them salt, sweet, savory and bitter. Taste deteriorates over time, which is why older people tolerate spicy food better. Smoking also changes the sense of taste, as does any pervading smell. We can extend our sense of taste to energy, experiencing different kinds of energy like different kinds of food. While it is a rare skill, it is a useful one.

The Sense of Hearing

Sound vibrates our whole body. Chanting, pure ringing tones, the sounds of water, wind and life are all around us. We learn the skill of selective inattention as we mature, shutting down our awareness of the cacophony of unpleasant sounds that make up our environment. Very few places are actually quiet, so we need to work at it to balance the sounds, and mask them with sounds that are more pleasing to us.

Hearing needs to be relearned if you are to be a mage. You will need to be consciously aware of the sounds around you, and make a new conscious balance. By re-activating your sense of hearing, it is possible to have extrasensory hearing, up to and including distant hearing without a radio. Exquisite hearing is best practiced away from electronic “white noise” and out of the city.
      

The Sense of Sight

In the West, our sense of sight is the sense we use most often. We are so sure we know how it works that I’ve heard people tell me that they cannot “visualize” (a technique for holding an image in the mind). All sight is visualization. All we actually perceive are wavelengths of light that hit the back of the retina. We translate these patterns of light into recognizable pictures, all unconsciously.

Trained artists are aware that each of them sees color differently. We mix colors from a limited palette, and then combine them to make 256 basic colors. Many discover that their range is limited to fewer colors, while some few find that they can identify all these hues plus their tints (adding white) and shades (adding black). In printing, we either use pre-mixed inks, or use a four-color process that uses CMYK (cyan, magenta, yellow and black) on white paper. For the Internet, we use RGB (red, green, blue), and that gives a different quality to the image.

Most people will feel comfortable interpreting colors as reddish, greenish or bluish, and some will add brownish. These are the colors of the earth, sea and sky, the colors of the forest and rivers, colors that reflect and refract.

The physical sense of sight can be easily extended. Often called “the sight” or second sight, this refers to deliberately seeing things that others around you are not aware of. It might be tracers of light, shadows, colors of an aura, or seeing into the realm of phantasm. This is called clairvoyance, though it might as easily be called far-vision.

Vision is also a phenomenon of conscious dreaming, and is shared by artists and visionaries, mages and dreamers alike.
      

Making Connections

In various ways, we seek to use our enlarged and numerous senses, to become more connected with the world of spirit, as well as the world of form. Natural mages are joined to the world, creatively interacting with the enlarged world of perception, and celebrating the world of the senses.

We find connections in nature by watching the seasons unfold, seeing significance in the flight of clouds across the sky, the play of light and shadow, and the movement of the wind and stars. To the mage, all things are important, and none more so that knowing and recognizing their own place in the natural world. Begin your journey into Magick by exploring your senses, and by following the message of the Oracle of Delphi: “Know Yourself.”

Know Yourself: Being Real

Raven’s rule of magick states that Magick comes from two sources: inside the body and outside the body. The corollary is that if you cannot work with the energy and the magick within your body, then you will not be able to tap into an outside source of magick or energy. In the words of the Charge of the Goddess:

… If that which you seek you find not within you,
You will never find it without you;
For behold, I have been with you from the beginning
And I am that which is attained at the end of desire.

As you progress in your magical explorations and over time, your definitions of Self and Other may change. For the purposes of this chapter, we are referring to magicks of the Self as those energies generated within your own energy field. Our primary focus is on energy created through breathing, manipulating inner energies, harnessing sound, visualization and movement. Later, we extend that energy by using tools and making connections with outside forces and powers.

The first things we concentrate on are ways of working with the energy of your body, of knowing where the boundaries are between the Self and what is outside the Self.

In working with our bodies, first we take a really good look at ourselves. Who are we? What color is our hair, eyes, skin. What is our ethnic background? How does that inform our ideas about who we are in the world? If you are a Caucasian person living in America, England, Europe or Australia, you will have certain assumptions about how your body should look. Society will have values related to whether you are male or female, what your body weight should be, how you ought to dress for your place/job in society, what kind of friendships and romantic and sexual relationships you should have, and what your leisure activities are allowed to be.

There will be a list of assumptions about what kind of chemicals it is all right to use – alkaloids such as coffee or chocolate, tea, sugar, salt, preservatives, flavor enhancers and colorings, alcohol, tobacco, prescribed drugs of various types, over-the-counter prescriptions like aspirin, cough and cold medicine, things to help you go to sleep and to stay awake, and so on. There will also be a whole list of things it is not all right to use, mostly herbs and their refined derivatives. The kind of work you do, where you live, the kind of house you live in, the car you drive and where your children (if any) go to school will also be part of your personal identification.

However, if you were a Caucasian living in Japan, China or the Middle East, those cultural markers would all be different from the people around you. Likewise if you are Chinese and living in America, Japanese and living in Africa, Martian and living in Afghanistan, all these are factors you must take into account. No one lives in a vacuum and in beginning any new endeavor, it is important to realize not only who you are, but who other people think you are, or expect you to be.

Biases

Who do you think you are? Start by answering a few of these basic questions, and explore your biases and cultural assumptions.

1. What country are you from?
2. What is your ethnicity? Include parents and grandparents too.
3. What is your coloring?
4. How acute are your senses? Hearing? Touch? Taste? Smell? Vision?
5. How important is education to you? Why?
6. Do you notice your environment? Are the weather patterns around you the same as those where you grew up? What does the difference, or similarity, tell you about the world?
7. What is your personal ethical code? Is it okay to lie? Under what circumstances? Is it okay to kill? To maim? To defend yourself? To take revenge? Is it okay to run away? Is it important to keep your word? Is it important to do the things you say you will do? Do you make promises? If so, do you keep them? Are you a good friend? Are you good at relationships? How good are your communication skills? Can you debate? Can you think clearly? Are you passionate about things? Do you have a temper? If so, is it under your control? Do you love easily? Are you optimistic or pessimistic? Do you feel your actions have an impact on the world? Why? Will you stand up for yourself? Will you defend principles? Do you know what principles are? What are the personal things you are willing to live for? Are you a deist (belief in deity – one or many)?
8. Have you ever learned a meditation discipline? For how long?
9. Have you ever learned a martial art? Which one? What did it teach you about yourself?
10. Are you a dancer? What kind?
11. Have you done any kind of movement work? Any kind of body work that teaches you about balance, center, orienting yourself in space?
12. Are manners important to you?
13. Do you learn easily?
14. What is your learning mode? How do you learn? By listening? By writing things down? By reading about things and then trying them? By watching someone do something and learning from modeling their behavior? By having someone talk you through a skill? By reciting things out loud and hearing them? Do you learn from a combination of these things? Which combination best suits your learning patterns?
15. What are your goals for the next year of your life? What are your goals for the next five years?
16. What talents do you possess? Include everything, including all life skills – shopping, cleaning, cooking – plus creative talents. Can you draw? Can you dance? Can you balance a checkbook?
17. Do you consider yourself to be psychic? In what way? How does that work for you?
18. Have you ever had an “out of body” experience?
19. Have you ever known who was calling you on the phone before picking up the receiver?
20. Have you ever had a mind-altering experience? What was it?
21. Are you healthy? What physical or genetic health conditions do you have, or do you expect to develop? What are you doing to minimize the change of getting those? What is your family health background?
22. What are you allergic to?
23. What are your favorite foods?
24. What are your least favorite foods?
25. Do you like yourself? Do you enjoy your own company? Do you consider yourself to be a whole person?
26. What kind of emotional relationships are you drawn to?
27. Are you monogamous? Are you serially monogamous?
28. Are you polyamorous? Do you have more than one relationship at a time?
29. How important is honesty to you in a relationship?
30. Where on the Kinsey scale would you place yourself? The far left is heterosexual and the far right is homosexual – bisexual is in the middle. Are you right of center or left of center?
31. How do you feel about sexual expression?
32. Are you a romantic person? What does that mean to you?
33. Are you good at organizing? What lets you know that?
34. Are you generally a leader or a follower?
35. Do you have an adventurous spirit?
36. Do you prefer safety and comfortable known circumstances?

This is just a start of questions you might ask yourself. Know the answers to these questions and, from time to time, answer them again to learn how the answers change.

Shadowplay Blog

This is the beginning for a Shadowplay blog. We have the facility to add multiple authors, so I'll be adding regular contributors to the list as time goes on. This will help Cyfrin and I maintain some fresh content around here, as well as giving you all the opportunity to make comments on the posts.

Upcoming topics: Street Magicks, Beginning Magick, Sound Magick

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